As a portrait and art photographer, Abraham Salomon Weinberg had established an excellent reputation for himself in his hometown Groningen. Whenever the local establishment needed their picture taken, they preferred him over the other photographers in the city. Weinberg’s art photography was among the best pictorialist work produced in the Netherlands. He was also one of the few Dutch photographers of his generation who frequently exhibited abroad, an accomplishment for which he received substantial praise. Weinberg placed great importance on advancing people’s appreciation for photography as an artistic means of expression. He was an active member of the NCvFK (Nederlandse Club voor Foto-kunst, ‘Netherlands Club of Photographic Art’) and the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’), and he was deeply involved in various amateur photography organisations. For years, Weinberg was one of the driving forces in the amateur photography association ‘Daguerre’ in Groningen.
Abraham (Bram) Weinberg is born on 30 May, as the third son of Salomon Lazarus Weinberg (Groningen 1831 – Groningen 1891), brush-maker in Groningen, and Froukje Pos (Winsum 1842 – Groningen 1922). In the custom of Jewish families in Groningen, Abraham is given the first name of his father ‘Salomon’ as a second name. This was done to avoid confusion with other family members having the same first name and surname (grandfather/cousins). ‘Bram’ Weinberg grows up on the Zwanenstraat in the centre of the city. Between 1865 and 1883, the Weinberg family totals eleven children; the first, ninth, and eleventh child die at an early age.
In April 1888, Weinberg leaves Groningen and departs for Amsterdam. He registers with the city as a meat product salesman. Until his return to Groningen in May 1894, he resides at the following addresses in Amsterdam, in successive order: Paardenstraat 12, Utrechtsedwarsstraat 123, Jacob van Campenstraat 71, Weesperplein 14, Nieuwe Achtergracht 67, and Van Woustraat 76.
Weinberg registers in the ‘Nationale Militie’ (‘National Militia’) with the regiment of 1889. In personal listings dating from 1888, Weinberg’s profession is listed as ‘brush-maker’. Weinberg is exempted from military service based on a brother(s) having previously served.
On 2 May 1894, an advertisement for Weinberg appears in the Nieuwe Groninger Courant, in which he announces that he will open his own photographic studio in Groningen, located at Herestraat OZ E36. The advertisement states that Weinberg had worked as an ‘operator’ for the Amsterdam ‘hoffotograaf’ (‘court photographer’) Max Cosman (Kleve, Germany, 2 October 1852–Amsterdam 26 May 1894). Weinberg initially lives with the French merchant Marius Paulus at Herestraat E35, but soon after, he moves to Herestraat E36. Also residing at this address during that time is the photographer Abraham Warburg (Dordrecht 6 July 1872–Emmen 21 March 1960), with whom Weinberg maintains good relations throughout the rest of his life. For many years, Warburg and Weinberg are the most important members of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’), and they are both from Groningen.
It was not the first time that the building Herestraat E36 had been used as a studio space for photographers. In the 1880s and the early ’90s, the following photographers had their own studios there: Godfried de Jong (Deventer 27 June 1832 – Haarlem 3 January 1918), Willem Bernard Bekkering (Groningen 17 June 1858 – Groningen 21 June 1902; this photographer and painter lived in one of the buildings next to the Weinberg family on the Zwanenstraat in the early 1880s), Willem Nicolaas Bongenaar (Leiden 6 January 1870 – The Hague 14 November 1936), and Jan Frederik Blote, (Leiden 17 December 1865 – Groningen 25 April 1956), from whom Weinberg takes over the studio.
In May, Weinberg takes over all of the negatives from the studio of Rieka Levie (Groningen 27 August 1844–Hilversum 7 January 1908) that had been preserved since 1872. Levie was the widow of the photographer Benjamin Sanders (Harlingen 1 March 1841–Groningen 3 February 1889). After her husband’s death, Rieka continued to run the studio, until she moved to Hilversum. By then, Weinberg has opened an affiliate on the Winkelhoek in the village of Sappemeer.
Weinberg receives his first award at an agriculture and industry exhibition in Appingedam. On 16 August, Weinberg marries Adriana Polak (Groningen 1873–Groningen 1924), the daughter of a textile merchant. In the same year, Weinberg moves both his studio and his household to Herestraat R505 (a former textile business on the corner of the Zuiderdiep in Groningen).
The building at Herestraat R505 is renumbered as Herestraat 86/86a. Weinberg now also has an affiliate studio in the town of Veendam, on the Kerklaan. In August, Weinberg’s only child is born, Henriëtte.
Weinberg established a new studio in a building he has purchased at Poelestraat 50 in Groningen. He will live and work at this location for the rest of his life. Just as with his previous studio, Weinberg chooses a place in the heart of the city. The new studio is built according to the ‘Eggenweiler System’. Weinberg’s old studio—after being briefly used as a textile store once again—is taken over by the photographer Isaak Joseph Cohen (born 3 April 1858 in Groningen).
Weinberg intervenes in the city’s policy regarding the local movie theatre. He has a discussion with the mayor of Groningen, urging the latter to exercise more control over the movies shown in the cinemas. The mayor questions whether film censorship is desirable and feasible. In April, Weinberg submits a letter on this topic to the mayor and the Groningen city council members, in which he includes a newspaper article on movie theatre censorship recently introduced in The Hague. Weinberg hopes that his letter, supported by the measures taken in The Hague, will put a stop to the showing of obscene and sensational movies in Groningen.
