Solvent Vapour Use – The Unintended Consequences in Textile Conservation

ABSTRACT

The impact of solvent vapour from two solvents, acetone and industrial denatured alcohol (IDA), commonly used in adhesive reactivation in textile conservation, when applied to artificially soiled silk fabric through either Gore-Tex^® or Reemay^® membranes for exposure times of either 1 or 3 min, was measured using microscopy and ImageJ to monitor the movement of the solid particulates of the soiling, and Fourier transform infrared spectroscopy with attenuated total reflectance (FTIR-ATR) to monitor the movement of the oily components. Analysis using these techniques successfully showed the movement of large particulates through the textile and a decrease in the presence of oil. Analysis with FTIR-ATR showed that the application of solvent vapour by a poultice method produces more than just a surface change and the vapour can penetrate far enough into the fibres to cause a change in the level of oil through the entire textile. The results showed that the solvents and barrier membranes have characteristic differences which impact on the changes on the soiling. The application of acetone produced a greater change in the movement of oil on the front and back of the samples than the application of IDA, while a comparison between the barrier membranes showed a greater change occurring in the level of oil with the use of Gore-Tex^® rather than Reemay^®. The time of exposure to solvent vapour made little difference to the changes to the textile soiling. Quantitatively significant results were gathered from analysis of the changes in the oil measured with FTIR-ATR, and qualitative changes in the large particulate soiling, demonstrating the potential usefulness of ImageJ open access software in future historic textile soiling monitoring studies.     

The materials and techniques used in the paintings of Francis Bacon (1909–1992)

Abstract

Materials from 38 paintings by Francis Bacon (1909–1992), including 21 complete works and 17 partially destroyed canvases are investigated. Observations are made of the artist's technique and details are compiled of the supports used. Samples of paint and priming were taken for analysis using polarized light microscopy, Fourier transform infrared spectroscopy (FTIR), gas chromatography–mass spectrometry (GC–MS), pyrolysis–GC–MS (Py–GC–MS), and scanning electron microscopy coupled with energy dispersive X-ray analysis (SEM–EDX). Analysis of priming layers appears to show that the priming composition correlates well with particular ranges of dates. A fairly limited range of materials are found, with many of the same pigments found in works spanning Bacon's career, though other pigments were introduced at different stages in his career. Oil paints were used consistently for the painting of figures, but household paints were increasingly used in backgrounds from the 1960s onwards. A variety of different synthetic media are found in later works, including household acrylic paints and spray paints. Increased knowledge of Bacon’s materials is expected to be of great value to conservators caring for the work of this highly significant artist, and is already helping in the authentication of works attributed to him.     

Jack Chambers’ mixed media paintings from the 1960s and 1970s: Painting technique and condition

Abstract

This study describes the examination and analysis of four mixed media paintings from the 1960s and 1970s by Canadian artist Jack Chambers (1931–1978). The documentary evidence about his materials and methods is summarized and compared with the results of analysis of multilayer paint samples. The combination of Fourier transform infrared spectroscopy (FTIR) and gas chromatography-mass spectrometry (GC-MS) allowed the components of the paint media to be characterized: ortho-phthalate alkyd resins, iso-phthalate alkyd resins, drying oils, dammar, Pinaceae resin, and turpentine were identified in varying proportions. Many pigments and fillers were identified by FTIR and Raman and are enumerated. The effect that Chambers’ complex technique has had on the aging and degradation of the paintings is discussed. The severe cracking of the paint layers in one of the four paintings may be the result of a high proportion of dammar and turpentine diluent mixed with the alkyd paint and may also be related to the type of alkyd resin medium. Different history and environmental conditions may also be factors.     

PEO-PPO-PEO嵌段共聚物的聚集行为及其在胶团萃取中的应用

从分子水平研究了PEO-PPO-PEO嵌段共聚物聚集过程中分子基团微环境和构象的变化.FTIR光谱给出了温度、溶剂、嵌段共聚物组成等影响PEO-PPO-PEO嵌段共聚物胶团结构的定量信息。用无机盐和脂肪醇调控PEO-PPO-PEO嵌段共聚物聚集,荧光光谱技术提供了降低PPO链段与水的相互作用,推动嵌段共聚物在水中胶团化的证据。用水凝胶包埋PEO-PPO-PEO嵌段共聚物,实现了萃取水中低浓度多环芳烃的工艺循环。     

Characterisation of 15 century red and black pastes used for wall decoration in the Qijmas El-Eshaqi mosque (Cairo, Egypt)

The use of coloured pastes for inlaying marble and limestone wall panels is one of the ornamental techniques that were widely used during the Mamluk period in Egypt (1250–1516 AD). Red and black pastes from Qijmas El-Eshaqe mosque (1482 AD) in Cairo were studied to identify their main components. The study of the samples involved the identification of the pigments, additive materials and organic binding media. The study was performed using various analytical methods such as polarising microscopy (PLM), scanning electron microscopy equipped with energy dispersive X-ray analyser (SEM-EDX), inductively-coupled plasma (ICP-AES), X-ray diffraction (XRD) and Fourier-transform infrared spectroscopy (FTIR). These complementary analytical techniques provide precise identification of inorganic and organic substances used in the pastes. The results indicated that the red pigment is mainly obtained from red ochre containing hematite, whereas amorphous carbon (bone black and charcoal) was used to obtain the black colour. Both samples contain calcium sulphate, which was used to give some hardness to the pastes. Beeswax was used as an organic medium in both pastes. The study provides the information required for the conservation of the coloured paste ornaments.     

