KRP Katalog US 140806 Web PDF

P ROD U CT CATA LOG
www.kremerpigments.com
Table of Contents
Pigments
01
TABLE OF Dyes &

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

85 11 General Information Books &
Color Charts
10
General
Information
11
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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 & Iron Oxide Pigments
16 Pigments of Modern Age
21 Special & Effect Pigments
26 XSL-Pigments
27 Glass Pigments
27 IWA – Enogu® Mineral Pigments
29 Assortments

01 Pigments
KREMER-MADE AND HISTORIC PIGMENTS

/// Orange / Red
01
/// Pinkcolor
10150 Pinkcolor, very lightfast, < 38 µ
10154 Pinkcolor Deep, very lightfast, contains lead, 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 Vermilion early on, but because it developed a system
of separating the different 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 pigment, from China
10624 Cinnabar, very fine, chien tóu, < 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 brown-violett earthcolor from Iceland
Further Iceland Earthcolors: 11551 Heydalsvegur Yellow, 11552 Brimisvellir Green, 11553
Iceland Earthcolors Assortment.
/// Burgundy Ochre

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
industry and contributing to its wealth. Besides ochre and iron ore, there are also significant
occurrences of gray clay which burns to a light 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 ochres from old stock. The Burgundy ochre is also available in yellow hue.
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, maroon, < 120 µ
116441 Dark Red Moroccan Ochre, fine, maroon, < 80 µ
/// Red Bole, 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 Coral, from roots
372052 Madder Lake Salmon, from roots
372057 Madder Lake Carmine Red, from roots, precipitated with copper
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, Bordeaux Red, brilliant, very fine grind
37217 Madder Lake Violet-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 cochineal
42500 Red Lead, Minium, 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 Naples Yellow 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 gold 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 Chromium 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
Lemon 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 Limonite has always
been famous for its unique hue.
17050 Natural Sienna, 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 Reseda

36261 Lake made of Reseda and Buckthorn Berries, yellow lake pigment, 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 wood 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, Litharge, 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
Pigments 01
/// Malachite
Natural copper carbonate, contains copper. Malachite is the most important green up until the
18th century. We offer natural Malachite as well 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 differently 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
Atacamite, Cu2Cl(OH)3, 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
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 olive groves and in small ravines. Some of these gray-white 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
blue-green quality.
37391 Sap Green, made from ripe buckthorn berries and weld
44450 Verdigris, synthetic, coarse bluish green powder, contains copper
Pigments 01
/// Blue / Violet
/// Smalt
Cobalt silicate, contains cobalt. Oldest known man-made cobalt blue. 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
/// Egyptian Blue

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 Europe. Based on glass frit, it is stable in lime 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-Purple, 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 technology 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 offer 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
01 Pigments
/// Turquoise
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
chemical formula CuAl6(PO4)4(OH)8·4H2O.
01 103800 Turquoise Sky-Blue, 0 - 120 µ
103801 Turquoise Sky-Blue, fine, 0 - 80 µ
/// Vivianite
Vivianite is an aqueous iron phoshate. Its chemical structure is about Fe3 2+(PO4)2·8H2O. 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, India. 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

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 ultramarine
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
10562 Lapis Lazuli, sky-blue, from Chile, natural crystalline pigment
10580 Ultramarine Ash, by-product of Lapis Lazuli 10530
/// Côte dÁzur Violet

Light violet slate powder. From Mels, Switzerland. Contains iron / manganese.
11350 Côte dÁzur Violet, light caput mortuum
Pigments 01
/// Indigo
Indigo is an organic blackish blue pigment. Natural indigo was the only source of the dye un-
til the late 19th century. Today Indigo is also produced synthetically and available in various
shades. A variety of plants, such as Indigofera species or Isatis tinctoria, provide the indigo
dye. Indigofera species can be found all over the world. The dye is obtained from the process- 01
ing of the plant´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 different shades of blue and purple.
Indigo is among the oldest dyes to be used for textile dyeing. 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, Indigofera tinctoria
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 Tyrian Purple, 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 wool, cotton and silk. One can use the dye
directly from the shellfish for this procedure. The pigment made from this natural dye 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, buff 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 pink, 0 - 120 µ
11400 Rock 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
microscope.
11405 Diamond Powder, natural white, 60 - 80 µ
114052 Diamond Powder white-silver, crystals, approx. 100 µ
114053 Diamond Powder white-silver, crystals, approx. 250 µ
11410 Eggshell White, fine, white powder
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 Black, 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 Galena, 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-rust 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 umber, from Italy
11650 Elba Brown Ochre deep, dark brown, fine grind, from Tuscany
11670 Onyx Black, 0 - 120 µ
/// Carbonic Black

