PhotoLexicon, Volume 26, nr. 41 ( September 2009) (en)

W.H. Idzerda

Ingeborg Th. Leijerzapf


Among those who wrote about photographic art in the Netherlands during the early decades of the twentieth century, Wieger Idzerda was a remarkable figure. After having obtained an education in technology and chemistry, Idzerda became a photographer. Although he initially worked as a portraitist and photographic artist, he found his true path in his freelance activities as a publicist. Idzerda wrote countless articles about the history of photography, as well as on photographic techniques and processes. He also compiled books and illustrated publications on photographic art. For a brief time, he was a private instructor at the Technische Hoogeschool (‘University of Technology’) in Delft. Following his career in photography, Idzerda explored cinematography and was a co-founder of the NIFM (Nederlandsch-Indische Film Maatschappij, ‘Dutch East Indian Film Company’).




Wieger Hendricus (Wieger) Idzerda is born on 2 May in Akkrum (municipality of Utingeradeel, Friesland) as the first and only child of Samuel Jan Hendricus Idzerda (born in Akkrum, 1847), a painter by profession (according to his granddaughter Ans Muller-Idzerda), and Antje Sjoukes Hylkema (born in Nes, municipality of Utingeradeel, 1848).


Wieger Idzerda’s mother dies on 4 May.

Idzerda is raised by his grandfather Wieger Hendricus Idzerda (born 1816) and his second wife, Pompeja Johanna Diderika Houwink (born 1840), who were married on 13 February 1861 in Meppel. Idzerda’s grandfather is a physician in Akkrum. As an expert on public health, he was a member of the Dutch House of Representatives (Tweede Kamer, ‘Second Chamber’) of the States General for the district of Leeuwarden from 1858 to 1865, after which he became a medical inspector for the northern Netherlands. In the period that Idzerda and his wife cared for his grandson, he is once again a member of the House of Representatives, this time for the electoral district of Sneek (1869 to 1881). Idzerda’s grandfather is Dutch Reformed and an avid adherent of the liberal ideas of J.R. Thorbecke.


Idzerda’s father, Samuel J.H. Idzerda, dies on 11 March in the municipality of Barsingerhorn, district Alkmaar. According to Ans Muller-Idzerda, he committed suicide.


On 24 April, Idzerda and his step-grandmother Idzerda-Houwink move to Meppel on the Hoofdstraat (District 8), no. 152. Idzerda’s grandfather W.H. Idzerda does not make the move. In this year, he is re-elected as a member of the House of Representatives, but cannot be sworn in due to poor health. He dies on 6 December in The Hague.

Hendrik Jan Smidt (1831-1917), a solicitor in Assen, becomes the young Wieger Idzerda’s guardian. Smidt was a member of the House of Representatives from 1871 to 1877, the same period during which Idzerda’s grandfather was in the House. From 1877 to 1879, Smidt was the Minister of Justice. Thereafter, he becomes a member of the Council of State from 1879 to 1885.


On 12 July 1885, Idzerda and his step-grandmother, the widow Idzerda-Houwink, depart for the Dutch West Indies (today Suriname), where H.J. Smidt is to become governor as of 30 July 1885. Idzerda returns to Meppel on 16 September 1886. It is unclear whether Idzerda’s step-grandmother returned with her grandson at the same time, or in 1888, together with H.J. Smidt. Idzerda is likely to have began his HBS (Hogere Burgerschool, an upper-level secondary school) studies in Meppel in 1886.


H.J. Smidt returns to the Netherlands and becomes a member of the Dutch House of Representatives for the electoral district Emmen.


As of 31 July, Wieger Idzerda is registered in the civil registry of Assen at the address Nieuwe Huizen 13, where his step-grandmother has already been living since 18 May.


Wieger Idzerda successfully completes his final exams at the HBS in Assen. He and his step-grandmother are registered at the address Brink 25 in Assen.


On 29 July 1892, Idzerda and his step-grandmother are again registered in Meppel, having arrived from Assen. They reside at Zuideinde (District 8), no. 156. Idzerda enrolls at the Polytechnische School (‘Polytechnical School’, from 1905 on called the ‘Technische Hoogeschool’ [TH Delft], currently the ‘University of Technology’) in Delft, for which he departs on 11 October 1892. Idzerda is studying to become a chemical engineer and passes various exams in ‘technology’. According to the school’s student administration, however, he withdraws before taking his final exams in June 1898.


In Meppel, Idzerda’s step-grandmother F.J.D. Idzerda-Houwink weds H.J. Smidt, who became a widower in January 1894. On 29 April, she moves from Meppel to The Hague, accompanied by her husband.

It is likely in this year that Wieger Idzerda starts taking photographs.


On 13 September 1898, Wieger Idzerda marries Johanna Maria van Gorcum (born in Assen on 11 July 1873) in Assen. The couple is registered as living with Johanna’s mother Anna van Gorcum-Schutter, since 1887 the widow of the publisher Willem van Gorcum and her husband’s successor in the company at Nieuwe Huizen 11 in Assen.

Ca. 1898­ca. 1902

During this period, Idzerda makes several trips across Germany and perhaps Austria as well. He visits various photography manufacturers, as well as the (portrait) studios of important art photographers. Idzerda is though to have spent time in the studios of Nicola Perscheid in Leipzig and Rudolph Dührkoop in Hamburg to learn about photography.


Idzerda publishes his first book: a treatise on gum printing. The book’s foreword is signed: ‘Basel, September 1899. W.H. Idzerda’.

Ca. 1900-‘02

According to the public records of Assen for the period 1900 to 1921, Idzerda and his wife, after living with their mother (in-law), reside at Beilerstraat 26 in Assen.


On 4 June, Idzerda signs himself out of the Assen public records office and moves to The Hague, together with his wife.


In September, Idzerda opens a ‘permanente Salon voor moderne kunstfotografie’ (‘permanent Salon for modern art photography’) at Laan van Meerdervoort 31 in The Hague. The building also serves as his private residence. The first volume of the publication Nederlandsche kunstfotografieën (‘Dutch Art Photographs’) is entirely devoted to Idzerda’s photography.

As the first secretary of the Hague Photo Club ‘Daguerre’, Idzerda is involved in the organisation of the Eerste Internationale Salon van Kunstfotografie (‘First International Salon of Art Photography’) at the Pulchri Studio in The Hague.


On 29 July, Idzerda’s daughter, Anna Catharina (Ans), is born. She will remain the Idzerdas’ only child. (Ans Muller-Idzerda, married to Nico L.J. Muller in 1927, became well-known for her numerous publications on the topic of gardening and house plants).


Idzerda purchases the building at Laan van Meerdervoort 5 in The Hague, which he renovates from top to bottom in the spring. In about May, Idzerda moves to this new address, along with his family and studio. He becomes involved in a lawsuit with the contractor concerning the renovation costs. After two years of legal proceedings, the two parties reach a settlement. The solicitor’s documents provide detailed information concerning the renovation and furnishing of the building. On 18 November, Idzerda is officially ‘admitted’ at the TH Delft as an unpaid private photography instructor in the department of chemical technology and mining engineering. Prospects of an honorary professorship are also mentioned.


On 29 January, Idzerda commences his private instructorship at the Technische Hoogeschool with an inaugural address, entitled ‘De Fotografie in dienst der wetenschap en hare beteekenis als kunst’ (‘Photography in the Service of Science and its Meaning as Art’).

Idzerda participates in the Internationale Tentoonstelling van Foto-Kunst (‘International Exhibition of Photographic Art’) at the Stedelijk Museum in Amsterdam.

Idzerda becomes a contributor to the magazine De Camera.


Idzerda sits on the committee that organises the Dutch submission to the Internationale Photographische Ausstellung (‘International Photographic Exhibition’), held at the Exhibition Palace in Dresden. His function is ‘Commissaris’ (‘Supervising Director’) for Department I: development, science, and special applications of photography. Idzerda travels to Dresden for the exhibition.

Idzerda publishes the first part of a prospective standard reference work: Leerboek der algemeene fotografie (‘Textbook of General Photography’).

At the end of year, Idzerda sells his home and studio at Laan van Meerdcrvoort 5 in The Hague and shuts down his photography practice. From this year until his death, he resides at various addresses in The Hague, with brief periods spent in Rijswijk and Haarlem.


Idzerda is a representative at the Internationale Fotografische Congres/Congres International de Photographie (‘International Photographic Conference’), held in Brussels, Belgium, from 1 to 6 August. He gives a talk at the conference, entitled ‘Het finantieele vraagstuk in de kunstfotografie’ (‘The Financial Question in Art Photography’, which is also published in De Camera).


Idzerda’s marriage to Johanna Idzerda-van Gorcum is failing. Together with the couple’s daughter, Ans, Johanna returns to Assen and moves in with her mother on 21 July 1911. In September, they move to Praediniussingel 41 in Groningen. In the public records office of The Hague, the divorce is recorded as having taken place on 11 July 1912 in Rijswijk. In the archive of the province Drenthe, the divorce is recorded as having taken place on 18 April 1912.


Idzerda stops giving private lessons at the Technische Hoogeschool in Delft.

1919–ca. late 1920

Idzerda moves to Kleine Houtweg 4 in Haarlem. He then returns to The Hague.


On Idzerda’s initiative, a group is formed that consists of people interested in setting up a film company in the Dutch East Indies. Upon learning that the government there is planning to carry out a comparable plan of its own, the initiative is never developed further.


Idzerda is named a Knight in the Order of Oranje-Nassau. Idzerda celebrates his silver jubilee as a ‘fotografisch auteur’ (‘photographic author’).

In the fall, Idzerda and the brothers B.D. (Brand) and I.A. (Iep) Ochse of the Polygoon film company in Haarlem make a new attempt to establish a film company for the Dutch East Indies.


