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Article Title: Nebraska’s Women Photographers

Full Citation: Martha H Kennedy, “Nebraska’s Women Photographers,” Nebraska History 72 (1991): 62-77

URL of article: http://www.nebraskahistory.org/publish/publicat/history/full-text/NH1991WomenPhotographers.pdf

Summary: There were more than 140 Nebraska women practicing photography during the nineteenth and early twentieth century. Learn more about them in this article.

Cataloging Information:

Names: Ellen Bruner DeBell, Lily B Munroe, Mabel Souther, William Souther, Marshall Field, Mabel Graham McIntosh, Agnes Winterbottom Coony, Clara Andreas, John Hunt, Robert W Buchan, Ella Reynolds, Nora Reynolds, the Misses Hitchcock [Plattsmouth, Nebraska], Mrs H B Rice, C E Clark, Marjorie May Chaffee, C Jane Gover, R R Graves, Faye (McManimie) Graves, Elsie (Shannon) Shipley, Isaac Brynner, Solomon D Butcher, Vern Shipley, Mrs M J Wyatt, Frances Benjamin Johnston, Miss N D Stewart, John H Fitzgibbon, Sadakichi Hartmann, Alfred Steiglitz

Keywords: Minneapolis Institute of Art; Redbud Sioux; Wilson’s Quarter Century of Photography; E L Eaton’s Art Studio and Photographic Gallery; Pen Sketches of Nebraskans [1871]; The Positive Image: Women Photographers in Turn of the Century America; Illinois College of Photography [Effingham, Illinois]; Reta King Library at Chadron State College; “What a Woman Can Do With a Camera” [Ladies Home Journal 1897]; the Catalogue of Nebraska Photographers [John E Carter]; “The Foremost Women Photographers in America” [Ladies Home Journal 1901]; Haydon Art Club [forerunner of the Nebraska Art Association];

Photographs / Images: Ellen Bruner DeBell, 1895; Exterior of DeBell house, Rosebud South Dakota; Three daughters of Dr E J DeBell; Parlor of DeBell House, Rosebud, South Dakota; Rosebud Agency, South Dakota; DeBell teaching school; Branding at the Big Red Ranch, Wyoming, 1898; Bundle cutting thresher, Big Red Ranch, Wyoming, 1898; Colville and Hall sheep camp, Glen, Nebraska, 1897; panorama of Crawford; Mabel Souther and her son Barron, 1898; Clara Andreas’s photo of eighth grade class, Gordon, Nebraska, 1901-2; Ella Reynolds, ca 1894-95; Cabinet card labeled “The Misses Hitchcock, Plattsmouth, Neb”; Bert 1893-95 by Mrs Rice; Additional portraits by H B Rice (3); Marjorie May Chaffee, by Clark, Osceola and Stromsburg, Neb 1897; Callaway 1907 with Elsie Shannon’s studio visible on the right [Solomon D Butcher photograph]

