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Painting Mediums and Varnishes - Sennelier
A509.11 Sennelier Poppy Oil
A509.11 60ml
A509.11A 250ml
A509.11
A509.12 Sennelier Dutch Gloss Medium
As the name suggests, this final glaze medium was inspired by the recipes of the Flemish School painters where colour intensity and detail were magnified. While it can be mixed with oil paint, it is not recommended to add more than 10% to the total colour mix. Excessive thinning with turpentine is not recommended as it will greatly alter the drying characteristics. 34ml tube.
A509.13 Sennelier Turner Transparent Medium
Use this medium in moderation to obtain a silky, luminous effect that is totally transparent . This medium will increase the drying time and workability of the paint on the canvas, and dries to a uniform satin surface, regardless of layer thickness. Although it may be thinned with spirit or turpentine, this should be limited to only 10% of the total colour mixture. Made from a base of cold-pressed safflower oil. 34ml tube.
A509.15 Sennelier Impasto Oil Medium
A natural resin-based medium made from thickened vegetable oil, which allows artists to build up rich impasto marks and textural layers which would be unstable with normal oil paint. The medium couples the firmness of the final mark with a buttery feel in application. While it may be thinned lightly with turpentine, for best results it is recommended to use mixed directly with oil paint from the tube. It should not under any circumstances, be hastened in the drying process with additives or mechanical means, such as hair dryers. Alternatively, the medium can be worked directly over the primed canvas, 'empasto', allowed to dry, then painted over with layers of oil paint, either straight or mixed in any proportion. 200ml.
A509.25 Sennelier Linseed Oil
A509.25 60ml
A509.24 125ml
A509.131 Sennelier Gel Medium
Absolutely clear and non-yellowing gel that does not alter the drying time of work. It can be mixed with oil paint 1:1 to increase adhesive characteristics, avoiding the necessity for retouch varnish when layering. It also assists in the smoothing of undried paint layers. Ideal for textural painters requiring brush-stroke marks that will stay crisp and sharp and where impasto marks are to be retained. 34ml tube.
A509.29 Sennelier Stand Oil
A509.29 60ml
A509.30 250ml
A509.28 Sennelier Venetian Turpentine
A rich honey-like balsam from the European larch tree. This thick medium should be mixed sparingly into oil paint when a jewel-like gloss is required (do not exceed 10% of the total mix). Because it is a concentrate, it may be diluted by up to 20% with gum turpentine. It greatly toughens up paint surfaces and increases the drying rate of final paint layers.
A509.28 32ml
A509.28A 120ml
A509.28A 
A509.121 Sennelier Maroger Medium
Named after the famous 1930 curator of the Louvre Museum who is attributed with rediscovering this lost secret ingredient used extensively by the Old Masters, such as Titian, Rembrandt and Vermeer. This expensive medium is very difficult to prepare and takes considerable time to produce an unusual emulsion of linseed oil, mastic resin, gum arabic and black oil. For maximum effect, mix 1:1 with oil paint to make colours richer and deeper, retaining an enamel-like glow when dry. It improves paint handling, since it makes oil colours 'non-migratory', allowing them to remain sharp and clear, standing out from the background. Mix into whites first for tints. 37ml tube.
A509.39 Sennelier Damar Gum
Damar crystals are collected from the Indonesian fir tree and easily dissolved in gum turpentine to make this traditional and transparent high gloss protective painting film which is easily removable. It is often used in many other glaze and medium painting formulas. Available in 250ml quantities.
A509.14 Sennelier Varnish
Dries to a uniform finish.
A509.17 Satin (60ml)
A509.16 Gloss (60ml)
A509.18 Matt (60ml)
A509.14
A509.20 Sennelier Turner Retouch Varnish
Mineral-turps based, this varnish is recommended for restoring luminosity and brilliance to paintings with dull areas and sections which have sunk in colour. In recent years, it has been used extensively as a temporary first coat for artists wishing to exhibit paintings recently completed, but where insufficient time has elapsed (6-12 months) for a traditional hard final varnish like damar or mastic to be applied.
A509.20 60ml
A509.201 250ml
A509.33 Sennelier Mastic Varnish
Similar in characteristics to the popular damar varnish, having an easily removable high gloss film, this product differs in that it imparts a golden glow to the work, evident in many Old Master paintings. It may be diluted with gum turpentine and dries relatively quickly.
