Armchairs attributed to Otto Wagner for Thonet, Austria, 1910s, Set of 2

An early pioneer of modernism, Otto Koloman Wagner was born in 1841 in Vienna. At the age of 16, he began his architectural studies at the Technical University in Vienna. After returning from a six-month stint studying architecture in Berlin, he enrolled in Vienna’s Academy of Fine Arts under architect August von Siccarsburg and Eduard van der Nüll—both of whom are credited with designing the Vienna Opera House.

In 1886, Wagner constructed a summer residence known as Villa I in Vienna. The building features a clean, modernist silhouette adorned with exuberant and rich details.  With an interest in urban planning, Wagner designed a new city plan for Vienna in 1890. However, his Statbahn, including the now famous Karlsplatz Station, was the only design that was realized. Other notable buildings include the Majolica House (1898) and the Church of St. Leopold (1903-7) in the Steinhof Psychiatric Hospital in Vienna.

In 1896, he published Modern Architecture—inspired from his inaugural lecture at the Academy of Fine Arts in Vienna two years prior—which advocated for the abandonment of 19th-century, "Belle Epoque" eclecticism in favor of a forward-facing attitude in line with modern lifestyles. Often viewed as a battle cry, Wagner had declared war on traditional, historical architectural aesthetics. His book outlines a design approach that has become synonymous with 20th-century practice, while simultaneously launching Wagner into a leadership position among the avant-garde of fin de siècle Vienna.

Anticipating the trajectory of the modern movement, Wagner’s designs harmonious synthesize form and function. Respected by high-society, Wagner’s new aesthetic was met with anger by some of his contemporaries who found his pared-back use of ornamentation to be far too austere. The Österreichische Postsparkasse, or Austrian Postal Savings Bank, (1904) is arguably Wagner’s most well known building. An excellent example of his brand of minimalistic, neoclassicism, the building took nearly a decade to plan, design, and build. The architecturally clean style of the façade is decorated only with iron studs.

Wagner passed away in 1918 in Vienna, but he forever changed the architectural landscape of Vienna and left behind a legacy that inspired many worldwide. He—along with other pioneers of modernism like Charles Rennie Mackintosh, Adolf Loos, Louis Sullivan, and Frank Lloyd Wright—forged a new path that changed the course of design history. 

Thonet—the oldest surviving furniture company in the world—began its long life in 1819, when cabinetmaker Michael Thonet (1796-1871) established a furniture workshop in Boppard, Germany. A proponent of the Biedermeier style, he specialized in chairs, tables, and storage pieces characterized by clean lines, reduced ornamentation, and an emphasis on functionalist principles. By the 1830s, Thonet’s experiments in laminated and steam-bent wood furniture, like his famous Boppard Chair (1836), brought international acclaim. Thonet’s designs achieved a combination of lightness, durability, and comfort unknown in European furniture at the time.

A great fan of his work, Prince Metternich of Austria invited Thonet to present his designs to the Viennese court in 1842. Finding so much support there, Thonet opened a new company in Vienna in 1849. In 1853, he transferred his company to his sons, and Gebrüder Thonet was established.

Through the second half of the 19th century, Gebrüder Thonet designs grew increasingly popular with the cultural vanguard, especially among progressive design thinkers and tastemakers. One design in particular, the No. 14 Café Chair (ca. 1859), led the way to international success: the chair’s innovative bending technique was well suited to industrial production, and its rationalized, easily assembled structure allowed for efficient packing and shipping. In 1850, Anna Daum famously outfitted her fashionable Viennese café with No. 14 Chairs, and by the 1870s, Gebrüder Thonet had sales offices across Europe and the US. To date, more than 50 million No. 14 Chairs have been sold worldwide–not counting the untold pirated copies.

Iconic pieces from the traditional Gebrüder Thonet collection include Rocking Chair No. 1 (1860), No. 14 Café Chair (ca. 1859), Adolf Loos’s Café Museum Chair (1899), No. 209 Armchair (ca. 1900), Otto Wagner’s No. 247 Postal Savings Bank Chair (1904), and Josef Hoffmann’s No. 811 (1925). In the early years of the 20th century, Gebrüder Thonet also began producing designs in bent tubular steel by Bauhaus masters like Marcel Breuer, Ludwig Mies van der Rohe, and Mart Stam.

In the aftermath of World War II, Thonet lost all of its production facilities in Eastern Europe, and the sales office at Vienna’s Stephansplatz had been destroyed. Between 1945 and 1953, Georg Thonet, the great-grandson of company founder Michael Thonet, led the rebuilding. Economic success returned quickly. In the ensuing decades, the company commissioned designs from many outstanding designers, such as Verner Panton, Pierre Paulin, Norman Foster, James Irvine, Piero Lissoni, and Stefan Diez. Classic Thonet pieces can be found in museum collections around the world, including the Museum of Modern Art in New York, the Centre Pompidou and Musée d'Orsay in Paris, the Vitra Design Museum in Weil am Rhein, the Pinakothek der Moderne in Munich, the Austrian Museum of Applied Arts in Vienna, and the British Museum and the Victoria & Albert Museum in London.

In 1976 Thonet was divided into two separate German and Austrian companies, which remain independent of each other. Today, Thonet GmbH is headquartered in Frankenberg, Germany and continues to manufacture the original, bentwood and tubular steel designs alongside new pieces by contemporary, international architects and designers. Originally opened in 1861 by Thonet himself, the furniture factory TON (Továrna Ohýbaného Nábytku), which is located in what is known today as the Czech Republic, continues to manufacture Thonet designs. 

* All images courtesy of Thonet.de