Brazilian Modern Masters

BE MODERN XX Century Design Collection

1 Brazilian Modern Masters

An exhibition curated by Be Modern - XX Century Design Gallery and Galerie Le Beau

Brussels, 23 September - 4 November 2016

BE MODERN XX Century Design Collection “Strongly influenced by Scandinavian design, I moved from Europe to Brazil, a country without modern design culture. I soon discovered that there was just a handful of furniture stores in Sao Paolo. When I started working as an architect, I had to create customized fixtures to fit the modern homes. I realized that the market needed new players, able to supply contemporary furniture for contemporary environments. From designing a chair for a client and an armchair for another, I decided to design and produce small series of each piece. This was the beginning of L’Atelier...

Today, I am thrilled to see that some of my favorite original pieces were selected for this exhibition.”

Jorge Zalszupin Introducing “Brazilian Modern Masters”

The origins became a reference point for the designers themselves. This was the In 1930 Gregori Warchavchik, development of modern Brazilian art starting point of the furniture industry an architect born in Odessa and and architecture and the preparatory in Brazil. educated in Rome, presented his ground for the creation of Brasilia. “casa modernista” to the Sao In 1942, Niemeyer commissioned The Brazilian modernist designers Paolo emerging “intelligentia”. the Portuguese-born Joaquim were showcasing a completely His project was a manifesto of the Tenreiro to design the furniture for a new lifestyle, through modern European architecture influenced by private house in Cataguases, in the furniture pieces, made of wonderful the Bauhaus and it was perceived Minas Gerais. This was probably the Jacaranda, Imbuia wood, leather, and as revolutionary by the traditional starting point of the “global design” other materials such as woven cane, Brazilian society. Fully furnished approach Niemeyer and his peers perfect for the Brazilian climate. with custom designed furniture and adopted widely in the 1950’s and Encouraged by the Brazilian wealthy lighting, the “casa” of Warchavchik 1960’s. and daring elite and thanks to the was probably the first project of In fact Niemeyer himself designed creative freedom, this group of “total design” ever seen in Brazil, very few furniture pieces. He designers gave life to a number where the bourgeois model of dedicated himself to architecture, of extraordinary interiors, in line classical furniture, all about velvet, calling often upon Tenreiro and later with the avant-garde architecture Louis XVI imitations, heavy and upon Rodrigues and others to create of Niemeyer, Lucio Costa, Lina Bo elaborate carved wood chests and the furniture for his projects. Bardi, Joao Vilanova Artigas, Mendes armchair, was dominant. da Rocha, Affonso Eduardo Reidy In fact, before the second World The European influence and Osvaldo Bratke. The “total War, only Warchavchik and a handful After the Second World War, a large design” concept was extended to of European immigrants, like John number of immigrants arrived in the exuberant Brazilian nature, with Graz, Lars Segall and later Joaquim Brazil from the devastated Europe. a number of marvelous private and Tenreiro, attempted to challenge They were full of fresh ideas and public landscaping projects, created the dominating classical and colonial ready to embrace the Brazilian by Roberto Bourle Marx. furniture codes and the stuffy interior language and specificity. Architects In 1964, after nearly 20 years of design style. such as Lina Bo Bardi, Jorge Kubicek enlightened presidency, a They were the first group of Zalszupin, Jean Gillon, the Hauner military coup silenced the Brazilian architects and designers who family, Martin Eisler soon met the intellectual and cultural elite and sent searched inspiration in the rich “true” Brazilians: Oscar Niemeyer to exile people like Niemeyer and natural materials of Brazil, applying and Sergio Rodrigues. Together they many other artists and designers. the contemporary Bauhaus took advantage of the incredible A slow democratization process guidelines such as simplicity and opportunities offered by both the started in 1985 but it was only in functionalism. Brazilian natural resources and a the late 1990’s that the Brazilian young, developing economy, giving Modernist design was brought back Kubitschek encounters Niemeyer birth to the Brazilian Modernism. to international attention. In 1940 Juscelino Kubitschek, the future Brazilian president, became The Kubitschek Golden Age Brazilian Masters Exhibition Mayor of Belo Horizonte. Visionary In the 1950’s Brazil was a mature This exhibition is dedicated to the and passionate about urban design, ground, ready to embrace new vivid creativity, expressivity and Kubitschek promoted the project ideas, new products and a new craftsmanship of the generation of an artificial lake, “Lagoa da cultures, under the enlightened and of Brazilian Modernist Masters. Pampulha” and called upon Oscar daring rule of Juscelino Kubitchek, It includes important designs by Niemeyer, the rising star of Brazilian elected president in 1956. Joaquim Tenreiro, Sergio Rodrigues, architecture, to design several Bossa Nova, Cinema Novo, the Giuseppe Scapinelli, Jorge Zalszupin, buildings around the lake. For this new capital city Brasilia, were all Carlo Hauner, Jean Gillon and John project, Niemeyer conceived some aspects of an innovative cultural life, Graz. The unique and iconic pieces of his early masterpieces: The experimenting new languages and presented are a rare testimony of a Church of Saint Francisco d’Assisi, new aesthetics codes. historical moment during which Brazil the Art Museum and the Casa do In those years Tenreiro, Rodrigues, produced extraordinary pieces of Baile. Paintings by Portinari and Zalszupin and the Hauners opened furniture, and illustrates the “Brazilian sculptures by Ceschiatti, Zamoiski their own stores both in Rio de way” to contemporary living. and José Pedrosa, gardens designed Janeiro and Sao Paolo. by Roberto Burle Marx, completed The showrooms displayed beautiful and enhanced this extraordinary furniture, produced by skilled Cinzia Ferrara and Monika Unger project. The group of buildings, craftsmen in workshops or small Curators, Be Modern - XX Century the landscape, and the artworks factories, often managed by the Design Collection

