Eddy Posthuma de Boer
Martin Harlaar
Abstract
The Amsterdam photographer Eddy Posthuma de Boer is one of the most well-traveled photographers of the Netherlands. Among the broader public, he is best known for his travel reportages in the glossy magazine Avenue in the late 1960s/early 70s. Although much of Posthuma de Boer’s work has been done in colour, black-and-white photography is his big passion. In his view, colour photography detracts from the dramatic effect. Posthuma de Boer’s photos radiate a major involvement with people, and especially children. He has taken countless portraits. Using his camera, Posthuma de Boer also collects ‘objets trouvés’ (‘found objects’), with highly diverse, often remarkable and amusing subjects.
Biography
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1931 |
On 30 May, Eduard (Eddy) Posthuma de Boer is born in Amsterdam. He is the son of Jacob Posthuma de Boer, branch manager of a grocery store owned by one Van Amerongen and Anna Hali. Eddy has an older brother, Ferdy (born in 1930, who later becomes a painter/musician). |
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Ca. 1942 |
Posthuma de Boer receives his first camera, a small Kodak box camera, which he uses to take photos in the neighbourhood. He learns how to develop and print on his own. |
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1948-‘50 |
After completing the MULO (Meer Uitgebreid Lager Onderwijs, lower-level secondary school), Posthuma de Boer takes a written course in photography at the Fotovakschool (‘Vocational School of Photography’) in The Hague. He also obtains practical experience at the photo service of the ANP (Algemeen Nederlands Persbureau, ‘General Dutch Press Agency’). |
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1951-‘53 |
Posthuma de Boer works as an assistant to the photographer Godfried de Groot in Amsterdam. |
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1953 |
Posthuma de Boer begins working as an independent photographer and collaborates together with Dirk de Herder under the company name of ‘Co-Photo’. They set up business at Rustenburgerstraat 80 in Amsterdam. |
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1954 |
Dirk de Herder and Posthuma de Boer end their collaboration. |
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Posthuma de Boer continues working and living at Rustenburgerstraat 80. He receives several lessons in photography from Cor van Weele. |
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1955-’58 |
In the nightlife of the Amsterdam Leidseplein, Posthuma de Boer meets Edo Spier (chief editor of Het Parool), who arranges work for him at his newspaper. |
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1956-‘68 |
Through an introduction by the cartoonist ‘Opland’ (Rob Wout), Posthuma de Boer starts working for De Volkskrant. During his work for this newspaper (at the time still located on the Nieuwezijds Voorburgwal in Amsterdam), Posthuma de Boer makes the acquaintance of Imre Rona, founder and owner of the press photo agency ABC Press, located on the same street. |
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1959-‘66 |
Posthuma de Boer makes various reportages for ABC Press in the Netherlands and abroad. |
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1959-‘68 |
Posthuma de Boer makes portraits of writers and photographs the annual ‘Boekenbal’ (‘Books Ball’) on behalf of the publishing company ‘De Bezige Bij’. |
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1961 |
Posthuma de Boer marries the singer Henriëtte Klautz. |
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Posthuma de Boer’s first photobook is published, entitled Stad van mijn bed (‘City of My Bed’). |
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Posthuma de Boer organises his first solo exhibition, entitled Man in Moskou (‘Man in Moscow’), with shots from his series of photos taken on assignment for ABC Press in Moscow. |
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1967-‘85 |
Posthuma de Boer makes reportages in the Netherlands and abroad for publication in the television and radio guide of the KRO Broadcasting Company (initially called the KRO-gids, but later Studio). |
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1967-‘90 |
For Avenue, Posthuma de Boer makes numerous travel reportages, in collaboration with the writer Cees Nooteboom, the art historian Emile Meyer, and others. |
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1968 |
Posthuma de Boer’s daughter Tessa is born. |
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Posthuma de Boer receives the Prix de Joke for the book Carnaval, a selection of photos shot during the period 1960-’67 for De Volkskrant on the topic of carnival celebrations held in the Netherlands. |
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Posthuma de Boer travels with Cees Nooteboom to Paris in May to photograph the student and worker unrest in the city. |
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1971 |
Posthuma de Boer’s daughter Eva is born. |
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1972 |
Posthuma de Boer receives the Lucas Ooms Prize in the category ‘Visuele Journalistiek’ (‘Visual Journalism’) for his travel reportages in Avenue. |
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1973-‘74 |
Posthuma de Boer takes photos on assignment for the ‘Historisch-Topografische Atlas’ (‘Historical Topographic Atlas’) of the Amsterdam City Archives. |
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1975 |
Posthuma de Boer and Bert Nienhuis are selected for a Rijksmuseum photo assignment, based on the theme ‘Werkloosheid in Nederland’ (‘Unemployment in the Netherlands’). |
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1975-‘81 |
Posthuma de Boer photographs for Het Wiel (‘The Wheel’), a magazine for people living in home trailers. |
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1978 |
A selection of Posthuma de Boer’s photos taken in the Third World from 1965 onward are shown at the exhibition Post-Colonial Photographs, held at the Canon Photo Gallery in Amsterdam. |
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From 1981 |
For the in-flight magazines of KLM and Sabena, respectively the national airlines of the Netherlands and Belgium, Posthuma de Boer photographs primarily abroad, but also domestically. |
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From 1994 |
In the framework of a project conceived himself, Posthuma de Boer systematically photographs children from different countries around the world, including the often dire circumstances in which they are forced to live. |
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1996 |
Cultural centre ‘De Beyerd’ in Breda organises the exhibition Voor het oog van de wereld (‘Before the World’s Eye’), comprising a selection of Posthuma de Boer’s photos. A book of the same title appears simultaneously. |
Discussion
Eddy Posthuma de Boer is an impassioned observer who seeks out, not major events, but the minor dramas, the emotion, and happiness in the life of each person, in their daily routine and in a timeless fashion. He has a great ability to empathise, evident in the photos he takes during his many interactions with others. No matter where in the world Posthuma de Boer shoots his photos, as observers we always recognise something of ourselves and our own lives in those he portrays, whether it be men and women biking on their way to work (Amsterdam 1957), the farm labourer wearing a shirt re-stitched time and again (Peru 1972), or the severely disabled child in an institution (Karachi 1995). Posthuma de Boer has an eye and feels compassion for the underprivileged in society. He portrays them first and foremost as individuals, not as victims.
Posthuma de Boer grew up in a progressive middle-class family in the then recently built ‘Stadionbuurt’ (‘Stadium Neighbourhood’) in Amsterdam South. Seeking to build a better life in the aftermath of World War I, Eddy’s father, Jacob Posthuma de Boer—both an anarchist and a teetotaller—left the Frisian countryside behind and departed for Amsterdam. Here he found work as the branch manager of a grocery store on the Marathonweg owned by one Van Amerongen. A couple of weeks prior to Eddy Posthuma de Boer’s ninth birthday, World War II broke out. The five years that followed were to have a substantial influence on him. In 1984, he related the following about this part of his life: ‘My entire puberty took place during the war, and in my view, that is the reason why I have a major urge to be free. During the war, we didn’t have to go to school. You played in the street with anything you could find. After that, I no longer wanted to go back to the middle-class atmosphere of that neighbourhood. Yet I didn’t become a freebooter, my character has always remained introverted.’
When Posthuma de Boer was about twelve years old, he received his first camera: a small Kodak box camera. He pilfered a box of his father’s matches and traded them for the camera. Many years later, his brother Ferdy recalled: ‘Eddy was already taking photos during the war, on paper film; he also did the developing and printing himself, in our room, curtains closed and with an orange lamp on. I can still remember being surprised looking at the images that surfaced from under that water. He then (after the war) took a lot of photos of car accidents near us on the corner, and people walking to the Olympic Stadium. Grey men with hats on. Later also musicians with Django moustaches.’ Many of these early photos have been lost. This is not a problem for Posthuma de Boer: it was work of no importance that had nothing to do with photography. Up to the late 1940s, observing was what was most important: looking at architecture, at stores, notes on windows, the design of printed matter, Piet Zwart’s typography, movies, and exhibitions with photos by Eva Besnyö, Cas Oorthuys, Carel Blazer, and others. Especially Besnyö’s photos were an inspiration for him: ‘Photos radiating power, forceful compositions, perfect in content and aesthetic,’ as Posthuma de Boer put it.
