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

*Henry George Sanders 1862-1874, H.G. Sanders & Son 1875-1898, H.G. Sanders & Son Ltd 1899-1965. At 3 Crawley St, Oakley Square London NW 1863, 25 Little Albany St 1864-1874, also at 24 Little Albany St 1867-1874, Victoria Works, Victoria Gardens, Ladbroke Road, Notting Hill 1875-1898, Gordon Road, Southall 1899-1965. Engineers and machinists, artists' colour tube manufacturers.

The business was founded by Henry George Sanders (c.1825-1885) as engineers and machinists. In 1875, William George Sanders withdrew from his partnership with Henry George Sanders and Henry Conrad Sanders, trading as H.G. Sanders and Sons, engineers and collapsible tube manufacturers (London Gazette 10 August 1875), and in 1881 Henry Conrad Sanders withdrew from the related partnership, described as engineers and pianoforte action manufacturers at Wharf Road, Latimer Road, Notting Hill (London Gazette 20 September 1881).

It was not until 1879 that the business was listed specifically as making tubes for artists' colours; however, Sanders is recorded as supplying Reeves with such tubes as early as 1862 (Goodwin 1966 p.34), at a time when the successors to the original manufacturer of these tubes, John Rand (qv), appear to have been in decline. Sanders had an account with Roberson in 1875 (Woodcock 1997). Henry Geo. Sanders was recorded in the 1881 census at 44 Coningham Road, Shepherd's Bush, as a 56-year-old engineer, with wife age 40, two stepsons age 12 and 20, and five sons of his own, age from 11 months to 9 years (IGI); the names do not match those who took out patents (see below). He died in May 1885; his will was proved by Henry Conrad Sanders and others (London Gazette 7 August 1885).

It was Henry Conrad Sanders (1849-1914) who was principally responsible for continuing the business. His partnership with Walter Frederick Sanders (b.1856), trading as H.G. Sanders and Sons, in the business of collapsible tube manufacturers, was dissolved on 31 December 1891, leaving him to carry on the business (London Gazette 8 January 1892). He died on 5 January 1914, with Charles Honey Sanders (b.1872) as one of his executors (London Gazette 27 January 1914).

Patents relating to collapsible tubes for colours were taken out by H.C. Sanders in 1890 and 1894, by W.F. Sanders in 1908 and by H.G. Sanders & Son in 1912 (Patents for Inventions).

*Leonard Sanders, Artist's Depot, 14 Circus Road, St John's Wood, London, 1912-1915. Artists' colourman.

A short-lived business which followed on from Reeves' Artist Depots Ltd at this address. Marked canvases include C.R.W. Nevinson's The Strafing, 1916 (Ivor Braka Ltd, 1999), J.W. Waterhouse's The Enchanted Garden, exh.1917 (Lady Lever Art Gallery, Port Sunlight, see Morris 1994) and James Pryde's Queen Elizabeth's Oak, 1918 or later (Private collection, see Powell 2006 p.49); both Waterhouse and Pryde lived in St John's Wood, within easy reach of Sanders's shop.

*Charles Sandys by 1759-c.1772, Sandys & Middleton c.1772-c.1775. At Dirty Lane, Long Acre, London 1760-1763, 79 Long Acre 1773-1774, 81 St Martin's Lane ('next door to new Slaughter's Coffee House') 1778. Artists' colourmen.

Charles Sandys (d.1786) was one of the leading artists' colourmen of his day. His children were christened at the Scottish church on Swallow St, suggesting that either he or his wife, Sarah, were Scottish (Non-conformist BMD). He was mentioned as the source for 'perfect sets' of crayons in 1760 (Kosek 1998, quoting J.H. Muntz, Encaustic: or Count Caylus's Method of Painting in the manner of the Ancients, 1760), and was listed in Long Acre in Thomas Mortimer's Universal Director, 1763. John Middleton (qv) married Sandys's daughter Ann in April 1771 (IGI), and perhaps the following year was taken into partnership as Sandys and Middleton, the business trading under Middleton's own name from about 1775. In his will, dated August 1775, Charles Sandys did not make mention of the business and was described as Gentleman of Greenwich. His will was proved in June 1786 and contained bequests to his two daughters, Margaret Belgrave and Ann Middleton, and their husbands, Thomas Belgrave and John Middleton (PCC wills). In 1775, Thomas Jenkins, colourman, advertised that he was from Mr Sandys's, and had opened a shop at 5 Cross Lane, Long Acre, where he prepared 'all Sorts of primed Cloth, and Colours' (Lloyd's Evening Post 25 October 1775); his will was proved on 22 January 1788 (PCC wills).

Sandys received payments from Joseph Wright of Derby 1759-63 (Wright of Derby account book, National Portrait Gallery, see Rica Jones, 'Notes for Conservators on Wright of Derby's Technique and Studio Practice', The Conservator, no.15, 1991 p.19), Thomas Gainsborough 1763-72 (Sloman 2002 pp.70, 204-6) and Allan Ramsay 1765-75 (Ramsay bank account). In more detail: from Wright of Derby in March 1759 (£15.17s), March 1761 (£29.12s) and March 1763 (£20.14s); from Gainsborough on 21 January 1763 (£50), 24 September 1768 (£37) and as Sandys & Co on 27 August 1772 (£20); and from Ramsay on 7 February 1765 (£10), 27 June 1765 (£24), 21 July 1766 (£18), 23 July 1767 (£22), 1 February 1769 (£30), 23 January 1770 (£20), 19 March 1774 (£16) and as Sandys & Co on 17 May 1775 (£8.8s), with later payments to J. Middleton. James Northcote, while living with Joshua Reynolds, wrote in one of his letters of 'coming home from Sandys the colour man' (Whitley 1928, vol.1, p.332).

Charles Sandys is probably the man of this name who charged Sir John Griffin Griffin of Audley End, Essex for altering a half-length picture into a whole length in 1771 (DEFM, p.780). He supplied the amateur artist, Richard Beauvoir, 1760-3, and subsequently (Einberg 2001 p.187, describing the business as 'taken over by Middleton in 1775').

