the preservation of 19 -century photographic print...
TRANSCRIPT
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The Preservation of 19th-Century
Photographic Print Materials
Debra Hess Norris, Chair, Art Conservation Department University of Delaware , USA
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The Preservation of 19th-Century
Photographic Print Materials
Debra Hess Norris, Chair, Art Conservation Department University of Delaware , USA
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Photographic Collections are Varied
Early direct positive processes
Print Materials
Negative Materials
Photographic albums
Framed materials
Southworth & Hawes: [Young Girl with Portrait of George Washington] ca. 1850.
Whole-plate daguerreotype.
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Photographic Collections are Varied
Early direct positive processes
Print Materials
Negative Materials
Photographic albums
Framed materials
Francis Frith, Interior Hall of Columns, Karnac, Albumen Photograph,
George Eastman House
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Photographic Collections are Varied
Early direct positive processes
Print Materials
Negative Materials
Photographic albums
Framed materials
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Photographic Collections are Varied
Early direct positive processes
Print Materials
Negative Materials
Photographic albums
Framed materials
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19th Century Photographic Print Materials
Key Topics to Consider
Timeline & Identification
Department of PhotographsMetropolitan Museum of Art
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19th Century Photographic Print Materials
Key Topics to Consider
Timeline & Identification
Deterioration Problems
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19th Century Photographic Print Materials
Key Topics to Consider
Timeline & Identification
Deterioration Problems
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19th Century Photographic Print Materials
Key Topics to Consider
Timeline & Identification
Deterioration Problems
Preservation Guidelines
and Priorities
Visible Light Monitoring, Metropolitan Museum of Art
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19th Century Photographic Print Materials
Key Topics to Consider
Timeline & Identification
Deterioration Problems
Preservation Guidelines
and Priorities
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1840 1855
1910
Popular 19th Century Photographic Print Processes Timeline
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1840 1855
1910
Salted Paper
Collodion Chloride Papers
Cyanotype Silver Gelatin
Albumen
Platinum
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Structure of Photographic Print Materials
Final Image Material
Primary Support
Baryta
Binder Layer
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Common 19th Century Photographic Print Materials
Salted Paper
Albumen
Silver Gelatin
Collodion Chloride
Printing Out
Platinum
Cyanotype
ca. 1845 salted paper print
21.1 x 15.7 cm. Museum Collection
George Eastman House
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Common 19th Century Photographic Print Materials
Salted Paper
Albumen
Silver Gelatin
Collodion Chloride
Printing Out
Platinum
Cyanotype
ca. 1845 salted paper print
21.1 x 15.7 cm. Museum Collection
George Eastman House
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Common 19th Century Photographic Print Materials
Salted Paper
Albumen
Silver Gelatin
Collodion Chloride
Printing Out
Platinum
Cyanotype
Anna Atkins, Cyanotype
Equisetum SylvaticumJ Paul Getty Museum
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Common 19th Century Photographic Print Materials
Salted Paper
Albumen
Silver Gelatin
Collodion Chloride
Printing Out
Platinum
Cyanotype
Anna Atkins, Cyanotype
Equisetum SylvaticumJ Paul Getty Museum
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Salted Paper
Images from the Image Permanence Institute, Graphics Atlas: www.graphicatlas.org
1841 – 1860
No binder layer
Photolytic silver image
produced by light
Purplish-brown image color
Faded silver image
May be abraded
Final image material
Paper support
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Salted Paper
Images from the Image Permanence Institute, Graphics Atlas: www.graphicatlas.org
1841 – 1860
No binder layer
Photolytic silver image
produced by light
Purplish-brown image color
Faded silver image
May be abraded
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Albumen Photograph
Images from the Image Permanence Institute, Graphics Atlas: www.graphicatlas.org
1855 – 1895
Egg white binder on thin rag
paper support
Photolytic silver image
produced by light
Typically gold toned
Often mounted
Purplish-brown image color
Yellowed highlights
Crazed egg white surface
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Albumen Photograph
Images from the Image Permanence Institute, Graphics Atlas: www.graphicatlas.org
1855 – 1895
Egg white binder on thin rag
paper support
Photolytic silver image
produced by light
Typically gold toned
Often mounted
Purplish-brown image color
Yellowed highlights
Crazed egg white surface
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Albumen Photograph
1855 – 1895
Egg white binder on thin rag
paper support
Photolytic silver image
produced by light
Typically gold toned
Often mounted
Purplish-brown image color
Yellowed highlights
Crazed egg white surface
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Albumen Photograph
1855 – 1895
Egg white binder on thin rag
paper support
Photolytic silver image
produced by light
Typically gold toned
Often mounted
Purplish-brown image color
Yellowed highlights
Crazed egg white surface
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Silver Gelatin Printing Out Paper
1885 – 1940
Gelatin binder layer
Paper coated with baryta –
glossy surface
Photolytic silver image may
fade or discolor
Typically gold toned
Often mounted
Purplish-brown image color
Gelatin may flake or abrade
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Silver Gelatin Printing Out Paper
1885 – 1940
Gelatin binder layer
Paper coated with baryta –
glossy surface
Photolytic silver image may
fade or discolor
Typically gold toned. May be
retouched.
Often mounted
Gelatin may flake or abrade
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Collodion Chloride Matte
1894 – 1914
Collodion binder layer
Paper coated with thin layer
baryta –matte surface
Silver image toned with gold
and platinum
Very permanent
Collodion may abrade
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Collodion Chloride Glossy
1894 – 1914
Collodion binder layer
Paper coated with thick layer
baryta – glossy surface
Silver image toned with gold
Image may fade
Easily abraded
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Platinum Print
1890 – 1920
No binder layer
Based on light sensitivity of
iron salts
Platinum image
Image will not fade
Paper support may yellow
A. Marshall Studio Platinum print
Private Collection
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Platinum Print
1890 – 1920
No binder layer
Based on light sensitivity of
iron salts
Platinum image
Image will not fade
Paper support may yellow
A
Final image material
Paper support
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Platinum Print
1890 – 1920
No binder layer
Based on light sensitivity of
iron salts
Platinum image
Image will not fade
Paper support may yellow
A
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Platinum Print
1890 – 1920
No binder layer
Based on light sensitivity of
iron salts
Platinum image
Image will not fade
Paper support may yellow
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Cyanotype
1890 – 1920
No binder layer
Based on light sensitivity of
iron salts
Blue pigment image
May fade in light
Anna Atkins, Cyanotype
Equisetum SylvaticumJ Paul Getty Museum
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Photograph Process Identification – Review
Surface sheen
Image tonality
30X magnification
Mounting style
Image fading
Binder layer cracking
Binder abrasion
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Photograph Process Identification – Review
Surface sheen
Image tonality
30X magnification
Mounting style
Image fading
Binder layer cracking
Binder abrasion
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Photograph Process Identification – Review
Surface sheen
Image tonality
30X magnification
Mounting style
Image fading
Binder layer cracking
Binder abrasion
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Preservation Guidelines
Environmental control
essential
Use high quality enclosures
Handle with care
Protect from dust and
abrasion
Emergency plan established
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Preservation Guidelines
Environmental control
essential
Use high quality enclosures
Handle with care
Protect from dust and
abrasion
Emergency plan established
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Preservation Guidelines
Environmental control
essential
Use high quality enclosures
Handle with care
Protect from dust and
abrasion
Emergency plan established
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