After the MULO (Meer Uitgebreid Lager Onderwijs, lower-level secondary school), Posthuma de Boer took a written correspondence course in photography given by the Fotovakschool (‘Vocational School of Photography’) in The Hague, with several days of practical study each year. Prior to establishing himself as an independent photographer in 1953, he obtained practical experience by doing work for the photo service of the ANP (Algemeen Nederlands Persbureau, ‘General Dutch Press Agency’, in the first year chiefly emptying ashtrays and glossing photos) and the photographers Godfried de Groot and Alfred Rau. De Groot, though a prominent and influential portrait photographer, was scarcely innovative. He taught Posthuma de Boer a great deal about how lighting could be used to photograph people at their very best. Throughout his career, Posthuma de Boer shot portraits of many people. Contrary to De Groot, however, he never photographed in a studio and held a strong preference for natural light: ‘I never use a flash, because I don’t understand it all.’
In 1957—four years after he had started photographing professionally—Posthuma de Boer was accepted as a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’), an organisation to which Besnyö, whom he so greatly admired, and others belonged. A couple of years later, however, Posthuma de Boer’s membership was cancelled for him being too poor to pay his contribution. By the time he began earning enough to again pay his contribution to the GKf, he no longer felt the desire to be a member.
Excepting his photos of ‘objets trouvés’ (‘found objects’), Posthuma de Boer’s black-and-white photos can be characterised by the significant attention given to content and functional aesthetics. Aesthetic of its own sake holds no appeal for him; from the perspective of content, however, a good photo cannot do without aesthetic. A well-composed photo is simply more expressive. Trying to find a good composition, a pleasing arrangement of the surface, and a well-conceived white-grey balance is largely an unconscious process: ‘For myself, I’m certain I possess an absolute sense of composition. When I take a photo, then I frame that instant, immediately, into a composition. I see this only later when the photo is made. Then I think, how can that be, that while photographing, you’re already incorporating all those aspects of classic compositional theory, such as the golden ratio and diagonals, into your photo. I’m unable to explain why you have that, it’s probably a natural sense, your talent. I recognise it immediately as well in others.’ Posthuma de Boer devotes significant attention to light. As Godfried de Groot’s assistant, he learned the importance of light when portraying a person. By his own account, however, it was chiefly the paintings of Johannes Vermeer that taught him to understand just how essential the role of light actually is.
When Posthuma de Boer established himself as a freelance photographer in 1953, it was a conscious decision to work as a serious press photographer. He started out doing photojournalistic work for the newspapers: the news on the street. The reflective nature of journalism found in weekly magazines was of little interest to him: ‘You didn’t work for magazines like Margriet, Panorama, Libelle; they were beneath your level as a press photographer. Those magazines made reportages about housekeeping and traditional attire. You played no part in this.’ Later, he would come to see newspaper journalism as being superficial. In the period 1953-’73, Posthuma de Boer worked for the publications Het Parool, Algemeen Handelsblad, Paris Match, Time-Life, Haagse Post, and de Volkskrant. He was active in a variety of areas within press photography, though not always with the same success. When it came to sports photography, Posthuma de Boer was anything but a natural: ‘I’m a very poor sports photographer. I’ve never once photographed a goal, because I’m stunned by the astounding strike when the ball gets shot into the net. It goes so unbelievably fast, I forget to photograph. I respond a little after the fact. This affects me on occasion in a journalistic sense.’ Posthuma de Boer felt more at home working in the Dutch houses of parliament. While others photographed the most important speaker with their Speed Graphic cameras and then hurried off, Posthuma de Boer would hang around for hours, shooting photos with his Leica IIIc.
In 1959, Posthuma de Boer came into contact with Imre Rona, who after emigrating from Hungary to the Netherlands in the 1930s went on to set up the photo press agency ABC Press Service (later abbreviated to ‘ABC Press’) in Amsterdam. In the years 1959-’66, Posthuma de Boer did various reportages for ABC Press—including several abroad (1959: Switzerland; 1960: Moscow; 1962: Brussels)—thereby laying the foundation for his travel photography. By his own account, however, this was much to the credit of Rona, who possessed journalistic expertise, a feel for good photos, and much wisdom about life.
During the second half of the 1960s, Posthuma de Boer was taking on fewer and fewer assignments for newspaper journalism. In 1967, he began doing work for the publications Avenue and the KRO broadcasting company’s programming guide, Studio. Posthuma de Boer did international reportages for both magazines: for Avenue, travel reportages in collaboration with the writer Cees Nooteboom and the art historian Emile Meyer; for Studio, more socially engaged, photojournalistic reportages. For Posthuma de Boer, traveling fulfilled a boyhood dream. He views journalism as an alibi for seeing all the world has to offer. In his case, however, this is by no means travel just for the sake of travel. A condition for any trip is that he can take his cameras with him. In the book Beeld in zicht (‘Image in View’), he communicates his passion for traveling. He experiences traveling to unknown places, reading about them, and seeing what he can find there, as a kind of euphoria. He is avidly curious about every aspect and senses a certain optimism. The positive, euphoric feeling that precedes his trips, however, often fades into the background upon his actual arrival: the living conditions for masses of people in developing countries give little reason for optimism. In an interview published by Posthuma de Boer’s client Studio in February 1984, he points to his own personal background as an explanation for the commitment he feels towards these people: ‘My solidarity with people from the Third World, yes, how does something like this come about. It was also a little bit of my upbringing. My father was a highly committed socialist from the start of this century, the time of Troelstra and Domela Nieuwenhuis. A contentious time, that had to be the case. I have that commitment from my father, but differently. The Second World War intervened, and the entire decolonisation process. All of these things have shaped my commitment.’
In the early 1980s, Posthuma de Boer also traveled for both the KLM and Sabena Airlines. For the KLM magazine Holland Herald and Sabena’s magazines Sphere and Sabena Revue, he produced chiefly journalistic travel reportages in colour. During every trip, however, Posthuma de Boer also shoots his own photos, because ‘(…) wherever I’m sent, it’s my trip. I photograph what I find interesting. This has first priority, and then I let the assignment simply follow along.’ Naturally, Posthuma de Boer’s own photos are in black-and-white.
Posthuma de Boer’s autonomous work includes ‘collections’ of unique and amusing items encountered during his explorations both at home and abroad. In general terms, the strength of his photos lies not in the individual image, but in the collecting as well as the quantity. These collections of ‘objets trouvés’ assembled over the years are impossible to count and far from easy to describe: odd inscriptions, advertisements and store names, slips of the pen, flying-related objects secured to the ground, barbers, women’s coats with leopard patterns, the name ‘Victoria’, pigs, people reading newspapers, dead-end stairways, etc. ‘It’s an idiosyncrasy of mine. I’ve got entire storage rooms filled with them by now. When I’m somewhere, I know it right away, snip, that goes there, and, snip, that there. Perhaps it’s linked to exploring reality, but for me above all it’s great fun. You see so much, there’s so much to photograph, the world and reality are so inexhaustible, there are so many interesting things and there are also so many things wrong with it, that for the time being, I’m not even close to being tired of photographing.’ A small portion of Posthuma de Boer’s extensive ‘collection of collections’ has been published in book format since the early 1960s, e.g. In ‘t nest met de rest (‘In the Nest with the Rest’), Klein Gedenkboek van Liefde (‘Small Commemorative Book of Love’), Haat (‘Hate’), Foreign Affairs, and Photo Libretto.
Posthuma de Boer cherishes no illusions when it comes to his socially engaged photography being able to change the world. He sees photography as the perfect medium to inform people about the conditions in which people are forced to live. For years he has used photography in an attempt to give a face to those who are vulnerable, with children always accorded special attention.
In the early 1990s, Posthuma de Boer was confronted by his own youth during a visit to the Jewish Historical Museum in Amsterdam. He had already playing with the idea of a photography project concerning today’s youth. In 1996, Posthuma de Boer spoke about this converging of the past with the present during an interview with Hugo Camps in Elsevier: ‘(…) In 1943, I was in the sixth grade in Amsterdam South. We lived from razzia to razzia. One Sunday morning, somebody rang our doorbell. Men in uniforms, looking for Jews. They ransacked the entire house. Upon arriving at school on Monday, there were no longer thirty-two students in my class, but twenty-four. The other eight were gone. That happened a couple of times. There was a little boy who sat next to me on the school bench. His little twin brother sat on the bench in front of us. One Monday morning, they too were gone. I had seen them being taken away. I was walking with my little brother to the Olympia Square. All of the trams were empty; a long line of people were waiting to get pushed into those trams. Suddenly, I saw two little boys from my class sitting in the tram. We waved at each other, and then they were gone. About five years ago, I heard a book was being made in which all of the Dutch people who had been taken away were listed by name. That book is their grave. I went to the Jewish Historical Museum. I found the name of my two friends: Harold and Paul Duizend, born in 1931, died on 2 July 1943 at Sobibor. I had just come up with that project of those children in need. And there, in the museum, I knew: this is a time warp in my head. I’m having to cope with my youth once again. I’d already gone through all of this before.’ Under the title ‘De Verworpenen’ (‘The Discarded’), Posthuma de Boer published some of the photos previously taken in the framework of his children’s project during the years 1994–’96 in the second part of his book Voor het oog van de wereld (‘In Front of the Eye of the World’). The first part of the same book, which covers his photos from the years 1961–’96, reveals that the fate of children has been a topic that has concerned him throughout his life.
