19th Century Stereographs

Form is henceforth divorced from matter. In fact,
matter as a visible object is of no great use any longer, ...

... except as the mould on which form is shaped. Give us a few negatives of a thing worth seeing, taken from different points of view, and that is all we want of it. Pull it down or burn it up, if you please. We must, perhaps, sacrifice some luxury in the loss of color; but form and light and shade are the great things, and even color can be added, and perhaps by and by may be got direct from Nature.
source





Acrobats far from their mountain home --
grizzly bears in a street at Jacksonville, Florida.





Studio portrait of 3 dogs and a birdcage. 1865?-1905?










Dixon crossing Niagara below the Great Cantilever Bridge, U.S.A. 1895-1903










American Falls from below, Winter, Niagara, N.Y. 1860?-1895?











View of the Henry A. Paull, covered in ice. 1863?-1885? 1875











Brumidis Alligorical Painting's, in the Dome of the U.S. Capitol.









Italian section, Agricultural Hall. 1876











Wringing wet, Atlantic City, N.J. [1875?-1905?] 1897









Blossom from the Banana Tree. [ca. 1875] 1868?-1910?










From the ranch of Mr. Kercheval, Sacramento River, 203 pears, weight, 85 pounds. 1865-1873 1860-1900










Flashlight of wild moose in the Maine forest. 1870?-1910?







Found at NYPL's Stereogranimator, a tool for transforming historical stereographs from The New York Public Library's vast collections (42.240 items) into shareable 3D web formats.
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