Effects of ageing on different binders for retouching and on some binder–pigment combinations used for restoration of wall paintings

Ropret, Polonca; Zoubek, R.; Škapin, Andrijana Sever; Bukovec, Peter

doi:10.1016/j.matchar.2007.04.027

Cited by 18 publications

(12 citation statements)

References 5 publications

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“…Following the advice and agreement with conservators experts in the lining process, two consolidants (or adhesives) were selected for this study: animal glue (natural consolidant) and vinyl acetate Beva ® 371 (synthetic consolidant). These materials are widely used for canvas consolidation and lining works [7][8][9][28][29][30]. The animal glue used in this study was purchased from Lienzos Levante (Alicante, Spain) and consisted of a rabbit skin glue in pellets with a bloom strength of 340-360.…”

Section: Commonly-used Consolidants or Lining Adhesivesmentioning

confidence: 99%

Systematic mechanical assessment of consolidants for canvas reinforcement under controlled environment

Bridarolli

Torroja

Chevalier³

et al. 2020

Herit Sci

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In conservation, adhesives are commonly used for the consolidation of canvases, yet their impact upon the canvas longevity has raised some concerns amongst conservators. As such, this study presents a testing protocol developed to assess the performance of commonly-used adhesives (natural animal glue and synthetic Beva ® 371) and a newly developed nanocellulose consolidant, nanofibrillated nanocellulose (CNF). This includes their effect on the visual appearance, consolidation, and response of the mechanical properties of the treated canvases to programmed changes in relative humidity (RH). Scanning electron microscopy (SEM) images of animal glue-and Beva ® 371-treated canvases revealed the presence of adhesive and consolidant on and in-between cotton fibres. The consolidants form bridges linking and connecting the cotton fibres and holding them together, whereas the CNF treatment, formed a visible continuous and dense surface coating. None of the treatments induced any discernible colour change. Controlled environment mechanical testing was performed in two ways: by applying a linearly increasing static force at fixed RH (Young's modulus) and by applying a dynamic force together with a programmed RH cycling between 20 and 80% (RH dependent viscoelastic properties). CNF gave a higher value of Young's modulus than either of the two commonly-used materials. Measurements at different values of RH (20 and 80%) demonstrated for all the treated canvases that at the lower value (RH 20%) Young's modulus values were higher than at the higher value (RH 80%). Besides, the dynamic mode showed that the rate of response in all cases was rapid and reversible and that the nanofibrillated cellulose treated sample showed the highest variation in storage (or elastic) modulus measured at the end of RH plateaux (20 and 80% RH). Thus CNF appears to be a promising material given its higher mechanical performance. The protocol developed in this study has enabled us to examine and compare candidate materials for the consolidation of canvases systematically, using testing parameters that remained relevant to the field of canvas conservation.

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Section: Commonly-used Consolidants or Lining Adhesivesmentioning

confidence: 99%

Systematic mechanical assessment of consolidants for canvas reinforcement under controlled environment

Bridarolli

Torroja

Chevalier³

et al. 2020

Herit Sci

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“…Spectroscopic techniques used to identify and localise binders are based on Infrared and Raman spectroscopy. The simultaneous presence of other organic and inorganic materials can strongly compromise the success of these techniques [25][26][27][28][29][30][31][32]. Chromatographic techniques using high-performance liquid chromatography (HPLC) and gas chromatography coupled to mass spectrometry (GC/MS) permit the identification of the material based on the determination of the amino acid composition evaluated after hydrolysis [3,[33][34][35][36][37][38].…”

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confidence: 99%

Analytical pyrolysis of proteins in samples from artistic and archaeological objects

Orsini

Federica

Bonaduce

2017

Journal of Analytical and Applied Pyrolysis

114

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The paper presents a study of proteins found in artistic and archaeological objects based on analytical pyrolysis. Proteins (mainly egg yolk and/or egg white, casein, animal glue and collagen) have been extensively used as paint binders, adhesives and varnishes in mural and easel paintings, and they can be found in archaeological findings, such as bones and skin tissues. In order to overcome limitations of wet chemical methods arising from the reduced solubility of aged proteins in samples of cultural heritage, a combination of analytical pyrolysis techniques was used to characterise reference materials, paint reconstructions and samples from different historical periods (2nd century BC-20th century AD) and geographical origins, which were collected from paintings and archaeological findings. In particular evolved gas analysis mass spectrometry (EGA/MS), pyrolysis coupled with gas chromatography/mass spectrometry (Py/GC/MS) and double shot pyrolysis/gas chromatography/mass spectrometry (DSP/GC/MS) were used. This analytical approach allowed us to characterise and differentiate the proteinaceous media, investigate their thermal behaviour and evidence changes occurring with ageing. Data clearly indicate that egg, casein and animal glue can be identified and distinguished in a sample of unknown composition using each of the analytical pyrolysis techniques used. With time though differences tend to disappear to the extent that extremely degraded samples present pyrolytic profiles extremely similar to each other, irrespective of the nature of the proteins present. The data also indicate that proteins tend to become more thermally stable with ageing, suggesting that extensive intramolecular and intermolecular aggregation, and/or covalent cross-linking occur with time

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“…We cannot exclude the presence of other degradation products of cinnabar not detectable by Raman spectroscopy, as for instance the cubic form of cinnabar (meta‐cinnabar). As a matter of fact, degradation of cinnabar in works of art has been observed and deeply investigated in the last 20 years: It is a well‐known phenomenon, but its origin is not yet fully understood …”

Section: Resultsmentioning

confidence: 99%

Raman and time of flight secondary ion mass spectrometry investigation answers specific conservation questions on Bosch painting Saint Wilgefortis Triptych

Sodo

Tortora

Biocca

et al. 2018

J Raman Spectroscopy

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Raman spectroscopy and time of flight secondary ion mass spectrometry (ToF-SIMS) were used to answer conservation questions left open after the preliminary analysis performed by the restoration team on the Bosch painting Saint Wilgefortis Triptych, within the project "Bosch in Venice." In this work,we present the results obtained by combining these two techniques on five cross sections, concerning a detailed study of pigments and bindings degradation processes, the identification of organic components (binders/lakes), and the characterization of restoration products. Raman measurements show the presence of degradation products, such as calomel on the red pigment cinnabar, calcium-oxalate, in particular weddellite, localized in a not original external layer, and finally lead soaps in several layers of the investigated samples.Although the detection of lead soaps suggests the use of oils as binders, Raman spectroscopy has given no conclusive information about such binders, neither on the possible presence of red lakes, suggested by independent UV observations. Complementary ToF-SIMS investigations have instead revealed the presence of lead palmitate and stearate in the painting layers along with miristic, palmitic, oleic, and stearic acids, thus confirming the use of an oil medium, likely linseed oil. Additionally, ToF-SIMS shows the presence of polydimethylsiloxane, likely from a previous restoration treatment in the 1990s, in the external layer of the investigated cross sections. Due to experimental difficulties during the analysis of the red lake, we can only hypothesize the presence of alizarin.

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Effects of ageing on different binders for retouching and on some binder–pigment combinations used for restoration of wall paintings

Cited by 18 publications

References 5 publications

Systematic mechanical assessment of consolidants for canvas reinforcement under controlled environment

Systematic mechanical assessment of consolidants for canvas reinforcement under controlled environment

Analytical pyrolysis of proteins in samples from artistic and archaeological objects

Raman and time of flight secondary ion mass spectrometry investigation answers specific conservation questions on Bosch painting Saint Wilgefortis Triptych

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