12000 Ivory Black, genuine, own production
12010 Peach 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, ink stone, black
Produced from the tannic acid of oak bark in a reaction with iron salts, Atramentum is a deep black
material that differs from carbon or iron oxide blacks. 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 lustre. Very lightfast.
12100 Bistre, genuine beechwood soot
Pigments 01
/// Sepia
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 knife. 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
/// 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 Fawn 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
For further information and prices please visit us at www.kremerpigments.com Earth & Iron Oxide Pigments 15
01 Pigments
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 Venetian Red, 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
/// Umbers
Native earths from Germany, Italy and Cyprus, containing manganese, they are otherwise
similar in composition to Sienna earths. Greenish dark hues 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 Viridian Green
41750 Vagone Green Earth, enhanced with Prussian Blue 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, grey tone.
01
41050 Cassel Brown, wood stain, watersoluble, Van Dyck Brown, oak stain, walnut stain
Slate & Clay, powder

40900 Slate Gray, 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, Mars Black, synthetic iron oxide, opaque
For further information and prices please visit us at www.kremerpigments.com Earth & Iron Oxide Pigments 17
01 Pigments
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
/// Cadmium 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® Scarlet 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
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

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
For further information and prices please visit us at www.kremerpigments.com Pigments of Modern Age 19
01 Pigments
23370 Pyramid-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-Titanium Yellow, 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, Aureolin
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
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 Pastel 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 difficult if ground in oil.
44200 Chrome Oxide Green, cool green, opaque
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
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

23050 Phthalo Blue, Primary Blue
23060 Phthalo Blue royal 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 Indigos (# 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 Cerulean Blue, semi-opaque, light blue
/// 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 azure. 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 effect that the stronger yellowish linseed oil would produce. Its natural
drying effect offsets the slow drying quality of those oils. Due to its particle weight, it tends to
For further information and prices please visit us at www.kremerpigments.com Pigments of Modern Age 21
01 Pigments
separate from the oil which can cause difficulties in tubes. Adding filler or beeswax can offset
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 Sky Blue, 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 Buff 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

23480 Cinquasia® Chestnut 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.
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 pearl 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 effects.
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 effects are produced, such as those found else-
where only in nature - silver white, interference, gold and multi-colored metallic luster effects.
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 rainbow effect. The MIRA pearlescent pigments are almost
colorless, transparent pigments. On a dark background they give a colored glitter effect 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-
For further information and prices please visit us at www.kremerpigments.com Special & Effect Pigments 23
01 Pigments
formance and their resistance to environmental influences make them especially suitable for
outdoor applications. The product group covers the largest color space which can be achieved
with eight interference pigments. All Pyrisma® have particle sizes of 5 - 35 µ.
COLORSTREAM®: ColorStream® pigments differ 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 effects. We call this magnificent multi-color MAGIC.
In combination with other pigments - so called stylings - the ColorStream® effect pigments
show to best advantage.
EFFECT®: Effect 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 effect with a distinct gleam and is charac-
terized by strong and very pure colors. The effect is intensified by sunlight. By coating with
titanium dioxide in different thicknesses silver effects and interference pigments in gold, red,
blue and green are produced. The coating with iron (III) oxide leads to bronze, copper and red
effect 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 effects 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 effect on dark or colored backgrounds. Weight and volume
of pearlescent pigments: Kremer Pigments offers 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 Al2O3, 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 & Effect 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 Lilac, 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® Magenta, 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.
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
rose 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
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
26 Special & Effect 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 effects 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 different 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 Amber, 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
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 effect 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 effects 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 offer a various range of colored glass pigments in 620 different 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 watercolor painting 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
North America. We offer 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
Azurite is a natural blue basic copper carbonate, Cu3(CO3)2(OH)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 plastic 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 Buff 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
01
41991 Set: Earth Pigment Assortment, 50 g each, approx. 68 earth pigments packed in
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 &
02 VEGETABLE COLOR
PAINTS 02
32 Natural Organic Dyes /

Vegetable Color Paints
33 Synthetic Dyes, water-soluble
33 Synthetic Dyes, solvent-soluble, Orasol
34 Fluorescent Colorants

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 Kermes 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 Reseda Luteola, 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 Saffron, 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 Gamboge, 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 Turmeric, 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 coffee
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 Henna Red, powder
37510 Henna Black, powder
38200 Catechu, 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 Tannin, 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
03 FILLERS &
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 Mortar
39 Limes
40 Polishing Powders

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 Champagne, 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, beige
03
58490 Calcium Carbonate, approx. 1 µ, very white
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 sculptures 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
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
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
/// Siliceous, Quartz & Granite

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
58650 Quartz Powder, 0.25 - 0.4 mm, sieved 03
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
For further information and prices please visit us at www.kremerpigments.com Colorless & Colored Mineral Fillers 39
/// 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 sculpture.
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 blade-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

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, Eiffel
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,
04 BINDERS &
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

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 off a wooden spoon.
/// Albuminous Glues

