I think this image is printed on double weight paper. Photo papers are made from mostly wood pulp. This stuff has a relatively course structure with the cells of the wood somewhat intact. Likely the photographer had a darkroom on premises and did his own film developing, enlarging, and paper processing (this was the norm).
Likely this is pretty standard paper, not resin coated (RC). Archrival stability is easy to achieve provided the paper was properly fixed and then thoroughly washed to remove the residual chemicals of the process. Particularly difficult because residual chemicals are trapped in the wood cells. Thorough washing is the key. Double weight papers required about 1 hour in running water. If a washing agent (hypo clear) chemical bath is used, wash time is cut considerably. Given that few darkrooms in that era were concerned about water conservation, I will bet this print was improperly washed ---meaning residual chemicals remained.
After the print was processed, many photographers toned their prints. This is a chemical treatment that was done for aesthetic reasons. To many, a brown or sepia tone made a more elegant presentation. There were many toning methods. We cannot say which one was used.
Most common was a twostep “Sepia Toner”. The print was bleached in “Farmer’s Reducer”, a solution of potassium ferricyanide (not particularly toxic). Next, the print was bathed in a solution containing the sodium sulfide which re-developed the silver image giving it sepia (red + brown) color. Besides the warm tone, when properly done, the print became super archival ---meaning the image likely will outlast the paper it’s printed on. Note I said properly done.
The typical silver in gelatin print, properly washed and fixed, is stable. However, the silver will eventually be attacked by airborne sulfur or other agents. Sulfur was a plague in the coal burning era. It gradually attacks the silver causing it to tarnish. The problem was, the tarnish is brown or yellowish and uneven. The sepia method uniformly pre-tarnished the print. Now a print properly treated this way has a nonreactive image.
By proper, we are talking about proper fixing, proper washing then toning and then re-washing. All papers exposed to the air and humidity are subject to chemical fading. The edges of the paper are clean cut with a knife. Airborne chemicals can freely enter the paper from the edges. Framed pictures are vulnerable because the frames are painted -- thus chemicals leach out and into the print paper.