Thanks to a subsidy from the Stichting Fonds Anna Cornelis (‘Anna Cornelis Foundation’), Posthuma de Boer was able to work on a follow-up to ‘De Verworpenen’. This project concerns issues such as child labour, children who are HIV-positive, and discrimination against gypsy children.
After photographing for several years with a small Kodak box camera, Posthuma de Boer purchased a Contessa-Nettel, a bellow camera from the 1920s for 6×9 roll film. Since 1953, when he established himself as an independent photographer, he works primarily with 35 mm cameras (including a Leica IIIC, Leica M5, Nikkormat, Canon A1, Canon T90, Canon EOS5, and Canon EOS3). In addition, he sometimes uses cameras with a larger format negative (Hasselblad, Mamiya RB67), particularly for portraits.
In the late 1960s, Posthuma de Boer began photographing in colour at the request of his clients. By now his archive holds hundreds of thousands of colour slides. Posthuma de Boer has always seen colour photography as having less infinite value. His big passion was and remains black-and-white photography. At no point has Posthuma de Boer ever had a darkroom assistant. Even to this day, he still does all his darkroom work himself, though not with undivided pleasure. In 1984, he said the following in this regard: ‘I find my time in the darkroom to be a physical disaster. I stand there for hours on my two legs in the dark really toiling away to get a result. You shuffle from one leg and back to the other, often with a headache from that strange light or the fumes from the baths. But these torments are negated by the joy of the emerging image. Only at that moment can you clearly see the emotions that you had to suppress while photographing. Because as a photographer you can’t allow your tears to flow at the moment when you’re photographing. In addition, in the darkroom you can introduce, with a great deal of craftsmanship and feeling, certain moods in a black-and-white print. That is a subtle, fantastic emotional pursuit, because it is only then that what you intended with that photo materialises.’
Eddy Posthuma de Boer is prepared to grapple for a long period of time in the darkroom in order to get a result that satisfies him. Yet the basis for a good photo is still always determined at the moment the photo is taken. The balanced composition, in his view, has to be achieved outside the darkroom. In principle, Posthuma de Boer therefore always prints the full negative. He is against retouching, except when used to eliminate minor imperfections. His aim is a genuine, non-manipulated photography.
The substantive and aesthetic qualities of Posthuma de Boer’s photography were recognised from the very start. His photos are therefore published with great frequency, both in newspapers and magazines as well as photobooks and at exhibitions. Posthuma de Boer has never gone without recognition from other photographers. The broader public grew to know him chiefly through his colour photography in the Dutch monthly magazine Avenue, i.e. the work with which he himself had the least affinity.
Books featuring selections from his ‘collections’, such as In ‘t nest met de rest and Photo Libretto form the ‘light verse’ of Posthuma de Boer’s photography. The great strength and lasting significance of his work undoubtedly lie in his autonomous, socially engaged photography. With this aspect of his oeuvre, Eddy Posthuma de Boer is one of the most important representatives of social documentary photography in the Netherlands after World War II.
Documentation
Primary bibliography
Jan Vrijman (tekst), Stad van mijn bed. Fragmenten uit: Amsterdam, Amsterdam z.j. [1961].
Bert Schierbeek (inl.), Kijkprikkels, Amsterdam (Proost & Brandt) 1958 (serie: Prikkels nr. 231).
Eddy Posthuma de Boer (idee en foto’s) en Pieter Groot (ontwerp), Keus in kunst druk, Amsterdam (Proost en Brandt) 1961 (serie: Prikkels nr. 252).
Eddy Posthuma de Boer, In ‘t nest met de rest, Amsterdam (Bezige Bij) 1965 (met foto’s) (serie: Geïllustreerde reuzenpocket 10).
Toon Hermans e.a. (tekst), Carnaval, Utrecht (Bruna&Zoon) z.j. [1967] (serie: Zwarte Beertjes, 1111).
Eddy Posthuma de Boer, In ‘t nest met de rest. [Tweede deel], Amsterdam (Bezige Bij) 1968 (met foto’s).
Eddy Posthuma de Boer, Hollands Dagboek, [dagboek 19 t /m 25 september 1973], in NRC Handelsblad 29 september 1973.
Eddy en Henriëtte Posthuma de Boer, Amsterdam, Keulen (DuMont) 1974, (serie: Richtig reisen) (groot aantal herdrukken).
Olivier Vrooland en Eddy Posthuma de Boer, Postkoloniale fotografie van Eddy Posthuma de Boer, in Foto 33 (november 1978) n , p . 42-47 (met foto’s).
Jan Blokker (inl.), Klein gedenkboek van liefde en haat, Amsterdam (Kosmos) 1980.
Victoria. Een nieuwjaarsgeschenk van Cees Nooteboom, Eddy Posthuma de Boer, Thomas Rap en Guus Ros, Baarn (Rap) 1980.
Simon Vinkenoog en Cees Nooteboom (tekst), Beeld in zicht, Weesp (Moussault) 1984.
Robert van der Hilst e.a., Zeven hartstochten. De lievelingsplaatsen van reisfotografen, in Avenue (april 1985) 4, p. 91-101.
Eddy Posthuma de Boer (foto’s), Autoritratti, Amsterdam (in eigen beheer) 1988.
Ken Wilkie en Eddy Posthuma de Boer, Travel tales. Journeys around the world, Amsterdam (Multi Media International) 1989 (met foto’s).
Eddy Posthuma de Boer, [Ken Wilkie (voorw.)], Foreign affairs [uitgave t.g.v. nieuwjaar 1990], z.p. [Amsterdam] [Osrich Press] 1990.
Henk Gerritsen, 32 Fotografen die hun persoonlijke voorkeur in beeld brengen oog in oog met fotograaf Henk Gerritsen, Zoetermeer (P/F Publishing) 1991, p. 28-29.
Ken Wilkie (inl.), Photo libretto, Amsterdam (Rap) 1991.
Fritzi ten Harmsen van der Beek, Eddy Posthuma de Boer, Thomas Rap en A. Roland Holst, Jagtlust [Geschenk voor vrienden en relaties van Eddy Posthuma de Boer en Uitgeverij Thomas Rap ter opluistering van de jaarwisseling 1992-1993], Amsterdam (Thomas Rap) 1992 (met foto’s).
Eddy en Tessa Posthuma de Boer, Album Amstel. Leven op twee oevers, in Vrij Nederland 54 (24 juli 1993) 29, p. 44-50 (met foto’s).
Eddy Posthuma de Boer, Hugo Camps en Anthon Beeke, Voor het oog van de wereld, Amsterdam (Thomas Rap) 1996 (met foto’s).
Eddy Posthuma de Boer (voorw.), Catalogus tent. Het geluk van de alledaagsheid, Amsterdam (Galerie Weesperzijde 30) 1998 (met foto’s).
Eddy Posthuma de Boer, In ‘t nest met de rest [Derde deel], Amsterdam (Bas Lubberhuizen) 2001 (met foto’s).
Eddy Posthuma de Boer, Besos y brazos, Amsterdam (in eigen beheer) 2002.
(foto ‘s in boeken, tijdschriften en ander drukwerk)
(Brochure) De Botterikken. Venetiaanse comedie van Carlo Goldoni, Amsterdam (Nederlandse Comedie) z.j.
(Brochure) Euripides. De vrouwen van Troje, Amsterdam (Nederlandse Comedie) z.j.
(Programmaboekje) William Shakespeare. Wat U maar wilt of Driekoningenavond, Amsterdam (Nederlandse Comedie) z.j.
Wright Miller, De mensen in Rusland, Amsterdam (HJ. Paris) z.j., afb. 10, 12-14, 17-19, 21-23, 25-28, 32-34, 36-39, 49-50 en 52.
Foto 8 (december 1953) 12,p. 327.
Het Parool, bijlage PS 1955-1958.
