Museum objects

J. S. Mills and R. White, The Organic Chemistry of Museum Objects, Butterworths, London, 1987. 

Klokkernes, T. (1991), The influence of air pollution on ancient monuments, buildings and museum objects, in Hicks, S., U. Miller, S. Nilsson, and I. Vuorela (eds.),... 

Mills, J. S. (1972), Identification of organic materials in museum objects, in Conservation in the Tropics, Proc. Asia-Pacific Seminar on Conservation of Cultural Property, International Center for the Study of the Preservation and Restoration of Cul and Central Conservation Laboratory, New Delhi, pp. 159-170. 

Photochemical Studies of Methacrylate Coatings for the Conservation of Museum Objects... 

Methyl and ethyl methacrylate polymers, although extensively used in Industry, do not possess the solubility characteristics (low polarity) that would make them appropriate for use over traditional oil paintings and other organic-based museum objects that might be sensitive to polar solvents such as alcohols, ketones and esters. Poly(n-butyl methacrylate), offered as an artists varnish in the late 1930 s, did not become widely accepted in the war-disrupted decade that followed. Accordingly, early in 1951, our laboratory began a detailed study of the higher alkyl methacrylate polymers for potential use as picture varnishes (1). 

The most stable resin for many of our purposes has proven to be a copolymer of ethyl methacrylate and methyl acrylate. This comes as little surprise the Rohm and Haas Company has for years sold a durable resin based on these two monomers, Acryloid B-72 (6,28). We have also prepared polymers of similar physical properties based on methyl methacrylate and ethyl acrylate and have found that their behavior is practically the same - the methyl and ethyl groups apparently do not become seriously involved in crosslinking. As reported elsewhere( 23), rather than crosslink, Acryloid B-72 tends to chain break under visible and near-ultraviolet radiation, although at a very slow rate. Polyvinylacetate is another polymer used in the care of museum objects that tends more to chain break than crosslink under these conditions(23), but it is not our purpose to discuss its properties at this time. 

Feller, R. L., "Control of Deteriorating Effects of Light on Museum Objects", Museum. 1964, 17, 57-98. 

U. Schneider, E. Kenndler, Identification of Plant and Animal Glues in Museum Objects by GC MS, After Catalytic Hydrolysis of the Proteins by the Use of a Cation Exchanger, with Simultaneous Separation from the Carbohydrates, Fresenius Journal of Analytical Chemistry, 371,81 87 (2001). 

Few papers deal with the use of SPME in the characterisation of terpenic resins in archaeological or museum objects [23 26]. 

In the multistage approach, ToF-SIMS plays an important role and is first used to detect the presence of proteins in museum objects. Indeed, if blood is present in such a state of conservation that it can be recognized through chemical composition, proteins must be present. For this purpose, as described previously, low mass fragments are studied. Since samples are very complex and in order to ensure identification, two-dimensional images of all protein fragments are drawn and compared. Correlation between the different images confirms the presence of proteins. 

Kami 1, Kenndler E (2007) Characterization of natural organic binding media in museum objects by capillary electrophoresis. Curr Anal Chem 3 33 0. 

Johnston-Feller, R. Color Science in Examination of Museum Objects Nondestructive Procedures, The Getty Conservation Institute Marina del Rey, 2001 p 207. 

Feller, R., The Deteriorating Effect of Light on Museum Objects, Mu-... 

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