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: Native Americans

Bad Bear, 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 a matter of 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.
Side/back view of Bad Bear. In later oral interviews with family members, Käsebier detailed the difficulty she had persuading some of the men to sit, rather than stand, for their photographs.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.097
accession number
287543
catalog number
69.236.097

Chief Lone Bear, 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 a matter of 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 Lone Bear's family maintained a lasting friendship with photographer Gertrude Käsebier following the initial portrait session in 1898, visiting her whenever possible. His son, Sammy, and daughter, Mary, were also photographed. Chief Lone Bear's badge reads "Buffalo Bill's Police." The beaded embroidery above the vest badge is a flag pattern similar to the blanket held by Sammy and shown on others photographed within this group.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.045
accession number
287543
catalog number
69.236.045

Willie-Spotted-Horse

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.04
accession number
287543
catalog number
69.237.04

Sioux Indians on the Dakota Plains

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.003
accession number
287543
catalog number
69.236.003

Sioux Indian drawing by Samuel Lone Bear, "War Dance, Omaha waciu pi lo"

Currently not on view
Location
Currently not on view
Date made
ca. 1898
maker
Kasebier, Gertrude
ID Number
PG.69.238.03
accession number
287543
catalog number
69.238.03

Willie Spotted Horse, 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.
Käsebier said that it took three years to get the Sioux Indians to agree to let her photograph their children. The Sioux feared that if photographed, the child would die. Willie Spotted Horse, dressed like his elders in full feather headdress and bone breast-plate, rests one arm on a stool, gazing directly into the camera lens.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.084
accession number
287543
catalog number
69.236.084

Sioux and Wigwam, Buffalo Bill's Wild West camp

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.
"Sioux+Wigwam" is the caption Käsebier wrote for this photograph of four Sioux men in front of a tipi. This image was probably taken by Käsebier while visiting the Buffalo Bill's Wild West camp set up in Brooklyn, New York, not far from the Käsebier family home.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.065
accession number
287543
catalog number
69.236.065

Philip Standing Soldier, 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.
Philip Standing Soldier, shown in one photograph with a pipe at his lips, was one of the youngest of the Wild West Indian performers photographed by Käsebier. Younger Sioux were trained in English and a variety of subjects at Government-run Indian schools.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.054
accession number
287543
catalog number
69.236.054

Native American man wearing full feather headdress

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.14
accession number
287543
catalog number
69.237.14

Little Finger, 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.
Little Finger poses casually before a tipi holding a spear with shield and wearing a gun, with bone breast-plate, armbands, and feather and fur accessories.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.009
accession number
287543
catalog number
69.236.009

Iron Tail Drawing of a figure on horseback

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.25
accession number
287543
catalog number
69.237.25

The Warrior and his Bride

Currently not on view
Location
Currently not on view
maker
Hillers, John K.
ID Number
PG.77.95.H18.11
catalog number
77.95.H18.11
accession number
1982.0545

Mahe

A half-length daguerreotype portrait of Native American man, in frilled shirt and lap blanket. He has three necklaces and a bangle, and is holding a bow and arrow.
Description (Brief)
A half-length daguerreotype portrait of Native American man, in frilled shirt and lap blanket. He has three necklaces and a bangle, and is holding a bow and arrow. 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, DC. When passing through St. Louis, Missouri, in 1851-52 these chiefs were photographed by photographers Thomas Easterly and John Fitzgibbons. Each portrait was a unique image. Daguerreotypes had no negatives; each photograph was exposed on a silver-nitrate covered copper plate. Daguerreotypes remained a popular method of capturing portraits from 1840 to 1860 when it was replaced with easier and less hazardous methods of negative-positive based photography like wet-plate collodion and albumen. Matted, and cased. The paper case has red velvet sculptured lining. Case cover has pattern on both sides.
Location
Currently not on view
Date made
1851-1852
maker
Easterly, Thomas M.
ID Number
PG.003974.19
accession number
121824
catalog number
3974.19

Red Plume, Blackfoot Chief

A daguerreotype portrait of a Native American man identified as "Red Plume, Blackfoot Chief," pictured in a feathered head-dress with various hand-tinted gold touches.
Description (Brief)
A daguerreotype portrait of a Native American man identified as "Red Plume, Blackfoot Chief," pictured in a feathered head-dress with various hand-tinted gold touches. 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, DC. When passing through St. Louis, Missouri, in 1851-52 these chiefs were photographed by photographers Thomas Easterly and John Fitzgibbons. Each portrait was a unique image. Daguerreotypes had no negatives; each photograph was exposed on a silver-nitrate covered copper plate. Daguerreotypes remained a popular method of capturing portraits from 1840 to 1860 when it was replaced with easier and less hazardous methods of negative-positive based photography like wet-plate collodion and albumen. The image is uncased.
Location
Currently not on view
date made
1851-1852
depicted
Red Plume
maker
Fitzgibbon, John
ID Number
PG.003974.24
accession number
121824
catalog number
3974.24

