PhotoLexicon, Volume 14, nr. 29 (November 1997) (en)

Henk Jonker

Patricia Pince van der Aa


Henk Jonker first came into contact with photography during World War II, while actively involved in the Dutch resistance movement. After the war, he worked chiefly as a documentary photographer. Most of Jonker’s reportages were produced on assignment for newspapers and magazines, but he also did freelance work. Jonker was part of the photo agency Particam Pictures, together with Maria Austria, Aart Klein, and Wim Zilver Rupe. In addition to subjects related to the reconstruction of the Netherlands after the war, Particam photographed numerous performances in the world of theatre, opera, and ballet.




Hendrik Pieter (Henk) Jonker is born in Berkhout (North Holland) as the son of Marijtje Kistemaker and Klaas Jonker. Henk’s father is a carpenter, who also studied to become an architect at the PBNA (Polytechnisch Bureau Nederland Arnhem, ‘Polytechnical Office Netherlands Arnhem’).


The Jonker family moves to Apeldoorn.


The Jonker family moves to Warmond.


The Jonker family moves to Bestevaerstraat 188 in Amsterdam.


After completing the HBS (Hogere Burgerschool, an upper-level secondary school), Henk Jonker attends a three-year study programme at the ‘dagschool voor radiotelegrafie’ (‘Day School of Radio-Telegraphy’) in Amsterdam.

Circa 1935

Jonker is unable to find work in his field and, after a few short-lived jobs, is hired as a writer at the ‘writing room’ of the city of Amsterdam on the Oudezijds Achterburgwal.

Circa 1937–‘44

From about 1937, Jonker begins working at the city registry of the city of Amsterdam. During the German occupation, Jonker is in a position to conduct various activities on behalf of the resistance movement. Much of the work is done in collaboration with his fellow colleague Henk van Vliet, a counter clerk. Jonker lives at Jacob van Lennepstraat 194hs.


Jonker goes into hiding, where he meets the photographer Maria Austria. Austria does courier work and takes passport photos for the forged identity papers Jonker procures. Austria also teaches Jonker the tricks of the photographic trade.


Directly following the liberation, Maria Austria, Aart Klein, Wim Zilver Rupe, and Henk Jonker found Particam (a combination of the words ‘Partisans’ and ‘Camera’). The company is located at Willemsparkweg 120, at the address where Henk Jonker and Maria Austria reside.


Henk Jonker and Maria Austria marry. Wim Zilver Rupe leaves Particam. ‘Particam’ is renamed as ‘Particam Pictures’.


Edward Steichen selects one of Jonker’s photos for his exhibition and catalogue The Family of Man.


Aart Klein leaves Particam Pictures to start a business of his own.


Jonker wins second prize at the World Press Photo Contest in the category of ‘Features’ with a photo of the Dutch National Ballet.


Jonker leaves Maria Austria and departs for Spain to become a French-fried potato chef. Each winter, he returns to the Netherlands to work as a photographer. Jonker shoots photos for publications such as Shot ’65, a book published by the KRO broadcasting company.


In October, Jonker signs on with the Harry Pot photography studio in Bentveld, where he works together with Harry Pot and George van de Wijngaard. He lives in Wormerveer.


Jonker moves to Wormer.


Once his divorce from Maria Austria is final, Jonker marries Manja Rootselaar. The couple has a daughter, Manja (1964).

Ca. 1971–‘77

The VNU (Verenigde Nederlandse Uitgeversbedrijven, ‘United Netherlands Publishing Companies’) takes over Harry Pot’s studio, which is now located in Cruquius, near Heemstede. Jonker no longer works as a photographer, but as the head of the backdrop department. He remains an employee of VNU until his retirement in 1977.


Photographic works by Jonker from the period 1949–1962 are acquired by the Gemeentearchief Amsterdam (‘Amsterdam City Archives’) in the context of the Historische Documentaire Foto-opdrachten (‘Historical Documentary Photo Assignments’) of the AFK (Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’).

Ca. 1982

Henk Jonker moves to Amsterdam.


Following his divorce from Manja Rootselaar, Jonker weds Tineke Jeannette Hooft.

Ca. 1986

Jonker begins to paint.


The Nederlandse Programma Stichting (‘Netherlands Programme Foundation’) broadcasts a documentary on the life of Henk Jonker.


Henk Jonker dies on 24 September.


Henk Jonker started working at the Amsterdam civil registry on the Plantage Kerklaan in 1937. There he had access to the personal data for every citizen of Amsterdam. His activities for the Dutch resistance movement at the register began on a small scale, entailing the forging of documents such as marriage and birth certificates. After coming into contact with Gerrit van der Veen and Johan Limpers, the scope of his activities became more extensive. Jonker helped to ensure the right papers came into the possession of many of those who had gone into hiding. His specialty became the falsification of identity papers. To do so, he made use of old rubber stamps stolen by the resistance or made his own stamps bearing the necessary signatures. Together with his colleague Henk van Vliet, Jonker also delivered falsified papers at night. In mid-July 1944, Jonker went into hiding after receiving a tip that the Sicherheitsdienst (German ‘Security Service’) was planning to raid the civil registry. The actual raid took place several days later, resulting in the execution of six of Jonker’s colleagues on 4 August 1944.

