British artists' suppliers, 1650-1950

A selective directory, to be revised and expanded regulary, 1st edition June 2006, 2nd edition May 2008 (*entry revised, **new entry)
Contributions are welcome, to Jacob Simon at jsimon@npg.org.uk.
Resources and bibliography

Mrs Mary Dennis MacEwen, see Joseph Middleton

*William Macgill, 7 Hanover St, Edinburgh 1841-1859, 103 Princes St 1860-1866. Artists' colourman, printseller and stationer.

William Macgill (c.1818-66) published a trade catalogue from 7 Hanover St, c.1856 (William Macgill's List of Materials for Oil Painting, 16pp, appendix to Mrs William Duffield, The Art of Flower Painting, Winsor & Newton, 1856). He had an account with Roberson, 1850-66, initially from 7 Hanover St and then from 103 Princes St (Woodcock 1997). He was recorded in Scotland St as an artists' colourman in the 1841 census, apparently living with his mother, and at 103 Princes St in the 1861 census, with the premises described as Photographic Studio and Shop; he was listed as an artists' colourman, age 43. He died in 1866 (Scottish documents); his will indicates that John Moffat, photographer, paid him rental for premises at 103 Princes St. The business was continued by P. Westren, jeweller, as Macgill's Gallery of Art (Post Office Edinburgh & Leith Directory 1867, advert p.49). Marked canvases have been recorded, c.1867-79.

Sources: Scottish Book Trade Index

*Daniel McIntosh, 15 South Saint Andrew St, Edinburgh 1799-1810, 16 Saint Andrew St 1811-1816, 49 Princes St 1817-1822. Carver and gilder, printseller.

See British picture framemakers | M

*Madderton & Co Ltd, 37-39 Baldwins Hill, Loughton, Essex 1890-1939, also 156 King's Road, Chelsea, London 1915-1918. Artists' colours manufacturers.

'The manufactory of artists' colours to mediaeval recipes was established in 1891 by A.P. Laurie in the cottages Nos 37-39 Baldwins Hill. The firm was named after one of the pigments madder and not after the owner. Its products, known as "Cambridge" colours, had a high worldwide reputation. Brushes and other accessories were later added to their products list. The factory was gradually extended, though the original cottages can still be identified in the composite structure now existing. It ceased to operate during the Second World War when the managing director retired and the building was taken over for light engineering' (source: The Hills Amenity Society Discovery Trail, at www.hillsamenitysociety.co.uk/detail/disctrail.htm).

A.P. Laurie (1861-1949), Principal of Heriot-Watt College, Edinburgh, and Professor of Chemistry at the Royal Academy 1912-36, was the author of The Materials of the Painter's Craft in Europe and Egypt from earliest times to the end of the 17th century, 1910, among other publications (see Carlyle 2001 pp.310-1). He founded Madderton & Co by 1890, with a workshop in Falcon Yard, Cambridge (Pall Mall Gazette 22 April 1882), and he had an account with Roberson, c/o Madderton & Co, in April that year (Woodcock 1997). He was in correspondence with G.F. Watts 1890-3, concerning his new colours, in 1890 sending the artist a sample of his first colour, a Madder Lake, which he said was available from T.H. Lucas at 6 Falcon Yard, Cambridge and the School and Guild of Handicrafts, 34 Commercial St, Whitechapel (Watts letter book, vol.8, National Portrait Gallery), and in 1892 he visited the artist (Hackney 1999 p.92). For the Guild of Handicrafts, see British picture framemakers | G.

Madderton and Co advertised its Cambridge Colours in The Year's Art 1892-6, as prepared under the personal supervision of A.P. Laurie, the outcome of a series of experiments undertaken to increase the durability of paintings, stating that the colours were ground in linseed oil, cold pressed from pure seed, and sun refined, and welcoming visits from artists to see the colours in preparation at the laboratory; also referring to a new permanent Lake, the colour of French Marigolds, and a rare quality of Umber, directly imported from Cyprus. The company subsequently advertised its new Flake White (1894).

Madderton and Co used M. Hübner & Co (qv) as wholesale agent in London, 1893-5, followed by Messrs C.F. Maret & Co Ltd (qv), 1896. The business published Madderton's Notes for Artists 1897-1907, and Tracts for Artists, 1901, which included advertisements featuring 'Agents for Cambridge Colours', including in 1897 Aitken Dott & Son (qv), W.H. Monk (qv), Chas D. Soar (qv), Chas H. West (qv), Percy Young (qv), C.F. Maret & Co Ltd as Sole Agent for the Trade, and in 1903 John Bryce Smith (qv). The business began advertising an extended range including brushes, palettes, knives, paper etc in 1903 (Madderton's Notes for Artists, no.27, September 1903) and by 1913 was advertising a very wide range of products (Price List of Cambridge Materials for Artists, May 1913, 183pp). It had an account with Roberson, 1903-8 (Woodcock 1997).

Cambridge Colours were exported from about 1910. They featured in the trade catalogues of a number of companies in the United States including A.H. Abbott & Co, Chicago (Catalog of A.H. Abbott & Co., Artists' Materials, School Supplies, Drawing Materials, c.1922, 266pp), B.K. Elliott Co, Pittsburgh (Elliott's Artists Materials, 1930s, 102pp), E.H. & A.C. Friedrichs Co, New York (Descriptive Price Schedule Artists' Materials Drawing Materials Drawing Instruments, 1932, 191pp), The Hirshberg Co, Baltimore (Illustrated Catalogue. Artists, School and Engineering Supplies of the Latest Design and Manufacture, 1939, 127pp) and Henry M. Taws, Philadelphia (Catalog of Artists and Draughtsmens Materials, c.1915, 102pp). In Australia Cambridge colours were stocked by Geo. P. Harris, Scarfe & Co Ltd, Adelaide (Catalogue Artists' Materials, 1913, 16pp). In Canada by the Artist' Supply Co, Toronto (Price List of Cambridge and Madderton Oil Colours, 1928, 4pp).

The business closed in 1939 but Cambridge Colours continued to be available in the United States, manufactured by Winsor & Newton (see E.H. & A.C. Friedrichs Co's trade catalogue, Artists Materials and Colors by Fredrix No. 85, 1953, 76p), suggesting that Winsor & Newton may have bought out the remaining goodwill in Madderton & Co Ltd. The company was wound up voluntarily in 1943 (London Gazette 19 February 1943).

Madderton's links with artists: John Brett is documented as using 'Laurie's Venetian red' in 1892 (Lowry 2001 p.40). Other artists are mentioned in Madderton's publicity material, which included a testimonial from Frederick Leighton PRA in 1893, and subsequently from Millais, Burne-Jones, Watts, Holman Hunt and many other artists who are reported as having praised the quality of Cambridge Colours (1896). Later, by 1913, testimonials were provided by Harold Speed, Edwin Abbey, George Clausen, Luke Fildes, Briton Riviere, Edward Stott and J.W. Waterhouse (Harris, Scarfe & Co Ltd's catalogue, see above).

