PhotoLexicon, Volume 11, nr. 23 (April 1994) (en)

Gerda van der Veen

Carla van der Stap


Gerda van der Veen works as a photographer, filmmaker, and graphic designer. She is regularly involved in theatrical productions. Van der Veen’s preference is for alternative forms of cultural expression taking place on the street, especially in Amsterdam. In the early 1970s, she photographed the riots in the city’s Nieuwmarkt neighbourhood. Van der Veen’s oeuvre radiates levity, but frequently chaos and action as well.




On 12 September 1934, Gerda van der Veen is born in Amsterdam, as the daughter of Gerrit Jan (Gerrit) van der Veen and Louise van der Veen-van der Chijs. Her father is a sculptor, later renowned for his work in the Dutch resistance during World War II. Her mother begins photographing later on in life. Gerda van der Veen grows up in Amsterdam. Her education includes the preliminary study programme for the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam. Hereafter, Van der Veen studies sculpture for approximately one year at the same academy, where she meets Ed van der Elsken.


On 25 September, Gerda van der Veen marries Ed van der Elsken. They move to the Nieuwmarkt neighbourhood of Amsterdam at Koningsstraat 5. Van der Veen comes into direct contact with photography and film for the first time. The couple makes (documentary) films together: Van der Veen does the sound and on occasion the editing.


Van der Veen and Van der Elsken travel around the world for fourteen months. In exchange for traveling via cargo ships, they make a film for the Koninklijke Nederlandse Redersvereniging (‘Royal Netherlands Ship-Owner’s Association’), with Dutch shipping companies as its theme. During their trip, they also write travel accounts and illustrate these with photographs: Ed van der Elsken for the Katholieke Illustratie (‘Catholic Illustration’) and Gerda van der Veen for Beatrijs (a Dutch catholic weekly for women). They travel to West and South Africa, Malaysia, Singapore, Hong Kong, Japan, and return via Hong Kong, Mexico, and the United States. Each month they make a reportage for television in the form of a travelogue, broadcast by the AVRO broadcasting company. This results in the publication Sweet Life.


On 12 June, Van der Veen and Van der Elsken’s daughter, Tineloe, is born.


On 8 May, Van der Veen and Van der Elsken’s son, Daan Dorus, is born.


Van der Veen and Van der Elsken live separately. Starting in 1969, Van der Veen begins working as a photographer for the ‘Podium’ theatrical company, at the request of the Dutch actor Bob de Lange.


As a member of the ‘Aktiegroep Nieuwmarkt’ (‘Protest Group Nieuwmarkt’), Van der Veen photographs events such as the Nieuwmarkt riots, incited by the building of the underground in this Amsterdam neighbourhood. She photographs around the Nieuwmarkt on a regular basis, along with Pieter Boersma, Vincent Mentzel, Dolf Toussaint, and Koen Wessing. Van der Veen joins up with the Zomerstraattheater (‘Summer Street Theatre’) in Amsterdam and works for this theatrical company as a photographer. She devotes effort to the preservation of this organisation, which later results in a small photobook about the Zomerstraattheater, published on her own initiative.


The street theatre company ‘Dogtroep’ is founded. After coming into contact with the group, Van der Veen becomes an ardent follower of its activities. She becomes Dogtroep’s photographer. Her photos are used for publicity purposes, in the form of posters, annual reports, and other printed matter. She also travels with the group on tours to Germany and France.

Van der Veen focuses increasingly on her photography. Her primary subjects are the developments around the Waterlooplein in Amsterdam, theatrical productions, and street (music) theatre, including the Festival of Fools. She does a great deal of work for various protest groups (‘actiegroepen’) in Amsterdam, such as ‘Bouwes wat anders’ (‘Build Something Different for Once’) and events such as the Amsterdam City Circus on the Waterlooplein.


In 1976, the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’) commissions Van der Veen to photograph street activities in Amsterdam. In the following year, she receives the same commission again, in an expanded form.


Together with the puppeteer Jan de Noord and the musician Jan Wolff, Van der Veen realises the project Wonderlijke Zwervers (‘Amazing Drifters’), commissioned by the ‘cultureel centrum de Oosterpoort’ (‘Oosterpoort Cultural Centre’) in Groningen. The project entails a musical visual narrative in the form of slides and colour photos, featuring De Noord’s puppets in the landscape of the Dutch province Groningen.


