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Lot Essay
Cf: Ostergard, op. cit., Exh. Cat. No. 40, p. 239
See also: Ibid, p. 202 this model in Kohn's Berlin showrooms of 1906, reproduced from Berliner Architekturwelt, 1906.
The traditional attribution of this chair to Koloman Moser is challenged by Ostergard. He argues that the simplicity of the design belies the technical sophistication and understanding of the bentwood process required to produce the finished product. He suggests that the designer who could have fulfilled both these aspects is more likely to have been Gustav Siegel, then director of J.& J. Kohn.
The favoured attribution of this chair to Hoffmann is on aesthetic rather than technical grounds. There is a clear parallel between this design and similar equally reduced forms created for clients such as Fritz Wärndorfer and the Wittgenstein family.
The model first appeared in the Kohn catalogues in 1902 as number 725BF and remained in production until 1916.
See also: Ibid, p. 202 this model in Kohn's Berlin showrooms of 1906, reproduced from Berliner Architekturwelt, 1906.
The traditional attribution of this chair to Koloman Moser is challenged by Ostergard. He argues that the simplicity of the design belies the technical sophistication and understanding of the bentwood process required to produce the finished product. He suggests that the designer who could have fulfilled both these aspects is more likely to have been Gustav Siegel, then director of J.& J. Kohn.
The favoured attribution of this chair to Hoffmann is on aesthetic rather than technical grounds. There is a clear parallel between this design and similar equally reduced forms created for clients such as Fritz Wärndorfer and the Wittgenstein family.
The model first appeared in the Kohn catalogues in 1902 as number 725BF and remained in production until 1916.