Cor van Weele
Tineke de Ruiter
Over a half century Cor van Weele built up a very extensive oeuvre, and with it made his name as a good professional photographer. Inventiveness and technical mastery of his métier defined his expertise. Portraits, photographs of people and reproductions of artworks comprise the largest part of his archive. In addition to his work as a photographer, with great devotion he dedicated himself to the teaching of photography.
Cornelis van Weele is born on 7 February in Doetinchem.
As a secondary school pupil, on 13 March he responds to a ‘trainee photographer sought’ advertisement, and begins a practical study of photography with the firm Keuzekamp in Zwolle.
He begins working for Ulrich Roosdorp in Zwolle, who has just taken over the daylight atelier of Franz Ziegler. Cor van Weele’s task is to do the photo finishing on re-orders from Ziegler’s archive, during which he, by his own admission, learns a lot from seeing Ziegler’s plates.
He completes his military service in the Air Force. After he serves one year the pre-mobilization of all vital units is announced, and Cor van Weele must remain in Soesterberg.
Van Weele works about six months in the Bam portrait studio in Rotterdam. He lives in Haarlem, where he becomes a member of the Haarlem unit of the resistance group Vrij Nederland.
He works successively as a photographer for Nell Herbert in Haarlem, from 20 October 1941 through 8 August, 1942, as chief retoucher with Godfried de Groot in Amsterdam, and for Willy Schurman in The Hague. When the Haarlem unit of Vrij Nederland are arrested, he spends 50 days in the prison at Scheveningen. To his surprise he is released, and moves to his parent’s home in Kampen. He is deployed for preparing the reclaimed land in the North-East Polder for cultivation. In addition, he does retouching for Schurman, including crates of glass plates.
He is arrested during a raid at a party. Because he was in the military during the invasion of 1940, Van Weele is now imprisoned as a prisoner of war in the Mühlberg/Elbe camp. While in the camp Van Weele photographs clandestinely. On 23 April, 1945, the camp is liberated by the Russians.
Van Weele becomes an assistant to Willy Schurman in The Hague.
He takes his professional diploma in photography in March.
He purchases darkroom equipment and apparatus, including from the Büttinghausen photographic studio on Van Baerlestraat in Amsterdam, and on 13 December begins working as an independent photographer on the Karel du Jardinstraat. He chiefly does portrait work. In addition he devotes time to teaching for the professional diploma in photography, and giving lectures for amateur photographers.
Commissioned by the Doopsgezinde (Baptist) Church in Amsterdam, he does reportage on the refugee camps in Germany: ‘Vluchtelingenhulpwerk’.
He is a member of the editorial board of Fotografie, Vakblad voor het fotografisch ambacht.
Beginning in 1953 Van Weele receives many commissions for architectural photography, which are occasionally published in Bouw. He also does reportage and picture essays for the annual reports of companies.
Van Weele sets up the television course ‘Tele-Fototips’ for the NCRV. He is also the presenter for this photography course in the months February-May.
He designs five summer postage stamps with photos of objects in Dutch museums.
For the PTT he designs a series of summer stamps comprised of pictures of five windmills.
Van Weele accepts a lectureship at the Film Academy, Amsterdam. The theme of his lessons is ‘the photography of the film’.
He is a guest lecturer at the Rietveld Academy, Amsterdam.
The Fotoarchief Cor van Weele Foundation is established, to preserve and administer his archive comprised of 250,000 negatives. The Board of the Foundation is comprised of Bert van Goethem (photographer), Irene Bakker (goldsmith) and Han Reich (public relations)
Commissioned by the Rijks Voorlichtingsdienst Cor van Weele and Jan and Fridjof Versnel photograph the Noordeinde Palace in The Hague.
Cor van Weele passes away on 14 October.
