History and Conservation of Albums and Photographically Illustrated Books for Web

8/11/2019 History and Conservation of Albums and Photographically Illustrated Books for Web

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History and Conservationof

Albums and Photographically Illustrated Books

Gustavo LozanoAndrew W. Mellon Fellow, fourth cycle

Advanced Residency ProgramIn Photograph Conservation

Mark OstermanAdvisor

May 2007


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Acknowledgements

First and foremost I would like to express my gratitude to the Andrew W. Mellon Foundation forthe fellowship that allowed me to attend the Advanced Residency Program and for its support andcommitment to conservation. A special mention deserves Mr. Grant Romer whom with hisinspiring 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 andpassion for photography. Thanks to our colleagues in Paris and Mexico who warmly received usduring our visits to their institutions and who openly shared with us the treasures in theircollections.

In the George Eastman House I want to thank to Joseph Struble from the PhotographyDepartment and to Rachel Stuhlman and the staff of the Menschel Library for sharing with me themagnificent objects the museum has under their care.

Thanks to Mark Osterman, Ralph Wiegandt and Jiuan Jiuan Chen for sharing their experienceand knowledge on the making and preserving of photographs.

Finally thank to my colleagues of the group of Photograph Conservation in Mexico andparticularly to my mentors Fernanda Valverde and Fernando Osorio who lead me towardsphotograph conservation with their talents.


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Abstract

This essay explores the history of the photograph album and the photographically illustrated bookand analyzes the evolution of their valuation, function and conservation.

The work departs from the traditional conservation approach in which the materiality of theobject and its condition are emphasized, often overlooking the context in which the object isinserted and the appropriateness of its condition is weighed. In this essay the neglectedimportance that factors such as the valuation andfunctionof albums and photobooks have in theirconservation 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 onthe body of knowledge developed by the field on this area and to evaluate its appropriateness andapplicability under todays circumstances.

This exercise is all the more appropriate in a time in which a situation of both, shrinking financialresources for conservation and an increasing demand for access are being experienced; but is alsoa time when the impact and opportunities offered by the digital technologies to conservation andcollecting 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- 1stValue and function- 2ndAging characteristics- 3rdTools 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 articulatewhat the fundamental factors at play in theconservation of albums and photographicillustrated books are.

The decades of the 1980s and 1990swere of great activity in the conservation ofphotograph albums and photographicallyillustrated books. During this period manyarticles were produced1 and severalmeetings held which presented works on thetopic. Many of these projects focused on thematerial characteristics of albums andphotobooks, in particular the structures ofthe books, the deterioration that they presentand provided case studies of remedialtreatment.

No attempt has been made to analyzethe problematic of these two formats beyondtheir material deterioration and or to provideintegral solutions beyond remedial treatmentand reformatting. Although satisfactory fortheir time, under today practices andstandards many of the solutions proposedthen seem inadequate to say the least. Andso the problem persists, todays conservators

lack a set of parameters that help him or herto delineate a response to the complexchallenge to the conservation of photographalbums and photographically illustratedbooks.

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 inwhich the valuation and conservation ofalbums and photobooks takes and has takenplace, in order to identify the contingent andare the unconditional aspects that shape theproblem. Based on this understanding in thefinal part of this essay new uses that dontconflict with the conservation of theseobjects are proposed.

Definition and distinction

Prior to review the history of albums andphotographically illustrated books I considerimportant to define and distinguish betweenboth concepts. Although the situation seemsto be changing in recent times, most peopleuse the generic term album to designate allbound containers of photographs.

Let us begin with two very simpledefinitions which nonetheless point out animportant distinction. A photographically


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illustrated book,or photobookfor shorter, isa published book illustrated with realphotographs. A photograph album is aunique compilation of photographsassembled into a blank book by anindividual or a group of persons.

Although these concepts may seemclear and straight forward at first, when infront of one of these objects it is sometimesdifficult, or even impossible, to differentiatebetween an album and a photobook just bylooking at them. Extra information is

necessary to assign one category or theother.Both albums and photographically

illustrated books are essentially a book ornotebook with photographic attached to it.They can include printed, handwritten or notext at all. They can include one or hundredsof prints. They can be commercially createdor individually made. Their essence, whatdefines them as an album or a photobookdoesnt lie in the materiality of the objectbut in the original concept under which they

were createdBy definition a book photobookincluded- is produced in multiple copies,that is: in an edition, which can be ofdozens, hundred or thousands copies.

An album on the other hand is aunique object, even if its components arenot. However, often times the componentsthat form an album were producedindustrially, such as souvenir prints orpostcards. Lets imagine a set ofphotographic postcards which have been

placed into a commercial album. In thiscase, neither the book nor the prints areunique elements, what is unique, though, istheir convergence in a specific set ofcircumstances, such as the selection of the

postcards and their arrangement in thealbum.

The essence of a specific album liesin the circumstances that brought itselements together by the intervention of acompiler or compilers.

Having defined the fundamentalcharacteristic of albums and photobooks wecan now move to more specific aspects ofeach concept.

The unresolved, perhaps irresolvable,challenge of defining what a photograph is,

permeates in the definition of what aphotograph album and whatphotographically illustrated book is. Forexample, are non camera images consideredphotographs too? Are contact printed imagesof botanical specimens, lace and otherobjects included under the definition of aphotograph? What about photomechanicalreproductions, particularly those that imitatetrue photographic prints, woodburytypes,collotypes, photogravures? What aboutdigital prints? Are albums with digital prints

considered photographs albums too? Inmodern book industry the term photobook isused to define either a mechanically ordigitally printed book about photography orwhich main component and message isdelivered through photographic images2.

Such meaning is different from thatgiven in a historic context in which aphotobook is a book illustrated withphotographs or what is know as aphotographically illustrated book, a termthat although more accurate is also less

practical to use, particularly in oralcommunications.Apart from the discussion about the

technical nature of the images included inthe albums and photobooks, there are issuesregarding 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 workshould include to be called an album or aphotobook. There are literary books thatcontain just one single photograph, usuallyas frontispiece. do these books deserve to becalled photobooks or not?

In addition to the questioningregarding the number of photographs a bookcontains, the number of pages has also beenpointed out as a factor that contributes to thecategorization as photobook3or just a book.This is the case of many photographicillustrated pamphlets and sale catalogues ofthe late nineteenth century.

There is also the case of uniquenessversus multiplicity, today two copies of thesame edition are practically identical,however in the first years of photographicbook publishing the much desiredconsistency was much difficult to obtaingiven the technical difficulties in theproduction of the prints4.

How unique can a photobook be andhow common can an album be is a question

which can only be evaluated in a case bycase basis.

Many of the authors that have writtenon the subject provide a definition thatfulfills their own purposes and to which they

strictly adhere to in their works5and that isprobably the best option: to providedefinitions that make sense in the enclosedparameters of a specific work.

What is lacking in these texts,however, is the discussion of the difficultyto integrate these objects into a specificdefinition. It is that void that thisintroductory discussion tries to compensate.

In conclusion, the distinction betweenthe concepts of photobook and albumrevolves around the dichotomies: acquiredvs. produced, public vs. private and multiplevs. unique.

