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TRUNK SALE BEATS COVID Photographs by CLINT HRYHORIJIW TRUNK SALE BEATS COVID PHOTOGRAPHS BY CLINT HRYHORIJIW 56 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Some 250 dedicated collectors descended on the PHSC Annual Trunk Sale to break the strong-hold of the Covid pandemic. Face masks were in abundance as dealers and visitors mingled and haggled for bargains. The lack of photo fairs in the Toronto area for some time brought out the crowd to savor the goodies that they had missed so much. Happy days all round! PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 57 Geraldine Moodie– Pioneer Female Photographer Suc-a-ma-ta-mia or Poundmaker, son of Chief Poundmaker, in Moodie’s Battleford studio, 1896. Source: Library and Archives Canada, a028853 58 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Geraldine Moodie: Pioneer Female Photographer By Lisandra Cortina de la Noval Geraldine Moodie was born in Toronto on October 31, 1854, the third child of Agnes Dunbar Moodie and Charles Thomas Fitzgibbon. Passion for the arts ran in Geraldine’s blood: her mother was a well-known illustrator; her maternal grandmother, Susanna Moodie, was a legendary Upper Canada writer, author of Roughing it in the Bush, considered a classic of Canadian literature; and her great-aunt, Catharine Parr Traill, was a writer and amateur botanist. In her early years, Geraldine helped her mother with the illustrations for Catharine Parr Traill’s book Canadian Wild Flowers, published in 1869. This was the beginning of Geraldine’s lifelong passion for Canadian plant life. Over the years, she would produce a great number of sketches, watercolours and Self-portrait of photographer Geraldine Moodie, Battleford, Saskatchewan, [ca.1895-1896]. Source: photographs (some hand-coloured) of Glenbow Museum, NC-81-10 wild flowers across Canada. In 1877, Geraldine travelled to Europe and met her future husband, a distant relative called John Douglas Moodie. They married a year later and moved back to Canada with their first child in 1879. After spending some time farming in the Canadian West, they relocated to Ottawa, where the North-West Mounted Police (NWMP) hired J.D. Moodie as Inspector. His position would take the couple to “almost every major North-West Mounted Police post in Western Canada and into the Hudson’s Bay district of the Eastern Arctic,”1 unfolding a life full of out-of-the ordinary experiences and great opportunities for the strong-minded, independent and adventurous Geraldine. PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 59 Branding cattle on Sandy McCarthy’s ranch on Bear Creek, east of Maple Creek Saskatchewan, 1897. Source: Glenbow Museum, ND-44-47 DGS “Arctic” frozen in the ice, Fullerton Harbour, Nunavut, April 1905. Source: Glenbow Museum, ND-44-10 From mother of six to professional photographer After being stationed in Calgary, Medicine Hat and Lethbridge, the Moodies finally settled in Battleford in 1891. By this time, they had six children. It is not known how or when exactly Geraldine learned the art of photography. Given the constant changes of location and the responsibility of raising a family and caring for her home, she was most probably self-taught. Despite her family obligations, Geraldine ran not one but three commercial studios at the turn of the 20th century in Western Canada. In 1895, she opened her first photography studio in Battleford, where she took portraits of residents, The particulars of the Moodies participation in the NWMP officers and the local Cree people. ceremony are unknown. In Geraldine’s account of the event, she mentioned, “Towards evening great preparations are That same year, Geraldine was commissioned by Prime going on for the feast which takes places at the end. And Minister Sir Mackenzie Bowell to photograph a number of though we provided much for in consideration of them historic sites between Prince Albert and Edmonton to promote allowing us to take photos we did not remain to see them settlement in the area. This commission boosted Geraldine’s enjoy it.”3 Many of her Sun Dance photographs are now reputation as a successful professional photographer. available online, but they should not be published without In June 1895, she photographed the Cree Sun Dance consultation with the appropriate First Nation. Ceremony near Battleford. Despite being a sacred ceremony, In September 1896, the Moodies moved to Maple Creek, Geraldine photographed the ritual and participants, including forcing Geraldine to close her successful studio in Battleford. the women and their role as criers seated on the ground behind The following year, she opened a new photography studio the drums during the dance. She admired their beautiful and in Maple Creek plus a branch 60 miles away in Medicine elaborate clothing and was eager to learn about their culture Hat. With the help of a housekeeper, she operated both and way of living. In her notes, she