Oscar Niemeyer was a Brazilian architect considered to be one of the key figures in the development of modern architecture. That’s "Rio" Chaise Lounge created in 1978 by Oscar Niemeyer and his daughter Anna Maria Niemeyer. "Rio" is exemplary of Niemeyer’s exquisite curves and sinuous forms made famous by his seminal modern architecture. That's a rare vintage piece Manufactured by Moveis Tepperman in Brazil, 1995.

This fabulous Bar Cabinet in Brazilian Caviuna wood was manufactured in c. 1955 by Forma S.A. Móveis e Objetos de Arte, a company with designs and creative direction by Carlo Hauner (1927-1996) and Martin Eisler (1913-1977). This particular design comprises not-obvious lines. The counter has two levels and is coated with solid Caviuna rounded slats, presenting a footrest in brass. This piece illustrated interior projects in the most influential Brazilian interior design and lifestyle magazines in the 1950s and 1960s, such as Casa e Jardim magazine - which is still active nowadays. Forma S.A. Móveis e Objetos de Arte changed the Brazilian design scene in the 1950s, carrying almost high levels of craftsmanship and connected with international production.

This bookshelf was designed by Joaquim Tenreiro (1906-1992) in the 1960s and produced by the company Tenreiro Arquitetura e Interiores. The piece is made of solid Rosewood and attached to the wall in two fixation points using a few screws. It has seven shelves to exhibit books and decoration items beautifully. Tenreiro saw the often heavy, overstuffed pieces that dominated the market as incompatible with a tropical country like Brazil. He formally promoted light furniture, which he attributed to grace and functionality in space. This piece has a complex construction, with slight thickness differences between its parts and angled diagonals.

Joaquim Tenreiro (1906-1992) is one of the pioneers of Brazilian Modern design, with a work that reflects a refined coexistence of traditional values and modern aesthetics. This design can be found in an armchair or Canape version, in Solid Rosewood or, in this case, Amendoim wood structures, with seats and backrests in cane. The set reflects a few characteristics present in Tenreiro's production: the lightness (visual and material), the reductiveness of forms, and the texture. The pieces were designed in 1958 by company Tenreiro Móveis e Decorações but were produced only at the end of the 1960s by Tenreiro Arquitetura de Interiores S/A . The artist and furniture designer used his Portuguese roots to rediscover raw materials and create a new formal language in 20th-century Brazilian furniture design. He was a pioneer in combining the plaited cane texture with the simple lines proposed by modern furniture making, bringing to the pieces a material that already was familiar to Brazilians.

The modulated units were designed by Jorge Zalszupin (1922-2020) during the 1960s. The piece remained in the designer's possession, for over four decades, in his personal residence. Entirely covered with rectangular pieces of marquetry wood, it is part of a series with many options of modulated elements where you can choose how to create the final furniture piece. Zalszupin developed a line of modular furniture – one of its most successful lines. This strategy was also adopted by several of his contemporaries, such as Michel Arnoult and Geraldo de Barros. The “modulated units” consisted of many element options. Clients could choose how to assemble it to create the final furniture piece according to their taste: the number of drawers, doors, and shelves, or opt for specific compartments, such as units for radio speakers.

This table was designed by Jorge Zalszupin (1922-2020) in 1959 and produced by his company, L'Atelier. This piece is unique because is documented in the first gallery opened by L'atelier in Conjunto Nacional, Sao Paulo. It is also notable because it is present in the first catalog by the company, dated from 1959. The table presents a gorgeous veneered Rosewood top and a black-painted iron base. Its simple design is very well constructed, allowing it to highlight the details: molded corners, which are a charm for themselves, have cutouts where the iron fittings can be seen. The works of the first phase of L'Atelier put their stake on the execution and details of handmade joinery with noble materials, such as leather, marble, and Rosewood. Still, they have already introduced some techniques and materials that are considered innovative. The table is ideal for eight seats and was restored recently in our Workshop.

This exquisitely crafted Rosewood Desk designed by Joaquim Tenreiro (1906-1992) belonged to BLOCH EDITORES S.A. BUILDING, a Brazilian publisher founded in 1952 and closed in 2000, where Tenreiro furnished the interior. The desk is composed of a rectangular box with three aligned drawers, all covered with the stunning tones of Brazilian Rosewood. Tenreiro's works are proof of the cohabitation between the handcrafted and the Modern aesthetics in Brazilian furniture production. This piece is an example of the reductiveness of forms, in this case, achieved by using rectangular shapes and straight lines. The simple design allows the wood veins to stand out, showing the natural beauty of the material itself.

The iconic pair was designed in 1959 and is part of a series consisting of armchairs and a sofa. Made from molded Rosewood laminated wood, the wide armchairs offer a throne-like comfort, with a light and organic structure that accommodates voluminous cushions. Rare to find. 

