but I'd like to know how not just that it has been done. Anyone?
I haven't read up on Wyckoff, but a guess is that complementary film masks were put to use.
As a real quick primer, imagine that you photographed a night scene with a brightly lit white building surrounded by dim areas. And you made sure to get a bit of shadow detail in the exposure. Although the film is holding all the detail, straight printing is not too successful. When you print light enough to see some of the dim-light detail, the white building is blown out (all white).
Now, the idea of the mask: imagine if you made a contact print, on film, that was the perfect opposite of your negative. That is, if the two were sandwiched, in perfect alignment, they would cancel out. Where your negative was almost clear, the contact print was almost perfectly dense, and vice versa. No image could be printed. BUT... if the contact print were exposed and developed very weakly, it would only partially cancel out the original negative. And finally, if instead of being perfectly sharp, so that it cancelled out all levels of detail, it was made blurry. Sandwiching a fuzzy contact print with the original neg could ROUGHLY cancel (partially) larger areas, but NOT interfere with fine details in those areas. Voila! An unsharp mask.
A person who has good examples of some rather extreme effects is astronomer David Malin. He has sample images and diagrams of a masking setup here:
http://www.aao.gov.au/images/general/technical.html
Malin's image here:
http://www.aao.gov.au/images/image/cenA_usm.jpg shows original negative (upper left), the unsharp mask (upper right) and the both sandwiched, at bottom.
I'm not comfortable with the term "tone mapping" for this, but I guess it is. The "localized" part just means that certain parts of the negative have their own special masking effect.