My friend and sister writer, Pam Peirce, is doing deep research for a book about her Indiana family and came across an article in the 1903 Indianapolis News titled “What Hoosier Women are Doing.” It’s a list of occupations with numbers of women for each: “There are thirty-four women dentists in Indiana.” My guess is that it was compiled from the 1900 census. Pam passed it along to me, noting that in that year “Seven women carpenters belong to the building trades of Indiana.”
Unfortunately, the clipping is out of focus, but it is still readable. I can see that “Four women in Indiana are cabinet makers, and eight work in saw and planing mills. Indiana has two women blacksmiths and ten women machinists. Nine women work in the coal mines of Indiana. Two women are marble and stone cutters.” I wonder if any of these female crafts workers were allowed to join unions.
“Seven women carpenters belong to the building trades of Indiana. Four women in Indiana are cabinet makers, and eight work in saw and planing mills. Indiana has two women blacksmiths and ten women machinists. Nine women work in the coal mines of Indiana. Two women are marble and stone cutters.”
We know that women have worked in the trades since before this country was founded. Still, I’m surprised that Hoosier women had such a good representation in the trades in 1903. In contrast, there were about 6,000 washerwomen and 2,000 stenographers.
Pam also turned me on to a book, The Fair Women: The Story of the Women’s Building at the World’s Columbian Exposition, Chicago 1893. The World’s Columbian Exposition included amazing exhibits of the results of women’s activities–in the arts, industry, science, politics and philanthropy. Most of these were housed in the Woman’s Building, which was designed, decorated and administered entirely by women.
In the book there is quite a bit of information about two women who were hired to do sculptures for the outside of the women’s building. One was Enid Yandell, who designed the caryatids, 24 identical female figures that held up the roof garden. It is said that the male workers with whom she shared a studio accepted her “without question.” One of the women managing the project said “Perhaps owing to the fact that almost all the workers were foreigners, and abroad it is not so unusual for women to do industrial work.”
At a party, Enid later had a wonderfully funny discussion about the propriety of women working with the widow of President Grant, who was prejudiced against Enid as soon as she heard that she was a “stonecutter.” Apparently the widow was still angry that her husband had spent too much time with a 15-year-old sculptor (Vinnie Ream Hoxie) who was doing a sculpture of Lincoln. Enid went on to have a career as a sculptor and in 1898 became the first woman to join the National Sculpture Society.
More sculptural work on the Women’s Building was awarded to 19-year-old Alice Ridout, who lived in San Francisco where she worked in the studio of Rupert Schmid. It took the fair managers months to convince her to come to Chicago to do her work on the sculptures they required, but she did it.