The iconic Manhattan is a series composed of a sofa and armchair designed by Jorge Zalszupin (1922-2020) in 1960 and produced by his company, L'atelier. The piece is made of a wood structure entirely upholstered, with an organic shape achieved by the curvy lines of the single volume. The work of Jorge Zalszupin (1922-2020) presented itself as one of the most versatile in the late 1950s and early 1960s. His designs are an example of a transition process from the artisanal production mode to serial industrial production. L'atelier Móveis was founded in 1959, with the first collection focused on residential furniture. But soon, Zalszupin understood the potential of office furniture to produce on a large scale and used machinery and technology to achieve his bold ideas.

Throughout Sergio Rodrigues' career, many of his pieces underwent adjustment, adapted to new material resources and production conditions, or even reinvented. The Moleca armchair is one of those cases. This piece, created in 1963, was an adaptation of the Mole sofa and armchairs, from 1957, for a collapsible and packable version. This pair has a solid rosewood structure and leather upholstery, according to historical references of the time. The leather straps are the originals. The purpose of the design was to adjust the volumes and measures, allowing the furniture to be exported under more economical conditions and enabling the competition of Brazilian design in the international market. In this way, Mole's design gained a fittings system, allowing the shipment of components inside a box designed especially for exportation, allowing the assembly at the customer's home.

The Costela chair was designed by Martin Eisler in 1953 and manufactured by the companies Móveis Artesanal and Forma. The name "Costela" which translates as "Rib", is apparent in the design with it’s eight wooden slats that resemble a rib structure made with Brazilian Imbuia wood. The slats are rhythmically positioned and curve upwards on the sides, gently embracing the softly padded cushions. A curved stainless steel frame with short legs creates the necessary support. This chair is an iconic Brazilian Mid-Century Modern piece.

The iconic Itamaraty Dining Chairs were designed by Jorge Zalszupin in 1959 and produced by his company, L'atelier. The pieces are made of a very light, solid rosewood structure with upholstered seats and backrests, providing exceptional comfort with their large seats and slightly reclined backrests. This piece is rare because it is documented in the first gallery opened by L'atelier in Conjunto Nacional, São Paulo. It is also notable because it is present in the company's first catalog, dated from 1959. The Itamaraty Dining Chairs underwent recent restoration, featuring brown suede leather, a material frequently utilized by Jorge. L'atelier Móveis was founded in 1959, with the first collection focusing on residential furniture. However, Zalszupin soon recognized the potential of office furniture for large-scale production and utilized machinery and technology to realize his bold ideas.

Created by Sergio Rodrigues (1927-2014) in 1956, the Oscar armchair was an homage to Oscar Niemeyer (1907-2012), one of the most important Brazilian architects in modern architecture development. Oscar armchair is one of the projects that evolved from the Hauner Sofa (1954), Rodrigues' first furniture creation, presenting the same seating solution based on independent volumes. The cane backrests and seats rest over a wooden structure with light elements, such as the tapered feet and the seat support cutouts. The armrests are sculpted with anatomical design. The chair was ordered by the Brazilian Jockey Club in Rio de Janeiro and refused by the client because it was "too modern." This kind of declaration shows how pioneering these productions were before it even fell into the public's taste.

Designed by Italian-born architect Carlo Fongaro (1915-1986) and produced by Probjeto, who signed one of the most popular lines of modern Brazilian furniture in the 1970s. The chairs’ structure is composed of seats and backrests made of molded laminated wood in Rosewood supported by the iron structure and chromed details. Extremely comfortable, the piece fits perfectly as a working chair.

This side table was designed by Jorge Zalszupin (1922-2020) and produced by his company L'Atelier in c. 1960. The table presents an iron structure with chromed feet and a top composed of a piece of marble framed by molded laminated Rosewood – a technological innovation adopted by Zalszupin to execute his desired curves without adopting long and expensive manual processes. The results of molding laminate with heat inspired many creations. It became one of the differentials of the designer's work, as the combination of noble materials, such as Rosewood, glass, or marble, is pleasant for most different tastes.

The Magrini Stool was designed in 1963 by Sergio Rodrigues and produced by his company, Oca. These pieces are composed of a solid Rosewood structure with turned feet and can be used as seats and supports. Magrini Stool follows the same formula as the Mocho Stool, the first piece designed by Rodrigues for his own company. Both creations translated the concept of informality through its design resources: low pieces on which the user had to crouch to sit, aided by handles that allow it to be moved anywhere. Sergio liked to name his pieces with the names of people he knew. Franco Magrini, an Italian production engineer, was a good friend of Sergio and worked with him at the restaurant Papo de Anjo – which opened after he left Oca in 1968.

