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Broers FT, Verslype I, Bossers KW, Vanmeert F, Gonzalez V, Garrevoet J, van Loon A, van Duijn E, Krekeler A, De Keyser N, Steeman I, Noble P, Janssens K, Meirer F, Keune K. Correlated x-ray fluorescence and ptychographic nano-tomography on Rembrandt's The Night Watch reveals unknown lead "layer". SCIENCE ADVANCES 2023; 9:eadj9394. [PMID: 38100587 PMCID: PMC10848709 DOI: 10.1126/sciadv.adj9394] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Grants] [Track Full Text] [Subscribe] [Scholar Register] [Received: 07/25/2023] [Accepted: 11/16/2023] [Indexed: 12/17/2023]
Abstract
The Night Watch, one of the most famous masterpieces by Rembrandt, is the subject of a large research and conservation project. For the conservation treatment, it is of great importance to understand its current condition. Correlated nano-tomography using x-ray fluorescence and ptychography revealed a-so far unknown-lead-containing "layer", which likely acts as a protective impregnation layer applied on the canvas before the quartz-clay ground was applied. This layer might explain the presence of lead soap protrusions in areas where no other lead components are present. In addition to the three-dimensional elemental mapping, ptychography visualizes and quantifies components not detectable by hard x-ray fluorescence such as the organic fraction and quartz. The first-time use of this combination of synchrotron-based techniques on a historic paint micro-sample shows it to be an important tool to better interpret the results of noninvasive imaging techniques operating on the macroscale.
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Affiliation(s)
- Fréderique T.H. Broers
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
- Van ’t Hoff Institute for Molecular Sciences, University of Amsterdam, Science Park 904, 1090 GD, Amsterdam, Netherlands
- Inorganic Chemistry and Catalysis, Debye Institute for Nanomaterials Science and Institute for Sustainable and Circular Chemistry, Utrecht University, Universiteitsweg 99, 3584 CG Utrecht, Netherlands
- Antwerp X-ray Imaging and Spectroscopy laboratory, University of Antwerp, Groenenborgerlaan 171, 2020 Antwerp, Belgium
| | - Ige Verslype
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
| | - Koen W. Bossers
- Inorganic Chemistry and Catalysis, Debye Institute for Nanomaterials Science and Institute for Sustainable and Circular Chemistry, Utrecht University, Universiteitsweg 99, 3584 CG Utrecht, Netherlands
| | - Frederik Vanmeert
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
- Antwerp X-ray Imaging and Spectroscopy laboratory, University of Antwerp, Groenenborgerlaan 171, 2020 Antwerp, Belgium
- Paintings Laboratory, Royal Institute for Cultural Heritage (KIK-IRPA), Jubelpark 1, 1000 Brussels, Belgium
| | - Victor Gonzalez
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
| | - Jan Garrevoet
- Photon Science at Deutsches Elektronen-Synchrotron DESY, Hamburg 22607, Germany
| | - Annelies van Loon
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
| | - Esther van Duijn
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
| | - Anna Krekeler
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
| | - Nouchka De Keyser
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
- Van ’t Hoff Institute for Molecular Sciences, University of Amsterdam, Science Park 904, 1090 GD, Amsterdam, Netherlands
- Antwerp X-ray Imaging and Spectroscopy laboratory, University of Antwerp, Groenenborgerlaan 171, 2020 Antwerp, Belgium
| | - Ilse Steeman
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
| | - Petria Noble
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
| | - Koen Janssens
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
- Antwerp X-ray Imaging and Spectroscopy laboratory, University of Antwerp, Groenenborgerlaan 171, 2020 Antwerp, Belgium
| | - Florian Meirer
- Inorganic Chemistry and Catalysis, Debye Institute for Nanomaterials Science and Institute for Sustainable and Circular Chemistry, Utrecht University, Universiteitsweg 99, 3584 CG Utrecht, Netherlands
| | - Katrien Keune
- Science Department, Conservation & Science, Scientific Research, Rijksmuseum, Hobbemastraat 22, 1071 ZC, Amsterdam, Netherlands
- Van ’t Hoff Institute for Molecular Sciences, University of Amsterdam, Science Park 904, 1090 GD, Amsterdam, Netherlands
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Garrappa S, Frøysaker T, Streeton NLW, Hradil D, Platania E, Beltinger K, Caruso F. Micro-spectroscopic study of late 19th-early 20th century tube paints. SPECTROCHIMICA ACTA. PART A, MOLECULAR AND BIOMOLECULAR SPECTROSCOPY 2022; 279:121414. [PMID: 35640470 DOI: 10.1016/j.saa.2022.121414] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Subscribe] [Scholar Register] [Received: 02/07/2022] [Revised: 04/29/2022] [Accepted: 05/18/2022] [Indexed: 06/15/2023]
Abstract
Many issues in the conservation of paintings from the early modern period are still unresolved due to lack of information on paints from the late 19th and early 20th centuries, in particular their production, formulations, and later degradation processes. The inconsistency of the names that paint manufacturers chose for their products furthermore compounds the challenges faced by conservators and chemists wishing to study them. This paper addresses a number of these issues through investigations of commercial tube oil paints from a paint box owned by the Norwegian painter Harriet Backer (1845-1932). Samples were analyzed using a multi-instrumental approach. Micro-attenuated total reflection Fourier transform infrared spectroscopy and micro-Raman spectroscopy - supported by micro-X-ray powder diffraction - allowed the identification of binders, pigments, and extenders. The data highlight the use of materials that were new at the time and not reported in the manufacturer's catalog. Furthermore, zinc stearate has been detected for the first time. Its detection and the absence of any zinc-based pigments confirms that zinc stearate was already used as dispersing agent in paint formulations at that time.
