...Born in Berlin on April 20th 1887 Else Mögelin trained as a drawing teacher and shop window decorator in the German capital before enrolling in 1919 at Bauhaus Weimar, as one of the earliest students, and where after an initial period in the pottery at Dornburg she joined the weaving workshop in 1921...
|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
...And a novel method of teaching that, by all accounts, saw Walter Gropius not once but twice offer Margarete Naumann the position of head of the weaving workshop at Bauhaus Weimar... Considerations which are important, as are those of the influence of Mazdaznan on the Weimar Bauhaus, but shouldn't detract from the interesting and informative contribution of Loheland to the discourses and discussions on creative eduction, and relationships with our objects of daily use, including their production and form/function relationships, in the early decades of the 20th century...
...In context of the 1923 Bauhaus exhibition in Weimar, that first wide-ranging presentation of the school, its work and its understandings of itself and the world in which it existed, the institute presented with the Haus am Horn by Georg Muche and its interior, furniture, fittings and accessories by the likes of, and amongst others, Erich Dieckmann, Alma Buscher, Otto Lindig, Benita Otte or Marcel Breuer, a synopsis of the prevailing understandings of and positions to domestic arrangements and domesticity amongst the Weimar Bauhäusler... A contribution to furniture (hi)story, to relationships with furniture, those brave young things at Bauhaus Weimar seemed to have missed in their open disdain for the Weimar of yore and their striving headlong forwards; if only they'd listened a little more to the contemporaneous counsel of a P...
Haël. Margarete Heymann-Loebenstein and her workshops for decorative ceramics 1923-1934 at the Bröhan Museum, Berlin
...The popular Bauhaus focus, preoccupation, of discussions on creativity in the 1920s very naturally leads to us all ignoring other important protagonists, causes us all, when oft unwittingly, to miss other equally valid, and enjoyable, paths to appreciations of developments in craft, design, technology and our objects of daily use in the early decades of the 20th century, that important, and still very relevant, period where handwork increasingly ceded to industry... Haël, is and was essentially a platform for Margarete Heymann-Loebenstein, a creative who, while still Margarete Heymann, had learned her craft, her art, and who began to develop her positions and her approaches, during periods at the Kunstgewerbeschule Köln, the Kunstakademie Düsseldorf and Bauhaus Weimar, or more specifically the Bauhaus ceramics workshop in Dornburg under the direction of Gerhard Marcks, before, together with her, then, husband Gustav and brother-in-law Daniel as the more business orientated components of the partnership, establishing Haël, and that at the age of just 24...
...Works, some 250 of which, are however very much the focus of the Bröhan-Museum's exhibition; works created, as the title neatly implies, between 1923 and 1934, that, all too brief, period after her training at the Kunstgewerbeschule Köln, Kunstakademie Düsseldorf and Bauhaus Weimar and before her enforced resettlement to, and attempted restart in, England... And works realised in context of the Haël-Werkstätten für künstlerische Keramik that Heymann-Loebenstein, together with her, then, husband and brother-in-law, established in Marwitz, to the north of Berlin, and where she produced works reflective of her own take on the realities of the day and the required responses thereto; works that, should, will, help underscore not only that Bauhaus was school not a style, a school not an era, but also that Modernist orientated ceramics and objects of daily use in the 1920s and 30s were colourful, expressive, alive and also reduced and function focussed...
...Kukkapuro developing an ice hockey stick chair that is a very nice twist on the, in all probability apocryphal, story of Marcel Breuer being inspired by bicycle handle bars to employ steel tubing in furniture; an ice hockey stick chair that introduces, and very efficiently elucidates, various formal, aesthetic and constructional aspects that are of such importance in the Yrjö Kukkapuro oeuvre... Plexiglass which also features, alongside tubular steel, in a 1969 cantilever chair which takes up Marcel Breuer's vision of us one day sitting on a "resilient column of air"2, and not only allows one to approach that day via, as Breuer did, the inherent elasticity of the cantilever, but also to approach that day via the transparent seat shell, a conceit which means you are almost literally floating on air...
...In which context one of the more interesting comparisons one can frame Dieckmann in is that with Marcel Breuer: the two were fellow students in the Weimar carpentry workshop under Gropius; they shared responsibility for the majority of the furniture and interior design of the Haus am Horn show home presented at the 1923 Bauhaus exhibition; both had a hang in their furniture to a constructivist rationalisation; both passed their Gessel exam in 1924... A state of affairs which on the one hand, arguably, is related to the fact Breuer moved not only to Dessau but to America, and thus post-War when Bauhaus, largely the Dessau incarnation, was raised by the MoMA New York to its near mythical position in the pantheon of design, when all other inter-War German design schools were wiped in a single sweep from the narrative of furniture design (hi)story, when Bauhaus became the synonym for inter-War design in Germany, Marcel Breuer was very visible...