Oudezijds Achterburgwal, Amsterdam, 1958
Gelatin silver print. Signed, titled, and dated by the executrix of the estate in pencil on print verso. Printed by the artist. c.1970
paper: 40.6 x 30.3 cm
image: 35.7 x 23.8 cm
Exhibitions
2012,Look. Ed!, Annet Gelink Gallery, Amsterdam, NL
Selected by Rineke Dijkstra
Literature
"Buitenbeeld van Nederland." Hilversum, Radio Nederland Wereldomroep.
Broek, M. Van den, C. Ruys. Nederland, de 1000 beste foto’s. Antwerpen: Ludion, 2010.
Elsken, Ed van der. Once Upon a Time. Amsterdam: Fragment Uitgeverij, 1992.
Dijkstra, R., Dumas, M. a.o.Look Ed! Amsterdam: Annet Gelink Gallery, 2012.
Parr, Martin, ed. "Ed van der Elsken, My Amsterdam." Amsterdam, De Verbeelding Publishing, 2005.
Elsken, van der Ed. Amsterdam! Old Photographs 1946-1970. Top Notch vof, Uitgeverij Bas Lubberhuizen, Lecturis, 2014.
Visser, Hripsime.Phaidon Press: Ed van der Elsken. London, Phaidon Press Limited, 2002.
Elsken, Ed van der.Amsterdam! Oude Foto's-1947-1970. Bussum: Van Holkema & Warendorf (Unieboek BV), cop. 1979/1988
"Prostitute 'Apache Alie' in front of café De Zeevaart on the Oudezijds Achterburgwal near Central Station, Amsterdam 1956"
Published in Ed van der Elsken's 'Amsterdam! Old Photographs 1946-1970'. Top Notch vof, Uitgeverij Bas Lubberhuizen, Lecturis, 2014.
"The Landlady of a Bar on the Oudezijds Achterburgwal near Central Station, red-Light District, Amsterdam, 1958. During the 1950's in particular, Van der Elsken took many photographs in his own neighbourhood- the old centre of Amsterdam. He preferred to photograph working-class life and people such as this matron, a tower of strength amid city life and its transient figures." Visser, Hripsime, " Ed van der Elsken 55". New York: Phaidon Press, 2002.
Ed van der Elsken, 'enfant terrible' of Dutch photography, was a photographer and filmmaker who expressed his meetings with people in photos, photo books and films for more than 40 years.
His work is highly subjective, portraying striking individuals he encountered on his travels, documenting his own life and that of his surrounding. His approach was confrontational, embracing the bright as well as the darker sides of human life.
