British canvas, stretcher and panel suppliers’ marks. Part 8, Charles Roberson & Co

This resource surveys suppliers’ marks on the reverse of picture supports. This part is devoted to Charles Roberson, a business founded in 1819 and which grew to become one of the leading companies as Charles Roberson & Co from 1855 and Charles Roberson & Co Ltd from 1908 until 1987. The business was a significant supplier of canvas from about the 1820s until the 1980s. For further information, see British artists' suppliers, 1650-1950 - R on this website. The Roberson archive is housed at the Hamilton Kerr Institute, University of Cambridge.

Measurements of marks, given where known, are approximate and may vary according to the stretching or later conservation treatment of a canvas or the trimming of a label. Links are given to institutional websites where dimensions of works can be . Business dates and addresses are usually accurate to within a year. Square brackets are used to indicate indistinct or missing lettering in transcripts, with readings sometimes based on other examples.

Compiled by Jacob Simon, September 2017, updated March 2020, and based on the pioneering of Cathy Proudlove and the suppliers’ database created by Jacob Simon. With thanks to Dr Joyce Townsend for providing information on paintings in , to Nicola Costaras at the Victoria and Albert Museum, to John Payne, National Gallery of Victoria, Melbourne, and to Sally Woodcock at the Hamilton Kerr Institute, University of Cambridge.

Arranged in twelve numbered sections according to address, business designation and type of mark, with two appendices.

Work details Mark transcripts Product marks (not to uniform scale)

1. Charles Roberson at 54 Long Acre 1819- 27

Illustrated: Stencil on canvas: Source: Courtauld - Colourmen Online ROBERSON, database (note 3), as 54, Long Acre. c.1821. British Linen

2. Roberson & Miller in partnership at 51 For Roberson & Co from 1840, see section Long Acre 1828-39, canvas marks 4 below; for Thomas Miller from 1841, see Part 5, E-N of this guide

Illustrated: Stamp, 7.1 cm wide, on canvas: J.M.W. Turner, Studies for ‘Dawn of Christianity', R & M c.1841 (Tate, N05508), with frame mark, 1828?, see [for Roberson & Miller] note 4.

Also found on: J.M.W. Turner, Heidelberg, c.1844–5 (Tate, N00518), with frame mark, 1830.

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil, 13.7 cm wide, on canvas: Thomas Sidney Cooper, Milking Time. Study of a PREPARED BY Farm-Yard near ROBERSON & MILLER , 1833-34 51 LONG ACRE. (Tate), with stamp, R & M 2039, see notes 5 and 6. [first ‘O’ of LONDON below first ‘L’ of MILLER]

[this stamp design set the pattern for the business’s canvas stamps over the next sixty years]

Illustrated (top) Stamp within frame on canvas,: William Fisher, Walter Savage Landor, 1839 R & M 10 81 (National Portrait Gallery) [signifance of ’10 81’ not known, see note 5] Illustrated (bottom): William Shiels, Possibly Stencil, 12.8 cm wide, on canvas: William Rix, 1832 ( Castle Museum PREPARED BY and Art Gallery), with ROBERSON & MILLER. stamp, R & M 022, see 51 LONG ACRE. LONDON ^ Fisher notes 5 and 6. [first ‘O’ of LONDON below ‘I’ of MILLER] Note slight differences between the two illustrated stamps, e.g. in position of the ‘L’ of LONG in relationship to the ‘O’ of ROBERSON ^ Shiels

For examples dating to 1832-44, see note 6.

Illustrated: Stencil, 12.3 cm wide, on lining canvas: Paolo Veronese and studio, Nobleman PREPARED BY between Active and ROBERSON & MILLER. Contemplative life, 51 LONG ACRE LONDON (National Gallery of Victoria, Melbourne) Click on link for an enlarged [line 3 almost matches line 2 in length] image of stencil.

Illustrated: Stamp on relining canvas: Continental school, Descent of the Holy Spirit LINED BY (Mellors & Kirk, sale date ROBERSON & MILLER unknown, lot 750) 51 LONG ACRE LONDON

^ [best available image]

Work details Mark transcripts Product marks (not to uniform scale)

3. Roberson & Miller in partnership at 51 Long Acre 1828-39, panel labels and marks

Illustrated (top): Label, 8.0 cm wide, within artist’s palette; George Richmond, removed from frame: Viscount Sidmouth, watercolour, 1833 ROBERSON & MILLER, (National Portrait Gallery) 51, Long Acre, London. Manufacturers of Also found on: Prepared Cloths Panels Edward Pritchett, The and Piazzetta or The Prison, MILL BOARDS, Venice (Christie’s, 25 April FOR ARTISTS 1975, lot 24), with label of with Improved Oil or Absorbent Grounds W. Mason, Brighton.

and every requisite for the FINE ARTS. ^ Richmond

Illustrated (bottom): [almost identical to R. & C. Faulkner’s millboard J. Burnet, A Lady reading label, see Part 5 of this guide] in an Interior, panel (Christie’s, 14 May 1976, lot 172)

^ Burnet

Illustrated: Label, 9.5 cm wide, linear border, on panel or Unknown artist, Sir John backboard: Goss, c.1835 (National Portrait Gallery) ROBERSON AND MILLER, MANUFACTURERS OF Also found on: Water and Oil Colours, Thomas Sidney Cooper, MATERIALS FOR DRAWING, PAINTING, &c. Cattle by a River, 1835 51, LONG ACRE LONDON. (Fitzwilliam Museum, Cambridge), with impressed panel stamp, repr. below. [this label design set the pattern for the Thomas Sidney Cooper, business’s panel labels over the next sixty Landscape with Cattle and years] Sheep, 1837 (Birmingham Museums Trust)

Illustrated: Two stamps impressed in panel, the address Thomas Sidney Cooper, stamp, 4.0 cm wide: Cattle by a River, 1835 (Fitzwilliam Museum, ROBERSON & MILLER Cambridge), with label, repr. above. 51, LONG ACRE LONDON

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Stamp, 6.0cm wide, oval border, impressed Unknown artist, Portrait of towards edge of millboard: a Man (Euan Mackay), with label of type repr. ROBERSON & MILLER, above. No 51 LONG ACRE LONDON

4. Charles Roberson & Co at 51 Long Acre 1840-55, canvas marks

Five canvas stencils The following marks are similar; other minor variants Roberson & Co used the designation are found, perhaps depending on the application of Charles Roberson on canvases until c.1880 the stencil. It would appear that the three lines are but the company name on other products. applied using a single stencil.

