PhotoLexicon, Volume 10, nr. 22 (October 1993) (en)

Cas Oorthuys

Flip Bool


Cas Oorthuys was one of the most important representatives of a generation of photographers that decisively influenced—based on New Photography—the development of documentary photography in the Netherlands. Educated and for a brief time employed as an architect, Oorthuys made a definitive career switch to photography in 1936, at the time he started working for De Arbeiderspers (‘The Workers Press’). By early 1942, Oorthuys felt obliged to quit his job. At the end of the war, he became involved in a group of photographers that later became known as ‘De Ondergedoken Camera’ (‘The Illegal Camera’). Following the liberation of the Netherlands, Oorthuys went on to become the photographer of the Reconstruction. Oorthuys published an endless stream of photobooks, largely ‘in black and white, because these were the colours of my generation’, as he succinctly described it himself in 1969.




Casparus Bernardus (Cas) Oorthuys is born on 1 November in Leiden as the fourth child and first son of Dorothea Catherina Helena Christina de Stoppelaar (1875-1948) and Gerardus Oorthuys (1876-1959), who began his career as a pastor in the village of Brakel.


The Oorthuys family moves to Amsterdam.


Cas Oorthuys attends Amsterdams Lyceum secondary school in Amsterdam at the HBS-level (Hogere Burgerschool, ‘Higher Civic School’) for three years.


Oorthuys attends the Ambachtsschool (basic secondary school level vocational school) on the Timorplein in Amsterdam.


Oorthuys begins studying architecture at the ‘School voor Bouwkunde, Versierende Kunsten en Kunstambachten’ (‘School of Architecture, Decorative Arts and Artistic Trades’) in Haarlem. After the school’s closure in 1927, he continues his study in the architectural department of the MTS (Middelbare Technische School, ‘Intermediate Technical School’) in Haarlem. During this period, he enrols with the Nederlandse Bond van Abstinent Studeerenden (‘Netherlands Federation of Abstinent Students’) and takes his first steps in the area of photography. He completes his study in 1930.


Oorthuys works as an architect for the city of Amsterdam. He is involved in the design of projects such as the market halls on the Jan van Galenstraat. In 1932, Oorthuys is laid off—along with many others—as a consequence of the economic crisis.


On 31 August, Oorthuys weds Sini Broerse, a Montessori instructor.

Oorthuys becomes a member of the VAF (Vereeniging van Arbeidersfotografen, ‘Association of Worker Photographers’), founded on 13 February 1931.


Oorthuys and the painter Jo Voskuil establish the ‘werkcombinatie OV 20 voor grafische vormgeving’ (‘Work Combination OV 20 for Graphic Design’). He moves into a photography studio built by Cok de Graaff for the Sell-More advertising agency at Prinseneiland 20 in Amsterdam.


On 22 January, Oorthuys’ first son, Gerrit, is born.


Cas Oorthuys becomes a board member of the group ‘foto en film’ (‘Photo and Film’), which he co-founded on 2 July, of the BKVK (Bond van Kunstenaars ter Verdediging van de Kulturele rechten, ‘Federation of Artists in Defence of Cultural Rights’). He is also a co-organiser of the international anti-fascist exhibition DOOD (literally translated ‘death’)—De Olympiade Onder Dictatuur (‘The Olympiad under Dictatorship’)—held by the BKVK starting on 1 August at the building De Geelvinck in Amsterdam. Oorthuys and Jo Voskuil design the exhibition’s poster and the cover of the accompanying catalogue. Oorthuys is hired by Arbeiderspers (‘The Workers Press’) and becomes the staff photographer for the weekly Wij. Ons werk, ons leven (‘We. Our Work, Our Life’) and the newspaper Het Volk.


On 13 January, Oorthuys’ daughter Dorothee is born.

Oorthuys is a co-organiser of the exhibition Foto ’37 at the Stedelijk Museum in Amsterdam. He designs the exhibition’s stationery and brochure.

Oorthuys moves to an attic room at Spuistraat 224, where he meets Lydia Krienen, whom he eventually marries.


On 13 April, Sini Broerse and Cas Oorthuys divorce. Oorthuys rents two floors at Kloveniersburgwal 111, together with Eva Loeb, Joop Moes, and Claus Kreuzberg. Halfway through the year, Lydia Krienen also moves to this address.


When the department of photography of the VANK (Nederlandsche Vereeniging voor Ambachts- en Nijverheidskunst, ‘Netherlands Association for Applied and Industrial Art’) is established, Oorthuys becomes a member.


On 3 April, Oorthuys weds Lydia Krienen. They move to a home at Amstel 3 in Amsterdam.


On 15 May, Hannah (‘Hansje’) is born.


In February, Oorthuys quits his job at De Arbeiderspers.


On 4 March, Fenna is born. In May, Oorthuys is arrested by the Germans. He is released again in early August from Camp Amersfoort. From Dolle Dinsdag (‘Mad Tuesday’) until the liberation of the Netherlands, he is involved in the group later referred to as ‘De Ondergedoken Camera’ (‘The Illegal Camera’).


Oorthuys becomes a member of the photography department of the GKf (‘Vereeniging van Beoefenaars der Gebonden Kunsten’, ‘Association of the Practitioners of the United Arts’), founded on 1 September of this year.


Oorthuys photographs the Nuremberg trials on assignment for the ABC-Press agency. Together with Emmy Andriesse and Hans Wolf, Oorthuys attends the Paris Peace Conference.


Oorthuys travels to Indonesia for two months on behalf of the publishing company Uitgeverij Contact and ABC-Press to photograph for the book Een staat in wording (‘A Nation Becoming’), which appears in July of this year.


Oorthuys makes a series of children’s postage stamps for the PTT (the Dutch national postal, telegraph, and telephone company).


Bonjour Paris is published by Uitgeverij Contact as the first volume in an extensive series of photo pocketbook editions. For this series, Oorthuys takes numerous trips to various countries in Europe.


Edward Steichen invites Oorthuys—as well as Eva Besnyö, Emmy Andriesse, Henk Jonker, Hans Schreiner, Ed van der Elsken, and Nico Jesse—to participate in the exhibition The Family of Man at the Museum of Modern Art in New York.


Oorthuys travels to New Guinea on assignment for the construction company Bredero’s Bouwbedrijf.


Oorthuys takes photographs in the Belgian Congo on behalf of the Belgian voorlichtingsdienst (‘information service’). From there, he travels on behalf of the Billiton mining company to Tanganyika (present-day Tanzania) and Rhodesia (Zimbabwe) to visit the ore mines in these countries.

Oorthuys’ photobook Rotterdam dynamische stad (‘Rotterdam Dynamic City’) is published.


On 29 August, Oorthuys’ son Casper Frank is born.


The Oorthuys family moves to Prinsengracht 925.


Oorthuys is commissioned by the PTT to design a series of postage stamps to commemorate the 125th anniversary of the Dutch Railways.


For the Dutch pavilion at the World Expo in Montreal, Oorthuys produces a photographic wall mural.

The Oorthuys family buys a country home at Waaldijk 163 in Brakel.


Oorthuys travels with the writer Simon Vinkenoog to the United States on assignment for the AMEV insurance company to attend the launching of the Apollo 11 space mission.

The Stedelijk Museum in Amsterdam organises a solo exhibition in recognition of Oorthuys’ sixtieth birthday. The exhibition is accompanied by the publication of the book Mensen/People.


A quarter-century after the liberation of the Netherlands, Ooorthuys’ photobook 1944-45 het laatste jaar (‘1944-1945 The Last Year’) is published.


Cas Oorthuys is named a Knight in the Order of Orange-Nassau.


On 29 April, the PTT commemorates the liberation with a postage stamp designed by Oorthuys.

Cas Oorthuys dies unexpectedly on 22 July.


The publishing company Uitgeverij Fragment in Amsterdam releases the book Cas Oorthuys fotograaf 1908-1975 (‘Cas Oorthuys Photographer 1908-1975’), with an extensive biography written by Sybrand Hekking.


John and Douwes Fernhout make a film about Cas Oorthuys, entitled Mijn generatie is zwart-wit (‘My Generation is Black-and-White’).


Cas Oorthuys’ archive, comprising circa 500.000 negatives, is transferred to the Stichting Nederlands Fotoarchief (‘Netherlands Photo Archive Foundation’, the present-day Netherlands Photo Museum) in Rotterdam.


Upon completing primary school, Cas Oorthuys started with a HBS (Hogere Burgerschool, ‘Higher Civic School’) education at the Amsterdam Lyceum, but was obliged to give it up after three years due to dyslexia. After two years of Ambachtsschool (a basic secondary-level vocational school), he began studying architecture in Haarlem. Together with a fellow student, Nico de Haas, Oorthuys became a member of the NBAS (Nederlandse Bond van Abstinent Studeerenden, ‘Netherlands Federation of Abstinent Students’). By joining this libertarian youth organisation, he gradually extracted himself from the Calvinist surroundings—being the son of a preacher—in which he had been raised. It was during his days in Haarlem that Oorthuys took his first steps in photography. He had obtained material to take photographs from Loek Zwartser, the son of the owner of Haarlem’s largest photography business at the time. Unfortunately, very few photos have been preserved that might provide insight into Oorthuys’ earliest photographic activity.

After finishing the MTS (Middelbare Technische School, ‘Intermediate Technical School’), Oorthuys and De Haas found work as architects with the city of Amsterdam in 1930. After two years, however, Oorthuys and many others lost their jobs as a result of the economic crisis. Having just recently married Sini Broerse, a Montessori school teacher, he had no other choice but to live on unemployment benefits.

At the unemployment centres, and through the activities of the WAC (Werkloozen Agitatie Comité, ‘Unemployed Agitation Committee’), Oorthuys became involved with the CPH Communistische Partij Holland (‘Communist Party of the Netherlands’) and the IRH (Internationale Roode Hulp, ‘International Red Help’), an organisation that provided aid to political refugees. On 13 February 1931, Oorthuys and his wife became members of the VAF (Vereeniging van Arbeidersfotografen, ‘Association of Worker Photographers’), an organisation established according to a German model. The aim of this organisation, as stated in De Tribune of 25 March 1931, read as follows: ‘(…) to educate workers in the area of photographic labour, with the aim of enabling them to shoot photos, in connection with the protest activities of the revolutionary workers movement.’

Cas Oorthuys fostered photographic activities at both the IRH and the VAF. Under the influence of the left-wing oriented VAF, he developed his own photographic vision. Around late January, early February 1932, the IRH began publishing the monthly AFweerfront (‘Resistance Front’), a magazine published along the same lines as its German counterpart, the Arbeiter-Illustrierte-Zeitung (AIZ, ‘Workers Pictorial Newspaper). Nico de Haas was responsible for the design of this left-wing photography magazine; Jo Voskuil provided the drawn illustrations; Cas Oorthuys was responsible for the photos, together with various other ‘worker photographers’. The photos were published anonymously, but there are several cases in which there is no doubt that Oorthuys was the author. One example that can most definitely be traced back to him is the photo on the cover of AFweerfront issue number 5—with the black men of the American city Scotsboro as his subject. This shot was taken in the attic of Oorthuys’ parental home. In the same issue, the photomontages accompanying Maurits Dekkers’ article ‘De nood der binnenschippers’ (‘The Urgency of the Inland Waterway Captains’) were without doubt also done by Oorthuys.

Members of the VAF also worked in total anonymity. Thanks to Nico de Haas, we now know that Oorthuys was referred to as ‘arfot 2’. Based on what is known at this point, however, this term was only used for the covers of brochures and for magazines affiliated with the CPH. Accordingly, it is certain that Oorthuys was at least responsible for the cover of the brochure Triomf van het socialisme. Het tweede 5-jarenplan (‘Triumph of Socialism, The Second 5-Year Plan’) as well as the 1932 cover on the fifth issue of Feiten uit de Sowjet-Unie (‘Facts from the Soviet Union’). In Rotterdam, the VAF’s activities were closely aligned with those of the ‘arbeiders-schrijvers-collectief “Links Richten”‘ (‘Workers/Writers collective “Aim Left”‘), which produced a monthly magazine of the same name that first appeared in mid-August 1932. Paul Schuitema was responsible for the magazine’s basic cover, but Oorthuys designed the cover for the ninth issue of 1933, once again on the subject of Scotsborough’s black inhabitants. To make this photograph, he used two shots projected on top of one other. It also featured the same man previously depicted on the cover of AFweerfront.

