FUR DYEING
VEGETABLE DYES
With the exception of the few shades which could be produced solely by
means of coloring matters of a chemical character, all dyeings on furs up
to about thirty years ago were made with dye substances obtained from the
vegetable kingdom, either alone, or in conjunction with the aforementioned
mineral colors. The colors of vegetable origin used in comparatively
recent times were mainly extracts of the wood of certain trees; so the
name “wood dyes” has come to be applied generally to the dyes of this
class. The use of the vegetable or natural dyes on furs dates back to
quite ancient times, as frequent allusions and descriptions in Biblical
and other contemporaneous literature testify. There are numerous pictures
on monuments and tablets illustrating the dyeing of furs among the ancient
Egyptians, the evidence indicating that the juice of certain berries, and
extracts of certain leaves were used for the purpose. At a later period,
in the Roman era, henna, which was used over two thousand years ago as
to-day for the beautification of the hair of women, was also used to
color fur skins. The instances cited here are merely of scientific and
historical interest, and are not of practical importance as far as fur
dyeing methods are concerned.
It was not until many centuries later that the dyeing of furs took on
the aspects of a commercial art, and the substances then employed were
chiefly tannin-containing materials such as gall-nuts and sumach, which
in conjunction with certain metallic salts, particularly those of iron,
were capable of producing dark shades. The use of iron compounds to form
dark grey or black colors on leather tanned by means of the tannins, had
been common for a long time, and it was natural that fur dyers should
try to produce such shades on furs in a similar fashion. The use of the
iron-tannin compound as a dye proved to be very effective, and to this day
the production of blacks by means of the vegetable coloring matters has as
a basis an iron-tannate. A formula in common use in the latter seventeenth
and the eighteenth centuries for producing black shades on furs, is the
following:
Lime water 1117 parts
Gall-nuts 1500 „
Litharge 500 „
Salammoniac 65 „
Alum 128 „
Verdigris 64 „
Antimony 64 „
Minium 32 „
Iron filings 128 „
Green copperas 384 „
All these substances except the gall-nuts, the copperas and half the lime
water were boiled up in a cauldron; then the gall-nuts and the copperas
were placed in a bucket and the contents of the cauldron poured in, and
the rest of the lime water added. The mixture was stirred up, allowed to
settle for an hour, and when cool, was ready to be applied by the brush
method. For dyeing by the dip process, a similar mixture was used, only
considerably diluted with water. A study of the formula discloses the
fact that in it are combined killing and mordanting substances as well
as dyeing materials. The lime water, in conjunction with the salammoniac
serves as a killing agent, the verdigris, copperas and alum are mordants,
while the litharge and the minium, both compounds of lead, could possibly
act as mineral dyes, and the iron filings and the antimony took virtually
no part at all in the dyeing, except, perhaps to act in a mechanical way.
The formulas for other shades were made up along similar lines, the chief
constituent of vegetable nature being either gall-nuts, sumach, or both.
A mixture for a chestnut brown, for example, contained gall-nuts, sumach,
and the various other mineral constituents as in the black dye, litharge,
alum, copperas, verdigris, salammoniac, antimony, and in addition, red
lead and white lead. It is evident in both these instances that the shade
obtained was as much the result of mineral dyeing as of vegetable dyeing.
The discovery of America introduced into Europe many new dye substances,
chiefly wood extracts such as logwood and Brazilwood, but it was not until
the nineteenth century that these materials found their way into the
dye formulas of the fur dyer. Most of the processes used in the dyeing
of furs were adaptations of methods employed in silk dyeing, the silk
fibre being considered as most nearly approaching fur-hair in nature and
characteristics. By devious and circuitous paths the formulas of the silk
dyers reached the fur people, and so, in the middle of the nineteenth
century, dye mixtures containing the various dyewoods as well as the
tannin-containing substances were in general use for the dyeing of furs.
The following is a typical recipe of that time for the production of black
on furs like wolf, skunk, raccoon, etc.:
Roasted gall-nuts 1000 parts
Sumach 200 „
Iron mordant 200 „
Copper vitriol 100 „
Litharge 80 „
Alum 60 „
Salammoniac 50 „
Crystallized verdigris 40 „
French logwood extract 30 „
Rain water 7000 „
The mixture was boiled up, and after cooling was ready for application by
the brush method, the skins being first killed by a killing mixture also
applied by the brush. The dye substances in this case are the gall-nuts,
sumach and the logwood extract, with the iron mordant, copper vitriol, and
alum as mordants. For brown shades a similar formula was used containing
Pernambuco wood extract, logwood extract, quercitron bark, gall-nuts and
dragonblood, together with iron, copper and alum mordants.
