PhotoLexicon, Volume 27, nr. 42 (July 2010) (en)

Hans Dukkers

Adriaan Elligens


From the first half of the 1950s to the second half of the 1960s, Hans Dukkers was one of the most influential fashion photographers in the Netherlands. He is also seen as the founder of the Dutch photo modelling profession. Dukkers excelled at finding the perfect photogenic woman to pose in front of his camera as an ideal image to represent the couture of the first generation of Dutch post-war fashion designers. Dukkers’ fashion photography was original, and by Dutch standards, worldly and metropolitan.




Hendricus Wilhelmus Alouijsius (Hans) Dukkers is born on 30 December in Zandvoort. He has an older brother, Ferry. Later, a second brother (Ed) and a sister (Nanda) are born. Ed will later become a drawing artist and painter.


Dukkers’ father (Ferdinand Jacobus Dukkers) dies on 17 March 1924, leaving his mother (Elisa Clara Dukkers-Bongardt) behind as a widow. Elisa Clara runs the Suisse café and restaurant at Haltestraat 4 in Zandvoort. The large building likewise serves as the Dukkers family’s residence. In 1934, Dukkers’ mother sells the restaurant. The family then moves to Hogeweg 50a in Zandvoort.


Hans Dukkers is called up to serve in the military. During the days of May 1940 marking the German invasion of the Netherlands, Dukkers is captured as a prisoner of war and released later that same year.


In February, Dukkers receives his diploma as a swimming instructor at the Centraal Sportopleidings Instituut (‘Central Sports Training Institute’) in The Hague. He is subsequently assigned as a swimming instructor with the NAD (Nederlandsche Arbeidsdienst, ‘Netherlands Labour Force’).


Dukkers earns his diploma as a jujitsu instructor, accompanied by the annotation ‘very good’. He initially practices his profession in his home at Hogeweg 50a in Zandvoort, but shortly thereafter in Amsterdam: first at Vijzelstraat 52, followed by Reguliersgracht 27. On 10 May 1943, Dukkers informs his clientele that all classes will be cancelled for the time being.


In October 1944, Dukkers is called up for the German ‘Arbeitseinsatz’ (forced labour deployment), to which he does not respond.

In early January 1945, Dukkers and his brother Ed set out on a clandestine journey to Friesland by foot. Ed draws family portraits in exchange for food and shelter. Both brothers are eventually arrested and placed in a prison camp at Wilhelmshaven, Germany. Both are released again in April.


Dukkers resumes his profession as a jujitsu instructor and is again registered at Reguliersgracht 27. After a brief period, Dukkers stops with his jujitsu practice and opens an ‘Instituut voor lichamelijk herstel’ (‘Institute for Physical Recovery’), which essentially entails a massage salon, a beauty salon, and an institute for ‘figure correction’ (‘a combination of massage and applied psychology’) at Leidsestraat 87-I in Amsterdam.


In about July, Dukkers suspends his work on behalf of the institute and takes up the profession of photography. He works from the same address.


The ‘Amsterdam Fashion Week’, which is held for the first time in 1949, is Dukkers’ first major commission and client.


Dukkers opens a studio at Prinsengracht 801 in Amterdam. He resides at Leidsestraat 87 for one more year and then moves to the same location as his studio.

Eventually, Dukkers builds a new studio at the rear of the garden at Prinsengracht 801.

In 1978, Dukkers moves to Kadijksplein 1 in Amsterdam.


Dukkers refuses to pay his contribution for required membership in the ‘Bedrijfschap voor Fotografie’, an organisation that he staunchly opposes. After four years of being in arrears, Dukkers’ photo equipment is seized by the court bailiff.


Dukkers moves to the Willem Beukelsstraat in the Watergraafsmeer neighbourhood of Amsterdam, but never uses the available studio space. Hans Dukkers dies on 5 August.


In 1939, Hans Dukkers was called up to serve in the military. It was time to mobilise. During his days of military service, Dukkers wrote to his mother, a widow and the owner of a hotel in Zandvoort, on a regular basis. He shared his experiences down to the finest detail. The tone of his letters and postcards was always optimistic—remarkable when considering that the circumstances in which he found himself were becoming less and less promising. Yet Dukkers proved to be a lucky fellow. Despite having been transferred to Amersfoort in the days preceding the German invasion of May 1940, he was not sent to fight at the Grebbe Line, which was in very close proximity to his location at the time. Upon being captured by the Germans, Dukkers wrote to his mother on 23 May 1940: ‘As prisoners of war, we’ve had a fabulous little life here; these German soldiers here are enormously decent; I sometimes sit for entire afternoons talking with them; these boys have also gone through a lot.’ After his internment and release from military service, Dukkers still showed no sign of having an interest in photography. In 1941, he became a certified jujitsu teacher. Two years later, on 10 May 1943, Dukkers sent a letter to his clients with the message that ‘it will be a disappointment for you as an enthusiastic student of jujitsu that classes will have to be cancelled for the time being. I believe the reasons why I am obliged to do so have no further need of explanation.’ Later during the war, Dukkers was involved in an attack at the Spieghel School on the Marnixstraat in Amsterdam. In October 1944, he was called up as a former prisoner of war to go work in Germany. He ignored this order, which led to his arrest shortly thereafter. Via the prison in Leeuwarden, Dukkers was transferred to a concentration camp in Wilhelmshaven in northern Germany. In the last year of the war, this city and its environs were heavily hit by the Allied bombardments. In 1945, however, Dukkers was able to leave without a scratch.

As a photographer, Hans Dukkers was probably an autodidact. How he came into the profession is not known. In an article in Focus (1964), Dukkers spoke of what appears to be a made-up story that he had been inspired to take up photography by a rich aunt who owned a Leica camera and was specialised in colour photography. As it turned out, Dukkers’ family was unable to verify this story.

Dukkers’ first 6×6 negatives date from July 1947. His first fashion shots are also from this year: models in elegant evening wear or two-piece dresses conceived by fashion designers who would never obtain renown, photographed in a hotel setting. At this point, fashion presentations were not yet Dukkers’ only subject. He also photographed numerous storefront display windows (including night shots), primarily in Amsterdam: for the department stores Metz & Co. and Focke & Meltzer, as well as specialty stores selling perfumes, hats and caps, and ladies’ corsets. The quality of these images is impeccable: the photos are perfectly lit and shot at the right angle. Even the reflections in the storefront windows fail to detract. There is nothing to suggest they were taken by a novice photographer. Other subjects from this period were his bar and restaurant interiors, corporate interiors, and architecture. In September 1952, Dukkers photographed the signing of a contract between Lou van Rees and Count Basie. In February 1953, he produced a photo reportage on the ravages of the flooding disaster in Zeeland and the care provided for those who had lost their homes.

Dukkers’ archive includes a presentation folder from 1949, featuring examples of his industrial, product, corporate, and architectural photography. While fashion shots are absent, these images are in no way inferior to the kind of professional work done, for instance, by members of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’), who excelled in the areas of corporate and industrial photography. The speed with which Hans Dukkers managed to evolve into a professional photographer specialised in a multitude of areas is remarkable, as well as the short time it took him to master the trade, whether it be a 6×6 Rolleiflex or a studio camera in the format 13×18 cm. Another component of Dukkers’ early photography were his shots of the glass panels used to partition off spaces in bar, restaurant, and office interiors. The panels were sandblasted with a decorative pattern, manufactured by the company Tetterode and designed by Hans’ brother, Ed Dukkers.

In July 1948, Dukkers took his first fashion shots with a model in the studio. These early (6×6) shots were atypical of Dutch photography: gracious, metropolitan, with dramatic lighting, and on occasion, a camera tilted at an angle. When lighting a shot, Dukkers included himself in the photo: the fashion photographer as an active element in the photo.

Dukkers’ archive includes examples from Vogue magazine in the year 1947. At this time, Erwin Blumenfeld, Irving Penn, and Horst P. Horst were photographing for the American edition. Dukkers saved these publications all of these years for a reason: they are certain to have been an important source of inspiration for him.

At the time, there was a world of difference between Dukkers’ first studio shots and the austere fashion portraits of other photographers, which showed nothing more than a woman wearing a garment. What distinguished Dukkers from his professional colleagues was his ability to turn a fashion shot into a woman’s image: the woman is made by the clothing she wears. Asserting this view often over the years, it ultimately became the basis for his success as a fashion—and especially—a couture photographer. Prior to this time, other photographers in the Netherlands who considered themselves to be specialists in fashion photography, including Marius Meyboom and Godfried de Groot, had proven incapable of achieving such a chemistry between the model, the fashion, and the fashion photographer (and fashion consumer!)

