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Maker: Gertrude Käsebier (1852-1934)

Born: USA

Active: USA

Medium: Photogravure

Size: 6.5" x 8"

Location: USA

 

Publication: Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997, pg 213

Rosenblum, Naomi, A World History of Photography, Abbeville Press, New York, 1997, pl 356

Roberts, Pam, Photohistorica, Landmarks in Photography, Artisan, New York, 2000, pg 123-124

Michaels, Barbara L., Gertrude Kasebier, The Photographer and her Photographs, Harry N Abrams, New York, 1992, pl 64

Lovell, Zwahlen, & Folts, Two Centuries of Shadow Catchers, Delmar Publishers, Albany, New York, 1994, fig. 10.3

Peter C. Bunnell, A Photographic Vision, Pictorial Photography, 1889-1923, Peregine Smith, Inc 1980, pg 117

Weston Naef, The Collection of Alfred Stieglitz, Metropolitan Museum of Art/Viking Press, New York, 1978, pg 388, #349

Camera Work, A Pictorial Guide, Dover, 1978, pg

 

Other Collections: Negative at GEH, Musee d'Orsay, Princeton Art Museum (platinum print), MOMA (platinum print)

 

Notes: From Camera Work, No 10. Subjects are Beatrice Baxter Ruyl , an accomplished illustrator of children's books and Charles O'Malley, Kasebier's grandson in Newport, RI.

 

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE COLLECTION

Visit with the wind Gertrude and Emmanuele on the patio.

JH

 

SI Neg. 2004-57857. Date: na...Photogravure?: Left profile of Sioux male with full feather headdress, wearing blanket around shoulders, mat board mount without cover tissue; print from same negative as 69.236.073 to 69.236.076 ..Credit: Gertrude Kasebier (Smithsonian Institution)

Maker: Gertrude Käsebier (1852-1934)

Born: USA

Active: USA

Medium: vintage platinum print

Size: 8.25 in x 6.25 in

Location: USA

 

Publication:

 

Other Collections: the original gelatin on glass negative for this image is in the Eastman House collection. MOMA has a gum bichromate print.

 

Notes: From the former collection of Mina Turner, Gertrude Kasebier's grandaughter, this image is a variant pose of the sitter.

 

Provence: from Peter Bunnell to The George Eastman House Benefit Auction, Sotheby's October 4, 2010

 

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Maker: Gertrude Käsebier (1852-1934)

Born: USA

Active: USA

Medium: Photogravure

Size:

Location:

 

Publication: Camera Notes, Vol III, No. 1, July, 1899, pg 11

Camera Notes, Volume III-IV, 1899-1901, Da Capo Press, New York, 1978

Barbara L. Michaels, Gertrude Kasebier, The Photographer and Her Photographs, Harry N. Abrams, New York, fig 28 (platinum print)

 

Other Collections: MOMA

 

Notes:

 

To view our archive organized by Collections, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Paul Strand, the son of immigrants from Bohemia (now western Czechoslovakia), was born in New York City on 16th October, 1890.

Strand was given his first camera by his father when he was twelve years old. Two years later he joined the Ethical Culture School where he was taught by Lewis Hine, who at that time was involved in a project photographing immigrants arriving at Ellis Island. Strand joined Hine's extra-curricular course in photography. Hine also took Strand to the Photo-Secession Gallery at 291 Fifth Avenue and introduced him to the work of Alfred Stieglitz, David Octavius Hill, Julia Margaret Cameron, Gertrude Kasebier and Clarence White.

A member of the the Camera Club, Strand worked for an insurance company after graduation in 1911. However, two years later he became a self-employed commercial photographer in 1911. He worked closely with Alfred Stieglitz, who was a strong advocate of what he called Straight Photography. In 1916 Strand's photographs appeared in Camera Work and Stieglitz wrote that "Strand is without doubt the most important photographer developed in this country since Alvin Langdon Coburn."

During the First World War Strand was a member of the Army Medical Corps. After the war, Strand collaborated with Charles Scheeler on the documentary film, Mannahatta (1925). Strand continued with his work as a motion picture cameraman when he worked on the film The Wave (1933).

With the onset of the Depression Strand became active in politics. A committed socialist, he worked with he Group Theatre that had been formed in New York by Harold Clurman, Cheryl Crawford and Lee Strasberg in 1931. The Group was a pioneering attempt to create a theatre collective, a company of players trained in a unified style and dedicated to presenting contemporary plays. Members of the group tended to hold left-wing political views and wanted to produce plays that dealt with important social issues.

