In his day, Franz Ziegler was an esteemed photographer, frequently awarded for his work. At no point did he tire of advocating a free and creative photography. Ziegler’s portrait studio was in The Hague, where—as a renowned court photographer—the city’s elite were a part of his regular clientele. Ziegler proved to be forward thinking with his interest in the latest developments in photography. He applied numerous techniques and experimented with colour photography. In addition, he was involved in fine printing (‘edeldruk’) processes and even made his own discovery in this area: ‘duplo photography’. Ziegler was one of the first in the Netherlands to employ sodium light in photography. He was a much-desired guest at lectures and exhibitions organised by both professional and amateur photographic trade associations.
Franciscus Xaverus Wilhelmus Josephus Ziegler is born on 3 September in Harderwijk. His parents are Alida Gerarda Bult, originating from Harderwijk, and Robert Mathias Ziegler, originating from Boppard, Germany. Prior to establishing himself as a photographer in Harderwijk, Robert Ziegler lived in Nijmegen, where he may possibly have worked as an apprentice to the photographer Wilhelm Ivens.
The Ziegler family moves to Zwolle. Robert Ziegler takes over the photo studio of the photographer J.A. Eelsingh at Nieuwe Markt 9. He holds on to the studio in Harderwijk for a period of time.
Franz Ziegler moves to Ems, Germany. He lists his profession as a waiter.
From 6 May until 31 October, Franz Ziegler stays with Salomon Goudsmit, a photographer in Enschede, as his pupil. Goudsmit runs a successful business, with branches in Zwolle, Groningen, Assen, and Hengelo.
At the end of October, Ziegler leaves Enschede, accompanied by another of Goudsmit’s assistants, Heinrich Cronenberg. Together they move to the home of a brother of Ziegler’s in The Hague. Franz Ziegler now refers to himself as a ‘photographer’. It is not known if he was planning to set up a business partnership with Cronenberg. A short time later, Cronenberg returns to Enschede.
Starting on 1 July, Ziegler is registered in Rotterdam as a photographer. Nothing is known of his photographic activities at this time.
On 3 April, Ziegler leaves Rotterdam. On 30 April, he is back with his father in Zwolle.
From 2 to 16 June, Franz Ziegler stays with the photographer Henri Berssenbrugge in The Hague. His apprenticeship with Berssenbrugge, however, lasts only two weeks, as Ziegler feels he is being given insufficient payment and artistic space.
As of 15 April, Ziegler is registered as a photographer in Enschede. The building at Langestraat 24, where he lives and works, is owned by his previous employer, Salomon Goudsmit. Ziegler is perhaps not only a tenant, but has possibly also signed a business agreement with Goudsmit.
At this time, Ziegler meets Els Garretsen-Blijdestein, an amateur photographer with a predilection for street scenes. She later refers to Ziegler as ‘a good friend and teacher’.
On 2 September, Ziegler leaves Enschede and travels to Munich, Germany. The studio on the Langestraat is taken over by the photographer Jaro Harbrink, who in turn rents the space from Goudsmit.
In Munich, Ziegler takes courses at the Höhere Fachschule für Phototechnik (‘Higher Vocational School of Photographic Technique’). Ziegler stays there from September 1921 to December 1922. It is likely that he obtains an M.O. (secondary school teaching) certificate in drawing during this period.
On 12 February, Ziegler arrives back in Zwolle, after traveling via Enschede and The Hague.
Ziegler’s reputation is growing during this period. He works together with his father and sister, Wilhelmina J.P. Ziegler, at the studio on the Nieuwe Markt in Zwolle.
It is probably during these years that Ziegler comes into contact with H.F.J.M. Deutmann, a court photographer in The Hague, who also originates from Zwolle. Ziegler later states that he was a pupil of Deutmann. When Deutmann dies in 1926, Ziegler takes over his studio in The Hague.
Ziegler experiments with new possibilities, of which is ‘duplo photography’—a method that receives significant attention and appreciation in the trade magazines—is one example. Ziegler shows his work frequently at exhibitions, for which he receives awards. He often holds talks and writes about photography in general, i.e. on portrait and duplo photography. Together with Henri Berssenbrugge, Ziegler represents professional photographers on the editorial board of the magazine Cosmorama.
Ziegler moves to The Hague. He establishes himself in Deutmann’s gallery at Zeestraat 55, thus making him a neighbour of Henri Berssenbrugge. In the two consecutive years that follow, two of Ziegler’s sisters join with him to assist with the business. Wilhelmina J.P. Ziegler arranges the business matters, while Johanna J.W. Ziegler does retouching work. Two employees from the studio in Zwolle also come to The Hague: M. Francken en L.A.N.H.A. van Beurden.
Ziegler is given the opportunity to photograph Prince Hendrik.
Ziegler wins ‘fifth prize’ (one of ten awarded) in a competition hosted by the magazine American Photography. He is accepted to the Royal Photographic Society and is allowed to place the letters A.R.P.S. (Associate Royal Photographic Society) after his name.
Ziegler takes a portrait photo of the Dutch queen mother, Emma.
Ziegler is permitted to refer to himself officially as a ‘hoffotograaf’ (‘court photographer’). In addition to the royal court and other dignitaries, he photographs members of the elite circles in The Hague.
Ziegler’s father, Robert M. Ziegler, moves in with his son. They call themselves ‘Ziegler, Fotografische Ateliers’ (‘Ziegler, Photographic Studios’), a collaboration that had already existed before Robert’s move.
Prior to this time, the finishing work for Franz Ziegler’s photos had been done in Zwolle. After Ziegler’s father’s departure from this city, the studio on the Nieuwe Markt is taken over by a photographer named Roosdorp.
Robert M. Ziegler dies on 12 September in The Hague.