With regard to the development of his photography, Cor van Weele observed, „I am one of the few who has evolved along with the evolution of photography.” He started off as an aid to the photographer in a daylight atelier. Because he was a good draughtsman he quickly was promoted to doing the finishing touches – for instance, painting in romantic sunsets behind portraits of engaged couples – on the glass plates. Regular retouching work was also turned over to him. With the aid of a scraper and pencil Van Weele had to disguise the spots on faces when the orthochromatic film material had rendered the red of the skin as deep black. With the arrival of panchromatic film he had somewhat less retouching to do, although Cor van Weele continued to carefully use glass splinters as scrapers for manipulating negatives. After having worked and learned for various portrait photographers, shortly after the war Cor van Weele set up shop for himself as a portrait photographer. An encounter with Edward Steichen, who was travelling through Europe in 1950 looking for photographs for his exhibition European Photography, was definitive for the development of his personal style. Steichen’s humanistic vision greatly appealed to him, and Van Weele subsequently photographed from this point of view. For instance, his book En alles daartussen, in which the individuality of man is the theme of the visual account, is unthinkable without the inspiration of Steichen’s Family of Man.
Another source of inspiration for Van Weele were the exhibitions Subjektive Fotografie I and II, which were organized in 1951 and 1954 by Otto Steinert. The group of photographers behind these exhibitions was influenced by post-war abstract painting in their selection of motifs. During this period the emphasis in Van Weele’s photography also lies on design, a certain degree of abstraction, and strong black and white effects. In a 1955 interview, however, he said he did not regard these expressions as end results, but rather as practice exercises.
Moreover, Van Weele developed his photographic vision through contacts with architects, psychologists, philosophers and other scholars. In the 1950s he became friends with Prof. Reichling, then professor of General Linguistics in Amsterdam. Quite early in their acquaintance conversations with Reichling convinced Van Weele of the power of photography as visual language. Later contacts with Prof. Peters, a lecturer at the Film Academy, reinforced his semiological approach to photography. Experiments with the ‘Eye-marker’, an apparatus for investigating the process of perception, brought Van Weele to his credo: „Every person sees the same amount, but has his own recognition of form and content. We perceive only a small part of the vast amount that comes in through our eyes.”
One can clearly recognize this philosophical approach to photography as language in the design of Van Weele’s photography. For instance, the photographer often consciously includes ambiguities, and works with associations and visual rhymes. It was his conviction that a photographic image should contain nothing that was superfluous, and that a photographer therefore must work with a degree of abstraction. „If you say something about everything, you say nothing about anything.” One result of the need for abstraction is the great attention paid to line and division of the surface, and a reduction of grey tones. He allows unimportant details „sink into black”. The use of repetitions of contrasts, form and counter-form, or on the other hand, of congruence and symmetry through shadows and reflections often determines the structure of his photos.
Cor van Weele began as a portrait photographer, and long preferred to work in this genre. Initially trained by Dutch portrait photographers like Godfried de Groot and Willy Schurman, he came in contact with international portrait art. However, Van Weele did not share Godfried de Groot’s admiration for American glamour photography; he looked only to the German portrait school, with its attention for image structure. Posed, very well thought-out and lighted portraits resulted from the training that Van Weele had. To the end of his life he preferred to work with artificial light, for which he maintained his unique points of departure. For instance, he often kept the right corner of his sitters’ mouths in shadow, because of what he termed „mask features”, nervous and unsympathetic lines in general that concentrate there. He also maintained an exposure time of three seconds for a portrait. In his opinion that was the only right length of time to record a characteristic expression in the eyes. He also still used the old fashioned gum print ball, because with it he could better control the printing time.
Obviously the lighting, poses and accoutrements of his portrait photography were subject to change over the course of time. Popular and much admired advertising and film photos forced the photographer to adapt his style. For example, several times Van Weele used hard spotlights to imitate cinematic lighting and the heavy shadows that were used in film noir.
