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Chandelier in Opaline and Iron, 1930, German attributed to Peter Behrens

About the Item

Year: 1935. Material: opaline and iron. For your safety and that of your property, all our lighting have new electric cables. We always think of our customers. If you have any questions we are at your disposal. We have specialized in the sale of Art Deco and Art Nouveau styles since 1982. If you are looking for sconces to match your ceiling lighting, we have what you need. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Peter Behrens, (14 April 1868 – 27 February 1940) was a leading German architect, graphic and industrial designer, best known for his early pioneering AEG Turbine Hall in Berlin in 1909. He had a long career, designing objects, typefaces, and important buildings in a range of styles from the 1900s to the 1930s. He was a foundation member of the German Werkbund in 1907, when he also began designing for AEG, pioneered corporate design,graphic design, producing typefaces, objects, and buildings for the company. In the next few years, he became a successful architect, a leader of the rationalist / classical German Reform Movement of the 1910s. After WW1 he turned to Brick Expressionism, designing the remarkable Hoechst Administration Building outside Frankfurt, and from the mid 1920s increasingly to New Objectivity. He was also an educator, heading the architecture school at Academy of Fine Arts Vienna from 1922 to 1936. As a well known architect he produced design across Germany, in other European countries, Russia and England. Several of the leading names of European modernism worked for him when they were starting out in the 1910s, including Ludwig Mies van der Rohe, Le Corbusier and Walter Gropius. Behrens attended the Christianeum Hamburg from September 1877 until Easter 1882. He studied painting in his native Hamburg, as well as in Düsseldorf and Karlsruhe, from 1886 to 1889. In 1890, he married Lilly Kramer and moved to Munich. At first, he worked as a painter, illustrator and bookbinder in an artisanal fashion. He frequented the bohemian circles and was interested in subjects related to the reform of lifestyles. In 1899 Behrens accepted the invitation of the Grand Duke Ernst-Ludwig of Hesse to be the second member of his recently inaugurated Darmstadt Artists' Colony, where Behrens built his own Jugendstil style house in 1901, and fully conceived everything, from furniture to towels, paintings, pottery, etc. The building of this house is considered to be the turning point in his life, when he left the artistic circles of Munich and showed himself to be a talented architect in his very first project. In 1903, Behrens was named director of the Kunstgewerbeschule in Düsseldorf, where he implemented successful reforms, developing new ways of teaching design.[1] In 1907, Behrens and ten other people (Hermann Muthesius, Theodor Fischer, Josef Hoffmann, Joseph Maria Olbrich, Bruno Paul, Richard Riemerschmid, Fritz Schumacher, among others), plus twelve companies, gathered to create the German Werkbund. As an organization, it was clearly indebted to the principles and priorities of the Arts and Crafts movement, but tending towards the classical in architecture. Members of the Werkbund were focused on improving the overall level of taste in Germany by improving the design of everyday objects and products. This very practical aspect made it an extremely influential organization among industrialists, public policy experts, designers, investors, critics and academics. His work in the early 1900s included a series of exhibition halls and pavilions, a crematorium and some private houses, which show a new direction immediately after his own Jugendstil house, towards exploring simple, rectilinear volumes and classical sources.[2] AEG Turbine Factory, 1908–1909, in the Moabit district of Berlin. An early example of industrial classicism. In 1907, AEG (Allgemeine Elektrizitäts-Gesellschaft) retained Behrens as artistic consultant, and his work for AEG was the first large-scale demonstration of the viability and vitality of the Werkbund's initiatives and objectives. He designed the entire corporate identity (logotype, product design, publicity, etc.) and for that he is considered the first industrial designer in history. He also designed a series of factory buildings for them at their two Berlin factory sites, most famously the 1909 AEG Turbine Factory, at the Moabit site, considered an early example of Modernism. He then went on to design four new buildings at the Humboldthain site, which showed that he was as much interested in massive, bold, classical and picturesque effects depending on the context, as expressing modernity. Since Peter Behrens was a consultant rather than an employee of AEG, he was free to work on other projects, and developed a highly successful architectural practice. In this period his growing office had many students and assistants, some who would go on become leading Modernists, including Ludwig Mies van der Rohe,[3] Le Corbusier, Adolf Meyer, Jean Kramer and Walter Gropius (later to become the first director of the Bauhaus). Immediately after the AEG Turbine Hall, he designed a series of large office buildings in a bold monumental stripped classical form, part of the German Reform Architecture movement. His 1912 German Embassy in St Petersburg, and the Administration Building for Continental AG in Hannover, built 1912–1914 are good examples of this period. After WW1 his work changed again, and like many German architects, he explored the themes