Plastics in Heritage Collections: Poly(vinyl chloride) Degradation and Characterization

Museums and galleries house increasingly large collections of objects and contemporary art made of plastic materials, many of which undergo rapid material change. The main degradation processes of poly(vinyl chloride) (PVC) are elimination of HCl and plasticizer migration or leaching. This results in visible discolouration, stickiness and cracking. Degradation is known to be a multi-stage process that includes HCl elimination, formation of conjugated polyenes and cross-linking. Elimination of HCl begins due to structural irregularities (allylic and tertiary chlorides) and results in the formation of polyenes. When at least 7 conjugated double bonds are present, discolouration of PVC becomes visible. Non-invasive techniques, such as IR and Raman spectroscopy are used for polymer identification and plasticizer quantification. Plasticizer degradation and particularly the late stages of PVC degradation can be investigated using SEC, GC-MS, TGA and DSC. Studies in heritage collections have revealed that, apart from HCl, PVC objects emit 2-ethylhexanol and other volatile degradation products, however, there is currently no indication that HCl is emitted at usual indoor conditions. There seems to be a general lack of systematic research into PVC degradation at the conditions of storage and display, which could result in the development of dose-response functions and in the development of preventive conservation guidelines for the management of PVC collections

Characterisation and durability of contemporary unsized Xuan paper

In China, Xuan paper has been the paper of choice as artwork support and for conservation, for several centuries. However, little is known about its material properties, especially given the many grades of sized and unsized Xuan paper. In addition, there is a lack of information on its degradation. In this research, a selection of contemporary unsized Xuan papers was investigated, representing diverse raw materials. Seven out of twelve contemporary unsized Xuan papers were determined to be approximately neutral and contain > 2% alkaline reserve, indicating good durability. Viscometry was used to determine the degree of polymerisation (DP) as none of the samples gave significant reactions to the phloroglucinol spot test. The average DP of ten contemporary unsized Xuan papers is ~ 1700, excluding two papers that have presumably been sun-bleached, and that exhibit significantly lower DP. Using X-ray fluorescence, it can be demonstrated that Ca and Si are the dominant elements and interestingly, Ca content is directly correlated with ash content and with alkaline reserve. Accelerated degradation was performed at two sets of environmental conditions, i.e. 90 °C, 30% RH and 60 °C, 70% RH, and the established degradation rates agreed with the Collections Demography model of paper degradation meaning that degradation of Xuan papers proceeds in the same way as other types of paper. This research gives fundamental insights into contemporary unsized Xuan papers, which exhibit good stability during accelerated degradation despite the low starting DP in the context of the samples used in this study. Our findings may inform methods of Xuan paper production, selection of Xuan paper for conservation purposes, as well as preventive conservation of Xuan paper-based artefacts

Material characterisation of a painted beehive panel by advanced spectroscopic and chromatographic techniques in combination with hyperspectral imaging

© 2020, The Author(s). In this study, a painted beehive panel from the collection of the Slovene Ethnographic Museum was examined with respect to its material composition with the aim to reveal the painting technique. Due to the state of degradation due to outdoor weathering (UV irradiation, rainfall, extreme temperature and humidity fluctuations), as well as past conservation interventions, the object represented a complex analytical challenge. We aimed for non-invasive techniques (FTIR in reflection mode, Raman spectroscopy and hyperspectral imaging in the range of 400–2500 nm); however, in order to explore paint layers, cross-sections were also analysed using Raman spectroscopy. FTIR spectroscopy in transmission mode and gas chromatography coupled to mass spectrometry were also used on sample fragments. Various original materials were identified such as pigments and binders. The surface coating applied during conservation interventions was also characterised. Additionally, organic compounds were found (oxalate, carboxylate), representing transformation products. The potential use of Prussian blue as a background paint layer is discussed.[Figure not available: see fulltext.]