History and Conservation of

Albums and Photographically Illustrated Books

Gustavo Lozano Andrew W. Mellon Fellow, fourth cycle

Advanced Residency Program In Photograph Conservation

Mark Osterman Advisor

May 2007

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Acknowledgements First and foremost I would like to express my gratitude to the Andrew W. Mellon Foundation for the fellowship that allowed me to attend the Advanced Residency Program and for its support and commitment to conservation. A special mention deserves Mr. Grant Romer whom with his inspiring and provocative example has taught us to see and to think in that, that matters the most, to him I owe a deep gratitude and admiration. Thanks to the directors, faculty, staff and associates of the ARP for sharing their knowledge and passion for photography. Thanks to our colleagues in Paris and Mexico who warmly received us during our visits to their institutions and who openly shared with us the treasures in their collections. In the George Eastman House I want to thank to Joseph Struble from the Photography Department and to Rachel Stuhlman and the staff of the Menschel Library for sharing with me the magnificent objects the museum has under their care. Thanks to Mark Osterman, Ralph Wiegandt and Jiuan Jiuan Chen for sharing their experience and knowledge on the making and preserving of photographs. Finally thank to my colleagues of the group of Photograph Conservation in Mexico and particularly to my mentors Fernanda Valverde and Fernando Osorio who lead me towards photograph conservation with their talents.

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Abstract This essay explores the history of the photograph album and the photographically illustrated book and analyzes the evolution of their valuation, function and conservation. The work departs from the traditional conservation approach in which the materiality of the object and its condition are emphasized, often overlooking the context in which the object is inserted and the appropriateness of its condition is weighed. In this essay the neglected importance that factors such as the valuation and function of albums and photobooks have in their conservation is highlighted and analyzed and its evolution is illustrated. More than twenty years after the first approaches to the conservation of albums and photographically illustrated books were published it seems like a good opportunity to reflect on the body of knowledge developed by the field on this area and to evaluate its appropriateness and applicability under today’s circumstances. This exercise is all the more appropriate in a time in which a situation of both, shrinking financial resources for conservation and an increasing demand for access are being experienced; but is also a time when the impact and opportunities offered by the digital technologies to conservation and collecting institutions are just starting to be explored.

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Table of contents Abstract Acknowledgements Introduction History

- Definition and distinction - History of he photographically illustrated book - History of the photographic album

Conservation

- Original context and value - Modern appreciation - Factors that influence conservation - 1st Value and function - 2nd Aging characteristics - 3rd Tools and resources

Conclusion References Annex I. Conservation bibliography listed in chronological order

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History and Conservation of Albums and Photographically Illustrated Books

Introduction This essay attempts to define and articulate what the fundamental factors at play in the conservation of albums and photographic illustrated books are.

The decades of the 1980’s and 1990’s were of great activity in the conservation of photograph albums and photographically illustrated books. During this period many articles were produced1 and several meetings held which presented works on the topic. Many of these projects focused on the material characteristics of albums and photobooks, in particular the structures of the books, the deterioration that they present and provided case studies of remedial treatment.

No attempt has been made to analyze the problematic of these two formats beyond their material deterioration and or to provide integral solutions beyond remedial treatment and reformatting. Although satisfactory for their time, under today practices and standards many of the solutions proposed then seem inadequate to say the least. And so the problem persists, today’s conservators

lack a set of parameters that help him or her to delineate a response to the complex challenge to the conservation of photograph albums and photographically illustrated books.

Figure 1. Photographically illustrated book GEH 1969:0175 and album 1977:0462 of cartes de visite. George Eastman House collection.

This work analyzes the setting in which the valuation and conservation of albums and photobooks takes and has taken place, in order to identify the contingent and are the unconditional aspects that shape the problem. Based on this understanding in the final part of this essay new uses that don’t conflict with the conservation of these objects are proposed.

Definition and distinction Prior to review the history of albums and photographically illustrated books I consider important to define and distinguish between both concepts. Although the situation seems to be changing in recent times, most people use the generic term album to designate all bound containers of photographs.

Let us begin with two very simple definitions which nonetheless point out an important distinction. A photographically

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illustrated book, or photobook for shorter, is a published book illustrated with real photographs. A photograph album is a unique compilation of photographs assembled into a blank book by an individual or a group of persons.

Although these concepts may seem clear and straight forward at first, when in front of one of these objects it is sometimes difficult, or even impossible, to differentiate between an album and a photobook just by looking at them. Extra information is necessary to assign one category or the other.

Both albums and photographically illustrated books are essentially a book or notebook with photographic attached to it. They can include printed, handwritten or no text at all. They can include one or hundreds of prints. They can be commercially created or individually made. Their essence, what defines them as an album or a photobook doesn’t lie in the materiality of the object but in the original concept under which they were created

By definition a book –photobook included- is produced in multiple copies, that is: in an edition, which can be of dozens, hundred or thousands copies.

An album on the other hand is a unique object, even if its components are not. However, often times the components that form an album were produced industrially, such as souvenir prints or postcards. Let’s imagine a set of photographic postcards which have been placed into a commercial album. In this case, neither the book nor the prints are unique elements, what is unique, though, is their convergence in a specific set of circumstances, such as the selection of the

postcards and their arrangement in the album.

The essence of a specific album lies in the circumstances that brought its elements together by the intervention of a compiler or compilers.

Having defined the fundamental characteristic of albums and photobooks we can now move to more specific aspects of each concept.

The unresolved, perhaps irresolvable, challenge of defining what a photograph is, permeates in the definition of what a photograph album and what photographically illustrated book is. For example, are non camera images considered photographs too? Are contact printed images of botanical specimens, lace and other objects included under the definition of a photograph? What about photomechanical reproductions, particularly those that imitate true photographic prints, woodburytypes, collotypes, photogravures? What about digital prints? Are albums with digital prints considered photographs albums too? In modern book industry the term photobook is used to define either a mechanically or digitally printed book about photography or which main component and message is delivered through photographic images2.

Such meaning is different from that given in a historic context in which a photobook is a book illustrated with photographs or what is know as a photographically illustrated book, a term that although more accurate is also less practical to use, particularly in oral communications.

Apart from the discussion about the technical nature of the images included in the albums and photobooks, there are issues regarding other aspects, for example the

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Figure 2. The first photographically illustrated book Photographs of British Algae. 1842. Courtesy of the New York Public Library

minimum number of prints that a work should include to be called an album or a photobook. There are literary books that contain just one single photograph, usually as frontispiece. do these books deserve to be called photobooks or not?

In addition to the questioning regarding the number of photographs a book contains, the number of pages has also been pointed out as a factor that contributes to the categorization as photobook3 or just a book. This is the case of many photographic illustrated pamphlets and sale catalogues of the late nineteenth century.

There is also the case of uniqueness versus multiplicity, today two copies of the same edition are practically identical, however in the first years of photographic book publishing the much desired consistency was much difficult to obtain given the technical difficulties in the production of the prints4.

How unique can a photobook be and how common can an album be is a question which can only be evaluated in a case by case basis.

Many of the authors that have written on the subject provide a definition that fulfills their own purposes and to which they

strictly adhere to in their works5 and that is probably the best option: to provide definitions that make sense in the enclosed parameters of a specific work.

