Photographs, Pistols & Parasols

Lee McIntyre

Celebrating Early Women Artisan Photographers

  1. 03/08/2022

    Meet Miss C Smith - in print!

    document.createElement('audio'); http://p3photographers.net/podcast/P3P063x_C_Smith_article.mp3 Go to Notes| Links | Transcript Notes Information about our article in The Journal: L. Lee McIntyre and Chris Culy. 2021. “Miss C. Smith: The long career of an independent photographer from Lowell, Massachusetts” in The Journal: New England Journal of Photographic History. 179:20-39. Our article is listed at the bottom of the cover: Visit the the Photographic Historical Society of New England’s website for more information on the group, their publications, etc. ***Update Click here to order copies of this issue of The Journal *** Also, click here to visit the episode notes for my  podcast episode about Miss C Smith. There are sample photos of work from the Miss C Smith Studio on that notes page; you can also  as listen to the entire episode again from that page. Transcript You’re listening to Photographs, Pistols & Parasols. Support for this project is provided by listeners like you. Visit my website at p3photographers “dot” net for ideas on how you, too, can become a supporter of the project. For more information about any of the women discussed in today’s episode, visit my website at p3photographers.net. That’s letter “p”, number “3”, photographers “dot” net. ***** Welcome to Photographs, Pistols & Parasols, the podcast where we celebrate early women artisan photographers. I’m your host, Lee McIntyre. ***** Hi everybody and Happy International Women’s Day! Today I just I have quick announcement to share. As you know, my husband, Chris, and I have been doing research for this project for the past few years. Along the way, I’ve been sharing the stories we’ve uncovered  – about the lives and careers of early women artisan photographers –  through both this podcast well as through lectures and talks I’ve given all over the world. But today I’m delighted to announce that Chris and I now have out first published article about these talented women. It’s an article published in The Journal: New England Journal of Photographic History, which is the annual publication of the Photographic Historical Society of New England. The title of our article is “Miss C. Smith: The long career of an independent photographer from Lowell, Massachusetts”. Listeners may recall I talked about Miss C Smith several years ago on the podcast. Miss C Smith is the name – i.e. the photographer’s “brand” – on the photographs. “Miss C Smith” herself turned out to be a woman named Costillia Smith. Costillia Smith ran the “Miss C Smith” studio by herself for more than 30 years in the late 19th century In that podcast episode I talked about how the first thing we had to do with “Miss C Smith” was to track down her first name; finding out a lot more about her was even more of a challenge. However, Chris and I both love a challenge:   we spent a lot of time digging into the records we could get access to online during the pandemic, since the pandemic made it impossible to visit Lowell while we were writing the article. However, we managed to pieced together information about her family as well as more about her career.  We share that in the article, along with many some wonderful examples of photographs from Miss C Smith’s studio that we’ve collected. That includes examples of both cabinet cards as well the smaller form-factor carte-de-visites. I’ll include information in the episode notes for today on how to buy copies of The Journal direct from the Photographic Historical Society of New England. Chris and I really want to extended a huge thank you to John Felix and Ron Polito, who are the editors of The Journal, and whose support and encouragement inspired this article. Many thanks to all who put the print version together:  Miss C Smith’s life and career are beautifully presented in the 20-pages dedicated to her in the issue. As always, look for the espisode notes on my website at p3photographers.net. That’s letter p number 3 photographers.net You can also follow Photographs, Pistols & Parasols on Facebook at facebook.com/p3photographers. Unavoidable delays have kept me from bringing you more episodes recently here on the podcast. Rest assured, though, there are many more women whose stories are just waiting to be told – look for more episodes coming soon! That’s it for today! Thanks for stopping by! Until next time .. I’m Lee McIntyre and this is Photographs, Pistols & Parasols.   Recommended Links Ancestry.com (census records, city directories, and more; paid account required – Visit Chris Culy’s blog – Visit Family Search website has U.S. Federal Census and more; free account required – Visit Geneologybank.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspapers.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspaperarchives.com has a selection of digitized newspapers from the United States; paid account required – Visit Peter Palmquist database at the Yale Beinecke Library – Visit Transcript You’re listening to Photographs, Pistols & Parasols. Support for this project is provided by listeners like you. Visit my website at p3photographers “dot” net for ideas on how you, too, can become a supporter of the project. ***** Welcome to Photographs, Pistols & Parasols, the podcast where we celebrate early women artisan photographers. I’m your host, Lee McIntyre. ***** Hi everybody and Happy International Women’s Day! Today I just I have quick announcement to share. As you know, my husband, Chris, and I have been doing research for this project for the past few years. Along the way, I’ve been sharing the stories about the lives and careers of early women artisan photographers that we’ve uncovered through both this podcast well as through lectures and talks I’ve given all over the world. But today I’m delight3d to announce that Chris and I now have out first published article about these talent women. It’s an article published in The Journal: New England Journal of Photographic History, which is the annual publication of the Photographic Historical Society of New England. The title of our article is “Miss C. Smith: The long career of an independent photographer from Lowell, Massachusetts”. Listeners may recall I talked about Miss C Smith several years ago on the podcast. Miss C Smith is the name – i.e. the photographer’s brand” on the photographs, “Miss C Smith” herself turned out to be a woman named Costillia Smith. Costillia Smith ran the “Miss C Smith” studio by herself for more than 30 years in the late 19th century In that podcast episode I talked about how the first thing we had to sdo with Miss C Smith was to track down her first name; finding out a lot more about her was even more of a challenge. However, Chris and I both love a challenge – we spent a lot of time digging into the records we could get access to online during the panedmic, since the pandemic made it impossible to visit Lowell while we were writing the arcle. However, we managed to pieced together information about her family as well as more about her career, and we share that in the article, along with many some wonderful exmaples of photographes from Miss C Smith’s studio that we’ve collected. That includes both cabinet cards as well the smaller formfactor carte-de-visites. I’ll include information in the episode notes for today on how to buy copies of The Journal direct from the Photographic HIstorical Society of New England. Chris and I really want to extended a hugh thank you to John Felix and Ron Polito, who ware the editors of the Journal, and whose support and encouragement inspired this article. Many thanks to all who put the print version today – Miss C Smith’s live and career are beautifully presented in thje 20-pages dedicated to her in the issue. As always, look on on my website at p3photographers.net. That’s letter p number 3 photographers.net You can also follow Photographs, Pistols & Parasols on Facebook at facebook.com/p3photographers. L. Lee McIntyre and Chris Culy. 2021. “Miss C. Smith: The long career of an independent photographer from Lowell, Massachusetts” in The Journal: New England Journal of Photographic History. 179:20-39 Unavoidable delays have kept me from bringing you more episodes recently here on the podcast. Rest assured, though, there are many more women whose stories are just waiting to be told – look for more episodes coming soon! That’s it for today! Thanks for stopping by! Until next time .. I’m Lee McIntyre, and this is Photographs, Pistols & Parasols.

