NOTES

1. Nicolson (1968) refers to this document as Wright's Account Book, presumably because it contains listings of landscapes as well as portraits, information about prices of pictures, sundry bills paid, and monies received. It is more than just an account book, however, as it also contains information about materials and methods, such as “The Contents of Ye Pallet” and “To Line a Picture.” It is unfortunate that there are no dates indicated in the entries and that the pages seem to have been rearranged when they were rebound, probably sometime in the early 19th century (see also Egerton 1990).

2. Derbyshire historian Gladwyn Turbutt suggests that as the painting represents High Tor, Matlock, the scene can be more accurately identified as the Derwent Valley, Derbyshire, rather than just River Valley, (?Derbyshire) as Nicolson (1968) had cataloged it (Turbutt 1991). Brown (1990) titled it Dovedale Valley, Derbyshire, on the basis of an old exhibition label on the back.

3. This sentence remains unfinished in Wright's text. It seems likely that he is instructing the operative to be sure the tacking edges are well stuck down. The sentence should read something like: “Rub the edge of your picture (as the face) else it will start to separate.”

REFERENCES

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Brown, D. M.1990. A question of attribution: Eight British landscape paintings given to Joseph Wright of Derby (1734–1797) in the Queen's University Art Collection. Master's thesis, Queen's University, Kingston, Ontario.

Browning, B. L.1977. Analysis of paper. 2d ed.New York: Marcel Dekker.

Carlyle, L.1991. A critical analysis of artist's handbooks, manuals and treatises on oil painting published in Britain between 1800–1900: With reference to selected 18th-century sources. Ph.D. diss., Courtauld Institute of Art, London.

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Diderot, D., and J. L.d'Alembert. 1751–80. Encyclop�die, ou, Dictionnaire raisonn� des sciences, des arts et des metiers, 1st ed.Paris: Briasson.

Egerton, J.1990. Wright of Derby. London: Tate Gallery.

Gettens, R.J., and G.Stout. 1966. Painting materials: A short encyclopaedia. New York: Dover Pub.

Jones, R.1990. Wright of Derby's techniques of painting. In J. Egerton, Wright of Derby. London: Tate Gallery. 263–71.

Jones, R.1991a. Notes for conservators on Wright of Derby's technique and studio practice. The Conservator15:13–27.

Jones, R.1991b. Personal communication. Conservation Dept., Tate Gallery, Millbank, London.

Massing, A., and K.Groen. 1988. A self-portrait by Godfried Schlacken. In The First Ten Years. Bulletin No. 1. Whittlesford, England: Hamilton Kerr Institute. 105–8.

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Moffat, E., and D.Miller. 1991. Analytical report ARS no. 3023. Canadian Conservation Institute, Ottawa, Canada.

Neve, R.1726. The city and country purchaser and builder's directory; or, The compleat builder's dictionary. London. Facsimille reprint. New York: A. M. Kelley, 1969.

Nicolson, B.1968. Joseph Wright of Derby: Painter of light. 2 vols. New York: Pantheon Books.

Nicolson, B.1988. Addenda and corrigenda. Burlington Magazine130:1027.

Opp�, A. P., ed. 1951. Memoirs of Thomas Jones, 1768–1769. The Walpole Society32:14.

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Wolbers, R., and G.Landrey. 1987. The use of direct reactive fluorescent dyes for the characterization of binding media in cross section examinations. AIC preprints, American Institute for Conservation 16th annual meeting, Vancouver, B.C.Washington, D.C.: AIC. 168–202.

Wright, J. [18th c.] Joseph Wright of Derby's “Sitters Book.”National Portrait Gallery Library and Archives, London.

Wright, J.1792. Letter to J. L. Philips. Derby Local Studies Library, Bemrose Collection, ms. no. 12331.

Wright, J.1795. Letter to John Holland. Collection of William Dale, London, Ontario, Canada.

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AUTHOR INFORMATION

IAN S. HODKINSON graduated with an M.A. in fine art from the University of Edinburgh in 1958. After spending a year at the Central Institute for Restoration in Rome, he worked for the National Trust for Scotland Restoration Department until 1969, when he joined the faculty of Queen's University, Kingston, Canada. From 1977 to 1979 he was head of the restoration and conservation laboratories of the National Gallery of Canada. He is currently professor of art conservation and director of the Queen's University Master of Art Conservation Program. Address: Queen's University, Kingston, Ontario K7L 3N6, Canada.

DEBORAH M. CHILD (formerly Brown) received both her B.A. and M.A. in art history from Queen's University, Kingston, Canada. From 1989 to 1991 she was research assistant, Queen's University Master of Art Conservation Program. Currently she is assistant director of the Art Gallery, University of New Hampshire. Address: 30 College Road, Durham, N.H. 03824–3538.