A509.33 60ml
A509.34 250ml
A509.34
A509.19 Sennelier Isolating Varnish
Special varnish to be applied after 6 months drying time, which completely isolates the lower layers of the painting from the new work without the problem of the new layers merging or redissolving into the old paint layers. May be thinned with alcohol. 60ml.
A509.22 Sennelier Acrylic Varnish - Matt
Although made from a special acrylic resin and silicone celluloid base, this clear colourless varnish leaves an even matt surface which dries hard and offers excellent protection. May be thinned with turpentine for application. 60ml.
A509.23 Sennelier Acrylic Varnish - Gloss
Same base as the above varnish, but dries quickly to a high gloss surface. 60ml.
A509.35 Sennelier Gouache Varnish
Formulated to combat the delicate surface problems encountered in gouache painting, particularly with the overpainting of several layers, and where protection is required which is not immediately apparent or makes changes to the painting intensity or surface appearance. The varnish is formulated from a colourless synthetic resin and is alcohol-based, giving an even matt surface film. For best results, spray with the mouth atomiser for small works or apply with a brush.
A509.35A 60ml
A509.35B 250ml
A509.35A
A355 Sennelier Artist Quality Egg Tempera
Much has been written about the historical importance of this delicate, but enduring archival painting medium. Capable of the strength and the richness of oil painting, it is also produces the delicate subtlety of watercolour wash, drying to its characteristic satin sheen. Evident in the beauty of icons, Sennelier's century-old formula has proven itself since it does not yellow or deteriorate over time and is an excellent choice for all oil painters as an underpainting base to work up compositions and colours. In the US in recent years, Sennelier tempera has been increasingly adopted by artists wishing to obtain the unique effects of tempera without the problems of solvents and cleanup of materials. Although these products are water-soluble, they dry to a satin finish which is water-resistant.
A355.01 Series 1 (18ml)
A355.02 Series 2 (18ml)
A355.03 Series 3 (18ml)
A355.04 Series 4 (18ml)
A355.06 White (37ml)
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Painting Mediums and Varnishes - Blockx
A611
A611.04 Blockx Amber Medium
Again made from dissolving the difficult amber resin in selected pure turps, but this time, made with a spike of lavender. Available only in a 25ml glass tube.
A611.04
A611.12 Blockx Painting Medium - Slow
Use for diluting colours without degreasing them. Normal drying time.
A611.12 60ml
A611.13 125ml
A611.131 500ml
A611.14 Blockx Painting Medium - Fast
Use for diluting colours without degreasing them. Fast drying time. 60ml.
A611.02 Blockx Poppy Seed Oil
Slower drying than linseed oil and non-yellowing. Mix in place of linseed oil with all bright colours and whites. 500ml.
A611.10 Blockx Retouch Varnish
Use to minimise the occurrence of "fill-in". Strengthens the layers between paint.
A611.10 60ml
A611.11 125ml
A611.111 500ml
A611.11 / A611.111
A611.03 Blockx Picture Varnish
For protection of oil paintings. Apply after work is dry in as thin a layer as possible.
A611.032 125ml
A611.031 60ml
A611.01 Blockx Amber Varnish
Amber is a natural fossilised resin, found around the coastal regions of the Baltic Sea. For centuries, this product has been used to impart a jewel-like richness to oil paintings, ie. the Flemish School. Blockx are the last remaining supplier to still produce this expensive-to-manufacture medium. Available only in a 10ml glass vial.
A611.01
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Painting Mediums and Gessos - Heidelberg
Painting Mediums 1-3
A series of mediums designed around the principles of 'lean to fat', covering the areas all the way from under-painting to glazing.
A513.17 Painting Medium No. 1
A thin fast-drying medium which dries to a matt finish. 500ml.
A513.18 Painting Medium No. 2
For over-painting No 1 medium, but dries to a satin finish. It is often used as a thinner for oil paints when on the palette.
A513.18A 200ml
A513.18 500ml
A513.19 Painting Medium No. 3
This the thickest of the mediums and may be thinned with pure turps. Made from a traditional mixture of damar varnish, linseed oil and white spirit. It dries relatively quickly, is non-yellowing and has a finish of a light gloss. This is the largest selling of this group. 500ml.
A513.06 Glaze Medium
An all purpose glazing medium that can be used at all stages of an oil painting. Whilst similar in formula to the No 3 above, it additionally has good levelling characteristics so has great application for thin glazing effects. These characteristics are greatly enhanced by its fast drying ability. 500ml.
Note: For a matt finish, add a little of our wax medium).
