Journal of the American Institute for Conservation

ISSN: 0197-1360 (Print) 1945-2330 (Online) Journal homepage: http://www.tandfonline.com/loi/yjac20

LIFTING THE LIDS OFF RIPOLIN: A COLLECTION OF

PAINT FROM SIDNEY NOLAN'S STUDIO

Paula Dredge, Michael R. Schilling, Gwénaëlle Gautier, Joy Mazurek, Tom

Learner & Richard Wuhrer

To cite this article: Paula Dredge, Michael R. Schilling, Gwénaëlle Gautier, Joy Mazurek, Tom
Learner & Richard Wuhrer (2013) LIFTING THE LIDS OFF RIPOLIN: A COLLECTION OF PAINT
FROM SIDNEY NOLAN'S STUDIO, Journal of the American Institute for Conservation, 52:4,
213-226, DOI: 10.1179/1945233013Y.0000000011

To link to this article: http://dx.doi.org/10.1179/1945233013Y.0000000011

Published online: 02 Jan 2014.

Submit your article to this journal

Article views: 138

View related articles

Citing articles: 3 View citing articles

Full Terms & Conditions of access and use can be found at

http://www.tandfonline.com/action/journalInformation?journalCode=yjac20

Download by: [CAPES] Date: 06 September 2016, At: 06:13

 LIFTING THE LIDS OFF RIPOLIN: A COLLECTION OF PAINT
FROM SIDNEY NOLAN’S STUDIO
PAULA DREDGE, MICHAEL R. SCHILLING, GWÉNAËLLE GAUTIER, JOY
MAZUREK, TOM LEARNER, AND RICHARD WUHRER

Art Gallery of New South Wales

Getty Conservation Institute

Conservation Department, The Art Institute of Chicago

Advanced Materials Characterisation Facility, Office of Pro-Vice Chancellor (Research), University of
Western Sydney

A collection of  cans of Ripolin paint in  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 –
. All the Ripolin paints in cans from this study were manufactured at the company’s English factory in South-
all, London, which commenced manufacture in . 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  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.
KEYWORDS: Sidney Nolan, Ripolin, house paints, heat treatment, paint analysis

. INTRODUCTION “…found some prewar artist colors Winsor &

In January , Melbourne artist Sidney Nolan
(–) was conscripted into the Australian
Army (Australian Army –). He was sent to
Western Victoria to work on projects including guard-
ing supplies and camouflaging trucks. Inspired by the
landscape of his new environment he painted in his
free time. Nolan referred to these painting efforts
during his wartime service as a “reconstruction plan”
(Nolan,  February ). It gave him strength of
heart to think of a future when the war would be
over and his vision of a modern Australian landscape
in painting would carry the future forward.
This sense of modern included for Nolan the use of
non-artist-grade paints. He was particularly attracted
to commercial sign writing and house paints. In this
early period Nolan appeared to have little regard for
artist’s oils. When he managed to find some to buy he
nominated them only good enough to use as a last
resort:
Newton in those little tubes like your mother
had. I got some of that, perhaps it wasn’t very
wise or organized, but I worked it out we could
get a palette together with what you have at
Heide. Perhaps one rainy morning when paint
is scarce it might help us out” (Nolan,  February
).
Nolan had studied art at a number of technical col-
leges in Melbourne, and for  years had worked as a
commercial artist for the Fayrefield Hat Company
(Nolan ). His early art experience included paint-
ing on glass with enamel paint for signage, cutting out
stencils, and spraying nitrocellulose paints. After
leaving the hat company in  he determined to
become either a poet or a painter. Finding both
financial support and a shared artistic vision with the
artist and patron Sunday Reed and her husband John,
Nolan decided that painting would be his main focus
(Pearce ).

© American Institute for Conservation

of Historic and Artistic Works 
DOI: ./Y. Journal of the American Institute for Conservation , Vol.  No. , –
 PAULA DREDGE ET AL.

At the time of his conscription in , Nolan was

already accomplished in painting with nitrocellulose
and alkyd paints, and preferred working with these
liquid and fast-drying mediums. Recent analysis has
identified the presence of nitrocellulose and alkyd-
based paints on a number of paintings by Nolan
dating from  and  (Dredge ).