Haagse Post 1957-1961.
de Volkskrant 1957-ca. 1971.
Peter Jaspers, Annemarieke. Naar het gelijknamige hoorspel, Baarn (Hollandia) 1958, omslag (serie: Annemarieke deel 1).
Peter Jaspers, De vier Heemskinderen, Baarn (Hollandia) 1959, omslag (serie: Annemarieke deel 2).
Joost A.M. Meerloo, Alle leven danst. Van primitieve dans tot rock ‘n’ roll en modern ballet, Amsterdam (De Brug/Djambatan) 1959, afb. 68.
Adriaan Morriën (samenstelling) en Eddy Posthuma de Boer (foto’s), Amsterdam, Leiden (Stafleu) z.j. [1959] (serie: Beeldende poëzie, 1).
Adriaan Morriën (samenstelling) en Eddy Posthuma de Boer (foto’s), Nederland, Leiden (Stafleu) z.j. [1959] (serie: Beeldende poëzie, 2).
Adriaan Morriën (samenstelling) en Eddy Posthuma de Boer (foto’s), Vlaanderen, Leiden (Stafleu) z.j. [1959] (serie: Beeldende poëzie, 3).
Photography Year Book 1959, afb. 132b, p. 221.
Programmaboekje Nederlands Dans Theater, Utrecht (Bruna) z.j. [ca. 1960], p. 49-64.
Forum (1959/1960) 12, afb. 10-11, 16, 23, 35, 47, 49.
Bibeb, Dans Theater, Utrecht (Bruna &Zoon) z.j. [1960], afb. 49-96 (serie: Zwarte beertjes, 258/259).
Uw kalender uit het hart van Amsterdam [kalender 1961], Amsterdam (Van de Geer) 1960.
Twen z.j. [1960] [1], p. 38-39, 41-43, 69 [integrale heruitgave Twen/Taboe, Amsterdam (Peter van der Velden) 1981].
[Tentoonstellingskrant] Dag Amsterdam, de stad en de mensen, het leven zoals het reilt en zeilt, neergelegd in een keurverzameling van 400 foto’s. […], Amsterdam (Het Parool) 1961, p. 9.
Ab van Ieperen, Nederlandse film en filmers ’65, Amsterdam (Filmers ’76) z.p. [1965] (idem, Filmers ’65, z.p. (Stichting Nederlandse Filmdagen/Uitgeverij Westers) 1983 (serie: Gouden Kalf reeks 2)).
Taboe z.j. [1961] [1], omslag, p. 14, 16-17, 47-52, 66-67, 69 [integrale heruitgave Twen/Taboe, Amsterdam (Peter van der Velden) 1981].
Taboe z.j. [1961] [2], p. 63, 78-79 [integrale heruitgave Twen/Taboe, Amsterdam (Peter van der Velden) 1981].
Taboe z.j. [1961] [3], p. 58-59, 61, 63-67 [integrale heruitgave Twen/Taboe, Amsterdam (Peter van der Velden) 1981].
Photography Year Book 1961, afb. 147, p. 231.
Han Hoekstra, Dag Amsterdam, Amsterdam (N.V. Het Parool) 1961, p. 25, 36, 49, 64, 106.
De Groene Amsterdammer 5 augustus 1961.
Jan G. Elburg e.a., De Verbinding, Den Haag (Centrale Directie van het Staatsbedrijf der PTT) 1962 (idem Engelse ed.: The connection).
(Programmaboekje) Holland Festival 1962. Andorra. Spel in twaalf beelden van Max Frisch, Amsterdam (Nederlandse Comedie) 1962.
Christian Oerlemans e.a. (tekst), PasToe fotopocket. Een boekje over meubelen, Utrecht (Ums-PasToe) 1962, p. 8-11, 52-55.
Wim Crouwel en Gérard Ifert, Design for industry. Een gedeelte van de tentoonstelling genaamd “Ontwerpen voor een drukkerij”, 16 nov. tot 15 dec. 1962, Amsterdam (Stedelijk Museum) 1962, ongepag. (serie: Catalogus Stedelijk Museum Amsterdam nr. 321).
Remco Campert e.a. (samenstelling), Boekje open, Baarn (De Boekerij) 1963.
Simon Vinkenoog (tekst), Het verhaal van Karel Appel. Een proeve van waarneming, Utrecht (Bruna & Zoon) 1963, afb. 1-4, 7.
Eldert Willems (samenstelllingen tekst), Nederland wordt groter, Amsterdam (De Bezige Bij) 1963, p. 16-17, 22.
Photography Year Book 1963, afb. 171-172.
Drukkersweekblad en Autolijn (1963) kerstnummer, p. 10-13, 24, 82-83.
Martin van Amerongen e.a. (tekst), De prinses die kiest een man, Amsterdam (Polak & Van Gennep) 1965.
Gerrit Borgers e.a. (samenstelling), De beweging van vijftig, Den Haag/ Amsterdam (Nederlands Letterkundig Museum en Documentatiecentrum/De Bezige Bij) 1965, afb. 166 (serie: Schrijvers Prentenboek deel 10).
Publicaties van Time-Life 1965-1971.
Haagse Post 52 (16 oktober 1965) 2652, omslag.
Drukkersweekblad en Autolijn (1965) kerstnummer, afb. 236.
[Stedelijk Jaarverslag] Amsterdam ’65.
Remco Campert e.a. (tekst) en Eddy Posthuma de Boer (foto’s), De film Het gangstermeisje, Amsterdam (De Bezige Bij) 1966.
Otto Kuijk en Bart van Veen, Prinses Beatrix trouwt. Een documentaire in samenwerking met De Telegraaf en De Courant Nieuws van de Dag, Amsterdam etc. (Becht etc.) 1966.
Life 9 Juli 1966, p. 30-30A.
Life 11 juli 1966, p. 76-79.
Studio (KRO) 1967-1986.
Marijke Vetter en Marja Winters, Het grote Beatrix boek, Wageningen (Zomer en Keuning) z.j. [ca. 1967].
(Kalender) De Jong & Comp. Alle verzekeringen [kalender 1968], Amsterdam 1967.
Catalogus 2. Weltausstellung der Photographie. Die Frau, Hamburg (Gruner + Jahr) 1968, afb. 181.
Toon Hermans, Toonboek, Utrecht etc. (Bruna & Zoon) 1968.
Wim Hazeu en Cor Holst (red.) en Eddy Posthuma de Boer (foto’s), 40+. Literaire radio-portretten. Boekenweek 1969, z.p. (Vereeniging ter Bevordering van de Belangen des Boekhandels/Commissie voor de Collectieve Propaganda van het Nederlandse Boek) 1969.
Gerard van ‘t Reve, De Avonden, Amsterdam (De Bezige Bij) 1969, omslag (serie: Literaire Reuzenpocket 22).
Algemeen Handelsblad 1969 (serie portretten).
Grafisch Nederland (1969) kerstnummer, p. 59, 65, 78, 81, 98, 100.
Art Directors Annual ’69, p. 10.
Emmy Huf (tekst), … ik wil nu warm vlees! Een jiddische-katholische komedie, Amsterdam/Assen (Born NV) 1970.
Ineke Jungschleger (tekst), Moeder, wat is er mis met deze planeet? Een dozijn populair-wetenschappelijke projekten van Theo Kley zoals verteld aan […], Amsterdam (Thomas Rap) z.j. [ca 1970], ongepag.
[themanummer Ed. Hoornik] De Gids 133 (1970) 3, nap. 204.
Karel Appel, Karel Appel over Karel Appel, Amsterdam (Triton Pers) 1971.
W. Woltz en Joost van de Woestijne (red.), Ons lieve leven. 100 Jaar Nederlandse krantefoto’s, Wageningen (L.J. Veen/Foton) 1972, p. 201.
Leidsch Dagblad 30 december 1972.
Mies Bouhuys e.a. (samenstelling), Ed. Hoornik, Den Haag/Amsterdam (Nederlands Letterkundig Museum en Documentatiecentrum/De Bezige Bij) 1973, afb. 139, 152-153 (serie: Schrijvers Prentenboek deel 17).
Het Wiel. Maandblad voor woonwagenbewoners 1973-1985.
Mensen van nu (oktober 1974) 7, p. 54.
Gemeente Amsterdam Stedelijk Jaarverslag 1974, p. 21, 23-27, 30, 35-37, 45-47, 53-55, 59-65.
Wim lbo (tekst), 40 Jaar Wim Kan met Corry aan zijn zijde, Amsterdam (De Bezige Bij) 1976.
