CCI Notes

Title: CCI Notes
Formats available: html and pdf
Link: http://www.cci-icc.gc.ca/...

Description:

CCI Notes deal with topics of interest to those who care for cultural objects. Intended for a broad audience, the Notes offer practical advice about issues and questions related to the care, handling, and storage of cultural objects. Many Notes are illustrated, and provide bibliographies as well as suggestions for contacting suppliers. Written by CCI staff, there are currently over 100 Notes in this ever-expanding series.

Collections:

Care of Collections -- General Guidelines
N1/2 Cleaning Glass and Acrylic Display Cases
N1/3 Closing a Museum for the Winter
N1/4 Making Triwall Containers
N1/5 Applying Registration Numbers to Paintings and Sculptures
N1/6 Time Capsules
N1/7 Mercury in Museum Collections

Preventive Conservation
N2/1 Ultraviolet Filters
N2/3 Track Lighting
N2/6 Fire Protection Issues for Historic Buildings
N2/7 Museum Fires and Losses
N2/8 Automatic Sprinkler Systems for Museums

The Museum Environment: Biological Factors
N3/1 Preventing Infestations: Control Strategies and Detection Methods
N3/2 Detecting Infestations: Facility Inspection Procedure and Checklist
N3/3 Controlling Insect Pests with Low Temperature
N3/4 Psocids or "Book Lice": a Warning of Dampness

Archaeological and Field Conservation
N4/1 Identifying Archaeological Metal
N4/2 Vacuum Freeze-drying Archaeological Artifacts
N4/3 Conservation of Wet Faunal Remains: Bone, Antler, and Ivory

Ceramics and Glass
N5/1 Care of Ceramics and Glass (1997)

Ethnographic Materials
N6/1 Care of Ivory, Bone, Horn and Antler (1988)
N6/2 Care of Basketry (1988)
N6/3 Care of Canoes, Kayaks and Umiaks (1989)
N6/4 Care of Objects Decorated with Glass Beads (1994)
N6/5 Care of Quillwork (1991)
N6/7 Totem Poles Displayed Indoors (2002)
N6/8 Totem Poles Displayed Outside (2002)

Furniture and Wooden Objects
N7/1 Care and Cleaning of Unfinished Wood (2002)
N7/2 Care of Furniture Finishes (2002)

Leather, Skin, and Fur
N8/1 Removing Mould from Leather (1993)
N8/2 Care of Alum, Vegetable, and Mineral Tanned Leather (1992)
N8/3 Care of Mounted Specimens and Pelts (1988)
N8/4 Care of Rawhide and Semi-Tanned Leather (1992)

Metals
N9/1 Recognizing Active Corrosion (1997)
N9/2 Storage of Metals (1995)
N9/3 The Cleaning, Polishing and Protective Waxing of Brass and Copper (1988)
N9/4 Basic Care of Coins, Medals and Medallic Art (1997)
N9/5 Tannic Acid Treatment (1997)
N9/6 Care and Cleaning of Iron (1995)
N9/7 Silver – Care and Tarnish Removal (1997)
N9/8 Mechanical Removal of Rust from Machined Ferrous Surfaces (1996)
N9/9 Care of Objects Made of Zinc (2002)

Paintings and Polychrome Sculptures
N10/1 Cleaning Paintings: Precautions (1995)
N10/10 Backing Boards for Paintings on Canvas (1993)
N10/11 Condition Reporting - Paintings. Part III: Glossary of Terms (1994)
N10/12 Removing a Painting from its Frame (1993)
N10/13 Basic Handling of Paintings (1993)
N10/14 Care of Paintings on Ivory, Metal, and Glass (1993)
N10/15 Paintings: Considerations Prior to Travel (1993)
N10/16 Wrapping a Painting (1998)
N10/17 Know Your Paintings-Structure, Materials, and Aspects of Deterioration (2002)
N10/2 Making Padded Blocks (1995)
N10/3 Storage and Display Guidelines for Paintings (1993)
N10/4 Environmental and Display Guidelines for Paintings (1993)
N10/5 Emergency Treatment of Water-Damaged Paintings on Canvas (1997)
N10/6 Condition Reporting - Paintings. Part I: Introduction (1993)
N10/7 Condition Reporting - Paintings. Part II: Examination Techniques and a Checklist (1993)
N10/8 Framing a Painting (1993)
N10/9 Keying Out of Paintings (1993)

