femme et chat · deux intimes

Deux intimes (fig. 4). Young woman playing with her cat. France, ca. 1900. Half of a stereographic card. RV-443542 © Roger Viollet | src getty images

Deux intimes (fig. 6). Young woman playing with her cat. France, ca. 1900. Half of a stereographic card. RV-443540 © Roger Viollet | src getty images

Portraits mondains (94). Young woman playing with her cat owing a mirror. France, ca. 1900. Half of a stereographic card. RV-443543 © Roger Viollet | src getty images

Portraits mondains (43). Young woman stroking her cat in a sofa. France, ca. 1900. Half of a stereographic card. RV-443536 © Roger Viollet | src getty images

Fête des fleurs par G. Gain

**Gustave Gain ~** “Fête des fleurs”, Coutainville (Agon-Coutainville, Manche), 1924 | half stereo (left)

**Gustave Gain ~** “Fête des fleurs”, Coutainville (Agon-Coutainville, Manche), 1924 | src Archives de la Manche

**Gustave Gain ~** “Fête des fleurs”, Coutainville (Agon-Coutainville, Manche), 1924 | half stereo (right)

Butterflies in stereo-view 1870s

Kilburn Brothers, No. 89. Moths and Butterflies; no date (half of stereo-card) | courtesy Alan Griffiths : Luminous-Lint (LL/37775-6)

Right side of stereographic card nº 89 (Kilburn Brothers)

The Kilburn Brothers

A partnership between Benjamin West Kilburn and his brother Edward Kilburn of Littleton, New Hampshire (USA). One of the most significant of the American photographers and publishers of stereo cards in the nineteenth century. In 1879 they patented the “warped” or “curved” stereocard which enhanced the 3D effect. In 1908 James M, Davis obtained the Kilburn negatives and later resold them to Keystone. / quoted from Luminous-lint

**Kilburn Brothers** :: *No. 89. Moths and Butterflies*; n.d. Stereoview, hand-painted
Private collection of Michael McEachern. Courtesy Alan Griffiths / Luminous-lint

“The Roof of the World” 1920s

"The Roof of the World" - The Majestic Himalayas Raising in Matchless Splendor Above the Sea of Clouds to Greet the Morning Sun, Northern India; ca. 1920. First half of the stereo card | src Amon Carter Museum — “The Roof of the World” – The Majestic Himalayas Raising in Matchless Splendor Above the Sea of Clouds to Greet the Morning Sun, Northern India; ca. 1920. First half of the stereo card | src Amon Carter Museum

La photographie érotique

Anonyme, Académie, vers 1845, daguerréotype. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l'œil de la photographie — Anonyme, Académie, vers 1845, daguerréotype. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l’œil de la photographie

Anonyme, Nu, vers 1848, daguerréotype (stereo). From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l'œil de la photograp — Anonyme, Nu, vers 1848, daguerréotype (stereo). From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l’œil de la photographie

Two Women Embracing. Unknown French maker; about 1848; Daguerreotype, hand-colored. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l'œil de la photographie — Two Women Embracing. Unknown French maker; about 1848; Daguerreotype, hand-colored. From: Abigail Solomon-Godeau: «Reconsidérer la photographie érotique» | src l’œil de la photographie

The title is intriguing: «Reconsidérer la photographie érotique». (“Reconsidering erotic photography”).
The text itself is brilliant and of great intelligence.

In this 1987 essay, historian Abigail Solomon-Godeau traces avenues for exploring a history of erotic and pornographic photographic production, a history hitherto repressed and absent from narratives. Thus opening the door to a feminist and revised history of the photographic medium, she shows how much this imagery has been abundant and present almost from the origins of photography. In “Reconsidering erotic photography”, Abigail Solomon-Godeau analyzes the ways in which naked bodies are presented in several photographic images from the 1840s-1850s, whether academic nudes or images intended for other types of visual consumption, and questions the specificity of photographic representation as opposed to other mediums. Supporting feminist theories, she raises the question of how these images are viewed, and the ambiguity of their designation, between eroticism and pornography. At the heart of this pioneering essay in the history of photography, she defends the need to write the history of these often set aside productions.

Reconsidérer la photographie érotique.
Notes pour un projet de sauvetage historique
Abigail Solomon-Godeau
Éléonore Challine (éd. et trad.),
Éditions de la Sorbonne, 2022
quoted from l’œil de la photographie