BULAT, ELENA. "CONSERVATION ISSUES OF PAPER STEREO TRANSPARENCIES"

Abstract

J. L. Tardieu demonstrated in 1853 that tinted paper photographic prints could be mounted in a frame and viewed with interesting effects through back-lighting, in the long tradition of illusionistic transparent picture shows such as Diorama.

Soon thereafter, “French tissue” stereo cards became a popular novelty. A thin albumen print was mounted in a cut-out cardboard frame, tinted from the rear and backed with a diffusing mask. It was viewed alternately in reflected and transmitted light, giving surprising visual transitions from monochrome to color. From the 1850s to the 1870s, French tissues were produced in great number and distributed world-wide. Although recognized as a beautiful novelty, the French tissue has not received formal study, to place it in historical context and evaluate its conservation needs. This would promote the significance of this form of photography and advance the conservation of hand-colored photography.

A conservation study was made of the George Eastman House’s French tissue stereo card collection, numbering 522 items. The focus of this project was to understand the individual characteristics of the French tissue, its deterioration and its conservation needs.

A literature search was conducted for historic and conservation information. A short history of the French tissue stereo transparency was written to summarize history, techniques, aesthetic and materials. The most important collections of this photographic format are located in the USA and Europe. Several French tissues were treated to improve their physical stability and aesthetic appeal. These case studies highlighted the common problems encountered with this photographic format and also aided in the formulation of recommendations for preservation, treatment, exhibition and storage of French tissue stereo transparency cards.

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Elena Simonova-Bulat was an ARP fellow from 2001 to 2003. This work was her capstone project. Currently, Elena is a photograph conservator at Harvard University Library in Cambridge, MA. This work allowed Elena to augment photograph conservation with her education in paper conservation.

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