After being laid off by the city of Amsterdam, in the fall of 1932 Oorthuys started up the ‘werk combinatie OV 20’ (‘work combination’) in a rented building at Prinseneiland 20 in Amsterdam, together with Jo Voskuil. It was here that the photographer Cok de Graaff had set up the first professional photography studio in the Netherlands on behalf of the advertising agency Sell-More. Because the company’s operating figures were less than expected, Oorthuys was able to acquire this studio and its equipment with his father’s financial assistance. Besides several commissions involving commercial advertisements, the work he did—usually unpaid—came primarily from the political and cultural sectors. These commissions varied from photomontages for the display windows of De Uitkijk movie theatre in Amsterdam, film advertisements, and covers for the books of the Wereldbibliotheek (‘World Library’) to brochures for the CPH, such as Plan van actie voor arbeid en brood (‘Plan of Action for Work and Bread’) of 1935. Although the Work Combination OV 20 officially closed down around the mid-1930s, Oorthuys and Voskuil continued their collaboration on an incidental basis. Notwithstanding, from about 1935, Oorthuys was working more frequently as a designer on an independent basis. One project in that year is his cover design for the magazine Filmliga (‘Film League’), specifically Hans Richter’s special double issue 7/8. The text is largely done in lower-case letters, with a drawing of a filmstrip that cuts across a photo of Charlie Chaplin, with the title ‘contribution to the aesthetic of film’ placed diagonally. With this design, Oorthuys clearly affirms his allegiance to New Typography as it was propagated in the Netherlands starting in the second half of the 1920s, chiefly by Paul Schuitema and Piet Zwart.

In 1935, the Social Democratic publishing company De Arbeiderspers began putting out the weekly Wij. Ons werk, ons leven (‘We. Our Work, Our Life’). Nico de Haas was responsible for the design, Voskuil for the drawn illustrations. Oorthuys was involved as a photographer from the very start, though at first without a contract. He was introduced in the magazine’s third issue as follows: ‘This time it’s the young Dutch art photographer Oorthuys, of whom we are bringing an exclusive “Wij” photo. His work will undoubtedly draw attention in broader circles. In the coming issues, “Wij” will present various artistic achievements of this camera-artist to the Dutch public.’ The shots by Oorthuys that were initially reproduced in Wij clearly betray the influence of New Photography. But once Oorthuys was hired to work on the magazines Wij and Het Volk (‘The People’) as a staff photographer for De Arbeiderspers in 1936, he started to evolve more and more into a reportage photographer with a sharp eye for people in their social surroundings.

While Oorthuys was working for the Social Democratic publisher De Arbeiderspers, he remained in close contact with the CPH and its associated anti-fascist organisations. As such, he was one of the founders of the ‘foto en film’ (‘photo and film’) group of the BKVK (Bond van Kunstenaars ter Verdediging van de Kulturele rechten, ‘Federation of Artists in Defense of Cultural Rights’) on 2 July 1936. Oorthuys, Carel Blazer, and De Haas together formed the group’s first supervisory board. What inspired the formation of this group within the BKVK, which itself had been founded in 1935, were the preparations being made for the anti-fascist exhibition De Olympiade Onder Dictatuur (DOOD, ‘The Olympiad Under Dictatorship’). This exhibition was held in the building called ‘De Geelvinck’ from 1 August to 16 September 1936 to protest against the Olympic games in Berlin. Oorthuys and Voskuil designed the poster and the cover of the catalogue, which both clearly betray the influence of the photomontages of John Heartfield in the German magazine AIZ. The same applies to the cover of a brochure they designed together in 1936: Eenheid voor vrede en socialisme – Tegen oorlog en fascisme (‘Unity for Peace and Socialism—Against War and Fascism’).

Shortly after the DOOD (in Dutch, literally translated as ‘Death’) exhibition, an incident took place that deeply shocked Oorthuys and his compatriots. From one day to the next, Oorthuys’ good friend and colleague Nico de Haas switched over to the fiercely contested fascist side and became a staff employee of the NSB’s (‘Nationaal Socialistische Beweging, ‘National Scoialists Movement’) newly established newspaper Het Nationale Dagblad (‘The National Newspaper’), which appeared for the first time on 2 November 1936. What made the situation even more disturbing was the fact that De Haas had promoted himself, via images and written text, as the leading propagandist of New Photography from the mid-1930s onward. He was responsible for projects such as the special photography issue of the architecture magazine De 8 en Opbouw, which appeared on 8 February 1936 for the following reason: ‘(…) the editorial board of this magazine views the development of the new photography as one expression of a striving that is closely related to the movement in its own field.’ In this same issue, Oorthuys’ highly defined detail shot of a hand was included to illustrate the manner in which New Photography was bringing a decisive end to the outdated approach of art photography.

After the exhibition DOOD, Oorthuys and Carel Blazer became involved in the organisation of a traveling exhibition for the ‘Comité Hulp aan Spanje’ (‘Aid to Spain Committee’), which opened on 1 February 1937. Accompanying this exhibition was the brochure Fascisten verwoesten Spanje (‘Fascists Destroy Spain’), designed by himself and Voskuil. Immediately hereafter, Oorthuys was one of the initiators and organisers of the exhibition Foto ’37. This event was organised by the photography members of the BKVK from 19 June to 19 September 1937, under the auspices of the VANK (Nederlandsche Vereeniging voor Ambachts- en Nijverheidskunst, ‘Netherlands Association for Applied and Industrial Art), which was able to gain access to exhibition space in the Stedelijk Museum in Amsterdam. On paper, Paul Schuitema was the chairman of the exhibition committee. In reality, however, the real work was being done by Eva Besnyö, as secretary/treasurer, and Oorthuys, as a representative of the younger generation of photographers. Oorthuys also designed the stationery and the accompanying folder, which later on served as an important source of information concerning the exhibitors and the framework of the exhibition. Besides his portraits, Oorthuys’ work was also shown in the space devoted to reportage photography. Together with other photographers of the BKVK, he collaborated on a large photomontage concerning life in the Dutch capital, Amsterdam. A special edition of Prisma der kunsten (‘Prism of the Arts’) devoted to Foto ’37 includes an illustration by Oorthuys that verifies the principles of New Typography were no longer sacred. Drawn illustrations also figured alongside and in combination with photos—something that had initially drawn strong protest from the pioneers of New Typography. The illustration that Oorthuys designed in 1938 for the back cover of the brochure Nood in China! (‘Crisis in China!’) reveals the same characteristics.

The exhibition Foto ’37 not only set the tone for the future development of photography in the Netherlands after World War II, but it also laid the basis for the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’), as the most important post-war professional organisation of photographers. At the end of 1939, the photographers Emmy Andriesse, Eva Besnyö, Carel Blazer, Wim Brusse, Jan Kann, Cas Oorthuys, Claar Pronk, and Lex Metz enrolled as members of the VANK, and within this organisation, they had set up a new department of photography.

Although the press was muzzled immediately after the German invasion of the Netherlands in May 1940, Oorthuys continued to work for De Arbeiderspers until early 1942, at which time he quite his job. The consequences of the German occupation had begun to weigh heavier on people’s spirits and active resistance was growing. Nico de Haas returned to De Arbeiderspers, after it was placed under German management. De Haas had free access to the photo and negatives archive of De Arbeiderspers. As the editor of the magazine Hamer (‘Hammer’) of the Volksche Werkgemeenschap (‘Peoples’ Working Community’), he placed numerous photos by Oorthuys, as well as work by Charles Breijer, who had also been employed as a staff photographer at the publishing company since 1938. Considering Oorthuys’ and Breijer’s close connections with the Dutch resistance, there is no doubt that De Haas’ actions in any way corresponded with their own personal intentions. Oorthuys was involved in the Persoonsbewijzen Centrale (‘Personal Identity Papers Centre’), an underground organisation set up in 1942 to produce passport photos for forged identity papers. In the meantime, he was surviving by accepting work such as a commission from Uitgeverij Contact to publish a book on the subject of agriculture. In May 1944, an unfortunate chain of events almost cost Oorthuys his life, stemming from contacts with the resistance group of Paul Guermonprez. When arranging rationing coupons for people in hiding during a meeting with the architect J.J. van der Linden, Guermonprez’s housemate, he was arrested by the Germans during a raid. Oorthuys ultimately ended up at Camp Amersfoort. To his own surprise and that of everyone around him, he was released again in August. In all likelihood, it was Nico de Haas—who, soon after the German invasion, had worked his way up to become a leading member of the Dutch SS—that had acted on Oorthuys’ behalf. Once released from Camp Amersfoort, Oorthuys became affiliated with a group of photographers later referred to as ‘De Ondergedoken Camera’ (‘The Illegal Camera’), initiated around the time ‘Dolle Dinsdag’ (‘Mad Tuesday’, 5 September 1944) by the photographer Fritz Kahlenberg, a German immigrant, and Tonny van Renterghem, an ex-soldier. The group’s initial aim was to photographically document what was thought to be the ensuing liberation. When instead a long and difficult hunger winter proved to lie ahead, the main subjects photographed became hunger and resistance. This entailed taking unavoidable risks, especially when, starting on 20 November 1944, the German occupier announced a total ban on ‘photographing, filming, drawing, as well as depicting people and matters in any other way, which take place outside private spaces.’

Starting with the special issue entitled ‘Er moet veel strijd gestreden zijn…’ (‘There is much fighting to be done…’) of De Vrije Katheder (‘The Free Pulpit’), as well as the book Amsterdam tijdens de hongerwinter (‘Amsterdam During the Hunger Winter’), the photographs produced by this Amsterdam group determined the image of the German occupation to a significant degree. The covers for both publications, designed by Dick Elffers, featured Oorthuys’ close-up photos of a woman holding a piece of bread. One photo from this series later reached an audience of millions via the exhibition and publication The Family of Man, organised in 1955 by Edward Steichen. In 1970, Oorthuys himself assembled a large selection of his war photos in the book 1944-45 het laatste jaar. Een verslag in foto’s over onderdrukking en bevrijding (‘1944-45 The Last Year. An Account in Photos on Suppression and Liberation’). In the foreword of this publication, Oorthuys writes of ‘(…) the long awaited but unjoyous liberation’. The war had clearly left its mark on him. Nevertheless, Oorthuys built up a working intensity like never before and started out on a career as a freelance photographer that would last thirty years. At the department of photography of the GKF—the ‘Vereeniging van Beoefenaars der Gebonden Kunsten in de Federatie’ (‘Association of Practitioners of the United Arts in the Federation’), founded on 1 September 1945—Oorthuys encountered his photography friends from the BKVK, the VANK, and the resistance movement.

It soon became clear that Oorthuys’ true passion was making photobooks. In 1946, Landbouw (‘Agriculture’) was his first book, which included only his own photos. The book was a co-production of the Agrarisch Fonds (‘Agrarian Fund’) and Uitgeverij Contact. Over the years to come, Oorthuys would compile approximately seventy books for this Amsterdam publishing company. The post-war continuation of the series De schoonheid van ons land (‘The Beauty of Our Country’), on which he collaborated together with various other photographers of the GKf, initially made up a large part of this work.

In the meantime, Oorthuys was becoming more interested in travelling abroad. In September/October 1946, he attended the Nuremberg trials in Germany on assignment for the ABC Press Agency. In early 1947, Oorthuys took a two-month trip traveling across Indonesia for a project commissioned by this same agency and Uitgeverij Contact. The goal of this trip was to take shots for a photobook that was to appear in July of the same year under the title Een staat in wording (‘A Nation Becoming’). The book was designed by Oorthuys himself. The photos and text—the latter written by Albert de la Court, an education specialist—argued in no uncertain terms for a peaceful solution to Indonesia’s struggle for independence. But before the book was even published, the first Dutch military offensives were already in full swing: a disappointment for many of those who had resisted the German occupation of the Netherlands only a short while back.

More than ten years after the exhibition Foto ’37, the Stedelijk Museum in Amsterdam offered the GKf—which by this time had grown to sixteen members—space for the exhibition Foto ’48. A special issue of the Kroniek van Kunst en Kultuur (‘Chronicle of Art and Culture’) served as the exhibition catalogue. It can be described as a manifesto for reportage photography and a regard for issues concerning humanity in photography. Oorthuys illustrated this with three shots taken in Indonesia. Piet Zwart, in his article ‘Gereinigde fotografie’ (‘Cleansed Photography’), wrote the following about these photos: ‘(…) who gave a more convincing picture of a trust in one’s own ability to build a new societal order than Cas Oorthuys with his Indonesian photos? He placed the physiognomy of a people struggling for freedom into our hands.’