Van der Veen collaborates with the Initiatiefcomité Amsterdam Vrij (‘Initiative Committee Free Amsterdam’), which includes the Festival of Fools, the Anti-City Circus, the Zomerstraattheater, and the Melkweg (‘Milky Way’, a musical and cultural venue in Amsterdam). The committee is protesting against the strict ‘Algemene Politieverordening’ (‘General Police Ordinance’), which generally forbids street performances.


Van der Veen’s solo exhibition is held at the Amsterdams Historisch Museum (‘Amsterdam Historical Museum’), entitled Amsterdam, je blijft lachen (‘Amsterdam, You Keep Laughing’).


For the AFK, Van der Veen produces a photo series on Ruigoord, an area outside Amsterdam initially designated as an industrial terrain. She photographs the village community that has settled at this location, comprised chiefly of artists and intellectuals.


Van der Veen dances in the Dutch National Ballet and also photographs the rehearsals of the company’s latest production at the Stadschouwburg (the civic theatre) in Amsterdam. Starting in 1983, Van der Veen acts in the productions of the street theatre company ‘De Gebroeders Flint’ (‘The Flint Brothers’). She is also the company’s photographer.


Van der Veen makes a film with the title Vernissage. Een sprakeloze ontmoeting (‘Opening Reception. A Speechless Meeting’). This film is intended to be the first of a series of films focusing on the difference between photography and film. Due to her own dissatisfaction with the final result, however, she subsequently relinquishes her plans.


Starting in this year, Van der Veen also acts in the Binnenlandstheater (‘Domestic Theatre’), a children’s theatrical company. She continues to photograph theatrical performances.


Gerda van der Veen dies on 9 July.


Gerda van der Veen’s photographic oeuvre conveys a positive take on life. Both in a political sense and as an individual, an extreme commitment to her subject is an absolute requirement for her. Van der Veen’s commentary on human relationships is sometimes explicit, sometimes subtle. Gerda’s father, Gerrit van der Veen, was a promising sculptor. Her mother, Louise van der Veen-van der Chijs, produced photographic portraits of sculptors and other people, with her work shown at an exhibition held at the Amsterdams Historisch Museum (‘Amsterdam Historical Museum’) in 1984.

The artistic environment in which Van der Veen grew up and the work she did with Ed van der Elsken are certain to have influenced her desire to express herself visually. Her initial desire to begin photographing at the age of fifteen was motivated by a sense of personal commitment as well as financial necessity. During her marriage to Ed van der Elsken, Van der Veen never photographed on a serious basis. After her divorce in 1969, however, the actor Bob de Lange approached her—to her own surprise—to photograph on behalf of the theatrical company Podium. Being a single parent in need of additional financial space, she accepted the offer.

The riots in the Nieuwmarkt neighbourhood in Amsterdam of the 1970s—a protest against the building of an underground transit system in this part of the city—inspired Gerda to venture out onto the street to photograph the immediate surroundings where she lived. It was at the ‘Aktiegroep Nieuwmarkt’ (‘Protest Group Nieuwmarkt’) that she first met Dolf Touissant, who encouraged Van der Veen to develop herself further as a photographer and who gave her the idea to photograph the Amsterdam Central Station. He also advised her in this undertaking, which, in 1976, resulted in a documentary assignment from the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’), with ‘street activities’ as the subject matter.

The financial impulse that came with this assignment enabled Van der Veen to evolve into a full-fledged photographer in the ensuing years.

In her striving for a more humane and tolerant society, Van der Veen often played an active role herself: she stood at the barricades during the Nieuwmarkt protests, not just as a concerned resident of the neighbourhood, but also as a photographer. She was practically always the only woman photographing the riots. Photographers such as Koen Wessing, Vincent Mentzel, Dolf Toussaint, Hannes Wallrafen, and Pieter Boersma could also be found at the same spot. Their photos, however, are generally bleaker than those of Van der Veen, who was drawn to more light-hearted forms of protest.

On occasion, Van der Veen also made her photos accessible to attorneys involved in legal suits filed against demonstrators by the government.

While photographing riots in 1984, Van der Veen experienced a bad scare: she found herself standing in a cloud of ill-concocted teargas, which the government implemented in the form of an experiment. As a result, she decided to stop with protest photography all together. In actuality, she no longer wished to be identified with the increasing number of violent incidents incited by hooligans.

