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KREMER /// PRODUCT CATALOG www.kremerpigments.com PRODUCT CATALOG PRODUCT

Table of Contents

Pigments

01 TABLE OF & Vegetable CONTENTS Paints 02

Fillers & Building Materials

03

Mediums, Binders & Glues

04

Solvents, Chemicals & Additives

05

Ready-made & Gilding Materials 3 01 06 31 02 Dyes & Vegetable Color Paints Linen, Paper 35 03 Fillers & Building Materials & Foils 41 04 Mediums, Binders & Glues 53 05 Solvents, Chemicals & Additives 07 56 06 Ready-made Colors & Gilding Brushes Materials 66 07 Linen, Paper & Foils 08 69 08 Brushes , Packaging & 74 09 Tools, Packaging & Supplies Supplies 10 82 Books & Color Charts 09 85 11 General Information Books & Color Charts

10

General Information

11

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ICON-LEGEND

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Approved Products bearing the AP Product Seal of ACMI are certified in a Product program of toxicological evaluation by a medical expert to con- tain no materials in suMcient quantities to be toxic or injurious to or cause acute or chronic health problems. For further information see Chapter 11 or visit us at www. kremerpigments.com.

Kremer-Made Products with this icon are Kremer-made.

printed: March 2014

2 For further information and prices please visit us at www.kremerpigments.com Pigments 01 01 01

PIGMENTS

4 Kremer-made and Historic Pigments 13 Earth & Oxide Pigments 16 Pigments of Modern Age 21 Special & E?ect Pigments 26 XSL-Pigments 27 Glass Pigments 27 IWA – Enogu® Mineral Pigments 29 Assortments

For further information and prices please visit us at www.kremerpigments.com 5 01 Pigments

KREMER-MADE AND HISTORIC PIGMENTS

/// / 01 /// Pinkcolor 10150 Pinkcolor, very lightfast, < 38 µ 10154 Pinkcolor Deep, very lightfast, contains , toxic, < 38 µ

/// Cinnabar Chinese cinnabar is historically considered to be the best. This is not only because China un- derstood the manufacturing process of early on, but because it developed a system of separating the diEerent colored particles in a glue solution - similar to the process explored by Michael Price (see Azurite MP). 10610 Natural Cinnabar Monte Amiata, < 63 µ, mercuric sulphide 10620 Natural Cinnabar, mineral , from China 10624 Cinnabar, very fine, chien t´ou, < 20 µ The very finest and brightest of our cinnabars. 10625 Cinnabar, fine, chu piao, 20 - 50 µ 10627 Cinnabar, medium, chu sha or yin chu, bright, intense, 50 - 63 µ 10628 Cinnabar, dark, p’i sha, 63 - 100 µ Somewhat coarser and less brilliant.

/// 11300 Red Jasper, semi-transparent, 0 - 120 µ 11550 Snaefellsjoekull Red, dark, reddish -violett earthcolor from Iceland Further Iceland Earthcolors: 11551 Heydalsvegur , 11552 Brimisvellir , 11553 Iceland Earthcolors Assortment.

/// In western Burgundy, south and north of the river Loire, numerous mines produced a local shade of natural earth ochre. Long before it became famous for its wines, and ochre was pulled from the earth, thin layers of iron ore were mined in the region, establishing a smelting and contributing to its wealth. Besides ochre and iron ore, there are also significant occurrences of gray clay which burns to a color in ceramics. The ochre veins run only about a foot thick, and usually deep in the earth. After taking over the S.O.F. (Societe des Ocres Francaises) in 1970, the ochre producers of southern France closed all mines in Burgundy which had turned unprofitable, since the mines of the Luberon in the Provence region yield a higher volume and are more accessible. By chance we have obtained a good amount of the Burgundy from old stock. The Burgundy ochre is also available in yellow . 11574 Burgundy Red Ochre, fine, from France, 0 - 80 µ 11575 Burgundy Red Ochre, from France, 0 - 120 µ 11576 Burgundy Red Ochre Deep, fine, from France, 0 - 80 µ 11577 Burgundy Red Ochre Deep, from France, 0 - 120 µ

/// Spanish Ochre Sun-burnt Castille is in the heart of Spain. A special mixture of natural occurring minerals produces this orange-red ochre which we supply in two grinds. 11584 is suitable for under- painting and full tone application, while 11585 extra fine is used for highly lightfast glazes. 11274 Red Ochre, from Andalusia, < 80 µ 11584 Spanish Red Ochre, 0 - 120 µ 11585 Spanish Red Ochre, extra fine, Bauxite, 0 - 63 µ

/// Moroccan Ochre 116430 Red Moroccan Ochre, warm transparent red ochre, < 120 µ 116431 Red Moroccan Ochre, fine, warm transparent red ochre, < 80 µ

6 Kremer-made and Historic Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

116440 Dark Red Moroccan Ochre, , < 120 µ 116441 Dark Red Moroccan Ochre, fine, maroon, < 80 µ

/// Red , in pieces 12480 Red Bole, cut in pieces , from Theley 01

/// Madder Lake Please find the Madder Roots (#37199 + #37201) in Chapter 02 Dyes & Vegetable Color Paints. 37202 Madder Lake, genuine, genuine, made from natural roots 37203 Madder Lake, yellowish, precipitated with tin salt 372051 Madder Lake , from roots 372052 Madder Lake , from roots 372057 Madder Lake Carmine Red, from roots, precipitated with 372058 Madder Lake Hazelnut, precipitated with copper - May 2012 372141 Madder Lake made of roots, Dark Red, brilliant, intense hue, very fine grind, translucent According to historic recipe. 372142 Madder Lake made of roots, Red, brilliant, very fine grind 37217 Madder Lake -Brown, fine, made from roots 40 kg Madder roots are necessary to get 1 kg Madder Lake Violet-Brown. This Madder Lake is recommended to be used for violin varnishes. 37218 Madder Lake Violet, Kremer-made from roots

/// 42000 Vermilion, mercuric sulphide, light, from China 42100 Carmine Naccarat, made of 42500 Red Lead, , contains lead, toxic /// Yellow

/// Lead Tin Yellow 10100 Lead Tin Yellow, light, < 38 µ, contains lead, toxic Light lemon, changed hue. 10110 Lead Tin Yellow deep, changed hue, < 38 µ, contains lead, toxic Lead stannate, lightest yellow in oil painting from medieval times to around 1800. Opaque. Useful for highlights and as a very light covering yellow. 10120 Lead Tin Yellow II, yellow lead glass, 0 - 63 µ, contains lead, toxic Lead Tin Yellow II is produced with quartz, yielding a yellow lead glass pigment that is ground and screened through a fine mesh. Its hue is deeper than 10100 or 10110, and transparent, making it suitable for warm yellow glazes.

/// 10130 from Paris, < 50 µ, contains lead, toxic Manufactured according to 19th century methods as lead-zinc-antimoniate. 10700 Orpiment, genuine, King´s Yellow, coarse, 175 µ, contains arsenic, toxic The origin of the modern name derived from the Latin term auripigmentum or auripigmento, literally meaning paint. Orpiment was once widely used, particularily in the East, but limited supply and its toxic character made it a rare pigment nowadays. 10800 Realgar, genuine, red orpiment, 175 µ, contains arsenic, toxic Realgar is the natural orange-red sulphide of arsenic. It is chemically closely related to orpiment. The two minerals are often found in the same deposits. 10850 Crocoite , natural Yellow, < 80 µ, contains lead, toxic Crocoite is a mineral consisting of lead chromate. 11272 Yellow Ochre, from Andalusia, 0 - 80 µ 114051 Diamond Powder green-yellow, crystals, approx. 100 µ 11520 Jarosite, clear yellow ochre, < 100 µ Historical yellow pigment. Stable iron mineral with a characteristic pale yellow tone, typical color for Russian icon painting, and in artwork of Ancient Egypt. 11540 Taunus Ochre, light, German

For further information and prices please visit us at www.kremerpigments.com Kremer-made and Historic Pigments 7 01 Pigments

11551 Heydalsvegur Yellow, yellow-gold, earthcolor from Iceland Further Iceland Earthcolors: 11550 Snaefellsjoekull Red, 11552 Brimisvellir Green, 11553 Iceland Earthcolors Assortment.

01 /// Burgundy Ochre These yellow ochres are like their red equivalents from the area around the Loire and have a very intense hue. 11572 Burgundy Yellow Ochre, fine, from France, 0 - 80 µ 11573 Burgundy Yellow Ochre, from France, 0 - 120 µ

/// Moroccan Ochre Brilliant transparent gold ochre. Pure earth pigment from Midelt in Morocco. 116420 Yellow Moroccan Ochre, < 120 µ 116421 Yellow Moroccan Ochre, fine, < 80 µ

/// 17000 Jarosite, from Cyprus, genuine, pale yellow ochre Yellow ochre is the clearest yellow ochre occurring naturally, without the deeper tone of French ochres. Because of the political situation of Cyprus the mining of this rare and beautiful earth has been neglected, but now a small amount of manual production is once again available. Other deposits of natural ochre of this clarity may exist, but the Cyprian has always been famous for its unique hue. 17050 Natural , Monte Amiata, Italian, washed, brilliant, very light Raw Sienna earth from a site near Grosseto, Italy. The pigment has been cleaned and ground very finely to create a brilliant, very light powder.

/// Lake made of 36261 Lake made of Reseda and Buckthorn Berries, yellow , dark golden color More lightfast than lake from weld. 36262 Lake made of Reseda, yellow lake pigment, slightly greenish

/// Osage 37370 Osage, yellow, made of flour

/// Stil de Grain 37392 Stil de Grain light, yellow lake pigment made from buckthorn berries 37394 Stil de Grain, yellow lake pigment made from buckthorn berries 373941 Stil de Grain, Schützenberger, Kremer-made from buckthorn berries

/// Massicot 43010 Massicot, , yellow lead oxide, litharge, pieces, contains lead, toxic

/// Naples Yellow, contains lead 43121 Naples Yellow, lemon, genuine, contains lead, toxic 43125 Naples Yellow, dark, genuine, contains lead, toxic 43130 Naples Yellow, reddish, contains lead, toxic /// Green

/// Egyptian Green 10064 Egyptian Green, copper glass, 40 - 120 µ

8 Kremer-made and Historic Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// Malachite Natural copper carbonate, contains copper. Malachite is the most important green up until the 18th century. We o:er natural Malachite as as the MP-quality. Michael Price has devel- oped a process to preserve the subtle green hue of Malachite in oil by coating the particles with protein. Their hue is of special purity and varies according to particle size. 01 10300 Malachite natural, standard, intense color, 0 - 120 µ 10310 Malachite natural, extra fine, 0 - 80 µ, intense color 10341 Malachite MP coarser, 100 - 125 µ 10343 Malachite MP medium, 80 - 100 µ 10344 Malachite MP fine, 63 - 80 µ, intense color 10345 Malachite MP extra fine, 0 - 63 µ, intense color 10346 Malachite MP finest grind, 0 - 20 µ /// 10350 Chrysocolla, bluish green, copper silicate, 0 - 120 µ 10355 Dioptase Copper Silicate, < 40 µ, rare emerald-green to bluish green mineral Dioptase has a hardness of 5 which makes it suitable for the use as a pigment. Dioptase is lightfast, changes its color however at higher temperatures or if exposed to the sun. /// Malachite Fibres The pigment made of this fibrous mineral is darker than the pigment made of Malachite rocks. 103600 Malachite Fibres, 0 - 120 µ 103601 Malachite Fibres, fine, 0 - 80 µ /// Malachite, Arabian The pigment of this special Malachite from Algeria is bright green. The various sizes of the small crystals are very equal. The pigment behaves di;erently than other Malachite pigments, it is easier to grind. Arabian Malachite is the traditional green of the Prophet Mohammad. 103700 Malachite Arabian, 0 - 120 µ 103701 Malachite Arabian, fine, 0 - 80 µ /// Atacamite 3 Atacamite, Cu 2Cl(OH) , does not occur very often. It contains chlorine. Its stability is similar to Malachite. 103900 Atacamite, 0 - 120 µ 103901 Atacamite, fine, 0 - 80 µ

/// Conichalcite Analytical tests sometimes reveal copper and arsenic in green pigments. A typical analysis of Conichalcite shows 24,5 % copper and 28 % arsenic besides calcium and oxygen. 10870 Conichalcite, contains arsenic, toxic

/// Verona Green Earth 11000 Verona Green Earth, 0 - 120 µ, genuine earth pigment 11010 Verona Green Earth, fine, 0 - 80 µ, genuine earth pigment

/// 11100 Bavarian Green Earth, 0 - 120 µ, similar to Bohemian Green Earth 11110 Russian Green Earth, 0 - 120 µ, natural earth pigment 11111 Russian Green Earth, extra fine, 0 - 63 µ, natural earth pigment 11120 Volkonskoite, 0 - 120 µ, Russian Green, from Sibiria

/// Aegirine 11140 Aegirine, fine, 0 - 63 µ, dark green earth 11141 Aegirine, medium, 63 µ - 80 µ, dark green earth

For further information and prices please visit us at www.kremerpigments.com Kremer-made and Historic Pigments 9 01 Pigments

/// Epidote Epidote is a calcium aluminium iron sorosilicate mineral. This vivid and bright hue was achieved by intense cleaning processes. It´s unique green color is often described as pistachio. 11150 Epidote, yellow-green earth 01 11151 Epidote, greenish extra, yellow green earth pigment, 0 - 120 µ

/// Florentine Green 11152 Florentine Green, 60 - 120 µ, washed

/// Andeer Green The light-green mineral (looks like serpentine) can be used as fine green sand. 11181 Andeer Green, fine, 0 - 200 µ, Green Gneiss from Andeer, Switzerland 11182 Andeer Green, medium, 200 - 500 µ, Green Gneiss from Andeer, Switzerland 11183 Andeer Green, coarse, sand, 0,5 - 2 mm, Green Gneiss from Andeer, Switzerland

/// 11200 Green Jasper, crystalline bluish green, 0 - 120 µ 11210 Green Quartz, 63 -100 µ 11250 Celadonite, green earth, from the Côte d’Azur, France 11354 Slate Green from Mels, Switzerland 11390 Jade, very fine, Russian, < 63 µ 11391 Jade, fine, Russian, 40 - 100 µ 11392 Jade, medium, green, Russian, 100 - 120 µ

/// Fuchsite Fuchsite is a dark green variety of muscovite. 11420 Fuchsite, extra fine, 0 - 100 µ 11421 Fuchsite, fine, 100 - 250 µ 11422 Fuchsite, medium, 250 - 500 µ 11424 Fuchsite, coarse, 500 - 1000 µ

/// 11552 Brimisvellir Green, moss green, from Iceland, silimar to Verona Green Earth Further Iceland Earthcolors: 11550 Snaefellsjoekull Red, 11551 Heydalsvegur Yellow, 11553 Iceland Earthcolors Assortment. 12200 Copper Resinate, transparent copper green 17400 Green Earth, from Cyprus, genuine, standard High in the mountains of Cyprus, far from the tourist spots, one can find round, fist-sized rocks strewn among the groves and in small ravines. Some of these gray- rocks contain a light, pure, green color, with a core of a hard brown substance. It looks like the brown silicate is slowly weathering into a green earth in this hot, semi-arid climate. The green earth from Cyprus originated mainly in the Turkish part of the island. Political and judicial problems make the collection of the earth basically illegal. Only on the borders of the historical sources can one find a few of these rocks. The painting department of one of the big monasteries in Greece commissioned us with the production of green earth from stones, and they have supplied us with a small amount to sell to our customers. 17410 Bluish Green Earth, from Cyprus, genuine, brilliant Special selected green earth with a bluish quality. Green earth from Cyprus is found while farming the fields of the north-west highlands. As agriculture declined during and after the Turkish-Greek war, the source was lost. A geologist on Cyprus is now finding small amounts of this rare mineral, most of which has a light to medium green hue. Only a few rocks are of this -green quality. 37391 Sap Green, made from ripe buckthorn berries and weld 44450 Verdigris, synthetic, coarse bluish green powder, contains copper

10 Kremer-made and Historic Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// Blue / Violet

/// Smalt Cobalt silicate, contains cobalt. Oldest known man-made . Blue glass powder. 10000 Smalt, standard, according to a recipe from 1820, 0 - 120 µ 01 10010 Smalt, very fine, according to a recipe from 1820, < 80 µ

/// Blue copper silicate, made by boiling quartz with copper and calcium. It is the first synthetic pigment we know of and was typical for the ancient cultures of Babylon and Egypt. It was used until the end of the Roman period in . Based on glass frit, it is stable in and very fade-resistant. 10060 Egyptian Blue, blue copper silicate, < 120 µ

/// HAN-Blue The blue of ancient China. Chinese Blue is a completely synthetic pigment created by Chinese chemists about 2600 years ago. It is a barium-copper-silicate made from mineral barium (ba- rytes), mineral copper (malachite or azurite) and sand (quartz), compounded at about 1000° C. 10071 HAN-Blue, fine, the blue of ancient China, 0 - 40 µ 10072 HAN-Blue Deep, intensive blue, 40 - 80 µ

/// 10074 HAN-, fine, < 40 µ, high tinting strength 10075 HAN-Purple, 40 - 80 µ 10170 Ploss Blue, copper calcium acetate

/// Blue Bice 10180 Blue Verditer, synthetic Azurite, blue bice, cendres blue 10184 Blue Bice, Copper-Calcium-Carbonate, CCC-Blue

/// Azurite Medieval European painting harbours many secrets, which is why we often speak of the „ secrets of the old masters.” Painting was organized in guilds, and members of the guild trad- ed recipes of certain processes only among other members. No written account remains of many of these recipes which today pose a riddle to restorers and painters alike. One of the unsolved mystery of painting is why Azurite used in oil sometimes does not turn green. Azurite contains copper, which is notorious for changing its color in acidic environ- ments, such as linseed oil. Now a customer of ours - Michael Price - has developed a process to preserve the subtle blue hue of Azurite in oil by coating the particles with protein. As a by- product of this process, the pigment particles are sorted according to purity and size – yielding many new and vibrant shades that can be used in oil painting. Scientific analysis supports the use of a protein coat in historical copper paint pigments. The IRPA in Brussels even found protein coating on most of the pigments used by the brothers Van Eyck. We now o[er from our own production this line of „MP” Azurite pigments. Their hue is of special purity and varies according to particle size. 10200 Azurite natural standard, 0 - 120 µ 10201 Azurite MP, extra deep coarse, 100 - 125 µ 10203 Azurite MP, extra deep, 80 - 100 µ 10204 Azurite MP, deep, 63 - 80 µ 10206 Azurite MP, pale, 38 - 63 µ 10207 Azurite MP, Sky-Blue light, extra fine, < 38 µ 10208 Azurite MP, exclusive, very clear, finer than 38 µ 10210 Azurite natural fine, very fine grind, 0 - 80 µ

For further information and prices please visit us at www.kremerpigments.com Kremer-made and Historic Pigments 11 01 Pigments

/// Only a few kinds of the Turquoise minerals are suitable for the pigment production. Turquoise is a blue-to-green mineral that is a hydrous phosphate of copper and aluminium, with the CuAl (PO ) (OH) ·4H O chemical formula 6 4 4 8 2 . 01 103800 Turquoise Sky-Blue, 0 - 120 µ 103801 Turquoise Sky-Blue, fine, 0 - 80 µ

/// Vivianite Fe 2+(PO ) ·8H O Vivianite is an aqueous iron phoshate. Its chemical structure is about 3 4 2 2 . The glass-like thin panes are almost transparent. Only when ground it is a gray blue pigment powder. 104000 Vivianite, 0 - 120 µ

/// Sodalite 104200 Sodalite, 0 - 120 µ, bluish-purple gray pigment 104201 Sodalite, fine, 0 - 80 µ, bluish-purple gray pigment

/// 104500 Vesuvianite, purple pigment, 0 - 120 µ Vesuvianite was first discovered on Mount Vesuvius, Italy. Vesuvianite is a complex iron-manganese-silicate. 104602 Cavansite, extra fine, 0 - 40 µ Cavansite - its name refers to the chemical composition, calcium vanadium silicate - is a blue calcium vanadium phyllosilicate mineral. Cavansite is a relatively rare mineral. It is polymorphic with the even rarer mineral, Pentagonite. Our Cavansite is found near Poona, . We do not know whether Cavansite has ever been used in Europe, but it appears that this bright turquoise blue color was used on some Moghul minatures. 10470 Pentagonite, opaque, turquoise, < 40 µ Pentagonite is a blue hydrous calcium vanadium phyllosilicate mineral. Our Pentagonite is from Goa, India.

/// Lapis Lazuli is a relatively rare, semi-precious stone which has been prized for its intense blue color since antiquity. There are two areas where Lapis Lazuli is found. It has been mined in Afghanistan for more than 8000 years and in Chile since the 20th century. Our Lapis Lazulis 1056025 - 10562 are from Chile, all others are from Afghanistan. 10500 Lapis Lazuli, grayish-blue, natural 10510 Lapis Lazuli, medium quality, natural ultramarine 10520 Lapis Lazuli, good quality, natural ultramarine 10530 Lapis Lazuli, pure, Fra Angelico Blue Made according to a historic recipe. Clear, distinct blue. 10540 Lapis Lazuli, crystalline, natural ultramarine, pale 1056020 Lapis Lazuli from Chile, 0 - 20 µ, washed and separated by flotation 1056025 Lapis Lazuli from Chile, 20 - 25 µ, washed and separated by flotation 1056038 Lapis Lazuli from Chile, 25 - 38 µ, washed and separated by flotation 1056045 Lapis Lazuli from Chile, 38 - 45 µ, washed and separated by flotation 1056075 Lapis Lazuli from Chile, 45 - 75 µ, washed and separated by flotation 10562 Lapis Lazuli, sky-blue, from Chile, natural crystalline pigment 10580 Ultramarine Ash, by-product of Lapis Lazuli 10530

/// Côte d´Azur Violet Light violet slate powder. From Mels, Switzerland. Contains iron / manganese. 11350 Côte d´Azur Violet, light

12 Kremer-made and Historic Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// Indigo is an organic blackish blue pigment. Natural indigo was the only source of the un- til the late 19th century. Today Indigo is also produced synthetically and available in various shades. A variety of , such as Indigofera species or tinctoria, provide the . Indigofera species can be found all over the world. The dye is obtained from the process- 01 ing of the ´s leaves. The leaves are soaked in water and fermented in order to convert the glycoside Indican naturally present in the plant to the blue dye Indigotin. The precipitate is mixed with a strong base such as lye, pressed into cakes, dried, and powdered. The powder is then mixed with various other substances to produce diCerent and purple. Indigo is among the oldest dyes to be used for textile . For centuries Indigo has been used in many Asian countries, also in Mesopotamia, Egypt, Greece, Peru and Africa. The Ro- mans used indigo as a pigment for painting and for medicinal and cosmetic purposes. It was a luxury item imported to the Mediterranean from India by Arab merchants. Indigo has been used in traditional textile dying throughout West Africa. From the Tuareg nomads of the Sahara to Cameroon, clothes dyed with Indigo signified wealth. Indigo is insoluble in water and alco- hol. Please find our synthetic Indigo (#36009) in this Chapter under Pigments of Modern Age, the appropriate Color Paste (#360094) in Chapter 06 Ready-made Colors & Gilding Materials. 36000 Indigo, genuine, Indian, powder, 36002 Indigo, genuine, pieces, from India 36003 Indigo made of Woad, natural blue dye 36005 Indigo Blue lake, medium blue, natural blue dye 36006 Indigo Red-Violet, natural blue pigment 36007 Maya Blue, genuine, indigo in a silicic crystal matrix

/// 36010 , genuine, Imperial Purple The royal red of antiquity is named after Pupura Lapillus, the shellfish which excretes the purple dye, also called Tyrian dye. Traditionally adorning the robes of emperors, kings and chief magistrates, 1 gram of this dye is made from the secretion of 10.000 of these large sea snails. Since ancient times Purple has been used for dying , and . One can use the dye directly from the shellfish for this procedure. The pigment made from this is called Tyrian Purple or Imperial Purple. It can be used for painting. 36015 Purpurissum, Tyrian Purple, genuine, murex trunculus Pigment for paint. 36018 Folium Cloth Blue, dry extract of Chrozophora tinctoria on textile carrier The weight of the samples may vary. /// White

/// Alba Albula 11283 Alba Albula, buC white colored chalk, from Albula, Switzerland

/// Sugar Dolomite From the Swiss Alps. Sugar Dolomite consists of small, pure white crystals. 11290 Sugar Dolomite, 0 - 120 µ 11291 Sugar Dolomite, coarse, 120 - 250 µ

/// 11320 Rhodochrosite, pale-coral , 0 - 120 µ 11400 Crystal, 80 - 150 µ 11401 Rock Crystal, fine, powder, 0 - 63 µ Mountain Crystal Powder consists of crystalline white particles which are visible under the . 11405 Diamond Powder , natural white, 60 - 80 µ 114052 Diamond Powder white-, crystals, approx. 100 µ 114053 Diamond Powder white-silver, crystals, approx. 250 µ 11410 White, fine, white powder

For further information and prices please visit us at www.kremerpigments.com Kremer-made and Historic Pigments 13 01 Pigments

/// Bianco San Giovanni Described by Cennino Cennini. 11415 Bianco San Giovanni, white pigment 11416 Bianco San Giovanni, coarse, white pigment 01 /// 11674 Obsidian , natural glass from Mexico Mineral black volcanic glass from Mexico is called Obsidian. The rocks are found in Arizona and Northern Mexico, and produce an attractive, subtle gray powder. 11800 Selenite, Marienglas, 0 - 120 µ, gypseous spar from Cyprus, special extender 11810 Selenite, Marienglas, fine, 0 - 80 µ, gypseous spar, from Cyprus Specific crystalline structure (plates) make this product especially suitable for violin-making, where it is used as a clear filler in oil varnishes. 11830 Aragonite, extra white, fine grind, 0 - 63 µ 11840 Alabaster White, pieces, natural transparent alabaster from Morocco 11850 Alabaster, yellowish, pieces, natural alabaster from Morocco 12470 White Chalk from Belgium , natural drawing chalk, 8 x 1 x 1 cm 46000 Cremnitz White, Lead White, contains lead, toxic Only permitted for the restoration of art works as well as historically protected buildings, only if the use of substitutes is impossible. /// Brown / Black 10900 , gray-black lustrous powder, contains lead, toxic 10920 Pyrite Powder, 0 - 120 µ, green-gray, lustrous powder 10930 Pyrite Powder fine, 0 - 80 µ 10940 Antimony, stibium, gray metallic, baroque, 0 - 200 µ 11276 Brown Ochre, from Andalusia, < 80 µ 11280 Black Earth, from Andalusia, < 80 µ 11282 Nero Bernino, gray-green slate from Bernina, Switzerland, 0 - 120 µ 11356 Gray from Mels, Switzerland 11360 Brown-Red Slate, from Austria 11362 Gray from Burgundy, < 80 µ 11530 Gold Ochre, from Saxony, Germany, deep brown-gold, very fine grind 11620 Brown Earth from Otranto, Italy, pea-ore, sanguine- brown, standard grind Brown earth with lime deposits sometimes produces small, round nuggets of iron oxide sediments, also known as pea ore. In medieval times this pea ore was used to smelt iron. It can be found in practically all areas in which limestone occurs, especially after rain in autumn on freshly tilled soil. The brownish red color is reminiscent of coagulated blood, and the pigment obtained from it can be used in all painting techniques. 11630 Iseo Brown, reddish brown , from Italy 11650 Elba Brown Ochre deep, dark brown, fine grind, from Tuscany 11670 Black, 0 - 120 µ /// Carbonic Black 12000 Black, genuine, own production 12010 Black, genuine, matt black 12015 Grape Black, genuine, bluish-black 12020 Cherry Black, genuine, brownish-black 12040 Shungit, Russian Black for Icons, < 80 µ 12440 Bideford Black, powder, finer 80 µ

/// 12030 Atramentum, stone, black Produced from the tannic acid of oak bark in a reaction with iron salts, Atramentum is a deep black material that diJers from carbon or iron oxide . Historically also called „ink stone,” it appears grayish black in watery media, which can act corrosive on paper supports. However, in linseed oil or resinous glazes this pigment develops its incomparable depth and . Very lightfast. 12100 , genuine beechwood soot

14 Kremer-made and Historic Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// 12400 Sepia, from adriatic cuttlefish, raw, dry, 0 - 120 µ 12401 Sepia, fine, from adriatic cuttlefish, raw, dry, 0 - 80 µ 12402 Sepia, very fine, from adriatic cuttlefish, raw, dry, 0 - 63 µ 01 /// Black Drawing Chalk Cennino Cennini writes about a black chalk from Piemont, Italy, which is very dark, good for drawing, and soft enough for sharpening with a . This type of slate with a high carbon content can be found in Thuringia (Germany), France and Andalucia (Spain). From a source in France we can supply pieces of this dark chalk, which can be carved to fit pencil holders, and sharpened to a point for dark, extremely fine lines. Prices vary by size of the pieces, and are calculated by weight. 12450 Black Drawing Chalk, pieces, 15 - 30 g , deep black, from France 12451 Black Drawing Chalk, pieces, 30 - 80 g , deep black, from France 12452 Black Drawing Chalk, pieces, 80 - 150 g , deep black, from France

/// Graphite in pieces 12460 Graphite in pieces, small , up to 250 g, pure, price per kg

EARTH & IRON OXIDE PIGMENTS

/// Earth Pigments Please find further earths like Burgundy Ochre, Moroccan Ochre, Spanish Ochre or our Iceland Earthcolors in this Chapter under Kremer-made and Historic Pigments.

/// Yellow Earth Pigments 40010 French Ochre JTCLES, clear yellow earth pigment, washed 40012 French Ochre, very light, yellow 40013 French Ochre, extra light, yellow 40030 French Ochre JOLES, yellow earth pigment, washed 40040 French Ochre JCLES, yellow earth pigment, washed 40050 French Ochre JFLES, yellow earth pigment, washed 40060 French Ochre JALS, warm yellow earth pigment, washed 40070 French Ochre SOFODOR, golden earth pigment 40130 French Ochre SAHARA, French yellow ochre 40195 Gold Ochre, from Poland, Carpathia 40200 Ochre Avana, greenish-yellow, Italian 40214 Gold Ochre DD, very fine, clear golden yellow, German 40220 Italian Gold Ochre light, Sienna de Verona 40241 Ochre, German, very light umber, greenish 40260 Satin Ochre, Monte Amiata, gold-orange, from Tuscany, Italy 40280 Amberg Yellow, deep, German 40301 Iron Oxide Yellow, deep yellow 40310 Dark Ochre, German, light ochre 40320 Dark Ochre, Italian, light ochre 40392 Raw Sienna, French, natural yellow earth 40400 Raw Sienna, Italian, natural yellow earth 40404 Raw Sienna Badia, Italian, natural earth pigment 40410 Raw Sienna brownish, Italian, natural earth pigment

/// Red Earth Pigments 40020 French Ochre RTFLES, red earth pigment, washed 40080 French Ochre HAVANE, orange earth pigment 40090 French Ochre SOFOROUGE, red earth pigment

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40430 Dark Burnt Sienna, Italian, No. 3 40440 Pompeii Red, burnt natural sienna, Tuscan earth 40470 Burnt Sienna, from France, natural earth 40490 Rosso Sartorius, natural red earth from Sardinia, Italy 01 40503 Red Bole, natural red earth from Germany 40510 , Italian red earth 40520 Red Bole in pieces

English Red 40542 English Red Light, mixed red earth, orange, burnt 40545 English Red Deep, German, mixed red earth, burnt, cool red

Mixed Earth Pigments 41550 Terra Pozzuoli, mixed red earths 41600 Terra Ercolano, mixed orange earths

/// Native earths from Germany, Italy and Cyprus, containing manganese, they are otherwise similar in composition to Sienna earths. Greenish dark of raw umber and warm deep hues of burnt umber are excellent driers and often added to slower drying pigments. 40610 Raw Umber, from Cyprus 40611 Raw Umber, light, from Italy 40612 Raw Umber, greenish, from Italy 40623 Manganese Brown Intense, from Morocco, Caledonian brown, Cappagh brown, contains manganese 40630 Raw Umber greenish dark, German 40650 Chromite, iron chromium oxide mineral, similar to a dark green umber 40660 Raw Umber, dark, brown slightly greenish, from Cyprus 40700 Burnt Umber, reddish, Italian 40710 Burnt Umber, brownish, from Cyprus 40720 Burnt Umber, dark brown, from Cyprus 40723 Burnt Umber, type B, from Cyprus 40730 Burnt Umber Light, reddish-brown, from Cyprus

/// Green Earth Pigments

Genuine Green Earths 40800 Green Earth light, yellowish, German 40810 Bohemian Green Earth, genuine, brilliant hue, extra fine grinding 40821 Green Earth from Verona, genuine, pure 40830 Green Earth from France, light 40850 Burnt Green Earth, reddish, coarser grind

Mixed & Enhanced Earth Pigments Earth colors are sometimes mixed with one another to achieve a particularly beauti- ful hue, or enhanced with other pigments to create an optical equivalent of a much more rare and precious pigment. 41700 Verona Green Earth, enhanced with Green 41750 Vagone Green Earth, enhanced with and Chrome Oxide Green 41770 Nicosia Green, mixed green earths with cobalt blue, enhanced 41800 Bohemian Green Earth, imitation, enhanced earth color, yellowish green light 41820 Verona Green Earth, imitation, mixed green earths

16 Earth & Iron Oxide Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// Brown & Black Earth Pigments 40231 Brown Ochre light, German 41000 Van Dyck Brown, Cassel earth, dark Consists mainly of humic acids and iron oxide. Degradation processes: it fades on exposure to strong light and develops a cold, tone. 01 41050 Cassel Brown, wood stain, watersoluble, Van Dyck Brown, oak stain, walnut stain

Slate & Clay, powder 40900 , extra light, stone chalk, semi opaque 40911 Slate Gray, light, greenish, stone chalk 40920 Slate Gray, gray-green, stone chalk 40930 Slate Gray, dark, stone chalk, neutral gray 40960 Pencil Clay, powder, light warm gray, 0 - 0.5 mm 40970 Pencil Clay, pieces, light /// Iron Oxide & Translucent Pigments Chemically produced pure iron oxide pigments are excellently lightfast, opaque and stable in any medium. They are especially recommended for outside applications, in cement and lime. Color range is equivalent to earth colors, from yellow to dark violet-brown.

