H.G.H. Cuypers (1859-1927) With an architect/uncle who was famed for Amsterdam's Central Station and Rijksmuseum buildings, Eduard (H.G.H.) Cuypers was trained first by his father at the decorating workshop run for P.J.H. Cuypers architectural practice. In 1926/27 he supplied a number of drawings and designs to the Leerdam factory, but died shortly after, leaving the completion of his glasswork to his colleague H. Kannegieter. Designs for commemorative items celebrating the 1928 Olympics were apparently a combination of elements from both men but the beker bears the Cuypers mark.
	H. Kannegieter (1898-1991) Brought in as a member of Ed Cuypers team after the designer's unexpected death, Kannegieter's work was mostly produced under the Cuypers name, although his individual work, such as the ashtray which he further adapted for the 1928 Olympics was produced using his own mark.
	J.B.A. de Meyer (1878-1950) Architect and interior designer de Meyer had worked with Berlage on the Amsterdam Beurs, before projects with K.P.C. de Bazel, J.L.M. Lauweriks and P.J.H Cuypers. In 1927 he provided sketches of his first glassware to Kristalunie, which turned out to be his only design for the company. The service has a very distinctive stem with three incised facets on the central stem and was expensive to produce. Named after him, it appeared in 1928 amd remained in the catalogue for at least seven years.

J. Eisenloeffel (1876-1975) Gold- and silversmith, Eisenloeffel had risen to prominence with his silver designs for Hoeker en Sons, Amsterdam. After a short period with 't binnenhuis he turned his focus to designs for the modern home, focussing on high quality design and cheap materials. His first glasswork was painting geometric designs onto basic blank vases but in 1928 he designed his first stemware pattern, a stylish combination of geometric facets and diamond cuts. Its balanced form appealed to traditional taste and was successful for several years. In 1934 it was extended to 23 items, and launched on the American market, although the name was changed to (the more pronouncable) 'Starlight', and continued in production through to the mid 1950's. (more...)

Piet Zwart (1885-1977) Graduate of the Amsterdam School of Industrial Design Zwar worked from 1921-27 for H.P. Berlage, where he contributed his work to Berlage's opaque yellow breakfast service for Leerdam, a project so troublesome that it soured the relationship. In 1928 he was commissioned by Kristalunie to design a distinctive modern service and proposed a distinctive combination of barrel-shaped bowls with circular facets. Most of the sales were as a whistky set (decanter and tumblers) and it only survived in the catalogue until 1933. In 1970 the service was honoured with a special edition for the World Expo in Osaka, Japan, albeit with a number of technical adjustments to the stem and underside of the bowl.

W.J. Rozendaal (1899-1970) Willem Jacob Rozendaal graduated from the Academy of The Hague, and began work in stained glass design in 1920, then developed his business producing Ex Libris graphics for a select group of customers. In 1928 he started work on the Kristalunie products and was quickly made Artistic Director. Over the next 10 years his hand guided the glass design, graphics and shop displays. Although less acclaimed by his peers, his designs were popular with the public. In general only the first production of each design was given his mark. Even after he started his professorship in 1937, and his days were often filled with graphic design, woodcut and illustration, he still found time to produce regular glass designs for the Kristalunie through to the early 1940's. (more...)

M.L.H.M. Verboeket (1922 - ) Graduate of the Maastricht School of Industrial Design, Verboeket began his employment at Maastricht in 1954 and his early designs built on Rozendaal's heritage. His multicoloured Canaval service was launched in 1956 and became a big success, and he continued to develop modern stemware patterns for several years. He is also well known for heavy glass vases sometimes with hand applied areas or strings of colour inspired by the Murano glass of the period. Verboeket's work is very often supplied with a machine engraved signature on the base, but starting with his Antiqua range (1962) he began to use a traditional trade mark (shown here) which was stamped into a pellet of glass and attached to the object. In his later work, the same mark was applied using a label. (more...)

Other names which are not included in the above list:
G.M.E. Bellefroid (1893 - 1971)
Frans Hollman (factory photographer credited with the design of the popular late cut-crystal service, Bernina) Commissioned by Kristalunie in 1938 to design a crystal service called Straminto.