Theun de Vries, Dick Schaap en Siebe Rolle, Eene plaats van grooten omvang. 1876-1976 Honderd jaar IJmuiden en het Noordzeekanaal, IJmuiden (Vermande Zonen NV) 1976, afb. 643, 645, 650, 655, 657.
Jaarverslag PTT 1976, omslag, p. 4, 11, 16, 21, 24, 27, 30.
Jaarverslag Rijkspostspaarbank 1976, omslag, p. 7, 10, 15, 18, 22.
Sociaal Jaarverslag PTT 1976, omslag, p. 6, 11, 16, 20, 25, 30.
Han Peekel, 90 Jaar Carré, Bussum (Unieboek/De Gooise Uitgeverij) 1977.
Anoniem, Opdracht fotoserie over de verkiezingen, in NRC Handelsblad 14 januari 1977.
Mensen van nu (augustus 1978) 8, p. 44-47.
Catalogus tent. Nederlands Landschap, Amsterdam (Canon Photo Gallery) 1979, ongepag.
Mark Gabor, Woonboten. Wonen op het water overal ter wereld, Amsterdam (Meulenhoff/Landshoff) 1979, p. 108-121, 123-125.
Ingeborg Leijerzapf (tekst), Vijf jaar Canon Photo Gallery. Catalogus behorend bij de jubileumexpositie van 24 t /m 30 maart 1979 met werk van 15 hedendaagse Nederlandse fotografen, Amsterdam (Canon Photo Gallery) 1979, ongepag.
H.J.M.F. Lodewick, W.A.M, de Moor en K. Nieuwenhuijzen (tekst), Ik probeer mijn pen. Atlas van de Nederlandse letterkunde, Amsterdam (Bert Bakker) 1979, p. 147 (afb. 72), 188 (afb. 19), 191-192 (afb. 31-32, 35), 200 (afb. 65-66), 203 (afb. 75), 206 (afb. 88), 211 (afb. 111), 215 (afb. 126), 219 (afb. 143), 224 (afb. 164), 230-234 (afb. 19, 22, 25, 27, 33, 35, 37), 242 (afb. 64), 251 (afb. 100-101), 256-258 (afb. 2, 5, 6), 264 (afb. 1 ).
Catalogus tent. Het Portret door 35 Nederlandse fotografen, Amsterdam (Canon Photo Gallery) 1980, ongepag.
Wim lbo (tekst), Brieven aan jou. Een bundel herinneringen, Amsterdam/Antwerpen (Kosmos) 1980.
Keso Dekker (samenstelling), Hans van Manen + modern ballet in Nederland, Amsterdam (Bert Bakker) 1981, p. 40.
J.H. Schuilenga e.a. (red.), Honderd jaar telefoon. Geschiedenis van de openbare telefonie in Nederland 1881-1981, Den Haag (Staatsbedrijf der Posterijen, Telegrafie en Telefonie) 1981, p. 246.
de Volkskrant 23 mei 1981.
Grafisch Nederland 1981.
Harry Mulisch, Symmetrie en andere verhalen, Utrecht (Knippenberg) 1982, omslag, p. 3, 19, 27, 35, 44 (serie: Bulkboek 11 (1982) 121).
Margriet (23 december 1983) 51, p. 4-7.
Sphere 1983-1991.
Piet Hein Honig (samenstelling), Acteurs- en kleinkunstenaarslexicon, Diepenveen/Heino (Acteurslexicon/Drukkerij Sono) 1984, p. 541.
Margriet (14-21 december 1984) 51, p. 16-21.
Annemarie Oster, Verder is er niet zoveel. Herinneringen aan mijn moeder, Amsterdam/Brussel (Thomas Rap) 1985, p. 156.
Guus Luijters (red.), Jan Cremer in beeld, Amsterdam (Loeb) 1985.
De Tijd 11 (31 mei 1985) 38, omslag.
Het Parool 2 november 1985.
Leon Clements en Ton de Vreede (samenstelling), Amnesty International 1961-1986. Lastpost van wereldformaat, Amsterdam (Amnesty International) 1986, p. 87-88.
Rinus Ferdinandusse, 24 Hours/Uur/Stunden Amsterdam. Photographed by Hans van den Bogaard, Ad van Denderen, Willem Diepraam, Bert Nienhuis, Eddy Posthuma de Boer, Han Singels, Amsterdam/Londen/Keulen (Meulenhoff/Landsdorff/Thames and Hudson/DuMont) 1986, p. 23, 30, 44, 64, 85, 91, 106-107, 116-117, 130.
Pierre Janssen, Het dagelijks leven. 100 jaar Albert Hein, Zaandam (Ahold) 1986.
Sabena Revu 1986-1991.
Coos Versteeg (tekst), Nederlands Dans Theater. Een revolutionaire geschiedenis, Amsterdam (Balans) 1987, p. 27-28, 30, 34.
Hans Aarsman, Denken is moeilijk, niet denken is moeilijker. Elf serieuze fotografen en de aanloopstrook, z.p. (Riba-pers) 1988.
J.J. Dankers en J. Verheul, Zekerheid in verandering. Nationale-Nederlanden 1963-1988, Maarssenbroek (Trendboek) 1988, p. 75.
Harm Botman (red.), Het beslissende moment. 150 jaar fotografie, in Panorama (22 juni 1989) 26, p. 23.
Jan Blokker (tekst), De kwadratuur van de kwatta reep. Zestig jaar Collectieve Propaganda voor het Nederlandse Boek, Amsterdam (Stichting CPNB) 1990, p. 131-132, 140, 144.
Spectrum Compact Studie Encyclopedie, Utrecht (Het Spectrum) 1990, [deel] 3, p. 845.
Spectrum Compact Studie Encyclopedie, Utrecht (Het Spectrum) 1990, [deel] 5, p. 1417.
ANWB Kampioen 105 (september 1990) 9, p. 16-19, 81.
Ken Wilkie (voorw.), Impossible flights, Amsterdam (in eigen beheer) 1991.
Ken Wilkie (tekst), Impossible flights. Lords of the wing, Amsterdam (Ostrich Press) 1991.
19NU 27 (maart 1991) 2.
[Uitnodigingskaart] Ferdi hortisculture, Enschede (Rijksmuseum Twente) 1992.
Willem F. Hermans (voorw.), Lezen en schrijvers. Foto’s van lezende schrijvers, Amsterdam (Penguin Books Netherlands) 1992, p. 54.
Elsevier 48 (juni 1992) 26/27, p. 85.
19NU 28 (juli 1992) 4, p. 2.
Sergio Derks ,Verleden tijd. Nederland in de jaren 1970-1990, Weesp (Roba BV) 1993.
Arnold Hitgrap, Coen Reidingk en Brett Tanner (tekst), Kwadraats groot literair lees kijk knutsel en doe vakantieboek, Utrecht (Kwadraat) 1993, p. 88.
Jan Vrijman e.a. (tekst), Groeneveld. Herinneringen aan een landhuis in Baarn 1946-1966, Amersfoort (Herman Molendijk Stichting/Centrum Beeldende Kunst) zj. [1993], p. 13, 31.
Catalogus tent. Leven in Nederland. Twintigjaar fotografie opdracht, Arnhem (Nederlands Openlucht Museum) 1994, p. 7-8.
Globe 1994-1995.
19NU 30 (juli 1994) 4, p. 23.
Annemarie Cottaar, Leo Lucassen en Wim Willems, Mensen van de reis. Woonwagenbewoners en zigeuners in Nederland (1868-1995), Zwolle (Waanders) 1995, p. 38, 67.
Lisa Kuitert en Mirjam Rotenstreich (samenstelling), De gevoelige plaat. Literair album, Amsterdam (Nijgh & Van Ditmar) 1995, p. 196, 233.
Hollands Licht (1995) 2, p. 22.
de Volkskrant 2 december 1995, Vervolg, p.7.
BNA Architecten 1996. Portfolio primitieve architectuur.
Youp van ‘t Hek (tekst), Dank U. Tweeënveertig foto’s betreffende dankbaarheid, Amsterdam (Thomas Rap) 1998, binnenzijden omslag.
Grasduinen 1998-1999.
Jaap van de Klomp (samenstelling), One night stand. Jazzconcerten in Nederland 1947-1967, Amsterdam (Windroos) 1999, p. 24, 41, 46, 71.
de Volkskrant 31 maart 1999, p. 13.
de Volkskrant 26 april 1999, p. 6.
Appelberichten (oktober/november/december 1999) 134.
de Volkskrant 21 oktober 1999.
