- Vertue , George . 1934 . ‘Vertue Note Books volume III . Walpole Society , 22 : 109 The spelling and punctuation have been modernised in this quotation
- 1732 . Saunders may have gone on working into the 1750s or even later but these works may be by his son about whom very little is known. Saunders' self-portrait of at the age of fifty is in the National Portrait Gallery
- 1988 . Rosalba Carriera Turin : Umberto Allemandi & C . See the catalogue in: Bernadina Sard,(and the review by Francis Russell in Burlington Magazine 131 (1989): 857; see also, for Camera's technique: Thea Burns, ‘Rosalba Carriera and the early history of pastel painting’, The Institute of Paper Conservation Conference Papers Manchester 1992, Sheila Fairbrass, (Leigh: Institute of Paper Conservation, 1992) 35–9
- 1985 . Norfolk & the Grand Tour 88 – 9 . Norwich : Norfolk Museums Service . The pastels are reproduced in Andrew W. Moore,(23,133
- Lippincott , Louise . 1983 . Selling Art in Georgian London. The Rise of Arthur Pond 38 New Haven and London : Yale University Press .
- Lippincott . 40; see also Louise Lippincott, ‘Arthur Pond's Journal of Receipts and Expenses, 1734–1750’ . Walpole Society , 54 ( 54 ) 227 (under the name of her first husband, Pendarves)
- Russell , John . 1772 . Elements of Painting with Crayons 21 London : J. Wilkie and J. Walter .
- Vertue, 110
- Ayres , James . 1985 . The Artist's Craft. A History of Tools, Techniques and Materials 33 Oxford : Phaidon Press .
- André Rouquet , Jean . 1755 . The Present State of the Arts in England 45 London : J. Nourse . translated from the French edition of 1754
- 1983 . Vertue, 85 (for Hoare); Lippincott 81 (for Pond)
- 1983 . Lippincott 77
- Mead Johnson , Edward . 1976 . Francis Cotes 84 Oxford : Phaidon Press .
- Williamson , George C. 1894 . John Russell, R.A. 90 London : George Bell & Sons .
- Williamson . 1803 . “ 90; see also the ” . In Morning Herald London (, 15 April where Russell is described as exhibiting at the Royal Academy ‘the largest picture in crayons ever known; it consists of a group of Lady Johnstone & family, six feet & a half by four feet & a half (quotation taken from the Whitley papers at the British Museum Print Room)
- Newby , Evelyn . 1990 . William Hoare of Bath R.A. 1707–1792 8 Bath : Bath Museums Service and Alan Sutton Publishing . quoting the Royal Academy Council Minutes
- Sir Richard Colt , Hoare . 1822 . The History of Modern Wiltshire Vol. 1 , 73 London : J. Nichols .
- 1918 . English Pastels 1750–1830 London : G. Bell & Sons Ltd . In particular George C. Williamson produced books on John Russell in 1894, Ozias Humphry in and Daniel Gardner in 1921. See also R.R.M. See, (, 1911)
- Johnson . 1767 . Elements of Painting with Crayons 161 Cotes was writing between and 1770 (see Johnson, 5). John Russell discusses the use of a prepared smalt ground for pastel painting, as used by La Tour, in the second edition of his (1777) 21 (see below, footnote 36)
- 1668 . The Excellency of the Pen and Pencil 13 London : Dorman Newman and Richard James .
- 1991 . See Lippincott 236, under 9 July 1737. Pond lists all his paper purchases, both from stationers, such as William Herbert and Mrs Watkins, and direct from the papermaker in the instance of Josias Johannot
- Russell . 1777 . 19. In the second edition of his book published in Russell also recommends a paper specially made for crayon painting, obtainable from ‘Mr. Bishop, Stationer’ at Newport Street, Long Acre
- Bower , Peter . 1997 . The Papers found in British 18th Century Pastels in the collections of the National Portrait Gallery 8 – 9 . (unpublished typescript on National Portrait Gallery files, commissioned to aid the study and understanding of the National Portrait Gallery collection). In the paper used for the Duke of Newcastle pastel. Bower identifies white linen rag, two different blue rags, some black fibre and a small proportion of hemp, probably from sailcloth, rather than rope, as no tar is visible
- The method of learning to draw in perspective made easy and fully explained. As also, the art of painting upon glass, and drawing in crayons…Chiefly from the MSS. of the great Mr. Boyle London : J. Peele . (, 2nd edn, 1732) 25, 35.The first edition had been published earlier the same year. The passage quoted is repeated in John Barrow, Dictionarium Polygraphicum (London: C. Hitch, C. Davis and S. Austen, 1735 and in The Artists Assistant, which went through several editions in the 1770s (see footnote 27)
- Krill , John . 1987 . English Artists' Paper: Renaissance to Regency 135 – 6 . London : Trefoil . 56
- Krill , John . 1998 . “ ‘Silk Paper for Crayon Drawing in the Eighteenth Century’, IPC ” . In Conference Papers, London Edited by: Eagan , Jane . 15 – 19 . 1997, (Leigh: Institute of Paper Conservation
- 1772 . The Artists Assistant in Drawing (London: Robert Sayer and John Smith, 3rd edn, 4 January 37–8. The book is attributed to Carington Bowles and went through various editions in the late 18th century
- 1991 . Lippincott 272
- 1983 . Lippincott 92; Robert Tull's account book is in the collection of the Hon. Christopher Lennox-Boyd and has been transcribed with a view to publication by Jacob Simon
- Russell, 19
- 1766 . Russell, 41. These crayons were made by Bernard Stoupan, according to Bonhote's advertisement a copy of which can be found on a manuscript receipt dated 7 June in the Shakespeare Centre Library, Stratford-upon-Avon (Leigh MSS. DR.18/5)
- See footnote 27. These crayons were sold by Mr Drake or Mr Sandys in Long Acre
- Trade cards in the Banks Collection, British Museum. I am grateful to Joanna Kosek for her help in identifying these
- Ayres, 103
- Dossie , Robert . 1764 . The Handmaid to the Arts Vol. 1 , 232 – 3 . London : J. Nourse . On the subject of fixing pastels in France, see: Thea Burns, ‘The Historic Framing and Presentation of European Pastel Portraits in the Early Eighteenth Century’, Historic Framing and Presentation of Watercolours, Drawings and Prints, Nancy Bell, (Leigh: Institute of Paper Conservation, 1997) 11; and Geneviève Monnier, Pastels from the 16th to the 20th century (Geneva: Skira, 1984) 18–19
- Russell , John . 1777 . Elements of Paintings with Crayons 18 – 19 . London : J. Wilkie, J. Walter and R. Bishop, 2nd edn .
