Preserving historical glass negatives is a meticulous and delicate process, essential for maintaining the integrity and accessibility of these valuable artifacts. Photographic glass plates—predecessors to film—decreased in popularity during the 20th century, but they were still common and reliable in the early 1900s when this photograph was taken. "Facing Freedom," a circa 1910 photograph attributed to Charles Duprez of Brown Brothers, depicts a family newly arrived at Ellis Island gazing at the Statue of Liberty, capturing a significant moment in American history.
Facing Freedom, photographic print, by Charles Duprez
This glass negative of "Facing Freedom" arrived at The Conservation Center in fragile condition. The glass pane had a significant break in the upper left quadrant, with micro-glass chips missing along the break edges and minimal lifting of the emulsion layer. The upper right and lower left corners showed glass chip losses, and oily residues from handling had slightly etched into the emulsion layer. The reverse side of the glass had accumulated minimal grime and surface deposits.
Glass negative of Facing Freedom, before treatment. The glass negative had cracked into two fragments.
To begin the treatment, the negative was meticulously documented through photography, capturing its condition before any conservation work commenced. This step was crucial for in-house records and to guide the conservation process. Josh McCauley, senior conservator of objects and frames, took a cautious approach to cleaning the glass and emulsion. Solvents were tested to ensure they were safe for use before cleaning the non-emulsion side of the glass plate; however, due to the delicacy of the emulsion layer, only dry-cleaning methods were employed to remove surface contaminants without risking further damage.
Glass negative of Facing Freedom, before treatment, detail
Given the fragility of the negative, a custom mounting solution was not just necessary but also an opportunity for innovation. Josh designed an enclosure with Derek Sutfin, a specialist in frames and mount-making. Derek fabricated an enclosure designed to secure the negative safely and facilitate easy viewing on a light table, a unique and innovative approach.
The enclosure consists of three main components: an acrylic back panel, a white acrylic spacer/frame, and an Optium Museum Acrylic top panel. The negative was held in place using carefully placed padded stainless steel pins. An aluminum channel frame held the entire assembly together, allowing the object to be handled easily and ensuring that the enclosure could be easily disassembled if the negative needed to be removed.
Detail of glass negative of Facing Freedom, after treatment and mounting that holds the fragments in place together.
This design provided a stable and secure environment for the two elements of the negative, protecting it from further damage while allowing for easy access and viewing. The acrylic back panel provided a strong base, while the white acrylic spacer/frame ensured that the Optium acrylic panel did not directly contact the emulsion layer, preventing any direct pressure on the emulsion layer. The Optium top panel offered excellent clarity and protection, enhancing the viewing experience on a light table.
Glass negative of Facing Freedom, after treatment and mounting
Through meticulous conservation and innovative framing, the team preserved "Facing Freedom" as a valuable piece of American history, allowing future generations to appreciate this poignant depiction of the immigrant experience. The custom enclosure protects the delicate negative and facilitates its viewing and handling, ensuring its continued accessibility and preservation.