Once the Netherlands had gradually begun to recover in material terms from World War II, important opportunities for photographers began to emerge via commissions coming from the business world. In 1950, the book Veertig jaar Draka (‘Forty Years Draka’) appeared—one of the first corporate books for which Oorthuys did all of the photographic work. The commission itself had been arranged by Oorthuys’ younger brother, Frans, who was working as a solicitor for this wire and cable manufacturer in Amsterdam. The gradual reconstruction of the Netherlands is also evident in a series of children’s postage stamps that Oorthuys designed in 1951 for the PTT (the Dutch national postal, telegraph, and telephone company). Mirroring the stamps that Zwart, Kiljan, and Schuitema had designed in the early 1930s, photomontages were used. On each of the five stamps there is a portrait of a child—including Oorthuys’ own daughter, Hansje—placed against the background of an aspect relevant to the Netherlands, e.g. (home) construction and industry, which appears on three of the stamps. With the steadily increasing affluence of Dutch citizens, the possibility of traveling abroad—not to mention domestic tourism—was becoming a real possibility for a greater number of people in society. In response to this trend, Uitgeverij Contact commissioned Oorthuys to make a book about Paris. It was published in 1951 under the title Bonjour Paris. Bonsoir Paris. Au Revoir Paris. Parijse begroetingen door Cas Oorthuys en Jan Brusse (‘Bonjour Paris. Bonsoir Paris. Au Revoir Paris. Parisan Greetings by Cas Oorthuys and Jan Brusse’). The dust jacket was designed by Jan van Keulen. It was the success of this small book that gave rise to the idea of producing a series of photography pocketbook editions. Between 1951 and 1965, almost forty small volumes were published featuring Oorthuys’ photos, with a number also being sold in English-, French-, and German-language editions. For these Contact photo and travel pocketbook editions, Oorthuys traveled to numerous countries within Europe, often accompanied by the authors. Upon his return a selection was then made—in coordination with the publisher—from the thousands of negatives he had brought back with him from all of his travels. The design of these pocketbook editions was based on the square negative format of the Rolleiflex, Oorthuys’ preferred camera throughout his life.

Besides these photo pocketbooks, Contact also published several larger books by Oorthuys on the Netherlands and Dutch cities. The British publisher Cassirer published his book on Oxford in the United Kingdom. Without doubt, his most notable publication was Rotterdam dynamische stad (‘Rotterdam Dynamic City’) from 1959. On 11 July 1959, the Dutch weekly Elseviers Weekblad reported: ‘If ever a photographic publication was to deserve the designation of ‘perfect’, then it is certainly Cas Oorthuys’ monumental photobook Rotterdam, dynamische stad… When paging through this magnificent book, one can tell in one glance that the photographer, as it were, was obsessed with the wonderful dynamic that the Netherlands’ second city and the world’s second port embodies. This is why a salute is in order for the Amsterdammer Oorthuys, who earns the honorary palm with the Rotterdam photobook. The honorary palm for a lightly written epic about a part of the Netherlands, where a melting pot of human ingenuity, industriousness and perseverance, a conglomerate of steel, stone, oil and water, of pile drivers and bridges, cranes and elevators, of apartment buildings, storage houses and ocean giants lead to the rising up of a port city that shall nowhere find its equal on this planet.’

The optimistic attitude reflected in this book stands in contrast to De toekomst in uw handen (‘The Future in your Hands’), which addressed the dangers of the atomic era. A. den Doolaard, who was commissioned in 1955 by the Peace Library in Oslo, Norway, to write the book, asked Oorthuys to provide the photographic illustrations. Oorthuys was already able to select works from his well-organised archive, arranged according to subject and accessible via contact prints.

The exhibition E55 (‘Nationale Energiemanifestatie’, ‘National Energy Exhibition’), held at the Ahoy Hall in Rotterdam, marks the turnaround in the Dutch economy. Oorthuys was responsible for the poster’s design, in which his daughter Fenna also figures. In addition, he furnished a large number of monumental photo enlargements that were meant to illustrate the growth and prosperity of the Netherlands as an industrial nation. It was experience that would later prove to be useful. For the World Expo of 1967 held in Montreal, Oorthuys was commissioned to produce a massive photo mural depicting every possible aspect of Dutch society. Here too he was able to retrieve works from his archive, which by this time had been enriched with countless images of the industrial development that the Netherlands had undergone.

From 1955 to 1966, the Meijer printing company in Wormerveer was one of Oorthuys’ important clients. Meijer was specialised in publications produced for and about the Dutch business world (under the company names ‘Meijer Pers’ and ‘Meijer’s Industriële Uitgeverij’). This led to the realisation of nearly twenty books concerning various kinds of companies. Produced by leading graphic designers with texts by noteworthy authors, these books are among the most exquisite post-war publications produced in the Netherlands. One notable characteristic of Oorthuys’ corporate books is his interest in the role of people who operate the machinery. Most of these corporate reportages were Netherlands-based, but they occasionally also led to commissions received from abroad. In 1956, Oorthuys traveled to New Guinea to take photographs for the construction firm Bredero’s Bouwbedrijf, a major client based on his friendship with the company director, Jan de Vries. In 1959, Oorthuys was invited by the Belgian information service (‘voorlichtingsdienst’)—via the Flemish writer Karel Jonckheere—to travel for three months around the Congo for the purpose of making a photobook. Plans for the book were eventually postponed, however, due to Congo achieving its independence. Not until 1992 were Oorthuys’ Congo photographs published in book form. Directly following his trip to Congo, Oorthuys also visited the ore mines in Tanganyika (present-day Tanzania) and Rhodesia (Zimbabwe).

On the occasion of Oorthuys’ sixtieth birthday, the Stedelijk Museum in Amsterdam gave him the opportunity to display his work at a solo exhibition. This celebratory exhibition was held in 1969, entitled Over mensen (‘About People’). Uitgeverij Contact as well published a book with the title Mensen/People, comprising a selection of works from his oeuvre. In the book’s foreword, Oorthuys summarised his life and motivation as follows: ‘I have already lived for more than sixty years—most of it is therefore over. I was born in 1908 and two world wars are a bit much for one life, and economic depression and poverty, and during the war many friends died and we were afraid and now there is always war, but thank god not yet here. We live in prosperity and eat too much and are tourists in impoverished countries where people are happy and laughing because they’ve never learned anything else, and wear a lot of things on their heads because there is no other option and even water has to be carried. I take photos of this, even if they’re dying of hunger on the street: they can’t do anything back. I love people, but am fearful of everything we do to each other. We wish death upon Göhring and many others, and sometimes they too are now dead. The TV can do more than we photographers, in your room you see people killing on TV.’

Both the book and the exhibition included the same photos, categorised into fifteen thematic groups of eight images each, beginning with death and ending with laughter. This arrangement was based on considerations of a technical nature, as Oorthuys himself related in the newspaper De Uitkrant (Amsterdam) of November 1969: ‘Just as an architect seeks a system for his structure—I have always remained an architect, which I was first, before the economic crisis brought me, like it did Carel Blazer, to photography; I would still like to be an architect…—so did I too search as a photographer for a systematic layout. I found it in printing technique: eight photos on one sheet. For 15 different subjects, this means 8 times 15 equals 120 photos.’ Fifteen writers—friends with whom Oorthuys had worked, primarily on the series of Contact photo pocketbooks and Meijer Pers’ corporate books—provided the texts that accompanied the photos. The earliest was a portrait of his father, Pastor Oorthuys, which dates from 1935. The latest dates from 1969: the launching of Apollo 11 for the first moon-landing, which Oorthuys attended, together with Simon Vinkenoog, on assignment for the Dutch insurance company AMEV. The entire project Mensen/People was actually a collaborative product involving all of the people with whom Oorthuys had worked over the years. His wife, Lydia, assisted as usual by making a selection of photographs from the archive. Oorthuys’ daughter, Hansje, designed the book’s typography. The printing was done by Wies Meertens—from 1956 to 1975 Oorthuys’ permanent darkroom assistant—and Michiel Kort. The photos themselves were retouched by Willy Groenestein, the administrative assistant, and subsequently mounted for the exhibition designed by Oorthuys’ son-in-law, Boris Roos. It included a twenty-minute film made by Kalman Gall for the VARA Broadcasting Association, which was also shown in Moscow, Leningrad, Minsk, and Kiev in 1971-’72.

To commemorate the twenty-fifth anniversary of the liberation of the Netherlands, Oorthuys assembled his photos of the German occupation and the liberation in the form of a book, as proposed by Uitgeverij Contact. Entitled 1944-45 het laatste jaar (‘1944-1945 The Last Year’), the book was published in the same format and with the same design as Mensen/People. On 24 August 1974, Oorthuys reflected on this period in the column ‘Hollands Dagboek’ (‘Dutch Diary’) of the newspaper NRC Handelsblad: ‘Read a review by Bert Sprenkeling in Het Parool [concerning the exhibition Mooie Vrijheid (‘Beautiful Freedom’) at the New Church in Amsterdam­–FB]. He actually only thinks my war photos are good: with such a review, I’ll be able to die in peace. I personally think that perhaps, in the long run, the book “The Last Year” will prove to be my best book.’ Less than one year later, Cas Oorthuys died unexpectedly on 22 July 1975 at the age of 66. Barely three months before, he had completed his design for a postage stamp— his last major commission—for the PTT, to mark what was by now the thirtieth anniversary of the liberation. Capturing the essence of the war and the liberation on such a tiny surface entailed a great effort on Oorthuys’ part. In the end, however, the result was achieved through very simple means: combining the eye of his daughter Fenna with barbed wire, as symbols of the future and suppression.

After her husband’s death, Lydia Oorthuys continued with the running of his archive. Built with limitless energy and spanning a period of thirty years, Oorthuys’ oeuvre had grown to become one of the most extensive negative archives in the Netherlands, comprising circa 500,000 images. It was also one of the most easily accessible negative archives in the country. In order to provide a better overview of the options available to users, Oorthuys’ daughter Hansje designed a brochure that explained, in a concise and schematic manner, which topics and countries were photographed by Oorthuys. For a period of fifteen years, Lydia Oorthuys managed the archive—utilised day in and day out for a multitude purposes and applications—before being transferred to the Stichting Nederlands Fotoarchief (‘Netherlands Photo Archive Foundation’) in Rotterdam in 1990. Particularly through recent books introduced on the market by the Rotterdam publishing company DUO/DUO—such as Rotterdam, dynamische stad 1950-1990 (‘Rotterdam, Dynamic City 1950-1990’, 1990), Guaranteed Real Dutch Congo (1992), and Cas Oorthuys. Werken in de bouw 1946-66 (‘Cas Oorthuys. Working in Construction 1946-66′, 1992)—it becomes evident that Oorthuys’ archive still contains a wealth of unpublished images that testify to his acute and humane perspective on humanity.

In the more than forty years that Cas Oorthuys was active as a photographer, he has provided an exceptional picture of Dutch society for this period of time. Though he started out by making a series of portraits using a plate camera on wheels in the mid-1930s, throughout his life he remained the quintessential reportage photographer. He preferred a 6×6 cm Rolleiflex, but due to his failing eyesight, he began to work more frequently with a 35 mm camera starting in the 1960s.

In an interview with Han G. Hoekstra for the radio programme Vragenvuur, Oorthuys described his own working method as follows: ‘I photograph each thing at least ten times. I just circle around it, a church, a square, a situation…. I just constantly turn in circles and think: I’ve got it! That’s my way.’ It is this approach to working that explains the scope of the archive he built up over a period of thirty years.

More important, however, is the high quality of the steady stream of photos that Oorthuys produced each and every day. Taught by New Photography to capture reality in a forthright manner and with great sharpness—combined with his social activism—he was capable of depicting life and the human struggle ever anew, with a strong sense of form and surprising angles of view. Because of his varied commissions, great working capacity, and sharp power of observation, Oorthuys created an oeuvre that presents a unique picture of the times, both as a whole and in terms of individual images. As the text of an advertisement promoting the Fotografie Biënnale Rotterdam in 1988 aptly stated: ‘Since Oorthuys, finally something to look forward to.’


Primary bibliography

DJ. Maltha (tekst), Landbouw, Amsterdam (Contact) 1946.

D.A. Tamminga (tekst), Een halve eeuw Coöperatieve Zuivelorganisatie. 1897-1947. Gedenkschrift bij het vijftigjarig bestaan van de “Bond van Coöperatieve Zuivelfabrieken in Friesland”, z.p., z j . (1947).

Alb. de la Court (tekst), Een staat in wording. Foto-reportage over het Indonesië van heden, Amsterdam/Antwerpen (Contact) z.j. (1947).

C.H.J. Maliepaard (hoofdred.), Rundvee, Amsterdam (Contact) 1948.

