Michael Harding Oil Paints
BIG SAVINGS ON MICHAEL HARDING OIL PAINT
Michael Harding produces handmade paint using age old techniques. These processes create premium oil paint colours that are true, vibrant and durable. 60ml & 225ml sizes available as well as 40ml in selected ranges. Use the filters above or search function at the top of the page to quickly find the paint you want. All colours in stock.
from £20.37
Alizarin Claret (series3)
£25.46 £20.37
PR 177 Anthranaquinone. Slow Drying. Transparent. Good Lightfastness. High Linseed Oil Content.Alizarin Claret has a lighter tone than that of Alizarin Crimson with greater resistance to UV light. Perfect for portraitures, landscapes and non-figurative works due to its versatility and beauty.
from £20.37
Alizarin Crimson (series3)
£25.46 £20.37
PR 83. Slow Drying. Transparent. Good Lightfastness. High Oil Content.This paints clarity and subtly beautiful bluish undertones are unique, and, since its introduction, portraitists have greatly prized its range of cool, rather smoky hues, so well suited for rendering facial flesh.
from £20.37
Amethyst (series3)
£25.46 £20.37
Amethyst is one of the newest colours form Michael Harding. It is a mixture of three well known colours ultramarine, quinacridone red and dioxazine violet pigments that produces an incredible hue.
from £38.69
Aureolin (series5)
£48.37 £38.69
Y40. Average Drying. Transparent. Excellent Lightfastness. Average Oil Content.A transparent straw-ochre yellow with strange yet rich greenish undertones.
from £9.16
Bright Green Lake (series1) - Bright Green Lake 60ml (series1)
£11.46 £9.16
PY3 & PG7. Average Drying. Transparent. Very Good Lightfastness. High Oil Content.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 manufacturers because of their tendencies to darken or react with other paints. This paint differs from them not only in being a permanent Lake, but also in sheer power. A fruity, shouty, tropical green with exotic undertones, it almost fluoresces on its own, and cuts right into mixes to reveal light sappy yellows.
from £9.16
Bright Yellow Lake (series1) - Bright Yellow Lake 60ml (series1)
£11.46 £9.16
Slow Drying. Transparent. Very Good Lightfastness. High Oil content.An Arylide organic lake pigment, of itself very fat and transparent, but which has an enormous tint power, shooting right through mixes with a pervasive range of bottle green undertones. Beginners should handle it with care when adding it to other paints! It can heighten the Phthalo lakes without making them opaque, and when it is made itself opaque with the addition of white the results are almost luminous.
from £14.25
Brilliant Pink (series2)
£17.82 £14.25
PW4, PW6 & PR209. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.A cheeky, fruity luminous pink, which has intense presence notwithstanding the Zinc White constituent. Used by some painters in flesh passages.
from £9.16
Burnt Sienna (series1) - Burnt Sienna 60ml (series1)
£11.46 £9.16
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 and warm are its undertones. Its tint power is noticeably stronger than the more opaque Earths.
from £9.16
Burnt Umber (series1) - Burnt Umber 60ml (series1)
£11.46 £9.16
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, invaluable for underpainting and showing a range of sandy pinks in hues.
from £38.69
Cadmium Orange (series5)
£48.37 £38.69
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.
from £38.69
Cadmium Red (series5)
£48.37 £38.69
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 approximately complimentary.
from £38.69
Cadmium Red Deep (series5)
£48.37 £38.69
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.
from £38.69
Cadmium Red Light (series5)
£48.37 £38.69
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 as Zinc.
from £32.59
Cadmium Yellow (series4)
£40.74 £32.59
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 indispensable as a foundation colour for warm mixes of all kinds.
from £32.59
Cadmium Yellow Deep (series4)
£40.74 £32.59
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 mid-tones and lights of some flesh painting.
from £32.59
Cadmium Yellow Golden (series4)
£40.74 £32.59
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.
from £32.59
Cadmium Yellow Lemon (series4)
£40.74 £32.59
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.
from £14.25
Caribbean Turquoise (series2)
£17.82 £14.25
Organic & Inorganic. Fast Drying. High Opacity. Excellent Lightfastness. High Oil Content.
This Michael Harding Paint is made from organic pigments: it is transparent, fast drying, and has a high tint power.