A513.11 Wax Medium
A high quality bleached wax medium containing linseed oil and pure turpentine for the traditional 'encaustic' technique. Its inherent slow drying retains brushstrokes and palette knife marks. For a full matt finish with impasto effect, a little is often added to the thixotropic gel for faster drying but with enhanced pigment richness, giving an enriched background mass-tone normally unique to wax. When used by itself, it is inherently slow drying. It should not be used too thickly as problems can occur involving softening and sagging of the artwork. 500ml.
A513.01 Thixotropic Gel Medium
Out of the tin, this is a 'jelly-like' clear medium with thixotropic ability to set in the form of a brushstroke. Designed for under-painting, it is fast drying and made from a tough drying mixture of mainly linseed oil with some alkyd resin. It can quickly be worked up with a spatula or warmed to a flowing cream consistency and hence can be thinly layered for fast drying layers of rich colour density, without dilution of brightness and contrast. It can also be used a thick glaze medium. Note that it is not intended as a clear oil paint base as it should not be built up into very thick layers. Available 500ml.
A512.531 Damar Varnish
Made from the best Asian damar crystals. A traditional medium used to impart high gloss and often used in formulas for tempera painting. Available 200ml.
A512.13 Clear Oil Paint
This excellent product has been sold for years in bulk quantities up to 20 litres in drums. Note that it contains no driers and hence is neutral to individual pigment selection. Add to existing oil colours of any brand to extend them without fear of muddying up colour or altering tints. It can be used as a medium with greatly increased drying times for wet on wet, or drying can be hastened with the addition of a few drops of terabin driers or a little NWPS Quin alkyd drying resin. Use this as a base to make your own oil paints. Firstly, wet the pigment in methylated spirits, work up with a spatula, add the clear oil paint and keep working as the alcohol evaporates and the paint becomes more viscous. Wax medium may also be added to increase the impasto height and to matt the normally gloss surface.
A512.13 500ml
A512.14 1lt
Use with a vapour mask.
A511.81 Alkyd Resin
Oil modified alkyd resin is a refined and reliable stable product and painting medium similar to stand oil. It has reliably fast drying times compared to linseed oil but being manufactured to an industrial standard, it has the ability to remain consistent year in and out, unlike linseed oil which changes depending upon the type of season and the country of origin. Like stand oil, it is usually added to oil paints and mediums to modify drying and surface characteristics; however, it additionally increases transparency, enrichment and flexibility. 500ml.
A511.073 Acrylic Medium - Gloss
A thick milky medium which can be diluted or used straight from the container. When used straight over acrylic paintings, it develops the richness and gloss level of damar varnish in oils, bringing out the luminosity and mass tone of the pigments. It can be used in all stages of painting and mixed with any brand of acrylic to achieve tints. Likewise, it can be mixed with pigments to make your own acrylic paints. Thinned down, it may be used as a glaze medium. 500ml.
Note: Although this product has a milky appearance, it dries crystal clear.
A511.075 Acrylic Medium - Matt
Similar to gloss finish acrylic medium, but dries with a matt finish. Use as above. 250ml.
Note: Although this product has a milky appearance, it dries crystal clear.
A512.09 Oil Gesso
For the traditional painter and for those requiring the best highly pigmented base for oil paintings when executing the finest detail, there is no substitute for a traditional recipe oil primer. It is made from a mixture of zinc and titanium pigments mixed with bartyes and is particularly suitable as a linen and panel paint base. For bonding an oil painting to its base, there is no substitute to compare with having the same linseed oil base. To extend the life of a painting, it is now recognised that it is best to have an oil primer for oil paintings, since the varying expansion and contraction rates due to temperature changes are matched (acrylic has a vastly different rate to oil). Note that this is relatively slow drying gesso. Available in 500ml tin.
A512.07 Acrylic Gesso - Student Quality
A lower priced gesso with less pigment and a less expensive acrylic binder which still combines a brilliant white surface with flexibility.
A512.01 1 litre
A512.02 4 litres A512.03 10 litres
A519.07 Rabbit Skin Glue
In isolating oil from canvas, several specific recipes and applications are to be found in Ralph Mayer's reference book. Tubs of powder glue - 0.5kg.
A519.07
A511.63 Stand Oil
Polymerised heat-bodied linseed oil, today produced in a closed stainless steel kettle in a vacuum. This increases the oil's viscosity to a honey-like consistency with excellent wetting qualities. A wonderful traditional product that causes colours to flow out, imparting a brush-free gloss. Available 200ml.