Of particular interest is the extended feature in Madderton's Notes for Artists, 'Some Artists' Palettes', running between 1902 and 1904, specifying the colours, mediums and materials used by more than 100 contemporary artists (Madderton's Notes for Artists, nos 21-31, March 1902-September 1904); these artists were, using the style adopted in Madderton's Notes, P.W. Adam RSA, Mrs H Allingham RWS, Sir Lawrence Alma-Tadema RA, Reginald Barratt ARWS, Miss Rose Barton ARWS, Sir Wyke Bayliss PRBA, Robert Anning Bell ARWS, Georg H. Boughton RA, Basil Bradley RWS, Frank Bramley ARA, F. Brangwyn ARA, Arnesby Brown ARA, A.K. Brown ARSA, G. Lawrence Bulleid ARWS, Robert Burns ARSA, George Clausen ARA, RWS, Rex Vicat Cole RBA, Hon. John Collier, Margaret Murray Cookesley, Hubert Coop RBA, M.R. Corbet ARA, John Da Costa, H.W.B. Davis RA, Louis Davis ARWS, Alfred East ARA, Mrs Will. Fagan, David Farquharson ARSA, Mark Fisher, Vignoles Fisher, Lewis G. Fry RBA, Arthur Hacker ARA, W. Matthew Hale RWS, Oliver Hall RE, J. Whitelaw Hamilton RSW, W. Lee Hankey RI, Charles Martin Hardie RSA, Alfred Hartley RE, A.S. Hartrick, C. Napier Hemy ARA, Sydney Herbert, Samuel J. Hodson RWS, William Hole RSA, J.C. Hook RA, Arthur Hopkins RWS, H.S. Hopwood ARWS, Francis Howard, E.R. Hughes Vice-President RWS, J. Young Hunter, Louise Jopling, George W. Joy, R. Talbot Kelly RBA, Miss L. Kemp-Welch, Augustus Koopman, John Lavery RSA, B.W. Leader RA, Arthur Lemon, Sir James D. Linton RI, Robert Little RWS, Horace M. Livens, A. Ludovici, Seymour Lucas RA, Robert W. Macbeth ARA, Mrs Mary McEvoy, J.M. Macintosh RBA, J. MacWhirter RA, Alexander Mann, Harrington Mann, W.H. Margetson, H.M. Marshall RWS, Miss Edith Martineau ARWS, John Mastin RBA, J. Coutts Michie ARSA, Alex G. Miller, H. Morley, R.B. Nisbet ARSA, RI, John William North ARA, James Patterson ARSA, Sir Francis Powell PRSW, Sir Edward J. Poynter Bart PRA, Valentine Cameron Prinsep RA, Wellwood Rattray ARSA, R. Payton Reid ARSA, Cuthbert Rigby RWS, Briton Riviere RA, Dante Gabriel Rossetti, Walter Severn RCA, Byam Shaw RI, Frederic Shields, Lionel Percy Smythe ARA, Solomon J. Solomon ARA, Harold Speed, Frank Spenlove-Spenlove RCA, Marcus Stone RA, George Adolphus Storey ARA, Edward Stott, Alf. W. Strutt ARE, William Strutt RBA, Leslie Thomson RI, R. Thorne-Waite RWS, Henry Scott Tuke ARA, Frank Walton RI, Sir Ernest A. Waterlow RA, G.F. Watts RA and William Lionel Wyllie ARA.

Later Cambridge colours were favoured by Piet Mondrian while working in London, 1938-40, according to Winifred Nicholson in her contribution to a series of reminiscences ('Mondrian in London', Studio International, vol.172, December 1966, p.286): 'Mondrian bought Cambridge colours not because they were less expensive than others, but because he thought that Oxford and so also Cambridge was the most reliable English commodity'.

Edward Manby, William Manby, see Alexander Emerton

**William Marcellus, Hungerford Market, Strand, London 1764, The Colour Shop, 12 St Martin's Lane 1772-1776, Chelsea 1776. Painter, later colourman.

William Marcellus supplied colours for decorators but he also advertised primed cloths in 1772 (Gazeteer and New Daily Advertiser 15 April 1772), and three years later offered 'India Rubber, for taking out black lead from paper, &c' (London Evening Post 18 March 1775). As Marcellus & Co, at the King's Arms, St Martin's Lane, the business advertised paints for decorators, and also 'Bladder colours and primed cloths for limners' (Morning Post and Daily Advertiser 21 June 1775). He then put his lease and stock in trade for sale, stating that he was 'going to remove to the upper End of Church-Lane, Chelsea' (Daily Advertiser 18 December 1775). A few weeks later, he advertised thanking his friends helping extinguish a fire on his premises in St Martin's Lane (Daily Advertiser 8 January 1776), and the following month his stock, utensils and lease were offered for sale at auction (Daily Advertiser 27 February 1776).

William Marcellus was the son of the shop sign painter, Robert Marcellus of 392 Strand. He was christened at St Martin-in-the-Fields in June 1733, and married Anna Amelia Moyer, or Moyse, at St Paul Covent Garden in January 1755, when described as an eminent painter in the Strand (Read's Weekly Journal 11 January 1755). They had eight children, christened at St Martin-in-the-Fields between 1755 and 1774 (IGI). By 1778 he was seeking release from imprisonment for debt (London Gazette 2 June 1778).

Messrs C.F. Maret & Co Ltd, 45 Old St, London 1895, 4 Golden Lane EC 1896-1897. Agent and artists' materials wholesale dealers.

From 1887 to 1889 C.J. Maret and then C.F. Maret were listed as managers of the Artists' Color Manufacturing Co, 27-31 Hatton Wall, London EC. In 1895 C.F. Maret & Co was listed in Old St (at the same premises as another agent, M. Hübner & Co (qv)). Maret & Co acted as sole agent for the trade for Madderton and Co (qv), 1896-97, advertising in their literature as 'Wholesale Dealers in Artists' Colours, Brushes, Canvases & Artists' Materials'.

Owen Marlow, The Mermaid, Southwark, London, late 17th/ early 18th century. Oil and colourman.

Marlow's trade card, depicting a mermaid within a roundel, advertised 'Owen Marlow,/ COLOUR MAN,/ At the Sign of the Mermaid in/ the Burrough of SOUTHWARK,/ Sells all Sorts of Painters Oyls/ and Colours, Primed Cloaths with/ all Sorts of Dyers Wood &c.' (Banks coll. 89.19).

J. Maroger, see Lechertier Barbe

Marsh & Beattie, 13 South Hanover St, Edinburgh 1850-1859. Booksellers, Catholic publishers, stationers and artists' materials dealers.

Marsh & Beattie's trade catalogue, c.1853, advertised their stock of artists' materials, 'comprised solely of Newman's Celebrated Manufacture', including Newman's improved moist watercolours in gutta percha cups or patent collapsible tubes (with an extract from a commendation for these colours from the Art Journal May 1849), watercolours in cakes, liquid colours, boxes of watercolours, Newman's celebrated drawing papers (with the initial N in the watermark to prevent deception, near the name of the maker J. Whatman), various boards, graduated tinted ivory paper, tracing papers, various types of pencil including Mr J.D. Harding's drawing pencils manufactured with Brockedon's patent pure Cumberland lead, oil colours, crayons, brushes, mathematical instruments etc, also featuring Lund's ever-pointed pencils (Artist' Materials, undated catalogue but containing a testimonial dated 1849, appended to the Catholic Directory for the Clergy and Laity in Scotland, Aberdeen 1853).

