As the caretaker of Mary's negatives and story since I purchased hundreds of her glass and film negatives in the 1990's, I have discovered the depth and beauty of Mary Rowland Mires’ work to be on par with the more famous photographers of her era. What began as a random viewing of what I thought would be simple family 'snapshots' Mary's glass negatives revealed themselves to be not only a sophisticated visual record of pioneer life, tribal neighbors, and the transformation of the Pacific Northwest - Mary photographed with intention. I see in her work that she was trying poses and lighting that could mean she was reading and viewing the photography books and magazines published. Experimenting, observing, and preserving a world in transition her images are not only historically important; they are emotionally resonant, filled with the quiet strength of a woman who saw art in everyday life.
It is my honor to share her work and continue the discovery she began more than a century ago.
THE PHOTOGRAPHY OF MARY ROWLAND MIRES (1862–1940)
Pioneer • Artist • Documentarian of the American West by Susan Parish
Pioneer • Artist • Documentarian of the American West by Susan Parish
Mary Rowland Mires (1862–1940) was a pioneer, mother, and gifted photographer whose images document the early American West with rare intimacy and artistry. Raised in the rugged Kittitas Valley, she later married attorney and political leader Austin Mires, who became a Territorial legislator and signer on Washington's Constitution and whose public life brought notable visitors and historic moments into their home — many captured by Mary on glass plate negatives.
Beginning around 1901, she taught herself photography, experimenting with double exposures, cyanotypes, and darkroom chemistry. Her work includes family portraits, landscapes, early Ellensburg events, and remarkable images of Yakama women who lived and worked nearby.
Though she never called herself a professional, Mary’s photographs reveal a deliberate, educated eye and a deep awareness of the cultural changes unfolding around her. Her legacy continues to grow as more of her glass plates are studied and printed.
Creating beautiful, intriguing, sometimes romantic, whimsical, and even experimental photographs Mary worked primarily with 5 x 7 glass plate negatives and later with her beloved quarter-plate camera producing hundreds of photographs that survive for us to admire.
PHOTOGRAPH GALLERY
Mollie Quemates
Mollie Quemates in Sepia
FURTHER INFORMATION
Inspired by fellow Washingtonian Edward S. Curtis and other photographers that were publishing their work in the new photography magazines - Mary purposefully and artfully captured her surroundings, her town, events and the people who came and went from their home. She and her husband Austin Mires were well-known known and respected citizens involved in government and political activities. Austin Mires had served as Ellensburg's first mayor, a member of Washington's Constitutional Convention, a State Legislator, Kittitas County Prosecutor and a Superior Court Judge during his life.
Mary's compelling photos include significant portraits of local Native Americans, primarily members of the Yakama tribe. I offer prints from her archive - a few of which are below. *email if you would like more information or to view more of her photographs and story.
Mary also collected Indian made baskets shown in some of her portraits which were donated to the Kittitas County Museum in Ellensburg, Washington