From the moment he went into hiding, Jonker worked for the Persoonsbewijs Sectie (‘Identity Paper Department’) of the ‘Landelijke Organisatie voor hulp aan onderduikers’ (‘Nationwide Organisation to Assist People in Hiding’). He did his work using various resistance names, but went most frequently by ‘Gerrit Boersma’. Jonker also posed as a criminal investigator named ‘Frans Kreder’, and as a nurse, under the name of Hélène Annie Smitshuisen. While conducting resistance work from his hiding address at Vondelstraat 110, Jonker came into contact with Maria Austria, who acted as his courier and produced passport photos for the fake identity papers he was making. It was Austria who taught him the tricks of the photographic trade. By his own account, Jonker was a decent amateur photographer even prior to the war, through self-study. During the final year of the war, he shot countless numbers of photos with his Rolleiflex hidden beneath his coat, as did other photographers, including Austria and Aart Klein. These reportages, which were gathered by the writer Albert Helman (the pseudonym of Lou Lichtveld) and eventually meant to be sent on to London, have all been lost.

Directly after the war, the Particam photo agency was founded at Willemsparkweg 120 in Amsterdam. Albert Helman organised a meeting attended by a number of photographers and filmmakers. Helman’s design was for everyone to document the reconstruction of the Netherlands in photos and film with financial assistance provided by the Marshall Plan: the restoration of public transportation, the building of roads, bridges, homes, offices, etc. Of the photographers attending, four entered a working collaboration under the name of ‘Particam’: Henk Jonker, Maria Austria, Aart Klein, and Wim Zilver Rupe. Other photographers present at the meeting were Paul Huf, Lood van Bennekom, and Puck Voüte.

The Particam photographers captured a substantial part of Amsterdam’s cultural life. Their photographs were published in countless newspapers and magazines, including the Algemeen Handelsblad, Margriet, De Spiegel (‘The Mirror’), and De Katholieke Illustratie (‘The Catholic Illustration’), typically working on assignment. Because Particam—Aart Klein and Maria Austria—photographed the very first theatrical performance appearing at the Amsterdam Schouwburg (the civic theatre) after the war, it became a tradition that virtually every performance at the theatre was covered by the agency. The first stage play at the Schouwburg was Vrij Volk (‘Free People’), put on by ‘Toneelgroep 5 mei 1945’ (‘Theatrical Group 5 May 1945’), which comprised actors who had previously been part of the Dutch resistance.

Other theatrical companies for which Particam did regular work were the Dutch National opera, the Dutch National Ballet, the Concertgebouw Orchestra, and various stage and theatrical groups such as Ensemble, Toneelgroep Arena, and Theater. With some of these companies, agreements were made that performances were to be photographed exclusively by Particam photographers. Contrary to regular news photographers, Particam photographed the entire performance. From 1948 until the Maria Austria’s death in 1975, the agency photographed every performance of the annual Holland Festival. Wim Zilver Rupe was the only Particam member not working in theatrical photography. Rupe left the collective in 1953, followed by Aart Klein three years later. By this time, the name of ‘Particam’ had been changed to ‘Particam Pictures’. Jonker and Austria ran the company together until 1963; at this time, Austria continued on her own, working under the same name. Upon his departure, Jonker promised Austria he would never do any more theatrical photography. His negatives remained at the Particam archive. Following Austria’s death, Jonker sold his negatives to the Stichting Fotoarchief Maria Austria Particam (‘Maria Austria-Particam Photo Archive Foundation’). His archive comprises an estimated 100,000 negatives.

During his time at Particam Pictures, Henk Jonker made countless reportages covering an extremely wide range of topics. At the end of May 1945, he photographed the exhumation of those executed at Overveen. (Ad Windig was given the same assignment for the exhumations at the Leusderhei). A number of Jonker’s images from the series he shot in Ireland in 1950, when accompanied by the journalist Bram van Echt, were sold to the magazines De Katholieke Illustratie and De Spiegel. For the latter publication, Jonker also photographed numerous cities and villages in the Netherlands during the period of post-war reconstruction, including Heerlen, Doorn, Brielle, Nieuwpoort, Delfzijl, Sleen, Grouw, Kerkrade, Aalsmeer, and Middenmeer.

Jonker also did freelance work for Life magazine: photos of the flooding disaster in Zeeland in 1953; photos of children who had posed as models for Cas Oorthuys’ 1951 children’s postage stamps; and photos of a wedding in the ‘Jordaan’ neighbourhood of Amsterdam in 1953.

