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HUGIJENOT ARTISTS DESIGNERS AND CRAYPSNEN IN GREAT ...

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5.<br />

ACKNOWLEENEWPS<br />

I would like to acknowledge the assistance of a grant from<br />

Central Research Fund, University of London, without which I<br />

would have been unable to carry out the field work necessary to<br />

complete thia research. I would also like to thank the Governors<br />

of Sir John Cass'e Foundation for the award of a bursary to assist<br />

with the costs of photography, thus enabling me to illustrate this<br />

thesis more fully.<br />

I would like to thank my supervisor, Dr. David Bindman, for<br />

encouragement and helpful criticism; Miss Scouloudi, the Hon. Secretary,<br />

and Mr. Marmoy, the Hon. Librarian of the Huguenot Society of<br />

London; the staff of the British Library, the National Art Library,<br />

the Department of Prints and Drawings at the British Museum and<br />

at the Victoria and Albert Museum for their help in answering my<br />

enquiries.<br />

Amongst those who have helped to further my research, I would<br />

like to thank in particular; Brian Allen of the Paul Mellon Centre<br />

for Studies in British Art; Dr. Charles Avery; Malcolm Baker of the<br />

Department of Sculpture, Victoria and Albert Museum; ..Howard Blackmore<br />

of the krmouries, Tower of London; Elaine Barr; Dr. Terry Friedman<br />

of Temple Newsam House, Leeds; Dr. Mark Girouard; Arthur Grimwade;<br />

John Hardy of the Department of Furniture and Woodwork at the<br />

Victoria and Albert Museum; Miss Susan Hare, Librarian at the Goldsmiths'<br />

Company; Gervase Jackson-Stops of the National Trust; John Kerslake<br />

and Miss Wimbush at the National Portrait Gallery; Dr. Rosalind<br />

Marshall of the Scottish National Portrait Gallery; John Mallet of<br />

the Department of Ceramics at the Victoria and Albert Museum; Patrick<br />

Noon at the Yale Center for British Art; Dr. Robert Raines; Dr. Michael<br />

Snodin of the Department of Prints and Drawings at the Victoria and<br />

Albert Museum; Dr. William Vaughan, Department of History of Art,<br />

University College, London; and Christian Theuerkauff of the<br />

Staatliche Museen, Berlin.<br />

I would also like to mention the helpful response that I have<br />

received from private owners, in particular His Grace, the Duke of<br />

Buccleuch.<br />

Lastly, I would like to thank my colleagues, Dr. Celina Fox and<br />

Mrs. Rosemary Weinstein for their patience and encouragement.

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