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Home , Belgravia, Charles Robert Leslie, Edwin Landseer, George Hayter, Henry Fuseli, Holborn

British canvas, stretcher and panel suppliers’ marks: Part 3, Thomas Brown, 1805-54

This resource surveys suppliers’ marks on the reverse of picture supports. Thomas Brown (c.1778-1840) was in business from 1805/6. He was followed by his son, also Thomas Brown. For fuller details, see British artists' suppliers, 1650-1950 - B. In their day, the Browns were the business of choice among many professional artists. In 1842 the younger Brown claimed that he, his father, and his father's predecessor, had between them supplied all the Royal Academy’s Presidents up to that time, and that they had been the favoured servants of the Academy since its foundation (The -Union, January 1842).

Thomas Brown’s marks can be conveniently divided, more or less chronologically, according to addresses: High , then 163 and finally and briefly 260 St. Such was the volume of Brown’s business that it is likely that several similar stamps were in use at any one time.

Canvas stamps and stencils are treated first (sections 1 to 8). They have been subject to studies by Martin Butlin and Norman Muller (note 4). For panels and some stretchers Brown used a small label (section 9) or an impressed mark (section 10). Most of Brown's rivals preferred to use conspicuous printed labels, especially on millboards, a type of support Brown did not favour.

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. Information on frame marks is given at note 5 and on date stamps and stencils at note 6.

Compiled by Jacob Simon, March 2017, updated November 2018, February 2020, 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 , to Nicola Costaras at the Victoria and Albert and to , of Victoria.

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

1. Canvas marked ‘High-Holborn’ and Three types normally found in association ‘LINEN’, often with frame mark with a frame mark and so not later than 1831 Illustrated: Stamp on canvas: Fuseli, The Poet Observing Nerea with Her T. BROWN. New Lover in Her Grotto, High-Holborn c.1810-13 (Victoria and LINEN. Albert Museum) [‘T’ of T. BROWN to left of ‘H’ of High; marks Also found on: left and right of ‘LINEN’ probably result from , Salome with the way the stamp was applied] the Head of John the Baptist (Egremont coll., ), frame mark, 1810?

Illustrated: Stamp on canvas: Source: Courtauld - Colourmen Online T. BROWN. database (note 3) High-Holborn LINEN. Also found on: , Self- [‘T’ of T. BROWN above ‘H’ of High] portrait, 1814 (National Portrait Gallery), frame mark

See note 7 for examples from c.1807-1826.

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

Illustrated: Stamp on canvas: Richard Rothwell, Novitiate Mendicants, T. BROWN c.1837 (Victoria and High Holborn Albert Museum), frame LINEN. mark (the canvas thus 1831 or before) [‘LINEN’ with a large ‘L’]

Also found on: Unknown artist, Samuel Watson, 1829 ( Castle Museum and Art Gallery), frame mark

2. Canvas marked ‘High Holborn’, often with Recorded date stamps associated with this two compartment date stamp type date to 1831-35 (note 8)

Illustrated: Stamp, 7.2 cm wide, on canvas (and detail): , , 1835 (National T BROWN. Portrait Gallery) High Holborn

Also found on: Associated date stamp, within frame: Richard Rothwell, William ^ Huskisson, c.1831 (National 2- 34 Portrait Gallery), associated date stamp: 9- 31 [‘T’ of T. BROWN to right of ‘H’ of High]

John , Heath with a Rainbow, 1836 (Tate), associated date stamp: 10 32 detail

3. Canvas marked ‘163 High Holborn’, often Recorded date stamps associated with the with two compartment date stamp following type date to 1835-40 (note 9)

Illustrated (top): Stamp, 9.2 cm wide, on canvas (and detail): Henry Johnson, John Ferneley, 1838 (National T BROWN. Portrait Gallery) 163 High Holborn Also found on: , Study of Associated date stamp, within frame: Sheeps’ Heads, 1836 (Tate), associated date stamp: 9- 4- 37 ^ 35

David Wilkie, King William IV, 1837 (National Portrait Gallery), associated date stamp: 11-36

J.M.W. Turner, Seascape with Distant Coast, c.1840 Johnson, detail (Tate) Stamp, 8.3 cm wide, on canvas: Illustrated (bottom): Unknown artist, Martha T BROWN. (Private coll., 163 High Holborn Canada, 2004, source: LONDON Cyndie Lack)

[smaller in size though identical in appearance] ^unknown artist

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

4. Canvas marked ‘163, HIGH HOLBORN’ Three examples are given, the third smaller in scale. Other slight variations in lettering style and layout are found. It is likely that several stamps were in use at any one time.

