This water-based varnish provides a subtle yellow tone to duplicate the effects of age. This varnish can be used alone for a smooth finish or with cracking varnish.

Developed specifically to be rubbed into the cracks created by cracking varnishes, this black color makes cracks appear very dramatic. It can be used for general ageing effects as well. In a 20ml tube.

This oil is obtained through an artificial process and possesses the same properties as sun-bleached linseed oil. It may be used in combination with a solvent or oil painting medium. In a 75ml bottle.

Copal Picture Varnish is very similar in composition to the copal varnishes used by the old masters; formulated with hard copal resin, boiled linseed oil and rectified turpentine. It creates an extremely strong but supple, very glossy film. It has incomparable lightfastness and provides excellent protection against moisture. This varnish is irreversible and cannot be removed. In a 75ml bottle.

Use this water-based cracking varnish over ageing varnish to create cracks in the finish. Apply in smooth even strokes. Cracks will appear as the varnish dries, within two hours.

This complete antiquing kit allows you to age, crack and antique any project. It includes one 75ml bottle each of Ageing Varnish and Cracking Varnish along with a 20ml tube of Black Patina Antiquing Color. Apply the ageing varnish for a subtle yellow aged tone, then the cracking varnish to create cracks in the finish, and finish with the black patina antiquing color, to be rubbed into the cracks for dramatic effect.

This very glossy varnish can be applied easily owing to its low volatility. It allows large areas to be varnished well without being bothered by repeat varnishes. It is recognized for its relative paleness compared to other dammar varnishes. Based on a composition of Dammar resin, linseed oil and rectified turpentine. Avoid using in damp weather.

This clear, gloss varnish offers a durable, supple film, resistance to blooming and rubbing as well as to moisture and mold. It is non-yellowing and reversible. It can be mixed with oil and rectified turpentine and is often mixed with other varnishes. Used as is, its discrete gloss finish gives greater dimensions to paintings. Formulated with acrylic resin, quick drying petroleum and rectified turpentine.

Extra-Fine Retouching Varnish behaves like traditional mastic and turpentine varnishes. Due to the quick drying petroleum it contains, the varnish filters into the paint layer more easily than rectified turpentine based varnishes, without any risk of soaking through. It is naturally colorless and doesn’t yellow with age.

This Flemish gel medium recalls the time-honored recipes of the Van Eyck brothers of the 16th century. It is rapid setting (less than two hours) and allows precise, transparent and glossy work to be obtained, giving depth and luminosity to the painting. Ideal for creating rapid, successive glazes. It is lead-free and formulated from linseed oil and mastic resin. In a 60ml tube.

Flemish siccative medium gives paintings a slightly aged feel as the medium is amber colored. This centuries-old recipe of the Flemish painters is now lead-free and formulated with copal gum, linseed oil and rectified turpentine. It sets in two hours and increases the brightness and transparency of colors – perfect for glazing. Additionally, it makes colors very lightfast. In a 75ml bottle.

Developed by the chemist M. Duroziez, this is more of a painting medium than a genuine drier because the painted layer sets in 12 hours, and dries in three days. Formulated with phenol-formaldehyde resin, linseed oil and quick drying petroleum. This medium heightens gloss and transparency. It is perfect for large surfaces, and allows strokes to be juxtaposed after a day. In a 75ml bottle.

Isolating Varnish is used as the first varnish in the dual varnishing technique that enables a matte or gloss solvent varnish to be applied. It prevents white spots from forming when matte varnish is applied to matte paint. It is also used to renew painting by binding the picture layer and preventing any soaking through to underlayers when the final varnish is applied. The acrylic resin base diluted in alcohol dries instantly. This is the only varnish type that cannot be diluted with traditional solvents turpentine or petroleum. In a 75ml bottle.

This non-yellowing varnish, with its acrylic resin base, is best known for its qualities of suppleness, permanent clarity and high resistance. It shares certain similarities with retouching varnish and extra-fine picture varnish and can be mixed with both in any proportion for varying degrees of matteness. In a 75ml bottle.

Oil of Spike Lavender is a plant solvent obtained by distilling spike lavender. It is the least volatile of the solvents which makes it suitable for use in sketches that take longer. Mixed with slow setting mediums it helps to slow the setting time. In a 75ml bottle.

Extracted from poppy seeds, poppy oil is less siccative than linseed oil, but does not yellow with age. This property makes it especially desirable for use with the lightest colors of the painting range. In a 75ml bottle.

Sometimes, a painting needs to be given a strong gloss and handled again soon after. This quick drying varnish offers easy application followed by the rapid disappearance of any tackiness. It is non-yellowing and reversible. Formulated with ketone resin and quick drying petroleum.

Rectified Turpentine is produced by distilling the resin of maritime pines. When rectified, the resin becomes colorless and highly fluid. It liquefies colors without altering them or introducing foreign bodies because it evaporates quickly and disappears entirely. It is ideal for sketching and creating an underpainting.

Satin Picture Varnish is an intermediate between the glossy picture varnishes (crystal type) and the matte picture varnishes (beeswax). It owes its semi-matteness to the presence of a small amount of colloidal silica. It offers a non-reflective, non-yellowing polish and lustrous transparency of perfect evenness, even when used on impasto surfaces. Formulated with acrylic and ketone resin, linseed oil, silica and quick drying petroleum. In a 75ml bottle.

Venetian Gel Medium facilitates impasto work by making colors easier to apply with faster drying. The medium smoothes the edges of brushstrokes and palette knife applications while increasing color luminosity and depth. These qualities and its flexibility of use make it ideal for alla prima studies and plein air painting. The lead-free formula is made of beeswax, linseed oil, essence of spike lavender and cobalt-zirconium siccative. Sets in less than one hour and dries to a satin finish.

This light, zirconium-based siccative is transparent and does not yellow. Contains no lead. Siccatives are additives to control the drying rate of pigments. Courtrai drier should be used sparingly and only according to instructions to avoid damage, particularly cracking. In a 75ml bottle.

This oil and egg emulsion diluted in water was made popular by Xavier de Langlais. The egg acts as a stabilizer for the emulsion and allows colors to keep their freshness. It increases the smoothness of the color paste, accelerates setting and allows layers to be superposed. Depending on the dose, it will result in a matte or gloss finish. In a 75ml bottle.