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British Canvas, Stretcher and Panel Suppliers' Marks. Part 8, Charles

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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 found. 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 work of Cathy Proudlove and the suppliers’ database created by Jacob Simon. With thanks to Dr Joyce Townsend for providing information on paintings in Tate, 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 Canterbury, 1833-34 51 LONG ACRE. LONDON (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 (Norwich 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: Henry Wallis, 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 John Everett Millais, stretcher: Ophelia, 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.
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    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
  • Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013

    Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013

    Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.