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

Sioux Indian, Buffalo Bill's Wild West

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.
Unidentified Sioux, possibly Bad Bear
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.101
accession number
287543
catalog number
69.236.101

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.69.237.13
accession number
287543
catalog number
69.237.13

Whirling Horse, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.073
accession number
287543
catalog number
69.236.073

Joe Black Fox Drawing of two Native American figures

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.27
accession number
287543
catalog number
69.237.27

Sioux Indians drawing in Kasebier's Studio

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. 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.
Near the window of Käsebier's Fifth Avenue, New York, studio, two young Sioux men wait during the portrait session. Pausing momentarily from drawing, one glances outward, contemplating the vast city and skyscrapers.
Location
Currently not on view
Date made
ca 1898
referenced
Buffalo Bill's Wild West and Frontier Exhibition
maker
Kasebier, Gertrude
ID Number
PG.69.236.005
accession number
287543
catalog number
69.236.005

Native American Woman holding a baby, child seated next to her

Currently not on view
Location
Currently not on view
ID Number
PG.003974.13
accession number
121824
catalog number
3974.13

Has No Horses, 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.
Has No Horses appears comfortable in posing for his portraits, seemingly 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 sittings.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.026
accession number
287543
catalog number
69.236.026

Native American man holding bow and arrow

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.15
accession number
287543
catalog number
69.237.15

Has No Horses, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.028
accession number
287543
catalog number
69.236.028

Whirling Horse, Sioux Indian, seated

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 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 Whirling Horse in full headdress and draped blanket.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.069
accession number
287543
catalog number
69.236.069

Sioux man on horseback

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.06
catalog number
69.237.06
accession number
287543

Willie Spotted Horse, Sioux Indian child

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.083
accession number
287543
catalog number
69.236.083

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.69.238.11
accession number
287543
catalog number
69.238.11

Sioux Indian drawing by Samuel Lone Bear Jr., "Catch Girls"

Currently not on view
Location
Currently not on view
Date made
ca 1899
maker
Kasebier, Gertrude
ID Number
PG.69.238.04
accession number
287543
catalog number
69.238.04

Child with pigtails

Currently not on view
Location
Currently not on view
ID Number
PG.74.25.32
catalog number
74.25.32
accession number
2009.0146

Tak-bi-tsa-kish

Currently not on view
Location
Currently not on view
depicted
Tak-bi-tsa-kish
ID Number
PG.003974.01
accession number
121824
catalog number
3974.01

Keokuk Jr.

A half-length daguerreotype portrait of Native American man wearing head-dress with feathers, necklaces and bangles. He is bare-chested and has stripes painted on arms and chest, and holds arrows. The ornaments are hand-tinted blue & gold.
Description (Brief)
A half-length daguerreotype portrait of Native American man wearing head-dress with feathers, necklaces and bangles. He is bare-chested and has stripes painted on arms and chest, and holds arrows. The ornaments are hand-tinted 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.003974.17
accession number
121824
catalog number
3974.17

Black Elk, Oto Chief

The daguerreotype portrait of Native American man in Indian dress with a lap blanket is identified as "Black Elk, Oto Chief".
Description (Brief)
The daguerreotype portrait of Native American man in Indian dress with a lap blanket is identified as "Black Elk, Oto Chief". 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, but framed.
Location
Currently not on view
date made
1851-1852
photographer
Fitzgibbon, John
depicted
Black Elk
maker
Fitzgibbon, John
ID Number
PG.003974.29
accession number
121824
catalog number
3974.29

Goose, Dakota Sioux Chief

A daguerreotype portrait of a Native American man, Goose, a Dakota Sioux Chief. 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.
Description (Brief)
A daguerreotype portrait of a Native American man, Goose, a Dakota Sioux Chief. 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 uncased.
Location
Currently not on view
date made
1851-1852
maker
Fitzgibbon, John
ID Number
PG.003974.27
accession number
121824
catalog number
3974.27

A Hopi Doorway

Currently not on view
Location
Currently not on view
date made
1910s-1940s
ID Number
PG.004203A
catalog number
4203A
accession number
157717

Kills First, 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.
Kills First looks directly into the camera for the first of two portraits by Käsebier. In the second, he holds two arrows and turns in profile, allowing closer inspection of his clothing and the feathers, beads, and medallions of his attire.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.018
accession number
287543
catalog number
69.236.018

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 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.
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 in the spring of 1898. 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 Gertrude 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. However, 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.69.236.040
accession number
287543
catalog number
69.236.040

Has No Horses, Sioiux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.025
accession number
287543
catalog number
69.236.025

Kneeling Native American Man

Currently not on view
Location
Currently not on view
ID Number
PG.003974.05
accession number
121824
catalog number
3974.05

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