Illustrated: Stencil on canvas: ‘W.S. Hague’, An Artist’s Studio (Sotheby’s PREPARED BY Belgravia, 6 May 1975, CHARLES ROBERSON lot 156), with stamp, R & 51, LONG ACRE. LONDON M 833.

Also found on: Richard Redgrave, Cinderella about to try on the Glass Slipper, c.1842 (Victoria and Albert Museum), with stamp CR 1550.

Illustrated: Stencil, 10.8 cm wide, on canvas: James Baker Pyne, The Bridge at Capel Curig, PREPARED BY 1849 (Christie’s, 16 July CHARLES ROBERSON 1976, lot 31) 51, LONG ACRE, LONDON

Also found on: [less space between words in last line; last 'N' Abraham Solomon, A of LONDON sits below 'N' of ROBERSON] Sketch from Memory, 1851 (Sotheby’s Belgravia, 29 June 1976, lot 73)

Illustrated: Stencil, 15.0 cm wide, on canvas: , Chatterton, 1856 (Tate) PREPARED BY CHARLES ROBERSON Also found on: 51, LONG ACRE, LONDON Frederick Richard Say, 1st Earl of Ellenborough, c.1845 [last 'O' of LONDON sits below 'N' of ROBERSON] (National Portrait Gallery), with stamp CR 462. Accompanied by a stencil in frame on canvas:

For examples dating to c.1845 to 1856, many with CR 553 CR numbers, see note 7. [the first two numbers, 55, appear to indicate that the canvas was prepared in 1855]

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil on canvas: Edward Lear, Corfu, 1856 (Bonham’s, 2 March PREPARED BY 2016, lot 49) CHARLES ROBERSON 51, LONG ACRE, LONDON

[last line set slightly further to left; last 'O' of LONDON sits below 'ON' of ROBERSON]

Illustrated: Stencil, 14.5 cm wide, on canvas: M.F. Halden, A Hurdy- Gurdy Man, 1845, PREPARED BY source: Cobbe coll., see CHARLES ROBERSON note 2. 51, LONG ACRE, LONDON

For examples dating to 1845 [first line set further left] to 1856, see note 8.

Illustrated: Stencil on relining canvas: Unspecified picture (photograph courtesy Tim LINED BY Everitt) CHARLES ROBERSON. 51, LONG ACRE LONDON.

5. Charles Roberson & Co at 51 Long Acre 1840-55, panel and stretcher labels/marks

Illustrated: Label, linear border, floral details at corners, on Jacob Thompson, William panel: Lucas, 1840 (North Hertfordshire Museum) CHARLES ROBERSON, MANUFACTURER OF Also found on: Water and Oil Colours, Jacob Thompson, Mrs MATERIALS FOR DRAWING, PAINTING, &c. William Lucas, 1840 (North 51, LONG ACRE, LONDON. Hertfordshire Museum)

Illustrated: Label, 8.8 cm wide, linear border, floral details Source: Courtauld - at corners, on board: Colourmen Online database (note 3) CHARLES ROBERSON & COMPY. MANUFACTURERS OF Also found on: Water and Oil Colours, Augustus Egg, Peter the MATERIALS FOR DRAWING, PAINTING, &c. Great sees Catherine his 51, LONG ACRE, LONDON. Future Empress for the first time, by 1850 (Sotheby’s [now designated as Charles Roberson & Belgravia, 6 January 1976, lot 198), with impressed Compy] panel stamp.

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Label, 8.6 cm wide, linear border, on board: Source: Courtauld - Colourmen Online CHARLES ROBERSON & COMPY. database (note 3) MANUFACTURERS OF WATER AND OIL COLOURS, MATERIALS FOR DRAWING, PAINTING, &c. 51, LONG ACRE, LONDON.

[‘S’ of COLOURS above ‘IN’ of PAINTING]

Illustrated: Label, damaged, 8.9 cm wide, linear border, on , stretcher: , 1851-2 (Tate) CHARLES ROBERSON & COMPY. Also found on: ARTISTS' COLOURMEN, J.C. Morris, Sheep on a [MA]NUFACTUR[ER OF] Moor, 1852 (Sotheby’s WATER AND OIL COLOURS, Belgravia, 11 March 1975, MATERIALS FOR DRAWING, PAINTING, &c. lot 164) 51, LONG ACRE, LONDON.

William Holman Hunt, The Thames at Chelsea, [‘S’ of COLOURS above ‘G,’ of PAINTING] Evening, panel, 1853 (Fitzwilliam Museum, Cambridge), with impressed panel stamp.

Illustrated: Label, 7.0 cm wide, linear border, on panel: John Frederick Lewis, A Syrian Sheik, Egypt, 1856 CHARLES ROBERSON & COMPY. (Fitzwilliam Museum) MANUFACTURERS OF WATER AND OIL COLOURS, Also found on: MATERIALS FOR DRAWING, PAINTING, &c. Edward Radford, Self- 51, LONG ACRE, LONDON. portrait, 1852, small panel (Christie’s, 11 July 2017, lot [‘S’ of COLOURS above ‘NG’ of PAINTING] 18), with impressed panel stamp.

John Frederick Lewis, The Attendant on the Bath, 1854 (Harris Museum & Art Gallery, Preston)

Illustrated: Label, 8.5 cm wide, linear border, on board: Arthur Hughes, Fair Rosamund, 1854 CHARLES ROBERSON & CO. (National Gallery of ARTISTS' COLOURMEN, Victoria, Melbourne) MANUFACTURERS OF WATER AND OIL COLOURS, Click on link for an enlarged Materials for Drawing & Painting, image of label. 51, LONG ACRE, LONDON.

Also found on: [now designated as artists' colourmen] John Everett Millais, The Rescue, 1855 (National Gallery of Victoria, Melbourne). Click for image of stretcher label.

For examples dating to 1854-72, see note 9.

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Label, 8.2 cm wide, linear border, on millboard: Source: Courtauld - Colourmen Online CHARLES ROBERSON & CO. database (note 3) ARTISTS' COLOURMEN, MANUFACTURERS OF WATER AND OIL COLOURS, For examples dating to Materials for Drawing & Painting, c.1854-59, see note 10. 51, LONG ACRE, LONDON.

[almost identical; ‘L’ of LONG set marginally to left, etc]

Illustrated: Label, linear border top and bottom, on Frederick Richard Say, stretcher: 5th Duke of Newcastle, 1848 (National Portrait From CHARLES ROBERSON. Gallery) [Two lines in manuscript:] F R Say Esq - 18 Harley Street

51, LONG ACRE.