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Affiliation(s)
- Silvia Garrappa
- Institute of Inorganic Chemistry of the Czech Academy of Sciences, ALMA Laboratory, 250 68 Husinec-Řež, Czech Republic.
| | - Tine Frøysaker
- Department of Archaeology, Conservation, and History (IAKH), Conservation Studies, University of Oslo (UiO), Postboks 1008, Blindern, 0315 Oslo, Norway
| | - Noëlle Lynn Wenger Streeton
- Department of Archaeology, Conservation, and History (IAKH), Conservation Studies, University of Oslo (UiO), Postboks 1008, Blindern, 0315 Oslo, Norway
| | - David Hradil
- Institute of Inorganic Chemistry of the Czech Academy of Sciences, ALMA Laboratory, 250 68 Husinec-Řež, Czech Republic; Academy of Fine Arts in Prague, ALMA Laboratory, U Akademie 4, 170 22 Prague 7, Czech Republic
| | - Elena Platania
- Department of Archaeology, Conservation, and History (IAKH), Conservation Studies, University of Oslo (UiO), Postboks 1008, Blindern, 0315 Oslo, Norway; Norwegian Institute for Cultural Heritage Research (NIKU), Storgata 2, 0155 Oslo, Norway
| | - Karoline Beltinger
- Swiss Institute for Art Research (SIK-ISEA), Department of Art Technology, Zollikerstrasse 32, 8032 Zurich, Switzerland
| | - Francesco Caruso
- Department of Archaeology, Conservation, and History (IAKH), Conservation Studies, University of Oslo (UiO), Postboks 1008, Blindern, 0315 Oslo, Norway; Swiss Institute for Art Research (SIK-ISEA), Department of Art Technology, Zollikerstrasse 32, 8032 Zurich, Switzerland
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Izzo FC, Kratter M, Nevin A, Zendri E. A Critical Review on the Analysis of Metal Soaps in Oil Paintings. ChemistryOpen 2021; 10:904-921. [PMID: 34532965 PMCID: PMC8446710 DOI: 10.1002/open.202100166] [Citation(s) in RCA: 13] [Impact Index Per Article: 4.3] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/10/2021] [Revised: 07/20/2021] [Indexed: 12/14/2022] Open
Abstract
Up to 70 % of the oil paintings conserved in collections present metal soaps, which result from the chemical reaction between metal ions present in the painted layers and free fatty acids from the lipidic binders. In recent decades, conservators and conservation scientists have been systematically identifying various and frequent conservation problems that can be linked to the formation of metal soaps. It is also increasingly recognized that metal soap formation may not compromise the integrity of paint so there is a need for careful assessment of the implications of metal soaps for conservation. This review aims to critically assess scientific literature related to commonly adopted analytical techniques for the analysis of metal soaps in oil paintings. A comparison of different analytical methods is provided, highlighting advantages associated with each, as well as limitations identified through the analysis of reference materials and applications to the analysis of samples from historical paintings.