Formulas such as the above were mainly empirical, that is, they
were compounded as a result of trial of various combinations of the
constituents, without considering the nature and quantitative character
of the reactions, as long as the desired shades could be obtained. Such
dye mixtures were frequently found to yield results varying from those
expected or originally obtained, because the effectiveness of the formulas
depended upon the exact duplication in every detail, of conditions which
had given satisfactory results previously, and it was not always possible
to attain such an accurate reproduction of circumstances, especially
when the fur dyers were quite ignorant of the scientific relationships
of the materials used. So when more light had been shed on the nature
and chemical characteristics of the vegetable dye substances, formulas
like those described were no longer employed, although the essential
ingredients were the same in the new processes. Unnecessary constituents
were eliminated, and proper ones substituted where it was required, and
the quantities of the materials used were made to conform to the chemical
laws governing the reactions. Since these new formulas were based on a
rational understanding of the constituents and their reactions, it is
desirable to study the latter briefly, before further discussing the
formulas themselves.
The substances of vegetable origin used in modern fur dyeing may be
grouped into two classes, one, the tannin-containing materials, and
the other, the dyewoods proper. The most important of the tannins are
gall-nuts, sumach and chestnut extract. Cutch, which also comes under
this class, is more frequently used for the production of brown shades,
so it is grouped with the dyewoods. Among the latter are logwood, fustic,
Brazilwood, quercitron, turmeric, and several others of less significance.
1. _Tannin Materials_
First and foremost under this heading are the nutgalls. These are
ball-shaped excrescences produced on certain plants by the punctures
of insects in depositing their eggs. There are two chief varieties, the
European, and the Chinese. The European galls are formed by the female
gall-wasp which drops an egg in the rind of young branches of certain
oaks. A swelling (the nutgall) is produced, in which the young insect
develops, and from which it finally escapes by piercing a hole through
the shell. Those galls which are not pierced have a fresh bluish or green
color, are heavy and contain most tannic acid. After the insect has gone
out, the galls are of a lighter, yellowish color, and also of inferior
quality. The best oak-galls are the Aleppo, and the Turkish or Levant
galls, containing 55–60% of tannic acid, and about 4% of gallic acid. The
Chinese galls are produced by the puncture of a plant-louse on the leaves
and leaf-stalks of a species of sumach, and not on oaks. The galls are
very light, and very rich in tannic acid, containing often as much as 80%.
For dyeing purposes, nutgalls are usually ground to a powder, and in some
instances they are even roasted first and then ground.
Sumach consists of the leaves and sometimes of the small twigs and stems
of a species of sumach plant known as the Rhus coriaria. The Sicilian
variety is the finest commercial quality, with the Virginian ranking next.
It is sold as a powder, but also in the form of the whole or crushed
leaves. The best sumach contains 15–25% of tannin. Extracts are also
manufactured, a liquid extract of 52 degrees Twaddell, which forms a dark
brown, thick paste; and a solid extract, formed by evaporating the liquid
extract to dryness.
Chestnut extract is prepared from the wood of the chestnut oak, which
contains 8–10% of tannin. The solid extract has a bright, black color,
while the liquid extract is a dark brown paste with a smell like that of
burnt sugar.
The tannins all give greyish to black shades with iron salts, and it is
this fact which renders them important for fur dyeing.
2. _Wood dyes_
One of the most important of all the natural dye substances, especially
for the production of blacks, is logwood. The color is really a red, but
with the common mordants it forms blue, violet or black shades. Logwood,
or campeachy wood, as it is sometimes called, is the product of a large
tree growing in the West Indies, and Central and South America. When
freshly cut, the wood is practically without color, but when exposed to
the air it soon becomes a dark reddish-brown on the surface. The coloring
principle of logwood is called hematoxylin, which is a colorless substance
when pure, and is of itself incapable of dyeing; but when it is exposed
to the air, especially when moist and in the presence of some alkaline
substance, it is converted into hematein, which is the real coloring
matter of logwood. To prepare the wood for use, the logs are chipped or
rasped, the chips being heaped up and moistened with water. Fermentation
occurs, and the heaps are frequently turned to allow free access of air to
the wood, and to prevent overheating. As a result of this process, a great
part of the hematoxylin is converted to the hematein. The logwood may
be used for dyeing in this state as chips, but logwood extracts can now
be obtained of a high degree of purity and are easier to work with. The
commercial forms of the extract, are the liquid of 51 degrees Twaddell,
and the solid extract. Hematein crystals can also be obtained. All these
extracts contain mainly hematein, together with a small percentage of
hematoxylin which is converted to the former during the dyeing process.
