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 London 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, Kensington 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 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, September 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)

William Eatwell

At this address 1855-76 See British artists' suppliers, 1650-1950 - E

Successor to Thomas Brown (see part 3 of this guide) and in turn followed by William Badger (see part 2)

Illustrated: Augustus Egg, A Scene from ‘The Taming of the Shrew’: Catherine and Petruccio, 1860 (Christie’s, 14 May 1976, lot 5)

For examples, 1857-62, see note 5.

Stencil, indistinct, 6.4 cm wide, oval format, on canvas:

W. EATWELL. FROM BROWNS. 49, DORSET ST.

BAKER ST.

[‘EATWELL’ without serifs]

Illustrated: Edwin Landseer, An Event in the Forest, 1864 (Sotheby’s, Gleneagles Hotel, 29 August 1975, lot 228)

Stencil, 8.5cm wide, oval format, on canvas:

W. EATWELL FROM BROWNS.

ARTIST COLOURMAN 49 DORSET ST.

BAKER STT.

[‘EATWELL’ with serifs]

Supplier, work details

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

Illustrated: Michele Gordigiani, 1st Baron Westbury, c. 1866-71 (National Portrait Gallery) Also found on: David Wilkie Wynfield, Death of George Villiers, Duke of Buckingham, 1871 (National Gallery of Victoria, Melbourne) Click for an image of stencil. For examples, 1866-73, see note 6.

Stencil, 8.7cm wide, oval format, on canvas:

W EATWELL ARTIST COLOURMAN

[49] DORSET S[T] BAKER STT

[‘EATWELL’ with serifs; probably same stencil as preceding with FROM BROWNS deleted]

Illustrated: Edward William Cooke, Boat, near Venice, 1858 (Tate), with Thomas Brown canvas stencil.

Label, 5.0 cm wide, damaged, ruled lines top and bottom, on edge of stretcher:

W EATWELL, 49 Dors[e]t St, Baker St.

F.T. Edwards

Artist and teacher See British artists' suppliers, 1650-1950 - E

Illustrated: Source: Cathy Proudlove, see note 2.

Stencil, double oval belt-motif, 11.8 cm wide, on canvas:

91 PARK ST CAMDEN TOWN MR

EDWARD’S Repository

FOR ALL KINDS OF DRAWING MATERIALS

[at 91 Park St 1860-69]

Illustrated: John Dawson Watson, G. Hayes, 1867 (Private coll.), see note 2. Also found on: G. Hepper, Twenty Miles to Cork, 1866 (Sotheby's Belgravia, 11 November 1975, lot 79) Joseph Clark, The Village School, 1870 (Christie's, 25 July 1975, lot 41)

Stencil, partly oval format with scrolls containing wording at top, 12.5 cm wide, on canvas:

DRAWING/ MATERIALS SUPPLIED/ IN EVERY VARIETY

FROM MR F. T. EDWARDS.

--- 91 PARK ST

--- CAMDEN TOWN

LONDON

[at 91 Park St 1860-69]

Supplier, work details

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

Illustrated: Unspecified work, 1869 (source: Cobbe coll., see note 2)

Stampl, partly oval format, on canvas: DRAWING MATERIALS SUPPLIED IN EVERY VARIETY

[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: Haynes King, Awaiting His Return, 1865 (Bonham’s, Knightsbridge, 22 March 2016, lot 6)

Stamp, 12.5 cm wide, on canvas: DRAWING MATERIALS SUPPLIED IN EVERY VARIETY

Stencil, oval, on canvas:

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: Source: Cobbe coll., see note 2.

Stencil, partly oval format, on canvas: FROM

MR F. T. EDWARDS [39] NORFOLK TERRAC[E]

WESTBOURNE GROVE LONDON

[at 39 Norfolk Terrace 1870-87]

David Evans

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

Illustrated: Unknown artist (Samuel Chinn?), George Fox (Private coll., London, May 2017)

Stamp on canvas:

Prepared by D. EVANS.

