Photography

Leica 35mm Camera

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.

Name: Kasebier, Gertrude

Plenty Wounds, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.095
accession number
287543
catalog number
69.236.095

Mary Lone Bear, Sioux Indian child

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 in her studio the Sioux Indians traveling with the show. 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.
Mary Lone Bear was one of the few Sioux children Käsebier was allowed to photograph. Her father, Chief Lone Bear, and brother, Samuel "Sammy" Lone Bear, were also photographed. Sammy remained friends with the photographer for many years, visiting her and inviting her to performances. A note which accompanies the photographs in the Smithsonian's collection, written by Käsebier, reads, "I told the Indians I wanted to photograph a papoose. They said the women had a superstition that it would kill the child. I told them they ought to know better having been to Carlisle School and around the world with the show. They brought me Mary Lone Bear, nine years old. But weeks later I visited the show and went out to the tepees to visit. The squaws grabbed their kids and ran looking at me viciously. I asked what was the matter. They told me Mary Lone Bear had died. What killed her?"
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.112
accession number
287543
catalog number
69.236.112

Woman in rocking chair and child seated on floor

Currently not on view
Location
Currently not on view
Date made
ca 1900
maker
Kasebier, Gertrude
ID Number
PG.73.15.22
accession number
306580

Zitkala-Sa, Sioux Indian and activist

In addition to photographing of Sioux performers sent by Buffalo Bill Cody to the studio, Käsebier was able to arrange a portrait session with Zitkala Sa, "Red Bird," also known as Gertrude Simmons (1876-1938), a Yankton Sioux woman of Native American and white ancestry.
Description
In addition to photographing of Sioux performers sent by Buffalo Bill Cody to the studio, Käsebier was able to arrange a portrait session with Zitkala Sa, "Red Bird," also known as Gertrude Simmons (1876-1938), a Yankton Sioux woman of Native American and white ancestry. She was born on the Pine Ridge Reservation in South Dakota, like many of the Sioux traveling with the Wild West show. Well educated, she studied at reservation schools, the Carlisle Indian School, Earlham College in Indiana, and the Boston Conservatory of Music. Zitkala Sa became an accomplished author, musician, composer, and dedicated worker for the reform of United States Indian policies.
Käsebier photographed Zitkala Sa in tribal dress and western clothing, clearly identifying the two worlds in which this woman lived and worked. In many of the images, Zitkala Sa holds her violin or a book, further indicating her interests. Käsebier experimented with backdrops, including a Victorian floral print, and photographic printing. She used the painterly gum-bichromate process for several of these images, adding increased texture and softer tones to the photographs.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.110
accession number
287543
catalog number
69.236.110

Two Bulls, Sioux Indian

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 in her studio the Sioux Indians traveling with the show. 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.
Käsebier photographed Two Bulls in more conventional studio profile and close-up poses. A younger member of the Dakota Sioux performers with Buffalo Bill's Wild West, Two Bulls wears just two feathers in comparison to the full headdresses of the older leaders and chiefs.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.012
accession number
287543
catalog number
69.236.012

The Bride

Currently not on view
Location
Currently not on view
Date made
ca 1900
maker
Kasebier, Gertrude
ID Number
PG.73.15.17
catalog number
73.15.17
accession number
306580

Adoration

Currently not on view
Location
Currently not on view
Date made
ca 1900
maker
Kasebier, Gertrude
ID Number
PG.73.15.03
accession number
306580
catalog number
73.15.03

Native American Men Drawing

Waiting to be photographed by New York City photographer Gertrude Kasebier (1852-1934), Native Americans traveling with Buffalo Bill's Wild West Show sketch at a table in her studio on 5th Avenue, about 1898.
Description
Waiting to be photographed by New York City photographer Gertrude Kasebier (1852-1934), Native Americans traveling with Buffalo Bill's Wild West Show sketch at a table in her studio on 5th Avenue, about 1898. William "Buffalo Bill" Cody selected nine Indians from his touring show to have their portraits made after receiving a letter of inquiry from Kasebier. The photographer maintained long friendships with a few of the Wild West Show's Indians, corresponding with them from 1898 to about 1912. Examples of these letters were published in Everybody's Magazine in January 1901.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.006
accession number
287543
catalog number
69.236.006

