Tapecaria Schulz

Forma began in São Paulo, under the leadership of Italian designer Carlo Hauner and Austrian architect and interior designer Martin Eisler. Hauner studied drawing and technical drawing at the Brera Academy in Milan. After participating in the Venice Biennale, he emigrated to São Paulo, where he established the furniture manufacturer Móveis Artesanal, for which Carlo and Martin — as well as Carlo’s brother Ernesto Hauner — would create a range of pieces for the home.

In 1936, Eisler earned a degree in architecture from the Academy of Fine Arts in Vienna, where he studied under Oskar Strnad and Clemens Holzmeister. With World War II looming, he left Austria immediately after graduating. He first went to Czechoslovakia, to which some of his family had already fled. In 1938, he moved to Buenos Aires, Argentina, and opened his interior design firm Interieur Forma.

Eisler relocated to Brazil in the early 1950s, where he met Hauner. At the time, Eisler had been looking for help producing furniture for his brother-in-law, Ernesto Wolf, and contacted Hauner. The two found that they had a shared vision, and with financial help from Wolf, they opened Galeria Artesanal as a storefront for Móveis Artesanal.

Looking to expand into international sales, the duo rebranded the company Forma. Sérgio Rodrigues, who helped launch a branch of Artesanal in Curitiba, was put in charge of interiors at Forma. That company soon became one of the biggest names in Brazilian furniture — it sold its own sculptural rattan lounge chairs, bookcases and other case pieces crafted with rosewood or jacaranda, and Forma was eventually distributing furniture licensed from iconic American manufacturer Knoll, thereby bringing works by noted designers such as Ludwig Mies van der Rohe, Charles Eames and Harry Bertoia to the Brazilian market.

Forma stands at the forefront of a revival of Brazilian modern furniture. Fashioned from high-grade regionally sourced hardwoods, leather and iron, even Forma's earliest creations have stood the test of time. The company’s alluring mid-century modern works appealed to homeowners at its peak, from the 1950s through the ’70s, and given the broadening interest in Brazilian furniture and the likes of designers such as Rodrigues, vintage Forma is making a major comeback today. 

The Forma furniture company continued producing masterfully crafted furniture into the 1970s, until Eisler's death in 1977. Forma folded soon after, but Eisler's company in Argentina, Interieur Forma, is still in business today.

On 1stDibs, find vintage Carlo Hauner and Martin Eisler furniture for sale.

Organically shaped, clean-lined and elegantly simple are three terms that well describe vintage mid-century modern furniture. The style, which emerged primarily in the years following World War II, is characterized by pieces that were conceived and made in an energetic, optimistic spirit by creators who believed that good design was an essential part of good living.

ORIGINS OF MID-CENTURY MODERN FURNITURE DESIGN

• Emerged during the mid-20th century 
• Informed by European modernism, Bauhaus, International style, Scandinavian modernism and Frank Lloyd Wright’s architecture
• A heyday of innovation in postwar America 
• Experimentation with new ideas, new materials and new forms flourished in Scandinavia, Italy, the former Czechoslovakia and elsewhere in Europe

CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN

• Simplicity, organic forms, clean lines  
• A blend of neutral and bold Pop art colors 
• Use of natural and man-made materials — alluring woods such as teak, rosewood and oak; steel, fiberglass and molded plywood 
• Light-filled spaces with colorful upholstery 
• Glass walls and an emphasis on the outdoors 
• Promotion of functionality

MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW

• Charles and Ray Eames
• Eero Saarinen
• Milo Baughman
• Florence Knoll
• Harry Bertoia 
• Isamu Noguchi 
• George Nelson 
• Danish modernists Hans Wegner and Arne Jacobsen, whose emphasis on natural materials and craftsmanship influenced American designers and vice versa

ICONIC MID-CENTURY MODERN FURNITURE DESIGNS

• Eames lounge chair
• Nelson daybed
• Florence Knoll sofa
• Egg chair
• Womb chair
• Noguchi coffee table
• Barcelona chair

VINTAGE MID-CENTURY MODERN FURNITURE ON 1STDIBS

The mid-century modern era saw leagues of postwar American architects and designers animated by new ideas and new technology. The lean, functionalist International-style architecture of Le Corbusier and Bauhaus eminences Ludwig Mies van der Rohe and Walter Gropius had been promoted in the United States during the 1930s by Philip Johnson and others. New building techniques, such as “post-and-beam” construction, allowed the International-style schemes to be realized on a small scale in open-plan houses with long walls of glass.

