Bernard Eilers
Ingeborg Th. Leijerzapf
Tineke de Ruiter
Abstract
Bernard Eilers wanted to become a painter, but circumstances led him in the direction of photography. An interest in art and design and a natural affinity with technical matters were significant factors that contributed to his becoming a talented photographer. Eilers was an authority on reproduction techniques, experimented with colour photography, and was a skilled portraitist. His photos and lantern slide plates depicting Amsterdam and other beautiful places in the Netherlands would bring him renown as an art photographer both at home and abroad. Within the Netherlands, Eilers had substantial influence among amateur photography circles. He published articles, gave numerous lectures, and sat regularly on award juries.
Biography
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1878 |
Bernardus Franciscus Aloysius Eilers is born on 24 April in Amsterdam. |
|
1884-‘90 |
Eilers is an excellent student in primary school, whose skills are particularly noticeable in the area of drawing. His wish is to become an artist, but the funds to achieve this are lacking. |
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1890-‘95 |
Following primary school, Eilers is obliged to take on a variety of small jobs to earn money. He is hired as the youngest assistant at the Senefelder lithographic company. |
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Here too his drawing skills are noticed. Through the mediation of the ‘Vereeniging tot Opleiding van Ambachten en Beroepen’ (‘Association for the Education of Skills and Professions’), he enters employment at the age of thirteen (by far the youngest) with the company Van Leer & Zoon as an apprentice lithographer. In the evenings, he attends the Tekenschool voor Kunstambachten (‘Drawing School for Art Trades’), together with his friend S.H. de Roos. They receive instruction from the engraver Pieter Dupont and the illustrator Jan Visser. |
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1895-‘96 |
At the age of seventeen, Eilers ends his period of apprenticeship. He plans to continue studying at the famous printing company Chaix & Co., run by Jules Chéret in Paris. Instead, however, Van Leer & Zoon invites him to do a one-year study in chemigraphy in Vienna. During this study, he is not only introduced to all of the technical aspects of chemigraphy, but also various techniques of photographic reproduction. In the winter of 1896, Eilers takes his first outdoor shots in Amsterdam, entirely for his own pleasure. |
|
1896-‘98 |
After his study in chemigraphy, Eilers returns to Van Leer & Zoon and begins working as an autotype photographer in the company’s newly established chemigraphic department. |
|
1898-‘99 |
Eilers quits his job at Van Leer & Zoon and starts working for the ‘Foto-Zincografische Kunstinrichting Haustedt & Van Bemmel’ (‘Photo-Zincographic Art Institute Haustedt & Van Bemmel’), where he is made the head of the photo and chemigraphic department. |
|
1899-1904 |
Eilers returns to Van Leer & Zoon and is employed there as a designer, draughtsman, and autotype photographer. He also does the company’s printed advertising. |
|
1904-‘05 |
Eilers becomes the head of the photography and drawing department at Dirk Schnabel’s ‘Fotochemiegrafische Kunstinrichting’ (‘Photochemigraphic Art Institute’) in Amsterdam. Here he also does all of the printed advertising as well as important design commissions. |
|
1905-‘06 |
The German company Rudhardsche Giesserei (later Gebr. Klingspor), in Offenbach am Main, has Eilers come to Germany to design and oversee the execution of a new chemigraphic department to be established there. Eilers’ wife, Gisela Steenbrugge, whom he married in 1903, and their son, Frits Caspar, also come to Offenbach. Here a second child is born, Hendrika. By the end of the year, the Eilers family is back in Amsterdam. Together with a business partner, Maurits J. Wolf, Eilers opens his own chemigraphic company in December at Beursstraat 29. They do commissioned work for large companies, but also for the political/satirical magazine De Notenkraker (‘The Nutcracker’). The studio on the Beursstraat becomes a meeting place for young artists, with Jan Gratema as one of its most frequent visitors. |
|
1909 |
The collaboration with Wolf is ended on 1 April. Eilers continues his company alone under the company name ‘Eilers & Wolf’. |
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Eilers becomes the editor of the photography magazine De Camera (‘The Camera’), established by Adriaan Boer. |
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|
1911 |
Eilers closes his company in June, despite its solid reputation and a sufficient number of clients. Growing competition demands that the company expand significantly. This is contrary to Eilers’ wishes, as he fears that such a move is certain to endanger his relations with artists as well as his own artistic ambition. This decision results in Eilers having to start anew. He establishes himself as a portrait and reproduction photographer on the Amstelveenseweg. |
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From the very start, this new studio is a commercial success. Besides regular portrait work, Eilers receives commissions from architects, art galleries, and museums, including the Rijksmuseum (he is responsible for the first quality reproduction of Rembrandt’s Nightwatch) and the Frans Hals Museum in Haarlem. |
|
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Eilers’ studio again becomes a meeting place for photographers, architects, and painters. Regular visitors include Henri Berssenbrugge, Francis Kramer, Jan Sluijters, Jan Gratema, and the English photographer F.J. Mortimer, editor of Photograms of the Year. |
|
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1912-‘13 |
Eilers is commissioned by the Staatsspoorwegen (‘National Railways’) to shoot photographs for the anniversary book celebrating the company’s fiftieth anniversary in 1913. |
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It is likely during this period that he becomes a photographer for the magazine Het Bouwbedrijf (‘The Construction Firm’). |
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1927 |
Eilers receives a major commission from Philips-Eindhoven to produce advertising posters and folders for new radios and lamps. |
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In the 1920s, the companies Verkade and Van Hulst are also among his clients for advertising work. |
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1934 |
In this period of economic decline and new ideas concerning design and advertising, Eilers loses a substantial share of his clients. In the free time now available to him, he begins working once again with colour photography. Approximately twenty years earlier, Eilers had experimented with multi-coloured bromoil prints. This time, however, he turns his attention to the Jospé Tri-Colour print system, which had by now been abandoned by its creators. He introduces improvements to his Jospé camera and develops a new method of printing. He call his colour photography ‘Fotochroma Eilers’ (‘Photochrome Eilers’). |
|
1937 |
Together with Carel Tirion and Jan J. Kok, Eilers sits on a commission established by the NFPV (Nederlandse Fotografen Patroonsvereeniging, ‘Netherlands Photographers’ Guild), with the aim of establishing a vocational school of photography (‘fotovakschool’). Due to the war, the actual realisation of the school does not occur until 1948. |
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1939-‘42 |
Eilers becomes an instructor at the Amsterdamse Grafische School (‘Amsterdam Graphics School’), where he teaches classes in in colour photography, reproduction techniques, and corporate photography. He gives up his studio: most of the negatives for his advertising work go to the clients themselves. The teaching position turns out to be a failure, in part due to a lack of material, but also because Eilers apparently lacks the necessary didactic skills. |
|
1944 |
Eilers experiences health complications related to rheumatism and bronchitis. His career comes to an end due to illness. Following the war, he only has one client, the Hollandse Bank Unie (a Dutch bank). He produces line clichés for a number of buildings. |
|
1951 |
Bernard Eilers dies at his home in Amsterdam on 28 April. |
Discussion
Bernard Eilers, along with Henri Berssenbrugge and Adriaan Boer, is to be included among those who brought photography in the Netherlands to an international level. Although there are a number of remarkably talented figures among Dutch photographers in the nineteenth century, photography in the Netherlands remained somewhat behind developments taking place elsewhere. Several skilled professionals were able to distinguish themselves as individuals, but in terms of creativity, there are no Dutch names to be found among the major figures of European photography. The three men cited above would bring a change to this. In the years 1895 to circa 1930, they were the most prominent photographers in the country. Although they each developed their talents in different areas, they shared one thing in common: artistry and skill united in one person.