On 20 August 1951, Dukkers took his first shots with the female model Puck Hendriks in the studio—the 326th film roll of his career. Hendriks was young and photogenic—she moved in front of the camera with great ease and allowed herself to be photographed in a variety of temperaments: as romantic, sporty, or a woman of the world. When Dukkers began taking proof shots with a flash at the onset of 1954, photographing with slide film, he chose Hendriks as his model. In July 1953, he took his first proof shots with the model Evelyn Orcel. A third female model with whom Dukkers worked was Rick Weyburg, who was then cutting edge. When perusing the many trial shots that Dukkers took of various up-and-coming models in these early years, these three women catch the eye. With the use of simple lighting, he captured these models at their very best in portraits that were straightforward. Dukkers did the makeup himself.

It was these three models that gave Dukkers’ photography a new impulse. His photos became more animated, relaxed, natural, playful, and attractive to look at. The emergence of the photo modelling profession in the Netherlands went hand in hand with Dukkers’ increasingly popular fashion photography starting in the early 1950s. In 1957, Dukkers worked with two assistants and five models under contract. This number expanded to become a team of Dukkers’ own ‘personal’ models—that is, until 1963 when the former Miss World 1959, Corinne Rotschaeffer, went to work for the modelling agency ‘Modelplanning’, thereby reversing the trend. In a sense, he was a victim of his own success. In the early 1960s, Dukkers traveled to London to shoot photos with male models: the male modelling profession had not yet made its way into the Netherlands.

The pinnacle of Dukkers’ work with models was undoubtedly his photo session with Jean (‘The Shrimp’) Shrimpton, the favourite model of David Bailey, Richard Avedon, and Cecil Beaton. Shrimpton, who was British, traveled to Amsterdam for an afternoon photo session for the Vinke fashion house. She was the best paid model in the world, asking Dfl. 3,000 for just that one afternoon with Vinke responsible for Dfl. 2,000 and the rest to be paid by Dukkers, as he apparently needed her for his ‘own’ use. The photo of Shrimpton’s arrival at Schiphol featured in the Algemeen Dagblad showed her from the back, accompanied by a headline that read: ‘This is De Garnaal [”The Shrimp]. Sex bomb from the front and from behind’. The Dutch weekly Panorama featured full-page photos and an extensive article describing the photo shoot itself.

In 1953, Dukkers introduced a new element to Dutch photography: the photo shoot on location. Placing his model in front of a cast-iron bridge railing with the stepped gable of a canal house in the background, he managed to highlight the contrast with the clothing’s fluid forms. The style of the attire was comfortable and wearable, but now presented in a worldlier manner, making it more accessible. Dukkers used only the available daylight. At this time, there was still no reliance upon artificial lighting and reflection screens for shots. Step by step, Dukkers continued with his photo shoots on location, incorporating different background settings and using models as actors: house painters working on a canal house look down at the models in amazement, or a fisherman along a canal embankment who gazes up with interest. On one occasion, he even had the entire crew of a cargo ship at port perform as spectators.

In May 1954, Dukkers photographed Evelyn Orcel with a Dutch street organ. Not only did she pose in front of the organ, but in one of the shots, she turned around out of curiosity and looked inside the instrument to see where the music was coming from.

Dukkers depicted the worldliness of model and attire as something worth desiring. In 1954, he approached children’s fashion in the same manner. He photographed a little girl babbling away in the doorway of a telephone booth. Dukkers sought after striking and incongruous locations expressly. In 1955, he photographed his models in the exhibition hall of the E55 (Nationale Energie Manifestatie, ‘National Energy Event’) in Rotterdam, which was still being set up.

These days, the response to the character of Dukkers’ photography is that it was so conspicuously posed. Yet the same could be said of fashion photography featured in foreign publications such as Vogue and other magazines of that era. In Dukkers’ photos, the models’ poses bear a strong resemblance to what one encountered in the international fashion magazines. Although he regularly shot photos in the worldly atmosphere of Schiphol Airport, with Dukkers the setting for his models was always unmistakably Dutch.

In 1954, fashion photography in the Netherlands took off. Dukkers began working more frequently for big clients such as Voss, Hema, Berghaus, Sturka, Witteveen, and Hollandia Kattenburg. In June 1954—now on film roll no. 929—he recorded in his order book ‘On to 1000’, followed one page later by ‘On to 2000!’ For these larger commissions, Dukkers worked with his ‘own’ models: Puck Hendriks, Evelyn Orcel, Evelyn Delis, and Rick Weyburg. In October 1954, the French model Jasmine Allart was flown in from Paris. When she arrived at Schiphol airport, Dukkers had his photo taken together with her.

From 1955 on, Dukkers began using neutral backgrounds— the most appropriate setting for photographing clothing fashion—on an increasingly frequent basis. This neutral background was sometimes alternated with an illustrated decor drawn by Wim Bijmoer, depicting an abstracted street scene or an interior suggesting depth. The ingenuity of the poses and the stunning facial expressions of Dukkers’ regular, and by now professional, models figured as new elements in his photos. These shots were intended for publications such as newspapers (for this purpose, the prints were always submitted in high contrast) and weekly magazines. For the women’s magazine Margriet, Dukkers furnished prints that were ‘soft and extremely detailed’. In 1955, Dukkers’ total fashion production totalled 229 (6×6) rolls of film.

The first show that Dukkers photographed on assignment for a couturier was Ferry Offerman’s presentation in September 1952 at the Victoria Hotel in Amsterdam. In July 1953, he photographed hat designs by Max Heijmans for the first time. Nevertheless, these shots were just a sprightly start when compared to Dukkers’ first serious couture photography on assignment for Dick Holthaus in 1955. For this shoot, he took a bare-shouldered model and seated her in a leather butterfly fauteuil based on a design by Jorge Hardoy. In the photo, she turns towards us in the chair in a way that enhances the sense of nudity. It was an austere and suggestive shot that would not have been out of place on the pages of Vogue. In the second half of the 1950s, the best known Dutch couturiers all belonged to Dukkers’ regular clientele: the aforementioned Max Heijmans, Ferry Offerman, and Dick Holthaus, as well as Frank Govers and Piet Kamphuis. Dukkers even had a group portrait of himself taken together with these designers. Their increasing notoriety coincided with that of Dukkers. Over the years, he collected all of the newspaper clippings for each and every couture presentation. These have been preserved, providing an overview of the evolution of Dutch couture as well as the esteem it received in the 1950s and ’60s.

At the end of the 1950s, Dukkers was cited as the fashion photographer par excellence in the Netherlands in the Dutch newspapers. He profiled himself as a women’s photographer capable of recognising and drawing out people’s talents. Puck Hendriks, one of Dukkers’ very first models, remembered that it was Paul Huf who had first seen something in her in 1949. In actuality, however, it was not until 1953 that Hendriks made her first appearance: as a stewardess in a series of advertisements produced by Paul Huf for KLM Airlines. To a certain extent, Dukkers and Huf were each other’s competition. Like Dukkers, Huff too photographed for Dick Holthaus, starting in 1956 (he also did Holthaus’ Christmas card for that year). In the first images that Huf shot for Holthaus, the model Evelyn Orcel stands in an undefined, white studio space, accompanied by two Volendam street singers standing a short distance away with sheet music and an accordion. The manner in which the three figures are positioned in the studio is typical of Huf’s style: the space separating the three figures plays a key role, as well bringing tension to the image. Such a perception of space can also be observed in Huf’s renowned portrait of the literary group ‘De Vijftigers’ (‘The Fiftiers’) from 1954. Subtleties of this kind are nowhere to be found in Dukkers’ work—on the contrary, his group portraits for the newspaper De Telegraaf tend to satiate the eyes. Yet with other fashion photos produced for Holthaus, one can readily substitute the images of one photographer for the other. This is likely why Holthaus turned to both men. Admittedly, Holthaus was the only couturier for whom Huf photographed on a repeated basis. For the ‘photographers group photo’ in De Telegraaf of 19 March 1960, Paul Huf Jr. was described as ‘an advertising photographer of “eminence”, whose fame is largely to be credited to his work for the KLM, Shell, the Royal House, and the photos of groups of prominent Dutch people that he produces for this newspaper’. A majority of Dukkers’ photos were distributed as fashion photography, therefore circulating only within the fashion circuit. This is the most significant reason why Dukkers has been forgotten, while Huf has not. Paul Huf had very little in common with Dukkers, and upon further enquiry, had nothing to say about his professional colleague even long after his death.

Dukkers was always up for a stunt, such as a Dutch ‘new herring’ party at his studio on the Prinsengracht in Amsterdam in May 1965, with tout le beau monde invited and actually attending. In De Telegraaf, the gossip columnist Henk van der Meyden wrote about the happening in detail. Noteworthy is also Dukkers’ group portrait of all of the Dutch pop bands active at the time, including The Outsiders, shot from above at the Cinetone Studio in Duivendrecht. The photo was published in the 25 December 1966 issue of the VARA television guide and could be ordered in poster format from the VARA’s Fanclub.

In 1967, Dukkers launched his ‘sublevel photography’: a large glass plate on which a model, standing in an upright position in a ‘cat-like pose ready to attack’, was photographed from underneath during a public demonstration in the enclosed winter garden of the Krasnapolsky Hotel.

