Miniforms Lab Seating

Four legs stool naturel by Arno Declercq Dimensions: W 32 x D 32 x H 50 cm Materials: African walnut Arno Declercq Belgian designer and art dealer who makes bespoke objects wi...

Available now, this beautiful pair of Brazilian Modern armchairs are made of ebonized Pau Marfim hardwood & white leather in buttone style. The structure is composed of curved arms & feet, and were designed by Joaquim Tenreiro in the 1940’s. The wood joints are composed of delicate wood pins in Pau Marfim also, which were typically used by the artist at the time. Sold as set of two. For the restoration process, both armchairs where dissembled to understand their condition and to restore them following Tenreiro’s technique. This is shown in the last 3 images. The set comes from a private residence in Copacabana, Rio de Janeiro. This mid-century modern pair would look incredible in any modern, mid-century modern, boho chic or contemporary environment. Joaquim Tenreiro (1906–1992) was among the leading furniture designers and visual artists in mid-20th century Brazil. Tenreiro was born in Melo, Gouveia Municipality, Portugal into a family of woodworkers and carpenters. In the late 1920s, he emigrated to Rio de Janeiro and began working for the firm of Laubisch & Hirth. In the early 1940s, Tenreiro was among the first designers in the Brazilian furniture industry to adopt a European modernist vernacular. His initial efforts, including the 1942 "Poltrona Leve," met with considerable success, and in 1943 he established his own firm with factories in Rio de Janeiro and São Paulo. However, it was not until the 1950s that he began to be recognized as a master furniture designer in Brazil. His design philosophy found a great response with architects who supported modernism. A forerunner in the use of rediscovered raw materials (like cane and jacaranda -Brazilian Roswood) as well as the creator of a new formal language in 20th-century Brazilian furniture design, he drew on the lessons of past furniture-making as a vital source, not only in the mastery of technical and constructive solutions but also in the aesthetic experience, craftsmanship, and the cultural meaning of his production. As a result, his exquisitely crafted pieces evoke a refined coexistence of traditional values and modern aesthetics, firmly bound to the Brazilian cultural milieu. Literature: • Arquitetura e Decoracao, no. 12, Jul-Aug 1955 • Tenreiro book...

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