zondag 31 mei 2009

Dutch Seen New York Rediscovered Photography

Dutch Seen
Napkin, 2009 copyright: Hendrik Kerstens

Dutch Seen: New York Rediscovered Jun 10 through Sep 13, 2009

The Museum of the City of New York and Foam_Fotografiemuseum Amsterdam present Dutch Seen: New York Rediscovered. Guest curated by Kathy Ryan, Photo Editor of The New York Times Magazine, the exhibition will mark the 400th anniversary of the Dutch arrival in Manhattan and feature the work of contemporary Dutch photographers.

Through their considered gaze, the participating Dutch photographers will give a portrait of what New York City is today. The rich diversity, energy, tolerance, and commerce the Dutch brought with them to the first settlements, along with the stunning landscape that originally attracted the Dutch to the region 400 years ago still define New York City today and will be clearly visible in the photographs on display. The concept of the exhibition is created around the theme ‘portrait of the city’. The exhibition will consist of portraiture, landscapes, still lives, conceptual photographs, and documentary photography. It will be modern work, firmly rooted within the Dutch tradition.

This exhibition presents New Yorkers with some of the most exciting imagery in the photographic medium being done by the Dutch. The artists featured in the exhibition range from the legendary Rineke Dijkstra to emerging artists who are just now gaining recognition. Participating artists include: Morad Bouchakour, Misha de Ridder, Wijnanda Deroo, Rineke Dijkstra, Charlotte Dumas, Hendrik Kerstens, Arno Nollen, Erwin Olaf, Jaap Scheeren, Danielle van Ark, Inez van Lamsweerde and Vinoodh Matadin, and Hellen van Meene. The majority of the work in the exhibition will be created and premiered in this exhibition. A fully illustrated catalogue featuring work created by all of the participating photographers shall accompany the exhibition.

For a preview, check out the New York Times slideshow here


To mark the 400th anniversary of Henry Hudson’s discovery of Manhattan, Foam (Fotografiemuseum Amsterdam) is teaming up with the Amsterdam City Archives and the John Adams Institute to organise an exhibition about Amsterdam, as seen through the eyes of four New York photographers. Gus Powell, Carl Wooley, Richard Rothman and Joshua Lutz were each commissioned to explore a different aspect of the city: the street, the night, the water and the outskirts. This commission has resulted in surprising images, which show an unknown side of Amsterdam. Lees verder ...


dinsdag 26 mei 2009

La ferme du Garet Raymond Depardon Photography


Located one kilometer from the Saône River and 500 meters from the Paris-Lyon freeway, this farm belongs to Raymond Depardon’s parents. The house dates back to the sixteenth century. That’s where Raymond Depardon took his first photographs. That’s where he grew up. First prints, first emotions. La Ferme du Garet is not only an autobiographical book but it is also “a place that has many like it throughout France. Yesterday, it was the countryside, today it is the city’s periphery. And tomorrow ?” asks the photographer while contently mixing memory-filled black and white pictures with more recent color pictures, which allow him to assess the time that’s gone by. Read more ...

Format: Softcover Pages: 320 Size: 7 4/5 x 6 1/4" Publishers: Editions Carré (Paris, 1995); Actes Sud (Arles, 1997+2003)



"Raymond Depardon has helped revolutionize photojournalism in France over the past 30 years. His first photographs were taken on his parents' farm in 1954. After working for the Delmas agency (1960-1962), in 1967 he founded the Gamma agency with Gilles Caron, Hubert Henrotte and Hugues Vassal. As a press photographer he has carried out assignments all over the world, from Chile to Chad and Venice to Afghanistan. A witness to the revolution in Chad, in 1978 he published the collection Tchad. Around the same time, he joined the Magnum agency, of which he is currently European vice-president. He has covered nearly all the leading events of the past twenty years, from Vietnam to the fall of the Berlin wall and the Lebanon war." Fondation Cartier --

"A largely self-taught photographer who learned through experience in the field, Depardon belongs to a generation of French photographers reluctant to overinterpret their subjects. In the long run, the photographer could only be absolutely sure of his or her own identity, which is why several of Depardon's publications are autobiographical. His wide range has enabled him to approach with equal talent news, sports, war photography, in-depth reportage, and advertising. His current interests are film-making and numerous photographic projects."Magnum Photos --

zaterdag 23 mei 2009

The provoking photography of Bruce Gilden - A Beautiful Catastrophe

Bruce Gilden - A Beautiful Catastrophe by Maciej Dakowicz








Bruce Gilden on Magum website

"A Beautiful Catastrophe" is the craziest photography book I have seen so far. I just bought it second hand on Amazon for less than £10 and it was a great buy. In this book Bruce shoots in the streets of New York with a Leica camera. He shoots strangers. He doesn't ask for permission. And he uses a flash on cord. He is big and scares lots of people suddenly jumping in front of them and blinding them with his flash. Crazy stuff.

