Parents who support their children in private schools not only purchase what they consider a higher quality education, but must also provide uniforms, as shown on these two girls. Private schools provide instruction in English, while indigenous languages are used in the state-supported schools.
IN COPYRIGHT - EDUCATIONAL USE PERMITTED. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s).
Vadodara (formerly Baroda), Gujarat State, India
An example of the growing economic gap between rural and urban areas [excepting the worst slums] can be glimpsed in this simple school. The students and teachers have little curricular material, let alone an adequate facility when monsoon rains come.
Perched in a window well at the Golden Temple, the most sacred site for Sikhs, this man seems intent on studying his chosen text. Other pilgrims are trooping around him, and a loudspeaker resounds with the continuous reading of the Sikh holy work, the Guru Granth Sahib Ji.
This World Heritage site group of monuments was built over the span of about two centuries. Sandstone is used, without mortar at the joints
instead, mortise and tenon joints, plus the weight of the stones themselves, keep the monuments intact. After 1150 or so, they fell into disrepair, and became covered with vegetation. Excavation and restoration began late in the 19th century, and continue to this day.
Built in the early 1930s, the presidential residence was built and the principal buildings of the capital were laid out. Most were designed by Sir Edward Lutyens. The overall intention was emphasizing the majesty of British rule, which came to a swift end barely twelve years after New Delhi was formally established by King George V.
In most parts of the country, Indian merchants display their goods directly on the street. With ample labor available, tailoring can be carried out quickly, to fit apparel.
This sculpture of a voluptuous woman is most likely a fertility sculpture of the goddess Yakshi, an earth goddess sacred to Hindus, Buddhists, and Jains.
These pieces of cloth show the Buddha's footprint, an important symbol JERNOS: PLEASE FINISH THIS.
Tibetan Buddhists frequently travel to the north Indian town of Bodh Gaya, where the Buddha received his enlightenment. This picture was taken inside one of the many temples in this city. It has been elaborately decorated in Tibetan style.
The large Tibetan community at Bodh Gaya has resulted in the construction of numerous temples, each of them elaborately decorated with murals depicting the life of the Buddha. At the time this photograph was taken, the murals were still being painted.
Child being carried by mother amidst New Delhi traffic
Although New Delhi was built with broad boulevards, to escape the strong pressure of Delhi itself, population and taffic growth have meant pedestrians are squeezed into roadways. They must vie there for space with all sorts of transport, public and private.
These guards work within one of the most attractive castles of northwest India -- and are always pleased to pose for tourists' cameras.
Many Indian military and police veterans have found employment in tourist-friendly places.
This woman is selling goods of particular interest the large Tibetan exile community that has settled in northern India. Two young Tibetans are standing behind Professor Jeannette Ludwig of UB.
Note the wide variety of cooking styles supposedly available at this restaurant -- and, more important, the use of Buddha as a symbol to attract potential customers. Niranjana is a Sanskrit word meaning "spotless" or "pure." Ambap?Ÿli, also known as "Ambap?Ÿlika" or "Amrap?Ÿli", was a nagarvadhu (royal courtesan) of the republic of Vaishali in ancient India around 500 BCE. Following the Buddha's teachings she became an Arahant. She is mentioned in the old Pali texts and Buddhist traditions, particularly in conjunction with Buddha staying at her Mango grove, Ambapali vana which she later donated to his Order, and wherein he preached the famous Ambapalika Sutta. "Homely" in India means "domestic," not "plain-looking."
Because of the sacred nature of Varanasi [Benares], Hindu pilgrims flock to it from around the world. This man has taken a voluntary vow of poverty, living by gifts from others.
This elaborate platform, attended my two gurus, is an altar to Ganesh on one of the staircases leading down to the Ganges River. These staircases are important places for worship among Hindus in India.
Ghat [steps] to Ganges at Varanasi [Benares], bather
The chill of the early morning can be seen from the look on this bather's face. The Ganges is the most sacred river to Hindus. Bathing in it and a pilgrimage to its banks are religious desirable goals.
Tibetan boys receive Buddhist instruction from an early age. These children were born in India, and may have little opportunity during their lifetimes to visit their parents or grandparents' place of origin. IS TITLE CORRECT? OR ARE THEY SIMPLY PRAYING?
