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 Vienna Secession — a union of artists and designers determined to upend Austria’s artistic conservatism — and later, 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 1stDibs — which range from enameled silver jewelry, to silver flower vase baskets and other decorative objects, to sofas, lighting pendants and sconces — testify to the astonishing breadth of Hoffman’s creative pursuits. He was truly a giant of design.
Wittmann has a long tradition of uncompromising commitment to producing furniture of the highest quality. From its beginning, the Austrian company’s seating and bedroom furniture, such as armchairs and daybeds, have been fashioned from the most durable woods, like teak and oak, and upholstered in fine leather and fabrics.
Wittmann started in 1896 as a saddlery. In the 1950s, under the direction of Franz Wittmann, it began creating upholstered furniture. The company quickly made a name for itself by manufacturing quality pieces, with a focus on seating and bedroom furnishings.
Wittmann has regularly worked with major designers, with many collaborations leading to long-term partnerships. Austrian architect Johannes Spalt, French architect Jean Nouvel and Italian architect Paolo Piva have all had successful partnerships with the company.
The company’s most enduring collaboration was with Austrian designer Josef Hoffmann, a central figure in the modern furniture movement of the mid-20th century. Hoffmann moved away from extravagant ornamentation and embellishment in favor of showcasing the beauty of construction that shows through with a simple, well-crafted design. Though its mid-century modern furniture was intentionally simplistic, Wittmann incorporated color and texture into its offerings, providing some added flair compared to the popular Scandinavian modern works coming out of Denmark.
Drawing on this rich heritage, Wittmann continues to hand-make furnishings. It has stores in Vienna, Hamburg and Seon in Switzerland, and exports over 15,000 pieces each year to over 50 countries worldwide.
On 1stDibs, explore Wittmann’s Austrian take on modern furniture with seating, tables, storage pieces and more.
Kubus Leather Sofa by Josef Hoffmann for Wittmann, 1980s
By Wittmann, Josef Hoffmann
Located in Hamburg, PA
Iconic Kubus sofa designed by Josef Hoffmann in 1910 and masterfully produced by Wittmann Möbelwerkstätten, Austria, in the 1980s. Upholstered in beautiful, supple cognac-brown leat...
Leather, Wood
$19,768
H 28.75 in W 88.59 in D 35.44 in
Vienna Secession Sofa "Kubus" by Josef Hoffmann, manufactured by Wittmann
By Wittmann, Josef Hoffmann
Located in Beograd, RS
In this listing you will find a very rare leather 3-seater sofa "Kubus" in brown leather designed by Josef Hoffmann. This is a classic example of Hoffmann’s strict geometrical lines ...
Leather, Wood
Wittmann Kubus Sofa by Josef Hoffmann Labeled
By Wittmann
Located in New York, NY
Black leather tufted loveseat or sofa designed by Josef Hoffmann (1870-1956). Sofa is tufted all the way around. Quality leather. Has black pai...
Leather, Wood
$25,670 / item
H 28.35 in W 88.19 in D 30.32 in
Customizable Wittmann Kubus Leather Sofa by Josef Hoffmann
By Josef Hoffmann, Wittmann
Located in New York, NY
A Classic example of Hoffmann’s strict geometrical lines and the quadratic theme in his work is the Kubus armchair, designed in 1910 and handcrafted to ...
Leather
$47,333
H 34.65 in W 78.35 in D 31.5 in
KK 4118 - Sofa in patinated Niger leather designed by Kaare Klint
By Kaare Klint, Rud Rasmussen
Located in Copenhagen, DK
KK 4118 - 3-seater sofa in patinated Niger leather on a cross frame in Cuban mahogany. Designed in 1930 by Kaare Klint. Made by Rud Rasmussen.
Leather, Mahogany
$11,649
H 29.53 in W 95.28 in D 35.44 in
Stunning Socrates sofa in patinated deep cognac leather by Poltrona Frau - Italy
By Poltrona Frau
Located in Buggenhout, Oost-Vlaanderen
Socrates Sofa by Poltrona Frau, Italy, 1980s Deep Cognac Patinated Leather Sofa with Down Filled Cushions A quietly architectural piece, the Socrates sofa by Poltrona Frau reflects ...
