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L'Atelier Rosewood Credenza by Jorge Zalszupin, Brazilian Midcentury, 1960s

Name: L'Atelier Rosewood Credenza by Jorge Zalszupin, Brazilian Midcentury, 1960s
Brand: Jorge Zalszupin
Price: 26400 USD
Availability: InStock

About the Item

This Rosewood Credenza, designed by Jorge Zalszupin (1922-2020) and manufactured by L'Atelier in the 1960s, is a great way to have the diversity of different tones of Rosewood in just one piece. Zalszupin's work as a designer, entrepreneur, and manager is an example of a transition process from the artisanal production mode, with unique and custom pieces, to serial industrial production. This credenza is part of a series with several options of elements presented as "modulated units.” The clients could choose how to assemble it to create the final furniture piece according to their taste: the number of drawers, doors, and shelves, or opt for specific compartments, such as units for radio speakers. The credenza is entirely covered with rectangular pieces of marquetry wood, a creative resource developed by Zalszupin. The technique consists of gluing several pieces of rosewood veneers of different textures and shades on a furniture surface, forming a beautiful wood patchwork. This feature allows large surfaces to be coated with a better unit, making it easier to combine different furniture.

Creator:

Jorge Zalszupin (Designer)

Dimensions:

Height: 28.12 in (71.4 cm)Width: 78.94 in (200.5 cm)Depth: 15.75 in (40 cm)

Style:

Mid-Century Modern (Of the Period)

Materials and Techniques:

Rosewood,Patchwork

Place of Origin:

Brazil

Period:

1960-1969

Date of Manufacture:

1960s

Condition:

Refinished. Wear consistent with age and use. The piece is in very good vintage condition.

Seller Location:

New York, NY

Reference Number:

Seller: BO.JZP.013-0011stDibs: LU3979131257792

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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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