Alfred Hendrickx (Belgium c20th)
Mahogany wood and glass coffee table for Belform. 1950s.
Jan de Jong (Nl, 1917-2001) / Dom Hans van der Laan (Nl, 1904-1991)
Black painted pine wood bench with nails.
During the reconstruction period after WWII the Dutch architect Jan de Jong and the Dutch Benedictine monk Dom Hans van der Laan collaborated on several architectural projects including the interior furniture. They created an outstanding body of work defining the the style of the Bossche School. Jan de Jong was able to translate many of Dom v.d.Laan’s idealised concepts and ideas into pioneering buildings and spaces. They worked in such close collaboration however that it is difficult to discern the individual level of input into the furniture they designed.
Dom Hans van der Laan (1904-1991) was a Dutch Benedictine monk and architect. He was a leading figure in the Dutch ‘Bossche School’.
Jan de Jong (1917-2001) was a talented craftsman-architect and student of v.d. Laan.
Marcel Breuer (Hungary/usa 1902-1981)
Two stacking cream white lacquered plywood side tables. Isokon UK.
Designed by Breuer in 1936 Breuer whilst living in the UK – At that time he began to explore plywood as a material. During that period Breuer designed several classic modernist pieces that were put into production by Jack Pritchard of Isokon. We believe that these are a 60s production by John Alan. London.
Manufactured in the 1950s/60s.
Please note: We also have one other single table available – The table is a similar size to the larger one (…but is not the third one to the set) We believe that they were purchased from John Alan company in London in the 1960s where they sold individually (we have a John Alan pamphlet from the period to show this).
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Dom Hans v.d. Laan & Jan de Jong (Netherlands, mid-late c20th)
This chair was part of a collection of furniture that we have acquired (with full provenance). It was previously used as a church lectern.
Jan Slothouber & William Graatsma (Dutch c20th+)
Five rare modular cubes from the 1970s.
The Dutch artist/designer team of Slothouber & Graatsma established themselves from the 1950s as artist/designers with the cube form as their key motif around which they developed various principles of cubic construction alongside multiples and variations thereof. Despite its restrictions they admired the cube for its clarity of form. They applied their thinking around it to a variety of objects, and artworks from small jewellery-scale 3d models and games to larger installation works.
Highly driven personalities, they considered themselves as discoverers of ‘the many applications of the democratic system of cubics’; a system that would ostensively act to counter the rise of the expressive individualism in post-WWII culture. (They later established the CCC_the Center for Cubic Constructions as a forum for promoting their ideas).
Due to their diverse and multidisciplinary output they were never to become global names – But they were a highly respected creative team (representing The Netherlands at the Venice Biennale in 1970)…Donald Judd for one was a great admirer of their work.