On 2 April, the NIFM (Nederlandsch-Indische Film Maatschappij, ‘Dutch East Indian Film Company’) is established, located at Koudenhorn 8 in Haarlem. B.D. Ochse is named as the company’s commercial director. Sitting on the board of directors are the chairman H.N.A. Swart, retired lieutenant-general and former Vice President of the Raad van Indië (‘Council of the East Indies’) and the members: M.C.E. Bongaerts, chief engineer/director of Rijkswaterstaat (‘National Department of Public Works and Water Management’) and a member of the House of Representatives; L.J.M. Feber, as well a member of the House of Representatives; and G.J. Houtsma, a former member of the ‘Factorij der Nederlandsche Handels Maatschappij’ (‘Trading Post of the Netherlands Trading Society’) and former director of the Bank voor Indië (‘Bank of the Dutch [East] Indies’). Idzerda is appointed as managing director.


Idzerda marries Johanna Jacoba Maria Sluiter (born in Arnhem on 15 July 1890).


During the general meeting of the NIFM on 1 April, Idzerda resigns under pressure from the Board of Directors.

On 26 September, Idzerda submits a petition to the Minister of Education, Arts, and Sciences, advocating the creation of a professorial chair in photographic technique and cinematography at the TH Delft.


In the magazine Focus, mention is made of a collection fund set up on Idzerda’s behalf, as it appears he is experiencing financial difficulties.


Idzerda and his wife, who reside at Abeelstraat 31 in The Hague, are still in dire financial circumstances. On 20 March, he addresses a letter requesting financial assistance to Dr. P.H. Ritter, a man of letters and a philosopher residing in Utrecht. After receiving a response denying his request on 30 March, Idzerda sends a second request on 2 April.


On 7 January, Wieger Hendricus Idzerda dies at the Red Cross Hospital in The Hague.

He is buried at the Algemeene Begraafplaats (‘General Cemetery’).

His daughter, Ans Muller-Idzerda, turns down the notary’s advice to accept her share of the inheritance, as her father has left behind primarily debts. It is not known whether there was ever any mention of a photographic legacy.

Muller-Idzerda later states that she had failed to understand the importance of her father’s photography at that time. In the 1980s, she presents an album containing original photos by Idzerda—most likely of his trips to Germany and Austria—to the photography historian Jan Coppens in Eindhoven.


Wieger Idzerda is an elusive personality, despite the fact that he left an indelible mark on Dutch photography. He was an important promoter and defender of art photography circa 1900. Through his knowledge and interest in chemistry and photography, Idzerda evolved to become an expert in the area of photographic processes. Even though his high level of education gave him a certain authority, his irrepressible urge to share his knowledge and ideas with others was not always well received. His daughter described him as someone who was difficult in his dealings with others, which statements made by colleagues appear to confirm. Despite a measure of respect for his expertise, they were chiefly repulsed by Idzerda’s haughty, ambitious, and opportunistic behaviour. Such tensions are illustrated in a letter that Idzerda sent in to the Geïllustreerd Weekblad voor Fotografie (‘Illustrated Weekly for Photography’), published in the 10 October 1908 issue (p. 325): ‘It is not my fault that I’m not stepping up as leader myself, and therefore, according to the chief editors of this magazine, am deserting art photography, but rather [the fault] of the publishers of photographic magazines here in this country. No one has ever made such an offer to me, which leads me to the conclusion that no one wants me! Neither “Lux”, nor the “Camera”, nor the “Weekly”, nor the trade publication of the N.F.K. [Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’]! We already have four magazines, can it get any worse? That I would force myself upon [others], I wouldn’t even consider this; following my opening speech in Delft, the foreign press has immediately placed their columns at my disposal, which I would like to say can therefore happen! Why people don’t wish to have me as a leader is likely based on this, that I am the only one in the country who dares to emphatically point out our wrongdoings and also because according to many I am too idealistic.’ Idzerda was a member of various amateur photographers associations, but never of a professional trade association. It is striking that he was excluded when the ‘elite club’ of photographic artists in the Netherlands—the NCvFK (Nederlandse Club voor Foto-kunst, ‘Netherlands Club of Photographic Art’)—was founded in 1907 by Adriaan Boer, Berend Zweers, and others, even though he had been accepted as a member. Similarly, Idzerda played no role in the NCvFK’s founding of a photo museum in Haarlem in 1912, a matter on behalf of which he had pleaded in 1910 at the Internationale Fotografische Congres (‘International Photographic Conference’) in Brussels, Belgium. In actuality, Boer and Idzerda had the same goals in mind: a professional education for photographers, the promotion of photographic art, and the founding of a photography museum. Apparently, however, joining forces in the struggle to achieve these goals was never a realistic option. Both men had grandiose egos and aspired to be the leader.

Between Idzerda and the professional photographers in the NFK, the mood was downright hostile—resulting not only from a difference in opinion regarding photographic art. The response to Idzerda’s private instructorship at the TH Delft as expressed in the December 1907 issue of the NFK’s publication of choice, the Fotografisch Maandschrift (‘Photographic Monthly’), was rather belittling (he was ‘admitted’, not ‘appointed’). The magazine’s editor, C.M. Dewald, was completely disgruntled, as neither the board of the NFK nor the editorial board of Fotografisch Maandschrift had received an invitation to Idzerda’s public address. In 1909, Dewald divulged information concerning Idzerda’s ‘merits’ with respect to Dutch photography on the occasion of the Internationale Photographische Ausstellung (‘International Photographic Exhibition’) held in Dresden (Fotografisch Maandschrift, 1 May 1909). While traveling to Dresden by train, Dewald had spoken extensively with J.R.A. Schouten, the chief editor of the magazine Lux, regarding past conflicts that had apparently been brought about by Idzerda: ‘On more than one occasion it became evident to us, that numerous matters were caused by the wheedling and atrocious antics of a certain someone, whose name we shall not name at this time, but whose identity everyone will understand, someone who has continually done his best, under the motto of “elevating Dutch photography”, but has instead only tried to plant discord and division between amateur and professional photographers, to his own advantage, which he unfortunately managed to achieve in the beginning, but which naturally could not be sustained.’ Regarding Idzerda’s contribution to the exhibition in Dresden, Dewald wrote: ‘Thanks to the good care of our work commissioner for this department [the reproduction department, I.L.], Mr. Idzerda, our country shines by [its] absence. While all departments are successful, this [one] has been scandalously neglected for us.’ (Fotografisch Maandschrift, 1 May 1909). Dewald then subtly hastened to add that Idzerda had acted on behalf of the financial interests of the Netherlands, by selling Dutch silver, Delft faience, and Rozenburg porcelain there on the spot.

Towards the end of his life, the once prosperous Idzerda was out of work and destitute. In a letter dated 20 March 1937, he approached P.H. Ritter, a man of letters, for financial assistance: ‘(…) although I have not had the honour of knowing you personally, I would like to ask you out of great need whether you might not be able to do something for me. You can obtain inquiries with Dr. Nico van Suchtelen. (…) We have an utterly difficult life; without help, we won’t make it.’ On 2 April, Idzerda again wrote Ritter, with the following: ‘(…) I understand that you sometimes provide help in times of trouble. Would it now not be possible, please forgive me my request, that you meet our wishes somewhat financially, in order for us to catch our breath for a moment?’

Wieger Idzerda had an unusual youth. He lost his mother as a baby and was subsequently taken in by his grandfather and his young wife. At the age of six, Idzerda’s father committed suicide. Following the death of the grandfather, the step-grandmother continued to care for the nine-year-old orphan boy as his foster mother.

By the time he became a professional photographer, Idzerda had already completed an most of his university studies in chemistry. Prior to this, he had been active as an amateur photographer. After failing to complete his studies at the chemical laboratory of the University of Basel in Switzerland, Idzerda devoted all of his time and energy to photography. His background in chemistry served as an excellent basis for his later activities as an author writing about photographic processes and techniques.

To learn more about his chosen field, Idzerda took study trips to various German cities, including Hamburg, Berlin, Leipzig, Dresden, Munich, and perhaps even Vienna, Austria. Each of the sources concerning his foreign travels provides different information. In his petition to the Ministry of Education, Arts, and Sciences of 1927, Idzerda himself states that he had attended a ‘study abroad specifically in photography’. He provided no extra details regarding the duration of the study or the places he stayed. The 13 July 1907 issue of the Wereldkroniek (‘World Chronicle’) states that Idzerda paid visits to the best art photographers of Europe while traveling abroad for a period of three years. According to Adriaan Boer’s recollections, as he recorded in the jubilee booklet of the NAFV (Nederlandse Amateur Fotografen Vereniging, ‘Netherlands Amateur Photographers Association’) in 1927, Idzerda had worked for a period of time with Nicola Perscheid in Leipzig, Germany. In the 9 January 1938 issue of Het Vaderland (‘The Fatherland’), an anonymous author—writing in response to Idzerda’s death—wrote that following his studies in Delft, he had traveled to Basel for health reasons, where he hoped to obtain a PhD. Idzerda’s daughter stated that her parents lived in Basel from 1898 to 1904. The provincial archive of Drenthe, however, cites that the Idzerdas had lived in a house in Assen at some point during this period and that they departed to The Hague in 1902.

In the foreign cities he visited, Idzerda had an opportunity to make inquiries with the photography industry and gain insights into scientific applications for photography and photographic art. He first traveled to Hamburg, the city where photographic art had already garnered appreciation within the walls of the city’s Kunsthalle (‘Art Hall’). It was also the place where important gum print specialists, such as Rudolph Dührkoop and the brothers Theodor and Oskar Hofmeister, were active. It is certain that Idzerda visited Dührkoop; there are no sources to verify he met with the Hofmeisters. Notably, one year later Idzerda released his first publication, a book entitled De Gomdruk (‘Gum Printing’). One may assume that Idzerda’s contact with Fritz Matthies-Masuren in Halle am Saale—a painter, photographer, and from 1893 on one of the most important promoters of photographic art in Germany—also arose at this time, as well as his association with Hugo Erfurth and Erwin Raupp in Dresden. Idzerda may very well have planned to see Hermann Wilhelm Vogel, a professor of photochemistry and spectral analysis at the Königliche Technische Hochschule (‘Royal Technical University’) in Berlin-Charlottenburg, whom he so greatly admired. Vogel’s sudden death as a result of a heart attack on 17 December 1898, however, may have prevented this. Photos of Idzerda’s time abroad are apparently preserved in an album presented to the photo historian Jan Coppens by Idzerda’s daughter. Besides images of the same woman who appears in various landscapes (probably Idzerda’s wife), most are forest and riverscapes reminiscent of Germany.