From the late 1940s up until the time he left Particam Pictures, Jonker often did work for the Algemeen Handelsblad. This newspaper, which appeared twice daily, devoted a half-page to photo series by different photographers on a weekly basis. The themes for these photo series—devised by the newspaper’s editorial department or the photographers themselves—were varied: ‘This is Amsterdam Too’; ‘Minister Luns’ Arrival at Schiphol [Airport]’; ‘Just a Minute for a Cup of Coffee’; ‘Revitalising Drowned Land (Zeeland)’; ‘Spring in Amsterdam’; ‘The School Dentist’; ‘Laughing People on the Street’; ‘Children of the Jordaan’; and the exhibition Bewogen Beweging (‘Moving Movement’), held at the Stedelijk Museum in Amsterdam.

When making his reportages, Jonker worked with a strategic plan. He first asked himself in advance what it was he wanted to depict. Like the other members of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’), including Carel Blazer, Jonker viewed photography as an applied art. As was stated in their exhibition catalogue of Foto ’48, the GKf photographers—including Jonker, who became a member in 1948—maintained that reportage photography fulfilled a functional role, with assignments being critically important. The social engagement of the first generation of GKf photographers was tremendous. Within this context, they chiefly favoured reportage photography. Jonker, by contrast, says his social engagement was never a conscious decision. The choice of reportage photography over news photography was because it allowed him to better express his own creativity.

Jonker received regular assignments for making (corporate) reportages on behalf of companies such as ‘Louwman en Parqui’ (the Dutch auto import dealer for e.g. Alfa Romeo), the Stichting voor het Kind (‘Foundation of the Child’), American Overseas Airlines, and Philips. These reportages were used for annual reports, calendars, and books.

Jonker did photographic work for Louwman en Parqui, including exhibitions at the RAI (Amsterdam’s main convention centre). On behalf of American Overseas Airlines, he photographed the arrivals and departures of international celebrities. For Philips, he photographed people from the music world, including Benny Goodman and Eduard van Beinum. For the ‘Stichting voor het Kind’, Jonker photographed sales campaigns for children’s postage stamps, as well as orphanages and schools. Newspapers and magazines were always important clients for Jonker. For magazines, he did reportages on children in orphanages and sanatoriums. Jonker’s children’s photos serve as an example of his involvement in social issues. He photographed them in their element, unposed and unconstrained, occasionally as well in their complicated living situations. At the same time, however, he showed the children’s optimism and strength. A child’s surroundings and his interaction with others was important to Jonker. He managed to express this movingly in his photos.

In the late 1940s, Jonker photographed sports competitions for publications such as De Spiegel, including indoor sports as well as football (soccer) and baseball. From this work, he became skilled in capturing the right moment. Jonker’s acquired sense of timing would later prove quite useful in his theatrical photography.

Jonker photographed theatre, opera, and ballet performances, occasionally on his own, but usually together with Maria Austria. As the only Particam photographer owning a car just after the end of the war, he covered every performance occurring outside of Amsterdam. Although many of their shots were taken during general rehearsals, photographers were also present at the actual performances, either in the audience or standing between the stage decors. Performances were photographed with a Rolleiflex, which made virtually no noise when taking a photo. The Particam photographers typically worked with available lighting, in order to obtain a maximum effect in contrast. Aart Klein had found a way for shots to be taken without a flash, by making slow-speed films more light-sensitive. Developing the film over a longer period of time could enhance film speed. In 1959, Jonker won second prize in the category ‘Features’ for his entry to the World Press Photo contest: a shot of the Dutch National Ballet taken from the apex of the Koninklijke Schouwburg (‘Royal Theatre’) in The Hague. Jonker staged this photo, with the dancers arranged in a circle: when given a sign, they all made pirouettes, with their tutus fanning out in splendid fashion. The photo was frequently used for a wide variety of purposes, such as the Dutch National Ballet’s programmes and album covers. It was also regularly sold for publication in (foreign) magazines.

In the period that Jonker worked for Particam, the design of theatrical photography greatly resembled what had previously been produced prior to the war. The key scenes and leading figures were to be photographed in a way that was readily comprehensible and easily identifiable. The compositions in Henk Jonker’s reportage photography are austere. The main subject is typically positioned in the middle.

Besides working as a reportage photographer, Jonker also photographed regular people, street scenes, and seemingly insignificant moments. He possessed an intuitive sense when it came to finding the photogenic in everyday things. He was also able to tell a story with just a single image. Jonker never isolated his subjects, he placed them in a context, such as in his photograph Lof der nieuwe bouwkunst (‘Praise for the New Architecture’). The forms of the statue of Erasmus—reading from his The Praise of Folly—are emphasised by the lines of the building in the background, the HBU (‘Hollandse Bank Unie’, ‘Hollandic Bank Union’). Toying around with the context and introducing a random interconnectedness can as well be seen in the photos that Jonker shot in the late 1950s for the small book Rotterdam, produced for the publishing company Bruna with a text by Herman Besselaar. One photo from this book, entitled Kunst bij de koffie (‘Art with the Coffee’), depicts two young people sitting in the lunchroom at the new Bijenkorf department store. They appear in no way distracted by Henry Moore’s horizontal nude, seemingly reclining at their table and dying for attention.