. WARTIME RESTRICTIONS
Initially using watercolors after he was conscripted to the
army, in late  Nolan decided to resume work in
solvent-based paints. In the search for paint Nolan
describes his preference for DULUX, an alkyd paint.
“Dulux is probably the most durable lacquer or enamel
on the market, so is really the best angle to concentrate
on” (Nolan,  February ). Nolan and Reed
scoured hardware shops for supplies. Commercial
paints were in short supply due to wartime restrictions.
From January , finished paint products could no
longer be imported; synthetic paint resins and imported
white or chrome pigments could not be used in locally
manufactured paints (Decorator & Painter for Australia
& New Zealand a). The production of DULUX for
civilians had ceased until after the war. Existing stock
could still be sold and paints made exclusively from Aus-
tralian materials, principally linseed oil and lead white,
were formulated to replace old stock. The use of
colored pigments was limited to ultramarine blues, Prus-
sian blues, pigment dyestuffs, lake colors, and black, and
only up to % by weight (Decorator & Painter for Aus-
tralia & New Zealand b).
Nolan and Reed had success in obtaining some
materials in  but only in small quantities.
Finding a source for strongly colored pigments was par-
ticularly difficult. It was therefore incredibly fortuitous
that they were able to find a large quantity of imported
Ripolin paint in Australia. Nolan wrote to Sunday Reed
towards the end of  suggesting she make contact
with Ripolin House in Sydney and the first batch of
Ripolin paint arrived at his army base in Nhill on
January ,  (Nolan,  January ).
One of Nolan’s first paintings in Ripolin paint was a
self-portrait dated March  in which the fluidity
and intense pigmentation of the paint has been used
to deliberate effect (fig. ). The ability to decant the
Ripolin onto an artist’s palette as depicted in the paint-
ing would, however, have been impossible. As shown in
photographs of Nolan working with Ripolin, he usually
placed his supports wedged slightly out of the horizon-
tal and dipped his brush directly into the can. Ripolin
became Nolan’s principal medium for painting from
 until his departure from Australia in , and
he continued to use it alongside other mediums
throughout the rest of his life.
FIG. . Sidney Nolan, Self Portrait, Ripolin enamel on
hessian, . × . cm. Collection: Art Gallery of New
South Wales, purchased with funds provided by the Art
Gallery Society of New South Wales . © Sidney Nolan
Estate
It was a reference to Picasso’s use of Ripolin by Ger-
trude Stein in The autobiography of Alice B. Toklas,
first published in , that had prompted Nolan and
Reed to search for a supply of this particular brand of
paint. Stein wrote that Picasso had said Ripolin was
“la santé des couleurs, that is they are the basis of
good health for paints” (Stein ). It was probable
that Nolan already knew something of Ripolin
through his commercial art background and that the
endorsement by Picasso found resonance in his own
love for commercial paints. He said later, “I read that
Picasso had said that Ripolin was a healthy paint and
I thought, well why should I bugger around and
torment myself and a wise man says its healthy paint.
Okay, so Ripolin it had to be” (Nolan ).
The Ripolin paint was both inspiring and difficult for
Nolan. It required a new way of working, as it was
slower to dry than the nitrocellulose and alkyd paints
he had used previously. He had to leave paintings
drying flat for days in front of a small heater, which
was frustrating since he preferred to work more
quickly. It was, however, the mystical gloss and flow
and richness of color that most attracted him.
“Ripolin is like quick silver I can [see] us cooking it
over a fire or leaving it out under the rosemary all
night to see what secrets can be found in it.” (Nolan,
 November ).

Journal of the American Institute for Conservation , Vol.  No. , –

In  Nolan absented himself from the army and
went into hiding (Australian Army –). After
the war he travelled north through Queensland and
back to Sydney where he married and set up a studio
in suburban Sydney, Wahroonga, in  (Pearce
). After application for amnesty from prosecution
for his wartime absence in , he was able to come
forward as an artist and found great public success. In
 Nolan, his wife Cynthia, and daughter Jinx
packed up the Wahroonga house and studio and
moved to England.
. THE WAHROONGA STUDIO CONTENTS
In  Jinx Nolan made a gift of the contents of
the Wahroonga studio. The house was to be sold and
the painting materials from the studio were sent to the
Art Gallery of New South Wales. The collection
includes over  items of paint, solvents, waxes,
receipts for goods, and supports with various priming
layers. There is very little in the way of artist’s grade
materials other than several small bottles of varnish,
distilled turpentine, and linseed stand oil. There are
over  cans of Ripolin enamel in  different tints
(some cans are duplicates), a can of thinners for
Ripolin gloss, and a can of paste filler all made by the
Ripolin company (fig. ). A small number of items
were disassociated from this main group of items and
given to the National Gallery of Victoria. This included
an additional  cans of Ripolin, most of which are
duplicated in the Art Gallery of New South Wales
group and are not included in this study. A leather
satchel with Australian Army issue screw-top cans
adapted by Nolan as paint containers for the Ripolin
also forms part of this collection of material. Moving
about with liquid paint required such a system. The
contents of the satchel paints are now dry and thickly
FIG. . Ripolin products from Sidney Nolan Wahroonga studio contents. Collection: Artists’ Materials Archive, Conservation
Department, Art Gallery of New South Wales. Gift of Jinx Nolan .
Journal of the American Institute for Conservation , Vol.  No. , –
LIFTING THE LIDS OFF RIPOLIN 
embedded around the necks of the cans, making them
useful comparative samples with the Ripolin paint
sealed in the cans.
. RIPOLIN IN AUSTRALIA
Although available as early as the th century in Indo-
nesia (De Locomotief ), then a Dutch colony and
Australia’s close neighbor, Ripolin does not appear
in Australian advertisements until  (Sydney
Morning Herald ). Available initially only in
white and promoted as a paint for cars, the arrival of
the full color range in  attracted great interest
(Sydney Morning Herald ).
The Ripolin paint imported into Australia in the
s was made in Holland and subject to import
tariffs, making it expensive in comparison to locally
manufactured products. The Dutch origin of the paint
available in Australia in the s is demonstrated by
the Ripolin Ltd. color chart in the collection of the
State Library of South Australia, Adelaide, which is
stamped on the cover “made in Holland” (fig. ). The
cover of the Adelaide chart also gives detailed instruc-
tions for painting a car with Ripolin paint and states
that “Ripolin can be used for painting on stone,
plaster, woodwork, garden gates, greenhouses, yachts,
steamers, motor cars, baths, radiators etc…” (Ripolin
Ltd. c. ). The multiple uses for Ripolin, including
for painting both “inside and outside,” appears to
have been one of its great appeals to customers as
most commercial paints at this time were formulated
for specific uses.
. THE BRITISH RIPOLIN COMPANY
The Ripolin paints from Nolan’s Wahroonga studio
were, however, manufactured in England not
 PAULA DREDGE ET AL.
FIG. . Ripolin Ltd. Paint color chart outside, circa . W.B. Bruce Collection BRG //, State Library of South
Australia.
Holland, and this is clearly indicated on all the can
labels. The Ripolin Ltd. Company had established a
branch in England in , initially importing and
selling the paint manufactured at its Dutch factory
(Earling Midweek Gazette ). In , a factory
making Ripolin was opened at Southall, London
(Board of Trade ). Considerable pressure was
placed on Ripolin Ltd. to establish a relationship with
an existing British manufacturer to make the paint in
England; however, direct ownership of the English
Ripolin branch was retained by the parent Dutch
company. The Managing Director was
J. Colaço-Osorio, a relative of the financier involved
in the formation of the French Ripolin company in
 (Raeburn ). The close relationship between
the Dutch and English branches and their desire to
retain proprietorship over Ripolin are also demon-
strated by an application made by the British Ripolin
company to bring a paint chemist over from the
Dutch factory “as our goods are made by a secret
process, it is essential for us to employ this man”
(Board of Trade ).
The British arm of the company remained under the
management of the Colaço-Osorio family until 
(Earling Gazette ). By  the UK Ripolin
company maintained a network of over  retail
outlets and additional factories in a number of
countries including Australia (Earling Gazette ).
The company broke from the parent European
company with a management buy out in , after
which the Southall factory was sold and closed
(Earling Midweek Gazette ). No exact date has
been assigned to the Nolan-owned paints from his
Sydney studio, although they must post-date 
Journal of the American Institute for Conservation , Vol.  No. , –
when the English factory commenced production, and
pre-date  when Nolan’s studio was closed after
he moved to the UK.
. OPENING THE RIPOLIN CANS
Some of the Wahroonga studio Ripolin cans have been
used but most have never been opened and retain their
proprietary fastener and triple seal mechanism: a
colored string and metal seal across an outer metal
ring in addition to an inner painted lid showing the
color of the paint in the can. The cans are mostly in
two types of finish, a flat range of colors in ten different
tints and a gloss range in eight tints. An additional can
of white, open and dried out, has no indication on the
label of gloss level and is referred to in this paper as
“old white.” Most of the gloss cans are described on
their labels as “Quality BLT.” This is a term used on
the English-labeled gloss Ripolin cans from at least
, as it appears in a drawing of a Ripolin can in an
Australian newspaper advertisement at that date (Single-
ton Argus ). “BLT” may be an abbreviation of the
French term brillant, used to describe a gloss finish. A
French Ripolin color chart from the Art Institute of
Chicago collection estimated ca. – includes
the note that Ripolin “se fait en mat ou brillant”
(Gautier ), but the use of an abbreviated French
term on the British labeled cans seems somewhat unli-
kely. The exact meaning of the term remains elusive.
The color numbering system used on the Nolan
Ripolin cans relates closely to the color codes on a
British Ripolin Ltd. color chart (ca. ) (fig. ) and
varies somewhat from the codes documented on the
French Ripolin charts (Gautier et al. ). The flat