[the business continued to use similar printed labels on stretchers until the 1930s, with added manuscript details relating to the canvas or its recipient]

Illustrated: Label, decorative border, on stretcher top bar Unknown artist, and canvas turnover: Unidentified historical subject (Private coll., CHAR[LES ROBERSON] & Co., Italy, 2019) ARTISTS' COLOURMEN, 51, LONG ACRE, LONDON.

Illustrated: Stamp, 7.1 cm wide, impressed in panel: , Morgan-le-Fay, 1864 ROBERSON & Co (Birmingham Museums 51. Long Acre LONDON Trust), with label at 99 Long Acre, see below.

For examples dating to 1846-64, see note 11.

6. Charles Roberson & Co at 99 Long Acre Roberson & Co used the designation 1853-1908, canvas marks Charles Roberson on canvases until the 1880s

Illustrated: Stencil on canvas, either side of loose lining: , The Derby Day, 1856-58 PREPARED BY (Tate) CHARLES ROBERSON 99, LONG ACRE, LONDON For examples dating to 1856-c.1870, see note 13. [initial letters of name in large capitals]

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil, 10.9 cm wide, on canvas: John Gilbert, Study of Trees, 1874 PREPARED BY (Birmingham Museums CHARLES ROBERSON Trust) 99 LONG ACRE. LONDON

Illustrated (top): Stamp, 15.8 cm wide, on canvas: Alphonse Legros, Le Repas des Pauvres, 1877 PREPARED BY (Tate), with stamp within CHARLES ROBERSON box, 74 4, see note 12. 99, LONG ACRE LONDON Illustrated (bottom):

Briton Riviére, Deer Stealers pursued by ^ Legros sleuth hounds, 1875 (National Gallery of Victoria, Melbourne) Click on link for an enlarged image of stencil.

For examples dating to 1874-79, see note 14. ^ Riviére Illustrated: Stamp, 10.1 cm wide, on canvas: Thomas Sidney Cooper, Landscape with Cattle PREPARED BY and Sheep, 1872 CHARLES ROBERSON (Birmingham Museums 99, LONG ACRE, LONDON Trust), with oval stretcher stamp. [‘L’ of LONG below ‘L’ of CHARLES]

For examples dating to 1872-c.1875?, see note 15.

Illustrated: Stencil, 14.7 cm wide, on canvas: Edward Burne-Jones, Psyche at the Shrines of PREPARED BY Juno and Ceres, 1872-81 CHARLES ROBERSON, (Birmingham Museums 99 LONG ACRE, LONDON Trust) [‘L’ of LONG below ‘A’ of CHARLES] Also found on: John Brandon Smith, The Vale of Neath, 1874 (Sotheby’s Belgravia, 25 March 1975, lot 138)

Illustrated: Stamp, 10.4 cm wide, on canvas: , Christ healing the Sick, PREPARED BY 1873 (Christie's, 14 May CHARLES ROBERSON 1976, lot 43), with oval 99, LONG ACRE LONDON stretcher stamp, see below. [‘L’ of LONG below ‘R’ of CHARLES]

For examples dating to 1871-98, see note 16.

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Stamp, 9.2 cm wide, on canvas: , May Morning on PREPARED BY Magdalen College Tower, CHARLES ROBERSON 1888 (Birmingham 99, LONG ACRE, LONDON Museums Trust) [‘L’ of LONG below ‘RL’ of CHARLES] For examples dating to 1881-88, see note 17. Illustrated: Stamp on canvas: James Clarke Hook, Home with the Tide, 1880 PREPARED BY (Tate) CHARLES ROBERSON & Co.. 99 LONG ACRE Also found on: LONDON Frank Holl, Home again! 1881 (National Gallery of [designated as Charles Roberson & Co] Victoria, Melbourne), stamp on loose lining canvas. Click for image of stamp.

Illustrated: Stamp, 14.5 cm wide, on canvas: Sir , The Doctor, exh. 1891 (Tate) PREPARED BY CHARLES ROBERSON & Co.. 99, LONG ACRE LONDON

[line 2 is longer preceding example]

7. Charles Roberson & Co at 99 Long Acre 1853-1908, stretcher and panel labels/marks

Illustrated: Label, 8.1 cm wide, linear border, on stretcher: Benjamin Williams Leader, A Cornfield in CHARLES ROBERSON & CO. Worcestershire, 1861 ARTISTS' COLOURMEN, (Christie’s, 16 July 1976, MANUFACTURERS OF WATER AND OIL COLOURS. lot 99) Materials for Drawing & Painting, 99, LONG ACRE, LONDON. Also found on: & Thomas Creswick, , 1850 (National Gallery of Victoria) Click for image of label.

Abraham Solomon, Not Guilty (The Acquittal), exh. 1857 (Tate)

Illustrated: Label, 8.4 cm wide, linear border, on stretcher: Frederick Sandys, Morgan-le-Fay, 1864 CHARLES ROBERSON & CO. (Birmingham Museums ARTISTS' COLOURMEN, Trust), with impressed MANUFACTURERS OF WATER AND OIL COLOURS, panel stamp for Roberson & Materials for Drawing & Painting, Co at 51 Long Acre, see 99, LONG ACRE, LONDON. above. [very similar to preceding example but ‘LONG’ For examples dating to 1864 of LONG ACRE further to right, etc] and for earlier works, see note 18.

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Label, 8.0 cm wide, linear border, on panel: , A Wooded Path with a CHARLES ROBERSON & CO. Pheasant (Christies, 24 ARTISTS' COLOURMEN, October 1975, lot 53) MANUFACTURERS OF WATER AND OIL COLOURS, Materials for Drawing & Painting, Also found on: 99, LONG ACRE, LONDON. Charles Sillem Lidderdale, The Flower Seller, 1868 [final line in heavier serif face] (Bonhams Knightsbridge, 21 March 2017, lot 72)

Illustrated: Label, linear border, on stretcher: Henry Gales, The Derby Cabinet of 1867, CHARLES ROBERSON & CO. watercolour, 1868 ARTISTS' COLOURMEN, (National Portrait Gallery) MANUFACTURERS OF WATER AND OIL COLOURS. Materials for Drawing & Painting, Also found on: 99, LONG ACRE, LONDON. George Smith, Interior scene with a young family, panel, [fourth line not in italics] 1873 (Bonham’s, Montpelier St, 13 November 2018, lot 69), with impressed panel stamp for Roberson & Co.

