title: Mariner's astrolabe

abstract: The mariner's astrolabe, also called sea astrolabe, was an inclinometer used to determine the latitude of a ship at sea by measuring the sun's noon altitude (declination) or the meridian altitude of a star of known declination. Not an astrolabe proper, the mariner's astrolabe was rather a graduated circle with an alidade used to measure vertical angles. They were designed to allow for their use on boats in rough water and/or in heavy winds, which astrolabes are ill-equipped to handle. It was invented by the Portuguese people, a nation known for its maritime prowess that dominated the sea for multiple centuries. In the sixteenth century, the instrument was also called a ring.

text:
# Mariner's astrolabe

The **mariner's astrolabe**, also called **sea astrolabe**, was an inclinometer used to determine the latitude of a ship at sea by measuring the sun's noon altitude (declination) or the meridian altitude of a star of known declination. Not an astrolabe proper, the mariner's astrolabe was rather a graduated circle with an alidade used to measure vertical angles. They were designed to allow for their use on boats in rough water and/or in heavy winds, which astrolabes are ill-equipped to handle. It was invented by the Portuguese people, a nation known for its maritime prowess that dominated the sea for multiple centuries. In the sixteenth century, the instrument was also called a **ring**.

## History

Many dates can be found for the appearance of the first Mariner's astrolabes. The earliest date, 1295, is offered by the Majorcan astronomer Ramon Llull. Later dates center around the late 15th century, with Samuel Purchas claiming that it was adapted for marine navigation by Martin Behaim, a mariner not considered a trustworthy source by some historians. In any event, the instrument was certainly known by the end of the 15th century. Nevertheless, the creation and perfecting of the mariner's astrolabe is attributed to Portuguese navigators during the beginning of Portuguese discoveries. The earliest known description of how to make and use a sea astrolabe comes from Martín Cortés de Albacar’s *Arte de Navegar* published in 1551, although the basic principle is the same as that of the archipendulum used in constructing the Egyptian pyramids.

There is strong evidence that the mariner's astrolabe was derived directly from the planispheric astrolabe, as the earliest examples retain some of the markings (e.g. *umbra recta* and *umbra versa*) of the prior device without having the same components.

The mariner's astrolabe would have replaced or complemented instruments such as the cross staff or quadrant as a navigator's instrument. The mariner's astrolabe was used until the middle or, at the latest, the end of the 17th century. It was replaced by more accurate and easier-to-use instruments such as the Davis quadrant. By the late 18th century, mariners began using the sextant and then global positioning systems (GPS) starting in the 1980s.

Although their heavy brass construction permits their longevity in marine environments, mariner's astrolabes are very rare today. In 2017, only 108 were known to exist. The biggest collection remains in museums in Portugal. The Corpus Christi Museum of Science and History in Texas, United States, contains a mariner's astrolabe with a confirmed date of 1554, salvaged from the wreck of the *San Esteban*.

A disk-type astrolabe dated between 1496 and 1501, now the world's oldest, was discovered in 2014 by the marine scientist David L. Mearns on the wreck site of a Portuguese nau *Esmeralda,* which sank off the coast of Oman in 1503. The astrolabe was confirmed by laser scanning, which revealed a series of 18 gradations marking 5-degree intervals, and has been named the Sodré astrolabe. It has been proposed that the Sodré astrolabe is a transitional instrument between the classic planispheric astrolabe from which the first mariner's astrolabes made of brass were adapted and the open‐wheel type astrolabe that came into use sometime before 1517.

## Construction

Mariner's astrolabes were made of brass. Since weight was advantageous when using the instrument on the heaving deck of a ship or in high winds, other materials, such as wood or ivory, were not desirable though some wood sea astrolabes were made. Early sea astrolabes were made from sheets of brass. Due to their light weight, they tended to perform poorly at sea. Heavier cast brass frames began to be made in the mid-sixteenth century and were considerably better. As the accuracy of the instrument is related to the radius of the divided circle, these were made as large as practical.

Since the large plate form of the planispheric astrolabe makes it sensitive to the wind, the mariner's astrolabe is made with a frame form. The openings in the frame allow wind to pass through, inducing less motion in the instrument.

The essential function of the device was to measure angles. Thus the instrument featured a ring graduated in degrees. Early instruments were only graduated for 90°; later instruments were graduated for the full 360° circle around the limb. The sole purpose of the spokes was to support the pivot point for the alidade. In order to lower the centre of gravity of the device and thus increase its period of motion as a means of stabilizing it, extra brass was usually added to the bottom of the instrument inside the ring. This is clearly evident in the lower left instrument seen in the photograph above.

The alidade was free to rotate about a pin through the centre of the instrument. The vanes of the alidade were either slotted or pierced with a hole to allow the user to align the alidade.

The astrolabe had a ring attached to the top of the instrument to allow it to hang vertically.

## Usage

In order to use the astrolabe, the navigator would hold the instrument by the ring at the top. This caused the instrument to remain in a vertical plane. The navigator would then align the plane of the astrolabe to the direction of the object of interest. The alidade was aligned to point at the object and the altitude was read.

If observing a dim object such as a star, the navigator would observe the object directly through the alidade. If observing the Sun, it was both safer and easier to allow the shadow of one of the alidade's vanes to be cast onto the opposite vane.

It played a key part of the Age of Discovery, which Portugal initiated. Portuguese sailors trained British and other sailors – one of the most famous was the Italian-born Christopher Columbus – in how to use this instrument, which became the key to the maritime growth and conquest of the other European Colonial Empires.

## Limitations

The mariner's astrolabe needed to be suspended vertically in order to measure the altitude of the celestial object. This meant it could not be used easily on the deck in windy conditions. It could not easily be used to measure the angle between two objects, which was necessary for longitude calculations by the lunar distance method (though that technique was not used when the instrument was developed). Another limitation was that the instrument's angular accuracy was directly proportional to the length of the alidade, which was not very long.


title: George W. Bell

abstract: George Waltham Bell was an American doctor who served in the Arkansas Senate from 1891 to 1895. He was a graduate of Lincoln University in Pennsylvania. He served as president of Southland College. Bell was elected to the Arkansas Senate and served representing the 15th District in the 28th Arkansas General Assembly and the 29th Arkansas General Assembly. While in office, he opposed separate coach laws. J. H. Smith wrote a letter disputing Bell's descriptions of his speech in 1891.

text:
# George W. Bell

**George Waltham Bell** was an American doctor who served in the Arkansas Senate from 1891 to 1895. He was a graduate of Lincoln University in Pennsylvania. He served as president of Southland College.

Bell was elected to the Arkansas Senate and served representing the 15th District (Desha and Chicot County, Arkansas Chicot counties) in the 28th Arkansas General Assembly and the 29th Arkansas General Assembly. While in office, he opposed separate coach laws. J. H. Smith wrote a letter disputing Bell's descriptions of his speech in 1891.

## InfoBox

| George W. Bell | |
| --- | --- |
|  | |
|  | |
| Member of the Arkansas Senate
from the 15th district | |
| **In office**
January 12, 1891  January 14, 1895 | |
| Preceded by | W. H. Logan |
| Succeeded by | George C. Shell |
|  | |
| Personal details | |
| Born | Ethiopia |
| Education | Lincoln University |
|  | |


title: National Maritime Museum (Galle)

abstract: The National Maritime Museum or National Maritime Archaeology Museum in Galle, Sri Lanka is situated within Galle Fort. It was first opened to the public on 9 May 1992 and is located in a 1671 Dutch Warehouse above the Old Gate of Galle Fort. Whilst the building housing the museum survived the impact of the 26 December 2004 tsunami, the adjoining UNESCO Maritime Archaeology Unit was completely destroyed and all the exhibitions were flood damaged and the majority of maritime archeological artifacts were lost. Under Sri Lanka – Netherlands Cultural Co-operation Program, the Royal Government of Netherlands provided financial assistance for reconstruction of the Maritime Museum. After 3 years period of reconstruction, the Maritime Museum was re-opened to the public.

text:
# National Maritime Museum (Galle)

The **National Maritime Museum** or **National Maritime Archaeology Museum** in Galle, Sri Lanka is situated within Galle Fort. It was first opened to the public on 9 May 1992 and is located in a 1671 Dutch Warehouse above the Old Gate of Galle Fort. Whilst the building housing the museum survived the impact of the 26 December 2004 tsunami, the adjoining UNESCO Maritime Archaeology Unit was completely destroyed and all the exhibitions were flood damaged and the majority of maritime archeological artifacts were lost. Under Sri Lanka – Netherlands Cultural Co-operation Program, the Royal Government of Netherlands provided financial assistance for reconstruction of the Maritime Museum. After 3 years period of reconstruction, the Maritime Museum was re-opened to the public.

## 1992-2004

The Dutch Warehouse building constructed during the latter part of the seventeenth century has, unlike in most other Dutch fortifications, a part of the building embodied into the thickness of the rampart. It is a two storey long building, and the original entry to the fort, bisects the ground floor.

Above the Old Gate the British Coat of Arms is seen inscribed at the entrance, the inner part of the gate has an inscription, with the date, 1669, the letters VOC, (an abbreviation of Verenigde Oostindindische Compagnie, the Dutch East India Company), and the insignia of a cock flanked by two lions. When the new gateway (the main or northern gate) was built by the British in 1873, piercing the main rampart between the Sun and Moon Bastions, the importance of the old gate was reduced, although it continued to be used as the main entrance to the harbour and port of Galle. During its history spanning well over three centuries, the functions of the Warehouse were many and varied. In post-independent Sri Lanka it was used as an administrative office complex until these offices were shifted to the new secretariat building outside Galle Fort. The building was subsequently reduced to a derelict building due to long years of negligence, lack of maintenance and natural decay.

Portion of the building was then used to house the National Maritime Museum which was opened to the public on 9 May 1992. The National Maritime Museum originally specialised in the fauna and flora of the sea. Artifacts consisted of underwater artifacts and scaled-down models of whales and fish. The museum displayed a variety of exhibits connected with sea-faring, maritime trade, fishing and sea-life, including relics retrieved from the 20-odd maritime archaeological sites around Galle.

Other exhibits included life-size dioramas of the traditional methods of fishing and the "walk into the sea" diorama, showing the natural coral beds, sea grass beds and deep sea fish. One of the final exhibits of the museum was a display of the causes of sea pollution, coast erosion, and the methods used to combat these problems.

## 2004 Tsunami

The museum suffered significant damage from the 2004 Asian tsunami, with only an estimated 20% of the 3,600 objects salvaged from shipwrecks within the waters of Galle port remaining. The tsunami caused the demolition of the UNESCO Archaeological Marine Unit, a joint Sri Lankan/Dutch Project, which was located on one of the old jetties just outside the northern gate of Galle Fort. The water entered the Town from the northern gate and flooded the premises of the former Maritime Museum, (up to a height of 2.2 metres), which was closed for renovations at the time of the tsunami.

The Dutch warehouse building at the fort, built in 1717, was renovated and was planned to house the museum at the end of 2008.

## 2010 Reopening

On 4 March 2010, it was reopened as the country's first **National Maritime Archaeology Museum**. The original 40,000 square feet (3,700 m2) Dutch warehouse building was fully renovated under a special grant of Rs. 177 million from the Kingdom of the Netherlands. The new museum has dual access, with the upper level entry linked with the present main gate, while the lower level access has reinstated the position of building as the prominent gateway. This has also made the building accessible for both pedestrian and vehicular traffic.

Some exhibits of the museum

Exhibits of marine artifacts found in underwater explorations are showcased in the Museum. There are maps, naval craft, ropes, earthenware, beer mugs, smoking pipes, barrels, vast numbers of articles including artillery guns and sailor shoes. Ship wrecks in the sea off the Southern coast is where these artifacts were recovered from, some of which are nearly 800 years old.

