8 CONCLUSIONS

It is hoped that this study will not only contribute to all aspects of 19th-century Dutch painting studies, thus materially assisting future restoration work, but also stimulate the examination of other paints used in the Netherlands and elsewhere in the 19th and 20th centuries.

ACKNOWLEDGEMENTS

Special thanks to Patricia Wardle, Monique Berends-Albert, and Elisabeth West FitzHugh. With thanks also to Hero Boothroyd Brooks London (for fig. 4); the Stichting Willem Witsenthuis, Amsterdam (for fig. 8); and Sally Woodcock, Roberson Archive, Hamilton Kerr Institute, Cambridge (for fig. 9). The ownership copyright of material in this archive is held by the Fitzwilliam Museum; it is published and quoted herein by permission of the Syndics of the Fitzwilliam Museum. Some of this material was first published in Dutch (van de Laar 1995).