PhotoLexicon, Volume 16, nr. 32 (November 1999) (en)

Ferry André de la Porte

Martin Harlaar


Ferry André de la Porte has built up a traditional photographic oeuvre not limited to any one movement or genre. Generally speaking, there is little to be seen in his photos. Just as moments of silence are an indispensible component of a work of music, there is often an ‘absence’ in his photos not to be overlooked. De la Porte also devotes significant attention to oddities: matters that others pass by without thinking genuinely amaze him. This wonderment is virtually always combined with a touch of humour. The mood that many of De la Porte’s photos radiate can be described as serene, frequently verging on the surrealistic.




Leonard Louis Ferdinand (Ferry) André de la Porte is born on 26 January at Leidsestraat 78 in Amsterdam as the son of Johan Hendrik André de la Porte (architect) and Ine van Leusden (jewellery smith). De la Porte’s mother was the daughter of the surrealist painter, draughtsman, etcher and lithographer Willem van Leusden (1886–1974).


Ferry André de la Porte starts photographing as a hobby. He installs a darkroom on the attic floor at Leidsestraat 78 in Amsterdam.


De la Porte passes his final exams at the HBS (Hogere Burgerschool, an upper-level secondary school) and applies to the Rietveld Academy and the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam. He is accepted to both, but is obliged to first serve in the military. After being released from military service several months later, it turns out that he cannot begin either study until the following academic year. Consequently, De la Porte begins working as a photographer and proceeds no further with a study.


André de la Porte stays for several months in New York. He does a lot of studio work for an advertising photographer on Fifth Avenue, named Horowitz.


De la Porte works on several assignments in collaboration with the pop photographer Gijsbert Hanekroot.

Through the graphic designer Pieter Brattinga (an acquaintance of his uncle), De la Porte ends up working as an apprentice for Philip Mechanicus, with whom he shares various studios and darkrooms up until 1987.


André de la Porte photographs for Dick Bruna (portrait and product photography).


Together with the artist Mary Schoonheyt, De La Porte works on a monumental commission for the managing board of the Nederlandse Omroep-Zendermaatschappij (‘Netherlands Broadcasting Transmitter Company’), in order to create a new look for the stairwell of the company’s headquarters in Lopik.


De la Porte photographs for De Tijd.


De la Porte photographs for Hollands Diep.


De la Porte rents a space at Prinsengracht 701 in Amsterdam, where he sets up a studio and a darkroom. He shares this space with Philip Mechanicus and his assistant, Floris Bergkamp.


De la Porte and Philip Mechanicus move their studio and darkroom to the De Waal warehouse (a ‘pakhuis’) on the Prinsengracht in Amsterdam.


De la Porte collaborates with Pieter Brattinga on posters for exhibitions at the Rijksmuseum Kröller-Müller. (This collaboration continues to this day, though on a less intensive basis).


De la Porte photographs for the film magazine Skoop (portraits, working shots and stills).


De la Porte sets up a studio and a darkroom in the house where he was born on the Leidsestraat in Amsterdam. Philip Mechanicus will continue to work there until 1987.


The Ministry of WVC (Welzijn, Volksgezondheid en Cultuur , ‘Welfare, Public Health and Culture’) acquires one of De la Porte’s photos, Vier bomen (‘Four Trees’, 1983 Brussels).


Together with Marion Peters (his life companion), De la Porte travels to various destinations in Asia (Sri Lanka, Thailand, Indonesia, Sikkim, and India).


De la Porte photographs for the magazine Quote.


De la Porte—together with Oscar van Alphen and Nick Sinclair—receives a photography assignment from the Rijksmuseum. The theme is ‘Oog voor kunst. De kunstwereld in Nederland’ (‘Eye for Art. The Art World in the Netherlands’.)

De la Porte takes virtually all of the photos for the book De activiteiten van/The activities of Pieter Brattinga.


De la Porte becomes a member of the board of the Stichting F.J. Rotgans. The aim of this foundation is to inventory, preserve, and systemise the work of the photographer Frits Rotgans (1912–1978). The organisation of this collection takes place in 1989 and is the first project undertaken by the NFA (Nederlands Fotoarchief, ‘Netherlands Photo Archive’) in Rotterdam. The collection is officially transferred to the NFA in 1992. Since then, the Stichting F.J. Rotgans has been relatively inactive.