    4 min
  2. 04/03/2021

    62 - The Journey of Ollie Monroe - Part 2

    http://p3photographers.net/podcast/P3P062_MONROEP2.mp3 Transcript Go to Notes | Lifeline | Links | Transcript Notes Today we’re finally going to continue our journey to explore the amazing career of Olive Monroe. Since it’s taken a little longer than I’d hope to finish Mrs. Monroe’s story, if you need  to refresh your memory about how this all started, here’s a link to Part 1 of Ollie Monroe’s story. First, let’s talk a little about her ads. Below we see Mrs. O.H. Monroe’s special deal offered in 1891 to any woman who could show that she voted in an election in Kansas (remember, women had the right to vote long before the U.S. Federal law changed): Mound Valley Herald, April 3, 1891 Mrs. Monroe was really brilliant at creating eye-catching ads. Here’s an example from later in her career, when she was running a studio with one of her sons. Her use of a photo montage is quite striking and somewhat unusual for the period. The Democrat (newspaper), Clay Center, Kansas, December 20, 1912 But then, photo montages were something of her specialty. She used some excellent examples in  two photo books she produced when she lived in Elyria, Ohio, in 1903 and 1906: Elyria 1903 book: Picturesque Elyria. Her enterprising citizens and her industries This entire book is freely available on the Internet archive – click here  to access it. Among the many photos by Mrs. Monroe in the book we find a photo of Mrs. Monroe herself, pictured on the page with all the prominent business women in town: Mrs. O.H. Monroe (from the 1903 book on Elyria, Ohio) Click here to see that full page in the book, which includes not only the photos of the women, but all information about them and their businesses. 2. 1906 book: Lorain County Ohio, her Beautiful Children, Progressive People and Marvelous Development, by Mrs. O. H. Monroe. You can find information here about the book, but there is currently no online copy freely available.  There’s a digital version that has been available in the past behind the paywall at the Ohio Geneological Society Digital Library. If you can find a copy of the book, it has come great images that make you feel like you’ve step back in time into the life of the town.  You’ll even have a chance to “stop by” Mrs. Monroe’s studio, as there are photos of that and other businesses in town. Also, as I mention in this episode, the  Lorain County Historical Society (@LorainCountyHistoricalSociety)  published a piece about Mrs. Monroe’s 1906 book back in November as part of their #FamilyResearchFriday series. Click here to view their post, which includes a nice example of one of the baby montages by Mrs. Monroe. Mrs. Monroe wrote this book as well as took most of the photos;  as I mention in the episode, 2 of her sons also contributed photos and artwork. Now, in an odd twist, I happened to notice today that  p.134 of Mrs. Monroe’s 1906 book about Lorain County includes the exact photo montage she uses in 1912 for that ad in the Kansas newspaper shown above! She loved her montages … even the old ones, I guess. Anyway,  as those books are wonderful, and probably worked extremely well as advertising for not only the town and county in Ohio, but also for Mrs. Monroe’s wonderful photographic work. However, by far the most memorable advertising gimmick. we found for  Mrs. Monroe actually was for her one of other businesses, namely running a theatre in Elyria, Ohio. Here’s an eye-catching mention of an upcoming giveaway at her theatre in 1907: The Chronicle-Telegram (ELyria, Ohio), Nov 19, 1907 Compare that headline to Mrs. Ober-Townes’s 1894 ad that I discussed back in Episode 7, where Mrs. Ober-Towne’s “baby give away” which was just a trick of the typeface in the ad.  Mrs. Monroe, however,  insisted in all interviews right up until the big day that she was actually giving away a baby. So …  did she really give a baby to the lucky ticket holder? Well, you’ll need to listen to the episode or read the transcript below to see what happened… [Note: All the newspaper clippings are from Newspapers.com.] Lifeline Recommended Links Ancestry.com (census records, city directories, and more; paid account required – Visit Chris Culy’s blog – Visit Family Search website has U.S. Federal Census and more; free account required – Visit Geneologybank.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspapers.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspaperarchives.com has a selection of digitized newspapers from the United States; paid account required – Visit Peter Palmquist database at the Yale Beinecke Library – Visit Transcript You’re listening to Photographs, Pistols & Parasols. Support for this project is provided by listeners like you. Visit my website at p3photographers “dot” net for ideas on how you, too, can become a supporter of the project. ***** Welcome to Photographs, Pistols & Parasols, the podcast where we celebrate early women artisan photographers. I’m your host, Lee McIntyre. ***** In today’s episode, we continue our journey with Ollie Monroe, to find out more about her life and career. For more information about any of the women discussed in today’s episode, visit my website at p3photographers.net. That’s letter “p”, number “3”, photographers “dot” net. ***** Hi everybody – welcome back to Photographs, Pistols & Parasols. Today we’re continuing the story of Ollie Monroe, the successful photographer (and so much more!) who we met last time. As we learned last time, Ollie’s career took her to multiple states, and saw her running multiple photographic studies, as well as multiple theatres. We covered the bare bones of her career in the last episode – but today I want to talk about some stories I didn’t have chance to mention the first time around. For example, I didn’t get a chance to mention that while she’s in Kansas the first time, Ollie Monroe is quite promonent abmont the Kansas Photographers Associations. In 1893 she’s even elected to be the “First Vice-president” of the state-wide organization. (Another woman I’ve talked about on the podcast, Mrs. Rosa Vreeland, was actually the “Second Vice-president”.) I also haven’t mentioned that throughout her career we see her leveraging advertising really well. We see with other early artisan photographers from this period, too, of course, but there are some remarkable aspects to some of Mrs Monroe’s ads and the servies she provides. For one thing, in addition to regular kind of portraits, she seems to become really enamored with offering speciality photo objects, everything from “photo jewelry” — like the photo buttons with a photo of her son, Wylie, that she distributes as party favors at a party for him one year — to the fancy photo collages that she can make from photos of “you and your family””, etc. This is in additional to the large prints and framed photos she also offers. Of course, like all the other photographers of this period, she also offers special deals, including some very creative ones. For example in 1891, when she’s in Mound Valley, Kansas, she offers a free portrait to any woman who can show proof that she voted in the city elections. (Kansas, it should be noted, allowed women to vote in local elections long before the U.S. Federal voting rights for women were granted in 1920). Mrs. Monroe generally feels very passionately about getting women the right to vote. In 1893 she is even a founding member – and the first president – of the Equal Suffrage Society in Mound Valley. Knowing that, it seems fitting – and is kind of fun – that our way of tracking of her in the official records in California in the 1920s is through her voter registration there. She was passionate about suffrage all throughout her life. Later in her career, ads for her studio become more complex. I’ll include a scan of an elaborate Christmas-time ad for the Star Studio in Clay Center Kansas, under the management of Mrs. O.H. Monroe and Son (that would be son Charles, who is going by C.H. Monroe at this point). The ad has a collage of photos, which I guess are examples of the kind of “high grade photos” you can get at the studio, which is only open 3 days a week. Of course, if you listen to the last episode I discuss how this is at a time when they are running multiple studios, so I guess this is how they managed to split their time between all the branches. By the way, Mrs Monroe and Son want to remind you in the ad that, “nothing is more heartily welcomed on Christmas morning than a picture of an absent friend.” Or a picture of an absent friend’s kids, apparently, as most of the sample photos in the ads are of children, either alone, with a parent, or their dog. Of course, for me, the most memorable ad by Mrs. Ollie Monroe during her career is for her theatre in Elyria, Ohio. Now remember she was running this vaudeville house and movie theatre. To attract patrons (with the goal to sell as many tickets as possible), she devices special attractions to get people in the door. In 1907, patrons are advised that those attending the show on Wednesday, November 20, 1907 will be automatically entered in the drawing for a live baby, to be given away that evening. Yes, the headline in the ad actually says “Baby to be given away.” Now, a couple of years ago I mentioned on the podcast how Mrs. Clara Ober-Towne had an eye-catching ad that at first glance implied that a “good fat baby” was going to be given away at her studio. But when you read the ad completely you soon realised that it was a trick of the typeset, and that actually the ad meant thaty was just photos of your good fat baby that

