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Table of content

INTRODUCTION MUSEUM...................................................................................1

COLLECTION POLICY OUTLINE ......................................................................3

GENERAL................................................................................................................3

COLLECTING GUIDELINES ................................................................................5

THE COLLECTION..................................................................................................7

PHOTO 1 LEISURE AND CHANGING CONTEXTS.........................................8

PHOTO 2 FAMILY VALUES, GRANDFATHER DAVID BIKKER................9

PHOTO 3 WAR AND PEACE; THE CELLAR ..................................................10

PHOTO 4 WORK, THE BEATLES......................................................................11

PHOTO 5 TRADITIONS, SINTERKLAAS AND PRESENTS.........................12

RELATIVES REACTION ......................................................................................13

REPORT COLLECTING PROCESS ...................................................................14

REGISTRATION .....................................................................................................17

1

INTRODUCTION MUSEUM

Thé Photograph: A picture doesn’t say it all

The photograph on the cover of this document, is the most important

photograph, it is important to every family in the whole world. Disregarding

geographical differences, cultural differences and generational gapss. It is as

heart-warming as it can be devastating: It is the picture that was never taken.

It is the photo of the last time we said goodbye and the first time we met. It is

the funny moment that was never captured and the terrible, life changing,

fight that we wanted to forget the moment it began. It is the beginning and

the end of all possible things that have happened.

Therefore this picture is the first thing you see, when one visits the mUSeum.

To reminds its participants, visitors and employees that our picture books not

show us exactly how our lives are and have been, but just those points that

we choose to freeze in time, click and remember. Mostly it are happy times:

birthdays, weddings, New Year’s eves, Christmases and holidays. It is

seldom that a family has an argument and say: wait a minute! This is

important to remember: let’s take a picture: say cheese and keep crying!

In older times the photo was very valuable and expensive to make, radically

different than the current Click-generation we find ourselves in today. So

pictures were carefully structured and people looked at their very best. The

richer the family, the more pictures that were made. But it does not mean

that a family of little wealth had a history not worth remembering. It is

important to keep this in mind whilst looking at the picture books and our

online and onsite exhibitions.

The mUSeum obtains family history, with as a starting point, the history of

the ‘de Hond’ family. They have chosen five pictures and each with a

reason, a story behind it and a moment frozen in time. The stories are what

make the pictures very important documents and worth sharing with the

world. To share what we wanted to remember and what we would have

forgotten without talking about it with each other.

Forget to remember and remembering to forget: both equally important. It is

core of the multiple-perspective ness, shared histories and different cultures

of all pictures displayed in the mUSeum’s collection: we do not want a

whole representation of the worlds history, we want the little stories, with

big impacts that binds us together. And therefore makes networks that link us

all, disregarding cultural differences, together.

Contextualising these kinds of approaches is very important, to address the

importance of an extensive on-line and on-site approach this part firstly

focuses on the changing society.

First of all the ‘de Hond collection’ will be shown, together with pictures.

After that the collection policy of the mUSeum can be found, the fundament

of the decision-making processes in the mUSeum. To then show the

collection and the online exposing and basic registration options.

2

Contextualisation of changeInstead of starting from the perspective of the museum, firstly the changing

society should be handled. This is the fundament to the change that has

come and is coming to the heritage sector and at the same time is a

validation for experimenting and to start processes of implementing changes

to long held sectorial and internal structures.

- Two way road: Social movements and democratisation

With the democratisation and decentralisation1 of society, groups have taken

shape and are speaking up. Social movements always have been there and

with the rapidly sources in social technology2 they can let them selves be

heard more profoundly. Next to that is the fact that people have more easy

access to information, so they can educate and share more easily.3 This

digital age gives the opportunity to engage in and sustain networks and

network forming.4

There is a growing amount of tools to share knowledge; therefore the term

professional amateur5 (pro-am) is becoming more and more important.

