Analytical study of proteinaceous binding media in works of art by gas chromatography using alkyl chloroformates as derivatising agents

Two chromatographic methods have been compared for analysis of protein-binding media used in paintings, namely, HPLC with fluorescence detection and GC-MS. The proteins were hydrolyzed to the corresponding amino acids (AAs) by gaseous HCl and the AAs were derivatized with methyl chloroformate, followed by GC-MS or by HPLC after derivatization with the AccQ fluorescence reagent. The hydrolysis, derivatization reactions and the chromatographic procedures have been optimized and applied to standard binding media, model and real samples of paintings. The methods have been compared and critically evaluated.

Section: Pcamentioning

confidence: 99%

An evaluation of GC‐MS and HPLC‐FD methods for analysis of protein binders in paintings

Přikryl

Havlíčková

Pacáková³

et al. 2006

“…Their mass spectra show a very simple fragmentation pattern and are normally dominated by a large abundance of ions with m/z equal to M -57 + (loss of a tert-butyl group), which enable molecular weight determination and are very suitable for performing quantitative analysis by Selected Ion Monitoring. c) Derivatisation with ethyl chloroformiate in ethanol/ water/pyridine [23,24,29,61]. The reaction, which takes place in one step, in only a few seconds and in the presence of water, acts on both amino and hydroxyl groups.…”

Section: Derivatisation For Gc Analysismentioning

confidence: 99%

“…Basically, principal component analysis (PCA) is the preferred multivariate method [26,27,29,54,58,66]. PCA analysis of amino acid contents is a very powerful technique for pattern recognition, since it allows us to reduce the redundant information contained in the ndimensional amino acidic pattern to 2 or 3 variables (the principal components) with a limited loss of variance.…”

Section: Proteinaceous Binder Identificationmentioning

confidence: 99%

Characterisation of proteinaceous binders in artistic paintings by chromatographic techniques

Colombini

Modugno

2004

108

This review discusses the application of chromatographic techniques (GC, HPLC and Py-GC) for the characterisation of proteinaceous materials in artistic paintings. The focus is on the various analytical steps that are needed to determine these natural materials in paint samples, from sampling and sample pre-treatment, including various methods of hydrolysis and derivatisation for GC and HPLC, to approaches for data evaluation.

“…Proteins [6, 12, 13, 15 -35], biopolymers of amino acids (about twenty natural amino acids are commonly found in protein hydrolysates; the most important for the identification of parent natural product are: alanine, arginine, aspartic acid, cysteine, glutamic acid, glycine, histidine, hydroxyproline, isoleucine, leucine, lysine, methionine, phenylalanine, proline, serine, threonine, tyrosine, valine [35]), are an important class of natural organic materials that have long been used as binding media and adhesives. Of the many proteins found in nature, those encountered most frequently in conservation include collagen glue (obtained by boiling animal skin and bones), gelatine, fish glue, size (a more purified form of glue), casein (present in milk), egg white albumin (glair), and egg yolk (tempera).…”

Section: Natural Binding Mediamentioning

confidence: 99%

Old master paintings – A fruitful field of activity for analysts: Targets, methods, outlook

Zadrożna

Pawlak

Głuch

et al. 2003

Old master paintings -A fruitful field of activity for analysts: Targets, methods, outlook Natural products used by ancient artists as components of paintings on canvas and wood, on sculptures, for murals or illuminated manuscripts are presented as potential analytical targets. Analytical methods recommended so far for the identification of binders, inorganic pigments, and organic dyestuffs are reviewed with special emphasis on hyphenated techniques.