A Spotlight on Ceramic Pans
Two Rowney artists’ water colours in ceramic pans, dating from the early 1960s
A key component of the artist’s paintbox, the ceramic pan has a long and celebrated history. The use of water colour (in tempera form) dates back to 3000 BC Egypt. Originally artists had to source and make their own paint. Loose pigment could be bought from apothecaries or artists' colourmen. Grinding and mixing colour was then done by the artist or paid assistants in their workshop. This created two issues; the pigment was neither uniform nor reliable and valuable hours were wasted turning pigment into paint: it wasn't until the Georgian period that a simpler solution was found.
In 1766 William and Thomas Reeves began a business producing colours for artists. One of their first innovations was the water colour cake. This was a huge advance for the profession. Water colours were now cheaper, more reliable and more convenient. During a promotional drive for their new product, the company sent several samples to professional artists. Hendrik de Mayer, a Dutch landscape artist commented on the easiness of use and practicality, particularly “on travels or voyages”. As a mark of their quality Reeves received a ‘Greater Silver Palette’ award from The Society of Arts in 1780.
Another benefit of the artists’ colourmen was their continuing experimentation with colour science and product development. Whilst paint cakes proved a boon to artists, the Industrial Revolution placed greater demands on the artist and draftsman. With the pressure to produce more work and with a part of the workforce moving to hotter climes (to exploit the empire), dry paint cakes were no longer sufficient. In response, moist water colours were developed.
An image taken from a Reeves & Sons catalogue in the 1910s.
Originating in France, Winsor & Newton were the first company to market moist water colours in England. The paints came in porcelain or gutta-percha pans. These were then fitted inside Japanned metal paint boxes, a more user-friendly set-up. The paints didn’t dry out or crack in warm weather. They were ready for use and activated by a wet paintbrush. After a painting session, everything could go into the paintbox and tucked into a pocket.
A image of one of the original ‘V spring’ boxes produced by Winsor & Newton
Yet, the functionality of the metal paint boxes was still limited, as the pans came cemented into the box. Soon Winsor & Newton announced their patented ‘V spring’. Ceramic pans could now be removed from their box. Half or full pans could be used, colours moved or swapped out. Options for customisation exploded. By 1853 Winsor & Newton were producing 72 moist water colours. By 1871 George Rowney & Co were producing 94 colours.
A ‘V spring” box dating from the 1930s, aslo by Winsor & Newton
Today it is harder to get hold of ceramic pans. By the 1970s ceramic was being swapped with plastic and it is the plastic pans that you can still buy today. The Arqivist often has a stock of antique and vintage ceramic pans. It is worth noting that they come in half and full pan sizes, each specification varying from manufacturer to manufacturer. Reeves are noted for their square rather than rectangular half pans. Most are marked with the maker's name on the base.
A rare set of “second quality” ceramic half pans, almost indistinguishable from “first quality” apart from the stamp on the base.