It shouldnt be expected to arrive todefinitive conclusions and rigid categories.However it is important to distinguish theconceptual difference that exists between aphotographic album and a photographicallyillustrated book because in their materialaspect both types of objects can be verysimilar and sometimes identical but as Ivetried to illustrate they have very differentorigin and production intent.

The implications of this difference aremanifold and they are reflected in theobjects valuation and study. Although itmight seem at first that the distinctionbetween both objects doesnt have a direct


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influence in their conservation it certainlydoes, for as we will see later this distinctioninfluences their contemporary valuation,function, use, and the validity of themethods to preserve them.

History of he photographically illustrated

book

The most common techniques used for bookillustration prior to the invention ofphotography were woodcut, etching andengraving and lithography. Although many

other techniques were available, they werenot widely used.Although some of these techniques

had been available for a long time, theywere used sparingly for illustrating bookssince the production of each print was still amanual intensive labor. This wasparticularly true in the case of engravingsand lithographs which had to be printedseparately from the text in special pressesand be collated before binding.

Woodcut had the advantage of be

printed at the same time and in the samepiece of paper that the type. However, itsability to convey information from the realworld was limited by the inherentcharacteristics of the technique. Such wasthe situation of book illustration at the dawnof photography.

When on June fifteenth 1839 theFrench Minister of the Interior proposed togive an annuity for life to Mrs. Daguerre andNiepce Jr. one of the motivations heexpressed The art of engraving will

derive fresh and important benefits from thediscovery6.The idea to combine the reproductive

capacity of the pictorial printing techniquesof the time with the unique ability of thedaguerreotype to capture with accuracy and

great speed scenes from nature was a goalthat occurred to many immediately after thepublic announcement of the daguerreotype.

To adequately weigh the influencebrought by photography upon illustration isuseful to remember the status of printsbefore 1839. William Crawford puts it invery simple terms when he says that printswere by nature suggestive and schematicrather than optically precise. Looking atthem, you could only get an indication ofwhat the subject was really like.

Consequently, looking at prints tended tocall for a temporary suspension ofcredulity"7.

Is within this setting that Daguerre,Talbot and their contemporaries recognizedthe great potential of photography as an aidfor the production of printed illustrations.However, for quite a while these ideasremained just as that, for the practicalapplication of photography to illustrationwas not immediate and came in progressiveapproaches.

Just after the presentation of thedaguerreotype and the photogenic drawing,illustrators used them as models forwoodcuts, engravings and lithographs, forthe most part in the same way they had beenusing prints and drawings as the basis fortheir compositions. Early examples of thisapproach are abundant, the first of whichcan be found in the issue of April 20, 1839of The Mirror of Literature, which presenteda facsimile of a photogenic drawing printedby woodcut in its cover; a few weeks later a

similar image illustrated the Magazine ofScience, and School or Arts8 in its numberof April 27, 1839.

These images dont have much ofphotographic because after all they were still


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made by hand although after a photographicimage.Later, in a very ambitious project carried outin 1840, the optician and daguerreotypistNol Paymal Lerebours publishedExcursions Daguerriennes; vues etmonuments les plus remarquables du globe.This was a series of aquatint engravingscreated after daguerreotypes in which viewsof some of the most important monumentsin the world were illustrated. Although thispublication was not the first in making use

of daguerreotypes as source for itsillustrations it is special because in thesecond volume, published in 1842, three ofthe 114 plates were printed with theingenious method conceived by theFrenchman Hippolyte Louis Fizeau9 inwhich a daguerreotype plate was etched andelectroplated to produce an intaglio platefrom which prints of ink on paper could beobtained.

The images in this publication madeby the Fizeau process are:Hotel-De-Ville de

Paris, Un Des Bas-Reliefs de Notre Damede Paris and Maison Elevee Rue St.Georges par M. Renaud

The aquatint prints made afterdaguerreotypes, particularly the architecturalviews certainly have something ofphotographic that engravings based ondrawings, paintings or other engravingscould not possibly have, particularly astronger effect of linear and atmosphericperspective, the equally precise and detailedrepresentation of secondary elements of the

composition and even the purelyphotographic effect of depth of field.The prints made with the etched

daguerreotypes were very good consideringthe technical intricacies involved in theirproduction and that the processes was

devised jut three years after the introductionof the daguerreotype process.However the prints do not even remotelyresemble the delicacy of tone from adaguerreotype. They are too contrasted incomparison and the plates still needed to beretouched by an engraver in order toproduce acceptable prints. Fizeausprocesses, although capable of producingfine results was not an efficient one and wassoon abandoned. It was however anapproach in the right direction, and the quest

for a method to efficiently produce multipleand permanent photographic printscontinued. These attempts to marryphotography and ink were followed by athree works that dispute the title of being thefirst book illustrated with real photographs.

The first in chronological order wasBritish Algae: Cyanotype Impressions acatalogue of botanical illustrations of algaeby the British artist and botanist AnnaAtkins. This was a privately published bookin an edition of only twelve copies created

for her botanical friends, it was issued infascicles from 1843 to 1853.Atkins used the recently invented

method of the cyanotype to createphotograms of botanical specimens. Alongwith the silhouette of the algae the Latinname of each specimen was also printed inthe bottom of the page.

Brittish Algaeis significant because itwas the first serious attempt to applyphotography to the complex task of makingrepeatable images for scientific study and

learning

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and also because the text wasalso printed by the aid of photography.Against this work precedence as the

first photobook it has been argued thatphotograms dont count as photographsbecause they are not made in camera or after


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an in camera negative. It has also beenexpressed that British Algae is not a realbook because it was not made forcommercially distribution and doesntinclude printed text. It has been said that itbelongs more to the album than to the bookcategory and that it was not even the firstbecause it was not completed until 1853.

The next photographically illustratedpublication to be produced was Record ofthe Death Bed of C. M. W.this small bookletwas produced in the spring of 1844 as a

memorial for Catherine Mary Walter whohad died on January of that year. Thisprivately printed publication was authoredby John Walter III, Catherines brother, andconsists of 35 pages of printed text with asalted paper print depicting a bust of Mss.Walter as frontispiece. The photograph wastaken by Nicholas Henneman who wasTalbots assistant and partner in charge ofthe by then recently installed photographicprinting establishment in Reading.

This work, as Atkinss Brittish Algae

was not a commercial publication but onedesigned for private circulation.The third work was The Pencil of

Nature produced also in Talbotsphotographic establishment. It was a muchmore ambitious project than the previoustwo and its intention was to promote andillustrate the capacities and uses thatphotography and Talbots processes inparticular- could be put to.

The book was delivered in sixinstallments (24 plates) from June of 1844 to

April of 1846 and, as it was usual at thetime, the pages of each installment wereloose so at the end of the distribution everyperson could bound the volumes aspreferred. Originally planned to consist of10 to 12 installments, Talbots first

publication was a sampler of the potentialapplications of photography, some of whichmany enthusiasts foresaw in 1839 at thetime of the announcement of the twoprocesses. This work was effective not justin illustrating the functions that photographycould have but also its limitations at thetime.