Chief Long Horn

Half-length portrait of Native American man wearing head dress with feathers, necklaces and bangles. He is bare-chested and has painted stripes on arms, chest & face.He holds a tomahawk, and his face is hand-tinted pink, and ornaments are blue & gold.
Description (Brief)
Half-length portrait of Native American man wearing head dress with feathers, necklaces and bangles. He is bare-chested and has painted stripes on arms, chest & face.He holds a tomahawk, and his face is hand-tinted pink, and ornaments are blue & gold. 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, DC. When passing through St. Louis, Missouri, in 1851-52 these chiefs were photographed by photographers Thomas Easterly and John Fitzgibbons. Each portrait was a unique image. Daguerreotypes had no negatives; each photograph was exposed on a silver-nitrate covered copper plate. Daguerreotypes remained a popular method of capturing portraits from 1840 to 1860 when it was replaced with easier and less hazardous methods of negative-positive based photography like wet-plate collodion and albumen. Matted, not cased.
Location
Currently not on view
date made
1851-1852
maker
Easterly, Thomas M.
ID Number
PG.003974.16
accession number
121824
catalog number
3974.16

High Toes (or Man on a Cloud), Cheyenne

A daguerreotype portrait of Native American man in Indian dress, "High Toes (or Man on a Cloud), Cheyenne," hand-tinted gold.
Description (Brief)
A daguerreotype portrait of Native American man in Indian dress, "High Toes (or Man on a Cloud), Cheyenne," hand-tinted gold. The 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, DC. When passing through St. Louis, Missouri, in 1851-52 these chiefs were photographed by photographers Thomas Easterly and John Fitzgibbons. Each portrait was a unique image. Daguerreotypes had no negatives; each photograph was exposed on a silver-nitrate covered copper plate. Daguerreotypes remained a popular method of capturing portraits from 1840 to 1860 when it was replaced with easier and less hazardous methods of negative-positive based photography like wet-plate collodion and albumen. The image is not matted or cased.
Location
Currently not on view
date made
1851-1852
maker
Fitzgibbon, John
ID Number
PG.003974.28
accession number
121824
catalog number
3974.28

Samuel Lone Bear, 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 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 a matter of 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 Gertrude Käsebier following this initial portrait sitting in 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.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.032
accession number
287543
catalog number
69.236.032

Sioux Indians on the Dakota Plains

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.004
accession number
287543
catalog number
69.236.004

Whirling Horse, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.071
accession number
287543
catalog number
69.236.071

Black 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 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.
Black Horse with a woman and another man stand before a tipi in the camp of the Wild West show.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.010
accession number
287543
catalog number
69.236.010

Black Cat, Andrew, Big Elk, Shooting Pieces, 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.
Black Cat, Andrew, Big Elk, and Shooting Pieces are grouped in a corner of the studio. Käsebier may have simply turned her camera stand to capture this casual image while the Sioux waited for others to be photographed.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.036
accession number
287543
catalog number
69.236.036

Group portrait of Native Americans seated on the ground

Currently not on view
Location
Currently not on view
ID Number
PG.003974.12
accession number
121824
catalog number
3974.12

Su-rit

Currently not on view
Location
Currently not on view
depicted
Su-rit
ID Number
PG.003974.02
accession number
121824
catalog number
3974.02

Platinum Portrait of American Horse and wife, Sioux Indians, by Gertrude Kasebier

Gertrude Käsebier's photographs of Native Americans represent simple, artistic portraits of Indians traveling with Buffalo Bill's Wild West Show and on reservations of the Dakota Sioux.
Description
Gertrude Käsebier's photographs of Native Americans represent simple, artistic portraits of Indians traveling with Buffalo Bill's Wild West Show and on reservations of the Dakota Sioux. Fond memories of playing with Indian children during her youth led Käsebier to write to William F. Cody with her request to photograph Indians performing in his show at Madison Square Garden in 1898.
Nine Indians were selected to be photographed. Her studio had no elaborate backdrops and the photographs proved poignant. Käsebier sometimes removed Indian regalia from her subjects to depict the Sioux as individuals, with strong personalities and experiences spanning traditional and contemporary life.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.089
accession number
287543
catalog number
69.236.089

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