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

Gertrude Kasebier

Currently not on view
Location
Currently not on view
Date made
ca 1900
depicted (sitter)
Kasebier, Gertrude
maker
Kasebier, Gertrude
ID Number
PG.73.15.27
accession number
306580
catalog number
73.15.27

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

Chester Beach

Currently not on view
Location
Currently not on view
Date made
ca 1911
maker
Kasebier, Gertrude
ID Number
PG.73.15.11
catalog number
73.15.11
accession number
306580

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

The Heritage of Motherhood

Currently not on view
Location
Currently not on view
Date made
ca 1900
maker
Kasebier, Gertrude
ID Number
PG.73.15.07
accession number
306580
catalog number
73.15.07

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

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

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

Woman in rocking chair and child seated on floor

Currently not on view
Location
Currently not on view
Date made
ca 1900
maker
Kasebier, Gertrude
ID Number
PG.73.15.22
accession number
306580

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

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

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

Whirling Hawk, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.062
accession number
287543
catalog number
69.236.062

Whirling Hawk, 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.
Identified as Whirling Hawk in the 1901 Everybody's Magazine article, "Some Indian Portraits," this Native American is Charging Thunder, according to original Käsebier negatives held in the Library of Congress. The feathers worn in his hair, his fringed shirt, medallions, pins, and wrist cuffs are distinctive in comparison to those worn by the other Sioux photographed.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.063
accession number
287543
catalog number
69.236.063

Has No Horses, Sioux Indian, profile in headdress

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, seeming patient as the photographer takes his front view and left and right profiles. He agrees, 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 holding a war club. A blanket, or rug, hangs as a backdrop; the profiles show the heavy wooden studio chair used.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.024
accession number
287543
catalog number
69.236.024

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 the photographer for many years, visiting her and inviting her to performances. A note which 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. 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.69.236.112
accession number
287543
catalog number
69.236.112

Whirlwind 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 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 Whirlwind Horse, wearing a full feather headdress and tailored cloth shirt.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.099
accession number
287543
catalog number
69.236.099

Adoration

Currently not on view
Location
Currently not on view
Date made
ca 1900
maker
Kasebier, Gertrude
ID Number
PG.73.15.03
accession number
306580
catalog number
73.15.03

Wife of American Horse, Sioux Indian, cropped profile

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.
The portrait of the wife of American Horse is the only example of an individual Sioux woman photographed with the Wild West group in Käsebier's studio. Families of the men performing with the show were allowed to accompany them and live in the camp. The women tended to family needs, including mending clothes, producing beadwork, and making moccasins.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.088
accession number
287543
catalog number
69.236.088

Chief Iron Tail, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.041
accession number
287543
catalog number
69.236.041

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