Linnaeus Tripe and Lightly Albumenized Prints in the 1850s: Characterization, Analysis and Process Identification

ABSTRACT

The photographic work of Captain Linnaeus Tripe (ca. 1851–1860) falls in a transitional decade in which the albumen print began to supplant the salted paper print process. In the 1850s, a wide variety of albumen recipes led to a broad range of print sheens from matte to semi-glossy. These low sheen prints are more difficult to distinguish from salted paper prints. The presence of an albumen binder layer in these prints may not be as obvious as in later albumen prints, even under magnification. Instrumental analysis, such as infrared spectroscopy, can identify the presence of protein but cannot reliably differentiate between a binder layer and a subsequent coating. This paper discusses the visual and scientific analysis of prints created by Tripe. In addition, a set of standardized albumen print simulacra based on a recipe used by Tripe was prepared for comparison to his prints. Both groups of prints were investigated by visual examination, gloss measurement, and non-sampling instrumental analysis by ATR-FTIR, in addition to SEM analysis of the simulacra. The results of the research help to explain the material character of these prints and similar lightly albumenized prints of this period.

RÉSUMÉ

L'œuvre photographique du Capitaine Linnaeus Tripe (ca. 1851–60) s'inscrit dans une décennie de transition pendant laquelle les tirages sur papier albuminé commencèrent à supplanter les tirages sur papier salé. Dans les années 1850, la grande diversité de formules de préparation de papier albuminé produisit des épreuves présentant une variété d'aspects de surface, de mat à semi-brillant. Ces épreuves peu brillantes sont plus difficiles à distinguer des épreuves sur papier salé. La présence d'une couche de liant à l'albumine dans ces tirages peut ne pas être évidente, comme dans les tirages ultérieurs à l'albumine, même sous grossissement. Les analyses instrumentales, comme la spectroscopie infrarouge, peuvent identifier la présence d'une protéine, mais ne peuvent faire avec certitude la différence entre une couche de liant et un vernis appliqué ultérieurement. Cet article traite de l'analyse scientifique et visuelle des tirages produits par Tripe. De plus, une série de facsimilés de tirages albuminés standardisés fut préparée selon les formules utilisées par Tripe pour les comparer avec ses tirages. Les deux groupes de tirages furent ensuite étudiés par examen visuel, mesure de brillance, et par analyse non destructive par spectroscopie infrarouge à transformée de Fourier et réflectance totale atténuée (ATR-FTIR). Les facsimilés furent également analysés par microscope électronique à balayage. Les résultats de cette recherche permettent d'expliquer les caractéristiques matérielles de ces épreuves, et de tirages légèrement albuminés, contemporains de ceux étudiés ici, et similaires. Traduit par Claire Cuyaubère.

RESUMO

O trabalho fotográfico do Capitão Linnaeus Tripe (ca. 1851–60) transcorreu em uma década de transição na qual a impressão de albumina começou a suplantar o processo de impressão em papel salgado. Durante este tempo, uma grande variedade de receitas de albúmen gerou uma ampla gama de brilhos de impressão, desde mate ao semi-lustroso. Essas impressões de baixo brilho são mais difíceis de distinguir das impressões de papel salgado. A presença de uma camada de aglutinante de albúmen nessas impressões pode não ser óbvia, como nas impressões de albúmen posteriores, mesmo quando ampliada. A análise instrumental, como a espectroscopia infravermelha, pode identificar a presença de proteínas, mas não pode diferenciar com segurança entre uma camada de aglutinante e um revestimento posterior. Este artigo discute a análise visual e científica das impressões feitas por Tripe. Além disso, preparou-se um conjunto de simulações de impressão de albumina padronizadas com base em uma receita usada pela Tripe para comparação com suas impressões. Ambos os grupos de impressões foram investigados por meio de exame visual, mensuração do brilho e análise instrumental sem amostra por ATR-FTIR, além da análise de SEM das simulações. Os resultados da pesquisa ajudam a explicar o caráter do material destas impressões e outras impressões ligeiramente albumenizadas similares desse período. Traduzido por Beatriz Haspo.