Peter-Paul de Baar e.a., De Amstel, Amsterdam (Bas Lubberhuizen) 2002, p. 112, 127.
in Avenue 1967-1994, o.a.:
(november 1967) 11, p. 144-159.
(augustus 1968) 8, p. 48-61.
(september 1968) 9, p. 130-131.
(november 1968) 11, p. 98, 214, 222.
(maart 1969) 3, p. 88-101.
(juli 1969) 7, p. 56-69.
(mei 1970) 5, p. 58, 64.
(juni 1971) 6, p. 48.
(oktober 1971) 10, p. 59.
(mei 1972) 5, p. 24.
(juli 1972) 7, p. 46.
(april 1974) 4, p. 128.
(november 1974) 11, p. 174.
(februari 1975) 2, p. 94.
(maart 1975) 3, p. 126.
(mei 1975) 5, p. 31, 110.
(januari 1976) 1, p. 32.
(april 1976) 4, p. 191.
(juni 1976) 6, p. 86, 166.
(januari 1977) 1, p. 46, 54.
(februari 1977) 2, p. 88, 121.
(april 1977) 4, p. 193.
(juni 1977) 6, p. 94.
(juli 1977) 7, p. 30, 86.
(augustus 1977) 8, p. 116.
(oktober 1977) 10, p. 90.
(december 1977) 12, p. 21.
(mei 1978) 5, p. 203.
(juli 1978) 7, p. 7, 96.
(augustus 1978) 8, p. 74, 124.
(september 1978) 9, p. 182.
(oktober 1978) 10, p. 52.
(december 1978) 12, p. 261.
(januari 1979) 1, p. 34.
(februari 1979) 2, p. 23, 134.
(april 1979) 4, p. 8, 68.
(mei 1979) 5, p. 10.
(juni 1979) 6, p. 56, 163.
(juli 1979) 7, p. 8.
(augustus 1979) 8, p. 66.
(december 1979) 12, p. 112, 250.
(februari 1980) 2, p. 81.
(juni 1980) 6, p. 78, 163-165.
(augustus 1980) 8, omslag, p. 66, 86.
(oktober 1980) 10, p. 210.
(maart 1981) 3, p. 140.
(mei 1981) 5, p. 170.
(december 1981) 12, p. 48, 94, 139.
(september 1982) 9, p. 108.
(februari 1983) 2, p. 86-93.
(maart 1983) 3, p. 24-31.
(juli 1983) 7, p. 60-65.
(augustus 1983) 8, p. 16-17.
(september 1983) 9, p. 157, 159.
(oktober 1983) 10, p. 147, 153.
(november 1983) 11, p. 68.
(februari 1984) 2, p. 69-73.
(april 1984) 4, p. 91-93.
(augustus 1984) 8, p. 91-92.
(mei 1985) 5, p. 161.
(december 1985) 12, p. 200.
(juli 1986) 7, p. 66-77, 79, 81, 83.
(januari 1987) 1, p. 22-33.
(mei 1987) 5, p. 28-38.
(april 1988) 4, p. 22-31, 33, 37.
(januari 1989) 1, p. 21-34.
(december 1990) 12, p. 5051.
(juni 1991) 6, p. 94-105.
(juli 1991) 7, p. 81.
(juli 1992) 7.
(augustus 1992) 8, p. 17, 19-21, 24.
(januari 1994) 1, p. 70-80.
in Flying Dutchman:
3 (januari/februari 1984), 1, p. 42-45, 47.
4 (januari/februari 1985) 1, p. 47-50.
4 (maart/april 1985) 2, omslag, p. 12-19.
4 (mei/juni 1985) 3, p. 70-73, 75.
4 (september/oktober 1985) 5, p. 63-66.
10 (juni/juli 1991) 3, omslag, p. 14-23.
in Holland Herald 1979-1997 (frequent), 1998-heden (regelmatig), o.a.:
17 (1982) 2, p. 15, 33.
18 (1983) 5, omslag, p. 11
18 (1983) 6, p. 76.
18 (1983) 8, p. 42.
18 (1983) 11, p. 48.
19c (1984) 3, p. 15-18.
19 (1984) 5, omslag, p. 3, 20-21, 23-32.
19 (1984) 6, p. 70, 73.
19 (1984) 8, p. 27-29.
19 (1984) 10, omslag, p. 3, 22-27, 29, 31, 33, 35, 37-43, 45-49, 52-54, 57-59, 67.
19 (1984) 11, p. 55-57.
19(1984) 12, omslag, 14-15.
20 (april 1985) 4, p. 22-24, 56-59, 61.
20 (mei 1985) 5, p. 71, 80-81, 84.
20 (augustus 1985) 8, p. omslag, 14, 18-21, 24-25, 27.
Special edition for Holland Calling, z.j. [1986], p. 6, 10-12, 16-17.
21 (januari 1986) 1, p. 26, 30-31, 36, 38, 40, 42-43.
21 (oktober 1986) 10, p. 44-47, 49, 52-55, 57, 63-64.
22 (april 1987) 4, omslag, p. 12, 20-24, 26, 30, 32, 34.
23 (februari 1988) 2, p. 16-19.
24 (maart 1989) 3, special travel supplement, p. 2-4, 6-9, 11, 13-14.
24 (mei 1989) 5,p. 5, 21-22, 32-35, 37, 39, 41, 44.
24 (juni 1989) 6.
24 (september 1989) 9, p. 5, 43.
24 (december 1989) 12, special travel supplement, p. 3, 7, 11, 18, 20-21, 23, 25, 29, 31-35, 37.
25 (juni 1990) 6, p. 52-56, 58, 62-63.
26 (november 1991) 11, p. 3, 39.
in Vrij Nederland:
1 april 1980.
14 juni 1980.
28 juni 1980.
5 juli 1980.
21 januari 1981.
51 (14 april 1990).
In Zero:
2 (december 1980) 8, p. 20-21.
3 (april 1981) 2,p. 41.
3 (september 1981) 5, p. 89.
4 (september 1982) 5, p. 90, 92-93.
4 (winter 1982) 8, p. 10, 34, 36-37.
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L. v. Bn., Dick de Herder en Eddy Posthuma de Boer exposeerden te Amsterdam, in Foto 9 (juni 1954) 6, p. 162-163.
Peter Hunter, The GKf. A federation of photographers in Amsterdam, in Pholography 13 (oktober 1958) 10.
Anoniem, Wie wat waar, in Taboe z.j. [1961] [2], p. 8-9 [integrale heruitgave Twen/Taboe, Amsterdam (Peter van der Velden) 1981].
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Hille Kleinstra, Naar aanleiding van de tentoonstelling van Eddy Posthuma de Boer: een seconde is veel te lang, in Foto 17 (januari 1962) 1, p. 33-37 ( met foto’s).
Kl., Eddy Posthuma de Boer verzorgde enkele portretten van automobielen, in Foto 19 (september 1964) 9, p. 406-407 (met foto’s).
JvT, Eddy Posthuma de Boer: tegen mooikiekerij, in Vrij Nederland 8 augustus 1965.
P.L. van der Vliet, Een fotograaf in de Bonte Storm. Eddy Posthuma de Boer kiekte carnaval, in de Volkskrant 11 november 1967 (met foto’s).
Wiel, De foto’s van Eddy Posthuma, in De Gelderlander 24 februari 1968.
Anoniem, De achter-krant. Gekke Eddie, in De Nieuwe Linie 6 april 1968.
Jacques Meijer, Eddy Posthuma de Boer, in Fototribune 32 (maart 1970) 3, p. 20-31 (met foto’s).
Volkward E. Strauss, Eddy Posthuma de Boer, in Bild der Zeit (februari 1972) 2, p. 117-123 (met foto’s).
Willem K. Coumans, Eddy Posthuma de Boer en de oude schoenlapper op de hoek, in Foto 27 (februari 1972) 2, p. 28-33 (met foto’s).
Anoniem, Eén tegelijk en niet dringen s.v.p., in Vrij Nederland 19 februari 1972.
Anoniem, Jeugdtheater tussen bloemen. Holland Festival legt ‘koekoeksei’ op Floriade in Amsterdam, in Het Parool 1 juni 1972, p. 13.
Marja Roscam Abbing, De Eddy Posthuma de Boerstraat, in NRC Handelsblad 13 juli 1973.
Bas Roodnat, Het portret (3) waar Eddy Posthuma de Boer het eerst aan dacht, in NRC Handelsblad 7 juli 1976.