From the beginning the project facedmany complications and delays due totechnical problems. The salted paper processwas not yet suitable for the mass

production of prints. A great deal of effortand time was necessary to produce by handeach one of the prints, and there waspractically no reduction of cost in theproduction of a high volume of prints,something that inevitably meant a high costof the final product. Nonetheless, the worstenemy of salted paper prints at the time wastheir impermanence. Immediately afterbeing distributed the prints were noted tofade severely, something that acted againstTalbots original goal of promoting the

virtues of his invention

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.By the time part VI of the Pencil ofNaturewas delivered to the publishers, theedition had been reduced from the original285 copies to less than 100. Talbots patentrestrictions over the processes precluded therefinements that could be introduced to it bya wider base of practitioners

To this significant but unsuccessfulproject Talbot followed with more modestenterprises, with the publication of SunPictures in Scotland in1845in an edition of

120 copies, providing around 7000 prints forthe 1846 issue of the Art Unionjournal andpublishing Annals of the artist of Spain in1847 with 66 calotypes of monuments,sculptures and drawings in a edition of just25 copies12.


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

Although both British Algae and Record ofthe Death Bed of C. M. W. fulfilled theexpectations of their authors; Talbotspublications didnt. Instead he just foundcomplications that pointed out theinadequacy of photography to substitute theprevious techniques of illustration.

After Talbots early enterprises othersfollowed its path. Of particularly importancewas Desir Blanquart-Evrard who in 1851established -as Talbot did just a few yearsearlier- a photographic printing studio in

Lille that managed the negatives ofphotographers like Henri Le Secq, CharlesNegr Maxime Du Camp and others. Beforestarting the production, Blanquart-Evrarddedicated a good amount of research toimprove the deficiencies of the salted paperprocess.

During the years that Blanquart-EvrardsImprimerie Photographiquewas inbusiness (1851-57), at least 20 photobooksand thousands of prints were produced mostof which have preserved all their detail and

depth, bearing out his claim for permanence.Against the low efficiency of the

printing processes, Blanquart-Evrard appliedup to date labor practices and time savingdevices. O f most importance is that his wasa developing out process which required a

much shorter exposure time than Talbotssalted paper. To improve the permanence ofthe prints he introduced gold toning and athorough washing13.

From Blanquart Evrards manyprojects the one that received greater praisewas Maxime Du Camps Egypte, Nubie,Palestine et Syrie which images have adirectness and stark approach very differentfrom the romantic aesthetic of the time.

From 1860s to the 1880s was whatWeston Naef calls the golden age of

photographically illustrated books whichwas the result of a harmonic coincidence intechnological stability in photography dueto the combination of wet collodionnegatives and albumen prints- and anexpanding market for illustrated books14.

After the initial magnificent attemptsto put photography high in the realm of bookillustration, a new generation ofphotographers, professional photographersthat is, replaced the first one and continuedthe agenda set by their predecessors. Being

more business driven they were moreinclined to provide the market with theestablished models than to propose novelapproaches.


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Figure 4. Commonplace album.Liber amicorum. 1878. GEH1983:1610George Eastman House

Photography was never close to displace theother methods of illustration, and of the totalnumber of books published those thatincluded photographs were but a smallfraction.

The most famous and valuedphotographic books known to us today arethose produced by famous photographersand are appreciated not for the use ofphotography in relation to the subject matterthey depict but for the historic importance of

the author and its status in the modern canonof the medium.

A good portion of these publicationsare included in the pioneer work the TruthfulLens,catalogue of an exhibition of the samename presented in the Grolier Club of NewYork in December 1974 and in HelmutGernsheims Incunabula of BritishPhotographic Literature a bibliography ofBritish books and periodicals illustrated withphotographs.

There are also many other books

illustrated with photographs that dont havethe importance of the classics, but are worthto be considered. They deal with a widerange of subjects from literary works asnovels and poems to trade catalogues,technical, scientific and medical reports, art

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

A very good panorama of thisproduction can be seen in the catalogues ofbooksellers that specialize in photographicliterature and photographically illustratedbooks such as those of Charles B.Woodfrom Cambridge, Paul M. Hertzmann fromSan Francisco and Margolis & Moss fromSanta Fe. In their catalogues they provide a

concise and well informed description of thebooks they offer. It is particularly interestingto appreciate the prices they sell an edifyingranking that is very difficult to catch outsideof this context.

As the impetus of modernizationcontinued through the remainder of thenineteenth century and with it the expansionof printed matter, the desire to includephotographic images along with text becamestronger and the quest for an efficientmethod to produce permanent prints became

more and more urgent.During the 1860s the introduction of

carbon printing, photogravure,woodburytype and collotype was a leapforward towards that goal, at least aspermanence was concerned. This processes


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

however, still needed to be printed in adedicated process separated from the text,and in the case of the carbon prints it was agenuine photographic process that requiredgreat skills and manipulation in itsproduction.

Between 1870 and 1890 differentpersons were working simultaneously in amethod to produce photographic reliefprinting plates that would be later known ashalf tone. They were Frederyc Ives in the

United States, George Edouard Desbaratsand William Leggo in Canada andMeisenbach in Germany Using the halftoneprinting process was possible to simulate thecontinuous tone of photographs through itsdecomposition into small ink dots thatblended together when viewed at theadequate distance, this technique had theenormous advantage to be compatible withthe type presses in which books werecommonly printed. This allowed for the firsttime since the invention of photography to

print at the same type images and text in anefficient and permanent fashion.

History of the photographic album

Perhaps the closest relative of thephotographic album is the scrapbook which

is a blank book in which people collectedand organized objects from the everyday lifeconsidered special and worth keeping.

The objects collected can be clippingsfrom a publication, prints (woodcuts,engravings and lithographs) scraps, callingand advertising cards, drawings, botanicalspecimens, and practically any object thatcan be attached or inserted into the bookformat. The clippings were usuallyaugmented 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 wereknow as commonplace books, these wereblank notebooks in which intellectualyoung men recorded good sayings andnotable observations16 it is easy to imaginethat at this moment cut original textswouldnt have been a good idea as these stillwere expensive items -something that itsgoing to repeat with photographic prints

three centuries later- instead the interestingpassages were transcribed and compiled tocreate a reference and unique notebook, thevalue of which was in the knowledge itcontained rather than in its physicalproperties.
http://en.wikipedia.org/w/index.php?title=George_Edouard_Desbarats&action=edithttp://en.wikipedia.org/w/index.php?title=William_Leggo&action=edithttp://en.wikipedia.org/w/index.php?title=William_Leggo&action=edithttp://en.wikipedia.org/w/index.php?title=George_Edouard_Desbarats&action=edit


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

During the following centuries, whenprinted matter became more readilyavailable, cheaper and to some extentexpendable, the habit shifted from textual toimage collections and from transcribing tocompiling. This practice reached his peak inpopularity in Britain at the beginning of thenineteenth century, when scrapbooking washighly popular among children and youngladies of the high social class. The creationof these objects was regarded as anentertaining as well as educational craftproject17.

Although scrapbooks are thepredecessors of photograph albums therewas not much of a mixing or overlappingbetween the two formats. They are bothcompilation of bits and pieces of the worldas seen by the author. However at themoment of its inceptions, and at least duringits first fifty years, photographs didnt havethe status of expendable ephemera that theclippings included in scrapbooks of the timehad.