This temple indicates the significance of Tibetan Buddhism in Bodh Gaya. [QUESTION: ONE WORD OR TWO? i USED THE LATTER IN WORKING ON THESE EARLIER.]
Lay people praying inside Mahabodhi temple
These lay Buddhists have come to the Mahabodhi temple, revered as the locale where the Buddha received his enlightenment about 500 years before the start of the Common Era.
Thanks to a sidewalk vendor in Bodh Gaya, the most sacred city to Buddhists, this Sinhalese monk can purchase religious objects.
This Tibetan monk is praying through prostration, literally a few feet from the sacred Bodhi tree at the Mahabodhi temple.
Tibetan monk doing walking meditation, Mahabodhi temple
Walking meditation represents one form of Buddhist religious practice, ADD HERE ABOUT DIRECTION OF MOVEMENT AROUND STUPA.
Sri Lankan monk circumambulating sacred space
As can be seen from the color of his garment, this Buddhist monk comes from Sri Lanka. Many hundred such pilgrims come regularly to the Mahabodhi temple, seeking their own enlightenment through walking meditation, prostrations under the sacred Bodhi tree, and similar acts of reflection and worship.
This pilgrimage locale became a World Heritage Site in 2002, recognizing its religious significance for Buddhists and cultural importance in the history of India. The central tower, which is constructed of brick, rises 55 meters (slightly over 185 feet).
Bodh Gaya is known around the world as the place where the Buddha achieved enlightenment [nirvana]. The attached Mahabodhi temple and near-by bodhi tree [under which Gautama received enlightenment] are the site for thousands of Buddhist pilgrims annually. The site was excavated late in the 19th century, and has been carefully restored.
Although these young Tibetan monks have one foot in their culture's heritage, they readily partake of 'modern' civilization, including Coca-Cola and the Internet.
Buddhism has several branches, including Tibetan, Zen (focused in Japan), and Chinese. [Jeannette: please insert info here.] This picture was taken at Bodhgaya, one of the most important cities in India for exiled Tibetans.
India produces millions of tons of sugar annually. In 2007, the US Department of Agriculture estimated that 265 lakh tons would be grown. (A lakh is equivalent to 100,000 through most of South Asia.) Part of the cane is squeezed for juice, a special treat at marketplaces.
These 'caves' [similar to the close-by 'caves' at Ellora] were sculpted starting in the second century. Given their quality as examples of Buddhist monumental art, they were honored as a World Heritage Site in 1983. Many of the figures were painted, and traces of pigment remain in isolated areas.
Closeup of Buddha's face in the Ajanta Caves in Aurangabad district of Maharashtra state of India
The Ajanta Caves in Aurangabad district of Maharashtra state of India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and rock cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive painting that present emotion through gesture, pose and form. According to UNESCO, these are masterpieces of Buddhist religious art that influenced Indian art that followed. The caves were built in two phases, the first group starting around the 2nd century BC, while the second group of caves built around 400–650 AD according to older accounts, or all in a brief period of 460 to 480 according to Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
This magnificent example of monumental sculpture depicts the Buddha
Ellora caves, near Aurangabad, Maharashtra State
Professor Jeannette Ludwig with statue of Buddha
This world-famous statue of the Buddha is located in the National Museum of India [New Delhi].
As one of the foremost examples of Indian art, the 34 'caves' at Ellanta count among the most important tourist destinations, particularly for Indian citizens interested in their national, pre-colonial heritage.
This UNESCO World Heritage Site includes 34-human made 'caves' that have been sculpted between roughly the fifth and tenth centuries. India's religious variety is shown amply: twelve [the earliest] are Buddhist, seventeen Hindu and five Jain. All the carvings are done at more than one level. Overall, the caves are regarded as high points of Dravidian art.
For Hindus, cremation of bodies is considered an obligation. The most sacred place is in Varanasi, on the Ganges. However, the river is extremely polluted at this locale. this pictures shows a modern crematorium, which not only burns bodies quickly and efficiently, but also reduces pollution significantly.
Professor Jeannette Ludwig (UB) and Professor Veer Bhadra Mishra, noted hydraulic engineer
Professor Mishra is a noted civil engineer and pious Hindu, who teaches in Varanasi [Benares], the most sacred city for Hindus. Professor Mishra heads the Tulsi Das temple there. He devised an efficient crematorium that substantially reduces cost, pollution and time. He also proposed ideas for water purification involving natural processes that would cost far less than 'normal' or 'Western'-style plants.
