Marken mit langer Tradition finden Sie neben jungen Designerlabeln und Herstellern die Sie vielleicht noch nie im Designbereich wahrgenommen haben. In der heutigen Warenwelt steht eine Marke für mehr oder weniger gerechtfertigtes Vertrauen der Verbraucher in Proportion zum Marketingbudget. Formost spricht lieber vom Gebrauch und wirklich gerechtfertigten Vertrauen und prüft seine Hersteller intensiv. Sollten Sie unser Siegel "gute Ware" bei einem Produkt finden, handelt es sich um ein Markenprodukt nach unserem Geschmack.


Als Hersteller des größten noch verfügbaren Sortiments von Wilhelm Wagenfeld ist Fürstenberg eine Kernmarke in unserem Sortiment.
Allein die Vasen sollten in keinem kulturvollen Haushalt fehlen!
(wenn wir uns etwas wünschen dürften)

1747 wird im malerischen Weserbergland erstmalig das Geschirr mit dem markanten blauen "F" hergestellt.

Nur zehn Jahre später hat sich Fürstenberg zum künstlerischen Zentrum seiner Zeit entwickelt. 1756 kann die Manufaktur in Braunschweig einen Zweigbetrieb für Buntmalerei eröffnen und gewinnt den bedeutenden Landschaftsmaler Pascha J. F. Weitsch für die Porzellanmanufaktur.

Aufgrund der hohen Nachfrage wird 1906 eine zusätzliche Malerei in Dresden eröffnet. Bei einer Überschwemmung werden 1923 die Brennöfen zerstört, eingeschränkte Produktionsabläufe sind die Folge.

Dennoch schafft es die Manufaktur mit Exporten in die USA, in den folgenden Jahren die Verluste der Weltwirtschaftskrise auszugleichen.
Damals wie heute gelten Produkte aus der Porzellanmanufaktur Fürstenberg als besonders exklusiv.

Unter höchsten Qualitätsansprüchen werden Tafelgeschirre und Designobjekte hergestellt, die klar durch Feinheit und Farbbrillanz überzeugen.

Für das Handwerkliche Können, Leidenschaft und absolute Präzision wird  die Porzellanmanufaktur immer wieder mit Auszeichnungen und Preisen geehrt .

Desginer dieses Herstellers

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Harvard Publishes Massive, Free Bauhaus Archive Online!

When the Nazis took power in the 1930s, Bauhaus founder Walter Gropius wisely, and daringly, escaped to America. Gropius, along with protégé Marcel Breuer, then landed teaching gigs at the Harvard Graduate School of Design.

Harvard subsequently amassed, with Gropius' help, a massive collection of "more than 30,000 [Bauhaus-related] objects, from paintings, textiles, and photographs to periodicals and class notes." And now, thrillingly, they have placed the entire collection online for free public viewing.

Marcel Breuer, Chaise Longue [Isokon Long Chair], 1936
Wilhelm Wagenfeld, Coffee and Tea Service: 5-Piece Set, Harvard Art Museums/Busch-Reisinger Museum, Gift of Hanna Lindemann, 1924-1925
Peter Weller, Study in Malthess Apartment, Berlin [designer: Gustav Hassenpflug], 1937
László Moholy-Nagy, Light Prop for an Electric Stage (Light-Space Modulator), 1930

Some of the images are of the iconic pieces you've come to expect when "Bauhaus" is uttered, like Breuer's B3, and come with accompanying educational text:

Marcel Breuer, Club Chair (B3), c. 1931
Supposedly inspired by the lightweight and strong bent steel tubing of the bicycle he pedaled around the city of Dessau, Bauhaus student-turned-master Marcel Breuer decided to experiment with the material for furniture. Working with a plumber to bend the tubing into shape for prototypes, Breuer's efforts would result in the iconic 1925 Club Chair (B3), manufactured by Thonet, and still in production today. In the 1920s, the name "club chair" might have connoted a heavy, overstuffed chair in a smoke-filled room, set upon heavy rugs and against thick curtains. Yet Breuer's club chair is physically and visually light, radically reduced to the line of chromed steel tubing and the planes of the textile webbing, clearly separating the hard and soft materials' respective functions as structure and support.

Other images are more surprising. Who knew, for example, that Breuer was also contracted to design dorm furniture for Bryn Mawr?

Marcel Breuer, Dormitory Furniture for Rhoads Hall, Bryn Mawr College: Desk, 1938
Marcel Breuer, Dormitory Furniture for Rhoads Hall, Bryn Mawr College: Chair, 1938

It goes without saying that 30,000+ images is going to take a long time to get through, but we think it's well worth your time to start browsing. If you find any other surprises in the stack, please be sure to let us know in the comments!