As we will see later, progress ineconomy and technology influenced the

ways in which photography andphotographic albums evolved during thenineteenth century. These circumstancesmake possible to say that the photographicalbum had at least two births and maybethree dates of birth.

Drawing a history of the photographicalbum is comparatively more difficult thandrawing the history of the books illustratedwith original photographs. Fewer workshave been devoted specifically to thissubject and for the most part it has beenapproached almost exclusively from thepoint of view of the technical and stylisticevolution of the bindings.

Additionally, a good deal of literaturehas been produced on the sociologicalanalysis of the phenomenon of snapshotphotography in the last part of the nineteenthcentury and the first half of the twentiethcentury. Although these works touch on therole of albums as containers of thesephotographs their interest doesnt reside inproviding a panorama of the evolution of the

concept and its formats or to promote theirconservation.


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

The route of photography into the personalalbum was very different to that into thebook. In my opinion the history of thephotograph album consists of three welldefined phases. Each of which illustrates ina particular way the shift of photographyfrom craft to industry and its consolidationas a commodity within society.

The first phase, from 1839 to around1850, saw the creation of the very firstphotographic albums, which were made bythe earliest practitioners of paperphotography through the 1840s and 1850s.

Although several photographers wereusing one of the different paper processesduring the 1850s and many of thempublished their work in photographicallyillustrated books, few albums exist todayfrom that era in which paper photographywas still concentrated in a relatively smallnumber of individuals and the creation of analbum of photographs was something ratheruncommon.

Examples of this type of albums are

the two renowned albums of the CalotypeClub of Edinburgh made between1843 and1856 and which contain prints made by itsmembers (Talbot included). The albumswere compiled by Hugh Lyon Tennent and

James Francis Montgomery and arecurrently in the National Library of Scotlandand in the Edinburgh Central Library.

Of special importance is what isthought to be the earliest album containingphotographs the Album di DisegniFotogenici compiled by the Italian botanistAntonio Bertoloni with photogenicdrawings, salt prints and letters that hereceived from William Henry Fox Talbotstarting in June 1839 and from his uncleWilliam Thomas Horner Fox Strangways.Talbot had sent Bertoloni specimens of hisnew art to show him how useful it would beto botanists. This album is now in theMetropolitan Museum of Art.

The prints in these early albums areusually of small format and are mounted oneto a page, often times only on the recto side,adhered by the four edges or by the corners.The notebooks onto which the photographsare mounted are very well constructed, madespecifically to contain the photographs andbound in leather covers, decorated with

embossed and gold titles on the spine andfront cover. During this period both theprints and the album that holds them areunique, custom made objects.


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As one can imagine albums from thisperiod are not abundant. Nonetheless theyare very important because they show thatthe relationship between paper photographyand the book format is a natural one and soit was established in the early days of thenew art. In albums from this period one canrecognize the relations betweenphotographic albums and previous formatsand practices as the keeping of a journal, thecollecting of prints and herbariums. It is alsointeresting to find in these early albums

characteristics that continue in the nextgenerations of albums.The second stage in the establishing

of photograph albums was brought alongwith the popularization of the photographicportrait through the Carte de Visite formatfrom the 1850s through around the 1880sand continued by other formats, like thecabinet card.

This type of album is formed by acollection of studio photographs. By thistime photography had greatly expanded and

shifted from the hands of amateurphotographers and experimenters to those ofprofessional photographers who were doingbusiness by establishing their photographicstudios in the main cities where they offeredto their clientele taking their likeness ataffordable prices. Additionally, portraits offamous public characters like royalty,politicians and men of art, sciences andchurch could be acquired at book and

stationary stores. This was the firstpopularization of photography in paper atleast- and with the increased production ofportraits the album came as a perfectsolution for the organization, display,storage, and conservation of the popularformat. However, because of the thicksupport onto which carte de visitephotographs were pasted on they were notcompatible with the previously describedtype of albums which were more appropriatefor photographs on a thin support.

The basic design of the carte de visitealbum consisted of a set of pages on verythick stock connected by paper or clothhinges. Each of the pages would have itscentral portion hollowed and would be intothese windows were the cards would beinserted.

From the 1850s to the 1880s awhole industry flourished to satisfy thedemand of this type of albums. Countlessdecoration styles, sizes, and many othervariants were introduced but keeping the

basic design. By the 1880s albumen printsstarted to be replaced by gelatin POP printswhich didnt need to be mounted onto arigid secondary support to keep them flat asalbumen prints did. This simple technicaldetail meant in practice that the hollowedcard albums -and the industry around them-were no longer needed and within a fewyears they were replaced.


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

This second stage in the evolution ofthe photographic albums was characterizedby the fact that -excluding the portraits offamous characters that were produced inlarge editions- photographs contained inmost albums were unique but the albumitself was not. At this point photography asan industry was in clear expansion but themaking of photographs as objects had notyet reached the hands of the generalaudiences.

This changed for the third and finalperiod which started around the 1880s and1890s and continues to this date. In the firstyears of this period photography continuedits expansion into new geographic territoriesand social niches. It was at this moment thatfor the first time the common people had thechance to directly make their ownphotographs, at least as far as the cameramanipulation was concerned.

Giving the people the chance to maketheir own photographs instead of having togo to a professional photography studio

greatly increased the amount and variety ofprints produced. Once again the album was aperfect way to keep the now more abundantphotographs organized, presentable and ingood condition.

To keep up with the great amount anddiversity of prints countless album designsin a variety of materials, colors and styleswere offered. There was, however, thetendency to use structures in which thepages were not connected between eachother as it was the case of the albums of theprevious years. In this new type of albumsthe pages were kept together by a thread orribbon. The same basic idea was latermodified by substituting the thread by metalposts, rings or spirals. The pages of thesealbums are as simple as they can beconsisting just of a piece of paper withperforations along the left border throughwhich the holding device passes.

An album of this type with blackcovers and pages and inscriptions in whiteink is the image everybody has of a snapshotalbum.

This was perhaps the peak in thepopularity and use of the photographicalbum in all it history. Albums and prints ofthis period are the ones that abound in flea

markets and garage sales everywhere.For the most part the vernacular

albums, and all amateur photographs ingeneral, produced after the 1930s haventreached for the most part the public


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institutions and can not be found in thecollections of museums and archives. Someof them still remain in possession of theircreators or its descendants and others havebeen and are being disposed of.


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

Conservation

In order to clearly understand the challengesof the conservation of albums andphotographically illustrated book it isnecessary to understand their function andhow that this is carried out. Lets rememberthat is because of the valuable function theyserve that cultural objects are preserved andnot for the objects themselves.

In this second section of the essay wewill look at how the valuation,functionand

useassigned to albums and photobooks haveevolved from their original context until thepresent day; and we will look howConservation has adapted its response tokeep up with the changes in those factors.This brief glance at the evolution in theconservation of albums and photobooks ofthe last years will help us to identify,contextualize and ultimately to betterunderstand what the current factors at playin the conservation of albums andphotobooks. We will finalize exploringwhich are some of the options available forthe preservation of these important elementsof our photographic heritage.

