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

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

Amos Little, Sioux Indian, front view

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.
Portrait of Amos Little
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.091
accession number
287543
catalog number
69.236.091

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 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.
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.69.236.053
accession number
287543
catalog number
69.236.053

Drawing of a horse with saddle

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.21
accession number
287543
catalog number
69.237.21

Whirling Hawk, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.058
accession number
287543
catalog number
69.236.058

Spotted-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.
Spotted Tail, his wife, and son stand before two tipis in Buffalo Bill's Wild West village, about 1898, in this photograph by Gertrude Käsebier. Each tipi is painted with drawings significant to the family or tribe. Spotted Tail stands, a traditional Sioux blanket wrapped at his waist. His wife's dress is adorned with elk teeth and a beaded scarf. The boy, leans close to his father, looking warily at the photographer.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.013
accession number
287543
catalog number
69.236.013

Whirling Hawk, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.060
accession number
287543
catalog number
69.236.060

Zitkala Sa, Sioux Indian and activist

In addition to photographing the Sioux performers sent by Buffalo Bill Cody to her 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 the Sioux performers sent by Buffalo Bill Cody to her 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. She was educated 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.69.236.102
accession number
287543
catalog number
69.236.102

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.69.236.086A
accession number
287543
catalog number
69.236.086A

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.69.236.086B
accession number
287543
catalog number
69.236.086B

Short Man, 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.
Short Man is photographed seated, presumably in the middle of the studio, with a view of the wall and framed photographs in the background, about 1898. In full war bonnet, or feather headdress, and bone breast-plate, Short Man sits wrapped in a blanket, holding a war club and wearing a vest with a star, possibly an Indian police badge for Buffalo Bill's Wild West Show. The chiefs and leaders of Buffalo Bill's Indian Police were responsible for overseeing all Native Americans traveling with the show and received slightly more pay than other Indians.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.019
accession number
287543
catalog number
69.236.019

Sioux Indian drawing, "This is American Bison"

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.238.01
accession number
287543
catalog number
69.238.01

Kills First, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.017
accession number
287543
catalog number
69.236.017

Woman with infant in cradle

Currently not on view
Location
Currently not on view
Date made
ca 1900
maker
Kasebier, Gertrude
ID Number
PG.73.15.20
catalog number
73.15.20
accession number
306580

Whirling Hawk, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.057
accession number
287543
catalog number
69.236.057

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 Käsebier for many years, visiting her and inviting her to performances. A note that 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."
Kasebier continued, "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.69.236.111
accession number
287543
catalog number
69.236.111

Sitting Holy, 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.
This man is identified on the photographer's mounts both as Kills Close to the Lodge and Sitting Holy. The original Käsebier negative held by the Library of Congress alternately identifies this Sioux Indian as Luke Big Turnips.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.051
accession number
287543
catalog number
69.236.051

Zitkala Sa, Sioux Indian and activist

In addition to photographing the Sioux performers sent by Buffalo Bill Cody to her 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 the Sioux performers sent by Buffalo Bill Cody to her 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. She was well educated 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.69.236.104
accession number
287543
catalog number
69.236.104

White Wolf, 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.
Portrait of White Wolf
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.093
accession number
287543
catalog number
69.236.093

Zitkala Sa, Sioux Indian and activist

In addition to photographing the Sioux performers sent by Buffalo Bill Cody to her 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 the Sioux performers sent by Buffalo Bill Cody to her 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. She was educated 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.69.236.107
accession number
287543
catalog number
69.236.107

Whirling Horse, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.075
accession number
287543
catalog number
69.236.075

Drawing of two figures and a teepee

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.24
accession number
287543
catalog number
69.237.24

Drawing of a Buffalo

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.23
accession number
287543
catalog number
69.237.23

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