The Morfa series by Lucas Recchia was inspired by the understanding of glass as a malleable material. The collection comprises five models, which vary in size and shape, numbered according to the sequence in which the designer created them. The glass, the principal material used by Recchia in his creations, results from material transformations through time. Time turns rocks into sand, that became dunes that became glass. "Time changes the way we see the world; it bends a straight line into a curve, it changes us, and this morph stands for the way I see the world." Morfa nº 01 has a variation of two sizes and can be produced in glass, aluminum, or bronze. All pieces in this series are indicated for indoor use, such as side or coffee tables. The side tables Morfa have the following finishes options: Transparent glass, Amber glass, Wine glass, Blue glass, Green glass, Grey glass, Polished Aluminum, Unpolished Aluminum, Polished bronze, Unpolished bronze, and fused glass. The processes of fusing glass and metal are handmade, allowing variations in color, texture, and slight changes in size and weight. The glass bubbles are part of the handmade production process; the bubbles’ quantity and size are uncontrollable variables. The photos show a Side Table Morfa nº 01, size 2, in a gorgeous Amber glass.

The Morfa series by Lucas Recchia was inspired by the understanding of glass as a malleable material. The collection comprises five models, which vary in size and shape, numbered according to the sequence in which the designer created them. The glass, the principal material used by Recchia in his creations, results from material transformations through time. Time turns rocks into sand, that became dunes that became glass. "Time changes the way we see the world; it bends a straight line into a curve, it changes us, and this morph stands for the way I see the world." Morfa nº 01 has a variation of two sizes and can be produced in glass, aluminum, or bronze. All pieces in this series are indicated for indoor use, such as side or coffee tables. The side tables Morfa have the following finishes options: Transparent glass, Amber glass, Wine glass, Blue glass, Green glass, Grey glass, Polished Aluminum, Unpolished Aluminum, Polished bronze, Unpolished bronze, and fused glass. The processes of fusing glass and metal are handmade, allowing variations in color, texture, and slight changes in size and weight. The glass bubbles are part of the handmade production process; the bubbles’ quantity and size are uncontrollable variables. The photos show a Side Table Morfa nº 01, size 2, in a Polished Aluminum.

The Morfa series by Lucas Recchia was inspired by the understanding of glass as a malleable material. The collection comprises five models, which vary in size and shape, numbered according to the sequence in which the designer created them. The glass, the principal material used by Recchia in his creations, results from material transformations through time. Time turns rocks into sand, that became dunes that became glass. "Time changes the way we see the world; it bends a straight line into a curve, it changes us, and this morph stands for the way I see the world." Morfa nº 07 is the latest model launched by Recchia. All pieces in this series are indicated for indoor use, such as side or coffee tables. The following finishes options are available: Transparent glass, Amber glass, Wine glass, Blue glass, Green glass, and Grey glass. The processes of fusing glass and metal are handmade, allowing variations in color, texture, and slight changes in size and weight. The glass bubbles are part of the handmade production process; the bubbles’ quantity and size are uncontrollable variables.

This floor lamp is attributed to Martin Eisler (1913-1977) for the Brazilian company Forma S.A. Móveis e Objetos de Arte. The 1950s production by Forma received a lot of influence from postwar international thought (its directors were an Italian and an Austrich), and this floor lamp perfectly dialogues with it. The piece's base is a long metal tube that adjusts the light to many positions by simply moving the conical lampshades. A gorgeous detail is the tiny holes in the lampshades, which the light infiltrates, giving a fantastic result. All electrical components have been tested and repaired, and the luminaire is in complete working order. Restoration services are included in the acquisition price, and the deadline for carrying out the procedures varies according to each case. Please let us know what you need, and we will find the best way to attend to you. Specifications Colour: White, Iron Bulb base: E27 Light source: 40-60W Incandescent Voltage: 127 V Plug: Type C Cable colour: White Cable material: Plastic

Dominici Iluminação Moderna, founded by Enrico Furio Dominici in 1934, began as a lighting store in Bologna, Italy, before he relocated to Brazil amidst wartime disruptions.  Dominici introduced captivating Italian lighting designs to Brazilian audiences, leading to the establishment of stores in Rio de Janeiro and São Paulo.  Transitioning from reliance on Italian imports, Dominici quickly rose to prominence by establishing a local lighting factory, producing exclusive pieces for various industries. By the 1970s, Studio Dominici not only manufactured products but also reintroduced European design to Brazil, solidifying its position as a leading authority in Brazilian lighting design, revered by architects, designers, and connoisseurs alike.

Dominici Iluminação Moderna, founded by Enrico Furio Dominici in 1934, began as a lighting store in Bologna, Italy, before he relocated to Brazil amidst wartime disruptions.  Dominici introduced captivating Italian lighting designs to Brazilian audiences, leading to the establishment of stores in Rio de Janeiro and São Paulo.  Transitioning from reliance on Italian imports, Dominici quickly rose to prominence by establishing a local lighting factory, producing exclusive pieces for various industries. By the 1970s, Studio Dominici not only manufactured products but also reintroduced European design to Brazil, solidifying its position as a leading authority in Brazilian lighting design, revered by architects, designers, and connoisseurs alike.

Philips Infraphil Type 7529 Charlotte Perriand designed by adjustable desktop, wall lamp.