Evert Zandstra en Cas Oorthuys, Zwervend door Nederland, Amsterdam/Antwerpen (Contact) 1950 (idem: kortere versie van dit boek).

C.H.J. Maliepaard (hoofdred.), Trekpaarden, Amsterdam (Contact) 1950.

Veertig jaar DRAKA. Geschiedenis van de N.V. Hollandsche Draad- en Kabelfabriek Amsterdam. Geschreven ter gelegenheid van het veertig-jarig bestaan dezer onderneming. 1910. 20 april. 1950, z.p., z.j. (1950).

Bert Decorte e.a. (tekst), Het Vlaamse landschap, Amsterdam/Antwerpen (Contact) 1951 (serie: De schoonheid van ons land. Land en volk, deel 9).

C.J. Kelk (tekst), Nederland in foto’s, Amsterdam (Contact) 1955 (met Nederlandse, Engelse, Franse en Duitse tekst).

D. van der Linden (tekst), Helmond, een kasteel tussen fabrieken, Helmond z.j. (ca. 1955).

J.W. de Boer (tekst), Rotterdam dynamische stad, Amsterdam (Contact) z.j. (1959) (idem Engelse editie).

D. Dresden, J J . Vriend enj. de Vries (redactie), BBB. Bouwen en industrie. Bouwen en speurwerk. Bouwen en organisatie, Utrecht (Bredero’s Bouwbedrijf N.V.) 1960.

Hans Andreus (tekst), 125 Jaar Koninklijke Jutespinnerij en -weverij Ter Horst & Co N.V. Rijssen Holland. 1835-1960, Wormerveer (Meijer’s Industriële Uitgeverij) z.j. (1960).

Max Dendermonde, Onderdak voor ruimte/Ruimte voor onderdak, Utrecht (Verenigde Bedrijven Bredero N.V. Bredero Vast Goed N.V.) z.j.

Max Dendermonde, Een eeuw door weer en wind. ‘s Werelds wel en wee gedurende honderd jaren varen met Vinke & Co, Wormerveer (Meijer’s Industriële Uitgeverij) z.j. (ca. 1960), p. 20, 61-85, 87-93.

Max Dendermonde (tekst), Toegang tot de toekomst. De bouw van de nieuwe Havenmond bij Hoek van Holland in opdracht van Rijkswaterstaat uitgevoerd door Combinatie Havenmond Hoek van Holland, Nijmegen (Kon. Drukkerij Thieme) z.j.

Bert Schierbeek (tekst), De draad van het verhaal, Wormerveer (Meijer’s Industriële Uitgeverij) z.j. (1960).

Evert Zandstra, Zwervend door Nederland. Deel I Gelderland, Overijssel, Utrecht en het Gooi, Noord-Brabant en Limburg, Amsterdam/Antwerpen (Contact) 1962.

Diergeneeskunde nu. Een selectie foto’s uit het beroep. Samengesteld ter gelegenheid van het honderdjarig bestaan van de Maatschappij voor Diergeneeskunde, Utrecht 1962.

Evert Zandstra, Zwervend door Nederland. Deel II Zeeland, Zuid-Holland, Noord-Holland, Friesland, Groningen, Drenthe en de Waddeneilanden, Amsterdam/Antwerpen (Contact) 1963.

Gerrit Kouwenaar en Jan Mastenbroek (tekst), Amsterdam onze hoofdstad, Amsterdam (Contact) 1963.

Alan Bullock (voorwoord), Term in Oxford, Oxford/Amsterdam (Bruno Cassirer/Contact) 1963.

J.G. Elburg (tekst), Breda, Wormerveer (Meijer’s Industriële Uitgeverij) z.j. (ca. 1964).

Max Dendermonde (samenstelling), Een eeuw aan banden. Honderd jaar Vullinghs Heeze, Wormerveer (Meijer Pers) z.j. (1965).

Max Dendermonde (red.), Samen leven met het leven, Wormerveer (Meijer Pers n.v.) z.j. (1966).

W.Jappe Alberts e.a. (tekst), Arnhem, Amsterdam (Contact) 1967 (idem Duitse en Engelse editie).

Wim Alings Jr. (samenstelling), De mens in de delta. Montreal Expo ’67, Wormerveer (Meijer Pers n.v.) 1968.

Mensen/People, Amsterdam (Contact) 1969.

1944-45 het laatste jaar. Een verslag in foto’s over onderdrukking en bevrijding, Amsterdam (Contact) 1970.

Cas Oorthuys. Amsterdam 1944/45, in Album 1 (mei 1970) 4, omslag, p. 26-39 (met foto’s).

Bert Schierbeek (tekst)/Cas Oorthuys (vormgeving en foto’s), Feest in Utrecht. Dit is een verslag in foto’s van aankomst, ontvangst, diner en feest en het afscheid van het feest 50 jaar Bredero (…), Utrecht (Verenigde Bedrijven Bredero N.V.) 1971.

Hollands Dagboek, in NRC Handelsblad 24 augustus 1974.

Bertus G. Antonissen (tekst), Reve/Hermans. Een anekdote, Rotterdam (Cremers) 1988.

Guaranteed Real Dutch Congo, Rotterdam (DUO/DUO) 1992.

Mensen aan de stroom. Reisimpressies van Cas Oorthuys in Belgisch Congo 1959, Tervuren (Museum voor Midden-Afrika) 1992.


foto’s in (belangrijkste fotopublicaties):

Max Dendermonde, …een steen is een steen is een stad… De geschiedenis van Bredero, z.p. (Utrecht) z.j.

Jan Mastenbroek (tekst), N.D.S.M. Nederlandsche Dok en Scheepsbouw Maatschappij V.O.F., Wormerveer (Meijer’s Industriële Uitgeverij) z.j.

Max Dendermonde (tekst), Synthese. Kunstharsfabriek Synthese N.V. Katwijk Holland, z.p., z.j., ongepag.

Auteur onbekend, Adriaan Volker Huis, z.p., z.j., ongepag.

Auteur onbekend, Bruynzeel, z.p. (Bruynzeel bv, Public Relations) z.j., p. 5, 10-11, 16, 18, 20-22, 24, 26, 28, 34, 36-38, 41-42.

Wij. Ons werk ons leven 1935-1940. Catalogus tent. foto ’37, Prisma der Kunsten 1937 (speciaal nummer), p. 112, 127, 133.

P.J. Mijksenaar (red.), Om het dagelijks brood, Amsterdam (ARBO) 1939, na p. 40, na p. 48, na p. 56, na p. 72, na p. 104, na p. 136, na p. 152, na p. 168, na p. 184, na p. 200, na p. 216.

Walter Brandligt e.a. (tekst), Het landschap, Amsterdam (Contact) 1941, geh. herz. en verm. dr., afb. 25, 68, 85, 145, 150-152, 178-180 (serie: De schoonheid van ons land, deel 1).

W.J. van Balen e.a. (tekst), De steden, Amsterdam (Contact) 1941, geh. herz. en verm. dr., afb. 41, 123, 141, 170-171, 178-180 (serie: De schoonheid van ons land, deel 2).

Foto Kalender naar fotografische opnamen van Cas Oorthuys 1943, z. p. 1942.

Norman Phillips en J. Nikerk, Holland and the Canadians, Amsterdam (Contact) z.j. (1946), p. 1,4-12, 14-15,21,29,31,33,41, 49, 52, 54, 56-57, 69, 72 (idem: Nederlandse editie).

Max Nord (inl.), Amsterdam tijdens de hongerwinter, Amsterdam (Contact in samenwerking met De Bezige Bij) z.j. (1947), ongepag.

Johan Luger (inl.), Nederland. Zoals de toerist het ziet/The Netherlands. Seen by the tourist, Amsterdam/Antwerpen (Contact) 1947 (met Engelse en Nederlandse tekst).

Th.P. Tromp, Verwoesting en wederopbouw/Revival of the Netherlands, Amsterdam (Contact) z.j. (1948), afb. 1-3, 11-13, 17, 30-32, 36, 38-39, 41. 43-44, 47, 49, 52, 56, 74-76, 82, 91-97, 99-104.

Walter Brandligt e.a. (tekst), Het landschap, Amsterdam/Antwerpen (Contact) 1948, afb. 4-5, 8-16, 20-25, 27-30, 32-38, 40-46, 49-57, 60-63, 66, 68-73, 76, 78-83, 85-96, 98-101, 106-107, 110-111, 119-121, 124-127 (serie: De schoonheid van ons land. Land en volk, deel 3).

Joh. Bos e.a. (tekst), Vijftig jaar Nederlandse fruitteelt, Amsterdam (Contact) 1948.

Lode Baekelmans e.a. (tekst), Emmy Andriesse en Cas Oorthuys (foto’s), De Vlaamse steden, Amsterdam/Antwerpen (Contact) 1948 (serie: De schoonheid van ons land. Land en volk, deel 6, idem serie: De schoonheid van België, deel 2, 1950).

Han G. Hoekstra (tekst), Emmy Andriesse en Cas Oorthuys (foto’s), Amsterdam in de vierjaargetijden, Amsterdam/Antwerpen (Contact) z.j. (1948).

P.J. Mijksenaar (tekst), Emmy Andriesse en Cas Oorthuys (foto’s), Amsterdam, its beauty and character, Amsterdam/Antwerpen (Contact) 1949.

Evert Zandstra e.a. (tekst), Het water, Amsterdam/Antwerpen (Contact) 1950 (serie: De schoonheid van ons land. Land en volk, deel 7).

J.T.P. Bijhouwer e.a. (tekst), De steden, Amsterdam/Antwerpen (Contact) 1951, afb. 1-7, 9-18, 20-23, 29-59, 62-65, 67-79, 82-94, 96, 99, 102-103, 105-122, 126-160 (serie: De schoonheid van ons land. Land en volk, deel 10).

Contact-Foto-Kalender 1954, Amsterdam/Antwerpen (Contact) z.j. (1953).

J. Algera (inl.), 60 Jaar hoofdbestuur PTT. 1893-1953, z.p. (PTT) 1954, p. 81, 93, 98-99, 105-106, 109, 111, 124-129, 131, 143-145, 151, 165, 188, 195, 217, 220, 226, 228, 239, 241, 243-245, 247-248, 251, 255, 259, 265-266, 268, 283-285.

Contact-Foto-Kalender 1955, Amsterdam/Antwerpen (Contact) z.j. (1954).

A. den Doolaard en Cas Oorthuys, De toekomst in uw handen, Delft (W.Gaade N.V.) z.j. (1955).

J.M. Fuchs, De beurt is aan. Gedenkboek, in opdracht van Reederij Van Swieten n.v. ter gelegenheid van zijn honderdjarig bestaan 1855/1955, Wormerveer (Iris-Pers) z.j. (1955).

Catalogus tent. The Family of Man, New York (Museum of Modern Art) 1955, p. 152.

Contact-Foto-Kalender 1956. Een weekkalender van Nederland met foto’s van Cas Oorthuys, Amsterdam/Antwerpen (Contact) z.j. (1955).

Contact-Foto-Kalender 1957, Amsterdam/Antwerpen (Contact) z.j. (1956).

Contact-Foto-Kalender 1958, Amsterdam/Antwerpen (Contact) z.j. (1957).

E. Elias (tekst), Meteoor beton. 50 Jaren Meteoor beton. 1907-1957, z.p., z.j. (ca. 1957) , p. 2, 6, 8, 36-37, 48-51, 53, 73, 75-76, 78, 80-82, 84-91, 94, 98-99, 102, 105-111, 114.

Contact-Foto-Kalender 1959, Amsterdam/Antwerpen (Contact) z.j. (1958).

Paul Rodenko en G.S.K. Blaauw, Vuur aan zee, IJmuiden (Hoogovens) 1958, p. 6-7, 14, 20-25, 27, 34, 38, 58-59, 62, 64.

J.J. Vriend (tekst), Architectuur van deze eeuw, Amsterdam (Contact) 1959, p. 54, 96, 115, 129, 142, 153, 166, 170, 173-174, 190 (serie: De schoonheid van ons land. Architectuur, deel 16).

Contact-Steden-Kalender 1960, Amsterdam (Contact) 1959.

A. Knoppers-Kooiman en J. Duyvetter (samenstelling), Trachtenland Holland – Einst und jetzt, z.p., z.j. (ca. 1959), afb. 2-4, 10, 14-15, 18, 22, 24-25, 33, 36.

Jan Mastenbroek (tekst), Netherlands Doek and Shipbuilding Company, Wormerveer (Meijer’s Industriële Uitgeverij) z.j. (ca. 1959),voor p. 1,6-15, 18-20, 22, 25, 28, 30-32, 34-40.