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 Faulkner

At 30 Piccadilly 1836-39 See British artists' suppliers, 1650-1950 - F

Illustrated: Anne Raper, Figure Study, 1838 (Royal Society of Arts)

Label, 9.8 cm wide, palette-shaped, on millboard:

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 colour warehouse See British artists' suppliers, 1650-1950 - F

Later trading from this address as a varnish manufacturer

Illustrated: Unspecified work, 1885, source: Cobbe coll., see note 2.

Stencil, 11.4 cm, oval format, on canvas:

H. FLACK, late Jackson

ARTISTS COLORMAN 75. BLACKMAN ST

BOROUGH.

Green & Stone

In business from 1927

See British artists' suppliers, 1650-1950 - G

Illustrated: Arnold Mason, Elinor Glyn, 1942 (National Portrait Gallery) An earlier stamp, dating to 1928, has been recorded.

Stamp, palette-shaped, behind stretcher bar, on canvas:

GREEN & STONE

CHELSEA

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: Source: Cobbe coll., see note 2.

Stencil, 10 cm wide, on canvas:

FROM HALFORD, BROS. 361. OXFORD ST.

Charles Halford

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

Illustrated: Source: Cobbe coll., see note 2.

Stamp, 4.2 cm wide, within oval, on canvas:

8[6, PA]RK STREET ---

C HALFORD ARTISTS COLORMAN

--- CAMDEN TOWN N.W.

Joseph Harvey

At 15 Catherine St, Strand, London 1839-49 See British artists' suppliers, 1650-1950 - H

Successor to John Wikey, see Part 1, 1785-1831 of this guide

Illustrated: William Adolphus Knell, unspecified work, 1854, source: Cobbe coll., see note 2.

Stencil, 10 cm wide, on canvas:

J. HARVEY. 15. Catherine S

STRAND LONDON

Illustrated: Attrib. to J.M.W. Turner, Wooded Landscape with Village (Robert Genders)

Label, 6.5 cm wide, within decorative border, on board:

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: Walter Hunt, A Rustic Farmstead, 1908 (Sotheby's Belgravia, 29 June 1976, lot 41?)

Stamp, 12.3 cm wide, on canvas:

HEBDEN & SONS, 4, WEST HILL,

WANDSWORTH.

Joseph Hill, Julia Hill

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

Illustrated: English School, The Aspiring Hunter (Skinner, Boston, 27 January 2017, lot 258)

Stencil, oval format, on canvas:

FROM J. HILL BRUSH

~ & Pencil MANUFACTURER

~ 230 ~ Pentonville RD

Andrew Bruce Holt

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

Illustrated: Unknown artist, Giudecca Canal and Santa Maria della Salute, Venice (Private coll., 2015)

Stencil, 11.4cm wide, obscured by lining and partly obscured by stretcher, composite transmitted IR image by Taylor Bennett, 2015, on canvas (see note 7):

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 See British artists' suppliers, 1650-1950 - J

Trading as A. Jeffries & Co from 1884

Illustrated: Unspecified work, 1878, source: Cobbe coll., see note 2.

Two or more stencils, 14.5 cm wide overall, on canvas: PREPARED BY A. JEFFRIES. [3] MAYNARD ST. BLOOMSBURY W.C. B [‘B’ probably indicates canvas type]

Supplier, work details

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

Thomas Jenkins, Mary Jenkins

In business 1775-c.1791 See British artists' suppliers, 1650-1950 - J

See Part 1, 1785-1831 of this guide

Kemp & Co

In business 1877-1940 See British artists' suppliers, 1650-1950 - K

Successor to John Capes, see Part 2, A to D of this guide

Illustrated: Source: Ann Ralls, diploma thesis on canvas stamps, University College, London, 1995.

Stencil, oval format, on canvas:

KEMP & CO. LATE

J. CAPES. ARTISTS COLORMAN. 9, HOLDEN TERRACE

PIMLICO S.[W.]

[at 9 Holden Terrace 1877-89]

Illustrated: Source: Cobbe coll., see note 2.

Stencil, 12.4 cm wide, oval format, on canvas:

KEMP & Co. ---

ARTISTS COLORMAN. 9 HOLDEN TERRACE

--- [PIM]LICO S.[W.]

[at 9 Holden Terrace 1877-89]

Illustrated: Cesare Uva, The Bay of Naples (Cheffins, Cambridge, 25 November 2015, lot 452) Possibly a framing label but included here for reference.

