VOW-; / ON OLD AND NEW INTENTIONS KEEPING PICTORIAL WORKS OF ART WITH ADDENDA BY GEO. HARVEY, A.N.A. $reparelr to be reatr before tfje Soeietg of arts. PUBLISHED BY THE AUTHOR, 16 , RATHBONE PLACE, OXFORD STREET, LONDON. 1861 . Cow HI I 86/ NOTICE. The following Paper was written for the Society of Arts, with the expectation that it w r ould be received in time for the present season ; but the Secretary has returned it with thanks, stating that the arrangements of the Council prevent them appointing an evening for its being read. Mr. Harvey, not wishing another season to pass without its publication, has thought it desirable to lay it before the Public in its present form. 16 , Rathbone Place , London , W. March , 1861 . ©u ©lit anir |fofo Jitfowticras for wiring |)irforal SEcrrfui of Jut “A thing that is worth doing at all, is worth doing well.” The aphorism is a time-honoured one, and worthy its popular position as a useful incentive to high principles of action ; for it rests on a permanent foundation — on a desire to attain excellence. It matters not how trifling a thing may be, whether viewed morally, intellectually, or physically, if done, it should be well done. The aphorism also embodies one of the primary elements of political and social progress, the science or art, of all sciences and arts the most important, that of government. When a thoughtful mind says, I can improve upon that which at the time may claim his particular attention, he has obtained employment, which may lead to much benefit in society : or he may pass his time in the mere amusements of blowing bubbles, on which, with delighted gaze, he sees the marvellous and enchanting beauty of the scene around, reflected with the infinite miniature skill of Divinity, and that too, in the gorgeous colours of the prism : or he may pass his days in perfecting the Jacquard loom, whereby our belles may be arrayed in the sumptuous splendour of silks and satins. The contemplative mind sees the wisdom of Chris- tianity, and labours for others’ benefit. In all peaceful employments the love of the beautiful is a basis of action — the incentive principle leading to employment. Now mere occupation is in itself a gain of happiness ; for activity is one of the conditions of enjojdng life. Indeed mental action, in multiplying our desires and creating our wants, calls forth inventors to supply them ; and these desires and wants, therefore, may be viewed as the incidents of civilization as opposed to the barren inertness of savage life, which has few other excitements, save war and the chase. Thus employment not only benefits the individual, but also society, according to the degree of success or the appreciated usefulness of the thing improved or invented. Oliver Goldsmith, who, though known mostly by his poetical works, yet was also somewhat of a political economist, has left on record the same sentiments which I have just expressed ; for he has stated, “ that every one who excited a new want, called forth invention to supply that want, and thereby gave to society greater means of finding occupation for its members.” Such persons he thought “ did the state more lasting service than the warrior who gained a victory.” His conclusion, however, is relative, and may be considered problematical. His views nevertheless possess much econo- mic truth. These ideas, permit me to observe, have been my principal incentive to action, and induced me, finally, to set energetically to work, to see if I could not invent and make a new port- folio ; one which would comply with all the requirements that are essential for the perfect preservation of pictorial works of art ; and I modestly trust that it will be admitted I have succeeded in the task. I am an artist by profession — one trained and educated from earliest boyhood to its pursuits. The portfolio has therefore been an important article of use with me, while the imperfections of the old kinds have most sorely tried my patience and temper. The old adage that “ no one knows so well where the shoe pinches as the wearer,” applies, you perceive, in the case before us, for, being compelled to use these imperfect articles — there having been none others known — has caused me to suffer much, through the injury my works have sustained from dirt and dust, broken edges, and careless handling ; and even losses may be enume- rated from stealthy abstraction, till at last the evils became so intolerable that I set all other occupation aside for the purpose of experimental trials, to see if I could not contrive and produce an article which would remedy the evils so long endured. I flatter myself I have done more than I set out to do, as the specimens I shall have the honour of producing this evening will prove ; and I trust also, that these inventions, after they have been seen and explained, will meet with an appreciative approval. Before, however, proceeding to specify seriatim the different articles treated of in this paper, it may be as well to premise that an institution founded for the express purpose of furthering the encouragement of the arts and sciences, will not be travelling out of the legitimate sphere of usefulness pre- scribed by its charter, if its special attention is directed to notice such inventions as tend to make more perfect the appliances and means for the best and safest conservation of