John Linton Chapman, Roman Women, 1875 (with David Smernoff, online, 2018) Illustrated: Label, 8.3 cm wide, decorative border, on Richard Redgrave, The canvas? Firing of the Beacon, 1868-70 (Birmingham CHARLES ROBERSON & CO. Museums Trust) ARTISTS' COLOURMEN, MANUFACTURERS OF WATER & OIL COLOURS, Also found on: Materials for Drawing and Painting, James Smetham, Prospero 99, LONG ACRE, LONDON. and Miranda, board (Christie’s, 24 October 1975, [different border] lot 58)

Illustrated: Label in red ink, 8.2 cm wide, linear border, on Edward Burne-Jones, panel: unspecified drawing, 1862, probably mounted CHARLES ROBERSON & Co. later. Manufacturers of Water & Oil Colours, MATERIALS FOR DRAWING & PAINTING, 99 LONG ACRE, LONDON. AND AT 154 PICCADILLY, W.

[at 154 Piccadilly 1889-1906]

Illustrated: Label in red ink, 8.2 cm wide, linear border, on Unspecified work (Private panel: coll.) CHARLES ROBERSON & Co. Also found on: ARTISTS' COLOUR MAKERS, William Powell Frith, MANUFACTURERS OF WATER AND OIL COLOURS, Retribution, 1880 Materials for Drawing and Painting. (Birmingham Museums 99, LONG ACRE, LONDON. Trust)

[designated as Artists' Colour Makers] Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Label, 8.2 cm wide, linear border, on panel: James Smetham, Groynes on the Beach at CHARLES ROBERSON & CO., Bognor (Christie’s, 24 ARTISTS' COLOUR MAKERS, October 1975, lot 56) MANUFACTURERS OF WATER AND OIL COLOURS, Materials for Drawing and Painting. 99, LONG ACRE, LONDON.

[as preceding example but setting different, e.g. CO. in line 1]

Illustrated: Label in red ink, 8.2 cm wide, linear border, on Source: Courtauld - board: Colourmen Online database (note 3) CHARLES ROBERSON & Co. ARTISTS' COLOUR MAKERS, Also found on: Manufacturers of Water & Oil Colours, Lawrence Alma-Tadema, MATERIALS FOR DRAWING & PAINTING, ‘The Year’s at the Spring’, 99, LONG ACRE, LONDON. 1902 (Sotheby’s Belgravia, 29 June 1976, lot 91) [gothic text in line 3]

Lawrence Alma-Tadema, A Favourite Custom, 1909, panel (Tate)

Illustrated: Label in red ink, 7.5 cm wide, linear border top Arthur Hughes, The Long and bottom, on stretcher: Engagement, 1859 (Birmingham Museums DRAWING [MATERIALS.] Trust) [three lines in pen:] Also found on: A. Hughes Esqre Abraham Solomon, Not 6 Upp[er] ….ave Place Guilty (The Acquittal), exh. Pimlico 1857 (Tate) Y W.F. Yeames, Staunch From RO[BERSO]N & COMP 99, Long Acre, London. Friends, 1859 (Christie’s, 25 July 1975, lot 173)

Illustrated: Label, 8.2 cm wide, linear border top and Frank Dicksee, The bottom, on stretcher: Crisis, 1891 (National Gallery of Victoria, DRAWING MATERIALS. Melbourne) Click on link for an enlarged [two lines in pen:] image of label and canvas Frank Dicksee Esq ARA stamp. 80 Park Street

For examples dating to FROM c.1882-91, see note 19. CHARLES ROBERSON & Co. 99, Long Acre, London.

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Label, linear border top and bottom, on John Bacon, The stretcher: Homage-Giving: Westminster Abbey, DRAWING MATERIALS. 1902, 1903 (National Portrait Gallery) [two lines in pen:] J H Bacon Esq For examples dating to -3? St Johns Wood Rd 1881-1909, see note 20. FROM CHARLES ROBERSON & Co.

99, Long Acre, London.

[‘L’ of Long Acre set further to left]

Illustrated: Label on twill canvas on sketch book board George Clausen, Stll life cover (not line for line): with fruit and vase, 1932 SOLID SKETCH BOOK (Bonham’s Knightsbridge, ----- 3 July 2018, lot 113) This book consists of pieces of the best Drawing Paper com-pressed so as to form a compact substance; each piece can be separated by the insertion of a penknife at the Note: The date of the label mark in front of the Book, running the knife round the may be earlier than that of edges, care being taken to cut out one piece only at a time. the painting and perhaps ------2nd half 19th century. ROBERSON & Co. Compare the Winsor & MANUFACTURERS OF SUPERFINE WATER COLOURS, Newton example in Part 11, AND OTHER MATERIALS FOR DRAWING AND section 3, of this guide. PAINTING, No. 99, LONG ACRE, LONDON.

Illustrated: Label, zig-zag border, on blind stretcher: , Mauvais Sujet, ROBERSON & CO. watercolour, 1863 (Tate) ARTISTS’ COLOURMEN, &c. 99, Long Acre, London.

Illustrated: Label, linear border, on inside face of stretcher: John MacWhirter, June in the Austrian Tyrol, exh. Be pleased to strain the Canvas on this, the 1892 (Tate) bevelled side of the Frame.

Also found on: ------Andrew MacCallum, In FROM Sherwood Forest, 1881 ROBERSON & COMPY. (Victoria and Albert 99, LONG ACRE, LONDON. Museum)

Illustrated: Stamp, 6.6 cm wide impressed in panel: John Everett Millais, My Second Sermon, 1864 ROBERSON & CO (Birmingham Museums Long Acre LONDON. Trust)

Also found on: Ithell Colquhoun, Scylla, 1938 (Tate), probably an old panel from stock, with later canvas stamp, see below.

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Stamp, 4.0 cm wide, within double oval David Cox the elder surround on board: (d.1859), Cottage Interior, Trossavon near Betws-y- ROBERSON & CO Coed, board, 1844-47 LONDON (Birmingham Museums 99 LONG ACRE Trust), stamp later than work; possibly remounted at some date.

Illustrated: Stamp, 4.4 cm wide, within oval surround, on Edward Burne-Jones, blind stretcher: Psyche at the Shrines of Juno and Ceres, 1872-81 ROBERSON & C.O (Birmingham Museums LONDON Trust), with second stamp, 99 LONG ACRE see below.

Also found on: Richard Beavis, The Charcoal Burners, 1874 (National Gallery of Victoria, Melbourne). Click on link for an image of stamp.

Illustrated: Stamp, 6.7 cm wide, within double oval Thomas Sidney Cooper, surround, on stretcher: Landscape with Cattle and Sheep, 1872 Artists’ Colormaker (Birmingham Museums ------Trust) CHARLES ROBERSON ------For examples dating to 99, LONG ACRE, LONDON 1872-80, see note 21.

