Materials, both natural and synthetic, are used as adhesives or consolidants during the conservation of cultural objects. However, few adhesives have been formulated specifically for the needs of cultural heritage. This article describes a study of the stability of ethylene butyl acrylate copolymers as well as blends of these polymers with low molecular weight resins, which may be used as consolidating adhesives for flaking and fragile paint layers. The materials were aged under simulated museum conditions. Fourier-transform infrared spectroscopy and size exclusion chromatography were used to analyze changes in chemical structure and molecular weight distribution, respectively. The degree of degradation was found to be dependent on the specific blend composition. With the addition of a hindered amine light stabilizer, minimal changes occurred in the molecular weight distribution and no loss in polymer solubility were noted. Therefore, it is suggested to incorporate a stabilizer into ethylene butyl acrylate polymer blends to extend their life and safe use in cultural heritage. Differential scanning calorimetry was employed to investigate the miscibility of the binary blends and the temperature window of their application. Furthermore, adhesive peel strength for the individual components and the binary mixtures revealed values comparable to that of Paraloid™ B-72, a frequently used consolidant. Consolidation tests on the blends were done by professional conservators on mock up and dummy paintings.@en

The mechanical behavior of adhesives is strongly influenced by a large number of variables, relating to a complex interaction of mechanical-physical-chemical factors, such as its loading direction (shear, peel), the temperature and the environmental relative humidity (RH). These variables can have a large influence on the durability of restored art objects where thermoplastic adhesives have been used as a consolidant. This study aims to characterise the mechanical and physical behavior of some adhesives commonly used polymers by conservators as consolidants to restore cultural objects such as canvas paintings or historic wooden furniture. Twelve commercially available natural and synthetic adhesive materials were tested. The influence of RH at room temperature on the mechanical and physical properties of the adhesives was investigated. Shear and peel experiments were performed on adhesively bonded wood and canvas coupon to establish mechanical characterisation. The physical properties of the adhesives were determined by performing moisture adsorption measurements and Differential Scanning Calorimetry (DSC). The results of this study demonstrate that synthetic adhesive products are able to resist higher shear and peel loads than natural types. Moreover, the influence of important changes in RH on the mechanical properties of the adhesives was demonstrated. Reflecting on the combined data derived from shear and peel tests with the adhesive's sensitivity to moisture will help conservators to select the most suitable adhesives for their applications to achieve optimal durability and the best mechanical performance in versatile environmental conditions.

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A variety of adhesives are used for the conservation of paintings. These materials include natural adhesives such as animal glues, waxes, and gums which may chemically degrade over time resulting in unwanted discoloration and mechanical failure. Synthetic adhesives have been introduced to address these concerns. However, most consolidating adhesives have not been specifically formulated and tested to meet the high demands of conservation, ultimately resulting in undesirable physical and mechanical properties. Additionally, some synthetic adhesives are less stable and may cross-link making it difficult to remove years after application. This paper investigates the photo-stability of commercially available tri-block acrylic copolymers (PMMA-PnBA-PMMA) to assess their potential long-term serviceability as consolidants for flaking paint. These copolymers were combined with synthetic low molecular weight resins to reduce viscosity of the adhesive and provide tack. The polymer blends underwent accelerated aging under simulated indoor conditions. Blends were analysed for degradation using Fourier-transform infrared spectroscopy and size exclusion chromatography. Upon irradiation, acrylic copolymers (PMMA-PnBA-PMMA) undergo shifts to higher and lower molecular weight, suggesting that degradation occurs by polymer cross-linking and chain scission. Furthermore, the acrylic copolymer degradation rate was influenced by the type of low molecular weight resin. However, with the addition of a hindered amine light stabilizer these blends exhibited minimal changes in molecular weight. Lastly, the peel strength of the blends were investigated and shown to have comparable peel strength to a popular commercial material, Paraloid™ B-72, often used in consolidation thus showing their promise for use within cultural heritage.

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Failure of ultramarine blue paint layers in historic as well as modern paintings has been reported in the literature many times and is often referred to as “ultramarine disease” or “ultramarine sickness.” The pigment itself is known to degrade hydrolytically when exposed to acids, but whether this is the primary cause of the failure remains unclear. This paper describes a study in which ultramarine blue paints using linseed oil and a urea-aldehyde resin as binding media were aged under simulated indoor conditions. The paints were analyzed using reflectance spectroscopy, scanning electron microscopy, and Raman and nuclear magnetic resonance spectroscopy. The urea-aldehyde resin binding medium was analyzed using size exclusion chromatography and Fourier-transform infrared spectroscopy. The study provides evidence of photo-catalytic degradation of binding media of ultramarine blue paint layers via free-radical processes, causing changes in reflectance while the pigment itself remains intact. It is believed that this is the primary process behind the degradation of ultramarine blue paint layers in paintings.

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