A portrait of Queen Wilhelmina by Franz Ziegler is used for the design of three postage stamps by the graphic designer Piet Zwart. Three postage stamps are executed by Zwart in photomontage using Ziegler’s photo, respectively: Dfl. 36 cents, Dfl. 70 cents, and Dfl. 80 cents The first two stamps are released in 1931; the third in 1933.
The studio on the Zeestraat is destroyed by fire. Berssenbrugge offers Ziegler the use of his own studio and personnel until the restoration work is completed. Two months later, the studio is renewed and improved and becomes one of the most attractive and modern studios in the Netherlands.
Franz Ziegler becomes engaged to Margaretha Josephina (Greet) Cooijmans of ‘s-Hertogenbosch.
Franz Ziegler and Greet Gooijmans marry. Three children are born from this marriage.
One of Ziegler’s photos, a portrait of the queen mother Emma, is used for an overprint of a postage stamp, a ‘charity stamp’ to combat tuberculosis. The designs for the Juliana and Wilhelmina stamps in this series are probably also based on Ziegler’s photographs.
Ziegler takes a study trip to Berlin. He visits various film studios in order to examine the lighting employed there. Upon his return to the Netherlands, the Dutch company Philips makes him a proposition, i.e. to collaborate on research into the use of sodium light in photography.
The results of Ziegler’s experimentation with this light, the so-called ‘Philora light’, are more than satisfactory: it proves to be particularly well suited for portrait photography. Ziegler presents lectures and writes articles to promote the use of Philora light in photography.
The company Ziegler Fotografisch Atelier (‘Ziegler Photographic Studio’) is converted into a Ltd. (‘N.V.’).
Ziegler becomes chairman of the Hague chapter of the NFPV (Nederlandse Fotografen Patroonsvereeniging, ‘Netherlands Photographers Guild’). He is also a co-organiser of an NFPV exhibition held at Pulchri Studio.
Ziegler is invited to do the wedding reportage for Princess Juliana and Prince Bernhard. Besides a large number of black-and-white shots, Ziegler takes a portrait shot of the wedding couple, flanked on either side by the mothers-in-law, in black-and-white and colour.
Ziegler’s studio moves from the Zeestraat to Alexanderstraat 12 in The Hague.
Ziegler travels to London to give a demonstration of Philora light at the Royal Photographic Society.
In the spring of this year, Ziegler suffers a brain haemorrhage, followed by a second heart attack that proves fatal. On 12 November, Franz Ziegler dies in The Hague at the age of seventy-six.
The photography studio is continued under the management of Ziegler’s sister and Jaap Postma, an employee.
The ‘N.V. Fotografisch Atelier Franz Ziegler’ remains in operation until 1970.
Based on academic literature and the stories of people who knew him, Franz Ziegler comes across as an amiable and inspired man. He was artistic by nature, as well being a passionate cellist. Ziegler photographed not only for his work, but also in his free time. He spent a great deal of his time experimenting with photography, but also taking care of organisational matters: he was extremely active as a member of various photographic trade associations and editorial boards. He published written articles on a frequent basis, gave lectures, and as chairman of the NFPV (Nederlandse Fotografen Patroonsvereeniging, ‘Netherlands Photographers Guild’) in The Hague, he was the organiser of an international exhibition held in 1935. The nature of his education likewise reveals a broad interest in photography.
Ziegler’s training as a photographer spanned various periods of his life. Until about the age of thirty, he worked as an apprentice to various photographers—though he still referred to himself as an autodidact. Throughout his life, he was continually involved with the latest developments in the field of photography, both in its technical and artistic aspects.
Ziegler’s first encounter with photography occurred at his father’s business. There is no doubt that this was where he learned the basics of the profession. Franz’s father, Robert Ziegler, referred to himself both as a photographer and a ‘restorer of old paintings’, and his heart lay nearer to art and music than photography, as his daughter-in-law once related.
Franz Ziegler experienced his second learning school with Salomon Goudsmit, a bona fide professional photographer, who—though a member of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’)—is not known to have produced any art photography himself. When, in 1919, Ziegler aspired to work in the studio of Henri Berssenbrugge, it was primarily the artistic quality of the latter’s work that attracted him most. Artistically, Ziegler felt that he was being ‘buried alive’ in Zwolle. Ultimately, however, the period of apprenticeship in Berssenbrugge’s studio led to nothing, due to a difference in opinion regarding the degree of artistic liberty in Ziegler’s work as well as his financial compensation. Notwithstanding, Ziegler always saw Berssenbrugge as an example of someone who dared to experiment and who was in no way hampered by the question of whether he was transgressing the boundaries of his medium. Just as Berssenbrugge, Ziegler argued for total freedom in his approach to photography from the very start.
After having worked on his own as an independent photographer for more than a year, Ziegler decided to undertake a professional education—at the age of twenty-eight—at the Höhere Fachschule (‘Higher Trade School’) in Munich, Germany, ‘in order to test himself’. This vocational study programme, one of the few available in Europe at this time, was highly esteemed. Ziegler took courses in drawing—an important skill at a time when retouching was very common in photography. Ziegler referred to himself as a pupil of the photographer H.F.J.M. Deutmann, whom he is likely to have met just prior to the mid-1920s. It seems unlikely that the contact between the two men was in fact in the form of a teacher/student relationship. Ziegler indeed probably assisted Deutmann—and in this context—the latter, as an experienced artistic and court photographer, would probably have given him various pointers. In any event, it was through him that Ziegler came into contact with court photography. Deutmann was known for his artistic portraits. He aimed to introduce an intimate atmosphere to court photography, which was generally stiff and formal due to its symbolic function. Ziegler is certain to have admired Deutmann’s portrait art.
