Jan van der Pant
Mieke G.H.C. van Teeffelen
The Dutchman Jan van der Pant—who went by the name of ‘John Vanderpant’ living on the west coast of Canada—was an autodidact. Both in the Netherlands and his adopted country, Van der Pant was a renowned photographer in the 1920s and ’30s. In Canada, he was also an important organiser of events in the areas of photography, music, and art. Van der Pant started out as a pictorialist and evolved to become a moderate new objectivist photographer. Van der Pant introduced his own term to describe himself: ‘modern purist’. The emotions and feelings in his photos were more important to him than the pure principles of form found in the New Objectivism.
Jan van der Pant was born on 11 January as the son of Jan van der Pant (born on 22 May 1850 in Loenen) and Catharina Sophia Hendrika Antonia Ezerman (born on 11 February 1857) in Alkmaar. Jan van der Pant Sr. is a member of the Dutch Reformed Church. At the time of Jan Jr.’s birth, he runs a tobacco store. In 1870, the Van der Pant family moves from Breukelen to Alkmaar, residing at Kraanbuurt 14.
On 16 May, Jan Van der Pant Jr.’s sister is born, Catharina Sophia.
Starting on 4 May 1892, Jan Van der Pant Jr. lives in Haarlem at the following addresses (successively): Johan van Vlietstraat 80, Duivenvoordestraat 94 (as well during his years as a student), and at Kleverparkweg 7 rood (‘red’).
On 25 September, Jan van der Pant enrols in a study with the Faculteit der Letteren (‘Faculty of Literature’) at in Leiden University. In the ‘Album Studiosorum’, Van der Pant is registered under number 5196. He is enrolled as a student until 1912.
Van der Pant publishes poems in the Nieuwe Gidsen (‘New Guides’) and other literary magazines. In January 1908, the magazine Nederland in Rijp is the first to publish a photo by Van der Pant, a winter shot with the title Haarlem.
Van der Pant works as a photojournalist for the magazine Op de Hoogte (‘Up to Date’). He also writes articles for a variety of newspapers.
On 6 July, Van der Pant weds Catharina over de Linden (1882-1955). In the same month, he immigrates with his wife to Canada. During the couple’s journey by land from Quebec to Alberta, Van der Pant writes articles accompanied by photos for Dutch newspapers and magazines.
Van der Pant and his family settle in Okotoks, Alberta, where he subsequently opens a photography studio. He anglicises his name to ‘John Vanderpant’.
Van der Pant’s wife Catharina is homesick and returns home to her parents in the Netherlands in order to bear her first child, Anna.
On 18 February, part of Okotoks burns down. Van der Pant prevents a disaster for the city by personally warning the fire brigade, which results in the total loss of his own home, studio, and all of its contents. As thanks for his selfless actions, he is offered alternative housing. His wife and daughter return to Canada.
Van der Pant’s son, John, is born, but dies as a baby from influenza.
The Van der Pant family moves to Fort Macleod, where Van der Pant opens a second studio. He keeps the studio in Okotoks and opens a third studio at Pincher Creek, as well in the province of Alberta.
Van der Pant’s daughter Catharina (Carina) is born in Fort Macleod.
Van der Pant and his family settle in New Westminster, British Columbia. They move into a home on Columbia Street.
In 1920, Van der Pant is one of the founding members of the ‘New Westminster Salon of Pictorial Photography’. In 1923, the salon takes on an international character. It exists until 1929.
Van der Pant meets the photographer Harry Upperton Knight from Victoria, whom he later describes as a pioneer in pictorial photography in British Colombia.
The Van der Pant family moves to Hamley Block, 657 Columbia Street, as well in New Westminster.
Van der Pant meets Johan Helders, the owner of the Blue Bird Inn.
Like Van der Pant, Helders is a Dutchman who emigrated to Canada and as well as an accomplished amateur photographer.
Van der Pant has his first solo exhibition in Europe, including the Netherlands.
Together with Harold Mortimer-Lamb, Van der Pant establishes the ‘Vanderpant Galleries’, located at 1216 Robson Street in Vancouver.
Van der Pant meets Frederick Varley and Jock Macdonald, artists and teachers at the Vancouver School of Decorative and Applied Arts.
Mortimer-Lamb ends his activities for the Vanderpant Galleries. Van der Pant continues to run the Robson Street gallery on his own. The family moves to a rental home on Trimble Street in Vancouver.
Van der Pant is doing excellent business and decides to build a house: 1750 Drummond Drive in Vancouver.
Anna Vanderpant begins assisting her father in the studio. Several years later, Carina follows her example.
Van der Pant meets Harry Tauber, an Austrian stage decor designer. Together with Varly and Macdonald, Tauber founds the British Columbia College of Arts in 1933. At the college, Tauber introduces classes based on the principles of the Bauhaus, as well as the philosophical, psychological and anthroposophical ideas of Peter D. Ouspensky, Madame Blavatsky, and Rudolf Steiner.
Van der Pant organises an exhibition at his gallery, featuring two prominent American photographers of the New Objectivist movement: Imogen Cunningham and Edward Weston.
Van der Pant is forced to sell his home on Drummond Drive due to the current world economic crisis. The family moves to an apartment above the Vanderpant Galleries on Robson Street.
Van der Pant is chosen by the Retail Merchants’ Association of Canada to become the head of the association’s photography department.
In November, Van der Pant opens a ‘showroom’ at the Georgia Hotel in Vancouver.
Van der Pant’s health is on the decline. He is diagnosed with lung cancer. His illness forces him to stop with photography. He instead devotes his time to writing poetry. Van der Pant hands his photographic business over to his two daughters, Anna and Carina.
In March, he shuts down the ‘showroom’ at the Georgia Hotel.
Jan van der Pant dies in Vancouver on 24 July. His two daughters continue to run the photography business.
Jan van der Pant was interested in art, poetry, and classical music from an early age. He was spiritually inclined, interested in religion, and sought to find the essence of artistic expression as well as the connections between the various disciplines. He enjoyed sharing and exchanging his findings with others. For this reason, he organised exhibitions of artists and photography gatherings at his gallery in New Westminster, where music was performed and poems were recited. In addition, Van der Pant also gave lectures and classes. In Europe, his ideas and photos became known through the articles featured in photography magazines and his participation in exhibitions. In the Netherlands, he achieved notoriety primarily through Adriaan Boer, the editor of the magazine Focus, who praised Van der Pant for being an exemplary amateur photographer as well as an adherent of pictorialist photography.