In 1932 Strand was asked by the Mexican government to run the department of film and photography at the Museum of Fine Arts. In 1935 Strand visited the Soviet Union with Harold Clurman and Cheryl Crawford where he met the radical film director, Sergi Eisenstein. When Strand returned to the United States he began to produce socially significant documentary films. This included The Plow that Broke the Plains (1936), his film on trade unions in the Deep South, People of the Cumberlands (1937) and Native Land (1942).

In 1936 Strand joined with Berenice Abbot to establish the Photo League in New York. in 1936. Its initial purpose was to provide the radical press with photographs of trade union activities and political protests. Later the group decided to organize local projects where members concentrated on photographing working class communities.

The Museum of Modern Art in New York held a full-scale retrospective of Strand's work in 1945. The Photo League, like many radical organizations, was investigated by the House of Un-American Activities Committee during the late 1940s. This led to members being blacklisted and Strand decided to leave the United States and live in France.

Strand published a series of books including Time in New England (1950), France in Profile (1952), Un Paese (1954), Mexican Portfolio (1967), Outer Hebrides (1968) and Ghana: An African Portrait (1976). Paul Strand died on 31st March, 1976.

www.spartacus.schoolnet.co.uk/USAPstrand.htm

Kasebier, Gertrude,

Platinum Print,

1900.

Maker: William H. Rau (1855-1920)

Born: USA

Active: USA

Medium: photogravure

Size: 5.5 in x 6.5 in

Location: USA

 

Publication:

 

Other Collections:

 

Notes: Exhibition of Gertrude Käsebier photographs. Light spot upper right that probably occurred in the printing and a few of what appear to be very minor surface abrasions, otherwise in excellent condition. Provenance: Helios Gallery, NY. The Second Philadelphia Photographic Salon was held from October 22 to November 19, 1899 at the galleries of the Pennsylvania Academy of Fine Arts and sponsored by the Photographic Society of Philadelphia.

 

William Herman Rau (January 19, 1855 – November 19, 1920) was an American photographer, active primarily in the latter half of the 19th and early 20th centuries. He is best remembered for his stereo cards of sites around the world, and for his panoramic photographs of sites along the Pennsylvania Railroad. He was official photographer of the St. Louis World's Fair in 1904, and of the Lewis and Clark Centennial Exposition in Portland in 1905. His work is now included in the collections of the Smithsonian Institution and the Getty Museum.

 

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

First photopolymer gravure done in a CA workshop today. Not perfect, as there are some issues with the plate. Photo was taken 100+ years ago by Gertrude Kasebier. Digital scan from US Library of Congress.

~ The key to artistic photography is to work out your own thoughts, by yourselves. Imitation leads to certain disaster. Do not mind that. If a thing is good it will survive.~

~Gertrude kasebier.

 

Texture by: Texturetime. Pale Spring meadow

www.flickr.com/photos/texturetime/

 

© ALL RIGHTS RESERVED. Use without permission is illegal

Zitkala-Sa was a beautiful Yankton Sioux woman of Native American & white mixed ancestry. She was well educated and went on to become an accomplished author, musician, composer and later went on to work for the reform of Indian policies in the United States.

 

Photo Gertrude Stanton Käsebier. Amos Two Bulls. Circa 1900.

Tirage Laurent Gloaguen.

 

Tirage platine et palladium sur papier Arches Platine.

Format : 21 x 27.3 cm - Papier : 28 x 38 cm.

 

Platinum-palladium print on Arches Platine paper.

Size: 8.25” x 10.75” - Paper size: 11” x 15”.

1905 photograph taken by Gertrude Käsebier of Beatrice Baxter Ruyl

 

Copied from Jennifer James on mothering.com

Imogen Cunningham (1883-1976)

American

 

Title: “The Dream”

1910

Silver Gelatin Print: 11 3/4 x 8 1/2 in. (29.8 x 21.6 cm)

Detroit Institute of Arts

 

Bio:

Imogene Cunningham was born in Portland, Oregon in 1883. At the age of 18 she bought her first camera, a 4x5 view camera that she soon sold. She didn’t pick up a camera again until after seeing the work of Gertrude Kasebier that inspired her to get back into the field subsidizing her tuition by photographing plants for the botany department where she was studying.

After finishing her studies she went on to work under Edward S. Curtis in Seattle giving her an invaluable opportunity to see the business of photography and portraiture.

