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.

Culture: African Americans

picking the petals

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1890
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B112.24
catalog number
4135.B112.24
accession number
106456

Two men at an ice cream stand window

Currently not on view
Location
Currently not on view
Date made
ca 1960s
photographer
Uzzle, Burk
ID Number
PG.72.12.089
accession number
2003.0044
catalog number
72.12.89

Children playing on a city street, Harlem

Currently not on view
Location
Currently not on view
date made
1950s
maker
Falk, Sam
ID Number
PG.69.99.054
catalog number
69.99.54
accession number
281224

In the old slave quarters

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
The Eickemeyer accessions have remained remarkably intact over the past 50 years. With the exception of his medals and trophies (there is no record of these objects coming to the Museum of American History with the remainder of the collection), and the contact prints and negatives (his discards), most of the objects were assigned catalogue numbers and were clearly marked more than half a century ago.
Location
Currently not on view
date made
1894
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B046.02
accession number
106456
catalog number
4135.B46.02

Black Sheriff

"Black Sheriff" by Nick Lawrence; black and white image of an African-American man wearing a hat with a sherriff's badge pinned to frontCurrently not on view
Description
"Black Sheriff" by Nick Lawrence; black and white image of an African-American man wearing a hat with a sherriff's badge pinned to front
Location
Currently not on view
ID Number
PG.71.13.12
accession number
2018.0072
catalog number
71.13.12

Three People in Doorway Being Fire Hosed

"Birmingham, Alabama" by Charles Moore; African-American teenagers/young adults being sprayed by a fireman's hoseCurrently not on view
Description
"Birmingham, Alabama" by Charles Moore; African-American teenagers/young adults being sprayed by a fireman's hose
Location
Currently not on view
date made
1963
maker
Moore, Charles
ID Number
PG.71.13.20
accession number
2018.0072
catalog number
71.13.20

feeding the chickens

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1890
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B112.14
catalog number
4135.B112.14
accession number
106456

the long way home

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1890
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B112.01
catalog number
4135.B112.1
accession number
106456

Cotton Picking No. 3

Currently not on view
Location
Currently not on view
ID Number
PG.293320.0706
accession number
293320
catalog number
293320.0706

Pounding Rice

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
The Eickemeyer accessions have remained remarkably intact over the past 50 years. With the exception of his medals and trophies (there is no record of these objects coming to the Museum of American History with the remainder of the collection), and the contact prints and negatives (his discards), most of the objects were assigned catalogue numbers and were clearly marked more than half a century ago.
Location
Currently not on view
date made
1894
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B046.17
accession number
106456
catalog number
4135.B46.17

Apollo Theater Marquis, Harlem

Currently not on view
Location
Currently not on view
maker
Falk, Sam
ID Number
PG.69.99.014
catalog number
69.99.014
accession number
281224

protective big brother

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1890
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B112.18
catalog number
4135.B112.18
accession number
106456

barefoot out the door

Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium.
Description
Rudolf Eickemeyer, Jr. (1862–1932) used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” In correspondence with Dr. Olmstead at the Smithsonian, as the presentation of his gifts and bequest to the museum was being arranged, Eickemeyer wrote: “The collection illustrates the use of every important process and will, I believe, be of real educational value.”
The first of the Eickemeyer photographic collection came to the National Museum’s Department of Arts and Industries (the “Castle”), Division of Graphic Arts in 1922 at the close of a large exhibition of Eickemeyer’s work at the Anderson Gallery in New York. It was a gift from the photographer of five framed prints from the New York show that he considered representative of his work.
In 1929, Eickemeyer gave the Smithsonian 83 framed prints (including copies of the prints that he had previously given the museum), 15 portfolios, his medals and awards, and several miscellaneous photographic paraphernalia. In 1930, he made a will bequeathing most of his remaining prints, negatives, photographic equipment and other objects relating to his 30-year career as a photographer to the Smithsonian Institution.
Upon Eickemeyer’s death in 1932, an accession consisting primarily of photographic equipment from his studio came to the Smithsonian. Included in the bequest were 2 cameras, several lenses, scales, timers, printing frames, plate holders, dry mounters and a lecture case with slide projector and hand-colored lantern slides. Also included were 43 albums, journals and portfolios and assorted negatives and contact prints, many marked “discards.” There are 58 albums, notebooks and portfolios in the collection. Eickemeyer requested in his will that his gifts and bequests be called The Rudolf Eickemeyer, Jr. Collection.
Location
Currently not on view
date made
1890
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B112.11
catalog number
4135.B112.11
accession number
106456