Label, linear border, on backboard:

KEMP & CO., (Late JOHN CAPES)

Carvers, Gilders & Picture Frame MANUFACTURERS.

9 Holden Terrace, Pimlico. 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: Unknown artist, Portrait of a Man in a landscape (with Lefays, Simon Little, Buckland St Mary, online, 2018) Possibly a framing label but included here for reference.

Label, linear border, on panel or backboard:

KEMP & Co. Carvers, Gilders & Picture Frame

MANUFACTURERS.

9 Holden Terrace, Pimlico. 6 DOORS FROM VICTORIA STATION.

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: Unspecified work, c.1891, source: Cobbe coll., see note 2.

Stencil, 14 cm wide, oval format, on canvas:

KEMP & C[o.] ARTIS[TS C[O]LORME[N]

203 VICTORIA ST. S.W.

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

Illustrated: Unspecified artist, Ophelia, source: Cobbe coll., see note 2.

Stencil, 12.2 cm wide, oval format, on canvas:

KEMP & CO ---

ARTISTS COLOURMEN --203--

VICTORIA ST S W

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

Illustrated: Unknown artist, Landscape with Castle (with Sulis Fine Art, online), over a Winsor & Newton Rathbone canvas board label

Label, oval format, linear border, on canvas board:

KEMP & CO. ---

Artists’ Colourmen and Picture Framers, 203 Victoria Street,

S.W.1. (Victoria Station)

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

Illustrated: Peter Purves Smith, Greenwich Observatory, 1939 (National Gallery of Victoria, Melbourne) Click on link for a larger image of stamp.

Stamp, indistinct, oval format, on canvas:

[KEMP &] CO ----

[ARTIST'S] CO[LOURMEN] --2[8]--

BUCKINGHAM PALACE ROAD, S.W.1 [at 28 Buckingham Palace Road 1937-40]

Edward Sherard Kennedy

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

Illustrated: Phil Morris, unspecified work, c.1888, source: Cobbe coll., see note 2. Also found on:

After Thomas Lawrence, Portrait of a Lady (said to be Lady Harborough (Lady Lever Art Gallery, Port Sunlight)

Stencil, 13.1 cm wide, on canvas:

E. S. KENNEDY WALTON HOUSE

BROMPTON

[appears with G. Rowney & Co stamp (as found on work by Atkinson Grimshaw, 1887), see Part 9, Rowney & Co, of this guide]

Supplier, work details

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

Illustrated: Unspecified portrait of a lady (Private coll., 2007). This mark or similar found on: Alfred Munnings, The Painting Room, Norwich School of Art, 1897 (Norfolk Museums Service)

Stencil on canvas:

ESK

Kensington Fine Art Society

In business c.1893-1921 See British artists' suppliers, 1650-1950 - K

Succeeded by Kensington Fine Art Society Ltd

Illustrated: Unspecified work, c.1900?, source: Cobbe coll., see note 2.

Stencil on canvas:

K.F.A.S. 26 ALFRED PLACE WEST

S. KENSINGTON

Frank William King

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

Illustrated: George Clare, unspecified work, source: Cobbe coll., see note 2. Also found on: Oliver Clare, Medium White Hawthorne, 1887 (Sotheby's

Belgravia, 27 January 1976, lot 155?)

Stamp, 5.6 cm wide, palette-shaped with 5 brushes through thumb hole, on canvas:

F. KING [Wholesale??] & [Retail??]

Artists’ Col[ourman] and

PICTURE FRAME MAKER 18 [CLEVEL]AND ST FITZROY SQUARE

Henry Seymour King

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

Illustrated: C. Polowetski, Israel Zangwill, 1909 (National Portrait Gallery)

Stamp on canvas:

H. S. KING, 57, HIGH STREET, HAMPSTEAD, N.W.

Supplier, work details

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

J.W.L. & Co

Business not traced

Illustrated: Source: Cobbe coll., see note 2.

Stamp, 7 cm visible, half obscured by stretcher, on canvas:

KENSING[TON] J. W. L. [& Co]

G.

Illustrated: Source: Cobbe coll., see note 2.

Stamp, 11 cm wide, on canvas:

KENSINGTON. J. W. L. & Co

G.

