Bogler & Lindig, Teaset with 'Kombinationsteekanne', 1923-26 Ceramics with red shards and metallic brown lustering glaze; inside with mint-colored glaze; teapot with metal handle Bauhaus Weimar, Germany, 1923-26 Theodor Bogler (1897-1968) - German ceramist , leading force of the Bauhaus ceramics Otto Lindig (1881-1966) - German ceramist and sculptor, head of the ceramic workshop of the Bauhaus in Dornburg Bauhaus ceramic workshop, Dornburg/Saale ‘Kombinationsteekanne’ designed by Theodor Bogler in 1923 Sugar bowl and creamer designed by Otto Lindig between 1923 and 1926 Execution of all parts by Otto Lindig in the Dornburg workshop Teapot and creamer marked with the signet of the Staatliche Bauhochschule Weimar on the underside; sugar bowl and creamer marked with Lindig’s workshop mark ‘OL’ on the underside Height of the teapot, including handle: approx. 18.5 cm; height of the creamer: 9 cm Height of the sugar bowl, including lid: 12.5 cm The ‘Kombinationsteekanne’ is in excellent condition Provenance: Private collection, Berlin, Germany This is the only known example to exist today of a ‘Kombinationsteekanne’ designed by Bogler and executed by Otto Lindig! The present teaset with ‘Kombinationsteekanne’ is a collaborative work of Theodor Bogler and Otto Lindig. The design for the ‘Kombinationsteekanne’ dates from 1923, and was made by Bogler for the Bauhaus exhibition in the same year. The composition is based on a components program that enabled industrial and serial production with ever new combined forms. The present teapot is the only known example to exist today of a ‘Kombinationsteekanne’ designed by Bogler and executed by Otto Lindig. The matching creamer and sugar bowl were designed by Otto Lindig between 1923 and 1926 and executed by himself, just like the teapot, in the Ceramic Workshop in Dornburg/Saale. The teapot and the creamer are marked with the signet of the Staatliche Bauhochschule Weimar on the underside. The sugar bowl and creamer are marked with Lindig’s workshop mark ‘OL’ on the underside. The pieces are in good original condition with minor signs of use. The sugar bowl shows two small notches to the mouth edge, a chip to the outer edge, and a few scratches on the underside. The creamer is also somewhat nudged on the underside. The teapot is in excellent condition. The height of the pot, including the handle, is approximately 18.5 cm. The creamer is 9 cm in height, and the sugar bowl measures 12.5 cm with lid. Literature: Karl Nierendorf, Staatliches Bauhaus Weimar, Bauhaus 1919-1923, Weimar, Muenchen, 1923, p. 127. Walter Gropius, Neue Arbeiten der Bauhauswerkstaetten, Muenchen 1925, p. 102. Bauhaus-Archiv-Museum, Keramik und Bauhaus, Berlin 1989, p. 88. Theodor Bogler (1897-1968) Theodor Bogler (1897-1968) was one of the leading artists in the ceramics ateliers of the Bauhaus. He studied in the Dornburger ateliers starting in 1920 under Max Krehan and Gerhard Marcks. During this time he took part in an inspiring and stimulating collaboration with his fellow student and brother-in-law Otto Lindig. His principle regarding the assembly of a single form shaped the creative work of Theodor Bogler, which was previously focused on mass production. Theodor Bogler quickly made a name for himself at Bauhaus and was asked to head the handcraft department of the great Weimar exhibition in 1923. In this context, Theodore Bogler made first contact with the stoneware factory in Velten-Vordamm, which resulted in a collaboration which lasted for many years. His first designs for the factory, formally reduced, functional kitchen jars, inspired a version of the combination tea pot, which was however never intended for mass production. With this piece, Theodor Bogler transposed the modular construction system (Baukastensystem) created by Gropius for the field of architecture to the field of ceramics. After leaving Bauhaus, he accepted a post a form designer at Velten-Vordamm. His designs during this time combine the Bauhaus style with factory traditions such as decorative painting. For this, Theodor Bogler designed a geometrically abstracted ornamentation. In 1927, he joined the abbey Maria Laach and in 1932 he was ordained as a priest. He continued to design ceramics in the monastery. He was also in charge of the art publisher „Ars liturgica“ next door. Since 1948 he oversaw the monastic arts and crafts ateliers. The collaboration with Velten-Vordamm continued until the bankruptcy of the factory in 1931. Afterwards, he worked with „HB-Werkstätten“ in Marwitz (1934-1938) and the Staatliche Majolika-Manufaktur in Karlsruhe, which produced Bogler's designs for many decades. Otto Lindig (1895-1966) Otto Lindig (1895-1966) attended drawing and sculpture classes in Lichte, Thuringia, from 1911-1913. He then taught sculpture for two years at the Bechstein Atelier in Ilmenau,in 1913 he continued his studies at the School of Applied Art in Weimar. Between 1915 and 1918, he completed his