t.e. 218 subterranean formation

The project is a research led investigation, using the tools, process, and soil / clay to inform the realised object. By allowing the material itself to be extracted and manipulated on site using set tools and processes, the clay informs its own aesthetic, creating a dialogue between the finished aesthetic, history of the location, and the process that was used. The process informs the clay and the clay informs the process. The ‘decoration’ becomes the marker of how and where it was created. This dialogue created between the tensions of the object and its creation allow us to explore the intricacies of the relationship between ourselves and the clay in which the object has been born, to pare back and strip the decoration to its most natural form, our processes will facilitate the clay to express its own identity. Traditionally clay is dug out of the ground, refined and then shaped one way or another by a craftsman. In the finalised object you can therefore often see much of the craftsman and his energy.
The artists wanted to turn this process upside down and remove the individual from the material, where the finalised object is a result of a controlled uncertainty.

t.e. 217"blossom", hand embroidered mohair throws

Thomas Eyck commissioned Jupe by Jackie to develop  for 2019 a new collection hand embroidered mohair throws. She designed a series of 10 splendid throws exclusively for the t.e.collection.

In 2017, Jupe by Jackie took an exciting step within the world of design. The renowned fashion brand launched its first collection of interior design, labelled Jupe by Jackie Home. As a counterweight to mass produced woven and printed fabrics, Jupe by Jackie aims to revive the ancient craft of hand embroidery that seemed to have left the world of interiors. By subtle, modern needlework, free from mechanical repetition, fabrics become a rare art, allowing interior textiles to become architectural or poetic objects. Their strong colour combinations and balanced proportions add to a room not only functionality, but an artistic atmosphere as well.

t.e. 216Rijksmuseum dna wallpaper

Hang one of the 18 famous paintings from the Rijksmuseum on your wall with the dna wallpaper!

Renowned graphic designer Irma Boom spent ten years deconstructing the museum's paintings to distill their colour dna., The six colours that make up the painting. These dna swatches of an individual painting, like Vermeer's Milkmaid, are available as wallpaper in narrow or broad stripes. Just choose and / or combine your favorite classic for your wall.

t.e. 215 made by rain - porcelain

The porcelain collection follows up the textile collection and was developed during a three-month creative residency by Aliki in Arita, Japan.     In a collaboration with the potter Fukusengama, Aliki came to a process to ‘draw’ on porcelain with the rain. They investigated how to achieve a contemporary approach to traditional Arita-ware and create a modest patterning on the porcelain by using real rain together with several experimental stages of glazing. They found a productive and stable way to imprint and fix the desired rain patterns. The color used is typical ‘Fukusen’ blue and is used in three tones. The Japanese rain is imprinted on the icon plate from Fukusengama with a diameter of 31 cm and receives, just like the scarfs, the notation of the location, time and weather circumstances of exposure to the weather.  including hanging system.

Ø 31 cm x 1,5 cm

t.e. 214made by rain - shawl, small

Made by Rain is an elemental concept in which rainfall is recorded on textile.
Is it possible to wear the weather? Dutch artist Aliki van der Kruijs asked herself how to capture the experience of rain. For this she developed her own technique called pluviagraphy. Using a film coating that is sensitive to water, it becomes possible to create a visual recording of rainfall on a filmed piece of textile. Whether it’s a soft drizzle or a tropical downpour, the type of rain creates a unique print.

t.e. 213made by rain - shawl, large

Made by Rain is an elemental concept in which rainfall is recorded on textile.
Is it possible to wear the weather? Dutch artist Aliki van der Kruijs asked herself how to capture the experience of rain. For this she developed her own technique called pluviagraphy. Using a film coating that is sensitive to water, it becomes possible to create a visual recording of rainfall on a filmed piece of textile. Whether it’s a soft drizzle or a tropical downpour, the type of rain creates a unique print.

t.e. 212Porcelain & Linen 'white'

In return for the precious Japanese ceramics that 16th century Dutch traders returned laden with to The Netherlands, they presented the Shogun of the day with a ceremonial gift of Dutch linen cloth.
From this origin, Christien Meindertsma has come up with ‘Porcelain & Linen,’ a new range of Arita-ware celebrating this historical relationship. Using linen cloth, Meindertsma created models of cups, plates and bowls which were then reconstructed in ceramic form. This collection also makes use of a common glaze type, as well as a newly-developed glaze made from recycling the broken ceramic shards discarded by the 10 potteries contributing to the 2016/ project.

t.e. 211Porcelain & Linen 'Sprinkles'

In return for the precious Japanese ceramics that 16th century Dutch traders returned laden with to The Netherlands, they presented the Shogun of the day with a ceremonial gift of Dutch linen cloth.
From this origin, Christien Meindertsma has come up with ‘Porcelain & Linen,’ a new range of Arita-ware celebrating this historical relationship. Using linen cloth, Meindertsma created models of cups, plates and bowls which were then reconstructed in ceramic form. This collection also makes use of a common glaze type, as well as a newly-developed glaze made from recycling the broken ceramic shards discarded by the 10 potteries contributing to the 2016/ project.

t.e. 210pigeon service, coloured

Christien Meindertsma designed a permanent installation of linen pigeons for Texture, the museum of  flax in Kortrijk, Belgium. The installation is about the homing pigeons used for espionage during the First World War, some of which were captured and held in the building that is now the museum. Each pigeon is  filled with  flax seeds and covered in various kinds of natural Belgian linen.