Whether you paint like an Old Master, a famous Plein Air painter, or a Modern Abstract artist, this colour will convey the mood with the stroke of a brush.
from £40.73
Cerulean Blue (series6)
£50.91 £40.73
PB36. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.
Cobaltous Stannate was introduced in 1870 under the name “Coeruleum”, i.e sky-blue, in imitation of a Roman pigment of that name. It is a subtle greyish turquoise which some discerning painters value for its rather mild hues, suitable for landscapes and seascapes.
from £38.69
Cobalt Blue (series5)
£48.37 £38.69
PB28. Very Fast Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content.It is a greenish blue with a heavier, more mineral appearance when neat. The hues formed from it are correspondingly heavier and greyer. But it has a certain downright shade which the cheaper Ultramarine cannot quite match. The paint film when dry is quite soft.
from £38.69
Cobalt Green Deep (series5)
£48.37 £38.69
PG19. Average Drying. Semi-Opaque. Excellent Lightfastness. Average Oil Content.An unintense blue green which nevertheless is valuable in influencing low hues and blacks. Little tint power in higher keyed mixes, but has been described as the one colour that captures the foliage of English landscape.
from £38.69
Cobalt Teal (series5)
£48.37 £38.69
Inorganic, Colour Index PG 50, Drying Speed: Average, Lightfastness: Excellent, Tint Power: Average, Oil Content: Linseed Oil-low, Toxic No
Conforms To ASTM D-4236
This new colour offers just the right amount of blue to compliment the teal.
Opaque with average drying speed. For a landscape painter this may be used for those hazy atmospheric mists you see on distant hills.
from £38.69
Cobalt Teal Blue Shade (series5)
£48.37 £38.69
PG50. Fast Drying. Semi-Transparent. Excellent Lightfastness. Oil Content - Linseed Oil, Low. Toxic - No. Conforms To ASTM D-4236A bluer version of Cobalt Teal – 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.
from £38.69
Cobalt Turquoise Deep (series5)
£48.37 £38.69
PG19. Fast Drying. Semi-Opaque. Excellent Lightfastness. Low Oil Content.A heavy, dense blue-green, with low tint power. It is a compound of Cobalt and Zinc Oxides, with grey-blue undertones which do not overturn mixes and form interesting effects when combined with the Yellow Lakes.
from £40.73
Cobalt Violet Dark (series6)
£50.91 £40.73
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 lighter counterpart, but its comparatively weak tint power means that it will not unduly push mixes towards a deeper bluish result. Interesting effects when glazed over with yellow lake colours.
from £40.73
Cobalt Violet Light (series6)
£50.91 £40.73
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, natural version. It has a very delicate shade of violet which appears quite opaque in mass-tone, but which quickly becomes transparent when applied thinly, and when glazed over a white ground, gives a very interesting range of bluish pinks. The hues are equally restrained.
from £32.59
Crimson Lake (series4)
£40.74 £32.59
PR 149 Average Drying. Transparent. Excellent Lightfastness. High Oil Content. Average Tint PowerThis 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 fast drier, makes a great range of strawberry pinks.
from £20.37
Deep Purple (Dioxazine) (series3)
£25.46 £20.37
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 which so changed the artist
from £14.25
Emerald Green (series2)
£17.82 £14.25
PY3 & PG7 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.A blend of organic lake colours ( Arylide yellow and Phthalo Green) with the two whites to give a safe and permanent substitute for the original Emerald Green.
from £9.16
French Ochre (series1) - French Ochre 60ml (series1)
£11.46 £9.16
Colour index number Py 43, being an iron based inorganic earth pigment; its drying speed is of course fast and can be described as a semitransparent 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. This Ochre pigment is from the oldest source in France and ground in linseed oil. French Yellow Ochre offers earth properties providing the artist with a glowing natural yellow.
from £64.16
Genuine Chinese Vermilion (series7)
£80.20 £64.16
PR 106. Average Drying. Very Opaque. Excellent Lightfastness. Very Low Oil Content. TOXIC.
Genuine Chinese Vermilion offers a tawny, even slightly fiery, deep red cannot be reproduced by other substitutes. As far as weight, colorific density and price go, it is in a class of its own. If you wish to explore a deceptively mild range of deep warm mixes with earths, as well as some subtle high hues, then this is an expense worth bearing.