In the 1950s he made his portraits against carefully selected backgrounds, such as a beautifully designed tapestry or shadows of branches. He filled the space around the sitters with attributes and indicators which strengthen the personal atmosphere. He took his early portraits in a 13×18 cm format, with a 50 cm lens. He used the long focus because of the plasticity that the short depth of field provided. In later portraits, which he did with a smaller negative, the emphasis is no longer so much on the pase and the surroundings, as on the head itself. The subject is photographed from very close up. The lines and expression of the face define the contact between the viewer and the subject in an insistent manner, as in the portraits of Mrs. Calderara and Wessel Couzijn. Diplomats, ambassadors, artists, writers and other famous and obscure Dutch men and women sat for Van Weele over the years.
One can not really call Cor van Weele a documentary photographer. His photographs radiate a spirit of reflection and capacity for a secondary response rather than the action of a photographer who responds quickly and on the spot. Van Weele however share the obsessiveness and tenacity of the documentary photographer. For example, during his imprisonment in the POW camp he illegally did shots of his fellow prisoners, and he once photographed the doctors just before he was anaesthetized for an operation. As a result of that single-mindedness the perhaps rather serene photos nonetheless take on something of the nature of reportage.
As a commission from Amsterdam’s Baptist congregation he photographed refugee camps in Germany, and he did photo reportage from Goes and Zierikzee. Collaborations with journalists like Wim Alings and Gui Fortgens led to a large number of travel reports which were published in magazines like Televizier and Eigen Huis & Interieur
Many Dutch museums, artists and architects were among Cor van Weele’s clients, because of his reputation for a high level of craftsmanship. Thus a considerable number of art catalogues were filled with reproductions Van Weele made of paintings and drawings.
In the 1970s he performed a commission for Ger van Elk, who asked him to take the shot of stand-in ‘diplomats’ for his Missing Persons. The artist then had one of the figures in the group portrait touched out as a persona non grata.
Photographs done for architects and sculptors are obviously by their nature less reproductions than photos of paintings and drawings, giving the photographer more opportunity for interpretation. In Van Weele’s shots the design and detailing of buildings plays a more important role than the presence of people in these spaces.
Van Weele worked with cameras in almost all formats, and by the end of his career had no distinct preference for one over another. During the 1950s and ’60s he was definitely attached to the square, 6×6 format. His use of the whole negative is characteristic of a photographer with his views, who determines every part of the image in advance on the focusing glass or through the viewfinder.
In the darkroom he worked with a developer he mixed himself, concentrated solution based on a formula from the previous century. The developing process worked very quickly in this solution, which produced powerful prints. As early as 1937 Van Weele experimented with Agfa Color Neue-film. The colours that the industry could provide were not satisfactory for him, and he rather quickly returned to black and white work. He worked again with colour after the late 1960s. At that point however he worked with dia material, and let professional laboratories do the printing.
As early as the first years of the 1950s Cor van Weele became active in passing on his knowledge of his profession. He expressed his views on photography in professional journals, through lectures,, and particularly in the training of young photographers. His greatest strength was in inspiring his pupils to learn to see.
His courses always began with making photograms. He believed that was the basis for coming to understand how form works on a surface, and thus to learn to deal with two dimensions. Only after the photograms were his pupils allowed to turn to the depiction of three dimensions on a flat surface. Depending on the length of his courses, lessons followed in which Cor van Weele sought to convey his views on the profesison to others. In this way he helped hundreds of students at the Film Academy and the Rietveld Academy, and photographers like Wouter van Heusden on their way.
Cor van Weele’s oeuvre is characterized by its consistent high quality, without avant-garde tendencies. Because of this uniformity and Van Weele’s modesty, his photography has remained somewhat in the background. Yet he can measure up to the best craftsmen of his generation. Many have profited from his contribution to photographic education in the Netherlands. His wide knowledge of the profession and his didactic qualities are still insufficiently appreciated.
De portretten op de 10e focussalon, in Fotografie 1 (nov. 1950) 7, p. 176-178.