Illustrated: Stamp,6.6 cm wide, within double oval Edward Burne Jones, surround, on stretcher: Psyche at the Shrines of Juno and Ceres, 1872-81 CHARLES ROBERSON & CO (Birmingham Museums ARTISTS’ COLOURMEN Trust), with second stamp, MANUFACTURERS OF see above. WATER & OIL COLOURS MATERIALS FOR DRAWING AND PAINTING Also found on: 99, LONG ACRE, LONDON. Charles Parsons Knight, The Kyles of Bute, 1893 (Tate)

Illustrated: Stamp, 6.7 cm wide, within double oval Edward Burne-Jones, surround, on stretcher: Love and the Pilgrim, 1896-97 (Tate) CHARLES ROBERSON & Co. ARTISTS’ COLOURMEN Also found on: ----- Henry Roderick Newman, [Manufacturers of] Abu Simbel, watercolour, WATER & OIL COLOURS, 1907, stamp on backing MATERIALS FOR panel (Cleveland Museum of Drawing & Painting. Art) 99, LONG ACRE, LONDON.

Work details Mark transcripts Product marks (not to uniform scale)

8. Charles Roberson & Co Ltd at 99 Long Acre 1908-37

Illustrated (top): Stamp, 9.1 cm wide, on canvas: Philip de László, Lady Wantage, 1911 (Tate) PREPARED BY C. ROBERSON & CO LTD 99, LONG ACRE. LONDON.

[serif typeface]

Illustrated (bottom): Bottom example, stamp, 8.9 cm wide, on Philip de László, Lady canvas board, wording as above. Duff Gordon, 1913 (Bonham’s, 20 March 2018, lot 87)

Illustrated: Stamp, 11.2 cm wide, on canvas: William Orpen, Sir Ernest Benn, 1928 (National PREPARED BY Portrait Gallery) C. ROBERSON & CO LTD 99, LONG ACRE, LONDON For examples dating to 1913-37, see note 22. [sans serif typeface]

Illustrated: Label, linear border top and bottom, in red ink John Lavery, Auguste on stretcher: Rodin, 1913 (Victoria and Albert Museum) DRAWING MATERIALS.

[two lines in pen:] John Lavery Esq ARA Cromwell Place.

FROM C. ROBERSON & Co. LTD., 99, Long Acre, London.

Illustrated: Label, 7.9 cm wide, linear border top and Arthur Wardle, bottom, on stretcher: unspecified work, source: Cobbe coll., see note 2. DRAWING MATERIALS. Wardle had an account with Roberson, 1915-25. [three lines in pen:] Arthur Wardle Esq Alma Square 34.

FROM C. ROBERSON & CO. LTD., 99, Long Acre, London.

[‘CO’ differently set and other differences]

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Label, linear border top and bottom, on Oswald Birley, 1st Earl of stretcher: Birkenhead, 1932 DRAWING MATERIALS (National Portrait Gallery) [three lines in pen:] Oswald Birley Esqe. 54 x 40 covered own French canvas.

From C. ROBERSON & CO., Ltd. Manufacturing Artists’ Colourmen &c 99, LONG ACRE, LONDON. W.C., ENGLAND.

Illustrated: Label, linear border top and bottom, on Oswald Birley, 1st stretcher: Viscount Camrose, DRAWING MATERIALS c.1933 (National Portrait Gallery) [three lines in typescript:] 50 x 40. covered 15a. Also found on: Primed. July. 1933. Oswald Birley, Glyn Warren Strained. October. 1933. Philpot, 1920 (National Portrait Gallery) From C. ROBERSON & CO., Ltd. Manufacturing Artists’ Colourmen &c 99, LONG ACRE, LONDON. W.C., ENGLAND.

[‘15a’ was listed as ‘fine canvas, warm grey’ in Roberson’s catalogue of c.1931-2, repr. appendix 1]

Illustrated: Label, zig-zag border, on stretcher: Source: http://pictureframelabels.b C. ROBERSON & CO. Ltd., logspot.co.uk/ ARTISTS’ COLOURMAKERS, 99, Long Acre, & 155-156, Piccadilly, LONDON.

[at these addresses, 1908-37]

9. At 154 Piccadilly 1889-1906

Illustrated: Label in red ink, torn, 8.0 cm wide, linear Unknown artist, possibly border top and bottom, on stretcher top bar and John Dillon, MP (Richard canvas turnover: Walls), in conjunction with [...... ] Rowney canvas stamp [three lines in pen:] The ...... Mrs. John D[undas] 46 Eaton Sq[uare]

FROM CHARLES ROBERSON & Co. 154, PICCADILLY, LONDON, W.

Work details Mark transcripts Product marks (not to uniform scale)

10. At 155-156 Piccadilly 1907-40

Illustrated: Stamp on canvas: Unknown artist, Study of Trees (Private coll.) R.A. STUDENTS CANVAS C. ROBERSON & Co. LTD, 155-6 [PICCADILLY] W.

Illustrated: Label in red, linear border, on backing of J.C. Stadler, print after framed print: A.C. Pugin and T. Rowlandson), Interior C. ROBERSON & CO. Ltd. view of the Doctors' Manufacturers of Water & Oil Colours, Commons (Tyntesfield, MATERIALS FOR DRAWING & PAINTING, Somerset, ) 99, LONG ACRE, LONDON; AND AT 155 & 156, PICCADILLY, W.

11. At 101-104 Park St, Camden Town 1937-39

Illustrated: Stamp, 11.1 cm wide, on panel: Ithell Colquhoun, Scylla, 1938 (Tate), with PREPARED BY impressed panel stamp, C. ROBERSON & CO LTD see above. 101-104, PARK STREET, LONDON, N.W.1.

Also found on: Daniel Sherrin, On the Marshes, canvas (Sotheby’s Belgravia, 9 September 1975, lot 135), repr. App. 1, example 7.

Illustrated: Label, linear border top and bottom, on James Gunn, 27th Earl of stretcher: Crawford, 1939 (National Portrait Gallery) DRAWING MATERIALS

[two lines in pen:] H.J. Gunn Esq. 3 Pembroke Walk. [one line in pencil:] Friday morning

From C. ROBERSON & CO., Ltd. Manufacturing Artists’ Colourmen &c 155 & 156 PICCADILLY, LONDON, W. ENGLAND. Factory & Wholesale Department– 101 PARK STREET, LONDON, N.W. ENGLAND.

