Alizarin Claret

Inorganic

Alizarin Crimson

Inorganic

Amethyst

Inorganic

Amethyst

Inorganic

Bright Green Lake

Inorganic

Bright Yellow Lake

Organic

Brilliant Pink

Inorganic & Organic Mix

Burnt Sienna

Inorganic, Natural Earth

Burnt Umber

Inorganic

Burnt Umber

Inorganic

Cadmium Orange

Inorganic

Cadmium Red

Inorganic

Cadmium Red Light

 Inorganic

A powerful orange shade red with the usual cadmium characteristics, high Tint Power and opacity, and which can present warm, almost fiery hues when mixed with a more transparent white, such as Zinc.

Cadmium Yellow

Inorganic

Cadmium Sulphide, a very dense and lean mid-shade warm yellow which is virtually indispensable as a foundation colour for warm mixes of all kinds.

Cadmium Golden Yellow

Inorganic

A unique shade of Cadmium Sulphide that bridges the yellow to orange range with a pigment that seems destined to be mixed with the earths, ochres and mid-reds.

Cadmium Golden Yellow

Inorganic

A unique shade of Cadmium Sulphide that bridges the yellow to orange range with a pigment that seems destined to be mixed with the earths, ochres and mid-reds.

Cadmium Yellow Lemon

Inorganic

Cadmium Sulphide is a bright, tangy, high tint power yellow. An inorganic pigment which lightens and increases the opacity of warm mixes without overthrowing them. The Cadmium range of pigments was introduced into production 1840-1890, as soon as costs permitted, and has proved the most artistically reliable of all the metal compounds discovered in the 19th century.

Color Name:Caribbean Turquoise

Color Number:229

Pigment(s): PB15.3, PG7, PY150

Drying Speed: Fast

Opacity Covering and Tint Power: High

Lightfastness: Excellent

Oil Content: High

Toxic: No

Conforms to: ASTM D-4236

Cerulean Blue

 Inorganic

Cobalt Blue

Inorganic

Introduced at about the same time as Ultramarine, Cobalt Aluminate is a synthetic inorganic pigment. It is a more greenish blue, with a heavier, more mineral appearance when seen as dry pigment. The hues formed from it are correspondingly heavier and greyer. But it has a certain shade which the less expensive ultramarine cannot quite match. The paint film when cured is quite soft.

Cobalt Teal

Inorganic

For a landscape, portrait and non figurative painters this is a fabulously delicious vivid colour! Introduced into the range for its incomparable colour, handling and coverage it is a staple colour for the artist who sees the range of colours and values created when mixing and applying to one’s painting.

Cobalt Violet Dark

Inorganic

First made from the rare ore of Cobalt Phosphate in the mid-19th century, this is now a synthetic inorganic pigment, of which the lighter shade is closer to the original, natural version. Cobalt Violet Light has a very delicate shade of violet which appears quite opaque in mass-tone which quickly becomes transparent when applied thinly, and when glazed over a white ground, creating a very interesting range of bluish pinks. The hues are equally restrained. Always allow to cure in a good light for cleanest results.

Cobalt Violet Light

Inorganic

First made from the rare ore of Cobalt Phosphate in the mid-19th century, this is now a synthetic inorganic pigment, of which the lighter shade is closer to the original, natural version. Cobalt Violet Light has a very delicate shade of violet which appears quite opaque in mass-tone which quickly becomes transparent when applied thinly, and when glazed over a white ground, creating a very interesting range of bluish pinks. The hues are equally restrained. Always allow to cure in a good light for cleanest results.

Cremnitz White No. 1 (Linseed Oil)

Inorganic

This paint is made with pure industrial lead carbonate in linseed oil which makes a heavy, tactile white with a very robust surface. So called because it was originally made in the Bohemian town of Kormeriz, called Cremnitz under the Hapsburgs. The ideal white for furrowed, granular or impasto mark making. When used unmixed it tends to cure with a slight expression of oil to the surface, giving it a warmer, parchment-like effect. Cremnitz White No. 1 is a wonderful all around mixer for middle-value hues that supports colours without annulling them.

