British Canvas, Stretcher and Panel Suppliers' Marks. Part 2, a to D

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British canvas, stretcher and panel suppliers’ marks. Part 2, A to D

This resource surveys suppliers’ marks on the reverse of picture supports. This part is devoted to London suppliers, A to D, between the 1830s and the 1930s, excluding Thomas Brown and Robert and Charles Davy, for whom see parts 3 and 4.

Arranged alphabetically by supplier: Ackermann & Co, Rudolph Ackermann junr, John Adams, The Art Colour Co, William Badger, C. Barbe, Jabez Barnard/& Son, H.J. Barrett, William Benham, Boots, James Brand, Brodie & Middleton, John Capes, Charles Chenil & Co Ltd, C.E. Clifford, Collector’s Picture Restoring Co Ltd, Arthur Colley & Co, L. Cornelissen & Son, Cowen & Waring, Arthur Crossland, Robert Davis, Dimes & Elam and Robert Dyas. For information on individual suppliers, see British artists' suppliers, 1650-1950 on this website.

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 the dimensions of works can be found. Dates for businesses, partnerships 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, May 2017, updated February 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 and to John Payne, National Gallery of Victoria, Melbourne.

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Ackermann & Co Supplier so named from 1829 In business until c.1855 See British artists' suppliers, 1650-1950 - A

Illustrated: Stamp on canvas: Eduard Magnus, Felix Mendelssohn Bartholdy, [royal coat of arms] c.1845 (The Bodleian Libraries, University of ACKERMANN & C Oxford, JL 747) LONDON

Illustrated: Label, 9.8 cm wide, decorative border, on Edward Pritchett, The board: Piazzetta or The Prison, Venice (Christie’s, 25 ACKERMANN & Co.’s. April 1975, lot 24) PREPARED MILLBOARDS, PANELS AND CANVASS, The pair to this work has the ---- label of Roberson & Miller N.B. EVERY REQUISITE FOR OIL PAINTING. with a secondary W. Mason Repository of Arts, 96, Strand, London. label.

[secondary label in centre:]

W. H. MASON. From Ackermann's Repository of Arts Ship St., Brighton.

[Mason in Ship St by 1832-1838]

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Label, 10.2 cm wide, decorative border: Source: Cobbe coll., see note 2. ACKERMANN & C. o.s PREPARED MILLBOARDS, Also found on: PANELS, CANVASS, Nicholas Condy, The AND BLADDER COLOURS. Kestrel, 1846 (source: Cathy ---- Proudlove, see note 2), and N.B. EVERY REQUISITE FOR OIL PAINTING. on other works by Condy. Repository of Arts, 96, Strand, London. Label sometimes printed in green. [bladder colours were superseded by tube colours in the 1840s]

Illustrated: Label, partly obscured by picture cord, Unknown artist, King decorative border, on millboard: Charles Spaniels (with Radnorshire Fine Arts ACKERMANN & Co.’s Ltd, antique.atlas.com, PREPARED MILLBOARDS, online site) PANELS, CANVASS, AND TUBE COLOURS. ---- N.B. EVERY REQUISITE FOR OIL PAINTING. [REPOSITORY OF] ARTS, 96, STRAND, LONDON.

[tube colours were introduced in the early 1840s]

Rudolph Ackermann At 191 Regent St from 1825 Ackermann junr, nephew of Rudolph junr See British artists' suppliers, 1650-1950 - A Ackermann senr, set up independently

Illustrated: Label on yellow paper, 13.1 cm wide, two Capt. Edward Otway, winged cherubs set in a landscape, on board: Martha Otway, Sister of the Artist (Ancient House, R. Ackermann, Museum of Thetford Life) Book & Printseller AND MANUFACTURER OF SUPERFINE WATER COLOURS TO Her Majesty 191, Regent Street, London.

A large assortment of coloured & white Rice Paper

[royal appointment dates label to 1830 or later]

John Adams At this address by 1892-1903 or later See British artists' suppliers, 1650-1950 - A

Illustrated: Stamp, 12.3 cm wide, on canvas: Source: Cobbe coll., see note 2. J ADAMS, Artists’ Material & Fine Art D[epot?] 135, WOODGRANGE ROAD FOREST GATE, E

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

The Art Colour Co In business 1895-1901 Previously trading as Anglo-American Art See British artists' suppliers, 1650-1950 - A Color Co Ltd

Illustrated: Stamp, double oval, name and place in outer Harry Thomas Foxen, ring, works address in centre, on canvas: Bridge in Cassiobury Park, 1905 (Watford ART COLOR Co. Museum) LONDON, W

Anchor Works JOHNSON ST.