What is lacking in these texts, however, is the discussion of the difficulty to integrate these objects into a specific definition. It is that void that this introductory discussion tries to compensate.

In conclusion, the distinction between the concepts of photobook and album revolves around the dichotomies: acquired vs. produced, public vs. private and multiple vs. unique.

It shouldn’t be expected to arrive to definitive conclusions and rigid categories. However it is important to distinguish the conceptual difference that exists between a photographic album and a photographically illustrated book because in their material aspect both types of objects can be very similar and sometimes identical but as I’ve tried to illustrate they have very different origin and production intent.

The implications of this difference are manifold and they are reflected in the object’s valuation and study. Although it might seem at first that the distinction between both objects doesn’t have a direct

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influence in their conservation it certainly does, for as we will see later this distinction influences their contemporary valuation, function, use, and the validity of the methods to preserve them.

History of he photographically illustrated book The most common techniques used for book illustration prior to the invention of photography were woodcut, etching and engraving and lithography. Although many other techniques were available, they were not widely used.

Although some of these techniques had been available for a long time, they were used sparingly for illustrating books since the production of each print was still a manual intensive labor. This was particularly true in the case of engravings and lithographs which had to be printed separately from the text in special presses and be collated before binding.

Woodcut had the advantage of be printed at the same time and in the same piece of paper that the type. However, its ability to convey information from the real world was limited by the inherent characteristics of the technique. Such was the situation of book illustration at the dawn of photography.

When on June fifteenth 1839 the French Minister of the Interior proposed to give an annuity for life to Mrs. Daguerre and Niepce Jr. one of the motivations he expressed “The art of engraving… will derive fresh and important benefits from the discovery”6.

The idea to combine the reproductive capacity of the pictorial printing techniques of the time with the unique ability of the daguerreotype to capture with accuracy and

great speed scenes from nature was a goal that occurred to many immediately after the public announcement of the daguerreotype.

To adequately weigh the influence brought by photography upon illustration is useful to remember the status of prints before 1839. William Crawford puts it in very simple terms when he says that “prints were by nature suggestive and schematic rather than optically precise. Looking at them, you could only get an indication of what the subject was really like. Consequently, looking at prints tended to call for a temporary suspension of credulity"7.

Is within this setting that Daguerre, Talbot and their contemporaries recognized the great potential of photography as an aid for the production of printed illustrations. However, for quite a while these ideas remained just as that, for the practical application of photography to illustration was not immediate and came in progressive approaches.

Just after the presentation of the daguerreotype and the photogenic drawing, illustrators used them as models for woodcuts, engravings and lithographs, for the most part in the same way they had been using prints and drawings as the basis for their compositions. Early examples of this approach are abundant, the first of which can be found in the issue of April 20, 1839 of The Mirror of Literature, which presented a facsimile of a photogenic drawing printed by woodcut in its cover; a few weeks later a similar image illustrated the Magazine of Science, and School or Arts8 in its number of April 27, 1839.

These images don’t have much of photographic because after all they were still

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made by hand although after a photographic image. Later, in a very ambitious project carried out in 1840, the optician and daguerreotypist Noël Paymal Lerebours published Excursions Daguerriennes; vues et monuments les plus remarquables du globe. This was a series of aquatint engravings created after daguerreotypes in which views of some of the most important monuments in the world were illustrated. Although this publication was not the first in making use of daguerreotypes as source for its illustrations it is special because in the second volume, published in 1842, three of the 114 plates were printed with the ingenious method conceived by the Frenchman Hippolyte Louis Fizeau9 in which a daguerreotype plate was etched and electroplated to produce an intaglio plate from which prints of ink on paper could be obtained.

The images in this publication made by the Fizeau process are: Hotel-De-Ville de Paris, Un Des Bas-Reliefs de Notre Dame de Paris and Maison Elevee Rue St. Georges par M. Renaud

The aquatint prints made after daguerreotypes, particularly the architectural views certainly have something of photographic that engravings based on drawings, paintings or other engravings could not possibly have, particularly a stronger effect of linear and atmospheric perspective, the equally precise and detailed representation of secondary elements of the composition and even the purely photographic effect of depth of field.

The prints made with the etched daguerreotypes were very good considering the technical intricacies involved in their production and that the processes was

devised jut three years after the introduction of the daguerreotype process. However the prints do not even remotely resemble the delicacy of tone from a daguerreotype. They are too contrasted in comparison and the plates still needed to be retouched by an engraver in order to produce acceptable prints. Fizeau’s processes, although capable of producing fine results was not an efficient one and was soon abandoned. It was however an approach in the right direction, and the quest for a method to efficiently produce multiple and permanent photographic prints continued. These attempts to marry photography and ink were followed by a three works that dispute the title of being the first book illustrated with real photographs.

The first in chronological order was British Algae: Cyanotype Impressions a catalogue of botanical illustrations of algae by the British artist and botanist Anna Atkins. This was a privately published book in an edition of only twelve copies created for her “botanical friends”, it was issued in fascicles from 1843 to 1853.

Atkins used the recently invented method of the cyanotype to create photograms of botanical specimens. Along with the silhouette of the algae the Latin name of each specimen was also printed in the bottom of the page.

Brittish Algae is significant because it was the first serious attempt to apply photography to “the complex task of making repeatable images for scientific study and learning”10 and also because the text was also printed by the aid of photography.

Against this work precedence as the first photobook it has been argued that photograms don’t count as photographs because they are not made in camera or after

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an in camera negative. It has also been expressed that British Algae is not a real book because it was not made for commercially distribution and doesn’t include printed text. It has been said that it belongs more to the album than to the book category and that it was not even the first because it was not completed until 1853.

The next photographically illustrated publication to be produced was Record of the Death Bed of C. M. W. this small booklet was produced in the spring of 1844 as a memorial for Catherine Mary Walter who had died on January of that year. This privately printed publication was authored by John Walter III, Catherine’s brother, and consists of 35 pages of printed text with a salted paper print depicting a bust of Mss. Walter as frontispiece. The photograph was taken by Nicholas Henneman who was Talbot’s assistant and partner in charge of the by then recently installed photographic printing establishment in Reading.

This work, as Atkins’s Brittish Algae was not a commercial publication but one designed for private circulation.

The third work was The Pencil of Nature produced also in Talbot’s photographic establishment. It was a much more ambitious project than the previous two and its intention was to promote and illustrate the capacities and uses that photography –and Talbot’s processes in particular- could be put to.

The book was delivered in six installments (24 plates) from June of 1844 to April of 1846 and, as it was usual at the time, the pages of each installment were loose so at the end of the distribution every person could bound the volumes as preferred. Originally planned to consist of 10 to 12 installments, Talbot’s first

publication was a sampler of the potential applications of photography, some of which many enthusiasts foresaw in 1839 at the time of the announcement of the two processes. This work was effective not just in illustrating the functions that photography could have but also its limitations at the time.

From the beginning the project faced many complications and delays due to technical problems. The salted paper process was not yet suitable for the mass production of prints. A great deal of effort and time was necessary to produce by hand each one of the prints, and there was practically no reduction of cost in the production of a high volume of prints, something that inevitably meant a high cost of the final product. Nonetheless, the worst enemy of salted paper prints at the time was their impermanence. Immediately after being distributed the prints were noted to fade severely, something that acted against Talbot’s original goal of promoting the virtues of his invention11.