You can find our Glue Pots in Chapter 09 Tools, Packaging & Supplies.
63000 Bone Glue, pearls, 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
63521 Franklin Tide Bond 118 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 Rice 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 Wheat 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.
For further information and prices please visit us at www.kremerpigments.com Water-dilutable Binders 45
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
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,
Indonesia, where deforestation and political unrest have diminished supplies.
60050 Mastic, 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
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 Paraffin, 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
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, paraffin 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 Lavender Oil, Mt. Blanc, France, best quality
For further information and prices please visit us at www.kremerpigments.com Oils 49

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 difficult 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
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 sufficient. 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 traffic. 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
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
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

/// LASCAUX-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
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,
05 CHEMICALS &
ADDITIVES
05
54 Solvents
54 Cleaning & Wetting Agents
54 Conservation Materials
55 Chemicals
55 AKA-Products

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.
///
64020 Ammonium Hydrogen Carbonate, technical, pure NH4 HCO3
64021 Ammonium Carbonate, pure (NH4)2 CO3
64040 Potash, potassium carbonate K2CO3
64100 Potash Alum, aluminium potassium sulphate K2Al2(SO4)4 * 24H2O
64200 Iron(II) Sulphate, ferrous sulphate FeSO4 * 7H2O
64900 Glycerol 86 %, Europharma, of plant origin, DAB 10 C3H8O3
65000 Water, demineralized H2O
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 off to avoid friction or polishing the affected 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
06 READY-MADE COLORS &

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

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 Buff 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
06
501108 IRIODIN® Colibri Star-Gold 505208 IRIODIN® Chroma Lilac
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
KREMER FINE ARTIST INK
Most inks 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 effects, 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
/// 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
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).
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 different hues. This Retouching Colors can be thinned with ethyl
alcohol (70800). You also can purchase single colors. For further information please visit us at
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
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, 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
/// 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 ArtistsÓil Colours at www.kremerpigments.com.
06
CHALKS
We offer 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, color chart 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

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, Sunset 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

/// 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,
07 PAPER &
FOILS
67 Linen & Stretcher Bars

07 67 Paper & Sketch Books
68 Foils

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
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
873060 Linen light re-lining Canvas L518, loosely woven, without knots, without priming
873100 Cotton Canvas L520, twill weave
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
/// 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

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. different 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,
effects. 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 offer 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.
08
For further information and prices please visit us at www.kremerpigments.com Brushes for Restoration and Cleaning 75
09
Tools, Packaging & Supplies
TOOLS,
09 PACKAGING &
SUPPLIES
75 Packaging
75 Tools
81 Supplies
09

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
964128 Glass Bottle, 1000 ml, narrow, clear glass, narrow-mouthed 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
964060 PE-Bucket 1 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
885003 Spatula, pointed, 18 cm
885004 Spatula, round, 18 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

885063 Spatula round, 19.5 cm
885071 Spatula, round, 34 cm
78 Tools For further information and prices please visit us at www.kremerpigments.com

/// Scrapers
885018 Rasp, 18 cm, curved differently

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

885047 Plaster Tool, 24 cm, spatula / length 24 cm
09
885051 Plaster Tool, 29 cm, width 38 mm, spatula, length 29 cm
885053 Plaster Tool, 16 cm, width 4 / 6 mm, length 16 cm


/// 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

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 different 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: Sgraffito 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

/// 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 Mirror

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

/// 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
10 BOOKS &
COLOR CHARTS
83 English Books
84 Color Charts
10

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 Mustard 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 dìllustrations 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: Plastics - 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
10
86 Color Charts For further information and prices please visit us at www.kremerpigments.com
General Information 11
11 GENERAL
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
11

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 yellows 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 effect.
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

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

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.
11
90 Recipes For further information and prices please visit us at www.kremerpigments.com

FAQ & REFERENCES
How Much Each pigment needs a different 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 different 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 offers a variety of lumines-

