INSIDE NMAI
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Top: A 1891 silver gelatin photograph shows a rarely captured quiet scene of William “Buffalo Bill” Cody talking with one of the Lakota performers in his Buffalo Bill’s Wild West show. Cody’s shows, which toured many countries, would help perpetuate stereotypes of American Indians. Frank Lehner Photograph Collection. P10216
Middle: This stereograph shows American Indian chiefs riding in President Theodore Roosevelt’s inaugural parade on March 4, 1905, in Washington, D.C.: Goyathlay (Geronimo/Chiricahua Apache), Quanah Parker (Comanche), Buckskin Charlie (Ute), Hollow Horn Bear (Brulé), American Horse (Oglala Lakota) and Little Plume (Piegan Blackfeet). Donated by Ken Maley. NMAI-999_pht_2017.0007
Bottom: This postcard, postmarked 1914, shows nurses inoculating students at the Carlisle Indian Industrial School in Pennsylvania, one of the many boarding schools to which U.S. government officials took American Indian children. Dale Jenkins postcard and photograph collection. NMAI-069_pht_001_005
a sitter’s likeness. Large and small images were produced from glass negatives for many de- cades during the late 19th century, and are ap- parent throughout NMAI’s photo collection. By the mid-1850s, albumen paper prints
began to be made from negatives by using the albumen in egg whites to coat the paper. This would bind photographic chemicals used to create the image to the paper. One photog- rapher who used this process was Alexander Gardner, a Scottish-born photographer who excelled at wartime photography. He worked for the now-famous photographer Mathew Brady in his Washington, D.C., studio before capturing images of the scenes and soldiers of the Civil War. Gardner then traveled West with General William T. Sherman to docu- ment meetings, people and locations during the early years of the American Indian Wars of 1866 to 1868. The Gardner albumen paper prints in the NMAI archives are from Sher- man’s personal collection. The stereograph card was a popular prod-
uct produced from 1850s to the 1940s. Two nearly duplicate images were set side-by-side on a card that was inserted into a viewer that combined the image and made it appear three- dimensional. Initially made for entertainment purposes, they also have historic value. One stereograph card in NMAI’s collection, for example, shows the parade for Theodore Roo- sevelt’s presidential inauguration. From the 1880s through much of the 20th century, most photographs were black-
38 AMERICAN INDIAN SUMMER 2020
THE LEIGHTON AND VALENTINE CO., NEW YORK CITY
PHOTO BY BENJAMIN LLOYD SINGLEY. KEYSTONE VIEW COMPANY
PHOTO BY FRANK LEHNER
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