PhotoLexicon, Volume 28, nr. 44 (October 2011) (en)

Vincent Mentzel

Tineke de Ruiter


Vincent Mentzel began working for the Dutch newspaper NRC Handelsblad as a photographer in 1973. From that point forward, he would photograph Dutch politics over a period of many years. On assignment for the NRC, he travelled around the world to make reportages on major events in world history or to report on trips made by representatives of the Dutch government and the Dutch royal house. Mentzel has also portrayed many major figures in the world, including politicians, musicians, actors, and writers. His archive comprises thousands of photos, which collectively form a perspective on national and international history. Through his participation in numerous supervisory boards and juries, Mentzel has made an important contribution to the infrastructure of photography in the Netherlands and abroad. Mentzel’s retirement in 2010 by no means signalled the end of his photographic career, as he continues to take on assignments to the present day. Mentzel also curates photo exhibitions and provides instruction to young people interested in photography.




Vincent Samuel (Vincent) Mentzel is born on 28 September in Hoogkarspel (present-day municipality Drechterland). He is the second of three sons in the family of Pieter Mentzel and Gemma van Aken. Vincent’s father is a pastor in the Liberal Reformed Church. The family moves to Naaldwijk, where Pieter Mentzel is a pastor with the Dutch Reformed Church.


In 1948, the family moves to the Helmholzstraat in Watergraafsmeer, a neighbourhood of Amsterdam, where Pieter Mentzel becomes a pastor at the Vereniging van Vrijzinnig Hervormden (‘Association of the Liberal Reformed Church’). In 1949, the family moves again, this time to the Oranjepark in Dordrecht, where Vincent’s father has found employment.

Vincent Mentzel attends the—public—Statenschool (primary-level ‘State School’) in Dordrecht. He then attends the Johan de Witt Gymnasium (a prep or grammar school) for one year, followed by the Christelijk Lyceum (‘Christian Lyceum’) on the Halmaheiraplein.

The Mentzel family has a social democratic background. Vincent’s mother, Gemma Mentzel-van Aken, is a Dordrecht city council member with the PvdA (Dutch labour party) from September 1958 to August 1970 and is active in the movement Rooie Vrouwen (‘Red Women’). In August 1970, she is chosen to sit on the Dordrecht ‘Culturele Raad’ (‘Cultural Council’),where she also serves as chairman for a period of time.


Mentzel enrols at the ABK (Academie van Beeldende Kunsten, ‘Academy of VisualArts’) in Rotterdam (department of interior architecture). He lives on the Eendrachtsstraat in Rotterdam. He later rents a studio at Diergaardesingel 77a. Together with other students at the academy—Joke de Vries, Wouter Stips, Francine ter Linden, Jan Veth and Wil Bakker—Mentzel co-founds the cabaret group Quast, where he plays piano and trombone. Mentzel works in the weekend as a steward on the Bergland Express train. Following a conflict with the ABK’s director, Pierre Janssen, Mentzel leaves the academy without having received his diploma.


Rob de Vries, a theatre-maker in Rotterdam, brings Mentzel into contact with Maria Austria. Mentzel begins working for Austria as a darkroom assistant. He also helps out with the lighting and photo retouching.


Mentzel works evenings as a lab technician at the photo service of the newspapers Nieuwe Rotterdamsche Courant and Algemeen Dagblad. During the day, he works as a freelance photographer for clients such as the Nieuw Rotterdams Toneel (‘New Rotterdam Theatre’), Nieuwe Rotterdamsche Courant (from 1970 on NRC Handelsblad), Algemeen Dagblad, De Groene Amsterdammer (‘The Green Amsterdammer’) and the Haagse Post. Mentzel rents a home and studio at Westersingel 27a in Rotterdam.


Mentzel takes a study trip to the United States. From New York, he travels to cities such as Boston, Florida, Saint Louis, Memphis, and Chicago.

Ca. 1972-‘82

Mentzel is the photographer of Dutch politics in The Hague. He can be found at the Binnenhof (‘Inner Court’)—the seat of the Dutch parliament—virtually on a daily basis.


Following Bloody Friday (21 July), Mentzel travels to Belfast to shoot photographs. His reportage appears in the 29 July 1972 issue of the NRC Handelsblad and later as well in the magazine Foto.


At the 1973 World Press Photo Contest, Mentzel’s photo of the future prime minister Joop den Uyl taken in Apeldoorn during the 1972 election campaign is chosen as the ‘Best Dutch Press Photo’. On 4 April, he receives the prize from Ivo Samkalden, the mayor of Amsterdam, at the Amsterdam Historical Museum.

On 28 June, Mentzel weds Ellen Heinsen. In the afternoon, Liesbeth den Uyl, the wife of the prime minister, opens the exhibition Vincent Mentzel Foto’s at the Dordrechts Museum.

In part because of his award at World Press Photo, Mentzel is hired as a staff photographer at NRC Handelsblad, where he begins on 17 September. In November, a group of journalists is granted permission to accompany the trade delegation of the minister of Economic Affairs, Ruud Lubbers, to China according to a tightly organised and highly monitored itinerary with designated guides. Mentzel is the only photographer, travelling on assignment for the NRC Handelsblad. The group visits Peking, Shanghai, and the famous agricultural brigade in Tachai.

Ca. 1973-‘84

Mentzel becomes a member of the NVF (Nederlandse Vereniging van Fotojournalisten, ‘Netherlands Association of Photojournalists’). In the summer of 1974, he is chosen to be a member of the NVF’s management board. From 1975 to 1979, Mentzel is a member—in varying combinations together with Henk Busman, Frits Gerritsen, Sem Presser, Gerth van Roden, and Ruud Taal—of the Zilveren Camera Commissie (‘Silver Camera Committee’) within the board of the NVF. In 1977, Mentzel and Jutka Rona are asked to be on the editorial board of the magazine De Journalist as representatives of the NVF. Mentzel is mentioned in the colophon as a ‘medewerker’ (‘co-worker’) up until the magazine’s 23 January 1984 issue. In March 1980, Mentzel no longer poses his candidacy as a board member of the NVF. In January 1984, he cancels his membership with the association.


Mentzel wins second prize in the category ‘Portraits’ at the 1974 Silver Camera Contest, with a photo of the politician Anne Vondeling. Mentzel assists the photographer Co Rentmeester, who resides in the United States, during the latter’s assignment in the Netherlands on behalf of the NBT (Nationaal Bureau voor Toerisme, ‘Dutch National Bureau of Tourism’).

Mentzel moves from the Westersingel to Mathenesserlaan 379 in Rotterdam.

On 8 September, Prime Minister Den Uyl opens the exhibition Portret van een minister-president 1974 (‘Portrait of a Minister President 1974’) at the Fiolet Gallery in Amsterdam, featuring photos by Mentzel. Photos by Mentzel are shown at the Doelen Exhibition Hall in Rotterdam during the exhibition Martens, Mentzel and Van Soest.


In March, Mentzel receives an honourable mention for his photo of Anne Vondeling at the 32 nd Annual Pictures of the Year competition of the University of Missouri and the National Press Photographers Association in the US.

In June, Mentzel reports on Den Uyl’s visit to Suriname. He travels on to French Guyana together with the journalist John Jansen van Galen.

In August 1975, Mentzel spends two weeks in Portugal together with the editor Peter van Dijk to photograph the ‘Processo Revolucionário Em Curso’ (‘Ongoing Revolutionary Process’) following the ‘Carnation Revolution’ of 25 April 1974. His photos are sold to the New York Times and other publications. For the 11 August 1975 issue of NRC Handelsblad, Mentzel writes an eyewitness account of the riots in Braga.

In the fall of 1975, Mentzel spends several months living in the Philippines, where his wife has been assigned as a stewardess working for KLM Airlines. On 1 October, Mentzel shoots photos of the title fight between Joe Frazier and Muhammad Ali, also known as ‘The Thrilla in Manila’. Again accompanied by John Jansen van Galen, Mentzel travels across the Philippines, during which he photographs the Muslim resistance fighters of the MNLF (Moro National Liberation Front) in Mindanao in November of the same year. Van Galen makes a reportage for VPRO Radio in collaboration with Mentzel.

On 18 December, Mentzel is awarded the Silver Camera (a floating trophy) by W. van Eer, the ambassador of Suriname, at the Lijnbaan Centre in Rotterdam. Mentzel’s winning photo depicts Joop den Uyl—in an unusual pose—during a telephone call made from the Hotel Torarica in Paramaribo concerning the resignation of Jan Glastra van Loon, then the state secretary of the Ministry of Justice.


Mentzel travels to Tanzania on assignment for the Ministry of Development Cooperation together with Peter Schumacher in advance of Prime Minister Den Uyl’s four-day working visit in early October.

Mentzel wins first prize in the category ‘Portraits’ at the Silver Camera Contest 1976, as well as second and third prize in the category ‘Theatre’.

The exhibition Een dagje minister (‘Minister for a Day’) is held at the Aemstelle Cultural Centre in Amstelveen, featuring photos by Mentzel, who had followed the ministers for an entire day—from breakfast to letting the dog out at night. Photos by Mentzel are exhibited at the Tweede Kamer der Staten Generaal (‘Second Chamber of the States General’, i.e. the Dutch House of Representatives) as well as various ministries in The Hague during the exhibition Politieke fotografie (‘Political Photography’).


Together with Dick Verkijk (NOS, ‘Nederlandse Omproep Stichting’, ‘Netherlands Broadcasting Association’) and An Salomonson (NRC Handelsblad), Mentzel travels to Czechloslovakia in February/March during the visit of the Dutch minister of Foreign Affairs, Max van der Stoel. Much to the displeasure of the Czechloslovakian government, Van der Stoel meets with Jan Patočka, one of the leaders of the opposition movement Charta 77, in a hotel room. The entire group is expelled from the country. Van der Stoel takes Mentzel’s exposed film rolls back with him to the Netherlands.

On 4 April, Eva Besnyö and Mentzel appear together on the AVRO broadcasting company’s television programme De late ochtend (‘The Late Morning’), on the topic ‘the press: photojournalism’.

In May, Mentzel travels to China during Princess Beatrix and Prince Claus’ official visit to the country. He produces a reportage on Mongolia, which has just been recently opened to foreigners, and the ancient city of Xi’an (Sian).

Mentzel wins first prize in the category ‘Theatre’ at the Silver Camera Contest 1977 with a portrait of the conductor Edo de Waart. He also wins third prize in the category ‘Features’ with a photo of the princely visit to China.


Mentzel wins first prize in the category ‘Colour Picture Stories’ at the World Press Photo Contest 1978, with the series Fighting the Enemy, shot in 1977 in Ulan Tuge (autonomous region Inner Mongolia).

On 15 July, the exhibition China-foto’s 73-77 van Vincent Mentzel (‘China Photos 73–77 by Vincent Mentzel’) opens at the Boijmans Van Beuningen Museum, designed by Walter Nikkels. The Rotterdamse Kunststichting (‘Rotterdam Art Foundation’) releases the publication China, with an introduction by Peter Schumacher and designed by Walter Nikkels.

On 28 June and 6 September 1978, Henk Zeevalking, a member of the Dutch House of Representatives for the political party D66, submits enquires regarding the presence of photographers during a ceremony honouring the Dutch football (soccer) team at Soestdijk Palace on 27 June, where Mentzel had been denied entry by the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’). Prime Minister Van Agt responds to the matter on 16 August and 26 September.

From 27 October to 1 November, Mentzel travels to China, visiting cities such as Beijing, Shanghai, and Xi’an. Mentzel wins first prize in the category ‘News Features’ at the Silver Camera Contest 1978 with a photo of Den Uyl taken after a protest meeting in Rotterdam.

In December, Mentzel travels to Jordan and Damascus (Syria) with a delegation of the minister of Foreign Affairs, Chris van der Klaauw.


In June, Mentzel shoots photographs during Pope John Paul II’s state visit to Czestochowa, Poland.

Mentzel travels with Minister Van der Klaauw to Israel and Lebanon (UNIFIL troops). In Lebanon, Mentzel visits include the Palestinian refugee camp Rashydyiah. While photographing in Beirut, Mentzel is arrested by Falangisten for failing to have the right papers and is detained for several hours.

Mentzel accompanies Joop den Uyl, party leader of the PvdA, and his wife Liesbeth on their twelve-day trip to China. Mentzel comes down with food poisoning and ends up in a Beijing hospital. The group continues its trip several days later, visiting Xi’an, Shanghai, and the agricultural province of Sichuan (Szechuan).

Mentzel wins first prize in the category ‘Documentary’ at the Silver Camera Contest 1979, based on the reportage De opera van Peking (‘The Opera of Peking’).

Photos of China by Mentzel are exhibited at the Gerardus van der Leeuw Ethnological Museum in Groningen as well as at the Gemeentemuseum (‘Municipal Museum’) in Arnhem. The title of the exhibition at the latter museum is Vincent Mentzel toeschouwer in China (‘Vincent Mentzel Spectator in China’).


In January, Mentzel travels to Venezuela and Mexico with the journalist Rob Bartlema in a delegation accompanying Minister Van der Klaauw. At the end of this visit, Mentzel and Bartlema meet with Edward James, the patron of Salvador Dali and René Margritte, at the Las Pozas Estate in Xilitla, Mexico. Mentzel continues on to Curaçao.

In April, Mentzel travels to Indonesia (Sumatra, Borneo, Jakarta, Borobudur) during an official visit made by Minister Van der Klaauw and Prime Minister Van Agt.

At the invitation of the Chinese government, Mentzel travels to Tibet and elsewhere together with Willem van Kemenade, a correspondent of NRC Handelsblad.

Mentzel wins second prize in the category ‘Hard News’ at the Silver Camera Contest 1980 with a colour slide taken during the inaugural ceremony of Queen Beatrix. He also wins first and third prize in the category ‘Photo Reportage’ with photos of the riots following the inauguration and a series on the Dutch politician Hans Wiegel.


Following Queen Beatrix’s coronation, new permanent postage stamps and a new Dutch coinage are to be released. On assignment for the DEV (Dienst Esthetische Vormgeving, ‘Department of Aesthetic Design’) of the PTT (the former Dutch national postal, telegraph, and telephone company), Mentzel takes portraits of the queen at Drakensteyn Castle on 14 November 1980, to be used for the new series of postage stamps. From one of these portraits, Peter Struycken designs a postage stamp with an image constructed from freestanding points produced by means of a computer-aided drawing apparatus. The first stamps are available for sale at Dutch post offices starting on 15 December 1981.

In early December 1980, Mentzel photographs the queen at her palace on the Lange Voorhout for a new Dutch coin. Bruno Ninaber van Eyben subsequently uses one of Mentzel’s photos for his design. In February 1982, the one guilder coin is released as the first in a new series of coins in circulation.


Mentzel is a board member of the Rotterdamse Kunststichting.


In a letter dated 10 March 1980, John G. Morris invites Mentzel to become a member of the International Advisory Committee of the ‘W. Eugene Smith Memorial Fund Inc.’ in New York.


Mentzel is a member of the executive committee of the World Press Photo Foundation, Amsterdam.


Mentzel travels to Poland. Photos by Mentzel are published in the magazine Vrij Nederland (25 July 1981) in an article entitled ‘Tibet. Op reis in een verboden land’ (‘Tibet. Traveling in a Forbidden Country’) written by Susette Ternent Cooke and Christina Jansen.

Work by Vincent Mentzel, Frederick Linck, and Rainer Kiedrowski is shown at Kiek Photo Gallery in The Hague.

In July, Mentzel shoots photos at the seventh G7 Summit, the meeting of the world’s leading economic countries, in Ottawa, Canada.

Mentzel wins the Silver Camera 1981 (floating trophy) with a photo shot on 12 October 1981 of the opposition leader Hans Wiegel, who poses an enquiry into the failure of Van Agt’s second cabinet to produce a policy declaration for the government.

As a jury member of the IPP (‘Interpress Photo’) of the IOJ (‘International Organization of Journalists’), Mentzel travels to Ulan Bator in Mongolia, where he makes various reportages.


Mentzel travels by train from Mongolia to Peking and also Xinjiang, Turfan, Dunhuang, and the Gansu Province. In January, Mentzel travels with the minister of Foreign Affairs, Max van der Stoel, to Angola and Nigeria.

On 4 February, Van der Stoel opens the photo exhibition Vincent Mentzel, China en Tibet at the Bijenkorf department store in The Hague.

Mentzel receives an honourable mention at the World Press Photo Contest 1982 in the category ‘Portraits of People in the News’ with the photo Sleeping Beauty: a shot of a yawning Alexander Haig during a press conference of the G7 in Ottawa.

On Monday 27 and Tuesday 28 September, Mentel is a jury member at the Silver Camera Contest 1982. Together with Paul Huf, Joop Swart, Ron Wunderink, and others.

Mentzel sits on the jury of the Wolkenridder Photo Competition, a contest for employees of KLM Airlines.

On 23 October, Mentzel is awarded the ‘Persprijs Openbaar Vervoer’ (‘Press Prize Public Transportation’)—established by the KNVTO (Koninklijke Nederlandse Vereniging van Transport Ondernemingen, ‘Royal Netherlands Association of Transportation Companies’) and the Dutch Railways—at the Flint Theatre in Amersfoort for his travel account on the Mongolian People’s Republic in the special tourism supplement of the 26 January 1982 issue of the NRC Handelsblad.

Mentzel follows the travels of the journalists Peter van Dijk and Simon Rozendaal across Japan. The photos are published in Japan bijvoorbeeld. Het land van de rijzende industrie en de Japanse samenleving in beeld gebracht door Vincent Mentzel (‘Japan for example. The Country of Emerging Industry and Japanese Society as Portrayed by Vincent Mentzel’, NRC Handelsblad Kortschrift no. 28).

Mentzel takes a second trip to Tibet.

At the invitation of the instructor Dirk van der Spek, Mentzel, Catrien Ariëns, and Bert Nienhuis speak about their profession to students at the ‘School voor de Journalisitiek’ (‘School of Journalism’) on 11 November.

In the same month, Mentzel decides to stop with parliamentary photography based on his perception that his ties with politicians had become excessively close.


In February, Mentzel travels to Iran with Michael Stein to report on the celebration of the fifth anniversary of the Iranian Revolution and the situation under Ayatollah Khomeini.

Mentzel wins second prize in the category ‘Nature (series)’ at the World Press Photo Contest 1983 with three photos of men taking a sand bath at Turpan, an old Mohammedan city in the autonomous region Xinjiang Uygur in China. The prize is presented to Mentzel on 30 March by Prime Minister Ruud Lubbers at the New Church in Amsterdam.

Mentzel divorces. He moves from Mathenesserlaan 379 to Ungerplein 13a in Rotterdam.

In June, Mentzel covers Pope John Paul II’s visit to Poland. Together with Hugo van Rhijn (editor/reporter of the NOS News radio and television broadcasts) Mentzel publishes De paus van Polen; reis van een politieke pelgrim (‘The Pope of Poland: Travels of a Political Pilgrim’).

Mentzel and Hans Buddingh’, an editor of the ANP (Algemeen Nederlands Persbureau, ‘General Dutch Press Agency’), travel with Minister-President Ruud and Hans van den Broek to Central and South America (Venezuela, Brazil, Nicaragua, and El Salvador) on behalf of NRC Handelsblad.

In December, Mentzel receives the distinction ‘International Master of Press Photography’ from the IOJ.


Mentzel and Peter Martens are invited to shoot photos in Los Angeles for the book 24 Hours in the Life of Los Angeles. Mentzel’s subjects are a youth detention centre and the Los Angeles motorcycle club ‘The Chosen Few’.

In February, Mentzel is the secretary of the jury (without voting rights) for the World Press Photo Contest 1984.

Mentzel accompanies the minister of Development Cooperation, Eegje Schoo, to Mozambique, Tanzania, Kenya, Zimbabwe, and Sudan.

Mentzel travels to India and Pakistan, again with Minister Schoo as well as Prince Claus, who is made ‘Inspector General’ of Development Cooperation in this same year. After Indira Gandhi is murdered on 31 October 1984, the same group returns to India for the cremation. J.A. Deelder and Mentzel publish Stadslicht (‘City Light’), which includes poems about Rotterdam as well as photos of the city.

The exhibition Vincent Mentzel foto’s is held at the AMRO Bank on the Coolsingel in Rotterdam.

Mentzel is commissioned to make portraits of Prince Willem Alexander, who turns eighteen in April 1985. The photos are to be included in Renate Rubinstein’s book Alexander. Een impressie van de kroonprins bij zijn achttiende verjaardag (‘Alexander. An Impression of the Crown Prince on his Eighteenth Birthday’).


The first copy of the book (Foto Vincent Mentzel), with an introduction by Friso Endt, is presented to Prince Claus at Noordeinde Palace in The Hague in the presence of Wout Woltz and H.W.E. van de Velde (respectively, chief editor and director) of NRC Handelsblad.

Together with the writer Gerard Reve, Mentzel reports on Pope John Paul II’s visit to the Netherlands from 11 to 14 May on behalf of NRC Handelsblad. Reve’s and Mentzel’s contributions are compiled later in the same year in the publication Roomse Heisa (‘Roman Fuss’).

The exhibition Foto’s uit China (‘Photos from China’) is held at the building ‘Woudenstein’ of Erasmus University in Rotterdam.


In January, Mentzel accompanies Queen Beatrix and Prince Claus during their state visit to India, and on official visits made to several states within the country.


Mentzel plays the role of a photographer in episode 84 of the television series Zeg ‘ns AAA (VARA broadcasting company). The episode is broadcast on Dutch television on 19 January 1987.


Mentzel sits on the nine-member jury of the World Press Photo Contest 1987.

On 27 October, a Dfl. 0.65 postage stamp is released featuring a photo of Noordeinde Palace taken by Mentzel, with Kees Nieuwenhuyzen designing the typography.

In September, Mentzel photographs Minister Van den Broek, who meets with Lech Walesa, a leader of the Solidarność (‘Solidarity’) movement, in Warsaw, Poland.

The exhibition Foto’s van Vincent Mentzel is held at Rhoon Castle.

Mentzel refers to 1987 as the ’jaar van de automatisering’ (‘year of automation’): descriptions of his photos are no longer recorded in inventory books, but instead archived digitally.


Mentzel travels to China as a board member of World Press Photo for a retrospective of thirty years of press photography and the exhibition World Press Photo 1987 in Beijing. Ria Lubbers, the wife of Minister President Ruud Lubbers, opens the exhibition on 5 January 1988, together with China’s Vice Premiere Wan Li.

In March, Mentzel travels to Suriname with a delegation of Minister Van den Broek.

In the same month, Mentzel photographs in Vietnam on assignment for the Medisch Comité Nederland-Vietnam (‘Medical Committee Netherlands-Vietnam’), with the photos appearing in the publication Vietnam bestaat nog (‘Vietnam Still Exists’).

Based on a portrait of Queen Beatrix taken by Mentzel in 1980, Karel Martens designs one side of the fifty guilder commemorative coin (minted on the occasion of the year commemorating King/Stadtholder William & Mary). The portrait is produced with a computer at the University of Nijmegen, with small cone-shaped elements on the coin used to create a kind of gridding effect.

Mentzel travels to Turkey to photograph Koerdish refugee camps in Diyarbakir and Silopi, accompanied by the correspondent Frans van Hasselt.


In January, Mentzel travels to North Yemen with Piet Bukman, the minister of Development Cooperation.

Mentzel later accompanies Prince Claus and Bukman during their trip to Pakistan.