Illustrated: Stamp, 7.8 cm wide, on reverse of loose lining J.M.W. Turner, The canvas: Dogano, San Giorgio, Citella, from the of BROWN, the Europa, exh. 1842 163, (Tate), associated date HIGH HOLBORN, stamp on separate painting LONDON. canvas: TB 11? 40 (repr. below) [the ‘3’ rounded at top; ‘N’ of LONDON below the ‘B’ of HOLBORN] Also found on: , There is no place like home, 1842 (Victoria and Albert Museum)

George Lance, , 1842 (Victoria and Albert Museum), with impressed stretcher stamp

Illustrated: Stamp, 8.6 cm wide, on reverse of loose lining J.M.W. Turner, Lake canvas: : the Bay of Uri from above Brunnen, BROWN, c.1844 (Tate) 163, HIGH HOLBORN, Also found on: LONDON. J.M.W. Turner, Scene in Venice, c.1840-45 (Tate, [the ‘3’ flat at top; the final ‘N’ of LONDON N05488) below the ‘O’ of HOLBORN]

Illustrated: Stamp, 4.9 cm wide, on canvas: Lance, unknown work, 1855, ? of BROWN, Grapes and Morning 163, , Sotheby’s HIGH HOLBORN, , 8 April 1975, LONDON. lot 104, paper laid on canvas [smaller in size, used on a small canvas; the ‘3’ flat at top and below the ‘W’ of BROWN; without punctuation]

5. Other canvas marks

Illustrated: Date stamp within frame, 8 cm wide, on J.M.W. Turner, The canvas, with TB stencil at right angles, 2.8 cm Dogano, San Giorgio, wide: Citella, from the Steps of the Europa, exh. 1842, TB 11? 40 24¼ x 36½ ins (Tate), associated address stamp [TB for Thomas Brown. Turner had canvases on separate loose lining made up to non-stock sizes, which were canvas (repr. above) sometimes differently stamped.] Work details Mark transcripts Product marks (not to uniform scale)

6. Canvas marked ‘163, HIGH HOLBORN’ Recorded examples associated with this with three compartment date stamp three compartment type date to 1841-51 (note 10)

Illustrated: Date stamp on canvas, within frame: Margaret Carpenter, Patrick Fraser Tytler, exh. TB 11 41 1845 (National Portrait Gallery) [TB for Thomas Brown]

Second stencil, 9 cm wide, on canvas:

BROWN, 163, HIGH HOLBORN, LONDON

Illustrated: Date stencil on unprimed side of loose lining , canvas, within frame: Christ in the House of His Parents, 1849–50 (Tate) TB 10 49

Second stencil on canvas:

BROWN, 163, HIGH HOLBORN, LONDON

[the ‘D’ of LONDON now more below the ‘L’ of HOLBORN]

7. Canvas marked ‘163, HIGH HOLBORN’, Recorded examples associated with this with four compartment size and date stamp four compartment type date to 1843-51 (note 6)

Illustrated: Date stencil on canvas, within frame: Margaret Carpenter, William Smith, 1856, 30 x TB 2 51 ¾ 25 ins (National Portrait Gallery) [TB for Thomas Brown; 2 51 for the date; ¾ the canvas size, a ‘three-quarters’ at 30 x 25 ins, see note 11]

Stencil on canvas:

BROWN, 163,

HIGH HOLBORN, LONDON

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

Illustrated: Date stencil on canvas, within frame: Edwin Landseer, , exh. 1848, 36 TB 4 46 KK x 27¾ ins (National Portrait Gallery) [TB for Thomas Brown; 4 46 for the date; KK the canvas size, a ‘Kit-Kat ‘(36 x 28 ins), see note 11]

Second stencil on canvas:

BROWN, 163, HIGH HOLBORN, LONDON

Illustrated: Date stencil on canvas, within frame: Edwin Landseer, Alexander and Diogenes, TB 10 43 BH exh. 1848, 44¼ x 56¼ ins (Tate) [TB for Thomas Brown; 10 43 for the date; BH the canvas size, a ‘Bishops half length’ (56 x 44 ins), see note 11]

Second stencil on canvas:

BROWN, 163, HIGH HOLBORN, LONDON

To locate The compiler is seeking examples with other marks of this type, probably with initials HL for half length or WL for whole length

