Luciana Sideboard

The prolific architect and designer Sergio Rodrigues is often called the "father of modern Brazilian design," but it is the second adjective in that phrase that deserves emphasis: Rodrigues’s great achievement was to create furniture in a style that captured the spirit, character and personality of his country.

Modernity came slowly to 20th-century Brazil, politically and culturally. The nation finally realized genuine constitutional democracy in 1945, ushering in a new, progressive era in the arts. Until that time, heavy furniture based on historical European models had been the norm. In the late 1940s, designer Joaquim Tenreiro introduced sleek, minimalist chairs and cabinets; José Zanine Caldas, now best known for his later artisanal work, created plywood furnishings for mass-production; the Italian architect Lina Bo Bardi, a former editor for the Gio Ponti-founded magazine Domus, set up shop in São Paulo, designing elegant, flexible chairs set on slim metal frames.

This was the heady scene into which Rodrigues, the son of an artistically prominent Rio de Janeiro family, arrived after graduating in 1952 from the national university. He established Oca Industries in 1955, a company that would become the preeminent maker of modernist furniture in Brazil. When architects Lúcio Costa and Oscar Niemeyer were tasked in 1956 with the whirlwind project to plan, design and build the new capital, Brasília, in five years, they used Rodrigues’s early chairs, with their softly-contoured lines and caned seats and backrests, to furnish many of the buildings.

Rodrigues would realize the true expression of his talents in — and garner international awards and acclaim with — his Mole chair of 1957. The word mole means "soft" in Portuguese, but can be interpreted as "easygoing" or even "listless." Rodrigues's chair features a sturdy, generously proportioned frame of the native South American hardwood jacaranda, upholstered with overstuffed leather pads that flap like saddlebags across the arms, seat, and backrest. It is a chair that invites sprawling — perfect for the social milieu of the bossa nova and caipirinha cocktails; where a languorous afternoon spent chatting and joking is the apex of enjoyment.

Most of the estimated 1,200 armchairs, sofas, tables, storage cabinets and dining tables Rodrigues designed in his long career are imbued, in one way or another, with this air of robust relaxation. Sergio Rodrigues was a designer true to the temperament of his people.

More often than not, vintage mid-century Brazilian furniture designs, with their gleaming wood, soft leathers and inviting shapes, share a sensuous, unique quality that distinguishes them from the more rectilinear output of American and Scandinavian makers of the same era.

Commencing in the 1940s and '50s, a group of architects and designers transformed the local cultural landscape in Brazil, merging the modernist vernacular popular in Europe and the United States with the South American country's traditional techniques and indigenous materials.

Key mid-century influencers on Brazilian furniture design include natives Oscar Niemeyer, Sergio Rodrigues and José Zanine Caldas as well as such European immigrants as Joaquim Tenreiro, Jean Gillon and Jorge Zalszupin. These creators frequently collaborated; for instance, Niemeyer, an internationally acclaimed architect, commissioned many of them to furnish his residential and institutional buildings.

The popularity of Brazilian modern furniture has made household names of these designers and other greats. Their particular brand of modernism is characterized by an émigré point of view (some were Lithuanian, German, Polish, Ukrainian, Portuguese, and Italian), a preference for highly figured indigenous Brazilian woods, a reverence for nature as an inspiration and an atelier or small-production mentality.

Hallmarks of Brazilian mid-century design include smooth, sculptural forms and the use of native woods like rosewood, jacaranda and pequi. The work of designers today exhibits many of the same qualities, though with a marked interest in exploring new materials (witness the Campana Brothers' stuffed-animal chairs) and an emphasis on looking inward rather than to other countries for inspiration.

Find a collection of vintage Brazilian furniture on 1stDibs that includes chairs, sofas, tables and more.

Once simply boards made of wood that were used to support ceremonial dining, sideboards have taken on much greater importance since their modest first appearance. In Italy, the sideboard was basically a credenza, a solid furnishing with cabinet doors. It was initially intended as an integral piece of any dining room where the wealthy gathered for meals in the southern European country.

Later, in England and France, sideboards retained their utilitarian purpose — a place to keep hot water for rinsing silverware and from which to serve cold drinking water — but would evolve into double-bodied structures that allowed for the display of serveware and utensils on open shelves. We would likely call these buffets, as they’re taller than a sideboard. (Trust us — there is an order to all of this!)

The sideboard is often deemed a buffet in the United States, from the French buffet à deux corps, which referred to a storage and display case. However, a buffet technically possesses a tiered or shelved superstructure for displaying attractive kitchenware and certainly makes more sense in the context of buffet dining — abundant meals served for crowds of people.

An antique or vintage sideboard today is a sophisticated and stylish component in sumptuous dining rooms of every shape, size and decor scheme, as well as a statement of its own, showcased in art galleries and museums. Furniture maker and artist Paul Evans, whose work has been the subject of various celebrated museum exhibitions, created ornamented, welded and patinated sideboards for Directional Furniture, collections such as the Cityscape series that speak to his place in revolutionary brutalist furniture design as much as they echo the origins of these sturdy, functional structures centuries ago.

If mid-century modern sideboards are more to your liking than an 18th-century mahogany sideboard with decorative inlays by Hepplewhite, the particularly elegant pieces crafted by designers Hans Wegner, Edward Wormley or Florence Knoll are often sought by today’s collectors.

Whether you have a specific era or style in mind or you’re open to browsing a vast collection to find the right fit, 1stDibs has a variety of antique, new and vintage sideboards to choose from.