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Home , Belgravia, George Price Boyce, Holborn, James Newman (musician), Jermyn Street, John Pettie

British canvas, stretcher and panel suppliers’ marks. Part 5, E to N

This resource surveys suppliers’ marks and labels on the reverse of picture supports. This part is devoted to suppliers, E to N, active between the 1830s and the 1940s.

Arranged alphabetically by supplier: William Eatwell, F.T. Edwards, David Evans, Richard and Charles Faulkner, Henry Flack, Green & Stone, Halford Bros/Charles Halford, Joseph Harvey, Hebden & Sons, Joseph/Julia Hill, A.B. Holt, Alfred Jeffries, Kemp & Co, E.S. Kennedy, Fine Art Society, F.W. King, H.S. King, J.W.L. & Co, Lechertier Barbe/& Co Ltd, H.E. Mealand, Henri Meunier/ & Co, Joseph Middleton, Thomas Miller/Miller & Co, W.H. Monk, William Müller, Joseph Nathan, Lionel Nathan & Co/Ltd, James Newman/Ltd. 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 dimensions of works can be . 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, September 2017, updated February 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 and to John Payne, of Victoria, Melbourne.

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

William Eatwell At this address 1855-76 Successor to Thomas Brown (see part 3 of See British artists' suppliers, 1650-1950 - E this guide) and in turn followed by William Badger (see part 2)

Illustrated: Stencil, indistinct, 6.4 cm wide, oval format, on Augustus Egg, A Scene canvas: from ‘The Taming of the Shrew’: Catherine and W. EATWELL. Petruccio, 1860 FROM BROWNS. (Christie’s, 14 May 1976, 49, DORSET ST. lot 5) BAKER ST.

For examples, 1857-62, [‘EATWELL’ without serifs] see note 5.

Illustrated: Stencil, 8.5cm wide, oval format, on canvas: , An Event in the Forest, 1864 W. EATWELL (Sotheby’s, Gleneagles FROM BROWNS. Hotel, 29 August 1975, lot ARTIST COLOURMAN 228) 49 DORSET ST. BAKER STT.

[‘EATWELL’ with serifs]

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

Illustrated: Stencil, 8.7cm wide, oval format, on canvas: Michele Gordigiani, 1st Baron Westbury, c. 1866- W EATWELL 71 (National Portrait ARTIST COLOURMAN Gallery) [49] DORSET S[T] BAKER STT Also found on: David Wilkie Wynfield, [‘EATWELL’ with serifs; probably same stencil Death of George Villiers, as preceding with FROM BROWNS deleted] Duke of Buckingham, 1871 (National Gallery of Victoria, Melbourne) Click for an image of stencil.

For examples, 1866-73, see note 6.

Illustrated: Label, 5.0 cm wide, damaged, ruled lines top Edward William Cooke, and bottom, on edge of stretcher: Boat, near , 1858 (Tate), with Thomas W EATWELL, Brown canvas stencil. 49 Dors[e]t St, Baker St.

F.T. Edwards Artist and teacher See British artists' suppliers, 1650-1950 - E

Illustrated: Stencil, double oval belt-motif, 11.8 cm wide, Source: Cathy Proudlove, on canvas: see note 2. 91 PARK ST MR EDWARD’S Repository FOR ALL KINDS OF DRAWING MATERIALS

[at 91 Park St 1860-69]

Illustrated: Stencil, partly oval format with scrolls John Dawson Watson, G. containing wording at top, 12.5 cm wide, on Hayes, 1867 (Private canvas: coll.), see note 2. DRAWING/ MATERIALS Also found on: SUPPLIED/ IN EVERY VARIETY G. Hepper, Twenty Miles to FROM Cork, 1866 (Sotheby's MR F. T. EDWARDS. , 11 November --- 1975, lot 79) 91 PARK ST --- Joseph Clark, The Village School, 1870 (Christie's, 25 CAMDEN TOWN July 1975, lot 41) LONDON

[at 91 Park St 1860-69]

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

Illustrated: Stampl, partly oval format, on canvas: Unspecified work, 1869 (source: Cobbe coll., see DRAWING MATERIALS SUPPLIED IN EVERY VARIETY note 2) [MR F.] T. EDWARDS. PROFESSOR OF Drawing, Painting & Perspective 91 PARK STREET CAMDEN TOWN MORNING & EVENING [CLAS]SES

[DRA]WNGS & PAINT[------]

[at 91 Park St 1860-69]

Illustrated: Stamp, 12.5 cm wide, on canvas: Haynes King, Awaiting His Return, 1865 DRAWING MATERIALS SUPPLIED IN EVERY VARIETY (Bonham’s, , 22 March Stencil, oval, on canvas: 2016, lot 6) MR F. T. EDWARDS 91 PARK STREET CAMDEN TOWN