Van der Pant was a professional photographer who was able to convincingly show that photography concerned an artistic perspective and that technique and design played no more than a supporting role. In 1926, Boer devoted an article to Van der Pant and his photography in Focus. He described him as being original, fresh, and poetic, with a sense of humour and a big love of atmosphere in the photographic image. In his article, Boer relies on quotations directly taken from Van der Pant’s previous article in Focus (1925), in order to clarify the distinction between photography and artistic photography. Boer showed ample admiration for ‘the cultivated artist’s eye, which characterises the work of this eminent fellow countryman in faraway Canada.’ A degree of national pride may perhaps partially explain why Boer liked to give lectures on the topic of Van der Pant’s photos submitted to exhibitions in the Netherlands. But it was Van der Pant’s (for the Netherlands) innovative ideas that were given the highest priority, more than any national sentiment.
Jan van der Pant grew up in Alkmaar, where he attended primary, and several years later, secondary school. The plan was that he would eventually work in his father’s tobacco store, but this he endured only for a brief time. Van der Pant’s interests were broad. He decided to study at Leiden University, in the Faculteit der Letteren (‘Faculty of Literature’). There is no mention in the university’s enrolment books as to which particular study discipline he had initially chosen. At a later point, in 1935, Van der Pant wrote in a letter to Eric Brown, the first director of the National Gallery of Canada, that he had studied literature and various languages (in a way comparable to the present day ‘language sciences’). Back in those days, he presumably earned his living with short-term jobs, chiefly in business. He also did some administrative work for Willem Rooyaards’ theatrical company for the duration of one season. Van der Pant did not complete his university studies.
Already during his academic studies, Van der Plant worked as a journalist and wrote poems and stories. He sometimes illustrated these written pieces with photos he had taken himself. Van der Pant did this for several years on behalf of the monthly magazine Op de Hoogte (loosely translated ‘Up to Date’), and as a freelance writer for De Oprechte Haarlemsche Courant (‘The Honest Haarlem Courant’) and De Amsterdammer. Weekblad voor Nederland (‘The Amsterdammer. Weekly for the Netherlands’). He also contributed poems to Onze Eeuw (‘Our Century’) and De Nieuwe Gids (‘The New Guide’). His investigative nature brought him to both southern Europe and Canada. Van der Pant’s articles in Op de Hoogte demonstrate his ability to devise accurate characterisations of the different countries and inhabitants. Following his emigration to Canada in 1911, Van der Pant wrote articles on behalf of the Canadian government for a period of two years that were published in Dutch newspapers to stimulate emigration. He also presented lectures in the Netherlands using glass lantern plates. In late 1912, Van der Pant established himself as a photographer in Okotoks, Alberta, where he managed to make his living by doing portrait work. As a photographer, he was an autodidact. His knowledge of the medium had been chiefly attained during his time working as a photojournalist for Op de Hoogte. After four years, the family moved to Fort Macleod, where Van der Pant opened a studio once again. He kept the studio in Okotoks as well and opened a third studio in the town of Pincher Creek. The exhausting trip by horse and wagon, traveling back and forth between the three studios and the isolated location of the prairie all proved to be a bit too much for Van der Pant, especially during the yearly barren winters. In 1919, he therefore undertook plans to move with his family to Hawaii, in order to live and work in more comfortable surroundings. On the way to the boat in Victoria, Van der Pant and his family lodged for one night in Vancouver. Charmed by this part of the country, he decided to stay and set himself up as a photographer in New Westminster, British Columbia. With the exception of several years in Vancouver, Van der Pant would end up spending the rest of his life in New Westminster.
After having established himself in New Westminster in 1919, Van der Pant underwent a shift from being a realistic journalistic photographer to a pictorialist photographer. Pictorialism in photography had cleared the way for artistic expression, utilising various technical methods, such as the soft-focus lens, brushing technique on negative, and printing on texturised paper. In Europe and the East Coast of the United States, the movement had already surpassed its peak by the time Van der Pant finally came into contact with this approach in the somewhat provincial western part of Canada via the photographer Harry Upperton Knight. Van der Pant’s perception of pictorial photography is expressed clearly in an article published in Focus in 1925: ‘(…) the major, principle difference between photography and Pictorial photography: the first is: photographic technical copying, the representation of facts and events; the latter is: writing poetry in lines, composing in a game of sun and shadow, and having to convey, not the technical picture of the incident or landscape that is photographed, but the feeling, the emotion, awoken in the maker by the incident or landscape. (…) Pictorial photography is photographically expressing one’s own personality, own thinking, own feeling.’ Although Van der Pant’s use of the Dutch language was no longer perfect, Boer, as chief editor of the magazine, nevertheless decided to print the article in its original characteristic writing style. Van der Pant described pictorial photography as if it was a collection of sonnets. He saw the photo as the expression of a personal feeling—in its depiction every bit as compressed and abstracted as a poem.
As an example for comparison, the first couplet of Van der Pant’s sonnet Vijver (‘Pond’) should suffice:
(J. van der Pant, ‘Vijver’, in Onze eeuw, Maandschrift voor staatkunde, letteren en kunst, 1907, p. 292)
In British Columbia, Van der Pant came into contact with the pictorialist Harry Knight along with numerous other photographers and artists. At a gathering of local photographers in Vancouver, he also met Johan Helders, like himself a Dutchman who had emigrated to Canada and an amateur photographer of merit. The two families became friends. Van der Pant taught Helders a lot about photography. It is likely to have been at the New Westminster Salon of Pictorial Photography that Van der Pant came into contact with Harold Mortimer-Lamb (1872-1970). Starting in 1900, this photographer, amateur art critic, and mining engineer was a major promoter of pictorial photography. Mortimer-Lamp had previously exhibited his photos at the Salons held in London on a regular basis. After World War I, he had settled in Vancouver.