Franz Ziegler’s main specialty was portrait photography. His portraits were both appealing and artistic. Stately men and women of The Hague, ministers, dignitaries, and actors were all part of his well-to-do clientele. The success of his portrait photography was largely thanks to his camera shooting and lighting techniques. In most cases, he photographed his clients and models from extremely close up, so that the portrait filled the surface of the image from the shoulders up. Ziegler’s approach, which was essentially close-up portraiture, gave the photograph a penetrating character. On occasion, he included the sitter’s hands as well. This gave the composition life and likewise functioned as a repoussoir. With respect to composition, Ziegler once observed: ‘With composition, we have to think of two things: what we feel and what we see. There are no laws regarding composition: an artwork can be built up, as the artist himself sees fit.’
The freedom that Ziegler insisted upon with regards to composition in photography—as well as lighting and printing technique—is very evident in his portraits. Some portraits are kept very dark, with a trace of light providing ‘Rembrandtesque’ effects. His portraits taken with Philora lighting, which provides a dispersed light, are less dramatic. In this sense, Ziegler was highly sensitive to the nature of his subject: he used a white background to starkly contrast with the relatively dark area of a gentleman’s resolute profile, while employing a very soft lighting for the melancholy face of a lady in order to create a romantic atmosphere.
Although as an art photographer Ziegler placed great value on a freedom in his thoughts and actions, he was obliged to make concessions in his role as a court photographer. The liberties of a court photographer went only so far as the Royal Family permitted. Queen Wilhelmina had clearly circumscribed notions regarding the manner in which she was to be photographed. Moreover, the photos were expected to meet a certain level of decorum. Nonetheless, Ziegler remained perseverant in his aim to break with the traditional severity of court photography. By lighting his subjects in an unexpected manner—sometimes even leaving faces in the shadows and establishing an informal posture in those he portrayed—he indeed succeeded at bringing a degree of spontaneity and liveliness to courtly portraiture. Alternating the direction of people’s glances when sitting in a group as well suggests interaction and vivaciousness. With this approach, Ziegler managed to introduce his own interpretation to court photography. When it came to ceremonial photography, there were simply fewer possibilities available, as protocol afforded a creative photographer little freedom.
Besides portraits, Ziegler occasionally ventured into the areas of architectural photography and cityscapes. In this latter category, the image of the city is depicted with an almost impressionistic atmosphere, evoked by vague instances of light and soft contours. Ziegler also took architectural photos in and around Soestdijk Palace. For the Royal House, he put together an album with views of the palace, both from the front and the rear, as well as photos of the hallways and spaces within. These photos are objective in their approach.
Ziegler’s photography is characterised by a wide variety of techniques. Generally speaking, his photos can be ordered chronologically, though he is also known to have applied the various processes interchangeably.
Ziegler initially worked with numerous fine printing (‘edeldruk’) processes. He saw photography as a medium with an overabundance of tones. ‘The artistic eye has no desire for this representation, it therefore seeks to restrain this tonal scale.’ In order to obtain images that were more monochrome in tint, Ziegler worked with gum printing, bromoil (also known as ‘pigmo’) printing, and bromoil transfer. He also considered the Hochheimer process as ‘highly suited to make beautiful things with relatively little trouble’. In addition, Ziegler added extensive drawing work to his photographic portraits, not only to sharpen characteristic lines, but also to metamorphosise them into works of near abstraction. This sometimes led to results that were Cubist in appearance.
In the same period that Ziegler was trying to reduce halftones to singular, characteristic lines of a portrait, he was also working with duplo (‘double-coated print’) photography. It was typical of him to experiment with two entirely different methods simultaneously. With duplo photography the goal was to enhance the variation in the grey tints, without damaging a photo’s more subtle characteristics. For this purpose, Ziegler made an enlargement on paper on which parts of the image could be highlighted with chalk. Next, a new negative was made from this paper image, which itself was then retouched. Subsequently, this new negative was printed with a fine printing process. The final product of this duplo photography was a portrait, from which one was unable to determine whether it was a photo or a drawing. Such ambiguity was not appreciated by everyone, but Ziegler managed to garner considerable success with duplo photography: he gave frequent lectures to explain this process and received several awards stemming from it.
At the start of the 1930s, Ziegler was dissatisfied with the options that were available for lighting. Up to this time, if one wished to achieve an accurate representation of colour in photography, one was obliged to add dyes to the photographic emulsion. Even then, one still had to find filters that were suitable for each kind of plate—to be used in conjunction with certain lamps— in order to obtain the correct level of brightness. This was a time-consuming activity. While on a study trip to Germany, during which he met with various skilled photographers and representatives of the German film industry, Ziegler tried to find a solution to the deficient reproduction of colour with the photographic medium. He viewed the advice he received regarding the use of make-up on his models as a feeble solution to his problem. In his investigation of the use of sodium light in photography, Ziegler’s collaboration with the Dutch company Philips had come precisely at the right moment. Up to this point, Philora light—a monochromatic yellow-orange light—had been used to light highways and airfields. By introducing Philora light, Ziegler was able to achieve perfect colours, without the use of filters or any other kind of aid. An important advantage was the highly advantageous distribution of light. This facilitated better transitions from light to dark, and when ‘applied indirectly’, as Ziegler observed, there was no light that ‘works so soft, so unbelievably subtle, so minimally irritating to the eyes’. A major advantage for portrait photography was that sodium light had no effect on the iris, causing it to contract, thereby allowing the pupil to remain larger. As a result, the eyes of the person portrayed were perceived as being much more expressive. The soft and bright light of the Philora lamp, allowing tints of grey to remain natural, proved beneficial to Ziegler’s portrait photography. Accordingly, he advocated that this kind of light be used with greater frequency in photography.