Reproduceren van gekorreld papier, in Fotografie 2 (maart 1952) 2, p. 28.
Doeltreffend etaleren, naschrift van de redactie, in Fotografie 2 (juli 1952) 4, p. 82.
Kinder opname – alle hens aan dek!, in Fotografie 2 (sept. 1952) 5, p. 110-112.
Tentoonstelling Serge Vandercam, in Fotografie 3 (mei 1953) 3, p. 59.
Tuinarchitectuur, antwoord van de redactie, in Fotografie 3 (mei 1953) 3, p. 63.
Een baardloze jongeman die hard werkt, in Fotografie 3 (nov. 1953) 6, p. 149-150.
Pas op! Vergif!, in Fotografie 3 (nov. 1953), p. 157.
Portret fotografie, in Fotografie 4 (1954) I, p. 10-15.
Sjoerd de Boer, in Fotografie 5 (1955) 3, p. 77.
Kees Scherer exposeerde in La Cave Internationale, in Fotografie 5 (1955) 4, p. 95-98.
Wij gaan de balans opmaken, in Foto 11 0956) 1, p. 4-6.
Les Portretfotografie (FP1 en FP2), Apeldoorn (Fotovakschool) z.j.
Foto 1 (1946) 6, p. 87 en omslag.
Fotografie 2 (mei 1952) 3, p. 65.
Fotografie 2 (nov. 195 2) 6, p. 151.
Foto 8 (1953) 2, omslag.
Fotografie 3 (sep.1953) 5, p. 127-128.
Fotografie 4 (1954) 2, p. 42.
Fotografie 4 (1954) 4, p. 93.
Foto 10 (1955) 7, p. 206-209.
Cor van Weele, Tentoonstelling van Fotografie (cat.), Amsterdam (Amstel 228) 1955.
Foto 11 (1956) 7, omslag.
Kalender van de Doopsgezinde Gemeente 1956.
Ad de Vries, En alles daartussen, Zaandijk (J.Heijnis Tsz.) z.j.
Ad de Vries, Ze liegen over je, Zaandam (Albert Heijn) z.j.
Nan Platvoet, Welk behang past bij U en Uw omgeving, Amsterdam (Rath en Doodehefer) 1958.
Foto 13 (1958) 6, p. 238.
Foto 13 (1958) 7, p. 280-281.
Foto 13 (1958) 8, p. 297.
Foto 13(1958) 9, p. 338.
Martie Verdenius, Dag nieuwe dag, Utrecht (Ubica-Matrassenfabriek) z.j.
Cor van Weele, Zierikzee, levend hart van Schouwen-Duiveland, Zierikzee (N.V. Drukkerij v.h. Lakenman & Ochtman) z.j.
Wim Alings jr, Twee Richting Verkeer, Amsterdam (Koninklijk Instituut voor de Tropen) 1960.
Han Hoekstra, Dag Amsterdam, Amsterdam (Het Parool) 1961, p. 11, 16, 22, 23, 26, 28, 47, 69, 73, 105, 127, 130.
Focus 47 (1962) 10, p. 21.
Delta, A Review of Arts Life and Thought in the Netherlands 5 (1962) 1, p. 44-45.
Delta, A Review of Arts Life and Thought in the Netherlands 5 (1962) 3, p. 9.
Delta, A Review of Arts Life and Thought in the Netherlands 5 (1962) 4.
Bettina Spaanstra-Polak, Teken aan de wand, Utrecht (Bruna) z.j.
Auteur onbekend, Wij leven, nu leven wij, Voorburg (Hervormde Gemeente) 1963.
DJ. da Silva, RBB 25 jaar, Amsterdam (Raadgevend Bureau Berenschot) 1963.
R. de Zeeuw, Fotovisie Nederland en de Doopsgezinden, Amsterdam (Algemene Doopsgezinde Sociëteit) 1967.
Groenpol Nieuws, 22 (1968) 10/11.
