Gabriel & Guillaume - March 2023 Catalog

MARCH 2023

GABRIELETGUILLAUME.COM

© GABRIEL & GUILLAUME 2023

Galerie Gabriel et Guillaume is a

Collectible Design Gallery founded by

Nancy Gabriel and Guillaume Excoffier

in 2013 in Beirut, Lebanon, and now

based in NYC.

Thus the Gallery has collected a large

selection of Brazilian modernist pieces

from the likes of Joaquim Tenreiro,

Year after year, Galerie Gabriel et

Guillaume has acquired strong pieces

Branco&Preto or José Zanine Caldas,

as well as icons of 20th century design

with the aim to find exceptional

contents with historical significance

in the 20th century. Eclecticism has

always been a defining feature of the

gallery as Nancy Gabriel and Guillaume

from 1900 like Carlo Bugatti, or midcentury

modern ones from Max Ingrand,

Jean Prouvé, Gio Ponti, Maria Pergay,

or Gabriella Crespi among others. The

gallery is also presenting rare pieces


Excoffier have been aiming at showing

correspondences and interferences

between different movements.

of 1980s/1990s furniture from star

designers Martin Szekely or Garouste &

Bonetti.

Galerie Gabriel et Guillaume is also

The gallery is open by appointment:

info@gabrieletguillaume.com

involved in developing the works of

emerging designers from Lebanon

and Europe, like Ranya Sarakbi and

Niko Koronis, Mauro Mori, Maria Group

+ Spock Design, George Mohasseb,

4

Nimerology, and Namika Atelier.

CONTENT

010 — JEAN ROYÈRE

048 — SOFA

100 — ARMCHAIR

178 — LOUNGE & CHAIRS

212 — BENCH & DAYBED

234 — DINNER & HIGH TABLES

256 — COFFEE TABLES

292 — SIDE TABLES

316 — SHELVES, DESK & SIDEBOARDS

374 — LIGHTING

410 — CERAMICS

448 — BIOGRAPHIES


JEAN ROYÈRE


JEAN ROYÈRE

(1902-1981)

Supported by an increasingly international clientele,

Royère expanded internationally after World War II.

Royère was already a famous interior designer in France

in the 1940’s when he met Nadim Madjalani, a Lebanese

architect.


He opened an office in Cairo, Egypt in 1946, quickly followed

by one in Beirut, in association with Majdalani.

BIOGRAPHIE

During the course of Royere’s frequent visits to lebanon,

a profound friendship between the two men naturally

evolved, and Majdalani responded by being able to introduce

numerous prospective clients; together they completed

several successful projects like the Beirut luxury

hotels “Le Capitole” or “St George”.

With the construction in 1955 of Majdalani “L’atelier” gallery

on Avenue Sleiman-Boustani, Royere now had a vitrine

through which he could continually exhibit his new

design, until his retirement in the mid 1960’s.

12 13

A COMPLETE SET OF ECUSSON SOFA,

3 ARMCHAIRS & COFFEE TABLE - LEBANON, 1950’s

JEAN ROYÈRE


FRENCH OAK, FABRIC, ORIGINAL GLASS

14 15

JEAN ROYÈRE - ECUSSON SOFA


FRENCH OAK, FABRIC

L 202CM W 69CM H 77CM

16 17



18 19



20 21

JEAN ROYÈRE - ECUSSON ARMCHAIR


FRENCH OAK, FABRIC


22 23

JEAN ROYÈRE - ECUSSON ARMCHAIR


24 25

JEAN ROYÈRE - COFFEE TABLE


FRENCH OAK, ORIGINAL GLASS

DIAM 80CM H 40CM

26 27

JEAN ROYÈRE - COFFEE TABLE


28 29

JEAN ROYÈRE - RESTORATION


FULL RESTORATION DOCUMENT IS PROVIDED

30 31

GAME TABLE + 4 HEART CHAIRS - LEBANON, 1950’s

JEAN ROYÈRE


32 33

JEAN ROYÈRE - GAME TABLE + 4 HEART CHAIRS

PROVENANCE

PRIVATE COLLECTION, BEIRUT, LEBANON -

THENCE BY DESCENT ACQUIRED FROM THE ABOVE

LITERATURE

GALERIE JACQUES LACOSTE AND GALERIE PATRICK SEGUIN,

EDS., JEAN ROYÈRE: VOLUME 2, PARIS, 2012 (P. 52) ART +

AUCTION, OCTOBER 2005, ILLUSTRATED ON FRONT COVER

JEAN ROYÈRE, DÉCORATEUR À PARIS, EXH. CAT.,

MUSÉE DES ARTS DÉCORATIFS, PARIS, 1999,

P. 64 AND P. 99 FOR A DRAWING


34 35

JEAN ROYÈRE - GAME TABLE


MAHOGANY WOOD,

FELT ON THE TOP OF THE TABLE

. L 84.8CM W 84.8CM H 75.6CM

36 37

JEAN ROYÈRE - GAME TABLE


38 39

JEAN ROYÈRE - 4 HEART CHAIRS


CHAIRS HAVE BEEN REUPHOLSTERED.


