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Page 9 of 182
-
- Location
- Currently not on view
- ID Number
- 2015.0074.0187.10
- accession number
- 2015.0074
- catalog number
- 2015.0074.0187.10
-
- 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
-
- 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, seemingly patient as the photographer takes his front view and left and right profiles. He agreed, 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 with a war club. A blanket, or rug, hangs as a backdrop; the profiles show the heavy wooden studio chair used in the sittings.
- Location
- Currently not on view
- Date made
- ca 1898
- maker
- Kasebier, Gertrude
- ID Number
- PG.69.236.026
- accession number
- 287543
- catalog number
- 69.236.026
-
- 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.
- 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 agreed, 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 with a war club. A blanket, or rug, hangs as a backdrop; the profiles show the heavy wooden studio chair used in the sitting.
- Location
- Currently not on view
- Date made
- ca 1898
- maker
- Kasebier, Gertrude
- ID Number
- PG.69.236.027
- accession number
- 287543
- catalog number
- 69.236.027
-
- Description
- In 1898 New York photographer Gertrude Käsebier (1852-1934) embarked on a deeply personal project, creating a set of prints that rank among the most compelling of her celebrated body of work. Käsebier was on the threshold of a career that would establish her as both the leading portraitist of her time and an extraordinary art photographer. Her new undertaking was inspired by viewing the grand parade of Buffalo Bill's Wild West troupe en route to Madison Square Garden for several weeks of performances.
- Käsebier had spent her childhood on the Great Plains, and retained many vivid, happy memories of playing with nearby Native American children. She quickly sent a letter to William "Buffalo Bill" Cody (1846-1917), requesting permission to photograph in her studio the Sioux Indians traveling with the show. Within weeks, Käsebier began a unique and special project photographing the Indian men, women, and children formally and informally. Friendships developed, and her photography of these Native Americans continued for more than a decade.
- Short Man is photographed seated, presumably in the middle of the studio, with a view of the wall and framed photographs in the background, about 1898. In full war bonnet, or feather headdress, and bone breast-plate, Short Man sits wrapped in a blanket, holding a war club and wearing a vest with a star, possibly an Indian police badge for Buffalo Bill's Wild West Show. The chiefs and leaders of Buffalo Bill's Indian Police were responsible for overseeing all Native Americans traveling with the show and received slightly more pay than other Indians.
- Location
- Currently not on view
- Date made
- ca 1898
- maker
- Kasebier, Gertrude
- ID Number
- PG.69.236.019
- accession number
- 287543
- catalog number
- 69.236.019
-
- 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
-
- 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.69.236.064
- accession number
- 287543
- catalog number
- 69.236.064
-
- 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.
- 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 agreed, 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 with a war club. A blanket, or rug, hangs as a backdrop; the profiles show the heavy wooden studio chair used in the sittings.
- Location
- Currently not on view
- Date made
- ca 1898
- maker
- Kasebier, Gertrude
- ID Number
- PG.69.236.030
- accession number
- 287543
- catalog number
- 69.236.030
-
- 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
-
- 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
-
- Description
- This ambrotype portrait of Mea-to-sa-bi-tchi-a, or Smutty Bear, a Yankton Dakota, is among the first photographic images of Native Americans. Smutty Bear was part of a large Native American delegation that came to Washington, D.C., during the winter of 1857–;58. Under duress, members of the delegation signed a treaty that greatly reduced their lands in return for promises of money and provisions that were never fulfilled. This prompted the Sioux Revolt of 1862, which resulted in the deaths of hundreds of settlers and the mass hangings of 38 Native Americans. 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, D.C. When passing through St. Louis, Missouri, these chiefs were photographed by Thomas Easterly and John Fitzgibbons.
- The ambrotype process, most popular in the mid-1850s, is a wet-plate collodion emulsion on glass. These images were then placed in cases with a dark lining for best viewing.
- Location
- Currently not on view
- Date made
- ca 1858
- depicted
- Mea-to-sa-bi-tchi-a
- ID Number
- PG.003974.07
- accession number
- 121824
- catalog number
- 3974.07
-
- Description (Brief)
- Lithograph, hand colored. Dramatic Yosemite landscape with small encampment of Native Americans in the foreground. Two tepees and two canoes shown with several figures.
- Location
- Currently not on view
- printer
- Currier & Ives
- original artist
- Palmer, Frances F.
- maker
- Palmer, Frances F.
- ID Number
- GA.21328
- catalog number
- 21328
-
- Description
- A poster encouraging Native Americans to participate in the 2000 census.
- Location
- Currently not on view
- Date made
- 2000
- publisher
- U. S. Census Bureau
- maker
- United States Department of Commerce Weather
- ID Number
- 2005.0210.14
- accession number
- 2005.0210
-
- Description
- A poster encouraging Native Americans to participate in the 2000 census.
- Location
- Currently not on view
- Date made
- 2000
- publisher
- U. S. Census Bureau
- maker
- United States Department of Commerce Weather
- ID Number
- 2005.0210.04
- accession number
- 2005.0210
-
- Description
- A poster asking Native Americans to respond to the 1990 census.
- Location
- Currently not on view
- date made
- 1990
- associated date
- April 1, 1990
- commissioner
- U. S. Census Bureau
- maker
- U. S. Census Bureau
- ID Number
- 1990.0173.23
- catalog number
- 1990.0173.23
- accession number
- 1990.0173
-
- Description (Brief)
- Native American man and woman; woman is seated crossed legged on ground to the right; man is seated in chair; plank fence in background
- Location
- Currently not on view
- date made
- 1850s-1860s
- ID Number
- 2012.3033.0126
- nonaccession number
- 2012.3033
- catalog number
- 2012.3033.0126
-
- Description (Brief)
- Souvenir pennant with stamped image of a totem pole, one of a half dozen in the city of Seattle, Washington, this, the best known, in Pioneer Square; white on red ground; yellow left edge and ties. Used by donor.
- For Native Americans in the Pacific Northwest, totem poles often serve to proclaim a clan's status. The figures carved into the poles represent a clan's ancestral history as well as its rights and privileges. The totem pole shown on this pennant stands near Pike Street Market in Seattle and, in manner shown here, serves a different purpose, to attract tourists.
- Location
- Currently not on view
- ID Number
- 1979.1162.112
- accession number
- 1979.1162
- catalog number
- 1979.1162.112
-
- Location
- Currently not on view
- depicted
- Tak-bi-tsa-kish
- ID Number
- PG.003974.01
- accession number
- 121824
- catalog number
- 3974.01
-
- Location
- Currently not on view
- Associated Name
- Brooklyn Dodgers
- Philadelphia Athletics
- Cherokee
- ID Number
- CL.310547.034.06
- catalog number
- 310547.034.06
- accession number
- 310547
-
- Location
- Currently not on view
- date made
- ca 1910
- Graphic Artist
- Carlisle Indian Industrial School
- ID Number
- 2011.0018.02
- accession number
- 2011.0018
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