This special medium was developed to provide a non-toxic, environmentally responsible alternative to solvent based, rapid drying alkyd mediums. It closely resembles combinations of sun-thickened oil and natural resins used throughout the history of art, but with the advantage of being solvent-free.

Walnut Oil has been used interchangeably with linseed oil for over a thousand years. It flows more freely, and has less tendency to crack or yellow.

Maimeri Patina Varnish is a fatty amber finish, giving the painting an antique look. It is used as undercoat for the Picture cracking finish. It yellows in time.

Maimeri Picture Cracking Varnish is an amber solution, ready to use. Brush over the surface treated with the Patina varnish. Once the cracks are formed and blackened, apply another coat of Patina varnish. Temperature and humidity of the environment affect the size of the cracks.

Maimeri Poppy Oil is a valuable oil of extreme purity and lightfastness. It does not yellow and dries slowly. Similar to safflower oil, it is particularly suited for white and very light colours.

Maimeri Safflower Oil is a drying oil recently introduced, with similar features to poppy seed oil. It does not yellow and dries quickly. It helps to soften and make more fluid oil colours. It is particularly suitable for white and light colours.

Maimeri Venetian Turpentine is a golden solution. Called also "fatty essence", it is used as medium for Terzo Fuoco ceramic pigments. It is used as medium in oil painting, to increase the shine and flexibility of the colour surface.

Walnut Oil has similar properties to linseed oil, but it does not yellow. It has good drying power, and increases the brightness of colours.

Maimeri Wax Picture Varnish is a universal finish. Warm and shake before using. Its cloudy look does not affect the final appearance of the painting, which in fact acquires a soft and silky texture.

Mona Lisa Odorless Paint Thinner is for use in all types of oil-based paints and varnishes. A great brush and accessories cleaner, it can be used like turpentine with no unpleasant odor.

Williamsburg Black Oil is linseed oil that has been heated with lead. It is used by many as a fast drying oil.

Williamsburg Lead Oil Ground is a traditional ground made from pure lead carbonate and just enough marble dust for the desired amount of tooth and absorbency. It has a heavy, thick formulation.

Williamsburg Titanium Oil Ground is a high quality oil ground that contains no lead. Titanium white, marble dust, and linseed oil for flexibility. It is a soft, fine white. It is so heavy it can be cut in half with turps.

Williamsburg Wax Medium contains pure beeswax, damar resin, and refined linseed oil; no parafins or microcrystallines. It can be used for glazing and impasto.

Winsor & Newton Artgel is a hygienic gel cleaner, which quickly and effectively removes oil, alkyd and acrylic colours from brushes and hands without harmful effects. It also helps to restore natural oils to the skin and conditions brushes.

Artguard Barrier Cream is a light, non-greasy cream which, when applied to hands before working, forms a protective barrier against all types of artists' materials. It can be removed with soap and water or Artgel and also contains moisturizers to condition the skin and hands.

A clear liquid varnish, which dries to a non-yellowing, glossy film. Gives temporary protection to recently completed oil paintings.

A modern general purpose high gloss varnish. It is a clear liquid which dries to a non-yellowing glossy film. It may be mixed with Artists' Original Matt Varnish to adjust degree of gloss.

A superior protective film for oil and alkyd paintings, which dries to a matt finish. Please note that the bottle should be warmed in hot water before use until varnish becomes clear. Removable, wax based traditional varnish.

This is a prepared medium that thins the colour consistency, improves flow and wetting, slows drying, increases the durability of the film and is resistant to yellowing. Artists' Painting Medium is well suited for 'oiling out'.

Not strictly a solvent, Artists' Picture Cleaner is a liquid which dissolves linseed oil oxidation by products and cleans soiled oil paintings. Emulsified mixture of Copaiba balsam, dipentene and pine oil with ammonia. The liquid settles out in two layers. Shake well before use. Thinning is not recommended.

A mixture of Dammar Varnish, Linseed Oil, and mineral spirits. Reduces the consistency and slows the drying rate of oil and alkyd colours. It was developed for decorative painting techniques and can be used like a 1-2-4 medium for blending, glazing, stroke work, antiquing, and staining.

For dried acrylic, oil, and alkyd colour, this is a non-toxic, biodegradable, nonflammable, non-abrasive, low vapor product that safely and easily cleans both natural and synthetic brushes without damage to the brush head. It is not recommended for use on painted or varnished surfaces; contact with brush handles should be avoided. Not for use with polycarbonate or other plastic surfaces.

