PhotoLexicon, Volume 23, nr. 38 (September 2006) (en)

Frederick Linck

Marie-Christine Engels

Ingeborg Th. Leijerzapf


Frederick Linck works in the tradition of human interest photography. His method is documentary, his approach empathetic. While Linck prefers to photograph people on the street or when involved in their daily activities using natural light, he also produces portraits and still lifes in studio settings. Linck often finds his subjects in his immediate surroundings, i.e. the city where he lives, The Hague. The people he encounters—in his neighbourhood, during his trips abroad, and in the world of the circus—inspire him to ‘communicate via the camera’. Linck has devoted a significant part of his photographic career to teaching.




Frederick Willem George (Frederick) Linck is born on 30 December in Bussum (in the province North Holland) at Pater Wijnterlaan 39. Frederick’s mother, Hillegonda Trijntje de Waard, is a secretary at VNS (Verenigde Nederlandse Scheepvaartmaatschappij, ‘United Netherlands Shipping Company’). His father, Jacob Linck, is employed as a cargo and customs expert with the Holland–West Africa Line. From 1946 until his retirement, Jacob Linck works for KLM Airlines. Frederick’s father is from a well-to-do family from Naarden. The Linck family originated from Scandinavia and as a rule worked in commercial trade and transportation.


The Linck family moves to Hofwijckstraat 28 in Voorburg.


Starting in this year, Frederick receives drawing lessons after school from Marian Gobius, an artist living in Voorburg.


After a youth summer camp with the sea scouts, Linck falls severely ill with paratyphoid. He is hospitalised for eleven months and is forced to learn how to walk again. As a result, he misses his entrance exam for the Huygens Lyceum in Voorburg. Linck attends various secondary schools, but without success. He is dismissed repeatedly, in part for truancy.


Linck is held in detention for a period of three months at the youth pavilion of the penal institution in Scheveningen due to aggressive behavior. He is then transferred to detention centres in Vught and Rotterdam. Through the organisation Pro Juventute, he is allowed to re-enter society after one year. He subsequently earns his own living as a sailor, cleaning tankers at Wilton Feyenoord, and working in cafés and restaurants in The Hague and Scheveningen. He lives on his own at various locations in The Hague.


For several months, Linck takes drawing and painting classes at the KABK (Koninklijke Academie voor Beeldende Kunsten, ‘Royal Academy of Visual Arts’) in The Hague, without being officially enrolled.


Linck travels to Paris with a meat-shipping truck, departing from the Rotterdam abattoir. Here he finds work unloading trucks in the Les Halles neighbourhood of Paris, and as a bellhop in a hotel in Montmartre. In Paris, he comes into contact with Existentialism.


For the duration of twenty-four months, Linck serves his time with the Dutch Royal Navy as part of a squadron of minesweepers. Just prior to the end of his military service, a dispute with a superior ends in a fistfight. Linck is required to spend three months in a military correction centre in Nieuwersluis.


Following his disciplinary detention, Linck travels with the actor Abraham (Bram) Meijers to Leeuwarden, where Meijer’s girlfriend has a beauty salon. Through Meijers, Linck meets the artist Rein Hesselink. Together with several other ‘wild young men’ from the military correction centre, they set up the artists’ collective ‘BEEG 62’ on the Kerkstraat in Leeuwarden. The exhibitions and events that take place find little resonance with the local population. Linck meets artists during this period with whom he later stays in contact, including Jan Jonkers, a founder of ‘De Trapkes’ Music Café and Gallery in Breda, and René van der Meulen, an artist and photographer.


Linck begins his study at the Vrije Academie (‘Open Academy’) in The Hague. He works for three months as a darkroom laboratory technician in the studio of Max Koot at Laan van Meerdervoort 7B in The Hague. Linck lives in the attic of the former ‘Fotostudio Cohen’ at Laan van Meerdervoort 1D.

Linck’s next employer is Univers Press at Jan van Nassaustraat 42 in The Hague, where he is responsible for taking reproduction photos and doing retouching work. Linck also works for Studio Gordon on the Paul Krugerlaan in The Hague, doing wedding reportage and printing photos for erotic magazines such as Helios and Zonnevrienden.


Linck has his first solo exhibition Vrouwen voor de lens (‘Women in Front of the Lens’) in ‘De Trapkes’ Music Café and Gallery in Breda.

Linck and his girlfriend have a son, Björn. The couple lives for a brief time together in Scheveningen.