Particularly noticeable when examining Jonker’s numerous prints are the crops that were made. Rarely did he print a 6×6 cm negative in its entirety: the crop was determined in the darkroom. It seems as if Jonker applied this technique in an effort to give his subject greater emphasis. This penchant for cropping photos can also be seen in his exhibition work. Photo editors working for his clients are also likely to have had a hand in making these crops.

One of the many exhibitions in which Jonker participated was The Family of Man, held at the Museum of Modern Art in New York in 1955. On exhibit was Jonker’s shot taken at a wedding in the Jordaan neighbourhood of Amsterdam in 1953. Jonker was by no means the only exhibitor from the Netherlands: works could also be seen by Emmy Andriesse, Eva Besnyö, Ed van der Elsken, Cas Oorthuys, Nico Jesse, and others. The same exhibition was shown in Amsterdam in 1956, under the title Wij Mensen (‘We People’). The exhibition’s organiser, Edward Steichen, had selected none of Jonker’s work during his visit to the Netherlands in 1955 in preparing for the show. As stated in the exhibition catalogue, the photo actually came into Steichen’s possession via Life magazine.

Several years later, in 1961, critics compared an exhibition held at the Stedelijk Museum, entitled Dag Amsterdam (‘Hello Amsterdam’), with The Family of Man. In September 1960, the director of the Stedelijk Museum, Willem Sandberg, had asked a number of photographers, including Henk Jonker, to photograph Amsterdam in all of its facets. Sandberg took this step because the photographic work previously submitted to the exhibition had failed to meet the jury’s stipulations regarding quality. Jonker’s series focussed on working people in Amsterdam, ranging from ballet dancers and painters to construction workers and stockbrokers.

For photographing theatre, ballet, and opera, Jonker relied on a Rolleiflex, using a standard 80mm lens, and a Rolleiflex Tele with a 135mm lens. For his reportages published in Life, he sometimes used a Leica 35mm camera at the magazine’s request. For other reportages, Jonker photographed with a Rolleiflex and a Hasselblad, equipped with various lenses. He used both Ilford and Kodak film. The organisation of Jonker’s archive is based on the original negative film strips, ordered chronologically. The negative strips are of a consistent quality and well exposed. The archive includes few failed shots.

Prior to his departure to Torredembarra, Spain, in 1964, Jonker promised Maria Austria he would no longer take on any assignments in the areas of theatre, stage plays, opera, and ballet. For a number of years, Jonker spent his summers working as a French-fried potato chef in Spain, returning to the Netherlands in the winter to shoot photos. In about 1968, he decided to sign on with a photography studio operated by Harry Pot and George van de Wijngaard, which they had just started up in Bentveld in that same year. The three men photographed for magazines such as VT Wonen, Eigen Huis (‘Private Home’) and Libelle. In no time, the studio was doing very well. They took on additional photographers and found a new location for the studio at a storage warehouse in the village of Cruquius (North Holland). After the studio was taken over by VNU in 1972, Jonker stopped with photography. Instead, he took over the overseeing of the decor department, the bookkeeping, and managed the daily running of the business.

To this day, little attention has been given to Henk Jonker’s photographic work. This is an oversight, particularly when considering his reportages are in no way inferior to that of other GKf photographers from the 1950s. Undoubtedly, Jonker’s split with Maria Austria and his departure from the GKf are factors in his being somewhat forgotten. In depicting the optimism of the 1950s, Jonker was a typical post-war reconstruction photographer. He managed to capture life’s insignificant moments wonderfully, turning what was ordinary into something special. Henk Jonker’s work is characterised by an austere, but strikingly accurate registration of the subject.


Primary bibliography

images in:


1945-1963 incidenteel foto’s in:

Aktuell, Picture Post, Le Soir, Noir et Blanc, Billed Bladet, Sie und Er, Life, Now, Leader Magazine.

De Spiegel ca. 1946-1959.

Algemeen Handelsblad ca. 1948-1963.

De Katholieke Illustratie ca. 1949-1954.

Elsevier ca. 1949-1959.

Ariadne ca. 1951-1955.

Revue ca. 1953-1958.

Margriet ca. 1955-1963.


Vredesfeest 1946, Arnhem (Koninklijk Nederlands Gymnastiek Verbond) 1946.

Auteur onbekend, Robben, in Ons Vrije Nederland 6 (17 augustus 1946) 7, p. 3-5.

Nederland jubelt. Herdenkings-album van het gouden jubileum en de troonsbestijging,

Amsterdam (Scheltens & Giltay) 1948, ongepag.

