PhotoLexicon, Volume 10, nr. 22 (October 1993) (en)

Ad Windig

Joke Pronk

Tineke de Ruiter


Ad Windig was part of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’), the group of photographers who gave a face to Dutch reportage photography after World War II. His subjects span a wide spectrum, ranging from portraits to company reportages and from landscapes to still lifes. Windig’s oeuvre is consistent in quality, with a recognisable visual idiom all its own. Only in recent years has Windig assumed a more public profile, via exhibitions and book publications.




Adrianus (Ad) Windig is born on 8 November in Heemstede as the eldest son of Adrianus Windig and Hendrika Johanna Aris. The family has six children.


Windig’s father gives him an Ernemann plate camera as a present.

1931–ca. ’37

Windig takes his final exams at the ‘Handels-HBS (Handels-Hogere Burgerschool, a business-oriented upper-level secondary school) on the Nicolaas Maesstraat in Amsterdam. Windig starts working at his father’s insurance office to be trained as an insurer.

Ca. 1937–ca. ’40

Ad Windig quits his job at his father’s office. Windig is a member of the Oxford Movement (later the ‘Morele Herbewapening’ = ‘Moral Rearmament’), founded by Frank Buchman and begins working for this movement on a full-time basis. With his Rolleicord, he takes photos as an amateur photographer, for instance, of the organisation’s meetings. His earnings are based on what the more well-to-do members have ‘set aside’ to support employees. After seeing the exhibition Foto ’37 at the Stedelijk Museum in Amsterdam, Windig decides to become a photographer.


Windig receives photography lessons from Emmy Andriesse (practical experience) and Carel Blazer (theory) for a period of six months.

Windig moves into a flat that becomes available in the same building as Andriesse’s.


Windig’s first book, entitled Uit de werkplaatsen der beeldhouwers (‘From the Workshops of Sculptors’), is published by De Spieghel in Amsterdam, with an accompanying text by L.P.J. Braat.

Windig rents a studio at Prinsenhofsteeg 4 in Amsterdam.


In 1943, Ad Windig weds Annebet Stam. Two children are born from this marriage: Lieselotte (1944) and Erik (1945). The daughter of the artist Henk Henriet, Hennie, works as an assistant in Windig’s studio. Through her, Annelies Romein also begins working for Windig. Their tasks include taking passport photos to be used for purposes such as false identity papers for people that have gone into hiding.

During the German occupation, Windig is imprisoned three times for illegal activities. In one incident, Carel Blazer, Windig, and Kryn Taconis are arrested during the round-up of the espionage group ‘Kees’ (Cees Dutilh) in April 1943. Blazer gets the death penalty and Windig is sentenced to ten years. But when Berlin’s confirmation of the verdict fails to come through, Windig is eventually released in 1944—after Blazer’s prior release on 10 February of the same year.

Windig and Taconis hook up with a group of photographers that later becomes known as ‘De Ondergedoken Camera’ (‘The Illegal Camera’). Windig’s wife, Anebet Stam, also takes photographs illegally on occasion with a ‘concealed’ Rolleiflex. They develop and print their photos in a room at the GEB (Gemeente-Energiebedrijf, ‘City Energy Company’) on the Hoogte Kadijk in Amsterdam.

Two weeks before the liberation, Windig and his wife are arrested by the German SS. Windig escapes from the ‘Groote Club’ (‘Big Club’) on the corner of the Dam and the Kalverstraat. Annabet is later released.


Windig is one of the founders of the ‘vakgroep fotografie’ (‘Photography Department’) of the GKf (Beoefenaars der Gebonden Kunsten, ‘Practitioners of the United Arts’), which later becomes part of the ‘Federatie van Beroepsverenigingen van Kunstenaars’ (‘Federation of Artist’s Trade Associations’).


Windig travels as a war correspondent in uniform to the Ruhr region of Germany on behalf of ABC-Press, a press photo agency run by the photographer Imre Rona. His assignment is to photograph life there after the war. During this period, Windig also works for the newspaper De Waarheid (‘The Truth’).

In 1946, Windig and the artist Gras Heyen spend several months in Paris to take photos, but also to ‘shake the war out of their systems’. In Paris, Windig meets with the photographers Brassaï and Izis.


Windig takes another trip to France. His work includes making a reportage on the pilgrimage site Lourdes.

Ca. 1948–ca. ’53

Carel Blazer and Windig start up a business partnership under the name ‘Blazer en Windig’ at Keizersgracht 522 in Amsterdam. They travel across the country in an old, whitewashed American army jeep, visiting companies and agricultural exhibitions in an attempt to sell their photographs.


Windig takes part in the exhibition Foto ’48 at the Stedelijk Museum in Amsterdam. Annelies Romein—after completing her education at the Kunstgewerbeschule (‘Arts and Crafts School’) in Zurich, Switzerland—moves back to the Prinsenhofsteeg and starts working again for Windig. Han Pieck is the architect of the exhibition De Nederlandse Vrouw (‘The Dutch Woman’) at the Jaarbeurs Convention Centre in Utrecht. The exhibition is presented to Queen Wilhelmina in honour of the fiftieth year of her reign. Carel Blazer, Cas Oorthuys, Annelies Romein, and Ad Windig all shoot photos for this exhibition.


Windig photographs and films in the Central African Republic, the Belgian Congo, French Equatorial Africa, and Chad on assignment for the NAHV/Internatio (Nieuwe Afrikaanse Handelsvereniging, ‘New African Trade Association’). In this year, Van der Elsken also lives on the Prinsenhofsteeg and assists Windig.


After divorcing Annebet Stam, Windig marries Anna van Dijkhuizen. Three sons come from this marriage: Roeland (1949), René (1951), and Michael (1954).


The RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’) commissions Windig and Annelies Romein to take portrait shots of the royal princess for the ‘Pro Juventute’ calendars of 1951 and ’52.

Ca. 1953–’54

For a brief time, Windig collaborates with Paul Huf. Huf’s address is listed on their stationery: Honthorststraat 38 A’dam-Z (‘Amsterdam South’).


