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Toxic heavy metal pigments are known to be found in nineteenth-century, mass-produced, Euro-American bookbindings. A lack of data, standards, and regulations for exposure to heavy metal pigments in the cultural heritage sector limits understanding of when such bookbindings might present the greatest health and safety risk and how best to assess such risk. This case study measures the friability of arsenic, chromium, and lead based pigments in a sampling of nineteenth-century bookbindings through three scenarios: first, in their naturally aged, intact state; second, during a water event simulation; and third, after salvage and air-drying from the water disaster simulation. The data demonstrate that the risk of exposure to these heavy metals increases during and after a water event, with exposure to arsenic presenting the highest degree of risk. [ABSTRACT FROM AUTHOR]

An in‐depth technical examination and conservation treatment of paintings by William Williams (Bristol 1727–1791 Bristol) has shed light on the artist's materials and technique. This investigation centered primarily on Williams's two 1766 portraits of William and David Hall. The paintings are considered the earliest life‐sized, full‐length portraits executed in the Philadelphia area. The analysis of the artist's palette indicated deliberate choices in the use of orpiment (As2S3). The mineral's tendency to oxidize to colorless and water‐soluble arsenic oxides likely caused color changes and degraded organic binder in the orpiment‐rich areas. μ‐XANES revealed orpiment photodegradation to arsenate species at the paint surface, with migration to the ground layers. Just below the paint surface, arsenic remains bound primarily as arsenite, with some associated with sulfur as orpiment. This As distribution suggests that the paint is liable to further degradation by photooxidation and use of moisture would be detrimental. Given this treatment‐critical degradation phenomenon, it was important to identify all arsenic‐containing areas of both portraits. Scanning XRF allowed rapid and accurate collection of maps from both portraits. Elemental maps of arsenic identified the orpiment‐rich areas of the painting, which would be susceptible to further degradation upon exposure to water during treatment. An aqueous adhesive was necessary to consolidate the cupped paint of the glue‐paste lined paintings. The arsenic maps guided the use of two different consolidants–BEVA 371 for the water‐sensitive orpiment‐rich paint and sturgeon glue for all other areas, striking a compromise between esthetic improvement and long term preservation. [ABSTRACT FROM AUTHOR]

The editorial introduces the concept of 'bibliotoxicology,' which focuses on identifying toxic substances in library collections and establishing safer management practices. The Bibliotoxicology Working Group (BibTox) aims to address health and safety concerns related to toxic materials in library and archive collections. The special issue of Studies in Conservation presents diverse studies on hazards in library materials, emphasizing the need for accurate assessments and practical handling advice. Researchers in bibliotoxicology are encouraged to think broadly and creatively to enhance communication and outreach in this interdisciplinary field. [Extracted from the article]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)