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





GUSTAVO LOZANO


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 J oseph 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 J iuan J iuan 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.







GUSTAVO LOZANO


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 todays 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.





GUSTAVO LOZANO


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
- 1
st
Value and function
- 2
nd
Aging characteristics
- 3
rd
Tools and resources

Conclusion

References

Annex I. Conservation bibliography listed in chronological order







GUSTAVO LOZANO


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 1980s and 1990s
were of great activity in the conservation of
photograph albums and photographically
illustrated books. During this period many
articles were produced
1
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, todays 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 album1977:0462 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 dont
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





GUSTAVO LOZANO


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
doesnt 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. Lets 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 images
2
.
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





GUSTAVO LOZANO




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 photobook
3
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 prints
4
.
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 works
5
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 shouldnt 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 Ive
tried to illustrate they have very different
origin and production intent.
The implications of this difference are
manifold and they are reflected in the
objects valuation and study. Although it
might seem at first that the distinction
between both objects doesnt have a direct





GUSTAVO LOZANO


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 J une fifteenth 1839 the
French Minister of the Interior proposed to
give an annuity for life to Mrs. Daguerre and
Niepce J r. 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.
J ust 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 Arts
8
in its number
of April 27, 1839.
These images dont have much of
photographic because after all they were still





GUSTAVO LOZANO


made by hand although after a photographic
image.
Later, in a very ambitious project carried out
in 1840, the optician and daguerreotypist
Nol 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 Fizeau
9
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. Fizeaus
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 dont count as photographs
because they are not made in camera or after





GUSTAVO LOZANO


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 doesnt
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 J anuary of that year. This
privately printed publication was authored
by J ohn Walter III, Catherines 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
Talbots assistant and partner in charge of
the by then recently installed photographic
printing establishment in Reading.
This work, as Atkinss Brittish Algae
was not a commercial publication but one
designed for private circulation.
The third work was The Pencil of
Nature produced also in Talbots
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 Talbots processes in
particular- could be put to.
The book was delivered in six
installments (24 plates) from J une 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, Talbots 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
Talbots original goal of promoting the
virtues of his invention
11
.
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. Talbots 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 copies
12
.





GUSTAVO LOZANO




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; Talbots
publications didnt. Instead he just found
complications that pointed out the
inadequacy of photography to substitute the
previous techniques of illustration.
After Talbots early enterprises others
followed its path. Of particularly importance
was Desir 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
Negr 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-
Evrards 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 Talbots
salted paper. To improve the permanence of
the prints he introduced gold toning and a
thorough washing
13
.
From Blanquart Evrards many
projects the one that received greater praise
was Maxime Du Camps Egypte, Nubie,
Palestine et Syrie which images have a
directness and stark approach very different
from the romantic aesthetic of the time.
From 1860s to the 1880s 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 books
14
.
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.






GUSTAVO LOZANO




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





GUSTAVO LOZANO




Figure 5. Fist photograph albumAlbum di disegni fotogenici. 1839.
Courtesy of the Metropolitan Museumof 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 like
15
.
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
wouldnt 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.





GUSTAVO LOZANO




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
project
17
.
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 didnt 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 doesnt reside in
providing a panorama of the evolution of the
concept and its formats or to promote their
conservation.





GUSTAVO LOZANO




Figure 7. Lace bound albumKodak 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 1840s and 1850s.
Although several photographers were
using one of the different paper processes
during the 1850s 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
J ames 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 J une 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.





GUSTAVO LOZANO


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 1850s through around the 1880s
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 1850s to the 1880s 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 1880s albumen prints
started to be replaced by gelatin POP prints
which didnt 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.





GUSTAVO LOZANO




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 1880s and
1890s 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 1930s havent
reached for the most part the public





GUSTAVO LOZANO


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.





GUSTAVO LOZANO




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. Lets 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
Lets 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.





