donderdag 11 februari 2016

Can You Make A Living From Photography MASTERPIECES OF INSTANT PHOTOGRAPHY Auke Bergsma

Auke Bergsma, Can You Make A Living Of Photography?, SX-70 Polaroid. Museet for Fotokunst, Denmark.

Biography of Auke Bergsma
"FROM POLAROID TO IMPOSSIBLE. MASTERPIECES OF INSTANT PHOTOGRAPHY." THE WESTLICHT COLLECTION. 

...The book concludes with a chapter on the most iconic and widely used Polaroid integral film format. Images such as Auke Bergsma series of figurative colour studies from 1981 have a very spontaneous, playful and fluid feel to them. This vibrant sequence creates a type of fantasy narrative by channelling a spirit of inquisitiveness and furtive excitement. ~ John Matthews, review of the book for PhotoEye Magazinewww.photoeye.com/magazine/reviews/2012/04_23_From_Polaroid_to_Impossible.cfm

Auke dec.2014 (1024x736)
AUKE BERGSMA (9 January 1950 Putten, The Netherlands) studied at the Fotovakschool in Apeldoorn. In 1975, at the beginning of his career, Auke Bergsma worked on the series “Punk”: portraits in black and white, which was published in the French magazine 'Zoom'. He gained more international fame in the 1980s, when his work was acquired for the INTERNATIONAL POLAROID COLLECTION. 

ZWART-WIT FOTO'S "Punk-serie"1979-1980

SX-70 

The vibrant colours of Polaroid film and the fact that it was instant film were supportive to the ideas and concepts of Auke Bergsma. Like no other, all the big names included, he used the medium in line with the time the technology was introduced: typical 1980s! His sequences are not only humoristic, but also use the idea of Polaroid in optima forma.

20x24 inch | 50x60 cm 
In 1976 Polaroid introduced a 20x24 inch instant camera. Only two of these giants were available, one was located in New York, the other one in Amsterdam. Bergsma was among the first three European photographers working on this 90kg machine. At that time, 1981, the rental costs were $600 a day. Later, when the Amsterdam camera moved via Offenbach to Prague, the price raised up to $2.000 a day. The material costs of one 20x24 inch Polaroid is $200. Among the photographers following his footsteps are William Wegman, Lukas Samaras, Joyce Tenneson, Mary Ellen Mark, Elsa Dorfman, Andy Warhol, Tim Mantoani, Julian Schnabel, Ansel Adams and Chuck Close. At a 2010 Sotheby’s sale, Polaroids of the photographers mentioned were sold for prices up to $722.500.

International Polaroid Collection 
In 1982, Auke Bergsma was asked to sell some of his work to the Polaroid Corporation. He remembers that they paid $900 per Polaroid, a small fortune at that time. And above all, he was ensured of recognition in the art world, because his name was forever connected to the Inter­national Polaroid Collection. Many publications followed, like the book “SELECTIONS 1” (1982, Polaroid Corporation), “THE POLAROID BOOK” (2008, Taschen) and “FROM POLAROID TO IMPOSSIBLE” (2011, Hatje Cantz).

In 1986, at the Photokina in Cologne, his work was exhibited and published in “50 years modern color photography 1936-1986”, curated by Manfred Heiting, the current director of the Helmut Newton Foundation.


Danish Museum of Photographic Art 
In the early 1990s Auke Bergsma was represented by Galleri Specta in Kopenhagen. His work was purchased by the ROYAL LIBRARY OF KOPENHAGEN, THE FINNISH MUSEUM OF PHOTOGRAPHY and private collectors.

In 2006, his Polaroid dyptich “Can You Make A Living From Photography” was on the billboards of “Foto Triennale” in Odense, Denmark. This international photo festival is organised by the DANISH MUSEUM OF PHOTOGRAPHIC ART (MUSEET FOR FOTOKUNST), which in 2007 extended their collection of Auke Bergsma’s Polaroids.