L. Harpman en P.A. Becx (red.), PLEM 1909-1959. Gedenkboek uitgegeven ter gelegenheid van het 50-jarig bestaan van de N.V. Provinciale Limburgsche Electriciteits-Maatschappij te Maastricht, Maastricht z.j. (ca. 1959), ongepag.

D.A. Piers, Wisselend getij. Geschiedenis van het Koninklijk Nederlands Landbouw-Comité over de periode negentienhonderd vierendertig tot en met negentienhonderd negenenvijftig, z.p. (Den Haag) (Koninklijk Nederlands Landbouw-Comité) z.j. (1960), 11 foto’s voor p. 1, 12 foto’s na p. 360.

Eldert Willems (samenstelling), In 26 letters. Het boek in uw leven, uw leven in het boek, z.p. (Amsterdam) (Vereeniging ter bevordering van de belangen des boekhandels) 1960.

W. von Dahlembergk, Graphia Hans Gundlach GMBH Bielefeld. Entwicklung und Bedeutung eines graphischen Grossbetriebes 1929-1960, z.p. (Bielefeld) 1960.

Jan Mastenbroek (tekst), Ahob. Automatische halve overwegbomen, Utrecht (N.V. Nederlandsche Spoorwegen) 1960.

A.F. Kamp, N.V. Billiton Maatschappij. 1860/1960. Een eeuw in woord en beeld, Den Haag 1960, afb. 29-55, 112-139 (idem: De standvastige tinnen soldaat. 1860-1960/N.V. Billiton Maatschappij ‘s-Gravenhage, Den Haag z .j. (1960) tekst is korter, foto’s zijn gelijk).

Cindu. Verslag van de Raad van Bestuur van Chemische Industrie Uithoorn N.V. over het boekjaar 1960, Uithoorn 1961, ongepag.

J.B.O. Born en M. van Marwijk Kooy, Cindu. Chemische Industrie Uithoorn n.v. Heterogeen evenwicht, Uithoorn (Cindu) 1961, omslag, ongepag.

Bouwmeesters en bouwers. Serie Beroepenvoorlichting no. 6, Contactcentrum Bedrijfsleven-Onderwijs 1961, p. 4, 6, 9-10, 18, 26, 28.

Tjits Veenstra en R. Kramer, Piep, zei de muis. Voor de 1e helft van het 1e leerjaar, Zeist (Dijkstra) 1961, p. 2, 4-47 (serie: Op weg door de wereld. Methode voor organisch onderwijs voor de lagere school, deel 1).

Max Dendermonde, Nieuwe tijden nieuwe schakels. De eerste vijftig jaren van de A.K.U., Wormerveer (Meijer) z.j. (1961).

H. George Franks, Holland’s Industries Stride Ahead. The New Netherlands of the 1960’s, z.p. (Federation of Netherlands Industries) z.j. (1961), omslag, na p. 28, na p. 44, na p. 52, na p. 76, na p. 100, na p. 132, na p. 148, na p. 156, na p. 164, na p. 180, na p. 228.

Dick Steenkamp (tekst), Plan Hoog Catharijne. Bijdrage tot Utrechts centrumfunctie. Opgesteld door N.V. Maatschappij voor Projektontwikkeling ‘EMPEO’, Utrecht (N.V. Maatschappij voor Projektontwikkeling ‘EMPEO’) 1962, omslag, p. 4, 6, 10, 14, 18, 24, 28, 34-36.

F.W.S. Thienen en J. Duyvetter (tekst), Klederdrachten, Amsterdam (Contact) 1962 (serie: De schoonheid van ons land. Land en volk, deel 18).

Max Dendermonde (tekst), De som der delen. N.V. Werf Gusto v/h Firma A.F. Smulders Schiedam 1862-1962, Wormerveer (Meijer’s Industriële Uitgeverij) z.j. (ca. 1962), p. 18, 21-22, 24, 26-27, 30, 32, 37, 40, 42, 45-49, 55-58, 61, 63-64,67.

Gerrit Kouwenaar (tekst), Amsterdam onze hoofdstad, Amsterdam (Contact) 1963. (idem Duitse en Engelse editie).

A. den Doolaard, Vakantieland Joegoslavië, Amsterdam/Antwerpen (Contact) 1963 (gebaseerd op de reispocket Joegoslavië).

Frans Mandos (samenstelling), 75 Jaar bouwen. Van ambacht tot industrie 1889-1964, Best (N.V. Internationale Bouwcompagnie v/h Fa. H. van Heesewijk) 1964.

Nico Verhoeven (tekst), Licht bouwen, z.p., 1965, (serie: Stichting Centrum Bouwen in Staal, no. 212).

A. Alberts (tekst), Nederland tussen verleden en toekomst, Amsterdam/Antwerpen (Contact) 1966. (idem Duitse, Engelse en Spaanse editie).

Bert Schierbeek, Taal & teken, z.p. (Amsterdam) (Vereeniging ter bevordering van de belangen des Boekhandels) z.j. (1965).

E. Zandstra, Vakantie in Limburg, Amsterdam (Contact) z.j. (1966) (gebaseerd op de reispocket Limburg en het boek Zwervend door Nederland).

N.V. Nederlandse Spoorwegen. Jaarverslag 1966, Utrecht 1967, omslag, p. 2-3, 15, 17, 20, 22, 24, 26, 33-34, 37, 39, 42;43, 47.

Wim Alings Jr. (tekst), Reisvlinders vangen, Amsterdam (Contact) 1967, na p.48.

Rudolf Hagelstange, Das gute Mass. Eine Brücke nach Holland, München (Verlag Mensch und Arbeit) 1967, p. 48-50, 62-64, 107, 132-133, 142-144, 161, 193-197, 207-208, 258-259.

David Jawerth e.a. (tekst), Bouwen ’67. Van traditionele naar industriële bouwmethoden / Batir ’67. Des méthodes de construction traditionelles vers les méthodes industrielies, z.p. (N.V. Internationale Bouw Compagnie) z.j. (ca. 1967), p. 2, 4, 18-19, 22, 24, 26, 30, 44, 46-47, 49-50, 52-55, 65, 74-80, 82-87.

A.F. Kamp, ‘s Konings oudste dogter. Kleine geschiedenis nopens wedervaren en onderkomen van De Nederlandsche Bank, Haarlem (Tjeenk Willing & Zoon) 1968, p. 2, 10, 80, 89, 94-105, 111, 113-128.

Frida Terlouw, Geschiedenis van de Coöperatieve Suikerfabriek en Raffinaderij g.a. Puttershoek 1912-1966 en van anderhalve eeuw beetwortelsuiker in Nederland, Wormerveer (Meijer) 1969, ongepag.

SHV. Steenkolen-Handelsvereeniging nv. Jaarverslag 1969, z.p. (Utrecht) 1970, p. 23-47.

SHV. Steenkolen-Handelsvereeniging nv. Jaarverslag 1970, z.p. (Utrecht) 1971, p. 15-18, 21-24, 27-30, 33-36, 39-42.

Grasso. Grasso’s Koninklijke Machinefabrieken nv. Jaarverslag 1972, Den Bosch 1973, p. 7-10, 33-44.

Thyssen-Bornemisza Group nv. Jaarverslag 1972, Amstelveen 1974, p. 8-11. 17-24.

Sacheverell Sitwell, The Netherlands, Londen (B.T. Batsford Ltd.) 1974.

Max Dendermonde e.a. (tekst), Environmental design, Amersfoort (Environmental Design bv) 1974, p. 14-16, 26-27, 30-32, 46, 48-49, 56-61, 66-69, 72, 84-87, 92, 98-100, 102-103, 106-107.

(Agenda) Holland 75, Lochem (Lochem Druk) z.j. (1974).

Constance Nieuwhoff (tekst), Willem Diepraam en Cas Oorthuys (foto’s), Klederdrachten. Een reis langs de levende streekdrachten van Nederland, Amsterdam (Contact) 1976.

Een vinger in de wind. Eenentwintig opstellen aangeboden op 2 mei 1977 aan dr. J. de Vries, Utrecht (Verenigde Bedrijven Bredero n.v.) 1977, p. 16, 26, 46, 86, 92, 100, 102-122, 114-117, 120-130, 132-148, 170, 176, 186, 231, 264-271, 273-277, 279, 284, 286-290, 294-295, 302, 304-305.

(Kalender) ENWB. Eerste enige echte Nederlandsche wielrijdersbond 1978 1984 1989 1995, Amersfoort (ENWB) 1977.

Hans Bouma (tekst), Cas Oorthuys en Ernst Nieuwenhuis (foto’s), Leve het oude ambacht, Laren (Luitingh) 1978.

Constance Nieuwhoff (tekst), Willem Diepraam en Cas Oorthuys (foto’s), Klederdrachten, Amsterdam/Brussel (Elsevier) 1984.

Diethart Kerbs en Carry Lakerveld, Die untergetauchte Kamera. Fotografie im Widerstand. Amsterdam 1940-1945, Kreuzberg (Dirk Nishen Verlag) 1987, omslag, p. 3, 6-7, 10-11, 13-14, 20-22, 24-27, 29 (serie: Edition Photothek XVIII).

Frans van Waarden, Bert de Vroom en Jan Laurier, Fabriekslevens. Persoonlijke geschiedenissen van arbeiders, fabrikanten, managers en andere betrokkenen uit de Twentse textiel¬industrie, Zutphen (De Walburg Pers) 1987, omslag, frontispice, p. 16, 26, 28, 36, 116, 122, 128, 166, 200, 209.

HP. Haagse Post (16 juli 1988) 28/29, omslag, p. 13-15, 17, 20-22, 28, 30-31, 33-39, 44-46, 48, 51-55, 59-61, 64-65, 67, 69, 72-73, 75, 78-79.

Bea Brommer e.a., IJzersterk mensenwerk. IJzer en staal in industrie en kunst, Helmond (Gemeentemuseum) 1989, p. 98-108.

M.P.H.M. Roumen, De Nederlandse trekpaardenfokkerij, z.p., z.j. (ca. 1990), p. 43, 49, 61, 67, 75, 77-78, 80, 82, 84, 87-88, 94, 97, 99, 104.

Aad Speksnijder (samenstelling/eindred.), Rotterdam, dynamische stad 1950-1990, Rotterdam (DUO/DUO) z.j. (1990).

Het vaderland in Europa, Vrij Nederland 29 juni 1991, omslag, p. 7, 10, 12, 22, 24, 26, 28,31,35.

Rotterdam 1950-’60, Rotterdam (DUO/DUO) 1992.

Willem van Zoetendaal (samenstelling), Cas Oorthuys. Werken in de bouw 1946-66, Rotterdam (DUO/DUO) 1992.

Werkend Nederland 1945-1970, in Het Parool (wekelijks één foto) 25 maart-3 juni 1992, 19 juni 1992, 2 september-14 oktober 1992, 28 oktober 1992, 11 november-18 november 1992, 2 december 1992-9 juni 1993.

Maria Heiden en Willem van Zoetendaal (samenstelling), Hotel New York, Rotterdam 1993, p. 2, 13, 19, 33, 46-49.

Het Parool 6 maart 1993, p. 22-23.

NRC Handelsblad 20 maart 1993, Zaterdags Bijvoegsel, p. 1.



Jan Brusse (tekst), Bonjour Paris. Bonsoir Paris. Au revoir Paris. Parijse begroetingen, Amsterdam/Antwerpen (Contact) z.j. (1951) (idem Duitse en Franse editie).

CJ. Kelk (tekst), Dit is ons land Nederland, Amsterdam/Antwerpen (Contact) z.j. (1952) (idem Duitse, Engelse, Franse en Spaanse editie).

Han G. Hoekstra (tekst), Dit is onze hoofdstad Amsterdam, Amsterdam/Antwerpen (Contact) z.j. (1952) (idem Duitse, Engelse en Franse editie).

Ch.A. Cocheret (tekst), Dit is onze havenstad Rotterdam, Amsterdam/Antwerpen (Contact) z.j. (1952) (idem Duitse, Engelse en Franse editie).

Neville Braybrooke (tekst), Dit is Londen, Amsterdam/Antwerpen (Contact) 1953 (idem Duitse en Engelse editie).

Jan Brusse (tekst), De Franse Rivièra. Van Marseille tot Menton, Amsterdam/Antwerpen (Contact) z.j. (1954) (idem Engelse editie).

Benno Premsela (tekst), Dit is Florence, Amsterdam/Antwerpen (Contact) z.j. (1954).

K. Jonckheere (tekst), Dit is België, Amsterdam/Antwerpen (Contact) z.j. (1955) (idem Amerikaanse, Engelse en Franse editie).

