PhotoLexicon, Volume 16, nr. 31 (May 1999) (en)

Hans Sibbelee

Doreen Timmers

Wieneke Weusten


Hans Sibbelee has produced an important documentary photographic oeuvre that covers two areas: documentary reportage photography, with reportages on Russia and China as his pinnacle work; and documentary photography featuring works of art, with a decisive preference for architecture and sculpture. Most of Sibbelee’s work was commissioned. Within this framework, however, he managed to create a maximum amount of personal freedom. Sibbelee’s craftsmanship and sense of beauty are most evident in his photographs of sculpture.




Hendrik (Hans) Sibbelee is born on 8 November in Leeuwarden as the only child of Hendrik Sibbelee, originating from Amsterdam, and Johanna Maria van Hylckema-Vlieg, originating from Friesland.

Hendrik Sibbelee Sr. works in the international trade sector. Prior to their son’s birth, Hendrik and his wife lived in Calcutta, in British India. Johanna Maria returned to the Netherlands for the sole purpose of giving birth to her child.


Sibbelee’s early years are spent in various cities in the Netherlands and in British India. During this period, he is largely brought up by a Japanese childminder, whom he calls ‘Noeï’. Before settling back in the Netherlands in 1924, the family resides for a year in London.


Hans Sibbelee is nine years old when his family moves to Tiel, where his father has been hired as the director of a textile steaming and drying company ‘N.V. De Linge’.


At the age of thirteen, Sibbelee starts out attending the HBS (Hogere Burgerschool, an upper-level secondary school programme), but is held back in his third year and never completes his studies.


Following his time at the HBS, Sibbelee attends the electrotechnical school in Rotterdam, at a time when ‘low-voltage current technology’ emerges. Sibbelee builds his own amateur transmitter.

In 1934, Sibbelee obtains his diploma as an electrotechnician, with radio technology as his specialty.


Sibbelee is hired by Philips in Eindhoven. He is fired several months later, however, for having ‘verkeerde sympathieën’ (‘inappropriate sympathies’, i.e. he is caught reading communist publications.) Although communist thinking indeed appeals to Sibbelee and he attends meetings of the Communist Party, he never becomes a party member. Following his dismissal, Sibbelee departs for The Hague. For a brief time, he rents an apartment from a landlady. At this time, he works for Erres Radio, an electrotechnical company in The Hague.


Sibbelee moves into the ‘Gemeenschapshuis’ (‘Communal House’) at Wilhelminalaan 308 in Voorburg, together with several other friends. Also living at this address are students from academy, including Emmy Andriesse, Hans IJzerman, Annetje Kupferschmid, the teacher Wim de Lathouder, and Ben Polak, a medical student. Collectively, the group forms a kind of artists’ commune. Students and teachers of the KABK (Koninklijke Academie van Beeldende Kunsten, ‘Royal Academy of Art’) in The Hague, including Paul Guermonprez and Paul Schuitema, are also regular visitors to the building.


Wim de Lathouder convinces Sibbelee to join the International Brigades in Spain. At the age of twenty-one, Sibbelee departs for Spain in June 1937. He is assigned to the ‘Service Sanitaire’ (‘Sanitary Service’) and ends up working as a maintenance technician for the IRH (‘International Red Help’, in Spanish: Socorro Rojo Internacional). Sibbelee’s task is to solve technical problems with the medical equipment at various hospitals. One of the doctors there gives Sibbelee a Leica 35 mm camera to document the war and its consequences. In November 1937, Sibbelee leaves Spain and travels to France.


Sibbelee works for the IRH in the vicinity of Toulouse, France. He helps people—in most case those with a Jewish background—to obtain identity papers and find shelter. He does courier work for the resistance group ‘L’Orchestre Rouge’ (‘The Red Orchestra’). After spending a month in Iceland on behalf of the IRH in order to warn people of the Nazis’ plans to build an airfield there, Sibbelee returns to the Netherlands in 1939. He moves to the Gemeenschapshuis on the Bankastraat in The Hague, where he lives for approximately six months. In the same year, Sibbelee receives a number of lessons from Paul Guermonprez in his studio/advertising agency ‘Co-op 2’ at Leidsestraat 43 in Amsterdam. During this period, Sibbelee decides to make photography his profession.


In 1940, photos by Sibbelee are published in the magazine Wij. Ons werk ons leven. (‘We. Our Work, Our Life’).

Starting in this year, Sibbelee moves back and forth between the home of Violette Cornelius’s mother and his parents in Tiel. Sibbelee’s hiding address is Kromme Waal 31 in Amsterdam. The house is owned by an acquaintance, who enables Sibbelee to live there for free. Also living at this address is the sculptor Piet Esser. From early 1944 on, Sibbelee makes Kromme Waal 31 his permanent address and continues to live there—even after the liberation—until 1962.

Via Esser, Sibbelee comes into contact with the resistance group ‘KP-Linie Oost’ (‘KP-Line East’). Through his photography lessons with Guermonprez and the appearance of his photos in Wij, Sibbelee meets photographers such as Cas Oorthuys, Ad Windig, Violette Cornelius, Eva Besnyö, and Carel Blazer.

During this period, Sibbelee also meets Chris Blom and Gilles de Neve, who both work for Uitgeverij Contact, a publishing company. Blom and De Neve are working on books designed ‘(…) to promote an appreciation for one’s own country’ for the series De schoonheid van ons land (‘The Beauty of Our Country’). For the first volume of the new series, Sibbelee photographs church choir stalls. The proof edition is ready in 1944, but it takes until 1946 before the volume Koorbanken, koorhekken en kansels (‘Choir Stalls, Rood Screens and Chancels’) is published.


Sibbelee marries Petronella Gerdina (Petertje) van Bronkhorst, a teacher in Amsterdam and a member of the Communist Party.

Sibbelee takes several illegal photos for Fritz Kahlenberg (who assembles the group ‘The Illegal Camera’ in 1945).


The GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) is founded at Kromme Waal 31 in Amsterdam. It remains unclear whether Sibbelee was ever actually a member.

On the initiative of the British army, Sibbelee travels to Poland to photograph the consequences of the war from an artistic perspective. In Warsaw, he meets the art historian Hans Jaffé, who is conducting research into the recuperation of stolen art. The recuperation is coordinated by Bob de Vries, who later becomes the director of the Mauritshuis.


At the Stedelijk Museum in Amsterdam, Sibbelee comes into contact with the museum’s director, Willem Sandberg. Sibbelee is jointly contracted by the Stedelijk Museum and Uitgeverij Contact to take photographs for the 1946 exhibition Moderne Franse Beeldhouwkunst (‘Modern French Sculpture’). Sibbelee’s contacts with the art historian A.M. Hammacher, who is preparing an exhibition on Spanish sculpture at the Museum Kröller-Müller, also date from this period. Sibbelee takes photos for the accompanying exhibition publication.


Sibbelee meets Frits van der Meer for the first time. Van der Meer is a professor of ‘Kunstgeschiedenis van de Middeleeuwen en de vroegchristelijke tijd’ (‘Medieval Art History and the Early Christian Era’) at the Catholic University of Nijmegen.


Sibbelee photographs for the NKI (Nijmeegs Kunsthistorisch Instituut, ‘Nijmegen Art Historical Institute’), with his photos chiefly published in the books of Frits van der Meer. For this purpose, Sibbelee travels frequently, sometimes together with Van der Meer. Through the commissions he receives from Van der Meer, the emphasis in Sibbelee’s work lies on architecture.