Linck rents out his small fisherman’s house in Scheveningen and hitchhikes across Europe, with work stops in Germany, Yugoslavia, and Greece. During his travels, he meets the interpreter/translator Theodora Tsaoussis. In 1967, the couple marries according to Greek/Macedonian tradition in Saloniki. Linck legally recognises Tsaoussis’ one-and-a-half-year-old daughter, Georgia. He works temporarily as a building construction worker in Saloniki.

Due to the closing of the Greek borders by the Colonel’s Regime, Linck hastily retrieves his daughter at his mother-in-law’s house. He then flees with his family to Belgrade, Yugoslavia, on a military train, using an illegal ticket.


Linck moves into a combination home/studio on the Amsterdamse Veerkade in the centre of The Hague, together with his wife and daughter.


Linck’s son Tristan is born on 19 January.

For a brief time, Linck works as an assistant for the photographer Hans Götze in his studio on the Frederikstraat in The Hague.


Linck completes his studies at the Vrije Academie.


Linck holds a solo exhibition at the Philippona Gallery on the Paleispromenade in The Hague.


As of 1 September, Linck holds a teaching position at the MTS voor fotografie en fotonica (Middelbare Technische School, ‘Intermediate Technical School of Photography and Photonics’) at Tarwekamp 3 in The Hague.


Linck participates in the Première triënnale internationale de la Photographie (TIP 75, ‘First International Triennial of Photography’) in Fribourg, Switzerland. Other national and international exhibitions follow.

Linck is a course leader in photography for a period of one year at ‘De Mast’, a training centre in Noordwijkerhout. He is also a course leader in photography at the Christelijk Vormings Centrum (‘Christian Training Centre’) on the Laakkade in The Hague.


Together with the photographer Robert Broere, Linck gives a workshop in Sommelsdijk (municipality of Middelharnis) for various photography clubs.


On 25 and 26 November 1978, Linck leads a workshop on the theme of ‘people in colour’ for the BNAFV (Bond van Nederlandse Amateur Fotografen Verenigingen, ‘Federation of Netherlands Amateur Photographers Associations’) in collaboration with Kodak and the photographers Wout Gilhuis and Peter Charpentier.

In November, Linck also gives a workshop for the Nederlandse Vereniging voor Huisvrouwen (‘Netherlands Association of Housewives’).


In March and April, Linck teaches classes as a guest instructor at the Vrije Academie in The Hague, at the request of the school’s director George Lampe. The theme is portrait photography.

In April and May, Linck is also a guest instructor at the Koninklijke Academie voor Schone Kunsten (‘Royal Academy of Fine Arts’) in Ghent, in collaboration with Lies Wiegman and Peter Charpentier.

Linck is offered a teaching position at the ABK (Academie van Beeldende Kunsten, ‘Academy of Visual Arts’) in Rotterdam, but turns the position down based on his impression that not all of the board members are in agreement on the matter of introducing photography as a study discipline. There is also a lack of clarity with respect to the study curriculum. Linck also wishes to reserve time for his own development as a photographer.


Frederick Linck and Theodora Tsaoussis divorce.


Linck is responsible for the workshops at Europhot in Bruges, Belgium, together with the Dutch photographer Gerrit Schilp. He receives a similar commission in Saarbrücken, Germany, together with the Belgian photographer Hugo Minne.


Linck is a guest instructor at the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam.

On 29 December, Linck marries Cornelia Johanna Maria (Conny) Kuipéri, who holds various communication functions on the district and corporate level at the PTT (the Dutch national postal, telegraph, and telephone company), and as well after the same company is privatised as KPN.


Linck works as a freelance contributor for the magazine Sportgericht.

Ca. 1989

In addition to his teaching position at the School voor Fotografie (‘School of Photography’), Linck teaches photography at the KABK in The Hague, in the department of ‘Mode en Textiel’ (‘Fashion and Textile’).


In 1991, the School voor Fotografie merges with the KABK and The Hague Conservatory to become the ‘Hogeschool voor Beeldende Kunst, Dans en Muziek’ (‘College of Fine Arts, Dance and Music’). Linck is an instructor at this college from the moment of its founding. In addition, he continues his work as a guest instructor and giving workshops.


