Unique bespoke table that was part of the furnishings of the Bethlehem Church built in 1979 in Breda, Netherlands. The church was designed by two Bossche School architects: Hans van der Laan (the nephew of Dom Hans vd Laan) together with the architect Harry van Hal. . Solid merbau wood. 175.5 x 131 x 76cm
A rare Gio Ponti designed brass encased ceramic tile/penholder. Manufactured by Roma Ceramice. In the 1960s a number of these encased tiles were presented to the personnel and dignitaries at the opening ceremony of the new Bijenkorf (beehive) department store building in Eindhoven. The building and its spectacular facade were designed by Italian architect Gio Ponti who designed the buildings extensive facade using multiples of these tiles. The brass casing is inscribed with the details of the presentation.
A mid-century Scandinavian design set by Illmari Tapiovaara for Laukaan Puu, Finland. This classic ‘Pirkka’ set is composed of a large table, a bench and three chairs. Designed in 1955 this set is an early production from around the late 1950s-early 1960s. Each piece carries the makers burnished marks alongside the designer’s name.
Jan de Jong & Dom Hans vd Laan (Nl. mid 20th century)
Bossche School high backed chair.
Designed by the benedictine monk and architect Dom Hans van der Laan and executed by Jan de Jong in the 1960s – the chair was commissioned for the Willibrordus church in Almelo which despite being one of the best examples of Dutch churches of the modernist era was knocked down in 2005 as part of a series of unfortunate closures. Stained exotic woods with copper nails.
A very rare piano stool by Dutch architect and interior designer Wim den Boon. This stool was designed as part of a complete interior in the late 50s. The only other one we know of was a white version owned by Den Boon for his own use (documented in the Den Boon archive at the NI in Rotterdam). Full provenance is available.
In 1945 Den Boon founded ‘Groep &’ together with Hein Stolle and Pierre Kleykam’. The group’s ambition was to continue the purist and functionalist prewar ideals and aesthetic into the postwar period, or ‘reconstruction period’ in The Netherlands. Many of the group’s designs can be seen in the Goed Wonen magazine of which Den Boon was the editorial secretary from 1948-1950 and for which he wrote several articles.