Sharing data and personal information is a part of the daily life of many, and

people therefore expect to be involved in various

1 M. Lane, ‘Participation, Decentralization, and Civil Society: Indigenous Rights andDemocracy in Environmental Planning.’ Journal of Planning Education and Research, Vol.22, No. 4, 360-373 (2003)2 O. Helmer, ‘Bernice Brown and Theodore Gordon, Social Technology’, (w.p., 1966)3 S. Wunch e.a., ‘Working party on the information economy;Participative user-createdcontent’, (w.p., 2007)4 D. Kennedy,’ Community Sites & Emerging Sociable Technology’,(w.p., 2008)5 C. Leadbeater e.a., ‘The Pro-Am Revolution, how enthusiasts are changing our economyand society’, (w.p. 2004)

Decision-making processes.6 When one is interested in a certain subject it

has more direct accessible sources to use, with that bearded in mind, the

pro-am can be a real asset to the heritage field.

- Globalisation

This rise in interest in participation and the evolution on participation is not

something that happens at the same paste in a global context. Beside that the

globalising society is something that happens alongside rising local

connections. On the one hand our world is getting bigger, but on the other

hand we want is to be safe and secure, it also has its implication for the local

context. Because there are these ongoing technological improvements

therefore it is easier to have interpersonal connections, from individual to

organisational level and form an extensive global basis to local

connectedness.7

- Fluidity

Changes are mostly not made overnight; it is a process. The process of

evolving systems can be seen as fluidity8. Museums have to know and react

on changes set by the society they are placed in, both in the local context

(the actual place that the heritage institution is placed: neighbourhood) and

the bigger picture.

6 V. Bekkers, e.a. ‘Second Society: Over Vernieuwing In De Straat, De Stad En DeStaat, (Rotterdam, 2008)7 B. Wellman, “Little Boxes, Glocalization, and Networked Individualism.” Pp. 11-25 inDigital Cities II, edited by Makoto Tanabe, Peter van den Besselaar, and Toru Ishida.Berlin: Springer-Verlag, 2002.8 S. Knell e.a. (eds), ‘museum revolutions: how museums change and are changed, (Londonand New York, 2007)

3

COLLECTION POLICY OUTLINE

GENERAL

1. History and place

The museum is part of the National Historical Museum of the Netherlands.

This department was brought to life in 2009, before the building of the

National Historical Museum has been built. Its purpose is to collect,

conservate, share and spread family histories by photographs. The core

collection at this point is the De Hond- Bikker collection. This collection is

to be taken exemplary for the collection of the rest of the stories, because it

beholds personal stories of the families (contemporary) historical roots and

backgrounds. The activities of this family history museum find finance from

the basic funding from the Ministry of OCW (Education, Culture and

Science). It has to report to the advisory board and board of trustees of the

National Historical Museum. The mUSeum can apply for funding from

external funding bodies on project base.

2. Mission

Mission statement: The significance of US.

The mUSeum puts the capitols in US. We aim to act as a bridge between

cultural heritage and the locality of each user and visitor.

Our mUSeum aims to serve its diverse public as a participative, innovative,

and welcoming platform, both on-line and on-site, for raising curiosity on

learning more about the histories of our families and thereby connect with

(trans) national networks and increasing the sense of place and belonging.

3. Scope and Uses of the Collection

The collection of the mUSeum focuses on the stories behind the objects,

therefore the stories are the true objects and the Photographs and other

objects are collected in order to deepen the knowledge and experience of

the stories.

4

4. Staff Responsibilities

1. The museum has personal stories in their care and therefore

respecting the sensitivities that come with personal stories and

2. Abiding the code of ethics.

3. Look after the collection in the best way.

5. Acquisition of Collection Materials1. Loans

i) Incoming

ii) Outgoing

2. Donations and Accessions

3. Deaccessioning

6. Conservation of The Collection

1. Primarily there is an digital collection

7. Use of the COLLECTION

1. Access to the collection

2. Educational use of objects

3. Commercial/media use of objects

5

COLLECTING GUIDELINES

Place in the museum

ObjectivesThe museum would have certain objectives, bear in mind that the process is

as important as the end result. One cannot always fully plan the project. The

museum should be willing to change their end results according to the

people participating.

