26 Ergebnisse (0,17204 Sekunden)

Alle Filter anzeigen

Marke

Alles anzeigen

Händler

Preis (EUR)

Filter zurücksetzen

Produkte
Von
Shops

Sennelier aqua 1/2 Pfannen Set 12 Stück + ARM la petite Aquarelle HANDS FREE

Sennelier aqua 1/2 Pfannen Set 12 Stück + ARM la petite Aquarelle HANDS FREE

Der Aquarellkasten lässt sich an allen Ständern und Gelenkarmen befestigen, so dass sie in jeder Position ausgerichtet werden können. Mit diesem intelligenten neuen "La Petite Aquarelle"-Kasten haben Sie die Möglichkeit, beide Hände zu benutzen. Dieses Aquarellset ohne Hände ist mit einer Universalschraube an der Unterseite ausgestattet, so dass das Set an jedem Ständer oder Stütze befestigt werden kann. Sie können sie an einem Stuhl, einer Staffelei, einem Tisch, einer Parkbank oder einem nahen Ast befestigen. Diese Kollektion entstand aus der Erkenntnis heraus, dass es für Aquarellmaler oft schwierig ist, beim Malen im Freien bequem zu sitzen. Sehr oft wird der Aquarellkasten auf die Knie oder direkt auf den Boden gestellt. Das innovative Design dieser Kits ermöglicht es den Künstlern, beide Hände zu benutzen und vergrößert den Platz auf der Arbeitsfläche, was das Malen erleichtert. Wenn Sie Ihren Aquarellkasten an Ihrem Klappsitz oder Ihrer Staffelei befestigen, können Sie ganz einfach malen, während Sie Ihren Kaffee trinken. Das Hands Free Set besteht aus 12½ Töpfen und einem Gelenkarm. Die ½ Fächer sind austauschbar und können durch andere Farben ersetzt werden.

EUR 45.95
1

Sennelier aqua 1/2 Pfannen Set 12 Stück la petite Aquarelle HANDS FREE

Sennelier aqua 1/2 Pfannen Set 12 Stück la petite Aquarelle HANDS FREE

Der Aquarellkasten lässt sich an allen Ständern und Gelenkarmen befestigen, so dass sie in jeder Position ausgerichtet werden können. Mit diesem intelligenten neuen "La Petite Aquarelle"-Kasten haben Sie die Möglichkeit, beide Hände zu benutzen. Dieses Aquarellset ohne Hände ist mit einer Universalschraube an der Unterseite ausgestattet, so dass das Set an jedem Ständer oder Stütze befestigt werden kann. Sie können sie an einem Stuhl, einer Staffelei, einem Tisch, einer Parkbank oder einem nahen Ast befestigen. Diese Kollektion entstand aus der Erkenntnis heraus, dass es für Aquarellmaler oft schwierig ist, beim Malen im Freien bequem zu sitzen. Sehr oft wird der Aquarellkasten auf die Knie oder direkt auf den Boden gestellt. Das innovative Design dieser Kits ermöglicht es den Künstlern, beide Hände zu benutzen und vergrößert den Platz auf der Arbeitsfläche, was das Malen erleichtert. Wenn Sie Ihren Aquarellkasten an Ihrem Klappsitz oder Ihrer Staffelei befestigen, können Sie ganz einfach malen, während Sie Ihren Kaffee trinken. Das Hands Free Set besteht aus 12½ Pfannen. Die ½ Fächer sind austauschbar und können durch andere Farben ersetzt werden.

EUR 23.95
1

500ml

500ml

This is a liquid medium for acrylics, especially the pouring technique. The medium is ideal for the cell effect, by adding silicone oil. Pouring medium s can also be mixed with acrylic paint to improve flow, and diluted further with water. The medium dries up waterproof, does not yellow over time, and has a flexible surface. It is recommended not to work with Silicone oil at temperatures below 15 C. The surface to which Schmincke Pouring Medium S is applied should be slightly absorbent, clean, and free of oil and grease residues. Choose between 500ml and 1000ml.

