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Many issues in the conservation of paintings from the early modern period are still unresolved due to lack of information on paints from the late 19th and early 20th centuries, in particular their production, formulations, and later degradation processes. The inconsistency of the names that paint manufacturers chose for their products furthermore compounds the challenges faced by conservators and chemists wishing to study them. This paper addresses a number of these issues through investigations of commercial tube oil paints from a paint box owned by the Norwegian painter Harriet Backer (1845-1932). Samples were analyzed using a multi-instrumental approach. Micro-attenuated total reflection Fourier transform infrared spectroscopy and micro-Raman spectroscopy - supported by micro-X-ray powder diffraction - allowed the identification of binders, pigments, and extenders. The data highlight the use of materials that were new at the time and not reported in the manufacturer's catalog. Furthermore, zinc stearate has been detected for the first time. Its detection and the absence of any zinc-based pigments confirms that zinc stearate was already used as dispersing agent in paint formulations at that time., (Copyright © 2022 Elsevier B.V. All rights reserved.)

Temperature-related degradation of pure synthetic as well as partly oxidised natural vivianite has been studied by high-temperature X-ray diffraction (HT-XRD) covering the whole extent of the temperature-related stability of its structure. While temperatures around 70°C are already damaging to vivianite, exposition to 160°C results in complete amorphisation of both the vivianite and its oxidation products. As indicated by Mössbauer spectroscopy, temperature-induced oxidation of vivianite starts at 90°C. To study the occurring structural as well as accompanying colour changes in more detail, model vivianite paint layer samples with different historic binders were prepared and subjected to increased temperatures. Exposition to 80°C caused pronounced colour changes of all the samples: ground natural blue vivianite became grey--a colour change which has been described in actual works of art. Regarding the binders, the oil seemed to facilitate the transfer of heat to vivianite's grains. To simulate conditions of conservation treatment under which the painting is exposed to increased temperatures, oil-on-canvas mock-ups with vivianite were prepared and relined in a traditional way using iron. The treatment affected preferentially larger grains of vivianite; the micro-samples documented their change to grey, and their Raman spectra showed the change from vivianite to metavivianite., (Copyright © 2014 Elsevier B.V. All rights reserved.)

An unambiguous identification of pigments in paint layers of works of art forms a substantial part of the description of a painting technique, which is essential for the evaluation of the work of art including determination of the period and/or region of its creation as well as its attribution to a workshop or an author. Copper pigments represent a significant group of materials used in historic paintings. Because of their substantial diversity and, on the other hand, similarity, their identification and differentiation is a challenging task. An analytical procedure for unambiguous determination of both mineral-type (azurite, malachite, posnjakite, atacamite, etc.) and verdigris-type (copper acetates) copper pigments in the paint layers is presented, including light microscopy under VIS and UV light, electron microscopy with elemental microanalysis, Fourier transformed infrared micro-spectroscopy (micro-FTIR), and X-ray powder micro-diffraction (micro-XRD). Micro-Raman measurements were largely hindered by fluorescence. The choice of the analytical methods meets the contemporary requirement of a detailed description of various components in heterogeneous and minute samples of paint layers without their destruction. It is beneficial to use the combination of phase sensitive methods such as micro-FTIR and micro-XRD, because it allows the identification of both mineral-type and verdigris-type copper pigments in one paint layer. In addition, preliminary results concerning the study of the loss of crystallinity of verdigris-type pigments in proteinaceous binding media and the effect of lead white and lead tin yellow as highly absorbing matrix on verdigris identification in paint layers are reported., (Copyright © 2014 Elsevier B.V. All rights reserved.)

Paintings represent composed materials arranged in successive layers. Development of a suitable method for a depth-profiling analysis is essential for acquiring the information on the stratigraphy as well as on the chemical composition of individual layers, revealing the pigments which had been used. In this study, a depth-resolved analysis of multi-layered model samples of historical easel paintings was performed by means of laser-induced breakdown spectroscopy (LIBS) in combination with non-invasive X-ray fluorescence (XRF). The LIBS analysis was carried out using modified laser ablation system, UP-266 MACRO, equipped with a Czerny-Turner spectrometer. The XRF analysis was performed by handheld spectrometer, Delta Premium. In LIBS experiments, a set of six spots was examined with 5, 10, 15, 20, 25 and 30 pulses respectively, for each of the studied paint samples. Digital and 3D optical microscopy was employed to measure individual layer thickness and to obtain the information on average ablation rates of each sample. The chemical composition of the model samples with each layer partly uncovered was known, and this enabled to directly compare the results obtained by LIBS depth profiling with a fast analysis carried out with the handheld XRF spectrometer. The LIBS depth profiling proved to be a suitable method to distinguish layers of a different material composition and estimate their thickness. The combined use of LIBS and XRF analyses offered essential complementary information on the elemental composition of analysed multi-layered samples. [ABSTRACT FROM AUTHOR]