Sandys & Middleton's trade card, from 79 Long Acre, presumably dating to c.1772-5, advertised canvases, oils, varnishes, brushes, pallettes, easels, crayons etc: 'Make and Sell/ All sorts of Prim'd Cloths, Oils & Varnishes for Painters with/ Tools, Pencils, Pallets, Easles, Marble-Stones with Mullers, &c./ Also Make & Sell all Sorts of Crayons/ Likewise all sorts of Colours ground in Spirit, in Water, in/ Gum, & Bladder Colours ground in Oil, with every other/ Article us'd in the Art of Painting./ NB. Pictures lin'd in the Neatest Manner./ W.? Darling Fect. Newport St.' (Heal coll. 89.137, repr. Sloman 2002 p.198; example in Johnson Collection).

*G.H. Saunders, 37 Farringdon St, London EC 1878-1919, 36 Furnival St, Holborn EC4 1920-1923, 140 Gray's Inn Road 1924-1930, 69 Farringdon Road 1931-1934 or later. Foreign manufacturers agent.

George Henry Saunders was recorded at 62 Hungerford Road, Islington in the 1891 census as Foreign Manufacturers Agent, age 54, with wife and three young daughters and a son. He was listed as London agent for Bourgeois Ainé, Paris 1880-1932. He took out a patent for a particular type of colour box on behalf of J. Bourgeois in 1889 (Patents for Inventions). He also acted as agent for Pitet Ainé & Cie, Paris, from 1894 before until 1933 (entry for Pitet Ainé under artists' brushmakers, Post Office directories); Saunders' name can be found stamped in Pitet Ainé's English language trade catalogue, September 1909 (Pencils Brushes and Artists' Materials, 64pp).

*Charles Schofield, 123 Aldersgate St, London by 1779-1808 or later. Oil and colourman, house painter and gilder.

Charles Schofield, oil and colourman and painter, was in business at 123 Aldersgate St at the time he took out an insurance policy on 2 July 1779, covering his utensils and stock for £300 (Sun Insurance policy registers). He advertised extensively (Whitley 1928, vol.2, p.362). In 1783 he described his watercolours and in particular his stamped watercolour cakes, available in upwards of 40 different colours, marked "SCHOFIELD'S improved Colours", also offering fine crayons, Indian ink, camel hair pencils, and other requisite article for drawing and colouring' (The Gazetteer and New Daily Advertiser, 20 January 1783). He was sometimes listed as Charles Scholefield and was described as a painter and glazier in 1808.

Charles Schofield took apprentices Peter William Drury in 1775, James Pardon in 1777, Charles Gahagan in 1780, John Bullmer in 1784, Andrew Fish and George Smith in 1788 and his own son, Charles Schofield in 1790 (christened 1775) (Webb 2003 pp.10, 19, 22, 24, 48, 56, 59).

Alexander Scott, 78 Princes St, Edinburgh 1877-1911 or later. Artists' colourman and printseller.

The business had an account with Roberson, 1877-1908 (Woodcock 1997). A printed canvas mark has been recorded, 1882.

*John Scott 1782-1816, George Scott 1814-1831, John Harrison Scott 1831-1841. At 419 Strand, London 1782-1788, 417 Strand 1788-1839, 33 Craven St, Strand 1840-1841. Watercolour preparers.

John Scott (d.1838) sold materials for watercolours and drawings, advertising extensively, from 1782 onwards (Morning Herald and Daily Advertiser 29 June 1782). John Scott, water colourman, at 419 Strand, took out an insurance policy on 10 April 1787, covering his utensils and stock for £400 (Sun Insurance policy registers). He announced his move to 417 Strand the following year (General Evening Post 1 August 1788). The freehold of these premises was sold in 1803, subject to a lease until 1813 at £60 a year (The Times 29 January 1803).

Scott sold his products widely in Britain and overseas. In 1783 he advertised that his watercolours were on sale in Paris as well as at many book and print sellers around England, also noting that he had just imported a large quantity of very fine French drawing chalk, shortly thereafter advertising that he had 'fixed a correspondence abroad for a supply of most Foreign Articles used in Drawing; likewise Crayons in sets, ditto of Swiss Crayon Pencils, a curious article, being in wood after the manner of Black-lead, in sets of 50 and 70, of all different tints' (General Evening Post 23 December 1783, 6 January 1784).

In the St James's Chronicle 12 August 1788 Scott described himself as 'Superfine Water-Colour Cake Preparer to her Majesty and the Royal Family', selling 'British & Swiss Crayons, & the true Italian Crayon Pencils, in sets of every Colour, of which Scott is the only importer', his products being 'sold by the first Booksellers and Druggists in every provincial Town in the Kingdom' (Clarke 1981 p.14). One such bookseller was J. Todd of Stonegate, York, who advertised Scott's products in the York Courant 6 May 1783 (Clarke 1981 p.16). In most directories Scott was described as a watercolour preparer but he was also listed as 'new invented water colour cakes and crayon manufacturer' (Wakefield's directory, 1790). His colours were also advertised in the United States (Poulson's American Daily Advertiser, Philadelphia, 12 October 1804, see 'American Historical Newspapers 1690-1876', http:/infoweb.newsbank.com).

A lengthy advertisement in 1792 for his True Liquid Blue for Blueing Silk Stockings etc, names numerous retailers across the country and gives a good idea of his range of materials, including 'Scott's Superfine Prepared Water-Colours in Cakes, in neat Mahogany Boxes, fine Indian Ink, Swiss Pastells, Crayons, Camel's Hair and Black Lead Pencills, Italian Coloured Pencils, Drawing Paper, Chalks, &c; a fine new White that will stand, 1s. per ounce. Ivory Pallets, Pallet knives, and all necessaries for Drawing and Colouring' (The Star 16 May 1792). 'Scott in the Strand' is said to have supplied Gainsborough with a Cremona White, according to the recollections of the Rev. Kirby Trimmer (Walter Thornbury, The Life of J.M.W. Turner, R.A., 1862, vol.2, p.64; Sloman 2002 p.70).

About 1804 Scott began to build a theatre for his daughter, Jane Margaret, in Bailey's Alley behind 411 Strand, which opened in 1806 as the Sans Pareil. Under his daughter's management the theatre flourished sufficiently for him to buy the freehold in 1808 and to extend the theatre, which was said to hold over 1,800 persons. In 1819 Scott sold the theatre, which became the Adelphi. This account derives from the Survey of London, vol.36, Covent Garden, 1970, pp.239-52 (www.british-history.ac.uk/report.asp?compid=46127&strquery=colourman. Accessed: 7 April 2007). John Scott, formerly colourman of St Margaret's, Westminster, died in 1838 (PCC wills).