FIG. . Ripolin Ltd. Paint color chart inside, circa . W.B. Bruce Collection BRG //, State Library of South Australia.
paints from Nolan’s studio are also given a number  at
the beginning of their numerical color code to differen-
tiate them from the same colors offered in the gloss
range.
The condition of the Nolan studio Ripolin paints
after over  years in the can was variable between
colors. Although several of the flat paints had gelled
in the can, such as red () and lemon (), and
could not be reformed to make coherent paint films,
most were remixed and painted out giving well
formed, smooth paint films. The gloss Ripolin paints
with thick oily liquids were slow to dry, taking
between  and  days to lose surface tackiness. The
flat range contained a large proportion of thin, slightly
FIG. . Opening can of Ripolin white () from Sidney Nolan
Wahroonga studio contents with settled zinc oxide solids
being lifted and oily liquids at top.
Journal of the American Institute for Conservation , Vol.  No. , –
LIFTING THE LIDS OFF RIPOLIN 
cloudy liquids and the paint films became touch-dry
within an hour as the diluents quickly evaporated.
While the red () gloss and red () flat Ripolin
painted lids showed evidence of darkening and blacken-
ing where they had been exposed to light, the other pig-
ments exhibited little sign of deterioration. Those
without zinc white solids such as blue deep (RD),
black (), and red () were well dispersed with vir-
tually no pigment settlement. Those containing zinc
white had settled with a still-pliable lump of solids in
the lower part of the can with the liquids sitting
above (fig. ).
. ANALYSIS OF PIGMENTS
Pigments from the paint-outs of  different colors of
Ripolin paint in cans and contents from the open and
dried-out older white can were identified using portable
x-ray fluorescence spectroscopy (PXRF), FTIR, and
microscopy at the Art Gallery of New South Wales
(Appendix ). SEM with energy dispersive x-ray spec-
troscopy was undertaken on samples at the Microstruc-
tural Analysis Unit at the University of Technology,
Sydney, and Raman microscopy was undertaken at
the Centre for Microscopy and Microanalysis, Univer-
sity of Queensland. The accumulation of these results
is shown in table . As a comparative study, paint
swatches from the Adelaide Ripolin chart were exam-
ined with PXRF and attenuated total reflectance
(ATR)-FTIR at Artlab Australia.
The white paints (), (), and the older white from
the Nolan Wahroonga studio cans were all found to
contain zinc oxide pigment. But while the gloss white
() was almost exclusively zinc white, the other two
 PAULA DREDGE ET AL.