William Badger In business 1871-88 Successor to William Eatwell, see Part 5 of See British artists' suppliers, 1650-1950 - B this guide

Illustrated: Stencil, 9 cm wide, oval format, on canvas: R. Harwood, unspecified work, source: Cobbe coll., W.BADGER see note 2. MANUFACTURER 97 BOUNDARY ROAD N.W. LONDON.

[at 97 Boundary Road from 1871]

Illustrated: Stencil, 13.5 cm wide, on canvas: Henry Weigall, Sir William Quiller Orchardson, W. BADGER c.1878-81 (National LATE EATWELL Portrait Gallery) 97, BOUNDARY ROAD ST. JOHN'S WOOD Also found on: & 49, DORSET STREET John Everett Millais, Diana PORTMAN SQUARE Vernon, 1880 (National Gallery of Victoria) [at both addresses 1877-87] Click for an image of stencil.

[found on pictures dating to 1877-83, note 4] Edwin Hayes, Storm Clearing Off, exh.1883 (Lady Lever Art Gallery)

Camille Barbe, Charles In business as C. Barbe 1827-48 Trading as Lechertier Barbe from 1848, see Barbe See British artists' suppliers, 1650-1950 - L Part 5 of this guide under Lechertier Barbe

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil, 6.3 cm wide, oval format, on millboard: T.H. Wilson, Biblical Scene, 1845 (Royal C. BARBE Society of Arts, note 5) ~ 60 ~ Regent's Quadrant LONDON

[Dimes & Elam’s stencil can be made out below that of Barbe, despite being painted out, see note 5. An example of Dimes & Elam’s stencil is repr. near the end of this guide.]

Illustrated: Stencil, 9.6 cm wide, on millboard: William Rimer, Ivanhoe, 1846 (Royal Society of C. BARBE Arts, note 5) 60 Regent's Quadrant LONDON

[this stencil applied over that of Dimes & Elam in similar manner to the previous example]

Jabez Barnard In business as Jabez Barnard 1837-60 Trading as Jabez Barnard & Son from See British artists' suppliers, 1650-1950 - B 1860, see below

Illustrated: Label, 8 cm wide, decorative border, on panel Unknown monogrammed (this example with circular Rotterdam? work, artist unidentified, customs’ stamp top left): 1859, source: see note 2. JABEZ BARNARD, MANUFACTURER OF Superfine Oil & Water Colours, BLACK LEAD & FINE HAIR PENCILS, AND Preparer of Canvas Panels, Mill Boards, And every other article for Painting and Drawing, 339, OXFORD STREET, Opposite John Street, London.

Illustrated: Label, 8.5 cm wide, decorative border, on Anonymous, Girl holding millboard (brackets used in final address line): Basket of Flowers (Private coll., Canada, JABEZ BARNARD, 2017, image, Cyndie MANUFACTURER OF Lack) [Su]perfine Oil & Water Co[lours,] BLACK LEAD & FINE HAIR PENC[ILS,] Preparer of Canvas Panels, Mill Bo[ards,] And every other article for Paintin[g and Drawing,] 339, OXFORD STR[EET,] (Opposite John Street,) Lond[on]

Illustrated: Stamp, 9.0 cm wide, oval format for name and C.W. Cope, A Problem address, on canvas: (Sotheby's Belgravia, 6 May 1975, lot 161) Prepared by

Also found on: [J BA]RNARD Count d'Orsay, with Edwin --- Landseer, Baron Lyndhurst, [3]39 Oxford St c.1862 (Hughenden Manor, --- Buckinghamshire, NT), LONDON without first line of stamp.

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Jabez Barnard & Son In business as Barnard & Son from 1860 See British artists' suppliers, 1650-1950 - B

Illustrated: Stencil, 16.0 cm wide, on canvas: W(illiam?) Monkhouse, A Mountain Stream in ARTISTS CANVAS Yorkshire (Southampton PREPARED BY City Art Gallery) J BARNARD & SON LONDON.