By the time part VI of the Pencil of Nature was delivered to the publishers, the edition had been reduced from the original 285 copies to less than 100. Talbot’s patent restrictions over the processes precluded the refinements that could be introduced to it by a wider base of practitioners

To this significant but unsuccessful project Talbot followed with more modest enterprises, with the publication of Sun Pictures in Scotland in 1845 in an edition of 120 copies, providing around 7000 prints for the 1846 issue of the Art Union journal and publishing Annals of the artist of Spain in 1847 with 66 calotypes of monuments, sculptures and drawings in a edition of just 25 copies12.

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Figure 3. Early halftone print and plate GEH: 1977:0090:1

Although both British Algae and Record of the Death Bed of C. M. W. fulfilled the expectations of their authors; Talbot’s publications didn’t. Instead he just found complications that pointed out the inadequacy of photography to substitute the previous techniques of illustration.

After Talbot’s early enterprises others followed its path. Of particularly importance was Desiré Blanquart-Evrard who in 1851 established -as Talbot did just a few years earlier- a photographic printing studio in Lille that managed the negatives of photographers like Henri Le Secq, Charles Negré Maxime Du Camp and others. Before starting the production, Blanquart-Evrard dedicated a good amount of research to improve the deficiencies of the salted paper process.

During the years that Blanquart-Evrard’s Imprimerie Photographique was in business (1851-57), at least 20 photobooks and thousands of prints were produced most of which have preserved all their detail and depth, bearing out his claim for permanence.

Against the low efficiency of the printing processes, Blanquart-Evrard applied up to date labor practices and time saving devices. O f most importance is that his was a developing out process which required a

much shorter exposure time than Talbot’s salted paper. To improve the permanence of the prints he introduced gold toning and a thorough washing13.

From Blanquart Evrard’s many projects the one that received greater praise was Maxime Du Camp’s Egypte, Nubie, Palestine et Syrie which images have a directness and stark approach very different from the romantic aesthetic of the time.

From 1860’s to the 1880’s was what Weston Naef calls “the golden age of photographically illustrated books” which was the result of a harmonic coincidence in technological stability in photography –due to the combination of wet collodion negatives and albumen prints- and an expanding market for illustrated books14.

After the initial magnificent attempts to put photography high in the realm of book illustration, a new generation of photographers, professional photographers that is, replaced the first one and continued the agenda set by their predecessors. Being more business driven they were more inclined to provide the market with the established models than to propose novel approaches.

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Figure 4. Commonplace album. Liber amicorum. 1878. GEH 1983:1610 George Eastman House

Photography was never close to displace the other methods of illustration, and of the total number of books published those that included photographs were but a small fraction.

The most famous and valued photographic books known to us today are those produced by famous photographers and are appreciated not for the use of photography in relation to the subject matter they depict but for the historic importance of the author and its status in the modern canon of the medium.

A good portion of these publications are included in the pioneer work the Truthful Lens, catalogue of an exhibition of the same name presented in the Grolier Club of New York in December 1974 and in Helmut Gernsheim’s Incunabula of British Photographic Literature a bibliography of British books and periodicals illustrated with photographs.

There are also many other books illustrated with photographs that don’t have the importance of the classics, but are worth to be considered. They deal with a wide range of subjects from literary works as novels and poems to trade catalogues, technical, scientific and medical reports, art

histories with reproductions of works of art, religious texts, manuals, commemorative publications, etcetera.

A very good panorama of this production can be seen in the catalogues of booksellers that specialize in photographic literature and photographically illustrated books such as those of Charles B.Wood from Cambridge, Paul M. Hertzmann from San Francisco and Margolis & Moss from Santa Fe. In their catalogues they provide a concise and well informed description of the books they offer. It is particularly interesting to appreciate the prices they sell an edifying ranking that is very difficult to catch outside of this context.

As the impetus of modernization continued through the remainder of the nineteenth century and with it the expansion of printed matter, the desire to include photographic images along with text became stronger and the quest for an efficient method to produce permanent prints became more and more urgent.

During the 1860’s the introduction of carbon printing, photogravure, woodburytype and collotype was a leap forward towards that goal, at least as permanence was concerned. This processes

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Figure 5. Fist photograph album Album di disegni fotogenici. 1839. Courtesy of the Metropolitan Museum of Art

however, still needed to be printed in a dedicated process separated from the text, and in the case of the carbon prints it was a genuine photographic process that required great skills and manipulation in its production.

Between 1870 and 1890 different persons were working simultaneously in a method to produce photographic relief printing plates that would be later known as half tone. They were Frederyc Ives in the United States, George Edouard Desbarats and William Leggo in Canada and Meisenbach in Germany Using the halftone printing process was possible to simulate the continuous tone of photographs through its decomposition into small ink dots that blended together when viewed at the adequate distance, this technique had the enormous advantage to be compatible with the type presses in which books were commonly printed. This allowed for the first time since the invention of photography to print at the same type images and text in an efficient and permanent fashion.

History of the photographic album Perhaps the closest relative of the photographic album is the scrapbook which

is a blank book in which people collected and organized objects from the everyday life considered special and worth keeping.

The objects collected can be clippings from a publication, prints (woodcuts, engravings and lithographs) scraps, calling and advertising cards, drawings, botanical specimens, and practically any object that can be attached or inserted into the book format. The clippings were usually augmented by poems, quotes, moral remainders and the like15.

The basic concept of the scrapbook had different variations at different times. During the sixteenth century they were know as commonplace books, these were blank notebooks in which “intellectual young men… recorded good sayings and notable observations”16 it is easy to imagine that at this moment cut original texts wouldn’t have been a good idea as these still were expensive items -something that its going to repeat with photographic prints three centuries later- instead the interesting passages were transcribed and compiled to create a reference and unique notebook, the value of which was in the knowledge it contained rather than in its physical properties.

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Figure 6. Early salted paper print album. ca. 1850 Untitled GEH 1981:0304 George Eastman House

During the following centuries, when printed matter became more readily available, cheaper and to some extent expendable, the habit shifted from textual to image collections and from transcribing to compiling. This practice reached his peak in popularity in Britain at the beginning of the nineteenth century, when scrapbooking was highly popular among children and young ladies of the high social class. The creation of these objects was regarded as an entertaining as well as educational craft project17.

Although scrapbooks are the predecessors of photograph albums there was not much of a mixing or overlapping between the two formats. They are both compilation of bits and pieces of the world as seen by the author. However at the moment of its inceptions, and at least during its first fifty years, photographs didn’t have the status of expendable ephemera that the clippings included in scrapbooks of the time had.

As we will see later, progress in economy and technology influenced the

ways in which photography and photographic albums evolved during the nineteenth century. These circumstances make possible to say that the photographic album had at least two births and maybe three dates of birth.

Drawing a history of the photographic album is comparatively more difficult than drawing the history of the books illustrated with original photographs. Fewer works have been devoted specifically to this subject and for the most part it has been approached almost exclusively from the point of view of the technical and stylistic evolution of the bindings.

Additionally, a good deal of literature has been produced on the sociological analysis of the phenomenon of snapshot photography in the last part of the nineteenth century and the first half of the twentieth century. Although these works touch on the role of albums as containers of these photographs their interest doesn’t reside in providing a panorama of the evolution of the concept and its formats or to promote their conservation.