A. Bicker Caarten, Waar ‘t om gaat, Leiden (Rijnlandse Molenstichting) 1969.
Eva nr. 46 (15 november 1969), p. 16-19.
Televizier 22 november 1969, p. 18-23.
Televizier 13 december 1969.
Eva nr. 51 (20 december 1969), p. 88-95.
Nederlands Cultureel Contact 8 (1970) 29, p. 15.
Bouw 25 (1970) 44, omslag, p. 1662-1667.
Eva nr. 2 (2-8 januari 1971), p. 18.
Eigen Huis & Interieur 4 (1971) 1 , p . 52-57.
Eigen Huis & Interieur 4 (1971) 2, p. 38-41.
Televizier 8 mei 1971, p. 4-7.
Televizier 3 juli 1971, p. 4-5.
Televizier 11 december 1971.
De Haagse Post 22 december 1971, p. 73.
De Avrobode 8 januari 1972, p. 20.
Eigen Huis & Interieur 5 (1972) 5, p. 50-53.
Televizier 21 oktober 1972, p. 90.
Televizier 11 november 1972, p. 95.
Televizier 9 december 1972, p. 26.
Televizier 23 december 1972, p. 23.
De Kampioen december 1972.
Auteur onbekend, Floriade Amsterdam 1972, Amsterdam (Stadsdrukkerij) 1972.
Televizier 17 februari 1973, p. 12-15.
Bouw 28 (1973) nrs. 21, 35, 39 (omslagen).
Televizier 9 juni 1973, p. 12-13.
Televizier 21 juli 1973, p. 70.
Televizier 4 augustus 1973, p. 73.
Televizier 15 september 1973, p. m .
Catalogus tent. Raamwerk (50 jaar weverij de ploeg nv), Amsterdam (Stedelijk Museum) 1973.
Televizier 13 oktober 1973, p. 16-17.
Televizier 3 november 1973, p. 100-101.
Televizier 1 december 1973, p. 14-15.
Televizier 29 december 1973, p. 84-85.
Kalender Spaarbank voor de stad Amsterdam 1974.
Televizier 9 februari 1974, p. 80, 81, 83.
Bouw 2g (1974) nrs. 9, 12, 16, 22, 25, 29/30, 42, 44 (omslagen).
Arts en Auto 40 (1974) 6, p. 420-422.
Televizier 6 april 1974, p. 86-88.
Televizier 13 juli 1974, p. 74-75.
Bouw 30 (1975) nrs. 30/31, 34/35, 36, 37, 42, 46, 49, 50 (omslagen).
Cor van Weele, Verpleeghuis ‘de Lichtenberg’, Amersfoort z.j.
Antje von Graevenitz, André Volten, Eindhoven z.j.
Geïllustreerde ledenlijst van de beroepsvereniging van fotografen GKf 1976, Amsterdam 1976, p. 60-61.
Bouw 31 (1976) nrs. 2, 4, 19, 21, 22, 25, 28/29, 39: 40, 41. 43/44, 45, 47 (omslagen).
Elseviers Magazine 18 september 1976, p. 32.
Bouw 32 (1977) nrs. 4, 7, 15, 17 (omslagen).
Televizier 23 april 1977, p. 55.
Televizier 30 april 1977, p. 10.
De Haagse Post nr. 31 (6 augustus 1977), p. 31.
Cor van Weele, Prot. Chr. Ziekenhuis De Lichtenberg, Amersfoort 1978.
Bouw 33 (1978) nrs. 10, 11, 13, 15, 19, 21, 22, 23 (omslagen).
Gui Fortgens, R.I.M. jaarboek, Amsterdam (Revalidatie Instituut Muiderpoort) 1979.
Bouw 34 (1979) nr. 1, omslag, p. 46-47.
Bouw 34 (1979) nrs. 13, 19 (omslagen).
Bouw 35 (1980) nrs. 6, 9, 18, 19, 20, 25, 26 (omslagen).
