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324:. Due to the high demand several more editions followed, including a 1914 volume with full-page color plates. The early editions of the book credited only Leeson as the photographer, while later editions said "photographic illustrations by Adelaide Hanscom and Blanche Cummings". Today, the work is recognized for its lush beauty and because the first edition is thought to be one of the first publications in America depicting male nudity in photographs.
467:. She became irrational at times and was admitted more than once to mental institutions. She never resumed her photographic work, and, as one writer noted, "the remaining sixteen years of her life seem to have been a feckless series of wanderings with her children in tow." She moved briefly to England to be near her dead husband's relatives, but she eventually returned to California and lived with her daughter.
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265:, who were the leaders of the pictorial photography movement in New York. As a result of her recent acclaim, her artistry was in high demand. She was so successful that when a newspaper critic asked her if her profession financially rewarded her, she replied "Handsomely". Over the next two decades, her photos were exhibited nationally and abroad, receiving great acclaim and several awards.
421:. They remained there for the next three years, although both Hansom and her husband made yearly trips to Seattle and other areas outside of Alaska. In 1909 she spent several months in San Francisco after giving birth to a son, also named Gerald. During this period her photography all but ceased while she sacrificed her needs for her husband's career. In 1911 they moved to
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Adelaide began her career in the “traditional arts” and in the 1890s studied painting with local artists and design at the
University of California. Between 1892 and 1900 she contributed her still lifes in pastel, crayon, oil and watercolors to the exhibits at the California State Fair in Sacramento
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declared that
Hanscom's “forte lies in her ability to combine graceful lines and a somewhat original lighting, with the rendering of texture in drapery and flesh tints in soft, mellow lights that are particularly effective.” Adelaide's first awards in photography were two second prizes, one for the
320:, and it became a national sensation. Her hometown newspaper proclaimed "The Berkeley Girl whose 'Omar' photos startle the literary critics." At the Liverpool Exposition in England she received a silver medal and the “greatest attention” for her photo-illustrations in the 1905 Boston edition of
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A small number of prints survived in a safe, but otherwise, the only remaining images from this project are in the books themselves. She had to completely start her business and life anew, and since the area where she lived and worked was now mostly uninhabitable she packed her few remaining
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style, portrayed three women representing
Seattle (right), Alaska (middle) and "the Orient" (left) all extending their hands to each other while holding representations of each area's economic strengths (respectively, railroad commerce, mineral resources and ship-going commerce).
340:. She soon set up a new studio there with another photographer, Gertrude Wilson, and for the next five years she did commercial portrait works for prominent families in the area. Her photographs often filled the society pages of Seattle's newspaper.
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Publications in
California Art, No.7: I. Exhibition Record of the San Francisco Art Association, 1872–1915; II. Exhibition Record of the Mechanics' Institute, 1857–1899; III. Exhibition Record of the California State Agricultural Society,
351:. It is not known how he became aware of her work, and there is no record of the two meeting. Nonetheless, in December 1906 and into early 1907, Stieglitz included two of Hanscom's prints in the Photo-Secession members exhibit in his
253:. One critic said her showing in this exhibition "secured her a place among the foremost pictorialists of the Pacific Coast." This show was also important to Hanscom because it was the first place she would have seen prints by
185:, in order to obtain a better education for the children. The Hanscoms established their residence at 1525 Walnut Street, where in 1902 Adelaide advertised her Berkeley portrait studio in the Directory. Her father was a
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to represent the event, and more than 150 of
America's best artists and designers entered the contest. By unanimous vote, the publicity committee selected Hanscom's design as the winner. The design, in a colorful
463:, and he left for Europe with very little notice to his family. Within a few weeks he was killed in action. The combination of this loss and that of her father three years later caused her to fall into a deep
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Soon after, she began a new series of photographs, using her children as models, for illustrations of nursery rhymes and other children's poems, but due to unforeseen events she never completed the project.
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In 1912, she had a daughter, Catherine. She continued to work on her photography while caring for her two children and, at times, running their farm by herself. In 1914 the family moved briefly to
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In 1902, she set up a studio in San
Francisco with fellow photographer Blanche Cummings, and soon they were accepting commissions for portraits and commercial work. A commentary that year in
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and briefly established a studio on Pine Street in that city. Between 1900 and 1902 she studied at the
California School of Design in San Francisco's Mark Hopkins Institute of Art (now the
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magazine. At the Third
Photographic Salon in San Francisco in 1903 Hanscom exhibited five prints, including the highly acclaimed portrait study of Louise Keeler and her baby entitled
309:, as models for the project. She saw the project as both a classic literary publication and as a metaphor for her times. In a newspaper interview she said decided to illustrate
128:(25 November 1875 – 19 November 1931) was an early 20th-century artist and photographer who published some of the first books using photography to illustrate literary works.
437:, when Gerald once again worked on a mining project. Adelaide and the children returned to Danville by the end of the year, and Gerald remained in Kellogg for most of 1915.
162:) in 1875, the fourth of six surviving children born to Meldon LeRoy (1843–1919) and Louisa Hyde Hanscom (1845–1923). She was one of a set of twins, but the other child was
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because it presented "an expression of the struggle of the human soul after the truth, and against the narrowing influence of the dogmatic religions of our time."