In the 1930s, the interest in colour photography grew and its implementation on a larger scale appeared within reach. Inevitably, questions were beginning to be raised concerning the implications of colour photography for black-and-white. Ziegler was fearful that latter would be pushed the wayside. In 1939, he wrote: ‘Is black-and-white in fact not the ideal medium to engage in and of itself for the full 100%? Will we be able to allow ourselves the same amount of freedom with colour photography, as we have now?’ Despite his concerns, Ziegler still experimented with colour—just as he had done with countless other photographic techniques. Virtually nothing has been preserved of his colour work, barring an occasional exception, such as the wedding portrait of Princess Juliana and Prince Bernard, together with both mothers-in-law. His activity in this area was most likely limited to experiments, his autonomous work—he submitted colour photos to the 1932 exhibition The Modern Spirit in Photography, organised by the Royal Photographic Society in London—and photos taken for private use. There is nothing to indicate that Ziegler ever offered colour portraits in his role as a professional photographer.
Ziegler shared his knowledge and ideas regarding photography with many of his fellow colleagues as well as amateur photographers, both orally and in written form. He gave numerous lectures, chiefly to (amateur) photography associations, but also to organisations such as the business-training programme at Philips. He spoke about topics with which he was involved in his work: portrait photography, tonal scale, duplo photography, the application of new light sources such as Philora light, the latest movements in photography, as well as the ideal organisation for a professional association.
Throughout his career, Ziegler’s tenets concerning photography were based on the view that an artist or photographer had to be free in his actions. He believed it was permissible to go to great lengths when intervening in the process of a photo’s evolution, using every technique that was available. In 1927, Ziegler wrote in Lux-De Camera: ‘Photography is a mechanical process, but who is using the camera makes a difference: the desire to achieve what’s standing before one’s eyes can lead to art (…) The circumstances in which one has to take a shot can be highly unfavourable, one must therefore be able to make improvements.’ Two years later, he underscored this position once again: ‘Art arises only then, when the artist is entirely free in his expressions of beauty. (…) Artists who assess an artwork based on technique are not assessors of art, but rather of technique.’ When it came to retouching, Ziegler placed one limitation on himself: it was permissible, as long as it did not affect the chief characteristics of photography.
With fine printing processes and, after 1925, duplo photography, Ziegler enjoyed the creative liberty that he had envisioned for photography. Ziegler defended his right to free licence, as well in his dealings with clientele. He was averse to convention and maintained the view that, in order to do quality work, one was not to be too strongly influenced by the wishes of the client. ‘One must try and get the public to the point where the photographer is permitted to do as he pleases, and then he has a chance. We must see the conventional portrait as a contrast to the modern, freely conceived work.’ Furthermore, if the photographer viewed his work merely as a source of income, he would not be capable of producing a quality piece. With these words, Ziegler clearly draws a distinction between the traditional notion of quality encountered in an ordinary portrait studio and his own ideas concerning artistry in photography.
One of the conditions for taking a good portrait photo, according to Ziegler, was that the model’s character was to become clearly evident. ‘The first requirement when doing a portrait is that we assess the temperament of our model, and take account of this in our impression. (…) Portrait photography can only survive by striving to make portraits that are unequivocally psychological.’ In order to obtain a good portrait, the client was not to be all too aware of the fact that he was about to be photographed. It was therefore important that he truly felt at ease in the photographer’s studio.
As an advocate of a free, creative photography—without boundaries imposed by the medium—Franz Ziegler had difficulty with the emerging movement of New Photography. Upon attending the exhibition Foto ’37 at the Stedelijk Museum in Amsterdam, he described the majority of what was being shown as not ‘exhibition worthy’. On 23 October 1937, he wrote in the magazine Focus: ‘(…) most of the exhibitors believe that shutter-clicking and glossy paper are all that is required for one to be a photographer and be able to exhibit photos.’ Ziegler did, however, appreciate the work of Eva Besnyö, Clara Pronk, Lood van Bennekom, Carel Tirion, Jan Cornelis Mol, and Karel Kleijn. He asked himself: ‘Is this exhibition merely a noisy complaint against the existing mistakes and deficiencies (…) Or is it opposition, materialisation, technicalisation, without any deeper impact? If this is indeed actually the case, too bad, because photography is then digging its own grave.’
Ziegler’s view of photography’s future was far from optimistic. He believed it was about to enter a difficult phase and even feared its survival as a profession. This concern was in part motivated by the expectation that colour processes would eventually supplant black-and-white photography. In the long-term, he also believed that photography might someday be surpassed by film, as a medium that captures the real world. It was for this reason that Ziegler argued that professional photographers should work together. A trade organisation could promote their interests in a more effective manner.
Ziegler once referred to himself as ‘propagandist of photography’—a title that he fully substantiated. He informed his fellow colleagues of any new discovery, at the first opportunity. His lectures on portrait photography, duplo photography, and Philora light were received with great interest.
More than anything, Franz Ziegler was a champion of a creative approach to photography. As a man averse to restrictive precepts (something he also observed in New Photography), he strove for total freedom in composition, technique, and style. In this respect, Ziegler was of the same mind as Henri Berssenbrugge, who professed the same freedom. Ziegler expressed his opinions not only visually, but often verbally as well. For this reason, he was also an esteemed organiser and an inspirational figure in photography.
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Photography in Holland, in Photograms of the Year 1925, p. 23.
Photography in Holland, in Photograms of the Year 1926, p. 23.
Het gebruik van monochromatisch licht in de fotografie, in Cosmorama 2 (maart 1936) 3, p. 28-29.
Industrieele opnamen, 6 (3 januari 1924) 1, p. 6-9.
Toonwaarden in de fotografie, 6 (6 november 1924) 23, p. 557-558.
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Fotografie als kunstuiting, 7 (1 augustus 1925) 16, p. 352-359.
Open brief aan het bestuur der N.F.P.V, 8 (27 maart 1926) 7, p. 149-150.
Ingezonden. (Buiten verantwoording der redactie), 9 (24 september 1927) 20, p. 509.
(Advertentie), 15 (10 februari 1930) 3, p. IV.
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Gedachten over opleiding in de fotografie II, 12 (25 juli 1930) 15, p. 276-278.
Gedachten over opleiding in de fotografie III, 12 (22 augustus 1930) 17, p. 315-316.
