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Set of 7 Itamaraty Dining Chairs in Original Condition By Jorge Zalszupin, 1959

About the Item

In 1959, Jorge Zalszupin conceived a piece, for L'atelier that encapsulates comfort and elegance. Crafted with a wood foundation, this creation boasts a graceful leather back and seat adorned with exquisite stitching. Notably, the term 'Itamaraty,' rooted in Indigenous heritage, not only graces this piece but also lends its name to Brasilia's illustrious Itamaraty Palace—a residence for Brazil's Ministry of Foreign Affairs. The artistic legacy of Jorge Zalszupin, extending from 1922 to 2020, emerged as a beacon of versatility during the late 1950s and early 1960s. His designs symbolize a pivotal shift from the realm of artisanal craftsmanship to the realm of mass industrial production—a metamorphosis indicative of his era. The piece restoration is Integrated into the price, enveloping woodwork and upholstery. This inclusive facet affords clients a bespoke dimension as they select their favored fabric — a personalized stroke that harmonizes with the spirit of this remarkable creation.

Creator:

Jorge Zalszupin (Designer)

Dimensions:

Height: 32.01 in (81.31 cm)Width: 19.22 in (48.82 cm)Depth: 19.69 in (50.02 cm)Seat Height: 17.92 in (45.52 cm)

Sold As:

Set of 7

Style:

Mid-Century Modern (Of the Period)

Materials and Techniques:

Leather,Rosewood

Place of Origin:

Brazil

Period:

Mid-20th Century

Date of Manufacture:

1959

Condition:

Minor losses. Minor structural damages. Two pieces have undergone an intervention involving the insertion of a wooden stick into the central area of the seat structure. This alteration was not part of the original project's design and will be meticulously reversed during restoration.

Seller Location:

São Paulo, BR

Reference Number:

1stDibs: LU6930235727212

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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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