One of the first prototypes of the pigeon was made in a blue chambray-like textile, and for some time Christien wished to make the pigeons in different shades but she never really found a textile that worked.

t.e. 208t.e. 208 clay service set westerwald


Clay Service is a set of plates, cup and bowl that showcases clay from different locations
throughout the Netherlands.  Brunssum is situated in the south of Holland. Born as a handmade table service during Atelier NL’s

t.e. 207t.e. 207 clay service set brunssum Clay Service is a set of plates, cup and bowl that showcases clay from different locations throughout the Netherlands.  Brunssum is situated in the south of Holland. Born as a handmade table service during Atelier NL’s Noordoostpolder residency, each piece’s colour and structure speaks to the local land from which the clay was excavated by hand. The unique set first entered into formal production through cooperation with Royal Tichelaar Makkum, who produced sets from various areas of the country. In-house production has now begun at Atelier NL’s Earth Alchemy factory.  The Clay Service is reintroduced via a new production methodology that merges public participation with process. We are very proud to have these beautiful items exclusively in our collection. please click on the images below for more information about prices, sizes and delivery time

t.e. 206t.e. 206 clay service sopsum


Clay Service is a set of plates, cup and bowl that showcases clay from different locations throughout the Netherlands.  Sopsum is situated in the north of Holland. Born as a handmade table service during Atelier NL’s Noordoostpolder residency, each piece’s colour and structure speaks to the local land from which the clay was excavated by hand. The unique set first entered into formal production through cooperation with Royal Tichelaar Makkum, who produced sets from various areas of the country. In-house production has now begun at Atelier NL’s Earth Alchemy factory.  The Clay Service is reintroduced via a new production methodology that merges public participation with process. We are very proud to have these beautiful items exclusively in our collection.

t.e. 205broken hare

Lifelessness is a recurring theme in the work of  Maarten Kolk & Guus Kusters. The lethargy in the lifeless object carries a poetic tension that fascinates them.

‘Broken Hare’ is the lifeless remains of a shot hare.

t.e. 204set - A

set of all 53 porcelain stones in a handcrafted wooden box

For the collection 2017, Thomas Eyck invited Studio Brynjar & Veronika, a German Icelandic studio based in Berlin to work on a project for his new collection. Their underlying interest in natural stones and minerals led them to work on a set of handmade porcelain stones. The result is a collection of 53 different stones that form together smaller families of stones in different shapes and sizes. Each stone arrives in a unique glazing that blurs the borders of reality and fiction, the natural and the artificial.

t.e. 203set - B

set of 7 porcelain stones in handcrafted wooden box

For the collection 2017, Thomas Eyck invited Studio Brynjar & Veronika, a German Icelandic studio based in Berlin to work on a project for his new collection. Their underlying interest in natural stones and minerals led them to work on a set of handmade porcelain stones. The result is a collection of 53 different stones that form together smaller families of stones in different shapes and sizes. Each stone arrives in a unique glazing that blurs the borders of reality and fiction, the natural and the artificial.

t.e. 202set of stones

set of 5 porcelain stones in a handcrafted wooden box

For the collection 2017, Thomas Eyck invited Studio Brynjar & Veronika, a German Icelandic studio based in Berlin to work on a project for his new collection. Their underlying interest in natural stones and minerals led them to work on a set of handmade porcelain stones. The result is a collection of 53 different stones that form together smaller families of stones in different shapes and sizes. Each stone arrives in a unique glazing that blurs the borders of reality and fiction, the natural and the artificial.

t.e. 201set of stones

set of 4 porcelain stones in wooden box

For the collection 2017, Thomas Eyck invited Studio Brynjar & Veronika, a German Icelandic studio based in Berlin to work on a project for his new collection. Their underlying interest in natural stones and minerals led them to work on a set of handmade porcelain stones. The result is a collection of 53 different stones that form together smaller families of stones in different shapes and sizes. Each stone arrives in a unique glazing that blurs the borders of reality and fiction, the natural and the artificial.

t.e. 200set of stones

set of 3 porcelain stones in a handrafted wooden box

For the collection 2017, Thomas Eyck invited Studio Brynjar & Veronika, a German Icelandic studio based in Berlin to work on a project for his new collection. Their underlying interest in natural stones and minerals led them to work on a set of handmade porcelain stones. The result is a collection of 53 different stones that form together smaller families of stones in different shapes and sizes. Each stone arrives in a unique glazing that blurs the borders of reality and fiction, the natural and the artificial.