Eilers’ period of training coincided with an era of important innovations in the graphics industry: various techniques of photographic reproduction were being developed. Based on a natural talent for technical matters and his remarkable drawing skills, Eilers was the perfect person to set up a department of chemigraphic reproduction in the company of his first employer, Van Leer & Zoon. In addition, he loved new challenges. This in part explains his restlessness, always changing from one function or employer to the next. Nevertheless, by continually entering areas that were unknown to him, Eilers was able to build an exceptional knowledge of every facet of the reprographic industry.
This technical knowledge was one of the factors that played a fundamental role in the development of Eilers’ later career—his dreams of being an artist were another. In his most productive years, this ‘two-way’ approach brought him resounding success. Later in life, however, it also led to conflicts, such as in his position as a teacher at the Amsterdamse Grafische School (‘Amsterdam Graphics School’) in the late 1930s. His ideas about the compatibility of artistry and artistic craftsmanship in industry no longer inspired the students of this time. Eilers felt most at home with the company of Gebr. Klingspor in Germany, as it was precisely here that people were striving for an integration of art and industry, with mass production being rejected.
In order to compensate his technical work, Eilers felt the need to express himself artistically. He drew from an early age, and on occasion, he worked on watercolours and paintings. From 1896 onward, he was primarily involved in photography. His first subjects were photogenic locations in Amsterdam. He later travelled around the rest of the country, and over the years, built up a large oeuvre. It was not so much the topography that inspired him, but rather the representation of moods and atmosphere through the application of light. Based on this enthusiasm for designing with light, he produced both photo and glass lantern slide series on Amsterdam (40 jaar Amsterdam, ’40 Years Amsterdam’) and the Netherlands (Nederland in beeld en begrip, ‘The Netherlands in Image and Idea’).
As a country of water, mist and fog, the Netherlands had already inspired numerous generations of artists prior to Eilers. Working as an independent portrait and reproduction photographer, he came into direct contact with paintings of the highest order, e.g. from the collections of the Rijksmuseum, the Frans Hals Museum, and several important art galleries such as Goudstikker and Douwes in Amsterdam. Seeing so many high quality artworks was an exceptional ‘schooling’ for Eilers.
His ideas concerning the conditions for a photography that was artistically sound—with regard to content, composition, and aesthetics—were in part formed by this experience.
Eilers’ photographic oeuvre comprises both autonomous work and commissioned photography. His training in commercial companies taught him that the function of the photographic product is what determines the design and the technique to be applied. In his autonomous work, by contrast, function and commercial interest played no role. Instead he preferred landscape themes, places in the city that exuded atmosphere—he liked to venture into the city with his camera, especially on wintery days—and people at their work. In this regard, Eilers is similar to the Amsterdam artists George Breitner and Willem Witsen. His photos are, as it were, a synthesis of the serene etchings by Witsen and the radiating vitality found in Breitner’s photos. Eilers was interested in the people that figured in the portrayal of the city, as well as the atmosphere created by the stately houses on the canals. Contrary to Breitner’s photos, with Eilers it seems as if the city holds its breath for every shot, posing reservedly, but not like frozen still lifes as encountered in Witsen’s photographic prints.
Eilers himself felt an affinity for British photography, with which he had become familiar through Adriaan Boer as well as the International Salon of 1908 held at the Stedelijk Museum in Amsterdam. A similarity to British photography is particularly evident in Eilers’ landscape shots. Photos such as his famous Aan de baarsjes (‘At the Baarsjes’, 1907) and Aan het werk (‘At Work’, 1908) are in line with the style and conception of the landscape photography produced by the British art photographer and theoretician, Henry Peach Emerson.
The commissions that Eilers received from architects, magazines and companies were executed in a kind of photography that was more objective than his autonomous work. Especially when he was asked to photograph for advertising purposes, Eilers shot photos that were well composed with clear messages. He frequently combined his shots with a typography he designed himself. In doing so, he introduced the name of the object being promoted and made the total image livelier, such as in a Philips advertisement for radios, where the typography even creates the suggestion of sound waves. There is no doubt that Eilers was very much up to date when it came to developments in this newly emerging branch of photography.
His architectural photos are also taken from a well-chosen camera angle. As such, they are uncomplicated and functional, even if he still leaned in the direction of a romantic representation by introducing mist or artificial lighting for night shots.
Eilers treated the portrait in the same manner: preferably using a soft, somewhat obscuring lighting. Yet it was not his main goal to create painterly portraits. His primary concern was an honest approach, capturing the person’s character, a good design, and modelling with light in order to achieve plasticity. In his portrait of Henri Berssenbrugge, for instance, Eilers wished to show the agitated, intense character of this photographer. To do so, he placed the accent on his eyes and the cigarette in his hand. The actor Frank Luns had a very characteristic profile, which Eilers gave proper emphasis through the cropping of the portrait and Luns’ elegant hat.
Eilers’ viewpoint is clearly evident in his written critiques of the Dr. Erwin Quedenfeldt’s artificial working method and his discussions with Berssenbrugge concerning the acceptability of dramatic adjustments made to the original shots. As a proponent of a pure approach to photography, Eilers beliefs—shared together with Adriaan Boer—were diametrically opposed to the opinions held by Berssenbrugge and Frans Ziegler. Their differences, though always debated in friendship, resulted in a series of ‘literary fruits’, which were published primarily in Adriaan Boer’s influential magazines.
Eilers’ ‘pure approach’ to photography did not mean he rejected any alteration to the negative. If he thought that the contrast between the foreground and the background was too weak, or for instance, when it was his aim to depict the refraction of light—so admired in the works of Rembrandt—Eilers applied a layer of varnish to the glass negative, on the side opposite that of the emulsion, and engraved the desired cross-hatching or rays of light with a fine stylus into the layer. He also used retouching to erase an object in order to achieve a better composition. The mastery of technique had top priority in Eilers’ profession as a reproduction photographer. Throughout his life, he would benefit from the thorough training he received in this area. It was his most important instrument when reproducing artworks. But in the other photographic areas where he worked, his technical ability was just as much a condition for success. Because Eilers was schooled in all kinds of reprographic techniques and methods, becoming familiar with new techniques such as gum printing, bromoil printing, and bromoil ink printing, posed no major difficulties. On the contrary, Eilers saw this as a challenge to obtain even greater possibilities from those techniques that already existed. There is no question that his multi-coloured bromoil prints and experiments with the Jospé Tricolour system—called ‘fotochroma-eilers’ (‘photochrome Eilers’)—should be seen as major feats achieved by an expert in his field.
