The premises of the Wiener Werkstätte at Neustiftgasse 32-34, Vienna
Oak, veneered oak, beech and deerskin seat
H. 114,5 x W. 49,5 x D. 62 cm
Johann Soulek For The Wiener Werkstätte
Yearning For Beauty, For The 100th Anniversary Of The Wiener Werkstätte, MAK, Vienna, 2003-2004
Wiener Werkstätte, 1903 – 1932 : The Luxury Of Beauty, Neue Galerie, New-York 2017
Permanent Collection of the MoMA, New-York
Yearning For Beauty, For The 100th Anniversary Of The Wiener Werkstätte, MAK, Vienna, P. 88
Wiener Werkstätte, 1903 – 1932 : The Luxury Of Beauty, Neue Galerie, New-York, 2017, P. 234
Originally, the design of this chair came in two variations, one for the secretaries office and the other that we know for the architectural offices. A 1905 photograph, now in the MAK archives, identifies this chair in context.
This high-backed chair is quite characteristic of the radical designs of Hoffmann at the start of this period. The influences of Charles Rennie Mackintosh and Otto Wagner‘s “structiven Stil” are obvious.
Historical photographic documentation testifies to the significant number of comparable seats:
– Those used during the first exhibition of the Wiener Werkstätte in the Hohenzollern Kunstgewerbhaus in Berlin in 1904;
– The chair model designed for the Wittgenstein family around 1904/1905.
Only two other high-backed chairs are preserved: the armchair from Klimt’s workshop and a chair from the interior of Dr. Salzer (MAK collection, Vienna).