6 7 The “Modernos Brasileiros”

Many of the founding fathers of Today, the contribution of the Brazilian Modernism were modernism in architecture and European by origin or education. design is considered an essential Arrived in Brazil in the 1920’s, they part of Brazilian cultural heritage. brought along the vision of European The technical and aesthetic Modernist Architecture with its innovations brought by these artistic and social movements. pioneers, still represent the These new architectural concepts benchmark for the younger were demanding for a change in the generation of Brazilian Designers. furniture design too, as the classical style did not fit with the modern This exhibition is a unique occasion shapes and spaces any longer. for the European public to discover some of the most important The “Semana de 22” Art Fair (Sao historical design figures of the Paulo, 1922) introduced modernity in “Modernos Brasileiros”. fine arts and laid the ground for the transformation of the arts in Brazil. There was a strong resistance to Consuelo Cornelsen these new ideas by the bourgeois Curator, Museu do Oscar Niemeyer and provincial Brazilian society, who Curitiba rejected the modernist aesthetics but the evolution of the lifestyle and taste, together with the economic development, opened the way to radical changes in the Brazilian society.

Designers and architects arriving from Europe gradually assimilated the Brazilian soul, its creativity, aesthetics and expressions. They learned about the richness of Brazilian wood. They became truly Brazilian designers.

8 9 Jorge: the contribution of a true modernist

Brazilian design is about If I look at my fathers work, I see understanding the specificity of the how well he combined his European tropics, the heat, the music, the sun. background and education with the Brazil, far away from the Second Brazilian way of life. World War turmoil, welcomed the He enthusiastically embraced his European immigrants with the new homeland and engaged himself typical Brazilian lightheartedness in the construction of the Brazilian and optimistic approach to life. new aesthetics. The furniture lines became curvy, sensual, comforable and seductive. My father, Jorge Zalszupin, is now Jacaranda, the magnificent Brazilian 94 years old. He lives with his wife rosewood, dark but with light Annette, surrounded by his designs, flames, was used extensively by all books and objects, in the modernist designers. Jacarandà structure would house he designed for our family in then be combined with cane, leather, 1961 in the Jardims neighborhood of suede and sometimes linen, to Sao Paolo. create beautiful, harmonious pieces. I am truly proud to see some of my Jorge created l’Atelier in order to father’s most important designs make sure that his designs were being part of the “Brazilian Modern engineered, crafted and produced Masters” exhibition. to his specifications. He was a creative mind but also a talented and innovative entrepreneur. Veronica Zalszupin