    17 min
  3. 01/01/2021

    61 - The Journey of Ollie Monroe (Part 1)

    http://p3photographers.net/podcast/P3P061_MONROEP1.mp3 Transcript Go to Notes | Lifeline | Links | Transcript Notes Today we’re following the path of Olive Monroe’s career; our first stop is Kansas. Kansas (Phase 1)  Ollie Heighton Monroe starts her photography career before her marriage; here we see a reprint from 1910 for a notice that originally appeared in the newspaper for Miss Heighton’s photography studio.  It mentions getting a “perfect fac-simile of your “phiz”, a term I’d never heard before. 1885 notice reprinted in the Mound Valley newspaper in 1910 newspaper 10 years later, Mrs. Monroe is running photography studios in various towns in Kansas; here’s profile/writeup of local businesses for her studio in Oswege Kansas in 1895. Interestingly, it includes a photo of Ollie herself: Oswego Independent (Oswego, Kansas),  December 20, 1895 Elyria, Ohio  From Kansas, we now travel to Ohio, where Ollie Monroe lived for over a decade. While there, she ran not only a successful photo studio, but also for some of her years there also simultaneously ran a vaudeville and movie theatre. The Chronicle Telegram (Elyria, Ohio) October 28, 1902 Headline and beginning of an article about Mrs. Monroe’s new theatre venture. The Chronicle Telegram (Elyria, Ohio),  August 14, 1907 Despite the fact that Mrs Monroe consistently calls herself Ollie (a shortened form of her middle name “Olive”, her family persists in calling her by her first name, “Libby”, whenever they put notices in the paper that they have been to visit her. The Chronicle Telegram (Elyria, Ohio), December 1, 1906 Kansas (Phase 2) After leaving Ohio and briefly living in Seattle 1909, but 1910 Ollie Monroe is back in Kansas, opening up a series of studios again around the state, as well as managing a theatre again, this time in Coffeyville, Kansas: Coffeyville Daily Herald (Coffeyville, Kansas), December 28, 1910 Oklahoma After just a few years, however, we find Ollie Monroe in Oklahoma, first in Bartlesville, and then later in Tulsa. Morning Examiner (Bartlesville, Oklahoma), December 13, 1914 As mentioned in the podcast, in 1919 Ollie Monroe takes a cross-country trip by car with her son, daughter-in-law, and another family from Tulsa to California. Coffeyville Daily Journal (Coffeyville, Kansas), July 29, 1919 To get a sense of what that kind of trip was like in the early 20th century, I highly recommend checking out the book By Motor to the Golden Gate by Emily Post wrote about her 1916 automobile trip from New York to California. More information about Emily Post’s book is available on the Emily Post website. You can also find a free copy of the book on the Internet Archive here. By the 1920s, Ollie Monroe has joined son and their families in the Los Angeles area; she works as a photographer and lives in Calfornia  until her death in 1931. But there’s more to come … much more! … about the  journey of Mrs. Ollie Monroe. That’s all coming in the next episode – stay tuned! [Note: All the clippings are from Newspapers.com.] Lifeline Recommended Links Ancestry.com (census records, city directories, and more; paid account required – Visit Chris Culy’s blog – Visit Family Search website has U.S. Federal Census and more; free account required – Visit Geneologybank.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspapers.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspaperarchives.com has a selection of digitized newspapers from the United States; paid account required – Visit Peter Palmquist database at the Yale Beinecke Library – Visit Transcript You’re listening to Photographs, Pistols & Parasols. Support for this project is provided by listeners like you. Visit my website at p3photographers “dot” net for ideas on how you, too, can become a supporter of the project. ***** Welcome to Photographs, Pistols & Parasols, the podcast where we celebrate early women artisan photographers. I’m your host, Lee McIntyre. In today’s episode, we’re going to go on a journey along with a photographer named Ollie Monroe. For more information about any of the women discussed in today’s episode, visit my website at p3photographers.net. That’s letter “p”, number “3”, photographers “dot” net. ***** Hi everybody. Welcome to today’s episode of Photographs, Pistols & Parasols. Today’s we’re going to meet a woman name Ollie Monroe, a woman of infinite resolve and determination, whose career in photographer spans more than 4 decades! Libbie Olive Heighton was born in the U.S., either in Ohio or Penn., dependig on which record we choose to use as our source belive, since it varies. In any case, she was born in 1860, and in 1880, Miss Libby Heighton is living with her mother in Ohio, working as a dressmaker. By the way, I should mention that although her first name was really Libby, she never uses that name herself as an adult. She prefers to go by Ollie, which was based on her middle name, Olive. However, my husband Chris and I noticed that whenever there are social notices in the newspaper about relatives coming to visit her, she is always referred to as Libby, not Ollie. However, since she referred to herself as “Ollie” (or “Mrs. O.H. Heighton” throughout her career) I will that name throughout this podcast. Anyway, by 1885, she’s already established as Mound Valley, Kansas’ “best photographer”. One curious word I was not familiar with appears in one of her ads in the newspaper in 1885: it reads, “If you want a perfect fac-simile of your ‘phiz’ call on Miss Heighton.” “phiz” is slang for “physiognomy” (a person’s facial expression or features). I hadn’t hear that slang for “face” before, but apparently it was popular circa 1885. Now, even after Ollie gets married to John R. Monroe on December 31, 1885, she continues her photographic career. “JR”, as he is known, is NOT a photographer either at the time of his marriage or later. And in fact, throughout the next 46 years, Mrs Ollie Monroe mosty runs her studios all on her own, although, as we’ll discover, she does occasionally have a business partner for brief periods. Between 1885-1897 or so —- we’ll call this her first Kanasas phase — Mrs Ollie Monroe is busy establishing a little chain of branches throughout Kansas. Her home base is Mound Valley, but she opens up branches in Neodosha and Oswego, among other places, during this period. Toward the late 1890s, Ollie starts making frequent trips to visit relatives in Elyria, Ohio. While there, she winds up taking over an established photo gallery in Elyria as well. Eventually she either sells off or just closes closing her Kansas studios moves to Elyria permanently by 1900. This is Ollie’s “Ohio phase”, a period which sees her successfully running the popular Monroe studio in Elyria through 1908. Unlike in Kansas, she doesn’t seem to have multiple photo studio branchess that’s she’s running in Ohio. However, during this period she is also simultaneously running a vaudeville and movie theatre. However, she does turn over the theatre management to her eldest son, Wylie, around 1907 (at this point he’s 21 and married). 1909 is a bit of a tumultuous year which sees Ollie and her family leaving Ohio, and briefly heading west to Seattle. However, in early 1910 Ollie is back in Kansas, this time in Coffeyville, where she winds up running another photo studio. For the first few months, she’s partnering with a man who is not a relative; this is the only time we find Ollie doing that during her career, as mostly she either goes it alone, or partners with one or more of her sons (as we’ll see momentarily). Anyway, in this Kansas – phase 2 – period, not only does Ollie open that photography studio in Coffeyville in 1910, but by the end of that year she and her middle son, Charles H. Monroe, have taken charge of the Princess Theatre in Coffeyville. The newspaper headline proclaims that they are “succeeding where others have failed;” this is a rather an over-the-top newspaper account of Ollie and Charles running that theatre! Her youngist son, Harry, has by this time trained as a pianist, and he joins his mother and brother in Coffeyville, to work at the theatre. Ollie and her two sons also briefly form a partnership to run a photography studio together in Coffeyville: Mrs Monroe and Sons. But by the end of the summer that partnership has dissolved, leaving Mrs Monroe on her own again running the studio. At some point she and Charles also stop managing the theatre as well, but during this Kansas phase 2 period, Mrs Monroe also opens a branch studio in Oswego Kansas, where she’d had one years earlier during her Kansas phase 1 period. Plus, she and Charles are managing the “Star Photo Studio” in Clay Center, Kansas during this time, too. Then, after a year in California (where she may or may not have been running anything), she’s back in the Mid-West, starting her “Oklahoma phase” by opening up a studio in Bartlesville, OK, and then Tulsa. Plus, she apparently owns quite a bit of property in Miami, OK. Interestingly, at one point she and her son Charles have *competing* studios in Tulsa, before joining forces once again to run the Monroe studio in Tulsa together, along with Charles’ new wife, Julia. But then Charles and his new wife head to Calfiornia circa 1919. There’s a notice in the Coffeyville, Kansas papers in the summer of 1919 that Mrs Monroe, her son Charles, his wife Julia, and another couple are taking a motor trip (in 2 automboiles) from Tulsa to Los Angeles and they are going to be passing through Coffeyville, Kansas on their way and hope to visit with folks there. Hmm.

