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Mid-Century Modern Sofa in Black Leather & Wood by Jorge Zalszupin, Brazil, 1970

About the Item

Available now, this very Brazilian Modern sofa in black leather, wood and Chrome designed by Jorge Zalszupin in the seventies is simply spectacular! This one-of-a-kind three seat sofa is called “Pullman” and features a solid wood structure upholstered in Italian black leather with Brazilian Rosewood buttons beautifully sewn in the seat/backrest and four discrete chrome legs. The manufacturer seal of L’Atelier is under the sofa (last image) The restoration of the sofa took 3 long months because the upholstery was in a very poor condition (images 14,15). Pieces like this require mastery in upholstery so we teamed up with Manuel and his team, some of the best old school upholsterers Brazil has to offer. This team worked with Sergio Rodrigues for 20 years and have mastered sewing techniques like nobody else. The process took three months but the wait was worth it and this upholstery masterpiece was born! This can be seen throughout the piece but especially in the smooth stitching that blends perfectly with the black leather (images 10-12 are closeups of the stitching) This sofa is so awesome that we’ve paired it with other pieces in the gallery, always looking spectacular. The image showcased features the sofa with two Celina Decoracoes side tables in Brazilian Rosewood and Travertine and the also from Jorge Zalszupin, the spectacular “Romana” coffee table. The furniture set score of this convo: A perfect 10! This Brazilian Modern gem has all the fun aspects of a true bold Brazilian Modern piece: a robust wood structure combined with a delicate leather upholstery resulting in a very comfy look. A sofa like these flexes into any Mid-Century Modern, Modern or Contemporary, Transitional, or even Hollywood Regency environment. Attached some vintage and manufacturer catalog images showcasing the fabulous piece Size: H28.3, W88.6, D33.1 (in) H72, W225, D84 (cm).

Creator:

Jorge Zalszupin (Designer)

Dimensions:

Height: 28.3 in (71.89 cm)Width: 88.6 in (225.05 cm)Depth: 33.1 in (84.08 cm)

Style:

Mid-Century Modern (Of the Period)

Materials and Techniques:

Chrome,Hardwood,Leather,Hand-Knotted

Place of Origin:

Brazil

Period:

Mid-20th Century

Date of Manufacture:

1970

Condition:

Reupholstered. Wear consistent with age and use.

Seller Location:

New York, NY

Reference Number:

Seller: 1451stDibs: LU7095233134042

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Shop All Jorge Zalszupin

Jorge Zalszupin

Just as emigrant Europeans — from Kem Weber and Paul Frankl to Marcel Breuer and Ludwig Mies van der Rohe — helped establish modernist design and architecture in the United States, so too did many of their peers foster the new design aesthetic in Brazil in the middle decades of the 20th century. Along with architect Lina Bo Bardi (from Italy) and Joaquim Tenreiro (from Portugal) — both of whom helped popularize Brazilian modern design and influenced today's generation of Brazilian designers — there was Jorge Zalszupin, who arrived from Poland in 1949 and created consistently sleek and elegant chairs, tables and case pieces using the South American country’s vibrantly grained tropical hardwoods.

Zalszupin was born in Warsaw (his given first name is Jerzy) and went on to study architecture at the École des Beaux Arts in Bucharest, Romania, graduating in 1945. Zalszupin moved to Paris but found few opportunities in the postwar City of Light. He was impressed by articles on the work of Brazilian architect Oscar Niemeyer that he saw in the André Bloc–edited magazine L’Architecture d’Aujourd’hui (Architecture Today). And after sailing to South America, Zalszupin went to work with his fellow Pole and architect Luciano Korngold in São Paulo. Zalszupin began designing furniture as part of his architectural commissions and created several pieces for Niemeyer for use in the new capital city, Brasília. He opened his own design and manufacturing firm, L’Atelier, in 1959.

While Zalszupin cannot be said to have had a signature style, his furniture designs all share a characteristic simplicity and purity of line and form. His work is often compared to that of Danish designers, most especially in their shared commitment to quality construction. He was a master of many materials: travertine marble for tabletops, slung leather for seating, man-made fabrics for upholstery and — his forte — highly figured woods such as jacaranda and rosewood. The latter plays prominently in two of Zalszupin’s best-known lounge chairs: the Brasiliana, with its austere, angular wood frame, and the Presidencial, with its curved seating shell and slatted backrest. Both chairs feature deep cushions and generous proportions in deference to the Brazilian proclivity for long and languid conversations. Yet both pieces — like all Zalszupin designs — possess a striking, tailored grace that would be perfect in any environment.

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