Stil de Grain

Natural organic pigment

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Composition and Properties of Stil de Grain

Stil de grain pigment is derived from buckthorn berries (Rhamnus cathartica). The main coloring component according to the most recent research (1) is the quercitrin, a glycoside formed from the flavonoid quercetin and the sugar rhamnose. Older sources name rhamnetin and rhamnazin as coloring components as well. The pigment is fugitive and not lightfast.

 

quercitrin-formula The chemical formula of quercitrin

stil-de-grain-crystals

Pigment

stil-de-grain-painted-swatch

Painted swatch

Names

Alternative names

Yellow lake, Buckthorn lake, Dutch yellow, Persian lake, yellow madder, pinke yellow

Color Index

NY 14, CI 75440

Word origin

French name of the pigment

Spain Flag

Schüttgelb

German

Spain Flag

Stil-de-grain

French

Spain Flag

Stil de grain giallo

Italian

Spain Flag

Amarillo de cromo

Stil de grain, laca amarilla

Preparation

According to Bersch (1), the lake is prepared by boiling the crushed berries with water and mixing the extract with a solution of alum [hydrated potassium aluminum sulfate KAl(SO4)2·12H2O].

“The lake is then precipitated by the addition of powdered chalk. As a rule, 500 parts of water are used to 100 parts of berries, 20 parts of alum are added to the decoction, and the mixture poured upon 75 parts of finely powdered chalk.”

Another recipe describes the plant berries as being steeped in lye (potash or potassium carbonate K2CO3), then precipitated with alum to create a translucent yellow lake pigment. Different hues can be attained by the addition of tin, copper or iron salts. The temperature also has an effect on the resulting color: a lemon yellow lake is obtained up to 50° C, and a darker, orange-colored lake is obtained at 100° C.

 

stil-de-grain-Buckthorn-berries

Ripe buckthorn berries. Image: Iris Männig

References

(1) Bersch, Josef, The manufacture of mineral and lake pigments: containing directions for the manufacture of all artificial artists’ and painters’ colours, enamel colours, soot and metallic pigments. Arthur C. Wright, Translator. London: Scott, Greenwood, 1901, p. 348.

History of Use 

The pigment was in use since the medieval times and was popular with baroque painters such as Vermeer, Rubens, and Rembrandt. The description of the history of stil de grain at Natural Pigments quotes from old sources such as

Piles, Roger de, Jombert, Charles Antoine [Ed.] Élémens de peinture pratique — Amsterdam & Leipsick, 1776

Osborne, Laughton, Handbook of Young Artists and Amateurs in Oilpainting: Being chiefly a condensed compilation from the celebrated manual of Bouvier, with additional matter selected from the labors of Merimée, de Montabert and other distinguished continental writers in the art in seven parts. New York: J. Wiley, 1849, p. 53.

Both books are available in digitized facsimile form (see links given above).

Example of use

Rembrandt van Rijn, ‘Self-Portrait at the Age of 63’, 1669

Rembrandt-Self-Portrait-at-the-Age-of-63 

Identification

UV-Visible and NMR-Spectra

A. Romani, C. Zuccaccia, C. Clementi, An NMR and UV–visible spectroscopic study of the principal colored component of Stil de grain lake, Dyes and Pigments, Volume 71, Issue 3, 2006, Pages 218-223. http://dx.doi.org/10.1016/j.dyepig.2005.07.005

Raman Spectrum

Hannah E. Mayhew, David M. Fabian, Shelley A. Svoboda and Kristin L. Wustholz, Raman spectrum: Surface-enhanced Raman spectroscopy studies of yellow organic dyestuffs and lake pigments in oil paint, Analyst, 2013,138, 4493-4499.
DOI: 10.1039/C3AN00611E

Further Reading

References

A. Romani, C. Zuccaccia, C. Clementi, An NMR and UV–visible spectroscopic study of the principal colored component of Stil de grain lake, Dyes and Pigments, Volume 71, Issue 3, 2006, Pages 218-223. http://dx.doi.org/10.1016/j.dyepig.2005.07.005

Eastaugh, N., Walsh, V., Chaplin, T. and Siddall R., Pigment Compendium: A Dictionary and Optical Microscopy of Historical PigmentsElsevier Butterworth-Heinemann 2004, p. 359.

S. Muntwyler, J. Lipscher, HP. Schneider, Das Farbenbuch, 2nd. Ed., 2023, alataverlag Elsau, pp. 146-67.