Breadbaker, merchantman (Koopman)
When Maurits' and Lucy's son C. Thomas was born during the depression in 1934, Maurits' father Cornelis Thomas offered his daughter-in-law $10 if she would name her son Cornelius Thomas. Since $10 was a lot of money in 1934, she gladly complied! (she probably would have done it anyway). Thus, the family name was continued for another generation.
Marriage Notes for Annie Foekje Louise Kapteyn and Paul 'S JACOB
Annie is op 22 november gehuwd.
Note: The following is a narative found on the internet which had a connection to Olga Kapteyn and the resort she operated in Switzerland.
BIOGRAPHY: "In the Summer of 1950, Jerome Hill went to Zurich with the intention of making a film about Dr. Carl G. Jung. After following Dr. Jung for a few weeks with his camera, Hill decided that Dr. Jung was not a good subject for cinema and abandoned the film. Instead, he went to Africa to film Dr. Albert Schweitzer, whom he found a more 'photogenic' subject, and made a film which brought him an Academy Award.
After Jerome Hill's death in 1972 the unfinished film was deposited with Anthology Film Archives. Jonas Mekas, filmmaker and close friend of Jerome Hill, has now edited the Jung footage into a 29 minute film, Dr. Carl G. Jung by Jerome Hill or Lapis Philosophorum.
The film focuses on Jung as a person and on his stone sculpture at Bollingen, near Zurich. Jerome Hill recorded for posterity unique and revealing fragments of the daily life of one of the twentieth century's key spiritual and intellectural figures. We see Dr. Jung at work, during his leisure hours, and we hear him expound on the poetry and eternity of stones." (Jonas Mekas) "I edited the footage with extreme respect for Jerome Hill and Dr. Jung, keeping myself out as much as possible. I was greatly helped during the editing by Buffie Johnson, painter, scholar and author, a close friend of both Dr.
Jung and Jerome Hill. Other historical figures who appear in the film are Mrs. Emma Jung and Olga Froebe-Kapteyn who ran the famous Eranos Seminar/Conference in Ascona, near Zurich, Jung's favorite Summer escape place." (Jonas Mekas) Another section found:
ARAS has an interesting history, which I should like to summarize briefly before describing its specific content and function in more detail. A number of original illustrations of ancient symbolic artifacts were collected by Olga Froebe-Kapteyn at her estate on Lake Maggiore in southern Switzerland, where each year in late August, beginning in 1933, she conducted meetings of the Eranos Society. In his foreword to Spirit and Nature, volume I (1954) of the series Papers from the Eranos Yearbooks, Joseph Campbell notes that each meeting was assigned a theme, which served as the topic for papers presented by scientists, theologians, philosophers, psychologists, and religious historians. "Continuity was due, on the one hand, to the guidance of Frau Froebe, whose sense of the meaning and object of Eranos never wavered [even during the years of World War II when the operation was greatly curtailed -- JLH], and on the other, to the continuous presence and genial spirit of Dr. C. G. Jung, whose concept of the fundamental psychological laws of human life and thought supplied a criterion for both the recognition and the fostering of the perennial in a period of transition" (p. xii).
Among the scholars who participated in the Eranos conferences were Heinrich Zimmer (Indian religious art), Károly Kerényi (Greek mythology), Mircea Eliade (history of religions), C. G. Jung and Erich Neumann (analytical psychology), Gilles Quispel (gnostic studies), Gershom Scholem (Jewish mysticism), Henry Corbin (Islamic religion), Adolf Portmann (biology), Herbert Read (art history), Max Knoll (physics), and Joseph Campbell (comparative mythology).
Olga Froebe-Kapteyn had a lively interest in finding and collecting images to illustrate the topic of each year's meeting, which included such titles as "Yoga and Meditation East and West," "The Gestalt and Cult of the Great Mother," "The Hermetic Principle in Mythology, Gnosis, and Alchemy," "The Mysteries," "Spirit and Nature," "Man and Time," and many others. She explained this interest in images in her preface to the volume Spirit and Nature (1954): "Those who feel the truth of the old Chinese conception that all that happens in the visible world is the expression of ideas or images in the invisible might do well to consider Eranos from that point of view" (p. xv). She might have said of the collection of pictorial artifacts what she says of the lectures themselves: "Their value is evocative. In many cases, they carry us to the bounds of scholarly investigation and discovery, and point beyond. They touch upon unusual themes, facts, and analogies and in so doing evoke the great archetypal images" (p. xvi).
One of the creative uses to which Froebe-Kapteyn's collection was put is Erich Neumann's book The Great Mother: An Analysis of the Archetype (Princeton, 1955), where pictures of ancient goddesses provide the material for Neumann's psychological interpretation of the archetype of the feminine as it evolved from the time of ancient Sumeria and Egypt on through the religions of Greece and Rome and into the Christian era. In addition, Neumann presents archetypal images drawn from tribal societies that lack any historical connection to the vast civilizations of East and West. In this way, he demonstrates the universal influence of the archetype, which expresses itself in countless spontaneously generated forms. These eternal images are analogous to the dream images of people all over the world. Hence the term archetype, which denotes an inborn psychic disposition to repeat old patterns of image or behavior in new ways. (Archetype derives from a Greek compound: the word arche ("first principle") refers to the underlying pattern of a symbol, whereas tupos ("impression") denotes a specific concrete form, or configuration, through which the arche is rendered tangible. In other words, the arche points to the creative source, which cannot be represented, while tupos refers to any one of its many cultural manifestations.)
In 1946 Olga Froebe-Kapteyn gave her collection of pictorial artifacts to the Warburg Institute in London. Photographic duplicates of the archive were given to the C. G. Jung Institute in Zurich and to the Bollingen Foundation in New York, which was at that time, supporting numerous scholars in quest of the meaning of symbolism and publishing the works of Jung. Jessie E. Fraser, the librarian of the Analytical Psychology Club of New York (with financial assistance from Jane Abbot Pratt, a member of this early Jungian group), began to edit and develop the archive, extending the range of its subject matter far beyond its original limits. The pictures and their accompanying study sheets that are presented in this volume reflect many years of dedication and patient work on Fraser's part in collecting, sorting, and classifying this material.
Eventually the collection in New York, now called the Archive for Research in Archetypal Symbolism, was acquired by the C. G. Jung Foundation of New York. Copies of the collection were housed also at the C. G. Jung Institute in San Francisco and at the C. G. Jung Institute of Los Angeles. These three Jungian institutions continue to be the founding members of National ARAS, not because a symbolic point of view is limited to Jungians, but because Jung was the particular proponent of a broadly archetypal point of view that insists upon transpersonal and symbolic connections transcending cultural and theological bounda- ries. This perspective lies at the heart of the archive.