Idzerda belongs to the generation of photographers who embraced Pictorialism in photography around 1900. Other Dutch photographers falling under this category are Adriaan Boer, Bernard Eilers, Henri Berssenbrugge, Ernst Loeb, and Berend Zweers. After an initial orientation in the 1890s based on the theories of the British photographers Peter Henri Emerson and Henry Peach Robinson, whose ideas were disseminated in the Netherlands via translations found in Dutch photography magazines, young photographers active around the turn of the century directed their glance chiefly in the direction of Germany. There was the origin of innovative artistic developments already being practiced as well in France and Austria, to be described as a photographic-impressionistic movement. Other techniques were also introduced, such as gum and bromoil printing. Together with carbon printing, which was already known in the Netherlands, these became the favoured processes because they were so well-suited the desired aim: achieving an impressionistic effect by means of obscured contours and a reduction in image detail. The interaction between German and Dutch photographic art arose in various areas, but above all through international exhibitions centred on this genre. There were also the personal contacts, including the desire to receive instruction from well-known photographers. Like Idzerda, the Dutch photographer Helena Goude as well traveled to Hamburg to meet with Rudolf Dührkoop. Various renowned pictorialists from Germany—including the German promoter of photographic art, Ernst Juhl, and the brothers Theo and Oskar Hofmeister—traveled to the Netherlands, as did Heinrich Kühn and Hugo Henneberg from Vienna, Austria, and Frits Matthies-Massuren from Halle am Saale. The last three photographers were members of the jury for the Eerste Internationale Salon van Kunstfotografie (‘First International Salon of Art Photography’), held at Pulchri Studio in The Hague in 1904.

An important platform for exchanging contacts and ideas were books and illustrated publications. German publications were in great demand in the Netherlands. Furthermore, the work of Dutch photographers was also included in these publications on a regular basis. In the Netherlands, the earliest series of illustrated publications produced in the area of photographic art were the German/Dutch collaborative projects of the publishers Wilhelm Knapp of Halle am Saale and J.R.A. Schouten of Amsterdam. The first initiative of their collaborative plans was the production of a series to be published in volumes, entitled Nederlandsche kunstfotografieën (‘Dutch Art Photographs’), which was intended to become a portfolio of photographic art. The volume released in 1904—other volumes are not known and were perhaps never published—is devoted to the photography of Wieger Idzerda: 22 Afbeeldingen naar werken van W.H. Idzerda (’22 Illustrations after Works by W.H. Idzerda’). Accompanying these images is a superficial introduction written by the amateur photographer Count Ignatius Bispinck.

Nowhere in the book are the names of its compilers mentioned, nor is there any explanation with respect to its purpose. To what extent Idzerda himself was involved is unclear. One can assume, however, that the series was meant to be the Dutch counterpart of the series Internationale Kunst-Photographien (‘International Art Photographs’), compiled by Ernst Juhl and published by Wilhelm Knapp in 1900, which is identical in terms of its structure and highly similar in its presentation.

Based on Bispinck’s introduction to Idzerda’s photos in Nederlandsche kunstfotografieën, one may conclude that this illustrated edition was the first of its kind in the Netherlands. Bispinck makes as yet no reference to a volume from another series released by the same publishers, as well in 1904, entitled Fotografie als kunst (‘Photography As Art’), compiled by Fritz Matthies-Masuren and Wieger Idzerda. At approximately the same time, a series bearing the German title of Die Bildmässige Photographie (‘The Pictorial Photography’) was published under the sole authorship of Matthies-Masuren. When comparing the volumes of Die Bildmässige Photographie and Fotografie als kunst that have been preserved, it becomes evident that, while the texts of both books are identical, the images are not entirely the same. As such, one may conclude that the texts are to be attributed to Matthies-Masuren, but that Idzerda was also in part responsible for the compilation and production of the Dutch edition.

These series were aimed to disseminate examples and ideas of art photography among an international audience. The photographic section is pronounced, not only because of the high number of images, but also because of the large—usually full-page—format of the reproductions. The framework of these publications, in which theory and images are equal in significance, can most certainly be described as a new approach. Prior to this time, illustrations had always been allotted a subordinate role in theoretical treatises, with illustrated books including nothing more than an introductory text.

In 1904, Idzerda opened a ‘Salon voor Moderne Kunstfotografie’ (‘Salon for Modern Art Photography’) in The Hague, perhaps one of the most luxurious portrait studios of its day. A description of the salon, including illustrations of the various spaces within, was featured in the magazine Lux, under the title ‘Onze Nederlandsche Kunstfotografen. 2. W.H. Idzerda’ (‘Our Dutch Art Photographers’). Reference is made to an interior furnished in a modern, serene style, but with an atmosphere that was extraordinarily dignified. Through the vestibule, with its floor covered in Smyrna carpets, one entered a waiting room, which likewise served as an office. It was here that Idzerda’s wife welcomed visitors. On the first floor there was a permanent exhibition space, where carbon and gum prints of Idzerda’s own photographic work were on display. In addition, there was a small bathroom with large mirrors, a reception salon, and a closed veranda where a portrait camera was set up, together with background canvases concealed behind a plush curtain. On the second floor, there was a big space for photo finishing, a darkroom, a space for photocopying, and behind this, a large balcony for working outdoors (for instance, when making gum prints). One more floor up, a room was set up for enlargements, including an enlarging lantern with a condenser 30 cm in diameter. This was also where the carbon and gum prints were made: small formats in carbon print only, large portraits in gum print. As Idzerda put it: ‘Everything that leaves my house has to be permanent.’ This implies his portrait studio had been furnished to serve the elite circles of The Hague. Portraits produced in these special processes were unaffordable for the average person, if desired at all. Those few portraits preserved as reproductions or in collections indeed depict individuals of high standing: Prof. S. Hoogewerff of Delft; P.H. Eijkman, the initiator of the Stichting voor Internationalisme (‘Foundation for Internationalism’) in The Hague, along with one of his employees, Paul Horrix; and C. Bisschop and H.W. Mesdag, painters in The Hague. The aforementioned article in Lux includes a self-portrait as well as the portrait of a woman, presumably Idzerda’s wife, based on a comparison with photos found in the private album that Idzerda’s daughter gave to Jan Coppens, subsequently preserved in his collection. In these portraits, the influence of Idzerda’s mentor Rudolph Dührkoop is perceivable.

For reasons unknown, three years later Idzerda moved his home and studio to a building on the same street at Laan van Meerdervoort 5, which he then had renovated into a living and studio space at the cost of more than Dfl. 5,500. On the first floor was a reception room, a darkroom of 1.20 x 1.20 m, a back room, and a newly built closed veranda that served as a studio. The bathroom from Idzerda’s previous location was moved to the new studio. This studio was as well luxuriously furnished, in accordance with Idzerda’s belief that, if wishing to draw a well-to-do clientele to his portrait studio, he would have to receive them in a manner to which they were accustomed. It would appear his plans to establish a solid financial basis through portrait work were ultimately unsuccessful: in late 1909 the building was sold, with Idzerda subsequently pursuing a career as a teacher and a writer instead.

As mentioned above, Idzerda cherished the desire to share his knowledge and ideas. This he achieved primarily through writing books and articles. His most important ideal, however, was the creation of a professorial chair in the area of photography at one of the universities in the Netherlands. Idzerda wished to convey his knowledge to students at the academic level. An educational programme in photography was nowhere to be found at any level in the Dutch educational system: not in a vocational programme, an arts programme (the academies of fine art), or at the university or college level. To become a professional photographer, one was obliged to travel abroad or work as an apprentice with an established photographer. In 1907, the TH Delft gave Idzerda an opportunity to alter this situation. What started out as an honourable initiative, however, soon turned into a disaster. According to Idzerda, the chancellor of the TH Delft, Prof. S. Hoogewerff, had approached him in the summer of 1907 with a request for him to teach classes in general photography (including as well photographic technique and cinematography). He was to start out as a private instructor with the pledge of an honorary professorship within the foreseeable future. While the teaching position itself was to be unpaid, the prospect of a professorial chair was enough of an incentive for Idzerda to accept the offer. The 20 November 1907 issue of Nederlandsche Staatscourant confirmed Idzerda’s appointment with the following text: ‘By the decree of the Minister of Domestic Affairs of 18 November 1907, no. 14241, Department of Education, W.H. Idzerda, art photographer in The Hague, is admitted until further notice of termination as a private instructor in the department of chemical technology and mining engineering at the Technische Hoogeschool in Delft, to provide instruction in the area of photography.’ On 29 January 1908, Idzerda formally announced his teaching position with an inaugural speech, entitled: ‘De fotografie in dienst der wetenschap en hare beteekenis als kunst’ (‘Photography in Service of Science and Its Significance as Art’).

Shortly after Idzerda’s ‘admission’, Professor Hoogewerff resigned both as chancellor and as chairman of the department responsible for photography. The new chairman of the chemical technology department wasted no time in conveying that a professorial chair in photography was not one of his priorities. When Idzerda again addressed the matter in early 1911, it was made clear to him that there was no chance of his ever being offered an honorary professorship. Attempts to sway the board failed, despite affirmations of support from A.W. Nieuwenhuis, a professor, doctor, and ethnographer in Leiden, and Dr. R. Luther, a German professor of photography with the Technische Hochschuhle in Dresden. In 1913, Idzerda gave up his unpaid private instructorship, partially for financial reasons. The TH Delft did nothing more than to provide him with a lecture hall: all other costs, e.g. teaching materials, were to be paid out of his own pocket.

Idzerda described these events in a petition submitted to the Minister of Education, Arts, and Sciences in 1927. In his petition, he again argued for a professorial chair in photographic technique and kinematography at the TH Delft. Idzerda’s efforts were not undertaken on his own behalf: he was instead recommending G.H.A. (George) Ivens, who had completed a university-level study in Berlin-Charlottenburg and was momentarily working as the assistant director of ‘NV Foto-, Projectie- en Kino-handel CAPI‘ (‘Photo, Projection, and Kino Dealership CAPI’) in Amsterdam. Idzerda’s petition was rejected.

