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Heritage
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Latest Trends and Challenges in the Study of Pigments and...
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Latest Trends and Challenges in the Study of Pigments and Dyes and Their Degradation in Cultural Heritage Objects

A special issue of Heritage (ISSN 2571-9408).

Deadline for manuscript submissions: 31 October 2024 | Viewed by 4536

Special Issue Editors

Dr. Georgios P. Mastrotheodoros

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Guest Editor
Department of Antiquities and Works of Art Conservation, School of Applied Arts and Culture, West Attica University, Aegaleo, Greece
Interests: panel painting conservation; pigment identification; XRF
Special Issues, Collections and Topics in MDPI journals
Dr. Anastasia Rousaki

E-Mail Website
Guest Editor
Department of Chemistry, Ghent University, Ghent, Belgium
Interests: Raman spectroscopy; analysis of works of art; degradation
Special Issues, Collections and Topics in MDPI journals
Dr. Eleni Kouloumpi

E-Mail Website
Guest Editor
Laboratory of Physicochemical Research, Conservation Department, National Gallery-Alexandros Soutso Museum, Athens, Greece
Interests: analyses of works of art; binding media analysis; pigment analysis; spectroscopy; separation methods

Special Issue Information

Dear Colleagues,

Analytical investigation of pigments and dyes is considered of utmost importance in the field of cultural heritage (CH) studies. Indeed, through the identification of corresponding materials, scholars are often able to gain new insights into various important, pertinent aspects: the characterization of the materials and the (construction) techniques of the artist, the degradation pathways and the preservation state of the artefact, and the (direct or indirect) dating and the determination of the provenance of CH objects. The research on cultural heritage materials and their degradation contributes considerably towards assessing the state of preservation of CH items and can reveal past restoration interventions. By gaining insights into the deterioration processes that are involved in the decay of various pigments and dyes, it is possible to seek out and establish new conservation strategies, and to assess (and potentially restore) the original appearance of artworks. Moreover, studies on pigments and dyes offer unique opportunities to confront the distribution of counterfeit antiquities and works of art. This Heritage (MDPI) Special Issue entitled “Latest Trends and Challenges in the Study of Pigments and Dyes and Their Degradation in Cultural Heritage Objects” aims to attract original research covering all aspects of the analytical investigation of pigments and dyes. In this framework, authors are encouraged to submit for publication works dealing with recent analytical/methodological approaches and developments that are in alignment with the topic of the Special Issue, including case studies that provide an in depth analysis of pigments and/or dyes and/or their degradation mechanisms, as well as literature reviews. A special interest has been placed upon the potentials and benefits of non-invasive techniques for the identification of pigments and dyes, and thus work conducted with mobile instrumentation is also welcome.

Dr. Georgios P. Mastrotheodoros
Dr. Anastasia Rousaki
Dr. Eleni Kouloumpi
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a single-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Heritage is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1600 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • cultural heritage
  • pigments
  • dyes
  • degradation
  • conservation
  • analytical techniques

Published Papers (4 papers)