During these years, Windig is the board secretary for the photography department of the GKf.


Philip Mechanicus works as an assistant at the studio on the Prinsenhofsteeg until August 1959.


Windig is the chairman of the GKf’s photography department.


Windig travels for a year across France, Spain, Portugal, Denmark, Germany, Austria, Switzerland, Italy, Belgium, and the United Kingdom, photographing organ cases for a book ultimately published in 1979.

Ca. 1968

In the company of the Dominican pastor Luc. H. Grollenberg, Windig travels to Lebanon, Jordan, and Israel to shoot photos for the book De bakermat van de Bijbel (‘The Birthplace of the Bible’, 1968).


Windig takes part in the exhibition of the Polaroid Collection at the Centre National Georges Pompidou in Paris.

After having photographed exclusively in black and white, Windig now starts to experiment with colour for reportages such as ‘Slapers in het Vondelpark’ (‘Sleepers in the Vondelpark’) and ‘Kunstenaars beschilderen gezichten’ (‘Artists Paint Faces’). The printing company Van Soest publishes both reportages as calendars.


The Rietveld Academy makes funding available to the GKf in order to investigate photography schools in foreign countries. Windig and Carel Blazer travel for this purpose to Zurich (Hans Finsier) and Basel, Switzerland. For the same report, Aart Klein and Windig visit a school in the United Kingdom.


At the request of Kors van Bennekom, Windig returns as a member of the management board of the GKf. During these years, he is the board secretary.


Windig and his wife buy a house on the Voorweg in Callantsoog, where they reside during the summer months.

Ca. 1975

Ad Windig temporarily suspends his activities as a photographer. He is made a ‘buitengewoon lid’ (‘associate member’) of the GKf.


Windig receives a ‘historical documentary assignment’ from the AFK (Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’). This work is acquired by the foundation and preserved at the Amsterdam City Archives.


A retrospective of Windig’s work is held at the Stedelijk Museum in Amsterdam.


Gerard Wernars and Philip Mechanicus assist Windig with selecting photos for a book, which is published by SDU under the title Fotografie! Ad Windig.


Windig photographs people and events in and around Callantsoog. In June 1991, the book Het dorp Callantsoog (‘The Village Callantsoog’) is presented at the Callantsoog town hall.


Anne-Claire Vogtschmidt and Max Speijer organise an exhibition for the Verzetsmuseum (‘Dutch Resistance Museum’), entitled Bezetting en Bevrijding (‘Occupation and Liberation’), centred around the work that Windig did during and after the war.

On 20 June, the first ‘Oeuvre Prize’ of the BKVB (Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst, ‘Fund for the Fine Arts, Design, and Architecture’) is awarded to Ad Windig (Dfl. 50,000) at the Centraal Museum in Utrecht.


Ad Windig dies on 9 March in Callantsoog.


Ad Windig is a photographer from the same generation as Emmy Andriesse, Carel Blazer, Eva Besnyö, and Cas Oorthuys. He has always remained somewhat in the background, albeit unjustifiably—no doubt in part stemming from his modest nature. Windig is known to have said: ‘I think it’s actually quite marvellous when I shoot one good photo a year.’ The same modesty as well determines the character of his photographic oeuvre, in which two key elements emerge: serenity and humour. Windig is a photographer of the understatement, not the overstatement; of poetry, not the grand gesture. The respect he has when observing and photographing people—accompanied by mild jest—is well illustrated in the photo of a bald man, whose arms are filled with storefront display mannequins. In images of this kind, the influence of Henri Cartier-Bresson’s work and his emphasis on the ‘decisive moment’ is recognisable. Windig’s attitude while photographing—’I feel I have to stand here’, as once recalled by Philip Mechanicus—confirms a more intuitive approach to the decisive moment than Cartier-Bresson had intended.

Windig himself cites a number of factors that ultimately influenced his decision to become a photographer. The display window of the photographer Godfried de Groot was located nearby the house where he grew up on the Jan Luykenstraat. De Groot’s portraits fascinated him: he could stand out in front gazing at them for hours. The son of the photographer Louis Davids also worked for De Groot. He told Windig about the photo shoots with famous Dutch entertainers. In the end, however, Windig’s desire to become a photographer was not inspired by the portraits of De Groot, but rather the photos he saw at the exhibition Foto ’37.

In reality, Windig was more drawn to film than photography. Upon seeing the reportages in the British photojournalistic magazine Picture Post, however, it was then that he realised photography could also be used to tell a story. A 1939 photo essay by Kurt Hutton (Kurt Hübchmann), featuring the daily life of a man out of work, made a big impression on him.

Windig had already let go of his family’s plans for his future: to ‘make good money’ working for his father’s insurance firm. Born into a Reformed Protestant environment, in 1937 he began working for the ‘Oxford Movement’. This was an international Christian movement, from which the ‘Morele Herbewapening’ (‘Moral Rearmament’) later emerged. Windig travelled to the United Kingdom, where he photographed the meetings and gatherings of this group with a Rolleicord camera.

Windig’s definitive decision to become a photographer occurred in about 1939. His first step was to find a teacher. He contacted Emmy Andriesse, whose photo of a child with a pregnant sheep (untraceable in her archive) on display at the Foto ’37 exhibition had stayed with him. After repeated telephone calls, Andriesse finally agreed to start giving him lessons in 1940. For a teaching fee of approximately Dfl. 12.50 a month, she instructed him in the same way that she herself had been taught by Kiljan and Schuitema. Andriesse required that Windig purchase a wooden 9×12 camera to shoot still lifes of earthenware, glass, and textiles. He was asked to pay attention to sharpness, exposure, material and surface texture, tonal range, and rhythm. His results were then examined and critiqued. Not until several months later were portraits also part of his assignments. Having trained for a period of one half-year, Windig was then given his final assignment: people at work.