Lechertier Barbe

In business as Lechertier Barbe 1848-1864 See British artists' suppliers, 1650-1950 - L

Trading as Lechertier Barbe & Co 1859-97, see below

Illustrated: William Oliver senr (d.1853), The Secret Letter Box (Unidentified saleroom)

Stencil, 12.2 cm wide, oval format, on canvas:

LECHERTIER-BARBE 60 Regent Street

LONDON

Illustrated: Thomas Frowd, The Lock, Windsor, 1854 (Chertsey Museum)

Stencil on canvas:

LECHERTIER BARBE 60 REGENT ST

LONDON

Illustrated: Edwin Frederick Holt, Going to the Opera, 1865 (Private coll., information from Kiffy Stainer-Hutchins)

Stamp, oval format, on canvas:

LECHERTIER-BARBE 60

REGENT STT. 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 See British artists' suppliers, 1650-1950 - L

Trading as Lechertier Barbe Ltd 1898-1970, see below

Illustrated: J.O. Banks (d.1873), Showing Off (Sotheby’s Belgravia, 25 March 1975, lot 74)

Stencil, 12.0 cm wide, on canvas:

LECHERTIER BARBE & Co 60 Regent Street

LONDON

Illustrated:

Italian 18th-century follower of Caravaggio, St John the Baptist (formerly with Webberley Antiques), relined c.1870?

Stencil on relining canvas:

LECHERTIER BARBE & Co ARTISTS COLORMEN 60. REGENT STREET.

LONDON.

[in pen: Edwd J. Simms. Bromsgrove1870.]

Illustrated: Henry Thompson, Carlo Pellegrini, c.1874 (National Portrait Gallery) Also found on: Alphonse Legros, The Tinker, 1874 (Victoria and Albert Museum)

Stencil on canvas:

LECHERTIER BAR[BE] & [Co] [60] REGENT [STREET]

LONDON

Illustrated: John Ballantyne, Portrait of a St Bernard Dog (Sotheby’s Belgravia, 11 March 1975, lot 128) 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, Edinburgh, information from Robin Rodger)

Stamp, 10.1 cm wide, on canvas:

LECHERTIER BARBE & Co 60, REGENT St. W.

LONDON

Illustrated: William Blake Richmond, William Morris, exh.1882 (National Portrait Gallery)

Stamp on canvas:

LECHERTIER, BARBE & Co 60, REGENT STREET, W.

[first line longest]

Supplier, work details

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

Illustrated: John Singer Sargent, A Backwater at Henley, c.1887 (Baltimore Museum of Art). From the Archives of 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.

Stamp on stretcher:

LECHERTIER, BARBE & Co 60, REGENT ST LONDON, W.

[second line longest]

Illustrated: Frederick Daniel Hardy, The Little Cook, 1887 (Bonham's, 4 July 2017, lot 25)

Label, 8.6 cm wide, linear border, on panel:

LECHERTIER, BARBE & Co. ARTISTS’

COLOURMEN AND STATIONERS, Manufacturers and Importers,

60, REGENT STREET, LONDON. W. WHOLESALE: 7, GLASSHOUSE STREET. W.

Illustrated: Louis Grimshaw, The Mansion House, London, 1894 (Christie's, 14 December 2016, lot 74) Also found on: Anna Alma-Tadema, Returning Light, 1891 (Christie’s, 11 July 2017, lot 72), label cut through

Label, 8.1 cm wide, linear border, on panel:

LECHERTIER, BARBE & Co. ARTISTS’

COLOURMEN AND STATIONERS, Manufacturers and Importers,

60, REGENT STREET, LONDON. W. WHOLESALE: 7 & 5, GLASSHOUSE STREET. W.

[now also at 5 Glasshouse St]

Lechertier Barbe Ltd

In business as Lechertier Barbe Ltd 1898-1970 See British artists' suppliers, 1650-1950 - L

Successor to Lechertier Barbe & Co, see above

Illustrated:

Spencer Gore, North London Girl, c.1911-2 (Tate), an earlier date of

1908-9 has been proposed; the canvas or frame stamped by Percy Young

Stamp on stretcher:

LECHERTIER BARBE LTD

95 JERMYN STREET, LONDON, S.W.1.

[stamp dates to 1917 or later from use of SW1 post code. Gore died in 1914.]