The city council acknowledges Weinberg’s letter on an advisory basis.
Following the death of Friedrich Julius Von Kolkow, Weinberg photographs the portrait of the rector magnificus for the Groningsche Studenten Almanak (‘Groningen Students Almanac’), published annually.
In 1933, this task is taken over by Abraham Warburg.
Weinberg’s wife, Adriana Polak, dies.
On 19 May, Weinberg weds Saartje Rika Engers (born 1889 in Assen) in Amsterdam.
Weinberg renovates his building on the Poelestraat. He intends to rent out the ground floor as store space. The floor above it is renovated as living quarters for Weinberg and his wife. His daughter, Henriëtte, moves to Amsterdam in January 1929 to take on a job as a secretary.
Due to complications with the building permit, specifically concerning the exact location of the facade, the renovation is not completed until June 1930.
For many years, Weinberg has been suffering from severe hearing problems, and with his deteriorating health, he is forced to slow down. Weinberg’s death on 15 January 1932 comes as a surprise to his closest colleagues, however. The studio at Poelestraat 50a remains in operation for one more year—under the name ‘firma A.S. Weinberg’—run by the photographer Johan Huijsen (Hoorn 29 June 1877–Vlaardingen 21 September 1959). Afterwards, a doctor moves into the building.
Among photo pictorialists in the Netherlands around 1900, Abraham Salomon Weinberg was an admired photographer. His photography was marked by its characteristic themes and execution. Weinberg derived his inspiration from painting. It was not in his nature—or perhaps he felt no need—to resist the conventions of the day in the area that was referred to as ‘art photography’. Other terms used were ‘Pictorialism’ or ‘pictorial photography’, due to its similarities with painting. According to his contemporaries, Weinberg is perceived as pleasant in his dealings with others. He was described as a meticulous, industrious, and civilised person, who did not try to be the center of attention. This impression seems to be confirmed by the often reserved and serious character of his work.
Compared to other Dutch cities, and to the Jewish working population in general, the Jewish community in Groningen could pride themselves in a relative high number of professional photographers. As a result of their contacts in Germany, where the field of photography was more advanced than in the Netherlands, the Jewish community in Groningen, of which Weinberg was a member, was able to value the profession as a new source of income. In Weinberg’s day, most of those who earned their living as photographers had received their training from a member of the family. Over the course of time, ‘dynasties’ of Jewish photographers eventually arose in Groningen. Due to the close-knit nature of the Jewish community —which was small compared to Amsterdam – it seems plausible that Weinberg knew other photographers sharing the same religious faith. In 1885, for example, Weinberg’s father was an official witness to the marriage of Abraham de Levie (Wildervank 11 March 1860–Amsterdam 2 June 1927), a photographer in Groningen. We will never know to which level Weinberg’s decision to become a photographer was influenced by De Levie. The fact remains that —in contrast to most of the Jewish photographers in Groningen—he did not obtain his training in his hometown, but preferred to go elsewhere. Nor did he come from a family in which the profession of photography had ever been practiced in the past. We do know that Abraham’s brother Meijer Weinberg, who was nine years younger than him, became a professional photographer in the mid-1890s, and that he worked in Groningen until his departure to Dordrecht in 1900. Like many Jews originating from the provincial towns and cities of the Netherlands, Abraham Weinberg settled in Amsterdam around the turn of the century, since the economic prospects were thought to be more favourable there. As stated in the civil registry, he initially made his living by selling meat products. Weinberg is likely to have changed his profession in the early 1890s, finding employment with the photographer Max Cosman, which was an excellent place to start. Cosman was an established name in the Dutch capital, since he had the privilege of being the official ‘hoffotograaf’ (‘court photographer’). He owned a profitable studio at Galerij 48, behind the Paleis van Volksvlijt (‘Palace of Industry’). It is likely that Weinberg’s decision to return to his hometown to become an independent business owner was influenced by Cosman’s approaching death. The latter died on 26 May 1894.
At first, Weinberg took over an existing studio in Groningen. In 1899, however, he decided to exchange Herestraat E36 for Herestraat R505, a move probably inspired by his marriage in that same year. The eight years he spent living and working at this new location were a formative period in which he built his reputation, both locally and nationally.
As one of the highest paid photographers of the city, Weinberg was able to afford a move to the Poelestraat in 1907, where he purchased a large building. In April of the same year, the construction of a new studio on the second floor of these premises was completed. It was the largest and most modern photography studio in Groningen at the time, giving him the respect and admiration of his fellow photographers as well as the interest of the national photography magazines. As Adriaan Boer wrote in the magazine De Camera of 12 December 1909: ‘(…) in recent years I have visited many studios in our country, yet I truly believe that the studio and the reception rooms of Mr. Weinberg are the most beautiful of all. A distinguished mansion on the Poelestraat, a wide marble hallway; on the left, a spacious room, practically a hall, stately furnished and built with dark oak wood. On the right in the hallway, a monumental stairway, which, via a beautiful entryway, leads up to the studio, which has been built according to the Eigenweiler system, with exquisite lighting and furnished with austere distinction. In addition, a changing room, spacious workspaces, including one separate space for the owner, darkrooms, a printing installation, everything spacious and practical’.