After initially finding wooden shoemakers, glass-blowers, and bakers to serve as his subjects, Windig decided to portray a sculptor at work in his studio: Frits van Hall. When Van Hall showed Windig’s photos to the De Spieghel publishing company, the idea of making a book about sculptors was conceived on the spot. Windig’s shots of Mari Andriessen, Frits van Hall, John Raedecker, and Bertus Sondaar, as well as their studios and their work, provide an overall view of these artists. Uit de werkplaatsen der beeldhouwers (‘From the Workshops of Sculptors’) was published in 1942, with a text by Leo Braat. Windig the apprentice had surpassed his own teacher with the publication of a book of his own.

In the same period that Windig was getting practical lessons from Andriesse, he was also receiving lessons in theory— together with Kryn Taconis—from Carel Blazer. In Blazer’s archive, one finds notebooks with overviews of the laws of optics, physics, and chemistry, which he is likely to have used during his lessons.

One of Windig’s first commissions was to photograph the fishing industry in the Dutch province of Zeeland in 1941. He took shots of the shrimp fishermen and oyster farmers. The designer Dick Elffers used these shots for the so-called ‘nutrition exhibitions’. Other photographers—including Andriesse (Elffers’ wife), Eva Besnyö, and Carel Blazer—also took photographs for these exhibitions, which were initiated prior to the war and had travelled around the country with the aim of teaching the general population how to cook with minimum means in a healthy and hygienic manner.

During the war, Windig was ‘converted’ to communism by the sculptor Van Hall. In this manner, he ended up in an artistic environment, and correspondingly, in the artists’ resistance. He was imprisoned three times during the war. The third time he managed to escape through a bathroom window, just prior to the liberation.

Besides making passport photos for forged identity papers and photographing children during the war, Windig also produced a number of illegal shots depicting conditions under the German occupation: poverty, hunger, cold, dealers on the black market, and members of the occupying force. With a Rolleiflex his under his jacket, Windig took shots at waist level. He belonged to a group that began photographing for the Binnenlandse Strijdkrachten (‘Domestic Armed Forces’) in 1944, whose members got their photo materials from Frits Kahlenberg, the head of the organisation. Immediately following the liberation of the Netherlands, an exhibition was organised at Marius Meijboom’s photography studio in Amsterdam, comprising photos taken by all who had participated. From that time forward, the group became known by the title given to the exhibition: De Ondergedoken Camera (‘The Illegal Camera’).

The work that Windig produced in this period received renewed attention in 1992 during an exhibition at the Verzetsmuseum (‘Dutch Resistance Museum’) in Amsterdam. A book on this subject is likely to be released in 1993.

After the war, Windig was asked to photograph the exhumation of members of the Dutch resistance who had been executed at the Leusderheide. He was also commissioned to take portrait shots of several Germans who had been arrested, including Joseph Kotälla.

Windig became a freelance photographer for Ons Vrije Nederland (‘Our Free Netherlands’) and the newspaper De Waarheid (‘The Truth’), under the editorial direction of A.J. Koeijemans. As a majority of the photos were published without author citation, however, it is difficult to determine which shots Windig took. In 1946, he spent six weeks in Paris to photograph the peace conference there, together with Gras Heyen. Windig later went on to make reportages with Jan Hulsebos (=Jan Vrijman) and Gerrit Kouwenaar.

Like many Dutch photographers in the immediate aftermath of the war, Windig made a living by taking children’s photos. Photographers typically made small books with these portraits, with photos that bled off the page, assembled in a spiral binding. Many well-to-do families living in Amsterdam South are still certain to have such books their possession, featuring photos by Emmy Andriesse, Carel Blazer, Eva Besnyö, Ad Windig, and others.

Through his photo assignments involving children, Windig came into contact with the director of the NAH (Nieuwe Afrikaanse Handelsvereniging, ‘New African Trade Association’), a company that did business in Central Africa. In June 1949—after travelling fourteen days by ship departing from Antwerp, Belgium—Windig was granted permission to film and photograph the company’s branch offices and storage depots in the Congo. In addition, Windig had sufficient time remaining to photograph other subjects. These shots are comparable to the photos that Oorthuys and Van der Elsken took there at a later point.

Windig’s business partnership with Carel Blazer was another attempt to generate a source of income, operating under the rather ‘breezy’ name ‘Blazer and Windig’ (literally ‘Blower and Windy’). Together, the two men travelled around the Netherlands in a white jeep, attending agricultural fairs and other events and photographing the stands and the people. At night, one of the partners would fly back to Amsterdam to sell prints of their work on the market the next morning.

The two men approached businesses in a manner that was similar. In Windig’s archive one can still find a number of small spiral books—e.g. for the potato flour manufacturer W.A. Scholten in Foxhol (Blazer en Windig) and the Edelstaal Maatschapij NV Amsterdam/Rotterdam (Ad Windig)—that were produced during this period. These were precursors to the corporate publications that served as a source of income for many photographers starting in the late 1950s. These works conveyed the image that entrepreneurs wanted the public to see.

For Windig, photography was made to be published: an unused photo was of no value to him. This vision was embraced by many of the early GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) photographers, and was in fact a position stated in the catalogue of the exhibition Foto ’48: ‘Photography’s aim is not the pretty picture, but communication by means of the camera. This photography fulfils a serving function and, in practice, is linked to the assignment.’

Accordingly, Windig’s activity in the 1950s and ’60s involved making books and working on assignments for institutions as well as print advertising. His work was also published in international magazines such as U.S. Camera Annual.

In 1954, Windig and a number of other GKf photographers—Eva Besnyö, Cok de Graaff, Ditty van der Poel, Maria Austria, Lood van Bennekom, Henk Jonker, and Aart Klein—submitted photos to a competition hosted by the city council of Alkmaar in commemoration of the city’s 700th anniversary. Windig took numerous shots of the city, with several featured in the book Alkmaar. One of his best-known photos is undoubtedly that of a steam locomotive passing by a farm shed. Windig’s most important publication from this period is the book In het land der levenden (‘In the Land of the Living’, 1966). He was commissioned by the ‘Vereniging tot opvoeding en verpleging van geesteszwakke kinderen’ (‘Association for the Raising and Nursing of Mentally Disabled Children’) to photograph children while at school, at work, at play, and also at the doctor’s. He was given full liberty to follow them in their day-to-day lives at the association’s various institutions. The result is a book featuring more than 100 photos—a majority of these images are penetrating individual portraits.