In 1974, Gerda began photographing events on the Waterlooplein in Amsterdam, which led to an intensive reportage. This project, as well as long-running social documentary reportages produced by others, had been receiving too little attention in her opinion. When a photographers’ collective came up with the idea of Plaatwerk (‘Plate Work’, a magazine for social reportages) in about 1983, Van der Veen was immediately interested and helped with setting up this periodical.

Van der Veen’s interest in street (theatre) and protest photography, which manifested itself at an early stage, remained a key aspect of her entire photographic oeuvre. She was among those who demonstrated in favour of the preservation of the Zomerstraattheater (‘Summer Street Theatre’), an organisation promoting open street performances and providing facilities for a large number of theatrical groups. Van der Veen published a small photobook on her own initiative, featuring the photos she took during a demonstration held in Amsterdam organised by the Zomerstraattheater.

For years, Van der Veen photographed the annual Festival of Fools, an international forum for street theatre groups held in Amsterdam during the 1970s and ’80s.

For many years, experimental and exploratory theatrical groups, e.g. Waste of Time, Kip, Tender, Dogtroep, and the Gebroeders Flint, not only made up a great part of Van der Veen’s photography but also much of her private life. Most of her street photos are in fact action photos: vivacity, chaos, and jest are always clearly present. The street as a public domain is an important element for Van der Veen. Street theatre beats the daily grind, thus having a liberating effect. Van der Veen photographs the reflection of this. In her photographs of Amsterdam, the absurdity of everyday life comes to the forefront.

In 1977, the documentary assignment on the topic of ‘Street Activities’, for which Van der Veen had been commissioned by the AFK in 1976, was given a follow-up. In both assignments, she also photographed street theatre, including the Festival of Fools productions. For the same 1977 documentary assignment, she also shot a series of photos centred on the Amsterdam Central Station. With this series, however, Van der Veen is clearly less personally involved. While her interest in people is still evident in this series, the photos are less resplendent, less lively, when compared to her other work.

In 1982, Van der Veen did a reportage on life at Ruigoord (municipality Haarlemmerliede) for the AFK, a project in which her personal involvement can once again be observed. Van der Veen had been frequenting this alternative living community already for years, which had formed on a site designated for industrial and shipping activity. The lifestyle of Ruigoord’s inhabitants appealed to her. Because the way of life there was dependent upon the different seasons, Van der Veen worked on this reportage for approximately one year. She made not only a written introduction, but also a map. As a result, her assignment served as a complete documentation of a fairly closed community. The natural environment even motivated Van der Veen to take landscape photos. Her reportage charmingly depicts subjects such as reed cutting, nudism, the renovation of a home with recycled wood, and children playing in the grass.

For a brief time, Van der Veen also worked with the medium of film. In 1979 and 1981, she took film stills and working photos for two of Johan van der Keuken’s films, De meester en de reus (‘The Master and the Giant’, 1980) and De beeldenstorm (‘The Iconoclasm’, 1982). Like Van der Keuken, Van der Veen was interested in the differences between photography and film. In 1974, Van der Keuken made a film entitled Vakantie van de filmer (‘The Filmmaker’s Holiday’), which addressed this topic.

In the period 1983-’85, Van der Veen made a short film of her own with a subsidy from the Ministry of WVC (Welzijn, Volksgezondheid en Cultuur, ‘Welfare, Public Health, and Culture’), entitled Vernissage. Een sprakeloze ontmoeting (‘Opening Reception. A Speechless Meeting’). A sequel was also planned, but Van der Veen was unable to find the right form to further elaborate on the series.

For the project Wonderlijke Zwervers (‘Amazing Drifters’), made in collaboration with Jan de Noord and Jan Wolff in 1978, Van der Veen was inspired to work in colour, with puppets in the leading role. Van der Veen shot both slides and colour photos of the landscape of Groningen. In 1986, she produced a behind-the-scenes photographic series at the Nederlandse Opera (‘Dutch National Opera’), as well partially in colour. Various annual Festivals of Fools, demonstrations in Amsterdam, as well as performances in the Vondelpark were also photographed on colour slides.

Content-wise, Van der Veen’s photos are characterised by their sociocritical undertone. In doing so, she belonged to the group of socially engaged photographers active during the 1970s and ’80s. This aspect of social engagement is evident in Van der Veen’s protest photos, which are sometimes whimsical, sometimes bleak. A photo of policemen on horses moving in on a protestor conveys an explicit critique. The image resembles a hunter cornering his prey. The advertising posters in the background and the people on the balcony who witness the event with shock give the photo an added dimension.

