Victorian Stereoscopy, William Thomas Richard (1824-1871), ‘The Egg Girl’Regular price Price on Request
© The Brian May Archive of Stereoscopy
Digital archival fine art print hand signed by Sir Brian May
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Accompanied by a Certificate of Authenticity
‘The Egg Girl’ is an intriguing artwork created by William Thomas Richard, who was a prominent Victorian. In this image, Richard likely employed stereoscopy to bring a emphasise both the depth and realism of the scene. The title suggests that the central figure of the artwork is a girl selling eggs, a common occupation during the Victorian period. This hints at a glimpse into everyday life and the occupations that young women fulfilled in society at that time.
The use of stereo imaging in ‘The Egg Girl’ certainly would have added a layer of novelty and engagement for Victorian viewers. The juxtaposition of a simple everyday activity with the innovative 3D technology of the time creates an interesting blend of the familiar and the novel.
Considering the historical context, ‘The Egg Girl’ offers a unique window into the intersection of art, technology, and daily life in the Victorian era. It's fascinating to imagine how this artwork might have captivated audiences and given them a heightened appreciation for the art of observation and perspective.
Some time in 1854, at 313 Oxford Street, the 'London Stereoscope Company' was born, and under the leadership of Managing Partner George Swan Nottage, by 1856 the company had changed its name, to 'The London Stereoscopic Company”' and finally in May 1859 assumed the name it was to retain for years to come: the 'London Stereoscopic and Photographic Company'.
Their business was selling stereo views and viewers to the public, and they were leaders in a boom – a craze - which swept England, Europe, and eventually the United States too, of stereo photographs of every conceivable subject, which, viewed by means of a stereoscope, presented scenes in life-like three dimensions. In a world which had never experienced Television, the Movies, or the Internet, this was understandably a revelation. In February 1856, the London Stereoscopic Company (LSC) advertised, in the Photographic Journal, 'The largest collection in Europe, upwards of 10,000' stereo views.
Much of the workings of the LSC in its early years is still shrouded in mystery, and the relationship it had with the pioneering photographers whose work it published remains unclear, but the company was evidently at a peak of production by the end of the 1850s; today’s collections of the finest cards from this period by James Elliott, Alfred Silvester, Mark Anthony, Charles Goodman, and many others always contain large numbers of examples bearing the familiar blindstamps of the LSC. In the 1860s, one of the LSC’s notable publications of stereo cards was a long series depicting the interior of the 1862 International Exhibition, in what is now Exhibition Road, South Kensington.
All Queen and Victorian fine art prints are selected and hand-signed by Sir Brian May, and are accompanied by a gallery certificate of authenticity, a Queen stereo card pack and a Lite Owl Viewer, designed by Brian May.
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