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Figure 7. Lace bound album Kodak 1893 GEH 1973:0195 George Eastman House

The route of photography into the personal album was very different to that into the book. In my opinion the history of the photograph album consists of three well defined phases. Each of which illustrates in a particular way the shift of photography from craft to industry and its consolidation as a commodity within society.

The first phase, from 1839 to around 1850, saw the creation of the very first photographic albums, which were made by the earliest practitioners of paper photography through the 1840’s and 1850’s.

Although several photographers were using one of the different paper processes during the 1850’s and many of them published their work in photographically illustrated books, few albums exist today from that era in which paper photography was still concentrated in a relatively small number of individuals and the creation of an album of photographs was something rather uncommon.

Examples of this type of albums are the two renowned albums of the Calotype Club of Edinburgh made between1843 and 1856 and which contain prints made by its members (Talbot included). The albums were compiled by Hugh Lyon Tennent and

James Francis Montgomery and are currently in the National Library of Scotland and in the Edinburgh Central Library.

Of special importance is what is thought to be the earliest album containing photographs the Album di Disegni Fotogenici compiled by the Italian botanist Antonio Bertoloni with photogenic drawings, salt prints and letters that he received from William Henry Fox Talbot starting in June 1839 and from his uncle William Thomas Horner Fox Strangways. Talbot had sent Bertoloni specimens of his new art to show him how useful it would be to botanists. This album is now in the Metropolitan Museum of Art.

The prints in these early albums are usually of small format and are mounted one to a page, often times only on the recto side, adhered by the four edges or by the corners. The notebooks onto which the photographs are mounted are very well constructed, made specifically to contain the photographs and bound in leather covers, decorated with embossed and gold titles on the spine and front cover. During this period both the prints and the album that holds them are unique, custom made objects.

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As one can imagine albums from this period are not abundant. Nonetheless they are very important because they show that the relationship between paper photography and the book format is a natural one and so it was established in the early days of the new art. In albums from this period one can recognize the relations between photographic albums and previous formats and practices as the keeping of a journal, the collecting of prints and herbariums. It is also interesting to find in these early albums characteristics that continue in the next generations of albums.

The second stage in the establishing of photograph albums was brought along with the popularization of the photographic portrait through the Carte de Visite format from the 1850’s through around the 1880’s and continued by other formats, like the cabinet card.

This type of album is formed by a collection of studio photographs. By this time photography had greatly expanded and shifted from the hands of amateur photographers and experimenters to those of professional photographers who were doing business by establishing their photographic studios in the main cities where they offered to their clientele taking their likeness at affordable prices. Additionally, portraits of famous public characters like royalty, politicians and men of art, sciences and church could be acquired at book and

stationary stores. This was the first popularization of photography –in paper at least- and with the increased production of portraits the album came as a perfect solution for the organization, display, storage, and conservation of the popular format. However, because of the thick support onto which carte de visite photographs were pasted on they were not compatible with the previously described type of albums which were more appropriate for photographs on a thin support.

The basic design of the carte de visite album consisted of a set of pages on very thick stock connected by paper or cloth hinges. Each of the pages would have its central portion hollowed and would be into these windows were the cards would be inserted.

From the 1850’s to the 1880’s a whole industry flourished to satisfy the demand of this type of albums. Countless decoration styles, sizes, and many other variants were introduced but keeping the basic design. By the 1880’s albumen prints started to be replaced by gelatin POP prints which didn’t need to be mounted onto a rigid secondary support to keep them flat as albumen prints did. This simple technical detail meant in practice that the hollowed card albums -and the industry around them- were no longer needed and within a few years they were replaced.

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Figure 8. Post bound album. Rough & Caldwell studio backdrops ca. 1900 GEH 1977:0444 George Eastman House

This second stage in the evolution of the photographic albums was characterized by the fact that -excluding the portraits of famous characters that were produced in large editions- photographs contained in most albums were unique but the album itself was not. At this point photography as an industry was in clear expansion but the making of photographs as objects had not yet reached the hands of the general audiences.

This changed for the third and final period which started around the 1880’s and 1890’s and continues to this date. In the first years of this period photography continued its expansion into new geographic territories and social niches. It was at this moment that for the first time the common people had the chance to directly make their own photographs, at least as far as the camera manipulation was concerned.

Giving the people the chance to make their own photographs instead of having to go to a professional photography studio greatly increased the amount and variety of prints produced. Once again the album was a perfect way to keep the now more abundant photographs organized, presentable and in good condition.

To keep up with the great amount and diversity of prints countless album designs in a variety of materials, colors and styles were offered. There was, however, the tendency to use structures in which the pages were not connected between each other as it was the case of the albums of the previous years. In this new type of albums the pages were kept together by a thread or ribbon. The same basic idea was later modified by substituting the thread by metal posts, rings or spirals. The pages of these albums are as simple as they can be consisting just of a piece of paper with perforations along the left border through which the holding device passes.

An album of this type with black covers and pages and inscriptions in white ink is the image everybody has of a snapshot album.

This was perhaps the peak in the popularity and use of the photographic album in all it history. Albums and prints of this period are the ones that abound in flea markets and garage sales everywhere.

For the most part the vernacular albums, and all amateur photographs in general, produced after the 1930’s haven’t reached for the most part the public

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institutions and can not be found in the collections of museums and archives. Some of them still remain in possession of their creators or its descendants and others have been and are being disposed of.

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Figure 9. Spiral album.Amateur travel views. 1983 GEH 2004:01495 George Eastman House

Conservation In order to clearly understand the challenges of the conservation of albums and photographically illustrated book it is necessary to understand their function and how that this is carried out. Let’s remember that is because of the valuable function they serve that cultural objects are preserved and not for the objects themselves.

In this second section of the essay we will look at how the valuation, function and use assigned to albums and photobooks have evolved from their original context until the present day; and we will look how Conservation has adapted its response to keep up with the changes in those factors. This brief glance at the evolution in the conservation of albums and photobooks of the last years will help us to identify, contextualize and ultimately to better understand what the current factors at play in the conservation of albums and photobooks. We will finalize exploring which are some of the options available for the preservation of these important elements of our photographic heritage.

Original context and value Let’s start by taking a look to what was the function and value of albums and photobooks in their original context.

At the moment of their creation the function of photographically illustrated books was, like that of other books, to communicate a message to a more or less wide audience. By definition books are published, either in small or large editions, and therefore are freely available for purchase by persons interested in acquire them. The message of the photographically illustrated book could be either artistic or technical in nature; brilliant examples exists that range from artistic portraiture to the documentation of industrial progress and form art history books to astronomical treatises. Regardless of the type of information it presented, the key characteristic of the photographically illustrated book was its unique combination of the medium of photography and the narrative features of the book format, something that allowed it to compose a message with unique features such as sequence, juxtaposition, rhythm and seclusion.

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Figure 10. Photographically illustrated books exhibit. George Eastman House

The photographically illustrated book original place was the personal or institutional library where it was studied, contemplated and brought into dialogue with other documents. Although, as we said before, the content of a published book is open for anybody to see, it is important to note that this message was transmitted in solitude to one reader at the time.

