You are bidding on a rare one Stereo photo around 1863.
Motif: Maximilianstrasse from the Maximilian Bridge, Munich ("No. 42. Maximiliansstrasse (!) from the bridge"; in the foreground the road surface of the bridge is still under construction; you can see piles of sand in the middle of the street).
Photographer: Christian König in Nuremberg.
Publisher:Mey & Widmayer publishing house, Munich.
Motif number on the back; on the right photo below English caption "Street in Munich".
Cardboard format 17.6 x 8.5 cm.
Condition: Slightly stained, corners bumped, photo slightly bent. AOn the right photo below there is an English caption "Street in Munich".. Please also note the pictures!
At the same time I offer other stereo photos!
About the publisher (Source: Rudolf Schmidt: German booksellers. German printers. Volume 4. Berlin/Eberswalde 1907, pp. 681-682): Mey & Widmayer. The publishing houseMey & Widmayer's store in Munich opened on 17. 2. Founded in 1785 by Felix Halm, a landscape painter in Munich, after a certificate of approval received from Elector Carl Theodor, who was ruling Bavaria at the time. Huh. In October 1836, Widmayer from Stuttgart combined the map shop that had existed under the C. Reinhardt company with this business and closed with Chr. Mey (1858) from Eisenach signed a partnership agreement and both traded their names from 30. 6. 1838 Mey & Widmayer. On the 15th 5. In 1865 Hch. Baumgartner and Hch. Traitteur ran the business, which mainly maintained the art and map publishing house and bought Max Rawizza's art publishing house in 1875, but separated the product range business in July 1884 by selling it to Richard Matz. On the 1st 8. In 1884 Hch passed away. Baumgartner out and it stayed Hch. Traitteur sole owner of the company. From then on, the business specialized more and more as a publishing and mail order company in “articles for domestic art work”. After the owner's death in 1895, the widow, Mrs. Therese Traitteur (née Pölt) the business.
The company owns a large publishing house of templates and instructions for fretwork, carving, wood burning, inlay work, metal work, etc., printed on paper and wood; It also carries everything needed for this work in terms of materials, utensils, decorations, tools, domestic and foreign as well as colored wood, etc. is needed. Her publishing house publishes the “Munich Drawing School”, the “Worksheets for Carpenters and Locksmiths”, etc., and “Der Dilettant”, an illustrated monthly magazine. Also worth mentioning is the large “Götz school wall map of Bavaria”.
After various location changes, the business premises have been located at Amalienstrasse No. since 1894. 7 in-house. The business is unique and its operations and shipping cover the entire world.
Sources: Publisher catalogs 1907.
About the Maximilian Bridge, Maximilianstrasse and stereoscopy (source: wikipedia):
The Maximilians Bridge is an arch bridge over the Isar in Munich
Location: It is located in the Lehel district of Munich and continues along Maximilianstraße over the Isar to the Maximilianeum.
The western section of the bridge, the Inner Maximilians Bridge, connects the west bank of the Great Isar with the Prater Island. The eastern section of the bridge, the Outer Maximilians Bridge, crosses the Kleine Isar and the Auer Mühlbach from the Prater Island.
History: The bridge was built between 1857 and 1863 as an extension of Maximilianstrasse to the Maximilianeum according to plans by Arnold Zenetti. As a cost-saving measure, both parts of the bridge were only 13 m wide, although Maximilianstrasse was 23 m wide. This situation was soon perceived as unsatisfactory due to increasing traffic. As part of the bridge construction program, the construction company Sager & Woerner also had to widen or a new construction of the Maximilians Bridge was offered. This was carried out between 1903 and 1905 based on a design by the architect Friedrich von Thiersch and the construction plans drawn up by Sager & Woerner. The bridge over the inner Isar was widened and the one over the outer Isar was rebuilt. It was named after Maximilian II. The bridge, which was renovated in 1989, is a listed building.
