Exhibitions/ Art Object
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[Group of 42 Stereograph Views From the London Stereoscopic Company, 1860-1870, Many Hand-Colored to Illustrate Books]

Publisher:
London Stereoscopic Company (British)
Artist:
Unknown (British)
Artist:
Unknown
Publisher:
G. W. Thorne (American)
Artist:
Unknown (American)
Publisher:
M. W. S. Jackson (American)
Publisher:
J. L. Bates (American)
Publisher:
Mrs. Charles Lawrence (British)
Publisher:
F. W. & R. King
Publisher:
Keystone View Company
Artist:
Benneville Lloyd Singley (American, Union Township, Pennsylvania 1864–1938 Meadville, Pennsylvania)
Artist:
Collaborated with Sir David Brewster (British, Jedburgh, Scotland 1781–1868 Melrose)
Publisher:
Littleton View Company (American)
Publisher:
Underwood & Underwood (American)
Publisher:
William Hall & Son (New York)
Artist:
C. E. Goodman
Artist:
J. Elliott
Publisher:
McAllister & Brother (American, active 1860s–1870s)
Publisher:
London Stereoscopic and Photographic Company (British)
Person in Photograph:
Henry IV, the Pius, Duke of Saxony (German, 1473–1541)
Publisher:
G. Hawgood
Publisher:
J. Eastlake
Person in Photograph:
Charles-Louis-Napoleon Bonaparte (French, Paris 1808–1873 Chislehurst, Kent)
Publisher:
E. H. Chamberlain (American)
Printer:
Nachmann (French)
Publisher:
E. Vimard (French)
Publisher:
Gebhardt, Rottmann, & Co. (British)
Publisher:
B. B. Savary (American)
Publisher:
L. J. Cist
Author:
William Hepworth Dixon (British, 1821–1879)
Artist:
M. Laroche
Publisher:
New York Stereoscopic Company (American)
Publisher:
L. H. Stockwell (American)
Date:
1860–70
Medium:
Albumen silver prints
Dimensions:
Mounts approximately: 8.6 x 17.5 cm (3 3/8 x 6 7/8 in.)
Classification:
Photographs
Credit Line:
Gift of Weston J. Naef, in memory of Kathleen W. Naef and Weston J. Naef Sr., 1982
Accession Number:
1982.1182.1242–.1283
Not on view
Founded in 1854, the London Stereoscopic and Photographic Company was a major publisher of stereographs-cards with two nearly identical photographs mounted side by side that can be viewed through a binocular device to create an illusion of depth. The firm's output was colossal; their 1858 catalogue listed more than one hundred thousand views. While the majority of these were landscapes or architectural views, there was also a thriving market for staged historical, sentimental, or comic tableaux, which were often hand-colored to enhance their dramatic impact. Among the most popular themes were courtship, marriage, unrequited love, bereavement, children sleeping or praying, fairy tales, fortune telling, and supernatural scenes involving ghosts or spirits.
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