    16 min
  4. 12/05/2020

    60 - The Miss and Misses Garrity

    http://p3photographers.net/podcast/P3P060_garrity.mp3 Transcript Go to Notes | Lifeline | Links | Transcript Notes Photo of Sallie E. Garrity, The Photographic Times March 7, 1890 Advertisement for the Misses Garrity studios in the 1886 Chicago Business Directory showing their 2 locations in 1886; From the Business Directory of Chicago, 1886 Examples of photographic works by the Sallie E. Garrity’s various “Miss Garrity” Studios (starting circa 1887) Cabinet Cards by Miss Garrity studio in Louisvile, Kentucky,  circa 1887-1890. Note that  2 of these  show her alternate studio name, the Athené Galleries. Special thanks to Elizabeth E. Reilley from the University of Louisville Photographic Archives for providing the following images. Photo courtesty of the University of Louisville Photographic Archives Photo courtesty of the University of Louisville Photographic Archives Photo courtesty of the University of Louisville Photographic Archives Photo courtesty of the University of Louisville Photographic Archives 2. Miss Garrity opened her next studio in Chicago, running it circa 1890-1893. Here is the famous cabinet card photo of Ida B. Wells, taken by Miss Sallie E. Garrity: Photo of Ida Bell Wells-Barnett by Miss Garrity, Chicago. [National Portrait Gallery, Smithsonian Institution]In the episode I refer to information in the Encyclopedia of Chicago I found online here.  Plus, here’s a link to more information on her work with Frederick Douglass and the pamplet they wrote protesting the exclusion of blacks from the 1893 Exposition. 3.  Photos from the Catholic Edication Exhibit at the 1893 Chicago Worlds Fair Photos that have been digitized, but without any photographer attriubtion, can be viewed on this archive of the Catholic University of America.   The descriptions of what I think  are the same photos,  but with the attribution to Sallie E. Garrity, are on the Notre Dame Archives website . Salle E. Garrity also exhibited her own photography at the 1893 World’s Fair.  Here’s a partial list of the woman who exhibited photos here: Partial list of exhibitor Group 151 in the Women’s building Check it out – at the top of the list is 719.  Albright, Mrs. F. L.. That’s none other than  Franc Albright;  see episode 48 for more on her story.   Also, just a quick note that woman who exhibited as “Amateur photographs” were still extremely well-regarded in their own lifetime.  For example, just above Miss Garrity is  is 722. Farnsworth, Emma J. from Albany, N.Y. She was profiled in a 1901 article in the Ladies Home Journal, and Alfred Steiglitz, the “father of American photographer”, once proclaimed her as Lifeline Recommended Links Ancestry.com (census records, city directories, and more; paid account required – Visit Chris Culy’s blog – Visit Family Search website has U.S. Federal Census and more; free account required – Visit Geneologybank.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspapers.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspaperarchives.com has a selection of digitized newspapers from the United States; paid account required – Visit Peter Palmquist database at the Yale Beinecke Library – Visit Transcript You’re listening to Photographs, Pistols & Parasols. Support for this project is provided by listeners like you. Visit my website at p3photographers “dot” net for ideas on how you, too, can become a supporter of the project. ***** Welcome to Photographs, Pistols & Parasols, the podcast where we celebrate early women artisan photographers. I’m your host, Lee McIntyre. In today’s episode, I’m going to introduce you to a Chicago photographer named Sallie E. Garrity. For more information about any of the women discussed in today’s episode, visit my website at p3photographers.net. That’s letter “p”, number “3”, photographers “dot” net. ***** Hi, everybody, welcome back to Photographs, Pistols & Parasols. Today, I’m going to take you back to Chicago in the 1880s and introduce you to a woman named Sallie Evangelica Garrity, a woman who was a photographer, and very successful photographer, in both Chicago and Louisville, Kentucky, in the 1880s and early 1890s. In 1880 she’s living with her parents, and several of her siblings in Chicago. Sallie – at the age of 18 – is already working in a photo gallery. Sallie, ir should be noted, started life as a woman named “Sarah”. But “Sarah” turns into “Sallie” pretty quickly. So I’m going to refer to her as Sallie Garrity throughout this podcast. So Sallie is working in the photo gallery in 1880. Because of the availability or lack thereof of directories that have been scanned for Chicago, in the 1880s we’re going to have to fast forward to 1885 when we next find Sallie Garrity working as a photographer, running her own studio with her sister, Mary Garrity, who is two years older. NoW in 1880 (in that census record) Mary Garrity did not have a profession noted. But some time between 1880 and 1885, Mary Garrity has been taken into the photography business by her sister, and they’re running a studio called the Misses Garrity studio. Misses is spelled M I S S E S – i.e., multiple “Miss Garritys” are running the Misses Garrity studio together. Interestingly, their slightly younger brother Thomas is working for them as a photographer. Again, it’s hard to say exactly what happened between 1880 when Sallie Garrity was working for some other photographer’s studio, and 1885, when we find her running the studio with her sister. We’ll come back to what might have been happening then in a little bit. But by 1885, the sisters are running the studio in Chicago. It turns out, based on an ad that’s in a business directory for Chicago in 1886, that we find out that the two sisters were actually running two branches of that Misses Garrity studio, one in Chicago, and one in Louisville, Kentucky, a few hundred miles away. So, by 1886 they’re running these two studios and making a success of it. But then in 1886, life changes for the Misses Garrity. First, Mary Garrity meets and marries a man named Thomas J. Webb, who’s a businessman who eventually becomes a very successful coffee and tea merchant in Chicago. At the moment when Mary Garrity marries Thomas Webb, she seems to give up photography; there’s no evidence that Mary Garrity {Webb] ever again works as a photographer. Around that time, and maybe it’s because Mary got married (?), Sallie gives up the Chicago studio and moves to Louisville, Kentucky, and focuses on that studio. She rebrands that studio — because Mary’s no longer working with her — so the studio in Louisville is rebranded as the “Miss Garrity” studio. That will continue to be Sallie Garrity’s brand for most of the rest of her career. When we find her in Louisville, in a 1887, it’s not just Sallie who’s moved to Louisville, Kentucky, but the whole rest of her family has moved there as well. And Sallie seems to be the breadwinner in the family. Her father apparently has died by this time; Sallie is supporting her mother, her brother Thomas (who’s working for her), and her younger brothers Aloysius and John, who will eventually go to work for her but are not at that moment. But interestingly, in addition to the photography studio in 1887, she and her mother try to set up a new college, called the Kentucky College of Music and Art. For a couple of years is Sallie’s in the papers trying to raise money, and her mother is trying to raise money as well, trying to get some financing for this college. They get some instructors [to sign on] but then Sallie has a very big falling-out With one of the instructors they initial hire – a woman named Madame Octavia Hensel, who is described as the instructor of vocal culture. But the main problem is that the money isn’t there. And so, college is ultimately forced to close in 1890, after just a couple of years. By the end, Sallie’s youngest brother, John, had actually taken over what had been described as Sallie’s responsibilities for the college, probably because Sallie then was able to then focus again on her photography studio. But in that period where she is attempting to raise the money for the college, she rebrands the studio briefly to something called the Athené gallery, spelled a t h e n e with an accent, so I’m not quite sure how to pronounce it. There are some examples of work from that Athené studio that have both Miss Garrity’s name and also the name of a man, L. Richard Frank. L. Richard Frank apparently was hired by Miss Garrity to be the photographer at the studio during this period of 1888-89, the point at which Miss Garrity was distracted by all the college issues. That connection to the Athené gallery – the having this other photographic operator working for Miss Garrity – was something that was revealed by the collection at the University of Louisville. I want to thank Elizabeth E. Riley, who is the curator of the Photographic Archives at the University of Louisville for supplying these examples from Miss Garrity’s gallery, because it’s really interesting to see this alternate name for that studio. In the directories at the time, the photography gallery is always just listed as Miss Garrity’s name, it’s never listed as that Athené gallery name. So, bu 1890 the college has been forced to close, and Sallie Garrity throws herself back into photography full force. She winds up with a very nice sort of “puff piece” profile in something called the Photographic Times that appears circa March, early March of 1890. She’s portrayed as a successful 27 year old woman photographer who has been independently building her bus

