Michael Harding

A pale linseed oil.

Introductory Set of Michael Hardings' renowned oil colors. A set of 6 x 40ml tubes comprising of Titanium White No1, Yellow Lake, Ultramarine Blue, Burnt Umber, Scarlet Lake. A great start for anyone wishing to work with artists oil paint.

Inspired by Bermuda and Caribbean adventures. A set of 6 x 40ml tubes comprising of Warm White, Yellow Lake, Brilliant Pink, Phthalocyanine Blue, Bright Green Lake, Cobalt Teal. This set captures the essence of the tropics and natural beauty of the islands. A vivid set of beautiful, vibrant colors.

A very versatile set of 10 x 40ml Michael Hardings oil paints offering a unique combination of colors. The Plein Air set is perfect for capturing the natural beauty of landscapes and flesh tones alike. Affordably priced and offering tremendous mixability, this range of colors will enhance any oil painters palette.

Herculane Red, Series 1. A rich, earthy red made from 100% natural red clay soil composed of minerals and iron oxides. Pigment - PR101

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Series 3. Im proud to be the first oil paint maker to manufacture this shade of Perylene Violet in oil. This truly unique colour is often found in watercolour ranges but not oil. Perylene Violet is a smoky mauve violet with an unusual character.

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The Brick Lane Set by Michael Harding. 10 beautiful, unique colors:

236 Yellow Benzimidazolone / 244 New Gamboge / 234 Orange Benzimidazolone / 321 Quinacridone Coral / 247 Opera Rose / 233 Ultramarine Pink / 322 Quinacridone Purple / 318 Blue Verditer / 251 Aqua Green / 139 Neutral Tint

The Desert Set by Michael Harding. 10 beautiful, unique colors:

137 Warm White / 117 Unbleached Titanium / 202 Yellow Lake Deep / 118 Yellow Ochre Deep / 122 Venetian Red / 205 Scarlet Lake / 126 Burnt Umber / 132 Italian Green Umber / 114 Phthalo Blue & Titanium White / 113 Ultramarine Blue

A pale linseed oil.

Michael Hardings' basic oil paint medium. A stand oil / turpentine mixture to add to oil colour.

The Whitechapel Set by Michael Harding. 10 beautiful, unique colors:

248 Citron / 249 Warm Yellow / 245 Orange Sunset / 317 Madder Brown / 232 Permanent Brown / 

138 Herculane Red / 254 Rose Blush / 238 Hookers Green / 237 Olive Green / 241 Belladonna

Series 3. Perylene Violet has an atmospheric quality. Use it in mixes to create a beautiful, fleshy base tone. Its also quite useful when mixed with white to cool whites, especially when painting fabrics. Artists will also enjoy mixing it with transparent colours. And as an additional benefit, Perylene Violet helps keep chroma under control.

Michael Hardings' basic oil paint medium. A stand oil / turpentine mixture to add to oil colour.

Series 3. Beautiful Indanthrone Blue was invented in 1901 as a synthetic dye that resists fading. Its popularity came about because of this resistance and a need for it in the automotive industry. Im attracted to it because its inky and interesting! This blue is essential for those wishing to expand their understanding of such a hypnotic shade. Blue can have a strong psychological effect on artists, from the shades of Lapis Lazuli through intense Phthalocyanines to the shade of Indanthrone Blue. When I recently painted a nocturn using my Indanthrone Blue, it fulfilled my needs, producing an almost narcotic effect upon me, like a poetic musical note! MH Indanthrone Blue is a strong inter-mixer. I so enjoy getting little surprises of colour when mixing with whites, yellows, and reds. Because my oil paints are not compromised by dryers, fillers, or extenders, mixing a few colours together leads to interesting colour outcomes! Try it!

Series 3. Beautiful Indanthrone Blue was invented in 1901 as a synthetic dye that resists fading. Its popularity came about because of this resistance and a need for it in the automotive industry. Im attracted to it because its inky and interesting! This blue is essential for those wishing to expand their understanding of such a hypnotic shade. Blue can have a strong psychological effect on artists, from the shades of Lapis Lazuli through intense Phthalocyanines to the shade of Indanthrone Blue. When I recently painted a nocturn using my Indanthrone Blue, it fulfilled my needs, producing an almost narcotic effect upon me, like a poetic musical note! MH Indanthrone Blue is a strong inter-mixer. I so enjoy getting little surprises of colour when mixing with whites, yellows, and reds. Because my oil paints are not compromised by dryers, fillers, or extenders, mixing a few colours together leads to interesting colour outcomes! Try it!

