Having covered paints I now come to brushes and paper, brushes being the first topic.
From left to right: Robert Wade Signature Neef, Rosemary 401, Luxartis Kolinsky, Escoda Kolinsky, Da Vinci Casaneo, Cosmotop 5530 Mix-B, SAA Kolinsky
Of the above brushes Nos 1,2, 5 and 6 are not pure sable being various mixtures of either synthetic or natural hairs and synthetic. The others are Labelled Kolinsky sables but here - while I am not suggesting that these brushes are not - I would refer you to the article/post I did on this subject. See the Index in June 2014. It should be said before I go on that many famous artists use all sorts of brushes, often cheaper ones or good quality synthetics. The hand that wields the brush....
Sable brushes labelled 'Kolinsky' or even 'Red Sable' are incredibly expensive once you get past size 4. It used to be after size 8 but prices now reach the stratosphere from 8 onwards. Even size 6 is expensive. However my suggestion, and it is only that, if you must have sables for detail buy either a 4,6 (or smaller) or both.
There are some excellent synthetic hair brushes on the market and the latest ones claim to emulate sable. This has been going on for years and John Yardley wrote that he'd been supplied synthetic brushes claiming to be similar to sable on numerous occasions and he considered the claims - after trying them - unfounded. However things move on. The best artist in my AVA group has always used Pro Arte Prolene brushes - usually seconds - but has now switched to Rosemary Series 401, a red sable blend, and is delighted with them, They give her the stiffness she likes but also hold more water than pure synthetic. The big thing about these blends is they are cheap the Rosemary 401 Size 8 is only £7.30p. How long they retain there points I don't yet know but then many highly rated sables aren't perfect in this respect.
What is available? Quite a lot actually so it is a question of trying some and deciding if they suit your purposes. My first picks are the Rosemary 400 series, with a large range of sizes and types. For overseas readers she exports World Wide and has an excellent catalogue - see my recent feature . The 400 series are red sable and synthetic blended together. Next - equally so - is the well-regarded Da Vinci Cosmotop Mix B which is a mixture of red sable, Russian blue squirrel and Russian Fitch (black sable) with small amounts of synthetic. Artists like Viktoria Prischedko and Piet Lap use these brushes, available in a range of types and sizes. Sable/synthetic mixes are also offered by Pro Arte, Winsor & Newton, Daler Rowney, Jacksons, the SAA and others. There is plenty of choice. Both Princeton and Escoda are promoting their latest brushes as 'Kolinsky Synthetics', claiming they emulate sable. They may well do but the proof of the pudding is in the eating. Da Vinci have introduced a new range called 'Casaneo' in a variety of types and sizes claiming - once again - they emulate sable. We are spoiled for choice bewildering isn't it? The thing is though that all the above come in at prices that are a fraction of sable prices, although there are cheap sable brushes on the market, perhaps best avoided.
As well as the brushes in the above photograph I have several other Kolinsky sables from makers like Da Vinci, many bought a while back at less than the current eye watering figures. My current main brushes are Isabey Kolinskys 6228 so I don't need to buy any more as they should last unless I live to well over 100! Perhaps a slight exaggeration! That assumes I'd still be painting then. If I were to buy more it would be Rosemary 401 or Cosmotop 5530 .
I have much less to say about papers. There are lots available ranging from hand made and machine made cotton mixes to the cheaper papers, usually of synthetic mixes or 'high grade' wood pulp (Bockingford). Some mix the two half and half, There are a few other types but the above is the mainstream.
Bockingford has long been the choice of many amateurs in the UK while both Hahnemuhle ( Britannia and Cornwall) and Fabriano do cheaper papers that are decent. Another possibility is the Indian Khadi range of cotton papers at very reasonable prices in a large range of sizes and weights. Worth a try. Not everyone likes them as they could be described as 'slightly rough' , but I do. I'm sure there are others I don't know or have experience with.
Personally my favourite paper is Saunders Waterford High White in 16" x 12" blocks. Current price is £32 which is stiffish. You can get this paper in sheets which works out cheaper but my problem is a full sheet cuts into four 15" x 11" and I prefer the 16" x 12". I'm trying the Stonehenge Aqua cold press paper at the moment and it seems to me similar to the Waterford but works out slightly more expensive as the block has only 15 sheets. Fabriano Artistico Extra White is good but here I have size problems as they do an 18" x 12" block. In respect of the blocks the Waterford is very well made and holds together right until the final sheet whereas both the Fabriano and Stonehenge soon start falling apart. As far as paper is concerned some famous artists say that the one thing you shouldn't economise on is paper. I leave you with that thought.
Added: Zvonimir has pointed out that Arches and Khadi are hard papers that wear out sable brushes. I'm sure he is right and further states that's it's more sensible to use synthetics on hard papers. sables are better on softer papers with not or smooth surfaces. He also says that it is better to use quality papers at lower weights ie 90lb than heavier synthetic papers. I've done this and it works unless you use heavy washes in which case you get severe buckling. You can stretch of course although I've done it successfully and it is a bit of a chore. I stopped when Robert Wade said he couldn't be bothered to stretch as he hadn't time!