Materials developed for wartime use became available for domestic goods and were incorporated into mid-century modern furniture designs. Charles and Ray Eames and Eero Saarinen, who had experimented extensively with molded plywood, eagerly embraced fiberglass for pieces such as the La Chaise and the Womb chair, respectively. 

Architect, writer and designer George Nelson created with his team shades for the Bubble lamp using a new translucent polymer skin and, as design director at Herman Miller, recruited the Eameses, Alexander Girard and others for projects at the legendary Michigan furniture manufacturer. 

Harry Bertoia and Isamu Noguchi devised chairs and tables built of wire mesh and wire struts. Materials were repurposed too: The Danish-born designer Jens Risom created a line of chairs using surplus parachute straps for webbed seats and backrests.

The Risom lounge chair was among the first pieces of furniture commissioned and produced by legendary manufacturer Knoll, a chief influencer in the rise of modern design in the United States, thanks to the work of Florence Knoll, the pioneering architect and designer who made the firm a leader in its field. The seating that Knoll created for office spaces — as well as pieces designed by Florence initially for commercial clients — soon became desirable for the home.

As the demand for casual, uncluttered furnishings grew, more mid-century furniture designers caught the spirit.

Classically oriented creators such as Edward Wormley, house designer for Dunbar Inc., offered such pieces as the sinuous Listen to Me chaise; the British expatriate T.H. Robsjohn-Gibbings switched gears, creating items such as the tiered, biomorphic Mesa table. There were Young Turks such as Paul McCobb, who designed holistic groups of sleek, blond wood furniture, and Milo Baughman, who espoused a West Coast aesthetic in minimalist teak dining tables and lushly upholstered chairs and sofas with angular steel frames.

As the collection of vintage mid-century modern chairs, dressers, coffee tables and other furniture for the living room, dining room, bedroom and elsewhere on 1stDibs demonstrates, this period saw one of the most delightful and dramatic flowerings of creativity in design history.

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.

If the interiors people have been saving on Instagram lately are any indication, we’ll be seeing a lot more antique, new and vintage cane furniture in the years ahead.

Cane — the material of the moment that is inspiring a new generation of designers — has been cropping up everywhere, from sleek armchairs to lounge chairs, side tables and desks.

In case you’re wondering, cane refers to the peeled-off bark of rattan, an Old World species of climbing palm, while wicker may be used to describe natural or synthetic materials that were woven into a pattern. Raffia, another term thrown around when discussing woven furniture, refers to a palm tree native to tropical regions in Africa.

Of course, designers’ obsession with traditional artisanal techniques is nothing new. Marcel Breuer’s tubular Cesca chair, a design originally conceived in the 1920s, has drawn renewed attention in the past few years. And the popularity of materials like raffia and wicker reflects our desire for all things handmade.

Find a wide range of antique, new and vintage cane furniture on 1stDibs.

For get-togethers or large celebratory meals in your already sumptuous dining area, a charming and durable vintage, new or antique buffet, with its decorative and practical features, can truly elevate the experience.

Although often used as a synonym for “sideboard,” a buffet technically possesses a tiered or shelved superstructure for displaying decorative kitchenware. The term derives from buffet à deux corps, a piece that is seen mostly in French Provincial furniture. And while the terms “case pieces” and “case goods” may cause even the most decor-obsessed to stumble, these furnishings — which include buffets, credenzas, cupboards and other must-have items — have been a vital part of the home for centuries.

Buffets are the ideal place to keep serveware and larger serving pieces that you’d rather have tucked away when not in use. They’re typically long and low and can be the perfect option for serving food as well as storing your porcelain and making your space tidy and organized. Feel free to dress up your buffet between meals with decorative objects or stacks of art books.

A buffet can be positioned in your living room, entryway or hall if space allows. But if you intend to permanently pair your case piece with your dining room table, when shopping for your vintage buffet you’ll definitely want to think about your dining room’s space restrictions. Allow for at least two feet of space between your buffet and your table so that guests can easily move to and fro as needed, and a buffet that is convenient for serving food should be as high as a kitchen counter if possible.

If you’re looking for inspiration for your home bar or dining area, find Art Deco buffets, mid-century modern buffets, Hollywood Regency buffets and other varieties on 1stDibs today.