In the case of the photographic album its original function was to present and to preserve for the future the photographic records of events in the life of an individual or a group; but they also had a recreational and educative function for the creation of an album provided an instructive and entertaining activity to the compiler. In that respect they photograph albums were both a medium and end by itself.

It has been said that albums are valuable for people not because of the scenes and persons they depict, but because they trigger the revival of memories and promote the oral transmission of stories that strengthen the personal bonds and provide coherence to the group18

Today, the function and use that we assign to historic albums and photographically illustrated books, and the

context in which they are inserted, differ greatly from those they originally had. Such changes are the result of a different appreciation of their features and value, and product of the historical distance that separates us from their original creators and users.

Modern appreciation It is well known that around the decade of the 1960’s art museums and private collectors started to develop and increasing interest in the vast collections of photographs accumulated until that time since the invention of the process. This awakening was in great part due to the reevaluation of the photographic heritage led by the influential scholars Beamount Newhall and Helmut Gernsheim, their exhibitions and publications, work that they initiated since the 1940’s and 1950’s. It is due to their effort, combined with the advocacy of photographers like Ansel Adams, and Edward Weston – followers, in that respect. of the steps of Alfred Stieglitz and Edward Steichen- that in the 1970’s Photography was rightfully acknowledged as holder of the same aesthetic and stylistic values that had been reserved for painting

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and sculpture until that moment. It was not until very recently that Photography acquired its status of autonomous art.

This episode is relevant to the conservation of albums and photographically illustrated books because with the adoption of albums and photobooks by art museums came a shift in their function and use, and what is of more importance for us, a shift in the way they had been conserved.

Once in the art museum and private collections, albums and photographically illustrated books were subjected to a reevaluation that presented them above all as artistic objects with an esthetic function, a function that was better carried out by showing their formal qualities inside of glass vitrines or, when possible, matted, framed and hung up on gallery walls.

The vigorous emphasis of the initial promoters of photography to present the medium as a valid art form to the art world had also an effect in the then very young discipline of Photograph Conservation whose methods were tailored to highlight photography’s aesthetic function.

If one analyzes the bibliography on the conservation of albums and photographically illustrated books from the 1980’s and 1990’s one will find that one of the most important factors which influenced the direction of the treatment proposals was the desire to bee able to easily access the individual prints of the book or album in order to exhibit them19- 25. This circumstance combined with the tendency towards a more interventive approach that dominated conservation’s practice during its first decades -and which favored the application of restoration treatments as the preferred solution to deterioration over

strategies to prevent it- shaped in great part the response of the field of Conservation to the problematic of albums and photographically illustrated books.

Indeed, the demand for beautiful, pristine, artistic and exhibitable photographs that art museums and private collectors imposed on Conservation in one hand matched perfectly with the creativity supportive, interventive approach that was favored in the field during that time. Together these circumstances created an attractive set of conditions for in which the long known challenge of balancing preservation and access, of albums and photographically illustrated books in this case, were faced.

Just between 1985 and the year 2000 four major meetings were held26 and dozens of articles27 were published on the conservation of albums and photographically illustrated books.

The reduction in the number of published articles and presentations that can be observed in recent years might give the idea that the matter regarding the conservation of albums and photobooks is settled and there is not much to be added to it. However, it is my opinion that this recess on the activity of the conservation community on this subject corresponds to a new redefinition or adjustment in the parameters that ultimately define the conservation of these objects. In other words it is being experienced an adjustment in the value, function and use of albums and photographically illustrated books. In addition to the hiatus of the conservation community there are other circumstances that signal an important change in the appreciation and care of historic photograph albums and photographically illustrated

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books within collecting institutions and private collectors.

The evolution has operated not only on this but also in the other factors that together define the conservation of albums and photographically illustrated books. In the next pages we will see which they are and how they have evolved.

Factors that influence conservation As we all know and it has been illustrated here, there is more in the conservation of a given cultural artifact than just the problematic of their specific materials and their behavior over time. Well before the technical aspects of the conservation of a cultural object are looked at, the value of that object had to be considered and its social, cultural, religious, and artistic merits weighed. Only after passing through this process – which is not carried out formally but it rather occurs naturally- is that the objects whose value and function warrant the effort to keep them are examined in view of their physical conservation. In addition to the Material and Valuation factors there is a third factor that consists of the available resources, the set of tools, methods, knowledge and expertise that can be applied to the preservation of a valuable cultural object (first factor) with a specific technique and conservation problems (second factor).

Figure 11.Factors at play in the conservation of a cultural object.

To go back to the matter of this text, applying this tri-factor model to the conservation of albums and photobooks I

will try to describe the circumstances that define it in today’s context.

1st Value and function The fact that a change in the value and appreciation of photographs is in operation can be recognized in apparently trivial details like for example the photographs that illustrate the publications about the history of albums and photographically illustrated books, the proliferation of which28- 33 is already a clear sign of the change. In this publications books and albums are presented as a whole, as an indivisible unit in which the container of the photographs their sequential order, and lay out on the pages are as essential bearers of the message as the images themselves. A vision that is related with the consolidation and spread of the approach of material culture studies, which acknowledges the important role of the physicality of the objects to understand their role in society34- 39.

Furthermore, the steady increase of the financial value of photographs and their recent record breaking prices are progressively closing the gap that existed in the art market between photographs and artworks in other media. Consequently there is being an increase in the acknowledgement and open discussion of the conservation issues of photographs in galleries and auction houses40.

Value &

Function

Aging

Characteristics

Tools &

Resources All this new circumstances which

might appear unrelated to the practical interest of photograph conservation are in fact factors that combined to ultimately determine what objects are worth to preserve and which ones are not, and what compromises is acceptable to make –material integrity, appearance, functionality,

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cost- in order to preserve an object, that is to have a functional, usable object.

2nd Aging characteristics The second factor would be that of the materiality of the objects and how they behave and influence condition and the object’s ability to carry out its function and to be used.

This is what conventionally is seen as the aspect more closely pertaining to the area of conservation and where a good deal of information produced by the field in the previous decades can be found. This knowledge has focused mainly in the understanding of how albums and photobooks of different periods were constructed and how their elements work together and most importantly how they behave over time. From the valuable literature about the techniques and materials used in the elaboration of albums and photobooks over time41- 50 is possible to grasp the recognized fundamental importance of the book structure in the conservation of albums and photographically illustrated books51. That what makes albums and photobooks different from other photographs: the fact that the photographs are connected to form an ensemble is precisely the primordial issue in the problematic of their conservation and the inadequate and unnecessary handling for research and exhibition its basic causes.

3rd Tools and resources In the present day the conservation field, and particularly photograph conservation has moved away form the inteventive approach of its early years and in the current day a more cautious and conservative attitude,

with an emphasis in preventive conservation is preferred52-53. A steady growth of both, the size of the collections and the demand of access, while at the budget and resources available to the institutions remains the same dictates to take an approach that has the broadest impact possible in the collection instead of working in a item by item basis.

Conservation for its new task -to maintain the object, and the values that make it significant, unaltered for the longest possible time- has adopted and taken advantage of technologies that very well match its broad reaching and non invasive approach the most important of which is the control of ambient conditions in storage, reading and exhibition spaces that slows the rate of chemical degradation with excellent results. For physical induced deteriorations however there was not available until recently a similarly effective and practical technology that could be used. Today the digital technologies are having a revolutionary influence in communication and practically in every aspect of life; the application of which hasn’t been widely adopted for the benefit of conservation but can be seen in the websites like the ones of the New York Public Library, the British Library, the Tate Gallery and the Library of Congress.