Ingezonden stukken. Buiten verantwoording der redactie, 12 (5 september 1930) 18, p. 343.
Gedachten over opleiding in de fotografie IV, 12 (3 oktober 1930) 20, p. 369-371.
Gedachten over opleiding in de fotografie V, 12 (28 november 1930) 24, p. 457-458.
Gedachten over opleiding in de fotografie VI, 12 (13 december 1930) 25, p. 467-468.
Gedachten over vakopleiding in de fotografie VII, 13 (6 maart 1931) 5, p. 82-84.
Gedachten over vakopleiding in de fotografie VIII, 13(17 april 1931 ) 8, p. 140-141.
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Ingezonden. (Buiten verantwoording der redactie), 13 (24 juli 1931) 15, p. 285.
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De tweede intern. Focus salon, 18 (2 oktober 1936) 20, p. 379-380.
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J.A.M, van Liempt en P. Leydens, Fotografie bij kunstlicht, Eindhoven (Lecturis) 1939, p. 18, 20, 34-36, 39.
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6 (3 januari 1924) 1, p. 11 (Atelier Ziegler).
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8 (13 februari 1926) 4, na p. 86 (Atelier Ziegler).
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27 (27 april 1940) 9, p. 267.
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1926, pl. LX.
1930, pl. LVI.
Auteur onbekend, Nederlanders in den vreemde, in De Camera 17 (15 september 1925) 22, p. 295.
Auteur onbekend, Bij onze illustraties, in De Camera 17 (15 oktober 1925) 24, p. 330.
A. Boer, Onze werkers. Veertig jaren fotografie, 1887-1927, z.p., 1927.
Auteur onbekend, Hollandsche successen, in De Camera 19 (7 mei 1927) 23, p. 358.
J.W. Boon (voorw.), Veertig jaren fotografie. Gedenkboekje uitgegeven door de Nederlandsche Amateur-Fotografen-Vereeniging ter gelegenheid van haar veertig jarig jubileum 7 sept.-5 nov. 1927, Amsterdam 1927, p. 102.
Auteur onbekend, A.F.V. Rotterdam, in Lux-De Camera 38 (19 november 1927) 23, bijlage Bondsnieuws 5 (19 november 1927) 3, p. 11-12.
Catalogus tent. The modern spirit in photography, Londen (Royal Photographic Society of Great Britain) 1932.
Auteur onbekend, Een uurtje bij den hoffotograaf. Een onderhoud met Franz Ziegler, in De Maasbode 23 december 1934.
W. Verwey, Tweede Amsterdamse kerstsalon van fotografische kunst, in Cosmorama 2 (januari 1936) 1, p. 7-8.
C.J.J. Schaepman, Franciscus Xaverius Wilhelmus Josephus Ziegler (overleden), in Cosmorama 5 (december 1939) 12, p. 183-184.
Aug. Grégoire, Honderd jaar fotografie, Bloemendaal (Focus) 1948, p. 30, 36 (met foto’s).
Adri de Waard, Een halve eeuw hoffotografie, in De Spiegel (25 april 1959) 30, p. 8-16, 36.
HJ. Scheffer, Portret van een fotograaf. Henri Berssenbrugge 1873-1959, Leiden (Sijthoff) 1967, p. 29-31, 37-39.
Auteur onbekend, Hof-fotografen, in De Telegraaf13 mei 1967, bijlage.
Claude Magelhaes (samenstelling), Nederlandse fotografie. De eerste honderd jaar, Utrecht/Antwerpen (Bruna & Zoon) 1969, p. XXI, pl. 82, 97.
Ingeborg Th. Leijerzapf (red.), Fotografie in Nederland 1839-1920, Den Haag (Staatsuitgeverij) 1978, p. 108.
Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 10-11, 40, 90, 94-95, 102, 107, 159 (met foto’s).
Fred Lammers, Hoffotografie in heden en verleden, in Ons Koningshuis 13 (augustus 1983) 27, p. 3-7.
Harry Ruiken, De „andere” Schaepman, in Photohistorisch Tijdschrift 9 (1986) 2, p. 16-19.
Ingeborg Th. Leijerzapf (red.), Het Fotografisch Museum van Auguste Grégoire. Een vroege Nederlandse fotocollectie, Den Haag (SDU) 1989, p. 19, 29, 31, 133, 143-149 (met foto’s).
A.B. (= Adriaan Boer), Fotografisch vakonderricht in Duitschland, 3 (24 november 1921) 24, p.407-408, 410.
Auteur onbekend, De fotografische tentoonstelling in het Stedelijk Museum te Amsterdam, 4 (22 juni 1922) 13, p. 283-288.
Auteur onbekend, Onze platen, 6 (17 januari 1924) 2, p. 36.
Auteur onbekend, Uitslag prijsvraag voor atelierverlichting met Philips’ gloeilampen, 7 (6 juni 1925) 12, p. 262-263.
Auteur onbekend, Bij de platen, 7 (20 juni 1925) 13, p. 292.
C.G.L., Ned. Fotografen Patroons Vereeniging, 8 (27 maart 1926) 7, p. 149.
Tuinzing, Franz Ziegler te Wimbledon, 8 (8 mei 1926) 10, p. 245.
W.H. Niestad, Een nieuw propagandamiddel?, 9 (15 januari 1927) 2, p. 28-29.
Auteur onbekend, Radio-voordracht Franz Ziegler, 9 (29 januari 1927) 3, p. 70-71.
Auteur onbekend, Een belangrijke onderscheiding voor Franz Ziegler, 9 (4 juni 1927) 12, p. 300.
Adr. Boer, Eenige bijzonderheden over Nederlandsche fotografen, 10 (14 januari 1928) 1, p. 17-21.
Auteur onbekend, Tentoonstelling Fr. Ziegler, Den Haag, 11 (20 juni 1929) 25, p. 295.
R., Modern fotowerk, 11 (20 juni 1929) 25, p. 295-297.