To arrive at a concise and balanced composition, Eilers typically applied two important tools of photography: camera angle and the treatment of light. In his landscapes, cityscapes, and portraits, he was particularly guided by what he had learned from the great masters in painting. In his advertising photography, on the other hand, he examined the criteria as determined by the object itself. He saw New Photography, for instance, as overly forceful. In his view, it provided too little opportunity for an individual approach.
Bernard Eilers was fifty at the time photography underwent major changes. A new aesthetic had come into the picture, i.e. the avant-garde notions of style that came with the New Objectivity, as well as the rapid growth of advertising and reportage photography, turning photography into a modern mass medium. For years, Eilers had been seen as an authority in many areas of photography and was approached as such by his many admirers, particularly among circles of amateur photographers. Moreover, he was a man who took the ‘agreed’ approaches, which he had mastered through his wealth of experience and artistic insight. Unsurprisingly, Eilers failed to embrace new developments and even resisted them. The once so successful, celebrated professional was struck by the fate of obscurity. As a doyen of photography in the Netherlands, the renewed interest in Eilers’ work at the end of the 1970s is most certainly well deserved.
Documentation
Primary bibliography
Over Fotokunst Van Heden in W.H. Idzerda (red.), Neerland’s Fotokunst, Amsterdam-Sloterdijk (Mij. voor goede en goedkoope lectuur) z.j. (1923), p. 25-28, 83, 108, 114.
Veertig jaren reproductie-techniek in J.W. Boon (red.) Veertig jaren Fotografie N.A.F.V. 1887-1927, Amsterdam 1927, p. 71-79.
Mijn kleuren-procédé in Filmliga 8 (30 april ‘935) 4, p. 120-121.
Naar Aanleiding Van De 3de Kerstsalon Der A.A.F.V., in Cosmorama 3 (1937) 1, p. 10-11.
„Vakantie kiekjes in kleurendruk” in De Telegraaf, 29 augustus 1938.
Het Stadsgezicht, in Nederlandsch Jaarboek voor Fotokunst, Hengelo (H.L. Smit en Zoon) 1941, p. 15-17.
Bernard Eilers over Adriaan Boer in Dick Boer, Adriaan Boer Pionier der kunstzinnige fotografie, Haarlem (Focus) 1969, p. 19- 2 1 .
in Bedrijfsfotografie:
Heeft De N.F.K. Zich Verloochend?, 9 (1927) 18, p. 438-440.
Heeft De N.F.K. Zich Verloochend?, 9 (1927) 21, p. 536-537.
Naar aanleiding van „Hutspot”, 13 (1931) 6, p. 114.
Fotografendag en Tentoonstelling, 13 (1931) 12, p. 229-230.
De Omzetbelasting voor den Vakfotograaf, 16 (1934) 7, p. 125, 126, 114.
Bij de platen in dit nummer, van collega’s Ziegler en Merkelbach, 16 (1934) 17, p. 293-294.
Boekbespreking, 19 (1937) 1, p. 19-20.
Antwoord aan „nachbetrachter” fotografendag, 20 (1938) 13, p. 255.
Quo Vadis, 21 (1939) 11, p. 210-212.
Retouche en toch hoogglans?, 21 (1939) 14, p. 267-268.
in Lux:
Ingezonden stuk (Tentoonstellingsreflexen), 19 (1908), p. 440-442.
Gedachten naar aanleiding van de Vóór-Tentoonstelling in het Stedelijk Museum te Amsterdam, van foto’s voor de Wereldtentoonsteling te Dresden in 1909, 20 (1909), p. 122-124.
De Tweede Salon der Delftsche Tien, 22 (1911) 22, p. 559-561.
Over Dr. Erwin Quedenfeldt’s kunstprincipes, 24 (1913) 23, p. 525-530.
Over Dr. Quedenfeldt’s werkwijze, 25 (1914) 8, p. 193-195.
Al of geen toevalligheden in de Kunstfotografie toelaatbaar, 25 (1914) 14, p. 343-347.
Ingezonden Stukken, Een positief beeld op een schoongemaakt negatief, 32 (1921), p. 435-436.
in De Camera:
Fotografisch Zien, 1 (28 oktober 1908) 3, p. 42-43.
Fotografisch Zien, 1 (14 november 1908) 4, p. 62-63.
Met Penseel En Borstel, 1 (2 maart 1909) 11, p. 205-208.
Onze Kunst, Bromide-Druk Voor Artistiek Werk, 2(15 oktober 1909) 1, p. 3-4.
Onze kunst, Overdenkingen na een bezoek aan den „Royal” en den „Salon”, 2 (15 november 1909) 3, p. 23-25.
Onze Kunst, 2 (23 februari 1910) 10, p. 97.
Vergrooten op natte platen, 2 (13 juni 1910) 18, p. 173-174.
Vergrooten Op Natte Platen, 2 (15 augustus 1910) 22, p. 210-211.
Vergrooten op natte platen, 2 (29 augustus 1910) 23, p. 219-220.
Het Penrose’s Proces Yearbook, 6 (1914), p. 92-93.
Het Broomolie Procédé, 6 (1914), p. 118- 120, 128-129, 139-140, 149-150.
Das Bromoildruckverfahren von Dr. Emil Mayer, 6 (1914), p. 186.
De Practijk Van Het Broomolie Procédé, 6 (1 oktober 1914) 23, p. 227-228.
De Practijk Van Het Broomolie Procédé, 6(15 oktober 1914) 24, p. 240-241.
De Tweede Jaarlijksche Tentoonstelling Van Fotowerken der N.A.F.V. Te Amsterdam,7 (1914-1915), p. 2-5.
Practisch Uitvoerbare Backing, 7 (1914- 1915) 1, p. 34-35.
Over Lantaarnplaatjes, 7 (1914-1915), p. 168-169.
De Fotosalon Der N.A.F.V, 8 (1915-1916), p. 15-16.
Van Een Vacantie-Uitstapje Naar Zeeland, 9 (1916-1917), p. 112-113.
Antwoord aan W.H. Idzerda, g (1916- 1917), p. 126.
Tentoonstellingen En Jury’s, 11 (1918- 1919), p. 47-48.
Bij Onze Illustraties, 14 (15 juni 1922) 16, p. 142-143.
Electrische Verlichting Voor Portret-opnamen, 15 (1922), p. 12-13.
in Focus:
Eenige Oordeelen Over De Quedenfeldt Map, 6 (1919-1920) 19, p. 394-395.
Fotografiek, 7 (1920) 3, p. 44-45.
Photografiek, 7 (1920) 7, p. 139.
