The Gertrude Käsebier Collection of American Indian portraits in the Photographic History Collection at the National Museum of American History consists of 112 platinum and gum-bichromate prints. The photographic prints are important visual records documenting Sioux Indian tribesmen, women, and children, in studio or non-Indian settings. Contrary to popular and sometimes staged late-19th-century imagery of American Indians in full ceremonial clothing and accessories, Käsebier captured on film the poignant expressions and personality of the Indians that reflected her personal experience of the true, “raw,” and “authentic” Native American. The photographs in the Collection are rare glimpses of Indians in Buffalo Bill’s Wild West Show; they exhibit Käsebier's renowned artistic, sensitive, and captivating style of pictoralism. The collection was donated to the Museum by Käsebier’s granddaughter Mina Turner, in March 1969.
As a pioneering woman and artist, Gertrude Käsebier (1852-1934) quickly developed an affinity for articulating her perceptions about the world through photography after studying painting at Brooklyn’s Pratt Institute in 1889. She began her artistic career late in life, at the age of thirty-seven, after her three children, Frederick, Gertrude Jr., and Hermine, had reached adolescence. Her talent as a photographer was celebrated internationally, and she became active in the exclusive, emerging, male-dominated photographic world as a founding member of both the Photo Secession group and the Pictorial Photographers of America.
Käsebier opened her own professional portrait studio in 1897 on New York’s Fifth Avenue, less than a decade after completing her courses at Pratt. Exhibiting her work with the Photo-Secessionists-- a group of highly regarded art photographers led by Alfred Stieglitz dedicated to producing photography as an equal to the traditional fine arts. This contributed to her rapid and widespread popularity. In high admiration of Käsebier’s portrait photography, Stieglitz commissioned her to photograph himself, his mother, and his wife. He also featured her work in the premiere issue of Camera Work, his noted photographic magazine. And in 1899, Stieglitz declared Käsebier as “beyond dispute, the leading portrait photographer in the country.”
Käsebier drew upon her knowledge of painting to achieve two necessary goals for her portraits: (1) to exhibit personality-- “to make likenesses that are biographies, to bring out in each photograph the essential personality” and (2) to compose pictures clearly and simply. “One of the most difficult things to learn in painting is what to leave out. How to keep things simple. The same applies to photography. The value of composition cannot be over-estimated: upon it depends the harmony and the sentiment.” In applying this methodology to her photography, Käsebier stamped each image she captured with her personal touch and artistic signature.
Gertrude Käsebier’s childhood memories of Eureka Gulch, Colorado, at the age of eight, included fond memories of relationships with the Sioux Indians and their children who were friendly toward her and her family. Taking portraits of the Sioux Indians was personally rewarding for Käsebier, who also contributed some of her portraits to the popular Everybody’s Magazine in 1901. According to her granddaughter, Mina Turner, Käsebier held a deep respect for the Sioux: “She felt they were the only truly honest people she knew.” Gertrude’s correspondence with these individuals through letters, drawings, and the photographs she took of them when they visited New York, testify to this special and valued relationship.
Käsebier’s Native American portraits can be divided into two groups: Sioux Indians participating in Buffalo Bill’s Wild West show, which traveled throughout the United States from the 1890s to 1915, and portraits of Zitkala Sa (also known as Gertrude Simmons Bonnin), a writer, teacher, violinist, and voice of Indian rights. According to Smithsonian curator Michelle Delaney, “Gertrude Käsebier’s collection of Native American portraits is a poignant testimony to her independent spirit and her modern awarness of the possibilities of fine art photography.”
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 a matter of 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 natural light provided by the single window in Gertrude Käsebier's studio accents this group portrait of the Sioux Indians chiefs and men visiting in April 1898. Käsebier often used lighting effectively in portraits to highlight her subjects. She created dramatic effects and strong visual lines through her technical skills in developing and printing the images.
Gertrude Käsebier's photographs of Native Americans represent simple, artistic portraits of Indians traveling with Buffalo Bill's Wild West Show and on reservations of the Dakota Sioux. Fond memories of playing with Indian children during her youth led Käsebier to write to William F. Cody with her request to photograph Indians performing in his show at Madison Square Garden in 1898.
Nine Indians were selected to be photographed. Her studio had no elaborate backdrops and the photographs proved poignant. Käsebier sometimes removed Indian regalia from her subjects to depict the Sioux as individuals, with strong personalities and experiences spanning traditional and contemporary life.
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.
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.
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.
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.
Samuel Lone Bear developed the closest lasting friendship with Gertrude Käsebier following this initial portrait sitting in 1898. "Sammy" was educated at a Government Indian School and wrote letters to Käsebier in English over many years, dated as late as 1912. Käsebier's granddaughter Mina Turner remembered vividly one visit to a Wild West show performance, and having Sammy pull her from the ground for a horseback ride around the arena with him. "Granny" waved happily from the stands.
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 a matter of 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 photographer Gertrude Käsebier following the initial portrait session in 1898, 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.
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 a matter of 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.
Samuel Lone Bear developed the closest lasting friendship with Gertrude Käsebier following this initial portrait sitting in 1898. "Sammy" was educated at a Government Indian School and wrote letters to Käsebier in English over many years, dated as late as 1912. Käsebier's granddaughter Mina Turner remembered vividly one visit to a Wild West show performance, and having Sammy pull her from the ground for a horseback ride around the arena with him. "Granny" waved happily from the stands.
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.
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.
Samuel Lone Bear developed the closest lasting friendship with photographer Gertrude Käsebier following this initial portrait sitting in April 1898. "Sammy" was educated at a Government Indian School and wrote letters to Käsebier in English over many years, dated as late as 1912. Käsebier's granddaughter Mina Turner remembered vividly one visit to a Wild West show performance, and having Sammy pull her from the ground for a horseback ride around the arena with him. "Granny" waved happily from the stands.
Lone Bear stands alone for the third portrait in a series in the midst of the 5th Avenue studio, a table covered in white behind. Embroidered American flags decorate his blanket border.
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 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 Indians 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 among 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.
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.
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 Whirling Horse in full headdress and draped blanket.