PhotoLexicon, Volume 9, nr. 18 (April 1992) (en)

Ed van Wijk

Flip Bool


Ed van Wijk, a photographer who worked in The Hague, published numerous photobooks, was a photography instructor at three institutions for years, and was an active member of several important Dutch photography organisations. Until recently, only Van Wijk’s post-war work was known. The archivisation of Van Wijk’s legacy has now revealed that he also illegally documented the consequences of the German occupation in The Hague during the years of World War II.




Eduard (Ed) van Wijk is born on 3 September in Groningen as the third son of Catharina Frederica Schenk and Leonard van Wijk, an architectural civil servant with the Rijksgebouwendienst (‘Dutch Government Buildings Agency’).


The Van Wijk family moves to Delft.


The Van Wijk family moves to The Hague, at De Carpentierstraat 151. Ed van Wijk attends the MULO (Meer Uitgebreid Lager Onderwijs, a lower-level secondary school) on the Van der Parrastraat in The Hague.


Van Wijk receives his MULO diploma, followed one year later by a diploma from the three-year programme at the HBS (Hogere Burgerschool, an upper-level secondary school) on the Eerste Van den Boschstraat.


Van Wijk studies to become a pharmacist’s assistant with ‘Apotheek Swart’ (‘Swart Pharmacy’) on the Laan Copes van Cattenburch. He receives his diploma in 1939.


Van Wijk travels to Iceland. He chooses photography as his profession. Van Wijk’s first major commission is to photograph in colour the Crabeth Brothers’ stained glass windows of the Saint John’s Church in Gouda. This work is based on the impending threat of war.


Via Simon Carmiggelt, Van Wijk finds work as the staff photographer for both the Residentie Tooneel (‘Residency Theatre’) and later the Haagse Comedie (‘Hague Comedy’).


Van Wijk lives on his own at Zoutmanstraat 14.


On 27 December, Ed van Wijk weds Hiba Sophie (Helga) Weyman. They move to a house at Willemstraat 34 (later renumbered as No. 94).


The Van Wijks produce four children: Evert Christiaan (1945), Maria Magdalena (1947), Leonard Pieter Jeroen (1949), and Rosalind Henriette Judith (1954).


In September 1946, Ed van Wijk travels for a week with H.G.L. Schimmelpenningh to Davos, Switzerland, to photograph the Nederlands Sanatorium (‘Netherlands Sanatorium’). At the end of that year, Van Wijk once again visits Davos, but stays this time for a period of four months. The photographic results of this extended stay have not yet been traced at this time.


Ed van Wijk receives an honourable mention at the 12e Nationale Kerstsalon van Fotografische Kunst (’12th National Christmas Salon of Photographic Art’) in Amsterdam.


Starting in 1951, Van Wijk is an aspirant member of the NFK. From 1953 on, he belongs to the select group of principal members.


Van Wijk does a reportage on the flooding disaster in the province of Zeeland. Several of these photos are published in foreign magazines, such as Paris Match and The Observer.


Van Wijk’s first photobook Nederland. Wonder uit water is published by Uitgeverij W. van Hoeve in The Hague.


During these years, Van Wijk sits on the jury of the NFK.


Van Wijk is approached by Livinus van de Bundt, the founder and director of the Vrije Academie (‘Free Academy’) in The Hague, for a position as a photography instructor at this institution.


In 1959, Van Wijk becomes an instructor at the School voor Fotografie en Fototechniek (‘School of Photography and Photographic Technique’) in The Hague.


Van Wijk is a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’).


Van Wijk accepts his third teaching position at the Akademie voor Beeldende Kunsten (‘Academy of Visual Arts’) in Arnhem.


As of 1 September, Ed van Wijk is a member of the voting committee of the ‘Creatieve Werkgroep NFK’ (‘Creative Workgroup NFK’), after the NFK officially becomes part of the NFPV in this same year.

Van Wijk’s teaching position at the Vrije Academie is terminated.

Van Wijk takes a trip to London.


Having reached retirement age, Van Wijk relinquishes his activities as a teacher both at the MTS voor fotografie en fotonica (Middelbare Technische School, ‘Intermediate Technical School of Photography and Photonics’) in The Hague and the Akademie voor Beeldende Kunsten in Arnhem.


Ed van Wijk transfers his archive to the Stichting Nederlands Fotoarchief (‘Netherlands Photo Archive Foundation’, today the Netherlands Photo Museum) in Rotterdam.


Ed van Wijk dies on 25 November.


Ed van Wijk was not the kind of man to place much value on being in the limelight. Having started out in 1939, Van Wijk modestly evolved to become a photographer in the years after the war. His oeuvre was appreciated chiefly within the NFK. Van Wijk lived in The Hague, which was also the home base of one of his most important clients, the publishing company W. van Hoeve. The impressive series of photobooks published by this company were somewhat overshadowed by the popular ‘photobook fund’ of the Amsterdam printing company Contact. Similarly, the NFK in The Hague stood in the shadow of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) in Amsterdam when it came to literature on the history of photography. This in part explains why the work of photographers such as Ed van Wijk—apart from personal modesty—has received, until recently, less attention than it deserves.

Like many photographers of his generation, Ed van Wijk was an autodidact. At the age of twelve, his grandfather gave him a box camera. Van Wijk experimented with this camera to his heart’s content, and on his sixteenth birthday, he purchased a second-hand Rolleicord with his savings. The Rolleicord was a type of camera with which he also preferred to photograph later in his career. Using this camera at his school, Van Wijk had his first experience with candid photography: photographing in the classroom while going unnoticed.