NEBRASKA'S WOMEN PHOTOGRAPHERS

By Martha H. Kennedy

Most research on Nebraska photog­ release the shutter to make an Souther, the donor's father, was raphers has concentrated upon well­ exposure. Perhaps the image is intend­ involved not only in a large cattle busi­ known figures such as William Henry ed to be a visual representation of her ness headquartered in Big Red, Wyom­ Jackson, Frank A. Rinehart, Solomon professional or vocational aspirations. ing, but he also worked as foreman of a D. Butcher, and Louis Bostwick. No evidence found so far indicates that large ranch near Crawford, Nebraska, Women photographers active during she worked professionally as a which was owned by Marshall Field.4 the nineteenth and early twentieth cen­ photographer. According to the donor's record, turies have received little if any atten­ The photograph of Ellen Bruner Field purchased a camera and equip­ tion, even though more than 140 DeBell is one in a series of images that ment so that the Southers could take Nebraska women practiced photog­ correspond in format and approximate pictures of the ranch, which were to be raphy during this period.1 date and appear to be the work of a sent to decorate the walls of Field's Who were these women who chose to single photographer. Part ofthe Lily B. office in Chicago. The record also enter a profession dominated so con­ Munroe Collection at the Nebraska states explicitly that Souther's wife, spicuously by men? They can be iden­ State Historical Society, the series Mabel Graham McIntosh Souther tified by name, and in most cases the includes exterior views of the DeBell (1864-1961), "did most of the picture location and approximate years oftheir house, DeBell's three daughters, taking."5 photographic activity can be deter­ domestic interiors, and Indians at the Some of these outstanding photo­ mined, but examples of their work are Rosebud Agency (figs. 2-7). graphs, most taken about 1898, include rare. It is possible, however, to charac­ There is no direct evidence that scenes of shearing sheep, branding cat­ terize photographs taken by some Ellen DeBell took these photographs, tle, shipping cattle to market, and amateur and professional women although a study of family papers and buildings at Big Red Ranch, Wyoming photographers and discuss whether photographic artifacts strongly sug­ (figs. 8-9). A carefully composed view in they can be distinguished from those of gests that she was the photographer.2 Sioux County, Nebraska, ofthe Colville their male counterparts. For almost all Information from the donor, Lily B. and Hall sheep camp near Glen (fig. 10), examples of work by Nebraska women Munroe, states that Ellen took many taken in 1897, and an unusual pan­ photographers, problems of documen­ photographs in Rosebud on glass orama ofCrawford in 1904 (fig. 11), pro­ tation and interpretation arise. This plates. Further evidence can be found vide visual clues about the Southers' study focuses upon these and related in the choice and sensitive treatment of life in northwestern Nebraska. A ranch issues, but does not resolve all of the photographic subjectmatter, which scene taken in 1898 shows Souther and them completely. (except for the Indian pictures) reflects son Barron on the Big Red Ranch in A photograph of a young Nebraskan much ofthe everyday domestic life and Wyoming (fig. 12). identified as Ellen Bruner DeBell environment experienced by a woman. Both Ellen DeBell and Mabel (1868-1936) (fig. 1), who stands with her Before and after her years at Rosebud Souther's photographs express some camera outside her home in Rosebud, (about 1893-1908), Ellen DeBell lived similar interests - the desire to record South Dakota, about 1895 raises ques­ in Nebraska and may also have taken the appearances of their homes and tions about the meaning of the picture. some of the photographs of Nebraska children. Yet the work of each also She holds the cable as if about to subjects in the Munroe Collection.3 reveals a stronger documentary Another photographic collection at interest that sets it apart from the the Nebraska State Historical Society, casual or ordinary photographs more MarthaH. Kennedy, is curator ofthe Great donated by Mabel Souther, consists of typical ofamateur photography. Mabel Plains Art Collection at the University of Nebraska-Lincoln and is a former curator of scenes from her childhood, including Souther's photographs of ranch photographs at the California Historical views of ranch life in Wyoming and operations and cattle about to be Society. northwestern Nebraska. William shipped to market certainly appear to 62 Women Photographers