Mercury compounds are to be treated with caution particularly in circumstances where children could come into contact with them.
from £40.73
Genuine Naples Yellow Dark (series6)
£50.91 £40.73
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 to replace the genuine pigment with not very accurate substitute blends. A classic shade, good for low flesh undertones.
from £40.73
Genuine Naples Yellow Light (series6)
£50.91 £40.73
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 the1400’s, being one of the most relied-upon colours, and in constant demand. Michael harding still produce the genuine article, as opposed to the unsatisfactory blends which have been offered as substitutes. 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 with steel rollers, to this day it is still ground with stone.
from £32.59
Green Gold (series4)
£40.74 £32.59
PY 129. Average Drying. Excellent lightfastness. Transparency High. High Oil Content.This is excellent as a standalone colour however it is highly transparent and lightfast. This means it comes into its own when mixed with other colours. It mixes particularly well with Alizarin Claret or Magenta.
from £9.16
Indian Red (series1) - Indian Red 60ml (series1)
£11.46 £9.16
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 value for rendering flesh tones in interior light.
from £14.25
Indian Yellow (series2)
£17.82 £14.25
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. 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.
from £14.25
Indian Yellow - Red Shade (series2)
£17.82 £14.25
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 greatly accelerating the drying speed, to the point that this paint can be used as a drying agent in mixes with others.
from £14.25
Indigo (series2)
£17.82 £14.25
Organic & Inorganic. Average Drying. Transparent. Excellent Lightfastness. High Oil Content.This Michael Harding Paint offers the artist a deep indigo colour to add to their paintings.
from £14.25
Italian Brown Ochre (series2)
£17.82 £14.25
Py 42
Filling a gap between existing ochres and umbers. A natural earth obviously from the Mediterranean. Fast drying with the most wonderful transparency under colour
from £9.16
Italian Green Umber (series1) - Italian Green Umber 60ml (Series 1)
£11.46 £9.16
Colour index number Pbr 7. It is a natural earth from Italy. Italian Green Umber dries very quickly.
The romantic, earthy colour is ground in linseed oil. It is an inorganic pigment especially chosen for its deep green warm 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.
from £9.16
Ivory Black (series1) - Ivory Black 60ml (series1)
£11.46 £9.16
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 Lamp Black with stronger tint power. The most frequently used black in the range.
from £14.25
Kings Blue Deep (series2)
£17.82 £14.25
PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.A deeper version of Kings Blue Light, useful for such features as architectural modelling in backgrounds.
from £14.25
Kings Blue Light (series2)
£17.82 £14.25
PB29 & PW4 & PW6. Average Drying. Opaque. Excellent Lightfastness. Low Oil Content.Named after a Cobalt based pigment which was used in the 16th-17th centuries. A blue blend which evokes the aerial effects of the great Venetian decorators.
from £9.16
Lamp Black (series1) - Lamp Black 60ml (series1)
£11.46 £9.16
PBk 6. Average drying. Opaque. Excellent Lightfastness. High Oil ContentSo 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 lean 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.
from £80.20
Lapis Lazuli (Afghan) (series7)
£80.20 £80.20
PB29, Average Drying, Semi Transparent, Low Oil Content, Average Tint Power, Non-Toxic
Lapis Lazuli combined with terre verte and some other earth colours it is at home, spread out as a wash drawn across a landscape at horizon line. Alternatively added as a toner to cool shadows in portraits; the choices of course is yours.
from £38.69
Lead Tin Yellow Lemon (series5)
£48.37 £38.69
Colour index known as type 1, fast drying, and low oil content, lead stannate, toxic
These deliciously soft, subtle lemony hues 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 also blend beautifully with blues to create subtle greens.
from £38.69
Lead Tin Yellow Light (Series5)
£48.37 £38.69
Colour index known as type 1, fast drying, and low oil content, lead stannate, toxic.
These deliciously soft, subtle lemony hues 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 also blend beautifully with blues to create subtle greens.
from £9.16
Lemon Yellow (series1) - Lemon Yellow 60ml (series1)
£11.46 £9.16
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 non-reactive.By itself a sick looking, acidy yellow with weirdly green overtones, its low tint power facilitates mixes with Magenta and the cooler reds, producing beautifully modulated greys sought in certain passages of flesh painting.