Arts en Auto 46 (kerst 1980) 24, p. 2314-2337.
Architectuur uit Bouw 1980, omslag, p.106.
Gui Fortgens, Het R.I.M. buiten de muren, Amsterdam (Revalidatie Instituut Muiderpoort) 1981.
Bouw 36 (1981) nrs. 14/15, 16, 25 (omslagen).
Bouw 37 (1982) nrs. 4, 5, 6, 8, 9, 11, 12, 13, 14/15 (omslagen).
Eigen Huis & Interieur 15 (1982) 5, p. 76-82.
Architectuur uit Bouw 1982, omslag, p. 166-168.
Bouw 38 (1983) nrs. 4, 11, 12, 14/15, 20, 22, 23 (omslagen).
Open Deur 7 (1983) 8, omslag.
Bouw 39 (1984) nrs. 3, 5, 6, 8, 9, 17 (omslagen).
Henri Coppus, Op weg naar RCA, Amsterdam (Revalidatie Centrum Amsterdam) 1985.
Het Financieele Dagblad 14 en 16 juli 1984, p.13.
Het Financieele Dagblad 12 september 1984, p. 3.
Het Financieele Dagblad 15 en 17 september 1984, p. 16.
Het Financieele Dagblad 26 oktober 1984, p.3.
Het Financieele Dagblad 11 en 13 mei 1985.
Platenhoezen voor Philips in de jaren vijftig.
Jaarverslagen Organon, Philips, Duyvis, Berenschot.
Binnenlands Beleggingsfonds „Vast Goed”, jaarverslag 1974.
Cultuurtechnische Dienst, jaarverslagen 1962-1971.
Nederlandse Spoorwegen, jaarverslag 1968.
Friesch Groningsche Hypotheekbank, jaarverslagen 1960-1974.
Stedelijk Jaarverslag Amsterdam 1962, 1965, 1967, 1968, 1971, 1972, 1974.
Vele catalogi van tentoonstellingen schilderen beeldhouwkunst.
Organorama 1965-1971, elk nummer een fotopagina.
D. Helfferich, Cor van Weele zegt: Zie uw menschen, in Foto 1 (1946) 5, p. 66-75.
KI., Een schilder en een fotograaf, in Foto 6 (1951) 10, p. 273-277.
KL, De schilder en de fotograaf, in Foto 6(1951) 11, p. 302-309.
KL, Cor van Weele exposeert bij Eijlders, in Foto 7 (1952) 2, p. 47.
J.J. Hens, Op de Snijtafel, in Foto 7 (1952) 3, p. 60-66.
Auteur onbekend, Het Feest van de 50-jarige Nederlandse Fotografen Kunstkring, in Foto 7 (1952) 11, p. 294-296.
H., Cor van Weele is gaan exposeren, in Foto 10 (1955) 1, p. 16-19.
M. Coppens, Cor van Weele in een nieuwe omgeving, in Fotografie 5 (1955) 1, p. 4.
H., De fotografie als uitdrukkingsmiddel, in Foto 10 (1955) 12, p. 38l-384.
H., Cor van Weele exposeert in Haarlem, in Foto 12 (1957) 4, p. 132-136.
J.J. Hens, De expositie van Cor van Weele te Haarlem, in Foto 12 (1957) 5, p. 188-189.
D. Boer, Merkwaardige visie en knappe techniek, in Focus 42 (1957) 9, p. 199-201.
H., En alles daartussen, in Foto 13 (1958) 1, p. 22-25.
Auteur onbekend, Expo, in Foto 13 (1958) 5, p. 176-180.
KI., de vakantiekiekjes van cor van weele in cadzand, in Foto 14 (1959) 7, p. 314-319.
Auteur onbekend, Nederlandse zomerpostzegels 1962 in ICOM 62, z.p, z.j.