satisfy the request made by Marshall Field. The number and quality of photographs which portray different aspects of ranch life and the fine two­ panel panorama make up an extra­ ordinary visual record. Similarly, Ellen DeBell's pictures of the Sioux Indians on the Rosebud Reservation provide a valuable record ofthe Indians' appearance and dances. Her appealing studies of home interiors provide more than just useful documentation of furnishings and other objects of household use (fig. 4). Sensitivity to light and composition make these scenes exceptional. No human figure disrupts the neat, deliberately arranged interiors. One also senses a certain deliberate­ ness in the photograph identified as "School for DeBell's two oldest girls and a few other white children" (fig. 7). Ellen stands before a blackboard in front ofwhat looks like a painted back­ drop of the type commonly used by Fig. 1. Ellen Bruner DeBell, 1895. (NSHS-M968-174) photographers in their studios. Five of the children seated at desks turn away from Ellen, the teacher. Only one girl in Rulo storefronts, and surrounding initial(s), no doubt had reasons. In the right foreground turns to respond rural landscapes in detailed images. choosing such a noncommittal form of to Ellen's instruction. The domestic subjects and careful name, a woman photographer perhaps Both Ellen DeBell and Mabel technique of Coony's work recall some believed that her work would be Souther used studio cameras, bulky, of the work of Ellen DeBell. appraised more objectively by poten­ tripod-mounted devices. Donor One would expect that it would be tial clients, who otherwise might be records and family papers reveal noth­ less difficult to document the work of prejudiced by the photographer's sex. ing, however, about how the women commercial women photographers in The C. Andreas who photographed the learned to use them. Mabel Souther Nebraska. This is generally true, but eighth grade class of Gordon, Ne­ had an assignment from Marshall Field evidence, especially visual evidence, is braska, about 1901 (fig. 13) was Clara to make photographs but beyond that, sparse. Documentation often consists Andreas, listed in the 1900 census of there is no information about the prob­ only of a listing in a business directory Sheridan County as a photographer, able motivation for their photography. or census record which yields the single, and living with her parents in In fact, documentation that would photographer's name, town, year, and Gordon.? Another photograph by absolutely attribute the DeBell and sometimes the studio address. Andreas is a portrait of John Hunt Souther photographs to the two women Similarly, cabinet card photographs taken about 1912. Both photographs is lacking. may reveal the photographer's name are in the personal collection ofRobert In contrast, another Nebraska and town. Maximum documentation W. Buchan, curator of the Sheridan woman, Agnes Winterbottom Coony, is may consist of a biographical sketch County Historical Society. Although known to have made an album of from an obituary or county history. At the sex of the photographer cannot be cyanotypes now in the Minneapolis best, evidence is often ambiguous determined from the name on either Institute of Art. She gave this album as and problematic. image, the census record and informa­ a Christmas present to her sister in Some women photographers may tion from family records which date the 1900.6 As a skilled amateur in Rulo, have deliberately chosen to use forms pictures all point to the identity of Nebraska, Coony captured the of their names which made their sex the photographer. appearances of family members, ambiguous. Those who did so and used In contrast with Clara Andreas's interior and exterior views ofher home, only a surname, or a surname and reticence, the Reynolds sisters ofBeat­ 63 Nebraska History - Summer 1991