Colors cent pigments and fluorescent dyes. Basically
they can be distinguished by the type of light
effect. 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 offer 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 (pharmacy 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).
11
For further information and prices please visit us at www.kremerpigments.com FAQ & References 91
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 off 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 human
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
11
92 FAQ & References For further information and prices please visit us at www.kremerpigments.com
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)
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
No. Pigment Colorindex
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-
10072
HAN-Blue, var. 8 š š š š š
10074-
10075 HAN-Purple, var. 8 š š š š š
10100-
10120
Lead Tin Yellow, var. 77629 8 š š š š
10130 Naples Yellow from Paris PY 41.77588 8 š š š š
10150-
10154
Pinkcolor 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-
10208
Azurite MP, var. PB 30.77420 8 š š š š
10210 Azurite natural fine PB 30.77420 8 š š š
10300-
10310
Malachite natural, var. PB 30.77420 8 š š š
10341-
10346
Malachite MP, var. PB 30.77420 8 š š š š
10350 Chrysocolla PB 31.77437 8 š š š
10355 Dioptase Copper Silicate š š š
103600-
13601
Malachite Fibres, var. PB 30.77420 8 š š š
103700-
103701
Malachite Arabian, var. PB 30.77420 8 š š š
103800-
103801 Turquoise Sky-Blue, var. 8 š š š
103900-
103901
Atacamite, var. 8 š š š
104000 Vivianite 8 š š š š
104200-
104201
Sodalite, var. 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-
10628
Cinnabar, var. PR 106.77766 š š š š
11
For further information and prices please visit us at www.kremerpigments.com Pigment-suitability list 93
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
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-
10930 Pyrite Powder, var. 8 š š š š š
10940 Antimony PR 107.77060 8 š š š
11000-
11010 Verona Green Earth, var. PG 23.77009 8 š š š š š
11100 Bavarian Green Earth PG 23.77009 8 š š š š š
11110-
11111 Russian Green Earth, var. PG 23.77009 8 š š š š š
11120 Volkonskoite 8 š š š š š
11140-
11141
Aegirine, var. 8 š š š š š š
11150-
11151
Epidote, var. 8 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-
11280
Ochres from Andalusia, var. 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- PW 18:1.77220:1,
11291
Sugar Dolomite, var.
77713:13 8 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 dÁzur 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-
11392
Jade, var. 8 š š š š š š
11400-
11401 Rock Crystal, var. PW 27.77811 8 š š š š š š š
11405-
114053
Diamond Powder, var. 8 š š š š š
11410 Eggshell White PW 18.77220 8 š š š š š
11415-
11416
Bianco San Giovanni, var. PW 18.77220 š š š š š
11420-
11421
Fuchsite, var. PW 20.77019 8 š š š š š š š
11422-
11424 Fuchsite, var. PW 20.77019 8 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
94 Pigment-suitability list For further information and prices please visit us at www.kremerpigments.com
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
11572-
11573
Burgundy Yellow Ochre, var. PY 43.77492 8 š š š š š š
11574-
11575
Burgundy Red Ochre, var. 8 š š š š š š
11576-
11577
Burgundy Red Ochre Deep, var. 8 š š š š š š
11584-
11585
Spanish Red Ochre, var. 8 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-
116421
Yellow Moroccan Ochre, var. PY 43.77492 8 š š š š š š
116430-
116431
Red Moroccan Ochre, var. 8 š š š š š š
116440-
116441
Dark Red Moroccan Ochre, var. 8 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-
11810 Selenite, Marienglas, var. PW 25.77231 8 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-
12402
Sepia, var. NBr 9 š š š
12440 Bideford Black PBk 8.77268 š š š
15221-
15311
IWA-Enogu®, var. 8 š š š š
1671508-
1671514
Yellow Jasper Iwa-Oudo, var. PW 27.77811 8 š š š š š
1671608-
1671614 Garnet Kicha Golden, var. 8 š š š š š š
1672008-
1672014
Garnet Sakura-Nezumi, var. 8 š š š š š š
1672108-
1672114
Cinnabar SHINSYA, var. PR 106.77766 8 š š š š
1672509-
1672514 Agate Peach, var. PW 27.77811 8 š š š š š
1673108-
1673114
Azurite GUNJYOU, var. PB 30.77420 8 š š š
1673908-
1673914
Sodalite SHIUN-MATSU, var. 8 š š š š š
1674108-
1674114 Malachite MATSUBA-ROKUSYOU, var. PB 30.77420 8 š š š
1674408-
1674414
Lizard-Stone, var. PW 26.77718 8 š š š š
1674508-
1674514
Amazonite HAKUSUI-MATSU, var. 8 š š š š š
1674908-
1674914 Epidote, var. 8 š š š š š
1675308-
1675311
Iron Oxide Orange, var. 8 š š š š š
11
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
1675408-
1675414
Burnt Iron Oxide Red, var. PR 101.77491 8 š š š š š
1675908-
1675914
Tiger-Eye TYOUJICHA, var. PW 27.77811 8 š š š š š
1676508-
1676514
Tourmaline DENKISEKI-MATSU, var. 8 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-
21050
Cadmium Yellow, var. PY 35.1.77205 8 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-
21090
Cadmium Orange, var. PO 20:1.77202 8 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-
21150
Cadmium Red, var. PR 108:1.77202 8 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
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
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-
27160 date Yellow PY 184 8 š š š š š š
Kremer Color Paste - Iron Oxide PR 101.77491,