After obtaining his secondary school diplomas, Van Wijk wanted nothing more than to be a photographer. His parents, however, felt it was wiser for him to first learn a real profession. They presumably believed that studying to become a pharmacist’s assistant, when combined with his passion for photography, would lead to something in the vein of a pharmacy/photography store—a combination that was quite common at the time. Van Wijk obtained his diploma as a pharmacist’s assistant, but never put his education to practical use. Despite the unfavourable prospects for the future, Van Wijk decided to make his hobby his profession and chose once and for all to become a photographer. Van Wijk had been living in The Hague since 1932. Accordingly, a significant share of his archive consists of shots taken in The Hague. Van Wijk’s negatives archive is relatively limited in size (ca. 10,000 negatives). This is due to the fact that he required only one or two shots to capture the image he desired—in contrast to the practice of countless other photographers. During the war, Van Wijk had learned to be frugal with his materials. Furthermore, the use of a Rolleicord camera allowed one to work more effectively, as one could see on the ground glass screen whether the composition and the lighting were in order.

In addition to the Rolleicord, Van Wijk was also quick to purchase a Leica 35 mm camera. He took this camera with him on his trip to Iceland (via Norway) in 1939, which he was able to afford thanks to a well-paying wedding reportage made for the Zumpolle family. The images from this trip were lost due to an error made during the developing of the colour slide film rolls.

Although Van Wijk later took practically all of his shots in black and white alone, he initially worked intensively with colour photography. Because of the colour films that Kodak and Agfa had introduced onto the market in 1935 and ’36, photographers and their clients were devoting significant attention to the possibilities and applications of the colour process during these years, which was still quite new.

Van Wijk’s early experiences with colour photography were what led to his first official commission. He was bestowed the honour of photographically documenting the most significant details of the Crabeth Brothers’ famous sixteenth-century stained glass windows of the Saint John’s Church in Gouda, both in colour and black-and-white. With the threat of war ever impending, these ‘Gouda windows’ had been removed from the church and placed under the protection of farmers.

Van Wijk was never directly involved in the goings-on of the war. His asthmatic condition had exempted from military conscription. Although not really a reportage photographer—his initial practice consisted chiefly of taking portraits and wedding photos—the consequences of the German occupation motivated him to start photographing during the initial days of the war. Just days after the devastating bombardment of Rotterdam, he biked to the city and photographed the crashed German planes that he passed along the way. It was not until more than four years later that this series of photos was to have a sequel. This occurred after the liberation of Antwerp, Belgium, when it appeared that the end of war was also in sight for the Netherlands. Photography had become virtually impossible, considering all the restrictive measures taken by the German occupier and the shortage of photo material. But Ed van Wijk saw his chance—as one of the very few—to illegally photograph historic events such as ‘Dolle Dinsdag’ (‘Mad Tuesday’), the evacuation of the ‘Marlot’ neighbourhood in The Hague (directly adjacent to Wassenaar), the bicycle raids of October 1944, and the raids in association with the ‘Arbeitseinsatz’ (forced labour deployment) on 21 November 1944. In early March 1945, Van Wijk ventured out with his Leica to photograph the disastrous consequences of the bombardment of the Bezuidenhout neighbourhood in The Hague. In the final days of April, he was also witness to the food droppings at Duindigt. Hereafter, he documented the liberation of The Hague in countless images.

The extensive wedding album that Helga van Wijk-Weyman kept over a period of four years, starting with her first meeting with Ed van Wijk in late September 1944, serves as a source of information regarding the events of the war, and specifically, her husband’s photos of those events. As his wife’s description of 27 April 1945 in this album relates, during this period Van Wijk printed his photos with the help of batteries, which provided weak and insubstantial light. Several of Van Wijk’s photos—with hindsight erroneously—were included in a 1988 publication on the war photos of H.G.L. Schimmelpenningh.

A number of the war photos attributed to Schimmelpenningh proved to be in fact taken by his friend Ed van Wijk, e.g. a shot depicting the removal of wooden blocks between the tram rails on the Elandstraat, as well as photos taken of the food droppings (on pages 70 and 72 of this publication). According to Van Wijk’s oral account, Schimmelpenningh had been attacked on Radio Oranje (‘Radio Orange’) for work he had done on behalf of the German Rijkscommissariaat (‘Imperial Commission’): since then he hardly dared to venture out on the street to take photographs. Van Wijk took on the responsibility of continuing to illegally document the war situation in The Hague, with his Leica 35 mm camera concealed in a handkerchief. Prints of his shots had ended up in Schimmelpenningh’s archive, leading to this erroneous attribution.

Certainly compared with Huizinga’s 450 shots of the German occupation and the liberation in The Hague, Van Wijk’s illegal photographic oeuvre from the years of the is much more limited in number and subject. What makes Van Wijk’s shots different—relative to the extant photographic material of The Hague known at the current time—is his sharp eye for detail, drama, and lighting. Van Wijk had gained experience with drama and lighting when doing work for the Residentie Toneel (‘Residency Theatre’). Along with portraits and wedding reportages, he earned his livelihood during the war primarily by photographing this group’s performances. He received these commissions via Simon Carmiggelt, a friend of Van Wijk’s brother, Jan, in the Dutch resistance.