The 16 July 1927 issue of Bedrijfsfotografie (‘Corporate Photography’, on p. 376) states that a studio designed according to the Eggenweiler System (named after the building engineer Nic. Eggenweiler of Raab, Switzerland) was described for the first time in the German magazine Photographisches Archiv (‘Photographic Archive’), Volume 1891. The typical Eggenweiler studio was equipped with a long glass wall on the north side, having the dimensions of circa five meters high and about eight to ten meters in width. The studio required a depth of approximately 5 meters. It had a sloped roof (no glass); the ceiling of the interior was kept white or light-hued. Due to the absence of glass on the roof, one could prevent direct sunlight from entering. This also ruled out any problems with water leakage—a shortcoming of glass-roofed studios. The proportions of height and width of the glass wall and the studio’s depth were important for ensuring the space was well lit. With its large glass wall and north-facing orientation, Weinberg’s spacious studio enjoyed optimal light. In 1930, during a period of recession in the field of portrait photography, Weinberg was forced to downscale. His decision to rent out the ground floor for retail purposes and to move his living quarters and reception area to the second floor would ultimately cost him studio space.
The dimensions of Weinberg’s studio made it highly suitable for photographing groups. Students—like many photographers in a college town—ensured him of a steady source of income. Professors from the University of Groningen formed an entirely separate group of clientele: as a prominent photographer, Weinberg’s studio was the most highly esteemed address for the city’s elite. In this respect, Weinberg’s circle of clients was comparable to that of his predecessors in Groningen, the photographers Johannes Egenberger (Arnhem 28 April 1822–Utrecht 14 May 1897) and Friedrich Julius von Kolkow. The latter days of Von Kolkow’s career overlapped the period in which Weinberg was just making a name for himself. Von Kolkow’s death in 1914 sparked the definitive move of many well-to-do clients to Poelestraat 50. From that time forward, they would have their portraits taken at Weinberg’s studio.
Portrait photography was incredibly important to Weinberg, as it was to almost all of his colleagues. In addition to artistic and portrait photography, however, he also took on commissions such as photographing the interiors, paintings, and drawings of wealthy private individuals. Weinberg also photographed a number of church interiors. Corporate photography provided another source of income, such as the photos he created for the bicycle manufacturer Fongers. These commissioned works, with their observable directness and functionality, give us a good idea of Weinberg’s considerable craftsmanship.
From the early days of his career, Weinberg directed his attention towards art photography, proving himself to be ambitious in the genre. Success and recognition were quick to follow. In 1902, he received his first award outside the Netherlands: a large medal won at Turin, Italy. In the 1910s, and especially the 1920s, Weinberg’s work was frequently exhibited abroad. Besides Henri Berssenbrugge, he was one of the few Dutch photographers who was recognized internationally. The discussion of his work in the 10 December 1925 issue of the Parisian biweekly magazine Revue du Vrai et du Beau reflects the attention and appreciation Weinberg’s photos received. The concerned passage from this magazine was reprinted in the 15 February 1926 issue of Lux magazine, with a portion of it reading as follows (translated from French): ‘At the beginning of this year, the Revue has published two highly remarkable works by A.S. Weinberg; [i.e.] his entry to the “Salon International” winter 24-25: “Talmud” and “Study of an Old Woman”. At the most recent Salon he exhibited: “Portrait of Dr. Philos.[ophy] H.S.W.” (carbon print), “The Stall”, carbon print; “Memories of Youth”, carbon print, and these works are, just as the two previously mentioned, true masterpieces. These photos are not only masterpieces based on the knowledge of processes and skilled craftsmanship, because the artistic aspect and the soul of the artist contribute here just as much as in the work of a painter. Unfortunately, it is difficult to show carbon prints as reproductions: the print is often too dark and always somewhat of a disappointment, if one has been able to admire the original. Despite this, one cannot help but notice the exquisite composition and the skilled lighting in a work such as e.g. “Talmud Study”.’ The subjects cited in this article are mainly portrait studies and rural interiors. Weinberg held a clear preference for these themes when producing free, artistic work.
According to two authors featured in the Revue du Vrai et du Beau, Raymond Selig and Henry Voisin (quoted in a Dutch translation appearing in Lux 1925, p. 83), Weinberg was chosen to be a jury member on various occasions for exhibitions held in Toronto, Los Angeles, and San Francisco. As far as we know, Weinberg never traveled to the United States. Presumably, he had an advisory role. Although providing only limited tangible information, Selig and Voisin’s observations make it clear that Weinberg enjoyed an international reputation and was respected abroad. Nonetheless, he was not necessarily someone who desired being in the spotlight. He never involved himself with the discussions about art photography in the Dutch photography magazines during the early decades of the twentieth century, for instance.
Even in his early work, Weinberg distinguished himself from other photographers. Many of the portraits produced during these early years demonstrate a keen sense of composition as well as exceptional talent, even though his style was still developing. The calm, somewhat dreamy, romantic atmosphere that was later characteristic of Weinberg’s portrait photos is visible in his work from his early days. To a significant degree, it was his technical skill that enabled him to truly achieve the result he desired. In De Camera of 12 December 1909, Adriaan Boer disclosed a finishing technique that was characteristic for Weinberg: ‘After a “mask” has been applied, the negative is printed on a large piece of paper instead of on a piece of the same size, for which “cardboard-strength” is then used. Such a photo is no longer mounted after this, but receives a soft pressing around the image, by which it reminds one of an etch or a woodblock plate.’ For this technique, Weinberg used matt celloidin film paper. He also printed regularly on platinum paper. Weinberg also applied bromoil ink printing and other modern processes for that time. Yet he was a bigger fan of the rich, deep tint that could be obtained with carbon printing. This process gave his work a somewhat sombre mood. With his preference for fine printing (‘edele’) and rich tonal processes, Weinberg adhered to the notions of art photography that were predominant at the time. The fine printing processes offered one the option of sidestepping any undesired sharpness in a photo, allowing one to further emphasise the greatly valued romantic aspect. This effect could be intensified by retouching, another technique used by Weinberg.