Bankruptcy proceedings against this business in 1859 provide further details of its history (The Scotsman 20 July 1859, Edinburgh Gazette 24 June 1859). Augustine Marsh, senior partner and David George Beattie had commenced business in 1850 as booksellers and stationers, initially acting as agent for C. Dolman, London, but trading on their own account from September 1851. They first felt financially 'embarrassed' in 1857. 'Newman', presumably the colourman, was among their creditors. In the 1851 census Marsh was recorded as a bookseller, age 29, born in England, and Beattie, also a bookseller, age 23, born in Edinburgh.

Marshall, London, 1811. Colourman?

Joseph Farington was shown samples of Marshall's Ultramarine by Thomas Lawrence and Marshall, 1811, and made a purchase, 1812 (Farington vol.11, pp.3884, 3897, vol.12, pp.4253, 4254, 4256).

*William Mason, Repository of Arts, 1 Ship St, Brighton by 1832-1838, 81 King's Road 1839-1846 or later, 80 King's Road 1850, 108 King's Road by 1851-1871 or later. Carver and gilder, printseller and publisher.

William Henry G. Mason was born in London in about 1811. He was listed in Pigot's Sussex Directory for 1832-4, and as William Henry Mason, printseller, in 1839 and subsequently. In the 1861 census he was recorded as a printseller, age 50, with wife, Mary, age 46, and son, William H., photographic artist, age 21, and other children; he was similarly listed in 1871 census. The business had an account with Roberson, 1832-62 (Woodcock 1997), trading as W.H. Mason from Ship St, 1 Kings Road and 108 Kings Road, Brighton. Mason's printed label is recorded, c.1828-35.

*Massoul & Co, 136 New Bond St, London 1794-1799. Artists' colourmen, print publishers.

Massoul & Co advertised in 1795 that their 'Manufactory of Superfine Colours' had been established the previous year, listing their 'boxes of Colours, and every article in that line, such as Marten Hair Painting Brushes, Ivory Pallets, Vellum, Drawing Paper, &c' (The Times 19 November 1795). The business traded initially as La Tour, Massoul & Co, which advertised 'superfine and everlasting water-colours, prepared as at Paris' and also the 'Physigraph the new-invented perspective instrument of M. La Tour, miniature painter as offered to the public for the first time in January 1794' (To the lovers of the polite arts of drawing and painting, copy in Kunglige Biblioteket, Stockholm, recorded in English Short Title Catalogue). La Tour, Massoul & Co advertised their never fading colours in 1795 (Morning Chronicle 16 May 1795). La Tour and Massoul may have been among the wave of French refugees who set up in business in London in the 1790s.

In 1797 Constant de Massoul published A Treatise on the Art of Painting and the Composition of Colours, translated from the French, the first such work by a manufacturing colourman. In this handbook Massoul included a list of colours on sale at his manufactory in New Bond St and advertised that he could supply 'every Article necessary for Painting and Drawing' (Harley 1982 p.24, Carlyle 2001 p.283). The business was listed as Massoul & Co, manufacturer of colours, in 1799 (Kent's directory; Holden's Triennial directory).

Henry Matley, 54 Long Acre, London 1815-1820. Artists' colourman.

Matley took over premises at 54 Long Acre from another colourman, his master, John Culbert (qv), and was later followed by Charles Roberson. He was listed initially as hair pencil maker (i.e. brushmaker), and from 1817 as 'Colourman to Artists and hair pencil maker'. Another directory described Matley as 'late apprentice to Mr J. Culbert' (Underhill's 1817). According to a notebook entry in the Roberson Archive, dating to after 1870, 'Charles Roberson succeeded to Mr Matley in 1819 at 53_ Long Acre' (HKI MS 785-1993, fol. 54v, information from Sally Woodcock).

Matley's stencilled canvas marks have been recorded. His canvases were used by J.M.W. Turner in the 1820s (Townsend 1993 p.18, Townsend 1994 p.146), and also for Richmond Hill with Girls carrying Corn, c.1819, stamped 'MATLEY/ -- LONG ACRE/ ARTIST COLOUR--/ 181? (partly concealed by stretcher bar but 1816 or 1818) and for The Grand Canal and the Rialto, c.1820, stamped 'MATLEY/ 54 LONG ACRE' (Tate 5546 and 5543, information from Sally Woodcock). John Constable's Salisbury Cathedral from the Meadows, c.1829, is stamped 'MATLEY/ 54 Long Acre' (Tate 1814, information from Sally Woodcock; see also Reynolds 1984 p.228).

*Harry Edward Mealand 1894-1940, Mealands Knightsbridge Ltd 1941-1975. At 7 Knightsbridge Green, London SW 1894-1895, 6-8 (sometimes also 9) Knightsbridge Green 1896-1903, renumbered 1903/4, 11-13 Knightsbridge Green 1904-1940, 12 (sometimes also 11) Knightsbridge Green 1941-1975. Carvers and gilders, initially also paper hanging dealer, later also oil and colourmen.

Harry Edward Mealand (1862-1938) carried on business with Harry Jocelyn Jeffries as Lambert and Co, carvers, gilders, picture frame makers and decorators at 36 Albert Gate and 7 Knightsbridge Green until the partnership was dissolved in 1893 (London Gazette 3 October 1893). He then set up independently. He had an account with Roberson, 1900-8, from 4 & 6 Park Mansions, Knightsbridge (BMD; Woodcock 1997). He was listed at 16 Werter Road, Putney, in the 1901 census, as a picture framemaker, age 38, born at Brighton, with wife, age 46, and two daughters, age 8 and 5. He died in 1938 (London Gazette 10 March 1939). The business acted as a distributor for Reeves in the mid-1930s, with the Mealand imprint found on Reeves's trade catalogue (An Abridged Price List of British-made Artists' Colours and Drawing Materials, 128pp, 1934 or later). It was listed in 1970 as a branch of Clifford Milburn Ltd, Reeves's retail arm (The Artist, vol.80, November 1970, p.xi). A marked canvas has been recorded, 1899.

*Dorothy Mercier, Silver St, Golden Square, London 1762, The Golden Ball, Windmill St, facing Silver St 1763-1764, 1767-1768, Cambridge St, Golden Square 1766-1767. Printseller and stationer.

Widow of the artist, Philip Mercier (1689-1760). It would appear that she went into business following her husband's death, initially advertising as printseller and stationer, and from 1764 as 'Stationer to the Society of Artists of Great Britain', following her appointment as the Society's stationer that year. Her handsome trade card, dating to the early 1760s, advertised among other goods, 'all Sorts of Papers for Drawing, &c./ The best Black Lead Pencils, Black, Red & White Chalk./ Variety of Water-Colours, and Camels Hair Pencils./English, Dutch, & French Drawing Paper, Abortive Vellum for Drawing,/ Writing Vellum, the Silk Paper for Drawing' (Victoria and Albert Museum, repr. Krill 2002 p.70; Banks coll. 100.69, repr. Clayton 1997 p.112; Johnson Collection; the card is also found in a revised version following her 1764 appointment to the Society of Artists, photograph on file in Heal coll. 100.51). She acted jointly with other printsellers to sell, or take subscriptions for, various architectural and ornament books, according to newspaper advertisements from 1762 to 1767. She rented premises in Windmill St, until her retirement from business on 14 June 1768.