/// Orange / Red 48050 Iron Oxide Yellow-Orange, Gamma, synthetic iron oxide, acicular particles 48060 Iron Oxide Orange 960, light, synthetic iron oxide 48100 Iron Oxide Red 110 M, light, synthetic iron oxide 48120 Iron Oxide Red 120 M, synthetic iron oxide 48150 Iron Oxide Red 130 B, medium, synthetic iron oxide 48200 Iron Oxide Red 130 M, medium, synthetic iron oxide 48210 Iron Oxide Red 160 M, synthetic iron oxide 48220 Caput Mortuum Synthetic 180 M, bluish dark iron oxide red, Persian red 48250 Iron Oxide Red 222, dark, synthetic iron oxide, rust protection 48289 Iron Oxide Red, micronized, very pure, strong tinting strength 48600 Iron Oxide Red, natural, haematite, medium grind 48651 Haematite, intense tinting, powder 48660 Haematite, pieces , approx. 15 - 30 mm, red 48700 Caput Mortuum reddish, natural, very opaque 48710 Caput Mortuum dark, Haematite 48750 Caput Mortuum violet, Haematite, brownish 52350 Translucent Orange-Red, iron oxide 52400 Translucent Red medium, iron oxide

/// Yellow 48000 Iron Oxide Yellow 920, medium, synthetic iron oxide 48020 Iron Oxide Yellow 415, greenish, synthetic iron oxide 48040 Iron Oxide Yellow 940, dark, synthetic iron oxide 48045 Iron Oxide Yellow 930, dark, synthetic iron oxide 52200 Translucent Yellow, iron oxide

/// Brown / Black 48300 Iron Oxide Brown 610, light, synthetic iron oxide 48320 Iron Oxide Brown 640, medium, synthetic iron oxide 48330 Iron Manganese Brown 645 T, synthetic burnt umber, red-brown 48340 Iron Oxide Brown 655 reddish, beautiful, rich shade of brown 48350 Iron Oxide Brown 660, dark, synthetic iron oxide 48360 Iron Oxide Brown 686, extra dark, synthetic iron oxide 48400 Iron Oxide Black 318, high tinting, , synthetic iron oxide, opaque

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48420 Iron Oxide Black 306, bluish, synthetic iron oxide 48422 Iron Oxide Black, black blue, for reinforced concrete 48440 Iron Oxide Black 320, brownish, synthetic iron oxide 48442 Iron Oxide Black, brownish black, for reinforced concrete 01 48445 Iron Oxide Black 303 T, dark black, synthetic iron oxide 48447 Iron Oxide Black, temperature stable 48800 Magnetite, very fine, 10 µ, deep dark gray powder, almost transparent 48804 Magnetite, fine, natural iron oxide black, approx. 63 µ 48806 Magnetite, coarse, deep dark gray, approx. 100 µ 48900 Iron Glimmer Gray, coarse 48910 Natural Iron Glimmer, < 63 µ, gray 48930 Iron Glimmer Violet, flakes, red and glossy, transparent 48933 Iron Glimmer Violet, extra fine, < 5 µ, haematite 48941 Iron Glimmer from Morocco, very fine, 0 - 63 µ, glittery 48943 Iron Glimmer from Morocco, fine, 63 - 100 µ, glittery 489621 Spanish Haematite, fine, glimmer shape, silver, 0 - 90 µ 489623 Spanish Haematite, medium, glimmer shape, silver, 20 - 120 µ 489624 Spanish Haematite, coarse, glimmer shape, silver, 100 - 200 µ

PIGMENTS OF MODERN AGE

/// Orange / Red

/// Pigments Cadmium pigments are excellently lightfast, opaque and brilliant with high coloring strength, and of the highest purity available. Please find further cadmium pigments under Yellow and Green in this Chapter. 21080 Cadmium Orange No. 0, very light, very lightfast, opaque 21090 Cadmium Orange No. 0.5, light, very lightfast, opaque 21100 Cadmium Orange No. 1, medium, very lightfast, opaque 21120 Cadmium Red No. 1, light, very lightfast, opaque 21130 Cadmium Red No. 2, medium, very lightfast, opaque 21140 Cadmium Red No. 3, dark, very lightfast, opaque 21150 Cadmium Red No. 4, bluish purple, very lightfast, opaque

/// Organic Pigments, synth. 23152 Hostaperm® Pink E, very bright dark pink 23178 Irgazine® Orange DPP RA, transparant 23179 Irgazine® DPP EK, opaque 23180 Irgazine® Red DPP BO, opaque 23181 DPP - Red, transparent 23182 Irgazine® Ruby DPP-TR, opaque 23200 Scarlet Red, most brilliant scarlet 23202 CPT - Scarlet Red, warm orange 23230 Permanent Red A, deep clear red, anthraquinone pigment 23250 Permanent Red Dark, GOLO - limited availability 23290 Permanent Red, neutral red B 23291 Permanent Red FRLL, neutral red C 23293 CPT - Red, Medici-Red 23401 Hostaperm Pink, transparent 23402 Quindo® Pink D, organic pigment 23410 Quindo® Red R 6713, organic pigment 23490 Purple-Red, brownish, Urbino Red, very lightfast 23493 Gubbio Red, transparent brownish-red

18 Pigments of Modern Age For further information and prices please visit us at www.kremerpigments.com Pigments 01

23504 Paliogen® Maroon very fine, brillant bordeaux red 23540 Paliotol® Orange, bright orange 23560 Paliogen® Orange, carrot orange 23570 Pyranthrone Orange, reddish orange 23585 Cinquasia® Gold, red-gold, transparent, reddish 01 23600 Alizarine Crimson Light, bright red 23610 Alizarine Crimson Dark, bluish red 23720 Hostaperm® Red, light reddish violet 23800 Isoindolol Orange, warm dark orange 23950 Studio Red, Helio, bright red

/// 42050 Zirconium Red, Cadmium Red in a matrix of zirconium silicate The lightfastness and resistance to chemicals are excellent (8/8/8), nevertheless the use in very acidic mediums is not recommended. Zirkoniuim Red is stable at temperatures up to 1300° C. The hue is in between a bright Iron Oxide Red (48100) and a Cadmium Red (21130). 42601 Ultramarine Red, violet pink, lightfast Ultramarine Red is not stable in acids and acid rain. 42605 Ultramarine Red B, dark pink, lightfast

/// Garnet Powder 42711 Garnet Powder Red, very fine, grain size approx. 0.1 - 0.3 mm 42712 Garnet Powder Red, fine, grain size approx. 0.2 - 0.6 mm 42714 Garnet Powder Red, medium, grain size approx. 0.4 - 0.8 mm 42716 Garnet Sand Red, coarse, grain size approx. 0.7 - 1.2 mm

/// Studio Pigments An economical way to buy pigment colors, Studio Pigments are based on synthetic organic pigments mixed with a filler (may contain silica). The pigment is ground dry under stone roll- ers with marble dust / china clay to form a soft powder. They are easily dispersed, especially into waterborne paints. Studio Pigments are bright and relatively lightfast. You can find further Studio Pigments in this Chapter under Yellow, Green and Blue / Violet. 55200 Studio Pigment Orange, synthetic organic pigment and filler 55300 Studio Pigment Light Red, synthetic organic pigment and filler 55400 Studio Pigment Dark Red, synthetic organic pigment and filler 55450 Studio Pigment Bordeaux, synthetic organic pigment and filler 55470 Studio Pigment Pink, synthetic organic pigment and filler /// Yellow

/// Cadmium Pigments Please find further cadmium pigments under Orange / Red and Green in this Chapter. 21010 Cadmium Yellow No. 1, lemon, very lightfast, opaque 21020 Cadmium Yellow No. 2, very light, very lightfast, opaque 21030 Cadmium Yellow No. 4, light, very lightfast, opaque 21040 Cadmium Yellow No. 6, medium, very lightfast, opaque 21050 Cadmium Yellow No. 8, medium dark, very lightfast, opaque 21060 Cadmium Yellow No. 9, dark, very lightfast, opaque

/// Organic Pigments, synth. 23300 Permanent Yellow light, organic pigment 23310 Permanent Yellow Medium, organic pigment 23330 Irgazine® Yellow, greenish, transparent 23340 Isoindole Yellow, organic pigment 23350 Indian Yellow imitation, contains nickel

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23370 -Yellow medium, clear warm yellow 23650 Brilliant Yellow, Hansa yellow 23660 Isoindolinon Yellow, greenish 23670 Irgazine® Yellow, light orange 01 23850 Studio Yellow, Hansa yellow 24000 Paliotol® Yellow-Orange, brilliant orange

/// Bristol Yellow Bristol Yellow is based on non-toxic bismuth, is metal-based and exhibits good hiding power. It is also brilliant and light fast, making it not only a good substitute for discontinued pigments, but also an excellent new color for artists. The powder has a high specific weight and can be used in all media. 43101 Bristol Yellow pale, naples yellow imitation, lead-free 43111 Bristol Yellow, medium, naples yellow imitation, lead-free 43131 Bristol Yellow, reddish, naples yellow reddish imitation, lead-free

/// 43200 Nickel-, artificial mineral pigment 43210 Nickel-Titanium Yellow, greenish, artificial mineral pigment 43230 Praseodym Yellow, pale Hue similar to Naples yellow. 43300 Titanium Orange, golden-orange 43500 Cobalt Yellow, 43600 Antimony Red, golden antimony sulphide 43870 Yellow Zircon, Zircon-Praseodymium-Silicicate 43880 Intensive Yellow, transparent

/// Bismuth-Vanadate Yellow 43910 Bismuth-Vanadate Yellow lemon, very lightfast 43915 Bismuth-Vanadate Yellow, light, similar to Cadmium Yellow No. 4 43918 Bismuth-Vanadate Yellow, medium, similar to Cadmium Yellow No. 6 43920 Bismuth-Vanadate Yellow, dark, similar to Cadmium Yellow No. 9

/// Studio Pigments 55100 Studio Pigment Yellow, synthetic organic pigment and filler 55125 Studio Pigment Egg Yolk Yellow, synthetic organic pigment and filler 55140 Studio Pigment Yellow Sun Gold, synthetic organic pigment and filler /// Green

/// Organic Pigments, synth. 23000 Phthalo Green Dark, bluish One might simply call Phthalo Green dark cyan. This corresponds to a large extent to the color of Viridian, however, Pthalo Green is darker and purer, and can be more bluish in tone. Phthalo Green mixed with white is more brilliant than Viridian. 23010 Phthalo Green, yellowish, lightfast

/// 44100 Cobalt Green, contains cobalt 44110 Cobalt Oxide Green Blue, deep turquoise, contains cobalt 44130 Cobalt Bottle Green, dark green, contains cobalt 44151 Cobalt Green bluish A, contains cobalt 44190 Green, Victoria Green, bright, very lightfast, transparent Chromium based silicate pigment which can easily be worked with in most mediums. The oil absorbtion is low, thin transparent layers are therefore di@cult if ground in oil. 44200 Chrome Oxide Green, cool green, opaque

20 Pigments of Modern Age For further information and prices please visit us at www.kremerpigments.com Pigments 01

44204 Chrome Oxide Green DD, pure, intensive color, very fine 44250 Viridian Green, hydrated chrome oxide, bright, transparent 44280 Permanent Green, mixture, lightfast 44400 Malachite, synthetic, contains copper 01 /// Cadmium Pigments Please find further cadmium pigments under Orange / Red and Yellow in this Chapter. 44500 Cadmium Green, light, mixture of cadmium yellow and ultramarine blue 44510 Cadmium Green, dark, mixture of cadmium yellow and ultramarine blue

/// Studio Pigments 55700 Studio Pigment Light Green, synthetic organic pigment and filler 55800 Studio Pigment Dark Green, synthetic organic pigment and filler /// Blue / Violet

/// Organic Pigments, synth. 23050 Phthalo Blue, Primary Blue 23060 Phthalo Blue , Heliogen Blue 23070 Phthalo Blue reddish, Heliogen Blue 23080 Phthalo Blue, very lightfast 23100 Indanthren® Blue, deep blue 23451 Dioxazine Violet, halogen-free 23700 Thioindigo Red, lightfast 23710 Cinquasia® Violet RT 201 D, reddish violet 23750 Alizarine Violet, bright medium violet 36009 Indigo, synthetic, VAT Blue 1 Please find our historic (# 36000 - 36007) in this Chapter under Kremer-made and Historic Pigments, the Indigo, synthetic Color Paste (#360094) in Chapter 06 Ready-made Colors & Gilding Materials.

/// Ultramarine Pigments 45000 Ultramarine Blue, very dark, synthetic mineral pigment 45010 Ultramarine Blue, dark, synthetic mineral pigment 45020 Ultramarine Blue, reddish, synthetic mineral pigment 45030 Ultramarine Blue, greenish extra, synthetic mineral pigment 45040 Ultramarine Blue, greenish light, synthetic mineral pigment 45080 Ultramarine Blue, light, synthetic mineral pigment 45100 Ultramarine Violet, medium, bluish, mixture 45110 Ultramarine Violet, reddish, dark 45120 Ultramarine Violet, light reddish, synthetic mineral pigment

/// 45202 Prussian Blue LUX, also Milori Blue, Berlin Blue 45350 Manganese Violet, synthetic mineral pigment 45364 Copper Blue, very light turquoise blue 45400 Zirconium Blue, semi-opaque,

/// Cobalt Pigments Cobalt Blue is a relatively new pigment. Discovered by Leithner in 1775, it was not industri- ally produced until the early 19th century. Since then it has become indispensable in all artist colors including pastel, because of its characteristic soft, yet strong hue, which tends a little towards the . It is particularly beautiful in water-based media, where the dark shades can be diluted to a light blue. In oil colors it is mixed with a light oil such as poppy or walnut to prevent the greening eXect that the stronger yellowish linseed oil would produce. Its natural drying eXect oXsets the slow drying quality of those oils. Due to its particle weight, it tends to

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separate from the oil which can cause di3culties in tubes. Adding filler or beeswax can o:set this drawback, but it is best made up fresh. When grinding the pigment, one must be careful to not add too much oil. If the paste turns liquid, a little more pigment must be added. There is a fine balance of adding just the right amount of oil, which only practice can reveal. Its wetting properties in all media are good, its hiding power and tinting strength moderate. Cobalt blue 01 is the most expensive pigment of those commonly used today. It is however the only abso- lutely lightfast and weatherproof blue which makes it an ideal pigment for fresco painting. Its permanence and the irreplacable visual experience created by its soft hue make it a favorite classic among artists. We carry only the finest quality. 45700 Cobalt Blue Dark, synthetic mineral pigment 45701 Cobalt Blue Dark, greenish, slightly lighter and more greenish than 45700 45702 Cobalt Blue, Sapporo 45710 Cobalt Blue Medium, opaque 457141 Cobalt Blue Pale, synthetic mineral pigment 45720 Cobalt Blue Light, synthetic mineral pigment 45730 Cobalt Cerulean Blue 45740 Cobalt Blue, greenish 45750 Cobalt Blue Turquoise Light 45760 Cobalt Blue Turquoise Dark 45800 Cobalt Violet, dark, semi-opaque 45810 Cobalt Violet Brilliant, dark, < 75 µ 45820 Cobalt Violet Brilliant, light

/// Studio Pigments 55500 Studio Pigment , synthetic organic pigment and filler 55600 Studio Pigment Dark Blue, synthetic organic pigment and filler 55900 Studio Pigment Violet, synthetic organic pigment and filler /// White 46100 Lithopone, silver-seal 46200 Titanium White Rutile, pure white, highly opaque 46280 BuC Titanium, natural titanium dioxide, opaque, yellowish 46300 Zinc White, zinc oxide, lead-free 46350 Zinc Sulphide, fine soft powder 46360 Kremer White, pure white, 5 µ Kremer White in watery mediums an alternative to Cremnitz resp. Lead White. It is not quite as bright as Titanium White, stable at temperatures up to 1400° C, suitable for watercolors, in acrylic dispersions, in lime and cement and in oil. /// Brown / Black

/// Organic Pigments, synth. 23480 Cinquasia® Brown, very lightfast 23500 Paliogen® Maroon, bordeaux-red 23502 Maroon, pigment contains coarse particles 24100 Aniline Black, deep, neutral black The first synthetic industrial pigment, discovererd 1863, used especially for printing.

/// 47000 Vine Black, German, pure plant black 47100 Bone Black, made of bones 47120 Nano F - Black, aqueous dispersion 47200 Ivory Black JU, bone black, improved quality Based on bone black but with very high tinting strength. Usually the best qualities of bone blacks are called Ivory Black. 47250 Furnace Black, Lamp Black Slow drier, light-weight powder.

22 Pigments of Modern Age For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// Basalt 47324 Basalt Black, fine powder, grain size 0 - 0.3 mm, fire-dried 47326 Basalt Black, fine sand, grain size 0.1 - 0.3 mm, grayish, fire-dried 47327 Basalt Black, medium fine sand, grain size 0.2 - 0.6 mm, fire-dried 47328 Basalt Black, sand, grain size 0.5 - 1 mm, fire-dried 01 /// Spinel Pigments 47380 Spinel Black No. 38, copper-chromium-iron spinel 47400 Spinel Black, deepest black Only „true” black – evenly non-reflectant across the spectrum. Lightfast in all media. 47410 Spinel Gray, iron-manganese-spinel Dark, neutral metallic gray, stable up to 1200°C, suitable in all binders. 47420 Spinel Black No. 42, copper-chrominium spinel 47430 Spinel Black No. 43, chromium-iron-nickel-manganese spinel 49550 Zinc-Iron Brown Dark, spinel 49600 Zinc-Iron Chrome Brown Light, spinel 49700 Haematite-Chrome Oxide, Spinel, black-brown /// 47501 Manganese Black 47510 Manganese Gray, manganese(IV) oxide 47530 Cement Black, mixture - limited availability From approx. the 1930s.

/// Graphite 47600 Asphaltum, from USA 47700 Graphite Powder Silver, very fine 47710 Graphite Powder Black, fine /// Charcoal Fagus sylvatica. 47800 Charcoal, made from beech 47810 Charcoal, 0.5 - 1 mm, made from beech 47820 Charcoal, 1 - 2 mm, made from beech SPECIAL & EFFECT PIGMENTS

/// Pearlescent Pigments These high quality pearlescent pigments consist of mica or borosilicate flakes coated with metal oxides in an elaborate process that makes them extremely lightfast and eminently suit- able for artists’ paints. Mixtures with translucent pigments achieve a whole new range of pearlescent hues. Milori blue or phthalo blue with an Ekaton white luster pigment re- sults in a blue metallic color, phthalo blue or green with Colibri gold results in intense green metallic colors. Any transparent pigment can be added to obtain new eVects. IRIODIN®: Thin natural mica flakes are coated with a thin layer of metal oxide, such as titanium dioxide and / or iron oxide. Through a combination of transparency, refractive index, coating thickness and multiple reflections varied color eVects are produced, such as those found else- where only in nature - silver white, interference, gold and multi-colored metallic luster eVects. MIRA (MIRAVAL)® : Pigments based on synthetic borosilicate flakes (a type of synthetic gem) have extremely smooth surfaces. With its brilliant and colorful sparkle and strong shine they give surfaces a certain air of extravagance: extraordinary sparkle, brilliance and high gloss, high transparency and unique eVect. The MIRA pearlescent pigments are almost colorless, transparent pigments. On a dark background they give a colored glitter eVect that is particularly brilliant in glossy binders. PYRISMA® : These pigments are based on natural muscovite mica with a special titanium inter- ference layer. The hue angle of each variety of Pyrisma® was determined by use of advanced complex colorimetric calculation. With their exceptional color saturation and the especially developed particle size distribution these pigments set a new standard. Their excellent per-

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formance and their resistance to environmental influences make them especially suitable for outdoor applications. The product group covers the largest which can be achieved with eight interference pigments. All Pyrisma® have particle sizes of 5 - 35 µ. COLORSTREAM®: ColorStream® pigments diGer from conventional pigments in their physical and geometric properties. They are based on synthetically manufactured, optimally coplanar 01 Si02 (silicon dioxide) platelets coated with metal oxides. Their production is similar to that of thin quartz wafers used in modern computers. The very thin and flat pigment particles enable exceptional angle-dependent interference eGects. We call this magnificent multi-color MAGIC. In combination with other pigments - so called stylings - the ColorStream® eGect pigments show to best advantage. EFFECT® : EGect Pigments® are products with individual product-specific properties, such as exciting colors and excellent weather stability. The coloristic properties in combination with the small particle size of these products make it possible to create layers of intense color with a silky-soft texture. XIRALLIC®: Xirallic® shows a very intensive glitter eGect with a distinct gleam and is charac- terized by strong and very pure colors. The eGect is intensified by sunlight. By coating with titanium dioxide in diGerent thicknesses silver eGects and interference pigments in gold, red, blue and green are produced. The coating with iron (III) oxide to , copper and red eGect pigments. The entire property profile allows for easy processing in all areas of applica- tion. Glittering and shimmering Xirallic® pigments show spectacular results especially in thin coats. In direct sunlight a firework of glitter eGects unfolds with XIRALLIC® formulated paint or varnish. All pearlescent pigments are suitable for each of the regular binder systems, such as watercolor, oil, or acrylics. PEARLETS®: There are some new silver and gold pearlescent pigments in granulated form, small beads 1 to 15 mm in diameter. The same amount Pearlets® has about half the volume of the powdered pigment. The dust-free beads dissolve rapidly in water or solvent. The solvent- soluble quality is also suitable for UV coatings. COLIBRI - CHROMA - MIRA (MIRAVAL)® : The opaque metallic luster pigments we named COLIBRI, for their likeness to the colors of the feathers of Colibri birds. The transparent, white powder varieties are called CHROMA or MIRA. They give bright colors on a dark background, or when mixed with a little bit of lamp black. Some pigments are available with special weather- stabilized equipment. These pigments are marked with the letter W. All pearlescent pigments can be mixed with transparent pigments and dyes. The transparent silver pigments give a metallic gleam by mixing them with a small amount of lamp black. Many of these pigments produce a strong color- enhancing eGect on dark or colored backgrounds. Weight and volume of pearlescent pigments: Kremer Pigments oGers the very light pearlescent pigments only by specifying the sale weight. The bulk density of pearlescent pigments is 150-350 g/l, depend- ing on the type and color, e. g. 50 g of pearlescent pigment has a volume of about 150 - 350 ml, and 100 ml of pearlescent pigment usually weighs about 15 - 35 g. /// Silver 50000 Pearl Luster IRIODIN® Silver, 10 - 60 µ, silky silver 50002 Pearl Luster IRIODIN® PEARLETS® Silver, water-soluble, 9 - 60 µ, low dust formation 50003 Pearl Luster IRIODIN® PEARLETS® Silver, solvent-soluble, 10 - 60 µ, low dust formation 50010 Pearl Luster Silver S, metallic-silver, 20 - 100 µ 50014 Pearl Luster MIRA® Silver Magic White, 20 - 200 µ Transparent pigment, color is sparkling silver on dark ground. 50020 Pearl Luster IRIODIN® Silver Glitter, fine, 20 - 180 µ 50021 Pearl Luster MIRA® Star Gloss, 30 - 300 µ 50024 Pearl Luster IRIODIN® Silver Glitter, coarse, 45 - 500 µ 50035 Pearl Luster IRIODIN® Icy White, pure silver white, 5 - 40 µ 50040 Pearl Luster IRIODIN® Polar Silver, 5 - 25 µ 50080 Pearl Luster XIRALLIC® Diamond Silver, 5 - 30 µ

The white silvery crystals of the Al 2O3, the same substance like in rubies or sapphires, capture the light like little crystals. The surface is coated with metal oxides to enhance the brilliance. 50084 Pearl Luster XIRALLIC® Micro Silver, 5 - 25 µ Small corundum crystals coated with titanium oxide, tin and zirconium oxide. Pearl Luster Micro Silver show silver pale gray shades, similar to aluminum. Pearl Luster Micro Silver is lightfast and resistant to chemicals.

24 Special & EGect Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// Gold 50016 Pearl Luster MIRA® Magic Sun Gold, 20 - 200 µ Transparent pigment, color is sparkling golden on dark ground. 50061 Pearl Luster PYRISMA® Yellow, 5 - 35 µ 50086 Pearl Luster Sunshine-Gold, 5 - 30 µ 01 50100 Pearl Luster IRIODIN® Colibri Gold, 10 - 60 µ, golden metallic 50110 Pearl Luster IRIODIN® Colibri Star-Gold, fine, 10 - 60 µ Most intense bright golden hue. 50111 Pearl Luster Colibri IRIODIN® Star-Gold, very fine, 5 - 40 µ Most intense bright golden hue, weather-proof. 50124 Pearl Luster IRIODIN® PEARLETS® Solar Gold, 10 - 60 µ, low dust formation, water-soluble 50140 Pearl Luster Colibri IRIODIN® Sun-Gold, 5 - 100 µ 50160 Pearl Luster IRIODIN® Colibri Glitter-Gold, 10 - 100 µ 50164 Pearl Luster Colibri, Glitter-Gold, 45 - 500 µ, extra coarse 50179 Pearl Luster IRIODIN® Colibri Satin-Royal Gold, 5 - 25 µ 50180 Pearl Luster IRIODIN® Colibri Royal Gold, warm dark yellow hue, 10 - 60 µ 50200 Pearl Luster IRIODIN® Colibri Pale Gold, 10 - 60 µ 50220 Pearl Luster IRIODIN® Chroma Yellow Gold, 10 - 60 µ 50221 Pearl Luster IRIODIN® Chroma Gold, 10 - 125 µ

/// Red & Copper 50017 Pearl Luster MIRA® Magic Copper, 20 - 200 µ Transparent pigment, color is sparkling copper on dark ground. 50062 Pearl Luster PYRISMA® Red, 5 - 35 µ 50085 Pearl Luster Sun-Red, 5 - 30 µ 50300 Pearl Luster IRIODIN® Colibri Bronze, 10 - 60 µ 50320 Pearl Luster IRIODIN® Colibri Glitter Bronze, 10 - 125 µ 50340 Pearl Luster IRIODIN® Chroma Copper, 10 - 60 µ 50359 Pearl Luster IRIODIN® Colibri Satin Copper, 5 - 25 µ 50360 Pearl Luster IRIODIN® Colibri Glitter-Copper, 10 - 60 µ 50361 Pearl Luster IRIODIN® Colibri Glitter-Copper, 10 - 100 µ 50400 Pearl Luster IRIODIN® Colibri Red, 10 - 40 µ 50410 Pearl Luster EFFECT® Colibri Iron Red, 5 - 35 µ Glimmer pigment coated with iron oxide. Metallilc hue similar to hematite. 50440 Pearl Luster Lava Red, intense hue, 5 - 50 µ 50651 Pearl Luster COLORSTREAM® Magic Indian Summer, 5 - 50 µ Shades range from pale bronze color from top view to metallic from an angled view. 50652 Pearl Luster Magic Red, gold-red, two colored The hue ranges from a dark pink from top view to golden from an angled view.

/// Violet 50015 Pearl Luster MIRA® Magic , 20 - 200 µ 50019 Pearl Luster MIRA® Magic Red, 20 - 200 µ Transparent pigment, color is sparkling red on a dark ground. 50067 Pearl Luster PYRISMA® Violet, 5 - 35 µ Shades range from purple to blue. 50068 Pearl Luster PYRISMA® , 5 - 35 µ Shades ranging from red to purple. 50083 Pearl Luster XIRALLIC® Diamond Amethyst, 5 - 35 µ 50510 Pearl Luster IRIODIN® Chroma Red, 10 - 60 µ 50520 Pearl Luster IRIODIN® Chroma Lilac, 10 - 60 µ 50653 Pearl Luster COLORSTREAM® Magic Royal Damask, 10 - 60 µ The hue ranges from red to copper to gold, especially on a dark ground or when used with a dark transparent pigment. 50656 Pearl Luster COLORSTREAM® Magic Violet, green-violet, two colored, 5 - 40 µ The hue ranges from purple from top view to a green from an angled view. The color is almost invisible on a pale ground, but intense on a dark ground.

For further information and prices please visit us at www.kremerpigments.com Special & E:ect Pigments 25 01 Pigments

/// Blue & Green 50012 Pearl Luster MIRA® Green, 20 - 200 µ, transparent 50013 Pearl Luster MIRA® Magic Turquoise, 20 - 200 µ, transparent 50018 Pearl Luster MIRA® Magic Blue, 20 - 200 µ 01 Transparent pigment, color is a sparkling intense blue on dark ground. 50063 Pearl Luster PYRISMA® Indigo, 5 - 35 µ 50064 Pearl Luster PYRISMA® Blue, 5 - 35 µ Great in combination with transparent green and blue pigments. 50065 Pearlluster PYRISMA® Green, 5 - 35 µ, bright green 50066 Pearl Luster PYRISMA® Turquoise, 5 - 35 µ Slightly bluish green. Beautiful in combination with transparent green or blue pigments. 50082 Pearl Luster XIRALLIC® Turquoise, 5 - 35 µ Shades range from a watery green from a top view to a watery blue at an angled view. The color is almost invisible on a pale ground, but radiant on a dark ground. 50500 Pearl Luster IRIODIN® Chroma Cobalt Blue, 10 - 60 µ 50505 Pearl Luster EFFECT® Cobalt Blue Cobalt blue glimmer interference pigment, coated with Titanium and Tin Oxide. This extremely fine pigment (particles smaller than 15 µ) provides in combination with bluish red pigments vibrant purple surfaces and in combination with warm transparent yellow pigments interesting grays. 50620 Pearl Luster IRIODIN® Chroma Green, 10 - 60 µ 50621 Pearl Luster IRIODIN® Chroma Green, 10 - 125 µ 50640 Pearl Luster IRIODIN® Duo Red-Green, 5 - 40 µ Shades range from a brownish red from top view to green from an angled view. 50654 Pearl Luster Magic Purple, green-purple, two colored The hue ranges from an intense red-violet purple from the top view to golden green from an angled view. 50655 Pearl Luster COLORSTREAM® Magic Lapis, gold-green to dark blue, two colored, 5 - 50 µ The hue ranges from green from top view to a dark blue from an angled view, similar to some chafers (Cetonia aurata). 50657 Pearl Luster COLORSTREAM® Magic Fire, silver-green-red, two colored, 5 - 40 µ The hue ranges from a bright silver green from top view to violet red from an angled view. The color is almost invisible on a pale ground, but intense on a dark ground. 50658 Pearl Luster COLORSTREAM® Magic Green, bright green to oxidizing brass, 5 - 40 µ The hue ranges from a bright green from top view to an oxidizing brass from an angled view. The color is almost invisible on a pale ground, but intense on a dark ground. 50659 Pearl Luster COLORSTREAM® Magic Pacific Lagoon The hue ranges from turquoise to blue to purple, especially on a dark ground and in combination with dark transparent pigments.

/// Black 50090 Pearl Luster IRIODIN® Black, 10 - 60 µ Coated with iron oxide. Enhances the color of transparent pearl luster pigments. /// Glitter Pigments

/// Silver Glitter Pigments 50701 Silver Glitter 0.10 x 0.10 mm, coated with epoxy resin 50702 Silver Glitter 0.20 x 0.20 mm, coated with epoxy resin 50703 Silver Glitter 0.20 x 0.40 mm, coated with epoxy resin 50704 Silver Glitter 0.40 x 0.40 mm, coated with epoxy resin 50705 Silver Glitter 0.60 x 0.60 mm, coated with epoxy resin 50724 Aluminum Glitter Black, 400 µ, Aluminum-Glitter coated with epoxy resin

/// Gold Glitter Pigments 50800 Gold Glitter 0.10 mm x 0.10 mm, coated with epoxy resin 50801 Gold Glitter 0.20 mm x 0.20 mm, coated with epoxy resin 50802 Gold Glitter 0.20 mm x 0.40 mm, coated with epoxy resin 50803 Gold Glitter 0.40 mm x 0.40 mm, coated with epoxy resin 50804 Gold Glitter 0.6 mm x 0.6 mm, coated with epoxy resin

26 Special & EJect Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// Colored Glass Flakes 51030 Glass Flakes Brilliant Yellow, 0.5 - 2 mm, transparent 51054 Glass Flakes Crown Yellow, 0.5 - 2 mm, opaque 51056 Glass Flakes Orange, 0.5 - 2 mm, transparent 51120 Glass Flakes Green, 0.5 - 2 mm, transparent 01 51230 Glass Flakes Brilliant Ruby, 0.5 - 2 mm, transparent 51374 Glass Flakes Dark Blue, 0.5 - 2 mm, transparent /// Holographic Glitter Polyester film, metallized, printed and cut into small pieces, with holographic surface. Stable up to 170° C, stable in solvents, weather resistant. /// Silver 50810 Holographic Silver Glitter, fine, 100 µ 50811 Holographic Silver Glitter, medium, 150 µ 50812 Holographic Silver Glitter, coarse, 200 µ

/// Gold 50820 Holographic Gold Glitter, fine, 100 µ 50821 Holographic Gold Glitter, medium, 150 µ 50822 Holographic Gold Glitter, coarse, 200 µ /// Glimmer 50920 Paliochrome Blue-Silver, metallic silver, iridescent Glimmer pigment coated with titanium dioxide. Great metalic e9ects can be achieved in combination with transparent pigments. 50940 Paliochrome Copper Bluish, iron oxide pigment, sparkling dark metallic copper glass 50942 Paliochrome Copper Red-Gold, iron oxide pigment with a distinctiv copper gloss 50946 Paliochrome Desert Gold, red-bronze-gold 50947 Paliochrome Kiwi Gold, green brown gold 53000 Muscovite Mica, 2 - 3 mm, glossy white flakes 53010 Mica Plates, historic, available in diNerent sizes (4 - 10 cm) and layers 53020 Muscovite Mica Flakes, fine, 1 - 3 mm, white, transparent, 500 g - 700 g apparent weight 53025 Muscovite Mica Flakes, standard, 1 - 5 mm, white, transparent, 500 g - 700 g apparent weight 53030 Muskovite Mica Flakes, coarse, 1 - 7 mm, white, transparent, 500 g - 700 g apparent weight 53050 Mica White, 0.5 - 0.8 mm, flakes 53100 Mica Fine, pearlescent powder 53185 Phlogopite Mica , thin plates, 0.3 - 1 mm, amber colored 53210 Phlogopite Mica Silver-Gray, 1 - 3 mm, yellowish silver-gray flakes 53220 Biotite, fine, 0 - 250 µ, brownish golden 53221 Biotite, coarse, 250 - 1000 µ, brownish golden 53240 Vermiculite, sandy appearance 53241 Vermiculite, 0 - 4 mm , weight is approx. 90 g / l 53250 Mica Graphite, flakes 53500 Fish Silver, Guanine in alcohol 53501 Fish Silver Powder, Guanine Can be used to brighten colors, and for top quality nail polish. Fish silver is similar to pearlescent pigments. /// Acrylic Glass 50951 Acrylic Glass, Blue-Green, transparent 50952 Acrylic Glass, Green-Yellow, transparent

For further information and prices please visit us at www.kremerpigments.com Special & ENect Pigments 27 01 Pigments

/// Metal Powder Genuine metals in powderform retain all of their natural characteristics. 54000 Bismuth, metal powder 54100 Bismuth White, white powder, bismuth nitrate oxide 01 54500 Pewter Powder, gray, very fine 54600 Iron Filings, tiny filings are visible 54610 Cast-Iron Powder, 0 - 300 µ, fast rusting 54630 Blacksmith Powder, gritty 54650 Steel Powder, fine, rusting, gray 54660 Iron Powder, fast rusting 54700 Zinc Dust, gray powder 54800 Aluminum Powder, < 71 µ Foams in water based binders, for foaming mortars. 54850 Copper Powder, fine, reddish 54881 Bronze Powder, pure copper tin bronze /// Daylight Fluorescent Pigments

/// Daylight Pigments Daylight fluorescent pigments have a bright, glowing appearance. Their vividness can be in- creased by applications over a white ground. Their fluorescent eKect is fugitive but can be increased by applying a UV absorbing varnish. 56000 Fluorescent Pigment White, very bright, brilliant pigment 56050 Fluorescent Pigment Blue, very bright, brilliant pigment 56100 Fluorescent Pigment Green, very bright, brilliant pigment 56150 Fluorescent Pigment Lemon Yellow, very bright, brilliant pigment 56200 Fluorescent Pigment Golden Yellow, very bright, brilliant pigment 56250 Fluorescent Pigment Orange, very bright, brilliant pigment 56300 Fluorescent Pigment Brick Red, very bright, brilliant pigment 56350 Fluorescent Pigment Flame Red, very bright, brilliant pigment 56400 Fluorescent Pigment Magenta Red, very bright, brilliant pigment 56450 Fluorescent Pigment Violet, very bright, brilliant pigment /// Phosphorescent Pigments 56500 Phosphorescent Pigment Green, glows in the dark, poor lightfastness 56550 Phosphorescent Pigment Blue, glows in the dark, poor lightfastness 56600 Phosphorescent Pigment Green in Acrylic Dispersion, glows in the dark, poor lightfastness 56650 Phosphorescent Pigment Red, glows in the dark, poor lightfastness