After 1967, there are practically no more NKI publications that feature photographic contributions made by Sibbelee.

Following Van der Meer’s departure in 1973, Sibbelee photographs only on a sporadic basis for the institute.


Sibbelee makes a film about sculpture, commissioned by the Ministry of OK&W (Onderwijs, Kunsten en Wetenschappen, ‘Education, Arts and Sciences’): Nederlandse Beeldhouwkunst tijdens de Middeleeuwen (‘Dutch Sculpture During the Middle Ages’). At the ministry’s request, the film is made in collaboration with Bert Haanstra.


In 1956, Sibbelee travels to the USSR to make a photo reportage for the publishing company Uitgeverij Van Loghum-Slaterus. Due to the atmosphere brought about by the Cold War, the book is never published.

In 1957, the book De USSR na 40 jaar (‘The USSR After 40 Years’) is published by Uitgeverij Pegasus in Amsterdam, which features photographs by Sibbelee and a text by Theun de Vries.

In the meantime, Uitgeverij Contact is publishing its pocketbook photo travel guides. Sibbelee is asked to make the photo guide for Moscow. The pocketbook edition is printed, but ultimately never published. Uitgeverij Contact offers the same guide to a French and a German publisher. Under the title Voici Moscou (‘Here’s Moscow’), the guide is published in France in 1959, with a text by Georges Sadoul. In the same year, the guide is also published by Juncker Verlag in Berlin, in a German-language translation by H. von Gebhardt. The guide is erroneously credited to Cas Oorthuys.

Ca. 1957-62

Sibbelee travels to China to take photographs, on assignment for the publishing company Elsevier. For his second trip to China in 1959, he travels on the Trans-Siberian Express. In 1962, China. Zevenhonderd miljoen mensen in beweging (‘China. Seven Hundred Million People on the Move’) appears, written by the philosopher Kwee Swan Liat and illustrated with photos by Sibbelee.


In February, Sibbelee moves from Amsterdam to Nederhorst den Berg, Middenweg 80.


Sibbelee and Petertje van Bronkhorst divorce.

On 21 September, Sibbelee weds Annemarie van Tricht, an instructor at the music school in Haarlem and a daughter of H.W. van Tricht, an authority on Dutch culture and language. Van Tricht’s brother, Jan van Tricht, is the director of the publishing company Uitgeverij Van Loghum-Slaterus.

Sibbelee and Van Tricht move to Prinses Marijkelaan 11 in Maartensdijk.


Sibbelee and Annemarie are baptised in the Catholic faith at the St. Martin’s Church in Maartensdijk. Van der Meer presides over the baptismal mass.


In November, Sibbelee travels to Madrid, where he receives the state citizenship of Spain, along with ten other ex-members of the International Brigades.


Hans Sibbelee dies on 30 March.


Hans Sibbelee belongs to the same generation of Dutch photographers as Emmy Andriesse, Ad Windig, and Cas Oorthuys. On one hand, Sibbelee typically represents this group of photographers, who, with their common background and interests, each developed their own specialty in the genre of documentary photography. On the other hand, however, he never completely conformed to the trends of his day, nor to the circles of which he was a part. Sibbelee was a communist without ever becoming a member of the CPH (Communistische Partij Holland, ‘Communist Party of the Netherlands’). He remained a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) only ‘on paper’­—despite the fact that the association had been founded in his own room. Finally, Sibbelee became a Catholic, despite his strong critique of the church as an institution.

As the only child of Dutch parents working in the foreign trade service, Sibbelee spent his early youth at various locations in British India and the Dutch East Indies. He was raised in an environment that was liberal, not religious. The freemasons, to which his father belonged, were likewise influential in Hans’ formative years. After receiving an education in electrotechnology in Rotterdam, at the age of nineteen Sibbelee began his career working for Philips in Eindhoven. Only a couple months later, however, he was fired for harbouring ‘verkeerde sympathieën’ (‘inappropriate sympathies’). In 1935, Sibbelee subsequently moved to Voorburg. Here he came into contact with left-wing intellectual artists living at the so-called ‘Gemeenschapshuis’ (‘Communal House’), an artists’ commune established in part on the initiative of Emmy Andriesse. At the Gemeenschapshuis, Siebelee met students and teachers of the KABK (Koninklijke Academie van Beeldende Kunsten, ‘Royal Academy of Art’) in The Hague. He also became involved in the group’s range of ideas. At this time, the house also accepted German (illegal) migrants, including Jews. During these initial years, Sibbelee was shaped more politically than artistically. With the Gemeenschapshuis as his base, he participated in activities of the Comité Hulp aan Spanje (‘Help for Spain Committee’). The international political developments and the ideals of an ‘actual people’s democracy’ even motivated him to travel to Spain to enlist with the International Brigades.

Sibbelee was assigned to the ‘Service Sanitaire’ (‘Sanitary Service’, the eleventh brigade). Although the eleventh brigade operated on the front, he never made it that far. By the time he arrived in Albacete, he was too weak to travel. Instead, he was sent to Benicassim, to work at a house that had been converted into a hospital. Once he regained his strength, Sibbelee began working as an electrotechnician with the ‘Laboratório technico de las Brigades Internacionales’ (‘Technical Laboratory of the International Brigades’). It was his task to solve any technical problems with the medical equipment. In doing so, he ended up at the Hospital Universidad (‘University Hospital’) of Murcia. Here he was approached by the hospital’s ‘director’, a Jewish doctor from Cologne, Germany, who asked him to do historical documentation using a Leica camera. From that point on, Sibbelee started taking photographs.

The only photo surviving from this period shows Sibbelee taking photographs of a passing military parade while standing on top of an ambulance. When he returned to the Netherlands, Sibbelee brought the negatives from this ‘Spanish period’ with him. He then deposited them in a safe at the bank of the Nederlandse Handelsmaatschappij (‘Netherlands Trading Company’) in Tiel. During the historic shelling of Tiel towards the very end of World War II, however, the negatives were destroyed in a fire. The actual photos were supposedly sent to Russia and later to East Germany, where they may possibly have ended up in an archive in East Berlin.

Sibbelee’s first steps on the road to becoming a photographer were a determining factor for the further course of his career. In Spain, he got the feeling ‘(…) that you could use your eyes and if you understood the nature of something, then you could produce something as a photographer.’ Shortly before the outbreak of World War II, Sibbelee moved to Amsterdam. He now knew that he wanted to become a photographer. For a brief period in 1939, Sibbelee started taking lessons from Paul Guermonprez at his studio ‘Co-op 2’, to learn the ropes of his chosen profession.

Sibbelee remained involved in the group at the Gemeenschapshuis from his base in Amsterdam. During the war, his house on the Kromme Waal served as a hiding place. Sibbelee was also active in the distribution of forged identity papers and other resistance-related activities, but he photographed very little.