and he says: "I'm known for taking pictures very close, and the older I get, the closer I get." yeah, we can see that...

woensdag 20 mei 2009

Petra Stavast Niels Stomps WassinkLundgren Pieter ten Hoopen Epson Photo Festival Naarden 2009 Photography



Live programma met één of meerdere gasten uit de wereld van cultuur en media. Presentatie: Petra Possel, Jellie Brouwer en Frenk van der Linden.

In een hete zomer stuitte fotografe Petra Stavast in het diepe, arme zuiden van Italië op een verlaten en leeggeplunderd huis, waar ze foto’s en brieven van een broer aan zijn zus vond. Ze ging op zoek naar de broer die al jaren in de VS bleek te wonen. Daarmee was een schitterende fotoreportage geboren, die nu te zien is op het Fotofestival Naarden. Presentatie Petra Possel

Scherer-prijs voor Niels Stomps 25 mei 2009 » door Photoq

De Foto Kees Scherer Prijs is toegekend aan Niels Stomps voor het fotoboek Mist. De prijs, een geldsom van vijfduizend euro, is bestemd voor de Nederlandse fotograaf cq permanent in Nederland gevestigde fotograaf van het beste fotoboek, dat in de twee jaar voorafgaand aan het uitreiken van de prijs, is verschenen.

De tweejaarlijkse prijs is in 1993 ingesteld door de Stichting FotoArchief Kees Scherer. De ruim 130 fotoboeken, die hebben meegedongen naar de Foto Kees Scherer Prijs 2009 zijn tentoongesteld in het Andreashuis in de Turfpoortstraat in Naarden Vesting, in het kader van het Epson FotoFestival Naarden (16 mei t/m 14 juni). U kunt hier alle boeken inzien.

Boek bekijken en/of bestellen:
www.nielsstomps.nl



‘Naarden’ slachtoffer vandalisme 23 mei 2009 » door Photoq

Onbekenden hebben afgelopen nacht twee foto’s ontvreemd uit de de tentoonstelling Don’t smile now…save it for later! van WassinkLundgren, die ondereel uitmaakt van het Epson FotoFestival Naarden. Van de op zeildoek geprinte foto’s werd er één in zijn geheel losgehaald en meegenomen, terwijl een ander beeld is los gesneden uit het doek en meegenomen.

De tentoonstelling is te zien in ‘De Kathedraal’ een openluchttentoonstelling die is opgesteld in een grote constructie van steigerpalen. Deze wordt ‘s avonds afgesloten, maar niet permanent bewaakt. Hoeveel daders er waren en wat de beweegredenen zouden kunnen zijn, is een raadsel.

De organisatie gaat voorlopig uit van vandalisme en gaat aangifte doen bij de politie.

www.fotofestivalnaarden.nl


dinsdag 19 mei 2009

Stories and Renewing Epson Photography Festival Naarden 2009


Epson Photography Festival Naarden
When:16 May - 14 Jun 2009 (biennial)
Where:Naarden

The biennial Epson Photography Festival in Naarden celebrates the versatility of photography through a series of exhibitions, workshops and other activities. In its 11th year, the 2009 festival, in various locations around the city, is themed "Stories and Renewing."

Please visit the festival website for full details of the schedule and exhibiting photographers.
Related Information
Website:Epson Photography Festival Naarden

Op het elfde Epson FotoFestival Naarden is nieuw, nog niet eerder tentoongesteld werk te zien van liefst dertig jonge Nederlandse toptalenten. Bij alle verschillen is de overeenkomst dat zij in hun boeiende series verhalend werk laten zien. Daarvoor reisden zij de hele wereld over. Van Italië tot Spitsbergen en van Rusland tot de Verenigde Staten.

Zo toont Rob Hornstra in 101 Billionaires de keerzijde van de Russische droom. Pieter ten Hoopen, World Press Photo-winnaar Dagelijks Leven in 2008, portretteerde de inwoners van het Amerikaanse plaatsje Hungry Horse, Montana. Petra Stavast combineert in Libero eigen werk, gevonden foto's, brieven en interviews om het vervallen Italiaanse dorpje Calabria tot leven te brengen. Niels Stomps vertelt in Fire and Snow over de bewoners van Spitsbergen, de meest noordelijke nederzetting ter wereld.