Photos of people in their own neighbourhood, however, also provide a subtle commentary on the reality—often in the form of mild jest. For Van der Veen, the message a photo’s content conveys is extremely important. In addition, her photos are taken in a highly conceived fashion. Tonal range and framing are used in a way to accentuate and enliven her subjects. With street theatre, a number of factors are important. The action—which almost always appears chaotic—the background, and the public all have to find their place within the photo. The strength of Van der Veen’s photography is that it captures the essence, obtained through the photographer’s ability to isolate the subject precisely at the right moment. With visual theatre performed by groups such as Dogtroep, Van der Veen allows the surroundings to play a role. She also responds to the unpredictable dynamic in the acting.

Van der Veen frequently designs posters and brochures as publicity material for theatrical and music groups, using her own photos. She also makes photo collages, which are sometimes implemented as inserts for annual reports, bulletins, and brochures.

At the start of her career, Van der Veen relied on a small Leica camera. At a later point, she also began working with a Nikon. Depending on the design, Van der Veen uses a 35, 40, or 55 mm (standard) lens or a 80-200 mm zoom lens. She makes no attempt to use the entire negative and never works with a tripod, not even in her theatrical photography. Van der Veen is a child of the times when it comes to content. The same applies to her printing technique. Van der Veen’s prints were initially characterised by their coarse grain and dark tones; in her later work, however, she prefers greater nuances as well as light/dark effects.

Gerda van der Veen photographed the street and music theatre circuit, as well as the cultural agitation of the 1970s and ’80s, in a consistent manner. The merit of her positive outlook, especially when it came to the city of Amsterdam, is that her photography presented a different picture—one less bleak than that of other social photographers from this period. As a result, Van der Veen’s oeuvre is a valuable addition to the sociohistorical documentation of a lively period in and around Amsterdam.


Primary bibliography

P. Boersma, V. Mentzel, R. Peeters e.a, Blauwe maandag; omdat mijn huis daar stond, Amsterdam (Aktiegroep Nieuwmarkt) 1975.

Verslag Zomerstraattheater 1977, Amsterdam z.j. (ca. 1978).

Straat vrij! Daarom!, Amsterdam (Initiatiefcomité A’dam Vrij) 1979 (Theaterstraatuitgave nr. 0794).

Gerda van der Veen en Rolf de Meijer, Gesprek ten stadhuize, in Kunst op straat, Informatiebulletin Amsterdamse Kunstraad (juni 1980) 18, p. 11-12.

Amsterdam je blijft lachen, in GKf fotografen (juli 1981) 3 (met foto’s).

‘Ons eruitslaan, dat kunnen ze niet maken’, in NRC Handelsblad 1 maart 1986.


images in:

STEIM. Muziek Aktueel, Den Haag (Haags Gemeentemuseum) 1975.

Aangifteboek Nieuwmarkt 1975, Amsterdam 1975.

Samen een boek maken, Amsterdam (Zomerstraattheater) 1976.

Jaarverslag Zomerstraattheater 1976, Amsterdam 1977.

Stedelijk Jaarverslag Amsterdam 1976, Amsterdam 1977.

Samen een boek maken, Amsterdam (Zomerstraattheater) 1977.

Het Parool 26 maart 1977.

F. Dobbrauski Jr., Wat een gedoe in de bedstee. Amsterdamse documentaire foto’s, in Elseviers Magazine 9 april 1977.

Theaterjaarboek vanaf 1978.

Jaarverslag Zomerstraattheater 1977, Amsterdam 1978.

Aloha ca. 1978.

Jaarverslag Zomerstraattheater 1978, Amsterdam 1979.

Stedelijk Jaarverslag Amsterdam 1978, Amsterdam 1979.

Jaarverslag Zomerstraattheater 1979, Amsterdam 1980.

Kunst op straat, Informatiebulletin Amsterdamse Kunstraad (juni 1980) 18, omslag, p. 20-21, inlegvel.

Ons Amsterdam december 1980.

GKf Bulletin (december 1980) 2.

Jaarverslag BKR 1980, Amsterdam 1981, p. 22-24.

Federatie van kunstenaars (verslag) 1981.

