LIFTING THE LIDS OFF RIPOLIN: A COLLECTION OF PAINT FROM SIDNEY NOLAN'S STUDIO

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.

RÉSUMÉ

Une collection de 30 pots de peinture Ripolin dans 19 teintes différentes, du studio de l'artiste australien Sidney Nolan, fournit un ensemble de référence unique pour l'étude de cette marque de peinture. Les boîtes datent grosso modo de la période 1935-1953. Toutes les peintures de cette étude ont été fabriquées dans l'usine anglaise de la société Ripolin à Southall, Londres, qui entra en production en 1932. La peinture est de deux types, mate et brillante, dans une gamme de couleurs. Les observations faites lors de l'ouverture des pots, de l’étalage et du séchage de la peinture ont fourni des informations sur ses propriétés d'utilisation. Les peintures mates avec une grande proportion de solvants volatils n'ont pas tardé à devenir sèches au toucher, tandis que les liquides huileux plus épais présents dans les peintures brillantes ont pris plusieurs semaines pour perdre leur adhésivité. Cette observation est corroborée par les propres frustrations de Nolan quant au séchage lent des peintures Ripolin. L'analyse instrumentale a identifié les pigments présents dans chaque teinte. En utilisant le couplace CG-SM Meth-Prep™ sur dix échantillons, on a détecté la présence d'huiles siccatives modifiées par traitement thermique et un marqueur d'acide gras de l'huile de ricin dans une seule couleur. Copal et colophane ont également été identifiés dans un certain nombre de couleurs. L'état très oxydé des résines suggère un traitement thermique significatif lors de la production.

RESUMEN

Una colección de 30 latas de pintura Ripolin en 19 colores diferentes del estudio del artista australiano Sidney Nolan nos ofrece un grupo de referencia extraordinario para el estudio de esta marca de pintura. Las latas son mas o menos del periodo entre 1935 y 1953. Todas las pinturas Ripolin en estas latas estudiadas fueron manufacturadas en la fabrica inglesa de esta compañía en Southall, Londres, que comenzó su producción en 1932. La pintura es de dos: tipos una mate y otra brillante, y en una gama de colores. Se ha obtenido información sobre las propiedades y comportamiento de la pintura por medio de las observaciones hechas durante la apertura de las latas, las muestras pintadas y el secado de las muestras. Las pinturas mate que contienen una proporción grande de solventes volátiles, rápidamente se sentían secas al tacto, mientras que las pinturas brillantes, mas espesas y con mas contenido de aceite, tomaron hasta varias semanas para perder su pegajosidad. Esta observación es apoyada por la frustración del mismo Nolan a cerca de la lentitud en el secado del Ripolin. Análisis instrumental identificó los pigmentos presentes en cada color de la pintura. Se utilizo Meth-Prep GC-MS en diez muestras, y se detecto la presencia de aceites secantes espesados por calentamiento y un indicador de acido graso para aceite de ricino en uno de los colores. Resinas de copal y colofonia también se identificaron en varios colores. El avanzado estado de oxidación de las resinas sugiere un tratamiento de calor significativo durante el proceso.

RESUMO

Uma coleção de trinta latas de tinta RIPOLIN em dezenove diferentes tons provenientes do estúdio do artista australiano Sidney Nolan fornecem um conjunto único de referência para o estudo desta marca de tinta. As latas datam do período entre 1935 a 1953. Todas as latas de tinta RIPOLIN deste estudo foram fabricadas na empresa inglesa situada em Southall, Londres, que começou a fabricá-las em 1932. A tinta é de dois tipos, fosca e brilhante, numa variedade de cores. Observações realizadas durante a abertura das latas, durante a pintura e durante a secagem da tinta forneceram informações sobre as suas propriedades de funcionamento. As tintas foscas, com uma enorme proporção de solventes voláteis, secavam rapidamente ao toque enquanto que os líquidos espessos e oleosos presentes nas tintas brilhantes levavam até várias semanas a perderem viscosidade. Estas observações vão de encontro à própria frustração de Nolan respeitante à secagem lenta das tintas RIPOLIN. A análise instrumental identificou os pigmentos presentes em cada tom de tinta. Utilizando o MET-PREP GC-MS em dez amostras, detectou-se a presença, através de aquecimento, de óleos de secagem e a presença de um marcador de ácido gorduroso com origem em óleo de rícino foi detetado num das cores. Foram, também, identificadas num variado número de cores, goma copal e resina colofónia. O elevado estado de oxidação das resinas sugere um significativo tratamento por calor durante o seu processamento.