Open and honestSay what you are doing, how you are doing it and for how long the project

will last. Make sure that the people you work with are aware that you have

other projects in your museum, and that this is one of them. This will help

avoid unclarity and possible arguments later on.

PrioritiseParticipative collecting is not something that can be done overnight, be

willing to invest and make participative collecting into a priority.

Professionalism

TrainingTraining the museum staff is not something that will give immediate results.

But it will often lead to better end results. Interview training or cultural

differences workshops can be very useful.

Exchange results and findingsParticipative collecting is a next frontier for the museum sector as a whole;

share your own results, miscalculations and possible assumptions. Do not

leave your research results on the shelf after the evaluation of the project is

done with. Do not let every museum make the same mistakes without

moving forward.

Getting them in.Is not only about the often-stated ‘lower classes’, participative collecting is a

mindset. The stories behind the object count, from whatever class or country

the object may have come.

The people

InvestParticipative collecting may sound cheap, but should not be so. Invest in the

care of the collection and the relation with the people who ‘donate’ their

object. Invest in man-hours by workers at the museum to take good care of

the community involved.

Take them seriouslyTreat them as if they were possible sponsors of your museum, because they

could become one. Get to know them and provide them with little tokens of

appreciation.

6

RespectMultiple perspective ness of stakeholders, remember that for every

stakeholder their object is important and it should also be important for the

museum. Sense of importance and empowering also come from the way that

the person itself is treated.

The objects

Take good careWhen a museum collects objects that are important to people, the museum

should start taking care of it also and really handle it as real part of the

collection. Put it on a pedestal, tell the story and document it as if it was a

newly discovered Rembrandt.

Open accessGive people the opportunity to use the collection of stories and let them add

their own. Be participative after the project and don’t just ‘tick the box’.

7

THE COLLECTION

Next in this document is the revealing on paper of the ‘De Hond Collection’.

It beholds five themes and an equal amount of pictures. The themes chosen

are:

1. Leisure

2. Family values

3. War and peace

4. Work

5. Traditions

These themes were picked after categorizing the whole collection of photos

that my family has and that are significant. This wide scale of themes each

represents an important part of our family life. Because the limitation of

pictures, we focussed on only family relations and left out friends and other

important people in our lives. When the collection would grow, that would

be part of it too.

On-line and on-site presentationOn this paper form the collection is only the picture itself and the statement

of significance. The Internet is an important to mobilize, share and collect

other family histories and other associative material that comes with these

pictures.

Any MetaI did not have every kind of material at my service whilst making this

assignment. My personal favourite would be Any meta, a Content

Management System created by Mediamatic. It allows you to share data and

contextualise it, for example by theme and make networks among users. It is

also used for example by the Jewish monument. An initiative that comes

close to the family histories, but is focussed on the ones who were murdered

in concentration camps. The digital monument can be found via this link:

http://www.joodsmonument.nl/.

For the time being I place my associative material via a prezi presentation

with pictures, videos and documents, it shows where I would like it to go to.

A click through un-linear way of getting to know other families and their

histories and getting to know your own and linking histories together by

theme.

The Link of the prezi-presentation: http://prezi.com/442vre7ze1g8/view/

This shows up in the prezi-browser window,firstly click the second icon, then the forward arrow. To leave fullscreen mode, press the lookingglass.

8

P HOTO 1 LEISURE AND CHANGING

CONTEXTS

Significance

We undertake and have undertaken various trips that are of great value to

us. We really enjoy the time we have with each other and re-energize from

them. So every picture that shows that kind of activity is important to us.

This picture is more important to my sisters and parents because they like to

see pictures of me when I was little, it are important documents for them to

see me change over time.

The second layer in this picture is of changing contexts and relating to other

families. The man helping me stay on the elephant and pointing at the

camera died not long after this picture was taken. He and his wife suffocated

due to carbon monoxide poisoning. So every time we look at this picture it

makes us think about them and their family history.

