Camp Beauty, Canñon de Chelle; walls 1.200 feet high, width of Cañon at this point about one fourth of a mile. This view shows the perpendicular effect wrought by the action of floods. The Artist of the Expedition, Mr. Wyant, of New York, made a study of this scene with the intention to paint it as a characteristic Canon view, No. 25 from the series "Geographical Explorations and Surveys West of the 100th Meridian"
Medium
Albumen print, stereo
Dimensions
Each image: 9.2 × 7.4 cm (3 5/8 × 2 15/16 in.); Card: 10 × 17.7 cm (3 15/16 × 7 in.)
Classification
stereograph (albumen)
Department
Photography and Media
Museum
Art Institute of Chicago
Accession Number
210777
Rights
Public Domain
Art Historical Context
In this stereograph, two nearly identical albumen prints sit side by side on a yellow card, inviting the viewer’s eyes to merge the images into a single, three-dimensional scene. Towering sandstone cliffs rise dramatically from a broad valley floor, their sheer faces catching the light to emphasize vertical striations and rugged textures. At the base, scattered shrubs and a few small figures or tents suggest the scale of the vast canyon, while the arched tops of the prints frame the view like a window onto the landscape. Timothy O’Sullivan made this photograph in 1873 during the U.S. Army’s Geographical Explorations and Surveys West of the 100th Meridian, led by Lieutenant George M. Wheeler. Titled *Camp Beauty, Cañon de Chelle*, the work belongs to a series intended to document the dramatic geology of the American Southwest. The caption notes the canyon’s walls, roughly twelve hundred feet high, and the erosive power of floods that shaped them. O’Sullivan’s precise stereo technique allowed viewers back east to experience the monumental spaces of the West from their parlors, turning scientific exploration into a shared visual record.
About the Artist
Timothy O'Sullivan · 1840–1882
Timothy H. O'Sullivan (c. 1840–1882) emerged as one of America's pioneering photographers during a transformative era. His early life remains sparsely documented, with records suggesting he was born either in New York City or Ireland before immigrating young, possibly growing up on Staten Island. As a teenager, he apprenticed under Mathew Brady at his Fulton Street gallery in New York, mastering w...