For Weinberg, painting remained the benchmark for everything he created. Foreign critics recognised and appreciated the influence of the Dutch Masters of the nineteenth century in his work. In photographs such as Spinnende vrouw (‘Woman Spinning’), Oud naaistertje (‘Old Seamstress’), and Portret van een oude vrouw (‘Portrait of an Old Woman’), there is a striking resemblance to the work of Weinberg’s contemporary, the painter Jozef Israëls (Groningen 1824 – Scheveningen 1911). Israëls’ paintings Aan het spinnewiel (‘At the Spinning Wheel’), Als men oud wordt (‘When One Gets Old’), and Altijd vlijtig (‘Ever Diligent’) portray similar themes, as well as a comparable treatment of light and composition, such as found in these carbon prints by Weinberg. Both artists’ works cited here are characterised by a romantic, internalised mood, which is intensified by the predominance of darker tones. Furthermore, Weinberg’s choice of themes, just as with Israëls, is in part determined by his Jewish background. Israëls, who frequently came to Groningen (he exhibited his work in locations such as Scholtens’ bookstore), was interested in photography and is known to have served on the juries of various photo exhibitions. It is quite possible that the two artists knew each other personally.
Weinberg was one of the few professional photographers who belonged to an AFV (Aamateur Fotografen Vereniging, ‘Amateur Photographers Association’. He was an inspirational and active member of the association ‘Daguerre’ in Groningen. As a jury member at amateur photography competitions—with themes as ‘still lifes’, ‘landscapes’, and ‘(self-) portraits’— Weinberg’s evaluation was greatly valued because of his experience and accomplishments. On occasion, Weinberg would even offer one of his own photos as the competition prize. He also gave lectures for the members of the association and thus shared his knowledge about the use of different printing techniques. One case illustrating his unique position within the association is the anniversary exhibition organised by the AFV ‘Daguerre’ in 1921. At the time, Weinberg felt that an international exhibition was beyond the organisation’s reach. His opinion was valued very strongly, and therefore it was decided to give the exhibition a national focus instead. Unfortunately, there is no way of determining precisely when Weinberg became a member of the AFV ‘Daguerre’. A portion of the association’s archive was destroyed by a fire, virtually resulting in the total loss of archival data prior to 1912. Weinberg was the association’s secretary in the year 1912, which leads one to believe that by this point he had already been a member for quite some time. By being a member of the AFV ‘Daguerre’, Weinberg supported his own view that the artistic aspirations of amateur photographers need not necessarily conflict with the interests of professional photographers. The fact that he was a member of AFV ‘Daguerre’, the NFK, as well as the NFPV shows that as an art photographer, he had by no means lost sight of the commercial aspects of professional photography. At the NFK fall meeting in 1918, there was a potential conflict over the question whether photography dealers should be accepted as regular members in the association. Weinberg was upset that there were dealers in photography equipment who were still working for the general public (taking portrait photos), outside the work they were doing for amateurs (developing and printing amateur photographers’ shots). Weinberg even threatened to cancel his membership. He received full support in the matter from a fellow colleague from Groningen named Warburg. In the end, a compromise was reached by allowing dealers to become members of the NFK, on the one condition that they did no work in the field of professional photography. This incident did have its repercussions, however, particularly when Weinberg accused the photography wholesaler C.A.P. Ivens of allowing the head of his affiliate in Groningen, P. de Vries, to make reproductions for his customers. Ivens denied the accusations, but was so insulted, that he undertook steps to take Weinberg to court for slander. The affair ended of its own accord, however, with the death of De Vries, who had in fact been the actual source of the conflict.
Along with fellow contemporaries Henri Berssenbrugge and Franz Ziegler, Weinberg belonged to a select group of Dutch photographers who were well known outside the Netherlands. Weinberg’s exhibited work, however, lacked the innovative elements found in the work of Berssenbrugge and Ziegler, and for this reason, his photography was less high profile. Nevertheless, he was widely admired for the exceptional nature of the themes he chose to photograph as well as the forceful execution of his work. Weinberg was considered one of the most important Dutch photo pictorialists of the 1910s and ’20s. Although relatively little of his work has survived, its quality appears to justify such an assessment, even to the present day.
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J.C.M., Indrukken van de Groningsche tentoonstelling, in Focus 8 (6 oktober 1921), p. 436-438.
Auteur onbekend, Fototentoonstelling Dordrecht, in Focus 8 (29 december 1921) 26, p. 572.
Ss., Verslag van de 20ste jaarvergadering van den N.F.K., op dinsdag 4 juli 1.1., in hotel “Victoria” te ‘s-Gravenhage, in “Lux” 33 (1922), p. 292-299.
Auteur onbekend, Weinberg’s werk in Amerika, in De Camera 14 (1 maart 1922) 9, p. 82.