Illustrated: Wyndham Lewis, Tank in Clinic, 1937 (Private coll., on loan to Courtauld Gallery, 2014)

Stamp on stretcher and canvas overlap:

LECHERTIER BARBE LTD 95 JERMYN STREET,

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: Hector MacDonnell, unspecified work, source: Cobbe coll., see note 2

Stamp, 4.8 cm wide, on canvas board:

LECHERTIER BARBE, LTD 95, JERMYN ST, LONDON, S.W.1.

Illustrated: British school, 19th century, military painting, source: Cobbe coll., see note 2. Also found on: William Nicholson, Petunias and Chrysanthemums in a Mocha Jug, early 1940s, canvas board (Sotheby’s, 21 November 2017, lot 2)

Label, 8.4 cm wide, linear border, on panel:

Lechertier Barbe, Ltd. 72 YEARS AT 60, REGENT STREET,

Artists' Colourmen, 95, JERMYN STREET, REGENT STREET,

LONDON, S.W.1.

[label dates to 1917 or later from use of SW1 post code; the business was at 60 Regent St, 1827-98, that is for 72 years]

Illustrated: Unspecified work, 1949, source: ebay, January 2017.

Label, 8.4 cm wide, linear border, on panel:

Lechertier Barbe, Ltd. ESTABLISHED 1827.

Artists’ Colourmen, 95, JERMYN STREET, REGENT STREET,

LONDON, S.W.1.

Illustrated: Anthony Law, Unnamed work, 1943 (Canadian War Museum, Ottawa, see note 8)

Impressed stamp on panel:

LECHERTIER BARBE, LD. LONDON, S.W.

William Legg, W. & J. Legg

In business 1801/2-1805/6 See British artists' suppliers, 1650-1950 - L

See Part 1, 1785-1831 of this guide

Henry Matley

In business 1815-20 See British artists' suppliers, 1650-1950 - M

See Part 1, 1785-1831 of this guide

Harry Edward Mealand

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

Illustrated: Unspecified work, 1899, source: Cobbe coll., see note 2.

Stamp, 6.4 cm wide, on canvas:

H. E. MEALAND, 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 See British artists' suppliers, 1650-1950 - M

Trading as Meunier & Co Ltd 1913-20

Illustrated: John Singer Sargent, Autumn Leaves, 1913 (National Gallery of Victoria, Melbourne) Click on link for a larger image of stamp.

Stamped twice, double oval format, on stretcher:

H. MEUNIER

ARTISTS MATERIALS

14 CHURCH STREET, KENSINGTON.

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

Illustrated: Carton Moore-Park, William Wymark Jacobs, 1910 (National Portrait Gallery) Also found indistinctly on:

John Singer Sargent, Hospital at Granada, 1912 (National Gallery of Victoria, Melbourne) Click for an image of stamp.

Stamp on stretcher:

HENRI MEUNIER & Co., IMPORTERS OF ARTISTS’ MATERIALS.

26, EARLS COURT [ROAD]

[trading at 26 Earl’s Court Road 1909-20]

John Middleton, Jesse Middleton

In business c.1775-1830 See British artists' suppliers, 1650-1950 - M

See Part 1, 1785-1831 of this guide

Joseph Middleton

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

Illustrated: Arthur James Elsley, 'Don't be Afraid!', 1890 (Sotheby's Belgravia, 17 December 1974, lot 168)

Stencil, 7.3 cm wide, oval format, on canvas:

J MIDDLETON ARTIST COLORMAN

HIGH STREET ST JOHNS WOOD.

Thomas Miller

At this address 1841-54 See British artists' suppliers, 1650-1950 - M

Followed by Miller & Co, see below

Illustrated: Unspecified genre scene (Private coll., Canada, May 2017)

Stencil on canvas:

Thomas Miller 56 Long Acre

London

Supplier, work details

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

Illustrated: Unspecified portrait (with Anthony Mould, 2006)

Stencil on canvas:

Thomas M?----- Manuf[acturer]

London

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

Illustrated: Thomas Sydney Cooper, Cow in a Landscape, indistinctly dated 1856? (Middleton's Antiques, Cornwall, online, 2018)

Stencil on canvas:

Miller [5]6, Long Acre

London

Illustrated: Attrib. to Thomas Heathfield Carrick, Charles Cowden Clarke, watercolour (National Portrait Gallery)

Label, linear border top and bottom, on marble and slate panel:

MILLER, Artists’ Colour Manufacturer,

56, Long Acre, London.

