US

M EUM
The family history of us

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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
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
1
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.
Contextualisation of change
Instead 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
1
With the democratisation and decentralisation of society, groups have taken
shape and are speaking up. Social movements always have been there and
2
with the rapidly sources in social technology they can let them selves be
heard more profoundly. Next to that is the fact that people have more easy
3
access to information, so they can educate and share more easily. 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
5
professional amateur (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 and
Democracy 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 7
S. Wunch e.a., ‘Working party on the information economy;Participative user-created
content’, (w.p., 2007)
4
D. Kennedy,’ Community Sites & Emerging Sociable Technology’,(w.p., 2008)
5 8
C. Leadbeater e.a., ‘The Pro-Am Revolution, how enthusiasts are changing our economy
and society’, (w.p. 2004)
2
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 De
Staat, (Rotterdam, 2008)
B. Wellman, “Little Boxes, Glocalization, and Networked Individualism.” Pp. 11-25 in
Digital Cities II, edited by Makoto Tanabe, Peter van den Besselaar, and Toru Ishida.
Berlin: Springer-Verlag, 2002.
S. Knell e.a. (eds), ‘museum revolutions: how museums change and are changed, (London
and New York, 2007)
COLLECTION POLICY OUTLINE
2. Mission
GENERAL
Mission statement: The significance of US.

1. History and place 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.
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 Our mUSeum aims to serve its diverse public as a participative, innovative,
National Historical Museum has been built. Its purpose is to collect, and welcoming platform, both on-line and on-site, for raising curiosity on
conservate, share and spread family histories by photographs. The core learning more about the histories of our families and thereby connect with
collection at this point is the De Hond- Bikker collection. This collection is (trans) national networks and increasing the sense of place and belonging.
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
3. Scope and Uses of the Collection
backgrounds. The activities of this family history museum find finance from
the basic funding from the Ministry of OCW (Education, Culture and
The collection of the mUSeum focuses on the stories behind the objects,
Science). It has to report to the advisory board and board of trustees of the
therefore the stories are the true objects and the Photographs and other
National Historical Museum. The mUSeum can apply for funding from
objects are collected in order to deepen the knowledge and experience of
external funding bodies on project base.
the stories.

3
 2. Educational use of objects
3. Commercial/media use of objects
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 Materials

1. 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

4
COLLECTING GUIDELINES
Place in the museum
Objectives
The 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 honest
Say 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.
Prioritise
Participative collecting is not something that can be done overnight, be
willing to invest and make participative collecting into a priority.
Exchange results and findings
Participative 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
Invest
Participative 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.

Professionalism Take them seriously

Treat 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
Training
appreciation.
Training 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.

5
Respect
Multiple 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 care

When 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 access
Give 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’.

6

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 presentation
On 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 Meta
I 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 full
screen mode, press the lookingglass.

7
P HOTO 1 LEISURE AND CHANGING Significance
CONTEXTS
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.

8
P HOTO 2 FAMILY VALUES , GRANDFATHER DAVID
BIKKER Significance
This 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.

9
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.

10
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.

11
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.

12
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.

13
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.
14
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.
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.
15
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
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.

16
REGISTRATION

17
Photo 1: Leisure, Circus Renz 18. Associative information The man standing next to the
elephant was the dompteur of
Fields Circus Renz, until he and his wife
died of carbo-monoxide poisining
1. Name of the Institution mUSeum a little while after this picture was
2. Object number 5colldehond taken. It is a polaroid, that is the
3. Object name Leisure, circus Renz reason why the picture is slightly
4. Title object Vida on a elephant fading, the use of the photo
5. Description This is Davida de Hond (1986) as shows the significane of it from
a child on an elephant after the owners perpective.
attending a Herman Renz circus
show in Oosterbeek, Netherlands.
6. maker Employee of Circus Renz
7. Date from 1991
8. Date to 1993
9. Material Digital photo
Format: .rtf
10. size 5.0 mp, 10 mb
11. Conditition Mint, .rtf file is good transferrable
to other operating computing
systems
12. acquisition date 05-01-2010
13. Acquisition method trading
14. acquired from Aagje de Hond
15. Acquisition price -
16. Val. Acquisitionprice -
17. Current place G-schijf-121209-Sdehond

