Christian Dell, table lamp, 1932. For Belmag, Zürich. Via Fischer.
Marianne Brandt, tast-licht – table lamp, 1930s. Germany. Source
Curt Fischer, bauhaus scissor lamp, Scherenlampe, late 1920s. Iron, aluminium, bakelite. Bauhauswerkstätte Walter Gropius. Made by Midgard. Via okay art
Marianne, Brandt, bauhaus desk set Schreibzeug, 1930s. Made by Ruppelwerke, Germany.
Karel Teige, magazine ReD. Ročník I, 1927-28. Prague.
Featuring bauhaus design of Breuer & Wagenfeld, Man Ray, Alfred Loos architecture, Moholy-Nagy, the exhibition Paris or Charlie Chaplin. Via NYPL
Adolf G.Schneck, chair, 1925-28. Made by Deutsche Werkstätten, Munich. Via V&A
Schneck was a Stuttgart architect who wrote the standard book of the 1920s on chair design entitled Der Stuhl. The chair admirably reflects the simplicity of furniture then being made under the influence of the Bauhaus.
Marianne Brandt, bauhaus candlestick, 1930s. Iron, lacquered. Made by Ruppelwerk, Gotha, Germany.
Josef Albers, glass windows, 1927, reconstructed 2011. Grassi Museum, built 1925-29 in Leipzig, Germany. The windows had been part of an exhibition in 1927, to present the design quality of the bauhaus.
Architects: Zweck & Voigt. Last pic: Pfeilerhalle. The architecture is a mixed style of Neue Sachlichkeit and Art Deco. 📷 Uli Kühnle, Helga Schulze-Brinkop, Leipzig & Wiki
Benita Koch-Otte, design drawing for a fabric, 1925. Bauhaus-Archiv Berlin. Via design report
Lajos Kassak, magazine covers of Magyar Grafika, 1928. Budapest, Hungary. MA - Ungarische Gruppe Bauhausbücher & Letterheads, 1928. Via plakatkontor.de
Paul Klee in his studio at Bauhaus Weimar, photographed by Felix Klee, 1924/25 © Zentrum Paul Klee
Small letters only was introduced at the bauhaus in 1925. “wir schreiben alles klein, denn wir sparen damit zeit” is written on the lower part of the letterhead as an explanation. “We write everything in small letters to save time”. With a typewriter you had to use your little fingers to shift the capital letters, a way off from the keyboard, which takes a bit of time. That’s the reason why. Design: Herbert Bayer
Hans Przyrembel, Desk lamp, 1926. Photographer unknown. Przyrembel was a bauhaus student, ha.p.er his own brand, after he finished the design school. Via Bassenge.
Laszlo Moholy-Nagy, Composition, 1924. Watercolor. Gallerie Bassenge
bauhaus magazine 2, 1929. Photo Lux Feininger. Published by Hannes Meyer, AD Ernst Kállai. Via Kiefer