245:, at the 1901 Channing Club Exhibition in Berkeley. She became a member of the California Camera Club and sold her landscape studies of the Kern River Canyon to
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Hanscom's creativity did not suffer from the loss of her work or her move to a different city. She immediately began working on a new project, illustrations for
217:, but did not graduate believing it to be unimportant. In tandem with her formal education she studied photography in private with her former classmates
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478:. For many years her artistry was forgotten, but as of 2008 her work is once again being recognized for its creativity, beauty and grace.
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was one of the first
American books in this genre. She solicited some then well-known California literary figures, including
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Published some of the first books using photography to illustrate literary works, including the first edition of
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An online facsimile of the entire text of Vol. 1 is posted on the
Traditional Fine Arts Organization website (
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In late 1903, she began working on a series of photographs to illustrate the classic selection of poems, The
425:, where her husband took up farming. She was able to once again set up a darkroom and soon resumed her work.
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289:. The concept of illustrating a literary work with fine art photographs was new at that time, and
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170:. Marquand's husband, Henry, was a business associate of Meldon Hanscom, and later published the
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with her husband, and she remained a family friend and influence on Hanscom for many years.
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and fire. Hanscom's studio was completely destroyed, and with it all of the negatives for
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Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. 1
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In November 1931, Leeson was killed by a hit-and-run driver while getting off of a
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Breck, Henrietta (February 1904). "California Women and Artistic Photography".
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536:. Oakland, Calif.: East Bay Heritage Project. pp. 92, 250, 423–424, 689.
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610:. Los Angeles, Ca.: Dustin Publications. pp. I. 48, 174, II.84, III. 63.
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and is thought to have learned some of her printing technique from Brigman.
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Camera Craft: A Photographic Monthly (San Francisco, CA), 7 1903, p. 213.
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Camera Craft: A Photographic Monthly (San Francisco, CA), 4 1902, p. 215.
576:"A Different Slant of Light: The Life and Art of Adelaide Hanscom Leeson"
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When Hanscom was six, her family returned to their previous home city of
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In 1907, it was announced that Seattle was to be the site of the great
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Sunset (San Francisco, CA): 12.1 1903, p.77; 12.2, 1903, pp. 129–134.
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officer Arthur Gerald Leeson. Soon after they moved to the area near
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and at the Mechanics’ Institute Fair in San Francisco. In 1896, the
189:-educated businessman who later became the city auditor of Berkeley.
630:"How Joaquin Miller Posed for Pictures in Omar Khayyam's Rubaiyat".
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Berkeley Bohemia: Artists and Visionaries of the Early 20th Century
166:. Hanscom was named after Adelaide Marquand, an early proponent of
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San Francisco Call: 12 January 1896, p. 17; 16 October 1898, p.26.
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On 1 January 1908, Hanscom married British mining engineer and ex-
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San Francisco Call: 10 December 1905, p. 23; 22 July 1906, p. 22.
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656:"The Friends of Anne Brigman: Bay Area Pictorialists 1900–1925"
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and was followed by two more editions due to its popularity.
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Adelaide Hanscom Leeson: Pictorialist Photographer 1876–1932
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Adelaide Marquand Hanscom was born in Empire City (now
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The Arts and Crafts Movement in the Pacific Northwest
455:That same year, her husband Gerald enlisted in the
750:Herney, Ed; Shelley Rideout; Katie Wadell (2008).
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506:Indvik, Gail Marie; Dimitri Shipounoff (1981).
444:. The first edition included twenty tipped-in
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347:listed Hanscom as an Associate Member of his
688:Berkeley Daily Gazette, 13 April 1901, p. 1.
316:In 1905, she published the first edition of
16:American artist and photographer (1875–1931)
859:Women of Photography: An Historical Survey
846:. Portland: Timberline Press. p. 319.
644:The Oakland Tribune, 19 March 1906, p. 12.
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372:The Alaska-Yukon-Pacific Exposition emblem
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892:Works by or about Adelaide Hanscom Leeson
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440:In 1916, she was finally able to publish
174:. Adelaide Marquand was co-editor of the
829:The Oakland Tribune, 17 July 1907, p. 6.
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550:http://www.tfaoi.com/aa/10aa/10aa557.htm
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926:1906 San Francisco earthquake survivors
842:Lawrence Kreisman; Glenn Mason (2007).
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353:Little Galleries of the Photo-Secession
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739:. Seattle: Frye Art Museum. p. 8.
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512:Southern Illinois University
269:The Rubaiyat of Omar Khayyam
151:The Rubaiyat of Omar Khayyam
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737:Pioneer Women Photographers
532:Edwards, Robert W. (2012).
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857:Mann, Margery (1975).
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735:Martin, David (2002).
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768:. 30 September 1906.
634:. 30 September 1906.
476:Pasadena, California
423:Danville, California
307:George Wharton James
183:Berkeley, California
119:Arthur Gerald Leeson
76:Pasadena, California
419:Treadwell gold mine
865:. p. unpaged.
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916:1931 deaths
911:1875 births
461:World War I
429:Later years
137:Early years
83:Nationality
905:Categories
666:2009-01-25
586:2009-01-24
482:References
465:depression
164:still-born
48:1875-11-25
608:1856–1902
237:portrait
93:Education
553:Archived
209:) under
176:Advocate
87:American
894:at the
472:trolley
338:Seattle
154:, 1905.
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247:Sunset
116:Spouse
722:XLIII
808:link
780:link
538:ISBN
398:logo
305:and
261:and
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132:Life
65:Died
38:Born
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