W. Alings jr., Vijf culturele ambassadeurs, in De Groene Amsterdammer 28 april 1962.
D. Helfferich, de nederlandse zomerpostzegels 1962 zijn puur fotografisch gebleven, in Foto 17 (1962) 4, p. 190-195.
H., Opnieuw een serie fotografische zomerpostzegels van Cor van Weele, in Foto l8 (1963) 5, p. 268-269.
Auteur onbekend, een beetje varen in de Middellandse Zee, in Foto 18 (1963) 6, p. 292-299.
F. Hazelhoff, fotografen en hun werk Cor van Weele, in Foto 26 (1971) 7, p. 34-43, omslag.
Auteur onbekend, Fotografie en krant binnen 5 jaar verleden tijd, in Dagblad v.d. Zaanstreek 15 maart 1971.
Betty van Garrel, Diplomatieke Kunst, in Hollands Diep 2 (1976) 8, p. 27.
Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978.
L. Kloppenburg, beeldtaal met dubbele bodem, in Eigen huis & interieur 11 (1978) 7, p.8-13.
Marleen Kox, Verslag onderzoek foto-archieven, Amsterdam 1981.
NFPV, van 1935-1972.
NFK, aspirant-lid, van 1953-1958.
GKf, van 1966-heden.
1947 (g) Amsterdam, Arti et Amicitiae, 9de Kerstsalon van Fotografisch Kunst van de AAFV.
1950 (g) Eindhoven, Vakfotografie.
1952 (g) Amsterdam, Arti et Amicitiae, 13de Kerstsalon van Fotografische Kunst van de AAFV.
1952 (e) Amsterdam, café Eylders, Vijftig Portretten.
1952 (g) Zaandijk, AFV Zaanland.
1952 (e) Hengelo, Kunstzaal.
1953 (g) Maastricht, Kunstzalen De Jong-Bergers, Nederlandse Fotografie 1953.
1954 (g) Keulen, Photokina, Inzending BNAFV.
1954 (g) Utrecht, Jaarbeurs.
1955 (e) Amsterdam, Amstel 228.
1955 (g) Rotterdam, E’55.
1956 (g) Leiden, Prentenkabinet van de Rijksuniversiteit, NFK.
1957 (e) Haarlem, Vishal, foto’s van cor van weele.
1958 (e) Scheveningen, Kurhaus, foto’s van cor van weele.
1958 (e) Brussel, Expo, De evolutie van agrarisch Nederland.
1958 (e) Amsterdam, La Cave, Expo.
1959 (e) Cadzand, Badhotel, Cadzand.
1961 (g) Amsterdam, Stedelijk Museum, Dag Amsterdam.
1966-’67 (g) Amsterdam, De Waag, Amsterdam in z’n element.
1968 (e) Amsterdam, Tropenmuseum, Beeldbencht uit Afrika (Malawi).
1968 (e) Keulen, Photokina, Fotografen met een rol in de fotografie.
1969-’70 (g) Amsterdam. Amsterdams Historisch Museum, Wegwezen, de recreatie van de Amsterdammer.
1970 (g) Amsterdam, Nieuwe Kerk, Mooie Vrijheid.
1971 (g) Zaandijk, Weefhuis, 100 jaar fotografie 1839-1939.
1973 (g) Amsterdam, Stedelijk Museum, Raamwerk.
1977 (e) Amsterdam, ABN-galerie.
1978 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.
1982 (g) Schiphol, Art display Schiphol, SBK foto’s.
1985 (e) Genk (België), Galerie White Light.
Cor van Weele, documentatie en mondelinge informatie.
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
Amsterdam, Doopsgezinde Gemeente (negatieven en foto’s).
Amsterdam, SBK-Uitleen (foto’s).
Amsterdam, Stedelijk Museum (foto’s).
Den Haag, Rijks Voorlichtingsdienst (negatieven en foto’s).
Leiden, Prentenkabinet van de Rijksuniversiteit (foto’s).