Sources: John Ingamells and Robert Raines, Philip Mercier, exh.cat., York City Art Gallery and Iveagh Bequest, Kenwood, 1969, p.53.

*Henri Meunier 1900-1914, Meunier & Co Ltd 1915-1920. At 24 Moore St, Edgware Road, London W 1900-1905, 26 Nutford Place, Edgware Road 1904-1905, 14 Church St, Kensington 1906-1908, 26 Earl's Court Road 1909-1920. Artistic cabinetmaker, picture framemaker, importer of artists' materials.

See British picture framemakers | M

*John Middleton, John Middleton & Son. In Deptford to c.1770, variously at 24, 24a and 32 Vine St, Piccadilly, London by 1770-1819, 3 Charlotte St, Rathbone Place 1820, 9 Charlotte St 1821-1829, 90 Newman St 1830-1835, 55 Berners St 1836-1844, not listed 1845, 32 Bloomsbury St 1846-1848, 12 Percy St 1849. Pencil makers.

John Middleton (d.1795) claimed to have been in business since the early 1750s (Gazette and New Daily Advertiser 2 December 1780), moving to Vine St in London from Deptford in Kent by the time he advertised as a black lead pencil maker in 1770 (Public Advertiser 17 December 1770). John Middleton's trade card, presumably dating to about 1770, described him as lately removed from Kent to Vine St, St James's, and advertised his black lead and red chalk pencils (trade card, Ephemera Fair, London, 2004). He advertised extensively, stating that he marked his pencils with his name, John Middleton, and claiming to have the largest stock of superfine black lead and red chalk pencils in the country (Public Advertiser 20 September 1773), subsequently advertising as black lead, red and white chalk pencil maker (Gazette and New Daily Advertiser 2 December 1780).

Middleton's premises at 24 Vine St were burnt down on 1 November 1786 (Morning Post 8 November 1786; see also Whitley papers vol.3 p.285, quoting Morning Post 16 November 1786). A few days later, on 6 November, he took out an fire insurance policy covering his utensils and stock for £140 (Guildhall Library: Records of Sun Fire Office, vol.342, no.524056). Middleton died in 1795, when he was described as pencil makers to His Majesty (St James's Chronicle 24 January 1795). The business spanned more than one generation, with the Vine St premises variously listed as John Middleton and as John Middleton & Son, black lead pencil makers, sometimes mentioning an appointment to His Majesty. Trade cards feature John Middleton at 24 Vine St (Heal coll. 92.19, 92.20) and John Middleton & Son (Heal Coll. 92.22). The final listing for John Middleton is in 1849.

An appointment to the King was also held by Nicholas Middleton (qv) but there was no connection between the two businesses. Nor is there evidence relating John Middleton to Ann Middleton and Thomas John Middleton who appear in the 1850s as partners in Brodie and Middleton (qv). He should not be confused with John Middleton (qv), artists' colourman of St Martin's Lane, nor with the apparently unconnected pencil maker by the name of John Middleton who operated from addresses in Snow Hill and in the Fleet St area (see advertisement, Star 12 January 1793).

John Middleton c.1774-1809, J. Middleton & Son 1809-1818, Jesse Middleton 1819-1830. At Long Acre, London 1774, 81 St Martin's Lane ('next door to new Slaughter's Coffee House') by 1778-1830, 80 St Martin's Lane 1791-1830, during rebuilding at 4 Long Acre 1792. Artists' colourman; paperhanging manufacturer from 1789.

John Middleton (d.1818) and his son Jesse Middleton (1779-1862) were leading artists' suppliers over a period of more than fifty years. John Middleton worked initially for Charles Sandys (qv), marrying his daughter, Ann, in 1771, becoming a partner in the business, which was renamed Sandys and Middleton, although often described as Sandys & Co. He was listed as a colourman in Long Acre in 1774 (Westminster poll book p.50). By about 1775 Middleton was trading under his own name. There is no evidence of a connection with the pencil makers, John Middleton (qv) or Nicholas Middleton (qv), or the later firm of Brodie and Middleton (qv).

The Middleton business was listed in trade directories as colour manufacturer and paper hanging warehouse at 80 and 81 St Martin's Lane, see Ian Maxted, The London book trades 1775-1800: a topographical guide at www.devon.gov.uk/etched?_IXP_=1&_IXR=121438. In 1798, Middleton advertised that a newly built house between the Slaughters' coffee houses in St Martin's Lane was to let, instructing readers to enquire next door at his colour manufactory (The Times 4 September 1798).

John Middleton played an important role as an artists' colourman. He advertised colours in his 1785 trade list, ranging in price from blue black and ivory black at threepence a bladder to Ultramarine at 3 guineas an ounce or, for the best quality, 10 guineas; black lead pencils at sixpence each, brushes from a penny to a shilling each, according to size, and various canvases (Whitley 1928, vol.1, p.334). He continued to advertise his colours, for example in 1796 and his ultramarine in 1799 (Morning Chronicle 21 July 1796 and 27 March 1799, see the Whitley papers vol.3, p.290). He was mentioned by Ibbetson as a man of great knowledge of colours, and one of the few who could prepare ultramarine properly, which could be had from him 'in perfection of all degrees of value or depth' (Julius Caesar Ibbetson, An accidence, or gamut, of Painting in oil and water colours, etc, 1803, p.17). Some of his prices in 1809 were quoted in Ackermann's Repository of Arts: 'Ultramarine is £4 or £5 and upwards, according to its goodness, per ounce' (Repository of Arts, vol.2, October 1809, pp.222-3; for other colours, see Whitley 1928(1) pp.155-6). Further details are given: 'Canvas for painting is about 2s.6d or 3s. for the size of a portrait, that is, the head and shoulders; for a larger portrait, 5s.; half-lengths, 8s.; whole-lengths, about a guinea, more or less, according to the size', also mentioning easels, pallets, pallet-knives and brushes.

Middleton was consulted by the Royal Society of Arts in 1804 on the merits of an improved mill for grinding painters' colours, devised by James Rawlinson (qv). Paul Sandby's biographer in 1811 claimed that it was Sandby 'who first set Middleton to prepare [watercolours] in somewhat like the present state, now brought to so great perfection by Reeves, Newman, and others' (Monthly Magazine 1 June 1811, see Burlington Magazine, vol.88, 1946, p.146), although Reeves is now generally credited with these improvements.

Middleton supplied oiled umbrellas in the 1780s (Whitley 1928, vol.1, p.334; Morning Chronicle 23 May 1781 and 24 May 1787). He began dealing in wallpaper in 1789, when he advertised 'A New Warehouse for Paper Hangings, English and French', on the first floor of his premises at 81 St Martin's Lane (The World 30 July 1789). In 1792, presumably while the premises in St Martin's Lane were being rebuilt, 'Middleton's Colour Manufactory and Paper Hanging Warehouse' was advertised from 4 Long Acre (The Times, 31 May 1792). He was awarded a silver medal from the Society of Arts for 'Improvements in printing paper hangings' in 1806 (Transactions, vol.24, see Galinou 1996 p.140). 'Mr. John Middleton lately communicated some improvements in the printing of paper hangings to the Society of Arts' (John Mason Good, Pantologia. A New Cyclopaedia, 1813, vol.9 under paper hangings, see E.A. Entwistle, A Literary History of Wallpaper, 1960).