ATR-FTIR as a tool for assessing potential for chemical ageing in Spandex/Lycra®/elastane-based fabric collections

The Powerhouse Museum in Sydney, Australia houses the world's most significant and comprehensive collection of Speedo swimwear and accessories. The museum has identified a problem with the long-term storage of certain Spandex/Lycra^® items where the elastane fibre has degraded leading to oil formation. Attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR) determined that most of these garments were manufactured using nylon-elastane fibres, and the elastane component comprises polyetherurethane or polyesterurethane polymers. Certain polyesterurethanes are known to be vulnerable to hydrolysis, and this was confirmed for a subset of the collection using two chemical testing protocols, and a thermal testing protocol that reproduced the oil formation. A polyetherurethane garment in the collection was unchanged by these tests. The oil from the thermal testing was confirmed as a breakdown product of the polyester component of the elastane fibre, using ATR-FTIR spectroscopy, X-ray photoelectron spectroscopy, and time-of-flight secondary ion mass spectrometry. The study demonstrates the value of ATR-FTIR for minimally invasive identification of elastane fabrics that may require specialized storage in a humidity-controlled environment.     

Lead soaps in paintings: Friends or foes?

The origin(s) and role(s) of metal soaps in paints are a worldwide concern today. These hybrid compounds, containing both fatty acid chains and metals associated with a carboxylate function, are increasingly identified in paints. As reviewed in the first part of this work, the presence of metal soaps in paints is differently interpreted in scientific publications: metal soaps are sometimes considered to play a positive role as anchor points, during paint drying processes; they can also be considered as responsible for many degradation processes (protrusions, efflorescences, darkening, etc.). Their origins are also interpreted in various ways. In some paintings (in particular from the twentieth century), they have sometimes introduced on purpose, as additives, to modify the physical properties of the painting materials. In older paintings, metal soaps are usually thought to result from an uncontrolled reaction of oil with lead-based pigments, in particular lead white, red lead, and lead tin yellow. In the second part of this work, the review of historical recipes of lead-based paint shows an important number of recipes based on controlled mixing of oil with lead driers. In the third part, the experimental reproduction of such traditional recipes using walnut oil and litharge (PbO) shows that lead soaps can be formed, both in about one hour at ～100°C, or in about one month at room temperature. It shows as well that after a few years, litharge is no longer detected in the paint medium, while different lead carbonates are. Finally, the micro-infrared spectroscopy and micro-X-ray diffraction re-analysis of protrusions from a nine-year model painting shows together with lead soaps, the presence of Pb₅(CO₃)₃(OH)₂O (‘synthetic plumbonacrite’), an unusual phase recently observed in a protrusion from a painting by Vincent Van Gogh. This work highlights (i) the multiple origins and roles of metal soaps in paints and (ii) the importance of combining the analysis of fragments from historical paintings with the analysis and reproduction of historical recipes. In particular, we show that the components detected today in historical paintings may severely differ from those originally used or prepared by the painter, complicating the assessment of the painter's intentions. More than the presence of metal soaps, the key questions to be tackled should be about their origins and (re)mobilization.     

普洱茶(熟茶)的FTIR分析

采用傅立叶变换红外光谱法(FTIR法)分别对普洱市生产的5个普洱茶(熟茶)样品,进了快速无损的比较研究。结果表明,由云南大叶种类加工的5种普洱茶(熟茶),由于发酵方法不同,或者贮存时间不同,虽然它们所含的化学成分相同,但各组分含量不同;它们的红外光谱比较相似,但仍存在差异。红外光谱分析法,从分子水平上反映了不同发酵方法和不同存留时间对普洱茶(熟茶)的影响。该法无损、快速、准确,所需样品少,为客观评价普洱茶(熟茶)的研究,提供了一种新的方法和手段。实验表明,普洱茶(熟茶)中茶多酚和氨基酸的含量变化反映在红外图谱中1238cm-1吸收峰和1518cm-1吸收峰的变化上面。     

Unveiling the Colours of Cellulose Nitrate Black and White Film-based Negatives in Colonial Photography

ABSTRACT

Aiming at contributing to the preservation of black and white (B&W) film-based negatives held by Portuguese archives, four photographic collections from the first half of the twentieth century were selected for study. During the macro assessment of the collections the preservation condition and hues found in photographic negatives from the Elmano Cunha e Costa (ECC) were noticed, distinguishing this collection from the remaining ones. Additional attention was given considering that the ECC collection was formed in a colonial context in the 1930s, while the others were formed on the Portugal mainland. The ECC collection results from an ethnographic survey of Angolan tribes recorded with B&W film-based negatives. In this collection, sets of negatives with pink, lemon yellow, greenish, orange brownish, and red brownish hues were found. To identify the origin of such hues, the image layer was analysed by microscale energy-dispersive X-ray fluorescence (μ EDXRF) and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX). Additionally, to assess the base decay and its effect on the formation of hues, the plastic supports were characterized by Fourier transform infrared microscopy (μ FTIR). To complement the assessment of the film-base decay, pH was measured by using combined microelectrodes. The identification of mercury, iodine, chromium, and iron by μ EDXRF allowed correlation of the hues found in the negatives with chemical corrective treatments performed to improve the image quality. SEM-EDX confirmed those results and proved that the elements found were in the photographic emulsion layer. The results obtained are relevant since the hues identified may now be used as markers to indicate the technical work performed on colonial photography. Additionally, the visual and molecular assessment of the negatives’ supports (good to fair condition) allow proposing that the original storage conditions may have had a beneficial contribution to their present condition.     

一类半线性分数阶微分方程的μ-伪概自守解

根据α-预解算子族和μ-伪概自守函数的相关性质,利用其函数空间的完备性以及相应的组合定理,研究在Banach空间上一类半线性分数阶微分方程μ-伪概自守解的存在性。