From the invention of Perkin’s Mauve in 1856, to publication of the first edition of the Colour Index in 1924, more than 1200 synthetic organic colourants were introduced. Some achieved commercial success, while others were rarely used for reasons such as high cost, low fastness, and toxicity. This turbulent period of innovation was largely driven by demand of the textile industry; however, synthetic colourants were subsequently adopted in many other applications. An understanding of the most common materials and their properties is therefore important to the study of heritage collections and their preservation. The risk of light damage during exhibition of objects is often a concern due to the fugitive nature of many synthetic colourants. To provide a foundation for focused research on synthetic dye identification and lightfastness, work was carried out to identify the most prominent of these colourants used in North America up to the year 1924 when the first edition of the Colour Index was published. Information was compiled and analysed from several sources including multiple editions of the Colour Index, and government documents related to the manufacture and trade of synthetic dyes that provide data from 1914 onwards. Cross-referencing between the information sources provided a summary of parameters for each colourant including the date of introduction, number of manufacturers, lightfastness, and quantity produced or imported in the United States. A document published in 1916 by the US Department of Commerce listed 259 colours with Schultz number imported during the 1913–1914 fiscal year, in quantities above 10,000 lb (4536 kg). Adding domestic products to the list, and removing duplicates, gave 289 individual colours with Schultz number imported and/or produced in the US. In addition, there were some imports of unknown composition: 96 azo, 23 sulphur, and 68 unclassified. Further review of census data from 1917 through the 1920’s suggested that less than one quarter of the dyes listed in the Colour Index were imported or manufactured in significant amounts. The results of this analysis are presented as summary statistics, which are complemented by an open dataset publication to facilitate future research.

For the first time, molecular evidence of the structural role played by succinic acid within the macromolecular structure of Class Ia and Class Id resinite is presented. Using a novel gas chromatographic methodology, communol (Class Ia) and ozol (Class Id) moieties within the polylabdane matrix are shown to be cross-linked with succinic acid. Samples were analyzed using pyrolysis-gas chromatography–mass spectrometry with in situ hexamethyldisilazane derivatization, using a thermal separation probe to perform the pyrolysis and sample introduction. The relatively slow rate of heating and prolonged pyrolysis of resinites using this new methodology, combined with the use of a mild derivatization reagent, allowed communol pyrolysates from Class Ia resinite and ozol pyrolysates from Class Id resinite to elute with unbroken succinyl ester cross-linkages. These results provide direct molecular evidence that the key role of succinic acid within Class Ia and Class Id resinite is to cross-link the macromolecular structure. In the Class Id resinite, the methodology also allowed the detection of succinyl ester linkages between ozol pyrolysates and dehydroabietol, thus demonstrating that nonpolymerized diterpenes contribute structurally to the macromolecular structure of Class Id resinite.

Dyes derived from brazilwood (Caesalpinia spp.) are known to have been used in a diverse range of objects, from Medieval European textiles to North American First Nations objects, while pigments made from brazilwood feature in the palette of a number of painters, including Rembrandt and Van Gogh. For almost two decades, an unknown marker has been used to detect brazilwood colourants in historical objects. Limited sampling opportunities mean that the identification of the chemical structure of this marker has eluded scientists to date. Using a combination of synthesis, UPLC-ESI-MS/MS, HPLC, NMR and GC-MS, the identity of this unknown marker was confirmed as the benzochromenone, urolithin C. Structural identification provides a reliable reference compound for use across a range of analytical techniques employed in the cultural heritage sector and will enable the future development of non-destructive techniques for its identification on high-status objects.

This article describes the identification of a hafting adhesive on an antler point, slotted for microblade insertion. The adhesive, found in the slots of the point, would have held the microblades in place. Radiocarbon dated to 7310 ± 40 B.P. (uncalibrated), the point is one of the oldest and best-preserved artifacts recovered from the melting alpine ice patches in southwestern Yukon, Canada. Because the artifact was frozen, the organic components have not degraded and a detailed chemical analysis was possible. Analyses of residue in the slots of the point by Fourier transform infrared spectroscopy and gas chromatography-mass spectrometry showed that a conifer resin adhesive was used. The high concentration of diterpene resin acids with an abietane or pimerane skeleton confirmed a Pinaceae source for the resin. There were no chemical markers to indicate that the resin had been strongly heated to produce tar or pitch. Based on a comparison with five Pinaceae resins from trees common to southern Yukon, the resin from the slotted point most closely resembles the chemical profile of spruce (Picea sp.). The identification of this hafting adhesive on a slotted point adds significantly to our understanding of early hunting technology in Yukon.

The derivatising agent m-(trifluoromethyl)phenyltrimethylammonium hydroxide (TMTFTH) has been employed for more than a decade at the Canadian Conservation Institute (CCI) to extract natural dyes from historical textiles and other dyed substrates. The alkaline reagent breaks the bonds between the colourants and the mordant ions or functional groups of the substrate, releasing the dye compounds into the extraction solution, and derivatises polar functionalities to produce compounds that are amenable to subsequent analysis by gas chromatography–mass spectrometry (GC–MS). This approach allows for the identification of the colourants, and is also useful in determining the presence of degradation products from the dyes and substrates, non-dye marker compounds, auxiliary compounds added to the dye bath, and substances present on the object through anthropogenic use, conservation treatments, or possible pesticide contamination. This paper discusses compounds formed through the reactions of TMTFTH with flavonoid dyes (dyer’s buckthorn, old fustic, weld, red sandalwood, and brazilwood), quinone dyes (madder, Relbunium, Galium, cochineal, lac, and walnut), indigoid dyes (indigo, Tyrian purple, and indigo carmine), turmeric, marigold, lupin and several lichen species. Results from a selection of historical dyed textiles and other decorative objects analysed at the CCI are provided to illustrate applications of the methodology.