In January and October, De la Porte photographs for the fourth volume of a series of photobooks concerning life on the Dutch island of Terschelling in the twentieth century.


Together with Marion Peters, De la Porte is preparing a book and an exhibition on the material remnants of the Dutch presence in India during the days of the East India Company.


Ferry André de la Porte has been working since 1969 as a freelance photographer. De la Porte’s family and the photographer Philip Mechanicus, for whom he started working as an apprentice in 1970, introduced him to the cultural circuit directly at the start of his career. Since then, he has remained active in this world.

De la Porte photographed pop concerts, took working shots and stills for Dutch movies, made portraits of writers and artists, photographed their studios and their work, and did the photography for dozens of catalogues. In collaboration with the graphic designer Pieter Brattinga, De la Porte shot photos for the posters of the Rijksmuseum Kröller-Müller, as well as book covers and several album covers. Over the last thirty years, De la Porte has been doing primarily journalistic photography, reproduction and product photography, corporate reportages and portrait photography. His oeuvre comprises circa 80,000 black-and-white negatives and an unknown quantity of colour material, prints in black-and-white and colour slides. De la Porte’s autonomous work is much more important to him than his professional photography. In this regard, he still sees himself—even after having built up thirty years of experience—as an ‘amateur’ in the true sense of the word, i.e. a photography buff.

Ferry André de la Porte comes from an artistic background. His grandfather on his mother’s side was the surrealist painter, drawer, etcher and lithographer Willem van Leusden. His mother, Ine van Leusden, had studied at the Instituut voor Kunstnijverheidsonderwijs (‘Institute of Applied Art Education’, the precursor of the Rietveld Academy). She also studied at Schoonhoven to become a jewellery smith. Ine’s sister was a photographer. De la Porte’s father studied interior design at the same institute as his mother and later became a practicing architect. Once De la Porte had completed his final exams at the HBS (Hogere Burgerschool, an upper-level secondary school) in 1969, his parents strongly encouraged him to attend the HEAO (Hoger Economisch en Administratief Onderwijs, ‘Upper Economic and Administrative Education’). This was not what De la Porte wanted. Instead, he wanted to become a photographer or designer. Without his parents’ knowledge, he enrolled at the Rietveld Academy and the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’), both in Amsterdam. Although accepted to both, he was first required to serve in the military.

After he was released from the military several months later based on an ‘S5’ indication (unsuitable for military service), it turned out that De la Porte would not be able to start any study until the next academic year. Consequently, he started working as a photographer—never to study again. De la Porte’s first commissions were done together with the pop photographer Gijsbert Hanekroot. He ended up moving to New York and working for a photographer named Horowitz. The contact had been made via Jan Henderikse, a Dutch artist then living in the United States, to whom De la Porte had previously been introduced by the writer Gerard Stigter (K. Schippers). Horowitz was a commercial advertising photographer who taught De la Porte to photograph still lifes. Back in the Netherlands, in about 1970, an uncle of De la Porte’s brought him into contact with the graphic designer Pieter Brattinga.

Brattinga, in turn, introduced him to Philip Mechanicus, who had a studio and a darkroom on the Singel. Mechanicus, who had begun to lose interest in photography and wished to do more writing, already had an assistant, Floris Bergkamp. But he was willing to take on De la Porte as an unpaid employee. De la Porte took over much of Mechanicus’ darkroom work. In so doing, he became thoroughly familiar with Mechanicus’ photography. This was to have a significant influence on the young Ferry, in the same manner that Mechanicus had been affected by the work he himself had done for Ad Windig as an apprentice. The great importance that Windig placed on a perfect printing technique was in turn passed to De la Porte through Mechanicus. Even though De la Porte has never attempted to follow any one role model in photography, Windig is one of the Dutch photographers he admires and with whom he feels a certain affinity. Other photographers falling under the same category in his view are Paul Huf, Ed van der Elsken and Johan van de Keuken. Among foreign photographers, the same applies for Edward Weston (1886-1958), André Kertész (1894-1985) and Diane Arbus (1923-1971). Outside the world of photography, De la Porte is particularly influenced by the graphic designer Pieter Brattinga, with whom he collaborated in the years 1978–1988 on the posters for exhibitions in the Rijksmuseum Kröller-Müller in Otterlo. Brattinga taught him another way of seeing. De la Porte’s photos had to be usable for the designer, which meant that the designs had to be photographed with clarity. In addition, the photo had to be fairly empty, as extra space was always required for the accompanying text.

