This book is published on the occasion of the exhibition "Aldo Bakker - Creatures, studies for existence" presented at Villa Noailles (Hyères, France) from July 2 to September 26, 2010. Aesthetically well designed and in harmony with Aldo Bakker's work the catalogue shows the delicate, sensual,and natural forms which he uses to create furniture, glass work, ceramic vessels, and table-ware.

"The work of Aldo Bakker, (Amersfoort NL 1971) is the work of a designer. With that, Aldo distances himself from the current belief that a strong ‘concept’ will naturally lead to interesting forms. He believes that the mastery and control of aesthetics are essential competencies... Aldo’s objects are designed to influence the factor of ‘time’. He is deeply fascinated by such notions as ‘endlessness’ and ‘eternity’. Time is a dominant factor in the production process of his pieces of furniture. His use of Urushi varnish from Japan requires an extremely expensive and lengthy process and is a response to the fleetingness of mass production and increasing consumerism. These centuries-old techniques, combined with his love of architecture, are aimed at slowing the passage of time and creating a ‘time gap’. Emphasis is put on the physical experience and the possibilities offered by moving around the objects, admiring them or loathing them like extra-terrestrial beings. Fantasy and meaning demand an almost meditative state, and the mood of silence provokes the necessary care and attention. All these are collectively ignored today by western society." (Text from web-site Aldo Bakker)

"It seems as if all the choices in our lives are individual, and yet the majority of products that surround us are standardized. This is actually not a bad thing, as a multitude of collective agreements ensure that nuts fit bolts, dishwashers fit kitchens and digital tunes can be dispatched to the other side of the planet. Many such advantages have inspired famous designers such as Dieter Rams and Piet Zwart, as well as manufacturers including Braun and Thonet, and schools such as Bauhaus, to devote their efforts to standardization, applying it to design beautiful, good and inexpensive products. Norm=Form sheds light on the sometimes hidden agendas that are employed to implement product normalization and standardization. Communist administrators, uncompromising feminists and conventional housewives embrace notions of standardization in order to fulfil their social ideals. Now that efficiency has become natural, the uniformity and limitations of rationality also receive criticism from artists and designers such as Joep van Lieshout and David Cerny. Ultimately, Norm=Vorm examines what the standardization of products means in today's world.
The book deals with a wide spectrum of historical and contemporary subjects: the standardization of tools, the food processing industry as an example, the development of ready-made clothing and the sizing system, Taylorism in the American household, the inception of professional ergonomics, the introduction of colour systems, the standardization of sound and vision carriers, and the acceptance of an array of 'classics', from pens to boats and cars to watches." (Publishers text)

There is also a Dutch edition.

This intriguing book examines the small woven and wrought works artist Sheila Hicks has produced for the past fifty years. With their distinctive colours, thoughtful compositions and narrative expression, these miniature creations reveal the emergence and continuity of the artist's approach to her work. Internationally recognised for her mastery of a textile vocabulary of extremely different scales - sculpture, tapestry, site specific commissions for public spaces, environments of recuperated clothing and uniforms, and more - Hicks has thoughtfully crafted miniatures throughout her nomadic career. The palm-sized works present a record of her remarkable artistic and personal journeys. Focusing on some one hundred Hicks miniatures from many public and private collections, the book excellently demonstrates the breadth of her artistic concerns, her persistent inquiry into the mysteries of colour, her playful yet reverential subversions of weaving traditions, her surprising range of materials, and her experimentation with new technology. From initial experiments based on pre-Columbian weaving techniques to a 2005 sculptural project using ninety colours of synthetic filaments, Hicks' small works offer a unique opportunity to access and understand her conceptual and technical forays. The volume includes three informative essays as well as illustrations of the artist's related drawings, photographs and chronology.

This beautiful book has been exceptionally well designed by the award-winning Dutch book designer Irma Boom.

'Song Through 21st Century Eyes' discusses Song Dynasty Yaozhou and Gingbai ceramics. The book, written by one of the worlds leading authorities on Chinese ceramics, looks at these two distinct types of ceramics which were greatly admired in China at the time of their manufacture, and it places them in their historical, geographical, economic and social context. The book is illustrated from one of the finest private collections in the world and it has been exceptionally well designed by the (world) famous book designer Irma Boom.

Proefschrift ter verkijging van de graad van Doctor aan de Universiteit Leiden op gezag van Rector Magnificus prof.mr.P.F.van der Heijden volgens besluit van het College voor Promoties.
Afgelopen maart promoveerde Marianne Unger tot doctor in de kunst-geschiedenis aan de Universiteit van Leiden. In haar proefschift plaatst ze het sieraad in een multidisciplinair kader, en ean niet op basis van persoonlijke argumenten maar met de vereiste kunst wetenschappelijke distantie.