Two aspects clearly emerge in Windig’s work: serenity and humour. The first is expressed in his shots of landscapes, in which a feeling of emptiness predominates. The second aspect is the way in which he photographs people with mild jest.

In his photos, Windig often emphasises the graphic aspects of photography. It is not the three-dimensional component that he accentuates, but the composition within the flat surface. Windig’s graphic viewpoint reveals itself in various ways. With his shots of church organ cases, he chose to photograph frontally, ‘because this is the way they appeared in the design drawing’, though this entailed bringing along his own scaffolding. He photographed a child on the beach out of focus, so that the silhouette took on a graphic effect. He chose to depict a landscape with black lines in white abstracted surroundings. His now famous image of a Swiss winter landscape with black fencing was taken during a visit to the photographer Wolgensinger in 1948, accompanied by Maria Austria, Carel Blazer, Paul Huf, and Henk Jonker. Windig likes to say he was the only one who took a photo at this time, because it illustrates how his ‘graphic’ perspective surprised them. For Windig—and as well for Aart Klein and Cor van Weele—photography is not only about tonal greys, but just as often entails writing with ‘light on black paper’, as Klein describes it. In the days of the Subjective Photography exhibitions, such a vision was highly valued as an expression of the photographer’s personality.

Windig’s compositions are characterised by an arrangement with the main subject positioned in the centre of the image, surrounded by a virtually empty space: a man wearing a black coat on an empty square next to the Saint Servatius Church in Maastricht, a street lantern in Hoorn, or a woman in a courtyard in Alkmaar.

Various assistants have worked in Windig’s studio over the years, including Hennie Henriet, Annelies Romein, Ed van der Elsken, Philip Mechanicus, and Joost Guntenaar. Some started out as apprentices, others began working immediately as assistants. In 1949, Windig offered Ed van der Elsken a room on the Prinsenhofsteeg in Amsterdam. In exchange for free housing, Van der Elsken worked in Windig’s darkroom and assisted him with his commissioned work.

Philip Mechanicus’ period of apprenticeship was reminiscent of Windig’s own period of study under Emmy Andriesse. His students also had to start out working with a large camera: ‘Exercises with “the big camera”, a Brand 9×12 cm [8×10 inch]. Objects of one’s own choice, still lifes. Moving spoons and vases around, an old neglected doll, and a strip of photos with the ballerina Alicia Markova. As long as it’s sharp, said Ad Windig. You have to take a good photo and it has to be sharp.’

During his time working for Andriesse, Windig photographed with a 9×12 camera. After this time, he worked with a Rolleiflex. In the 1950s, Windig chose to work with the Hasselblad Superwide (wide-angle: 90 degrees)—one of the first among the GKf photographers. Because he felt free enough to choose his own crop (typically vertical format), he was in no way inhibited by the square format of the 6×6 negative. In his view, the wide format of a 35mm negative was ‘terribly ugly’.

When Windig began to photograph the village of Callantsoog in 1990, he was left with no other choice but to photograph with a Nikon—because of his eyeglasses—and ‘this you can see in the quality of the photos’.

Windig’s archive comprises approximately 15,000 negatives in the format 6×6 cm. In recent years, Windig’s son Michael—co-director of the photo lab ‘De Verbeelding’ in Volendam—makes prints of his father’s work for exhibitions and events.

Windig was a board member of the GKf for many years: first as the secretary from 1956 to ’58, and from 1958 to ’66 as its chairman. During this period, he devoted substantial effort towards a number of matters posing a threat to photographers’ standing. In about 1963, the GKf entered a conflict with the ‘Bedrijfschap voor het Fotografisch Bedrijf’ (‘Trade Organisation of the Photographic Company’). One argument made by the GKf’s board was that the association’s members were working in an ‘open’ profession as opposed to running an official company. Under Windig’s guidance, the board also began compiling target rates for photographers’ fees. In addition, the city government of Amsterdam was asked to take steps in promoting photography. Later on, Kors van Bennekom asked Windig to become the association’s secretary for a second time, a role he fulfilled from 1972 to 1974. During this period, the GKf took action to ensure that photography would be included in the budget of the Ministry of CRM (Cultuur, Recreatie en Maatschappelijk Werk, ‘Culture, Recreation and Social Work’). Several sharply worded letters written by Windig gave this request greater bearing.

Around 1975, Windig formally gave up photography, but not for good. In a book featuring his work, entitled Fotografie/Ad Windig, Bert Schierbeek wrote: ‘(…) and I saw he was living there: entirely in his own photo (…) and has never taken a photo there.’ The book’s designer, Gerard Wernars, asked Windig to take a photo of his house in Callantsoog, as an illustration to accompany Schierbeek’s words. This shot, taken in 1989, was what inspired the making of a book on the village of Callantsoog. Together with the artists Jan Bons, Charlotte van Pallandt, Dick Raaymakers, and Hein Salomonson, Windig won the first ‘Oeuvre Prize’ of the BKVB (Fonds voor Beeldende Kunst, Vormgeving en Bouwkunst, ‘Netherlands Fund for Visual Arts, Design and Architecture’) in 1992: ‘With the awarding [thereof], the foundation honours visual artists, designers and architects who have a long history of service, whose oeuvre possesses an unabated stimulating force and vitality, but who momentarily work a bit more quietly.’ The publication of Ad Windig’s retrospective book, as well as the 1992 exhibition Bezetting en Bevrijding (‘Occupation and Liberation’), underscore the important place his photos hold in the history of Dutch photography. This award therefore brought well-deserved recognition to a photographer seldom seen in the spotlight.