[possibly same stamp as above but with two lines blanked out]

[at 91 Park St 1860-69]

Illustrated: Stencil, partly oval format, on canvas: Source: Cobbe coll., see FROM note 2. MR F. T. EDWARDS [39] NORFOLK TERRAC[E] LONDON

[at 39 Norfolk Terrace 1870-87]

David Evans At 80 High St, 1834?-1837 See British artists' suppliers, 1650-1950 - E

Illustrated: Stamp on canvas: Unknown artist (Samuel Chinn?), George Fox Prepared by (Private coll., London, D. EVANS. May 2017) OIL COLOURMAN No. [8]0 Whitech[apel] H[igh] St

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

Richard and Charles At 30 1836-39 Faulkner See British artists' suppliers, 1650-1950 - F

Illustrated: Label, 9.8 cm wide, palette-shaped, on Anne Raper, Figure millboard: Study, 1838 (Royal Society of Arts) R & C. FAULKNER, No. 30 Piccadilly, Manufacturers of Prepared Cloths, Panels and MILL BOARDS FOR ARTISTS with Improved Oil or Absorbent Grounds and every requisite for the FINE ARTS

[almost identical to Roberson & Miller’s panel label, see Part 1, 1785-1831 of this guide]

^ detail

Henry Flack At 75 Blackman St, Borough 1868-86, as a Later trading from this address as a varnish colour warehouse manufacturer See British artists' suppliers, 1650-1950 - F

Illustrated: Stencil, 11.4 cm, oval format, on canvas: Unspecified work, 1885, source: Cobbe coll., see H. FLACK, note 2. late Jackson ARTISTS COLORMAN 75. BLACKMAN ST BOROUGH.

Green & Stone In business from 1927 See British artists' suppliers, 1650-1950 - G

Illustrated: Stamp, palette-shaped, behind stretcher bar, Arnold Mason, Elinor on canvas: Glyn, 1942 (National Portrait Gallery) GREEN & STONE

An earlier stamp, dating to CHELSEA 1928, has been recorded.

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

Halford Bros At 361 Oxford St 1874-81 See British artists' suppliers, 1650-1950 - H

Illustrated: Stencil, 10 cm wide, on canvas: Source: Cobbe coll., see note 2. FROM HALFORD, BROS. 361. OXFORD ST.

Charles Halford At 86 Park St, Camden Town, 1886-99 See British artists' suppliers, 1650-1950 - H

Illustrated: Stamp, 4.2 cm wide, within oval, on canvas: Source: Cobbe coll., see note 2. 8[6, PA]RK STREET --- C HALFORD ARTISTS COLORMAN --- CAMDEN TOWN N.W.

Joseph Harvey At 15 Catherine St, Strand, London 1839-49 Successor to John Wikey, see Part 1, 1785- See British artists' suppliers, 1650-1950 - H 1831 of this guide

Illustrated: Stencil, 10 cm wide, on canvas: William Adolphus Knell, unspecified work, 1854, J. HARVEY. source: Cobbe coll., see 15. Catherine S note 2. STRAND LONDON

Illustrated: Label, 6.5 cm wide, within decorative border, Attrib. to J.M.W. Turner, on board: Wooded Landscape with Village (Robert Genders) J. HARVEY, 15, CATHERINE ST, STRAND, LONDON. PREPARER OF Superfine Oil and Water Colours, CANVAS, PANELS, AND MILLBOARDS, WITH EVERY OTHER ARTICLE CONNECTED WITH THE FINE ARTS, OF THE FIRST QUALITY.

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

Hebden & Sons At this address, 1908-10 See British picture framemakers, 1600-1950

Illustrated: Stamp, 12.3 cm wide, on canvas: Walter Hunt, A Rustic Farmstead, 1908 HEBDEN & SONS, (Sotheby's Belgravia, 29 4, WEST HILL, June 1976, lot 41?) .

Joseph Hill, Julia Hill At this address 1861-65 See British artists' suppliers, 1650-1950 - H

Illustrated: Stencil, oval format, on canvas: English School, The Aspiring Hunter (Skinner, FROM J. HILL Boston, 27 January 2017, BRUSH lot 258) ~ & Pencil MANUFACTURER ~ 230 ~ Pentonville RD

Andrew Bruce Holt At this address 1858-62 See British artists' suppliers, 1650-1950 - H

Illustrated: Stencil, 11.4cm wide, obscured by lining and Unknown artist, Giudecca partly obscured by stretcher, composite Canal and Santa Maria transmitted IR image by Taylor Bennett, 2015, della Salute, Venice on canvas (see note 7): (Private coll., 2015) H[O]LT ARTIS[T C]OLOURMAN 80 GO[SW]ELL ROAD Oppos[ite the] New River IS[LING]TON