The business continued in the family over more than one generation. George Scott took over from his father at the close of the year 1813, according to his subsequent advertisement (The Times 31 August 1821), and was in turn followed in 1831 by his brother, John Scott, who announced his retirement in 1839, stating that Barclay & Son of Farringdon St had been appointed his wholesale agents (The Times 21 January 1831, 9 April 1839). In the early 1830s the business was listed as a liquid dye manufacturer and in 1836 as artists' colourman and dye manufacturer. The 1841 Post Office directory contained two listings at the same address: John Scott, colourman, and John Harrison Scott Esq. John Harrison Scott may be the individual of this name who was christened at St Martin-in-the-Fields in 1783, the son of John Scott and Elizabeth (IGI), and who died at 18 Camden Square, reportedly at the age of 68, in 1854 (Morning Chronicle 16 November 1854).

James Shade, see Smith, Warner & Co

**Alexander Shapcott, 54 Rathbone Place, London 1854-1863, 50 Rathbone Place 1863-1885, 53 Rathbone Place ('four doors from Oxford-street') 1871-1883. Manufacturing artists' stationer and bookbinder.

Alexander Shapcott (c.1826-1875) was born at Barnstaple in Devon and came to London with his family. He was initially recorded in directories at 2 Rathbone Place as Alexander Shapcott jun, with his father, Alexander Shapcott sen, bootmaker, who was listed in the 1851 census as employing six men, with his son, Alexander, age 22, given as a bookbinder. Shapcott was listed in 1865 as Alexander Shapcott jr, album, sketch-book and scrap-book manufacturer, artists' colourman. In the 1871 census he was recorded as a master bookbinder, age 44, born in Devon, employing four men and a boy, with two sisters, Mary and Elizabeth. That year, Shapcott was advertising chromolithographs from 'Alexander Shapcott's Fine Art Establishment' at 53 Rathbone Place (The Times 25 March 1871). He had an account with Roberson, 1872 (Woodcock 1997). He stocked a diverse range of goods. In 1875 he advertised Whatman's drawing papers, solid sketchbooks, scrapbooks and albums in all sizes, portfolios, self-supporting portfolios, oil and water colours, canvases, brushes, and every requisite for painting, as well as photographic views, 'Comprising a goodly number of Artistic bits' (The Artists' Directory 1875, p.14). He died in 1875, age 49 (Pall Mall Gazette 30 December 1875), only four years after his father, who had died at the age of 75 in 1871.

Shapcott's two sisters took over the business. In the 1881 census, Mary Ann Shapcott was listed as the head of the household, age 56, born in Barnstaple, trading as a printer seller and bookbinder employing nine men and three boys, together with her sister, Elizabeth, age 46. The business advertised a clearance sale from 53 Rathbone Place, due to the rebuilding of the premises, offering 'chromo-lithographs, prints &c., to be sold off at a great reduction. Many suitable for Christmas presents' (The Times 19 December 1883). By 1885, the business's last year, it was listed at 50 Rathbone Place as manufacturing artists' stationer, print seller, publisher & scrapbook manufacturer.

Patrick Shea, 21 Warren St, London 1871-1874, 127 Whitfield St, Tottenham Court Road 1875-1882, 21 Warren St 1883-1897, 56 Fitzroy St 1898-1925, Patrick Shea Ltd, 4 Fitzroy St 1926-1937. Artists' colourman.

Patrick Shea (1839-1911) began business at 21 Warren St, before moving to nearby Whitfield St. He returned to the Warren St premises a few years later, which in the meantime were occupied by a tailor, 1875-80. Shea was listed in the 1871 census at 21 Warren St as artists' colourman, age 40, born in Ireland, wife Catherine; there were several other households at this address. He was listed in the 1881 census at 127 Whitfield St as artists colourman, age 42 (note the discrepancy with the earlier census), with his wife and three sons, David, Michael and Patrick, aged 15, 13 and 9 (IGI). The middle son, Michael, had joined the business by the time of the 1891 census when he was listed at 20 Warren St. In 1901 he was recorded at 2a Frederick St, Islington, as artists' colourman, worker, with wife Alice and three young children.

In a letter dated 9 October 1896 on headed notepaper (information kindly supplied by Ian O'Shea, great-great-grandson), Patrick Shea signs himself O'Shea and describes himself as 'Maker of the NOTED FLAKE WHITE as recommended by the presidents and Members of the Royal Academy and Institute'. He writes that business is good: 'We have large orders from three firms, but unfortunately cannot get the stretchers very quickly. There is only Griffiths in the field and it is not always safe to depend on him when one is in a hurry'. Griffiths was presumably the stretcher frame maker, Robert Griffiths (qv).

Various canvas marks have been recorded, including a stencil mark at 127 Whitfield St (repr. Katlan 1992 p.471).

Sources: Katlan 1992 p.471.

*James Sheers, 27 Church St, Croydon by 1864-1884 or later, 55 Church St by 1887-1916 or later. Picture framemaker.

James Nathaniel Sheers (c.1830-69) was recorded in the 1861 census at 112 Market St, Croydon, as a hairdresser, age 30. He was listed in 1864 as a picture framemaker and tobacconist at 27 Church St, Croydon (Simpson's Croydon Directory and Court Guide 1864). Sheers was recorded as a picture framemaker in 1868 but died soon after. It was presumably his son who continued the business. He was listed as a picture framemaker at Church St, both in the 1871 census, as James R. Sheers, age 17, born Surrey, and in the 1881 census, now age 27, living with his widowed mother, Harriet Jane, age 49, and he was still listed at this address with his mother in the 1901 census. A printed canvas mark has been recorded on a painting of 1905.

*John Sherborn 1820-1847, Sherborn & Tillyer 1847-1862, James Tillyer 1861-1883, James Tillyer & Co 1884-1945, James Tillyer & Co Ltd 1946-1972. At 321 Oxford St, London 1820-1881, renumbered 1881, 430 Oxford St 1881-1901, 1 Woodstock St and sometimes also 6 Blenheim St, 1902-1972. Oil and colourmen, later artists' colourmen, from 1902 primarily paint and varnish manufacturers, listed again as artists' colourmen by 1916.

