Over the centuries, humans have developed different systems to protect surfaces from the influence of environmental factors. Protective paints are the most used ones. They have undergone considerable development over the years, especially at the turn of the 19th and 20th centuries. Indeed, between the two centuries, new binders and pigments have been introduced in the constituent materials of paints. The years in which these compounds have been introduced and spread in the paint market allow them to be defined as markers for the dating of paints and painted artifacts. The present work is focused on the study of the paints of two vehicles of the Frankfurt Museum of Communication, i.e., a carriage and a cart, that was designed for the German Postal and Telecommunications Service roughly between 1880 and 1920. The characterization of the paints was performed through in situ non-invasive techniques, i.e., portable optical microscopy and multispectral imaging, and laboratory non-destructive techniques, i.e., FT-IR ATR spectroscopy and SEM-EDS. The analytical investigation and the comparison with the data reported in the literature allowed us to determine the historicity of the paints, which are all dated before the 1950s.

Organic solvents are commonly used in restoration treatments, including chromatic reintegration on polychrome artworks. They are often toxic, and their vapors have a high impact on the environment and restorers, possibly causing pathological conditions. Therefore, this study aims at defining a new green solvent that can be used for chromatic reintegration, maintaining the volatility and the desired physical–chemical properties. The dispersion forces value (F_d) of ethyl lactate was taken as reference for a comparison with the proposed solvents, since it was found to be the most used solvent for the dilution of Maimeri Restoration Colors (MRC) and Gamblin Conservation Colors (GCC). Based on the Teas fractional parameters, six solutions based on acetals and ethanol have been proposed and tested. They were mixed with both MRC and GCC, and applied on prepared canvases. The difference between the backgrounds made with reference solvent and the one made with the proposed alternatives was evaluated through spectrocolorimetric measurements. Fourier-transform infrared spectroscopy in the attenuated total reflectance mode (FTIR-ATR) was performed on the applied layers to evaluate the presence of residual solvent inside them, while the volatility of the solvents was assessed by performing gravimetric analysis. The study showed that acetals, acetals’ blends, and acetals–ethanol mixtures represent suitable alternatives for the dilution of Gamblin Conservation Color and Maimeri Restoration Colors.

The main conservation problem of p-PVC artworks is phthalate-based plasticizer migration. Phthalate migration from the bulk to the surface of the materials leads to the formation of a glossy and oily film on the outer layers, ultimately reducing the flexibility of the material. This study aimed to develop a removable coating for the preservation of contemporary artworks and design objects made of plasticized polyvinyl chloride (p-PVC). Several coatings incorporating chitosan, collagen, and cellulose ethers were assessed as potential barriers to inhibiting plasticizer migration. Analytical techniques including optical microscopy (OM), ultraviolet/visible/near-infrared spectroscopy (UV/Vis/NIR), Fourier transform infrared spectroscopy with attenuated total reflection (FTIR-ATR), and scanning electron microscopy (SEM) were utilized to evaluate the optical and chemical stability of selected coating formulations applied to laboratory p-PVC sheet specimens. Subsequently, formulations were tested on a real tangible example of a design object, ©Barbie doll, characterized by the prevalent issue of plasticizer migration. Furthermore, the results obtained with the tested formulations were evaluated by a group of conservators using a tailored survey. Finally, a suitable coating formulation capable of safeguarding plastic substrates was suggested.

Most of the artworks stored in museums are often kept in inappropriate climatic and environmental conditions that facilitate the formation and growth of microorganisms, such as fungi, which are responsible for many types of biodegradation phenomena. To mitigate and prevent these deteriorative processes, functionalized packaging materials can be used for the storage and handling of artworks. The aim of this study was to develop a potential anti-biodeterioration coating suitable for packaging purposes. TiO₂ and ZnO doped with different amounts of Ag (0.5 wt%, 1 wt%, and 3 wt%) were synthesized and dispersed in polyvinyl alcohol (PVA) and acrylic resin (Paraloid B72), then applied on different types of packaging materials (cellulose and the high-density spunbound polyethylene fiber Tyvek^®, materials that are frequently used as packaging in museums). Analytical investigations (SEM/EDS, Raman, FTIR, and XRD) were employed to assess dispersion on the packaging material. Furthermore, resistance against biodeteriogens was assessed using Cladosporium sp., a bioluminometer, to define the biocidal efficacy.

Copper is widely used in both its metallic form and as oxide across numerous scientific and industrial domains. The primary copper oxides, cuprite (Cu₂O) and tenorite (CuO), naturally form on the copper surface and play a crucial role in advanced technologies, such as solar cells, lithium batteries, and sensors. Tenorite is appreciated for its optical properties, stability, low toxicity, and reactivity. While copper oxide thin films are traditionally synthesized through thermal treatments and oxidation in alkaline environments, these conventional high-temperature methods not only require significant energy consumption but can also compromise the metal–film interface. This study aims to develop a sustainable alternative approach for forming a homogeneous CuO layer on a copper substrate through environmentally friendly treatments based on low temperature, cost-effective, and time-saving procedures. Three different eco-conscious treatments were investigated: (i) immersion in NaOH basic solution, (ii) exposure to NaOH basic solution vapours, and (iii) a combined treatment involving both immersion and vapour exposure. This green synthesis approach significantly reduces energy consumption compared to traditional thermal methods while maintaining product quality. The surface oxide layer was investigated through an optical microscope (OM), scanning electron microscopy (SEM), spectrocolorimetric analysis, peel-off test, µ-Raman and X-ray photoelectron spectroscopy (XPS) analysis to investigate the surface oxidation state.

Money Art is a growing contemporary practice where artists transform banknotes into unique visual works. While conceptually powerful, these artworks present significant conservation challenges due to their fragile substrates and complex material compositions. This study investigates the degradation behaviour of UniPosca acrylic markers applied on zero-euro banknotes, drawing on the techniques of artist RichardHTT, and explores bio-based protective strategies suitable for their preservation. Laboratory samples were prepared to replicate the original artwork and subjected to accelerated ageing. A multi-analytical approach was employed, including multispectral imaging, Fourier trasform infrared (FTIR) and Raman spectroscopy, and scanning electron microscopy (SEM-EDS) colorimetric analysis. Thickness and adhesion properties were assessed with contact micrometry and peel tests, while wettability was evaluated through static contact angle measurements. Four biopolymer coatings, chitosan and chitosan–nanocellulose films with varying CNC concentrations, were evaluated for their transparency, mechanical stability, and compatibility with the substrate. Results showed that painted areas, especially those with blue and black pigments, experienced marked degradation, while, after coating application, samples demonstrated improved chromatic stability, hydrophobicity, and adhesion. Importantly, all coatings were fully removable via enzymatic cleaning with α-amylase, confirming their reversibility. This research highlights the potential of chitosan-based biocomposites as conservation materials for non-traditional artworks and contributes to developing tailored, reversible strategies for contemporary art preservation.