A511.571 Refined Linseed Oil
Premium quality oil of light colour and excellent thinning properties. 500ml.
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Painting Finishes, Aerosol Sprays - general
All cans contain 400g quantities.
A260.01 Spray Fixative
A260.02 Crystal Clear
A260.03 Spray Adhesive
A260.04 Picture Varnish - Matt
A260.05 Picture Varnish - Gloss
A260.06 Metallic Gold Spray
A260.11 Metallic Silver Spray
A260.07 Krylon Acrylic - Gloss
A260.07
A260.08 Krylon Acrylic - Matt
A260.09 Krylon Kamar
A260.10 Photo Dulling Spray
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Painting Canvas
A514.01 Cotton Duck - Unprimed
Australian manufactured canvas in three weights, in a 6 foot width and sold per metre.
A514.01 10oz
A514.02 8oz
A514.03 12oz
A514.04 Cotton Duck - Primed (10oz)
Acrylic-primed medium weight cotton duck, 53" (1350mm) wide. Sold per metre.
A513.83 Cotton Duck - Primed (12oz)
Primed cotton duck. 1910mm wide. Sold per metre.
A253.01 Cotton Duck - 10 metre Rolls
A513.71 8oz (275g) 100% cotton - unprimed 1910mm wide. Sold per roll
A513.72 8oz (275g) 50% cotton/50% polyester -1930mm wide. Sold per roll
A513.73 10oz (320g) 100% cotton - unprimed 1910mm wide. Sold per roll
A513.82 10oz (340g) Primed cotton -1910mm wide. Sold per roll
A514.12 Belgian Linen
Loomstate (unprimed) best quality linen. Sold per metre.
A514.12 No. 125 - Coarse 52" wide
A514.13 No. 602 - Fine 47" wide
A514.4 No. 999 - Medium 84" wide
A514.14 Belgian Linen
Loomstate (unprimed) best quality linen with a fine surface and a wide roll width of 7 foot. Sold per metre.
A514.15 Belgian Linen
Loomstate (unprimed) best quality linen, double-thread. No 209 - Medium 84" wide. Sold per metre.
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Painting Stretchers and Supports
D523.104 Multi-Media Board - 3 Ply Pack
Acid-free board, suitable for painting and drawing. Measures 420x520mm. American. Available in off-white only. Sold in packs of 10.
A515.70 Canvas Covered Boards
Inexpensive primed board ready to paint directly on to, in either oil or acrylic. American.
A515.71 4x6"
A515.72 5x7"
A515.73 6x8"
A515.74 8x10"
A515.75 9x12"
A515.76 12x16"
A515.77 14x18"
A515.78 16x20"
A515.79 18x24"
A515.73
A515.12 Stretcher Arms - Professional
Best quality medium, measuring 3x1" (25x75mm) in straight selected pine. Whilst these arms are not the least expensive, they do not have the warping problems often associated with cheaper priced arms. Stocked in standard lengths from 12" to 84", together with braces. (Special sizes made to order in 2 working days). Larger sizes are milled with slots and colour coded for hardwood braces.
Stretcher arms are priced per pair or as set sizes:
A515.07 12"
A515.08 14"
A515.09 16"
A515.10 18"
A515.11 20"
A515.12 22"
A515.13 24"
A515.14 26"
A515.15 28"
A515.16 30"
A515.17 32"
A515.18 34"
A515.19 36"
A515.20 38"
A515.21 40"
A515.22 42"
A515.23 44"
A515.24 48"
A515.25 54"
A515.26 60"
A515.27 66"
A515.28 72"
A515.30 78"
A515.29 84"
A515.20
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Gouache Paints - Sennelier
A502.55 Sennelier Artist Quality Gouache
Sennelier have always made superior quality gouache, sometimes called opaque watercolour due to its covering power and ability to build up layers. Most manufacturers make a designers' gouache which uses pigments similar to transparent drawing inks, but are mainly only hues of traditional oil paint pigments. Sennelier, however, have always made gouache for artists such as Picasso, Chagall, Miro and Dufy, and have only used the same expensive, high quality pigments present in their watercolours and oils. The range is smaller than watercolour as pigments are selected for opacity. The paint dries to a matt finish and colours are available in 21ml tubes.
A502.55 Series 1
A502.56 Series 2
A502.57 Series 3
A502.58 Series 4
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Gouache Paints - economy
A502.41 Gouache - Joe Sonja's
80ml tube.