In 2007 he donated a big part of his collection of work and negatives to the Rock Art Museum in Hoek van Holland. Among these were many polaroids of Mieke, lead singer of “De Gigantjes”.

In 2012, his own Polaroid archive was transferred to a Dutch collector, who is now, in close cooperation with Auke Bergsma himself, offering it at this sale.

Currently (from 14 may 2015 - 4 January 2016) the MUSEUM BRANDTS 13 in Odense, Denmark, shows an exhibition titled ‘Adam & Eva’, in which Auke Bergsma’s ‘Adam & Eva’ (similar to lot 002-087) has a prominent role. 



REVIEWED BY
 JOHN MATHEWS, PUBLISHED ON MONDAY, APRIL 23, 2012

EDITED BY ACHIM HEINE, REBEKKA REUTER, ULRIKE WILLINGMANN, TEXTS BY ACHIM HEINE, BARBARA P. HITCHCOCK & FLORIAN KAPS.
Hatje Cantz, , 2011. Hardbound. 192 pp., 230 color illustrations, 9-3/4x12-1/2".
From Polaroid to Impossible Edited by Achim Heine, Rebekka Reuter, Ulrike Willingmann, texts by Achim Heine, Barbara P. Hitchcock & Florian Kaps. Published by Hatje Cantz, 2011.
In a quest to profile Polaroid as a serious and cutting edge art form, its inventor Edwin H. Land and the photographer Ansel Adams established the Polaroid Collection in the late 1950s. The collection was supplemented by the introduction of the Polaroid Artist Support Program in the 1960s, which provided free film and cameras to a range of established and emerging photographers in exchange for selected prints. Photographers donated work on the premise that the collection would remain together for public viewing and study. The mantra of this unique program was innovation, invention and creativity. By 2008 Polaroid had amassed 16,000 prints by a range of high profile artists such as Robert Mapplethorpe, Helmut Newton, Andy Warhol and Robert Rauschenberg. However in 2008 Polaroid was declared bankrupt and its assets, including the prestigious collection, were seized and later auctioned. The prospect of the sale produced an outcry from the photography fraternity and a group of artists spearheaded by Chuck Close campaigned against the dispersal of the collection. The European part of the collection has been preserved in its entirety thanks to a successful last minute bid by the Westlicht photography museum in Vienna. The resulting book, From Polariod to Impossible, celebrates the unique characteristics of Polaroid and explores the special relationship that existed between the company and an exciting array of photographers who were given carte blanche to experiment and push the format to its full creative potential.

From Polaroid to Impossible, by Achim Heine. Published by Hatje Cantz, 2011.

This book focuses mainly upon Polaroid works from the 1970s and 1980s and is classified by film formats. The first chapter looks at the ultra large 20X24� format that was used exclusively for special Polaroid commissions. Only seven of these cameras were ever manufactured and each required a team of Polaroid technicians to transport and operate. One such commission from 1989 is �Ritual Observance� by Dennis Farber, which depicts an outdoor gym. The photograph has been embellished with layers of paint and gold leaf, which accentuates the energy and nascent qualities of the Polaroid image. A majority of the 20X24� images from this chapter tend to be very polished and meticulous studio based works, which is probably due to the cumbersome scale and expense of the format.

From Polaroid to Impossible, by Achim Heine. Published by Hatje Cantz, 2011.

The chapter featuring the 4X5� and 8X10� Polaroid formats contains an eclectic mix of portraits, abstractions and colour studies. These images range from everyday geometric investigations such as Terry Walker�s �Traffic Barrels� 1975, to more staged works such as Paul Huf�s haunting �Untitled� image from 1977, which features a dreamlike and sensual tableaux of draped mannequins. The book concludes with a chapter on the most iconic and widely used Polaroid integral film format. Images such as Auke Bergsma series of figurative colour studies from 1981 have a very spontaneous, playful and fluid feel to them. This vibrant sequence creates a type of fantasy narrative by channelling a spirit of inquisitiveness and furtive excitement.