As a photographer, Linck refers to himself as a defender of history. As such, he characterises himself as a documentary photographer. While he prefers to photograph people, his oeuvre reveals a broader range of themes, which also includes landscapes and still lifes. Linck takes great pleasure in the technical side of his profession, both in terms of camera technique and darkroom work. Working within the limitations imposed by traditional artisanal photography, he seeks to find optimal ways in devising convincing images. When taking a photo, Linck derives pleasure from experimenting with proportions of light, time, and space. Translating these elements into the tonal values of the paper typically entails a struggle in the darkroom. Upon obtaining a couple of satisfying results, he preferably shifts his attention to other matters. Having once cherished the dream of becoming an artist, today Linck views his work primarily as craftsmanship.

Although extremely young during the years of the German occupation, Frederick Linck remembers the darkness, the sound of the V1 rockets, and making his way to the soup kitchens. The strain of those years was tangible and left a major impression—especially the fact his mother witnessed her own husband being pushed down the stairs by the ‘Arbeitseinsatz’ (‘forced labour deployment’) during a raid. Linck’s father was taken away. Just prior to reaching the German border, however, he jumped train, fled back to Naarden, and subsequently went into hiding in the province of North Holland. Frederick’s mother used his toy wagon to distribute the illegal newspaper Vrij Nederland (‘Free Netherlands’). The end of the war marked the beginning of a carefree period for Linck. Through his Frisian grandfather on his mother’s side of the family, a ship carpenter, he learned to sail and fish for eel. It was during this time that Linck developed an appreciation for the beauty of nature on the countryside: the atmosphere, the light, and the space. He was also an active member of the Jeugd Natuurwacht (‘Young Nature Rangers’).

During his youth, Frederick often flew to different places. Today, travelling continues to play an important role in his life. After his rehabilitation from paratyphoid in his final year of primary school, Linck’s performance in secondary school was quite poor. He was truant on a regular basis and kicked out of various schools. At the age of sixteen, he was placed in a juvenile detention centre for his aggressive and inappropriate behaviour and was subsequently sent on to a number of correction houses. Having served out his sentence, he spent time working as a sailor in the coastal shipping industry and later took on all kinds of jobs, as well working in various nightclubs. It was at the cafés in The Hague, such as the ‘Jazz Club’ on the Achterom and ‘De Sport’ on the Kazernestraat, that Linck began to meet all kinds of artists. His desire for an artistic profession was sparked by these contacts. To determine whether this was indeed where his future really lay, in 1959 he briefly attended the KABK (Koninklijke Academie van Beeldende Kunsten, ‘Royal Academy of Art’) in The Hague without actually being officially enrolled. A trip hitchhiking to Paris reinforced his idea of becoming an artist even more. Through a girlfriend there, Linck became acquainted with Existentialism, an ideology with which he felt completely at home. Linck’s parents saw no future in an artistic career: in their view, attending maritime school or becoming a doctor was a much more sensible thing for him to do. His mother profoundly disliked artists, whom she associated with love affairs, alcohol, and prostitution. For Linck, this kind of opposition made the world of art seem just that much more attractive.

After serving in the military, Linck attended the Vrije Academie (‘Free Academy’) in The Hague, which was then located on the Hoefkade, where he hoped to further develop his drawing and painting skills by taking lessons with Nol Kroes. It was here that he first obtained a more serious knowledge of photography, thanks to Ed van Wijk. While drawing from life models, Van Wijk had him take a look through his Rolleiflex, after which Linck enthusiastically decided to continue his studies in the direction of photography. As well encouraging in this endeavour was his teacher Victor Meeussen. During his days at the academy, Linck also spent a half-year working for Max Koot. He initially helped out with retouching, but was later employed as the number two lab technician.

In the 1960s, Linck was able to make a decent living from his photo commissions, and when necessary, he supplemented this with all kinds of temporary work. Linck’s wife, Theodora Tsaoussis, who worked for various government ministries as a translator and as a state specialist with the Ministry of Foreign Affairs, earned the biggest share of the couple’s income for quite some time. In 1968, Linck moved into the former ‘milk salon’ of the Sierkan Milk Factory at Amsterdamse Veerkade 9 in The Hague, with the assistance of the municipal department of ‘Art Affairs’. To this day, he resides at this address together with his current wife, Conny Kuipéri. It is also the location of his studio.

