Set of 4 Chairs in the Manner of Josef Frank, Josef Hoffmann, Stendig, USA, 1970

Introducing a rare and beautiful single bentwood Prague Model 811 side chair by or after the renowned designers Josef Frank and Josef Hoffmann for Stendig. Designed in the 1960s, thi...

This exquisite set of four Model 83 dining chairs by Niels Otto Møller for J.L. Møller epitomizes the timeless elegance of Danish design from the 1970s. Crafted from solid teak, each chair showcases the wood’s warm, rich grain and smooth finish, with gracefully sculpted backrests featuring vertical slats that provide both support and visual lightness. The original oatmeal knit fabric upholstery, with its subtle texture and neutral tone, complements the teak’s natural beauty while offering a tactile warmth that enhances the chairs’ inviting aesthetic. Tapered legs and a minimalist silhouette reflect Møller’s dedication to functional beauty, making this set a perfect addition to a modern dining space or a collector’s curated interior. These chairs embody the enduring appeal of Scandinavian craftsmanship, blending form and function with understated sophistication. Niels Otto Møller (1920–1982) was a renowned Danish furniture designer and the driving force behind J.L. Møller Møbelfabrik. Trained as a cabinetmaker before studying at the Danish Design School in Copenhagen, Møller founded the company in 1944 with a vision to create furniture that combined traditional craftsmanship with modernist principles. His designs, including the iconic Model 83 chair...

Introducing the exquisite vintage mahogany dining chairs designed by influential Paul McCobb for Calvin Furniture in Grand Rapids, Michigan in the 1950s. Part of The Irwin Collectio...

Introducing an ultra-rare set of four vintage Model 49 dining chairs (two armchairs and two side chairs) in solid Brazilian rosewood designed by the influential Erik Buch Oddense Mas...

Set Of Four Josef Frank Chair For Wiesner Hager Austria 1950s

Exceptional set of five bentwood armchairs design attributed to Josef Frank, marked Made in Czechoslovakia. The chairs are constructed of steam bent wood, probably beech, and nylon, circa 1970's. A Mid 20th C version of the early 20th C Frank...

Art Deco three armchairs from oak and plywood in by Josef Frank attributed and executed by Thonet Vienna, 1930s. The frame of the chairs from oa...

Set of six chairs designed by Josef Frank for Svensk Tenn, Model 725. Sweden. 1938. Mahogany and original leather. Literature: Kristina Wängberg Eriksson, Jan Christer Eriksson, "Josef Frank Möbelformgivaren", Carlsson Bokförlag, Stockholm 2014, p. K 18 H: 90 cm W: 58 cm D: 63 cm SH: 43 cm Armrest height: 69 cm (at the highest point) Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best...