After the liberation, Helga van Wijk kept her wedding album up to date for more than three additional years, with longer breaks in between. The album as well provides important information with respect to Van Wijk’s photographic practices in the first years after the war. He rebuilt the bedroom as a provisional studio, so that the portrait and children’s photos could be taken at his home. Photographing children was a major source of income for Van Wijk in the early years after the war, as he related in article on the topic of children’s photography published in the January 1949 issue of Bedrijfsfotografie (‘Corporate Photography’). In retrospect, these photos today appear somewhat conservative, but Van Wijk’s feeling for the play of light is remarkable. It would also figure as an important element in his work later on in his career. From the brief article that accompanies the piece, one can gain a number of insights into his working method and preferences: ‘I often venture out with my Rolleiflex (this being the camera I prefer, because you can always follow the image from the ground glass screen) to photograph children in their own homes. This has the advantage that the child and—every bit as important—also the mother, truly feel at home there. (…) I like to use a combination of daylight and artificial light. Daylight can function as the main lighting, back lighting or side lighting. In any event, the lighting has to be harmonious, above all not restless.’

From 1950 on, Van Wijk’s photos were featured in two women’s magazines on a regular basis: Eva. Het rijk der vrouw and Wij Vrouwen. These are illustrations for articles by Els Hofker, a journalist in The Hague, concerning the place of women in society. The Eva of 22 March 1952 includes an article about ‘Vrouwen, van wie men nooit iets hoort. Beroep: geen’ (‘Women one never hears about. Profession: None’). The article focuses on Helga van Wijk and her family living at Willemstraat 34 in Amsterdam, by this time with three children. The journalist followed the family for a day and reported the following: ‘Her husband is a photographer, and even though he wins prize after prize at exhibitions, he’s not a businessman. Helga assists him with this. She records the appointments; she assists with the photo finishing; she does the correspondence, sends off photos and orders materials.’

In the 1950s, the custom of author citation—which the Germans had made a requirement during the occupation—fell once again into disuse. This hampers the work of photography historians: as a consequence, finding a photographer’s published photos becomes virtually an impossible task. The same applies to Van Wijk. Only the published works for which he submitted and saved specimen copies are known to us. His name is mentioned only on a few occasions in connection with a published photo, such as on the cover of the magazine Eva of 21 February 1953: ‘Ure der beproeving [‘Hour of Tribulation’] (Foto E. van Wijk, N.F.K.)’. The photo concerns the flooding disaster in the province of Zeeland in February 1953. It shows a woman with two children beneath a blanket. Colourised and mounted on a photo of flooded Zeeland, this very same image is also featured on the cover of the Paris Match for the third week of February. Photos such as this, which radiate warmth and human sympathy, belong to a movement in photography that had already emerged during the war, but which especially drew tremendous interest in the years thereafter. This movement became known as ‘human interest’ photography, which served as the basis for Edward Steichen when putting together his famous 1955 exhibition, The Family of Man.

During and after the war, Van Wijk worked as a staff photographer for both the Residentie Tooneel and the Haagse Comedie (‘Hague Comedy’). Yet his reputation was primarily built based on the photobooks he made over the years for Uitgeverij W. van Hoeve, a publishing company in The Hague. The first volume was Nederland. Wonder uit water (‘The Netherlands. Miracle Out of Water’) from 1954, followed by the book ‘s-Gravenhage (‘The Hague’) less than one year later. Both books affirmed that Van Wijk had developed ample professional skills as an autodidact and acquired a personal vision that was completely his own.

At the time Van Wijk photographed the flooding disaster in Zeeland, W. van Hoeve had already commissioned him to make a photobook on the Netherlands. The negotiations for this project had previously been arranged with A. Menalda, a photographer in The Hague. For financial reasons, however, the deal never came to a contractual agreement and the project was reassigned to Van Wijk.

On 25 March 1954, Nederland. Wonder uit water was presented at Van Wijk’s first solo exhibition in the hall above the Van Stockum bookstore on the Buitenhof in The Hague. The book’s publication led to approximately fifty reviews, some brief and some extensive, in which the book was widely lauded. Consequently, Ed van Wijk became a well-known photographer virtually overnight. In the magazine Focus, E.A. Loeb proclaimed: ‘As this is now indeed stylistically pure photographic work, that can serve as an example for every one of us regarding what can be accomplished by solely photographic means. (…) Part of what is most beautiful about this entire oeuvre is that nowhere is there a desired effect being sought after, nowhere is there a striving for originality at any price, and still they are normal ‘photographs’, seemingly acquired without exceptional effort.’ Van Wijk is praised here mainly for his skilled craftsmanship, not for his innovative vision. Similar comments in this magazine were made by Dick Boer: ‘Van Wijk is a professional, his technique is therefore complete. Sharp from the front to the back where it’s necessary, sharp only on the main subject, where one wants it in order to isolate it from the background.’ An issue of Foto followed in June, featuring a book review written by L. van Beurden, who had more of an eye for the feeling that these photos conveyed: ‘This book is vivaciously exciting. Not only because of its dynamic layout. Not only because of the people in it. Yet—paradox—because Van Wijk himself is so serene. Manages to capture the Netherlands’ striving and working so objectively. With warmth. Because is this is the hidden diction that speaks from the photos of the Netherlands. The warmth with which Van Wijk managed to see and portray.’

