MOSER, Koloman

Loïe Fuller (1862-1928) was an American actress and dancer, a pioneer of both modern dance and theatrical lighting techniques. She developed her own natural movement and improvisation techniques. In multiple shows, she experimented with a long skirt, choreographing its movements and playing with the ways it could reflect light. By 1891, Fuller combined her choreography with silk costumes illuminated by multi-coloured lighting of her own design and created the Serpentine Dance.

The dancing Loïe Fuller was depicted by several contemporary artists such as Henri de Toulouse-Lautrec.

The picture shows a stamp of the Principality of Liechtenstein (under Austrian administration), with the nominal value of 20 Heller, issued in 1917. It depicts Prince Johann II, Prince of Liechtenstein (1840-1929). The postage validity was from 14 June 1917 until 31 January 1921.

Koloman Moser was one of the first artists to design stamps in the Jugendstil style, including the first stamps for Liechtenstein (1912-18).

In 1904 the Wiener Werkstätte, founded by Koloman Moser, Josef Hoffmann, and Fritz Waerndorfer, received their most prominent commission – the interior design of the Purkersdorf Sanatorium. The industrialist Viktor Zuckerkandl had entrusted architect Hoffmann with the construction of something “between a modern hotel and a modern sanatorium,” which soon became a meeting place for Viennese society. Committed to the idea of the Gesamtkunstwerk, the furniture was designed to complement the architecture’s simple elegance. Koloman Moser’s cubic armchair, with its white-lacquered vertical slats and checkerboard-patterned woven cane seat, was originally designed for Klimt’s solo exhibition at the 1903 Vienna Secession but was eventually used in the seating arrangement of the sanatorium’s entrance hall. Today, the minimalist so-called Purkersdorf Armchair, which conforms to Hoffmann’s no-frills architecture style, remains a design icon of the Viennese Modern Age.

The picture shows a design for the entrance wall of the church Heilig-Geist-Kirche in D�sseldorf. It was an unexecuted design, awarded a prize.

This lithograph is the cover of the magazine Ver Sacrum, No. 4, Vol. 1.

Ver Sacrum (in Latin: Sacred Spring) was the official magazine of the Vienna Secession. Founded by Gustav Klimt and Max Kurzweil, it was published from 1898 to 1903, featuring drawings and designs in the Secession style along with literary contributions from distinguished writers from across Europe. The title of the art journal was taken from a poem by Ludwig Uhland (1787-1862): “You have heard what God wishes, / Go, prepare yourselves, silently obey! /You are the seed grain of a new world, / That is the sacred spring he desires.”

Ver Sacrum is not just an informative and entertaining chronicle of the Secession, but - in the original illustrations, which many artists contributed to its pages - an exact mirror of its age.

The desk and armchair are made of beech, stained mahogany and polished, brass fittings, faceted glass, renewed writing inlay with green leather (desk), leather upholstery, brass caps and brass support discs (armchair). Both are manufactured by Jacob & Josef Kohn, Vienna, with sizes 104 x 113 x 57 cm (desk) and 96 x 56 x 50 cm (armchair),

The desk model was first presented at the Exhibition of Decorative Arts in Turin in May 1902. In 1904 it was shown in Saint Louis and 1906 in London.

This glass goblet is an example of Koloman Moser’s early work as part of the Vienna Secession, before his founding of and participation in the Wiener Werkstätte (1903-1932). The Vienna Secession (1897-1939) broke away from the formal Viennese Artists’ Association in 1897. Dated to 1901, the goblet was manufactured when Moser taught at the School of Applied Arts in Vienna. During this time, students were expected to design and produce new things, so the school partnered with major Viennese companies. For glass objects, the school and thus Moser himself collaborated with glassworks Johann Loetz Witwe and Meyr’s Neffe, all represented by commissioning retailer E. Bakalowits & S�hne. With the establishment of the Wiener Werkstätte in 1903, Moser’s business partnership with glass retailer E. Bakalowits & S�hne ended and Moser’s glass production declined. Moser’s glass pieces from late 1900 to the spring of 1903 are rare and significant. The colourless blown glass of this goblet features an optical spherical pattern called “Meteor” on a honey-coloured trumpet foot.

This magnificent cabinet was part of Koloman Moser’s design for the domicile known as the Terramare of a young couple, Gerta and Dr Hans Eisler. The Wiener Werkstätte’s philosophy declared that everyday objects become works of art through artistic design in combination with the careful selection of high-quality materials and perfect craftsmanship. On the doors of this cabinet, the inlaid female figures wear lilies of the valley in their hair, an acknowledgement of the hostess’ favourite flower. Kolo Moser’s sketch for this inlay decoration also graced the cover page of the prestigious journal “Deutsche Kunst und Dekoration”.

This poster was made for the Thirteenth Vienna Secession Exhibition, 1902.

This optic blown glass object with “dimples” was distributed by E. Bakalowits & S�hne, Vienna.

In the 1910s, Moser was involved in sets for plays at the Vienna Hofoper, and he drew and painted, for example, The Wanderer in the Leopold Museum, Vienna. During World War I, his main output was the design of postage stamps.

With Joseph Maria Olbrich, Moser was involved in the design of the Secession building on the Getreidemarkt in 1898, being responsible for the glass windows, friezes and ornamentation.

The picture shows a detail of the fa�ade of the Secession Building, built by Josef Maria Olbrich.

This vase was manufactured by Johann L�tz Witwe, Klosterm�hle.

Moser was commissioned to produce the windows and altar of the church at Steinhof, begun by Otto Wagner in 1904. Work on the designs dragged on for several years as the client was dissatisfied with the execution of the windows, although the main reason for the client’s boycott was Moser’s change of religious affiliation on his marriage to Editha Mautner-Markhof in summer 1905.

The photo shows the east window.

Moser was commissioned to produce the windows and altar of the church at Steinhof, begun by Otto Wagner in 1904. Work on the designs dragged on for several years as the client was dissatisfied with the execution of the windows, although the main reason for the client’s boycott was Moser’s change of religious affiliation on his marriage to Editha Mautner-Markhof in summer 1905.

The photo shows the east window.

The picture shows the central part of the east window.

The picture shows the east window from outside..