Dammar Varnish from Michael Harding. Classic gloss varnish. Dammar Resin dissolved in turpentine, then carefully filtered. Please note this item can only be shipped to UK mainland addresses.

Dammar Varnish from Michael Harding. Classic gloss varnish. Dammar Resin dissolved in turpentine, then carefully filtered. Please note this item can only be shipped to UK mainland addresses.

Series 2. I wanted to add an affordable red to the product line that complements our current reds and provides another level of depth to the family of MH reds. While my first passion is pigments from the time of our Old Masters, todays modern-made pigments offer us yet another level of discovery and enjoyment. I feel Pyrrole Red is one such colouran affordable, highly lightfast, vivid red. My Pyrrole Red is like a lot of my oil product line: bold and bright, yet with a cool, crisp undertone. MH Pyrrole Red is a terrific intermixer for everything from Brilliant Pink to our gorgeous Permanent and Cadmium Oranges. I encourage artists everywhere to try it with our Yellows, Oxides . . .  well, all the MH Colours!

Series 2. Phthalocyanine Blue Red Shade (No. 231) captivates with its deep, rich colour. Offering excellent lightfastness and a fast-drying speed, its ideal for creating bold, vibrant artworks. No. 231 is a red shade blue, or, put another way, a slightly violet blue with the high tinting power the artist expects of thalo colours. Some describe it as  nocturne in a tube.

Series 2. Phthalocyanine Blue Red Shade (No. 231) captivates with its deep, rich colour. Offering excellent lightfastness and a fast-drying speed, its ideal for creating bold, vibrant artworks. No. 231 is a red shade blue, or, put another way, a slightly violet blue with the high tinting power the artist expects of thalo colours. Some describe it as  nocturne in a tube.

Series 2. No. 233 Ultramarine Pink (PR259). Who would have thought that beyond the seathe Latin meaning of Ultramarinecould also describe a soft, transparent pink with a cool undertone? Ultramarine Pink offers delicate granulation and subtle beauty, making it a unique choice for enhancing skin tones, skies, and florals. Its cool hue pairs beautifully with blues and purples, adding versatility and depth to your palette.

Series 2. No. 233 Ultramarine Pink (PR259). Who would have thought that beyond the seathe Latin meaning of Ultramarinecould also describe a soft, transparent pink with a cool undertone? Ultramarine Pink offers delicate granulation and subtle beauty, making it a unique choice for enhancing skin tones, skies, and florals. Its cool hue pairs beautifully with blues and purples, adding versatility and depth to your palette.

Series 2. No. 234 Orange Benzimidazolone (PO36.1). A heterocyclic aromatic organic compound, this bright, radiant orange is both intense and durable, with exceptional lightfastness. Orange Benzimidazolones boldness makes it a striking addition to your palette, perfect for fiery sunsets, autumnal landscapes, and any composition requiring a punch of vibrant energy.

Series 2. No. 234 Orange Benzimidazolone (PO36.1). A heterocyclic aromatic organic compound, this bright, radiant orange is both intense and durable, with exceptional lightfastness. Orange Benzimidazolones boldness makes it a striking addition to your palette, perfect for fiery sunsets, autumnal landscapes, and any composition requiring a punch of vibrant energy.

Series 2. With excellent lightfastness and a smooth consistency, Turners Yellow (No. 235) radiates warmth and saturationperfect for adding a pop of colour to compositions. Though there is some debate as to which W. Turner is associated with the original colour and its patent, No. 235 is a stunning colour with an abundance of uses, sitting among our Naples yellows and variety of ochres.

Series 2. With excellent lightfastness and a smooth consistency, Turners Yellow (No. 235) radiates warmth and saturationperfect for adding a pop of colour to compositions. Though there is some debate as to which W. Turner is associated with the original colour and its patent, No. 235 is a stunning colour with an abundance of uses, sitting among our Naples yellows and variety of ochres.