This old established business went through various transformations over almost two centuries. Several oil and colourmen businesses preceded John Sherborn at 321 Oxford St, including John Norgrove 1772-86, Norgrove & Langley 1789-1800, Norgrove & Co 1802, Norgrove & Butler 1808-9, Hope Butler & Morrison 1811-14, Hope and Butler 1815 and H.H. Hope (also recorded as Thomas Hope) 1816-19. In 1913, Frank Trotman, by then the owner of the business, traced its origins to the St Luke's Head, Oxford St in about 1780 (Whitley papers vol.3, p.301, letters to Whitley from Frank Trotman, 29 September 1913, and his son Howard, 22 September 1913; see also Whitley 1931). Trotman was in possession of a trade card of Messrs Matthew and Francis Sherborn, who are said to have practised as bankers and farmers as well as colourmen.

The Roberson archive contains a collection of engraved copperplates bearing the names of John Norgrove ('all sorts of Oils and Colours Wholesale and Retale'), Henry Hope ('Colours properly prepared, Varnishes &c', the plate made by Whittow & Harris), J. Sherborn & Co ('Wholesale and Retail Oil & Colourman Manufacturers of primed cloths Panels Mill Boards Colours and every requisites for Artists'), Sherborn & Tillyer (very similar to the preceding, the plate made by R. Pontifex & Son), J. Tillyer & Co ('Artists' Colourmen & Brush Manufacturers'), J. Tillyer & Co Ltd ('Manufacturers of Sable Brushes Panels Mill Boards Colors and every requisites for Artists') (HKI M.220, 206, 208, 221, 210-1994, together with other copperplates; information from Roberson archive handlist, kindly supplied by Sally Woodcock).

Sherborn was first listed in 1820. John Sherborn (1795-1859) is probably the man of this name with an account with Roberson, 1828-31 (Woodcock 1997). Bill heads describe John Sherborn as oilmen and colourmen, 26 July 1831, and John Sherborn & Co as varnish and colour manufacturers, manufacturers of primed cloth, panels and mill boards, 4 October 1842 (Johnson coll. 1(44, 45).

John Sherborn supplied a very few canvases for use by J.M.W. Turner, and also supplied some of his watercolour cakes and pigments (Whitley 1931, Townsend 1993 p.20, Townsend 1994 p.146). An example of a marked canvas supplied by John Sherborn is Stephen Pearce's The Arctic Council, 1851 (National Portrait Gallery).

James Tillyer (1816-83) was probably already working in the business in 1841 when at the age of 25 he was recorded in Oxford St in the census of that year (see below). With his entry into partnership in 1847, the business became Sherborn & Tillyer, although Trotman dated the partnership to as early as 1835. A matching pair of trade signs, one for Sherborn, Colourman, the other for Tillyer, Colourman, are in the Museum of London (repr. Ayres 1985 p.131, Wedd 2001 p.72). Examples of marked supports supplied by Sherborn & Tillyer are Henry Bright's Orford Castle, 1856, A Shipwreck in a Storm, 1856 and Seascape, c.1860 (all Norwich Castle Museum, see Bright 1973 pp.7-8; additional information from Cathy Proudlove).

Following John Sherborn's death in 1859, his widow, Sarah (d.1872), carried on business with James Tillyer until she withdrew from the partnership in 1860 (London Gazette 18 January 1861). The business subsequently traded as James Tillyer. It had an account with Roberson, 1853-1901, as Sherborn & Tillyer, and then as James Tillyer (Woodcock 1997); it supplied poppy oil to Roberson in the second half of the 19th century (Carlyle 2001 p.345). It claimed to have been established over 100 years, advertising as 'acknowledged to be the best makers of Sable Hair, Camel Hair, and Hog Hair Brushes. Manufacturers of Colours, Varnishes, and all kinds of Artists' Materials' (The Year's Art 1888, and subsequently).

James Tillyer was listed in the 1841 census in Oxford St as colourman, age 25, in 1851 in Oxford St as master oil and colourman, employing six men and one boy, and in 1861 living at Craven Villa, Uxbridge Road, Ealing, as colourman, age 45, with wife Elizabeth Honor, age 41, and daughter Mary, age 7, and in the 1881 census at 8 Craven Villas, as oil and colourman (IGI). He died age 67 in 1883 (BMD).

By 1910 James Tillyer & Co was owned by Frank Trotman (Berger 1910 p.75), who had entered the business in 1873, according to a short account of the firm written by him in 1913. In this he refers to Brodie & Middleton (qv) as another business in his ownership (Whitley papers vol.3, p.301, see above). James Tillyer & Co Ltd was still trading as late as 1972.

Sources: Charles Davies Sherborn, A history of the family of Sherborn, 1901, p.135, and typescript supplement, 1918 (copy in British Library); Katlan 1992 p.471.

*John Skidmore by 1789-1799, John Skidmore & Son 1799-1809, and subsequently. At 123 Holborn, London 1789-1820 or later. Stove grate-maker and colourman, later iromongers.

John Skidmore opened his warehouse as a stove grate-maker at 123 Holborn in November 1789 according to advertisements (The Times 19 November 1789); he was already trading from 15 Coppice Row, Clerkenwell. Although he advertised extensively (Whitley 1928, vol.2, p.362), it was not until the late 1790s, when Skidmore took his son into partnership, that the business began to feature artists' colours, as for example, 'Superfine Water Colours. John Skidmore & Son, Stove Grate Ware Rooms, beg leave to inform Surveyors, Artists and every person dealing in or using Colours, &c. for Drawing, that they have obtained the art of making superfine Colours, Liquids, &c. of the very best quality' (Morning Chronicle 6 June 1799). The business was under the direction of William Cowland and John Jackson as Trustees from November 1799, until John and Meremoth Skidmore regained control in 1802 (London Gazette 3 April 1802).

In 1809 John Skidmore withdrew from his partnership with his sons, Meremoth (c.1772-1838) and Gamaliel Skidmore (born c.1779), and in 1815 the remaining partnership was dissolved (London Gazette 6 February 1810, 25 July 1815). The business continued as an ironmonger at 123 High Holborn until at least 1820, with insurance being taken out with the Sun Fire office in 1813 as Meremoth Skidmore and Co, and in 1817, 1818 and 1820 as Gamaliel Skidmore (Guildhall Library: Sun Insurance registers, vol.461 no.889232, vol.472 nos.929468, 944602, vol.480 no.966449).

