Search this site

Explore a excelência do design de Giuseppe Scapinelli na Galeria Lora Ronco. Descubra a elegância e sofisticação dos móveis produzidos pelo renomado designer italiano. Giuseppe Scapinelli architect and designer An Italian-born designer, born in 1891, was simultaneously a furniture manufacturer and retailer in São Paulo during the 1950s and 60s. Trained as an architect, Scapinelli was forced to leave his native Italy after the Second World War in search of new horizons. With an adventurous spirit, he arrived in Brazil in 1948, settled in the city of São Paulo, and began working as an architect for Count Francesco Matarazzo. In 1950 he opened an office and began working as an architect-decorator alongside an excellent team of carpenters, also immigrants. He was a contributor to Casa e Jardim magazine for many years, in a column called Scapinelli Responds, where he even asked in the 1950s, "Why is there so much monotony and bad taste in home decoration?" He opened a very successful furniture and interior design gallery, Margutta, located on Rua Augusta. There, together with carpenters and artisans, he produced high-end furniture. Unfortunately, as the years passed, he was forced to close the gallery because the market increasingly demanded furniture that was manufactured quickly and of lower quality. Therefore, Scapinelli would no longer work there; his commitment to quality and high standards in furniture was too great, and he ended up leaving the sector. Architect, furniture designer, ceramist, photographer, writer, and restaurant owner, that was Giuseppe Scapinelli, yet another Italian-Brazilian to shine as one of the pioneers of furniture design in Brazil. A designer of Italian origin, born in 1891, he was at the same time a furniture maker and retailer 1950s/1960s in São Paulo. His style is easily recognizable because of the curved lines and smooth shapes, a far cry from the main designs of his fellow retailers and probably inspired by 1940s Italian design. His pieces are beautifully crafted in traditional Brazilian wood. He designed and produced many exclusive pieces for different houses in São Paulo. Scapinelli died in 1982. A designer of Italian origin, born in 1891, he was at the same time a furniture maker and retailer 1950s/1960s in São Paulo. His style is easily recognizable because of the curved lines and smooth shapes, a far cry from the main designs of his fellow retailers and probably inspired by 1940s Italian design. His pieces are beautifully crafted in traditional Brazilian wood. He designed and produced many exclusive pieces for different houses in São Paulo. Scapinelli died in 1982. Giuseppe Scapinelli Giuseppe Scapinelli 1/1 some publications Scapinelli Livro Mobiliario Moderno Brasileiro Livro Desenho da Utopia Livro Scapinelli Livro 1/3 An Italian-born designer, born in 1891, was simultaneously a furniture manufacturer and retailer in São Paulo during the 1950s and 60s. Trained as an architect, Scapinelli was forced to leave his native Italy after the Second World War in search of new horizons. With an adventurous spirit, he arrived in Brazil in 1948, settled in the city of São Paulo, and began working as an architect for Count Francesco Matarazzo. In 1950 he opened an office and began working as an architect-decorator alongside an excellent team of carpenters, also immigrants. He was a contributor to Casa e Jardim magazine for many years, in a column called Scapinelli Responds, where he even asked in the 1950s, "Why is there so much monotony and bad taste in home decoration?" He opened a very successful furniture and interior design gallery, Margutta, located on Rua Augusta. There, together with carpenters and artisans, he produced high-end furniture. Unfortunately, as the years passed, he was forced to close the gallery because the market increasingly demanded furniture that was manufactured quickly and of lower quality. Therefore, Scapinelli would no longer work there; his commitment to quality and high standards in furniture was too great, and he ended up leaving the sector. Architect, furniture designer, ceramist, photographer, writer, and restaurant owner, that was Giuseppe Scapinelli, yet another Italian-Brazilian to shine as one of the pioneers of furniture design in Brazil. An Italian-born designer, born in 1891, was simultaneously a furniture manufacturer and retailer in São Paulo during the 1950s and 60s. Trained as an architect, Scapinelli was forced to leave his native Italy after the Second World War in search of new horizons. With an adventurous spirit, he arrived in Brazil in 1948, settled in the city of São Paulo, and began working as an architect for Count Francesco Matarazzo. In 1950 he opened an office and began working as an architect-decorator alongside an excellent team of carpenters, also immigrants. He was a contributor to Casa e Jardim magazine for many years, in a column called Scapinelli Responds, where he even asked in the 1950s, "Why is there so much monotony and bad taste in home decoration?" He opened a very successful furniture and interior design gallery, Margutta, located on Rua Augusta. There, together with carpenters and artisans, he produced high-end furniture. Unfortunately, as the years passed, he was forced to close the gallery because the market increasingly demanded furniture that was manufactured quickly and of lower quality. Therefore, Scapinelli would no longer work there; his commitment to quality and high standards in furniture was too great, and he ended up leaving the sector. Architect, furniture designer, ceramist, photographer, writer, and restaurant owner, that