t.e. 199set of stones

For the collection 2017, Thomas Eyck invited Studio Brynjar & Veronika, a German Icelandic studio based in Berlin to work on a project for his new collection. Their underlying interest in natural stones and minerals led them to work on a set of handmade porcelain stones. The result is a collection of 53 different stones that form together smaller families of stones in different shapes and sizes. Each stone arrives in a unique glazing that blurs the borders of reality and fiction, the natural and the artificial.

edition of 40 

t.e. 198“fossils"

With her project “fossils”  the young artist Alegría van der Zande (1988, breda) embarks on a journey to search for the small wonders in nature: wild flowers, plant, vegetables, twigs and seeds  from your everyday environment. During her graduation at the University of Arts Utrecht she developed a technique to press botanical elements in leather, creating all unique contemporary fossils. The final result is influenced by among others pressure force, pressure temperature, thickness of leather and humidity of the flora. Each item has its own recipy; all colors are real (not painted).
 
"Fossils" shows us the value of seeing the finest and delicate beauty of nature that daily surrounds us, but which we don’t always observe anymore. The combination of the raw leather and the aesthetic lines and subtle colours of the flora results in an astonishing contrast between the harsh leather and the graceful details of the flora. with the passing of the season the design change too, following the rhythm of nature.

t.e. 197another plaid

Not fully completing the staining process and dyeing in a machine that has not been rinsed, saves us both water and dye. A single wool bobbin will be turned into a single plaid with its own unique colour pattern and markings. The merino wool plaid shows plenty of contrast and clear markings. It incorporates a range of colours. 

By abstracting the 1st step in the industrial process that normally sees for an equally dyed bobbin, each plaid varies in drawing and colour.

t.e. 192water levels - borosilicate

water levels is inspired on the present theme of continuously measuring our water levels due to the climate change. The composition with flowers, volumes within volumes, use of different water levels and a mirror base, together create an unexpected layering.

produced by pierre glas vilvoorde for thomas eyck

t.e. 191water levels - crystal glass

water levels is inspired on the present theme of continuously measuring our water levels due to the climate change. The composition with flowers, volumes within volumes, use of different water levels and a mirror base, together create an unexpected layering.

produced by royal leerdam crystal for thomas eyck

t.e. 190erosion vase II

erosion is inspired on the book 'La lecture des Pierres' by Roger Caillois. Erosion on earth is caused by natural elements such as wind, water and glacial ice. It is the process by which the surface of the Earth gets worn down.

produced by van tetterode glass amsterdam for thomas eyck

t.e. 189erosion vase I

erosion is inspired on the book 'La lecture des Pierres' by Roger Caillois. Erosion on earth is caused by natural elements such as wind, water and glacial ice. It is the process by which the surface of the Earth gets worn down.

14 x 11 x 22 cm

t.e. 188deepwater

the design of deepwater refers to the oil that originates on the bottom of our oceans which natural balance with water is disrupted through human actions. These actions can result in ecocatastrophes like 'Deepwater Horizon'.

30 x 3,5 x 21 cm

t.e. 187ice flower

ice flower is an ice-like cube referring to Global Seed Vault on Spitsbergen. A pile of glass plates with petals in between which create a depth and new scene with the actual living flower.

produced by van tetterode glass amsterdam for thomas eyck

t.e. 186narcissus

narcissus is inspired on the painting 'Narcissus' by Caravaggio; a metaphor for the destructive relationship between men and nature.  The vase shows an isolated flower in a pool of oil.

produced by van tetterode glass amsterdam for thomas eyck

t.e. 185pigeon cushion

the pigeon cushion of christien meindertsma is a bigger version of the popular flax pigeons.
made of the fabric ‘tonus’ by Kvadrat and filled with texeler wool.
available in 5 different colors with a removable cover.

t.e. 184 The oval hall of the Teylers Museum in Haarlem (The Netherlands) has 20 beautiful pear wood models of crystals on exhibition. In the period 1802-1804, the museum acquired over 600 wooden models to help determine the mineral samples in their collection. The wooden models were made to order by Rene Just Hauy and are known for their accurate proportions and angles. The French carpenters Pleuvin senior and junior and their apprentice Journy became real specialists during the production.
Rene Just Hauy (1743-1822) is founder of geometrical crystallography. It is said that he dropped a piece of mineral and, while he was cleaning up, he noticed the pieces showed very similar forms. He came up with an ingenious system of the crystal formation of minerals, constructed by standard particles he called molecules integrantes. In 1801 he published the Traite de Mineralogie, in which he described the construction and shape of 531 minerals, accompanied by a series of wooden models.
For this project, designer Christien Meindertsma selected 16 pear wood models that have been enlarged and made into a series of beech wood objects. Carpenters Jan Kuperus and Rienk Gardenier, who initiated this project, act as producer.  In addition to their ship’s carpentry and restoration work, they collaborated on Christien Meindertsma’s Flax-project (2009) and the Tree Track (2011).