40 41

JEAN ROYÈRE - 4 HEART CHAIRS


42 43

JEAN ROYÈRE - RESTORATION


FULL RESTORATION DOCUMENT IS PROVIDED

44 45



SOFA

48

49

JOAQUIM TENREIRO

CURVA SOFA - BRAZIL 1960s


JACARANDA WOOD, FABRIC


50 51

JOAQUIM TENREIRO - CURVA SOFA


52 53

JOAQUIM TENREIRO - CURVA SOFA


54 55

CARLO HAUNER

& MARTIN EISLER

FORMA SOFA - BRAZIL 1950s




56 57

CARLO HAUNER & MARTIN EISLER - FORMA SOFA


58 59

BRANCO & PRETO

M1 SOFA - BRAZIL 1950


CAVIUNA WOOD, FABRIC

L 200CM W 76.2CM H 71CM

60 61

BRANCO&PRETO - M1 SOFA


62 63

BRANCO&PRETO - M1 SOFA


64 65

ELISABETH GAROUSTE

& MATTIA BONETTI

SOFA UNIQUE PIECE - FRANCE 1996


WOOD, VELVET, BRONZE, FABRIC

L 211CM W 91.5CM H 82CM

66 67

ELISABETH GAROUSTE & MATTIA BONETTI

SOFA UNIQUE PIECE


68 69

JORGE

ZALSZUPIN

BRAZILIANA

SOFA - BRAZIL 1960s




70 71

JORGE ZALSZUPIN - BRAZILIANA SOFA


72 73

CARLO HAUNER

& MARTIN EISLER

FORMA SOFA - BRAZIL 1950s


IMBUIA WOOD, VELVET


74 75

CARLO HAUNER & MARTIN EISLER - FORMA SOFA


76 77

GIUSEPPE SCAPINELLI

MID-CENTURY SOFA - BRAZIL 1950s




78 79

GIUSEPPE SCAPINELLI - MID-CENTURY SOFA


80 81

FRANCO CAMPO

& CARLO GRAFFI

MID-CENTURY SOFA - ITALY 1950s


WALNUT, FABRIC


82 83

FRANCO CAMPO & CARLO GRAFFI - MID-CENTURY SOFA


84 85

FRANCO CAMPO & CARLO GRAFFI - MID-CENTURY SOFA


86 87

ELISABETH GAROUSTE

& MATTIA BONETTI

POST-MODERN SOFA - FRANCE 1991


LACQUERED WOOD, SILVERED BRONZE


88 89


POST-MODERN SOFA


90 91

FEDERICO MUNARI

CURVED SOFA - ITALY 1950s


FABRIC, WOOD


92 93

FEDERICO MUNARI - CURVED SOFA


94 95

FEDERICO MUNARI - CURVED SOFA


96 97


ARM-

CHAIRS

100

JOAQUIM TENREIRO

CURVA ARMCHAIR - BRAZIL 1960s




102 103

JOAQUIM TENREIRO - CURVA ARMCHAIR


104 105

BRANCO & PRETO

R3 ARMCHAIRS - BRAZIL 1950s



L 200CM W 76.2CM H 71CM

106 107

BRANCO & PRETO - R3 ARMCHAIRS


108 109

CARLO HAUNER

& MARTIN EISLER

COSTELA CHAIR - BRAZIL 1950s


WALNUT, BLACK STEEL, FABRIC

L72CM W 71CM H 81CM

110 111

CARLO HAUNER & MARTIN EISLER - COSTELA CHAIR


112 113

JOAQUIM TENREIRO

CONCHA ARMCHAIRS - BRAZIL 1960s


PAU MARFIM WOOD, FABRIC


114 115

JORGE

ZALSZUPIN

ARMCHAIRS - BRAZIL 1950s

LEATHER,ROSEWOOD,VENEER



116 117

JORGE

ZALSZUPIN

801 ARMCHAIRS - BRAZIL 1950s


MOHAIR, WOOD


118 119

JORGE ZALSZUPIN - 801 ARMCHAIRS


120 121

BRANCO & PRETO

MF5 ARMCHAIRS - BRAZIL 1953


SET OF 2

WOOD, CANE, FABRIC

L 69.5CM W 72CM H 78.8CM

122 123

BRANCO & PRETO - MF5 ARMCHAIRS


124 125

JOSEF HOFFMANN

SITZMASCHINE ARMCHAIR - BRAZIL 1900s


EDITED BY JACOB & JOSEF KOHN

MARKED “J. & J. KOHN TESCHEN AUSTRIA

PAINTED OAK WOOD


126 127

JOSE ZANINE CALDAS

Z ARMCHAIR - BRAZIL 1960S


PLYWOOD, VELVET


128 129

JOSE ZANINE CALDAS

HIGH-BACK ARMCHAIR - BRAZIL 1950S


LACQUERED WOOD, FABRIC


130 131

JOSE ZANINE CALDAS HIGH-BACK ARMCHAIR


132 133

FRANK GEHRY

LITTLE BEAVER CHAIR & OTTOMAN - USA 1987


EDITED BY NEW CITY EDITIONS, VENICE

CORRUGATED CARDBOARD, NUMBERED 32/100

CHAIR

D 81CM W 86CM H 99CM

OTTOMAN

D 43.2CM W 48.3CM H 58.4CM

134 135

FRANK GEHRY - LITTLE BEAVER CHAIR & OTTOMAN


136 137

PATRICK NAGGAR &

DOMINIQUE LACHEVSKY

ELYTRE ARMCHAIR - FRANCE 1989


EDITED BY GALERIE NEOTU

CHROME, CARBON FIBER, WOOD.