From mid-May to mid-June, Mentzel is in China. When student protests on Tiananmen Square are suppressed on 4 June, Mentzel calls in a report to the newspaper, which makes it to the NRC’s front page. Mentzel’s photo of a boy crushed under a truck run over by a tank arrives too late, but is as yet published the next day.

As a board member of the World Press Photo Foundation, Mentzel is asked to become a member of the jury of the IOJ, which meets this year in Baghdad, Iraq.

Mentzel is among seventy Dutch photographers invited to photograph the activities of the Dutch airline KLM on 21 June for the book De Wereld van KLM in 24 uur (‘The World of KLM in 24 Hours’), published in recognition of the 150th anniversary of photography and the 70th anniversary of the airline. For this project, Mentzel shoots photos in Cairo, Egypt.


On 5 September 1990, a postage stamp is released based on the subject ‘Honderd Jaar Oranjevrouwen’ (‘One Hundred Years of Orange Women’). For Queen Beatrix’s portrait, Mentzel’s photo from 1980 is used.


Mentzel is commissioned to shoot new royal court photos in recognition of the twenty-fifth wedding anniversary of Queen Beatrix and Prince Claus. The shoot takes place at the palace Huis ten Bosch in The Hague, from which a selection of several photos is later made by Queen Beatrix in consultation with the RVD.

Mentzel sits on the nine-member jury of the World Press Photo Contest 1991.

Mentzel reports on the consequences of the Gulf War (Desert Storm) in Iraq and Kuwait, together with Hans Marchen.

Mentzel travels to Pakistand and India, where he also photographs the cremation of the country’s assassinated president, Rajiv Gandhi.

During Minister Van den Broek’s visit to Romania, Mentzel, Dick Verkijk (NOS), and Raymond van den Boogaard (NRC Handelsblad) come into contact with Romanian dissidents. All three are arrested and detained for one night.


Mentzel moves from the Ungerplein to Heemraadssingel 291 in Rotterdam.

Mentzel departs for Croatia to report on the war of independence taking place there.

Mentzel travels to Suriname with Hans Buddingh’, as well to photograph the memorial commemoration of the country’s ‘December Murders’.


Mentzel travels to Cambodia to meet with Dutch marines stationed there in connection with the UNTAC peace mission in 1992.

In May, he travels back and forth to Hanoi (Vietnam), during a non-official visit to the city made by Prince Claus.


On 2 June 1995, Harry Groen opens the exhibition Faces of China at the Golden Tulip Barbizon Centre in Amsterdam.

In mid-June, Mentzel departs for Tanzania during a visit to the country made by Prince Claus and Prince Willem Alexander.

In August, Mentzel accompanies Queen Beatrix, Prince Claus, and Prince Willem Alexander during their state visit to Indonesia.

Mentzel is one of the tutors for a seminar given by the World Press Photo Foundation in Beirut, Lebanon.

Mentzel travels across Manchuria (China), together with the interpreter Monique Seykens.


Mentzel is one of the tutors for a seminar given by the World Press Photo Foundation in Beijing.

For the photo competition ‘Kijk op Kleur’ (‘Perspective on Colour’), organised by the SPPAR (Stichting Provinciaal Platform Antiracisme, ‘Provincial Platform Anti-Racism Foundation’) and the Verzetsmuseum Zuid-Holland (‘Resistance Museum South Holland’), Mentzel sits on a jury together with Anil Ramdas, Anneke van Veen, Felix de Rooy, and Willem Diepraam.


Vincent Mentzel is a board member of the Anna Cornelis Foundation.


Kunst Editions New York (Pablo van Dijk’s imprint) uses ten portraits of orchestra conductors—shot by Mentzel between 1977 and 1996—for a publication commemorating the twelve-and-a-half-year anniversary of ‘JBR Organisatie-adviseurs’ (a management consultancy firm) in Zeist, featuring a text by the Dutch writer Gerard Reve. The book, entitled Slager Crolus koopt een oude viool (‘Butcher Crolus Buys an Old Violin’), is presented to former Prime Minister Ruud Lubbers in Zeist.

Mentzel spends seven weeks in Hong Kong to photograph the city in the period just prior to the handover to China (30 June 1997).


On 3 March, Mentzel presents the book Excellente foto’s. 13 Minister-presidenten te kijk (‘Excellent Photos. 13 Minister Presidents on Show’) to Minister President Wim Kok.

In November, Mentzel is a jury member of the ‘Grondwetcompetitie fotografie’ (‘Constitutional Photography Competition’) in The Hague, a photo competition for young people organised to mark the 150th anniversary of the Constitution of the Netherlands.


On 28 February, Victorine Gemma is born, daughter of Nancy Tulner and Vincent Mentzel.

In June, Mentzel travels to Beijing at the invitation of the Chinese embassy. From there, he takes a trip around China. Photos from this trip are included in the book ’99 Focus on China. Photos by Foreign Photographers (Beijing 2000).

Mentzel travels to China for a second time in the same year to shoot photos in Shanghai.

On 12 November 1999, Mentzel awards the Pendrecht Cultural Prize as a one-man jury to the filmmaker Sonia Herman Dolz at the Rotterdam City Hall.


From January 1999 to December 2006, Mentzel is the editor of M, the colour supplement of NRC Handelsblad.


On behalf of the World Press Photo Foundation, Mentzel is a member of the international jury of the The 5th Shanghai International Photographic Art Exhibition.


Mentzel, the photographer Catrien Ariëns, and Ambassador Niek Biegman form the jury for the ‘Verybz photo competition’ (for employees of the Ministry of Foreign Affairs), held on On 23 January.

Mentzel travels to China, together with Floris van Luyn, a freelance correspondent with the NRC Handelsblad, to photograph peasants migrating from Hebei Province to the cities due to drought.

Mentzel travels to Sicily with editor Joyce Roodnat to shoot photos in Aci Trezza, the town where Giovanni Verga’s book I malavoglia (The House by the Medlar Tree, 1881) is set, as well as the location where Luchino Visconti shot his film La terra trema (‘The Earth Trembles’, 1948), based on the same book.

On 11 October, Mentzel opens the exhibition Maria Austria. Documentaire foto’s 1933-1970 (‘Maria Austria. Documentary Photos’) at the Jewish Historical Museum in Amsterdam.

2001–January 2010

Mentzel is a board member of FOAM (Photography Museum Amsterdam).


Vincent Mentzel and Nancy Tulner wed on 2 January.

Ca. 2002–Present

Mentzel rents a studio at Berkelselaan 44 in Rotterdam, where he establishes Fotostudio Vincent Mentzel.


In March, Mentzel travels to Brazil, where he photographs the state visit of Queen Beatrix, Prince Willem Alexander, and Princess Máxima.

Mentzel shoots a portrait of the mayor and the executive board of the city of Amsterdam in connection with an art project. The portrait is placed on display in the lobby of Amsterdam City Hall.


In May, Mentzel sits on the jury of the China Folklore Photographic Association, Beijing 2004.

Anja Ligtenberg invites Mentzel, Carel van Hees, and Patricia Steur to work with the blind and visually impaired according to ‘the painting with light method’ at a workshop given at the Las Palmas Restaurant in Rotterdam during the exhibition Seeing the Unseen.


In March, Mentzel is on a jury of the CHIPP (China International Press Photo) Contest 2004 in Shenzhen.

On 24 April, Mentzel opens the exhibition De onbekende Huf (‘The Unknown [Paul] Huf’) at the Stedelijk Museum Alkmaar.

Mentzel’s Portretten van Edward James, mecenas van Dali & Magritte (‘Portraits of Edward James, Patron of Dali & Magritte’) is shown as part of the exhibition Alles Dali (‘Everything Dali’) held at the Boijmans Van Beuningen Museum in Rotterdam. Accompanying the exhibition is the publication Een huis dat zingt. Het Mexicaanse droomkasteel van Edward James, mecenas van Salvador Dali en René Margritte (‘A House that Sings. The Mexican Dream Castle of Edward James, Patron of Salvador Dali and René Margritte’), featuring photos by Mentzel and texts by Gerrit Komrij, Rob Bartlema, and Arjen Ribbens.

Jan Riezenkamp, a former member of the Rotterdam City Council, donates two photos from the Edward James series to the Boijmans Van Beuningen Museum.


On 16 February, Vincent Icke and Mentzel conduct a debate at the Vlaams Nederlands Huis deBuren (‘Flemish/Netherlands House the Neighbours’) in Brussels, Belgium.

In March, Mentzel is a jury member at the CHIPP Contest 2005 in Shenzhen, China.

On 5 July, Mentzel starts a weblog on the website of NRC Handelsblad at the request of the newspaper’s editorial department.

Mentzel receives the Impact Portrait Prize.

Based on an idea of Wim Pijbes, the director of the Kunsthal in Rotterdam, Mentzel shoots photos at the Zestienhoven Airfield (present-day Rotterdam Airport) on the occasion of its fiftieth anniversary.

On 6 July, H.J.A. Hofland opens the exhibition ‘De mens achter de luchthaven’ . Fotoportretten van Vincent Mentzel (‘”The People Behind the Airfield”. Photo Portraits by Vincent Mentzel’), held at the Kunsthal in Rotterdam. A publication accompanies the exhibition, with a text written by Hofland.


In 2006, Ronald de Leeuw, director of the Rijksmuseum in Amsterdam, and Peter Sigmond, the museum’s Director of Collections, meet with Mentzel to discuss the possible acquisition of his work for the ‘Nationale Museum voor Kunst en Geschiedenis’ (‘National Museum of Art and History’). In September 2008, the (new) director of the Rijksmuseum, Wim Pijbes, announces that the museum intends to acquire Mentzel’s photos, in part because the museum in his view would be better able to profile itself as the Dutch National Portrait Gallery.

On Thursday, 9 July 2009, Mentzel’s slide and negatives archive is transferred from his home to a depot in Amsterdam, where it is to be stored on a temporary basis until it becomes clear which institution is going to oversee the archive.


The mayor of Rotterdam, Ivo Opstelten, names Mentzel as a Knight in the Order of the Netherlands Lion in acknowledgement of his efforts on behalf of photography and his years of supervisory board membership with the World Press Photo Foundation, the Anna Cornelis Foundation, and FOAM.

On 2 June, the Minister of State, Ruud Lubbers, opens an outdoor exhibition featuring the work of Mentzel (Mongolia photos) and Klaas Gubbels (sculpture) at the Zeeuwse Rozentuin (‘The Rose Garden of Zeeland’) in Kats.

On 6 June, Peter Rehwinkel, the mayor of Naarden, presents Mentzel with the Grote Paul Award 2007, a prize established by the PhotoDigitale Foundation to be awarded to the photographer who speaks most to the imagination according to a survey held among more than 1,400 fellow photographers.

During the ‘Big Party’ marking the occasion of the tenth anniversary of the ‘Big Brothers Big Sisters Foundation’ of Rotterdam (a Rotterdam foundation devoted to assisting children in need of a mentor), a ‘Big Picture’ is awarded via a lottery drawing held on 14 September 2007: a portrait photo to be taken by Vincent Mentzel.


On 6 June, Mentzel opens Gina Kranendonk’s exhibition Do me a garden, please! at FOAM in Amsterdam


On 20 March, Birgit Donker, chief editor of NRC Handelsblad, opens the exhibition Beelden voor de krant. Foto’s van Vincent Mentzel (‘Images for the Newspaper. Photos by Vincent Mentzel’) at the Museum Beelden aan Zee (‘Museum of Images/Sculptures at the Sea’) in Scheveningen. A publication of the same name, with an introduction by Hans Rooseboom, accompanies the exhibition.

In October, Mentzel and Hieke Jippes produce a reportage in Mexico on behalf of NRC Weekblad concerning the selling of ‘Nembutal’, a drug used for suicide.

Mentzel also travels to the Philippines on behalf of NRC Weekblad (‘NRC Weekly’), where he photographs families left behind by migrant workers.

On assignment for the Special Collections Department of the University of Amsterdam, Mentzel shoots photos in the Lebak Regency of Indonesia for an exhibition on Multatuli.


During the presentation of the Silver Camera awards on 24 January, Mentzel is interviewed as a special guest by Wilfried de Jong.

On 13 April, Mentzel shoots photos of Queen Beatrix for her new state portrait in the ‘Witte Eetzaal’ (‘White Dining Room’) and the garden at Huis ten Bosch. Three portraits are ultimately selected from this series.

On 29 May, Mentzel opens the exhibition Het onverbiddelijke moment. Op bezoek bij Plasterk (‘The Inexorable Moment. Visting with Plasterk’) at the Kunsthal in Rotterdam.

To commemorate Mentzel’s retirement, four pages with photos and commentary by Mentzel appear in each one of seven issues of ‘Zomer &cetera’, a supplement of NRC Handelsblad, from 10 July to 22 August. In November, the newspaper receives the European Newspaper Award for these pages.

On 16 September, Prince Constantijn opens the exhibition Kunst voor de camera. Fotografie van Vincent Mentzel (‘Art in front of the Camera. Photography by Vincent Mentzel’) at the Borzo Gallery in Amsterdam. Accompanying the exhibition is a special newspaper in a tabloid format, which includes the pages previously appearing in the newspaper supplement ‘Zomer &cetera’. The Kunsthal publishes Antony Gormley. Another time II. Event horizon, with photos by Vincent Mentzel.

On 1 October, NRC Handelsblad/, in collaboration with the Rijksmuseum, organises a farewell reception for Mentzel in the museum’s Philips Wing.

On 16 December, Mentzel opens the exhibition W. Eugene Smith. More Real than Reality at FOAM in Amsterdam.

On 31 December, the Rijksmuseum signs a contract confirming the acquisition of approximately 2,800 prints by Vincent Mentzel.


On 12 January, the ‘Stichting Vincent Mentzel Fonds’ (‘Vincent Mentzel Foundation’) is established with the funds obtained from the Rijksmuseum’s acquisition of Mentzel’s photos. In addition to Mentzel himself, Nicole Robbers and Peter Vandermeersch—respectively, photo editor and chief editor of NRC Handelsblad—are on the supervisory board. The foundation’s aim is to grant journalistic assignments to young and promising photographers.

From 5 March to 19 June, the exhibition Het oog van Nederland. foto Vincent Mentzel (‘The Eye of the Netherlands. photo Vincent Mentzel’) appears at the Kunsthal in Rotterdam, featuring an overview of Mentzel’s work. The exhibition is opened with speeches given by Ruud Lubbers and Loes Luca. City council member Korrie Louwes presents Mentzel with the ‘Erasmusspeld’ (‘Erasmus Pin’), an award given to those who have displayed a unique commitment to the city of Rotterdam. Accompanying the exhibition is a special issue of NRC Handelsblad in a tabloid format. As well accompanying the exhibition is a book designed by Irma Boom, entitled Foto Vincent Mentzel, with texts by Geert Mak and H.J.A. Hofland. Boom has chosen four portraits—Koningin Beatrix (‘Queen Beatrix’, 1980), Dennis Hopper (1991), Rosetta Crisafi (1966), and Chinese man die het Volksdagblad leest (‘Chinese Man who Reads the People’s Daily’, 1978)—for four different covers. Following the first edition of 2,500 copies, a second and third edition follow of 1,750 copies each. After the exhibition’s opening, Mentzel appears on various Dutch radio and television programmes, including De Wereld Draait Door and Kunststof TV to talk about the exhibition and the book.

On 10 May, Mentzel opens the exhibition ‘van Grote waarde – iconen van de post’ (‘of Great value – icons of the postal service’) at the Affiche Gallery in The Hague.

During the Schildersweek (‘Painters Week’) in Domburg from 29 May to 4 June, Mentzel shoots photos with the Apple iPhone app ‘Hipstamatic’ based on the week’s theme: In het Licht van Walcheren (‘In the Light of Walcheren’).

The book Foto Vincent Mentzel is included in an exhibition organised by the Fonds BKVK (Bond van Kunstenaars ter Verdediging van de Kulturele rechten, ‘Federation of Artists in Defense of Cultural Rights’) for the Beijing International Book Fair (BIBF), which opens on 31 August, as well as the 1st Beijing International Design Triennial, which opens on 28 September.

Mentzel is invited to fulfil a three-month position starting in September as a CP@TUD (Cultural Professor at the Delft University of Technology).

On assignment for ‘DIEP, Erfgoedcentrum Dordrecht’ (presently ‘Dordrecht Regional Archive’) Mentzel curates an exhibition on the Dordrecht press photographer Ad Molendijk, to take place in 2012.


Vincent Mentzel never had any formal training in photography. Following secondary school, however, he did study a number of years at the ABK (Academie van Beeldende Kunsten, ‘Academy of VisualArts’) in Rotterdam. As with many academies at this time, the first year was based on the teachings of the Bauhaus. Here Mentzel learned to work with form and colour and he obtained an eye for detail. He then went on to follow the programme in interior architecture. Because of friends, however, Mentzel spent more time in the advertising department, where he became fascinated with the photography being taught there. Following a conflict with the academy’s director, Pierre Janssen, based on the fact that he had completed an insufficient number of classes, Mentzel left the ABK.

By this time, Mentzel was working as a driver and assistant for an industrial photographer who had no driver’s license. Through the mediation of the actor Robert de Vries, a father of a friend, he found work as an assistant to Maria Austria—the theatrical photographer in the Netherlands—for twenty-five guilders per week in Amsterdam. Mentzel carried out various darkroom tasks, archived negatives, contacts, and prints, and kept things in order. On occasion, he was allowed to accompany her as an assistant, such as during performances of the Holland Festival. While handing Austria her cameras, changing film rolls, or moving lights around, Mentzel had every opportunity to ‘observe the art’. He saw how she prepared for a performance and saw which vantage points she chose in the auditorium or on the stage, how she dealt with actors, and sometimes how she staged a theatrical photo, and at which moments she took her shots. All of this experience taught Mentzel how to perceive with the eyes. At night, it was his task to develop the films and make the contact prints. He was then able to see how Austria selected her photos, which still had to be delivered to newspaper editorial departments that same night.

In numerous interviews, Mentzel relates how he was much inspired by Austria’s way of dealing with her subject and that he learned a great deal from her. Yet it was not an easy training. She frequently told him when things were incorrect and that he still had a great deal to learn. He would make dozens of prints based on a given example, but was told he had to start all over again, while Austria demonstratively threw his pile of photos into the waste bin. Austria herself used her hands and the light of the enlarger to achieve heavy black-velvet photos—Mentzel was expected to print them in the same way. He also learned the adage professed by photographers from the early decades of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’): a shot had to be taken in such a way that one could use the entire negative, with no need for cropping. Mentzel managed to continue working for Maria Austria for one-and-a-half years. He quit because their characters had clashed on too many occasions.

Mentzel’s friendships with two other photographers from the GKf—Ed van der Elsken and Paul Huf—were also important for his formation. Over Van der Elsken’s photography, he says: ‘Ed didn’t tilt his camera intentionally, but was just trying to get the full image to fit within his frame. “If it doesn’t fit, you have to make it fit and not take a step back,” he would say. I tried this too’. Mentzel admired Van der Elsken’s photos of jazz musicians and worked in this genre himself with verve.

In Paul Huf’s work, Mentzel admired the allure, the craftsmanship, and the highly individual style. While more brutal and perhaps more cheerful than Huf, a similarity can be observed in the way both photographers approach their sitters. Both treat their subjects with respect, in a certain sense placing them on a pedestal. One difference is that Huf usually shot ‘glamour portraits’ in the studio, while Mentzel photographs people in their own surroundings.

In the 1970s, Mentzel’s contact with John Morris was highly formative. Morris was a picture editor for the New York Times, who distributed Mentzel’s photos outside the Netherlands. He was critical in his approach, explaining why photos were either good or bad any time Mentzel happened to be New York.

After leaving Maria Austria in late 1968, Mentzel purchased a second-hand Nikon F camera with borrowed funds and subsequently established himself as an independent photographer in Rotterdam. He photographed events in the city and tried to sell his shots to the many newspapers existing at the time in the Netherlands (where he still had contacts through the work he had done for Austria). One example from this period is Mentzel’s shot of football (soccer) supporters during a game between the Dutch teams Feyenoord and Ajax at the Rotterdam ‘Kuip’ stadium on 3 November 1969: young men looking on with grave faces, dressed in traditional shirt and tie. A bottle of Oranjeboom beer (a Rotterdam brewery) held in the hand of one of them allows one to identify him as a fan of the Feyenoord football club—at this time still spelled ‘Feijenoord’. Mentzel also produced photo reportages, such as the photos he shot in Belfast, Northern Ireland, in the aftermath of Bloody Friday in July 1972, a series that made it into the NRC Handelsblad and other publications. In August 1972, he photographed the riots protesting against migrant workers in Rotterdam’s Afrikaander neighbourhood. Through Rob de Vries, Mentzel was able to photograph at locations such as the theatrical company Nieuw Rotterdams Toneel (‘New Rotterdam Theatre’). In his early years, Mentzel also shot portraits of writers and musicians: Gerard van het Reve in Greonterp (Friesland), Bertus Aafjes, the saxophone player Ben Webster at Jazz Club B14 in Rotterdam, and Sarah Vaughan taking a break between two performances at the concert venue De Doelen in Rotterdam. When one of Mentzel’s photos was published in a newspaper, he demanded that the citation ‘Foto Vincent Mentzel’ appear beneath each and every image. This was remarkable at a time when newspapers rarely mentioned the photographer’s name. Mentzel’s photo of Vaughan was one of his first ever published, on 10 November 1969 in the Social Democratic newspaper Het Vrije Volk (‘The Free People’).

To earn a regular income, Mentzel worked nights from 8 PM to 1 AM at the Nederlandse Dagbladunie (‘Netherlands Newspaper Union’) on the Witte de Withstraat in Rotterdam. There he worked with a cicero ruler to calculate the reduction or enlargement factor of photographs submitted to Het Algemeen Dagblad and the Nieuwe Rotterdamsche Courant, which he then sent on to the printing plate department. He also did darkroom work for freelance photographers at Het Algemeen Dagblad.

The NRC Handelsblad (set up in 1970 through a merger of the Nieuwe Rotterdamsche Courant and the Amsterdam newspaper Algemeen Handelsblad), which published Mentzel’s photos on occasion, was initially the last newspaper to assign photography any kind of prominent place. Not only were there very few photos found on its pages, but the shots were subordinate to the layout as well. The now famous photo of Den Uyl, at an election campaign gathering in Apeldoorn on 7 November 1972, was placed across two columns, made possible through a vertical crop of the shot: one could only see his head with the raised finger in front of it. Upon being selected as the ‘Best Dutch Press Photo’ at the World Press Photo Contest 1973 a couple of months later, the shot again appeared in numerous newspapers, this time with a crop in a horizontal format, with a man off to the right now vaguely perceivable. A closer inspection of the full negative reveals that Mentzel had chosen a vantage point with Den Uyl positioned in front of his own portrait on the election poster of the PvdA (the Dutch labour party), hanging on the wall behind him, with only the face of the party’s leader André van der Louw still visible in the background on the poster.

In the end, it was this photo of Den Uyl—initially defaced by the newspaper—that ensured Mentzel a permanent position at NRC Handelsblad in September 1973. From this point forward, the text ‘Foto NRC Handelsblad/Vincent Mentzel’ appeared under every one of his photos. Mentzel’s tenure with the newspaper would last until his retirement in 2010. From the time that Friso Endt described him as ‘staff photographer of the NRC’ in his book (Foto Vincent Mentzel) published in 1984, he has consistently been referred to by this ‘honorary title’ in exhibition catalogues, reviews, and interviews. Mentzel was the only photographer working for the newspaper as a staff member; photographers such as Leo van Velzen, Ton Poortvliet, Freddy Rikken, Bert Verhoeff, and many others have always furnished their shots to NRC Handelsblad on a freelance basis.

