Keiley’s association with Stieglitz began about 1898, the year he and Gertrude Käsebier photographed a group of Lakota Sioux—including this man, Has-No-Horses—who were in New York as part of Buffalo Bill’s Wild West show. Keiley, a dedicated amateur, collaborated with Stieglitz to improve upon a glycerine-developed platinum printing process that proved to be among the most painterly photographic methods ever devised. This sort of manipulation made each print unique and emphasized the handmade, artistic nature of such photographs in contrast to the work of both commercial studios and Kodak snapshooters.
The Metropolitan Museum of Art. "The Painterly Photograph," Tuesday, January 09, 1973 - Wednesday, February 28, 1973.
Fort Worth, Tex. Amon Carter Museum of American Art. "Photography in Nineteenth Century America," October 26, 1991–January 5, 1992.
Amherst, Mass. Mead Art Museum, Amherst College. "Photography in Nineteenth Century America," February 1, 1992–March 29, 1992.
The Metropolitan Museum of Art. "Photographic Treasures from the Collection of Alfred Stieglitz," October 13, 2011–February 26, 2012.
Naef, Weston J. The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography. Studio Book. 1st ed. New York: The Metropolitan Museum of Art, 1978. no. 367.