To this Van Beurden added: ‘Van Wijk won’t be perturbed when we for once begin by commending the publisher W. van Hoeve of The Hague. After all, what other publisher besides Contact has the élan, the financial daring, for such a monumental photo publication. And for this task chooses a talent who is not nationally renowned.’

The reference made to the Amsterdam publishing company Contact is relevant. With the book Nederland. Wonder uit water, which had a bold format approaching that of Contact’s post-war series De schoonheid van ons land (‘The Beauty of our Country’), W. van Hoeve seems to have incited competition with Contact’s fund intentionally. Van Hoeve’s series of books on Dutch cities that followed appear to confirm this.

For Nederland. Wonder uit water, Van Wijk traveled across the Netherlands in less than two years in order to present a picture that was representative of the Netherlands. In addition to the serene manner in which he treated people, shots that are backlit and images verging on the abstract—e.g. the Rotterdam ‘Groothandelsgebouw’, Marram grass, shells, or fishing nets—play a noticeable role. One can clearly sense the accomplishments of New Photography from the 1930s as well as the spirit of Subjective Photography, propagated by Otto Steinert and coming from Germany. The Dutch representatives of these movements were united chiefly in the NFK.

Ed van Wijk was not the kind of man to be swayed by all of the praise expressed in response to his first book. More important for him—as Van Wijk confided to Max Koot at the opening of his own exhibition, according to the May 1954 issue of Fotografie—was that new commissions would be coming for other books to be published by Van Hoeve. In the end, eight books were published in total, with the last one appearing in 1963. None, however, were as successful as the book Nederland. Wonder uit water.

In mid-December 1955, W. van Hoeve published Van Wijk’s next photobook, entitled ‘s-Gravenhage (‘The Hague’), for which Meinard Woldringh also furnished twelve colour photos. The most extensive review was written by Jac van der Ster in De Groene Amsterdammer of 25 February 1956: ‘In books about the beauty of cities, Amsterdam holds a inordinately large place; that’s why it’s promising when, for once, another city asserts itself. And now I suddenly also realise it’s possible to discover through photos that which cannot be seen. I’ve been in The Hague often, but as a Rotterdamer, I had something against this city—completely unfounded by the way, and now I must say, after looking at this book, that I’ve been an idiot, and that The Hague is actually a very pretty city, with an atmosphere indeed all its own.’ Van der Ster’s personal revelations were preceded by a number of questions: ‘What exactly is the explanation for why picture books have been so popular in recent years? Is it all a consequence of reading exhaustion, or to express it less amicably, reading laziness? When seen from this angle, does the success of the Contact Photo Pocketbooks, yes, of the Skira or Phaidon books, belong to the same category as that of the picture novels and television? Is there an evolution of humanity taking place, by which visual receptiveness is taking over other kinds?’

The photobook is by no mean exclusively a post-war phenomenon. The number of photobooks that were being published in the aftermath of the war, however, did in fact soar dramatically, as Van der Ster rightfully observed. The cause of this, when viewed in retrospect, was in all probability the tremendous increase in people’s mobility and the tourism that came with it.

Between 1958 and 1961, W. van Hoeve published three more photobooks with Ed van Wijk, specifically on the cities Amsterdam, Rotterdam, and Leiden. In the case of Rotterdam, Van Wijk would have stood in direct competition with Cas Oorthuys, whose magnificent book Rotterdam. Dynamische stad (‘Rotterdam, Dynamic City’) was brought out by Uitgeverij Contact at approximately the same time. When compared to Oorthuys’ big, beautiful book—designed by Dick Elffers—Van Wijk’s smaller publication, in all honesty, falls short. When asked about this, Van Wijk admitted that photographing Rotterdam was for him somewhat of a daunting task. The absence of idyllic, historical places clearly had an affect in carrying out this particular commission. Where he was concerned, Amsterdam had more to offer in this respect.

In 1963, the series of books that Van Wijk did for W. van Hoeve came to a close with a photo pocketbook edition on Madurodam and a photobook on the Dutch province of Friesland. After Nederland. Wonder uit water, the book on Friesland was most successful in terms of the variety of photos, covering a wide range of topics, and Van Wijk’s usual play of light and shadow. When looking back at the negatives of these shots, we find a number of surprises. For instance, the woman wearing traditional Dutch attire on page 74 of the book was originally smoking a cigarette, which was eliminated without a trace by a retoucher. One can wonder if Van Wijk actually gave his approval for this modification. Any time a photobook is published, however, it is not only the photographer who makes the decisions, but also the publisher, the designer, the printer, and sometimes even the author—all who bring their own ideas to a project. W. van Hoeve most certainly gave Van Wijk the creative space he needed. But it remains to be seen whether he actually had the final say when it came to the commercial aspects of the book’s publication.

It was undoubtedly based on the notoriety of his photobooks that Van Wijk was asked to become a photography instructor at the Vrije Academie voor Beeldende Kunsten (‘Free Academy of Fine Arts’) in The Hague in 1957. He shared this responsibility with a fellow member of the NFK, Victor Meeussen, who also lived in The Hague. In 1959, Van Wijk also became an instructor at the School voor Fotografie en Fototechniek (‘School of Photography and Photographic Technique’) in The Hague, and in 1964, a photography instructor at the Akademie voor Beeldende Kunsten (‘Academy of Visual Arts’) in Arnhem. Consequently, there was hardly any time for him to continue making photobooks. During the years he was teaching, he accepted virtually no more commissions. For a number of years, he produced a calendar for the Haagsche Courant. After a book on Delft—of which two versions were brought out by Elmar, a publishing company in Delft, with the most extensive version featuring 124 photos appearing in 1964—Van Wijk devoted his full time and effort to teaching, with the exception of several industrial commissions.

