Walter Gropius, László Moholy-Nagy, Herbert Beyer, Ludwig Mies van der Rohe, Josef Albers and Wassily Kandinsky

9 issues, comprising: no.3 for 1927, folio, 6pp.; nos 1-4 for 1928 (nos 2-3 in one issue); nos 1-4 for 1929, no. 3 for 1931, all in original printed wrappers

together with a subscription card for the Bauhaus Zeitschrift, [1928?]

Exh. Cat., Weil am Rhein, Vitra Design Museum and Bonn, Bundeskunsthalle, the Bauhaus: #itsalldesign, September 2015 - August 2016, pp. 332-332, nos. 304, 305, 306, illustrated in colour

Condition is described in the main body of the cataloguing, where appropriate
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

With a large number of artistic magazines being published at the time, such as Sturm and De Stijl, it was no surprise that the Bauhaus soon followed lead. Walter Gropius was the editor while László Moholy-Nagy was in charge of content and design. Intended to counter the growing criticism against the Bauhaus and provide information about events and tuition, it also provided a platform to advertise for the products of the workshops. The quarterly magazine was first published in 1926 with the opening of the new building in Dessau. After 1928, Hannes Meyer and Ernst Kállai took over responsibility for content, although all masters and students contributed. Around this time, the magazine was given the subtitle zeitschrift für gestaltung. The content rapidly grew, including all forms of art, making it a key voice in the artistic and architecural avantgarde. The final issues were published by Mies van der Rohe together with Josef Albers, Wassily Kandinsky and Ludwig Hilberseimer in 1931.