Series 2. No. 236 Yellow Benzimidazolone (PY154) This warm, golden-yellow hue offers excellent lightfastness and opacity. With its strong, vibrant intensity, Yellow Benzimidazolone is ideal for creating luminous and glowing washes or layering techniques. Its rich pigmentation makes it a perfect choice for landscapes, florals, and sunlit compositions. As the name suggests, this colour will dazzle you.

Series 2. No. 236 Yellow Benzimidazolone (PY154) This warm, golden-yellow hue offers excellent lightfastness and opacity. With its strong, vibrant intensity, Yellow Benzimidazolone is ideal for creating luminous and glowing washes or layering techniques. Its rich pigmentation makes it a perfect choice for landscapes, florals, and sunlit compositions. As the name suggests, this colour will dazzle you.

Series 2. With its earthy tones, Moss Green (No. 239) captures the serene beauty of nature. Featuring excellent lightfastness and a semi-transparent quality, No. 239 adds depth and dimension to artworks inspirational for natural landscapes.

Series 2. With its earthy tones, Moss Green (No. 239) captures the serene beauty of nature. Featuring excellent lightfastness and a semi-transparent quality, No. 239 adds depth and dimension to artworks inspirational for natural landscapes.

Series 2. Vivid Blue (No. 240), as its name suggests, commands attention with its intense brilliance and boldness. Offering excellent lightfastness and a smooth consistency, No. 240 is perfect for creating dynamic compositions inspired by the sky or ocean.

Series 2. Vivid Blue (No. 240), as its name suggests, commands attention with its intense brilliance and boldness. Offering excellent lightfastness and a smooth consistency, No. 240 is perfect for creating dynamic compositions inspired by the sky or ocean.

Series 2. Wisteria (No. 242) is a soft, pastel colour falling into the useful category of pale colours made for just about any application, from landscape to completely non-figurative. Vivid and powerful, No. 242 is a handy addition to every artists palette.

Series 2. Wisteria (No. 242) is a soft, pastel colour falling into the useful category of pale colours made for just about any application, from landscape to completely non-figurative. Vivid and powerful, No. 242 is a handy addition to every artists palette.

Series 2. Lavender (No. 243) Another of our versatile, high-coverage, natural colours, Lavender (No. 243) is useful in myriad applications.

Series 2. Lavender (No. 243) Another of our versatile, high-coverage, natural colours, Lavender (No. 243) is useful in myriad applications.

Series 2. No. 244 New Gamboge (PY150) A transparent, earthy yellow, New Gamboge offers a soft, natural hue with a gentle warmth. Its subtle undertones and strong tinting strength make it an excellent choice for botanical illustrations, capturing golden light effects, or blending with other colours to create a wide range of natural tones. Originally derived from the resin of trees native to eastern Asia, it is now produced as a synthetic organic pigment, delivering the rich, transparent, yolk-like colour artists have come to appreciate.

Series 2. No. 244 New Gamboge (PY150) A transparent, earthy yellow, New Gamboge offers a soft, natural hue with a gentle warmth. Its subtle undertones and strong tinting strength make it an excellent choice for botanical illustrations, capturing golden light effects, or blending with other colours to create a wide range of natural tones. Originally derived from the resin of trees native to eastern Asia, it is now produced as a synthetic organic pigment, delivering the rich, transparent, yolk-like colour artists have come to appreciate.

Series 2. Brilliant Orange (No. 246) is a bold colour, radiating warmth and vitality. Its semi-opaque quality adds depth, while excellent lightfastness ensures long-lasting vibrancy. With an average drying speed and smooth consistency bound with linseed oil, its perfect for creating dynamic compositions that capture the intensity of a fiery sunset or the vibrant hues of autumn foliage.

Series 2. Brilliant Orange (No. 246) is a bold colour, radiating warmth and vitality. Its semi-opaque quality adds depth, while excellent lightfastness ensures long-lasting vibrancy. With an average drying speed and smooth consistency bound with linseed oil, its perfect for creating dynamic compositions that capture the intensity of a fiery sunset or the vibrant hues of autumn foliage.

Series 2. No. 247 Opera Rose (PR122). A highly saturated, fluorescent pink, Opera Rose captivates with its vivid intensity and bold vibrancy. Derived from the family of quinacridone magentas, it offers a striking, almost shocking, hue that stands apart. Unlike traditional quinacridones, Opera Rose has its own unique flow and handling. While its lightfastness is moderate, its radiant, eye-catching colour makes it a popular choice for fiery skies, impressionistic florals, abstracts, or any artwork where a high-impact pink is desired.