An academic disertation on the art and social aspects of jewelery.

First extensive publication by and about fashion designer Alexander van Slobbe. The austere, minimalist designs by Van Slobbe (SO by Alexander van Slobbe, orson+bodil) are internationally regarded as the epitome of Dutch Modernism. Alongside Viktor & Rolf, Van Slobbe is seen as the most versatile, successful and talented Dutch fashion designer of the day. His personal passion is the product itself, informed by an ongoing quest for new creations, innovative materials and the use of different means of production, including traditional methods. A running theme throughout Van Slobbe’s career has been to see fashion as a platform on which various forms of collaboration with architects, artists and writers can take place.
'Alexander van Slobbe, and... and... and...' is more than a classic representation of an oeuvre. For Van Slobbe, a greater and hence more meaningful context has always been of the highest importance. In the publication this context is supplied by essays and several new picture reportage which—presented in this unusual book design by Mevis & Van Deursen—together create an independent view of Van Slobbe’s work.

Marcel Wanders has become a major player in the international design world. Dutch director of the eponymous design studio, art director and co-founder of furniture label Moooi, Wanders does not merely make marvelous objects; he invents worlds in which the mass-produced is handmade, floors and walls grow into forests, and a couch can make a change of costume as quickly as a supermodel.
"Behind the Ceiling' explores Wanders theatrical approach to design, which is both decorative and minimal. In his own voice, Wanders guides the reader through pages of ceramics and glass work, jewelry and lighting, wallpapers and textiles, new species of office, restaurant, hospitallity and retail space. He showcases collaborations with design movers like Bisazza and Puma, his humorously poetic art direction for Moooi, and his Personal Editions collection, which features products intended to furnish a more democratic design world in which man has taken back the machine and art has co-opted industry.

The first edition sold out within a few months, making a demand for a second editon of the first overview of Blaisse's broad spectrum of work, presented in the same stunning book design by Irma Boom.
Internationally recognized as one of today's most important and pioneering landscape and interior designers, the Dutch designer Petra Blaisse continues to define new and increasingly ambitious roles for landscape and interior design. In contrast to architecture's static and immutable severity she devises flexible and flowing solutions that interconnect interior and exterior. Her designs are often poetic and colourful, but they consistently provide astute and elegant solutions to complex technical problems.
Blaisse contributes to important projects in Europe, Asia and the USA both as an independent designer and in association with urban planners and architects such as Tim Ronalds, SANAA/Kazuyo Sejima, Macken & Macken, OMA/Rem Koolhaas and Michael Maltzan.
This volume provides extensive documentation of key projects, features the designer herself in conversation with the editor Kayoko Ota, and includes essays by a range of experts, making it an indispensable source of inspiration for architects, engineers and designers, as well as providing a new impulse for the whole field of architecture.

This handsome, hefty block-book, which features 700 prints, posters and other objects from the collection of Zurich's Gestaltung Museum has been designed by the well known Dutch book designer Irma Boom. The museum's collection is renowned worldwide for its unsurpassed holdings of design masterpieces: Ettore Sottsass's iconic red "Valentine" typewriter from 1969, Paul Rand's 1950 poster for the film No Way Out, as well as graphic works by Toulouse-Lautrec and El Lissitzky, and a range of works by Richard Paul Lohse, Harry Bertoia, Willy Guhl, Makoto Saito, FHK Henrion and many other great designers. Founded in 1875, the museum's collection focuses on twentieth-century mass-manufactured products, comprising over 10,000 objects and 20,000 examples of packaging, from famous designs to anonymous everyday objects; a graphics collection containing over 100,000 items from around the world, dating from the fifteenth century to the present; a collection of 300,000 posters and an applied arts collection, showcasing work from the nineteenth and twentieth centuries that covers the overlap between industrial manufacturing, design and art. With beautiful, full-page spreads, 'Every Thing Design', like the Gestaltung Museum itself, expands our conceptions of what design is, unpacking how a designed object is perceived and how this perception changes over time. It examines the criteria museums use for acquisition, and how the objects' significance and value are established. The result is a surprising reconsideration of trends, production techniques and public reception.

There is also a German language edition.