In 1970, De la Porte began sharing a studio and a darkroom with Philip Mechanicus. They would continue to do so for approximately seventeen years. For the first three years, De la Porte worked mainly in the dark room. Mechanicus’ former teacher Ad Windig had told him it would take at least five years to adequately master making prints. De la Porte learned quickly, however, and was given the nickname of ‘tovenaarsleerling’ (‘wizard’s apprentice’) by Mechanicus. Mechanicus taught De la Porte not only how to make prints. In the newspaper Het Parool dated 20 April 1996, Mechanicus says the following: ‘I later also had a student of my own: Ferry André de la Porte. I, too, taught him—just as Windig did with me— how to talk, drink, eat, play billiards, and photograph.’ Serving as the ‘classroom’ for some of this learning was the Amsterdam artists society De Kring. It was here that De la Porte built up an extensive circle of friends and acquaintances. Over the years, these contacts provided him with the necessary commissions. He photographed for many years for the film magazine Skoop, for the cultural magazine Hollands Diep (including portraits of writers), for the catholic weekly De Tijd (e.g. a reportage on the Dutch politician Dries van Agt) and for the economic magazine Quote (company reportages and portraits of figures in the business world). In 1988, De la Porte did almost all of the photography for the comprehensive book De activiteiten van/ The activities of Pieter Brattinga. It was through Brattinga that he became the staff photographer for Mercis­–Bruna, the company that did the merchandising for all of Dick Bruna’s products.

In 1994, De la Porte travelled with his life companion, the art historian Marion Peters, across India. In the vicinity of Madras, they discovered a small temple with the names of more than 80 Dutch people carved into its walls and pillars. Among them was the name Daniel Havart, the author of the book Op- en Ondergangh van Coromandel (‘Rise and Fall of Coromandel’), published in 1693. Many of the names found at the temple were also featured in Havart’s book. This discovery led to a major investigation conducted by Peters and De la Porte for many years regarding the material remnants (primarily forts and gravestones) of the Dutch presence on the eastern coast of India in the days of the East India Company. During the four trips that the couple made to the temple (1994, 1996, 1997 and 1998), requiring in total more than a years’ work, De la Porte shot countless rolls of films with his Hasselblad. The vulnerability of this almost forgotten Dutch legacy is illustrated by the fact that a share of the objects photographed during the initial trips —e.g. gravestones—turned out to be missing during their later visits. The serene character that De la Porte bestowed on many of the photos in this sizeable series recalls shots taken by photographers such as Isidore van Kinsbergen and Adolph Schafer in the nineteenth-century. In 2002 (the commemorative year of the East India Company), a book will be published featuring De la Porte’s photos during his travels in India, with an exhibition to be organised in the Rijksmuseum in Amsterdam.

Very soon after he began to take photographs, De la Porte developed his own style, particularly in his autonomous work. This style, which is closely connected to his ideas about photography, is more in line with past generations of photographers rather than his contemporaries—though undoubtedly, De la Porte’s work reveals similarities to that of Paul den Hollander, who was also born in 1950, on a number of levels. As an aesthete, De la Porte loves what he calls ‘clean, sharp photos’. There should not be too much in these photos: only that which is necessary. While the subject can be anything, it has to be captured in an original manner and without any tricks. Generally speaking, De la Porte is averse to staging and to the livening up less successful photos in the darkroom.

Typically, there are very few people found in De la Porte’s autonomous work. He usually prefers simple crops taken from material reality, e.g. such as when photographing a wooden statue of a horse in Indonesia. What does one actually see? A corner formed by two walls and the neck and head of a horse. The head of the horse is situated close to the wall and casts a shadow on it. There is nothing more to the photo than this. Why does De la Porte not show anything other than the horse and its surroundings? Why did he not move the statue so that it was not so ‘inconveniently’ close to the wall? Anyone examining the photo for a longer period of time cannot help but observe that this image brings up all kinds of associations. Why does the photo radiate such a sadness and loneliness? Does it recall memories of having to stand in the corner at school in order to contemplate one’s own sins? Does it remind one of a horse faced with a premonition of its own, inevitably ending under the butcher’s knife? De la Porte’s photos are only truly exposed in the associations of the observer (not only beauty, but also ‘content’ is in the eye of the beholder). This presupposes that one is willing to take the time to view this image.