Fig. 3. Three daughters ofDr. E. J. DeBell, whom Ellen married in 1895. (NSHS-M968-182) . ... Fig. 2 (above right). Exterior ofDeBell house, Rosebud, South Dakota. (NSHS-M968-204) . .. . Fig. 4. Parlor of DeBell House, Rosebud, South Dakota. (NSHS-M968­ 197)

64 Women Photographers

65 Nebraska History - Summer 1991

•

66 Women Photographers

Figures 5 (NSHS-M968-249, above left) and 6 (NSHS-M968-248). Rosebud Agency, South Dakota . ... Fig. 7. DeBell (standing) taught school for her two older daughters and other white children. (NSHS-M968-241)

rice appear among photographers listed mented examples found of work by photographer named Rice appears in in the Nebraska State Gazetteer and Nebraska women photographers. the U.S. census for DeWitt or Wilber in Business Directory for 1894-95. Three Another cabinet card of an uniden­ 1885, 1900, or 1910. Nor can it be deter­ photographs at the Nebraska State tified man and woman bears the label of mined whether Mrs. Rice practiced Historical Society pertain to these sis­ "The Misses Hitchcock, Plattsmouth, photography not only in Wilber, but ter photographers.8 Two cabinet cards, Neb" (fig. 15). Whether they were sis­ also in DeWitt and Western. One ques­ portraits of the same young woman ters, or the probable date of the tion leads to another. identified as Ella Reynolds on the back photograph, is unknown. No listing for The portrait of the young boy of each, display slightly different these women appears in business ("Bert") (fig. 16) provides a partial labels. One reads "Reynolds Sisters, directories or census records. answer to the last question. It displays Beatrice, Nebraska" (fig. 14), the other A group of cabinet cards of uniden­ the label "Mrs. Rice - Wilber and simply, "Reynolds Gallery." The third tified persons (except a portrait of a Dewitt, Nebraska." It was not unusual image, a carte de vi site of a young boy which has "Bert" written on the for photographers to practice in more woman identified as Nora Reynolds, back) raises some interesting questions than one town. These photographs has no photographer's label. As if to (figs. 16-19). Two display the label, bear no further information that might signify her interest in her vocation, "Mrs. Rice-Wilber, Neb.," two simply indicate a date more precise than 1888 Nora holds a volume entitled Wilson's the surname "Rice-DeWitt, Neb." (a or later, when the Aristotype process, Quarter Century of Photography. The town near Wilber), and two bear the the "Aristo Finish" on labels of four of photographs themselves are cir­ name of "H. B. Rice-DeWitt, Neb." The the prints, came into use. tO cumstantial evidence to the specific Nebraska State Gazetteer of 1893 The unresolved question of whether identity of the "Reynolds Sisters." includes H. B. Rice -in its list of Mrs. Rice practiced photography with How long they worked as photog­ photographers, and the same directory her husband raises an important issue. raphers, and the precise dates of these also lists H. B. Rice as a photographer A number of women began their pictures remain unanswered. Never­ in the town of Western in 1894-95.9 It is photographic careers as assistants to theless, the photographs by the impossible to tell whether "Mrs. Rice" their husbands. Women were com­ Reynolds sisters and Clara Andreas was H. B. Rice, or whether she was in monly employed to do hand-coloring represent some of the better docu­ business with a man by that name. No and retouching of negatives in the 67 Nebraska History - Summer 1991