In the early 1970s, Linck became an assistant to the photographer Hans Götze on the Frederikstraat in The Hague. With a subsidy for study material from the province of South Holland, he was able to continue his study at the Vrije Academie. By this time, the academy was called ‘Psychopolis’ and had moved to the Gheinstraat in The Hague. In 1974, Linck was offered a teaching position at the School voor Fotografie en Fototechniek (‘School of Photography and Photographic Technique’), also known as the MTS voor fotografie en fotonica (Middelbare Technische School, ‘Intermediate Technical School of Photography and Photonics’), in The Hague. This took place through the intermediation of Theo Meijer, a photojournalist and board member of this institution. From that point on, Linck’s former mentor Ed van Wijk became a fellow colleague. Together with Lies Wiegman, Linck devised a photography programme for second-year students, with all kinds of lectures, jury positions, workshops, and other teaching commissions in the Netherlands and abroad following as a result. This also included the study programmes that Linck set up for the ”Leidse Onderwijs Instellingen’ (‘Leiden Educational Institutions’) via the filmmaker Piet van der Ham. In 1983, Linck received a permanent contract from the School voor Fotografie en Fototechniek in The Hague. After the merging of the School voor Fotografie en Fototechniek with the KABK (Koninklijke Academie voor Beeldende Kunsten, ‘Royal Academy of Visual Arts’) and The Hague Conservatory, Linck started teaching at the newly formed ‘Hogeschool van Beeldende Kunsten, Muziek en Dans’ (‘College of Visual Art, Dance and Music’) in the departments of Fashion/Textile, Photographic Design, and Graphic Design. To this day, Linck still sees the transition to the Hogeschool as the demise of a unique professional educational programme in photography, where substantial attention was devoted to technique.

As the years progressed, Linck grew to enjoy teaching, even though these positions were chiefly necessary due to difficulties associated with making a decent living from his autonomous work alone. The boy who started out with trouble in school became a man who teaches with great love, is engrossed in the history of photography and art, and gives tours at De Gevangenpoort (‘Prison Gate’) Museum, a former prison for convicts. Linck speaks with his photography students to protect them from ‘visual pitfalls’. At the same time, he has them build practical experience in the field, based on a wide variety of examples. During his classes, Linck regularly takes his own portrait photos of students, to serve as models. Teaching his students the different techniques plays an important role in his classes, because it is precisely a mastery of this aspect that gives the student a feeling of freedom. In doing so, an array of possibilities comes within one’s reach. In turn, the students stimulate Linck with their new ideas, bringing him positive energy at times when he feels he has seen and done just about everything.

Frederick Linck has a large photo archive, comprising black-and-white negatives, as well as prints and slides in black and white and colour. The themes vary from portraits, nudes, street scenes and interiors, to landscape, still lifes, and abstract photography. Linck’s prints are always accompanied by extensive documentation, including the day the shot and the print were made, as well as the design and technique. He also records the date and the method of printing, as well when making new prints of previous shots. The composition and compilation of his oeuvre are therefore easily ascertainable.

For years, Linck has been photographing the unique people encountered in his own neighbourhood, while at their daily routines. His early role models in this regard were Sanne Sannes and Robert Frank. With Sannes, Linck recognised the emotion of the moment; in Frank’s photography, it was the melancholy that appealed to him most. Through photography, Linck establishes contact with people from all levels of society with ease. It was a big step, making the transition from his ‘middle class’ upbringing and entering another world. One case in point is an extensive series dating from the 1970s, featuring portraits of vendors who work at the market on the Herman Costerstraat in The Hague. They provide an excellent picture of a part of The Hague that has since dramatically changed. During the same period, he also produced a series of photos that depict the drug addicts living in the old centre of The Hague. When viewing Linck’s photos, people are quick to compare them with the work of Diana Arbus. While superficial similarities exist, the differences are more significant. Linck focuses on the beauty of the irregular and unusual in everyday life. Above all, he captures people’s vulnerability. Diana Arbus, by contrast, turned to individuals who were anything but ordinary and portrayed them in a heartless manner.

Linck regularly does portraits on commission, both for organisations and for private individuals. He has also photographed for publications by and about artists in The Hague, including a documentary on Piet Mondrian by the filmmaker Nico Crama. Linck as well photographed the Hague painter Nol Kroes, and the sculptors Aart van den IJssel and Shamai Haber. In addition, he did a reportage on Lotty van der Gaag, a sculptor from The Hague, at her studio in Paris. Linck has worked on publicity assignments for companies in The Hague, including the contractor Breumelhof, and Van Gelder, a company specialised in building facade lettering. Linck has also furnished photos for magazine illustrations, album covers for Polydor, book covers, catalogues, theatrical posters, and annual reports.