Auteur onbekend, De Haagsche collega’s in actie, 11 (27 juni 1929) 26, p. 302-303.
A.B., N.F.K. tentoonstelling in Pulchri Studio, Den Haag, 12 (19 september 1930) 19, p. 348-350.
A.B., Een zeldzaam jubileum. R. Ziegler, vijftig jaar fotograaf, 12 (27 december 1930) 26, p. 482-483.
Auteur onbekend, Robert Mathias Ziegler. (overleden), 13 (18 september 1931) 19, p. 343.
Auteur onbekend, Bij de platen van Fr. Ziegler, 14 (8 januari 1932) 1, p. 1-2.
Auteur onbekend, Brand Atelier Ziegler, Den Haag, 14 (8 april 1932) 7, p. 117.
Auteur onbekend, Brand bij Ziegler, 14 (22 april 1032) 8, p. 136.
A.B., Het herbouwde atelier van Franz Ziegler, 14 (4 november 1932) 22, p. 414-415.
Auteur onbekend, Franz Ziegler verloofd, 14 (30 december 1932) 26, p. 490-491.
A.B., Tentoonstelling „Bekende Landgenooten”, 16 (29 juni 1934) 13, p. 220-224.
Auteur onbekend, Bij de platen van „Bekende Landgenooten”, 16 (13 juli 1934) 14, p. 237.
Bern. F. Eilers, Bij de platen in dit nummer, van collega’s Ziegler en Merkelbach, 16 (24 augustus 1934) 17, p. 293-294.
A.B., De groote tentoonstelling en jaarvergadering der NFPV, 17 (14 juni 1935) 12, p. 215-218.
A.B., De N.F.P.V. tentoonstelling in „Pulchri Studio”, 17 (14 juni 1935) 12, p. 229-231.
A.B., Over de toepassing van nieuwe lichtbronnen, 17 (28 juni 1935) 13, p. 247-248.
Auteur onbekend, Bij de platen in dit nummer, 17 (23 augustus 1935) 17, p. 316.
Auteur onbekend, Bij de platen in dit nummer, 17 (18 oktober 1935) 21, p. 394.
Streefkerk, Opnamen maken met natriumen kwiklicht in het Atelier Ziegler, 18 (24 januari 1936) 2, p. 22-23.
Auteur onbekend, Bij de platen in dit nummer, 18 (21 augustus 1936) 17, p. 322.
A.B., Het nieuwe atelier van Franz Ziegler, Den Haag, 19 (14 mei 1937) 10, p. 180-181.
P. Brandsma, Jaarverslag van den secretaris der N.F.P.V. over 1936, 19 (28 mei 1937) 11, p. 209-211.
A.B., Het gouden jubileum der N.A.F.V., 19 (26 november 1937) 24, p. 443-444.
Auteur onbekend, Bij de platen, 19 (10 december 1937) 25, p. 461-462.
Auteur onbekend, Franz Ziegler over Philora licht in Londen, 19 (10 december 1937) 25, p. 462.
Auteur onbekend, Franz Ziegler herstellend, 21 (22 september 1939) 19, p. 356.
Adr. B., Franz Ziegler (overleden), 21 (17 november 1939) 23, p. 445-447.
Auteur onbekend, Bij de platen in dit nummer, 22 (28 juni 1940) 13, p. 219-220.
Auteur onbekend, Bij de platen, 22 (20 september 1940) 19, p. 331-332.
A.B., De achtste jaarlijksche tentoonstelling der N.A.F.V., 8 (2 juni 1921) 11, p. 218-221.
Auteur onbekend, Hollanders buiten, 8 (6 oktober 1921) 20, p. 434.
Auteur onbekend, Tentoonstelling „De Mensch”, 9 (1 juni 1922) 11, p. 227-228.
B., De negende jaarlijksche salon, 9 (15 juni 1922) 12, p. 252-255.
A.B., „Focus”-prijsvraag „Busteportretten met groote koppen”, 11 (7 februari 1924) 3, p. 66-67.
A.B., De internationale salon van fotografische kunst te Brussel, 11 (1 mei 1924) 9, p. 236-238.
A.B., De tiende tentoonstelling van fotowerken te Amsterdam, 11 (15 mei 1924) 10, p. 259-262.
Auteur onbekend, Leeuwarder Amateur Fotografenclub, 11 (13 december 1924) 25, p. 690.
G.O. ‘t Hooft, Notulen van de maandelijksche vergadering op woensdag 27 mei 1925, 12 (13 juni 1925) 12, p. 299-300.
Auteur onbekend, Onze platen, 12 (5 september 1925) 18, p. 425.
Auteur onbekend, Franz Ziegler in de Royal, 12 (19 september 1925) 19, p. 450.
A. Verschure, The London salon of photography 1925, 12 (3 oktober 1925) 20, p. 477-478.
Auteur onbekend, Onze Boekenkast. „Photograms of the Year”, 12 (26 december 1925) 26, p. 637.
Tuinzing, De eerste internationale fotografietentoonstelling te Zaragoza, 12 (26 december 1925) 26, p. 639.
A.B., De fotosalon te Zwolle, 13 (6 februari 1926) 3, p. 60-61.
A.B., Het Hollandsche werk op den fotosalon te Arnhem, 13 (29 mei 1926) 11, p. 275-279.
A. Verschure, The London salon of photography 1926, 13 (18 september 1926) 19, p. 482-483.
Auteur onbekend, Bij de platen, 13 (2 oktober 1926) 20, p. 505.
A. Verschure, Een en zeventigste jaarlijksche tentoonstelling Royal Photographic Society, 13 (2 oktober 1926) 20, p. 508-509.
Leo R. Kryn, Notulen van de eerste maandelijksche vergadering op woensdag 9 februari 1927, 14 (19 februari 1927) 4, p. 113-114.