r

Fig. 8. Branding, Big Red Ranch, Wyoming, 1898. (NSHS-S727-51)

I I l

Fig. 9. Bundle-cutting thresher, Big Red Ranch, Wyoming, 1898. William Souther (center) holds daughter Susan. His son, Barron, is boy on thresher. (NSHS-S727)

I ,L

68 Women Photographers

photography studios of men. I I An arti­ three are ofwomen. In most ofthese the students representative of early twen­ cle in the Omaha Republican, February subject is carefully, but not woodenly, tieth century life in northwest Ne­ 3, 1879, describes the renovation of E. posed. The varied levels of the hands, braska. Notonly do these photographers L. Eaton's Art Studio and Photo­ arms, and supports in the portrait of deserve attention for the quality and graphic Gallery, and makes specific the young girl in fig. 17 and the subject's scope of their work, but Faye Graves is mention of the fact that Mrs. Eaton direct gaze create an enlivening effect. one ofthe few female photographers of "does the delicate work in crayon, ink, Instead of showing the older girl in fig. Nebraska known to have attended a and watercolors."12 Like other 18 seated frontally, the photographer school of photography. In this respect, photographers with large establish­ placed her slightly diagonal to the pic­ she is atypical ofwomen photographers ments, Eaton employed women as ture plane. A subtle tension arises from in this study. printers. A. C. Edmunds's book, Pen the pose, which has the subject's head, How did aspiring women photog­ Sketches of Nebraskans published in torso, and legs placed diagonally in raphers who were single or married to 1871 and illustrated by Eaton, provides space, in contrast to the arms inclined men who were not photographers, an example. Nine printers, including at rest on the right. In both cases, the obtain their training? The experience Miss Lou Davis and Miss Kate photographer used pose and gaze to of Elsie Shannon of Callaway, Ne­ Metsker, are listed on a page that gives create an interesting composition and braska, may be suggestive. After teach­ credit to photographers and other an effective portrait. Another of Rice's ing at a country school for five years, she laborers on the book.13 portraits shows a young woman in an setout, at the age oftwenty, to learn the Another couple, Mr. and Mrs. C. E. unusually expressive pose, her head art of photography. On May 16, 1904, Clark, opened a photography studio in resting on her arm (fig. 19}. This and her she began working with photographer Stromsburg in 1895.14 Both may have serious expression convey a pensive, Isaac Brynner at his studio in Callaway practiced photography in nearby melancholy effect and reveal skill and and kept a detailed record of her Osceola before opening the studio in sensitivity uncommon in the portrait instruction.20 She then opened her own Stromsburg since C. E. Clark is listed work of many commercial photog­ studio, visible in the background of a as a photographerin Osceola in 1885, as raphers. Callaway street scene taken by well as for many years afterwards.1s In her book ·The Positive Image: Solomon D. Butcher (cover, fig. 21). Mrs. Clark is listed as a photographer Women Photographers in Tum of the Exactly how long Shannon practiced in the Nebraska State Gazetteer and Century America, C. Jane Gover ob­ photography in her own gallery is other directories for the years 1902-3, serves that women photographers unknown. She married Vern Shipley of 1907, and1915.16 According to the cen­ tended to specialize in portraits of Callaway July 19,1906, and moved to a tennial history of Stromsburg, she was women and children, other domestic farm on Redfern Table not long after­ not merely a proprietress, but a subjects, and flower or genre scenes.18 wards. Her career as a photographer photographer and equal partner in the More information and examples of ended sometime before her son was Clark photography business and ran these photographers' work would help born in April 1907.21 Elsie Shannon the studio in Stromsburg until 1937. 17 reveal whether some Nebraska women Shipley's training with an established A cabinet card bearing the label photographers specialized in certain photographer, and her brief but "Clark - Osceola and Stromsburg, types of subjects and favored par­ seemingly successful career, probably Neb." (fig. 20) could have been taken by ticular approaches to photographing were representative ofthe experiences Mrs. Clark. This is one of those rare them. of many women photographers in Ne­ portraits with information inscribed on Another photographic partnership braska. The data gathered so far indi­ the back which appears to be contem­ of husband and wife was that of R. R. cate that women photographers who poraneous with the photograph. The and Faye Graves. After establishing his maintained a studio in the same town or little girl is identified as "Marjorie May studio in Chadron, Nebraska, Graves city for a long period were Chaffee//Born July 10, 1894," and the married Faye McManimie, a local resi­ exceptions. photograph was taken in July 1897, well dent, in 1909. He trained his wife in the For example, Mrs. M. J. Wyatt is list­ after the Clarks were established in beginning, then sent her to the Illinois ed as a photographer in Minden in the photography studios. One would like to College of Photography in Effingham 1884-85 Nebraska State Gazetteer, and think that Mrs. Clark, like some other in 1909 and again in 1914-. 19 The collec­ similar sources indicate that she con­ women photographers of this time who tion of 1,100 glass plate negatives by tinued as a photographer in various specialized in portraits of children, the couple, housed in the Reta King towns: Holdrege, 1886-87; Wilcox, made this appealing portrait. Library at Chadron State College, con­ 1894-95 and 1902-3; and again in Min­ Of the seven photographs taken by, sists of studio portraits, outdoor farm den in 1909, 1911, and 1917.22 Although or associated with Mrs. Rice, four are and ranch scenes, and portraits of her peripatetic career is unusual, it portraits ofchildren, and the remaining Indians, children, businessmen, and indicates the precariousness ofthe pro­ 69 Fig. 10 (above). Colville and Hall sheep camp, Glen, Nebraska, 1897. (NSHS-S727-46) .... Fig. 11. Right half, panorama of Crawford (N8H8­ 8727-66)