This government-sponsored setting provides a convenient place at which bodies can be burned prior to ritual disposal of the ashes.
As indicated on another slide, Hindus prefer to cremate bodies, ideally in sacred sites. This picture was taken where numerous corpses can be burned simultaneously. Expensive sandalwood is considered appropriate to honor the deceased.
Corpse laid out for ceremonial burning, Delhi
When a Hindu dies, his eldest son is responsible for cremating the corpse. The most honorable religious fashion is using sandalwood, then scattering the ashes into one of India's sacred rivers, especially the Ganges.
This young man is preparing for the funeral/cremation of his father. Before doing so, however, he is lighting puja [incense].
Prior to undertaking a sacred rite, notably cremation of one's parents, the eldest son will have his head shaved. This picture was taken at Varanasi [Benares], the most sacred city to Hindus.
One can find thousands of itinerant sadhus [Hindu ascetics] in India. They survive by donations from others. This person was located in Varanasi [Benares], the most sacred city for Hindus.
As do almost all other religions, Hinduism gives special reverence to individuals who renounce 'worldly' cares and live making minimal demands on others. Both men and women participate
females choosing such lifestyles are called sadhvi, meaning 'good woman.'
Hindus seek to bathe as regularly as possible in the Ganges, particularly at Varanasi [Benares], the most sacred city of all. Because of the chilly weather, only a few men dare to come early this morning.
Indian citizens bathing and washing, banks of Ganges
The Ganges not only is the most sacred river for Hindus, but serves more mundane functions as a major source of water and place for doing laundry. This picture shows early morning bathers carrying out ritual functions and a woman preparing laundry for washing -- done by beating the clothes on rocks, then spreading them in the sun to dry.
Freshly washed cloth and clothing, Varanasi [Benares] ghat
After washing in the Ganges [which, despite its significant pollution, is used for bathing, laundry and as a water source by thousands in this area], clothing is left on the ghats [steps] to dry naturally in the sun.
Persons bathing, ghats at Varanasi (Benares)
This closeup shows persons shortly after daybreak coming to bathe in the sacred Ganges River. The river bank is lined with elaborate temples built by wealthy families.
Boats on Ganges, Varanasi (Benares), dawn
Varanasi is the most sacred city to Hindus. Located on the Ganges, devout persons travel there at any point in their lives to bath in its special waters and thereby achieve greater opportunity for upward mobility. For tourists, a dawn ride on the Ganges river, allowing for excellent views of the steps ('ghats') leading from the city to the water.
Traders operate in India [and many other developing countries] not only from fixed locations, but also by walking down major streets.
India's cities are among the most densely crowded in the world. This early morning picture depicts a typical street in Varanasi [Benares], the most holy city of India.
Pious Muslim women will cover their bodies and heads when leaving their homes, particularly when they appear in public places, such as this marketplace in Rajasthan.
The great majority of the people of India shop in specialized outdoors stalls of this sort. They are grouped together by specialization. You can find, for example, entire rows devoted to car batteries, spices, or the colorful cloth shown here.
This poster is one of many around the most sacred city of Hinduism. Those who run the course have a large potential audience: pilgrims coming to bathe in Ganges
Hindus from non-Hindi-speaking areas may also be interested.
Erotic sculpture, Khajuraho [Madhya Pradesh]
This close-up again shows the affirmation of the life-creating force. The intent of the sculptors was not to titillate, but to marvel at the mystery of how sexual union led to new life.
Khajuraho Group of Monuments, a group of Hindu and Jain temples in Madhya Pradesh, India
Although buried for centuries, excavations in the late 19th and 20th century uncovered this extraordinary example of sculpture affirming the creation of life. The monument complex of Khajuraho, a UNESCO World Heritage Site, was constructed roughly from 950 to 1150. The complex fell into disrepair for several centuries. It was subsequently excavated by British, Indian and others.