TABLE . PIGMENTS IDENTIFIED IN NOLAN STUDIO RIPOLIN CANS

Ripolin color
Old White
Gloss White 
Gloss  (Ochre)
Gloss Red 
Gloss Blue Deep RD
Gloss PE (Blue)
Gloss Ultramarine 
Gloss Black 
Flat White 
Flat Canary 
Flat Lemon 
Flat Red 
Flat Maroon Lake To Shade

Flat Pink Very Light 
Flat Blue Deep RD
Flat Black NO 
Flat Olive Green 
Flat Peacock Green 
Flat Green Dark Yellowish  Zinc oxide, Prussian blue, lead chromate, aluminum and magnesium silicates
Pigments identified (trace pigments)
Zinc oxide, barites, titanium dioxide, calcium carbonate, aluminum silicate, iron
oxide, (lead chloride contaminant?)
Zinc oxide, (barites, lead chromate, iron oxide)
Zinc oxide, iron oxide, lead chromate
Barites, toluidine red (PR)
Prussian blue, (lead chromate, barites)
Zinc oxide, Prussian blue, (lead chromate)
Zinc oxide, copper phthalocyanine, barites, (lead chromate)
Carbon black
Zinc oxide, barites, titanium dioxide, aluminum and magnesium silicates, lead
chromate, iron oxide
Lead chromate/ lead sulfate, aluminum and magnesium silicates
Lead chromate, aluminum and magnesium silicates
Barites, touidine red (PR), aluminum and magnesium silicates
Alizarin, calcium carbonate
Zinc oxide, barites, titanium dioxide, chrome yellow, chrome red
(phoenicochroite), carbon black, aluminium and magnesium silicates
Prussian blue, aluminum and magnesium silicates
Bone black, aluminum and magnesium silicates
Zinc oxide, lead chromate, aluminum and magnesium silicates, carbon black
Zinc oxide, Prussian blue, lead chromate, (aluminum and magnesium silicates)

white Ripolin paints had a more complex mixture of pig-
ments. This included the presence of titanium dioxide,
barium sulfate, aluminum silicate, and magnesium sili-
cate. The older white additionally contained calcium car-
bonate. An unusual lead compound giving peaks with
SEM-EDS for both lead and chloride in the older white
can of dried residue exhibited a distinctive needle-like
structure under backscattered imaging. As this can was
unsealed and retained only a small amount of dried
paint in the bottom this may, however, be a contaminant
rather than an added pigment.
Prussian blue is the principal blue used in a number
of the Nolan Ripolin colors, both with zinc oxide as a
pale blue (PE) and without zinc oxide as a deep trans-
parent blue gloss (RD) or flat (RD). The presence
of Prussian blue is readily identified with FTIR by the
strong C=N absorption at  cm−. These deep
blue Ripolin colors are so highly saturated with
pigment they are iridescent as dried paint films. The
ultramarine () color is pigmented with copper phtha-
locyanine, barites, and zinc oxide, as seen in the
complex multi-peaked FTIR spectra of a sample from
the can against library references and the detection of
copper when analyzed with PXRF (fig. ). The presence
of copper phthalocyanine pigment assigns a new date to
the Nolan Ripolin paints as post- when this
pigment first came into use (Hunger ). The flat
green paints, peacock () and green dark yellowish
(), are variations of the combination of Prussian
blue and lead chromate, but the chrome yellow in
olive green () is darkened with carbon black. The
flat lemon yellow () is lead chromate, while the
lead chromate in canary () has a lead sulfate
phase. The ochre () is a combination of iron
oxide and lead chromate in zinc oxide.
The red () in both gloss and flat colors contains the
coal tar pigment, toluidine red (PR), identified with
FTIR with barites and without zinc oxide (fig. ). The
use of toluidine red in this particular color red ()
differs from the French chart study in which this color
was identified as alizarin crimson, although toluidine
red was present in a number of other French Ripolin
color tints (Gautier et al. ). Similarly, the red ()
on the Adelaide Ripolin chart dating from the s
was identified with ATR-FTIR as alizarin crimson,
suggesting that the use of toluidine red in the Nolan
Wahroonga studio Ripolin red () was a shift in the for-
mulation of this color dating some time after the s.

Journal of the American Institute for Conservation , Vol.  No. , –

FIG. . Absorbance FTIR of samples from Ripolin cans; (A)
ultramarine () and (C) red () shown against library refer-
ence spectra for (B) copper (II) phthalocyanine, (D) toluidine
red, and (E) barites.
The pink very light () was made using both lead
chromate in the yellow form and basic lead chromate
(phoenicochroite) in orange-red form mixed in a
white base of both zinc oxide and titanium dioxide.
Raman spectroscopy identified the titanium dioxide
pigment in this sample as anatase. This unfortunately
gives little additional information regarding dates for
these Ripolin cans, as anatase titanium dioxide
pigment was commercially available in Europe from
 and a good-quality version was manufactured in
France from  (Laver ).
The Wahroonga studio can of flat black () con-
tains a bone-derived black, which is not present in the
can of gloss black (). A similar difference
between the flat and gloss blacks was also noted in
the French Ripolin charts (Gautier et al. ).
However, a gloss black paint swatch in addition to
 is present on the Adelaide Ripolin chart and num-
bered , which when analyzed with ATR-FTIR was
found to contain bone black.
Most of the flat colors additionally contain alumi-
num and magnesium silicates. These may be present
to assist the formation of matte surfaces, but were
also commonly used to reduce pigment settling in
cans of paint (Boan ).
. ANALYSIS OF THE MEDIUM
FTIR analysis of the liquids from the Ripolin cans ident-
ified the primary binder as oil across the gloss and flat
Journal of the American Institute for Conservation , Vol.  No. , –
LIFTING THE LIDS OFF RIPOLIN 
ranges. Meth–Prep gas chromatography-mass spec-
troscopy (Meth–Prep GC/MS) on a selection of 
samples from the cans, which included all the gloss
paints and three of the flat colors, was undertaken at
the Getty Conservation Institute (Appendix ). The
samples for analysis were taken from dry paint films
prepared by remixing the contents in similar pro-
portions of liquids and solids as present in the cans,
painting out on glass slides and leaving to air dry for
a year.
Meth–Prep GC/MS identified drying oils in all 
samples on the basis of the fatty acid composition and
proportions of palmitic (P), stearic (S), and azelaic (A)
acids and found the presence of copal resin and coloph-
ony in some samples (table ). A typical total ion chro-
matogram showing all these components for the sample
of Ripolin gloss black () is shown in figure .
The difficulty with the interpretation of the Meth–
Prep GC/MS results is the variety of different com-
ponents or features detected which are inconsistent
within either the grouping of gloss and flat paints, or
the dark and light colors. This supports the proposition
that the binder in each color tint in the Ripolin range
was individually formulated in much the same way as
the pigments. The gloss paints did in general however
contain a higher percentage of fatty acids (.%–
.%) compared with the flat paints tested (.%–
.%), supporting the greater oil content in the gloss
colors observed on opening the cans.
There are three proportional measurements of the
fatty acids found in drying oils that give useful infor-
mation. The first ratio, palmitic to stearic acid (P/S),
has been used traditionally to identify oil type (Mills
and White ). The three main types of drying
oil used in Old Master Paintings have P/S ratios in
the region of . for linseed,  for walnut, and 
for poppy oil. P/S ratios on the  Ripolin samples
are all within the accepted range for linseed oil:
.–.. The difficulty with the analysis of th
century oil-based paints is the increased range of oil
types that may be present. Many of these alternative
oils such as tung and dehydrated castor have P/S
ratios similar to that of linseed oil. It is also probable
that the Ripolin paints were formulated using a
mixture of oil types and therefore assigning oil type
in the Ripolin paints by P/S ratios is not possible.
Some of these other types of oils do, however, have
identifying fatty acid markers, and such a marker
was found in the mass spectrum of the white ()
gloss Ripolin sample. This was ricinoleic acid
(-hydroxy--cis-octadecenoic acid), a fatty acid
type specific to castor oil. Although a slow drier,
dehydrated castor is a pale oil compared with the
more traditional drying oil linseed and for this
reason was a good choice for the white paint color.
Unfortunately, linseed oil does not have a fatty acid
 PAULA DREDGE ET AL.