In 1968, Dukkers launched the book Fotomodel… voor mij hoeft het niet (‘Photo Model… For Me It’s Unnecessary’) accompanied by substantial publicity. The presentation was given additional lustre by the ‘television priest’ Leopold Verhagen, surrounded by a dozen of Dukkers’ models. This resulted in a steamy news photo that was printed in countless Dutch newspapers.

In January 1969, Dukkers appeared on the television talk show Voor de vuist weg, during which he ‘spontaneously’ selected a young woman from the audience and had her pose as a model. Many of the newspapers, however, reported that the incident had been anything but spontaneous (the girl had supposedly received extensive instruction prior to the show). In the same year, Dukkers arranged seven models donning swimwear on a climbing frame for an interior shot to commemorate the fiftieth anniversary of the NFPV (Nederlandse Fotografen Patroonsvereeniging, ‘Netherlands Photographers Guild’), under the watchful eye of the many members attending.

At the onset of the 1960s, Dukkers had good contacts with the newspaper De Telegraaf/De Courant Nieuws van de Dag, and specifically with the journalist H.F. van Loon, who also wrote the text for the book Fotomodel… voor mij hoeft het niet on Dukkers’ behalf. This contact lasted from late 1959 to the mid-1960s. Van Loon occasionally wrote (alternating with Wim Koevoets, a fellow journalist) a background article for the Saturday newspaper, which was illustrated with a staged photo, an assembled photo, or a group portrait by Dukkers. The article ‘Beeld van een nieuw Steen-tijdperk’ (‘Image of a New Stone Age’), for instance, featured a photo in which sixteen sculptors were portrayed together, standing adjacent to one of their works. Another example was a photo accompanying the article ‘De stoelendans van morgen’ (‘Tomorrow’s Game of Musical Chairs’). It entails the actor Albert Mole, who tries out five modern chair designs simultaneously in one space, captured in a single image. Thanks to the extremely clever staging, the perspective and lighting of the shot in no way betray that the photo is in fact a montage.

The honour of a page-wide photo was also something Paul Huf experienced on a regular basis. His best-known group portrait is a photo of photographers with scaffolding set up in a studio, entitled Ook Nederland heeft foto-graven. Wij presenteren u: Onze camera adel (‘The Netherlands also has Photo-Graven [‘graaf’ being the Dutch word for ‘count’]. We Present to You: Our Camera Nobility’), which also includes Hans Dukkers. Following the photo was a brief description of the each photographer’s specialisation.

In a hilarious series published in 1960 in De Telegraaf, entitled Luchtkastelen (literally ‘air castles’, similar in meaning to ‘a pie in the sky’), various Dutch celebrities expressed a silent wish. Van Loon wrote the column, while Dukkers shot the photos, which were rich in fantasy and done with a dash of irony. The Dutch actor Johan Kaart, for instance, was portrayed as a Roman general in his chariot, with chained prisoners dragging behind him.

By the 1960s, Dukkers’ work had expanded into advertising photography, e.g. for audiovisual and lighting equipment for Philips. These shots convey a surprising inventiveness, including staged situations that reveal a lively interaction between the products advertised and the photo models. To what extent an art director of an advertising agency may have intervened in the execution of the shots is not known. The wide range of photographed products consistently betrays a studio staging that was typical for Dukkers: theatrical sets in an open studio without backdrops, or finite abstract spaces, always with an emphatic horizontal or vertical composition. For the weekly magazine Panorama, Dukkers photographed teenage girls and young women in the long-running series ‘T LIEFST (‘The Sweetest’) in 1974. The young women portrayed in this series were shown in a romantic, sensual manner in images that were full-page format. The shots are reminiscent of Sam Haskin’s popular style of photography, such as his photos for the Pentax calendars. Starting in the mid-1960s, Dukkers furnished erotic shots for foreign magazines such as Er (Das Herrenmagazin, ‘The Gentleman’s Magazine’) and Lui, but under an alternative name. In 1972, he produced the Olala Goodrich Girlkalender, in which one of his regular models—Marianne de Vree, who would later become Mrs. Dukkers—appeared. In the 1970s and ’80s, Dukkers worked for a limited number of clients, among them the swimsuit fashion brand Linda Lu, with his wife as a frequently recurring model. Dukkers’ last fashion photo dates from June 1985.

Dukkers did a great deal of corporate photography, both reportages and portraits, and continued to do so for a long time. His first order book lists 13×18 wide-angle and 9×12 glass negative shots on a wide variety of topics: from beauty salon interiors and Caltex petrol pumps, to Davo furnaces (on assignment for Friso Kramer). According to his order book, Dukkers used 9×12 glass negatives until the end of October 1962 (after which he turned to sheet film). Also listed are 139 boxes of 9×12 glass negatives, each holding twelve shots of which none have been preserved. The majority of Dukkers’ archive consists of black-and-white 6×6 (studio) shots from 1947 to 1979. In 1952, he began photographing with Ilford HP3 roll film, later with the FP3 variant. Dukkers kept a rather odd storage system for his film rolls, namely a sliding archive drawer that contained a wooden board with round holes, into which he placed exposed film rolls after they had been used. Each film roll was tightly rolled up and well protected by a strip of paper separating the shots. Dukkers maintained this system for a total of 3,226 rolls of film. The advantage of this storage system is that the film has remained undamaged after so many years, completely dust- and scratch-free. (A disadvantage is that, when reusing the film, the films incessantly return to their rolled up condition).

From 1961 on, Dukkers also worked in colour, both with 6×6 negatives and slide film as well as 13×18 negatives and slide sheet film.

Dukkers’ years as a photographer were not spent alone. In 1953, Peter Verbruggen was hired as his assistant. Verbruggen obtained his diploma in 1957 at the Fotovakschool (‘Vocational School of Photography’) in The Hague and remained with Dukkers until 1970. George van Herwaarde began working for Dukkers in 1957.

Herwaarde went on to start up his own studio in Haarlem in 1962. Both photographers have said that Dukkers knew nothing about technique and that he had no desire to do so. As George van Herwaarde related: ‘And if he needed to know something, he asked Peter Verbruggen. He used a white cube with four flashes inside it to obtain his unique, shadowless light. I came to work for him in 1957, and it took until 1959 before he allowed me to set up a different lamp for him’.

As a fashion photographer, Dukkers gave photo modelling in the Netherlands its form and content. Prior to his arrival, it was barely an independent profession. Dukkers sometimes considered himself more of a women’s photographer than a fashion photographer. Coinciding with the rise of the post-war couture and couturiers in the Netherlands, a three-way relationship of fashion, models, and fashion photography emerged. In January 1958, Dukkers released his own self-made spiral photobook for the first time. The book was made in a limited edition and available for sale to a small circle of people—’compiled from the best examples of my production in ten years’—with an introduction written by Dukkers himself. In his text, he (unintentionally) indicated his place in the history of Dutch photography: ‘Ten years ago, the Dutch fashion photo, as a given concept, did not yet exist. It came into being. I cannot be credited with this. Credit is to be given to the Dutch clothing industry and the Dutch haute couture, which has acquired a face of its own. In ten years’ time, I have tried to register the shifting expressions on that face—in a unique way. I had to find the right balance between the glamour found abroad and the [Dutch] fatherland’s objectivity. If I have become a faithful servant of fashion, then I attribute this not in the last place to Dutch fashion itself, as well as the Dutch girls who came to know the difficulties of the generally undervalued profession of photo modelling in front of my camera.’ The rise of couture and fashion photography in the Netherlands after the war is often automatically associated with Paul Huf. But Dukkers in fact made his appearance before Huf (as early as 1948) and continued to play a pioneering role in the Dutch world of fashion for the entire time of his career. Years later, in 1996, the writer Pauline Terreehorst summarised the significance of his photography with the sentence: ‘With Dukkers, you were always standing with one leg in another country.’ And this is no exaggeration.


Primary bibliography

Nederlandse mode gefotografeerd door Hans Dukkers 1958.

Nederlandse mode gefotografeerd door Hans Dukkers 1959.

Nederlandse mode gefotografeerd door Hans Dukkers 1960.

Nederlandse mode gefotografeerd door Hans Dukkers 1961.

Hans Dukkers (foto) en Carmen Snuyck-Elia (tekst), Opmaak ’66. De gehaaste vrouw: mooi in 15 minuten, in De Telegraaf/De Courant Nieuws van de Dag in kleur (9 juli 1966) 16, p. 14-15.

Hans Dukkers, Girls, in Holland Herald 2 (1967) 8, p. 24-25.

Hans Dukkers (foto’s) en Leo J. Capit (tekst). Oma’s bril is hip, in De Telegraaf/De Courant Nieuws van de Dag in kleur (7 januari 1967) 29, omslag, p. 4-5.

H.F. van Loon (tekst) en Hans Dukkers (foto’s), Fotomodel … voor mij hoeft het niet, Bussum (Teleboek) 1968.