Up until his retirement in 1982, Van Wijk made his mark on countless generations of young photographers. Frederick Linck and Marcel Minnée were among his students, just to name two photographers in The Hague. The history of photography education in the Netherlands after World War II still has to be written, but there is no doubt that Ed van Wijk played an important role. Loved by his students, he was an instructor who taught them the tricks of the trade in a gentle way. His classes consisted of studio work, as well as related issues such as lighting, exposure, and composition. He also allowed his students to do their assignments, photo finishing, etc., on an independent basis.

In addition to his daily work as a teacher, Van Wijk found time to organise a bulky written correspondence course in photography for the Leidse Onderwijsinstellingen (‘Leiden Educational Instutitions’) in three volumes, together with Piet van der Ham. Although the text for this course was likely written for the most part by Van der Ham, Van Wijk clearly had an influence on its content. In the chapter on ‘experimental photography’, for instance, the emphasis is placed on Subjective Photography, Otto Steinert’s movement from the 1950s. As mentioned above, in the Netherlands this form of creative photography—with a strong emphasis on form—found its most avid followers among members of the NFK. In 1954-’55, Van Wijk was represented at the second exhibition that Steinert devoted to this movement in photography, held in Saarbrücken, Germany. Various examples of Van Wijk’s experiments were used to illustrate this chapter in the LOI course on ‘De experimentele fotografie’ (‘Experimental Photography’), varying from a photogram, blur accomplished by setting or movement, light reflection in water, and double exposure. Van Wijk’s work is also amply represented in the chapters on landscape, children’s, and architectural photography. The last chapter on ‘Specialisten en speciale takken van fotografie’ (‘Specialists and Special Branches of Photography’) includes a biographical sketch of Van Wijk’s life, written by Piet van der Ham, placed under the heading ‘sociaal-meditatieve stijl’ (‘social-meditative style’). By doing so, Van der Ham undoubtedly wished to address how Van Wijk visualised his warm interest in his fellow man via images that were somewhat distant and dream-like.

Ed van Wijk’s work is not to be classified into any one category. Otto Steinert’s Subjective Photography shaped his oeuvre as a photographer to a degree. Van Wijk’s photography also bears traits of the ‘human interest’ photography, which arose primarily in the 1940s and ’50s and presented itself so perceptibly at the exhibition The Family of Man.

Generally speaking, Van Wijk followed his own path. As a photographer, he knew what he stood for and he knew what he wanted. Professionalism and an efficient working method were first and foremost in this regard. In 1949, Van Wijk wrote: ‘I must confess to you that I love few words more than many.’ The same can be said of his photos: saying a great deal with few images—this was Van Wijk’s unspoken motto. Working from this perspective, Ed van Wijk—a Hague photographer who photographed The Hague—has earned a place of merit in the history of Dutch photography.


Primary bibliography

Kinderfotografie, in Bedrijfsfotografie 24 (januari 1949) 4, p. 76-78, 80-81 (met foto’s).

E. Elias (tekst) en Ed. van Wijk (foto’s), Nederland. Wonder uit water, Den Haag/Bandung (W. van Hoeve) z.j. (1954). (idem Duitse, Engelse, Franse, Italiaanse, Spaanse en Esperanto-ed.).

Bertus Aafjes (tekst) en Ed. van Wijk (foto’s), ‘s-Gravenhage, Den Haag/Bandung (W. van Hoeve) z.j. (1955) (idem Duitse, Engelse en Franse ed.).

Bernard Bekman (tekst) en Ed van Wijk (foto’s), Den Haag en Scheveningen, Den Haag/Bandung (W. van Hoeve) 1956. (idem Duitse, Engelse en Franse ed.).

E. Elias (tekst) en Ed. van Wijk (foto’s), Nederland, Den Haag (W. van Hoeve) 1957. (idem Duitse, Engelse, Franse en Spaanseed.).

Simon Carmiggelt (tekst) en Ed van Wijk (foto’s), Amsterdam, Den Haag (W. van Hoeve) 1958. (idem Duitse, Engelse en Franse ed.).

AJ. Teychiné Stakenburg (tekst) en Ed van Wijk (foto’s), Rotterdam, Den Haag (W. van Hoeve) 1958. (idem Duitse, Engelse en Franse ed.).

Ed van Wijk (foto’s), Vijftig jaar illegaal. Gedenkboek van het Nederlandsch Lyceum 1909-1959, Groningen Q.B. Wolters) 1959.

E. Elias (tekst) en Ed. van Wijk (foto’s), Leiden, Den Haag/Leiden (W. van Hoeve/Sijthoff) 1961. (idem Duitse, Engelse en Franse ed.).

P. Terpstra (tekst) en Ed van Wijk (foto’s), Friesland, Den Haag (W. van Hoeve) 1963. (idem Duitse en Engelse en Friese ed.).

