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

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

Daguerreotype copy of a painting by Charles Deas "Indian looking down from rock"

A daguerreotype copy of a painting by Charles Deas "Indian looking down from rock". It is a portrait of Native American man sitting on rock, bare-chested, bangles of arms, feather in his hair and tomahawk in his hand.
Description (Brief)
A daguerreotype copy of a painting by Charles Deas "Indian looking down from rock". It is a portrait of Native American man sitting on rock, bare-chested, bangles of arms, feather in his hair and tomahawk in his hand. This photograph came to the Museum with 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. The case cover has pattern on both sides.
Location
Currently not on view
Date made
1851-1852
Maker
Deas, Charles
maker
Easterly, Thomas M.
ID Number
PG.003974.20
accession number
121824
catalog number
3974.20

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

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

Willie Spotted Horse, Sioux Indian child

Photographer Gertrude 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.
Description
Photographer Gertrude 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 with 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.69.236.082
accession number
287543
catalog number
69.236.082

Native American Men Drawing

Waiting to be photographed by New York City photographer Gertrude Kasebier (1852-1934), Native Americans traveling with Buffalo Bill's Wild West Show sketch at a table in her studio on 5th Avenue, about 1898.
Description
Waiting to be photographed by New York City photographer Gertrude Kasebier (1852-1934), Native Americans traveling with Buffalo Bill's Wild West Show sketch at a table in her studio on 5th Avenue, about 1898. William "Buffalo Bill" Cody selected nine Indians from his touring show to have their portraits made after receiving a letter of inquiry from Kasebier. The photographer maintained long friendships with a few of the Wild West Show's Indians, corresponding with them from 1898 to about 1912. Examples of these letters were published in Everybody's Magazine in January 1901.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.006
accession number
287543
catalog number
69.236.006

Chief Red Horn Bull, 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.
Chief Red Horn Bull sits, holding a war club. His face appears scarred and deformed from his years of battle and hard life.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.044
accession number
287543
catalog number
69.236.044

A Hopi Woman

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

Native American man wearing beads and large feathered headdress

Currently not on view
Location
Currently not on view
ID Number
PG.003974.08
accession number
121824
catalog number
3974.08

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.69.236.106
accession number
287543
catalog number
69.236.106

Portrait of 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 and shield, and wearing a gun. He also wears a bone breast-plate, armbands, and feather and fur accessories.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.008
accession number
287543
catalog number
69.236.008

Native American man

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.237.12
accession number
287543
catalog number
69.237.12

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 before a camera. Black Fox almost smiles for the portraits. This comfort before the camera was generally uncharacteristic for Native Americans in 1898, for many still believed in the potential for the lens to steal their soul. Black Fox poses first in his feather headdress and then more playfully, with cigarette in hand, relaxed, wrapped in a blanket, and wearing a patterned silken scarf with a pin, 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.69.236.022
accession number
287543
catalog number
69.236.022

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 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.
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. 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 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. 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.69.236.042
accession number
287543
catalog number
69.236.042

Amos Two Bulls, Sioux Indian, left 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 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.
Gertrude Kasebier photographed left and right close-up profile views of Amos Two Bulls. These reverse platinum images are toned in shades of brown and black, respectively, expertly applied by Käsebier during the printing process. "Sioux Indian/$5.00" is written on the back of the right profile view.
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.067
accession number
287543
catalog number
69.236.067

Sioux Indian drawing by Joe Black Fox

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.238.08
accession number
287543
catalog number
69.238.08

No. 1149 Pueblo of Taos

Currently not on view
Location
Currently not on view
date made
ca 1880s
maker
Jackson, William Henry
ID Number
PG.006026E
accession number
224482
catalog number
6026E

Zitkala-Sa, Sioux Indian and activist

In addition to photographing of Sioux performers sent by Buffalo Bill Cody to the 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 of Sioux performers sent by Buffalo Bill Cody to the 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. Well educated, she studied 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.69.236.110
accession number
287543
catalog number
69.236.110

Joe Black Fox, Sioux Indian

Currently not on view
Location
Currently not on view
Date made
ca 1898
maker
Kasebier, Gertrude
ID Number
PG.69.236.023
accession number
287543
catalog number
69.236.023

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 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 Käsebier following the initial portrait session, 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.69.236.046
accession number
287543
catalog number
69.236.046

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