was Giuseppe Scapinelli, yet another Italian-Brazilian to shine as one of the pioneers of furniture design in Brazil. A designer of Italian origin, born in 1891, he was at the same time a furniture maker and retailer 1950s/1960s in São Paulo. His style is easily recognizable because of the curved lines and smooth shapes, a far cry from the main designs of his fellow retailers and probably inspired by 1940s Italian design. His pieces are beautifully crafted in traditional Brazilian wood. He designed and produced many exclusive pieces for different houses in São Paulo. Scapinelli died in 1982. An Italian-born designer, born in 1891, was simultaneously a furniture manufacturer and retailer in São Paulo during the 1950s and 60s. Trained as an architect, Scapinelli was forced to leave his native Italy after the Second World War in search of new horizons. With an adventurous spirit, he arrived in Brazil in 1948, settled in the city of São Paulo, and began working as an architect for Count Francesco Matarazzo. In 1950 he opened an office and began working as an architect-decorator alongside an excellent team of carpenters, also immigrants. He was a contributor to Casa e Jardim magazine for many years, in a column called Scapinelli Responds, where he even asked in the 1950s, "Why is there so much monotony and bad taste in home decoration?" He opened a very successful furniture and interior design gallery, Margutta, located on Rua Augusta. There, together with carpenters and artisans, he produced high-end furniture. Unfortunately, as the years passed, he was forced to close the gallery because the market increasingly demanded furniture that was manufactured quickly and of lower quality. Therefore, Scapinelli would no longer work there; his commitment to quality and high standards in furniture was too great, and he ended up leaving the sector. Architect, furniture designer, ceramist, photographer, writer, and restaurant owner, that was Giuseppe Scapinelli, yet another Italian-Brazilian to shine as one of the pioneers of furniture design in Brazil. A designer of Italian origin, born in 1891, he was at the same time a furniture maker and retailer 1950s/1960s in São Paulo. His style is easily recognizable because of the curved lines and smooth shapes, a far cry from the main designs of his fellow retailers and probably inspired by 1940s Italian design. His pieces are beautifully crafted in traditional Brazilian wood. He designed and produced many exclusive pieces for different houses in São Paulo. Scapinelli died in 1982. An Italian-born designer, born in 1891, was simultaneously a furniture manufacturer and retailer in São Paulo during the 1950s and 60s. Trained as an architect, Scapinelli was forced to leave his native Italy after the Second World War in search of new horizons. With an adventurous spirit, he arrived in Brazil in 1948, settled in the city of São Paulo, and began working as an architect for Count Francesco Matarazzo. In 1950 he opened an office and began working as an architect-decorator alongside an excellent team of carpenters, also immigrants. He was a contributor to Casa e Jardim magazine for many years, in a column called Scapinelli Responds, where he even asked in the 1950s, "Why is there so much monotony and bad taste in home decoration?" He opened a very successful furniture and interior design gallery, Margutta, located on Rua Augusta. There, together with carpenters and artisans, he produced high-end furniture. Unfortunately, as the years passed, he was forced to close the gallery because the market increasingly demanded furniture that was manufactured quickly and of lower quality. Therefore, Scapinelli would no longer work there; his commitment to quality and high standards in furniture was too great, and he ended up leaving the sector. Architect, furniture designer, ceramist, photographer, writer, and restaurant owner, that was Giuseppe Scapinelli, yet another Italian-Brazilian to shine as one of the pioneers of furniture design in Brazil. A designer of Italian origin, born in 1891, he was at the same time a furniture maker and retailer 1950s/1960s in São Paulo. His style is easily recognizable because of the curved lines and smooth shapes, a far cry from the main designs of his fellow retailers and probably inspired by 1940s Italian design. His pieces are beautifully crafted in traditional Brazilian wood. He designed and produced many exclusive pieces for different houses in São Paulo. Scapinelli died in 1982. An Italian-born designer, born in 1891, was simultaneously a furniture manufacturer and retailer in São Paulo during the 1950s and 60s. Trained as an architect, Scapinelli was forced to leave his native Italy after the Second World War in search of new horizons. With an adventurous spirit, he arrived in Brazil in 1948, settled in the city of São Paulo, and began working as an architect for Count Francesco Matarazzo. In 1950 he opened an office and began working as an architect-decorator alongside an excellent team of carpenters, also immigrants. He was a contributor to Casa e Jardim magazine for many years, in a column called Scapinelli Responds, where he even asked in the 1950s, "Why is there so much monotony and bad taste in home decoration?" He opened a very successful furniture and interior design gallery, Margutta, located on Rua Augusta. There, together with carpenters and artisans, he produced high-end furniture. Unfortunately, as the years passed, he was forced to close the gallery because the market increasingly demanded furniture that was manufactured quickly and of lower quality. Therefore, Scapinelli would