XSL-PIGMENTS

The pigments easily disperse in water and aqueous binders thanks to a special treatment with dispersing agents.The XSL-Pigments can also be used for wood stains because of their excellent solubility in water. XSL-Pigments are very lightfast. Unusual eKects can be obtained by sprinkling XSL-Pigment particles onto a wet surface. 26000 XSL Titanium White, very lightfast 26120 XSL Translucent Yellow, Iron Oxide Yellow, very lightfast 26140 XSL Translucent Red, Iron Oxide Red, very lightfast 26308 XSL Poppy Red, soluble in water 26310 XSL Irgazine® Red DPP, very lightfast 26405 XSL Phthalo Blue, Royal Blue, very lightfast 26500 XSL Phthalo Green Dark, very lightfast, readily soluble 26600 XSL Black, Furnace Black, very lightfast

28 XSL-Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

GLASS PIGMENTS

/// Fine Colored Glass Pigments We o&er a various range of colored glass pigments in 620 di&erent shades (#39002 - #39454). The colored glass is produced by melting lead crystal glass with heavy metal oxides, thus a 01 wide variety of colors is achieved. The light fastness of all colored glass powders is excellent (8,8,8). The colored glass pigments can be used in all binders, such as oil, acrylic dispersions, lime and all kinds of glues. In certain mortars and cements the pigments may cause blooming. For application in exterior environments it is advisable to do trials first. For further information please visit us at www.kremerpigments.com. /// IWA – Enogu® Glass Pigments For the last few centuries Japanese painting technique has made use of a new quality of pigments for and woodblock printing. This particular technique is called Enogu, for which pigments are made in exactly specified particle sizes – the particles are basi- cally all the same size and shape. In comparison, normal pigments usually come in a range of particle sizes, for example 0 - 80 microns. Colors of a unique particle size appear more bril- liant. The following pigments represent our attempt to introduce this technique to Europe and . We o&er them in the particle size No.12, which is very fine and appropriate for all techniques, such as oil, acrylic, tempera and watercolor. 15221 IWA-Enogu® Kibeni, orange, cadmium glass powder 15222 IWA-Enogu® Iwabeni, scarlet red, cadmium glass powder 15231 IWA-Enogu® Iwahi, red, cadmium glass powder 15241 IWA-Enogu® Iwaaka, geranium red, cadmium glass powder 15251 IWA-Enogu® Benishinsya, laelia red, cadmium glass powder 15252 IWA-Enogu® Iwashikou, brownish red-violet, cadmium glass powder 15253 IWA-Enogu® Shinsia, blackberry, glass powder 15261 IWA-Enogu® Iwamomo, pink, glass powder 15311 IWA-Enogu® Usukuchi-Murasaki, violet, glass powder

IWA – ENOGU® MINERAL PIGMENTS

For the last few centuries Japanese painting technique has made use of a new quality of pig- ments for watercolor painting and woodblock printing. The special Japanese elutriation treat- ment ensures a more exact and equal grain size than just by sieving and the colors are very brilliant. This particular technique is called Enogu, for which pigments are made in exactly specified particle sizes - the particles are basically all the same size and shape. /// Yellow Jasper 1671508 Yellow Jasper Iwa-Oudo, No. 8, coarse, approx. 50 µ 1671510 Yellow Jasper Iwa-Oudo, No. 10, medium, approx. 27 µ 1671512 Yellow Jasper Iwa-Oudo, No. 12, fine, approx. 14 µ 1671514 Yellow Jasper Iwa-Oudo, No. 14, very fine, approx. 5 µ /// Garnet Kicha Golden 1671608 Garnet Kicha Golden, No. 8, coarse, approx. 50 µ 1671610 Garnet Kicha Golden, No. 10, medium, approx. 27 µ 1671612 Garnet Kicha Golden, No. 12, fine, approx. 14 µ 1671614 Garnet Kicha Golden, No. 14, very fine, approx. 5 µ /// Garnet Sakura-Nezumi 1672008 Garnet Sakura-Nezumi, No. 8, coarse, approx. 50 µ 1672010 Garnet Sakura-Nezumi, No. 10, medium, approx. 27 µ 1672012 Garnet Sakura-Nezumi, No. 12, fine, approx. 14 µ 1672014 Garnet Sakura-Nezumi, No. 14, very fine, approx. 5 µ

For further information and prices please visit us at www.kremerpigments.com IWA – Enogu® Mineral Pigments 29 01 Pigments

/// Cinnabar SHINSYA 1672108 Cinnabar SHINSYA, No. 8, coarse, approx. 50 µ 1672110 Cinnabar SHINSYA, No. 10, medium, approx. 27 µ 1672112 Cinnabar SHINSYA, No. 12, fine, approx. 14 µ 01 1672114 Cinnabar SHINSYA, No. 14, very fine, approx. 5 µ /// Agate peach 1672509 Agate Peach No. 9, approx. 38 µ 1672512 Agate Peach No. 12, fine, approx. 14 µ 1672514 Agate Peach No. 14, very fine, approx. 5 µ /// Azurite Cu (CO ) (OH) Azurite is a natural blue basic copper carbonate, 3 3 2 2. 1673108 Azurite GUNJYOU, No. 8, coarse, approx. 50 µ 1673110 Azurite GUNJYOU, No. 10, medium, approx. 27 µ 1673112 Azurite GUNJYOU, No. 12, fine, approx. 14 µ 1673114 Azurite GUNJYOU, No. 14, very fine, approx. 5 µ /// Sodalite Sodalite is similar to lapis lazuli. Inside of the zeolite structures there can be sulphur which makes the crystal blue. The special Japanese elutriation treatment ensures a more exact and equal grain size than just by sieving. The color is a beautiful elder blue. 1673908 Sodalite SHIUN-MATSU, No. 8, coarse, approx. 50 µ 1673910 Sodalite SHIUN-MATSU, No. 10, medium, approx. 27 µ 1673912 Sodalite SHIUN-MATSU, No. 12, fine, approx. 14 µ 1673914 Sodalite SHIUN-MATSU, No. 14, very fine, approx. 5 µ /// Malachite from Africa A green copper carbonate. 1674108 Malachite MATSUBA-ROKUSYOU, No. 8, coarse, approx. 50 µ 1674110 Malachite MATSUBA-ROKUSYOU, No. 10, medium, approx. 27 µ 1674112 Malachite MATSUBA-ROKUSYOU, No. 12, fine, approx. 14 µ 1674114 Malachite MATSUBA-ROKUSYOU, No. 14, very fine, approx. 5 µ /// Lizard-Stone 1674408 Lizard-Stone, No. 8, coarse, approx. 50 µ 1674410 Lizard-Stone, No. 10, medium, approx. 27 µ 1674412 Lizard-Stone, No. 12, fine, approx. 14 µ 1674414 Lizard-Stone, No. 14, very fine, approx. 5 µ /// Amazonite Amazonite is a silicate complex of greenish color. It was used to make jewelry in ancient Egypt. 1674508 Amazonite HAKUSUI-MATSU, No. 8, coarse, approx. 50 µ 1674510 Amazonite HAKUSUI-MATSU, No. 10, medium, approx. 27 µ 1674512 Amazonite HAKUSUI-MATSU, No. 12, fine, approx. 14 µ 1674514 Amazonite HAKUSUI-MATSU, No. 14, very fine, approx. 5 µ /// Epidote 1674908 Epidote No. 8, coarse, approx. 50 µ 1674910 Epidote No. 10, medium, approx. 27 µ 1674914 Epidote No. 14, very fine, approx. 5 µ /// Iron Oxide Orange 1675308 Iron Oxide Orange, No. 8, coarse, approx. 50 µ 1675310 Iron Oxide Orange, No. 10, medium, approx. 27 µ 1675311 Iron Oxide Orange, No. 11, approx. 20 µ

30 IWA – Enogu® Mineral Pigments For further information and prices please visit us at www.kremerpigments.com Pigments 01

/// Burnt Iron Oxide Red 1675408 Burnt Iron Oxide Red, No. 8, coarse, approx. 50 µ 1675410 Burnt Iron Oxide Red, No. 10, medium, approx. 27 µ 1675412 Burnt Iron Oxide Red, No.12, fine, approx. 14 µ 1675414 Burnt Iron Oxide Red, No.14, very fine, approx. 5 µ 01 /// Tiger-Eye

Tiger-Eye is a gemstone with a typical chemical structure of SiO2+FeOOH+(Al, Mg, Na) . The pig- ment is golden-brown. 1675908 Tiger-Eye TYOUJICHA, No. 8, coarse, approx. 50 µ 1675910 Tiger-Eye TYOUJICHA, No. 10, medium, approx. 27 µ 1675912 Tiger-Eye TYOUJICHA, No. 12, fine, approx. 14 µ 1675914 Tiger-Eye TYOUJICHA, No. 14, very fine, approx. 5 µ /// Black Tourmaline Tourmaline can form very large and beautiful crystals. The very hard Tourmaline crystals (Mohs 7.5) occur in a multiplicity of colors, such as blue, green, red, pink, brown or black. The shades of our black Tourmaline range from a slightly blueish gray (No. 14) to a highly glossy black (No. 8). 1676508 Tourmaline DENKISEKI-MATSU, No. 8, coarse, approx. 50 µ 1676510 Tourmaline DENKISEKI-MATSU, No. 10, medium, approx. 27 µ 1676512 Tourmaline DENKISEKI-MATSU, No. 12, fine, approx. 14 µ 1676514 Tourmaline DENKISEKI-MATSU, No. 14, very fine, approx. 5 µ

ASSORTMENTS

Our assortments allow you a structured introduction into the world of pigments. For further information and contents please visit us at www.kremerpigments.com. 11553 Set: Iceland Earthcolors Assortment , 3 x 20 g 12991 Set: Assortment of Kremer-Made Pigments , 81 pigments in 3 ml jars, in 3 wooden boxes 14000 Set: Church Painter´s Assortment , from the Baroque to the present, approx. 30 pigments in glass jars 14110 Set: Assortment of All Products , 1 - 2 teaspoons of every pigment, natural plants and dyes, fillers, and resins (approx. 700 products) 14210 Set: Pigment Selection A, 27 pigments in 3 ml glasses, in a wooden box 14250 Set: 25th Anniversary Pigment Assortment , 25 pigments, linseed oil and oil paint medium in 30 ml glasses, in a wooden box 14251 Set: 30th Anniversary Pigment Assortment Blue , 30 pigments: 27 x 30 ml glass, 3 x ca. 3 ml, in a wooden box 14252 Set: Pigment Assortment Red , 27 pigments in 30 ml glasses, in a wooden box 14253 Set: Pigment Assortment Green , 27 pigments in 30 ml glasses, in a wooden box 14280 Set: Stone Conservation Set, 27 pigments in 30 ml glasses, in a wooden box 14284 Set: Assortment of Colored Glass Pigments , 16 x 50 ml jars - Grade A, < 63 µ 14290 Set: Interior Decoration Set , 27 pigments in 30 ml glasses, in a wooden box 14292 Assortment for the Construction of Cribs , 27 pigments in 30 ml glasses, in a wooden box 14294 Set: Assortment of Earth Pigments, 12 pigments in 190 ml glasses, each approx. 100 g: 10 Earth Pigments, Vine Black and BuX Titanium 14300 Set: Violin-Varnish Assortment , 22 pigments, 4 resins, 1 linseed oil in 30 ml glasses, in a wooden case 14302 Set: Starter Set, 8 pigments, packed in 200 ml jars, 1 liter of acrylic Dispersion K 9 14310 Set: Icon-Painters Set , 27 pigments in 30 ml glasses, in a wooden box 14350 Set: 35th Anniversary Pigment Assortment , 35 pigments in 10 ml glasses, in a wooden box 21200 Set: Assortment of Cadmium Pigments - large , 15 x 50 g, packed in PVC jars

For further information and prices please visit us at www.kremerpigments.com Assortments 31 01 Pigments

26800 Set: XSL Pigments, Content: 4 colors in 100 g jars (#26000, #26120, #26140, #26600) and 4 colors in 20 g jars (#26308, #26310, #26405, #26500) 41990 Set: Earth Pigment Assortment, 100 g each , approx. 68 earth pigments packed in clear jars 41991 Set: Earth Pigment Assortment, 50 g each , approx. 68 earth pigments packed in 01 clear jars 50695 Set: Pearl Luster Interference and White Iridescent Pigments , 27 x 3 ml glass jars, in a wooden box 50696 Set: Pearl Luster Iridescent and Magic Pearlescent Pigments , 27 x 3 ml glass jars, in a wooden box 50990 Set: Assortment Pearl Luster with Binder , 4 pigments, each in 100 ml jar, and 250 ml of binder no. 75367 Dispersion K 9 54990 Set: Assortment of Metal Powders with Binder , 4 metal powders, each in 100 ml jar, and 250 ml of binder no. 75367 Dispersion K 9 55990 Set: Assortment of Studio Pigments small, 13 x 100 g 55991 Set: Assortment of Studio Pigments medium, 13 x 1 kg 55992 Set: Assortment of Studio Pigments big, 13 x 10 kg 59690 Set: Assortment of 23 Colored Marbles, 23 x 1 kg, in bags

32 Assortments For further information and prices please visit us at www.kremerpigments.com Dyes & Vegetable Color Paints

02 DYES & VEGETABLE COLOR 02 PAINTS 02

32 Natural Organic Dyes / Vegetable Color Paints 33 Synthetic Dyes, water-soluble 33 Synthetic Dyes, solvent-soluble, Orasol 34 Fluorescent Colorants

For further information and prices please visit us at www.kremerpigments.com 33 02 Dyes & Vegetable Color Paints

NATURAL ORGANIC DYES / VEGETABLE COLOR PAINTS

36020 Lac Dye, Indian Lake, red, made from Coccus Lacta secretion 36040 Cochenille, Coccus Cacti, dried, silvery gray lice 36045 Lice, from Anatolia, Turkey, dried 36100 Logwood, cut pieces, Lignum Campeche 36110 Logwood Extract, powder, Lignum Campeche 36160 Extract of Brazilwood, deep red, Fernambuci Lignum 36180 Sandalwood, red powder 02 36200 Yellow Wood, fustic, cut pieces 36210 Extract of Fustic, natural Yellow Wood (fustic), extract 36250 , dried plant This yellow dye plant was the most common yellow in England before synthetic colors. In the U.S., however, it was not as widely used as Quercitron. Our special Anatolian Reseda has a higher dye content than other qualities and produces a golden yellow color, however the dense plant fibres need special treatment to extract the color. We recommend soaking the plant material in soft water (low mineral content), adjusted to a pH level of 4.5–5 with vinegar, for approx. 36 hrs. at about 40 degrees Celsius, longer at lower temperatures. After that the dying process continues as usual at a minimum of 70 degrees Celsius. 36300 Wild SaHron, made from Curcuma, vibrant warm yellow 37000 Dragon´s Blood, powder, Resina Dracaena, from Sumatra Resinous product of Calamus Draco. Soluble in lacquer thinners for red glazes. 37011 Dragon´s Blood, plates , 200 - 250 g each, deep red, from Socotra 37014 Dragon´s Blood IYDAHA, cake , from Socotra, made of the bark of the Dracaena Cinnabari tree, piece about 800 - 1000 g, in cotton bag 37016 Dragon´s Blood EMZOLO, from Socotra, pieces, also called Emzolo or Edah Amsello 37030 Resina Kamala, red natural resin 37050 , powder, natural yellow resin, toxic 37060 Gamboge, pieces, toxic 37080 Gum Accaroid, brown-red, powder 37081 Gum Accaroid, yellow-red, unprocessed, contains plant parts The yellow Accaroid resin or Yellow Gum Yucca is very rare. 37199 Madder Roots, pieces, from Turkey 37201 Madder Roots, ground, from Turkey /// Madder Lake You can find our Madder Lakes in Chapter 01 under Kremer-made & Historic Pigments (#37203-37218) and the synthetic Alizarine Crimsons under Pigments of Modern Age (#23600, #23610). /// 37220 , powder, from India 37230 Turmeric, cut pieces, dried root, from China 37250 Alkanet, dried root, red 37260 Rathania Roots, krameria triandra 37300 Walnut Hulls, cut pieces, nucum juglandis 37350 Annatto Seeds, seeds from Bixa orellana 37380 Ripe Buckthorn Berries, Rhamni maturi 37390 Green Buckthorn Berries, ground, Rhamni inmaturi Unripe Buckthorn berries yield a beautiful yellow stain: Chop the berries (you can use a coYee mill) and boil in water with some alum for about one hour. Pour through a sieve and brush on (recipe from 1899). 373901 Green Buckthorn Berries, shredded, Rhamni inmaturi The dark ochre brown turns yellow in thin layer, lightfastness only about 4. 37400 Oak Apples, gallnuts 37500 Red, powder 37510 Henna Black, powder 38200 , Cutch, brown, powder 38300 Lycopodium, traditional wood filler

34 Natural Organic Dyes / Vegetable Color Paints For further information and prices please visit us at www.kremerpigments.com Dyes & Vegetable Color Paints 02

38500 Birch Leaves, cut pieces 38520 Frangulae Cortex, cut pieces 38540 Mallow Blossoms, black 38580 Irish Moss, Caragheen Moss

SYNTHETIC DYES, WATER-SOLUBLE

/// Dyeing with Cibacron® F 345110 Novacron® Yellow F-4G, greenish, textile dye 02 345130 Cibacron® Orange F-BR, textile dye 345160 Cibacron® Blue FN-G, textile dye /// 94050 Nigrosin, water-soluble 94100 Alizarine, pure, red 94110 Fuchsin, green crystals, intensive red solution 94140 Orange Madder , genuine madder root lake, yellow-orange dye 94142 Alizarine Yellow GG, paler than Orange Madder, water-soluble 94150 Alizarine Carmine, water-soluble 94160 Indigotin Blue, water-soluble indigo 94175 Tartrazine 85, yellow dye, water-soluble, food coloring E 102 94236 Uranine, greenish-yellow, fluorescent water-soluble dye 94900 Rhodamine B, woodstain / varnish, fluorescent

SYNTHETIC DYES, SOLVENT-SOLUBLE, ORASOL

/// Wax Dye 35350 Macrolex® Violet B, wax dye /// Dyes, alcohol soluble 94010 Yellow Dye, Woodstain, colorant 157, alcohol-soluble 94020 Red Dye, Woodstain, colorant 471, lightfastness 7 - 8 94030 Blue 807 Dye, lightfastness 7 94080 Set: Four Powdered Stains , 25 g each: 94000, 94010, 94020, 94030 /// 94206 Ponceau S extra 94208 Fast Green FCF , for analysis of proteins 94210 Sudan® Black B, dye, woodstain /// Orasol® - Colorants 94400 ORASOL® Yellow 4GN, greenish yellow 94402 ORASOL® Yellow 2GLN, sun-gold 94404 ORASOL® Yellow 2RLN, yellow-orange 94406 ORASOL® Orange 247, old ORASOL® Orange G 94408 ORASOL® Orange RG, orange-red 94410 ORASOL® Brown 2RL, brown 94412 ORASOL® Red BL, red-violet dye 94414 ORASOL® Blue GN, dark turquoise 94416 ORASOL® Blue, light turquoise /// Wood Stains 94500 , brown

For further information and prices please visit us at www.kremerpigments.com Synthetic Dyes, solvent-soluble, Orasol 35 02 Dyes & Vegetable Color Paints

FLUORESCENT COLORANTS

94700 Fluorescent Yellow , perylene - fluorescent yellow 94701 Fluorescent Yellow Varnish, in Ethyl Acetate with Paraloid® B 72 94711 Fluorescent Orange Varnish, in Ethyl Acetate with Paraloid® B 72 94720 Fluorescent Red, perylene- fluorescent red 94721 Fluorescent Red Varnish, in Ethyl Acetate with Paraloid® B 72 94730 Fluorescent Violet, Naphthalimide 94731 Fluorescent Violet Varnish, in Ethyl Acetate with Paraloid® B 72 02 94736 Fluorescent Blue, Naphthalim derivate 947361 Fluorescent Blue Varnish, in Ethyl Acetate with Paraloid® B 72 94737 Fluorescent Green, perylene pigment 947371 Fluorescent Green Varnish, in Ethyl Acetate with Paraloid® B 72 94738 Fluorescent Orange , perylene dye 94739 Fluorescent Pink, perylene dye

36 Fluorescent Colorants For further information and prices please visit us at www.kremerpigments.com Fillers & Building Materials

03

FILLERS & 03 BUILDING MATERIALS

03

36 Colorless & Colored Mineral Fillers 38 Fillers made of Glass 38 Structural & Special Fillers 38 Arbocel & Dralon-Fiber 39 Thickeners 39 Injection and Special 39 Limes 40 Polishing Powders

For further information and prices please visit us at www.kremerpigments.com 37 03 Fillers & Building Materials

COLORLESS & COLORED MINERAL FILLERS

Pigments of little opacity, white or nearly white. Chalks are used for gesso („whiting”), while Marble Dusts are used to tone down very intense colors (e.g. organic pigments), add brilliance to very dense and dark colors (e. g. Cadmiums, Viridian) and improve workability. They are added as extenders to increase bulk, soften or harden colors. All our chalks and fillers are natural, except where indicated otherwise. /// Carbonated, Chalk & Marble 58000 Chalk from , from France, natural calcium carbonate 58010 Chalk from Ruegen, from Germany, approx. 40 µ 58158 Chalk from Belgium, powder, extra soft, PW 18 58162 Stone Chalk, ca. 4 µ, white, very fine 58180 Natural White Earth, from Vicenza, Italy, 58490 Calcium Carbonate, approx. 1 µ, very white 03 58500 Marble Dust, extra white, Italian, 0 - 32 µ, calcium carbonate Recommended as filler or for gesso. 58520 Marble Dust, extra, Italian, fine grind, < 32 µ 58540 Marble Dust, medium, < 90 µ 58560 Marble Dust, coarse, powder, < 200 µ 58580 Marble Dust, very coarse, 150 - 300 µ For gritty applications. 58720 Calcite, white, average particle size is about 20 µ 58740 Dolomite, pure white, 10 µ, natural mineral from Spain, pure white 58850 Travertine Sand White, 1 - 5 mm 58852 Travertine Sand Yellow, 0 - 5 mm 58860 Savonniere Rock Powder, calcareous oolite Savonnières is a fine, hollow limestone from the north east of France. For centuries it has been used for and façades. The fine, gray powder (< 100 µ) can be used as a filler in restoration mortars for Savonnières sculptures. 59001 Veronese White, 0 - 0.6 mm, marble from Italy 59002 Veronese White, 0.6 - 1.2 mm, marble from Italy 59101 Mori Yellow, 0 - 0.6 mm, marble from Italy 59102 Mori Yellow, 0.6 - 1.2 mm, marble from Italy 59201 Prugna Brownish Red, 0 - 0.6 mm, marble from Italy 59202 Prugna Brownish Red, 0.6 - 1.2 mm, marble from Italy 59204 Prugna Brownish Red, 1.8 - 2.5 mm, marble from Italy 59301 Alpine Green, 0 - 0.6 mm, marble from Italy 59302 Alpine Green, 0.6 - 1.2 mm, marble from Italy 59303 Alpine Green, 1.2 - 1.8 mm, marble from Italy 59304 Alpine Green, 1.8 - 2.5 mm, marble from Italy 59401 Coral Pink, 0 - 0.6 mm, marble from Italy 59403 Coral Pink, 1.2 - 1.8 mm, marble from Italy 59501 Black Marble, 0 - 0.6 mm, marble from Italy 59502 Black Marble, 0.7 - 1.2 mm, marble from Italy 59503 Black Marble, 1.2 - 1.8 mm, marble from Italy 59600 Carrara White Fine, 0 - 120 µ, marble from Italy 59601 Carrara White, 0 - 0.6 mm, marble from Italy 59602 Carrara White, 0 - 3 mm, marble from Italy 59610 White Marble Dust Carrara, 0.1 - 0.3 mm, even grain sizes, dust-free 59611 White Marble Dust Carrara, 0.2 - 0.6 mm, even grain sizes, dust-free 59612 White Marble Dust Carrara, 0.4 - 0.8 mm, even grain sizes, dust-free 59613 White Marble Dust Carrara, 0.6 - 1.2 mm, even grain sizes, dust-free 59614 White Marble Dust Carrara, 1.2 - 1.8 mm, even grain sizes, dust-free 59615 White Marble Dust Carrara, 1.8 - 2.5 mm, even grain sizes, dust-free 59651 San Ambrogio, brownish, 0 - 0.6 mm, marble from Italy 59652 San Ambrogio, brownish, 0.6 - 1.2 mm, marble from Italy

38 Colorless & Colored Mineral Fillers For further information and prices please visit us at www.kremerpigments.com Fillers & Building Materials 03

59653 San Ambrogio, brownish, 1.2 - 1.8 mm, marble from Italy 59654 San Ambrogio, brownish, 1.8 - 2.5 mm, marble from Italy /// Siliceous, Quartz & 58190 Sarti Chalk, grayish, Tailor´s Chalk from Italy 58191 Sarti Chalk, yellowish, Tailor´s Chalk from Italy 58200 China Clay, from England, white 58250 Kaolin, yellowish, white bole 58400 Talcum White, fine, filler 58420 Talcum White, very fine, filler 58610 Quartz Powder, medium, approx. 44 µ 58620 Quartz Powder, coarse, approx. 100 µ 58630 Quartz Powder, 0.04 - 0.15 mm, sieved 58640 Quartz Powder, 0.1 - 0.25 mm, sieved 58650 Quartz Powder, 0.25 - 0.4 mm, sieved 03 58660 Quartz Powder, 0.4 - 0.5 mm, sieved 58675 Quartz Sand, light gray 0 - 0.3 mm, fine powder 58676 Quartz Sand, light gray 0.1 - 0.3 mm, very fine sand 58677 Quartz Sand, light gray 0.2 - 0.6 mm, medium fine sand 58678 Quartz Sand, light gray 0.5 - 1 mm, fine sand 58685 Quartzite Orange 0 - 0.3 mm, fine powder 58686 Quartzite Orange, 0.1 - 0.3 mm, very fine sand 58687 Quartzite Orange, 0.2 - 0.6 mm, medium fine sand 58688 Quartzite Orange, 0.5 - 1 mm, fine sand 58689 Cristobalite Powder, approx. 8 µ, very fine, semi-opaque, silicon dioxide Bright white filler for light colors, compound fillers and gesso. Made by high temperature reaction from quartz powder, contains silica (respirable quartz). 58690 Cristobalite Powder, 0.01 - 0.1 mm, silicon dioxide 58692 Cristobalite Sand, 0.3 - 0.9 mm, silicon dioxide 58694 Cristobalite Sand, 0.1 - 1 mm, silicon dioxide 58804 Granite Gray, 0 - 0.1 mm, fire-dried, fine powder 58806 Granite Gray, 0.1 - 0.3 mm, fire-dried, very fine sand 58807 Granite Gray, 0.2 - 0.6 mm, fire-dried, medium fine sand 58808 Granite Gray, 0.5 - 1 mm, fire-dried, fine sand 58814 Gneis Green, 0 - 0.3 mm, fire-dried, fine powder 58816 Gneis Green, 0.1 - 0.3 mm, fire-dried, very fine sand 58817 Gneis Green, 0.2 - 0.6 mm, fire-dried, medium fine sand 58818 Gneis Green, 0.5 - 1 mm, fire-dried, fine sand 58824 Granite Yellow, 0 - 0.3 mm, fire-dried, fine powder 58826 Granite Yellow, 0.1 - 0.3 mm, fire-dried, very fine sand 58827 Granite Yellow, 0.2 - 0.6 mm, fire-dried, medium fine sand 58828 Granite Yellow, 0.5 - 1 mm, fire-dried, fine sand 58844 Granite Red, 0 - 0.1 mm, fire-dried, fine powder 58846 Granite Red, 0.1 - 0.3 mm, fire-dried, very fine sand 58847 Granite Red, 0.2 - 0.6 mm, fire-dried, medium fine sand 58848 Granite Red, 0.5 - 1 mm, fire-dried, fine sand 58945 Sepiolite, natural magnesium-silicate, thickener, anti-settling agent 58971 Cristobalite - Yellow, 0.5 - 1 mm 58972 Cristobalite - Orange, 0.5 - 1 mm 58973 Cristobalite - Pink, 0.5 - 1 mm 58974 Cristobalite - Brown-Red, 0.5 - 1 mm 58976 Cristobalite - Pale Green, 0.5 - 1 mm 58977 Cristobalite - Dark Green, 0.5 - 1 mm 58978 Cristobalite - Pale Blue, 0.5 - 1 mm

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/// Plaster, Chalk, Blanc Fixe and others 58100 Chalk from Bologna, from Italy, Gilder´s Gesso Natural mixture of calcium sulphate and calcium carbonate. 58150 Chalk from Bologna, light, from Italy, natural calcium sulphate 58300 Terra Alba, selenite, natural gypsum 58320 Anhydrite Plaster, dead-burnt gypsum 58340 Alabaster Plaster, Italian, crystalline natural alabaster powder, brilliant white Filler for paints and for Gesso Sottile. 58343 Alabaster Modelling Plaster, German Plaster from selected stones, very fine and pure, brilliant white, for models and . 58360 Scagliola, Italian plaster, fast setting 58700 Blanc Fixe, barite, barium sulfate, powder For heavy opaque colors, lowers oil absorption.

03 FILLERS MADE OF GLASS 59800 Glass Beads, made of recycled glass, approx. 0.5 mm 59810 Glass Powder, white, 0 - 100 µ, transparent and inert filler 59821 Glass Powder in Beads, 40 - 70 µ, ground glass 59822 Glass Powder in Beads, fine, < 50 µ, ground glass 59825 Glass Powder in Beads, very fine, approx. 15 µ 59830 Glass Beads, coarser, colorless, 0.5 - 1 mm 59831 Glass Beads, fine, transparent, 150 - 210 µ 59832 Glass Beads, very fine, colorless, 0 - 50 µ 59835 Glass Beads, coarse, glossy, 1.25 - 1.55 mm 59850 Glass Flakes, large, 600 µ 59851 Glass Flakes, medium, 140 µ 59852 Glass Flakes, fine, 15 µ 59910 Scotchlite™ K 1, hollow glass microspheres, very light, high volume filler, average grain size 46 µ, largest bubbles 200 µ 59920 Scotchlite™ S 22, hollow glass microspheres, average grain size 29 µ, largest bubbles 53 µ

STRUCTURAL & SPECIAL FILLERS

58920 Bone Ash, white, thickening extender in lime paints 58942 Aluminum Hydroxide Fine, white Filler for transparent pigments, absorbs extra oil, prevents separation in tubes. 58950 Plastorit® Super, finer than 12 µ 58954 Plastorit® 00, finer than 50 µ 59792 Cork Powder, 0.5 -1 mm 59960 Phenolic Resin Beads, hollow beads, 0.005 - 0.127 mm 59980 Volcano Ash, filler, white, inert, very low weight 59984 Volcano Ash, hollow glass bubbles

ARBOCEL & DRALON-FIBER

59700 Dralon-Fiber, 4 mm, additive for paint and mortars 59720 Dralon-Fiber, 6 mm, additive for paint and mortars 59730 Polypropylene Fibres PPS 59740 Armicel 500, hydrophilic reinforcement fibres, 400 - 800 µ 59750 Arbocel® BC 1000, cellulose fibers, approx. 0.7 mm 59751 Arbocel® PWC 500, pure cellulose fibres, length about 500 µ 59755 Arbocel® BC 200, cellulose fibers, approx. 0.3 mm 59770 Arbocel® BWW 40, cellulose fibres, approx. 200 µ, powder

40 Arbocel & Dralon-Fiber For further information and prices please visit us at www.kremerpigments.com Fillers & Building Materials 03

THICKENERS

58900 Bentonite, thickener for oil paints 58903 Attapulgite, Fuller´s Earth Gray rottenstone. Used in a watery paste on stone sculpture, absorbs surface pollution when drying. Contains magnesium-aluminum, hydro-silicate. 58935 Laponite® RD, powder, thickener in water 58940 Tixogel® VZ, thickener for oil paints A chemically altered bentonite with high swelling ability which gives paint a buttery consistency. Using Tixogel, you can build up a considerably thick layer of oil-paint and create lively sculptural brushstrokes. It prevents running and sagging of impasto and increases brush loadability. 58960 Aluminium-di/tri-stearate, whitely, waxy powder Gives oil color buttery consistency.

INJECTION AND SPECIAL MORTAR 03 31000 Ledan® TB 1, special injection mortar 31020 Ledan® TA 1 Leit 03, injection mortar 31040 Ledan® TC 1 PLUS, solidifying mortar Injection mortar to strengthen masonry walls, even in the presence of cement. 31060 Ital B 2 Leit 01, mortar 0.4 g/ml 31080 Calco Stuc 1, stucco mortar 31082 Ledan® TRAVER STUC, travertin stucco mortar 31087 Ledan® ADRANAL, special mortar for the protection of walls against rain and snow 31100 Injection mortar PLM-A, for consolidation of frescos 31102 Injection mortar PLM-AL, for consolidation of fresco and wall paintings 31104 Injection mortar PLM-I, can be used for the consolidation of colored plaster 31106 Injection mortar PLM-M, can be used for the consolidation of the masonry 31108 Injection mortar PLM-S, this fresco binder can be used for conservation purposes for works with historical and artistic significance 31110 Injection mortar PLM-SM, can be used for the general consolidation of mosaic grounds 31200 Trass Powder, Rhenish, 63 µ - 0.2 mm 31204 Historic Mortar, very weather-resistant (rain, frost) It is suitable for the work on historical masonry and brickwork. 31210 Roman Cement, natural Belite cement from Grenoble 31230 Pozzuolana Red Earth, 0 - 6 mm 31231 Pozzuolana Red Earth very fine, 0 - 63 µ, for violin makers 31250 Chamotte, powder, 0 - 0.5 mm 31251 Chamotte, fine gravel, 0 - 4 mm 31252 Chamotte, gravel, 0 - 10 mm

LIMES

31800 Pit Lime Slaked lime, minimum age 4 to 6 years. Our pit lime consists of evenly fine grains (particle size approx. 1 - 5 µ), and the paste has a creamy / buttery consistency. The lime paste contains 32.3 % water.This wood-burned marble pit lime is of high quality due to the almost chemical purity. The pit lime may be recommended for high-quality plaster work and for fresco and wall painting. 31802 Roman Pit Lime, from Naples, Italian, hydrated lime, pure white 31808 Sinter Lime Water, for the consolidation of chalk mortars 31840 Calix Blanca NHL 3.5, natural hydraulic lime 31900 Roman Lime, white wall color and surfacer 31940 Grassello, white, lime paint, opaque, smooth Grassello is a -applied wall coating based on slaked lime putty finely filtered and seasoned for at least 6 months and on natural inert charges. Its environmentally friendly formula is solvent free (0 % VOC) and extremely low in chemical additives (less than 1.50 % in total dry residue). Easy to apply, it has excellent filling power and resists aggression by moulds and bacteria. Grassello is suitable for decorative indoor wall surfaces.

For further information and prices please visit us at www.kremerpigments.com Limes 41 03 Fillers & Building Materials

31942 Primer for Grassello and Marmorino, based on acrylic polymers, natural fine quartz, inert fillers and special additives 31950 Marmorino, white, blade-applied wall coating Based on slaked lime putty finely filtered and seasoned for at least 6 months and on natural inert filler. Marmorino is coarser than Grassello. Its use and application is the same.