Dick Boer, Paul Heyse en L, Roosens (hoofdred.) en Hans Dukkers e.a. (medewerker), Foto en film encyclopedie, Amsterdam/Brussel. (Elsevier) 1971, 3de geh. herz. dr., p. 388.

Hans Dukkers (foto), serie ’T LIEFST [serie met portret van tienermeisjes of jonge vrouwen], in Panorama 61 (1974) 1 t/m 52.

Hans Dukkers, The sweetest girls in the world?, in Holland Herald 10 (1975) 11, p. 27.

Herman Stok (inl.) en Hans Dukkers (foto’s), PloemPloemJenka, Amsterdam (Maria Austria Instituut/Voetnoot) 1996.


in De Telegraaf/De Courant Nieuws van de Dag

Jan Punt (tekst) en Hans Dukkers (foto), In naam der sport: doe open die kluis! Koning(in) voetbal kan helpen, 24 december 1959, p. 25.

H.F. van Loon en Jan Punt (tekst) en Hans Dukkers (foto), serie: Luchtkastelen, 9 januari 1960, 16 januari 1960, 30 januari 1960, 6 februari 1960, 20 februari 1960, 27 februari 1960, 5 maart 1960, 12 maart 1960, 26 maart 1960, 2 april 1960, 9 april 1960, 16 april 1960, 30 april 1960.

H.F. van Loon (tekst) en Hans Dukkers (foto), Erna Spoorenberg’s mode-festijn [serie: Mode in beeld], 9 april 1960, p. 17.

Hans Dukkers (foto). Wij toveren u voor: Zomermode-1960 voor de man [serie: (Heren) Mode in beeld], 23 april 1960, p. 15.

H.F. van Loon (tekst) en Hans Dukkers (foto). Vijf maanden tevoren tonen wij u een beeld van de Britse wintermode [serie: Mode inbeeld], 11 juni 1960, p. 17.

H.F. van Loon (tekst) en Hans Drukkers [sic] (foto), Hoedjes van heden en meubels van morgen. Ontspannen alstublieft! De kubus-stoel heeft afgedaan, 5 oktober 1960, p. 7.

H.F. van Loon (tekst) en Hans Dukkers (foto), Joost Boot van Hilversum. Burgemeester, waar wethouders hijgend achteraan lopen [serie: Eerste Burgers], 15 oktober 1960, p. 5.

H.F. van Loon (tekst) en Hans Dukkers (foto), Hans Roeien van Zwolle. Burgemeester die zijn stad goed weet te verkopen [serie: Eerste Burgers], 22 oktober 1960, p. 5.

H.F. van Loon (tekst) en Hans Dukkers (foto). Jan Heusdens van Vlaardingen. “Ik zweef als een neutraal engeltje boven de wethouders” [serie: Eerste Burgers], 19 november 1960, p. 5.

H.F. van Loon (tekst) en Hans Dukkers (foto), Wintermode op de rug gezien [serie: Mode in beeld], 19 november 1960, p. 17

H.F. van Loon (tekst) en Hans Dukkers (foto). Burgemeester mr. A.A.J. Goldberg van Delfzijl: Zout onder de voeten, aardgas in de rug [serie: Eerste Burgers], 3 december 1960, p. 15.

H.F. van Loon (tekst) en Hans Dukkers (foto), Kleur bekennen op wintersport. Steeds meer modieuze niet-skiërs, 28 januari 1961.

H.F. van Loon (tekst) en Hans Dukkers (foto). Champagne overwint “bijgeloof’ nauwelijks [serie: Exclusieve genietingen, artikelen over kostelijke geschenken van de natuur], 22 april 1961.

H.F. van Loon (tekst) en Hans Dukkers (foto), ‘Zwart goud’ kaviaar maar zelden met garantie [serie: Exclusieve genietingen, artikelen over kostelijke geschenken van de natuur], 29 april 1961.

H.F. van Loon (tekst) en Hans Dukkers (foto). De kreeft een kanibaal van hoge adel [serie: Exclusieve genietingen, artikelen over kostelijke geschenken van de natuur], 6 mei 1961.

Wim Koevoets (tekst) en Hans Dukkers (foto), Uw haar deze winter, 20 augustus 1961.

H.F. van Loon en Louise Carrière (tekst) en Hans Dukkers (foto), De mannen van vrouwen van 1962, 29 december 1962.

Wim Koevoets (tekst) en Hans Dukkers (foto), Nederlands mooisten gecatalogiseerd. Marktuitbreiding daar is het om begonnen, 27 maart 1964.


H. van Loon (tekst) en Hans Dukkers (foto) bekijken weer een van die kleine dingen die een grote rol spelen in het leven van sommige mensen [titel varieert], in Panorama:

De tomaat, 50 (1963) 46, p. 6-7.

De diamant, 50 (1963) 50, p. 6-7.

De letter, 50 (1963) 52, p. 12-13.

De lucifer, 51 (1964) 2, p. 22-23.

De trouwring, 51 (1964) 7, p. 38-39.

De lippenstift, 51 (1964) 10, p. 6-7.

De postzegel, 51 (1964) 12, p. 6-7.

Het kind, 51 (1964) 16, p. 56-57.


(foto’s in boeken, tijdschriften en ander drukwerk)


H. George Franks, Holland as an industrial country. The story of a national achievement, z.p. [Den Haag] (Federation of Netherlands Industries) 1957, na p. 128.

De Maasbode 13 september 1957.

Nieuwsblad van het Noorden 14 september 1957.

Provinciale Zeeuwse Courant 20 september 1957.

Schager Courant 21 september 1957.

Steenwijker Dagblad 21 september 1957.

Haagse Post 28 september 1957.

De Maasbode 23 november 1957.

Haagse Post 30 november 1957.

Nieuw Utrechts Dagblad 23 december 1957.

Amersfoortse Courant 18 januari 1958.

Leeuwarder Courant 18 januari 1958.

Dagblad De Stem 28 februari 1958.

De Tijd 28 februari 1958.

Het Centrum 11 maart 1958.

De Tijd 11 maart 1958.

Nieuwe Rotterdamsche Courant 12 maart 1958.

Provinciale Zeeuwse Courant 14 maart 1958.

Enkhuizer Courant 15 maart 1958.

Amersfoortse Courant 29 maart 1958.

Alkmaarse Courant 7 mei 1958.

De Rotterdammer 7 mei 1958.

Haagse Post 45 (10 mei 1958) 2265, omslag, p. 10.

Dordtsch Dagblad 19 juli 1958.

Provinciale Noord-Brabantsche courant Het Huisgezin 26 juli 1958.

De Tijd 6 september 1958.

De Dordtenaar 9 september 1958.

Leeuwarder Courant 11 september 1958.

Provinciale Zeeuwse Courant 11 september 1958.

Nieuwe Rotterdamsche Courant 12 september 1958.

Haarlems Dagblad 19 november 1958.

De Tijd 19 november 1958.

Nieuwe Schiedamsche Courant 22 november 1958.

De Tijd 22 november 1958.

Haarlems Dagblad 16 december 1958.

Haagse Post 20 december 1958.

Dordtsch Dagblad 6 maart 1959.

Nieuwe Leidsche Courant 6 maart 1959.

De Rotterdammer 6 maart 1959.

De Tijd 6 maart 1959.

Dagblad Kennermerland 12 maart 1959.

Gooische Courant 12 maart 1959.

Nieuwe Leidsche Courant 12 maart 1959.

De Tijd 12 maart 1959.

Dagblad De Stem 14 maart 1959.

Leeuwarder Courant 14 maart 1959.

De Maasbode 14 maart 1959.

Haagsche Post 21 maart 1959.

De Linie 28 maart 1959.

De Nieuwe Limburger 28 maart 1959.

Schager Courant 6 mei 1959.

Dagblad van Noord-Limburg 23 mei 1959.

De Nieuwe Limburger 30 mei 1959.

Eva 13 juni 1959.

Nieuwe Leidsche Courant 3 september 1959.

De Rotterdammer 3 september 1959.

Nieuwe Leidsche Courant 8 september 1959.

Het Centrum 9 september 1959.

Twentsche Courant g september 1959.

Arnhems Dagblad 10 september 1959.

Het Nieuwe Dagblad 12 september 1959.

Dordrechtsch Nieuwsblad 15 september 1959.

Nieuwe Rotterdamsche Courant 15 september 1959.

Dagblad De Stem 17 september 1959.

De Nieuwe Limburger 23 oktober 1959.

Noordhollands Dagblad 28 oktober 1959.

Rotterdams Nieuwsblad 12 november 1959.

Het Centrum 12 december 1959.

A. Klein, Bouwen in kalkzandsteen, Eefde (Vereniging van Nederlandse Kalkzandsteenproducenten) 1960, p. 2.

Gooische Courant 8 januari 1960.

Het Nieuwe Dagblad 8 januari 1960.

Nieuwe Haarlemsche Courant 8 januari 1960.

Haagse Post 9 januari 1960.