Stefan Ruitenbeek blijft dichter bij huis en belde bij een Eindhovense villa aan om het verhaal van de intrigerende bewoner vast te leggen. Saskia van Imhoff presenteert met verrassende effecten beelden en voorwerpen die zij in haar omgeving verzamelde. Rahi Rezvani, die fotografeert als een speelfilmregisseur, toont in Retreat to Nowhere de impact van oorlog en geweld op een mensenleven. Susan van Hengstum zet je in Evidential Value op het verkeerde been; geloof niet alles wat je ziet.

Behalve van bovenstaande fotografen zijn in Naarden nieuwe series te zien van Monique Scuric (Re-Collect), Thijs Groot Wassink (Don't Smile Now, Save It for Later)(Lichtwolke). Het festival besteedt dit jaar ook veel aandacht aan en Michael Anhalt en Meike Eggers paparazzi-fotografie. Naast foto's van bekende namen zoals Edwin Smulders en Joop van Tellingen, is in dit onderdeel werk te zien van fotografen, zoals Daniëlle van Ark en Agnes van Noorloos, die paparazzi-technieken gebruiken of thema's zoals celebrity en voyeurisme.


vrijdag 15 mei 2009

Fall of Saigon april 30 1975 by Hubert van Es 1941 - 2009 Photojournalism Photography



Hubert Van Es/Bettmann — Corbis
What the author saw, April 29, 1975: Evacuees climbing to the roof of a downtown Saigon building in order to board an Air America helicopter that would take them to Navy ships off Vietnam.

Hubert van Es

Hubert van Es (1941-2009) was the Dutch photographer who took the well-known photo of the Fall of Saigon on April 30, 1975, which shows South Vietnamese civilians scrambling to board a CIA Air America helicopter during the U.S. evacuation of Saigon.

Van Es died in Queen Mary Hospital, Hong Kong, where he had lived after the end of the war, on May 15, 2009 at the age of 67 from a haemorrhagic stroke.

Taking the picture

Van Es, who was working for United Press International, had remained in the city for as long as possible before its occupation by North Vietnamese troops. That day he had taken pictures of Saigonese burning documents that could associate them with the United States as well as that of a Marine confronting a Vietnamese mother and her little boy. Later that day he would take his famous picture:



Around 2:30 in the afternoon, while I was working in the darkroom, I suddenly heard Bert Okuley shout, "Van Es, get out here, there's a chopper on that roof!" I grabbed my camera and the longest lens left in the office - it was only 300 millimeters, but it would have to do - and dashed to the balcony. Looking at the Pittman Apartments, I could see 20 or 30 people on the roof, climbing the ladder to an Air America Huey helicopter. At the top of the ladder stood an American in civilian clothes, pulling people up and shoving them inside. Of course, there was no possibility that all the people on the roof could get into the helicopter, and it took off with 12 or 14 on board. (The recommended maximum for that model was eight.) Those left on the roof waited for hours, hoping for more helicopters to arrive. To no avail. After shooting about 10 frames, I went back to the darkroom to process the film and get a print ready for the regular 5 p.m. transmission to Tokyo from Saigon's telegraph office.[2]

When North Vietnamese troops arrived, Van Es wore a camouflage hat bearing a small plastic Dutch flag printed with the Vietnamese words Boa Chi Hoa Lan ("Dutch Press").

The building in the photo, which has been incorrectly identified as the US Embassy since the 1970s, was not labeled as such by Van Es. Van Es has stated that he wrote, for the caption of his photograph, that the helicopter was taking evacuees off the roof of a building in downtown Saigon (22 Gia Long Street).[2] The current address is 22 Ly Tu Trong Street and they don't allow visitors up on the roof.

Van Es would later cover the Moro Rebellion in the Philippines and the Soviet invasion of Afghanistan. He attempted to return to Vietnam but was not able to do so until 1990.

Notes

  1. ^ Lucas, Dean. "Famous Pictures Magazine - Vietnam Airlift". http://www.famouspictures.org/mag/index.php?title=Vietnam_Airlift. Retrieved on 2007-06-01.
  2. ^ a b HUBERT VAN ES (April 29, 2005). "Thirty Years at 300 Millimeters" (HTML). New York Times. http://www.mishalov.com/Vietnam_finalescape.html. Retrieved on 2007-07-24.


donderdag 14 mei 2009

Fotobook Festival 2 Kasseler Fotoforum Photography

The independent Photobook
The second Kasseler Photobook-Festival


From the wish to the book. how does a photographic work become a photobook? Is a photobook without compromises possible? Which avenues towards the photobook are currently possible? For a few years now software, internet and digital print have opened completely new perspectives: small and even smaller editions, print on demand, flexible production.