138 139

PATRICK NAGGAR & DOMINIQUE LACHEVSKY - ELYTRE ARMCHAIR


140 141

CARLO HAUNER

& MARTIN EISLER

SHELL ARMCHAIRS - BRAZIL 1960s


SHEARLING, METAL


142 143

CARLO HAUNER & MARTIN EISLER - SHELL ARMCHAIR


144 145

JOSE ZANINE CALDAS

BOOMERANG ARMCHAIR - BRAZIL 1960S


PLYWOOD, GREEN LEATHER


146 147

JOSE ZANINE CALDAS

ARMCHAIRE

- BRAZIL 1950s

PLYWOOD, VELVET



148 149

JOSE ZANINE CALDAS ARMCHAIR


150 151

MARTIN SZEKELY

BETTY ARMCHAIR - FRANCE 1988





152 153

MARTIN SZEKELY - BETTY ARMCHAIR


154 155

JOSE ZANINE CALDAS

PAIR ARMCHAIRE

- BRAZIL 1950s


WOOD, VELVET


156 157

FEDERICO MUNARI

ARMCHAIR - ITALY 1950s


WOOD, VELVET


158 159

JOSE ZANINE CALDAS

ARMCHAIR - BRAZIL 1960s


PLYWOOD, VELVET


160 161

GIUSEPPE SCAPINELLI




L 78.7CM W 71.1CM H 66CM

162 163

GIUSEPPE SCAPINELLI



WOOD, FABRIC

L 78.7CM W 71.1CM H 66CM

164 165

PHILIPPE STARCK

J LANG ARMCHAIRS - ITALY 1980s


EDITED BY DRIADE

ALUMINIUM, LEATHER

L 71CM W 54.5CM H 100CM

166 167

PHILIP STARK - J LANG ARMCHAIR


168 169

PHILIP STARK - J LANG ARMCHAIR


170 171

PHILIPPE STARCK

ROYALTON 3-LEG CHAIR - ITALY 1988


EDITED BY DRIADE

POLISHED ALUMINIUM, BENT WOOD


172 173

PHILIP STARK - ROYALTON 3-LEG CHAIR


174 175


LOUNGE

&CHAIRS

JOSE ZANINE CALDAS

HIGH-BACK ARMCHAIR - BRAZIL 1950S




180 181

JOSE ZANINE CALDAS - HIGH-BACK ARMCHAIR


182 183

JOSE ZANINE CALDAS

LINEA Z LOUNGE CHAIR - BRAZIL 1960S


MANUFACTURED BY MOVEIS

ARTISTICOS Z

PLY WO O D


184 185

JOAQUIM TENREIRO

DINING ROOM CHAIRS - BRASIL 1950


SET OF 12

JACARANDA WOOD, CANE


186 187

JOAQUIM TENREIRO

CURVA CHAIRS - BRASIL 1950s


SET OF 6

ROSEWOOD, CANE


188 189

JOAQUIM TENREIRO - CURVA CHAIRS


190 191

JOAQUIM TENREIRO

METAL CHAIRS - BRASIL 1950s


SET OF 6

IRON


192 193

SERGIO RODRIGUES

ROCKING CHAIR - BRAZIL 1958


ROSEWOOD FEET, BRASS

ORIGINAL LEATHER


194 195

CARLO HAUNER

& MARTIN EISLER

LONG CHAIR - BRAZIL 1950s


JACARANDA WOOD, STEEL


196 197

JEAN PROUVÉ

RECLINING CHAIR - BRAZIL 1958


WOOD, METAL


198 199

XAVIER FEAL

PAIR LOUNGE CHAIR - FRANCE 1970


STAINLESS STEEL, LEATHER


200 201

PHILOLAOS TLOUPAS

LOW CHAIR - FRANCE 1960s


OXIDIZED METAL

L 71CM W 54.5CM H 100CM

202 203

PHILIPPE STARCK

A PAIR OF DICK DECK CHAIRS - ITALY 1980s


EDITED BY DRIADE

LACQUERED WOOD


204 205

PHILIP STARK - A PAIR OF DICK DECK CHAIRS


206 207

PHILIP STARK - A PAIR OF DICK DECK CHAIRS


208 209


BENCH&

DAYBED

212

JORGE

ZALSZUPIN

ONDA BENCH - BRAZIL 1965


HARDWOOD, PLYWOOD, METAL

L 55CM W 299CM H 28.5CM

214 215

JORGE ZALSZUPIN - ONDA BENCH


216 217

JORGE ZALSZUPIN - ONDA BENCH


218 219

RANYA SARAKBI

& NIKO KORONIS

NRD DAYBED - ITALY 2019


VELVET, BRASS


220 221

LICEU DE ARTE

BENCH - BRAZIL 1950


IMBUIA WOOD, FABRIC


222 223

LICEU DE ARTE - BENCH


224 225

RANYA SARAKBI

& NIKO KORONIS

NRD DAYBED - ITALY 2019


VELVET, BRASS


226 227

GERALDO DE BARROS

DAYBED - BRAZIL 1960


VELVET, BRASS


228 229

JORGE JABOUR MAUAD

& OSIRES CUNHA MEALE

(MÓVEIS CANTU)

