No snickering from “macleanmuir.”
This is because stereoscopic images were reissued in different sets, as well as printed up as single images.
There is potential till the end of time, for unknown or missing views to surface.
Who knows, a reader of this forum may hold some missing link?
Negretti & Zambra stand at the Crystal Palace, Sydenham.
Crystal Palace Art Union - A series of Twenty Stereoscopic views Illustrating the most attractive aspects of the Crystal Palace. Executed especially for the Society by, Negretti & Zambra Hatton Garden & Cornhill, London. 1859.
1. The Italian Court (The Tomb of Lorenzo de Medici, attached to the church of San Lorenzo at Florence.
2. The Byzantine Court.
3. The French and Italian Mediaeval Vestibule.
4. The Egyptian Court.
5. Northern nave and Transept.
6. The Alhambra Court.
7. The Bronze Fountain.
8. The Byzantine Court.
9. The Alhambra Court (The façade towards the nave with the entrance to the lions court.
10. The Colossal Egyptian Figures.
11. The German Mediaeval Vestibule.
12. ? [no mention on the website.]
13. The Renaissance Court.
14. The Three Graces
15. Avenue in Front of the Fine Arts Courts.
16. The Assyrian Court (Views from the base of the Colossal figures in the North Transept)
17. The Garden Gallery.
18. The Assyrian Court (Façade towards the Nave.
19. The Assyrian Court (Viewed from beyond the fountain basin)
20. The English Mediaeval Court (The Tomb of Edward the Black Prince from the Canterbury Cathedral.
http://www.usyd.edu.au/museums/collecti ... mbra.shtml
1 – 3
4 – 6
7 – 9
10 – 12
13 – 15
16 – 18
19 – 20
Description from the back of one of this alternate set of Crystal Palace Art Union views.
Negretti and Zambra issued stereoviews of the Palace in daguerreotype, paper, glass, tissue. There are even more kinds of mounts I am aware of.
I am going to focus on the first numbered set of views by Negretti and Zambra.
The mounts are ivory/cream sometimes called tan.
Some examples seem to go pink with age.
During the period this set was published, N&Z switched to yellow mounts, with the same printed number and description on the back.
A later set was issued, with the same numbering and description, by a pasted on label, with bugs in the corner.
Another set, presumably later still was issued with these same labels but with the ends cut off, they are hand-numbered, but these numbers do not correspond with the previous list.
These are then followed by yellow mounts completely without any description or numbering.
The last set issued by Negretti and Zambra, again without numbering or description, are on a grey mount, with a snazzy brand of “Negretti & Zambra, similar to the same on photographs of members of the public.
1. "THE NAVE, looking towards the North. The length of the Nave is 1608 feet; its width, 72 feet; and its height, from the floor to the top of the arch, 104 feet."
2
[identical image as #2 of the first set of CP Art Union set.]
3 ?
4
5
6 Alhambra Court. [Identical to #6 first CP Art Union set.]
7 [Identical to #7 of the first CP Art Union set.]
8 [Identical to #8 of the first CP Art Union set.]
9
10.
11. German Medieval Vestibule. [Identical to # of the first CP Art Union set.]
12.
13
14
15
16 “THE ASSYRIAN COURT, viewed from the base of the Colossal Figures in the North Transept.” [similar to #16 of the first set of CP Art Union set of views.]
17
18
19
20
21
22. “EXTERIOR OF THE PALACE, from the Grand Terraces.” [3 variant views.]
23. “THE SHEFFIELD COURT.”
24. The Egyptian Court from the north east gallery
25
26
27. “THE PALACE, from the Rosary.”
28. “SIDE VIEW OF THE BYZANTINE COURT.”
29
30
31. “MONTI’S FOUNTAIN, AT THE NORTH END.”
32
33
34
35
36
37
38 “THE SCREEN OF THE KINGS AND QUEENS OF ENGLAND.”
39. “GENERAL VIEW IN THE TROPICAL DEPARTMENT. The Ninevah Court in the distance.”
40
41
42
43.
44. “VIEW FROM THE MUSIC COURT TO THE SOUTH TRANSEPT.”
45. “GENERAL VIEW OF THE PALACE, CASCADES AND LOWER FOUNTAINS.”
46. “GENERAL VIEW OF THE POMPEIAN AND SHEFFIELD COURTS.”
47. “VIEW IN THE RENAISSANCE COURT.”
48. “THE NORTH WING FROM THE TERRACE.”
http://cgi.ebay.co.uk/Crystal-Palace-St ... dZViewItem
49 The Greek Court.
http://cgi.ebay.co.uk/Crystal-Palace-Vi ... dZViewItem
50. Monti’s Fountain, and Nineveh Court. Tropical End
http://cgi.ebay.co.uk/Crystal-Palace-St ... dZViewItem
51. Apollo Belvedere. In the Roman Court
52.
http://cgi.ebay.co.uk/Crystal-Palace-St ... dZViewItem
53 The Greek Court
54
55
56
http://cgi.ebay.co.uk/Crystal-Palace-Vi ... dZViewItem
57. Avenue in front of the Sheffield Court, looking towards the Centre Transept
58. “VIEW FROM THE MEDIAEVAL COURT TO THE ROMAN VESTIBULE.”
59
60
61
62. “GENERAL VIEW OF THE GARDENS AND FOUNTAINS.”
63. “GENERAL VIEW IN THE SOUTH TRANSEPT.”
64
65
66. “NIOBE AND HER FAMILY. In the Sculpture Gallery.”
67
68
69
70. "VIEW IN THE TROPICAL DEPARTMENT, from the Byzantine Court.”
http://cgi.ebay.co.uk/Crystal-Palace-St ... dZViewItem
71. “THE TROPICAL DEPARTMENT, from the Alhambra Court.”
72.
73. "THE ALAHMBRA COURT.”
74. No74 General view of the nineveh court from the gallery.
75
76. “THE BYZANTINE COURT, with Statues of St. Peter, from the Church at Langen, near Darmstadt.”
77
78
79
80
81
82
83
84
85
86
87
88
89
90. “ENTRANCE LOGGIA OF THE RENAISSANCE COURT.”
91. “SCULPTURE IN THE CLASSIC SCULPTURE GALLERY. Near the Greek and Roman Court.”
92
93
94
95
96
97
98
99
100. “ENTRANCE TO THE ENGLISH MEDIAEVAL COURT. The Tintern Doorway.”
101. "STATUES IN THE GREEK AND ROMAN SCULPTURE COURT."
102. "STATUES IN THE GREEK AND ROMAN SCULPTURE COURT."
103. “View in the court of Christian monuments. Two of the Irish Crosses stand to the left, and the Pocklington Cross, in the centre.”
104
105
106
107. "THE COURT OF CHRISTIAN MONUMENTS. On the right is the Monument of Bishop Bridport, from Salisbury; on the left, the Pieta, by Rietschel, of Dresden.”
108
109
110 “THE GREAT EGYPTIAN SPHINXES, in the Tropical Department.”
111
112
113
114
115
116
117
118
119
120
121
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149. View of the antique sculpture gallery looking north
150
151
152
153
All you got to do is edit in #45 and #62. 
Before you send me a proof read, don't forget to include all the fronts in the final PDF! 
