The Museum’s conservators have rehoused its two prized daguerreotypes by Southworth & Hawes. [Two women posed with a chair], going on view this June, and [Child, asleep, with one arm raised] (both ca. 1850) were acquired in 1999. They came to the museum each in a modern displayable package that consisted of glass glazing, a mat board spacer, the daguerreotype, and mat board backing; a package in which they were housed until recently.
Rehousing the daguerreotypes gave Sylvie Pénichon (Photograph Conservator) and Tatiana Cole (Fellow in Photographs Conservation) the opportunity to fully examine and document the condition of the bare daguerreotype plates under different types of illumination and under magnification. Some of which are described below.
Coaxial illumination (above left) allows for imaging of surface characteristics of a daguerreotype (above right) without distracting reflections from its mirror-like surface. Illumination with ultraviolet light can sometimes reveal residual chemistry, for example from initial processing of the image or previous treatment, and it can also show the presence of degradation products. However, examination under ultraviolet light revealed none of the above on the Museum’s two daguerreotypes.
Photomicrographs, i.e. images taken under magnification (as shown above), allow conservators to closely monitor any possible changes experienced by the delicate image material of the daguerreotype, which is composed of microscopic silver and mercury amalgam particles often coated with gold. One common type of degradation is characterized by a nucleus surrounded by a white haze (below left). Fingerprints perhaps belonging to the photographer himself may also be found (below right).
Photomicrographs also help to record hallmarks, which are blind stamps that identify the plate manufacturer or photographic supply house, and hold extremely useful information for researchers. A number, such as the “40” shown below, refers to the amount of silver to copper present in the daguerreotype plate. The particular hallmark shown below (from [Child, asleep, with one arm raised]) also identifies the plate as one of the most widely used French plates available between ca. 1850-1858.
After detailed documentation and imaging, the daguerreotypes were safely rehoused between two plates of highly stable and optically clear borosilicate glass, with a polyester tray that borders the daguerreotype plate (below left). The tray acts as a spacer that prevents direct contact between the delicate image surface and the glass. The glass on both sides gives researchers visual access to both the front and back of the daguerreotype plate. It also minimizes the amount of hygroscopic (moisture loving) materials, such as mat board, present within the package. Lastly, special tape is used to bind the new package components together. A schematic diagram shows a cross-section of the new housing (below right).
With new sealed packages, proper exhibition and storage conditions, and close monitoring by conservators, Southworth & Hawes’ exquisite images will be preserved for generations to come. Be sure to come see [Two women posed with a chair] on view this coming June.
Library staff recently unearthed what turns out to be an extremely rare example of an illustrated booklet from Raymond Lufkin (1899–1978). Lufkin published Drawings for Books, Magazines, and Advertisements around 1940 to promote his illustration services while living in New York's Lower East Side. Divided into two parts, "Drawings for Publishers" and "Drawings for Advertisers," the booklet showcases the range of his talent. What strikes me is how deftly he juxtaposes images, often with poetic effect. Below I show my favorite pairing: one page shows a swan gliding on a tranquil blue background, while the opposite page features an engraving showing a small boat in a turbulent storm. Not only do the images ironically relate in terms of subject, but also in terms of color: calming blue and aggressive black and white. Only two libraries, the research library at the Amon Carter, and the American Antiquarian Society, report having the title. Lufkin was an illustrator of prolific achievement active in the United States from the early to mid twentieth century, illustrating over fifty books and hundreds of advertisements. Lufkins' accomplishments also include several mural commissions for businesses in New York and work as as a camouflage artist during World War I.
The museum's research library is exhibiting a copy of Laura McPhee's large photobook Guardians of Solitude, offering a chance for visitors to compare the book with a companion photograph now on display in the exhibition Big Pictures. The limited edition book marks the inaugural publication of Iris Editions in London and translates McPhee’s engagement with large-scale photographs into a book format. The images in this work document the regeneration of the landscape following a devastating fire in 2005 that ravaged an area of over 40,000 acres in the White Cloud Mountains Region in central Idaho. The sequence of photographs collectively demonstrates the interplay of destruction and creation following the fire. The special exhibition Big Pictures features McPhee’s photograph, Understory Flareups, Fourth of July Creek, Valley Road Wild Fire, Custer County, Idaho, 2005, depicting the fire as it was happening.
Lots of friends are making their way to the Amon Carter this week for our spring break Family Fun Week! Come look at art, talk about art, even make some art to take home.