Evert Zandstra (tekst), Dit is Oostenrijk, Amsterdam/Antwerpen (Contact) 1956.

René Patris (tekst), Dit is Rome, Amsterdam/Antwerpen (Contact) z.j. (1956).

Bert Schierbeek (tekst), Hart van Spanje, Amsterdam/Antwerpen (1956) (idem Duitse editie).

H. Molendijk (tekst), Dit is Amersfoort, Amsterdam/Antwerpen (Contact) z.j. (1957) (idem Duitse en Engelse editie).

A. den Doolaard (tekst), Dit is Joegoslavië, Amsterdam/Antwerpen (Contact) z.j. (1957).

A. den Doolaard (tekst), Dit is Venetië, Amsterdam/Antwerpen (Contact) 1958.

B. Delépinne (tekst), Dit is Brussel, Amsterdam/Antwerpen (Contact) 1958 (idem Duitse en Franse editie).

Marise Ferro (tekst), Dit is de Italiaanse Rivièra, Amsterdam/Antwerpen (Contact) z.j. (1958).

A. den Doolaard (tekst), Dit is Griekenland. Het vasteland, Amsterdam/Antwerpen (Contact) 1958.

A. den Doolaard (tekst), Dit is Griekenland. De eilanden, Amsterdam/Antwerpen (Contact) z.j. (1959).

A.B. Wigman en A.M. Hammacher (tekst), Dit is het nationale park De Hoge Veluwe, Amsterdam/Antwerpen (Contact) 1960 (idem Duitse en Engelse editie).

H.J.A. Schintz (tekst), Dit is Zwitserland, Amsterdam/ Antwerpen (Contact) z.j. (1960).

P. Cressard (tekst), Dit is Bretagne, Amsterdam/Antwerpen (Contact) 1961 (idem Franse editie).

Paul Ahnne (tekst), Dit is de Elzas, Amsterdam/Antwerpen (Contact) 1961 (idem Franse editie).

M. Pezet (tekst), Dit is de Provence, Amsterdam/Antwerpen (Contact) 1962.

Bert Schierbeek (tekst), Dit is Enschede, Amsterdam/Antwerpen (Contact) 1962 (idem Duitse en Engelse editie).

R. Penrose (tekst), Oxford & Cambridge, Amsterdam (Contact) z.j. (1962) (idem Engelse editie).

Jean A. Schalenbeek (tekst), De Balearen, Amsterdam/Antwerpen (Contact) 1964.

W. Alings Jr. (tekst), Napels en omgeving, Amsterdam (Contact) z.j. (1964) (idem Engelse editie).

Garmt Stuiveling (tekst), Dit is Hilversum, Amsterdam/Antwerpen (Contact) 1964 (idem Duitse en Engelse editie).

Wim Alings Jr. (tekst), De Italiaanse meren, Amsterdam/Antwerpen (Contact) 1965.



Evert Zandstra (tekst), Overijssel, Amsterdam/Antwerpen (Contact) z.j. Auteur onbekend, De Vogezen.

Lotharingen en de Elzas, Amsterdam/Antwerpen (Contact) z.j.

Evert Zandstra (tekst), Gelderland, Amsterdam / Antwerpen (Contact) 1953.

Evert Zandstra (tekst), De Ardennen, Amsterdam/Antwerpen (Contact) 1953.

Evert Zandstra (tekst), Luxemburg, Amsterdam/Antwerpen (Contact) 1953.

Evert Zandstra (tekst), De Waddeneilanden, Amsterdam/Antwerpen (Contact) 1954.

Evert Zandstra (tekst), Tirol & Vorarlberg, Amsterdam/Antwerpen (Contact) 1954.

A. den Doolaard (tekst), Joegoslavië, Amsterdam/Antwerpen (Contact) 1956.

Evert Zandstra (tekst), Limburg, Amsterdam/Antwerpen (Contact) 1957.

Evert Zandstra (tekst), Tessin, Amsterdam/Antwerpen (Contact) 1959 (idem: Vakantie in Tessin, 1959).

Secondary bibliography

Auteur onbekend, Levensbeschrijving en werk van Cas Oorthuys, in LOI-Cursus Amsterdam, Amsterdam z.j, p. 268-269.

A.B. (= Adriaan Boer), Fototentoonstelling “Moeder en kind”, in Bedrijfsfotografie 19 (25 juni 1932) 13, p. 380-382.

Catalogus tent. Foto ’48, Kroniek van Kunst en Kultuur 1948 (speciale editie), p. 3, 8, 20, 29 (met foto’s).

Auteur onbekend, Werk van fotografen, in De week in beeld (16 oktober 1948) 29.

Jan van Keulen, Cas Oorthuys fotografeerde De schoonheid van ons land. Het water, in De Groene Amsterdammer 16 juni 1951.

Catalogus tent. Photographie, Amsterdam (Stedelijk Museum) 1952, ongepag. (met foto’s).

Jan van Keulen, Photographie. Nieuwe tak van beeldende kunst?, in De Groene Amsterdammer 19 april 1952.

Auteur onbekend, De toekomst in uw handen. Voordracht door A. den Doolaard, in Het Vaderland 13 december 1955.

Auteur onbekend, Al proevend en etend met Cas Oorthuys, in Bouquet (winter 1956-1957) 4, p. 12-19 (met foto’s).

Peter Hunter, The GKf. A federation of photographers in Amsterdam, in Photography oktober 1958, p. 25-30, 61.

Adri de Waard, Een halve eeuw hoffotografie, in De Spiegel 25 (april 1959) 30, p. 8-16, 36.

Auteur onbekend, De dynamiek van een havenstad. Rotterdam, in Elseviers Weekblad 11 juli 1959, p. 48 (met foto’s).

Auteur onbekend, Rotterdam. Dynamische stad, in De Groene Amsterdammer 18 juli 1959 (met foto’s).

Auteur onbekend, Oorthuys fotografeerde Rotterdams dynamiek, in Algemeen Handelsblad 24 juli 1959.

K.F., Rotterdam. Fotoboek van Cas Oorthuys, in De Linie 8 augustus 1959, p. 7.

Cor van Berkel, Het huidige nieuwe Rotterdam een fotogenieke stad. Nieuwe Rotterdamse prentenboeken, in Het Vaderland 8 augustus 1959.

Theo Ramaker, Een monument voor de Maasstad – in 236 foto’s -, in PS. Wekelijks bijvoegsel van Het Parool (19 september 1959) 4508, p. 1,3.

H.F. van Loon en J. Punt, Ook Nederland heeft foto-graven. Wij presenteren u: Onze camera adel, in De Telegraaf 19 maart 1960.

Frans Stoppelman, Cas Oorthuys. Een fotograaf zonder studio, in Focus 45 (25 juni 1960) 13, p. 419-428 (met foto’s).

J.D. de Jong, Eerste verzameling in Europa foto’s ‘an sich’. Foto-expositie Stedelijk Museum Amsterdam, in Friese Koerier 19 november 1960.

Auteur onbekend, Boek als monument, in Leeuwarder Courant 2 oktober 1962.

Amsterdammer, Een boek boordevol Amsterdam, in De Groene Amsterdammer 12 oktober 1963.

Paul Engle, Scholars and stones, in The New York Times Book Review 22 december 1963, p. 7 (met foto’s).

Auteur onbekend, Lowlander looks at the high, in The Times 24 januari 1964.

Auteur onbekend, Fotoboek van Cas Oorthuys bekroond met prijs ANWB. Eerste bekroning in dit genre, in Het Binnenhof 29 mei 1964.

H. Crouwenhoven en C.L. Doeven, 1/4 Miljoen foto’s, in Naar meer binding 18 (juni 1964) 3, p. 64-68, 71 (met foto’s).

Auteur onbekend, Cas Oorthuys: vraag niet wat een werk voor twee kleine zegeltjes, in De Nieuwe Limburger 8 juli 1964.

Hans Kessens, Nederland, prachtige serie foto’s van Cas Oorthuys, in Het Vrije Volk 12 november 1966.

M. Kleerekoper, Nederland, prachtige serie foto’s van Cas Oorthuys, in Het Vrije Volk 3 december 1966.

Auteur onbekend, Nederland: vol onrust van beweging en geluid, in Nieuwe Rotterdamsche Courant 24 december 1966.

The Guardian 27 februari 1967.

A. den Doolaard, Cas Oorthuys zestig jaar, in De Gelderlander 9 november 1968.

De Uitkrant (Amsterdam) november 1969.

Auteur onbekend, Cas Oorthuys met fotoboek en expositie, in Het Parool 1 november 1969.

Auteur onbekend, ‘Ik wil alleen maar candid fotografie’. Cas Oorthuys exposeert in Amsterdam, in Het Vrije Volk 6 november 1969.

Auteur onbekend, Cas Oorthuys “Over mensen” in Stedelijk, in Dagblad van het Oosten 8 november 1969.

D.P. van W., Mensen, in Dagblad van West-Friesland 8 november 1969.

Kronkel, Mensen, in Het Parool 10 november 1969.

Auteur onbekend, Op expositie te Amsterdam: de andere Oorthuys, in Het Binnenhof 11 november 1969.

Urias Nooteboom, Cas Oorthuys “over mensen”, in Limburgs Dagblad 19 november 1969.

Han G. Hoekstra, Cas Oorthuys en de mensen. Tegelijk fotoboek en expositie, in Het Parool 19 november 1969.

Paul Witteman, Cas Oorthuys: Een fotograaf moet altijd onderweg zijn, in De Tijd 21 november 1969.

Paul Witteman, Cas Oorthuys: Een fotograaf moet altijd onderweg zijn. Boek en tentoonstelling uit half miljoen F na 30 jaar “knip”, in De Tijd 22 november 1969.

vk, Cas Oorthuys aan het woord, in De Groene Amsterdammer 22 november 1969, p. 5 (met foto’s).

J.K., Meesterlijke terugblik. Nieuw fotoboek van Cas Oorthuys, in De Gelderlander 25 november 1969.

Ad. J. Odijk, “Ecce Homo” van Cas Oorthuys, in De Volkskrant 28 november 1969.

Theo Ramaker, Cas Oorthuys: 30 jaar werk samengevat in foto’s van mensen, in De Journalist 1 december 1969, p. 18-19 (met foto’s).

Edith Kruidhof, Fotograaf Cas Oorthuys is de mens niet vergeten, in Utrechts Nieuwsblad 4 december 1969.

Met foto’s vertellen, (interview van Ralph Prins met Cas Oorthuys), in Wereldkroniek (17 december 1969-3 januari 1970) 1, ongepag. (met foto’s).

S.D., “Mensen”: Verzameling “ongebruikte” foto’s van Cas Oorthuys, in Brabants Dagblad 23 december 1969.

Catalogus tent. Kontrasten. 22 Nederlandse kunstenaars, Den Haag (Haags Gemeentemuseum) 1970, p. 18-19.

Auteur onbekend, “Mensen” indrukwekkende “bekentenis” van Oorthuys, in Haagsche Courant 9 januari 1970.

R. Boltendal, Fotografen zien mensen, in Leeuwarder Courant 17 januari 1970.

Auteur onbekend, Het laatste jaar 1944-45. Ontroerend fotoboek van oorlogswinter, in Het Binnenhof 2 mei 1970.

A. de Kool, Het jaar vóór de bevrijding, in NRC Handelsblad 2 mei 1970.

Ben Maandag, Oorthuys legde vast waar woorden ontbraken, in Het Vrije Volk 2 mei 1970.

D.P. van Wigcheren, “Het laatste jaar” bezetting in foto’s, in Enkhuizer Courant 4 mei 1970.

Auteur onbekend, Unieke serie platen uit 1944-45, in Leeuwarder Courant 4 mei 1970.

Auteur onbekend, Het laatste jaar 1944-1945, in Trouw 4 mei 1970.

Auteur onbekend, Fotoboek Oorthuys reikt verder dan één oorlogsjaar, in Limburgs Dagblad 6 juni 1970.

A.H., “Zwervend door Nederland”. Dat belachelijke stukje grond dat Nederland heet, in Holland Silhouet 1 juli 1970.

Auteur onbekend, Ons land is mooi in fotoboek “Zwervend door Nederland”, in Nieuwsblad van het Zuiden 16 juli 1970.

Jan Roelfs, Cas Oorthuys. ‘Eigenlijk maak je met fotograferen inbreuk op andermans leven’, in Trouw 15 december 1970.

Jan Roelfs, Cas Oorthuys. ‘Eigenlijk maak je met fotograferen inbreuk op andermans leven, in Trouw (kerstbijlage) december 1970.