Idzerda’s inaugural address ‘De fotografie in dienst der wetenschap en hare betekenis als kunst’ was published in the form of a brochure-like booklet. The subtitle read: ‘Reede uitgesproken bij den aanvang der lessen in de fotografie aan de Technische Hoogeschool te Delft, den 29en januari 1908’ (‘Speech Given at the Commencement of Classes in Photography at the Technische Hoogeschool in Delft’, 29 January 1908′). The booklet opens with an extensive discussion of various discoveries made in the fields of chemistry and optics that had facilitated the invention of photography, followed by examples of photography’s application in virtually every conceivable area of science. The quantity of scientific facts Idzerda manages to explore within the condensed format of this booklet is astonishing. Disappointing, however, is the lack of argumentation when wording his appeal on behalf of photography’s significance as a form of art within the scope of several pages. In this respect, Idzerda’s most important disclosure is his desire to teach photographic aesthetics in the same manner as Prof. Vogel in Berlin.

For the time span 1900 to the mid-1920s, Idzerda is unmistakably one of the most important people writing about photography and photographic art in the Netherlands, alongside Adriaan Boer. With substantial expertise, he described the techniques and processes at the photographic artist’s disposal. His first publication, appearing in 1899, entailed a delineation of the gum printing process. With this book, Idzerda was satisfying the demand for photographic formulas presented in the Dutch language. At the same time, he seized this opportunity to supplement the existing gum printing process by adding his own improvements acquired through his own practical experience. The book was chiefly intended to be a manual for anyone wishing to master this technique. In addition, however, Idzerda conveyed his own ideas with respect to the medium, albeit indirectly and as yet without a clear structure. In the introductory chapter, he wrote that one could observe that photos in gum print were sometimes able to compete with drawings of the highest quality when shown at exhibitions. What he was implying was the possibility of creating a broad conception of a photo with gum printing, without distracting details and in a monochrome colour. Idzerda went so far as to propose that the production of photographic art had largely been made possible through this process: ‘Photography is now no longer a purely mechanical process, it is elevated to a genuine art, and this we can chiefly accredit to gum printing.’ When it came to the ambitions of pictorial photographers, the most commonly heard response was that art could not be produced by means of a mechanical technique. By transforming photography into a manual process, however, some believed they could overturn this standpoint. Idzerda was among them: the big advantage of gum printing was that—by using a wad of cotton balls—one could develop specific areas of a shot, thereby leaving out elements that were viewed as distracting. In this manner, gum printing was presented as a form of drawing art, with cotton balls replacing the drawing marker. With gum printing as well, one was able to make sketches in the form of proof prints—as many as were necessary to achieve the desired result. As a result, mechanical work was eliminated from photography. It was important to be in control of the composition and to distinguish between matters that were relevant and those that were secondary. With gum printing, this could be done more effectively than with other photographic techniques.

This was not to be Idzerda’s only publication on fine printing (‘edeldruk’) processes. In 1917, there followed a book about bromoil ink printing. What makes this book particularly special is that Idzerda had devised a simplified approach to applying the direct method of bromoil ink printing. He developed a bleach bath for gelatin silver printing that could be applied universally with the various factory-manufactured film papers. Consequently, the process could be undertaken by any amateur. Idzerda also describes indirect bromoil ink printing in this book, which according to him was introduced and improved in the Netherlands by Bernard Eilers.

Photographic technique forms an important part of Idzerda’s magazine articles and books. He typically went into great depth regarding the material, writing essays for the professional world. Subjects intended for the amateur photographer were treated more lightly. One of his most popular books was a small manual for beginning and advanced amateur photographers, the frequently reprinted Handboekje der praktische fotografie (‘Little Handbook of Practical Photography’) from 1916. In the 1930s, his activity writing for amateurs took a downturn. In his letter to P.H. Ritter of 20 March 1937 previously cited above, Idzerda also wrote that amateur photographers were having their prints developed by photo dealers and that they were no longer taking the time to read manuals. ‘My Handboekje der Praktische Fotografie entered its fourth edition in 1928 – 19,500 copies. Now, hence after 9 years, the W.B. [Wereldbibliotheek, ‘World Library’] is stuck with half of the stock!’ The decline in sales is also likely to have been partially attributable to the economic circumstances of the 1930s.

In 1909, prior to his Handboekje, Idzerda began working on an extensive standard reference work on general photography to be published in ten volumes. The Leerboek der algemeene fotografie (‘Textbook of General Photography’) was intended to serve both professional and amateur photographers alike. In an advertisement appearing in the 1 July 1909 issue of the magazine De Camera, the entire publication was announced to coincide with the release of the first volume: Grondbegrippen der fotografie (‘Principles of Photography’). The ad stated that ten consecutive volumes would be released, one after the other, on the following topics: 1. Grondbegrippen (‘Principles’); 2. Het objectief (‘The Objective’); 3. Beknopte geschiedenis van het fotografisch objectief (‘Concise History of the Photographic Objective’); 4. De kamera (‘The Camera’) 5. Stereoskopie (‘Stereoscopy’) 6. De projectie (‘The Projection’); 7. De zilverzouten I (‘The Silver Salts I’); 8. De zilverzouten II (‘The Silver Salts II’); 9. De chromaten (kooldruk, gomdruk, oliedruk, enz.), (The Chromates: Carbon Printing, Gum Printing, Oil printing, etc.) 10. Platina, enz. (‘Platinum, etc.).

Idzerda’s purpose in writing this series probably arose from a need for supporting literature to accompany his classes at the TH Delft. His dedication to Prof. S. Hoogewerff at the front of the book as well as the reference to his position as a ‘Private instructor at the Technische Hoogeschool in Delft’ found on the title page indicate this. The first and third volumes of the series were published, but the remaining volumes were not. The series was perhaps never completed because Idzerda’s private instructorship was terminated in 1913.

With this ambitious project—which would have allowed Idzerda to set out his extensive technical and historical knowledge, as well as his theoretical ideas concerning photography—it was undoubtedly Idzerda’s intention to establish a reputation in the Netherlands comparable to that of Dr. H.W. Vogel at the Technische Hochschule in Berlin. In this way, he hoped to eventually turn the proposed professorial chair for photography into a reality. In his introduction to Grondbegrippen der fotografie, Idzerda gave additional support to these plans by arguing that, in his view, a textbook providing insight into the practical application, theory, and essence of photography had been lacking in the Netherlands. What is intriguing about Idzerda’s book is that he always presented his findings within a historical context. In addition to geometrical and physical studies of light (geometrical and physical optics), he also addressed the history of light theory. In addition to elucidating the use of light-sensitive substances (emulsions, binders, supports, etc.), he also provided a historical exposé on the knowledge of light-sensitive materials. Based on this historical context, one can determine what the current state of scientific research must have been in Idzerda’s day.

In his technical books and articles, Idzerda invariably incorporated the potential of photography as an artistic means of expression. This subject was also treated as the main topic in three of his books. His first publication in this regard is the previously mentioned book Fotografie als kunst from 1904. In 1918, Idzerda’s book Schoonheid in de fotografie (‘Beauty in Photography’) followed. Here he handled topics that were fundamental in his estimation, such as the nature and beauty of photography. Although this book primarily has the character of a textbook for beginning and advanced amateur photographers, the aesthetics of photographic art are covered extensively (which Idzerda interprets mainly as landscape photos). This book can be seen both as a recapitulation and an enhancement of what Idzerda had written back in 1909 in Grondbegrippen der fotografie, the first volume of his comprehensive Leerboek der algemeene fotografie. Finally, in 1923 he compiled a book of articles written by a variety of authors, entitled Neerland’s fotokunst (‘The Netherlands’ Photographic Art’). In this publication, Idzerda incorporated contributions made by other writers, including Bernard Eilers. Idzerda’s own textual contributions to this book are more or less summaries taken from his previous standard reference work Schoonheid in de fotografie, thus providing no new insights. The illustrated portion is considerably expanded when compared to Schoonheid in de fotografie and arranged in a completely different manner, with more attention given to the younger generation of photo pictorialists. There are proportionately many more works by younger photographers such as Berssenbrugge and Eilers than in his previous book. The three books cover more or less the same subjects: the landscape and—an important and difficult component thereof—clouds, as well as portrait art, genre photography, architectural shots, and cityscapes. In essence, Idzerda’s recommendations address the following topics: the most important requirements a photographer has to satisfy in order to produce photographic art (mastery of technique, development of an artistic sense, the study of nature and art in order to learn how to observe well), the choice of subject matter, and finally, the employment of photographic visual devices such as composition, exposure and lighting, tone, perspective, and photographic process.

In portrait photography, Idzerda emphasised the representation of an individual’s character, with each model requiring a mode of lighting specifically suited to them. In order to acquire just the right lighting, portraits were to be shot in the studio. Taking a portrait in someone’s own home often gave Idzerda better results, however, as a person was prone to assume an informal pose and reveal his characteristic facial expressions more readily in familiar surroundings.

With landscape photography, Idzerda was a proponent of idealisation versus a realistic depiction of nature: ‘Yet no matter how complete our motif may be as a composition, the photo may never become a ‘print’ of nature. Regardless of whether we are a painter or photographer, the actual case has to be idealised by us, our fantasy must be given a degree of space in which to roam, our idea, our soul has to be expressed in the finished work; it is then first and foremost an artwork, hence a fortunate combination of materialism and idealism, the idea supported by a healthy naturalism.’ Idzerda’s perspective when discussing works based on multiple negatives used to create a single image can best be understood based on his notion of idealised ‘truth in nature’, such as when adding cloud-filled skies to a landscape. It was still extremely difficult to capture cloudy skies and landscapes together on a single negative effectively, because the exposures were too divergent. For Idzerda, the only condition to be met when using two negatives was that the photographer retained one concept when it came to his finished product. In the printed photo, the two shots had to flow into one another to become an artistic unity.