Alfred Jeffries In business 1878-1884 Trading as A. Jeffries & Co from 1884 See British artists' suppliers, 1650-1950 - J

Illustrated: Two or more stencils, 14.5 cm wide overall, on Unspecified work, 1878, canvas: source: Cobbe coll., see note 2. PREPARED BY A. JEFFRIES. [3] MAYNARD ST. W.C. B

[‘B’ probably indicates canvas type]

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

Thomas Jenkins, Mary In business 1775-c.1791 See Part 1, 1785-1831 of this guide Jenkins See British artists' suppliers, 1650-1950 - J

Kemp & Co In business 1877-1940 Successor to John Capes, see Part 2, A to See British artists' suppliers, 1650-1950 - K D of this guide

Illustrated: Stencil, oval format, on canvas: Source: Ann Ralls, diploma thesis on canvas KEMP & CO. stamps, University LATE College, London, 1995. J. CAPES. ARTISTS COLORMAN. 9, HOLDEN TERRACE S.[W.]

[at 9 Holden Terrace 1877-89]

Illustrated: Stencil, 12.4 cm wide, oval format, on canvas: Source: Cobbe coll., see note 2. KEMP & Co. --- ARTISTS COLORMAN. 9 HOLDEN TERRACE --- [PIM]LICO S.[W.]

[at 9 Holden Terrace 1877-89]

Illustrated: Label, linear border, on backboard: Cesare Uva, The Bay of Naples (Cheffins, KEMP & CO., Cambridge, 25 November (Late JOHN CAPES) 2015, lot 452) Carvers, Gilders & Picture Frame MANUFACTURERS. Possibly a framing label but 9 Holden Terrace, Pimlico. included here for reference. 6 DOORS FROM VICTORIA STATION. ARTISTS’ COLOURMEN, &c. Regilding Done on the Shortest Notice. PICTURES RELINED AND RESTORED, DRAWINGS MOUNTED.

[perhaps soon after 1877 when Kemp took over the business from Capes]

Illustrated: Label, linear border, on panel or backboard: Unknown artist, Portrait of a Man in a landscape KEMP & Co. (with Lefays, Simon Little, Carvers, Gilders & Picture Frame Buckland St Mary, online, MANUFACTURERS. 2018) 9 Holden Terrace, Pimlico. Possibly a framing label but 6 DOORS FROM VICTORIA STATION. included here for reference. ARTISTS’ COLOURMEN, &c. Regilding Done on the Shortest Notice. PICTURES RELINED & RESTORED, DRAWINGS MOUNTED.

[at 9 Holden Terrace 1877-89] Supplier, work details Supplier dates, mark transcripts Product marks (not to uniform scale)

Illustrated: Stencil, 14 cm wide, oval format, on canvas: Unspecified work, c.1891, source: Cobbe coll., see KEMP & C[o.] note 2. ARTIS[TS C[O]LORME[N] 203 VICTORIA ST. S.W.

[at 203 Victoria St 1890-1937; serif type]

Illustrated: Stencil, 12.2 cm wide, oval format, on canvas: Unspecified artist, , source: Cobbe KEMP & CO coll., see note 2. --- ARTISTS COLOURMEN --203-- VICTORIA ST S W

[at 203 Victoria St 1890-1937; sans serif type]

Illustrated: Label, oval format, linear border, on canvas Unknown artist, board: Landscape with Castle (with Sulis Fine Art, KEMP & CO. online), over a Winsor & --- Newton Rathbone canvas Artists’ Colourmen board label and Picture Framers, 203 Victoria Street, S.W.1. (Victoria Station)

[at 203 Victoria St, S.W.1. 1917-37]

Illustrated: Stamp, indistinct, oval format, on canvas: Peter Purves Smith, Observatory, [KEMP &] CO 1939 (National Gallery of ---- Victoria, Melbourne) [ARTIST'S] CO[LOURMEN] Click on link for a larger --2[8]-- image of stamp. ROAD, S.W.1

[at 28 Buckingham Palace Road 1937-40]

Edward Sherard Genre painter (d.1900), also artists’ supplier Kennedy See British artists' suppliers, 1650-1950 - K

Illustrated: Stencil, 13.1 cm wide, on canvas: Phil Morris, unspecified work, c.1888, source: E. S. KENNEDY Cobbe coll., see note 2. WALTON HOUSE BROMPTON Also found on: After , [appears with G. Rowney & Co stamp (as found on Portrait of a Lady (said to be work by Atkinson Grimshaw, 1887), see Part 9, Lady Harborough (Lady Rowney & Co, of this guide] Lever Art Gallery, Port Sunlight)

