Watercolour Brushes Pt 3 - Mops

Following up the previous brush posts, one on synthetics the other sables, comes the third instalment -  Mops. Although I have a number they are not my brush of choice. I've used them only sparingly so once again I have enlisted my good friend John Softly to do the honours. 

MOPS by John Softly

If you know your history you will be aware that Edward Wesson was the first artist to use - and popularise - a French Polishers mop for watercolour. I have no information as to when it was that Ted first started using the French Polishers mop but he purchased them initially from France. In an article in the May 1980 edition of Leisure Painter he wrote "Personally I have always used squirrel haired "polishers mops", and in the smaller sizes, a selection of Daylons (nylon) and oxhair". We can therefore  assume that he was using them prior to his stint in the army in WW2. According to Herrings of Dorchester, artists themselves, they first began getting requests for these brushes from Wesson some time after the Wars end and, after great difficulty,  found them in France. Later they got to know him personally as he held many workshops in Dorset, not far from the Herrings shop in Dorchester PW. 

French Polishers Mops  (Isabey)

I  purchased four French Polishers mops in 1973, for French Polishing, from an artists supply retailer but none came to a point and were, what we call today a wash brush. As far as I can recall none came to a point. Those Ted bought did come to a point and they were his main brush throughout his career.

Today there is more written, and questions asked on forums, about mops than any other brush type. Traditionally made of squirrel hair with a quill ferule, bound with wire, but nowadays more are metal ferruled and synthetic versions are coming onto the market as popularity grows.

Not only are there mops in rounds but we have the Petit Gris, cats tongue, or filberts which, thanks to artists like Gerald Green and John Hoar, are increasing in popularity. Flat squirrel hair, one stroke brushes, are also available but it is debatable whether these come under the `mop' banner.

Possibly the major drawback with mops is sizing as there is no standard between manufacturers (this also applies to rounds in both synthetic and sable. PW. John says in response to this as follows: "Your comment is certainly correct but in round sables and synthetics, a Number 10 say can differ in size by a few mm in hair length and diameter but usually smaller to make it an 9 or 8. With mops sizing means little. Alvaro's go from 00 to 10. Harmony from 1 to 10, Jacksons from 6 to 22, Isabey from 3/0 to 10, W & N from 000 to 12 and Da Vinci from 0 to 6. Unless you know exactly what you are getting it's best to ask the retailer actual size or buy from Jacksons - they list ferrule sizes in their catalogue!"). The rounds are the problem as Petit Gris and flats are usually sized in fractions so when you order - for example - a three quarter inch brush you know exactly what you will get. If you order a No 8 round mop you will have no idea what the size will actually be. Some online retailers list hair lengths and diameters, where the ferrule meets the hair, which takes the gamble out of purchases.

Alvaro Castagnet

Prices vary across the range  with the Isabey - made of Kazan squirrel hair supposedly the best - and the Neef Alvaro Castagnet series at the upper price level with others somewhat cheaper. As usual one gets what one pays for and the hair on some of the cheaper brushes would appear to have started life on the tail of a feline (see what is said on this issue of `authentic' hair in the article on sables. Why should mops be any different? PW). One of the better budget sets is the Harmony brand from  Jerrys Artarama, a large American online retailer. You don't expect Kazan squirrel hair from Siberia at this price but I found them to be good, a no frills mop, albeit the hair a little coarser than most.

Harmony

Cats Tongue

It is purely conjecture on my part but I believe the Isabey genuine mops as used by Wesson were, and are, considered the Rolls Royce of mops. While I am not swayed by artists endorsements, Escoda have most high profile artists tied up anyway, I have bought mops with an artists name on the handle. The full set of Neef brushes marketed under Alvaro Castagnets name, and the single, metal ferruled, Escoda mop that Steve Hall sells. The Neefs have a longer handle and hair than most and I purchased them because other Neefs in my collection have performed faultlessly for 20 years.