Original context and value

Lets start by taking a look to what was thefunction and value of albums andphotobooks in their original context.

At the moment of their creation thefunction of photographically illustratedbooks was, like that of other books, tocommunicate a message to a more or lesswide audience. By definition books arepublished, either in small or large editions,and therefore are freely available for

purchase by persons interested in acquirethem. The message of the photographicallyillustrated book could be either artistic ortechnical in nature; brilliant examples existsthat range from artistic portraiture to thedocumentation of industrial progress andform art history books to astronomicaltreatises. Regardless of the type ofinformation it presented, the keycharacteristic of the photographicallyillustrated book was its unique combinationof the medium of photography and thenarrative features of the book format,something that allowed it to compose amessage with unique features such assequence, juxtaposition, rhythm andseclusion.


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Figure 10. Photographically illustrated books exhibit.George Eastman House

The photographically illustrated bookoriginal place was the personal orinstitutional library where it was studied,contemplated and brought into dialogue withother documents. Although, as we saidbefore, the content of a published book isopen for anybody to see, it is important tonote that this message was transmitted insolitude to one reader at the time.

In the case of the photographic albumits original function was to present and to

preserve for the future the photographicrecords of events in the life of an individualor a group; but they also had a recreationaland educative function for the creation of analbum provided an instructive andentertaining activity to the compiler. In thatrespect they photograph albums were both amedium and end by itself.

It has been said that albums arevaluable for people not because of thescenes and persons they depict, but becausethey trigger the revival of memories andpromote the oral transmission of stories thatstrengthen the personal bonds and providecoherence to the group18

Today, the function and use that weassign to historic albums andphotographically illustrated books, and the

context in which they are inserted, differgreatly from those they originally had. Suchchanges are the result of a differentappreciation of their features and value, andproduct of the historical distance thatseparates us from their original creators andusers.

Modern appreciation

It is well known that around the decade ofthe 1960s art museums and private

collectors started to develop and increasinginterest in the vast collections ofphotographs accumulated until that timesince the invention of the process. Thisawakening was in great part due to thereevaluation of the photographic heritage ledby the influential scholars BeamountNewhall and Helmut Gernsheim, theirexhibitions and publications, work that theyinitiated since the 1940s and 1950s. It isdue to their effort, combined with theadvocacy of photographers like AnselAdams, and Edward Weston followers, inthat respect. of the steps of Alfred Stieglitzand Edward Steichen- that in the 1970sPhotography was rightfully acknowledgedas holder of the same aesthetic and stylisticvalues that had been reserved for painting


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and sculpture until that moment. It was notuntil very recently that Photographyacquired its status of autonomous art.

This episode is relevant to theconservation of albums andphotographically illustrated books becausewith the adoption of albums and photobooksby art museums came a shift in theirfunction and use, and what is of moreimportance for us, a shift in the way theyhad been conserved.

Once in the art museum and private

collections, albums and photographicallyillustrated books were subjected to areevaluation that presented them above all asartistic objects with an esthetic function, afunction that was better carried out byshowing their formal qualities inside of glassvitrines or, when possible, matted, framedand hung up on gallery walls.

The vigorous emphasis of the initialpromoters of photography to present themedium as a valid art form to the art worldhad also an effect in the then very young

discipline of Photograph Conservationwhose methods were tailored to highlightphotographys aesthetic function.

If one analyzes the bibliography onthe conservation of albums andphotographically illustrated books from the1980s and 1990s one will find that one ofthe most important factors which influencedthe direction of the treatment proposals wasthe desire to bee able to easily access theindividual prints of the book or album in

order to exhibit them19- 25. This

circumstance combined with the tendencytowards a more interventive approach thatdominated conservations practice during itsfirst decades -and which favored theapplication of restoration treatments as thepreferred solution to deterioration over

strategies to prevent it- shaped in great partthe response of the field of Conservation tothe problematic of albums andphotographically illustrated books.

Indeed, the demand for beautiful,pristine, artistic and exhibitable photographsthat art museums and private collectorsimposed on Conservation in one handmatched perfectly with the creativitysupportive, interventive approach that wasfavored in the field during that time.Together these circumstances created an

attractive set of conditions for in which thelong known challenge of balancingpreservation and access, of albums andphotographically illustrated books in thiscase, were faced.

Just between 1985 and the year 2000four major meetings were held26and dozensof articles27 were published on theconservation of albums andphotographically illustrated books.

The reduction in the number ofpublished articles and presentations that can

be observed in recent years might give theidea that the matter regarding theconservation of albums and photobooks issettled and there is not much to be added toit. However, it is my opinion that this recesson the activity of the conservationcommunity on this subject corresponds to anew redefinition or adjustment in theparameters that ultimately define theconservation of these objects. In other wordsit is being experienced an adjustment in thevalue, function and use of albums and

photographically illustrated books.In addition to the hiatus of the conservationcommunity there are other circumstancesthat signal an important change in theappreciation and care of historic photographalbums and photographically illustrated


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books within collecting institutions andprivate collectors.

The evolution has operated not onlyon this but also in the other factors thattogether define the conservation of albumsand photographically illustrated books. Inthe next pages we will see which they areand how they have evolved.

Factors that influence conservation

As we all know and it has been illustratedhere, there is more in the conservation of a

given cultural artifact than just theproblematic of their specific materials andtheir behavior over time. Well before thetechnical aspects of the conservation of acultural object are looked at, the value ofthat object had to be considered and itssocial, cultural, religious, and artistic meritsweighed. Only after passing through thisprocess which is not carried out formallybut it rather occurs naturally- is that theobjects whose value and function warrantthe effort to keep them are examined in view

of their physical conservation. In addition tothe Material and Valuation factors there is athird factor that consists of the availableresources, the set of tools, methods,knowledge and expertise that can be appliedto the preservation of a valuable culturalobject (first factor) with a specific techniqueand 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 theconservation of albums and photobooks I

will try to describe the circumstances thatdefine it in todays context.

1stValue and function

The fact that a change in the value andappreciation of photographs is in operationcan be recognized in apparently trivialdetails like for example the photographs thatillustrate the publications about the historyof 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 presentedas a whole, as an indivisible unit in whichthe container of the photographs theirsequential order, and lay out on the pagesare as essential bearers of the message asthe images themselves. A vision that isrelated with the consolidation and spread ofthe approach of material culture studies,which acknowledges the important role ofthe physicality of the objects to understand

their role in society34- 39.

Furthermore, the steady increase of

the financial value of photographs and theirrecent record breaking prices areprogressively closing the gap that existed inthe art market between photographs andartworks in other media. Consequently thereis being an increase in the acknowledgementand open discussion of the conservationissues of photographs in galleries andauction houses40.

Value

&

Function

Aging

Characteristics

Tools

&

Resources

All this new circumstances whichmight appear unrelated to the practicalinterest of photograph conservation are in

fact factors that combined to ultimatelydetermine what objects are worth to preserveand which ones are not, and whatcompromises is acceptable to make material integrity, appearance, functionality,


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

2ndAging characteristics

The second factor would be that of themateriality of the objects and how theybehave and influence condition and theobjects ability to carry out its function andto be used.