Through his friendship with the clown Johnny ‘Boltini’ Akkerman (a brother of Tony Boltini), Linck began taking on numerous commissions for the Dutch circus world in 1978. Since then, he has produced backstage reportages for virtually every circus in the Netherlands. Linck has also travelled with international circuses, such as Althoff and Krone. Linck especially had an eye for the impoverished, hard life hidden behind the facade of the circus show world. Yet he also shot characteristic photos of the skills these circus artists possessed, which were subsequently used in programmes and circus flyers. In 1981, Linck did the illustrations for the yearbook of Grafisch Nederland (‘Graphic Netherlands’), with the circus as its theme.

In the 1970s, Linck shot photos that leaned in the direction of abstraction. His photos for the Première triënnale internationale de la photographie (TIP 75, ‘First International Triennial of Photography’), held in 1974–’75 in Fribourg, Switzerland, are an example of this. He depicted ‘mechanical motion’ by making a sweeping movement with his camera, using shutter speeds of 1 to 1/8 second with the smallest possible lens aperture.

Linck enjoys composing and photographing as much as ever. In his studio, he experiments with all sorts of props, e.g. waste materials such as bottles, flattened cans and other rubbish. He works these into compositions. With the help of studio lighting, he tries to capture the beauty of deterioration, chiefly in black and white. The aesthetic of these still lifes brings to mind associations with the way light was treated by photographers at the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’), e.g. Nico Zomer and Steef Zoetmulder.

Since 1991, Linck has been taking photos on a regular basis in the United States, where his daughter and her family live, as well as his sister-in-law. It was in the States that his love of landscape became revitalised. Nature, the desolation, the vastness of the landscape: all fascinate him. A contrast in the shiny metal of big American cars and the drabness of concrete or the uncultivated land that stretches out for miles is one of his themes. Another topic of interest are the large areas covered in snow: landscapes in which the individual person and his modern vehicle suddenly appear as insignificant. In the Netherlands, Linck is captivated by the differences in the cultivated landscape.

Classes in drawing and working with models were very useful for Linck’s photography. Because of it, he has an astute eye for anatomical proportions and the expression of the individuals he portrays. How to show relationships in light and dark and different colours in black and white on the flat surface: this is what design is all about in Linck’s view. In a portrait, light and space determine the mood, combined with the charisma the model exudes. Linck intentionally honours the original traditions of photography, but is likewise open to new developments. Plasticity achieved through contrasts in light and dark, the degree of sharpness, the close-up: these are precisely the photographic devices he employs to express the emotional exchange between the person in front of his lens and himself. Linck feels he has succeeded in his plan when outsiders also respond to this emotionally. Examples are the reactions of passers-by when seeing photos on display in the windows of his studio. One person was so moved by a photograph of an old Aruban woman, that from that day forward he chose to walk on the opposite side of the street. Linck subsequently received an email asking that the photo be removed.

With Frederick Linck, vision and technique are inextricably linked. His main interest is not the moment the shot is taken, but rather the entire technical process that leads to the finished photo. Linck does all of the finishing for his black-and-white photos himself—only with colour photos does he involve others to do the printing. When representing the subject, he equivocates technical knowledge with a freedom of choice. Although refraining from the outright rejection of digital photography, he derives little pleasure from working with a computer. The traditional approach of working in the darkroom gives him a greater opportunity to implement his artistic ideas and technical insight. Special effects can be achieved without having to use a computer.

Linck has always collected and relied on a variety of cameras, ranging from Agfa Clack and Hasselblad to a Linhof Technika. He regularly works with a so-called pinhole camera, featuring a single small aperture, versus a lens, and quite comparable to a camera obscura. Linck experiences this most primitive form of photography as an entirely different manner of observing: small objects are enlarged, while the perspective shifts in relation to one’s own eyes.

Linck’s very first exhibition was a one-man show at the theatre/gallery ‘De Trapkes’ in Breda, entitled Vrouwen voor de lens (‘Women in Front of the Lens’). For a while after, things remained relatively quiet until the mid-1970s. With Linck’s participation in the first Triënnale for photography in Fribourg Switzerland in 1975, however, his work started gaining greater notoriety. This led to the acquisition of a number of Linck’s photos by the municipality of The Hague. In the aftermath of his presence at the second and third triennial in Fribourg, in 1978 and 1981, Linck’s work drew the attention of the Leiden University Print Room, which made various acquisitions in 1980 and 1982. After this time, Linck exhibited only in the Netherlands and then primarily in the galleries of his own city, The Hague. In 1981, he took part—together with others, including Vincent Mentzel and Rainier Kiedrowski—in the opening exhibition of ‘Kiek’, the first photo gallery in The Hague, located on the Scheveningseweg. In 1989, Linck was represented at two major exhibitions in The Hague organised to commemorate the 150th anniversary of the invention of photography: 22 fotografen (’22 Photographers’) at ‘Grafiekwinkel Inkt’ and Ogenblikken (‘Moments’) at the Nouvelles Images Gallery. In 2002–’03, Linck’s work was also shown at the exhibition Fotografen in Nederland 1852–2002 (‘Photographers in the Netherlands 1852–2002’), held at the Fotomuseum Den Haag (‘The Hague Museum of Photography’).