From Polaroid to Impossible, by Achim Heine. Published by Hatje Cantz, 2011.

Within our current digital age there is nothing to quite rival the tactile and alchemical qualities of Polaroid. The Polaroid archive spans more than sixty years and contains over 16,000 images. This book provides a brief glimpse into that unique collection and is a fitting tribute to the innovation, invention and creativity that the Polaroid format inspired.—JOHN MATHEWS

JOHN MATHEWS is an artist and curator from Belfast, Northern Ireland.




80’s Polaroids
Auke Bergsma (1950, NL)
"Jeanette", 1983
SX-70 Polaroid, 1983
Signed and dated on verso
Estimate € 80 - € 120, start bid € 10

Auke Bergsma »

80’s Polaroids

Online auction

Tue 22 Sep






photography-auction.com

Maziestraat 2
2514 GT Den Haag




80’s Polaroids
Auke Bergsma (1950, NL)
"The Kiss" (set of 4, 1982)
SX-70 Polaroid
Signed and dated on verso
Estimate € 320 - € 480, start bid € 10
Auction 002: 80’s Polaroids | Auke Bergsma

€ 10 No Reserve Online Only Auction
Tuesday 22 September 2015 | 13.00 GMT (15.00 CET)

Catalogue: available online for € 45.
www.photography-auction.com
On Tuesday, 22 September 2015, Photography-Auction will present its 2nd auction: 80’s Polaroids by Auke Bergsma. Our mission is to offer broad access to the best works of photography without restrictions on minimum consignment values and at low premiums for sellers and buyers. Our concept "Photography Only - Online Only" is unique in the current art market and brings us back what auctions historically used to be: a place where art dealers and collectors can buy at market prices instead of paying retail prices. A competitive buyer’s and seller’s premium - set at just 10% - contributes to this goal.

Dutch photographer Auke Bergsma (1950, Putten, The Netherlands) is an icon when it comes to Polaroid photography. Since the early 1970s, the Polaroid Corporation gave films to a selected group of photographers. Among them are Ansel Adams, Aaron Siskind, Jeanloup Sieff, Robert Mapplethorpe, Oliviero Toscani, Helmut Newton, Andy Warhol and Auke Bergsma. In return, Polaroid had the right to acquire some of the Polaroids they created. In this way the famous International Polaroid Collection (polaroid-impossible-the-westlicht-collection) was built.




80’s Polaroids
Auke Bergsma (1950, NL)
Untitled (1980)
SX-70 Polaroid
Signed and dated on recto
Estimate € 80 - € 120, start bid € 10
Polaroid itself published books of this collection (Selections 1, 1982), and later Taschen published ‘The Polaroid Book’ (2008), which became a best seller. Finally, in 2011 Haje Cantz published ‘From Polaroid to Impossible’. All of these publications include pages with SX-70 Polaroids made by Auke Bergsma.

In a review of the book "From Polaroid to Impossible. Masterpieces of Instant Photography", John Matthews wrote for Photoeye Magazine "…The book concludes with a chapter on the most iconic and widely used Polaroid integral film format. Images such as Auke Bergsma's series of figurative color studies from 1981 have a very spontaneous, playful and fluid feel to them. This vibrant sequence creates a type of fantasy narrative by channeling a spirit of inquisitiveness and furtive excitement."

Auke Bergsma's work is in the permanent collections of Museum Westlicht in Vienna, The Royal Library of Copenhagen, The Finnish Museum of Photography, Museum Brandts 13 and the Danish Museum of Photographic Art (Museet For Fotokunst).

Now his full archive of Polaroids, including 20x24" and SX-70 Polaroids, is on sale at Photography Auction. A once in a lifetime opportunity to buy these typical 1980s photographs. Lots will be sold individually and as per set (his humourist sequences). The auction, which is online already, will end on Tuesday 22 September at 13.00 GMT (15.00 CET).