Cremnitz White No. 2 (Walnut Oil)

Inorganic

The combination of pigment and walnut oil produces some wonderful qualities, possibly due to its lesser ability as a wetting agent, which results in less pigment within the actual mixed paint and therefore increases transparency and subtler intermixes with colours. There is inaccurate material publicized by some colourmen that walnut oil goes rancid and therefore is not to be relied upon as a drying oil which is completely untrue! It was used along side linseed oil for centuries and found favor with just about all artists who worked with it. Most artist, dare I say, who try it love it!

The use of walnut oil in paint can be traced back even further than that of linseed. When 15th century artists began to add oil to their tempera colours it was walnut oil that seemed the obvious choice. Jan van Eyck in Flanders and Antonello da Messina in Italy both knew of its handling properties; from that time on it was widely used by just about all the great artists, being more a question of who did not use it rather than who did.

I thought it would be interesting to bring back this oil as a binder for lead white. It survived as the binder for the white made by French colourmen selling to the Impressionists, but it seems to have fallen out of use by the end of the 19th century. I believe the reason for this was its expense. Even today it costs about 3 times the price of linseed oil. But since lead paint needs little oil, the increased cost is less evident. Some accounts I have read speak of its tendency to go rancid, but I suspect this is less of a reason for its demise and more an offered excuse to drop it in favour of other, cheaper oils. Upon researching this matter I can find no evidence of the oil spoiling in any way, particularly while incorporated into the form of an oil paint.

There was in fact good reason why walnut oil was preferred as a binder for whites: it has the reputation for yellowing slightly less than linseed, and so paler and cooler colours bound with it underwent less change in drying. The film of dry walnut-bound paint is not quite as strong as that bound with linseed, but it is stronger than that of poppyseed oil, and this permits walnut-bound paint to be overpainted in a way which would risk later cracking if poppyseed oil had been used. Walnut oil dries at a rate comparable to linseed. I have read accounts of how it was particularly useful for the very detailed work demanded by work such as portraiture. I suppose the works of the 15th century masters cited above demonstrate just how refined its handling could be.

It is the feel of this paint under the brush, I think, which constitutes the most compelling argument for its revival. My artist friends have characterized its texture with words like “voluptuous” and “silken”. There is certainly a flow to it which is quite distinct from that experienced using the other oils. One can sense how this had to be the only means by which those precise yet creamy highlights of ruff collars and shot silks were attained by baroque portraitists. Whilst retaining the properties we so value in lead white, walnut oil adds to this paint a cool smoothness which is quite unique. Some of the artists who have tried it tell me that from now on they will paint only with this white.

Cremnitz White No. 2 (Walnut Oil)

Inorganic

The combination of pigment and walnut oil produces some wonderful qualities, possibly due to its lesser ability as a wetting agent, which results in less pigment within the actual mixed paint and therefore increases transparency and subtler intermixes with colours. There is inaccurate material publicized by some colourmen that walnut oil goes rancid and therefore is not to be relied upon as a drying oil which is completely untrue! It was used along side linseed oil for centuries and found favor with just about all artists who worked with it. Most artist, dare I say, who try it love it!

The use of walnut oil in paint can be traced back even further than that of linseed. When 15th century artists began to add oil to their tempera colours it was walnut oil that seemed the obvious choice. Jan van Eyck in Flanders and Antonello da Messina in Italy both knew of its handling properties; from that time on it was widely used by just about all the great artists, being more a question of who did not use it rather than who did.

I thought it would be interesting to bring back this oil as a binder for lead white. It survived as the binder for the white made by French colourmen selling to the Impressionists, but it seems to have fallen out of use by the end of the 19th century. I believe the reason for this was its expense. Even today it costs about 3 times the price of linseed oil. But since lead paint needs little oil, the increased cost is less evident. Some accounts I have read speak of its tendency to go rancid, but I suspect this is less of a reason for its demise and more an offered excuse to drop it in favour of other, cheaper oils. Upon researching this matter I can find no evidence of the oil spoiling in any way, particularly while incorporated into the form of an oil paint.

