Abstract
A selective survey was undertaken of works of art made with cellulose acetate, primarily in the collections of the Art Institute of Chicago and dating from 1936 to 1976, using pyrolysis gas chromatography mass spectrometry to provide a detailed characterisation of the organic additives. The findings revealed a variety of plastic formulations used during this period; these are discussed in relation to the physical and chemical properties of individual plasticisers and their potential influence on the long-term stability of the objects. Several case studies are presented in detail in which the analyses provided specific insights into observed degradation phenomena: a 1936 sculpture by César Domela, and the complex enclosure for a book by Jean-Pierre Duprey produced in 1970 in collaboration with Toyen (Marie Čermínová). The pyrolysis analyses were undertaken using a direct inlet technique that provided enhanced sensitivity with the use of extremely small (microgram-sized) samples.
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