Auteur onbekend, London Salon of Photography, in Focus 9 (5 oktober 1922) 20, p. 446.
Auteur onbekend, Onze Hollanders in Engeland, in “Lux” 34 (1923), p. 360.
J. Vanderpant, De internationale tentoonstelling van fotografieën te New Westminster B.C. Canada, in “Lux” 34 (1923), p. 416.
Auteur onbekend, Hollanders buiten, in Focus 10 (19 april 1923) 8, p. 165.
Auteur onbekend, Tentoonstellingsnieuws, in Bedrijfsfotografie 5 (26 april 1923) 9, p. 204.
[artikel n.a.v. Tenth Annual Pittsburgh Salon of Photographic Art], in Camera Craft [datum onbekend, gepubliceerd voor 14 juni 1923].
Auteur onbekend, Succes in Amerika, in Focus 10 (14 juni 1923) 12, p. 283-284.
Auteur onbekend, Nederlanders in het buitenland, in De Camera 15 (15 juni 1923) 16, p. 143.
Auteur onbekend, Succes in Amerika, in Bedrijfsfotografie 5 (21 juni 1923) 13, 293-294.
Auteur onbekend, Hollanders buiten, in Focus 10 (18 oktober 1923) 21, p. 532.
B.C.A. v.d. Pant, De internationale fotografische tentoonstelling te New Westminster B.C. Canada, in Focus 10 (1 november 1923) 22, p. 569.
Auteur onbekend, De internationale fotosalon te Batavia, in Bedrijfsfotografie 5 (6 december 1923) 25, p. 594.
Photograms of the Year 1923.
S., Fotografie-tentoonstelling te Arnhem, in Focus 11 (20 maart 1924) 6, p. 169-170.
A.B., De internationale salon van fotografische kunst te Brussel, in Focus 11 (1 mei 1924) 9, p. 236-238.
VAKMAN, Tentoonstellings-indrukken, in Bedrijfsfotografie6 (8 mei 1924) 10, p. 231-233.
A.B., De tiende tentoonstelling van fotowerken te Amsterdam, in Focus 11 (15 mei 1924) 10, p. 259-262.
Auteur onbekend, Een Fransch oordeel over A.S. Weinberg te Groningen, in “Lux” 36 (1925), p. 83.
Auteur onbekend, Weinberg heeft een “goede pers”, in “Lux” 36 (1925), p. 164.
Auteur onbekend, Eene hooge onderscheiding, in “Lux” 36 (1925), p. 184.
Auteur onbekend, Een Fransch oordeel over Weinberg’s werk, in “Lux” 36 (1925), p. 282-283.
Auteur onbekend, XlXe Salon International de Photographie, in “Lux ” 36 (1925), p. 474.
L’Arte nella Fotografia [Catalogus Internationale Tentoonstelling voor Fotografie, Optiek en Kinematografie te Turijn 1923], Turijn 1925.
La Photo pour tous juni 1925.
Auteur onbekend, Nederlanders in den vreemde, in De Camera 17 (1 januari 1925) 5, p. 57.
Raymond Selig en Henry Voisin, Salon International de Photographie et Salon de la Société Royale de Photographie, in Revue du Vrai et du Beau [datum onbekend, gepubliceerd voor 1 februari 1925].
Auteur onbekend, Nederlanders in den vreemde, in De Camera 17 (1 februari 1925) 7, p. 85.
Auteur onbekend, Hollanders buiten, in Focus 12 (7 februari 1925) 3, p. 72.
Auteur onbekend, Bij onze illustraties, in De Camera 17 (15 februari 1925) 8, p. 107.
Auteur onbekend, Nederlanders in den vreemde, in De Camera 17 (1 april 1925) 11, p. 141.
Auteur onbekend, Een officieele erkenning, in Bedrijfsfotografie 7 (9 mei 1925) 10, p. 219.
Auteur onbekend, Een officieele erkenning, in Focus 12 (16 mei 1925) 10, p. 232.
Auteur onbekend, Nederlanders in den vreemde, in De Camera 17 (1 juli 1925) 17, p. 235.
A. Verschure, The London Salon of Photography 1925, in Focus 12 (3 oktober 1925) 20, p. 477-478.
[XXe Salon International de Photographie te Parijs], in Revue du Vrai et du Beau 10 december 1925, p. 30.
Photograms of the Year 1925, p. 10, pl. LX.
[XXe Salon International de Photographie te Parijs], in Les Artistes d’Aujourd’hui 1 januari 1926.
Auteur onbekend, Bij onze illustraties, in De Camera 18 (1 januari 1926) 5, p. 62.
C.G.L., Nederl. Fotografen Patroons Vereeniging, in Bedrijfsfotografie 8 (2 januari 1926) 1, p. 4-5.
Auteur onbekend, Ned. Fotografen Patroons Vereeniging, in Bedrijfsfotografie 8 (30 januari 1926) 3, p. 51.
A.B., Het Hollandsche werk op den fotosalon te Arnhem, in Focus 13 (29 mei 1926) 11, p . 275-279.
Auteur onbekend, Over onze beste vakfotografen: A.S. Weinberg te Groningen, in “Lux” 37 (15 februari 1926) 4, p. 80-81.
J.W. Boon, Veertig jaren fotografie. Gedenkboekje uitgegeven door de Nederlandsche Amateur-Fotografen-Vereeniging ter gelegenheid van haar veertig jarig jubileum 7 sept.-5 nov. 1927, Amsterdam 1927, p. 103.
