The Rubaiyat of Omar Khayyam

Adelaide Hanscom Leeson :: Frontis. The Rubaiyat of Omar Khayyam, 1905. Photogravure. | src photogravure.com
Adelaide Hanscom Leeson :: Plate 2. The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Scanned by University of California Libraries | src internet archive
Adelaide Hanscom Leeson :: Plate 2. The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Scanned by University of California Libraries | src internet archive
Adelaide Hanscom Leeson :: Plate 2. The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Scanned by Getty Research Institute. | src internet archive
Adelaide Hanscom Leeson :: Plate 2. The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Scanned by Getty Research Institute. | src internet archive
Adelaide Hanscom Leeson :: Plate 2. The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Scanned by Getty Research Institute. | src internet archive
Adelaide Hanscom Leeson :: Plate 2. The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Scanned by Getty Research Institute. | src internet archive

Hanscom achieved her luminous and daring visionary allegorical tableaux style through sophisticated manipulation of her photographs including combination printing and painting directly on the glass plate negatives. The delicate gravures are printed on tissue and tipped into the book which is notable for its Arts-and-Crafts design, the subjects (both nudes and artists of the time like Joachim Miller, George Sterling and George W. James).

The first edition was printed on at least two different types of tissue, one limp and thin, and the other stiff and parchment-like. Dodge published many subsequent editions with Hanscom’s photographic illustrations, in at least three smaller sizes, all with halftones, sometimes in color. In a 1912 edition, Blanch Cumming, another San Francisco photographer, was inexplicably also credited, although no additional illustrations appeared. In 1906, the San Francisco earthquake and fire destroyed Hanscom’s entire studio, including her Rubaiyat negatives. A decade later she provided similarly dreamy illustrations for an edition of Elizabeth Barrett Browning’s Sonnets from the Portuguese, but her Rubaiyat images represent most of Hanscom’s print legacy, as her silver prints are rare. [quoted from the Art of the Photogravure]

Publications of The Rubāīyāt of Omar Khayyām available online:

The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Scanned by Getty Research Institute

The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Scanned by University of California Libraries

The Rubaiyát of Omar Kháyyám, 1914. Published by Dodge Publishing Co. “Popular Edition“. Scanned by Getty Research Institute

The Rubaiyát of Omar Kháyyám, 1905. Published by Dodge Publishing Co. Plates on the Art of Photogravure

The Rubāīyāt of Omar Khayyām, 1912. New York : Dodge Publishing Co. Scanned by Cornell University Library, on Hathitrust

Pink carnation (1910s)

autochrome 1910s
Karl Struss (1886-1981) :: [Pink carnation - single bloom], ca. 1910-1917. Additive color screen plate. | src Amon Carter Museum P1983.24.19
Karl Struss (1886-1981) :: [Pink carnation – single bloom], ca. 1910-1917. Additive color screen plate. | src Amon Carter Museum P1983.24.19

Struss views of lake Como (1900s)

Karl Fischer Struss ,1910s
Karl Struss (1886-1981) :: Ducks on Lake Como. Photogravure published in Camera Work nº 38, 1912. | src Modernist Journals Project
Karl Struss (1886-1981) :: Ducks on Lake Como. Photogravure published in Camera Work nº 38, 1912. | src Modernist Journals Project
Karl Struss (1886-1981) :: Ducks on Lake Como. Photogravure published in Camera Work nº 38, 1912. | src Modernist Journals Project
Karl F. Struss (1886-1981) :: Ducks on Lake Como. Photogravure published in Camera Work nº 38, 1912. | src Modernist Journals Project
Karl Struss (1886-1981); Ducks, Lake Como; Photogravure; from Camera Work #38; Alfred Stieglitz; 1912; Amon Carter Museum of American Art; Fort Worth, TX;  P1983.40.6
Karl F. Struss (1886-1981) :: Ducks, Lake Como, 1909, printed 1912. Hand-pulled photogravure printed by Alfred Stieglitz. Published in Camera Work # 38 (1912) | src Amon Carter Museum
Karl F. Struss (1886–1981) :: Near Lake Como [Woman walking along a road], 1909. Platinum print. | src Museum of Fine Arts (MFA) Boston
Karl F. Struss (1886–1981) :: Near Lake Como [Woman walking along a road], 1909. Platinum print. | src Museum of Fine Arts (MFA) Boston
Karl Fischer Struss (1886-1981) :: On Lake Como, 1909; Platinum print. | src Amon Carter Museum of American Art
Karl Fischer Struss (1886-1981) :: On Lake Como, 1909. Platinum print. | src Amon Carter Museum of American Art

Nude (Miss Thompson) 1907

Clarence H. White :: Untitled (Miss Thompson with nude torso and glass globe behind her), 1907. | src Princeton Univ. Art Museum
Clarence H. White :: Untitled (Miss Thompson with nude torso and glass globe behind her), 1907. | src Princeton Univ. Art Museum

Pictorial portrait by Weston

Edward Henry Weston (1886 - 1958) :: [Woman in Asian Costume], 1917 | The J. Paul Getty Museum Collection
Edward Henry Weston (1886 - 1958) :: [Woman in Asian Costume], 1917 | The J. Paul Getty Museum Collection
Edward Henry Weston (1886 – 1958) :: Woman in Asian Costume, 1917 | The J. Paul Getty Museum Collection

Bruguière: a Portrait, ca. 1916

Francis Bruguière (1879–1945) :: A Portrait. Camera Work: A Photographic Quarterly — 1916 (Heft 48)
Francis Bruguière (1879–1945) :: A Portrait. Camera Work: A Photographic Quarterly — 1916 (Heft 48)

The Fan (Margrethe Mather)

Edward Weston :: The Fan - Margrethe Mather; 1914. Platinum or Palladium print.  CCP - University of Arizona
Edward Weston :: The Fan – Margrethe Mather; 1914. Platinum or Palladium print. CCP – University of Arizona
Edward Weston :: Margrethe Mather - The Fan, ca. 1917. |  src kim weston blog
Edward H. Weston :: Margrethe Mather – The Fan, ca. 1917. | src kim weston blog

The Mirror, 1912 (C.H. White)

Clarence Hudson White :: The Mirror, 1912. From: Photo-Secession: Painterly Masterworks of Turn-of-the-Century Photography at D'Amour Museum of Fine Arts · Springfield Museums
Clarence Hudson White :: The Mirror, 1912. From: Photo-Secession: Painterly Masterworks of Turn-of-the-Century Photography at D’Amour Museum of Fine Arts · Springfield Museums

Georgia OʹKeeffe fixing hair

Alfred Stieglitz :: Georgia OʹKeeffe (fixing hair), 1919-21. From: Photo-Secession: Painterly Masterworks of Turn-of-the-Century Photography at D'Amour Museum of Fine Arts · Springfield Museums
Alfred Stieglitz :: Georgia OʹKeeffe (fixing hair), 1919-21. From: Photo-Secession: Painterly Masterworks of Turn-of-the-Century Photography at D’Amour Museum of Fine Arts · Springfield Museums

Figure study, ca. 1900

Clarence Hudson White (1871–1925) :: Figurenstudie | Figure study, um 1900. Published: Photographische Rundschau 1901 / Verlag von Wilhelm Knapp in Halle a/S. / Meisenbach Riffarth & Co, Berlin, 1901. | src MK&G