Logwood is never used as a direct dye, but is used to form color lakes
with the various mordants, the following colors being produced:
Iron mordants give grey to black shades
Copper mordants give green-blue to black shades
Chrome mordants give blue to black shades
Aluminum mordants give violet shades
Tin mordants give purple shades
By combining several of the mordants, any desired shade of black can be
obtained, and if other dyewoods are used in conjunction with the logwood,
the range can be further increased.
Fustic, yellow-wood, or Cuba wood, as it is variously called, is obtained
from a tree also growing in the West Indies, Central and South America.
It is used either as wood chips, or as a paste extract of 51 degrees
Twaddell, and occasionally as solid extract. Fustic contains two coloring
matters, morintannic acid, possessing the characteristics of a tannin, and
which is quite soluble in water, and morin, which is rather insoluble, and
which settles out from the liquid extract. Fustic is the most important of
the yellow dyes of natural origin, and is used considerably in fur dyeing
with logwood for shading the blacks, or for producing compound shades.
With the usual mordants fustic gives the following colors:
With iron salts dark olive
With copper salts olive
With chrome salts olive-yellow to brownish-yellow
With aluminum salts yellow
With tin salts bright yellow to orange-yellow
Brazilwood, or redwood, is the product of a tree found in Brazil, and
exists in several varieties, such as peach wood, Sapan wood, Lima wood,
and Pernambuco wood. They all yield similar shades with the various
mordants, and all seem to contain the same coloring principle, brasilin,
which, like the hematoxylin, has no dyeing power, but by fermentation and
oxidation it is converted to brasilein, corresponding to the formation
of hematein. Brazilwood and the related woods are used either as chips or
extract, but seldom alone, usually in conjunction with other dyewoods. By
combining logwood, fustic and Brazilwood in various proportions, and by
employing suitable mordants, all the shades required by the fur dyer can
easily be produced.
Quercitron is the inner bark of a species of oak (Quercus tinctoria) found
in the United States. It contains two coloring principles, quercetrin and
quercetin. The fresh decoction of quercitron bark is a transparent dull
orange-red which soon becomes turbid and deposits a yellow crystalline
mass. It is generally used in conjunction with other dyes.
Cutch is the dried extract obtained from a species of acacia, the
principal varieties being Bombay, Bengal, and Gambier cutch. It contains
two coloring principles, catechin and catechu-tannic acid. Cutch acts as
a tannin, and like other tannins discussed above, can be used for the
production of grey or black shades with iron mordants. It is employed
chiefly, however, for dyeing browns. Aluminum salts give with cutch
a yellowish-brown, tin salts give a lighter yellow, copperas gives a
brownish-grey, and chrome and copper salts give brown shades.
Turmeric is the underground stem of the Curcuma tinctoria, the coloring
principle being called curcumin. It may be used as a direct dye, but
usually a mordant is used. Turmeric is sometimes used in place of fustic.
While the tannins can be used alone with an iron mordant for producing
greyish to black shades, the dyewoods alone yield colors which would be
too bright to be suitable for dyeing furs. In order to tone down this
brightness, and to give to the dyeings that greyish undertone which is
characteristic of the natural furs, and which can only be imitated by
means of the iron-tannin compound, it is customary to combine the tannins
with the wood dyes. The iron-tannate constitutes the foundation of the
color which gets its intensity, and necessary brilliancy and bloom from
the wood dyes. Moreover, the presence of the iron-tannin compound helps
considerably to increase the fastness of the dyeing. Furs dyed with the
combination of the tannins and the wood dyes obtain an additional tanning
treatment which materially improves the quality of the leather, for not
only do the tannin substances exert this tanning action, but the dyewoods
as well, for they are themselves either of the nature of tannins, or
contain a coloring principle which is a tannin. It is to the combined
effects of the tannin substances and the dyewoods that furs dyed with
vegetable dyes owe their beauty of color, lustre, naturalness of shade,
permanence of the dyeing, and durability of the leather. Wood dyeings
on furs have for this reason acquired a just renown, but owing to the
introduction of the new kinds of fur dyes, the use of the vegetable dye
substances has been greatly reduced.