Van der Pant and Mortimer-Lamb were both talented photographers and excellent ambassadors for art and photography. It was for this reason that, in 1926, the two men decided to start up the ‘Vanderpant Galleries’, a photography studio as well as an art and antique gallery. The gallery bore Van der Pant’s name, likely because by this time he had built a reputation as a photographer and promoter of the arts in Vancouver and its environs. Due to mutual displeasure, the collaboration lasted only a year. Van der Pant subsequently went on to run the studio and gallery on his own. He no longer concentrated on the antique, but only on contemporary photography and art, and especially the relationship between the two. According to Van der Pant’s biographer Sheryl Salloum, the theosophical view that Frederick Varley had drawn to his attention was an important starting point: ‘Only that which is spiritual can be beautiful’, and “the artist is the priest of “beauty”‘. Van der Pant shared his spiritual interests with the artists Varley, Jock Macdonald and Emily Carr, with the photographer Harry Knight, and Ernest Fewster, the chairman and a co-founder of the Vancouver Poetry Society.
Based on his belief that all forms of art possess shared elements and can inspire each other, Van der Pant organised not only photography exhibitions in his gallery, but also exhibitions of young and often controversial artists, such as the ‘Group of Seven’. He also held musical performances at his gallery, evenings with poetry read aloud, and discussion nights on the topic of religion, especially Christian Science, and on the philosophy of the arts. In 1931 and ’32, the Vanderpant Galleries was the meeting place of the Poetry Society, where the annual poetry galas were held. The gallery’s music room had enough space to accommodate approximately one hundred guests.
Through his memberships in associations, the organisation of evening programmes and exhibitions at the Van der Pant Galleries, and his contacts with those in Varley’s circle, Van der Pant got to know a great number of students, artists, and photographers. He was also in a position to meet prominent figures, when giving his lectures and through his involvement in exhibitions across Canada and Europe. On occasion, these people would sit to have their portrait taken.
In 1922, Van der Pant took part for the first time in an exhibition of the Royal Photographic Society in London. In commentaries written about the exhibition, Van der Pant’s work was dismissed based on the observation that his work showed no national character. In response to this criticism, he shifted his focus to characteristics of the Canadian landscape: the immense proportions, the strong contrasts and patterns, the rhythm of lines and colour, the simplicity of composition, the dramatic fall of light during the day, and the seasons. His ideas were completely in agreement with those of the ‘Group of Seven’—by Canadian standards an extremely modern, innovative group of artists to which Varley also belonged. In 1927, Van der Pant wrote about the aim of this group: ‘[they] felt that the immensity of Canada could not be truly painted with European brush (…) so they (…) went for the soul of the land in the ruggedness of form, the rhythm of line and colour, by simplicity and directness of stroke and elimination detracting detail, using freedom to emphasize either in form or colour, what was personally most striking to interpret (…)”. (Salloum, p. 22) By translating the robust character of their immense country into rhythmic lines and colours, simple forms, as well adding their own personal, colourful touch, these artists did their best to remain true to their nature.
Van der Pant tried to merge with this nature in his own photography. Grain elevators were for him the symbol of Canada. Their visual idiom fascinated him throughout his lifetime and he depicted them in all their monumental beauty. For Van der Pant, Grain silos were geometric patterns, the fundamental structures of the essential things in life. He made it is task to discover these basic structures and to show the qualities they possess.
In this way, Van der Pant’s immediate environment became his primary source of inspiration. He reduced the essence of ordinary things down to a play of lines, surfaces, light and shadow. He bestowed a monumental, internal beauty on the day-to-day. According to a description of his work formulated by Adriaan Boer in 1926, Van der Pant’s shots were not made with any special kind of lens. In fact, he achieved the distinctive soft-focus effect by enlarging the image with a small ‘Verito’ lens. This gave his photos a soft, shrouded character, which tended to suppress the details. Van der Pant continued working with soft-focus effects until 1932. Thereafter, his photos became increasingly sharp, but were nonetheless never to obtain the sharpness and directness that his contemporaries and fellow photographers in the United States—particularly in the group f/64—found to be so essential.
Van der Pant was of the opinion that the artist’s vision was dependent upon the eye and not on manipulations. For this reason, he made minimum use of retouching. The only manipulation involved was the printing out portions of shots, sometimes enlarged but not always, on somewhat tinted matte gelatin silver paper, Kodak P.M.C. nos. 8 and 12. When he photographed outdoors, he used a simple Zeiss roll film camera (6.5×9 cm) with an f/63 Ansco anastigmatic lens. The notion that the essence of a subject was expressed in the rhythm—large forms reduced to light and shadow, line and surface—was also evident in his portrait photography. He was not concerned with the outer appearance, but with depicting the intrinsic nature of the person in question. He worked with standard studio and darkroom equipment available in the late 1920s and ’30s: lighting via an artificial light source, no distracting background, crops of heads in profile—three-quarters or frontal, depending on the most characteristic traits of the subject—and the use of Purol (a salve) or comparable substances to make the skin shine. In Canada, Van der Pant was considered to be the best portrait photographer of the 1920s and ’30s.
Van der Pant’s most characteristic work was produced in the years 1929 to 1937. In 1929, he began abstracting his subjects with greater frequency, by working with large surfaces and showing little detail. He toyed with the effects of light, which he referred to as ‘ideas in light’, particularly in his nature studies. (Salloum, p. 30) Starting in 1934-’35, he allowed light and shadow to merge with the basic structures of his subjects in radical abstractions brought about by daring crops. He experimented with alternative vantage points, such as the bird’s-eye and worm’s-eye views. He also isolated forms, so that at first glance patterns seemed to emerge from the light and the dark, and the straight and curved lines, without having any relation to the original object. He became better and better at finding his ‘essences in basic structures’, as he had described it back in the early 1920s. For his experiments, he turned to forms in architecture and nature, such as tulips, chrysanthemums, and sliced cabbage. The photos dating from this period serve to sum up his ideas about photography, philosophy, creativity, and about life itself. His portraits, as well as his architecture and nature shots, provide the most complete image of Van der Pant’s efforts in this respect.
Van der Pant’s ideas and his approach to subjects in art and photography were shared by numerous artists in Europe and the United States during the 1920s and ’30s in the quest for abstraction. Van der Pant’s photos were published and discussed in esteemed magazines such as Focus, Bedrijfsfotografie (‘Corporate Photography’), Photograms of the Year, and American Photography. From the moment that he participated in international exhibitions and competitions, he received both recognition and awards, as well in Europe.