Miller & Co

In business 1855-73 See British artists' suppliers, 1650-1950 - M

Successor to Thomas Miller, see above

Illustrated: Unspecified work, 1860 (source: Cathy Proudlove, see note 2).

Stencil, 9.3 cm wide, on canvas:

MILLER & Co. 56. LONG ACRE.

LONDON.

William Henry Monk

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

Illustrated: Philip Wilson Steer, Betty, Portrait of Miss Elisabeth Cary Elwes, c.1918 (Sotheby's, 14 July 2016, lot 42)

Small stamp, below Winsor & Newton stamp, on canvas:

W.H. MONK, ARTISTS’ COLOURMAN,

201, KING’S ROAD CHELSEA[?]

^

Supplier, work details

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

William Müller

In business 1847-63 See British artists' suppliers, 1650-1950 - M

Followed by William Müller & Co from 1864, whose labels seem to relate to framing

Illustrated: Unknown artist, A Horse, undated (National Gallery of Victoria, Melbourne) Click on link for a larger image of stamp.

Stencil, 6.2 cm wide, oval format, on canvas:

W. MULLER 62

High Holborn

Henry J. Murcott

Framemaker, at 16 Hanover St 1864-77 See British picture framemakers, 1600-1950

Illustrated: After Edwin Landseer, King Charles Spaniels (Private coll.)

Stencil, 7.4 cm wide, on canvas:

H. I. MURCOTT 16 HANOVER ST[?]

LONG ACRE LONDON

Joseph Nathan

Picture dealer, in business 1865-1900 See British artists' suppliers, 1650-1950 - N

Not known to be connected to Lionel Nathan & Co, see below

Illustrated: John James Wilson, Fecamp Head, Normandy, 1871 (Sotheby's Belgravia, 8 April 1975, lot 80)

Stencil, 9.6 cm wide, oval format, on canvas:

JOSEPH NATHAN Dealer in

WORKS OF ART 7 St Swithins Lane

LONDON E C

[at 7 St Swithins Lane 1871-73]

Lionel Nathan & Co

In business 1884-1900 See British artists' suppliers, 1650-1950 - N

Succeeded by Lionel Nathan & Co Ltd

Illustrated: ‘Hardy’, Off a Dutch Pier (Sotheby's Belgravia, 29 July 1975, lot 55)

Stencil, 12.4 cm wide, the main body of oval format, on canvas:

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: Paul Holden, Village with Windmill (Criterion Auctioneers, Islington, 11 November 2019, lot 785)

Label, linear border, on canvas board:

ARTISTS’ CANVAS BOARD. “Après Vous”

(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 See British artists' suppliers, 1650-1950 - N

Successor to Lionel Nathan & Co

Illustrated: Source: Cobbe coll., see note 2. Also found on: Felice Rezie, The Ferry (Sotheby's Belgravia, 27 January 1976, lot 97?)

Stamp, 15.2 cm wide, on canvas:

[unidentified motif, possibly containing phrase, NAT[H]AN’S [ARTISTS CANV]AS

MANUFACTURED BY Lionel Nathan & Co. Ltd LONDON. N.W.

James Newman

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

Illustrated: S.T. Gill, Mount Gambier, South Australia, 1852 (National Gallery of Victoria, Melbourne) Click on link for a larger image of stencil.

Stencil, circular format, on millboard:

JAMES NEWM[AN] ARTISTS? COLOURMAN?