Continuing her studies and now under scholarship, Cunningham moved to Dresden where she would publish her paper, “About the Direct Development of Platinum Paper for Brown Towns”. On her way back to Seattle she came across Alfred Stieglitz and Gertrude Kasebier whos work had influenced he so greatly.

From this point on Cunningham began to gather a certain degree of fame fro her photographs that she made in her portrait studio in Seattle. She exhibied work across the country and eventually found her way back to botanical photogrphy even spending years simply studying magnolias. Her years of fantastic work lead to her evenual imployment at Vanity Fair in 1932. Her idea at Vanity Fair was to photograph stars without make-up or any of hollywoods false glamor.

This type of work seems to have led dirrectly into her cofounding of the infamous group “F/64” which attempted to find a form of “straight photography”. The group in short, defined photography “as an art form by a simple and direct presentation through purely photographic methods”. She continued photographing until her death in 1976.

 

Caption:

This photograph is a very clear example of the pictorialist style, a style that tried to imitate academic painting. This pitcorialists style is seeen through the composition of the shot and the pose of the model. The face and posture are almost madonna like and with the addition of the very soft focus that was often achieved by acutally smearing a piece of glass in front of the lense with vasaline, or heavy darkroom manipulaiton. The emphasis of the style was personal artiistic expression and this sharply contrasts with the staight photography of the future which Imogene would accutally co-found with the rest or Group F/64. Pictorialism's decline was closely associated with the rise of modernism the founding principles of F/64.

 

SI Neg. 2004-57819. Date: na...Platinotype: Right profile of "Iron Tail" with full feather headdress, initals "GK" in red at lower left corner; "Iron-Tail with his feathers" in pencil on verso ..Credit: Gertrude Kasebier (Smithsonian Institution)

SI Neg. 2004-57784. Date: na...Platinotype: Sioux girl, "Zitkala-Sa" wearing a white long-sleeved dress and holding violin and bow, floral wallpaper in background ..Credit: Gertrude Kasebier (Smithsonian Institution)

Paul Strand, the son of immigrants from Bohemia (now western Czechoslovakia), was born in New York City on 16th October, 1890.

Strand was given his first camera by his father when he was twelve years old. Two years later he joined the Ethical Culture School where he was taught by Lewis Hine, who at that time was involved in a project photographing immigrants arriving at Ellis Island. Strand joined Hine's extra-curricular course in photography. Hine also took Strand to the Photo-Secession Gallery at 291 Fifth Avenue and introduced him to the work of Alfred Stieglitz, David Octavius Hill, Julia Margaret Cameron, Gertrude Kasebier and Clarence White.

A member of the the Camera Club, Strand worked for an insurance company after graduation in 1911. However, two years later he became a self-employed commercial photographer in 1911. He worked closely with Alfred Stieglitz, who was a strong advocate of what he called Straight Photography. In 1916 Strand's photographs appeared in Camera Work and Stieglitz wrote that "Strand is without doubt the most important photographer developed in this country since Alvin Langdon Coburn."

During the First World War Strand was a member of the Army Medical Corps. After the war, Strand collaborated with Charles Scheeler on the documentary film, Mannahatta (1925). Strand continued with his work as a motion picture cameraman when he worked on the film The Wave (1933).

With the onset of the Depression Strand became active in politics. A committed socialist, he worked with he Group Theatre that had been formed in New York by Harold Clurman, Cheryl Crawford and Lee Strasberg in 1931. The Group was a pioneering attempt to create a theatre collective, a company of players trained in a unified style and dedicated to presenting contemporary plays. Members of the group tended to hold left-wing political views and wanted to produce plays that dealt with important social issues.

In 1932 Strand was asked by the Mexican government to run the department of film and photography at the Museum of Fine Arts. In 1935 Strand visited the Soviet Union with Harold Clurman and Cheryl Crawford where he met the radical film director, Sergi Eisenstein. When Strand returned to the United States he began to produce socially significant documentary films. This included The Plow that Broke the Plains (1936), his film on trade unions in the Deep South, People of the Cumberlands (1937) and Native Land (1942).

In 1936 Strand joined with Berenice Abbot to establish the Photo League in New York. in 1936. Its initial purpose was to provide the radical press with photographs of trade union activities and political protests. Later the group decided to organize local projects where members concentrated on photographing working class communities.

The Museum of Modern Art in New York held a full-scale retrospective of Strand's work in 1945. The Photo League, like many radical organizations, was investigated by the House of Un-American Activities Committee during the late 1940s. This led to members being blacklisted and Strand decided to leave the United States and live in France.