Although they were not developed specifically with conservation’s concerns in mind, these resources offer world wide access to digital surrogates of the objects in their collections and besides showcasing their importance and that of the institutions, they also contribute to prevent the damages caused by the excessive handling of the original objects.

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Conclusion No definitive solutions can be prescribed for the problematic of the conservation of albums and photographically illustrated books and even less so in a time in which the established paradigms are constantly changing and being redefined, but something that it is possible and hopefully useful for the conservation community is to try to define and articulate the complex setting in which that problematic is inserted and the resources and tools at our disposal to counteract it. One more of those tools is what this humble essay aspires to be, I am convinced that there is benefit to be gained of looking back at the evolution of our profession and its practices and around to see where it is inserted, what factors influence it, what interests it serves and what goals it aims to fulfill.

One of the most important lesson of the exercise of looking at the evolution in the valuation and care of such complex objects –materially and conceptually- as our historic albums and photographically illustrated books is that it perfectly illustrates the function of conservation as the keeper of cultural objects and their functionality and not just of the cultural objects themselves. There is not such thing as a pure, ideologically free conservation, Not just the technical aspects of conservation are contingent their criteria and precepts are movable and evolve along with the evolution of the value, function and use that society grants or denies to any given cultural object.

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Notes

12 Helmut Gernsheim. Incunabula of British Photographic Literature (London: Scholar Press, 1984). p. 206-7

1 See the bibliography. 2 By photographic image I mean an image that was produced by photographic technology but which is not necessarily a photograph ie. a photomechanical print.

13 Gerda Peterich. “Louis Désiré Blanquart-Evrard: The Gutenberg of Photography” Image 6, no. 4 (1957): 83 14 Lucien Goldschmit and Weston Naef. The Truthful Lens (New York: The Grolier Club, 1980). P. 32

3 Stuart Bennet. “Photography as book illustration 1839-1900.” in Collectible Books: Some New Paths (New York: Bowker, 1979), p.155 15 Barbara Zucker. “Preservation of Scrapbooks

and Albums” Library of Congress, (1998). http://www.loc.gov/preserv/care/scrapbk.html (accessed March 6, 2007).

4 William Henry Fox Talbot, The pencil of nature Facismile edition. (New York: Da Capo, 1969).

16 “Scrapbooks, the Smiling Villains.” http://www.well.com/user/bronxbob/resume/54_7-93.html

5 Martin Parr. The Photobook: A History; Lucien Goldschmit, and Naef Weston. The Truthful Lens; Andrew Roth. The open book: a history of the photographic book from 1878 to the present. (accessed April 25, 2007)

17 Andrea Immel. “Frederick Lock's Scrapbook: Patterns in the Pictures and Writing in the Margins.” The Lion and the Unicorn 29, no. 1 (January 2005): 67.

6 Louis Jacques Mandé Daguerre. An historical and descriptive account of the various processes of the daguerréotype and the diorama (London: McLean & Nutt, 1839). p.2

18 Martha Langford. Suspended Conversations. The afterlife of Memory in Photographic Albums (Montreal: McGill University Press, 2001).

7 William Crawford. The keepers of light: a history and working guide to early photographic processes (Dobbs Ferry N.Y.: Morgan & Morgan, 1979) p.1 19 Betty Fiske. “Survey of Curators Points of

View on Disassembly of Photograph Albums” in Postprints of the Photographic Materials Group Winter Meeting. February 1st & 2nd 1985. (AIC, 1985).

8 Stuart Bennet. “Photography as book illustration 1839-1900,” in Collectible Books: Some New Paths (New York: Bowker, 1979), p. 155

20 Gregory Hill. “The Conservation of a Photograph Album at the National Archives of Canada” Journal of the American Institute for Conservation 30, no. 1 (1991).

9 Lucien Goldschmit and Naef Weston. The Truthful Lens (New York: The Grolier Club, 1980). p.11. 10 Larry Schaaf. Sun gardens : Victorian photograms (New York: Aperture, 1985) p. 8 21 Quentin Bajac. “Regards croises sur un objet

complexe. Exposer L'album” in L'album Photographique. Histoire et Conservation d'un Object (Paris: Section française de l'Institut international de Conservation, 1998), 63-67.

11 William Henry Fox Talbot. The pencil of nature Facsimile edition (New York: Da Capo, 1969).

22 Jerome Monnier. “Restauration d´un Album Chinois du Musee d´histoire de Lile” in L'album

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Photographique. Histoire et Conservation d'un Object (Paris: Section française de l'Institut international de Conservation, 1998), 49-52.

(New York: PPP Editions in association with Ruth Horowitz, 2001). 32 Martin Parr. The Photobook: A History (New York: Phaidon Press Limited, 2004). 23 Lyzanne Gann. “The Conservation of Four

Albums from the Eduard Isaac Asser Collection of the Rijksmuseum, Amsterdam” in L'album Photographique. Histoire et Conservation d'un Object (Paris: Section française de l'Institut international de Conservation, 1999), 55-57.

33 Andrew Roth. The open book: a history of the photographic book from 1878 to the present (Goteborg: Hasselblad Center, 2004). 34 Carol Armstrong. Scenes in a Library (Cambridge: MIT Press, 1998). 24 Olivia Primanis. “The Design of a Photo

Album Structure with Removable Leaves: Rebinding Photographs Vol. III by Lewis Carroll” The Book and Paper Group Annual 17 (1999).

35 Glenn Willumson. “The Photo Album as Cultural Artifact” in L'album Photographique. Histoire et Conservation d'un Object (Paris: Section française de l'Institut international de Conservation, 1998). 39-48. 25 Mary Schobert. “Conservation Considerations

for a Thomas Eakins Photograph Album” in Conservation of Scrapbooks and Albums (Washington: AIC, 2000), 33-36.

36 Glenn Willumson. “The Getty Research Institute: Materials for a New Photo-History” History of Photography 22, no. 1 (Spring 1998): 31-39. 26 5th Annual Meeting of the Photographic

Materials Group of the AIC, Philadephia1985; meeting of the Section française de l'Institut international de conservation, Paris 1998; meeting of AIC’s Book and Paper and Photographic Materials Groups joint meeting, Saint Louis 1999; meeting of the Photographic Materials Group of UK’s Institute of Conservation, Birmingham 1999.

37 Alison Nordstrom. Voyages Performed. Photography and Travel in the Gilded Era. Daytona Beach: Daytona Beach Comunity College, 2000. 38 Martha Langford. Suspended Conversations. The afterlife of Memory in Photographic Albums (Montreal: McGill University Press, 2001). 27 See the bibliography arranged in chronological

order. 39 Barbara Levine. Snapshot Chronicles. Inventing the American Photo Album (New York: Princeton Architectural Press, 2006).

28 Lucien Goldschmit and Naef Weston. The Truthful Lens (New York: The Grolier Club, 1980). 40 Sotheby’s webpage and printed catalogues. 29 Helmut Gernsheim. Incunabula of British Photographic Literature (London: Scholar Press, 1984).