## InfoBox

National Maritime Archaeology Museum
|  | |
| --- | --- |
|  | |
| Established | 9 May 1992 (1992-05-09) |
| Location | Queens Street, Galle Fort, Galle, Sri Lanka |
| Coordinates | 6°01′41″N 80°13′05″E / 6.02796°N 80.21813°E / 6.02796; 80.21813 |
| Website | National Maritime Museum website |


title: Godwin Nii Dzanie Kotey

abstract: Godwin Nii Dzanie Kotey (1956-2016) also known as Alloway was a Ghanaian boxing trainer who has trained top boxers and also contributed to the growth of the industry.

text:
# Godwin Nii Dzanie Kotey

**Godwin Nii Dzanie Kotey** (1956-2016) also known as Alloway was a Ghanaian boxing trainer who has trained top boxers and also contributed to the growth of the industry.

## Career

Alloway was the head trainer of the Attoh Quarshie Gym in Accra where he trained many boxers and lightweight boxer George "Red Tiger" Ashie. He was also the trainer of Joshua Klottey, Azumah Nelson, Joseph Agbeko and many more.

He led the boxing coaches of Ghana where they made various reforms in the boxing fraternity.

## InfoBox

| Godwin Nii Dzanie Kotey | |
| --- | --- |
| Born | 1956 |
| Died | 2016 |
| Nationality | Ghanaian |
| Occupation | Boxing Coach |


title: Max Coll

abstract: Max Coll was a prominent New Mexico politician.

text:
# Max Coll

**Max Coll** (February 26, 1932 - March 27, 2014) was a prominent New Mexico politician.

## Political career

### Early years in Roswell

Although his income was earned from oil and gas interests, Max W. Coll II's primary career was that of politician. Once elected to the New Mexico House of Representatives representing a Chaves County district from 1966 to 1970 as a Republican, Coll served as Republican Legislative Whip, and as a delegate to the state's last Constitutional Convention in 1969. Always concerned about the environment and social justice issues, Coll introduced a bill requiring deposits on bottles and cans during his first term, and supported the country's Equal Rights Amendment, which wasn't ratified by New Mexico until 1972.

### Icon of Santa Fe

After moving to the state's capitol of Santa Fe, Coll once again returned to politics in the 1980s, elected to represent Santa Fe's District 47 in 1981 as a Republican. To the surprise of many, in 1983 Coll changed parties from Republican to Democrat in order to tip the partisan balance in the House, and to get more Democrats to support his bills. Despite his change of party, Coll was re-elected by District 47's voters for 15 consecutive terms, usually with a landslide vote in his favor. One way Coll accomplished this was to knock on every door and speak with every possible voter in his district while campaigning. Coll got flogged by geese and bit by dogs, but he continued the practice in order to keep in touch with his constituents.

All in all, Coll served a total of 32 years in the New Mexico House of Representatives, 18 of them as Chair of the House Appropriations and Finance Committee. Coll also served on the House Taxation and Revenue Committee and as head of the Legislative Finance Committee, which serves as the permanent budget oversight panel to New Mexico's legislature. Despite his liberal stances on social justice and the environment, Coll was considered a fiscal conservative and managed the state's finances under five different governors from both parties, locking horns with both Republicans and Democrats to protect the state's money. Coll described his views to a reporter during his 2000 campaign as, "I think we really need to work on overcoming poverty and ignorance and poor health care... I think we should target those things, and I think government has a big role in those things." After he retired in 2004, Coll remained interested in politics, consulting with legislators who sought his advice, and even lecturing on techniques of successful lobbying at a workshop given by the League of Women Voters of New Mexico in 2007.

### Energetic legislator

An early supporter of universal healthcare, in 1993 Coll joined Representative Luciano "Lucky" Varela, D-Santa Fe, and sponsored "NewMexicare," a single-payer healthcare system designed after Canada's that was defeated then, and again when another version of it was re-introduced in 1999. In 1994, Coll considered running as a fusion candidate of both the New Mexico Green Party and the Democrats, but withdrew under pressure from the state's Democratic Party. Also in 1994, in an effort to save the time and money of New Mexico's students in higher education, Coll spearheaded efforts, eventually successful, to ensure that credits earned at the state's two-year colleges were viable at the state's four-year institutions. In 1997, Coll's whistle-blower protection legislation was stopped by opponents from the business sector. When asked for his stance on same-sex marriage in 2003, Coll felt that churches have the right to take whatever stance they choose with their own memberships. But he also felt that the state had an obligation to define civil unions, saying, "I'm very much in favor of not interfering at all with people's private sexual life or preferences...As far as civil law, we should stay out of sexual practices." In February 2003, Coll attended a rally opposing the United States' eventual military invasion of Iraq. However, after becoming the powerful chair of the House Appropriations and Finance Committee, Coll chose to sponsor fewer bills of his own as a strategic move. Coll felt that if he were to sponsor a great number of bills, his position of power might be weakened by the need to negotiate in a variety of directions. Instead, Coll sponsored a few pet bills each session, and was satisfied to throw his weight behind a colleague when he or she introduced a bill Coll could support.

Coll was occasionally known to be a stickler for the letter of the law. The lawsuit which gained Coll the most notoriety was brought in 1995. Coll, along with state Representative George Buffett, R-Albuquerque, and Guy Clark of the New Mexico Coalition Against Gambling petitioned together against then-Governor Gary Johnson for forming gaming compacts with state tribes without legislative approval. The case ended up before the New Mexico Supreme Court, which declared the gambling compacts between New Mexico tribes and then-Governor Gary Johnson void. The next year, due to inaccurate reporting by the Albuquerque Journal, this action got confused in the minds of some with a federal lawsuit brought by different plaintiffs seeking to declare casinos illegal in New Mexico. This confusion resulted in the formation by Pojoaque Pueblo members of a political action committee called "K'ema" or Tewa for friend, the sole goal of which was to defeat Coll's re-election on the grounds that he was racist. In reply, Coll held that, "I'm going to run my campaign like I always have. I have long taken the position that Native Americans don't have a fair piece of the pie, and I'm going to continue to work on that." Despite K'ema's donation of $100,000 to his Republican opponent, Coll won his election and the Pojoaque Pueblo now operates a large casino outside Santa Fe. Another time, Coll and Republican colleague Jerry Lee Alwin, R-Albuquerque, sued the state over a bond-issue designed to fund prisons in 1997. Even after he retired from the legislature, Coll was not shy to engage in a legal battle. In 2006, he filed a class-action lawsuit against New Mexico's Public Regulatory Commission and its insurance department over fixed prices and price-gouging title insurance sales. Coll also sued to keep a candidate with an insufficient number of signatures on her nominating petition off District 47's ballot in 2008, stating, "Rules are rules."

Never shy to be honest about his personal life, Coll often cited experience in his reasons for backing certain bills. In a battle with then-Governor Gary Johnson over a plan to place the state's Medicaid program in the hands of managed healthcare, Coll's objections included the death of his daughter. Coll told the Legislative Finance Committee in 1996 that his daughter's symptoms would have been noticed and addressed had she been allowed by her managed care to see the same doctor at each visit. As it was, a benign tumor that went undetected caused her to die, along with the baby girl she had carried for almost nine months. About managed-care systems, ""It may be saving money, but at what cost? It's very, very shabby care." Coll said. "When are we going to quit kidding ourselves that we're going to save money by cutting services to poor people? It's outrageous." Accusing these systems of caring only for profits and not for patients, Coll added, "They basically get around \[costs\] by not doing tests that people need." Then, in February 1999, the N.M. House proposed a bill that would require those with multiple convictions for Driving Under the Influence (DUI) to pay for the installation of, and use, ignition inter-lock devices on their vehicles for six months before having their driving privileges restored. Coll proposed a tougher amendment, which was defeated, that the devices be required after the first DUI conviction. He explained his request for stiffer penalties by saying, "Take it from an old alcoholic who used to drive drunk a lot . . . what we need is severe dealing with drunken driving. Drunk drivers are usually people with a drinking problem. They're not casual drinkers."

### Colorful character

New Mexican by birth, Coll began his career in Roswell wearing a crewcut that had become an unruly mop of grey by the time he returned to politics in Santa Fe. Also wearing glasses (and eventually hearing aids), Coll was broad-shouldered and stood just over 6' 2" tall. After his return to New Mexico's House in the 1980s, he was usually seen wearing a stud earring in each ear, a turquoise watchband, and a brightly-colored vest on the Capitol Floor. (Although he also was famous for his impressive collection of bolo ties, Coll could only wear those to committee meetings, since bolos were outlawed by the Capitol's dress code until 2009, after he retired.) Despite his size and strong opinions, Coll was soft-spoken and known for a wry sense of humor. Among his colleagues, Coll gained a reputation for drawing caricatures depicting his viewpoint of their bills, arguments or behavior during legislative sessions and committee meetings. He would later present these to those colleagues, to be kept and cherished, at least by some. Coll also was known for his colorful expressions. In 1991, he responded to an interviewer's question, "Is there a cheaper way to raise revenue other than the gross receipts tax?" by saying, "If frogs had wings, then they wouldn't bump their tails on the rocks." In later years, Coll remembered his 1993 attempt to pass single-payer healthcare by saying, "the insurance industry really came out of the woodwork and stomped on it like a June bug." After crafting the state's 1997 budget proposal as chairman of the House Appropriations and Finance Committee under Governor Gary Johnson, Coll once stated, "If you start with a sow's ear and you cut and stitch . . . you still end up with a sow's ear... It may not be a silk purse, but at least we turned it into a tube sock." In 2000 when the state's Human Services Department "found" some funds where earlier they had reported a deficit, Coll compared the action to "a blind pig's stumbling across an acorn." During 2002 budget hearings, Coll hung a sign in front of his dias that read, "What part of 'There is no money' do you not understand?" Several years after retiring from politics, Coll was quoted as saying, "I'd complain about getting old, but, you know, it doesn't do any good." At Coll's memorial service, Barry Massey, a rafting companion of Coll's and an Associated Press reporter whose longtime beat is Santa Fe's Roundhouse, quoted something Coll had told him about rafting that, Massey said, also applies to life: "In trying to pick a line of travel, \[Coll\] said, look where the current wants to take you and figure out how to make it better." Of Coll, Massey also said, "He lived as he rowed...He saw where the currents of life and politics wanted to pull and push him, and he figured out a way to make it better."

## Family and personal history

Coll's maternal grandfather was another career politician. New Mexico's sixth governor, Democrat James Fielding Hinkle, moved to the southwest from Missouri where he managed the Penasco Valley's CA Bar Ranch in the 1890s. Before becoming elected as governor in 1922, Hinkle had served as both county commissioner and county treasurer for Lincoln County. Even before New Mexico achieved statehood, Hinkle served as a member of the Territorial Tax Board for 11 years, was elected to the Territorial House of Representatives in 1892, and then to the Territorial Senate in 1901. Switching from state to local politics briefly, Hinkle served as mayor of Roswell from 1904 to 1906. Once New Mexico achieved statehood, Hinkle campaigned and won election to the state senate in 1912, where he served a total of three terms before he was elected Governor of New Mexico in 1922.

Max W. Coll, II, was born February 26, 1932, in Roswell, New Mexico, to Max Welton Coll and Lillian Hinkle Coll and was the eldest of four sons. Coll graduated from New Mexico Military Institute's Junior College and went on to the University of Missouri, where he graduated with a BS in Chemistry in 1954.

He married Martha Lou McGranahan on July 5, 1952. They had three children: Melanie Ann, Kristi Colleen (deceased 1991) and Max Welton Coll III (Tres). During his first marriage, Coll served for three years in the United States Army in Germany. Coll and McGranahan ended their marriage December 22, 1969.

After the divorce, Coll moved to Albuquerque to attend Law School at the University of New Mexico School of Law where he graduated in 1974. He married his second wife, Sally Rodgers, on September 20, 1975 and moved to Santa Fe where he established a Law practice. Coll and Rodgers divorced on May 20, 2001.

On December 29, 2001, Coll married Catherine Joyce, a long-time resident of Taos and Santa Fe New Mexico. The two remained married until Coll's passing. When he passed the Fine Arts Education Act of 2003, he credited his wife, long a supporter of the Arts. The bill established and funded art, music, dance and drama in grade schools. As a result, the New Mexico Art Education Association renamed their Professional Lifetime Achievement Award, "The Max Coll and Catherine Joyce-Coll Award for Excellence in Art Education," to honor the couple. The award is given yearly.

Coll retired in 2004 but never lost interest in politics. He continued to mentor new legislators and occasionally lobbied a bill that interested him.