Work details Mark transcripts Product marks (not to uniform scale)

12. At 71 Parkway, Camden Town 1939-87

Illustrated: Stamp, 11.3 cm wide, on canvas: Peter Greenham, Jane, 1964 (Tate), see App. 1, PREPARED BY example 10. C. ROBERSON & CO LTD 71, PARKWAY, LONDON, N.W.1. Also found on: Leonard Rosoman, Tavern Tables and Chairs, c.1960s (Bonhams, 27 November 2019, lot 63)

John Bratby, Brian Rix and Elspet Gray,1967 (National Portrait Gallery), stamped on stretcher and canvas, additionally stamped with canvas type, No. 137

Illustrated: Stamp, 9.2 cm wide, on canvas: Claude Rogers, The Blow Lamp, 1953-4 (Tate) C. ROBERSON & CO LTD 71, PARKWAY, LONDON, N.W.1.

Second stamp (see App. 1):

No 118

Illustrated: Stamp, 8.7 cm wide, on canvas: Anthony Fry, Nude X, 1980–81 (Tate), see also PREPARED BY App.1, example 11. C. ROBERSON & Co. LTD. 71 PARKWAY LONDON, NW1 7QJ

[postcode introduced from 1967]

Illustrated: Stamp, 9.5 cm wide, on canvas: John Bratby, Self-portrait with Sunflower PREPARED BY (Bonham’s, 11 July 2017, C. ROBERSON & CO. [LTD?] lot 29) 71 [PARKWAY] LONDON, N[W1 7QJ]

[‘o’ of CO. raised above line]

Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Rubber stamp and printed example: A stamp used for marking products, possibly for PREPARED BY canvases such as that by C. ROBERSON & Co. LTD. Anthony Fry, or for 71 PARKWAY, LONDON NW1 7QJ smaller products. Photograph, c.1976, source: Cobbe coll., see note 2.

Appendix 1: Canvas numbering

Over the years Roberson’s apparently adopted three numbering systems for canvases: batch or production numbers in the 1830s, date numerals from the and occasionally until the 1870s, and stock numbers from the 1930s to the 1980s. This initial assessment is subject to further research in the Roberson archive.

Example 1: Roberson & Miller’s batch numbering in 1839

William Fisher, Walter Savage Landor, 1839 (National Portrait Gallery), R & M 1081.

Various canvases prepared by Roberson & Miller are marked R & M followed by a number, usually of four digits (see notes 5, 6). The significance of these numbers remains to be clarified but they appear to be internal batch or production numbers rather than external order numbers.

Example 2: Roberson & Co’s date numbering in 1852

Robert Braithwaite Martineau, ‘Picciola, 1853 (Tate), loose lining canvas.

Various canvases prepared by Roberson & Co, at least from c.1846 to 1856, are marked with a framed CR stencil, in this case CR 524. The first two numerals appear to indicate the year the canvas was prepared, in this case 1852 (see note 7).

Example 3: Roberson & Co’s date numbering in 1868

Peter Graham, Autumnal Showers, 1869 (National Gallery of Victoria, Melbourne); additionally both the canvas and the stretcher bear Roberson’s name. ^ front loose lining canvas, stamp 13.4 cm wide

A few canvases prepared by Roberson & Co, at least from 1856 to 1874, are marked with three or four framed numerals (see note 12). The first two numerals indicate the year the canvas was prepared, in this case 1868. ^ reverse of primary canvas

Example 4: Canvas stock numbers, 1931/32

Part of a page from Roberson & Co Ltd’s c.1931-32 catalogue listing different types of canvas, each with an identifying number.

Example 5: Canvas stock numbers, 1957

Part of a page from Roberson & Co Ltd’s 1957 catalogue listing different types of canvas, each with an identifying number or code.

Example 6: Roberson & Co Ltd’s stock numbering, c.1937

Michael Whelan, Malcolm MacDonald, exh. 1937 (National Portrait Gallery), with stamp, No 7.

No. 7 was described as a ‘Twill Canvas (Ticken)’ in Roberson’s c.1937-39 catalogue.

Example 7: Roberson & Co Ltd’s stock numbering, c.1937-39

Daniel Sherrin, On the Marshes, canvas (Sotheby’s Belgravia, 9 September 1975, lot 135), with stamps, No 36 PP

No. 36 was described in Roberson’s c.1937-39 catalogue as ‘School Quality, Single Primed’ and as a 'pure Linen Fabric primed in our own Factory for use in Art Schools and for Studies'. ‘P.P’ may refer to the priming.

Example 8: Roberson & Co Ltd’s stock numbering, c.1942

Victor Pasmore, Reclining Nude, 1942 (Tate), with stamp, No 5.

No. 5 was described as a ‘Plain Canvas Full Primed’ in Roberson’s c.1937-39 catalogue.

Example 9: Roberson & Co Ltd’s stock numbering, c.1947

Victor Pasmore, Roses in a Jar, 1947 (Tate), with stamp, 118.

No. 118 was described as a ‘Fine grain canvas’ in Roberson’s 1948 catalogue.

Example 10: Roberson & Co Ltd’s stock numbering, c.1964

Peter Greenham, Jane, 1964 (Tate), with stamp, 118.

No. 118 was described as a ‘Fine Grain, double primed’ canvas in Roberson’s 1963 catalogue.

Example 11: Roberson & Co Ltd’s stock numbering, c.1980

Anthony Fry, Nude X, 1980-81 (Tate), with stamp, No 118.

No. 118 was described as a ‘Fine Grain, double primed’ canvas in Roberson’s 1972 catalogue.

Appendix 2: Brass stamps

Stamps, punches and stencils used for marking canvases, panels and stretchers rarely survive. The following example from the Roberson Archive has been brought to light by Sally Woodcock. See also Section 11 of this guide for an illustration of a rubber stamp.

Roberson brass punch

Sally Woodcock writes:

Punch, C. ROBERSON & CO LTD LONDON, and so 1908 or later. It has the punch maker’s name, NEAL PERCIVAL ST. This is Ralph Neal, in business in Percival Street in London until ^ Roberson Archive (M 203-1993), courtesy Hamilton Kerr Institute, University of Cambridge 1936.

This punch was possibly used on stretchers or on brushes etc. There are catalogue references in the Roberson archive to objects being “punch- stamped, 'C Roberson & Co Ld London’”. ^ flipped image for ease of reading

Notes

For an historical survey with time chart and map, see Cathy Proudlove, ‘Technical focus: suppliers’ marks and labels’, The Picture Restorer: The Journal of the British Association of Painting Conservator-Restorers, no.55, autumn 2019.

1. Acknowledgments: With thanks to Dr Joyce Townsend for providing information on paintings in Tate, collected by members of the Tate Conservation Department since the 1970s, Dr Tim Moreton, who for many years recorded canvas markings on the reverse of portraits at the National Portrait Gallery, Nicola Costaras for access to conservation files at the Victoria and Albert Museum and Briony Llewellyn for information on John Frederick Lewis’s supports.

