Organic dyes extracted from plants, insects, and shellfish have been used for millennia in dyeing textiles and manufacturing colorants for painting. The economic push for dyes with high tinting strength, directly related to high extinction coefficients in the visible range, historically led to the selection of substances that could be used at low concentrations. But a desirable property for the colorist is a major problem for the analytical chemist; the identification of dyes in cultural heritage objects is extremely difficult. Techniques routinely used in the identification of inorganic pigments are generally not applicable to dyes: X-ray fluorescence because of the lack of an elemental signature, Raman spectroscopy because of the generally intense luminescence of dyes, and Fourier transform infrared spectroscopy because of the interference of binders and extenders. Traditionally, the identification of dyes has required relatively large samples (0.5-5 mm in diameter) for analysis by high-performance liquid chromatography. In this Account, we describe our efforts to develop practical approaches in identifying dyes in works of art from samples as small as 25 microm in diameter with surface-enhanced Raman scattering (SERS). In SERS, the Raman scattering signal is greatly enhanced when organic molecules with large delocalized electron systems are adsorbed on atomically rough metallic substrates; fluorescence is concomitantly quenched. Recent nanotechnological advances in preparing and manipulating metallic particles have afforded staggering enhancement factors of up to 10(14). SERS is thus an ideal technique for the analysis of dyes. Indeed, rhodamine 6G and crystal violet, two organic compounds used to demonstrate the sensitivity of SERS at the single-molecule level, were first synthesized as textile dyes in the second half of the 19th century. In this Account, we examine the practical application of SERS to cultural heritage studies, including the selection of appropriate substrates, the development of analytical protocols, and the building of SERS spectral databases. We also consider theoretical studies on dyes of artistic interest. Using SERS, we have successfully documented the earliest use of a madder lake pigment and the earliest occurrence of lac dye in European art. We have also found several examples of kermes and cochineal glazes, as well as madder, cochineal, methyl violet, and eosin lakes, from eras ranging from ancient Egypt to the 19th century. The ability to rapidly analyze very small samples with SERS makes it a particularly valuable tool in a museum context.

Tailored ad-hoc methods must be developed for successful identification of minute amounts of natural dyes on works of art using Surface-Enhanced Raman Spectroscopy (SERS). This article details two of these successful approaches using silver film over nanosphere (AgFON) substrates and silica gel coupled with citrate-reduced Ag colloids. The latter substrate functions as the test system for the coupling of thin-layer chromatography and SERS (TLC-SERS), which has been used in the current research to separate and characterize a mixture of several artists' dyes. The poor limit of detection of TLC is overcome by coupling with SERS, and dyes which co-elute to nearly the same spot can be distinguished from each other. In addition, in situ extractionless non-hydrolysis SERS was used to analyze dyed reference fibers, as well as historical textile fibers. Colorants such as alizarin, purpurin, carminic acid, lac dye, crocin, and Cape jasmine were thus successfully identified.

Surface-enhanced Raman spectroscopy (SERS) was used in this work to obtain highly detailed spectra of artists' red lake pigments and colorants. In the past, Raman spectroscopy has been successfully employed to identify many pigments and modern synthetic dyes. Unfortunately, red lake pigments and dyes commonly employed in artistic production from antiquity to the mid-nineteenth century are often extremely fluorescent, making identification with Raman spectroscopy difficult or impossible. This work presents an innovative SERS technique that quenches fluorescence, significantly enhances the weak Raman scattering effect, and requires very little sample material and minimal sample handling. A silver island film (AgIF), approximately 6-8 nm thick, is deposited on the substrate by electron beam (e-beam) deposition. The SERS-active surface is then analyzed with a confocal dispersive Raman microscope, at an excitation wavelength of 632.8 nm. Reference materials including the synthetic dyestuffs alizarin, purpurin, and eosin, high-purity carminic acid, and historic red lake pigments such as madder lake, cochineal, brazilwood, lac lake, and kermes were studied. The proposed method has great potential for the unambiguous identification of red dyes applied in different media on a variety of substrates, as demonstrated by the highly detailed Raman spectra presented here.