As he explains it himself, this was because he ‘(…) was advised by [my] political family, they were international people, who said: “keep in mind, yes, no photos of your sweetheart and no photos of yourself and no photos of whatsoever, because then you might as well bid us farewell.” In France, this was in fact already the case. As such, it hardly appealed to me for this reason and I didn’t do much with it.’ In conversations with Sibbelee, it almost seems as if he is trying to downplay his illegal photographic activity during the German occupation, just as his involvement in ‘De Ondergedoken Camera’ (‘The Illegal Camera’), the group of photographers referred to by this name following the liberation of the Netherlands. Whatever the case may be, there is no doubt that Sibbelee shot photos during the years of the German occupation. He is said to have photographed weapons exercises and instructions of the ‘KP-Linie Oost’ (‘KP-Line East’) at De Ruyterkade 113 and at the offices of Geveke & Co. on the Prins Hendrikkade. Sibbelee’s shots, however, have (as yet) never been found. For the KP-Linie Oost, he also photographed two people that had been found dead on the Mariniersplein, who had succumbed to hunger some time before. Several of Sibbelee’s photos from the days of the German occupation, including those mentioned above, were published in a book published by Uitgeverij Contact in 1947, entitled Amsterdam tijdens de Honger winter (‘Amsterdam During the Hunger Winter’).

Prior to the outbreak of the war—shortly after he returned to the Netherlands from Spain and France—Sibbelee spent a bit of time associating with sculptors. It was in their company that he learned how to look at sculpture. Inspired by the sculptress Hélène Petri, Sibbelee began photographing works of art, primarily because it was a subject that was politically neutral. His first subject was the St. John’s Cathedral in ‘s-Hertogenbosch, using a 35-mm camera. His father owned a small branch office in the city and it was for this reason he chose to start there. Sibbelee took his photos of the cathedral and showed them to Murk Daniel Ozinga, the director of Monumentenzorg (‘Monument Preservation’). Although the photos impressed Ozinga, the contact led to nothing.

Sibbelee’s first photos depicting works of art were published in the series De schoonheid van ons land (‘The Beauty of Our Country’). During the war, he shot photos for the volume Koorbanken, koorhekken en kansels (‘Choir Stalls, Rood Screens and Chancels’), which was published immediately after the war in 1946, followed by Vlaamsche Kunst (‘Flemish Art’) in that same year. In the end, ten of the eighteen volumes published in the new series of De schoonheid van ons land included photos by Sibbelee. When it comes to the subject ‘church choir stalls’, an obvious question is the relationship between Sibbelee’s photos and those taken by Martien Coppens for his book De Koorbanken van Oirschot (‘The Choir Stalls of Oirschot’), published by Uitgeverij De Pelgrim in Eindhoven in 1941. At no point, however, were the two photographers ever in contact with respect to this topic.

In terms of the quality of his work, Sibbelee would continue to distinguish himself from others in this genre of documentary photography for the remainder of his career. Through the publishing company Contact, he became well acquainted with the authors of the books De schoonheid van ons land, including A.M. Hammacher and M.D. Ozinga. Sibbelee came to feel at home among art historians. In 1945, he met the art historian Hans Jaffé in Warsaw, Poland, and in 1947, he met Frits van der Meer, an art history professor specialized in the Middle Ages and the early Christian era at the Catholic University of Nijmegen.

Likewise, important for Sibbelee’s photographic perception of art, and specifically sculpture, were his contacts with post-war sculptors. First and foremost was the young sculptress Hélène Petri, a student at the RABK (‘Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam. For Sibbelee, Petri was ‘his sweet girlfriend’. His relationship with her is ‘the source of everything’, as he describes it. He showed her his first photographs of different sculptures and she gave her opinion of them. Besides Hélène Petri, Mari Andriessen was another important sculptor from whom Sibbelee learned a great deal and whom he greatly admired. Through these contacts, Sibbelee trained his eye. Sculptors such as Piet d’Hont, John Raedecker, Wessel Couzijn, and Shinkichi Tajiri taught him to see objects in three dimensions. Also, highly significant for his style of photographing was Sibbelee’s contact with Frits van der Meer. Through his travels and conversations with this art historian—often in the form of private lectures—Sibbelee’s eye was trained in a different way. He was now able to see the difference between Gothic and neo-Gothic, and had learned to distinguish original work from later additions and restorations as well as to appreciate the religious meaning of works of art, both as a whole and in their details.

It was not merely a personal preference that inspired Sibbelee’s interest in photographing sculpture and architecture. The prevailing mentality of the day— particularly arising from the atmosphere of the Cold War—drove him in the direction of the ‘liberal’ publishers, artists, and academics. Corporate photography was pretty much out of the question, as Sibbelee was known all too well as an agitator with communist sympathies. Still, his emotional involvement in the welfare of the people and his faith in progress remained the important mainstays of his photographic activity.

In the 1950s, a period in which the Dutch photobook was flourishing, Sibbelee seized the chance to portray this emotional involvement by means of two important reportages: one on Russia and one on China. In 1965, he came up with the idea of organising a trip to Russia, thus creating an opportunity for himself to do a photo reportage on the topic of Russia forty years after the revolution. He traveled there on assignment for the publishing company Van Loghum-Slaterus on the condition that he would not make any communist propaganda. In the end, however, the publisher was hesitant about introducing the book to the market. The book De USSR na 40 jaar (‘The USSR After Forty Years’) was ultimately brought out by the publishing company Pegasus of the CPN (Communistische Partij Nederland, ‘Communist Party Netherlands’). The book focuses chiefly on architecture and portraits of ‘ordinary’ people.

It was also on his own initiative that Sibbelee traveled to China for a photo reportage. This time his ideas sparked the enthusiasm of the publishing company Elsevier, resulting in the book China. Zevenhonderd miljoen mensen in beweging (‘China. Seven Hundred Million People on the Move’). Just as with his Russian reportage, Sibbelee’s shots depict various aspects of life: street scenes, architecture, people and their work, their cultural expressions, and individual portraits.

Sibbelee made these trips and reportages at a time when he was in continuous contact with Van der Meer. His photobooks about Rome, Chartres and the French cathedrals had already been published. Sibbelee managed to combine all of these activities effortlessly, because for him the choice of Communism or Christianity was purely instinctive. In his experience, these two perspectives of the world were by no means contradictory. Instead, the one was the extension of the other.

In the first half of the 1950s, Sibbelee made two short films commissioned by the Ministry of OK&W (Onderwijs, Kunsten en Wetenschappen, ‘Education, Arts and Sciences’), which were shown at movie theatres prior to the main feature. The first film, entitled Nederlandse beeldhouwkunst tijdens de late Middeleeuwen (‘Dutch Sculpture during the Late Middle Ages’, 1950), was made in collaboration with Bert Haanstra. As was typical for that era, the film begins with a contradiction: a modern shipyard versus Gothic architecture. Two years later, a second film followed bearing the title De zeven provinciën (‘The Seven Provinces’), this time on the subject of Dutch seventeenth-century painting. Sibbelee never became a filmmaker: after these two, he never made any more. He experienced the technical possibilities as being too limited, the budgets were too small, and the rivalry too much. The teamwork that was required was perhaps also too much of a ‘hassle’ for an individualist like Sibbelee.

Sibbelee’s view of society, characterised by solidarity and liberalism, as well as his sense of religious emotion, had a very strong influence on his photography. His photos of Russian peasants, for instance, reflect the respect he had for the labourer. His detail shots of statues of the Virgin Mary became life-like portraits of a loving mother or a Lady of Sorrow. The power of his sculpture photography is not in affiliation with his own religious convictions. His photos of primitive and Asian sculpture communicate the essence of any religion to the European. Sibbelee knows how to capture that which cannot be defined—the mystical and intangible—with his camera, and he does so convincingly.