This first Dutch Design Yearbook presents a survey of more than 60 of the best designs in the field of spatial design, product design, fashion and graphic design that were produced in 2008-2009 in the Netherlands. A selection of important events, publications and exhibitions in the field adds colour to the design year and content to the design debate during this period. ‘Dutch Design’ – whether design pure sang, fashion design, graphic design or architecture – has over recent years been winning acclaim the world over. Besides being of interest to designers, studios and the industry, this publication is also highly accessible to a broad inter¬national readership with an interest in Dutch design.
With designs by, among others, Maarten Baas, Irma Boom, Pieke Bergmans, Doepel Strijkers Architects, HUNK-design & ID-Eddy, Iris van Herpen, Juurlink [+] Geluk, Bureau Ira Koers, Klavers van Engelen, Ted Noten, Momkai, Observatorium, Thonik, Daan Roosegaarde, Ingrid Siliakus, Wieki Somers, Studio Libertiny, Rieks Swarte, UNStudio, Richard Vijgen, Thomas Kopperschlaeger, Marcel Wanders and West 8.

Dit eerste Dutch Design Jaarboek presenteert een overzicht van ruim 60 van de beste ontwerpen op het gebied van ruimtelijke vormgeving, productvormgeving, mode en grafische vormgeving die in Nederland gerealiseerd zijn in 2008-2009. Een selectie van belangrijke evenementen, publicaties en tentoonstellingen op het vakgebied geeft kleur aan het designjaar en inhoud aan het ontwerpdebat in deze periode. ‘Dutch Design’ – zowel design, mode, grafisch ontwerp als architectuur – is de afgelopen jaren uitgegroeid tot een begrip in de wereld. Deze publicatie is niet alleen interessant voor vormgevers, studio’s en de industrie, maar zeker ook voor een breed (inter)¬nationaal publiek met een interesse in Nederlands ontwerp.

Morf 9 is het derde nummer dat veschijnt in een nieuwe vormgeving. Met opinies en beschouwingen wil Morf studenten aan het denken zetten over het ontwerpvak. In het tijdschrift staan zowel oude klassiekers als nieuwe artikelen.

With a new design and format this is the ninth issue of Morf, the bi-annual design magazine sponsored by Premsela, containing contributions from Marjan Unger, Mienke Simon Thomas,Louis Sullivan, Gerard Unger, a.o.

Met beeld en tekst brengt het boek thema's in kaart en visies op de huidige en mogelijke toekomstige ontwikkelingen van de vrije vormgeving in Nederland. Het boek is zowel een waardevol document voor het vakgebied als een interessante kennismaking voor een breed publiek.
Met ruim negentig full colour pagina's wordt een brede selectie getoond van werk van vrije vormgevers, van de 'Chew your own brooch' van Ted Noten en het verhalende 'Vaetwerk' van Maaike Roozenburg tot de in Indonesië bewerkte sprookjestalfel 'Godoga' van Niels van Eijk & Miriam van der Lubbe. Het thematische geordende beeld wordt afgewisseld met zes essays, waarin kwesties aan bod komen als de economische positie van vrije vormgevers en hun positie tussen beeldende kunst en industrieel ontwerp, het belang van sensitiviteit voor materiaal en ambacht, en de positie van vrije vormgeving gezien vanuit het buitenland.

'Conceptual crafts' is an increasingly used term that stands fro conceptual design, usually not created on commission, in the fields of jewellery, fashion, textiles, interiors and other products. This publication, sponsored & published by the BNO, with more than ninety pages in full colour, shows a broad selection of conceptual crafts created by independent artists and designers working in the Netherlands. The thematically arranged images are interspersed with six essays on subjects including the economic position of makers of conceptual crafts and their position between fine art and industrial design, the importance of sensitivity to material and workmanship, and the place of conceptual crafts from an international perspective.

Comprising the effort of more than a century of collecting chairs, the Faculty of Architecture of the TU Delft can pride itself on having one of the major furniture collections in the Netherlands. Set up as an educational tool, the collection has offered knowledge about materials, construction and typology to students and designers. In this catalogue, the entire collection of over 240 chairs is presented for the first time. Each object is accompanied by images and a thorough description. Also, the book offers comprehensive texts on key designs in the collection, showing the diversity of the collection which consists of world famous designs, 17th, 18th and 19th century designs, everyday household chairs and rare pieces of furniture that have never been published before. Among the designers presented are Verner Panton, Gerrit Th. Rietveld, Hendrik Petrus Berlage, Jean Prouvé, Marcel Breuer and Droog Design.

There is also a Dutch edition.

