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Two Prints by Tonnesen Sisters Found in Bournemouth, England

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A site visitor, Helen Joy of Bournemouth, England recently contacted us about two prints, both copyright 1900, found behind the framed photo of one of her husband’s ancestors. I recognized one of the prints from her description, but the other was new to me. The prints are interesting for a couple of reasons. First, although Beatrice Tonnesen spoke about having an international clientele, these are the first that we know of that have surfaced overseas that don’t bear the name of a US publisher. Second, while I recognized one of the prints as the romantic image of a woman shown blowing bubbles, the other print, a whimsical image of a woman holding the leaf of a corn plant over her head, shown in this slideshow courtesy of Helen Joy, was new to me. Not only that, the woman in the corn seemed to be part of a series of agriculturally-themed images that were most likely taken at the same time. When I see a series of prints like this, I can almost imagine how Beatrice Tonnesen spent one of her workdays, posing one image after another, each appealing on its own, but illustrating a theme when seen altogether.

The images, in the order in which they appear in the slideshow are: Untitled image of a woman with a corn leaf, courtesy Helen Joy; and “Pigs in Clover”; “Country Gossip”; “A Hay Seed”; and the untitled image of a woman blowing bubbles, all by Tonnesen Sisters and all shown elsewhere on this website.

Copyright 2014 Lois Emerson

“Finishing Touches”- Free Print with Purchase of Johnson’s Baby Powder

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Before the Tonnesen Sisters were known for their calendar prints, they were known for supplying photos of live models for advertising purposes. Early photographic and advertising journals featured examples of their work, touting everything from soap to farm machinery. I’ve also seen ads for various products that offered prints by Tonnesen, either free or for a nominal cost, as a reward for purchasing the product. I’ve always found those ads tantalizing, as they generally listed the prints by title without showing the actual print, leaving me to wonder what masterpiece I’ve missed! Finally, however, I have one of those illusive advertising premiums – “Finishing Touches,” a 1901 “art platograph” by Tonnesen Sisters, free to every purchaser of Johnson’s Baby Powder. I’ve scanned both front and back and posted it here.

The print itself is notable in several respects. First, in all of my reading of vintage photographic journals, I have never seen anything labled an “art platograph.” Maybe there’s a photography buff out there who will know about it. Also, I note that the vanity table and bench appear to be illustrated – not part of the original photograph. The leaded glass window was part of Tonnesen’s studio set, so it was in the original photo, but I don’t know about the screen. The child appeared often in Tonnesen’s work ca. 1900, and I believe she was a well-known Chicago child model named Edna Clifford.

Copyright 2014 Lois Emerson

The Art Restorationist’s Dilemma

We received an an email through this site’s contact link from Micheal Donaldson. Micheal left a non-functioning return email, but I’d like to address the note here. It said:

I am a art Restorationist, i have seen a lot of this type of work disappear, because the owners clung to[o] tightly to it with water marks and flash player security.

If you really want this work to survive you, which is so needed in a world gone crazed on death and decay, you should make the largest and best quality 1.5 MB files for down loading, so the smile Beatrice intended for everyone goes out all over the net and shines on a world gone obsessed with death.

I replied, but it came back undelivered:

Hi Michael – Thanks for your note and your interest in Beatrice Tonnesen. I am an art restorationist also, but by hobby. I keep the master digital database of Beatrice Tonnesen images. It might be a bit messy, but it’s there. Lois and I have been working on BT for about seven years now, and we have dozens of terabytes recovered. Easily more than a thousand hours of image cleanup. There are no negatives, so all the images are reproduced from discovered photographs, paintings, calendars, or newspapers. Like any commercial studio, restored Beatrice Tonnesen images are under copyright and available for license. I encourage you to consider this route for disseminating our mutual interest in Beatrice Tonnesen.

Please contact me at any time.

Sincerely,

Sumner