2. Earlier research: In the early 1970s, Cathy Proudlove (née Leach) distributed copies of her unpublished list of artists’ colourmen. In the course of her professional career at the former Area Museums Service for South East England and with Norfolk Museums Service, Cathy has seen and recorded, or been sent by professional colleagues, details of many suppliers’ marks and labels, some from private collections. She has published on the subject: ‘19th Century Prepared Artists’ Canvases’, Antique Collecting, July 1973, pp.2-4, and ‘London Artists’ Colourmen. Part I: A to D’, The Picture Restorer, no.10, autumn 1996. For a period, 1974-77, Alec Cobbe arranged for marks on paintings in sales at Sotheby’s Belgravia and Christie’s to be photographed (see his article on Winsor & Newton, Studies in Conservation, vol.21, no.2, May 1976, p.94). The photographs were later acquired by the late Richard Kissack, who planned to publish a book. Eventually he gave them to Cathy Proudlove, and images deriving from this collection have been reproduced when an image from a public collection has not been found.

3. Courtauld Institute database: A searchable database, Courtauld - Colourmen Online, was launched in 2011 and was frequently consulted in the preparation of the current compilation. Five images from this database have been used here as indicated, with thanks to Aviva Burnstock.

4. Section 2, Roberson & Miller: Though the last digit in the frame mark is reportedly difficult to read, Butlin 1981, p. 45, identifies the year as 1828. For an explanation of the frame mark, see Part 1, 1785-1831 of this guide.

5. Section 2, R & M numbers: Various canvases prepared by Roberson & Miller are marked R & M followed by a number, usually of four digits (see note 6). The significance of these numbers remains to be clarified but they appear to be internal batch or production numbers rather than external order numbers. They do not appear to be an indication of the date of production, unlike Thomas Brown’s system (see Part 3 of this guide)

6. Section 2, Roberson & Miller: Examples of this stamp on works dating to 1832-44 can be found on the following: William Shiels, William Rix?, 1832, stamped R & M 022 ( Museum and Art Gallery); Thomas Sidney Cooper, Milking Time. Study of a Farm-Yard near Canterbury, 1833-34, stamped R & M 2039 (Tate); George Richmond, A Woman with Two Children in a Hilly Landscape, 1834 (The Fine Art Society sale, Sotheby’s, 5 February 2019, lot 38); Asher Brown Durand, Wrath of Peter Stuyvesant, 1835, stamped R & M 1448 (New York Historical Society); J.M.W. Turner, Venice, the Piazzetta with the Ceremony of the Doge Marrying the Sea, c.1835, stamped R & M 290 (Tate); Henry William Pickersgill, A Syrian Maid, exh.1837, stamped R & M 1463 (Tate); Henry William Pickersgill, Sir John Conroy, 1837, stamped R & M 782 (National Portrait Gallery); William Fisher, Walter Savage Landor, 1839, stamped R & M 10 81 (National Portrait Gallery); John Hayter, Viscountess Dungannon, 1839, stamped R & M 1453 (Victoria and Albert Museum); Thomas Bock, Jane Campbell and her mother, c.1842, stamped R & M 1601 ( Museum, Launceston); William Joy, HMS Victory Entering Portsmouth, 1844, stamped R & M 3 (King's Lynn Museums).

7. Section 4, 51 Long Acre: Examples of this particular stencil include the following, dating from c.1846 to 1856, with an additional framed CR stencil. The numerals appear to indicate the year the canvas was prepared:

CR Year Work details number painted CR 462 c.1846 F.R. Say, 1st Earl of Ellenborough (National Portrait Gallery)

CR 467 1847 James Baker Pyne, The Salute and Dogana (Pyne’s Picture memoranda, National Art Library, MSL/1947/1562) CR 468 1848 James Baker Pyne, Snowdon from the Bridge (Pyne’s Picture memoranda) CR 524 1853 Robert Braithwaite Martineau, Picciola (Tate), repr. Appendix 1

CR 526 1852 Edward Lear, View of Reggio and the Straits of Messina (Tate)

CR 533 1862 Heinrich Schiött, John Thadeus Delane (National Portrait Gallery)

CR 5410 c.1854 , Mother and Child (Tate)

CR 553 1856 Henry Wallis, Chatterton (Tate)

8. Section 4, Halden: Examples of this stencil on works dating to 1845-56 can be found on: M.F. Halden, A Hurdy-Gurdy Man, 1845 (source: Cobbe coll., see note 2); Richard Redgrave, The Stream at Rest, 1848 (Victoria and Albert Museum); William Edward Frost, The Graces, exh.1856 (Sotheby’s Belgravia, 25 March 1975, lot 46).

9. Section 5, Hughes: Examples of this label on works dating to 1854-72 can be found on the following (hyperlinks lead to a reproduction): Arthur Hughes, Fair Rosamund, 1854 (National Gallery of Victoria, Melbourne); John Everett Millais, The Rescue, 1855 (National Gallery of Victoria); Abraham Solomon, Waiting for the Verdict, 1857 (Tate), label on stretcher reverse; Arthur Hughes, The Annunciation, 1872-73 (Birmingham Museums Trust).

10. Section 5, Courtauld Colourmen Online: Examples of this label on works dating to 1853-59 can be found on: Robert Braithwaite Martineau, Study of a Man’s Head for ‘Picciola’, 1853 (Tate); William Jacob Hays, Terrier's Head, 1859 (New-York Historical Society), repr. A.W. Katlan, American Artists’ Materials. Vol. II, A Guide to Stretchers, Panels, Millboards, and Stencil Marks, 1992, fig.225.

11. Section 5, Sandys: Examples of this panel stamp on works dating to 1846-64 can be found on: Richard Redgrave, Throwing off her Weeds, 1846 (Victoria and Albert Museum), identical or similar; Augustus Egg, Peter the Great sees Catherine his Future Empress for the first time, by 1850 (Sotheby’s Belgravia, 6 January 1976, lot 198); J.C. Morris, Sheep on a Moor, 1852 (Sotheby’s Belgravia, 11 March 1975, lot 164); Thomas Sidney Cooper, Cattle and Figures in Highland Landscape, 1857 (Christies, South , 23 March 2016, lot 16); Frederick Sandys, Morgan-le-Fay, 1864 (Birmingham Museums Trust).

12. Section 6, 99 Long Acre: Examples of this particular stencil include the following, dating from 1856 to 1874, with additional framed numerals, not commonly used. These appear to indicate the year the canvas was prepared:

Number Year painted Work details

56 10 1856 Henry Dawson, The Wooden Walls of England (Birmingham Museums Trust)

6 0 3 1861 John Thomas Peele, Baby’s First Steps (Christie’s, 13 February 1976, lot 66)

68 9 1869 Peter Graham, Autumnal Showers (National Gallery of Victoria, 6810 Melbourne), 68 9 loose lining canvas, 6810 primary canvas.