RESUMEN

Durante la decada de 1850, una gran variedad de variedad de recetas de albúmina condujeron a una amplia gama de brillos de impresión desde mate hasta semi-brillante. Estas impresiones de bajo brillo son más difíciles de distinguir de las impresiones en papel salado. La presencia de una capa de aglutinante de albúmina en estas impresiones puede no ser obvia incluso cuando se observa con aumento. El análisis instrumental, como la espectroscopia infrarroja, puede identificar la presencia de proteínas, pero no puede diferenciar de manera confiable entre una capa de aglutinante y un recubrimiento posterior. Este artículo discute el análisis visual y el científico de las impresiones hechas por Tripe. Además, se preparó un conjunto de simulacros de impresión de albúmina estandarizados basados ⁣⁣una fórmula usada por Tripe para compararlos con sus impresiones. Ambos grupos de impresiones fueron investigados por medio de examen visual, medición de brillo y análisis instrumental sin muestreo por ATR-FTIR, además del análisis SEM de los simulacros. Los resultados de la investigación ayudan a explicar el carácter material de estas impresiones y otras impresiones levemente albumenizadas similares de este período. Traducción: Andrea Venosa; revisión: Amparo Rueda.

KEYWORDS:

• Photograph
• print
• salted paper
• albumen
• Linnaeus Tripe
• India
• Burma
• 1850s

Acknowledgments

Consultations with Roger Taylor and Sarah Greenough were invaluable for discussions of the work of Tripe and his contemporaries. Mike Ware provided advice on early photographic chemistry. We thank several current and former staff of the NGA conservation division: Christopher Maines, Constance McCabe, Ronel Namde, Alisha Chipman, and Kimberly Schenck. Additional thanks go to David Hogge, formerly of the Archives at the Freer|Sackler.

Disclosure statement

No potential conflict of interest was reported by the authors.

Notes on contributors

Sarah S. Wagner has been a Senior Photograph Conservator since 2010 in the Photograph Conservation Department at the National Gallery of Art. She was previously Principal of Sarah S. Wagner LLC providing photograph conservation services to museums and libraries in the Washington, DC, metropolitan area, and was previously employed at the National Archives and Records Administration and the Library of Congress. She is a Fellow of AIC and received her MS and certificate in art conservation from the Wintherthur/University of Delaware Program in Art Conservation in 1989. She received a BA in Biochemistry from Mount Holyoke College in 1981. Address: National Gallery of Art, 2000B South Club Drive, Landover MD 20785. Email: [email protected].

Matthew L. Clarke is a professional associate of AIC and has been a conservation scientist at the Freer Gallery of Art and Arthur M. Sackler Gallery of the Smithsonian Institution since 2015. He previously worked at the National Gallery of Art from 2010 to 2015. His research focuses on the use of chemical analyses understand the composition and changes in cultural heritage materials. Prior training includes postdoctoral work at the National Institute of Standards and Technology. He received a BS in chemistry from the University of Wisconsin – Green Bay in 2001 and a PhD in analytical chemistry from the University of Michigan in 2006. Address: Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, P.O. Box 37012 / MRC 707, Washington, DC 20013–7012. Email: [email protected].

Joan M. Walker received a PhD in Inorganic Chemistry in 2015 from Indiana University, where her research focused on the interaction between metallic nanoparticles and proteins under visible light excitation. After a brief internship in the Conservation Science Department at the Indianapolis Museum of Art, she was hired as a Conservation Scientist at the National Gallery of Art. Funded by The Andrew W. Mellon Foundation, her current research activities aim to gain a better material understanding of the creation and preservation of photographs from the early photographic era. Her interest in conservation dates back to her undergraduate career at Washington University in St. Louis (BA, summa cum laude, Chemistry and Art History) and subsequent position as conservation technician at the Indiana Historical Society. Address: As for Wagner. Email: [email protected].

Notes

1 The exhibition was co-curated by Tripe scholar Roger Taylor, professor emeritus of photographic history at De Montfort University; Sarah Greenough, Senior Curator and Head of the Department of Photographs at the National Gallery Art; and Malcolm Daniel, formerly of the Metropolitan Museum of Art during the planning of the exhibition and now Curator in Charge, Department of Photographs at the Museum of Fine Arts, Houston.

2 The NGA wall label stated:

Unless noted, all of the prints in this exhibition were made from paper negatives. Tripe worked during a transitional period in photographic printmaking when plain salted paper prints were giving way to albumen prints. He typically coated his paper with dilute albumen after which he applied a light-sensitizing solution. Following exposure and fixing, he usually toned his photographs with gold to achieve a distinctive tonality and greater permanence. Unlike earlier salted paper prints or later glossier albumen prints made on commercially prepared paper, Tripe's have a delicate, subtle sheen.

Additional information

Funding

This work was funded in part by the Andrew W. Mellon Foundation [11000604 – Award to National Gallery of Art].