Up to -24%
Up to -24%

Michael Harding Artists' Oil Colours

Michael Harding Artists' Oil Colours are manufactured to the very highest standards. They have a high pigment concentration and mix perfectly. The consistency is better described as "silky" rather than "oily". More
Titanium White (Safflower Oil) 101
101
excellent lightfastness
Series 1
Titanium White (Safflower Oil)
Titanium White (Linseed Oil) 102
102
excellent lightfastness
Series 1
Titanium White (Linseed Oil)
Titanium White 3 (Linseed Oil) 130
130
very good lightfastness
Series 1
Titanium White 3 (Linseed Oil)
Warm White 137
137
very good lightfastness
Series 1
Warm White
Zinc White 103
103
excellent lightfastness
Series 1
Zinc White
Warm Yellow 226
226
very good lightfastness
Series 2
Warm Yellow
Unbleached Titanium Oxide 117
117
very good lightfastness
Series 1
Unbleached Titanium Oxide
Light Yellow 512
512
good lightfastness
Series 5
Light Yellow
Lead Tin Lemon Yellow 514
514
good lightfastness
Series 5
Lead Tin Lemon Yellow
Lemon Yellow 108
108
very good lightfastness
Series 1
Lemon Yellow
Naples Yellow Light 605
605
good lightfastness
Series 6
Naples Yellow Light
Cadmium Yellow Lemon 401
401
good lightfastness
Series 4
Cadmium Yellow Lemon
Bright Yellow Lake 109
109
very good lightfastness
Series 1
Bright Yellow Lake
Aureolin 501
501
very good lightfastness
Series 5
Aureolin
Naples Yellow Deep 606
606
good lightfastness
Series 6
Naples Yellow Deep
Green Gold 410
410
good lightfastness
Series 1
Green Gold
Yellow Lake 110
110
good lightfastness
Series 1
Yellow Lake
Cadmium Yellow 402
402
very good lightfastness
Series 4
Cadmium Yellow
Indian Yellow 203
203
good lightfastness
Series 2
Indian Yellow
Naples Yellow 218
218
very good lightfastness
Series 2
Naples Yellow
Yellow Lake Deep 202
202
very good lightfastness
Series 2
Yellow Lake Deep
Cadmium Yellow Deep 404
404
good lightfastness
Series 4
Cadmium Yellow Deep
Cadmium Golden Yellow 403
403
very good lightfastness
Series 4
Cadmium Golden Yellow
Indian Yellow (Red Shade) 204
204
good lightfastness
Series 2
Indian Yellow (Red Shade)
Cadmium Orange 502
502
very good lightfastness
Series 5
Cadmium Orange
Permanent Orange 222
222
very good lightfastness
Series 2
Permanent Orange
Napthol Red 301
301
very good lightfastness
Series 3
Napthol Red
Scarlet Lake 205
205
very good lightfastness
Series 2
Scarlet Lake
Cadmium Red Light 503
503
very good lightfastness
Series 5
Cadmium Red Light
Genuine Chinese Vermilion 701
701
very good lightfastness
Series 7
Genuine Chinese Vermilion
Crimson Lake 406
406
very good lightfastness
Series 4
Crimson Lake
Cadmium Red Deep 505
505
very good lightfastness
Series 5
Cadmium Red Deep
Cadmium Red 504
504
very good lightfastness
Series 5
Cadmium Red
Alizarin Crimson 302
302
adequate lightfastness
Series 3
Alizarin Crimson
Quinacridone Rose 311
311
good lightfastness
Series 3
Quinacridone Rose
Transparent Oxide Red 220
220
very good lightfastness
Series 2
Transparent Oxide Red
Alizarin Claret 310
310
adequate lightfastness
Series 3
Alizarin Claret
Venetian Red 122
122
very good lightfastness
Series 1
Venetian Red
Indian Red 123
123
very good lightfastness
Series 1
Indian Red
Rose Madder 515
515
good lightfastness
Series 5
Rose Madder
Brilliant Pink 207
207
very good lightfastness
Series 2
Brilliant Pink
Magenta 303
303
very good lightfastness
Series 3
Magenta
Cobalt Violet Light 601
601
very good lightfastness
Series 6
Cobalt Violet Light
Amethyst 309
309
very good lightfastness
