JAIC 1985, Volume 24, Number 2, Article 4 (pp. 92 to 103)
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Journal of the American Institute for Conservation
JAIC 1985, Volume 24, Number 2, Article 4 (pp. 92 to 103)


Mervyn Ruggles


Gernsheim, Helmut and Alison, “L.J.M. Daguerre, The World's First Photographer and Inventor of the Daguerreotype” (Cleveland and New York: The World Publishing Co., 1956), p. 79.

Archer, Frederick, S., “The Collodion Process on Glass” (London: Printed for the author, 1854).

Coke, VanDeren, “The Painter and the Photograph from Delacroix to Warhol” (Albuquerque: University of New Mexico, 1971), pp. 232–239.

Gernsheim, Helmut and Alison, “The History of Photography, 1685–1914” (New York, St. Louis and San Francisco: McGraw-Hill Book Company, 1969), p. 118. “In the early days of daguerrotype portraiture, Queen Victoria asked the fashionable miniature painter Alfred Chalon whether he were not afraid that photography would ruin his profession, 'Ah, non, Madame', he replied in a mixture of French and English, 'photographie can't flat�re'.” Originally published in “The Women at Home”, London, vol. VIII, 1897, p. 812.

Ayres, George, B.How to Paint Photographs in Water Colors (Philadelphia: Benerman & Wilson, 1869).

Sobieszek, Robert, A., “A Note on Early Photomontage Images,” Image, Vol. 15, No. 4, December 1972, International Museum of Photography at George Eastman House Inc., Rochester, N.Y., pp. 19–24.

The camera obscura was invented by Erasmus Reinhold of Wittenberg in 1540, improved by Porta in 1558 and made into a tranportable unit by Hook in 1679. Gettens, R.J., and Stout, G.L.S, Painting Materials. A Short Encyclopedia (New York: Dover Publications Inc., 1966), p. 284.

The camera lucida was invented by Wollaston in 1807. Gettens and Stout, op.cit., p. 284.

Gernsheim, Helmut and Alison, “The History of Photography, 1685–1914”, op.cit., pp. 26 and 51. The camera lucida consists of a glass prism eyepiece mounted on a tripod on a drawing board permitting the simultaneous view of a hand-manipulated pencil to draw the outline of a scene.

StaffFrankThe Picture Postcard & Its Origins (London:Butterworth Press, 1966), 42–43.

Boulet, Roger, Frederic Marlett Bell-Smith (1846–1923), Exhibition cataloque, Art Gallery of GreaterVictoria, B.C. (Victoria, B.C.: Moriss Printing Co. Ltd., 1977), pp. 16–17.

Ayres, George, B., How to Paint Photographs in Water Colors and in Oil (Philadelphia:Benerman & Wilson, 1871), pp. 21–25.

Anonymous. “Mr. Sawyer's Art and Photograph Studio,” The Gazette, Montreal, Vol. CI, No. 24, January 24, 1972, p. 2.

Harper, J.R. and Triggs, S.editors, Portrait of a Period, Notman Photographs 1856–1915 (Montreal: McGill University Press, 1967), unpaginated.

Notes supplied to the author by Stanly G. Triggs, Curator of the Notman Photographic Archives, McCord Museum, McGill University, Montreal, October 27, 1982.

Thomas, Ann, Fact and Fiction: Canadian Painting and Photography 1860–1900, McCord Museum, Montreal: Plow & Watters Ltd., 1979), pp. 33–44.

Harper, J. Russell, Early Painters and Engravers in Canada (Toronto: University of Toronto Press, 1970, pp. 276–280.

Hubbard, R.H., Catalogue of Paintings and Sculpture, Vol. III, Canadian School (Ottawa: National Gallery of Canada, 1960), pp. 272–273.

Triggs, S.G., loc.cit.

Rehn, Isaac, “Solar Printing on Canvas,” The Philadelphia Photographer, Vol. V, No. 54, June 1868, pp. 190–191.

Anonymous, “Photographs on Canvas,” The English Mechanic, Vol. I, No. 3, April 14, 1865, p. 27.

Lucas, J.T., “Photography on Canvas,” Photographic News, Vol. VII, No. 22, January 9, 1863, London, p. 23.

Towler, John, M.D., “To Prepare Canvas for the Reception of a Photograph,” The Philadelphia Photographer, Vol. V, No. 54, June 1868, p. 194.

Moore, Albert, “Solar Printing,” an advertisement, Ayers, G.B., “How to Paint Photographs in Water Colors” (Philadelphia: Benerman and Wilson, 1869), p. 132.

Copyright � 1985 American Institute for Conservation of Historic and Artistic Works