Photography

The millions of photographs in the Museum's collections compose a vast mosaic of the nation's history. Photographs accompany most artifact collections. Thousands of images document engineering projects, for example, and more record the steel, petroleum, and railroad industries.

Some 150,000 images capture the history, art, and science of photography. Nineteenth-century photography, from its initial development by W. H. F. Talbot and Louis Daguerre, is especially well represented and includes cased images, paper photographs, and apparatus. Glass stereographs and news-service negatives by the Underwood & Underwood firm document life in America between the 1890s and the 1930s. The history of amateur photography and photojournalism are preserved here, along with the work of 20th-century masters such as Richard Avedon and Edward Weston. Thousands of cameras and other equipment represent the technical and business side of the field.

Currently not on view
Location
Currently not on view
date made
after 1907
ID Number
1986.3048.1130
nonaccession number
1986.3048
catalog number
1986.3048.1130
Currently not on view
Location
Currently not on view
date made
1870 - 1890
ID Number
DL.59.0848
catalog number
59.0848
accession number
162489
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.20
accession number
287543
catalog number
69.237.20
Currently not on view
Location
Currently not on view
ID Number
PG.67.88.00189
accession number
270586
catalog number
67.88.00189
In 1898 New York photographer Gertrude Käsebier (1852-1934) embarked on a deeply personal project, creating a set of prints that rank among the most compelling of her celebrated body of work.
Description
In 1898 New York photographer Gertrude Käsebier (1852-1934) embarked on a deeply personal project, creating a set of prints that rank among the most compelling of her celebrated body of work. Käsebier was on the threshold of a career that would establish her as both the leading portraitist of her time and an extraordinary art photographer. Her new undertaking was inspired by viewing the grand parade of Buffalo Bill's Wild West troupe en route to Madison Square Garden for several weeks of performances.
Käsebier had spent her childhood on the Great Plains, and retained many vivid, happy memories of playing with nearby Native American children. She quickly sent a letter to William "Buffalo Bill" Cody (1846-1917), requesting permission to photograph Sioux Indians traveling with the show in her studio. Within weeks, Käsebier began a unique and special project photographing the Indian men, women, and children formally and informally. Friendships developed, and her photography of these Native Americans continued for more than a decade.
Has No Horses appears comfortable in posing for his portraits, seeming patient as the photographer takes his front view and left and right profiles. He agreed, like many of the other Native Americans visiting Käsebier's studio, to pose in full dress with war bonnet, then without, and a third time with a war club. A blanket, or rug, hangs as a backdrop; the profiles show the heavy wooden studio chair used in the sitting.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.027
accession number
287543
catalog number
69.236.027
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.238.13
accession number
287543
catalog number
69.238.13
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.020
accession number
287543
catalog number
69.236.020
In 1898 New York photographer Gertrude Käsebier (1852-1934) embarked on a deeply personal project, creating a set of prints that rank among the most compelling of her celebrated body of work.
Description
In 1898 New York photographer Gertrude Käsebier (1852-1934) embarked on a deeply personal project, creating a set of prints that rank among the most compelling of her celebrated body of work. Käsebier was on the threshold of a career that would establish her as both the leading portraitist of her time and an extraordinary art photographer. Her new undertaking was inspired by viewing the grand parade of Buffalo Bill's Wild West troupe en route to Madison Square Garden for several weeks of performances.
Käsebier had spent her childhood on the Great Plains, and retained many vivid, happy memories of playing with nearby Native American children. She quickly sent a letter to William "Buffalo Bill" Cody (1846-1917), requesting permission to photograph Sioux Indians traveling with the show in her studio. Within weeks, Käsebier began a unique and special project photographing the Indian men, women, and children, formally and informally. Friendships developed, and her photography of these Native Americans continued for more than a decade.
Samuel Lone Bear developed the closest lasting friendship with photographer Gertrude Käsebier following this initial portrait sitting in April 1898. "Sammy" was educated at a Government Indian School and wrote letters to Käsebier in English over many years, dated as late as 1912. Käsebier's granddaughter Mina Turner remembered vividly one visit to a Wild West show performance, and having Sammy pull her from the ground for a horseback ride around the arena with him. "Granny" waved happily from the stands.
Lone Bear stands alone for the third portrait in a series in the midst of the 5th Avenue studio, a table covered in white behind. Embroidered American flags decorate his blanket border.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.034
accession number
287543
catalog number
69.236.034