10 11 Galerie Le Beau welcomes the Brazilian Masters

With Be Modern’s gallery owners, Brazilian designers share with Monika Unger and Cinzia Ferrara, Scandinavian cabinet makers, the we share a passion for great and use of refined, rich and luminous historical designs, and a keen sense material such as rosewood, leather of beauty. It was a natural step for us and cane, the relaxed comfort of to navigate through their collection, which reminds us of a vibrant and and together, curate a show diverse local culture, itself the dedicated to the Brazilian Masters product of synthesis. such as Joaquim Tenreiro, Sergio Rodrigues and Jorge Zalszupin. We hope our selection will pay tribute to the talents of these Since the 1930s and especially Masters, and that you will be during the 1950s and 1960s, the astonished and seduced. creators of Brazilian furniture went about inventing a modernist style, and drew upon the rich essence of Céline Robinson and Brazilian wood, a lot of which is now Stanislas Gokelaere protected. Owners, Galerie Le Beau

Strongly influenced and inspired by Scandinavian designers, it was only logical to show Brazilian Modern Masters of Design to our friends and collectors.

12 13 Tropical Modernism: the photographer’s view

I usually say that the essence of the Today, I believe that the Mid Brazilian identity is the “absence Century Brazilian furniture is more of characteristic”. In fact (not to be contemporary than ever. Bringing misunderstood by my co-citizens), back the memories of my childhood, the original culture of Brazil comes these pieces represent the vision of from its native inhabitants, the today’s beauty and modernity. Indios. I had the opportunity to use for Our modern Brazilian culture was this shooting the house of Sergio shaped by the successive waves of Colantuoni, an “unlimited” collector. arrivals of foreigners who, for very I found there a range of objects that different reasons and from very helped me constructing “timeless” different horizons, came and create images: somewhere in time, no time the modern Brazil. in particular, maybe in all times… This unique melting pot was the In this context I tried to recreate humus where our country culture a “transversal” point of view grew. What I call the “absence of illustrating the “absence of characteristic” is in reality a strong characteristic” so strong and so truly and recognizable identity. Brazilian.

Throughout the 20th Century, View of love and Contemplation. the successive waves of new immigrants, and the thrive of the Brazilians for modernity shaped Ruy Teixeira the birth of “Tropical Modernism”, Photographer a movement, which produced treasures and masterpieces such as the pieces I had the chance to stage and photograph for Be Modern. They represent a “design intelligence” with ideas, aesthetics and craftsmanship in their highest expression.

14 15 Designers

Sergio Rodrigues Joaquim Tenreiro Giuseppe Scapinelli John Graz Carlo Hauner Jorge Zalszupin Jean Gillon

16 17 Sergio Rodrigues

Sergio Rodrigues was born in Rio de The “Mole” and “Sheriff” chairs Janeiro in 1927 in a family of artists won the Italian design awards at the and intellectuals. He graduated in “Triennale” fairs in 1957 and 1958. architecture from the Facultade Nacional de Arquitetura in 1952. Rodrigues actively participated in the construction of Brasilia, In the 1950’s, Rodrigues met working with Niemeyer and Costa some of the European designers and creating furniture for several immigrated to Brazil after the Second official buildings. Still very creative World War. Among them were the and prolific in his late years, in 2003 Hauner brothers, Carlo and Ernesto, Rodrigues designed the famous and Lina Bo Bardi. and successful “Diz” chair, an emblematic example of his talent. In 1954 the young Rodrigues, opened the first modern art and Rodrigues combined exceptional furniture store in Curitiba. In 1955 traditional woodworking capabilities he founded “Oca”, the company with contemporary, original design dedicated to the production of his and proportions. His unique style designs. Oca is the local name for a made him the ambassador of cabin, used by Native Brazilians. The Brazilian culture and the icon of company name and its objectives Brazilian modernism. illustrated Rodrigues commitment to the expression of Brazilian identity in Sergio Rodrigues died in 2014 in his furniture pieces. Rio de Janeiro.

