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Inspired by traditional tailor’s chalk block, prepared for drawing and painting. Water soluble and extremely soft. Learn More

This sketchbook case includes a selection of coloured pencils and an A5 hardback sketchbook, which is easily refillable. This item is generally made to order, but we do have a small selection available in green, red and yellow, so please ring our office if you would like to order one. All of our leather goods are handmade in Spain, and dyed with natural dyes that will fade and age beautifully over time. Learn More

Surface sized, wove, white, mould made, acid and wood free. Calcium carbonate buffered. Pack contains 25 sheets. Trimmed 4 edges. Learn More

Poppy Oil is a slightly later addition to the artist's cabinet than Linseed Oil and Walnut Oil. It is generally used as a binder for pale colours, where the warmth of Linseed Oil is not desired. It provides a matte finish and dries very slowly, so we would not advise using it in conjunction with slow-drying pigments or in underpaintings. A paint film produced by Poppy Oil is weaker and softer than that created by Linseed Oil. This is because it contains a smaller percentage of linolenic acid than Linseed Oil; this substance imparts both strength and yellowness to an oil.  

Although some of these properties can be perceived as drawbacks, paints made with Poppy Oil generally obtain a "short" or buttery texture without the addition of waxes or other additives, which can be an advantage for certain colours that produce poor consistencies in Linseed oil alone. Sometimes, the addition of a small quantity of Poppy Oil when grinding a tricky or "stringy" pigment in Cold Pressed Linseed Oil can introduce some of benefits of Poppy Oil, without transmitting its negative characteristics.

Paints made with Poppy Oil are particularly suited to "alla prima" working methods, where paint is applied spontaneously. When working in successive layers, Poppy Oil would only be appropriate for the final stages of a painting.

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Shellac is a natural resin that is deposited by the female lac insect on the branches of trees in India and Thailand. It is soluble with alcohol, but not with mineral spirits or turpentine. It forms a tough yet flexible film, with many applications. It is suitable as a top coat for gilding when applied thinly, a sealant for porous surfaces, an isolating layer for tempera paintings, a base for pigmented inks, a protective layer for collograph plates, and a warm varnish for wooden floors and furniture. As it is prone to darkening with age, it is not recommended as a varnish for oils, and its solubility can reduce over time. There are various grades of shellac. When mixed with alcohol, it may initially form a cloudy mixture, due to traces of wax in the shellac, but this should become clear once it has dried. The highest grades of shellac are Clear Dewaxed Shellac, which has been de-coloured using the carbon filtering method, Lemon Shellac, and Orange Shellac, which are pale in colour. Button Shellac is less refined and therefore produces a reddish varnish. It was, in fact, widely used as a red dye before synthetic dyes became available. Learn More

A luscious sunshine yellow that can be layered to produce deeper shades. As a blend of organic dyes derived from saffron and turmeric, this ink is not fully lightfast. Unlike other inks in this range, it has a granulating texture that displays the individual colour particles. 

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Squat and Powder Jars in glass and plastic. *Please note, our glass jars are fragile, although they are packed very carefully we cannot guarantee they will arrive safely. Cases of jars are stored offsite, please allow extra time for your order to be processed and dispatched. Learn More

Lefranc Bourgeois are a paint manufacturer with a long history of supplying to artists since their beginnings in 1720.

From their website: The Flemish glazing medium enables artists to create glossy amber finishes in the style of the Flemish masters. It creates a transparent look. It also greatly enhances the brilliance of the oil. After half a day’s work, the colours can be layered over each other.

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This resist is painted onto the plate in a thin even layer with a soft flat square-ended brush. When this clear layer is dry it may be coloured or drawn into with etching needles, roulettes and steel wool. The waxy character allows the needle to glide through its surface. After drawing the coloured coating (if used) is removed, the image is stopped out if necessary, then the plate is etched. As the resist is clear the artist can monitor the etching process accurately. Learn More

The publisher of CHROMATOPIA, Thames & Hudson, has given Cornelissen exclusive advanced copies. The book trade/Amazon will have copies available only in mid-February 2019. We have advance copies due to several Cornelissen references in the book and because the author, David Coles, worked with Cornelissen for a decade before moving to Melbourne to set up Langridge Artist Colours. The first print run in Australia (5000 copies) sold out in only a few months and we expect a similar reception here. The images on every page (photography by Adrian Lander) are stunning. The writing feels informal, but well informed; offering a clearer understanding of each pigment than one would get from reading their wikipedia entries.
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Water-soluble, kneadable graphite putty allows to mould its shape. Available in ceramic jar with 450g putty. Refills of 150g (pictured) are also available to purchase separately. Learn More

Inspired by traditional tailor’s chalk block, prepared for drawing and painting. Water soluble and extremely soft. Learn More

This travelling bag for artists includes a selection of coloured pencils and an A5 hardback sketchbook. This item is generally made to order, but we do have a small selection available in black, red and pale brown, so please ring our office if you would like to order one. All of our leather goods are handmade in Spain, and dyed with natural dyes that will fade and age beautifully over time. Learn More

Specially formulated non-toxic alternative to conventional thinners. Can be used as a substitute for turpentine. Ideal for asthmatics and those allergic to normal thinners. Reduces lingering smell normally generated by oil painting, has a citrus fragrance. Learn More

30cm x 40cm / 12" x 16", 5 Sheets, Made by hand in the traditional manner from Papyrus reeds. Learn More