More important than anything, according to Idzerda, was the presence of atmosphere in a photo. In order to achieve this, the photographer was able to choose from among various technical and optical methods, such as the application of the gum printing process, adjusting the objective to create blur when taking the shot, or by enlarging and manipulating the tonal proportions. Besides atmosphere, Idzerda cited visual harmony and unity as important aspects of photographic art. To achieve harmony and unity, the student had to embrace the rules of composition, lighting and perspective previously established in painting. Idzerda also warned against the ill-conceived and excessive application of chiaroscuro, something he observed on a regular basis. Added elements in the landscape were to be avoided: serenity was in fact achieved through emptiness. The mood, the atmosphere, the depth, and the contrast enlivened the motif. In the cityscape, contrast was the main motif, while mood and atmosphere determined the tone. In this case, one had to accept such extraneous elements as they came, but distractions were still to be avoided as much as possible. In short, Idzerda’s description of photographic art comes down to the following: photographic art embodies the psychical impressions that objects (nature) leave on us, regardless of the means. These represented impressions or moods are primary; the objects themselves are secondary.

Determining those who inspired Idzerda in his views are fairly easy to determine. In his speech to mark the start of his private instructorship at the TH Delft in 1908, he describes Prof. H.W. Vogel as an outstanding mentor. Vogel’s influence can be readily discerned in the framework of Idzerda’s Leerboek der algemeene fotografie. This textbook was by no means to be interpreted as a practical class in ‘How Do I Take a Photo’, but as an exposé of knowledge in the areas chemistry, photographic technique, optics, and aesthetics. Vogel’s Lehrbuch der Photographie of 1870 was set up in the same manner, with sections on photochemistry, optics, technique, and aesthetics. The chapter that Vogel devoted to aesthetics is particularly relevant to the origin of Idzerda’s vision of photographic art. It could just have easily appeared in a textbook for novice painters. Resorting to a wide range of examples taken from art history, Vogel instructed the photographer in perspective, lighting, pose, group arrangement, linear rhythm, draping fabrics, the treatment of hands, etc. The section on landscape photography is strikingly similar to the view of H.P. Robinson (Vogel also stated that he had taken examples from Robinson’s book Pictorial Effect in Photography from 1869): the photographer carefully selects a subject and forms an idea of how he his going to photograph it; he then studies how the light falls at various times in the day, determines the angle of view, and checks to see whether he needs to rearrange the composition, for instance, by moving objects into the foreground, or when feasible, shifting or removing things irrelevant to the image. Because the sky in the landscape typically raises problems, Vogel advises that this be photographed separately and then copied or drawn in. Analogous to painting as the designated prototype, the landscape should be above all idealised. This is virtually identical to what we encounter in Idzerda’s book.

In addition to Vogel’s Lehrbuch, other written works on photographic art studied by Idzerda may be ascertained from the extensive bibliography published in Schoonheid in de fotografie. In the text of this very book, he specifically mentions a book by Horsley Hinton that had opened his eyes to the potential of photographic art. Although Idzerda failed to provide the actual title of the book, there is no doubt he was referring to The Art of Landscape Photography and particularly the German translation of this work from 1896, entitled Künstlerische Landschafts Photographie in Studium und Praxis (‘Artistic Landscape Photography in Study and Practice’), which is likewise listed in Idzerda’s bibliography. Idzerda consulted Hinton’s book intensively when writing about landscape in Schoonheid in de fotografie. The main thrust of Künstlerische Landschafts Photographie is to instruct pupils in rules of composition, to teach how one should approach perspective and tone, and how to incorporate clouds in a landscape photo. Hinton’s book is in turn clearly based on Robinson’s ideas with respect to photographic landscape art.

Idzerda’s thinking was as well inspired by his friendship and collaboration with Frits Matthies-Masuren. Matthies-Masuren’s book Bildmässige Photographie from 1903 (not to be confused with the Matthies-Masuren’s series of illustrations published shortly thereafter under the same name Die Bildmässige Photographie) is certain to have had an influence on Idzerda. Bildmässige Photographie is an adaptation of the book Der malerische Effect in der Photographie, C. Schiendl’s German translation of Robinson’s Pictorial Effect in Photography from 1896. Idzerda was evidently a loyal follower of Vogel, Horsley Hinton, and Matthies-Masuren, from which one may also conclude, that via these writers, he was also an adherent of Robinson’s ideas. When it came to the use of chiaroscuro, however, Idzerda deviated from Robinson’s recommendations. Similarly, contrary to Robinson, he preferred to leave out excessive elements in the landscape.

Not many of Idzerda’s photos have been preserved. Besides a handful of originals found in several Dutch collections and a personal album, his photographic work is chiefly known through various publications. All of the reproductions have been made from photos printed with a fine printing process. Originals that have been preserved have indeed been printed with the durable carbon and gum printing processes, in accordance with Idzerda’s own criteria. The small photos in the album originally in his daughter’s possession are printed on simple daylight papers. This album, however, was never meant for a public audience.

In the 1920s, Idzerda became involved in cinematography. In the spring of 1920, he took steps to organise a group of people potentially interested in establishing a film company oriented towards the Dutch East Indies. Further preparations were halted at an early stage, however, upon learning that the government in the East Indies was contemplating similar plans. In late 1924, Idzerda resumed his enterprise, this time in collaboration with the brothers Brand and Iep Ochse, respectively the director and film operator of Polygoon, a Dutch film manufacturer founded in Haarlem in 1919, which produced newsreel films for Dutch movie houses. The government’s plans had led to nothing. In the meantime, there were others who had produced a number of documentaries in the region—including Willy Mullens, the owner of Haghe Film—and who had witnessed the potential that lay there. In 1925, the ambitions of Idzerda and the Ochse brothers led to the founding of the NIFM (Nederlandsch-Indische Film Maatschappij, ‘Dutch East Indian Film Company’) in Haarlem. The company’s aim was to produce documentary films about the Dutch East Indies in order to promote people’s knowledge and an interest in the Dutch colony. The films were to cover topics in the areas of industry, commerce, and folklore. For the company to be profitable, it had to acquire commissions. Mullens had more success in this endeavour than Ochse, as he proved to be a better lobbyist. After a hopeful beginning—including a film account of a boat passage to Batavia with a subsidy from the Stoomvaart Maatschappij Nederland and the board of directors of the KRL (Koninklijke Rotterdamse Lloyd, ‘Royal Rotterdam Lloyd’) shipping company, which premiered at the City Theatre in The Hague in 1926 under the title Naar tropisch Nederland (‘To the Tropical Netherlands’)—the NIFM encountered both financial and operational difficulties. Idzerda’s role in the company was so vague—one of his tasks was supposedly to conduct extensive preliminary studies to garner acquisitions—that in May 1926 the Board of Directors decided that he would have to file a report of his activities every two weeks. Five months later, Idzerda had not yet handed in a single report, because he disagreed with the board’s decision. His imperious response was that the board members understood nothing about his work. Due to the growing commotion with the board, Idzerda was ordered to step down in December 1926, which ultimately led to his resignation at his ‘own request’ during the general board meeting of 1 April 1927. Idzerda would continue to do work for the NIFM in that same year, but not under a permanent contract.

In the 15 September 1924 issue of De Camera, C.A.P. Ivens recalled on the occasion of Idzerda’s silver jubilee that Idzerda had also made films himself: ‘(…) many also know his films (South Limburg, Alkmaar, Groningen, Maastricht, Haarlem, manufacturers, etc.).’

Wieger Idzerda’s significance for Dutch photography lies chiefly in his work as an author. He was by no means a photographic artist without merit, but because so little of his work has been preserved, a comparison of his oeuvre with that of Adriaan Boer, Henri Berssenbrugge, or Bernard Eilers, is infeasible.

Idzerda’s conception of photography was firmly based on the ideas of his predecessors from abroad, with whose perspectives he was able to identify. Despite the lack of originality in his thinking, Idzerda’s books and articles are important to the Dutch history of photography for various reasons. They are academically sound and structurally concise. Moreover, in his publications he brought together a broad representation of images (in the form of reproductions) belonging to the tradition of photographic art in the Netherlands. For Idzerda’s reading audience this was an excellent way to stay up to date on what was being achieved in photographic art in the country. For today’s researcher, they serve as a valuable source of visual information: more often than not, the original photos featured in these publications have not been preserved or their present whereabouts are unknown. Idzerda’s books and writings—together with other works of Dutch-language literature in the area of photographic art—also clarify from what sources most Dutch photographers drew their knowledge, as well providing insights into their ideas and intentions.


Primary bibliography

W.H. Idzerda, De gomdruk. Practisch leerboek voor amateur- en vakfotografen, Apeldoorn (Laurens Hansma) z.j. (1899) (serie: Fotografische Bibliotheek no. 7).

Ign, Bispinck (inl.), Ncderlandsche kunstfotografieën. I. 22 Afbeeldingen naar werken van W.H. Idzerda […], Amsterdam (J.RA. Schouten) z.j. [1904].

W.H. Idzerda en F. Matthies-Masuren (tekst), Fotografie als kunst. Eene verzameling kunstfotografien met begeleidenden tekst in het Hollandsch en Duitsch, (4 afl. in 1 bd.), Halle a. S. (Wilhem Knapp) /Amsterdam (J.R.A, Schouten), 1904-1907.

[Advertentie], in Het Leven. Geïllustreerd 1 (20 juli 1906) 22, p. 703.

[Advertentie], in Het Leven. Geïllustreerd 1 (3 augustus 1906) 24, p. 768.

W.H. Idzerda, De fotografie in dienst der wetenschap en hare beteekenis als kunst. Rede, uitgesproken bij den aanvang der lessen in de fotografie aan de Technische Hoogeschool te Delft, den 29en januari 1908, Delft (j. Waltman jr.) 1908.

W.H. Idzerda, De Internationale Tentoonstelling van Fotografische Kunst in het Stedelijk Museum te Amsterdam, in De Amsterdammer. Weekblad voor Nederland (30 augustus 1908) 1627.

W.H. Idzerda, Ingezonden, in Geïllustreerd Weekblad voor Fotografie 15 (10 oktober 1908) 41, p. 325-326.

W.H. Idzerda, Fotografie en kunst, in Geïllustreerd Weekblad voor Fotografie 15 (10 oktober 1908) 41. p. 331.