pictorial art treasures, as well as for their easy inspection. Certainly the preservation of these treasures is of primary economic importance to their owners, and our Society owes a duty to itself, if it desires to maintain its integrity of useful earnestness : to foster and encourage every invention that shall tend to bring to perfection the best means of preserving such works, and when the judgment of its members ap- proves of the inventions, then, surely, it will not be less their duty to give their approval publicity. I humbly trust that the inventions which I have brought here this evening will claim sufficient attention as to lead to a just estimate of their merits, and that I may be honoured also by the support and widely extended influence of the managers and members of this Institution. The old portfolio may be regarded, with some degree of speculative justness, as a contemporary invention with that of the three-legged stool of primitive times ; but, however that may be, it is evidently an impromptu contrivance, “ got up ” to meet a pressing necessity of the times when paper was first invented, and came into general use. They were, doubtless, at first quite small, and only employed for keeping loose sheets of manuscripts together ; but in after times, when pictorial works became too numerous to frame, the sizes were enlarged, and they were used for storing them together. Their principles of construction were the same then as now, showing but little inventive skill, for each one simply consists of two thin boards ; the two under edges joined together at what is technically called the “back ” by a strip of leather, and the other six edges fastened by three or four pairs of Fig. 1. The old portfolio, with limp back and strings. strings of tape or ribbons. The only addition which has been made, is of late years, and consists of side flaps generally composed of holland or cotton cloth, employed to keep the edges of the contents of the portfolio free from dust. 6 You perceive that the “back” (being limp) subjects the under edges of its contents to be bruised or broken, and ♦otherwise injured by accidents, or by violently and care- lessly placing them on the flour. Then the great mis- chief of the strings is, that they cut the edges of the margins of the prints, drawings, &c., as every one must have noticed who has seen an old portfolio and its col- lection in use. In regard to the loose flimsy side -flaps, the annoyance they cause is, that they are always more or less in the way; besides having a dangling, unsightly, and, when long used, a dirty appearance. The latter annoyance, however, may be considered as arising from the organ of order — phrenologically viewed — being offended. There are some of these old kinds of portfolios “got up” with great cost and elegance of appearance ; but the imperfect principles of their construction only make them the instruments — the gilded sepulchres — for the speedy deterioration and ruin of their contents. Such, in a few words, may suffice to convey a just idea of these old articles, which have been in constant use, as the conservators of pictorial works, from the earliest times of graphic art on paper. There have been, also, other means employed for depositing collections of prints; but these are mostly in use by pub- lishers for keeping their various kinds of engravings together in “ stock.” They generally consist of drawers or trays, and, as they are not adapted for private service, they therefore need no special notice in this paper. It seems, however, if my information be correct, that a late illustrious Duke, who was a hearty patron of print publishers, was induced to give orders for the construction of a similar set of drawers wherein to keep his purchases. As they were entirely unfitted for a private collection, intended for frequent inspection, it is almost superfluous to remark that, when once his purchases were placed in these drawers, they were seldom disturbed, on account of the trouble and inconvenience of getting at them. At last, the Duke, desirous of bringing his choice collection into use, had a room “papered ” with some of the largest, in order that he and his visitors might see them without trouble. These, mostly proof works, when stuck on the walls, paste and varnish soon finished their position as works of fine art, on account of the grimy dirt and smoke of London, which by this time must have rendered them anything than pleasing and ornamental. When we 7 consider that they were proof impressions, “ before letters,” one cannot but regret their destruction ; for many of them cost from ten to twenty guineas each. This statement, showing the great existing want of suitable conservators for preserving and showing pictures, has had a great influence in inducing me to try my skill to supply the needs of the patrons of art, the results of which I will proceed to explain. The principles of construction of the improved portfolio I have secured by letters patent ; the third year of the second renewal being just entered upon. The methods adopted remedy all the imperfections complained of. In the first place, the protecting flaps, being on the outside and having gusset silk corners, they exclude every particle of smoke, dust, and dirt. In fact, the portfolio is almost hermetically sealed against such deleterious influences. The flaps, being