BENCH WITH SIDE TABLES - BRAZIL 1960

SOLID ROSEWOOD. MARBLE, SYNTHETIC LEATHER

L 67.5CM W 250CM H 40CM


230 231


DINNER

& HIGH

TABLES

JOSE ZANINE CALDAS

DENUNCIA TABLE - BRAZIL 1965


VINHATICO WOOD, GLASS TOP

L 123CM W 100CM H 8 0 C M

GLASS TOP (DIAMETER) 152 CM

236 237

JOSE ZANINE CALDAS - DENUNCIA TABLE


238 239

JORGE

ZALSZUPIN

GUANABARA TABLE - BRAZIL 1959


CONCRETE, LEATHER, METAL, ROSEWOOD

L 126CM W 350CM H 7 3 C M

240 241

JORGE ZALSZUPIN - GUANABARA TABLE


242 243

JOSE ZANINE CALDAS

OVAL TABLE - BRAZIL 1970


PEQUI WOOD, GLASS TOP

L 140CM W 268CM H 74 C M

244 245

JOSE ZANINE CALDAS - OVAL TABLE


246 247

JOSE ZANINE CALDAS

OVAL TABLE - BRAZIL 1970



L 112CM W 310CM H 7 5 C M

248 249

JOSE ZANINE CALDAS

6M TABLE - BRAZIL 1970



L 112CM W 310CM H 7 5 C M

250 251

JOSE ZANINE CALDAS - 6M TABLE


252 253


COFFEE

TABLE

256

JORGE ZALSZUPIN

PETALAS TABLE - BRAZIL 1959


URANDAY WOOD


258 259

JORGE ZALSZUPIN - PETALAS TABLE


260 261

GIO PONTI

COFFEE TABLES - ITALY 1950’s


EDITED BY ISA

WALNUT, STEEL, ORIGINAL TAG


262 263

GIO PONTI - COFFEE TABLES


264 265

PETER KRAFT

CAVIUNA COFFEE TABLE - BRAZIL 1950s

CAVIUNA WOOD



266 267

JOAQUIM TENREIRO

COFFEE TABLE - BRASIL 1950

JACARANDA WOOD, GLASS



268 269

ELISABETH GAROUSTE

& MATTIA BONETTI

LOW TABLE - FRANCE 1996



ZEBRANO WOOD, BRONZE


270 271

JOSE ZANINE CALDAS

CENTER TABLE - BRAZIL 1970


PEQUI WOOD

L 130CM W 105CM H 4 8 C M

272 273

JOSE ZANINE CALDAS

CENTER TABLE - BRAZIL 1970


WOOD

L 156CM W 133CM H 2 8 C M

274 275

JOAQUIM TENREIRO

COFFEE TABLE - BRASIL 1950


WOOD

L 140.9CM W 85.3CM H 36.8CM

276 277

JORGE ZALSZUPIN

LIMESTONE COFFEE TABLE - BRAZIL 1959


LIMESTONE, ROSEWOOD


278 279

JORGE ZALSZUPIN - LIMESTONE COFFEE TABLE


280 281

AFRA & TOBIA SCARPA

ARTONA COFFEE TABLE - ITALY 1975


EDITED BY MAXALTO

MAPLE BURL, ROSEWOOD, BIRCH,

BEECH, OAK, FRUITWOOD


282 283

AFRA & TOBIA SCARPA - ARTONA COFFEE TABLE


284 285

JOAQUIM TENREIRO

FIVE WOOD TABLE - BRASIL 1950s

IMBUIA, PEROBA, PAU-MARFIM,

ROXINHO & MOGNO WOOD



286 287

JOAQUIM TENREIRO (ATTRIBUTION)

