tury, Viennese architects such as Adolf Loos, Josef Hoffmann, and Otto 
Wagner had their designs carried out by this manufacturer, not Gebrüder 
Thonet. They discovered new expressions of curved wood and focused 
on its original qualities. As early as 1899, Kohn hired the young Gustav 
Siegel as head of the company's own design office. At the 1900 World 
Fair in Paris, the company’s new furniture was presented to an inter 
national audience for the first time in an interior design concept also 
designed by Siegel-while at the same exhibition Gebrüder Thonet tried 
to free itself from “the intricate bentwood scrubs of historicism” 42 with 
Windsor armchairs, under the title “Moderne Fauteuils nach englischem 
Originale" [Modern Armchairs after the English Originals]. 43 
5 
Gebrüder Thonet. 
Gebrüder Thonet, 
Fourniersifze „Intarsia“-Imitation (Branddessin in 2 Farben). 
Wasserfeste j-tolzsifze 
(siehe Vorwort, Seite 4). 
SSK* 
-asssr- 
■oft 
i 
“5 
.,?SSr 
iSttSltl 
ht,-rrtr 
<r 
SÄ! 
z; 
Preise siehe Vorwort, Seite 6, „Intarsia 
' IM 
Sperrholzsitze und -rücken; Gebrüder Thonet, Verkautskatalog 1905 
Plywood seats and backrests; Gebrüder Thonet, sales catalog 1905 
42 Sebastian Hackenschmidt, “Zwischen den Stühlen. Zu den Möbeln von Adolf Krischanitz," in: 
Edelbert Köb (Ed.), Adolf Krischanitz, das Inventar ist das Ergebnis der Inventur, Vienna 2016, 
51-90: 68. 
43 The pioneering role of J. & J. Kohn, both technologically and in terms of design, is emphasized in 
all Contemporary publications. Cf. (no author), “Bugholzmöbel als Stilmöbel im Rahmen moderner 
Architektur und Interieurs,” in: Jahrbuch der Gesellschaft österreichischer Architekten, Vienna 1900, 
69-72: 71. 
47