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Impasto Pastes (monoprinting) - Createx
A510 Createx Monotype Colours
Water-washup acrylic pastes ideal for monoprinting or painting. The slow-drying colours can be applied, layer by layer, onto a plate, then the resulting image transferred to previously soaked rag paper. The transfer can be achieved with a soup spoon, bamboo baren or even a rolling pin. However, for larger plates and faster printing, an etching press is the preferred option.
A510.01
4oz bottles
A510.03 White
A510.04 Primrose Yellow
A510.05 Golden Yellow
A510.06 Yellow Ochre
A510.07 Orange
A510.08 Scarlet
A510.09 Red Oxide
A510.10 Primary Red
A510.11 Crimson
A510.12 Ultramarine
A510.13 Cerulean Blue
A510.14 Pthalo Blue
A510.15 Cobalt Blue
A510.16 Pthalo Green
A510.17 Earth Green
A510.18 Leaf Green
A510.19 Raw Sienna
A510.20 Burnt Sienna
A510.21 Raw Umber
A510.22 Burnt Umber
A510.23 Magenta
A510.24 Carbazole Violet
A510.25 Black
8oz bottles
A510.26 White
A510.27 Primrose Yellow
A510.28 Golden Yellow
A510.29 Yellow Ochre
A510.30 Orange
A510.31 Scarlet
A510.32 Red Oxide
A510.33 Primary Red
A510.34 Crimson
A510.35 Ultramarine
A510.36 Cerulean Blue
A510.37 Pthalo Blue
A510.38 Cobalt Blue
A510.39 Pthalo Green
A510.40 Earth Green
A510.41 Leaf Green
A510.42 Raw Sienna
A510.43 Burnt Sienna
A510.44 Raw Umber
A510.45 Burnt Umber
A510.46 Magenta
A510.47 Carbazole Violet
A510.48 Black
A510.49 Createx Monotype Base
Base for using with above colours.
A510.49 4oz
A510.50 16oz
A510.51 32oz
A510.00 Createx Colours - Sample Set
Contains 9 colours. 2oz.
A510.01 Createx Colours - Professional Set
Contains 12 colours. 4oz.
A510.02 Createx Handbook
Useful informative booklet for using Createx products.
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Artist Quality Oil Paints - general
A703.00 Art Spectrum Oil Paints - 40ml tubes
A703.01 Series 1
A703.02 Series 2
A703.03 Series 3
A703.04 Series 4
A703.05 Series 5
A703.001 Art Spectrum Oil Paints - 150ml tubes
A703.10 Series 1
A703.11 Series 2
A703.12 Series 3
A703.13 Series 4
A703.002 Art Spectrum Oil Paints - 500ml tins
A703.21 Series 1
A701.00 Lefranc Oil Paints
40ml tubes. Range of 80 colours.
A701.01 Series 1
A701.02 Series 2
A701.03 Series 3
A701.04 Series 4
A701.05 Series 5
A701.06 Series 6
A701.00
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Student Quality Oil Paints - general
A705.20 Lefranc Art Student Oils
'Louvre' series. 150ml tubes. Range of 18 colours.
A650.00 Student Oils - Beginners
Boxed sets of 18 colours. 12ml tubes.
A650.00
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Artist Quality Oil Paints - Sennelier
The development of Impressionist painting is almost in parallel with the development of Sennelier oil paints. The evidence of of quality and long-term consistency is visible in most of the world's major art collections where Sennelier paint is present on the canvases of Monet, Bonnard, Chagall, Kandinsky, Modigliani and Yves Klein. In keeping with early manufacturing traditions, the paint of today is highly concentrated without fillers, employing special methods of manufacture. Difficult colours are milled on granite stone rollers and the paint base comprises oil of Carthame, cold-pressed, which gives the paint its specific buttery feel, drying to a satin finish. This does not have the yellowing effect of linseed oil, used as a base by many paint manufacturers.
With its current range, Sennelier has retained many unique colours, such as Genuine Naples Yellow, Madder Lake Pink, Pouzzoles Red and Pink Brown. New hues have been added in recent years such as Chinese Orange and Permanent Intense Red. Available in 107 colours in 34ml tubes as well as 200ml tubes.
A850.01 Sennelier Oil Paint
34ml tubes.
A850.01 Series 1
A850.02 Series 2
A850.03 Series 3
A850.04 Series 4
A850.05 Series 5
A850.06 Series 6
A850.07 Series 7
A850.02/A850.13 
A850.09 Sennelier Oil Paint
Series 2 colours only. 60ml tubes.