For the NRC, Mentzel shot photos in the Dutch parliament, as well as portraits of artists, writers, musicians, and other people in the news. He also photographed minor topics, such as a ‘postal delivery man in the Biesbosch’. Mentzel produced numerous reportages on assignment for the NRC while accompanying government representatives or members of the Dutch royal house abroad. At other times, he was sent to political trouble spots in the world: Portugal in the aftermath of the Carnation Revolution in 1974, Lebanon during a peace mission involving Dutch soldiers in 1979, Iran under Ayatollah Khomeini, India in 1984, Kuwait and Iraq in 1991, and Croatia in 1992.

Up until the late 1980s, sending news photos to the NRC Handelsblad from abroad was a complex logistical operation, sometimes requiring days. Mentzel was obliged to travel to press agencies such as Reuters, UPI, or AP, where there was transmission equipment for the so-called ‘telephotos’. With someone standing ready at a receiver back in the Netherlands, the scanned photos and a brief text could be sent by telephone via light signals transmitted onto thin photo paper. The image then had to be developed in the darkroom in Rotterdam. When student protests on Tiananmen Square were suppressed on 4 June, Mentzel transmitted photos to the newspaper. The photos arrived too late, but his written report made it on time and was subsequently published on the newspaper’s front page. The next day, Mentzel’s—horrifying—photo as yet appeared on the front page, showing a boy crushed beneath a truck that was being run over by a tank. A great deal of image quality was lost when sending photos across such great distances. For this reason, in situations involving less urgency, Mentzel would persuade a pilot or stewardess working for the KLM to take an envelope with unexposed film back to the Netherlands, where it could be finished at the newspaper.

In the thirty-seven years that Mentzel worked at NRC Handelsblad, he saw it evolve from a newspaper that published photos on a sporadic basis to become a trendsetter when it came to the implementation of photography during the 1970s and ’80s—despite the fact that printing technique and paper quality were by no means optimal for photos at this time.

For a while, designers like Willem van Zoetendaal and Kees Endenburg were able to make their mark in supporting a high regard for images in the newspaper. Several times each year, Mentzel was even given an entire photo page or was able to have a photo covering eight columns featured on the back page. Nevertheless, many of Mentzel’s interviews suggest that a conflict between the text and photo editors continues to exist when it comes to the designation of newspaper space, with photos often ending up as the final item. One determining factor was whether the chief editor had any feeling for photography. As a case in point, Mentzel cites a remark made by Joost van der Vaart, (acting) chief editor for a brief period in 1996: ‘You make a newspaper with pictures’. The late 1990s brought major leaps in technology, with the NRC even moving to full colour. Higher criteria were placed on photos in terms of sharpness and lighting, as the improved printing quality exposed these aspects of an image. All photos now had to be submitted in colour, with black-and-white shots being more the exception than the rule. In the newspaper’s Saturday supplement M, and later in the NRC weekblad (‘NRC Weekly’), space was allocated to reportages. From 1999 to 2006, Mentzel did the photo editorial work for M and viewed the magazine as a breeding ground for young photographers. Even at M, however, standing up to his ‘literary colleagues’ proved to be a difficult task. Initially, text and image were meant to be proportionally equal. When this was no longer the case, Mentzel decided to leave the editorial department.

Mentzel’s credo has always been that a newspaper should reserve sufficient space for photography because it serves as a testament of (world) events, often showing things that cannot be expressed in words and thus reflecting a time span. According to him, a shot can be called a journalistic photo when it depicts the news in a single glance. The event taking place has to be clearly visible. Mentzel reserves the right to include commentary in his photos, but leaves the cropping of photos to the designer in charge. Mentzel furnished both vertical and horizontal format images, from which the designer and the final editor were then able to choose.

The fate of a staff photographer is that many of his photos are never published in the newspaper with which he is associated. The NRC Handelsblad, however, was always open-minded enough to let Mentzel sell his photos to other competing publications, e.g. weekly and monthly magazines, publishers, and newspapers abroad. He had also made a deal that allowed him to deposit his photos with the press photo agency Hollandse Hoogte.

Mentzel comes from a family with a Liberal Protestant background combined with a social democratic ideology. His father was a pastor, while his mother was an active member in the Dutch labour party, the PvdA (‘Partij van de Arbeid’), initially as a city council member in Dordrecht and later as a member of the city’s ‘Culturele Raad’ (‘Cultural Council’). Mentzel himself was also a party member of the PvdA for many years. As a freelance photographer, he followed the PvdA’s campaign during the 1972 election year.

When Mentzel began working as a staff photographer for the NRC Handelsblad and was initially asked to shoot one photo a week at parliament, he was able to transform his interest in politics into photos. He became so caught up in the political game that in no time he was spending countless days and even many nights at the Binnenhof (‘Inner Court’, the seat of the Dutch parliament) in The Hague, working as a parliamentary photographer. He would continue to do so for a period of more than ten years. Photos (and other journalistic bits of news) were relayed via the so-called ‘treinpost’ (‘train postal delivery’), which involved sending a film or text furnished with a special postage stamp to Rotterdam by train, which was then subsequently delivered to the newspaper by courier. On occasion, Mentzel delivered the film in Rotterdam himself (traffic jams were still non-existent) to print a number of his photos and hand them over to the final editor by about 1 PM in the afternoon—a half hour before the newspaper was ‘sent down’ (the time at which the printing plates were sent to the printing presses in the basement). Once he was finished, Mentzel headed back to the Binnenhof. It was Mentzel’s salaried contract that allowed him to spend such long days working at parliament; unlike freelance photographers, who were paid on the basis of each separate shot.

Mentzel’s aim was by no means just to produce portraits of ministers and members of parliament for the newspaper: he wanted to capture the essence of the debate as well as its atmosphere—contradictions, despondency, anger, and joy. In this respect, he believed wholeheartedly in Cartier-Bresson’s ‘decisive moment’. He observed, listened, and waited, snuck behind the benches in parliament, ever probing with his camera, while following the debates and budget negotiations, typically from the beginning to the end, until he spotted the one image that conveyed the tension of political interaction.

Mentzel took many of his shots with a 20 mm wide-angle lens. Consequently, his photos are not necessarily a portrayal of any one politician, but especially that person’s interaction with the house chamber. In De Revisor, he describes his photo of Ruud Lubbers laughing with a group of his own party members: Mentzel focused in on how, in contrast to the other parties, members of the Christian-democratic party CDA would often gather together when someone was elated or distressed. This photo and other parliamentary photos also demonstrate that, during this period, he introduced an element of drama by printing in high contrasts and as well relying on dodging and burning. He believed that photos should be able to reflect an opinion, i.e. provide commentary—just as in a written article. When Minister Irene Vorrink addressed the almost empty and disinterested House with what Mentzel saw as a lack of insight during the so-called ‘Rhine Debate’, he made the chamber appear drearier by burning the photo. At the same time, he used dodging in order to emphasise the minister’s isolated position.

Starting in 1975, guidelines for photographing in parliament were enforced by the ‘Afdeling Voorlichting’ (‘Information Department’): those with a ‘blue badge’ were granted access to many of the rooms in the building of the House of Representatives and were allowed to shoot photos almost anywhere. This enabled Mentzel to take a photo, for instance, of Den Uyl talking to Ed van Thijn in the corner of a stairwell. Because the shot was taken at a distance with a wide-angle lens, it looks like the two politicians are standing alone in the building in the midst of sharing a big secret. As well in the house chamber itself, shots were allowed to be taken of members of parliament and the cabinet, as long as no tripod was used and the photographers were in no way blocking the line of view between the chairman, the ministers, and those who were speaking. Yet there was one place where the lens cap was not to be removed. It was a space separated from the hearing room by green curtains, where the politicians smoked and conducted their one-on-one conversations. On 18 November 1981, Theo Joekes (of the VVD, the Dutch conservative-liberal party) requested that the Presidium of the House of Representatives reprimand Mentzel because photos had been published in the NRC Handelsblad that day that had been taken behind the ‘left’ curtain. In one of Mentzel’s photos, politicians could be seen behind the curtain, including a senator of the political party D66, who, according to the customs of the House of Representatives, had no business being there. In another photo appearing on the front page of the same newspaper, one could see the leader of the PvdA, Wim Meijer, explaining his party’s motion against the cabinet’s plans to deploy nuclear weapons to the minister concerned. ‘Even parliament members have a right to a professional-private living environment’, Joekes had stated. Remarkably, one of the arguments in favour of a reprimand was that the photos in the NRC could potentially create a precedent, considering the ‘Mentzel’s status’.

A survey conducted by Addy Kaise concerning the relationship between journalists and members of parliament (1985) showed that every participant was a reader of the NRC Handelsblad. It was therefore clear that politicians at this point in time were familiar with Mentzel’s photos. This also meant that many ministers and members of the House and Senate could anticipate the possibility of a photo being placed on the newspaper’s front page. Consequently, Mentzel often drew a parallel between parliamentary and theatrical photography. During the 1970s, politicians were becoming much more aware of the power of images. Whenever a photo or television camera entered their vicinity, they tried to create an interesting ‘stage persona’ by assuming a certain pose, facial expression, and making some kind of gesture. He witnessed this phenomenon particularly among ministers and ministers of state, who only showed their faces in the House ‘to put on a performance’. In Mentzel’s view, politics was also theatre, with every politician playing a certain role. In a 1982 interview with Matt Dings, Mentzel observed: ‘I sometimes also think: I should actually have quit. Politicians began to really play up to the media. Under the influence of television, it’s only been in the last five years that photography has penetrated deeply into politics, with photographers abandoning football stadiums for parliament en masse, because that’s where the money’s to be made. Since then, entire shows are being put on. Politicians know: if I lie down, then I get a three-column article; if I do a handstand, it will be a big vertical photo.’ Mentzel illustrated this with a photo he took on 12 October 1981: the politician Hans Wiegel, surrounded by several photographers, pompously places his hands in his side while defiantly explaining to parliament how the failure of Van Agt’s second cabinet to produce a policy declaration is a ‘disgraceful display’. The Chairman of the House, Dick Dolman, sitting behind his governing table, seems to be more interested in the photographers than in Wiegel. The next day, this photo and three other shots were published in the newspaper, accompanied only by a brief text. In this case, the final editor had given all credit to photos themselves, seeing no need for additional commentary made by a journalist. That this role-playing ended once it left the House chamber, and that politicians dealt with their ‘opponents’ in an entirely different way, was a topic that Mentzel also captured. He knew some of these politicians very well, as he had accompanied some of them on trips abroad. This also gave him the opportunity to shoot photos behind the scenes. One famous example is a photo of the minister of Foreign Affairs, Christiaan van der Klaauw, sleeping in the government jet, a Fokker F28 PH-PBX.

In the 1980s, Mentzel became aware that he had already been working at the House of Representatives for almost ten years and, because of his amicable dealings with politicians, that with the passing of time he had lost the distance required to do this kind of work. Consequently, he decided to quit parliamentary photography. In various interviews, Mentzel described one specific moment that had shed definitive light on the fact that he had been working too long in the parliament: while walking across the empty Binnenhof talking with Ruud Lubbers, the new prime minister, who was carrying the government’s policy declaration under his arm, Mentzel never thought to take a photo. It was an incident that clearly proved he had grown too accustomed to such events. It would not keep him from shooting photos of the so-called ‘RSV debate’ one year later.

In retrospect, Mentzel states that, in his view, parliamentary photography was more satisfying in the past because one had more freedom as a photographer and because the extremes in politics were more substantial. Those extremes were perhaps also the reason why photographers in Amsterdam saw his photos as being insufficiently left wing. After all, Mentzel worked for a conservative-liberal newspaper.

Mentzel produced numerous portraits for NRC Handelsblad: state officials and ambassadors, artists and writers, jazz musicians and orchestra conductors, professors and students, and representatives of many other professions sat for his camera. Some of them already had their own standardised image of how they wished to be portrayed before even being approached. As early as 1988, Mentzel states in an interview that, because his photos are well known and made for a newspaper, people often think the shoot will take only a few minutes. In Foto Vincent Mentzel, Irma Boom has included a large number of portraits and introduced a classification based, not on the year or theme, but on visual rhyming. This gives rise to the perception that a constant exists in how Mentzel portrays his subjects: fiddling with eyeglasses, gesturing with the hands, or making big gestures with the arms. In reality, however, he devotes substantial time to stepping into his sitter’s shoes in order to discover why each person manifests himself in a certain way. This he does even more emphatically when it comes to artists: Mentzel’s desire is to ascertain—to the maximum extent possible—why someone writes, paints, or sculpts in a given way. With portraits of politicians, he generally maintains a broader, more critical distance. He tries to portray most of his sitters as natural as possible, using available light. For others, he chooses very specific poses, as with his portrait of the writer Herman Koch, who lies in the grass on his stomach with one leg slightly raised, or the artist Ger van Elk, portrayed jumping in the air in front of a wall at the Boijmans Van Beuningen Museum in Rotterdam.

From the time he accompanied Princess Beatrix and Prince Claus to China in 1977, a certain bond arose between Mentzel and the royal house. His contact with Prince Claus—as well a passionate photographer—was especially good. Having demonstrated that he would never betray their trust, Mentzel was chosen on various occasions to photograph members of the royal family. The title ‘staff photographer of NRC Handelsblad’ was consequently redubbed by some as ‘royal court photographer of NRC Handelsblad‘. The two photos—with which every Dutchman is familiar, albeit unconsciously—are two portraits that serve as the basis for the new coinage and postage stamp that had to be made following Queen Beatrix’s coronation in 1980. On assignment for the DEV (Dienst Esthetische Vormgeving, ‘Department of Aesthetic Design’) of the PTT (the former Dutch national postal, telegraph, and telephone company), Mentzel shot several portraits of the queen at Drakensteyn Castle on 14 November 1980. Four artists and designers—Jaap Drupsteen, Walter Nikkels, Marte Röling en Peter Struycken—were given permission to use these portraits for a sketch design, which, according to the project guidelines, they were ‘allowed to modify, or to apply as the motive for a self-executed project’. The definitive portrait for this permanent postage stamp had to be timeless in its depiction. In the end, Struycken’s design with a smiling queen was chosen, in part because it had been digitally procured—then considered to be a technique ‘of the times’. With the help of a computer in the ‘Patroonherkenning’ (‘Pattern Recognition’) department at the TH Delft (Technische Hoogeschool, ‘University of Technology’), the portrait was constructed from separate points placed at varying distances. These points likewise served as the grid for the copper intaglio printing process. The portrait of the queen that Mentzel showed for the first time in 2011 on one of the covers of his book Foto Vincent Mentzel—where her smile says more than just a smile—was incidentally also shot during the same session at Castle Drakensteyn.

In December 1980, Mentzel shot several profile portraits of the queen at a shoot set up at the palace on the Lange Voorhout in The Hague, during the preliminary stages of producing a new Dutch coin. Bruno Ninaber van Eyben’s sketch design was chosen from among the eight artists invited to participate. One of Mentzel’s profile portraits was used as a starting point for Ninaber van Eyben’s final design, in which the lines of Beatrix’s characteristic hairstyle were given greater prominence.

In 1984, Mentzel was chosen to take portrait shots for a book by the writer Renate Rubinstein, to be released on the eighteenth birthday of Prince Willem Alexander. Mentzel himself arranged a number of visits for the prince, including a boat trip in the harbour of Rotterdam and a tour of the Boijmans Van Beuningen Museum, during which the photos were taken. He was also given an opportunity to photograph the prince in his own private living quarters, as well with his brothers. Mentzel also made portraits of the entire family. At the 2011 exhibition held at the Kunsthal in Rotterdam, Mentzel exhibited one of the more intimate shots from these sessions, with Queen Beatrix reading on the steps—while having to wait—as her dog looks on.

Mentzel has photographed on assignment for the NRC Handelsblad in virtually every country. China made the biggest impression on him, to which he travelled on sixteen different occasions, but by his own account based on a love–hate relationship. In the 1970s, virtually no one went to China, with the exception of ‘fellow travellers’. In the years following the Cultural Revolution, the country gradually began opening its borders to visitors from the West in the aftermath of President Nixon’s visit in 1972. In November 1973, a trade delegation from the Netherlands accompanied the minister of Economic Affairs, Ruud Lubbers, to China. Mentzel, who had been working with the NRC for only two months, was the sole Dutch photographer invited to accompany the delegation. In a 1979 interview, he said the following about his first encounter with the country: ‘Once you’re suddenly in that country, you think you’ve landed on the moon. Everything is different. It smells different. The light is different. A different blue, a different red. (…) You stay at those immense hotels that were built by the Russians. You’ve turned your passport in. Nothing else can happen to you. You take everything as it comes. You feel a kind of resignation come over you. You also start eating very slowly. In another country you’re always rushing around, because you still have so much to see. But here you know you won’t miss a thing. No sooner and no later.’ Indeed, the itinerary was tightly organised and highly monitored, as well with appointed guides. Yet it was not just a sense of resignation that overcame Mentzel. The journalist Peter Schumacher, who was traveling with Mentzel at the time, described in the NRC Handelsblad in 1978 what an irritation the itinerary had been for Mentzel and how he had driven his guides crazy by running off to photograph subjects that were not part of the official programme. His hosts’ intention, however, had been that only those selected in advance were to be photographed. In Marc Riboud’s book The three banners of China (1966), Mentzel later recognised a woman sitting in her house at a table, confirming for him that all of the Western visitors had been led past the same families. He too had taken a similar photo of the same woman, but together with her husband. In 1976, the Dutch translation of Ombres Chinois (Chinese Apparitions), written by the Belgian Sinologist Simon Leys (pseudonym of Pierre Rijckmans), was released in the Netherlands. In the press, heated discussions about the book ensued, with the writers Renate Rubinstein and Rudy Kousbroek pitted against the Mao supporter Willem Wertheim, who accused Leys of being reactionary. In Wertheim’s view, Leys had painted Mao Zedong as a despot and had made claims that, during the Cultural Revolution, some of the country’s cultural monuments had been intentionally destroyed for political reasons. Mentzel identified with Leys’ analysis regarding the oppression in China, as well the propaganda machine established for the benefit of Western travellers. But he also recognised the cities and landscapes as they had been described: numerous issues he too had observed during his first visit to the country.

In 1977, Mentzel went a second time to China—following Mao Zedong’s death in 1976, with the country then was optimistically being referred to as the ‘new’ China—during a visit made by Princess Beatrix and Prince Claus. On this trip he was able to shoot more cityscapes and street scenes, with people in situations that were not posed, than during his first stay in 1973. In Mongolia, which was only recently opened up to foreigners, Mentzel also did a photo reportage featuring several horsemen who put on a show with a revolutionary theme on the princely couple’s behalf. In the following year, these photos were awarded first prize at the World Press Photo Contest 1978. Mentzel later recognised some of the same horsemen in Eve Arnold’s book In China published in 1980, and learned that Riboud had also seen this folkloristic group back in 1966.

In 1978, an exhibition of Mentzel’s China photos was organised at the Boijmans Van Beuningen Museum in Rotterdam. Walter Nikkels’s exhibition design was based on ‘photo streets’, with images hanging on steel cables as a reference to the newspaper walls protesting against the ‘Gang of Four’ in Chinese cities.

After withdrawing from the Dutch political scene in The Hague in 1982, NRC Handelsblad sent Mentzel abroad to make major reportages. He returned to China on numerous occasions. Each time, he saw his street scenes changing: the Mao suits vanished from the photos he took during every visit to Beijing, depicting families posing at the Forbidden City, with people eventually wearing stylish clothing. The country appeared to be on its way to becoming more modern. While in Beijing during the months of May and June 1989, when preparing for Queen Beatrix’s visit, Mentzel witnessed the student riots on Tiananmen Square (the ‘Square of Heavenly Peace’). He telegraphed photos to the newspaper, including a soldier standing in front of a tank and directing it into position. The bitter connotation of Mentzel’s shot is strengthened by its similarity to Jeff Widener’s (AP) iconic photo Tank Man, which depicts a student trying to stop a number of tanks. It would be more than six years before Mentzel again felt any desire to return to China after his visit in 1989.

With Maria Austria, Mentzel learned to photograph with his own second-hand Rolleicord, which had no light meter. This enabled him to master what many Dutch photographers—besides Austria, people like Eva Besnyö and Carel Blazer—had done in the immediate aftermath of the war: gauging the lighting based on one’s intuition and adjusting the exposure time and diaphragm accordingly. When at a later point Mentzel turned to 35mm cameras, including the Nikon F during his days as a freelance photographer, he long continued to work on an intuitive basis.

For many years, Mentzel also applied the technique of ‘pushing’ film, a trick Austria had learned from Aart Klein and subsequently passed on to her assistants. By exposing film in the same manner as film with a higher light-sensitivity, and then finishing it using a fairly warm developer, one could even photograph at night without a flash. The end product was sometimes a bit unpredictable and always resulted in a coarser grain—a predominant characteristic of reportage photography that would remain for quite some time.

In most cases, Mentzel’s portraits are shot, not by setting up lighting and reflection screens, but with available light. Queen Beatrix’s portrait used for the postage stamp, for example, was taken near a window at Castle Drakensteyn. Prince Claus assisted him by removing a lampshade from a lamp and holding it up near his wife’s head. For Mentzel, trying to get the same natural effect as with daylight is difficult when introducing extra lighting. When shooting state portraits of Queen Beatrix in 2010, however, he did resort to lighting. The Rotterdam photographer Levien Willemse, his apprentice at this time, then assisted him.

Mentzel usually works with a 80-200 mm zoom lens or a 20 mm wide-angle lens. The use of a wide-angle lens, such as at the House of Representatives, gave his work a highly recognisable style that could not be appreciated by everyone. In an article published in the magazine Vrij Nederland bearing the title ‘Hevige perspectieven’ (‘Severe Perspectives’), Mariëtte Haveman voiced her critique of Mentzel’s book from 1984. Haveman felt the wide camera angle of view had been used too much as a special effect. The reportage photos in the book did have her approval, however, as they displayed more calm and spaciousness.

Mentzel often heightened the drama of his photos in the darkroom, by manually enhancing the brightness of certain areas on the negative (‘dodging’) or by doing exactly the opposite, i.e. obscuring insignificant details (‘burning’). This involves a form of retouching, albeit not with a brush or pen, but with light. In doing so, the technique gave rise to powerful, but sometimes rather dreary images, with heavily burned skies or backgrounds. This was, incidentally, a method more frequently practiced by photographers in the 1970s and ’80s, which Mentzel had been taught by Maria Austria. In the 1980s, Mentzel’s work became lighter.

Mentzel was a typical black-and-white photographer for many years, in part because the newspapers incapable of publishing colour photos. When making features or reportages abroad, however, he always had a slide film camera on hand. As a result, Mentzel’s archive includes hundreds of slides shot during his travels in China, Japan, and Suriname.

During his trips, Mentzel also photographed with a Polaroid camera, as can be seen in a 1980 photo of a Tibetan monks on the roof of the Potala Palace in Lhasa (Tibet), holding a polaroid photo shot by Mentzel in their hands. In De Revisor (February 1981), he told how he was offered money and gifts in exchange for such a photo. He then went on to say—somewhat ashamedly—that, in such a case, a polaroid photo works just as a mirror once did in the colonies, adding that you could give something in return for the portraits you had taken of them without asking their permission.