In 1926, Adriaan Boer cited four American photographers who were important for Van der Pant’s development: Clarence White, Alvin Langdon Coburn, Edward Steichen, and Pirie MacDonald (1867-1942), a photographer who was little known in Europe. There is no doubt that parallels exist between Van der Pant and these photographers in terms of work and vision. These photographers as well started out their careers in Pictorialism and shifted in the direction of ‘straight’ photography. In his choice of subject matter, in his style of abstraction, and in his experimentation with crops and camera vantage points, Van der Pant was not that different from the usual developments as they occurred in the US. Through his participation in publications and exhibitions, he was very much up to date on what was current at the time. He knew the prominent American photographers Edward Weston and Immogen Cunningham on a personal basis. For these two members of f/64, a group established in 1930, Van der Pant organised an exhibition showing approximately fifty photos of each at his Vanderpant Galleries in the summer of 1931. With regards to the fact that a close-up of a cabbage cut open appears in the oeuvres of both Van der Pant and Weston, the latter wrote in a letter dated 8 May 1931 addressed to Van der Pant: ‘Strange coincidence. We both showed cabbages halved [at the Fourteenth Annual International Salon of Pictorial Photography in Los Angeles] but mine was cut the other way.’ (Hill, p. 23).
Pirie MacDonald, whose name Van der Pant had mentioned, was an accomplished portrait photographer in his own day, who restricted himself to portraying men. Clearly, Van der Pant shared a number of ideas with him when it came to portraits, e.g. crops, varying from head and shoulder to close-up; poses, turned three-quarter or frontally; lens adjustments, from sharp to soft-focus; and the use of substances to make the skin shine. While such notions were indeed modern, at the same time they were widespread across Europe and the United States.
Van der Pant is not to be classified among the American ‘straight photographers’. Only to a degree can he even be placed under the heading of ‘the New Objectivity’ or the ‘New Photography’. Van der Pant had even thought up his own term, the ‘modern purist’, defined as ‘(…) those who (…) feel the need for mood, emotion, imagination as well as for the technical characteristics of the camera.” (Hill, p. 24) This was not a generally accepted term to which accompanying forms of expression were connected, but this came closest to describing what he was trying to accomplish. Especially in his later work, from 1929 to 1937, he was able to express what he had been searching for during all those years.
Van der Pant’s work did not convey any social message. He tried to reduce the reality of the subject down to its essence in highly contrasting, simple forms and patterns according to a modern concept. He did not photograph the appearance of form in itself, but showed what the object or subject affected him—i.e. the conflict and the contact with his spirit. Van der Pant also referred to it as: representations of thoughts in relation to reality. He attempted to transform the physical reality into perception.
This same principle was for Van der Pant as well the basis for selecting photos to be shown at an exhibition. In an article concerning the photo salon in New Westminster appearing in Focus in 1924, he put it as follows: ‘(…) in the assessment, one should not first look at the manner of finishing, but indeed the maker’s intention, his feeling, the fervour of his concept.’
The 1930s were economically difficult years for Van der Pant, even though he had achieved some photographic successes, including his first traveling solo exhibition in the Netherlands in 1931. His last solo exhibition during his lifetime was in 1937 at the Vancouver Art Gallery. The economic depression brought both problems and changes. In 1934, he was obliged to make the difficult decision of selling the house that had been specially built for his family. Around 1936, most of the artists, often personal friends, left town to seek work elsewhere. Their incomes derived from their affiliation with the Vancouver School of Decorative and Applied Arts had diminished. Jock Macdonald and Fred Varley had started up their own school: the British Columbia College of Arts. Due to a lack of financial funds, this school was as well forced to close its doors in 1935. With them, the innovative artistic climate centred on Vancouver vanished. Van der Pant gave numerous lectures in the years 1934 to 1937, such as at the Canadian International Salon of Photographic Art in Fort William, Ontario (1935), and later in Alberta (March 1937). In 1937, Van der Pant also hosted a weekly radio broadcast featuring classical music.
Jan van der Pant stood with one foot in the photography world of Europe—particularly in the Netherlands—with the other foot in Canada. In the Netherlands, he was considered a Dutch photographer. Outside the Netherlands, however, he was a Canadian photographer and by no means an American. Berssenbrugge failed to make that distinction when he asked Van der Pant to submit American work for an exhibition at Pulchri Studio in The Hague. Van der Pant responded in a letter dated 24 July 1930, sharply drawing Berssenbrugge’s attention to the fact that there was a difference between the US and Canada. He cited differences in culture and accordingly development. It was indeed true, however, that there was more communication between photographers and artists on the west coast of Canada with their counterparts on the American west coast, compared to the situation on the east coast, let alone Europe.
No matter how far away he lived from the world in which changes first occurred, Van der Pant adopted them and developed himself further within the possibilities and according to the modern thinking of his era. His works holds a full-fledged, albeit not overly remarkable place in modern European and North American photography of the 1920s and ’30s. The attention that this successful trans-Atlantic, native Dutchman received in the Netherlands is chiefly to be understood in terms of the relative dearth of modern pictorial photographers in the Netherlands, with Henri Berssenbrugge and Bernard Eilers being the only photographers able to convincingly withstand a comparison on an international level.
J. van der Pant, Vijver, Bloei, in Onze eeuw. Maandschrift voor staatkunde, letteren en kunst 7 (1907) 2, p. 292-293.
J. van der Pant, Kinderliedje, in De Nieuwe Gids 23 (1908), p. 903-904.
J. van der Pant, Zwanen/Kermis, in De Nieuwe Gids 23 (1908), p. 1043-1045.
J. van der Pant, Setubal, in Op de Hoogte. Geïllustreerd maandschrift 8 (juni 1911), p. 345-348.
J. van der Pant, Messina, in Op de Hoogte. Geïllustreerd maandschrift 8 (juli 1911), p. 393-397.
J. van der Pant, Van de Veluwe, in Op de Hoogte. Geïllustreerd maandschrift 8 (oktober 1911), p. 578-582.
Canuck [red. J. van der Pant], Brieven uit Canada, in Oprechte Haarlemsche Courant, Stadseditie 14 oktober 1911.
J. van der Pant, Iets over Italië, in Op de Hoogte. Geïllustreerd maandschrift 8 (november 1911), p. 645-650.
Canuck [red. J. van der Pant], Brieven uit Canada, in Oprechte Haarlemsche Courant, Stadseditie 11 november 1911.
