Michael Harding Oils

PW 6 Titanium Dioxide. PW4 Zinc Oxide. Very slow Dryer, Very Opaque, Excellent Lightfastness, High Tint Power, Non-toxic. "Safflower oil dries to a robust film, which means that this paint can be overpainted with a low risk of later cracking. It yellows...

PW6& PW4. Average Drying. Very Opaque. Lightfastness Excellent. Very Low Oil Content. High tintpower. Non-toxic "This paint is bound with Linseed Oil and contains a 25% addition of Zinc Oxide White in order to avert the tendency of pure Titanium...

PW6. Fast Drying. Very Opaque. Lightfastness Excellent. Low Oil Content "After some considerable deliberation on my part I have decided to add this special white to my range of Artists Oil colours. Titanium White No.3 is special in the way that it,...

Inorganic – Many years ago I was asked by a well-known British artist to create a very lean, robust, fast-drying white that did not rely on extenders and siccative for its qualities. Hence, I made this 50/50 blend of Titanium and Lead Whites ground...

PW6, PY42, Average Drying, Opaque, Excellent Lightfastness, Low Oil Content My Warm White is my solution for the UK and EU artists who want a lead like paint without the lead content which is banned unless you have a “restorers” designation...

PW6 & PY62, Average Drying, Very Opaque, Excellent Lightfastness, Very Low Oil Content My Warm Light Yellow is the solution to artists needs for a white with a tinge of yellow. Perfect for mixing colours, using in portraits landscapes and...

Type 1, Lead Stannate, Fast Drying, Opaque, Low Oil Content This lovely, soft, subtle lemony hue dates back many centuries. Artists like Vermeer used Lead Tin Yellows to paint draperies and fur trim. Known for their incredibly high covering power they...

Type 1, Lead Stannate, Fast Drying, Opaque, Excellent Lightfastness, Low Oil Content Lead Tin Yellow Lemon is a very vivid “sulphury” shade of yellow. Like its lighter version its indispensable to some who mix flesh tones which can be...

PY31. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. TOXIC. "Sometimes known as Barium Yellow, this is Barium Chromate, introduced into painting after the Lead Chromates, circa 1820. Unlike them, it has proved to be permanent and...

PY74. Slow Drying. Transparent. Very Good Lightfastness. High Oil Content. One of the oldest established organic lakes, Arylide Yellow G, this is a warmer version of Bright Yellow Lake, with similar properties. Deceptively transparent but with strong...

PY35. Fast Drying. Semi-Opaque. Excellent lightfastness. Low Oil Content. Cadmium Sulphide, with, as its name suggests, a greeny, tangy, sulphurous edge to it which does not run through mixes with quite the same strength as an Arylide lake. An inorganic...

PY3 (but soon to be changed). Slow Drying. Transparent. Very Good Lightfastness. High Oil content. "At present I am working on a re-specifying of the pigment of this paint in order to upgrade its permanence. But the characteristics will remain the same:...

PY35. Fast Drying. Opaque. Excellent lightfastness. Low Oil Content. Cadmium Sulphide, but with a greater degree of calcination than that used for the Cadmium Lemon Yellow, producing a very dense and lean mid-shade warm yellow which is virtually...

PY40. Average Drying. Transparent. Excellent Lightfastness. Average Oil Content. A transparent straw-ochre yellow with strange yet rich greenish undertones. It was produced in the 1850's.

PY35. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content. A warmer version still of Cadmium Yellow Golden, giving a transitional colour more powerful than those obtained by mixing Cadmium Reds and Cadmium Yellows. Often used to warm the...

PY35. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content. A unique shade of Cadmium Sulphide which bridges the yellow/orange frontier with a pigment that seems destined to be mixed with the earths, ochres and mid-reds, and which infuses these...

PY150, PR209, PV19, Average Drying, Semi-Transparent, Excellent Lightfastness, High Oil Content My Quinacridone Gold is made from nickel azo and quinacridone. It is organic, transparent, with an average drying time, and possesses excellent light...

PY83 & PR101. Fast Drying. Transparent. Very Good Lightfastness. High Oil Content. Same as Indian Yellow but with the addition of an Iron Oxide pigment used in wood dyes, which gives a very rich, beautiful, gingery red shade to the blend, as well as...

PY83. Average Drying. Transparent. Very Good Lightfastness. High Oil Content. Diarylide Yellow HR, a synthetic organic lake which replaces the very organic, legendary, but long obsolete euxanthic acid (made by warming the urine of Indian cows fed on...

PY1.1. Slow Drying. Transparent. Very Good Lightfastness. High Oil Content. A much warmer version of PY.1, Arylide Yellow G, exhibiting beautiful yet subtle bronze-gold undertones in complex mixes, and which has the high tint power to let these...