27400 Brown 610
PBk 11.77499, 8 š š š š š š
PY 42.77492
Kremer Color Paste - Iron Oxide
27500
Black
PBk 11.77499 8 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
27700 Blue PB 29.77007 8 š š š š
Kremer Color Paste - Ultramarine
27705
Blue (new)
PB 29.77007 š š š š
Kremer Color Paste - Chrome Oxide
27800 Green
PG 17.77288 8 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
greenish
PY 129.48042 8 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
Kremer Color Paste - Permanent
28120
Yellow Medium
PY 154.11781 8 š š š š š
11
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
Kremer Color Paste - Isoindolinone
28150
Yellow
PY 109.56284 7-8 š š š š š
28200 Kremer Color Paste - Orange PO 34.21115 6 š š š š
Kremer Color Paste - Pyranthrone
28270 Orange
PO 36.11780 8 š š š š š
Kremer Color Paste - Irgazin® Orange
28375
DPP RA PO 73.561170 8 š š š š š
Kremer Color Paste - Irgazin® DPP
28390
Scarlet
PR 255.561050 8 š š š š š
Kremer Color Paste - Irgazin® DPP
28470 Red
PR 254.56110 8 š š š š š
Kremer Color Paste - Graphtol Red
28480 NFB 7 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
28510 DPP PR 264.561300 8 š š š š š
28600 Kremer Color Paste - Quindo® Red 8 š š š š š
Kremer Color Paste - Cinquasia®
28660 Violet PV 19.73900 7-8 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
Kremer Color Paste - Heliogen®
28910
Royal Blue
PB 15:3.74160 8 š š š š š
29000 Green
PG 7.74260 8 š š š š š
29050 Green, yellowish PG 36.74265 8 š š š š š
31231 Pozzuolana Red Earth very fine š š š š š š š
36000-
36003 Indigo, var. 8 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-
37218
Madder Lake, var. NR 9.75330/75420 4-6 š š š š
Farblack aus:
37370 Osage, yellow NY 8.75660 š š š š
NG
37391 Sap Green
2.75440/75650/75695 š š š
37392 Stil de Grain, var. NY 14.75440 š š š
NG
373941 Stil de Grain, Schützenberger
2.75440/75650/75695 6 š š š
390021-
394545
Colored Glasses, var. 8 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
11 40020 French Ochre RTFLES PR 102.77491 8 š š š š š š
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
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,
40060 French Ochre JALS PR 102.77491 8 š š š š š š
40070 French Ochre SOFODOR PY 43.77492 8 š š š š š š
PY 43.77492,
40080 French Ochre HAVANE PR 102.77491 8 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,
40241 Fawn Ochre PR 101 8 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-
40410
Raw Sienna, var. PY 43.77492 8 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-
40930
Slate Gray, var. PBk 19.77017 8 š š š š š
40960-
40970 Pencil Clay, var. 8 š š š š
41000 Van Dyck Brown NBr 8 7-8 š š š
11
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
41050 Cassel Brown, wood stain NBr 8 6-7 š š
PR 101,
41550 Terra Pozzuoli PR 102.77491 8 š š š š š š
PR 101,
41600 Terra Ercolano PR 102.77491 8 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-
42605
Ultramarine Red, var. PR 259.77007 8 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-
43130
Naples Yellow, var. PY 41.77588 š š š š
43131 Bristol Yellow, reddish 8 š š š š š š š
43200-
43210
Nickel-Titanium Yellow, var. PY 53.77788 8 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-
43920
Bismuth-Vanadate Yellow, var. PY 184 8 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-
44204
Chrome Oxide Green, var. PG 17.77288 8 š š š š š š š
44250 Viridian Green PG 18.77289 8 š š š š š š
PG 7, PG 17, PB 15,
44280 Permanent Green
PB 28, PW 7 8 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-
44510 Cadmium Green, var. PG 14.77199 8 š š š š
45000 Ultramarine Blue, very dark PB 29.77007 8 š š š š š
45010-
45080 Ultramarine Blue, var. PB 29.77007 8 š š š š š
45100-
45120
Ultramarine Violet, var. PV 15.77007 8 š š š š š
11 45202 Prussian Blue LUX PB 27.77510 8 š š š š
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
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-
45810
Cobalt Violet, var. PV 14.77360 8 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 Buff 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-
48020
Iron Oxide Yellow, var. PY 42.77492 8 š š š š š š š
PY 42.77492,
48040 Iron Oxide Yellow 940, dark PR 101.77491 8 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 PR 101.77491 8 š š š š š š š
11
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
PY 42.77492,
48060 Iron Oxide Orange 960, light
PR 101.77491 8 š š š š š š š
48100-
48210
Iron Oxide Red, var. PR 101.77491 8 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-