41 Gary Frost. “Historical Prototypes for Photographic Albums” in Postprints of the Photographic Materials Group Winter Meeting. February 1st & 2nd 1985 (AIC, 1985). 30 Boldeian Library. Photography & the Printed

Page in the Nineteenth Century (Oxford: Boldeian Library, 2001).

42 Bryan Clarke. “Some Observations on the Development of Albums Containing Photographs and Aspects of their Deterioration” in The Imperfect Image: Photographs their Past

31 Andrew Roth. The book of 101 books: seminal photographic books of the twentieth century

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Present and Future (Windermere: Centre for Photographic Conservation, 1992), 69-77.

Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 37-44. Washington: AIC, 2000.

43 Olivia Primanis. “The Design of a Photo Album Structure with Removable Leaves: Rebinding Photographs Vol. III by Lewis Carroll” The Book and Paper Group Annual 17 (1999): 83-94.

52 Anne Cartier-Bresson and P.E. Nyeborg. “De Disderi a la Photographie Lettriste. Les Choix D'intervention Sur les Albumes Photographiques á la Ville de Paris,” in L'album Photographique. Histoire et Conservation d'un Object (Paris: Section française de l'Institut international de Conservation, 1999), 27-38.

44 Jane Rutherston, “Victorian Album Structures” Paper Conservator 23 (1999): 13-25. 45 Terry Boone, Andrew Robb, and Mary Wootton. “The structure’s the Thing Problems in the Repair of Nineteenth-Century Stiff-Paged Photograph Albums” in Conservation of Scrapbooks and Albums (Washington: AIC, 2000), 37-44.

53 Maria Fredericks. “Recent Trends in Book Conservation and Library Collections Care,” Journal of the American Institute for Conservation 31, no. 1 (1992).

46 Meg Brown, “Developing a Conservation Survey Database for Photograph Albums” in Conservation of Scrapbooks and Albums (Washington: AIC, 2000), 65-69. 47 Meg Brown. “Glossary of Terms for the Photograph Album Survey” in Conservation of Scrapbooks and Albums (Washington: AIC, 2000), 85-92. 48 Olivia Primanis. “Nineteenth-Century Photograph Albums: Structure, Condition, and Treatments” in Conservation of Scrapbooks and Albums (Washington: AIC, 2000), 47-64. 49 Richard Horton. “Historical Photo Albums and Their Structures” in Conservation of Scrapbooks and Albums (Washington: AIC, 2000), 13-20. 50 Richard Horton. “Glossary of terms relating to photo albums,” in Conservation of Scrapbooks and Albums (Washington: AIC, 2000), 21-28. 51 Boone, Terry, Andrew Robb, and Mary Wootton. “The structure’s the Thing Problems in the Repair of Nineteenth-Century Stiff-Paged Photograph Albums.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of

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Alvarez de Toledo, Sandra, and Marc Pataut. “L'album d'images des enfants psychotiques de l'hopital de jour Aubervilliers 1981-1982.” In L'album Photographique. Histoire et Conservation d'un Object, 119-127. Paris: Section française de l'Institut international de Conservation, 1998.

Armstrong, Carol. Scenes in a Library. Cambridge: The MIT Press, 1998.

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Bajac, Quentin. “Regards croises sur un objet complexe. Exposer L'album.” In L'album Photographique. Histoire et Conservation d'un Object, 63-67. Paris: Section française de l'Institut international de Conservation, 1998.

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Boone, Terry, Andrew Robb, and Mary Wootton. “The structure’s the Thing Problems in the Repair of Nineteenth-Century Stiff-Paged Photograph Albums.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 37-44. Washington: AIC, 2000.

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Cartier Bresson, Anne, and P.E. Nyeborg. “De Disderi a la Photographie Lettriste. Les Choix D'intervention Sur les Albumes Photographiques á la Ville de Paris.” In L'album Photographique. Histoire et Conservation d'un Object, 27-38. Paris: Section française de l'Institut international de Conservation, 1999.

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Porter, Mary K. “The Conservation of two albums with Photographs.” In Postprints of the Photographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia.. AIC, 1985.

Primanis, Olivia. “The Design of a Photo Album Structure with Removable Leaves: Rebinding Photographs Vol. III by Lewis Carroll.” The Book and Paper Group Annual 17 (1999): 83-94.

———. “Nineteenth-Century Photograph Albums: Structure, Condition, and Treatments.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 47-64. Washington: AIC, 2000.

Quetin, Michel. “L'album Photographique. Une Observatoire Original Indispensable de Points de Vue Individuels dur le Monde.” In L'album Photographique. Histoire et Conservation d'un Object, 7-17. Paris: Section française de l'Institut international de Conservation, 1998.

Roth, Andrew. The book of 101 books: seminal photographic books of the twentieth century. New York: PPP Editions in association with Ruth Horowitz, 2001.

———. The open book : a history of the photographic book from 1878 to the present. Go teborg: Hasselblad Center, 2004.

Rutherston, Jane. “Victorian Album Structures.” Paper Conservator 23 (1999): 13-25.

Schaaf, Larry. Sun gardens : Victorian photograms. New York: Aperture, 1985.

Schobert, Mary. “Conservation Considerations for a Thomas Eakins Photograph Album.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American

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Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 33-36. Washington: AIC, 2000.

Schultze, Rolf. Books illustrated with original photographs: notes on a collection and bibliography. Wien, 1961.

———. “Scottish books illustrated with original photographs.” The library 4, no. 1 (1963): 3-12.

———. Victorian Book Illustration with Original Photographs and by Early Photomechanical Processes. London: National Book League, 1962.

Section française de l'Institut international de Conservation, ed. L'album Photographique. Histoire et Conservation d'un Objet. Paris: Section française de l'Institut international de Conservation, 1999.

Sharp, Helen. “Conservation Problems of an Early 20th Century Album, A Case Study.” Institute of Conservation. Photographic Materials, 2002. http://www.instituteofconservation.org.uk/groups/phmcg/resources/sharp_album.htm.

Shenton, Helen. “Developments in the Display of Books at the Victoria and Albert Museum.” Paper Conservator 21 (1997): 63-78.

Smith, Merrily. “Scrapbooks in the Library of Congress.” In Preserving America's Performing Arts, 73-77. New York: Theatre Library Association, 1985.

Sweetman, Alex. “Photographic book to photobookwork: 140 years of photography in publication.” CMP Bulletin 5, no. 2 (1986): 1-32.

Van Haaften, Julia. “Original Sun Pictures: A Check List of the New York Public Library's Holdings of Early Works Illustrated with Photographs.” Bulletin of the New York Public Library 80, no. 3 (Spring 1977).

Wahl, Laura. “Victorian Photograph Album Study.” ICOM. Photographic Records Newsletter, April 2004. http://icom-cc.icom.museum/Documents/WorkingGroup/Photographic/PhotographicRecordsnewsletter04-2004.pdf (accessed March 6, 2007).

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Weaver, Gawain. “Capital Portraits: Conservation of the Topley Studio index.” The Association of North American Graduate Programs in the Conservation of Cultural Property Student Conference, 2005.

Wiedemann, M. “Sur quelques livres illustrés de photographies au XIXe siécle.” Les Cahiers de la photographie, no. 6 (1982): 27-35.