E. Elias (tekst) en Ed van Wijk (foto’s), Madurodam, Den Haag (W. van Hoeve) 1963.

E. Elias (tekst) en Ed van Wijk (foto’s), Delft, Delft (Elmar) 1964.

Jan H. Oosterloo (tekst) en Ed. van Wijk (foto’s), Delft infoto’s, Delft (Elmar) 1967. (idem Duitse, Engelse en Franse ed.).

Piet van der Ham en Ed van Wijk, Cursus Fotografie, Leiden (LOI) 1970.


images in:

Focus 27 (23 november 1940) 24, p. 661.

B. van Lier, Bevrijdings-fotoboek, Amsterdam (De Telg) 1945, na p. 144, na p. 152.

J.G. Raatgever, Van Dollen Dinsdag tot de Bevrijding, Amsterdam (De Telg) 1945.

A.A.J. Rijksen, Gespiegeld in kerkglas. Hollands leed en vreugd in de glasschilderingen van de St. Janskerk te Gouda, Lochem (De Tijdstroom) 1947, p. XII, 41, 56, 106, 157, 181, 247, 304.

Eva. Het rijk der vrouw 7 (4 maart 1950) 9, p. 16-17, 39.

Wij Vrouwen (17 maart 1950) 6, omslag, p. 11-13.

Wij Vrouwen (7 juli 1950) 14, p. 12-13, 16.

De Waarheid 23 december 1950.

Eva. Het rijk der vrouw 9 (22 maart 1952) 12, p. 534-536.

Eva. Het rijk der vrouw 9 (26 april 1952) 17, p. 794-798.

De Hervormde Kerk. Weekblad voor Hervormd Nederlands (18 oktober 1952) 41, titelpagina.

Paris Match (14-21 februari 1953) 205, omslag.

Observer 1953.

Secretariat News United Nations Headquarters.Flood Relief Fund 7 (16 februari 1953) 3, ongepag.

Het Vaderland februari 1953 (speciale Nederlands-en Engelstalige editie in verband met de Watersnoodramp), titelpagina, p. 2-3.

Eva. Het rijk der vrouw 10 (21 februari 1953) 8, omslag.

Vizier 8 (21 februari 1953) 8, omslag, p. 1.

Eva. Het rijk der vrouw 1 o (9 mei 1953), p. 4-5.

Het Vaderland 6 november 1953, p. 11.

G. Philipse e.a., Gedenkboek van de Watersnood in Oost-Zuid-Beveland anno 1953, Krabbendijke (C. van Velzen) 1953, p. 45-46.

Elsevier 20 maart 1954.

De Tijd 23 maart 1954.

Het Volksweekblad 21 augustus 1954.

De Spiegel. Christelijk Nationaal Weekblad (18 september 1954) 51, p. 8-10.

Royal – Monthly Post 1 (mei 1955) 5, omslag.

Haagsch Dagblad 16 december 1955.

Otto Steinert, Subjektive fotografie 2, Munchen (Brüder Auer Verlag) 1955, afb. 18.

Het Vaderland 2 oktober 1956.

Het Vaderland 6 oktober 1956.

Het Vaderland 8 oktober 1956.

Catalogus Foto Expositie HFK, Den Haag (Pulchri Studio) 1956, p. 9, 36.

Het Vaderland 10 november 1956.

Het Vaderland 12 november 1956.

De Tijd 7 december 1956.

Kalender Haagsche Courant 1957.

Docenten aan de Vrije Academie voor Beeldende Kunsten, Den Haag (Vrije Academie) 1957, ongepag.

De Tijd 9 augustus 1958.

Het Vaderland 23 december 1958, p. 7.

Focus 44 (25 juli 1959) 15, p. 420-421.

Kalender Haagsche Courant 1960.

C. Doelman (inl.), Keuze. Een keus uit het werk van Haagse beeldende kunstenaars, Den Haag (Bert Bakker/Daamen) 1960, p. 80.

Kalender Haagsche Courant 1962.

Het Vaderland 26 januari I963.

Nieuwe Rotterdamse Courant 20 juni 1964.

Nieuwe Rotterdamse Courant 21 november 1964.

Haagsche Courant 10 mei 1967.

André Rutten, Haagse Comedie. Haagse Comedie 40 jaar, Den Haag (Haagse Comedie) 1987, afb. 11-14, 17-22 ,62.

Louis Zweers en Tineke Luyendijk, De twee gezichten van de bezetting. Foto’s van Den Haag 1940-1945 van H.G.L. Schimmelpenningh, Rijswijk (Sijthoff Pers) 1988, p. 52, 70, 72-73 en 77.

Vrij Nederland 51 (17 november 1990) 46, p. 46.

Secondary bibliography

Auteur onbekend, Beknopte analyse der platen in dit nummer, in Focus 27 (23 november 1940) 24, p. 658.

J. de Groot, Nederland, een prachtig fotoboekwerk, in Wereld-Post 25 maart 1954.

BSLR, Platenboek Nederland, in Algemeen Handelsblad 26 maart 1954.

M., Nederland, een fotoboek, in De Tijd 26 maart 1954.

Auteur onbekend, Nederland, wonder uit water, in Gooi en Ommeland 26 maart 1954.

Auteur onbekend, Nederland, een imposant fotoboek van Ed van Wijk, in Het Parool 27 maart 1954.

A.C., Nederland, een fotoboek, in De Linie 27 maart 1954.

E., Voornaam fotoboek, in Het Vrije Volk 27 maart 1954.