Smaley, London 1681. Brushmaker.

Smaley supplied brushes to Charles Beale (qv), 1681 (Talley 1981 p.291).

*Smith & McFarlane by 1839-1841 or later, J. Smith & Co 1843, John Douglas Smith 1844- 1879, J.S. Smith 1880-1887? At 7 Elm Row, Edinburgh 1839, 13 Shakespeare Square 1840-1841, 33 West Register St 1840-1866, 21 South Frederick St 1867-1880 or later, 26 Castle St. Carvers and gilders, picture restorers.

It seems that John Douglas Smith (c.1795-1879) was in partnership as Smith & McFarlane as early as 1839, trading independently from 1844. John D. Smith was listed in the 1861 census at 11 Leith Street Terrace as a carver and gilder, age 66, employing three men and five boys. The death of John Douglas Smith, carver and gilder of 21 Frederick St, was recorded in 1879 (Scottish Documents). He was followed by J.S. Smith, presumably his son.

The business had an account with Roberson, 1857-87, from the above addresses in Edinburgh and from 22 Baileys New St, Waterford (Woodcock 1997). In 1887 the business was taken over by Aitken Dott (qv). Keeley Halswelle's Fish Auction at Newhaven, 1867, has the canvas stamp, 'JOHN D. SMITH/ Carver and Gilder/ Edinburgh' (Sudley, see Morris 1996).

*Smith, Warner & Co, 211 Piccadilly, London by 1800-1820, 208 Piccadilly 1821-1825, also 13 Sweeting's Alley, Cornhill 1800. Charles Smith 1826-1845, John Smith & Co 1846-1851, 34 Marylebone St, Regent's Quadrant 1826-1851. Artists' colourmen.

Smith, Warner & Co, a leading supplier, was established in Piccadilly by 1800 when the business advertised a method for fixing soft crayon and chalk drawings, also advertising their water and oil colours (Morning Herald 25 July 1800). It was formed by a partnership between Peter Warner (d.1824) and the experimental chemist, Charles Smith (d.1845). In 1808 the company was listed as 'Sole Manufacturers of the New Invented Extra Fine Permanent Water & Oil Colours in Cakes, Impalpable Powders, &c', a description which was repeated in the following two years in Post Office directories. From 1809 to 1811 it was also listed as 'Glass & Staffordshire Warehouse' (Kent's directory). From 1816 to 1822 the business operated its own paper mill at Iping in Sussex. In 1819 Charles Smith submitted a patent application for 'pencils, like lead pencils, but with oil or watercolour in wood, when used to be dipped from time to time in water'.

Smith, Warner & Co was one of three businesses singled out in 1811 by the drawing master and Royal Academy exhibitor, John Cart Burgess, as having brought watercolours to the greatest perfection, the other two being James Newman and Reeves & Woodyer (John Cart Burgess, A Practical Essay on the Art of Flower Painting, 1811, p.32). 'Mr Smith is well known among the artists', Burgess went on, 'as being a most ingenious man, and as the author of many new and valuable discoveries and improvements in colors, &c'. Burgess singled out certain colours made by Smith & Co as peculiarly excelling those of other manufacturers: Madder Liquid, finest Ultramarine and the cheapest sort of Ultramarine, Italian Smalt and Permanent neutral tint.

Smith, Warner & Co can be identified with the 'Smith and Co' which supplied 36 pigment samples to George Field, more than provided by any other artists' colourman (Harley 1979 pp.79-81; Callen 2000 p.146, reproducing a page of Lake specimens). The company's materials were sold outside London, c.1811-12, by Allen Everitt (qv) in Birmingham, William Allen (qv) in Dublin and Daniel McIntosh (qv) in Edinburgh (Catalogue of Smith, Warner, & Co.'s New-Invented Extra Superfine Permanent Water and Oil Colours, n.d., 12pp). Their colours were also advertised in Edinburgh by Mr Moncrieff in 1806 and Robert Hamilton in 1824 (Caledonian Mercury 15 February 1806, The Scotsman 29 December 1824). The business had an account with Roberson, 1820-1, and as Charles Smith & Co, 1850 (Woodcock 1997).

Following Peter Warner's death in 1824, Charles Smith announced that he would be carrying on the business (London Gazette 16 October 1824; the notice is in his name and that of Warner's only daughter and sole executrix, Mrs Abigail Russell). Smith advertised that he was carrying on business, thanking his customers for their patronage over the last 40 years (The Times 7 December 1824). The business relocated to Marylebone St, now known as Glasshouse St, in 1826, trading as Charles Smith, although sometimes also still using the Smith and Warner name, as is evident from trade directories and advertising. Presumably about this time Smith was instrumental in the publication of two street views by Augustus Pugin (British Museum, Crace X.146, 148), one showing Smith's new premises (Heal coll. 89.143), the other the approach to his premises, inscribed 'C.SMITH'S (late SMITH & WARNERS) New Superfine Colour Manufactory,/ Removed from 208, Piccadilly, to No. 34 Marylebone Street, Regent Circus, Piccadilly,/ at the back of and next to the County Fire Office' (Heal coll. 89.142). In 1842 Smith was still using both his own name and that of Smith & Warner in advertisements from Marylebone St (The Art-Union July 1842 p.150, September 1842 p.197).

Charles Smith was dead by 4 February 1845 when his very lengthy will, with numerous codicils, was proved (PCC wills). In this he called himself a superfine colourman and in a codicil dated December 1840 referred to his nephew John Smith as 'working with me and for me for many years'. Subsequently, the business was carried on as John Smith & Co for a few years. In 1850 the partnership between William Smith, James Shade, Robert Edward Forster and John Smith at 34 Marylebone St, trading as artists' colourmen, was dissolved so far as regards William Smith and James Shade (London Gazette 20 September 1850); the business was named as Foster & Smith in 1851 in a press report of a fire on the premises (Lloyd's Weekly Newspaper 23 February 1851).