t.e. 183 The oval hall of the Teylers Museum in Haarlem (The Netherlands) has 20 beautiful pear wood models of crystals on exhibition. In the period 1802-1804, the museum acquired over 600 wooden models to help determine the mineral samples in their collection. The wooden models were made to order by Rene Just Hauy and are known for their accurate proportions and angles. The French carpenters Pleuvin senior and junior and their apprentice Journy became real specialists during the production. ?
Rene Just Hauy (1743-1822) is founder of geometrical crystallography. It is said that he dropped a piece of mineral and, while he was cleaning up, he noticed the pieces showed very similar forms. He came up with an ingenious system of the crystal formation of minerals, constructed by standard particles he called molecules integrantes. In 1801 he published the Traite de Mineralogie, in which he described the construction and shape of 531 minerals, accompanied by a series of wooden models. ?
For this project, designer Christien Meindertsma selected 16 pear wood models that have been enlarged and made into a series of beech wood objects. Carpenters Jan Kuperus and Rienk Gardenier, who initiated this project, act as producer  In addition to their ship’s carpentry and restoration work, they collaborated on Christien Meindertsma’s Flax-project (2009) and the Tree Track (2011).

numbered edition of 3 complete sets

t.e. 1821.41 flax chair

After Label/Breed connected Christien Meindertsma with Enkev, a company specializing in natural fibers, they concluded that a composite of flax and PLA — or polylactic acid, a bioplastic — would be an ideal sustainable construction material. She designed the chair to be made from one sheet of composite measuring roughly 2 feet by 3 feet, with very little waste. The initial run will use straw-colored natural flax. Big winner at  the Dutch Design Award 2016 & New Material Award 2016 and purchased by Vitra Design Museum 2016.

dimensions : 53 x 53 x 81 cm high

t.e. 174red white vase

Together with the Big White Pot, the Red White Vase has become a modern classic. Both are the end result of Hella Jongerius exploration of medieval pots. Hella Jongerius cast these two vessels from the moulds of restored medieval pots. The rough casting seams, along with the potter's traditional thumbprint, give the impression of antique vessels while the strong, solid forms are a clear indications of modern industry.

t.e. 173big white pot

Together with the Red White Vase, the Big White Pot has become a modern classic. Both are the end result of Hella Jongerius exploration of medieval pots. Hella Jongerius cast these two vessels from the moulds of restored medieval pots. The rough casting seams, along with the potter's traditional thumbprint, give the impression of antique vessels while the strong, solid forms are a clear indications of modern industry.

t.e. 172b-set plate small, white

In 1999 we put into production Hella Jongerius' seven-part porcelain dinner service.  In an industry where, since industrialisation, perfection has become the norm, in this design Hella Jongerius focuses on the concept of 'imperfection'. She studied the possibilities of restoring individuality to the serial production process, an important recurring theme in her work. During a period she spent working at the European Ceramics Work Centre in ‘s Hertogenbosch (1997) she experimented with clay by firing it at a high temperature, which distorted each piece. This is how she developed the method for producing the B-Set, in which each piece acquires its own unique character and regains its individuality.
The B-Set is now considered an icon of Dutch design history and has been included in the collections of many international museums.

t.e. 171b-set plate large, white

In 1999 we put into production Hella Jongerius' seven-part porcelain dinner service.  In an industry where, since industrialisation, perfection has become the norm, in this design Hella Jongerius focuses on the concept of 'imperfection'. She studied the possibilities of restoring individuality to the serial production process, an important recurring theme in her work. During a period she spent working at the European Ceramics Work Centre in ‘s Hertogenbosch (1997) she experimented with clay by firing it at a high temperature, which distorted each piece. This is how she developed the method for producing the B-Set, in which each piece acquires its own unique character and regains its individuality.
The B-Set is now considered an icon of Dutch design history and has been included in the collections of many international museums.

t.e. 170b-set carafe, white

In 1999 we put into production Hella Jongerius' seven-part porcelain dinner service.  In an industry where, since industrialisation, perfection has become the norm, in this design Hella Jongerius focuses on the concept of 'imperfection'. She studied the possibilities of restoring individuality to the serial production process, an important recurring theme in her work. During a period she spent working at the European Ceramics Work Centre in ‘s Hertogenbosch (1997) she experimented with clay by firing it at a high temperature, which distorted each piece. This is how she developed the method for producing the B-Set, in which each piece acquires its own unique character and regains its individuality.
The B-Set is now considered an icon of Dutch design history and has been included in the collections of many international museums.