When asked about his technique, Sibbelee talks about ‘the eye’ and ‘the fall of the light’. He virtually never photographed with artificial light and had an infallible talent for getting the lighting right. His preference for natural lighting necessitated that he use film with an ISO value of 400 or higher. He liked to photograph sculptures with a telephoto lens. For his church interiors, he chose a vantage point that would produce a non-frontal image.

Sibbelee’s choice of equipment and the technical finishing of his photos have always been secondary matters. For him, technique is nothing more than a means to obtain the desired image. Consequently, one can never get a straight answer when asking him about the equipment he uses. In any event, in Spain he worked with a Leica 35 mm camera. Shortly after the liberation, it is known he photographed French sculpture with a Plaubel Macina 6×9 (which could also be used for 6×6). Starting in about 1948, he worked with a Linhoff 9×12 technical camera. For the reportages involving religious art and the reportages produced in Russia and China during the 1950s, Sibbelee used a 6×6 Rolleiflex camera. Later, a 6×6 Bronica camera served the same purpose. Telephoto objectives were also part of his standard equipment. Sibbelee framed his images directly via the viewfinder when taking a shot—not when making prints in the darkroom. Because he frequently worked with 6×6 negative material, one finds a considerable number of square prints in his oeuvre. Despite this fact, a majority of his prints are rectangular, typically in the format of 6×9 negatives. Around 1950, he began photographing on Ektachrome film.

At the heart of Hans Sibbelee’s oeuvre lies his photography of sculpture—at least in a qualitative sense—in the broadest sense of the word: free-standing statues as well as monumental sculpture and reliefs. In the latter category, the goldsmith’s artisanry played an important role. Among all forms of artistic expression, sculpture appealed most to Sibbelee. It was his aim to allow the three-dimensional quality of these pieces to emerge with the greatest possible clarity by means of contrasts in light. Sibbelee became a specialist in this genre, with an ability to create the suggestion of tangibility in his photos of sculptural works.


Primary bibliography

images in:

Auteur onbekend, Een scherf in de ruit! Zes man zijn nodig om een nieuwe in te zetten, in Wij. Ons werk ons leven 6 (13 september 1940) 33, p. 11.

Walter Brandligt e.a., Het Landschap, Amsterdam (Contact) 1941, geh. herz. en verm. uitg., p. 86 (serie: De schoonheid van ons land, deel 1).

Kees Hana e.a., Polder en waterland, Amsterdam (Contact) 1941, afb. 26 (serie: De schoonheid van ons land, deel 7).

Auteur onbekend, Tot op een duizendste nauwkeurig, in Wij. Ons werk ons leven 6 (3 januari 1941) 49, p. 20-21.

Auteur onbekend, Enten, in Wij. Ons werk ons leven 7 (9 mei 1941) 14, p. 6.

Auteur onbekend, Zwerftochten door het bloeiende land. Bollenland en Betuwe trokken de eerste natuurliefhebbers, in Wij. Ons werk ons leven 7 (9 mei 1941) 14, p. 10-11.

Auteur onbekend, Vis van de grote rivieren. Een bedrijf, dat een periode van bloei beleeft, in Wij. Ons werk ons leven 7 (20 juni 1941) 20, p. 4-5.

Auteur onbekend, De oogst van het rode goud. Kersenpluk in de betuwe, in Wij. Ons werk ons leven 7 (18 juli 1941) 24, p. 2-3.

Mari Andriessen (voorw.), F.J. van Hall 1899-1945. Beeldhouwwerk teekeningen, Amsterdam (De Spieghel) 1946, p. 13, 15, 17, 19, 21, 41, 43, 45, 57, 59, 63, 65, 67, 71, 73, 89, 91, 93, 95, 97, 99.

Norman Phillips en J. Nikerk, Holland and the Canadians, Amsterdam/Antwerpen (Contact) 1946, p. 11, 19, 30, 40, 48, 58 (idem Nederlandse editie: Nederland-Canada).

J.S. Witsen Elias, Koorbanken, koorhekken en kansels, Amsterdam (Contact) 1946, afb. 1-197 (serie: De schoonheid van ons land, deel 1).

AJ.J. Delen, De Vlaamsche kunst, Amsterdam/Antwerpen (Contact) 1946, afb. 2-3, 5-6, 8-9, 11-18, 20-23, 25-28, 30, 36-37, 39-41, 43, 45, 47-48, 52-58, 98, 100-101, 103-105, 134, 136, 138, 141-142, 164, 183 (serie: De schoonheid van ons land, deel 2).

Max Nord, Amsterdam tijdens de hongerwinter, Amsterdam (Contact/Bezige Bij) 1947, p. 91, 112-113.

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

F. Drijver, Prijsvraag voor gedenkteken te Rotterdam, in Forum. Maandblad voor architectuur en gebonden kunst 2 (1947) 4, p. 99.

Catalogus tent. Foto ’48, Kroniek van Kunst en Kultuur 1948 (speciale editie), p. 32.

Catalogus tent. Prijsvraag Renesse. Monumenten, Amsterdam (Stedelijk Museum) 1948, afb. 7-9, 12, 18-19.

Th.P. Tromp, Verwoesting en wederopbouw/Revival in the Netherlands, Amsterdam (Contact) 1948, p. 15, 26.

Lode Baekelmans e.a., De Vlaamse steden, Amsterdam/Antwerpen (Contact) 1948, afb. 5 (serie: De schoonheid van ons land, deel 6).

M.D. Ozinga, De romaanse kerkelijke bouwkunst, Amsterdam (Contact) 1949, afb. 1-17, 19-28, 30-56, 58-67, 72-73, 79-102, 107-124 (serie: De schoonheid van ons land, deel 4).

J J.M. Timmers, Houten beelden. De houtsculptuur tijdens de late middeleeuwen, Amsterdam/Antwerpen (Contact) 1949, afb. 1-112 (serie: De schoonheid van ons land, deel 5).

Frits van der Meer, Rome. Een keur uit haar kunstwerken 300 v. Chr.-1800, Amsterdam (Contact) 1950, afb. 1-7, 11-15, 18-33, 36-41, 44-45, 48-64, 66, 72-77, 80-85, 87-80, 92-94, 96-97, 100-112 (serie: Ars Mundi, deel 1).

Carel Blazer, Rome. Een documentatie van Carel Blazer ingeleid door Mr Jan Derks, Amsterdam/Antwerpen (Contact) 1950, p. 41-42, 44, 54, 66.

Catalogus tent. Schoonheid in huis en hof, Amersfoort (Amersfoortse Gemeenschap) 1950.

Rogier van Aerde e.a. (tekst), Het grote gebod. Gedenkboek van het verzet in LO en LKP, Kampen/Bilthoven (Kok/Nelissen) 1951, deel 2, p. 307.

F. van der Meer, Atlas van de Westerse beschaving, Amsterdam (Elsevier) 1951, afb. 219, 221, 242, 263-265, 290, 300, 338-342, 344, 362-363, 367, 375-376, 419-421, 425-427, 430-431, 442, 477, 482-483, 696, 771-773, 775, 777, 779-780, 782-785,793-794, 853-854, 867-868, 873-874 (idem Franse editie 1952, Engelse editie 1954 en Duitse editie 1962).

Frits van der Meer, Chartres, Amsterdam/Antwerpen (Contact) 1951, afb. 1-80, I-IV (serie: Ars Mundi, deel 2) (idem Franse editie 1954).

