These Watercolours are made with the finest pigments to create a range of unique colours. These paints are available in 5ml and 20ml tubes.
Wallace Seymour created this range of watercolour paints in response to the changes in the paint manufacturing industry. They felt that over the last 10-15 years, the quality and availability of traditional colours in watercolour have decreased.
Wallace Seymour Vintage Watercolour range offers a range of colours to discerning artists who value quality.
Permanent Sap Green (PG7 PR102)
Lakeland Slate (PY 42, PB 27, PR102)
Blend of Prussian Blue with Yellow Ochre and Rosso Ercolano, to match the colour of English Lakeland Slate.
Granulates when thinned to wash, revealing variegated pigment particles. Semi-transparent.
Horton Green (PG7)
High tinting strength Phthalocyanine Green synthetic organic pigment without additives. Colder than Viridian – very transparent. Saturated, staining colour.
Viridian - Genuine (PG18)
The original, pure Viridian pigment – gentle, transparent, showing granulation when diluted.
Green Gold (PY129)
Unique synthetic organic pigment, with intense staining power. Mass tone is a strong, ‘warm’ green but when diluted, shows a warm yellow green tone, with glowing transparency.
Dughet Green (PB15, PO 34)
Gaspard Dughet was the brother in law of Poussin and is noted for his Roman Campagna landscapes, where deep, recessive greens are employed in substantial passages of woodland scenery. Very intense, dense, almost black in mass tone. Washes out to reveal excellent transparency. Permanent.
Raw Sienna, Bagnoli, Monte Amiata (PY42)
Very bright, clean natural Siena, finite stocks from 1970s production at Bagnoli, Siena Province in the south of Tuscany.
Transparent. High tinting strength, gentle granulation as a wash.
Yellow Ochre (PY43)
Natural ochre, from Northern Italy. Semi-opaque, revealing good transparency as a dilute wash.
Puisaye Burgundy Yellow Ochre (PY42)
Hint tinting strength ochre, from the north of Burgundy. More powerful than Provence ochres, deep, warm shade. Granulates as a wash. Semi-opaque.
Oxford Ochre (PY42)
Native iron-rich stone from working quarry, North Oxfordshire. Deep yellow-orange shade, with strong granulation as a wash.
Terra Rosa ' La Vena' Monte Amiata
From our own production: garnered from the Sesti Vineyard in the south of Tuscany. Gentle pink-orange clay. Carefully washed and sieved to 50 micron. Very good transparency. Granulates.
Rosso Ercolano (PR102)
Natural red earth from Italy. Fiery red-orange shade. Slight granulation as a wash. Semi-transparent.
Venetian Red (PR101)
Original natural earth (not synthetic iron oxide), with gentle transparency and characteristsic ‘pink’ shade, especially when admixed with Chinese White. Slight granulation as a wash.
Trans-Oxide Red (PR 101)
Synthetic iron oxide with micronized particles. High tinting strength. Superb transparency as a wash, with gentle granulation with strong dilution.
Burnt Sienna, Bagnoli, Monte Amiata (PR101)
Very bright, clean calcined Raw Sienna, finite stocks from 1970s production at Bagnoli, Siena Province in the south of Tuscany.
Transparent. High tinting strength, gentle granulation as a wash.
Verona Brown, Burnt Green Earth, Italian (PG 23)
Calcined from natural green earth. Finite stock of rare natural earth pigment
Native red ochre form Scotland. Hand-dug, then washed, sieved to gain soft, gentle colour. Granulates when applied as a wash.
Rudstone, natural iron-clay ochre (PR 101)
Found in among coal measures, North Yorkshire. Iron rich clay, compressed by water action into hard cakes. Formerly used for sheep marking (rudstone, ruddle, reddle, etc). Ground to a fine powder, with gentle granulation as a wash. Semi-transparent.
Sasso Rosso, natural red earth
Natural slate, from northern Tuscany. The hard material is pulverised to 50micron. Granulates. Semi-transparent.
Historic, finite stocks of green quarry slate, with red (haematite) bandings. When puvlierised, a gentle red-violet colour is gained.
Native Scottish red-pink earth, from stone cuttings of Torridon sandstone, from working quarry, Wester Ross. Granulates as a wash. Semi-transparent, crystalline.