t.e. 169b-set bowl large, white

In 1999 we put into production Hella Jongerius' seven-part porcelain dinner service.  In an industry where, since industrialisation, perfection has become the norm, in this design Hella Jongerius focuses on the concept of 'imperfection'. She studied the possibilities of restoring individuality to the serial production process, an important recurring theme in her work. During a period she spent working at the European Ceramics Work Centre in ‘s Hertogenbosch (1997) she experimented with clay by firing it at a high temperature, which distorted each piece. This is how she developed the method for producing the B-Set, in which each piece acquires its own unique character and regains its individuality.
The B-Set is now considered an icon of Dutch design history and has been included in the collections of many international museums.

t.e. 168b-set bowl small, white

In 1999 we put into production Hella Jongerius' seven-part porcelain dinner service.  In an industry where, since industrialisation, perfection has become the norm, in this design Hella Jongerius focuses on the concept of 'imperfection'. She studied the possibilities of restoring individuality to the serial production process, an important recurring theme in her work. During a period she spent working at the European Ceramics Work Centre in ‘s Hertogenbosch (1997) she experimented with clay by firing it at a high temperature, which distorted each piece. This is how she developed the method for producing the B-Set, in which each piece acquires its own unique character and regains its individuality.
The B-Set is now considered an icon of Dutch design history and has been included in the collections of many international museums.

t.e. 167b-set beaker large, white

In 1999 we put into production Hella Jongerius' seven-part porcelain dinner service.  In an industry where, since industrialisation, perfection has become the norm, in this design Hella Jongerius focuses on the concept of 'imperfection'. She studied the possibilities of restoring individuality to the serial production process, an important recurring theme in her work. During a period she spent working at the European Ceramics Work Centre in ‘s Hertogenbosch (1997) she experimented with clay by firing it at a high temperature, which distorted each piece. This is how she developed the method for producing the B-Set, in which each piece acquires its own unique character and regains its individuality.
The B-Set is now considered an icon of Dutch design history and has been included in the collections of many international museums.

t.e. 166b-set beaker small, white

In 1999 we put into production Hella Jongerius' seven-part porcelain dinner service.  In an industry where, since industrialisation, perfection has become the norm, in this design Hella Jongerius focuses on the concept of 'imperfection'. She studied the possibilities of restoring individuality to the serial production process, an important recurring theme in her work. During a period she spent working at the European Ceramics Work Centre in ‘s Hertogenbosch (1997) she experimented with clay by firing it at a high temperature, which distorted each piece. This is how she developed the method for producing the B-Set, in which each piece acquires its own unique character and regains its individuality.
The B-Set is now considered an icon of Dutch design history and has been included in the collections of many international museums.

t.e. 165book: bottom ash observatory


In her encyclopedic book Bottom Ash Observatory, Christien Meindertsma takes the reader on a 160-page expedition through a bucket filled with 25 kilos of bottom ash, showing the astounding richness and value of this material. The contents of this "golden bucket" are the residue of 100 kilos of incinerated household and industrial waste: the “waste of waste.” By sieving, drying, laser-analyzing and separating tens of thousands of pieces by hand, Meindertsma succeeded in extracting numerous materials. She melted down the 12 most valuable materials – including zinc, aluminum, and silver – to pure cylinders, creating a line chard showing the richness of the bottom ash.The process of adding value to waste by separating it is rapidly innovating, and Meinderstma illustrates where this rich urban ore deposit can lead us.

t.e. 164art prints

6 designs, numbered and signed edition of 100

99 x 69 cm

t.e. 163 pigeon service

Christien Meindertsma designed a permanent installation for Texture Flax Museum (Kortrijk, BE) in 2014.
The installation consists of 200 pigeons spread across the building.
Her inspiration came from the traveling and espionage pigeons that were locked into the building of the Linen Thread Company – which today is Museum Texture – during the First World War.

t.e. 162herbarium waddensea, large

“We are often inspired by plants and used them as natural material in previous works. This time we were intrigued by seaweeds that we found in the Wadden Sea. They are beautiful drifting and flowing through the water. In a way we wanted to catch this moment and bring it home with us, which of course is impossible. By using polyester and special pigments we tried to capture the beauty of the weeds floating in the sea in an object.”

62 x 93 x 3 cm

t.e. 161herbarium waddensea, medium

“We are often inspired by plants and used them as natural material in previous works. This time we were intrigued by seaweeds that we found in the Wadden Sea. They are beautiful drifting and flowing through the water. In a way we wanted to catch this moment and bring it home with us, which of course is impossible. By using polyester and special pigments we tried to capture the beauty of the weeds floating in the sea in an object.”

50 x 72 x 3 cm

t.e. 160herbarium, large

The herbariums from Studio Maarten Kolk and Guus Kusters originate from their own vegetable garden. "Firstly the vegetable garden was a study object, but increasingly we saw vegetables as a material. As such we wanted to treasure the garden we had worked in for a year, and represent it on a 1:1 scale. Furthermore we wanted to say something about it from a design point of view. By pressing and drying the plants and as such conserving them, you can – so to say – lengthen the growing process of the plant.