TABLE . METH-PREP GC/MS ANALYSIS ON DRY PAINT SAMPLES FROM TEN RIPOLIN CANS
Ripolin Color Palmitic/stearic acid Azelaic/palmitic acid Suberic/azelaic acid Compounds
ratio ratio ratio identified
with markers
Gloss White  . . . Castor oil
Gloss  (Ochre) . . . Copal
Colophony
Gloss Red  . . .
Gloss Blue Deep . . . Copal
RD Colophony
Gloss PE (Blue) . . . Colophony
Gloss Ultramarine  . . . Copal
Gloss Black  . . . Copal
Colophony
Flat White  . . .
Flat Blue Deep RD . . .
Flat Black NO  . . . Copal

marker and cannot be positively identified in this
way.
The proportion of azelaic to palmitic acid (A/P) is the
second useful measure comparing fatty acid types. A/P
ratios below  generally indicate the effective drying
and cross-linking of the oil structure (Corbeil et al.
). The results of the Ripolin sample A/P ratios
are in the range of . to . demonstrating they have
formed well-polymerized paint films, as expected for
drying oils.
Thirdly, proportions of suberic to azelaic acids (Sub/
A) above . indicate the presence of heat-bodied oils in
all the Ripolin paints tested, except for the flat black
() containing bone black, which was just below
this level at . (van den Berg et al. ). Heat-bodied
fatty acid markers in the chromatogram (m/z  and

FIG. . GC/MS total ion chromatogram of Ripolin black  (left). Peaks indicated for suberate (sub), azelate (a), palmitate
(p), stearate (s), glycerol (g), copal marker epi-labdanoid (c), colophony marker -oxo dehydroabietic acid (co). Mass spectra at
right are scans of Brazilian copal at . minutes (top) and Ripolin black  at . minutes (bottom).