Guus Heilegers en Sikke Doele, De Friese Galerij. Foto’s van Cas Oorthuys in Wolvega. “Mensen”: keuze uit 30 jaar, in Leeuwarder Courant 11 mei 1973.

Marja Roscam Abbing, De Cas Oorthuysstraat. Ik ben bewust on-esthetisch, in NRC Handelsblad 6 juli 1973.

Frank Tiesing, (zonder titel), in Utrechts Nieuwsblad 24 december 1974, kerstbijlage, p. 1-5 (met foto’s).

Walter Barten, Tussen verstilde bespiegeling en meeslepende getuigenis. Foto’s van Amsterdam in het Van Goghmuseum, in De Groene Amsterdammer 23 juli 1975.

A. den Doolaard, Cas Oorthuys, in De Gelderlander 24 juli 1975.

Auteur onbekend, Cas Oorthuys overleden, in Haagsche Courant 24 juli 1975.

Auteur onbekend, Oorthuys was sterk sociaal bewogen fotograaf, in Het Parool 24 juli 1975.

Auteur onbekend, Cas Oorthuys overleden, in De Volkskrant 24 juli 1975.

Bas Roodnat, Cas Oorthuys: geëngageerd, creatief vakman, in NRC Handelsblad 25 juli 1975.

Wim Alings, Cas Oorthuys, in De Groene Amsterdammer 30 juli 1975.

Willem K. Coumans, Cas Oorthuys (1908-1975). Fotograaf van het laatste jaar, in Foto 30 (november 1975) 11, p. 41.

Ursula den Tex (eindred.), De bevrijde camera, Vrij Nederland-Bijvoegsel (15 mei 1976) 20, p. 14-15, 17, 19-20, 23, 27-31, 34, 38-39, 41, 43, 45, 47 (met foto’s).

Auteur onbekend, Foto-archief Cas Oorthuys, in Het Financieele Dagblad 22 oktober 1976.

Leo J. Leeuwis, Het geweldige beeldverhaal dat niet stokte. “Innerlijke ontferming” van Cas Oorthuys is nog steeds actueel, in Nijkerkse Courant 24 december 1976 (met foto’s).

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 7-8, 10, 12-14, 17, 22, 24, 29-30, 42-43, 111, 113, 117, 121 (met foto’s), losse biografie.

Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 46-48, 55-56, 60, 75-76, 78, 84, 89, 94-97, 117-119, 122, 124-125, 127, 130-131, 135, 137, 140, 142, 156 (met foto’s).

Auteur onbekend, Waterlooplein in prachtig fotoboek, in Koerier Kombinatie 1979.

Brochure tent. De illegale camera, Amsterdam (Paleis op de Dam) 1980.

De illegale camera. Beelden uit een bezette stad, in Vrij Nederland-Bijvoegsel (3 mei 1980) 18, p. 35-39.

Sybrand Hekking, Cas Oorthuys fotograaf 1908-1975, Amsterdam (Fragment) 1982 (serie: De geschiedenis van de fotografie 2).

Maarten Kloos, Foto’s van Oorthuys kloppen altijd, in De Volkskrant s20 augustus 1982.

Auteur onbekend, Selectie uit half miljoen foto’s. Expositie en boek fotograaf Cas Oorthuys, in Leidsch Dagblad 23 augustus 1982.

Bas Roodnat, Portret van fotograaf Cas Oorthuys. In zwart, grijs en wit, in NRC Handelsblad 10 september 1982.

Pauline Terreehorst, Foto-expositie toont vooruitgang, in De Volkskrant 1 november 1983.

Hedwig Saam, Cas Oorthuys. De esthetiek van het alledaagse, in GKf Bulletin juni 1984, p. 10-11.

Tom Rooduijn, Een definitief verleden. John Fernhouts film over Cas Oorthuys en drie generaties Toorop, in NRC Handelsblad 9 november 1984.

Henk Linse, Cas Oorthuys. TV-portret van een bewogen fotograaf, in De Gooi en Eemlander 17 november 1984.

Ben Kroon, De wereld van Cas Oorthuys, in Studio 17 november 1984, p. 8-9 (met foto’s).

Wim Alings, TV-film over fotograaf Cas Oorthuys, in AVRO-Televizier (17 november 1984) 46. p. 81-83 (met foto’s).

Sylvia Verduin, Het verontwaardigde oog van Cas Oorthuys. Portret van een typische zwart-wit fotograaf, in VARA Gids 17 november 1984.

Rolf Bos, Sober zwart/wit beeld in film over fotograaf Cas Oorthuys, in De Volkskrant 17 november 1984.

Hripsimé Visser, De Ondergedoken Camera, in Trouw 29 december 1984.

Michèle en Michel Auer, Encyclopédie internationale des photographes de 1839 à nos jours. L-Z, Hermance (Camera Obscura) 1985.

Remco Campert (inl.), Amsterdam 1950-1959 20 fotografen, Amsterdam (Fragment) 1985, ongepag., afb. 10, 18, 20-21.

ppk, Cas Oorthuys. Gekleurd fotograaf in zwart/wit, in Foto & Doka (1985) 7, p. 50-54 (met foto’s).

Pauline Terreehorst, Boerenkaas-realisme en grootsteedse grandeur. Gemeente-archief Amsterdam boort met fotocollectie goudmijn aan, in De Volkskrant 12 oktober 1985.

Johan Dirkx (red.), Luz, Camera, Amsterdam. Jacob Olie Cas Oorthuys Sergio Zalis, Rio de Janeiro 1986, p. 14-18 (met foto’s).

K.M., Het Nederlandse fotoboek, in Catalogus tent. Foto ’86, Den Haag (Staatsuitgeverij) 1986, p. 79-82.

Willem Ellenbroek, Fotografen van de wederopbouw, in De Volkskrant 9 mei 1986.

Marlise Simons, Foto’s inspireren Rio de Janeiro. Selectie uit Amsterdams archief op tournee in Brazilië, in NRC Handelsblad 1 juli 1986.

Bas Roodnat, Een nieuwe visie op het onbekende. Tentoonstelling in Sittard met werk van veertien reizende fotografen, in NRC Handelsblad 31 juli 1986.

A. de Jonge-Vermeulen, Cas Oorthuys, in Colin Naylor (ed.), Contemporary photographers, Chicago/Londen (St. James Press) 1988, 2de dr., p. 776-777.

Flip Bool, Cas Oorthuys, in Ingeborg Th. Leijerzapf e.a., Roots & Turns. 20th Century photography in The Netherlands, Den Haag (SDU Publishers) 1988, p. 66-71, 170 (met foto’s).

Joost van den Hooft, Reve en Hermans in het urinoir. ‘Pijnlijke’ foto’s in boekvorm, in Het Vrije Volk 11 februari 1988.

Matthijs van Nieuwkerk, Hermans en Reve in Amsterdam van ’54, in Het Parool 19 februari 1988.

Auteur onbekend, Hermans wil ‘melige’ foto’s niet meer zien, in De Volkskrant 26 februari 1988.

Bas Roodnat, Ooit leken Hermans en Reve echt dikke vrienden. Expositie en fotoboekje van Cas Oorthuys roepen definitief voorbij verleden op, in NRC Handelsblad 27 februari 1988.

Auteur onbekend, Gewraakte foto’s, in Haagsche Courant 4 maart 1988.

Willem K. Coumans, Cas Oorthuys was altijd onderweg, in Foto 43 (mei 1988) 5, p. 81-83 (met foto’s).

Bas Roodnat, Tegen de huizen slaan echo’s van soldatenlaarzen. Foto’s van dagelijks leven in oorlogsjaren op expositie in Amsterdams Verzetsmuseum, in NRC Handelsblad 6 augustus 1988.

Emma Brunt, Een levensgevaarlijk schimmenspel. In gesprek met Frits Kahlenberg, oprichter van De ondergedoken camera, in Elsevier 44 (3 september 1988) 35, p. 94-95, 97, 99-101.

Mattie Boom, Foto in omslag. Het Nederlandse documentaire fotoboek na 1945, Amsterdam (Fragment) 1989, p. 12-13, 15-17, 19, 21-25, 27, 37-39, 42, 44, 51-52, 57, 62-63, 67-68, 71-72, 74, 81-85, 87, 99- 101, 131-132 (met foto’s).

Kees Broos en Flip Bool, De Nieuwe Fotografie in Nederland, Amsterdam (Fragment) 1989, p. 11, 26, 28-29, 31, 35, 37-38, 40, 71, 92, 102-103, 128-129, 139 (met foto’s).

Catalogus tent. 89 Fotografie, Venlo etc. (Museum van Bommel van Dam etc.) 1989, p. 29, 31.

Dick Maan en John van der Ree, Typofoto/elementaire typografie in Nederland, Utrecht/Antwerpen (Veen/Reflex) 1990, p. 37-38, 74-75, 104, 107.

Flip Bool en Herman Hoeneveld, Fotografen aan het werk voor Randstad, Diemen (Randstad Uitzendbureau bv) 1990, ongepag. (met foto’s).

Catalogus tent. Cas Oorthuys, New York (Howard Greenberg Photofind Gallery) 1990, (met foto’s).

Josephine van Bennekom, Twee gesprekken. Lydia Oorthuys-Krienen en Tineke de Boer-Prins over het Nederlands Fotoarchief, in GKf Bulletin (1990) 2, p. 4-5.

WvH, Dynamisch Rotterdam geobsedeerd vastgelegd, in Port of Rotterdam Magazine (1990) 2, p. 44-45.

Auteur onbekend, Een hommage aan Cas Oorthuys. Rotterdam, dynamische stad, deel 2, in Kamer van Koophandel (februari 1990) 2.

Auteur onbekend, Cas Oorthuys. Textielportretten, in Tijdschrift voor Geschiedenis van Techniek en Industriële Cultuur 8 (1990) 4.

Hripsimé Visser, Confrontaties, in Perspektief (mei 1990) 38, p. 27-41.

Hans Baaij, De kracht van Cas Oorthuys. Rotterdam, dynamische stad 1950-1990, in Het Gebaar. Beeldende kunst in Rotterdam en omgeving 2 (juni 1990) 2, p. 6-7.

Hans Baaij, Nieuw fotoboek van Cas Oorthuys, in Rotterdam. Punt uit juni/september 1990.

Peter Charpentier, Samen met Cas Oorthuys. Een nieuwe dynamische stad, in P/F Professionele Fotografie (augustus/september 1990) 4, p. 24-25 (met foto’s).

Wim Alings, Cas Oorthuys. ‘Ik draai gewoon almaar rond en denk: nu heb ik het’, in Vrij Nederland Bijvoegsel (11 augustus 1990) 32, omslag, p. 4-15 (met foto’s).

Josephine van Bennekom, Het Nederlands Fotoarchief verwerft negatievenarchief Cas Oorthuys, in Perspektief (september 1990) 39, p. 75.

Auteur onbekend, Fotodocument over veertig jaar ‘dynamisch’ Rotterdam, in Het Vrije Volk 1 september 1990, p. 21.

Fotodocument over veertig jaar ‘Dynamisch Rotterdam’, in Het Vrije Volk (weekeditie) 6 september 1990.

Rolf Bos, Klassiek Rotterdams materiaal van Cas Oorthuys heruitgegeven, in De Volkskrant 15 september 1990.

Menno Schenke, Rotterdam door het oog van de camera, in Algemeen Dagblad 4 oktober 1990.

Tracy Metz, In Oorthuys’ fotoarchief trekt de wereld aan het oog voorbij, in NRC Handelsblad 13 oktober 1990.

Katrien Gottlieb, Afscheid van wat niet vergeten mag worden. Fotoarchief Oorthuys verhuist, in Het Parool 22 oktober 1990.

Auteur onbekend, Rotterdam, dynamische stad 1950-1990, in Foto 45 (november 1990) 11, p. 82.

Willem Diepraam, Een beeld van Cas Oorthuys, Amsterdam (Fragment) 1991.

René Kok en Erik Somers (red. en samenstelling), De Ondergedoken Camera, Zwolle/Amsterdam (Waanders/RIOD) 1991 (met foto’s) (serie: Documentaire Nederland en de Tweede Wereldoorlog, 47).

Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw, Amsterdam (BIS) 1991, p. 103, 206.

Auteur onbekend, Textielportretten van Cas Oorthuys, in Textuur 8 (januari 1991) 29.

Carrie de Swaan, ‘Een beeld van Oorthuys’. Willem Diepraam expositie van Nederlands meest geziene fotograaf, in NRC Handelsblad 21 september 1991.