 The herbariums consist of many layers of fabric with plants on top. Pressed between a sheet of glass using wooden clamp a graphic image emerges, which leans against the wall. Together the herbarium pieces form a greyed and abstract translation of the vegetable garden.”

t.e. 159herbarium, medium

The herbariums from Studio Maarten Kolk and Guus Kusters originate from their own vegetable garden. "Firstly the vegetable garden was a study object, but increasingly we saw vegetables as a material. As such we wanted to treasure the garden we had worked in for a year, and represent it on a 1:1 scale. Furthermore we wanted to say something about it from a design point of view. By pressing and drying the plants and as such conserving them, you can – so to say – lengthen the growing process of the plant.

 The herbariums consist of many layers of fabric with plants on top. Pressed between a sheet of glass using wooden clamp a graphic image emerges, which leans against the wall. Together the herbarium pieces form a greyed and abstract translation of the vegetable garden.”

t.e. 158silent fish

Silent Fish is a continuous study that started at the Waddensea. At a low tide, when the sea retrieves itself, washed ashore animals and plants appear on the muddy surface of the Waddensea coast. The fish that were once active and alive, have become static objects. “We find the limpness of the fish very poetic. It has a similar kind of gracefulness as a ballet but without making even one movement. This is what we’re trying to capture. For us it’s not a dead animal that we see, but it’s an object carrying a lot of emotion and poetry. And that’s just what makes it interesting for us as designers; capturing emotion and poetry and turning it into an object”
Patterns of a grey mullet and cod are made and reproduced in light weighted newspaper to remain nothing but shape. The fragile objects are presented in dark grey acrylic box.

t.e. 157avifauna, large

Avifauna, the bird life, is a series of conserved bird species molded in textile.
“After having observed, analyzed and documented nature, we’ve started with Avifauna to materialize nature as we see it. In every new project we learn more about the change of land, water and the flora and fauna that go with it. Being designers we see blossoming timber, bleeding textiles, moving garlands and a limitless offer of techniques in the ways nature constantly changes and adapts. We try to materialize our observations and bring it closer to the industry we work in. In Avifauna we molded on the conserved parts of the species to materialize their characteristics in textiles.

t.e. 156avifauna

Avifauna, the bird life, is a series of conserved bird species molded in textile.
“After having observed, analyzed and documented nature, we’ve started with Avifauna to materialize nature as we see it. In every new project we learn more about the change of land, water and the flora and fauna that go with it. Being designers we see blossoming timber, bleeding textiles, moving garlands and a limitless offer of techniques in the ways nature constantly changes and adapts. We try to materialize our observations and bring it closer to the industry we work in. In Avifauna we molded on the conserved parts of the species to materialize their characteristics in textiles.

t.e. 155withering tableware

vase

sequence of 6 different decorations:

t.e. 154withering tableware

platter

sequence of 6 different decorations:

t.e. 153withering tableware

carafe

sequence of 9 different decorations:

t.e. 152withering tableware

bowl, high

sequence of 9 different decorations:

t.e. 150withering tableware

plate large

sequence of 6 different decorations:

t.e. 149withering tableware

plate, small

sequence of 9 different decorations:

t.e. 148 withering tableware

beaker sequence of 6 different decorations:

1 x painted - 6 x moulded

t.e. 147all small circles are sold out.

please look at t.e. 144

t.e. 146all small circles are sold out.

t.e. 145all small circles are sold out.

t.e. 144thomas eyck  is pleased to present an exclusive series of vases designed by  Hella Jongerius. She has become known for the way in which she fuses industry and craft, high and low tech, the traditional and the contemporary. For some time, Jongerius has been occupied with an intensive research project on applying colours to ceramic materials. Jongerius has produced the Hella Jongerius: Misfit Collector’s Edition: 300 unique porcelain vases, each made with great artisanal skill and technological sophistication in collaboration with the venerable Dutch ceramics house Royal Tichelaar Makkum. Each vase is an object of exceptional concept and beauty.

This set is the culmination of Jongerius’ experimental studies with lacquered pigmentation, in which the porcelain vase has served as a ‘canvas’ for ‘Toyota red’ spraypaint (Red White Vase, 1997), forty industrial colours from the Central European standard RAL colour range (Coloured Vases, Series 1, 2003), and selections from the Scandinavian Colour Institute’s Natural Colour System (Coloured Vases, Series 2, 2007). In this, the third version of 300 Coloured Vases, each vase was fired three times under a unique mix of 100 natural mineral glazes and 100 synthetic materials, yielding remarkably deep textures and vibrantly merged colour combinations that are reminiscent of the colour intensities of old paintings.