Description: The Inner Maximilians Bridge spans a length of 42 m with the three original arches made of brick masonry. The arches with clear widths of 7.97 m, 13.88 m and 13.89 m were widened with concrete arches and clad with shell limestone. The Outer Maximilians Bridge has a length of 96 m and consists of two identical three-hinged arches made of shell limestone blocks, each with a clear width of 45.87 m. On the arches there are stand walls made of stamped concrete arranged transversely to the direction of travel, which support the reinforced concrete roadway slab. The elevation and the parapet of the roadway board are clad with shell limestone and richly decorated with figures and ornaments. The bridge width of 22 m provides space for the traffic of trams, motor vehicles, cyclists and pedestrians on both sides.
On the Outer Maximilian Bridge there is a statue of Pallas Athene by the Lower Bavarian sculptor Franz Drexler, unveiled in 1906, for which Frieda Thiersch, the architect's daughter, was the model.
Maximilianstrasse is one of Munich's four 19th-century boulevards that are important in terms of urban development. Century, next to Brienner Strasse, Ludwigstrasse and Prinzregentenstrasse.
The design of the street, whose construction began in 1852, is the work of the architect Georg Friedrich Christian Bürklein, who made a name for himself with the construction of Munich Central Station. The road construction work was led by the engineer Arnold von Zenetti, while Carl von Effner was responsible for the planting.
The architectural style, which combines elements of different stylistic periods such as neo-Gothic and Renaissance, met with a lot of criticism, but makes Maximilianstrasse unique in terms of urban development in Munich. Since the 1970s, the area between the Old Town Ring and the National Theater has acquired a reputation as a sophisticated and exclusive shopping mile.
Location and course: Maximilianstrasse begins at Max-Joseph-Platz (Munich Residence) and runs absolutely straight in a southeasterly direction towards the Isar. Shortly before the old town ring, it expands into a forum, crosses the old town ring (Thomas-Wimmer-Ring/Karl-Scharnagl-Ring) and leads in a new width to the Isar, to which it forms a flowing transition together with its green areas with park-like plants forms. Maximiliansstrasse then crosses the Isar including the Praterinsel on the Maximiliansbrücke and ends in front of the Maximilianeum, which is also its visual conclusion.
The eastern continuation of Maximilianstrasse, the “circumference” of the Maximilianeum, is called Max-Planck-Strasse, the short western extension across Max-Joseph-Platz is called Perusastrasse.
History: King Maximilian II began as early as 1850. With an architectural competition, the plans for the project of an Athenaeum on the area of today's Max-Weber-Platz, which was ultimately never realized. The son of King Ludwig I not only wanted to underline his ideas about urban expansion, some of which differed considerably from his father's ideas; Maximilian II wanted to demonstrate his consistent will to create a new architectural style, a mixture of different stylistic eras dominated by the English neo-Gothic and the skeletal construction idea of 19th century architecture. century, to initiate. In his list of projects that were to be implemented after he took office, Crown Prince Maximilian had already listed a “connection of the city with the Isar from the New Residence via the Lehel” in 1839.
A new development axis towards the east was deliberately chosen, which could not build on any predecessor and did not take into account the established structures of the old town. In the gusset to what was then the Royal Mint, a building from the 16th century. Century, which is still completely based on the course of the second Munich city wall, the meeting of the two urban structures becomes particularly clear. Due to the narrowness of the remaining space between the mint and the new buildings at Maximilianstrasse 6-8 that were built between 1857 and 1863, Bürklein created a special feature between two corner wings: a fake balcony-like cornice with a blind facade. From 1859 onwards, the coin garden was hidden behind this arcade front crowned by figures, with a fountain in the middle.[1][2] Since the 20th In the 19th century, the former garden area was used as a parking lot.
The end and culmination point of the road is the Maximilianeum, a community-based foundation that was intended to help “talented Bavarian young people (of all statuses)” to study. It was appropriately built not far from the hostel buildings of the old craftsmen's settlement of Haidhausen, which was not part of Munich (see Haidhausen, history), and is now also home to the Bavarian people's representative body, the state parliament.
The Max Monument by Caspar von Zumbusch, around 1900...
