Historical Painting Techniques, Materials, and Studio Practice
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ange of artists' materials, books on art, <strong>and</strong> plaster casts of antique statues.<br />
Although they sold some patented equipment (such as a sketching stool that<br />
converted to a walking stick <strong>and</strong> the "Eiffel," a stool made of steel), Roberson<br />
avoided the more innovative artists' equipment patented in the nineteenth<br />
century, such as easels that also served as bicycles or rowing machines (11).<br />
Most products were sold under the Roberson name, although a few materials<br />
such as paper were usually identified by the name of the manufacturer. It is<br />
therefore difficult to establish which materials were made by Roberson <strong>and</strong><br />
which brought in to be made up <strong>and</strong> labeled on the premises. It appears that<br />
the company prepared their own canvas throughout the company's history, a<br />
room used fo r this was still extant in the Parkway workshop until liquidation<br />
(12). They also mixed their own paints, buying pigments <strong>and</strong> other materials<br />
from wholesale suppliers, in common with most other artists' colormen, not<br />
manufacturing the raw pigments themselves. In general they only bought<br />
small quantities of prepared paints from other artists' colormen, sometimes as<br />
little as one tube or cake bought for a specific customer. However, the popularity<br />
of Roberson's Medium, used fo r oil painting, was such that both British<br />
<strong>and</strong> foreign colormen bought wholesale quantities of it from Roberson.<br />
After the First World War, when Roberson's business was beginning a gradual<br />
decline, trading practices began to change <strong>and</strong> by the period following the<br />
Second World War, a reciprocal arrangement with the London colorman<br />
Rowney was made to divide trade into two spheres, Roberson supplying<br />
Rowney with canvas <strong>and</strong> Rowney supplying Roberson with paints (13).<br />
The catalogues indicate the cost of artists' materials <strong>and</strong> demonstrate prices<br />
were stable for much of the nineteenth century. There is a clear differentiation<br />
between luxurious pigments such as ultramarine or carmine <strong>and</strong> other, cheaper<br />
colors; the catalogues show that an ounce (28.35 g) of genuine ultramarine<br />
was twenty-eight times as expensive as its artificial substitute between around<br />
1840 <strong>and</strong> 1911, with prices almost completely stable in that period. The<br />
catalogues also reflect the introduction of new pigments <strong>and</strong> demonstrate that<br />
there could be a considerable time lag between the discovery of a pigment<br />
<strong>and</strong> its commercial application. Roberson & Co. appears to have been comprised<br />
of rather reactionary colormen, who contributed little to technical<br />
innovation, emphasizing the h<strong>and</strong>-prepared nature of the company's products<br />
until long after many of the other colormen had introduced a degree of<br />
mechanization; their reaction to new developments, therefore, may not be<br />
characteristic of the market as a whole.<br />
Three different prices were given in the catalogues until 1920: wholesale,<br />
retail, <strong>and</strong> professional. After 1920, discounts offered by artists' colormen to<br />
professional artists were abolished after complaints of abuse (14).<br />
In addition to catalogues, the archive contains a number of sample books of<br />
canvas, paper, <strong>and</strong> paints, both from Roberson <strong>and</strong> other companies, that are<br />
of great use in providing identified, untreated material fo r analysis. Projects<br />
have been carried out to establish the composition of the ground on the<br />
canvas samples <strong>and</strong> the pigments in the paint samples.<br />
Price books. recipe books. <strong>and</strong> notebooks<br />
Price books indicate both the cost to Roberson of a range of materials <strong>and</strong><br />
the resale price. Many of the cost prices are in an alphabetical code, illustrating<br />
the importance of secrecy to the company; an alphabetical code is also used<br />
in the recipe books.<br />
The recipe books in the archive contain a number of formulae for paints,<br />
media, <strong>and</strong> grounds, as would be expected from an artists' colorman, but also<br />
have recipes for trifle, lemon pickle, wine, boot polish, <strong>and</strong> blacking fo r harnesses.<br />
This illustrates the early connections between colormen, grocers, <strong>and</strong><br />
apothecaries, professions which were separating into distinct trades in the<br />
nineteenth century (15).<br />
Woodcock 31