Auteur onbekend, Nederland in ‘t oog van de camera. De schoonheid van ons land in foto’s, in Amersfoortse Courant 30 maart 1954.

T.B., Fotoboek Nederland met 50 “verhalen”. Ons land zoals het werkelijk is. Marken en Volendam ontbreken, in Eindhovens Dagblad 3 april 1954.

Jos de Gruyter, Nederland, wonder uit water. Uitstekend fotoboek door Ed. van Wijk, met tekst van Mr. E. Elias, in Het Vaderland 7 april 1954.

Auteur onbekend, Fotowerk over Nederland, in Zwolsche Courant 14 april 1954.

Auteur onbekend, Het nieuwe boek. Nederland, in Nieuwsblad voor Indonesië 27 april 1954.

Auteur onbekend, Nederland. Wonder uit water, in De Surinamer 7 mei 1954.

Auteur onbekend, Nederland: een fotoboek, in Vrij Nederland 8 mei 1954.

E.A. Loeb, Het boek Nederland door E. van Wijk, in Focus 39 (15 mei 1954) 10, p. 257.

Dick Boer, Analyse der platen, in Focus 39 (15 mei 1954) 10, p. 258-262 (met foto’s).

Max Koot, Tentoonstelling Ed van Wijk N.F.K., in Fotografie (mei 1954) 3, p. 70-71.

L. van Beurden, Ed van Wijk n.f.k. fotografeerde Nederland, in Foto 9 (juni 1954) 6, p. 170-174.

Auteur onbekend, Zo, ja zo is Nederland, in Vizier (1954) 36, p. 28-29.

P. de W., Nederland, in Utrechts Katholiek Dagblad 1 augustus 1954.

HJ. Scheerman, Land en water. Een verzameling foto’s en teksten, in Overijssels Dagblad 3 augustus 1954.

Auteur onbekend, Het vaderland in beeld en woord, in Leeuwarder Courant 12 augustus 1954.

KI., De schoonheid van ons land (meesterlijk vastgelegd), in De Open Deur 3 september 1954, p. 3.

Auteur onbekend, Holland. Meergeborenes Wunder, in Wir vom Glanzstoff 14 (1954) 10, ongepag.

Willem Karel van Loon, Het leven zonder pose. Ed van Wijk fotografeert, in Het Kind 1954, p. 110-112.

Herwig, Boekbespreking, in De Opvoeder 1 februari 1955, p. 52.

Catalogus De bestverzorgde 50 boeken van het jaar 1954, Amsterdam (Commissie voor de Collectieve Propaganda van het Nederlandse Boek) 1955, nr. 34.

Auteur onbekend, Den Haag in foto’s, in De Posthoorn 15 december 1955.

Auteur onbekend, Prachtig boekwerk over Den Haag verschenen, in Nieuwe Haagsche Courant 15 december 1955.

Auteur onbekend, ‘s-Gravenhage, fraai boekwerk, in Haagsche Courant 16 december 1955.

Auteur onbekend, Haagse leven door camera gezien, in Het Binnenhof 16 december 1955.

Auteur onbekend, ‘s-Gravenhage zelf, in Nieuwe Rotterdamse Courant 19 december 1955.

Ary de Hertog, Van onze Haagse Postiljon, in Haagsche Post 14 januari 1956, p. 18.

H.A.W., ‘t Boekenplankje, in Haagsche Courant 4 januari 1956.

M.v.d.P., Den Haag: stad met vele gezichten, in Elsevier 14 januari 1956.

Jac van der Ster, Praat en plaat, in De Groene Amsterdammer 25 februari 1956, p. 12.

J.H. den Boestert, Ed van Wijk (NFK). Haags fotograaf, in ‘s-Gravenhage. Maandbladder Gemeente ‘s-Gravenhage 11 (februari 1956) 2, p. 14-19.

Auteur onbekend, Aanblik en wezen van een stad. Tweevoudig loflied op ‘s-Gravenhage, in Het Nieuwe Dagblad 26 mei 1956.

Catalogus De bestverzorgde 50 boeken van het jaar 1955, Amsterdam (Commissie voor de Collectieve Propaganda van het Nederlandse Boek) 1956, nr. 38.

J J . Hens, Fotoshow Den Haag, in Foto 11 (september 1956) 9, p. 302-303.

J.J. Hens, De Haagse Fotokring (H.F.K.) exposeert, in Foto 11 (december 1956) 12, p. 437-439.

B. Kr., (recensie m.b.t. het boek Amsterdam), in De Tijd 9 augustus 1958.

Theo Ramaker, Hobby werd liefde liefde werd vak. De assistent-apotheker Ed. van Wijk zijns ondanks nog steeds ‘op de markt’, in Focus 44 (25 juli 1959) 15, p. 405-407.

Auteur onbekend, Analyse der platen, in Focus 44 (25 juli 1959) 15, p. 418.

J.H. (=Jan Hofman), Ed van Wijk nfk, in Foto 16 (februari 1961) 2, p. 64-67.

Auteur onbekend, Wandeling door Delft in tekst en foto’s, in Haagsche Courant 10 mei 1967.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 96, 115 (losse biografie).

Ute Eskildsen e.a., Subjektive Fotografie. Images of the 50’s, Essen (Museum Folkwang) 1984, p. 88, 166.

Mattie Boom e.a. (red.), Foto in omslag. Het Nederlandse documentaire fotoboek na 1945, Amsterdam (Fragment) 1989, p. 53.