… and in April 2007
While the Max-Joseph-Platz in front of the residence is still very classically influenced by Ludwig I, after the Palais Toerring-Jettenbach (today completely gutted, mainly only the front to Max-Joseph-Platz has been preserved, the western front was in including the modernization, it houses luxury offices and luxury condominiums, formerly the Munich 1 post office, also called the main post office or residential post office) the new buildings. In order to widen the street to Max-Joseph-Platz, outbuildings of the National Theater were demolished in 1854. The first new building was the Four Seasons Hotel (1856–1858). Maximilian II saw the entire length of Maximilianstrasse completed. no longer. The last two building complexes shortly before the Maximilians Bridge were built after his death: The Wilhelmsgymnasium building, the oldest high school in the city and at that time the page education center of the House of Wittelsbach, was built under his son King Ludwig II. built in the neo-Renaissance style (Carl Leimbach, 1875–1877); The neighboring property between Sternstrasse and Widenmayerstrasse and the property opposite to the south were only built on around 1890 under Prince Regent Luitpold.
During the Second World War, the buildings on the street were badly damaged; during reconstruction, primarily the facades were reconstructed. The property on the corner of Maximilianstrasse and Marstallplatz was semi-ruined until 2002. At the end of the 1960s, the old town ring was broken through, which destroyed the character of the forum. In contrast to other measures in the “urban redevelopment” project, this breakthrough was controversial: a tunnel under Maximiliansstrasse had about as many supporters as opponents.
At the end of the 1980s, the corner buildings on Thomas-Wimmer- and Karl-Scharnagl-Ring mitigated the breach in the Altstadtring. In 2003, as part of the redesign of Marstallplatz, the semi-ruined building on the corner of Maximilianstrasse and Marstallplatz was gutted and the facade was reconstructed.
Sightseeing features
Hotel Four Seasons (Maximilianstrasse 17) (Rudolf Gottgetreu, 1856–1858)
Schauspielhaus (Maximilianstrasse 26–28) (Heilmann & Littmann, 1900/01)
Government of Upper Bavaria (Maximilianstraße 39) (Friedrich Bürklein, 1856–1864)
Bavarian National Museum (today Museum Five Continents; Maximilianstrasse 42) (Eduard Riedel, 1858–1865)
Wilhelmsgymnasium; Thierschstrasse 46, corner of Maximilianstrasse (Carl von Leimbach, 1875–1877)
Maximilianeum (today, in addition to the Maximilianeum Foundation, also the seat of the Bavarian State Parliament; Max-Planck-Str.1) (Friedrich Bürklein, 1857–1874)
Stereoscopy (Greek στερεός stereos 'space/rspatial, fixed'[1] and σκοπέω skopeo 'to look at'[2]) is the reproduction of images with an rspatial impression of depth that does not physically exist. In colloquial terms, stereoscopy is incorrectly referred to as “3D”, although it only involves two-dimensional images (2D) that convey a spatial impression (“spatial image”). Normal two-dimensional images without the impression of depth are called monoscopic (Greek: μονος, monos “one” → simple).
The principle is always based on the fact that humans, like all primates and most predators, use their two eyes to view their surroundings from two perspectives at the same time. This allows your brain to efficiently assign a distance and an r to Allen objects under considerationGain a spatial image of your surroundings (“spatial vision”) without having to keep your head moving. Stereoscopy therefore only involves bringing different two-dimensional images into the left and right eyes from two slightly different viewing angles.
There are various procedures for this.
All other properties of a two-dimensional image, such as perspective distortion depending on an unnatural lens focal length, color and, in particular, the viewer's limiting positioning, are retained. It is precisely the last two properties of this spatial imaging process that make it significantly different from holography, which deals with the attempt to record and reproduce objects completely, i.e. three-dimensionally (in 3D).
Basics: When viewing close objects, binocular vision provides an essential means of correctly estimating distances. With the right eye we see a close object projected onto a different part of the back of the eye than with the left, and this difference becomes more significant the closer the object comes. If we direct both eyes at one point, the two eye axes form an angle that increases the closer the object is. Close objects are seen a little more from one side with the right eye and a little more from the other side with the left eye. These two images, which cannot be brought exactly into line because of the transversely disparate shift, but nevertheless lie within the so-called Panum area, are combined to form an overall spatial impression (spatial image), which is essentially made up of two pieces of information: the different viewing angle Both eyes produce two different images and the lens curvature of the eye adapts to the distance of the object seen to produce a sharp image on the retina. The size of the viewing angle and the extent of accommodation provide a measure of the distance of the objects. The spatial resolution is therefore particularly high in the gripping area. In addition, occlusion and blurring effects as well as perspective convey the spatial impression both binocularly and monocularly.