Frederick Linck’s photography belongs to the documentary movement in which Dutch photographers robustly expressed themselves in the aftermath of World War II. Linck’s work falls into the tradition of human interest photography, particularly through his compassionate orientation towards people, his desire to seek out their motivations, and to capture identifiable emotions. While his approach is essentially the same no matter who he wants to photograph—be it in New York, Prague, southern Europe, or at home in The Hague—Linck’s strongest side is revealed in his contacts with people from those surroundings he knows best. Here he has an opportunity to win a person’s trust, through regular meetings, less superficial in nature. These people know Linck to be a person who treats them with respect, consequently enabling him to photograph them in all of their vulnerability. His qualified expertise, his drive to establishing contacts, and his enthusiasm for both the technical and the design aspects of photography, are the primary characteristics that make Linck so successful in his work and in his teaching. Frederick Linck’s aim is to leave behind a modest but moving oeuvre that can be useful for beginning photographers in finding their own personal style, so they too in turn can learn from their predecessors, just as Linck himself has done.


Primary bibliography

Frederick W.G. Linck, Fotografen en hun werk. Frederick Linck, in Foto 29 (november 1974) 11, p. 30-35 (met foto’s).

F.W.G. Linck, Fotografen en hun werk. Frederick Linck, in Foto 31 (juni 1976) 6, p. 25-29 (met foto’s).

Frederick Linck, Voor Dirk, in Joep Monnikendam, Hans Woestenburg e.a. (tekst), Herder her en der, Venlo (Van Spijk) z.j. [1984], ongepag.

(foto ‘s in boeken, tijdschriften en ander drukwerk)

Dolf Welling, Foto-oog, in Haagsche Courant 16 februari 1973, p. 25.

Het Vaderland 22 februari 1973, Weekprogramma, p. 7.

Catalogus Première triënnale internationale de la photographie/ Erste Internationale Triënnale der Photographie/ First International Triennal Exhibition of Photography, Fribourg (Musée d’art et d’histoire) 1975, p. 234-237 (afb. 155-158).

Leidse Onderwijs Instellingen B.V. Fotografie. Vak 900, Deel 3, Leiden (LOI) 1976, p. 359-367.

Catalogus Deuxième triënnale internationale de la photographie/ Zweite Internationale Triënnale der Photographie/ Second International Triennal Exhibition of photography, Fribourg (Musée d’art et d’histoire) 1978, p. 118 (afb. 167-168).

Catalogus Troisième triënnale internationale de photographie/ Dritte Internationale Triënnale der Photographie/ Third International Triennal Exhibition of Photography, Fribourg (Musée d’art et d’histoire) 1978, p. 432-436.

Ferdinand Langen (tekst), De eerste 520 werkdagen van Sven [Stichting Voorlichting Energiebesparing Nederland], Apeldoorn (SVEN) z.j. [1979].

Marja Keyser (tekst en beeld), Het circus komt, Grafisch Nederland 1981.

Kim Kroes, Karoline Legel e.a., Nol Kroes 1918-1976 [Uitgave ter gelegenheid van de gelijknamige overzichtstentoonstelling in Pulchri Studio, Den Haag, 16 mei-7 juni 1998] , Den Haag (Stichting Nol Kroes) 1998, p. 7, 63, 103.

de Volkskrant 19 maart 1999.

Secondary bibliography

Anoniem, Vrouwen voor de lens, in Dagblad De Stem 30 april 1966, p. 13.

Anoniem, Kunst en kunstenaars [aankondiging tentoonstelling], in Het Binnenhof 3 februari 1973, p. 2.

Anoniem, Foto-oog, in Haagsche Courant 16 februari 1973.

Anoniem, L. Linck in Edison, in Focus 59 (oktober 1974) 10, p. 9.

Philip Peters, Haagse Galerie. Kunst en publiek, in Haags Stadsblad 9 oktober 1974.

Dolf Welling, Dokaritmiek van Linck, in Haagsche Courant 25 oktober 1974.