Primary bibliography

Over de beroepsvereniging van fotografen gkf, in (Folder) GKf (‘vogeltjesbulletin’) mei 1973, p. 11.

Philip Mechanicus en Bert Schierbeek (tekst), Photography/fotografie/Ad Windig, Den Haag (SDU/Nicolaas Henneman Stichting) 1989.

Het dorp Callantsoog. Fotografie Ad Windig, z.p. (Callantsoog) (Leguit & Zoon) 1991.


foto’s in:

(Brochure) NV Electro Zuur- en Waterstoffabriek, Amsterdam z.j, omslag, p. 8-9.

Hazemeyer Hengelo, z.p. (Hengelo) z.j.

Max Dendermonde (tekst), De wereld van vandaag na vijftig jaar Vredestein, Wormerveer (Meijer’s Industriële Uitgeverij) z.j., p. 12.

Foundations of an enterprise. Enterprise in foundations, n.v. Aannemersbedrijf J.P. Broekhoven, Zeist, z.j.

Sjoerd de Vries (tekst), Splendor splendid light, Nijmegen (Thieme) z.j., omslag, voor p. 1, p. 3-8, 10-11, 13, 15, 17, 19, 21-23.

Bas Roodnat (tekst), Fokker, z.p., z.j., ongepag.

Tjits Veenstra en R. Kramer, Koop thee voor je geld, Zeist (Dijkstra’s Uitgeverij) z.j., p. 4-20, 22-40, 42-47 (serie: Op weg door de wereld, 5).

Eli Asser (tekst), ASVO. Amsterdam School voor Opvoeding en Onderwijs, z.p., z.j., ongepag.

L.P.J. Braat (tekst), Uit de werkplaatsen der beeldhouwers, Amsterdam (De Spieghel) 1942.

A. de Froe, Er moet veel strijd gestreden zijn …,De Vrije Katheder z.j. (1945) (speciale uitgave).

De Waarheid ca. 1945-’46.

Norman Phillips en J. Nikerk, Holland and the Canadians, Amsterdam (Contact) z.j. (1946), p. 7, 17-18, 39, 50, 65, 67, 69-71 (idem Nederlandse editie).

Max Nord (inl.), Amsterdam tijdens de hongerwinter, Amsterdam (Contact in samenwerking met De Bezige Bij) z.j. (1947), ongepag.

Th.P. Tromp, Verwoesting en wederopbouw/Revival of the Netherlands, Amsterdam (Contact) z.j. (1948), afb. 26- 27, 32, 34, 37, 54-55, 60-61.

Godfried Bomans e.a. (tekst), Het Hildebrand monument van Prof. J. Bronner, Amsterdam / Brussel (Elsevier) 1948.

Catalogus tent. Foto ’48, Kroniek van Kunst en Kuituur 1948 (speciale editie), p. 20, 29.

Foto 3 (november 1948) 11, omslag, p. 332, 335.

Piet Zwart, De taak der fotografie, in Je Maintiendrai. De Stem van Nederland 9 (2 oktober 1948) 13, p. 10-11.

Evert Zandstra e.a. (tekst), Het water, Amsterdam / Antwerpen (Contact) 1950, afb. 80b (serie: De schoonheid van ons land. Land en volk, deel 7).

U.S. Camera Annual (International edition) 1950, p. 72-73 ,84-85.

Auteur onbekend, Over fotografie, in Drukkersweekblad (1950) kerstnummer.

Catalogus tent. Vakfotografie 1950, Eindhoven (Stedelijk Van Abbemuseum) 1950, ongepag.

Pro Juventute kalender 1951, 1950.

(Brochure) Al negentig jaren touw van de G.M.G. N.V. De Goudsche Machinale Garenspinnerij, Gouda 1951.

Pro Juventute kalender 1952, 1951.

Catalogus tent. Fotoschouw ’52, Den Haag (Haags Gemeentemuseum) 1952, ongepag.

Catalogus tent. Sonsbeek ’52.

Internationale Tentoonstelling Beeldhouwkunst, Arnhem (Sonsbeek) 1952, ongepag.

Catalogus Welt-Ausstellung der Photographie, Luzern (Kunsthaus) 1952.

Eric van der Steen (tekst), Alkmaar, z.p. (Amsterdam) (De Bezige Bij) 1954, ongepag.

(Brochure) EN. Eerste Nederlandsche. Verzekerings-Maatschappij op het Leven en tegen Invaliditeit N.V. NEN Verzekeringsbank ‘De Nieuwe Eerste Nederlandsche’ N.V., z.p. 1955.

PJ. Mijksenaar (tekst), Amsterdam op z’n mooist. Vier wandelingen door de hoofdstad, Amsterdam (De Bezige Bij) 1955 (idem Engelse en Franse ed.: Amsterdam at best. Four trips through the capital; Amsterdam, Ia ville par excellence. Quatre promenades a travers la capitale).

Mensen en machines. De eerste christelijke technische school Patrimonium te Amsterdam, Amsterdam 1957.

Gras Heyen, Waren wij maar zeventien, Amsterdam (De Bezige Bij) 1958, omslag, p. 23.

Max Dendermonde, Het water tot de lippen. Wat wij deden via het Nationaal Rampenfonds, Amsterdam (De Bezige Bij) 1958, p. 36, 51, 127, 131.

Prikkels (Huisorgaan van Proost en Brandt nv, papiergroothandelaren, boekbinders en uitgevers) (juni 1958) 227.

Kijkprikkels, Prikkels (Huisorgaan van Proost en Brandt nv., papiergroothandelaren, boekbinders en uitgevers) (november / december 1958) 231, p. 8-9, 19,28.

E. Werkman (tekst), Honderd jaar kaarslicht. N.V. Koninklijke Stearinc Kaarsenfabrieken “Gouda-Apollo”, z.p., z.j. (ca. 1958), p. 2-3, 8-9, 12-18, 20-22, 24, 27, 33-35, 37-38, 40-44, 49, 58-62, 67, 69-79, 81-89, achterschutblad.