A skilled oarsman, Coll rowed many rivers during and after retiring from politics, including many Grand Canyon trips, the Tatshenshini River in Alaska and the Salmon River in Idaho. He would sometimes leave immediately after the end of a Legislative Session for a river trip.

Coll died March 27, 2014, in Santa Fe, New Mexico after suffering a massive stroke. He was remembered with a well-attended Memorial Service in the Rotunda of the New Mexico State Capitol with speeches by friends and colleagues and the haunting strains of bagpipes. Friends and family wept openly as "Danny Boy" was played.

## Recognition

In 2006, Coll was declared one of Santa Fe's Living Treasures for his contributions both as legislator and citizen. On February 21, 2013, Max Coll was honored by New Mexico's House of Representatives with House Memorial 62. Sponsored by Coll's longtime colleague Representative Luciano "Lucky" Varela, the memorial was passed with a unanimous vote. In 2015, the Santa Fe County Commission named the new community center in Eldorado, New Mexico, after him.

## InfoBox

| Max Welton Coll Jr. | |
| --- | --- |
|  | |
| Personal details | |
| Born | (1932-02-26) February 26, 1932 |
| Children | 3 |
|  | |


title: Jazz Inspired

abstract: Jazz Inspired is a weekly radio series hosted by Judy Carmichael. The program is broadcast on more than 170 radio stations throughout the United States and Canada, as well as Sirius XM Satellite radio's NPR Now. The one-hour broadcast features jazz musicians as well as jazz-related topics. The guests have ranged from jazz piano great Jon Weber, to magician Penn Jillette to Christopher Guest and Billy Joel. The program has a special focus on creativity and inspiration. Judy Carmichael is herself an accomplished pianist.

text:
# Jazz Inspired

***Jazz Inspired*** is a weekly radio series hosted by Judy Carmichael. The program is broadcast on more than 170 radio stations throughout the United States and Canada, as well as Sirius XM Satellite radio's NPR Now. The one-hour broadcast features jazz musicians as well as jazz-related topics. The guests have ranged from jazz piano great Jon Weber, to magician Penn Jillette to Christopher Guest and Billy Joel. The program has a special focus on creativity and inspiration.

Judy Carmichael is herself an accomplished pianist.

## InfoBox

Jazz Inspired
| Genre | Jazz |
| --- | --- |
| Running time | 1 hour |
| Country of origin | United States |
| Language(s) | English |
| Syndicates | C&D Productions |
| Hosted by | Judy Carmichael |
| Website | www.jazzinspired.com |


title: Persoonia rudis

abstract: Persoonia rudis is a species of flowering plant in the family Proteaceae and is endemic to the south-west of Western Australia. It is an erect shrub with hairy young branchlets, linear leaves, and yellow flowers borne in groups of five to thirty on a rachis 3–100 mm (0.12–3.94 in) that continues to grow after flowering.

text:
# Persoonia rudis

***Persoonia rudis*** is a species of flowering plant in the family Proteaceae and is endemic to the south-west of Western Australia. It is an erect shrub with hairy young branchlets, linear leaves, and yellow flowers borne in groups of five to thirty on a rachis 3–100 mm (0.12–3.94 in) that continues to grow after flowering.

## Description

*Persoonia rudis* is an erect shrub that typically grows to a height of 0.2–1 m (7.9 in – 3 ft 3.4 in) with young branchlets that are covered with pale brown or greyish hair. The leaves are linear, 15–45 mm (0.59–1.77 in) long and 0.7–1.4 mm (0.028–0.055 in) wide with a pointed but not sharp tip. The flowers are arranged in groups of five to thirty along a rachis 3–100 mm (0.12–3.94 in) long that continues to grow after flowering, each flower on a pedicel 2–10 mm (0.079–0.394 in) long with a leaf or a scale leaf at the base. The tepals are yellow, 8–14 mm (0.31–0.55 in) long and the anthers are yellow. Flowering occurs from October to January and the fruit is a smooth, moderately hairy drupe 8.5–9 mm (0.33–0.35 in) long and 5.5–6 mm (0.22–0.24 in) wide.

## Taxonomy

*Persoonia rudis* was first formally described in 1856 by Carl Meissner in de Candolle's *Prodromus Systematis Naturalis Regni Vegetabilis* from specimens collected in the Swan River Colony by James Drummond.

## Distribution and habitat

This geebung grows in low heath and forest between Three Springs and Mogumber in the Geraldton Sandplains, Jarrah Forest, Swan Coastal Plain biogeographic regions in the south-west of Western Australia.

## Conservation status

*Persoonia rudis* is classified as "Priority Three" by the Government of Western Australia Department of Parks and Wildlife meaning that it is poorly known and known from only a few locations but is not under imminent threat.

## InfoBox

| *Persoonia rudis* | |
| --- | --- |
| Conservation status | |
|
Priority Three — Poorly Known Taxa (DEC) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| Order: | Proteales |
| Family: | Proteaceae |
| Genus: | *Persoonia* |
| Species: | ***P. rudis*** |
| Binomial name | |
| ***Persoonia rudis***
Meisn. | |
|
| Synonyms | |
|  | |


title: Jean Ernest Mercier

abstract: Jean Ernest Mercier was a translator, historian and French politician

text:
# Jean Ernest Mercier

**Jean Ernest Mercier** (17 September 1840   16 May 1907) was a translator, historian and French politician

## Life

Jean Ernest Mercier was the grandson of a sub-prefect, mayor of the department of Doubs, and the son of a military surgeon who took part in the French conquest of Algeria.

On completion of his studies at the college of La Rochelle he followed his father to Algeria. His interest in the national history led him to join the Algerian Historical Society in 1863.

He was appointed military-interpreter of the Arabic language, attached to the superior commander of Sebdou (province of Oran), in 1865, then interpreter-judicial near the justice of peace of El Harrouch in 1866 and Ténès in 1869, before becoming sworn in as an interpreter-translator of Constantine in 1871.

In 1870 he was elected lieutenant of the 2nd company, then captain commanding Tenes' militia. He became a lieutenant in the 7th Territorial Battalion, commanding the 3rd company in 1876.

He became vice-president of the Archaeological Society of Constantine in 1875, as well as a member of the Société asiatique de Paris in 1878 and of the eastern section of the school of letters of Algiers in 1881.

Elected city councilor of Constantine in 1881 and re-elected in 1884, he was unanimously elected mayor in 1883, 1896 and 1900.

## Publications

* *Des Abus du régime judiciaire des indigènes de l'Algérie et des principales modifications à y apporter*, Paris, Challamel, 1870.
* *Des abus du régime judiciaire des indigènes de l'Algérie*, Constantine, Arnolet, 1870.
* *Comment l'Afrique septentrionale a été arabisée* —'How North Africa has been Arabized. Summary extract of the history of the establishment of the Arabs in North Africa, Constantine, Impr. L. Marle, 1874.
* *Histoire de l'établissement des Arabes dans l'Afrique septentrionale* —'History of the establishment of the Arabs in North Africa according to the documents provided by the Arab authors and in particular by the History of the Berbers of Ibn Khaldun', Constantine, Impr. L. Marle, 1875.
* *Constantine avant la conquête française, 1837* — 'Constantine before the French conquest, 1837: notice on this city at the time of the last bey', Constantine, typography L. Arnolet, Ad. Braham, 1878.
* *Constantine au XVIe siècle* — 'Constantine of the 16th century'. Elevation of the El-Feggoun family, Constantine, impr. L. Arnolet, 1879.
* *Constantine avant la conquête française* —'Constantine before the French conquest (1837). Notice on this city at the time of the last bey, Constantine, Impr. A. Braham, 1879.
* *International Exhibition of 1878 in Paris, Group V, Class 49*, Ministry of Agriculture and Commerce, Paris, Imprimerie Nationale, 1880.
* *L'Algérie en 1880 — Algeria in 1880* , Paris, Challamel Elder, 1880.
* *International Universal Exhibition of 1878, in Paris, group VII, classes 72 and 73*, Ministry of Agriculture and Commerce, Paris, Imprimerie Nationale, 1880.
* *Le Cinquantenaire d'une colonie —The fiftieth anniversary of a colony: Algeria in 1880*, Paris, Challamel elder, 1880.
* *L'Algérie et les questions algériennes — Algeria and Algerian issues. Historical, Statistical and Economic Study*, Paris, Challamel Elder, 1883.
* *Commune of Constantine*: Three years of municipal administration (from May 20, 1884 to October 10, 1887)', Constantine, impr. Ad. Braham, 1887.
* *Histoire de l'Afrique septentrionale (Berbérie) depuis les temps les plus reculés jusqu'à la conquête française (1830) — History of Northern Africa (Berberia) from the earliest times to the French conquest (1830)* , Paris, E. Lerou
* *La France dans le Sahara et au Soudan —France in the Sahara and Sudan*, Paris, E. Leroux, 1889.
* *La propriété foncière chez les musulmans d'Algérie*—'Land ownership among the Muslims of Algeria', Paris, E. Leroux, 1891.
* *La France dans l'Afrique centrale en 1893* —France in Central Africa in 1893', Constantine, impr. A. Braham, 1893.
* *La propriété en Maghreb selon la doctrine de Malek* — Property in Maghreb according to the doctrine of Malek, Paris, Impr. national, 1894.
* *Le hobous ou ouakof : ses règles et sa jurisprudence* —The hobous or ouakof: its rules and its jurisprudence', Alger, A. Jourdan, 1895.
* *La condition de la femme musulmane dans l'Afrique septentrionale* —'The condition of the Muslim woman in northern Africa', Alger, A. Jourdan, 1895.
* *La Population indigène de l'Afrique sous la domination romaine, vandale et byzantine* —'The indigenous population of Africa under Roman domination, vandal and Byzantine', Constantine, Adolphe Braham, 1896.
* *Les deux sièges de Constantine (1836-1837)* —'The two seats of Constantine (1836-1837)', with a map of the city in 1837 and 4 illustrations after Horace Vernet, Constantine, L. Poulet, 1896.
* *La Propriété foncière musulmane en Algérie*— 'Muslim Land Ownership in Algeria', Algiers, AD. Jourdan, 1898.
* *Deuxième étude sur les Hobous ou Ouakof* — 'Second study on Hobous or Ouakof', Algiers, Jourdan, 1898.
* *La propriété indigène en Magreb* —'Native property in Magreb', Constantine, Braham, 1899.
* *Le code du hobous ou ouakf selon la législation musulmane* —'The code of the hobous or ouakf according to the Moslem legislation', Constantine, D. Braham, 1899.
* *La question de l'assistance publique musulmane*—'The question of Muslim public assistance,' Constantine, \[s. n.\], 1899.
* *Le Code du hobous ou ouakf, selon la législation musulmane*—'The Code of hobous or ouakf, according to Muslim legislation', followed by texts of good authors and original pieces, Constantine, impr. D. Braham, 1899.
* *Les Idées et les actes du Maréchal Valée d'après des documents nouveaux*—'The Ideas and Acts of Marshal Vallee from New Documents", Constantine, Adolphe Braham, 1900.
* *Les ribat' et les marabouts dans l'Afrique du Nord*—'The ribat 'and the marabouts in North Africa', 'Constantine, Imprimerie-Librairie Adolphe Braham, D. Braham son successor, 1901.
* *La Question indigène en Algérie au commencement du XXe siècle* —'The Native Question in Algeria at the Beginning of the XXth century,' Paris, A. Challamel, 1901.
* *Histoire de Constantine* —'History of Constantine,' Constantine, J. Marle and F. Biron, 1903.

## Notes and references

## Bibliography

* *Africa through her sons: Ernest Mercier, historian of North Africa, mayor of Constantine* , Archaeological Society of the Department of Constantine, 1944.
* Mercier (Jean-Ernest), in Alain Messaoud,  *The Arabists and Colonial France. Annexes* , 2015.