Rodrigues quickly became an important player in modern furniture design in Brazil. One of his most famous designs is the “Mole”, a lounge chair made in leather and wood, with an innovative fit and upholstery which is is still a source of inspiration nowadays.

18 19 Joaquim Tenreiro

Joaquim Tenreiro is without a doubt His career continued designing the founding figure of the Modernist mainly tailored made furniture for Brazilian furniture design. Born in important private homes, offices Melo, Portugal, he was extremely and official buildings. He developed familiar with woodwork as both a language adapted to tropical his father and grandfather were high temperatures, with extensive cabinetmakers. use of woven cane (instead of previously dominant velvet) and In 1928 he moved to Brazil and Brazilian woods, which he used started to work as furniture designer with extraordinary skills. creating for various manufacturers. In the a unique sense of lightness and early 1940s he founded his own beauty. company, Langenbach and Tenreiro. His work increasingly gained In 1967 he decided to dedicate his recognition and Tenreiro started time exclusively to fine arts and a steady collaboration with became internationally known as a Oscar Niemeyer designing linear painter and sculptor. and essential furniture for new contemporary homes. The first The father of modern furniture modern piece of furniture designed design in Brazil Joaquim Tenreiro for Niemeyer dates 1942; it was died in 1992 leaving us an important made for a home in Cataguazes, legacy of elegance, personal style Minas Gerais state. and innovation.

20 21 Giuseppe Scapinelli

Giuseppe Scapinelli was born in His name quickly gained recognition 1891 in Reggio Emilia, Italy. for the stylish, curvy and innovative Graduated in Architecture in 1941, design and perfectly crafted and Scapinelli spent the entire period finished furniture. He designed and of the Second World War inside a produced many unique pieces for furniture store, studying the styles distinctive Sao Paolo homes. of furniture of that time. With his Italian style, always in a In 1948, “Peppe” decided to leave suit and tie, with his pipe in his Italy and moved to Sao Paolo in mouth, Scapinelli was an Italian in Brazil. He worked as an architect love with Brazil. He was also a great for one of the most influential ceramist and introduced ceramics personalities in Sao Paolo, the Count into his work. He never abandoned Matarazzo who introduced Scapinelli the classical values learned through to the most important Sao Paolo his rich experience in the Italian families. furniture industry.

In 1950 he opened his own studio Giuseppe died in Brazil in 1982. and workshop and began to work as an architect and decorator, producing the furniture pieces with an excellent team of Italian woodworkers.

22 23 John Graz

Artist, graphic designer, decorator He designed himself all the and architect, John Graz arrived accessories for his interior design in Brazil in 1920 from Geneva, works. His furniture was stylistically Switzerland where he studied Fine close to rationalism and to the Arts, architecture and design. Invited Scandinavian Design School. by Oswald de Andrade, he exhibited his early work during the week of Part of the social and cultural elite, Modern Art in 1922 (Semana 22). Graz was largely responsible for introducing the modern style in the Graz was a multi talented artist interiors of residences in São Paulo. and worked primarily in interior Wealthy and influential, his clients architecture creating furniture, were part of the first generation who sculptures, and houseware. The adopted the modernist aesthetics in concept underlying his work was a their domestic environment. synthesis of art and design, which he applied whether decorating the Graz died in 1980 leaving many interiors of high-class residences beautiful drawings, furniture or designing lamps, jewelry or designs, floor plans, sculpture sculptures. studies, travel diaries and notes. The complete collection is currently John Graz was a strong advocate of part of the newly founded Institute the Bauhaus concept according to John Graz, chaired by John’s wife, which applied arts should always be Anne Graz. integrated in the architectural project.

