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Logwood Writing Inks: History, Production, Forensics, and Use

  • Han Neevel EMAIL logo
Published/Copyright: November 30, 2021

Abstract

In the 16th century, the Spanish brought logwood from Mexico to Europe. Its extract was used for textile dyeing. The French introduced the logwood tree to Western Hispaniola, which became Haiti in 1804. Around 1880, Haiti exported most of its logwood to France. In 1847, Runge introduced the black chrome-logwood ink as an alternative for iron-gall ink, because the latter attacked the steel writing nibs. The most important constituents of logwood are hematoxylin and hematein. Due to the profitable import conditions from Haiti, chrome-logwood ink became the cheapest and most commonly used black writing ink in France. This could explain why Vincent van Gogh, during his French period, used it for writing and drawing and why most of the French postcards from the first half of the 20th century, studied in this publication, were written with chrome-logwood ink, while most of the Dutch postcards were written with an iron gall ink.

Zusammenfassung

Im 16. Jahrhundert brachten die Spanier Blauholz aus Mexiko nach Europa. Sein Extrakt wurde zum Färben von Textilien verwendet. Die Franzosen brachten den Blauholzbaum nach West-Hispaniola, das 1804 zu Haiti wurde. Um 1880 exportierte Haiti den größten Teil seines Blauholzes nach Frankreich. 1847 führte Runge die schwarze Chrom-Blauholztinte als Alternative zur Eisengallustinte ein, da letztere die Stahlschreibfedern angriff. Die wichtigsten Inhaltsstoffe des Blauholzes sind Hämatoxylin und Hämatein. Aufgrund der günstigen Importkonditionen aus Haiti wurde die Chrom-Blauholz-Tinte zur billigsten und am weitesten verbreiteten schwarzen Schreibtinte in Frankreich. Dies könnte erklären, warum Vincent van Gogh während seiner Zeit in Frankreich damit schrieb und zeichnete und warum die meisten französischen Postkarten aus der ersten Hälfte des 20. Jahrhunderts, die in dieser Publikation untersucht werden, mit Chrom-Blauholz-Tinte geschrieben wurden, während die meisten niederländischen Postkarten mit einer Eisengallustinte geschrieben wurden.


Corresponding author: Han Neevel, Heritage Laboratory, Cultural Heritage Agency of the Netherlands, Hobbemastraat 22, Amsterdam, 1071 ZC, Netherlands, E-mail:

Acknowledgements

The author gratefully acknowledges the support from Nico Lingbeek, Marije Vellekoop, Roelie Zwikker, and Teio Meedendorp of the Van Gogh Museum in Amsterdam (The Netherlands); Bernadette van Beek, formerly of the Kröller Müller Museum (Otterlo, The Netherlands); Bruno Revelle of the ‘Bibliothèque Forney’ in Paris (France), and my colleagues of the Rijksdienst voor het Cultureel Erfgoed (RCE): Art Proãno Gaibor, Frank Ligterink, and Birgit Reissland.

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Online erschienen: 2021-11-30
Erschienen im Druck: 2021-12-20

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