Keywords:

• Sidney Nolan
• Ripolin
• house paints
• heat treatment
• paint analysis

Acknowledgments

This research forms parts of an Australian Research Council Industry Linkage Grant, The twentieth century in paint. The Principal Chief Investigator, Associate Professor Robyn Sloggett, and Post Doctoral Fellow, Nicole Tse, at the Centre for Cultural Materials Conservation, The University of Melbourne, and fellow PhD candidate Gillian Osmond from Queensland Art Gallery and University of Queensland have been a critical part of this project. Dr. Harriet Standeven's inspiring work on the history of developments in gloss house paints and her generous sharing of ideas for this paper are greatly appreciated. Funding for the Art Gallery of New South Wales’ participation was provided by the Art Gallery of New South Wales Friends of Conservation. Analysis of the English Ripolin chart was undertaken with the permission of the State Library of South Australia and instrumentation was provided by Artlab Australia. Analysis of the zinc soaps was undertaken on the Infrared Beam-line at the Australian Synchrotron, Victoria, Australia, and assistance with the results was given by Dr. Ljiljana Puskar. Raman spectroscopy was performed by Ying Yu and Gillian Osmond at the University of Queensland. Sidney Nolan's words in his letters to Sunday Reed are kindly reproduced here with the permission of the Sidney Nolan Trust and the John and Sunday Reed Estate. The Ripolin Ltd. Chart is reproduced courtesy of the State Library of South Australia.

Additional information

Notes on contributors

Paula Dredge

Paula Dredge is the head of paintings conservation at the Art Gallery of New South Wales where she has worked since 1990. She has a Bachelor of Applied Science, Conservation of Cultural Materials, from the University of Canberra, 1990, and a Bachelor of Arts in Art History from the University of Sydney, 1997. She took 3 years’ study leave in 2009–2012 to complete her PhD at the Centre for Cultural Materials Conservation, University of Melbourne, as part of the Australian Research Council linkage grant, The twentieth century in paint. The Art Gallery of NSW was the linkage partner supporting her research project on Sidney Nolan and paint. A study of an artist's use of commercial, ready-made paints in Australia from 1938–1953. Address: Art Gallery Road, Sydney, NSW 2000, Australia. Email: [email protected].

Michael R. Schilling

Michael R. Schilling is a senior scientist at The Getty Conservation Institute, where he has worked since 1983. He holds bachelor's and master's degrees in chemistry from California State Polytechnic University, Pomona. As head of the Organic Research Laboratory of GCI Science, he supports research in organic colorants, organic materials analysis, modern paints, biotechnology, museum research studies, and field conservation projects. Address: Getty Conservation Institute, 1200 Getty Center Drive, Suite 700, Los Angeles, CA 90049. Email: [email protected].

Gwénaëlle Gautier

Gwénaëlle Gautier has worked consecutively as the Andrew W. Mellon fellow, assistant conservation scientist, and associate conservation scientist at the Art Institute of Chicago (USA), 2006–2011. She has a PhD in Chemical Sciences “Characterisation of proteinaceous binding media in wall paintings by gas chromatography-mass spectrometry” from the University of Pisa (Italy), 2006. Email: [email protected].

Joy Mazurek

Joy Mazurek has worked as an assistant scientist at the Getty Conservation Institute since 1998. She specializes in the identification of organic materials by gas chromatography/mass spectrometry. She obtained her master's degree in biology, with emphasis in microbiology from California State University Northridge, and a bachelor of science degree in biology from University of California, Davis. Address: As for Schilling. Email: [email protected].

Tom Learner

Tom Learner is senior scientist and head of Modern and Contemporary Art Research at the Getty Conservation Institute (GCI) in Los Angeles. He has a PhD in chemistry (University of London, 1997), a Diploma in conservation of easel paintings (Courtauld Institute of Art, London, 1991), and an MA in Chemistry (Oxford University, 1988). At the GCI, he oversees a number of research projects on modern art materials, including how modern paints, plastics, and outdoor painted surfaces can be scientifically analyzed, how they will alter with time, and how to best conserve them. Before joining the Getty in 2007, he was senior conservation scientist at the Tate in London, where he worked for 14 years. Learner sits on the advisory committees for INCCA (the International Network for the Conservation of Contemporary Art) and RPM (Rescue Public Murals), and he is coordinator for the Modern Materials and Contemporary Art working group of ICOM-CC. Address: As for Schilling. Email: [email protected].

Richard Wuhrer

Richard Wuhrer has recently been appointed research manager of the Advanced Materials Characterisation Facility at the University of Western Sydney. Work for this paper was undertaken as electron microscopist of the Microstructural Analysis Unit (MA Unit) at the University of Technology, Sydney (UTS). He has a PhD in Applied Science from UTS, M.App.Sc and B.App.Sc (Hons I) from UTS. He is president of the Australian Microbeam Analysis Society (AMAS) and the publication chairman of Materials Australia. Richard has extensive experience with materials science and engineering and scientific characterization instrumentation that includes SEM, EDS, XRM, XRD, and EBSD. Address: Advanced Materials Characterisation Facility, Office of Pro-Vice Chancellor (Research), University of Western Sydney, Locked Bag 1797, Penrith, NSW, 2751 Australia. Email: [email protected].