...Completing the Werkbundarchiv - Museum der Dinge's trio of exhibitions exploring developments in design understanding(s), the development of design vocabularies, in the early decades of the 20th century through the twin perspectives of the Deutsche Werkbund and Bauhaus: an, if you will, exhibition triangle as opposed to cycle, that began with Commercial Design instead of Applied Art?... also features works by three named designers: Martha Katzer, who in the inter-War years was particularly associated with the Majolika ceramic works in Karlsruhe and where she is popularly credited with introducing and advancing spray decoration; Artur Hennig who aside from his own work is also presented through his teaching at the State Ceramics College Bunzlau and mention of the developments of the spray decoration process and spray pistol aesthetics he and his students developed; and Margarete Heymann through examples of her work for her Haël-Werkstätten für Künstlerische Keramik in Marwitz, work which reminds of the exhibition Bauhaus in Brandenburg at the Dieselkraftwerk Cottbus, which in addition to objects by Margarete Heymann also features brightly coloured, hand-painted, works by Werner Burri and Theodor Bogler for the Steingutfabriken Velten-Vordamm...
D4by Marcel Breuer, 1927 — from 1.045,00 €
|Product type||Collapsible armchair.|
|Dimensions||Width: 78 cm
Depth: 61 cm
Height: 71 cm
Seat height: 38 cm
The seat height can vary due to production conditions, the dimensional stability of the material and the hook-in height of the seat surface.
|Material||Frame: steel tubing , chrome plated
Seat and back: Belts, available in Bauhaus fabric (100 % polyacrylic) or iron thread
|Function & properties||Foldable and thus space-saving storage|
The re-editions of Bauhaus models produced by Tecta are approved by the Bauhaus Archive in Berlin and bear the Bauhaus signet designed by Oskar Schlemmer.
|Care||To clean the frame, we recommend a soft, damp cloth
The fabric covers can be carefully vacuumed
Please treat leather surfaces regularly with a suitable leather care product
|Awards & museum||Since 1980 part of the Permanent Collection of Museum of Modern Art (MoMA), New York|
More about 'Bauhaus', 'Marcel Breuer' in our blog
...As this Bauhaus Weimar centenary year is making ever clearer, whereas Bauhaus may have been physically sited in Weimar, Dessau and (nominally) Berlin, approaching a better understanding of "Bauhaus" involves leaving those sites and following the many paths that either led to, or from, those sites... Paths that not only allow one to approach a better understanding of "Bauhaus", but for all to approach a better understanding of the wider developments of the inter-War years, of inter-War Modernism, and thus to better understand that Bauhaus was but a component of that period, but a component of inter-War Modernism...
...opens at Die Neue Sammlung - The Design Museum, Pinakothek der Moderne, Barer Straße 40, 80333 Munich on Friday November 15th and runs until Sunday October 18th "Herbert Bayer: Bauhaus Master" at the Cooper Hewitt, Smithsonian Design Museum, New York, New York, USA it is somehow very relevant that in this bauhaus weimar centenary year there should be an exhibition in america devoted to the work of the bauhäusler who perhaps did more than most to promote bauhaus in america... Herbert Bayer: Bauhaus Master opens at Cooper Hewitt, Smithsonian Design Museum, 2 East 91st Street, New York 10128 on Saturday November 16th and runs until Sunday April 5th ""Sitzen 69" Revisted" at the MAK - Museum Angewandte Kunst, Vienna, Austria In 1969 the, then, Österreichische Museum für angewandte Kunst, the, now, Museum Angewandte Kunst Vienna staged the exhibtion Sitzen 69, Sitting 69, with a presentation of good seating designs...
...And on the other hand, tends to imply we all need to consider the, apparently contradictory, question, of in how far the rise of modernist, avant-garde inclined movements contributed to the rise of the NSDAP, in how far the rise in support for the NSDAP in the 1920s was a reaction to institutions such as Bauhaus, in how far a fear of a changing world, a fear of the Utopian visions, social emancipation and technological progress promoted and propagated by the various 1920s avant-garde movements was seized, and abused and misused, by the NSDAP to establish a power base... And now is an opportune moment, the broad scope of exhibitions staged in context of the Bauhaus Weimar centenary celebrations have, we'd argue, helped expand the discussion on Bauhaus, have undertaking a little myth busting, and thus means we can collectively move on to develop more realistic, more probable, understandings of the role of early 20th century architects and designers in shaping our world...
...Having started this Bauhaus Weimar centenary year by exploring the path from Arts and Crafts to Bauhaus, the Bröhan Museum Berlin end this Bauhaus Weimar centenary year by exploring the path from Bauhaus to Arts and Crafts Scandinavia... The Response to the Bauhaus...
...Prior to his aforementioned acquaintance with Mies van der Rohe's cantilever chairs, Lorenz had seen works by Marcel Breuer in the office of Breuer's associate, business partner, and fellow Hungarian, Kálmán Lengyel, and subsequently not only joined the board of Breuer and Lengyel's Standard Möbel company but undertook experiments in his own workshop to further develop the technical, material, aspects of Breuer's work, experiments which, as he describes, were intended to bring the same resilience to Breuer's designs that he had felt in Mies's... Thonet, serving between 1933 and 1935 as, and somewhat logically, Head of Industrial Property Rights, before spending the second half of the 1930s in closed contact with the likes of Mies van der Rohe, Hans Luckhardt, Heinz Rasch, Lily Reich, László Moholy-Nagy and Marcel Breuer...
smow blog Design Calendar: June 1st 1932 - Mart Stam Awarded Artistic Copyright for the Cubic Cantilever Chair
...The story begins in Dessau in the mid 1920s and the development of tubular steel furniture, a process in which Marcel Breuer unquestionably played a major, if not the major, role... Aware of the commercial possibilities of the genre Marcel Breuer established in late 1926/early 1927 the company Standard-Möbel in Berlin with fellow Magyar Kálmán Lengyel, the first dedicated manufacturer of tubular steel furniture...