18
Photo 2: Family values; Grandfather David Bikker 18. Associative information The man on the picture is a
handsome man who looks
Fields seriously into the camera. It is my
grandfather. It is a shame I never
1. Name of the Institution mUSeum knew him in person.
2. Object number 2colldehond
3. Object name Part. Coll. De Hond–Bikker, Aagje
4. Title object Grandfather
5. Description A old picture of a young man with
had.
6. maker unknown
7. Date from unknown
8. Date to unknown
9. Material Photo digilitised
Format: .rtf
10. size 5.0 mp, 10 mb
11. Conditition Mint, .rtf file is good transferrable
to other operating computing
systems
12. acquisition date 12 –12-09
13. Acquisition method trading
14. acquired from Aagje de Hond - Bikker
15. Acquisition price A kiss
16. Val. Acquisitionprice -
17. Current place G-schijf-121209-grootvader

19
Photo 3: War and Peace; The Cellar 18. Associative information It was a hard time, not knowing
how long the battle was going on
Fields and who would win. The people
were hungry and cold.
1. Name of the Institution mUSeum Thankfully, the British were
2. Object number 3colldehond fighting above in the house and
3. Object name AS3 not the Germans... ‘My father
4. Title object The cellar had rabbits but he and his family
5. Description A picture witch show several couldn’t eat them, dispite the
people linging together in a hungre. So my granddad said
smale space. It is not a happy that the soldiers should eat them.
occasion, that shows. They also could not do that. It
6. maker Emanuel de Hond were nearly boys and they also
7. Date from 17 september 1944 had rabbits at home.’ Said by
8. Date to 28 september 1944 Davida de Hond (1987) in jan.
9. Material Digitalised photo 2010 during collecting process.
Format: .rtf
In Oosterbeek, the war and
10. size 5.0 mp, 10 mb
aspecialy the Battle of Arnhem
11. Conditition Mint, .rtf file is good transferrable
and the evacuation is a recurring
to other operating computing
issue. I can tell several story’s
systems
about that time. It is for both
12. acquisition date 16 december 2009
sides of the family a traumatic
13. Acquisition method trading
period.
14. acquired from Jan de Hond
15. Acquisition price A kiss This picture tells it all.
16. Val. Acquisitionprice -
17. Current place G-schijf-121209-cellar

20
Photo 4 Work; the Beatles 18. Associative information This picture was multiplied by the
firm Emdeeha owned by the de
Fields Hond family in Oosterbeek. These
kind of pictures were and are
1. Name of the Institution mUSeum very important to collectors of
2. Object number 4colldehond the band and of promotional
3. Object name Work, pictures in general, and for us
4. Title object The Beatles since thisis part of our history as
5. Description The picture shows the beatles in a family.
the sixties. It is a black and white
picture used for promotional
purposes.
6. maker unknown
7. Date from 1960
8. Date to 1970
9. Material Digital photo
Format: .rtf
10. size 5.0 mp, 10 mb
11. Conditition Mint, .rtf file is good transferrable
to other operating computing
systems
12. acquisition date 01-01-2010
13. Acquisition method trading
14. acquired from Jan de Hond
15. Acquisition price Making dinner
16. Val. Acquisitionprice -
17. Current place G-schijf-121209-Sdehond

21
Photo 5 Leisure; Blurry Sinterklaas picture to other operating computing
systems
Fields 12. acquisition date 05-12-2009
13. Acquisition method trading
1. Name of the Institution mUSeum 14. acquired from Sarah de Hond
2. Object number 1colldehond 15. Acquisition price Ginger nuts and taai-taai
3. Object name Part. Coll. De Hond, Sarah 16. Val. Acquisitionprice -
Sinterklaas 17. Current place G-schijf-121209-Sdehond
4. Title object Sinterklaas Hessels and 18. Associative information After that she hand picked her
exitement favourite object, that was this
5. Description Colour, reflective photocopy from one. Esthetically it is not the
digitally taken picture. most appealing, also on an
artistic level there is no
This picture was made in the significance. The true value of
winter of 2009, on december this picture lies within her view
fifth. Sarah de Hond, 8 years old on the day and of what she
was given a digital camera and perceives to be important and
the assignment to make photo’s what feelings this picture gives
of her family and the whole day her and why she made it. This all
filled with Sinterklaas traditions. ads layers to this picutr, that
6. maker whilst on display have to be
Sarah Aagje Helena de Hond explained, so that the visitors can
Born on 20-02-2001 be welcomed into the world of
Current adress (01-2010): Sarah and therefore be reminded
Eekwal 28 of family times and festive and
Gelderland, Renkum commemorative traditions.
Netherlands
7. Date from 05-12-2009
8. Date to 05-12-2009
9. Material Digital photo
Format: .rtf
10. size 5.0 mp, 10 mb
11. Conditition Mint, .rtf file is good transferrable
to other operating computing
systems

22