Neef also do a synthetic mop which has had good reviews but I went with the Neptune brand. They only offer 3 quill mops, 4, 6 and 8, but their synthetic hair is very close to squirrel and by far the most popular synthetic quill mop brush on the market. I've not come across either the Harmony or Neptune brands on sale in the UK. PW

I bought the Steve Hall brush on impulse when buying his book, and whilst I find it a nice, long-haired, brush, softer than most, it is inclined to be uncontrollable when fully loaded. Rosemary & Co make some generic brushes for the British online retailer Jacksons, but I am unaware if mops are amongst them. Jacksons mops however are an excellent product and like all Jacksons own label brushes, built to a quality. rather than price, which is why I suspect Rosemary & Co are involved.

Jacksons Mops

Steve Hall, Princeton Neptune's and Rekab No8.

Rosemary makes  a series 1 Kolinsky quill brush and Jacksons a  series 777 synthetic quill, see the article on synthetic brushes. Although Rosemary calls her Kolinsky quill a mop there is nothing mopish about her high end series 1. They may bear a resemblance to a mop but are round Kolinsky sables and priced and perform accordingly (here I disagree slightly from what John writes based on my own experience with one of these mops, although mine was bought under the old ABS label. PW).

Traditionally polishers mops have quill ferules tied on with wire, the quill coming from the feathers of ducks, geese or swans, depending on the size of the brush. These days manufacturers use firm plastic sheeting in lieu of natural feather quills, but even if plastic it's still called a quill.

There was a time when all round brushes had quill ferrules rather than metal. Sizes took the name from the bird which the feather came from - the smallest a lark, which was the equivalent to a number 2 or 3 modern brush through thrush, crow, duck, goose ans swan - the Americans even had eagle in the mix! The hair was glued into the small end of the quill and the handle, referred to as the "stick", in the larger end but no glue - just a friction fit.

Due to the amount of water mops hold it is important they are dried with the hair pointing down in order that moisture doesn't creep into the ferrule, expanding the wood thus causing hair to be shed. Perhaps I would have more hair than I have today had I been suspended upside down after every shower.

Almost every high profile artist has at least one mop in their arsenal and I'm sure Ted Wesson would be surprised to see just how his mop, which was considered something of an oddity in the 1950s and 60s, has become a standard watercolour brush.

I am aware I have too many mops but, there again, like Peter, when It comes to art materials I have too much of everything, but if I hadn't got them I couldn't review them.

Peter Wards Mops

The top three brushes are Isabey, the large 4th one is a Rosemary squirrel (ABS), the 5th the Da Vinci Artissimo 44 size 2, while the last one is the Kolinsky sable mop series 1 ABS (Now Rosemary) size 4. The Da Vinci 44 size 2 approximates to a size 14 round, although a different shape so you can judge roughly what the other brushes equate to.. Look at the splayed out Kolinsky series 1! Even when loaded with water it doesn't point terribly well and is only useful as a wash brush (in my experience) PW.

My experience with mops is very limited. Currently the only one I use is the Da Vinci Artissimo 44 size 2. Initially I liked this brush very much but have gone off it a little, mainly because the hair became detached from the ferrule, although it was easy to put back in. I am afraid I am not a fan of the Rosemary series 1. Actually it was purchased under the old ABS label but I believe the brushes are the same.

That's it then folks. Thanks John for taking the trouble to produce this and give us the benefit of your experience. 

The Puerto Rican Tody - Todus Mexicanum !

I've not kept up with the weekly subject on the `Paint Colorful Birds' Facebook page but completed this one yesterday. What a mouthful of a name.

The Puerto Rican Tody 16" x 12" not

This is painted on the back of a failed or discarded painting. I think it the Great Art Centenaire paper but not certain. 

I made an initial drawing using a Pentel mechanical pencil 07 2B. This was done the day previously and painted yesterday. It is quite an easy subject compared to some other birds but interesting in the contrast of green and orange. I recently sorted my paints out and found I had at least ten different tubes of greens (!). When I looked at the bird I thought I would have trouble as I didn't have an emerald green but found a forgotten tube of Maimeri Cobalt Green Light (PG50). Although fairly old the paint was fine and I used it with touches of Hansa Yellow Medium (Daniel Smith PY97). The lower rear area has some Indian Yellow (Rowney PY153). The orange-red is Schminke Translucent Orange (PO71), and the breast some Ultramarine Violet (Rowney PV15) together with touches of Cerulean greyed with Burnt Sienna. The eye is Maimeri Ivory Black. The white areas were brightened with Acrylic white. The branch has Raw Sienna, Indian Yellow, Cerulean and Quinacridone Rust (Graham PO48) and Raw Umber.

