More about the woodburytype
The paragraph is from Richard Benson’s book The printed picture [New York: Museum of Modern Art, 2008]:
The woodburytype plate was hard to make, but once done it could generate a lot of inexpensive prints. They curled terribly and the borders were always a mess, from the excess gelatin squeezing out, so they were always mounted. The woodburytype used no silver, which saved money, and it could produce monochromatic prints in any color, according to the pigment used. The prints were also never wet, so all the complex handling of wet paper was avoided. Most of them were colored to imitate albumen prints, so the viewers believed they were seeing a “real” photograph. The technology didn’t allow prints much bigger than eight by ten inches [20 x 25 cm], but these beautiful little prints never had to go into a hypo bath so they are remarkably permanent.
This video from George Eastman House shows the woodburytype printing process in action: