An archive of 19th-century optical toys, shared through the magic of today’s animated GIF.

An archive of 19th-century optical toys, shared through the magic of today’s animated GIF.

Stumbled upon the Richard Balzer Collection a couple of months ago when I was searching for antique toys and games ~ this is a great site...

Some times it takes a while to learn what something “really” is and what its appropriate name is and even then, there are still unanswered questions. That process of discovery is one of the joys of collecting. Some ten years ago, I bought a wonderful18th century boxed set of glass views of a group of people watching a fireworks display. I thought it was a rare set of glass peepshow views. It looked similar to paper sets of peepshow views made by the famous German printer, Martin Engelbrecht, in which a scene was printed on six different cards. When the views are placed in a peepshow box and the viewer looks at the scene through a lens, the scene appears three-dimensional and much more life-like than a flat painting, drawing or a print. I thought some type of rare peepshow would be used to view these glass transparencies. I held that view for quite a long time and even saw one or two peepshows that I thought might be used for such a purpose. I also saw a couple of exhibitions in which sets of these glass views were included and displayed in a way that gave credence to the idea that they were peepshow views. The last few years my thinking about these incredible views began to change as I did more reading and began seeing references to things called Diaphanoramas and Diafanoramas. Some times the term Diaphanorama is applied to other sorts of visual entertainment but both terms are used when describing glass transparent views. I will use the term Diafanorama since it seems to refer exclusively to transparent glass views. This past May, when I went to Amsterdam, I learned more about Diafanoramas. There were three of them on display at the Rijksmuseum. They were set into the wall and displayed in a way that you might look at a set of peepshow views. However, Tristan Mostert, the curator of the show, told me of research that suggested that this was not how these images were viewed; in fact, these images were to be viewed as reflected in a concave mirror (often referred to in the 18th century as a burning mirror). A set of candles would be arranged behind the box to provide lighting and a concave mirror placed in front of the box, with the mirror turned toward the box. The image would be reflected in the mirror. The mirror view created a greater appearance of depth (much like the hidden mirror in the top of a vertical peepshow does). I didn’t have time while I was in Amsterdam to see the other Diafanoramas in the Rijksmuseum, but they are online. I also found there is a large collection of these views at the Rotterdam Museum, which I also visited online Helmut Wälde has just written a very interesting article for The New Magic Lantern Journal (Vol 11, #9) on The Dutch Diafanorama. Wälde adds considerably to the existing knowledge about these glass paintings, how they were painted and what sorts of people owned them. His article focuses exclusively on Dutch examples. His research suggests a common format. Each set has four painted sheets of glass with the same measurements of width and height. I have in my collection a number of sets of transparent paintings done on two sheets of glass. Furthermore, my sets with more than two sheets of glass are different sizes, suggesting that there was not a common format. Diafanorama seem to have begun appearing in the middle of the 18th century. They were an amusement mainly for the private entertainment of well-to-do families. There were, however, in the19th century public shows of both Diaphanoramas and Diafanoramas. I have two broadsides in my collection advertising such shows. One is a Russian broadside advertising a Diaphanorama (gallery of transparent pictures) on display in Moscow in 1834. Very recently I added another broadside advertising a 1833 Diafanorama entertainment in the city of Altenburg, Germany. The Altenburg show contained thirty different painted scenes, most of them painted by the famous Swiss painter, Franz Niklaus König. König began giving public shows of Diafanoramas in 1811. He built up a stock of different scenes and took his show on tour in the 1820s. Upon his death in 1832, Christian Stettler and a partner bought König’s collection and began making shows with the collection. This broadside advertises a show over two evenings. I hope over time to learn more about his shows. What size were the views? What size was the audience? Did the audience use a mirror to view the scenes? Now that I am posting images and information on my collection of Difanoramas and associated broadsides, I have to decide where they belong within my web site. I considered placing them in the peepshow section.I have decided, at least for now, to put them in the Panorama/Diorama section because the Difanoramas have much in common with Diorama paintings. Louis Jacques Mandé Daguerre opened his first Diorama in Paris in 1822. Scenes were painted on multi-layered panels of linen, with selected parts treated to be transparent. These multi-layered paintings were on a different surface and of a very different scale but like the Diafanorama, they were a form of entertainment that made the viewing of a painting a more three dimensional experience.

Stumbled upon the Richard Balzer Collection a couple of months ago when I was searching for antique toys and games ~ this is a great site...

The phenakistoscope was an early animation device that used the persistence of vision principle to create an illusion of motion. It relies on a disc with sequential illustrations to create looping animations when viewed through small slits in a mirror, producing an effect similar to today’s GIFs. Richard Balzer – obsessed with early optical devices...

Richard Balzer e Brian Duffy hanno digitalizzato le illustrazioni della collezione Balzer trasformandole in GIF.

Some times it takes a while to learn what something “really” is and what its appropriate name is and even then, there are still unanswered questions. That process of discovery is one of the joys of collecting. Some ten years ago, I bought a wonderful18th century boxed set of glass views of a group of people watching a fireworks display. I thought it was a rare set of glass peepshow views. It looked similar to paper sets of peepshow views made by the famous German printer, Martin Engelbrecht, in which a scene was printed on six different cards. When the views are placed in a peepshow box and the viewer looks at the scene through a lens, the scene appears three-dimensional and much more life-like than a flat painting, drawing or a print. I thought some type of rare peepshow would be used to view these glass transparencies. I held that view for quite a long time and even saw one or two peepshows that I thought might be used for such a purpose. I also saw a couple of exhibitions in which sets of these glass views were included and displayed in a way that gave credence to the idea that they were peepshow views. The last few years my thinking about these incredible views began to change as I did more reading and began seeing references to things called Diaphanoramas and Diafanoramas. Some times the term Diaphanorama is applied to other sorts of visual entertainment but both terms are used when describing glass transparent views. I will use the term Diafanorama since it seems to refer exclusively to transparent glass views. This past May, when I went to Amsterdam, I learned more about Diafanoramas. There were three of them on display at the Rijksmuseum. They were set into the wall and displayed in a way that you might look at a set of peepshow views. However, Tristan Mostert, the curator of the show, told me of research that suggested that this was not how these images were viewed; in fact, these images were to be viewed as reflected in a concave mirror (often referred to in the 18th century as a burning mirror). A set of candles would be arranged behind the box to provide lighting and a concave mirror placed in front of the box, with the mirror turned toward the box. The image would be reflected in the mirror. The mirror view created a greater appearance of depth (much like the hidden mirror in the top of a vertical peepshow does). I didn’t have time while I was in Amsterdam to see the other Diafanoramas in the Rijksmuseum, but they are online. I also found there is a large collection of these views at the Rotterdam Museum, which I also visited online Helmut Wälde has just written a very interesting article for The New Magic Lantern Journal (Vol 11, #9) on The Dutch Diafanorama. Wälde adds considerably to the existing knowledge about these glass paintings, how they were painted and what sorts of people owned them. His article focuses exclusively on Dutch examples. His research suggests a common format. Each set has four painted sheets of glass with the same measurements of width and height. I have in my collection a number of sets of transparent paintings done on two sheets of glass. Furthermore, my sets with more than two sheets of glass are different sizes, suggesting that there was not a common format. Diafanorama seem to have begun appearing in the middle of the 18th century. They were an amusement mainly for the private entertainment of well-to-do families. There were, however, in the19th century public shows of both Diaphanoramas and Diafanoramas. I have two broadsides in my collection advertising such shows. One is a Russian broadside advertising a Diaphanorama (gallery of transparent pictures) on display in Moscow in 1834. Very recently I added another broadside advertising a 1833 Diafanorama entertainment in the city of Altenburg, Germany. The Altenburg show contained thirty different painted scenes, most of them painted by the famous Swiss painter, Franz Niklaus König. König began giving public shows of Diafanoramas in 1811. He built up a stock of different scenes and took his show on tour in the 1820s. Upon his death in 1832, Christian Stettler and a partner bought König’s collection and began making shows with the collection. This broadside advertises a show over two evenings. I hope over time to learn more about his shows. What size were the views? What size was the audience? Did the audience use a mirror to view the scenes? Now that I am posting images and information on my collection of Difanoramas and associated broadsides, I have to decide where they belong within my web site. I considered placing them in the peepshow section.I have decided, at least for now, to put them in the Panorama/Diorama section because the Difanoramas have much in common with Diorama paintings. Louis Jacques Mandé Daguerre opened his first Diorama in Paris in 1822. Scenes were painted on multi-layered panels of linen, with selected parts treated to be transparent. These multi-layered paintings were on a different surface and of a very different scale but like the Diafanorama, they were a form of entertainment that made the viewing of a painting a more three dimensional experience.

Stumbled upon the Richard Balzer Collection a couple of months ago when I was searching for antique toys and games ~ this is a great site full of a great variety of visual entertainment of which are rarely seen. With names like The Magic Planisphere, The Zoetrope, The Ludoscope or Turning Heads, how could one not be curious? The site is divided into several sections ~ many include flash galleries where one can view the scenes or images in motion. {The illusion of motion was created by viewing the designs on the card through the slotted disc ~ visit the flash gallery here.} The Magic Window is a Phenakistascope, as is the Ludoscope shown above. From what I can discern, this type of toy all contained images on discs that were twirled in order to see the images move. {See this in motion here.} Shown above is a Praxinoscope ~ this appears to work by spinning the toy rather than any discs. {Lovely graphics on a box cover for a tachyscope ~ an adaptation of the zoetrope} Go here to see what you would view when using a zoetrope ~ you will arrive at the top image above. Click on the different designs to see what they look like in motion ~ then you will see an image like the second image EXCEPT it is moving! Not only is the movement pretty cool, the graphics are just gorgeous. This type of amusement is called a Thaumatrope ~ see some examples in motion here. {closeup of a disc from a phenakistascope} The last two images are Turning Heads from the metamorphosis section ~ I have always been fascinated by this sort of thing ~ aren't these fabulous?! There is a great flash gallery in this section here ~ make sure to check it out. {Autumn & Winter} {Peace & War AKA Jeff Subdued & Jeff Rampant} • All images from Richard Balzer Collection •

Richard Balzer e Brian Duffy hanno digitalizzato le illustrazioni della collezione Balzer trasformandole in GIF.

A year ago I made a post about Pepper’s Ghost. It began with, “Who has not been scared and at the same time excited by a ghost story or the inexplicable appearance of an apparition. Fascination with ghosts and the afterworld have gripped audiences for centuries. Our appetite for such titillation seems insatiable. Ghost shows are nothing new. Writers, magicians, and lanternists have long used the popular fascination with ghosts and apparitions for their advantage. From its earliest inception the magic lantern has employed ghost figures to frighten and to entertain audiences. Some of the very earliest magic lantern images in the last part of the 17th century were of ghosts and demons. Calling forth such figures reached a new height in the late 1700s and early 1800s largely due to two showmen and their shows. The Fantasmagorie shows, popularized by Belgian showman Éttiene-Gaspard Robertson and the Phantasmagoria shows of magician Paul de Philipsthal, called forth apparitions onto the screen. Their shows ingeniously employed rear projection. The lanternist was hidden from the audience behind the screen. In a darkened room the images would appear on the screen as if from nowhere. By moving the lantern, the figure could be made smaller or larger such that the ghosts would appear and then menacingly approach the audience.” A recent purchase of the book Aufschlüsse zur Magie aus geprüften Erfahrungen über verborgene philosophische Wissenschaften und verdeckte Geheimnisse der Natur (1790) by the German writer Karl von Eckartshausen has brought me back to the idea of the appearance of phantoms and ghosts. Eckartshausen wrote about a wide range of topics including alchemy, mysticism, and magic. In this book he describes how to create a ghost illusion and the first print illustrates the ghost figure hovering over a pedestal. The second illustrates how Eckartshausen employed a hidden magic lantern to project an image off a mirror to create the effect. I can’t resist including two more engravings from Eckharsthausen’s book although they are not of a ghost projection, but rather of what must have been a remarkable trick. Eckhartshausen would, he states, take someone for an evening stroll and at some point would turn toward a wall and mysteriously and probably frighteningly, a figure would appear on the wall. The print illustrates the trick at the moment of the projection. The other engraving shows the lantern that was employed and was hidden under his coat. You can see the ingenious plunger used to extinguish the light and the carrying stick used to light the lantern. If it actually worked it must have been wonderful. Now back to the tale of ghost projection. Éttiene-Gaspard Robertson certainly was aware of the work of Eckartshausen and created his own ghost effects. The image below is the frontispiece from Robertson’s Mémoires Récréatifs, Scientifiques Et Anecdotiques (1831) and shows the impact of the appearance of apparitions on an audience. The second illustration from a book published in 1811 shows a ghost projection with the lanternist hidden behind the screen. For at least a half-century following the Robertson’s first shows the Phantasmagoria was a big part of lantern entertainment. The two broadsides, one for a German shows, another for a Russian show illustrate the spread of these entertainments. Those wanting to learn more about ghost shows and Phantasmagoria entertainment should read Mervyn Heard’s book Phantasmagoria, The Secret Life of the Magic Lantern. I have put a number of prints and broadsides relating to the Phantasmagoria on my web site.

In 1829, a Belgian physicist devised a form of animation that is akin to our modern-day gifs: a spinning disk patterned with small repeating illustrations, attached to a handle that allowed it to spin and 'animate' the imagery. Due to the rapid progression of technology, phenakistoscopes' popularity lasted only a couple of years, yet they yielded wondrously beautiful moments in time and perhaps, a glimpse of the future. Check out these big ones, that somehow set a fine tone for a weekend... Some are rather modernist... ...Some border on psychedelic... This one has the curious effect of feeling the world turning...