Smith, Warner's links with artists: Benjamin Robert Haydon complained in his diary in March 1822, 'I was arrested by Smith, the colourman of Piccadilly, with whom I had dealt for 15 years' (W.B. Pope (ed.), The Diary of Benjamin Robert Haydon, Harvard, 1960, vol.2, p.364, information from Cathy Proudlove). Writing in 1827, Samuel Palmer throws interesting light on the discount given by colourmen to artists: 'When I go to Smith and Warner's, I first ask the price [of Bristol board] and then tell them I am an artist, by which I am sure of a right deduction' (Lister 1974 p.13); evidently Palmer continued to use the business since in 1838 his wife, Hannah, can be found arranging to obtain colours there (Lister 1974 p.160). Also in 1827, Thomas Uwins requested cakes of permanent white from Smith and Warner to be sent out to him at Naples (Uwins 1858 p.391). Other artists using this business included Peter de Wint, whose watercolour sheets can be found with the Smith Warner stamp, such as A Ruined House (Fitzwilliam Museum, blind stamp repr. Krill 2002 pp.218-9) and Cornfield, c.1820-5 (Courtauld Institute of Art, London, see Michael Broughton et al., The Spooner Collection of British Watercolours, 2005, exh.cat., no.67). Smith Warner sold Cartridge paper to Susanna Whatman, 1813 (Krill 2002 p.198).

Many artists are listed in the company's trade catalogue of c.1811-12, as approving and patronising their colours, including William Beechey, the late Sir Francis Bourgeois, Richard Cosway, Joseph Farington, Benjamin Robert Haydon, Thomas Lawrence, James Ward and David Wilkie among thirty oil painters, and George Barret, J.S. Cotman, Peter de Wint, Paul Sandby, W. Turner and J. Varley, among some forty-five watercolourists. The introduction to the catalogue refers to their oil and watercolours, stating that Mr J. Laporte and others have praised their body colours, and that Sir W. B. [William Beechey] gives their oil colours the highest praise; it also notes that 'the above Smith, Experimental Colourman to Artists, is not, and never was, any way connected with Smith, late of Norwich'. The catalogue featured, with prices, extra fine permanent watercolour cakes, loose and in boxes, coloured pencils in sets, black lead pencils, camel hair, Chinese hair and sable hair and other brushes, as well as varnishes, Mr J. Varley's tints of watercolours, numerous colours, drawing boards, easels etc, canvases, prepared panels, improved Drawing Cartridge and smooth drawing papers, coloured chalk papers, hot-pressed drawing papers, Bristol Boards, millboards etc (Catalogue of Smith, Warner, & Co.'s New-Invented Extra Superfine Permanent Water and Oil Colours, n.d., 12pp). Among the colours listed, those associated with personal names include Burrell's green, Byrne's brown, Holme's brown, King's yellow, S.W. and Co's bistre, Wilson's brown and Wilson's green.

No marked Smith Warner canvases have been recorded, only labels from boards and boxes. A trade label, presumably dating c.1800-20, with a vignette of Fame handing a box of S.W. & Co colours to Britannia with figures of the Continents, set between two palettes, was used to advertise an extensive list of products, commencing 'SMITH,/ WARNER & Co/ 211/ Piccadilly/ LONDON./ Sole manufacturers of the New/ invented and only extra fine perman/ent Colours for Oil or/ Water painting.// IMPORTANT DISCOVERIES./ NEW INVENTED COLOURS/ & a liquid for using them in the manner of Oil' (used in colour boxes, example exhibited with the Spooner Collection, see Peter de Wint above).

Sources: Krill 2002 pp.198, 218; Peter Bower, 'Peter DeWint and Thomas Creswick's Paper', in John Lord (ed.), Peter DeWint 1784-1849: 'For the common observer of life and nature', Aldershot, 2007 (for the paper mill at Iping, also reproducing a Smith Warner blind stamp).

*John Bryce Smith 1883-1921, J. Bryce Smith Ltd 1922-1965. At 117 Hampstead Road, London NW ('near Euston Station') 1883-1965. Wholesale painting brush manufacturer, later artists' colourman.

The son of John and Ann Smith, John Bryce Smith (1850-1931) was born 24 March 1850 and christened at the Old Church, St Pancras (IGI). His father was listed at 117 Hampstead Road as a brush manufacturer by 1867 and also as an artists' colourman by 1881; these premises had previously been occupied by another brushmaker. It was subsequently claimed that the business had been established in 1848 (J. Bryce Smith Ltd, Catalogue of Artists' Materials, early 1950s).

John Bryce Smith succeeded to his father's business which he developed from brush making, trading as John B. Smith, to artists' colourman, trading as J. Bryce Smith. This additional listing in trade directories as artists' colourman commenced in 1905, but he had already advertised as such in 1903 as John B. Smith, 'Artists' and Painters' Brush Maker and Artists' Colourman', selling Cambridge colours, made by Madderton & Co Ltd (qv) (Madderton's Notes for Artists, no.26, June 1903). He also acted as London agent for the 'Titian' Medium Manufacturing Co (qv) in 1902. He had an account with Roberson, 1882-1908 (Woodcock 1997). He was listed at 117 Hampstead Road in the 1901 census as a brushmaker, age 51, living with his two sisters, ages 53 and 42, one of whom was also a brushmaker.

The change in trading name to J. Bryce Smith Ltd in 1921 or 1922, when John Bryce Smith would have been more than 70, suggests a change in ownership. At his death in 1931, John Bryce Smith's estate came to the considerable gross value of £47,569 (The Times 6 August 1931). From about 1949, the business was owned by W. Frank Gadsby, whose photograph appears in a Bryce Smith advertisement in 1951 (The Artist, vol.41, April 1951, p.x). W. Frank Gadsby Ltd, a chain of provincial art and gift shops, founded in Leicester in 1900, with outlets in Leeds, Lincoln, St Leonards-on-Sea, Sheffield, Streatham, Walsall and York, advertised as agent for J. Bryce Smith Ltd in 1952 (The Art Bulletin, Fine Art Trade Guild, no.43, winter 1952-53). Further details of the history of W. Frank Gadsby Ltd can be found in a recent sale catalogue (English & Continental Carved and Composition Frames and Artists' Materials, Bonhams, Lots Road, Chelsea, 20 March 1997).

