496
Collections
The main body of Ermakov’s heritage can be found at
the Simon Janashia State Museum in Tbilisi, other parts
are at the Museum of Tbilisi’s History and the Museum
of Art, the Tbilisi City Archive has a small collection
as well, although this may have been destroyed during
the civil war in the 1990ies. From his days as court
photographer to the Persian Shah, prints and albums can
be found at the Golestan Museum in Tehran.
A substantial print collection can be found at the Rus-
sian Museum of Ethnography, St. Petersburg, Russia.
Smaller collections are at the Rijksmuseum, Am-
sterdam, the Netherlands and at the Phototheque in
Paris, France.
See also: Société française de photographie.Further Reading
Bennekom, J. van, ‘Fotografi e in Georgië Rembrandt in Tbilisi’
[Photography in Georgia Rembrandt in Tbilisi], in: Foto, vol.
55, no. 9, 2000, 80–83.
Bennekom, J. van, ‘Fotografi e in Georgië Rembrandt in Tbilisi’
[Photography in Georgia Rembrandt in Tbilisi],in: Foto, vol.
55, no. 10, 2000, 36–39.
Berg, Hetty (ed.), Facing West. Oriental Jews of Central Asia and
the Caucasus, Zwolle, Waanders Publishers, 1998 (exhibition
catalogue).
Bohrer, Frederick N., Sevruguin and the Persian Image. Pho-
tographs of Iran 1870–1930, Washington, D.C., Arthur M.
Sackler Gallery, Smithsonian Institution, 1999.
Bojko, Szymon, Dimitri Jermakow. ein Pionier der Photora-
portage [Dimitri Jermakow, a pioneer of the photographic
report]. Köln, Galerie Gmurzynska, 1988 (exhibition cata-
logue).
Catalogue de la Dixième Exposition de la Société française
de photographie comprenant les oevres des Photographes
Français et Étrangers [Catalogue of the tenth exhibition of
the French Photographic Society including the collections of
French photographers and foreigners]. Paris, Gauthier-Villars
Imprimeur-Libraire, 1874.
Catalogues des Expositions organisées par la Société française
de photographie 1857–1876 [Catalogues of the exhibitions
organized by the French Photographic Society 1857–1876].
Paris, Jean Michel Place, 1987 (facsimile).
Daems, Staf (ed.), Kaukasische Volkeren, The Caucasian Peoples.
Antwerpen, Anne de Hingh, 2001 (exhibition catalogue).
Elliot, David (ed.), Russische Photographie 1840–1940 [Russian
Photography 1840–1940], Berlin, Ars Nicolai, 1993 (exhibi-
tion catalogue).
Ferydoun Barjesteh van Waalwijk van Doorn, L.A. (ed.), Sevru-
guin’s Iran. Rotterdam, Tehran Barjesteh & Zaman, 1999.
Gersamia, Tamaz, Old Tbilisi, Tbilisi, Sabchota Sakartvelo Pub-
lishing House, 1984.
Gersamia, Tamaz, ‘Dmitrii Ermakov’s Artistic Heritage’,in:
Sovetsku Foto, no. 12, 1985, 34–39.
Gersamia, Tamaz, ‘The Early Stages of Photographic Art in
Georgia,’ in: Sovetsku Foto, No.5 1989. (p36-38)
Gersamia, Giorgi, Georgische Kunstfotografi e um 1900 [Georgian
Art Photography around 1900], Tbilisi, Goete Institut, 1998
(exhibition catalogue).
Herder, H.C. de, ‘Masterplan for the Excess, Digitization and
the Conservation of the Ermakov Estate in Tbilisi, Georgia.’Report to the Foundation Horizon. Nationaal Fotorestauratie
Atelier, Rotterdam, 2000. (Grand Proposal, not published)
Herder, H.C. de, ‘Dmitri Ermakov fotograaf en reiziger’ [Dmitri
Ermakov Photographer and Traveller] .In: Georgica, Periodi-
cal of the Bagration Foundation, No. 6, 2001, 42–44.
Herder, H.C. de, ‘Ermakov as Photographer and Traveller.’ Qajar
Era Photography, in: Journal of the International Qajar Stud-
ies Association, vol. I , 2001, 57–61.
Mamasakhlisi, A.V. ‘Early Photography in GEORGIA,’ in: His-
tory of Photography an international quarterly, vol. 2, no. 1,
January 1978,, 75–84.
Meiselas, Susan, Kurdistan, In the Shadow of History, New York,
Random House, 1997.
Morozov, S., ‘Early Photography in Eastern Europe RUSSIA,’
in: History of Photography an international quarterly, vol.
1, no. 4, October 1977, 327–347.
Mourier, J., L’Art au Caucase [Art from the Caucasus], Paris,
Libraire Orientale et Américaine, J. Maisonneuve, 1896.
Nedvetsky, Andrei G. (ed.), Caught in Time: Great photographic
Archives. Bukhara. Reading, Garnet Publishing Limited,
1993.
Sederholm, Nina, The Memory of the Photograph. Catalogu-
ing & Classifi cation Practices in the Nordic Countries, the
Baltic States and Russia, Copenhagen, Nordic Council of
Ministers, 2001.
Serena, Carla, ‘Un Tour en Mingrélie’ [A tour in Mengrelia],
in: Le Tour du Monde, Nouveau Journal des Voyages, vol.
41, 1881, 385–416.
Serena, Carla, ‘Excursion au Samourzakan et en Abkasie’ [Excur-
sion to Samarkant and to Abkhazia],
in: Le Tour du Monde, Nouveau Journal des Voyages, vol. 43,
1882, 353–385.
Société française de photographie. Membres, correspondants,
amateurs, exposants [French Photographic Society, Members,
correspondents, amateurs and exhibitors]. Index 1854–1876,
Paris, Pierre Marc Richard 1990, 41.
Tchubinashvili, G.N., Gruzinskoe tchekannoe iskusstvo. Issle-
dovanie po istorii Gruzinskogo srednevekovogo iskusstva
[Georgian goldsmith art from the eighth until the eighteenth
century], 2 vols. Gos. Izdatelstvo “Sabtchota Sakartvelo”:
Tbilisi, 1959.
Tschubinaschwili, Georg, Die Georgische Goldschmiedekunst
des VIII–XVIII Jahrhunderts [Georgian goldsmith art from
the eighth until the eighteenth century]. Staatsverlag der
Georgischen SSR: Tbilisi, 1957.
Vahramian, Herman (ed.), Ermakov Armenia 1910, Venezia, Casa
Editrice Armenia, 1982.
Zoka, Y., Tarikh-e ‘akkasi wa’ akkasan-e pishgam dar Iran.
Tehran 1997–8, 59.EROTIC PHOTOGRAPHY
The production of erotic photography is nearly simul-
taneous with the invention and development of the
photographic medium. Almost immediately, this new
technology made clear the erotic nature of visual im-
agery and the heightened pleasure of looking at images
with a direct documentary link to the experienced, both
real and imaginary. This “indexical” relationship made
erotic photographs far more provocative than nude
paintings but also became a central impediment to their
production and circulation. Though erotic pictures in
the form of lithographs and frescoes had long existed,ERMAKOV, DMITRI
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