ESPASSO NY just received stunning vintage pieces from Brazil! Included are a much sought after pair of Martin Eisler’s armchairs ca. 1955, with Eisler’s signature delicate metal frame and wooden arm inserts, a spectacular pair of armchairs by Rino Levi, ca. 1960 and an original Mole sofa by Sergio Rodrigues. Freshly arrived are also a pair of unattributed 1960’s vintage chairs, reminiscent of Lina Bo Bardi’s or Sergio Rodrigue’s slouchy lines and ease. Desirable for their uniqueness and historical relevance, ESPASSO continues to bring to the US the legacy of Brazilian modernism through original furniture pieces by some of Brazil’s most celebrated designers.
Martin Eisler (1913-1977) was an Austrian designer and architect who moved to South America in the late 1940′s, basing his practice out of Brazil from the 1950′s on, where he collaborated with the design company Forma to produce some of the most distinguishable furniture at the height of mid-century modernism in Brazil.
Rino Levi (1901 – 1965) was born in São Paulo, Brazil, to Italian immigrant parents. In 1926 Levi receives an architecture degree in Rome and returns to São Paulo to design some of the first modern buildings in the capital. From the rational school, his buildings emplyed simple volumes and apparent structures. Levi’s career culminates with the establishing of his firm Rino Levi – Arquitetos Associados in 1945, where in the next 20 years he designed diverse projects such as industrial complexes, commercial edifices, cinemas, hospitals , theater, banks, etc.
Sergio Rodrigues, born in Rio de Janeiro in 1927, has been dubbed the father of Brazilian furniture. Indeed, he was responsible for establishing a new paradigm in design, setting himself apart with his very own language in his quest for a clearly recognizable Brazilian identity. He became notorious for his use of robust woods like jacaranda, peroba and imbuia to create quintessential icons. His award-winning “Mole” armchair was an immediate success, comprised of jacaranda and upholstered cushions supported by leather straps. The piece, informed by Rodrigues’ playfulness and wit, readily became associated with a typically relaxed Brazilian attitude and lifestyle.