W.H. Idzerda, Leerboek der algemeene fotografie. I. Grondbegrippen, Amsterdam (S.L. van Looy) 1909.

W.H. Idzerda, Leerboek der algemeene fotografie. III. Beknopte geschiedenis van het fotografisch objectief, Amsterdam (S.L. van Looy) 1909.

[Advertentie], in De Camera 1 (1 juli 1909) 19, p. 372.

W.H. Idzerda, Handboekje der praktische fotografie. Eenvoudige en algemeen begrijpelijke handleiding ten dienste van eerstbeginnende en gevorderde amateur-Fotografen, alsmede voor ieder belangstellende in de fotografie, Amsterdam (Maatschappij voor Goede en Goedkoope Lectuur) 1916 (met foto’s).

W.H. Idzerda, De broomverfdruk (broomoliedruk) in de praktijk. Beknopte en algemeen begrijpelijke handleiding ten dienste van eerstbeginnende en gevorderde amateurfotografen, alsmede van iederen beroepsfotograaf en belangstellende in de fotografie, Amsterdam (Maatschappij voor Goede en Goedkoope Lectuur) 1917 (met foto’s).

W.H. Idzerda, Schoonheid in de fotografie. Handleiding ten dienste van beginnende en gevorderde kunstfotografen, alsmede voor ieder belangstellende in de fotografie, Leiden (Sijthoff) zj. [1918] (met foto’s).

W.H. Idzerda, Handboek voor den filmoperateur. Praktische handleiding ten dienste van bioskoopoperateuren, exploitanten en bezitters van bioskooptheaters, van schoolbioskopen, alsmede voor ieder belangstellende in de filmprojektie, Leiden (Sijthoff) 1919.

W.H. Idzerda, Stereo-opnamen voor iedereen. Praktische, zeer eenvoudige handleiding, begrijpelijk voor ieder beginnenden of gevorderden amateur, Amsterdam (Maatschappij voor Goede en Goedkoope Lectuur) z.j. [1922].

W.H. Idzerda, Foto-gidsje voor den pasbeginnenden amateur en die het willen worden. Allereenvoudigste handleiding voor iedereen, Amsterdam (Maatschappij voor Goede en Goedkoope Lectuur) z.j. [1922] (met foto’s).

W.H. Idzerda, Fotografisch receptenboekje. Keur van eenvoudige en praktische recepten voor den amateur- en beroepsfotograaf, Amsterdam (Maatschappij voor Goede en Goedkoope Lectuur) z.j. [1923].

W.H. Idzerda (red.), Neerland’s fotokunst. Bloemlezing uit Nederlandsche kunstfoto’s (het landschap; genre, portret, stilleven; stadsgezichten), Amsterdam-Sloterdijk (Maatschappij voor Goede en Goedkoope Lectuur (Wereldbibliotheek)) z.j. [1923] (met foto).

W.H. Idzerda, Kinematografie in de praktijk. Handboek voor den filmoperateur, amateur en vakman, 2e geh. herz. en verm. dr., Leiden (Sijhoff) 1923.

W.H. Idzerda, Het maken van goede vergrootingen. Eenvoudige handleiding voor amateur-fotografen, beroepsfotografen en voor ieder belangstellende in de fotografie, Amsterdam (Maatschappij voor Goede en Goedkoope Lectuur) z.j. [1923].

W.H. Idzerda, Goede opnamen met kleine filmkamera’s, Amsterdam (Maatschappij voor Goede en Goedkoope Lectuur) z.j. [1924].

W.H. Idzerda, Is de naam “Pigmo-gravure” juist?, in “Lux”. Foto-tijdschrift 35 (1924), p. 33-34 (eerder gepubliceerd in Neerland’s Fotokunst, z.j. [1923]).

W.H. Idzerda, De directe methode in den broomverfdruk, in Fotokunst. Geïllustreerd maandblad voor wetenschappelijke- en kunstfotografie 1 (maart 1924) 3, p. 21.

W.H. Idzerda, Kinematografie voor den amateur, Amsterdam (Maatschappij voor Goede en Goedkoope Lectuur) z.j. [1925].

W.H. Idzerda, Kleurenfotografie in de praktijk, Amsterdam-Sloterdijk (Maatschappij voor Goede en Goedkoope Lectuur) z.j. [1927].

W.H. Idzerda, Ingezonden, in Focus 17 (2 augustus 1930) 16, p. 435.

W.H. Idzerda, Joseph Nicéphore Nièpce, in De Fotograaf 47 (17 maart 1933) 11, p. 178-179.

W.H. Idzerda, De stand der fotografie in Nederland, in Fotokunst. Geïllustreerd maandblad voor wetenschappelijke- en kunstfotografie 13 (mei 1936) 5, p. 53-54.


W.H. Idzerda (tekst), in “Lux”. Geïllustreerd tijdschrift voor fotografie:

Erste Internationale Ausstellung für künstlerische Bildniss-Photographie te Wiesbaden, 14 (1903), p. 461-464.

Kunstfotografie op de Tentoonstelling van Nijverheid en Kunst te Groningen, 14 (1903), p. 547-548.

Nieuw afdrukpapier voor kunstfotografen, 14 (1903), p. 707-709.

Jubiläums-Ausstellung, 1903. Zehnte Internationale Jahres-Ausstellung der Gesellschaft zur Förderung der Amateur-Photographie, Hamburg, 14 (1903), p. 865-875.

Eerste Internationale Salon van Kunstfotografie te ‘s-Gravenhage in 1904 (20 juni-28 juli). De buitenlandsche inzendingen op de tentoonstelling, 15 (1904), p. 276-283.

Het portret. 16 (1905), p. 238-245 (met foto’s).

Ingezonden stukken, 16 (1905), p.346.

Fotografie als kunst. (Antwoord aan den Heer Frans Coenen), 16 (1905), p. 436-441.

Ingezonden stukken, 16 (1905), p. 441 -442.

Ingezonden stukken. Het dagblad “De Telegraaf”, de heer Frans Coenen en Fotografie als Kunst, 16 (1905), p. 442-444.

Wolken, 16 (1905), p. 529-536.

Een kort overzicht van den Nationalen Studenten-Amateur-Fotografen-Wedstrijd te Delft, 16 (1 januari 1906) 1, p. 26-28.

Tentoonstelling van Fotografieën in “Pulchri Studio”, ‘s Gravenhage, van 23 juni- 1 juli, uitgeschreven door den Nederlandschen Fotografen Kunstkring, 17 (1 augustus 1906) 15, p. 343-347.

Het ozobromide-procédé. (Eene zeer belangrijke ontdekking!), 17 (15 oktober 1906) 20, 461-464.

Foto-Wedstrijd, uitgeschreven door de Amateur-Fotografen-Vereeniging “Rotterdam”, gehouden van 18-22 october 1906 in de Kunstzaal “Reckers” te Rotterdam, 17 (1 november 1906) 21, p. 494-497.

Fotografische kunstateliers en vakscholen in Duitschland, 18 (15 maart 1907) 6, p. 133-135.

De mozaïekplaten, 18 (1 november 1907) 21, p. 476-477.

Fotografie en kunst, 19 (15 maart 1908) 6, p. 141-143.

Ingezonden Stukken, 19 (1 juni 1908) 11, p. 282-283.


W.H. Idzerda (tekst), in De Camera:

Het objektief ten dienste der kunstfotografie, 1 (14 oktober 1908) 2, p. 18, 21,

De man en zijn werk. Rudolph Dührkoop, 1 (28 oktober 1908) 3, p. 38, 41.

Iets over de geschiedenis der kunstfotografie., 1 (27 november 1908) 5, p. 82-83.

Iets over de geschiedenis der kunstfotografie II, 1 (11 december 1908) 6, p. 102-104.

Opmerkingen naar aanleiding van het artikel van A.P.H. Trivelli, […], 1 (8 januari 1909) 8, p. 147-148, 153-154.

Opmerkingen naar aanleiding van hel artikel van A.P.H. Trivelli, […]. 1 (25 januari 1909) 9, p. 167-168, 173-175.

Opmerkingen naar aanleiding van het artikel van A.P.H. Trivelli, […], 1 (11 februari 1909) 10, p. 195.

Beelden uit het grijs verleden. De geschiedenis der Rathenower Optische Industrie Anstalt “Emil Busch” te Rathenow, 1 (20 maart 1909) 12, p. 233-235.

Het latente beeld, 1 (15 april 1909) 13, p. 248, 253.

Beelden uit het grijs verleden. De geschiedenis der Rathenower Optische Industrie Anstalt “Emil Busch” te Rathenow, II, 1 (15 april 1909) 13, p. 253-255.

Het Petzval-objectief, 1 (1 mei 1909) 14/15, p. 265-266.

Het financieele vraagstuk in de kunstfotografie, 2 (29 september 1910) 25/26, p. 242-243.

Iets over gomdruk, 3 (1 november 1910) 1, p.7-9.

Hydrazine, eene omwenteling in de fotografie?, 4 (15 november 1911) 2, p. 14-16.

Het spoelen der afdrukken, 4 (15 december 1911) 4, p. 36-37.

De uitlekmethode en de vakfotografie, 4 (15 februari 1912) 8, p. 73-74.

Het Utocolor papier. Iets over de z.g. kleurstoffenfotografie, 4 (1 maart 1912) 9, p. 83-84.

Het Utocolor papier. Iets over de z.g. kleurstoffenfotografie. 4 (15 maart 1912) 10, p. 94-95.

Het Utocolor-papier. Iets over de z.g. kleurstoffen-fotografie, 4 (15 mei 1912) 14, p. 136-137.

Het Utocolor-papier. Iets over de z.g. kleurstoffen-fotografie, 4 (15 juni 1912) 16, p. 143.

Het Utocolor-papier. Iets over de z.g. kleurstoffen-fotografie, 4 (1 juli 1912) 17, p. 152.

Eene Nederlandsche fotografische industrie I, 7 (1914/1915), p. 44-46.

Eene Nederlandsche fotografische industrie II, 7 (1915), p. 55-58.

Eene Nederlandsche fotografische industrie, 7 (1915), 87-88.

Onscherpe foto’s, 7 (1915), p. 165-166.