PO 20. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content. A strong, in-your-face deep orange that has high tint power and opacity, yielding surprisingly pinky hues in mixes with Titanium Whites.

PO 73. Average Drying. Semi Opaque. Excellent Lightfastness. High Oil Content. High Tint Power. This is a powerful, organic, fruity red-orange that has excellent lightfastness.

PR 108. Fast Drying. Opaque. Excellent Lightfastness. Low Oil content. A crisp, zingy 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...

PR 108. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content. A cooler, plummier red in the Cadmium range which yields maroon hues and which can be used to make heavy, greenish blacks when added to the Phthalocyanine Green Lakes, to which it is...

PR 170. Average Drying. Semi-Opaque. Excellent Lightfastness. High oil Content. An organic red, Naphthol Red F5RK, which though a lake dye, has a strength appropriate to a granular pigment. It is a strong, slightly bluish red which in small additions...

PR 188. Average Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content. A well-established organic pigment, Naphthol Red HF3S, which can be used transparently or opaquely according to choice. In unmixed state it is a pure and slightly fiery red...

PR 106. Average Drying. Very Opaque. Excellent Lightfastness. Very Low Oil Content. TOXIC. "If I were to be asked of which pigment I was most proud, I think this would be it. Mercuric Sulphide Vermilion was used in China from early times, and in Europe...

PR108. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content. The deepest of the Cadmium range, this red has distinct bluish undertones which become very salient in some very purplish hues.

Technical Data: Pigment Index Number: PB60 Lightfastness: Excellent Tint Power: High Oil Content: Drying time: Average  Transparency: Average  Transparent Toxicity: Non-toxic  In Michael’s Words: Indanthrone Blue is...

Technical Data: Pigment Index Number: PV 29 Lightfastness: Good Tint Power: Medium Oil Content Drying time: Average  Transparency: Average  Transparent Toxicity: Non-toxic   In Michael’s Words: I am proud to be...

PR 83. Slow Drying. Transparent. Good Lightfastness. High Oil Content. "The oldest synthetic organic lake, introduced in 1868, and the only one of the coal-tar lake range to have survived in use until the present, the others having been found to be too...

PR177, Average Drying, Transparent, Excellent Lightfastness, High Oil Content Alizarin Claret has a slightly lighter mass tone than that of Alizarin Crimson and yet has greater resistance to UV light than Alizarin Crimson. I specifically formulated this...

PR 149 Average Drying. Transparent. Excellent Lightfastness. High Oil Content. Average Tint Power This is an organic lake which has to be used thinly, or at least with regard to its very high oil content, which forms a slick surface when dry. A very...

NR9, Slow Drying, Transparent, High Oil Content Rose Madder is so incredibly beautiful, a wonderful gift from nature. It is a traditional Lake pigment, extracted from the common madder plant Rubia Tinctorum. The plant was grown in Asia and Egypt for the...

PR 122. Average Drying. Transparent. Excellent Lightfastness. High Oil Content. Quinacridone Y, a very lightfast organic pigment, with strong bluish overtones which shine through if it is used as a glaze. When made into hues it presents a wonderful...

PW4, PW6 & PR209. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. After tremendous harassment from customers, I blended this colour to satisfy their craving for a cheeky, fruity, luminous pink, which has intense presence...

PV19, Average Drying, Transparent, Excellent Lightfastness, High Oil Content An absolutely beautiful warm red with a very unique nature when mixed with or glazed over whites it produces a truly shocking shade of pink. Added after much demand, this very...

PV14. Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. 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,...

PV14. Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. This shade of Cobalt Phosphate was only obtainable when the natural ore was superseded by more refined processes of manufacture. It has a heavier, richer appearance than its...

PV16. Average Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. Manganese Ammonium Pyrophosphate, a heavy, bold Violet which was first made in Germany in 1868; one of the mid-19th century wave of synthetic inorganic metal salts.

PR122, PB29, PV23, Average Drying, Transparent, Excellent Lightfastness, High Oil Content Amethyst is a mixture of three well known colours that come together to create an extraordinary shade of violet, particularly for the exotic artists’ palette...

PV15. Average Drying. Transparent. Excellent Lightfastness. Average Oil Content. A variant of Ultramarine pigment, achieved when slightly altering the manufacture of the blue shade, Sodium Sulphosilicate, by heating it with Chloride. The result is a...

PV23, Average Drying, Transparent, Excellent Lightfastness, High Oil Content After many years I was able to find a variety of this pigment which had a reasonable drying speed. It may interest some of you that I have PV 23 samples which I made in the...

PB27. Very Fast Drying. Transparent. Very Good Lightfastness. High Oil Content. "Ferri-ammonium Ferrocyanide, discovered in Berlin in 1704 and introduced through the early 18th century, was one of the first synthetic inorganic pigments and also one of...