80’s Polaroids
Auke Bergsma (1950, NL)
"Pontiac Laurentian 1959", Mieke (1985)
SX-70 Polaroid
Signed and dated on recto
Estimate € 80 - € 120, start bid € 10




80’s Polaroids
Auke Bergsma (1950, NL)
"Zebra" (1981)
20x24 inch Polaroid
Signed and dated on recto
Estimate € 80 - € 120, start bid € 10




80’s Polaroids

woensdag 10 februari 2016

Polaroid Masterpieces Highlights from The WestLicht Collection & Ulay Photography


ULAY | POLAROIDS
The Nederlands Fotomuseum is proud to present the work of internationally renowned artist Frank Uwe Laysiepen, known as Ulay, in the first-ever exhibition dedicated solely to his Polaroids. It will feature both his early and most recent works, some of which will be on loan from the Rabo Art Collection, our partner in this exhibition, documentary and publication.

Ulay
Ulay (born in Solingen, Germany, 1943) pioneered the use of the Polaroid as an art medium and is widely known for his unusual experiments, such as his ‘Polagrams’, the life-size Polaroids he created by literally ‘stepping into’ a large format camera. One of his Polaroids is more than 2.5m tall.

Ulay was introduced to Polaroid in the late 1960s, when he moved to Amsterdam. Since then, he has spent much of his artistic career working with a Polaroid camera. Owing to his technical aptitude and knowledge, he soon acquired a name as an expert and consultant in the field. Polaroid was happy to provide unlimited supplies of film and the latest cameras for him to use. In the early 1970s Ulay embarked on a very personal search for identity, particularly in relation to social issues and areas of tension between men and women.

Polaroid’s instant photography was a perfect match to his need to registrate his performances. He would photograph himself dressing up and applying his makeup, meticulously capturing each and every move, often creating a complete photo series which he referred to as ‘auto-Polaroids’.

From 1976 until the late 1980s, he was closely involved with Marina Abramović, and their intense personal relationship and creative collaboration lead to radical performances, both in a physical and psychological sense. When they parted ways, Ulay returned to his Polaroid photography once more, though he no longer put himself in front of the camera. Although his quest for personal identity remained a central theme, he now pointed his lens at those in the world around him, people from all social strata – the Aboriginals of Australia, the homeless of New York, the young people of Dordrecht, visitors to the Albert Cuyp market in Amsterdam, and the young models of Chisinau (Moldova).

More recently, his work has highlighted the importance of water in sustaining life on earth. Ulay’s work can now be found in numerous museums as well as corporate and private collections worldwide.

Rabo Art Collection
The Ulay | Polaroids exhibition is a joint project of the Nederlands Fotomuseum and the Rabo Art Collection and Maria Rus Bojan, one of the authors of the book Whispers. Ulay on Ulay (Valiz, 2014), is involved as project consultant. Rabobank – the first commercial organisation in the Netherlands to build its own art collection – has been acquiring Ulay’s work since the 1990s and currently owns a number of his important Polaroid works. Since 2013, Katrin Pietsch, photo restorer at the Nederlands Fotomuseum, has been advising them on the preservation and restoration of their collection, including the Polaroids.

Publication
To complement the exhibition, a new publication will be published by Valiz with the generous support of the Rabo Art Collection in close collaboration with the Nederlands Fotomuseum to bring together all current knowledge relating to art preservation and the restoration of Polaroid photography.