[reproductie van De Rabbi met lovende tekst], in Camera [Zwitsers tijdschrift] 1927.
Auteur onbekend, Buitenlandsche waardeering voor Nederlandsche werkers, in De Camera 19 (26 maart 1927) 20, p. 310.
Auteur onbekend, Onze platen, in De Camera 19 (9 april 1927) 21, p. 325.
A.B., De fotografie als wandversiering. Eenige beschouwingen over het tentoongestelde werk, in Bedrijfsfotografie 9 (7 mei 1927) 10, p. 238-248.
Auteur onbekend, Onze platen, in De Camera 19 (7 mei 1927) 23, p. 357-358.
A.B., De tentoonstelling van foto’s, bijeengebracht door Nederlandsche vakfotografen te Rotterdam, in Bedrijfsfotografie 9 (16 juli 1927) 15, p. 364-367.
W. v. Z., De Julileums Tentoonstelling van den Nederlandsche Fotografen Kunstkring, in Bedrijfsfotografie 9 (30 juli 1927) 16, p. 383-386.
Auteur onbekend, De derde fotografendag der N.F.P.V., in Bedrijfsfotografie 10 (5 mei 1928) 9, p. 223-226.
A.B., De derde tentoonstelling der N.F.P.V., in Bedrijfsfotografie 10 (5 mei 1928) 9, p. 239-242.
Auteur onbekend, Onze platen, in Lux-De Camera 40 (23 maart 1929) 6, p. 93.
A.B., De tentoonstelling der N.F.P.V. ter gelegenheid van het tweede lustrum, april 1929, in Bedrijfsfotografie 11 (2 mei 1929) 18, p. 207-212.
[instemming met brief van Weinberg ‘De vakfotografie ernstig in miscrediet’], in Bedrijfsfotografie 11 (10 oktober 1929) 41, p. 483.
Auteur onbekend, Onze platen, in Lux-De Camera 41 (19 april 1930) 8, p. 125.
A.B., N.F.K. tentoonstelling in Pulchri Studio, Den Haag, in Bedrijfsfotografie 12 (19 september 1930) 19, p. 348-350.
A.B., De tentoonstelling der N.F.P.V., in Bedrijfsfotografie 13 (29 mei 1931) 11, p. 196-200.
F.G., In memoriam. A.S. Weinberg, in Lux-De Camera 43 (30 januari 1932) 3, p. 45.
A. Warburg, A.S. Weinberg †, in Bedrijfsfotografie 14 (29 januari 1932) 2, p. 25.
C.G. Leenheer, [in memoriam A.S. Weinberg], in Bedrijfsfotografie 14 (29 januari 1932) 2, p. 25.
A.B., [in memoriam A.S. Weinberg], in Bedrijfsfotografie 14 (29 januari 1932) 2, p. 25-26.
[de kunstfotograaf A.S. Weinberg overleden], in Nieuwsblad van het Noorden 16 januari 1932.
[ter aarde bestelling A.S. Weinberg], in Nieuwsblad van het Noorden 18 januari 1932.
[atelier voor kunstfotografie A.S. Weinberg wordt zonder onderbreking voortgezet], in Nieuwsblad van het Noorden 18 januari 1932.
J. Huijsen, A.S. Weinberg †, in De Fotograaf 46 (22 januari 1932) 4, ongepag.
C.G.L., [overname atelier Weinberg door Huijsen], in Bedrijfsfotografie 14 (17 juni 1932) 12, p. 224.
Auteur onbekend, Onze platen, in Lux-De Camera 44 (10 juni 1933) 12, p. 162.
Kees (= C.G. Leenheer), Nederlandsche Fotografen Patroons Vereeniging, in Bedrijfsfotografie 15 (25 augustus 1933) 17, p. 329-330.
Ingeborg Th. Leijerzapf (red.), Fotografie in Nederland 1839-1920, Den Haag (Staatsuitgeverij) 1978, p. 107.
Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 9, 24, 159.
Nederlandse Fotografen Kunstkring, 1906-ca. 1921, met korte onderbreking tot 1932.
Nederlandsche Club voor Fotokunst, vanaf 1908.
Amateur Fotografen Vereniging “Daguerre”, 1912 (of eerder) -1932.
Nederlandse Fotografen Patroons Vereniging, 1919-1920, 1926-1932.
Jury, Tentoonstelling van fotowerken (jubileumtentoonstelling AFV “Daguerre”), Groningen 1921.
Jury NFK-jubileumstentoonstelling, Utrecht 1927.
Jury, tentoonstelling verbonden aan de Derde fotografendag der NFPV, Amsterdam 1928.
1899 Eerste prijs (zilveren medaille), Tentoonstelling van landbouw en nijverheid, Appingedam.
1901 Diploma, internationale fotografie tentoonstelling “Photographie als kunst”, Groningen.
1902 Eerste prijs (verguld zilveren medaille), Tentoonstelling van landbouw en nijverheid, Hoogezand Sappemeer.
1902 Grote medaille, Esposizione Internazionale de Fotografia Artistica, Turijn.
1903 Zilveren medaille, Tentoonstelling van Nijverheid en Kunstindustrie (uitgeschreven door de Mij. v/h. Guy de Coral & Co), Groningen.
