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  1. Mars Black Pigment

    Mars Black Pigment

    Starting at: £5.70

    PBk11

    Mars Black is an artificial mineral pigment composed of hydrated ferric oxides. Like other Mars colours, it provides a very opaque, permanent colour, which is stable in all media. It has an average drying time in oil, forming a hard, fairly flexible film, making it more suitable for impasto application than carbon-based black pigments, which tend to be brittle. It also wets more easily than other black pigments, and possesses a warm, brownish undertone.

    Toxicity: B

    Limeproof

    Larger quantities are available by request. 

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  2. Vine Black Pigment

    Vine Black Pigment

    Starting at: £4.70

    PBk8

    Vine Black is derived from charred vines, forming an organic pigment of pure carbon. It has been in use since antiquity, providing a cold black with bluish undertones, which creates a blue-grey when mixed with white. It is a very lightfast, slow-drying colour with a medium tinting strength. It requires a wetting agent to disperse properly, and is not suitable for use in fresco, mortar or cement, as the water-soluble impurities within the pigment can create efflorescence. 

    Toxicity: A

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  3. Lamp Black Pigment

    Lamp Black Pigment

    Starting at: £6.70

    PBk 6

    Lamp Black is an inorganic, synthetic, pure carbon pigment. Originally made from soot collected from oil lamps and fireplaces, its modern equivalent is derived from partly combusted mineral and vegetable oil. It is a cool, transparent, bluish black, with a good tinting strength, and stable in all media. It requires a wetting agent, and in oil it has a very high absorption drying very slowly.

    Larger quantities are available by request. 

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  4. Ivory Black Pigment

    Ivory Black Pigment

    Starting at: £4.50

    Ivory Black is a natural pigment of impure carbon, derived from charred animal bones. It is semi-transparent, very lightfast, and offers good tinting strength. It is a particularly slow-drying pigment, which forms a soft, rather brittle paint film in oil.

    Compared to other blacks, such as Vine Black, Ivory Black possesses warmer, brownish undertones. It should not be used at full-strength in an underpainting, as subsequent layers are likely to crack. Otherwise, it is a very useful all-purpose black for many types of paint, excluding mortar, fresco or cement.

    Toxicity: B

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  5. Ivory Black Genuine Pigment

    Ivory Black Genuine Pigment

    Starting at: £38.00

    PBk9

    Genuine Ivory Black is produced by burning reclaimed ivory, such as piano keys. These are antique, mainly Victorian pieces, using ivory with started out as hippo or walrus teeth, and offers a higher carbon content and greater tinting strength than modern-day equivalents, which are usually derived from animal bones. It is a particularly slow-drying pigment.

    Larger quantities are available by request. While stocks last.

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  6. Small, 15ml Pigment sizes

    Small, 15ml Pigment sizes

    Starting at: £4.00

    English Red Light Pigment Learn More
  7. Lead Red Pigment (Minium)

    Lead Red Pigment (Minium)

    Starting at: £4.50

    PR105

    Lead Red is an early articficial pigment that dates back to antiquity. It is created by heating Lead White or Litharge at a constant temperature of 480ºC over a prolonged period of time. It is a fast-drying colour, with good tinting strength and opacity, and has been widely used as an underpaint for gilding and in industry. However, it is highly toxic and generally unstable, so has fallen out of use in favour of Cadmium pigments. The acid in linseed oil causes Lead Red to darken, and it can solidify when stored in a tube. In water-based mediums, it can turn black.

    Toxicity: D 

    Please note, unfortunately we are not able to send this product outside the UK.

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  8. Flake White Pigment

    Flake White Pigment

    Starting at: £18.75

    Call to Order

    PW1

    Flake White Pigment, sometimes referred to as Lead White or Cremnitz White, is an artificial mineral pigment, lead carbonate. It is no longer available as a paint, due to its extreme toxicity. For this reason, great care must be taken when handling the dry pigment.

    It is not usuable in water-based media, but works well in oils. It creates a flexible paint film that dries quickly. Although opaque, small quantities do not dominate mixtures, and can help slow-drying pigments to dry. For this reason, it has been a popular mixing white historically; in fact, until the mid-19th century, Flake White was the only white pigment available to artists. Although varnishing is generally considered optional for oil paintings, it is recommended for works containing Flake White, as contact with sulphur in the atmosphere can cause it to blacken. It creates a warm white, which can yellow over time when mixed with linseed oil.

    Toxicity: D

    Permitted uses: Restoration of art works and protected buildings when alternatives unsuitable.

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