Strand published a series of books including Time in New England (1950), France in Profile (1952), Un Paese (1954), Mexican Portfolio (1967), Outer Hebrides (1968) and Ghana: An African Portrait (1976). Paul Strand died on 31st March, 1976.

www.spartacus.schoolnet.co.uk/USAPstrand.htm

Book Title: from Camera Work, January 1903, 1:27

Artist: Gertrude Kasebier

Artist Bio: American, 1852 - 1934

Creation Date: 1902

Print Date: 1903

Process: gum; halftone

Credit Line: Gift of Michael and Joyce Axelrod

Accession Number: 1993.017.004

6 of 365/2 - This weekend I found a book published by Taschen showing all the photographic images published by Alfred Stieglitz in his journal Camera Work. This is such an amazing book. He showcased photography that was more painterly and used an expensive photogravure method of reproduction. The images are stunning.

 

So tonight, I just had to try my hand at creating a similar kind of look.

 

Strobist: SB600 (-2.0 stops) with homemade snoot through umbrella slightly above and camera left of model. -3 stops underexposed. (shot is a mimic of "Miss N" by Gertrude Kasebier)

 

I'm really liking the tones in this.

Paul Strand, the son of immigrants from Bohemia (now western Czechoslovakia), was born in New York City on 16th October, 1890.

Strand was given his first camera by his father when he was twelve years old. Two years later he joined the Ethical Culture School where he was taught by Lewis Hine, who at that time was involved in a project photographing immigrants arriving at Ellis Island. Strand joined Hine's extra-curricular course in photography. Hine also took Strand to the Photo-Secession Gallery at 291 Fifth Avenue and introduced him to the work of Alfred Stieglitz, David Octavius Hill, Julia Margaret Cameron, Gertrude Kasebier and Clarence White.

A member of the the Camera Club, Strand worked for an insurance company after graduation in 1911. However, two years later he became a self-employed commercial photographer in 1911. He worked closely with Alfred Stieglitz, who was a strong advocate of what he called Straight Photography. In 1916 Strand's photographs appeared in Camera Work and Stieglitz wrote that "Strand is without doubt the most important photographer developed in this country since Alvin Langdon Coburn."

During the First World War Strand was a member of the Army Medical Corps. After the war, Strand collaborated with Charles Scheeler on the documentary film, Mannahatta (1925). Strand continued with his work as a motion picture cameraman when he worked on the film The Wave (1933).

With the onset of the Depression Strand became active in politics. A committed socialist, he worked with he Group Theatre that had been formed in New York by Harold Clurman, Cheryl Crawford and Lee Strasberg in 1931. The Group was a pioneering attempt to create a theatre collective, a company of players trained in a unified style and dedicated to presenting contemporary plays. Members of the group tended to hold left-wing political views and wanted to produce plays that dealt with important social issues.

In 1932 Strand was asked by the Mexican government to run the department of film and photography at the Museum of Fine Arts. In 1935 Strand visited the Soviet Union with Harold Clurman and Cheryl Crawford where he met the radical film director, Sergi Eisenstein. When Strand returned to the United States he began to produce socially significant documentary films. This included The Plow that Broke the Plains (1936), his film on trade unions in the Deep South, People of the Cumberlands (1937) and Native Land (1942).

In 1936 Strand joined with Berenice Abbot to establish the Photo League in New York. in 1936. Its initial purpose was to provide the radical press with photographs of trade union activities and political protests. Later the group decided to organize local projects where members concentrated on photographing working class communities.

The Museum of Modern Art in New York held a full-scale retrospective of Strand's work in 1945. The Photo League, like many radical organizations, was investigated by the House of Un-American Activities Committee during the late 1940s. This led to members being blacklisted and Strand decided to leave the United States and live in France.

Strand published a series of books including Time in New England (1950), France in Profile (1952), Un Paese (1954), Mexican Portfolio (1967), Outer Hebrides (1968) and Ghana: An African Portrait (1976). Paul Strand died on 31st March, 1976.

www.spartacus.schoolnet.co.uk/USAPstrand.htm

This is one of my favorite pics I found in my grandmother's stuff. It's of my great-great grandfather and his general store in Hennessey, Oklahoma. I just love the old west look going on here!

 

I think the original is in a safe deposit box in Oklahoma, so I'm settling for this low-res version currently.