The Hella Jongerius Coloured Vases, Series 3 is a rare opportunity to own a genuine limited edition of a Hella Jongerius’ experimental design. Each comprises a special edition of a book, designed by Irma Boom. It  is beautifully bound, individually signed and numbered and presented in a custom-made box, together with an original work of art also signed and numbered by the artist.

t.e. 142leather

leather lunch set 
22 x 7 x 23 cm h

t.e. 141leather

leather back strap for t.e. 139

t.e. 140leather

leather shoulder strap for t.e. 139

t.e. 139leather

leather bag

t.e. 138leather

leather briefcase

t.e. 137leather

leather firewood bag
45 x 40 x 32 cm h

t.e. 136leather

leather daybed
185 x 58 x 42 cm h

t.e. 135leather

leather chair
50 x 75 x 75 cm h

t.e. 134hain

small installation C
consoles & vase
50 x 40 x 19 cm

t.e. 133hain

small installation B
consoles
 46x 40 x 19 cm

t.e. 132hain

small installation A
consoles
53 x 40 x 16 cm

t.e. 131hain

installation of 1 porcelain tree R with fungi
consoles
50 x 200 x 19 cm

t.e. 130hain

installation of 1 porcelain tree  M with fungi
consoles
50 x 200 x 19 cm

t.e. 129hain

installation of 1 porcelain tree L  with fungi
consoles
50 x 200 x 19 cm

t.e. 128 hain

installation of 3 porcelain trees with fungi
consoles
160 x 200 x 19 cm

t.e. 127wallpaper "based on nature"

nature site: mana pools national park, zimbabwe
roll  75  x 900 cm (29,5  x 355 in) length

t.e. 126wallpaper "based on nature"

nature site: great barrier reef, australia
roll  75  x 900 cm (29,5  x 355 in) length

t.e. 125wallpaper " based on nature"

nature site: shirakami-sanchi, japan
roll  75  x 900 cm (29,5  x 355 in) length

t.e. 124wallpaper "based on nature"

nature site: hawaii volcanoes national park
roll  75  x 900 cm (29,5  x 355 in) length

t.e. 123wallpaper "based on nature"

nature site: area de conservation guanacaste, cost rica
roll  75  x 900 cm (29,5  x 355 in) length

t.e. 122wallpaper "based on nature"

nature site: Jungfrau-Aletsch
roll  75  x 900 cm (29,5  x 355 in) length

t.e. 121wallpaper "based on nature"

nature site: waddensea, the netherlands / germany
roll  75  x 900 cm (29,5  x 355 in) length

t.e. 120book: colour-based on nature

edition of 4100
176 pages
240 x 315 mm

t.e. 119oak inside

rug, coloured with natural dyes
Ø 125 cm x 5h cm

t.e. 117oak inside

cupboard
120 x 40 x 192 h cm
tannin blue

t.e. 116oak inside

tea table
Ø 85 x 55 - 73 h cm
decoration tannin blue

t.e. 115oak inside

cabinet
80 x 40 x 113 h cm
tannin blue

t.e. 114oak inside


roosje stepladder
58 x 50 x 65 h cm

t.e. 113oak inside

chest, birch
82 x 44 x 30 h
coloured with rose leaves

t.e. 112oak inside

roosje chair
40 x 40 x 90 cm h
woolen seat natural coloured

t.e. 111oak inside, spice mill salt & pepper

for more information about prices and deliverytime please click on the images below.

t.e. 110schwarm

scarites buparis

vase

t.e. 109schwarm

Dicranorrhina wallichi

vase

t.e. 108schwarm

carabus auratus

vase,

t.e. 107schwarm

Plusiotis resplendens

vase

t.e. 106schwarm

oryctes nasicornis

vase

t.e. 105schwarm

stenus montivagus

vase

t.e. 104schwarm

ateuchus pius

vase

t.e. 103schwarm

lema cyanella

vase

t.e. 102schwarm

geotruypes stercorarius

vase

t.e. 101schwarm

apion aeneum

vase

t.e. 100schwarm

coccinela

vase

t.e. 099schwarm

The first and original set of 63 beetles , made in a numbered edition of 10 sets.

Several sets where sold to musea around the world and private art collectors.

t.e. 098the copper collection

sauce pan
35 x 20 x h 35 cm
100% fine silver inside

t.e. 096the copper collection

candle dome
16 x 16 x h 18 cm

t.e. 095the copper collection, candle holder

candle holder presents a flat spoon-like shape that gradually progress into a three dimensional handle. The plateau is furnished with a small titanium spike and offers enough space for any candle to stand on it. The lack of visual diversion will help to focus all attention on the naked canlde.

t.e. 094the copper collection

mixing bowl
Ø 17 x h 21,5 cm

t.e. 093the copper collection, soy pourer

soy pourer has been designed to mirror the act of pouring in the physical shape of the object. The long spout develops from a tube to a half-tube and to a line. This progress of form  visualises the slow process of pouring, and it helps to spread the soy sauce gently.