A. Bruyaux n.v. Een kijkje in verschillende van onze bedrijfsruimten, Amsterdam 1959.

G.H. Knap, The Diligent City Amsterdam, Amsterdam (Junior Chamber Amsterdam) 1960.

(Kalender) Amsterdam stad van het water, Amsterdam (Gemeente Amsterdam) 1960.

Bert Schierbeek (tekst), Drie vel in het wapen. 250 Jaar NV Berghuizer Papierfabriek v/h B. Cramer, Wapenveld/Wormerveer (Berghuizer Papierfabriek/Meijer’s Industriële Uitgeverij) 1961.

Han Hoekstra (tekst), Dag Amsterdam, Amsterdam (N.V. Het Parool) 1961, p. 41, 61, 69, 72, 75, 100, 103, 107, 109, 125-126, 129.

J.P. Wyers Industrie- en Handelsonderneming n.v., Amsterdam z.j. (ca. 1961).

J.P. Wyers Industrie- en Handelsonderneming n.v., Amsterdam z.j. (ca. 1962).

Chroomdromen met Evelyn, in Algemeen Handelsblad 16 februari 1963.

Prikkels (Huisorgaan van Proost en Brandt nv, papiergroothandelaren, boekbinders en uitgevers) (oktober 1963) 275.

Drukkersweekblad en Autolijn (1963) 52 (kerstnummer), p. 28-29, 86-88.

HTS als basis voor een functie bij PTT, z.p. (PTT) 1964, p. 4-5, 11-12, 17-18, 24-25, 29-30.

Algemeen Handelsblad 4 januari 1964.

Drukkersweekblad en Autolijn (1964) 52 (kerstnummer), p. 44, 55, 85.

Wim Alingsjr. (tekst), Bloem-lezing. Kleingoed & kruimels opgedist bij het vijftigjarig jubileum van de NV Meelfabrieken der Nederlandsche Bakkerij te Rotterdam, Rotterdam 1965.

Th.C.M.A. Elsenburg (voorw.), Bewaard in het hart, Amsterdam (Gemeente Amsterdam) 1965.

Gabriël Smit (inl.), Gooi en Vechtstreek, Amersfoort (A. Roelofs van Goor) 1965.

HBS en gymnasium voor leidinggevende functies bij PTT, z.p. (PTT) 1965, p. 4-5, 12, 16, 20-21, 24, 26-27, 29, 31.

Jan Filius (tekst), In het land der levenden, Utrecht (Vereniging tot opvoeding en verpleging van geesteszwakke kinderen) 1966.

H. van Namen (ten geleide), Het Academisch Ziekenhuis van de Vrije Universiteit te Amsterdam 1966,

Amsterdam (Het Academisch Ziekenhuis der Vrije Universiteit) 1966.

Ze breken Kattenburg af, in Algemeen Handelsblad 5 februari 1966.

Sj. de Vries (tekst), 502 Herengracht. Official residence of the burgomaster of Amsterdam, Amsterdam (Press Publicity and Information Office of the City of Amsterdam) 1967, p. 2, 5-8, 10-11, 13, 14-16, 18-19, 21-22.

J. van Venetien (tekst en samenstelling), Hart van Kennemerland. Album van leven en werken in Midden-Kennemerland door de eeuwen heen, IJmuiden / Wormerveer (Koninklijke Nederlandsche Hoogovens en Staalfabrieken/Meijer Pers NV) 1968.

J.H. Negenman, De bakermat van de Bijbel. Geschiedenis, cultuur en godsdienst van de wereld waarin de Bijbelse teksten zijn ontstaan, gegroeid en voltooid, Amsterdam/Brussel (Elsevier) 1968, p. 21-22, 26, 29, 32, 42, 54-55, 57, 60-61, 63, 67, 70, 73-75, 77, 79, 84-87, 89, 91, 93-96, 100, 110-111, 113, 120, 124, 127, 131, 133, 135, 140-141, 144-145, 149, 156-157, 159, 161, 164, 190-191.

J.M. Fuchs, en W.J. Simons (tekst), Activiteit in zwart. Vijftig jaar Norit, Amsterdam 1968.

Klaas Graftdijk (tekst), Ik drink de aarde. Amsterdam (Adriaan Volker) z.j. (ca. 1968).

Key & Kramer nv Maassluis Holland. Pijpbekleding, Maassluis (Cables Keykramer) 1970.

Bouw van grotere winkelcentra, Amsterdam (Raad voor het Grootwinkelbedrijf/Meijer Pers n.v.) 1970, p. 3, 7, 11-14, 17-18, 21-22 (serie: Raad voor het Grootwinkelbedrijf, publicatie nr. 1).

Hans Dogger (tekstbewerking), Met het oog op de toekomst. Verkenning van de industriële ontwikkeling van de noordoever van het Noordzeekanaal, De Zaanstreek vandaag (oktober 1970) 17, p. 4, 6, 8, 12, 14-16, 20, 22, 26, 28.

TJ. Kerpel (tekst), In De Wijngaard. Huis ter Heide, z.p., 1971.

(Kalender) Slapers in het Vondelpark, Amsterdam (Van Soest) 1974.

(Kalender) Kunstenaars beschilderen Gezichten, Amsterdam (Van Soest) 1975.

Geïllustreerde ledenlijst grafische vormgevers en fotografen 1973, Amsterdam (GKf/GNV) 1973.

J. Buit, De parkeerbehoefte in moderne winkelcentra, Amsterdam (Raad voor het Grootwinkelbedrijf/Meijer Pers bv) 1973 (serie: Raad voor het Grootwinkelbedrijf, publicatie nr. 2).

H.R. Bontekoe, Gedrag. Een psychologische ingang tot omgang, Meppel (Ten Brink) z.j. (ca. 1976).