70 Women Photographers

favored by Johnston did exist in the smaller cities and towns of Nebraska, whereas schools of photography did not. Johnston's writings would have been available to women readers in Nebraska and her advice may have been influential. Her work was broadly known and prompted correspondence from amateur and professional photographers from Massachusetts, New Jersey, Mississippi, and Nebraska!26 In the same article Johnston also recommended types of equipment and studio furnishings. Not only did the profession require specialized training, but also an investment of capital suffi­ cient to cover the cost of equipment, furniture, studio and darkroom space. Both requirements made it difficult for women who wanted to enter this highly competitive field. These conditions may account in part for the geographic distribution of Fig. 12. Mabel Souther and her son, Barron, Big Red Ranch, Wyoming, 1898. (NSHS­ S727-63) women photographers in Nebraska during the late nineteenth and early twentieth centuries. During this fession. Many women photographers in Women photographers in Nebraska period, women practiced photography this study can be documented in only faced conditions and problems com­ mainly in the small towns and cities one source. Some appear in two, a few mon to their counterparts in other throughout the state. They did not con­ in two or more. This suggests that many areas. In the late nineteenth and early centrate in the more populous centers careers were brief. Photography rep­ twentieth centuries, some popular of Omaha and Lincoln until later. resented an economically risky profes­ magazines and newspapers featured In the 1900 census the names of only sion for men too, as John Carter has articles on the topic ofwomen entering ten women photographers appeared in shown in his fine book on pioneer the field of photography, either as Lincoln and Omaha, while twenty­ photographer Solomon D. Butcher.23 amateurs or professionals. Frances three were listed in smaller com­ The preceding examples indicate Benjamin Johnston, one of the first munities ranging from Auburn to North how fragmentary and incomplete is the women to have her photographs Platte and Gordon to Holdrege. That historical record, based mostly on busi­ published in major magazines and same year approximately thirty-one ness directories and random sampling newspapers, wrote several articles on male photographers were listed in Lin­ of census records. Of those women women and photography. In one coln and Omaha. photographers listed in the latter, a entitled, "What a Woman Can Do With The Catalog of Nebraska Photog­ large number appear to be single, a Camera," in an 1897 issue of Ladies raphers, compiled by John E. Carter either daughters residing in parents' Home Journal, she gave practical from the Nebraska State Gazetteer and households (Clara Andreas), or living advice to women about becoming a suc­ Business Directory, 1879-1917, lists the independently, a few even working in cessful photographer. Johnston advo­ names of approximately 234 men and galleries they established. Census cated training through apprenticeship 84 women photographers as well as records also reveal some husband-wife rather than enrollment in one ofthe few many more whose gender cannot be teams of photographers, but single schools of photography in large cities. determined.27 Clearly male photog­ women photographers far outnumber Such schools, she contended, were raphers outnumbered female photog­ them. This mirrors a national pattern designed primarily for amateurs and raphers, particularly in Lincoln and noted by C. Jane Gover: "Women not intended "to give a thorough and Omaha. With less capital than their photographers mostly remained single practical training for the business. "25 male counterparts, many women and maintained close family ties."24 Opportunities for the kind of training photographers in these cities would 71 Nebraska History - Summer 1991

Fig. 13. Clara Andreas's photo of eighth grade class, Gordon, Nebraska, 1901-2. Courtesy of Robert W. Buchan. have found it difficult to compete suc­ about working women and their place in 1901, promoted the work of her con­ cessfully for a clientele already served in society. There is implied approval of temporaries and underscored the artis­ by photographic businesses estab­ (and encouragement to) the working tic aspect of the medium, an important lished by men. A woman photographer woman on the one hand, combined with attraction to women whose involve­ with limited capital encountered far insistence upon women's traditional ment in artistic endeavors had a tradi­ less competition in Nebraska's smaller nurturing and domestic roles on the tion of social acceptance.29 cities and towns. other. Photography offered some In Nebraska too, women played an Despite the problems women faced women the attractive possibility of important role in supporting and in entering the field, many did so. In the combining "domesticity with a profes­ developing the arts, notably as artists 1900 census some 3,850 women listed sion," for it was possible to begin learn­ and early art instructors at the Univer­ their profession as photographer. ing and working at home.28 sity ofNebraska, and as founding mem­ Given the rather limited options for The notion of photography as an bers of the Haydon Art Club, forerunner vocations outside the home, it should artistic profession had also gained wide ofthe Nebraska Art Association.30 One not be surprising that a sizeable num­ acceptance by the turn of the century. Nebraska woman photographer, Miss ber turned to photography. The profes­ This artistic aspect lent the profession N.D. Stewart of Lincoln, emphasized sion offered the opportunity for a a special appeal and acceptability to the artistic aspect ofher work when she relatively independent career that was American women. Frances Johnston's identified herselfas a "Photo Artist" in socially acceptable and widely per­ articles, "The Foremost Women an advertisement offering "Pictures ceived as artistic. Popular literature of Photographers in America," published enlarged and all kinds of work in her the period conveys equivocal messages as a series in the Ladies Home Journal line artistically executed." 31 72 Women Photographers

~eAT~ I CE .

NliH~A.$KA .