Noordhollands Dagblad 13 februari 1960.

De Linie 18 februari 1960.

Gooische Courant 4 maart 1960.

Dagblad voor de Zaanstreek. De Typhoon 16 maart 1960.

Het Centrum 17 maart 1960.

De Waarheid 18 maart 1960.

Haagse Post 26 maart 1960.

Noordhollands Dagblad 26 maart 1960,

Dagblad De Stem 31 maart 1960.

De Waarheid 13 april 1960.

Rosita (23 juli 1960) 30, p. 69.

Weekblad TV 31 juli 1960.

Dagblad voor de Zaanstreek. De Typhoon 5 september 1960.

Arnhemse Courant 9 september 1960.

Het Centrum 13 september 1960.

De Waarheid 15 september 1960.

Zutphens Dagblad 17 september 1960.

Dagblad van het Oosten 22 oktober 1960.

Dagblad voor Coevorden 22 oktober 1960.

De Nieuwe Limburger 19 november 1960.

Schager Courant 17 december 1960.

De Echo 2 februari 1961.

Eva 11 maart 1961.

Provinciale Zeeuwse Courant 11 maart 1961.

Het Centrum 14 maart 1961.

Haarlems Dagblad 15 maart 1961.

De Linie 18 maart 1961.

Haagsche Post 1 april 1961.

De Linie 8 april 1961.

Nieuwe Rotterdamse Courant 2 september 1961.

De Waarheid 7 september 1961.

Kamper Nieuwsblad 9 september 1961.

Zutphens Dagblad 12 september 1961.

Dagblad De Stem 14 september 1961,

De Nieuwe Limburger 15 september 1961.

Haagsche Post 16 september 1961.

Nijmeegs Dagblad 16 september 1961.

Zutphens Dagblad 16 september 1961.

Haagsche Post 23 september 1961.

De Waarheid 16 maart 1962.

Nieuwsblad van het Zuiden 27 maart 1962.

Noordhollands Dagblad 27 maart 1962.

Dagblad De Stem 5 april 1962.

Helmondse Courant 30 mei 1962.

Helmondse Courant 8 september 1962.

Het Centrum 26 september 1962.

Leidsche Courant 27 september 1962.

Noordhollands Dagblad 27 september 1962.

Rijn en Gouwe 24 oktober 1962.

Haagse Post 27 oktober 1962, p. 27.

Noordhollands Dagblad 3 november 1962.

Ons Noorden 3 november 1962.

De Rotterdammer 27 maart 1963.

Haarlems Dagblad 9 april 1963.

IJmuider Courant 9 april 1963,

De Waarheid 13 april 1963.

Arnhems Dagblad 24 september 1963.

Brabants Dagblad 25 september 1963

Haarlems Dagblad 25 september 1963.

Deventer Dagblad 2 oktober 1963.

De Dordtenaar 4 oktober 1963.

De Linie 12 oktober 1963.

Dagblad De Stem 7 november 1963.

Helmondse Courant 23 november 1963.

Wim Koevoets (tekst), International guide of professional models in Holland, Amsterdam (Top-Telefoon) 1964, afb. vrouwen: 11, 19, 24, 26, 34, 41-42, 46, 64, 70-71, 75, 77, mannen: 2, 7, 13-14, 27-28, 30.

Brabants Dagblad 6 februari 1964.

Haagsche Post 28 maart 1964.

De Waarheid 28 maart 1964.

Provinciale Noord-Brabantsche courant het huisgezin 3 april 1964.

De Nieuwe Limburger 4 april 1964.

Twentsche Courant 4 april 1964.

Dagblad van West Friesland 23 september 1964 .

Enhhuizer Courant 23 september 1964.

Helmonds Dagblad 23 september 1964,

Alkmaarse Courant 24 september 1964.

Delftsche Courant 24 september 1964.

De Rotterdammer 25 september 1964.

De Waarheid 26 september 1964.

Winschoter Courant 26 september 1964.

Emmer Courant 28 september 1964.

Haarlems Dagblad 28 september 1964.

Heldersche Courant 28 september 1964.

Schager Courant 28 september 1964.

De Rotterdammer 2 maart 1965

Rotterdamsche Nieuwsblad 3 maart 1965.

Lui. Le magazine de l’homme moderne (mei 1965) 17.

De Rotterdammer 13 september 1965.

Rotterdamsch Nieuwsblad 13 september 1965.

Brabants Dagblad 21 september 1965.

Haarlems Dagblad 21 september 1965.

Nieuw Utrechts Dagblad 22 september 1965.

Nieuwe Eindhovense Courant 24 september 1965.

Nieuwe Apeldoornse Courant 27 september 1965.

Nieuwsblad van het Zuiden 27 september 1965.

Haagse Post 9 oktober 1965.

Eva 6 november 1965.

Max Heymans, “Knal”, Assen etc. (Born) 1966, na p. 64, na p. 128 (serie: Born Paperbacks, P11).

Pope kalender 1966.

Eindhovens Dagblad 20 januari 1966.

Brabants Dagblad 21 januari 1966.

Rijk bezit. Vrije boekenkeuze van de Nederlandse Lezerskring, waarin opgenomen de BK-Boekenkring te Baarn zomer 1966, p. 5

Nijmeegs Dagblad 12 juli 1966.

Wereldkroniek 72 (24 september 1966) 39, omslag, ongepag.

Quick 19 (25 september 1966) 39, omslag.

Lui. Le magazine de l’homme moderne (oktober 1966) 34, special 3.

Holland Herald 2 (1967) 7, p. 27.

De Nieuwe Limburger 5 januari 1967.

Rotterdamsch Nieuwsblad 13 december 1967.

Hamburger Morgenpost (20 maart 1968) 68, p.13.

ER. Das Herrenmagazin (september 1968) 9.

Kalender Siera. Una tectica moderna per la casa moderna 1969.

Boek en plaat (januari/februari/maart 1969) 1, omslag.

Elegance 26 (maart 1969) 3, omslag, p. 47-53.

Brabants Dagblad 27 maart 1969.

Boek en plaat (april/mei/juni 1969) 2, omslag.

Boek en plaat (juli/augustus/september 1969) 2, omslag.

ER. Das Herrenmagazin (augustus 1969) 8.

Aan Tafel. Culinaire bijlage van het Algemeen Dagblad 24 (6 december 1969) 189, omslag.

Anoniem, Panorama’s fotografie, Haarlem (Spaarnestad) z.p. [1970], p. 60-61.

Libelle (3 januari 1970) 1, p. 58-63.

B.F. Goodrich Girlkalender 1972.

Philips Calendar 1972.

Joop Bromet, Conny Stuart. Een theaterleven, Utrecht etc. (Bruna) 1975.

Peter Vöge en Bab Westerveld, Stoelen. Nederlandse ontwerpen 1945-1985, Amsterdam (Meulenhoff/Landshoff) 1986 , p. 104, 108.

Kees Fens (inl.). Kijk, Annie M.G. Schmidt. De schrijfster in beeld, Amsterdam (Querido i.s.m. Nederlands Theater Instituut) 1994, p. 96 (serie: Jaarboek Querido, 37).

Frank Govers, Mijn leven in mode, Amsterdam (Forum) 1995.

Ivo de Wijs, Foto’s van papier, Amsterdam (Maria Austria Instituut/Voetnoot) 1998, p. 33, 67, 80.

Hans Vogel, Wacht maar tot ik dood ben. Annie M.G. Schmidt: haar leven en werk voor theater, radio en tv, Amsterdam/[Naarden] (Theater Instituut Nederland/Strengholt) 2000, p. 34.

Gerrit Komrij, Vrouwen van Nederland, Amsterdam (Maria Austria Instituut/Voetnoot) 2001, p. 5, 72, 84.

Paul Blom e.a., Uitverkoren. De carrière van Conny Stuart, Amsterdam/[Naarden] (Theater Instituut Nederland/Strengholt) 2002, p. 55

Maarten ‘t Hart, De Daverdreun, Amsterdam (Maria Austria Instituut/Voetnoot) 2002, omslag (voor-en achterzijde), p. 28, 44-45, 48.

Foam Magazine (januari 2002) 1, ongepag.

Eric de Kuyper, Interieurs, Amsterdam (Maria Austria Instituut/Voetnoot) 2003, p. 52.

Toon Lauwen, Dutch design, Bussum (THOTH) 2003, p. 43.

Catalogus tent. lm Rausch der Dinge, Vom funktionalen Objekt zum Fetisch in Fotografien des 20. Jahrhunderts, Winterthur (Fotomuseum Winterthur) 2004, p. 200.

Koen Vergeer, [f]oto’s, Amsterdam (Maria Austria Instituut/Voetnoot) 2005, p. 69.

Willem van Zadelhoff (tekst), Baby’s boek, Amsterdam (Maria Austria Instituut/Voetnoot) 2008, p. 66.


in Algemeen Handelsblad:

1957: 16 maart, 20 september, 23 december.