Series 3
Amethyst
Mangnanese Violet 304
304
very good lightfastness
Series 3
Mangnanese Violet
Cobalt Violet Dark 602
602
very good lightfastness
Series 6
Cobalt Violet Dark
Ultramarine Violet 208
208
very good lightfastness
Series 2
Ultramarine Violet
Deep Violet 312
312
very good lightfastness
Series 3
Deep Violet
Pale Violet 227
227
very good lightfastness
Series 1
Pale Violet
Kings Blue Light 211
211
very good lightfastness
Series 2
Kings Blue Light
Kings Blue Deep 212
212
very good lightfastness
Series 2
Kings Blue Deep
Phthalo Blue & Zinc 114
114
excellent lightfastness
Series 1
Phthalo Blue & Zinc
Lapis Lazuli 702
702
very good lightfastness
Series 7
Lapis Lazuli
Cerulean Blue 603
603
very good lightfastness
Series 6
Cerulean Blue
Cobalt Blue 506
506
very good lightfastness
Series 5
Cobalt Blue
Ultramarine Blue 113
113
very good lightfastness
Series 1
Ultramarine Blue
Phthalo Blue Lake 209
209
very good lightfastness
Series 2
Phthalo Blue Lake
Prussian Blue 112
112
very good lightfastness
Series 1
Prussian Blue
Cobalt Teal 513
513
very good lightfastness
Series 5
Cobalt Teal
Phthalo Turquoise 210
210
very good lightfastness
Series 2
Phthalo Turquoise
Bright Green Lake 116
116
good lightfastness
Series 1
Bright Green Lake
Permanent Green Light 215
215
very good lightfastness
Series 2
Permanent Green Light
Emerald Green 216
216
very good lightfastness
Series 2
Emerald Green
Cobalt Green Deep 508
508
very good lightfastness
Series 5
Cobalt Green Deep
Viridian 511
511
Series 5
Viridian
Terre Verte 115
115
very good lightfastness
Series 1
Terre Verte
Oxide of Chromium 305
305
very good lightfastness
Series 3
Oxide of Chromium
Phthalo Green 213
213
very good lightfastness
Series 2
Phthalo Green
Phthalo Green (Yellow Shade) 214
214
very good lightfastness
Series 2
Phthalo Green (Yellow Shade)
Permanent Sap Green 217
217
very good lightfastness
Series 2
Permanent Sap Green
Cobalt Turquoise Deep 507
507
very good lightfastness
Series 5
Cobalt Turquoise Deep
Italian Green Umber 132
132
very good lightfastness
Series 1
Italian Green Umber
Transparent Oxide Yellow 219
219
very good lightfastness
Series 2
Transparent Oxide Yellow
French Yellow Ochre 133
133
very good lightfastness
Series 1
French Yellow Ochre
Yellow Ochre 119
119
very good lightfastness
Series 1
Yellow Ochre
Italian Brown Ochre 223
223
very good lightfastness
Series 2
Italian Brown Ochre
Yellow Ochre Deep 118
118
very good lightfastness
Series 1
Yellow Ochre Deep
Raw Sienna 120
120
very good lightfastness
Series 1
Raw Sienna
Transparent Brown Oxide 224
224
very good lightfastness
Series 2
Transparent Brown Oxide
Burnt Sienna 125
125
very good lightfastness
Series 1
Burnt Sienna
Red Umber 124
124
very good lightfastness
Series 1
Red Umber
Burnt Umber 126
126
very good lightfastness
Series 1
Burnt Umber
Raw Umber 121
121
very good lightfastness
Series 1
Raw Umber
Van Dyck Brown 134
134
very good lightfastness
Series 1
Van Dyck Brown
Neutral Grey 136
136
very good lightfastness
Series 1
Neutral Grey
Vine Black 135
135
very good lightfastness
Series 1
Vine Black
Payne's Grey 127
127
very good lightfastness
Series 1
Payne's Grey
Ivory Black 129
129
very good lightfastness
Series 1
Ivory Black
Lamp Black 128
128
very good lightfastness
Series 1
Lamp Black
Key to symbols
Series
Price series
very good lightfastness
very good lightfastness
excellent lightfastness
excellent lightfastness
good lightfastness
good lightfastness
adequate lightfastness
adequate lightfastness