Journal of the American Institute for Conservation , Vol.  No. , –

) were also found in several of the paints. Heat-
bodied oils are typically used in enamel paints to
assist with the formation of smooth flat paint films (self-
leveling) and rapid drying especially when heated with
driers. The presence of cobalt peaks in the PXRF
spectra of most of the Ripolin paints, and small manga-
nese peaks detected in a number of the dark colors such
as gloss black () and deep blue (RD) suggests
that metallic driers were used in these paints, although
their exact form has not been identified.
Copal, a hard fossil resin, and colophony, a softer
resin derived from pine, were both identified in a
number of the Ripolin samples. In addition to its
presence in a number of the gloss colors, copal resin
was detected in one of the flat Ripolin paints, black
(). In this case, it may be present to assist with
drying and hardness as this color had the highest A/P
and lowest Sub/A proportions, indicating poorer
drying characteristics. The copal resin identified in
several samples is either Brazilian, African, or Congo
due to the presence of eperuic acid. However, it most
closely matches a Brazilian copal (Jatobá resin) by the
mass spectrum, with good correspondence to an
epi-labdanoid, which is typically found in Brazilian
copals (fig. ) (Doménech-Carbó et al. ). The
addition of copal resins to oil-based enamel paints
imparted gloss, hardness, and assisted with
drying, although it also could increase the tendency of
the paint to yellow and become brittle (Standeven
).
Colophony is less stable than copal in this respect and
it is a surprising addition to the Ripolin paints, which
were considered of the highest quality and suitable for
outside exposure where the deterioration of these
resins would be greater due to their exposure to the
weather. Although present in a number of color tints
along with the copal, there are also a number of
colors in which the colophony is the only resin detected,
and cannot therefore be exclusively associated with the
copal. The abietic acid derived from the colophony
identified with Meth-Prep GC/MS was so oxidized
that it had completely converted to -oxo dehydroabie-
tic acid. This suggests significant heat treatment of the
colophony associated with some form of pre-
processing. Processed colophony products were more
stable than unprocessed colophony and included ester
gum; a combination of glycerol and colophony, and
metallic resinates used as driers produced by reacting
colophony with lead, cobalt, or manganese (Standeven
). The exact form of the colophony in the
Ripolin paints tested has not been identified. Glycerol,
which may be a tag for ester gums, is present also in
the GC/MS chromatograph associated with the oil
in the paints. However as the identification of
colophony in the black () and blue deep (RD)
is consistent with the larger PXRF peak counts detected
Journal of the American Institute for Conservation , Vol.  No. , –
LIFTING THE LIDS OFF RIPOLIN 
for cobalt and manganese in these two colors, the
colophony may be present in the form of a resinate
drier.
The eperuic acid associated with the copal resin in the
paints was also well oxidized. This oxidation was prob-
ably also a result of heating during production. Adding
copal resins to paint commonly involved liquefying the
hard insoluble resin by heating it to a high temperature
and “running” it into hot oil. The addition of these types
of “cooked” materials—heat-bodied oils, processed
colophony, and liquefied copal—to the Ripolin paints
as found in the results from the Meth-Prep GC/MS
analysis is consistent with the historically documented
types of processing commonly used in the preparation
of oil enamels of the period.
. ZINC SOAP FORMATION
The fatty acids in oil and the metallic zinc ions in the
white pigment are known to react in paints to form a
variety of zinc soaps. While commonly found in dry
and aged paint films, those sealed and still-liquid
paints in the Ripolin cans containing zinc oxide were
also found to contain these types of products.
In many samples small and hard aggregates were
visibly distributed within the zinc oxide solids in the
can and created seed-like lumps in the paint-outs.
Thin cross-sectional samples of the paint-out of ultra-
marine (), white (), and white () examined
with the Infrared Beam-line at the Australian Synchro-
tron produced informative infrared spectral maps
(fig. ). Areas associated with these “seeds” had sharp
carboxylate doublet peaks at  and  cm−
and a shoulder at  cm−, which correspond well
with the observed FTIR spectral pattern for zinc
oleate (zinc -octadecenoic acid) (Corbeil et al. ).
The paint matrix surrounding these soap aggregates
conversely showed a broad non-specific carboxylate
peak in the area – cm− with no sharp
peaks, demonstrating the zinc oleate was confined to
the seed-like aggregates.
As discussed by Corbeil et al. (), oleic acid in
paint slowly oxidizes and reduces in concentration in
well-hardened and dried paint films. FTIR examination
of Ripolin paint containing zinc oxide in the dried rem-
nants of the cans from the leather satchel demonstrated
the more usual presence of zinc soaps in the form of zinc
stearate (zinc octadecanoate) with an identifying peak
in the carboxylate region of  cm−. This suggests
that the zinc oleate soaps observed in the sealed paint
from the cans may not be present in dried paint films.
In one unusual example, pink very light flat ()
when examined in the can was observed to have a
brittle waxy layer at the interface between the liquids
and the solids. This was identified with FTIR as a
very pure zinc stearate with sharp spectral peaks at
 PAULA DREDGE ET AL.

FIG. . Synchrotron infrared map of thin section sample of Ripolin white () paint with area mapped in green (top left) and
infrared map (top right) showing concentration of doublet peaks ( and  cm−) in clear areas in cross section indicated
in red and the absence of these peaks in blue. Extracted spectra from three areas with changes associated with soap regions –
 cm− (bottom).

, , , and a small doublet at  and 
cm−. As the soap had not formed circular aggregates
but a distinct layer and was found in the stearate
form, not the oleate as for the other sealed cans, it is
probable that in this instance the zinc stearate was
added as an ingredient to the paint rather than having
formed in situ.
. CONCLUSION
Examination of the contents of this collection of
Ripolin paints has demonstrated the complex formu-
lation of the British-made Ripolin paint. Not only are
combinations of colored pigments selected for each
tint, but the white base pigments also vary. Likewise,
the binders appear to be formulated for each color
with copal resin, colophony, and dehydrated castor
oil being detected only in some colors. The medium
analysis has been made difficult due to the highly
oxidized state of many of the components. This,
however, is an important finding regarding the use of
heated oils and resins, which is consistent with the his-
torical literature regarding the preparation of oleoresi-
nous vehicles and driers for enamel paints.
There are, however, some shared features of these
paints. The principal binders in both the flat and gloss
paints are drying oils. In general, the gloss range utilizes
a higher proportion of oil compared to the flat colors.
The flat range of colors has a high proportion of volatile
solvent and the addition of aluminum and magnesium
silicates to assist in the formation of matte paint films.
While zinc oxide is the principal white pigment in
these paints, there are a number of paints in the
deeper colors that do not contain zinc oxide. Barium
sulfate (barites) is present in some of these colors;
others contain no white solids at all. Chalk was also
identified in the can of older white (no number) and
maroon lake (); titanium dioxide was identified
in three white cans: flat white (), the older white,
and pink very light (). The principal colored pig-
ments identified were Prussian blue, lead chromate,
iron oxide, toluidine red, carbon, and bone-based
blacks. All these pigments were commonly used in
house paints of the period and combine the features
of strong tinting strength, semi-permanence, and rela-
tive cheapness.
Comparison of the pigment analysis of the Nolan
Wahroonga Ripolin with the French Ripolin study
suggests good correlation between most colors that
are numbered similarly. Some differences are noted par-
ticularly in the use of toluidine red and copper phatha-
locyanine blue, but these are likely to be evolutions in

