Made by Sennelier, Rive Gauche is named after the Left Bank of Paris where Sennelier was founded in 1887. The special property of these oil paints is that they dry to a satin finish, twice as fast as conventional oil paint, while retaining the characteristic buttery texture of fine oil colours. This allows the artist to work twice as fast

Made by Sennelier, Rive Gauche is named after the Left Bank of Paris where Sennelier was founded in 1887. The special property of these oil paints is that they dry to a satin finish, twice as fast as conventional oil paint, while retaining the characteristic buttery texture of fine oil colours. This allows the artist to work twice as fast

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 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.

Michael Harding paints are made by hand, using techniques which date back to the days of the Old Masters. Harding will not claim that his paints will turn you into a great painter, but he does promise they will have a profound effect on your work. Your colors will be stronger and richer, and you will find the texture of the paint incomparable. You will love working with them.

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 with a glow more palpable than that of the organic lake yellows.

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. Landscapists find that its range in mixes and hues makes it a staple green. It acts very well as a complementary to active red hues.

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 with high tint power, and a range of yellowy-orange undertones, which become very noticeable in hues, which produce much brighter and warmer pinks than are attainable with the Cadmium Reds. When mixed with Zinc White these can appear almost fluorescent.

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

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 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.

PY3 & PG7. Average Drying. Transparent. Very Good Lightfastness. High Oil Content.

A fruity, shouty, tropical green with exotic undertones, it almost fluoresces on its own, and cuts right into mixes to reveal light sappy yellows.

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 the most controversial. The earlier and less purified versions had a mixed reputation; they were said to fade in hues, or even to migrate or leech through succeeding paint layers. But modern standards of washing have dispensed with the tendency to fade, and the migratory properties ascribed to this colour are no longer reported. At any rate, Prussian Blue, like Alizarin, is one of those colours some painters find essential. Its inky depth when unmixed is belied by a range of uniquely intense blues resulting from hues, particularly with Zinc White. On its own and in more concentrated mixes it exhibits a slight bronzy sheen which can be used almost like a complementary glaze.

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 tint power, it runs through mixes with a milder and more golden range of undertones.

Zinc White is a semi-opaque tinting and scumbling white. Produces cool tints with excellent resistance to yellowing.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Opaque, bright earthen yellow with a muted tint. Great for creating muted yellows, especially in combination with Cadmium Yellow.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

An emerald shade Phthalocyanine with exceptionally dark mass-tone and radiant yellow undertones. A luminous glazing green.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Phthalocyanine Green is a strong blue shade of green with exceptional intensity and transparency.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Phthalocyanine Blue Red Shade has a deep vibrant mass tone and a pure clean transparent red undertone. A perfect glazing blue with exceptional tinting strength.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

M. Graham's Permanent Green Pale has a stunning lime green mass-tone blended with a strong yellow-green undertone. Light and spring like.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Permanent Green Light is a cool emerald shade of green with more warmth than Viridian.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Olive Green is a subdued earthen green glazing color. Perfect for reducing the chromatic intensity of glazing reds such as Quinacridones.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Nickel Quinacridone Gold is a red shade, golden russet glazing color. It has a rich muted mass-tone and a fiery golden undertone.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

M. Graham's Nickel Azo Yellow has a warm, deep yellow mass-tone and a vibrant yellow undertone. Translucent in heavier applications and very transparent in glazes. It yields a bright sunny, glowing yellow when tinted with white.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Mars Black is the most opaque black in this range, with a neutral tint. Not as black as Ivory Black, it has a firm feeling under the brush and good flow.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Maroon Perylene is a deep, warm and earthy transparent red. It has fiery undertones in glazes and a great depth in mass-tone. Perfect to reduce intensity in any green.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.

Lamp Black is a very cool tinting carbon black with great strength.

These excellent quality oil paints are rich, luminous and full of pigment. The American Walnut Oil used in M. Graham Artists’ Oil Paint dries to a clear film which will not yellow, allowing the true color of the pigments to shine through.