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Mid-CenturyModern Desk in Hardwood by Jorge Zalszupin for L’atelier, c. 1960s

Name: Mid-CenturyModern Desk in Hardwood by Jorge Zalszupin for L’atelier, c. 1960s
Brand: Jorge Zalszupin
Price: 12000 USD
Availability: InStock

About the Item

Available today, this Mid-Century Modern Desk in Hardwood by Jorge Zalszupin for L’Atelier in the sixties is stunning! This beautiful desk is made in solid Brazilian Rosewood, known as Jacaranda and has two floating drawers with metal handles. The smooth wood patterns on the top of table are called “Acortinado” or “Curtain” as they resemble theatre curtains. The piece has been refinished and is in excellent condition. These desks were conceived to attend Brazil’s growing market of office furniture. The last images showcase how the modular pieces where conceived. We also have file cabinets and armchairs from the same collection in case of interest. The desk would look wonderful in a Mid-Century Modern or contemporary styled environment. In regards the author Jorge Zalszupin (1 June 1922 – 17 August 2020) was a Polish-born Brazilian architect and designer who founded L’Atelier, in São Paulo, beginning with craftwork and soon after, to the production in series. His work as an architect created a demand for decoration and furniture proposals that suited the style of his projects and, for many years, Zalszupin designed and executed them for his clients. The demand was as great as the desire to grow and expand his business, and he then decided to start L’Atelier Móveis in November 1959. Graceful lines, strong use of local woods and a combination of impeccable woodworking and classical detailing mark Zalszupin’s furniture. He became part of a select team of talented furniture designers, who worked closely with Oscar Niemeyer on the conception and production of furniture for the new Federal capital. A significant part of Zalszupin's furniture production is tributary to his architecture. He used new design language and tendencies, while maintaining a functional view of Ambience for internal spaces. L’Atelier was a design collective of architects, engineers, craftsmen, and a full-scale team of professionals that did everything from researching materials to finalizing the product. Jorge Zalszupin has developed some of the most iconic models in Brazilian Modern furniture and has grown a lot in popularity in the last few years. The “Petala” Coffee table, “Paulistana” armchair or the “Brasiliana” sofa are also some of his famous pieces. So, if you’re looking for a Brazilian Modern collectible, look no further, this is the opportunity. About Brazilian rosewood, also called Jacaranda, is perhaps one of the most beautiful woods in the world. It is regarded as one of the finest tone woods; hard, stiff, and highly resonant with a glass-like ring that sustains; it has a floral scent, like roses, thus the name. However, extensive overlogging over the past three centuries has virtually eliminated this tree from the Brazilian forests, so that today it is not supposed to be logged. The only Material that can be sold legally is old stock. By owning a vintage piece made of old Jacaranda, you’re not only getting a beautiful collectible but also helping this species to recuperate. Size: H65, W128, D76 (cm) H25.6, W50.4, D29.9 (inches) Literature: • 1960s ads in Casa e Jardim Magazine (Brazil) • Jorge Zalszupin book • Brazilian Modern by Aric Chen, p. 231.

Creator:

Jorge Zalszupin (Designer)

Dimensions:

Height: 25.6 in (65.03 cm)Width: 50.4 in (128.02 cm)Depth: 29.9 in (75.95 cm)

Style:

Mid-Century Modern (Of the Period)

Materials and Techniques:

Formica,Hardwood,Metal

Place of Origin:

Brazil

Period:

Mid-20th Century

Date of Manufacture:

1963

Condition:

Refinished. Wear consistent with age and use.

Seller Location:

New York, NY

Reference Number:

Seller: 41stDibs: LU7095231223342

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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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