## InfoBox

| Ernest Mercier | |
| --- | --- |
| Born | 17 September 1840<br>La Rochelle |
| Died | May 16, 1907 |
| Nationality | French |
| Spouse | Marie-Ernestine de Styx |
| Children | Ernest Mercier |


title: Jean Ersfeld

abstract: Jean Ersfeld is a politician from Luxembourg.

text:
# Jean Ersfeld

**Jean Ersfeld** (born c.1953) is a politician from Luxembourg.

## Background and political stances

He founded the Free Party of Luxembourg (FPL) in 2003 and led it in Luxembourg's legislative elections in 2004. None of the FPL's candidates, including Ersfeld, was elected.

Ersfeld, like most of the FPL's candidates, is from the Oesling region of Luxembourg, a sparsely populated area which is characterized by its relative remoteness from the south of Luxembourg. Jean Ersfeld is a local personality with a limited following in that region, who previously stood for election for the leftist Déi Lénk. Since the FPL took an essentially right-wing nationalist position, this marked a notable political metamorphosis for Ersfeld.

After the FPL ceased to function, Ersfeld later ran for the Citizens' List in the 2009 Luxembourg general election.

Subsequently, Ersfeld stood as a candidate for déi Konservativ (en."The Conservatives") of politician Joe Thein for the South in the Luxembourg general election, 2018.


title: Jean-Claude Lebensztejn

abstract: Jean-Claude Lebensztejn is a French art historian and art critic, formerly a professor at University of Paris I-Pantéon-Sorbonne. Lebensztejn is one of the most remarkable representatives of the now older generation of French art theorists, sometimes cited as a pioneer of structuralism. His contribution to a historically critical evaluation of sources for 20th-century art is considerable; see his recent book on Cézanne.

text:
# Jean-Claude Lebensztejn

**Jean-Claude Lebensztejn** is a French art historian and art critic, formerly a professor at University of Paris I-Pantéon-Sorbonne. Lebensztejn is one of the most remarkable representatives of the now older generation of French art theorists, sometimes cited as a pioneer of structuralism. His contribution to a historically critical evaluation of sources for 20th-century art is considerable; see his recent book on Cézanne (Paris 2005).

* *Locus focus: Jean-Pierre Criqui talks with Jean-Claude Lebensztejn* \- Interview by Jean-Pierre Criqui, in: ArtForum, June, 2003


title: Jean-Claude Lemagny

abstract: Jean-Claude Lemagny was a French library curator and historian of photography; a specialist in contemporary photography, he contributed to the world of fine-art photography in several roles.

text:
# Jean-Claude Lemagny

**Jean-Claude Lemagny** (24 December 1931 – 19 January 2023) was a French library curator and historian of photography; a specialist in contemporary photography, he contributed to the world of fine-art photography in several roles.

## Early life and education

Born 24 December 1931 in Versailles, oldest of the three children of Paul Lemagny (a winner of the Prix de Rome) and Léonie Leloup, Jean-Claude Lemagny achieved a series of academic landmarks; a License in History and Geography, a Certificate in French Literature, a Certificate in Art of the Middle Ages, a Superior Studies Diploma in the History of Art, and an Aggregation in History, which is a prestigious professional qualification as a teacher.

## Bibliothèque nationale de France

Qualified as an art historian, librarian and curator, in 1963 he was employed at the Bibliothèque nationale de France, first cataloguing art books and eighteenth century French engravings. Also a professor at L'Ecole du Louvre, he taught classes on eighteenth century engraving.

## Curator of photography

In 1968, he was made responsible for the contemporary photography collection at the Bibliothèque nationale de France, a position he held until 1996. Influential in the recognition of photographic art by heritage institutions, he created 'La Galerie des photographies' in 1971 in the Library's Galerie Colbert. Highlighting contemporary photography and with a regular publication of catalogues he presented solo exhibitions of photographers including Édouard Boubat (1973), Gilles Caron (1978), Garry Winogrand (1980), Christian Milovanoff (1980), Rogi André (1981), François Le Diascorn (1982), Arnaud Claass (1982), Tom Drahos (1984), Charles Harbutt (1989), Bruce Gilden (1989), Louis Faurer (1990).

After the death in obscurity, on April 11, 1970, of the Hungarian-born French photographer Rogi André, briefly the first wife of André Kertész, Jean-Claude Lemagny rescued her archives from disaster, and in particular her original prints, which had been put on sale at the Hôtel Drouot, and acquired them for the National Library.

Lemagny also mounted exhibitions from the library's collection on a monthly basis so that it reflected the contemporary evolution of the medium. Over the years he served as photography curator the BNF acquired over 70,000 new photographs. Every ten years, exhibitions of acquisitions were presented, the first being organised in 1971. In total Lemagny presented more than two hundred exhibitions at the National Library and others in sites in Paris and around the world; *Eloge de l'Ombre* ('in Praise of the Shadow') for example, was presented to the public in 2000–2001 at the Kawasaki Municipal Museum and the Yamaguchi regional Fine Art Museum in Japan.

In 1981, he contributed to the creation of the journal *Les Cahiers de la photographie*, in which a number of his essays appeared.

In 1998, Lemagny retired as official curator of photography and was named an Honorary General Curator of the BNF.

## Theorist

Articulate and prolific, Lemagny participated in numerous conferences and colloquiums on photography in France and around the world, and published hundreds of articles and several major works on individual photographers, trends and themes in photography. He was invited to curate exhibitions for other institutions or to write accompanying text for their catalogues.

In 1989, Lemagny wrote:

> "In photography, as in all art, what is of fundamental importance is not finding an idea but exploring matter manifest in forms. It is about sustaining a certain substance, from within which creativity can circulate."

In 1999 he meditates on the relation of photographer and collector;

> "We come to think that the first collector is the photographer himself. It could be said, at a pinch, that a painter collects his paintings; but these are too completely the effect of his manual decisions for it to mean much. Whereas a photographer is first of all the one who, in the ocean of visual realities, chooses. By his gestures of choice, he has already initiated his artistic process. ... It follows that the collector of photos who is not himself a photographer is already, almost, a photographer. He shares with them an inaugural and necessary gesture: to choose. Hence the particular weight of the collections during the history of photography. Apart from the simple utility, any photo as part of a collection sees its plastic presence exalted by the proximity of others. The organization of a collection, its trends, its evolution, take part in the dynamics of art. They become almost creative gestures. And even totally creative, in sum, if we replace them in the broader context of contemporary art."

### The aesthetic clock

In 1977 - and in a revision resumed in 1991 - he proposed a classification of photographs into four main categories selected from a random corpus of 237 photographs taken by the most diverse photographers including William Klein, Robert Frank, Emmanuel Sougez, Henri Cartier-Bresson, Christian Boltanski, Pierre Cordier, Don McCullin, Raoul Hausmann, Helen Sager, Jean-Pierre Sudre, Daniel Masclet, Josef Sudek, and others.

In 1977, this originally took the form of this matrix:

Lemagny's aesthetic matrix, 1977
|  | **The picture** **as objective material reality**
 | **Conceptual photo** **as a pure idea of itself**
 |
| --- | --- | --- |
| **The photo as a relationship**
**to the inner world: surrealism**
 | Object | Subject |
| **The photo as a relationship**
**to the outside world: reportage** | Form | Ground |

Divided and arranged in a circle, he called this grid of reflection on photography his “horloge esthétique” (‘aesthetic clock’): "For convenience, I suggest that you designate the different points of the circle as on a clock face: 12 o'clock at the top, 6 o'clock at the bottom, 3 o'clock on the right, 9 o'clock on the left, etc....I had distributed around a circle 237 extremely diverse slides, without any a priori, taking into account only the visual connections which spontaneously established between them." *L'ombre et le temps* published in 1992 sets out Lemagny's propositions about photography, to which the book's other contributors respond.

### *La Matiere, l'Ombre et la Fiction*

Lemagny's exhibition and book *La Matiere, l'Ombre et la Fiction*, ('Matter, Shadow and Fiction') in 1994 which drew on the BNF collection of contemporary photographs, which he organised in panels based on his perceived resonance of one photograph with another rather than with something seen in each. His argument in the text, supported by examples from the BnF collection, proceeds from the question;

> “In a world which now coincides the communicable and the immediate utilitarian, a world which even seems to have given up the critical substance of history, art has no more space in which to ferment. \[A\] radiant technical success resulting from a society which began to make everything permutable and exchangeable, does photography remain, paradoxically, a last small room where art could survive?”

The presentation provoked strong reactions.

## Rencontre Internationale d'Arles

Lemagny supported Lucien Clergue in organising in 1970 the first Rencontre Internationale d'Arles, an international photography festival, to which he was sometimes invited to give an official presentation, though he usually attended in a personal capacity. Bruce McCaig recalls that;

> "Summer after summer, Lemagny could be found seated at a table often at the Hotel Arlatan, reviewing photographers' portfolios on a first-come-first-served basis. the line of hopeful artists sometimes stretching for blocks. He would take a break at noon to eat a sandwich and otherwise spent the day looking at and talking about hundreds of photographs."