Middleton's links with artists: Middleton claimed that he had 'for many years served the principal Artists with their Cloths, Oils, Colours, &c' (The World 30 July 1789) and this is borne out by the range of his customers. He received payments in 1774 (£52) from Thomas Gainsborough (Sloman 2002 pp.70, 207) and, as J. Middleton, from Allan Ramsay on 19 August 1780 (£9.12s.6d) and 2 September 1782 (£5.12s) (Ramsay bank account). He was described as the source of colours for Joshua Reynolds (Whitley 1928, vol.1, p.334, referring to the Repository of Arts). He was owed the very substantial sum of £400 by Thomas Lawrence in 1801 (Farington vol.4, p.1525). He was also a supplier to the 3rd Earl of Egremont, 1799-1801 (Petworth House Archives PHA/7558, 8064, 10491).

Middleton called on Joseph Farington to solicit his orders, following the death of James Poole (qv), speaking much of some new prepared canvases with absorbing grounds, 1801 (Farington vol.4, p.1580). Artists using his canvas included John Constable for A Lane near Dedham, 1802 (Yale Center for British Art, see Cove 1991 p.495), J.M.W. Turner, c.1798-1809 (Townsend 1993 p.18, Townsend 1994 pp.146-7), Benjamin West, 1803, who used canvases with a slight sized ground (Farington vol.5, p.1983) and Thomas Stewardson for his portrait, George Grote, 1824 (National Portrait Gallery 365).

Constable also used an egg-based priming from Middleton for outdoor sketches in 1802 (Cove 1991). Middleton supplied turpentine to P.J. de Loutherbourg, 1804, who preferred Legge's white to Middleton's (Farington vol.6, p.2317). He supplied pigment samples to George Field (qv) for testing (Harley 1979 p.81).

Middleton was referred to by Raeburn in a letter dated 10 October 1822 as 'the gent[tlema]n with whom I deal' (Whitley 1928, vol.1, p.334; James Grieg, Sir Henry Raeburn, R.A., p.xxxvii). Datable Raeburn portraits bearing Middleton's stamp include Lt-Col. Lyon, 1788 (National Gallery of Scotland), Lord Newton, 1810 (Dalmeny House, Edinburgh), Henry Mackenzie, c.1810 (National Portrait Gallery) and Hugh William Williams, c.1818 (National Portrait Gallery); see also John Dick, 'Raeburn's Methods and Materials', in Duncan Thomson, Raeburn: The Art of Sir Henry Raeburn 1756-1823, Scottish National Portrait Gallery, 1997, p.45 n.16.

Jesse Middleton: John Middleton died in 1818, dividing his estate between his sons, Jesse and Joshua, his daughter Anna, and the children of his other daughter, Sarah, and her husband, Robert Aspland (PCC wills); a sale of his household furniture and pictures was held later the same year (Morning Chronicle 15 May 1818). The business was carried on by Middleton's son, Jesse, who was variously listed in directories as J. Middleton and Jesse Middleton.

The demise of the business in 1831 is documented by newspaper advertisements in The Times over the space of almost two years (2 July 1829, 21 August 1830, 18 April and 4 June 1831). Jesse Middleton advertised his premises and stock for sale in 1829 and again in 1830, on both occasions apparently without success; on the latter occasion the premises were described as comprising a spacious shop and an extensive and lofty workshop, with other accommodation, at 80 and 81 St Martin's Lane, near Long Acre, with a frontage of more than 30 ft and with one half of the premises having a depth of 106 ft, the other of more than 71 ft, having been built by his late father under a 61 year lease from the Marquis of Salisbury from 25 December 1794 (1791 in the earlier newspaper advertisement) at the 'small annual ground rent of £28 10s'. In addition to the business premises, they were two private dwellings (The Times 18 April 1831).

Middleton's advertisement for the contents of his shop ('the oldest established business'), and workshops is worth quoting at length: 'There are, among the variety of miscellaneous materials and implements used in picture painting and drawing, brown linens and tickens(?), unprepared and primed; the numerous stock of priming frames, for a manufacturer; French hogs' hair tools; badger ditto; white lead flakes, flake white dry; colours in powder; cake colours, for water; drawing papers; colours not ground, for picture and house-painting; for paper staining, colours manufactured, and materials from which they are made. The remaining stock of paperhangings and borders at low prices'. Evidently these attempts to sell the business failed because in April 1831 Messrs Geo Robins sold the lease of the St Martin's Lane premises at auction and in June 1831 they announced the sale on the premises on 6 and 7 June of Middleton's stock following his retirement from business.

Robson's 1833 directory lists Jesse Middleton at 81 St Martin's Lane and 1a Charing Cross, the only directory to do so, but there is no other evidence that he was still in business. Caroline Wood, artists' colourman, was listed at 79 St Martin's Lane in 1832 and 1833; she may have worked for Middleton since W.D. Steevens (qv) subsequently described his own business as 'late C. Wood from Middletons'.

Jesse Middleton was listed in the 1861 census as a retired colourman, age 81, living in London with wife Elizabeth, age 73; he died the following year.

Portrait: A family group, John Middleton with his family in his Drawing Room, dating to the mid-1790s (Museum of London), was perhaps painted to mark the completion of Middleton's new premises.

Sources: Whitley 1928, vol.1, pp.333-4; Mireille Galinou and John Hayes, London in Paint: oil paintings in the collection at the Museum of London, 1996, pp.137-40 (where Middleton is said to have traded from 8 St Martin's Lane, presumably a misreading); Clarke 1981 p.14, referring to Paul Sandby, Memoirs, 1811.

Joseph Middleton, 140 High St, St John's Wood, London 1889-1891. Artists' materials dealer.

Middleton had an account with Roberson, 1887-9 (Woodcock 1997). His mark has been recorded on a canvas dating to after 1890. Mrs Mary Dennis MacEwen followed Joseph Middleton at 140 High St as artists' colourman in 1892, Thomas Henry Hunt in 1895, and the premises were then used by Reeves & Son as a retail outlet 1896-1900.

*Nicholas Middleton, Strand, London 1767-1774, 188 Strand 1774-1775, 181 Strand 1776-1785, 168 Strand 1782-1783, 162 Strand 1785-1824, 145 Strand 1803-1804. Stationer and pencil maker.

Nicholas Middleton (d.1824) traded in the Strand for more than half a century, claiming to have begun business in 1748 (Parker's General Advertiser and Morning Intelligencer 28 October 1782). He advertised in 1772 as the 'real and genuine Manufacturer, from Cumberland', and in 1778 that he had lately established a manufactory at Whitehaven, Cumberland (Daily Advertiser 1 October 1772, Gazeteer and New Daily Advertiser 16 February 1778). He claimed that the finest vein of lead ever remembered had been found in the black lead mines in Cumberland (Morning Post and Daily Advertiser 24 August 1779). Later, he advertised that his pencils were manufactured at 18 Queen's Row, Islington Road, near Pentonville Chapel (Morning Herald 23 August 1792).

