The Bauhaus Textile Workshop, especially as it developed under the direction of Gunta Stölzl, not only produced innovative textile theory and products, it also ended up supporting the Bauhaus financially: upper register, left to right: bauhaus: zeitschrift für gestaltung (July-September 1929), back cover, showing Werner David Feist’s photograph of a loom from the Bauhaus Weaving Workshop and Fritz Kuhr’s photograph of a loop on a textile; Bauhausbücher Vol. 7: Walter Gropius, Neue Arbeiten der Bauhauswerkstätten [New Works of the Bauhaus Workshops] (1925), open to show a colour reproduction of Ruth Hollós’ weaving in synthetic silk (The Salgo Trust); Arts and Architecture (February 1949) showing a feature “Weavings by Ani Albers”; Bauhaus 4 (1927), front cover, showing Lis Beyer’s curtain materials; Lower register, left to right: Sigfried Giedion, Walter Gropius: Work and Teamwork, New York: Reinhold, 1954, open to show Lucia Moholy’s photographs of the Bauhaus in Dessau, including Gunta Stölzl’s “Bauhaus Blanket” on a bed in a dorm room -- a reedition of which is seen to the left of this display case, on the wall (University of Manitoba Libraries); Schulsiedlung Loheland Rhön -- brochure for the Loheland School, n.d. (ca. late 1920s), open to show material from the weaving workshop (as seen in nearby displays); Canadian Art (Christmas 1949-50), showing: Donald Rosser, “Who Designs Canadian Textiles?.” (Unless otherwise indicated, the documents in this case are from a private collection) bauhaus: zeitschrift für gestaltung (July 1931) showing Walter Peterhans’ closeup photograph of Margarete Leischner’s textile. (Unless otherwise indicated, objects are from a private collection)