mentioned, “They build businesses, commuting periodically by train. An amazing homes for the winter and live in tepis [sic] all summer. feat for a married woman and mother of six at the end of the Houses is hardly the name for the log shacks of one room 19th century, or ever, really! with a kitchen added on the back. A common remark of the girls at the schools: How hard the white people work to live In addition to the usual portraiture work, Geraldine and do not seem any happier than the Indians. Truly, the extensively documented the ranching life of the neighbouring [illegible word] plan of living in tents served all the purpose communities, as well as the wildflowers of the area. Her of living that we require in this short mortal life – after all we work recorded a period of major social and economical only imagine we need all these. If our neighbors did without changes that took place in Western Canada at the turn of the them we would not think them necessary.”2 20th century. 60 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 Portrait of Ivalik woman (Kookooleshook) wearing her beaded inner parka or attigi and holding her baby, Fullerton Harbour, Nunavut, 1904. Source: Library and Archives Canada, e006581104-v8 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 61 make a land attractive, it still has a grandeur and beauty all its own.”5 Upon her arrival, Geraldine started doing what she did best: photography. Over the next two years, she created some of her finest and most striking portraits. Geraldine’s portraits of Inuit show a greater degree of empathy toward her subjects than those made by her male counterparts. She was deeply interested in their culture and admired certain aspects of their life. “The peaceful and affectionate way in which they live and care for each other is certainly a lesson to so call [so-called] Christians. Without question, they divide everything while they have food and when it is gone, all starve alike. (…) What strikes one most is that they never quarrel, even the children don’t appear to disagree.”6 Studio portrait of two small Inuit girls of the Ivalik tribe, Kiouyouk and Tutuwuck, Fullerton Harbour, Nunavut, [1904-1905]. Source: Glenbow Museum, ND-44-20 She was not only a skilled and well organized photographer but also a businessperson. Early in her career, she began to copyright a selection of her best images. “As far as can be determined, Moodie was the only woman photographer in Canada during this period to hold copyright on her work.”4 Geraldine closed her Medicine Hat studio by the fall of 1897, and a few years later sold the one at Maple Creek to photographer George E. Fleming. First woman to photograph Inuit in Eastern Arctic In 1903, J.D. Moodie was promoted to superintendent of the NWMP and travelled to the Hudson Bay District and Eastern Arctic regions with the mission of establishing the first NWMP post in the area and instituting Canadian authority over Inuit and whalers alike. Once again, Geraldine joined her husband in what was probably the biggest adventure of her life. She arrived at Cape Fullerton, Northwest Territories (now in the Kivalliq Region of Nunavut) on October 16, 1904, the only non- Inuit woman in the Eastern Arctic at the time. About her new surroundings, she wrote, “Words cannot describe this wonderful coast, apparantly Portrait of Inuit woman, Neveshenuck, showing the back of her decorated attigi, Fullerton Harbour, Nunavut, [1904-1905]. Source: Glenbow [apparently] devoid of everything that goes to Museum, S-251-18 62 PHOTOGRAPHIC CANADIANA 46-5 FEBRUARY • MARCH • APRIL • 2021 As much as possible, she carefully identified the sitters by Photographing outdoors in the Eastern Arctic was not their Inuktitut names in addition to their “whaling” names an easy task for Geraldine. It was very difficult to get good (biblical names assigned to Inuit by American and European definition with the glare of snow and nothing to relieve whalers in the area to facilitate pronunciation), which has it. She had to try under all light conditions, changing the helped scholars and oral history collectors to contact their position of her lens multiple times until she was able to get relatives and gather personal histories from the past. a good negative. About her experience in the Arctic, she Geraldine developed a special relationship with the women wrote, “Every day I learn more about photography, and will and children, who had never seen a non-Inuit woman before, be much benefitted by my experience here even if they don’t pay me for it, the experience costs me nothing but the work, resulting in her beautiful mother-child portraits. Unlike most 8 of her contemporaries, she chose to highlight the universal and I will have a good many private pictures too.” concept of family, and the mother-child bond in particular, The Moodies returned home in the fall of 1905 and a year rather than the physical features of her subjects.
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