Eddie Marsman, De ideale boekenrubr. Aflevering 3: waar wit is kijk ik, in Foto 45 (april 1990) 4, p. 46-47.

Ingeborg Th. Leijerzapf e.a., Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw, Amsterdam (BIS) 1991, p. 80, 216-217.

Cees Straus, Noorderlicht ontdekt Ed van Wijk als waarnemer van de wederopbouw, in Trouw 14 november 1991.

Flip Bool, Herontdekking, in Trouw 20 november 1991.

Eddie Marsman, Over Ed van Wijk, in Foto 46 (november 1991) 11, p. 56-57.

Catalogus fotomanifestatie Noorderlicht, Groningen 1991, p. 80-83.

Auteur onbekend, Ed van Wijk/Cor van Weele, in Noorderlichtkrant 91, p. 22-23.




NFK, vanaf 1951-1969 (vanaf 1953 kernlid).

Jury NFK, 1955-1968.

GKf, vanaf 1961 -1965.

Ballotagecommissie van de Creatieve Werkgroep NFK, vanaf 1 september 1969.


1950 Eervolle vermelding, 12e Nationale Kerstsalon van Fotografische Kunst.


1950 (g) Eindhoven, Stedelijk Van Abbemuseum, Vakfotografie 1950.

1950 (g) Den Haag, Panorama Mesdag, (Haagse Fotokring).

1950/1951 (g) Amsterdam, Arti et Amicitiae, 12e Nationale Kerstsalon van Fotografische Kunst.

1952 (g) Den Haag, Haags Gemeentemuseum, Fotoschouw ’52.

1953 (g) Eindhoven, Oude Stadhuis, Tweede Benelux Fototentoonstelling.

1953 (g) Maastricht, Kunstzalen De Jong-Bergers, Nederlandse Fotografie 1953.

1954 (e) Den Haag, Boekhandel Van Stockum.

1954 (g) Goslar, Bildausstellung Europäischer Berufsphotographen.

1954/1955 (g) Saarbrücken, Staatliche Schule für Kunst und Handwerk, Subjektive Fotografie 2.

1956 (g) Den Haag, Pulchri Studio (Lange Voorhout), Foto Expositie HFK.

1956 (g) Den Haag, Bioscooptheater Odeon (Herengracht), (tentoonstelling georganiseerd door de Stichting Centrum).

1956 (g) Leiden, Prentenkabinet der Rijksuniversiteit Leiden, NFK. Fototentoonstelling.

1957 (g) Eindhoven, Stedelijk Van Abbemuseum, Fotografie als uitdrukkingsmiddel (rondreizende tentoonstelling).

1958 (g) Antwerpen, (Fotografische Kring “Iris”).

1960 (g) Keulen, Europa-foto 1960.

1961 (g) Amsterdam, Arti et Amicitiae, 20e Internationale Focus Salon.

1961 (g) Den Haag, De Posthoorn, (Ed van Wijk en Fred Hazelhoff).

1961 (g) Heerlen, Raadhuis, Eerste Nationale Fototentoonstelling.

1961 (g) Dordrecht, Kunstmin, Eerste Nationale Fototentoonstelling.

1962 (g) Den Haag, Gevangenpoort, Docenten Vrije Academie voor Beeldende Kunsten.

1962 (g) Amersfoort, De Zonnehof, Nationale en internationale fototentoonstelling ter gelegenheid van het 40-jarig bestaan van de Bond van Nederlandsche Amateurfotografen Vereeniging 1922-1962 (rondreizende tentoonstelling).

1963 (g) Nijmegen, De Waag, (NFK).

1981 (g) Den Haag, Fotogalerie Kiek, Lies Wiegman en Ed van Wijk.

1982 (e) Den Haag, School voor Fotografie en Fotonica (MTS).

1984 (g) San Francisco, San Francisco Museum of Modern Art, Subjektive Fotografie. Images of the 50’s (rondreizende tentoonstelling).

1991 (g) Amsterdam, Nieuwe Kerk, Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw (Collectie Dutch Photography).

1991 (g) Groningen, Galerie Niggendijker, Nederland, En alles daartussen (Ed van Wijk en Cor van Weele) (Fotomanifestatie Noorderlicht).

1992 (e) Den Haag, Haags Historisch Museum, Ed van Wijk. Fotograaf van Den Haag.

1992 (g) Houston, George R. Brown Convention Center, The Illegal Camera. Photography in the Netherlands 1940-1945 (FotoFest).


Den Haag, Dhr. Ed van Wijk en Mevr. Helga van Wijk-Weyman (mondelinge informatie).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

Oegstgeest, Evert Rodrigo (ongepubliceerde doctoraalscriptie Kunstgeschiedenis: De Nederlandse Fotografen Kunstkring 1949-1970. Een archiefonderzoek, Rijksuniversiteit Leiden 1979).

Rotterdam, Nederlands Fotoarchief.

Utrecht, Hans Rooseboom (ongepubliceerde doctoraalscriptie Algemene Letteren: Meinard Woldringh (1915-1968), een fotograaf. Schets van zijn carrière, Rijksuniversiteit Utrecht 1991).


Amsterdam, Stedelijk Museum.

Amsterdam, Stichting Dutch Photography.

Leiden, Prentenkabinet van de Rijksuniversiteit.

Rotterdam, Nederlands Fotomuseum.