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

Illustrated: Stencil on canvas: Unspecified portrait of a lady (Private coll., 2007). ESK

This mark or similar found on: Alfred Munnings, The Painting Room, Norwich School of Art, 1897 (Norfolk Service)

Kensington Fine Art In business c.1893-1921 Succeeded by Kensington Fine Art Society Society See British artists' suppliers, 1650-1950 - K Ltd

Illustrated: Stencil on canvas: Unspecified work, c.1900?, source: Cobbe K.F.A.S. coll., see note 2. 26 ALFRED PLACE WEST S. KENSINGTON

Frank William King At this address 1880-89 See British artists' suppliers, 1650-1950 - K

Illustrated: Stamp, 5.6 cm wide, palette-shaped with 5 George Clare, brushes through thumb hole, on canvas: unspecified work, source: Cobbe coll., see note 2. F. KING [Wholesale??] & [Retail??] Also found on: Artists’ Col[ourman] Oliver Clare, Medium White and Hawthorne, 1887 (Sotheby's PICTURE FRAME MAKER Belgravia, 27 January 1976, 18 [CLEVEL]AND ST lot 155?)

Henry Seymour King In business by 1904-1957 and later See British artists' suppliers, 1650-1950 - K

Illustrated: Stamp on canvas: C. Polowetski, Israel Zangwill, 1909 (National H. S. KING, Portrait Gallery) 57, HIGH STREET, , N.W.

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

J.W.L. & Co Business not traced

Illustrated: Stamp, 7 cm visible, half obscured by stretcher, Source: Cobbe coll., see on canvas: note 2. KENSING[TON] J. W. L. [& Co] G.

Illustrated: Stamp, 11 cm wide, on canvas: Source: Cobbe coll., see note 2. KENSINGTON. J. W. L. & Co G.

Lechertier Barbe In business as Lechertier Barbe 1848-1864 Trading as Lechertier Barbe & Co 1859-97, See British artists' suppliers, 1650-1950 - L see below

Illustrated: Stencil, 12.2 cm wide, oval format, on canvas: William Oliver senr (d.1853), The Secret LECHERTIER-BARBE Letter Box (Unidentified 60 saleroom) LONDON

Illustrated: Stencil on canvas: Thomas Frowd, The Lock, Windsor, 1854 LECHERTIER BARBE (Chertsey Museum) 60 REGENT ST LONDON

Illustrated: Stamp, oval format, on canvas: Edwin Frederick Holt, Going to the Opera, 1865 LECHERTIER-BARBE (Private coll., information 60 from Kiffy Stainer- REGENT STT. Hutchins) LONDON

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

Lechertier Barbe & Co In business as Lechertier Barbe & Co 1859-97 Trading as Lechertier Barbe Ltd 1898-1970, See British artists' suppliers, 1650-1950 - L see below

Illustrated: Stencil, 12.0 cm wide, on canvas: J.O. Banks (d.1873), Showing Off (Sotheby’s LECHERTIER BARBE & Co Belgravia, 25 March 60 Regent Street 1975, lot 74) LONDON

Illustrated: Stencil on relining canvas: Italian 18th-century follower of , St LECHERTIER BARBE & Co (formerly ARTISTS COLORMEN with Webberley 60. REGENT STREET. Antiques), relined LONDON. c.1870? d [in pen: Edw J. Simms. Bromsgrove1870.]

Illustrated: Stencil on canvas: Henry Thompson, Carlo Pellegrini, c.1874 LECHERTIER BAR[BE] & [Co] (National Portrait Gallery) [60] REGENT [STREET] LONDON Also found on: Alphonse Legros, The Tinker, 1874 (Victoria and Albert Museum)

Illustrated: Stamp, 10.1 cm wide, on canvas: John Ballantyne, Portrait of a St Bernard Dog LECHERTIER BARBE & Co (Sotheby’s Belgravia, 11 60, REGENT St. W. March 1975, lot 128) LONDON

Also found on: Gustave de Breanski, Anchored off Hastings, 1879

(Bonham’s, 17 July 2019, lot 258)

John Pettie, John Ballantyne, 1880 (Royal Scottish Academy, , information from Robin Rodger)

Illustrated: Stamp on canvas: Richmond, , exh.1882 LECHERTIER, BARBE & Co (National Portrait Gallery) 60, REGENT STREET, W.

[first line longest]

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

Illustrated: Stamp on stretcher: , A Backwater at Henley, LECHERTIER, BARBE & Co c.1887 (Baltimore 60, REGENT ST LONDON, W. Museum of Art). From the Archives of [second line longest] Alexander Katlan, now housed in the Winterthur Museum and Libraries, repr. from Katlan, II p.460, see note 4.