9

PHOTO 2 FAMILY VALUES, GRANDFATHER DAVID

BIKKER SignificanceThis picture is taken up in the collection because of various reasons; first of

all we think that it is a proud picture of my grandfather. It shows him in his

finest attire with his hat on, on the other hand it also shows our family

feeling of belonging and holding on to your principals, even if that is not the

easy way out.

The man on the picture is my granddad. I am named after him. He is my

mother’s father and he was born in the year 1898. I do not know him by

person, he died before I was born, but through the story’s it is like I know

him: it was a remarkable man. Not only was he a very friendly man but also

a man who did many things for other people; especially the ones who had

difficulties could count on him. For example: he helped the unemployed

within the crisis time. He got money from the municipal authorities in the

’20 and ’30 and started a sporting school. To keep the moral up and give

men a place to come together, talk with each other but most of all work out

so that they had a feeling of relief.

Also he was a member of the Christian union to collect contribution at the

member, at that time this was done door-to-door. My old sisters and brother

can still remember him doing this and the long time it took for him to do

this, because he got asked in very often. Sometimes for a cup of coffee but

on many occasions also to talk about problems and issues they had.

10

PHOTO 3 WAR AND PEACE; THE CELLAR Significance

My grandfather, taking this picture, has made a collection of pictures

through contemporary collecting during and right after the second world

war. Since we live in Oosterbeek and the family of my grandfather is Jewish

we have close connections to the war and the things it brought with it. The

picture shows my grandmother, great-grandfather, my father’s niece and two

other relatives who were in hiding in Oosterbeek and an English soldier who

got time in the cellar to regain his strength. There were two soldiers who

came in regularly before they went back on the street in to battle.

The other part that makes this picture important is the shock that we had just

a few weeks ago. My brother called us that he visited the Airborne Museum

in Oosterbeek with his son, because they had refurbished. He asked us if we

knew that this picture was exhibited there and he sent us a picture from the

blow-up. My nephew standing in front of it shows how big it was blown up.

We knew nothing and this felt really bad and shocked my brother as it did

us. They never asked us any permission or gave us notice that they were

using it in their exhibition. We did not even know they had it. The only clear

explanation is that the local newspaper had it in their archive and via them

the museum got them. The even lied to us when we asked them, they said

my oldest uncle, whom has died already eight years ago, gave permission to

them nearly 3 months before the opening (in september 2009). So the

importance of being honest and sensitive to stakeholders and the public is

something that we have experienced ourselves and that I will take with me

my whole professional and personal life.

11

PHOTO 4 WORK, THE BEATLES

Significance

Because every time one of us sees pictures and postcards in stores and

museums we always checked and still check if my father’s company made

them. This is not only the case with The Beatles, Elvis Presley and The

Rolling Stones. But also with museum postcards, city marketing postcards

and all other material one can imagine. My father partially owned the

company that my grandfather and -mother started. It was a printing business:

Emdeeha It was a big part of our lives. We have several feelings about it,

some good, some bad, but all of them equally important.

12

PHOTO 5 TRADITIONS, SINTERKLAAS AND PRESENTS

Significance

There are certain days that are more or less the same every year. Birthdays

are one of them, Christmas being an important other. Sinterklaas within our

family has been the same for years. Because these re-occurring days are

important for our family life, it is obvious that there had to be a picture of

one in this collection. Sarah, at the time eight years old, made the picture. It

shows Sarah running to the presents and pieterjan (her brother of 12)

bending over to get the presents, that were just left outside the door. The

picture is not clear and very blurry. But it is her view of Sinterklaas, and

therefore of the utmost importance.

13

RELATIVES REACTION

“When are we going to do this again?”

There are three generations that saw the result of this assignment. The oldest

being 71 and the youngest being 8. The youngest has the same problems

that I, 22, have. We are not around long enough to know the contexts of a

majority pf the pictures that we have because we were not born then. So she

has learned more about our family than she did before, as did her brother of

12. It has wakened a hunger for them to see more pictures and for the rest of

the family to explain them on the where and what of it.

