01. Gertrude Käsebier, Untitled, c. 1910
02. Gertrude Käsebier, Adoration, 1897
03. Gertrude Käsebier, Happy Days, 1903
04. Gertrude Käsebier, Blossom Day, 1904
05. Dorothy & Reta Morter, Autumn Defying Winter - Self-Portrait, c. 1918
06. Mesdames Morter, Love Praying - Self-Portrait, 1923
07. Dorothy & Reta Morter, Destiny - Self-Portrait, c. 1918
08. Mesdames Morter, Dearheart - Self-Portrait, 1923
09. Doris Ulmann, Untitled (Basket weaver), 1928–1934
10. Doris Ulmann, Untitled (Farmer holding oxen yoke), 1928–1934
11. Doris Ulmann, Untitled (Vegetable seller), 1928–1934
12. Doris Ulmann, New England (Apple picker), 1928–1934
13. Antoinette B. Hervey, In the Cathedral of St. John the Divine, New York, c. 1927
14. Antoinette B. Hervey, Our Lady of Chartrés, France, c. 1932
15. Antoinette B. Hervey, Beachcombing, Indian Lake, c. 1927
16. Antoinette B. Hervey, On the Stairway, Walter B. Hervey, Jr., c. 1925
17. Margaret Bourke-White, Untitled, c. 1929
18. Margaret Bourke-White, 'Frank W.' on the Cuyahoga, c. 1929
19. Margaret Bourke-White, Untitled, c. 1930
20. Margaret Bourke-White, Locks, Sault St. Marie, c. 1929
21. Louise Dahl-Wolfe, Meanwhile in Miami, 1938
22. Louise Dahl-Wolfe, Vivien Leigh, c. 1939
23. Louise Dahl-Wolfe, Untitled, c. 1940
24. Louise Dahl-Wolfe, Untitled, c. 1939
25. Jeanne Ebstel, Untitled, c. 1945
26. Jeanne Ebstel, Untitled, c. 1945
27. Jeanne Ebstel, Untitled, c. 1945
28. Jeanne Ebstel, Untitled, c. 1945
29. Charlotte Brooks, Untitled, n.d.
30. Charlotte Brooks, Columbus Circle, 1943
31. Charlotte Brooks, Untitled, 1944–1946
32. Charlotte Brooks, Cornelia Street, c. 1943
33. Esther Bubley, View of Third Avenue El looking downtown from 53rd Street. The El goes as far downtown as the Battery, 1946
34. Esther Bubley, Brooklyn Bridge, 1946
35. Esther Bubley, On South Street at noon time, 1946
36. Esther Bubley, Weehawken, New Jersey. View looking east from 50th Street and East Boulevard showing New York Central piers, Hudson River and Midtown Manhattan skyline, 1946
37. Mikki Ferrill, Untitled, c. 1970
38. Mikki Ferrill, Untitled, c. 1970
39. Mikki Ferrill, Untitled, c. 1970
40. Mikki Ferrill, Untitled, c. 1970
41. Sabine Weiss, France, 1956
42. Sabine Weiss, Young and old faces from the north of Portugal, c. 1950
43. Sabine Weiss, La Messe, Portugal, 1954
44. Sabine Weiss, La guerre aux pied du "Sacre Coeur," Paris, c. 1950
45. Toni Frissell, Untitled, c. 1947
46. Toni Frissell, The King Ranch, 1939–1944
47. Toni Frissell, John F. Kennedy & Jacqueline Bouvier on Their Wedding Day, Newport, Rhode Island, 1953
48. Toni Frissell, The King Ranch, 1939–1944
49. Janine Niépce, Untitled, c. 1960
50. Janine Niépce, Untitled, c. 1960
51. Janine Niépce, Jeunes filles de Paris, c. 1960
52. Janine Niépce, La course, c. 1960
Keith de Lellis Gallery presents an exhibition of fourteen women photographers, represented by four photographs each, for this end-of-year exhibition. Spanning nearly a century, these photographs capture cityscapes, cultures and customs, fashion models, family life, and more.
All pioneers in their own right, the women featured in this show carved a place for themselves in a male-dominated field. Industrial photographer Margaret Bourke-White was the first female war correspondent and the first staff photographer for both Fortune and Life magazines. One of her many striking industrial photographs was featured on Life’s very first cover. Charlotte Brooks expressed feeling like “one of the guys” as the only long-term woman staff photographer for Look magazine.
Louise Dahl-Wolfe had an accomplished 22-year tenure with Harper’s Bazaar as a fashion photographer, contributing 86 cover photographs and hundreds of additional images for the magazine that came to be defined by her distinct vision.
Doris Ulmann and Antoinette B. Hervey were both students of the Clarence H. White School. Ulmann traveled extensively throughout Appalachia to create portraits that would preserve local traditions and folklore as modernization spread across the country. Ulmann’s subjects are both humble and proud as they are pictured farming, crafting, and peddling vegetables. While Ulmann’s focus was human, Hervey’s was architectural: a thorough study of the construction and completed form of the Cathedral of St. John the Divine, “shooting at all times of night and day, in every season and from all conceivable vantage points” (Grace Glueck, New York Times).
Another noted American Pictorialist, Gertrude Käsebier created quiet scenes portraying motherhood and childhood, elevating both photography and “women’s work” to a fine art. London-based sisters Mesdames Morter practiced fine art in the form of self-portraiture, predating Cindy Sherman, staging dramatic scenes in which one member of the duo posed as a character such as “Destiny” or “Love”.
A mid-century French photojournalist, Janine Niépce traveled across her home country with an eye for human interest and cultural shifts, particularly the women’s liberation movement. French humanist photographer Sabine Weiss contributed to Vogue, Time, Life, Newsweek, and more; but her personal work focused on the everyday lives and emotions of the people around her. Three of these photographs were selected for Edward Steichen’s Family of Man exhibition at the Museum of Modern Art in 1955.
African American photographer Mikki Ferrill documented Chicago’s soul-filled night life with her “Music Moves” series, her emotive subjects full of energy and movement. Toni Frissell was also focused on portraiture, her work ranging from magazine fashion and photo-essays, to wartime photojournalism, to children’s book illustrations. Her daughter wrote: “though diverse in subject, her photos all had the same theme: great beauty and style and an appreciation of the happier moments of life” (Sydney Frissell Stafford, Toni Frissell, Doubleday, 1994).
In total, this exhibition features Margaret Bourke-White, Charlotte Brooks, Esther Bubley, Louise Dahl-Wolfe, Jeanne Ebstel, Mikki Ferrill, Toni Frissell, Antoinette B. Hervey, Gertrude Käsebier, Mesdames Morter (Dorothy Gladys Morter & Reta May Morter), Janine Niépce, Doris Ulmann, and Sabine Weiss.
4 x 14 will be on view at the Keith de Lellis Gallery through January 31, 2020.