The business advertised as being near Euston Station (and therefore convenient both for the Slade School and for the artist's quarter around Fitzroy Square). It described itself as makers of every requisite for sketching, including 'Smith's Mahogany Sketching Boxes' (The Artist, June 1934), later featuring Blockx's celebrated oil and water colours (Art Review 1935). The business published trade catalogues in May 1932 (Price List of Artists' Materials and Craftsmen's Brushes, Hamilton Kerr Institute) and May 1938 (Price List of Artists' Materials and Craftsmen's Brushes, 110pp, Snowshill, National Trust).

Materials supplied by Smith were used for Joseph Mordecai's Sir Arthur Pinero, exh.1891 (marked canvas), Prince Pierre Troubetskoy's William Gladstone, 1893 (impressed board) and Charles Buchel's Sir John Martin-Harvey, 1918 (drawing with trade label), all National Portrait Gallery. Other examples include Maud Neale's Lady Lever, 1914 (Lady Lever Art Gallery, see Morris 1994), Sylvia Gosse's The Lustre, c.1914-6 (Sotheby's London 14 March 2006 lot 13) and C.R.W. Nevinson's New York, Night, 1919-20 (Edgar Astaire collection).

Later customers included Stanley Spencer, who ordered his canvas and paints from Bryce Smith (letter from artist, February 1950, on Tate files, see Hackney 1999 p.136), Edward Bawden, who obtained watercolour paints (Robert E. Wynne-Jones, A Historical Investigation into the Watercolour Paper and Pigments used by Official and Unofficial British War Artists during the Second World War, IIC conference poster, 2002) and Henry Moore who claimed to have bought most of his materials from this 'shop in Camden Town' (Henry Moore: A Shelter Sketchbook with a commentary by Frances Carey, 1988, p.10).

*Lawrence Smith (active 1749, died 1785), Princes St, Leicester Fields, London 1749-1763, Mr Smith, Gerrard St by 1781-1783 or later. Brushmaker and colourman.

Lawrence Smith was listed at Princes St as a pencil maker in 1749 in the Westminster Poll Book and as 'Brush, or Pencil-maker, for the Painters' in 1763 in Mortimer's Universal Director. He was imprisoned for debt in 1761, when he was described as 'Hair Pencil-maker', formerly of Princes St, Leicester Fields, late of Pages Walk, Bermondsey (London Gazette 29 August 1761).

'Mr Smith', pencil maker of Gerrard St, stocked Reeves's colours in June 1781 (Morning Herald and Daily Advertiser 1 June 1781), and is recorded at no.18 in November that year and again in Gerrard St in 1783. Lawrence Smith, pencil maker, late of Princes St, died in 1785, bequeathing his estate to his widowed daughter, Elizabeth Newman (PCC wills; will dated 28 July and proved 17 September 1785). This daughter had married James Newman at St James's, Westminster in 1752. Their own daughter, Frances, was christened at this church in 1754 (IGI) and appears to be the Fras. Newman, Gerard St, who was among the witnesses to the will of Lawrence Smith, her grandfather. The colourman, also named James Newman, was presumably their son; he was at 17 Gerrard St in 1785 and later described himself as successor to the late Mr Lawrence Smith.

*W.A. Smith 1871-1888, Smith & Uppard 1889-1898. At 14 Charles St, Middlesex Hospital, London W 1871-1880, renamed and numbered 1880, 22 Mortimer St 1880-1890, 20 Mortimer St 1884-1888, 77 Mortimer St 1889-1898, W.A. Smith also at 4 Victoria St, Nottingham by 1881, and School of Art, Waverley St, Nottingham 1885. Carvers and gilders, picture framemakers, printsellers and publishers, fine art packers.

For details of this picture frame making business, see British picture framemakers | S. A London canvas mark has been recorded on a painting of 1882. Another painting, Arthur Hawksley's Landscape, 1882, is stamped on the canvas, 'W.A. SMITH 4 VICTORIA STREET NOTTINGHAM' (Walker Art Gallery, see Morris 1996).

Matthew Snelling (1621-1678). Miniature painter.

Matthew Snelling supplied parcels of Pink to Mary Beale in 1654 and 1658 (Vertue vol.4, p.168).

*Charles David Soar 1883-1906, C.D. Soar & Son 1907-1997. At 1 Sussex Villas, Kensington, London W 1883-1905, renamed 1905, 1 Launceston Place W8 1905-1918, 3 and/or 4 Launceston Place 1920-1997. Carver and gilder, artists' colourman.

For further details of Charles David Soar (1853-1939), see British picture framemakers | S. An agent for Cambridge colours, 1897, made by Madderton & Co Ltd (qv), Soar advertised in Madderton's literature as a picture framemaker and artists' colourman. He also stocked other makes as he advertised on his printed label, from 1 Sussex Villas (and so presumably before 1906), describing himself as 'PRACTICAL CARVER & GILDER,/ ARTISTS' COLOURMAN./ ROBERSON'S, WINSOR & NEWTON'S and ROWNEY'S/ COLOURS IN STOCK.'

James D. Spence, 7 Lower Sackville St, Dublin 1880-1897 or later, 38 Westmorland St by 1899-1905 or later. Printseller and stationer, artists' colourman, picture framemaker.

James D. Spence had accounts with Roberson, 1880-1906 (Woodcock 1997). A marked canvas has been recorded, 1895. He was preceded at 7 Lower Sackville St by Stark Brothers, printsellers, picture framemakers, artists' colourmen and photographers, a business with an account with Roberson, 1850-80 (Woodcock 1997).

Alexander Spicker, 6 Whitfield St, London W 1881-1884. Artists' colourman.

Spicker followed John Reeves (qv) at 6 Whitfield St. He was listed at this address in the 1881 census as artists' colourman, age 28, born Germany, with wife Annie (IGI). A canvas mark has been recorded, c.1880-5.

George Squire, 314 Oxford St, London 1876-1881, renumbered 1881, 293 Oxford St 1881-1898, moving nearby to 3 Holles St, Cavendish Square 1899-1919. Artists' colourman and portfolio album sketch-block manufacturer.

George Squire's trade card described the business as Late Bowden & Co (qv), whose premises he took over. He was listed at 314 Oxford St in the 1881 census as artists colourman, age 42, wife Emma, son John age 2, employing two men and two boys, and in 1891 living in Kensington. The business had an account with Roberson, 1875-1908 (Woodcock 1997). His trade card, dating to 1899 or later, would imply that he held an appointment to the Princess of Wales. He was followed as artists' colourman at 3 Holles St by Charles Bradley in 1920.