Illustrated: Stencil on canvas, within frame: , Latimer Preaching at Paul's TB 7 43 LW Cross, 1853, 66¼ x 87½ ins (Princeton University [TB for Thomas Brown; 7 43 for the date; LW Art Museum, see Muller, probably the canvas size, a large whole length cited in note 4, and note which was then cut to size by the artist, see 11) note 11]

Second stencil on canvas:

BROWN, 163, HIGH HOLBORN, LONDON

Third stencil on canvas, within frame:

ABSORBENT

[Absorbent indicates a ground or priming mainly made up of chalk]

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

8. Canvas marked ‘260 OXFORD ’ At this address 1853-54

Illustrated: Stencil on canvas: E.W. Cooke, Evening on the Lagoon, Venice, 1853 BROWN (Bonhams, 2 March 2016, 260 lot 12) HYDE PARK END

Also found on: John Ferneley, A Herd of Horses in an extensive , 1854 (Christie's South , 1 December 2016, lot 187)

Illustrated: Stencil on canvas: , Robert McCormick, c.1856 BROWN (National Portrait Gallery) 260 OXFORD STREET HYDE PARK END

[‘HYDE’ set slightly to right]

9. Panels with labels Seemingly used in the but more examples are required to confirm this dating

Illustrated: Label, 5.0 cm wide, bevelled corners, on board: Edwin Landseer, Scottish River Scene with Cattle in PREPARED BY a Meadow (Anglesey , , T. BROWN, 163, HIGH HOLBOURNE.

National Trust)

Also found on: Edwin Landseer, A Deer fallen from a precipice, exh. 1828 (Sotheby’s, Gleneagles, 29 August 2007, lot 12)

10. Panels and stretchers with impressed Several closely similar stamps. Found from name and often address about 1835; arranged here in date order

Illustrated: Two impressed stamps, the second 5.0 cm , Sir Robert wide, on panel: Peel, 1838 (National Portrait Gallery) BROWN

In use 1839-49 or longer; HOLBORN see note 12 for other examples. [lettering with serifs; ‘BROWN’ applied unevenly, leaving a double impression]

Illustrated: Impressed stamp, final line 7.9 cm wide, on Edward William Cooke, mahogany panel: Dutch Boats in a Calm, 1843 (Tate) BROWN 163 HIGH HOLBORN

[lettering without serifs] Work details Mark transcripts Product marks (not to uniform scale)

Illustrated: Impressed stamp, 7.9 cm wide, on mahogany Charles Robert Leslie, Sir panel: John Everett Millais, 1852 (National Portrait Gallery) BROWN 163 HIGH HOLBORN In use 1844-52 or longer; see note 13 for other [lettering without serifs; lettering differs from examples. above , e.g. the ‘R’ more rounded]

Illustrated: Impressed stamp on panel: C.W. Cope, L'Allegro, 1848 (Victoria and Albert BROWN Museum) 163 HIGH HOLBORN

[as above but HOLBORN upside down, showing that two punches were used in the final line]

Illustrated: Impressed stamp on stretcher: Edwin Landseer, Scene from A Midsummer BROWN 's . , 1848-51 163 (National Gallery of Victoria, ) HIGH HOLBORN Click on link for an enlarged image of impressed stamp. [lettering with distinctive residual serifs, e.g. the v-top of the ‘1’ of 163]

Illustrated: Impressed stamp on stretcher: Stephen Pearce, The Arctic Council planning a BROWN search for Sir , 1851 (National 163 Portrait Gallery) HIGH HOLBORN

[lettering with slight residual serifs]

Illustrated: Impressed stamp on panel: , , 1854 (Victoria BROWN and Albert Museum) [lettering with slight residual serifs]