Catalogus tent. Kijken-vinden. De foto als registratie, Amsterdam (Nederlandse Kunststichting) 1981.

Toon Verbeek, Met de muziek mee. Leerboek 1, Groningen (Wolters-Noordhoff) 1981.

Dogtroep. Fotoboek 1975-1981, Amsterdam z.j. (ca. 1981).

Vrij Nederland 14 november 1981.

Nederlands Theaterjaarboek 1981/1982, Amsterdam 1982, p. 63-64.

Stedelijk Jaarverslag Amsterdam 1981, Amsterdam 1982.

Federatie van kunstenaars overzicht 1982.

Toon Verbeek, Met de muziek mee. Leerboek 2, Groningen (Wolters-Noordhoff) 1982.

Haarlems Dagblad 30 januari 1982.

GKf Bulletin (april 1982) 6, p. 10, 19.

NRC Handelsblad 23 mei 1983.

Holland Herald 19 (1984) 6.

De beste Aktiegroep ter wereld. Wijkcentrum D’Oude Stad, oktober 1984.

Dogtroep Jaarverslag 1984, Amsterdam 1985.

Trouw 11 februari 1985.

Dogtroep Jaarverslag 1985, Amsterdam 1986.

Dogtroep Jaarverslag 1986, Amsterdam 1987.

Dogtroep Jaarverslag 1987, Amsterdam 1988.

Important clients

Amsterdams Ballongezelschap

Amsterdams Jongerentoneel

Amsterdamse Kunstraad

Willem Breuker




De gebroeders Flint

De stille punaise


Flup en Ju

Salome Franken

Teo Joling

Johan van der Keuken








Stad Radio Amsterdam


Stichting Dansproduktie



Het Veem

De Volharding

Vuile Mong en zijn vieze gasten

Michel Waiszvisz

Waste of Time

De IJsbreker


Secondary bibliography

Rolf De Meijer, Mobiele fototentoonstelling Gerda van der Veen, Theaterstraatkrant (Zomerstraattheater) 1977.

Auteur onbekend, Zomerstraatfoto’s, in NRC Handelsblad 11 juni 1977.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 87 (met foto’s), losse biografie.

Gert Fokkens, ‘We wilden de droom naar werkelijkheid terugbrengen’, Gerda van der Veen fotografeerde poppen van Jan de Noord op het Groninger land, in Nieuwsblad van het Noorden 25 november 1978, p. 35.

Hennie van der Louw, Gerda van der Veen, fotografe: “ik vind het nog steeds een wondertje”, in De Nieuwe Linie 3 januari 1979, p. 13-14.

Auteur onbekend, Het feest dat Wiegel wilde, 30 april 1980, Wageningen (De Uitbuyt) 1980, p. 2, 34, 46, 57, 60.

Catalogus tent. De Stad In Zwart/Wit, Amsterdam (Museum Fodor) 1981.

Dedalo Carasso, Amsterdam, je blijft lachen, (Brochure) Amsterdams Historisch Museum 19 juni t/m 30 augustus 1981.

Johanneke van Slooten, ‘Fotograferen is pakken wat je voelt’, in De Volkskrant 27 juni 1981.

Auteur onbekend, Foto’s geven droevig beeld van Amsterdam. Expositie in Historisch Museum, in Leidsch Dagblad 30 juni 1981.

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

R. Koopmans, Tien jaar Volharding; tien jaar werken in een progressieve muziekpraktijk (De Volharding) 1982, p. 25, 37, 40-41, 43, 45, 51, 53, 67, 80, 83, 91, 93, 95, 97.

Catalogus tent. Foto’s voor de stad. Amsterdamse documentaire opdrachten 1981-1982, Amsterdam (Amsterdams Historisch Museum) 1983.

Catalogus tent. Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum De Commanderie van St.Jan) 1983, p. 74,94.

Bas Roodnat, Foto’s van sociale ontwikkelingen voor blad en archief, in NRC Handelsblad 30 juni 1983.

Auteur onbekend, Kunstenaarsfeesten in Paradiso; een eindverslag van een POBK project, Rijswijk april 1984.

Marjo van der Meulen, Geheime wens om mensen te laten lachen, Het Parool 25 juli 1984, bijlage Uit en thuis, p. 5.

Catalogus tent. Melkweg in Focus, Amsterdam (Bert Bakker) 1986, (met foto’s).

