Dreamy portrait by Stieglitz

Alfred Stieglitz :: Unknown Woman, 1907. Autochrome. Alfred Stieglitz Collection | src National Gallery of Art — **Alfred Stieglitz ::** Unknown Woman, 1907. Autochrome. Alfred Stieglitz Collection | src National Gallery of Art

Alfred Stieglitz :: Unknown Woman, 1907. Autochrome. Alfred Stieglitz Collection | src National Gallery of Art
DETAIL — **Alfred Stieglitz ::** Unknown Woman, 1907. Autochrome. Alfred Stieglitz Collection | Detail

The Rubaiyat of Omar Khayyam

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

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

Lisy (portrait) by Anny Heimann

Anny Heimann :: Lisy. From :: „Die Kunst in der Photographie", 1905. Verlag von Wilhelm Knapp. Halle A/S — **Anny Heimann** :: Lisy. From :: „Die Kunst in der Photographie”, 1905. Verlag von Wilhelm Knapp. Halle A/S

Flower study by Edward Seymour

Edward Seymour :: Flower Study, ca. 1905. Die Kunst in der Photographie 1905 — **Edward Seymour ::** Flower Study, ca. 1905. Die Kunst in der Photographie 1905

Decorative studies by Seymour

Edward Seymour :: A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905 — **Edward Seymour ::** A Decorative Study, ca. 1905. Die Kunst in der Photographie 1905

Clara and Irina, late 1920s

Clara E. Sipprell :: [Clara Sipprell or Irinia Khrabroff at the Grand Canyon Rim], 1929. Gelatin silver print. | src Amon Carter Museum — **Clara E. Sipprell** :: [Clara Sipprell or Irinia Khrabroff at the Grand Canyon Rim], 1929. Gelatin silver print. | src Amon Carter Museum

Unknown; [Clara Sipprell and Irina Khrabroff positioning camera], ca. 1929. Gelatin silver print. | src Amon Carter Museum of American Art

Clara E. Sipprell (1885-1975) :: [Clara Sipprell or Irina Khrabroff by Great Rock, Grand Canyon], 1929. | src Amon Carter Museum — **Clara E. Sipprell (1885-1975) ::** [Clara Sipprell or Irina Khrabroff by Great Rock, Grand Canyon], 1929. | src Amon Carter Museum

Unknown; [Clara Sipprell and Irina Khrabroff having a picnic], ca. 1920s - 1930s. Gelatin silver print. | src Amon Carter Museum of American Art — Unknown; [Clara Sipprell and Irina Khrabroff having a picnic], ca. 1920s – 1930s. Gelatin silver print. | src Amon Carter Museum of American Art

Irina Khrabroff by Sipprell

**Clara E. Sipprell (1885-1975) ::** Irena [Irina] Khrabroff Sewing, 1920. Gelatin silver print. | src Amon Carter Museum of American Art

**Clara Sipprell (1885-1975) ::** [Irina Khrabroff], ca. 1925 – 1933. Gelatin silver print on tissue. | src Amon Carter Museum of American Art

**Clara Sipprell (1885-1975) ::** Irena [Irina] Khrabroff in Russian Costume, 1925. Gelatin silver print. | src Amon Carter Museum of American Art

**Clara E. Sipprell (1885-1975) ::** Irina Khrabroff, ca. 1930s. Gelatin silver print. | src Amon Carter Museum of American Art

Sipprell was born on Halloween, 1885, in Tillsonburg, Ontario, Canada. In 1895 (after her father’s death), she and her mother moved from Canada to Buffalo. In the early 1900s, Buffalo was a center of the pictorialism. Sipprell became one of the foremost practitioners of pictorial photography in the United States. She produced autochromes and platinum, bromoil, gum, and carbon prints; won awards in exhibitions; and had her work published in magazines in the United States and Europe.

As a portrait photographer, Sipprell sought to convey a sense of the whole person and what made each unique. […] In 1915, Sipprell, then thirty, moved to New York City with Jessica E. Beers, with whom she lived until 1923. She opened a photographic studio in Greenwich Village and eventually became a contract photographer for the Ethical Culture School, where Beers was a principal.

A Russian immigrant, Irina Khrabroff, was first her student and later her traveling companion, close friend, and business manager. As a student, Khrabroff spent her winters living with Sipprell and Beers in New York City. In 1923, when Khrabroff married, Beers moved out of the apartment, but Sipprell continued living there with Khrabroff and her husband until 1933.

[…] It is not clear whether or not Sipprell’s relationships were sexual or even romantic, yet their length and stability, and the evidence of the memorial marker, indicate an extraordinary level of commitment. [Quoted from lgbtq encyclopedia: Sipprell, Clara Estelle (1885-1975) by Tee A. Corinne]