1958: 28 februari, 11 maart, 7 mei, 19 juli, 25 juli, 17 september, 20 september, 26 september, 19 november, 21 november.

1959: 6 maart, 13 maart, 14 maart, 12 mei, 4 september, 8 september, 15 december.

1960: 2 januari, 12 maart, 6 mei, 3 september, 8 september, 13 september.

1961: 6 maart, 10 maart, 11 maart, 17 maart, 21 maart, 24 maart, 12 september, 7 september, 19 september, 22 september, 3 november.

1962: 13 maart, 16 maart, 30 maart, 3 april, 11 mei, 9 oktober, 21 november.

1963: 12 maart, 30 maart, 8 oktober.

1965: 11 september, 21 september.


in De Telegraaf:

1957: 6 september, 21 september.

1958: 4 januari, 11 maart, 8 mei, 19 juli, 9 september, 19 november.

1959: 27 februari, 12 maart, 5 april, 17 april, p. 9, 6 mei, 22 augustus, 26 augustus, 9 september, 16 september, 10 oktober.

1960: 9 maart, 16 maart, 4 mei, 3 september, 24 september, 7 oktober, 17 november.

1961: 2 januari, p. 9, 4 maart, 10 maart, 11 maart, 18 maart, p. 17, 1 april, p. 17, 8 april, p. 17, 10 juni, p. 17, 17 juni, p. 17, 16 augustus, 29 augustus, 7 september, 9 september, p. 17, 23 september, 21 oktober, 11 november, 2 december, 16 december, p. 17, 23 december, p. 17, 30 december.

1962: 27 januari, 9 juni, p. 25, 23 juni, p. 19, 7 juli, p. 15, 14 juli, p. 21, 15 september, 21 september, p. 5, 22 september, p. 21, 27 september, 6 oktober, p. 21, 11 oktober, p. 19, 26 oktober, 24 november, 8 december, 22 december, p. 21.

1963: 28 maart, 3 april, 10 april, 20 april, 27 juli, 3 augustus, 20 september, 26 september, 3 oktober, 17 oktober, 23 oktober, 16 november.

1964: 27 maart, 28 maart, 25 september.

1965: 6 januari, 19 mei, 5 juni, 11 juni, 26 juni, 11 september, 21 september, 22 september.

1966: 19 februari, 28 mei, p. 14.

1967: 1 april.

1969: 14 februari, 20 augustus.


in Het Binnenhof.

1957: 10 september.

1958: 9 juli, 11 september, 12 december.

1960: 9 maar, 16 maart, 19 november.

1961: 7 maart, 14 maart, 7 september.

1963: 27 maart, 10 oktober.

1964: 27 januari 1964.


in De Courant Nieuws van de Dag:

1957: 10 september, 24 september.

1958: 28 februari, 11 september, 22 november, 17 december.

1959: 5 september, 19 september, 17 december.

1960: 5 september.

1961: 10 maart, 15 maart, 19 augustus, 7 september, 11 november, 18 november.

1962: 13 maart, 16 maart, 8 september, 29 september, p. 13.

1963: 26 september, 3 oktober.

1964: 25 september.

1965: 6 januari, 11 september, 21 september, 22 september.


in Utrechtsch Nieuwsblad:

1957: 13 september, 21 december.

1958: 11 maart, 1 april, 19 juli, 6 september, 16 oktober.

1959: 6 maart, 2 april, 11 juli, 16 juli, 9 september, 10 september, 16 september.

1960: 11 maart, 19 maart.

1961: 10 maart, 14 maart, 20 september.

1963: 24 september.

1965: 13 september.


in Vrij Nederland:

1957: 14 september

1958: 8 maart, 20 september, 13 december.

1959: 14 maart

1960: 21 mei, 30 juli, 24 september.

1961: 18 maart, 33 september, 30 september.

1963: 25 september


in de Volkskrant:

1957: 21 september.

1958: 10 januari, 5 maart, 4 september, 11 september.

1959: 11 maart, 12 maart, 19 maart, 6 mei, 3 september, 8 september.

1960: 8 maart, 9 maart, 12 maart, 15 maart, 13 september.

1961: 7 maart, 14 maart, 7 september, 15 september, 20 september.

1962: 6 april, 8 september, 22 november.

1963: 10 april, 31 mei, 3 oktober.

1964: 25 maart, 23 september.

1965: 11 september, 21 september.

1997: 10 februari, p. 20.


in Algemeen Dagblad:

1957: 25 september, 20 november, 25 november.

1958: 28 februari, 12 maart.

1959: 6 maart, 10 september.

1960: 12 maart, 3 september.

1961: 10 maart.

1962: 8 september, 24 oktober.

1963: 25 september.

1964: 5 maart.

1965: 21 september.


in Het Vaderland:

1957: 25 september.

1958: 1 maart, 13 september, 12 december.

1959: 12 maart, 6 mei, 3 september

1960: 12 maart, 23 april, 9 september, 13 september, 3 december.

1961: 8 maart, 14 maart, 7 september.

1962: 29 september.

1963: 26 september.

1965: 18 september.


in Elseviers Weekblad:

1957: 28 september.

1958: 8 februari, 2 augustus, 13 september, 20 september.

1959: 14 maart, 21 maart, 19 september, 10 oktober, 17 oktober.

1960: 1 oktober,

1961: 1 april, 16 september, 30 september.

1962: 24 maart.

1963: 6 april.

1964: 18 april.

1965: 9 oktober.

1966: 17 december.


in Trouw:

1957: 28 september.

1958: 3 januari, 19 november.

1959: 6 maart, 10 maart, 12 maart, 3 september, 8 september, 9 september, 14 september.

1960: 9 maart, 12 maart, 3 september, 5 september, 14 september.

1961: 11 maart, 13 september.

1962: 10 maart 1962.

1963: 24 september 1963.

2003: 3 februari. De Verdieping, p. 12.


in Het Vrije Volk:

1957: 12 oktober, 20 november, 23 december.

1958: 28 februari.

1959: 28 maart, 3 oktober, 10 november, bijlage p. 19, 12 november, 17 december.

1960: 8 maart.

1960: 3 september, 6 september.

1961: 23 maart, 6 september.

1962: 9 januari, 9 maart, 30 maart, 19 april, 10 september, 2 oktober.

1963: 27 maart, 9 april, 24 september, 9 oktober.

1964: 25 september.

1965: 11 september, 21 september.

1966: 7 mei.


in De Nieuwe Dag:

1958: 28 februari, 7 mei, 11 september.

1959: 6 maart, 5 september, 12 september.

1960: 8 januari, 12 maart, 16 maart, 3 september.

1961: 14 maart, 8 september, 12 september.

1962: 27 maart, 10 september, 27 september.

1964: 25 maart.

1965: 14 september, 21 september.


in Nieuwe Haags(ch)e Courant.

1958: 28 februari, 19 juli, 6 september, 19 november, 12 december.

1959: 6 maart, 9 september, 15 september.

1960: 16 maart.

1963: 27 maart, 24 september.


in Het Parool:

1958: 28 februari, 11 maart, 19 juli, 4 september, 6 september, 13 september, 18 september, 19 november.

1959: 11 maart, 6 mei, 14 september, 15 september.

1960: 12 maart, 3 september, 3 december,

1961: 21 maart, 3 september, 4 september, 6 september.

1962: 29 maart, 1 december.

1963: 29 mei, 27 september, 4 oktober.

1964: 25 maart, 24 september.

1965: 11 september, 21 september.

1966: 7 mei.

2001: 20 maart.


in De Groene Amsterdammer.

1958: 22 maart.

1959: 19 september, 3 oktober.

1960: 9 april, 10 september, 1 oktober.

1961: 1 april, 16 september, 23 september.

1962: 15 september, 3 november.

1963: 6 april, 6 oktober.

1964: 11 april.


in Haagsche Courant:

1958: 6 september, 19 november.

1959: 6 maart, 13 maart, 19 juli, 9 september, 12 november.

1960: 9 maart, 12 maart, 16 maart, 13 augustus, 9 september.

1961: 7 maart, 10 maart, 14 maart.

1962: 7 september, 27 september.

1965: 11 september.


in De Gelderlander.

1958: 12 december.

1959: 19 maart, 9 september.

1960: 3 februari.

1961: 14 maart, 7 september.

1963: 27 maart, 9 april.

1964: 23 september.

1965: 2 maart, 21 september.


in De Tijd De Maasbode:

1959: 13 november.

1960: 8 januari, 23 februari, 12 maart, 3 september, 29 september.

1961: 14 maart, 7 september 1961.

1962: 15 maart, 10 september, 27 september.

1963: 27 maart, 24 september.

1964: 23 september.

1965: 11 september, 21 september.


in Vendorama:

1965: (maart) 6, (september) 10, (december) 14.

1966: (maart) 2, (maart) 3, (mei) 5, (augustus) 7, (september) 8.

1967: (april) 4, (september) 7.