This is what conventionally is seen asthe aspect more closely pertaining to thearea of conservation and where a good deal

of information produced by the field in theprevious decades can be found. Thisknowledge has focused mainly in theunderstanding of how albums andphotobooks of different periods wereconstructed and how their elements worktogether and most importantly how theybehave over time. From the valuableliterature about the techniques and materialsused in the elaboration of albums and

photobooks over time41- 50 is possible to

grasp the recognized fundamental

importance of the book structure in theconservation of albums andphotographically illustrated books51. Thatwhat makes albums and photobooksdifferent from other photographs: the factthat the photographs are connected to forman ensemble is precisely the primordial issuein the problematic of their conservation andthe inadequate and unnecessary handling forresearch and exhibition its basic causes.

3rd

Tools and resources

In the present day the conservation field, andparticularly photograph conservation hasmoved away form the inteventive approachof its early years and in the current day amore cautious and conservative attitude,

with an emphasis in preventive conservationis preferred52

-53.

A steady growth of both, the size of thecollections and the demand of access, whileat the budget and resources available to theinstitutions remains the same dictates to takean approach that has the broadest impactpossible in the collection instead of workingin a item by item basis.

Conservation for its new task -tomaintain the object, and the values that

make it significant, unaltered for the longestpossible time- has adopted and takenadvantage of technologies that very wellmatch its broad reaching and non invasiveapproach the most important of which is thecontrol of ambient conditions in storage,reading and exhibition spaces that slows therate of chemical degradation with excellentresults. For physical induced deteriorationshowever there was not available untilrecently a similarly effective and practicaltechnology that could be used. Today the

digital technologies are having arevolutionary influence in communicationand practically in every aspect of life; theapplication of which hasnt been widelyadopted for the benefit of conservation butcan be seen in the websites like the ones ofthe New York Public Library, the BritishLibrary, the Tate Gallery and the Library ofCongress.

Although they were not developedspecifically with conservations concerns inmind, these resources offer world wide

access to digital surrogates of the objects intheir collections and besides showcasingtheir importance and that of the institutions,they also contribute to prevent the damagescaused by the excessive handling of theoriginal objects.


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ConclusionNo definitive solutions can be prescribed forthe problematic of the conservation ofalbums and photographically illustratedbooks and even less so in a time in whichthe established paradigms are constantlychanging and being redefined, butsomething that it is possible and hopefullyuseful for the conservation community is totry to define and articulate the complexsetting in which that problematic is insertedand the resources and tools at our disposal to

counteract it. One more of those tools iswhat this humble essay aspires to be, I amconvinced that there is benefit to be gainedof looking back at the evolution of ourprofession and its practices and around tosee where it is inserted, what factorsinfluence it, what interests it serves and whatgoals it aims to fulfill.

One of the most important lesson ofthe exercise of looking at the evolution inthe valuation and care of such complexobjects materially and conceptually- as our

historic albums and photographicallyillustrated books is that it perfectlyillustrates the function of conservation as thekeeper of cultural objects and theirfunctionality and not just of the culturalobjects themselves. There is not such thingas a pure, ideologically free conservation,Not just the technical aspects ofconservation are contingent their criteria andprecepts are movable and evolve along withthe evolution of the value, function and usethat 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

1See the bibliography.

2 By photographic image I mean an image thatwas produced by photographic technology butwhich is not necessarily a photograph ie. aphotomechanical print.

13 Gerda Peterich. Louis Dsir Blanquart-Evrard: The Gutenberg of Photography Image6, no. 4 (1957): 83

14 Lucien Goldschmit and Weston Naef. TheTruthful Lens (New York: The Grolier Club,1980). P. 32

3 Stuart Bennet. Photography as bookillustration 1839-1900. in Collectible Books:Some New Paths (New York: Bowker, 1979),p.155

15Barbara Zucker. Preservation of Scrapbooksand Albums Library of Congress, (1998).http://www.loc.gov/preserv/care/scrapbk.html(accessed March 6, 2007).

4

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

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

5Martin Parr. The Photobook: A History; LucienGoldschmit, and Naef Weston. The Truthful

Lens; Andrew Roth. The open book: a history ofthe photographic book from 1878 to the present. (accessed April 25, 2007)

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

6 Louis Jacques Mand Daguerre. An historicaland descriptive account of the various processesof the daguerrotype 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 photographicprocesses (Dobbs Ferry N.Y.: Morgan &Morgan, 1979) p.1 19 Betty Fiske. Survey of Curators Points of

View on Disassembly of Photograph Albums inPostprints of the Photographic Materials GroupWinter Meeting. February 1st & 2nd 1985. (AIC,1985).

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

20 Gregory Hill. The Conservation of aPhotograph Album at the National Archives ofCanada Journal of the American Institute forConservation30, no. 1 (1991).

9 Lucien Goldschmit and Naef Weston. TheTruthful Lens (New York: The Grolier Club,1980). p.11.

10 Larry Schaaf. Sun gardens : Victorianphotograms(New York: Aperture, 1985) p. 8

21Quentin Bajac. Regards croises sur un objet

complexe. Exposer L'album in L'albumPhotographique. Histoire et Conservation d'unObject (Paris: Section franaise de l'Institutinternational de Conservation, 1998), 63-67.

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

22 Jerome Monnier. Restauration dun AlbumChinois du Musee dhistoire de Lile inL'album
http://www.loc.gov/preserv/care/scrapbk.htmlhttp://www.well.com/user/bronxbob/resume/54_7-93.htmlhttp://www.well.com/user/bronxbob/resume/54_7-93.htmlhttp://www.well.com/user/bronxbob/resume/54_7-93.htmlhttp://www.well.com/user/bronxbob/resume/54_7-93.htmlhttp://www.well.com/user/bronxbob/resume/54_7-93.htmlhttp://www.loc.gov/preserv/care/scrapbk.html


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Photographique. Histoire et Conservation d'unObject (Paris: Section franaise de l'Institutinternational de Conservation, 1998), 49-52.

(New York: PPP Editions in association withRuth Horowitz, 2001).

32Martin Parr. The Photobook: A History (NewYork: Phaidon Press Limited, 2004).23 Lyzanne Gann. The Conservation of Four

Albums from the Eduard Isaac Asser Collectionof the Rijksmuseum, Amsterdam in L'albumPhotographique. Histoire et Conservation d'unObject (Paris: Section franaise de l'Institutinternational de Conservation, 1999), 55-57.

33Andrew Roth. The open book: a history of thephotographic 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 LewisCarroll 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 franaise de l'Institut international deConservation, 1998). 39-48.25Mary Schobert. Conservation Considerations

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

36 Glenn Willumson. The Getty ResearchInstitute: Materials for a New Photo-History

History of Photography22, no. 1 (Spring 1998):31-39.

26 5th Annual Meeting of the PhotographicMaterials Group of the AIC, Philadephia1985;meeting of the Section franaise de l'Institutinternational de conservation, Paris 1998;meeting of AICs Book and Paper andPhotographic Materials Groups joint meeting,Saint Louis 1999; meeting of the PhotographicMaterials Group of UKs Institute ofConservation, Birmingham 1999.

37 Alison Nordstrom. Voyages Performed.Photography and Travel in the Gilded Era.Daytona Beach: Daytona Beach ComunityCollege, 2000.

