Identification of organic materials in historical stringed instruments by off-line analytical pyrolysis solid-phase microextraction with on-fiber silylation and gas chromatography-mass spectrometry

Kasprzok, Lisa; Fabbri, Daniele; Rombolà, Alessandro G.; Rovetta, Tommaso; Malagodi, Marco

doi:10.1016/j.jaap.2019.104727

Cited by 7 publications

(5 citation statements)

References 46 publications

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“…One type of binding material whose identification still puzzles scientists are drying oils [4][5][6]. For example, the most common drying oils (linseed, poppy, and walnut oil) consist of the same fatty acids (palmitic, stearic, oleic, linoleic, and linolenic acid) bound together in triglyceride molecules.…”

Section: Introductionmentioning

confidence: 99%

Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

et al. 2021

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In this study, quantitative gas chromatography‒mass spectrometry (GC–MS) analysis was used to evaluate the influence of pigment concentration on the drying of oil paints. Seven sets of artificially aged self-made paints with different pigments (yellow ochre, red ochre, natural cinnabar, zinc white, Prussian blue, chrome oxide green, hematite + kaolinite) and linseed oil mixtures were analysed. In the pigment + linseed oil mixtures, linseed oil concentration varied in the range of 10 to 95 g/100 g. The results demonstrate that the commonly used palmitic acid to stearic acid ratio (P/S) to distinguish between drying oils varied in a vast range (from especially low 0.6 to a common 1.6) even though the paints contained the same linseed oil. Therefore, the P/S ratio is an unreliable parameter, and other criteria should be included for confirmation. The pigment concentration had a substantial effect on the values used to characterise the degree of drying (azelaic acid to palmitic acid ratio (A/P) and the relative content of dicarboxylic acids (∑D)). The absolute quantification showed that almost all oil paint mock-ups were influenced by pigment concentration. Therefore, pigment concentration needs to be considered as another factor when characterising oil-based paint samples based on the lipid profile.

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Section: Introductionmentioning

confidence: 99%

Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

et al. 2021

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“…The results, showing how various composition of varnishes has an impact on their stability, may have an important contribution to future conservation approaches. Another, exciting analysis of varnishes was performed by Kasprzok et al (2020) to identify organic materials in historical stringed instruments by using pyrolysis, followed by the SPME, on‐fiber silylation, and GC/MS. A number of precious instruments were investigated (only varnishes were removed for identification!!…”

Section: Materials Analyzedmentioning

confidence: 99%

Mass spectrometry in art conservation—With focus on paintings

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Sobczyk

Szewczyk

et al. 2021

Mass Spectrometry Reviews

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Conservation of historic artifacts has been a multidisciplinary field from its very beginning. Traditionally, it has been and still is associated with the history of art. It applies knowledge from technical and basic sciences, adapting their solutions to its goals. At present, however, a new tendency is clearly emerging—scientific research is starting to play an increasingly important role not only as a service, but also by proposing new solutions both in the traditional conservation areas and in new areas of conservation activities. The above trend opens up new perspectives for the field of preservation of our heritage but may also create new threats. Therefore, the conservators' caution in introducing new technologies should always be justified; after all, they are responsible for the effects of any activities on the historic objects. This, quite selective review, discusses application of mass spectrometry techniques for the detection of various components that are important to the conservators of our heritage with particular focus on paintings. The text also contains some basic knowledge of technical details to introduce the methodology to a broader group of professionals.

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“…Several papers reported analytical study on varnishes [ 4 , 8 , 9 , 10 ]. For example studies on historical stringed musical instruments from the collection of the Vincenzo Bellini Conservatory in Palermo (Italy) showed that the varnish on all the sampled instruments has a consistent formulation containing a mixture of a diterpenoid resin, shellac and a drying oil [ 11 ].…”

Section: Introductionmentioning

confidence: 99%

Violin Varnishes: Microstructure and Nanomechanical Analysis

et al. 2022

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The aim of the current work is twofold: to demonstrate the application of in situ non-invasive imaging by portable atomic force microscopy (AFM) on the surfaces of a violin and to integrate compositional and mechanical analysis at the nano scale level on model samples of varnished wood. These samples were prepared according to traditional recipes by an Italian lute-maker family well practised in the art. Samples of oil and spirit-based varnishes on maple wood, naturally and accelerated light aged, were studied. AFM was used to measure the nanomechanical properties of the model samples and established that the spirit-based varnish was stiffer than the oil-based. Synchrotron radiation micro- Fourier Transform Infra-red analysis of the layer structure revealed that stiffer spirit-based varnish showed less penetration into the wood than the oil-based. Further PeakForce Quantitative Nanomechanical Mapping (QNM) demonstrated a difference in adhesion values between the oil- and spirit-based samples.

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Identification of organic materials in historical stringed instruments by off-line analytical pyrolysis solid-phase microextraction with on-fiber silylation and gas chromatography-mass spectrometry

Cited by 7 publications

References 46 publications

Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

Quantitative GC–MS Analysis of Artificially Aged Paints with Variable Pigment and Linseed Oil Ratios

Mass spectrometry in art conservation—With focus on paintings

Violin Varnishes: Microstructure and Nanomechanical Analysis

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