There was in fact good reason why walnut oil was preferred as a binder for whites: it has the reputation for yellowing slightly less than linseed, and so paler and cooler colours bound with it underwent less change in drying. The film of dry walnut-bound paint is not quite as strong as that bound with linseed, but it is stronger than that of poppyseed oil, and this permits walnut-bound paint to be overpainted in a way which would risk later cracking if poppyseed oil had been used. Walnut oil dries at a rate comparable to linseed. I have read accounts of how it was particularly useful for the very detailed work demanded by work such as portraiture. I suppose the works of the 15th century masters cited above demonstrate just how refined its handling could be.

It is the feel of this paint under the brush, I think, which constitutes the most compelling argument for its revival. My artist friends have characterized its texture with words like “voluptuous” and “silken”. There is certainly a flow to it which is quite distinct from that experienced using the other oils. One can sense how this had to be the only means by which those precise yet creamy highlights of ruff collars and shot silks were attained by baroque portraitists. Whilst retaining the properties we so value in lead white, walnut oil adds to this paint a cool smoothness which is quite unique. Some of the artists who have tried it tell me that from now on they will paint only with this white.

• Colour Index: Pv 23
• Drying Speed: Average
• Opacity Covering: Transparent
• Tint Power: Extremely High
• Lightfastness: Excellent
• Oil Content: Linseed Oil, High
• Toxi:c No
• Conforms To: ASTM D-4236

Deep Purple has tremendous use in all aspects of painting but should be used with caution by new artists as it has a tint power only matched by the Phthalocyanines. However, do not be daunted by this description as when combined with whites it produces remarkable shades. Also its slight addition to transparent yellows, such as Indian Yellow, can result in some extraordinary results.

Emerald Green

Inorganic & Organic

A blend of organic Lake colours (Arylide Yellow and Phthalo Green) with two inorganic whites to give a safe and permanent substitute for the original Emerald Green, the notorious Copper Aceto-Arsenite, a brilliant green introduced circa 1810 and long since abandoned as being impermanent, highly reactive with other pigments and highly poisonous! Great for any landscape / plein air artist.

French Yellow Ochre

Organic, Natural Earth

An iron based inorganic earth pigment; curing speed is of course fast. French Yellow Ochre can be described as a semi-transparent oil paint. Ochre is a common pigment choice for artists dating back to the Middle Stone Age. Ochre is a natural earth pigment containing hydrated iron oxide. I obtain our high quality ochre pigment from the oldest source in France. My formulation of pigment is ground in linseed oil. We added French Yellow Ochre to our range of ochres because of its earth properties providing the artist with a glowing natural yellow. Although the beautiful tones of our French Yellow Ochre will be appreciated by all styles of painters the landscape and portrait artist will especially enjoy this paint!

Genuine Chinese Vermilion

Inorganic

A rich, potent colour favored by the Old Master’s, my Genuine Chinese Vermilion is made from the real Mercuric Sulphide. This is not a “hue” as you will find in other manufacturer’s ranges. The body and texture of my Genuine Chinese Vermilion is unparalleled in the industry. A paint coveted not only by the Old Master’s but by Modern Master’s as well. Made by native natural cinnabar which has been purified to a degree where it has robust resistance to general gallery conditions and is only subject to change when exposed to direct sunlight or the presence of chlorine compounds as with the case of historical true vermilions perhaps being caused by the accumulated dirt caused by human skin in the form of gallery dust, sweat of course containing sodium chlorides or slats from human sweat! This is a red of peculiar quality it’s relation to many colours unparalleled particularly in portraiture that cannot be replaced by cadmiums.

Inorganic

Lead Antimoniate, in genuine versions, appears to have been used as a pigment since the 5th century B.C. and has been manufactured since the 1400’s. Being one of the most relied-upon colours and in constant demand. I am now one of a few artists colourman left making the genuine article, as opposed to the modern alternate. I continue to do so because its vivid, dense, almost primrose yellow cannot be mimicked, as portraitists and figure painters will attest. It is more powerful and yet more muted than its equivalents among the Cadmium range. Its handling characteristics are incomparable. Because it tends to react when parsed with steel rollers, to this day I still grind it with stone. Just incredible one of our best sellers.