Piet Zwart, interieurarchitect, modeontwerper, reclametypograaf, fotograaf, criticus, docent en industrieel vormgever, werd in het jaar 2000 door de Beroepsorganisatie van Nederlandse Ontwerpers (BNO) uitgeroepen tot dé Nederlandse ontwerper van de twintigste eeuw.
In de jaren twintig zette hij de grafische wereld op zijn kop met dynamisch drukwerk dat uit eenvoudig zetmateriaal was gecomponeerd en waarin spoedig ook zakelijke foto’s werden gemonteerd. Hij ontwierp de legendarische Bruynzeelkeuken en beijverde zich voor een moderne opleiding tot industrieel vormgever. Al in 1964 prees de bekende kunsthistoricus prof.dr. H.L.C. Jaffé hem om zijn talent mensen met elkaar te laten communiceren.
In deze nieuwe monografie wordt het veelzijdige oeuvre van Piet Zwart vooral in internationale context bezien. Zijn relatie tot De Stijl, Dada, het Russisch constructivisme en het Bauhaus wordt uitvoerig aan de orde gesteld, zo ook de rol die Piet Zwart zelf binnen de avant-garde vervulde.

Published on the occasion of an exhibition about the work of Piet Zwart at the Gemeente Museum in the Hague, this monograph is the first in years to cover and protray extensively the many facetted genius of one of the Netherlands most important and certainly best known designers. Sadly enough the people behind this project did not see the necessity for an English translation.

Dutch designers are currently creating quite a stir on the international scene. What is the secret of their success? In How They Work photographer Inga Powilleit and stylist Tatjana Quax examine the working methods of seventeen designers, as well as the typically Dutch approach which has made them world-famous: a fanatical attitude towards work, a healthy lack of respect for convention, and a determination to go their own way.
How They Work consists of portraits of the very top of the Dutch design world, which offer readers an honest and revealing look behind the scenes.
The designers featured are: Hella Jongerius, Job Smeets & Nynke Tynagel, Claudy Jongstra, Dick van Hoff, Wieki Somers, Marcel Wanders, Petra Blaisse, Jurgen Bey & Rianne Makkink, Piet Hein Eek, Richard Hutten, Joep van Lieshout, Gijs Bakker, Evelyne Merkx, Ineke Hans, Bertjan Pot.

Delft earthenware, since the seventeenth century pre-eminently our national product, is especially widely known by the spectacular flower vases with spouts. From about 1680 these vases, also called tulip holders, were put on the market in all colours, sizes and designs.
In this publication the significance of the flower holder in the past and the present is discussed with more than 200 examples.

Delfts aardewerk, sinds de zeventiende eeuw het nationale produkt bij uitstek, is speciaal beroemd door de spectaculaire bloemenvaas met tuiten. Vanaf ongeveer 1680 werden deze vazen, ook wel tulpvazen genoemd, in allerlei kleuren, formaten en soorten op de markt gebracht. Speciaal mooie exemplaren zijn bewaard gebleven, met als onweerlegbare topstukken de bloemenvazen met tuiten die werden besteld door de Oranjes en leden van de hofhouding.
In deze uitgave wordt de betekenis besproken van de bloemenvaas in het verleden en de toekomst en ongeveer 150 voorbeelden van deze unieke Delftse, Friese en andere vazen worden beschreven en geïllustreerd.

Over the past twenty-five years, in tandem with the introduction of the personal computer, the Internet, and wireless technology, we have experienced dramatic changes in our relationships with time, space, the physical nature of objects, and our own essence as individuals.
"Design and the Elastic Mind" focuses on the responses of designers to the momentous advances in technology, science, and social mores that have characterized the last quarter-century and presents their projects that convert these developments into useful concepts and objects- from nanodevices to full-size vehicles, home appliances to building facades, pragmatic solutions to provocations.
Designed by Irma Boom, this book features essays by Paola Antonelli, senior curator of architecture and design at the Moma; design critic and historian Hugh Aldersey-Williams; visualization design expert Peter Hall; and nanophysicist Ted Sargent.

In the first half of the twentieth century Gouda was home to a flourishing earthenware industry which acquired a world-wide reputation. Many of the potteries recalled in this work began as small family-owned enterprises with their roots in tobacco pipe making.
Gouda’s designers, clay workers and artists made a huge economic impact on the town and left a legacy of art highly prized to this day.
Ultimately their work has come to those enthusiasts who appreciate and value the wares.
The company names of Ivora, Goedewaagen, Regina, Zuid-Holland and Zenith are still vivid in the memory of Gouda’s older inhabitants, while the new wave of residents scarcely seem to know of their existence or the heritage of the buildings in their street.
Some small earthenware enterprises remain, but the heady days of international success have faded. Traces can still be found in Gouda’s museums, but even here literature in English about the exhibits is sadly lacking.
Until now, dating Gouda styled pottery has been rather difficult for all but the most well-informed collectors, while for others the story of “Gouda” ceramics has a beginning, a middle and an uncertain end. The result has been a good deal of confusion – decorative items that are often overvalued, or later pieces that are grossly underrated.
One aim of this work therefore is to shine a light into the darkness by providing not only a detailed history of the major potteries but also enough information to help collectors accurately date their pieces, identify many of the decorators, and determine an item’s value.
Some 100 companies are included in this publication. Seventeen of these receive extensive coverage. Comprehensive lists of models and decoration patterns are also included. In addition to the large number of manufacturers, many of their designers, decorators and others are also recorded. Many moved from one company to another. An extensive list, of some 2000 names and occupations, now makes it possible to trace their places of work and their period of employment.
To assist in clearly dating the most colourful ceramics ever to be made in Holland, the work also contains many pages of unique company marks and the signatures or monograms of their decorators.
Given the wealth of information, the high quality of the photography and the care with which it has been produced, this three-volume, large-format edition will be indispensable for Gouda Pottery collectors around the world and a source of reading and viewing pleasure for those interested in earthenware in general and Gouda Pottery in particular.