*Francis Stacy, The St Luke, the corner of Long Acre, next to Drury Lane, London 1769-1772, 39 Drury Lane 1773, Long Acre 1774-1785, 76 Long Acre 1777. Oilman and artists' colourman.

Francis Stacy may be the 'Francis Stacey', son of Francis Stacey, tidewaiter of Bermondsey, who was apprenticed to William Crutchfield of the Painters' Company in 1756 (Webb 2003 p.61). As of the Painters' Company, Francis Stacey, or Stacy, took as his own apprentices William Gurney in 1773, Thomas Wheatley in 1780 and William Symondson in 1789 (Webb 2003 pp.28, 63, 69).

Stacy was both an oilman, as a trade list advertising numerous general oil and colourman products testifies (Heal coll. 89.145), and an artists' colourman, producing a trade card with a vignette of St Luke, advertising that he 'Prepares & Sells/ all sorts of Primd Cloths, Bladder Colours, Tools, Pencils, Pallets,/ Pallet Knives, Mullers & Marble Stones for Indian Ink,/ Liquid Colours, all sorts of Colours prepared in Spirit and Water for/ MINIATURE and PAINTING ON SILKS./ Crayons, Drawing Papers, Italian Black White & Red Chalks,/ Fine Poppy and Nut OIL./ N.B. PICTURES carefully LINED.' (Heal coll. 89.144, see Ayres 1985 p.82).

The artist, Thomas Parkinson, gave Francis Stacy's address, at the corner of Long Acre, in the Society of Artists exhibition catalogue in 1772. Stacy was listed as a colourman in Long Acre in 1774 (Westminster poll book, p.31). To recover debts, he took legal action against Mary Raymond, widow of the Canterbury portrait painter, John Raymond, in 1786 (London Gazette 19 December 1786).

Stark Brothers, see James D. Spence

William Daniel Steevens, 79 St Martin's Lane, London 1835-1840. Artists' colourman.

Steevens appears to have worked for Middleton, probably Jesse Middleton (qv) and then to have taken over the business of Caroline Wood, artists' colourman, who was listed at 79 St Martin's Lane in 1832 and 1833. Steevens's trade card, as late C. Wood from Middletons, advertised water and oil colours, prepared canvases and painting and drawing materials (example in Johnson Collection). The premises were subsequently occupied by Edward Willement, artists' colourman. Steevens himself traded as a coach builder at another address from 1843.

H.L. Sterkel, 102 Fenchurch St, London EC 1894-1914. Manufacturer and wholesale dealer in artists' brushes.

This German firm from Ravensburg, Württemberg, established in 1823, produced its own catalogue in English (H.L. Sterkel, Brush Manufacturer, c.1900-10, 197pp), advertising artists' and other brushes. Their London agent was initially Percy Engel and subsequently Herbert Potter; the company was not listed after the outbreak of World War One.

*William Strachan & Co, Seacombe, Cheshire 1810-1811, 55 Duke St, Liverpool 1814, Spital Fields, Liverpool 1817. Chemist and colourman.

William Strachan registered a patent from Pool Cottage, Cheshire, application date 9 September 1811, for a method of preparing cobalt ore for trade, manufacture and painting (The Repertory of arts, manufactures and agriculture, no.120, May 1812, pp.328-30, viewed through Google advanced book search). The previous year he had exhibited at the Liverpool Academy (Edward Morris and Emma Roberts, The Liverpool Academy and Other Exhibitions of Contemporary Art in Liverpool, 1774-1867, Liverpool, 1998, p.580).

William Strachan had more success as a chemist than as a businessman. William Strachan & Co advertised that their warehouse would be opening at 53 Rathbone Place, Oxford St, London on 20 March 1812, 'after many years' persevering researches into the nature of Colours' (Liverpool Mercury 6 March 1812), but it is not clear whether or for how long the business traded at this address. The advertisement offered prepared superfine permanent oil and water colours in bladders and cakes, together with every other article relating to the Arts. What we do know is that the partnership between William Strachan, of Seacomb, Cheshire, near Liverpool, Edward Goodwin of 53 Rathbone Place, London, and John M'Culloch of Liverpool, colourmen, was dissolved in 1813 (London Gazette 27 February 1813).

The following year, in 1814, in a lengthy advertisement tracing the history of painting, William Strachan advertised that his colours were sold by Mr Clay as sole London agent, also stating that he, William Strachan, had a constant supply of superb Ultramarine, Intense Blue and Indian Red (Liverpool Mercury 19 August 1814). William Roscoe of Liverpool had already written to Henry Fuseli on 24 May 1814, recommending his friend, William Strachan's colours, as available from Thomas Clay, 18 Ludgate Hill, his agent in London (Fawcett 1974 p.54). Strachan's colours feature on Clay's trade sheet, which advertised 'Superfine Colours in every State & in Boxes of all sizes' (example with the Banks coll. 100.40). Strachan's 'brilliant & permanent artists' colours' were advertised with a long descriptive text in spring 1814 (Whitley papers, quoting Bell's Weekly Messenger; see also Gage 2001 p.8).

It was announced in 1817 that the 'Smalt and Colour Manufactory, carried on in Spital Fields, Liverpool, under the firm of William Strachan and Co' had been discontinued (Liverpool Mercury 12 December 1817). The partnership between William Strachan, Samuel Holland and Thomas Ackers, trading as William Strachan & Co was dissolved in December 1817 (London Gazette 3 January 1818). William Strachan, described as a smalt manufacturer, was declared bankrupt in 1818 (London Gazette 3 February 1818). He is possibly to be identified with William Strachan, manufacturing chemist, who was in Liverpool at 16 Russell St in 1822, and at 18 Gloucester Place in 1825, according to trade directories. Further partnerships at Liverpool, trading as Holland, Ackers & Co, Thomas Ackers & Co, and William Strachan & Co, were also dissolved in 1818, according to an advertisement signed by Samuel Holland and Thomas Ackers (London Gazette 14 November 1818).

Styring, see Eliza Burnard

John Symons & Co, see William Benham

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