“Choosing is hard!”

Choosing was difficult because we have stacks of pictures on paper and on

the computer. When we came up with the themes, and made the restriction

that there could be one picture of each in this collection.

‘What do we want with this collection’?

This was an important conversation we had because it was like we were

operating like guest-curators for a museum. Everyone felt a sense of

importance to do the right thing.

“Doing this really is more difficult than I thought”

The fun pictures are easy, because it is nice to reminisce about them and to

bring back happy memories. There are also a lot of memories that are not as

easy to recall and to openly talk about with the family, but that we did feel

as important to put in our collection.

14

REPORT COLLECTING PROCESS

The ‘de Hond’ collection is exemplary for family photo’s sharing and

showing the history of times gone by and, as with new museology, the

process is more important than the results on its own. The collecting process

is important, more important than aesthetic beauty and beautiful composed

and lighted pictures. In this part the collecting process of the ‘de Hond’

collection, the particular steps taken and the ways of collecting are the bases

of the procedures that can be used in later stages.

Since the starting of mUSeum is an experiment, for every photo a different

kind of collection method is used. The only option that could not be

experimented with, but is something that could become important and add

significance, is the bottom-up approach. People coming with photos that

belong to themselves, without me or the mUSeum as an institute coming

after them. But just upload their picture online because they think of it as

being something important enough to upload. Besides that share other

experience brought to them by other photographs of other families in other

situations and cultures. Through the website of the mUSeum but also the

mUSeum should encourage people on other platforms such as Flickr, Picasa,

wordpress and other media platforms to join in.

On the other hand there should be an investment made into commenting on

the other platforms in order to mobilise users and sharers to cooperate. The

cross-medial online approach connects and complements the efforts made

on-site. On-site the educational program will provide the collection with

stories from students. But that is all future talk; now back to the ‘de Hond’

Collection.

The family

The core of which has been collected is the home of the ‘de hond’ family.

To contextualise the pictures and the process, the family will be introduced

shortly. The father (Jan de Hond, 1938) and the mother (Aagje de Hond-

Bikker, 1944). They have four children: Miep de Hond (1965), Aagje de

Hond (1966), Emanuel de Hond (1967) and Davida de Hond (1987).

Emanuel de Hond is married to Marjolein de Hond – Joustra and they have

two children: Pieterjan de Hond (1997) and Sarah de Hond (2001), who all

live in Renkum, a village near Oosterbeek.

15

Photo 1 Renz

This was the most close to a grassroots approach within this little experiment

and project. I have been talking about this assignment for quite some time

because it is a difficult and emotional thing to do. Where is the line between

significance and snapshot? This picture chosen by my sister shows that

pictures changes value and context over time, they become time capsules of

moments gone by. So it is a Polaroid photo, taken in the circus with me on

an elephant. It was first on the wall with a pushpin; therefore there is a hole

in the middle. After that it was folded and put in a frame (which was smaller

than the picture hence the folds on the sides). It has been fading slowly and

my family and me still wanted to digitize is, but never did. On a Wednesday

evening my sister said to me: “Well, I digitized the picture and it should be

in our collection”. The way that she said it made me feel good, because the

project was starting to live and everyone is thinking about it. So when she

explained to me why it should be taken up, and me at first being hesitant to

do so. It came to a point where I even said: No! I realised I was being acting

as the decision maker, the vertical approach, the finger, the motion stopper.

Instead of being an open minded, platform of differences that I think is

important for these kinds of project. So we talked about the picture, older

sister to younger sister. It brought back memories and now it is in our core

collection, although I still think that for me there are other pictures that are

more relevant for our family history, that probably because I am the main

figure in this picture and pictures of yourselves are most of the time weird to

look at, I believe that pictures of my family re more important.