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Tools & Craft #43: Observations from an Ex-Power-Tool-Designer

My first job out of college was designing power tools for Black & Decker in the '80s. Not the consumer-grade stuff; I worked in the Industrial Construction division—I'm talking aluminum housings, no plastic, real bearings, expensive tools. We produced the best power tools made in the USA at that time with real innovation. Our competitors were other industrial tool makers like Milwaukee, Metabo, and Festo (which later became Festool).

During that time the B&D consumer division was making three grades of not-so-great tools which were what you would buy in Sears and normal stores. This was before Makita and Hitachi had any real impact in the market. (Ten years later all of this was gone. None of the professional grade tool companies in the US are left - they are brands only.)

I was no power-tool-designing genius but I learned a tremendous amount in the year and a half I worked there. I learned from my colleagues, I learned by watching. I still quote from my experiences there to the folks here at Tools for Working Wood. It was an amazing time for me.

At lunchtime we'd walk the length of the factory to the company cafeteria and back, passing the company store. We used to pop by the store at least once or twice a week where we could buy various seconds of tools, the odd souvenir and things like this very limited edition train car in the picture. In my time there I assembled a fairly good collection of circa-1980 power tools from the company store and at the time they were the best tools you could get - I will probably write about them in the future.

But while I have great nostalgia for my time there, power tool technology has gotten a lot better over the years. And while I feel that, especially when it comes to traditional tools, the older designs if done well can't be beat, seeing how modern technology can push the design of a fret saw or a coping saw is really interesting and keeps me from constantly looking backwards.

This is a really exciting time to be an ironmonger. In the past ten or fifteen years we have seen a revolution in the design and availability of well-made and well-working hand and power tools. The hand tools in both traditional and new designs work better than ever, and power tools are easier to use, more functional and safer than ever before.

This is happening just as the need for these tools is, I fear, peaking. The end product, furniture, has been left behind. Furniture itself as a possession is less important than it was. For all the advances in tools, building a Newport highboy, or a Ruhlman bureau is still really hard to do and takes skill and practice more than just fancy tools.

Skill is skill and that won't change.


This "Tools & Craft" section is provided courtesy of Joel Moskowitz, founder of Tools for Working Wood, the Brooklyn-based catalog retailer of everything from hand tools to Festool; check out their online shop here. Joel also founded Gramercy Tools, the award-winning boutique manufacturer of hand tools made the old-fashioned way: Built to work and built to last.

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Vintage Computers Photographed With Modern-Day Art Direction

HDR 75

When you see photos of classic cars from past decade, they're often beautifully restored, looking better than they did when they left the factory. No such love is given to old computers, as no experts in detailing a 1975 East German HDR 75 (left) exist. More to the point, most people don't care about old computers, let alone take the time to photograph them.

London-based photographer James Ball, however, does care. After gaining access to the computer dinosaurs possessed by the UK's National Museum of Computing and the Science Museum in the UK, Germany's Technical Collections of Dresden and California's Computer History Museum, Ball turned his lenses on ten of them. Ball–who goes by the nom de plume Docubyte—then collaborated with London-based production studio INK, who digitally retouched the shots to make the computers look new.

The images from the resultant series, "Guide to Computing," are pretty stunning:

HDR 75 (1975)
Featuring such famous machines as the IBM 1401 and Alan Turing's Pilot ACE, Guide to Computing showcases a minimalist approach to design that precedes even Apple's contemporary motifs.
ENDIM 2000 (year unknown)
PACE TR-48 (early 1960s)
ICL 7500 (1970s)
This colourful series of ten historic computers, created in collaboration between myself and retouching studio, INK documents the beginning of our computing history.
Harwell Dekatron (1951)
Control Data 6600 (1964)
IBM 1401 (1959)
What's more, the combination of photography and retouching techniques has resulted in something wholly unique: the ageing historical objects as photographed, have been 'digitally restored' and returned to their original form.
Pilot ACE (1950)
Meda 42TA (early 1970s)
IBM 729 (late 1950s)
As a number of these computers predate modern colour photography, Guide to Computing therefore showcases them in a never before seen context.

It is a bit ironic that these images were retouched using their technological descendants.

You can see more of Ball's work here.

Via Hyperallergic and Telegraph

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We believe that a truly good product is inherently beautiful and useful. This kind of beauty does not happen by accident though! At Formost we do not only find good products for you but we test them and tell the stories of the people behind these products. This way you experience a story while receiving something which shall last for generations and accumulate some nice stories itself.

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