Amsterdam : Van Oorschot; Ongepag. ([106] p.), 33 cm |
Dutch Surrealism Retrospective Emiel van Moerkerken Photography
F. Bordewijk - Bint, roman van een zender - Utrecht, De Gemeenschap, 1934 - 134 pp. - papieren omslag - 14 x 20,2 cm.
Dick Bruna Artist Graphic Design Rijksmuseum Amsterdam
Times Editions (1987), Unknown Binding, 120 pages  "Jean Demmeni (1866-1939) born in Padang Panjang(West-Sumatra) son of aFrench father and an Indo-European mother. His father served in the DE Indies Army in the 1870s during the Atjeh wars. Jean served also as non-commissioned officer who entered the D.E. Indian Army in 1888; later he was transferred to the Topographical Service. In 1896-97, and 1898-1900 he accompanied the expeditions of Nieuwenhuis to Borneo, in 1908 he took part in a topographical survey of Krakatau Island, and was the first to reach the summit; in 1909-11 he was a member of the Exploration in Dutch N. New Guinea, mainly as photographer and mentor of the Dyak coolies. Employed by the Topographical Service at Batavia, 1911-20; when pensioned off in the latter year, he continued work in the Central Office of Dactyloscopy."  127. De Sultan van Djokjakarta op zijn troon. Java. Antique school board of The Sultan of Yogyakarta on his throne.Taken c.1895 and published between 1912 and 1914 in Holland. The Sultan of Yogyakarta was 70 years old when Demmeni took his portrait. For the occasion he donned full regalia including ear-coverings of images of Hindu gods. The string around his neck he was a descendant of the Brahmins. This photograph depicting the Dutch East Indies was originally published as part of an information series for school children. It consisted of 170 educational prints and covered a diverse range of subjects, separated into two parts: numbers 1-150 depicted places and people in the Dutch East Indies and numbers 151-170 depicted places and people in the Dutch West Indies. The first 150 photographs of the collection are attributed to the photographer Jean Demmeni (1866-1939), whose pictures provided the Dutch public with some of the first photographic depictions of the colonies that they had read so much about. Demmeni was born in Padang Panjang in West Sumatra, the son of a native woman of the island of Madura and a Frenchman who had left his country to join the Dutch East Indies Army. Demmeni followed in his fatherʹs footsteps and, after technical training in Holland, entered the Third Infantry Regiment in 1887. He was seconded to the topographic unit of the armed forces and in 1894 was assigned as the official photographer to an expedition to Borneo led by Dr. A.W. Nieuwenhuis. Demmeni was then employed by the Topographical Service at Batavia from 1911 until 1920, after which he worked as a photographer at the Central Office of Dactyloscopy. In the biography of Jean Demmeni Indonesia: Image s of the Past (Singapore: 1987), Leo Haks described him as ʹone of the first photographersʹ to capture the islands of the Indonesian archipelago, and called his work a ‘vital contribution to Indonesian history and the art of photography’ which ʹprovides a comprehensive record of the Indonesian islands at the turn of the century, unmatched in its singular insightsʹ. This selection of photographs shows interesting details around the expansion of industries such as tobacco (a lucrative export) in the area, and the local processes of production. The group also records the religious influences in the region, showing Islamic and Christian presences in local communities. Islam had been established in Indonesia since the fourteenth century, and colonial European settlers had ushered in a new phase of Christian proselytising around the Pacific Ocean – one which was frequently characterised by notorious insensitivity towards the indigenous population. However, these photographs demonstrate the more tolerant educational interest being taken at the beginning of the twentieth century. |
Nederlands-Indië in foto's, 1860-1940
Photography in the Dutch East Indies
The commercial photographers who started working in the Dutch East Indies from 1845 led a nomadic existence. They would set up a studio in a large town or hotel or at the home of an acquaintance, advertise in the local paper and take a photograph of anybody who had money to spare for that purpose. After a couple of weeks or months when the market had become saturated, they moved on to the next town. Among these pioneers were the two young Englishmen Walter Bentley Woodbury and James Page. From 1857 to 1908 Woodbury & Page was a leading firm in the photography sector in the Dutch East Indies.
Primarily, the commercial photographers took portraits of people, more particularly of prominent individuals. In addition, they sold topographic photos, i.e. pictures of important buildings, streets, volcanoes or agricultural enterprises. Pictures of the various population types in the colony also formed part of their repertoire. The topographic photos were chiefly sold as ‘souvenirs’.
During the last decades of the nineteenth century, the photographers’ wanderings came to an end. At that time, every large town had one or more permanently established photographers. The Surabayan photographers Onnes Kurkdjian and Herman Salzwedel and the Javan, Kassian Céphas (who worked in Yogyakarta) were famous names at the time.
The heyday of commercial photography was over by the beginning of the twentieth century and the role it played in forming an image of the Dutch East Indies diminished noticeably. There were two reasons for this. The introduction of the picture postcard brought an end to the market for topographic photos. And then, thanks to the many technical improvements, photography had essentially become the domain of amateurs: now everybody could make his or her own ‘souvenirs’.
The commercial photographers who started working in the Dutch East Indies from 1845 led a nomadic existence. They would set up a studio in a large town or hotel or at the home of an acquaintance, advertise in the local paper and take a photograph of anybody who had money to spare for that purpose. After a couple of weeks or months when the market had become saturated, they moved on to the next town. Among these pioneers were the two young Englishmen Walter Bentley Woodbury and James Page. From 1857 to 1908 Woodbury & Page was a leading firm in the photography sector in the Dutch East Indies.
Primarily, the commercial photographers took portraits of people, more particularly of prominent individuals. In addition, they sold topographic photos, i.e. pictures of important buildings, streets, volcanoes or agricultural enterprises. Pictures of the various population types in the colony also formed part of their repertoire. The topographic photos were chiefly sold as ‘souvenirs’.
During the last decades of the nineteenth century, the photographers’ wanderings came to an end. At that time, every large town had one or more permanently established photographers. The Surabayan photographers Onnes Kurkdjian and Herman Salzwedel and the Javan, Kassian Céphas (who worked in Yogyakarta) were famous names at the time.
The heyday of commercial photography was over by the beginning of the twentieth century and the role it played in forming an image of the Dutch East Indies diminished noticeably. There were two reasons for this. The introduction of the picture postcard brought an end to the market for topographic photos. And then, thanks to the many technical improvements, photography had essentially become the domain of amateurs: now everybody could make his or her own ‘souvenirs’.
Exile on Main Street The Rolling Stones Layout Design John Van Hamersveld and Norman Sheef Concept and Photos Robert Frank Photography
“ERWIN” strip- en boekantiquariaat
Antiquariaat MATTHYS DE JONGH
Restaurant Sultani te Zutphen