Jan Jansen brengt al sinds 1964 schoenen op de markt onder zijn eigen naam. Zijn ontwerpen zijn meer dan schoenen alleen, het zijn kunstwerken. De haute chaussure van Jansen vindt al decennia lang haar weg naar liefhebbers over de hele wereld. Hij werkte samen met grote namen als Christian Dior, Manolo Blahnik, Stephane Kélian en Charles Jourdan. Daarnaast ontving hij vele prestigieuze prijzen en worden zijn schoenen wereldwijd in musea geëxposeerd.
Jan Jansen verschijnt ter gelegenheid van zijn 45-jarige jubileum als schoenontwerper. Hoewel hij creatief gezien nog volop actief is, is ook het feit dat hij onlangs vijfenzestig jaar werd aanleiding om stil te staan bij zijn indrukwekkende carrière tot nu toe. In Jan Jansen komen niet alleen de topstukken uit zijn oeuvre aan bod, maar vertelt de ontwerper zelf uitgebreid over zijn inspiratie, drijfveren, voorspoed en tegenslagen.

Jan Jansen, a dutch shoe designer, has become world famous and in the 45 years that he has been making customized shoes he has worked with many of the worlds most famaous fashion designers. This book is a celebration of his career and shows many of his most famous creations.

Revised and enlarged edition of this highly recommended text which has been adopted as course material by design schools the world over.
Kees Dorst- Dutch design scholar, educator, consultant and practitioner, presents 175 provoking essays to stimulate designers to think about what they do, how they do it, why and to what effect. The essays are written to encourage designers and students of design to reflect upon the many aspects of their field. Fundamental questions are raised about the nature of design, about designers themselves, and about the role of design within the broader contexts of business and society.
There are no definitive answers in this book; the readers are challenged to construct their own solutions by considering their own experiences as a designer or student.

Publicatie naar aanleiding van de tentoonstelling 'Zicht op Design. Het vroege oog van Lou Kreymborg' in Galerie Binnen, Amsterdam.
Pieter Zeegers, die jarenlang met Kreymborg heeft samengewerkt, ontwierp deze tentoonstelling als een hommage aan de man, die als directeur van Kreymborg BV en Tecno Benelux een vooruitstrevende visie had op het importeren en distribueren van design. Met zijn vroege oog en zijn scherpe neus haalde Lou Kreymborg (1919-1993) vanaf 1947 'grote (on)bekenden' naar ons land. Namen, merken als Kjaerholm, Vitsoe, Mateograssi, Stilwood, Tecno, Tulipan, Storck, Leucos, PAF, Danese, Toso.

Dutch language publication about Lou Kreymborg(1919-1993) who was responsible in the second half of the 20th century for the introduction in the Netherlands of many of the most important design products on the market.

Frits Lensvelt was a exceptionally talented Dutch designer who worked as theater-set designer, illustrator, book designer, architect, interior and lighting designer. This monograph, published to coincide with an exhibition at the Theater Institute, covers all aspects of his work but is especially dedicated to his lighting projects for theaters and his lamp designs.

Frits Lensvelt was een veelzijdig ontwerper.Hij begon zijn professionele loopbaan in 1907 als illustrator en vormgever van boeken maar nog datzelfde jaar kon hij echter ook als decorontwerper aan de slag. Nadat hij het toneel in 1921 definitief de rug had toegekeerd, werkte hij - met de kennis die hij in het theater had opgedaan - achtereenvolgens ook als ontwerper van lampen (1926-1941) en binnenhuisarchitect (1929-1936). Het vormgeven van boeken is hij - met tussenpozen - zijn hele loopbaan blijven doen.

This is the first publication on the Dutch designer Herman Hermsen and provides an in-depth survey of the work he has been producing in the past twenty-five years; jewellery and product design, both one-offs and series. This original book with numerous fold-out panels and a Japanese binding zooms in on this cutting-edge exponent of contemporary jewellery, lighting design and other objects.