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Olivier Vrooland, Werkloosheid in Nederland. Tentoonstelling in Rijksmuseum in Foto 32 (september 1977) 9, p. 28-31.
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Piet van der Vliet, Eresaluut aan de fotografie, in de Volkskrant 1 november 1977.
Arjen Ronner, Werkloosheid in Nederland [ingezonden brief], in Foto 32 (december 1977) 12, p. 66.
Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 71, losse biografie.
Anoniem, Post colonial photographs, in Reflexions 2 (augustus 1978) 8, omslag, p. 2-3.
Anoniem, Canon Gallery, in Foto 33 (september 1978) 9, p. 30.
Bas Roodnat, E. Posthuma de Boer toont foto’s uit koloniën van vroeger, in NRC Handelsblad 1 september 1978.
Anoniem, Postkoloniale foto’s in Canon Gallery, in de Volkskrant 9 september 1978.
Peter Dekkers, Vijftien Nederlandse fotografen exposeren. Canon Photo Gallery viert vijfjarig bestaan, in Trouw 27 maart 1979.
Aad Flapper, Te veel missers op fototentoonstelling, in Het Parool 19 juli 1979.
Lorenzo Merlo, New Dutch photography/Hedendaagse fotografie in Nederland. New Dutch Photography, Amsterdam/Antwerpen (Kosmos) 1980, p. 5, 7-8, 84-87.
Max Pam. Het moment. Eddy Posthuma de Boer. Foto’s met commentaar, genoteerd door Max Pam, in De Revisor 7 (1980) 3, p. 36-43.
Catalogus tent. De stad in zwart/wit. 5 Jaar Amsterdamse dokumentaire fotoopdrachten, Amsterdam (Museum Fodor) 1981, omslag, p. 11, 16, 22, 33, 35 (Skrien (juni 1981) 108, bijlage).
Marleen Kox, Verslag onderzoek fotoarchieven. (Samengesteld in opdracht van de Stichting Nederlands Foto-Archief), Amsterdam, juli 1981.
Emile Meijer, Tien in tweevoud, in Avenue (augustus 1981) 8, p. 50-57 (met foto’s).
Cor Jansma, De onmogelijke landschappen van Eddy Posthuma de Boer, in Avenue (november 1982) 11, p. 74-77 (met foto’s).
Catalogus tent. Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum ‘Commanderie van Sint-Jan’) 1983, p. 91-92.
Fred Jansz, Eddy Posthuma de Boer. De fotograaf is een onmisbare getuige van maatschappelijke veranderingen, in Foto 38 (augustus 1983) 8, p. 22-29 (met foto’s).
Catalogus Fotobiennale Enschede. Amerikaanse en Nederlandse fotografie, Enschede (Stichting Fotobiennale Enschede) 1984, p. 52,62-63.
Dick van de Pol (red.), Foto in vorm, Grafisch Nederland 1984, p. 15, 35.
Herman Post en Gerard Groen, Eddy Posthuma de Boer: ‘Wat je fotografeert dat ben je zelf’, in Studio (4-10 februari 1984) 5, p. 6-7, 36 (met foto’s).
Max van Rooy, Eddy Posthuma de Boer: ‘Wat wijn betreft heb ik geen ambities meer’, in NRC Handelsblad 25 augustus 1984.
Ben Haveman, Het Heilig Moeten van Eddy P., wereldfotograaf, in de Volkskrant 15 september 1984, Het Vervolg, p. 5.
Bas Roodnat, De beroepsgeheimen van een fotograaf. De collectie Eddy Posthuma de Boer, in NRC Handelsblad 21 september 1984, Cultureel Supplement, p. 2.
Remco Campert (inl.), Amsterdam 1950-1959 20 fotografen, Amsterdam (Fragment) 1985.
Catalogus tent. Foto ’86, Amsterdam (Staatsuitgeverij) 1986, p. 148.
Tineke Luijendijk en Louis Zweers, Parlementaire fotografie … van Colijn tot Lubbers, Den Haag (Staatsuitgeverij) 1987, p. 46-47, 56, 58-61, 70 (met foto’s).
Joop Swart, Picture story. Eddy Posthuma de Boer, in P/F-Professionele Fotografie (1987) 6, p. 59-66 (met foto’s).
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) 1989, p. 35-36.
Adriaan Monshouwer en Joop Swart (hoofdred.), De wereld van de KLM in 24 uur, Amstelveen (Koninklijke Luchtvaart Maatschappij) 1989, p. 92-93, 96-99, 252, 259 (met foto’s).
Ken Wilkie, HH editor’s letter, in Holland Herald 24 (mei 1989) 5, p. 3.
Penny Fisher and Roderic Leigh, What makes them click?, in Holland Herald 24 (september 1989) 9, p. 17-27.
Catalogus tent. Op reportage. 25 jaar Avenue-reisfotografie, Amsterdam/Den Haag (Focus/SDU) 1990, p. 12, 16, 22, 26, 35, 63, 96 (met foto’s).
Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw/The Decisive image. Dutch Photography from the 20th Century, Amsterdam (BIS) 1991, p. 95, 206.
Christian Oerlemans (tekst), En toen ging er een lampje branden… Het beste uit 25 jaar Nederlandse reclame en grafische vormgeving, Amsterdam (Stichting Art Directors Club Nederland 25 jaar) 1991, ongepag.
Daniël Koning en Willem Kuipers, In de omgang met dieren zitten alle stemmingen, in de Volkskrant 25 april 1992.
Anneke van Veen (red.), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991 /Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1989-1991, Amsterdam (Gemeentearchief Amsterdam) 1992, ongepag., nr. 036, 042, 057.
Johan M. Swinnen, De paradox van de fotografie. Een kritische geschiedenis, z.p. (Hadewijch/Cantecleer) 1992, p. 183.
Catalogus International Photo-auction Amsterdam 1993. Sunday, 21 February 1993, Amsterdam (Canon Image Centre) 1993, ongepag., lot 169-171.
Veilingcatalogus. Dutch and Flemish Vintage Photographs 1860-1992. Glerum Auctioneers 23 mei 1993, Den Haag (Glerum) 193, lot 125.
Willem Ellenbroek, Opland 65 jaar oud en nog immer ‘een kind van zijn tijd’, in de Volkskrant 17 juli 1993.
Anoniem, Album Amstel. Leven op twee oevers. Foto’s Eddy en Tessa Posthuma de Boer, in Vrij Nederland 24-juli 1993, p. 44-50 (met foto’s).
Michel Maas, Niks om zelfs maar biologisch dynamisch van wakker te liggen, in de Volkskrant 20 mei 1994.
Bianca Stigter (inl.), Stilstaande beelden. Ondergang en opkomst van de fotografie, Amsterdam (Boekmanstudies/Van Gennep) 1995, p. 152, 154 (serie: Boekmanstudies. Kunst en beleid in Nederland 7).
Hugo Camps, ‘Ik ben betrokken bij het wel en wee van de wereld’. Het geweten van fotogaaf Eddy Posthuma de Boer, in Elsevier 52 (4 mei 1996) 18, p. 52-54.
Joyce Roodnat, Een papieren zak met benen. Aartsverteller Eddy Posthuma de Boer en zijn foto’s, in NRC Handelsblad 28 juni 1996, Cultureel supplement, p. 1.
Mirjam Keunen, Posthuma de Boer kijkt naar gewone mensen, in Algemeen Dagblad 5 juli 1996.
Willem Ellenbroek, Abcessen van macht en verwaandheid zichtbaar gemaakt. Eddy Posthuma de Boer fotografeert met zijn geweten, in de Volkskrant 6 juli 1996, Folio.
Eddie Marsman, Fotograferen met het geweten, in Leeuwarder Courant 6 december 1996.
Anoniem, (kort bericht over Kees Scherer Prijs, in de Volkskrant 28 februari 1997.
Anoniem, Posthuma de Boer in Comenius, in Leidsch Dagblad 7 mei 1997.
Mirelle Thijsen, Beelden als scherven in je ziel, in Het Financieele Dagblad 10 en 12 mei 1997, Kunstkroniek, p. 11.
Johan van der Keuken e.a. (tekst), Aventures d’un regard: films, photos, textes, z.j. [Parijs] (Cahiers du Cinéma) 1998, p. 94-95, 188.
Annejet van der Zijl, Jagtlust. Hoe in een Goois buitenhuis de wereld openging, Amsterdam (Meulenhoff) 1998, p. 51, 56, 60, 62, 104, 150, 159-160 (met foto’s) (serie: Meulenhoff editie 1691).