Mentzel viewed the rise of digital photography with trepidation. Around 2000, the darkroom at the newspaper disappeared, with all images thereafter to be submitted in a digital format. In 2001, Mentzel began making a gradual shift by shooting digital photos on occasion. Yet for quite some time he would continue to do double work: negatives were shot in analogue format, but then digitised for the editorial department. Mentzel was obliged to learn digitisation on his own. Due to a lack of experience, he erroneously compiled his archive based on JPEG files for a number of years. In 2003, the proportion of digital to analogue in Mentzel’s work was still fifty-fifty, only to shift in favour of digital in the ensuing years. Starting in 2006, he was working entirely in digital, with all of his files stored in the RAW file format. The digital era has shaken the foundation of photojournalism. Photojournalists have been laid off at the major international newspapers for having manipulated their photos—through the use of image-processing programmes like Photoshop—with visual elements either edited in or omitted. Mentzel supports the unwritten rule that manipulation in the days of the darkroom, e.g. the lightening or darkening of an image, is the only thing allowed in the processing of a digital image. When it comes to digital image manipulation for exhibitions and other major projects, Mentzel receives advice and assistance from Hilko Visser, a photographer and graphics processing professional. While no longer deficient in the area of digital photography, Mentzel still catches himself thinking in terms of ‘full rolls of virtual film’: capturing his subject automatically in the standard thirty-six shots.

Mentzel is also an enthusiastic user of the Apple iPhone app ‘Hipstamatic’, and together with Femke Hameetman and the freelance journalist Frank van Dijl, a co-initiator of an exhibition of Hipstamatic photos at the Kunsthal in Rotterdam in 2011.

Mentzel has always had an eye for the interests of photographers and photography. His love of the photographic medium is substantial, particularly when considering the amount of time and energy he has put into improving the infrastructure of photography. Mentzel was on the management board of the NVF (Nederlandse Vereniging van Fotojournalisten, ‘Netherlands Association of Photojournalists’) for a period of six years, on the board of the Rotterdamse Kunststichting (‘Rotterdam Art Foundation’) for a period of five years, of the Peter Martens Foundation for five years, of the Anna Cornelis Foundation for ten years, and on the advisory committee of the W. Eugene Smith Memorial Fund for more than thirty years. Each management board has profited greatly from Mentzel’s substantive personal contribution and expertise. As a board member of the NVF, he argued for a national press card for photojournalists, in light of problems affecting members of the press that surfaced during hostage situations occurring in 1976. In the twenty-five years that Mentzel served as a board member of the World Press Photo Foundation, he also functioned as the secretary of the international jury on several occasions. Through his sizeable network, he managed to persuade important international photographers and editors, as well as his own contacts in the political world, to lend their moral and financial support at a time when the foundation was facing difficulties in the 1970s and ’80s. When the Wertheim legacy once again intensified the never-ending polarity between the cities of Amsterdam and Rotterdam in 2000, Mentzel was asked to be on the board of a planned museum for photography in Amsterdam. As a nationally renowned photographer from Rotterdam, he was able to apply his amiable and professional approach in convincing others of the importance of looking beyond the borders of one’s own city in order to accomplish a solid infrastructure for Dutch photography. From 2001 to 2010, he was a member of the managing board of FOAM (Photography Museum Amsterdam).

In addition, Mentzel was a respected member on countless juries, both in the Netherlands and abroad. He was also very interested in photojournalism in countries where the profession was under attack—hence his participation as a tutor in two workshops given by the World Press Photo Foundation, specifically, in the cities Beirut and Beijing.

Mentzel has also worked in the interest of young photographers, serving both as a source of information and a stimulus. During his period as editor of the NRC‘s Saturday supplement M, he was able to ensure that photo documentaries produced by a number of—typically young—photographers, made possible through funding from the Anna Cornelis Foundation, were seen by a larger audience by publishing their work in the magazine. On 12 January 2011, the Vincent Mentzel Fonds (‘Vincent Mentzel Foundation’) was set up with the aim of giving journalistic assignments to young promising photographers, financed with funds derived from the Rijksmuseum’s acquisition of Mentzel’s photos.

In 2007, Mentzel was named a Knight in the Order of the Netherlands Lion for his dedicated effort on behalf of photography.

A major exhibition was held in 2011 at the Kunsthal in Rotterdam, featuring more than 800 of Mentzel’s photos, divided into twenty-four themes and exhibited in the form of prints, projections, and published material. The exhibition confirmed beyond doubt that Mentzel, with his great eye for detail, had managed to create a comprehensive picture of the 1970s. For this reason, he refers to himself preferably as a photojournalist rather than a press photographer.

The book Foto Vincent Mentzel defines Mentzel’s role as the quintessential portrait photographer of important political and cultural figures in the Netherlands. His photos display the face of power. Although his reportage work appears to be somewhat less well-known—the tragedy of a photographer associated with a newspaper—his archive holds tremendous value.

In addition to his work for the NRC Handelsblad, Mentzel has worked on numerous other important photo assignments, with his photos for the Dutch royal house most certainly falling under this category.

When one conveys the impact of Mentzel’s photography in terms of a simple calculation: he shot thousands of photos for a newspaper with a circulation of more than 200,000 newspapers each day for a period of forty years. The name of ‘Vincent Mentzel’, which appeared beneath every photos published in the NRC Handelsblad, is therefore likely to have been seen by the newspaper’s readers in excess of 1.6 billion times.


Primary bibliography

Vincent Mentzel (foto’s), Ulster na “Bloody Friday”, in NRC Handelsblad 29 juli 1972, Zaterdags Bijvoegsel, p. 1.

Vincent Mentzel (foto’s), Heusden komt weer tot leven, in NRC Handelsblad 11 mei 1973, p. 9.

Vincent Mentzel (foto’s), Felle demonstratie tegen Portugese CP in Braga, in NRC Handelsblad 11 augustus 1975, p. 1, 5.

Peter R. van Dijk (tekst) en Vincent Mentzel (foto’s), Verzet in Portugal groeit, aarzelaars geven doorslag, in NRC Handelsblad 11 augustus 1975, p. 7.

Vincent Mentzel (foto’s), Suriname: statuut adjosie, in NRC Handelsblad 27 oktober 1975.

Vincent Mentzel (foto’s), Van der Stoel in Praag, in NRC Handelsblad 3 maart 1977, p. 1, 9.

Vincent Mentzel, China, Rotterdam (Rotterdamse Kunststichting) z.j. [1978] (serie: Sonde Special).

Vincent Mentzel (foto’s), China ‘moderniseert’: Lenin wijkt voor Gregory Peck, in NRC Handelsblad 25 november 1978.

Vincent Mentzel (foto’s), Lang leve de opera, in Nieuwe Revu (24 augustus 1979) 34, p. 22-25.

Vincent Mentzel (foto’s), China nu – boze boeren, dominees, stratemakers, besjes, bal, in NRC Handelsblad 22 september 1979.

Vincent Mentzel (tekst en foto’s), Patiënt in Peking, in Panorama (16 november 1979) 46, p. 54-55.

Vincent Mentzel (foto’s), Dag grote oom, in Panorama (16 november 1979) 46, p. 58-63.

Rob Bartlema (tekst) en Vincent Mentzel (foto’s), Voor onze Chris bestaat geen protocol, in Panorama (28 maart 1980) 13, p. 54-59.

Vincent Mentzel (foto’s), Voor het laatst de grote vier, in NRC Handelsblad 25 mei 1981.

Susette Ternent Cooke en Christina Jansen (tekst) en Vincent Mentzel (foto’s), Tibet. Op reis in een verboden land, in Bijvoegsel Vrij Nederland (25 juli 1981) 30, omslag, p. 3-13.

Vincent Mentzel (tekst en foto’s), De auto van het staatstoerismebureau als koek en zopie. Een westerling in Mongolië, in NRC Handelsblad 26 januari 1982, speciale bijlage.

Vincent Mentzel (tekst en foto’s), En even buiten Tokio loopt de weg dood…, in NRC Handelsblad 3 juli 1982, Zaterdags Bijvoegsel.

Hugo van Rhijn (tekst) en Vincent Mentzel (foto’s), De paus van Polen; reis van een politieke pelgrim, Bussum (De Haan) 1983.

J.A. Deelder (tekst) en Vincent Mentzel (foto’s), Stadslicht, Rotterdam (Kreits) 1984.

Friso Endt (inl.), (Foto Vincent Mentzel), Weesp (De Haan) 1984.

Vincent Mentzel (foto’s), Vietnam 12 jaar later, in NRC Handelsblad 3 april 1987, p. 5.

Antoon Claassen e.a. (tekst) en Vincent Mentzel (foto’s), Vietnam bestaat nog, Amsterdam (Medisch Comité Nederland-Vietnam) 1988.

Frans van Hasselt (tekst) en Vincent Mentzel (foto’s), Gif kwam als ‘groene rook, die alles aantastte’, in NRC Handelsblad 14 september 1988, p. 1, 7.

Vincent Mentzel, “Fotojournalistiek is niet dom plaatjes maken bij een artikel”, in World Press Photo Newsletter herfst 1988, p. 1-2.

Vincent Mentzel, Tony Saich en Frenk van der Linden e.a., Hemelse vrede. De lente van Peking, Amsterdam (Balans) 1989 (met foto’s).

Vincent Mentzel (foto’s), Koeweit na de bezetting, in NRC Handelsblad 11 maart 1991, p. 11.

Gijsbert van Es, J.H. Sampiemon en Laura Starink (red.) en Vincent Mentzel en Nicole Robbers (beeldred.), Door onze redacteuren. NRC Handelsblad 1970-1995, Amsterdam (Balans) 1995 (met foto’s).

Kees van der Malen (tekst) en Vincent Mentzel (foto’s), Terug naar Tanzania, in NRC Handelsblad 17 juni 1995.

David Lyons (tekst) en Vincent Mentzel (foto’s), King Country, in Holland Herald 30 (juli 1995) 7, p. 16-24.

Vincent Mentzel, Boeken terugzetten. Sidra van een leek, in Nieuw Israelietisch Weekblad 16 augustus 1996, p. 17.

Gerard Reve (tekst) en Vincent Mentzel (foto’s), Slager Crolus koopt een oude viool, New York (Kunst Editions) 1997.

Jannetje Koelewijn (tekst) en Vincent Mentzel (foto’s), Geloof en geld, in M september 1999, p. 42-49.

Vincent Mentzel (tekst en foto’s), New York. Stars, Stripes and Bad Vibes, in M september 2002, omslag, p. 5, 24-37.

Paul Andersson Toussaint (tekst) en Vincent Mentzel (foto’s), De Rotterdamse grachtengordel, in M januari 2003, p. 52-64.

Gerrit Komrij, Rob Bartlema en Arjen Ribbens (tekst) en Vincent Mentzel (foto’s), Een huis dat zingt. Het Mexicaanse droomkasteel van Edward James, mecenas van Salvador Dali en René Margritte, Rotterdam (NRC Handelsblad) 2005.

Michel Kerres (tekst) en Vincent Mentzel (foto’s), De bekrompen burger heeft gewonnen, in M februari 2005, p. 29-32.

Vincent Mentzel, Paus [rubriek], in NRC Handelsblad 8 april 2005.

Hans Buddingh’ (tekst) en Vincent Mentzel (foto’s), Barsten in België, in M augustus 2005, p. 47-56.

H.J.A. Hofland (tekst) en Vincent Mentzel (foto’s), De mens achter de luchthaven, Rotterdam (NRC Handelsblad/Rotterdam Airport/Kunsthal) 2006.

Jutta Chorus (tekst) en Vincent Mentzel (foto’s), Tussen ons waren en zijn geen verrassingen, in M mei 2006, omslag, p. 34-41.

Mark Boog (tekst) en Vincent Mentzel (foto), Gedichtendag, in NRC Handelsblad 25 januari 2007, p. 5.

Marcel Haenen (tekst) en Vincent Mentzel (foto’s), Tien kleine karmelieten in Brazilië, in M juli 2007, p. 44-56.

Vincent Mentzel (tekst en fotografie), Atelier als Muze, in Vivant. Magazine van ABN AMRO (zomer 2008) 2, p. 18-25.

Hans Rooseboom (inl.), Beelden voor de krant. Foto’s van Vincent Mentzel, Scheveningen (Museum Beelden aan Zee) 2009.

Hans Rooseboom (inl.), Beelden voor de krant en MC Haaglanden. Foto’s van Vincent Mentzel, Scheveningen (Museum Beelden aan Zee) 2009.

Elske Schouten (tekst) en Vincent Mentzel (foto’s), Mensen voor de export, in NRC weekblad 10 oktober 2009, omslag, p. 8-13.

Hieke Jippes (tekst) en Vincent Mentzel (foto’s), Reis naar het einde, in NRC Weekblad 14 november 2009, omslag, p. 10-15.

Wim Pijbes (tekst) en Vincent Mentzel (foto’s), Antony Gormley. Another time II. Event horizon, Rotterdam (Kunsthal Rotterdam) 2010.

Vincent Mentzel (foto’s) en Gijsbert van Es (red.), Foto Vincent Mentzel, in Zomer &cetera. NRC Handelsblad Weekblad & Wetenschap 10/11 juli 2010, p. 2, 23-26.

Vincent Mentzel (foto’s) en Gijsbert van Es (red.), Foto Vincent Mentzel, in Zomer &cetera. NRC Handelsblad Weekblad & Wetenschap 17/18 juli 2010, p. 21-24.

Vincent Mentzel (foto’s) en Gijsbert van Es (red.), Foto Vincent Mentzel, in Zomer &cetera. NRC Handelsblad Weekblad & Wetenschap 24/25 juli 2010, p. 21-24.

Vincent Mentzel (foto’s) en Gijsbert van Es (red.), Foto Vincent Mentzel, in Zomer &cetera. NRC Handelsblad Weekblad & Wetenschap 31 juli/1 augustus 2010, p. 19-22.

Vincent Mentzel (foto’s) en Gijsbert van Es (red.), Foto Vincent Mentzel, in Zomer &cetera. NRC Handelsblad Weekblad & Wetenschap 7/8 augustus 2010, p. 21-24.

Vincent Mentzel (foto’s) en Gijsbert van Es (red.), Foto Vincent Mentzel, in Zomer &cetera. NRC Handelsblad Weekblad & Wetenschap 14/15 augustus 2010, p. 21-24.

Vincent Mentzel (foto’s) en Gijsbert van Es (red.), Foto Vincent Mentzel, in Zomer &cetera. NRC Handelsblad Weekblad & Wetenschap 21/22 augustus 2010, p. 21-28.

Vincent Mentzel (foto’s) en Gijsbert van Es (red.), [Foto Vincent Mentzel], Rotterdam (NRC Handelsblad) 16 september 2010 [speciale tentoonstellingsuitgave NRC Handelsblad].

Vincent Mentzel, Logboek. Iedereen kunstenaar, in Hollands Diep december 2010/februari 2011, p. 38-41.

Geert Mak en H.J.A. Hofland (tekst) en Vincent Mentzel (foto’s), Foto Vincent Mentzel, Zwolle (d’jonge Hond) 2011.

Gijsbert van Es (tekst) en Vincent Mentzel (foto’s), Het oog van Nederland. Foto Vincent Mentzel, Rotterdam (NRC Handelsblad) 12 maart 2011 [speciale tentoonstellingsuitgave NRC Handelsblad].


(Photos in books, magazins and other printed publications)

Ruim 50 kaarten, Amsterdam (Art Unlimited) z.j.

[Brochure] Hoe de krant gemaakt wordt. Algemeen Dagblad, z.p., z.j., p. 2, 4, 6, 8, 10, 12, 14.

J.H. Bakker (red.), Elke dag de krant, Gorinchem (De Ruiter) 1969.

Bouwkundig Weekblad 87 (15 april 1969) 7, p. 165-171.

Het Vrije Volk 10 november 1969.

Good Luck (1970) 1, p. 3, 5, 7, 11.

Good Luck (1970) 2, p. 7, 9, 11, 15, 17.

Architectuur (1970) 13.

NRC Handelsblad 15 december 1971.

NRC Handelsblad 1972-heden.

Vincent Mentzel (foto’s), Noord-Ierland na ‘Bloody Friday’, in Foto 27 (november 1972) 11, p. 60- 65.

Catalogus World Press Photo 1973, Amsterdam (De Telegraaf) z.j. [1973], omslag (voor-en achterzijde), p. 5, 62-63, 67.

Catalogus De Zilveren Camera. Jaar te Kijk [1973], Bussum (De Gooise Uitgeverij) 1973, ongepag.

Michel van der Plas en Jan Roes, De kerk gaat uit. Familiealbum van een halve eeuw katholiek leven in Nederland, Bilthoven (Ambo) 1973, p. 234.

Ons Erfdeel (1973) 4, p. 33-37, 94.

Antenne voor het hedendaags wereldgebeuren 7 (15 mei 1973) 18, omslag.

Catalogus World Press Photo 1974, Amsterdam (Teleboek) 1974, p. 72-75.

Catalogus De Zilveren Camera. Jaar te Kijk [1974], Bussum (De Gooise Uitgeverij) 1974, ongepag.

Pour Tous (1974) 244, p. 54-59.

Samenwerkingsorgaan Eindhoven (maart 1974) 72/73, p. 7.

Problems of Communism 23 (september-oktober 1974) 5, omslag.

J.F. van den Broek (tekst) en Vincent Mentzel (foto’s), Suriname, Rotterdam (NRC Handelsblad) 1975 (serie: NRC Handelsblad Kortschrift nr. 1).

Catalogus World Press Photo 1975, Amsterdam (Teleboek) z.j. [1975], p. 60.

Catalogus De Zilveren Camera. Jaar te kijk [1975], Bussum (De Gooise Uitgeverij) z.j. [1975], omslag, afb. 2, 16, 18, 28, 30, 120, 151, 224-225.

Andries van der Wal, Hoogstens wat kaktusnaalden in je knie & Curaçaose gedichten, Rotterdam (Flamboyant/p) 1975, omslag (serie: Flamboyant/P [nr. 6]).

Rondvraag [Bureau Voorlichting Rotterdam] (1975) 3, p. 8, 19-21, 24.

Vakblad voor biologen (1975) 9, p. 144.

Newsweek 1975: 5 mei, p. 36; 28 juli, p. 48; 18 augustus, p. 11; 1976: 2 augustus, p. 48; 23 augustus, p. 20; 4 oktober, p. 5; 1977: 3 januari, p. 29; 10 januari, p. 19; 14 maart, p. 13; 28 maart, p. 12; 30 mei, p. 28; 24 oktober, p. 9; 1978: 20 maart, p. 13; 20 november, p. 12; 1979: 5 februari, p. 24; 24 december, p. 49; 1980: 3 maart, p. 36; 3 december, p. 36; 1982: 18 oktober p. 16.

Haagse Post 62 (31 mei 1975) 22, p. 6-12.

Haagse Post 62 (12 juli 1975) 28, p. 20.

Haagse Post 62 (19 juli 1975) 29, p. 24-27, 29, 40.

Haagse Post 62 (2 augustus 1975) 31, p. 20.

Haagse Post 62 (16 augustus1975) 33, p. 19.

Haagse Post 62 (23 augustus 1975) 34, p. 20, 29.

Rotterdams Nieuwsblad 18 december 1975.

Haagse Post 62 (20 december 1975) 51/52, p. 33-36.

E.J. Boer, Geld alleen maakt niet gezond, Rotterdam (NRC Handelsblad) 1976, omslag, p. 27 (serie: NRC Handelsblad Kortschrift nr. 3).

Catalogus World Press Photo 1976, Amsterdam (Teleboek) z.j. [1976], p. 58-59.

Catalogus De Zilveren Camera. Jaar te kijk 1976, Amsterdam (Plusprodukties) 1976, p. 8, 10, 12-13, 35, 47.

W.D. Franckena, Economie in Nederland: kiezen en delen, Rotterdam (NRC Handelsblad) 1976, omslag, p. 9, 20, 23 (serie: NRC Handelsblad Kortschrift nr. 2).

Vincent Mentzel (foto), Stadsschilderingen in Rotterdam. Nieuwjaarskaart Burgemeester en wethouders van Rotterdam 1976.

R.H.G. Meijer, Ford of Carter, Rotterdam (NRC Handelsblad) 1976, omslag, p. 13 (serie: NRC Handelsblad Kortschrift nr. 4).

Energie (januari 1976), p. 10-12.

Nieuwe Revu (1976) 9, p. 40-45.

Unilever (1976) 17, p. 12, 25.

Panorama (1976) 30, p.16.

Nieuwe Revu (1976) 44, p. 16-20.

Nieuwe Revu (1976) 46, p. 16-19.

Rondvraag [Bureau Voorlichting Rotterdam] (mei 1976) 2, omslag (voor- en achterzijde), p. 2-8, 26-29, 33.

Internationale Samenwerking (8 oktober 1976) 13, p. 6.

Vice Versa. Stichting Nederlandse Vrijwilligers 10 (winter 1976) 4, omslag (achterzijde).

J.M. Bik, B.C.L. Waanders en Th. W. Westerwoudt, 1977 – Kiezen voor links, rechts of het midden, Rotterdam (NRC Handelsblad) 1977, p. 3-4, 7, 10, 15, 18-19 (serie: NRC Handelsblad Kortschrift nr. 6).

Catalogus World Press Photo 1977, Amsterdam (Teleboek) 1977, p. 14-15, 60-61, 67.

Catalogus De Zilveren Camera. Jaar te kijk 1977 = The silver camera. Year on view 1977, Amsterdam (Plusprodukties) 1977, p. 11-12, 24-25, 27- 30, 38-39, 41-42.

Johan Flaton e.a., Tanzania, Den Haag (Novib/Tanzania Comité) 1977, omslag, p. 6, 9, 14, 18, 23, 25-26.

Holland Herald 12 (1977) 3, p. 26-27.

Rotterdam. Tijdschrift van de gemeente Rotterdam 15 (1977) 4, omslag, p. 6-8, 10-12.

Vice Versa. Stichting Nederlandse Vrijwilligers 11 (voorjaar 1977) 1, omslag, p. 20.

Samsam (april 1977) 2, p. 8-13.

Vara Verkiezingskrant april 1977, p. 3, 6.

De Journalist 28 (7 april 1977) 8, p. 12-13.

Keesings antenne voor het hedendaags wereldgebeuren 11 (21 april 1977) 17, p. 132-133.

Troef (mei/juni 1977) 2, omslag, p. 3-7.

Derk Sauer (tekst) en Freddy Rikken, Vincent Mentzel en Floris Bergkamp (foto’s), ‘Ik bedien u met volle teugen’. Joop den Uyl eindelijk door de knieën voor Nieuwe Revu, in Nieuwe Revu (20 mei 1977) 20, p. 18-23.

PK. Ledenblad van de Partij van de Arbeid 8 (augustus 1977) 3, omslag.

Roos in de Vuist 4 (21 augustus 1977), omslag.

Troef (september/oktober 1977) 4, omslag.

Roos in de Vuist 4 (3 oktober 1977), omslag.

Roos in de Vuist 4 (17 oktober 1977), p. 7.

Troef (november/december 1977) 5, p. 24-25, 28-31.

Roos in de Vuist 4 (14 november 1977), omslag.

Derk Sauer, Goed voor tweehonderd miljoen harde guldens, in Nieuwe Revu (16 december 1977) 50, p. 42-47.

Anoniem, De Rug, z.p. [Hoevelaken] (Roussel Laboratoria) 1978, p. 16-17.

H.A. Berkhout, Langs de rand van de afgrond? Kijk op economie, Rotterdam (NRC Handelsblad) 1978, p. 3, 10-11, 17, 22 (serie: NRC Handelsblad Kortschrift nr. 10).