Het aspect der Salon, 8 (1921) 12, p. 262- 263.
De negende jaarlijksche salon. Eene betrachtende nabetrachting, 9 (1922) 14, p. 317-318.
Over „Wazige Foto’s”, 11 (1924) 24, p. 642.
Jospé op den Arnhemschen Fotosalon, 13 (1926) 13, p. 347.
Bromidedruk En Bromidewerker, 14 (1927) 3, p. 63-65.
Niet kleiner dan 6×9, 21 (1934) 17, p. 466.
De Eerste Kerstsalon Der A.A.F.V., 22 (1935) 1, p. 5-6.
Hoe Moeten Wij De Tegenwoordige Foto Bezien?, 25 (1938) 2, p. 40-42.
Bins…, 25 (1938) 11, p. 324.
Met Kleurenfotografie Naar Het Papierbeeld, Ethiek en techniek, 25 (1938) 25, p. 723-726.
Met Kleurenfotografie Naar Het Papierbeeld II, 25 (1938) 25, p. 756-757.
Met Kleurenfotografie Naar Het Papierbeeld III, 26 (1939) 2, p. 49-53.
Met Kleurenfotografie Naar Het Papierbeeld IV, 26 (1939) 3, p. 79-82.
nafv nieuws, 26 (1939) 12, p. 382-383.
Aan Adriaan Boer, 27 (1940) 13, p. 367- 368.
Bevrediging of niet? Kort antwoord van Bern. F. Eilers, 33 (1948) 8, p. 125-126.
images in:
Catalogus Internationale Tentoonstelling van Foto-Kunst, Amsterdam (Boek-, Kunst- & Handelsdrukkerij v/h. Gebr. Binger) 1908, na p. 11.
Photografuche Mitteüungen 46 (1909), p. 1, 17, 49, 97, 129, 209.
Photografische Mitteilungen 48 (1911) 20, p. 305.
Maatschappij tot Exploitatie van de Staatsspoorwegen 1863-1913, Utrecht 1913 (jubileumboek 50 jaar Staatsspoorwegen).
W.H. Idzerda, De Broomverfdruk (broomoliedruk) In De Praktijk, Amsterdam-Sloterdijk (Mij. van goede en goedkoope lectuur) 1917, plaat I.
F.J. Mortimer, Photograms of the year 1921, Londen (Iliffe & Sons) 1921, plaat XXXVI.
De Opgang 1 (28 mei 1921) 15, p. 359.
Zij, maandblad voor de vrouw 1922, p. 174.
Wendingen 6 (1924) 11/12.
W.H. Idzerda, Schoonheid in de Fotografie, Leiden (Sijthoff) z.j., platen 16 en 28.
16e Jaarverslag Philips Gloeilampenfabriek, Eindhoven 1927.
Typisch Holland, Amsterdam (Kosmos), 1928.
Cosmorama 2 (1936) 11, plaat 216.
Nico Scheepmaker, Bern. F. Eilers, Cor Mönnich, Nederland toen en nu, Amsterdam (Elsevier) 1976.
in Bedrijfsfotografie:
4 (1922) 16, p. 351.
10 (1928) 15, p. 389.
11 (1929), na p. 126, 390b, 486a.
13 (1930 12, p. 223.
14 (1932) 10, p. 181.
15 0933), p. 29-32, 227, 229.
16 (1934), p. 151-154. 263, 264.
17 (i935) 3, p. 47.
20 (1938) 26, p. 493-496.
21 (:939) 1, p. 9-12.
in Lux:
19 (1908), p. 108, 170, 172, 395, 473.
20 (1909), p. 25, 257.
21 (1910) 19, p. 471-472, 475-476.
22 (1911)21, p. 533-548.
23 (1912), p. 487, na 496, 546, 585-586, 59O.
24 (1913), p. 386, 507.
27 (1916), na p. 180, 292, na 324, na 356, na 372.
28 (1917) 15, na p. 228.
29 (1918), p. 146.
30 (1919), p. 41-44, 61-64.
in De Camera:
1 (27 november 1908) 5, p. 85-88.
2(15 oktober 1909) 1, na p. 6.
6 (1 november 1913) 1, p. 2.
6 (1 januari 1914) 5, p. 38.
6 (15 februari 1914) 8, na p. 87.
6 (15 april 1914) 12, na p. 120.
6 (15 mei 1914) 14, na p. 139.
6 (1 juni 1914) 15, na p. 149.
6 (15 oktober 1914) 24, p. 243.
7 ( 1 9 1 4 – 1 9 1 5 ) . P – 2 I .
7 (I914-19I5), p. 61.
7 (1914-1915), p. 168-169.
8 (1915-1916), p. 180, 188.
9 (1916-1917), p. 12.
9 (1916-1917), p. 113.
11 (1918-1919), p. 51,54.
14 (15 juni 1922) 16, p. 143, 145.
19 (6 november 1926) 10, p. 153.
in Lux-De Camera:
38 (1927) 15, p. 53-56.
38 (1927) 16, p. 75-77.
39 (1928) 15, p. 273.
40 (1929) 11, p. 199-206.
42 (1931) 12, p. 222.
42 (1931) 13, p. 239-247.
43 (1932) 26, p. 407-410.
in Focus:
1 (1914-1915) 4, na p. 34 en 35.
5 (1918-1919) 32, p. 492-495.
7 (1920) 14, p. 265-268.
8 (1921) 11, p. 225.
8 (1921) 23, p. 509.
8 (1921) 24, p. 536.
9 (1922) 12, p. 261.
9 (1922) 18, p. 400.
10 (1923) 21, p. 541-548.
11 (1924) 10, p. 268.
14 (1927) 2, p. 41-48.
14 (1927) 9, p. 249.
14 (1927) 24, p. 674.
15 (1928) 5, p. 132.
18 (1931) 6, p. 161-165.
18 (I931) 23, p. 656.
19 (1932) 12, p. 357.
20 (1933) 23, p. 682.
21 (1934) 17, p. 475.
25 (1938) 9, p. 273.
25 (1938) 26, p. 755.
26 (1939) 1, plaat I-XII.
26 (1939) 12, p. 372.
29 (1942) 11, p. 207.
Secondary bibliography
Auteur onbekend, Foto-kunst, in De Telegraaf 5 februari 1908.
A., Kunstfoto’s, in Het Volk 6 februari 1908.
Auteur onbekend, Kunstfoto’s, in Het Volk 8 februari 1908.
S.H. de Roos, De Tentoonstelling van „Kunstfoto’s” van Bern. F. Eilers, in De Grafische Pers 15 februari 1908.
Auteur onbekend, Kunst en Wetenschappen, in Algemeen Handelsblad 10 augustus 1908.
Auteur onbekend, Expositie Bern. F. Eilers, in De Telegraaf 2 december 1908.
Auteur onbekend, Tentoonstelling van foto’s van Bern. F, Eilers, in De Telegraaf 23 april 1911.