Journal of the American Institute for Conservation , Vol.  No. , –

the formulations over time. Otherwise it is remarkable
how consistent the pigments are, both over time and
across different manufacturing countries.
The ability to identify the presence of Ripolin on
paintings by Nolan has been made possible by this his-
torical survey outlining dates of use by the artist and the
history of the British Ripolin company alongside the
analytical study of the contents of the cans. Compari-
son of FTIR and PXRF spectra from paintings by
Nolan dated after January  show excellent corre-
spondence with spectra obtained from paint-outs
from the can (apart from the peaks related to the pres-
ence of zinc soaps, which do differ between dry paint
films and paint kept sealed in cans). Ongoing investi-
gations into Nolan’s paintings in which Ripolin is
present should add further understanding to the aging
characteristics of this paint. A dataset of the analytical
spectra obtained from the materials from Nolan’s
Wahroonga studio is being developed as an ongoing
reference collection available to researchers as part of
the outcomes from The twentieth century in paint
project.
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 Slog-
gett, and Post Doctoral Fellow, Nicole Tse, at the Centre for
Cultural Materials Conservation, The University of Mel-
bourne, 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.
APPENDIX 
PIGMENT ANALYSIS
FTIR was performed on paint decanted from the Ripolin
cans with a Thermo Nicolet Nexus Spectrometer attached
to a Continuum IR Microscope and MCT-A Detector with
Journal of the American Institute for Conservation , Vol.  No. , –
LIFTING THE LIDS OFF RIPOLIN 
KBr window (,– cm−). A micro-compression cell
with diamond window was used as a sample platform. Porta-
ble x-ray fluorescence spectroscopy (PXRF) was undertaken
for  seconds with a Bruker Tracer III-V and SPXRF soft-
ware in three modes: a low-mass mode at  kV,  µA,
vacuum . torr with a titanium filter; a mid-mass mode at
 kV, . µA, vacuum . torr without filter; and for high
mass element,  kV, . µA, no vacuum, titanium and alumi-
num filters. Scanning electron microscopy (SEM) was under-
taken at the Microstructural Analysis Unit at the University
of Technology, Sydney using a Zeiss Supra VP at  kV
accelerating voltage in variable pressure mode. Energy-
dispersive x-ray spectroscopy was performed using the
Oxford Instruments INCA x-sight microanalysis system.
Chamber pressure was maintained at . torr to minimize
skirt x-rays. Raman spectroscopy was undertaken at the
Centre for Microscopy and Microanalysis, University of
Queensland with a Renishaw inVia Raman Microscope Spec-
trometer with a near-infrared enhanced, deep depletion
charge-couple device array detector with  ×  pixels
and Peltier cooling and Renishaw near-infrared diode laser
at  nm with  mW nominal power at the source. This
was fitted with  nm Rayleigh edge filters and  lines
per mm dispersive grating. The microscope was a Leica
DMM microscope with x reflected light illuminated
objectives. Laser power at the sample was reduced to %
using neutral density filters and pinhole inserted to improve
the beam quality. Data were collected with an extended
scan and -second dwell time.
MEDIUM ANALYSIS
Gas chromatography/mass spectroscopy (GC/MS) of the
binders was undertaken using the Meth-Prep procedure:
 µL of a solution of Meth-Prep II reagent (. M
TMTFTH in methanol) in toluene (:) were added to the
paint samples. The vials were warmed on a hotplate at °
C for  h. After cooling, the vials were centrifuged, and the
contents were ready for injection into the GC/MS. An
INNOWAX ( M × . mm × . µm) capillary column
was used for the separation. Helium carrier gas was set to a
linear velocity of  cm/s. Splitless injection was used with a
-s purge off time, and was set to °C. The MS transfer
line was set to °C. The GC oven temperature program
was: °C for  min; °C/min to °C; isothermal for 
min; °C/min to °C; isothermal for  min. Total run
time was  min. The mass spectrometer was used in SCAN
mode as it permitted unknown peaks to be identified on the
basis of their mass spectra using a spectral library from
NIST. Fatty acids were quantified with calibration curves
and the amounts of fatty acids are reported as % fatty acids
(mg fatty acids/mg paint). Samples were prepared for the
Infrared Beam-line at the Australian Synchrotron by embed-
ding dried films of Ripolin paint in polyester resin and
cutting -μm thin-sections. Sections were supported on a
-mm diamond window and flattened using a stainless steel
roller. Infrared spectra were collected in transmission
mode with  μm aperture at -μm steps following custom
defined grid positions. Spectra were collected from  to
 cm− wavenumbers and are the sum of  scans at a
resolution of  cm−.
 PAULA DREDGE ET AL.