    24 min
  5. 10/01/2020

    Photographer to the Star

    http://p3photographers.net/podcast/P3P059_sykes.mp3 Transcript Go to Notes | Lifeline | Links | Transcript UPDATE Oct 2, 2020:   The full transcript has now been added below. Due to some recording issues, the audio version of today’s podcast episode wound up with some sections left “on the cutting room floor”.  However, I’ve included everything that was supposed to be in the audio in the written version below. A little bonus to thank you all for your patience! Notes Click here to see more photos by Mabel Sykes and other materials about her life, including her work with Rudolph Valentino are covered in Jim Craig over on his blog   Under Every Tombstone. Many thanks to Jim for sharing his treasure trove about Mabel with everyone on his blog! In addition, here’s that $1 photo I found in antique store that led me on the hunt to find  the photographer Mabel Sykes, wherever she was. Photo by Mabel Sykes (McIntyre-Culy Collection) Also, here are few more articles about her and/or ads for her studio. Note that all the articles will take you to the appropriate online newspaper article where I found them.  All the sites require an account to read the full story, but you can get a trial subscription to start if you don’t have one. One of the many articles about Mabel Sykes’s divorce from Melvin Sykes (Jim Craig including many more in his blog post.) Leader Telegram February 15, 1914 And here’s the one of Melvin in a hat, with his next wife, Margaret Sykes: Melvin Sykes and the 4th Mrs. Sykes on the occasion of their 2nd wedding ceremony,  Chicago Tribune, April 18, 1916 Sample Society photos published in Chicago newspapers, taken by Mabel Sykes: Examples of Mabel Sykes’ photos for the Society Page, Chicago Examiner, Feb 27, 1916 But photos by Mabel Sykes were also used to show the people in more serious news stories in the newspapers: Photo credit by Mabel Sykes, Chicago Examiner, December 31, 1917 Mabel got the rights to the studio she had run with Melvin Sykes after their divorce, and advertises quite often in the newspapers: Ad for Mabel Sykes studio, Chicago Examiner, Jan 9, 1916 Melvin, though, opens a competing Sykes studio.  In 1917, after Mabel Sykes remarries (to Alfred Barsanti), Melvin runs this ad in the newspapers.  However, Mrs. Mabel Barsanti is still running the Mabel Sykes studio, so Melvin wasn’t necessarily the only Sykes in town! [Update: after I recorded the episode, I realized that Mabel’s studio suffered fire damage in July 1917, so it’s possible that it took her a while to re-open, and maybe that’s when Melvin started running this ad. But he runs it a lot.] Chicago Eagle, Oct 27 1918 But it is interesting that often their studio ads wind up side-by-side on occasion, both in the newspapers … Chicago Tribune, March 6, 1921 and in the Chicago city directory Photographer listings: 1918 Chicago Directory, listing under Photographers But even then, Mabel takes out larger ads in the directories: she’s the Sykes that people see at the top of their “yellow pages” type business listings: 1918 Chicago Directory, Mabel Sykes ad in the Photographers business section Mabel Sykes was so popular that she gets featured in one of those ‘then an now’ page in the newspaper, celebrating local business people and showing them when they were babies: Mabel Sykes and her baby photo, Chicago Tribune, December 30, 1923 Lifeline Recommended Links Ancestry.com (census records, city directories, and more; paid account required – Visit Chris Culy’s blog – Visit Family Search website has U.S. Federal Census and more; free account required – Visit Geneologybank.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspapers.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspaperarchives.com has a selection of digitized newspapers from the United States; paid account required – Visit Under Every Tombstone blog by Jim Craig (Mabel Sykes Post)- Visit Peter Palmquist database at the Yale Beinecke Library – Visit Transcript You’re listening to Photographs, Pistols & Parasols. Support for this project is provided by listeners like you. Visit my website at p3photographers “dot” net for ideas on how you, too, can become a supporter of the project. ***** Welcome to Photographs, Pistols & Parasols, the podcast where we celebrate early women artisan photographers. I’m your host, Lee McIntyre. In today’s episode, we meet Mabel Sykes, who in the early 20th century, found success as noted  Chicago photographer. She  took photos of everyday folks as well as the rich and famous. That includes one Hollywood star who dubbed her his favorite photograher of all time. For more information about any of the women discussed in today’s episode, visit my website at p3photographers.net. That’s letter “p”, number “3”, photographers “dot” net. ***** Welcome back to Photographs, Pistols & Parasols. Today I’m going to introduce you to both an interesting photographer and an interesting website that is a fantastic resource about that photographer. But before I get to that, I want to talk abuot how I first came across the work of a photographer named Mabel Sykes. Back in the “before time”, when it was possible to spend time digging through boxes of photos in antique stores, many was the weekend that my husband, Chris, and I spent time looking for examples of works by our early women artistan photographers. As I mentioned back in episode 38, to do this hunting at an antique store, we carry along our “Pocket Palmquist”, which is to say our portable version of a database of women photographers’ names that we’ve done research on, combined with the rest of Peter Palmquist’s list of women photographers. THe combined list is over 20,000 names. So, normally, it’s a little slow going – unless there’s a woman’s name, or a “Miss ” or “Mrs” or “Misses” indicated on the photo. If we find a match with a name on a photo – and it’s not outrageously expensive – we’ll buy it. Normally, we will invest in buying something if we find a match to a name in the database, but our one rule is we don’t buy a photo that has only a name but no location. We’ve gotten burned in the past doing that, so we are a little more cautious these days. But at the end of one long session in an anqiute store somewhere in the U.S., I got down to the bottom of the last box and pulled out a beautiful head and shoulders shot of a young boy in a suit. It was printed on a piece of paper about 5×7, printed so as to suggest a mat around the edges. As I stared at the fancy script underneath the photo, trying to make it out, I realized it spelled out the name of the photographer, and it was a woman’s name, “Mabel Sykes.” But no address. But … it was only $1. So, I thought for sure that it was worth $1 to see if we could find a Mabel Sykes on Ancestry.com who had been a photographer somewhere in the world. And our “Pocket Palmquist” revealed that Peter had found a Mabel Sykes in California. So, we boldly spent $1. And sure enough, a quick look both on ancestry.com and newspapers.com started to reveal information about a Mabel Sykes and her studio in Chicago. But then … a quick search on the internet pulled up something even more unusual: someone had written a blog post all about Mabel Sykes, on a website called “Under Every Tombsone!” The author’s name is Jim Craig, and he has done such a wonerful job documenting many aspects of Mabel Syke’s life and career, that at the end I’m going to point you to his website to get more details that he shares about her. But first today, I want to share a few highlights about Mabel Sykes here on the podcast. I’m going to talk about a mix of material that Jim Craig covers, with a some additional bits of info about her photography and career. You know, the kind of stuff I usually talk about here. OK, so let’s just dive in at the begining. Mabel Huxley in born in Illinois in 1883, the oldest of 4 children and the only daughter. According to a story in the Chicago papers in 1914, Mabel went, in 1902, into a photography studio to have her photo taken. The photographer was instantly smitten by her beauty [the article says she was celebrated in her own day as one of the most beautiful women in Chicago.] By the end of her appointment at the studio, Mabel has had not only her photo taken but also been asked for her hand in marriage. As the story goes — at least in an article a few years later — the photographer, Melvin Sykes, proposed to Mabel on the spot that same afternoon. The lovebirds are married in 1902. Mabel is 19. Melvin is … older. In the way that often happens in the records, Melvin’s age seems to vary over the years, comparing the newspaper articles to the censuses, etc. But on his tombstone it says that he was born in 1869, so we’ll go with that; and that would make him 32-33 when he marries Mabel. Melvin’s already been esablished as a successful photographer at this point, and Mabel joins him in the business. She’s listed early on as an “office manager”, but then she transitions to becoming a photographer in her own right. If she had done any photography prior to her marriage, it’s not clear from anything that either Jim Craig or Chris or I have found to date. In any case, Melvin and Mabel form a very succesful partnership, and “Sykes Studio” expands, to the point when, around 1913, they open up another branch in Chicago. And they hire a young woman to run that branch. And … well, long-time listeners of this podcast can probably guess what happens next… [Due to Melvin’s interest in their young branch manager], in 1914, Mabel files for divo

