The Surgical and Optical Department.


Showing the Album Sketches Contributed by the N.Y. Artists. The negative number of this view is a guess. Stereoviews are on the table; photos on the wall.


Display of Becker’s Viewers.


No. 12. Cantonese dressed in Mourning for the Emperor. Their first peep into the Stereoscope.


Interior View of the Gallery on Pt. Lookout, Lookout Mountain. Photograph Gallery of Royan M. Linn.


Interior of Photographic Studio, probably that of the photographers Bundy and Train, Helena, Montana.


Interior of Studio waiting room. Sign on table “Stereoscopes and Views for Sale.” Views and viewer on table.


Coney Island, N.Y.–Main Hall of Hotel Brighton. Sign for “Cabinet Stereoscopic Views of Hotel Brighton 10 cents.”


Interior of McAllister & Brother, Opticians, Philadelphia. John McAllister, Jr (1786-1877) stands at back.


Double-Refracting or Iceland Spar. Brewster Viewer by its side.


Photographer with camera, stereo camera, bottle with funnel, and photographs in studio. Image is pseudoscopic.


Photographer with camera, stereo camera, bottle with funnel, and photographs in studio. Image is pseudoscopic.


Gentleman, probably the photographer, looking at stereoviews. Frames and cases in background. Image is pseudoscopic.


Photographic still life with 16-lens camera, 4-lens camera, head brace, frame, several images.


M. Costello Tonsorial Artist. Black family in doorway. Stereoview display at right. The barber is Marcellus Costello, a longtime hairdresser in New Bedford, Mass. Mr. Costello was black and he may be the older gentleman in the view. He was a veteran of the Civil War, having served in the Navy.


Mammoth Cave Views. No. 4. Out for the Last Time. This is a picture of the gentlemen who conceived and executed the project of Photographing the cave, with the reflectors &c, used.


Unidentified photographer with cameras and equipment.


“Your Likeness, Sir? No White Eyes.”


“Your Likeness, Sir? No White Eyes.”


“Your Likeness, Sir? No White Eyes.”


Art in ’60–Your Likeness & A Shave, 6d.


Interior of Stereoview Factory.


Interior of Stereographic Manufactory.


D. Appleton & Co., Stereoscopic Emporium, 346 and 348 Broadway, New York.


D. Appleton & Co., Stereoscopic Emporium, 346 and 348 Broadway, New York.


J.T. Heald, Stereoscopic Emporium, 421 Market Street, Wilmington, Delaware.


Back of view is blank but it shows the same people as in the previous view:  J.T. Heald, Stereoscopic Emporium, 421 Market Street, Wilmington, Delaware.


Interior of the Store of D. Appleton & Co., 443 & 445 Broadway, New York.


Interior of the Store of D. Appleton & Co., 443 & 445 Broadway, New York.


Sir David Brewster.


S. Hunter Smith and his stereoscope display.


S. Hunter Smith and his stereoscope display. His harpsichord is on the table in front of him.


S. Hunter Smith and his stereoscope display.


Interior of a photo gallery.


Man looking at stereoviews in a sweetheart table top stereoviewer.


Oscar Jann’s Glas-Photographien-Kunst-Ausstellung.


Heathen Chinese.


14036. Japanese Belles gazing at our Celebrated Views through the No. 81 patented “Saturn,” Tokio, Japan.


Tinted stereo-ambrotype of a family group looking at images. The gentleman at left holds a Brewster stereoviewer.


Alexander R. Beckers. Beckers first saw a daguerreotype in Philadelphia, and subsequently went to work there for photographer Frederick David Langenheim in 1843. The following year he moved to New York, where he is credited with the first whole-plate daguerreotypes made in that city. Within months Beckers opened the Langenheim & Beckers studio in New York, which became Beckers & Piard in 1849. In 1857 he patented a revolving stereograph viewer and shortly thereafter sold his daguerreotype business in order to concentrate his attention on the manufacture of stereograph viewers.


S. Hunter Smith with a table top stereoviewer by his side.


S. Hunter Smith, Abingdon, Ills. S. Hunter Smith is shown with his dulcimer and a Beckers stereoviewer. Image was taken by Roderick Cole of Peoria , Illinois. Born in 1828, Smith was known as “Little Smith, the dulcimer man” and was crippled at a young age and confined to a wheel-chair. Friends gave him a stereoscope and he eventually amassed a collection of over 4,000 views and 50 revolving stereoscopes with which he exhibited to the public. He was happily married and said that the stereoscope made his life worth living. Roderick Cole was a daguerreotypist from Peoria who is best known for his 1858 daguerreotype of Abraham Lincoln. On July 3, 1905, R.M. Cole wrote to Judge McCulloch, one of the founders of the Illinois Historical Library: ‘…the Photo you have of Abraham Lincoln is a copy of a Daguerreotype,  that I made in my gallery in this city [Peoria] during the Lincoln and Douglas campaign. I invited him to my gallery to give me a sitting…and when I had my plate ready, he said to me, ‘I cannot see why all you artists want a likeness of me unless it is because I am the homeliest man in the State of Illinois.” Although principally located in Peoria, Ill. in later years, Cole reportedly learned the daguerreotype process in New York City in 1846. He traveled in New York, Vermont, Wisconsin and Illinois, opening a gallery in Galena, Ill. in late 1849. There he advertised daguerreotypes in the front room over the St. Louis Store, corner of Main and Hill Streets. Marrying in 1850, he opened the first permanent gallery in Peoria, Ill. in the fall of that year, at 31 Main Street. From 1854 to 1859 his gallery was on the second floor at 27 Main Street. In 1856 and 1857 he was listed at the corner of Washington and Fayette Streets. In 1858 he noted he had received awards at the state fairs for 1856 and 1857 for the best daguerreotypes, and also noted he was not connected with H.H. Cole in any way (one current source identifies H.H. Cole as his brother). He also advertised the gallery was operated by Mr. and Mrs. R.M. Cole. He sold his gallery to H.H. Cole in 1859, and retired from photography. He ultimately moved to Santa Barbara, Calif.

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