What are the compromises that concept, creation and production demand and how do in-house productions reach their buyers? of what significance are virtual internet photobooks? How do established publishers respond to these challenges and which criteria do they use when choosing book projects for publication?

The 2nd Photobook Festival in the course of the Fotofrühling Kassel will address questions in detail such as content, production and distribution, from 14 to 17 May 2009.

Just like in previous years renowned guests (photographers, publishers, publicists) will be invited to speak on these topics and to engage in discussions with the participants. and in order to get a practical impression of how photos can be turned into books, the Fotoforum Kassel will be calling for the submission of photobook dummies – the prototypes of photobooks. The best of the submitted dummies will be exhibited at the event. Furthermore, we will continue the Photobook award with its renowned nominations of the best new releases of the previous year, accompanied by a new exhibition and a second catalogue. Apart from exhibitions and talks there will also be workshops for the production of photobooks. Stalls by booksellers and antiquarians will be part of the program and together with the well established portfolio viewings there will once again be a stimulating discourse between photographers and experienced experts.

Lectures and reviews by GERRY BADGER, JEFFREY LADD (5B4 & errataeditions), WASSINKLUNDGREN and others ..

101 Billionaires by Rob Hornstra will used on 16 May 2009 during “New Documentations”, a special evening screening of long-form works at the upcoming New York Photo Festival. The book will also be exhibited during the Fotobook Festival in Kassel, Germany (15-17 May 2009), where it has been nominated for the best photo book of the past year. And Fw: (a platform for photographers) has included 101 Billionaires in its book exhibition ‘Pages’ during Photo España.


woensdag 13 mei 2009

Gerard Fieret Portraits of Women Photography


Untitled, ca. 1970. Gelatin silverprint, Collectie Gemeentemuseum Den Haag

De Hallen Haarlem presents a selection of portraits of women by Gerard Fieret (1924-2009). (Lees de begrafenisrede) Thanks to his uncompromising and experimental approach to reality, the work of this ‘photographer of real life’ is as a source of inspiration for many young artists. One such young artist is the American Slater Bradley, whose work is simultaneously shown in De Hallen. For Fieret, life and work were virtually indistinguishable: for years, the photographer roamed the streets of The Hague in search of the raw poetry of everyday life. Two subjects in particular always found their way in front of Fieret’s lens: women and pigeons. His portraits of women are occasionally compared to those of his contemporary, Czech photographer Miroslav Tichý (1926), whose work was presented in De Hallen some time back. But in contrast with Tichý’s more voyeuristic images, Fieret’s portraits are always characterised by an intimate relationship and playful interaction between the photographer and his model.

Between 1960 and 1980, Fieret took pictures with unprecedented eagerness, and thousands of prints survive from this period. Due to his unorthodox printing methods and sub-optimal conservation, many of these pictures are soiled or damaged – in many cases reinforcing the authenticity of his raw images. An authentic Fieret can furthermore typically be recognised by the artist’s signature and copyright stamp, which feature prominently on the front of the picture.

The Cabinet of De Hallen will be showing a selection of portraits of women by Fieret from the collection of the Gemeentemuseum Den Haag. This selection evidences the artist’s singularly direct approach to his subjects and his characteristically light-footed, casual eroticism.





The Sochi Project by Rob Hornstra & Arnold van Bruggen Photography

The Sochi Project
In 2014 Sochi will host the Olympic Wintergames. In the five years ahead to these games the surroundings of Sochi will change dramatically. Photographer Rob Hornstra & writer Arnold van Bruggen will document these changes. Kummer en Herrman are partners in this project. The will be responsible for the design of the website and the campaign.

Never before did the Olympic games take place in an are so close to a conflict zone. Newborn republic Abkhazia is just around the corner. Only a few kilometres from the troublesome region are the skiranges of Sochi. Sochi has always been be the mondane bathing and skiing resort for the Russian elite. But also 'normal' Russians come here. Refugees from the Caucasus live in former Soviet resorts. The area around Sochi is as diverse as entire Russia. And it will change dramatically the coming years. An island in the shape of Russia will take form in the Black Sea, full of hotels and luxury villa's. New and splendid resorts will be built by Russia's billionaires. Read more ...

