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PASSE-PARTOUT, PRESENTATION
Photographs in their mounted and decorative formats
often reveal how the photographs fi t into a given culture.
For the researcher however, the type of frame and style
of its decoration defi ne with relative accuracy the date
of its making, the social and historical reference of the
photo itself, the wealth of the owners of the photographs
and their personal, emotional relationship to the person
photographed.
The framing of photographs, daguerreotypes, and
talbotypes basically served a two-fold purpose in the
19th century. Frames mainly existed to protect the pic-
ture from environmental damage, and to decorate the
picture it contained. Both simple and ornate decorations
established additional roles and possible implications of
the frame, such as ornamental details like a larger border
and various colours. These details produced the illusion
of an extended space beyond the photograph and thus
enhanced the effect of the picture. The aesthetic purpose
of the frame was successfully fulfi lled when harmony
was achieved between the picture and its frame. The
frame, passe-partout, and installation of the photograph
changed throughout time and this was characteristic of
and often determined by social groups as well as the
technique, materials used, and implementation of the
photograph itself.
Out of the pictures that were “written by light” or
created using image producing chemicals through the
use of various techniques, direct-positive and positive
pictures, not the negatives, were only available for
mounting or framing. The purpose of photographing
played a part in whether the photo was framed or not,
and if so, what kind of frame was chosen. More often