POLISHING POWDERS

58750 Carborundum F 400, 16.3 - 18.3 µ 58760 Carborundum F 120, 90 - 120 µ 599870 Magnesium Oxide, burnt magnesium oxide 599890 Vienna Lime, burnt Dolomite, polishing powder 599900 Pumice Powder, fine, Volcanic rock, 0 - 90 µ, from Germany, EiMel 599902 Pumice Powder, 0.4 mm 03 599904 Pumice Powder 0, coarse, Volcanic rock, 0 - 250 µ, from USA 599905 Pumice Powder 00, medium, Volcanic rock, 0 - 180 µ, from USA 599906 Pumice Powder 000, fine, Volcanic rock, 0 - 150 µ, from USA 599907 Pumice Powder 6/0, very fine, Volcanic rock, < 90 µ, from USA 599920 Tripoli, Rotten Stone, reddish, diatomaceous earth 599930 Tripoli, Rotten Stone, light, Diatomite, diatomaceous earth 599950 Scouring Rush, shredded, horsetail, cut pieces 599960 Scouring Rush, whole , horsetail, bundle of whole pieces, Egyptian, handpicked

42 Polishing Powders For further information and prices please visit us at www.kremerpigments.com Mediums, Binders & Glues

04

MEDIUMS, BINDERS & 04 GLUES

04

42 Water-dilutable Binders 45 Solvent-soluble Binders 47 Oils 48 Mediums, Varnishes & Lacquers 50 Products for Violin Makers 51 Glues & Casting Materials 52 Cyclododecane & further Volatile Binders

For further information and prices please visit us at www.kremerpigments.com 43 04 Mediums, Binders & Glues

WATER-DILUTABLE BINDERS

/// Natural Glues & Watercolor Binders Stronger than most modern adhesives, animal glues are used in traditional woodworking and painting technique. Soaked in water and then heated in a water bath, they are used warm, and gel when left to cool. In woodworking, their watersolubility makes them reversible, while their „open time” allows for repositioning. In painting technique, they are used both as a size for canvas and boards, and in tempera paints. Animal glues vary in strength. Always make the minimum strength required – as a guide, a set jelly should be somewhere between hard set and liquid. For a canvas size, try 1 part of 63020 Rabbit Skin Glue for every 14 parts of water (60 grams to 1 litre). For tempera paints, 80 grams for every quart. Compare recipes in Kurt Wehlte: The Materials and Techniques of Painting, in our book section. True rabbit skin glue tends to gel at lower temperatures, making it easier to use in gesso applications. Otherwise, glue made from cow or rabbit collagen are comparable. As an adhesive, heat soaked Bone or Hide Glue and add water until the solution runs smoothly oX a wooden spoon.

/// Albuminous Glues You can find our Glue Pots in Chapter 09 Tools, Packaging & Supplies. 63000 Bone Glue, , made from cow bones 04 63010 Hide Glue, cubes, made from cow hide 63020 Hide Glue, cubes, high jelly strength, made from cow hide 63025 Rabbit Skin Glue, cubes, made from rabbit hide 63028 Rabbit Skin Glue, fine grind, made from rabbit hide 63035 Parchment Glue Parchment Glue is a very popular glue for book binders. Parchment strips are soaked in cold water, dissolved in warm water, filtered and poured into thin sheets. The glue is yellowish, slightly more brittle than isinglass glue and less adhesive. 63045 Technical Gelatine, powder, made from cow hide Easily water soluble, for sizes, grounds, tempera etc. 63052 Glue Plates, made from pure rabbit skin, 35 - 45 g per plate 63053 Technical Gelatine, plates, made from rabbit hide, approx. 120 g / plate 63060 Bookbinder Glue, grains, gilder glue, light, made from cow hide 63200 Casein, precipitated with milk acid, fine powder 63210 Casein Binding Medium, borax-casein, according to a recipe by Wehlte 63220 Schmincke Casein Binder , borax-casein, liquid Borax hydrolized casein emulsion for casein paints and tempera. As an additive to acrylic colors, it improves adhesiveness to smooth surfaces, i.e. glass, and increases viscosity. 63250 Albumine, egg-white powder 63500 Franklin Hide Glue 118 ml , tube 63510 Franklin Hide Glue 237 ml , tube 63512 Franklin Hide Glue 473 ml , tube 63521 Franklin Tide Bond 118 ml , wood glue, tube 63522 Franklin Tide Bond 237 ml , wood glue, tube 63523 Franklin Tide Bond 473 ml , wood glue, tube 63524 Franklin Tide Bond 946 ml , wood glue, tube 63550 Fish Glue, highly viscous

/// Gums & Starches 63320 Gum Arabic , grains 63330 Gum Arabic Powder, spray dried, white, DAB 10 63350 Cherry Gum, Prunus Avium 63420 Dextrine, pure, white 63440 Starch This very fine rice starch is manufactured from clean, polished broken rice by extraction and purification of the starch. 63450 Xanthan, thickening agent for sodium silicate 63451 Starch Powder, agglutinant

44 Water-dilutable Binders For further information and prices please visit us at www.kremerpigments.com Mediums, Binders & Glues 04

63470 Agar Agar, natural thickener, technical, pure 63477 Fu-Nori, Japanese algae glue 634774 JunFunori®, Japanese algae glue, extra pure

Shofu Jin Nori, Japanese Wheat Glue 634775 SHOFU JIN NORI Paste , white paste, Japanese wheat glue, ready to use 634778 SHOFU JIN NORI Powder, Japanese wheat glue, white powder

/// Cellulose Derivatives & Glues 63600 Cellulose Glue K 300, thin, paint glue, methyl-hydroxyethyl-cellulose 63610 Cellulose Glue K 1000, thick, thickening agent, paint glue 63641 Paint Glue, Na-Carboxymethyl Cellulose, fine, ionic, low viscosity 63642 Cellulose Glue K 50, paint glue 63650 Cellulose Thickener C 6000, thickener, Na-carboxymethylcellulose 63663 Cellulose K 30.000, thickener for mortar and pastes 63671 Methocel A4M, methyl cellulose, 4000 mPas Methocel A4M is a quickly dissolvable, medium viscous methyl cellulose. Methocel A4M is soluble in water, dries matte and is extremely reversible. Methocel A4M has been used successfully for the consolidation of paint and wood.The dissolved Methocel A4M can be applied with a brush, sprayed or injected. Methocel A4M does not change colors of the treated surface and can be tinted with pigments. 04 63682 Benecel™ A4C, methyl cellulose 63700 Klucel® E, 7 mPas, hydroxypropyl cellulose, low viscousity Excellent binder for watercolor and gouache paints. Also soluble in denatured alcohol as a fixative or glue. Thin consistency. 63706 Klucel® G, 300 mPas, hydroxypropyl cellulose 63710 Klucel® M, 5000 mPas, hydroxypropyl cellulose, viscous 63712 Klucel® H, 30000 mPas, hydroxypropyl cellulose 63720 Ethylcellulose ET 200, soluble in most organic solvents 63744 Culminal® MHPC 20000, methyl-hydroxy-propylcellulose /// Water-soluble Synthetic Resins & Dispersions

/// Synthetic Resins, water-soluble 63812 Carbopol® EZ 2, 2-polyacrylic acid, self-dispersing For solvent gels for restoration. 63902 Aquazol® 200, water-soluble synthetic resin, medium viscosity 63905 Aquazol® 500, water-soluble synthetic resin, high viscosity 67500 Polyglykol 1000, wax-like Stabilizes moisture, soluble in water and organic solvents. 67520 Polyglykol 1500, synthetic wax 67540 Polyglykol 400, clear thin liquid 67700 Polyvinyl Alcohol (PVA) solid, synthetic resin, 4-98 67710 Polyvinyl Alcohol (PVA) liquid, 15 %, in demineralized water Retarder for acrylic paints. Use also as stabilizer and to improve flow. Add. ca. 10 % to acrylic medium. 67760 Polyvinyl Alcohol (PVA) thin, low viscosity, 4-88 Fields of Application: Modification of dispersion glues, manufacture of paper glues and glues which can be remoistened. Protective gel for the emulsion polymerization, raw material for finishing and textile glaze, binding agent for the surface processing of paper.

/// Pure Acrylic Dispersions 75000 Acrylic Dispersion DM 771, pure acrylic dispersion, viscous Watersoluble, without plasticizers, thick liquid. Semi-gloss, clear, tearproof, hard, with good pigment binding capacity, resistant to yellowing and weather. 50% solids.

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75075 Dispersion K 52, aqueous acrylic dispersion Acrylic dispersion with very fine particle size, very transparent. The K 52 is recommended for thin, aquarell-like glazes and matte paint. Also suitable for consolidation and impregnation of pourous grounds. Weak film-formig properties, less abrasion resitant than other acrylic dispersions. Not compatible with Cellulose Glue No. 63600. 75100 Primal® AC 35, pure acrylic emulsion For artist paints. Clear, glossy, low odor, solvent free, high adhesion, good blocking resistance, fast drying, for interior and exterior use. 75250 Primal® WS 24, acrylic consolidant Acrylic consolidant and protectant for plaster, stone and wood. 75305 Dispersion K 19 Gloss, acrylic dispersion, transparent, hard surface 75355 Dispersion K 19 Matte, acrylic dispersion, dries matte 75367 Dispersion K 9, pure acrylic dispersion Good binding stength, low surface contamination, without ammonia, formaldehyde-free, pleasant smell, slightly tacky. Possible to achieve very matte paint when thinned. Replacement for Primal AC 33. Compatible with Potassium Silicate, no. 77750, and Syton®, no. 31430. Recommended thickener is Rohagit, no. 76910. 75600 Plextol® B 500, pure acrylic resin, can be pigmented easily 75900 Acronal® 500 D, acidic pure acrylate dispersion, extremely flexible 76000 Plextol® D 498, clear with medium gloss, weather-resistant Standard pigment binder. Also suitable as an additive for the manufacture of organo-silicate paints. 04 76101 Dispersion K 360, pure acrylic dispersion, about 60% solids MFT 0 ° C, very elastic, permanently sticky. 76202 Plextol® D 540, medium-hard acrylic dispersion, approx. 49-51% acrylic

/// Polyurethane & Latex Milk 76805 Polyurethane Dispersion PU 52 76806 Polyurethane Dispersion No. 61 PC 77200 Latex Milk, natural rubber, kept liquid with ammonia

/// Thickener for Dispersions 76900 Thickener ASE 60, thickens the consistency of alkaline dispersions Prevents running and dripping. 76910 Rohagit® SD 15, thickens gel-like Thickener for dispersion paints, synthetic resin plasters, glues. 78032 Orotan 731 K, disperse aid For pigments ground in dispersions. 78900 Acematt® HK 125, matting agent for acrylic mediums and solvent solubly varnishes /// Waterglass & similar Binders 31402 Lithium Waterglass, consolidation agent for natural and artificial stone plasters and mortars 31404 Durolith® Bioclean L Durolith® Bioclean L, lithium hydroxide is for long-lasting removal of microbial growth from buildings and sculptures, such as Lichens, algae or fungi. Similarly, this product can be used for preventive treatment of concrete, plaster, natural & artificial stone. Durolith® Bioclean L is particularly suited for the treatment of sculptures, as it does not change the visual appearance of surfaces. Application: Mix 100 ml of Bioclean L with 1 liter of water. Attention : Wear protective goggles and gloves. 31430 Syton® X 30, small particles 31431 Syton® W 30, water-based silicic acid dispersion, large particles 77305 Silicade 8, composition of water-soluble silicates and acrylic dispersion 77750 Potassium Silicate 28/30°, aqueous solution 77760 Limasol, silicate binder Limasol can be used for silicate painting, to consolidate translucent ceramics, as acid-resistant coating, primer for the coating of metal. Limasol reacts alkaline, can be thinned with water at any ratio, is very stable in reference to shelf-life, is VOC-free, is incombustible and has no odor.

46 Water-dilutable Binders For further information and prices please visit us at www.kremerpigments.com Mediums, Binders & Glues 04

SOLVENT-SOLUBLE BINDERS

/// Varnish Materials, Natural Resins 60000 Dammar, best quality, handpicked, from Sumatra Use for varnishes and in mediums. Kurt Wehlte recommends wrapping 100 g damar crystals in gauze and suspending them by a string in a closed jar filled with 200 ml pure gum turpentine. The crystals will take a couple days to dissolve. Our damar is harvested by hand in Sumatra, , where deforestation and political unrest have diminished supplies. 60050 , from Chios, Greece, best quality Dissolve 100 g in 300 ml pure gum turpentine. 60100 Sandarac, from Morocco 60150 Manila Copal, soluble in ethanol Often used as an isolating varnish over tempera underpainting. 60161 Gum Copal, from Madagascar 60200 Amber, pieces, genuine 60205 Amber Colophony, from Russia, brown brittle resin Limited supply. 60210 Amber, powder, genuine, 0 - 1 mm 60250 Benzoin, best quality 60270 Olibanum, incense, best quality 60300 Colophony extra light, rosin, residue of turpentine destillation 04 60310 Colophony Powder, rosin For printing plates, not for varnishes. Does not dissolve entirely. 60320 Burgundy Resin, colophony, of the European pine 60400 Shellac Lemon 1, from India, flakes Shellac is a resinous secretion of the lac insect. After the crude lac is gathered from the tree, it is crushed and graded and the largest particles, called seed-lac, are selected for making the best grade of shellac varnishes. 60410 Shellac Orange, from India, flakes 60430 Stick-Lac, Raw Shellac 60440 Shellac, bleached, light, flakes, wax-free 60441 Shellac light, food quality, wax free, decolorized 60450 Shellac, bleached, very light, flakes, wax-free 60470 Shellac Powder with Borax, very light, water-soluble 60480 Shellac Ruby, flakes, wax-free, ruby colored 60490 Seed Lac, Crude Shellac 60500 Button-Lac, from India 60550 Shellac Wax, bleached This Shellac wax dissolves in turpentine. It is used for the conservation of old shellac varnish on furniture. /// Balsams & Wax Turpentines are natural tree resins. They tend to crystallize like honey when stored for a long time, or subjected to temperature changes that may occur during shipping. Warming the product in a warm water bath will restore its original consistency. Further fluctuations in qual- ity are possible due to the seasonal change of trees, which influences the amount of solvents in the sap. Adding a small amount of solvent such as spirits of turpentine to very thick balsams will remedy this problem. We hope you will appreciate these inconsistencies as signs of the natural character and unprocessed purity of these products. 62000 Larch Turpentine, genuine 62002 Larch Turpentine from South Tyrol 62010 Venetian Turpentine, mixture of larch turpentine and colophony 62040 Silver Fir Turpentine Balsam, Strasbourg-Turpentine-Balsam, dark The resin tends to crystallize. Can be heated to create violin varnish rosin. 62042 Abies Alba Resin, European Silver Fir 62046 Picea Excelsa Gum, European Spruce, Norway Spruce 62050 Gum Elemi, semi-solid 62100 Copaiba Balsam, medium thick 62105 Peru Balsam, natural

For further information and prices please visit us at www.kremerpigments.com Solvent-soluble Binders 47 04 Mediums, Binders & Glues

62108 Tolubalsam, very pale 62110 Canada Balsam, Canadian turpentine 62200 Beeswax, natural, pure, DAB 10, beads, bright yellow 62210 Beeswax, bleached, pure, DAB 10, beads 62222 Propolis, from Uruguay 62300 Carnauba Wax, bleached, flakes 62400 Para>n, melting point: 52 - 54° C 62500 Stearin, flakes 62600 Microwax White, micro-crystalline 62620 Microwax White-Yellowish, micro-crystalline 62690 Ozokerite, colorless white wax 62800 Cosmoloid H 80, micro-crystalline wax, pastilles, for iron conservation 62900 Renaissance Polishing Wax, micro-crystalline wax /// Synthetic Resins, solvent-soluble Synthetic resins are used as lacquers or binding media for paints. /// Polyvinyl Acetate 67000 Polyvinyl Acetate 20 67020 Polyvinyl Acetate 30 04 67040 Polyvinyl Acetate 50 67160 Polyvinyl Acetate Copolymer , in Ethyl Acetate 60% /// Laropal / MS2A-Resin 67204 Laropal® A 81, very lightfast, aldehyde resin for varnishes 67240 MS2A-Resin, resin for very lightfast painting varnishes

/// Regalrez® / Regalite®-Resins 67260 Regalite® R1090, synthetic resin 67266 Regalite® R1125, synthetic resin 67280 Regalrez® 1094 67284 Regalrez® 1126 /// Plexisol / Plexigum 67300 Plexisol® P 550-40, acrylic resin dissolved in white spirit 67380 Plexigum® PQ 611, soluble in Shellsol® T, special boiling-point spirit /// Paraloid Paraloid™ B-72 is an excellent general purpose acrylic resin. It can be applied in either clear or pigmented coatings by a variety of application methods. 67400 Paraloid™ B 72, ethyl methacrylate polymer 67402 Paraloid™ B 72 in Ethyl Acetate, 15 %, acrylate-ester-polymerisate 67403 Paraloid™ B 72 in Ethyl Acetate, 15 %, with UV protection For protective varnish in case of high UV exposure. 67404 Paraloid™ B 72 in Ethyl Acetate, 25 %, with UV protection Can be used as reversible surface for labelling museum objects. 67408 Paraloid™ B 72 in Ethyl Acetate, tube, viscous glue 67409 Paraloid™ B 72 in Toluene, 50 % solids 67420 Paraloid™ B 67, isobutyl-methacrylate polymer 67440 Paraloid™ B 82, methyl-methacrylate-copolymer 67460 Paraloid™ B 44, methyl-methacrylate-copolymer 67470 Paraloid™ B 48 N, methyl-methacrylate-copolymer /// Softening Agent / Polyvinyl Butyral 67580 Special Gum G 1650, softening agent, for conservation varnishes 67600 Polyvinyl Butyral 30

48 Solvent-soluble Binders For further information and prices please visit us at www.kremerpigments.com Mediums, Binders & Glues 04

OILS

/// Drying Oils /// Linseed Oil The importance of a good coldpressed linseed oil cannot be overstated. Good oil is made from the ripest possible seed of the flax plant. Light color shows that the oil is free from contami- nation with seeds from weeds and other foreign matter, which can substantially alter normal drying time. Soil and weather conditions influence the harvest: The best oils are produced in a northern climate, where the sun is filtered through layers of haze and allows the seeds to ripen slowly. Wehlte points out that the Dutch masters fared best with home-grown oil, ex- tracted using primitive methods that yield less, but avoid the passing of mucilage into the oil. Northern oils also have a lower acidity than Southern oils. You can tell a good, fresh oil by its smell: it should be light and flowery, not dark and acrid. 73011 Linseed Oil, sun thickened, Oleum Crassum, from Italy 73020 Linseed Oil, cold-pressed, from Sweden, low acid content 73054 Linseed Oil, cold-pressed, pale yellow, contains some mucilage For oil paints, tempera, wood treatment. 73100 Kremer Linseed Oil Varnish, siccativated with manganese, cobalt-free, fast-drying 73200 Linseed Stand Oil, 50 P, consistency like liquid honey 04 73201 Linseed Stand Oil, 450 P, polymerized oil 73300 Linseed Oil, refined, varnish oil, bleached linseed oil

/// Walnut Oil Walnutoil is less prone to yellowing, and lets white and blue colors retain their characteristic hue. Its drying properties are somewhat slower than linseed oil, adding siccative can acceler- ate the drying time. 73500 Walnut Oil, refined, pure, refined 73510 Walnut Oil, siccativated, pure, refined 73511 Walnut Oil, sun thickend, Oleum Crassum Painting medium for classic oil painting techniques. 73550 Walnut Oil, cold-pressed, for tempera

/// 73600 Poppy Oil, pure, refined 73630 Perilla Oil, slow drying plant oil 73640 Claw Oil, clear 73670 Castor Oil, softener for oil-varnish 73680 White Oil, vaseline oil, paraUn oil 73900 Tung Oil, China wood oil Tung Oil becomes cloudy at approx +5°C and turns into a pasty consistency at low temperatures. This consistency can be reversed by warming up the oil slowly and carefully. 73950 Castor Stand Oil, soluble in denatured alcohol 79240 Alkyd Resin Oil, for mediums /// Essential Oils All essential oils (except #73700, #73750 and #73800) only upon request with special shipping rates and longer delivery time. 73700 Clove Oil, rectified, DAB 9 73710 Rosemary Oil, Spanish, best quality 73720 Cedar Wood Oil, rectified 73730 Tyrolean Dwarf Pine Oil, essential oil 73732 Pine-Needle Oil, essential oil 73734 Silver Fir Needle Oil, essential oil 73736 Fir Cone Oil, essential oil 73750 Oil, Mt. Blanc, France, best quality

For further information and prices please visit us at www.kremerpigments.com Oils 49 04 Mediums, Binders & Glues

73760 Eucalyptus Oil, essential oil, pale yellow, thin, 85 / 88 % 73770 Cajeput Oil, essential oil, from melaleuca leucadendron 73800 Spike-Lavender Oil /// Owatrol Oil Paint Conditioner and Rust Inhibitor. Owatrol is a unique paint additive that improves finish and eases application for the professional painter and decorator, especially in diFcult condi- tions. Owatrol added to any oil-based paint, varnishes or stains will reduce brush marks and improve coverage. 79071 Owatrol Oil 79073 Owatrol Oil Spray , penetrating and isolating rust inhibitor, wood impregnation

MEDIUMS, VARNISHES & LACQUERS

/// Mediums for Oilspaintings /// Claude Yvel 79097 Black Oil, by Claude Yvel, medium made of walnut oil and lead oxide, contains lead, toxic 04 Black oil is a fast drying medium and varnish made from walnut oil and litharge. Historically significant for iconpainting and other historical painting techniques. 79098 Gel-Painting Medium by Claude Yvel , tube, contains lead, toxic The long lasting painting medium of the baroque period. Black Oil and a special Mastic Varnish are carefully mixed 1:1. The two liquid components change into a thick gel. When stirring the gel can be made liquid again. The gel may liquify by shipping. In case of higher temperatures in the summertime we recommend to use our 79099 Set to mix the gel freshly. The shelf-life is approx. 6 month. May re-gel if stirred slowly. 79099 Black Oil and Mastic Varnish - Set, components for Gel-Painting Medium by Claude Yvel

/// 79200 Kremer Oil Paint Medium fast drying, Kremer-made 79210 Kremer Oil Paint Medium slow drying, Kremer-made 79220 Oil Paint Medium, glossy, Scumble Glaze 79225 Wax-Paint Medium , mixture of beeswax, stand oil and dammar varnish

/// ALCHEMIST™, Amber Varnish The ALCHEMIST company in Virginia makes a variety of mediums based on historical reci- pes that permit glazing fine lines and details wet in wet, without running or disturbing lower layers, in one session. Mixed with pigments or natural lakes these products are also used for violin varnishes. Based on 17th century recipes, the Alchemist company has developed a treatment of linseed oil that prevents running or bleeding. Called „Oil of Delft”, this line of products is intended for use instead of the ususal linseed oil and turpentine destillates in order to approximate the paint handling and optical results of 17th century painting. These products do not contain driers and should not be thinned further. 79900 ALCHEMIST Amber Varnish Clear in linseed oil, unthinned 799001 ALCHEMIST Amber Varnish Clear in walnut oil, unthinned 79901 ALCHEMIST Amber Varnish Dark in linseed oil, unthinned 799011 ALCHEMIST Amber Varnish Dark in walnut oil, unthinned 79909 ALCHEMIST Oil of Delft Thick , linseed oil painting medium /// Mediums, water-dilutable 79227 Wall Paint Binder, transparent 79228 Wax-Translucent Wall Paint Medium, can be thinned with 3 - 6 parts water

50 Mediums, Varnishes & Lacquers For further information and prices please visit us at www.kremerpigments.com Mediums, Binders & Glues 04

79230 Cere-Stucco Soap, wax paste, wax soap made of bleached beeswax and ammonium tartrate, without oil This soap is a water-soluble colourless white paste. After drying it is no longer water-soluble. Use: as a polishing paste for plasterwork, tadelac, stucco lustro, for wood- and wall covering, as a binder for glazes. That kind of wax soap is also called Punic Wax. You can use it very sparingly. 79250 Temperone, Venetian painting medium Temperone is made according to a recipe from the 16th century and is a water-thinnable emulsion of rye flower, larch turpentine, linseed oil, honey and distilled water. The properties of this medium yield an excellent adhesion on oil and emulsion grounds. History: Painters like Tintoretto required a fast-drying and cheap medium to finish large-scale work in a short time. Temperone makes it possible to paint quickly, up to 10 layers in one day. It dries within minutes to a satin gloss, and can be overpainted immediately. The emulsion remains water-soluble for a while, making it ideal for a sketch-like painting process that is easily corrected. Temperone is highly elastic on canvas and has good pigment binding properties. To impart lustre and durability, a final varnish of sandarac dissolved in ethyl alcohol is recommended. 79260 Kremer Watercolor Medium, with gum arabic, honey and glycerin Recipe: Combine several drops of this medium and some distilled water with 1–3 tsp. of dry pigment. Add a few drops of ox gall for flow. Mull into a smooth paste and fill into pans. Let the pans harden overnight. The easiest pigments to mix are mineral based colors. 79290 Feldmann´s Egg Tempera , historic painting medium /// Varnishes 79300 Dammar Varnish Glossy, UV Stabilized, 1:2 dissolved in double rectified turpentine 79301 Dammar Varnish, Glossy, 1:2 dissolved in double rectified turpentine, not UV 04 stabilized 79320 Dammar Varnish Matt, UV Stabilized, matte finish, with bleached beeswax 79321 Dammar Varnish Matt, matte finish, with bleached beeswax, not UV stabilized 79330 Dammar Varnish Yellow Matt, UV Stabilized , matte finish, with natural beeswax 79340 Dammar Varnish with Shellsol® A, UV Stabilized, without turpentine 79350 Mastic Varnish, UV Stabilized, 1:2 dissolved in double rectified turpentine 79351 Mastic Varnish for Claude Yvel Gel, dissolved in double rectified turpentine 79360 Regalrez® Picture Varnish, with Regalrez® 1094, UV-stabilized 79365 Regalrez® Furniture Varnish, with Regalrez®1126, UV-stabilized 79375 Regalite® Picture Varnish, with Regalite® R1090, UV-stabilized 79377 Regalite® Furniture Varnish, with Regalite® R1125, UV-stabilized 79380 MS2-A-Varnish Glossy, in SHELLSOL® A 79500 Pastel Fixative, in ethyl alcohol /// Lacquers & Formulations /// Oil Varnishes

Harddrying Oil Harddrying Oil consists of a boiled mixture of resin with linseed oil. It paints out fair- ly light despite its dark color in the bottle, and imparts hardness, depth and lustre to oil paints and varnishes. Other uses include: As a depth primer on wood, mortar and stone (thinned with spirits of turpentine), a weather- resistant varnish for oil colors, an additive to tempera paints and as a medium for icon painting. 79021 Harddrying Oil Kremer Gloss, clear, fast drying 79031 Harddrying Oil Kremer Matt, matted with beeswax, fast drying 79055 Tung Oil Varnish, tung oil cooked with linseed oil Glossy, slightly yellowish, highly weather resistant and with good drying properties. 1 litre covers about 20 square yards. A coat of Tung Oil Varnish is dust dry within 2 hours, hard in 8 hours, and can be over-painted after a day. Application is by brush or spray gun (special precautions: tung oil is considered toxic!). For outside applications four coats are recommended, for inside two coats are usually suZcient. Tung Oil Varnish is highly resistant to scratches and abrasion, and also UV stable, which is why it is used around ocean water or at high altitudes, as well as on staircases and wooden floors that receive high traZc. Colors can be added: 60 grams of pigment per litre do not compromise the paint film, and store bought oil paints can be added up to approx. 10 %. Tung Oil Varnish is used straight out of the can! 79080 Semi-Oil, Linseed Oil Varnish, with fir turpentine and siccative

For further information and prices please visit us at www.kremerpigments.com Mediums, Varnishes & Lacquers 51 04 Mediums, Binders & Glues

79162 Alkyd Resin AH, ready to use, with siccative Similar to our former Alkyd Resin GG. Alkyde Resin is a half-synthetic medium for oil paints. It is based on alkylated vegetable oils (peanut, cotton etc.) to produce a harder, less yellowing and more elastic drying oil than linseed oil. It is used to grind pigments, and as an additive to oil colors. Although the consistency of alkydes is thick, like honey, when brushed out, the paint film is self-levelling, providing even, saturated coatings. 79421 Amber varnish genuine, made from amber and linseed oil 79450 Copal Varnish, for exteriors, with siccative

/// Lacquers & Polish, alcohol-soluble 60453 Shellac Polish, translucent 79400 Petersburg Lacquer, high-quality furniture varnish made of mastic, shellac, larch turpentine, etc. 79622 Brass Lacquer, from 1892, contains natural resins and dyes, dissolved in ethyl alcohol 79640 Polishing Oil for Shellac Finish, made with lavender oil For shellac surfaces. 79780 Brenn-Polish, high gloss, made of shellac and natural resins, dissolved in ethyl alcohol 79782 Brenn Polish, matt, made of shellac and natural resins, dissolved in ethyl alcohol

04 /// Further solvent-based Lacquers 79550 Zapon Lacquer, to be thinned with alcohol, colorless, cellulose varnish 79570 Zapon Lacquer, to be thinned with ester, colorless, cellulose varnish 79800 Beechwood Tar, tar oil mixture 79850 Asphaltum Laquer, Bitumen, black, in turpentine, with colophony

PRODUCTS FOR VIOLIN MAKERS

62226 Propolis Soap, William Fulton type , fine yellow powder Ground for violin varnishes, according to William Fulton. /// Turpentine Rosin Oil 79282 Turpentine Rosin Oil thick, for violin varnishes 79283 Turpentine Rosin Oil medium, for violin varnishes 79284 Turpentine Rosin Oil thin, for violin varnishes /// Rubio Mineral Ground & Violin Varnishes 79725 Rubio Mineral Ground , for violins 79760 Violin Varnish - recipe of 1710, resin-solution in ethyl alcohol 79762 Violin Varnish Pale, yellow-gold, alcohol-soluble 79763 Violin Varnish Brown, brown-gold, alcohol-soluble With 23585 CINQUASIA® Red Gold, shellac, sandarac and amber, can be thinned with alcohol. 79764 Violin Varnish Red, red-brown, alcohol-soluble With 23493 Gubbio Red, shellac, sandarac and amber, can be thinned with alcohol. /// Oil Varnish, transparent 797710 Oil Varnish, transparent yellow, lightfast varnish for wood 797712 Oil Varnish, transparent maroon, lightfast varnish for wood 797714 Oil Varnish, transparent brown-red, lightfast varnish for wood 797720 Oil Varnish, transparent yellow-brown, lightfast varnish for wood 797730 Oil Varnish, transparent dark red, lightfast varnish for wood 797732 Oil Varnish, transparent dark brown-red, lightfast varnish for wood

52 Products for Violin Makers For further information and prices please visit us at www.kremerpigments.com Mediums, Binders & Glues 04

GLUES & CASTING MATERIALS

/// Epoxy Resins 97240 Transparent Adhesive Resin, EPO-TEK® 301-2, a two component optical, medical grade epoxy resin 97250 HXTAL NYL-1, clear glue for glass, 2-K epoxy resin glue For restoration of glass and ceramics. 97251 Glass Primer TSP, wetting agent, based on tri-ethoxy-silyl-propylamine in iso-propanol Protect from humidity. 97460 Woody Paste , 2 component epoxy paste /// Casting Resin & Silicone Casting Materials 97400 Rhodorsil RTV 3221, including 2% catalyst 6H, silicone casting material, white 97450 Modelit, casting resin

/// Silicone Mold Material, MBlue For pourable compunds. Dripping time 20 - 30 min, hardening after 8 - 10 h, usage with 3 - 5 % 97501 Catalyser for MBlau. Shore hardness of 20 - 22.