PBk6, PB15.3, PV19, Average Drying, Very Opaque, Excellent Lightfastness, High Oil Content My deep, rich Indigo is both organic and inorganic: it is transparent, has an average drying time along with excellent lightfastness and high tint power. An...

PB15.3 Fast Drying. Transparent. Excellent Lightfastness. High Oil Content. A Chlorinated Copper invented in 1935, this was one of the first synthetic organic pigments to be accepted as reliably permanent. It is sometimes seen as a modern replacement...

PB29 Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content. A beautiful mid blue.

PB28. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. Introduced at about the same time as Ultramarine, Cobalt Aluminate is a synthetic inorganic spinel (i.e. a very high-fired metal compound). It is a more greenish blue...

PB29, PV23, PW6, Average Drying, Very Opaque, Excellent Lightfastness, Low Oil Content Adorable for any landscape painter Pale Violet adds vibrancy to any sky. Those confusing violet shadows we all see in clouds, which are hard to express, are now made...

PB36. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. Cobaltous Stannate was introduced in 1870 under this name.

PB15.3 & PW4. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. Devised as a replacement for Manganese Blue, a compound introduced in the 1950

PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. This name was given by English manufacturers to Smalt, a Cobalt based pigment which was used in the 16th-17th centuries as a cheaper alternative to Lapis Lazuli...

PG50, Fast Drying, Semi-Opaque, Excellent Lightfastness, Low Oil Content A bluer version of my Cobalt Teal – For a landscape, portrait and non-figurative painters this is a fabulously delicious vivid colour! Introduced into the range for its...

PG50, Average Drying, Opaque, Excellent Lightfastness, Low Oil Content 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...

PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. A deeper version of the blend above, useful for such features as architectural modelling in backgrounds.

PB 15.3 & PG7 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. Another blend to supplement the sea-green range, this is a powerful mixer which discloses airy undertones when hued further, and which landscapists...

Technical Data: Pigment Index Number: Pr 254 Lightfastness: Excellent Oil Content: Average Drying time: Average Transparency: Transparent Toxicity: Non-toxic Series: In Michael’s Words: I get immersed in vivid colours. I wanted to add an...

PB15.3, PG7, PY150, Fast Drying, Semi-Transparent, Excellent Lightfastness, High Oil Content My Caribbean Turquoise is made from organic pigments: it is transparent, fast drying, and has a high tint power. Turquoise is one of many coveted ancient...

PG19. Fast Drying. Semi-Opaque. Excellent Lightfastness. Low Oil Content. A heavy, dense blue-green, with low tint power, introduced, with so many inorganic metallic pigments, 1830-40. It is a compound of Cobalt and Zinc Oxides, with grey-blue...

PG17. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. Another mid-19th century metallic oxide, with covering power but not much tinting strength. It is a heavy, vegetable green which can be surprisingly enlivened by adding yellows...

PG18. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content. As one of the fastest driers in the range this hydrated variant of Chromium Hydroxide, introduced in the mid 19th century, is a valued support colour used for influencing...

PG7 & PBr7. Fast Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content. "Sap Green is a generic name for a rich deep green. Colourmen successively changed its composition through a variety of natural organic lakes, often unstable. Some...

PG19. Average Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. "A Cobalt Titanate compound made into a spinel by being cooked at high temperature. An unintense blue green which nevertheless is valuable in influencing low hues and...

PY3 & PG7. Average Drying. Transparent. Very Good Lightfastness. High Oil Content. "I made this blend of the organic pigments Arylide Yellow and Phthalo Green to fill the gap previously occupied by the Lead Chromate Greens, long discontinued by...

PG36. Fast Drying. Transparent. Excellent Lightfastness. High Oil Content. A variant of the Phthalo Green compound with a greater range of gingery yellow undertones which are immediately apparent in hues. This is due to increased numbers of Chlorine and...

PG7. Fast Drying. Transparent. Excellent Lightfastness. High Oil Content. Polychloro Copper Phthalocyanine probably ties with Phthalo Blue as the strongest pigment in the range. Atomic tint power, add it with great care! Ferocious acidy blue-green hues...

PY3 & PG36 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.

PY3 & PG7 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content. "Another blend of organic lake colours ( Arylide yellow and Phthalo Green) with the two whites to give a safe and permanent substitute for the original...

PG23. Fast Drying. Transparent. Excellent Drying. Average Oil Content. "Green Earth, a complex of Ferrous Silicates in Aluminium and Magnesium clays, is one of the few naturally-occurring inorganic pigments still to be offered by colourmen. It has a...

PBr7, Fast Drying, Semi-Transparent, Excellent Lightfastness, Average Oil Content 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...

PY129, Average Drying, Transparent, Excellent Lightfastness, High Oil Content 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...