Michael Harding Artists' Oil Colours are manufactured to the very highest standards. They have a high pigment concentration and mix perfectly. The consistency is better described as "silky" rather than "oily".

Only the very best raw materials are used, and the handmade production of Michael Harding Artists' Oil Colours provides artists with a first-class result with every brush stroke.

Michael Harding Artists' Oil Colours are unrivalled, making them very popular with artists such as David Hockney, Sir Howard Hodgkin and Chris Ofili. These artists give testimony to Michael Harding's claim: 'I only want to make the world's greatest oil paints.I cannot afford to compromise.'

Michael Harding Artists' Oil Colours are available in various sizes.

N.B. Please click on the required shade below to see prices and add to your basket.

Price per unit.

Stock availability online does not reflect availability in-store.
Not for me, I still prefer the backing of a resourceful proper Manufacturer - I experimented - cautiously! - with Michael Harding oils years ago and I didn't like them. The little flakes in the tube are simply oil paint skin formed in production process or later on, inside the tube. This is a pain! It is not easy to capture those flakes, and straining tube paint is not an easy job, and defeats the purpose of having paint in tubes, which is supposed to be practical and save time.
Michael Harding, even now, is a relatively small manufacturer, and inconsistencies such as the example of the dried oil skin flakes inside the tube, are more likely to happen in small manufacturing operations. This is where I prefer the backing of a larger manufacturer, with much better resources, labs and so on. In 20 years or so using Winsor & Newton, LeFranc & Bourgeois, Royal Talens, Sennelier and such, I have never encountered a fault like the flakes in tubes. Larger manufacturers have standard, very strict industrial quality control procedures, and the reliability is just there. I never found a tube with faulty paint in any of them, the colours are always consistent, the oil paste is always the same quality and viscosity, etc. I like this reliable standard, it meets expectations all the time, every time.
Then we have the prices and the heavy metal toxic/poisonous and in some cases carcinogenic pigments used in some of Michael Harding oils. The common excuse that artists are supposed to be careful, does not wash because careful or not, when it is time to clean your brushes, the toxic waste has to go somewhere, and in most studios, a lot of that toxicity goes down the drains into the waterways. Let's face it... In the 21st Century, it is possible to produce top of the range colours using safer pigments. This brand is another case of hype and clever marketing by trying to persuade artists that only genuine toxic pigments will produce the right colours and therefore professional results. I do not subscribe to any of what I explained above.
Prices are also too high, and the main reason is because the prices have to match the hype, so they are inflated. Pigment and oil bought industrially in bulk are relatively cheap to buy and even the added extra of saying that MH are handmade oil colours is at best an overstatement and at worst, a misrepresentation of sorts. MH paints produced on this scale have to be mixed in mechanical vats to wet the pigments, and then the mixes have to be put through triple roll mill machines to grind the pigment into the oil and obtain an oil colour, as we all know it.
Save yourself some hard earned cash, don't buy into the excessive hype; there is plenty of excellent oil colour, artist grade paint out there, better than Michael Harding, more reliable in my view, colour matched, batch after batch after batch; and at a far better and more realistic price.
not all good - The pigments in some of these paints are excellent.
There's problems with some batches of Titanium White. The large tubes with code 02 15 have flakes in them which appear towards the end of the tubes. I've been told by Michael Harding that the tubes have been withdrawn but GreatArt have still supplied them. I have since contacted GreatArt about this and they are aware of problem.
Quality Oil Pigments, with wonderful colours - I switched to Micheal Hardy paints 2 years ago after starting painting only six months previously. It became apparent very quickly that cheaper paints were like painting with butter that slipped around on the canvas. The colours are so good with Micheal Hardy paints that I find I use less paint and waste less paint too.
They mix beautifully and the tones are not harsh unlike the cheaper paints I started out with! I love the warmth of the brown umbers, The vibrancy of the orange and lemon yellow.
I paint local seaside scenes mixing lots of blue/greens and stormy purples. The rich tones of the pigments in the cobalt blue and aquamarine blue combining with the cad yellow and the beautiful turquoise tones give me all the range of sea and skies I want. I am now selling paintings, prints and cards! I am sure the comments I get about my colourful pictures is in part down to the wonderful Micheal Harding paint I use. I would recommend them to anyone beginner or experienced. I liken it to learning a musical instrument. It is not good if the instrument makes a horrid noise however well you play it!
Wonderful Oil Colours - I'm now a total convert from W&N Artist's range to Michael Harding's Oil Colours; the look, colour and flow of the Harding paints mean that they are in a league of their own. My particular favourites include the unique Red Umber (redder than Burnt Umber, so great for warm shades when mixed with Ultramarine Blue and Black), Cobalt Green Deep (I modify this colour for my landscapes: from bluish greys to rich, warm greens), Ultramarine Blue (its pigment has great luminosity and depth), Scarlet Lake (a great all-round red and can be used for the pinks in botanical subjects), Permanent Orange (the best orange I've tried - not too fiery, a good replacement for Cadmium Orange), Raw Umber (Harding's version is the most saturated I've come across with the most greenish undertones) and Burnt Sienna (leaning more towards red than orange, its great for toning down the colours in landscape painting and for producing flesh tones). All the information the artist requires, including the pigment's code, transparency, chemical formula, tint strength and oil content, is provided on the paint-tube. Moreover, for handmade oil colours, its amazing that Michael Harding offers such competitive prices.
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