Although De la Porte does not think highly of themes—that is, when it comes to his own oeuvre (‘I am the uniting factor)—over the years one can nevertheless observe a fascination for certain visual elements recurring in his photos. Geometric forms appear in various types in his photos: a corner formed by two walls and the ceiling, bushes and trees trimmed into conical and square shapes, a gigantic egg-shaped boulder, a cylindrical haystack. In addition, one regularly encounters animal-like forms: a stuffed swan, the head of a ram, a wall covered in antlers, or the tattered head of a stuffed tiger. De la Porte also plays with patterns and striking shots taken from reality, which sometimes gives his photos an abstract character.

In secondary school, André de la Porte photographed with a Canon. In the late 1960s, he purchased a Pentax and later a Nikon F2. He acquired his first Hasselblad in 1970. Although having collected a large number of cameras over the years, he preferably uses a Hasselblad with a standard 80 mm lens for his autonomous work—consisting exclusively of black-and-white photos. De la Porte likes an ‘honest, old-fashioned’ approach to working and averse to artificial intervention. This is expressed in the manner in which he photographs, as well as in the way he makes prints. When photographing, De la Porte always bases his work on the reality in front of him and very rarely introduces changes to make the image more interesting. He is just as reserved in the darkroom and has always worked according to the following creed: ‘One photographs with a camera and not in the darkroom.’ Like his teacher in the early 1970s, he holds the opinion that prints should include a multitude of grey tones. In the darkest of blacks, one should still clearly see outlines, with accents created through the brightest of whites. In general terms, De la Porte’s prints are fairly soft and tend to be on the darker side. In principle, he always uses the entire negative, though there are occasional exceptions.

In addition to his professional career as a freelance photographer, De la Porte has been building a special oeuvre in his autonomous work for the last thirty years. In the world of photography, he is an individualist. He holds no interest in movements or trends and follows his own path without distraction. He has never felt any ambition to be a trendsetter or to found his own school.

André de la Porte refers to himself as a traditional photographer and someone who enjoys photos printed with painstaking care. He is a lover of photography who photographs for other enthusiasts and those willing to take the time to arrive at an understanding of his photos, which possess their very own idiom. Anyone who suggests there is little to be seen in this work and therefore disapproves should perhaps reflect on the words that Philip Mechanicus wrote about De La Porte’s photos in 1981: ‘Nothing is more difficult to represent than absence; nothing is more difficult to represent than nothing.’


Primary bibliography

(prentbriefkaart) Amsterdam (Art Unlimited) ca. 1981.

(prentbriefkaarten) Serie van 12 foto’s, Amsterdam (Poortpers/GTP) ca. 1987.

(prentbriefkaarten) Serie van twee foto’s, Rotterdam (Bébert-editions) ca. 1987.


images in :

Dolf Kohnstamm, Het bijzondere van het gewone. De kinderboekjes van dick bruna, Amsterdam (Mercis b.v.) 1974.

De Tijd 12 september 1974-september 1976.

Maatstaf 23 (januari 1975).

Hollands Diep november 1975-juni 1977.

Nederlands Theater- en Televisie Jaarboek (1974/75-1975/76) 24/25.

Catalogus Mercis, Amsterdam (Mercis b.v.) ca. 1978

Ben ten Holter, Amsterdam Pubs, a pub-crawler’s delight, Amsterdam (Tiebosch) 1978.

Eveline Kerckhoven Smit, Oma weet het beter, Amsterdam (Tiebosch) 1978.

George E. Simpson en Neal R. Burger, Verdwenen in het niets, Amsterdam (Tiebosch) 1979.

Skoop 1979-1988.

Jan van der Geest en Ottakar Macel, Stühle aus Stahl. Metalmöbel 1925-1940, Keulen (Walter König) 1980, omslag.

Ben ten Holter, An Affectionate Guide to the Brown Cafés of Amsterdam (Tiebosch) 1980.

Catalogus Sculpture, Otterlo (Rijksmuseum Kröller-Müller) 1981, 4 de Engelse editie.

Eva van Schaik, Op gespannen voet. Geschiedenis van de Nederlandse theaterdans vanaf 1900, Haarlem (De Haan) 1981.

Allard Vogel, Groot Amsterdams Restaurantboek, Amsterdam (Tiebosch) 1981.

Jan Timman, Schaakwerk 1. Analyses en studies, Amsterdam (Andriessen) 1983.

Catalogus tent. Herman Makkink, Amsterdam (Wetering Galerie/Bouwfonds Nederlandse Gemeenten) 1984.