SMALL COFFEE TABLE - BRASIL 1950s


L 91.5CM W 71CM H 38CM


288 289


SIDE

TABLES

292

RANYA SARAKBI

& NIKO KORONIS

NRS II SIDE TABLE - ITALY 2019

BRONZE


DIAM 44CM H 55CM

294 295

RANYA SARAKBI & NIKO KORONIS - NRS II SIDE TABLE


296 297

SERGIO RODRIGUES

PAIR OF SMALL TABLES - BRAZIL 1950’s


JACARANDA WOOD, METAL

W 33CM

298 299

MAURO MORI

DUO SIDE TABLE - ITALY 2019


LIMITED EDITION OF 9 FOR

GABRIEL & GUILLAUME

BRASS


300 301

RANYA SARAKBI

& NIKO KORONIS

NRT II SIDE TABLE - ITALY 2019


BELGIAN BLACK MARBLE

L 48.5CM W 33CM H 48.5CM

302 303

RANYA SARAKBI

& NIKO KORONIS

BELGIAN BLACK MARBLE



NRT III DOUBLE SIDE TABLE - ITALY 2019


304 305

GEORGES MOHASSEB

EROSION SIDE TABLE - LEBANON 2020


PLASTER HEMP, WATER-BASED RESIN


306 307

GEORGES MOHASSEB - EROSION SIDE TABLE


308 309

PAUL KINGMA

PAIR OF LANDSCAPE SIDE TABLES - NETHERLANDS 1970’s


CONCRETE, STONE


310 311

JOAQUIM TENREIRO

SIDE TABLE - BRASIL 1950s



DIAM 33CM H 60CM

312 313


S H E LV E S ,

DESK &

SIDEBOARD

316

JORGE ZALSZUPIN

BOOKSHELVES - BRAZIL 1950s


JACARANDA WOOD


318 319

JORGE ZALSZUPIN - BOOKSHELVES


320 321

GIO PONTI

LIBRARY - ITALY 1940s


WALNUT, SILK, GLASS


322 323

GIO PONTI - LIBRARY


324 325

GIO PONTI - LIBRARY


326 327

ELISABETH GAROUSTE

& MATTIA BONETTI

CABINET ARGENTÉ - FRANCE 1992


EDITED BY NEOTU

SILVERED METAL, BRONZE


328 329


CABINET ARGENTÉ

PROVENANCE

HOUSE OF MARITHÉ & FRANÇOIS

GIRBAUD, NEW YORK


330 331

MARTIN SZEKELY

A RARE MD WARDROBE - FRANCE 1990



MDF STRUCTURE COVERED WITH SYCAMORE


332 333

MARTIN SZEKELY - A RARE MD WARDROBE


334 335

CARLO SCARPA

VALAMARANA CONSOLE - BRAZIL 1970s


OAK WOOD


336 337

JOAQUIM TENREIRO

BUFFET - BRASIL 1950s


WOOD

L 400CM W 74.5CM H 48CM

338 339

JOAQUIM TENREIRO - BUFFET


340 341

CARLO HAUNER

& MARTIN EISLER

SIDEBOARD - BRAZIL 1950s


JACARANDA WOOD, BRASS

L 218CM W 47CM H 81.25CM

342 343

CARLO HAUNER & MARTIN EISLER - SIDEBOARD


344 345

JORGE ZALSZUPIN

BUFFET - BRAZIL 1957


ROSEWOOD

L 40CM W 300CM H 66.5CM

346 347

JORGE ZALSZUPIN - BUFFET


348 349

CARLO HAUNER

& MARTIN EISLER

SIDEBOARD - BRAZIL 1950s


JACARANDA WOOD, CANE


350 351

GERALDO DE BARROS

DESK MODEL 1015 - BRAZIL 1960s


BLACK PAINTED METAL,

JACARANDA WOOD, BRASS


352 353

EUGENIO ESCUDERO

DESK - MEXICO 1960s


WOOD, BRASS


354 355

EUGENIO ESCUDERO - DESK


356 357

EUGENIO ESCUDERO - DESK


358 359

JOAQUIM TENREIRO

3 DRAWERS DESK - BRASIL 1966

SOLID & LAMINATED

ROSEWOOD, ORIGINAL

PAINTED GLASS ON TOP



360 361

SERGIO RODRIGUES

BURTON TABLE - BRAZIL 1955


JACARANDA WOOD, BRASS, MARBLE


362 363

SERGIO RODRIGUES - BURTON TABLE


364 365

GEORGES MOHASSEB

EROSION BOOKSHELVES - LEBANON 2019


LIMITED EDITION OF 12 + 2 AP



366 367

GEORGES MOHASSEB

EROSION CONSOLE - LEBANON 2020





368 369

GEORGES MOHASSEB - EROSION CONSOLE


370 371


374

LIGHTING

ELISABETH GAROUSTE

& MATTIA BONETTI

SCHLESINGER CHANDELIER - FRANCE 1992


MURANO GLASS,

GILDED WROUGHT IRON

L 190CM H 135CM

376 377


SCHLESINGER CHANDELIER


378 379

MARIA GROUP

+SPOCKDESIGN

GRAVITATION CHANDELIER - LEBANON 2019



WASHI PAPER, STEEL, LIGHT

DIAM 190CM

380 381

MARIA GROUP + SPOCKDESIGN - GRAVITATION CHANDELIER


382 383

MARIA GROUP

+SPOCKDESIGN

CORNETTE FLOOR LAMP - LEBANON 2021



WASHI PAPER, HAND SHAPED

& HAMMERED AGED BRASS

DIAM 90CM H 190CM

384 385

ANGELO LELII

FLOOR LAMP A12628 - ITALY 1957


EDITED BY ARREDOLUCE

BRASS, LACQUERED BRASS, MARBLE, PERSPEX.

D 47CM H 213CM

386 387

ANGELO LELII - FLOOR LAMP A12628


388 389

GINO SARFATTI

SET OF 1073 FLOOR LAMPS - ITALY 1965


EDITED BY ARTELUCE

CAST IRON BASE, CHROMED METAL, ALUMINIUM

D 23CM H 182CM

390 391

BRUNO GATTA

A RARE FLOOR LAMP - ITALY 1950s


EDITED BY STILNOVO

BRASS, METAL, ORIGINAL TAG

L 70CM H 195CM

392 393

MARIA PERGAY

PAIR OF SCONCES - FRANCE 1975


STAINLESS STEEL, BRONZE


394 395

MARIA PERGAY - PAIR OF SCONCES


396 397

ANGELO LELII

CEILING LIGHT - ITALY 1960’s


MANUFACTURED. BY ARREDOLUCE, ITALY

RED & WHITE LACQUERED METAL, PERSPEX, BRASS


398 399

PIERRE GUARICHE

G1 WALL LIGHT - FRANCE 2010


BRASS,METAL

L 114.3CM W 43.95CM H 66CM

400 401

ELISABETH GAROUSTE

& MATTIA BONETTI

TABLE LAMP - FRANCE 1997



SIGNED GB, NEOTU, NUMBERED 5/15 & 1997

GLAZED & GILT CERAMIC

DIAM 19.7CM H 40.6CM

402 403

ELISABETH GAROUSTE & MATTIA BONETTI - TABLE LAMP


404 405

ELISABETH GAROUSTE & MATTIA BONETTI - TABLE LAMP


406 407


CERAMICS


NAMIKA ATELIER

CERAMICS - LEBANON 2020


H 27.9CM

412 413

NAMIKA ATELIER - CERAMICS

H 30CM


414 415


H 27.9CM


416 417



D 38.1CM

418 419


D 30.5CM


420 421



W 15.2CM

422 423

ETTORE SOTTSASS

CERAMICHE DI LAVA VASE - ITALY, 1959


EDITED BY GIOVANNI MASONI - 2023

SIGNED, LIMITED EDITION OF 20 (13/20)

W 13CM H 37CM

424 425

ETTORE SOTTSASS

CERAMICHE DI LAVA VASE - ITALY, 1959


EDITED BY GIOVANNI MASONI - 2023

SIGNED, LIMITED EDITION OF 20 (8/20)

W 24CM H 20CM

426 427

GILBERT VALENTIN

CERAMICS - FRANCE, 1950’s


SIGNED

H 43CM

428 429

LIVIA GORKA

CERAMICS - HUNGARY, 1950’s


430 431

LIVIA GORKA - CERAMICS


432 433



434 435



436 437



438 439



440 441



442 443



444 445


448

BIOGRAPHIES

BIOGRAPHIES

BRANCO E PRETO

In the São Paulo of the 1950s, a group of

architects consisting of Roberto Aflalo,

Jacob Ruchti, Miguel Forte, Plínio Croce,

Carlos Mi-lan and Chen Yhwa got together

to create a furniture shop that

could cater to their modern and sophisticated

view of architecture.In 1952, the

young vanguardists embraced Aflalo’s

idea and founded Branco & Preto, where

they sold modern furniture made of brazilian

materials and with impeccable finishing:

something completely new at the

time. The shop became a reference for

architects, who would visit it to become

familiar with the trends and discuss the

pieces that broke with the traditional,

stout lines used until then. Tt remained

open until 1965, during which they created

pieces of furniture that still inspire

Brazilian designers today.

JOSE ZANINE CALDAS

1919–2001

Born in Bahia, in the north of Brazil, Jose

zanine caldas (1918 – 2001) is a selftaught

designer, artist and architect.

He moved to Rio and started an architectural

scale model workshop where he

worked with modernist pioneers such as

Lucio Costa and Oscar Niemeyer.

Working with plywood for his models,

he realised how the innovative material

was also adequate for furniture that

he started designing in the 1940s. For 12

years, he produced innovative and elegant

furniture in plywood under the name

« Moveis Artisticos z ».

With the military coup in 1964, he lost his

position of professor at the University of

Brasilia. Persecuted by the authoritarian

regime, he lived between Rio de Janeiro

and Bahia, and had the most creative

period of his life.

A pioneer in the respect of the environment,

he experimented with more organic

designs and vigorously protected

Brazilian forests. The line « denuncia »

was born from this will to denounce deforestation

which ravaged brazil. Rescuing

abandoned logs and trees, he carved

from them highly sculptural pieces which

stand out between art and furniture. The

fascination with that work has grown

since the 1980s, as they resound with

contemporary concerns of sustainability

and protection of crafts.