Color Name:Green Gold

Pigments: PY129

Drying Speed: Average

Opacity: Transparent

Tint Power: High

Lightfastness: Excellent

Oil Content: Linseed Oil, High

Toxic: No

Conforms To: ASTM D-4236

Green Gold is a pigment I have admired for many years, although essentially a modern colour. As a standalone pigment it brings to your painting a unique green that has its own elegance. However when mixed it is “weird!” When you first look at it as a single colour it is very interesting‎ however, when mixed with other transparent colours like Alizarin Claret or Magenta it does extraordinary things. One wonders where the “third” colour came from as it seems quite magical. The magical qualities of Green Gold give it a high tint power and high capacity for being lightfast. Remember, because Green Gold is a transparent colour it has wonderful glazing properties and power.There is only one organic pigment in my Green Gold and as such this pigment is highly transparent and lightfast.

Indian Red

A deeper and cooler blue red shade of synthetic Iron Oxide with great colourific density which makes hues with conspicuously purplish undertones, to which some painters value for rendering flesh tones in interior light.

Organic

Diarylide Yellow, a synthetic organic Lake which replaces uric acid (which was made by warming the urine of Indian cows fed on mango leaves!). The modern organic equivalent matches the beauty of the colour used for centuries in Mughal miniatures but has greater Tint Power and reliability. If brushed thinly over hued backgrounds it presents a uniquely vibrant, warm, mustard yellow. Please note my Indian Yellow is not made in any way from any animal waste.

Organic

Diarylide Yellow, a synthetic organic Lake which replaces uric acid (which was made by warming the urine of Indian cows fed on mango leaves!). The modern organic equivalent matches the beauty of the colour used for centuries in Mughal miniatures but has greater Tint Power and reliability. If brushed thinly over hued backgrounds it presents a uniquely vibrant, warm, mustard yellow. Please note my Indian Yellow is not made in any way from any animal waste.

Inorganic & Organic

This is Indian Yellow with the addition of an Iron Oxide pigment, this same iron based pigment has an incredibly small particle which makes also useful as a wood dye. The Iron Oxide gives a very rich, beautiful, gingery red shade to the blend, as well as greatly accelerating the curing speed, to the point that this paint can be used as a curing agent in mixes with others. Fabulous when mixed with Magenta, Ultramarine Blue and other vivid colours.

Color Name:Indigo

Color Number:228

Pigment(s): PBk6, PB15.3, Pv19

Drying Speed: Average

Opacity Covering and Tint Power: High

Lightfastness: Excellent

Oil Content: High

Toxic: Yes

Conforms to: ASTM D-4236

Organic, Natural Earth

Italian Brown Ochre is an interesting natural earth with the most wonderful transparent under colour. A beautiful addition to our range and filling a gap in existing ochres and umbers. A natural earth from the Mediterranean. Apply this gorgeous rich colour in landscapes, Portraits and non figurative works to compliment more powerful colours.

Inorganic

This lovely Italian Green Umber is a romantic, earthy colour that is ground in linseed oil. It is an inorganic pigment especially chosen for its deep green warm and semitransparent undertone. It is ideal for Plein Air painters to create rich earthy greens for their landscapes. Portrait artists will appreciate the paints’ ability to help an artist achieve many effects, for example shadows. The handling of the oil paint is smooth and consistent. Please, consider this colour as it has tremendous beauty; I must say I am very proud of it. You might wish to consider a couple of drops of stand oil being added to enhance its rich moss colour. Italian Green Umber also proves very useful in tonal drawings at the start of a painting

Organic, Natural Earth

An impure amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burning ivory scraps, but from charred animal bones. It is denser in shade and cooler than Lamp Black with stronger Tint Power. The most frequently used black in the range.