[letter ‘D’ of BARNARD below ‘R’ of PREPARED]

Illustrated: Stencil, 16.5 cm wide, on canvas: Source: Cobbe coll., see note 2. ARTISTS CANVAS PREPARED BY BARNARD & SON LONDON

[letter ‘D’ of BARNARD below ‘ED’ of PREPARED; ‘J’ omitted before BARNARD]

Illustrated: Stencil, 6.0 cm wide, at centre of canvas: Unknown artist, Church in Snow (Private coll., ARTISTS’ January 2020) CANVAS PREPARED BY J.BARNARD & SON LONDON.

Illustrated: Stencil, 15 cm wide, on canvas: George Lock, unspecified work, 1885, source: BARNARD & SON Cobbe coll., see note 2. LONDON

Illustrated: Stencil, 9 cm wide, on canvas: Unspecified work, 1889, source: Cobbe coll., see BARNARD & SON note 2. LONDON

[small format stencil]

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil, 10.5 cm wide, in form of a serpentine W. Bromley, unspecified scroll, on canvas: work, source: Cobbe coll., see note 2. BARNARD

Also found on: & SON Colin Graeme, The Day’s Bag, 1894 (Sotheby’s LONDON Belgravia, 11 March 1975, lot 112?) and on pictures [found on pictures dating to 1884-1901] dated 1884 and 1901 (see note 2)

Illustrated: Stamp, indistinct, linear border with inset Unknown artist, corners, on canvas: Seascape (Private coll., 2005) J BARNARD & CO----? ARTISTS? C[OLOURMAN?] LONDON --?

Illustrated: Stamp on canvas: William Orpen, Anita, 1905 (Tate, T07136) STUD[ENTS] CANVAS. J. B[ARNARD &] SON, LONDON, W.

H.J. Barrett In business 1848-64 See British artists' suppliers, 1650-1950 - B

Illustrated: Stencil on canvas: Anonymous, Still-life (image, dott.ssa Daniela HJ BARRETT Magnetti, Nov. 2015) ARTISTS COLORMAN 6, Worship Street Shoreditch. LONDON.

William Benham At 9 Devonshire Terrace 1863-88 See British artists' suppliers, 1650-1950 - B

Illustrated: Stamp, linear border with inset corners, on Source: Cobbe coll., see canvas: note 2. W. BENHAM Also found on: ARTISTS COLOU[RMAN] James Cole, Girl Gathering AND Flowers, 1877 (Private coll.), PICTURE FRAME M[AKER] the canvas stamped Winsor [9,] DEVONS[HIRE] T[ERRACE] & Newton NOTTING HILL [GATE]

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Label on stretcher bar: Robert Dowling, Sheikh and his son entering DEPOT OF THE LIBRARY COMPANY LIMITED. Cairo on their return from WILLIAM BENHAM, a pilgrimage to Mecca, Artists' Colourman & Stationer, 1874 (National Gallery of Print Seller & Picture Frame Maker, Victoria), the canvas ENGRAVER, DIE SINKER & EMBOSSER, stamped Winsor & 9, Devonshire Terrace Notting Hill./ W. Newton DRAWINGS LENT TO COPY. Maps, Prints & Drawings mounted & varnished.

Boots Ltd Trading in artists’ materials by 1894 See British artists' suppliers, 1650-1950 - B

Illustrated: Stamp, 6.0 cm wide, on canvas: Source: Cobbe coll., see note 2. Boots Picture Framing AND ARTIST'S DISPENESERS?

James Brand In business 1804-45 See British artists' suppliers, 1650-1950 - B

Illustrated: Stencil on canvas: Artist unknown, Portrait of a Gentleman (image, PRE[PA]RED B[Y] Timothy Potter, Jan. I BRAND 2013) ARTISTS [COLO]URMA[N] Opposite S[t Thos] Hospl BORO

Brodie & Middleton At 79 Long Acre 1851-1945 See British artists' suppliers, 1650-1950 - B

Illustrated: Stencil, 9.5 cm wide, on canvas: A. Glendenning, 1873, source: Cobbe coll., see PREPARED BY note 2. BRODIE & MIDDLETON 79, LONG ACRE, LONDON

[letter ‘I’ below ‘P’ of PREPARED]