Catalogus World Press Photo 1978, Amsterdam (Teleboek) 1978, p. 31, 72, 88-89, 96-97, 108.

Catalogus De Zilveren Camera. Jaar te kijk 1978, Amsterdam (Kontekst groep) 1978, afb. 20, 28, 34, 162.

Flip de Kam, Geld dat stom is… Over inkomens, belastingen en de politiek, Amsterdam (Bert Bakker) 1978, omslag (achterzijde).

W.E.C. van Kemenade, China nu, van culturele naar industriële revolutie, Rotterdam (NRC Handelsblad) 1978, omslag, p. 3-9, 14-15, 19-21 (serie: NRC Handelsblad Kortschrift nr. 13).

J.H. Konter, Ujamaa. De ontwikkeling van een Afrikaans socialisme, Assen/Amsterdam (Van Gorcum) 1978, p. 15, 46, 65, 81, 100, 107.

J.W.E. Metselaar, Ruimtelijke ordening dringen op de vierkante meter, Rotterdam (NRC Handelsblad) 1978, binnenzijde omslag, p. 20 (serie: NRC Handelsblad Kortschrift nr. 12).

José van der Sman (voorw.), Foto-reportage Almelo, Amsterdam (Landelijk Energie Komitee) 1978, p. 1-2, 4, 6, 14, 16.

Fronttaal 1 (15 april 1978) 3, omslag, p. 5-9.

De Tijd 4 (21 april 1978) 189, p. 26-28.

Holland Herald 13 (1978) 5, p. 14-15.

NRC Handelsblad. Weekeditie voor het buitenland 32 (27 juni 1978) 13, p. 1, 3-4.

Nieuwspoort Nieuws augustus 1978, p. 5.

NRC Handelsblad. Weekeditie voor het buitenland 32 (17 oktober 1978) 29, p. 1, 8.

Roos in de Vuist 5 (6 november 1978), p. 19.

NRC Handelsblad. Weekeditie voor het buitenland 32 (7 november 1978) 32, p. 1.

NRC Handelsblad. Weekeditie voor het buitenland 32 (14 november 1978) 33, p. 1-2, 8.

Roos in de Vuist 5 (20 november 1978), p. 7, 9, 21.

NRC Handelsblad. Weekeditie voor het buitenland 32 (21 november 1978) 34, p. 1, 3-4, 12.

Avenue (december 1978) 12, p. 258.

Roos in de Vuist 5 (18 december 1978), p. 13.

Catalogus De Zilveren Camera. Jaar te kijk 1979, Amsterdam (Allert de Lange) 1979, afb. 20, 22, 63, 180-183.

Frans den Houter en Dick Schaap, Nederland van de weg af gezien, Rotterdam (Shell) 1979, p. 108.

Nederlands Theater- en Televisie-Jaarboek 29 (1979-1980), p. 57.

Onze wereld (februari 1979) 2, omslag, p. 20.

NRC Handelsblad. Weekeditie voor het buitenland 32 (6 februari 1979) 44, p. 1, 3, 12-13.

Nieuwsnet (1979) 7, p. 20-21; (1979) 21, p. 10; (1979) 27, p. 19; (14 juli 1979) 28, omslag, p. 5; (1979) 30, p. 16-17, 49-51; (1979) 31, omslag, p. 30, 43-45; (11 augustus 1979) 32, p. 5, 8-9, 20, 45; (1979) 33, p. 9-13; (1979) 38, p. 47-48, 50; (1979) 39, p. 38; (1979) 40, p. 25, 45; (1979) 41, p. 40; (1979) 42, p. 39; (1979) 44, p. 36; (1979) 46, p. 44-45; (1979) 47, p. 68; (1979) dubbelnummer [51/52], p. 9.

NRC Handelsblad. Weekeditie voor het buitenland 32 (20 februari 1979) 46, p. 6, 12.

Keesings Reflector maart 1979, p. 222-223.

De Journalist 30 (1979) 5, omslag, p. 25.

PT Polytechnisch tijdschrift. Orgaan van de Nederlandse ingenieursvereniging 34 (maart 1979) 3, p. 136-138.

NRC Handelsblad. Weekeditie voor het buitenland 33 (8 mei 1979) 6, p. 8, 11.

Haagse Post 66 (9 juni 1979) 23, omslag, p. 3, 33-35, 37-39, 41.

Roos in de Vuist 5 (25 juni 1979), p. 6-7.

Holland Herald 14 (1979) 8, p. 20.

De (vogel) vrije fietser 4 (augustus/september 1979) 6, omslag, p. 22-23.

Panorama (10 augustus 1979) 32, p. 22-25.

Troef (oktober 1979) 5, p. 32.

Keesings Blikopener (oktober/november 1979), omslag, p. 54-57.

Roos in de Vuist 6 (8 oktober 1979), p. 13-15.

Avenue (november 1979) 11, p. 16-23.

Holland Herald 14 (1979) 11, p. 31, 35.

Toneel Teatraal 97 (november 1979) 9, p. 10, 13.

Zero 1 (november 1979) 5, p. 64.

Leef 1 (december 1979 ) 3, p. 44-45, 47.

De Journalist 30 (13 december 1979) 24, p. 43.

Catalogus De Zilveren Camera. Jaar te kijk 1980, Amsterdam (Elsevier) 1980, afb. 37, H, 91-93.

F.L. van Klaveren, Suriname, op zoek naar zichzelf, Rotterdam (NRC Handelsblad) 1980, p. 3, 16-19 (serie: NRC Handelsblad Kortschrift nr. 21).

Toon Schmeink en Eric van Terpe, (tekst), Stichting Reinwater vecht voor een schone Rijn, Amsterdam (Stichting Reinwater) z.j. [1980].

Andre S. Spoor (voorwoord), NRC Handelsblad 1970/1980. Een bloemlezing uit de eerste 10 jaar, Rotterdam (NRC) 1980, p.17, 20, 22-25, 29, 33-35, 37-38, 59, 77, 85-87, 114-115, 130-131, 139, 200, 203-204, 213-214, 261-263, 281-282, 304.

Holland Herald 15 (1980) 1, p. 16-17.

The Sunday Times 6 april 1980, p. 13.

Zero 2 (oktober 1980) 6, p. 118.

Catalogus World Press Photo ’81, Amsterdam/Brussel (Elsevier) 1981, p. 2.

Catalogus De Zilveren Camera. Jaar te kijk 1981, Amsterdam (Elsevier) 1981, afb. 1, 17-18.

John Fraser, De Chinezen. Portret van een volk, Utrecht/Antwerpen (Veen) 1981, omslag (voor- en achterzijde).

Ad Kooyman en Susanne Piët, De nieuwe televisiecultuur, Rotterdam (NRC Handelsblad) 1981, p. 16 (serie: NRC Handelsblad Kortschrift nr. 24).

Peter-Hannes Lehmann en Jay Ullal, Tibet. Das stille Drama auf dem Dach der Erde, Hamburg (Geo) 1981, p. 52, 72-73, 81, 89, 166, 279, 332.

Spui. Personeelsorgaan van Sperry Univac (1981) 1, p. 3-4.

Panorama 2 januari 1981, p. 32-35.

Voorwaarts. PvdA-Blad 1 (9 maart 1981) 9, omslag, p. 3-25.

Voorwaarts. PvdA-Blad 1 (11 mei 1981) 14, omslag, p. 2-3.

Avenue (juli 1981) 7, p. 56-61.

Vrij Nederland 7 oktober 1981.

Vrij Nederland 31 oktober 1981.

Catalogus World Press Photo ’82, Amsterdam/Brussel (Elsevier) 1982, p. 2, 35, 78.

Peter van Dijk en Simon Rozendaal, Japan bijvoorbeeld. Het land van de rijzende industrie en de Japanse samenleving in beeld gebracht door Vincent Mentzel, Rotterdam (NRC Handelsblad) 1982 (serie: NRC Handelsblad Kortschrift nr. 28).

Ton Elias, Dertig jaar onderwijs – zwart op wit. Een selectie uit de artikelen, commentaren en ‘Cahiers’ van de onderwijsjournalist Ton Elias geschreven in de periode 1946 tot en met 1980, Groningen (Wolters-Noordhoff) 1982, p. 4.

Henk van Hoorn, Ton Planken en Fred Verbakel, Politiek. Mensen, macht en mogelijkheden, Amsterdam (Bert Bakker) 1982, omslag, p. 18, 22, 25-26, 43, 49, 59, 66, 80, 83, 89-90, 91, 95, 99, 106, 110-111, 113, 119-120, 123, 127, 131, 134-135, 139-140, 146, 150, 155.

[Brochure] Laten we wel zijn, Bunnik (Koningin Juliana Fonds) 1982, ongepag.

A.F. van Zweeden, Aanslag op ons sociaal paradijs. Van verzorgingsstaat naar waarborgstaat, Rotterdam (NRC Handelsblad) 1982, p. 12, 20 (serie: NRC Handelsblad Kortschrift nr. 29).

Holland Herald 17 (1982) 2, p. 53.

Voorwaarts. PvdA-Blad 2 (12 april 1982) 12, p. 7, 27.

Voorwaarts. PvdA-Blad 2 (16 mei 1982) 15, p. 7-8.

Marcus Bakker, Wissels. Bespiegelingen zonder berouw, Weesp (Unieboek/De Haan) 1983, omslag, na p. 144, na p. 184.

Wim de Bie, Freek de Jonge en Kees van Kooten (tekst) en Vincent Mentzel en Marc Mildner (foto’s), Een Gebaar voor Amnesty International, Amsterdam (Amnesty International/De Harmonie) 1983.

Eric Boogerman, De gastheer en de gastarbeiders. Minderheden in Europa, Rotterdam (NRC Handelsblad) 1983, binnenzijde omslag, p. 2, 4-6, 8-10, 14, 16-17, 23 (NRC Handelsblad Kortschrift nr. 30).

Catalogus tent. Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum ‘Commanderie van St. Jan’) 1983, afb. 58.

Catalogus World Press Photo ’83, Amsterdam/Brussel (Elsevier) 1983, p. 38.

Hidde van der Ploeg, Nederland en de internationale schaatselite. Hidde van der Ploeg speurt naar de voorspellende waarde in de recente schaatsgeschiedenis, Rotterdam (NRC Handelsblad) 1983, omslag, binnenzijde omslag, p. 12-15, 18-19, 22-25 (serie: NRC Handelsblad Kortschrift nr. 33).

Joop Schafthuizen (samenstelling), Album Gerard Reve, Amsterdam/Brussel (Elsevier) 1983, p. 47, 55.

André Spoor, De verheven boodschapper, Rotterdam (NRC Handelsblad) 1983, p. 27.

Jan Terlouw, Naar zeventien zetels en terug. Politiek dagboek 9 maart 1981-5 november 1982, Utrecht/Antwerpen (Veen) 1983, omslag (voor- en achterzijde).

Jan Tromp en Paul Witteman (samenstelling), De baard van Lubbers. Zin en onzin over de premier, Weesp (De Haan) 1983.

Evert Werkman en Jac. G. Constant, Tien jaren te kijk. Hoogtepunten uit onze vaderlandse persfotografie, Amsterdam/Brussel (Elsevier) 1983, p. 6-7, 43, 82, 124-125, 136, 152, 157.

Het Nederlandse Theaterboek 33 (1983-1984), p. 65.

NRC Handelsblad. Weekeditie voor het buitenland 37 (5 april 1983) 1, p. 6-7.

Politiek Overzicht. Stichting Burgerschapskunde (mei 1983) 5, omslag.

NRC Handelsblad. Weekeditie voor het buitenland 37 (7 juni 1983) 10, p. 4, 13.

Harold Evans, The Times. Het ontslag van een hoofdredacteur, in Vrij Nederland 5 november 1983, omslag, p. 20-21, 35.

De pracht van het ambacht. Kalender 1984 Bedrijfschap Schildersbedrijf, z.p. [Rijswijk], z.j. [1983].

Leo Casteleijn e.a. (red.), Tekens in de tijd. 65 jaar Joop den Uyl, Amsterdam (De Arbeiderspers) 1984, p. 62.

Klaus Fabricius en Red Saunders (red.), 24 Hours in the Life of Los Angeles, New York (Alfred van der Marck Editions) 1984, p. 132-133, 268.

Gerard Reve, De stille vriend, Amsterdam (Manteau) 1984, omslag (achterzijde).

Holland Herald 19 (september 1984) 9, p. 66-68.

[Brochure] De Albert Verwey-colleges van Gerard Reve, Leiden (Leiden faculteit der Letteren en de Vereniging voor Onderwijs, Kunst en Wetenschap) 1985.

Fox Butterfield, Overleven in de zee van bitterheid, Amsterdam (Mets) 1985, omslag.

Catalogus tent. Fotografie een manier van kijken, Nijmegen (Nijmeegs Museum ‘Commanderie van St. Jan’) 1985, p. 8.

Galeriegids Rotterdam 1985/1986, Rotterdam (Centrum Beeldende Kunst/Rotterdamse Kunststichting) z.j. [1985], p. 68.

Addy Kaiser, Haagse journalistiek. Een empirische studie naar de relatie tussen journalisten en parlementariërs, Amsterdam (VU Uitgeverij) 1985, p. 27, 41, 51, 81, 113, 151.

Gerard Reve (tekst) en Vincent Mentzel (foto’s), Roomse Heisa, Amsterdam (Manteau) 1985, p. 17-20, 29-32, 41-44 [eerder gepubliceerd in NRC Handelsblad 5 april tot 15 mei 1985].

Renate Rubinstein, Alexander. Een impressie van de kroonprins bij zijn achttiende verjaardag, Den Haag (Staatsuitgeverij) 1985, p. 2, 6, 65-74.

Rheinbericht 1983-85. Internationale Arbeitsgemeinschaft der Wasserwerke im Rheineinzugsgebiet (IAWR) z.j. [1985], p. 37.

Holland Herald 20 (februari 1985) 2, p. 10.

Trouw 15 mei 1985.

War. Tijdschrift voor arbeidersliteratuur 5 (december 1985/januari 1986) 30, p. 2, 13-15, 17.

Leon Clements en Ton de Vreede (red.), Lastpost van wereldformaat. Amnesty International 1961-1986, Amsterdam (Amnesty International) 1986, p. 85.

Gerard Reve, Zelf schrijver worden, Leiden (Martinus Nijhoff/Vereniging voor Onderwijs, Kunst en Wetenschap) 1986, omslag (achterzijde).

Red Saunders en Syd Shelton (red.), Ireland. A week in the life of a nation, Londen (Century Publishing) 1986, p. 58, 181, 282-283.

Holland Herald 21 (1986) 1, p. 32-33, 37-38, 41-43.

Willem van Kemenade, The China Syndrome, in Expression 1 (voorjaar 1986) 1, omslag, p. 5, 8-13, 15.

Henk Wubben en Ciska Brakenhoff, Zuid-Korea. Een landenmap, Den Haag (Novib) 1987, omslag, p. 1, 8, 11-13, 15-24, 29-32 (serie: Novib landenmappen).

De Morgen 15 maart 1987, p. 29.

Tony van der Meulen, De ‘geweldige carrière’ van Jasperina de Jong. ‘Heel goed zijn is heerlijk’, in De Tijd 31 december 1987, omslag, p. 32-37.

Gerard Reve, Bezorgde ouders, Utrecht/Antwerpen (Veen) 1988, omslag (achterzijde).

World Press Photo Newsletter herfst 1988, p. 3-5.

Maarten Mentzel, Bijlmermeer als grensverleggend ideaal. Volkshuisvesting in theorie en praktijk, Delft (Delftse Universitaire Pers) 1989, afb. 2.5-2.7, 7.8-7.9, 8.4, 9.1-9.2, 9.5-9.6.

J.F.A. de Soet (voorwoord), De Wereld van KLM in 24 uur, z.p. (KLM) z.j. [1989], p. 134-137, 258.

Ankertros. Personeelsblad van de Algemene Bank Nederland (mei 1989) 5, p. 6.

Holland Herald 24 (mei 1989) 5, p. 24-27.

World Press Photo Newsletter december 1989, p. 1.

H.J.A. Hofland (voorwoord), Hollands Dossier 1980-1990. Een decennium fotojournalistiek, Amsterdam/Den Haag (Focus/SDU) 1990, p. 67-69.

Wolfgang Mattheuer, Wolfgang Mattheuer. Suite ’89. 6 Linolschnitte 1988/89, Berlijn (Galerie Brusberg) 1990, p. 4. (serie: Brusberg Dokumente 24).

Elsevier 46 (12 mei 1990) 19, p. 124.

Gijsbert van Es e.a. (samenstelling), De val van het Sovjet-Rijk. 18 dagen wereldgeschiedenis, Rotterdam (NRC Handelsblad) z.j. [1991], p. 9, 52, 84.

R.C. Janssen e.a., Een veranderende wereld. Liber Amicorum ter gelegenheid van de zestigste verjaardag van Ferdinand van Dam, Amsterdam (Thomas Rap) 1991, p. 2.

Frans W. Saris, Oververhit ijs. Dagboek van een fysicus, Amsterdam (Meulenhoff) 1991, omslag (achterzijde).

Sylvia C. Tóth, Vakwerk. Framed creativity, Den Haag (Schoevers) 1992, omslag (voor- en achterzijde), p. 7-8, 22, 34, 44, 60, 86, 98, 110, 122, 133-134, 159-160, 172, 182, 194, 206, 218, 234.

Tijdschrift voor fysische therapie. Wetenschappelijk tijdschrift van het Vlaams Kinesitherapeutenverbond (VKV), België (19 september 1992) 3, p. 4, 9.

Pierre Janssen, Bouke Ylstra. Etsen 1953-1993, Eindhoven (Kempen Publishers) 1993, p. 4, 8, 138-139.

Speciale catalogus van de postzegels van Nederland en Overzeese Rijksdelen 1993, Den Haag (Nederlandsche Vereeniging van Postzegelhandelaren) 52 ste ed., 1993, p. 171, 180, 257.

Karin Acket (samenstelling), Paul Acket. Musicus zonder instrument = Musician without instrument, Den Haag (Interfestivals) 1994, p. 92.

S. van den Bosch (interviews), Pet af voor Simons. Zeven interviews aangeboden bij zijn afscheid als staatssecretaris van WVC, Rijswijk (Ministerie WVC) 1994, p. 1, 10, 14, 18, 22, 26, 30, 34.

Mark Kranenburg en Kees van der Malen (samenstelling) en Vincent Mentzel (foto’s), Het tijdperk Lubbers 1982-1994, Rotterdam (NRC Handelsblad) 1994.

Jan J.P. Peelen (voorwoord), Candy Dulfer gefotografeerd door topfotografen, Apeldoorn (Bureau Voorlichting Foto FilmVideo) 1994, p. 47, 61.

H. Tennekes e.a. (red.), Radar 95. Stand van zaken in de wetenschap, Bloemendaal (Aramith) 1994, p. 77.

Magazine littéraire (december 1994) 327, p. 35.

C.A. van der Klaauw, Een diplomatenleven, Amsterdam (Bert Bakker) 1995, afb. 10.

VPRO [gids] 15 april 1995, p. 2-3.

Der Spiegel (1995) 31, p. 112.

Vorsten. Maandblad over alle vorstenhuizen 23 (augustus 1995) 8, p. 18-19.

Intermediair. Informatie voor leidinggevende functionarissen 31 (1995) 52, p. 33.

[Brochure] De Brug, Rotterdam (Maritiem Museum ‘Prins Hendrik’) 1996.

Marcel Haenen en Tom-Jan Meeus, Het IRT-moeras. Grote ego’s en hun vuile oorlog, Amsterdam (Balans) 1996, omslag (achterzijde).

Margriet de Moor, Hertog van Egypte, Amsterdam (Querido) 1996, omslag (achterzijde).

Wim Wennekes, Jezus Maria! Van het Reve, van het Violet en van de Dood, Amsterdam (Bas Lubberhuizen) 1996, p. 96.

[Brochure] The Simon studio, New York, z.j. [ca. 1996)]

Theater tijdschrift (1996) 4, p. 22.

[Programmaboekje] De Speler Sergej Prokofjev. Vorst Igor Alexander Borodin. Symfonieorkest, koor en ballet van de Kirov opera, Sint-Petersburg 13 maart 1996, 19 maart 1996 AT & T Danstheater Den Haag, p. 6.

OVmagazine, onafhankelijk vaktijdschrift over openbaar vervoer 2 (13 november 1996) 9, p. 6.

Klaas de Boer e.a., Klaas Gubbels, Zwolle (Waanders) 1997, p. 141 (serie: Monografieën van Nederlandse kunstenaars 14).

Roel Janssen, De struisvogel-code, z.p. (Balans) 1997, omslag (achterzijde).

Janwillem Schrofer (voorw.), Het eigen gezicht. Kunstenaars uit de vindplaats Rijksakademie, Scheveningen/Amsterdam (Museum Beelden aan Zee/Rijksakademie van Beeldende Kunsten) 1997, ongepag.

Het Toneel Speelt. Programma-Tekstboek Trijntje Cornelis, Constantijn Huijgens 1653, Amsterdam (International Theatre & Film Books) 1997, omslag, p. 35.

Marja Wagenaar, De Rijksvoorlichtingsdienst. Geheimhouden, toedekken en openbaren, Den Haag (SDU) 1997, na p. 336.

FNV Magazine 13 (20 februari 1997) 4, omslag, p. 5-6, 8-9.

Amnesty International kantooragenda 1998.

Cees Banning en Tom-Jan Meeus, De onzichtbare hand van de politiek. De achterkamers van Paars en de heimelijke steun aan Philips, Amsterdam (Balans) 1998, na p. 160.

Mireille Gemmeke, Politieke betrokkenheid van kinderen op de basisschool, Amsterdam (Thesis Publishers) 1998, p. 229.

Arnon Grunberg, Tang. Boekenbalgedicht, New York (Kunst Editions) 1998.

Marita Mathijsen, De geest van de dichter. Elf zogenaamde gesprekken met negentiende-eeuwse schrijvers en een debat, Amsterdam (Querido) 1998, omslag (achterzijde).

Warna Oosterbaan e.a. (samenstelling), Kees Endenburg Vormgever Nieuwe Rotterdamse Courant en NRC Handelsblad van 1968 tot 1998, Amsterdam/Den Haag/Rotterdam (NRC Handelsblad) 1998, p. 4.

Bas Blokker en Hendrik Spiering (samenstelling), Een eeuw in voorpagina’s. 1900-1999, Rotterdam (NRC Handelsblad) 1999, ongepag.

Bas Blokker, Gijsbert van Es en Hendrik Spiering, Nederland in een handomdraai. De vaderlandse geschiedenis in jaartallen, z.p. (Balans) 1999, p. 316, 324, 335, 337.

Truus Gubbels, Passie of professie. Galeries en kunsthandel in Nederland, Abcoude etc. (Uniepers etc.) 1999, p. 92.

Youp van ’t Hek, Terugblik, Amsterdam (Thomas Rap) 1999, p. 64.

Adriaan Hiele, Financiële recepten voor alle leeftijden, Amsterdam (Balans) 1999, omslag (achterzijde).

Jannetje Koelewijn en Vincent Mentzel, Onderweg. In de auto met bekende ondernemers, Zutphen/Rotterdam (Plataan/NRC Handelsblad) 1999.

Milco Onrust (samenstelling), Rudi Fuchs. Recht op schoonheid. Columns 1988-1997, Amsterdam (De Bezige Bij) 1999, omslag.