97500 Silicone Mold Material, MBlue, standard quality, usage with 97501 catalyser MBlau 04 97501 Catalyzer for MBlue, usage with 97500 Silicon Mold Material, MBlue

/// Kremenit 97510 Kremenit White, ceramic mass 97520 Kremenit Terracotta, ceramic mass /// Special Glues 97904 Permabond 2011 , super glue, non dripping 98500 Archäocoll 2000, ceramic glue N 98501 Paint Thinner for Archäocoll 2000, Ceramic Glue, contains PM and acetone /// Heat Seal Adhesive /// -Glue You can find further LASCAUX®-Products in Chapter 06 , the LASCAUX® Silicone Paper in Chapter 07. 81000 Lascaux® Acrylic Glue 303 HV, for paper, cardboard, textiles, former 360 HV 81002 Lascaux® Acrylic Glue 498 HV, for flexible surfaces such as linen, wood 81004 Lascaux® Acrylic Glue 498-20 X, for light and ageing-resistant, non-cross-linking agglutination such as re-lining 82000 Lascaux® Polyamide Textile Welding Powder 5350, melting point: 80°C 87035 Heat-Seal Adhesive 375 , dry mixture for the preparation of a 40% solution

/// BEVA®-Products 87015 BEVA® UV stable Finishing Varnish , Gustav Bergers Original Formula 87016 BEVA® UV stable Matte Varnish , Gustav Bergers Original Formula 87020 G. Berger´s Inpainting Medium , Gustav Bergers Original Formula 87023 BEVA® D-8 Dispersion , aqueous, non-ionic BEVA® D-8 Dispersion mainly consists of an ethylene vinyl acetate emulsified by a volatile material which evaporates during drying, without leaving a residue. Application in dispersion permits the use of resins of still higher viscosity and greater flexibility than BEVA® 371. However, BEVA® D-8 requires more aromatic mixtures for removal than BEVA® 371. Dry film can be solved with toluole or xylol. 87025 BEVA® Isolation Varnish, according to licence by Gustav Berger 87030 BEVA® 371 Hot-sealing adhesive - 1 l , Gustav Bergers Original Formula, 40% solution, CTS

For further information and prices please visit us at www.kremerpigments.com Glues & Casting Materials 53 04 Mediums, Binders & Glues

87031 BEVA® 371 Hot-sealing adhesive - 5 l , Gustav Bergers Original Formula, 40% solution, CTS 87032 BEVA® Gel, dispersion of acryl and EVA-resins in water 87050 BEVA® 371 Film, Thin, 25 µ, 68 cm 870501 BEVA® 371 Film, Thin, wide, 25 µ, 1.2 cm wide 87051 BEVA® 371 Film, Thick, 65 µ, 68 cm 870511 BEVA® 371 Film, Thick, wide, 65 µ, 1.2 cm 87052 BEVA® 371 Film, Thick, extra wide, 65 µ thick, 6.10 m long, 137 cm wide, roll 87055 BEVA TEX® 371 Film, 15 µ, 68 x 91 cm Non-woven polyester fabric, coated on one side with BEVA® 371 Film. 87060 BEVA® Gesso-p , Gustav Bergers Original Formula

/// Textile Welding Powder 97800 Textile Adhesion Powder, melting range 130 - 133°C

CYCLODODECANE & FURTHER VOLATILE BINDERS

Cyclododecane, a temporary consolidant for treatment of artworks, including paintings, tex- tiles and stone. Used for temporary consolidation, adhesion, cleaning, and protection during 04 transport. 87099 Cyclododecane Spray , melting point 58 - 61°C 87100 Cyclododecane, melting point 58 - 61°C 87108 Menthol, from peppermint oil, melting point 31 - 35°C

54 Cyclododecane & further Volatile Binders For further information and prices please visit us at www.kremerpigments.com Solvents, Chemicals & Additives

05

SOLVENTS, CHEMICALS & 05 ADDITIVES

05

54 Solvents 54 Cleaning & Wetting Agents 54 Conservation Materials 55 Chemicals 55 AKA-Products

For further information and prices please visit us at www.kremerpigments.com 55 05 Solvents, Chemicals & Additives

SOLVENTS

70460 Shellsol® T, iso-solvent, aroma-free

CLEANING & WETTING AGENTS

/// For Metal Restoration 62901 Pre-Lim Surface Cleaner, paste for non-scratch cleaning of metals 62902 Renaissance Metal De-Corroder , safe, non-toxic system for rust removal with full control 79625 Incra Lac, copper coating, contains aromatics /// 78010 Surfynol® 61, wetting agent for special cleaning procedures 78025 Tween® 20, polyoxyethylen-sorbitan-monolaurat 78030 Triton® X-100, non-ionic disperse agent for water-based mediums 78039 Wetting Agent PM, for cleaning emulsion, dispersing agent 78040 Disperse Aid, disperse aid for oil paint /// Marseille Soap 78045 Olive Oil Soap, block, pure vegetable soap, 8 x 8 x 8 cm, approx. 600 grams, in a block 78046 Olive Oil Soap, liquid, in bucket, pure 78050 Marseille Soap, needles, pure vegetable soap 05 /// 78052 Vulpex Liquid Soap, non-ionic concentrated cleaning agent 78053 Amytis®, washing and cleaning agent for silk, wool, and brushes 780551 Tinovetin® JUN HC, surfactant, wetting agent for fibres 78057 Marlipal® 1618/25, flakes, non-ionic surface-active agent 78060 Picture Cleaner , from Winsor & Newton 78061 Groom Stick® , non-abrasive cleaner made from processed, kneadable, natural rubber 78070 Lanolin DAB 9, low pesticide content 78084 Ethomeen® C 12, surface-active fatty amine, used as a wetting agent 78086 Ethomeen® C 25, 100%, fatty amine from coconut 78087 Ox Gall, wetting agent for oil and tempera colors, by Schmincke 78100 Texanol®, reduces the minimum required temperature for acrylic drying by about the half 78406 Siccative No. 203, drier for oils, lead-free 78600 Defoamer, special silicone oil, for waterbased paints to reduce foaming

CONSERVATION MATERIALS

78150 Tinuvin® 900, UV-absorber, powder 78152 Tinuvin® 292, UV-absorber, liquid, soluble in benzine 78707 Alchinol d 15 / Hydorol D15, stabilizes water-based solutions with a low salt content against algae 78710 Camphor, natural, Chinese 78740 Preventol® ON extra 78744 Biodocarb, fungicide, anti-mildew agent

56 Conservation Materials For further information and prices please visit us at www.kremerpigments.com Solvents, Chemicals & Additives 05

CHEMICALS More chemicals on request. /// NH HCO 64020 Ammonium Hydrogen Carbonate, technical, pure 4 3 (NH ) CO 64021 Ammonium Carbonate, pure 4 2 3 K CO 64040 Potash, potassium carbonate 2 3 K Al (SO ) * 24H O 64100 Potash Alum, aluminium potassium sulphate 2 2 4 4 2 FeSO * 7H O 64200 Iron(II) Sulphate, ferrous sulphate 4 2 C H O 64900 Glycerol 86 %, Europharma, of plant origin, DAB 10 3 8 3 H O 65000 Water, demineralized 2 71050 EDTA, ethylenediamintetraacetic acid disodium salt

AKA-PRODUCTS

WISHAB is used for convenient, safe dry cleaning of surface soiling on walls, ceilings, pictures, frescoes, mural paintings, wallpaper, paper, textiles, coats of paint etc. The sponge works by absorbing dirt particles, then crumbling oN to avoid friction or polishing the aNected surface. It is often used in advance of a wet treatment to prevent dirt being washed into cracks, or on surfaces that cannot be cleaned with water. It has been used with particular success in the cleaning of fire damages. The Wishab paper sponge consists of a blue grip and an attached cleaning sponge (active ingredi- ent). WISHAB sponges are available in three grades – soft, hard and extra hard, and soft for paper. Use depends on the type and sensitivity of the base surface. Please ask for our information sheet. Also available in powder form for spray clean- ing. 05 780625 aka pad abrasive C, cuboid, 40 x 40 x 20 mm, with chalk, middel-hard 780627 aka pad abrasive CB, board, 150 x 160 x 20 mm, with chalk, medium hard 780628 aka pad abrasive P, cuboid, 40 x 40 x 20 mm, with pumice, hard 780629 aka pad abrasive PB, board, 135 x 135 x 20 mm, with pumice, hard 780630 akapad Paper Sponge white 780632 akapad Sponge soft 780633 akapad Sponge hard 780634 akapad Sponge extra hard 780635 akawipe Powder soft, each bag = 500 g 780638 akawipe Powder white, each bag = 500 g 780642 akablast Spray Powder hard , each bag = 5 kg 780644 akablast Spray Powder fine , each bag = 5 kg 780645 akablast Spray Powder extra fine , each bag = 5 kg 780650 akatec Spray Blaster aka 4450 , for akablast Spray Powder 780655 akatec Micro Beam Pistol aka 4400 , for akablast Spray Powder, fine 780658 akatec Angle Jet aka 4475 , for Micro Beam Pistol

For further information and prices please visit us at www.kremerpigments.com AKA-Products 57 06

Ready-made Colors & Gilding Materials

READY-MADE COLORS & 06 GILDING MATERIALS

57 KREMER Watercolors 59 KREMER Fine Artist Ink 59 KREMER Color Pastes 60 KREMER Oil Colors 61 KREMER Retouching Colors in Shellac 61 KREMER Retouching Colors in Laropal® A 81 61 KREMER Retouching Chips in Paraloid® B 72 06 62 Gessos & Grounds 62 Gold & Gilding Materials 63 Old Holland Classic Oil Colours 63 Chalks 64 LASCAUX®-Products

58 For further information and prices please visit us at www.kremerpigments.com Ready-made Colors & Gilding Materials 06

KREMER WATERCOLORS

The manual production of very high-quality pigments with Gillot´s Watercolor Medium results in colors with highest brilliancy. /// KREMER Watercolor Boxes 881000 Kremer Watercolor Set I , watercolor box, with 14 full pans, very lightfast and pure pigments 881002 Kremer Watercolour Set Earth Colors , watercolor box with 14 full pans 881004 Kremer Watercolor Set Landscape Painting , watercolor box with 14 full pans, very lightfast and pure pigments 881005 Kremer Watercolor Set Pearl Luster , watercolor box with 14 full pans 881006 Kremer Watercolor Set Illumination , watercolor box with 14 full pans 881007 Kremer Watercolor Set Gold Retouching Colors , watercolor box with 14 full pans 881008 Kremer Watercolor Set Small , watercolor box, with 8 full pans, very lightfast and pure pigments 881032 Kremer Watercolor Set Hard Edge , 28 strong, opaque watercolors 881035 Kremer Watercolor Set Small - Gray , 14 watercolors for retouching in half pans 881038 Kremer Watercolor Set Small - Landscape Painting , watercolor box with 14 half pans, very lightfast and pure pigments 881040 Kremer Watercolor Set Large , 48 watercolors in large metal pans /// KREMER Watercolors, single pans

/// Orange / Red 101508 Pinkcolor 236108 Alizarine Crimson Dark 115748 Burgundy Red Ochre Medium 3721418 Madder Lake, Dark Red 231788 Irgazine® Orange DPP RA 405108 Venetian Red 231798 Irgazine® Scarlet DPP EK 420008 Vermilion 231808 Irgazine® Red DPP BO 421008 Carmine Naccarat 231828 Irgazine® Ruby DPP TR 426018 Ultramarine Red, violet pink 06 232028 CPT-Scarlet Red 523008 Translucent Orange 232508 Permanent Red Dark 523508 Translucent Orange-Red 234028 Quindo® Pink D 524008 Translucent Red Medium 234908 Purple-Red, brownish 554508 Studio Pigment Bordeaux 234938 Gubbio Red

/// Yellow 115728 Burgundy Yellow Ochre 432008 Nickel-Titanium Yellow 170008 Jarosite 433008 Titanium Orange 170508 Natural Sienna, Monte Amiata 435008 Cobalt Yellow 233108 Permanent Yellow Medium 438808 Intensive Yellow 233308 Irgazine® Yellow, greenish 439408 Baryte Yellow 233708 Pyramid-Yellow medium 522008 Translucent Yellow 402208 Italian Gold Ochre Light

/// Green 103458 Malachite MP extra fine 417508 Vagone Green Earth 111118 Russian Green Earth 441008 Cobalt Green 174108 Bluish Green Earth, from 441308 Cobalt Bottle Green Cyprus 230008 Phthalo Green Dark 441518 Cobalt Green Bluish A 230108 Phthalo Green, yellowish 441908 Pastel Green, Victoria Green 230128 Pea Green, mixture 442008 Chrome Oxide Green 408108 Bohemian Green Earth 442508 Viridian Green 408218 Green Earth from Verona 557008 Studio Pigment Light Green

For further information and prices please visit us at www.kremerpigments.com KREMER Watercolors 59 06 Ready-made Colors & Gilding Materials

/// Blue / Violet 102078 Azurite MP, greenish light 457008 Cobalt Blue Dark 105608 Lapis Lazuli from Chile 4571418 Cobalt Blue Pale 230508 Phthalo Blue 457208 Cobalt Blue Light 360008 Indigo, Indian, genuine 457408 Cobalt Blue, greenish 450008 Ultramarine Blue, very dark 457508 Cobalt Blue Turquoise Light 450808 Ultramarine Blue, light 457608 Cobalt Blue Turquoise Dark 451108 Ultramarine Violet, reddish 487008 Caput Mortuum Reddish 452108 Paris Blue 489338 Iron Glimmer Violet 454008 Zirconium Cerulean Blue 559008 Studio Pigment Violet /// White 114108 Eggshell White 462808 BuN Titanium 118108 Selenite, Marienglas 463008 Zinc White 462008 Titanium White 463608 Kremer White /// Brown / Black 120008 Ivory Black 406308 Raw Umber Greenish, dark 124018 Sepia, fine 407208 Burnt Umber, dark brown 124408 Bideford Black 409208 Slate Gray 235008 Paliogen® Maroon 410008 Van Dyck Brown 404008 Raw Sienna, Italy 471008 Bone Black 404308 Burnt Sienna 472508 Furnace Black 405038 Red Bole 479008 Paynes Gray, mixture 406128 Raw Umber, Italy 488008 Magnetite

/// Pearlescent 500008 IRIODIN® Silver 505008 IRIODIN® Chroma Blue 501008 IRIODIN® Colibri Gold 505108 IRIODIN® Chroma Red 501108 IRIODIN® Colibri Star-Gold 505208 IRIODIN® Chroma Lilac 06 501798 IRIODIN® Colibri Satin-Royal 506208 IRIODIN® Chroma Green 501808 IRIODIN® Colibri Royal Gold 506508 Magic Gold 502008 IRIODIN® Colibri Pale Gold 506518 Magic Indian Summer 503008 IRIODIN® Colibri Bronze 506528 Magic Red 503208 IRIODIN® Colibri Glitter 506588 Magic Green 504008 IRIODIN® Colibri Red /// Watercolor Boxes & Pans, empty /// Watercolor Boxes, empty 881010 Watercolor Box empty , for 14 full pans, metall, approx. 22 x 7 x 2.5 cm 881014 Watercolor Box small, empty , for 8 full pans, metal, approx. 12.5 x 7 x 2 cm 881016 Watercolor Box, 4 rows, empty , for 28 full pans, metal, approx. 11.5 x 22.5 x 3 cm 881030 Watercolor Box empty, large , incl. 48 large, empty metal pans, approx. 36 x 18 x 3 cm /// Pans, empty 881011 Watercolor Pans - full size, empty - 2.7 x 1.5 x 0.9 cm 881012 Watercolor Pans - half size, empty, 1.6 x 1.4 x 0.9 cm /// Brushes You can find suitable Watercolor Brushes in Chapter 08 under Watercolor & Retouching Brushes. /// Mediums Interested in making your own watercolors? Please find appropriate mediums in Chapter 04 Mediums, Binders & Glues.

60 KREMER Watercolors For further information and prices please visit us at www.kremerpigments.com Ready-made Colors & Gilding Materials 06

KREMER FINE ARTIST INK

Most use dyes as colorants, which makes them very thin and not very lightfast. We use pigments in a rich shellac base, which makes our inks uniquely lightfast and brilliant. They dry to a water-insoluble film, and can be diluted with water for water-color like eAects, or Shellac Ink Diluter / Vehicle, for brilliant, glossy, transparent applications. Shake before use. /// Orange / Red 180330 Shellac Ink Orange 180342 Shellac Ink Red DPP 180338 Shellac Ink Scarlet DPP 180345 Shellac Ink Ruby DPP /// Yellow 180310 Shellac Ink Lemon Yellow 180320 Shellac Ink Yellow /// Green 180370 Shellac Ink Green, bluish 180375 Shellac Ink Green, yellowish /// Blue / Violet 180350 Shellac Ink Blue-Violet 180360 Shellac Ink Blue /// White 180390 Shellac Ink White /// Brown / Black 180380 Shellac Ink Black 180460 Sepia Ink 180450 Bister Ink /// Assortment - Fine Artist Ink Assortment of 12 Kremer-made Shellac Inks, without 180450 Bister Ink and 180460 Sepia Ink. 180990 Shellac Ink Assortment small 180991 Shellac Ink Assortment medium 06 180992 Shellac Ink Assortment big /// Ink Solvent & Diluter 180410 Shellac Ink Solvent 180420 Shellac Ink Diluter

KREMER COLOR PASTES

Color Pastes are the answer to high quality, intense and lightfast waterbased paint. They are concentrated pigment dispersions in water and easily make 2 - 8 times their original volume in vibrant paints. /// Orange / Red 28200 Orange, solids content 50% 28270 Pyranthrone Orange, solids content 40% 28375 Irgazin® Orange DPP RA, solids content 40% 28390 Irgazin® DPP Scarlet, solids content 45% 28470 Irgazin® DPP Red, solids content 45% 28480 Graphtol Red NFB, solids content 35% 28490 Permanent Red, solids content 35% 28500 Red, solids content 50% 28510 Irgazin® Ruby DPP, solids content 35% 28600 Quindo® Red, solids content 40%

For further information and prices please visit us at www.kremerpigments.com KREMER Color Pastes 61 06 Ready-made Colors & Gilding Materials

/// Yellow 27160 Bismuth-Vanadate Yellow, solids content 60% 28000 Lemon Yellow, solids content 50% 28020 Irgazin® Yellow, greenish, solids content 45% 28050 Yellow, solids content 50% 28100 Brilliant Yellow, solids content 50% 28120 Permanent Yellow Medium, solids content 35% 28150 Isoindolinone Yellow, solids content 45% /// Green 27800 Chrome Oxide Green, solids content 75% 29000 Heliogen® Green, solids content 50% 29050 Heliogen® Green, yellowish, solids content 50% /// Blue / Violet 27700 Ultramarine Blue, solids content 60% 27705 Ultramarine Blue (new), solids content 60% 28660 Cinquasia® Violet, solids content 35% 28701 Thioindigo, solids content 40% 28801 Dioxazine Violet, solids content 35% 28900 Heliogen® Blue, primary blue, solids content 50% 28910 Heliogen® Royal Blue, solids content 45% 360094 Indigo Synthetic, approx. 30% Indigo, by weight /// White 27000 Titanium White, solids content 70% /// Brown / Black 27400 Iron Oxide Brown 610, solids content 70% 06 27500 Iron Oxide Black, solids content 60% 27540 Bone Black, solids content 45% 27600 Lamp Black, solids content 40%

KREMER OIL COLORS

/// Orange / Red 231827 Irgazine® Ruby DPP TR in Linseed oil, not siccativated 236107 Alizarine Crimson Dark in Linseed Oil, not siccativated 404407 Pompeii Red in Linseed Oil, not siccativated, made by Original Linoliemaling 405107 Venetian Red in Linseed Oil, not siccativated 407007 Burnt Umber Reddish in Linseed Oil, not siccativated 425007 Red Lead in Linseed Oil, Minium, contains lead, toxic 425207 Red Lead in Alkyd Resin, contains lead, toxic 486007 Iron Oxide Red in Linseed Oil, not siccativated, made by Original Linoliemaling 487007 Caput Mortuum reddish in Linseed Oil, natural, not siccativated /// Yellow 402207 Italian Gold Ochre Light in Linseed Oil, not siccativated, made by Original Linoliemaling 404007 Raw Sienna in Linseed Oil, not siccativated /// Green 406307 Raw Umber in Linseed Oil, greenish dark, not siccativated 417007 Verona Green Earth in Linseed Oil, not siccativated, made by Original Linoliemaling

62 KREMER Oil Colors For further information and prices please visit us at www.kremerpigments.com Ready-made Colors & Gilding Materials 06

417507 Vagone Green Earth in Linseed Oil, not siccativated, enhanced with Prussian Blue and Chrome Oxide Green 442007 Chrome Oxide in Linseed Oil, cool green, contains chrome, not siccativated 446107 Mueller´s Green Light in Linseed Oil, Iron Oxide Yellow and Heliogen® Blue, not siccativated 446247 Mueller´s Green Medium in Linseed Oil, mixture, not siccativated /// White 460007 Flake White in Linseed Oil, Cremnitz White, lead white, contains lead, toxic 460027 Cremnitz White in Walnut Oil, Lead White, contains lead, toxic 462007 Titanium White Rutile in Linseed Oil, pure white, not siccativated 463007 Zinc White in Walnut Oil, slow drying, not siccativated 463207 Zinc White in Linseed Oil, not siccativated /// Brown / Black 402317 Brown Ochre in Linseed Oil, light warm brown, not siccativated 471007 Bone Black in Linseed Oil, not siccativated 477007 Graphite Powder Silver in Linseed Oil 484007 Iron Oxide Black 318 in Linseed Oil, not siccativated

KREMER RETOUCHING COLORS IN SHELLAC

/// Assortment for Wood Restoration The pigments are ground into a bleached shellac solution (60450). Before use: The Retouching Colors have to be thinned with acoholic solvents like spirit or ethyl alcohol (70800). For further information please visit us at www.kremerpigments.com. 14903 Set: Kremer Retouching Colors in Shellac , 27 pigments ground into shellac, 27 x 3 ml glasses, in a wooden box

06 KREMER RETOUCHING COLORS IN LAROPAL® A 81

The assortment contains 81 diVerent hues. This Retouching Colors can be thinned with ethyl alcohol (70800). You also can purchase single colors. For further information please visit us at www.kremerpigments.com. 14904 Set: Kremer Retouching Colors in Laropal A 81 , 81 Pigments ground in Laropal A 81, 3 ml each, in 3 wooden boxes

KREMER RETOUCHING CHIPS IN PARALOID® B 72

The Color Chips can be dissolved with all solvents in which Paraloid B 72 is soluble. We recom- mend Methoxy Propanol PM, 70920. /// Set: KREMER Retouching Chips in Paraloid® B 72 The Set contais all listed single Retouching Chips in small pans, without 2310093 Cadmium Yellow No. 1 lemon. 14910 Set: Kremer Color Chips in Paraloid B 72 , 12 Retouching Colors, in a metal case /// KREMER Retouching Chips in Paraloid® B 72, single 2101093 Cadmium Yellow No. 1, lemon 2104093 Cadmium Yellow No. 6, medium 2112093 Cadmium Red No. 1, light 2300093 Heliogen® Green 2308093 Heliogen® Blue 2310093 Indanthren® Blue

For further information and prices please visit us at www.kremerpigments.com KREMER Retouching Chips in Paraloid® B 72 63 06 Ready-made Colors & Gilding Materials

2315293 Hostaperm® Pink E 4420093 Chrome Oxide Green 4501093 Ultramarine Blue, dark 4620093 Titanium White 4740093 Spinel Black 4805093 Iron Oxide Yellow-Orange 4810093 Iron Oxide Red 110 M, light

GESSOS & GROUNDS

46410 Gofun Hakurei Primer 46650 Kremer Gesso, white, acrylic

GOLD & GILDING MATERIALS

98154 Starter Set Water Gilding , Set for Kölner high gloss water gilding system 98155 Starter Set Instacoll Gilding , Contents: 5 sheets of Gold Leaf Rosenoble Double Gold, 80 x 80 mm, 50 ml Base, 50 ml Activator, 1 Toray brush, tissue, processing instructions 98156 Instacoll Activator, for Instacoll gilding 98157 Instacoll Base Yellow, for Instacoll gilding 98212 Instacoll Tissue Set , contains: 5 pieces 98213 Instacoll , tool to press transfer gold into pits /// Gold Leaf & Silver Leaf Further Gold & Silver Leaves on request. 98405 Silver Leaf, loose, 95 x 95 mm 98406 Silver Leaf, transfer, 95 x 95 mm 98410 Gold Leaf Rosenoble Double Gold, loose, 23 3/4 carat, leaf size 80 x 80 mm 06 98412 Gold Leaf Rosenoble Double Gold, transfer, 23 3/4 carat, leaf size 80 x 80 mm 98420 Gold Leaf Ducat Double Gold, loose, 23 carat, leaf size 80 x 80 mm 98422 Gold Leaf Ducat Double Gold, transfer, 23 carat, leaf size 80 x 80 mm 98430 Gold Leaf Orange Double Gold, loose, 22 carat, leaf size 80 x 80 mm 98432 Gold Leaf Orange Double Gold, transfer, 22 carat, leaf size 80 x 80 mm 98440 Gold Leaf Lemon Gold Pale, loose, 18 carat, leaf size 80 x 80 mm 98442 Gold Leaf Lemon Gold Pale, transfer, 18 carat, leaf size 80 x 80 mm /// Silverpoints & Goldpoints 887100 Silverpoint 999, pure silver , light and soft line, silver rod approx. 4,8 cm long, Ø approx. 2 mm 887200 Silverpoint 935 , medium line, silver rod about 4.8 cm long, Ø 2 mm 887300 Silverpoint 835 , darkest and hardest line, silver rod about 4.8 cm long, Ø 2 mm 887500 Goldpoint, Yellow Gold 750 , stays gray on paper, gold tip about 1.4 cm long, Ø 1 cm, hard soldered in brass rod about 5 cm long, Ø 2 mm /// Painter´s Gold / Varnishes & other Gilding Materials

/// Mixtion LeFranc 98000 Mixtion Le Franc 3h, 3 hours 98100 Mixtion Le Franc 12h, 12 hours, lead free

/// Gilding Dispersion 98110 Gilding Dispersion, Kremer-made

64 Gold & Gilding Materials For further information and prices please visit us at www.kremerpigments.com Ready-made Colors & Gilding Materials 06

/// Polishing Paste 98160 Polishing Paste Red , LEFRANC® 98163 Polishing Paste Yellow , LEFRANC® 98165 Polishing Paste Black , LEFRANC®

/// Gilding Tools 98210 Gilder´s Pad small , 25 x 15 cm, with shield 98211 Gilder´s Pad large , 30 x 20 cm, with shield 98230 Gilding Knife, exclusive, 16 cm

/// Gold Powder, Painter´s Gold & Varnish 98301 Rosenoble Gold, Powder , 23.75 carat 98443 Painter´s Gold small , 23.75 carat, approx. 0.4 g 98444 Painter´s Gold medium , 23.75 carat, approx. 1.1 g 98445 Painter´s Gold large , 23.75 carat. approx. 2.5 g 98446 Painter´s Gold Varnish , 23.75 carat, liquid, non-oxidizing /// Agate Burnishers & Brushes Please find a complete list of all Agate Burnishers at www.kremerpigments.com. The Gilding Brushes are listed in Chapter 08 under Various Special Brushes.

OLD HOLLAND CLASSIC OIL COLOURS

Since the early days of oils, artists have made high demands regarding the durability of their work. In order to meet these demands for optimum durability, Old Holland still produces all its classic oil paints according to traditional formulas, supplemented by the latest contemporary insights. The choice of pigments is a unique mix of the best traditional colours and the best pigments derived from the latest technological developments. You can find a list of all Old Holland Artists´Oil Colours at www.kremerpigments.com. 06 CHALKS

We o\er traditional chalks in red, black and white – you can find them in Chapter 01 under Kremer-made and Historical Pigments and Pastels from La Maison Du Pastel. /// Pastel Chalks - La Maison Du Pastel Since 1724 pastels are made in Paris by the predecessors of the Maison du Pastel. Manufac- tured in small quantities, Roché pastels are individually hand-rolled into a form suitable for both bold and detailed work. With exceptionally lightfast pigments and a minimum of binder, the pastels possess a particular texture that allows them to adhere well to a number of sup- ports, as well as display a remarkable intensity and clarity of color. The pastels are about 7.5 cm long and have a diameter of 1 cm. Please find the hues, and prices at www.kremerpigments.com. More chalks are available on request. Order numbers 832333 - 839241, order quantity: 3 pieces. 832333 Carmine Brown No. 3 835437 Apple Green No. 7 832336 Carmine Brown No. 6 835771 Cobalt Green No. 1 832339 Carmine Brown No. 9 835775 Cobalt Green No. 5 832531 Carmine Red No. 1 835779 Cobalt Green No. 9 832535 Carmine Red No. 5 835792 Emerald Green No. 2 832539 Carmine Red No. 9 835796 Emerald Green No. 6 832921 Venetian Red No. 1 835798 Emerald Green No. 8 832925 Venetian Red No. 5 837161 Glacier Blue No. 1 832928 Venetian Red No. 8 837165 Glacier Blue No. 5 833211 Capuchine Red No. 2 837169 Glacier Blue No. 9 833215 Capuchine Red No. 5 837261 Cobalt Ultramarine Blue No. 1

For further information and prices please visit us at www.kremerpigments.com Chalks 65 06 Ready-made Colors & Gilding Materials

833219 Capuchine Red No. 9 837264 Cobalt Ultramarine Blue No. 4 833652 Cadmium Orange No. 2 837269 Cobalt Ultramarine Blue No. 9 833655 Cadmium Orange No. 5 837331 Ultramarine Blue No. 1 833659 Cadmium Orange No. 9 837335 Ultramarine Blue No. 5 834131 Yellow Gold No. 1 837339 Ultramarine Blue No. 9 834135 Yellow Gold No. 5 838241 African Violet No. 1 834139 Yellow Gold No. 9 838242 African Violet No. 2 834151 Lemon Yellow No. 1 838245 African Violet No. 5 834155 Lemon Yellow No. 5 838248 African Violet No. 8 834159 Lemon Yellow No. 9 838411 Ara-Violet No. 1 834421 Yellow Ochre No. 1 838415 Ara-Violet No. 5 834425 Yellow Ochre No. 5 838416 Ara-Violet No. 6 834429 Yellow Ochre No. 9 838542 Heliotrop-Violet No. 2 834781 Van Dyk Brown No. 1 838546 Heliotrop-Violet No. 6 834785 Van Dyk Brown No. 5 838549 Heliotrop-Violet No. 9 834789 Van Dyk Brown No. 9 839121 Black Blue No. 1 835391 Algae Green No. 1 839141 Intense Black No. 1 835396 Algae Green No. 6 839161 Velvet Black No. 1 835399 Algae Green No. 9 839165 Velvet Black No. 5 835431 Apple Green No. 1 839169 Velvet Black No. 9 835434 Apple Green No. 4 839241 Lily White No. 1

/// Set: La Maison du Pastel 839901 La Maison du Pastel, Portrait Assortment, 12 handmade pastels in a box, Content: Heliotrop violet Nr. 4, Red Ochre Nr. 3, Earth from Catane Nr. 5, Brown Ochre Nr. 1, Cadmium Red Nr. 4, Cadmium Orange Nr. 9, Venetian Red Nr. 8, Deer Brown Nr. 9, Nr. 8, Gold Ochre Nr. 8, Plant Green Nr. 9, Emerald Green Nr. 8

LASCAUX®-PRODUCTS 06 81000 Lascaux® Acrylic Glue 303 HV , for paper, cardboard, textiles, former 360 HV 81002 Lascaux® Acrylic Glue 498 HV , for flexible surfaces such as linen, wood 81004 Lascaux® Acrylic Glue 498-20 X , for light and ageing-resistant, non-cross-linking agglutination such as re-lining 81010 Lascaux® Acrylic Emulsion d 498 M , for light and ageing-resistant, non-cross- linking agglutination such as re-lining 81012 Lascaux® Medium for Consolidation, aqueous dispersion of an acrylic copolymer 81013 Lascaux® Medium I, glossy 81015 Lascaux® Medium II , matte 81020 Lascaux® Impasto Gel Medium 1, glossy 81022 Lascaux® Impasto Gel Medium 2, matte 81023 Lascaux® Acrylic-Transparent Varnish 575 UV glossy , can be thinned with water 81024 Lascaux® Acrylic-Transparent Varnish 575 UV matte , can be thinned with water 81025 Lascaux® Acrylic-Transparent Varnish 575 glossy, can be thinned with water 81026 Lascaux® Acrylic-Transparent Varnish 575 matte , can be thinned with water 81027 Lascaux® Hydro-Ground 81028 Lascaux® Retarder 81030 Lascaux® Gesso, white 81040 Lascaux® Acrylic Resin P 550-40% , glossy, soft, thermoplastic resin, in 40% naphtha 81042 Lascaux® Acrylic Varnish P 550/675-32% , matte 81045 Lascaux® Acrylic Glaze 39 % , glossy 81047 Lascaux® Medium for Retouching 20-50 , Mowilith® 20/AYAB 81048 Lascaux® Acrylic Resin 742-33% , for a hard, well adherent coating on paper, cement, glass etc. 81060 Lascaux® Adhesive Wax 443-95 , mixture of microcrystalline wax and polyterpene resin

66 LASCAUX®-Products For further information and prices please visit us at www.kremerpigments.com Ready-made Colors & Gilding Materials 06

/// LASCAUX® UV Protect 81070 Lascaux® UV Protect 1 Brillant , protective UV spray 81071 Lascaux® UV Protect 1 Matt , protective UV spray 81072 Lascaux® UV Protect 1 Satin , protective UV spray /// 82000 Lascaux® Polyamide Textile Welding Powder 5350 , melting point: 80°C 83020 Lascaux® Silicone Paper , 50 m, 148 cm wide, 92 g/qm, both sides siliconized 87035 Heat-Seal Adhesive 375 , dry mixture for the preparation of a 40% solution

06

For further information and prices please visit us at www.kremerpigments.com LASCAUX®-Products 67 07

Linen, Paper & Foils

LINEN, PAPER & 07 FOILS

67 Linen & Stretcher Bars 07 67 Paper & Sketch Books 68 Foils

68 For further information and prices please visit us at www.kremerpigments.com Linen, Paper & Foils 07

LINEN & STRETCHER BARS

Stretcher Bars only available on request. /// Linen 873000 Linen Canvas 597 medium L510, medium weight, raw, without priming Width: 212-224 cm, thread count: 10x10, 335 g/m² 873010 Linen Canvas 615 heavy L511, heavy quality, raw, without priming Width: 212-215 cm, thread count: 14x14, 410 g/m² 873020 Linen Canvas 99 medium, wide L515, medium quality, raw, without priming Width: 305 cm, thread count: 16x16, 330 g/m² 873030 Linen Canvas 165 light L516, light quality Width: 224 cm, thread count: 12x12, 160 g/m² 873040 Linen Canvas 526 heavy L526, very heavy quality, washed, almost white Width: 140 cm, thread count: 44x56, 950 g /m² 873050 Canvas light L517, very fine quality, without knots, without priming Width: 210 cm, thread count: 30x30, 180 g/m² 873060 Linen light re-lining Canvas L518, loosely woven, without knots, without priming Width: 210 cm, thread count: 16x16, 135 g/m² 873100 Cotton Canvas L520, twill weave Width: 165 cm, thread count: 20x22, 300 g/m² 873150 Hemp Canvas L525, width: 150 cm, thread count: 24x23, 300 g/m² 873160 Linen Canvas Sample Book, contains 1 sample of each of our linen canvas

PAPER & SKETCH BOOKS

/// Paper 875006 Paper, 145 g/m² , 4-sided deckle edge, yellowish-white, rough, 53 x 76 cm 875010 Paper, 225 g/m² , smooth deckle edge, white, rough, 63.5 x 76 cm 875020 Ingres 90 , hand-made paper, white, 90 - 95 g / m², 48 x 62.5 cm 875025 Arches Bütten Paper, Grain Staine , 300 g / m², 56 x 76 cm 875026 Arches Bütten Paper, fine , 300 g/m², 56 x 76 cm 875030 Arches, 185 g/m² , hand-made paper, 1.13 x 9.15 m 875040 Arches, 300 g/m² , hand-made paper, 1.13 x 9.15 m 875041 Arches, glazed , 1.13 x 9.15 m, 300 g/m² 875050 C à grain, 180 g/m² , 1.50 x 10 m 07 875060 Japanese Paper Wenzhou , 30 g/m², 45 cm x 25 m, roll 875070 Japanese Paper Wenzhou , 30 g/m², 69 cm x 10 m, roll 875080 Japanese Paper Wenzhou , 30 g/m², 97 cm x 10 m, roll /// Sketch Books 875120 Sketchbook, 29 x 29 cm , binderboard covers with linen spines, 132 pages, 120 g 875121 Sketchbook, 21 x 21 cm , binderboard covers with linen spines, 144 pages, 100 g 875122 Sketchbook, DIN A4 , binderboard covers with linen spines, 144 pages, 100 g 875123 Sketchbook, DIN A5 , binderboard covers with linen spines, 144 pages, 100 g 875124 Sketchbook, DIN A5, horizontal , binderboard covers with linen spines, 144 pages, 100 g 875125 Sketchbook, 20.5 x 23.5 cm , 36 pages, 110 g 875127 Sketchbook for Landscape Painting , 30 x 15 cm, 120 pages

For further information and prices please visit us at www.kremerpigments.com Paper & Sketch Books 69 07 Linen, Paper & Foils

FOILS

/// Hostaphan Foils A classical release film for a variety of applications thanks to the unique combination of mechanical strength, thermal and chemical resistance as well as the low adhesion to many polymeric materials. 87220 HOSTAPHAN® Foil RN 15 , 15 µ, 1375 mm wide, 21 g/m², 50 m roll 87221 HOSTAPHAN® Foil RN 75 , 75 µ, 1400 mm wide, 105 g/m², 50 m roll 87222 HOSTAPHAN® Foil RNT 36 , 36 µ, 1400 mm wide, 50 m roll, 51 g/m² 87225 Set: HOSTAPHAN® foils , 1 roll each of RN 15, RN 75, RNT 36 /// Tyvek® Package dimensions may cause higher shipping costs. 87240 Tyvek® 1622 E , wrapping material for art objects, roll length: 50 m, width: 152.4 cm /// Tin Foil 87200 Tin Foil , 50 cm wide, 25 µ, 1 roll 600 g, equivalent to approx. 6.5 m or 3.25 m² /// Beva®-Film You can find our Beva®-Products in Chapter 04 Mediums, Binders & Glues. /// LASCAUX® Silicone Paper You can find further LASCAUX®-Products in Chapter 06 Ready-made Colors & Gilding Materi- als and the LASCAUX®-Glues in Chapter 04 Mediums, Binders & Glues. 83020 Lascaux® Silicone Paper , 50 m, 148 cm wide, 92 g/qm, both sides siliconized

07

70 Foils For further information and prices please visit us at www.kremerpigments.com Brushes

08

08 BRUSHES

70 Brushes for Restorers and Painters 73 Brushes for Restoration and Cleaning

08

For further information and prices please visit us at www.kremerpigments.com 71 08 Brushes

BRUSHES FOR RESTORERS AND PAINTERS

Please find a list of all available brushes at www.kremerpigments.com. /// Watercolor & Retouching Brushes Watercolor Brush, Toray Hair , Watercolor Brush, Nylon #850052.., size 0 - 12. Soft, Hair, #850456.., size 0 - 6. black. Black lacquered handle. Golden-red nylon hair, with short black lacquered handle.

Watercolor Brush, Squirrel Hair with Synthetic Hair , #850053.., size 8 - 54

/// Oil Painting Brushes Gussow Oilpainting Brush, Gussow Oil Painting Brush, Toray Hair , #850056.., Polecat Hair, flat , #850550.., size 1 - 20. Cat tongue shaped, size 2 - 20. Long red lacquered golden toray hair, white handle, silver seamless lacquered long handle, ferrule. seamless silver ferrule. Lascaux® Brush Interlon, flat , Gussow Oil Painting Brush, #850058.., size 2 - 40. Very long, flat , #850771.., durable, silver seamless size 2 - 24. The finest white ferrule, long black handle. For China bristles, long lacquered oil painting, gouache or acrylic handle, seamless nickel- painting. plated ferrule, double crimping. Lascaux® Brush Interlon, Script Liner, Pale Ox Hair, round , #850059.., size 2 - 40. pointed tip, #850809.., Black lacquered handle with size 2 - 24 nickel plated seamless ferrule. For oil painting, gouache or acrylic painting. Oilpainting Brush Round, Poster Paint Brush, flat , oval , #850076.., size 2 - 24. #850811.., size 1/16 - 7/8. Finest white China bristles, Pale ox hair, black lacquered long lacquered handle, handle, nickel ferrule. seamless silver ferrule. Gussow Oil Painting Brush, Oil Painting Brush, Ox Hair, flat, #850077.., size 2 - 24. The flat, #854155.., size 2 - 20. finest white China bristles, Long unlacquered handle, long lacquered handle, nickel ferrule. seamless nickel-plated ferrule, double crimping.