M. Heinink (red.), Omgang. Docenthandleiding, Meppel (Ten Brink) 1978.

J. Niemeyer, Bejaarden. Omgang met bejaarden, Meppel (Ten Brink) 1978.

M. Heinink (red.), Ontwikkeling, Meppel (Ten Brink) z.j. (ca. 1978).

M. Heinink (red.), Groepen, Meppel (Ten Brink) z.j. (ca. 1978).

Michael I. Wilson (tekst), Organ Cases of Western Europe, Londen (Hurst & Co) 1979.

Armando, Hans Verhagen en Maud Keus, Geschiedenis van een Plek, Amsterdam (De Bezige Bij) 1980, p. 174, 180.

Fotografie als daad van verzet, in De Waarheid-Bijlage 3 mei 1980, p. 15-16.

GKf Bulletin (december 1980) 1, omslag.

Jan Teeuwisse, Een portret van Sondaar, Utrecht (Impress) 1984, omslag.

(Folder) Stichting Nederlands fotoarchief, Amsterdam (Stichting Nederlands fotoarchief) z.j. (ca. 1986)

Diethart Kerbs en Carry van Lakerveld, Die untergetauchte Kamera. Fotografie im Widerstand. Amsterdam 1940-1945, Kreuzberg (Dirk Nishen Verlag) 1987, p. 4-5, 8 (serie: Edition Photothek XVIII).

Perspektief (juni 1987) 28/29, p. 60.

Max Bruinsma, Lies Ros, Rob Schröder, Een leest heeft drie voeten. Dick Elffers & de kunsten, Amsterdam (De Balie/Gerrit Jan Thiemefonds) 1989, p. 17,26-27.

Cécile van der Harten e.a. (red. en samenstelling), Honderd jaar Amsterdam, de Amsterdammers en de oorlog, Zwolle (Waanders) 1991, p. 237-238 (serie: Als de dag van gisteren, 10).

René Kok en Erik Somers (red. en samenstelling), De afrekening, Zwolle/Amsterdam (Waanders/RIOD) 1991, p. 1235, 1251 (serie: Documentaire Nederland en de Tweede Wereldoorlog, 52).

Cécile van der Harten e.a. (red. en samenstelling), Honderd jaar Amsterdam, de Amsterdammers en hun kunstenaars, Zwolle (Waanders) 1992, p. 406 (serie: Als de dag van gisteren, 17).

Secondary bibliography

Auteur onbekend, Werk van fotografen, in De week in beeld (16 oktober 1948) 29.

R.E. Penning, Een halve eeuw fotokunst. “Fotoschouw 1952” in Gemeentemuseum, in Haagsch Dagblad 7 mei 1952.

Auteur onbekend, “Le Canard”. De fotografie en de film, in Foto 8 (december 1953) 12, p. 348-350.

Auteur onbekend, Onscherp, toch bijzonder. Kleine expositie van Ad Windig in studententheater, in Het Parool 3 april 1957.

Peter Hunter, The GKf. A federation of photographers in Amsterdam, in Photography oktober 1958, p. 25-30, 61.

Adri de Waard, Een halve eeuw hoffotografie, in De Spiegel (25 april 1959) 30, p. 8-16, 36.

Joost Andriessen, Ad Windig tussen het hout, in Foto 17 (maart 1962) 3, p. 140.

Joost Andriessen, Een avond bij Ad Windig g.k.f., in Foto 18 (oktober 1963) 10, p. 502-509 (met foto’s).

J.A. (=Joost Andriessen), Gooi- en Vechtstreek. Platenboek van Ad Windig, in Foto 20 (december 1965) 12, p. 557-559 (met foto’s).

Ursula den Tex (eindred.), De bevrijde camera, Vrij Nederland-Bijvoegsel (15 mei 1976) 20, p. 38, 45.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 10-12, 21-22, 25-26, 29, 52-53, 90, 112, losse biografie.

Philip Mechanicus, Fotograaf Ad Windig: In iedereen schuilt een Cartier-Bresson, in NRC Handelsblad 2 februari 1979.

Brochure tent. De illegale camera, Amsterdam (Paleis op de Dam) 1980.

Oek de Jong, Ad Windig foto’s, Brochure tent. Ad Windig foto’s, Amsterdam (Stedelijk Museum) 1980.

Martin Schouten, Fotografie: de illegale camera. ‘Je kon de kogel d’r voor krijgen’, in Haagse Post 19 april 1980, p. 62-65 (met foto’s).

De illegale camera. Beelden uit een bezette stad, in Vrij Nederland-Bijvoegsel (3 mei 1980) 18, p. 35-39.

Marleen Kox, Verslag onderzoek fotoarchieven. (Samengesteld in opdracht van de Stichting Nederlands Foto-Archief), Amsterdam, juli 1981.

Yvonne Gnirrep, ‘Het gaat toch altijd om mensen’. Ad Windig, fotograaf van mensen en verstilling, in De Waarheid 8 september 1984, p. 6.

Bas Roodnat, Fotograaf Windig kijkt als graficus vol verwondering, in NRC Handelsblad 19 september 1984.

Rolf Bos, “Foto’s in een la hebben geen waarde”. Veelzijdige fotograaf Windig exposeert in Stedelijk, in De Volkskrant 10 oktober 1984.

Willem K. Goumans, Ad Windig goed licht, in Foto 40 (maart 1985) 3, p. 58-59 (met foto’s).

Tineke Luijendijk, Jarenlange strijd voor een Nederlands fotoarchief en -museum. Op de bres voor een culturele erfenis, in De Journalist 37 (10 maart 1986) 5, p. 26-27.

Ursula den Tex, ‘Het afscheid was een soort feest. Net kinderen die op schoolreisje gingen’. Een familieverhaal uit de hongerwinter, in Vrij Nederland-Bijvoegsel 9 mei 1987, p. 26-33.

Hripsimé Visser, Documentaire en monumentale foto-opdrachten in Nederland na 1945, in Perspektief (juni 1987) 28/29, p. 116.

Bas Roodnat, Tegen de huizen slaan echo’s van soldatenlaarzen. Foto’s van dagelijks leven in oorlogsjaren op expositie in Amsterdams Verzetsmuseum, in NRC Handelsblad 6 augustus 1988.