I used the Isabey Kolinsky sables series 6228 in mainly size 8 and the size 4 retractable. I like Isabey very much and while I think Escoda make excellent brushes the current spate of `big' name artists telling us Escoda are the `best in the world'  increases my cynicism about listening to such marketing hype.

This and That

I went to the AVA session last week but forgot my camera! I actually set out the previous evening to sort myself out and get better organized. I thought I had but when I got there realised I'd left my camera. The pleasures of advancing age!

The subject was Figures or Portraits but this was affected by the proposed model being unable to attend. Basically we then did our own interpretation of the subject. This was the one item (apart from the camera) that I hadn't finalised and I was at a loss  what to do. First of all I raked out an old Amerindian study but in the end attempted a photograph of eldest grandson Harvey taken about a year ago. Quite often at home, with no time or any other pressures, I'll carefully measure and calculate the distances between eyes, nose, mouth etc - if the old masters could use all sorts of mechanical aids why not - and produce a  careful drawing. In this instance I did it the hard way and drew the outline of the head, then put in the features using rough measurements. It worked out roughly right although I didn't quite catch his expression and made him look about fifteen when he is not quite ten.

Harvey 16" x 12" Fabriano Artistico Extra White 140lb (300gsm) not

Not great is it - actually rather poor, eyes too big, face wrong shape etc etc - although the hair isn't bad. Still another step on my return to painting. 

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I did a post recently on the demise of PY153 the pigment mostly used in the popular Indian Yellow and Gamboge paints. This was a bit of a blow as the replacements are mixed pigment paints or not identical in colour. However one of the art shops in Bath, F J, Harris in Green Street, has been selling Rowney watercolours at very keen prices for  months. They didn't have the complete range but Indian Yellow was included. When the news broke I  visited the shop, as we live quite close to Bath, but they were out of stock of that colour. On a subsequent visit the same thing occurred so I thought that was it. Last week I called in again and lo and behold the Rowney had been re-stocked and I bought the  two 15ml tubes they had. It says `PY153' on the tubes so I assume this is correct, although some companies have been known to change the pigment without correcting the labels. Price was £5.63p which is almost  £1 cheaper than mail order from Jacksons. This should last a year or more. I wonder how Rowney are fixed with pigment supplies? Added 17/12/13: I called on F.J Harris in Bath at the weekend to buy some art materials for my granddaughter Evie. Checking the Daler Rowney watercolours I spied more Indian Yellow PY153 so purchased another tube ( 15ml at £5.63p). I now have three so that should last a while.

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The Spanish company Escoda make a very good range of brushes including Kolinsky sables. From what I have heard they are very nice people to deal with. They are also very good at marketing and have been getting an increasing number of artists to promote their products. The Dutch artist Gerard Hendriks was recently sent an assortment - I gather gratis - and has been testing them. I must admit to being very cynical about the huge, ever growing range, of art products, paints, papers, brushes, you name it, with artists names attached. 

In the case of Escoda, specifically their top of the range Kolinsky series 1212, and retractable series 1214, they have at least two sets, one with Charles Reid's name,  and most recently John Yardley. Up until 2012 Charles Reid always recommended Da Vinci Maestro and indeed this was so on the 2013 workshops, although Escoda retractables were also mentioned and on some demos he used them. He also had a series 1212 Size 14 Escoda, possibly others, and  I subsequently bought one after examining it.  

 On one of his Catalonia workshops Charles was given the royal treatment with a visit to the Escoda factory.  We now have a three brush set of Charles Reid Reserva Series 1214 travel brushes in sizes 6, 8 and 10. Jacksons price is £57.80p but the standard Escoda series 1214 in the same sizes work out at £54.80p.

