Bulletin 17, 1971

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A Reynolds Revived

by Mervyn Ruggles

Pages  1  |  2  |  3  

Notes

1 R. H. Hubbard, ed., The National Gallery of Canada Catalogue of Paintings and Sculpture, Volume I: Older Schools (Ottawa, 1957, rpt. 1961), p. 127.

2 Eric Brown, "Note on the Portrait of Charles Churchill", Correspondence 1910, in the National Gallery of Canada Archives.

3 Ellis K. Waterhouse, "Sir Joshua Reynolds' Sitter-Book of 1755", Walpole Society, vol. 41, 1966-68, p. 124.

4 Ellis K. Waterhouse, Reynolds, English Master Painters Series (London: Kegan Paul, Trench Trubner, 1941), pp.7-11.

5 Derek Hudson, Sir Joshua Reynolds: a Personal Study (London: Geoffrey Bles, 1958), p. 51.

6 Arts Council of Great Britain, Sir Joshua Reynolds: an Exhibition of Paintings, introd. by E. K. Waterhouse (London, 1949), pp. 2-8.

7 H. Ruhemann and E. M. Kemp, The Artist at Work (London: Penguin Books, 1951), p. 49.

8 H. A. Buttery, "Reynolds' Painting Technique", in Hudson, op. cit., Appendix B, pp. 248-50.

9 M. Toch, Paint, Paintings and Restoration, rev. ed. (New York: Van Nostrand, 1931), pp. 105,122.

10 Walter Armstrong, Sir Joshua Reynolds: First President of the Royal Academy, popular ed. (London: Heinemann, and New York: Scribners, 1905), p. 48.

11 The Huntington Art Collection: a Handbook, (San Marino, Calif: Henry E. Huntington Library and Art Gallery, 1964), p. 48.

12 Robert R. Wark, Sir Joshua Reynolds' Portrait of  "Mrs. Siddons as the Tragic Muse", (San Marino, Calif: Henry E. Huntington Library and Art Gallery, 1965), pp. 28-29.

13 Letter from F. W. Colley to Eric Brown, 15 October 1923; ill the National Gallery of Canada Archives.

14 M. Ruggles, "Report on Acc. no. 29, Reynolds, Portrait of Charles Churchill", N .C. R. L. dossier, The National Gallery of Canada, Ottawa, 1970.

15. Ibid.

16. A. M. de Wild, The Scientific Examination of Pictures, trans. by L. C. Jackson. (London: Bell, 1929), pp. 56-58. See also his references to Prussian blue (pp. 32-33), white lead (pp. 34-36), bitumen (pp. 63-64) and red pigments (pp. 71-72).

17. H. Kühn, "A Study of the Pigments and the Grounds used by Jan Vermeer", Report and Studies in the History of Art, 1968 (Washington: National Gallery of Art, 1968), p.159.

18. H. A. Buttery, in Hudson, pp. 248-49.

19. Hudson, p. 52.

20. M. Ruggles, "Conservation Treatment of a Painting by the Transfer Method", The National Gallery of Canada Bulletin, 5 / 1965, pp. 26-31; French summary, p. 32.

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