38 Martha Langford. Suspended Conversations.The afterlife of Memory in Photographic Albums(Montreal: McGill University Press, 2001).27See the bibliography arranged in chronological

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

28 Lucien Goldschmit and Naef Weston. TheTruthful Lens (New York: The Grolier Club,1980). 40 Sothebys webpage and printed catalogues.29 Helmut Gernsheim. Incunabula of BritishPhotographic Literature(London: Scholar Press,1984).

41 Gary Frost. Historical Prototypes forPhotographic Albums in Postprints of thePhotographic Materials Group Winter Meeting.

February 1st & 2nd 1985(AIC, 1985).30 Boldeian Library. Photography & the PrintedPage in the Nineteenth Century (Oxford:Boldeian Library, 2001).

42 Bryan Clarke. Some Observations on theDevelopment of Albums ContainingPhotographs and Aspects of their Deteriorationin The Imperfect Image: Photographs their Past

31 Andrew Roth. The book of 101 books: seminalphotographic books of the twentieth century
http://www.iiconservation.org/http://www.iiconservation.org/http://www.iiconservation.org/http://www.iiconservation.org/


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Present and Future (Windermere: Centre forPhotographic 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 PhotoAlbum Structure with Removable Leaves:Rebinding Photographs Vol. III by LewisCarroll The Book and Paper Group Annual 17(1999): 83-94.

52Anne Cartier-Bresson and P.E. Nyeborg. DeDisderi a la Photographie Lettriste. Les ChoixD'intervention Sur les Albumes Photographiques la Ville de Paris, inL'album Photographique.

Histoire et Conservation d'un Object (Paris:Section franaise de l'Institut international deConservation, 1999), 27-38.

44 Jane Rutherston, Victorian AlbumStructures Paper Conservator 23 (1999): 13-25.45 Terry Boone, Andrew Robb, and MaryWootton. The structures the Thing Problems in

the Repair of Nineteenth-Century Stiff-PagedPhotograph Albums in Conservation ofScrapbooks and Albums (Washington: AIC,2000), 37-44.

53 Maria Fredericks. Recent Trends in Book

Conservation and Library Collections Care,Journal of the American Institute forConservation31, no. 1 (1992).

46 Meg Brown, Developing a ConservationSurvey Database for Photograph Albums inConservation of Scrapbooks and Albums(Washington: AIC, 2000), 65-69.

47 Meg Brown. Glossary of Terms for thePhotograph Album Survey in Conservation ofScrapbooks and Albums (Washington: AIC,2000), 85-92.

48 Olivia Primanis. Nineteenth-CenturyPhotograph Albums: Structure, Condition, andTreatments in Conservation of Scrapbooks and

Albums(Washington: AIC, 2000), 47-64.49Richard Horton. Historical Photo Albums andTheir Structures in Conservation of Scrapbooksand Albums(Washington: AIC, 2000), 13-20.50Richard Horton. Glossary of terms relating tophoto albums, in Conservation of Scrapbooksand Albums(Washington: AIC, 2000), 21-28.51 Boone, Terry, Andrew Robb, and Mary

Wootton. The structures the Thing Problems inthe Repair of Nineteenth-Century Stiff-PagedPhotograph Albums. In Conservation ofScrapbooks and Albums. Postprints of the Bookand Paper Group and Photographic MaterialsGroup Joint Session at the 27th Annual Meetingof the American Institute for Conservation of


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Albright, Gary. Photograph Albums. Some Thoughts on Treatment. InPostprints of thePhotographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia..AIC, 1985.

Alistair, Allen, and Joan Hoverstadt . The History of Printed Scraps. New Cavendish Books,1983.

Alvarez de Toledo, Sandra, and Marc Pataut. L'album d'images des enfants psychotiques de

l'hopital de jour Aubervilliers 1981-1982. InL'album Photographique. Histoire etConservation d'un Object, 119-127. Paris: Section franaise de l'Institut international deConservation, 1998.

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

Asser, Saskia. A handsome and highly finished present Foto's voor de juryrapporten van deGreat Exhibition.Bulletin van het Rijksmuseum53, no. 2 (2005): 141-178.

Baillargeon, Claude. Au servide de la propagande deu Sacre-Coeur: la album de travail deRohault de Fleury. InL'album Photographique. Histoire et Conservation d'un Object,

77-94. Paris: Section franaise de l'Institut international de Conservation, 1998.

Bajac, Quentin. Regards croises sur un objet complexe. Exposer L'album. InL'albumPhotographique. Histoire et Conservation d'un Object, 63-67. Paris: Section franaise del'Institut international de Conservation, 1998.

Bennet, Stuart. Photography as book illustration 1839-1900. InCollectible Books: Some NewPaths, 152-176. New York: Bowker, 1979.

Boldeian Library. Photography & the Printed Page in the Nineteenth Century. Oxford: BoldeianLibrary, 2001.

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


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Boone, Terry, Andrew Robb, and Mary Wootton. The structures the Thing Problems in theRepair of Nineteenth-Century Stiff-Paged Photograph Albums. InConservation ofScrapbooks and Albums. Postprints of the Book and Paper Group and PhotographicMaterials Group Joint Session at the 27th Annual Meeting of the American Institute forConservation of Historic and Artistic Works. June 11, 1999. St. Louis, Missouri , 37-44.Washington: AIC, 2000.

Botelho, Alexandra. The Durieu Album: Early Nineteenth Century French PhotographicTechniques and Studies of the Nude Figure. Capstone Research Project. AdvancedResidency Program in Photograph Conservation. George Eastman House & ImagePermanence Institute, 2001.

. A Report on the Photo Album Condition Assessment Survey for the InternationalMuseum of Photography and Film at George Eastman House. 1997.

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

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

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Bustarret, Claire. L'album photographique como livre du monde: une aventure editoriale. InL'album Photographique. Histoire et Conservation d'un Object, 101-118. Paris: Sectionfranaise de l'Institut international de Conservation, 1998.


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Cartier Bresson, Anne, and P.E. Nyeborg. De Disderi a la Photographie Lettriste. Les ChoixD'intervention Sur les Albumes Photographiques la Ville de Paris. InL'albumPhotographique. Histoire et Conservation d'un Object, 27-38. Paris: Section franaise del'Institut international de Conservation, 1999.

Cheroux, Clement. L'album Bayard de la Societe Francaise de Photographie. In, 95-100. Paris:Section franaise de l'Institut international de Conservation, 1998.

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

Coke, Van Deren. Photographs, photographically illustrated books and albums in the UNMlibraries, 1843-1933. Albuquerque: University of New Mexico, 1977.

Crawford, William. The keepers of light : a history and working guide to early photographicprocesses. Dobbs Ferry N.Y.: Morgan & Morgan, 1979.

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

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Hamburg , Doris. Storage Alternatives for Photographic Albums. InPostprints of thePhotographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia..AIC, 1985.

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.Blanquart-vrard et les origines de ldition photographique. Genve: Librairie Droz,1981.

Joseph, Steven. The persistence of vision.Bulletin van het Rijksmuseum50, no. 2 (Summer2002): 53-65.