## Publications

### Books

* Lemagny, Jean-Claude. (n.d.). Pour une définition de l'art.
* Lemagny, J.-C. (n.d.). Giorgio Cutini: La danza delle forme = dancing of the forms. Giorgio Cutini : Immagini Dall'interno, Fotografie.
* Musée des arts décoratifs (France), Mathey, F., Lemagny, J.-C., & Marbot, B. (n.d.). La famille des portraits.
* Lemagny, Jean-Claude. (n.d.). Voies de la création dans la photographie contemporaine (Les).
* Lemagny, Jean-Claude. (n.d.). Voies de la création dans la photographie contemporaine (Les).
* Bovis, M., Doloy, R., Martin, G., Lefebvre, B., Robert, V., Lemagny, J.-C., Feinstein, G., ... Club photographique de paris. (1957). \[Collection of greeting cards and announcements collected and edited by Marcel Bovis\]: \[photographie\]. (\[Collection of personal archives of Marcel Bovis\].) S.l.: s.n..
* Angremy, A., Cain, J., Adhémar, J., Lemagny, J.-C., Didérot, D., & Bibliothèque nationale (France). (1963). Diderot: 1713-1784 : \[*\[An exhibition catalogue. Compiled by Jean Adhémar and Jean Claude Lemagny. With portraits and facsimiles.\]*\], Paris, Bibliothèque nationale, 1963. Paris: Impr. Tournon.
* Direction des musées de France., Lemagny, J.-C., Savanne, S., & ZUBER, M. T. (1964). *La Société française du XVIIIe siècle vue par les peintres et les graveurs. Exposition itinérante du Service éducatif des musées. (Catalogue rédigé par S. Savanne, M.-Th. Zuber et J.-C. Lemagny.) \[With illustrations.\]*. Paris.
* Angremy, A., Auer, E. M., Baron, F., Beaulieu, M., Caubet, A., Lacambre, J., Lemagny, J. C., ... Sauter, J. (1966). Kunst und Geist Frankreichs im 18. Jahrhundert.
* Lemagny, J.-C. & Cabinet des Estampes (Genf). (1966). *Les architectes visionnaires de la fin du XVIIIe siècle Exposition ... Cabinet des estampes: Genève, 13 novembre 1965-30 janvier 1966*. Genève: Musée d'art et d'histoire.
* Sudre, J.-P., Lemagny, J.-C., & Galerie La Demeure (Paris). (1972). Photographies Denis Brihat: \[catalogue de l'exposition\], Paris, Galerie La Demeure, 1972. Paris: Galerie La Demeure.Lemagny, J.-C., & Galleria Doria Arte Moderna (Torino). (1975). *Alex Bianchi*. Torino: Galleria Doria Arte Moderna.
* Dieuzaide, J., & Lemagny, J.-C. (1974). Mon aventure avec le brai. Toulouse\] (7, rue Erasme, 31400: J. Dieuzaide.
* Gloeden, W. ., & Lemagny, J.-C. (1975). Taormina: Début de sciècle. Paris: Chêne.
* Gloeden, ., & Lemagny, . (1975). Taormina debut de siecle. Paris: Chêne.
* Gloeden, W. ., & Lemagny, J.-C. (1975). *Taormina debut de siècle: Photographies du Baron de Gloeden*. Paris: Ed. du Chêne.
* Lemagny, J.-C. (1977). *Photographs of the classic male nude: Baron Wilhelm von Gloeden*. New York: Camera/Graphic Press.
* Lemagny, J.-C., Butor, M., Strand, P., & Musée national d'art moderne (Paris). (1977). Paul Strand: \[exposition, Paris, Centre national d'art et de culture Georges Pompidou, Musée national d'art moderne, 15 juin-15 août 1977\]. Paris: Centre national d'art et de culture Georges Pimpidou.
* Salbitani, R., & Lemagny, J.-C. (1978). *La città invasa*. Modena: Punto e virgola.
* Lemagny, J.-C., Seguin, J. P., & Bibliothèque nationale (France). (1978). *Gilles Caron: Reportages : \[exposition\], Bibliothèque nationale, Département des estampes et de la photographie, Galerie Louvois, du 2 mai au 3 juin 1978*. Paris: Bibliothèque nationale.
* Bibliothèque nationale de France., & Lemagny, J.-C. (1979). \[Recueil. Galerie de photographie de la Bibliothèque nationale. Catalogues. 1979-1997\]. Paris: Galerie de photographie de la Bibliothèque nationale.
* Lemagny, J.-C., & Bibliothèque nationale (France). (1979). Espaces: Daniel Boudinet, Eric Johnson, Paul Joyce, Klaus Ritterbusch, Ellen Salwen, Chris Wainwright : \[exposition, Paris, Galerie de photographie de la Bibliothèque nationale, avril-mai 1979\]. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1980). European Portfolio. S.l.: s.n..
* Shuler, T. H., & Lemagny, J.-C. (1980). Portfolio I: Platinum palladium portfolio. S.l.: s.n..
* Triennale internationale de photographie, Lemagny, J.-C., & Palais des beaux-arts (Charleroi, Belgique). (1980). Première Triennale internationale de photographie, 1980: Palais des beaux-arts, Charleroi, Belgique. Charleroi: Photographie ouverte.
* Lamarche-Vadel, B., Henric, J., & Lemagny, J. C. (1980). *Noir limite: Jean-Claude Bélégou, Florence Chevalier, Yves Trémorin*. Sausseuzemare: Photographies And Co..
* Lemagny, J.-C. (1980). *Photographie: Article pr. Encyclopedia Universalis, supplément, t. 2, p. 1151*. Paris: s.n..
* Hopkinson, T., Lemagny, J.-C., & Goethe-Institut (Paris). (1981). *Felix H. Man: 60 ans de photographie*. Paris.
* Lemagny, J.-C. (1981). Le corps regardé: Images. Laplume: Association de Critique Contemporaine en Photographie (ACCP.
* Lemagny, J.-C. (1981). La photographie: Tendances récentes. (Actualité des arts plastiques.) Paris: CNDP.
* Ritterbusch, K., Schmalenbach, W., & Lemagny, J.-C. (1982). *Der Fluss und die Berge: Fotografien und Texte*. Freiburg: Herder.
* Lemagny, J.-C., Berswordt-Wallrabe, H. L. A., & Sougez, E. (1982). Emmanuel Sougez: Photographien : 1928-1953 : Bochum, Frankfurt/Main, Frankfurter Kunstverein, Stadt Museum Leverkusen, Schloss Morsbroich. Bochum: Galerie für Film Foto.
* Lemagny, J.-C., & Melot, M. (1982). François le Diascorn: \[exposition\], Paris, Bibliothèque nationale, Galerie de la photographie, 23 mars-17 avril 1982. Paris: Bibliothèque nationale.
* Catany, T., & Lemagny, J.-C. (1983). Tomas Monserrat: 1873-1944 : retratista d'un poble. "Sa Nostra": Palma de Mallorca.
* Lemagny, J.-C., Kritz, V., & Galerie Mansart (Paris). (1983). *Vilem Kriz: Galerie Mansart 23 novembre 1983-15 janvier 1984*. Paris: Bibliothèque Nationale.
* Lemagny, J.-C. (1984). *'Les collections de la Bibliothèque nationale: 15 ans denrichissement. Cet ouvrage a été réalisé à loccasion de lexposition 'La photographie créative' présentée par la Bibliothèque nationale au pavillon des Arts durant le Mois de la photo organisé par Paris Audiovisuel, Novembre - Décembre 1984'*. Paris: Contrejour.
* Lemagny Jean-Claude, Bibliothèque nationale France, & Lemagny Jean-Claude. (1984). \<\<La \>\>Photographie créative Texte imprimé les collections de la Bibliothèque nationale 15 ans d'enrichissement \[exposition, Paris, Pavillon des arts, novembre-décembre 1984\]. Contrejour.
* Paris. Bibliothèque Nationale, & Lemagny, J.-C. (1984). Les collections de photographies contemporaines de la Bibliothèque Nationale. Paris: Contrejour.
* Baldassari, A. (1984). Le Territoire. Laplume: Association de critique contemporaine en photographie.
* Lemagny, J.-C., & Galerie municipale du Château d'eau (Toulouse). (1985). *Le Diascorn: \[exposition\], Galerie municipale du Château d'eau ..., Toulouse, février 1985*. Toulouse: Galerie municipale du Château d'eau.
* Gili, M., Lemagny, J.-C., Flusser, V., Mascaró, P. J., & Fundació Joan Miró (Barcelona, Spain). (1985). *La ciutat fantasma: Octubre-novembre 1985, Fundació Joan Miró, Centre d'Estudis d'Art Contemporani*.
* Mora, G., Clayssen, J., & Lemagny, J.-C. (1986). *Les Photographes humanistes: Doisneau, Boubat, Izis et les autres*. (Les Cahiers de la photographie (Marmande).) Paris: Cahiers de la photographie.
* Palazzolo, A., Lemagny, J. C., & Gilardi, A. (1986). *Aldo Palazzolo: Portraits*. S.l.: Artestudio.
* Lemagny, J.-C. (1986). *L'occasion d'une recherche crétrice: L'architecture industrielle vue par 5 photographes : Jean-Jacques Bénichou, Vincent Monthiers, Gérard Dalla Santa, Hervé Rabot, Jacques Thomas : \[exposition, Bordeaux, 1986\]*. Bordeaux: Conseil général de la Gironde.
* Lavrillier, C.-M., Roegiers, P., & Lemagny, J.-C. (1986). *6 \[six\] années du 666: Un entretien de Patrick Roegiers avec Carol Marc Lavrillier ; \[suivi de\] La Galerie ; préf. Jean-Claude Lemagny*. Paris: Ed. Studio 666.
* Lemagny, J.-C. (1986). *Elisabeth Sunday: The african portfolios*. Los Angeles (calif.: Curatorial assistance.
* Soulages, F., & LEMAGNY, J.-C. (1986). Photographie et inconscient.
* Lemagny Jean-Claude, Rouillé André, Didi-Huberman Georges, Dubois Philippe, Hassner Rune, McCauley Anne, & Marbot Bernard. (1986). Histoire de la photographie Texte imprimé. Bordas.
* Batho, ., & Lemagny, . (1986). Giverny, la memoire d'un jardin. Aurillac: A.D.A.C.
* Lemagny, Jean-Claude; Rouille, Andre (1987), Jean-Claude Lemagny; Andre Rouille (eds.), *A History of photography social and cultural perspectives*, translated by Janet Lloyd, Cambridge University Press, ISBN 978-0-521-34407-4
* Lemagny, J.-C. (1987). *Jean-Luc Maisonneuve: Cantates : \[exposition, Paris\], Bibliothèque nationale, Galerie de photographie, 30 avril-23 mai 1987*. Lieu de publication non identifié: éditeur non identifié.
* Lemagny, J.-C. (1987). *Kiuston Hallé: Les trois grâces : \[exposition\], Paris, Bibliothèque nationale, 29 octobre-28 novembre 1987*. Paris: Bibliothèque nationale.
* Lemagny, J.-C., & Arrouye, J. (1987). Françoise Gimenez: \[exposition, Paris\], Bibliothèque nationale, Galerie de photographie, 19 mars-18 avril 1987. Lieu de publication non identifié: éditeur non identifié.
* Basilico, G., Bergala, A., Chomette, M., Clergue, L., Lemagny, J.-C., Malone, L., Troispoux, Y., ... Phonurgia nova (Arles, Bouches-du-Rhône). (1987). Infraviolet: Revue sonore de photographie. (Infraviolet.) Arles: Phonurgia Nova.
* Lemagny, J.-C. (1987). Elisabeth Sunday: \[Paris\], Galerie de photographie de la Bibliothèque nationale, 10 décembre 1987-16 janvier 1988. Paris: Bibliothèque nationale.
* Lemagny, Jean-Claude (1931-....). Auteur du texte. (1987). Jean-Luc Maisonneuve : Cantates : \[exposition, Paris\], Bibliothèque nationale, Galerie de photographie, 30 avril-23 mai 1987 / \[catalogue réd. par Jean-Claude Lemagny\]. s.n.\]\[s.n..
* Lemagny, J.-C., & Caisse nationale des monuments historiques et des sites (France). (1987). Monuments en quête d'auteur. Paris: Service photographiques, Caisse nationale des monuments historique et des sites.
* Gouvion, S.-C. A., Lemagny, J.-C., & Sayag, A. (1988). Art of nature: 20th century French photography. London: Trefoil.
* Gouvion, S.-C. A., Lemagny, J.-C., Sayag, A., Barbican Art Gallery., & Association française d'action artistique. (1988). *20th century French photography*. London: Published on behalf of Barbican Art Gallery by Trefoil Publications.
* *La Photographie : tendances récentes*, CNDP, 1986 ; réédition actualisée : La Photographie : tendances des années 1950–1980, CNDP, 2002.
* Gouvion, S.-C. A., Lemagny, J.-C., & Sayag, A. (1988). *Art or nature: 20th century French photography*. London: Trefoil Publ.
* Lemagny, J.-C., & Caroly, C. (1988). *L'Ete: Les quatre saisons du territoire*. Belfort, France: Granit-CAC.
* Naggar, A., & Lemagny, J.-C. (1988). André Naggar: Images mentales : 50 ans de photographie. Paris: Trianon de Bagatelle.
* Gormezano, G., Minot, P., Lemagny, J.-C., & Bibliothèque nationale (France). (1988). Minot et Gormezano: Galerie de photographie de la Bibliothèque nationale 17 mars-16 avril 1988. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1988). Clarence John Laughlin (1905-1985): \[exposition, Paris\], Galerie de photographie de la Bibliothèque nationale, 28 avril-28 mai 1988. Paris: Bibliothèque nationale.
* Caroly, C., & Buttard, A. (1988). Les Quatre saisons du territoire: \[photographies\]. Jarville-La-Malgrange: Editions de l'Est.
* Lemagny, J.-C. (1989). Hervé Crépet: \[exposition, Paris\], Galerie de photographie de la Bibliothèque nationale, 19 janvier - 19 février 1989. Paris: s.n..
* Lemagny, J.-C., & Sudre, J.-P. (1989). Jean-Pierre Sudre: \[exposition\], Galerie de photographie de la Bibliothèque nationale, Espace Colbert, 4 octobre-4 novembre 1989. Paris: Bibliothèque nationale.
* Centre Georges Pompidou, Lemagny,Jean-Claude, & Sayag,Alain. (1989). L Invention d un art. París: Adam Biro.
* Lemagny, J.-C., Picto Bastille (Paris), & Bibliothèque nationale (France). (1989). Eva Rubinstein: Galerie de photographie de la Bibliothèque nationale et Picto espace Picto Bastille ... 15 novembre \[1989-11 janvier 1990\]. Paris: Bibliothèque nationale.
* Gouvion, S.-C. A., Lemagny, J.-C., & Sayag, A. (1989). 20th century French photography. Rizzoli.
* Lemagny, J.-C. (1989). *Bruce Gilden: \[exposition\], Paris, Bibliothèque nationale, Espace Colbert, 15 juin-13 juillet 1989*. Paris: Bibliothèque nationale.
*
* Lemagny, J.-C. (1989). *La Photographie creative*. Paris: Contrejour.
* Lemagny, J.-C. (1989). *Raymonde April: \[exposition\], Paris, Bibliothèque nationale, Galerie de la photographie, Espace Colbert, 27 avril-27 mai 1989*. Paris: Bibliothèque nationale.
* Hitchcock, B., Lemagny, J.-C., Polaroid Corporation., & International Polaroid Collection. (1990). *Selections 5: The International Polaroid Collection*. Cambridge, Mass: Polaroid Corp.
* Lemagny, J.-C. (1990). *Louis Faurer: \[exposition\], Paris, Bibliothèque nationale, Galerie de photographie, Espace Colbert, 19 avril-19 mai 1990*. Paris: Bibliothèque nationale.
* Kertész, A., Bonhomme, P., Phillips, S. S., Jammes, I., Lemagny, J.-C., Frizot, M., Musée d'art et d'essai (Paris, France), ... Association pour la diffusion du patrimoine photographique (France). (1990). Ma France. Paris: La Manufacture/Ministere de la Culture.
* Roegiers, P., Lemagny, J.-C., Mora, G., Contemporary Arts Center (New Orleans, La.), & Alliance française de la Nouvelle Orleans. (1990). En liberté: Contemporary French photography. New Orleans: Contemporary Arts Center.
* Naggar, A., & Lemagny, J.-C. (1990). André Naggar: Le regard éclaté : \[exposition, Paris, Patrick Perrin, 1990\]. Paris: P. Perrin.
* Sudre, J.-P., & Lemagny, J.-C. (1990). Photographies: Douze natures mortes 1948–1953. Paris: s.n..
* Lemagny, J.-C., & Bibliothèque nationale (France). (1990). Caroline Feyt: "Toros : \[exposition\], Paris, Bibliothèque nationale, Galerie de photographie, Rotonde Colbert, 25 janvier-24 février 1990. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1990). Jean-Luc Mylayne: \[Paris\], Galerie de photographie de la Bibliothèque nationale, passage Colbert, 1 août-1 septembre 1990. Paris: Bibliothèque nationale.
* Heyward, M., & Lemagny, J.-C. (1990). Bill Henson: Paris, Galerie de photographie de la Bibliothèque nationale, passage Colbert, 20 septembre-20 octobre. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1991). Hiromi Tsuchida ou l'ambiguïté sans fin. S.l.?.
* Lemagny, J.-C., & Bibliothèque nationale (France). (1991). Mark Feldstein: Galerie de la photographie de la Bibliothèque nationale, passage Colbert, Paris, 19 janvier-9 février 1991. Paris: Bibliothèque nationale.
* Lemagny, J.-C., & Macaire, A. (1991). *Rossella Bellusci: Oeuvre photographique 1981-1990 : Bibliothèque nationale, Paris, 17 avril-25 mai 1991, Centre d'art contemporain de Basse-Normandie, Hérouville Saint-Clair, 1992*. Paris: Canal.
* Lemagny, J.-C., & Dufour, B. (1991). *Bernard Dufour: \[exposition\], Paris, Bibliothèque nationale, Galerie Colbert, 30 mai-13 juillet 1991*. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (January 1, 1991). Lumières dans la cathédrale. Recherche Photographique : Histoire-Esthétique.
* Lemagny, J.-C., Cueco, H., & Vitry-sur-Seine (Val-de-Marne). (1992). Marie-Jésus Diaz, photographies: \[exposition\], Galerie municipale, 23 février-15 mars 1992, Ville de Vitry-sur-Seine. Vitry-sur-Seine: Galerie municipale.