Auteur onbekend, Voordrachten Fr. Ziegler, 15 (27 oktober 1928) 22, p. 582.
Auteur onbekend, Tentoonstelling Fr. Ziegler, Den Haag, 16 (22 juni 1929) 13, p.341.
Auteur onbekend, Ziegler portretten bij Kleykamp, 18 (9 mei 1931) 10, p. 268.
Adr. Boer, De fotosalon van „Klank en Beeld”, 19 (30 april 1932) 9, p. 259-262.
Auteur onbekend, Voordrachten Fr. Ziegler, 19 (19 oktober 1932) 22, p. 662.
Auteur onbekend, Bij de portretten in dit nummer, 21 (23 juni 1934) 13, p. 349-350.
Auteur onbekend, Bij de platen, 21 (18 augustus 1934) 17, p. 461-462.
Auteur onbekend, Bij de platen in dit nummer, 21(1 september 1934) 18, p. 487-488.
H.J. Herbig, Haagsche A.F.V., 22 (2 maart 1935) , p. 152.
Auteur onbekend, Beknopte analyse der platen in dit nummer, 22 (20 juli 1935) 15, p. 436.
Auteur onbekend, Honderd jaren fotografie, 26 (21 januari 1939) 2, p. 45.
H. Frank, De gecombineerde fototentoonstellingen: „Nederland fotografisch gezien” en de „5e Amsterdamsche kerstsalon”, ter herdenking van het honderdjarig bestaan der fotografie, 26 (21 januari 1939) 2, p. 69.
Auteur onbekend, Frans Ziegler. [overleden], 26 (25 (november 1939) 24, p. 714-715.
Auteur onbekend, Beknopte analyse der platen in dit nummer, 27 (27 april 1940) 9, p. 262.
D.B. (= Dick Boer), N.A.F.V. salon „Het Baken”. 27 april to 5 mei 1940, 27 (27 april 1940) 9, p. 256-258.
Zwolse Amateur Fotografen Vereninging, vanaf 1916.
NFPV, vanaf 1926 (voorzitter afdeling Den Haag vanaf ca. 1935).
Jury Fotografendag NFPV, Amsterdam 1927.
Royal Photographic Society, Associate vanaf 1927.
Jury van toelating Internationale Tentoonstelling van Fotokunst (BNAFV), Arnhem 1928.
Jury fotowedstrijd Mooi ’s-Gravenhage (wedstrijd uitgeschreven door de historische vereniging Die Haghe), Den Haag, 1929.
Jury fotowedstrijd Onze Dierentuin (wedstrijd uitgeschreven door de firma J.B.Hijmans), 1929.
Jury Fotosalon Klank en Beeld, Amsterdam, 1935.
Jury NFPV-tentoonstelling, Den Haag, 1935.
Redactie Cosmorama, van ca. 1935-1939.
Jury tentoonstelling De Residentieweek 1936, Den Haag, 1936.
Jury Nationale Gouden Fotoschouw, Amsterdam 1937.
1922 Tweede prijs (voor foto van een zittend naakt), tentoonstelling De Mensch, Amsterdam.
1923 Eerste prijs (verzilverde Focusplaquette), klasse vakfotografen, Focusprijsvraag ‘Buste portretten met groote koppen’.
1925 Grand prix, Eerste Internationale Fotografietentoonstelling, Zaragoza.
1925 Eerste prijs (ƒ150,-), Prijsvraag N.V. Philips’ Gloeilampen Fabrieken ‘Atelierverlichting met Philips’ gloeilampen’.
1925 Bronzen en zilveren medaille, New Westminster Salon, New Westminster (Canada).
1925 Erediploma, Internationale Fototentoonstelling, Bandoeng.
1926 Tweede prijs (zilveren medaille), Tentoonstelling van The Wimbledon Camera Club, Wimbledon.
1926 Eerste prijs, afdeling artistieke kwaliteiten, Fotografendag NFPV, Amsterdam.
1927 Associate of The Royal Photographic Society.
1927 Verguld zilveren medaille, Jubileumtentoonstelling NFK, Utrecht.
1927 Eén der tien 5de prijzen, Prijsvraag uitgeschreven door het tijdschrift American Photography.
1935 Erediploma, NFPV-tentoonstelling, Den Haag.
1935 Eerste prijs (verguld zilveren bondsmedaille), Tweede Amsterdamse Kerstsalon van Fotografische Kunst (AAFV), Amsterdam.
1939 Bronzen plaquette van de AAFV, 5e Amsterdamsche Kerstsalon van Fotografische Kunst (AAFV), Amsterdam.
1921 (g) Amsterdam, Stedelijk Museum, Achtste Jaarlijksche Nationale Tentoonstelling van Fotowerken (NAFV).
1921 (g) Londen, The London Salon of Photography.
1922 (g) Amsterdam, Stedelijk Museum, Negende Jaarlijksche Tentoonstelling van Fotowerken (NAFV).
1922 (g) Amsterdam, Paleis van Volksvlijt, De Mensch.
1923 (g) Dordrecht, Localiteiten van de Dordtsche Vrouwenclub, Fotosalon Dordrecht.
1924 (g) Brussel, Cercle Artistique et Litteraire (5, Rue de la Loi), IX Internationalen Salon van Kunstfotografie.
1924 (g) Amsterdam, Stedelijk Museum, Tiende Jaarlijksche Tentoonstelling van Fotowerken (NAFV).
1924 (g) (g) Leeuwarden, De Harmonie, (Leeuwarder Amateur Fotografenclub).
1924 (g) Londen, Galleries of the Royal Society of Painters in Water Colours, The London Salon of Photography.
1924 (g) New Westminster (Canada), International Exhibition ofPictorial Photography.
1925 (e) Londen, Lokalen van the Royal Photographic Society.
1925 (g) Londen, Galleries of the Royal Society of Painters in Water Colours, The London Salon of Photography.