Canuck [red. J. van der Pant], Brieven uit Canada, in Oprechte Haarlemsche Courant, Stadseditie 9 december 1911.
J. van der Pant, Op reis naar Canada, in Op de Hoogte. Geïllustreerd maandschrift 9 (januari 1912), p. 72-77.
J. van der Pant, Uit Westelijk Canada, in Op de Hoogte. Geïllustreerd maandschrift 9 (december 1912), p. 673-680.
J. van der Pant, De Zware Taak, in De Amsterdammer. Weekblad voor Nederland 16 februari 1913, p. 2-3.
J. van der Pant, Canada en de emigratie, in De Amsterdammer. Weekblad voor Nederland 16 maart 1913, p. 6.
J. van der Pant, Land en landbouw in Westelijk Canada, in Op de Hoogte. Geïllustreerd maandschrift 10 (april 1913), p. 190-197.
J. van der Pant, Krabbels over Canada, in Op de Hoogte. Geïllustreerd maandschrift 11 (mei 1914), p. 253-260.
J. van der Pant, De Internationale Tentoonstelling van Fotografieën te Westminster, B.C. Canada, in Lux 34 (1923), p. 416.
B.C.A. van der Pant [=J. van der Pant], De Internationale Fotografische Tentoonstelling te New Westminster B.C. Canada, in Focus 10 (1923) 22, p. 569.
J. Vanderpant, “What’s wrong with the photographic profession?”, in Camera Craft 31 (januari 1924) 1, p. 3-9.
J. van der Pant, De fotosalon te New Westminster, in Focus 11 (1924) 24, p. 641-642.
John Vanderpant, The New Westminster Salon of Pictorial Photography, in Camera Graft 31 (december 1924) 12, p. 582-584.
John Vanderpant, Studio Ethics, in Abel’s Photographic Weekly 35 (10 januari 1925), p. 34, 36-44.
]ohn Vanderpant, The New Westminster Salon of Pictorial Photography, in Camera Craft 32 (januari 1925) 1, p. 15-16.
J. v.d. Pant, “Pictorial fotografie”, in Focus 12 (1925) 17, p. 401-403.
John Vanderpant, Pictorial Photography, in Abel’s Photographic Weekly 36 (1 augustus 1925), p. 98-100.
John Vanderpant, The danger of the photographic salon, in Camera Craft 33 (november 1926) 11, p. 510-512.
John Vanderpant, Appreciates the Art Exhibition [letter to the editor], in Vancouver Daily Province 18 augustus 1927.
Catalogus tent. Pictorial Prints by John Vanderpant, Londen (Royal Photographic Society) 1928.
John Vanderpant, Art and criticism [letter to the editor], in Vancouver Daily Province 17 augustus 1928.
John Vanderpant, Tradition in art, in The Photographic Journal vol. 68/new series vol. 52 (november 1928), p. 447-449.
J. van der Pant, Twee fotografie tentoonstellingen in Canada, in Focus 16 (1929) 25, p. 672-673.
John Vanderpant, Because of the cause or giving the reason why, in Camera Craft 36 (december 1929) 12, p. 570-577 (met foto’s).
John Vanderpant, The Art Gallery, in West End Breeze [Vancouver], 13 juni 1935, p. 1, 3.
(foto’s in boeken, tijdschriften en ander drukwerk)
Nederland in Rijp. 200 foto’s van de wonderschoone natuur in de dagen van 18-25 januari 1908, Koog-Zaandijk (S. Bakker Jz.) 1908, p. 9 (afb. 14).
The American Annual of Photography 1927, 41 (1926), p. 99.
Deutscher Camera Almanach 17 (1926), p. 44.
The American Annual of Photography 1928, 42 (1927), p. 149.
Il Corriere Fotografico maart 1929, na p. 342.
Bedrijfsfotografie 11 (25 juli 1929) 30, na p. 354.
Bedrijfsfotografie 13 (3 april 1931) 7, p. 125-128.
Bedrijfsfotografie 13 (16 oktober 1931) 21, p. 391-394.
Bedrijfsfotografie 13 (30 oktober 1931) 22, p. 409-412.
Bedrijfsfotografie 15 (7 april 1931) 7, p. 129-132.
11 (1924) 11, p . 295.
12 (1925) 16, p. 383-390.
13 (1926) 5, p. 123-130.
14 (1927) 18, p. 495.
14 (1927) 19, p. 521.
15 (1928) 9, p. 243-246.
15 (1928) 14, p. 375.
17 (1930) 1, p. 8.
17 (1930) 6, p. 160-161.
18 (1931) 21, p. 591-598.
21 (1934) 10, p. 279-282.
21 (1934) 13, p. 364.
21 (1934) 18, p. 505.
F.C. Tilney, Pictorial photography in 1923, in Photograms of the year 1923, p. 7-12, pl. XXXIII.
Anoniem, De internationale foto salon te Amsterdam, in De Camera 16 (15 mei 1924) 13, p. 176-179.
Anoniem, Pictorial Photography in 1925. Some comments on the photograms reproduced in this volume, in Photograms of the year 1925, p. 7-14, pl. XLII.
J.DJ. [=J. DudleyJohnston], Exhibitons at Russell Square. Prints byj. Vanderpant, in Photographic Journalvol. 65/new series vol. 49 (september 1925) 9, p. 441-442.
W. Warstat, Neuzeitliche Raumgestaltung, in Deutscher Camera Almanach 17 (1926), p. 25-36 (met foto’s).
Anoniem, Pictorial Photography in 1925. Some comments on the photograms reproduced in this volume, in Photograms of the year 1926, p. 7-14, pl. LXI.
Frederick Colin Tilney, Appreciations J. Vanderpant’s picture: ‘Castles of Commerce’, in The New Photographer 1 november 1926, p. 116-117.
J.W. Boon (voorw.), Veertig jaren fotografie. Gedenkboekje uitgegeven door de Nederlandsche Amateur-Fotografen-Vereeniging ter gelegenheid van haar veertig jarig jubileum 7 sept.-5 nov. 1927, Amsterdam 1927, p. 98.
Constance Errol, Lens revelations. The story of a camera artist who is revealing the spirit of Canada, in MacLean’s Magazine 40 (1 januari 1927), p. 11, 20, 22, 46.
MacSymon’s Commentaries. A series on the world’s greatest photographers. No. 7: John Vanderpant, A.R.P.S., Canada, in American Photography 21 (november 1927), p. 605-613.