1969: (september) 7.

1970: (april) 4.


in VARA radio tv gids/VARA gids, o.a omslagen:

1965: 1 mei.

1966: 7 mei, 23 juli, 13 augustus, 24 september, 1 oktober .

1967: 18 februari, 11 maart, 22 april, 1 juli, 4 november.

1968: 3 februari, 23 maart, 27 april, 9 november.

1969: 11 januari.


De Telegraaf/De Courant Nieuws van de Dag in kleur.

25 september 1965, p. 20-21.

(19 maart 1966) 8, omslag, p. 14-15.

(9 juli 1966) 16, p. 10-11.

(3 september 1966) 20, omslag, p. 3, 5, 7.

4 februari 1967, p. 10.

(13 mei 1967) 38, p. 9.


in Libelle:

34 (23 december 1967) 51, omslag, p. 60-67.

35 (2 maart 1968) 9, omslag.

35 (23 maart 1968) 12, omslag, p. 44-45.

35 (13 april 1968) 15, p. 77-81.

35 (27 april 1968) 17, omslag, p. 66-75.

35 (4 mei 1968) 18, p. 84-87.

35 (25 mei 1968) 21, p. 70-73.

35 (29 juni 1968) 26, p. 42-45.

35 (20 juli 1968) 29, omslag, p. 32-33.

35 (28 september 1968) 39, omslag.

35 (23 november 1968) 47, omslag.

35 (7 december 1968) 49, p. 34-41.

36 (1 maart 1969) 9, omslag.


in Panorama, omslagen:

55 (1968): (27 juli) 30.

60 (1973): (13 oktober) 42, (3 november) 45.

60 (1973): (24 november) 48, (15 december) 51.

61 (1974): (18 januari) 3, (25 januari) 4, (8 maart) 10, (15 maart) 11, (5 april) 14, (26 april) 17, (7 juni) 23, (12 juli) 28, (13 september) 37, (18 oktober) 42, (22 november) 47.

62 (1975): (7 maart) 10, 1 juli (extra nummer), (4 juli) 27, (1 augustus) 31, (8 augustus) 32, (15 augustus) 33, (22 augustus) 34, (5 december) 49.

63 (1976): (9 januari) 2, (10 september) 37.


AKU (mode)

Van Alfen, reclamebureau (Green Spot frisdrank).

Amsterdam Fashion Week (mode).

Bauduin, reclamebureau (Tergal, mode).

Berghaus (mode).

Bonebakker (sieraden).

Barend van den Brink (couture/mode).

Enkalon (mode).

Everwear (dusters, spreien e.d.).

Federatie Goud en Zilver (sieraden).

FIT reizen.

Free Lance (mode).

Gerzon (mode).

Frank Govers (couture/mode).

Heeger ten Brink (mode).

Hema (mode).

Max Heijmans (couture/mode).

Holdert, reclamebureau (mode).

Hollandia Kattenburg (mode).

Dick Holthaus (couture/mode).

HVR, reclamebureau.

Jolo Couture (mode).

Jan Kamphuis (couture/mode).

Ferry van der Kar (mode).

Kerko (mode).

Kermopa (mode).

Leeser (mode).

Leidse wolspinnerij (mode).

Libelle (mode).

Loek van Limburg (haarmode).

Lintas, reclamebureau.

Linda Lu (mode).

Maison Everts (mode).

Maison de Vries (mode).

Menko (mode).

MILO N.V. (mode).

Morny (zeep).

Neveda (wol).

Nivea (verzorgingsproducten).

Nijverdal ten Cate (ondermode).

Ferry Offerman (couture/mode).

Palm, reclamebureau.

Carel G.H. van Pampus (sieraden).

Panorama (omslagen, portretten, mode, etc.).

Raedt en Baet, reclamebureau (De Telegraaf).

Harry Scheltens (couture/mode).

Setter Set (nylons).

Setterlaine (mode).

Siera (beeld- en geluidsapparatuur).

Smeets, reclamebureau (Players sigaretten, Siera televisie/radio, Grundig televisie/radio, Philips televisie /radio/elektrische apparaten. Pope verlichting, Shell, Duet mode).

Sturka (mode).

Stijlgroep Groningen (mode).

Sunair reizen.

De Telegraaf (portretten, etc.).

Terlenka (stoffen).

Timpa (ondermode, badmode).

Trenco (mode).

N.V. Tricotagefabrieken v/h Frans Beeren & Zonen (mode).

Tweka (mode).

VARA (omslagen e.d.).

Van de Ven (bontmode).

Vinke (mode).

Vinolia (zeep).

Voss (mode).

Vroom & Dreesmann, Vendorama (mode).

Weekblad TV (portretten).

Witteveen (mode).

Secondary bibliography

Anoniem, Groots plan van een Amerikaanse katholieke uitgeverij. Bijbel in technicolor. Amsterdamse Fotograaf kreeg opdracht, in De Maasbode 13 maart 1954, p. 5.

Miel van Konijnenburg, “Spot” lights, in Haagsche Post 1 februari 1957.

Leo J. Capit, “Zeg we hebben je gemist”, in Panorama (2 februari 1957) 5, p. 8-9.

Marike, Bella inspireerde hem, in Het Vrije Volk 15 maart 1958.

S., De man van de maand, in Textilia (26 april 1958) 1353, p. 1569.

Miel van Konijnenburg, “Spot” lights, in Haagsche Post 2 juli 1958.

Anoniem, Vele werden geroepen, doch weinigen zijn uitverkoren voor het beroep van foto-model, in Het Vrije Volk 22 december 1958.

Anoniem, Realisme in de reclame. Fotografen en schaarse modellen moeten droom van gewone man waarmaken, in Haagse Post 46 (11 juli 1959) 2326, omslag, p. 6-8.

Anoniem, De veertiende juli in “Danton’s dood”, in De Telegraaf 15 juli 1959.

Wim Koevoets, de couturiers zijn niet thuis, in De Courant Nieuws van de Dag 5 september 1959.

Hille Kleinstra, Mannen die het weten kunnen, Amsterdam (Ilford Foto) z.j. [ca. 1960], p. 26-28.

Wim Koevoets, Modeman maakt bladerboek, in De Courant Nieuws van de Dag 5 maart 1960.

Anoniem, De beurs der charme, in Panorama (19 maart 1960) 12, p. 38-39.

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

Anoniem, [zonder titel: artikel over 3de fotoboek Hans Dukkers], in Het Vrije Volk 21 maart 1960.

Norma Artevelde, Hans Dukkers ongerijmd. De fotograaf en de bizarre droombeelden, in Vizier 4 februari 1961.

Anoniem, Public relations. Werkelijk interessant. Dukkers; ƒ 3000 per week, in Haagse Post 18 februari 1961.

Anoniem, [zonder titel: artikel over 4de fotoboek Hans Dukkers], in Het Vrije Volk 4 maart 1961.

Anoniem, Hans Dukkers in “Karrewiel”, in De Tijd De Maasbode 10 maart 1961.

Anoniem, Deze foto is een primeur in de Nederlandse journalistiek, in De Telegraaf 26 oktober 1961, p. 5.

Gerth van Zanten, Elke dag een ander meisje en steeds Puck Hendriks. Tien jaar geleden Nederlands eerste betaalde fotomodel, in De Telegraaf 6 januari 1962.

Anoniem?, Doe je jas eens even uit… Zo werd Elly Koot fotomodel, in Rosita (16 maart 1963) 11, omslag, p. 8-11 (met foto’s).

Frans Stoppelman, Hans Dukkers, in Focus 49 (17 januari 1964) 2, p. 2-13 (met foto’s).

Henk van der Meyden, Hans Dukkers liet mode- en artiestenwereld van Hollandse Nieuwe proeven, in De Telegraaf 1 juni 1965.

Anoniem, Modefotografie. Peinzend of verleidelijk. Hans Dukkers: Ik hou van vrouwen, in Haagse Post 5 juni 1965, p. 28.

Anoniem, Dit is De Garnaal (die showt voor ƒ 500,- per uur). Sexbom van voren en van achteren, in Algemeen Dagblad 17 september 1965.

Hans Hoffmann (tekst), Een kostbaar knaapje. Een dag met de garnaal in Amsterdam, in Panorama (1965) 42, p. 28-31 (met foto’s).

Anoniem, Prijs voor de beste modefoto, in Nieuw Utrechts Dagblad 7 mei 1966.

Anoniem, Sigfried-expositie Nederlandse modefotografie. Tussen top en overigen gaapt nog diepe kloof, in Expres [weekeditie van Revue der Reclame) 4 (11 mei 1966) 19, p. E62.

Anoniem, Modefoto’s bij Sigfried, in Offset 13 mei 1966.

Anoniem, Fotografen Dukkers en De Vogel winnen de eerste prijzen. Textilia-Texpress prijsvraag voor beste modefoto in Benelux, in Texpress 14 mei 1966.