    28 min
  6. 09/01/2020

    In a class all her own

    http://p3photographers.net/podcast/P3P058_cadwell.mp3 Transcript Go to Notes | Lifeline | Links | Transcript Notes Here’s the CDV that Chris and I found that started our quest for information about Lydia J. Cadwell: CDV by Lydia Cadwell (date unknown; Courtesy McIntyre-Culy collection) Back of CDV by Lydia Cadwell (date unknown; Courtesy McIntyre-Culy collection) As discussed in the podcast episode, Mrs. Cadwell was a talented inventor, holding at least 5 U.S. patents as well as 2 Canadian patents. Here’s the first page of her general patent for “desiccating substances” , granted in 1881: Page 1 of US Patent 239722 Regarding her marble mining venture, you can see a photo of the green Riccolite marble on this website. Finally, this sketch appears as part of the long obituary about Lydia Cadwell in the Chicago Tribune, Jan 1896: Sketch of Lydia J Cadwell (from her obituary, Chicago Tribune, Jan 27, 1896, p5 col1) The full text of her obituary in the Chicago Tribune is available here (on newspapers.com – requires free trial account or paid subscription Here’s a link to one of the photos of Frederick Douglas taken that day in January 1875 by Lydia J. Cadwell of the Gentile Gallery in Chicago: Photo fo Frederick Douglass by Lydia J. Cadwell, 1875 (Chicago History Museum, ICHi-10140) The book Picturing Frederick Douglass by John Stauffer has 3 photos by Lydia J. Cadwell reproduced in it. Lifeline Recommended Links Ancestry.com (census records, city directories, and more; paid account required – Visit Chris Culy’s blog – Visit Family Search website has U.S. Federal Census and more; free account required – Visit Geneologybank.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspapers.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspaperarchives.com has a selection of digitized newspapers from the United States; paid account required – Visit Peter Palmquist database at the Yale Beinecke Library – Visit Transcript You’re listening to Photographs, Pistols & Parasols. Support for this project is provided by listeners like you. Visit my website at p3photographers “dot” net for ideas on how you, too, can become a supporter of the project. ***** Welcome to Photographs, Pistols & Parasols, the podcast where we celebrate early women artisan photographers. I’m your host, Lee McIntyre. In today’s episode, we meet a woman of many talents, the phenomenal Lydia J. Cadwell. For more information about any of the women discussed in today’s episode, visit my website at p3photographers.net. That’s letter “p”, number “3”, photographers “dot” net. ***** Hi everybody. Welcome back to Photographs, Pistols & Parasols. Hi, everybody! Welcome back to Photographs, Pistols & Parasols. As we kick off season six today, I want to introduce you to Lydia J Cadwell, an extraordinary woman from the 1800s who rightfully could be called a type of Renaissance woman. Not only was she a successful photographer in Chicago, in the 1870s, she was also an influential patron of the arts, a writer, a poet, and also an inventor holding at least five patents for inventions that had nothing to do with art or photography. Her story intertwines, not only with a U.S. president, but also with an American social reformer, writer, writer, abolitionist and statesman who was one of the most photographed men in the mid 1800s and who famously only had one photo taken by a woman: and that woman was Lydia J Cadwell. Now, I think I may have mentioned it before, but I always find it oddly exciting when I run across a really informative obituary about one of these women. So imagine how excited I was when I discovered that when Lydia J Cadwell died in January of 1896, the Chicago Tribune published almost a full column obituary about her, profiling her life and her accomplishments. As Chris and I started to piece together other bits of information from other records online, as well as other contemporary news articles, well, it turned out that some of the details about her personal life in that obituary were a little bit more complicated than you might think from reading the obituary. But amazingly all of the incredible accomplishments of Lydia Cadwell that are listed in her obituary are actually true. And … there’s even more to her accomplishments than the obituary lists. So without further ado, let’s just dive into the story of Lydia J Cadwell, who was a woman who really packed a lot of living into her 59 years. Lydia J. Doty was born on February 3rd, 1837. She was the daughter of Henry Doty who was actually a descendant of the family of John Quincy Adams, one of the U.S. Presidents. According to that 1896 obituary for Lydia, she had worn, until her death, a ring that that had been presented to her by John Quincy Adams when she was a little girl. The story was that he received it from an Italian Prince. I looked it up, and John Quincy Adams died in 1843, and Lydia was born in 1837. So it is possible that, John Quincy Adams met little Lydia and gave her that ring. And it is possible that she actually did wear it for the rest of her life. Unfortunately, there’s no trace I could find online of any story about John Quincy Adams receiving a ring from an Italian Prince. But, that story is there in the obituary — and it is a really cute little story. But I want to leave Lydia after she gets that ring, and fast forward up to 1870. Lydia is at this point living in Grand Rapids, Michigan with her teenage daughter, Ella. Now I’m getting this information from the 1870 census where Lydia is listed as a 31-year-old widow living with her 15-year-old daughter, as I said, Ella, and also their 17-year-old “domestic servant”, a woman named Betsy Blank. Lydia is listed in 1870 as “keeping house”. In other words, she doesn’t have an outside occupation that’s listed. And her age there is a little bit off. She should have been more like 34, not 31, but that really isn’t that surprising because we run