24 25 Carlo Hauner

Carlo Hauner was born in 1927 Forma became a large, modern, in Italy in a family of artists and furniture producer and took the designers and worked as a designer name of Mobilinea. Together with for the Milan Triennale. Martin Eisler, Carlo designed some truly stunning seating pieces. In 1948 the Hauner’s family moved Mobilinea expanded under the to Brazil. They were part of the direction of Ernesto and Georgia numerous European artists and Hauner, offering innovative intellectuals who arrived in Brazil residential and office furniture after the Second World War. Carlo products. Georgia Hauner worked met Sergio Rodrigues in Curitiba. as an editor and art director for They worked closely with other Editora Abril creating the first truly European architects who came to “modern” decoration magazine in Brazil such as Lina Bo Bardi, Martin Brazil. Eisler and Gregori Warchawchik. The Hauners were strongly influenced Carlo moved back to Italy in 1960. by the European modernism and He died in 1997. rationalism.

In In the early ‘50s, Ernesto and Carlo created the company Artesanal, later Forma, which reproduced the icons of the Bauhaus, under Knoll’s International license.

26 27 Jorge Zalszupin

Jerzy Zalszupin was born in Warsaw, In Brasilia, during the 60’s and 70’s, Poland, in 1922. In 1939 he escaped no public building was left without with his family to Bucharest where his mark. Within the Atelier, Jorge he studied architecture. At the created a truly innovative working end of the Second World War, his structure with designers, architects, family moved to France where engineers, craftsmen, and the full- Jorge worked on the housing scale support of professionals in reconstruction in the Northern materials research, manufacturing Region. and sales.

In 1949, he moved to Brazil, the only Zalszupin’s furniture reflects the country that granted the entry visa combination of modern constructive to his family. After many unfruitful standards, inspired primarily by the attempts to get a position in Rio Scandinavian modernist school, de Janeiro, Zalszupin moved to with graceful and darling lines, an Sao Paulo to work with a fellow- exceptional sense of detail and the countryman and architect Luciano knowledgeable use of local woods. Korngold. Today, Jorge Zalszupin is 94 and In the late fifties he opened his lives in Sao Paolo. own studio, he acquired Brazilian citizenship, and adopted the name “Jorge”. In 1959 he created l’Atelier, a company that designed furniture for both offices and residential use. His brand was very successful throughout Brazil and L’Atelier showrooms became a benchmark of modernity.

28 29 Jean Gillon

Jean Gillon (1919-2007) was born He created many beautiful in Romania. He studied fine arts houseware objects in Jacaranda, and earned his architecture degree produced by his company Italma. in Bucharest in 1942. He took He became very successful and specialization courses at Vienna’s exported his designs in 22 different Kunstgewerbschulle and at Leeds’s countries. Arts and Crafts School, where he later worked as visiting lecturer. As an architect, Gillon designed homes, stores and several luxury Already an experienced designer, in hotels. In 1992, he received the title 1956 he moved to São Paulo, where of Professional of the Year by ABD. he developed his practice in interior He was active as an ecologist architecture, fine arts and design. defending Embu in the State of São Two years later, in 1958, Gillon Paulo. founded “Italma Wood Art” and began to solidify his reputation as He died in 2007 in São Paulo, as a one of the top Brazilian furniture Brazilian citizen and a lover of the designers. His most famous piece land that had welcomed him. is his “Cadeira Jangada” chair and Ottoman, also called ‘Captain’s Chair’.

Gillon did not limit himself to furniture designs, but he also worked with textiles producing highly collectible tapestries usually one- of-a-kind pieces, based on gouache drawings.

30 31 Collection

Chairs Armchairs Lounge Chairs Sofas Tables Coffee Tables Benches Objects

32 33 2_01

Attributed to Joaquim Tenreiro Set of six dining chairs Circa 1960 Jacaranda (Brazilian rosewood) and leather Dimensions: 75H x 55 x 47cm

2_01

Attributed to Ernesto Hauner Set of six dining chairs Circa 1950 Jacaranda (Brazilian rosewood) and fabric Dimensions: 80H x 45 x 45cm

34 35 2_03 2_05

Giuseppe Scapinelli Giuseppe Scapinelli Set of six dining chairs Set of six dining chairs Circa 1955 Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and fabric and fabric Dimensions: 89H x 48 x 48cm Dimensions: 85H x 50 x 50cm

2_04 2_06

Sergio Rodrigues Attributed to Joaquim Tenreiro Set of six “University” dining chairs Set of three dining chairs Circa 1960 Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and fabric and cane Dimensions: 70H x 50 x 45cm Dimensions: 93H x 53 x 48cm