Dick Bruna News Letter [verschijnt 4.x per jaar, uitgegeven door Mercis b.v., Amsterdam] ca. 1984-heden.

NRC Handelsblad 1 november 1984.

Catalogus tent. André Volten 1:100, Otterlo (Rijksmuseum Kröller-Müller) 1985.

Marijke Gunnink, St. Hubert’s Lodge, z.p. [Otterlo] (Kröller-Müller Foundation) 1985.

Francis van der Knaap, Harry’s Cocktail boek, Amsterdam (Tabula) 1985.

Vrij Nederland 4 mei 1985.

Catalogus tent. Jacqueline de Jong, Amsterdam (Galerie Brinkman/ Editions Vincent Steinmetz) 1987.

Catalogus tent. Paul de Lussanet, Amsterdam (Galerie Quintessens) 1987.

Catalogus tent. Pieter Engels, Amsterdam (Galerie Brinkman/Editions Vincent Steinmetz) 1987.

Catalogus tent. De tien geboden. Schilderijen van Ria Rettich, Amsterdam (GTP) 1987.

Philip Mechanicus, Kookkunst in Nederland. Unieke recepten met Nederlandse produkten. Uitgave voor de Alliance Gastronomique Neerlandaise, Ede (Zomer en Keuning Boeken) 1987.

Philip Mechanicus, La Hollandes’amuse, Amsterdam (Tabula) 1987.

Quote 1987-1988.

Ella Reitsma, Dick Bruna 60 jaar, in Vrij Nederland Bijvoegsel (22 augustus 1987) 34.

Catalogus tent. Hans Verhagen. Peintures Passionelles, Amsterdam (Forum Galerie) 1988.

Catalogus tent. Simon Posthuma, Amsterdam (Galerie Brinkman/Editions Vincent Steinmetz) 1988.

Catalogus tent. Wim Elzinga en Jurriaan van Hall, Amsterdam (Galerie Brinkman/Editions Vincent Steinmetz) 1988.

R.W.D. Oxenaar e.a., Kröller-Müller. Honderd jaar bouwen en verzamelen Haarlem (Joh. Enschedé en zn.) 1988.

Ursula den Tex (tekst), Oscar van Alphen, Ferry André de la Porte en Nick Sinclair (foto’s), Oog voor kunst, Den Haag (SDU) 1988.

Geneviève Waldmann, De activiteiten van/The activities of Pieter Brattinga, Otawa/Den Haag (Kodansha/Sdu) 1988.

Catalogus Foto 89. 3 e Internationale Foto-manifestatie in Amsterdam, Den Haag (SDU) 1989, p. 158-159.

Catalogus tent. BVK. Beroepskostenvergoeding, Enschede (Rijksmuseum Twente) 1989.

Catalogus tent. De kleur van Leo Schatz, Haarlem (De Toorts) 1989 (idem 2 e gew. ed. 1995).

Kees Nieuwenhuijzen en Ella Reitsma, Het paradijs in Pictogram, Amsterdam (Mercis b.v.) 1989.

Ursula den Tex, Meer geld voor de kunst, minder voor de kunstenaar, in Vrij Nederland Bijvoegsel (8 april 1989) 14.

Willem Ellenbroek, Naast de champagne waren er ook kunstenaars, in de Volkskrant 18 april 1989, p. 15.

Trefpunt [tijdschrift van het Ministerie van WVC] (mei 1989) 5.

Theun de Winter, Vreemdgaan is zo vreemd nog niet, Amsterdam (Gerard Timmer Prods) 1989.

Dick Adelaar, Jos van Asperen en Michiel Roding, Willem van Leusden. Essays over een verhard romanticus, Utrecht (Kwadraat) 1990.

W.A.L. Beeren e.a., Cremer schilder/schrijver, Budapest (Budapest Historical Museum) 1990.

Catalogus tent. Drie beeldhouwers in klei, Den Bosch (Keramisch Werkcentrum) 1990.

Catalogus tent. Herman Brood, Amsterdam (Reflex Modern Art Gallery) 1990.

Catalogus tent. Karel Appel in Arti, Amsterdam (Reflex Modern Art Gallery) 1990.

Peter Smit, De avondjes, twintig vrolijke verjaardagen, Amsterdam (Timmer Prods) 1990.

De krant op zondag 25 september 1990, p. 11.