Louis Kalff was a pioneer of industrial design in the Netherlands in the first half of the 20th century. Having studied furniture making, sculpture, ceramics, advertising design and finally architecture he went to work for Philips in the advertising department in 1924. Not long thereafter he took over the advertising studio at Philips where he became responsible for not only the advertising but also the packaging, brochures, merchandising displays for shops and for the yearly trade-fairs. In 1929 he set-up a lighting design studio and was responsible for many extensive lighting displays at the Worlds Fairs in Barcelona, Antwerpen and Paris. In his career as designer he also did free-lance poster work for Holland-America Line, the PTT, and the city of Scheveningen, and, he designed several houses for Philips' directors. He continued working for Philips up to his retirement in 1960 and his last major project was the Evoluon in Eindhoven.
Peter van Dam has researched many achieves to put together a fitting reconstruction of Kalff's life and work and the book contains many designs and illustrations which have never before been published.

'past tense, future sense' celebrates 80 years of design at Philips. This, large, objective, authoritative and richly illustrated book, edited and supervised by the man who has lead the design department of Philips for more than a decade, gives a fascinating insight into the creation of some of the most iconic products of the past decades.
Engaging topics like the rise of design, the role of visionary projects and what actually constitutes good design are discussed at length and vividly brought to life by numerous case studies. The editor(s) have had the good fortune to be able to explore the rich archives of one of the leading product design companies of our times.
'past tense, future sense' is a compelling reflection of the remarkable journey undertaken by design, Philips and society during the extraordinary period of development that our era has witnessed.

"The People of the Labyrinths (POTL), the Dutch high fashion label of Hans Démoed and Geert de Rooij has been creating internationally successful haute couture, independent from prevailing hypes and trends since 1984. With POTL, Démoed and De Rooij - both graduates of the Arnhem Institute for the Arts -, have gained a steadily growing fan base from L.A. to Moscow and from Japan to Amsterdam with no well-devised marketing concept or publicity campaign.
The People of the Labyrinths are known for their all-inclusive concept of fashion, interior design and cosmetics. In the past 23 years they launched 46 collections all expressing that exclusive hippy-chic style in a distinctive, carefree and divergent POTL pallet of colours. Their sharp graphic prints and the lines of the creations are inspired by heraldry, art, history, photography, nature and science." (Taken from the publishers introduction)

This is the new standard-work on Dutch and Belgian Silver. It contains an alphabetical listing of people, places, technical terms, tools, objects & marks related to the history and design of silver in the Netherlands and Belgium.

During their lifetime the architects H.P. Berlage and K.P.C. de Bazel were regarded as two unrivalled luminaries in their field. Berlage’s work still enjoys broad public interest, but de Bazel remains known only among insiders as the architect of country villas in the 'Gooi', the designer of handsome Leerdam glassware and the master builder of an imposing bank on Amsterdam’s Vijzelstraat. On the other hand, his impressive contribution as a furniture designer has been largely forgotten.
For the first time the book K.P.C. de Bazel(1869-1923 Ontwerpen voor het interieur) draws detailed attention to his refined matching sets of furniture. These were designed for an elite group in the Netherlands, including wealthy businessmen, aspiring intellectuals, well-off artists and the Royal Family. All these eminent clients had a deep admiration for De Bazel’s craftsmanship and the idiosyncratic way in which he sought to unite styles from both the West and Far East.

In Holland the Dutch industrial designer Willem Hendrik Gispen(1890-1981) is now seen as one of the most important pioneers of functionalism. His vision was to carry his designs to the Office Furniture world and so began the inception of the Gispen company in 1916.
The first steel tube chairs were delivered in 1929 from the factory located in the Netherlands. This particular factory was standardized to manufacture steel furniture in serial production. The majority of the early product lines are still currently sold in large quantities. Exhibition of the Giso-lamps and furniture at the International fair “Die Wohnung” in Stuttgart, Germany in 1927 was a footprint in history for Gispen. The success of Stuttgart’s fair led to more International activities. Competition with the likes of Gerrit Rietveld, Marcel Breuer and Le Corbusier, Gispen boasted showrooms in Brussels, Paris, London, Cape Town and Willemstad (Curaco).
This publication contains all of the products made in series between 1923 and 1960 including lamps, furniture and living accessories.