on the outside, have also the advantage over those placed on the inside, that what- ever dust may settle on them never penetrates within to injure the contents. The back — the technical term of which has already been explained — instead of projecting and being limp, as shown in Fig. 1 — is suspended from the sides of the portfolio, and is placed as much above the edges as is necessary to give the capacity desired. By this plan the under edges of the prints, Fig. 2. A section of the patent portfolio, showing the suspended back and a side flap, thrown back. drawings, maps, &c., are protected, so that they cannot be broken, bruised, or injured as in the old kind. The outside flaps projecting beyond and over the “ back ” also protect that part which is entirely exposed in the former kinds. By the peculiar mode of fastening, composed of two brass hooks fitting into a square eye, which are attached to the flaps by elastic bands, allows the portfolio to be opened or closed in a moment of time ; and by a reversed action, they — 8 the flaps — can be turned back and fastened on a sunk re- ceiving-hook on the side to which they are attached. In this Fig. 8. Part of the label plate, showing the receiving-hook, with the fastenings above. position they are out of sight, lying quite close to the leaf of the portfolio, where they give not the slightest inconvenience in lifting or otherwise using the portfolio. The permanence and durability of the bands has also a great advantage of those with tape or ribbon strings ; for it is a well-known fact, that the tying and untying the strings a few times fret the woof threads so much that they soon break off, leaving the portfolio without the means of being kept closed, and thus the contents are exposed to every deleterious influence. I have as yet said nothing of the time and trouble necessary to tie and untie the three or four pairs of strings employed in the old kinds, but which is always considered a nuisance, and, consequently, they are often unused, leaving the portfolio open. Fig. 4. The portfolio with the side flaps fastened when open. This trouble in the patent portfolio is entirely removed ; for, 9 by a simple operation, occupying only a moment, the portfolio is opened or closed with equal facility. We now come to a portfolio with a lock and key. It differs only in the receiving-hook being attached to a lock, instead of a plate (see Fig. 3). The lock has a sliding-bolt, on the end of which is the receiving-hook. When the hooks and eye are connected, and are placed on the hook of this sliding-bolt, the bolt can then be shoved into the lock by the finger nail, if necessary, or by the pipe end of the key, when an inside spring holds it close to the rim of the lock ; so that the hooks and the eye cannot be removed without using the key to unlock and liberate them. The third kind, to which your attention is now called, is a table portfolio. It is the same as the previous two, with Fig. 5. the addition of an easel or strut. The band, at its foot, is made so that it expands, and allows the portfolio to be placed at any required angle; and when the portfolio is lifted up, the band is drawn up under the easel by another piece of elastic webbing, and is then invisible. The great advantage of having portfolios with the appliance of the easel arises from the facility it affords of exhibiting the contents to any number of spectators at one time without taking them out of their places. This exhibition is made by simply turning them down one after another as you would turn over the leaves of a book. It saves all useless handling, as in this manner the works are seen to the best advantage while remaining in their respective places. Every one is perfectly aware that collections of prints, drawings, photographs, &c., are greatly soiled and disfigured as soon as the pristine purity of their margins is contaminated by finger marks ; and they are, fur- thermore, often irredeemably injured by rumpled or kinked surfaces. With the use of these patent portfolios, there is no good reason why collections may not be kept for ages ; and though often seen, may yet preserve their flat, unbroken, clean surfaces, and their edges as sharp, or nearly so, as when they first came from the artists’ or publishers’ hands. We have thus briefly enumerated some of the advantages which the patent portfolio possesses over all others ; but a very important remark has been deferred, which may be made here. It relates to the peculiar properties of the “ back ” being suspended (see Fig. 2), which acts as if it were a press, nipping the edges together, thus keeping them always straight, while, at the same time, the sides of the portfolio secure them from all accidents. I shall now show a patent portfolio with a lock-easel, together with its contents. These have been in use for more than four years, and the portfolio has been opened and closed, perhaps, fifty thousand times, and its contents exhibited as often. The mounts of the drawings are nearly uninjured, the edges are unbroken, and as clean as the Jig. 6. A lock-easel portfolio closed. frequent exposure in this smoky atmosphere of London could possibly permit. The only dirt that has been possible for them to gather has been during the time that they have been exhibited. The lock is attached to the easel, and this combination is preferred by some on account of its being a trifle cheaper than the Gothic metal easel with a separate lock. There is also a fret- cut easel of wood, which is in more frequent demand than any other. This is the cheapest of 11 any. It is much lighter in weight, but then it is more subject to accidents. The most elegant and perfect folio of all is the one now shown.