Rosemary & Co Ivory Set 125 — Synthetic
£56.99
Sale price
£56.99
Regular price
Skip to product information
Série Ivory
Rosemary & Co Ivory Set 125 — Synthetic
- Material
- Synthetic (Synthetic)
- Handle
- Long
- Vegan
- Yes
- Best for
- Oil, Acrylic
£56.99
Sale price
£56.99
Regular price
Taxes included.
Shipping calculated at checkout.
Same-Day Dispatch
Free UK Shipping £70+
Expert Advice
Secure Checkout
Seven most popular Ivory shapes on long handles — a vegan synthetic work-horse set for oil and acrylic painters.
The Set 125 brings together the seven most popular shapes from Rosemary & Co's Ivory range, all on long handles — the roughly eleven-inch length built for standing at an easel and working at arm's reach, where you can judge the whole canvas as you paint.
A note on the name, since it causes confusion: Ivory refers to the colour of the fibre, not the handle. The filaments are a pale, creamy off-white; the handles are black and lacquered.
Ivory is Rosemary & Co's most popular synthetic range, and the maker's own description is hard to better — synthetic bristle at its best, a cross between the feel of nylon and hog bristle. What separates it from an ordinary synthetic is the finish on the filaments: they're sandblasted with shards of glass, which makes them firm, helps them wear down evenly instead of going soft, and keeps them easy to clean. They last considerably longer than the average synthetic. Many leading painters treat them as their go-to brushes, and plein-air painters are particularly fond of them for how quickly they clean up. All 100% synthetic and fully vegan.
The point of a set like this is range. Rather than committing to one shape, you get a working sample of what Ivory does across seven brushes — enough to find out which shapes suit your hand before buying deeper into any of them. Made for oils and acrylics, and equally at home with gouache and water-mixable oils.
Handmade in Cowling, Yorkshire, by a family firm that's been at it since 1983.
What makes this brush special
Three pointed rounds in sizes 4, 8 and 12 hold a sharp point for drawing, detail and signing a piece. A size 6 filbert gives the oval "cat's tongue" head — soft strokes, blending, knocking back edges, with a great snap that makes it flexible and forgiving. Then the two flats, which are the interesting comparison: a size 8 long flat, loose with little snap, carrying plenty of paint for longer strokes; and short flats in 4 and 10, stiffer with a stronger snap, sharper edges and more control for blocking in and impasto. Run the long and short flats side by side — the difference is instructive.
Medium compatibility
Oil
Acrylic
Best with properly thinned acrylics, especially for detail and glazing.
Great for
- Oil and acrylic painters who want to learn the Ivory range before committing to individual shapes
- Easel work at arm's reach — every brush here is on the long handle
- Building a reliable everyday working set rather than a specialist one
- Plein-air painting, where fast cleaning and hard-wearing fibres earn their keep
Technique & use
- General Painting
- Basecoating
Less ideal for
- Close, seated work at a table — these are long handles throughout; the same shapes are available short
- Exhibition work where premium natural hair is still the benchmark — these are very good synthetics, not a substitute for sable
- Delicate watercolour technique — the fibre is firm and built for heavier media
What's inside
| Brush | Series | Size |
|---|---|---|
| Ivory Pointed Round | Ivory | 4 |
| Ivory Pointed Round | Ivory | 8 |
| Ivory Pointed Round | Ivory | 12 |
| Ivory Filbert | Ivory | 6 |
| Ivory Long Flat | Ivory | 8 |
| Ivory Short Flat | Ivory | 4 |
| Ivory Short Flat | Ivory | 10 |
How to care for your brush
Easy cleaning is one of the range's real strengths and a large part of why it suits working outdoors. Rinse thoroughly after use, work a gentle soap through if needed, then reshape each head — point on the rounds, oval on the filbert, square edge on the flats — and dry flat or tip-down. With acrylics, clean straight away rather than at the end of a session; once acrylic sets into the filaments it doesn't come out.
