Born in Munich as Adelgunde Stölzl. Keeps diaries from 1911 onward with entries about friendships, mountaineering and discussions of novels and philosophical readings. Her father, teacher and school director, recognizes and furthers her talents.
Studies at the Kunstgewerbeschule (School of Arts and Crafts) in Munich: decorative painting, glass painting, ceramics, and art history. Makes hundreds of sketches (landscapes, architecture, portraits).
Serves in World War I as voluntary Red Cross nurse until the end of the war. Her only brother is also at the front. While serving behind the Italian and French frontlines makes many sketches and keeps personal diary.
Resumes studies at the School of Arts and Crafts in Munich and participates in curriculum reform of the school. First encounter with the Bauhaus manifesto.
Begins studies at the Bauhaus in Weimar in autumn. Her diary reflects the enthusiasm of this earliest phase of the Bauhaus, the social life and the easy contact between students and teachers. The diary is also a rare document as it describes in detail Johannes Itten’s approach to teaching.
In early summer a women’s class is founded by the masters. This coincides with a crisis in her personal life, the end of her engagement to the painter Werner Gilles. She is asked by Walter Gropius to head the newly founded class and she gladly accepts.
Weaves her first small gobelin:"Kühe in Landschaft" (Cows in Landscape) during the summer recess.
In May travels with two Swiss women, old friends from the Kunstgewerbeschule in Munich through Tuscany, Italy, and earns part of her keep by portraying families of Italian farmers.
Attends the first classes given by Paul Klee. Abstract works on paper show the influence of Paul Klee and Wassily Kandinsky and anticipate the boldly colorful abstract wall hangings and blankets produced from 1923 onwards.
In fall, first weavings on flatweave loom.
Works together with Marcel Breuer on their ceremonial “African Chair” and on a second more practical wooden chair with colored woven straps.
Attends course in dyeing techniques in Krefeld. Establishes dyeing facilities in the Weaving Workshop at the Bauhaus. Makes her first large knotted carpet which is sold at the first Bauhaus exhibition in 1923. The new owner has a room especially built for the carpet, “some place in France”. The whereabouts of the carpet are unkown.
Passes journeyman's examination as a weaver.
Makes six meter long knotted runner, also sold at the 1923 Bauhaus exhibition.
Is invited by Johannes Itten, who has left the Bauhaus, to establish and direct his Ontos Weaving Workshops near Zurich.
Attends industrial courses in Krefeld (weave and fiber technology).
Appointed craft master of the Weaving Workshop at the Bauhaus in Dessau. Directs the students’ practical and theoretical instruction and works out a systematic method of training.
Appointed "Jungmeister" (Young Master) and hence responsible for the entire Weaving Workshop, which has enough orders to work to capacity and becomes the financially most successful workshop of the Bauhaus.
First experiments with the technically complicated Jacquard loom. Weaves "5 Chöre" (5 Harnesses), a large wall hanging, using the Jacquard technique.
Marries Arieh Sharon, architect from Palestine, and therefore loses German citizenship.
Birth of daughter Yael.
First diplomas of the Bauhaus Weaving Workshop issued by Stölzl.
Political intrigues force her to resign as head of the Weaving Workshop.
Together with fellow Bauhäusler Gertrude Preiswerk and Heinrich-Otto Hürlimann establishes a hand-weaving workshop in Zurich, Switzerland named "S-P-H Stoffe" (S-P-H Fabrics).
Important commissions from the Swiss firm “Wohnbedarf”.
Becomes member of the “Swiss Werkbund”.
Participates successfully in the “Basler Messe” (Basle Trade Fair).
Shows fabrics for coverings, curtains and upholstery at the Werkbund exhibition in Stuttgart.
“S-P-H Stoffe” dissolves due to financial difficulties.
Continues workshop as “S+H Stoffe” with Heinrich-Otto Hürlimann. Produces wall coverings and curtains, upholstery, coat and dress fabrics.