Willem Diepraam, Het tweede moment van Cas Oorthuys, in Vrij Nederland (21 september 1991) 38, omslag, p. 46-51 (met foto’s).

Katrien Gottlieb, Oorthuys is ondanks zichzelf kunstenaar, in Het Parool 25 september 1991.

Josephine van Bennekom, Portretten van de wederopbouw en de zelfkant. Fototentoonstelling van Cas Oorthuys en Ed van der Elsken, in Trouw 26 september 1991.

Flip Bool en Veronica Hekking, De Dam 7 mei 1945. Foto’s en Documenten, Leiden /Amsterdam (Primavera Pers/Focus) 1992 (met foto’s).

Mariëtte Haveman, Rotterdam, dynamische stad. Cas Oorthuys, in Kunstschrift 36 (maart/april 1992) 2, p. 52-54 (met foto’s).

Arjen Ribbens, De laatste resten tropisch België. Expositie van Cas Oorthuys’ Kongo-foto’s bij Brussel, in NRC Handelsblad 8 juli 1992.

Bert Schampers, Nederlands textiel voor Afrika. Foto-expositie in Brussel illustreert succes Helmondse fabriek, in De Stem 9 juli 1992.

Willem Ellenbroek, Verlaat portret van Congo gebed in vrolijkheid, in De Volkskrant 15 juli 1992.

Menno Schenke, Oorthuys in Afrika. Boek toont de kracht van zwart-wit fotografie, in Algemeen Dagblad 24 juli 1992.

Flip Bool, Steden van Europa in de jaren vijftig. Cas Oorthuys en Nico Jesse, in Artoteek Magazine 1 september 1992 (met foto’s).

Erik Somers en Herman Selier, Fotograferen in oorlogstijd. Uit het RIOD-Fotoarchief, in Vrij Nederland (31 oktober 1992) 44, p. 52-55, 58-59.

Flip Bool, De Nederlandse grenzen voorbij. Steden van Europa in de jaren vijftig, in GKf Bulletin (november 1992) 3, p. 10-14 (met foto’s).

Kees Broos en Paul Hefting, Dutch graphic design, Londen (Phaidon Press Ltd) 1993, p. 111, 113, 120-121, 157, 162, 213 (met foto’s).

Louis Zweers en Tineke Luijendijk (tekst), Foute foto’s. De geïllustreerde pers tijdens de Tweede Wereldoorlog, Zutphen (Walburg Pers) 1993.

Willem Ellenbroek, Op het ritme van de heimachine herrijzend Nederland, in De Volkskrant 20 maart 1993.

Stamp design

Kinderzegels (5 zegels: Meisje met molen, Jongen met in aanbouw zijnde huizen, Vissersjongen, Fabrieksjongen en Stadskind), 1951.

Spoorwegjubileumzegels (2 zegels: Moderne stationsbeveiliging en Elektrisch treinstel 1964), 1964.

Bevrijdingszegel (Symbolische voorstelling), 1975.


VAF (Vereeniging Arbeiders-Fotografen), vanaf 1932.

BKVK, vanaf 1936 (medeoprichter en bestuurslid van de groep foto en film van de BKVK).

VANK, vanaf 1939.

GKf, vanaf 1945.


1964 ANWB-prijs (bronzen plaquette en ƒ1000,-) voor het boek Amsterdam onze hoofdstad.

1971 Ridder in de Orde van Oranje-Nassau


1932 (g) Amsterdam, RAI, Moeder en kind.

1934 (g) Amsterdam, Verenigingsgebouw AAFV (Keizersgracht 428-430), Eerste Nationale Kerstsalon van Fotografische Kunst (AAFV).

1935 (g) Amsterdam, Verenigingsgebouw AAFV (Keizersgracht 428-430), Tweede Amsterdamse Kerstsalon van Fotografische Kunst (AAFV).

1936 (g) Amsterdam, Gebouw De Geelvinck, De Olympiade Onder Dictatuur (DOOD).

1936 (g) Amsterdam, Verenigingsgebouw AAFV (Keizersgracht 428-430), Derde Amsterdamse Kerstsalon van Fotografische Kunst (AAFV).

1937 (g) Amsterdam, Stedelijk Museum, foto ’37.

1939 (g) Amsterdam, Gebouw Leesmuseum, 5e Amsterdamse Kerstsalon van Fotografische Kunst (AAFV).

1945 (g) Amsterdam, Atelier Marius Meijboom, De Ondergedoken Camera.

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

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

1951 (g) Milaan, Palazzo di Brera, Mostra della Fotografiia Europea 1951.

1952 (g) Amsterdam, Stedelijk Museum, Photographie.

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

1952 (g) Zaandijk, (A.F.V. Zaandijk).

1952 (g) Luzern, Kunsthaus, Weltausstellung der Photographie.

1952 (g) Rotterdam, ‘t Venster.

1953 (g) New York, Museum of Modern Art, Post-War European Photography.

1954 (g) Utrecht, Jaarbeurs, Voorjaarsbeurs.

1954/1955 (g) Saarbrücken, Staatliche Schule für Kunst und Handwerk, Subjektive Fotografie 2.

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

1955 (g) Rotterdam, AHOY, E ’55.

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

1957 (g) Amsterdam, Stedelijk Museum, Hand en Machine (GKf).

1957 (g) Venetië, Sala Napoleonica, 1a Mostra Internazionale Biennale di Fotografia.

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

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

1960 (g) Rotterdam, Zie Gods schepping (internationale fototentoonstelling uitgaande van de Floriade Kommissie van het Konvent van Kerken te Rotterdam ter gelegenheid van de internationale tuinbouwtentoonstelling Floriade).

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

1967 (g) Montreal, Wereldtentoonstelling.

1968 (g) Keulen, Weltausstellung: Die Frau (Photokina).

1969 (e) Amsterdam, Stedelijk Museum, Over mensen (Mensen/People).

1970 (e) IJmuiden, Bedrijfsrestaurant Hoogovens, Cas Oorthuys. Foto’s.

1970 (g) Den Haag, Haags Gemeentemuseum, Foto-portret.

1970 (e) Bergen (N.H.), Kunstenaarscentrum Bergen (Plein 7), Mensen.

1970 (e) Leeuwarden, Prinsetún.

1970 (g) Amsterdam, Nieuwe Kerk, Mooie Vrijheid!?

1970 (g) Amsterdam, Nederlandse Kunststichting, Honderd jaar fotografie 1839-1939 (rondreizende tentoonstelling).

1970 (g) Den Haag, Haags Gemeentemuseum, Kontrasten. 22 Nederlandse kunstenaars.

1971 (e) Amsterdam, Stedelijk Museum.

1971 (e) Helmond, ‘t Meyhuis, Mensen.

1971 (e) Moskou, Huis van de Vriendschap met de Volkeren van het Buitenland, (Mensen en Nederland foto’s) (rondreizende tentoonstelling: Leningrad, Kiev en Minsk).

1973 (e) Wolvega, Openbare Bibliotheek. Mensen.

1974 (e) Parijs, Amsterdam 700 ans. Exposition de photographies de Cas Oorthuys.

1974 (e) Amsterdam, Fotogalerie Fiolet, Images of nazi-terror/A free man ‘s camera.

1975 (g) Amsterdam, Rijksmuseum Vincent van Gogh, Beelden van Amsterdam.

1975 (e) Amsterdam, ABN-Galerij.

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

1979/1980 (g) Den Haag, Haags Gemeentemuseum, Foto 20-40.

1980 (e) Arnhem, Gemeente Museum.

1980 (g) Amsterdam, Paleis op de Dam. De Illegale Camera.

1980 (g) Amsterdam, Paleis op de Dam, Verzet en Vervolging 1933-19nu.

1982 (e) New York, Prakapas Gallery. The lllegal Camera.

1982 (e) Amsterdam, Stichting Wonen, Mensen en hun omgeving.

1983 (g) Rotterdam, Lijnbaancentrum, ‘Rotterdam gefotografeerd…’.

1983 (g) Amsterdam, SBK (N.Z. Voorburgwal 325), Fotografie in Nederland.

1984 (e) Utrecht, Galerie Ton Peek, Cas Oorthuys 1908-1975.

1984 (e) Amsterdam, De Verbeelding.

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

1986 (g) Rotterdam, ‘Westersingel 8’, Nederlandse architectuurfotografie 1930-1960.

1986 (g) Amsterdam, Stichting Wonen, Fotobeeld: architectuur in de jaren 50 (Foto ’86).

1986 (g) Amsterdam, Nieuwe Kerk, Het Fotoboek. 4 Nederlandse fotografen in Parijs (Foto ’86).

1986 (g) Rio de Janeiro, Katholieke Universiteit, 100 jaar Amsterdam (rondreizende tentoonstelling door Brazilië).

1986 (g) Sittard, Het Kritzraedthuis, Nederlandse fotografen op reis, een keuze.

1988 (g) Houston, Sarah Campbell Blaffer Gallery, Roots & Turns. 20th Century photography in The Netherlands.

1988 (g) Amsterdam, Stedelijk Museum, Roots & Turns. Traditie en vernieuwing van de fotografie in Nederland vanaf 1900.

1988 (e) Rotterdam, Galerie Duo Duo, Cas Oorthuys. Foto’s/fotomontages.

1988 (g) Amsterdam, Verzetsmuseum, De ondergedoken camera.

1989 (g) Venlo, Museum van Bommel van Dam, 89 Fotografie (verkooptentoonstelling; gelijktijdig in Eindhoven, De Krabbedans, Zwolle, Librije Hedendaagse Kunst en Rotterdam, Centrum Beeldende Kunst).

1989 (g) Helmond, Gemeentemuseum, IJzersterk mensenwerk.

1989/1990 (g) Amersfoort, De Zonnehof, Foto in omslag. Het Nederlandse documentaire fotoboek na 1945.

1990 (e) New York, Howard Greenberg Photofind Gallery, Cas Oorthuys.

1990 (g) Rotterdam, Galerie Duo Duo, Fotografie Biënnale Rotterdam.

1990 (g) Rotterdam, Laurenskerk, Confrontaties. Nederlandse fotografen en hun betrokkenheid bij (inter)nationale conflicten.

1990/1991 (e) Tilburg, Nederlands Textiel Museum, Textielportretten van Cas Oorthuys.

1991 (g) Amsterdam, Nieuwe Kerk, Hel beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw.

1991 (g) Den Haag, Grote Kerk, Confrontaties. Nederlandse fotografen en hun betrokkenheid bij (inter)nationale conflicten.

1991 (g) Amsterdam, Nieuwe Kerk, Venetië gefotografeerd.

1991/1992 (e) Amsterdam, Amsterdams Historisch Museum, Cas Oorthuys (1908- 1975). Vintage prints.

1992 (g) Den Haag, Artoteek, Steden van Europa in de jaren vijftig.

1992 (g) Houston, The Illegal Camera.

1992 (e) Tervuren, Koninklijk Museum voor Midden-Afrika, Cas Oorthuys – Guarenteed Real Dutch Congo.

1992 (g) Amsterdam, Mozes en Aaronkerk, Fotografie, geschiedenis, beeldvorming. Nederland en de Tweede Wereldoorlog.

1992/1993 (g) Rotterdam, Kunsthal, Rotterdam 1950-1960. Vijf fotografen – vijf boeken.

1992/1993 (g) Utrecht, Centraal Museum, Gerrit Th. Rietveld 1880-1964.

1993 (g) Den Haag, Artoteek, Op Scheveningen.

1993 (g) Den Haag, Grote Kerk, Kinderen van de wereld gezien door Nederlandse fotografen.

Televisie programs

1969 (3 november) Mensen (filmpje van Henk de By dat ook gedraaid werd bij de tentoonstelling Over mensen in het Stedelijk Museum).

1984 (18 november) Mijn generatie is zwart-wit (documentaire over Cas Oorthuys van John en Douwes Fernhout) (NOS).

1990 (22 oktober) NOS Laat (o.a. reportage over de verhuizing van het archief van Cas Oorthuys van Amsterdam naar Rotterdam) (NOS).


Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

Rotterdam, Nederlands Fotoarchief.


Amsterdam, Amsterdams Historisch Museum

Amsterdam, Gemeentearchief.

Amsterdam, Rijksinstituut voor Oorlogsdocumentatie (RIOD).

Amsterdam, Stedelijk Museum.

Den Haag, Haags Gemeentemuseum.

Essen, Museum Folkwang.

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

Houston, The Museum of Fine Arts.

Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.

Leusden, Stichting Dunhill Dutch Photography.

Londen, Victoria & Albert Museum.

New Orleans, New Orleans Museum of Fine Art.

Rotterdam, Nederlands Fotomuseum.