74 4 1877 Alphonse Legros, Le Repas des Pauvres (Tate)

13. Section 6, Frith: Examples of this stamp on works dating to 1856-c.1870 can be found on the following (hyperlinks lead to a reproduction): Henry Dawson, The Wooden Walls of England, 1856, with stencil (Birmingham Museums Trust), Marshall Claxton, An Emigrant's Thoughts of Home, board, 1859 (National Gallery of Victoria, Melbourne); Robert Herdman, A Fern Gatherer, 1864 (National Gallery of Victoria); Edward Lear, Bonifacio, 1868-70 (Knowsley, information from Stephen Lloyd); Peter Graham, Autumnal Showers, 1869 (National Gallery of Victoria); Hugh Carter, Sir Francis Ronalds, c.1870 (National Portrait Gallery); Ann Mary Newton, Self-portrait (National Portrait Gallery).

14. Section 6, Legros: Examples of this stamp on works dating to 1874-77 can be found on the following (hyperlinks lead to a reproduction): Richard Beavis, The Charcoal Burners, 1874 (National Gallery of Victoria, Melbourne); Edward Burne-Jones, , begun 1874 (Lady Lever Art Gallery, Port Sunlight); Briton Riviére, Deer Stealers pursued by sleuth hounds, 1875 (National Gallery of Victoria); Alphonse Legros, Le Repas des Pauvres, 1877 (Tate); Rebecca Dulcibella Orpen, Christ in the Garden of Gethsemane, 1877 (National Trust, Baddesley Clinton); Edward Burne-Jones, The Annunciation, 1879 (Lady Lever Art Gallery).

15. Section 6, Cooper: Examples of this stamp on works dating to 1872-75 can be found on: Thomas Sidney Cooper, Landscape with Cattle and Sheep, 1872 (Birmingham Museums Trust); , Little Fatima, exh.1875 (Bonham’s, 26 September 2018, lot 34); Frank Holl, Francis Holl, c.1875-84? (National Portrait Gallery); James Webb, Morning, 1875-76 (Christie’s, 24 October 1975, lot 76).

16. Section 6, Horsley: Examples of this stamp on works dating to 1871-98, can be found on: F.R. Pickersgill, Industrial Arts in Time of Peace, 1871-2 (Victoria and Albert Museum), John Callcott Horsley, Christ healing the Sick, 1873 (Christie's, 14 May 1976, lot 43); Walter William Ouless, unspecified work, 1886 (source: Cobbe coll., see note 2); Benjamin Williams Leader, A Surrey Sunset, 1898 (Sotheby’s Belgravia, 29 June 1976, lot 181).

17. Section 6, Holman Hunt: Examples of this stamp on works dating to 1881-88 can be found on: John Everett Millais, Benjamin Disraeli, 1881 (National Portrait Gallery); John Melhuish Strudwick, A Golden Thread, exh. 1885 (Tate); William Holman Hunt, May Morning on Magdalen College Tower, 1888 (Birmingham Museums Trust).

18. Section 7, Sandys: Examples of this label on works dating to 1864 can be found on: Frederick Sandys, Morgan-le-Fay, 1864 (Birmingham Museums Trust); Frederick Daniel Hardy, The Sweep, 1864, panel, label partly obscured (Bonham's, 4 July 2017, lot 23); Ford Madox Brown, The Death of Sir Tristram, 1864 (Birmingham Museums Trust). It can also be found on Ford Madox Brown, Lear and Cordelia, 1849-54 (Tate), possibly a later remounting, and John Frederick Lewis, The Bouquet, 1857 (Dunedin Public Art Gallery, New Zealand).

19. Section 7, Dicksee: Examples of this label on works dating to c.1882-91 can be found on the following (hyperlink lead to a reproduction): Albert Moore, Dreamers, c.1882 (Birmingham Museums Trust); William Holman Hunt, May Morning on Magdalen College Tower, 1888, identical or highly similar label (Birmingham Museums Trust); Frank Dicksee, The Crisis, 1891 (National Gallery of Victoria, Melbourne).

20. Section 7, Bacon: Examples of this label on works dating to 1881-1909 can be found on: , The Last Voyage of Henry Hudson, exh.1881 (Tate); John Bacon, The Homage-Giving: Westminster Abbey, 1902, 1903 (National Portrait Gallery); Arthur Stockdale Cope, 1st Viscount Knutsford, 1906 (National Portrait Galley); , , 1909 (National Portrait Galley).

21. Section 7, Cooper, oval stretcher stamp: Examples of this stamp on works dating to 1872-80 can be found on: Thomas Sidney Cooper, Landscape with Cattle and Sheep, 1872 (Birmingham Museums Trust); John Callcott Horsley, Christ healing the Sick, 1873 (Christie's, 14 May 1976, lot 43); John William Inchbold, Gordale Scar, Yorkshire, exh. 1876 (Tate); Edward Burne Jones, Pygmalion and the Image: The Godhead Fires, 1878 (Birmingham Museums Trust); Edward Burne Jones, , 1880 (Tate).

22. Section 8, Orpen: Examples of this stamp on works dating to 1913-37 can be found on the following (hyperlink leads to a reproduction): John Lavery, Auguste Rodin, 1913 (Victoria and Albert Museum); Ambrose McEvoy, Mrs Richard Jessel, 1920-21 (Birmingham Museums Trust); Frank Bernard Dicksee, This for Remembrance, 1924, loose lining canvas (, ); Tom Roberts, Lake Como, 1922 (National Gallery of Victoria, Melbourne); Ambrose McEvoy, The Searchlight Tattoo, Wembley, 1925 (Tate); William Orpen, Sir Edwin Ray Lankester, 1928 (Birmingham Museums Trust); James Gunn, Conversation piece (G.K. Chesterton; Maurice Baring; Hilaire Belloc), 1932 (National Portrait Gallery); J. McIntosh Patrick, Winter in Angus, 1935 (Tate), lining canvas, and his Springtime in Eskdale, 1935 (Walker Art Gallery); Geoffrey Rhoades, Winter Afternoon, Chalk Farm, 1935 (Tate); and Michael Whelan, Malcolm MacDonald, exh. 1937 (National Portrait Gallery), with stamp, No 7 (repr. appendix 1).

Copyright in this compilation, © National Portrait Gallery, London, September 2017, March 2020; copyright in individual images lies with owner, photographer or commissioner as may apply. Freely downloadable for research and personal use.