48289 Iron Oxide Red, var. PR 101.77491 8 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
PR 101.77491,
48320 Iron Oxide Brown 640, medium
PBk 11.77499 8 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
48350- PR 101.77491,
48360
Iron Oxide Brown, var. PBk 11.77499 8 š š š š š š š
48400-
48442 Iron Oxide Black, var. PBk 11.77499 8 š š š š š š š
48445-
48447
Iron Oxide Black, var. PBk 33.77537 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-
48750 Caput Mortuum, var. PR 101.77491 8 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-
489623
Spanish Haematite, var. PBk 11.77941 8 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
Pearl Luster IRIODIN® PEARLETS®
50002
Silver, water-soluble š š š š
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-
50019
Pearl Luster MIRA®, var. 8 š š š š š
Pearl Luster IRIODIN® Silver Glitter,
50020 fine 8 š š š š š
50021 Pearl Luster MIRA® Star Gloss š š š š š
50024-
50040
Pearl Luster IRIODIN®, var. 8 š š š š š
50061-
50068
Pearl Luster PYRISMA®, var. 8 š š š š š
50080-
50084
Pearl Luster XIRALLIC®, var. 8 š š š š š
11
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
50085 Pearl Luster Sun-Red š š š š š
50086 Pearl Luster Sunshine-Gold š š š š š
50090-
50111 Pearl Luster IRIODIN®, var. 8 š š š š š
50124
Solar Gold š š š š
Pearl Luster Colibri IRIODIN®
50140 Sun-Gold 8 š š š š š
50160-
50400 Pearl Luster IRIODIN®, var. 8 š š š š š
Pearl Luster EFFECT® Colibri Iron
50410
Red š š š š š
50440 Pearl Luster Lava Red 8 š š š š š
Pearl Luster IRIODIN® Chroma Cobalt
50500
Blue 8 š š š š š
50505 Pearl Luster EFFECT® Cobalt Blue š š š š š
50510-
50640
Pearl Luster IRIODIN®, var. 8 š š š š š
Pearl Luster COLORSTREAM® Magic
50651 Indian Summer 8 š š š š š
50652 Pearl Luster Magic Red 8 š š š š š
Pearl Luster COLORSTREAM® Magic
50653 Royal Damask 8 š š š š š
50654 Pearl Luster Magic Purple 8 š š š š š
50655- Pearl Luster COLORSTREAM® Magic,
50659 var. 8 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
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
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-
50947 Paliochrome, var. 8 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
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
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-
54660
Metal Powders, var. 8 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,
55700 Studio Pigment Light Green PG 7.74260 5-6 š š š š
PG 7.74260,
55800 Studio Pigment Dark Green PY 74.11741 5-6 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
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
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-
58660
Quartz Powder, var. PW 27.77811 š š š š
58675 Quartz Sand, light gray 0 - 0.3 mm PW 27.77811 š š š š š
58676-
58678
Quartz Sand, light gray, var. PW 27.77811 š š š š
58685 Quartzite Orange 0 - 0.3 mm š š š š š š š
58686-
58688
Quartzite Orange, var. 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-
58852
Travertine Sand, var. š š
58971-
58978
Cristobalite, var. š š š š
59001-
59002 Veronese White, var. š š š š š
59101-
59102
Mori Yellow, var. š š š
59201-
59204
Prugna Brownish Red, var. š š š
59301-
59304 Alpine Green, var. š š š
59401-
59403
Coral Pink, var. š š š 11
Silicate binder
Lime / Fresco
Lightfastness
Watercolor /
/ Waterglas
Cement /
Tempera
Gouache
Tadelakt
Acrylics
Oil
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-
59654
Carrara White, 0 - 0.6 mm š š š
59602 Carrara White, 0 - 3 mm š š š
59610-
59615
White Marble Dust Carrara, var. š š š
59651-
59654
San Ambrogio, brownish, var. 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-
89852
Glass Flakes, var. š š š š š
11
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
materials, 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
relevant 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 Saturdays 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)
11
For further information and prices please visit us at www.kremerpigments.com Courses & How to find us 107
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 differing 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 York 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.
11
108 Terms of Trade & Shipping For further information and prices please visit us at www.kremerpigments.com
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.
11
For further information and prices please visit us at www.kremerpigments.com Terms of Trade & Shipping 109
Aragonite 12 Bottle Green, Cobalt 18

