I was marveling about how good the sun-thickened oil is that I got from Robert Doak. Like everything I’ve ever purchased from him, the quality is excellent. I’m not out of the sun-thickened oil yet but I only have a half-bottle left. I hate to run out of supplies and I tend to stockpile them, which explains why I have 6 bottles of Groves’ siccative Courtrai.
Doak’s website is poorly designed, confusing, and the cart loses orders. I always call him when I need to order anything.
Mr. Doak answered the phone himself and we talked for 45 minutes. He’s very curious and also extremely knowledgeable. Unfortunately, he no longer makes the sun-thicked oil. He explained that it took too long to make and there wasn’t a big demand.
He sent me some canvas samples and I’ll buy my next roll from him. I’ve just used the last of my current roll. I also decided to try some of his painting Goop. Normally I avoid thick, viscous mediums but I decided to try it simply based on his recommendation.
We both agreed that Ralph Meyer’s book is useless ( his language was a little stronger than this). Someone gave it to me as a present some time ago. When I read his recommendation for damar-based mediums, I gave the book away.
I also ordered flake white pigment (a lot), a tube of his flake white, spike oil, and cold-pressed walnut oil. Mr. Doak maintains that walnut oil is better than linseed. There is a lot to be said for walnut oil, but I always find myself drifting back to the linseed.
Mr. Doak told me that he is 86.
A reader asked if I had probed Doak about how he made his sun-thickened oil. I did not. Doak’s sun-thickened oil is very thick–like stand oil. By contrast, Rublev’s sun-bleached oil is thin–barely thicker than straight linseed oil. Rublev’s performance is nowhere near Doak’s.
My guess is that he kept his oil exposed for a much longer time than Rublev or my version, which was close to Rublev. Doak is in New York so I’m guessing he used a more southernly locale for his oil.