Connie Palmen, Helemaal Huf, Amsterdam (Maria Austria Instituut) z.j. [1999], p. 70, 73, 76.

Verkoopcatalogus Rigoletto, Groningen (Antiquariaat Postma) 1999, afb. 28, 62.

Robert van de Roer, Frontdiplomaten. Confrontaties met internationale hoofdrolspelers, Amsterdam (Balans) 1999, omslag, p. 102, 128, 138, 168.

Max van Weezel en Leonard Ornstein, Frits Bolkestein. Portret van een liberale vrijbuiter, Amsterdam (Prometheus) 1999, omslag.

Paul Witteman, Het jongste kind, Amsterdam (Balans) 1999, omslag.

Wang Zhongwei (red.), Images of Shanghai, Beijing (China Intercontinental Press) 1999, p. 142.

Onno Blom, Zolang de voorraad strekt. De literaire boekenweekgeschenken, gevolgd door een overzicht van alle boekenweekgeschenken sinds 1932, Amsterdam (Stichting CPNB) 2000, p. 6.

Willem Drees, Gespiegeld in de tijd. De nagelaten autobiografie, Amsterdam (Balans) 2000, omslag.

Rudi Fuchs (voorwoord), De Voorstelling. Nederlands kunst in het Stedelijk Paleis, Gent/Amsterdam (Ludion/Stedelijk Museum) 2000, omslag.

Roel Janssen, Het Mercator Complot, Amsterdam (Balans) 2000, omslag (achterzijde).

Jannetje Koelewijn, Alleen winnaars overleven. Interviews met topondernemers, Amsterdam (Prometheus) 2000, p. 32, 42, 66, 74, 82, 94, 116, 126, 140, 178.

Jacques van Leeuwen (voorw.), Het paard in de twintigste eeuw. 100 jaar in 100 interviews en 500 foto’s, z.p. (Premium Press bv) z.j. [2000], p. 244, 422.

Harry van Wijnen, De macht van de kroon, Amsterdam (Balans) 2000, omslag (achterzijde).

Tóco’s Kunstagenda 2001, z.p., z.j. [2000], ongepag.

René Appel, Rachsucht, Zürich (Nagel & Kimche) 2001, omslag (achterzijde).

René Appel, Zinloos Geweld, Amsterdam (Bert Bakker) 2001, omslag (achterzijde).

Floribert Baudet, ‘Het heeft onze aandacht’. Nederland en de rechten van de mens in Oost-Europa en Joegoslavië, 1972-1989 [dissertatie], z.p. (Boom) 2001, omslag, p. 172.

Jan Blokker en Victor Levie (samenstelling), Jongens van Jan de Witt, Amsterdam (De Nieuwe Kerk) z.j. [2001], ongepag.

Martin Bril, Gloriedagen. Het beste tot nu toe, Amsterdam (Prometheus) 2001, omslag (achterzijde).

Peter Brusse, Rutger Kopland en Jan Siebelink, Klaas Gubbels, Amersfoort (De Zonnehof) 2001, p. 50-51.

Adri Colpaart (samenstelling), Ed Wingen, Lambert Tegenbosch en Dolf Welling (tekst), Eugène Brands. Schilderijen, Amsterdam (Stichting Eugène Brands) 2001, p. 190-191.

Frans Duister, Hans Wap. Pastels en schilderijen, Venlo (Van Spijk Art Projects) 2001, p. 2.

Frans Duister, Hans Wap. Grafiek en decors, Venlo (Van Spijk Art Projects) 2001, p. 2, 69, 73.

Martijn van de Griendt en Teun van der Heijden (samenstelling), Brood, Amsterdam (De Verbeelding) 2001, ongepag.

A.G. Harryvan, J. van der Harst en S. van Voorst (red.), Voor Nederland en Europa. Politici en ambtenaren over het Nederlandse Europabeleid en de Europese integratie, 1945-1975, Amsterdam/Den Haag (Boom/Instituut voor Nederlandse Geschiedenis) 2001, p. 80.

Ben Herbergs (red.), DuoDuo. Het oog van de stilte. Gedichten en pentekeningen 1972-2000, Rotterdam (Bèta Imaginations) 2001, p. 111.

Gerard Reve, Verzameld werk 5, Amsterdam/Antwerpen (Veen) 2001, omslag.

Joyce Roodnat (samenstelling), Een selectie uit het Cultureel Supplement 2000-2001, Rotterdam (NRC Handelsblad) 2001, p. 10, 16.

Helmert Woudenberg, De hel & de hemel, Amsterdam (Ruijs & Daal) 2001, p. 6.

Henk Apotheker e.a., De dood van een kroonprins, Amsterdam (De Bezige Bij) 2002, omslag (achterzijde).

Piet Bouwmeester, Nieuwspoort Centraal. Veertig jaar Internationaal Perscentrum in woord en beeld, Den Haag (Nieuwspoort Internationaal Perscentrum) 2002, p. 197.

Hans Janssen e.a., Het ontstellende werk van Ad Gerritsen, Amsterdam (De Prom) z.j. [2002], p. 225.

Peter van Lindonk, Hoog geëerd publiek, Amsterdam (Nijgh & Van Ditmar) 2002, p. 1.

J.C. Nix (inl.), Door de ogen van Sabrina en Hassen. Tunesische kindertekeningen over de Nederlandse geschiedenis, Rotterdam (Stichting Atlas van Stolk) 2002, omslag, p. 2-3.

Bram van Waardenberg, Kees Spermon 1941-1992. Schilderijen/tekeningen/grafiek, Rotterdam (Koppel/Willem de Kooning Academie Publicaties) 2002, omslag.

Paul Rosenmöller, Een mooie hondenbaan, Amsterdam (Balans) 2003, omslag.

Paul Witteman, Hoor en wederhoor. De klassieke keuze van Paul Witteman, Amsterdam (Balans) 2003, omslag.

Rudi van Dantzig, De wereld aan jouw voeten. Herinneringen aan Gerard Reve, in De Parelduiker 8 (2003) 5, p. 25.

M juli 2003, p. 28, 31, 34.

Vorsten 31 (september 2003) 9, p. 34.

Frans Bieckmann, De wereld volgens prins Claus, Amsterdam (Mets & Schilt) 2004, omslag.

Jaap van Duijn, Met gemak betrouwbaar beleggen. Het verhaal van Robeco, Zutphen (Walburg Pers) 2004, p. 148.

Wim Kayzer, De Waarnemer, z.p. (Balans) 2004, omslag (achterzijde).

Floris-Jan van Luyn, Een stad van boeren. De grote trek in China. Met foto’s van Vincent Mentzel, Li Nan en anderen, Amsterdam/Rotterdam (Prometheus/NRC Handelsblad) 2004, omslag, p. 46, 53-54, 56, 60-61, 114, 172, 175-176, 178-179, 183, 185-186.

Max Meijer (inl.), Gubbels Totaal. Vijftig jaar schilderen, Warnsveld (Terra Lannoo) 2004, afb. 240.

Leon Riekwell en Henk Tas, The Drifter The Dreamer, Vlissingen (Buro Beeldende Kunst Vlissingen) 2004, ongepag.

Huub Wijfjes, Journalistiek in Nederland 1850-2000. Beroep, cultuur en organisatie, Amsterdam (Boom) 2004, p. 459, 471.

Nieuwspoort Nieuws 42 (februari 2004) 1, omslag.

Hanneke Groenteman, Audrey, in Zine. Filmmuseum-magazine juli/augustus 2004, p. 13.

Vitrine 17 (augustus 2004) 5, p. 18.

Liter. Christelijk literair tijdschrift 7 (december 2004) 35, p. 43, 50.

R.J. van Ark e.a. (red.), 25 jaar CDA. Tussen macht en inhoud, Baarn (Tirion) 2005, p. 6, 12, 16, 18, 24, 27-28, 32, 36, 39, 42, 50, 56, 58, 61, 63, 66.

Joris Boddaert, Rotterdamse cafés, Rotterdam (Boddaert producties) z.j. [2005], p. 87, 125.

Gepke Bouma, Maarten Struijs en Siebe Thissen (red.), Het Groot Rotterdams Bruggenboek, Zaltbommel (Aprilis) 2005, p. 20, 42, 159-197.

W.B. ten Brinke e.a., De Geo. Lesboek 3 havo/vwo, Utrecht/Zutphen (Thieme Meulenhoff) 2005, p. 23.

Catalogus tent. Feng Bin. From materials to ideas, Chongqing 2005, p. 2, 5, 12, 16, 34-35.

Catalogus Uitgeverij Balans. Voorjaar 2005, Amsterdam (Balans) 2005, p. 16.

Hein van Haaren e.a. (red.), Wim Beeren-om de kunst. Opvattingen van een museumman over moderne kunst, kunstenaars, musea en kunstbeleid, Rotterdam (Nai Uitgevers) 2005, p. 484, 517.

Bruno de Haas en Cees van Lotringen, Mister Euro. Een biografie van Wim Duisenberg, (Business Contact/Het Financieele Dagblad) 2005, afb. 7.

Coos Huijsen, Beatrix. De kroon op de republiek, Amsterdam (Balans) 2005, omslag.

Marijn van der Jagt, Claudia Küssel en Jan D. Bos, Undercover/Onthecover, Amsterdam (Artimo) 2005, ongepag.

Hans Ibelings (samenstelling), Architecten in Nederland. Van Cuypers tot Koolhaas, Amsterdam/Gent (Ludion) 2005, p. 134

Roland Janssen, Klaas Gubbels. Met niets iets, Eindhoven (Galerie Willy Schoots) 2005, omslag.

Margriet de Moor, Eerst grijs dan wit dan blauw, z.p. (AKO/Muntinga) 2005, omslag (achterzijde) (serie: AKO Literatuurprijs reeks deel 2).

Margriet de Moor, Kreutzersonate & De Virtuoos, Amsterdam/Antwerpen (Contact) 2005, omslag (achterzijde).

Margriet de Moor, De verdronkene, Amsterdam/Antwerpen (Uitgeverij Contact) 2005, omslag.

[Brochure] Nederlands Fotomuseum 12 maart-8 mei 2005, Rotterdam (Nederlands Fotomuseum) 2005.

Theo Olof, Oskar Back en veertig jaar Nationaal Vioolconcours, Bussum (Thoth) 2005, p. 125.

Claire Polders, De onfeilbare, Amsterdam (Balans) 2005, omslag (achterzijde).

Karina Schaapman, Zonder moeder, Amsterdam (Uitgeverij Maarten Muntinga) 2005, omslag (achterzijde).

Veilingcatalogus Art for Dreams 2005, Amsterdam (ChildRight) 2005, lot 9.

Herbert Blankensteijn en Ben Herbergs, De meeste Nederlanders kennen mij hooguit als telefoonboekmeneer. Arnon Grunberg, gastschrijver geïnterviewd per e-mail, in Delft integraal 22 (2005) 1, p. 22-25.

UK. Onafhankelijk weekblad voor de Rijksuniversiteit Groningen 34 (17 maart 2005), omslag.

Vincent Mentzel (foto’s), L’hotel infernal, in Paris Match (20 april 2005) 2918, p. 38-43.

Vitrine 18 (juli-augustus 2005) 5, p. 12-13, 16.

Liter. Christelijke literair tijdschrift 8 (december 2005) 49, p. 63.

Klaas Gubbels Calendar 2006, Amsterdam (Art Unlimited) z.j. [2005].

Peter Bakker (voorwoord), Yearbook of Dutch Stamps 2005, Utrecht (A.W. Bruna) 2006, p. 12-13.

Bregje Boonstra, Er was eens een Waseens. Bregje Boonstra over Wim Hofman, Den Haag (Letterkundig Museum) 2006, p. 2, 7, 35.

Peter Bootsma en Carla Hoetink, Over lijken. Ontoelaatbaar taalgebruik in de Tweede Kamer, Amsterdam (Boom) 2006, omslag.

DVD-box De vroege films van Paul Verhoeven 1959-1979, Amsterdam (Filmmuseum) 2006, foto op hoes.

Yayoi Uno Everett, The Music of Louis Andriessen, Cambridge (Cambridge University Press) 2006, omslag.

Tom Fris, De wraak van het gras. De geschiedenis van een ongeluk, Amsterdam (Balans) 2006, omslag (achterzijde).

Arie van Geest en Pieter van Oudheusden, Arie van Geest, Visible absence, z.p, z.j. [2006], binnenzijde omslag.

Hella de Jonge, Los van de wereld, Amsterdam (Balans) 2006, omslag (achterzijde).

René Kahn, Onze hersenen. Over de smalle grens tussen normaal en abnormaal, Amsterdam (Balans) 2006, omslag (achterzijde).

Gerrit Komrij, De snor van Dalí, Zwolle/Rotterdam (Waanders/Kunsthal) 2006, p. 7, 14-15.

Daniël Koning en Bernd Wouthuysen (samenstelling), Teder, z.p. [Amsterdam] (Lubberhuizen) 2006, ongepag.

Corine Koole, Ik wil jou. Nederlanders op zoek naar de grote liefde, Amsterdam (Balans) 2006, omslag (achterzijde).

Doris Krystof en Jessica Morgan (red.), Martin Kippenberger, London (Tate Publishing) 2006, frontispiece.

John Noteboom en Frank Taal (red.), Witte de With so cool, Schiedam (Artemis Uitgevers) 2006, p. 14-15, 233.

Leo Samama e.a., (tekst) en Vincent Mentzel (foto’s), 25 jaar Nederlandse Muziekprijs, Den Haag (Fonds Nederlandse Muziekprijs) 2006.

A.L. Snijders, Belangrijk is dat ik niet aan lezers denk. 336 ZKV’s, Enschede (AFDH Uitgevers) 2006, binnenzijde omslag.

Jan Teeuwisse e.a. , V.P.S. Esser, Zwolle/Den Haag (Waanders/Sculptuur Instituut) 2006, omslag (achterzijde).

Veilingcatalogus Sotheby’s Photographs. Amsterdam 21 march 2006, Amsterdam (Sotheby’s) 2006, lot 72, 145.

Arjen Fortuin e.a. (red.), De tien beste jonge schrijvers van nu, in Magazijn (2006) 3, omslag (achterzijde).

Het Financieele Dagblad 3 maart 2006, p. 8.

M april 2006, p. 8-10, 12. 2006: 5 mei; 2007: 15 mei; 2009: 23 april, 5 juni, 28 augustus, 24 september, 28 oktober, 19 november, 20 november, 27 november, 30 november, 3 december, 5 december, 17 december, 28 december; 2010: 29 januari, 16 februari, 8 maart, 11 maart, 4 mei, 28 mei, 1 juni, 25 juni, 9 juli, 11 augustus, 6 september, 5 oktober, 2 november, 25 november, 2011: 20 januari, 27 januari, 14 februari, 29 maart, 4 april, 22 april, 4 mei, 9 mei.

Staatscourant (2 juni 2006) 106, p. 5.

Advocatenblad 86 (11 augustus 2006), omslag.

M december 2006, p. 9.

Vincent Mentzel Calendar 2007, Amsterdam (Art Unlimited) z.j. [2006].

Don Akkermans e.a. (samenstelling), Omkijken zorgzaam vastgelegd door veertig fotografen. Een uitgave van SIRE ter gelegenheid van het 40-jarig jubileum, Amstelveen (Lenthe Publishers) 2007, p. 88-89.

Marjolein van den Ansem, Seelenbriefe, Oosterhout (TAB Timmer Art Books) 2007, ongepag.

Peter Bakker (voorw.), Yearbook of Dutch Stamps 2006, Utrecht (A.W. Bruna) 2007, p. 14-15.

Frans Budé, Hoe alles gebeurt. Met een foto van Vincent Mentzel, Baarn (Atalanta Pers) 2007, p. 4.

DVD 40 jaar Don Quishocking. ‘Dankzij het Cabaret’, Amsterdam (Rubinstein) 2007, foto bij hoofdstuk 9 van het begeleidende boekje.

A.F.Th. Van der Heijden, MIM, Amsterdam (De Bezige Bij) 2007, omslag (achterzijde).

Ruth A. Kok, Statutory limitations in international criminal law, Den Haag (T.M.C. Asser Press) 2007, omslag.

Marloes Krijnen (inl), FOAM Album 07, Amsterdam (Foam) 2007, ongepag.

Nico ter Linden, De profeet in de vis. Verhalen uit het Oude Testament (2), Amsterdam (Balans) 2007, omslag (achterzijde).

Arjen Mulder en Joke Brouwer, Dick Raaijmakers. Monografie, Rotterdam (V2/NAI) 2007 [250 exemplaren met exclusief gesigneerd portret door Vincent Mentzel].

Bouke Ylstra, Dagboeken 2001/07, Rotterdam (Duo/Duo) 2007, omslag, p. 3.

Paul Witteman, Het geluid van wolken. De muziekkeuze van Paul Witteman, Amsterdam (Balans) 2007, omslag.

Jan Wolkers, De schuimspaan van de tijd. Verzamelde essays, Amsterdam (De Bezige Bij) 2007, p. 468.

Staatscourant (9 februari 2007) 29, p. 1.

Libelle (12 maart 2007) 11, p. 22, 24-25.

Marcel Haenen, Tien kleine karmelieten in Brazilië, in M juli 2007, p. 44-56.

Savoir vivre aux chateaux. Huismagazine van Camille Oostwegel najaar 2007, p. 33.

de Volkskrant 20 oktober 2007.

Rotterdam Calendar 2008. Photography Vincent Mentzel, Amsterdam (Art Unlimited) z.j. [2007].

Anoniem, 123456Seven. Every 7 seconds a new person becomes infected with HIV/Aids, Amsterdam (De Grote Onderneming DGO) 2007/2008, p. 4.

Anet Bleich, Joop den Uyl, 1919-1987. Dromer en doordouwer, Amsterdam (Balans) 2008, omslag, fotokatern na p. 384.

Hans van Blommestein (samenstelling), M Photo. De fotografie van het Maandblad van NRC Handelsblad, Rotterdam (NRC Handelsblad) 2008, p. 30-31, 95.

Dick Breebaart e.a. (beeldred.), Punt. Uit. Vijfenzestig fotografen voor Hans, z.p., 2008, ongepag.

Marc Couwenbergh, Tussen kunst, sociaal engagement en ironie. Een kroniek van de familie van Norden 1883-2008, Gouda (MuseumGoudA) 2008, p. 95.

Egbert Dommering, De achtervolging van Prometheus. Over vrijheid en bezit van informatie, Amsterdam (Otto Cramwinckel Uitgever) 2008, p. 420.

Cherry Duyns, Klaas Gubbels. De voortgang, Eindhoven etc. (Galerie Willy Schoots etc.) 2008, omslag, p. 2, 8, 20-21, 30-31, 42-43, 54-55, 66, 78-79, 108-109, 126-127, 132, 144-145, 154-155, 168-169, 178-179, 190-191.

Patricia de Groot (samenstelling), Hella S. Haasse in beeld. Ik besta in wat ik schrijf, Amsterdam/Antwerpen (Querido) 2008, p. 108.

Marcel Haenen, Tien paters op Gods grote akker. De laatste Nederlandse missionarissen in Brazilië, Amsterdam/Rotterdam (Prometheus/NRC Handelsblad) 2008, p. 238, 240-241, 246, 251, 253, 257, 263.

Patrick van den Hanenberg, Wij mogen alles zeggen. De geschiedenis van Don Quishocking, Amsterdam (Nijgh & Van Ditmar) 2008, p. 152.

Arie Heijstek en Ger Hüsen, DFC 1883-2008, Dordrecht 2008, p. 1-3.

Sjoerd de Jong, Een wereld van verschil. Wat is er mis met cultuurrelativisme?, Amsterdam (De Bezige Bij) 2008, omslag (achterzijde).

Wim Kayzer, Een schitterende ongeluk. Wim Kayzer ontmoet Oliver Sacks, Stephen Jay Gould, Stephen Toulmin, Daniel C. Dennett, Rupert Sheldrake en Freeman Dyson, Amsterdam (Balans) 2008, omslag (achterzijde).

Michel Kerres, De nieuwe buren. Hoe Duitsland zijn lichtvoetigheid ontdekte, Amsterdam/Rotterdam (Prometheus/NRC Handelsblad) 2008, omslag (achterzijde).

Marloes Krijnen (inl), FOAM Album 08, Amsterdam (Foam) 2008, p. 322-323.

Floris-Jan van Luyn, A Floating City of Peasants. The great migration in contemporary China, New York (The New Press) 2008, omslag, p. 10, 13, 15, 27, 30, 32, 37, 55, 57-58, 63-65, 67-68, 74, 79, 94, 96, 98, 100, 103-104, 111, 113-114, 130, 135, 139, 142, 145-146, 150-152, 154, 156, 158, 161, 166-167, 180, 183, 185-186, 191, 194, 196, 216, 220-221.

Gwy Mandelinck (inl.), Dat de verte nabijer dan ooit was, Watou (Poëziezomers-Kunstzomers Watou) 2008, p. 64.

[Brochure] Parade Tournee 2008, Rotterdam 2008, p. 6-15, 17-19, 21-23, 25-27, 29-31.

Rosalie Sprooten en John Hoenen, Alles moet bevochten worden. Een portret van Camille Oostwegel, Naarden (Strengholt United Media) 2008, p. 282.

A.M. Tulner-Hepkema, Overwin dyslexie! Handig leren omgaan met lees- en spellingsproblemen, Doetinchem (Graviant educatieve uitgaven) 2008, omslag (achterzijde).

Bert van der Zwan, Bob de Graaff en Duco Hellema (red.), In dienst van Buitenlandse Zaken. Achttien portretten van ambtenaren en diplomaten in de twintigste eeuw, Amsterdam (Boom) 2008, p. 230.

DFC Clubnieuws 105 (augustus 2008) 3, p. 3, 9.

Daily Life Manual 2009, z.p. (Leprastichting) z.j. [2008], blad zondag 15 november.

Tóco’s Kunstagenda 2009, z.p., z.j. [2008] ongepag. [afb. na februari].

Margot Dijkgraaf, Nooteboom en de anderen in gesprek met Margot Dijkgraaf, Amsterdam (De Bezige Bij) 2009, omslag.

Hans den Hartog Jager en Wim Pijbes, Tom Claassen, Rotterdam (NAI) 2009, ongepag.

Martine Kamphuis, Ziek, Amsterdam/Antwerpen (De Arbeiderspers) 2009, omslag (achterzijde).

Gert-Jan Johannes, De communicerende vaten van Oscar van Leer. Ondernemerschap en filantropie in de Van Leer Entiteit, 1958-1986, Amsterdam (Boom) 2009, omslag (achterzijde).

Marloes Krijnen (inl), FOAM Album 09, Amsterdam (Foam) 2009, p. 280-281.

Ewoud Sanders, De reïncarnatie van het boek. In zeven stappen een eigen digitale bibliotheek, Leiden (Stichting Neerlandistiek Leiden) 2009, omslag (achterzijde), p. 4.

Joep Schenk en Petra Timmer, Groningen-gasveld vijftig jaar. Kloppend hart van de Nederlandse gasvoorziening, Amsterdam (Boom) 2009, p. 151.

Jeroen Smit, De Prooi. Blinde trots breekt ABN Amro, Amsterdam (Prometheus) 2009, na p. 160.

Mischa Spel, Ron Rijghard en Lien Heyting (red.), Golden years. Liber amicorum Kasper Jansen, z.p. [Rotterdam] 2009, omslag (achterzijde).

