![]() ![]() Formerly thousands of pieces of historical furniture were decorated with the same ornaments and possessed the same style so that the entire work could be left to the mechanic, but now artist and mechanic have to work hand in hand. The reason for the greater excellence at the Louisiana Purchase Exposition is to be found in the better organization and a keener desire to show America what is newest and best in this latest line of German effort, and in the new life that has sprung in this special line of art in the last ten years in Germany. Neither in Chicago 1893, Paris 1900, Turin 1902 or in Düsseldorf 1903, have the exhibitors of arts and crafts displayed such skill and excellence. "The German exhibit of arts and crafts in the Varied Industries building is the largest and best that Germany has ever made. Louis, 1904, published by the Imperial German Commission, Leo Nachtlicht noted: In the introductory remarks in the publication The Descriptive Catalogue of the German Arts and Crafts at the Universal Exposition, St. It is already indicated as one of the things at the World's Fair which will leave a permanent mark upon American life." Louis Post-Dispatch made the following observations of Olbrich's pavilion: "The interior decorators of the United States are now talking about the Olbrich Pavilion. The building consisted of forty inner rooms grouped around a central hall designed by Bruno Möhring.Ī reporter for the St. All were displayed in the German exhibition of decorative arts in the Varied Industries Building. Olbrich's entry consisted of a courtyard and decorative schemes for various rooms described in a catalogue of the Fair simply as Living Room, Tea Room, Reception Hall, Dining Room, Music Room, Library and Smoking Room. Louis World's Fair, which was held in St. In 1904, Olbrich was honored with the highest prize awarded at the Louisiana Purchase Exposition, informally known as the St. This monumental painting is 7 feet tall and 112 feet wide. Inside, the building features one of the most widely recognized artworks of the Secession style, the Beethoven Frieze, painted by Gustav Klimt in 1901 in celebration of the composer. To every art its freedom." Below, a sculpture of three gorgons symbolize painting, sculpture and architecture. Der Kunst ihre Freiheit,” which translates to "To every age its art. A verse in German on the building's facade reads, “Der Zeit ihre Kunst. Simple and bold, the building is crowned with a great openwork dome. ![]() Vienna Secession Building, an exhibition hall in Vienna designed by Olbrich in 1897 and completed in 1898, is considered a landmark of the Vienna Secession movement. In 1903, two of these pioneers, Hoffmann and Moser, established the Wiener Werkstätte.Īs a young man, Olbrich studied architecture at the University of Applied Arts Vienna (Wiener Staatsgewerbeschule) and the Academy of Fine Arts Vienna. The other founding members included Gustav Klimt, Josef Hoffmann, Kolomon Moser, Carl Moll and Otto Wagner. 200 (Vogl apartment).įor a similar chair see lot 75 of sale "Jugendstil and 20th Century Arts and Crafts" Dorotheum on May 30th, 2018.NEW YORK, NY - Austrian architect and designer Josef Maria Olbrich (1867-1908) was a founding member of the Vienna Secession movement, which was established on April 3, 1897. 63 (dining room, Beck apartment) Adolf Loos, Wohnungen, p. Kunstler, Auftraggeber, Produzenten, Wagner, Hoffmann, Loos und das Mobeldesign der Wiener Moderne (bohlau) pages 95 and 102 as shown. Historical background and literature: first designed for the Beck apartment in 1908, these chairs were subsequently utilized in many other projects by Loos until late 1920s. Small in dimensions as they were intended to be used as side chairs, it measures 28.2"h x 14.5"w x 20"d with a seat height of 15.2". This may be original or at least a mindful historical replacement to accentuate the heart-shaped seats. The upholstery on these chairs is of a jacquard-like textile in rose red color with lace fringe. The design is simple yet sophisticated and manages to be functional yet visually interestingly from different angles. Constructed from solid oak, the chairs feature a carved heart-shape seat and a fan-shaped back distinguished by partially overlapping spindles that spray upwardly like a peacock tail. As part of the Vienna Secession movement, these chairs display modern silouette emerged from the beginning of the century, a design departure from tradition spearheaded by a group of artists and designers in Vienna including Gustav Klimt, Josef Hoffmann, Otto Wagner and Koloman Moser. ![]() On offer is a rare original paired Fan-Back Chairs designed by Adolf Loos (1870-1933) circa 1908-20s. ![]()
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