 I mentioned John Yardley. Escoda have also introduced a John Yardley set of three Reserva 1212 Series, sizes 6/10/12. The price is £49.90p while the same sizes in series 1212 in the basic Escoda name are £60.70! This is really weird, an apparent premium with Charles Reid's name on the brush and a discount if it is John Yardley. I have just checked these prices (Jacksons)  again to make sure I have it right but it is certainly correct as of today. Bromleys appear to be similar although they are only selling some of these special sets and not the standard series. As for John Yardley now recommending Escoda he previously swore by Winsor & Newton Series 7 and used a Size 10, costing over £100, exclusively. In his book about him Ron Ranson commented on the number of series 7 brushes lying about John Yardleys painting room that had been discarded because they had `lost their point'. There is one odd thing. Bromley refer to the Kolinsky sable travel brushes as the `Optimo' range and the 6.8 and 10 come to £45.49p. Is this a different cheaper alternative to the Reserva series? Somewhat bewildering and reinforces the belief that you should take nothing for granted and very carefully check things out before parting with your hard earned money.

If you read the blurb, and the website comments, that refer to these brushes then claims are made that I find difficult to believe. They involve what sizes these artists are said to use and claims that they think they are the `best in the World or best they have ever used'. Well they may be and Escoda do make excellent brushes as I have several, both 1212 and 1214's.  On sizing though they are up to two sizes smaller than Da Vinci and also Raphael, possibly one in some others.  The prices are still very good even taking that into account. Best in the World? I think Rosemary, Da Vinci, Raphael, Isabey and others might dispute that. My current mix of brushes are Isabey and Da Vinci  plus Escoda and Rosemary Travel brushes. I like them all. 

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One final item. While playing with my new ipad I came across a website called `urim.co'- apparently American. It claimed to `assess' blogs and the following figures were quoted for mine.

World Ranking- 14,335,201 USA 1,970,225

Number of visitors per month: 386

Daily Figure: 0 -17

Average Number of page Reads; 1

If these figures are correct I don't know why I bother. It would be like shouting to oneself in a sound proofed room. According to Blogger stats, this month will hit around 14,000 page reads, which is the highest ever. What should I read into this and which set are correct?

Just a Sketch

At a recent AVA meeting the subject was Xmas cards - possibly my least favourite topic. I must admit I stretched the subject as wide as possible by presenting my effort as representing a design for a card (!) It is a small sketch and I repeated the recent Robin painting, although slightly differently as the colours used were not identical, principally as I forgot to bring the Translucent Orange from Schminke, rapidly becoming a favourite colour. This was done on a small Fontenay block that I discovered amongst my paper stocks.

12" X 9" Fontenay

I first made a drawing of the robin and then painted it using Cadmium Orange and Cadmium Red Pale plus some Quinacridone Gold for the red breast. The blue is Cerulean and the other colours Raw Sienna and Raw Umber. The eyes and bill include Ivory Black.

When  all was dry I added impressions of holly leaves drawing with the brush. I mixed up the colours using Sap Green, Green Gold and Hookers for the greens, adding Cobalt Teal Blue and  Perylene Maroon, letting them mix on the paper.

Brushes were the Isabey and Escoda retractables, mostly in the 4 to 6 range of sizes. Just a sketch, nothing more which took about forty minutes excluding breaks.

 .

Elephants

As I've mentioned previously one of many artists I've become interested in is the Chinese artist Lian Qhan Zhen. Amongst his subject matter are animals and birds. I've just bought a DVD of his and also looked at some of the trailers on Youtube.  There are at least three on which he features. Last Thursday at my AVA group the subject was `animals or birds' so it gave me an opportunity to try a few things. I decided on a group of elephants. www.lianspainting.com/

My initial setup. The top left photograph is one of Lian's, which is illustrated on his website. 

Elephants - Lian Quan Zhen. (Fantastic - look at the colours!)

The initial drawing

So far so good (?)!