Anoniem [= Red.], Fotografen en hun werk. Frederick Linck, in Foto 29 (november 1974) 11, p. 30.

Dolf Welling, Duivelse genoegens in Voorburgs museum, in Haagsche Courant 27 januari 1976.

P. Vink (voorw.), Hedendaagse Haagse beeldende kunstenaars, z.p. [Den Haag] (Dienst voor Schone Kunsten) 1977, ongepag.

Anoniem, Foto’s in ARTA, in Het Vaderland 20 oktober 1977, p. 4.

Frederik Haesepadt, Van oude strips, foto’s en artistieke lieden, in NU. Weekblad voor Den Haag en omgeving 2 (26 oktober 1977) 43, p. 9.

Dolf Welling, Exposities. Linck, in Haagsche Courant 1 november 1977, p. 4.

Marijcke van den Heuvel (red.), Van dag tot dag. Marianne-op-de-foto, in Het Vaderland 13 oktober 1978, p. 4.

Anoniem, Foto’s van Frederick Linck, in Limburgs Dagblad 30 mei 1979, p. 21.

Wim van der Ende, Frederick Linck, in Focus 64 (december 1979) 12, p. 79.

Anoniem, Fotogalerie Kiek, in Foto 36 (juli 1981) 7, p. 15.

Anoniem, Ontmoeting met Frederick W.G. Linck, in Foto 36 (december 1981) 12, p. 63-67 (met foto’s).

Anoniem, De Rijp, galerie “De Drukstal”, Kerkstraat 29, in Alkmaarse Courant juni 1984.

Anoniem, Het licht van twee “kijkijzers”. Foto-expositie in De Drukstal, in Nieuwe Noordhollandse Courant [Duindorp] 5 juni 1984.

Eric Beets, Foto’s in De Drukstal: Realistisch en roze oog, in Alkmaarder Courant 20 juni 1984.

Sikke Doele en Mariël Ellens, De Friese Galerij, Hesselink, Linck, Zondervan, in Leeuwarder Courant 14 februari 1986, Vrijdagse bijlage, p. 4.

Anoniem, Interessant trio in galerij van de Lawei, in Drachtster Courant 19 februari 1986, p. 7.

Catalogus tent. Ogenblikken. Een keuze uit het werk van twaalf Haagse fotografen /Fleeting Images. A selection from the work of twelve photographers from The Hague, Holland, Den Haag (Galerie Nouvelles Images) 1989, p. 30-33, 60 (met foto’s).

Anoniem, Fotografie uit vier steden, in P/F Professionele Fotografie (april 1989) 2, p. 100.

Cees van der Geer, Exposities. Willekeurige fotografen?, in Haagsche Courant 28 april 1989, p. 27.

Anoniem, Ogen Blikken in Nouvelles Images, in Beelding 3 (juli/augustus 1989) 6, p. 30.

Marian Sloot en Annelies Schoonens, Agenda galeries Den Haag, in Art Magazine december 1990, p. 8.

Flip Bool, Eline van der Ploeg en Paul Zevenhuizen, Ed van Wijk. Fotograaf van Den Haag, Den Haag (Haagse Uitgeverij) z.j. [1992], p. 5, 18.

Catalogus tent. Rondom het Binnenhof, Den Haag (Grafiekwinkel Inkt) 1997, p. 56.

Wibby Stempher en Martine Kramers (samenstelling/red.), Den Haag in breed perspectief. 25 jaar stichting de grafische werkplaats, Den Haag (Stichting Grafiekwinkel Inkt) 1998, p. 32.

Marja de Bruin e.a. (samenstelling), Zuid Hollandse grafiek manifestatie, Den Haag (Hapax) 2001, p. 35.

Wim van Sinderen (red.), Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Den Haag (Ludion/Fotomuseum) 2002, p. 228-229 (met foto’s).

Anoniem, Frederik Linck, in P/F Professionele Fotografie (2002) 9, p. 76.

Xandra de Jong, Veel verrassingen in geschiedenis fotografie, in Het Parool 7 november 2002, p. 13.

Lia Schade van Westrum, Frederick Linck legt het circusleven in al zijn aspecten op foto vast, in Haagsche Courant 27 december 2002, p. A2.

Anoniem, Foto’s uit het circus, in De Nieuwe Loosduinse Krant 27 december 2002, p. 1.

Roos van Put, Exposities Den Haag, in Haagsche Courant 3 januari 2003, p. B4.