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Research

20 pages, 5060 KiB  
Article
X-ray Synchrotron Radiation to Look at Pigments in Antiquities: Overview and Examples
by Alessandra Gianoncelli, Sebastian Schöder, Jasper R. Plaisier, Maura Fugazzotto, Germana Barone, Alfonsina Russo, Paolo Mazzoleni and Simona Raneri
Heritage 2024, 7(4), 2118-2137; https://doi.org/10.3390/heritage7040100 - 05 Apr 2024
Viewed by 646
Abstract
The recent upgrading of synchrotron radiation (SR) sources has favored, in the last few years, the construction and design of beamlines optimized for the study of cultural heritage materials, which may require ad hoc setups, specific spatial resolutions, and detection limits. In the [...] Read more.
The recent upgrading of synchrotron radiation (SR) sources has favored, in the last few years, the construction and design of beamlines optimized for the study of cultural heritage materials, which may require ad hoc setups, specific spatial resolutions, and detection limits. In the field of cultural heritage, integrated approaches combining different techniques are often required, even at large facilities, where some beamlines offer the possibility of performing different types of measurements at the same point of analysis, complementing preliminary information usually obtained by conventional laboratory and/or portable in situ methods. An overview of the last ten years of synchrotron applications for the study of pigments is given, with discussion of upstream and downstream challenges to methods and techniques. The possibilities offered by the synchrotron techniques are illustrated by a case study of a particular class of painted ceramics, as an example of different research questions that are solved by a combination of SR-based methods. Full article
(This article belongs to the Special Issue Latest Trends and Challenges in the Study of Pigments and Dyes and Their Degradation in Cultural Heritage Objects)
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12 pages, 1455 KiB  
Article
Identification of Degradation Products and Components in Shellfish Purple by Ultrahigh Performance Liquid Chromatography Coupled with Tandem Mass Spectrometry
by Athina Vasileiadou, Ioannis Sampsonidis, Georgios Theodoridis, Anastasia Zotou, Ioannis Karapanagiotis and Stavros Kalogiannis
Heritage 2024, 7(4), 1935-1946; https://doi.org/10.3390/heritage7040092 - 26 Mar 2024
Viewed by 719
Abstract
Ultrahigh performance liquid chromatography coupled to tandem mass spectrometry (UHPLC-MS/MS) was used to analyze a colorant and silk, which were prepared and dyed using shellfish (Hexaplex trunculus L.) purple. Solutions of colorant and silk extracts were analyzed immediately after preparation (fresh samples) [...] Read more.
Ultrahigh performance liquid chromatography coupled to tandem mass spectrometry (UHPLC-MS/MS) was used to analyze a colorant and silk, which were prepared and dyed using shellfish (Hexaplex trunculus L.) purple. Solutions of colorant and silk extracts were analyzed immediately after preparation (fresh samples) and after storing them in the dark for thirty days (aged sample I). Moreover, a silk sample was subjected to artificially accelerated ageing under UV radiation (aged sample II). The application of the UHPLC-MS/MS method leads to the detection of (i) the major coloring components of shellfish purple, which are indigotin, indirubin, 6-bromoindigotin, 6′-bromoindirubin, 6-bromoindirubin, 6,6′-dibromoindigotin, 6,6′-dibromoindirubin; (ii) four minor indigoid components in shellfish purple (compounds A, B, C and D), which belong to the same structural class as indirubin, and whose identification has been reported only once in the past; and (iii) eight degradation products (isatin, degradation products DP3, DP4, DP5, DP6, DP7, DP9 and DP10). The latter were also detected in stored indigotin solution, except for DP 6, which was used as reference sample. The method development was assisted by a new solution preparation approach for investigating compound fragmentation, using a solvent system compatible with direct infusion ESI. This system replaceddimethyl sulfoxide, which inhibits detection through electrospray ionization. Full article
(This article belongs to the Special Issue Latest Trends and Challenges in the Study of Pigments and Dyes and Their Degradation in Cultural Heritage Objects)
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15 pages, 4158 KiB  
Article
Components of Mid-Nineteenth- and Mid-Twentieth-Century Cudbears
by Laura Maccarelli, Terry T. Schaeffer, Gregory D. Smith and Victor J. Chen
Heritage 2024, 7(3), 1357-1371; https://doi.org/10.3390/heritage7030065 - 09 Mar 2024
Viewed by 906
Abstract
Analysis of purple dyestuff from a tin labeled “1 oz. Cudbear, No. 1 N. F. Powdered”, marketed by the American business S. B. Penick & Company, “Manufacturers of fine drugs and chemicals”, confirmed that the material was indeed a lichen dyestuff. It contains [...] Read more.
Analysis of purple dyestuff from a tin labeled “1 oz. Cudbear, No. 1 N. F. Powdered”, marketed by the American business S. B. Penick & Company, “Manufacturers of fine drugs and chemicals”, confirmed that the material was indeed a lichen dyestuff. It contains the same major orcein components identified in several other lichen dyes and dyed samples dating from the mid-19th century to today. These dyestuffs were analyzed using several analytical techniques. Fluorescence and fiber optic reflectance spectroscopic data for all the samples were similar. High performance liquid chromatography with diode array detection coupled to mass spectrometry confirmed that this commercial American cudbear was very similar to the samples from the United Kingdom but rather different from the archil-dyed reference yarns from Europe. The significance of the observations is discussed, and chemical structures are proposed for several of the unknown dye components detected in this study. Full article
(This article belongs to the Special Issue Latest Trends and Challenges in the Study of Pigments and Dyes and Their Degradation in Cultural Heritage Objects)
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16 pages, 2689 KiB  
Article
Dye Analysis of a 17th-Century Mattens Workshop Tapestry Based on Raphael’s Drawing, The Miraculous Draught of Fishes
by Victor J. Chen, Gregory D. Smith, Amanda Holden and Sadie Arft
Heritage 2024, 7(3), 1221-1236; https://doi.org/10.3390/heritage7030059 - 27 Feb 2024
Viewed by 954
Abstract
This paper describes the identification of dyes on fifty yarn samples from a tapestry created by the well-known 17th-century Flemish workshop of the Mattens family. The design of the tapestry is based on the first of ten drawings known as the Acts of [...] Read more.
This paper describes the identification of dyes on fifty yarn samples from a tapestry created by the well-known 17th-century Flemish workshop of the Mattens family. The design of the tapestry is based on the first of ten drawings known as the Acts of the Apostles by the famed 16th-century Italian painter Raphael. The drawings were commissioned by Pope Leo X and translated into tapestries by Pieter van Aelst; these original tapestries are still in the collection of the Vatican Museums. The present work was reproduced over a century later from the original drawing and is one in a possible set of nearly fifty known copies of the original tapestry cycle. Most of the Mattens yarn samples were found to be dyed by weld, indigo, and madder, as well as a few using brazilwood and lichen, but no insect dyes were detected. A significant finding in the present study was the detection of the dye component pseudoindirubin 1, alongside indigotin and indirubin, as well as yarns that only yielded the latter two dyes. The implication of using this new marker as objective evidence of the use of both woad and most likely Asian indigo is explored. The historical and conservation significance of the dyestuffs identified is also discussed. Full article
(This article belongs to the Special Issue Latest Trends and Challenges in the Study of Pigments and Dyes and Their Degradation in Cultural Heritage Objects)
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