1925 (g) Londen, Princes Galleries, Internationale Tentoonstelling van Beroepsfotografie.
1925 (g) Zwolle, Kunstkring.
1925 (g) Toronto, Toronto Salon.
1925 (g) Zaragoza, Centro Mercantil, Eerste Internationale Fotografietentoonstelling.
1925 (g) Leeuwarden, De Harmonie.
1925 (g) Bandoeng, Jaarbeurs, Internationale Fototentoonstelling.
1925 (g) New Westminster (Canada), New Westminster Salon.
1926 (g) Zwolle, (Zwolse AFV).
1926 (g) Wimbledon, (Wimbledon Camera Club).
1926 (g) Arnhem, Korenbeurs, (BNAFV).
1926 (g) Amsterdam, Gebouw Heystee, Fotografendag NFPV.
1926 (g) San Francisco.
1926 (g) Londen, Galleries of the Royal Society of Painters in Water Colours, The London Salon of Photography.
1926 (g) Londen, (Royal Photographic Society).
1926 (g) Zaragoza, Centro Mercantil, Tweede Internationale Fotografietentoonstelling.
1926 (g) Toronto, The first Annual Salon of Pictorial Photography held al the Canadian National Exhibition.
1927 (g) Utrecht, Jaarbeurs, Jubileumstentoonstelling NFK.
1927 (g) Budapest, Tweede Budapester Internationale Kunstphotographie Tentoonstelling.
1927 (g) Londen, Galleries of the Royal Society of Painters in Water Colours, The London Salon of Photography.
1927 (g) New Westminster (Canada).
1927 (g) Amsterdam, Koopmansbeurs, Fotografendag NFPV.
1928 (g) Praag, Lokalen van de Vereeniging voor Schone Kunsten van Bohemen, Internationale Salon van Fotokunst.
1928 (g) Seattle, Vierde Internationale Tentoonstelling van Kunstfotografie (Seattle Camera Club).
1928 (g) Londen, Galleries of the Royal Society of Painters in Water Colours, The London Salon of Photography.
1928 (g) Arnhem, Internationale Tentoonstelling van Fotokunst (BNAFV) (rondreizende tentoonstelling).
1929 (e) Den Haag, Kunstzaal Boucher.
1929 (g) Toronto, Canadian National Exhibition.
1929 (g) Göteborg.
1929 (g) Dublin, Irish Salon of Photography.
1930 (g) Den Haag, Pulchri Studio, (NFK).
1931 (e) Den Haag, Koninklijke Kunstzaal Kleykamp.
1931/1932 (g) Antwerpen, Iris-Kerstsalon.
1932 (g) Hengelo, Stork-school, Hengelose Jubileumstentoonstelling 1922-1932.
1932 (g) Den Haag, Gemeentearchief, Jubileumstentoonstelling van de HAFV.
1932 (g) Amsterdam, Rai, Fotosalon Klank en Beeld.
1932 (g) Londen, Royal Photographic Society (35 Russell Square), The modern spirit in photography.
1933 (g) Brussel.
1933 (g) (Wales), Barry Camera Club.
1934 (g) Amsterdam, Leesmuseum, Bekende Landgenooten (rondreizende tentoonstelling).
1935 (g) Den Haag, Pulchri Studio, (NFPV).
1935 (g) Amsterdam, Verenigingsgebouw AAFV (Keizersgracht 428-430), Tweede Amsterdamse Kerstsalon van Fotografische Kunst (AAFV).
1935 (g) Rotterdam, (AFV Rotterdam).
1936 (g) Düsseldorf, Tentoonstellingszalen aan de Rijnkade, Film und Foto.
1936 (g) Den Haag, Museum Mesdag, De Residentieweek 1936.
1937 (g) Amsterdam, Stedelijk Museum, foto ‘37,
1937 (e) Den Haag, N.V. Fotografisch Atelier Franz Ziegler (Alexanderstraat), (tentoonstelling t.g.v. de opening van het nieuwe atelier van Ziegler in de Alexanderstraat).
1937 (g) Amsterdam, Arti et Amicitiae, Nationale Gouden Fotoschouw (NAFV).
1939 (g) Den Haag, Gemeentearchief, Honderd jaar fotografie.
1939 (g) Amsterdam, Leesmuseum, 5e Amsterdamse Kerstsalon van Fotografische Kunst (AAFV).
1940 (g) Amsterdam, Gebouw Heystee, Het Baken (NAFV).
1962 (g) Leiden, Stedelijk Museum De Lakenhal, Samen op de kiek.
1969 (g) Den Bosch, Noordbrabants Museum, Nederlandse Fotografie, de eerste honderd jaar (rondreizende tentoonstelling).
1979/1980 (g) Den Haag, Gemeentemuseum, Foto 20-40.
1983/1984 (g) ‘s-Gravenzande, Honderd jaar Oranjevorstinnen (rondreizende tentoonstelling).
1989 (g) Gouda, Stedelijk Museum Het Catharina Gasthuis, Het Fotografisch Museum van Auguste Grégoire.
Amsterdam, M. Ziegler, documentatie en mondelinge informatie.
Den Haag, Gemeentearchief.
Den Haag, Koninklijk Huisarchief.
Den Haag, Nederlands Postmuseum.
Eindhoven, Philips Company Archives (PCA).
Hengelo, F. Bakker, mondelinge informatie.
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
St. Michelsgestel, M.van Gardingen-Cooijmans, documentatie (o.a. een door Ziegler zelf uitgetypte lezing gehouden op 27 april 1936 in de gehoorzaal van de Philips’ Bedrijfsschool) en mondelinge informatie.
Velp, F. Ziegler, documentatie en mondelinge informatie.
Zwolle, H. Ruiken, documentatie en mondelinge informatie.
Den Haag, Gemeentearchief.
Den Haag, Koninklijk Huisarchief.
Den Haag, Rijksvoorlichtingsdienst.
Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.