Zanine’s work has been exhibited in the

Musée des Arts Decoratifs in Paris and

CARLO HAUNER &

MARTIN EISLER

CARLO HAUNER (1927-1997)

MARTIN EISLER (1913-1977)

Hauner & Eisler were the primary designers

for the iconic Brazilian furniture company

Forma – their work counts as one

of the best examples of the mastery of

Designers in Brazil in the 1950s and 60s.

Born in Brescia, Italy, Hauner studied design

in Milan and immigrated to Brazil in

the late 40s. Martin Eisler was born in

Vienna, Austria, where he studied architecture.

In 1938 he moved to Buenos Aires,

Argentina, where he began exhibiting

his furniture designs.

After meeting Hauner in Brazil, he started

traveling there frequently to collaborate

on designs and, with E.

J. Wolf, who became the company’s director,

they founded Forma to sell their

own designs as well as pieces licensed

from Knoll International.

GABRIELLA CRESPI

(1922 - 2017)

Crespi was an italian architect and designer.

She studied at the politecnico in

milan and her work was greatly inspired

by le corbusier and frank lloyd wright

during this time. Her career took off in

the 1950s with her steel moon series of

sculptures and lighting, along with sculptural

furniture and objects.

In the 1960s, crespi began working with

maison dior, designing their home and

table accessories and later also designing

their furniture during the 1970s. As

well as this work, gabriella crespi began

her renowned plurimo series in the 1970s

that she did in collaboration with her

daughter elisabetta, paying tribute to

the designer emilio vedova. The designs

play on ideas of space, environment and

450 throughout the US and Europe.

451

light.

In 1985, crespi decided to devote herself

entirely to her spirit self and in 1987 she

moved to india where she lived for almost

20 years in the care of sri muniraji, her

spiritual advisor. When she returned to

italy in 2005, she continued her spiritual

way of life, writing a book and designing

jewellery for stella mccartney, the profits

from which were sent to a research

hospital in the himalayas founded by sri

muniraji.


GERALDO DE BARROS

EUGENIO ESCUDERO

GAROUSTE & BONETTI

BRUNO GATTA

(1923 - 1998)

Geraldo de Barros was a Brazilian paint-

Architect and interior designer of Span-

Elizabeth Garouste (French, born 1949),

Bruno Gatta founded Stilnovo in 1946 in

er and photographer who also worked in

ish origin Eugenio Escudero worked from

a former costume designer, and Mattia

Linate, a city part of the industrial sub-

engraving, graphic arts, and industrial

his decoration and furniture showroom

Bonetti (Swiss, born 1952), a photogra-

urbs of Milan. Stilnovo was lead by a

design. He was a leader of the concrete

D’Escudero, S.A. located in Dinamarca

pher, together used to form a Paris-based

market logic unlike Arredoluce or O’luce

art movement in Brazil, co-founding gru-

#54 in Mexico City. He worked mostly for

design team specializing in furniture that

which, despite his small size, adopted an

po ruptura and was known for his trail-

the wealthy families in Mexico from the

was at once experimental and elegant.

industrial logic from

blazing work in experimental abstract

photography and modernism. According

to The Guardian, De Barros was «one of

the most influential Brazilian artists of

the 20th century.»

From 1954 till the 1960s, he was the head

of Unilabor, a company he founded to

produce his inventive minimalist furniture.

50s to the 70s.

His furniture in now sought by design collectors

around the world for its unique

design and great quality.

Their work was marked by a use of classically

tasteful materials, such as terracotta

and wrought iron, as well as by

the prevalence of sleek shapes and lines.

Their partnership began with the interior

décor of the famous Parisian nightclub Le

Palace and restaurant Le Privilege. employing

a neo-baroque language, blended

with prehistoric and primitive touches,

the terracotta masks were labelled “Bar-

1952-1955.From then until the 1980s, Stilnovo

produced some of the most imaginative

and striking lighting fixtures of its

time, revolutionary both in its use of material

and in its shapes.


barian design.” The pair set the pace for

cutting edge Parisian design, creating a

unique and inventive neo-baroque language

that was to become synonymous

with the most sophisticated continental

contemporary interior and furniture de-

BIOGRAPHIES

sign.

In 1987, Garouste and Bonetti began

working with Christian Lacroix on his couture

house interior. employing cushions

and curtains in ochre with rococo swishes

of black, French 18th century chairs were

upholstered in electric blue, lilac, orange

and raspberry. Hot-red consoles were

given branches for legs and stools were

designed to look like tree stumps. The duo

separated in the early 2000s, continuing

they careers individually.

452 453

FRANK GEHRY

ANGELO LELLI

LICEU DE ARTES

MARIAGROUP

(1915-1979)

Extracted from the MET website: “Begin-

In 1947, Lelli founded Arredoluce, a pre-

Founded in 1873, the Liceu de artes e

Mariagroup is a design studio led by

ning in the late 1960s, Gehry experiment-

mier manufacturer of furniture and light-

ofícios in São Paulo was established in

the brother and sister duo georges and

ed with furniture made of composite

ing, in Monza. During the same year, at

order to lead the Arts & Crafts move-

michèle maria. Based in beirut, the ar-

layers of cardboard, yielding objects of

the VIII Triennale di Milano, he exhibited

ment to Brazil. The school provided an

chitecture practice undertakes works of

substantial resilience and strength, while

Lamp 12128, which became known as the

education for students where they could

all scales, spanning from small interior

at the same time permitting considerable

Triennale Floor Lamp.

learn skills such as carpentry, painting,

projects to large urban plans, in 12 dif-

flexibility of form. The use of common

industrial supplies such as cardboard

characterized much of Gehry’s early architecture

and design, as he sought to

create a new formal vocabulary through

everyday materials.”