The silhouettist, John Miers, had apartments on Middleton's premises at 162 Strand, 1788-91 (Sue McKechnie, British Silhouette Artists and their Work 1760-1860, 1978, referring to advertisements such as that which appeared in The World 13 August 1789).

Middleton also offered pocketbooks, writing desks, letter cases, account books, writing and drawing papers. As well as advertising heavily in the press, Middleton promoted his pencils through trade cards. Examples include an early one from 181 Strand, dating to 1785 or before (Heal coll. 92.24), a card from 162 Strand (Heal coll. 92.25, Banks coll. 92.8), and another advertising as pencil maker, supplying improved crayon pencils (Banks coll. 111.38, with added date 1806). Probably slightly later in date is the trade card advertising, 'Pocket Books/ & PENCIL MAKER./ Writing & Dressing Desks/ Ebony Inkstand/ all Kinds of Stationary &c' (Johnson Collection).

Middleton was pocket book and pencil maker to the Prince of Wales 1798-1811, and to the King 1802-11. He held an appointment to the Prince Regent on the evidence of a later trade card, presumably dating to c.1811-20: 'CRAYONS/ DE PLOMB NOIR/ PERFECTIONNÈS PAR/ N. MIDDLETON,/ ...', depicting an example of his pencils complete with his name and address (Banks coll. 89.20, repr. Ayres 1985 p.60). The will of Nicolas William Middleton, pencil maker of Strand, dated 20 September 1824, was proved in November 1824 (PCC wills). Following his death, his son, James Paradine Middleton (1801-78), advertised that he was continuing the business at 3 Pickett St, Strand (Morning Chronicle 31 March 1825).

Sources: Maxted 1977; Ian Maxted, The London book trades 1775-1800: a topographical guide at www.devon.gov.uk/etched?_IXP_=1&_IXR=121438.

*Thomas John Middleton, 38 Little Queen St, London WC 1875-1878, 235 High Holborn 1878-1882. Artists' colourman, also a magic lantern manufacturer from 1879.

Thomas John Middleton (1817-89) would appear to be the individual of this name, born 24 April 1817, the son of Thomas and Sarah Middleton, who married in 1840 (IGI). He died on 26 December 1889 (London Gazette 29 August 1890). From 1854 until 1884 or later he was a partner in Brodie and Middleton (qv) at 79 Long Acre. He was listed at this address both in the 1871 census, as age 53, with wife Ann, age 54, and son Charles, artist, age 20, and in the 1881 census, as Artists Colorman (Dye Paint), age 63, together with his wife. In later life he also traded independently for some years and had an account with Roberson, 1875-9, from 38 Little Queen St and 235 High Holborn (Woodcock 1997).

*Clifford Milburn & Co 1911-1960, Clifford Milburn Ltd 1960-1977. At 12-14 Red Lion Court, Fleet St, London EC4 1911-1925, 85 Fleet St 1926-1934, also 184A Oxford St 1928-1941, 54 Fleet St 1935-1976, 107/115 Long Acre 1977, other addresses including those below. Artists' colourmen.

The company specialised in materials for commercial artists, especially poster colours, describing itself on its notepaper in 1932 as 'Poster Artists Colour Makers'. It was not listed in the Post Office directory until 1911, despite later claims to have been in business from 1907. Its poster colour chart, dating to the 1930s, advertised the business as 'Specialists in Commercial Artists' Materials All accessories which are required by the Commercial Artist'. Their 1930 catalogue referred to 'inventing and introducing a finely ground, uniform body colour, some twenty-three years ago' (Price List of Artist' Materials (Commercial and General), Section A, 52pp), a claim which subsequently featured in periodical advertising: '1907 The first makers of Poster ColoursIn 1907 we started with a range of 40 Colours. In 1937 we offer a wonderful range of 64 Colours' (The Artist, vol.13, March 1937).

The 1930 catalogue also described the recent addition to their range of products made by Talens & Zoon of Holland, makers of 'Rembrandt' colours; these replaced the Winsor & Newton oil colours listed in the 1928 catalogue. These colours also featured in periodical advertising, for example in 1933: 'Rembrandt' oil and water colours (The Artist, vol.5, March 1933), and later in Milburn's 1939 catalogue where Talens's products featured, alongside other products including Winsor & Newton watercolours and E. Wolff's Royal Sovereign pencils (Catalogue of Materials for Artists, 90pp). In 1928 and 1932 the name of H.W. Herron appears following the company's name on Clifford Milburn & Co's invoices and notepaper, suggesting that by then he was the business's owner or managing partner; these invoices also record that the business owned works in Wimbledon (Hamilton Kerr Institute, Roberson Archive, miscellaneous bills and receipts file; National Portrait Gallery files).

By 1958 the business had been acquired by Reeves, which proceeded to use it as its retail arm, trading as Clifford Milburn Ltd until 1976, with outlets at 54 Fleet St, 13 Charing Cross Road (formerly Reeves), 178 Kensington High St (formerly James Newman Ltd; trading as Reeves in 1977), 11/12 Knightsbridge Green (formerly Mealands) and 311 Finchley Road (formerly C.H. West) (all these branches except that at Knightsbridge Green are listed on Reeves's notepaper, letter dated 10 August 1960, accompanying undated company history, National Portrait Gallery files; all are listed in The Artist, vol.80, November 1970, p.x).

*James Miller (active 1870, died 1879), 71 Sauchiehall St, Glasgow, 137 Sauchiehall St 1878. Carver and gilder, picture framemaker, picture restorer.

James Miller's canvas marks and labels are known from the 1870s. The business had an account with Roberson, 1870-81 (Woodcock 1997), trading as James Miller and Alexander Miller from 42, 68, 71 and 137 Sauchiehall St. The death of James Miller, carver and gilder, of 68 Sauchiehall Lane occurred in 1879 (Scottish Documents). Sequestration under the bankruptcy provisions took place against Alexander Miller, colourman, Sauchiehall St, in 1877 (Edinburgh Gazette 8 March 1877).

*Robert Miller (active 1878-1917), subsequently Miller's. At 186 Trongate, Glasgow by 1878-1970 or later. Artists' colourman, stationer and bookseller.

No connection has been demonstrated with the earlier Glasgow business of James Miller (qv). Robert Miller had an account with Roberson, 1887-1908 (Woodcock 1997). By 1917 Miller was also listed as a drawing material furnisher. Miller's printed canvas mark has been recorded, apparently post-1900, address illegible. An art supply business by the name, Miller's, was trading at 186 Trongate as late as 1970 (The Artist, vol.80, November 1970, p.xi).

*Thomas Miller, 9 Hanover St, Long Acre, London 1822-1829, brushmaker. Roberson & Miller, 51 Long Acre 1828-1839. Thomas Miller 1840-1854, Mrs Henrietta Miller 1854-1866, Miller, Fairchild & Co 1867-1869, Miller & Co 1870-1873. At 33 Rathbone Place 1840-1841, 56 Long Acre 1841-1873. Artists' colourmen.