Photo 2 Grandfather David Bikker

This picture is taken up in our collection after consultation amongst

ourselves. It was my personal choice to take this particular one because it

stands for everything that I have missed, by never knowing him. He is a very

tall man whom I know let everyone feel safe. Because he died when I was

born I never got to know him. That everyone talked about him was best

expressed in this picture, and that is why this one is in this collection.

Photo 3 The cellar

This picture is very important to all of us and we knew immediate that this

should be in our family history museum, because it is also in the Airborne

museum. A museum on the Second World War. So when I explained what

the assignment was, we all started to talk about this one, because we had

some issues with the museum that exposed it. So this one was collected by

associations that were made by us directly after hearing the assignment.

Photo 4 The Beatles

Talking about the photos on this theme, made not only the choice for one of

them. But we also talked about the others and started to think if there were

more. Various feelings came above, that were not all nice, because have this

photograph was chosen by my parents, sisters and me in a ‘family-session’.

The theme: work, was something that I found was very important to integrate

within this collection, since it is a significant part of the lives of my direct

family and the family behind that. Work had another layer added because

16

my grandfather started a printing business in which my father, mother and

two uncles came to work in. So the theme was there and with that theme I

started to look for all pictures that I could find of Emdeeha (the company’s

name). I layed them on the table and we took the time to walk them though

and see what should grasp the various emotions that come with having and

working in a family business. After some discussion everyone felt that this

was the best one and therefore it became part of our collection. A family

business can hurt a lot sometimes; because it is not only a business it is also

family. The process towards the choosing of this photo is, as I feel, more

important than the actual photograph. We could have chosen any photo that

was on the table, but the fact that we talked it over and choose this one

makes all the difference to US.

Photo 5 traditions, Sinterklaas and presents

For this picture, there was an assignment given to my eight year-old niece

Sarah, who is the daughter of my brother Emanuel. The assignment given to

her was to make a picture of the most important moment for her on this year

Sinterklaas Celebration. This is the moment where the presents are there and

she ran to the bag in the room. She thought that that was important, so she

clicked the digital camera, but she did not gave herself the time to stop

running. If the picture had taken two years ago, she would have thought that

Sinterklaas was the most important, because then she still believed.

17

REGISTRATION

18

Photo 1: Leisure, Circus Renz

Fields

1. Name of the Institution mUSeum2. Object number 5colldehond3. Object name Leisure, circus Renz4. Title object Vida on a elephant5. Description This is Davida de Hond (1986) as

a child on an elephant afterattending a Herman Renz circusshow in Oosterbeek, Netherlands.

6. maker Employee of Circus Renz7. Date from 19918. Date to 19939. Material Digital photo

Format: .rtf10. size 5.0 mp, 10 mb11. Conditition Mint, .rtf file is good transferrable

to other operating computingsystems

12. acquisition date 05-01-201013. Acquisition method trading14. acquired from Aagje de Hond15. Acquisition price -16. Val. Acquisitionprice -17. Current place G-schijf-121209-Sdehond

18. Associative information The man standing next to theelephant was the dompteur ofCircus Renz, until he and his wifedied of carbo-monoxide poisininga little while after this picture wastaken. It is a polaroid, that is thereason why the picture is slightlyfading, the use of the photoshows the significane of it fromthe owners perpective.

19

Photo 2: Family values; Grandfather David Bikker

Fields

1. Name of the Institution mUSeum2. Object number 2colldehond3. Object name Part. Coll. De Hond–Bikker, Aagje4. Title object Grandfather5. Description A old picture of a young man with

had.6. maker unknown7. Date from unknown8. Date to unknown9. Material Photo digilitised

Format: .rtf10. size 5.0 mp, 10 mb11. Conditition Mint, .rtf file is good transferrable

to other operating computingsystems

12. acquisition date 12 –12-0913. Acquisition method trading14. acquired from Aagje de Hond - Bikker15. Acquisition price A kiss16. Val. Acquisitionprice -17. Current place G-schijf-121209-grootvader

18. Associative information The man on the picture is ahandsome man who looksseriously into the camera. It is mygrandfather. It is a shame I neverknew him in person.