PW6.1. Fast Drying. Opaque. Excellent Lightfastness. Low Oil Content. Before Titanium Dioxide is refined to make it white it contains a measure of Iron Oxide, which gives it a subtle linen or limewash pinky-brown shade. As well as making it a good...

PY41. Very Fast Drying. Opaque. Excellent Lightfastness. Very Low Oil Content. TOXIC. Lead Antinomiate, in natural versions, seems to have been used as a pigment since the 5th century B.C, and has been manufactured since the 1400.

PY41. Very Fast Drying. Opaque. Excellent Lightfastness. Very Low Oil Content. TOXIC. "This is a darker counterpart of the two Lead Antinomiates, which is closer to the shade offered by makers in more recent times, before all of them except me decided...

PBr24. Fast Drying. Semi-Opaque. Excellent Lightfastness. Low Oil Content. "This is Titanium Antinomy Chromiumoxide, a synthetic inorganic compound which I used to make a good mid-range substitute Naples Yellow whilst I was seeking out a source of...

PY42. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content. A synthetic Iron Oxide in a beautifully rich shade, with very dense warm undertones. A good modelling pigment, which works well into yellow and red highlights.

PY42. Very Fast Drying. Semi-Transparent. Excellent Lightfastness. Average Oil Content. A higher-keyed and more greeny-gold shade of manufactured Iron Oxide. It hues well to yield mustardy yellows quite close to Genuine Naples Yellow Dark.

PY42. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content. This Iron Oxide has been used as a wood dye, and I realized that its capacity to enrich the grain of hardwood made it a wonderful candidate for paintmaking. It has great...

PY43, Fast Drying, Semi-Transparent, Excellent Lightfastness, Average Oil Content An iron-based inorganic earth pigment; curing speed is of course fast. French Yellow Ochre can be described as a semi-transparent oil paint that is gritty by nature. Ochre...

PBr 7. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. Used as a ground tone and for underpainting since the 17th century, this is one of the indispensable Earth Iron Oxides, and apart from Terre Verte, the only naturally...

Pbr7, Fast Drying, Semi-Transparent, Excellent Lightfastness, Average Oil Content 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...

PBr 7. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. One of the calcined Iron Oxide Earths, of such antiquity and usefulness it barely needs an introduction. It makes rich but subdued pinks, which reveal how transparent...

PR 101. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil content. Formerly a natural Iron Oxide, this is now manufactured to greater standards of purity. A heavy red, which yields fruity fleshy hues, and makes tones of great sonority...

PR 101. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content. A deeper and cooler shade of synthetic Iron Oxide with great colorific density and which makes hues with conspicuously purplish undertones, and which some painters...

PR 101. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content. An Iron Oxide manufactured to such small pigment particle size that it shows, like its Yellow counterpart, almost lake-like characteristics. Terrific tint power which...

PBr 7. Very Fast Drying. Transparent. Excellent lightfastness. Average oil Content. "I decided to make this variant shade of Burnt Umber as a result of my observations of 16th-17th painting, which suggested that this pigment had lighter and redder...

PBr 7.Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content. One of the fundamental Earths used as an Imprimitura pigment to draught out compositions on a Raw Sienna ground, as many Rubens sketches evidence. Depending on the degree...

PBr 7. Very Fast Drying. Transparent. Excellent Lightfastness. Average Oil Content. A version of Burnt Umber which has heavier and more greenish undertones than the Red variant. This is the colour in its presentation of the last two centuries,...

PBr7, Fast Drying, Semi-Transparent, Excellent Lightfastness, Average Oil Content This is a fantastic colour with an incredibly small pigment particle size in turn giving it a great clean transparency, ideal for glazing. One of my favourite colours for...

PBr8, Fast Drying, Semi-Transparent, Excellent Lightfastness, Average Oil Content This semi-transparent dark brown is a solid alternative to blacks made from natural earths and iron oxides. Reminiscent of the backgrounds of Flemish portraits, it has a...

PW6, PBk9, PBr6, Average Drying, Opaque, Excellent Lightfastness, Low Oil Content A blend of Ivory Black, Burnt Umber and Titanium Whites which gives a markedly cool black substitute. The blue undertones are similar to but much milder than those of...

PBk 9 & PB 29 & PY 42. Average Drying. Semi-Opaque. Excellent Lightfastness. High Oil Content. A blend of Ivory Black, Ultramarine and Iron Oxide Yellow, which gives a markedly cool black substitute. The blue undertones are similar to but much...

PBk11, Average Drying, Semi-Transparent, Excellent Lightfastness, Average Oil Content Another useful alternative to the existing blacks with a cool almost slightly yellow undertone when thinned.

PBk 6. Average drying. Opaque. Excellent Lightfastness. High Oil Content 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,...

PBk 9. Average Drying. Semi-Opaque. Excellent Lightfastness. High oil Content. 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...