John MacSymon, Commentaries on the pictures, in Photograms of the year 1928, p. 18-28, pl. LXI.
F.C. Tilney, Prints by J. Vanderpant, F.R.P.S., in The Photographic Journal vol. 68/new series vol. 52 (juni 1928), p. 243-244.
Anoniem, Thejohn J. Vanderpant and J. Harold Leighton Exhibitions, in The Photographic Journal vol. 68/new series vol. 52 (juli 1928), p. 291-292.
Dorothy G. Taylor, The Art Gallery, in The British Columbian [New Westminster] 6 september 1928.
Bertram Cox, [reactie op artikel van Vanderpant], in The Photographic Journal vol. 68/new series vol. 52 (november 1928), p. 449-450.
F.C. Tilney, [reactie op artikel van Vanderpant], in The Photographic Journal vol. 68/new series vol. 52 (november 1928), p. 450-451.
C.J. Symes, Pictorial photography in 1929. Some comments on the photograms reproduced in this volume, in Photograms of the year 1929, p. 17-24, pl. L.
Anoniem, Unique photographs by J. Vanderpant F.R.P.S., in Saturday Night 44 (17 augustus 1929), p. 4, 8-9.
Anoniem, Bij de platen, in Bedrijfsfotografie 11 (25 juli 1929) 30, p. 356.
C.J. Symes, Pictorial photography in 1930. Some comments on the photograms reproduced in this volume, in Photograms of the year 1930, p. 5-12, pl. LIX.
A.B. [= Adriaan Boer], Moderne foto’s en drukwerken te Utrecht, in Bedrijfsfotografie 3 (13 november 1931) 23, p. 424-426.
C.J. Symes, Pictorial photography in 1931. Some comments on the photograms reproduced in this volume, in Photograms of the year 1931, p. 6-14, pl. LIX.
Bruce Metcalf, Photography in Canada, in Photograms of the year 1931, p. 17.
Anoniem, Beauty in common things, in Saturday Night 46 (10 januari 1931), p. 13.
Anoniem, Bij de platen, in Bedrijfsfotografie 13 (3 april 1931) 7, p. 117-118.
B.H. Chatto en O.C. Reiter, The Eighteenth Pittsburgh Salon, in Camera Craft 38 (juni 1931) 6, p. 263-274.
Anoniem, Bij de platen in dit nummer, in Bedrijfsfotografie 13 (16 oktober 1931) 21, p. 383.
Anoniem, Bij de platen in dit nummer, in Bedrijfsfotografie 13 (30 oktober 1931) 22, p. 401.
C.J. Symes, Photograms of the year. Some comments on the pictures reproduced in this volume, in Photograms of the year 1932, p. 7-15, pl. XVII.
Anoniem, Bij de platen van Jan van der Pant, in Bedrijfsfotografie 15 (7 april 1931) 7, p. 122.
Norman Hacking, Cabbages and cameras, in Vancouver Daily Province 30 november 1935.
C.J. Symes, Photograms of the year. Some comments on the pictures reproduced in this volume, in Photograms of the year 1936, p. 6-13, pl. XXIX.
Bruce Metcalf, Canada, in Photograms of the year 1936, p. 20.
Mentor, Pictorial analysis ‘Winter Sunshine’, by J. Vanderpant, in The Amateur Photographer & Cinematographer 22 april 1936, p. 366, 368.
Anoniem, Uit de B.F. donkere kamer, Jan van der Pant †, in Bedrijfsfotografie 21 (11 augustus 1939) 16, p. 293-294.
H.G. Cox, John Vanderpant, F.R.P.S., in Camera Craft september 1939, p. 441-442.
Anoniem, De dochters van Van der Pant, in Bedrijfsfotografie 21 (6 oktober 1939) 20, p. 375-376.
Charles C. Hill, John Vanderpant. Photographs/Photographies, Ottawa (National Gallery of Canada) 1976.
Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 24, 72, 155.
Jörg Kirchbaum, Lexikon der Fotografen, Frankfurt am Main (Fischer Taschenbuch Verlag) 1981, p. 188.
Helga Pakasaar, Formulas for the picturesque. Vancouver pictorial photography 1930-45, in Luke Rombout, Vancouver Art and Artists, 1931-1983, Vancouver (The Vancouver Art Gallery) 1983.
Lilly Koltun (ed.), Private Realms of Light. Amateur photography in Canada/1839-1940, Markham (Fitzhenry & Whiteside) 1984, p. 81, 83, 98, 111-112.
Pieter Kottman, Ademloos poseren met een hoofdsteun. Auguste Grégoire legde ‘s lands grootste, nu geëxposeerde, fotocollectie aan, in NRC Handelsblad 16 september 1989.
I.Th. Leijerzapf (red.), Het fotografisch museum van Auguste Grégoire. Een vroege Nederlandse fotocollectie, Den Haag (SDU) 1989, p. 20, 28, 165-167, 190 (met foto’s).
F. Gierstberg, De collectie Grégoire, in J.F. Heijbroek (eindred.), Het Leidse Prentenkabinet. De geschiedenis van de verzamelingen, Baarn (De Prom) 1994, p. 345-366 (serie: Leids Kunsthistorisch Jaarboek 9).
Sheryl Salloum, Underlying Vibrations. The photography and life of John Vanderpant, Victoria BC (Horsdal & Schubart) 1995.
C. Grant Arnold, The Terminal City and the Rhetoric of Utopia: John Vanderpant’s Photographs of Terminal Grain Elevators 1926-1936. Master’s thesis University of British Columbia, Vancouver 1996.
Melissa K. Rombout, John Vanderpant. A modernist vision of Canada, in History of Photography 20 (zomer 1996) 2, p. 129- 137 (met foto’s).
Anoniem, Tentoonstelling New Westminter-Canada, 10 (1923) 14, p. 359.
A.B. [= Adriaan Boer], De internationale salon van fotografische kunst te Brussel, 11 (1924)9, p. 236-238.
Anoniem, De procédé’s, 11 (1924) 10, p. 257.
A.B. [= Adriaan Boer], De tiende tentoonstelling van fotowerken in Nederland, 11 (1924) 10, p. 259-262.
