Elegant wooden case containing the complete range of Old Holland Classic oil colours. A total of 168 tubes of 40 ml in two trays. Limited edition.
Watercolors with the maximum quality and concentration that each color allows.
For cleaning the varnish layer. The presence of the beeswax makes the painting dull after drying. It is diluted in turpentine.
White drying medium. Speeds up the drying time of oil colors.
Increases brightness and transparency. Applicable on paper, cardboard, canvas, canvas and wood. Made with pure gum arabic. Dilutable in warm water with glycerin.
Volatile thinner for oil paint. Converts paint to less grease, softens brush stroke, and cleans material.
It gives the work a glossy finish that accentuates the colors of the painting and prevents yellowing. Protects from Ultra Violet rays.
It gives the work a matte finish that extinguishes the shine of the paint and prevents yellowing. Protects from Ultra Violet rays.
It gives the work a satin finish that slightly accentuates the colors of the painting and prevents yellowing. Protects from Ultra Violet rays.
Enlivens matt areas and gives temporary protection to paint. Dries in a few hours. Apply once the paint is well dry, it does not yellow. Made from dammar resin dissolved in turpentine.
Light matte varnish that does not yellow, for protection of paintings. Made from ketone resin dissolved in turpentine with an added beeswax for matte character. To be used approximately one year after the paint has dried.
Light glossy varnish that does not yellow, for protection of paintings. Made from ketone resin dissolved in turpentine. To be used approximately one year after the paint has completely dried.
Removable provisional protection. Increases shine on matt areas. Acetone base and White Spirit. Fast dry.
Paste varnish. Very shiny finish. It is diluted with Turpentine. Apply from the year after completion of the work.
Made with top quality Dammar resin. Glossy finish. Protects the box from external agents. Revives matte areas. Homogenizes the brightness of the entire work. Fast dry.
Increases the fluidity of oil paint. Makes the brush stroke disappear. It reinforces the shine, but the drying time is lengthened. It can be diluted with turpentine or white spirit.
Cold pressed and bleached linseed oil. It is diluted with Turpentine or White Spirit. Increases the fluidity of oil paint. Disguise the brush stroke. Strengthens shine. Decrease drying time.
Obtained from the first pressing of poppy seeds. It maintains many of the qualities of linseed oil, yellowing less and drying more slowly. Ideal for light colors.
Boiled linseed oil. Improves the flow of paint. Dries slower than refined linseed, darkens more than refined linseed.
Gel with a higher viscosity than New Master Acrylics.
Gel with a higher viscosity than New Master Acrylics.
Increase the transparency of the color. The gels are thicker than mediums and keep the density of Old Holland acrylic invariable, being essential in impasto processes.
Increase the transparency of the color. The gels are thicker than mediums and keep the density of Old Holland acrylic invariable, being essential in impasto processes.
Increase the transparency of the color. The gels are thicker than mediums and keep the density of Old Holland acrylic invariable, being essential in impasto processes.
Less thick than Old Holland New Master Acrylic, when wrapped with paint, it transforms it into a fluid acrylic.
Less thick than Old Holland New Master Acrylic, when wrapped with paint, it transforms it into a fluid acrylic.
Less thick than Old Holland New Master Acrylic, when wrapped with paint, it transforms it into a fluid acrylic.
Extends the drying process of the paint without altering its viscosity and density. It does not alter the colors. Add a maximum of 10% and mix well with the paint.
Medium developed for glazes and glazes.
It gives the paint a higher shine than it has when it comes out of the tube. Does not contain thickeners. It can be used in the desired proportion.
Does not contain thickeners. It can be mixed with New Old Holland Master Acrylics in the desired proportion. Long-lasting matte film drying.
Does not contain thickeners. It can be mixed with New Old Holland Master Acrylics in the desired proportion. Long-lasting satin film drying.
Universal gel to achieve pearlescent or iridescent effects with common colors. The best results are obtained with a portion 80% gel - 20% acrylic.
Use as a universal printing medium for screen printing.
Thin oil paint and increase flowability. Decrease shine. The brush stroke remains visible. Composed of a mixture of linseed oil, turpentine oil and essence of turpentine. It does not contain resin or driers.
Thin oil paint and increase flowability. Decreases shine and speeds up drying time. The brush stroke remains visible. Composed of a mixture of linseed oil, turpentine oil and essence of turpentine.
Volatile thinner for oil paint. Makes paint less greasy and cleans material. Obtained by oil distillation.
Developed by the Old Holland Laboratory for thick, solid paint layers. Once dry, it has a transparent finish.
Developed by the Old Holland Laboratory for thick, solid paint layers. Once dry, it has a transparent finish.
Developed by the Old Holland Laboratory for thick, solid paint layers. Once dry, it has a transparent finish.
Gel much thicker than acrylic, allows us to make thick layers of paint. High Build gel has a semi-opaque finish.
Gel much thicker than acrylic, allows us to make thick layers of paint. High Build gel has a semi-opaque finish.
Gel much thicker than acrylic, allows us to make thick layers of paint. High Build gel has a semi-opaque finish.
Gel with a higher viscosity than New Master Acrylics.
Light resistant primer, available in 8 colors. Applicable on canvas, paper, wood, stone and other supports. Valid as a primer for acrylic, watercolor, oil and tempera.
Extra-fine oil Old Holland. Maximum quality. Manufactured since the 17th century according to the traditional method of the Dutch school. Old Holland oil is considered one of the best oil paintings in the world. Great thickness, density and concentration of pigment.
Old Holland presented this range of acrylics, impossible to differentiate with the naked eye from its range of oils, thanks to its intensity of color and brightness. Excellent adhesion, ideal performance both in thin layers and in large thicknesses.