1978 Jury BMK foto beoordeling (BNAFV).

1978 Selectiecommissie 2e Delftse Fotosalon, Delft.


1966 (e) Breda, Vestzaktheater-Galerie De Trapkes, Vrouwen voor de lens.

1973 (e) Den Haag, Philippona-Expo/ Paleispromenade, Fotografie Frederick Linck.

1974 (e) Den Haag, Galerie Edison, Frederick Linck fotografie.

1975 (g) Fribourg, Musée d’art et d’histoire, Première triënnale internationale de la photographie (TIP 75).

1976 (g) Den Haag, Ace Art Gallery, Frederick Linck en Ralph Prins.

1976 (g) Voorburg, Museum Swaensteyn, [Frederick Linck en Ralph Prins].

1977 (e) Den Haag, Arta, Foto’s Frederick Linck.

1978 (e) Den Haag, Bondsgalerie, Frederick Linck.

1978 (g) Fribourg, Musée d’art et d’histoire, Deuxième triënnale internationale de photographie.

1979 (e) Hoensbroek, Fotogalerie 68 (Kasteel Hoensbroek), Mensen.

1981 (g) Den Haag, Fotogalerie Kiek, Vincent Mentzel “persfotograaf NRC Handelsblad “/Frederick Linck “fotografeert mensen “/ Rainer Kiedrowski “fotografeert landschappen “.

1981 (g) Fribourg, Musée d’art et d’histoire, Troisième triënnale internationale de la photographie.

1982 (g) Den Haag, Art Centre Paleispromenade/ Nikon Fotogalerie, 75 jaar zeefdrukken van Kees van Bohemen /Haagsche fotoportretten van Frederick Linck.

1983 (g) Latem, Latemse Galerij, [Frederick Linck en Carl Uyterhagen].

1984 (g) De Rijp, Galerie De Drukstal, [Dirk de Herder en Frederick Linck].

1986 (g) Drachten, Galerie De Lawei, [Hans Zondervan – Foto’s/ Rein Hesselink – Tekeningen en collages /Frederick Linck – Foto’s].

1989 (g) Den Haag, Galerie Nouvelles Images, Ogenblikken.

1989 (g) Den Haag, Grafiekwinkel Inkt, Beeld II-22 fotografen.

1990 (e) Den Haag, Fotowand van Puffelen, Nol Kroes.

1990 (e) Den Haag, Fotowand van Puffelen, [stillevens].

1991 (g) Den Haag, Fotowand van Puffelen, [expositie van alle exposanten van Galerie Fotowand van Puffelen, thema Verzameling].

1992 (g) Den Haag, Fotowand van Puffelen, [expositie van alle exposanten van Galerie Fotowand van Puffelen, thema Verzameling].

1993 (g) Amsterdam, Galerij d’Eglantier, [de essentie] [Frederick Linck en Hans den Hartog].

1997 (g) Den Haag, Grote of St.Jacobskerk, Rondom het Binnenhof.

1998 (g) Den Haag, Grafiekwinkel Inkt, 25 jaar Inkt.

1998 (g) Den Haag, Grote Kerk, Den Haag in breed perspectief.

1998 (g) Den Haag, Pulchri Studio, [overzichtstentoonstelling van de overleden beeldend kunstenaar Nol Kroes].

1999 (g) Amersfoort, Elleboogkerk, Zaaiers [expositie van docenten van afd. fotografische vormgeving van de Koninklijke Academie van Beeldende Kunsten],

1999 (g) Den Haag, Koninklijke Gallerij KABK, [werk van docenten van de afd. Fotografische Vormgeving van de KABK].

2000 (g) Den Haag, Grafiekwinkel Inkt, Reizen II.

2001 (g) Den Haag, Grote of Sint Jacobskerk, Zuid Hollandse Grafiek Manifestatie.

2002/2003 (g) Den Haag, Fotomuseum Den Haag, Fotografen in Nederland 1852-2002.

2002/2003 (e) Den Haag, Fotowand van Puffelen, Circus, foto ‘s van Frederick Linck.

2003 (e) Den Haag, Fotowand van Puffelen, Portret.

2003 (e) Den Haag, Fotowand van Puffelen, Pinhole.

2004 (g) Den Haag, Grafiekwinkel Inkt, 10 Haagse fotografen.


Den Haag, Frederick Linck, documentatie en mondelinge informatie.

Leiden, Studie en Documentatie Centrum voor Fotografie, Prentenkabinet Universiteitsbibliotheek Leiden.


Den Haag, Artotheek (Dennenweg 14A).

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.