1904 Bronzen medaille, 1ste Nationale Prijsvraag uitgeschreven door de Nederlandsche Fotografen-Kunstkring.
1910 Zilveren medaille, Exposition Universelle, Brussel.
1912 Certificaat, tentoonstelling van de Birmingham Photographie Society, Birmingham.
1914 Gouden medaille, 23ste Jaarlijkse tentoonstelling Toronto Camera Club, Toronto.
1923 Verguld zilveren medaille afdeling ‘International Professional Portraits’, International Exhibition of Pictorial Photography, New Westminster.
1923 Diploma di Gran Premio, Internationale Tentoonstelling voor Fotografie, Optiek en Kinematografie, Turijn.
1923 Erediploma, Eerste Internationale Foto-Salon (Eerste Nederlandsch Indische Amateur-Fotografen Vereeniging), Weltevreden (Batavia).
1924 Verguld zilveren medaille, 4th Salon of Pictorial Photography, New Westminster.
1927 Lumiere plaquette, De fotografie als wandversiering [tentoonstelling verbonden aan de Tweede fotografendag der NFPV], Amsterdam.
1927 Eerste prijs afdeling ‘Genrebeelden’, Foto-Salon Holland-Indië Pasar Gambir, Weltevreden (Batavia).
1927 2e Prijs, 7th Annual Competition of American Photography.
1928 Zilveren beker, tentoonstelling te Vancouver.
1929 Bekroning afdeling ‘Landschapswerk’, Tweede Lustrum Tentoonstelling N.F.P.V. (tentoonstelling verbonden aan de Vierde Fotografendag der NFPV), Amsterdam.
1899 (g) Appingedam, Tentoonstelling van landbouw en nijverheid.
1901 (g) Groningen, De Harmonie, Internationale fotografie tentoonstelling “Photographie als kunst” (AFV “Daguerre”).
1902 (g) Haarlem, Museum van Kunstnijverheid [tentoonstelling van geselecteerde foto’s voor inzending naar de Esposizione Internazionale de Fotografia Artistica te Turijn].
1902 (g) Hoogezand Sappemeer, Tentoonstelling van landbouw en nijverheid.
1902 (g) Turijn, Esposizione Internazionale de Fotografia Artistica.
1904 (g) Den Haag, Pulchri Studio, Eerste Internationale Salon van Kunstfotografie.
1908 (g) Amsterdam, Stedelijk Museum, Internationale Tentoonstelling van Foto-Kunst.
1910 (g) Amsterdam, Concordia, Eerste Jaarlijksche Salon N.C.F.K.
1910 (g) Brussel, Exposition Universelle.
1910 (g) Delft, Korenbeurs, De Delftsche Tien.
1911 (g) Delft, Stadsdoelen, 2e Jaarlijksche Salon De Delftsche Tien.
1911 (g) Hamburg, Ausstellung für Bildniss und Figurenbild (Gesellschaft zur Förderung der Amateurphotographie Hamburg).
1912 (g) Birmingham, [tentoonstelling Birmingham Photographic Society].
1912 (g) Den Haag, Kunstzalen J J. Biesing, Jubileum-Tentoonstelling van den “Nederlandsche Fotografen Kunstkring” [rondreizende tentoonstelling: Amsterdam, NAFV-gebouw (Gebouw “Lux”); Groningen, Kunstgenootschap “Pictura”; Nijmegen, Oranjehotel].
1912 (g) Haarlem, Museum van Kunstnijverheid, Salon Nederl. Club voor Fotokunst.
1913 (g) Delft, Concertzaal van Stads Doelen, Vierde Jaarlijksche Delftsche Fotosalon.
1914 (g) Toronto, 23steJaarlijkse tentoonstelling Toronto Camera Club.
1915 (g) Amsterdam, Gebouw “Lux”, Derde Jaarlijksche Nationale Tentoonstelling van Fotowerken (NAFV).
1915 (g) Londen, The Camera Club, Nederlandsche Club voor Fotokunst.
1920 (g) Amsterdam, Stedelijk Museum, Zevende Jaarlijksche Nationale Tentoonstelling van Fotowerken (NAFV).
1920 (g) Londen, The London Salon of Photography.
1921 (g) Amsterdam, Stedelijk Museum, Achtste Jaarlijksche Nationale Tentoonstelling van Fotowerken (NAFV).
1921 (g) Gouda, (Goudsche Kring van Amateur-Fotografen).
1921 (g) Groningen, De Harmonie, Tentoonstelling van fotowerken (jubileumtentoonstelling AFV “Daguerre”).
1921/1922 (g) Dordrecht, Kunstzaal van de firma Blussé en Van Braams boekhandel [tentoonstelling van fotokunst].
1922 (g) Eindhoven, Foyer van de Chicago Bioscoop, Eindhovense fotosalon (AFV Eindhoven).
1922 (g) Londen, The London Salon of Photography.
1922 (g) Los Angeles.
1923 (g) Buffalo, National Salon of Pictorial Photography.
1923 (g) Londen, The London Salon of Photography.
1923 (g) New Westminster, International Exhibition of Pictorial Photography.
1923 (g) Pittsburgh, Tenth Annual Pittsburgh Salon of Photographic Art.
1923 (g) San Francisco.
1923 (g) Toronto, Toronto Salon of Photography.
1923 (g) Turijn, Internationale Tentoonstelling voor Fotografie, Optiek en Kinematografie (NFK-inzending).