Series 2. No. 247 Opera Rose (PR122). A highly saturated, fluorescent pink, Opera Rose captivates with its vivid intensity and bold vibrancy. Derived from the family of quinacridone magentas, it offers a striking, almost shocking, hue that stands apart. Unlike traditional quinacridones, Opera Rose has its own unique flow and handling. While its lightfastness is moderate, its radiant, eye-catching colour makes it a popular choice for fiery skies, impressionistic florals, abstracts, or any artwork where a high-impact pink is desired.

Series 2. No. 251 Aqua Green (PG7, PB15.3) Green pigmentswere primarily used by Egyptians in the form of natural earth and malachite. Aqua green is a modern, synthetic green blended with the classic Phthalocyanine Blue to provide a cool, vibrant turquoise with excellent transparency. Aqua Green is a bold and refreshing addition to the palette. Its blend of green and blue pigments makes it ideal for oceanic scenes and verdant foliage, adding a cool accent to any composition.

Series 2. No. 251 Aqua Green (PG7, PB15.3) Green pigmentswere primarily used by Egyptians in the form of natural earth and malachite. Aqua green is a modern, synthetic green blended with the classic Phthalocyanine Blue to provide a cool, vibrant turquoise with excellent transparency. Aqua Green is a bold and refreshing addition to the palette. Its blend of green and blue pigments makes it ideal for oceanic scenes and verdant foliage, adding a cool accent to any composition.

A Matt Varnish from Michael Harding. Wax is dissolved in turpentine for a matt finish. Please note this item can only be shipped to UK mainland addresses.

Series 2. I wanted to add an affordable red to the product line that complements our current reds and provides another level of depth to the family of MH reds. While my first passion is pigments from the time of our Old Masters, todays modern-made pigments offer us yet another level of discovery and enjoyment. I feel Pyrrole Red is one such colouran affordable, highly lightfast, vivid red. My Pyrrole Red is like a lot of my oil product line: bold and bright, yet with a cool, crisp undertone. MH Pyrrole Red is a terrific intermixer for everything from Brilliant Pink to our gorgeous Permanent and Cadmium Oranges. I encourage artists everywhere to try it with our Yellows, Oxides . . .  well, all the MH Colours!

Traditional Glaze Medium from Michael Harding. Speeds drying, adds depth and gloss to transparent oil colours

Refined Linseed Oil from Michael Harding. High quality, pale linseed oil.

Traditional Glaze Medium from Michael Harding. Speeds drying, adds depth and gloss to transparent oil colours

Soft Painting Paste. Resin oil wax medium from Michael Harding. Imparts a satin sheen and gentle impasto to oil colours.

Beeswax Paste is a high oil content paste based on linseed stand oil and pure bleached beeswax. This paste increases the body of oil colour with a satin-matt finish which is especially useful with opaque colours.

Oleo Resin Medium is a historic glaze medium based on light coloured Canada balsam fused with dammar resin and linseed stand oil. This versatile medium provides high gloss levels while imparting depth to paint films.

Refined Linseed Oil from Michael Harding. High quality, pale linseed oil.

Another historic paint medium, based on Austrian larch turpentine (Venice turpentine) made with Dammar resin and linseed stand oil. This wonderful smelling medium can be added to oil colours to enhance depth, gloss and lustre.

Oleo Impasto Medium is a gel made from fumed silica and linseed oil which imparts great luminosity, particularly with transparent colours

Series 1.

Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.

I grind this white with Safflower Oil but also offer this beautiful colour ground in linseed oilcheck out TW2 for this.
Safflower oil is a pale, slow-drying oil. As it is a paler yellow than linseed oil, lighter pigments (whites and soft blues especially) maintain their brightness when mixed with safflower oil.

Black Non-Absorbent priming for oil painters. An Acrylic primer specifically designed by Michael Harding to enhance the colour and finish of oil paintings.

Linseed Stand Oil from Michael Harding. High quality stand oil.

Series 1. Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.

I grind this white with Safflower Oil but also offer this beautiful colour ground in linseed oilcheck out TW2 for this.
Safflower oil is a pale, slow-drying oil. As it is a paler yellow than linseed oil, lighter pigments (whites and soft blues especially) maintain their brightness when mixed with safflower oil.