Philip Mechanicus, Een cursus fotografie, Amsterdam (Querido) 1989, p. 14, 21, 23, 25, 27, 54-55.

Mattie Boom, Foto in omslag. Het Nederlandse documentaire fotoboek na 1945, Amsterdam (Fragment) 1989, p. 19, 21-22, 132.

Igor Cornelissen, Nu & Toen. Op een duintop, in Vrij Nederland 50 (25 maart 1989) 12.

MH (= Mariëtte Haveman), Onvervangbaar erfgoed, in Vrij Nederland-Boekenbijlage (29 juli 1989) 30, p. 11.

Frits Gierstberg, Ad Windig, in Perspektief (mei 1990) 38, p. 81.

Ingeborg Leijerzapfe.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw, Amsterdam (BIS) 1991, p. 70, 216.

Evelyn de Regt e.a. (tekst), Once upon a time. Ed van der Elsken, Amsterdam (Fragment) 1991, p. 11-12.

René Kok en Erik Somers (red. en samenstelling), De Ondergedoken Camera, Zwolle/ Amsterdam (Waanders/RIOD) 1991, p. 1113, 1116, 1124, 1126-1127 (serie: Documentaire Nederland en de Tweede Wereldoorlog, 47).

Job Janssens, De houdbaarheid van een kustdorp. Ad Windig presenteert Callantsoog in nieuw fotoboek, in Schager Courant 8 juni 1991.

Auteur onbekend, Prijs voor Ad Windig, in GKf Bulletin (1992) 1, p. 2.

Hanneke Wijgh, Ad W’indig. ‘Ik ben niet goed in ellende, Cas Oorthuys kon dat beter’, in Trouw 3 september 1992.

Han Dirk Hekking, ‘Dagelijks leven veranderde en dat zette ik op de foto’. Ad Windig (79) exposeert uniek materiaal over Duitse bezetting, in Noordhollands Dagblad 9 september 1992 (met foto’s).

Wim de Jong, Windigs wereld werd geboren uit schlemieligheid. Tentoonstelling van bezettings- en bevrijdingsfoto’s in Verzetsmuseum, in De Volkskrant 11 september 1992, p. 10.

Monique Snoeijen, Windig fotografeerde de bezettingstijd met ‘verborgen camera’, in Het Parool 15 september 1992.

Steven Adolf, De sprekende details van de oorlogsjaren, in NRC Handelsblad 24 september 1992.

Philip Mechanicus, Een herinnering aan een herinnering, in GKf Bulletin (november 1992) 3, p. 6-7.

Catalogus Foto Biennale Enschede, Enschede 1993, p. 90-91, 100.


GKf, vanaf 1946 (medeoprichter)


ca.1960 Gerrit Jan Thieme prijs.

1992 (20 juni) Oeuvreprijs van het Fonds voor beeldende kunsten, vormgeving en bouwkunst.


1945 (g) Amsterdam, Atelier Marius Meijboom, De Ondergedoken Camera.

1948 (g) Amsterdam, Stedelijk Museum, Foto ’48.

1948 (g) Utrecht, Jaarbeursgebouw, De Nederlandse Vrouw.

1950 (g) Eindhoven, Stedelijk van Abbe Museum, Vakfotografie 1950.

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

1952 (g) Luzern, Kunsthaus, Welt-Ausstellung der Pkotographie.

1953 (g) Amsterdam, Galerie Le Canard, (foto’s van Ad Windig, beeldhouwwerk van Ben Guntenaar en naaldwerk van Lies Guntenaar).

1957 (e) Amsterdam, Kriterion.

1958 (g) Leiden, Prentenkabinet van de Rijksuniversiteit Leiden, Foto’s GKf.

1957 (g) Amsterdam, Stedelijk Museum, Hand en Machine (GKf).

1961 (g) Amsterdam, Stedelijk Museum, Dag Amsterdam.

1962 (g) Amsterdam, Knoll International, Ontmoeting 2 {Ad Windig tussen het hout en plastieken van Martinez, Vic Gentils, Hand Petri en anderen).

1966 (e) Hilversum, Goois Museum, Kijk… ‘t Gooi!

1970 (g) Parijs, Centre National Georges Pompidou, (Polaroid Collection).

1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.

1980 (g) Amsterdam, Paleis op de Dam, De Illegale Camera.

1984 (e) Amsterdam, Stedelijk Museum, Ad Windig foto’s.

1987 (g) Rotterdam, Oude Gemeente Bibliotheek, Fotografie in opdracht – monumentale en documentaire foto-projecten in Nederland

1988 (g) Amsterdam, Verzetsmuseum, De Ondergedoken Camera.

1989 (e) Amsterdam, Canon Image Centre, Ad Windig.

1989/1990 (g) Amersfoort, De Zonnehof, Foto in omslag. Het Nederlandse documentaire fotoboek na 1945.

1991 (g) Amsterdam, Nieuwe Kerk, Het beslissende beeld (Dutch Photography).

1991 (e) Callantsoog, Openbare bibliotheek, (foto’s van het boek Het dorp Callantsoog).

1992 (g) Houston, The lllegal Camera.

1992 (e) Amsterdam, Verzetsmuseum, Bezetting en Bevrijding. Foto’s van Ad Windig uit de periode 1943-1952.

1993 (g) Enschede, Foto Biennale Enschede.

Television program

1992 Opium magazine (o.a. aandacht voor oeuvreprijswinnaars) (AVRO).


Callantsoog, Ad en Ans Windig (documentatie en mondelinge informatie).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.


Amsterdam, Gemeentearchief.

Amsterdam, Rijks Instituut voor Oorlogsdocumentatie (RIOD).

Amsterdam, Stedelijk Museum.

Haarlem, Stichting Nederlands Foto & Grafisch Centrum (Spaarnestad Fotoarchief).

Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.

Leusden, Stichting Dunhill Dutch Photography.