## 1 Introduction
In the second stage, a sheet of Evolon loaded with odorless mineral spirits (OMS) was placed on the face of the painting. After 20 min, the wicking layer Evolon was replaced. In the third stage, the OMS-loaded Evolon was removed from the face of the painting, and the painting was allowed to cool under suction. They documented a 14% reduction in weight of the painting due to wax-resin removal and a perceptible color change of the ground, with a measured \(\Delta\)E\({}_{76}\) = 4.1 \(\pm\) 0.4. Although the Braque painting was successfully treated, many questions remained unanswered and unanswerable; in particular, the amount of wax-resin present in the painting was unknown, so while it was possible to measure the weight of material removed, it was impossible to determine the amount of wax-resin remaining in the artwork. Would further iterations of treatment have removed more wax-resin? It was also unclear if all components of the wax-resin mixture were removed with equal efficacy. It would be undesirable to have the more oxidized and acidic resinous materials remain in the painting. It was clear that the development of an analytical protocol capable of addressing these questions was necessary. One of the most commonly available techniques used to identify oils, waxes, and resins is gas chromatography-mass spectrometry [10; 11]. Pyrolysis is a commonly used sample introduction method used to overcome issues of solubility, cross-linking, and polymerization that many cultural heritage materials are prone to, particularly resins [10; 12; 13]. Thermal separation probe gas chromatography-mass spectrometry (TSP-GC/MS) is a relatively new technique that is similar to pyrolysis in that it promotes the anoxic thermal breakdown of materials and is proving to be of great use in the analysis of cultural heritage due to the small sample size required [14; 15; 16; 17]. Because TSP-GC/MS is capable of identifying materials in wax-resin mixtures, it seemed an ideal technique to develop an analytical methodology around, and the small sample size means that it is feasible to analyze samples taken from artworks before and after treatment. To establish the ability of TSP-GC/MS to document the removal of wax-resin, a mock-up painting, _Radishes_ (Figure 1), was infused with a known amount of a dammar and bees wax mixture, and then the mixture was extracted through a modification of the approach used on _Pitcher_, _Candlestick_, _and Black Fish_. Samples of the used Evolon sheets were analyzed by TSP-GC/MS to identify the materials extracted. By using the amounts of pyrolysis products of Evolon as an internal standard to account for variations in sample size, the relative removal of bees wax and dammar could be followed to determine whether these two very different materials were extracted or if one was preferentially retained in the mock-up. In addition to TSP-GC/MS analysis, the Evolon sheets were weighed before and after use and documented through UV-induced visible fluorescence imaging. These low-tech approaches are more accessible to many conservators although they cannot determine the relative ability of a process to remove both beeswax and dammar.