Rien Vroegindeweij, Leest en verrijkt uw geest. 35 jaar boekhandel Van Gennep, Rotterdam (Uitgeverij Douane en Stichting/Uitgeverij Duo Duo) z.j. [2009], p. 54.

Bert Wagendorp, Wybren de Boer en Frans Oosterwijk, Ard Schenk. De biografie, Kats/Rotterdam (De Buitenspelers) 2009, p. 556-557.

Bouke Ylstra, Dagboeken 2007/09, Rotterdam (Duo/Duo) 2009, binnenzijde omslag, p. 3.

Boomstang. Blad over bomen (2009) 1, p. 46-47. Tweewekelijkse krant voor medewerkers van Achmea (28 februari 2009) 5, omslag, p. 4-5.

Zonnebloem 4 (maart 2009) 1, p. 8-10.

NRC Weekblad 25 april 2009, p. 19.

Humus (juni 2009) 2, omslag.

Carola Houtekamer en Jannetje Koelewijn, Tien tienen, in NRC Weekblad 19 december 2009, omslag, p. 10-14.

Catalogus tent. Man en paard in de moderne kunst, Kortenhoef (Stichting Kunst aan de Dijk) 2010.

[Brochure] Discover Leiden. Toeristisch informatie/Tourist information, Leiden (Leiden Marketing) 2010.

Marion van Eeuwen en Tonny Schoemaker, Stijlvol op stap in eigen land. Buiten is het leuker in tien nieuwe regio’s in Nederland, Rotterdam (NRC Boeken) 2010, omslag (achterzijde).

Bas Heijne, Harde Liefde. Nederland op zoek naar zichzelf, Amsterdam (Prometeus) 2010, omslag (achterzijde).

Johan Huizinga (tekst) en Vincent Mentzel (foto’s), Homo ludens. Proeve eener bepaling van het spel-element der cultuur, Amsterdam (Amsterdam University Press) 2010.

Multatuli, Max Havelaar of de koffieveilingen van de Nederlandse handelsmaatschappij, Rotterdam (NRC Boeken) 2010, p. 316.

Poëziekrant 34 (januari-februari 2010) 1, p. 89.

Fietsstang. Blad over fietsen (2010) 2, p. 4-5, 55, 65.

Zonnebloem 47 (maart 2010) 1, p. 9-10.

Poëziekrant 34 (mei 2010) 3, p. 51.

NRC Weekblad 8 mei 2010, p. 7-9.

Zonnebloem 47 (juni 2010) 2, p. 9-10.

Volgens. De schrijver, het tijdschrift (zomer 2010) 1, p. 83.

NRC Weekblad 2 oktober 2010, p. 6-7, 20-21, 28-29, 35-36.

Het jaar 2010 in 100 beelden, in NRC Weekblad 31 december 2010, p. 8, 45.

Theo de Boer en Peter Henk Steenhuis, Denken over dichten. Hartstocht en rede komen in contact, Rotterdam (Lemniscaat) 2011, p. 21, 54.

CD Der Rosenkavalier van Richard Strauss, door Rotterdams Philharmonisch Orkest o.l.v. Edo de Waart, Rotterdam (Rotterdam Philharmonic Vintage Recordings) 2011, foto op hoes.

Lieke Timmermans en Meta Knol, Werk in uitvoering, Leiden (Museum De Lakenhal) 2011, p. 37.

Het Financieele Dagblad 29 maart 2011.

Annual reports

[Jaarverslag] Dienstencentrum. Een BAM specialisme, Schiedam (Stichting Raad voor Bejaardenwerk) z.j.

Sociaal jaarverslag 1978 ABN Bank.

Sociaal jaarverslag 1979 ABN Bank.

Jaarverslag 1980 SAAM (Steun aan Argentijnse moeders), omslag.

Banque Paribas Jaarverslag 1983, p. 4.

Vincent Mentzel (foto’s), [Jaarverslag] Kluwer 1985.

Vincent Mentzel (foto’s), Nederlandsche Credietverzekering Maatschappij nv. Sociaal jaarverslag 1987.

Nederlandsche Credietverzekering Maatschappij nv. Sociaal jaarverslag 1988, p. 10, 18, 21-24, 28-29, 50.

Vincent Mentzel (foto’s), PNEM Jaarverslag 1991.

PTT Post Jaarbericht 1991, p. 2.

Mensen in Nood-Caritas Nederland. Jaarverslag 1995, p. 10, 38.

Vincent Mentzel (foto’s), Jaarverslag Content Beheer nv = Annual Report Content Beheer nv 1996.

Het Nederlandse PTT Museum 1996 jaarverslag, afb. 27.

Robeco Group Corporate Report 1999, p. 17, 19, 21, 23-24.

Robeco Corporate Report 2000, p. 45, 47, 49, 51.

Jaarverslag De Goudse Verzekeringen 2001, p. 8-9, 22-23, 34-35, 42-43, 48-49.

KLM Milieujaarverslag 2001/2002. Op weg naar duurzaamheid, p. 4.

Prins Claus Leerstoel. Jaarverslag = Prins Claus Chair Annual Report 2003, p. 10-17.

Jaarverslag 2004 Kunsthal Rotterdam, omslag, p. 28, 37.

Prins Claus Leerstoel. Jaarverslag = Prins Claus Chair Annual Report 2004, binnenzijde omslag, p. 10, 12

Jaarverslag 2005. Port of Rotterdam (Havenbedrijf Rotterdam NV), p. 15.

Prins Claus Leerstoel. Jaarverslag = Prins Claus Chair Annual Report 2005, p. 8.

Jaarverslag 2006. De Nederlandse Dagbladpers (Amsterdam Zuidoost), p. 12-13.

Het Rijksmuseum Fonds Jaarverslag 2006, p. 27.

Jaarverslag 2007 Kunsthal Rotterdam, omslag.

Commissions (selection)

1980 Dienst Esthetische vormgeving (DEV) van de PTT (Portretten van koningin Beatrix. Op basis van een van de portretten ontwierp Peter Struycken een zegel voor een nieuwe serie permanente postzegels).

1980 Ministerie van Financiën (Portretten van koningin Beatrix. Bruno Ninaber van Eyben gebruikte één van de foto’s voor zijn ontwerp van de nieuwe Nederlandse muntreeks).

1984 Dienst Esthetische vormgeving (DEV) van de PTT (Portretten van prins Willem Alexander voor boek Alexander. Een impressie van de kroonprins bij zijn achttiende verjaardag).

1987 Dienst Esthetische vormgeving (DEV) van de PTT (foto Paleis Noordeinde voor postzegel).

1988 Medisch Comité Nederland-Vietnam (Vietnam).

1991 Dienst Esthetische vormgeving (DEV) van de PTT (hoffoto’s t.g.v. 25-jarig huwelijk van koningin Beatrix en prins Claus).

2008 Bijzondere Collecties van de Universiteit van Amsterdam (Lebak (Indonesië) voor Multatuli tentoonstelling).

2010 Rijksvoorlichtingsdienst (Portretten van koningin Beatrix voor het nieuwe staatsieportret).

Secundary bibliography

Anoniem, Persfoto van het jaar. World Press Photo ontving 2400 inzendingen, in Eindhovens Dagblad 23 februari 1973, p. 7.

Anoniem, Beste persfoto’s: Vietnam en Den Uyl, in De Tijd 23 februari 1973, p. 5.

Anoniem, Met Joop naar de top / ‘Ik vind ’t enorme eer’. Winnaar speciale prijs World Press Photo-competitie, in Het Vrije Volk 23 februari 1973, p. 1, 7.

Cees Overgaauw, Winnaar, in NRC Handelsblad 24 februari 1973, Zaterdags Bijvoegsel, p. 8.

P.W. Russel, Gehoord en gezien. Pauline gaat zo de wereld rond… en dat is ze!’, in Algemeen Dagblad 30 maart 1973.

Bas Roodnat, Samkalden opent expositie. Wereldfotografen in Amsterdam, in NRC Handelsblad 4 april 1973.

Anoniem, De winnende foto’s van WPPH, in De Journalist 24 (15 april 1973) 8, p. 27.

R.H. Fuchs, Een mooie foto, een leuke plaat, in NRC Handelsblad 11 mei 1973.

Anoniem, Liesbeth den Uyl kiekt WPP open, in Rotterdamsch Nieuwsblad 19 mei 1973.

Anoniem, Joop heeft het te druk, in Het Vrije Volk 19 mei 1973.

Anoniem, Mevrouw Den Uyl opent expositie. Bijzondere foto’s in ‘Triangel’, in Nieuwe Vlaardingse Courant 21 mei 1973.

Anoniem, World Press Photo, een bikkelhard beeldverhaal in gebouw Triangel, in Groot Vlaardingen/De Maaskoerier 22 mei 1973.

H.K. (= Herman Kersbergen), Vincent Mentzel met bekroonde foto’s in Waarheid en Vrede, in De Dordtenaar 29 juni 1973.

Anoniem, Auto Den Uyl beschadigd. Wethouder De Groen op de vuist, in De Dordtenaar 29 juni 1973, p. 1, 3.

Anoniem, Vincent Mentzel exposeert in Dordts Museum, in NRC Handelsblad 29 juni 1973 (met foto’s).

Frans Happel, Ongekunsteld. Foto. expositie van prijswinner Mentzel, in Rotterdamsch Nieuwsblad 2 juli 1973.

Anoniem, Fraai vakwerk van fotograaf Mentzel, in Rotterdamsch Nieuwsblad 6 juli 1973.

P.W. Russel, Gehoord en gezien. Bali: een goedkoop paradijs, in Algemeen Dagblad 15 augustus 1973.

Marja Roscam Abbing, De Vincent Mentzelstraat, in NRC Handelsblad 17 augustus 1973, Cultureel Supplement, p. 4.

Anoniem, Fotojournalist exposeert in warenhuis, in NRC Handelsblad 15 februari 1974.

Jan Juffermans, Zijn fotografen kunstenaars? Overbodige expositie in Rotterdam, in Algemeen Dagblad 16 juli 1974.

Bas Roodnat, Fotograaf van NRC Handelsblad exposeert foto’s van Den Uyl, in NRC Handelsblad 7 september 1974, p. 3.

Bert Sprenkeling, Twaalf keer Den Uyl, elf keer saai, in Het Parool 17 september 1974, p. 6.

W.K.C., Fotogalerie Fiolet toont Eikoh Hosoe en Vincent Mentzel, in Foto 29 (oktober 1974) 10, p. 20.

Bas Roodnat, Fotograaf NRC H’blad wint prijs met persfoto / Fotograaf NRC Handelsblad bekroond, in NRC Handelsblad 18 december 1975, p. 1, 3.

Piet van de Vliet, Weinig foto’s van klasse. Zilveren Camera gaat naar Vincent Mentzel, in de Volkskrant 19 december 1975, p. 17.

Bas Roodnat, Het portret (9) waar Vincent Mentzel het eerst aan dacht, in NRC Handelsblad 28 augustus 1976, Zaterdags Bijvoegsel, p. 5.

Bert Sprenkeling, Prachtige fotoseries. Mentzels ministers bij Amstelveens Cultureel Centrum, in Het Parool 23 november 1976, Kunst, p. 1.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 85, losse biografie.

Anoniem, Power of the press photo, in Holland Herald 13 (1978) 5, p. 14-15.

Anoniem, Fotograaf NRC Hblad: prijs World Press Photo, in NRC Handelsblad 23 februari 1978.

[Brochure] China-foto’s 73-77 van Vincent Mentzel, Rotterdam (Museum Boymans van Beuningen) 15 juli 1978 (met foto’s).

Peter Schumacher, China in Boymans, in NRC Handelsblad 15 juli 1978, Zaterdags Bijvoegsel, p. 7.

Piet van der Vliet, China voortreffelijk in beeld gebracht. Foto’s van Mentzel, in de Volkskrant 18 juli 1978, p. 9.

Bertus Schmidt, China bij Mentzel, kerkhoven bij Ruetz, in Het Vrije Volk 26 juli 1978, p. 15.

Wim Teeuwen, China in foto’s van Mentzel, in Brabants Dagblad 29 juli 1978.

Anoniem, Vincent Mentzel, in Magazijn september 1978.

Rommert Boonstra, Vincent Mentzel: “Fotografie nog steeds ondergeschoven kind”, in Elseviers Magazine 20 januari 1979, p. 86-87.

Friggo Visser, Vincents Mentzels Chinese muurkrant, in Winschoter Courant 9 februari 1979, p. 15.

Anoniem, Politicians are posers, in Holland Herald 14 (1979) 4, p. 33-35 (met foto’s).

Paul Donker Duyvis, Vincent Mentzel, portret van een fotograaf, in Nieuwsblad van het Noorden 11 april 1979, dertiende blad, p. 49.

Ton van Brussel (red.), Fotograferen in Libanon: geen luizenleven …., in De Journalist 30 (1979) 9, p. 25.

Anoniem, De Zilveren Camera, in Zero 1 (december 1979) 6, p. 11.

Wim Broekman, De Zilveren Camera, in Foto 35 (februari 1980) 2, p. 15.

Fred Jansz, …of ben je daar nu te goed voor? Interview door Fred Jansz met Vincent Mentzel, in Foto 35 (augustus 1980) 8, p. 26-32 (met foto’s).

Catalogus tent. Fotograferen in Rotterdam, Rotterdam (Rotterdamse Kunststichting) 1981, p. 28-29, 73 (met foto’s).

Anoniem, De Zilveren Camera / Parlementaire Fotografie, in Nederlandse Vereniging van fotojournalisten. Verslag van het jaar 1981, p. 5.

Max Pam, Het moment. Vincent Mentzel. Foto’s met commentaar genoteerd door Max Pam, in De Revisor 8 (februari 1981) 1, p. 40-47 (met foto’s).

Henk Kersting, Vincent Mentzel jureerde in Mongolië, in De Journalist 33 (19 november 1981) 22, p. 27.

Eef Brouwers, Jury rapport voor Zilveren Camera, in De Journalist 32 (17 december 1981) 24, p. 9-10.

Anoniem, Zilveren Camera uitgereikt, in NRC Handelsblad 18 december 1981, p. 3.

Centrale Directie PTT. Dienst voor esthetische vormgeving. Verslag over de jaren 1977 1978 1979 1980 1981, Den Haag 1982, p. 6, 31.

Matt Dings, De verlegenheid van Vincent Mentzel, in De Tijd 2 april 1982, p. 50-59 (met foto’s).

Gerard Vermeulen, Er staat een foto in de krant, in De Journalist 33 (12 augustus 1982) 15, p. 30-31.

Anoniem, Lubbers reikt prijzen World Press-foto 1982 uit, in NRC Handelsblad. Weekeditie voor het buitenland 37 (5 april 1983) 1, p. 2.

Ernst Gottlieb, Vincent Mentzel, in Professionele Fotografie (december 1983/januari 1984) 3, p. 30-36.

Herman (fotoverzameling en tekst), Zwart op wit. Nieuwsfotografie in de media, Amsterdam (Lont en Raket) z.j. [1984], p. 64, 89, 228.

Matt Dings, World Press Photo ’84. De een z’n dood is de ander z’n eervolle vermelding, in De Tijd 10 (24 februari 1984) 26, p. 5, 30-35.

Henk Blanken en Wim de Jong, Vincent Mentzel (meer dan alleen Tweede Kamerfotograaf). De mens achter de fotojournalist, in Focus 69 (november 1984) 11, p. 33-37 (met foto’s).

Rudy Kousbroek, Het brutale oog, in NRC Handelsblad 15 december 1984.

Anoniem, Vincent Mentzel bij prins Claus, in Indruk. Personeelsblad van de Nederlandse Dagbladunie (februari 1985) 57, p. 7.

Anoniem, (Foto Vincent Mentzel), in Elseviers weekblad 2 februari 1985.

Mariëtte Haveman, Hevige perspectieven, in Vrij Nederland 2 februari 1985, p. 15.

Bert Sprenkeling, Fotograferen doe je voor je lol, in Het Parool 6 februari 1985, Uit en thuis, p. 12.

P.S., (foto Vincent Mentzel), in Magazijn maart 1985, p. 28-29.

Louis Zweers, (Foto Vincent Mentzel), in Perspektief (1985) 22, p. 44-45.

Catalogus Rijksaankopen 1985. Werk van hedendaagse Nederlandse beeldende kunstenaars, Den Haag (Rijksdienst Beeldende Kunst) 1986, p. 201-202.

Bart de Vries, Het demasque van gevestigde reputaties, in Twee N. Personeelsblad Nationale Nederlanden juni/juli 1986, p. 18-21.

Doris Grootenboer, Fotografen op reis. Gevarieerde expositie in Sittard, in Algemeen Dagblad 8 augustus 1986, p. 6.

Marjolein Laffree, De werkplek van Vincent Mentzel, in Man 14 (november 1986), p. 99-101.

Tineke Luijendijk en Louis Zweers, Parlementaire fotografie. … van Colijn tot Lubbers, Den Haag (Staatsuitgeverij) 1987, p. 8, 70-76, 82-83, 92-94, 104, 109 (met foto’s).

Anoniem, Postzegel Paleis Noordeinde, in Pro-fil (oktober 1987) 38, ongepag.

Paul Hefting, Nederlandse postzegels. Poststempels. Achtergronden, emissiegegevens en vormgeving, Den Haag (SDU) 1988, p. 77-84.

Hans van Vugt, Karel Martens’ ontwerp herdenkingsmunt William & Mary, Nijmegen 1988, p. 7.

Bas van Lier, Een koningin vol krabbels, in NRC Handelsblad 5 mei 1988.

Sonja Geerlings, Fotojournalistiek. Tweegesprek Joop Swart Vincent Mentzel, in Foto 43 (juli/augustus 1988) 7/8, p. 94-101.

Alain Hirschler, Fotojournalist Vincent Mentzel. ‘In China kom ik thuis’, in Reizen. Maandblad voor vakantie en vrije tijd 52 (februari 1989) 2, p. 12-14.

Jennifer Smit en Gerrold van der Stroom (samenstelling), Op het netvlies getekend. 42 bekende Nederlanders beschrijven hun meest aangrijpende oorlogsfoto, Den Haag (SDU) 1990, p. 62-63.

Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw, Amsterdam (BIS) 1991, p. 91, 203.

Anoniem, Nieuwe hoffoto’s, in NRC Handelsblad 28 februari 1991, p. 36.

Arendo Joustra, Een koninklijke plaat, in Elsevier 12 oktober 1991, p. 136.

Francisco van Jole, Vincent Mentzel. Het privéleven van de hoffotograaf, in Circuit september 1994.

Anoniem, Excentrieke miljonair in Mexicaans oerwoud, in Photo International Rotterdam [krant] 29 september 1994, p. 29.

Anoniem, 27 Galerie Delta, in Photo International Rotterdam [krant] 29 september 1994, p. 29.

Maro Ziegler, Het verdwijnende China, in De Telegraaf 24 juni 1995.

Hubert Smeets, Hollands Dagboek. Vincent Mentzel, in NRC Handelsblad 30 september 1995, Zaterdags Bijvoegsel, p. 9.

Martin Voorn, Sylvia Tóth, eeuwige zakenvrouw van het jaar, in Algemeen Dagblad 6 november 1996.

Dick Verkijk, Van pantservuist tot pantservest. Zestig jaar (on)journalistieke ervaringen, Nieuwegein (Uitgeverij Aspekt) 1997, p. 218, 357-359.

Willem Pekelder, Het muzikale trio Reve, Lubbers en Mentzel, in Algemeen Dagblad 25 april 1997, p. 2.

Onno Blom, ‘Slager Crolus’ van Reve herboren, in Trouw 26 april 1997, p. 21.

Anoniem, Rangen en standen. Vincent Mentzel & Martijn Beekman, in de Volkskrant 31 mei 1997.

Frits de Coninck, De dubbele werkelijkheid van Vincent Mentzel, in De Stem 5 juni 1997.

Arjen de Boer, De gruwelijke plek van: Vincent Mentzel, in Straat Magazine (editie Rotterdam) (29 november/12 december 1997) 3, p. 28.

Piet van Winden, Zelf Reve verzamelen. Handleiding tot een fatsoenlijk collectie, Leiden (De Botermarkt) 1998, p. 122-125, 136-137.

Joris Abeling e.a. (red.), Beatrix (60), in NRC Handelsblad 29 januari 1998, bijlage Profiel, p. 28-29, 31.

Liu Shen en Li Dongwen (ed.), ’99 Focus on China. Photos by Foreign Photographers, Beijing (China Photography Publishing House) z.j. (met foto’s).

Ellen Tops, Foto’s met gezag. Een semiotisch perspectief op priesterbeelden 1930-1990, Nijmegen (Vantilt) 2001, p. 265-268 (serie: KDC bronnen & studies 39).

FB (= Frits Baarda), Vincent Mentzel, in Wim van Sinderen (red.), Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Gent/Den Haag (Ludion/Fotomuseum Den Haag) 2002, p. 256-257.

Johan Faber, Levenswerk. ‘ik weet niet meer hoe ik naar politiek moet kijken’, in Carp 22 mei 2002, p. 36-37.

Henny de Lange, Het kind van de dominee. ‘Ik kan nooit zomaar op de bank hangen’, in Trouw 25 oktober 2002, De Verdieping, p. 14.

Koos de Wilt, Passie voor kunst. 31 interviews met prominente kunstliefhebbers, Wormer (Inmerc) 2003, p. 106-111.

Carel van der Velden, Blinde fotografen schilderen met licht, in Rotterdams Dagblad 26 juni 2004.

Catalogus Tafelen voor Sophia. Veiling. Benefietgala zaterdag 19 november 2005, Rotterdam 2005, p. 36.

Paul Hefting, Els Kuijpers en Gert Staal, De vorm van het koningschap. 25 jaar ontwerpen voor Beatrix, Rotterdam (Uitgeverij 010) 2005, omslag, p. III, 4, 7, 59, 65.

Nop Maas (commentaar), Briefwisseling 1951-1987. Gerard Reve. Geert van Oorschot, Amsterdam (Van Oorschot) 2005, afb. XXXV, p. 536, 709.

Maghiel van Crevel, Chunning vindt werk op de vuilnisbelt. Hoe boeren overleven en sterven in de stad, in Trouw 26 maart 2005.

Frank van Dijl, Fotografie. Een surrealist in de jungle. Een journalist en een fotograaf ontmoeten een Britse dichter, in AD magazine 4 juni 2005, p. 9.

Programma Programme 2006 Vlaams Nederlands Huis de Buren, Brussel 2006, p. 16-17.

Ruud Visschedijk (voorw.), Avenue. Van A tot Zero, z.p. [Rotterdam] (Veenman) z.j. [2006], p. 245

Jan Willem de Wijn, Woorden en daden in de geschiedenis van de Rotterdamse luchtvaart, Rotterdam (Rotterdam Airport BV/Historische Reeks van het Genootschap Roterodamum) 2006, p. 366.

Anoniem, Zestienhoven en R’dam Airport bestaan 50 jaar, in 6 juli 2006.

Anoniem, 50 jaar Zestienhoven, in NRC Handelsblad 8 juli 2006, p. 22 (met foto’s).

Anoniem, Vincent Mentzel, staffotograaf NRC Handelsblad, in NRC Handelsblad 8 juli 2006.

Anoniem, WWW.NRC.NL. Mentzel over foto’s, in NRC Handelsblad 29 augustus 2006.

Hermelijn van der Meijden, Met ruilen heb ik inmiddels een aardige collectie opgebouwd, in Eigen Huis & Interieur (september 2006) 9, p. 42-43.

Anoniem, Fotoblog, in NRC Handelsblad 8 september 2006.