Auteur onbekend, Tentoonstelling van Kunstfotografieën, in Het Algemeen Handelsblad 23 januari 1919.
Auteur en titel onbekend, in De Telegraaf 23 januari 1919.
Auteur onbekend, Fototentoonstelling Bernard Eilers, in De Maasbode 23 december I927.
L. Kalff, De Fotograaf Bernard Eilers, in De Reclame oktober 1929, p. 449-451.
W. Warstat, Die Photographie in der Werbekunst, in Deutscher Kamera Almanach 1930, p. 93.
Auteur onbekend, Fotografie in Kleuren.
Het foto-pigment op den Kerstsalon, in De Telegraaf 30 december 1934.
Auteur en titel onbekend, in De Telegraaf 17 maart 1935.
F. Brouwer, Kleurenfotografie en Haar Moeilijkheden, in De Telegraaf 15 maart 1936.
F. Brouwer, Kleurenfoto’s van Eilers, in De Telegraaf 18 maart 1936.
F. Brouwer, Kleurenfotografie en haar moeilijkheden, in Soerabaiasch Handelsblad 4 april 1936.
Auteur onbekend, Kleurenfotografie en Aquarellen van Bernard Eilers, in Laarder Courant 12 mei 1936.
Auteur en titel onbekend, in De Stads-Koerier 16 april 1937.
J J . Hens, Bernard F. Eilers, Amsterdam 1938.
Auteur onbekend, Een Amsterdammer ontdekt de ziel zijner stad, in De Nieuwe Dag 7 januari 1938.
Auteur onbekend, Veertig jaar Amsterdam, in Het Algemeen Handelsblad 3 februari 1938.
Auteur onbekend, Een kunstenaar-fotograaf, in NRC-Handelsblad 28 december 1938.
Auteur en titel onbekend, in Panorama 12 januari 1939.
Auteur onbekend, Nederland in Beeld en Begrip, in De Telegraaf 26 januari 1940.
Auteur onbekend, Nederland in beeld en begrip, in Het Volk 26 januari 1940.
Auteur onbekend, De fotodokter had een gesprek met Een Oude Rot In Het Vak Bernard F. Eilers te Amsterdam, in Wij, ons werk ons leven 6 (16 februari 1940) 3, p. 19- 20.
J.J. Hens, De Fotografie Doet Haar Intrede Op De Amsterdamsche Grafische School, in Maandblad der Ned. Ver. voor Teekenonderwijs 57 (1940) 5, p. 63-71.
Auteur onbekend, Veertig Jaren Amsterdam, De Ziel Der Stad, in Amstelodamum 28 (1941) 2, p. 21-24.
J. Altera, Indrukken Van De Projectiemiddag: Veertig Jaar Amsterdam, in Maandblad der Ned. Ver. voor Teekenonderwijs 62 (1946) nr. 3/4, p. 19-20.
Wim Zaal, Destijds in Nederland, Amsterdam/ Brussel (Elsevier) 1974.
Ingeborg Th. Leijerzapf (red), Fotografie in Nederland 1839-1920, Den Haag (Staatsuitgeverij) 1978, p. 79, 94.
Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979.
H.J. Scheffer, Portret van een fotograaf: Henri Berssenbrugge, 1873-1959, Leiden (Sijthoff) 1967, p. 38.
Harry Talsma e.a., Bernard F. Eilers fotograaf, Den Helder (Talsma & Hekking) 1979. (De Geschiedenis Van De Nederlandse Fotografie In Monografiën).
Auteur onbekend, Bern. F. Eilers, Amsterdam (tentoonstellingsfolder Gemeentearchief) 1979.
in Bedrijfsfotografie:
C.G. Leenheer, „Barbertje moet hangen”, 4 (1922) 7, p. 142.
A. Boer, De Fotografie Als Wandversiering, 9 (1927) 10, p. 247.
A. Boer, De Tentoonstelling Van Foto’s, Bijeengebracht Door Nederlandsche Vakfotografen Te Rotterdam, 9 (1927) 15, p. 365.
F. Ziegler, Ingezonden, 9 (1927) 20, p. 509.
A. Boer, Eenige Bijzonderheden Over Nederlandsche Fotografen, 10 (1928) 1, p. 18.
J. Huijsen, Een protest, 10 (1928) 11, p. 295-296.
C.G. Leenheer, Het Affiche Voor De Tentoonstelling „Nederland In Beeld”, 10 (1928) 12, p. 302-303.
A. Boer, Onze Vakfotografen Op De Tentoonstelling „Nederland in Beeld”, 10 (1928) 15, p. 382. G.G. Leenheer, P. Brandsma, De Afficheprijsvraag N.I.B., 10 (1928) 16, p. 409-410.
J. Huijsen, De Affiche Prijsvraag N.I.B., 10 (1928) 17, p. 433-434.
A. Boer, Mimosa-Tentoonstelling ter gelegenheid van den Vijfden Fotografendag der N.F.P.V., 12 (1930) 11, p. 209.
Auteur onbekend, Uit de „B.F.” Donkere Kamer. Bij de platen, 13 (1931) 12, p. 215.
A. Boer, De Tentoonstelling Der N.F.P.V., 13 (1931) 11, p. 199; 13 (1931) 12, p. 217.
Auteur onbekend, Fotosalon „Klank en Beeld”, 14 (1932) 7, p. 117.
Auteur onbekend, De Platen In Dit Nummer, 14 (1932) 10, p. 175.
Auteur onbekend, Bij De Platen van Bern. F. Eilers, 5 (1933) 2, p. 21-22.
A. Boer, De Tentoonstelling Fotografendag 1933 Te Amsterdam, 15 (1933) 10, p. 181- 184; 15 (1933) 11, p. 203-205.
Auteur onbekend, Bij De Platen, 15 (1933) 12, p. 220.
Auteur onbekend, Bij de platen van Bern. F. Eilers, 16 (1934) 9, p. 145.
A. Boer, Tentoonstelling „Bekende Landgenooten”, 16 (1934) 13, p. 221-222.
Auteur onbekend, De Auteurswet genegeerd door uitgevers en drukkers, 16 (1934) 22, p. 390-39 1.
F. Ziegler, Bij de portretten door Eilers, Leyenaar en Bleuzé Jr., 16 (1934) 15, p. 274.
Auteur onbekend, Bij de Platen „Aan den arbeid”, 17 (1935) 3, p. 39.
A. Boer, Vorderingen in driekleurenfotografie. Belangrijke resultaten van Bern. F. Eilers, 17 (1935) 2, p. 26-28.
Auteur onbekend, Fotochroma Eilers, 17 (1935) 10, p. 194.
Auteur onbekend, Bern. F. Eilers voor zijn kleurenwerk geëerd, 17 (1935) 26, p. 489.
A. Boer, Camera voor kleuren-momentopnamen, 18 (1936) 6, p. 120.
A. Boer, Beknopt verslag van de vergadering der N.F.P.V., 18 (1936) 8, p. 146-148.
Auteur onbekend, Een „kleurige” N.F.P.V.- avond, 18 (1936) 8, p. 154-155.