The dyes of vegetable origin can be applied to furs by either the brush
method or the dip method, or both, and since mordants are required
with the dyes of this class, they are applied in one of the three ways
mentioned in a previous chapter: first, by mordanting before dyeing;
second, by applying mordant and dye simultaneously; and third, by
mordanting after the skins have been treated with the dye.
I. DYEING WITH VEGETABLE DYES BY THE BRUSH METHOD
The use of the brush method in applying the natural dyes to furs is
limited to a comparatively few kinds of dyeing, namely to produce
special effects on furs, or to give to the upper-hair of furs a coat
of dye different from the base color. In a quite recent German patent
is described a process for blending a red fox as a silver fox and
the procedure affords a good example of brush dyeing with preliminary
mordanting. The specification is as follows: “D. R. P. 310, 425 (1918).
A process for dyeing red fox as silver fox. The tanned and dressed skin
is first superficially decolorized by applying a dilute mixture of milk
of lime, iron vitriol and alum, with a soft brush so as only to penetrate
the top-hair. Allow to remain for 4–6 hours, dry, and beat out the dust.
A dilute solution of iron vitriol is brushed on so as only to wet the
top-hair, and the skin is thus allowed to remain moist for 12–24 hours.
Then without drying, a solution of iron vitriol, salammoniac, litharge,
red argol and wood ashes is brushed on cold with a hard brush so as
to penetrate all the hair down to very near the skin. The skin has now
completely lost its red color, and has become a pale yellow. It is now
ready to be dyed. An infusion of roasted nutgalls, which have been boiled
for 3–4 hours with water, is applied cold with a soft brush to the upper
hair. Allow to remain so for 2–3 hours, and without drying, apply a weaker
solution of the roasted nutgalls with a hard brush so as to saturate the
hair thoroughly. Dry and beat out. According to the concentration of the
solution applied, the hair will be colored blue-grey to black, and the
shade can be varied by varying the strength of the solutions used. The
different parts of the skin, or those parts of different shades can be
dyed accordingly.”
In this patent all the operations, including killing, mordanting and
dyeing are done by the brush method, and the process, from this point
of view is quite similar to one which might have been employed a century
previous. It is evident that the time and effort required to carry out the
details as described in the patent would only be warranted in exceptional
cases, where the value of the dyed fur would be considerably greater than
that of the natural skin.
An example of the application at the same time of dye and mordant by the
brush method is the original French Seal dye, which is still employed to
a limited extent to produce a brilliant, deep, lustrous black topping on
furs which have already been dyed by the dip process. A typical formula
for the old French Seal dye is the following:
Green copperas 10 parts
Alum 10 „
Verdigris 10 „
Gall-nuts 80 „
Logwood extract
(15 degrees Twaddell) 150 „
Water 1000 „
This mixture is applied to the top of the hair of the furs, after previous
killing, and the skins allowed to remain moist for several hours, and
also exposed to the air. The skins are then dried, and beaten out, and if
necessary a second coat of dye is brushed on. In dyeing seal-imitation
on muskrat, or skunk-imitation on opossum, for example, the black color
required on the top-hair, or the upper part of the hair when the furs are
sheared, can be produced by applying a mixture similar to the above, to
the furs after they have received their base color by the dip process with
natural dyes or with the Oxidation Colors. Occasionally, the dyeing is
given an after-treatment with a dilute solution of sodium bichromate to
help develop the color, the action in this case being that of an oxidizing
agent, and not of a mordant.
As far as the third method of mordanting is concerned, that of first
applying the dye, and then the mordant, it is rarely practised with
the brush method. The procedure, however, consists in first brushing
on a solution of the desired dye, then drying and brushing on a mordant
solution. These operations are repeated perhaps two or three times until
the proper shade is obtained, exposing the furs to the air for the color
to be developed.
II. DYEING WITH VEGETABLE DYES BY THE DIP METHOD
It was in the application to furs by the dip process that the use of the
vegetable dyes attained great importance, and although at the present
time, natural organic dyes have largely been superseded by the Oxidation
Colors and Aniline Black dyes, yet for certain purposes, and especially
for the production of blacks, the wood dyes still are able to hold their
own.
The dyeing of black formerly constituted probably the most important
branch of the fur dyeing industry, and was undoubtedly the most difficult
one. For it is possible to obtain as many different kinds of black
as there are dyers of this color, but only a few certain shades are
desirable. The division of the classes of furs into those derived from
the various kinds of sheep, and those obtained from other animals is
particularly marked in the dyeing of black, and both the composition of
the dye formulas and the methods of dyeing are somewhat different for
the two groups. For the dyeing of black on Persian lambs, broadtails,
caraculs, etc., a combination of logwood and nutgalls with the requisite
mordants is used, while on hares, Chinese sheep, foxes, raccoons, opossum,
etc., a mixture of logwood and turmeric or fustic, with the proper
mordants is used.