Catalogus tent. Foto ’48, Kroniek van Kunst en Kuituur 1948 (speciale editie), p. 16, 24, 28.

Nederlands Jaarboek voor Fotokunst 1948/49, p. 58-59.

R. Marsman, Vier koningskinderen, Baarn/Den Haag (Bosch & Keuning/Daamen) z.j. [ca. 1950], [foto Particam Pictures] t.o. p. 56.

Catalogus tent. Schoonheid in huis en hof, Amersfoort (Amersfoortse Gemeenschap) 1950, ongepag.

Drukkersweekblad (december 1950) kerstnummer, ongepag.

U.S. Camera Annual 1950, p. 45.

U.S. Camera Annual 1951, p.102-103.

Nederlands Theater Jaarboek 1 (1951-1952) t/m 12 (1962-1963).

Catalogus tent. Welt-Ausstellung der Photographie, Luzern 1952.

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

Auteur onbekend, Speaking of pictures. Dutch kids pose for postage and their faces go round the world, in Life 32 (14 januari 1952) 2, p. 8-9.

Auteur onbekend, Dutch force way into church, in Life 32 (28januari 1952) 4, p.31,32.

Auteur onbekend, De Ramp, Amsterdam (Vereeniging der Bevordering van de Belangen des Boekhandels te Amsterdam) 1953, ongepag.

Photography Annual 1953, p. 86, 263.

Sj. Groenman, Land uit zee. De Zuiderzee bedwongen. De indijking, de drooglegging, de nieuwe samenleving, Meppel (Roelofs van Goor) 1954, p. 11.

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

E. Straat, Amsterdam as a center of culture, Amsterdam (Stadsdrukkerij) 1954, p. 26, 30, 35.

Uit Rijnstreek en merengebied, Woerden (Gemeente Rijnstreek) 1954.

Catalogus tent. The Family of Man, New York (Museum of Modern Art) 1955, p. 116.

Photography Year Book 1955, afb. 60, p. 166.

Hella S. Haasse e.a. (tekst), Beatrix 18 jaar, Amsterdam (De Bezige Bij) 1956, p. 24-26,29.

Janet Sinclair, Ballet der Lage Landen, Haarlem (Gottmer) 1956, p. 96, 114.

Ben Albach, Het huis op het plein. Heden en verleden van de Amsterdamse Stadsschouwburg, Amsterdam (Stadsdrukkerij van Amsterdam) 1957, p. 114, 142.

Catalogus tent. Hand en machine, Amsterdam (Stedelijk Museum) 1957, p. 15, 20-21.

Balletjaarboek 2 (1957-1958), p. 49, 52, 55-56,62,64.

Max Dendermonde, Het water tot de lippen. Wat wij deden via het Nationaal Rampenfonds, Amsterdam (De Bezige Bij) 1958, p. 48, 84, 102, 147, 168.

Willem Boswinkel, David Koning en Joop Schultink, Het Nederlands ballet, Haarlem/Antwerpen (Gottmer) z.j. [1958], p. 5, t.o. p. 65, 81, 96-97, na 120, t.o. p. 128-129, 160-161, 176, 188-189, 196.

Gids Holland Festival, Amsterdam (Bureau Holland Festival) 1958, ongepag.

[Programmaboekje] Het Nederlands Ballet. Holland Festival 1958, Amsterdam 1958, ongepag.

Catalogus tent. Klei en vuur. Potterie van Meindert Zaalberg, Amsterdam (Stedelijk Museum) 1958, ongepag.

Kijkprikkels. Foto’s van GKf-fotografen, in Prikkels (november/december 1958) 231.

Photography Year Book 1958, afb. 134, p. 195.

J.P. Berghuis en J. Don (inl.), Kampen. Stad aan de IJssel, Kampen (Kok) 1959, 2de dr., p. 77.

K.Ph. Bernet Kempers en Marius Flothuis (red.), Eduard van Beinum, Haarlem etc. (Gottmer) z.j. [1959], ongepag.

Klaas Graftdijk, Paspoort voor de delta, Den Haag (Shell Nederland Verkoopmaatschappij) 1959, p. 8.

Corrie Hartong, Mijn balletboek, Haarlem/Antwerpen (Gottmer) 1959, p. 59.

David Koning en Joop Schultink (red.), Maria Austria en Henk Jonker (foto’s), Balletfacetten, Haarlem/Antwerpen (Gottmer) 1959.

Joost A.M. Meerloo, Alle leven danst. Van primitieve dans tot Rock ‘n’ Roll en modern ballet, Amsterdam (De Brug/Djambatan) 1959, afb. 54, 85.

Hans Snoek (red.), Dans en ballet, Amsterdam (Querido) 1959 (serie: Geïllustreerde Salamander G43), p. 2, 87, 96, 129, 198.

Photography Year Book 1959, afb. 20-23, p. 198.