Thomas Miller (c.1800-54) is said to have been Charles Roberson's assistant (Woodcock 1997 p.viii), but this would seem unlikely since the two men were almost exact contemporaries. The evidence is not conclusive but he may be the individual who married Henrietta Newman in 1820 at St Martin in the Fields (IGI), and who traded as a hair pencil maker at 9 Hanover St from 1822. Whatever the case, Thomas Miller went into partnership with Roberson in 1828, trading as Roberson & Miller. During this partnership, payments were listed to him from 15 April 1828 until 30 December 1839 (Woodcock 1997). The partnership was dissolved on 31 December 1839 (London Gazette 31 December 1839). Miller was made bankrupt in 1840 (London Gazette 5 May 1840) and a forced sale of his stock was held in July 1840 (The Times 2 July 1840). He was recorded at 56 Long Acre in the 1851 census, as Artists Colourman, age 51, born Andover, Hampshire, wife Henrietta, age 50, son Alfred, age 18, and six daughters. He died in 1854 (PCC wills), leaving his estate to his wife, who took over his business, continuing it until her own death at the age of 65 in June 1866 (BMD).

The business then became Miller, Fairchild & Co, with William Fairchild listed as a partner in 1868, and then Miller & Co. Fairchild was made bankrupt in 1869; he had previously been in business in France (London Gazette 19 March 1869). Whether the business continued after 1873 is uncertain. A further business by the name, Miller & Co, artists' colourmen and brushmakers, traded at 8 Duke St, Adelphi 1877 and as A. Miller & Co, removed to 134 Hampstead Road, NW 1878-80 (information from Cathy Proudlove). Alfred Miller, artists' colourman, can be found at 7 Hanover St, Long Acre in 1868, and was listed in the 1871 census as artists' colour maker, age 38, living at 19 Amberley Road, Paddington.

Miller's product range: In the early 1840s Thomas Miller advertised extensively in The Art-Union as follows: as a colour manufacturer with thirty years experience, of the late firm of Roberson & Miller, at his new address at 33 Rathbone Place (December 1840 p.199); his ancient Venetian Vehicle (May 1841 p.74, and subsequently); 'an entirely new mode of holding the Palette, introduced by Mr. Weld Taylor... the thumb-hole is dispensed with... It is a Chinese invention' (July 1841 p.128; letter March 1841 p.52); first advert from 56 Long Acre (August 1841 p.130); 'Van Eyck's Glass Medium' (September 1841 p.145, and subsequently; see also letters August 1841 pp.131-3, January 1842 p.12); this medium advertised at greater length, listing 13 prominent Royal Academicians and Associates as among his customers, also advertising new silica colours (November 1841 p.192, and subsequently); a full-page advertisement listing 16 Royal Academicians and Associates, including Eastlake, Etty, Maclise, Mulready and Turner, and a further 80 customers for this medium (January 1842 p.2, and subsequently). For this medium, see Carlyle 2001 pp.120-1, 136 n.36, where it is noted that Frank Stone used it in 'A bashful lover and a maiden coy', Walker Art Gallery, Liverpool. Miller advertised Edward Corbould's The Woman taken in Adultery, purchased by Prince Albert from the New Water Colour Society exhibition, as having been painted in Silica Colours (May 1842 p.114), as also F.R. Say's The Hindoo Gentleman, exhibited at the Royal Academy 1843 (July 1843 p.181). Subsequently at the 1851 Great Exhibition he exhibited two works painted in silica colours and glass medium, Corbould's watercolour, Britons deploring the Departure of the Romans, and Edward Armitage's oil painting, Allegory of Peace commemorating the year 1851.

Further full-page advertisements followed: in 1843 for Miller's Silica Colours, referring to an invidious report concerning articles of his manufacture circulated by a London artists' colourman in Boston, America; he also stated that he had all the remaining stock of Ultramarine manufactured by the celebrated Italian maker, the late G. Arzone (January 1843 p.4); in 1844 featuring testimonials from William Linton and Edward Corbould and detailed descriptions of media and colours (January 1844 p.2); and in 1845 listing his stock of colours (June 1845 p.199).

Miller's mark has been recorded on a work dated 1860. His printed label, reading 'MILLER,/ Artists' Colour Manufacturer,/ 56, Long Acre, London.' can be found on a stone panel, Charles Cowden-Clarke, by an unknown artist (National Portrait Gallery).

Sources: Leach 1973, Katlan 1992 p.461.

Mitchell, Hoxton, 1743. Maker of Prussian Blue.

John Smibert asked Arthur Pond (qv) to send him several pounds of Prussian Blue in 1743, 'that may be had cheapest of ye maker M Mitchell at Hoxton' (Lippincott 1983 p.92).

*J. & W. Mitchell 1855-1921, J. & W. Mitchell Co Ltd 1922-1963. At Bordesley Paper Works, 84-100 Coventry Road, Birmingham by 1858-1963, also 5 Bridewell Place, London EC 1906. Board and paper makers.

James Mitchell (1819-76) came to Birmingham to work with an uncle by marriage, Thomas Penn, a brass founder who diversified into decorated papers in the 1830s. By 1850 he was listed as a chemist and colour manufacturer in the premises next door to Thomas Penn, marbled papers, pasteboard and cards, at 343 Coventry Road, Birmingham. By 1855 he was in business with his brother, William Mitchell, as J. & W. Mitchell. The business was listed as manufacturers of coloured, marbled and foil papers, card, cardboard etc in 1858. It was carried on in the next generation by James's sons, John Mitchell (1850-1932) and William H. Mitchell (1853-1933). It advertised 'Boardsley Artists' Boards. Specially made for Black and White Wash Drawings' (The Year's Art 1906). An advertisement of 1915 shows the very wide range of papers and boards made by the business including Boardsley Artists' Boards and Excel Drawing Boards. The business went into liquidation in 1963.

Sources: Martin Mitchell Davis, 'Mitchells of Bordesley: A Century of Family Papermaking', Matrix: A Review for Printers & Bibliophiles, vol.26, Whittington Press, 2006, pp.98-106, to which this account is indebted.

*William Henry Monk, 127 and 201 King's Road, Chelsea, London SW 1890-1920. William Henry Monk (Edward Hawkins) from 1921, Monk's Stores 1928, 'Monk of Chelsea' 1956, 201 King's Road 1921-1956 or later. Oil and Italian warehouseman, artists' colourmen 1928, also selling radios 1956.

William Henry Monk (born c.1857) was an agent for Cambridge colours, 1897, made by Madderton & Co Ltd (qv); he advertised 'Colours and Materials for Artists, Decorators, &c' in their literature. He had an account with Roberson, 1905-8 (Woodcock 1997). He supplied sketchbooks to John Singer Sargent who used one of them to record workmen at Carrara in 1911 (Fogg Art Museum, Cambridge, MA, see Stewart 2000 pp.28, 31, and www.jssgallery.org/Paintings/Sketches/Trips/Carrara/SketchbookWorkmenatCarrara.html).

Monk's father, William Matthews Monk (1827/8-1899), was in business as early as 1868. He was recorded at 201 King's Road in the 1881 census as Oilman Master, age 53, employing three men and three boys, with wife Emily, age 57, son William Henry, age 24, listed as Oilmans Shopman, and three younger sisters (IGI, BMD). He continued in business until 1889 when he was succeeded by his son.