* It is light and strong ; in fact, it may be called an everlasting portfolio, as far as wear is concerned ; and it also has the advantage of never bulging or getting out of shape. The strengthening is done by a framework of wood, and curiously covered by cloth, or leather, or any other material that may be preferred. I have designated it anti-bulging , from its rigidity, or unyielding surface. There is also another novelty in its construction. The ends of the side flaps are composed of thin steel, which prevents them ever being broken, unless great violence is used. Another of the same kind has the framework of polished wood, which is on the outside. All these varieties are portfolios in the true meaning of the term ; but the one which next claims your attention is an entirely different article, into which structure “ millboard ” does not enter at all. In the others, hitherto shown, mill- board is the essential fabric. I have given it the Italian name of “ Grolfo,” on account of its structural capacity allowing it to hold a large quantity. In fact, it can be made so large as literally to engulf as many prints as would stock a retail shopkeeper. They are made of all sizes, Fig. 7. Table “ Golfo.” from the small one now on the table, which is termed a “ Table Golfo,” to that large one on wheels (see Fig. 8). The glass in front, with a gilt marginal frame, enables one work of * As a wood-cut would not show the peculiarities and advantages. The portfolio must be seen to be understood. 12 art to be continually on view. The newest art treasure, there- fore, may always occupy a conspicuous position in constant view without any trouble in showing it, and can be changed with the greatest facility whenever desired for another. The one exhibited can then be engulfed with the others in the body of the case. The grand “G-olfo” is made of any capacity, Fig. 8. Grand “Golfo” in a position ready to be opened. from that of an ordinary portfolio to that of the thickness of a foot or more ; and will stand close up against the wall, having the same effect as a framed picture hanging lower than usual. It is an elegant piece of drawing-room furniture.* If metal sockets are attached to the ends, for ornamental or plain sconces, to hold either lamps or candles, they can be inserted whenever required for the purpose of exhibiting the contents by artificial light. These “ Golfos ” admit of an endless variety of ornamentation. The interior structure has a modi- fication of the ordinary portfolio, a suspended and corrugated back attached to a framed moveable leaf, the top of which is fastened by elastic bands, thus keeping a constant pressure on the drawings, prints, or maps, as in the portfolios already seen ; so that the contents are always flat. The smaller kinds have a series of divisions or steps, on the edges of which are hinged thick card board. The advantage of this peculiar structure allows the art treasures to be classified, * As my readers cannot gain the information which sight instantly reveals, it will be as well to state, that these grand “ Golfos ” are made of different kinds of ornamental wood highly polished, and, therefore, they harmonise with other cabinet furniture. The wood- cut shows one in a reclining position ; but when not in use, and in its own place, it stands quite upright. 13 either according to size or subjects, and to be turned over without lifting each one on to the pile that has been first seen. There is also a similar kind, the front of which is pannclled, with elegant veined walnut wood, French-polished. The carved ornaments, fastened on each upright rail, are the legs, which, when the front is let down, are sprung into the right position by brass “ stay ” -hinges, and are held there while the front remains open and rests on the floor. This kind, from its elegance, is suitable for a fashionably-furnished drawing-room. As such, it is termed a Drawing-Room Portfolio. Fig. 9. The library portfolio on wheels next claims attention. It is nearly the same as the table portfolio. The difference being that a tripod frame of wood has the portfolio per- manently attached to it, and the easel in front supports the leaf when it is open for use. They are particularly suitable for keeping maps as well as other large works printed on paper. The brass wheels on the legs enable the portfolio to be rolled over the floor with great ease ; and this is no slight advantage, for when one is filled to its capacity the weight is considerable, not less than from one to two hundred pounds. I will now beg to claim your attention to a few other port- folios of different structure. They are small, and simple, and cheap. The first I will show is an expanding one. The “ back,” instead of being composed of leather, has a substitute of three elastic bands, which yield according to the thickness of the contents ; and instead of strings, an elastic band running parallel with the top edge, is placed, which is slipped over its 14 fellow leaf in a moment, and thus closes the