08 /// Fresco Brushes & Liners Fresco Brush, Liner, round , Fresco Brush, square , #850301.., size 2 - 24. #850814.., size 8 - 20. Bleached China bristles. Long white hog bristles, seamless ferrule, long raw wooden handle. Fresco Brush, Liner, flat , Angular Brush, #850815.., #850302.., size 2 - 28. White size 10 - 30. Black China bristles, metal ferrule, long bristles, long raw wooden untreated handle, sold only by handle, metal ferrule. the dozen. Fresco Brush, oval , #850803.., Fresco Brush, round , size 6 - 24. Filbert, white hog #850819. 55 mm, 110 mm bristles, long handle, raw long vegetable fibres wooden handle, seamless reinforced with nylon threads ferrule. on the outside, bound with string, then sealed with lacquer, round handle, 27 cm.

72 Brushes for Restorers and Painters For further information and prices please visit us at www.kremerpigments.com Brushes 08

Liner, round , #850812.., Universal Brush, flat , size 1 - 8. With gray bristles, #854196.., size 12 - 20. Short raw wooden handle, for oil- white bristles, stainless alumi- and mural painting. nium ferrule.

/// Flat Brushes Varnish and Gesso Brush, Varnish Brush, Goat , flat, #850070.., size 1/2 - 4 #850975.., size 1/2 - 4 (inch). (inch). Soft white hog hair, raw Very soft dark hair, flat, natural handle, metal ferrule. wooden handle.

Lacquer and Varnish Brush , Varnish Brush, Various #850072.., size 1 - 3 (inch). Selected Hair, black , Very soft ox-ear hair, short #854125.., size 2 - 4 (inch). black handle. Black nickel ferrule, short handle. Flatbrush, FIBONACCI , Varnish and Gesso Brush, #85060.., size 40 - 100 mm. flat, #85419725. Synthetic fiber. Width: 25 mm, length of hair: 32 mm. Metal ferrule. Varnish and Gesso Brush, Flatbrush, Squirrel , plastic, #850611.., #854202.., size 1 - 4 (inch). sizes: 7 x 3 cm, 10 x 3 cm, Fine squirrel mop, metal 12 x 3 cm, 14 x 4 cm. White ferrule. bristles, short, screw-on plastic handle. Varnish and Gesso Brush, Flatbrush, Fine Ox Hair , large , #850612.., sizes: 21 x 3 #854203.., size 1 - 3 (inch). cm, 30 x 3 cm. Bristles metal Metal ferrule. ferrule for broom stick mounting. Varnish and Gesso Brush, flat , Flatbrush, Fine Pale Bristles , #85062..., width: 80 - 200 mm. #85422..., size 1 - 4 (inch). Very soft bristles, 50 mm long Metal ferrule, wooden handle. (size 200: 57 mm long), about 8 mm thick, amber varnished handle, copper colored ferrule. Scumbling Brush, oval , #850630. 13 x 6 cm, China bristles 68 mm, lacquered wood.

/// Various Special Brushes Sword-shaped Liner , Priming Brush, Goat Hair, #850038.., size 3 - 4 (inch). flat, #850922.., size 3/4 - 3 08 Brass setting, squirrel hair, (inch). Soft white goat hair, short wooden handle. rustproof ferrule, short white handle. Gilder Tip, Squirrel Hair , Gilding Brush, Squirrel Hair , #850075.., size 1 - 4 1/2 (inch). #854132.., size 2 - 16. Oval, Bound in paper. wooden handle.

Badger Blender, #850079.., Dusting Brush, round , size 2 - 4 (inch). Red handle, #854135.., size 2 - 16. White traditional shape. goat hair, oval shaped, nickel-plated ferrule, wooden handle.

For further information and prices please visit us at www.kremerpigments.com Brushes for Restorers and Painters 73 08 Brushes

Fan Blender, White Bristles , Marabout-Dusting-Brush, #850228.., size 2 - 12. #854137. Selected white down Seamless silver ferrule, long feathers, length of feathers clear lacquered handle. approx. 10 cm, nickel ferrule, short black lacquered wooden handle. Fan Blender, Badger Hair , Gilding Brush, #85421708. #850229.., size 2 - 12. Oval, white bristles, metal Seamless silver ferrule, long ferrule. black handle.

Synthetic Brush for Gilder Tip, Badger Hair , Instacoll-Gilding , #850780.., #857510.., size 1 - 3 (inch). size 1 - 2 (inch). Bound in wood.

Badger Hair Brush, round , Gilder Tip, Squirrel Hair , #850837.., size 2 - 6. Stainless #857520.., size 1 - 3 (inch). steel, black lacquered handle. Bound in wood. For oil paint and lacquer painting.

/// Brushes for Marbleising Mottler, #850508.., size 1/2 - 4 Graining Comb Set, Steel , (inch). Short hard white #850825. 3 combs each of 4 bristles, raw wooden handle. diNerent sizes.

Dragger / Flogger , #850509.., Liner Brush, #850826. Black size 2 - 4 (inch). Long black bristles, raw handle, 85 mm bristles, raw wooden handle. wide, 20 mm long and 4 mm thick black China bristles, handle at 45° angle. Stippler, thick , #850805.., Chiqueteur Brush, round, size 2 - 40. Short raw wooden Squirell Hair , #85083506. handle. 6 mops.

Stippler, round , #850806.., Chiqueteur Brush, flat, size 0 - 20. Short white Squirrel Hair, #850836.., bristles, raw wooden handle, size 1 - 3. With 2 mops metal ferrule.

Muccino, White China Stippler, round , #854192.., Bristles, #850807.., size 6 - 10. Sturdy short size 12 - 30. Round brush for bristles, raw wooden handle. oil- and mural painting. 08 Squirrel Mop, #850810.., size Stippler, round, Goat Hair , 1 - 8. Squirrel hair mixture, #854193.., size 4 - 8. Soft short oval, black lacquered handle, goat hair, raw wooden handle silver seamless ferrule.

Pipe Grainer , #850822.., Stippler, round , #858061.., size 1 - 5 (inch). White bristles, size 0 - 10. Short white metal ferrule, raw wooden bristles, raw wooden handle. handle.

Mottler, #850823.., size 3 - 4 Set: Stipplers, #85419236. (inch). White bristles set in Content: 1 of each - 85419206, wavy metal ferrule. For wood 85419210, 85419304, eNects. 85419308, 85419612 and 85419616.

74 Brushes for Restorers and Painters For further information and prices please visit us at www.kremerpigments.com Brushes 08

/// Brushes for Studio & Church Painting Angular Brush, # 850465.., Flat Wide Brush, #853150.., width: 30 mm - 60 mm. Long width: 30 mm - 80 mm. Long black Chinese bristles, approx. black Chinese bristles, approx. 90 cm long with raw wooden 90 cm long raw wooden handle and brass ferrule. handle and brass ferrule. Round Brush , #850475.., size 2 - 14. Black Chinese bristles, leather-bound, approx. 90 cm long handle.

BRUSHES FOR RESTORATION AND CLEANING

We o$er a various range of products with Natural Hair Brushes like Hand Brushes and Dusters, Brushes with long handle & Cylinder-shaped Brushes, Vacuum Cleaners, Dusters & Erasing Tips as well as Bookbinder´ s Brushes. For further information please visit us at www.kremerpigments.com.

08

For further information and prices please visit us at www.kremerpigments.com Brushes for Restoration and Cleaning 75 09

Tools, Packaging & Supplies

TOOLS, PACKAGING & 09 SUPPLIES

75 Packaging 75 Tools 81 Supplies

09

76 For further information and prices please visit us at www.kremerpigments.com Tools, Packaging & Supplies 09

PACKAGING

/// Glass Bottles 964104 Glass Bottle, 30 ml, wide , clear glass, wide opening, with cover 964110 Glass Bottle, 100 ml wide , wide opening, clear, with cover 964112 Glass Bottle, 100 ml, brown , brown glass, with dropper and cover 964116 Glass Bottle, 250 ml, narrow , clear glass, narrow-mouthed opening, with cover 964120 Glass Bottle, 250 ml, wide , clear glass, wide opening, with cover 964124 Glass Bottle, 500 ml, wide , clear glass, wide opening, with cover 964128 Glass Bottle, 1000 ml, narrow , clear glass, narrow-mouthed opening, with cover 964132 Glass Bottle, 1000 ml, wide , clear glass, wide opening, with cover 964138 Glass 3 ml , clear, with snap-on cover 964139 Glass 10 ml , clear, with snap-on cover /// Tubes 963600 Aluminum Tubes, approx. 8 ml , 13.5 x 75 mm, white, aluminum 963620 Aluminum Tubes, approx. 50 ml , 25 x 145 mm, white, aluminum 963640 Aluminum Tubes approx. 95 ml , 30 x 185 mm, white, aluminum 963660 Aluminum Tubes, approx. 200 ml , 40 x 210 mm, white, aluminum /// Wooden Boxes 963000 Wooden Box small , beech wood, handmade, empty, size about 27 x 11 x 4 cm 963010 Wooden Box , beech wood, handmade, empty, size about 29 x 12 x 6.5 cm 963020 Wooden Box , beech wood, handmade, empty, size about 24.7 x 18.5 x 4.4 cm /// PE / PVC - Materials 964000 PVC-jar, 50 ml , transparent 964010 PVC-jar, 100 ml , transparent 964020 PVC-jar, 200 ml , transparent 964030 PVC-jar, 500 ml , transparent 964040 PVC-jar, 1000 ml , transparent 964050 PVC-jar, 2000 ml , transparent 964060 PE-Bucket 1 l , with cover 964061 PE-Bucket 11 l, with cover 964062 PE-Bucket 20 l, with cover 964070 PE-Bottle 250 ml, narrow 964071 PE-Bottle 1000 ml, narrow 964072 PE-Bottle for Chemicals, 1000 ml , narrow 964080 PE-Bag 500 x 800 mm , for 25 kg 964090 Injection 10 ml 964091 Injection 2 ml /// Watercolor Boxes & Pans, empty You can find our Watercolor Boxes and further supplies in Chapter 06. 09 TOOLS /// Stucco Tools 885000 Set: Italian Restoration Tools , hand-made in Tuscany, Italy 885159 Spatula, pointed /round 885034 Hook, 16 cm 885003 Spatula, pointed, 18 cm 885036 Hook, 21 cm 885004 Spatula, round, 18 cm 885054 Plaster Tool, 17 cm 885007 Spatula, pointed /round, 22 cm 885079 Gouge, small 885030 Spatula, round/ rasp, 23 cm 885080 Gouge, large

For further information and prices please visit us at www.kremerpigments.com Tools 77 09 Tools, Packaging & Supplies

885028 Knife, 25 cm 885029 Scalpel knife, 18 cm , can be sharpened

/// Spatulas

885002 Spatula, pointed /round, 18 cm , narrow 885005 Spatula, pointed /round, 18 cm , medium 885007 Spatula, pointed /round, 22 cm 885009 Spatula, pointed /round, 25 cm

885003 Spatula, pointed, 18 cm

885004 Spatula, round, 18 cm , spatula and rasp 885006 Spatula, round, 20 cm , spatula and rasp 885008 Spatula, round, 23 cm , spatula and rasp 885023 Spatula, round, 33 cm , spatula and rasp

885012 Spatula, pointed, 18 cm , spatula and rasp

885030 Spatula, round/ rasp, 23 cm , spatula and rasp 885032 Spatula, round/ rasp, 27 cm , spatula and rasp

09

885061 Spatula round, 16 cm 885062 Spatula round, 18 cm 885063 Spatula round, 19.5 cm 885067 Spatula round, 25 cm 885069 Spatula round, 29 cm 885071 Spatula, round, 34 cm

78 Tools For further information and prices please visit us at www.kremerpigments.com Tools, Packaging & Supplies 09

885159 Spatula, pointed /round , 16 cm

/// Scrapers

885018 Rasp, 18 cm , curved di1erently 885019 Rasp, 22 cm , curved di1erently 885022 Rasp, 28 cm , curved di1erently

885024 Rasp, 19 cm , cambered, denticulated 885026 Rasp, 23 cm , cambered, denticulated

/// Hooks

885034 Hook, 16 cm 885036 Hook, 21 cm 885037 Hook, 23 cm 885038 Hook, 25 cm

/// Plaster Tools

885043 Plaster Tool, 20 cm , width 8 mm, spatula / length 20 cm 885045 Plaster Tool, 22 cm , width 14 mm, spatula / length 22 cm 885047 Plaster Tool, 24 cm , spatula / length 24 cm 09 885049 Plaster Tool, 27 cm , width 30 mm, spatula / length 27 cm 885051 Plaster Tool, 29 cm , width 38 mm, spatula, length 29 cm

885053 Plaster Tool, 16 cm , width 4 / 6 mm, length 16 cm 885054 Plaster Tool, 17 cm , width 10 / 5 mm, length 17 cm 885057 Plaster Tool, 23 cm , width 17 / 22 mm, length 23 cm

For further information and prices please visit us at www.kremerpigments.com Tools 79 09 Tools, Packaging & Supplies

/// Gouges

885077 Gouge / Spatula, medium , width 14 mm, length 22 cm

885079 Gouge, small , width 7 / 9 mm, length 20 cm 885080 Gouge, large , width 13 / 17 mm, length 21 cm 885081 Gouge, extra large , width 14 / 18 mm, length 23 cm

/// Rasps

885610 Rasp big, pointed / round , 24 cm 885611 Rasp small, pointed / round , 18 cm

885620 Rasp big, pointed / curved , 25 cm 885621 Rasp small, pointed / curved , 18 cm

885640 Rasp big, pointed / round , 24 cm 885641 Rasp small, pointed / curved , 18 cm

09 885650 Rasp big, both sides pointed , 25 cm 885651 Rasp small, both sides pointed , 18 cm

885660 Rasp big, one side curved , 25 cm 885661 Rasp small, one side curved , 18 cm

80 Tools For further information and prices please visit us at www.kremerpigments.com Tools, Packaging & Supplies 09

885670 Rasp pointed / curved , 18 cm 885676 Rasp both sides pointed, 18 cm

885691 Rasp flat / curved 20 cm , made of steel, rasp surface 5 x 2.5 cm 885692 Rasp flat / curved 25 cm , made of steel, rasp surface 7 x 3.4 cm 885694 Rasp flat / curved 30 cm , made of steel, rasp surface 8.5 x 4.7 cm /// Tools made of Metal 885235 Diamond Files, 18 cm long, 3 cm with diamonds, 10 di@erent forms 885700 Set: 4 Painter´s Spatulas , steel, wooden handles, sizes: 2 cm, 5 cm, 8 cm, 12 cm 885720 Palette Knife , steel, 16 cm 885735 Canvas Pliers, aluminum, with plastic covered grips, 11.5 cm wide, 20 cm long 885750 FLOREAT Wall Hooks , nickel-plated: 4 x size 0, 2 x size 1, 2 x size 2, 1 x size 3, 1 x size 4, 13 pins 892100 Set: SgraPto Tools , 18 tools, in a wooden box

/// Painter´s Spatulas 885702 Painter´s Spatula exclusive, fine , width 2 cm 885705 Painter´s Spatula exclusive, small , width 5 cm 885708 Painter´s Spatula exclusive, medium , width 8 cm 885712 Painter´s Spatula exclusive, large , width 12 cm

/// Gouges 8852121 Gouge No. 1 , 1 mm 8852122 Gouge No. 2 , 2 mm

/// Hooks 885218 Hook, No. 18 885219 Hook, No. 19 885225 Hook, No. 25 885226 Hook, No. 26 885227 Hook, No. 27 09 885228 Hook, No. 28 885229 Hook, No. 29 885231 Hook, No. 31 885232 Hook, No. 32 885233 Hook, No. 33

For further information and prices please visit us at www.kremerpigments.com Tools 81 09 Tools, Packaging & Supplies

/// Bone Folder / Mortars & Pestles / Glass Mullers / Sieves and others

/// Paper Stomp 88311 Paper Stomp, Ø 7 mm , 12 cm length, set of 12 88313 Paper Stomp, Ø 12 mm , 15 cm length, set of 12

/// Bone Folder 883220 Bone Folder, 12 cm , made from bone, set of 3 883226 Bone Folder, 16 cm , made from bone, set of 3

/// Wooden Stirrers 88327 Wooden Stirrers , approx. 260 x 16 x 3 mm, beech, approx. 100 pieces in pack

/// Mortars & Pestles Pharmaceutical porcelain mortars and pestles from Berlin (Germany) are the easiest way to mix pigment with any medium except acrylic. These are tools and should be considered as an investment. Do not use for pounding rocks! Clean easily with turpentine and soap. 883300 Mortar + Pestle 90 mm diameter , made by Berliner Porzellanmanufaktur Haldenwang 883310 Mortar + Pestle 180 mm diameter , made by Berliner Porzellanmanufaktur Haldenwang 883320 Mortar + Pestle, diameter 96 mm / 3.5 , standard quality 883321 Mortar + Pestle, diameter 192 mm / 8 , standard quality 883322 Mortar + Pestle, diameter 236 mm , standard quality

/// Glass Mullers Our glass mullers are all handmade. They are used on a sandblasted piece of glass to slowly grind oil into the pigment. Our mullers are oversized and heavier than other models, giving them better working properties. Retexture your muller or sand down a glass surface with Carborundum. The handles are refired to provide a smoother grip. 883340 Glass Muller with handle, small , 75 g, approx. Ø 3.5 cm 883345 Glass Muller with handle, small , 350 - 500 g, Ø approx. 4 - 4.5 cm / 1.6 - 1.8 inch 883348 Glass Muller with handle, large , Ø 5 cm, ca. 145 g 883350 Glass Muller with handle, large , Ø approx. 10 cm, 1400 g 883355 Glass Muller, medium , Ø 7.5 cm, app. 400 g 883358 Granite Muller, Black Swedish Granite , 185 mm / Ø 8 cm

/// Sieves Further sieves on request. 883330 Sieve , Ø 20 cm, 100 µ

/// Black 883375 Black Mirror, 20 x 15 cm , approx. 3 mm thick, black glass 883376 Black Mirror, 30 x 20 cm , approx. 3 mm thick, black glass 09 883377 Black Mirror, 40 x 30 cm , approx. 3 mm thick, black glass

/// Sponges 883500 Natural Sea Sponge, approx. 20 - 30 g each, 20 - 25 cm 883550 Natural Sponge, small , for watercolors, Ø approx. 5 - 6 cm, pack of 5 883551 Natural Sponge, medium , for watercolors, Ø approx. 10 - 12 cm, pack of 5 883560 Suction-Block, very absorptive sponge, 60 g, 17.6 x 7.4 x 3.3 cm

82 Tools For further information and prices please visit us at www.kremerpigments.com Tools, Packaging & Supplies 09

/// Agate Burnishers The Agate Burnishers (#88401-88451) are made of polished stones and a seamless metal mounting. The wooden handles are lacquered. The agates are semi-precious stones, formed from silica compounds. Please find a complete list of all Agate Burnishers at www.kremerpigments.com.

SUPPLIES

78099 Foam Dispenser , 200 ml PET-Bottle /// Glue Pots 891000 Glue Pot, 0.5 liter , aluminium pot 891001 Glue Pot, 1 liter , aluminium pot 891002 Glue Pot, 2 liters , aluminium pot 891005 Glue Pot, 5 liters , aluminium pot 891010 Electric Glue Pot , volume approx. 0.9 liter

09

For further information and prices please visit us at www.kremerpigments.com Supplies 83 10

Books & Color Charts

BOOKS & 10 COLOR CHARTS

83 English Books 84 Color Charts

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84 For further information and prices please visit us at www.kremerpigments.com Books & Color Charts 10

ENGLISH BOOKS

/// General / Dictionaries 992102 Leslie Carlyle: The Artists’ Assistant, Hardcover, 297 x 210 mm, 608 pages, 43 tables, 106 illustrations 992103 Cennino d’Andrea Cennini – The Craftsman’s Handbook , 142 pages, index, paperback 992104 Sir Charles Lock Eastlake: Methods and Materials of Painting , two volumes bound as one, paperback 992105 Mark David Gottsegen: The Painter´s Handbook , 320 pages, 20 b/w illustr., ppbk. 992106 Kirby et al.: Trade in Artists Materials , 489 pages, many pictures, size 22 x 30 cm, Hardcover 992107 R. D. Harley: Artists’ Pigments c. 1600 - 1835 , Reprint, paperback, 256 pages, 53 halftones, 6 colour plates 992108 Pip Seymour: The Artist’s Handbook , Softcover, 520 pages, 24 x 16 cm 992110 Theophilus: On Divers Arts , Paperbound, 216 pages, index, 45 plates and diagrams 992112 François Delamare: Blue Pigments , 5000 Years of Art and Industry, Softcover, 396 pages 992113 Spike Bucklow: The Alchemy of Paint , Paperback, 336 pages 992114 D.V. Thompson: The Materials and Techn. of Medieval Painting , foreword by Bernard Berenson, index, 239 pages, paperbound 992115 Giorgio Vasari: VASARI on Technique , 18 plates, 11 figures, 328 pages, paperbound 992116 Nicholas Eastaugh, Valentine Walsh: Pigment Compendium , Hardcover, 960 pages 992117 Kurt Wehlte: The Materials and Techniques of Painting, 2001 , 672 pages, hard- cover, Kremer 2001, edition of 2500 copies 992130 Robert Feller: Artist’s Pigments - Volume 1 , Hardcover, 300 pages, illustrations 992131 Ashok Roy: Artist’s Pigments - Volume 2 , paperback, 231 pages, illustrations 992132 Elisabeth West Fitzhugh: Artist’s Pigments - Volumen 3 , 364 pages, illustrations 992133 Barbara Berrie: Artist’s Pigments - Volume 4 , Hardback, 234 pages 992134 Artist’s Pigments: Volumes 1 - 3 , A Handbook of the History and Characteristics 992135 Artist’s Pigments: Volumes 1 - 4 , A Handbook of the History and Characteristics /// Conservation / Cleaning 992201 G.A. Berger / W.H. Russel: Conservation of Paintings , Hardcover, 246 x 175 mm, 376 pages, 16 colour plates, 144 halftones 992202 Mary-Lou E. Florian: Protein Facts , Journal of the Canadian Associaton for Conservation (J.CAC), Volume 33, published 2007, paperback, 160 pages 992203 Mary-Lou E. Florian: Fungal Facts , Paperback, with many illustrations, 146 pages, London 2002 992204 C. V. Horie: Materials for Conservation , Paperback, 281 pages 992206 Joanna Kosek: Conservation Mounting for Prints and Drawings , Hardback, 186 pages, 87 colour illustrations 992208 Rayner, Kosek & Christensen: Art on Paper 992210 Richard Wolbers: Cleaning Painted Surfaces, Aqueous Methods , Paperback, 198 pages, many b/w and colored photos and illustrations 992211 Mireia Xarrie Balaam - Glossary of Conservation I , 180 pages 992212 Barros D´Sa et al: Adhesives and Consolidants , in Painting Conservation, 109 pages, colour illustrations /// Painting Practices 992109 A. P. Laurie: The Painters in Methods and Materials , unabridged, unaltered republication, 48 plates, 16 illustrations in text 992306 Mai-mai Sze (Editor): The Seed Garden , translated from the Chinese and 10 edited by Mai-mai Sze, 624 pages, many b/w-illustrations 992307 Daniel V. Thompson: The Practice of Tempera Painting, 141 pgs, 89 b/w illustr., ppbk. 992308 Claude Yvel: Peindre à l’eau comme les Maitres , 160 pages, 20.5 x 27.5 cm, beaucoup d`illustrations en couleur et camaïeu, broché 992703 Fels, D.: Lost Secrets of Flemish Paintings

For further information and prices please visit us at www.kremerpigments.com English Books 85 10 Books & Color Charts

/// Dyeing / Plant Colors 992402 Dominique Cardon: Natural Dyes , Published 2007, hardback, 800 pages, 560 illustrations 992403 Robert Chenciner: Madder Red - A History of Luxury and Trade , Hardcover, 384 pages, b/w-illustrations 992406 Jenny Dean: Wild Color , the Complete Guide to Making and Using Natural Dyes, 144 pages, softcover 2010 /// Musical Instruments 992502 J. + R. Hammerl: Violin Varnishes , 127 pages, hardcover 992505 Brandmair, B. & Greiner S.: Stradivari Varnish , 365 pages, 42 x 29.5 x 3.7 cm English & German text on every page /// Gilding 992601 Peter & Ann Mactaggart: Practical Gilding , 209 x 141 mm, line illustrations, paperback 992603 Hughes, Rowe: The Colouring, Bronzing & Patination of Metals , 372 pages, 275 illustrations, 16 color plates, hardcover /// Plastic 992701 B. Keneghan and L. Egan: - Looking at the Future , Published 2008, paperback, 184 pages, 96 colour, 41 half tones illustrations

COLOR CHARTS

990001 Color Chart Kremer Pigments - Blue Colors , 42 samples, size: 3 x 5 cm 990002 Color Chart Kremer Pigments - Cadmium Pigments , 12 samples, size: each 3 x 5 cm 990004 Color Chart Kremer Pigments - Handmade and Historic Pigments , 82 samples, size: each 3 x 5 cm 990005 Color Chart Kremer Pigments - Iron Oxides , 39 samples, size: each 3 x 5 cm 990006 Color Chart Kremer Pigments - Earth Pigments , 72 samples, size each: 3 x 5 cm 990008 Color Chart Kremer Pigments - Yellow Colors , 36 samples, size: each 3 x 5 cm 990010 Color Chart Kremer Pigments - Green pigments , 24 samples, size: each 3 x 5 cm 990012 Color Chart Kremer Pigments - Organic Pigments , handpainted, approx. 50 samples 990013 Color Chart Kremer Pigments - Pearlescent Pigments , handpainted, approx. 70 samples 990015 Color Chart Kremer Pigments - Red Pigments , 37 samples, size: each 3 x 5 cm 990017 Color Chart Kremer Pigments - Fluorescent Pigments , 10 samples, size: each 3 x 5 cm 990018 Color Chart Kremer Pigments - Watercolor , handpainted, approx. 93 samples 990020 Color Fan Kremer - Wall , handpainted, 19 samples for wall paint

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86 Color Charts For further information and prices please visit us at www.kremerpigments.com General Information 11

GENERAL 11 INFORMATION

86 Recipes 89 FAQ & References 91 Pigment-suitability list 105 Courses & How to find us 106 Terms of trade and shipping 108 Index 114 Hazard Warnings / ACMI 116 Hazardous Item Disclaimer 117 Space for your notes

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For further information and prices please visit us at www.kremerpigments.com 87 11 General Information

RECIPES

Making Oil Colors Making oil colors by hand is an excellent opportunity to learn about the singular character of each pigment. Every pigment behaves dif- ferently when ground in oil. According to specific surface and weight one needs more or less oil and arrives at a larger or smaller amount of ready ground oil color. Generally one can count on using two parts of pigment to one part of oil. In each case, only trying out will reveal the actual amounts. Pour the desired amount of pigment into the mortar and add just a little oil. Start grinding and observe the absorption of oil. Slowly add cor- respondingly more or less oil until you arrive at a firm, fully saturated paste. This is a condition in which all pigment particles are mixed evenly in oil, which should be reached after about 15 minutes, using 100 to 200 g. It easily happens that the mixture suddenly seems too liquid and one has run out of pigment to absorb the excess oil. Therefore it is best to retain some pigment our extender, such as a fine marble dust, which one can add, until one reaches the desired consistency. Small amounts of extender do not change the color perceptibly. Although the best oil color consists purely of pigment and oil, you can use various amounts of pigment and extender if you like. Avery small amount of an opaque white, e.g. Titanium White, makes translucent pigments opaque. For storage, tubes are most practical, since the surface of the color cannot dry out like in jars. To clean the mortar and pestle you will need ample amount s of turpentine or a similar solvent, a lot of newspapers and some paper towels at the end. The mortar should be completely clean and dry before you start with the next color. Linseed Oil is the most common oil used for oil colors. Of the various kinds available, cold pressed linseed oil is the purest. It is of a golden color and is in spite of its yellowing tendency most often used. Stand Oil is highly weather resistant and dries glossy. Linseed oil varnish with co- balt drier is highly recommended for egg-oil emulsions, because it dries quickly and little. Linseed oil varnish is a refined oil used for the standard production of oil color. Poppy oil dries very slowly and not as hard as linseed oil. It is preferred for light colors, since it is nearly color- less, yellows little and cracks less. Walnut oil dries faster.

Interior Walls For a base coat on interior walls solve 300g Cellulose Glue K 300 (63600) in 10 qt. cold water overnight. Add 7 kg Chalk from Champagne (58000) and 4 kg Titanium White Color Concentrate (27000), you can also substi- tute Titanium White (46200) dry pigment; mix well. Pour through a sieve/ strainer if necessary. Add 2 qt. Primal AC 35 (75100) for greater perma- nence. This covers approx. 150 square yards. Adding 500 g fine Glass Beads (e.g. 59831) creates an additional nice e[ect. For color washes on interior walls solve 100g Klucel EF (63700) in 10 qt. cold water. Add 50–250 g earth pigment according to the desired color intensity. Mix ½ -1 qt. Primal AC 35 (75100) acrylic dispersion for greater permanence. Apply with a flat, wide brush or sponge. This covers approx. 11 200 square yards.

88 Recipes For further information and prices please visit us at www.kremerpigments.com General Information 11

Lime Casein Wall Soak 40 g Casein (63200) with 125 ml cold water overnight. Mix Paint this with 33 g Slaked Lime (31800). The casein paste is treated like fresh curd. It is hydrolyzed with 33 g Slakes Lime (31800), 20 %. This recipe never fails to make a good, thick casein glue of even consistency. It has, however, the disadvantage to jell very fast. The jellying procedure can be avoided by diluting with water by filling up to a total volume of 1 liter and then stirring in about 1 teaspoon of cere-stucco soap (79230) 5 minutes after adding the lime. The resulting solution is a 4% casein-lime solution. All lime-caseins are to some extent weatherproof and therefore represent a special group among the mural media. A base coat of a dilution of the 4 % casein-lime solution with 9 parts of water can be applied to the walls. For an opaque, white Wall Paint, 1 Liter Casein-Lime solution can be mixed with about 1 kg pigment, e.g. Titanium White (46200) or Chalk from Champagne (58000) or a mixture of both. The wall paint should have a consistency which can easily be spread. Should the paint become too thick it can be diluted again. Always dilute with the 4 % Casein-Lime solution and not with pure water. Make sure to test the paint on the wall before applying the first coat. The amount of binding agent is diVerent for each pigment. Should the paint be too chalky, more concentrated casein-lime solution has to be added, if it shows cracks or peeling problems the paint contains too much lime and therefore has to be diluted further and more pigment added. Make sure to use pigments which are suitable for lime. Estimated consumption: On loam plaster: approx. 150 ml / m² / coating . On lime plaster: approx. 100 ml / m²/ coating.

Classic Watercolor Heat 40 parts distilled water in a double boiler and add 20 parts Gum Arabic (63300). Stir to dissolve. Add 1/2 part Glycerol (64900) as a plasticizer. This keeps the finished paint from becoming too brittle and cracking. Add more if you plan to pour the paint into pans, so they retain some moisture. You can use any Color Concentrates or choose a pigments according to your technique: use transparent ones if you prefer light washes, and opaque ones for gouache. Mix pigments into a thick paste with the Gum Arabic solution and dilute with water for use as needed. Note: The Gum Arabic crystals may take 1-2 days to completely dissolve.

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For further information and prices please visit us at www.kremerpigments.com Recipes 89 11 General Information

Acrylic Paint š For hard, glossy surfaces : 75367 Dispersion K 9 or 76000 Plextol® D 498. š For thin layers : 75000 Acrylic dispersion 771. š For very clear, hard surfaces : 76805 Polyurethane Dispersion PU 52, 75305 Dispersion K 19 Gloss. š For matte surfaces : 75355 Disperion K 19 Matte

Choose an Acrylic Dispersion. Mix pigment with water into a paste. Some pigments require a wetting agent, e.g. Orotan 850 (78033). Use more pigment for matte colors and less pigment for a glossy color. Add a filler to increase bulk, and texture or reduce gloss. Use ½ to 1 ½ parts of acrylic with every part of pigment paste. Use less for a flat appearance, more for gloss. Add water if necessary. Add 1/10 part of Polyvinyl alcohol liquid (67710) as a stabilizer, to retard drying and improve consistency.

Other additives: š 1/50 part 78032 Orotan 731 K, as surfactant š 1/10 part 67710 Polyvinyl alcohol liquid, as stabiliser š 1/50 part 78100 Texanol, to avoid cracks š 1 drop 78600 Defoamer and 2 chips 78740 Preventol ON extra as preservative

Mix the pigment and the dispersion slowly with the other ingredients and add water to obtain the desired consistency.

We definitely recommend tests prior to the final application, we cannot guarantee for any instructions given.

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FAQ & REFERENCES

How Much Each pigment needs a di0erent amount of binder, depending on the grad- Binder do ing and the surface of the pigment. The amount, especially for oil-based I need? binders, may vary widely.

Volume and Kremer Pigmente sells pigments in small and greater package sizes. packing size Each pigment has a di0erent volume per weight. 100 g of Furnace Black (47250) will have 5 times the volume of 100 g Terra di Siena. This individu- ally determines the packing size for each product.

A Pigment Synthetic Organic Pigments, Fluorescent Pigments, Van Dyck Brown cannot be or Milori Blue cannot easily be mixed with water. These pigments will wetted behave like oil and float on top of the water. Alcohol (Ethyl alcohol, Isopropanol) or a wetting agent (e.g. Orotan 731 K (78032)) will reduce the surface tension and facilitate the use of the pigment.

Fluorescent and Phosphorescent Kremer Pigmente o0ers a variety of lumines- Colors cent pigments and fluorescent dyes. Basically they can be distinguished by the type of light e0ect. Phosphorescent pigments are substances that glow in the dark after light excitation. Fluorescent pigments or dyes start to glow when exposed to ultraviolet light. A transparent binding medium is essential for an ideal outcome. Please take into account that UV-absorbers in your lacquer can reduce the fluorescent action.

Animal Glues Bone Glue, Hide Glue, Rabbit Skin Glue, Gelatine, and Isinglass are animal glues. These glues must first be soaked in water and then heated in a water bath. The heating temperature should never exceed 60 °C; other- wise the glue looses its elasticity and adhesive strength. When cooling down, the glue will form a gel. Heating it will re-liquefy it. Animal glue spoils quickly. The endurance of glue solutions can be im- proved by keeping it in the refrigerator. It is possible to add 0.5% preser- vative, such as Biodocarb (78744). Wall paints made with animal glue as a binder will permanently remain water-soluble. Old wall-paint has to be removed before applying new paint.

Filling Watercolors We o0er empty watercolor pans for making your own watercolors. into Pans To fill these empty pans, fill the liquid watercolor into a 10 ml sy- ringe ( or laboratory supplies), and then put a thin layer of watercolor into the pan. The color can be kept in the syringe. Allow each layer to dry before the next layer is added. The recipe must be modified if the watercolor cracks during drying (too little binder) or does not dry (too much binder).

