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.

 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.

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