The project will be financed by funds, organisations and most importantly - you. On the website thesochiproject.org, dedicated to this project we'll provide the contributors (for 10 euro's a year or more) with extra's, newsletters and a reduction on Rob's photographs and the eventual book.

Please keep checking this website or send an email to arnold (at) prospektor.nl for updates.

dinsdag 12 mei 2009

Dutch Nominees New York Photo Festival May 13-17 Photography



Everything is changing…
… how we take photographs, manipulate them, share them, store them — even how we pose for them. Our tools are mutating quickly, promising ever faster, clearer, brighter and cheaper pictures. Meanwhile telephones become cameras, desktop printers morph into mini-printing labs, and high-definition screens threaten to dislodge the venerable photographic print from gallery walls. And the eyes of the whole world are only a click away on the computer keyboard.

Where are we all heading?
During photography’s entire history, the amateur and the professional have represented distinct and often contrary approaches to photography, each battling for supremacy. Has the digital revolution tilted the field of battle irrevocably in the amateur’s favour? Or has it swept this traditional rivalry into the dustbin? Can anyone say?

And what about your photographs?
Why not share one or more of your photographs with the festival’s visitors? They’ll be projected in the public arena, with your name clearly visible in the corner of each image. And afterwards, you’ll get back proof in the form of an email -- your photo as it appeared on the festival screen! Participate!

Sincerely,William A. EwingCuratorNew York Photo Festival '09Director, Musée de l'Elysée, Lausanne

Dutch nominees :

category Editorial Single Image:
Marieke van der Velden (3 foto’s)

category Editorial Series:
Dirk-Jan Visser (2 series)

category Fine Art Single Image:
Carla van de Puttelaar

category Fine Art Series:
Ingrid Baars
category Advertising Single:
Linda Jansen
Marcel Christ

category Advertising Series:
Mark Janssen
Morad Bouchakour

category Photo Book:
Dana Lixenberg
Rob Hornstra
Herman van den Boom

European Eyes on Japan Hans van der Meer Photography


For the project ‘European Eyes on Japan’ Van der Meer made a series of portraits from local people photographed on a distance, on different locations in the prefecture of Okayama.

zaterdag 9 mei 2009

Hans Eijkelboom potraits and cameras 1949-2009 Photography

portraits and cameras 1949-2009
Hans Eijkelboom
May 8, 2009 - June 3, 2009

At 2x2projects Hans Eijkelboom presents a 60 year history of technical tools for the making of photographic images combined with a subject getting older in that same period of time. Two contrary matters of progress become visible, the aging of a human being versus the reinvention of a constantly modernizing technology.(during Art Amsterdam, May 13-17, the exhibition is open by appointment only)
Hans began his artistic career in the 70`s with an installation that was part of a group show that included Joseph Beuys, Ed Ruscha, and Douglas Huebler. Since then, he has produced over twenty-five books, gaining renown in Europe for self-publishing many of them, and his work has been exhibited internationally, including solo shows at the Nederlands Fotomuseum, Rotterdam; Museum of Modern Art, Arnhem, the Netherlands; Kröller-Müller Museum, Otterlo, the Netherlands; Provincial Museum of Photography, Antwerp, Belgium; and Kunstverein Grafschaft Bentheim, Neuenhaus, Germany. Eijkelboom is based in Amsterdam.


Hans Eijkelboom, "November 7", 14.00-15.00, Fifth Ave between 56th & 57th Street, 2007archival inkjet prints, 110 x 61 cm

donderdag 7 mei 2009

Antoine Sevruguin (Teheran, 1840?- Teheran, 1933) Iran Photography



Antoine Sevruguin (Teheran, 1840?- Teheran, 1933)

Antoine Sevruguin was born in the Russian embassy in Teheran as the son of an Armenian mother and Russian father in diplomatic service. When Antoine's father died, life became impossible for his mother as an Armenian in Iran, and she moved with her three young children to Tbilisi, the present capital of Georgia. There Antoine was trained as a visual artist, and fell under the spell of Western painting; particularly the work of Rembrandt made a deep impression on him. Throughout his life he would also remain interested in Persian painting.

Under the influence of the photographer Dmitri Ermakov, who at that point was living in Tbilisi, he decided to become a photographer. With two of his brothers, in 1870 Antoine returned by caravan to his birthplace, Teheran. On the way he photographed landscapes and the people he encountered along the route. Once in Teheran he established a photography studio with his two brothers. Antoine was the photographer, while his brothers took care of the business aspects. Very quickly the firm acquired a very good reputation, and clients came from all over Iran, and other countries, to have photographs made, or buy photographs.

