Die einzelnen Naturharze und ihre Technologie

Sandermann, Wilhelm

doi:10.1007/978-3-662-30448-8_4

Cited by 6 publications

(13 citation statements)

References 187 publications

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“…Purified oleoresin may be obtained by steam distillation as a glassy mass of variable colour intensity. 21 The shade of yellow/brown resulting and the isomeric composition are highly dependent on the rosin's history, the latter being rarely known with any precision. Typical properties of this processed material are as follows: The specific rotation and refractive index are specially useful in assessing the "purity" of batches.…”

Section: The Chemistry and Formulation Of Mild Fluxesmentioning

confidence: 99%

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Fluxes

Rubin¹,

Lovering²

1982

Molten Salt Technology

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Section: The Chemistry and Formulation Of Mild Fluxesmentioning

confidence: 99%

“…2o . 21 The United States, Portugal, China, and the Soviet Union are major producers. The rosin comprises a complex equilibrium mixture of isomeric pimaric and abietic acids, the parent compounds having the structures shown in Figure 1.…”

Section: The Chemistry and Formulation Of Mild Fluxesmentioning

confidence: 99%

Fluxes

Rubin¹,

Lovering²

1982

Molten Salt Technology

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“…The resins are exuded from trees as balsams, which are rather viscous solutions of diterpenoid components in mono-and sesquiterpenes. Evaporation of the volatile monoterpene fraction results in colophony (rosin), in the case of pine [41]. Pine colophony was used extensively in the paint industry and is still a commonly used raw material for industrial purposes; its properties and durability are often improved by chemical modifications such as esterification with glycerol [30].…”

Section: Py-thm-gcms: Samples From Cans and Paint Brochuresmentioning

confidence: 99%

Synergistic use of Py–THM–GCMS, DTMS, and ESI–MS for the characterization of the organic fraction of modern enamel paints

Kokkori

Sutherland

Boon³

et al. 2015

Herit Sci

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Introduction:In this study, mass spectrometric techniques (THM-Py-GCMS, DTMS and ESI-MS) have been used to characterize the organic fraction of early twentieth century oil-based enamel paints. Analysis has been carried out on dry and liquid samples from historical reference paints, and on color swatches from commercial paint brochures, with a special focus on Ripolin. This renowned French brand of enamel paints, manufactured for household and other uses since 1897, was reportedly used by many avant-garde artists. Confirming the presence of enamel paint such as Ripolin in early twentieth century artworks scientifically through binding medium analysis is challenging because, until the end of the Second World War, the most widely used house paints were oil-based and chemically similar to artists' oil paints. In addition, artists often modified/reformulated materials including oils, driers, industrial and house paints to customize their handling and optical properties. The challenge of identifying oil-based enamel paints on the basis of chemical composition is illustrated by the analysis of samples from two paintings by Wassily Kandinsky and Pablo Picasso.Results: Analysis demonstrated that the organic fraction of Ripolin paints is typically composed of heat-bodied linseed oil in mixture with variable amounts of diterpene (Pinaceae) resin, in accordance with the industrial technical literature of the time. Comparative analyses of Lefranc artists' tube paints suggested a more variable composition with respect to the type(s) of oil and their pre-treatment, and showed the presence of Pinaceae resin at trace levels only in two cases. Beeswax was detected in one of the tube paints tested. Conclusions:The results of this study indicate that complementary information can be obtained from the study of liquid paint from cans and dried paint-outs, while the media of painted brochures may differ from the original formulation as those were designed for expediency of drying and aesthetics. The results also elucidate how formulations and processing technology influence the physical and drying properties of oil-based enamel paints, in comparison with contemporary artists' oil tube paints. Further research on a broader range of reference materials should help in the development of refined strategies for characterizing oil-based paints from the early twentieth century.

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“…Resin is to be seen as a mixture of different compounds which mutually inhibit crystallization (Sandermann 1960). Resin is to be seen as a mixture of different compounds which mutually inhibit crystallization (Sandermann 1960).…”

mentioning

confidence: 99%

“…Earlier publications summarizing the knowledge of the various kinds and behaviours of the extractive components of wood include Sandermann (1960, Hillis (1962) and Buchanan (1963).…”

mentioning

confidence: 99%

7. Extractives

1983

Wood

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The term wood extractives covers a large number of different compounds which can be extracted from wood by means of polar and non-polar solvents. In a narrow sense extractives are those compounds which are soluble in organic solvents, and in this sense the term extractives is used in wood analysis (-» 3.2.4.). But watersoluble carbohydrates and inorganic compounds also belong to the extractable substances.The portion soluble in organic solvents amounts to only few percent in the wood of trees from temperate zones, but the concentration can be much higher in certain parts of a tree, e.g. in branch bases, heartwood, roots, areas of sore irritation. Relatively high amounts of extractives are found in certain tropical and subtropical woods (Table 3-6). Various studies are concerned with the artificial induction of a high extractive production (up to 15%) in pines. In the case of treatment with the herbicide paraquat or similar compounds before harvest, areas soaked with resin (lightwood) are formed within the stem (Conner et al. 1977; Zinkel, McKibben 1978) (-» 18.7.).

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Die einzelnen Naturharze und ihre Technologie

Cited by 6 publications

References 187 publications

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Synergistic use of Py–THM–GCMS, DTMS, and ESI–MS for the characterization of the organic fraction of modern enamel paints

7. Extractives

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