Fig. 14. Ella Reynolds, ca. 1894-95. The photo is labeled "Reynolds Sisters, Beatrice, Nebraska." (NSHS-G488­ 138)

Not surprisingly, one finds few statements which address how male photographers viewed the entry of women into their profession, nor would one expect a consensus ofopinion. Well before Frances Benjamin Johnston began her career, photographer John H. Fitzgibbon expressed his enlightened views in a January 1877 issue of his journal The St. Louis Photographer: To the ladies in the profession, we would say, don't be bashful, for we believe in Woman [sic) Rights in so far as they are right, and shall be atall times mosthappy to letthe world know that some things are as good as others even ifwoman has a hand in it.32 This photographer also entrusted his wife to oversee the operation of his photographic gallery in the late 1870s when he embarked on a new career as a writer, editor, and publisher.33 In con­ trast Sadakichi Hartmann, well known art and photography critic, persisted in identifying women with their traditonal Fig. 15. Cabinet card labeled 'The Misses Hitchcock, Plattsmouth, Neb." Courtesy of author. domestic role and resented their intru­ sion into photography. Alfred Steiglitz, on the other hand, encouraged and effectively assisted several women

73 Nebraska History - Summer 1991

Wilber and Dewitt. Fig. 16(left). "Bert, " 1893-95, by "Mrs. Nebraska Rice." (NSHS-E462-F3) .. . . Figures 17 (above), 18 (above right), and 19 (right). Additional portraits by "H. B. Rice. " Courtesy of author.

74 Women Photographers

Fig, 20. Marjorie May Chaffee, by "Clark, Osceola and Stromsburg, Neb. " July 1897. Courtesy of author.

. ..'

H HHICE, _

75 Nebraska History - Summer 1991

Fig. 21. Callaway, 1907, with photographer Elsie Shannon's studio visible on the right. Photo by Solomon D. Butcher. (NSHS-B983­ 3448) photographers in their careers.34 and the portrait by the Clark Studio. women reflects their experiences and The question ofwhether work by the Subjects photographed by amateurs also represents their attempts to define women photographers studied here Ellen Bruner DeBell and Mabel McIn­ the varied facets of their world in can be distinguished from that of their tosh Souther also coincide with trends visual terms. male counterparts remains unresolved. noted nationally by Gover - women Although not a professional Although women working as pro­ photographers' preference for subjects photographer, Ellen DeBell nonethe­ fessional photographers in Nebraska such as family members and domestic less considered her role as photog­ probably completed much the same scenes. The work of both DeBell and rapher an important one, as the picture range of assignments as men, examples Souther, however, reflects successful in fig. 1 shows. Holding the cable from found so far consist mainly of portraits efforts to document life beyond the her camera, she appears ready to of women and children, a trend observed immediate domestic sphere - in release the shutter and make an nationally during the same period. Souther's panorama of Crawford and exposure. She presents herself sym­ Some examples reveal a sensitive scenes of varied ranch work and in bolically in the act of photographing. approach and skill, as seen in some of DeBell's pictures of Sioux Indians at Though we may never know her precise the portraits associated with Mrs. Rice Rosebud. Certainly the work of these intention in posing for this portrait, she

