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: Indians of North America

Chief No-Che-Ning-An

A half-length daguerreotype portrait of Native American man in check shirt and lap blanket. He has hair ornaments and neck band and a ring on his middle finger, and is holding a rifle.
Description (Brief)
A half-length daguerreotype portrait of Native American man in check shirt and lap blanket. He has hair ornaments and neck band and a ring on his middle finger, and is holding a rifle. 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 sculptured red velvet lining. The case cover has pattern on both sides.
Location
Currently not on view
Date made
1851-1852
maker
Easterly, Thomas M.
ID Number
PG.003974.21
accession number
121824
catalog number
3974.21

Little Bear, Chief of the Kansas tribe

A daguerreotype portrait of Native American man, wearing necklace of bear claws. 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.
Description (Brief)
A daguerreotype portrait of Native American man, wearing necklace of bear claws. 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. Label on back reads, "Little Bear, Chief of the Kansas tribe".
Location
Currently not on view
date made
1851-1852
depicted
Little Bear
maker
Fitzgibbon, John
ID Number
PG.003974.23
accession number
121824
catalog number
3974.23

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

Walls of Taos

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

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

Whirling Hawk, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.056
accession number
287543
catalog number
69.236.056

One of the Spokanes

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
1887
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B108.36
catalog number
4135.B108.36
accession number
106456

High Heron, Sioux Indian in camp, 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.
Kasebier posed High Heron mounted on a horse in front of two tipis, possibly at the Buffalo Bill's Wild West show camp in Brooklyn, New York, about 1898. Four individuals are visible in the background. Ticket holders were able to tour the performers' camp and living quarters before the show and attend rehearsals.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.066
accession number
287543
catalog number
69.236.066

Little Finger

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.07
accession number
287543
catalog number
69.237.07

Whirling Horse, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.076
accession number
287543
catalog number
69.236.076

Portrait of a Native American Man

Currently not on view
Location
Currently not on view
date made
early 1920s
maker
Kilmer, T. W.
ID Number
PG.003665
accession number
70724
catalog number
3665

William Frog, 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 William Frog seated on the studio floor, holding a pipe
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.096
accession number
287543
catalog number
69.236.096

Natives of the Washington Territory

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
1887
maker
Eickemeyer, Jr., Rudolf
ID Number
PG.004135.B108.34
catalog number
4135.B108.34
accession number
106456

Takes Enemy, 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 Takes Enemy, holding a spear or staff
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.098
accession number
287543
catalog number
69.236.098

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 being in front of a camera. Black Fox almost smiles for the portraits. This is generally uncharacteristic for Native Americans. In 1898 many still believed in the power of the lens to steal their soul. Black Fox poses first in his feather headdress and then playfully, with cigarette in hand, relaxed and wrapped in a blanket. He wears a patterned silken scarf with a pin and 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.69.236.021
accession number
287543
catalog number
69.236.021

Two Native American people sitting on a horse

Currently not on view
Location
Currently not on view
ID Number
PG.003974.10
accession number
121824
catalog number
3974.10

Catch Girls

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.18
accession number
287543
catalog number
69.237.18

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

Great Bear, Delaware Chief

This daguerreotype of a faded image is "Great Bear, Delaware Chief" wearing a bear claw necklace. 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)
This daguerreotype of a faded image is "Great Bear, Delaware Chief" wearing a bear claw necklace. 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
depicted
Great Bear
maker
Fitzgibbon, John
ID Number
PG.003974.25
accession number
121824
catalog number
3974.25

Whirling Horse, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.070
accession number
287543
catalog number
69.236.070

Sioux Indian drawing of lone figure by Joe Black Fox

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.238.06
accession number
287543
catalog number
69.238.06

Indians cleanup week

Currently not on view
Location
Currently not on view
ID Number
PG.67.88.00191
accession number
270586
catalog number
67.88.00191

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

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