SI Neg. 2004-57780. Date: na...Platinotype: Right profile of "Zitkala-Sa" holding a basket in front of her, embossed signature at lower left, mounted ..Credit: Gertrude Kasebier (Smithsonian Institution)

SIOUX WITH DOG, c1900.

Charging Thunder, a Sioux Native American man, with his dog. Photographed by Gertrude K‰sebier, c1900.

License this image at granger.com/searchresults.asp?image=0116256

Purchase a print of this image at granger.artistwebsites.com/featured/image.html?catalogid=...

Iron White Man. Sioux. 1900. Photo by Gertryde Kasebier. Source - Library of Congress

Maker: Lee Gallery/Paul M. Hertzmann

Nationality: USA

Medium: catalog

Size 8.5 in x 11 in

Location: USA

 

Publication:

 

Other Collections:

 

Notes:

 

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

   

SI Neg. 2004-57880. Date: na...Platinotype: Right 3/4 view of Sioux male wearing feathers in hair, left elbow raised with metal bracelet on left wrist, mounted; print from same negative as 69.236.095, warm tone print ..Credit: Gertrude Kasebier (Smithsonian Institution)

G'day everyone! I hope you're all well? I'm quite emaciated, I'm weak minded

to an extent. I've been getting some nonsense collision within Second Life, in which has made me mentally

unable to concentrate well, until certain circumstances or something known is resolved. Otherwise I'm well! Since

my Birthday I've been getting many wishings & surprises from friends & family, both in Second Life & Real Life.

 

Today I took an image from Hillcrest Island, the lounge in which is inside the shack situated on the hill.

I was debating whether or not to alter furniture around to squeeze more in but I contimplated with myself & I just took

a shot as it was. Down below I'll have all the Credits below alongside the SLURL to the Island.

 

If you do choose to check-out my Island, Id highly recommend that if your computer doesn't perform with good performance, to maybe lower your draw distance down to 30 or lower your graphics as it's quite laggy, even for me & I'm on a gaming computer.

 

Credits:

POST: Wagoner Cabin

Dutchie paintings

Apt B // Summer Travel Couch

Compulsion Plant 3

Apt B // Farm Living Ladder

Kalopsia - Hat - Brown

AF Dress Form w/ Dress

-tres blah- Hodgepodge - Wine Duet

Apple Fall Books Occasional Table w/ Blanket

dust bunny . storybook living . researcher's journal

dust bunny . my plaid chair . adult

junk. tripod lamp.

The sketch by Gertrude Kasebier

Dutchie Self-portrait by Therese Schwartze

22769 ~ [bauwerk] Un voyage a Dali

Apple Fall Monogram Suitcases

dust bunny . wanderlust . belted pillows

hive // ahoy table

dust bunny . storybook living . gramaphone

.10 [ kunst ] - Magazines

Amala - Vintage Camera

Apt B // Hello Billy - Vase

.07 [ kunst ] - Canned plant

8. Apple Fall Lovebirds Candle

DRD- fleamarket 1 - french WW1 SMLE

Apt B // Deer Mount

Apple Fall Georgian Gothic Fireplace

3. Apple Fall Heritage Woodburner

Soy. Enamel Ware Pot [Tree]

03_8f8 - Granny's Winter Cottage - Granny's Messy Present RARE

Trompe Loeil - Zeeland Ottoman + Pillows

Apt B // Farm Living Rug

Apple Fall Books & Map

[Commoner] The Wine Cellar / Table Wine (Red) 2

12 *YS&YS* Industrial Pils Set

Apple Fall 'Lucky Numbers' Cigarettes & Tray

13 *YS&YS* Industrial Olives Bowl

12 *YS&YS* Industrial Chips Bowl

Apple Fall Retro Radio

Apple Fall Milton Curtains

Soy. Reed Screen [Sudare] Light -Half rolled

Alouette - Bailey FIreplace Tools

 

SLURL: maps.secondlife.com/secondlife/Precious%20Island/130/150/27

 

Song Choice: www.youtube.com/watch?v=3zTYIKJOM9Y

Imogen always wanted to be photographer, but her interest deepened when she saw the work of Gertrude Kasebier and then acquired her own camera.

A first cousin, thrice removed.

Identifier: canadianwood22

Title: Canadian wood products industries

Year: 1922 (1920s)

Authors:

Subjects: Furniture industry and trade Woodworking industries

Publisher: Don Mills, Ont. : Southam-MacLean Publications

Contributing Library: Fisher - University of Toronto

Digitizing Sponsor: University of Toronto

  

View Book Page: Book Viewer

About This Book: Catalog Entry

View All Images: All Images From Book

 

Click here to view book online to see this illustration in context in a browseable online version of this book.