EUR 20.95
1

15ml

15ml

Lapis Lazuli has been prized for its beauty, its mystical properties, and its perfection as a pigment. Ancient civilizations believed that the veins of glittering pyrite found in the lapis were actual gold, driving up its value. The stone's expense today, as in the ancient world, results from its hardness, which makes extraction difficult. Mined in the mountains of South America, this gem-quality pigment is a subtle blue-grey, with a classic color that is light reflective (due to the irregular and angular shape of the pigment particles). Our Genuine Lapis Lazuli is at least 80% pure gem pigment suspended in a natural binder.

EUR 25.95
1

110g

110g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 24.95
1

100g

100g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 24.95
1

90g

90g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 35.95
1

140g

140g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 35.95
1

150g

150g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 24.95
1

120g

120g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 35.95
1

100g

100g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 35.95
1

120g

120g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 35.95
1

100g

100g

At the end of the 19th century, when Sennelier was developing oil paints for his customers, who included great artists such as Cézanne, Gauguin and Picasso, Gustave Sennelier realised that there was a need to produce some paint that contained the highest quality pigments. In trying to produce the best colours, Gustave noted that the original pigments came from selected traditional sources, while identifying the specific chemical composition of each pigment. All this, his great respect for the materials, not only ensured the durability of work done with his paints, but also ensured a small production of unique colours with unmatched beauty and quality. The pigments are available in 25g -180g cans.

EUR 35.95
1

200ml

200ml

Color: Cerulean Cobalt BluePermanence: AAOpacity: Semi-transparentPigment: PB35Pigment description: Cobalt, Tin and Magnesium OxideASTM Rating Ligthfastness: IPigment classification: Synthetic inorganicColor Index Number: 77368Viscosity range (mPa.s): 20.000 - 25.000 Color IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

EUR 43.95
1

200ml

200ml

Colour: Chromium Oxide GreenPermanence: AAOpacity: OpaquePigment: PG17Pigment description: Chrome OxideASTM Rating Ligthfastness: IPigment classification: Synthetic inorganicColor Index Number: 77288Viscosity range (mPa.s): 20.000 - 25.000 Color IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

EUR 27.95
1

200ml

200ml

Color: Naphthol CrimsonPermanence: BOpacity: Semi-transparentPigment: PR5Pigment description: Naphthol ITRASTM Rating Ligthfastness: IIPigment classification: Synthetic organicColor Index Number: 12490Viscosity range (mPa.s): 20.000 - 25.000 Color IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

EUR 20.95
1

60ml

60ml

Colour: Ultramarine VioletPermanence: AAOpacity: Semi-transparentPigment: PV15Pigmentdescription: Silicate of Sodium and AluminumASTMRating Ligthfastness: IPigment classification: Synthetic inorganicColorIndex Number: 77007Viscosityrange (mPa.s): 800 - 1.500 Colour IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

EUR 20.95
1

500ml

500ml

Colour: Phthalo BluePermanence: AAOpacity: Semi-transparentPigment: PB15:3Pigment description: Copper Phthalocyanine ßASTM Rating Ligthfastness: IPigment classification: OrganometallicColor Index Number: 74160 bViscosity range (mPa.s): 20.000 - 25.000 Color IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

EUR 22.95
1

60ml

60ml

Colour: Cyan BluePermanence: AAOpacity: OpaquePigment: PW6, PB15:3Pigment description: Rutile Titanium Dioxide, Copper Phthalocyanine ßASTM Rating Ligthfastness: IPigment classification: MixtureColour Index Number: -Viscosity range (mPa.s): 20.000 - 25.000 Color IndexThe pigments used for artists' colours are inorganic as well as organic. The inorganic pigments have been used since antiquity; most of them are extracted from minerals and soil, such as natural earth colours, siennas and ochres. Titanium, carbon and ultramarine pigments also belong to this category, as well as cobalt and cadmium. Many of these pigments are now also manufactured synthetically. Organic pigments have their origins in the 19th century. Industrial production developed at the beginning of the twentieth century owing to new manufacturing processes in organic chemistry. These synthetic pigments have become an important group in the manufacture of artists' colours, producing bright and luminous shades of great intensity and excellent light fastness and permanence. The range has extended continuously, and now besides the familiar phthalocyanines and naphthols, includes azo compounds, dioxacines and pyrroles, antraquiniones and quinacridones.

EUR 22.95
1