REFERENCES

ASTM. 1985. Standard test method for specular gloss, D 523-85. Philadelphia: American Society for Testing and Materials.

Hill, G.1991. The conservation of a photograph album at the National Archives of Canada.Journal of the American Institute for Conservation30:75–88.

McCormick-Goodhart, M.1989. Research on collodion glass plate negatives: Coating thickness and FTIR identification of varnishes. In Topics in photographic preservation, vol 3. Washington, D.C.: Photographic Materials Specialty Group of the American Institute for Conservation. 135–50.

Messier, P. A., and T. J.Vitale. 1993a. Albumen photographs: Effects of aqueous treatment and fundamental physical properties. In The imperfect image: photography, past, present and future. London: Centre for Photographic Conservation. 209–35.

Messier, P. A., and T. J.Vitale. 1993b. Cracking in albumen photographs: An ESEM investigation. Microscopy Research and Technique25:374–83.

Moor, I. L., and A. H.Moor. 1991. The effect of aqueous treatment on photographs. In Sauvegarde et conservation. Paris: Association pour la Recherche Scientifique sur les Art Graphiques. 62–66.

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Swan, A.1981. Conservation of photographic print collections. Library Trends30:267–96.

Vitale, T. J.1992a. Comparison between practitionerobserved and measured changes in mechanical and physical properties of paper before and after washing. AIC abstracts. American Institute for Conservation 20th annual meeting, Buffalo, N.Y. Washington, D.C.: AIC. 15–16.

Vitale, T. J.1992b. Effects of water on the mechanical properties of paper and their relationship to treatment of paper. In Materials issues in art and archaeology, III, Materials Research Society Symposium Proceedings 267, ed.P.Vandiver et al. Pittsburgh: Materials Research Society. 397–427.

Vitale, T. J., and P. A.Messier. 1994. Physical and mechanical properties of albumen photographs. Journal of the American Institute for Conservation33:279–99.

AUTHOR INFORMATION

PAUL MESSIER is a conservator in private practice working in the Boston metropolitan area. He has an A. B. in art history from Vassar College, 1984, and an M.A. and C.A.S. in the conservation of works of art on paper from State University College at Buffalo. He worked as an apprentice in photographic materials conservation with Jose Orraca from 1985 to 1987. From 1989 to 1990 he completed an intern-ship with Anne Cartier-Bresson at the Atelier de Restauration des Photographies in Paris. He worked as a postgraduate fellow with Timothy Vitale at the Conservation Analytical Laboratory of the Smithsonian Institution where he completed research into the effect of aqueous treatment of albumen photographs in 1991. From 1991 to 1994 he was head of the paper and photographic materials conservation department at the Rocky Mountain Conservation Center in Denver. As an adjunct faculty member within the art history department at the University of Denver, he developed and taught a course designed to introduce the field of art conservation to graduate and undergraduate students. Address: 77 Griggs Rd., Brookline, Mass. 02146.

TIMOTHY VITALE is currently a conservation consultant working from Aptos, California. He has a B.A. in art history from San Jose State University, 1973, and a M.S. in art conservation from the University of Delaware/Winterthur Art Conservation Program, 1977. He was a staff member at the Stanford University Museum, 1970–74, and served an apprenticeship with Sella Petri, a book conservator in San Francisco. He was head of paper conservation, Intermuseum Conservation Association, Oberlin, Ohio, 1978–82, and chief of the preservation branch, National Archives and Records Service, Washington, D.C., 1982–83. From 1983 to 1993 he worked at the Conservation Analytical Laboratory. He was president of the AIC Book and Paper group, 1982–84, and served on the AIC Certification and Accreditation Committee 1981–86. Address: 158 Via Trinita, Aptos, Calif. 95003.