* Lemagny, J.-C., Giteau, C., & Christout, M.-F. (1992). Fernand Michaud: \[exposition\], Paris, Bibliothèque nationale, Galerie de la photographie, Galerie des Arts du spectacle, 27 février-28 mars 1992. Paris: Bibliothèque nationale.
* Giriat, V., Quignard, P., & Lemagny, J.-C. (1992). Véronique Giriat: \[exposition\], Paris, Bibliothèque nationale, Passage Colbert, Galerie de la photographie, 8 avril-23 mai 1992. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1992). *Nouvelles rencontres: Bruno Cordonnier, Emmanuel Pinard, Monique Dérégibus, Olivier Umhauer, Julie Gauzin, Bertrand Valentin, Jean Guerre, Xavier Zimmermann : \[exposition\], Paris, Bibliothèque nationale, Galerie Colbert, 19 novembre-19 décembre 1992*. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1992). *François Puyplat: \[exposition\], Paris, Bibliothèque nationale, Galerie de la photographie, 16 janvier-15 février 1992*. Paris: Bibliothèque nationale.
* Ehrmann, G., & Lemagny, J.-C. (1993). *Faire un pas*. Paris: Hazan.
* Lemagny, J.-C., & Rouillé, A. (1993). *Photographie*. Paris: Bordas.
* Lemagny, J.-C. (1993). *Yves Trémorin: Catherine : Paris, Bibliothèque nationale, passage Colbert, galerie de la photographie, 29 juillet-28 août 1993*. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1993). *Ann Mandelbaum: \[exposition, Paris\], Bibliothèque nationale, Passage Colbert, Galerie de la Photographie, 29 avril-29 mai 1993*. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1993). *Geneviève Hofman: \[exposition\], Bibliothèque nationale, passage Colbert, galerie de la photographie, \[16 octobre-20 novembre 1993\]*. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1993). *Julien Coulommier: Bibliothèque nationale, Passage Colbert, Galerie de la photographie ..., Paris, du 12 mars au 10 avril 1993*. Paris: Bibliothèque nationale.
* Lemagny, J.-C. (1994). *Jean-Pierre Bonfort: \[exposition\], Paris, Bibliothèque nationale de France, Galerie de photographie, Passage Colbert, 17 mars-16 avril 1994*. Paris: Bibliothèque nationale.
* Mai de la photo, & Lemagny, J.-C. (1994). *Reims, Mai de la photo*. Reims: Priorité Ouverture.
* Lemagny, J.-C. (1994) *La Matière, l’Ombre, la Fiction : photographie contemporaine. Récents enrichissements du département des Estampes et de la Photographie*, BNF et Nathan.
* Lemagny, J.-C. (1994). *Jean Luc Tartarin: Fragments : Bibliothèque nationale, Galerie de la photographie, Passage Colbert ..., Paris, 13 janvier-12 février 1994*. Paris: Bibliothèque nationale.
* Baqué, D., Lemagny, J.-C., Müller, S., & Ecole des beaux-arts (Metz, France). (1994). *Knut Wolfgang Maron: Des paysages, des animaux, des hommes et des choses, 1980-1994 : \[exposition\] Ecole des beaux-arts de Metz, 15 février - 19 mars 1995 -- Kunsthalle Kühlungsborn, 10 Juni - 13 Juli 1995*. Metz: Ecole des beaux-arts.
* aboulin, S., & Lemagny, J.-C. (1994). Mai de la photo: Du 2 au 5 juin 1994. Reims: Priorité Ouverture.
* Maron, K. W. (1994). \[Knut Wolfgang Maron\]: Bilder über Landschaften, Tiere, Menschen und Dinge : 1980-1994 : \[Ausstellung, École des Beaux-Arts, Metz, 15.02.-19.03.1995 ... etc.\]. Erscheinungsort nicht ermittelbar: Verlag nicht ermittelbar.
* Lemagny, J.-C., Milovanoff, C., Biroleau, A., & Bibliothèque nationale de France. (1994). Tadashi Ono: \[exposition, juin-9 juillet 1994, Paris, Bibliothèque nationale de France\], Galerie de la photographie, Passage Colbert. Paris: Bibliothèque nationale de France.
* Pla, J. J., Formiguera, P., Lemagny, J.-C., Perego, E., & Fundació Caixa de Pensions (Barcelona). (1995). Joaquim Pla Janini: \[exposición\]. Barcelona: Fundación "la Caixa".
* Andrade, A., Lemagny, J.-C., & Bibliothèque nationale de France. (1995). Alain Andrade photographies. Paris: Bibliothèque nationale de France.
* Perego, E., Lemagny, J.-C., & Fundació Caixa de pensions. (1995). Joaquim Pla Janini: Exposició, Barcelona, 20 de desembre-11 de febrer de 1996, Sala Tarragona de la Fundació La Caixa, 15 d'abril-26 de maig de 1996, 25 de setembre-3 de novembre de 1996, Fundació La Caixa Illes Balears. Barcelona: Fundació "La Caixa.
* Maron, K. W., Baqué, D., Lemagny, J.-C., Müller, S., Ecole des beaux-arts (Metz, France), & Kunsthalle Kühlungsborn. (1994). *Des paysages, des animaux: Des hommes et des choses, 1980-1994*. Metz: Ecole des beaux-arts.
* Yates, Steven A (1995), *Poetics of space a critical photographic anthology* (1st ed.), University of New Mexico Press, ISBN 978-0-8263-1522-9
* Lemagny, J.-C. (1995). *Gilbert Fastenaeken: Photographies : \[Bibliothèque nationale de France, Galerie Colbert, du 13 juin au 20 juillet 1995\]*. Paris: Bibliothèque nationale de France.
* Lemagny, J.-C. (1995). *Jacques Bacry photographies: \[exposition, Paris\], Bibliothèque nationale de France, Salle de lecture du Cabinet des estampes, mai-juin 1995*. Lieu de publication non identifié: éditeur non identifié.
* Monreal, A. L., & Lemagny, J.-C. (1995). *Joaquim Pla Janini*. Barcelona: Fundación "La Caixa".
* Carli, E., & Lemagny, J.-C. (1995). *Mario Giacomelli: La forma dentro, fotografie 1952-1995 : \[mostra, Senigallia, Rocca Roveresca, 29 luglio-30 settembre 1995\]*. Milano: Charta.
* Luke, M., Lemagny, J.-C., Toth, C., Biroleau, A., & Bibliothèque nationale de France. (1996). *Michelle Luke: Photographies*. Paris: Bibliothèque nationale de France, Galerie Colbert.
* Lemagny, J.-C. (1996). *Madeleine de Sinéty: Photographies*. Paris: Bibliothèque nationale de France.
* Lemagny, J.-C. (1996). *Nouvelles de la photographie*. Paris: Comité national de la gravure française.
* Lemagny, J.-C., Aubenas, S., & McCauley, E. A. (1996). *Charles Aubry photographe : \[exposition Bibliothèque nationale de France, galerie Colbert du 7 mars au 4 mai 1996\]*. Paris: Bibliothèque nationale de France.
* Lemagny, J.-C. (1996). *Michelle Luke: Photographies*. Paris: Bibliothèque nationale de France.
* Lemagny, J.-C. (1996). *Denise Colomb: "portraits"*. Lyon: Ed. La Manufacture.
* Lemagny, Jean Claude. (1996). Serge Clément : De l’apparition à la présence. Les Productions Ciel variable.
* Zimbardo, X., & LEMAGNY, J. E. A. N. C. L. A. U. D. E. (1996). LES BELLES DISPARUES. O.O: ED. NATIVES.
* Lemagny Jean-Claude. (1996). Denise Colomb Texte imprimé portraits. Éd. la Manufacture.
* Lorblanchet, M., Lemagny, J.-C., Onfray, M., & Haute-Normandie. (1996). Siloé-Orellana: \[exposition, Rouen, Conseil régional de Haute-Normandie, 15 novembre 1996-1er mars 1997\]. Rouen: Région Haute-Normandie.
* Zimbardo, X., & Lemagny, J.-C. (1996). Les belles disparues. Paris: Natives.
* Beretta, S., & Lemagny, J.-C. (1997). Paris noir. Tesserete (Biolda: Pagine d'arte.
* Lemagny, J.-C., Musée Sainte-Croix (Poitiers, Vienne)., & Société des antiquaires de l'Ouest. (1997). *Fernand Michaud: \[exposition, Poitiers, Musée Sainte-Croix, 16 octobre 1997 - 4 janvier 1998\]*.
* Lemagny, J.-C., Laude, A., & Bibliothèque nationale de France. (1997). *Rasi: Photographies : \[exposition, Bibliothèque nationale de France, Galerie Colbert, 6 février-6 avril 1997\]*. Paris: Bibliothèque nationale de France.
* Ehrmann, G., Lemagny, J.-C., Mercié, J. L., Orbestier, F., Abbaye aux Dames (Saintes, France), & Galerie municipale du Château d'eau. (1998). *Gilles Ehrmann*. Saintes: Abbaye aux Dames.
* Gibson, M., & Lemagny, J.-C. (1998). *André Naggar: Images mentales*. Paris: Cercle d'art.
* Szulc-Krzyzanowski, M., Lemagny, J. C., Van, . W. S., & Römer, P. (1998). *Vista*. Amsterdam: Focus.
* Lemagny, Jean-Claude. (1998). Die vermessene Mauer: Aarhus, Dänemark 1985. S.l.: Lemagny, Jean-Claude \[distrib..
* IJzermans, T., & Lemagny, J.-C. (1998). Michel Szulc-Krzyzanowski: Vista. Amsterdam: Focus.
* Tartaglia, ., Lemagny, ., & Ravasi, B. (1998). Appartenenze. Tavagnacco: Art&.
* Lemagny, J.-C., Ravasi, B. L., Tartaglia, D., Tartaglia, D., & Tartaglia, D. (1998). Daniela Tartaglia: Appartenenze. Tavagnacco (UD: Art &.
* Szulc-Krzyzanowski, M., Lemagny, J.-C., IJzermans, T., & De Beyerd (Bréda, Pays-Bas). (1998). Vista: \[exhibition, Breda, De Beyern, museum of modern art, 22 February-20 April 1998\].
* Lemagny Jean-Claude, & Brabo Michèle. (1998). Itinéraire affectif d'une photographe Texte imprimé. Éd. Recherches.
* Tartaglia, D., Lemagny, J.-C., & Ravasi, B. L. (1998). Daniela Tartaglia: Appartenenze. Arti Grafiche Friulane.
* Mercié, J.-L., Lemagny, J.-C., & Orbestier, F. (1998). Gilles Ehrmann photographe: \[exposition Abbaye aux Dames, Saintes, 1998 ; Galerie du Château d'Eau, Toulouse, 1998\]. Cognac: Le Temps qu'il fait.
* Tartaglia, D., Lemagny, J.-C., & Ravasi, B. L. (1998). Appartenenze.
* Soulages, F., Lemagny, J.-C., Soulages, F., & Bibliothèque nationale de France. (1999). La photographie du sans-art à l'art: Conférence du 8 novembre 1994. Paris: Bibliothèque nationale de France.
* Lemagny, J.-C. (1999). *La Bretagne: Collection photographique de l'Imagerie : 42 photographes*. Trézélan: Filigranes.
* Lemagny, J.-C., Lemagny, J.-C., Soulages, F., & Bibliothèque nationale de France. (1999). *La parole est aux oeuvres: Conférence du 11 janvier 1995*. Paris: Bibliothèque nationale de France.
* Lemagny, J.-C., Soulages, F., Lemagny, J.-C., & Bibliothèque nationale de France. (1999). *La photographie et le musée imaginaire: Conférence du 29 novembre 1994*. Paris: Bibliothèque nationale de France.
* Rencontres internationales de la photographie, Lemagny, J.-C., & Biroleau, A. (1999). *Le corps du visible: Une exposition créée par Klee inc. et présentée du 7 juillet au 19 août 1999 aux Rencontres internationales de la photographie à Arles ... puis à l'automne 2000 au Musée municipal de Kawasaki*. (Rencontres d'Arles.) Tokyo (5-3-3, Minami Azabu, Minato-ku: Klee Inc.
* Soulages, F., Lemagny, J.-C., Soulages, F., & Bibliothèque nationale de France. (1999). Anthropogénie et photographie: Conférence du 22 novembre 1994. Paris: Bibliothèque nationale de France.
* Barraco, D., & Lemagny, J.-C. (1999). El sentimiento tragico del instante. Mendoza: Lom ed.
* Argalia, ., Filosa, ., Lemagny, ., Mozzoni, ., & Pieralisi, . (1999). Fluisce alla terra il cielo. Jesi: Fondazione Cassa di Risparmio di Jesi.
* Argalia, A., & Lemagny, J.-C. (1999). Fluisce alla terra il cielo. Jesi: Fondazione cassa di risparmio di Jesi.
* Rodríguez, J. A., Lemagny, J.-C., & Colorado, A. (2000). Corps et fruit. Mexico: La Bamba.
*
* Lemagny, J.-C., & Biroleau, A. (2000). *Eloge de l'ombre: \[exposition, Kawasaki, Musée municipal, 3 novembre-17 décembre 2000, Yamaguchi, Musée départemental des beaux-arts 9-28 janvier 2001\]*. Paris: Klee Inc.
* Lemagny, J.-C., Hotel de Sully (Paris), & International Center of Photography. (2000). *Atget the pioneer \[published to accompany the exhibition held at the Hotel de Sully, Paris, 23 June - 17 September 2000 ; International Center of Photography, New York, 7 October 2000-21 January 2001\]*. Munich: Prestel.
* Lemagny, J.-C., Atget, E., Aubenas, S., Hôtel de Sully (Paris), & International Center of Photography. (2000). *Atget, Le Pionnier.* PARIS: MARVAL.
* Abrahmov, S. L., Schwander, L., & Lemagny, J.-C. (2001). Skønhed. Copenhagen?: Fotografisk Center.
* Lemagny, J.-C. (2001). Jean-Pierre Sudre, 1921-1997: \[exposition, Saragosse, Institut français, 2001\]. Saragosse: Institut français.
* Sousa, A. ., Chambon, J.-P., Lemagny, J.-C., & Espace Vallès ( Saint-Martin-d'Hères). (2001). Aurore de Sousa, autoportraits, l'ombre nue, l'etrangère intime. Saint-Martin-d'Hères: Espace Vallès.
* Scimone, A., Lemagny, J.-C., Gulizia, D., & Trevisan, P. (2002). Attilio Scimone: Materia e luce.
* Lemagny, J. C. (2002). *La photographie: Tendences des années 1950-1980*. Paris: CNDP.
* Masats, R., Monzó, J. V., Cuallado, G., & Institut valencià d'art modern-Centre Julio González. (2003). Homenatge a Gabriel Cuallado: Exposicio, Valencia, Institut Valencia d'art modern, 7 novembre 2003-11 gener 2004. Valencia: Institut Valencia d'art modern.
* Lebas, C., Lemagny, J.-C., & Schultz, D. (2003). Chrystel Lebas: Time in space = l'espace temps. London: Azure publ.
* Dieuzaide, J., Lemagny, J.-C., & Galerie municipale du Château d'eau (Tuluza). (2004). Une vie de photographes. Toulouse: Le château d'eau.
* Lemagny, J.-C., Dambrine, M., Lawrence, J. H., & Bernard Dudoignon (Paris). (2004). Clarence John Laughlin: \[exposition, Paris\], Bernard Dudoignon photographies, \[automne 2004\]. Paris (133 rue de Charonne, 75011: Bernard Dudoignon photographies.
* Magalhães, M., Furtado, J. A., & Lemagny, J.-C. (2004). Manuel Magalhães: Álbum 1973–2003. Porto: Edições Caixotim.
* Magalhães, M., Furtado, J. A., & Lemagny, J.-C. (2004). Manuel Magalhaes: Album 1973/2003. Porto: Ed. Caixotim.
* Lemagny, J.-C., & Hansen, B. (2004). *Terra magica*. Anglet: Atlantica.
* Magalhães, M., & Lemagny, J.-C. (2004). *Manuel Magalhães: Álbum, 1973/2003*. Porto: Ediçoes Caixotim.
* Lemagny, J.-C. (2005). *L'ombre et le temps: Essais sur la photographie comme art*. Paris: A. Colin.*Le marieur d'images*, (autour de Christian Milovanoff), Galerie Françoise Paviot, 2012–2013.
* Barraco, D., & Centro Cultural Estación Mapocho (Chile). (2005). Fotografías. Chile: Centro Cultural de la Estación Mapocho, Sala Joaquín Edward Bello.
* Lemagny, J.-C. (2005). La photographie: Tendances des années 1950–1980. Paris: Centre National de Documentation Pédagogique.
* Lemagny, J.-C. (2006). *De l'image photographique aux mots: Essai d'itinéraire*. Aix-en-Provence: PUP.
* Bertolotti, A., & Lemagny, J.-C. (2007). *Livres de nus: Avant-propos de Jean-Claude Lemagny, 10 octobre 2007au 6 janvier 2008, Maison européenne de la Photographie, Paris*. Paris: Éditions de la Martinière.
* Banville, J., Lemagny, J.-C., & Fuentes, C. (2008). *Manuel Alvarez Bravo: Photopoetry*. London: Thames & Hudson.
* Biroleau, A. (2008). 70', la photographie américaine: Diane Arbus, Lewis Baltz, Harry Callahan : \[exposition, Paris, Bibliothèque nationale de France, site Richelieu, 29 octobre 2008-25 janvier 2009\]. Paris: Bibliothèque nationale de France.
* Biroleau, A., & Bibliothèque nationale de France. (2008). 70', le choc de la photographie américaine: Exposition présentée à Paris, Bibliothèque nationale de France, site Richelieu, du 29 octobre 2008 au 25 janvier 2009. Paris: Bibliothèque Nationale de France.
* Breton-Hourcq, A. (2008). Tracés. Marseille (19 rue des Trois-rois, 13006: Atelier De visu.
* Carli, E., Lemagny, J. C., De, S. E., & Cutini, G. (2009). Immagini dall'interno: Fotografie. Ancona: Il lavoro editoriale.
* Alvarez, B. M., Alvarez, U. C., Banville, J., Lemagny, J.-C., Fuentes, C., & Sugiyama, E. (2011). *Manueru arubaresu burabo shashinshu: Mekishiko no genso to hikari*.
* Lauzon, Jean, Durand, Régis, Lemagny, Jean-Claude, & Rouillé, André. (2011). Images de la photographie. Les Presses philosophiques.
* Soulages, François, de Chassey, Eric, Poivert, Michel, Rouillé, André, Lemagny, Jean-Claude, Chateau, Dominique, Sagot-Duvauroux, Dominique, ... Tamisier, Marc. (2012). Photographie contemporaine & art contemporain. Klincksieck.
* Lemagny, Jean-Claude (2013). *Silence de la photographie*. Paris: L'Harmattan Editions Distribution.
* Bréhant, M.-L., Slivance, I., Gicquel, S., Lemagny, J.-C., & Gicquel, P. (2014). Les creusets de Marie-Louise: \[livre d'artiste\]. Nantes: Musée de l'imprimerie de Nantes & Couleur dite Parole peinte.
* Bastide, A.-G. (2018). L'invisible labyrinthe des temps: It's only photography's : dans les miroirs des vitrines de Paris. Paris: Alain-Gilles Bastide.
* Bohbot, M., & Lemagny, J.-C. (2020). Passion couleur. Baden: Lammerhuber.