Documentary
During the preparations for the exhibition, Charlotte Ebers of AndersDoenProducties will be filming a documentary about Ulay and Polaroid. Made possible through the generous support of the Rabo Art Collection, this film will be showing at the exhibition.
See also EVERYTHING OF VALUE IS VULNERABLE: AN INTERVIEW WITH ULAY

In de camera verandert Ulay zijn lijf in beeld

Sandra Smets
9 februari 2016

‘Wat gebeurt hier?' zie je de bezoekers vertwijfeld denken. Het is 1976 en publiek is samengekomen op een fototentoonstelling van Ulay (1943). Tegenwoordig is de Duitse kunstenaar bekend van zijn performances, vooral die met Marina Abramovic, minder bekend is dat hij al jaren fotografeert. Een fototentoonstelling dus in 1976, maar toen het licht aan ging, begonnen de geëxposeerde werken te vervagen. Niet gefixeerd losten de fotografische zelfportretten voor ieders ogen op in een groot zwart niets. Wat het begin van een expositie moest zijn, was meteen het eind.

Ulay / Polaroids. T/m 1 mei in het Nederlands Fotomuseum, Rotterdam

Ulay, Self-Portrait, 1990. Polagram, Boston Studio.

Helemaal verloren zijn ze niet, want Ulay heeft deze ‘Fototot’ destijds wel gefilmd. De filmbeelden zijn te zien op een andere tentoonstelling met andere foto’s door Ulay, namelijk zijn polaroids vanaf de jaren zeventig, in het Nederlands Fotomuseum. Deze polaroids bewaart hij in een privédepot in Amsterdam in stof- en vochtdichte kisten – afgekeken van Charlie Chaplins goed geconserveerde filmarchief. „Mensen maken kunst om te communiceren”, aldus Ulay. „Ik niet, ik hamster.”

Dat is niet helemaal waar. De polaroids dienden ooit wel als communicatie: Ulay maakte portretfoto’s die hij meteen aan diegene cadeau gaf – ook een soort performance. De instantfotografie, populair bij zowel kunstenaars als amateurpornografen, werd rond 1970 ontwikkeld door Polaroid. Het hoofdkantoor zat in Amsterdam, waar Ulay eind jaren zestig met een geleende auto en platzak heen trok om zich aan te sluiten bij de Provo’s. Foto’s die snel en ter plekke klaar waren, dat paste bij zijn nomadische bestaan. Hij fotografeerde anderen en zichzelf: veel in travestie, pumps en poses. In die mensbeelden zocht de vroeg wees geworden Ulay zijn identiteit, hopend dat een foto die kan vangen.

Polaroid zag wel wat in Ulays zoektocht en bood hem een ongelimiteerde hoeveelheid film en camera’s. Ook kreeg hij toegang tot een unieke manshoge Polaroidcamera in Boston. Dat leverde magische beelden op. Hij kon er ín de camera kruipen, zijn lijf in beeld veranderend. Het mooiste is een foto uit 1990 waarop hij met zaklampjes tekent op de lens, vervolgens zijn hand erop duwend als signatuur. Hierna volgden meer afdrukken met donker en licht: bijna zwarte stillevens met een brandende kaars of glas water. De combinatie met performancekiekjes uit de jaren zeventig maakt de expositie rommelig, al overlappen ze ook, als een onderzoek hoe je met techniek lichamelijkheid oproept en vasthoudt.

Dat vasthouden werd nog een punt: polaroids bleken minder houdbaar dan gedacht. Dat weet ook de Rabobank, eigenaar van enkele van Ulays foto’s die, door het Fotomuseum extra conserverend behandeld, onderdeel zijn van deze spaarzaam belichte expositie – niet nog een Fototot alsjeblieft.

Polaroid Masterpieces: Highlights from The WestLicht Collection
BY CAROLINE STANLEY JUNE 17, 2011 4:04 PM

Back in March the Vienna-based WestLicht Museum of Photography purchased the International Polaroid Collection from the Swiss Musée de l’Elysée in Lausanne, saving it from being sold off piecemeal with the rest of the bankrupt company’s holdings. Made up of 4,400 photos by 800 international artists, including such well-known names as Ansel Adams, Robert Mapplethorpe, and Andy Warhol, this massive body of work was shot primarily in the ’70s and ’80s using special custom made cameras and film that was not available on the market — all provided by Polaroid’s founder, Edwin Herbert Land. Beginning today, 350 of the images will go up on display in Austria; click through to view a selection of highlights from the collection, including our absolute favorite — ANDY SNEEZING.