Woman holding baby

Currently not on view
Location
Currently not on view
ID Number
PG.75.24.14
accession number
1975.317967
catalog number
75.24.14

Soldiers and Sailors Monument, Providence, RI

black and white stereograph mounted on yellow cardstock; printed on recto "Providence, R.I.
Description (Brief)
black and white stereograph mounted on yellow cardstock; printed on recto "Providence, R.I. / American Scenery / Park."; Soldiers and Sailors Monument in Providence, Rhode Island; carved relief inscription reads "Erected by the people of Rhode Island to the memory of the brave men who died so that their country might live"; this monument is dedicated to the 1st Rhode Island and the 14th Rhode Island Heavy Artillery (African-American) who fought in the Civil War; at the top of the monument is a female allegorical figure holding a laurel wreath in her outstretched right arm and a sword in her left hand; the four buttresses of the base hold four bronze statues representing infantry, cavalry, artillery and naval veterans; the large bronze plaques on the base list the residents killed in the Civil War; the bronze bas-relief plaques with carved releif depictions representing war, victory, peace and history illustrated with African-American women; the monument was designed by Randolph Rogers; the figures were sculpted in Rome and cast in Munich before being assembled in Providence; the monument was dedicated in 1871; monument is surrounded by a white picket fence
date made
ca 1871
referenced
Rogers, Randolph
ID Number
2012.3033.0582
nonaccession number
2012.3033
catalog number
2012.3033.0582

African American Man and teenage boy

black and white photograph; in foreground is an African American man wearing a dark suit and white button down shirt and mustache; on right is a teenage (?) African American male; other African American men in background, slightly out of focusCurrently not on view
Description (Brief)
black and white photograph; in foreground is an African American man wearing a dark suit and white button down shirt and mustache; on right is a teenage (?) African American male; other African American men in background, slightly out of focus
Location
Currently not on view
maker
Zalesky, Roy Joseph
ID Number
2017.0306.0132
catalog number
2017.0306.0132
accession number
2017.0306

Portrait of a young boy

Currently not on view
Location
Currently not on view
maker
Zalesky, Roy Joseph
ID Number
2017.0306.0098
catalog number
2017.0306.0098
accession number
2017.0306

Ernest Rice McKinney Leaves his Grandfather's Grave

Currently not on view
Location
Currently not on view
date made
1978-11
maker
Leipzig, Arthur
ID Number
2019.0272.0010
accession number
2019.0272
catalog number
2019.0272.0010

Three men sitting on a bench

Currently not on view
Location
Currently not on view
maker
Zalesky, Roy Joseph
ID Number
2017.0306.0036
accession number
2017.0306
catalog number
2017.0306.0036

Class of soldiers

Currently not on view
Location
Currently not on view
ID Number
2013.0327.1202
accession number
2013.0327
catalog number
2013.0327.1202

Two men on sidewalk

Currently not on view
Location
Currently not on view
date made
1984
maker
Zalesky, Roy Joseph
ID Number
2017.0306.0047
catalog number
2017.0306.0047
accession number
2017.0306

portrait of an African-American woman

portrait of an African-American woman; black and white bust length portrait of a woman with a white scarf wrapped around her head, wearing a dark dress patterned with white flowersCurrently not on view
Description (Brief)
portrait of an African-American woman; black and white bust length portrait of a woman with a white scarf wrapped around her head, wearing a dark dress patterned with white flowers
Location
Currently not on view
ID Number
2019.0013.0003
accession number
2019.0013
catalog number
2019.0013.0003

Family dressed up in Halloween Costumes

Currently not on view
Location
Currently not on view
ID Number
2019.0012.0015
catalog number
2019.0012.0015
accession number
2019.0012

portrait of an African-American woman

portrait of an African-American woman; black and white bust length portrait of a wearing a white turtleneck and dark hat placed at an angle on her head so it partially obscures the top right half of her face; curled, chin length hair is visible under her hat, she is looking direc
Description (Brief)
portrait of an African-American woman; black and white bust length portrait of a wearing a white turtleneck and dark hat placed at an angle on her head so it partially obscures the top right half of her face; curled, chin length hair is visible under her hat, she is looking directly at photographer; plain backdrop
Location
Currently not on view
ID Number
2019.0013.0005
accession number
2019.0013
catalog number
2019.0013.0005

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