An example, 16 cm wide, is known on a canvas of 1888.

Illustrated: Label, 8.6 cm wide, linear border, on panel: Frederick Daniel Hardy, The Little Cook, 1887 LECHERTIER, BARBE & Co. (Bonham's, 4 July 2017, ARTISTS’ lot 25) COLOURMEN AND STATIONERS, Manufacturers and Importers, 60, REGENT STREET, LONDON. W. WHOLESALE: 7, GLASSHOUSE STREET. W.

Illustrated: Label, 8.1 cm wide, linear border, on panel: Louis Grimshaw, The Mansion House, London, LECHERTIER, BARBE & Co. 1894 (Christie's, 14 ARTISTS’ December 2016, lot 74) COLOURMEN AND STATIONERS, Manufacturers and Importers, Also found on: 60, REGENT STREET, LONDON. W. Anna Alma-Tadema, WHOLESALE: 7 & 5, GLASSHOUSE STREET. W. Returning , 1891 (Christie’s, 11 July 2017, lot [now also at 5 Glasshouse St] 72), label cut through

Lechertier Barbe Ltd In business as Lechertier Barbe Ltd 1898-1970 Successor to Lechertier Barbe & Co, see See British artists' suppliers, 1650-1950 - L above

Illustrated: Stamp on stretcher: Spencer Gore, North London Girl, c.1911-2 LECHERTIER BARBE LTD (Tate), an earlier date of 95 , 1908-9 has been proposed; LONDON, S.W.1. the canvas or frame stamped by Percy Young [stamp dates to 1917 or later from use of SW1 post code. Gore died in 1914.]

Illustrated: Stamp on stretcher and canvas overlap: Wyndham Lewis, Tank in Clinic, 1937 (Private coll., LECHERTIER BARBE LTD on loan to Courtauld 95 JERMYN STREET, Gallery, 2014) LONDON, S.W.1.

[different typeface. ‘T’ at end of STREET beneath ‘E’ of BARBE]

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

Illustrated: Stamp, 4.8 cm wide, on canvas board: Hector MacDonnell, unspecified work, source: LECHERTIER BARBE, LTD Cobbe coll., see note 2 95, JERMYN ST, LONDON, S.W.1.

Illustrated: Label, 8.4 cm wide, linear border, on panel: British school, 19th century, military painting, Lechertier Barbe, Ltd. source: Cobbe coll., see 72 YEARS AT 60, REGENT STREET, note 2. Artists' Colourmen, 95, JERMYN STREET, REGENT STREET, Also found on: LONDON, S.W.1. William Nicholson, Petunias and Chrysanthemums in a [label dates to 1917 or later from use of SW1 post Mocha Jug, early 1940s, code; the business was at 60 Regent St, 1827-98, canvas board (Sotheby’s, 21 that is for 72 years] November 2017, lot 2) Illustrated: Label, 8.4 cm wide, linear border, on panel: Unspecified work, 1949, source: ebay, January Lechertier Barbe, Ltd. 2017. ESTABLISHED 1827. Artists’ Colourmen, 95, JERMYN STREET, REGENT STREET, LONDON, S.W.1.

Illustrated: Impressed stamp on panel: Anthony Law, Unnamed work, 1943 (Canadian LECHERTIER BARBE, LD. War Museum, Ottawa, LONDON, S.W. see note 8)

William Legg, W. & J. Legg In business 1801/2-1805/6 See Part 1, 1785-1831 of this guide See British artists' suppliers, 1650-1950 - L

Henry Matley In business 1815-20 See Part 1, 1785-1831 of this guide See British artists' suppliers, 1650-1950 - M

Harry Edward Mealand At this address 1894-1903 See British artists' suppliers, 1650-1950 - M

Illustrated: Stamp, 6.4 cm wide, on canvas: Unspecified work, 1899, source: Cobbe coll., see H. E. MEALAND, note 2. ARTISTS' COLORMAN, 6, 7, 8 & 9, KNIGHTSBRIDGE GREEN, S.W.

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

Henri Meunier & Co In business as Henri Meunier from 1881 Trading as Meunier & Co Ltd 1913-20 See British artists' suppliers, 1650-1950 - M

Illustrated: Stamped twice, double oval format, on John Singer Sargent, stretcher: , 1913 (National Gallery of H. MEUNIER Victoria, Melbourne) Click on link for a larger ARTISTS image of stamp. MATERIALS

14 CHURCH STREET, KENSINGTON.

[documented at 14 Church St, Kensington 1906-08]

Illustrated: Stamp on stretcher: Carton Moore-Park, William Wymark Jacobs, HENRI MEUNIER & Co., 1910 (National Portrait IMPORTERS OF ARTISTS’ MATERIALS. Gallery) 26, EARLS COURT [ROAD]

Also found indistinctly on: [trading at 26 Earl’s Court Road 1909-20] John Singer Sargent, Hospital at Granada, 1912 (National Gallery of Victoria, Melbourne) Click for an image of stamp.