23 x 8 x 7,5 cm

t.e. 092the copper collection, watering can

watering can translates all its functional parts into a tube. The handle is a reservoir for water, just as the actual container and the spout. The oval shape of the tube reinforces the graphic quality of the object.

23 x 1,6 x h 20 cm

t.e. 091texelaar collection

ottoman, 500 meter

Ø 48 x h 45 cm

t.e. 090texelaar collection

aran rug large

230 x 320 cm

t.e. 089texelaar collection

aran rug small

170 x 230 cm

t.e. 084salt cellar

salt cellar combines a container and a plateau. The container holds the salt and serves as a handle. Salt is poured onto the plateau, so that it can be picked up from the black surface. Filling the container works the other way around: salt is put on the plateau and then poured into the handle.
The gilding protects the silver against salt corrosion.

t.e. 083

t.e. 082flax table cloth

100% linen
295 x 160 cm

t.e. 081flax napkins

100% linen
53 x 58 cm

t.e. 079flax ottoman, 140 meter

t.e. 078flax rug, 110 meter

t.e. 077

t.e. 076

t.e. 075

t.e. 074

t.e. 073

t.e. 072

t.e. 071

t.e. 070

t.e. 069 urchin pouf large

100% wool from new zealand, handknitted in the netherlands  
Ø 110 x h 52,5 cm

t.e. 068 urchin pouf medium

100% wool from new zealand, handknitted in the netherlands
Ø 85 x h 40 cm 

t.e. 067 urchin pouf small 100% wool from new zealand, handknitted in the netherlands
Ø 55 x h 27,5 cm

t.e. 066 water carafe

water carafe lies down instead of standing upright. The user has to pay delicate attention to the sound and the weight of the object to know when he should stop filling it. Because of th ewide spout teh flow of water from teh carafe resembles a waterfall.

t.e. 065 vinegar flask

vinegar flask has a characteristic spout. Like the mouth of an animal it protrudes from the opening of the flask. An appropiate dose of vinegar is poured into this small reservoir. Then, by tilting the flask to the side, it can be distributed over the dish.

t.e. 064 salt cellar

salt cellar combines a container and a plateau. The container holds the salt and serves as a handle. Salt is poured onto the plateau, so that it can be picked up from the black surface. Filling the container works the other way around: salt is put on the plateau and then poured into the handle.

t.e. 063 oil platter

oil platter has an elevated surface on one side. This allows users to press bread and oil against this surface. Any excess oil will drip back into the saucer. A slight elevation in the heart of the saucer distributes the oil to the outer rim.

t.e. 062 oil can

t.e. 061

t.e. 060fruit party willow wood, papier-mache

t.e. 059milk can tablecloth, damask,  290cm x 160cm
6 napkins, damask , 53cm x 53 cm

t.e. 058tuna story tablecloth, damask, 290cm x 160cm
6 napkins, damask, 53cm x 53 cm

t.e. 057tape bowl

transparant, crystal glass
Ø 23cm x h 13cm

t.e. 056grand bernard 03

pink

t.e. 055grand bernard 02

green

t.e. 054grand bernard 01

transparant

t.e. 053colour ring 06 serviette ring
Ø 4,5cm x h 4,5cm

t.e. 052colour ring 05 serviette ring
Ø 4,5cm x h 4,5cm

t.e. 051colour ring 04

serviette ring
Ø 4,5cm x h 4,5cm

t.e. 050colour ring 03

serviette ring
Ø 4,5cm x h 4,5cm

t.e. 049colour ring 02

serviette ring
Ø 4,5cm x h 4,5cm

t.e. 048colour ring 01

serviette ring
Ø 4,5cm x h 4,5cm

t.e. 047serious business 3

willow wood, plastic

t.e. 046serious business 2

willow wood, plastic

t.e. 045serious business 1

willow wood, plastic

t.e. 044garlic queen

t.e. 019 candle holder

w 20 cm x h 32 cm

t.e. 018 vase

Ø 24 cm x h 30 cm
weight 7 kg limited edition of 150.

t.e. 017 basket

Ø 33 cm x h 33 cm
weight 4 kg limited edition of 150.

t.e. 016 jar

w 31cm x h 27 cm
weight 8 kg limited edition of 150

t.e. 015 plate with standard

Ø 35 cm x h 4,5 cm
weight 3 kg limited edition of 150.

t.e. 014 oil can

The oil / milk can is a singular shape, without a handle or lid. The same cavity is used for pouring and filling. The opening is placed under a 90 angle, to prevent dust settling onto the content. The object creates a visul dialogue between content and interior space. 100% fine silver 10 x 4 x 10 cm limited and numbered edition of 15

t.e. 004coded message

Ø 25 cm

last ones available! out of production

t.e. 003day in day out

Ø 19 cm

last 9 available! out of production

t.e. 002button

Ø 13 cm

last ones available! out of production

t.e. 001appearence

Ø 11 cm

last ones available! out of production