Admission is free and strollers are welcome.
There is even more to a big picture than what meets the eye. For starters, who prints the photograph and how, how is it mounted, and then how is it safely transported, stored, and preserved?
When a photographer or artist decides on a large format for his/her photograph, the negative or digital file is often sent to be printed by a professional printing studio with appropriately large printers. The studio will print and often fully mount the photograph onto a rigid support to minimize physical distortion experienced by the print while in transit and/or on display.
Then there is the question of how one safely transports such a large object. Custom crates are made, placed on a truck (or airplane) with controlled air conditioning and relative humidity, as well as lifted air suspension for a smoother ride, and then chaperoned by professional art movers and museum couriers all the way to the work's final destination.
Once at the museum, crates require room for storage, and the art work must be moved by multiple staff members on an A-frame cart.
As more and more artists print big, new demands are set on museum storage space. Photographs may be stored upright, as imaged below, or in over-sized, horizontal map cases.
Finally, art conservators face new challenges. For example, they are charged with the task of staying well educated about ever-changing mounting adhesives, substrate materials, and printing technologies. When working with large objects, conservators need a large working space, additional lighting equipment, and a different setup for photo documentation. And often times, conservators have to get creative-altering traditional conservation approaches to make them appropriate for big pictures.
One of the great pleasures of being an archivist at an art museum is getting the chance to deal with manuscript materials. It is archival collections that contain the letters, diaries, scrapbooks, etc. that document an artist's life and work. It allows a researcher first-hand access to the artist. So, with great excitement, we recently had the opportunity to acquire, through the generosity of Charles Smith, the archive of Kelly Fearing.
Fearing was part of the Fort Worth Circle of Artists, primarily active in the 1940s and 1950s, who brought modernist ideas and techniques to the Fort Worth area. The Fearing archive has manuscript material spanning his Fort Worth period on into his later distinguished artistic and educational career at the University of Texas at Austin. The archive, once organized, will allow researchers to delve into Fearing's art, associations, and the milieu he worked in. It joins other private papers and records at the Amon Carter, including Fort Worth Circle artists Bror Utter, Marjorie Johnson Lee, Flora and Dickson Reeder, and Blanche McVeigh.
Photo Above: Unprocessed Kelly Fearing Papers
The National Art Education Association's annual conference starts Thursday in Fort Worth and we're thrilled to have our colleagues come to Cowtown to collaborate on art education topics.
We invite all of our NAEA friends to come on over to the Amon Carter and stop into the bookstore for a welcome bag (just show them your conference badge) and our best wishes for a great conference!
Big news! Starting this week on March 2, the research library will offer Saturday hours, 11 a.m.-4 p.m., September through May, to accommodate researchers who are not able to visit us during the work week. A reference librarian will be available in our beautiful reading room to help with your research projects. We also offer free Wi-Fi and digital scanning. Photocopy service available for a charge.
The library offers access to a collection of 140,000 items documenting the rich history of art, photography, and culture in the United States, with holdings of many rare items, including unique archival collections. We rotate a selection of some of this special material in exhibitions in the reading room. Please stop by on Saturday and let us introduce you to our fascinating collection.
Wednesday: 11 a.m.–4 p.m.
Thursday: 11 a.m.–7 p.m.
Friday: 11 a.m.–4 p.m.
Saturday: 11 a.m.–4 p.m., September through May
Other times by appointment
Jason Dean, Cataloger & Technical Services Librarian at Crystal Bridges Museum of American Art (and previously a volunteer at the research library here at the Amon Carter), recently told the fascinating story of The North American Sylva; or, a Description of the Forest Trees of the United States, Canada, and Nova Scotia . . . This signal illustrated botanical work by François André Michaux (1770–1855) and Thomas Nuttall (1786–1859) stands as the most important study of American trees before the twentieth century, offering an unparalleled record of species growing in the United States and Canada during the period. As Jason points out, this work not only combines the research of both authors but also offers the opportunity to study two different illustration techniques: early engravings (with hand-coloring) based on illustrations by the famous French flower painter Pierre-Joseph Redouté (1759–1840) and later hand-colored lithographs. Crystal Bridges has the 1841 edition (Philadelphia: J. Dobson, 1841) while the Amon Carter has the 1859 edition (Philadelphia: D. Rice & A. N. Hart, 1859). The Amon Carter's copy was acquired on the occasion of Ruth Carter Stevenson’s 80th birthday.