John Middleton, Jesse In business c.1775-1830 See Part 1, 1785-1831 of this guide Middleton See British artists' suppliers, 1650-1950 - M

Joseph Middleton In business 1889-91 See British artists' suppliers, 1650-1950 - M

Illustrated: Stencil, 7.3 cm wide, oval format, on canvas: Arthur James Elsley, 'Don't be Afraid!', 1890 J MIDDLETON (Sotheby's Belgravia, 17 ARTIST COLORMAN December 1974, lot 168) HIGH STREET ST JOHNS WOOD.

Thomas Miller At this address 1841-54 Followed by Miller & Co, see below See British artists' suppliers, 1650-1950 - M

Illustrated: Stencil on canvas: Unspecified genre scene (Private coll., Canada, Thomas Miller May 2017) 56 Long Acre London

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

Illustrated: Stencil on canvas: Unspecified portrait (with Anthony Mould, 2006) Thomas M?----- Manuf[acturer] London

[name indistinct and not necessarily reading as ‘Miller’]

Illustrated: Stencil on canvas: Thomas Sydney Cooper, Cow in a Landscape, Miller indistinctly dated 1856? [5]6, Long Acre (Middleton's Antiques, London Cornwall, online, 2018)

Illustrated: Label, linear border top and bottom, on marble Attrib. to Thomas and slate panel: Heathfield Carrick, Charles Cowden Clarke, MILLER, watercolour (National Artists’ Colour Manufacturer, Portrait Gallery) 56, Long Acre, London.

Miller & Co In business 1855-73 Successor to Thomas Miller, see above See British artists' suppliers, 1650-1950 - M

Illustrated: Stencil, 9.3 cm wide, on canvas: Unspecified work, 1860 (source: Cathy MILLER & Co. Proudlove, see note 2). 56. LONG ACRE. LONDON.

William Henry Monk In business 1890-1920 See British artists' suppliers, 1650-1950 - M

Illustrated: Small stamp, below Winsor & Newton stamp, Philip Wilson Steer, Betty, on canvas: Portrait of Miss Elisabeth Cary Elwes, c.1918 W.H. MONK, (Sotheby's, 14 July 2016, ARTISTS’ COLOURMAN, lot 42) 201, KING’S ROAD CHELSEA[?]

^

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

William Müller In business 1847-63 Followed by William Müller & Co from 1864, See British artists' suppliers, 1650-1950 - M whose labels seem to relate to framing

Illustrated: Stencil, 6.2 cm wide, oval format, on canvas: Unknown artist, A Horse, undated (National Gallery W. MULLER of Victoria, Melbourne) 62 Click on link for a larger High image of stamp.

Henry J. Murcott Framemaker, at 16 Hanover St 1864-77 See British picture framemakers, 1600-1950

Illustrated: Stencil, 7.4 cm wide, on canvas: After Edwin Landseer, King Charles Spaniels H. I. MURCOTT (Private coll.) 16 HANOVER ST[?] LONG ACRE LONDON

Joseph Nathan Picture dealer, in business 1865-1900 Not known to be connected to Lionel See British artists' suppliers, 1650-1950 - N Nathan & Co, see below

Illustrated: Stencil, 9.6 cm wide, oval format, on canvas: John James Wilson, Fecamp Head, JOSEPH NATHAN Normandy, 1871 Dealer in (Sotheby's Belgravia, 8 WORKS OF ART April 1975, lot 80) 7 St Swithins Lane LONDON E C

[at 7 St Swithins Lane 1871-73]

Lionel Nathan & Co In business 1884-1900 Succeeded by Lionel Nathan & Co Ltd See British artists' suppliers, 1650-1950 - N

Illustrated: Stencil, 12.4 cm wide, the main body of oval ‘Hardy’, Off a Dutch Pier format, on canvas: (Sotheby's Belgravia, 29 July 1975, lot 55) ARTISTS CANVAS PREPARED BY LIONEL NATHAN & Co.

TRADE [image of kangaroo] MARK KANGAROO

LONDON

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

Illustrated: Label, linear border, on canvas board: Paul Holden, Village with Windmill (Criterion ARTISTS’ CANVAS BOARD. Auctioneers, , 11 “Après Vous” November 2019, lot 785) (REGISTERED). ------After you finish the picture, the margin at the edge can be easily raised and fixed on a stretcher. The “Après Vous” Board also embraces many advantages over Stretched Canvas: - It is handy for sketching, proof against puncture (whether mounted on stretcher or not), non-absorbent, and a great desideratum for all purposes connected with oil painting.