Catalogus tent. Herman Makkink, Amsterdam (Archief/Wetering Galerie) 1991.

Catalogus tent. Jacqueline de Jong, München (Galerie Helmut Leger) 1991

Catalogus tent. Pieter Engels. Parallel Landscape/Remembrandt, Nijmegen (Nijmeegs Museum) 1991.

Herman Makkink, De zoutcirckel in Artoteek Oost, Amsterdam (Artoteek Oost) z.j. [ca. 1991].

Herman Mock, Sauna! Een complete handleiding, Den Haag (Bzztöh) 1991.

Catalogus tent. Arman, Amsterdam (Reflex Modern Art Gallery) 1992.

Catalogus tent. Jan Rothuizen, Amsterdam (Galerie Brinkman) 1992.

Catalogus tent. Miniatuur-museum, Amsterdam (Reflex Modern Art Gallery) 1992.

Catalogus tent. O.C. Hooymeyer. Portraits, Amsterdam (Reflex Modern Art Gallery) 1992.

J.A. de Moor en P. van der Velde, De werken van Jacob Haafner. Deel 1, Zutphen (Walburg Pers/Linschoten-Vereeniging) 1992.

Peter Smit, Nooit meer gapen, Amsterdam (Gerard Timmer Prods) 1992.

Catalogus tent. Mooi Hoofd. Jef Diederen, Eindhoven (Galerie Willy Schoots) 1993

Irene Constandse (inl.), Dijkman, z.p. 1993.

Catalogus tent. Jan Paul Franssens, schilderijen en tekeningen, Franeker/Enschede (Museum ’t Coopmanshüs/Gemeentelijk Kunstcentrum Marktzeventien) 1994.

Catalogus tent. Leven in Nederland. Twintigjaar fotografie in opdracht, Arnhem (Nederlands Openluchtmuseum) 1994.

Robert Welsh, Boudewijn Bakker en Marty Bax, Mondriaan aan de Amstel, Amsterdam (Gemeentearchief) 1994.

Ed Wingen, Paul de Lussanet, Eindhoven (Kempen Publishers) 1994.

Catalogus tent. Dijkman in het natuurmuseum, Rotterdam (Natuurmuseum) 1995.

Henk Spaan, De zoon van Cruijff en andere gedichten, Amsterdam/Antwerpen (Veen) 1995.

John T. Tainsh, De vader van nijntje, Amsterdam (Mercis b.v.) 1995.

Anneke Visser e.a., Waar moet Lotje leren lopen?, Amsterdam (Lubberhuizen) 1995.

M.L. Barend-van Haeften, Op reis met de VOC. De openhartige dagboeken van de zusters Lammens en Swellengrebel, Zutphen (Walburg Pers/Linschotenvereeniging) 1996.

Catalogus tent. Evora a Luz Holandesa/Evora in Dutch Light, Evora (Museu de Evora, Instituto Português de Museus) 1996.

Daniël Rozenberg, Dadara, Amsterdam (Outland Records International) 1996.

Martin Harlaar, Terschelling 2000. De laatste jaren van de 20e eeuw fotografisch vastgelegd door Ed Overdijk en Ferry André de la Porte, Bussum (Uitgeverij Thoth) 1999.

Namiko Naruse, All about Dick Bruna, Ottawa/Amsterdam (Kodansha/Mercis) 1999.


Panamarenko, Otterlo (Rijksmuseum Kröller-Müller) 1978.

Claes Oldenburg, Otterlo (Rijksmuseum Kröller-Müller) 1979.

Vincent van Gogh, Otterlo (Rijksmuseum Kröller-Müller) 1984.

André Volten, Otterlo (Rijksmuseum Kröller-Müller) 1985.

Wessel Couzijn, Otterlo (Rijksmuseum Kröller-Müller) 1986.

Henry van de Velde, Otterlo (Rijksmuseum Kröller-Müller) 1988.

Holland Festival, Amsterdam 1990.

Film: stills, work recordings, posters

Verlies, regie Olga Madsen, 1976.

Uit elkaar, regie Herman van Veen, 1979.

Tip van de sluier, regie Frans Bromet, 1980.

Assefeest, regie Ramón Gieling, 1982.

Uit eigen beweging, regie Olga Madsen, 1982.

De Anna, regie Erik van Zuylen, 1983.

Dorst, regie Willy Breebaart, 1987.