36 37 2_07 3_08

Joaquim Tenreiro Joaquim Tenreiro Set of six dining chairs Set of eight armchairs Circa 1960 circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and cane and cane. Dimensions: 80H x 50 x 45cm Dimensions: 76H x 51 x 57cm Bibliography: Bibliography: Soraia Cals, Tenreiro, Rio de Janeiro, Ronaldo do Rego Macedo and 1998, Bolsa de Arte, p. 126 Ascânio MMM, Joaquim Tenreiro: Madeira/Arte e Design, Rio de Janeiro, 1995, pp. 25, 54, 55, 93 Soraia Cals, Tenreiro, Rio de Janeiro, 1998, Bolsa de Arte, pp. 120, 23

2_011 3_09

Jorge Zalszupin John Graz Set of eight “Kanguru” chairs Armchair Circa 1965 Circa 1950 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and leather and fabric Dimensions: 80H x 52 x 55cm Dimensions: 70H x 55 x 55cm Bibliography: Bibliography: Jorge Zalszupin, Brazil Modern, Aric Chen, Design Moderno no Brasil. The Monacelli Press, p. 36 Maria Cecilia Loschiavo Dos Santos. Olhares, 2014, p. 102

38 39 3_10 4_12

Sergio Rodrigues Sergio Rodrigues Set of six “University” armchairs Tonico lounge chair Circa 1960 Circa 1963 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and fabric and fabric Dimensions: 75H x 55 x 55cm Dimensions: 90H x 80 x 90 cm Bibliography: Sergio Rodrigues, Soraia Cals Icatu, 2000, Rio de Janeiro, p. 58

3_11 4_13

Unknown designer Unknown designer Pair of high back armchairs Pair of “Slat” lounge chairs Circa 1960 Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and fabric and fabric Dimensions: 75H x 55 x 55cm Dimensions: 65H x 90 x 75cm

40 41 4_14 4_16

Unknown designer Sergio Rodrigues Pair of lounge chairs “Mole” lounge chair Circa 1960 Circa 1960 Jacaranda (Brazilian rosewood) Produced by OCA and fabric Jacaranda (Brazilian rosewood) Dimensions: 60H x 75 x 76cm and brown leather Dimensions: 90H x 80 x 80cm Bibliography: Sergio Rodrigues, Soraia Cals Icatu, 2000, Rio de Janeiro, pp. 134, 135

4_15 4_17

Sergio Rodrigues Jorge Zalszupin Pair of “Mole” lounge chairs “Paulistana” chaise longue Circa 1960 and footstool Produced by OCA 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and black leather and cream leather Dimensions: 90H x 80 x 80cm Dimensions: cm 90H X 94 X 90 Bibliography: Bibliography: Sergio Rodrigues, Soraia Cals Maria Cecilia Loschiavo dos Santos, Icatu, 2000, Rio de Janeiro, Jorge Zalszupin, Design Moderno pp. 134, 135 no Brasil, Éditions Olhares, São Paulo 2014, pp. 86, 87

42 43 4_18 4_20

Liceu de artes e Officios de Sao Paolo Percival Lafer Suspended lounge chair Pair of lounge chairs, model MP 173 Circa 1960 Circa 1970 Leather and Cavunia Jacaranda (Brazilian rosewood) Dimensions: 81H x 66 x 86cm and leather Bibliography: Dimensions: 60H x 68 x 63cm Cadeiras Modernas, catalogue, Artemobilia, Sao Paolo 2009, p. 25

4_19 4_21

Jean Gillon Percival Lafer “Jangada” chaise longue and footstool Pair of lounge chairs Model MP 173 Circa 1968 Circa 1970 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and leather and leather Dimensions: 85H x 90 x 90cm Dimensions: 90H x 79 x 77cm Ottoman: 35H x 67 x 41cm Biobligraphy: Movel Brasileiro Moderno, FGV Projetos, Editora Aeroplano, 2012, p. 256