Angelo Lelli became an influential designer

in postwar Italy, especially in the

field of modern lighting design. During

the 1950s, Arredoluce started to collaborate

with such designers as Franco

Albini, Achille, Castiglioni, Gio Ponti,

and Ettore Sottsass, and also started to

experiment with halogen lightbulbs, for

his designs. Out of this experimentation,

pottery, and design, enabling them to

perform as highly skilled craftsmen. The

laosp became self- sufficient and independent

when the students began receiving

financial support for the work

they produced.These pieces, being of

such a high standard, were sold throughout

Brazil. the students also made items

for special projects at prestigious places

in Sao Paulo such as hotels, universities

ferent countries. Mariagroup begins all

projects from a standpoint that is decidedly

architectural, interested in responding

to each brief through thinking about

space. The design of space, crafted

through light, material, texture, and form,

informs the projects from the smallest to

the largest scale, and delineates a common

language through which new questions

are addressed. Deeply committed


Lelli increased the use of transformers for

and private residences.

to the understanding that architecture is

his designs and created the recognizable

shaped by a collaborative confluence of

Arredoluce Switch.

design ideals, materialknowledge, and

craftsmanship, the studio seeks to cre-

Angelo Lelli’s lamps and lighting objects

ate for each project a unique world of

stand out for their extremely simple de-

real physical experiences.

BIOGRAPHIES

signs that strive for minimal complexity

and for their strong sense of unadorned

sensitivity. Thanks to Angelo Lelli’s unique

approach to design, Arredoluce quickly

built a reputation for creating premium

quality products based on clean, simple,

and functional designs.

Mariagroup’s work stems from this desire:

to translate need into built form and

create a sense of excitement; to craft a

story of everyday life into a poetic and

unexpected gesture.

454 455

GEORGES MOHASSEB

NAMIKA ATELIER

MARIA PERGAY

PHILOLAOS TLOUPAS

(1923-2010)

Georges Mohasseb (born in 1973 in Leb-

Hala matta was born in beirut in 1970.

Maria Pergay was born in Moldavia in

Philolaos Tloupas, artist name Philolaos

anon) is an architect and designer. He

After 20 fruitful years in the corporate

1930 and emigrated to Paris in 1937. In

was a Greek sculptor. He was known for

studied architecture in Washington D.C.,

world, she decides to pursue a career as

1947, she studied at ITEC as well as at

his architecturally influenced sculpture,

at Ecole Boulle in Paris and Domus Acad-

a ceramicist. Trained in the studio of ce-

the workshop of Zadkine.

which he combined with a strongly nat-

emy in Milan. In 2007, he opened his

ramicists nathalie khayat, nevilsalha and

Pergay began her career in the late 1950s

ural and organic tendency.

company ”wood&” in Paris, working on

samar mogharbel, hala opens her own

by making forged iron pieces studded

projects focused on wood, his favorite

material. Since then, he has been experimenting

with many other materials, like

brass, resin, plaster, to create furniture

combining traditions of the Middle East

and a totally contemporary design.

His constant search for materiality and

immateriality has defined his approach

to design. He creates limited numbers of

studio in 2015. She attended several advanced

workshops in europe. She is a firm

believer in developing local craftsmanship

and vernacular artistic productions.

The studio founded by hala matta “namika

atelier “ is a collaborative platform

defending craftsmanship and ceramics

as a mainstream artistic medium. Her

work has been showcased in collective

exhibitions in beirut, paris and brussels.

with semi-precious stones and seashells

for window display for fashion houses.

Her success quickly grew and, within a

few years, she began to create a unique

collection of contemporary silver objects.

In 1968, pergay exhibited a collection

of stainless steel furniture at Galerie

Maison et Jardin. She was one of the first

to work in this material and her pieces


timeless designs, focusing on excellent

She lives and works in beirut, lebanon.

were known for their jewelry-like refine-

craftsmanship and a complex expression

ment and sculptural qualities.

of materials.

BIOGRAPHIES

GIUSEPPE SCAPINELLI

(1891-1982)

Giuseppe Scapinelli a designer of Italian

origin, was both a furniture maker and retailer

in the 1950s and 1960s in Sao Paulo.

His style is easily recognizable because

of the curvy lines and soft shapes, very

much away from the mainstream designs

of his fellow designers and inspired probably

by the Italian design of the ‘40s. His

pieces are beautifully crafted in Brazilian

traditional wood. He designed and produced

many unique pieces for distinctive

Sao Paulo homes.

456 457

JEAN PROUVÉ

(1901-1984)

SERGIO RODRIGUES

(1927-2014)

JEAN ROYÈRE

(1902-1981)

RANYA SARAKBI &

NIKO KORONIS

Jean Prouvé was a revolutionary archi-

Sergio rodrigues was a brazilian cario-

Supported by an increasingly interna-

Niko Koronis is an architect with master

tect and furniture maker of the 21st cen-

ca architect and designer. Along with

tional clientele, Royère expanded inter-

degrees in both architecture and product

tury. He was the founder of the Union of

joaquim tenreiro and josé zanine caldas,

nationally after World War II.

design. In addition, he is also a recipient

Modern Artists, alongside Le Corbusier,

he was a pioneer when transforming the

Royère was already a famous interior de-

of a PHD in architecture from the Archi-

Pierre Jeanneret and Charlotte Perriand.

brazilian design in industrial design and

signer in France in the 1940’s when he met

tectural Association in London.

His designs were both avant- grade and

make it known worldwide.

Nadim Madjalani, a Lebanese architect.

humanist : using innovative materials like

bent sheet metal or aluminium, he aimed

at giving his clients more modern solution

in post-war France.

« In their construction there is no difference

between a piece of furniture and

a house »: based on that principle, he

imagined inovative assembly systems,

that could be moved and adapted, from

His identity was based on always bringing

the brazilian identity to his projects,

both in the design and traditional materials

– leather, wood and rattan – exalting

the brazilian and native culture. Contemporary

of oscar niemeyer and lúcio

costa, his furniture was utilized in large

scale in the construction of brazil’s capital

brasília.