Index
Arbocel® 38 Bottles, Glass 75
Archäocoll 2000 51 Bottles, PE 75
Arches Bütten 67 Brass Lacquer 50
/// A
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 ff
Agate Burnishers & Brushes 81
/// B Buckthorn Berries 32
Agate peach 28
Badger Blender 71 Buff Titanium 20
AKA-Products 55
Balsams & Waxes 45-46 Burgundy Gray 12
Alabaster 12
Basalt, black 21 Burgundy Ochre, Red 4
Alabaster Plaster 38
Bavarian Green Earth 7 Burgundy Ochre, Yellow 6
Alba Albula 11
Beechwood Tar 50 Burgundy Resin 45
Albumine, egg-white powder 42
Beeswax 46 Burnt Green Earth 14
Albuminous Glues 42
Benecel™ A4C 43 Burnt Iron Oxide Red,
ALCHEMIST Products 48
Bentonite 39 IWA Enogu® 29
Alchinol / Hydrol 54
Benzoin 45 Burnt Sienna 14
Aldehyde Resin Dry,
Berlin Blue 19 Burnt Umber 14
Laropal A 81 46
BEVA®Products 51-52 Button-Lac 45
Algae Glue 43
Alizarine Carmine, dye 33 Bianco San Giovanni 12
Alizarine Crimson 17 Bideford Black 12 /// C
Alizarine pure, dye 33 Binders, mediums 42 ff 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
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 ff
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 ff 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 ff 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
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
Grassello 39 /// L
Instacoll Gilding, Starter Set 62
Gray from Burgundy 12 La Maison du Pastel,
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
Haematite 15-16 Ivory Black JU 20
Ledan®, mortar 39
Haematite, spanish 16 Ivory Black, genuine 12
Limasol, Silicate Binder 44
Haematite-Chrome Oxide, IWA Enogu® Glass Pigments 27
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
11 Silver & Gold 25 JunFunori® 43
Lycopodium 32
/// 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 Paraffin 46
Manganese Violet 19 Paraffin 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
Marmorino 40 du Pastel 63-64
Ochres, brown 12,15
Maroon 20 PE / PVC Materials 75
Ochres, red 4, 5
Marseille Soap 54 Peach Black 12
Ochres, yellow 5-6, 13
Massicot, Litharge 6 Pearl Luster, Pigments 21 ff
Oil Colors, Kremer 60-61
Mastic 45 Pearlescent Pigments 21 ff
Oil Paint Medium, Kremer 48
Mastic Varnish 49 Pencil Clay 15
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 ff Oils 47 ff 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 ff 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 ff Polishing Oil for Shellac
Paint Glue, Na-Carboxymethyl Finish 50
Cellulose 43 Polishing Paste, LeFranc® 63
11
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 Sgraffito Tools 79
Polyvinyl Alcohol 43 Regalrez® Furniture Varnish 49 Shellac 45
Polyvinyl Butyral 46 Regalrez® Resin 46 Shellac Ink Diluter 59
Pompeii Red 14 Regalrez®Picture Varnish 49 Shellac Ink Solvent 59
Ponceau S extra 33 Renaissance Metal Shellac Inks 59
Poppy Oil 47 De-Corroder 54 Shellac Polish 50
Poster Paint Brush 70 Renaissance Polishing Wax 46 Shellac Powder 45
Potash 55 Reseda Luteola 32 Shellac Wax 45
Potash Alum 55 Reseda, Lake 6 Shellsol®T 54
Potassium Carbonate 55 Resin, Abies Alba 45 Shofu Jin Nori,
Potassium Silicate 28/30° 44 Resin, Burgundy 45 Japanese Wheat Glue 43
Powdered Stains 33 Resina Kamala 32 Shungit 12
Pozzuolana Red Earth 39 Resins, natural 45 Siccative No. 203 54
Pozzuoli, Terra 14 Resins, synthetic 46 Sienna, burnt 14
Praseodym Yellow 18 Retouching Brushes 70 Sienna, Natural, Monta Amiata 6
Pre-Lim Surface Cleaner 54 Retouching Colors 61-62 Sienna, raw 13
Preventol® ON extra 54 Rhodamine B 33 Sieves 80
Primal®, acrylic emulsion 44 Rhodochrosite 11 Silicade 8 44
Primer for Grassello and Rhodorsil RTV 3221 51 Silicate Binder 44
Marmorino 40 Rice Starch 42 Silicone Casting Materials 51
Primer, Glass 54 Ripe Buckthorn Berries 32 Silver Fir Needle Oil 47
Primer, Gofun Hakurei 62 Rock Crystal 11 Silver Fir Turpentine Balsam 45
Priming Brush 71 Rohagit® SD 15 44 Silver Glitter Pigments 24
Propolis 46 Roman Cement 39 Silver Leaves 62
Propolis Soap 50 Roman Lime 39 Silverpoints 62
Prugna, marble 36 Roman Pit Lime 39 Sinter Lime Water 39
Prussian Blue LUX 19 Rosemary Oil 47 Sketch Books 67
Pumice Powder 40 Rosenoble Gold 62-63 Slate Green, from Mels 8
Purple Red 16 Rosin Oil, Turpentine 50 Slate, Brown-Red 12
Purpurissum 11 Rosso Sartorius 14 Slate, Gray 15
PVA 43 Rotten Stone 40 Slate, Nero Bernino 12
Pyramid Yellow 18 Round Brush 73 Smalt 9
Pyranthrone Orange 17 Rubio Mineral Ground 50 Snaefellsjoekull Red 4
Pyrite Powder 12 Russian Green Earth 7 Sodalite 10
Sodalite Shiun-Matsu 28
/// Q /// S Softening Agent 46
Quartz & Granite 37 Saffron 32 Solvents 54
Quartz Powder 37 San Ambrogio, marble 36-37 Solvent-soluble Binders 45-46
Quartz Sand 37 Sandalwood 32 Spanish Haematite 16
Quartz, green 8 Sandarac 45 Spanish Ochre, Red 4
Quartzite 37 Sap Green 8 Spatulas 76-77
Quindo®Pink D 16 Sarti Chalk 37 Special Gum G 1650 46
Quindo®Red R6713 16 Satin Ochre 13 Spike Lavender Oil 48
Savonniere Rock, powder 36 Spinel Pigments 21
/// R Scagliola, plaster 38 Sponges 80
Rabbit Skin Glue 42 Scalpel knife 75 Squirrel Mop 72
Rasps 78-79 Scarlet Red 16 Stand Oil, Castor 47
Rathania Roots 32 Schmincke Casein Binder 42 Stand Oil, Linseed Oil 47
Raw Sienna 13 Scotchlite™ 38 Starch, Rice 42
Raw Umber 14 Scouring Rush, horsetail 40 Starch, Wheat 42
Ready-Made Colors 57 ff Scrapers 77 Starter Set Instacoll Gilding 62
Realgar 5 Script Liner 70 Starter Set Water Gilding 62
Red Bole 5,14 Scumble Glaze 48 Stearin 46
Red Dye, woodstain 33 Scumbling Brush 71 Steel Powder 26
11 Red Earth Pigments 13-14 Seed Lac 45 Stick-Lac 45
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 ff
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 Saffron 32
water-soluble 43 Winsor & Newton, Picture
Syton® 44 Cleaner 54
/// V Wood Stains 15, 33
Vagone Green Earth,
/// T Wooden Boxes, empty 75
enhanced 14
Talcum White 37 Wooden Stirrers 80
Van Dyck Brown 15
Tannin 33 Woodstain, Red Dye 33
Varnish Brushes 71
Tartrazine 33 Woodstain, Yellow Dye 33
Varnish, Violins 50
Taunus Ochre 5 Woody Paste 51
Varnishes 48 ff
Technical Gelatine, plates 42 Vaseline Oil 47
Temperone 49 Vegetable Color Paints 32 f /// X
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 Buff 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 ff 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
HAZARD WARNINGS / ACMI
GENERAL PROCEDURES FOR ART MATERIALS AND