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Affiliation(s)
- Francesca Caterina Izzo
- Sciences and Technologies for the Conservation of Cultural Heritage, Department ofEnvironmental Sciences, Informatics and StatisticsCa' Foscari University of VeniceVia Torino 155/b30173VeniceItaly
| | - Matilde Kratter
- Sciences and Technologies for the Conservation of Cultural Heritage, Department ofEnvironmental Sciences, Informatics and StatisticsCa' Foscari University of VeniceVia Torino 155/b30173VeniceItaly
| | - Austin Nevin
- Head of Conservation The Courtauld Institute of ArtVernon Square, Penton RiseKings CrossWC1X 9EWLondonUnited Kingdom
| | - Elisabetta Zendri
- Sciences and Technologies for the Conservation of Cultural Heritage, Department ofEnvironmental Sciences, Informatics and StatisticsCa' Foscari University of VeniceVia Torino 155/b30173VeniceItaly
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Possenti E, Colombo C, Realini M, Song CL, Kazarian SG. Insight into the effects of moisture and layer build-up on the formation of lead soaps using micro-ATR-FTIR spectroscopic imaging of complex painted stratigraphies. Anal Bioanal Chem 2020; 413:455-467. [PMID: 33169173 PMCID: PMC7806535 DOI: 10.1007/s00216-020-03016-6] [Citation(s) in RCA: 10] [Impact Index Per Article: 2.5] [Reference Citation Analysis] [Abstract] [Key Words] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/21/2020] [Revised: 10/06/2020] [Accepted: 10/16/2020] [Indexed: 11/30/2022]
Abstract
Metal soaps are formed in paint layers thorough the reaction of metal ions of pigments and fatty acids of organic binders. In this study, micro-ATR-FTIR spectroscopic imaging was used to analyse the formation of lead soaps in oil-based paint layers in relation to their exposure to moisture sources. The investigations were carried out on authentic samples of complex stratigraphies from cold painted terracotta statues (Sacred Mount, Varallo, UNESCO) and different IR-active lead white pigments, organic materials, and lead soaps were discriminated. The saponification of selected paint layers was correlated to the conservation history, the manufacturing technique, and the build-up of layers. The presence of hydrophilic layers within the stratigraphy and their role as a further water source are discussed. Furthermore, the modifications experienced by lead-based pigments from the core of an intact grain of pigment towards the newly formed decay phases were investigated via a novel approach based on shift of the peak for the corresponding spectral bands and their integrated absorbance in the ATR-FTIR spectra. Qualitative information on the spatial distribution from the chemical images was combined with quantitative information on the peak shift to evaluate the different manufacture (lead carbonate, basic lead carbonate) or the extent of decay undergone by the lead-based pigments as a function of their grain size, contiguous layers, and moisture source. Similar results, having a high impact on heritage science and analytical chemistry, allow developing up-to-date conservation strategies by connecting an advanced knowledge of the materials to the social and conservation history of artefacts. ![]()
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Affiliation(s)
- Elena Possenti
- Istituto di Scienze del Patrimonio Culturale, Consiglio Nazionale delle Ricerche, ISPC-CNR, Via R. Cozzi 53, 20125, Milan, Italy.
| | - Chiara Colombo
- Istituto di Scienze del Patrimonio Culturale, Consiglio Nazionale delle Ricerche, ISPC-CNR, Via R. Cozzi 53, 20125, Milan, Italy
| | - Marco Realini
- Istituto di Scienze del Patrimonio Culturale, Consiglio Nazionale delle Ricerche, ISPC-CNR, Via R. Cozzi 53, 20125, Milan, Italy
| | - Cai Li Song
- Department of Chemical Engineering, Imperial College London, South Kensington Campus, London, SW7 2AZ, UK
| | - Sergei G Kazarian
- Department of Chemical Engineering, Imperial College London, South Kensington Campus, London, SW7 2AZ, UK.
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Hendriks L, Caseri W, Ferreira ESB, Scherrer NC, Zumbühl S, Küffner M, Hajdas I, Wacker L, Synal HA, Günther D. The Ins and Outs of 14C Dating Lead White Paint for Artworks Application. Anal Chem 2020; 92:7674-7682. [PMID: 32396364 DOI: 10.1021/acs.analchem.0c00530] [Citation(s) in RCA: 9] [Impact Index Per Article: 2.3] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/29/2022]
Abstract
Lead white is known as one of the oldest pigments in art and can be used as a dating material. Upon production following the Stack process, the 14C isotope of atmospheric carbon dioxide is fixed in the carbonate, and its radiocarbon dating can be used as a proxy for the age of a painting. The previously reported carbonate hydrolysis protocol reaches its limitation when confronted with samples presenting a mixture of carbonates, such as lead carbonate (cerussite or hydrocerussite), calcium carbonate (calcite), and/or calcium magnesium carbonate (dolomite). Thermogravimetric analyses indicate that decomposition of lead carbonate can be achieved at 350 °C in TGA diagrams, as other mineral carbonates only decompose to carbon dioxide at temperatures above 700 °C. Thus, a thermal approach is proposed to separate the various carbonates and isolate the specific 14C signature to the lead carbonate. In practice, however, discrepancies between the measured radiocarbon ages and expected ages were observed. FTIR analyses pointed to the formation of metal carboxylates, an indicator that the organic binder is not inert and plays a role in the dating strategy. Upon drying, oxidation and hydrolysis take place leading to the formation of free fatty acids, which in turn interact with the different carbonates upon heating. Their removal was achieved by introduction of a solvent extraction step prior to the thermal treatment, which was confirmed by GC-MS analyses, and thus, the collected carbon dioxide at 350 °C results can be assigned correctly to the decomposition of the lead white pigment. The proposed procedure was furthermore verified on mixed carbonate-bearing paint samples collected from a Baroque oil painting.
