Disséminée par mi divers international collections, à l'image d'une existence qui les mena de Berlin à Bruxelles en passant par les États-Unis et Paris, l'oeuvre de Cami et Sasha Stone reste largement méconnue en dépit de l'importance de l'activité de leur studio durant l'entre-duex-guerres.
The reason for the Musée de la Photographie de Charleroi et Amsab-ISG de Gand ont uni leurs forces. The result of Studio Stone, an exhibition presented in Charleroi on 1st February, 18 May 2025, a catalog and a website. And if you wish to find out more about the parties and parties you are interested in, a separate page for the gathering of the Cami and Sasha Stone, together with the partners, is possible via IIIF.
Le Studio Stone, or Atelier Stone, is the first association photographic couple formed by Belgian Wilhelmine Camille Honorine Schammelhout, aka Cami Stone, and the Russe Aleksander Serge Steinsapir, aka Sasha Stone. Berlin was a young city with a strong studio in 1924. The name of the "Stone" was the first to be photographed during the period. The journalists and chronicles parlent of the photographs and the terms of reference and the memories of the place, the history of the photographs, the sources of homologues and the reference to the history of the photographs: André Kertész, Germaine Krull, László Moholy-Nagy, Albert Renger-Patzsch and même Man Ray, pour n'en zither que quelques-uns.
In 1920, the environmental photography and the bouquet of new expressions in the current fashion of the « New Sehen » (« Nouvelle Vision ») and the « Neue Sachlichkeit » (« Nouvelle Objectivité ») were born. The couple Stone is part of the intégrante of the avant-garde, commencing their relations in Berlin, Paris and Brussels.
The large number of representations of the principal exhibitions of "modern" photographs of the Epoque. In 1929, in the International Ausstellung des Deutschen Werkbunds Film und Foto (FiFo) in Stuttgart, Zurich, Vienne and Berlin, Sasha was the first photographer to present the additional images of the exhibition and publication. Pour l'Exposition international de la photographie organisée au Palais des Beaux-Arts de Bruxelles en 1932, les responsables de l'exposition, Claude Spaak et ELT Mesens, demandent à Cami Stone d'être la déléguée belge. The place where the couple comes from is the accrochage that is particularly important during the opening of the room for their photographic exhibitors. Parallel to the exhibitions, the images are published in the magazines and the magazines illustrated in the epoque.
After the debut of 1930, Stone quit all capital for Brussels and left a new studio. This continues with the activity of separation in 1939. This continues with the practice of photographing Sasha under the name of “Sasha Stone, photographe d'art” and Cami accompanied by the signature “Cami Schammelhout”.
Durant l'existence du studio, la classification et l'identification des tirages sont pratiquées et la majorité des photographies portent au verso un tampon indiquant « Atelier Stone », « Studio Stone », « Copyright Sasha Stone », « Copyright Cami Stone ». These indications should not be taken into account when it comes to the strict attributions for Cami or Sasha. In effect, the commercial use of the fund is of great importance when it comes to the use of credit for the images d'un precis, the separation of the ensemble is a moment before the end of the community activity and the subsequent recovery is invited by prudence. The plus, the ensemble of the tent is an attribution on the basis of stylistics that is an étroite leur collaboration artistique. In the exhibition and the catalogue, the attribution is certain, and the mention of "Studio Stone" is indiquée. Si Cami ou Sasha is the author of certain photographs, his name is reprised of the legend.
There is a long history of stone work in the form of a large panel of photographic subjects: architecture, urbanism, the present, the photographic spectacle, the portrait artist and politics, and the social reportage. A place to discuss the various productions of the photographs, the publicity of the Stone from the perspective of the photographic publicity, industry, artistry of the portrait without a qualitative distinction. After the installation in Bruxelles, there is a change in the method of working and continuing with the various themes during the Berlin period. This consistency is visible in the quality of the technique and the aesthetics of the images through the use of the design and the design, the dynamic design, the neatness of the objects and the attention to the lighting characteristics of the production.