J.T.P. Bijhouwer e.a., De Steden, Amsterdam/Antwerpen (Contact) 1951, afb. 8, 24-26, 123-1 24 (serie: De schoonheid van ons land, deel 10).

Riet Hylkema, National costumes in Holland, Amsterdam (J.M. Meulenhoff) 1951, afb. 6, 21-22, 24, 26, 30, 43, 60.

L.P.J. Braat, Beeldhouwkunst in nieuwe banen, z.p. (Stichting De Getijden Pers) 1952, p. 49- 51, 53, 55, 67, 69, 71, 73, 75, 83.

Catalogus verzameling Rijksmuseum Kröller-Müller. Beeldhouwwerken, Otterlo (Rijksmuseum Kröller-Müller) 1952, (idem 2de druk 1959).

F. van der Meer, Geschiedenis eener kathedraal. Met 122 platen, waarvan 100 naar foto’s van Hans Sibbelee, Utrecht/Antwerpen (Het Spectrum) 1952, 3de herz. dr. (idem: Geschiedenis van een kathedraal, 1961, 4de herz. dr.).

M.D. Ozinga en R. Meischke, De Gotische kerkelijke bouwkunst, Amsterdam (Contact) 1953, afb. 1-13a, 14-24a, 25-42, 45-47, 50-57, 61-65, 67-82a, 83-88, 90-94, 69, 98-100, 102-103, 104b, 105a-105b, 106, 108-109, 110b-110c, 111-113, 115-120 (serie: De schoonheid van ons land, deel 12).

E.H. ter Kuile, Kastelen en adellijke huizen, Amsterdam (Contact) 1954, afb. 1-38, 40-57, 59-69, 71-92, 94, 96-123 (serie: De schoonheid van ons land, deel 13).

A.M. Hammacher, Beeldhouwkunst van deze eeuw. En een schets van haar ontwikkeling in de negentiende eeuw, Amsterdam (Contact) 1955, afb. 1-158 (serie: De schoonheid van ons land, deel 14).

W. Muensterbergen, Primitieve kunst uit West- en Midden-Afrika, Indonesië, Melanesië, Polynesië en Noordwest- Amerika, Amsterdam/Antwerpen (Contact) 1955, afb. 1-3, 10-17, 19-22, 27-29, 31-44, 46-52, 54-55, 57-72, 74-83, 86-87, 89-90, 95, 97-123, 125, 127-130, 135-136, I-II (serie: Ars Mundi, deel 3).

A.M. Hammacher (red.), Het huis der Provincie Gelderland. Ten geleide bij een bezoek aan het Huis der Provincie, Arnhem (Provinciaal bestuur van Gelderland) 1955, p. 9-12, 15-18, 21, 23-24, 27-30, 33-36, 39-41, 45-46.

Albert Boeken (red.), Nederlandse Architectuur. Uitgevoerde werken van Bouwkundige ingenieurs, Amsterdam (Argus) 1956, p. 324, 326-328.

Drukkersweekblad en Autolijn (1956) 52 (kerstnummer).

R. Blijstra, Nederlandse bouwkunst na 1900, Amsterdam (De Bezige Bij) 1957.

F. van der Meer, Uit het oude Europa. Twintig herinneringen, Amsterdam/Brussel (Elsevier) 1957, p. 112, 152 (idem Duitse editie 1958).

Theun de Vries, De U.S.S.R. na 40 jaar, Amsterdam (Pegasus) 1957, p. 7-9, 11, 13-15, 18-19, 21, 24-25, 27, 31, 39, 43-47, 53- 64-65, 81-87, 89, 110-111.

J.J. Vriend, Nieuwere architectuur. Beknopt overzicht van de ontwikkeling der architectuur van 1800 tot heden, Bussum (Moussault) 1957.

F.J. van Gooi, Wonen in de Lage Landen. Architectuur. Algemene beschouwingen, Amsterdam/Rotterdam (Scheltema & Holkema N.V./W.L. Brusse N.V.) 1957, afb. 2.

B.B. Westerhuis, Kerken moderne architectuur, in Forum. Maandblad voor architectuur en gebonden kunst 12 (maart 1957) 1/2, p. 6-9, 16-21.

W.G. Overbos, Op weg naar een protestantse iconografie?, in Forum. Maandblad voor architectuur en gebonden kunst 12 (maart 1957) 1/2, p. 52.

R. Blijstra, Nationaal monument en erebegraafplaats, in Forum. Maandblad voor architectuur en gebonden kunst 12 (april 1957) 3, p. 62, 71-75, 77-78.

Hans Redeker, John Raedecker en het Nationaal Monument, in Forum. Maandblad voor architectuur en gebonden kunst 12 (april 1957) 3, p. 89-96.

F. van der Meer (m.m.v. Christine Mohrmann), Atlas van de Oudchristelijke wereld, Amsterdam (Elsevier) 1958, afb. 32, 107, 109, 120, 123-124, 132, 136, 171-173, 185, 209, 214, 400, 448, 466, 498, 606-607 (idem Engelse en Duitse editie 1959 en Franse editie 1960).

Charles Wentinck, De moderne beeldhouwkunst in Europa, Zeist etc. (W. De Haan etc.) 1958, afb. 63.

Catalogus tent. Sonsbeek ’58. Internationale beeldententoonstelling in de open lucht, Arnhem (Sonsbeek) 1958, afb. 54, 240, 266, 335.

Drukkersweekblad en Autolijn (1960) 52 (kerstnummer), p. 76-77.

F. van der Meer, Oudchristelijke kunst, Zeist (De Haan) 1959, afb. 4 (idem Duitse editie 1960 en Engelse editie 1967).

Georges Sadoul, Das ist Moskau, Berlin (Axel Junker Verlag) 1959 (serie: Contact Fotobücher der Welt) (idem Franse editie).

J.J. Vriend, Architectuur van deze eeuw, Amsterdam (Contact) 1959, afb. 2-25, 27-31, 34-40, 42. 45-51, 5, 56, 58, 6l, 71, 72, 75, 77, 80-90, 93, 94, 95, 97, 98, 101-104, 108-111, 113, 116-125, 128, 131, 132, 143, 144, 154, 156, 157, 163, 165,176,185, 191, 195, 197, 198, 206 (serie: De schoonheid van ons land, deel 16).

J.J. Vriend, Reflexen. Nederlands bouwen na 1945, Amsterdam (Moussault) 1959, p. 19, 26, 37, 118.

Catalogus tent. Willem Reijers 1910-1958, Amsterdam (Stedelijk Museum Amsterdam) z.j. [ca. 1960].

Holland Photo Almanac 1960.

Lydia Winkel (red.), Toen 1940-1945, Den Haag (Staatsdrukkerij) 1960, p. 48.

Oscar Newman, CIAM ’59 in Otterlo. Group for the research of social and visual inter-relationships, Hilversum etc. (G. van Saane “Lectura Architectonica”) 1961, afb. 1.

Catalogus Beeldhouwkunst van de middeleeuwen tot heden. Uit het Aartsbisschoppelijk Museum te Utrecht, Amsterdam/Brussel (Agon Elsevier) 1962, pl. I-V, afb. 1-120.

Catalogus Beeldhouwwerken van het Rijksmuseum Kröller-Müller, Otterlo (Rijksmuseum Kröller-Müller) 1962, 3de druk, afb. 16.