20

Photo 3: War and Peace; The Cellar

Fields

1. Name of the Institution mUSeum2. Object number 3colldehond3. Object name AS34. Title object The cellar5. Description A picture witch show several

people linging together in asmale space. It is not a happyoccasion, that shows.

6. maker Emanuel de Hond7. Date from 17 september 19448. Date to 28 september 19449. Material Digitalised photo

Format: .rtf10. size 5.0 mp, 10 mb11. Conditition Mint, .rtf file is good transferrable

to other operating computingsystems

12. acquisition date 16 december 200913. Acquisition method trading14. acquired from Jan de Hond15. Acquisition price A kiss16. Val. Acquisitionprice -17. Current place G-schijf-121209-cellar

18. Associative information It was a hard time, not knowinghow long the battle was going onand who would win. The peoplewere hungry and cold.Thankfully, the British werefighting above in the house andnot the Germans... ‘My fatherhad rabbits but he and his familycouldn’t eat them, dispite thehungre. So my granddad saidthat the soldiers should eat them.They also could not do that. Itwere nearly boys and they alsohad rabbits at home.’ Said byDavida de Hond (1987) in jan.2010 during collecting process.

In Oosterbeek, the war andaspecialy the Battle of Arnhemand the evacuation is a recurringissue. I can tell several story’sabout that time. It is for bothsides of the family a traumaticperiod.

This picture tells it all.

21

Photo 4 Work; the Beatles

Fields

1. Name of the Institution mUSeum2. Object number 4colldehond3. Object name Work,4. Title object The Beatles5. Description The picture shows the beatles in

the sixties. It is a black and whitepicture used for promotionalpurposes.

6. maker unknown7. Date from 19608. Date to 19709. Material Digital photo

Format: .rtf10. size 5.0 mp, 10 mb11. Conditition Mint, .rtf file is good transferrable

to other operating computingsystems

12. acquisition date 01-01-201013. Acquisition method trading14. acquired from Jan de Hond15. Acquisition price Making dinner16. Val. Acquisitionprice -17. Current place G-schijf-121209-Sdehond

18. Associative information This picture was multiplied by thefirm Emdeeha owned by the deHond family in Oosterbeek. Thesekind of pictures were and arevery important to collectors ofthe band and of promotionalpictures in general, and for ussince thisis part of our history asa family.

22

Photo 5 Leisure; Blurry Sinterklaas picture

Fields

1. Name of the Institution mUSeum2. Object number 1colldehond3. Object name Part. Coll. De Hond, Sarah

Sinterklaas4. Title object Sinterklaas Hessels and

exitement5. Description Colour, reflective photocopy from

digitally taken picture.

This picture was made in thewinter of 2009, on decemberfifth. Sarah de Hond, 8 years oldwas given a digital camera andthe assignment to make photo’sof her family and the whole dayfilled with Sinterklaas traditions.

6. makerSarah Aagje Helena de HondBorn on 20-02-2001Current adress (01-2010):Eekwal 28Gelderland, RenkumNetherlands

7. Date from 05-12-20098. Date to 05-12-20099. Material Digital photo

Format: .rtf10. size 5.0 mp, 10 mb11. Conditition Mint, .rtf file is good transferrable

to other operating computingsystems

to other operating computingsystems

12. acquisition date 05-12-200913. Acquisition method trading14. acquired from Sarah de Hond15. Acquisition price Ginger nuts and taai-taai16. Val. Acquisitionprice -17. Current place G-schijf-121209-Sdehond18. Associative information After that she hand picked her

favourite object, that was thisone. Esthetically it is not themost appealing, also on anartistic level there is nosignificance. The true value ofthis picture lies within her viewon the day and of what sheperceives to be important andwhat feelings this picture givesher and why she made it. This allads layers to this picutr, thatwhilst on display have to beexplained, so that the visitors canbe welcomed into the world ofSarah and therefore be remindedof family times and festive andcommemorative traditions.