"Current culture seems to be engaged in covering up reality. Before they know it real objects are buried under layers of meaning and even immaterial narratives. Upholstered furniture still is an everyday phenomenon. Yet classic provision of comfortable softness seems to have escaped the attention of top designers. One reason may be that they are interested in image rather than seating. Another is that upholstering is a complex and costly process. They do, however, experiment with ways to integrate upholstery with structure and with new production methods. This book tells all, well almost anyway, there is to know about upholstering furniture, with many colourful and inspiring examples. Ten of those, designed by the likes of Dick van Hoff, Maartje Steenkamp and Bertjan Pot, were especially developed for a project that was undertaken by the Sofa foundation, a Dutch organisation that aims to promote the development of quality furniture."(Publishers text)

Gijs Bakker's career has been one of perpetual revolution rather than steady evolution. He made his radical break with the traditions of jewelry design around 1965, since when incessant renewal has been the only constant in his work. Bakker is certainly not on some quest for the ideal jewel: the designs grow out of his interest in what is going on in the world around him. What drives him to experiment with materials and techniques is the need to find the most appropriate form for those designs. The results amount to a fascinating survey-a kind of cultural diary of the past five decades.
This well designed publication contains beautiful photographs of his work and is completed with an annotated catalogue of his complete oeuvre.

It is quite unusual for a company to use the occasion of its 100th birthday to invite no less than twelve designers to react to its products, production system and image, and think about the company's future in their own particular way. Dutch furniture producer ARCO did just that. Its director Willem van Ast, felt the need to do so as his firm owes its very existence to commissioning designers from outside. something it has done since the 1970s.
This publication elucidates the clear signatures from the twelve talented Dutch designers who contributed to ARCO's project: Miriam van der Lubbe, Michiel van der Kley, Frank Tjepkema, Bertjan Pot, Ruud-Jan Kokke, Laurens van Wieringen, Job Smeets, Floris Schoonderbeek, Dick van Hoff, Ineke Hans, Jurgen Bey, & Joris Laarman.

Published to coincide with an exhibition of the same name at the Stedelijk Museum, this nicely made catalogue presents a collection of interior design products which are shown as proposals for the Municipal Art Acquisitions 2004. The collection is varied and includes stools, chairs, carpets, lamps, coffee & tea-pots, sugar bowls, tiles, vases, plates, dinner services, benches, kitchens, and wall-paper.
"Surveying the whole, it appears that design in the Netherlands throws a bridge between functionality and a profusion of creative ideas, between tight, severe objects and cheerful free forms, between solid reliability and playfulness. That corresponds to the diverse training the designers receive, situated in a context of autonomous art or a climate of purposeful technique. Among the participating designers are both architects, graduates of the Technical University, and visual artists from art academies." (Gijs van Tuyl, Director Stedelijk Museum)

'De Haagse Stijl'(The Hague Style) was a interior design movement in the Netherlands which developed after the 1st. World War and went on through the Twenties. Strongly influenced by the work of Frank Lloyd Wright and the avant-garde ideas of 'De Stijl' movement 'De Haagse Stijl' distinguished itself with interiors and furniture of a restrained luxury and it became the most important Dutch representative of the international Deco movement.
The work of young designers such as Henk Wouda, Cor Alons and J.Brunott (working within the commercial framework of the furniture company H.Pander & Zonen in the Hague), the architect Jan Wils and the independent designers Jan Lecointre and Frits Spanjaard all contributed to the creation of a unique style which bears the name of the city in which it had it's most lasting effect.
This publication coincides with an exhibition in the Gemeente Museum in the Hague.

The Stedelijk Museum Amsterdam has been building a collection of applied arts and design since 1934, and furniture is one of its most significant subsections. With designs from circa 1850 to the present, this collection places the accent on the twentieth century and now includes more than 1,000 objects: chairs, sofas, tables, cabinets, screens, and sets of furniture. It is one of Europe's largest and most comprehensive collections in the field of modern furniture design.
This well designed publication provides a complete catalogue of the collection. Alongside the many examples of Gerrit Rietveld's furniture, this collection includes pieces by other Dutch designers, such as H.P.Berlage, K.P.C.de Bazel, Piet Kramer, Martin Visser, Gijs Bakker, Piet Hein Eek, Ineke Hans and Marcel Wanders. The collection also includes many international classics designed, for example, by Michael Thonet, Charlotte Perriand, Alvar Aalto, Marcel Breuer, Joe Colombo, Charles & Ray Eames, Le Corbusier, Arne Jacobsen, Ettore Sottsass, Philippe Starck and Ron Arad.

This wide ranging and very thorough study of Dutch jewelry in the 20th century will with-out a doubt become a standard work in this field.
Marjan Unger (art historian, publicist and teacher) painstakenly for the first time, presents a comprehensive history of all of the various trends, modes and styles in jewelry of the last hundred years and places them in their cultural, political, social and economical contexts. At the same time she devotes much attention and illustration to individual and often exceptional pieces of avant-garde, classical and popular jewelry.
Especially the avant-gardistic element in jewelry making is very dear to her and she demonstrates how exactly in this area Dutch jewelry in the last decade has made it into the international top.