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stamp, 10 cm wide, on canvas: Unknown artist, George Dawson, c.1874? PREPARED BY (Birmingham Museums BRODIE & MIDDLETON Trust, 1935P147) 79, LONG ACRE, LONDON

Found on paintings, c.1874- [letter ‘D’ below ‘P’ of PREPARED] 77. Illustrated: Stencil, 10 cm wide, on canvas: Maria Brooks, Out in the Rain, 1878 (Southampton PREPARED BY City Art Gallery) BRODIE & MIDDLETON 79, LONG ACRE, LONDON

[letter ‘O’ below ‘P’ of PREPARED]

Illustrated: Stamp, 11.5 cm wide, on canvas: George William Mote, A Hilly Landscape, 1881 PREPARED BY (Christie’s, 16 July 1976, BRODIE & MIDDLETON lot 59) 79, LONG ACRE, LONDON

Found on paintings, 1880- [similar to preceding but lines set more closely 83, see note 6 together]

Thomas Brown In business 1805/6-54 See Part 3, Thomas Brown of this guide See British artists' suppliers, 1650-1950 - B

John Capes At this address 1873-76 Followed by Kemp & Co, see Part 5 of this See British artists' suppliers, 1650-1950 - C guide

Illustrated: Stamp, 12 cm wide, oval format, on canvas: James Edgell Collins, Thomas Phillips, Mayor of J. CAPES Birmingham, 1876 ARTISTS COLORMAN (Birmingham Museums [9] HOLDEN TERRACE Trust) PIMLICO SW

Charles Chenil & Co Ltd In business 1905-27 See British artists' suppliers, 1650-1950 - C

Illustrated: Stencil, palette-shaped, on canvas: George Bell, Lulworth Cove, 1911 (National CHENIL Gallery of Victoria, Melbourne) BY THE Click on link for a larger TOWN HALL image of stencil. CHELSEA Also found on: William Orpen, The Chinese [used in this form around 1911-12] Shawl, 1912 (National Gallery of Victoria)

Click for an image of stencil. Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil, palette-shaped, on canvas, with William Orpen, 1st Baron additional marks, CANVAS, 54, repr. Appendix: Hankey, 1919 (National Portrait Gallery) CHENIL

Chenil stencil also found on: BY THE Augustus John, Lady TOWN HALL Ottoline Morrell, 1919 (National Portrait Gallery) CHELSEA

George W. Lambert, A Sergeant of the Light Horse, [more space between ‘TOWN’ and ‘CHELSEA’] 1920 (National Gallery of Victoria, Melbourne) [used in this form around 1919-26] Click for an image of stencil.

David Jagger, Robert Fowler, exh.1920 (Bonhams, 21 November 2017, lot 123)

Henry Tonks, Spring Days, begun 1926 (Tate)

C.E. Clifford In business 1849-87 For Clifford’s label as a picture restorer, see See British artists' suppliers, 1650-1950 - C Part 14 of this guide

Illustrated: Stencil, 11 cm wide, on canvas: William Salter, Sir Frederick Adam (National C.E. CLIFFORD, Portrait Gallery) ARTISTS COLOURMAN N. o 30 PICCADILLY Also found on: OPPOSITE ST JAMES CHURCH J. Sydney Hodges, Henry LONDON Cooper, Mayor of Canterbury, 1856 (Canterbury City Council Museums and Galleries)

Illustrated: Stencil on canvas: George Reid, George MacDonald, 1868 C.E. [CLIF]FORD, (National Portrait Gallery) ARTISTS COLOURMAN 30 PICCADILLY [OP]POSITE ST JAME[S'S] CHURC[H] LONDON.

[lettering laid out differently]

Illustrated: Label, 10.0 cm wide, on millboard: Arthur Hughes, Study for 'The Young Poet', 1848- PREPARED MILLBOARD. 49 (Birmingham [Royal coat of arms] Museums Trust) ESTABLISHED UPWARDS OF A CENTURY. C. E. CLIFFORD, ARTISTS COLOURMAN, 30, PICCADILLY. OPPOSITE ST. JAMES'S CHURCH.