Willumson, Glenn. “The Getty Research Institute: Materials for a New Photo-History.” History of Photography 22, no. 1 (Spring 1998): 31-39.

———. “Makin Meaning. Displaced Materiality in the Library and Art Museum.” In Photographs Objects Histories. On the Materiality of Images, 62-80. New York: Routledge, 2004.

———. “The Photo Album as Cultural Artifact.” In L'album Photographique. Histoire et Conservation d'un Object, 39-48. Paris: Section française de l'Institut international de Conservation, 1998.

Zucker, Barbara. “Preservation of Scrapbooks and Albums.” Library of Congress, December 1998. http://www.loc.gov/preserv/care/scrapbk.html (accessed March 6, 2007).

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Conservation bibliography listed in chronological order

Albright, Gary. “Photograph Albums. Some Thoughts on Treatment.” In Postprints of the Photographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia.. AIC, 1985.

Boyd, Jane. “Adjustable Cradles.” In Postprints of the Photographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia.. AIC, 1985.

Fiske, Betty. “Survey of Curators Points of View on Disassembly of Photograph Albums.” In Postprints of the Photographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia.. AIC, 1985.

Frost, Gary. “Historical Prototypes for Photographic Albums.” In Postprints of the Photographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia.. AIC, 1985.

Hamburg , Doris. “Storage Alternatives for Photographic Albums.” In Postprints of the Photographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia.. AIC, 1985.

Porter, Mary K. “The Conservation of two albums with Photographs.” In Postprints of the Photographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia.. AIC, 1985.

Smith, Merrily. “Scrapbooks in the Library of Congress.” In Preserving America's Performing Arts, 73-77. New York: Theatre Library Association, 1985.

Moor, Ian, and Angela Moor. “Physical Conservation and Restauration of Photographs.” Paper Conservator 12 (1988): 86-92.

Hendriks, Klaus. “Conservation of Albums, Scrapbooks and Portfolios.” In Fundamentals of Photograph Conservation: A study Guide, 325-330. Toronto: Lugus, 1991.

Hill, Gregory. “The Conservation of a Photograph Album at the National Archives of Canada.” Journal of the American Institute for Conservation 30, no. 1 (1991): 75-88.

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Clarke , Bryan. “Some Observations on the Development of Albums Containing Photographs and Aspects of their Deterioration.” In The Imperfect Image: Photographs their Past Present and Future, 69-77. Windermere: Centre for Photographic Conservation, 1992.

Botelho, Alexandra. “A Report on the Photo Album Condition Assessment Survey for the International Museum of Photography and Film at George Eastman House.” 1997.

Bajac, Quentin. “Regards croises sur un objet complexe. Exposer L'album.” In L'album Photographique. Histoire et Conservation d'un Object, 63-67. Paris: Section française de l'Institut international de Conservation, 1998.

Bonnard, Isabelle. “La restauration d'une page d'un document relie. Intervenir sans demonter.” In L'album Photographique. Histoire et Conservation d'un Object, 59-62. Paris: Section française de l'Institut international de Conservation, 1998.

Monnier, Jerome. “Restauration d´un Album Chinois du Musee d´histoire de Lile.” In L'album Photographique. Histoire et Conservation d'un Object, 49-52. Paris: Section française de l'Institut international de Conservation, 1998.

Pinet, Helen. “Cet album que vous publiez correspond a mon desir.” In, 69-76. Paris: Section française de l'Institut international de Conservation, 1998.

Cartier Bresson, Anne, and P.E. Nyeborg. “De Disderi a la Photographie Lettriste. Les Choix D'intervention Sur les Albumes Photographiques á la Ville de Paris.” In L'album Photographique. Histoire et Conservation d'un Object, 27-38. Paris: Section française de l'Institut international de Conservation, 1999.

Gann, Lyzanne. “The Conservation of Four Albums from the Eduard Isaac Asser Collection of the Rijksmuseum, Amsterdam.” In L'album Photographique. Histoire et Conservation d'un Object, 55-57. Paris: Section française de l'Institut international de Conservation, 1999.

Primanis, Olivia. “The Design of a Photo Album Structure with Removable Leaves: Rebinding Photographs Vol. III by Lewis Carroll.” The Book and Paper Group Annual 17 (1999): 83-94.

Rutherston, Jane. “Victorian Album Structures.” Paper Conservator 23 (1999): 13-25.

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Institute of Conservation. Photographic Materials Conservation Group. “Review of Preservation and Conservation of Albums and Photographically Illustrated Printed Books. Birmingham 22nd–23rd July 1999.” PhMCG newsletter, November 1999. http://www.instituteofconservation.org.uk/groups/phmcg/resources/newsletter4_pt.2.htm (accessed April 25, 2006).

Boone, Terry, Andrew Robb, and Mary Wootton. “The structure’s the Thing Problems in the Repair of Nineteenth-Century Stiff-Paged Photograph Albums.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 37-44. Washington: AIC, 2000.

Brown, Meg. “Developing a Conservation Survey Database for Photograph Albums.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 65-69. Washington: AIC, 2000.

———. “Glossary of Terms for the Photograph Album Survey.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 85-92. Washington: AIC, 2000.

Brown, Barbara. “Photographs in Albums: Observations, Treatments Comments, and Some Survey Results.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 69-79. Washington: AIC, 2000.

Downey, Laura. “Images of the Southwest: A Tourist Album.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 3-12. Washington: AIC, 2000.

Horton, Richard. “Historical Photo Albums and Their Structures.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic

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Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 13-20. Washington: AIC, 2000.

———. “Glossary of terms relating to photo albums.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 21-28. Washington: AIC, 2000.

Penichon, Sylvie. “Champs Delicieux: An Album of Twelve Rayographs by Man Ray.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 29-32. Washington: AIC, 2000.

Primanis, Olivia. “Nineteenth-Century Photograph Albums: Structure, Condition, and Treatments.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 47-64. Washington: AIC, 2000.

Schobert, Mary. “Conservation Considerations for a Thomas Eakins Photograph Album.” In Conservation of Scrapbooks and Albums. Postprints of the Book and Paper Group and Photographic Materials Group Joint Session at the 27th Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri, 33-36. Washington: AIC, 2000.

Botelho, Alexandra. The Durieu Album: Early Nineteenth Century French Photographic Techniques and Studies of the Nude Figure. Capstone Research Project. Advanced Residency Program in Photograph Conservation. George Eastman House & Image Permanence Institute, 2001.

Sharp, Helen. “Conservation Problems of an Early 20th Century Album, A Case Study.” Institute of Conservation. Photographic Materials, 2002. http://www.instituteofconservation.org.uk/groups/phmcg/resources/sharp_album.htm.

Wahl, Laura. “Victorian Photograph Album Study.” ICOM. Photographic Records Newsletter, April 2004. http://icom-

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cc.icom.museum/Documents/WorkingGroup/Photographic/PhotographicRecordsnewsletter04-2004.pdf (accessed March 6, 2007).

Maes, Herman, and Nathalie Minten. “The Gandhara Battle, Treatment of a Photographic Album.” Topics in Photographic Preservation 11 (2005): 80-94.

Weaver, Gawain. “Capital Portraits: Conservation of the Topley Studio index.” The Association of North American Graduate Programs in the Conservation of Cultural Property Student Conference, 2005.