training at the School of Fine Arts in Weimar, where he was taught by Richard Englemann. He set up his own studio in 1917 and enrolled at the Weimar Bauhaus in 1919. He serves as an apprentice in the Dornburg, ceramics workshop and later became the head of its technical and commercial division. Under his direction, it began produce wares combining mass production techniques with handcraft for the AeltesteVolkstedter Porzellan Fabrik and the Staatliche Porzellan Manufactur Berlin. In 1926 Lindig became the head of the ceramics workshop at the Staatliche Bauhochschule Weimar in Dornburg, running the Dornburg ceramics workshop independently from 1930 onwards. He taught master ceramics classes at the Hochschule für Bildende Künste in Hamburg from 1947 to 1960. Bauhaus The 'Staatliches Bauhaus', generally known as Bauhaus, was an influential avant-garde art school of the decorative arts and design as well as fine arts, architecture and theater that existed in Germany between 1919 and 1933. The founder Walter Gropius believed that the foundation for any form of art was to be found in handcraft, ultimately aiming to remove any distinction between fine arts and applied arts. However new demands arose that could not be satisfied solely with handcraft. Walter Gropius recognized the need to divert the attention towards mass production and thus the Bauhaus changed its program in 1923 to art and technology, which later became the school’s image. The school was situated in three different cities: Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin 1932 to 1933 under the leadership of three different directors: Walter Gropius the founder, in Weimar and partly in Dessau 1919 to 1928, Hannes Meyer from 1928 to 1930 in Dessau and Mies van der Rohe 1930 to 1933 partly in Dessau and later in Berlin. The three different locations also represent three different stages in the development of the Bauhaus. Founded by Walter Gropius in Weimar in 1919 the foundation of the school was very much based on arts and crafts and applied arts mixed with fine arts and theater. Important artists from this period were Josef Itten, Lyonel Feininger, Gerhard Marcks, Oskar Schlemmer, Paul Klee and Wassily Kandinsky. In 1922 the de Stijl movement entered into the life of the Bauhaus with influential leaders of the movement such as the Dutch painter Theo van Doesburg and the Russian constructivist El Lissitzky. From 1919 to 1922 Josef Itten taught the “Vorkurs” (Germany for ‘preliminary course’) introducing the new students to the concept of the Bauhaus. Itten was strongly influenced by the Blaue Reiter group in Munich. After his resignation the Hungarian designer Laszlo Moholy-Nagy continued teaching the Vorkurs, as well as operating as leader of the metal workshop. Later in 1928 Moholy-Nagy’s most talented student Marianne Brandt took over the metal workshop. In the tradition of the school’s variety there were many different workshops which were run by former students who became junior masters. Herbert Bayer was in charge of the typography workshop, Marcel Breuer of the joinery workshop, Hinnerk Scheper was head of the mural painting workshop, Joost Schmidt taught the sculpture workshop and Gunta Stoelzl ran the weaving workshop. Another important and one of the Bauhaus’s first workshops was the ceramic workshop which started out in Dornburg at the workshop of the master potter Max Krehan. Theodor Bogler was instrumental when the pottery workshop made a technological leap in 1923 by moving from the potters wheel to ceramic casting, prototypes for serial production were being made here. Bogler’s famous “Kombinations Teekanne” (German for ‘combination teapot’), which was based on the modular design principle, represents the ultimate example of the industrial approach to pottery at the Bauhaus. Other workshops at the Bauhaus were the theater workshop; stone and wood sculpture workshop and the carpentry workshop. In 1925 the Bauhaus moved to Dessau. This signified a radical change in style moving towards a futuristic international style. New workshops were formed here such as the photographic workshop taught by Walter Peterhans, which formed part of the advertising workshop. The Bauhaus wallpapers were designed in the mural paintings workshop and were an important commercial success for the Bauhaus. After Gropius’ resignation in 1928 Hannes Meyer, a radical functionalist, became the new Bauhaus director. The school was forced to close and moved to Berlin in 1932. After a short existence inBerlin from 1932 to 1933 the artistic output of Bauhaus was declared as ‘degenerate art’ by the Nazis and forced to close. The director Mies van der Rohe as well as many other Bauhaus students and teachers immigrated to America where the philosophy of the Bauhaus continued to spread and the influence of the short-lived establishment is still strong today. EN Export: “Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance” Strarting Bid: 24000