Notes

For an historical survey with time chart and map, see Cathy Proudlove, ‘Technical focus: suppliers’ marks and labels’, The Picture Restorer: 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, and Nicola Costaras for access to conservation files at the Victoria and Albert Museum. Thanks also to Cyndie Lack and Sally Woodcock for providing images. Hayter’s Latimer Preaching is repr. courtesy Princeton University Art Museum, photo: Norman Muller. 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 Service for South East 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: ‘ Prepared Artists’ Canvases’, Antique Collecting, July 1973, pp.2-4, and ‘London Artists’ Colourmen. Part : 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 & , 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. An image from this database has been used here as indicated, with thanks to Burnstock. 4. References: See Martin Butlin, ‘Turner’s Late Unfinished Oils: some new evidence for their late date’, Turner Studies, vol.1, no.2, 1981, pp.43-5, and Norman Muller, ‘Addendum: Conservator’s Note’, Record of The Art Museum Princeton University, vol.53, no.1, 1994, pp.33-5 (on paintings by Sir George Hayter). 5. Frame marks: Canvas for artists was subject to taxation (see Part 1 of this guide; see also British portrait painters and their canvas sizes, 1625-1850, section 1.2, on this website). 6. Date stamps and stencils: After the duty on canvas was repealed by in 1831, Thomas Brown adopted a date stamp for his canvas, the first two digits of which apparently indicate the month and the second two the year. Brown sold canvas both in rolls and made up on stretchers to certain standard sizes which would be available for purchase on demand. Contemporary documentation does not survive but it would seem likely that the date was applied to the canvas when a batch of a particular size was produced. It would then be kept in stock until sold. 7. Canvas marked ‘High Holborn’ and ‘LINEN’ (section 1): Very similar stamps, sometimes indistinct, can be found on Thomas Lawrence, William Sotheby, c.1807 (National Portrait Gallery), , Cathedral from the Bishop's Ground, 1823 (Victoria and Albert Museum, FA.33), frame mark (1819), George Hayter, Baron Lynedoch, 1823 (National Portrait Gallery) and John Constable, Chain Pier, , 1826-7 (Tate). 8. Canvas marked ‘High Holborn’, with two compartment date stamp (section 2): Date stamps have been found from 1831 to 1835. In date order, Richard Rothwell, William Huskisson (National Portrait Gallery), date stamp 9- 31; James , (National Portrait Gallery), 9- 31; John Constable, with a Rainbow (Tate), 10 32; , Frances Anne Kemble as Isabella in ‘Measure for Measure’, 1836 (Pennsylvania Academy of the Fine Arts, Philadelphia), 4- 33; Solomon Hart, of the Law (Jewish Museum, London), 6 33; Thomas Phillips, John Dalton, 1835 (National Portrait Gallery), 2- 34; Unspecified painting, 4 35 (repr. A.W. Katlan, American Artists’ Materials. Volume II, A Guide to Stretchers, Panels, Millboards, and Stencil Marks, 1992, fig.217). 9. Canvas marked ‘163, High Holborn’, with two compartment date stamp (section 3): Date stamps have been found from 1835 to 1840. In date order, Thomas Phillips, (National Portrait Gallery), 7- 35; James Ward, Study of Sheeps’ Heads (Tate), 9- 35; John Wood, Count d'Orsay (Hughenden Manor, ), 2- 37; Henry Johnson, John Ferneley (National Portrait Gallery), 4- 37; Edwin Landseer, on horseback (Christie’s, 24 , lot 84), 4- 37; Thomas Phillips, Thomas Arnold, 6- 37; Charles Eastlake, The Escape of Francesco Novello di Carrara (Tate), 8- 39; J. Bridges, unspecified saleroom, lot 135, 4- 40 (information from Cathy Proudlove). 10. Canvas marked ‘163, HIGH HOLBORN’ with three compartment date stamp (section 6): Stamps have been found from 1841 to 1851. In date order, Margaret Carpenter, Patrick Fraser Tytler (National Portrait Gallery), 11 41; J.M.W. Turner, , Sunrise (Tate), 10 44; John Everett Millais, Christ in the House of His Parents (Tate), 10 49; Harden Melville, The Squatter's Hut: News from Home (National Gallery of Australia), 8 50; W.H. Crome, Landscape, Farmhouse and Mill (Private coll., see note 2), 9 51. 11. Canvas marked ‘163, HIGH HOLBORN’, with four compartment size and date stamp (section 7): In the and early 1850s, Brown marked standard format canvases on stretchers with a code indicating the size. ¾ for size 30 x 25 ins, requiring three-quarters of a of canvas, KK for size 36 x 28 ins, named after a dining , the Kit-cat club, BH for size 56 x 44 ins, the so-called Bishops half length, and LW, possibly meaning a large whole length. For a fuller explanation of canvas sizes, see British portrait painters and their canvas sizes, 1625-1850 on this website. 12. Panels marked like Linnell’s Peel: C.R. Leslie’s Dulcinea del Toboso, 1839, Augustus Callcott’s Dordrecht, 1841, and C.R. Leslie’s The Toilette, c.1849 (all Victoria and Albert Museum) 13. Panels marked like Leslie’s Millais: C.W. Cope, Palpitation, 1844, C.R. Leslie’s Portia, c.1848 and ’s Spring Flowers, 1851 (all Victoria and Albert Museum).

Copyright in this compilation, © National Portrait Gallery, London, March 2017, November 2018 and February 2020; copyright in individual images lies with owner, photographer or commissioner as may apply. Freely downloadable for research and personal use.