P. Brandsma, Jaarverslag van de Afd. Amsterdam der N.F.P.V. 1936, 19 (1937) 5, p. 98-99.
C.G. Leenheer, Voordrachtenavond afdeling Amsterdam, Haarlem en Omstreken, 20 (1938) 7, p. 135.
Auteur onbekend, Bern.F. Eilers 60 jaar, 20 (1938) 9, p. 161-162.
A. Boer, Veertig jaren Amsterdam, „De ziel der stad”, Voordracht in lichtbeelden door Bern. F. Eilers, 20 (1938) 9, p. 164-165.
A. Boer, De Tentoonstelling Fotografendag 1938, 20 (1938) 13, p. 254.
C.G. Leenheer, Een Bern. F. Eilers Eeretentoonstelling, 20 (1938) nr. 23, p. 441- 442; nr. 24, p. 461-462; nr. 25, p. 479.
Auteur onbekend, Eeretentoonstelling Bern. F. Eilers, 20 (1938) 26, p. 487-488.
Auteur onbekend, Bern. F. Eilers Een korte biografie, 20 (1938) 26, p. 490-491.
C.G. Leenheer, Opening Bern. F. Eilers Eere-tentoonstelling, 20 (1938) 26, p. 492- 497.
A. Boer, Eeretentoonstelling Bern. F. Eilers, 21 (1939) 1, p. 5-7.
L. Ronner, Benoeming van Bern. F. Eilers tot leeraar aan de Amsterdamsche Grafische School, 21 (1939) 20, p. 376.
in Cosmorama:
C. de Jong, Eilers’ grootse prestatie, 2 (1936) 2, p. 24.
Auteur onbekend, Bernard F. Eilers ere-lid der Amst. Am. Fot. Vereeniging, 2 (1936) 2, p. 13-14.
Auteur onbekend, Titels, technische gegevens, kanttekeningen, 2 (1936) 11, p. 145.
Auteur onbekend, „Veertig jaar Amsterdam (De Ziel der Stad)”, 4 (1938) 2, p. 32.
JJ. Hens, Bernard F. Eilers De Tentoonstelling zijner werken, 5 (1939) 3, p. 43-44.
C. de Jong, „Nederland in beeld en begrip”, 6 (1940) 2, p. 27.
in Lux:
J.R.A. Schouten, Onze Kunstfotografen. Bernard F. Eilers, 19 (1908), p. 101-104.
A., Van alles en nog wat, 22 (1911) 13, p. 337-338.
J.R.A. Schouten, Bij de foto’s van Bern. F. Eilers, 22 (1911) 21, p. 549.
Auteur onbekend, Eilers in de N.A.F.V., 25 (1914) 23, p. 521.
Ign. Bispinck, Foto-Tentoonstelling, 26 (1915) 22, p. 458.
J.R.A. Schouten, Over Bern. F. Eilers, als broomoliedrukker, 28 (1917) 15, p. 229.
Auteur onbekend, Bern. F. Eilers in het gebouw „Lux”, 30 (1919), p. 59.
C. Leyenaar, Vereenigingsnieuws (NFKnieuws), 32 (1921), p. 299.
in De Camera:
E.A. Loeb, De Man En Zijn Werk Bern.
F. Eilers, 1 (26 januari 1908) 5, p. 78, 81.
Auteur onbekend, Onze Platen, 1 (26 januari 1908) 5, p. 81.
Auteur onbekend, Een mooie kalender, 2 (1 november 1909) 2, p. 16.
Auteur onbekend, Tentoonstelling Eilers, 3 (1 mei 1911) 14, p. 129.
Auteur onbekend, Tentoonstelling Van De N.F.K., 4 (15 september 1912) 22, p. 194.
Adriaan Boer, Jubileumtentoonstelling N.A.F.V., 4 (15 oktober 1912) 24, p. 214- 215.
H. de Boer, De Jaarlijksche Nationale Tentoonstelling Van Fotowerken Te Amsterdam, 6 (1 november 1914) 1, p. 1-4.
Auteur onbekend, Het werk van Eilers in Londen, 6(15 oktober 1914) 24, p. 242.
Joh.F.J. Huijsser, Bern. F. Eilers kleurige Broomoliedrukken, 7 (1914-1915), p. 21-22.
L.E. Kos, Gesprekken Met Ernstige Werkers, Bij Bern. F. Eilers, 8 (1915-1916), p. 143, 145.
Corveé, Nieuw Werk van Eilers, Broomolies In Kleur, 9 (1916-1917), p. 96-97.
Jan Gratama, De Verhouding Van De Fotografie Tot De Kunst, Naar Aanleiding Van De Kleur-Broomolies Van Eilers, 10 (1917-1918), p. 16-17.
A.C., Bern. F. Eilers in de N.A.F.V, 11 (1918-1919), p.54.
Auteur onbekend, Foto-wedstrijd Nederl. Bond van Fotohandelaren, 14 (1921), p. 1.
Auteur onbekend, De Internationale Foto Salon Te Amsterdam, 16 (1923-1924), p. 178.
F.G., De Haarlemsche Tentoonstelling, 19 (6 november 1926) 10, p. 151.
in Lux-De Camera:
Auteur onbekend, Onder den Insteldoek, 38 (1927) 15. P- 45-46.
Auteur onbekend, Onder den Insteldoek, 38 (1927) 16, p. 67.
Auteur onbekend, Bern. Eilers, 39 (1928) 11, p. 184.
Auteur onbekend, Typisch Holland, 39 (1928) 13, p. 256.
Auteur onbekend, Onder den Insteldoek, 40 (1929) 11, p. 189.
Auteur onbekend, Onder den Insteldoek, 42 (1931) 12, p. 215.
Auteur onbekend, Onder den Insteldoek, 42 (1931) 13, p. 234.
Auteur onbekend, Onder den Insteldoek, 43 (1932) 26, p. 401.
in Focus:
Auteur onbekend, Ons Matglas, 1 (1914-1915)4, p. 32.
H. de Boer, Bern. Eilers’ „One man’s Show” in het lokaal der N.A.F.V. te Amsterdam, 1 (1914-1915) 7, p. 310-311.
Auteur onbekend, Tentoonstelling Eilers, 5 (1918-1919) 30, p. 453.
Auteur onbekend, Reproducties Naar Eilers, 5 (1918-1919) 32, p. 486.
Auteur onbekend, De Zevende Jaarl. Tentoonstelling Der N.A.F.V., 7 (1920) 2, p. 25.
Auteur onbekend, Onze Platen, 7 (1920) 14, p. 257.
Auteur onbekend, Focus Portret Galerij IX: Bern. F. Eilers, 7 (1920) 14, p. 259-260.
A. Boer, De Achtste Jaarlijksche Tentoonstelling Der N.A.F.V., 8 (1921) 11, p. 219.
Auteur onbekend, Hollanders Buiten, 8 (1921) 20, p. 434.