With stereo photos, the eyes are only presented with information from different viewing angles. Since the eye habitually tries to adjust the lens power to the supposed distance, a sharp image on the retina only occurs after a certain delay (in the millisecond range). The contradiction between the supposed distance of the object seen and the actual curvature of the lens also causes some people to feel dizzy or physically unwell after prolonged exposure (mismatch between vergence and lens curvature).
The result of an unreal-looking image is achieved when the stereo photo is presented sharply in Allen planes in order to achieve the impression of space in its entire depth. In nature, however, only a certain area can be seen clearly (depth of field of the eye). In order not to overwhelm the visual sense, the manageable area can be deliberately limited when taking the picture (see below: Lüscher angle).
With a stereo camera that has two lenses at eye distance, also known as a natural base, the two required partial images are recorded simultaneously (synchronously). Each individual image is referred to as a stereoscopic partial image, and the pair of images is referred to as a stereoscopic image. However, if the desired subject is a stationary subject (still life, landscape), the required partial images can also be recorded one after the other (metachronously) with a simple camera.
Enlarging or reducing the base when taking the picture increases or decreases the spatial impression when viewed. But even when recording with a natural basis, individual different limits of the maximum tolerated deviation have to be taken into account. It is Lüscher's credit for pointing this out.
History: Already in the 4th century In the 19th century BC, the Greek mathematician Euclid dealt with stereometry in volumes 11-13 of his mathematics textbooks. But he didn't know that two eyes are necessary for physiological spatial vision.
In 1838, Sir Charles Wheatstone (1802–1875) published his first research results on spatial vision. He calculated and drew pairs of stereo images and constructed an apparatus for viewing them, in which the viewer's gaze was redirected to the partial images using mirrors. He called this device a stereoscope. Wheatstone achieved the unification of the two partial images through his mirror stereoscope consisting of two mirrors inclined at right angles to each other, the planes of which are vertical. The observer looked with his left eye into the left mirror and with his right eye into the right mirror. Attached to the side of the mirrors were two sliding boards that bore the reverse perspective drawings of an object. The mirrors now reflected the rays emanating from corresponding points in the two drawings in such a way that they appeared to come from a single point behind the mirrors. Each eye saw the image that corresponded to it, and the observer received the spatial impression.
After Louis Daguerre publicly announced the process for producing photographic images on silver layers at the Academy of Sciences in Paris in 1839, it made sense to use it to produce stereoscopic double images, which until then had only been available in drawn form.
In 1849, Sir David Brewster (1781–1868), Scottish physicist and private scholar, introduced the first two-lens camera, with which moving snapshots could be captured stereoscopically for the first time. Until then, the stereo partial images had to be exposed one after the other and the camera had to be moved at eye distance between the two shots, which could lead to different image contents with moving subjects that did not provide a spatial impression.
In the same year, Brewster simplified the stereoscope by replacing the mirrors with lens-like ground prisms. For these instruments, a converging lens of approximately 180 mm focal length was cut into two semicircular pieces, and the two halves, with their circular edges facing each other, were mounted in a frame. A sheet containing the two drawings (or photographic images) was inserted facing behind the lenses.
The lens effect made it possible to view the images without the eyes having to adjust to the short image distance (accommodation). The prism effect made it possible to use a greater lateral offset than the natural eye relief (about 65 mm) between the two images, allowing the images to be wider. This in turn made it possible to cover a wider viewing angle and print or draw the images at higher resolution.
Stereoscopes of this type with series of paper images were popular in the 19th century. Commonly used for centuries. In most cases, however, two small lenses whose axes roughly coincided with the eye axes (i.e. without prism wedge effect) and pairs of 6 x 6 cm images adapted to the distance between the eyes were used.