across a lot of people who seem to become miraculously a little bit younger in their census listings. Where I really want to pick up Lydia’s story is a little bit later in the 1870s. By that point, she’s living in Chicago and she’s working as a photographer. Unfortunately, the Chicago directories that are available online have some gaps in that period of the early 1870s. So I can’t pinpoint exactly when Lydia started her career in photography in Chicago. And Chris and I haven’t really been able to figure out if she actually did any photography prior to going to Chicago in the early 1870s. But definitely Lydia is working for a photographer in Chicago named Charles Gentile, and she’s working at his studio, which is named the Gentile studio. That’s in Chicago, I said, in the early 1870s. Later on in the 1870s, Lydia will actually become the co owner of that studio with Mr. Gentile. And then she takes it over completely by 1878. But even before 1878, Lydia Jake Cadwell has already built a reputation for the quality of her work. She’s particularly sought after by people who come to see her — people who want to have their portraits taken by her. That’s the case in January of 1875. On January 5th, 1875, a rather famous man come sto call, a man named Fredrick Douglass, who was that orator, statesman, and abolitionist that I mentioned. Well, he comes to Chicago (he’s going to give a talk there). And according to his biographies, he detours over to the Gentile studio to have his photo taken by Mrs. Cadwell, because he had heard of her reputation and her skill. There are at least three photos that were taken that day at the Gentile Studio by Lydia Cadwell. And they are reproduced in biographies written in the last few years about Frederick Douglas. I’ll put some links in the episode notes, so you can find them. Now the Tilley’s duty was clearly very popular there in Chicago, not just because mrs. Cadwell’s famous, but they have a lot of articles in the paper promoting stuff that they’ve got going on. In 1876, the year after Frederick Douglas was there, there’s a big article in the Chicago Tribune that says that the Gentile gallery had on display wat was termed a massive 72 inch by 44 inch photo of the First Regiment. That First Regiment of soldiers, according to the article, is represented after the breaking of the ranks after the last formal review of the soldiers, in South park in Chicago. Let me just read you a little bit of that story to get a sense of what this was all about. Again, this is from an article Chicago Tribune on June 4th, 1876. So the description of the photo is as follows, This mammoth picture, which covers an area of 72 by 44 inches is a photographic view of the first regiment and represents the scene of the breaking of the ranks at the last review on the South Park. There are over 400 figures, grouped in most lifelike postures in the center; foreground it’s the officers (and it names all the generals on either side) … and to the rear almost as far as the eye can reach are the men and noncommissioned officers of the regiment, picturesquely grouped, while stacks of arms and piles of drums, and the two regimental flags — beautifully draped — relieve the scene in a very artistic manner. Each figure is a separate photograph and no two have the same pose. These photographs have been graduated in size so as to thoroughly meet the laws of perspective, and all have been so mounted as to produce a perfectly harmonized whole. So in other words, this giant photograph is actually a giant composite of multiple photographs, at least more than 400, since there are more than 400 people represented all “carefully placed” so as to look like they were actually t

    27 min
  7. 07/01/2020

    57 - On Hiatus

    http://p3photographers.net/podcast/P3P057_hiatus.mp3 Transcript: Hi everybody! I hope you are all staying safe and keeping healthy in the crazy times we’re living in. Today is just a quick note to let you know that I’m taking a summer hiatus from the podcast and won’t be doing new Photographs, Pistols & Parasols episodes in July or August Look for all new podcast episodes to start again September 1st. In the meantime, remember you’ll find the episode notes for all the podcast episodes on over on my my website at p3photographers.net. That’s letter p, number 3, photographers “dot” net. The episode notes include transcripts for most of the episodes, plus examples of photographs by the women featured on the podcast to date, plus other materials relating to the women’s careers. Also, remember you can follow Photographs, Pistols & Parasols on Facebook at facebook.com/p3photographers. Or, if you have any questions or just want to drop me a line, send an email to podcast “at” p3photographers dot net. So, since this is the official end to Season 5 on Photographs, Pistols & Parasols, it’s a good time to pause for a quick round of thanks. First, I’d like to thank everyone who has been such a faithful supporter and promoter of this project! I really appreciate all your continuing support and encouragement, plus all the emails, photos, and assorted female photographer materials that you’ve sent my way. A special thanks to Stan for his support as well as his financial contributions, which help fund our collection of photos taken by some of these early women photographers. . And, a very special thank you my husband, Chris Culy, for contributing his technical expertise as well as his research and fact-finding skills to help uncover all the fascinating tidbits about these photographers and their lives. It’s really a pleasure for me to continue to share the stories about all of these talented early women photographic entrepreneurs. I really couldn’t do it without all of you, so many, many thanks for your continued support. Anyway, I hope you’ll all join me agian on September 1st when I launch Season 6 of Photographs, Pistols & Parasols. Stay safe and take care. See you on September 1st!