He opened an office in Cairo, Egypt in

1946, quickly followed by one in Beirut, in

association with Majdalani.

During the course of Royere’s frequent

visits to lebanon, a profound friendship

between the two men naturally evolved,

and Majdalani responded by being able

to introduce numerous prospective cli-

He has been a fellow at Central Saint

Martin’s in London and a researcher at

the Alvar Aalto Foundation in Helsinki.

He has taught, lectured, and undertaken

research in architecture, product,

and urban design in several universities

throughout the world.

In addition to his academic career, he

has exhibited his work in several group


its famous furniture to buildings (Uni-

ents; together they completed several

and solo shows, amongst which the Ven-

versity dormitory of Nancy in 1932, Cite

successful projects like the Beirut luxury

ice Biennale and the Triennale di Milano.

Universitaire de Paris in 1950, temporary

hotels “Le Capitole” or “St George”.

houses for l’Abbe Pierre in 1954…).

Ranya Sarakbi is a self-taught painter

With the construction in 1955 of Maj-

and sculptor. Her work, over the years,

Since the 1990s, his work has entered

dalani “L’atelier” gallery on Avenue Slei-

has resulted in the build-up of different

BIOGRAPHIES

the most important public and private

collections and some of his temporary

homes (for Africa, or Abbé Pierre) have

reached multi-million dollar auctions on

several occasions.

man-Boustani, Royere now had a vitrine

through which he could continually exhibit

his new design, until his retirement in

the mid 1960’s.

collections of paintings, objects, wearable

ornaments, and sculptures.

Ranya Sarakbi read sociology and anthropology

at the American University in Beirut.

Ranya currently lives and works in Milan.

458 459

JORGE ZALSZUPIN

PHILIPPE STARCK

MARTIN SZEKELY

JOAQUIM TENREIRO

(1922 - 2020)

(1906–1992)

BIOGRAPHIES

Jorge Zalszupin grew up in Warsaw, Poland,

and studied architecture in Bucharest

before moving to Paris to work as an

architect, and then to Brazil

Philippe Starck, (born 1949 in Paris), is

French designer known for his wide range

of designs, including everything from interior

design to household objects to boats to

watches. Starck studied at the École Nissim

Martin Szekely is the son of ceramist Véra

Székely and sculptor Pierre Székely. His

work comes to prominence with his design

of the « Pi » long chair in 1982.

Szekely both works with exclusive design

Joaquim Tenreiro was among the leading

furniture designers and visual artists

in mid-20th century Brazil. Tenreiro was

born in Portugal into a family of woodworkers

and carpenters. In the late 1920s,

In the late 40s. In 1959, zalszupin started

the furniture firm L’atelier. Emphasizing a

high level of craftsmanship, L’atelier saw

near-immediate success and eventually

had two factories producing his designs.

de Camondo, Paris, and in 1968 set up his

first company, which produced inflatable

objects. In the 1970s he made a reputation

for himself by creating interiors for clients

such as the Paris nightclubs La Main Bleue

(1976) and Les Bains-Douches (1978).

editors like Neotu Gallery, Kreo Gallery or

Domeau & Pérès, and industrials like Perrier,

Heineken, or JC Decaux.

Some of his objects have reached a

very large audience like the Perrier glass

he emigrated to Rio de Janeiro and began

working for the firm of Laubisch Hirth.

In the early 1940s, Tenreiro was among

the first designers in the Brazilian furniture

industry to adopt a European modernist

Zalszupin was heavily inspired by Danish

design and while he was known for his refined

work in jacaranda and other Brazilian

woods. L’atelier thrived in Brazil, having

ten shops at the height of zalszupin’s

career. His furniture also won numerous

commissions, including in brasilia.

Jorge zalszupin is considered one of

Brazil’s most important designers of the

twentieth century

Starck first gained international attention

when he was commissioned to refurbish

the private apartments in the Élysée Palace

(1983–84) in Paris for French President

François Mitterrand. He went on to design

restaurant interiors for the Café Costes

(1984) in Paris, Manin (1985) in Tokyo,

Theatron (1985) in Mexico City, and Teatriz

(1990) in Madrid, among others. Starck

which was produced in 20 million units.

His limited edition items have become

highly sought after by power design collectors

like Azzedine Alaïa.

His designs are among the collections

of many important museums like Paris’

musée des Arts Décoratifs, MOMA or

Mudam. In 2011, Paris’ Pompidou Center

offered him a solo show entitled « Ne pas

dessiner » .

vernacular. His initial efforts, in-

cluding the 1942 “Poltrona Leve,” met

with considerable success, and in 1943

he established his own firm with factories

in Rio de Janeiro and São Paulo. One

of his main clients was Brazilian architect

Oscar Niemeyer, for whose houses

a number of pieces were originally

commissioned. Taking advantage of indigenous

Brazilian hardwoods and designing

was also responsible for the interior design

with the Brazilian climate in mind

of the Royalton and Paramount hotels (1988

by keeping pieces light, and often using

and 1990) in New York City, work that subsequently

wicker or cane, Tenreiro evolved a dis-

inspired hotels throughout the

tinctive style suited to local conditions.

world to seek his services. Over the course

His 1947 “Cadeira de Embalo” (Rocking

of these varied commissions, he did not develop

Chair) is still in production. An example

one distinct aesthetic or a preference

of his iconic “three-legged chair” sold at

for certain materials. Rather, he addressed

auction in 2008 for over $90,000 USD.

the needs of an individual client, whether it

was the somewhat conservative character

Tenreiro gave up the furniture business

of state apartments or the more flam-

in the late 1960s to concentrate on his

boyant tone needed for a trendy nightclub.

painting and sculpture, in which he had

Some constants did develop in Starck’s

been engaged privately for many decades.

work, however, such as a preference for fluid,

He died in Itapira, Brazil, aged 86.

organic forms and the inclusion of subtle,

460 playful details.

461



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