Onscherpe foto’s II. Objectieven met een zacht brandpunt, 7 (1915), p. 181-182 (met foto).

Onscherpe foto’s III, 7 (1915), p. 196-198.

De kooldruk I, 7 (1915), p. 213-215.

De kooldruk II, 8 (1915), p. 3-5.

De kooldruk III, 8 (1915), p. 27-28.

De kooldruk IV, 8 (1915/1916), p. 49-51.

De kunst van projecteeren I, 8 (1916), p. 70-72.

De kooldruk V, 8 (1916), p. 76-78.

De kunst van projecteeren II, 8 (1916). p. 87-89.

De kooldruk. Slot, 8 (1916), p. 103-105.

De kunst van projecteeren III, 8 (1916), p. 113-115.

De kunst van projecteeren IV, 8 (1916), p. 136-138.

De kunst van projecteeren, 8 (1916). p. 164-165.

Ingezonden stukken. Amidol als ontwikkelaar in den broomverfdruk, 9 (1917), p. 125.


W.H. Idzerda (tekst), in Photographische Korrespondenz:

Bemerkingen zu dem Artikel von A.P.H. Trivelli: Beitrag zur Kenntnis des Solarisationsphänomens und weiterer Eigenschaften des latenten Bildes, (1909) 582, p. 111, 113-116.

Bemerkungen zu dem Artikel von A.P.H. Trivelli: Beitrag zur Kenntnis des Solarisationsphänomens und weiterer Eigenschaften des latenten Bildes, (1909) 583, p. 169-174.

Nachtrag zu dem Artikel von W.H. Idzerda auf S. 169 dieses Heftes. (1909) 583, p. 200.

Die Becquerelsche Theorie und die latenten Bilder, (1909) 584, p. 241-242.

Das Becquerelsche Phänomen, (1909) 585, p. 282-284.

Versuch einer Erklärung einiger photographischer Phänomene. Der Luther-Uschkoffsche Versuch, (1909) 587, p. 372-373.

Versuch einer Erklärung einiger photographischer Phänomene. Das Solarisationsphänomen bei hochempfindlichem (grobkörnigem) Bromsilber, (1909) 590, p. 518-525.

Versuch einer Erklärung einiger photographischer Phänomene. Das Solarisationsphänomen bei hochempfindlichem (grobkörnigem) Bromsilber, (1909) 591, p. 560-561.

Ist der holländische Maler Johannes Torrentius der Erfinder der Photographie? (1910) 594, p. 117-119, 121-123.

Bemerkungen zu einigen Arbeiten von Herrn Prof. Dr. K. Schaum, (1910) 596, p. 222-225.

Ist der holländische Maler Johannes Torrentius der Erfinder der Photographie?, (1910) 597, p. 269, 271.

Zur Theorie der latenten Bilder, (1910) 598, p. 309.

Das Porträtobjektiv von J.M. Petzval, (1910) 601, p. 487-489.

Zur Theorie der latenten Bilder. (Bemerkungen zu dem Artikel des Herrn Prof. Dr. K. Schaum im August-Heft 1910 dieser Zeitschrift), (1910) 602, p. 536-541.

Zur Theorie der latenten Bilder, (1911) 612, p. 505, 508.

Eine neue Ara in der Plattenfabrikation, (1911) 615, p. 628-633.

Die Photographie im Dienste der Kunstgeschichte, (1912) 616, p. 28-32.

Die Eutwicklung des Anastigmaten in den Jahren 1890 bis 1893, (1916) 664, p. 5-7, 10-12


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

Is fotografie kunst? Tweede serie van twaalf heliogravures, naar fotografieën, Apeldoorn (Laurens Hansma) 1904, afb. 6 (serie: Fotografische Bibliotheek, no. 20).

Geïllustreerd Weekblad voor Fotografie 12 (25 november 1905) 47, na p. 380.

Elsevier’s Geïllustreerd Maandschrift 16 (juli-december 1906) 32, p. 30-39.

Het Leven. Geïllustreerd 1 (30 november 1906) 41, p. 1298.

“Lux”. Geïllustreerd tijdschrift voor fotografie 18 (1 april 1907) 7, tegenover p. 149.

Wereldkroniek 14 (22 juni 1907) 12, p. 188.

Wereldkroniek 14 (29 juni 1907) 13, p. 201.

Elsevier’s Geïllustreerd Maandschrift 17 (december 1907) 12, p. 367.

Geïllustreerd Weekblad voor Fotografie 15 (4 januari 1908) 1, voor p. 1.

“Lux”. Foto-tijdschrift 37 (1926) 11.

Catalogus Fotofestival Naarden 1999, Naarden 1999, p. 43.

Secondary bibliography

A.C. Sluyterman, De Internationale Tentoonstelling van Fotografieën te Groningen, in ”Lux”. Geïllustreerd Tijdschrift voor Fotografie 12 (15 april 1901) 8, p. 265-266.

Ernest van Loon (voorw.). Eerste Internationale Tentoonstelling van Moderne Decoratieve Kunst te Turijn in 1902.

Verslag van de Nederlandsche Afdeeling, z.p., z.j. (ca. 1902), p. 53-55, 133-134.

Laura de Berk, Praatje over kunst in de fotografie, in Weekblad voor Fotografie 10 (15 augustus 1903) 33, p. 261-263.

Anoniem, Varia, in “Lux”. Geïllustreerd tijdschrift voor fotografie 15 (1904), p. 260-261.

A.P.H. Trivelli, Eerste Internationale Salon van Kunstfotografie te ’s Gravenhage in 1904 (20 juni-28 juni). De Nederlandsche inzendingen op de tentoonstelling, in “Lux”. Geïllustreerd tijdschrift voor fotografie 15 (1904), p. 271-275.

S., Onze Nederlandsche kunstfotografen. 2. W.H. Idzerda, in “Lux”. Geïllustreerd tijdschrift voor fotografie 15 (1904), p. 349-359 (met foto’s).

J.R.A. Schouten, Fotografie als kunst, in “Lux”. Geïllustreerd tijdschrift voor fotografie 15 (1904), p. 377-378.

Anoniem. Boekbeoordeeling, in “Lux”. Geïllustreerd tijdschrift voor fotografie 15 (1904), p. 388.

L. Delgeur, Boekbeoordeeling, in “Lux”. Geïllustreerd tijdschrift voor fotografie 15 (1904), p. 457-458.

Anoniem. Boekbeoordeeling. Fotografie als kunst, in “Lux”. Geïllustreerd tijdschrift voor fotografie 17 (1 maart 1906) 5, p. 107.

N.v.D., Een kijkje op de 2e Tentoonstelling voor Kunstfotografie der Deventer A.-F.-V., in “Lux”. Geïllustreerd tijdschrift voor fotografie 17 (1 oktober 1906) 19, p. 444-446.

J.R.A. Schouten, Nationale Tentoonstelling van Fotografieën, ter gelegenheid van het IIIe Lustrum der Delftsche Studenten-A.-F.-V., 9-13 november 1906, in “Lux”, Geïllustreerd tijdschrift voor fotografie 17 (15 november 1906) 22, p. 309-515.

Catalogus tent. Nationale Fotografie Wedstrijd. Leiden 19-30 april 1907, Leiden (Vereeniging tot Bevordering van Vreemdelingenverkeer te Leiden en omstreken) 1907.

Anoniem, W.H. Idzerda, in Wereldkroniek 14 (13 juli 1907) 15, p. 241.

Anoniem, [zonder titel; aankondiging privaat docentschap Idzerda aan de Technisehe Hoogeschool te Detft], in Nederlandsche Staatscourant (20 november 1907) 272, ongepag.

Anoniem, [Zonder titel; De “Nederlandsche Staatscourant” van 20 november geeft het volgende bericht: …], in Fotografisch Maandschrift 3 (december 1907), p. 52-53.

[Foto Idzerda door Rudolph Dührkoop], in “Lux”. Geïllustreerd tijdschrift voor fotografie 18 (1 december 1907) 22, ongepag.

A.T., Kunstfotografieën, in Wereldkroniek 14 (14 december 1907) 37, p. 793.

Jaarboek N.Cv.F.K. 1908, ongepag. (met foto).

Anoniem, W.H. Idzerda, in Photographische Korrespondenz (1908) 568. p. 17.

Anoniem. Onze plaat, in Geïllustreerd Weekblad voor Fotografie 15 (4 januari 1908) 1, p. 8.

H. de Boer, Fotografie en kunst, in “Lux”. Geïllustreerd tijdschrift voor fotografie 19 (15 maart 1908) 6, p. 143-145.

C.M. Dewald, Ingezonden Stukken, in “Lux”. Geïllustreerd tijdschrift voor fotografie 19 (1 juni 1908) 11, p. 283-284.

Laura de Berk, De Internationale Tentoonstelling van Foto-Kunst, in Geïllustreerd Weekblad voor Fotografie 15 (8 augustus 1908) 32, p. 249-253.

C.M.D. [= C.M. Dewald], Inhoud van tijdschriften, in Fotografisch Maandschrift 4 (oktober 1908), p. 26-27.

P. Hanneke, Verschiedenes. Kriminalistische Photographie, in Deutscher Camera Almanach 5 (1909), 241-242.

C.M. Dewald, Dresdener fotografietentoonstelling, in Fotografisch Maandschrift 4 (1 mei 1909), p. 134-145.

C.M.D. [= C.M. Dewald], Naschrift, in Fotografisch Maandschrift 4 (1 mei 1909), p. 145-146.

Anoniem, Onze boekenkast. W.H. Idzerda. Leerboek der Algemeene Fotografie, deel III, in De Camera 2 (28 december 1909) 6, p. 59.

C.M.D. [= C.M. Dewald], Sprokkels, in Fotografisch Maandschrift 7 (1 oktober 1911), p. 34-35.

Anoniem, W.H. Idzerda, in Photographische Korrespondenz (1916) 665, p. 80.

Verhoef, Onze boekenkast. W.H. Idzerda, Handboekje der praktische fotografie, in De Camera 9 (1916), p. 15.

Anoniem, Idzerda’s Handboek der practische fotografie, in De Camera 8 (1916), p. 204.

