Josef Hoffmann Flush Mount Light Fixture, Brass Glass, Jugendstil For Sale
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Josef Hoffmann Flush Mount Light Fixture, Brass Glass, Jugendstil


A flush mount chandelier which was used by Josef Hoffmann in the Hohe Warte buildings Brauner and Hochstaetter in 1905-1907 as well as in the Salon Beer-Hofmann in 1905/06. The light is made of brass and two tiers of crystal glass chains. Hundreds of glass beads are connected together with brass wires. The light has been completely refurbished and electricity has been rewired. Brass parts have been repolished. The wires between the glass beads still have patina. The fixture has seven sockets for small screw base candelabra E14 bulbs. It works well with filament or LED bulbs. Originally the light was manufactured by the Wiener Werkstaette but this light was very likely produced later. About Josef Hoffmann: Josef Franz Maria Hoffmann (15th December 1870 - 7th May 1956) was an Austrian architect and designer of consumer goods who co-established togehter with Koloman Moser the Wiener Werkstätte. Hoffmann was born in Pirnitz / Brtnice, Moravia (now part of the Czech Republic), Austria-Hungary. He studied at the Higher State Crafts School in Brno / Brünn beginning in 1887 and then worked with the local military planning authority in Würzburg, Germany. Thereafter he studied at the Academy of Fine Arts Vienna with Karl Freiherr von Hasenauer and Otto Wagner, graduating with a Prix de Rome in 1895. In Wagner's office, he met Joseph Maria Olbrich, and together they founded the Vienna Secession in 1897 along with artists Gustav Klimt, and Koloman Moser. The Vienna Secession's work is often referred to (during the years before World War I) as the Austrian version of Jugendstil, the German term for Art Nouveau. Beginning of 1899, he taught at the Kunstgewerbeschule, now University of Applied Arts Vienna. With the Secession, Hoffmann developed strong connections with other artists. He designed installation spaces for Secession exhibitions and a house for Moser which was built from 1901-1903. However, he soon left the Secession in 1905 along with other stylist artists due to conflicts with realist naturalists over differences in artistic vision and disagreement over the premise of Gesamtkunstwerk. With banker Fritz Wärndorfer and Moser he established the Wiener Werkstätte, which was to last until 1932, and designed many of its products; most notably the Sitzmaschine Chair, a lamp, and sets of glasses are in the Museum of Modern Art,and a tea service in the collection of the Metropolitan Museum of Art. Hoffmann's style eventually became more sober and abstract and it was limited increasingly to functional structures and domestic products. In 1906, Hoffmann built his first great work on the outskirts of Vienna, the Sanatorium Purkersdorf . Compared to the Moser House, with its rusticated vernacular roof, this was a great advancement towards abstraction and a move away from traditional Arts and Crafts and historicism. This project served as a major precedent and inspiration for the modern architecture that would develop in the first half of the 20th century, for instance the early work of Le Corbusier. It had the clarity, simplicity, and logic that foreshadowed Neue Sachlichkeit. Through contacts with Adolphe Stoclet, who sat on the supervisory board of the Austro-Belgischen Eisenbahn-Gesellschaft, the Austrian-Belgian railway company, Hoffmann was commissioned to build the Palais Stoclet in Brussels from 1905 to 1911 for the wealthy banker and railway financier Adolphe Stoclet. This masterpiece of Secession Style, was an example of Gesamtkunstwerk, replete with murals in the dining room by Klimt and four copper figures on the tower by Franz Metzner. In 1907, Hoffmann was co-founder of the Deutscher Werkbund, and in 1912 of the Österreichischer Werkbund. After World War II, he took on official tasks, that of an Austrian general commissioner with the Venice Biennale and a membership in the art senate. Some of Hoffmann's domestic designs can still be found in production today, such as the Rundes Modell cutlery set that is manufactured by Alessi. Originally produced in silver, the range is now produced in high quality stainless steel. Another example of Hoffmann’s strict geometrical lines and the quadratic theme is the iconic Kubus Armchair. Designed in 1910, it was presented at the International Exhibition held in Buenos Aires on the centennial of Argentinean Independence known as May Revolution. Hoffmann's constant use of squares and cubes earned him the nickname Quadratl-Hoffmann ("Square Hoffmann"). Source: wiki


  • Period
  • Materials and Techniques
  • Condition
  • Condition Details
    Very good restored condition.
  • Wear
    Wear consistent with age and use.
  • Dimensions
    H 21.66 in. x Dm 14.18 in.H 55 cm x Dm 36 cm
  • Diameter
    14.18 in. (36 cm)
  • Seller Location
    Vienna, AT
  • Reference Number
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About Josef Hoffmann (Designer)

The Austrian architect Josef Hoffmann was a central figure in the evolution of modern design, and a leader in an aesthetic movement born in Europe in the late 19th century that rejected florid, extravagant ornamentation in favor of a new emphasis on simplicity of line. As a founder of the turn-of-the-century Wiener Werkstätte (in English: the Viennese Workshops), a design cooperative that produced superbly crafted furniture and housewares, Hoffmann was a pioneering practitioner of what would become a fundamental principle of modernism: that good design is a way of life.

     Hoffmann came of age amidst a shift in the culture of the applied arts, as a conservative order that looked only to the past for inspiration was pushed aside. But what, exactly, would replace that order was in question — and Hoffmann’s career embodies the developing patterns of design’s new spirit. His architectural work reflects his time as a student of the Vienna architect Otto Wagner, who disdained excessive decoration and employed new materials such as steel girders and reinforced concrete to create buildings with airy, open interiors full of light. As a designer of furniture and interiors, Hoffmann was consistently open-minded about the aesthetics he explored. He was an early adherent of the flowing, organic forms of the Art Nouveau design movement that began to flourish in the late 1880s — but by the opening of the Wiener Werkstätte in 1903, Hoffmann’s designs embraced the beauty of geometry in pieces that feature grids and angular forms.

     Hoffmann’s greatest works reflect his ability to combine seemingly conflicting design visions into coherent wholes. His architectural masterpiece, the Stoclet Palace in Brussels, has an exterior that groups together simple geometric forms and spacious interiors marked by subtly naturalistic design details that lend rooms an air of charm and geniality. Hoffmann’s signature furniture design is an adjustable lounge chair — the Sitzmaschine (1905) — that marries a curving frame with square and rectangular back- and side rests. This piece, like so many others by Hoffmann, reflects a groundbreaking, forward-thinking appreciation for the union of different looks and sources that marks the best of interior design in our own day. Moreover, items offered on these pages — which range from enameled silver jewelry, to a silver flower vase basket, to lighting pendants and sconces — testify to the astonishing breadth of Hoffman’s creative pursuits. He was truly a giant of design.

About the Seller

4.9 / 5
Platinum Seller
1stdibs seller since 2014
Located in Vienna, AT
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