A850.13 Sennelier Oil Paint
200ml tubes.
A850.13 Series 1
A850.14 Series 2
A850.15 Series 3
A850.16 Series 4
A850.17 Series 5
A850.18 Series 6
A850.19 Series 7
A850.10 Sennelier White Oil Paint
1kg.
A850.10 Titanium White
A850.11 Zinc White
A850.12 Flake White
A850.10
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Artist Quality Oil Paints - Blockx
This small family-owned company has been making artist quality oil paints since 1865. Jacques Blockx, a brilliant early chemist, was sought out by French and Belgian artists for his advice on pigments and as a response, commenced manufacture of his selection of oil paints. The brand is synonymous with the highest of quality where no compromise is made in their manufacture, either in the cost of pigments or the time for manufacture, for they are still made today on the same slow moving stone three-roll mills that have been used for a century. Amongst the most ardent supporters of this paint have been Rene Magritte and Paul Signac, and of recent times, the technical painting master, Salvador Dali. The concept is that the pigment is not just the colour, but the way it paints irrespective of the pigment and its concentration. The colours have been ground only in cold pressed poppy oil which is around six times the cost of cold pressed linseed oil. Difficult pigments are put through the three-roll mill up to five times to ensure perfect wetting and fluidity with the maximum quantity of pure pigments without a trace of fillers. Many of the colours are unique to Blockx and are a tribute to the vision of the original Jacques Blockx.
Note that Blockx do not make any range other than professional quality. In 1918 the factory employed 14 staff, today they employ only 8, ensuring a semi-handmade quality opposed to mass production paints.
A600.50 Blockx Whites
Perhaps the Blockx range is best known for their whites, as they are regarded as the best in the world. The mixed whites are made from a special ratio of zinc and lead and have been a favourite, along with the Flake White, for portrait painters. The cool Zinc White is more transparent than the intense Titanium White. Remarkable savings may be achieved by switching to the extra large 200ml tubes of Blockx Whites.
A600.09 Titanium 35ml
A600.68 Titanium 115ml
A600.03 Titanium 200ml
A600.50
A600 Blockx Artist Range
Many of the colours are unique and have special mass tones unseen in any other paints, ie Brown Ochre and Brown Ochre Light, Cassel Earth, Gold Ochre, Italian Earth. All the colours are available in 37ml tubes. Note that colours are priced by pigment and so may appear out of context in pricing, ie. the cobalts which feature in Series 6.
A600.01 Series 1 13 colours
A600.02 Series 2 6 colours
A600.023 Series 3 6 colours
A600.03 Series 4/5 15 colours
A600.04 Series 6 5 colours
A600.05 Series 7 5 colours
A600.06 Series 8 5 colours
A600
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Artist Quality Pigments - Sennelier
Sennelier offer the largest range of the same high quality pure pigments taken from their painting range to allow artists an enormous choice of 77 colours. Suitable for art restorers, icon painters and artists wanting to make their own pastels, watercolours and paint. (Note that the pigments are sold by weight, not volume).