HAZARDOUS SUBSTANCES
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11
For further information and prices please visit us at www.kremerpigments.com +D]DUG:DUQLQJV$&0, 117
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 /// info@kremerpigments.com
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 effects 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
SPACE FOR YOUR NOTES
11
For further information and prices please visit us at www.kremerpigments.com Space for your notes 119
11
120 Space for your notes For further information and prices please visit us at www.kremerpigments.com
11
For further information and prices please visit us at www.kremerpigments.com Space for your notes 121
11
122 Space for your notes For further information and prices please visit us at www.kremerpigments.com
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
info@kremerpigments.com Ready-made Colors, Gold & Gilding Materials
Linen, Paper & Foils
Brushes
Tools, Packaging & Supplies
Books & Color Charts
Recipes

KRP Katalog US 140806 Web PDF

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P ROD U CT CATA LOG

TABLE OF Dyes &

41 04 Mediums, Binders & Glues

82 10 Books & Color Charts 09

For further information and prices please visit us at www.kremerpigments.com 1

The following Icons are used in the brochure:

Cautionary Products may contain hazardous substances.

Approved Products bearing the AP Product Seal of ACMI are certiﬁed in a

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

4 Kremer-made and Historic Pigments

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

KREMER-MADE AND HISTORIC PIGMENTS

/// Burgundy Ochre

/// Spanish Ochre

/// Moroccan Ochre

/// Red Bole, in pieces

/// Madder Lake

11551 Heydalsvegur Yellow, yellow-gold, earthcolor from Iceland

01 /// Burgundy Ochre

/// Moroccan Ochre

/// Lake made of Reseda

/// Stil de Grain

/// Naples Yellow, contains lead

/// Malachite Fibres

/// Malachite, Arabian

/// Verona Green Earth

/// Florentine Green

/// Andeer Green

/// Egyptian Blue

/// Blue Bice

/// Lapis Lazuli

/// Côte d´Azur Violet

/// Sugar Dolomite

/// Bianco San Giovanni

/// Brown / Black

/// Carbonic Black

/// Graphite in pieces

EARTH & IRON OXIDE PIGMENTS

/// Yellow Earth Pigments

/// Red Earth Pigments

40430 Dark Burnt Sienna, Italian, No. 3

Mixed Earth Pigments

/// Green Earth Pigments

Genuine Green Earths

Mixed & Enhanced Earth Pigments

Slate & Clay, powder

/// Iron Oxide & Translucent Pigments

/// Orange / Red

/// Brown / Black

48420 Iron Oxide Black 306, bluish, synthetic iron oxide

PIGMENTS OF MODERN AGE

/// Organic Pigments, synth.

/// Garnet Powder

/// Studio Pigments

/// Organic Pigments, synth.

23370 Pyramid-Yellow medium, clear warm yellow

/// Bristol Yellow

/// Bismuth-Vanadate Yellow

/// Studio Pigments

/// Studio Pigments

/// Blue / Violet