and styles of Brick Expressionism. Between 1920 and 1924, he was responsible for the design and construction of the Technical Administration Building of Hoechst AG in Höchst, outside Frankfurt. With its soaring atrium clad in coloured bricks representing the factory’s dye products, and an exterior in dark clinker bricks with clocktower and dramatic arch, it is one of the most representative examples of the style in Germany. Atrium, Hoechst, Frankfurt, 1924 In 1922, he accepted an invitation to teach at the Academy of Fine Arts Vienna, becoming head of the architecture school, a post he kept until 1936, whilst also designing for a range of clients across Europe. In 1926, Behrens was commissioned by the Englishman Wenman Joseph Bassett-Lowke to design a family home in Northampton, UK. The house named 'New Ways', a stark white walled rectangular volume (with jagged parapets), is often regarded as probably the first modernist house in Britain,[4] and marks Behrens' turn towards the Modernism of New Objectivity. In 1925 he was invited by his former student Mies van der Rohe, along with many of the leading German architects working in the new style, to design a residential building in Stuttgart, in the development now known as the Weissenhof. His contribution was a set of apartments in stacked cubic volumes, allowing many apartments to open to large terraces. In 1928 Behrens won an international competition for the construction of the New Synagogue, in Zilina, Slovakia, which was restored in 2012–17 as a cultural centre. The same year he designed a renovation of the Feller-Stern department store in central Zagreb, Croatia, transforming it from Art Nouveau to a complex almost De Stijl Modernist composition. His 1931 hillside villa for the Clara Gans, daughter of Frankfurt industrialist Adolf Gans, was a similarly complex interplay of rectangular volumes, clad in stone, a fine example of New Objectivity. In 1929, Behrens was invited to the competition for the design of buildings around a proposed radical redesign of Alexanderplatz in Berlin, and though he came second, his designs for the buildings on the south west side of the new square was preferred by the subsequent developer, and the Alexanderhaus and the Berolinahaus were built by 1932. In 1929, Behrens, in partnership with former student Alexander Popp, was commissioned to design a new factory for the state-run Austria Tabak in Linz, which was built over a long period, due to the economic conditions, finally completed in 1935. The main building has a very long completely horizontal slightly curved facade, Behrens’ most striking design in the style of New Objectivity. In 1936 Behrens left Vienna to teach architecture at the Prussian Academy of Arts (now the Akademie der Künste) in Berlin, reportedly with the specific approval of Hitler. Behrens participated in Hitler's plans for the rebuilding of Berlin with the commission for the new headquarters of the AEG on Albert Speer's famous planned north–south axis. Speer reported that his selection of Behrens for this commission was rejected by the powerful Alfred Rosenberg, but that his decision was supported by Hitler who admired Behrens's Saint Petersburg Embassy. Behrens died in the Hotel Bristol in Berlin on 27 February 1940, while seeking refuge there from his country estate. Why are there so many antiques in Argentina? In the 1880 – 1940 there was a grate wave of immigration encouraged by the periods of war that were taking place. 1st World War took place between 1914 and 1918 2nd World War took place between 1939 and 1945 The immigrants options were New York or Buenos Aires. Tickets were cheap and in Buenos Aires they were welcomed with open arms, as it was a country where everything was still to be done. Argentina was the country of new opportunities, labour was needed and religious freedom was assured, in many cases the of the family travel first until they were settled and then the rest of the family members join them. In the immigrant museum “Ellis Island Immigrant Building” in New York you can se the promotional posters of the boats that would take them to a new life. Between the years 1895 and 1896, Argentina had the highest DGP (gross domestic product) per capita in the world according to the Maddison Historical Statistics index, this situation arose due to the large amount of food being exported to European countries, which were at war. The Argentinean ships left the port of Buenos Aires with food, but they returned with furniture, clothes and construction elements, (it´s common to see this the old buildings of the historic neighbourhood of San Telmo, the beams with the inscription “Made in England)”, as well as many markets that were built in Buenos Aires, such us the San Telmo Market, whose structure was brought by ship and afterwards assembled in 900 Defensa Street. With the great influence of European immigrants living in the country, the children of the upper classes travelled to study in France, resulting in the inauguration of “La Maison Argentinienne”, on 27th of June 1928, in the international city of Paris, which hosted many Argentinians that were studying in Frace. It´s the fourth house to be built after France, Canada and Belgium, being the first Spanish-speaking one. Still in place today (17 Bd Jourdan, 75014, Paris, France). Many of the children of these wealthy families who attended international art exhibitions, museums and art courses abroad, took a keen interest in the European style. This is why Buenos Aires was at the time referred as “The Paris of South America”. Between the years 1890 and 1920 