A517
A517.01 Series 1
A517.02 Ivory Black
A517.03 Yellow Ochre
A517.04 Burnt Ochre
A517.05 Red Ochre
A517.06 Green Earth
A517.07 Raw Sienna
A517.08 Raw Umber
A517.09 Burnt Umber
A517.10 Burnt Sienna
A517.11 Series 2
A517.12 Flake White
A517.13 Titanium White
A517.14 Zinc White
A517.15 Ultramarine Blue Light
A517.16 Ultramarine Blue Deep
A517.17 Prussian Blue
A517.18 Azure Blue
A517.19 Cerulean Blue
A517.20 Primary Blue
A517.21 Red Brown
A517.22 Lemon Yellow
A517.23 Cadmium Red
A517.23 Mars Yellow
A517.24 Bright Yellow
A517.25 Indian Yellow
A517.26 Cadmium Yellow Light (Hue)
A517.27 Cadmium Yellow Medium (Hue)
A517.28 Cadmium Yellow Deep (Hue)
A517.29 Cadmium Yellow Lemon (Hue)
A517.30 Chrome Yellow Light
A517.31 Chrome Yellow Deep
A517.32 Chrome Yellow Lemon
A517.33 Chrome Yellow Orange
A517.34 Naples Yellow (Hue)
A517.35 Primary Yellow
A517.36 Cadmium Red Light
A517.37 Cadmium Red/Purple
A517.38 Helios Red
A517.39 Venetian Red
A517.40 French Vermillion
A517.41 Chinese Vermillion
A517.42 Mars Black
A517.43 Fresco Black
A517.44 Baryte Green
A517.45 Emerald Green (Hue)
A517.46 Mineral Violet
A517.49 Series 3
A517.50 Brown Madder
A517.51 Deep Red Permanent
A517.52 Cadmium Red/Orange (Hue)
A517.53 Primary Red
A517.54 Alizarian Scarlet
A517.55 Alizarian Red
A517.56 Chrome Green
A517.57 Chrome Green Deep
A517.58 Chromium Green
A517.59 Viridian (Hue)
A517.60 Series 4
A517.61 Cadmium Lemon Yellow
A517.62 Cadmium Yellow/Orange
A517.63 Alizarian Red Lake
A517.64 Black Lake
A517.65 Series 5
A517.66 Fluorescent Blue
A517.67 Fluorescent Yellow
A517.68 Fluorescent Red
A517.69 Fluorescent Orange
A517.70 Fluorescent Pink
A517.71 Fluorescent Green
A517.72 Series 6
A517.73 Cadmium Yellow Light
A517.74 Cadmium Yellow Medium
A517.75 Cadmium Yellow Deep
A517.76 Cadmium Red Light
A517.77 Cadmium Red/Orange
A517.78 Mars Red
A517.79 Series 7
A517.80 Cobalt
A517.81 Cerulean Blue
A517.82 Viridian Green
A517.83 Cobalt Green
A517.84 Cobalt Green Deep
A517.85 Cobalt Violet
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Artist Quality Pigments - Blockx
Comprehensive range of the highest quality pure finely ground artist pigments, from one of the most respected colour houses in the world. Beautifully packaged in 100ml clear glass vials with a cork stopper. Whilst of superior quality, these vials sell at around the cost of a regular 35ml tube artist quality paint of the same pigment. They may be used to manufacture your own pastels, gouache or tempera, or they can be added to student quality paint to give it extra intensity.
A516.50 Blockx Pigments
100ml glass vials.
A516.51 Yellow Ochre
A516.52 Italian Earth
A516.53 Burnt Sienna
A516.54 Cassel Earth
A516.55 Ivory Black
A516.56 Ultramarine Blue Light
A516.57 Mars Violet
A516.58 Rose Madder Deep
A516.59 Manganese Blue
A516.60 Blockx Blue
A516.61 Blockx Green
A516.62 Transparent Yellow
A516.63 Cobalt Violet
A516.64 Cerulean Blue
A516.65 Cobalt Blue
A516.66 Cadmium Pale
A516.67 Cadmium Medium
A516.68 Emerald Green
A516.69 Cadmium Red Orange
A516.70 Cadmium Red
A516.71 Flake White
A516.72 Zinc White
A516.73 Titanium White
A516.74 Vine Black
A516.75 Mars Yellow Orange
A516.76 Venetian Red
A516.77 Ultramarine Blue Deep
A516.78 Rose Madder
A516.79 Blockx Red
A516.80 Blockx Yellow
A516.81 Magenta
A516.82 Cadmium Orange
A516.83 Cadmium Yellow Light
A516.50 
Note: For glass muller for grinding of pigments, see Etching section, E144.15.
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Artist Quality Acrylics and Mediums - Atelier
Australian-made impasto-style acrylic paint, available in a range of 80 colours.
80ml tubes
A505.01 Series 1
A505.02 Series 2
A505.03 Series 3
A505.04 Series 4
A505.05 Series 5
A505.02 / A506.03 
250ml pots
A506.01 Series 1
A506.02 Series 2
A506.03 Series 3
A506.04 Series 4
A506.05 Series 5
A508.1 Atelier Gesso
250ml.
A508.2 Atelier Clear Gel - Thick
250ml.
A508.3 Atelier Painting Medium - Gloss
250ml.
A508.7 / A508.3
A508.4 Atelier Painting Medium - Matt
250ml.
A507.5 Atelier Retarder Gel
250ml.
A507.5
A508.6 Atelier Painting Medium - Matt
250ml.
A508.7 Atelier Retouch Varnish
250ml.
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Acrylic Paints and Mediums - economy
A507.0 Chromacryl Paints
Range of 30 colours.