Bruce Charlesworth, Untitled, 1979. Polaroid SX-70. Hand-colored. © Bruce Charlesworth/ WestLicht Collection.
Mark Morrisroe, Nyph-o-maniac, 1983. Polaroid 35mm PolaChrome. Cibachrome print with paint, 10.4 x 15.7″. © The Estate of Mark Morrisroe/ WestLicht Collection.
Charles Eames, Untitled, 1975. Polaroid SX-70. © Eames Office, LLC/ WestLicht Collection.
Luigi Ghirri, AMSTERDAM, 1980. Polaroid Polacolor. 20 x 24”. © Eredi di Luigi Ghirri/ WestLicht Collection.
Stephen Shore, Untitled, 1979. Polaroid Type 808. 8 x 10″ © Stephen Shore/ WestLicht Collection.
Auke Bergsma, Red stockings, 1980. Polaroid SX-70. © Auke Bergsma/ WestLicht Collection.
Paul de Nooijer, Fancy Cake IV, 1977. Polaroid SX-70. Triptych. © Paul de Nooijer/ WestLicht Collection.
Robert Heinecken, Untitled 1983. Polaroid Polacolor 20 x 24″. © Robert Heinecken/ WestLicht Collection.
UlayUntitled, 1969. Polaroid Type 665. 3¼ x 4¼”. © Frank Uwe Laysiepen /VBK, Wien 2011/ WestLicht Collection.
Paul Huf, Untitled, 1977. Polaroid Type 808. 8 x 10″. © Paul Huf/ VBK Wien, 2011/ WestLicht Collection.
Sahin Kaygun, Nude, 1983. Polaroid 600 HS. Hand-colored. © Burçak Kaygun/ WestLicht Collection.
Joan Fontcuberta, Untitled, 1981. Polaroid Type 665. Gelatin silver print 10.4 x 10.4”. © Joan Fontcuberta / VBK Wien, 2011/ WestLicht Collection.
Helmut Newton, Untitled, 1976. Polaroid SX-70. © Helmut Newton Estate/ WestLicht Collection.
Andy Warhol, ANDY SNEEZING, 1978. Polaroid SX-70. © The Andy Warhol Foundation for the Visual Arts Inc. / VBK, Wien 2011/ WestLicht Collection.
Ansel Adams, Window, Bear Valley, California, 1973. Polaroid Type 55. Gelatin silver print 9.8 x 13.3″. © The Ansel Adams Publishing Rights Trust/ WestLicht Collection.
Vicki Lee Ragan, The Princess and the Frogs, 1983. Polaroid Polacolor. 20 x 24″.© Vicki Lee Ragan/ WestLicht Collection.
Oliviero Toscani, Andy Warhol with camera, 1974. Polaroid Type 105. 3¼ x 4¼” © Oliviero Toscani/ WestLicht Collection.
Patrick Nagatani, Cinema II, detail from the image: Alamogordo blues, 1986. Polaroid Spectra © Patrick Nagatani/ WestLicht Collection.
Robert Mapplethorpe, Untitled (Diane), ca. 1974. Polaroid Type 55, 4 x 5″. ©Robert Mapplethorpe Foundation/ WestLicht Collection.

dinsdag 9 februari 2016

Portraits the Moluccan Indonesia Henrij Beingsick (Semarang 1849 – Amboina 1889) Photography


The Dutch East Indies in photographs, 1860-1940

Railroad to Lambarge at PendetiThe years around 1900 marked the heyday of Dutch colonial rule in the Dutch East Indies (now Indonesia). Territories outside Java were brought under Dutch rule and the economy was thoroughly modernized. Thought was also given to the future of the indigenous population and its impact on the relations between the Dutch and the native people.

