ACKNOWLEDGEMENTS

The author wishes to express his gratitude to the staff of the Essex Institute and the Peabody Museum of Salem, and to the numerous individuals who helped him in preparing the original manuscript and responded to the article once it was in print.

REFERENCES

Conservator, Worcester Art Museum, 55 Salisbury Street, Worcester, Mass. 01608.

September-October1973, Vol. 1, No. 1, pp. 108–114.

This information was derived from Cathy Leach's, A Reference List of Firms Preparing Artist's Canvas in 19th Century London, a mimeographed copy she had prepared several years ago. Miss Leach has since moved to the United States, where she is a conservator at the North Carolina Museum of Art. Since leaving England, a colleague of hers, Alec Cobbe of the Conservation Department, City Museums, Birmingham, has been collecting stencils and soon plans to publish a book of illustrations. Thomas Brown, by the way, patented collapsible color tubes. Small notices to this effect appeared in the London The Art-Union in 1841.

Caroline K.Keck, A Handbook on the Care of Paintings, American Association for State and Local History, 1965, pp. 47–48.

See RalphMayer's, “Some Notes on Nineteenth Century Canvas Makers,” Technical Studies in the Field of the Fine Arts, X, (1941), pp. 131–137.

In 1974 a Morris stencil, as shown in Figure 11, was found on the back of a portrait of a young child of about two, named Arnold Cook Janes, located in the collection of the Claremont Colleges in Pomona, California. The size and format of the stencil corresponded exactly to similar stencils by Apollos and Charles A. Morris, as shown in Figures 8 & 12. A check of the genealogical records of the Janes family revealed that there were two Arnold Cook Janes, one born in Charlestown, Massachusetts on November 16, 1841, who died at the age of two, and a second child born on August 23, 1845, who died on September 16, 1847. Since neither of the Morrises is known to have had a shop on Exchange Street in 1843 (the year the first Arnold died), the second child is probably the one shown in the painting. Apollos Morris was at 28 Exchange Street from 1844–48 with no interruptions. Charles is shown in the business directories to have been at this same address from 1847–48; no stencils of Charles bearing this street number have ever been located. The compilers of the directory could easily have mistaken Charles for Apollos and listed him at 28 Exchange Street rather than at 31 Exchange. Consequently, the author proposes the date of 1847–48 for Figure 11 and for Figure 10, which was incorrectly interpreted as 28 Exchange Street in the American Art Review article.