Dutch artist Dick Bruna, born into a prestigious publishing family, chose art over publishing. His signature style, influenced by artists like Matisse and Léger, is identified by bold, simple lines and primary colors. His most recognizable creation, Miffy, is a children’s literature and design icon.
The Miffy plush toy collection at Dymocks offers a lesson in design and comfort using different fabrics and contemporary colour trends. These toys, an icon of minimalist design, are sustainably produced, evoke emotions, and symbolize the intersections of creativity and sustainability in decorative arts.
Delftware, originating in the Netherlands, was greatly influenced by imported Eastern porcelain. Its tin-glazed earthenware imitated porcelain’s look, gaining popularity as a more affordable alternative. Its aesthetic and affordability drove English manufacturers to produce their own versions, broadening Delftware’s reach.
Feiz’s work has received numerous awards and has been featured in exhibitions and publications worldwide. The overriding inspirations for Feiz’s work can be summed up by: Clarity, concept and context. Feiz has developed several project in collaboration with Artifort, including the Extens, Bras and Beso chair family.
Plateelbakkerij Ram (1921 – 1969) was an Arnhem-based Dutch ceramics company. Ram was founded in 1921 to produce high-quality ceramic bodies. At Ram 1921—25, Thomas A.C. Colenbrander was the designer for whom the company was established at the age of 80. Ram wares were sold at exhibition auctions as art rather than craft.
Plateelbakkerij de Distel was a Dutch ceramics firm founded in 1895 in Amsterdam. It employed artists for both designing and painting, and produced art pottery, utility ware, tiles, ceramics for special events, and small sculptures. Exhibitions were held before WWI, including the 1904 Louisiana Purchase Exposition.
J.M. van Kempen was a Dutch silversmith who started a silver factory in Utrecht in 1835 and moved to Voorschoten in 1858. He hired English craftsmen to teach them how to make forks and spoons, and a separate studio was set up to make sculptures and silverwork parts. He didn’t hire outside artists until the 1800s, when Th.L. Sluyterman designed Art Nouveau pieces.
Artifort used freelance designers, including Kho Liang Le and Pierre Paulin. It produced chairs, settees, and tables. It first used plastics in Paulin’s 1965 Chair 582 in tensioned rubber and latex foam and his 1965-66 Armchair 303 in polyester fibreglass. It produced Paulin’s 1953 Chair 157 in polyester, ABS, and elastomers and 1967 F577 chair.
Bloemenwerf, Henry Van de Velde’s property outside Brussels, is the inspiration for this chair. Van de Velde planned and built the house and the interior—from the furniture to the wallpaper—resulting in a holistic design that exemplified the concept of a Gesamtkunstwerk “total work of art”.
Before 1900, Imans was active in a mannequin factory in Paris. By the 1920s, his establishment was located at 10 rue de Crussol. He became known for his faultlessly finished imitation human skin in wax; in 1922, he developed ‘carnesine’ or ‘carnisine’ to simulate skin; developed a secret formula that was mainly plaster with gelatin; subsequently, produced models in various synthetic materials and wood mounted in-store vitrines worldwide. He produced figures in the images of well-known actresses and politicians.
Gijs Bakker’s career spans fifty years and not one of them dull. His first piece, Golden Onion, a sperm-shaped bracelet designed in 1965 was the beginning of a rich, varied and invigorating output that shows no sign of slowing down today. Bakker refers to himself as a “jewellery designer” and since the Dutch aren’t big on disingenuousness, I have to take him at his word.