Zes dubbelportretten, in Plaatwerk 4 (maart 1988) 22/23, p. 69.


1976 (g) Amsterdam, De Zilveren Camera.

1977 (g) Amsterdam, Amsterdams Historisch Museum, Foto’s voor de stad.

1977 (e) Amsterdam, Foto’s Zomerstraattheater (mobiele fototentoonstelling door Amsterdam).

1977 (g) Amsterdam, Het Fort van Sjakoo (Jodenbreestraat 24), Foto’s van Pieter Boersma, Hans v.d. Bogaard, Han Singels, Gerda v.d. Veen, Koen Wessing.

1978 (g) Groningen, Cultureel Centrum De Oosterpoort, Wonderlijke Zwervers (in samenwerking met poppenspeler Jan de Noord, componist Jan Wolff en Bob Driessen).

1978 (g) Winschoten, Cultureel Centrum De Klinker, Wonderlijke Zwervers.

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

1978 (g) Amsterdam, Stedelijk Museum, Sneeuwvrouw.

1980 (g) Amsterdam, Stedelijk Museum, (GKf beroepsvereniging van fotografen).

1980 (g) Amsterdam, Stedelijk Museum, Amsterdamse Kunstenaars Federatie.

1981 (e) Amsterdam, Amsterdams Historisch Museum, Amsterdam, je blijft lachen.

1981 (g) Amsterdam, Museum Fodor, De Stad In Zwart/Wit.

1981 (g) Amsterdam, Nederlandse Kunststichting, Kijken-vinden. De foto als registratie (rondreizende tentoonstelling).

1981 (g) Eindhoven, Stadsschouwburg, Theaterfoto’s (rondreizende tentoonstelling).

1982 (e) Den Bosch, Galerie Bis, Straattheater.

1982 (e) Amsterdam, De Ijsbreker, Wonderlijke Zwervers.

1982 (e) Amsterdam, De Melkweg, Stills van een film van Johan van der Keuken.

1982 (g) Amsterdam, Studio Amazone, Kunst voor de feestdagen.

1982 (e) Amsterdam, Stuyvesant Foundation, Portretten van Vali.

1983 (g) Amsterdam, Amsterdams Historisch Museum, Foto’s voor de stad.

1983 (g) Amsterdam, Stedelijk Museum, Kijken in de tijd (GKf).

1983 (g) Nijmegen, Nijmeegs Museum De Commanderie van St. Jan, Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden.

1983 (e) Amsterdam/Ruigoord, 10 jaar Ruigoord.

1984 (e) Amsterdam, Boomsspijker, Buurtfoto ‘s.

1984 (g) Amsterdam, Waterlooplein, Pleinfoto’s.

1984 (g) Amsterdam, Canon Photogallery, 19 vrouwelijke Nederlandse hedendaagse fotografen.

1985 (g) Amersfoort, Nederlands Centrum Amateurtoneel, Straattheater.

1986 (g) Amsterdam, De Melkweg, De Melkweg in Focus.

1986 (e) Amsterdam, Boomsspijker, Foto’s van poppenspel van Jan de Noord.

1987 (g) Amsterdam, Allard Piersonmuseum, Egypte.

1988 (g) Amsterdam, Stedelijk Museum, Geliefde personen (GKf).

1988 (e) Amsterdam, Sociëteit De Kring.

1993 (e) Amsterdam/Ruigoord, 20 jaar Ruigoord.

1993 (g) Amsterdam, De Melkweg, De collectie.


1959/1960 Veertien ‘travelogues’ over de wereldreis van Gerda van der Veen en Ed van der Elsken (AVRO).

1971 De Verliefde Camera (Ed van der Elsken en Gerda van der Veen, uitgezonden door de VPRO op 24juni 1971).

1985 Vernissage. Een sprakeloze ontmoeting (korte film van Gerda van der Veen).

1982 Fotografe voor de stad. Videofilm door Erik Gastkemper over Gerda van der Veen aan het werk in Ruigoord.




Amsterdam, Gerda van der Veen (mondelinge informatie en documentatie).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

Leiden, Annet Zondervan (onderzoeksmateriaal).


Amsterdam, Gemeentearchief.

Amsterdam, De Melkweg.

Amsterdam, Theater Instituut Nederland.

Den Haag, Rijksdienst Beeldende Kunst.

Rotterdam, Nederlands Fotomuseum