Watercolor Brush Pens

We spent months on the colours. Not because choosing twelve out of a thousand is hard — but because choosing the right twelve, for the kind of work an artist actually does, is.

Twelve was the number Cézanne carried.

There is a rose madder for a flushed cheek. An ultramarine for shadow at dusk. A burnt sienna for the stone of Haussmann's Paris. Each pen is, in its way, a small reference to a painting we love.

And because they are brush pens — not pans — they are the kind of palette one might actually take to a café, or onto a train, or out to a place where setting up properly is impossible. The Belle Époque believed beauty belonged out in the world. We agree.