1341
This could be moved up and down until the picture
was in focus. More elaborate models were mounted on
a stand. This type of stereoscope continued to be used
into the twentieth century. By the 1920s the stereoscope
lost its charm and went out of favour as the most popular
form of entertainment. Stereoscopes were eventually
eclipsed by the introduction of carteomania, the craze
for the carte de visite, small portraits on cards 2.25 ×
3.5 inches, an invention which had been developed
by the French photographer Andre Disderi in 1854.
Despite this stereoscopy continued to have revivals in
popularity well into the twentieth century. Present day
stereo cameras can be bought and modern stereoscopes
consist of a plastic box with two viewing holes. The
Sterescopic Society was formed in 1893 and continues
to promote stereo photography today. Stereoscopy is
still used for aerial surveys to map out land elevations
and for astronomers to view small planets.
Laura Claudet
See also: Wheatstone, Charles; Illustrated News; and
Daguerreotype.
Further Reading
Allwood, John, The Great Exhibition, Studio Vista, London,
1977.
Briggs, Asa, From Today Painting is Dead The beginnings of
Photography, The Arts Council, London, 1972.
Buerger, J. E, French Daguerreotypes Chicago, 198.
Coke, Joan, Dissertation on A. Claudet, University of New
Mexico.
Ford, Colin, Portraits The Library of World Photography, Thames
and Hudson,
Freud, Gisele,Photography and Society,Gordon Fraser, London,
1980.
Gernsheim, Helmut, The Origins of Photography, Thames and
Hudson, 1982.
Gernsheim, Helmut, A History of Photography, Dover, London,
1986.
Hannavy, John, The Victorian Professional Photographer, Shire
Publications Ltd.
Heyert, Elizabeth, The Glass House Years (Victorian Portrait
Photography 1839–1870) Montclair and London, 1979.
Hayworth-Booth, M., The Golden Age of British Photography
1839–1900, New York Aperture, 1984.
Hillier, Bevis, Victorian Studio Photographs, Ash and Grant
Ltd, 1975.
Jay, Bill, Cyanide and Spirits An inside-out View of Early Pho-
tography, Nazraeli Press, Germany, 1991,
Lassam, Robert, Portrait and the Camera Studio Editions,
London, 1989.
Macdonald, Gus, Camera Eye Witness, BT Batsford Ltd, Lon-
don, 1979.
Newhall, Beaumont, The Daguerreotype in America, New York,
Dover, 1976.
Newhall, Beaumont, Photography Essays and Images, The Mu-
seum of Modern Art, New York, 1980.
Pols, Robert, Understanding Old Photographs, Robert Boyd
Publications, 1995.
Richter, Stefan (Introduction by Helmut Gernsheim), The Art of
the Daguerreotype, Viking, 1989.
Thomas, Alan, The Expanding Eye Photography and the Nine-
teeth Century Mind Croom Helm, London, 1978.
Wade, N.J., Brewster and Wheatstone on Vision London, 1985.
Wood, John, The Daguerreotype (A Sesquentenial Celebration),
University of Iowa Press, 1989.STEWART, JOHN (1800–1887)
John Stewart lived and worked for many years in Pau
in the Pyrenees from 1847 and for a time in the 1850s,
was associated with an informal grouping of photogra-
phers who referred to themselves as the ‘ecole de Pau.’
That group included Stewart’s frequent photographic
companion Maxwell Lyte.
The group produced impressive and often romantic
landscapes, sometimes placing people strategically
within the frame to counter the spectacular mountain
scenery.
He was one of the exhibitors at the 1852 photographic
exhibition at the Royal Society of Arts in London, and an
early member of both the Photographic Society of Lon-
don, and the Societé française de photographie. Stewart
was brother-in-law to Sir John Herschel, and Herschel
wrote about his work in the ‘Atheneum’ in 1852, along-
side Stewart’s own account of his experiences.
He exhibited work at the Photographic Societt of
London’s 1855 exhibition, but with one exception, he
thereafter appears to have exhibited only in France. That
date coincides with him joining the Societé Française.
The exception was a portrait of his brother-in-law exhib-
ited at the 1857 Manchester Art Treasures Exhibition.
In 1853 and 1854 he published accounts of a ‘new
photographic process,’ and it was examples of his ‘wet
paper process’ which he exhibited in 1855.
John HannavySTIEGLITZ, ALFRED (1864–1946)
American photographer, creator and editor of
Camera Notes, and founder of the 291 Gallery
Alfred Stieglitz is remembered through his remark-
able photographic work, his involvement in the photo
secessionist movement, and his pivotal involvement in
the fostering of an academicization of photography in
America. His work made great strides to promote the
symbolic in American art and elevate the position of
photographer to that of fi ne artist, as opposed to a skilled
craftsman who is merely technically profi cient.
Stieglitz, the fi rst son of four children, including two
male twins, was born in Hoboken, New Jersey, on 1
January 1864 to hard-working Jewish parents. Alfred’s
mother, Ann Werner, who moved to the United States
in 1852 and married Edward Stieglitz, Alfred’s father,
on 21 December 1862, was an educated woman fond
of literature and the arts. Alfred’s father made it a point