Paper and Books
N11/1 Making Protective Enclosures for Books and Paper Artifacts (1996)
N11/10 Encapsulation (1995)
N11/2 Storing Works on Paper (1995)
N11/3 Glazing Materials for Framing Works on Paper (1996)
N11/4 Wheat Starch Paste (1993)
N11/5 Matting Works on Paper (1997)
N11/6 Removing Paper Artifacts from Their Frames (1993)
N11/7 Basic Care of Books (1995)
N11/8 Display Methods for Books (1994)
N11/9 Framing Works of Art on Paper (1995)

Stone and Plaster
N12/1 Care of Argillite (1992)
N12/2 Care of Objects Made of Plaster of Paris (2002)

Textiles and Fibres
N13/1 Textiles and the Environment (1992)
N13/10 Stitches Used in Textile Conservation (1995)
N13/11 Natural Fibres (1996)
N13/12 Storage for Costume Accessories (1994)
N13/13 Commercial Dry Cleaning of Museum Textiles (1995)
N13/14 Testing for Colourfastness (1996)
N13/15 Mould Growth on Textiles (1996)
N13/2 Flat Storage for Textiles (1993)
N13/3 Rolled Storage for Textiles (1993)
N13/4 Velcro Support System for Textiles (1996)
N13/5 Hanging Storage for Costumes (1994)
N13/6 Mounting Small, Light, Flat Textiles (1995)
N13/7 Washing Non-coloured Textiles (1993)
N13/8 Applying Accession Numbers to Textiles (1994)
N13/9 Anionic Detergent (1992)

Planning for Disaster Management
N14/1 Emergency Preparedness for Cultural Institutions: Introduction (1995)
N14/2 Emergency Preparedness for Cultural Institutions: Identifying and Reducing Hazards (1995)

Modern Materials and Industrial Collections
N15/1 Care of Objects Made from Rubber and Plastic (1997)
N15/2 Care of Machinery Artifacts Displayed or Stored Outside (1993)
N15/3 Display and Storage of Museum Objects Containing Cellulose Nitrate (1994)
N15/4 Indoor Display of Industrial Collections (1998)
N15/5 Lubrication for Industrial Collections (2002)
N15/6 Trade Literature for Industrial Collections (2002)
N15/7 Rubber Components in Industrial Collections (2002)

Care of Photographic Materials
N16/1 Care of Encased Photographic Images (1995)
N16/2 Care of Black-and-White Photographic Glass Plate Negatives (1995)
N16/3 Care of Black-and-White Photographic Negatives on Film (1996)
N16/4 Care of Black-and-White Photographic Prints (1996)
N16/5 Care of Colour Photographic Materials (1996)
N16/6 Processing Contemporary Black-and-White Photographic Films and Papers (1996)

Spot Tests in Conservation
N17/1 The Beilstein Test: Screening Organic and Polymeric Materials for the Presence of Chlorine, with Examples of Products Tested (1993)
N17/2 The Diphenylamine Spot Test for Cellulose Nitrate in Museum Objects (1994)

Conservation Equipment
N18/3 Construction of a "Soft" Profile Gauge (1997)

Molecular studies of asphalt, mummy and Kassel earth pigments (2004)

Title: Molecular studies of asphalt, mummy and Kassel earth pigments : their characterisation, identification and effect on the drying of traditional oil paint
Author: Georgiana M. Languri
University: University of Amsterdam
Year: 2004
Type of document: PhD thesis
Download: http://www.amolf.nl/... (pdf)


From the Summary:

The organic black and brown pigments, asphalt, mummy and Kassel earth, are often used or claimed to have been used by painters in the 19th century. In particular paintings from the 19th century show paint defects that can be associated with these pigments. Examples of poor drying of the oil are observed as formation of premature cracks and phenomena, such as migration or sinking-in of layers. These phenomena are already reported in the contemporary literature, but they are also reported nowadays by conservators and restorers investigating 19th-century paintings. With all the indications about the negative influence of asphalt, Kassel earth and mummy pigments on the condition and aesthetic quality of the paintings, surprisingly little or no molecular evidence is so far available. What exactly are these pigments? Is it possible to identify them in painting samples? Are they the reason why the oil binding media dries so poorly? These are questions addressed in this dissertation.