### Articles

* Lemagny, J.-C. (January 1, 1974). La femme vue par une femme, Henriette Grindat. Oeil : Magazine International D'art.
* Lemagny, J.-C. (January 1, 1978). Trois regards sur l'apparence. *Connaissance Des Arts,* 50–57.
* Lemagny, J.-C. (January 1, 1980). Tendances de la créativité contemporaine. *Monuments Historiques / Ed. Par La Cnmhs.*
* Lemagny, J.-C. (January 1, 1980). Un art trompeur, la photo couleur. *Connaissance Des Arts,* 62–69.
* Lemagny, J.-C. (January 1, 1986). Monuments en quête d'auteur. *Monuments Historiques / Ed. Par La Cnmhs,* 81–89.
* Lemagny, J.-C. (November 1, 1988). Un art en chemin vers lui-même. *Revue Des Deux Mondes,* 232–241.
* Lemagny, J.-C. (January 1, 1989). L' invention d'un art: Quand la photographie prend sa place dans une aussi vieille histoire que celle de l'art. *Nouvelles De L'estampe / Publ. Par Le Comité National De La Gravure Française Et Le Cabinet Des Estampes De La Bibliothèque Française,* 34–35.
* Lemagny, J.-C. (April 1, 1989). Splendeurs et misères du corps humain. *Revue Des Deux Mondes,* 236–243.
* Lemagny, J.-C. (October 1, 1989). Une autre objectivité. *Revue Des Deux Mondes,* 235–248.
* Lemagny, J.-C. (March 1, 1990). Cent cinquante ans après. *Revue Des Deux Mondes,* 231–239.
* Lemagny, J.-C. (January 1, 1992). Fleuve profond: Sur l'évolution de la création photographique depuis vingt ans. *Art Press.*
* Lemagny, J. C., Roth, K., Blouin, M., Legendre, R., & Michel, F. (December 7, 1996). Serge Clément: De l’apparition à la présence. *Cv Photo,* 36, 23–32.
* Lemagny interview with Alin Avila, "De la forme", in *Area revue* no 3, page 67 ff., 2002.
* Lemagny, J.-C. (January 1, 2006). La Galerie permanente de photographie: 1971–1996. *Nouvelles De L'estampe,* 209, 21.
* Lemagny, J.-C. (January 1, 2006). De l'image photographique aux mots: Essai d'itinéraire. Des Regards Aux Mots / Réunies Par Alain Chareyre-Méjan, 67–71.


title: Jean Jimmy

abstract: Andruana Ann Jean Jimmy was an Australian Aborigine activist and politician known for campaigning against the closure of the aboriginal Mapoon Reserve and her subsequent forced removal.

text:
# Jean Jimmy

**Andruana Ann Jean Jimmy** (30 September 1912 – 17 October 1991) was an Australian Aborigine activist and politician known for campaigning against the closure of the aboriginal Mapoon Reserve and her subsequent forced removal.

