Victorian Stereoscopy, ‘Last Supper’Regular price Price on Request
© The Brian May Archive of Stereoscopy
Milano, Italy. 1495-1498
Digital archival fine art print hand signed by Sir Brian May
Price on Request / email@example.com
Accompanied by a Certificate of Authenticity
In 1859, Oliver Wendell wrote in his essay, ‘The Stereoscope and the Stereograph’: “The two eyes see different pictures of the same thing, for the obvious reason that they look from points two or three inches apart. By means of these two different views of an object, the mind, as it were, feels round it and gets an idea of its solidity. We clasp an object with our eyes, as with our arms, or with our hands.”
Lenardo da Vinci himself, knew this over 350 years ago when he concluded that ‘even the most realistic painting, being just one view, can only be experienced in two dimensions because the perception of depth requires two viewpoints.’
Today we can view ‘The Last Supper’ in 3D – how does it impact the image and what do you think da Vinci would have thought about this composition in stereo?
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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