Items Similar to Josef Hoffmann Armchair Kohn 421 Vienna Black Stained Cream Leather made 1910View More
Design: Josef Hoffmann
Made in Vienna / Austria, Art Nouveau period.
seat and backrest are covered with cream leather
made circa 1910-1920
Two chairs are available !
This model was created by Josef Hoffmann around the year 1906, having been produced by Viennese Jacob & Josef Kohn manufactory then (model 421): Related model appeared first in Kohn catalogue of 1907 (look at the picture, please, we have attached here !)
Giovanni Renzi, Il mobile moderno (Gebrueder Thonet Vienna and J.& J. Kohn), Milan 2008, pages 200 / 201
J.& J. Kohn Catalogues 1904 & 1907 (reprinted by Éditions Volutes 1900), page 106 / model 421
Finest manufacturing quality !
Beechwood massive, black stained, refurbished by hand / the seat as well as backrest are upholstered with cream leather.
A special feature is this armchair's half-round / semi-circular form type causing most elegant appearance:
The backside of backrest is made, too, of beech wood / black stained. - The only (slight) difference with Hoffmann's design is the fact that there aren't any brass rivets attached to backrest's backside, but a wooden band is visible.
Josef Hoffmann (1870 / Czechia - 1956 / Vienna):
world-famous architect (for example Sanatorium in Purkersdorf / Lower Austria & Palais Stoclet in Brussels)
designer of interiours (for example: Cabaret Fledermaus) as well as of furniture pieces and objects of daily use
1897: Josef Hoffmann was one of the founders of Viennese Secession he and J. M. Olbrich were the most important architects there
1899 - 1937 Hoffmann was Professor at Viennese School of Applied Arts
1912: Foundation of Austrian so-said Werkbund (J.Hoffmann was member of it until the year 1920)
Vienna, made circa 1910/20
height (backrest included): 75.0 cm / 29.52 inches
height of seat: 44.5 cm / 17.52 inches
width: 59.0 cm / 23.22 inches
depth: 57.5 cm / 22.63 inches
Original vintage furniture piece deriving from manufacturing period !
In excellent condition (ready for use) !
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.
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