[“Après Vous” board was advertised by Lionel Nathan & Co in 1897-8]

Lionel Nathan & Co Ltd In business 1901-04 Successor to Lionel Nathan & Co See British artists' suppliers, 1650-1950 - N

Illustrated: Stamp, 15.2 cm wide, on canvas: Source: Cobbe coll., see note 2. [unidentified motif, possibly containing phrase, NAT[H]AN’S [ARTISTS CANV]AS Also found on: Felice Rezie, The Ferry MANUFACTURED BY (Sotheby's Belgravia, 27 Lionel Nathan & Co. Ltd January 1976, lot 97?) LONDON. N.W.

James Newman At 24 Square from 1801 See British artists' suppliers, 1650-1950 - N

Illustrated: Stencil, circular format, on millboard: S.T. Gill, Mount Gambier, South Australia, 1852 JAMES NEWM[AN] (National Gallery of ARTISTS? COLOURMAN? Victoria, Melbourne) SOHO SQ[UARE] Click on link for a larger [around Prince of feathers trade mark] image of stencil. [Newman’s distinctive trade mark featured on the business’s trade card in the late 18th century, implying an appointment to George Prince of Wales, later George IV]

Illustrated: Stencil, 6.7 cm high, circular format, on George Price Boyce, A millboard, partially obscured: Girl by a Beech Tree in a Landscape, 1857 (Tate) [JAME]S NEWMAN [ARTISTS] [COLOUR]MAN? [SO]HO SQUARE [around Prince of Wales feathers trade mark]

[possibly the same stencil as the preceding]

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

Illustrated (top): Stamp, circular format, on canvas: Arthur Ditchfield, Wooded Cliff near Algiers, 1873 NEWMAN (Victoria and Albert LONDON Museum) [around Prince of Wales feathers trade mark; no stop between SQUARE and LONDON] Also found on: Arthur Cope, Sir William [found on pictures dating to 1873-1940] Harcourt, 1904 (National Portrait Gallery) [Newman’s standard canvas stamp remained remarkably constant over the space of almost 70 Paul Nash, Harbour and years, except for an interlude in the 1880s and Room, 1932-36 (Tate) 1890s when a scalloped stencil was used (see below). Classifying the standard stamp is not made Paul Nash, Totes Meer easier by the number of faint, smudged or double ^ Ditchfield (Dead Sea), 1940-41 (Tate), impressions. Few measurements are on record and stamp 8.2 cm wide there is a possibility that the stamp was made in more than one size]

Illustrated (bottom): J.W. Power, Lady with Umbrella, c.1926 (National Gallery of Victoria, Melbourne) Click for a larger image of stamp.

^ Power

Illustrated (top): Stencil, two scalloped rings, 8.6 cm wide, on Edwin Hayes, Sunset at canvas: Sea: From Harlyn Bay, Cornwall, exh. 1894 NEWMAN (Tate) SOHO SQUARE LONDON [around Prince of Wales feathers trade mark] Also found on: , [large size, see below for smaller version; the The Lady of Shalott, 1888 large size has five ‘scallops’ below SQUARE] (Tate)

[found on pictures dating to 1888-94] John Macallan Swan, African Panthers, 1891 (National Gallery of Victoria, Melbourne) Click for an image of stencil. ^ Hayes

Walter Richard Sickert, George Holyoake, exh.1892 (National Portrait Gallery)

Illustrated (bottom): Charles Wellington Furse, John Murray, c.1891 (National Portrait Gallery)

^ Furse

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

Illustrated: Stencil, two scalloped rings, 6.7 cm wide, on Source: Cobbe coll., see canvas: note 2. NEWMAN SOHO SQUARE LONDON [around Prince of Wales feathers trade mark]

[small size, see above for larger version; the small size has between six and seven ‘scallops’ below SQUARE]

Illustrated: Two stamps on canvas: Philip Wilson Steer, The Falls, Richmond, FROM Yorkshire, 1903 (National Gallery of Victoria, NEWMAN Melbourne). Click on link SOHO SQUARE . LONDON for a larger image of stamp. [around Prince of Wales feathers trade mark; stop between SQUARE and LONDON] Also found, without the ‘FROM’ stamp, on: John Longstaff, Ada Garrick, 1895 (National Gallery of Victoria, Melbourne) Click for an image of stamp.