Series 1. Neutral Grey N7 (No. 140) is designed to be to assist artists with tonal values. A lean colour with a relatively low oil content, Neutral Grey N7 is useful as a base ground colour with high covering power.  For the more experienced artist, Neutral Grey N7 is a workhorse grey that can be tinted into.

Black Non-Absorbent priming for oil painters. An Acrylic primer specifically designed by Michael Harding to enhance the colour and finish of oil paintings.

Series 1. Inorganic  This paint is ground with linseed oil to form a sturdy, strong paint film with impeccably high covering power. We also offer this beautiful colour ground in safflower oil. Check out TW1 for this. Additionally, we offer Refined Linseed Stand Oil and Refined Pale Linseed Oil mediums because linseed oil produces the strongest of paint films, thus helping to ensure the longevity of your oil painting.

Series 1. No. 139 Neutral Tint (PBk6, PV19, PB15.3) Neutral Tint is a versatile, dark grey with subtle hints of violet and blue, offering strong opacity and excellent mixing capabilities. Its perfect for deepening shadows, adding contrast, or creating neutral washes without compromising the vibrancy of surrounding colours.

Series 1. No. 139 Neutral Tint (PBk6, PV19, PB15.3) Neutral Tint is a versatile, dark grey with subtle hints of violet and blue, offering strong opacity and excellent mixing capabilities. Its perfect for deepening shadows, adding contrast, or creating neutral washes without compromising the vibrancy of surrounding colours.

Series 1. Neutral Grey N7 (No. 140) is designed to be to assist artists with tonal values. A lean colour with a relatively low oil content, Neutral Grey N7 is useful as a base ground colour with high covering power.  For the more experienced artist, Neutral Grey N7 is a workhorse grey that can be tinted into.

Burnt Sienna Non-Absorbent priming for oil painters. An Acrylic primer specifically designed by Michael Harding to enhance the colour and finish of oil paintings.

Series 1. Inorganic  This paint is ground with linseed oil to form a sturdy, strong paint film with impeccably high covering power. We also offer this beautiful colour ground in safflower oil. Check out TW1 for this. Additionally, we offer Refined Linseed Stand Oil and Refined Pale Linseed Oil mediums because linseed oil produces the strongest of paint films, thus helping to ensure the longevity of your oil painting.

Burnt Sienna Non-Absorbent priming for oil painters. An Acrylic primer specifically designed by Michael Harding to enhance the colour and finish of oil paintings.

Series 1. Titanium White No. 3 (No. 130) is identical to Titanium No. 2, except this formula has the addition of cobalt drier. I formulated TW3 for artists who need a white that can dry quickly, especially in colder climates. Please consider that the addition of dryers can result in compromised longevity of the paint film. The TW3 is the only paint within our range to have this addition.

Neutral Grey Non-Absorbent priming for oil painters. An Acrylic primer specifically designed by Michael Harding to enhance the colour and finish of oil paintings.

Series 1. Titanium White No. 3 (No. 130) is identical to Titanium No. 2, except this formula has the addition of cobalt drier. I formulated TW3 for artists who need a white that can dry quickly, especially in colder climates. Please consider that the addition of dryers can result in compromised longevity of the paint film. The TW3 is the only paint within our range to have this addition.

Linseed Stand Oil from Michael Harding. High quality stand oil.

Neutral Grey Non-Absorbent priming for oil painters. An Acrylic primer specifically designed by Michael Harding to enhance the colour and finish of oil paintings.

Series 1. My Warm White is my solution for the UK and EU artists who want a lead-like paint without the lead content, which is banned unless you are a certified restorer in the UK and EU. This warm white is opaque, has outstanding brushing qualities, and mixes well with every colour on the artists palette. Warm White is available worldwide.

Non-Absorbent priming for oil painters. An Acrylic primer specifically designed by Michael Harding to enhance the colour and finish of oil paintings.

Series 1. My Warm White is my solution for the UK and EU artists who want a lead-like paint without the lead content, which is banned unless you are a certified restorer in the UK and EU. This warm white is opaque, has outstanding brushing qualities, and mixes well with every colour on the artists palette. Warm White is available worldwide.

Olive Green Non-Absorbent priming for oil painters. An Acrylic primer specifically designed by Michael Harding to enhance the colour and finish of oil paintings.