Table of Contents (short version):

1. General introduction
2. Asphalt: Characterisation of molecular markers and biomarkers in the 19th-century Hafkenscheid asphalt pigment
3. Mummy: Characterisation of molecular markers and biomarkers in the 19th-century Hafkenscheid mummy pigment
4. Kassel earth: Characterisation of molecular markers and biomarkers in a series of Kassel earth pigments
5. On poorly drying 19th-century oil paints: reference, materials, model systems and paintings
Annex A. Mass Spectrometry as a micro-analytical method to study Kassel earth (Vandyke brown) pigments in oil paint
Annex B. Monitoring the effects of traditional 19th-century additives on the chemical drying of oil paint by Mass Spectrometry

Analytical chemical studies on traditional linseed oil paints (2002)

Title: Analytical chemical studies on traditional linseed oil paints
Author: Jorrit Dirk Jan van den Berg
University: University of Amsterdam
Year: 2002
Type of document: PhD thesis
Download: http://www.amolf.nl/... (pdf)


From the Summary:

This thesis contributes to the determination and understanding of the internal chemistry of oil paint systems at the different stages in their lifetime. [...] The main idea put forward and explored further in this thesis is the transition from a cross-linked network of triacylglycerols to a metal bound ionomeric network resulting from hydrolysis of the glycerol ester bonds and the interaction with pigments. The work described in this thesis focuses on analytical chemical investigations of oil paint systems and the information that can be obtained from these studies in relation to a model of an ageing oil paint.

Table of Contents (short version):

1. General Introduction
1.1 Paints and painting
1.2 Drying oil paints
1.3 Degradation of linseed oil paint
1.4 Analytical chemical research on linseed oil paints
1.5 Scope of the thesis

2. Oil paint: developmental stages from an oil to a hard dry film
2.1 Production of linseed oil
2.2 The composition of linseed oil
2.3 Refining and heat processing of linseed oil
2.4 Autoxidation
2.5 Photoxidation
2.6 Condensation reactions
2.7 Formation of low molecular material
2.8 Heat-induced chemical changes in drying oils
2.9 Oil paint
2.10 Summary and relevance for paintings

3. The effect of traditional processing methods of linseed oil on the composition of its triacylglycerols
3.1 Introduction
3.1.1 Analytical techniques
3.1.2 Experimental design
3.2 Materials and methods
3.3 Results
3.4 Discussion
3.5 Conclusion

4. Direct temperature resolved mass spectrometry of oil paint constituents and aged oil paints
4.1 Introduction
4.2 Experimental
4.3 Results
4.4 Discussion
4.5 Conclusion

5a. Identification of non-cross-linked compounds in methanolic extracts of cured and aged linseed oil based paint films using GC/MS
5.1 Introduction
5.2 Experimental
5.3 Results/Discussion
5.4 Conclusion

5b. Unwanted alkylation during direct methylation of fatty (di)acids using tetramethyl ammonium hydroxide reagent in a Curie-point pyrolysis unit
5.5 Introduction
5.6 Experimental
5.7 Results and discussion
5.8 Conclusion

6. Determination of the degree of hydrolysis of oil paint samples using a two-step derivatisation method and on-column GC/MS
6.1 Introduction
6.2 Experimental
6.3 Results and discussion
6.4 Conclusions

7. Studies on the composition and formation of bloom on primed canvas used by F. E. Church and on paints in works of art by F. Stella
7.1 Introduction
7.2 Materials and methods
7.3 Results Case I
7.4. Results Case II: Bloom on paintings by Frank Stella

Atlas
References
Glossary

Studies of artists' organic pigments (2003)

Title: Laser desorption mass spectrometric studies of artists' organic pigments
Author: Nicolas Wyplosz
University: University of Amsterdam
Year: 2003
Type of document: PhD thesis
Download: http://www.amolf.nl/... (pdf)

From the Introduction:

The technical investigation of organic pigments in easel paintings is not without problems. Pigments have complex chemical compositions; details of their manufacturing processes are generally unknown and dramatic transformations of the colouring properties are observed with the passing of time. Characterisation of the chemical composition is greatly complicated by the particularly small size and complex arrangement of the samples available for analysis. Microscopic samples are preferably studied as paint cross-sections, but the finest methods of molecular analysis available today (chromatography and mass spectrometry) are not very compatible with this sampling method. In practice, investigation of organic pigments in cross-sections remains often inconclusive by the lack of a suitable method of analysis. This dissertation explores a new approach to the analysis of organic pigments found in easel paintings, using laser desorption mass spectrometry (LDMS). LDMS makes it possible to investigate the surface of paint cross-section with a spatial-resolution down to 10 mm utilising the analytical method of mass spectrometry.