Adr. Boer, Hedendaagsche stroomingen in de beoefening der fotografie. Voordracht gehouden in het Stedelijk Museum te Amsterdam op 7 mei 1924, 11 (1924) 10, p. 263-278.
A.B. [= Adriaan Boer], De tiende tentoonstelling van fotowerken te Amsterdam, 11 (1924) 11, p. 287-289.
G.O. ‘t Hooft, Notulen van de jaarlijksche algemeene vergadering op woensdag 10 september 1924, 11 (1924) 19, p. 522.
Anoniem, Hollanders in Londen, 12 (1925) 15, p. 351.
Anoniem, Het werk van J. van der Pant, 12 (1925) 16, p. 376.
E.J.G. Schermerhorn, De internationale fototentoonstelling te Bandoeng, 12 (1925) 16, p. 377-379.
Johan Helders, Het werk van J. van der Pant, 12 (1925) 16, p. 379-380.
Anoniem, Van der Pant te Londen, 12 (1925) 19, p. 450.
Anoniem, Het werk van Joh. van der Pant, 13 (1926) 1, p. 3.
Anoniem, Collectie Van der Pant, 13 (1926) 2, p. 30.
G.O. ‘t Hooft, Huishoudelijke bijeenkomst op Woensdag 27 januari 1926, [etc], 13 (1926) 2, p. 54-55.
Anoniem, Collectie J. van der Pant, 13 (1926) 3, p. 59.
A.B. [= Adriaan Boer], De fotosalon te Zwolle, 13 (1926) 3, p. 60-61.
Anoniem, Collectie J. van der Pant, 13 (1926) 4, p. 86.
Anoniem, Collectie Van der Pant te Haarlem, 13 (1926) 4, p. 87.
Anoniem, Nogmaals Van der Pant, 13 (1926) 5, p. 114.
A.B. [= Adriaan Boer], Het werk en de persoonlijkheid van Jan van der Pant, 13 (1926) 5, p. 115-118.
Anoniem, Van der Pant collectie in Duitschland, 13 (1926) 6, p. 142.
Anoniem, Collectie Van der Pant in België, 13 (1926) 9, p. 222.
A.B. [= Adriaan Boer], Het Hollandsche werk op den fotosalon te Arnhem, 13 (1926) 11, p. 275-279.
A. Verschure, The London salon of photography 1926, 13 (1926) 19, p. 482-483.
Anoniem, Bij de platen, 14 (1927) 18, p. 485.
Anoniem, Onze platen, 14 (1927) 19, p. 514-515.
Anoniem, Onze platen, 15 (1928) 9, p. 235.
Anoniem, Bij de platen, 15 (1928) 14, p. 367.
Anoniem, Compositie, 16 (1929) 4, p. 87-88.
A.P.W. van Dalsum, Kunstfotografie met eenvoudige middelen, 16 (1929) 20, p. 533-534.
Anoniem, Bij de platen, 17 (1930) 6, p. 147.
Anoniem, Foto’s van Jan van der Pant, 18 (1931) 5, p. 122.
Anoniem, J. v.d. Pant’s fotocollectie, 18 (1931) 7, p. 180.
Anoniem, Reisroute, 18 (1931) 7,p. 188 bijeenkomst in de groote zaal Heystee, Heerengracht 545 op 19 maart 1931, 18 (1931) 8, p. 206.
Anoniem, Jan van der Pant’s fotocollectie, 18 (1931) 8, p. 210.
Anoniem, Foto’s Van der Pant, Arnhem, 18 (1931) 8, p. 211.
Anoniem, Van der Pant collectie te Arnhem, 18 (1931) 9, p. 239.
Anoniem, Van der Pant tentoonstellingen, 18 (1931) 10, p. 269.
Anoniem, Collectie Van der Pant te Brussel, 18 (1931) 12, p. 327.
Anoniem, Collectie Van der Pant, 18 (1931) 18, p. 497-498.
J.H. de Bois, Tentoonstelling J. van der Pant te Haarlem, 18 (1931) 20, p. 559-560.
Anoniem, Bij de platen, 18 (1931) 21, p. 581-582.
Anoniem, Bij de platen, 21 (1934) 10, p. 267-268.
Anoniem, Bij de portretten in dit nummer, 21 (1934) 13, p. 349-350.
Anoniem, Bij de platen in dit nummer, 21 (1934) 18, 487-488.
Anoniem, Jan van der Pant †, 26 (1939) 16, p. 471.
Anoniem, Beknopte analyse der platen, 29 (1942) 9, p. 167-174.
B.C. Art League.
Bestuur (vice voorzitter), Photographer’s Association of the Pacific North West, 1922.
Bestuur (voorzitter), kunstcommissie van de Royal Agricultural Industrial Society in NewWestminster, 1922.
Bestuur (vice voorzitter en vanaf 1923 voorzitter), ‘Art Committee’ van de New Westminster Photographic Salon, 1922-1927.
Jury, New Westminster International Salon of Photography, vanaf 1923.
British Columbia Art League, vanaf 1924.
NAFV, vanaf 1924.
Pittsburgh Salon of Photographic Art, vanaf 1926.
The Royal Photographic Society of Great Britain, vanaf 1926.
Jury, Eighth Annual Salon of Fine Art and Pictorial Photography, New Westminster, 1928.
Jury, Canadian International Salon of Photografic Art, 1935.
ca. 1923 1ste Prijs [foto The Window’s Pattern] Pictorial Class, Victoria Convention of the Photographers ‘Association of the Pacific Northwest.
1924 Onderscheiding, Tiende fotosalon der N.A.F.V., Amsterdam.
1925 1ste Prijs (zilveren plaquette) voor mooiste portret, International Exhibition of Photography, Bandoeng.
1925 Bronzen plaquette voor geestigste foto, International Exhibition of Photography, Bandoeng.
1922 (g) Londen, tent. van de Royal Photographic Society in Londen.
1923 (g) Londen, Royal Photographic Society (35, Russell Square), 68th Annual Exhibition of the Royal Photographic Society of Great Britain
1923 (g) San Francisco, San Francisco Salon of Photography.
1924 (g) Amsterdam, Stedelijk Museum, Tiende fotosalon der N.A.F.V.
1924 (g) Brussel, Cercle Artistique et Littéraire (Rue de la Loi), Salon International d’Art Photographique.