Chief Iron Tail, Sioux Indian

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.
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 one of 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.69.236.042
accession number
287543
catalog number
69.236.042

Has No Horses, Sioux Indian, profile in headdress

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 in her studio the Sioux Indians traveling with the show. 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 agrees, 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 holding a war club. A blanket, or rug, hangs as a backdrop; the profiles show the heavy wooden studio chair used.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.024
accession number
287543
catalog number
69.236.024

Joe Black Fox, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.023
accession number
287543
catalog number
69.236.023

Amos Two Bulls, Sioux Indian, left profile

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 in her studio Sioux Indians traveling with the show. 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.
Gertrude Kasebier photographed left and right close-up profile views of Amos Two Bulls. These reverse platinum images are toned in shades of brown and black, respectively, expertly applied by Käsebier during the printing process. "Sioux Indian/$5.00" is written on the back of the right profile view.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.067
accession number
287543
catalog number
69.236.067

Sioux Indian drawing by Joe Black Fox

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.238.08
accession number
287543
catalog number
69.238.08

Whirlwind Horse, Sioux Indian

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 in her studio the Sioux Indians traveling with the show. Within weeks, Käsebier began her 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.
Portrait of Whirlwind Horse, wearing a full feather headdress and tailored cloth shirt.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.099
accession number
287543
catalog number
69.236.099

Wife of American Horse, Sioux Indian, cropped profile

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 in her studio the Sioux Indians traveling with the show. 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.
The portrait of the wife of American Horse is the only example of an individual Sioux woman photographed with the Wild West group in Käsebier's studio. Families of the men performing with the show were allowed to accompany them and live in the camp. The women tended to family needs, including mending clothes, producing beadwork, and making moccasins.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.088
accession number
287543
catalog number
69.236.088

Native American man

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.12
accession number
287543
catalog number
69.237.12

Joe Black Fox, Sioux Indian

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 in her studio the Sioux Indians traveling with the show. 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.
In his photographs, Joe Black Fox seems quite at ease with Käsebier and before a camera. Black Fox almost smiles for the portraits. This comfort before the camera was generally uncharacteristic for Native Americans in 1898, for many still believed in the potential for the lens to steal their soul. Black Fox poses first in his feather headdress and then more playfully, with cigarette in hand, relaxed, wrapped in a blanket, and wearing a patterned silken scarf with a pin, earrings, and a beaded lizard-shaped ornament in his hair.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.022
accession number
287543
catalog number
69.236.022

Rehearsal

Currently not on view
Location
Currently not on view
Date made
ca 1900
maker
Kasebier, Gertrude
ID Number
PG.73.15.01
accession number
306580
catalog number
73.15.01

Sioux Indian drawing of horse by Philip S. Soldier

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

Drawing of a Horse

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.22
accession number
287543
catalog number
69.237.22

Shooting Pieces, Sioux Indian

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.
Shooting Pieces sits on a simple, curved wooded bench, wrapped in a blanket and holding a war club.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.035
accession number
287543
catalog number
69.236.035

High Heron and Has-No-Horses, Sioux Indians

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.
Käsebier poses High Heron and Has No Horses (standing) together, similarly dressed and displaying strong composure. Has No Horses grips his blanket wrap with one hand and lightly touches his chin with the other, suggesting vulnerability. The intricate white beadwork of his vest and blanket highlight the otherwise dark portrait.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.031
accession number
287543
catalog number
69.236.031

Photograph of Whirling Horse, Sioux Indian mounted with drawings of buffalo, tipi, Indian and horse

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.
This Käsebier photograph of Whirling Horse is mounted to sketch paper with drawings of a tipi, a buffalo, and an Indian on horseback. Whirling Horse presumably made the drawings during the portrait session and gave them to Käsebier.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.077
accession number
287543
catalog number
69.236.077

Amos Two Bulls, Sioux Indian, right profile

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 in her studio the Sioux Indians traveling with the show. 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.
Left and right close-up profile views of Amos Two Bulls, these reverse platinum images are toned in shades of brown and black, expertly applied by Käsebier during the printing process. "Sioux Indian/$5.00" is written on the back of the right profile view.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.068
accession number
287543
catalog number
69.236.068

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