Kwee Swan Liat, China. Zevenhonderd miljoen mensen in beweging, Amsterdam (Elsevier) 1962, afb. 1-303.

Catalogus tent. Het wonder. Miracula Christi, Utrecht (Aartsbisschoppelijk museum) 1962, afb. 9.

Wright Miller, De mensen in Rusland, Amsterdam (H.J.Paris) z.j. [ca. 1962], afb. 1-4, 6, 9, 11, 15-16, 20, 24, 29-31, 40-48, 51.

H.P.L. Wiessing, John Raedecker, Amsterdam (Meulenhoff) z.j. [1962], afb. 2, 6, 10, 15, 22 (serie: Nederlandse beeldende kunst).

Catalogus tent. Het beeld in de Nederlandse barok, Utrecht (Aartsbisschoppelijk Museum) 1963, afb. 17, 39, 74, 86-87, 91, 93.

J.J.M. Bakker, Birth of a university. Technological university of Eindhoven, Eindhoven (Technische universiteit) 1963, omslag.

Catalogus tent. 150 jaar Nederlandse Kunst. Nationale Herdenking 1813-1963, Amsterdam (Stedelijk Museum) 1963, afb. 41, 114, 155-156, 229.

W.A. Wagener (red.), Rotterdams perspectief, Den Haag/Rotterdam (Nijgh & Van Ditmar) 1963, p. 47.

(Brochure tent.) Albert Termote, Den Haag (Haagse Gemeentemuseum) 1963, afb. M32, M39, M42, M100.

F. van der Meer, Ecclesia Mater. Naar aanleiding van het kerkmozaïek van Tabarka, Utrecht/Antwerpen (Spectrum) 1964, afb. 1,3.

F. van der Meer en G. Lemmens, Kleine atlas van de Westerse Beschaving. Editie voor het onderwijs, Amsterdam/Brussel (Agon Elsevier) 1964, afb. 68, 75, 112, 134, 138, 159, 199, 216, 242.

(Brochure) Het huis der provincie Gelderland, z.p. (Provinciaal Bestuur van Gelderland) 1964, p. 20.

Marius van Beek, Mari Andriessen, Amsterdam (|. M. Meulenhoff) 1964, afb. 1, 2c, 4-6, 9-17, 19-20, 23 (serie: Beeldende kunst en bouwkunst in Nederland).

Frédéric van der Meer, Atlas de 1’ordre Cistercien, Amsterdam/Bruxelles (Elsevier) 1965, afb. 10-12, 14, 16, 18, 22, 39-47, 49-55, 61, 63-64, 71-74, 76-80, 83, 86-89, 92-102, 104-109, 113-120, 123-124, 126, 128, 136-140, 143, 146-150, 161-163, 174-179, 181-184, 203-207, 213, 214, 216-218, 222-229, 236-241, 245-253, 264, 272-275, 294-301, 303, 305, 328-341, 363-364, 366-370, 374-385,403-416, 420-429, 431,437-439, 442-449, 679-690, 694, 695, 697-708, 712-714.

Evert Werkman, Ik neem het niet. Hoogtepunt uit het verzet 1940/1945, Leiden (Sijthoff) 1965, nap. 128, na p. 224.

A.W. Reinink, K.P.C, de Bazel – architect, Leiden (Universitaire Pers) 1965, afb. 81-82.

Catalogus tent. Sculptuur in Amsterdam, Amsterdam (Vondelpark) 1965.

A.W. Reinink, K.P.C. de Bazel, Amsterdam (J.M. Meulenhoff) 1965, omslag, afb. 24 (serie: Beeldende kunst en bouwkunst in Nederland). (Brochure) Couzijn, Amsterdam (Prins Bernhard Fonds) 1966.

Catalogus Beeldhouwwerken van het Rijksmuseum Kröller-Müller, Otterlo (Rijksmuseum Kröller-Müller) 1966, 2de Engelse ed., afb. 20.

G.Th.M. Lemmens, De interpretatie van de scheppingscyclus aan het noorder portaal van Chartres, in Feestbundel F. van der Meer. Opstellen aangeboden aan Prof. Dr. F.G.L. van der Meer ter gelegenheid van zijn zestigste verjaardag op 16 november 1964, Amsterdam/Brussel (Elsevier) 1966, afb. 2.

K.E. Schuurman, Wessel Couzijn, Amsterdam (J.M. Meulenhoff) 1967, afb. 1, 3-5, 7-11,18, 20 (serie: Beeldende kunst en bouwkunst in Nederland).

Frits van der Meer, Onbekende kathedralen in Frankrijk, Amsterdam/Brussel (Elsevier) 1967, p. 17-24, 33-40, 49-51, 53-56, 65-66, 71-72, 89, 92-96, 105-111, 129-136, 145-152, 169-176, 185-192, 209-216, 226-232, 241-248, 257-264, 273-280, 289-296 (idem Franse editie 1968).

A.B. Wigman, De Hoge Veluwe. Het Nationale Park. Gids, Otterlo (Nationaal Park De Hoge Veluwe) 1967.

F. van der Meer en G. Bartelink (vert.), Van den heiligen Johannes den Damascener. De derde verhandeling tegen hen die de heilige ikonen smaden, Utrecht/Antwerpen (Spectrum) 1968, afb. 2, 8, 14.

Catalogus Rijksmuseum Kröller-Müller, Otterlo (Vereniging tot bevordering van het aesthetisch element in het voortgezet onderwijs i.s.m. de Kröller-Müller Stichting) 1969 (4de herz. druk).

J.J. Vriend, Amsterdamse School, Amsterdam (Meulenhoff) 1970, omslag, afb. 6, 8, 10, 14b, 15, 20, 22, 30 (serie: Beeldende kunst en bouwkunst in Nederland).

Catalogus tent. Beelden uit Brabant: laatgotische kunst uit het oude hertogendom, 1400-1520, Den Bosch (Noordbrabants Museum) 1971, tekstafb. 8, afb. 1-2, 6-15, 18-20, 25-26, 31-34, 36-38, 41-47, 49-51, 54-57, 60, 62-63, 66-68, 70-78, 80-81, 86-87, 90, 94-109, 114-115, 120.

H.W. van Tricht, Frederik van Eeden. Dagboek 1878-1923, Culemborg (Tjeenk Willink-Noorduijn) 1971 (deel I), afb. 2-9, 11-13, 16-21, 23-34.

H.W. van Tricht, Frederik van Eeden. Dagboek 1878-1923, Culemborg (Tjeenk Willink-Noorduijn) 1971 (deel II), afb. 35, 37-41, 43, 45-47, 50, 54′ 56-

H.W. van Tricht, Frederik van Eeden. Dagboek 1878-1923, Culemborg (Tjeenk Willink-Noorduijn) 1971 (deel III), afb. 59-60, 64-66, 74.

H.W. van Tricht, Frederik van Eeden. Dagboek 1878-1923, Culemborg (Tjeenk Willink-Noorduijn) 1971 (deel IV), afb. 75, 83, 86, 88, 94, 96.

Auteur onbekend, Herinneringen aan het kanishuis, in Numaga tijdschrift gewijd aan heden en verleden van Nijmegen en omgeving 18 (juni 1971) 2, p. 159.

G. Lemmens, Beelden uit Brabant, in Spiegel Historiael maandblad voor geschiedenis en archeologie 6 (oktober 1971) 10, p. 533-539.

