Peter Behrens

Dr. Gerhard Westermeier, Munich

Deutsche Kunst und Dekoration, vol. 9, 1901-02, p. 170 (for a period image of this pattern from the dining room at Haus Behrens in Darmstadt)
Dekorative Kunst, vol. 5, 1901-02, p. 25
Ein Dokument Deutsche Kunst, 1901, Darmstadt, 1902, p. 368
Ein Dokument Deutscher Kunst, Darmstadt 1901-1976, Vol. 4, Die Künstler der Mathildenhöhe, exh. cat., Mathildenhöhe Darmstadt, Darmstadt, 1977, p. 14, cat. no. 22
Peter-Klaus Schuster, Peter Behrens und Nürnberg, Nürnberg, 1980, p. 156
Museum Künstlerkolonie Darmstadt, Institut Mathildenhöhe, Darmstadt, 1990, p. 8, cat. no. 4
Karl Bröhan, Metallkunst vom Jugendstil zur Moderne (1889-1939), Berlin, 1990, p. 427
Reinhard W. Sänger, Das deutsche Silber-Besteck, Biedermeier - Historismus - Jugendstil (1805 - 1918), Firmen, Techniken, Designer und Dekore, Stuttgart, 1991, pp. 112-114
Barbara Grotkamp-Schepers, Reinhard W. Sänger, Art Nouveau Knives, Forks and Spoons, Inventory of the Deutsches Klingenmuseum Solingen/Germany, Stuttgart, 2000, p. 93, cat. no. 91

Very good overall condition. Some minor surface scratches from light use and polishing as expected. Casting is very crisp and defined. Each monogrammed AH to verso.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Behrens designed this service for the dining room of the Haus Behrens in the artist's colony Mathildenhöhe in Darmstadt. It was included in the exhibition 'Ein Dokument Deutscher Kunst' (A Document of German Art), which took place in 1901 at the Mathildenhöhe.  The flatware's design, created by intersecting curved lines was but a microcosm of the larger decorative scheme.  The house itself was a total work of art conceived in every detail and treatment which was most successfully realized in the dining room.  The sinuous curves and interlocking lines are reflected in the plasterwork, mirrored panels, lighting, metalwork, porcelain, and furniture.