no longer work there; his commitment to quality and high standards in furniture was too great, and he ended up leaving the sector. Architect, furniture designer, ceramist, photographer, writer, and restaurant owner, that was Giuseppe Scapinelli, yet another Italian-Brazilian to shine as one of the pioneers of furniture design in Brazil. A designer of Italian origin, born in 1891, he was at the same time a furniture maker and retailer 1950s/1960s in São Paulo. His style is easily recognizable because of the curved lines and smooth shapes, a far cry from the main designs of his fellow retailers and probably inspired by 1940s Italian design. His pieces are beautifully crafted in traditional Brazilian wood. He designed and produced many exclusive pieces for different houses in São Paulo. Scapinelli died in 1982. An Italian-born designer, born in 1891, was simultaneously a furniture manufacturer and retailer in São Paulo during the 1950s and 60s. Trained as an architect, Scapinelli was forced to leave his native Italy after the Second World War in search of new horizons. With an adventurous spirit, he arrived in Brazil in 1948, settled in the city of São Paulo, and began working as an architect for Count Francesco Matarazzo. In 1950 he opened an office and began working as an architect-decorator alongside an excellent team of carpenters, also immigrants. He was a contributor to Casa e Jardim magazine for many years, in a column called Scapinelli Responds, where he even asked in the 1950s, "Why is there so much monotony and bad taste in home decoration?" He opened a very successful furniture and interior design gallery, Margutta, located on Rua Augusta. There, together with carpenters and artisans, he produced high-end furniture. Unfortunately, as the years passed, he was forced to close the gallery because the market increasingly demanded furniture that was manufactured quickly and of lower quality. Therefore, Scapinelli would no longer work there; his commitment to quality and high standards in furniture was too great, and he ended up leaving the sector. Architect, furniture designer, ceramist, photographer, writer, and restaurant owner, that was Giuseppe Scapinelli, yet another Italian-Brazilian to shine as one of the pioneers of furniture design in Brazil. A designer of Italian origin, born in 1891, he was at the same time a furniture maker and retailer 1950s/1960s in São Paulo. His style is easily recognizable because of the curved lines and smooth shapes, a far cry from the main designs of his fellow retailers and probably inspired by 1940s Italian design. His pieces are beautifully crafted in traditional Brazilian wood. He designed and produced many exclusive pieces for different houses in São Paulo. Scapinelli died in 1982. An Italian-born designer, born in 1891, was simultaneously a furniture manufacturer and retailer in São Paulo during the 1950s and 60s. Trained as an architect, Scapinelli was forced to leave his native Italy after the Second World War in search of new horizons. With an adventurous spirit, he arrived in Brazil in 1948, settled in the city of São Paulo, and began working as an architect for Count Francesco Matarazzo. In 1950 he opened an office and began working as an architect-decorator alongside an excellent team of carpenters, also immigrants. He was a contributor to Casa e Jardim magazine for many years, in a column called Scapinelli Responds, where he even asked in the 1950s, "Why is there so much monotony and bad taste in home decoration?" He opened a very successful furniture and interior design gallery, Margutta, located on Rua Augusta. There, together with carpenters and artisans, he produced high-end furniture. Unfortunately, as the years passed, he was forced to close the gallery because the market increasingly demanded furniture that was manufactured quickly and of lower quality. Therefore, Scapinelli would no longer work there; his commitment to quality and high standards in furniture was too great, and he ended up leaving the sector. Architect, furniture designer, ceramist, photographer, writer, and restaurant owner, that was Giuseppe Scapinelli, yet another Italian-Brazilian to shine as one of the pioneers of furniture design in Brazil. A designer of Italian origin, born in 1891, he was at the same time a furniture maker and retailer 1950s/1960s in São Paulo. His style is easily recognizable because of the curved lines and smooth shapes, a far cry from the main designs of his fellow retailers and probably inspired by 1940s Italian design. His pieces are beautifully crafted in traditional Brazilian wood. He designed and produced many exclusive pieces for different houses in São Paulo. Scapinelli died in 1982. Scapinelli - Cadeiras em caviúna maciça e assento em linho claro - déc. 1950 Anonymous - Oval side table, 1960s design, in solid wood. Scapinelli - Coffee table, 1950s design, solid rosewood and beige marble. Giuseppe Scapinelli - Pair of chairs in solid caviúna wood - Dec. 50 Giuseppe Scapinelli - High stools for bar and counter - solid caviuna wood Giuseppe Scapinelli - Sideboard, console in caviúna wood. Dec. 50 Scapinelli - 1960s design armchairs in solid rosewood with spring seats. Giuseppe Scapinelli - Maracanã side table in solid caviúna wood - 1950s Scapinelli - 1960s design side table in rosewood and ivory wood Scapinelli - Dining table chair, 1950s design - solid caviúna wood Giuseppe Scapinelli - 1950s design armchair in solid rosewood and linen. Pair of side tables in Jacaranda - Scapinelli Bar in wood and formica from the 50s Works by Zanine Caldas that are or have been part of our collection.