L.M.C. Banning, Twee gebeeldhouwde balksleutels uit een Nijmeegs Patriciërshuis, in Numaga tijdschrift gewijd aan heden en verleden van Nijmegen en omgeving 18 (november 1971) 3-4, p. 247.

Caroline Euwe, Sjef Teuns, Kijken naar kinderen, Amsterdam (Contact) 1972, p. 39, 106.

G. de Werd, Een onbekende Piëta ca. 1520 door Hendrik Douvermann te Afferden (Gld.), in Antiek. Tijdschrift voor liefhebbers en kenners van oude kunst en kunstnijverheid 6 (1972), afb. 1-4, 6-10.

Auteur onbekend, Het kruisbeeld van Neerbosch, in Numaga tijdschrift gewijd aan heden en verleden van Nijmegen en omgeving 19 (oktober 1972) 3, p. 144.

Catalogus Beeldhouwwerken van het Rijksmuseum Kröller-Müller, Otterlo (Rijksmuseum Kröller-Müller) 1973 (5de herz. druk), afb. 2, 77, 240, 318, 325, 328a-328b, 333, 338, 348, 359.

Wolfgang Pehnt, Die Architektur des Expressionismus, Teufen (Niggli) 1973, afb. 383-383, 447, 452, 454-455, 457, 459, 466-469, 474.

G.Th.M. Lemmens, De Nijmeegse mis van Sint Gregorius. Exit meester Peter, in Numaga. Tijdschrift gewijd aan heden en verleden van Nijmegen en omgeving 20 (september 1973) 3, p. 78, 80.

F. van der Meer en R.H.F. Hegge, De St. Nicolaaskerk te St. Nicolaasga (Fr.), z.p., z.j. [1974], afb. 5-6 (overdruk uit Publikatieband Stichting Alde Fryske Tsjerken).

Catalogus tent. Wim Schuhmacher 8 december 1974-19 januari 1975, Rotterdam (Museum Boymans-van Beuningen) 1974, afb. 88.

J.J. Vriend, Links bouwen, rechts bouwen. Aantekeningen over architectuur en politiek, Amsterdam (Contact) 1974, p. 58, 79, 109, l18, 140.

Catalogus Städtisches Museum Haus Koekkoek Kleve, Kleve (Haus Koekkoek) 1974, afb. 2, 5, 16-17, 23, 95.

M.H. Koyen, Krankzinnigenzorg St. Dimpna en Geel, in Spiegel Historiael 9 (oktober 1974) 10, p. 514.

A.F. Manning, Op zoek naar het alledaagse vaderland, Amsterdam (Contact) 1975, p. 13, 16, 20, 49, 57.

Catalogus tent. Het drieluik van de familie Kanis, Nijmegen (Nijmeegs Museum ‘Commanderie van St. Jan’) 1976, p. 10, 30-32.

Rudolf W.D. Oxenaar, Der Skulpturengarten des Kröller-Müller-Museums, in Kunst und Kirche. Blickpunkt Holland (juni 1976) 2, p. 86.

A.M. Hammacher, Lipchitz in Otterlo, Otterlo (Rijksmuseum Kröller-Müller) 1977, p. 4, 6, 8, 10, 12-13, 16, 18-22, 24, 26, 28, 30.

H.W. van Tricht, De briefwisseling van Pieter Corneliszoon Hooft, Culemborg (Tjeenk Willink/Noorduijn) 1977 (deel II), afb. 2-3.

Katharine Fremantle, Beelden kijken. De kunst van Quellien in het paleis op de Dam, Amsterdam (Koninklijk Paleis) 1977, 1. 3-5, 9, 13-14, 16, 26, 28-29, 31-35, 37-44, 46-52, 54-57, 59-60, 62-70, 73, 80-81, 88, 98.

Frits van der Meer, Apocalypse. Visioenen uit het boek der openbaring in de kunst, Antwerpen (Mercatorfonds) 1978, p. 202, 206-207, 209-211, 213, 215-219, 221-223, 225-227, 229, 230-231, 233-234 (idem Franse, Duitse en Engelse editie).

Frits van der Meer, De kleine stad. Lang geleden, Bolsward (Osinga) [1979], P- 25. 29, 33, 37, 41, 45, 49, 53, 57, 61, 65.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 9, 23.

H. W. van Tricht, De briefwisseling van Pieter Corneliszoon Hooft, Culemborg (Tjeenk Willink/Noorduijn) 1979 (deel III), afb. 30, 32-33.

J.N. van Wessem (inl.), Piet Esser. Een keuze uit de beelden, portretten en penningen, Amsterdam (Rijksakademie van Beeldende Kunsten) 1979.

Frits van der Meer, Imago Christi: Christusbeeltenissen in de sculptuur benoorden Alpen en Pyreneeën, Antwerpen (Mercatorfonds) 1980, afb. 1-210 (idem Franse: Images du Christ dans la sculpture du Nord des Alpes et des Pyrénées en Duitse editie: Christus. Der Menschensohn in der Abendländischen Plastik, Freiburg (etc.) (Herder)).

W. Halsema-Kubes, G. Lemmens en G. de Werd, Adriaen van Wesel. Een Utrechtse beeldhouwer uit de late middeleeuwen (ca. 1417/ca. 1490), Den Haag (Staatsuitgeverij) 1980, p. 14, 17, 23, 37, 85, 103, 113, 147, 153, 161, 163, 179, 187.

P. Bortier, Tongerlo: een abdij van Norbertijnen 1130-1980. Een kijk- lees- en luisterhoek, Westerlo (De Oude Linden) 1980.

Bob de Graaf en Lidwien Marcus, Kinderwagens en korsetten. Een onderzoek naar de sociale achtergrond en de rol van vrouwen in het verzet 1940-1945, Amsterdam (Bert Bakker) 1980, omslag.

H.A. Tummers, Early secular effigies in England. The thirteenth century, Leiden (Brill) 1980, afb. 34, 39, 43, 45-46, 50-51, 53, 64-66, 68-75, 113, 117, 120, 133, 135, 137, 141, 145.

Vrij Nederland Bijvoegsel (3 mei 1980) 18, p. 43.

Bernard Bro, Je cherche ton visage…, in Prier (ca.. 1980) mensuel hors-serie 2, p. 9.

Prier (ca. 1980) mensuel hors-serie 2, p. 22, 29.

Jean-Pierre Dubois-Dumée, Notre-Dame de la transparence, in Prier (ca. 1980) mensuel hors-serie 3, p. 6.

Catalogus Sculptuur. Beeldhouwwerken van het Rijksmuseum Kröller-Müller, Otterlo (Rijksmuseum Kröller-Müller) 1981, 6de druk, p. 2, 77, 240, 318, 325, 328a-b, 333, 338, 348, 359.

N.A. Hamers en G.Th.M. Lemmens, De vork van Colbert, in Numaga tijdschrift gewijd aan heden en verleden van Nijmegen en omgeving 28 (december 1981) 4, p. 101.

