Cellulose acetate, developed about 100 years ago as a versatile, semisynthetic plastic material, is used in a variety of applications and is perhaps best known as the basis of photographic film stock. Objects made wholly or partly from cellulose acetate are an important part of modern and contemporary cultural heritage, particularly in museum collections. Given the potential instability of the material, however, it is imperative to understand the aging mechanisms and deterioration pathways of cellulose ester plastics to mitigate decomposition and formulate guidelines for storage, exhibition, and conservation. One important aspect of this process is the ability to fully characterize the plastic, because variations in composition affect its aging properties and ultimate stability. In this Account, we assess the potential of a range of analytical techniques for plastics made from cellulose acetate, cellulose propionate, and cellulose butyrate. Comprehensive characterization of cellulose ester plastics is best achieved by applying several complementary analytical techniques. Fourier-transform IR (FTIR) and Raman spectroscopy provide rapid means for basic characterization of plastic objects, which can be useful for quick, noninvasive screening of museum collections with portable instruments. Pyrolysis GC/MS is capable of differentiating the main types of cellulose ester polymers but also permits a richly detailed compositional analysis of additives. Thermal analysis techniques provide a wealth of compositional information and thermal behavior. Thermogravimetry (TG) allows for quantitative analysis of thermally stable volatile additives, and weight-difference curves offer a novel means for assessing oxidative stability. The mechanical response to temperature, such as the glass transition, can be measured with dynamic mechanical analysis (DMA), but results from other thermal analysis techniques such as TG, differential scanning calorimetry (DSC), and dynamic load thermomechanical analysis (DLTMA) are often required to more accurately interpret the results. The analytical results from this study form the basis for in-depth studies of works of art fabricated from cellulose acetate. These objects, which are particularly at risk when stored in tightly sealed containers (as is often the case with photographic film), warrant particular attention for conservation given their susceptibility toward sudden onset of deterioration.

Like acrylics and alkyds, polyurethanes (PUs) represent an important class of industrial paints adopted by 20th and 21st artists; primarily by those creating outdoor painted sculptures (OPS). Because PU coatings offer a compromise between aesthetic and performance expectations, unachievable with other types of paints, they are commonly recognized as the most appropriate option for painted artworks intended for an outdoor setting. However, the PU class includes various systems and subgroups possessing very different properties. Through the FTIR-ATR study of 137 PU coating references from the Getty Conservation Institute (GCI) reference collection, this paper outlines the differences and the similarities existing, in terms of the composition, of two package solvent-borne, two package waterborne, one package water-borne and fluoropolymer polyurethanes. The comparison of the obtained FTIR-ATR results allowed determining markers helpful to discriminate specific PU subgroups by means of ATR-FTIR spectroscopy. The goals of this paper are to provide to the conservation professionals a better understanding of the versatility and diversity of PU coatings and to facilitate the identification of the various types initially used by the artists.

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