1924 (g) Londen, Royal Photographic Society (35, Russell Square), 69th Annual Exhibition of the Royal Photographic Society of Great Britain.
1924 (g) Madrid, [internationale salon].
1924 (g) New Westminster, Fourth Annual International Exhibition of Pictorial Photography.
1925 (g) Bandoeng, Jaarbeurs, International Exhibition of Photography.
1925/1926 (e) Londen, The Royal Photographic Society of Great Brittain (35, Russell Square), [vervolgens gedurende 1925/1926 reizende tentoonstelling door Engeland, Nederland (Zwolle, Meppel, Hilversum, Arnhem, Dordrecht, Alkmaar, Nijmegen, Harlingen, Almelo, Den Haag, Zierikzee, Haarlem, Den Helder, Leiden en Leeuwarden), België (Antwerpen en Gent) en Duitsland (Berlijn, Dresden, Hamburg en Leipzig) ].
1925 (e) Vancouver, Exhibition Rooms Hotel Vancouver.
1925 (g) Utrecht, Jaarbeurs.
1925 (g) Zaragoza, Ier Salon Internacional (La Sociedad Fotografica de Zaragoza).
1926 (g) Antwerpen, Stedelijke Feestzaal, Internationaal Salon van Fotografische Kunst/Salon International d’Art Photographique.
1926 (e) Londen, Royal Photographic Society (35, Russell Square).
1926 (g) Londen, Galleries of the Royal Society of Painters in Water-Colours (5a Pall Mall East), London Salon of Photography.
1926 (g) Parijs, XXIe Salon International d Art Photographique.
1926 (g) Tallinn (Estland).
1926 (g) Zaragoza, II Salon Internacional (La Sociedad Fotografica de Zaragoza).
1926 (g) Zwolle, Zwolsche Kunstkring, (ZwolscheAFV).
1927 (g) Londen, Galleries of the Royal Society of Painters in Water-Colours, London Salon of Photography.
1927 (g) Warschau, Pienvzeg oMiedzynarodowego Salonu Fotografi Artystycznej.
1928 (e) [reizende tentoonstelling door Verenigde Staten].
1928 (e) Londen, Royal Photographic Society (35, Russell Square), Pictorial Prints by John Vanderpant.
1928 (g) Londen, Royal Photographic Society (35, Russell Square), 73th Annual Exhibition of the Royal Phtograpkic Society of Great Britain.
1928 (g) Arnhem, De Korenbeurs, IIden Internationalen Bonds-salon (BNAFV) (reizende tentoonstelling: Amsterdam, Gebouw I.O.O.F; Rotterdam, Nenijto).
1928 (g) Toronto, Canadian National Exhibition.
1929 (g) Edinburgh, Scottish Society of Photograhic Art.
1929 (g) Londen, Galleries of the Royal Society of Painters in Water-Colours (5a, Pall Mall East), London Salon of Photography.
1929 (g) New Westminster, New Westminster International Salon of Photography.
1929 (e) Ottawa, Chateau Laurier.
1929 (g) Toronto, Canadian National Exhibition.
1929 (e) Toronto, Royal York Hotel.
1930 (g) Den Haag, Pulchri Studio, Internationale Portret-Tentoonstelling (NFK).
1930 (g) Londen, Galleries of the Royal Society of Painters in Water-Colours (5a, Pall Mall East), London Salon of Photography.
1931 (e) [reizende tentoonstelling door Nederland, o.a.: Amsterdam, Odd Fellow House, [tentoonstelling verbonden aan de Zesde Fotografendag der NFPV]; Rotterdam, Vereeningslokaal der A.F.V. Rotterdam; Den Haag, Kunstzaal Zeestraat 65A; Arnhem, Café Central National).
1931 (g) Brussel, XIII Salon International d ‘Art Photographique.
1931 (g) Vancouver, Vanderpant Gallery.
1931 (g) Los Angeles, Los Angeles Museum Exposition Park, 14th Annual International Salon of Pictorial Photography.
1931 (g) Londen, Galleries of the Royal Society of Painters in Water-Colours (5a, Pall Mall East), London Salon of Photography.
1931 (g) Pittsburgh, The Eighteenth Pittsburgh Salon.
1931 (g) Utrecht, Genootschap “Voor de Kunst” (Nobelstraat).
1932 (g) Second British Empire Championship of Photography.
1932 (g) Londen, Galleries of the Royal Society of Painters in Water-Colours (5a, Pall Mall East), London Salon of Photography.
1932 (e), Vancouver, The Vancouver Art Gallery.
1934 (g) Londen, Galleries of the Royal Society of Painters in Water-Colours (5a, Pall Mall East), London Salon of Photography.
1934 (g) Ottawa, National Gallery of Canada, First Canadian International Salon of Photographic Art.
1934 (e) Seattle, Seattle Art Museum.
1935 (g) Amsterdam, Arti et Amicitiae, Eerste Internationale Focus Fotosalon.
1935 (g) Brandon, Brandon Camera Club.
1935 (g) Londen, Galleries of the Royal Society of Painters in Water-Colours (5a, Pall Mall East), London Salon o/Photography.
1935 (g) Ottawa, Canadian International Salon of Photography.
1936 (g) Oakland, Mills College, [fotografen van de westkust].
1936 (g) Ottawa, Canadian International Salon of Photography.
1937 (g) Ottawa, Canadian International Salon of Photography.
1937 (e) Vancouver, The Vancouver Art Gallery.
1938 (g) Ottawa, Canadian International Salon of Photography.
1940 (e) Vancouver, The Vancouver Art Gallery, Vanderpant Salon of Photography Memorial Exhibition.
1976 (e) Ottawa, The National Gallery of Canada.
1989 (g) Gouda, Stedelijk Museum Het Catharina Gasthuis, Het Fotografisch Museum van Auguste Grégoire.
1999/2000 (g) Vancouver, Vancouver Art Galley, The Rhetoric of Utopia: John Vanderpant and his contemporaries.
Leiden, Studie en Documentatie Centrum voor Fotografie, Prentenkabinet Universiteitsbibliotheek Leiden (o.a. brief van The Vanderpant Galleries, J. Vanderpant aan Henri Berssenbrugge, 24 juli 1930).
Leusden, Jan Wingender (collectie nederlands fotoboek).
Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.
Ottawa, National Archives of Canada (archief Jan Vanderpant).
Vancouver, University of British Columbia.