Well, now I know who sold these photographs in 1902. But who's selling these photographs in 2007 soon to be 2008?
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From The American Monthly Review of Reviews, Edited by Albert Shaw, July-December 1902. Reproduced from Google Books.
Small prints says:
The Tonnesen Life Photographs are acknowledged to be the most superb productions in all the world. Beatrice Tonnesen, the poseuse, was the American Representative of Photography at the Paris Exposition, and stands at the head of Photographic Art.
In Black Flemish Oak, with Finest Belgian Glass,
- A. Hayseed,
- The Tonnesen Madonna,
- My Baby Sleeps,
- A Letter from Home,
Size, 11 x 18 inches.
If desired beautifully hand-colored, add $1 for one or all. Exquisite Holiday Gifts. Send P.O. or express order for $2 or $3 to
Slideshow Album 5 was contributed by Leslie Nelson, great-niece of Beatrice Tonnesen. All 21 images are posted. Some of them required quite a bit of restoration. These are print images. I will be including any text information from the bottom of the prints.
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Added 2 images to Album 4 of the Slideshow.
In previous articles and Slideshow Albums 1 and 2 (“Introduction” and “Artwork Bearing Signatures and Attributions…”), I reported that many art prints produced between 1900 and the 1930’s began as photos created in the Chicago studio of Beatrice Tonnesen.
Relatively few of these prints were signed by Tonnesen, but many unsigned examples of her work can be identified because:
1. The images contain props and/or costumes known to have been used by the Tonnesen Studio. Once an item appears in a signed Tonnesen print, its presence in an unsigned print suggests the same point of origin. For example, the fancy footstool shown in Album 2 in Tonnesen’s signed print titled “Where Peace Abides,” is a frequent indicator of Tonnesen’s work. Tonnesen used her props over and over, favoring certain chairs, rugs and costumes that can usually be differentiated from those of other studios. One caveat: In some cases, artists or illustrators painted new backgrounds that were not in the original photo, retaining only the central figure from the original photograph. So those items added by the illustrators are their own creations rather than the photographer’s props. In most cases, this technique seems to have pertained to outdoor, non-studio settings. See the first two images in Album 1 where both exterior backgrounds were added by artists – the first, apparently, by Tonnesen herself and the second, very possibly, by R. A Fox. An example of a painted indoor setting is image 4 in Album 3, which can also be viewed close-up in the section titled “Zoomify an Image,” posted by Sumner. In the original photo by Tonnesen, the nursery decor was non-existent. Because Tonnesen signed the illustration, I assume it was she who added the background painting. Continue reading