Bern. Eilers, Onze Boekenkast, Idzerda’s Bromolieboekje, in De Camera 9 (1917), p. 99.

Bern. Eilers, [zonder titel: reactie op ingezonden artikel van W.H. Idzerda, Amidol als ontwikkelaar in den broomverfdruk], in De Camera 9 (1917), p. 126.

Anoniem, Onze boekenkast. “Schoonheid in de fotografie”, in De Camera 10 (1918), p. 180.

Anoniem, Handboek voor den filmoperateur door W.H. Idzerda, in De Camera 12 (1 januari 1920) 5, p. 44.

Anoniem. Vraag en antwoord. Handleidingen, in De Camera 12 (15 maart 1920) 10, p. 82.

[Advertentie], in De Camera 16 (1 november 1923) 1, binnenzijde omslag.

Anoniem, Onze Boekenkast. “Neerland’s Fotokunst”, […], in De Camera 16 (15 december 1923) 4, p. 52-53.

Anoniem, W.H. Idzerda : Neerland’s Fotokunst, in Fotokunst. Geïllustreerd maandblad voor wetenschappelijke- en kunstfotografie 1 (januari 1924) 1, p. 8.

Anoniem, Neerland’s Fotokunst, in Fotokunst. Geïllustreerd maandblad voor wetenschappelijke- en kunstfotografie 1 (maart 1924) 3, p. 17.

Anoniem, Idzerda’s Foto-Gidsje, in Fotokunst. Geïllustreerd maandblad voor wetenschappelijke- en kunstfotografie 1 (augustus 1924) 8, na p. 68.

C.A.P. Ivens, W.H. Idzerda geridderd, in De Camera 16 (15 september 1924) 21, p. 295.

G.O. ‘t Hooft, Notulen van de Jaarlijksche Algemeene Vergadering op woensdag 10 september 1924, in Focus 11 (18 september 1924) 19, p. 522.

Anoniem, W.H. Idzerda, in Fotokunst. Geïllustreerd maandblad voor wetenschappelijke- en kunstfotografie 1 (oktober 1924) 10, voor p. 77.

Adr. Boer, Onze werkers, in J.W. Boon (voorw.), Veertig jaren fotografie. Gedenkboekje uitgegeven door de Nederlandsche Amateur-Fotografen-Vereeniging ter gelegenheid van haar veertigjarig jubileum 7 sept.- 5 nov. 1927, Amsterdam 1927, p. 96.

Adr. Boer, Lectoraat en vakschool voor fotografie, in Bedrijfsfotografie 11 (31 oktober 1929) 44, p. 518-519.

Anoniem, Comité Idzerda, in Focus 17 (22 november 1930) 24, p. 648.

Anoniem, W.H. Idzerda in Het Vaderland 9 januari 1938, Ochtendblad A, p. 2.

Anoniem, W.H. Idzerda, in Focus 25 (15 januari 1938) 2, p. 33.

Anoniem, W.H. Idzerda †, in Cosmorama 4 (februari 1938) 2, p. 22.

Claude Magelhaes, Nederlandse fotografie. De eerste honderd jaar, Utrecht/Antwerpen (Bruna & Zoon) 1969, p. XVI, XVIII, afb. 59, 75, 77, 80 (serie: Zwarte Beertjes 1257).

Anoniem, W.H. Idzerda, in Dick Boer. Paul Heyse en L. Roosens (hoofdred.), Focus Elsevier Foto en Film Encyclopedie. Amsterdam/Brussel (Focus/Elsevier) 1971, 3de geh. her/, dr., p. 281 (idem, in P. Heyse (hoofdred), Focus Elsevier Foto en Film Encyclopedie, Amsterdam/Brussel (Focus) 1981, geh. herz. en uitgebr. dr. in full color, p. 351 (met portret)).

Claude Magelhaes, Fotografie in Nederland, in Dick Boer. Paul Heyse en L. Roosens (hoofdred.), Focus Elsevier Foto en Film Encyclopedie, Amsterdam/Brussel (Focus/Elsevier) 1971, 3de geh. herz. dr., p. 215-216 (idem, in P. Heyse (hoofdred), Focus Elsevier Foto en Film Encyclopedie, Amsterdam/Brussel (Focus) 1981, geh. herz, en uitgebr. dr. in full color, p. 265-266).

Ingeborg Th. Leijerzapf, Fotografie in Nederland 1839-1920, Den Haag (Staatsuitgeverij) 1978, p. 74-76, 78-79, 98 (met foto).

Wim Broekman (eindred.), NAFV 1887-1987. 100 Jaar georganiseerde amateurfotografie. Leusden (Uitgeverij Foto) 1987, p. 10.

Jitze de Haan, Opkomst en ondergang van de Nederlandsen-Indische Film Maatschappij, in Jaarboek Mediageschiedenis (1992) 4, p. 173-174, 176, 182, 195.

Ingeborg Theresia Leijerzapf, “Hetgeen ik zoek met stift en lens…”. Henri Berssenbrugge en het picturalisme in de Nederlandse fotografie, z.p. 1996, p. 5-6, 40. 43-53, 61, 103, 105, 141, 143, 146-147, 181, 206, 212 (proefschrift Rijksuniversiteit Leiden).

Catalogus tent. Juwelen voor een Fotomuseum = Masterpieces of Dutch pictorial photography 1890-1915, Haarlem (Teylers Museum) 1998, p. 13, 16, 23-24.

Ingeborg Th. Leijerzapf en Harm Botman, Henri Berssenbrugge. Passie – energie – fotografie, Zutphen (Walburg Pers) 2001, p. 39, 41-46, 51, 81, 84, 110, 112-113, 141, 163, 170 (idem Engelse editie: Henri Berssenbrugge. Passion – energy – photography).

Catalogus tent. La photographie pictorialiste en Europe, 1888-1918, Rennes (le Point du Jour/Musée des Beaux-Arts de Rennes) 2005, p. 141-148 (idem Engelse ed. Impressionist camera. Pictorial photography in Europe, 1888-1918, London/New York (Merrell/Saint Louis Art Museum) 2006, p. 141-145, 147).

Flip Bool e.a. (red.), Nieuwe geschiedenis van de fotografie in Nederland. Dutch Eyes, Zwolle (Waanders i.s.m. Stichting Fotografie in Nederland) 2007, p. 111, 123, 126, 136-138, 140, 142, 525 (idem Engelse editie: A critical history of photography in The Netherlands. Dutch Eyes).



Nederlandsch Comité afdeeling fotografie (secretaris), Esposizione Internazionale di Arte Decorativa moderna, Turijn 1902.

Haagsche Fotoclub “Daguerre” (1ste secretaris 1903-1904).

Regelingscommissie, Eerste Internationale Salon van Kunstfotografie, Den Haag 1904.

Jury, Nationale Studenten-foto-wedstrijd, uitgeschreven door de Delftsche Studenten-Amateur-Fotografen-Vereeniging, 1905.

Jury Afd. A, Nationale Tentoonstelling van Fotografieën ter gelegenheid van het 3de lustrum van de Delftsche Studenten-Amateur-Fotografen-Vereeniging, Delft 1906.

Jury, Rotterdam 1906.

Comité, Internationale Tentoonstelling van Foto-Kunst, Amsterdam 1908.

NCvFK, vanaf 1908.

Tentoonstellingscommissie t.b.v. Nederlandse deelname aan de Internationale Photographische Ausstellung, Dresden 1909.

Raad van Commissarissen Nederlandsch-Indische Film Maatschappij 2 april 1925-1 april 1927.


1904 Bekroning, beste individuele inzending van tenminste drie stukken door een Nederlander (medaille van de Koningin-moeder), Eerste Internationale Salon van Kunstfotografie, Den Haag.

1924 Ridder in de Orde van Oranje-Nassau.


1901 (g) Groningen, De Harmonie, Internationale fotografie tentoonstelling “Photographie als kunst“‘(AFV “Daguerre”).

1902 (g) Haarlem, Museum van Kunstnijverheid, [tentoonstelling van de Nederlandse collectie foto’s naar de Esposizione Internazionale di Arte Decorativa moderna in Turijn].

1902 (g) Turijn, Tentoonstellingsgebouw in Park Valentin, Esposizione Internazionale di Arte Decorativa moderna.

1904 (g) Den Haag, Pulchri Studio, Eerste Internationale Salon van Kunstfotografie.

1906 (g) Delft, Korenbeurs, Nationale Tentoonstelling van Fotografieën, ter gelegenheid van het IIIe Lustrum der Delftsche Studenten-A,-F.-V.

1906 (g) Deventer, Odéon, 2e Tentoonstelling voor Kunstfotografie der Deventer A.-F.-V.

1908 (g) Amsterdam, Stedelijk Museum, Internationale Tentoonstelling van Foto-Kunst.

1969 (g) Den Bosch, Noord-Brabants Museum, Nederlandse fotografie. De eerste honderd jaar [reizende tentoonstelling].

1980 (g) Rotterdam, Wijkmuseum Hillesluis, De ‘Gomdruk’.

1998/1999 (g) Haarlem, Teylers Museum, Juwelen voor een Fotomuseum. Een speurtocht naar de eerste museale fotoverzameling in Nederland.

1999 (g) Naarden, Bastion Oranje, ‘99: negenennegentig jaar Nederlandse fotografie (Fotofestival Naarden).

2007 (g) Rotterdam, Nederlands Fotomuseum, Dutch Eyes. Een nieuwe geschiedenis van de fotografie in Nederland,


Assen, Drents Archief.

Den Haag, Gemeentearchief Den Haag.

Den Haag, Nationaal Archief (Studentenadministratie TH Delft).

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden, bibliotheek en documentatiebestand (o.a. verslag gesprek Allison Spoor met A.C. Muller-Idzerda, 1977).

Leusden, Jan Wingender (collectie nederlands fotoboek).

Utrecht, Universiteitsbibliotheek Utrecht.


Amsterdam, Rijksmuseum, Rijksprentenkabinet.

Den Haag, Gemeentearchief Den Haag.

Den Haag, Rijksdienst voor Kunsthistorische Documentatie (collectie Iconografisch Bureau).

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.