Gwen John, Interior with Figures, c.1898-99 (National Gallery of Victoria)

Illustrated (top): Stamp, 8.1 cm wide, on canvas: , Black Hill Moss, 1919 (National NEWMAN Gallery of Victoria, SOHO SQUARE . LONDON Melbourne) [around Prince of Wales feathers trade mark; Click on link for a larger stop between SQUARE and LONDON; traces image of stamp. of a scroll left and right]

Also found on: [the stamp on the picture by Holmes is an Walter Westley Russell, exceptionally clear impression, showing such River Scene, c.1935-49 (Birmingham Museums fine details as the squiggle within the letter ‘Q’; Trust), source for there are traces of a marking left and right of measurement given here. the trade mark feathers, possibly incidental but possibly a scroll of a sort sometimes found in ^ Holmes representations of the Prince of Wales feathers.] Illustrated (bottom): Philip Wilson Steer, Water, 1921 (National Gallery of Victoria, Melbourne) Click on link for a larger image of stamp.

^ Steer

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

Illustrated: Impressed stamps on end grain bevels of Arthur Studd, A Venetian cedar panel: Lyric, 1900-10? (Tate) NEWMAN

SOHO SQUARE

^ rubbing Illustrated: Label, linear border, on board: William Nicholson, Tenterden, 1908, canvas From laid on board (Sotheby’s, Newman's 18 November 2014, lot 24, Soho Square, 126) London.

Also found on: William Nicholson, The Silver Sunset, 1909-10 (Birmingham Museums Trust)

James Newman Ltd In business as James Newman Ltd from 1933 See British artists' suppliers, 1650-1950 - N

Illustrated: Stamp, linear border, on canvas: Paul Nash, Landscape of the Summer Solstice, JAMES 1943 (National Gallery of NEWMAN Victoria, Melbourne ) LIMITED Click on link for a larger image of stamp.

For Newman’s canvas range in the late 1930s, see the Appendix.

Appendix: James Newman Ltd’s canvas range, c.1938

The illustration and the text are taken from James Newman Ltd, Artists’ Colour Manufacturers, Catalogue, c.1938. Square brackets are used for editorial comments.

Newman’s Prepared Canvas

N6. Pure flax, single primed

N7. Pure flax, double primed

N8. Pure flax, single primed [more expensive than N6]

N9. Pure flax [more expensive than N6]

N10. Pure flax [more expensive than N6]

N20. Pure flax [cheaper than N6]

N14. Mixed flax and jute

N18. Pure flax [cheaper than N6]

N19. Pure flax [cheaper than N6]

BSP. [unspecified, perhaps ‘B’ quality, single primed, a designation used by Reeves, see part 7 of this guide, app. 1]

N12. Hessian

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 to Cyndie Lack, Robin Rodger and Kiffy Stainer- Hutchins for sharing images and to Alexander Katlan. 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 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. Katlan: See Alexander W. Katlan, American Artists’ Materials. Volume II A Guide to Stretchers, Panels, Millboards, and Stencil Marks, 1992. 5. William Eatwell, Augustus Egg: Examples of this stencil, 1857-62, can be found on E.W. Cooke, Sunset on the Lagune of Venice, on stretcher 1857 (Christie's, 14 December 2016, lot 75); Spencer Stanhope, , exh. 1859 (Tate); Augustus Egg, A Scene from ‘The Taming of the Shrew’: Catherine and Petruccio, 1860 (Christie’s, 14 May 1976, lot 5); Francis Grant, John Henry Gurney, c.1861 (Norwich Castle Museum); and Robert Braithwaite Martineau, The Last Day in the Old Home, 1862 (Tate). 6. William Eatwell, Michele Gordigiani: Examples of this stencil, 1866-73, can be found on , Fanny Holman Hunt, 1866 (Private coll.); Michele Gordigiani, 1st Baron Westbury, c. 1866-71 (National Portrait Gallery); Lowes Cato Dickinson, Richard Cobden, 1870 (National Portrait Gallery); David Wilkie Wynfield, Death of George Villiers, Duke of Buckingham, 1871 (National Gallery of Victoria); George Richmond, Baron Hatherley, 1872 (National Portrait Gallery); and , Winter Fuel, 1873 (Manchester Art Gallery). 7. Andrew Bruce Holt: For details of the pioneering technique used to reveal this canvas mark, hidden by relining, see Taylor Bennett, ‘Photogrammetry and Transmitted Infrared Imaging to document the support of a 19th c. British landscape painting’, COSCH e-Bulletin, no. 2, 2015, accessible at http://cosch.info/documents/10179/144685/2015_Bennett_LowRes.pdf/910b4bae-20ce-4bd5-8c10- 3f5e33e10cd9. 8. Lechertier Barbe Ltd. For the impressed stamp, see Barbara Klempan, Paintbox at Sea: The Materials and Techniques of Canadian Second World War Artist C. Anthony Law, Material Culture Review / Revue de la culture matérielle, vol.61, 2005.

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