GUSTAVO LOZANO




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 group
18

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 1960s 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 1940s and 1950s. 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 1970s
Photography was rightfully acknowledged
as holder of the same aesthetic and stylistic
values that had been reserved for painting





GUSTAVO LOZANO


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
photographys aesthetic function.
If one analyzes the bibliography on
the conservation of albums and
photographically illustrated books from the
1980s and 1990s 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 them
19- 25
. This
circumstance combined with the tendency
towards a more interventive approach that
dominated conservations 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.
J ust between 1985 and the year 2000
four major meetings were held
26
and dozens
of articles
27
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





GUSTAVO LOZANO


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 todays context.

1
st
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 which
28- 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 society
34- 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 houses
40
.
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,





GUSTAVO LOZANO


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

2
nd
Aging characteristics
The second factor would be that of the
materiality of the objects and how they
behave and influence condition and the
objects 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 time
41- 50
is possible to
grasp the recognized fundamental
importance of the book structure in the
conservation of albums and
photographically illustrated books
51
. 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.

3
rd
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 preferred
52-53
.

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 hasnt 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 conservations 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.





GUSTAVO LOZANO


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.









GUSTAVO LOZANO


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 Dsir 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
(J anuary 2005): 67.
6
Louis J acques Mand Daguerre. An historical
and descriptive account of the various processes
of 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 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 franaise 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
J erome Monnier. Restauration dun Album
Chinois du Musee dhistoire de Lile in L'album





GUSTAVO LOZANO



Photographique. Histoire et Conservation d'un
Object (Paris: Section franaise 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 franaise 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 franaise 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
5
th
Annual Meeting of the Photographic
Materials Group of the AIC, Philadephia1985;
meeting of the Section franaise de l'Institut
international de conservation, Paris 1998;
meeting of AICs Book and Paper and
Photographic Materials Groups joint meeting,
Saint Louis 1999; meeting of the Photographic
Materials Group of UKs 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
Sothebys 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





GUSTAVO LOZANO



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
la Ville de Paris, in L'album Photographique.
Histoire et Conservation d'un Object (Paris:
Section franaise de l'Institut international de
Conservation, 1999), 27-38.
44
J ane Rutherston, Victorian Album
Structures Paper Conservator 23 (1999): 13-25.
45
Terry Boone, Andrew Robb, and Mary
Wootton. The structures 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 structures 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





GUSTAVO LOZANO


General References
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.
Alistair, Allen, and J oan 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. In L'album Photographique. Histoire et
Conservation d'un Object, 119-127. Paris: Section franaise de l'Institut international de
Conservation, 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 de
Great Exhibition. Bulletin van het Rijksmuseum 53, no. 2 (2005): 141-178.
Baillargeon, Claude. Au servide de la propagande deu Sacre-Coeur: la album de travail de
Rohault de Fleury. In L'album Photographique. Histoire et Conservation d'un Object,
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Hill, Gregory. The Conservation of a Photograph Album at the National Archives of Canada.
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Horton, Richard. Glossary of terms relating to photo albums. In Conservation of Scrapbooks
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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, J ane. 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.





GUSTAVO LOZANO


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 franaise 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
franaise de l'Institut international de Conservation, 1998.
Monnier, J erome. Restauration dun Album Chinois du Musee dhistoire de Lile. In L'album
Photographique. Histoire et Conservation d'un Object, 49-52. Paris: Section franaise de
l'Institut international de Conservation, 1998.
Pinet, Helen. Cet album que vous publiez correspond a mon desir. In, 69-76. Paris: Section
franaise 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 la Ville de Paris. In L'album
Photographique. Histoire et Conservation d'un Object, 27-38. Paris: Section franaise 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 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 Annual 17 (1999):
83-94.
Rutherston, J ane. Victorian Album Structures. Paper Conservator 23 (1999): 13-25.





GUSTAVO LOZANO


Institute of Conservation. Photographic Materials Conservation Group. Review of Preservation
and Conservation of Albums and Photographically Illustrated Printed Books.
Birmingham 22nd23rd J uly 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 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





GUSTAVO LOZANO


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-





GUSTAVO LOZANO


cc.icom.museum/Documents/WorkingGroup/Photographic/PhotographicRecordsnewslett
er04-2004.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.