Central to Hindu belief is the lingam, drawn from early civilizations in the Indus valley. Many meanings are attached to this Sanskrit word, including * The image of a god * A symptom or mark of disease * A spot or stain * A means of proof, a proof, evidence * The effect or product which evolves from a primary cause * The concept of grammatical gender * The phallus It is often associated with the god Shiva, who is seen as the creator.
This temple in Udaipur is one of the finest in Rajasthan, a state in northwest India. Once one of the so-called 'princely states,' which maintained limited degrees of autonomy under British rule, Udaipur is noted now for its Rajput-era palaces. [See other examples in this collection.]
A black silhouette shows a person in left-facing profile against a white background. The figure has wavy hair, glasses, a prominent nose, a beard and mustache, and a pointed collar or lapel shape at the neck. A thin white line crosses the glasses area, and the silhouette is centered within a narrow black border.
The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions.
Copyright Statement for Digitized Materials from the Music Library
IN COPYRIGHT. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).
Yvar Mikhashoff in dark jacket with James Clapperton
Two people are standing next to each other indoors in front of a large chalkboard filled with handwritten text. The person on the left has shoulder-length hair, a mustache, and is wearing a dark suit jacket, white shirt, and patterned red tie with a matching pocket square. The person on the right has short hair, round glasses, and a striped button-up shirt. The image is closely cropped around their upper bodies.
Yvar Mikhashoff in dark jacket taking bow at Almeida Theatre
A stage performance scene shows one person standing at the front of a wooden stage while another person is seated at a grand piano behind them. The standing person is wearing a double-breasted blazer, light-colored trousers, and a tie. The seated person is positioned at the piano bench with the piano lid raised. A textured wall forms the backdrop, and the image captures both performers in a wide view.
Yvar Mikhashoff in white shirt at piano with unidentified page turner at Almeida Theatre
A stage performance scene shows a person seated at a grand piano on a wooden stage. The person is wearing a light-colored long-sleeved shirt and dark trousers and is positioned at the piano bench with hands near the keyboard. The grand piano has its lid raised, and a speaker on a stand is visible in the background against a textured wall.
A stage performance scene shows a person seated at a grand piano on a wooden stage, viewed from the left side. The person is wearing a light-colored long-sleeved shirt and dark trousers and is seated on a piano bench with hands at the keyboard. The grand piano has its lid raised, and a speaker on a stand is visible against a textured wall in the background.
Yvar Mikhashoff in white shirt at piano with three unidentified males at Almeida Theatre
An indoor scene shows two people standing beside an open grand piano. One person is wearing a dark T-shirt and jeans with one hand on their hip, while the other is wearing a light-colored long-sleeved shirt and looking down at papers held in their hands. Part of a third person is visible behind the raised piano lid. A brick wall and stage area are visible in the background.
A stage performance scene shows a person seated at a grand piano on a wooden stage while another person stands behind the piano near the music stand. The seated person is wearing a light-colored long-sleeved shirt and is positioned at the keyboard. The standing person is wearing a light-colored top and appears to be looking toward the piano. A speaker on a stand and a textured brick wall are visible in the background.
Yvar Mikhashoff in white shirt walking through Almeida Theatre
An indoor scene shows a person walking across a wooden floor while carrying a dark jacket draped over one arm. The person is wearing a light-colored long-sleeved shirt, dark trousers, and dark shoes, with one hand raised near their face. Another person is partially visible behind them, and a blue upholstered bench, a broom, and part of a stage area appear in the background. The image is cropped so only part of the person's head is visible.
An indoor scene shows four people standing around an open grand piano. One person in a dark T-shirt and jeans stands to the left, while another in a dark suit and tie stands beside them. A third person in a light-colored long-sleeved shirt stands near the piano with one hand raised to their face, and a fourth person is seated or leaning near the keyboard. The raised piano lid occupies the upper right portion of the frame, and the group appears to be focused on the piano.
A stage performance scene shows a person standing on a wooden stage with a grand piano behind them. The person is wearing a dark double-breasted blazer, a white shirt, a red tie, light-colored trousers, and dark shoes. The grand piano is positioned to the right with its lid raised, and a textured brick wall forms the backdrop.
A dark interior frames a narrow doorway with bright daylight visible outside. A donkey stands on a dirt path beyond the doorway, with rocky hills or mountains in the distance under a bright sky. A second, smaller opening above the doorway also lets in light, and the surrounding interior remains mostly in shadow.