Theater: press images

Denis Diderot, De Paradox van de acteur, regie Paul de Lussanet, Stadsschouwburg Amsterdam, première 27 september 1988.

Hugo Claus, Het schommelpaard, regie Hugo Claus, Stadsschouwburg Amsterdam, première 6 mei 1988.

Secondary bibliography

Philip Mechanicus, Een foto van niets. Overpeinzingen bij het werk van Ferry André de la Porte, in Avenue (oktober 1981) 10, p. 98-102 (met foto’s).

Kees Kuil, Ferry André de la Porte, in Perspectief (sept./okt./nov. 1981) 9, omslag, p. 16-21 (met foto’s).

Jan Bart Klaster, Wisselvallig oog voor kunst in Nederland, in Het Parool 26 april 1989, p. 19.

Bas Roodnat, Kunstwereld na BKR thema Rijksmuseumfoto’s, in NRC Handelsblad 27 april 1989, p. 10.

Eddy van der Meer, KunstRAI 1995: wie gaat er solo?, in Alert (Galerieagenda Amsterdam) mei 1995.


1972 (e) Lopik, Monumentale Opdracht Nederlandse Omroep-Zendermaatschappij.

1978 (e) Amsterdam, Sociëteit De Kring.

1979 (e) Scheveningen, Circustheater, (foto’s m.b.t. Herman van Veen).

1980 (e) Amsterdam, Bim-huis.

1980 (e) Amsterdam, Galerie Bouma.

1981 (g) Rotterdam, Perspektief, (Ferry André de la Porte en Philip Mechanicus)

1982 (e) Amsterdam, Mazzo, (diaprogramma).

1983 (e) Amsterdam, Café ‘De Pels’, Honden in de Pels.

1983 (e) Amsterdam, Kunsthandel Van der Have, (stills van de film Assefeest van Ramon Gieling en Olga Madsen).

1984 (e) Amsterdam, Restaurant Sancerre (Eddy Wijngaarde).

1984 (g) Rotterdam, Galerie Black Gat, Broadway Project (Ferry André de la Porte en Jan Henderikse).

1985 (g) New York, John Dogg Gallery.

1986 (g) Amsterdam, Galerie Brinkman twaalf en een half jaar.

1987 (g) Amsterdam, Galerie Luce van Rooy, Museum van de continue lijn.

1987 (e) Amsterdam, Sociëteit De Kring.

1988 (g) Amsterdam, Rijksmuseum, Oog voor kunst (Ferry André de la Porte, Oscar van Alphen en Nick Sinclair) (Foto 89).

1988 (e) Amsterdam, Stichting Fonds voor de Beeldende Kunsten, Vormgeving en Bouwkunst, (openingstentoonstelling).

1990 (e) Amsterdam, Centrum voor Beroepsedukatie.

1990 (e) Amsterdam, Sociëteit De Kring.

1990 (g) Amsterdam, Waterlooplein, 45 jaar bevrijd, 45 jaar vrijheid.

1991 (e) Amsterdam, Stichting Ultima Thule.

1992 (e) Amsterdam, Eetcafé ‘Leg Af’.

1992 (g) Amsterdam, Galerie Reflex, Miniatuur-museum.

1993 (g) Amsterdam, Galerie Brinkman, A Room with a View.

1994 (e) Amsterdam, Suzanne Biederberg Gallery, Portraits and Places.

1994 (g) Arnhem, Nederlands Openluchtmuseum, Leven in Nederland, 20 jaar fotografie in opdracht.

1995 (g) Amsterdam, RAI, Kunst RAI (Suzanne Biederberg Gallery).

1996 (g) Évora, Museu de Evora, Evora a Luz Holandesa/Évora inDutch Light.

1998 (e) Amsterdam, Café Eylders.

1998 (e) Amsterdam, Restaurant ‘Tout Court’ (John Fagel).

1998 (e) Amsterdam, Sociëteit De Kring.

1998 (e) Amsterdam, Suzanne Biederberg Gallery.

1999 (e) Amsterdam, Eetcafé ‘Leg Af’.

1999 (g) Terschelling, De Kraak, Terschelling 2000.


Bestuur Stichting FJ. Rotgans 1988-heden.


Amsterdam, Ferry André de la Porte (documentatie en mondelinge informatie).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.


Amsterdam, Rijksmuseum.

Amsterdam, Stedelijk Museum.

Leiden, Prentenkabinet Universiteit Leiden.