One collector's hologram archive began with unsold gallery stock

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What the collector's own site documents, as retrieved

The collection's background page states that Jonathan Ross began gathering holographic material in 1978, after co-founding a production company, SEE 3 (HOLOGRAMS) LTD, and a gallery, The Hologram Place, in Europe; unsold gallery inventory became the seed of his personal collection. The same page states the site's own purpose plainly: "to document all my exhibitions, to give a taste of what is in my collection, and to introduce it to a still wider audience by means of the internet." It adds that the website itself was "launched in 2005 and redesigned in 2013," and moved to "a cloud-based, green web, hosting service" in March 2025 — small, dated facts about the record's own upkeep rather than about any single hologram in it.

What the site's structure documents

The collection's home page sorts its holdings into named sections that map onto distinct formats: Lenticulars, a ridged-lens parallax format that is not itself a hologram but is catalogued alongside them; named artist collaborations, such as one credited to Berkhout and Nicholson; holograms reproduced in books, magazines and comics; and "The Cabinet," described on the site as "a collection of holographic curiosities." A private collector's own taxonomy is useful evidence in its own right: it shows how someone working inside the trade groups the medium day to day, which is a different, more practitioner-level lens than a national museum's formal object-record schema applies to the same material.

What is not established here

This is a single collector's personal website rather than a peer-reviewed catalogue. Object-level facts for individual holograms — a precise maker, date and technique for each named piece — sit on further linked pages this entry did not open in full, so it can confirm the collection's founding story and category structure without confirming an exact item count or a complete artist list. The site's own history of repeated redesigns, most recently a 2025 hosting move, is also a caution: some linked pages returned only placeholder or templated text during this research, a limitation of an independently maintained archive rather than one with an institution's sustained technical upkeep behind it.

• Does a specific hologram's own linked page give a maker, date and technique, or only a caption?
• How does this collector's category scheme compare with a national museum's formal cataloguing of the same medium?
• What happens to public access to the archive if its current, independent maintenance stops?

The founding story and the site's own category structure are documented in the collector's own words; the depth and consistency of the underlying object records vary page to page in a way an institutional catalogue generally does not.