1923 (g) Weltevreden (Batavia), Hotel der Nederlanden, Eerste Internationale Foto-Salon (Eerste Nederlandsch Indische Amateur-Fotografen Vereeniging).
1924 (g) Amsterdam, Stedelijk Museum, Tiende fotosalon der N.A.F.V.
1924 (g) Arnhem, De Korenbeurs, [fotografische tentoonstelling] (Vereeniging “Artibus Sacrum”).
1924 (g) Brussel, Cercle Artistique et Littéraire (Rue de la Loi), Salon International d’Art Photographique.
1924 (g) Londen, The London Salon of Photography.
1924 (g) Los Angeles, 8th International Salon of Pictorial Photography (Camera Pictorialists of Los Angeles).
1924 (g) New Westminster, 4th Salon of Pictorial Photography.
1924 (g) Parijs, XlXe Salon International de Photographie.
1924 (g) Toronto.
1925 (g) Londen, The London Salon of Photography.
1925 (g) New Westminster, 5th Salon of Pictorial Photography.
1925 (g) Parijs, XXe Salon International de Photographie.
1925 (g) Toronto, Canadian National Exhibition.
1925 (g) Turijn.
1926 (g) Antwerpen, Stedelijke Kunstzaal, Internationale Salon van Fotografische Kunst.
1926 (g) Arnhem, De Korenbeurs (tentoonstellingszaal der Vereeniging Artibus Sacrum), Nationale Fotosalon (Bondssalon BNAFV) [rondreizende tentoonstelling].
1926 Den Helder.
1926 (g) Oregon, First Annual Oregon Salon of Pictorial Photography.
1926 (g) Parijs, XXIe Salon International d’Art Photographique.
1926 (g) San Francisco, The Galleries of the California Palace of the Legion of Honour, Fourth International Exhibition of Pictorial Photography (Pictorial Photography Society of San Francisco).
1926 (g) Stockholm, Första Internationella Fotografiska Salongen.
1926 (g) Zaragossa, Il Salon International (La Sociedad Fotografica de Zaragoza).
1927 (g) Amsterdam, Koopmansbeurs, De fotografie als wandversiering [tentoonstelling verbonden aan de Tweede fotografendag der NFPV].
1927 (g) Edinburgh, The Sixty-fifth Annual Open Exhibition.
1927 (g) New Westminster.
1927 (g) Rotterdam, [Witte de Withstraat] [tentoonstelling van foto’s, bijeengebracht door Nederlandsche vakfotografen te Rotterdam].
1927 (g) Utrecht, Jaarbeurs, NFK-jubileumstentoonstelling.
1927 (g) Weltevreden (Batavia), Foto-Salon Holland-Indië Pasar Gambir.
1927 (g) Zaragossa, III Salon International (La Sociedad Forografica de Zaragoza).
1927/1928 (g) [rondreizende tentoonstelling door de USA, n.a.v. 7th Annual Competition of American Photography].
1928 (g) Amsterdam, Gebouw Heystee, [tentoonstelling verbonden aan de Derde fotografendag der NFPV].
1928 (g) Parijs, 1’Hotel de la Société Francaise de Photographie, XXIII Salon International d ‘Art Photographique de Paris.
1928 (g) Turijn, Secondo Salon Italiano d’Arte Fotografica Internationale.
1928 (g) Vancouver.
1928 (g) Zaragossa.
1929 (g) Amsterdam, Odd Fellow House, Tweede Lustrum Tentoonstelling N.F.P.V. [tentoonstelling verbonden aan de Vierde Fotografendag der NFPV].
1929 (g) Dublin, Irish Salon of Photography.
1929 (g) Pittsburgh, Fine Arts Galleries of Carnegie Institute, The Sixteenth Pittsburgh Salon of Photography.
1929 (g) Wenen, Erste Internationale Kunstphotographische Ausstellung.
1929/1930 (g) Antwerpen, III Internationaal Kerstsalon van Fotografiën.
1930 (g) Den Haag, Pulchri Studio, Internationale Portret-Tentoonstelling (NFK).
1930 (g) New York, Galleries of The Camera Club, Third International Invitation Salon of The Camera Club.
1930 (g) Tokyo, Tokyo Imperial Fine Art Palace, Invitation Salon of Photography (Japan Photographie Society).
1931 (g) Amsterdam, Old Fellow House, [tentoonstelling verbonden aan de Zesde Fotografendag der NFPV].
1931 (g) Londen, The London Salon of Photography.
1969 (g) Den Bosch, Noord-Brabants Museum, Nederlandse Fotografie, de eerste 100 jaar [rondreizende tentoonstelling].
1995 (g) Groningen, Synagoge, Photographieën en dynastieën. Beroepsfotografie in Groningen 1843-1940.
1996 (g) Veendam, Veenkoloniaal Museum, Photographieën en dynastieën. Beroepsfotografie in Groningen 1843-1940.
Groningen, Gemeentearchief (o.a. archief van de AFV “Daguerre” en W.J. Roelfsema, Fotografie in Groningen, inv.nr. 214/269).
Groningen, Henk Wierts (ongepubliceerde doctoraalscriptie: Beroepsfotografen in de stad Groningen 1839-1925, Rijksuniversiteit Groningen 1994).
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
Assen, Drents Museum.
Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.
Veendam, Veenkoloniaal Museum.