## Biography

Jimmy was born on 30 September 1912 near the Pennefather River in Far North Queensland, Australia. She was the second of three children; her brother was Richard (1898–?), also known as Dick Luff, and her sister was Maggie (1910–?). Both her parents were of Wimaranga ancestry and her name, Andruana, meant wattle in their native language, signifying feminine resolve. She spent most of her formative years in a Presbyterian lodging in Mapoon, rarely seeing her father, Philip, who was an evangelist for aboriginal people. On 29 August 1933, she married sailor Gilbert Jimmy; they relocated to Thursday Island after World War II. She later protested the leasing of a significant area of the Mapoon Reserve to mining, before being forcibly removed along with other fellow Aborigines to New Mapoon, Queensland. She revealed her experiences to the 1964 Federal Council for the Advancement of Aborigines and Torres Strait Islanders Conference. She later served as the leader of the local council for two years, before moving to Weipa South, where she served as leader of the local council for three years. Jimmy also provided Les Hiddins with medicinal information that her mother had taught her. She died on 17 October 1991 at Weipa Hospital and was buried in the Mapoon cemetery. A Land and Sea Centre in Mapoon was posthumously named after her.

## InfoBox

| Jean Jimmy | |
| --- | --- |
| Born | Andruana Ann Jean Jimmy<br>30 September 1912 |
| Died | 17 October 1991 |
| Occupation(s) | Aborigine activist and politician |


title: Jean Tragodara

abstract: Jean Carlo Tragodara Gálvez is a Peruvian footballer who plays as a midfielder for Sport Boys. Tragodara previously played for Universitario de Deportes, Atlético Minero, Inti Gas Deportes, Universidad César Vallejo, Universidad Técnica de Cajamarca, Colombian club Once Caldas and Comerciantes Unidos

text:
# Jean Tragodara

**Jean Carlo Tragodara Gálvez** (born 16 December 1985 in Lima) is a Peruvian footballer who plays as a midfielder for Sport Boys.

Tragodara previously played for Universitario de Deportes, Atlético Minero, Inti Gas Deportes, Universidad César Vallejo, Universidad Técnica de Cajamarca, Colombian club Once Caldas and Comerciantes Unidos

## International goals

| # | Date | Venue | Opponent | Score | Result | Competition |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | September 4, 2010 | Toronto | Canada | 2-0 | Win | Friendly |

## InfoBox

Jean Tragodara
|  | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Jean Carlo Tragodara Gálvez | | |
| Date of birth | (1985-12-16) December 16, 1985 | | |
| Place of birth | Lima, Peru | | |
| Height | 1.78 m (5 ft 10 in) | | |
| Position(s) | Midfielder | | |
| Team information | | | |
| Current team | Sport Boys | | |
| Number | 17 | | |
| Youth career | | | |
|  | Universitario | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2005–2008 | Universitario | 5 | (0) |
| 2005–2007 | Sport Ancash (loan) | 64 | (2) |
| 2008 | Atlético Minero (loan) | 23 | (1) |
| 2009 | Inti Gas Deportes | 42 | (7) |
| 2010–2011 | Alianza Lima | 39 | (2) |
| 2011–2012 | Once Caldas | 1 | (0) |
| 2012 | Inti Gas Deportes | 14 | (0) |
| 2013 | Universidad César Vallejo | 31 | (1) |
| 2014 | UT Cajamarca | 18 | (0) |
| 2015–2016 | León de Huánuco | 25 | (0) |
| 2016–2017 | Defensor La Bocana | 35 | (2) |
| 2017 | Comerciantes Unidos | 40 | (2) |
| 2018 | Real Garcilaso | 16 | (3) |
| 2019– | Sport Boys | 19 | (10) |
| International career | | | |
| 2010–2011 | Peru | 5 | (1) |
| \*Club domestic league appearances and goals, correct as of 18:59, 3 May 2020 (UTC) | | | |


title: Jean Liedloff

abstract: Jean Liedloff was an American author, born in New York City, and best known for her 1975 book The Continuum Concept. She is the aunt of writer Janet Hobhouse, and is represented by the character Constance in Hobhouse's book "The Furies." Born in New York City in 1926, as a teenager she attended the Drew Seminary for Young Women and began studying at Cornell University, but began her expeditions before she could graduate. During a diamond-hunting expedition to Venezuela, she came into contact with an indigenous people named the Yequana. Over time she became fascinated with the Yequana, and made a decision to return to Venezuela to live with them. She wrote her book, The Continuum Concept, to describe her new understanding of how we have lost much of our natural well-being, and to show us practical ways to regain it for our children and for ourselves. Her book is based on her experiences while living with the Yequana, and discusses in particular their style of child-rearing and its fundamental effect on their later lives. She was a founding member of The Ecologist magazine. Liedloff died on March 15, 2011, in Sausalito, California.

text:
# Jean Liedloff

**Jean Liedloff** (November 26, 1926 – March 15, 2011) was an American author, born in New York City, and best known for her 1975 book *The Continuum Concept*. She is the aunt of writer Janet Hobhouse, and is represented by the character Constance in Hobhouse's book "The Furies."

Born in New York City in 1926, as a teenager she attended the *Drew Seminary for Young Women* and began studying at Cornell University, but began her expeditions before she could graduate.

During a diamond-hunting expedition to Venezuela, she came into contact with an indigenous people named the Yequana. Over time she became fascinated with the Yequana, and made a decision to return to Venezuela to live with them. She wrote her book, The Continuum Concept, to describe her new understanding of how we have lost much of our natural well-being, and to show us practical ways to regain it for our children and for ourselves. Her book is based on her experiences while living with the Yequana, and discusses in particular their style of child-rearing and its fundamental effect on their later lives.

She was a founding member of *The Ecologist* magazine.

Liedloff died on March 15, 2011, in Sausalito, California.

## Bibliography

* *The Continuum Concept: In Search of Happiness Lost* ISBN 0-201-05071-4
* *Jungle Jean* biography by Geralyn Gendreau ISBN 1736791419 (2021)
* When Good Enough Isn't, Mother Blame in The Continuum Concept, *Journal of the Association for Research on Mothering*, 6(2) by Chris Bobel (2004)
* The Continuum Concept, A Personal Experience *Self & Society, An International Journal for Humanistic Psychology* 18(4) by Peter Ellis (1990)


title: Peteetneet Creek

abstract: Peteetneet Creek is a stream in Payson Canyon, south of Payson, Utah, United States.

text:
# Peteetneet Creek

**Peteetneet Creek** is a stream in Payson Canyon, south of Payson, Utah, United States.

## Description

The creek was named after the Timpanogos Chief Peteetneet who lived near it. Its source is located at 39°56′52″N 111°40′37″W / 39.94778°N 111.67694°W / 39.94778; -111.67694, the confluence of Shram Creek and an unnamed creek that flows through the Frank Young Canyon. Rather than flow north into Utah Lake, the creek ends shortly after entering Payson (just south of the intersection of South 300 East and East 600 South). However, older maps indicate that it previously ran a bit further north to the north side of East 200 South (north of the Memorial Park).

## History

Peteetneet Creek was a good camping spot on the Mormon Road, a Mormon pioneer and 49er wagon route between Salt Lake City, Utah and Los Angeles, California. The Latter-day Saints first settled in Payson in 1850. After improvements were made to the Mormon Road wagon route in 1855, it had become what was known as the Los Angeles - Salt Lake Road. This was a wagon freight route used each year from late fall through winter into early spring, between Southern California and Utah, isolated by the winter snows in the Sierra Nevada Mountains from San Francisco and by the Rocky Mountains from the rest of the United States to the east. This route remained the only winter season route to the outside world until the railroad arrived in Utah in the late 1860s.

Media related to Peteetneet Creek at Wikimedia Commons

40°02′05″N 111°43′43″W / 40.03472°N 111.72861°W / 40.03472; -111.72861


title: Petegem-aan-de-Schelde

abstract: Petegem-aan-de-Schelde is a village and former municipality in the Wortegem-Petegem municipality in the Belgian province of East Flanders. The village officially changed its name from Petegem into Petegem-aan-de-Schelde in order to distinguish itself from Petegem-aan-de-Leie. In 1971, the municipality merged into Wortegem-Petegem.

text:
# Petegem-aan-de-Schelde

**Petegem-aan-de-Schelde** is a village and former municipality in the Wortegem-Petegem municipality in the Belgian province of East Flanders. The village officially changed its name from Petegem into Petegem-aan-de-Schelde in order to distinguish itself from Petegem-aan-de-Leie. In 1971, the municipality merged into Wortegem-Petegem.

## History

The village was first mentioned as Wrattingem in 964. During the Early Middle Ages, a castle which became later known Old Castle of Petegem, was located in Petegem on the left bank of the River Scheldt. Most of the castle was destroyed during warfare, and by the 17th century only a ruin remained.

In the early 1270s, the Abbey of Beaulieu was constructed as a women's abbey for the Poor Clares. In 1276–77, a hospital was established at the location. The abbey was declared bankrupt in 1783, and was later torn down. Parts of the abbey have been reconstructed in the 1980s and 1990s.

In 1847, Baron August Pycke de Peteghem commissioned the construction of the New Castle of Petegem near the location of the old castle. The castle and lands are nowadays owned by the Golf- and Countryclub Oudenaarde.

Petegem-aan-de-Schelde suffered major damage during World War I, and was nearly completely destroyed during World War II. Most of the village has been rebuilt since the late 1940s. In 1971, the municipality merged into Wortegem-Petegem.

1. "Bevolking per statistische sector - Sector 45061A". *Statistics Belgium*. Retrieved 5 May 2022.
2. "Toeristische Brochure" (PDF). *Wortegem-Petegem* (in Dutch). p. 3. Retrieved 18 October 2020.
3. "Petegem-aan-de-Schelde". *Agentschap Onroerend Erfgoed* (in Dutch). Retrieved 18 October 2020.
4. "Abdij van Beaulieu". *Agentschap Onroerend Erfgoed* (in Dutch). Retrieved 18 October 2020.
5. "Kasteel van Petegem". *Burchten Kastelen* (in Dutch). Retrieved 18 October 2020.

## InfoBox

| Petegem-aan-de-Schelde | |
| --- | --- |
| Village | |
| The New Castle | |
| Petegem-aan-de-ScheldeLocation in Belgium | |
| Coordinates: 50°49′58″N 3°33′25″E / 50.83290°N 3.55682°E / 50.83290; 3.55682 | |
| Country | Belgium |
| Region | Flemish Region |
| Province | East Flanders |
| Arrondissement | Oudenaarde |
| Municipality | Wortegem-Petegem |
| Area | |
| Total | 11.75 km2 (4.54 sq mi) |
| Population (2021) | |
| Total | 2,118 |
| Density | 180/km2 (470/sq mi) |
| Time zone | CET |