Inorganic

A deeper version of the Kings Blue Light blend. Useful for such features as architectural modeling in backgrounds, flowers, interiors, skies and accent colours.

This name was given by English manufacturers to Smalt, a Cobalt based pigment which was used in the 16^th -17th centuries as a less expensive alternative to Lapis Lazuli. Unfortunately, Smalt was prone to fade into a light grey, as some Veronese skies demonstrate. But the introduction of Ultramarine Blue made the original Smalt formula obsolete, and so I offer a completely reliable substitute blend which evokes the aerial effects of the great Venetian decorators

Inorganic

This name was given by English manufacturers to Smalt, a Cobalt based pigment which was used in the 16^th -17th centuries as a less expensive alternative to Lapis Lazuli. Unfortunately, Smalt was prone to fade into a light grey, as some Veronese skies demonstrate. But the introduction of Ultramarine Blue made the original Smalt formula obsolete, and so I offer a completely reliable substitute blend which evokes the aerial effects of the great Venetian decorators.

Organic, Natural Earth

So named because it was originally derived from the soot of oil lamps, this is pure Carbon, and probably the first pigment our ancestors ever used to decorate their caves. A soft, slightly warm shade of black whose surface gives it a greyish aspect. Probably not the best choice for unmixed underpainting on account of its tendency to move whilst drying, but this can be remedied with the addition of good drying Earths. Tends to dry with a matte finish, which can be compensated for with the addition of a little stand oil.

Inorganic, natural earth

A genuine earth from Afghanistan the purest and oldest form of the Lapis Lazuli pigment. Lapis was the inspiration for the modern synthetic ultramarine blue whose colour is a deeper less dirty blue than lapis; the handling qualities are identical. This is the blue that the Old Masters used for centuries. This pigment is still very expensive and rare. Lapis Lazuli and Azurite are a family of natural earth pigments and were the source of the famous blues of the Middle Ages. There are plenty of books that deal with this subject superbly but I feel its appropriate that I say a few things about it

.

The first and most noticeable thing about Lapis compared to the modern synthetic equivalent ultramarine blue, is the considerably less tinting and covering power and its slightly dirtier colour, though neither of these traits should be seen to detract from the natural beauty. If you are looking for a blue of great sharpness with huge explosive possibilities and tinting ability that can almost poke your eye out, even when intermixed with just about any colour, try phthalocyanine blue instead! Lapis is a different creature altogether. My own inclination is to almost create the painting for the colour rather than the colour for the painting.

When combined with Terre Verte and other earth colours Lapis is at “home.” Spread out as a wash drawn across a landscape at horizon line and it’s done, Lapis almost paints itself. Alternately added as a toner to cool shadows in portraits the choices of course are yours and as I always say it’s you the artist who has to do the hard part!

When I first assessed the feel and nature of the pigment it was instantly clear it would have to be milled/dispersed with great care and very gently. Hand grinding was interesting but didn’t quite yield its inner nature as the crisper colour isn’t quite achieved in this way so I elected to use a stone roller mill. The relationship of stone and oil to stone seemed more harmonious; to have used a steel roller machine would have been sacrilegious to say the least. Its texture is slightly granular almost fluffy in its body, when stroked between fingers you can feel the slight sandy particles are up to 20 microns in size which is of course minute. The synthetic Ultramarine Blue feels more like a gel as if there are no particles as the particles are less than a micron in size. I do see that the making of Lapis was a great challenge and I feel almost nervous yet possessive about making it available.

In the summer of 2007 I met David Hockney and Lucien Freud at the Royal Academy in London. David at the time was showing his giant tree painting privately, I thought it would be fun to present both artists with a tube of Lapis each. I must be honest thinking about the nature of both artists’ works as I had expected more of a reaction from Lucien. I am delighted to say that it was David whose interest and subsequently placing of a substantial Lapis request that swung me in favor of adding it to our range. As with all oil colours to achieve the best in terms of light fastness I suggest you cure Lapis oil paint in a good light as this alleviates the nature of linseed to go murky.