76 Women Photographers

has asserted her identity as a 4Compendium of History, Reminiscence, and 19Information sheet on the Graves Collection, Biography of Western Nebraska, Containing a His­ Reta King Library, Chadron State College, photographer. This picture could also tory of Western Nebraska (Chicago: 1909), 425. Chadron, NE. be emblematic of the aspirations of See first page of record of donation of Miss 20Copy of notebook by Elsie Shannon, other women photographers repre­ Mabel Souther to Nebraska State Historical "Property of Elsie Shannon!/Photography// Society, May 15, 1962. The camera and Beginning May 16, 1904 Callaway, Neb." fur­ sented in this study. photographic equipment are in the Society's nished to the author by Wayne D. Shipley. The examples have shown some of museum. The photographs are in the Society's 21Letters from Wayne D. Shipley to author, the ways in which the experience and photographic collections. Feb. 9, 1984; Mar. 24,1984. 5Souther donor record. Mabel Graham Mcin­ 22Wolfe 's Nebraska State Gazetteer and Busi­ work of women photographers may tosh married William Souther in 1892. Their ness Directory, 1884-85, 603; Nebraska State have differed from those of men. The daughter, Mabel Souther, donated the Gazetteer and Business Directory, 1886-87, 636; photographs. 1893,774; 1902-3,838; Nebraska Business Direc­ need to compile more information on 6Sylvia Paine, "Once Upon a Time In Ne­ tory, 1907, 1446. these and other women in the field con­ braska," Arts, Minneapolis Institute of Arts, 12 23John E . Carter, Photographing the American tinues - not only to further illuminate (Apr. 1989), 8-11. Dream (Lincoln: University of Nebraska Press, 7U. S. Dept. of Commerce, Census of Ne­ 1985),3-9. these differences, but to assess the braska, 1900, Village of Gordon, Nebraska, E. D. 24Gover, The Positive Image, 45. contributions made by women to the 178, Sheet 5, Line 54. 25Frances Benjamin Johnston, "What A photographic history of Nebraska. 8Nebraska State Gazetteer and Business Direc­ Woman Can Do with a Camera," Ladies Home tory, 1894-95,880; Cabinetcards G488-122, G488­ Journal, 14 (Sept. 1897), 6. 138; Carte de Visite, G488-123, Nebraska State 26Gover, The Positive Image, 56. Historical Society. 27In addition to the eighty-four women NOTES 9Nebraska State Gazetteer and Business Direc­ photographers in John E. Carter's Catalog of tory, 1893, 773; 1894-95, 882. Nebraska Photographers, unpublished (Ne­ (This represents a conservative estimate IORobert A. Weinstein and Larry Booth, Collec­ braska State Historical Society, 1988), names of based primarily on listings of photographers in tion, Use, and Care of Historical Photographs fifty-nine other women photographers have been the Nebraska State Gazetteer and Business Direc­ (Nashville: American Association for State and compiled by the author mainly from Nebraska tory, Nebraska census records, and other sources Local History, 1977), 210. census records. Evidence of work by women spanning the years 1879-1917. IIPeter Palmquist, "Photographers in Pet­ photographers not documented in written 2In addition to the Munroe photograph collec­ ticoats," Journal of the West, 22(April 1982):64. sources (Mrs. Rice, the Misses Hitchcock) has tion, see MS3589, Bruner Family Papers, Ne­ 120maha Republican, Feb. 3, 1879. been collected by the author. braska State Historical Society. Inscriptions 13A. C. Edmunds, Pen Sketches ofNebraskans 28Gover, The Positive Image, 20. consisting of "Ellen Bruner," "Mrs. DeBell," (Lincoln: 1871), n.p. 29Frances Benjamin Johnston, "The Foremost "Rosebud Scenes," and lists of views corres­ 14Stromsburg 1872-1972: A Centennial Book of Women Photographers in America," Ladies ponding to the photographs in the Munroe collec­ the Swede Capital of Nebraska (Stromsburg: Home Journal, 18(November 1901):13. tion were found on boxes for dry plate negatives 1972),269. 30See Nebraska Art and Artists, ed. by Clarissa in the Bruner Collection. 15Nebraska State Gazetteer and Business Direc­ Bucklin (Lincoln: University of Nebraska, 1932), 3Born near Omaha in 1868, Ellen Bruner grew tory, 1902-3, 836; 1909, 1201; 1911, 1242; 1913, 15-22,27-53,68, for biographical information on up in WestPoint, Nebraska, attended the Univer­ 1239; 1915, 1283; and 1917, 1242. women artists. sity ofNebraska, and graduated from the Bagnell 16Ibid., 1902-3,838; 1915, 1284; Nebraska Busi­ 31Westem Women's Journal, l(May 1881),31. School of Music before going to Rose bud, South ness Directory, 1907, 1447. 32Bonnie Wright, "This Perpetual Shadow­ Dakota, in the fall of 1893. She married Dr. E. J. 17Stromsburg 1872-1972, 269. Taking: The Lively Art of John H. Fitzgibbon," DeBell in 1895 and the family moved back to 18C. Jane Gover, The Positive Image: Women Missouri Historical Review 76(October 1981):27. West Point in 1909. See obituary in Cuming Photographers in Tum of the Century America 33Ibid. County Democrat, Jan. 9, 1936. (Albany, NY: 1988), 107-12. 34Gover, The Positive Image, 26, 86-103.

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