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How to get Oil Paint The filling and sealing of oil paint tubes is simple, but requires into a tube some practice. Grind the oil paint into a thick paste. The paint should have the consistency of toothpaste. Take o> the cap of the tube. Put the oil paint onto a piece of wax paper and roll it up like a self- made cigarette. The paper roll should be small enough to fit into the back of the tube. Push the paper with the oil paint into the tube and lay it onto a board. Use a short round wooden stick, about the diameter of a broom stick and about 15 cm long, and roll it on the paper from behind, so the oil paint is pressed into the tube. Close the cap and flatten the end of the tube with the wooden stick. Pull the paper carefully out of the tube. Flatten the end of the tube again, fold the metal (with help of a palette knife or spatu- la) to close the tube. Squeeze the folded metal firmly with a pair of pliers.

Kremer Pigments for Our pigments, colorants and binders are intended for conserva- Soaps and Cosmetics tors, artists and craftsmen. Kremer Pigmente does not supply products for cosmetic use. We do not handle the products according to cosmetic standards and regu- lations, and some products can cause allergies when applied on skin.

We assume no responsibility for these references. Please contact us in case of any queries.

Conversion of weights Kremer products are packed in Europe, where the metric sys- and measures tem has been established. Mixture ratios and calculations are much easier in metric: 1 Liter consists of 1000 ml (= Milliliter) and 1 kg (= Kilogramm) of 1000 g (= Gramm). Until we arrange for packag- ing in the US, please convert as follow:

75 ml = 2.54 fl. oz 100 g = 3.53 oz 250 ml = 8.45 fl. oz 500 g = 1.1 lbs. 500 ml = 16.9 fl. oz 1 kg = 32.12 ounces or 2.2. pounds 1 liter = 1.06 quarts or 2.11 pints

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Abbreviations used for the Color Index:

P (Pigment) Y (Yellow) G (Green) N (Natural) O (Orange) Br (Brown) S (Solvent) R (Red) Bk (Black) D (Dye) B (Blue) W (White) V (Violet)

No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 10000 Smalt, standard PB 32.77365 8 š š š 10010 Smalt, very fine PB 32.77365 8 š š š š š 10060 Egyptian Blue PB 31.77437 8 š š š š š 10064 Egyptian Green PB 31.77437 8 š š š š š 10071- HAN-Blue, var. 10072 8 š š š š š 10074- 10075 HAN-Purple, var. 8 š š š š š 10100- Lead Tin Yellow, var. 77629 10120 8 š š š š 10130 Naples Yellow from Paris PY 41.77588 8 š š š š 10150- Pinkcolor 10154 8 š š š š 10170 Ploss Blue š š 10180 Blue Verditer PB 30.77420 š š 10184 Blue Bice PB 30.77420 š š 10200 Azurite natural standard PB 30.77420 8 š š š 10201- Azurite MP, var. PB 30.77420 10208 8 š š š š 10210 Azurite natural fine PB 30.77420 8 š š š 10300- Malachite natural, var. PB 30.77420 10310 8 š š š 10341- Malachite MP, var. PB 30.77420 10346 8 š š š š 10350 Chrysocolla PB 31.77437 8 š š š 10355 Dioptase Copper Silicate š š š 103600- Malachite Fibres, var. PB 30.77420 13601 8 š š š 103700- Malachite Arabian, var. PB 30.77420 103701 8 š š š 103800- 103801 Turquoise Sky-Blue, var. 8 š š š 103900- Atacamite, var. 103901 8 š š š 104000 Vivianite 8 š š š š 104200- Sodalite, var. 104201 8 š š š š š š 104500 Vesuvianite 8 š š š š 104602 Cavansite, extra fine 8 š š š 10470 Pentagonite 8 š š š 10500- 10562 Lapis Lazuli, var. PB 29.77007 8 š š š š š 10580 Ultramarine Ash PB 29.77007 8 š š š š š 10610- 10620 Natural Cinnabar, var. PR 106.77766 š š š š 10624- Cinnabar, var. PR 106.77766 10628 š š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 10700 Orpiment, genuine PY 39.77086 š š š š 10800 Realgar, genuine PY 39.77085 š š š š 10850 Crocoite š š š 10870 Conichalcite 8 š š š 10900 Galena 77640 8 š š š 10920- 8 10930 Pyrite Powder, var. š š š š š 10940 Antimony PR 107.77060 8 š š š 11000- 8 11010 Verona Green Earth, var. PG 23.77009 š š š š š 11100 Bavarian Green Earth PG 23.77009 8 š š š š š 11110- 8 11111 Russian Green Earth, var. PG 23.77009 š š š š š 11120 Volkonskoite 8 š š š š š 11140- Aegirine, var. 8 11141 š š š š š š 11150- Epidote, var. 8 11151 š š š š š š 11152 Florentine Green 8 š š š š š 11181 Andeer Green, fine 8 š š š š š š 11182 Andeer Green, medium 8 š š š 11183 Andeer Green, coarse 8 š š š 11200 Green Jasper PW 27.77811 8 š š š š š š 11210 Green Quartz PW 27.77811 8 š š š š š š š 11250 Celadonite PG 23 8 š š š š š š 11272- Ochres from Andalusia, var. 11280 š š š š š 11282 Nero Bernino 8 š š š š š š š 11283 Alba Albula 8 š š š š š š š 11290- Sugar Dolomite, var. PW 18:1.77220:1, 8 11291 77713:13 š š š š š 11300 Red Jasper PW 27.77811 8 š š š š š š š 11310 Rose Quartz from Namibia PW 27.77811 š š š 11315 Amethyst, Brasilian PW 27.77811 š š š 11320 Rhodochrosite 77733 8 š š š š š 11350 Côte d´Azur Violet 8 š š š š š š š 11354 Slate Green from Mels 8 š š š š š š š 11356 Gray from Mels PBk 19.77017 8 š š š š š š š 11360 Brown-Red Slate 8 š š š š š š 11362 Gray from Burgundy š š š š 11390- Jade, var. 8 11392 š š š š š š 11400- 8 11401 Rock Crystal, var. PW 27.77811 š š š š š š š 11405- Diamond Powder, var. 8 114053 š š š š š 11410 Eggshell White PW 18.77220 8 š š š š š 11415- Bianco San Giovanni, var. PW 18.77220 11416 š š š š š 11420- Fuchsite, var. PW 20.77019 8 11421 š š š š š š š 11422- 8 11424 Fuchsite, var. PW 20.77019 š š š š 11520 Jarosite PY 43.77492 8 š š š š š š 11530 Gold Ochre PY 43.77492 8 š š š š š š 11540 Taunus Ochre, light PY 43.77492 8 š š š š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 11572- Burgundy Yellow Ochre, var. PY 43.77492 8 11573 š š š š š š 11574- Burgundy Red Ochre, var. 8 11575 š š š š š š 11576- Burgundy Red Ochre Deep, var. 8 11577 š š š š š š 11584- Spanish Red Ochre, var. 8 11585 š š š š š š 11620 Brown Earth from Otranto PBr 7 8 š š š š š š 11630 Iseo Brown 8 š š š š š š 116420- Yellow Moroccan Ochre, var. PY 43.77492 8 116421 š š š š š š 116430- Red Moroccan Ochre, var. 8 116431 š š š š š š 116440- Dark Red Moroccan Ochre, var. 8 116441 š š š š š š 11650 Elba Brown Ochre deep 8 š š š š š š 11674 Obsidian Black 8 š š š š š š 11800- 8 11810 Selenite, Marienglas, var. PW 25.77231 š š š š š 11830 Aragonite PW 18.77220 8 š š š š 12000 Ivory Black, genuine PBk 9 8 š š š š š 12010 Peach Black PBk 8.77268 8 š š š š š 12015 Grape Black PBk 8.77268 8 š š š š š 12020 Cherry Black PBk 8.77268 8 š š š š š 12030 Atramentum 8 š š š 12040 Shungit š š š 12100 Bistre NBr 11 š š š 12200 Copper Resinate š 12400- Sepia, var. NBr 9 12402 š š š 12440 Bideford Black PBk 8.77268 š š š 15221- IWA-Enogu®, var. 8 15311 š š š š 1671508- Yellow Jasper Iwa-Oudo, var. PW 27.77811 8 1671514 š š š š š 1671608- 8 1671614 Garnet Kicha Golden, var. š š š š š š 1672008- Garnet Sakura-Nezumi, var. 8 1672014 š š š š š š 1672108- Cinnabar SHINSYA, var. PR 106.77766 8 1672114 š š š š 1672509- 8 1672514 Agate Peach, var. PW 27.77811 š š š š š 1673108- Azurite GUNJYOU, var. PB 30.77420 8 1673114 š š š 1673908- Sodalite SHIUN-MATSU, var. 8 1673914 š š š š š 1674108- 8 1674114 Malachite MATSUBA-ROKUSYOU, var. PB 30.77420 š š š 1674408- Lizard-Stone, var. PW 26.77718 8 1674414 š š š š 1674508- Amazonite HAKUSUI-MATSU, var. 8 1674514 š š š š š 1674908- 8 1674914 Epidote, var. š š š š š 1675308- Iron Oxide Orange, var. 8 1675311 š š š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 1675408- Burnt Iron Oxide Red, var. PR 101.77491 8 1675414 š š š š š 1675908- Tiger-Eye TYOUJICHA, var. PW 27.77811 8 1675914 š š š š š 1676508- Tourmaline DENKISEKI-MATSU, var. 8 1676514 š š š š 17000 Jarosite, from Cyprus PY 43.77492 8 š š š š š š 17050 Natural Sienna, Monte Amiata PY 43.77492 8 š š š š š š 17400 Green Earth, from Cyprus PG 23.77009 8 š š š š š 17410 Bluish Green Earth, from Cyprus PG 23.77009 8 š š š š š 21010- Cadmium Yellow, var. PY 35.1.77205 8 21050 š š š š 21051 Cadmium Yellow, medium š š š š 21060 Cadmium Yellow No. 9, dark PY 37:1.77199 8 š š š š 21080- Cadmium Orange, var. PO 20:1.77202 8 21090 š š š š 21091 Cadmium Orange, light š š š š 21100 Cadmium Orange No. 1, medium PO 20:1.77202 8 š š š š 21111 Cadmium Orange, dark š š š š 21120 Cadmium Red No. 1, light PR 108:1.77202 8 š š š š 21121 Cadmium Red, light š š š š 21130 Cadmium Red No. 2, medium PR 108:1.77202 8 š š š š 21131 Cadmium Red, medium š š š š 21140- Cadmium Red, var. PR 108:1.77202 8 21150 š š š š 23000 Phthalo Green Dark PG 7.74260 8 š š š š š š 23010 Phthalo Green, yellowish PG 36.74265 8 š š š š š š 23050 Phthalo Blue PB 15:1.74160 8 š š š š š š 23060 Phthalo Blue royal blue PB 15:3.74160 8 š š š š š š 23070 Phthalo Blue reddish PB 15:6.74160 8 š š š š š š 23080 Phthalo Blue PB 16.74100 š š š š š š 23100 Indanthren® Blue PB 60.69800 8 š š š š š š 23152 Hostaperm® Pink E PR 122.73915 8 š š š š 23178 Irgazine® Orange DPP RA PO 73.561170 8 š š š š š š 23179 Irgazine® Scarlet DPP EK PR 255.561050 8 š š š š š š 23180 Irgazine® Red DPP BO PR 254.56110 8 š š š š š š 23181 DPP - Red PR 254.56110 š š š š 23182 Irgazine® Ruby DPP-TR PR 264.561300 8 š š š š š š 23200 Scarlet Red PR 168.59300 8 š š š š š š 23202 CPT - Scarlet Red PR 166.20730 6-8 š š š š š š 23230 Permanent Red A PR 177.65300 6-8 š š š š š š 23250 Permanent Red Dark PR 194.71100 7-8 š š š š 23290 Permanent Red PR 170.12475 4-6 š š š š š š 23291 Permanent Red FRLL PR 9.12460 5-7 š š š š š š 23293 CPT - Red PR 144.20753 6-8 š š š š š š 23300 Permanent Yellow light PY 151.13980 8 š š š š 23310 Permanent Yellow Medium PY 154.11781 7-8 š š š š š š 23330 Irgazine® Yellow, greenish PY 129.48042 7-8 š š š š š š 23340 Isoindole Yellow PY 109.56284 7-8 š š š š 23350 Indian Yellow imitation PY 150.12764 8 š š š š š 23370 Pyramid-Yellow medium PY 108.68420 8 š š š š 23401 Hostaperm Pink, transparent PR 122.73915 š š š š 23402 Quindo® Pink D PV 19.73900 8 š š š š š š 23410 Quindo® Red R 6713 PV 19.73900 7-8 š š š š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 23451 Dioxazine Violet PV 37.51345 8 š š š š š š 23480 Cinquasia® Chestnut Brown PR 206.73900/73920 8 š š š š 23490 Purple-Red PR 175.12513 7-8 š š š š š š 23493 Gubbio Red PBr 23.20060 8 š š š š š š 23500 Paliogen® Maroon PR 179.71130 8 š š š š š š 23504 Paliogen® Maroon very fine PR 179.71130 š š š š 23540 Paliotol® Orange PO 59.12075 8 š š š š š š 23560 Paliogen® Orange PO 51 8 š š š š š š 23570 Pyranthrone Orange PO 36.11780 8 š š š š š š 23585 Cinquasia® Gold, red-gold PO 48.73900/73920 8 š š š š š 23600 Alizarine Crimson Light PR 112.12370 7-8 š š š š š 23610 Alizarine Crimson Dark PR 83.58000 : 1 7-8 š š š š š 23650 Brilliant Yellow PY 74.11741 6-8 š š š š š š 23660 Isoindolinon Yellow PY 213.117875 7-8 š š š š š š 23670 Irgazine® Yellow PY 110.56280 7-8 š š š š š š 23700 Thioindigo Red PR 88.73312 6-7 š š š š š š 23710 Cinquasia® Violet RT 201 D PV 19.73900 7-8 š š š š š š 23720 Hostaperm® Red PV 19.73900 8 š š š š š š 23750 Alizarine Violet PV 5:1.58055:1 5-8 š š š š š 23800 Isoindolol Orange PO 61.11265 7-8 š š š š š š 23850 Studio Yellow PY 3.11710 6-7 š š š š š š 23950 Studio Red, Helio PR 3.12120 3-7 š š š š š š 24000 Paliotol® Yellow-Orange PY 139.56298 6-7 š š š š 24100 Aniline Black PBk 1.50440 š š š 26000 XSL Titanium White PW 6.77891 8 š š š š š 26120 XSL Translucent Yellow PY 42.77492 8 š š š š š 26140 XSL Translucent Red PR 101.77491 8 š š š š š 26308 XSL Poppy Red PR 112.12370 6-7 š š š 26310 XSL Irgazine® Red DPP PR 254.56110 8 š š š 26405 XSL Phthalo Blue, Royal Blue PB 15:2.74160 8 š š š 26500 XSL Phthalo Green Dark PG 7.74260 8 š š š 26600 XSL Black PBk 7.77266 8 š š š 27000 Kremer Color Paste - Titanium White PW 6.77891 8 š š š š š š Kremer Color Paste - Bismuth-Vana- 8 27160 date Yellow PY 184 š š š š š š Kremer Color Paste - Iron Oxide PR 101.77491, 27400 PBk 11.77499, 8 š š š š š š Brown 610 PY 42.77492 27500 Kremer Color Paste - Iron Oxide PBk 11.77499 8 Black š š š š š š 27540 Kremer Color Paste - Bone Black PBk 9.77267 8 š š š 27600 Kremer Color Paste - Lamp Black PBk 7.77266 8 š š š Kremer Color Paste - Ultramarine 8 27700 Blue PB 29.77007 š š š š 27705 Kremer Color Paste - Ultramarine PB 29.77007 Blue (new) š š š š Kremer Color Paste - Chrome Oxide PG 17.77288 8 27800 Green š š š š š š 28000 Kremer Color Paste - Lemon Yellow PY 3.11710 7 š š š š Kremer Color Paste - Irgazin® Yellow, 28020 PY 129.48042 8 greenish š š š š š 28050 Kremer Color Paste - Yellow 8 š š š š 28100 Kremer Color Paste - Brilliant Yellow PY 74.11741 6-8 š š š 28120 Kremer Color Paste - Permanent PY 154.11781 8 Yellow Medium š š š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / Kremer Color Paste - Isoindolinone 28150 PY 109.56284 7-8 Yellow š š š š š 28200 Kremer Color Paste - Orange PO 34.21115 6 š š š š Kremer Color Paste - Pyranthrone PO 36.11780 8 28270 Orange š š š š š Kremer Color Paste - Irgazin® Orange 8 28375 DPP RA PO 73.561170 š š š š š 28390 Kremer Color Paste - Irgazin® DPP PR 255.561050 8 Scarlet š š š š š Kremer Color Paste - Irgazin® DPP PR 254.56110 8 28470 Red š š š š š Kremer Color Paste - Graphtol Red 7 28480 NFB š š š š 28490 Kremer Color Paste - Permanent Red PR 170.12475 4-6 š š š š 28500 Kremer Color Paste - Red PR 112.12370 8 š š š š Kremer Color Paste - Irgazin® Ruby 8 28510 DPP PR 264.561300 š š š š š 28600 Kremer Color Paste - Quindo® Red 8 š š š š š Kremer Color Paste - Cinquasia® 7-8 28660 Violet PV 19.73900 š š š š š 28701 Kremer Color Paste - Thioindigo PR 88.73312 š š š š š 28801 Kremer Color Paste - Dioxazine Violet PV 37.51345 8 š š š š š 28900 Kremer Color Paste - Heliogen® Blue PB 15:3.74160 8 š š š š š 28910 Kremer Color Paste - Heliogen® PB 15:3.74160 8 Royal Blue š š š š š Kremer Color Paste - Heliogen® PG 7.74260 8 29000 Green š š š š š Kremer Color Paste - Heliogen® 8 29050 Green, yellowish PG 36.74265 š š š š š 31231 Pozzuolana Red Earth very fine š š š š š š š 36000- 8 36003 Indigo, var. š š š š 36005 Indigo Blue lake 8 š š š š 36006 Indigo Red-Violet 8 š š š š 36007 Maya Blue 8 š š š š 360094 Indigo Synthetic, Color Paste š š š 36010 Tyrian Purple NV 1.75800 š š š š 36015 Purpurissum NV 1.75800 š š 36020 Lac Dye NR 25.75450 š š š š Lake made of Reseda and Buckthorn NY 2.75590/75580 + 36261 Berries NY 14.75440 š š š š 36262 Lake made of Reseda NY 2.75590/75580 š š š š 37000 Dragon´s Blood, powder NR 31.75200,75210 3 š š 37202- Madder Lake, var. NR 9.75330/75420 4-6 37218 š š š š Farblack aus: 37370 Osage, yellow NY 8.75660 š š š š 37391 Sap Green NG 2.75440/75650/75695 š š š 37392 Stil de Grain, var. NY 14.75440 š š š 373941 Stil de Grain, Schützenberger NG 6 2.75440/75650/75695 š š š 390021- Colored Glasses, var. 8 394545 š š š š š š 40010 French Ochre JTCLES PY 43.77492 8 š š š š š š 40012 French Ochre, very light PY 43.77492 8 š š š š š š 40013 French Ochre, extra light PY 43.77492 š š š š š 8 11 40020 French Ochre RTFLES PR 102.77491 š š š š š š

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 40030 French Ochre JOLES PY 43.77492 8 š š š š š š 40040 French Ochre JCLES PY 43.77492 8 š š š š š š 40050 French Ochre JFLES PY 43.77492 8 š š š š š š PY 43.77492, 8 40060 French Ochre JALS PR 102.77491 š š š š š š 40070 French Ochre SOFODOR PY 43.77492 8 š š š š š š PY 43.77492, 8 40080 French Ochre HAVANE PR 102.77491 š š š š š š 40090 French Ochre SOFOROUGE PR 102.77491 8 š š š š š š 40130 French Ochre SAHARA PY 43.77492 8 š š š š š š 40195 Gold Ochre, from Poland PY 43.77492 š š š š š 40200 Ochre Avana, greenish-yellow PY 43.77492, PBr 7. 8 š š š š š š 40214 Gold Ochre DD PY 43.77492 8 š š š š š š 40220 Italian Gold Ochre light PY 43.77492 8 š š š š š š 40231 Brown Ochre light PY 43 8 š š š š š š PBr 7, PY 42, PBk 11, 8 40241 Fawn Ochre PR 101 š š š š š š 40260 Satin Ochre PY 43.77492 8 š š š š š š 40280 Amberg Yellow PY 43.77492 8 š š š š š š 40301 Iron Oxide Yellow PY 43.77492 8 š š š š š š 40310 Dark Ochre, German PY 43.77492 8 š š š š š š 40320 Dark Ochre, Italian PY 43 8 š š š š š š 40392- Raw Sienna, var. PY 43.77492 8 40410 š š š š š š 40430 Dark Burnt Sienna PBr 7 8 š š š š š š 40440 Pompeii Red PR 103 8 š š š š š š 40470 Burnt Sienna, from France PBr 7 8 š š š š š š 40490 Rosso Sartorius PR 102.77491 8 š š š š š š 40503 Red Bole PR 102.77015 8 š š š 40510 Venetian Red PR 102.77491 8 š š š š š š 40542 English Red Light PR 101.77491 8 š š š š š š 40545 English Red Deep PR 101.77491 8 š š š š š š 40610 Raw Umber PBr 8.77727 8 š š š š š š 40611 Raw Umber, light PBr 7 8 š š š š š š 40612 Raw Umber, greenish PBr 8.77727 8 š š š š š š 40623 Manganese Brown Intense PBr 8.77727 8 š š š š š š 40630 Raw Umber greenish dark PBr 8.77727 8 š š š š š š 40650 Chromite 8 š š š š š š 40660 Raw Umber, dark PBr 8.77727 8 š š š š š š 40700 Burnt Umber, reddish PBr 8.77727 8 š š š š š š 40710 Burnt Umber, brownish PBr 8.77727 8 š š š š š š 40720 Burnt Umber, dark brown PBr 7 8 š š š š š š 40723 Burnt Umber, type B PBr 8.77727 8 š š š š š š 40730 Burnt Umber Light, reddish-brown PBr 8.77727 8 š š š š š š 40800 Green Earth light PG 23.77009 8 š š š š š 40810 Bohemian Green Earth PG 23.77009 8 š š š š š 40821 Green Earth from Verona PG 23.77009 8 š š š š š 40830 Green Earth from France PG 23.77009 8 š š š š š 40850 Burnt Green Earth 8 š š š š š š 40900- Slate Gray, var. PBk 19.77017 8 40930 š š š š š 40960- 8 40970 Pencil Clay, var. š š š š 41000 Van Dyck Brown NBr 8 7-8 š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 41050 Cassel Brown, wood stain NBr 8 6-7 š š PR 101, 8 41550 Terra Pozzuoli PR 102.77491 š š š š š š PR 101, 8 41600 Terra Ercolano PR 102.77491 š š š š š š 41700 Verona Green Earth 8 š š š š š 41750 Vagone Green Earth 8 š š š 41770 Nicosia Green 8 š š š 41800 Bohemian Green Earth, imitation 8 š š š š 41820 Verona Green Earth, imitation 8 š š š š š 42000 Vermilion PR 106.77766 š š š š 42050 Zirconium Red š š š š 42100 Carmine Naccarat NR 4:1.75470 š š š š 42500 Red Lead, Minium PR 105.77578 š 42601- Ultramarine Red, var. PR 259.77007 8 42605 š š š š 42711 Garnet Powder Red, very fine 8 š š š š š š š 42712 Garnet Powder Red, fine 8 š š š š 42714 Garnet Powder Red, medium 8 š š š 42716 Garnet Sand Red, coarse 8 š š š 43010 Massicot, Litharge PY 46.77577 š 43101 Bristol Yellow pale 8 š š š š š š š 43111 Bristol Yellow, medium 8 š š š š š š 43121- Naples Yellow, var. PY 41.77588 43130 š š š š 43131 Bristol Yellow, reddish 8 š š š š š š š 43200- Nickel-Titanium Yellow, var. PY 53.77788 8 43210 š š š š š š š 43230 Praseodym Yellow PY 159.77997 8 š š š š š š š 43300 Titanium Orange PBr 24.77310 8 š š š š š š š 43500 Cobalt Yellow PY 40.77357 š š š š 43600 Antimony Red 77061 8 š 43870 Yellow Zircon š š š š š š š 43880 Intensive Yellow PY 159.77997 8 š š š š š š š 43910- Bismuth-Vanadate Yellow, var. PY 184 8 43920 š š š š š š š 44100 Cobalt Green PG 50.77377 8 š š š š š š š 44110 Cobalt Oxide Green Blue PG 26.77343 8 š š š š š š š 44130 Cobalt Bottle Green 8 š š š š š š š 44151 Cobalt Green bluish A 8 š š š š 44190 Pastel Green, Victoria Green 8 š š š š š š š 44200- Chrome Oxide Green, var. PG 17.77288 8 44204 š š š š š š š 44250 Viridian Green PG 18.77289 8 š š š š š š 44280 Permanent Green PG 7, PG 17, PB 15, 8 PB 28, PW 7 š š š š š š 44400 Malachite, synthetic 77422 8 š š š 44450 Verdigris, synthetic PG 20.77408 8 š š š 44500- 8 44510 Cadmium Green, var. PG 14.77199 š š š š 45000 Ultramarine Blue, very dark PB 29.77007 8 š š š š š 45010- 8 45080 Ultramarine Blue, var. PB 29.77007 š š š š š 45100- Ultramarine Violet, var. PV 15.77007 8 45120 š š š š š 11 45202 Prussian Blue LUX PB 27.77510 8 š š š š

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 45350 Manganese Violet PV 16.77742 8 š š š š 45364 Copper Blue š š š š 45400 Zirconium Cerulean Blue PB 71.77998 8 š š š š š š š 45700 Cobalt Blue Dark PB 74.77366 8 š š š š š š š 45701 Cobalt Blue Dark, greenish 8 š š š š š š š 45702 Cobalt Blue, Sapporo PB 74.77346 8 š š š š š š š 45710 Cobalt Blue Medium PB 28.77346 8 š š š š š š š 457141 Cobalt Blue Pale 8 š š š š š š š 45720 Cobalt Blue Light 8 š š š š š š š 45730 Cobalt Cerulean Blue PB 35.77368 8 š š š š š š š 45740 Cobalt Blue, greenish PB 36.77343 8 š š š š š š š 45750 Cobalt Blue Turquoise Light 8 š š š š š š š 45760 Cobalt Blue Turquoise Dark PB 36.77343 8 š š š š š š š 45800- Cobalt Violet, var. PV 14.77360 8 45810 š š š š 45820 Cobalt Violet Brilliant, light PV 49.77362 8 š š š š 46000 Cremnitz White PW 1.77597 8 š š š š 46050 Lead Sulfate, basic PW 2.77633 8 š š š š 46100 Lithopone PW 5.77115 8 š š š š 46200 Titanium White Rutile PW 6.77891 8 š š š š š š š 46280 BuY Titanium PW 6:1.77891 8 š š š š š š š 46300 Zinc White PW 4.77947 8 š š š š š š 46350 Zinc Sulphide PW 7.77975 š š š 46360 Kremer White PW 12.77990 š š š š š š š 46400 Gofun Shirayuki 8 š š š š 47000 Vine Black, German PBk 8.77268 8 š š š š š 47100 Bone Black PBk 9.77267 8 š š š š š 47120 Nano F - Black š š š 47200 Ivory Black JU PBk 9 8 š š š š š 47250 Furnace Black PBk 7.77266 8 š š š š 47324 Basalt Black, fine powder 8 š š š š š š š 47326 Basalt Black, fine sand 8 š š š š 47327 Basalt Black, medium fine sand 8 š š š 47328 Basalt Black, sand 8 š š š 47380 Spinel Black No. 38 š š š š š š š 47400 Spinel Black PBk 26.77494 8 š š š š š š š 47410 Spinel Gray PBk 26.77494 8 š š š š š š š 47420 Spinel Black No. 42 PBk 28.77428 š š š š š š š 47430 Spinel Black No. 43 PBk 30.77504 š š š š š š š 47501 Manganese Black PBk 14.77728 8 š š š š š š š 47510 Manganese Gray PBk 14.77728 8 š š š š š š š 47530 Cement Black 8 š š š š š š 47600 Asphaltum NBK 6 8 š š š š š 47700 Graphite Powder Silver PBk 10.77265 8 š š š š š 47710 Graphite Powder Black PBk 10.77265 8 š š š š š 47800 Charcoal PBk 8.77268 8 š š š š š 47810 Charcoal, var. PBk 8.77268 8 š 48000- Iron Oxide Yellow, var. PY 42.77492 8 48020 š š š š š š š PY 42.77492, 8 48040 Iron Oxide Yellow 940, dark PR 101.77491 š š š š š š š 48045 Iron Oxide Yellow 930, dark PY 42.77492 š š š š š š PY 42.77492, 48050 Iron Oxide Yellow-Orange, Gamma 8 š š š š š š š PR 101.77491 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / PY 42.77492, 48060 Iron Oxide Orange 960, light 8 PR 101.77491 š š š š š š š 48100- Iron Oxide Red, var. PR 101.77491 8 48210 š š š š š š š 48220 Caput Mortuum Synthetic 180 M PR 101.77491 8 š š š š š š š 48250- 8 48289 Iron Oxide Red, var. PR 101.77491 š š š š š š š PR 101.77491, 48300 Iron Oxide Brown 610, light PY 42.77492, 8 š š š š š š š PBk 11.77499 48320 Iron Oxide Brown 640, medium PR 101.77491, 8 PBk 11.77499 š š š š š š š 48330 Iron Manganese Brown 645 T PBr 43.77536 š š š š š š š PR 101.77491, 48340 Iron Oxide Brown 655 reddish PY 42.77492, 8 š š š š š š š PBk 11.77499 PR 101.77491, 48350- Iron Oxide Brown, var. 8 48360 PBk 11.77499 š š š š š š š 48400- 8 48442 Iron Oxide Black, var. PBk 11.77499 š š š š š š š 48445- Iron Oxide Black, var. PBk 33.77537 48447 š š š š š š š 48600 Iron Oxide Red, natural PR 102.77491 8 š š š š š š š 48651 Haematite, intense tinting PR 102.77491 8 š š š š š š š 48700- 8 48750 Caput Mortuum, var. PR 101.77491 š š š š š š š 48800 Magnetite, very fine PBk 11.77499 8 š š š š š š š 48804 Magnetite, fine PBk 11.77499 8 š š š š š š 48806 Magnetite, coarse PBk 11.77499 8 š š š š š š 48900 Iron Glimmer Gray PBk 11.77491 8 š š š š š š 48910 Natural Iron Glimmer PBk 11.77491 8 š š š š š š 48930 Iron Glimmer Violet PBk 11.77941 8 š š š š š š 48933 Iron Glimmer Violet, extra fine PR 102.77491 8 š š š š š š š 48941 Iron Glimmer from Morocco, very fine PBk 11.77941 8 š š š š š š š 48943 Iron Glimmer from Morocco, fine PBk 11.77941 8 š š š š š š 489621- Spanish Haematite, var. PBk 11.77941 8 489623 š š š š š š 49550 Zinc-Iron Brown Dark 8 š š š š š š š 49600 Zinc-Iron Chrome Brown Light 8 š š š š š š š 49700 Haematite-Chrome Oxide, Spinel PG 17.77288 8 š š š š š š š 50000 Pearl Luster IRIODIN® Silver 8 š š š š š 50002 Pearl Luster IRIODIN® PEARLETS® Silver, water-soluble š š š š Pearl Luster IRIODIN® PEARLETS® 50003 Silver, solvent-soluble š 50005 Pearl Luster, Sterling Silver WR š š š š 50010 Pearl Luster Silver S 8 š š š š š 50012- Pearl Luster MIRA®, var. 8 50019 š š š š š Pearl Luster IRIODIN® Silver Glitter, 8 50020 fine š š š š š 50021 Pearl Luster MIRA® Star Gloss š š š š š 50024- Pearl Luster IRIODIN®, var. 8 50040 š š š š š 50061- Pearl Luster PYRISMA®, var. 8 50068 š š š š š 50080- Pearl Luster XIRALLIC®, var. 8 50084 š š š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 50085 Pearl Luster Sun-Red š š š š š 50086 Pearl Luster Sunshine-Gold š š š š š 50090- 8 50111 Pearl Luster IRIODIN®, var. š š š š š 50124 Pearl Luster IRIODIN® PEARLETS® Solar Gold š š š š Pearl Luster Colibri IRIODIN® 8 50140 Sun-Gold š š š š š 50160- 8 50400 Pearl Luster IRIODIN®, var. š š š š š 50410 Pearl Luster EFFECT® Colibri Iron Red š š š š š 50440 Pearl Luster Lava Red 8 š š š š š 50500 Pearl Luster IRIODIN® Chroma Cobalt 8 Blue š š š š š 50505 Pearl Luster EFFECT® Cobalt Blue š š š š š 50510- Pearl Luster IRIODIN®, var. 8 50640 š š š š š Pearl Luster COLORSTREAM® Magic 8 50651 Indian Summer š š š š š 50652 Pearl Luster Magic Red 8 š š š š š Pearl Luster COLORSTREAM® Magic 8 50653 Royal Damask š š š š š 50654 Pearl Luster Magic Purple 8 š š š š š 50655- Pearl Luster COLORSTREAM® Magic, 8 50659 var. š š š š š 50701 Silver Glitter 0.10 x 0.10 mm š š š š 50702 Silver Glitter 0.20 x 0.20 mm š š š š 50703 Silver Glitter 0.20 x 0.40 mm š š š 50704 Silver Glitter 0.40 x 0.40 mm š š š 50705 Silver Glitter 0.60 x 0.60 mm š š š 50724 Aluminum Glitter Black š š š 50800 Gold Glitter 0.10 mm x 0.10 mm š š š š 50801 Gold Glitter 0.20 mm x 0.20 mm š š š š 50802 Gold Glitter 0.20 mm x 0.40 mm š š š 50803 Gold Glitter 0.40 mm x 0.40 mm š š š 50804 Gold Glitter 0.6 mm x 0.6 mm š š š 50810 Holographic Silver Glitter, fine š š š 50811 Holographic Silver Glitter, medium š š 50812 Holographic Silver Glitter, coarse š š 50820 Holographic Gold Glitter, fine š š š 50821 Holographic Gold Glitter, medium š š 50822 Holographic Gold Glitter, coarse š š 50830 Mother of Pearl, powder 8 š š š š 50831 Mother of Pearl, fine 8 š š 50834 Mother of Pearl, medium 8 š š 50841 Mother of Pearl, multi-colored, fine 8 š š 50845 Mother of Pearl, multi-colored 8 š š 50920- 8 50947 Paliochrome, var. š š š š š 50951 Acrylic Glass, Blue-Green š 50952 Acrylic Glass, Green-Yellow š 52200 Translucent Yellow PY 42.77492 8 š š š š š š š 52350 Translucent Orange-Red PR 101.77491 8 š š š š š š š 52400 Translucent Red medium PR 101.77491 8 š š š š š š š 53000 Muscovite Mica PW 20.77019 8 š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 53020 Muscovite Mica Flakes, fine PW 20.77019 š š 53025 Muscovite Mica Flakes, standard PW 20.77019 š š 53030 Muskovite Mica Flakes, coarse PW 20.77019 š š 53050 Mica White PW 20.77019 8 š š š 53100 Mica Fine PW 20.77019 8 š š š š š š 53185 Phlogopite Mica Amber PW 20.77019 8 š š 53210 Phlogopite Mica Silver-Gray PW 20.77019 8 š š 53220 Biotite, fine PW 20.77019 8 š š š š š 53221 Biotite, coarse PW 20.77019 8 š š 53240 Vermiculite 8 š š š š 53250 Mica Graphite PBk 10.77265 8 š š š 53500 Fish Silver NW 1.75170 š š š 53501 Fish Silver Powder NW 1.75170 8 š š š š 54000 Bismuth 8 š š 54100 Bismuth White PW 17.77169 8 š š 54500 Pewter Powder PM 5.77860 8 š š š š 54600- Metal Powders, var. 8 54660 š 54700 Zinc Dust PBk 16.77945 8 š š š 54850 Copper Powder PM 2.77400 8 š 54881 Bronze Powder PM 2.77400 8 š 55100 Studio Pigment Yellow PY 74.11741 4-5 š š š š 55125 Studio Pigment Egg Yolk Yellow PY 83.22108 5-7 š š š š 55140 Studio Pigment Yellow Sun Gold š š š š 55200 Studio Pigment Orange PO 5.12075 4-6 š š š š 55300 Studio Pigment Light Red PR 112.12370 5-6 š š š š 55400 Studio Pigment Dark Red š š š š 55450 Studio Pigment Bordeaux PR 12.12385 š š š š 55470 Studio Pigment Pink PR 122.73915 š š š š 55500 Studio Pigment Sky Blue 6-7 š š š š 55600 Studio Pigment Dark Blue PB 15:3.74160 6-7 š š š š PY 74.11741, 5-6 55700 Studio Pigment Light Green PG 7.74260 š š š š PG 7.74260, 5-6 55800 Studio Pigment Dark Green PY 74.11741 š š š š 55900 Studio Pigment Violet PV 23.51319 7-8 š š š š 56000- 56450 Fluorescent Pigments, var. š š š š 56500 Phosphorescent Pigment Green š š 56550 Phosphorescent Pigment Blue š š Phosphorescent Pigment Green in 56600 Acrylic Dispersion š 56650 Phosphorescent Pigment Red š š 58000 Chalk from Champagne PW 18.77220 š š š š š 58010 Chalk from Ruegen PW 18.77220 š š š š š 58100 Chalk from Bologna š š š š 58150 Chalk from Bologna, light š š š š 58158 Chalk from Belgium, powder š š š š š 58162 Stone Chalk PW 18.77220 š š š š š 58180 Natural White Earth š š š š š 58190 Sarti Chalk, grayish š š š š š 58191 Sarti Chalk, yellowish š š š š š 58200 China Clay PW 19.77004 š š š š š 58250 Kaolin, yellowish PW 19.77004 š š š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 58300 Terra Alba PW 25.77231 š š š š 58320 Anhydrite Plaster PW 25.77231 š š š š 58340 Alabaster Plaster, Italian PW 25.77231 š š š š 58400 Talcum White, fine PW 26.77718 š š š š š 58420 Talcum White, very fine PW 26.77718 š š š š š 58490 Calcium Carbonate PW 18.77220 š š š š š 58500 Marble Dust, extra white PW 18.77220 š š š š š 58520 Marble Dust, extra PW 18.77220 š š š š š 58540 Marble Dust, medium PW 18.77220 š š š š š 58560 Marble Dust, coarse PW 18.77220 š š š š 58580 Marble Dust, very coarse PW 18.77220 š š š š 58610 Quartz Powder, medium PW 27.77811 š š š š š š š 58620 Quartz Powder, coarse PW 27.77811 š š š š š š š 58630 Quartz Powder, 0.04 - 0.15 mm PW 27.77811 š š š š š š 58640- Quartz Powder, var. PW 27.77811 58660 š š š š 58675 Quartz Sand, light gray 0 - 0.3 mm PW 27.77811 š š š š š 58676- Quartz Sand, light gray, var. PW 27.77811 58678 š š š š 58685 Quartzite Orange 0 - 0.3 mm š š š š š š š 58686- Quartzite Orange, var. 58688 š š š š š 58689 Cristobalite Powder, approx. 8 µ š š š š š š š 58690 Cristobalite Powder, 0.01 - 0.1 mm š š š š š š 58692- 58694 Cristobalite Sand, var. š š š š 58700 Blanc Fixe PW 21.77120 š š š š š 58720 Calcite PW 18.77220 š š š š š PW 18:1.77220:1, 58740 Dolomite, pure white, 10 µ 77713:1 š š š š š 58750- 58760 Carborundum, var. š š š š š 58804 Granite Gray, 0 - 0.1 mm š š š š š š 58806- 58808 Granite Gray, var. š š š š 58814 Gneis Green, 0 - 0.3 mm š š š š š š 58816- 58818 Gneis Green, var. š š š š 58824 Granite Yellow, 0 - 0.3 mm š š š š š š 58826- 58828 Granite Yellow, var. š š š š 58844 Granite Red, 0 - 0.1 mm š š š š š š 58846- 58848 Granite Red, var. š š š š 58850- Travertine Sand, var. 58852 š š 58971- Cristobalite, var. 58978 š š š š 59001- 59002 Veronese White, var. š š š š š 59101- Mori Yellow, var. 59102 š š š 59201- Prugna Brownish Red, var. 59204 š š š 59301- 59304 Alpine Green, var. š š š 59401- Coral Pink, var. 59403 š š š 11

