Jorge Zalszupin 'Senior' Armchairs, Brazil, 1960s-1970s
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Jorge Zalszupin 'Senior' Armchairs, Brazil, 1960s-1970s
About the Item
- Creator:Jorge Zalszupin (Designer)
- Dimensions:Height: 34.26 in (87 cm)Width: 28.75 in (73 cm)Depth: 26.38 in (67 cm)Seat Height: 18.12 in (46 cm)
- Sold As:Set of 2
- Style:Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1960s-1970s
- Condition:Wear consistent with age and use. Leather has some marks and scratches.
- Seller Location:Utrecht, NL
- Reference Number:Seller: 201700201stDibs: LU2947318705372
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.
Find vintage Jorge Zalszupin furniture on 1stDibs.
- Jorge Zalszupin Modular Shelving System for L’Atelier, Brazil, 1960sBy Jorge ZalszupinLocated in Utrecht, NLThis gorgeous multi-level shelving system was designed and manufactured by the Brazilian design icon, Jorge Zalszupin and his company, L’Atelier. When it comes to Zalszupin’s line of modular pieces (Modulados Compiníveis), simplicity and clarity are the main characteristics. Similarly to Danish production, treating the wood with special care was a core concept for Zalszupin. The versatile industrial design of these pieces offers a variety of typologies and combinations of modules that can be creatively combined to satisfy every need and interest. The pieces include drawers as well as diverse consoles with doors that feature locks. These modular pieces made by L’Atelier follow the idea of Louis Sullivan: “form follows functions”, which is exemplified by this piece. The modules are made of the Brazilian wood ‘caviuna’ with a beautiful finish in wood-block collage. The six wooden legs support the units in an understated way, leaving the units to be the main visual pieces. The pieces feature “inverted” handles in pairs, that are distinctive of Zalszupin, and contribute to the elegant and modern look of this shelving system. Condition: In good vintage condition. Wear consistent with age and use. Some modules have some small scratches and marks. Dimensions: 98.42 in W x 15.95 in D x 104.33 in H 250 cm W x 40.5 cm D x 265 cm H About the designer: Jorge Zalszupin was born in Warsaw, Poland, in 1922. He graduated as an architect in Romania in 1945. His importance for Brazilian design has been articulated in several publications so far. In addition to being the owner of the l'Atelier furniture factory of modern furniture, Zalszupin led a unique initiative: he coordinated a team of designers working for four different factories in the same business group, the Forsa Group. Zalszupin immigrated to Brazil in 1949 and after a brief stay in the capital, he settled in São Paulo, a city that was then entering a cycle of great industrial growth and great cultural transformations. In the first half of the 1950s, he opened an architecture office, having José Gugliota as a partner. When he got tired of designing exclusive furniture manufactured for his clients' homes, he decided to join a group of woodworkers and started to produce smaller series. This was how l'Atelier came into being, which eventually began to manufacture office furniture and went from a carpentry shop with handcrafted products to an industry with serial production. The first piece in this series was an armchair nicknamed 'Danish' by employees. It was first created in 1959. In the early 1970s, because of serious financial problems, l'Atelier was sold to a business group. The sale was finalized with Zalszupin's 'pass' as director of product research and development. Thus, Zalszupin expanded the team of designers - which already had Oswaldo Mellone - incorporating Paulo Jorge Pedreira and Lílian Weimberg permanently. The designers named the new group Forsa, and started to act as a sort of creative laboratory. The technical possibilities offered by four distinct industrial plants were enhanced by the team of designers. In this way, Hevea, which produced plastic commodities, won a very sophisticated product line in design and established a brand: Eva, for household items, sold in supermarkets. L'Atelier itself started using injected plastic, producing partition panels...Category
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