Currently not on view
Location
Currently not on view
ID Number
PG.67.88.00190
accession number
270586
catalog number
67.88.00190
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.16
accession number
287543
catalog number
69.237.16
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.049
accession number
287543
catalog number
69.236.049
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.03
accession number
287543
catalog number
69.237.03
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.238.10
accession number
287543
catalog number
69.238.10
Currently not on view
Location
Currently not on view
date made
1850s
ID Number
PG.000221
accession number
1989.0550
catalog number
221
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.043
accession number
287543
catalog number
69.236.043
This ambrotype portrait of Mea-to-sa-bi-tchi-a, or Smutty Bear, a Yankton Dakota, is among the first photographic images of Native Americans. Smutty Bear was part of a large Native American delegation that came to Washington, D.C., during the winter of 1857–;58.
Description
This ambrotype portrait of Mea-to-sa-bi-tchi-a, or Smutty Bear, a Yankton Dakota, is among the first photographic images of Native Americans. Smutty Bear was part of a large Native American delegation that came to Washington, D.C., during the winter of 1857–;58. Under duress, members of the delegation signed a treaty that greatly reduced their lands in return for promises of money and provisions that were never fulfilled. This prompted the Sioux Revolt of 1862, which resulted in the deaths of hundreds of settlers and the mass hangings of 38 Native Americans. This photograph is one of a series a of portrait daguerreotypes made of Native American chiefs while they crossed the country to meet with US Government officials in Washington, D.C. When passing through St. Louis, Missouri, these chiefs were photographed by Thomas Easterly and John Fitzgibbons.
The ambrotype process, most popular in the mid-1850s, is a wet-plate collodion emulsion on glass. These images were then placed in cases with a dark lining for best viewing.
Location
Currently not on view
Date made
ca 1858
depicted
Mea-to-sa-bi-tchi-a
ID Number
PG.003974.07
accession number
121824
catalog number
3974.07
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.05
accession number
287543
catalog number
69.237.05
In 1898 New York photographer Gertrude Käsebier (1852-1934) embarked on a deeply personal project, creating a set of prints that rank among the most compelling of her celebrated body of work.
Description
In 1898 New York photographer Gertrude Käsebier (1852-1934) embarked on a deeply personal project, creating a set of prints that rank among the most compelling of her celebrated body of work. Käsebier was on the threshold of a career that would establish her as both the leading portraitist of her time and an extraordinary art photographer. Her new undertaking was inspired by viewing the grand parade of Buffalo Bill's Wild West troupe en route to Madison Square Garden for several weeks of performances.
Käsebier had spent her childhood on the Great Plains, and retained many vivid, happy memories of playing with nearby Native American children. She quickly sent a letter to William "Buffalo Bill" Cody (1846-1917), requesting permission to photograph Sioux Indians traveling with the show in her studio. Within weeks, Käsebier began a unique and special project photographing the Indians men, women, and children, formally and informally. Friendships developed, and her photography of these Native Americans continued for more than a decade.
Chief Iron Tail was the elder chief in the group of Sioux Indians selected by Buffalo Bill Cody to visit Gertrude Käsebier's photography studio. Iron Tail was a veteran of the Indian Wars, including the Battle of the Little Big Horn. Later, he became friendly with Buffalo Bill and traveled with the Wild West troupe for almost 20 years. Iron Tail was among several Native Americans whose profile inspired the face appearing on the United States buffalo nickel early in the 20th century.
Chief Iron Tail surprisingly agreed to remove his feather war bonnet for the portrait sitting with Käsebier, although the headdress and feathers were badges of his place and importance within the tribe. The photographer hoped to achieve "raw" photographs of each Sioux Indian, representing their individuality and personal character. Käsebier was pleased with her results and made a copy of the finished print for the chief. When Iron Tail saw the print, he immediately tore it in half, upset with the image. He later sat for Käsebier in full regalia.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.039
accession number
287543
catalog number
69.236.039
Currently not on view
Location
Currently not on view
date made
1932
maker
Fleckenstein, Louis
ID Number
PG.004071.AA
accession number
137759
catalog number
4071.AA
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.080
accession number
287543
catalog number
69.236.080
Currently not on view
Location
Currently not on view
date made
1910s-1940s
ID Number
PG.004203D
catalog number
4203D
accession number
157717
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.085
accession number
287543
catalog number
69.236.085
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.074
accession number
287543
catalog number
69.236.074
Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.08
accession number
287543
catalog number
69.237.08

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