Abstract
A collection of 30 cans of Ripolin paint in 19 different tints from the studio of Australian artist Sidney Nolan provides a unique reference set for the study of this brand of paint. The cans date broadly to the period 1935–1953. All the Ripolin paints in cans from this study were manufactured at the company's English factory in Southall, London, which commenced manufacture in 1932. The paint is of two types, flat and gloss, in a range of colors. Observations made during opening, painting out, and drying the paint have provided information on its working properties. The flat paints with a large proportion of volatile solvents were quick to become touch-dry, whereas the thicker oily liquids present in the gloss paints took up to several weeks to lose tackiness. This observation is supported by Nolan's own frustrations regarding the slow drying of Ripolin. Instrumental analysis has identified the pigments present in each color tint. By using Meth-Prep GC-MS on 10 samples, the presence of heat-bodied drying oils and a fatty acid marker for castor oil in one color were detected. Copal and colophony resins were also identified in a number of colors. The highly oxidized state of the resins suggested significant heat treatment during processing.
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