J.C.M., Indrukken Van de Groningsche Tentoonstelling, 8 (1921) 20, p. 437.
Auteur onbekend, Notulen van de Algemeene Jaarlijksche Vergadering op Woensdag 21 September 1921, 8 (1921) 20, p. 455.
Auteur onbekend, Onze Platen, 8 (1921) 23, p. 501.
Auteur onbekend, Prijsvragen „Gedachte” En „Aan Den Arbeid”, 8 (1921) 24, p. 526.
Ign. Bispinck, Verslag Jury „Zeewegwedstrijd”, 8 (1921) 26, p. 586.
Auteur onbekend, Huishoudelijke Bijeenkomst (NAFV), 9 (1922) 3, p. 65-66.
Auteur onbekend, Kleurenfotografie, 9 (1922) 18, p. 397.
Auteur onbekend, Onze Platen, 10 (1923) 21, p. 531.
Auteur onbekend, De Tiende Tentoonstelling Van Fotowerken Te Amsterdam, 11 (1924) 10, p. 260.
Auteur onbekend, Onze Platen, 14 (1927) 2, p. 31.
Auteur onbekend, Bij De Platen, 14 (1927) 9, p. 237.
Auteur onbekend, De Nationale Elfde Tentoonstelling Der N.A.F.V., 14 (1927) 23, p. 637.
Auteur onbekend, Bij De Platen, 14 (1927) 24, p. 661.
Auteur onbekend, Bij De Platen, 15 (1928) 5, p. 122.
A. Boer, Tentoonstelling „Nederland In Beeld”, 15 (1928) 16, p. 425.
Auteur onbekend, Bij de platen, 18 (1931) 6, p. 150.
Adriaan Boer, De Fotoschouw Der N.A.F.V., 18 (1931) 22, p. 613.
Auteur onbekend, Portretten Bern. F. Eilers, 19 (1932) 2, p. 34-35.
Auteur onbekend, „De Zonaanbidders”, 19 (1932) 5, p. 132.
Auteur onbekend, De „Werkavond”, N.A.F.V., 19 (1932) 5, p. 156.
Adriaan Boer, De Fotokunstsalon Van „Klank En Beeld”, 19 (1932) 9, p. 260.
Auteur onbekend, Bij De Platen, 19 (1932) 12, p. 347.
Auteur onbekend, Bij de Platen, 20 (1933) 23, p. 666.
Auteur onbekend, Bij de platen, 21 (1934) 17, p. 461.
G. Jorna, Een Werkavondenreeks, Die Uitstekende Resultaten Opleverde, 21 (1934) 19, p. 543.
A. Boer, Vorderingen In Driekleurenfotografie. Belangrijke resultaten van Bern. F. Eilers 22 (1935) 3, p. 33-34, 58.
Auteur onbekend, Kleurenfoto’s Bern. F. Eilers, op de Leipziger Messe, 22 (1935) 7, p. 186.
Auteur onbekend, Fotochroma Eilers, 22 (1935) 10, p. 298.
C.J. van Mansum, Tweede Amsterdamsche Kerstsalon Fotogr. Kunst, 23 (1936) 1, p. 25.
A. Boer, Kleurenfoto’s Door Bern. F. Eilers, 23 (1936) 8, p. 225-226.
Auteur onbekend, Verslag der vergadering van Woensdag, 2 Februari 1938 (NAFV), 25 (1938) 4, p. 128-130.
Auteur onbekend, Veertig jaren Amsterdam door Bern. F. Eilers, 25 (1938) 9, p. 257.
Auteur onbekend, Beknopte Analyse Der Platen In Dit Nummer, 25 (1938) 9, p. 266.
Auteur onbekend, nafv nieuws, „Een en ander over retouche”, 25 (1938) 19, p. 572.
Auteur onbekend, Eeretentoonstelling Bern. F. Eilers, 25 (1938) 26, p. 754.
A. Boer, Eere-Tentoonstelling Bern. F. Eilers, 26 (1939) 1, p. 5-7.
Auteur onbekend, Beknopte Analyse Der Platen In Dit Nummer, 26 (1939) 1, p. 22.
A.P.W. van Dalsum, Stemming rondom den Eilersavond, 26 (1939) 2, p. 74.
Auteur onbekend, nafv nieuws, Verslag, 26 (1939) 6, p. 205-206.
Auteur onbekend, Beknopte Analyse Der Platen In Dit Nummer, 26 (1939) 12, p. 366.
V.S., Kijken En Kieken, Zien En Fotograferen, 26 (1939) 19, p. 560-563.
Auteur onbekend, Een Belangrijke Lezing Van Bern. F. Eilers, 26 (1939) 23, p. 707- 709.
Auteur onbekend, Vervolg en slot lezing van ons Eerelid Bern. F.J. Eilers, 26 (1939) 24, p. 741.
Auteur onbekend. Zesde Amsterdamsche Kerstsalon Der A.A.F.V., 27 (1940) 2, p.58.
Auteur onbekend, Beknopte analyse der platen, 29 (1942) n , p. 208-209.
D. Boer, Bern. F. Eilers, 70 jaar, 33 (1948) 10, p. 169.
Auteur onbekend, Bern. F. Eilers begraven, 36 (1951) 10, p. 207.
A.P.W. van Dalsum, Bern.F.A. Eilers Overleden, 36 (1951) 10, p. 219.
Memberships
NCFK, vanaf 1908.
London Salon of Photography, erelid vanaf 1910.
NAFV, vanaf 1914, erelid vanaf 1937.
NFK , vanaf 1921.
NFPV, 1927-1950.
AAFV, erelid vanaf 1934.
BNAFV, erelid vanaf 1936.
Awards
1909 Gouden plakette, Internationale Fotografische tentoonstelling, Dresden.
1909 Ere-diploma Amsterdamsche Huisvlijt-tentoonstelling.
1910 Honorary Member of London Salon of Photography.
1910 Gouden medaille, Wereldtentoonstelling Brussel.
1911 Ere-diploma van het IIIde Congresso Fotografico Italiano, Rome.
1912 Ere-diploma Jubileumtentoonstelling der NFK.
1913 Ere-diploma South London Photographic Society.
1923 Ere-diploma Internationale Fotosalon (ÈNIAFV), Batavia.
1927 Verguld zilveren medaille, Jubileumtentoonstelling NFK, Utrecht.
1927 Gouden medaille, zilveren medaille en plaquette( in drie categorieën), Nederlandse Fotografendag, Amsterdam.
1928 Twee gouden medailles, Fototentoonstelling ‘Nederland In Beeld’, Stedelijk Museum, Amsterdam (t.g.v. 1e jaar der IXe Olympiade).
