Midcentury Modern Round Table in Hardwood & Granite by Jorge Zalszupin, Brazil

Available today, this Brazilian Modern Mid-Century Modern dining table entirely made in Hardwood by Sergio Rodrigues, 1960s is not only extremely rare but spectacular! The name of this model is “Alex” and is made entirely in Brazilian Rosewood & Rosewood veneer featuring a wood structure with “X” shape and a tabletop also in rosewood. The table has been refinished and the tabletop has been beautifully foliated with old rosewood veneer too. The table is showcased in our gallery next to four delicate Giuseppe Scapinelli dining chairs also in Rosewood contrasting nicely and highlighting the jacaranda in a beautiful way. This midcentury gem would look great in any Mid-Century Modern, or postmodern type environment and the iconic design and Size will make this desk an absolute must in everyone’s Mid-Modern Century collection. For the history buffs here, it goes…Sergio Rodrigues started working in the 1950s when the foundations of modern Brazilian architecture were already laid out, yet furniture design was still nascent. Rodrigues set himself the task of designing furniture that was both truly Brazilian and modernist at the same time. Over the course of his career, he accomplished this task by defining a robust, modern, and pure language reflected in his work. Literature: Copy of Oca’s manufacture manual showcasing the actual Alex model Sergio Rodrigues book...

Joaquim Tenreiro- 1950. This magnificent dining table features a round top, cross bars and four curved legs entirely made in Caviuna wood and Caviuna veneer. All pieces are original ...

Available today, I love everything about this Midcentury Modern Circular Dining Table in Hardwood by Geraldo de Barros. This hardwood, m...

Available today, Giuseppe Scapinelli’s iconic Maracanã coffee table is made of Brazilian Rosewood, as known as Jacaranda and travertine. The top has a circular wood base that holds t...

Designed in 1960 by Sergio Rodrigues, this modern dining table is made of Rosewood (Jacaranda). Created by Sergio Rodrigues in 1960, the round dining table, named as "Alex" has th...

TL30 table with a round top in wood and a base in black lacquered metal, designed by Franco Albini and produced by Poggi in the 1950s. After spending his childhood and part of his youth in Robbiate in Brianza, where he was born in 1905, Franco Albini moved with his family to Milan. Here he enrolled in the Faculty of Architecture of the Polytechnic and graduated in 1929. He starts his professional activity in the studio of Gio Ponti and Emilio Lancia, with whom he collaborates for three years. He probably had his first international contacts here In those three years, the works carried out are admittedly of a twentieth-century imprint. It was the meeting with Edoardo Persico that marked a clear turning point towards rationalism and the rapprochement with the group of editors of “Casabella”. The new phase that that meeting provoked starts with the opening of the first professional studio in via Panizza with Renato Camus and Giancarlo Palanti. The group of architects began to deal with public housing by participating in the competition for the Baracca neighborhood in San Siro in 1932 and then creating the Ifacp neighborhoods: Fabio Filzi (1936/38), Gabriele D’Annunzio and Ettore Ponti (1939). Also in those years Albini worked on his first villa Pestarini. But it is above all in the context of the exhibitions that the Milanese master experiments his compromise between that “rigor and poetic fantasy” coining the elements that will be a recurring theme in all the declinations of his work – architecture, interiors, design pieces . The opening in 1933 of the new headquarters of the Triennale in Milan, in the Palazzo dell’Arte, becomes an important opportunity to express the strong innovative character of rationalist thought, a gym in which to freely experiment with new materials and new solutions, but above all a “method”. Together with Giancarlo Palanti, Albini on the occasion of the V Triennale di Milano sets up the steel structure house, for which he also designs the ‘furniture. At the subsequent Triennale of 1936, marked by the untimely death of Persico, together with a group of young designers gathered by Pagano in the previous edition of 1933, Franco Albini takes care of the preparation of the exhibition of the house, in which the furniture of three types of accommodation. The staging of Stanza per un uomo, at that same Triennale, allows us to understand the acute and ironic approach that is part of Albini, as a man and as a designer: the theme addressed is that of the existenzminimum and the reference of the project is to the fascist myth of the athletic and sporty man, but it is also a way to reflect on low-cost housing, the reduction of surfaces to a minimum and respect for the way of living. In that same year Albini and Romano designed the Ancient Italian Goldsmith’s Exhibition: vertical uprights, simple linear rods, design the space. A theme, that of the “flagpole”, which seems to be the center of the evolution of his production and creative process. The concept is reworked over time, with the technique of decomposition and recomposition typical of Albinian planning: in the setting up of the Scipio Exhibition and of contemporary drawings (1941) the tapered flagpoles, on which the paintings and display cases are hung, are supported by a grid of steel cables; in the Vanzetti stand (1942) they take on the V shape; in the Olivetti store in Paris (1956) the uprights in polished mahogany support the shelves for displaying typewriters and calculators. The reflection on this theme arises from the desire to interpret the architectural space, to read it through the use of a grid, to introduce the third dimension, the vertical one, while maintaining a sense of lightness and transparency. The flagpole is found, however, also in areas other than the exhibition ones. In the apartments he designed, it is used as a pivot on which the paintings can be suspended and rotated to allow different points of view, but at the same time as an element capable of dividing spaces. The Veliero bookcase...

Osvaldo Borsani, Tecno T41 round rosewood table, dining or coffee table, Italy, 1958 It is one of the most elegant and refined tables of 1950s Italian desig...

Round dark walnut finished table with glass top by Osvaldo Borsani, c.1960s walnut finish with plum painted glass Additional information: Dimensions: H 78 x D 124 cm