    3 min
  8. 06/01/2020

    56 - The Marvelous Mrs. Mater-Smith

    http://p3photographers.net/podcast/P3P056_matersmith.mp3 Transcript Go to Notes | Lifeline | Links Notes Here’s the beautiful photo by Mrs. M.E. Mater-Smith of the Mater Art Studio that Chris and I found: Photo by Mrs. M. E. Mater-Smith (Courtesty McIntyre-Culy collection) And here are a few of the Mater Art Studio ads: The Chanute Daily Tribune, Jan 6, 1893 The Chanute Daily Tribune, Sept 9, 1897 The Sun, Dec 9, 1900   Regarding the hats, here’s an ad for Mrs. Mater-Smith’s millinary shop from 1908: The Sun, Mar 13, 1908 I can only assume the hat in in this illustraiton of a “College Widow” is what is meant by a College Widow Hat: College widow, Library of Congress # LC-DIG-ppmsca-46089 Compare that to the Merry Widow Hat: The Fashion Folks website has a nice writeup about the Merry Widow Hat to get a quick history of the hat. This is the hat which causes such a stir that it’s banned in some places in 1908. There are numerous articles throughout 1908 like this one from the St. Louis Dispatch on May 5th of that year, outline all the potential plusses  and pitfalls of wearing a merry widow hat. The article is quite long, but here are the highlights: St Louis DIspatch, May 5, 1908 St Louis DIspatch, May 5, 1908 (sidebar) By the way, in the episode I mention the coincidence of another women photographer, Julia Bottomley, who’s career also was from photography > millinery. Mrs. Bottomley and Mrs. Mater-Smith could have crossed passed in Pueblo, Colorado in the later 1880s and early 1890s. You can learn more about Julia Bottomley here in this episode on some Colorado photographers. Lifeline Recommended Links Ancestry.com (census records, city directories, and more; paid account required – Visit Family Search website has U.S. Federal Census and more; free account required – Visit Geneologybank.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspapers.com has a selection of digitized newspapers from the United States; paid account required – Visit Newspaperarchives.com has a selection of digitized newspapers from the United States; paid account required – Visit Peter Palmquist database at the Yale Beinecke Library – Visit Transcript You’re listening to Photographs, Pistols & Parasols. Support for this project is provided by listeners like you. Visit my website at p3photographers “dot” net for ideas on how you, too, can become a supporter of the project. ***** Welcome to Photographs, Pistols & Parasols, the podcast where we celebrate early women artisan photographers. I’m your host, Lee McIntyre. In today’s episode, we’re going to meet the marvelous Mrs Mater-Smith, a photographer from Chanute, Kansas. For more information about any of the women discussed in today’s episode, visit my website at p3photographers.net. That’s letter “p”, number “3”, photographers “dot” net. ***** Hi everybody. Welcome back to Photographs, Pistols & Parasols. I hope this finds you all doing well and staying healthy in this crazy times we’re living with right now. In today’s episode, I want to take you back over a hundred years to introduce you to a woman named Mary Elizabeth Mater-Smith. She’s an astute business woman who was able to overcome several setbacks in order to support her family of five children in the late 19th and early 20th century. Mary Elizabeth Starkey was born on December 31, 1857 in a place called Looking Glass, Illinois. In 1874, just a week before her 17th birthday, she marries a man named A.G. Mater. Now, A.G. Mater is a “grocery drummer” – and if you’re like me, you may never have heard that term before. But a grocery drummer is just a grocery traveling salesman. Drummer, as it turns out in the 19th century, was a common way to refer to a traveling salesman. The Maters are living in Chanute, Kansas, raising their family, which by 1895 includes three childre, with a fourth on the way. Sadly though, in January of 1885. A.G. Mater is stricken with what is described in the newspapers as either a congestive lung problem or a congestive brain problem. Whatever it is, it’s serious. A.G. Mater dies at the end of January, 1895. Less than two weeks later, his youngest child, son A.G. junior, is born. So Mary Mater is left in early 1885 as a young widow with four children, including the baby who was born after her husband died. She’s got a feed this family, and she is less than 30 years old herself. Fortunately, A.G. Mater actually had some insurance. Now it’s not clear if the insurance was just for life insurance, or whether it was some sort of accident policy, like an accidental injury policy. The newspapers – in his obituary – talk about the fact that in late 1884, he had actually suffered an accident and fractured his arm and had been unable to work. So really, in January of 1885, he was just getting back to work when he was stricken down with an illness. The newspaper accounts don’t say why, but before they would pay out any money the insurance companies insisted on exhuming his body! They actually exume the body in March of 1885, but by April it’s all settled. and they agreed to pay out on the policies, at least a total of $7,000. Now I looked it up, and $7,000 in 1885 would have the buying power of about $185,000 in 2020. So that’s a lot of money. But remember, Mrs Mater is a very young widow with four children to support, and that’s not going to be really enough money to keep her going for the rest of her life. So she invests into buying some land and building a house big enough to take in some borders. That becomes very successful. And in the late 1880s eighties and early 1890s, there notices in the paper that she and her children are going back and forth between Chanute, Kansas, where they live, and Pueblo or other parts of Colorado where her relatives live, including Mrs Mater’s mother. One thing I find intriguin, though, is that it’s not that she goes there in the summer when Kansas is beastly hot. BUt Mrs Mater and the children often winter in Colorado. Maybe they just really liked the mountains? In any case, by 1892 Mrs Mater has brought her entire family back to Chanute, Kansas, where she buys a photography studio and then renames it the Mater Art Studio. Up to this point, there’s been no mention of anyone in Mrs Mater’s family ever having been a photographer, neither her brother (who also lives in Chanute) nor anyone who lives in Colorado. But it’s intriguing that in Pueblo, Colorado, in the early 1890s, there is a woman named Julia Bottomley.  And as I’ll mention in a moment, it’s intriguing to speculate that there might be some sort of connection or inspiration coming from Julia Bottomley in her career that helps inspire some of what happens with Mrs Mater. Alright, so in 1892 Mrs Mater has bought that studio and renamed it the Mater Art Studio. But then in June of 1893, after taking out some splashy ads in 1892 and early 18993 for her studio, she actually announces that a man named Gregg is going to come in and start taking over that space with his studio. He takes out a lot of ads saying that he’s going to do just that. But then there’s a big editorial against him in July of 1893 that really lambastes him for lying about doing the photography himself, and saying that he’s actually sending it out to be printed in another town, and this is horrible way to do business. And so you can only speculate that this was going to be very negative publicity for his business, but he does keep limping along there in Chanute with his studio in Mrs Mater’s building until November of 1893 when there’s a huge fire in town. That building, along with several others there in town, all burn to the ground. Now, Mrs Mater is willing to help Gregg and actually gives him some support for setting up again, but not in Chanute. Because, you see, she reopens the Mater Art Studio in herself, and Gregg doesn’t really come back to town until a little bit later. But I’m getting ahead of myself because as I said at the beginning, this woman’s name is Mrs Mater-Smith. And so, you’re probably wondering, well, where did the “Smith” come from? You see as it turns out, in December of 1893 Mrs Mater marries a man named W.H. Smith, but she doesn’t just change her name to just Smith, she actually uses the hyphenated Mater-Smith. And, when she reopens the Art Studio, she reopens it as Mater Art Studio, but now she’s Mrs M E Mater-Smith running the studio. So it’s intriguing to me that. Like Mrs. Vreeland —  if you think back to her in an earlier podcast episode —  the idea of the brand, the importance of the brand name, is really key here. So, since the Mater Art Studio had apparently gained enough of a reputation before her marriage to W. H. Smith, she maintains that brand even as she changes her name to the hMater-Smith. Now, I have to say that Mrs Mater-Smith does have this intriguing relationship with this photographer named Gregg because she helps him, as I said, set up after he’s burnt out in 1893. But then runs the [rebuilt] studio herself in 1884. But then after a short time apparently she is feeling comfortable enough to rent out the studio again and help Gregg get established his feet again after the big fire. And life goes along for a couple of years, where she is getting income from her rental properties with the boarders, and she’s getting income from renting her studio out. But then she’s not actually actively working at any job herself … until W. H. Smith’s business starts to falter. And when I saw falter, I mean fail — because he has problems with creditors. There are notices in the newspaper that creditors are going to have to apply to get their money if they want it, but they have to come after him [

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Celebrating Early Women Artisan Photographers