SOHO SQ[UARE] [around Prince of Wales feathers trade mark]

[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: George Price Boyce, A Girl by a Beech Tree in a Landscape, 1857 (Tate)

Stencil, 6.7 cm high, circular format, on millboard, partially obscured:

[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): Arthur Ditchfield, Wooded Cliff near Algiers, 1873 (Victoria and Albert Museum) Also found on: Arthur Cope, Sir William Harcourt, 1904 (National Portrait Gallery) Paul Nash, Harbour and Room, 1932-36 (Tate) Paul Nash, Totes Meer (Dead Sea), 1940-41 (Tate), stamp 8.2 cm wide Illustrated (bottom): J.W. Power, Lady with Umbrella, c.1926 (National Gallery of Victoria, Melbourne) Click for a larger image of stamp.

Stamp, circular format, on canvas:

NEWMAN SOHO SQUARE LONDON

[around Prince of Wales feathers trade mark; no stop between SQUARE and LONDON]

[found on pictures dating to 1873-1940] [Newman’s standard canvas stamp remained remarkably constant over the space of almost 70 years, except for an interlude in the 1880s and 1890s when a scalloped stencil was used (see below). Classifying the standard stamp is not made easier by the number of faint, smudged or double impressions. Few measurements are on record and there is a possibility that the stamp was made in more than one size]

^ Ditchfield

^ Power

Illustrated (top): Edwin Hayes, Sunset at Sea: From Harlyn Bay, Cornwall, exh. 1894 (Tate) Also found on:

John William Waterhouse, The Lady of Shalott, 1888 (Tate) John Macallan Swan, African Panthers, 1891 (National Gallery of Victoria, Melbourne) Click for an image of stencil. Walter Richard Sickert, George Holyoake, exh.1892

(National Portrait Gallery)

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

Stencil, two scalloped rings, 8.6 cm wide, on canvas:

NEWMAN

SOHO SQUARE LONDON [around Prince of Wales feathers trade mark]

[large size, see below for smaller version; the large size has five ‘scallops’ below SQUARE] [found on pictures dating to 1888-94]

^ Hayes

^ Furse

Supplier, work details

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

Illustrated: Source: Cobbe coll., see note 2.

Stencil, two scalloped rings, 6.7 cm wide, on canvas:

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: Philip Wilson Steer, The Falls, Richmond, Yorkshire, 1903 (National Gallery of Victoria, Melbourne). Click on link for a larger image of stamp.

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)

Two stamps on canvas:

FROM

NEWMAN SOHO SQUARE . LONDON

[around Prince of Wales feathers trade mark; stop between SQUARE and LONDON]

Illustrated (top): Charles Holmes, Black Hill Moss, 1919 (National Gallery of Victoria, Melbourne) Click on link for a larger image of stamp. Also found on: Walter Westley Russell, River Scene, c.1935-49 (Birmingham Museums Trust), source for measurement given here.

Illustrated (bottom): Philip Wilson Steer, Southampton Water, 1921 (National Gallery of Victoria, Melbourne) Click on link for a larger image of stamp.

Stamp, 8.1 cm wide, on canvas:

NEWMAN SOHO SQUARE . LONDON

[around Prince of Wales feathers trade mark; stop between SQUARE and LONDON; traces

of a scroll left and right]

[the stamp on the picture by Holmes is an exceptionally clear impression, showing such fine details as the squiggle within the letter ‘Q’; there are traces of a marking left and right of the trade mark feathers, possibly incidental but possibly a scroll of a sort sometimes found in representations of the Prince of Wales feathers.]

^ Holmes

^ Steer

Supplier, work details

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

Illustrated: Arthur Studd, A Venetian Lyric, 1900-10? (Tate)

Impressed stamps on end grain bevels of cedar panel:

NEWMAN

SOHO SQUARE

^ rubbing

Illustrated: William Nicholson, Tenterden, 1908, canvas laid on board (Sotheby’s, 18 November 2014, lot 126) Also found on: William Nicholson, The Silver Sunset, 1909-10 (Birmingham Museums Trust)

Label, linear border, on board:

From Newman's

24, Soho Square, London.

James Newman Ltd

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

Illustrated: Paul Nash, Landscape of the Summer Solstice, 1943 (National Gallery of Victoria, Melbourne ) Click on link for a larger image of stamp. For Newman’s canvas range in the late 1930s, see the Appendix.

Stamp, linear border, on canvas:

JAMES NEWMAN LIMITED

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 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. 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, Thoughts of the Past, 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 William Holman Hunt, 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 John Everett Millais, 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.