Anoniem, De verschillen tussen vader en dochter, in De Journalist 4 (1999) 17, p. 30-31.
Alexandra Besuijen, Met hart en ziel, in HP/De Tijd 11 (14 juli 2000) 28, p. 98-103 (met foto’s).
Kees Schaepman, De kleine wereld van Eddy Posthuma de Boer, in Vice Versa 35 (2001) 1, p. 21-28 (met foto’s).
Mirelle Thijsen, Het bedrijfsfotoboek 1945-1965. Professionalisering van fotografen in Nederland, Rotterdam (Uitgeverij 010) 2002, p. 40, 48, 50-52, 110, 113-115, 132, 163, 201, 208-209, 282 (serie: Beeldcultuur in Nederland 1).
Wim van Sinderen (red.), Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Gent/Den Haag (Ludion/Fotomuseum Den Haag), 2002, p. 312-313.
Rosan Hollak, Verschoppelingen, in NRC Handelsblad M juni 2002, omslag, p. 38-50 (met foto’s).
Ilse van der Velden, De fotograaf als kunstenaar, in VPRO Gids (1 juni-7 juni 2002) 22, p. 18-19.
Anoniem, Kritiek uit Kenia op kinderfoto’s Posthuma de Boer, in NRC Handelsblad 18 juni 2002.
Anoniem, Weeshuis Kenia boos over foto’s, in de Volkskrant 18 juni 2002.
Memberships
GKf, 1957-ca. 1965.
Awards
1968 Prix de Joke voor het boek Carnaval.
1968 Onderscheiding toegekend door de Art Directors Club Nederland, categorie Advertenties aan ontwerpen met fotobijdrage van Eddy Posthuma de Boer (opdrachtgever Amro Bank).
1972 Lucas Oomsprijs, in de categorie ‘visuele journalistiek’.
1997 Kees Scherer Prijs.
Exhibitions
1951/1952 (g) Amsterdam, Arti et Amicitiae, Dertiende Nationale Kerstsalon van Fotografische Kunst (AAFV).
1952/1953 (g) Amsterdam, Arti et Amicitiae, Veertiende Nationale Kerstsalon van Fotografische Kunst (AAFV).
1953 (g) Amsterdam, De Groene Kalebas, Eddy Posthuma de Boer en Dirk de Herder.
1954 (g) Amsterdam, La maison du chat-qui-pelote, Dirk de Herder en Eddy Posthuma de Boer. Parijs, Stockholm en Amsterdam.
1958 (g) Leiden, Prentenkabinet van de Rijksuniversiteit Leiden, Foto’s GKf.
1961 (g) Amsterdam, Stedelijk Museum, Dag Amsterdam.
1961 (g) Breda, De Beyerd, [Johan van der Keuken en Eddy Posthuma de Boer].
1961 (e) Hilversum, Steendrukkerij De Jong & Co., Man in Moskou. Foto’s van Eddy Posthuma de Boer.
1962 (e) Schiedam, Stedelijk Museum, Een seconde is veel te lang.
1968 (g) Den Bosch, De Moriaan, Eddy Posthuma de Boer. Foto ‘s van Carnaval.
1968 (g) Hamburg, 2. Weltausstellung der Photographie. Die Frau (reizende tentoonstelling: o.a. Amsterdam, Stedelijk Museum; Breda, De Beijerd Cultureel Centrum; Delft, Stedelijk Museum Het Prinsenhof; Eindhoven, Stedelijk Van Abbemuseum; Hilversum, Goois Museum; Schiedam, Stedelijk Museum; Zwolle, Bethlehem Kerk).
1971 (g) Leeuwarden, Fries Museum, De Vrouw.
1972 (g) Amsterdam, [tentoonstelling i.k.v. manifestatie Kind en leefmilieu] (Holland Festival).
1972 (g) Amsterdam, Kind en leefmilieu (Floriade).
1976 (g) Amsterdam, Stedelijk Museum.
1977 (g) Amsterdam, Amsterdams Historisch Museum, Foto’s voor de stad.
1977 (g) Schrijven met licht (rondreizende diapresentatie).
1977 (g) Amsterdam, Rijksmuseum, Werkloosheid in Nederland nu [foto’s van Eddy Posthuma de Boer en Bert Nienhuis, resultaat van de Foto-opdracht 1975 van de afd. Nederlandse geschiedenis].
1978 (e) Amsterdam, Canon Photo Gallery, Post Colonial Photographs.
1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.
1979 (g) Amsterdam, Canon Photo Gallery, [jubileumtentoonstelling].
1979 (g) Amsterdam, Canon Photo Gallery, Nederlands Landschap.
1979 (e) Luik, Image. Galerie de Photographies, Eddy Posthuma de Boer.
1980 (g) Amsterdam, Canon Photo Gallery, Het Portret.
1980 (e) Rotterdam, Perspektief, [postkoloniale fotografie van Eddy Posthuma de Boer].
1981 (g) Amsterdam, Museum Fodor, De stad in zwart/wit. Vijf jaar Amsterdamse dokumentaire foto-opdrachten.
1983/1984 (g) Nijmegen, Nijmeegs Museum ‘Commanderie van Sint-Jan’, Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden.
1984 (g) Enschede, Fotobiennale Enschede.
1884 (e) Amsterdam, Canon Photo Gallery, [foto’s uit het boek Beeld in zicht].
1985 (g) Amsterdam, Gemeentearchief, Amsterdam 1950-1959 20 fotografen.
1986 (g) Amsterdam, Focus on Photography, 24 Uur Amsterdam.
1987 (g) Den Haag, Haags Historisch Museum, Parlementaire fotografie… van Colijn tot Lubbers.
1990-1991 (g) Amsterdam, Canon Image Centre, Op reportage. 25 jaar Avenue-reisfotografie.
1991 (g) Amsterdam, Nieuwe Kerk, Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw.
1992 (g) Amsterdam, Museum Fodor, Foto ‘s voor de Stad. Amsterdamse documentaire foto-opdrachten 1972-1991.
1993 (g) Amsterdam, Cinetol, [foto’s van Eddy en Tessa Posthuma de Boer].
1993 (g) Naarden, [buitententoonstelling op vestingwallen), Fotofestival Naarden.
1994 (g) Arnhem, Nederlands Openluchtmuseum, Leven in Nederland. Twintig jaar fotografie in opdracht.
1995 (g) Amsterdam, Amsterdams Centrum voor Fotografie, De GKf fotografeert de jaren ’50.
1995 (g) Amsterdam, Galerie De Opsteker/Dorpskerk Durgerdam, Muziek in Kinshasa.
1996 (e) Amsterdam, Pro Picture/Pro Used, Amsterdam, stad van mijn bed.
1996 (e) Breda, De Beyerd, Voor het oog van de wereld, een keuze uit de foto’s van Eddy Posthuma de Boer.
1997 (e) Naarden, Comeniusmuseum, (FotoFestival Naarden).
1998 (e) Amsterdam, Galerie Weesperzijde 30, Het geluk van de alledaagsheid.
1999 (g) Amsterdam, Arti et Amicitiae, Foto.
2001 (g) Amsterdam, ABC Treehouse Gallery, 35 Fotografen van de Amsterdamse Fotografenavond.
2002 (g) Amsterdam, Huis Marseille, Twee fotografen, twee visies.
2002 (g) Rotterdam, Museum Boijmans Van Beuningen, Het Nederlandse bedrijfsfotoboek 1945-1965.
Radio programs
1995 (9 november) Een leven lang. Radio-interview met Petra van Hulsen (NPS).
1996 (30 september) Boven het Dal. Radio-interview (Humanistische Omroep Stichting).
2002/2003 (g) Den Haag, Fotomuseum Den Haag, Fotografen in Nederland 1852-2002.
Television programs
1984 (4 februari) De Bron (onderdeel: Met de rug naar de Gouden Koets) (RVU-Educatieve omroep).
2001 (1 juni) Hollands zicht. Documentaireserie over belangwekkende Nederlandse fotografen. Aflevering 1. Eddy Posthuma de Boer (AVRO).
Sources
Amsterdam, Eddy Posthuma de Boer
Leiden, Studie en Documentatie Centrum voor Fotografie, Prentenkabinet Universiteitsbibliotheek Leiden.
Leusden, Jan Wingender (collectie nederlands fotoboek).
Collections
Amsterdam, Gemeentearchief.
Amsterdam, Stedelijk Museum.
Haarlem, Spaarnestad Fotoarchief.
Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.
Velsen, Gemeentelijke Archiefdienst Velsen.