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Affiliation(s)
- Laura Hendriks
- Laboratory of Ion Beam Physics, ETH-Zürich, Otto-Stern-Weg 5, 8093 Zurich, Switzerland.,Department of Chemistry and Applied Biosciences, ETH-Zürich, Vladimir-Prelog-Weg 1, 8093 Zurich, Switzerland
| | - Walter Caseri
- Department of Materials Science, ETH-Zürich, Wolfgang-Pauli-Strasse 10, 8093 Zurich, Switzerland
| | - Ester S B Ferreira
- CICS - Cologne Institute of Conservation Sciences, TH Köln, University of Applied Sciences, Campus Südstadt, Ubierring 40, 50678 Köln, Germany
| | - Nadim C Scherrer
- HKB - Bern University of Applied Sciences, Fellerstrasse 11, 3027 Bern, Switzerland
| | - Stefan Zumbühl
- HKB - Bern University of Applied Sciences, Fellerstrasse 11, 3027 Bern, Switzerland
| | - Markus Küffner
- HKB - Bern University of Applied Sciences, Fellerstrasse 11, 3027 Bern, Switzerland.,SIK-ISEA - Swiss Institute for Art Research, Zollikerstrasse 32, 8032 Zurich, Switzerland
| | - Irka Hajdas
- Laboratory of Ion Beam Physics, ETH-Zürich, Otto-Stern-Weg 5, 8093 Zurich, Switzerland
| | - Lukas Wacker
- Laboratory of Ion Beam Physics, ETH-Zürich, Otto-Stern-Weg 5, 8093 Zurich, Switzerland
| | - Hans-Arno Synal
- Laboratory of Ion Beam Physics, ETH-Zürich, Otto-Stern-Weg 5, 8093 Zurich, Switzerland
| | - Detlef Günther
- Department of Chemistry and Applied Biosciences, ETH-Zürich, Vladimir-Prelog-Weg 1, 8093 Zurich, Switzerland
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Romano C, Lam T, Newsome GA, Taillon JA, Little N, Tsang JS. Characterization of Zinc Carboxylates in an Oil Paint Test Panel. STUDIES IN CONSERVATION = ETUDES DE CONSERVATION 2020; 65:10.1080/00393630.2019.1666467. [PMID: 32103842 PMCID: PMC7043324 DOI: 10.1080/00393630.2019.1666467] [Citation(s) in RCA: 6] [Impact Index Per Article: 1.5] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Subscribe] [Scholar Register] [Received: 01/29/2019] [Accepted: 09/07/2019] [Indexed: 06/10/2023]
Abstract
Zinc (carboxylate) soaps, formed by reactions between zinc oxide (ZnO) and fatty acids in a drying oil, are known to cause deterioration in the paint layers of modern and contemporary oil paintings. This study investigates zinc carboxylates that developed in an oil painting test panel designed to mimic the aging and degradation encountered in actual works of art. Following accelerated and natural aging, protrusions were noted on the surface of the test panel. A large protrusion with erupted gel features was extracted from the test panel, mounted in top view, and then cut to reveal the sample's cross section. The gel features, which resulted from the unreacted oil binder's separation from the paint matrix, facilitated zinc carboxylate formation. Using reflectance μ-FTIR and SEM-EDX analysis, the morphologies and spatial distributions of zinc carboxylates within the gel regions of the protrusion were studied. A concentration gradient of zinc within the gel material was observed in the cross-sectional view, indicating patterns of zinc carboxylate formation and migration.