Two costumed women with man in clown costume
A black-and-white scene shows three people standing closely together in front of a patterned backdrop. The person in the center wears a light-colored costume decorated with diamond shapes, a pointed hat, and a dark mustache. The person on the left wears a dark sleeveless costume with a decorative accent, while the person on the right wears a light-colored dress or costume. All three are smiling, with their arms around one another.
Yvar Mikhashoff in white shirt with composer Giacinto Scelsi and unidentified male
Probably at Almeida Theatre, London, 1986
A black-and-white scene shows three people seated closely together beside a table. The person in the center wears glasses, a light-colored shirt, and a dark patterned tie while holding a small object in one raised hand. An older person in a dark jacket sits to the right, turned toward the center, while a third person is partially visible on the left. Papers and other items are scattered across the table behind them.
A person wearing a red top and light-colored pants walks with a dog through a dry, rocky landscape. Sparse shrubs and patches of vegetation cover the foreground, with a body of water or pale flat area stretching across the middle distance. Low, barren hills rise in the background beneath a pale sky.
A black-and-white scene shows a person seated at a piano, wearing glasses and a patterned long-sleeved shirt. One hand is extended over the upper keys while the other rests near the lower keys. The person is shown in profile, leaning slightly toward the instrument.
Yvar Mikhashoff with Lejaren Hiller and Frances-Marie Uitti
Hiller, Lejaren Arthur, 1924- - Composer
A black-and-white scene shows three people standing together against a plain, light-colored wall. The person on the left wears glasses, a mustache, a dark suit, and a patterned tie. The person in the center wears glasses, a light-colored jacket, shirt, and dark tie, while the person on the right wears a dark top and has short, wavy hair.
Yvar Mikhashoff and Frances-Marie Uitti standing outside
Two people stand closely together on a grassy lawn beside shrubs and a light-colored building. The taller person wears a light shirt and trousers and has an arm around the shoulders of the shorter person, who wears a dark outfit. A dark-colored dog stands partly visible behind them, and leafless bushes and neighboring structures appear in the background.
Yvar Mikhashoff in white shirt and tie, seated at piano, turned to his right to face camera
A black-and-white scene shows a person seated beside a piano, wearing a light-colored dress shirt and dark tie. The person has a mustache and rests one side of their head against a raised hand while looking toward the camera. Papers and other objects are visible around the piano, with framed artwork and furnishings in the background.
A black-and-white scene shows two people standing side by side behind large music stands against a dark background. The person on the left wears a light-colored brimmed hat, a dark jacket, a white shirt, and a tie, and has a mustache. The person on the right wears a sleeveless outfit and has a light-colored flower tucked into their curly hair. Both are facing forward.
William Kirkpatrick, dancer, onstage in front of projected image of a page from Sylvano Bussotti score
Rehearsal or performance of dance portion of work by Sylvano B
A black-and-white scene shows a person standing with their back to the camera in front of a large vertically mounted sheet covered with musical notation and drawn lines. Both arms are raised toward the upper portion of the sheet. The person wears dark clothing, and the display is brightly illuminated against a dark background.
Yvar Mikhashoff at the piano with unidentified male page turner
A black-and-white scene shows two people beside a piano in a room with patterned walls. The seated person wears glasses, a dark suit, and a tie while playing the piano. Behind them, a person with a mustache and dark jacket stands with one arm extended toward the open sheet music on the piano. Both are looking toward the music.
Yvar Mikhashoff in green sweater performing at piano, side view
A person sits on a padded bench at a grand piano, shown in profile while playing the keys. They wear a green sweater over a light-colored collared shirt and dark trousers. The piano occupies much of the right side of the scene, with a light-colored curtain or wall in the background.
Yvar Mikhashoff in black leather jacket, back turned to camera
A black-and-white scene shows a person seated at a grand piano, viewed from the side through the open structure of the instrument. The person wears dark clothing and faces the keyboard, with their hands positioned near the keys. The raised piano lid extends diagonally across the upper portion of the scene, while the strings and interior of the piano are visible in the foreground.
A black-and-white scene shows a person bending forward on a dark stage with one arm extended toward the floor. Above them, a large projection displays musical notation overlaid with a close-up of a face and raised hands. The bright projection fills the upper portion of the scene, contrasting with the dark stage below.