44 45 4_22 4_24

Carlo Hauner Carlo Hauner with Martin Eisler Pair of lounge chairs Circa 1955 Circa 1960 Iron, mohair (reupholstered in “Teddy” Produced by Forma mohair from Pierre Frey) Jacaranda (Brazilian rosewood) Manufactured by Forma and fabric Dimensions: 102H x 79 x 92cm Dimensions: 58H x 62 x 65cm Bibliography: Forma catalogue, 1960’s Os modernos Brasileros, catalogue, Museu Oscar Niemeyer, 2010

4_23 5_25

Jean Gillon Sergio Rodrigues Jangada chaise longue “Tonico” sofa Circa 1968 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and fabric and leather Dimensions: 95,6H x 85 x 180cm Dimensions: 85H x 90 x 90cm Bibliography: Bibliography: Sergio Rodrigues, Soraia Cals Icatu, Movel Brasileiro Moderno, 2000, Rio de Janeiro, p. 94 FGV Projetos, Editora Aeroplano, 2012, p. 256

46 47 5_26 5_28

Unknown designer Attributed to Sergio Rodrigues Sofa Sofa Jacaranda (Brazilian rosewood) Circa 1960 and leather Jacaranda (Brazilian rosewood) Dimensions: 77H x 200 x 90cm and fabric Dimensions: 75H x 80 x 180cm

5_27 5_29

Unknown designer Persival Lafer Sofa Sofa, MP173 model Circa 1950 Circa 1970 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and leatherette and leather Dimensions: 65H x 220 x 75cm Dimensions: 80H x 170 x 70cm

48 49 5_30 6_32

Joaquim Tenreiro Unknown designer Sofa Dining table with central extension circa 1958 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) Dimensions: 75H x 190/220 x 100cm and cane Dimensions: 72H x 195 x 70cm Bibliography: Soraia Cals, Tenreiro, Rio de Janeiro, 1998, pp. 115

5_31 6_33

Joaquim Tenreiro Unknown designer Sofa “Presidencial“ Desk Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood), and marble leather, metal and fabric Dimensions: 75H x 160 x 90cm Dimensions: 63H × 192 x 88 cm Bibliography: Maria Cecilia Loschiavo dos Santos, Jorge Zalszupin, Design Moderno no Brasil, Éditions Olhares, São Paulo 2014, p. 120

50 51 6_34 6_36

Unknown designer Joaquim Tenreiro Round dining table Dining table Jacaranda (Brazilian rosewood) circa 1949 and marble Jacaranda (Brazilian rosewood), Dimensions: 75H x 105cm diam reverse-painted glass. Dimensions: 78H x 225 x 110cm Bibliography: Soraia Cals, Tenreiro, Rio de Janeiro, 1998, Bolsa de Arte, pp. 59, 91, 108

6_35 6_37

Giuseppe Scapinelli Jorge Zalszupin Dining table “Diplomata” executive desk Circa 1950 Circa 1974 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood), Dimensions: 78H x 84 x 160cm Jacaranda veneer, leather, brass. Dimensions: 72H x 190 x 90cm Manufactured by L´Atelier, Brazil. Underside with paper label “l’atelier.” Bibliography: Brazil Modern, Aric Chen, The Monacelli Press, p. 230, 231 L’Atelier sales catalogue, 1970s

52 53 7_38 7_40

Unknown designer Unknown designer Side table Side table Circa 1960 Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and glass and glass Dimensions: 50H x 38 x 54cm Dimensions: 40H x 40 x 40cm

7_39 7_41

Unknown designer Unknown designer Coffee table Side table Circa 1960 Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and marble and glass Dimensions: 32H x 70 x 40cm Dimensions: 40H x 60 x 120cm

54 55 7_42 7_44

Unknown designer Unknown designer Pair of side tables Side table Circa 1960 Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and glass and white marble Dimensions: 50H x 50 x 50cm Dimensions: 50H x 50 x 50cm

7_43 7_45

Unknown designer Attributed to Sergio Rodrigues Coffee table Side table-stool Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and cane and marble Dimensions: 45H x 42 x 42cm Dimensions: 35H x 90 x 50cm