REFERENCES Hunger, K., ed. . Industrial dyes chemistry, properties,

Australian Army. –. Sidney Nolan Citizen’s Military
Forces Personnel Dossier –, National Archives
of Australia.
Boan, R. F. . The manufacture of mixed paints. The
Australasian Decorator and Painter. January : –.
Board of Trade, Office of the Chief Industrial Adviser.
. Establishment of a factory at Southall for the man-
ufacture of Paints and Varnishes “Ripolin” by Dutch
Company, The National Archives, United Kingdom,
BT/.
Corbeil, M. K. Helwig, and J. Poulin. . Jean Paul
Riopelle, The Artist’s Materials. Los Angeles: The Getty
Conservation Institute. –.
The Decorator & Painter for Australia & New Zealand.
a. Commonwealth Paint Orders –. January :
.
The Decorator & Painter for Australia & New Zealand.
b. Commonwealth Paint Orders Paints . April :
–.
De Locomotief. . Ripolin is een aangemaaket verf voor
on. April : .
Doménech-Carbó, M. T., J. de la Cruz-Cañizares, L. Osete-
Cortina, A. Doménech-Carbó, and H. David. .
Aging behaviour and analytical characterization of the
Jatobá resin collected from Hymenaea stigoncarpa
Mart. International Journal of Mass Spectrometry :
–.
Dredge, P. , Sidney Nolan’s adventures in paint. An
analytical study of the artist’s use of commercial paints
in the s and s, AICCM Bulletin, forthcoming.
Earling Gazette. . The boss bows out. May : .
Earling Gazette. . Grand opening in Greenford. March
: –.
Earling Midweek Gazette. . Ripolin celebrates its th
anniversary. March : .
Earling Midweek Gazette. . Firm makes a splash and
brush with bankruptcy. June :–.
Gautier, G., A. Bezur, K. Muir, F. Casadio, and I. Fiedler.
. Chemical fingerprinting of ready-mixed house
paints of relevance to artistic production in the first half
of the twentieth century. Part I: Inorganic and Organic
Pigments, Applied Spectroscopy ():–.
Gautier, G. . Les Gammes de produits Ripolin, Picasso
express. Antibes: Museé Picasso, Commune d’Antibes: .
applications. Weinheim: Wiley-VCH: .
Laver, M. . Titanium dioxide whites. In Artists’ pig-
ments: A handbook of their history and characteristics,
Vol. , ed. E. W. FitzHugh. Washington: National
Gallery of Art. –.
Mills, J., and R. White. . The organic chemistry of
museum objects. London: Butterworths.
Nolan, S.  January , Letter to Sunday Reed, in Reed
Papers, Australian Manuscripts Collection, State
Library of Victoria, Melbourne, MS , box , file B.
Nolan, S.  February . Letter to Sunday Reed, in Reed
Papers, Australian Manuscripts Collection, State
Library of Victoria, Melbourne, MS, box , file C.
Nolan, S.  November . Letter to Sunday Reed, in Reed
Papers, Australian Manuscripts Collection, State
Library of Victoria, Melbourne, MS , typed
transcript, box , file .
Nolan, S. . Interview with Bernard Smith, London.
Unpublished transcription (unpaginated) from audio
tape, Elwynn Lynn Papers, Edmund and Joanna Capon
Research Library Art Gallery of New South Wales,
Sydney.
Pearce, B. . Nolan’s Parallel Universe. Sidney Nolan.
Sydney: Art Gallery of New South Wales. –.
Raeburn, M. . Brand Ripolin. Picasso express. Antibes:
Musèe Picasso, Commune d’Antibes. –.
Ripolin Ltd. c.. Ripolin is the perfect paint for general
decorative work. W. B. Bruce Collection, State Library
of South Australia, BRG //.
Singleton Argus. . Ripolin for all purposes. Singleton
Argus. May :.
Standeven, H. . House paints, –: History and
use. Los Angeles: Getty Conservation Institute.
Stein, G. . The autobiography of Alice B. Toklas. nd ed.
New York: Random House. .
Sydney Morning Herald. . Sure to get it at Grace Bros. 
July: .
Sydney Morning Herald. . Cranes’ the paint specialists.
October :.
van den Berg, J. D. J., K. J. van den Berg, and J. J. Boon. .
Chemical changes in curing and ageing oil paints. ICOM
Committee for Conservation preprints, th Triennial
Meeting, Lyons, . London: James and James.
:–.

AUTHOR BIOGRAPHIES
PAULA DREDGE is the head of paintings conservation at the Art Gallery of New South Wales where she has worked since . She
has a Bachelor of Applied Science, Conservation of Cultural Materials, from the University of Canberra, , and a Bachelor of
Arts in Art History from the University of Sydney, . She took  years’ study leave in – 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 –. Address: Art Gallery Road,
Sydney, NSW , Australia. Email: paula.dredge@ag.nsw.gov.au.

MICHAEL R. SCHILLING is a senior scientist at The Getty Conservation Institute, where he has worked since . He holds bache-
lor’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,

Journal of the American Institute for Conservation , Vol.  No. , –
 LIFTING THE LIDS OFF RIPOLIN 

museum research studies, and field conservation projects. Address: Getty Conservation Institute,  Getty Center Drive, Suite
, Los Angeles, CA . Email: mschilling@getty.edu.

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), –. 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),
. Email: gwenclaire@gmail.com.

JOY MAZUREK has worked as an assistant scientist at the Getty Conservation Institute since . She specializes in the identifi-
cation of organic materials by gas chromatography/mass spectrometry. She obtained her master’s degree in biology, with empha-
sis 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: jmazurek@getty.edu.

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, ), a Diploma in conservation of easel paintings (Courtauld
Institute of Art, London, ), and an MA in Chemistry (Oxford University, ). 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 scientifi-
cally analyzed, how they will alter with time, and how to best conserve them. Before joining the Getty in , he was senior
conservation scientist at the Tate in London, where he worked for  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:
tlearner@getty.edu.

RICHARD WUHRER has recently been appointed research manager of the Advanced Materials Characterisation Facility at the Uni-
versity 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 , Penrith, NSW,  Australia.
Email: r.wuhrer@tpn.com.au.

RÉSUMÉ—Une collection de  pots de peinture Ripolin dans  teintes différentes, du studio de l’artiste austra-
lien Sidney Nolan, fournit un ensemble de référence unique pour l’étude de cette marque de peinture. Les boîtes
datent grosso modo de la période -. 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 . 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’éta-
lage 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’ana-
lyse 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  latas de pintura Ripolin en  colores diferentes del estudio del artista austra-
liano 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  y . 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 . 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

Journal of the American Institute for Conservation , Vol.  No. , –
 PAULA DREDGE ET AL.

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 oxi-
dación 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  a . Todas as latas de tinta RIPOLIN deste estudo foram fabricadas na
empresa inglesa situada em Southall, Londres, que começou a fabricá-las em . 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 obser-
vações 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 sign-
ificativo tratamento por calor durante o seu processamento.

Journal of the American Institute for Conservation , Vol.  No. , –