Lucebert (gedichten), Dag en nacht. Vijftig stadsfoto’s van ‘s-ochtends tot ‘s-avonds, in Forum (1959/1960) 12, p. 4-5, 15, 18-19, 22, 24, 26.

Herman Besselaar (tekst) en Henk Jonker (foto’s), Rotterdam, Utrecht (A.W. Bruna & Zoon) 1960 (serie: Zwarte Beertjes 292/293).

Willem O. Duys, Muzikanten van nabij. 250 Openhartige foto’s uit de wereld van lichte en zware muziek, Baarn (Wereldvenster) 1960.

H. George Franks, Pocket Holland, Amsterdam (J.H. de Bussy) 1960, [o.a. foto’s Particam Pictures].

Klaas Graftdijk, Paspoort voor de delta, Baarn (Wereldvenster) 1960, 2de dr., p. 24. 37.

Holland Photo-Almanac 1960, Lochem (Nijha) 1960, ongepag.

Holland Festival, Amsterdam (Uitgeverij Holland Festival) 1960, ongepag.

J.W. Rengelink en I. Mug (samenstelling), Volk in verdrukking en verzet, 1940-1945, Amsterdam (MUBRO/ N.V. Drukkerij Dico) 1960, p. 59.

Photography Year Book 1960, p. 84, 208.

Han Hoekstra, Dag Amsterdam (N.V. Het Parool) 1961, p. 38,52, 54-55. 57, 68, 70, 73, 107.

Wim Alings e.a., Wij bouwen, Utrecht (A.W. Bruna & Zoon) z.j. [1962], p. 30, 80, 87, 102, 116, 119, 141 (serie: Zwarte Beertjes 600).

Gerard H. Hoek (tekst), Maria Austria en Henk Jonker (foto’s), “Hier Hilversum, de N.C.R.V.”, Wageningen (Nederlandse Christelijke Radio Vereniging) 1962.

Holland Festival, Amsterdam (Uitgeverij Holland Festival) 1962, ongepag.

Jacques de Sugny, L’Atlas des voyages. Pays-Bas, z.j. (Editions Rencontre ’62) 1962, ongepag.

Tjits Veenstra en R. Kramer (tekst) en Maria Austria en Henk Jonker (foto’s), Ikke pikke porretje. Methode voor organisch onderwijs voor de lagere school voor de eerste helft van het tweede leerjaar, Zeist (Dijkstra) 1962.

B. Stroman en Robert de Vries, Toneelgroep Theater 1953-1962, Amsterdam (De Bezige Bij) z.j. [ca. 1962].

Herman Hofhuizen (tekst) en Henk Jonker (foto’s), Shot ’65, Hilversum (KRO) 1965.

G.J. de Voogd (samenstelling), Facetten van vijftig jaar Nederlands toneel 1920-1970, Amsterdam (Moussault’s Uitgeverij) 1970, p. 160, 187.

P.J. Meertens (inl.), Achterberg in kaart, Den Haag (Bert Bakker/Daamen) 1971, p. 10, 20-21.

Michel van der Plas en Jan Roes, De kerk gaat uit. Familiealbum van een halve eeuw katholiek leven in Nederland, Bilthoven (Ambo) 1973, p. 17.

Ellen Eggels (red.), 90 jaar Carré, Bussum (De Gooise Uitgeverij) 1977, [foto Particam Pictures].

Koen Aartsma (red.), Nederland en de zee. Een eeuwigdurende strijd, Wageningen (Zomer en Keuning) 1978, p. 34.

Tony van Verre, Tony van Verre ontmoette Ko van Dijk. Uit het leven van een komedie-speler…, Bussum (De Gooise Uitgeverij) 1978, [foto’s Particam] p. 39, 54, 61.

R.L.K. Fokkema e.a. (red.) en Henk Jonker (foto’s), Noodtrappen naar het morgenlicht, in Achterbergkroniek 3 (november 1984) 2.

Catalogus tent. Het Spaarnestad Fotoarchief. Twee miljoen foto’s, Haarlem (Vishal van het Frans Hals Museum) 1986, p. 49.

Jan Blokker, ‘Wij zullen dan maar hopen dat we er met een kleiner bedrag afkomen’. Het Holland Festival en de Hollandse samenleving, Den Haag (Staatsuitgeverij) 1987, [o.a. foto’s Stiching Fotoarchief Maria Austria Particam].

Han Peekel, Fridtjof Meerlo en Han Santing, 100 jaar Carré, Amsterdam (Loeb) 1987, p. 148.

Luuk Utrecht, Het Nationale Ballet 25 jaar. De geschiedenis van het Nationaal Ballet van 1961 tot 1986, Amsterdam (Allert de Lange bv/Het Nationaal Ballet) 1987, [foto’s Stichting Fotoarchief Maria Austria Particam], p. 6, 186-187, 191, 202, 208, 233, 242.