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No. Pigment Colorindex Lightfastness Oil Acrylics Tempera / Watercolor Gouache Fresco / Lime / Cement Tadelakt binder Silicate Waterglas / 59501 Black Marble, 0 - 0.6 mm š š š 59502 Black Marble, 0.7 - 1.2 mm š š š 59503 Black Marble, 1.2 - 1.8 mm š š š š š 59600 Carrara White Fine, 0 - 120 µ š š š š š 59601- Carrara White, 0 - 0.6 mm 59654 š š š 59602 Carrara White, 0 - 3 mm š š š 59610- White Marble Dust Carrara, var. 59615 š š š 59651- San Ambrogio, brownish, var. 59654 š š š 59800 Glass Beads š š š š 59821 Glass Powder in Beads š š š š š 59822 Glass Powder in Beads, fine š š š š 59825 Glass Powder in Beads, very fine š š š š š š š 59830 Glass Beads, coarser š š š š 59831 Glass Beads, fine š š š š š 59832 Glass Beads, very fine š š š š 59835 Glass Beads, coarse š š š 59850- Glass Flakes, var. 89852 š š š š š

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COURSES

Making your own paint can be fun and addictive. It is much easier than it seems. Similar to cookbooks you read today, one should not take these steps so literally – you can come up with new “flavors” if you experiment a little. The courses will provide historical processes and some modern ones as well. They are meant to provide you with a firm grasp on the ma terials, so you can then manipulate paint the way you want – for your own personal aesthetic. All classes will be approximately an hour and half long, with Q&A re to the topic. Seating is limited to 20 per class; first come first serve basis, no fee. Reservation is required. All classes will be held on the third Satur days of the month at 2 pm.

Please visit our website, call or email. You can find our Kremer Tech Blog on our website, follow updates, news, recipes, tips and conversation on Facebook, Twitter, Instagram and LinkedIn.

HOW TO FIND US

Our store is located in Manhattan on 247 West 29th Street between 7th and 8th Ave.

Parking Parking Garage across the street. Public parking by meter only.

Nearest Transit Station : 28 St. (1) 34 St. - Penn Station (1, 2, 3) 34 St. - Penn Station (A, C, E) Herald Square 34th St. - (D, B, N, Q, R)

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TERMS OF TRADE & SHIPPING

The Kremer Pigments Inc. Name The Kremer Pigments Inc. Name Brand and the Kremer Pigments Inc. Logo are trademarks of Kremer Pigments Inc. and may not be used without permission.

Privacy Policy Kremer Pigments Inc. collects personal information from customers for the sole purpose of: fulfilling mail orders, sending requested product information and keep- ing interested parties apprised of product and pricing updates. Kremer Pigments Inc. does not share this information with any other parties.

Online Catalogue The online catalogue is provided for the benefit of Kremer Pigments Inc.’s custom- ers. The published text, html scripting and pictures may not be reproduced, reused, or republished, without the permission of Kremer Pigments Inc..

Ordering Information Please refer to the ordering page in the online catalogue for further information. All orders may be placed verbally, by phone or they may be mailed, faxed or e-mailed to Kremer Pigments Inc.. Unless Purchase Order Numbers have been pre-approved, payment is expected to be accompanied by all orders.

Prices and tax Prices and availability of products are subject to change without prior notice. Due to diNering updating schedules, prices published on the Kremer Pigments Inc. will always apply. Online-prices are listed in US dollars without shipping charges and sales tax. Sales Tax is not applicable to shipments going outside of New City. Sales Tax will be charged on orders that are shipped from the same state as the shipping address of the order. New York City Sales Tax is 8.875%. For International customers, local customs duties will be charged by your local au- thorities.

Methods of payment Cash, Credit Card (Visa, Master Card, American Express and Discover), direct debit (in $US, drawn on a US account).

Special orders Not all products are regularly stocked, due to the fact that most of our products are imported from Europe, Kremer Pigments Inc. can only approximate an arrival date on ordered items. A deposit may be required. We can not guarantee or be held ac- countable for arrival dates on special order items.

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Returns Items can be returned within 30 days of the invoice date if they are unopened and unused. No returns for books or gold & composition leaf. Please send all returns prepaid freight. Please contact us in case of a return or visit our website.

Shipping Rates Rates apply to all UPS ground shipments within the contiguous United States.

* All orders under 10 kilograms (23lbs): $10 shipping - regardless of how much you order.

Orders weighing over 10 kg will be charged a reduced cost based on weight. We will contact you regarding the exact shipping cost.

Lower rates for our customers in NY, NJ, PA and CT! If your actual shipping cost is more than our flat-rate, your fee will be reduced.

* excludes Puerto Rico, Hawaii and Alaska. Additional restrictions apply; including fees for expedited service.

For domestic customers, unless otherwise requested, all shipments will be sent by UPS Ground Service. Overnight, second day air or three day select services are available with UPS.

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Index Aragonite 12 Bottle Green, Cobalt 18 Arbocel® 38 Bottles, Glass 75 Archäocoll 2000 51 Bottles, PE 75 /// A Arches Bütten 67 Brass Lacquer 50 Armicel 38 Brazilwood, extract 32 Abies Alba Resin 45 Artist Inks 59 Brenn Polish 50 AC 35, acrylic emulsion 44 Asphaltum 21 Brilliant Yellow 18 Accaroid, gum 32 Asphaltum Lacquer 50 Brimisvellir Green 8 Acematt® HK 125 44 Assortments 29-30 Bristol Yellow 18 Acronal®, acrylic 44 Atacamite 7 Bronze Powder 26 Acrylic Dispersions 43-44 Atramentum 12 Brown Earth, from Otranto 12 Acrylic Glasses 25 Attapulgite 39 Brown Ochre, from Andalusia 12 Adhesive Resin, transparent 51 Azurite 9 Brown Ochre, German 15 Aegirine 7 Azurite Gunjyou 28 Brown-Red Slate 12 Agar Agar 43 Brushes 70 K Agate Burnishers & Brushes 81 B Buckthorn Berries 32 Agate peach 28 /// BuK Titanium 20 AKA-Products 55 Badger Blender 71 Burgundy Gray 12 Alabaster 12 Balsams & Waxes 45-46 Burgundy Ochre, Red 4 Alabaster Plaster 38 Basalt, black 21 Burgundy Ochre, Yellow 6 Alba Albula 11 Bavarian Green Earth 7 Burgundy Resin 45 Albumine, egg-white powder 42 Beechwood Tar 50 Burnt Green Earth 14 Albuminous Glues 42 Beeswax 46 Burnt Iron Oxide Red, ALCHEMIST Products 48 Benecel™ A4C 43 IWA Enogu® 29 Alchinol / Hydrol 54 Bentonite 39 Burnt Sienna 14 Aldehyde Resin Dry, Benzoin 45 Burnt Umber 14 Laropal A 81 46 Berlin Blue 19 Button-Lac 45 Algae Glue 43 BEVA®Products 51-52 Alizarine Carmine, dye 33 Bianco San Giovanni 12 C Alizarine Crimson 17 Bideford Black 12 /// Alizarine pure, dye 33 Binders, mediums 42 K C à grain 67 Alizarine Violet 19 Biodocarb, fungicide 54 Cadmium Pigments, green 19 Alizarine Yellow, dye 33 Biotite 25 Cadmium Pigments, orange 16 Alkanet 32 Birch Leaves 33 Cadmium Pigments, red 16 Alkyd Resin AH 50 Bismuth, Metal Powder 26 Cadmium Pigments, yellow 17 Alkyd Resin Oil 47 Bismuth-Vanadate Yellow 18 Cajeput Oil 48 Alpine Green, marble 36 Bistre 12 Calcite 36 Aluminium-di/tri-stearate 39 Bitumen 50 Calcium Carbonate 36 Aluminum Glitter Black 24 Black Drawing Chalk 13 Calco Stuc 1, stucco mortar 39 Aluminum Hydroxide Fine 38 Black Earth, from Andalusia 12 Calix Blanca NHL 3.5 39 Aluminum Powder 26 Black Marble 36 Camphor 54 Aluminum Tubes 75 Black Mirror 80 Canada Balsam 46 Amazonite Hakusui-Matsu 28 Black Oil, Claude Yvel 48 Canvas 67 Amber 45 Black Tourmaline 29 Canvas Pliers 79 Amber Colophony 45 Black, carbonic 12 Caput Mortuum 15 Amber Varnish, ALCHEMIST 48 Blacksmith Powder 26 Caput Mortuum, synthetic 15 Amber Varnish, genuine 50 Blanc Fixe 38 Carbonic Black 12 Amberg Yellow 13 Blender 71-72 Carbopol® EZ 2 43 Ammonium Carbonate 55 Blue 807 Dye 33 Carborundum 40 Ammonium Hydrogen Blue Bice 9 Carmine Naccarat 5 Carbonate 55 Blue Verditer 9 Carnauba Wax 46 Amytis® Washing and Cleaning Bluish Green Earth, Cyprus 8 Carrara White, marble 36 Agent 54 Bohemian Green Earth 14 Casein 42 Andeer Green 8 Bole, red 5,14 Casein Binding Medium 42 Angular Brush 70,73 Bone Ash 38 Cassel Brown 15 Anhydrite Plaster 38 Bone Black 20 Cassel Earth 15 Aniline Black 20 Bone Folder 80 Casting Resin 51 Annatto Seeds 32 Bone Glue 42 Cast-Iron Powder 26 Antimony 12 Bookbinder Glue 42 Castor Oil 47 Antimony Red 18 Books 83 f Castor Stand Oil 47 11 Aquazol® 43 Borax-Casein 42 Catalyzer for MBlue 51

110 Index For further information and prices please visit us at www.kremerpigments.com General Information 11

Catechu 32 Cotton Canvas 67 /// F Cavansite 10 CPT- Red 16 Fan Blender 72 Cedar Wood Oil 47 CPT Scarlet Red 16 Fast Green FCF 33 Celadonite 8 Cremnitz White 12 Fawn Ochre 13 Cellulose Derivates & Glues 43 Cristobalite 37 Feldmann’s Egg Tempera 49 Cellulose Glue 43 Crocoite 5 Files 79 Cellulose Thickener 43 Culminal®MHPC 20000 43 Fillers & Building Materials 36 C Cement Black 21 Cyclododecane 52 Fillers made of glass 38 Ceramic Glue 51 Fine Colored Glass Pigments 27 Cere-Stucco Soap 49 /// D Fir Cone Oil 47 Chalk & Marble Fillers 36-37 Dammar 45 Fish Glue 42 Chalk from Belgium 12, 36 Dammar Varnish 49 Fish Silver 25 Chalk from Bologna 38 Dark Burnt Sienna 14 Fixative, Pastel 49 Chalk from Champagne 36 Dark Ochre 13 Flat Wide Brush 73 Chalk from Ruegen 36 Daylight Fluorescent Flatbrush 71 Chalk, black 13 Pigments 26 Flogger, Dragger 72 Chalk, drawing 63-64 Defoamer 54 Florentine Green 8 Chamotte 39 Dextrine 42 Fluorescent Colorants 34 Charcoal 21 Diamond Powder 11 Fluorescent Pigments 26 Chemicals 55 Diamond Powder, green-yellow 5 Foam Dispenser 81 Cherry Black 12 Dioptase Copper Silicate 7 Foils 68 Cherry Gum 42 Dioxazine Violet 19 Folium Cloth Blue 11 China Clay 37 Disperse Aid 44, 54 Fra-Angelico Blue 10 Chiqueteur Brush 72 Dispersion, acrylic 43-44 Frangulae Cortex 33 Chrome Oxide Green 18-19 Dispersion, Gilding 62 Franklin Hide Glue 42 Chromite 14 Dolomite 36 French Ochre, red 13 Chrysocolla 7 DPP- Red 16 French Ochre, yellow 13 Cibacron® 33 Dragger, Flogger 72 Fresco Brush 70-71 Cinnabar 4 Dragon’s Blood 32 Fuchsin 33 Cinnabar Shinsya 28 Dralon Fibres 38 Fuchsite 8 Cinquasia®Chestnut Brown 20 Drying Oils 47 Fu-Nori 43 Cinquasia®Gold, red-gold 17 Durolith®Bioclean L 44 Furnace Black 20 Cinquasia®Violet RT 201 D 19 Dusting Brush 71-72 Furniture Varnish Regalite® 49 Claude Yvel, Black Oil 48 Dyes & Vegetable Color Furniture Varnish Regalrez® 49 Claw Oil 47 Paints 32 C Fustic 32 Cleaning & Wetting Agents 54 Dyes, synthetic 33-34 Clove Oil 47 /// G Cobalt Blue 20 /// E Galena 12 Cobalt Bottle Green 18 Earth & Iron Oxide Pigments 13 C Gallnuts 32 Cobalt Cerulean Blue 20 EDTA 55 Gamboge 32 Cobalt Green 18 Egg Tempera, Felmann’s 49 Garnet Kicha Golden 27 Cobalt Oxide Green Blue 18 Eggshell White 11 Garnet Powder 17 Cobalt Violet 20 Egyptian Blue 9 Garnet Sakura-Nezumi 27 Cobalt Yellow 18 Egyptian Green 6 Gelatine, technical 42 Cochenille 32 Elba Brown Ochre 12 Gel-Painting Medium, Colophony 45 Elemi, Gum 45 Claude Yvel 48 Color Charts 84 English Red 14 Genuine Green Earths 14 Color Pastes, Kremer 59-60 Epidote 8 Gesso, Kremer 62 Colored Glass Flakes 25 Epidote, IWA Enogu® 28 Gilder Tip 71-72 Conichalcite 7 EPO-TEK® Resin 51 Gilding Brush 71-72 Copaiba Balsam 45 Epoxy Resins 51 Gilding Dispersion 62 Copal Varnish 50 Ercolano, Terra 14 Gilding Materials 62-63 Copal, Manila 45 Essential Oils 47-48 Gilding Tools 63 Copper Blue 19 Ethomeen® 54 Glass Beads 38 Copper Powder 26 Ethylcellulose ET 200 43 Glass Bottles 75 Copper Resinate 8 Ethylenediamintetraacetic acid Glass Fillers 38 Coral Pink, marble 36 disodium salt 55 Glass Flakes, colored 25 Cork Powder 38 Eucalyptus Oil 48 Glass Flakes, filler 38 Cosmoloid H 80 46 Extract of Brazilwood 32 Glass Mullers 80 Côte d’Azur Violet 10 Extract of Fustic 32 Glass Pigments 27 11

For further information and prices please visit us at www.kremerpigments.com Index 111 11 General Information

Glass Powder 38 Hooks 77, 79 /// K Glass Primer TSP 51 Hooks, wall 79 K 19, dispersion 44 Glimmer 16, 25 Horsetail, Scouring Rush 40 K 360, dispersion 44 Glitter Pigments 24 Hostaperm® Pink E 16 K 52, dispersion 44 Glue Plates 42 Hostaperm® Red 17 K 9, dispersion 44 Glue Pots 81 Hostaperm®Pink, transparent 16 Kamala 32 Glue, Cellulose 43 Hostaphan Foil 68 Kaolin 37 Glues, albuminous 42 HXTAL NYL-1, epoxid glue 51 Kermes Lice 32 Glycerol 55 Hydroxypropyl Cellulose 43 King’s Yellow 5 Gneis 37 Klucel®, Hydroxypropyl Gofun Hakurei Primer 62 /// I cellulose 43 Gold & Gilding Materials 62-63 Incra-Lac 54 Knife 75 Gold Glitter Pigments 24 Indanthren® Blue 19 Kremenit 51 Gold Leaves 62 Indian Yellow, imitation 17 Kremer Color Pastes 59-60 Gold Ochre 6,12,13 Indigo, synth. 19 Kremer Fine Artist Ink 59 Gold Powder 63 Indigo, various 11 Kremer Gesso 62 Goldpoints 62 Indigotin Blue, dye 33 Kremer Oil Colors 60-61 Gouges 78-79 Ingres 90 67 Kremer Oil Paint Medium 48 Graining Comb Set 72 Injection 75 Kremer Retouching Colors, Granite 37 Injection & Special Mortars 39 various 61-62 Grape Black 12 Ink Diluter 59 Kremer Water Color Medium 49 Graphite Powder Black 21 Ink Solvent 59 Kremer Watercolors 57-58 Graphite Powder Silver 21 Ink Stone 12 Kremer White 20 Graphite, in pieces 13 Inks, artist 59 /// L Grassello 39 Instacoll Gilding, Starter Set 62 La Maison du Pastel, Gray from Burgundy 12 Intensive Yellow 18 Pastels 63-64 Gray from Mels 12 Irgazine® Orange DPP RA 16 Lac Dye 32 Green Buckthorn Berries 32 Irgazine® Red DPP BO 16 Lacquer and Gesso Brush 71 Green Earth Pigments 7, 8, 14 Irgazine® Ruby DPP-TR 16 Lacquers 50 Green Earth, Cyprus 8 Irgazine® Scarlet DPP EK 16 LACSCAUX® Glues 51 Green Jasper 8 Irgazine® Yellow 17, 18 Lake, Reseda 6 Green Quartz 8 Irish Moss 33 Lanolin DAB 9 54 Groom Stick® 54 Iron Filings 26 Lapis Lazuli 10 Gubbio Red 16 Iron Glimmer 16 Laponite® RD 39 Gum Accaroid 32 Iron Oxide Orange, Larch Turpentine 45 Gum Arabic 42 IWA Enogu® 28 Laropal® Resin 46 Gum Copal 45 Iron Oxide Pigments 13, 15, 16 LASCAUX® Silicone Paper 65 Gum Elemi 45 Iron Powder 26 LASCAUX® Textile Welding Gum Picea Excelsa 45 Iron(II)Sulphate 55 Powder 51 Gums & Starches 42-43 Iseo Brown 12 LASCAUX®-Products 64-65 Gussow Oil Painting Brush 70 Isoindole Yellow 17 Latex Milk 44 Gypsum 38 Isoindolinon Yellow 18 Lavender Oil 47 Isoindolol Orange 17 Lead Tin Yellow 5 H Ital B 2 Leit 01, mortar 39 /// Lead White 12 Ivory Black JU 20 Haematite 15-16 Ledan®, mortar 39 Ivory Black, genuine 12 Haematite, spanish 16 Limasol, Silicate Binder 44 IWA Enogu® Glass Pigments 27 Haematite-Chrome Oxide, Limes 39-40 Spinel 21 IWA Enogu® Mineral Linen 67 HAN-Blue 9 Pigments 27-29 Linen, Paper & Foils 67-68 HAN-Purple 9 Liner 70-71 Harddrying Oil 49 /// J Liner Brush 72 Heat Seal Adhesives 51 Jade 8 Liner, Sword-Shaped 71 Heliogen Blue 19 Japanese Paper 67 Linseed Oil 47 Hemp Canvas 67 Japanese Wheat Glue 43 Linseed Oil Varnish 47 Henna 32 Jarosite 5, 6 Litharge, Massicot 6 Heydalsvegur Yellow 6 Jars, PVC 75 Lithium Waterglass 44 Hide Glue 42 Jasper, green 8 Lithopone 20 Historic Mortar 39 Jasper, red 4 Lizard Stone 28 Holographic Glitter, Jasper, yellow 27 Logwood 32 Silver & Gold 25 JunFunori® 43 11 Lycopodium 32

112 Index For further information and prices please visit us at www.kremerpigments.com General Information 11

/// M /// N Paint Thinner for Macrolex® Violet 33 Na-Carboxymethyl Cellulose 43 Archäocoll 2000 51 Madder Lake 5 Nano F - Black 20 Painter’s Gold 62-63 Madder Roots 32 Naples Yellow 5 Palette Knife 79 Magnesium Oxide 40 Natural Glues 42-43 Paliochrome 25 Magnetite 16 Natural Organic Dyes 32-33 Paliogen®Maroon 17, 20 Malachite Matsuba-Rokusyou 28 Natural Resins 45 Paliogen®Maroon 17, 20 Malachite, synth. 19 Natural Siena, Monte Amiata 6 Paliogen®Orange 17 Malachite, various 7 Nero Bernino 12 Paliotol®Orange 17 Mallow Blossom 33 Nickel-Titanium Yellow 18 Paliotol®Yellow 18 Manganese Black 21 Nicosia Green 14 Paper & Sketch Books 67 Manganese Brown 14 Nigrosin 33 Paper Stomp 80 Manganese Gray 21 Novacron® 33 ParaLn 46 Manganese Violet 19 ParaLn Oil 47 Manila Copal 45 /// O Paraloid™ 46 Marabout Dusting Brush 72 Oak Apples 32 Parchment Glue 42 Marble Dust 36 Obsidian Black 12 Pastel Fixative 49 Marbles, fillers 36-37 Ochre, satin 13 Pastel Green, Victoria Green 18 Marlipal® 1618/25 54 Ochre, Taunus 5 Pastels, La Maison du Pastel 63-64 Marmorino 40 Ochres, brown 12,15 PE / PVC Materials 75 Maroon 20 Ochres, red 4, 5 Peach Black 12 Marseille Soap 54 Ochres, yellow 5-6, 13 Pearl Luster, Pigments 21 X Massicot, Litharge 6 Oil Colors, Kremer 60-61 Pearlescent Pigments 21 X Mastic 45 Oil Paint Medium, Kremer 48 Pencil Clay 15 Mastic Varnish 49 Oil Paint Medium, Mastic Varnish and Black Scumble Glaze 48 Pentagonite 10 Oil Set 48 Oil Painting Brushes 70 Perilla Oil 47 Maya Blue 11 Oil Varnishes 49-50 Permabond 2011, Glue 51 MBlue, Silicone Mold Material 51 Oilpainting Medium 48 Permanent Green 19 Mediums 42 X Oils 47 X Permanent Red 16 Menthol 52 Old Holland Classic Permanent Yellow 17 Metal Powders 26 Oil Colours 63 Peru Balsam 45 Metal Restoration 54 Olibanum 45 Pestles & Mortars 80 Metal Tools 79 Olive Oil Soap 54 Petersburg Lacquer 50 Methocel A4M 43 Onyx Black 12 Pewter Powder 26 Methyl Cellulose 43 Orange Madder 33 Phenolic Resin Beads 38 Methyl-Hydroxy- Orasol®-Colorants 33 Phlogopite Mica 25 Propylcellulose 43 Organic Dyes 32-33 Phosphorescent Pigments 26 Mica 25 Organic Pigments, synth. blue 19 Phthalo Blue 19 Mica Graphite 25 Organic Pigments, Phthalo Green 18 Mica Plates, historic 25 synth. brown / black 20 Picea Excelsa Gum 45 Microwax 46 Organic Pigments, Picture Cleaner, Windsor & Milori Blue 19 synth. green 18-19 Newton 54 Mineral Fillers 36 X Organic Pigments, Picture Varnish, Regalite® 49 Minium 5 synth. orange- red 16-17 Picture Varnish, Regalrez® 49 Mixtion LeFranc 62 Organic Pigments, Pine-Needle Oil 47 Modelit 51 synth. yellow 17-18 Pinkcolor 4 Mold Material, MBlue 51 Orotan 731 K 44 Pipe Grainer 72 Monte Amiata, Cinnabar 4 Orpiment 5 Pit Lime 39 Mori Yellow 36 Orpiment, red 5 Plaster 38 Moroccan Ochres 4-6 Osage 6 Plaster Tools 77 Mortars 39 Owatrol Oil 48 Plastorit® 38 Mortars & Pestles 80 Ox Gall 54 Plexigum® 46 Mottler 72 Ozokerite 46 Plexisol® 46 MS2A Resin 46 Plextol®, acrylic 44 MS2-A-Varnish 49 /// P PLM Injection Mortars 39 Muccino 72 Packaging 75 Ploss Blue 9 Muscovite Mica 25 Paint Brushes 70 X Polishing Oil for Shellac Paint Glue, Na-Carboxymethyl Finish 50 Cellulose 43 Polishing Paste, LeFranc® 63 11

For further information and prices please visit us at www.kremerpigments.com Index 113 11 General Information

Polishing Powders 40 Red Jasper 4 Selenite, Marienglas 12 Polishing Wax, Renaissance 46 Red Lead, Minium 5 Selenite, Terra Alba 38 Polyglykol 43 Red Ochres 4-5, 13-14 Semi-Oil 49 Polypropylene Fibres 38 Regalite® Furniture Varnish 49 Sepia 13 Polyurethane Dispersion 44 Regalite® Picture Varnish 49 Sepiolite 37 Polyvinyl Acetate 46 Regalite® Resin 46 Sgra

114 Index For further information and prices please visit us at www.kremerpigments.com General Information 11

Stil de Grain 6 Tubes 75 Walnut Oil 47 Stippler 72 Tung Oil 47 Water Color Medium, Kremer 49 Stirrers, wooden 80 Tung Oil Varnish 49 Water Gilding, Starter Set 62 Stone Chalk 15, 36 Turmeric 32 Water, demineralized 55 Stucco Mortar 39 Turpentine Balsam, Silver Fir 45 Watercolor Binders 42-43 Stucco Tools 75, 76 Turpentine Rosin Oil 50 Watercolor Boxes, empty 58 Studio Pigment Blue 20 Turpentine, Larch 45 Watercolor Brushes 70 Studio Pigment Bordeaux 17 Turpentine, Venetian 45 Watercolor Pans, empty 58 Studio Pigment Green 19 Turpentines 45 Water-dilutable Binders 42 J Studio Pigment Orange 17 Turquoise 10 Waterglass 44 Studio Pigment Pink 17 Tween® 20 54 Wax Dye 33 Studio Pigment Red 17 Tyrian Purple 11 Wax-Paint Medium 48 Studio Pigment Violet 20 Tyrolean Dwarf Pine Oil 47 Wax-Translucent Wall Paint Studio Pigment Yellow 18 Tyvek® 68 Medium 48 Studio Red 17 Wenzhou, Japanese Paper 67 Studio Yellow 18 /// U Wetting Agent PM 54 Sudan® Black 33 Ultramarine Ash 10 Wheat Glue, Japanese 43 Sugar Dolomite 11 Ultramarine Blue 19 Wheat Starch Powder 42 Supplies 81 Ultramarine Red 17 White Chalk, from Belgium 12 Surfynol®61 54 Ultramarine Violet 19 White Earth, Natural 36 Sword-Shaped Liner 71 Umbers 13-14 White Marble Dust, Carrara 36 Synthetic Dyes 33 Universal Brush 71 White Oil 47 Synthetic Resins, Uranine 33 Wild SaJron 32 water-soluble 43 Winsor & Newton, Picture Cleaner 54 Syton® 44 /// V Wood Stains 15, 33 Vagone Green Earth, Wooden Boxes, empty 75 /// T enhanced 14 Wooden Stirrers 80 Talcum White 37 Van Dyck Brown 15 Woodstain, Red Dye 33 Tannin 33 Varnish Brushes 71 Woodstain, Yellow Dye 33 Tartrazine 33 Varnish, Violins 50 Woody Paste 51 Taunus Ochre 5 Varnishes 48 J Technical Gelatine, plates 42 Vaseline Oil 47 X Temperone 49 Vegetable Color Paints 32 f /// Terra Alba 38 Venetian Red 14 Xanthan 42 Terra Ercolano 14 Venetian Turpentine 45 XSL-Pigments 26 Terra Pozzuoli 14 Verdigris, synthetic 8 Texanol® 54 Vermiculite 25 /// Y Textile Adhesion Powder 52 Vermilion 5 Yellow Dye, woodstain 33 Textile Welding Powder 51-52 Verona Green Earth 7 Yellow Earth Pigments 13 Thickener for Dispersion 44 Verona Green Earth, enhanced 14 Yellow Jasper 27 Thickeners 39 Verona Green Earth, imitation 14 Yellow Moroccan Ochre 6 Thioindigo Red 19 Veronese White 36 Yellow Ochre 5-6, 13 Tide Bond, Franklin 42 Vesuvianite 10 Yellow Wood 32 Tiger Eye 29 Victoria Green, Pastel Green 18 Yellow Zircon 18 Tin Foil 68 Vienna Lime 40 Tinovetin® JUN HC 54 Vine Black 20 /// Z Tinuvin® 54 Violin Makers, Products 50 Zapon Lacquer 50 Titanium BuJ 20 Violin Varnish 50 Zinc Dust 26 Titanium Orange 18 Viridian Green 19 Zinc Sulphide 20 Titanium White Rutile 20 Vivianite 10 Zinc White 20 Tixogel® VZ 39 Volcano Ash 38 Zinc-Iron Brown 21 Tolubalsam 46 Volkonskoite 7 Zinc-Iron Chrome Brown 21 Tools 75 J Vulpex Liquid Soap 54 Zirconium Cerulean Blue 19 Translucent Orange-Red 15 Zirconium Red 17 Translucent Red medium 15 /// W Trass Powder 39 Wall Hooks 79 Travertine Sand 36 Wall Paint Binder 48 Travertine stucco mortar 39 Wall Paint Medium, Tripoli, Rotten Stone 40 Wax-Translucent 48 Triton®X-100 54 Walnut Hulls 32 11

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HAZARD WARNINGS / ACMI

GENERAL PROCEDURES FOR ART MATERIALS AND HAZARDOUS SUBSTANCES š Keep products out of reach of children! š 3OHDVHEHFDUHIXOZKHQKDQGOLQJELQGHUVDQGSLJPHQWV š 'RQRWHDWGULQNRUVPRNHDWZRUN3DLQWLQJPDWHULDOVDQGIRRGGRQRWEHORQJRQWR WKHVDPHWDEOHDQGQRWLQWRWKHVDPHUHIULJHUDWRU

Hazard identification and safety advice on the product labels are abbreviated. De- tailed information, tips on safety, handling and storage for each product can be found in the info sheets and material safety data sheets on our website.

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For further information and prices please visit us at www.kremerpigments.com +D]DUG:DUQLQJV$&0, 117 11 General Information

Kremer Pigments Inc. 247 West 29th Street New York, NY 10001

Phone (212) 219-2394 or 1-800 995 5501 Fax (212) 219-2395 www.kremerpigments.com /// [email protected] President : Dr. Georg Kremer

HAZARDOUS ITEM ORDER DISCLAIMER Please return this page by Fax or mail prior to order.

This letter is to acknowledge the fact that I fully understand the toxic nature of the following pig- ments that I have ordered for educational, instructional or conservation purposes, from Kremer Pigments Inc.

The pigments are:

and will be used in: (end use)

at: (institution’s name)

by: (professional’s/instructor’s name)

I fully accept responsibility for the safe use of the above items and do not hold Kremer Pigments Inc. liable for any adverse eDects caused by their toxicity.

Name/Title Phone

Address Customer No.

Signature/Stamp Date 11

118 Hazardous Item Order Disclaimer For further information and prices please visit us at www.kremerpigments.com General Information 11

SPACE FOR YOUR NOTES

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Kremer Pigments Inc. Raw Materials for Art & Conservation 247 West 29th Street New York Pigments NY 10001 Dyes & Vegetable Color Paints Phone (212) 219-2394 Fillers & Building Materials 1-800 995 5501 Mediums, Binders & Glues Fax (212) 219-2395 Solvents, Chemicals & Additives www.kremerpigments.com [email protected] Ready-made Colors, Gold & Gilding Materials Linen, Paper & Foils Brushes Tools, Packaging & Supplies Books & Color Charts Recipes