Some times it takes a while to learn what something “really” is and what its appropriate name is and even then, there are still unanswered questions. That process of discovery is one of the joys of collecting. Some ten years ago, I bought a wonderful18th century boxed set of glass views of a group of people watching a fireworks display. I thought it was a rare set of glass peepshow views. It looked similar to paper sets of peepshow views made by the famous German printer, Martin Engelbrecht, in which a scene was printed on six different cards. When the views are placed in a peepshow box and the viewer looks at the scene through a lens, the scene appears three-dimensional and much more life-like than a flat painting, drawing or a print. I thought some type of rare peepshow would be used to view these glass transparencies. I held that view for quite a long time and even saw one or two peepshows that I thought might be used for such a purpose. I also saw a couple of exhibitions in which sets of these glass views were included and displayed in a way that gave credence to the idea that they were peepshow views. The last few years my thinking about these incredible views began to change as I did more reading and began seeing references to things called Diaphanoramas and Diafanoramas. Some times the term Diaphanorama is applied to other sorts of visual entertainment but both terms are used when describing glass transparent views. I will use the term Diafanorama since it seems to refer exclusively to transparent glass views. This past May, when I went to Amsterdam, I learned more about Diafanoramas. There were three of them on display at the Rijksmuseum. They were set into the wall and displayed in a way that you might look at a set of peepshow views. However, Tristan Mostert, the curator of the show, told me of research that suggested that this was not how these images were viewed; in fact, these images were to be viewed as reflected in a concave mirror (often referred to in the 18th century as a burning mirror). A set of candles would be arranged behind the box to provide lighting and a concave mirror placed in front of the box, with the mirror turned toward the box. The image would be reflected in the mirror. The mirror view created a greater appearance of depth (much like the hidden mirror in the top of a vertical peepshow does). I didn’t have time while I was in Amsterdam to see the other Diafanoramas in the Rijksmuseum, but they are online. I also found there is a large collection of these views at the Rotterdam Museum, which I also visited online Helmut Wälde has just written a very interesting article for The New Magic Lantern Journal (Vol 11, #9) on The Dutch Diafanorama. Wälde adds considerably to the existing knowledge about these glass paintings, how they were painted and what sorts of people owned them. His article focuses exclusively on Dutch examples. His research suggests a common format. Each set has four painted sheets of glass with the same measurements of width and height. I have in my collection a number of sets of transparent paintings done on two sheets of glass. Furthermore, my sets with more than two sheets of glass are different sizes, suggesting that there was not a common format. Diafanorama seem to have begun appearing in the middle of the 18th century. They were an amusement mainly for the private entertainment of well-to-do families. There were, however, in the19th century public shows of both Diaphanoramas and Diafanoramas. I have two broadsides in my collection advertising such shows. One is a Russian broadside advertising a Diaphanorama (gallery of transparent pictures) on display in Moscow in 1834. Very recently I added another broadside advertising a 1833 Diafanorama entertainment in the city of Altenburg, Germany. The Altenburg show contained thirty different painted scenes, most of them painted by the famous Swiss painter, Franz Niklaus König. König began giving public shows of Diafanoramas in 1811. He built up a stock of different scenes and took his show on tour in the 1820s. Upon his death in 1832, Christian Stettler and a partner bought König’s collection and began making shows with the collection. This broadside advertises a show over two evenings. I hope over time to learn more about his shows. What size were the views? What size was the audience? Did the audience use a mirror to view the scenes? Now that I am posting images and information on my collection of Difanoramas and associated broadsides, I have to decide where they belong within my web site. I considered placing them in the peepshow section.I have decided, at least for now, to put them in the Panorama/Diorama section because the Difanoramas have much in common with Diorama paintings. Louis Jacques Mandé Daguerre opened his first Diorama in Paris in 1822. Scenes were painted on multi-layered panels of linen, with selected parts treated to be transparent. These multi-layered paintings were on a different surface and of a very different scale but like the Diafanorama, they were a form of entertainment that made the viewing of a painting a more three dimensional experience.

Long before the time of Disney and Pixar, artists made images move using a variety of -scopes and -tropes.

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Stumbled upon the Richard Balzer Collection a couple of months ago when I was searching for antique toys and games ~ this is a great site full of a great variety of visual entertainment of which are rarely seen. With names like The Magic Planisphere, The Zoetrope, The Ludoscope or Turning Heads, how could one not be curious? The site is divided into several sections ~ many include flash galleries where one can view the scenes or images in motion. {The illusion of motion was created by viewing the designs on the card through the slotted disc ~ visit the flash gallery here.} The Magic Window is a Phenakistascope, as is the Ludoscope shown above. From what I can discern, this type of toy all contained images on discs that were twirled in order to see the images move. {See this in motion here.} Shown above is a Praxinoscope ~ this appears to work by spinning the toy rather than any discs. {Lovely graphics on a box cover for a tachyscope ~ an adaptation of the zoetrope} Go here to see what you would view when using a zoetrope ~ you will arrive at the top image above. Click on the different designs to see what they look like in motion ~ then you will see an image like the second image EXCEPT it is moving! Not only is the movement pretty cool, the graphics are just gorgeous. This type of amusement is called a Thaumatrope ~ see some examples in motion here. {closeup of a disc from a phenakistascope} The last two images are Turning Heads from the metamorphosis section ~ I have always been fascinated by this sort of thing ~ aren't these fabulous?! There is a great flash gallery in this section here ~ make sure to check it out. {Autumn & Winter} {Peace & War AKA Jeff Subdued & Jeff Rampant} • All images from Richard Balzer Collection •