`Big Ears'- Fontenay 16" x 12" 140lb (300gm) Not

Not up to his standard or even approaching it but who is? I think there are things to be taken from his methods it's just a question of being able  - not easy - to do so. As you can see I went for colour using many that I've mentioned previously, Quin Gold, Cobalt Teal Blue, Quin Rust, Cerulean, Cobalt Violet etc. Lian  generally uses three or four! How about that.

Here are a few of the paintings from my fellow artists. I did not take so many on this occasion due to lack of time..

   Cath Wilkins - Watercolour Pencil

Jan Weeks

Helen Newman (actually pastel)

I've mentioned the DVD. I'll review it together with his Youtube videos in the near future.

As is usual at my AVA sessions I used a mixture of Escoda, Isabey and Rosemary retractables.  Escoda sizes 8, 10 and 12  Series 6212 Kolinsky, Isabey 4 & 6 Series 6201 and a Rosemary rigger. The Escoda and Isabey came from Jacksons and the Rosemary direct.

Bath College Portrait Course - 10th and Last Session Tuesday 20 March 2012

The last session of this demanding and enjoyable course took place last Tuesday. It was planned that the model from the previous week would again be the subject but illness intervened. As a result Jackie arranged for another lady to sit. Although some of the other students planned to continue the drawing or painting they had started the previous week,  I had intended to do a new study in watercolour so was not inconvenienced.  

I have to again confess I don't know this ladies name - sackcloth and ashes - but she was an interesting subject  and this is the angle I chose to paint. This is a closeup and I was further away than this indicates.

Initial drawing - quite light.

Schut Noblesse 15.75" x 19.75" (40 x 50cm) Not

During the drawing and later painting part Jackie appeared at regular intervals pointing out errors, often wrong shapes and angles, and suggesting  how they might be improved. When I finished the painting she was fairly positive. It isn't great but a step in the right direction.

Skin colours were my normal Cadmium Red/Cadmium Yellow mix with Cerulean to cool and darken. I added Quinacridone Rust (Graham PO48) for the shadows. The scarf was a mixture of Hookers Green (Graham) and Raw Umber (mainly) and the Reds Permanent Carmine (W & N PR N/A) with some Quinacridone Rose (Graham PV19).  Highlights or shadows in the hair were Cerulean, Raw Sienna and Quinacridone Magenta (Rowney), heavily diluted. I have been looking at various other artists who paint creative portraits such as Fealing Lin, Bev Jozwiak and Win Min and intend to widen the range of colours I use. Be cruder (Charles Reid) and try and go for it!

This course encouraged a looser more dynamic approach. That's my aim in any event. I may crash and burn with many failures  but no risk no gain. I look at the painting above and think maybe I should have been more adventurous. Having just viewed Charles Reid's terrific new Portrait video `Figurative Watercolours' (review very soon)  the adrenalin is beginning to flow anew! .

Brushes were my Escoda and Isabey  retractables sizes, 6, 8 and 10.

A view of the studio and fellow students. Neville on the left was the only other man and on average we had 8 people at each session.

I have now completed the course, something  never previously attempted. I had considered taking the 5 week follow up  but feel I need a break to contemplate the lessons learned and (hopefully) add something from them to my armoury. I may take another in the Autumn. 

Bath Portrait Course Week 4 - 31 January 2012

This was my 4th week and the subject (as it will be next week) once again Sarah. We were allowed to draw or paint her using any medium. I chose watercolour and I'm sorry to say made a hash of it. We repeat this next week so I am thinking hard how to avoid a simlar result.

Sarah

Sarah - Fabriano Artistico Extra White Not 20" x 14"

Not very good is it. I have definitely overworked and am thoroughly dissatisfied with the above. In mitigation the photograph of Sarah shows her in close up whereas I was about 10 ft away and unable to get closer as I would have blocked out some of the others. She is much lighter in the photograph as I remember, both in features and hair. Still that's enough of the excuses. I used my normal colours of Cadmium Red Light and Yellow Light, darkened with Cerulean, for the features and added further dark washes, after the initial one dried, for the shadows. I overdid it and finished up with the face looking `dirty'. Sackcloth and Ashes this week. The hair was primarily Raw Umber, Burnt Umber and Gold Ochre in various combinations.