Table of Contents:

Chapter 1 : Introduction
1.1. Introduction
1.2. Structure of an easel painting
1.3. Traditional and modern organic pigments
1.4. Categories of pigments under investigation
1.5. Deterioration of organic pigments
1.6. Investigation of organic colouring materials in conservation science
1.7. LDMS of organic colouring materials, a rationale
1.8. Thesis outline
1.9. Main results and implications for painting studies

Chapter 2: Principles and instrumentation of LDMS
2.1. Introduction
2.2. Laser Desorption Mass Spectrometry for Surface Analyses
2.3. Principles of LDMS
2.4. Instrumentation for the analysis of paint cross-section
2.5. Conclusion

Chapter 3: An experimental strategy for LDMS of paint materials
3.1. Introduction
3.2. Sample and sample mounting
3.3. Laser-sample interaction
3.4. Shot-to-shot variations
3.5. TOF-MS versus ITMS: pressure and time-scale
3.6. Ion collection in the ITMS analyser: LMCO
3.7. CID experiments with the ITMS analyser
3.8. Conclusion

Chapter 4: LDMS of flavonoids
4.1. Introduction
4.2. Flavonoid pigments
4.3. Experimental
4.4. Characterization of flavonoid aglycones with LDMS
4.5. Multiple-stage LDI–ITMS
4.6. Characterisation of flavonoid-O-glycosides
4.7. Analysis of complex samples
4.8. Analysis fibres dyed with flavonoids
4.9. Investigation of cross-sectioned samples
4.10. Conclusion

Chapter 5: LDMS of anthraquinones
5.1. Introduction
5.2. Anthraquinone pigments
5.4. LDI and MALDI of Alizarin
5.5. Alizarin lake in oil paint
5.6. Analysis of natural dyed fibres
5.7. Conclusion

Chapter 6: LDMS of indigoids
6.1. Introduction
6.2. Experimental
6.3. Analysis of synthetic indigo
6.4. Analysis of natural indigos
6.5. LDMS of indigo at the surface of dyed fibres
6.6. LDMS of indigo in oil paint
6.7. Spatially- resolved LDMS of cross-sections
6.8. Conclusion

Chapter 7: LDMS of modern synthetic pigments
7.1. Introduction
7.2. Samples
7.3. Experimental conditions
7.4. Analysis of reference samples
7.5. Acrylic polymer emulsions and oil paints
7.6. Spatially- resolved LDMS analysis of cross-sectioned paint samples
7.7. Conclusions

Chapter 8: Surface preparation of paint cross-sections
8.1. Introduction
8.2. FTIR-imaging and LD-ITMS
8.3. Evidence of smearing
8.4. A new sample preparation
8.5. Analyses after polishing
8.6. Conclusion
8.7. Acknowledgements

Bibliography

Paint dosimeters as tools to monitor the museum environment (2001)

Title: Molecular changes in egg tempera paint dosimeters as tools to monitor the museum environment
Author: Oscar F. van den Brink
University: University of Amsterdam
Year: 2001
Type of document: PhD thesis
Download: http://www.amolf.nl/... (pdf, 7.06 Mb)


Table of Contents (short version):

1. Introduction
2. Determination of the degree of chemical change in museum exposed test paintings by mass spectrometry and discriminant analysis
3. DTMS and DA of nine dosimetric test systems
4. Dosimetry of the environment in various museums: Interpretation of the results of the field studies
5. Cholesterol oxidation products in light-aged egg tempera
6. MALDI-FTMS analysis of oxigenated triglycerides and phosphatidylcholines in egg tempera dosimeters
7. Electrospray ionisation FT-ICR-MS(MS) of light-aged egg glycerolipids
8. Recommendations for further work on paint-based dosimetry and outlook