portfolio. They are much used for keeping letters, accounts, and the like Fig. 10. Expanding portfolio. papers. Some are made with inside flaps, which serve to exclude dust and dirt from the edges. These latter kinds are fit for holding small photographs. I now show you a flush portfolio. The peculiarity arises from the substitution of elastic bands with brass hooks, which are imbedded in the sides, thus presenting a “flush” or even surface. This is an improvement on the old portfolio with strings of tape, for it does not take so long to hook these bands, nor is it so troublesome to fasten, as to tie those with strings, and, besides this, the bands are durable. This kind, though superior to the old portfolio, is inferior to the patent ones ; I shall, therefore, say no more in its favour. The last novelty which is to be shown is a self-binding portfolio, that is, one on the back of which are stretched a number of thin cords, under which are placed the folded part of periodicals. They thus present the appearance of half- bound books. Music sheets and serial works are thus kept clean, till their increase and number of parts, make it de- sirable to have them bound into books. The one I now show holds thirteen weekly reports of our Society. And this other, a larger quantity of music sheets. And now, gentlemen, permit me to conclude, by expressing a few remarks that I have elsewhere made, as I think they are pertinent on this occasion. The slow step-by-step improvements in the luxury and 15 refinements of civilization is — to the curious who delight in tracing the conditions of the present perfection in many of the productions of the economic arts — a very interesting subject for contemplation, and which every philosophic mind is, at times, prone to think of. The first wheel-carriage formed, doubtless from a transvers section, a few inches in thickness, sawn or hewn from the butt-end of a huge prostrate tree, a hole made in the centre for the insertion of a tough sapling to serve as an axletree — hence the term still employed — and you have what may be conjectured as the first essay of the wheel- wright's craft, and in which we find the germ of the present sumptuous carriage. But how vast the difference between the extremes ! Through what a series of apprenticeships and long- toiling years has it been necessary to pass before the present skill and taste could be perfected and wrought out, so as to make the carriage that now glitters in our streets the thing of beauty and usefulness it is ! And through a similar series of gradations, of improve- ments, has the furniture of our houses been compelled to pass. The cosey comfortable arm-chair, stuffed and cushioned in artistic shape, and covered with fabrics of wondrous elegance, had its origin in the three-legged stool. Sofas, bed- steads, book-cases, tables, picture frames, and a thousand other articles in daily use, have all claimed their due amount of thought from the sons of inventive genius ; but the port- folio — the very article in which within its two folding leaves works of immense value are often kept, productions, which, if defiled by stains or dirt, part at once and for ever with the worth belonging to uncontaminated purity — the portfolio, the custodian of priceless gems of art, has remained the same rude affair in its principles of structure as when first used. It has continued unchanged, unimproved, and is as unfitting for polite society, with its just and reasonable requirements of the fitness of things, as would be a three-legged milking stool in an elegantly-furnished drawing-room. This want of correct principles of structure, I humbly trust, the intelligent body, which I have the honour of addressing, will affirm my patent has supplied, and that the other inven- tions may also meet with an approval. The following was not in the paper prepared for the Society, but, as it is useful for keeping portfolios together, I now beg to call attention to it. I have called it a Sutherland Port- 16 folio Stand, from its occupying a small space like the Suther- land table. It can be placed close against the wall, and, when used, it can be wheeled from its place into a suitable light ; and the back being first thrown at an angle — as shown in the wood-cut (Fig. 12)- — the front scroll can then be let down to receive the open leaf, when the contents can be turned over. Fig. 12. Fig. 11. Sutherland Portfolio Stand. The second wood-cut (Fig. 11) shows the narrow space it occupies when it is ready to be placed against the wall. The front scroll is represented partly let down, but which, in the stand, can be put up, so as to hold the portfolios in their place. When entirely closed, there is a brass rack and slide — out of sight — which secures it firmly. When it is required to be opened, the tassel, seen hanging down, connects the line with the slide, which being pulled, lifts the slide and permits the scroll to be placed at any required angle. They are the most elegant and perfect portfolio stands yet invented, and are in as much demand as the patent port- folio. One other novelty I must beg to mention. It is a portfolio Canterbury, for holding portfolios. It has the appearance of a small sofa, and can be used as a seat as well as for placing the portfolios upon, when the contents are to be shown. T. 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