F. van der Meer, Die Ursprünge Christlicher Kunst, Basel/Wien (Herder Freiburg) 1982, afb. 9.

G. Lemmens en Juliette Bogaers, Nijmeegs zilver 1400-1900, Nijmegen (KU) 1983, afb. 3, 8, 10-11, 13, 17, 21-23, 31-32, 41, 44-49. 56-60, 67. 69, 71, 73-77, 79-81, 83-84, 87, 107, 109-110, 112-113, 121-122, 127, 130-131, 133-134, 136-140, 142, 154-160, 164-165, 176, 178-180, 191, IV, VI, VIII-XII, XVI-XIX, XXI-XXII, XXVIII-XXIX, XXXI-XXXIII.

Louk Tilanus, De beeldhouwer Mari Andriessen, Weesp (De Haan) 1984, p. 29, 57, 67, 80, 88, 105, 108.

Mariëtte Haveman, Nederlandse architectuurfotografie ’30/’60, in Perspektief (1986) 25, p. 16.

J.J.M. Timmers, Christelijke symboliek en iconografie, Houten (De Haan) 1987, 6de dr., afb. 27-29, 47, 51, 53, 57, 60, 63, 74, 82, 105, 130, 136, 140, 142, 145-146, 154, 164, 168, 172, 188.

Catalogus Kröller-Müller honderd jaar bouwen en verzamelen, Haarlem (Joh. Enschedé en Zonen) 1988.

Guido de Werd, St. Mariae Himmelfahrt. Die Propsteikirche St. Mariae Himmelfahrt zu Kleve, München/Berlin (Deutschen Kunstverlag) 1991, afb. 13.

Flip Bool en Veronica Hekking, De Dam 7 mei 1945. Foto’s en documenten, Leiden/Amsterdam (Primavera Pers/Focus) 1992, p. 19.

Catalogus tent. De gebeeldhouwde kop. De ontwikkeling van de gebeeldhouwde kop en het portretbeeld in Nederland van Middeleeuwen tot heden, Nijmegen (Nijmeegs Museum Commanderie van Sint-Jan) 1994, p. 34-36, 38, 43, afb. 1-3, 5-6, 19, 29, 46, 50-55, 58-59, 61, 66-674, 76, 78, 83-89, 93, 95-98, 101-105, 109, 111, 113, 115-117.

Mirjam Beerman e.a. (red.), Beeldengids Nederland. Een geschiedenis in vogelvlucht, Rotterdam (Uitgeverij 010) 1994, afb. N31.

W. Haakma Wagenaar, De schilderingen op de toren van de kerk in Westbroek, onderbouw toren, constructie schip, in St Maerten. Tijdschrift van de historische vereniging Maartensdijk speciale editie augustus 1994, p. 4, 6-7, 11, 21, 30.

Ineke Pey, De St. Willibrorduskerk te Hulst in nieuwe luister: na restitutie en restauratie (1806-1958), Nijmegen (Uitgeverij KU Nijmegen) 1996, p. 89, 91.

Catalogus tent. Piet Esser. Beeldhouwer en medailleur, Leiden (Rijksmuseum Het Koninklijk Penningkabinet) 1996, p. 162.

Jos Speekman, Zetel der wijsheid, in KU-nieuws. Weekblad voor de Katholieke Universiteit Nijmegen 27 (12 september 1997) 3.

Auteur onbekend, Keulse koningen, in KU-nieuws. Weekblad voor de Katholieke Universiteit Nijmegen 27 (17 april 1998) 30, p. 8.


in Kroniek van Kunst en Kuituur:

8 (1947), p. 222, 225.

8 (1947), p. 358.

9 (januari 1948) 1, p. 3.

9 (oktober 1948) 10, p. 293.

9 (december 1948) 12, omslagen p. 328.

10 (juni 1949) 6, p. 197.

10 (juni 1949) 6, p. 216.

10 (november 1949) 11, p. 341-342.

10 (december 1949) 12, p. 378.

10 (december 1949) 12, p. 381, 383.

11 (maart 1950) 3, p. 78.

11 (mei-juni 1950) 5-6, p. 117.

11 (mei-juni 1950) 5-6, p. 118.

11 (oktober 1950) 10, p. 251.

11 (oktober 1950) 10, p.255.

11 (december 1950) 12, omslag, extra-uitgave (juni 1951), p. 28.

12 (mei 1952) 6, p. 142.

12 (november/december 1952) 10, p. 231.

13 (juni 1953) 5 , p . 120.

15 (april-mei 1955) 4, p. 92.

15 (oktober 1955) 8, p. 191.

16 (januari 1956) 1, p. 6.

18 (1958), p. 183.

18 (1958), p.-203, 204.

19 (1959) 4, p. 37-39.

20 (1960) 7/8, p. 111.

Secondary bibliography

Auteur onbekend, De zeven Provinciën, in Uilenspiegel. Weekblad voor het gezin 4 (21 augustus 1954), p. 3.

Auteur onbekend, Hans Sibbelee, in De Groene Amsterdammer 81 (20 april 1957) 16, p. 14.

Flip Bool en Kees Broos, Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 81, 96, 140.

Lin Jaldati en Eberhard Rebling, Sag nie du gehst den letzten Weg, Berlijn (Der Morgen) 1986^.341.

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

Mattie Boom, Frans van Burkom en Jenny Smets (red.), Foto in omslag. Het Nederlandse documentaire fotoboek na 1945/Photography between covers. The Dutch documentary photobook after 1945, Amsterdam (Fragment i.s.m. Rijksdienst Beeldende Kunst) 1989, p. 15-18, 23-24, 37, 67.

Robbert van Venetië en Annet Zondervan, Geschiedenis van de Nederlandse architectuurfotografie, Rotterdam (010) 1989, p. 17, 104-105 (met foto’s).

Veronica Hekking en Flip Bool, De illegale camera 1940-1945. Nederlandse fotografie tijdens de Duitse bezetting, Naarden (V+K Publishing/Inmerc) 1995, p. 26-27, 65, 69, 79, 96, 122, 146-147, 201, 210 (metf oto’s).


GKf (lidmaatschap onduidelijk; wel betrokken bij oprichting en deelname aan GKf-tentoonstellingen in 1948 en 1950).


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

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

1950 (g) Amersfoort, Amersfoortse Gemeenschap, Schoonheid in huis en hof.

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

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

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

1988 (g) Amsterdam, Verzetsmuseum, De Ondergedoken Camera.

1997 (g) Rotterdam, Nederlands Foto Instituut, Rotterdam herrijst 1945-1960, Fotografie en Film.


1950 Nederlandse beeldhouwkunst tijdens de late Middeleeuwen (i.s.m. Bert Haanstra).

1952 De zeven Provinciën.

Television programs

6 mei 1996 Dokument, uitzending over De Ondergedoken Camera (NCRV).


Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

Leusden, Jan Wingender.

Maartensdijk, Annemarie Sibbelee, mondelinge informatie.

Maartensdijk, Hans Sibbelee, documentatie en mondelinge informatie.

Rotterdam, Nederlands Fotoarchief (thans Nederlands Fotomuseum).

Utrecht, Rik Suermondt (ongepubliceerde doctoraalscriptie kunstgeschiedenis: De fotoboeken van uitgeverij Contact, Rijksuniversiteit Utrecht 1987).


Amsterdam, Internationaal Instituut voor Sociale Geschiedenis (IISG).

Amsterdam, Nederlands Instituut voor Oologsdocumentatie (voorheen RIOD).

Amsterdam, Stedelijk Museum.

Nijmegen, Katholieke Universiteit, Centrum voor Kunsthistorische Documentatie (CKD).

Rotterdam, Stichting Nederlands Fotomuseum.