A507.01 1/2 litre tubs
A507.20 1 litre tubs
A507.21 2 litre tubs
A507.21
A507.00 Chromacryl Mediums
A507.02 Textile Medium
1/2 litre.
A507.03 Binder Medium
1/2 litre.
A507.04 Retarder
1/2 litre.
A507.05 Gloss Varnish
1/2 litre.
A507.06 Impasto Medium
1/2 litre.
A507.23 Acrylic Medium
2 litre.
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Artist Quality Watercolours - Sennelier
A500 Sennelier Extra Fine Watercolours
Sennelier has always been the main supplier of watercolour in France since the 19th century. Made from specially selected gums and ground in the original porcelain machines used till the present day, they have a large range of 80 strong colours. Available in both 10ml tubes as well as half pans (the pans are a little less expensive, but the tubes are best for immediate use).
A500.1 Series 1 10 mm Tube
A500.2 Series 2 10 mm Tube
A500.3 Series 3 10 mm Tube
A500.4 Series 4 10 mm Tube
A500.5 Series 5 10 mm Tube
A501.10 Sennelier Field Travel Box
Contains 14 watercolours in half pans.
A501.10
A503.7 Sennelier Watercolour Binding Medium
Traditionally, Sennelier have made this medium for artists who wish to make their own watercolours directly from pigments. Simply add pigment to a small porcelain mortar and pestle, add a small amount of medium and grind for 1 minute, and either pour into your own moulds or into a small glass bottle for storage. Note that the 200ml bottle contains its own preservative to prevent watercolour paint turning sour in storage.
A503.7
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Artist Quality Watercolours - Blockx
A501.20 Blockx Aquarelles
Unlike any other brand of watercolour paint, Blockx traditional recipe has been evolved around a pure clover honey mixed with a small amount of glycerin. The honey acts to disperse the pigment better in water, especially in thin washes, whilst the glycerin slows the drying. This unique combination has for decades given European artists the advantage of high workability in the wet, especially when placing one light veil over another. These watercolours have long been sought after by museums and art galleries throughout the world for art and book restoration, establishing the pigment quality as highly respected and one which has already stood the test of time in circumstances of critical assessment. We recommend these paints be used with plenty of water as, if applied too thickly, drying problems may be encountered. For these special instances, Blockx have produced a new special thick application formula for USA. These watercolours have a different cap colour and are available on a special order basis.
A501.31 Blockx Watercolour Tubes - Small
The full range of watercolours is stocked in this size. Sold in 10ml tubes.
A501.31 Series 1 - 16 colours
A501.32 Series 2 - 19 colours
A501.321 Series 3 - 12 colours
A501.71 Blockx Watercolour Tubes - Large
The tube size is a generous 15ml, offering savings of around 35%, and comparing favourably in price with other respected international artist quality brands. The full range of watercolours is stocked in this size. Sold in 15ml tubes.
A501.71 Series 1 - 16 colours
A501.72 Series 2 - 19 colours
A501.73 Series 3 - 12 colours
A501.72
A501.51 Blockx Watercolour Half Pans
The full range of watercolours is stocked in this size. Sold in half pans.
A501.51 Series 1 - 16 colours
A501.52 Series 2 - 19 colours
A501.53 Series 3 - 12 colours
A501.51
A501.55 Blockx Watercolour Full Pans
The full range of watercolours is stocked in this size. Sold in full pans.
A501.55 Series 1 - 16 colours
A501.56 Series 2 - 19 colours
A501.57 Series 3 - 12 colours
Note: The pans are made up of a different formula to the tubes and do not contain as much honey.
A501.23 Blockx Watercolour Pan Boxes
Empty set for 12 half pans in a handmade metal case for field painting - a good introduction for the artist to Blockx watercolours. Select your own colours to make up your own individual palette.
A501.23 12 Set
A501.25 24 Set
A501.23
A501.58 Blockx Giant Watercolour Pans
Something new in the traditional field of watercolour is rare and this year, artists at European and American art shows were hailing the new over-sized ceramic pans produced by Blockx. Deep enough to hold the end of a large watercolour wash brush, they have become an instant success. The actual dimensions of the pans are 3 x 2.2", their size permitting 3 months to dry out naturally. The ceramic pans incorporate a special brush holder. Sold individually in three series.
A501.58 Series 1
A501.59 Series 2
A501.60 Series 3
A501.58
A501.67 Blockx Half Pan Sets
Portrait and landscape painting sets of 12 colours selected from various series. Price on application.
A501.67
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