In the eyes of the Iranians he was a Westerner. All that was Russian was in Iran at that time associated with the West. But Westerners who visited him in his photo studio in Teheran saw him as a real Eastern photographer.

Early tourists bought photographs for their travel albums. In addition to Italy and Egypt, because of its archaeological monuments Iran was also included in the 'grand tour' well-heeled European young people made as part of their education. As well as photographs of the monuments, he offered pictures of diverse groups and people from the surrounding population. He invited Armenians, Kurds, Jews and people from the various social strata to his studio to pose for him. The subjects often play a very active role in the images; through their poses and expressions they are more actors than unwilling vic tims of a commercial photographer. Dervishes were among his favourite subjects. With their reverent appearance, austere clothing and long hair and beards, these devout Muslims who had opted for a wandering existence could have walked out of a Biblical painting by Rembrandt.
He used a local military drill field next door to his home, or the inner courtyard of his own house for photographs with more suggestion of local colour. To fulfil Western erotic fantasies about Eastern women he also produced photographs of nude and partly nude women in harem scenes. Yet we would not be doing justice to Sevruguin if we were to label him as a photographer chiefly oriented to commercial interests. He was the first photographer in Iran who could live from his photography, but the way in which he photographed many groups in the population on location, outside the studio bears witness to his interest and involvement in the country and culture of Iran. Sevruguin also travelled around the country to make a visual catalogue of the ethnic groups, landscapes and everyday life of Iran.

This ethnographic aspect of his work did not go unnoticed. Anthropologists bought his photographs, and they were to be seen at the World Exhibitions at Brussels (1897) and Paris (1900), regularly winning prizes. Although Sevruguin was a celebrated photographer in Teheran, he remained largely unknown in Europe. Many of his photographs purchased by Europeans were published in scientific or quasi-scientific publications, but the photographer's name did not accompany them - something which aggravated Sevruguin considerably, although it was a fate which befell many photographers in that day. Dr. C.H. Stratz also used Sevruguin's photographs in his Die Rassenschönheit des Weibes without giving him credit. He did note the source for the photographs, though: they were borrowed from the Museum in Leiden.

It is known that Sevruguin made more than 7000 images, on glass plates. Not much of this collection is left. In 1908 Iran entered a constitutional crisis. Soldiers of Muhammed Ali Shah set the houses of opponents aflame, and plundered their belongings. Sevruguin's neighbour was a wanted man, and his home was destroyed - and part of Sevruguin's with it. Sevruguin's archive suffered major damage; with difficulty 2000 glass plates were saved. He scarcely recovered from this emotional and financial blow.

After Reza Shah came to power in 1925 Sevruguin had to endure a new attack. The Shah wanted to modernise the country, and therefore felt it necessary to destroy everything that did not fit with the image of modernity. The remaining collection of glass plates was seized. Apparently it was Sevruguin's daughter Mary who, through her connections, succeeded in obtaining the return of 696 of them. After Sevruguin's death she presented these to the American Presbyterian Mission in Teheran, and ultimately they ended up in the Smithsonian Institution in Washington, D.C., in the archive of the Arthur M. Sackler Gallery. This is the largest Sevruguin collection that remains. In addition to several dozen prints in the National Anthropological Archives at the Smithsonian, as far as is known work by Sevruguin is found only in the Netherlands: in the collection of the University of Leiden and over 170 glass plates and prints in the National Museum of Ethnology in Leiden.

In the Museum's annual report for 1899/1900, under 'Acquisitions' there is mention of 'A large collection of very instructive photographs of landscape views and natives from various sections of Persia. Long-term loan from Mr. W.L. Bosschart, Consul General of the Netherlands in Melbourne, Victoria, Australia.' In the following annual report the same series appears under 'Losses'. Bosschart asked for the return of his photographs. Because the Museum still wanted to retain the images, before their return the prints were tacked to a wooden board with drawing pins and rephotogaphed on glass plates. Subsequently prints were made again from these glass plate negatives. Although this collection thus contains no original glass plates or prints, thanks to these reproductions images by Sevruguin have been preserved, the original glass negatives of which have been lost. It is unknown what Bosschart did with the original photographs, or where they are now.

See also ... "Interview with Gilles Peress: Images, Reality and the Curse of History" ...