Fawn Ochre (PY 43)
Natural earth pigment, hand-dug and processed, from our own production, Ribblesdale, North Yorkshire. Semi-opaque, granular. Very lightfast
Raw Umber (PBr8)
Natural earth from Cyprus, Characteristic olive green-brown shade. Semi-opaque. Granulates.
Ottella, natural Italian Earth
Typically Morainic clay earth, Lake Garda, Italy. The rich mineral content of this soil type makes it ideal for wine making, known locally as ‘Lugana’ – as a pigment it is ideal for watercolour: permanent, transparent, soft fawn-umber shade, delicate in mixes. Hand-dug, cleaned and processed under our production.
Natural Italian green schist, Alpi Apuane, Tuscany. Granular, semi-opaque.
Caput Mortuum Violet Deep, natural (PR 101)
Deeper in shade when compared to Morrelone. Variegated particle size pigment, with red-violet oxide inclusions. Granulates. Semi-opaque.
Morrelone, Caput Mortuum Violet (PR101)
Natural Italian earth deposit, deep brown-violet colour, with inclusion of natural red earth, which are revealed when heavily diluted with water. Granulates. Semi-opaque.
Indian Red (PR101)
Synthetic iron oxide red-violet shade. Opaque. Slight granulation as a wash.
Burnt Umber (PBr7)
Calcined Cyprus Umber. Warm red shade. Transparent, with gentle granulation as a wash.
Burnt Umber Extra Dark (PBr 7)
Natural earth from Cyprus, calcined (in Italy) to a dark shade. Transparent, deep shade brown. Permanent.
Sepia – hue
Unique blend to match natural Sepia. Transparent.
Sepia Genuine, Natural
Colour extract from Adriatic Cuttlefish. Good permanence in subdued lighting.
Over time changes slightly to warmer red-brown.
Cittadella Grey Schist
Natural Italian earth, from our own production. Variegated particles, with good granulation. Soft grey shade. Transparent.
Davy’s Grey, Oxford Mudstone
Native earth, from North Oxfordshire mudstone. Extracted from working quarry in lump form. Carefully pulverised to 50micron. Gentle, pale green-grey as a wash, showing very slight granulation. Very transparent. Can be used to moderate strong colours – adding perhaps 80% Davy’s Grey to 20% synthetic colour (e.g. Horton Blue) to control staining pigments.
Paynes Grey (PB29, PR 102, Davy's Grey Mudstone)
Blend of pigments: Ultramarine, red oxide and Davy’s Grey.
Semi-transparent. Gentle granulation as a wash.
Payne's Grey, original
Match of late 18th Century mixtures for Payne’s Grey: natural ultramarine (lapis lazuli, with Davy’s Grey and Mother Rock, a red iron oxide from the North Sea coast of Yorkshire.
Shimmer, Iron Glimmer
Miceaous iron oxide ‘spangles’. Dense, heavy grey with red iron inclusions. Sparkles on the paper surface when dry. Can be admixed with any colour to give a glimmer effect.
Granulates. Semi-opaque but when strongly diluted breaks into rivulets and shows iron staining. Unique. Natural.
Magnetic pigment. Soft, dense powder with high tinting strength. As a wash, tends to break into rivulets, revealing incredible formations. Quite unlike any other black pigment. Semi-opaque. Granulates.
Neutral Tint (PB15, PY 74, PY 3, PR112)
Optical black, from a blend of synthetic pigments. Transparent, very intense.
Ivory Black (PBk9)
Natural black, from calcined bones. Neutral shade, highly transparent, dense, intense. Slight granulation at heavy dilution.
Lamp Black (PBk6)
Transparent black, with cold/blue shade. Very intense. Extremely small particle size, creates saturated washes, even at strong dilution.
Natural Italian white pigment, with soft yellow-white appearance. Transparent. Granulates
Buff Titanium (PW 28)
Unbleached titanium. Heavy, dense buff shade with good covering power. Opaque.
Chinese White, Zinc White (PW 4)
Classic Zinc oxide white. Semi-opaque but reveals more transparency at heavy dilution. Ideal as a mixing white and to create ‘body’ colour where blended colours are applied in an opaque manner.
Titanium White (Opaque White) (PW6)
Very opaque white. Bright white, heavy consistency. Tends to overpower in colour mixtures.
A special fine glass watercolour, which can be added to any colour, to create illusion of granulation. Typically, add 50-50 with any colour as a starting point. Low tinting strength. Semi-transparent, with granular effect.