A slightly yellow oil, which is extracted without the use of heat. This can be added to colour to reduce the consistency, improve flow, and increase gloss and transparency whilst reducing brush marks. Thin with Turpentine or Artist's White Spirit.

This oil dries slightly quicker than refined lineseed oil and may have better flow with some colours.

A superior quality artists' gloss varnish. Dries to a lower gloss than Artists' Gloss Varnish. Readily removable over a long period of time (up to 100 years) with White Spirit or Turpentine. Dries quickly to a non-yellowing film, does not bloom or crack. May be mixed with Artists' Matt Varnish.

This is a matt version of Conserv-Art for artists who prefer no sheen on finished work.

A pale yellow varnish which dries quickly to a high gloss for use on oil and alkyd paintings. Traditionally also used on prints and maps. It tends to darken with aging. It is the traditional high-gloss varnish.

All solvents vary in strength and their capacity to 'loosen up' the body of the colour. The artists' grade solvent with the greatest power is Distilled Turpentine, the only artists' grade solvent capable of easily dissolving Dammar resin. Turpentine makes a viscous mixture, evaporates slowly, is the most hazadous and strongest smelling solvent commonly used by artists.

This is an oil of darker colour than Refined Linseed Oil, which promotes the fastest drying rate of all the oils whilst increasing gloss.

Griffin Picture Varnish is a synthetic resin/stand oil/white spririt solution. It dries reasonably quickly to a high gloss, flexible film. Do noy use until painting is fully dry (6-12 months).

The most fluid of the Liquin family of products, this gloss medium is ideal for fine detailed work. It is also perfect for use in smoothly blended areas with no brushmarks.

It is the modern alternative to the traditional copal mediums that were based on natural resins and offered fast drying properties to the artist. As with all Liquin products, it offers an increased resistance to yellowing.

Liquin Fine Detail produces a smooth surface picture, absent of brushmarks, as with a Van eyck or Durer.

A semi-gloss, quick drying, non-yellowing impasto medium. It retains crisp textures and brush strokes without any visible levelling and extends tube colour and provides bulk. It also allows more blending time.

When dry, it forms a flexible, tough film that can be varnished in the normal way. Liquin Impasto and Liquin Oleopasto are the only mediums that safely thicken oil colour. For heavier brush work or palette knife - a la Van Gogh!

This Liquin formulation offers a slight gel that breaks down on brushing (thixotropic) and flows out to give a non-drip effect when mixed with colour. It is ideal for glazing. It dries to a gloss film that has an increased resistance to yellowing.

This product offers all the handling properties traditionally seen with the historic Meglip mediums but without the tendencies to crack and yellow which are normally associated with mastic mediums.

Choosing Liquin Light Gel is like selecting non drip gloss paint for decorating in favour of liquid gloss (Liquin Fine Detail). It provides looser handling such as is seen in a Rubens or Gainsborough painting.

A semi-matt, quick drying, non-yellowing impasto medium. It has a soft gel consistency with some brush drag, levels crisp brushmarks, extends tube colour and provides bulk. Allows rapid overpainting.

This stiff, translucent gel is specifically for impasto and texture work. It dries to a crack-resistant and virtually non-yellowing film, it retains knife and brush strokes and will not level out.

The reliable favourite which continues to be our most popular liquid alkyd medium. A general purpose low gloss medium which improves flow and transparency. It mixes easily with the brush or knife and smooths brushwork.

Liquin Original suits a textured oil technique as is seen with Monet or Renoir.

Sansodor makes a viscous mixture, evaporates slowly, is the least hazardous, costs approximately the same as turpentine, does not deteriorate on storage and has minimal odour. This is well suited to artists who prefer to avoid exposure to turpentine.

Silicoil Brush Cleaning Fluid and Conditioner is used in the proper cleaning of fine artist oil color brushes. It is a very slippery liquid which causes color solids and liquids to slip and slide from the bristles of artists' brushes. It conditions and preserves - brushes will remain soft, shaped and pliable indefinitely. Washing with soap will not be necessary.

A pale yellow flammable varnish suitable for correcting sunken in sections or providing temporary protection to recently completed oil paintings. Tends to darken with age.