From now on, crowds of photographers also took stereoscopic photos on their excursions around the world. Historical stereo recordings of excavations and landscapes, mounted on a round disc, are still shown in various rooms in the British Museum in London. This type of viewing is a forerunner of the popular View Master devices from the 1950s.
In 1851, the French optician Jules Duboscq demonstrated his apparatus to the public at the World Exhibition in London. They were stereoscopes designed by Brewster, with which he showed stereo daguerreotypes. The response from the audience was overwhelming, and Queen Victoria was also enthusiastic about this presentation. This meant that the triumph of stereo images could no longer be stopped.
The stereoscope was most widely used in the design developed by Oliver Wendell Holmes in 1861, a stereoscope with focus adjustment that became a de facto standard.
Around 1880, August Fuhrmann developed a large circular stereo viewer, the so-called Imperial Panorama. Around 1900 this became a popular mass medium in Central Europe.
In 1938, Wilhelm Gruber invented the View-Master, a stereo viewer with interchangeable screens.
Stereo photography experienced a boom around 1900 and in the 1950s. Home stereoscopes became popular. Publishers offered stereoscopic cards from all over the world. However, due to the greater technical complexity, stereo photography never became established in the long term. Today, thanks to the introduction of the digital camera, it is experiencing a slight renaissance[3] because expensive photographic paper is no longer needed and experiments are less expensive.
From 1910 onwards, stereo photography was increasingly replaced by the new medium of film.
During the First World War, reconnaissance aircraft from all warring parties took countless photos. In 1916 they were already operating at altitudes of over 4,000 m due to the increasingly strong anti-aircraft defenses. Using high-resolution cameras and later also series images, they provided important insights deep into the enemy's hinterland. Entire sections of the front were systematically photographed; Staff picture departments with laboratory, repair and archive facilities were created at the army high command. The special series cameras with large focal lengths developed by the companies Zeiss, Görz, Ernemann and Messter were installed vertically in the German machines. Stereoscopic recording techniques were used to create spatially dimensioned images, which survey technicians and cartographers converted into detailed front maps for the staffs.
The stéréoscopie (du grec stéréo-: solid, -scope: vision) is the ensemble of techniques mises en œuvre for reproduire une perception du relief à partir deux images planes.
The designation récente "film en 3D" is employed in English and in accordance with the correct terminology: film stéréoscopique or film en stéréoscopie.
The stéréoscopie is just before the photography (the stéréoscope by Charles Wheatstone is also published after the works of Louis Daguerre and William Henry Fox Talbot), both traces plus ancient images in interrogations and experimental pictural images. Ainsi, the collection Jean-Baptiste Wicar du Palais des beaux-arts de Lille conserves deux designs distinctive les visions d'un même subject pour chaque œil, exécutés by Jacopo Chimenti, peintre de l'école Florentine (1554 - 1640). A couple of designs in stereo from the 13th century are also retrofitted in a library in Oxford (Gérard Fieffé, Bulletin du Stéréo-Club Français, no 673, October 1963).
Elle se base sur le fait que la perception humane du relief is formed in the cerveau lorsqu'il reconstitue a single image à partir de la perception des deux images planes et differentes provenant de chaque œil.
Il existe, pour réaliser ces images, also bien que pour les observers, a grande variété de moyens, à la description desquels plusieurs centaines de livres ont été consacrés.
Stereoscopic (also called stereoscopics, or stereo imaging) is a technique for creating or enhancing the illusion of depth in an image by means of stereopsis for binocular vision[2]. The word stereoscopic derives from Greek, Modern στερεός (stereos), meaning 'firm, solid', and σκοπέω (scopeō), meaning 'to look, to see'.[3][4] Any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair of stereo images which could be viewed using a stereoscope.
Most stereoscopic methods present two offset images separately to the left and right eyes of the viewer. These two-dimensional images are then combined in the brain to give the perception of 3D depth. This technique is distinguished from 3D displays that display an image in three full dimensions, allowing the observer to increase information about the 3-dimensional objects being displayed by head and eye movements.