This perspective presents recent surface-enhanced Raman spectroscopy (SERS) studies of dyes, with applications to the fields of single-molecule spectroscopy and art conservation. First we describe the development and outlook of single-molecule SERS (SMSERS). Rather than providing an exhaustive review of the literature, SMSERS experiments that we consider essential for its future development are emphasized. Shifting from single-molecule to ensemble-averaged experiments, we describe recent efforts toward SERS analysis of colorants in precious artworks. Our intention is to illustrate through these examples that the forward development of SERS is dependent upon both fundamental (e.g., SMSERS) and applied (e.g., on-the-specimen SERS of historical art objects) investigations and that the future of SERS is very bright indeed.

Surface-enhanced Raman spectroscopy (SERS) has been developed as a direct, extractionless, nonhydrolysis tool to detect lake pigments and colorants of various classes used in a variety of artist materials. Presented first is the SERS analysis of the natural colorant turmeric (Curcuma longa L.), main component curcumin, as present in dry lake pigment grains, dyed textile yarns, and reference paint layers containing the lake pigment bound in animal glue painted on glass. This experiment demonstrated that it is possible to detect the chromophore in various matrixes of increasing complexity, allowing its unambiguous identification in a wide range of artists' materials, even at very low concentration and in the presence of binders such as glue. In addition, removal of the colorant from the complex with the inorganic substrate or mordanted yarn was not necessary for identification. This proof-of-concept study was then extended to include analysis of several pastel sticks from a historical pastel box and two samples from a pastel artwork, both attributed to American painter Mary Cassatt (1844-1926). This study represents the first extractionless, nonhydrolysis direct SERS study of multiple artist materials, including identification of natural and synthetic colorants and organic pigments contained in historic artists' pastels spanning a broad range of chemical classes: polyphenols, rhodamines, azo pigments, and anthraquinones. Successful identification is demonstrated on samples as small as a single grain of pigment.

Rooted in the long tradition of Raman spectroscopy of cultural heritage materials, in this work we provide a personal perspective on recent applications and new frontiers in sampling modalities, data processing, and instrumentation.

The fading of pigments in items of importance to cultural heritage, such as paintings, works of art on paper, and textiles, is a ubiquitous problem. Tools currently available that can detect and identify organic colorants in severely degraded works of art are rare, given the heavy deterioration and restricted availability of the sample. Recently, however, surface-enhanced Raman scattering (SERS) spectroscopy has shown great promise in detecting and identifying mass-limited samples. The art conservation field has seized upon the opportunity opened up by this powerful analytical technique to enable the identification of microscopic amounts of organic molecules used as artists' colorants in complex matrices, such as biomaterials (i.e. dyed natural textiles, linseed oil biofilms present in oil paintings, etc.), a possibility that was previously precluded due to interfering fluorescence and small sample size. Here, we report SERS spectra recorded directly on single particles of red lake pigments from an important historical watercolor by the American master Winslow Homer (1836-1910) that suffered some degree of fading. The accurate colorant identification provided by SERS, enhanced by comparison with reference samples of historical watercolors, has thus enabled important discoveries regarding the materials and intended meanings behind artworks from one of the most influential American watercolor painters.

This work demonstrates the development of near-infrared surface-enhanced Raman spectroscopy (NIR-SERS) for the identification of eosin Y, an important historical dye. NIR-SERS benefits from the absence of some common sources of SERS signal loss including photobleaching and plasmonic heating, as well as an advantageous reduction in fluorescence, which is beneficial for art applications. This work also represents the first rigorous comparison of the enhancement factors and the relative merits of two plasmonic substrates utilized in art applications; namely, citrate-reduced silver colloids and metal film over nanosphere (FON) substrates. Experimental spectra are correlated in detail with theoretical absorption and Raman spectra calculated using time-dependent density functional theory (TDDFT) in order to elucidate molecular structural information and avoid relying on pigment spectral libraries for dye identification.