more than a hundred Palaces were built on Alvear Avenue the most exclusive avenue in Buenos Aires. Today some of these palaces have been transformed into museums, hotels and embassies. In the year 1936, the Kavanagh building was inaugurated, it was the tallest reinforced concrete building in South America. During 1994 the American Society of Civil Engineers distinguished it as an “international engineering milestone”, and it´s now considered a World Heritage of Modern Architecture. At the time was common to hire foreign architects such as Le Corbusier, who visited Buenos Aires/Argentina in 1929 and in 1948 he drew up the blueprints for a house built in La Plata City (which was declared a World Heritage Site). In 1947, the Hungarian architect Marcelo Breuer designed “Parador Ariston” in the seaside city of Mar del Plata. After an Argentinean student at Harvard University convinced him to come to Argentina. He worked on an urban development project in the Casa Amarilla, area of La Boca. The Ukrainian architect, Vladimiro Acosta, arrives in Argentina in 1928 and worked as an architect until que moved to Brazil. Antonio Bonet, a Spanish architect who worked with Le Corbusier in Paris, arrives in Argentina in 1937, where he carried out several architectural works and in 1938 designs the well-known BFK chair. Andres Kálnay, of Hungarian origin, made around 120 architectural masterpieces, among which the former Munich brewery stands out, he even made the furniture’s design. The German architect, Walter Gropius, director of the Bauhaus, lived in Argentina, where he wrote articles for “Sur” magazine and founded in Buenos Aires, an architectural firm with Franz Möller, who was also an architect, where he built two houses. At the same time several famous designers decided to immigrate to Argentina, among them we can find the well-known French designer, Jean-Michel Frank, who arrived in the country in 1940 and also worked for the Rockefeller family. Special pieces were made, which were sold exclusively in the country, such as the well-known German company “WMF”, who sold their products by catalogue, which were chosen by the ladies of high society in the list of wedding gifts, as well as the pieces designed by Christofle. The Swiss sculptor Alberto Giacometti, made special pieces for Argentinean mansions. In 1904 the first Jansen branch outside Paris was established in Buenos Aires, as the Argentinean clientele demanded a large amount of furniture, from the end of the 19th century to the mid-20th century. In 1970, the brand Rigolleau Argentina made pieces authorised by Lalique. The brands Maple and Thompson also set up shop in the country. The French plastic artist, Marcel Duchamp moved to Argentina in 1918-1919. Glass signed Gallé, Charder, Leverre, Schneider, Muller and other French firms. They were bought in flower shops and were given to ladies with beautiful floral arrangements. Some furniture manufacturers travelled to international fairs and bough the patterns to produce the furniture in Argentina, such as the furniture firm Englander and Bonta, who bought the patterns ins Italy. It is worth mentioning that in Argentina we have the largest community of Italians outside of Italy, as it is estimated that 70 percent of the inhabitants have at least one Italian descendant, followed by Spanish immigrants. The most Important furniture stores in Argentina: Comte is founded in 1934 (under the direct management of Jean Michel Frank in 1940). Nordiska (Swedish company established in 1934). Churba in 1960, a company that brought foreign designers to present their furniture in the country: Denmark: (Arne Jacobsen, Finn Juhl, Bender Madsen, Ejner Larsen, Poul Kjaerholm, Hans Wegner) Sweden: (Hans Agne Jakobsson, Gustavsberg) United States: (Herman Miller) Finland: (Lisa Johansson, Folke Arstrom, Tapio Wirkkala, Alvar Aalto, Timo Sarpaneva) Swedish Factory: (Orrefors) Italy: (Littala, Vico Magistretti, Emma Gismondi, Gae Aulenti, Angelo Mangiarotti, Elio Martinelli, Gianna Celada, Angelo Mangiarotti, Mario Bellini, Carlo Scarpa) Finland: (Olivia Toikka) Plata Lappas (Lappas Silver): a goldsmith shop founded in 1887 in Argentina by Alcibiades Lappas of Greek origin. In 2019, in Argentina took place “the Art Deco world congress”, in which we participated as hosts invited by Geo Darder, founder of the Copperbridge – Foundation, in which prominent people from all over the world attended to learn about Art Deco in Argentina. Argentina currently has more than 100 Art Deco buildings and another 90 Art Nouveau buildings throughout the city of Buenos Aires. Argentina is a country that has not been involved in many wars, which is why it has been a refuge for works of art and antiques from different periods of time, unlike European countries. That is way many collectors, museums and antique dealers from all over the world visit it, you should not miss the opportunity to visit this great country. Laura Guevara Kjuder, architect.

Dimensions:

Height: 39.38 in (100 cm)Diameter: 7.88 in (20 cm)

Power Source:

Hardwired

Voltage:

220-240v

Lampshade:

Included

Style:

Bauhaus (Of the Period)

Materials and Techniques:

Iron,Opaline Glass

Place of Origin:

Germany

Period:

1930-1939

Date of Manufacture:

1935

Condition:

Rewired: For your safety and that of your property, all our lighting have new electric cables. We always think of our customers. Wear consistent with age and use.

Seller Location:

Ciudad Autónoma Buenos Aires, AR

Reference Number:

Seller: L-TL-651stDibs: LU6785232816672

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