The collection consists of some 3000 photographs from the period between 1860 and 1940. Most of them were taken by professional photographers who took pictures of landscapes and street life, in addition to photographing houses and factories and taking portrait and group photos. Some of them even took to the road to record all the facets of the Dutch East Indies.

The KITLV (the acronym for Koninklijk Instituut voor Taal-, Land- en Volkenkunde) is a leading centre for the study of the cultural and social sciences of Indonesia, Surinam, the Netherlands Antilles and Aruba.


De fotograaf Henrij Beingsick (Semarang 1849 – Amboina 1889)

Het Bataviaasch handelsblad van 02-06-1874 berichtte dat De Rederijkerskamer Adeka een voorstelling had gegeven om geld in te zamelen ten behoeve van slachtoffers van de recente oorlog in Atjeh. Ook was er een acrobatisch optreden van de in Banda tijdelijk verblijfhoudenden fotograaf Henrij Beingsick.  Het Rijksmuseum voor Volkenkunde heeft elf door hem vervaardigde portret foto’s.  Deze zijn te zien via de website ‘Het Geheugen van Nederland’ [http://www.geheugenvannederland.nl; zoek: “H. Beingsick”].

Populair-gezegd zijn het kleine sepia-kleurige kartonnen kaartjes, met een goud-kleurige rand en de text ‘H. Beingsick, Phot. MOLUKKEN”.  Deze foto’s werden waarschijnlijk in de periode 1870-1885 gemaakt. Twee voorbeelden zijn hier bijgevoegd.

Henrij’s werk wordt gerekend tot dat der pioniers van de fotografie in Nederlands-Indie.  Tien van deze studio-foto’s betreffen leden van de oorspronkelijke bevolking, waarschijnlijk van het eiland Ceram.  Ook is er een elfde foto, namelijk van een oudere, zilver-harige westerling met snor en lange baard, gekleed in keurig grijs pak met zijden vest.  Er zijn veel afdrukken van deze foto’s gemaakt, maar daarop is meestal de naam van de maker, ‘H. Beingsick’ niet aangegeven.

Afdrukken van deze 10 foto’s en van een reeks andere foto’s die zo sterk op deze lijken dat ze vrijwel zeker ook door Henrij Beingsick werden gemaakt, zijn in een aantal verzamelingen terecht gekomen en scans van deze afdrukken zijn op websites van musea en veilingen te zien. Veel van die afdrukken hebben op de achterzijde de naam ‘Woodbury & Page’ staan.  De houders van deze verzamelingen weten in het algemeen niet wie deze foto’s heeft gemaakt.

Wij weten nu – en zijn waarschijnlijk de eersten – dat Henrij Beingsick de fotograaf was.  Voor meer informatie over Henrij en zijn gezin of voor het plaatsen van Uw informatie-bijdragen, zie de forumdiscussie op de website van de Indische Genealogische Vereniging (IGV; http://www.igv.nl/igv-forum/forum-direct/informatie/86-familie-beingsick?limitstart=0&start=88).

Henrij (Harrij) overleed, 39 jaar oud, te Amboina op 24-04-1889.  Zijn vrouw Sarah Theodora Walsen overleed nog geen vier maanden later, 37 jaar oud, te Menado.  Hun vijf kinderen, varierend in leeftijd van 13 tot 6 jaar oud waren wees geworden.  Het leven werd voor de tweede generatie Beingsick niet gemakkelijk.

Wij willen proberen een overzicht te maken van het werk van deze stam-vader van de Indische familie Beingsick. Gezien de kwaliteit van de foto’s, zou dat wel-verdiend zijn!

Wie van U heeft foto’s liggen zoals die van de bijgevoegde voorbeelden, met of zonder Henrij’s naam?
Rudi Kuiper     rudi@netnam.org.vn