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Affiliation(s)
- Christine Romano
- Museum Conservation Institute, Smithsonian Institution, Suitland, MD, USA
| | - Thomas Lam
- Museum Conservation Institute, Smithsonian Institution, Suitland, MD, USA
| | - G. Asher Newsome
- Museum Conservation Institute, Smithsonian Institution, Suitland, MD, USA
| | - Joshua A. Taillon
- Material Measurement Laboratory, National Institute of Standards and Technology, Gaithersburg, MD, USA
| | - Nicole Little
- Museum Conservation Institute, Smithsonian Institution, Suitland, MD, USA
| | - Jia-sun Tsang
- Museum Conservation Institute, Smithsonian Institution, Suitland, MD, USA
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Bonaduce I, Duce C, Lluveras-Tenorio A, Lee J, Ormsby B, Burnstock A, van den Berg KJ. Conservation Issues of Modern Oil Paintings: A Molecular Model on Paint Curing. Acc Chem Res 2019; 52:3397-3406. [PMID: 31742382 DOI: 10.1021/acs.accounts.9b00296] [Citation(s) in RCA: 22] [Impact Index Per Article: 4.4] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 12/23/2022]
Abstract
The 20th and 21st century oil paintings are presenting a range of challenging conservation problems that can be distinctly different from those noted in paintings from previous centuries. These include the formation of vulnerable surface "skins" of medium and exudates on paint surfaces, efflorescence, unpredictable water and solvent sensitivity, and incidence of paint dripping which can occur within a few years after the paintings were completed. Physicochemical studies of modern oil paints and paintings in recent years have identified a range of possible causal factors for the noted sensitivity of painting surfaces to water and protic solvents, including the formation of water-soluble inorganic salts and/or the accumulation of diacids at the paint surface, which are oxidation products of the oil binder. Other studies have investigated the relationship between water sensitivity and the degree of hydrolysis of the binder, the proportions of free fatty and dicarboxylic acids formed, as well as the relative content of free metal soaps. Thus far, data indicate that the qualitative and quantitative composition of the nonpolymerized fractions of the oil binder cannot be solely or directly related to the solvent sensitivity of the paint film. Conclusions therefore indicate that the polymeric network, formed upon the curing of the oil, plays a fundamental role, suggesting that water sensitivity, at least in some cases, may be related to the poor development and/or polar nature of the formed polymeric network rather than the composition of the nonpolymerized fractions. Poorly developed polymeric networks, in combination with the migration of polar fractions, i.e., dicarboxylic and hydroxylated fatty acids toward the paint surface, can be related to other degradation phenomena, including the separation and migration of the paint binder which can lead to the presence of observable skins of medium as well as the more alarming phenomenon of liquefying or dripping oil paints. It is thus crucial to understand the molecular composition of these paints and their physicochemical behavior to aid the further development of appropriate conservation and preservation strategies, as the risks currently associated with surface cleaning treatments and other conservation procedures can be unacceptably high. This Account reviews the relationships between the degradation phenomena associated with modern oil paintings and the chemical composition of the oil binder and proposes a molecular model for the development of water sensitivity and other noted degradation phenomena. It is suggested that water sensitivity (and possibly other degradation phenomena) is a consequence of processes that take place upon curing, and in particular to the rate of formation and decomposition of alkoxyl and peroxyl radicals. These reactions are strongly dependent on the type of oil present, the ambient environmental conditions, and the chemical and physical nature of the pigments and additives present in the paint formulation. When the curing environment is oxidizing, the chemistry of peroxyl radicals dominates the reaction pathways, and oxidative decomposition of the paint film overwhelms cross-linking reactions.
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Affiliation(s)
- Ilaria Bonaduce
- Department of Chemistry and Industrial Chemistry, University of Pisa, via Moruzzi 13, 56124 Pisa, Italy
| | - Celia Duce
- Department of Chemistry and Industrial Chemistry, University of Pisa, via Moruzzi 13, 56124 Pisa, Italy
| | - Anna Lluveras-Tenorio
- Department of Chemistry and Industrial Chemistry, University of Pisa, via Moruzzi 13, 56124 Pisa, Italy
| | - Judith Lee
- Conservation Department, Tate, Millbank, London SW1P 4RG, United Kingdom
| | - Bronwyn Ormsby
- Conservation Department, Tate, Millbank, London SW1P 4RG, United Kingdom
| | - Aviva Burnstock
- Courtauld Institute of Art, Somerset House,
Strand, London WC2R 0RN, United Kingdom
| | - Klaas Jan van den Berg
- Cultural Heritage Agency of The Netherlands (RCE), Hobbemastraat 22, 1071 ZC Amsterdam, The Netherlands
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