A person with glasses and a mustache sits at a table, looking toward the camera while resting their arms among several open sheets of paper. They wear a patterned long-sleeved shirt, and handwritten musical notation is visible on the papers. A chair, doorway, and additional papers posted on a wall appear in the background.
Yvar Mikhashoff with Danish composers, Ib Nørholm, Per Nørgaard, and Poul Ruders
A black-and-white scene shows four people gathered beside a piano. One person sits in front wearing a dark jacket and tie, with hands resting in their lap. Three others stand behind, including a person on the left wearing glasses and a bow tie, a person in the center with light-colored hair and a dark top, and a person on the right wearing glasses, a dark top, and light-colored trousers. Part of the piano and its keyboard are visible along the right edge.
Yvar Mikhashoff in dark jacket standing next to bunting with water in background in Newport, Rhode Island
A person wearing a dark suit and tie stands near an open doorway with their hands clasped in front. Beyond the doorway is a sunlit terrace with a decorative stone railing and urn, with blue water and greenery visible in the distance. A copyright watermark appears across the lower portion.
Yvar Mikhashoff in red shirt conducting at piano, with Amy Winn, flute, Wayne Crouse, viola, Isabelle Ganz, vocalist, and Ira Black, at lectern
Three people perform on a stage in front of a closed curtain. One person sits at a grand piano on the left, while another stands near the piano holding a sheet of paper. A third person stands beside a music stand with one arm extended outward. Additional sheets of music are visible on stands near the performers.
Yvar Mikhashoff in formal dress outside by columns
A black-and-white scene shows a person standing between two tall stone columns, wearing a dark suit over a light-colored shirt. Their hands are clasped in front, and they are looking toward the camera. A wall and some vegetation are visible through the narrow space behind them.
Yvar Mikhashoff in dark jacket leaning on balustrade on veranda in Newport, Rhode Island
A person wearing a dark suit, light-colored shirt, tie, and red pocket square sits on a low stone structure outdoors, facing partly toward the camera. Trimmed shrubs, grass, trees, and a stone railing surround the person in the sunlit garden. A copyright watermark is visible across the lower portion.
Yvar Mikhashoff high school graduation photograph
A black-and-white formal portrait shows a person wearing a dark graduation cap and gown over a light-colored collared shirt and tie. The person is shown from the chest up, with their head turned slightly to the side against a plain background.
Contact sheet with images of Paul Schmidt, Joan Collopy, William Kirkpatrick (dancer), Yvar Mikhashoff, Frances-Marie Uitti, Benjamin Hudson, and Gary Hatt
A dark contact sheet contains multiple rows of small black-and-white photographs arranged in a grid. The individual frames show people performing or standing on a stage, along with several closer views of figures and stage settings. Small markings and numbers appear around some of the frames.
Yvar Mikhashoff in red jacket seated on beach chair in Israel
A person wearing a red jacket and dark pants reclines in a striped beach chair on a sandy beach, with one arm raised beside their head. Several empty striped beach chairs are positioned nearby. The ocean stretches across the background beneath a pale sky.
Brass ensemble playing outside Karlstejn Castle
A courtyard or garden area is surrounded by pale masonry buildings and walls. Trees, shrubs, and other vegetation fill the lower portion, while a dark wooden balcony or overhanging roof runs along the building on the right. A taller structure with a steep, pointed roof rises in the background.
Karlštejn (Stredoceský kraj, Czech Republic)
Yvar Mikhashoff standing on a bridge over a river in Czechoslovakia
A person wearing dark clothing stands beside a metal railing on a riverside walkway or terrace. A broad river extends into the distance, bordered by densely wooded hills on the left. A bridge crosses the water farther back beneath a pale sky.
Yvar Mikhashoff in white shirt and tie, seated with doublebass in background
Yvar Mikhashoff in formal dress with Richard Trythall, Carlos Roque Alsina, and Nona Trythall
A black-and-white scene shows four people gathered in a room. Near the center, a person wearing glasses, a dark suit, and a bow tie faces another person who is holding a small object toward them. A smiling person is partially visible on the left, while another person in dark clothing stands close to the camera on the right. Curtains, chairs, and framed wall decor are visible in the background.