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Label on millboard: Unknown artist, Boy Fishing with Dog PREPARED MILLBOARD. (kaminskiauctions.com, [Royal coat of arms] online auction site, March ESTABLISHED UPWARDS OF A CENTURY. 2018, lot 8233) C. E. CLIFFORD, MANUFACTURING ARTISTS COLOURMAN, 30, PICCADILLY. OPPOSITE ST. JAMES'S CHURCH. SUBSCRIPTION GALLERY OF WATER COLOUR DRAWINGS.

Collector’s Picture In business 1933-39 See Arthur Crossland below Restoring Co Ltd See British artists' suppliers, 1650-1950 - C

Arthur Colley & Co In business 1936-66 See British artists' suppliers, 1650-1950 - C

Illustrated: Stamp, 7.0 cm wide, on canvas: Rodrigo Moynihan, Objective Abstraction, ARTHUR COLLEY & CO., c.1935-6 (Tate) 88, HAVERSTOCK HILL, N.W.3. ARTISTS’ MATERIALS & PICTURE FRAMER. PHONE GULLIVER 4224.

L. Cornelissen & Son Supplier so named 1884-1977 See British artists' suppliers, 1650-1950 - C

Illustrated: Stencil on canvas: Leon Little, Sir Rider Haggard, 1886 (National L. CORNELISSEN & SON Portrait Gallery) ARTISTS COLOURMEN --22, GREAT QUEEN ST.-- Also found on: LONDON Alfred Walter Williams, W.C Surrey Woodland, 1896 (with Debenham Antiques Ltd, 2014, information from Pascal Labreuche)

Illustrated: Stencil on canvas: John McLure Hamilton, Matthew Ridley Corbet, 72 1893 (National Portrait Gallery) Stencil, 12 cm wide, on canvas:

Also found on: L. CORNELISSEN & SON Walter Richard Sickert, 22, GT. QUEEN ST. Aubrey Beardsley, 1894 LONDON W.C Tate, N04655), address stencil on unprimed reverse [see appendix for numerals at top] of loose lining.

[found on pictures dating to 1893-95, note 7]

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil, 11 cm wide, on canvas: Walter Richard Sickert, Ennui, c.1914 (Tate, 012 [?] N03846) Stencil, 10.6 cm wide, on canvas:

L. [CO]RNELISSEN & S[ON] 22, GT. QUEEN ST. LON[DO]N WC

[see appendix for numerals at top]

^ Sickert

Illustrated (bottom): Unidentified, source: Cobbe coll., see note 2.

^ Unidentified

Illustrated: Top, stamp, 6.0 cm wide, on stretcher: Stephen Bone, Sir Hugh Walpole, late 1930s? L. CORNELISSEN & SON. (National Portrait Gallery) 22, GT. QUEEN STREET, W.C. 2.

Bottom, 8.6 cm wide, within box, centre of canvas, beneath indistinct address stamp as above:

PURE FLAX CANVAS MADE IN [ENGLAND]

Cowen & Waring Supplier so named by 1836-1837 For successor businesses, see Waring & See British artists' suppliers, 1650-1950 - C Dimes (Part 6 of this guide) and Dimes & Elam (below)

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stamps on canvas: John Linnell, J.M.W. Turner, 1838 (National [royal coat of arm, a separate stamp] Portrait Gallery) COWEN & WARINGS Newly Invented CAOUTCHOUC INDIA RUBBER CANVAS 91 Gt Russell St BLOOMSBURY

[part of name stamp appears a second time, repr. Appendix]

Not illustrated: Label, 2.8 cm wide, on canvas: Label reportedly too dark to photograph John Sell Cotman, Landscape in Normandy COWEN & WARING (National Museum, ARTISTS’ COLOUR Cardiff) Manufacturers Great Russell-Street Near the [British] Museum

Arthur Crossland In business 1932-39 Trading as Collector’s Picture Restoring Co See British artists' suppliers, 1650-1950 - C Ltd until 1936

Iillustrated: Stamps on board: Gerard Brockhurst, Jeunesse Dorée, exh. CROSSLAND FLEXIBLE GESSO 1934 (Lady Lever Art PATENT No. 383755. Gallery, Port Sunlight, National Museums THE COLLECTORS’ Liverpool) PICTURE RESTORING CO., LTD.

STUDIO 3 59, SOUTH EDWARDES SQUARE, KENSINGTON, LONDON, W.8.