Brushes used were my Isabey and Escoda retractables, sizes 6, 8 and 10.  I may have another try before next tuesday using the photograph as a reference. I was in two minds about posting this but warts and all....!

Just to finish.

Yours truly with  tutor Jackie (I'm the one on the left). This is at the end of the session so I'm still smiling despite a near disaster. Actually it was a disaster, not a near one because I'm aiming much higher than that these days. Jackie's website is www.jackieharding.com

Bath Portrait Course - Week Two - Tuesday 17January

I attended my second session this week and this is a short description. The model, who I discovered is called Sarah, was the same one and once again displayed extreme professionalism. 

Sarah

On this occasion we were allowed to draw or paint, whichever we decided, and in whatever media. I chose watercolour and this is the result.

Sarah 16" x 12" Centenaire 140lb Not.

Sarah's face was mainly in shadow, due to where I was seated- far from ideal, so next week I'm aiming to move and had a word with the tutor about this. I used pan paints with Cadmium Red and Yellow Light plus Cerulean for the skin colours and features. The Scarf was a mixture of Viridian and Hookers Green, and the cardigan a mix of Orange and Red. Brushes were Escoda 1214 retractables, Sizes 8 and 10 plus my small Isabey 6201.

 Next week we have a male model and are to do drawing using cartridge paper and willow charcoal. We were also told to bring a putty rubber. Another enjoyable session.

Charles Reid at Crantock - Day Three

It was decided to go to the National trust property Trelice, a few miles from West Pentire, on the Monday of Day Three and paint plein air. After it was discovered the house and grounds did not open until 10.30am, Charles decided to have an improvised question and answer session. What developed came about when Mick Carney asked a question regarding how to keep paints wet, as his experience was they tended to dry on him. Actually it was a fascinating discussion since it seemed to spark Charles off and gave him the chance to emphasize some of the things he holds dear and which he believes many students fail to grasp. During his initial thoughts he mentioned the Australian artists Robert Wade and David Taylor, both excellent watercolourists, although I don't recall the exact context.

The Charles Reid way, described in his many books and demonstrated in his videos, is to dip the brush into the water pot, roughly one third of the length, and then give it a good shake ( or two) before digging it into the  paint.  Don't take too much water out by wiping on a tissue for example. He suggested we think of the brush as a fountain pen water + paint. Don't stroke onto the paper and avoid the errors of too much paint not enough water and the reverse. This is one of the keys of getting things right. Place paint adjacently and don't smooth things out! Be cruder! Charles also demonstrated the way to see if the paint is the right consistency.

Hold the box near vertically and if the paint runs it has too much water.

We then had a demonstration of what this meant in practice and how to get the balance right between hard and soft edges, plus combining colours wet into wet. In my view the two best books explaining these tecniques are the most recent `Watercolour Solutions' and the 2001 `Painting Flowers in Watercolour'. ALL his tecniques are fully explained, contour drawing, brushwork and paint mixing. The flower book is accompanied by two very good videos.

The discussion became quite lively with him saying there were too many `strokers' amongst the students and many denied doing it. He is adamant you must not stroke with the point of the brush because, apart from anything else, it will quickly wear out. One student comment, very good humouredly, was that `we're all liars and strokers then'. This evoked a gust of laughter but he was getting his points across in a quite forceful way. I thought it was a very useful session and so did the others. We then departed for Trelice.

A closer look - combining colours

Charles and umbrella

When we arrived at Trelice the weather was still marginal. It was heavily overcast, some wind and very light drizzle. Only two or three had brought painting umbrellas, so the choice for others was paint and brave the elements or watch Charles. I elected to watch although this wasn't easy as you can see from the photograph. Those that painted in the morning suffered very light drizzle which accumulated on the paper and made painting a real problem, still several battled on. Charles, under his umbrella gave a  masterclass in painting a complicated building in adverse conditions. 

First steps. The stone lion, which you can just see in front of him was the starting point together with one of the party who had set up much nearer the house. He made the lion much larger than the actual statue which was considerably worn.. When painting outdoors Charles draws a section then paints, draws then paints, not completing the drawing before painting. The rational for this is that conditions are always changing when outdoors. They didn't change much here but he still  followed this procedure.

