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Previous works of the authors have presented the changes in the optical, mechanical, and chemical properties of the oiled areas of the supports that occur upon ageing due to oil-binder absorption in works of art on paper and printed material. In this framework, transmittance FTIR analysis has indicated that the presence of linseed oil induces the conditions to promote the deterioration of the oil-impregnated areas of the paper supports. However, the analysis of oil-impregnated mock-ups did not provide detailed information about the input of linseed oil formulations and the different types of paper support on the chemical changes that occur upon ageing. This work presents the results of ATR-FTIR and reflectance FTIR, which were used for compensating the previous results, proving indications on the effect of different materials (linseed oil formulations, and cellulosic and lignocellulosic papers) on the development of chemical changes, thus, on the condition of the oiled areas upon ageing. Although linseed oil formulations have a determining effect on the condition of the oiled areas of the support, the paper pulp content appears to have an input to the chemical changes that occur in the system of paper–linseed oil upon ageing. The results presented are more focused on the oil-impregnated mock-ups with cold-pressed linseed oil since results have indicated that this causes more extended changes upon ageing. [ABSTRACT FROM AUTHOR]

The characteristics of commercially available refined and bodied linseed and tung oils, used as binders in the production of armour paints after historic recipes, are explored. Employed as anticorrosive paints mainly from the 1920s to 1960s, armour paints are greener alternatives that can be used for protection in industrial heritage conservation. Using a multi-analytical approach, chemical and physical properties of the fresh oils and solid films before and after accelerated ageing (ISO 16474-2:2013) were investigated to better understand which features are beneficial for the technical function of armour paints. Tests included measurements of density, the refractive index, insoluble impurities, alkaline impurities, the water content, the iodine value, the saponification value, the free fatty acid concentration, the acid value, the peroxide value and colour (Lovibond) and cold tests. The characterisation of the fresh oils using molecular analysis with FTIR and GC-MS revealed the complexity of the commercial formulations, for which additions of semi- and non-drying oils were detected. The results show that organic paint binders follow complex chemical reactions (such as oxidation and decrease of unsaturation being variable or swelling following water-immersion tests), with implications for their suitability for use in protection.

Previous works of the authors have presented the changes in the optical, mechanical, and chemical properties of the oiled areas of the supports that occur upon ageing due to oil-binder absorption in works of art on paper and printed material. In this framework, transmittance FTIR analysis has indicated that the presence of linseed oil induces the conditions to promote the deterioration of the oil-impregnated areas of the paper supports. However, the analysis of oil-impregnated mock-ups did not provide detailed information about the input of linseed oil formulations and the different types of paper support on the chemical changes that occur upon ageing. This work presents the results of ATR-FTIR and reflectance FTIR, which were used for compensating the previous results, proving indications on the effect of different materials (linseed oil formulations, and cellulosic and lignocellulosic papers) on the development of chemical changes, thus, on the condition of the oiled areas upon ageing. Although linseed oil formulations have a determining effect on the condition of the oiled areas of the support, the paper pulp content appears to have an input to the chemical changes that occur in the system of paper–linseed oil upon ageing. The results presented are more focused on the oil-impregnated mock-ups with cold-pressed linseed oil since results have indicated that this causes more extended changes upon ageing.

The characteristics of armour paints, historically used to protect ferrous industrial heritage, are explored. Amour paints contain lamellar and highly reflexive pigments of micaceous iron oxide (MIO) and metallic, leafing aluminium, bound in linseed oil and linseed oil–tung oil mixtures, on an inhibitive and soap-forming linseed oil primer (red lead). It is the first study of the binding media used for historical armour paints and investigates the chemical and physical ageing of armour paints using a multianalytical approach. Naturally aged examples are compared to accelerated aged replica armour paint, and to historical paints. The ageing and degradation reactions are assessed by complementary GC–MS and FTIR, together with measurements of wettability, hardness and surface colour. The historical paint formulations include linseed oils and alkyd binders. The results confirm that the leafing effect of aluminium pigments results in only a small concentration of binder at the surface: the paints studied reflect light and form a strong chemical and physical barrier. Linseed oils and tung oil mixtures have been proven to be suitable for the production of armour paints, but the evaluation of ageing and assessment of physical changes will require further investigation.

The characteristics of commercially available refined and bodied linseed and tung oils, used as binders in the production of armour paints after historic recipes, are explored. Employed as anticorrosive paints mainly from the 1920s to 1960s, armour paints are greener alternatives that can be used for protection in industrial heritage conservation. Using a multi-analytical approach, chemical and physical properties of the fresh oils and solid films before and after accelerated ageing (ISO 16474-2:2013) were investigated to better understand which features are beneficial for the technical function of armour paints. Tests included measurements of density, the refractive index, insoluble impurities, alkaline impurities, the water content, the iodine value, the saponification value, the free fatty acid concentration, the acid value, the peroxide value and colour (Lovibond) and cold tests. The characterisation of the fresh oils using molecular analysis with FTIR and GC-MS revealed the complexity of the commercial formulations, for which additions of semi- and non-drying oils were detected. The results show that organic paint binders follow complex chemical reactions (such as oxidation and decrease of unsaturation being variable or swelling following water-immersion tests), with implications for their suitability for use in protection. [ABSTRACT FROM AUTHOR]

The characteristics of armour paints, historically used to protect ferrous industrial heritage, are explored. Amour paints contain lamellar and highly reflexive pigments of micaceous iron oxide (MIO) and metallic, leafing aluminium, bound in linseed oil and linseed oil-tung oil mixtures, on an inhibitive and soap-forming linseed oil primer (red lead). It is the first study of the binding media used for historical armour paints and investigates the chemical and physical ageing of armour paints using a multianalytical approach. Naturally aged examples are compared to accelerated aged replica armour paint, and to historical paints. The ageing and degradation reactions are assessed by complementary GC-MS and FTIR, together with measurements of wettability, hardness and surface colour. The historical paint formulations include linseed oils and alkyd binders. The results confirm that the leafing effect of aluminium pigments results in only a small concentration of binder at the surface: the paints studied reflect light and form a strong chemical and physical barrier. Linseed oils and tung oil mixtures have been proven to be suitable for the production of armour paints, but the evaluation of ageing and assessment of physical changes will require further investigation. [ABSTRACT FROM AUTHOR]

Thermogravimetry coupled with differential scanning calorimetry (TG-DSC) has been commonly used in the field of conservation of Cultural Heritage for the study of art objects, especially for the characterisation of inorganic matrixes. In recent years, thermal analyses have been applied to the study of organic painting materials. The advantages of performing TG-DSC are linked to the fact that it is micro-destructive technique which does not require any treatment prior the analysis and provide useful information in relatively short time. The aim of this study is to describe the application of TG-DSC on the study of oil binders used in contemporary paints. Even if synthetic binders have become increasingly popular in the 20th century, many contemporary artists still prefer the more traditional media: drying oils. Although the wish of recalling traditional methods, much practical knowledge in paint preparation by mixing drying oil and pigments and in the behaviour of the mixture has been lost. This is mainly due to the different composition of contemporary materials in comparison with the traditional ones and may sometimes lead to different drying properties of the oil paint formulations and consequent problems in the art creation and conservation. For answer to this artistic need and in particular to the difficulties outlined by artists themselves in producing and employing oil paints, unpigmented and pigmented oil films were studied after a week, 1 and 2 years of natural drying under laboratory conditions. Thermal analyses were performed in air flow: the focus of this research was, in fact, to study the thermal and oxidative behaviours of young films for better understanding the very first processes leading to the formation of the film. [ABSTRACT FROM AUTHOR]