56 57 7_46 7_48

Jorge Zalszupin Jorge Zalszupin Romana coffee table “Banco Onda”, bench Circa 1960 Circa 1960 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and white marble and metal Dimensions: 40H x 160 x 50cm Dimensions: 35H x 55 x 240cm Bibliography: Bibliography: Jorge Zalszupin, Design Moderno Maria Cecilia Loschiavo dos Santos, no Brasil, Éditions Olhares, Jorge Zalszupin, Design Moderno São Paulo 2014, p. 180 no Brasil, Éditions Olhares, São Paulo 2014, p. 180

7_47 7_49

Jorge Zalszupin Sergio Rodrigues “Banco Onda”, bench Banco “Mucki”, bench Circa 1960 Circa 1958 Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) and metal Dimensions: 42H x 60 x 260cm Dimensions: 35H x 55 x 300cm Bibliography: Bibliography: Sergio Rodrigues, Soraia Cals Maria Cecilia Loschiavo dos Santos, Icatu, 2000, Rio de Janeiro, p. 94 Jorge Zalszupin, Design Moderno no Brasil, Éditions Olhares, São Paulo 2014, p. 180

58 59 8_01 8_03

Jean Gillon Jean Gillon Pipe rack Tobacco pot Circa 1965 Circa 1965 Produced by Italma Wood Art Produced by Italma Wood Art Jacaranda (Brazilian rosewood) Jacaranda (Brazilian rosewood) Dimensions: 6H x 22 x 7cm Dimensions: 22H x 16diam/cm

8_02

Jean Gillon Pipe holder Circa 1965 Produced by Italma Wood Art Jacaranda (Brazilian rosewood) Dimensions: 4H x 12 x 7cm

60 61 62 63 Be Modern Galerie Le Beau

Be Modern is a project curated by Opened in 2014 in a historic house Cinzia Ferrara and Monika Unger, on the Place du Sablon, Galerie Le both architects and passionate and Beau is dedicated to the promotion knowledgeable collectors of mid of the great designers of the 20th Century Design. century.

Be Modern is committed to conserve Born from the passion of a French and promote 20th Century design collector of 20th fine and decorative heritage through initiatives that art and of a gallery director from include exhibitions, presentations, Paris, Galerie Le Beau is the result press activities and research. In of two complementary profiles that our activity we encourage the combine knowledge, experience collaboration with museums, art and rigor. Together they promote galleries and other dealers in order to decorative art, focusing on furniture share an original point of view about and lighting by designers from 1940’s modernist style. to 1970’s.

We offer our clients not only high Our selection includes rare works quality timeless design pieces but that combine refined craftsmanship also full consultancy in art direction, and timeless design. They present interior architecture and decoration. Scandinavian, American, French and All items in our collection are original, Italian designers, among others Hans unique pieces. Wegner and Poul Kjaerholm, George Nakashima, Jean Prouvé, Paolo We started collecting Brazilian Buffa… Modernist pieces in 2009, after an inspiring trip to Brazil. Throughout Our philosophy is to operate a the years, we were fortunate to symbiosis between art and design. spend time with Sergio Rodrigues Each exhibition is an eclectic and Jorge Zalszupin, and understand and original setting, in which the better their work. selection process is guided by concern for quality and rarity. Today, we are thrilled to show our Brazilian Collection, the largest in The objective is to create a dialogue Europe, to the Belgian collectors. between design, lighting and art, as well as presenting works of art in a living environment. Cinzia Ferrara and Monika Unger Curators, Be Modern - XX Century Design Collection Céline Robinson and Stanislas Gokelaere Owners, Galerie Le Beau

64 65 Credits:

Edited by Be Modern

Introduction: Cinzia Ferrara and Monika Unger

Graphic design: Riccardo Festa, Creative Communications

Photo credits: Photography by Ruy Teixeira Product photography by Clarence Gorton and Max Pintus

We wish to thank Stanislas Gokelaere and Céline Robinson, founders of Galerie Le Beau Special thanks to Sergio Colantuoni, Giuseppe Trigano and Tommaso Pozzato

www.bemodern.net [email protected]

©Be Modern 2016 All rights reserved

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