[at 59 South Edwardes Square 1933-36]

Illustrated: Stamps on blind stretcher: Gerard Brockhurst, Wallis, Duchess of CROSSLAND FLEXIBLE GESSO Windsor, 1939 (National PATENT No 383755. Portrait Gallery) 19, LEXHAM MEWS, Also found on: EARLS COURT ROAD, James Bateman, Cattle LONDON, W.8. Market, 1937 (Tate), without patent no. “REFLEXIC” GESSO

[at 19 Lexham Mews 1935-39]

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stamps on canvas (original dry lining): James Bateman, Haytime in the Cotswolds, "REFLEXIC" GESSO. purchased 1939 (Southampton City Art CROSSLAND FLEXIBLE GESSO Gallery) 19, LEXHAM MEWS, EARLS COURT ROAD, LONDON, W.8

John Culbert In business 1799-1815 See Part 1, 1785-1831 of this guide See British artists' suppliers, 1650-1950 - C

Robert Davis In business as artists’ colourman 1857-70 See British artists' suppliers, 1650-1950 - D

Illustrated: Stencil, 10.5 cm wide, oval format, on canvas: James Collinson, The Empty Purse, c.1857? R. DAVIS. Tate) --- [35 Che]nies Mews -- AND -- 10 HUNTLEY ST --- TOTTENHAM CT. ROAD

[‘10’ sits above ‘O’ of TOTTENHAM] ^ Collinson

[at 10 Huntley St 1858-70; stencil found on Illustrated (bottom): pictures dating to c.1857-1860, note 8] Unidentified, source: Cobbe coll., see note 2.

^ Unidentified

Illustrated: Stencil, 11 cm wide, oval format, on canvas: Thomas Whittle, View of the Wyndcliffe from the R. DAVIS. Chepstow Road, 1861 35 Chenies Mews (Sotheby’s Belgravia, 29 -- AND -- July 1975, lot 131) 10 HUNTLEY ST. TOTTENHAM C T. ROAD. Also found on a work dated 1863. [‘10’ sits above ‘T’ of TOTTENHAM]

[at 10 Huntley St 1858-70]

Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil, 11 cm wide, oval format, on canvas: Joseph Thors, A Surrey Landscape (Sotheby’s R. DAVIS. Belgravia, 8 April 1975, 35 & 36 lot 150) Chenies Mews -- AND -- Also found on: 10 HUNTLEY ST Henry Dawson, On the --- Ribble, 1860 (Sotheby’s TOTTENHAM CT ROAD Belgravia, 10 June 1975, lot 60) [at both 35 & 36 Chenies Mew 1860-70; stencil

found on pictures dating to 1860-66, note 8]

Illustrated: Stencil, 12 cm wide, oval format, on canvas: J. Morgan, unspecified work, source: Cobbe coll., R DAVIS. see note 2. --- 10 Huntley St AND 35 Chenies Mews --- TOTTENHAM CT ROAD MANUFACTURER. LONDON

[at 10 Huntley St 1858-70]

Robert and Charles Davy In business by 1811-1863 See Part 4, Robert and Charles Davy of this See British artists' suppliers, 1650-1950 - D guide

Dimes & Elam Supplier so named 1843-45 Successor to Dimes & Co, and Waring & See British artists' suppliers, 1650-1950 - C Dimes (see Part 6 of this guide) under Cowen & Waring

Illustrated: Stencil, 7 cm wide, oval format, on panel: W.P. Frith, The Village Pastor, 1845 (Sudley DIMES & ELAM, House, National MANUFACTURERS, Museums, Liverpool) 91 GT. RUSSELL ST. BLOOMSBURY, Also found on: LONDON. Frederick Goodall, The Bagpiper, 1847 (Victoria and [found on pictures dating to 1845-56, note 9] Albert Museum)

Robert Dyas In business as Robert Dyas 1873-1905 Subsequently trading as Robert Dyas Ltd

Illustrated: Stamp, 8.4 cm wide, on canvas: Source: Cobbe coll., see note 2. ROBERT DYAS,

LONDON, E.C.

Appendix: Additional illustrations

Charles Chenil & Co Ltd

William Orpen, 1st Baron Hankey, 1919 (National Portrait Gallery)

The numerals, 54, probably indicate the canvas type. However, few examples are known, and the digits may refer to sizes or batch or production codes.