A genialidade de José Zanine Caldas na Galeria Lora Ronco. Conheça a obra deste renomado designer brasileiro, cujos móveis ecoam inovação e sustentabilidade. Jose Zanine Caldas landscape architect, sculptor, model maker and designer In April of 1919, in the city of Belmonte, in southern Bahia, José Zanine Caldas was born. Self-taught, he began early, at the age of thirteen, making nativity scenes with his father's syringe boxes, as his father was a doctor. At eighteen he moved to São Paulo and at twenty he opened his own model-making company in Rio de Janeiro, with clients including names like Lucio Costa and Oscar Niemeyer, among others. In 1948 he founded Móveis Artísticos Z, producing furniture with a strong modernist influence for 12 years, leaving the company in the mid-1950s. He joined the faculty of the University of Brasília, even without a degree, as a professor of model making. Years later, he would be recognized by the Brazilian Institute of Architects as an architect honoris causa, receiving this title from Lúcio Costa. He gained international recognition when his work was exhibited at the Louvre Museum in Paris. Zanine knew no limits. He contributed to architecture, design and art, industrial and handcrafted furniture, landscaping and sculptures, among projects for popular and elite housing, as well as research concerning the use and reuse of Brazilian wood. landscape architect, sculptor, model maker and designer In April of 1919, in the city of Belmonte, in southern Bahia, José Zanine Caldas was born. Self-taught, he began early, at the age of thirteen, making nativity scenes with his father's syringe boxes, as his father was a doctor. At eighteen he moved to São Paulo and at twenty he opened his own model-making company in Rio de Janeiro, with clients including names like Lucio Costa and Oscar Niemeyer, among others. In 1948 he founded Móveis Artísticos Z, producing furniture with a strong modernist influence for 12 years, leaving the company in the mid-1950s. He joined the faculty of the University of Brasília, even without a degree, as a professor of model making. Years later, he would be recognized by the Brazilian Institute of Architects as an architect honoris causa, receiving this title from Lúcio Costa. He gained international recognition when his work was exhibited at the Louvre Museum in Paris. Zanine knew no limits. He contributed to architecture, design and art, industrial and handcrafted furniture, landscaping and sculptures, among projects for popular and elite housing, as well as research concerning the use and reuse of Brazilian wood. José Zanine Caldas na Lora Ronco Galeria O mestre da madeira do móvel moderno Brasileiro Zanine Poltrona Grande Zanine Poltrona 2 José Zanine Caldas na Lora Ronco Galeria O mestre da madeira do móvel moderno Brasileiro 1/5 some publications Zanine Livro Mobiliario Moderno Brasileiro Livro Desenho da Utopia Livro Zanine Livro 1/3 landscape architect, sculptor, model maker and designer landscape architect, sculptor, model maker and designer In April of 1919, in the city of Belmonte, in southern Bahia, José Zanine Caldas was born. Self-taught, he began early, at the age of thirteen, making nativity scenes with his father's syringe boxes, as his father was a doctor. At eighteen he moved to São Paulo and at twenty he opened his own model-making company in Rio de Janeiro, with clients including names like Lucio Costa and Oscar Niemeyer, among others. In 1948 he founded Móveis Artísticos Z, producing furniture with a strong modernist influence for 12 years, leaving the company in the mid-1950s. He joined the faculty of the University of Brasília, even without a degree, as a professor of model making. Years later, he would be recognized by the Brazilian Institute of Architects as an architect honoris causa, receiving this title from Lúcio Costa. He gained international recognition when his work was exhibited at the Louvre Museum in Paris. Zanine knew no limits. He contributed to architecture, design and art, industrial and handcrafted furniture, landscaping and sculptures, among projects for popular and elite housing, as well as research concerning the use and reuse of Brazilian wood. landscape architect, sculptor, model maker and designer In April of 1919, in the city of Belmonte, in southern Bahia, José Zanine Caldas was born. Self-taught, he began early, at the age of thirteen, making nativity scenes with his father's syringe boxes, as his father was a doctor. At eighteen he moved to São Paulo and at twenty he opened his own model-making company in Rio de Janeiro, with clients including names like Lucio Costa and Oscar Niemeyer, among others. In 1948 he founded Móveis Artísticos Z, producing furniture with a strong modernist influence for 12 years, leaving the company in the mid-1950s. He joined the faculty of the University of Brasília, even without a degree, as a professor of model making. Years later, he would be recognized by the Brazilian Institute of Architects as an architect honoris causa, receiving this title from Lúcio Costa. He gained international recognition when his work was exhibited at the Louvre Museum in Paris. Zanine knew no limits. He