The general procedure is as follows: The dye substances to be used are
ground up to a powder in a mill constructed for the purpose, after which
they are boiled with water in a copper-lined kettle or cauldron, heated
from the outside by steam. The customary arrangement is to have a jacketed
kettle, supported on a stand, and having taps and valves to enable the
liquor to be drawn off, or pivoted, so that the kettle can be tilted,
and the contents poured out. The use of the copper-lined vessel is to be
preferred, as it is unaffected by any of the dye substances, and so cannot
cause any rust stains. After the dyes have gone into solution and have
cooled, the mordant chemicals, previously dissolved in water, are added,
and the mixture stirred up. The dyeing in this instance is effected by the
simultaneous application of dye and mordant. The dye mixture is now run
off, or poured out in the proper quantity into a number of small vats of
25–30 gallon capacity, or into a paddle vat, which can be closed, while
the paddle is rotating. The latter device is to be preferred because it
permits the dye to retain its temperature better and for a longer period
of time, but when lambs are being dyed only the open vats are used. The
temperature of the dye mixture is between 40° and 45° C., for only at
this temperature can the hair absorb the dye properly without injuring the
leather. The killed skins are immersed in the dyebath for a time, usually
overnight, after which they are removed, drained and hung up, with the
hair-side exposed to the air, so as to permit the dye to develop, which
takes place with the aid of the atmospheric oxygen. The dyebath is again
brought to the proper temperature, and the skins are again entered, to go
through the same process as often as is necessary to obtain the desired
depth of shade. The dyed skins are thoroughly washed to remove excess dye,
then dried and finished. The following are a few dye formulas used in the
production of blacks:
Logwood extract 100 grams
Chestnut extract 14 c.c.
Turmeric 38 grams
Iron acetate 6° Bé. 50 c.c.
Water 1200 c.c.
or,
Cutch 15 grams
Soda 14 grams
Logwood extract 120 grams
Verdigris 19 grams
Iron acetate 5° Bé. 16 c.c.
Water 1200 c.c.
A recently published formula for dyeing China goat skins black, is the
following:
Dissolve 50 lbs. of dark turmeric and 45 lbs. of logwood extract and
make up to 300 gallons of solution, at 95° F. Enter the killed skins and
leave them in the liquor until they rise to the surface. Then take them
out and add 25 lbs. of logwood extract, 10 lbs. of sumach, 10 lbs. of
blue vitriol, 5 lbs. of fustic extract, and about 60 lbs. of iron acetate
liquor. Stir up well, and immerse the skins for 18 hours. Draw them up,
and expose to the air for 12 hours. Heat the liquor again to 95° F. and
put the skins back for 12 hours. Draw out, hang up in the air for a time,
then wash thoroughly, hydro-extract, dry and finish.
In a German patent, D. R. P. 107,717 (1898), is described a method for
dyeing lambs black, consisting in treating the skins for 24 hours in a
logwood bath, then rinsing in cold water, and mordanting for 15 hours in
a solution of bichromate of potash. The skins are then washed and treated
with a solution of iron salt, then dried. This process, while of not much
practical importance, is an illustration of mordanting subsequent to the
dyeing treatment.
As far as the production of other shades is concerned, the procedure is
quite similar to the regular black method. For a dark brown, for example,
the skins are dyed in a mixture containing
Gall-nuts 40 parts
Verdigris 10 „
Alum 10 „
Copperas 5 „
Brazilwood extract
(15° Twaddell) 150 „
Water 1000 „
employing operations just as in the case of the black.
Greyish-blue shades on white hares, lambs, kids, etc., can be obtained by
treating the skins successively in the following baths:
1. Logwood extract 100 grams
Water 1 liter
2. Indigotine 10 grams
Alum 10 grams
Water 1 liter
Bluish-grey tones on the same furs can be produced by treating with
1. Logwood extract 200 grams
Indigotine 15 grams
Water 1 liter
2. Alum 150 grams
Salammoniac 12 grams
Water 1 liter
Similar grey shades can be produced by mordanting the skins with an iron
salt, and then dyeing in a weak bath containing gall-nuts, sumach and iron
vitriol. This method is very effective for making Alaska or silver fox
imitations.