James Quinn, John Tweed, sculptor (National Gallery of Victoria, Melbourne) has a similar stamp but with the letter ‘C’ in place of ‘54’; Click on link for an image.

Charles Chenil & Co Ltd

James Pryde, The Pillar (Christie’s South Kensington, 12 March 2014, lot 91, with the instructions:

“WHEN RE ORDERING THIS CANVAS QUOTE A”

In this case, the context allows one to conclude that ‘A’ was a particular

type of canvas.

Cowen & Waring

John Linnell, J.M.W. Turner, 1838 (National Portrait Gallery)

Cowen & Waring’s stamp appears a second time, without the coat of arms, partly under the stretcher, suggesting that the canvas was taken from a stamped roll.

L. Cornelissen & Son

The numerals found above Cornelissen & Son’s name on several canvases may relate to stock numbers.

This supposition is based on the inclusion in a post- 1917 Cornelissen catalogue of a range of canvas types each of which is assigned an individual number: 5, 6, 9b, 15, 19, 20, 23, 29, 52, 207, 218 and 700. In addition the number 68 can be found for stretched rather than rolled canvas.

However, none of the numbers coincide with those found on earlier canvases, c.1893-1914, illustrated in the sequence above, bearing the numerals, 12, 22 and 72. These perhaps relate to an earlier catalogue.

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 Eve Watson for access to paintings at the Royal Society of Arts. Thanks also for images to David Crombie (Crossland’s Brockhurst stamp), Dana Josephson (Ackermann canvas stamp) and Cyndie Lack (Barnard label). 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. This applies especially to some of the smaller suppliers. It has not always proved possible to identify the particular painting photographed in the sale room. The use of a question mark following a lot number indicates slight uncertainty in an identification. 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. 4. William Badger: Examples of Badger’s canvas stamp as ‘Late Eatwell’ include John Everett Millais, 'Yes', 1877 (Private coll.), Henry Weigall, Sir Moses Haim Montefiore, 1881, Edwin Long, 1st Earl of Iddesleigh, 1882, and Lowes Cato Dickinson, Sir Charles Lyell, 1883 (all National Portrait Gallery). 5. C. Barbe: These works are RSA/PR/AR/103/14/958 and 988. See Clare Richardson, ‘The RSA collection of ‘trial’ paintings on millboard and canvas 1820-46’, in Clare Richardson and Peter Bower, Early 19th century Materials for Drawing and Painting, William Shipley Group for RSA History, Occasional Paper 18, 2010, p.19. 6. Brodie & Middleton: Examples of Brodie & Middleton’s canvas stamp, illustrated under George William Mote, dating to 1880-83, include Lily Holiday, A Basket of Flowers, 1880 (Sotheby's Belgravia, 7 September 1976, lot 175) and Arthur J. Meadows, Bingen near Magence and Dinant on the Meuse, 1883 (Christie's, 25 April 1975, lots 123, 124). Examples illustrated under George Dawson include John William Waterhouse, In the Harem, An Odalisque, exh.1876? (Sotheby's, 13 July 2017, lot 29). 7. Cornelissen & Son: Examples of the stamp, illustrated under John McLure Hamilton, dating to 1893-95, include Walter Richard Sickert, Aubrey Beardsley, 1894 (Tate, N04655) and E. Crofts, unspecified work, 1895 (source: Cobbe coll., see note 2). 8. Robert Davis: Information on the date ranges for examples of Davis’s stamps comes from Cathy Proudlove. The mark with both addresses, 35 & 36 Chenies Mews, is found on pictures from 1860 and 1866: Henry Dawson, On the Ribble, 1860 (Sotheby’s Belgravia, 10 June 1975, lot 60) and John Rolfe, “If any Man Have Ears to Hear, Let him Hear", 1866 (Sotheby's Belgravia, 6 January 1976, lot 185). 9. Dimes & Elam: Examples of the Dimes & Elam stencil include W.P. Frith, The Village Pastor, 1845 (Sudley House, National Museums, Liverpool), Henry Bright, Grove Scene, 1847 (Norwich Castle Museum), Frederick Goodall, The Bagpiper, 1847 (Victoria and Albert Museum), George Bernard O'Neill, Market Day, 1856 (Sudley House) and Edwin Landseer, Lady Cecilia Lennox at Gordon Castle (Goodwood House, Sussex).

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