  

Text Appearing Before Image:

ll Dunlop Tire & Rubber Goods Co 4 Eagle- Ottawa Leather Co 72 Eaton & Sons, J. R 30 Elliot Machinery Co 121 Engineering & Machine Works of Canada Ltd. 120 Empire Tool Works 113 Farrin Lumber Co., The M. B 50 Fay & Egan Co., J. A 2 Foster, Merriam Co 25 Frye Lumber & Veneer-Co., J. W 84 Gardiner P. W 14 Garlock Machinery Ltd 8 General Machinery Co General Hardwood Lumber Co 31 Globe Vise & Truck Co 119 Grand Rapids Vapor Kiln 112 Guelph Patent Cask. Co. Ltd 87 Gulf Lumber & Trading Co 41 Hafner Mfg. Co 48 Hamilton Gear & Machine Co Harlzell, Geo. W 37 Hay & Co 95 Hay & Co., Peter 103 Hawker Mfg. Co., W. S 18 Hecney. Percy E 32 Hoffman Bros., Co So Hyde Lumber Co 41 Ideal Fence & SpTing Co. of Canada, Ltd. . 73 Industrial Engineering Co 109 Jackson Cochrane & Co 9 Kane Mfg. Co 21 Kasebier Chattield Shellac Co .tl Kinnon Lumber Co., Ltd 103 Klise Mfg. Co 1(17 Klotz Machine Co ~ 24 Kosse.Shoc & Schleyer Co 45 Kraetzer-Cured Lumber Co 99

 

Text Appearing After Image:

A New Design of ClearPine Door Design 37, illustrated herewith has just been put on the mar-ket, and has already created a BIG DEMAND. It is a beautiful door and is sure to become popular with theTrade. Ask For Catalogue No. 7 recently issued covering White Pine Doors Chestnut DoorsVeneered Doors Sash, Columns and Mouldings (Please refer to this advertisement) P. W. Gardiner & Son, Ltd. Telephone 146 GALT - ONTARIO Design 37 Canadian Woodworker and Furniture Manufacturer 15

  

Note About Images

Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

Mona Cornelia Dry plate glass negative

SI Neg. 2004-57785. Date: na...Platinotype: "Zitkala-Sa" wearing a white long-sleeved dress, standing, holding violin in hands ..Credit: Gertrude Kasebier (Smithsonian Institution)

Member of Buffalo Bill's Wild West Show

Photographer, Gertrude Kasebier, 1852-1934

SI Neg. 2004-57787. Date: na...Platinotype: "Zitkala-Sa" reading by windowlight; "Zitkala-Sa" in pencil on verso ..Credit: Gertrude Kasebier (Smithsonian Institution)

Photography as art assignment. Inspired by Kasebier.

 

farm5.static.flickr.com/4029/5076355707_7127c34e85.jpg

SI Neg. 2004-57825. Date: na...Platinotype: "Red-Horn-Bull" in full feather headdress, seated and looking at camera, wearing breastplate made of bone? and holding staff in left hand, large green mount with caption: "RED+HORN+BULL" on lower margin of mount and "GK" at lower right; print from same negative as 69.236.043 ..Credit: Gertrude Kasebier (Smithsonian Institution)

SIOUX COUPLE, c1900.

Samuel American Horse, an Oglala Sioux Native American, and his wife. Photographed by Gertrude K‰sebier, c1900.

License this image at granger.com/searchresults.asp?image=0116560

Purchase a print of this image at granger.artistwebsites.com/featured/image.html?catalogid=...

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 well 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

OBJECT NAME

photograph

DATE MADE

ca 1898

MAKER

Kasebier, Gertrude

PHYSICAL DESCRIPTION

platinum print (overall material)

paper (overall material)

MEASUREMENTS

image: 15.8 cm x 11.5 cm; 6 1/4 in x 4 1/2 in

ID NUMBER

PG*69.236.104

ACCESSION NUMBER

287543

SUBJECT

Photography

Gertrude Kasebier

SEE MORE ITEMS IN

Culture and the Arts: Photographic History

Gertrude Kasebier

DATA SOURCE

National Museum of American History, Kenneth E. Behring Center

DEPICTED

Delaney, Michelle. Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Kasebier

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