Marcel Eilers, Vincent Mentzel fotografeerde de mens achter de luchthaven. Als ze lachen is het niet leuk, in Hillegersberg Life Style 3 (najaar 2006) 9, p. 11.

Frank van Dijl, Pierre Janssen en Peter Ouwerkerk (tekst), Zestig plus+. 60 Rotterdamse beeldende kunstenaars, Rotterdam (Duo/Duo) 2007, p. 157-159.

Brigitte van Mechelen, “Gewoon op z’n tijd een smoking dragen”, in P/F Professionele Fotografie (2007) 5, p. 28-30.

Rosan Hollak, Een vernieuwende dagbladfotograaf, in NRC Handelsblad 6 juni 2007.

Anoniem, ‘Van 9 tot 5 naar 11 tot 7’, Van Hot naar Her. Van A naar Beter, Den Haag (Ministerie van Verkeer en Waterstaat) 2008.

Bart-Jan Brouwer, Mijn dierbaarste ding… Vincent Mentzel-hoffotograaf NRC Handelsblad, in Miljonair. Magazine for the luxury lifestyle maart/april 2008, p. 30.

Thalia Verkade, Next question. Is fotogeniek zijn te leren?, in 3 (1 april 2008) 11, p. 2.

Rossan Hollak, Fotografie Directeur Wim Pijbes verwerft archief NRC-fotograaf voor Rijksmuseum Amsterdam. ‘Oeuvre Mentzel aanwinst Rijksmuseum’, in NRC Handelsblad 20 september 2008, p. 7.

Orchida Bachnoe, Lintjesregen, Amsterdam (Nieuw Amsterdam) 2009, binnenzijde omslag, p. 88-89.

Jan Rothuizen, De zachte atlas van Amsterdam, Amsterdam (Nieuw Amsterdam) 2009, p. 86-87.

Roel Rozenburg (samenstelling), Zilveren Camera 1949-2009. Vijfenvijftig winnaars in zestig jaar, Den Haag/Rotterdam (HannaBoek/Stichting De Zilveren Camera) 2009, ongepag.

Anoniem, Beelden voor de krant. Foto’s van Vincent Mentzel, in Beelden aan Zee (2009) 3, p. 8-9 (met foto’s).

Bernard Hulsman, De schoonheid van de naakte bliksemboom, in 23 oktober 2009.

Ewout de Bruijn, Portretfotografie volgens Vincent Mentzel, in Digifoto Pro. Special Edition Masterclass z.j. [2010], p. 65-71.

Ernest van der Kwast, Mama Tandoori, Amsterdam (Nygh & Van Ditmar) 2010, p. 23-33.

Hugo Logtenberg en Marcel Wiegman, Job Cohen, Burgemeester van Nederland, Amsterdam (Nieuw Amsterdam) 2010, na p. 60, p. 118 (met foto’s).

Anoniem, Zomerse koningin, in Royalty (2010) 4, omslag, p. 3, 38-39.

Rosan Hollak, Nieuwsfotografie is nu eenmaal hard. Winnaar van Zilveren Camera vertelt het verhaal van Koninginnedag 2009, in 25 januari 2010.

Anoniem, Moeder schrijver bedreigt fotograaf met deegroller, in Het Vrije Volk 3 april 2010.

Sander Pardon, Fotograaf Vincent Mentzel 65 jaar. De ontmoetingen maken het vak, in Leven 3 (zomer 2010) 7, p. 130-135.

Barbara Jonckheer (tekst), Vincent Mentzel. Kunst voor de camera, in Borza nieuws (september 2010) 18.

Ann Bouwma, ‘What’s the story? Daar gaat het om’. Interview Vincent Mentzel, in Beeld (december 2010) 2, p. 3, 6-9 (met foto’s).

Okke Groot, ‘Ik heb volgens mij in Den Haag de leukste tijd meegemaakt’. Interview met Vincent Mentzel, in Fotografisch geheugen (winter 2010/2011) 69, omslag (achterzijde), p. 11-15 (met foto’s).

Tjerk de Reus, Horen en zien inéén. Kunstboek, in Friesch Dagblad 19 januari 2011.

Joke Waltmans, In de spiegel. ‘Ik kan niet als ’n oude man leven’, in Algemeen Dagblad 27 januari 2011.

Evelien Baks, De grote nieuwsmomenten van fotojournalist Vincent Mentzel, in AD/Rotterdams Dagblad 3 maart 2011, p. 10.

Sven Boone, ’Ik raak het zicht op de werkelijkheid kwijt’. Interview fotograaf Vincent Mentzel, in de Volkskrant 4 maart 2011, Mensen en Media, p. 22-23.

Yaël Vinckx, ‘Krant moet lezer dreun durven te verkopen’. NRC-fotograaf Vincent Mentzel neemt afscheid van veertig jaar fotojournalistiek met groot retrospectief in Kunsthal, in NRC Handelsblad 11 maart 2011.

Frits Baarda, Het gezicht van de krant, in Villamedia Magazine 3 (11 maart 2011) 5, p. 30-32 (met foto’s).

Anoniem, Rijksmuseum koopt foto’s NRC’er Mentzel, in BN/De Stem 12 maart 2011.

Anoniem, TU heeft eerste cultuurprofessor, in AD/Haagsche Courant 15 maart 2011.

Frits Abrahams, Naar de pindakaasvloer, in NRC Handelsblad 16 maart 2011, p. 28.

Gertrude de Wildt-Brouwer, Veel politici hebben een trukendoosje, in Reformatorisch Dagblad 23 maart 2011, p. 12-13.

Annet de Groot, Een tijdsbeeld van veertig jaar Nederland, in Algemeen Dagblad 26 maart 2011.

Joost Zwagerman, Zwagerman kijkt. Het oog van Vincent Mentzel. Honderden foto’s met kleine verhalen in de kunsthal, in de Volkskrant 30 maart 2011, p. 11.

Yaël Vinckx, Macht trekt hem aan. NRC-fotograaf Vincent Mentzel neemt afscheid na 40 jaar, in 31 maart 2011, p. 1, 26-27.

Peter van Straaten, Biljart, in NRC Handelsblad 1 april 2011, p. 24.

Rolf Brockschmidt, ’Vincent Mentzel – Das Auge der Niederlande’, in Der Tagesspiegel 29 april 2011.

Joris Belgers, Retrofoto’s maken alledaagse wereld een stukje mooier, in Trouw 3 mei 2011.

Kees Keijer, Hipstamatic. Kunsthal exposeert retrofoto’s. Sfeerbeelden uit de iPhone, in Het Parool 5 mei 2011, p. 20-21.

Arno Gelder, Prinses Máxima oogt als Mona Lisa, in Algemeen Dagblad 16 mei 2011, p. 7.

Anoniem, Het ultieme geluksgevoel van Vincent Mentzel, in Zin (juni 2011) 6, p. 46-47.

Angela van der Elst, Zomeravondradio, in VPRO gids (9 juli 2011) 28,p. 14-15.

Arthur van den Boogaard, Annemarie ging op hockey, in NRC Handelsblad 16 juli 2011, p. 44.


Bestuur Stichting Peter Martens.

Jury ABC Fotojaarprijs, Haarlem.

Nederlandse Vereniging van Fotojournalisten (NVF) ca. 1973-1984.

Bestuur Nederlandse Vereniging van Fotojournlaisten (NVF) 1974-1980.

Zilveren Camera Commissie 1975-1979.

Redactie tijdschrift De Journalist 1977-1984.

Bestuur Rotterdamse Kunststichting 1980-1985.

International Advisory Committee van de W. Eugene Smith Memorial Fund, New York 1980-heden.

Jury Interpressfoto (IPF) van de International Organisation of Journalists (IOJ), Ulan Bator 1981.

Bestuur Stichting World Press Photo 1981-2006.

Jury Wolkenridder Photo Competition, een wedstrijd voor KLM-medewerkers 1982.

Jury Zilveren Camera 1982.

Jury World Press Photo 1984.

GKf 1986-ca.1988.

Jury World Press Photo 1987.

Jury wedstrijd uitgeschreven door International Organisation of Journalists (IOJ), Bagdad 1989.

Jury World Press Photo 1991.

Jury Fotowedstrijd Kijk op Kleur uitgeschreven door Stichting provinciaal platform Antiracisme (SPPAR) en het Verzetsmuseum Zuid-Holland, 1996.

Bestuur Stichting Fonds Anna Cornelis 1996-2006.

Jury China Folklore Photographic Association, Beijing 1998.

Jury ‘Grondwetcompetitie fotografie’, een wedstrijd voor jongeren naar aanleiding van het 150-jarig bestaan van de Nederlandse grondwet, 1998.

Jury (eenmansjury) Pendrecht Cultuurprijs 1999, Rotterdam 1999.

Redactie tijdschrift M 27 maart 1999 t/m 2 december 2006.

Jury The 5th Shanghai International Photographic Art Exhibition (namens World Press Photo) 2000.

Bestuur FOAM 2001-2010.

Jury Verybz fotowedstrijd (voor medewerkers van Buitenlandse Zaken) 2001.

Jury Chipp (China International Press Photo contest 2004) Shenzhen, China.

Jury China Folklore Photographic Association, Beijing 2004.

Jury Chipp (China International Press Photo contest 2005), Shenzhen, China.

Jury VVTP-TIN Theaterfotoprijs 2008.

Jury Inktspotprijs 2010.

Jury NRC Charity Awards 2011.

Bestuur Stichting Vincent Mentzel Fonds, vanaf 2011.


1973 1 ste Prijs categorie Beste Nederlandse Persfoto, World Press Photo 1973.

1974 2 de Prijs, categorie Portretten, De Zilveren Camera 1974.

1975 Eervolle vermelding, 32 nd Annual Pictures of the Year competitie van de Universiteit van Missouri USA en de National Press Photographers Association.

1975 1 ste Prijs categorie Nieuws, winnaar Zilveren Camera (wisseltrofee), De Zilveren Camera 1975.

1976 1 ste prijs categorie Portretten, 2 de en 3 de prijs categorie Theater, De Zilveren Camera 1976.

1977 1 ste Prijs categorie Theater en 3 de prijs categorie Features, De Zilveren Camera 1977.

1978 1 ste Prijs categorie Colour Picture Stories, World Press Photo 1978.

1978 1 ste Prijs categorie Nieuws Features, De Zilveren Camera 1978.

1979 1 ste Prijs categorie Documentaire, De Zilveren Camera 1979.

1980 1 ste en 3 de Prijs categorie Fotoreportage, 2 de prijs categorie Hard nieuws, De Zilveren Camera 1980.

1981 1 ste Prijs categorie Nieuws, winnaar Zilveren Camera (wisseltrofee), De Zilveren Camera 1981.

1982 Persprijs Openbaar Vervoer.

1982 Eervolle vermelding categorie Portraits of people in the news, World Press Photo 1982.

1983 International Master of Press Photography, IOJ (International Organization of Journalists).

1983 2 de Prijs categorie Nature (series), World Press Photo 1983.

2006 SanDisk-Impact prijs voor portretfotografie.

2007 Grote Paul Award 2007.

2007 Ridder in de Orde van de Nederlandse Leeuw.

2011 Erasmusspeld.


1968 (g) Amsterdam, (voormalige) Nederlandse Bank (Rokin), [tentoonstelling n.a.v. symposium Omgaan met de dood].

1973 (g) Amsterdam, Gebouw van de Volkskrant, World Press Photo 1973 [reizende tentoonstelling].

1973 (e) Dordrecht, Dordrechts Museum, Vincent Mentzel Foto’s.

1974 (e) Amsterdam, Galerie Fiolet, Portret van een minister-president 1974.

1974 (g) Columbia, University of Missouri ‘School of Journalism’.

1974 (e) Eindhoven, Warenhuis De Bijenkorf.

1974 (g) Rotterdam, Expositiezaal De Doelen, Martens, Mentzel en Van Soest.

1974 (e) Rotterdam, Warenhuis De Bijenkorf.

1974/1975 (g) Arnhem, Gemeentemuseum Arnhem, De Zilveren Camera 1974.

1975 (e) Rotterdam, Medische Faculteit.

1975/1976 (g) Rotterdam, Lijnbaanscentrum, De Zilveren Camera 1975.

1976 (e) Amstelveen, Cultureel Centrum Aemstelle, Een dagje minister.

1976 (e) Den Haag, Gebouw Tweede Kamer der Staten Generaal, Politieke fotografie.

1976 (e) Den Haag, Ministerie van Financiën, Een dagje minister.

1976/1977 (g) Rotterdam, Lijnbaanscentrum, De Zilveren Camera 1976.

1977 (g) Amsterdam, World Press Photo 1977 [reizende tentoonstelling].

1977 (g) Rotterdam, Foto Morgana.

1977/1978 (g) Schiphol, Expositieruimte Luchthaven Schiphol, De Zilveren Camera 1977.

1978 (g) Amsterdam, Rijksmuseum Vincent van Gogh, World Press Photo 1978 [reizende tentoonstelling]

1978 (e) Rotterdam, Museum Boymans van Beuningen, China-foto’s 73-77 van Vincent Mentzel.

1978/1979 (g) Schiphol, Expositieruimte Luchthaven Schiphol, De Zilveren Camera 1978.

1979 (e) Arnhem, Gemeentemuseum, Vincent Mentzel toeschouwer in China.

1979 (e) Groningen, Volkenkundig Museum Gerardus van der Leeuw, China.

1979/1980 (g) Schiphol, Expositieruimte Luchthaven Schiphol, De Zilveren Camera 1979.

1980/1981 (g) Schiphol, Expositieruimte Luchthaven Schiphol (noordelijke vertrekhal), De Zilveren Camera 1980.

1981 (g) Den Haag, Fotogalerie Kiek, Vincent Mentzel, Frederick Linck, Rainer Kiedrowski.

1981 (g) Rotterdam, Expositiezaal De Doelen, Fotograferen in Rotterdam. De fotograaf als ooggetuige.

1981/1982 (g) Schiphol, Expositieruimte Luchthaven Schiphol (gang naar restaurant Aviorama), De Zilveren Camera 1981.

1982 (e) Den Haag, Warenhuis De Bijenkorf, Vincent Mentzel, China en Tibet.

1982 (g) Rotterdam, Galerie Perspektief.

1983 (g) Amsterdam, Nieuwe Kerk, World Press Photo 1983 [reizende tentoonstelling].

1983/1984 (g) Nijmegen, Nijmeegs Museum ‘Commanderie van Sint Jan’, ‘Fotografische zelfbespiegeling’. Het zelfportret in de fotografie in Nederland vanaf ca. 1840.

1984 (e) Rotterdam, AMRO Bank Coolsingel, Vincent Mentzel foto’s.

1984 (g) Rotterdam, Museum Boymans van Beuningen, Kunst uit Rotterdam.

1985 (e) Rotterdam, Erasmusuniversiteit. Gebouw Woudenstein, Foto’s uit China.

1985/1986 (g) Nijmegen, Nijmeegs Museum ‘Commanderie van Sint-Jan’, Fotografie een manier van kijken….

1986 (g) Den Haag, Logement van de Heren van Amsterdam, Rijksaankopen 1985.

1986 (g) Leiden, Stedelijk Museum De Lakenhal, Fotografie een manier van kijken.

1986 (g) Sittard, Kritzraedthuis, Nederlandse fotografen op reis, een keuze.

1987 (e) Rhoon, Kasteel van Rhoon, Foto’s van Vincent Mentzel.

1987 (g) Rotterdam, Photogallery Café Rotown, Sprekend Deelder.

1988 (g) Beijing, ‘Holland Special’ (World Press Photo).

1988/1989 (g) Den Haag, Postmuseum, Postzegelontwerpen 1987 en 1988.

1992 (g) De Berini foto-expositie ‘Groeten uit Rotterdam’ [reizende tentoonstelling bij tournee van de Berini’s].

1994 (e) Rotterdam, Galerie Delta, La réproduction interdite.

1995 (e) Amsterdam, Golden Tulip Barbizon Centre, Faces of China.

1995/1996 (g) Rhoon, Kasteel van Rhoon, Salon 1975-1995. 20 jaar beeldende kunst in het kasteel.

1996 (g) Den Haag, PTT Museum, Merci beaucoup, M. Nièpce. Fotografie in de vormgeving van Nederlandse postzegels.

1996 (g) Enkhuizen, Expositie- en documentatiecentrum van het Apostolisch Genootschap, Deel van het ondeelbare.

1996 (g) Rotterdam, De Kunsthal, Erasmusbrug. Inspiratiebron voor kunstenaars.

1997 (e) Breda, Museum de Beyerd, China.

1997 (g) Rotterdam, Nederlands Fotoinstituut, Actuele, gezichtsbepalende fotografie in zes landelijke, Nederlandse dagbladen.

1998/1999 (g) Rotterdam, Centrum Beelden Kunst, Off the record.

1999 (g) Naarden, Bastion Oranje, ’99: Negenennegentig jaar Nederlandse fotografie (Fotofestival Naarden).

2001 (g) Amsterdam, Nieuwe Kerk, Jongens van Jan de Witt.

2002 (g) Rotterdam, Atlas van Stolk, Door de ogen van Sabrina en Hassen. Tunesische kindertekeneningen over de Nederlandse geschiedenis.

2004 (g) Oost-Souburg, Watertoren, The Drifter The Dreamer”.

2004 (g) Rotterdam, (ramen Heemraadssingel en Mathenesserlaan), Raamkunst 2004.

2005 (e) Rotterdam, Museum Boijmans van Beuningen, Portretten van Edward James, mecenas van Dali & Magritte (Alles Dali).

2005 (g) Rotterdam, Nederlands Fotomuseum, Undercover/Onthecover.

2005 (g) Rotterdam, Tent. Centrum Beeldende Kunst, The Drifter The Dreamer: The Remix.

2006 (g) Amsterdam, Gebouw Mercurius, Teder.

2006 (e) Rotterdam, De Kunsthal, ‘De mens achter de luchthaven’. Fotoportretten van Vincent Mentzel.

2007 (g) Den Haag, Bibliotheek Den Haag, Teder.

2007 (g) Kats, De Zeeuwse Rozentuin, Vincent Mentzel, Klaas Gubbels.

2007 (e) Naarden, New Gallery, [selectie foto’s van Vincent Mentzel n.a.v. Grote Paul Award 2007).

2007 (g) Zonnemaire, buitenexpositie van Stichting Zonnemaire Buitengewoon op landerijen langs de Schapenweg, Agri-Cult [drive-in foto-expositie].

2009 (g) Den Haag, Centrale Bibliotheek, 60 jaar Zilveren Camera.

2009 (e) Scheveningen, Museum Beelden aan Zee, Beelden voor de krant. Foto’s van Vincent Mentzel.

2010 (g) Amsterdam, Bijzondere Collecties Universiteit van Amsterdam, ‘Het is geen roman, ’t is een aanklacht!’ 150 jaar Max Havelaar.

2010 (e) Amsterdam, Galerie Borzo, Kunst voor de camera. Kunstenaarsportretten van Vincent Mentzel.

2010 (g) Kortenhoef, De Oude School, Man en paard in de moderne kunst (Kunst aan de Dijk).

2011 (g) Den Haag, De Affiche Galerij (Souterrain tramtunnel op Station Spui), ‘van Grote waarde – iconen van de post’.

2011 (g) Domburg, Duingalerie, In het licht van Walcheren.

2011 (g) Rotterdam, Kunsthal, Hipstamatic. Retrofoto’s met je iPhone App.

2011 (e) Rotterdam, Kunsthal, Het oog van Nederland. foto Vincent Mentzel.

Radio- en television programmes:

1977 (4 april) De late ochtend, programma met als gasten Eva Besnyő en Vincent Mentzel n.a.v. het thema ‘de pers: fotojournalistiek’ (AVRO).

1984 (december) Kenmerk. Kees van Twist in gesprek met Vincent Mentzel, Peter Martens en Koen Wessing (IKON-televisie).

1987 (19 januari) Zeg ‘ns AAA (deel 84), met Vincent Mentzel in de rol van fotograaf (VARA-televisie).

1989 (23 november) Lopend Vuur – Beeldtaal, Vincent Mentzel over 40 jaar Magnum (NOS-televisie).

1992 (31 juli) Theo van Gogh. Een prettig gesprek met Vincent Mentzel (TVA-televisie).

1994 (13 februari) 3D, waarin een gesprek van William Valkenburg met Eva Besnyö, Vincent Mentzel en Peter Boer (VARA-radio).

1996 (10 januari) programma gepresenteerd door Lida Iburg, waarin een gesprek met Vincent Mentzel (Radio Rijnmond).

2003 (8 november) Museumgasten. Vincent Mentzel bezoekt samen met Anne-Wil Blankers het Museum Boijmans Van Beuningen (AVRO-televisie).

2007 De koele woede van Bernard Willem Holtrop, documentaire van Cinta Forger en Walther Grotenhuis (met twee foto’s van Vincent Mentzel) (Olympic Films/NPS).

2008 (2, 3 en 4 juni) Spraakmakers Special, Mentzel interviewt Kadir van Lohuizen, Anton Corbijn en Chris Keulen over de World Press Photo-wedstrijd (Het Gesprek-televisie).

2009 (20/21 maart) Casa Luna, interview met Vincent Mentzel (NCRV-radio).

2010 (27 februari) De Virtuele Vitrine van Vincent Mentzel. Mentzel vertelt over een schilderij van Klaas Gubbels in zijn collectie (AVRO-televisie).

2010 (15 september) Kunststof radio, Petra Possel in gesprek met Vincent Mentzel (NTR-radio).

2011 (13 januari) De Avonden, met een gesprek van Maarten Westerveen met Vincent Mentzel over Homo Ludens (VPRO-radio).

2011 (3 maart) OBA live, met een gesprek van Paul Rosenmöller met Vincent Mentzel (IKON-radio).

2011 (6 maart) Kunststof TV, interview met Vincent Mentzel (NTR-televisie).

2011 (17 maart) De wereld draait door, met o.a. Vincent Mentzel (VARA-televisie).

2011 (28 april) Koffietijd, met rondleiding door Vincent Mentzel over de tentoonstelling Het oog van Nederland (RTL-televisie).

2011 (15 mei) Kunststof TV, special over De kracht van het Beeld (NTR-televisie).

2011 (13 juni) De, interview van Felix Meurders met Vincent Mentzel als gast van de dag (VARA-radio).

2011 (15 juli) De Avonden, twee uur durende reportage van Annemieke Smit met Vincent Mentzel (VPRO-radio).


Leiden, Prentenkabinet Universiteitsbibliotheek Leiden, bibliotheek en documentatiebestand (o.a. ongepubliceerde doctoraalscriptie Kunstgeschiedenis: Leonoor Speldekamp, ‘Ik fotografeer macht…’: Foto’s van Vincent Mentzel, Rijksuniversiteit Leiden 1988).

Rotterdam, Paul Mentzel (typoscript Mentzel ABC).

Rotterdam, Vincent Mentzel.


Amsterdam, Dunhill Dutch Photography.

Amsterdam, International Institute of Social History (IISG).

Amsterdam, Rijksdienst voor het Cultureel Erfgoed (RCE).

Amsterdam, Rijksmuseum.

Amsterdam, Stadsarchief.

Columbia, University of Missouri.

Den Haag, Nationaal Archief (collectie Spaarnestad Photo).

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.

Rotterdam, Gemeentearchief.

Rotterdam, Museum Boijmans Van Beuningen.


De auteursrechten op het fotografisch oeuvre van Vincent Mentzel berusten bij Vincent Mentzel te Rotterdam.