Techniques of Icon and Wall Painting - Egg Tempera, Fresco, Secco by Aidan Hart. The most comprehensive description to date of the techniques, formulae and history of Icon and Wall Painting. The book is beautifully designed and over its 490 pages, there are 450 coloured images and 180 drawings. Cornelissen materials are included in the text and in the images. Learn More

Damar is a pale, almost colourless tree resin, which is soluble in turpentine, but not in alcohol or mineral spirits. It can be used as a varnish or as a glossy painting medium in conjunction with vegetable oils, and is generally preferable to other resin-based varnishes, such as mastic varnish, as it retains its colourless appearance for a longer period of time. In encaustic painting, the inclusion of damar resin imparts toughness and gloss to the paint surface. Learn More

Rohrer and Klingner Writing Ink Glass pen, blue/red. The Glass Pen nib features fine capillaries that ensure a smooth flow of the ink. The pattern on each pen may vary as it is produced and processed exclusively by hand. Learn More

A slow-drying medium that allows for extending the working period, wet-in-wet painting and blending techniques.

From the Schmincke website:

Medium for oil colours rich in oil. Retards drying; allows wet-in-wet painting; its high content of oil and resin improves the gloss and develops a smooth, elastic film. Dosage: 10% to 20% maximum.

ontains: sunflower oil, stand oil, mineral spirit, aldehyde resin

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Sosaku inking brush for working the pigments and glue paste onto the carved block for printing. These are made from horse hair and are traditionally prepared by splitting and softening the hair on shark-skin or sandpaper before printing. Brushes come in 3 sizes. Learn More

Kölner Instacoll is a two-part system, consisting of a base coat and activator, that can be used on nearly all suitably prepared substrates to create weather-resistant, high gloss interior and exterior gilded surfaces. The Instacoll Tool is a double-ended tool with shaped tips made of elastic rubber, designed for pressing gold and silver transfer leaf into indentations when gilding uneven surfaces. The Instacoll Chiffonnette is an extra soft, lint-free cloth, used for polishing and burnishing surfaces gilded with Instacoll. Learn More

This lightweight set contains a selection of 24 Artists’ Water Colour half pans. Includes: Winsor Yellow, Indian Red, Raw Umber, Burnt Umber, Payne's Grey, Ivory Black, Chinese White, Aureolin, Indian Yellow, Winsor Red, Permenant Alizarin Crimson, Permanent Rose, Winsor Dioxazine Purple, French Ultramarine, Cobalt Blue, Winsor Blue (Green hue), Cerulean Blue, Burnt Sienna, Raw Sienna, Lemon Yellow (Nickel Titanate), Winsor Orange, Prussian Blue, Viridian, Indigo. Actual contents may vary depending on availability at Winsor & Newton. Save 52% on this W&N Watercolour while we celebrate our 100+ year relationship with Winsor & Newton. Learn More

By Pip Seymour. The Artist’s Handbook provides artists with in-depth, practical information on the materials, equipment and skills necessary for all areas of artistic practice. Topics covered include advice on how to select appropriate art materials, including paints, brushes, canvases and drawing materials; techniques for making your own paints, glue, varnishes and paper; advice on how to achieve the best results from both manufactured and hand-made materials; the best methods of storing and preserving finished artworks, and health and safety precautions. (520 pages) Learn More

The Unison classic Portrait 8 set, specially selected by John Hersey for portrait painting. Unison Colour Soft pastels allow for ease of use with a highly blendable texture.

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Inspired by traditional tailor’s chalk block, prepared for drawing and painting. Water soluble and extremely soft. Learn More

(Copolymer emulsion) add to pigment to make acrylics. May also be added to prepared acrylic colours to extent them and increase gloss. Learn More

Lefranc Gilding Cleaner and Thinner 75 ml. Use to thin and reduce gilding viscosity. Use to clean brushes and rollers. Use to strip old dry gilding. Learn More

Canada Balsam is an oleoresin, meaning that it is a mixture of essential oils and resin. It comes from the fir tree Abies balsamea, native to Canada and the eastern states of North America. It is notable for its pale colour, clarity and gloss, making it a useful ingredient in recipes for oil-painting mediums.

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PB29

Ultramarine Blue Limewash is an artificial mineral pigment that is produced by heating clay, soda, sulphur and coal to high temperatures. Its name comes from outremer, or over-the-sea, as a reference to the highly-prized Lapis Lazuli pigment which had been imported into Europe from Afghanistan since the Middle Ages. First manufactured in France and Germany in 1828, synthetic Ultramarine provided a brilliant and affordable blue to artists, and it remains one of the most popular blues on artists' palettes today.

It is a transparent pigment, with a high tinting strength and excellent lightfastness. Most Ultramarine colours It react to alkali and are therefore unsuitable for use in lime-fresco; Limeproof Ultramarine Blue remedies this problem. It is stable in all other media, although it can be tricky to grind in oil. Instead of creating a thick, buttery paste, it can remain stringy and deteriorate when stored in a tube. To correct this, many commercial paint manufacturers include additives and waxes in their recipes; if you intend on grinding your own paint, you could try replacing 10-15% of your Linseed Oil with Poppy Oil to improve the consistency. Ultramine Blue provides a slow-drying, fairly hard paint film, which can tend towards brittleness.

Toxicity: B

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