Develops innovative cellophane fabrics for cinema “Urban” and “Corso Theatre” in Zurich. In spite of such successes S-H Stoffe still provides a very meagre income.
S-H Stoffe earns a distinction of honour at the “Exposition Internationale” in Paris.
Joins the Association of Swiss Women Painters, Sculptors and Craftswomen and participates in their exhibitions.
After Hürlimann, who also teaches at the school of arts and crafts in Zürich, leaves their company, she runs the workshop on her own under the name “Handweberei Flora” (Flora Handweaving Mill).
“Handweberei Flora” is very busy weaving contributions for the “Schweizerische Landesausstellung” (Swiss National Fair).
Her situation as a foreigner in Switzerland is very insecure. Work and residence permits still have to be renewed on a yearly basis.
The Swiss National Fair opens in Zurich in May of that year. “Handweberei Flora” participates in different sections of the exhibition, producing couch blankets, dress fabrics, upholstery, curtains and wall coverings as well as a hand-knotted carpet and drapery material for show cases.
After a ten years’ break again weaves a small tapestry.
Fabrics for covering walls and ceilings in private homes are published in the Werkbund journal “Das Werk”.
Contributes spanning material to the interior of the Swiss Pavilion in Lyon.
Marries journalist Willy Stadler and receives Swiss citizenship. Buys a little house in Küsnacht. Commutes to Zurich by bicycle and train.
Birth of daughter Monika.
Commissions for woven church vestments.
Receives “Grand Prix” at the ”Exposition Internationale de l'Urbanism et de l’Habitation” in Paris.
Flora Handweaving Mill has a good inflow of orders, employs three to five weavers and proves a sufficient source of income.
Participates in the first exhibition on the Bauhaus Weaving Workshop at the Bauhaus-Archive in Darmstadt.
Has a mountain house built in Amden. There she receives friends - many of them old Bauhaus friends - and the families of her daughters.
Dissolves workshop and continues to weave tapestries.
Several of her works on loan for the famous traveling exhibition "50 Years Bauhaus".
Participates in exhibitions and has solo exhibitions in Switzerland. Growing acclaim for her contemporary gobelins, which are acquired by Swiss institutions and private collectors.
More Bauhaus works are acquired by international collections.
Solo exhibition at the Bauhaus-Archive in Berlin.
Gunta Stölzl dies in Zurich.
A retrospective traveling exhibition "Gunta Stölzl - Weberei am Bauhaus und aus eigener Werkstatt" is shown at the Bauhaus-Archive Berlin, the Museum für Gestaltung, Zurich and the Gerhard Marcks-Stiftung, Bremen, Germany.The accompanying 175-page German catalogue is written by Magdalena Droste.
The 100th anniversary exhibition "Gunta Stölzl Meisterin am Bauhaus Dessau" is shown at the Stiftung Bauhaus Dessau, the Städtische Kunstsammlungen Chemnitz and the Museum für Kunst und Gewerbe, Hamburg, Germany. The accompanying 260-page German catalogue is written by Ingrid Radewaldt, with contributions from Anja Baumhoff and Christoph Stölzl.
An exhibition “Gunta Stölzl and Anni Albers” is shown at the Museum of Modern Art, New York, in the Department of Architecture and Design.
Growing interest in designs by Gunta Stölzl from textile firms. Reproductions by the German firms “Vorwerk” and “Lisboa”, the Britsh designer Christopher Farr, and (in commission from the Victoria and Albert Museum) the British firms "Johnston of Elgin”, “Habitat” and “Fox and Chave”.
A work from the early years of the Bauhaus, presumed lost for the past 80 years, is rediscovered: the African chair by Marcel Breuer and Gunta Stölzl, carved and painted by hand, with a colorful textile weave.
The U.S firm “Design within Reach” includes three rugs from Stölzl designs in its collection.
The original is at the
The original is at the