Keeler, N. B. Illustrating the Reports by the Juries of the Great Exhibition of 1851.History ofPhotography6 (1982): 257-272.

Krauss, Rolf. Photographs as Early Scientific Book Illustration.History of Photography2(October 1978): 291-.

. Travel Reports and Photography in Early photographically Illustrated Books.Historyof Photography3, no. 1 (1979): 15-30.

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

Le Corre, Florence. Les albums de photographie. Une lecture dirigee. InL'album

Photographique. Histoire et Conservation d'un Object, 19-25. Paris: Section franaise del'Institut international de Conservation, 1998.

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


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Maas, Ellen. Foto Album sus Aos Dorados. Barcelona: Gustavo Gili, 1982.

Maes, Herman, and Nathalie Minten. The Gandhara Battle, Treatment of a PhotographicAlbum. Topics in Photographic Preservation11 (2005): 80-94.

Monnier, Jerome. Restauration dun Album Chinois du Musee dhistoire de Lile. InL'albumPhotographique. Histoire et Conservation d'un Object, 49-52. Paris: Section franaise del'Institut international de Conservation, 1998.

Moor, Ian, and Angela Moor. Physical Conservation and Restauration of Photographs.PaperConservator 12 (1988): 86-92.

Newhall, Beaumont. Photography and the book. Boston: Trustees of the Public Library of thecity of Boston, 1983.

Nordstrom, Alison . Making a Journey. The Tupper Albums and the Travel they Describe. InPhotographs Objects Histories. On the Materiality of Images, 81-95. New York:Routledge, 2004.

. Voyages Performed. Photography and Travel in the Gilded Era . Daytona Beach:Daytona Beach Comunity College, 2000.

Ogden, Sherelyn. Conservation Treatment for Bound Materials of Value.Northeast DocumentConservation Center, 1999.http://www.nedcc.org/resources/leaflets/7Conservation_Procedures/06BoundMaterials.php (accessed March 6, 2007).

. Preservation Options for Scrapbook and Album Format.The Book and Paper GroupAnnual10 (1991): 149-163.

Parr, Martin. The Photobook: A History. New York: Phaidon Press Limited, 2004.

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 andPhotographic Materials Group Joint Session at the 27th Annual Meeting of the AmericanInstitute for Conservation of Historic and Artistic Works. June 11, 1999. St. Louis,Missouri, 29-32. Washington: AIC, 2000.


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Peterich, Gerda. Louis Dsir Blanquart-Evrard: The Gutenberg of Photography.Image6, no.4 (1957): 80-89.

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

Porter, Mary K. The Conservation of two albums with Photographs. InPostprints of thePhotographic 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 Annual17 (1999):83-94.

. Nineteenth-Century Photograph Albums: Structure, Condition, and Treatments. InConservation of Scrapbooks and Albums. Postprints of the Book and Paper Group andPhotographic Materials Group Joint Session at the 27th Annual Meeting of the AmericanInstitute 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 deVue Individuels dur le Monde. InL'album Photographique. Histoire et Conservation

d'un Object, 7-17. Paris: Section franaise 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. Goteborg: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. InConservation of Scrapbooks and Albums. Postprints of the Book and Paper Group andPhotographic 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 andbibliography. Wien, 1961.

. Scottish books illustrated with original photographs.The library4, no. 1 (1963): 3-12.

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

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

Sharp, Helen. Conservation Problems of an Early 20th Century Album, A Case Study.Instituteof 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. InPreserving America's PerformingArts, 73-77. New York: Theatre Library Association, 1985.

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

Van Haaften, Julia. Original Sun Pictures: A Check List of the New York Public Library'sHoldings of Early Works Illustrated with Photographs.Bulletin of the New York PublicLibrary80, 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 Associationof North American Graduate Programs in the Conservation of Cultural Property StudentConference, 2005.

Wiedemann, M. Sur quelques livres illustrs de photographies au XIXe sicle.Les Cahiers dela photographie, no. 6 (1982): 27-35.

Willumson, Glenn. The Getty Research Institute: Materials for a New Photo-History.Historyof Photography22, 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. InL'album Photographique. Histoire etConservation d'un Object, 39-48. Paris: Section franaise de l'Institut international deConservation, 1998.

Zucker, Barbara. Preservation of Scrapbooks and Albums.Library of Congress, December1998. 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. InPostprints of thePhotographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia..AIC, 1985.

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

Fiske, Betty. Survey of Curators Points of View on Disassembly of Photograph Albums. InPostprints of the Photographic Materials Group Winter Meeting. February 1 and 2 1985.

Philadelphia.. AIC, 1985.

Frost, Gary. Historical Prototypes for Photographic Albums. InPostprints of the PhotographicMaterials Group Winter Meeting. February 1 and 2 1985. Philadelphia.. AIC, 1985.

Hamburg , Doris. Storage Alternatives for Photographic Albums. InPostprints of thePhotographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia..AIC, 1985.

Porter, Mary K. The Conservation of two albums with Photographs. InPostprints of thePhotographic Materials Group Winter Meeting. February 1 and 2 1985. Philadelphia..

AIC, 1985.

Smith, Merrily. Scrapbooks in the Library of Congress. InPreserving America's PerformingArts, 73-77. New York: Theatre Library Association, 1985.

Moor, Ian, and Angela Moor. Physical Conservation and Restauration of Photographs.PaperConservator 12 (1988): 86-92.

Hendriks, Klaus. Conservation of Albums, Scrapbooks and Portfolios. InFundamentals ofPhotograph 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 Conservation30, no. 1 (1991): 75-88.


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

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

Bajac, Quentin. Regards croises sur un objet complexe. Exposer L'album. InL'albumPhotographique. Histoire et Conservation d'un Object, 63-67. Paris: Section franaise del'Institut international de Conservation, 1998.

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

Monnier, Jerome. Restauration dun Album Chinois du Musee dhistoire de Lile. InL'albumPhotographique. Histoire et Conservation d'un Object, 49-52. Paris: Section franaise del'Institut international de Conservation, 1998.

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

Cartier Bresson, Anne, and P.E. Nyeborg. De Disderi a la Photographie Lettriste. Les ChoixD'intervention Sur les Albumes Photographiques la Ville de Paris. InL'albumPhotographique. Histoire et Conservation d'un Object, 27-38. Paris: Section franaise del'Institut international de Conservation, 1999.

Gann, Lyzanne. The Conservation of Four Albums from the Eduard Isaac Asser Collection ofthe Rijksmuseum, Amsterdam. InL'album Photographique. Histoire et Conservationd'un Object, 55-57. Paris: Section franaise 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 Annual17 (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 Preservationand Conservation of Albums and Photographically Illustrated Printed Books.Birmingham 22nd23rd 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 structures the Thing Problems in theRepair of Nineteenth-Century Stiff-Paged Photograph Albums. InConservation ofScrapbooks and Albums. Postprints of the Book and Paper Group and PhotographicMaterials Group Joint Session at the 27th Annual Meeting of the American Institute forConservation 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. InConservation of Scrapbooks and Albums. Postprints of the Book and Paper Group andPhotographic Materials Group Joint Session at the 27th Annual Meeting of the AmericanInstitute 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. InConserv