Frederick Moody, 16 Duke St, Holborn, London, then at 53 Cowper St, City Road 1836. Artists' materials manufacturer, map and print colourer, mounter and varnisher.

Frederick Moody's trade card, from 16 Duke St, as 'Manufacturer of Materials For Artists', advertised tracing paper, transfer paper, black lead paper, Italian and French chalk, stumping chalk, crayons, charcoal, etc (Johnson Collection). No connection has been established to Charles Moody, artists' colourman, who was listed at 257 High Holborn 1851-68, and who was recorded at this address in the 1851 census as a lithographic printer, age 45.

*Henry Robert Morland, Leicester Fields, London 1760, Frith St 1762, Near the Opera House in the Haymarket 1763, subsequently at Chapel St, Wardour St and other addresses, according to contemporary exhibition catalogues. Artist and crayon maker.

The artist, Henry Robert Morland (1719?-97), father of George Morland, exhibited pastel and oil character subjects and portraits. He was described as 'a maker of most excellent crayons, which went by his name' (John Thomas Smith, Nollekens and his Times, ed. Wilfred Whitten, 1920, vol.2, p.263). He was made bankrupt in 1762, as a painter and dealer in pictures (London Gazette 23 January 1762). He was listed in Thomas Mortimer's Universal Director, 1763, as a portrait painter.

*Henry Morrell, 149 Fleet St, London 1817-1884, subsequently at 86 Hatton Garden. Pencil maker, pen and quill merchant etc.

Henry Morrell (d.1854) was listed from 1817 as a pen and quill warehouse and from 1841 as a black lead pencil maker. As early as 1819 he was advertising his black lead pencils in the provincial press; in Bristol, for example, he listed a dozen stockists (Bristol Mercury 20 September 1819). He continued to advertise his pencils very widely. By 1830, he was describing himself as under the patronage of His Majesty's Stationery Office, the Board of Ordnance and the East India Company (Hampshire Telegraph and Sussex Chronicle 4 October 1830). Morrell advertised in the Art Journal through single-sided inserted sheets, for example in September 1850 and January 1851 (H. Morrell's Pencils, prepared from Cumberland Lead).

Henry Morrell was not living at his Fleet St premises at the time of either the 1841 or the 1851 censuses; however, in 1851 a 30-year-old clerk, G.F. Morrell, and other family members were recorded at this address. Henry Morrell had an account with Roberson, 1839-54 (Woodcock 1997). His will was proved on 10 January 1855 (PCC wills). The business continued under his name after his death but does not seem to have prospered. The death of Robert James Morrell at the age of 60 at 149 Fleet St was reported in 1878 (Illustrated Police News 17 August 1878).

*Thomas J. Morris 1823-1838, Mary Morris 1839, Morris & Gore (partner Thomas Gore) by 1841-1858 or later, Mrs Penelope Gore by 1860-1868. At 13 Ludgate Hill, Birmingham 1823, 28 Colmore Row by 1828-1868; also at 10 Hatton Garden, London 1828-1830. Artists' colourmen and brush manufacturers, later also booksellers and stationers.

This business may be related to that of John Morris, Thorp St, Birmingham, brush and superfine cake colour manufacturer, listed in 1818, or that of T.T. Morris, Lower Church St, manufacturers of superfine watercolours in cakes, and colours for painting on velvet, camel hair pencils, etc, 1821.

T.J. Morris was listed as manufacturer of camel hair pencils and colours in 1823, and in that year he presented a 'very superb box of Watercolours & Drawing Materials' to the Duke of Sussex,who appointed him as his manufacturer of superfine refined watercolours (Whitley papers vol.3, p.296). This royal appointment featured prominently on Morris's trade card, which advertised colours, pencils, drawings, ivory boards, Bristol boards, ivories for minatures, pen holders etc (Johnson Collection).

Thomas John Morris was listed in 1828 and 1835 at the Artists Repository, 28 Colmore Row; the business was also described as camel hair pencil makers (i.e. brushmakers) to Her Majesty and the Princess Victoria, an appointment which seems to have been maintained by the successor company, Morris & Gore, which was listed as manufacturers of superfine watercolours in cakes, and fine hair pencils, in ordinary to Her Majesty and the Queen Dowager. Morris had an account with Roberson, 1828-38, as did Morris and Gore 1851-6 and Mrs Gore 1860-6 (Woodcock 1997). In the 1851 census, Thomas Gore, was recorded at 28 Colmore Row as a printseller and stationer, age 52, with his wife Penelope, age 50. She retired from business when her premises were demolished in 1869 (Birmingham Daily Post 22 May 1869) and died at the age of 87 in 1888 (BMD).

Sources: Birmingham trade directories; information from Cathy Proudlove; British Book Trade Index at www.bbti.bham.ac.uk/ .

William Müller, 1847-1863, William Müller & Co 1864-1877, Müller & Co 1878-1915. At 62 High Holborn, London WC 1847-1909, 315 High Holborn 1910-1915, branches at other addresses by 1883, also in Birmingham and Brighton. Artists' colourmen, initially also oil and Italian warehouseman and later also picture framemakers.

William Müller (born c.1811) may have begun his career trading as an oil and colourman from 4 New Park St, Borough 1836. He was recorded in the 1861 census at 62 High Holborn as Artists' Colourman, age 50, born St Dunstan's, Middlesex, with wife, Susan, age 31 and one daughter. His business had an account with Roberson, 1872-3 (Woodcock 1997). Müller & Co's printed label advertised a royal warrant to H.M. Queen Alexandra and described the business as 'Artists' Materials. Manufacturers & Importers'.

Henry Mutton, 4 All Saints Passage, Cambridge by 1839-1869 or later. Artists' colourman, picture framemaker, printseller etc.

Henry Mutton (c.1813-73) traded as a picture framemaker and printseller and in related trades. Three trade cards are known. In what is probably the earliest, he advertised as carver, gilder and printseller, offering engraving and copperplate printing (Johnson Collection 24(72)); in another, he advertised as agent for T. Brown's patent collapsible metallic tubes (and so probably datable to 1841 or soon after), offering drawing materials at London prices (Christopher Lennox-Boyd coll.) Perhaps the latest in date is his unusual card in Jacobean or Fontainebleau style, advertising as 'Printseller/ Glass & Picture Frame Manufacturer' (Banks coll. 100.73). As well as acting as an agent for Thomas Brown (qv), Mutton had an account with Roberson, 1850-9 (Woodcock 1997).

Henry Mutton was listed as H. Mutton, All Saints Passage, in the 1839 and 1851 directories (Robson's 1839 Commercial Directory of the Norfolk circuit, Gardner's 1851 Directory of Cambridgeshire). He was listed in the 1841 census (www.cfhs.org.uk/1841Index/), in 1851 as a printseller, age 37, employing a carver and a joiner, in 1861 at 4 All Saints Passage as printseller, age 48, with wife Lydia, age 40, and a niece, and in 1871 in Jesus Lane in All Saints parish, as printseller and landowner, age 57. He died in 1873, age 60 (BMD).

Sources: Geoffrey Beard and Christopher Gilbert (eds), Dictionary of English Furniture Makers 1660-1840, Furniture History Society 1986, p.637.

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