This is a completely revised and actualised second edition of the only dictionary of 20th century Dutch glass. It contains one or more pieces of each of the featured artists and a short biography with summry

Delft faience was produced in thirty different workshops for more than two centuries. Tens of thousands of men and women worked in Delft on a product with a European appeal. Although a broad cross-section of the Dutch population bought it, the best faience was reserved for the elite of Europe.
This book describes the workshops, the people, and the beautiful decorated wares that they produced. The pieces which have been selected for the illustrations in the book all come from the collection of the Rijksmuseum in Amsterdam, which is one of the finest in the Netherlands.

This publication celebrates the 125th anniversary this year of The Royal Glassworks at Leerdam (NL). Royal Leerdam has become a nationally as well as internationally recognized leader in glass design and has been the work place of many famous dutch designers such as Cochius, de Bazel, de Lorm, Lanooy, Berlage, Lebeau, Copier, & Meydam. Each of the the important resident artists who have worked at the glassworks are discussed and more than half of the book is devoted to a review of the last thirty years and especially the influence of Siem van der Marel who has been in residence as designer since 1968.

Menno Jonker(b.1968) is one of the Netherlands most promising glass-artists and has since 1997 been designer in residence at the famous Royal Leerdam Crystal Works in Leerdam. Inspired in his youth by the Dutch master glass designer Copier and the abstract movement in painting Jonker has arrived at his own variety of lyrical abstraction and has established his own set of aesthetic values in which beautiful proportions emphasized by colour elevate the senses. He is creating a modern visual language in glass that builds on tradition and also takes Dutch decorative art a step further into the 21st century.
This publication coincided with an exhibition of Jonker's work in the National Glass Museum in Leerdam, the Netherlands.

Andries Dirk Copier(1901-1991), one of the first Dutch industrial designers, began his career at the Leerdam glassworks in 1914. Leerdam was one of the first Dutch factories to collaborate with artists and architects in order to produce aesthetically superior, modern products to be marketed under the artist's name.
By the 1960's Copier could boast confidently, that his glassware for everyday use could be found in every Dutch household. Over the last few decades, his more exclusive unique pieces have enjoyed international acclaim and are now much sought after collector's items. In 1940 he founded the Leerdam glass-school where some of the best glass artists of the next generation received their training.
This handsome monograph shows examples of and gives detailed information about both his unica and serica, chronological information about his career and shows examples of his marks.

Also available:

Dutch edition

out of print

't Spectrum was founded in 1941 as a subsidiary of the weaving mill De Ploeg with the intention of preventing that the mill be dismantled and its workforce being sent to Germany by the Nazi invaders. It has existed in various combinations and under several names until today and through the years renowned designers and architects such as Willem van Gelderen, Walter Antonis, Martin Visser, Kho Liang Ie, Hein Stolle, Werner Blaser, and Benno Premsela were associated with the workplace which strove to manufacture furniture with a timeless and measured design.
This book contains a complete catalogue (351 pieces) of all the furniture which has been manufactured under its name since 1951.

Based on the collection of the Gemeentemuseum in The Hague this publication offers a comprehensive view of late 19th and early 20th century advances in Dutch glass design. It gives detailed account of leading producers like Leerdam, the United Glassworks of Maastricht and Glashuis Muller in Amsterdam, as well as the artists who produced designs for them; H.P.Berlage, K.P.C.de Bazel, Chris Lanooy, Chris Lebeau and A.D.Copier. It contains examples of Serica and Unica.

In this nicely designed book Nel Linssen personally presents her line of paper jewelry which originated in 1981. Through her use of paper, a material that appeals to both hand and eye through its subtle diversity of colours and its engaging tactile qualities, she has created objects which interact with the wearer. As the wearer moves the object catches the light and it comes to life streaked with different hues. Her work is a combination of colour, volume and shape joined together in perfect harmony.

This is the first major study of the many faceted talents of ceramist, glass designer, painter, and graphic designer Chris Lanooy. He started at a young age as apprentice Delftware painter at the Rozenburg studios but quickly became the first independent Dutch ceramist. He later moved on to glass art and became one of the major designers for the Leerdam Glassworks designing unica as well as serica. He was also known for his designs for wallpaper and for fabric.

This handy "do it yourself" manual contains 35 of the most famous pieces of furniture designed by the famous Dutch architect and designer Gerrit Rietveld. It contains detailed information on the original designs, measurements, materials and construction instructions in a scale of 1:1.