This sequence shows how the painting developed

 Two closer views

Note how there are no large washes. Quite a lot of splashing! See how colour has been introduced into what is a largely gray building even though there is much texture in the walls. Variation at every turn and simplification. Considering the conditions it was a brilliant effort and one my wife thought excellent, when she saw the finished painting back at the hotel. The way the subject was tackled gave me (and others) considerable food for thought. He used his small Craig Young Sketchers box and Escoda 1214 Kolinsky retractables. He has tried Escoda in the last two years and likes them. The normal equivalent is the1212 series.

After a break for lunch at the cafe in a converted barn people soon began to drift off back to the hotel, and by about 3.30pm that was it. There was no critique that night. It wasn't the best day of the course but had its moments.

Luxartis and Brush Sizes

I recently purchased a Luxartis Size 10 Kolinsky sable. Luxartis brushes are used by the artist Jake Winkle www.jakewinkle.co.uk/ and it appears his wife runs the brush business www.luxartis.biz/ . Jake Winkle is an up and coming British artist of the younger generation and appears to be strongly influenced by John Yardley. His website is well worth a look.

The Luxartis site is an excellent one, well put together and very informative. It claims to use the highest quality Kolinsky sable which I don't dispute - I just don't know. As well as pointing out that there is no standard for brush sizes amongst manufacturers it also claims that the Luxartis brush heads are in general - but not always - longer and slimmer than many other makes.

From the top: SAA Kolinsky size 10, DaVinci Maestro 10 size 10, SAA size 8, Escoda 1212 size 10,

 DaVinci size 8, Luxartis size 10.

  

The first thing to notice is the difference in the size of the brush heads. The SAA (reputedly made by Raphael) and the Maestro are much larger. The SAA size 8 is marginally larger than the Escoda 10 with the Maestro size 8 a similar size. The smallest is the Luxartis size 10.  Price for the SAA 10, only available to members,  is £32.00p but they also do an excellent set of five which includes both the 8 (separately £20.00p) and the 10 for £47.99p. This is only available to members or affiliated art clubs or perhaps you know someone who is a member. The Maestro size 10 costs £41.25p and size 8 £22.70p. The Escoda 1212 size 10 is £19.30p. Jacksons http://www.jacksonsart.co.uk/  sell  these and also an own brand `Tajmir Kolinsky' at £17.35p which is obviously made by Escoda. The Luxartis size 10 costs £10.95p. This, despite the smaller brush head stills looks a very good buy. I have yet to try mine out but will report in due course. The rough equivalent in actual size to the SAA and DaVinci 10's would be the Luxartis size 14 or even perhaps the 16 at £19.95p and £24.95p respectively.

 To sum up prices of Kolinsky sable brushes are relatively affordable up to size 8.  After that prices can rocket due to the larger amounts of hair in the brush. Not  all brands though with the W & N Series 7 size 8 costing £86.80p! Can it possibly be worth it?  Raphael series 8404 10 £55.30p and 8 £31.90p. Isabey are close to Raphael in price. It appears there is much more tail hair in both the SAA and DaVinci brushes which size for size are generally much larger. Escoda sizes are smaller but well priced and of high quality. Luxartis are even smaller and if the 10 is typical don't seem longer as they claim, but are very well priced even so. Is the quality up to that of the others? I would also suggest Rosemary and Co http://www.rosemaryandco.com/ are also well worth considering. The series 33 Kolinsky are good and the cream of the lot is series 22, which is more expensive at £25.15p for size 8 and £44.45p for size 10. Brush head sizes stand up well when compared to the others. There are also several other prominent makes like Stratford and York, Pro Arte and Daler Rowney. We also have Rekab, the well regarded and priced Israeli brand, which is becoming easier to obtain in the UK. These manufacturers all list Kolinsky sable ranges. Prices shown are from current catalogues in my possesion, or in the case of Luxartis on the website and may change soon with the planned VAT increase.