1930 Gouden insigne der NFPV (eerste prijs industriële werk).
1930 Eerste prijs, Mimosa wedstrijd (Vijfde Fotografendag NFPV).
1931 Bronzen plaquette, Tentoonstelling NFPV, Amsterdam.
1933 Silberne Plakette für Industriellen Photographie, Mimosa Photo Wettbewerb, Amsterdam en Dresden.
1938 Ere-diploma NFPV. Tentoonstellingen
1908 (g) Amsterdam, Stedelijk Museum, Internationale Tentoonstelling van Foto-Kunst.
1908 (e) Amsterdam, Gebouw Concordia.
1908 (e) Amsterdam, AAFV-zaal.
1909 (g) Amsterdam, Tentoonstelling van Amsterdamsche Huisvlijt.
1909 (g) Amsterdam, AAFV-zaal, Internationale tentoonstelling van fotografische kunst.
1909 (g) Dresden, Internationalen Photographischen Ausstellung.
1910 (g) Brussel, Wereldtentoonstelling.
1910 (g) Londen, London Salon of Photography.
1911 (g) Rome, Esposizione Internazionale dl Fotografia Artistica (3e Congresso di Fotografia Italiano).
1911 (e) Amsterdam, firma Ivens.
1911 (g) Amsterdam, NAFV-gebouw.
1911 (g) Berlijn, Internationale tentoonstelling voor het Vreemdelingenverkeer.
1911/12 (g) Amsterdam, Grote Internationale Tentoonstelling Gevaert.
1912 (g) Den Haag, jubileumtentoonstelling NFK.
1913 (g) Londen, South London Photographie Society.
1913 (g) Amsterdam, NAFV-gebouw, Jaarlijkse tentoonstelling van fotowerken.
1913/14 (g) Londen, London Salon of Photography.
1914 (g) Amsterdam, Ivens & Co.
1914 (g) Amsterdam, NAFV-gebouw, rondreis-portefeuille.
1914 (e) Amsterdam, NAFV-gebouw, meerkleurenbroornoliedrukken.
1915 (g) Amsterdam, Derde jaarlijkse tentoonstelling van fotowerken NAFV.
1915 (g) Londen, London Salon of Photography.
1916/17 (g) Amsterdam, rondreistentoonstelling NAFV.
1917 (g) Delft, Zesde Delftsche Fotosalon (Delftse Amateur Fotografen Club).
1919 (e) Amsterdam, gebouw Lux, Tentoonstelling van Kunstfoto’s.
1920 (g) Amsterdam, Stedelijk Museum, NAFV.
1921 (g) Londen, London Salon of Photography.
1921 (g) Groningen, De Harmonie, AFV Daguerre jubileumtentoonstelling.
1921 (g) Amsterdam, Stedelijk Museum, Achtste jaarlijkse tentoonstelling NAFV.
1922 (g) Amsterdam, Stedelijk Museum, Negende jaarlijkse tentoonstelling NAFV.
1922 (g) Eindhoven, Fotosalon AFV (Eindhoven).
1923 (g) Batavia, ie Internationale Fotosalon (ENIAFV).
1924 (g) Arnhem, De Korenbeurs, Artibus Sacrum.
1924 (g) Amsterdam, Stedelijk Museum, Internationale Fotosalon NAFV.
1924 (e) Rotterdam, gebouw AFVRotterdam.
1926 (g) Haarlem, Bloemendaalse AFV.
1927 (g) Amsterdam, NFPV, Fotografie als wandversiering.
1927 (e) Rotterdam, AFVRotterdam.
1927 (g) Utrecht, Jubileumtentoonstelling NFK.
1927 (g) Amsterdam, Fotografendag NFPV.
1927 (g) Amsterdam, Gebouw Heystee, 40 jaar NAFV.
1928 (g) Amsterdam, Stedelijk Museum, Nederland in Beeld.
1930 (g) Amsterdam, Fotografendag NFPV.
1931 (g) Amsterdam, NAFV Fotoschouw.
1932 (g) Gouda, Nationale Tentoonstelling.
1932 (g) Amsterdam, RAI, Klank en Beeld.
1933 (g) Amsterdam, Mimosa Photo Wettbewerb.
1933 (g) Amsterdam, Fotografendag NFPV.
1933 (g) Amsterdam, Gebouw I.O.O.F., Aan den arbeid (AAFV).
1934 (g) Amsterdam, Leesmuseum en rondreizend, Bekende Landgenooten (NFPV).
1934 (g) Amsterdam, ie Internationale Kerstsalon van de AAFV.
1935 (g) Amsterdam, 2e Amsterdamse Kerstsalon van de AAFV.
1935 (g) Leipzig, Leipziger Photomesse, (kleurenfoto van Eilers).
1935 (g) Haarlem, Paaschtentoonstelling Haarlemse AFV.
1936 (g) Amsterdam, 3e Amsterdamse Kerstsalon Kerstsalon van de AAFV.
1930 (g) Düsseldorf, Film und Photo.
1936 (g) Amsterdam, Boekhandel van Heeteren, Eilers en Jac.P. Stnjbos.
1936 (e) Laren, Openbare Leeszaal en Bibliotheek, Bern. F. Eilers.
1937 (g) Gau Mahren (Schlesien – CSR), IV-Gau Ausstellung (Verein Deutscher Lichtbildner).
1937 (g) Amsterdam, Gebouw Arti, Nationale Gouden Fotoschouw der NAFV.
1937 (g) Amsterdam, 4e Amsterdamse Kerstsalon der AAFV.
1937 (g) Amsterdam, Stedelijk Museum, foto ’37.
1938 (g) Amsterdam, 5e Amsterdamse Kerstsalon der AAFV.
1938 (e) Amsterdam, Gebouw Heystee, Eretentoonstelling B.F. Eilers, 60 jaar.
1939 (g) Amsterdam, 6e Amsterdamse Kerstsalon der AAFV.
1939 (g) Den Haag, Gemeentearchief, Honderd jaar fotografie, collectie Grégoire.
1940 (g) Amsterdam, 7e Amsterdamse Kerstsalon der AAFV.
1941 (g) Amsterdam, Fotosalon der AAFV.
1946 (g) Parijs, Les Salons de la Société Francaise de la Photographie et de la Ginématographie.
1947 (g) Amsterdam, 7e Internationale Focus Salon.
1969 (g) Den Bosch, Noord-Brabants museum, Nederlandse Fotografie, de eerste 100 jaar.
1976 (g) Laren, Singermuseum, Het Groepsportret 1845-1922.
1977 (g) Eindhoven, Van Abbemuseum, Hel Groepsportret 1845-1922.
1979 (e) Amsterdam, Gemeentearchief, Fotograaf B.F. Eilers 1878-1951.
1981 (g) Laren, Singermuseum, De tijd wisselt van spoor.
Sources
Amsterdam, Gemeentearchief.
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
Leiden, ongepubliceerd werkstuk van Leonoor Speldekamp.
Collections
Amsterdam, Gemeentearchief (glasnegatieven en zwart-wit dia’s).
Leiden, Prentenkabinet van de Rijksuniversiteit (foto’s en documenten).