contributed to architecture, design and art, industrial and handcrafted furniture, landscaping and sculptures, among projects for popular and elite housing, as well as research concerning the use and reuse of Brazilian wood. landscape architect, sculptor, model maker and designer In April of 1919, in the city of Belmonte, in southern Bahia, José Zanine Caldas was born. Self-taught, he began early, at the age of thirteen, making nativity scenes with his father's syringe boxes, as his father was a doctor. At eighteen he moved to São Paulo and at twenty he opened his own model-making company in Rio de Janeiro, with clients including names like Lucio Costa and Oscar Niemeyer, among others. In 1948 he founded Móveis Artísticos Z, producing furniture with a strong modernist influence for 12 years, leaving the company in the mid-1950s. He joined the faculty of the University of Brasília, even without a degree, as a professor of model making. Years later, he would be recognized by the Brazilian Institute of Architects as an architect honoris causa, receiving this title from Lúcio Costa. He gained international recognition when his work was exhibited at the Louvre Museum in Paris. Zanine knew no limits. He contributed to architecture, design and art, industrial and handcrafted furniture, landscaping and sculptures, among projects for popular and elite housing, as well as research concerning the use and reuse of Brazilian wood. landscape architect, sculptor, model maker and designer In April of 1919, in the city of Belmonte, in southern Bahia, José Zanine Caldas was born. Self-taught, he began early, at the age of thirteen, making nativity scenes with his father's syringe boxes, as his father was a doctor. At eighteen he moved to São Paulo and at twenty he opened his own model-making company in Rio de Janeiro, with clients including names like Lucio Costa and Oscar Niemeyer, among others. In 1948 he founded Móveis Artísticos Z, producing furniture with a strong modernist influence for 12 years, leaving the company in the mid-1950s. He joined the faculty of the University of Brasília, even without a degree, as a professor of model making. Years later, he would be recognized by the Brazilian Institute of Architects as an architect honoris causa, receiving this title from Lúcio Costa. He gained international recognition when his work was exhibited at the Louvre Museum in Paris. Zanine knew no limits. He contributed to architecture, design and art, industrial and handcrafted furniture, landscaping and sculptures, among projects for popular and elite housing, as well as research concerning the use and reuse of Brazilian wood. landscape architect, sculptor, model maker and designer In April of 1919, in the city of Belmonte, in southern Bahia, José Zanine Caldas was born. Self-taught, he began early, at the age of thirteen, making nativity scenes with his father's syringe boxes, as his father was a doctor. At eighteen he moved to São Paulo and at twenty he opened his own model-making company in Rio de Janeiro, with clients including names like Lucio Costa and Oscar Niemeyer, among others. In 1948 he founded Móveis Artísticos Z, producing furniture with a strong modernist influence for 12 years, leaving the company in the mid-1950s. He joined the faculty of the University of Brasília, even without a degree, as a professor of model making. Years later, he would be recognized by the Brazilian Institute of Architects as an architect honoris causa, receiving this title from Lúcio Costa. He gained international recognition when his work was exhibited at the Louvre Museum in Paris. Zanine knew no limits. He contributed to architecture, design and art, industrial and handcrafted furniture, landscaping and sculptures, among projects for popular and elite housing, as well as research concerning the use and reuse of Brazilian wood. In April of 1919, in the city of Belmonte, in southern Bahia, José Zanine Caldas was born. Self-taught, he began early, at the age of thirteen, making nativity scenes with his father's syringe boxes, as his father was a doctor. At eighteen he moved to São Paulo and at twenty he opened his own model-making company in Rio de Janeiro, with clients including names like Lucio Costa and Oscar Niemeyer, among others. In 1948 he founded Móveis Artísticos Z, producing furniture with a strong modernist influence for 12 years, leaving the company in the mid-1950s. He joined the faculty of the University of Brasília, even without a degree, as a professor of model making. Years later, he would be recognized by the Brazilian Institute of Architects as an architect honoris causa, receiving this title from Lúcio Costa. He gained international recognition when his work was exhibited at the Louvre Museum in Paris. Zanine knew no limits. He contributed to architecture, design and art, industrial and handcrafted furniture, landscaping and sculptures, among projects for popular and elite housing, as well as research concerning the use and reuse of Brazilian wood. Zanine Caldas - Sculptural armchairs, 1950s design, in marine plywood. Coffee/side table - Zanine Caldas - 1950 Works by Zanine Caldas that are or have been part of our collection.