Yolande Melsert, Een vroom bedrog. Het karakteristieke in het acteren van Siem Vroom, Amsterdam (Nederlands Theater Instituut) 1990, p. 7.

Rob van Gaal, Een bolwerk voor de muzen. 50 Jaar Stadsschouwburg Utrecht 1941-1991, Utrecht (Broese Kemink/Kwadraat) 1991, [o.a. foto’s Particam Pictures].

Luuk Utrecht (tekst), Rudi van Dantzig. Een omstreden idealist in het ballet, Zutphen (Walburg Pers) 1991, p. 43.

Leo Divendal, De Paarderuggen of oponthoud in een vrije val, Amsterdam/Haarlem (Spaarnestad Fotoarchief/Luna Negra) 1992, p. 44.

Cécile van der Harten (samenstelling), Lezen & schrijvers. Foto’s van lezende schrijvers, Amsterdam (Penguin Books) 1992, p. 22.

Annet Zondervan, Met volle kracht vooruit de jaren vijftig in de fotografie, in Kunstschrift (1992) 2, p. 40.

Hans Vogel, Amsterdam fotografeert Rotterdam, in Het Parool 29 oktober 1992.

Kees Slager, De Ramp. Een reconstructie, Goes (De Koperen Tuin) 1992, p. 211, 214, 339.

Richter Roegholt, Amsterdam na 1900, Den Haag (Sdu Uitgeverij) 1993, p. 235.

Simon Vinkenoog (inl.), Boekenbal-boekje. Foto’s van Particam Pictures, Amsterdam (Voetnoot) 1993, ongepag.

Taco Anema e.a. (red.), GKf 50. Fotografie 1945-1995, Amsterdam (De Verbeelding) 1995, p. 46-47.

Catalogus tent. GKf. Vijftig jaren van toekomst, Groningen (Stichting Aurora Borealis) 1995, ongepag.

Martin Harlaar en Jan Pieter Koster, Stilstaan bij de oorlog. De gemeente Amsterdam en de Tweede Wereldoorlog 1945-1995, Bussum (Thoth) 1995, p. 22.

Annemieke Hendriks, Huis van Illusies. De geschiedenis van paviljoen Vondelpark en het Nederlands Filmmuseum, Amsterdam (Bas Lubberhuizen) 1996, p. 56.

Piet Hein Honig (eindred.), Annalen van de Operagezelschappen in Nederland 1886-1995, Amsterdam (Theater Instituut Nederland) 1996.

Hilde de Haan en Ids Haagsma, in Waterland-Zuid, bijgenaamd Amsterdam-Noord: de oever van geboorte en dood, Amsterdam (Woningbouwvereniging Het Oosten) 1996.

Flip Bool, De verwoeste Stad van Zadkine, in Transito (1997) 1, p. 33.

Eva van Schaik, Hans van Manen. Leven & Werk, Amsterdam (Arena) 1997, p. 228.

Secondary bibliography

Auteur onbekend, Honderden toneelfoto’s worden in Den Haag tentoongesteld, in Algemeen Dagblad 10 juni 1953.

Auteur onbekend, Interessante theaterfoto’s in Stedelijk Museum, in de Volkskrant 26 juni 1953.

Peter Hunter, The GKf. A generation of Photographers in Amsterdam, in Photography oktober 1958.

Theo Ramaker, World Press Foto ’59. Opening van de tentoonstelling in Den Haag, in Focus 44 (3 oktober 1959) 20, p. 570.

Theo Ramaker, Vliegende estheten. Henk Jonker en Maria Austria aan de Rivièra, in Focus 45 (20 februari 1960) 4. p. 93-95 (met foto’s).

H.F. van Loon en Jan Punt, Wij presenteren u: Onze camera adel, in De Telegraaf 19 maart 1960.

Auteur onbekend, Dertig fotografen zwermden uit over Amsterdam, in Het Parool 16 september 1960.

J.D. de Jong, Foto-expositie in Stedelijk Museum Amsterdam, in Friese Koerier 19 november 1960.

Auteur onbekend, Foto-kerstsalon in Arti, in Het Parool 18 december 1961.

Auteur onbekend, De mens in de lens. Fototentoonstellingen in Amsterdam, in Trouw 21 december 1961.

E. Werkman (samenstelling), Ik néém het niet! Hoogtepunten uit het verzet 1940/1945, Leiden (Sijthoff) 1965, na p. 96, 128.

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

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 24 (met losse bibliografie).

Remco Campert (inl.), 1950-1959 Amsterdam 20 fotografen, Amsterdam (uitgeverij Fragment) 1985, ongepag. afb. 32,63.

Pauline Terreehorst, Gemeentearchief Amsterdam boort met collectie goudmijn aan, in de Volkskrant 12 oktober 1985.

Leonoor Wagenaar, Fotograaf wordt patatbakker. Patatbakker wordt schilder, in Het Parool 21 oktober 1989.

Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw, Amsterdam (BIS) 1991, p. 76, 195-196.

Veronica Hekking, Een bezoek aan de Historisch Topopgrafische Atlas van Amsterdam. De iconografie van een stad in het gemeentearchief, in GKf Bulletin (1991) 3, p. 13.

Aad Speksnijder en Willem van Zoetendaal, Rotterdam 1950-’60, Rotterdam (DUO/DUO) 1992, p. 9-10, 62-72 (met foto’s).

René Kok, Herman Selier en Erik Somers, Fotografie in bezettingstijd, Zwolle/Ansterdam (Waanders Uitgevers/Rijksinstituut voor Oorlogsdocumentatie) 1993, p. 108.

Luc Verkoren, Nederland en de Tweede Wereldoorlog, in P/F (1993) 1, p. 52-55.

Auteur onbekend, Maria Austria Instituut, in Ons Amsterdam 45 (januari 1993) 1,p. 18.

Bram Wisman, Argusogen, Amsterdam (Voetnoot) 1994, p. 96, 98-100, 102 (met foto’s).

Emilie Escher, Fotograferen uit verzet tegen de tijdgeest, in Het Parool 21 oktober 1995.

Veronica Hekking en Flip Bool, De illegale camera 1940-1945. Nederlandse fotografie tijdens de Duitse bezetting, Naarden (V+K Publishing/Inmerc) 1995, p. 77.

Nicole Robbers, Hommage aan avonturier roept nodige irritatie op, in NRC Handelsblad 31 maart 1995.


GKf, 1948-ca. 1965.

NVF, 1948-ca. 1963.


1959 Tweede prijs categorie Features, wedstrijd World Press Photo ’59.


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

1950 (g) Amersfoort, Amersfoortse Gemeenschap, Schoonheid in huis en hof (GKf-tentoonstelling op uitnodiging van Amersfoortse Gemeenschap).

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

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

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

1954 (g) Amsterdam, Stedelijk Museum, 2e Internationale theater-fototentoonstelling ter gelegenheid van het Holland Festival 1953 [rondreizende tentoonstelling: Wiesbaden, Bordeaux, Den Haag, Scheveningen, Aix-en-Provence, Bayreuth, München, Luzern, Venezia, Perugia].

1954 (g) Utrecht, Jaarbeurs, Voorjaarsbeurs.

1955 (g) New York, Museum of Modern Art, The Family of Man.

1956 (g) Amsterdam, Stedelijk Museum, Wij Mensen.

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

1958/1959 (g) Amsterdam, Stedelijk Museum, [foto’s uit eigen collectie].

1959 (g) Den Haag, Haags Gemeentemuseum, World Press Photo ’59.

1960 (g) Amsterdam, Stedelijk Museum, [foto’s uit eigen collectie].

1960 (g) Hengelo, Hengelose Kunstzaal, [77 foto’s uit de collectie van het Stedelijk Museum te Amsterdam].

1961 (g) Amsterdam, Arti et Amicitae, 23e Nationale Foto Tentoonstelling (Kerstsalon) [reizende tentoonstelling].

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

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

1985 (g) Amsterdam, Gemeentearchief, Amsterdam 1950-1959 20 fotografen.

1986 (g) Haarlem, Vishal van het Frans Hals Museum, Het Spaarnestad Fotoarchief. Twee miljoen foto’s.

1992 (g) Amsterdam, Golden Tulip Barbizon Centre Hotel, [foto’s uit collectie van het Maria Austria Instituut].

1992 (g) Haarlem, Spaarnestad Fotoarchief, De paarderuggen van Kertész of oponthoud in een vrije val.

1992 (g) Rotterdam, Kunsthal, Amsterdam fotografeert Rotterdam.

1993 (g) Amsterdam, Maria Austria Instituut, [foto’s uit eigen collectie].

1993 (g) Burg-Haamstede, Ir.J.W. Tops-huis, De Ramp.

1994 (g) Rotterdam, Chabotmuseum, De Verwoeste Stad.

1995 (g) Amsterdam, Amsterdams Centrum voor Fotografie, De GKf fotografeert de jaren ’50.

1995 (g) Groningen, Der Aa-Kerk, GKf. Vijftig jaren van toekomst (Noorderlicht manifestatie).

1995 (g) Rotterdam, Nederlands Foto Instituut, Lichtjaren. 50 jaar GKf-fotografie.

1995 (g) Utrecht, Vredenburg, Het oog van de meester.

1997 (g) Amsterdam, Concertgebouw, Hollandfestivalfoto ‘s.

Television programs

31 maart 1995, Henk Jonker: avonturier (NPS).


Amsterdam, Henk Jonker, mondelinge informatie.

Amsterdam, Maria Austria Instituut, bibliotheek.

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.


Amsterdam, Gemeentearchief Amsterdam.

Amsterdam, Maria Austria Instituut.

Amsterdam, Theater Instituut Nederland.

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

Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.