Dunja Meerman, “Ik ben nog aan de top omdat niemand mij kent.” Verpleegster werd door toeval fotomodel, in De Telegraaf 1 oktober 1966.

Anoniem, Wie zijn toch die fotografen? De modefotograaf, in De Telegraaf/De Courant Nieuws van de Dag in kleur (13 mei 1967) 38, p. 6.

Anoniem, Swingende Peter Pan, in De Telegraaf 13 december 1967.

Anoniem, Doorzichtiger dan het lijkt…, in Het Vaderland 13 december 1967.

j.h.. Hans Dukkers, in Fototribune 30 (mei 1968) 5, omslag, p. 20-21.

Anoniem, Pater tussen topmodellen, in Haarlems Dagblad 22 november 1968.

Anoniem, “Fotomodel voor mij hoeft het niet”, in Leidsch Dagblad 22 november 1968.

Anoniem, Pater Verhagen ‘doopte’ boek over fotomodellen, in Nieuw Kamper Dagblad 22 november 1968.

Anoniem, Pater aan de wieg van boek. Het Parool 22 november 1968.

Anoniem, De pater deed een boekje open, in De Telegraaf 22 november 1968.

Anoniem, Het hoge woord is er uit: Fotomodel, voor mij hoeft het niet. Fotograaf Hans Dukkers publiceert boek. ‘Zo sterk als een paard moetje zijn’, in Het Vrije Volk 22 november 1968.

Anoniem, Fotomodel worden is moeilijk, in Libelle (23 november 1968) 47, p. 64-69, 97 (met foto’s).

Anoniem, Meisjes, wordt geen fotomodel!, in Rotterdams Nieuwsblad 23 november 1968.

Anoniem, Nieuw boek over fotomodellen: “Mooie meisjes zijn er genoeg, fotogenieke meisjes veel minder”, in Utrechts Nieuwsblad 23 november 1968.

(Gobes), Foto pater, in Algemeen Handelsblad 26 november 1968.

T.d.V., Fotomodel in deze tijd! Duizenden meisjes denken dat het een leuk beroep is, in De Gooi- en Eemlander 30 november 1968.

Anoniem, Leopold Verhagen pakt hem beet, in De Nieuwe Linie 30 november 1968.

LB, Beetje beter beeld van het fotomodel, in Ariadne 4 december 1968.

Ab Visser, Voor mij hoeft het … wèl, in De Telegraaf 11 januari 1969.

Nico Scheepmaker, Voor de vuist weg, in Utrechts Nieuwsblad 11 januari 1969.

Anoniem, Demonstratie modefotografie voor jubilerende Vereniging van Vakfotografen, in Haagsche Courant 29 april 1969.

Anoniem, Vrije fotografen vinden bedrijfschap aanfluiting. Ned. Ver. Vakfotografen verzoekt S.E.R. het schap te liquideren, in Helmonds Dagblad 9 september 1969.

Anoniem, Aventura y moda en el aire, in Excelsior. El periodico de la vida nacional 27 juni 1971, omslag, p. 8-9.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, losse biografie.

Hans Gottlieb, Modellen over fotografen, in Professionele Fotografie (1983) 1, p. 32-35.

Hennie van de Louw, Ed Dukkers – Tekenaar & Model, in Fodor 5 (maart/april 1986) 2, p. 34-39.

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. 74, 190.

Mirjam Keunen, Unieke expositie van foto’s uit archief van Maria Austria, in Algemeen Dagblad 10 augustus 1992, p. 11.

Pauline Terreehorst, Blondjes & beauties. Fashion photography = modefotografie 1950-1970. Hans Dukkers, Amsterdam (Voetnoot) 1996.

Merel Ligtelijn, Al wat vrouwen mooier maakt. ‘Les Belles Hollandaises’ in het Amsterdams Historisch Museum, in Uitkrant. Uitgaan in Amsterdam 30 (januari 1996) 5, omslag, p. 39.

Anoniem, Historisch Museum toont ‘Les Belles Hollandaises’, in Stadsnieuws. Informatiekrant van de afdeling voorlichting en externe betrekkingen van de gemeente Amsterdam januari/februari 1996, p. 7.

Anne-Rose Bantzinger, Hans Dukkers. Sjieke vrouwen … sjieke foto’s, in Het Parool 24 januari 1996.

Anoniem, Dukkers had oog voor ‘les belles hollandaises’. Overzicht van twintig jaar modefotografie, in Noordhollands Dagblad 25 januari 1996.

Hans Jacobs, Hollands mooisten. Hans Dukkers en de evolutie van het model, in Rijn en Gouwe 25 januari 1996.

RS, Leuke meisjes. Corine Rottschafer, in HP/De Tijd (26 januari 1996) 4, p. 75.

Hans Jacobs, ‘Meisjes, juffrouwen, blondjes’, in De Stem 26 januari 1996.

Françoise Ledeboer, Puntige bh’s en welvende borsten bij Dukkers. Aanpak modefoto’s van toen is nu lachwekkend, in Leidsch Dagblad 31 januari 1996.

Anoniem, Les Belles Hollandaises. Amsterdamse nostalgie, in Avantgarde 17 (februari 1996) 2, p. 93.

Anoniem, Modefotografie, in Vitrine (februari/maart 1996) 1, p. 4.

Françoise Ledeboer, Puntige bustehouders en welvende borsten op modefoto’s Hans Dukkers, in Leidsch Dagblad 3 februari 1996.

Diny Schouten, Stoute meisjes, in Vrij Nederland 3 februari 1996.

Edith Schoots, De fraai uitgedoste meiskes van Hans Dukkers. Vroege modefotografie in Nederland, in NRC Handelsblad 8 februari 1996.

Françoise Ledeboer, Modefoto’s van een ‘vrouwenfotograaf’, in Rotterdams Dagblad 15 februari 1996.

Maro Ziegler, Kan het Hollandser, in De Telegraaf/De Courant Nieuws van de Dag. Weekeinde 17 februari 1996, p. 2.

Anoniem, Nostalgie bij modefoto’s Hans Dukkers, in Holland Nieuws. Nieuws- en opinieblad van de Hogeschool Holland 23 februari 1996, p. 8.

José Teunissen, De boenende en zwevende modellen van Hans Dukkers, in Trouw 24 februari 1996.

Nicoline Baartman, Overgeleverd aan het toverstafje van de verstarring, in de Volkskrant 24 februari 1996, Folio, p. 41.

Anoniem, PloemPloem Jenka-jaren, in VARA tv-magazine (1 februari 1997) 5, p. 3, 10-11, 83 (met foto’s).

Durk Schilstra, De jaren zestig herleven in zeskleurendruk, in Pers 9 januari 1997.

Anoniem, Voetballers ploem ploem jenken niet, in Het Parool 6 februari 1997, p. 27.

Anoniem, Martien Ulder van drukkerij Slinger in Alkmaar: “We doen alleen dat waar we goed in zijn: drukken”, in MoDo Magazine, 30 februari 1997, p. 6-7.

Peter van Brummelen, Gods eigen studio, Het Parool 8 december 2001, PS, p. 50-52.

Mirelle Thijsen, Speelse keuze en Hollands licht. Expositie handreiking voor samenwerking tussen foto-instellingen, in Het Financieele Dagblad 22 december 2001.

José Teunissen (red.). Mode in Nederland, Arnhem (Terra Lannoo) 2006, p. 26, 198.


1966 1ste Prijs, categorie kleurenfoto’s, modefotowedstrijd Textilia en Texpress (modefoto ’65).


1966 (g) Amsterdam, Expositieruimte NV Drukkerij Sigfried, Modefoto ’65.

1991 (g) Amsterdam Nieuw Kerk, Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw (Collectie Stichting Dutch Photography).

1992 (g) Amsterdam, Golden Tulip Barbizon Centre Hotel.

1996 (e) Amsterdam, Amsterdams Historisch Museum, Les Belles Hollandaises – Hans Dukkers modefotografie 1950-1970.

2001/2002 (g) Amsterdam, Foam, Dutchdelight.

2002/2003 (g) Amsterdam, Art Kitchen Gallery, Handle with care.

2002/2003 (g) Spanbroek, Scheringa Museum voor Realisme, Passie voor Pose. Nederlandse modefotografie vanaf 1950.

2004 (g) Winterthur, Fotomuseum Winterthur, lm Rausch der Dinge – Vom funktionalen Objekt zum Fetisch in Fotografien des 20. Jahrhunderts (idem dubbeltentoonstelling: 2005 Cinisello Balsamo, Museo di Fotografia Contemporanea, L’estasi delle cose. Nell’arte en Milaan, Spazio Oberdan, L’estasi delle cose. Nel Quotidiano).

Television programs

1969 (10 januari) Voor de vuist weg (AVRO).


Amsterdam, Maria Austria Instituut.

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden, bibliotheek en documentatiebestand

Leusden, Jan Wingender (collectie nederlands fotoboek).


Amsterdam, Maria Austria Instituut.

Amsterdam, Rijksmuseum.