Leather
$9,878
H 25.99 in W 94.49 in D 33.47 in
Erik Jørgensen Delphi Sofa Model EJ 450, 3-Seater Sofa In Cognac Leather
By Erik Jørgensen
Located in Lejre, DK
Erik Jørgensen Delphi sofa model EJ 450 designed by Hannes Wettstein in cognac leather with frame in brushed aluminium. Modern Scandinavian design. — Origin: Denmark — Designer: Han...
Leather
$7,060
H 28.35 in W 65.36 in D 30.32 in
Black Leather Kubus Sofa Model “8020” by Josef Hoffmann for Wittmann, Austria
By Josef Hoffmann, Wittmann
Located in Meulebeke, BE
An icon of early modernist design, the Kubus sofa model “8020” stands among Josef Hoffmann’s most celebrated creations—an architectural composition of perfect cubes, conceived in 191...
Leather, Wood
$9,296
H 29.53 in W 50.4 in D 30.32 in
Kai Lyngfeldt Larsen 2 seat Sofa in cognac patinated Leather, Denmark, 1960’s
By Kai Lyngfeldt Larsen
Located in Uithoorn, NL
Loveseat by Kai Lyngfeldt Larsen in Cognac Leather and Solid Teak, 1960's A rare and characterful loveseat by Danish designer Kai Lyngfeldt Larsen, upholstered in its original cogna...
Leather, Teak
$14,709
H 35.83 in W 51.97 in D 31.11 in
Kaare Klint Sofa # 5011 in Original Cognac Leather Rud Rasmussen, Denmark 1940s
By Rud Rasmussen, Kaare Klint
Located in WIJCKEL, NL
Two-seater sofa model 5011 in original cognac leather and six-legged mahogany base. Produced by Rud. Rasmussen Cabinetmakers, Denmark. Minor marks on the frame, patina to the leather. Back covered in original canvas. Shown at the Copenhagen Cabinetmakers’ Guild exhibition in 1935. Signed with manufacturer’s label to underside: (Rud. Rasmussens Snedkerier). Kaare Klint is widely recognized as the father of Danish modern design. It is hard to overstate his influence. He developed an entirely new analytical approach to furniture design that his students at the Danish Academy of Art would emulate for years to come, yet was also inspired by historic designs from various cultures, modernizing and re-interpreting classic pieces for new generations. Literature: Gorm Harkær, Klintiana: “Kaare Klint”, vol.2, pg 94. Shipping services: Ask for our competitive shipping quote. Kaare Klint (1888-1954) is regarded as the founding father of Danish Modernim. As an architect, furniture designer and leading professor at the Department of Furniture Design at the Royal Danish Academy of Fine Arts, Copenhagen, Klint established the principles of modern Danish furniture by combining a profound appreciation of traditional construction techniques with a modernist emphasis on function and a rejection of ornaments. Klint’s design was always based on relentless research; he never compromised. Every piece had to fulfill its purpose, be completely clear in its construction with dimensions and proportions corresponding to the human body and display materials and craftsmanship of the highest quality. Logic, often using a mathematical system of measures, and a constructive way of thinking were the foundation of Klint’s philosophy of furniture design. Like many of his contemporaries, counting Le Corbusier and Walter Gropius, he advocated standardization and functional requirements and dismissed the use of all ornamentation. But Klint realized his vision in wood and leather, using traditional craftsmen and working methods and often finding inspiration in historical models. In this way, he charted the course for an alternative Nordic Functionalism that idealized the workshop and the collaboration between furniture architects and cabinetmakers as opposed to the factory. Kaare Klint’s first major work was a collaboration with his mentor, the architect Carl Petersen. In 1914 they were commissioned to design furniture and fixtures for Faaborg Art Museum. One of the highlights to emerge from this commission was the Faaborg chair, a light and elegant chair with clear references to classical furniture. The construction and proportions of an 18th century English Chippendale chair was also clearly visible in the famous Red Chair, designed in 1927 for the lecture hall at The Museum of Arts and Crafts (now Design Museum Denmark), but with its straight back deprived of all unnecessary decoration and its beautiful Niger leather, the Red Chair was far from an imitation. Other important works include The Propeller Stool (1927), The ‘Mix Chair’ designed in collaboration with his pupil Edvard Kindt-Larsen in 1930, the Safari Chair (1930), The Deck Chair (1939 and The Church Chair designed in 1936 for the Bethlehem Church in Copenhagen. Also noteworthy are Klint’s well-proportioned cabinets and wardrobes...
Leather, Mahogany