- Garlick , Kenneth and Maclntyre , Angus . 1979 . The Diary of Joseph Farington Vol. 4 , 1494 – 6 . New Haven and London : Yale University Press . under 4 February 1801
- 1997 . See: Burns 15 for a French account in 1788 of the use of spacing beads of wood. Examples of pastels with a double rebate in the National Portrait Gallery collection are Ozias Humphry's Francis Haward, c. 1791–7, and Thomas Lawrence's Sir Elijah lmpey1786
- 1710 . Proposals of a Raffle for 120 Pictures in Crayoons: All Drawn by E. Luttrell London a copy of which can be found in the British Library (Harley 5947 (27))
- 1997 . Burns 14–15,18
- Simon , Jacob . 1996 . The Art of the Picture Frame. Artists, Patrons and the Framing of Portraits in Britain 93 London : National Portrait Gallery .
- Williamson , George C. 1921 . Daniel Gardner, Painter in Pastel and Gouache London : John Lane .
- Quoted in Simon, 84, where Rowlandson's drawing is reproduced as Fig. 88
- Belsey , Hugh . 1987 . ‘A visit to the studios of Gainsborough and Hoare’ . Burlington Magazine , 129 : 109
- Lars , E. Troide , ed. 1990 . The Early Journals and Letters of Fanny Burney Vol. 2 , 68 Oxford : Clarendon Press .
- Johnson . 158
- Simon . 88 89
- Smith’ , J. R. 1932 . Connoisseur Vol. 90 , 96 – 101 . For Downman, see: Simon, 83; for Smith, see: Ralph Edwards, ‘Pastel Portraits by 299–307 and 93 (1934)
- Simon . 84
- Gadrooning takes the form of a series of convex shaped ridges, set in a repeated diagonal decorative pattern on the top edge of the frame, while the pearl sight takes the form of a small round bead repeated in a series along the sight edge; see: Simon, 208
- Simon . 164 Fig. 155
- The husk top edge takes the form of a series of short flat leaves set in a line; see: Simon, 208
- 1991 . See, for example: Lippincott 264, 265. Pond paid 13s. 6d for his normal size of glass and seems to have charged his customers £1.1s as far as can be discerned from his accounts
- See footnote 29
- 1992 . National Art Collections Fund Review 1992 (London, 125
- Wills , Geoffrey . 1965 . English Looking-glasses 129 – 33 . London : Country Life Ltd . app- I, Parliamentary Proceedings Relating to the Cast Glass Company; Christopher Woodward, Windows (Bath: The Building of Bath Museum and Bath City Council, 1994 14–15- See also: Burns (1997), 15–16
- Goulding , Robert W. and Adams , C. K. 1991 . Catalogue of the Pictures belonging to his Grace The Duke of Portland, K.G. Cambridge : Cambridge University Press . For Pond's use of crown glass, see: Lippincott 239, 251, 281, 316. For Cotes, see:, 1936) 140. For Read, see her framemaker's account book referred to in footnote 29 above
- 1803 . The Cabinet Dictionary 235 – 6 . London Thomas Sheraton
- Johnson . 161
- Lippincott . 1991 . 246 250, 261, 276, 282
- Meslay , Olivier . 1994 . D'Outre-Manche, L'art britannique dans les collections publiques françaises 275 Paris : Musée du Louvre .
- Williamson . 1773 . 1 Banks' fears about the fading of oil paintings were probably brought about by Sir Joshua Reynolds's notorious reputation for using highly fugitive pigments. He had sat to Reynolds in For an informed view on the fading of pastels, see John Russell's Elements of Painting in Crayons, 35, where he acknowledges ‘the usual objection to Crayon Paintings is that they are subject to change’, but explains this by the injudicious use of flake white and white lead which turns black. Such discolouration may have been behind Fanny Burney's remark in 1775 about crayons ‘not standing’, made on a visit to Catherine Read's (see footnote 45)
The Paper Conservator
Volume 22, 1998 - Issue 1