Subject: Tin corrosion
Jan Willem Pette <jan-willem.pette [at] museum__uu__nl> asked about tin corrosion. I work as a pipe organ restorer, and very often I have to face problems deriving from tin degradation. In fact, antique pipe organs have facade pipes made with tin sheets, which is in almost all cases more or less affected by the problems you mention. My information and experience mainly regard the second of your problems, as tinned iron is (was) not so frequently used in pipe organs. Theoretical literature on the subject affirms that the phenomenon you have observed derives from a crystalline transformation in the tin sheet, which converts the metal to a gray-black and powdery consistence, the "tin pest". Such transformation should happen very slowly at temperature lower then 13 deg. C. Actually, several experiments and observations showed that development of "tin pest" is a very rare occurrence, and what really happens in most cases is an oxidation of the metal, which converts it to tin monoxide (SnO) and bioxide (SnO2), something similar to the common oxidation of iron. If the tin part of the object is not immersed in water, then the corrosion is classified as atmospheric corrosion; it is a sort of electrochemical oxidation, which takes place when some layer of condensed water collects on the object. It has been showed that the corrosion is greatly accelerated by the presence of SO2, NO, NO2, and H2S in the air, then the polluted air of modern cities greatly accelerates the degradation of tin objects. It seems that the presence of small quantities of other metals in the alloy also accelerates oxidation. Also, it has been referred that intergranular corrosion may have some part. As far as I can say, strain due to bending of the sheet should have no effect on the corrosion phenomenon. The process of corrosion is irreversible, then it is impossible to reconvert the oxide layers to the original metallic state, at least with the limitations we are subject to when dealing with artistic and museal objects. In literature, it has been suggested to remove the oxide layers, and fill the gaps with tin or soldering alloy; but in many cases, as perhaps yours, it could be desirable to maintain the oxided layers. In such cases, the only treatment is to apply some wax on the surface; it provides the double benefit of acting as a consolidant, and preventing the water from keep in contact with the metallic surface, so avoiding further corrosion. I have observed on occasion that tin pipes, which was treated with wax to fill gaps deriving from corrosion some 80 years ago, had no further corrosion. Also, keeping the object in dry environment avoids further oxidation; it has been showed that in a controlled environment with less then 50% humidity, the corrosion stops. It could also be taken into consideration the possibility of using some sort of resins to provide a mechanical separation of the metal from the external humidity. For an example, Paraloid B72, which is currently used as a consolidant in several fields of conservation, could be a good solution; anyway, it should be experimented if it would have some negative kind of reaction with the metal. There is a variant of the paraloid, that is commercially called "metal-methacrylate", which I currently use to protect iron objects, with good results. I would be happy if someone else in the list is aware of recent issues about this subject. I am especially interested in experiences related to new materials for gap filling, alternative to the use of tin or soldering alloys. Bibliography T. Stambolov "The corrosion and conservation of metallic antiquities and works of art", Central Research Laboratory for Objects of Art and Science, Amsterdam. M. Leoni "Elementi di metallurgia applicata al restauro delle opere d'arte" Opus Libri, Firenze 1984. Leonardo Perretti Musical Instruments Restorer 71033 Casalnuovo Monterotaro Italy *** Conservation DistList Instance 14:50 Distributed: Wednesday, March 28, 2001 Message Id: cdl-14-50-003 ***Received on Sunday, 25 March, 2001