Lora Ronco Galeria: Compra e Venda de mobiliário moderno brasileiro, móveis autênticos das décadas de 50, 60 e 70, assinados por designers renomados internacionalmente, como: Sérgio Rodrigues, Tenreiro, Jorge Zalszupin, Jean Gillon, Geraldo de Barros, Percival Lafer, Zanine Caldas, Scapinelli, Carlos Hauner, Martin Eisler, Ernesto Hauner, Michel Arnoult e Celina Decorações, Liceu de Artes e Ofícios Agende uma ambientação na sua casa em São Paulo ou uma visita ao nosso galpão. (11) 99122-7578 descubra visite a nova galeria no Conjunto Nacional, em São Paulo Rua Padre João Manuel, 100 - Horsa II - 11º andar Estacionamento disponível no local INÍCIO: Bem-vindo Authentic designer furniture from the 1950s, 60s and 70s. Proudly member of BMDG Our collection showcases the greatest representatives of modern Brazilian collectible furniture design, from immigrants who found peace in Brazil to those born here; all are represented in our gallery. The art of these masters, recognized nationally and internationally, coined relatively recent expressions such as: "signed furniture" and "designer furniture". Our journey began with the desire to own a piece from every renowned designer of mid-century modern Brazilian furniture. Today, with a collection of over 800 pieces, we celebrate essential names in our modernist culture: Geraldo de Barros - Unilabor and Hobjeto Carlo Hauner & Martin Eisler - Forma Percival Lafer - Lafer Jean Gillon - Woodart and Italma Michel Arnoult - Mobília Contemporânea Ernesto Hauner - Mobilínea Joaquim Tenreiro Sérgio Rodrigues - OCA and Meia Pataca Jorge Zalszupin - L'Atelier Giuseppe Scapinelli Zanine Caldas - Artistic Furniture Z Abraham Palatnik Celina Decorações Novo Rumo Liceu de Artes e Ofícios Móveis Tepperman Móveis Cimo Dominici Follow-us on Instagram @loraroncogaleria Load more Lora Ronco Galeria no Conjunto Nacional Lora Ronco Galeria no Conjunto Nacional SP-Arte 2026 Lora Ronco Galeria no Conjunto Nacional 1/15 continue explorando ver o acervo VIEW COLLECTION conhecer a galeria VIEW COLLECTION

Explore a sofisticação de Zalszupin e a L'Atelier na Galeria Lora Ronco. Descubra a fusão entre arte e funcionalidade em móveis de design exclusivos. Jorge Zalszupin architect and designer Born in Poland, Jorge was Jewish and fled his country during World War II. He graduated in Architecture in Romania in 1945 and set out to start a new life, given the devastation caused by the war. He went to France and in 1949 arrived in Brazil, a country where he could fully develop his poetic and modern architecture. But in order for his work to be recognized and for clients to accept his bold ideas, he first had to design and build his own house. Having become a naturalized Brazilian citizen, Zalszupin established himself in São Paulo and became an icon of national design and modernism with the L'atelier brand, created in 1959 and produced in series. The first creation was an armchair nicknamed "Danish" by his employees, constructed of rosewood and upholstered, it has tapered legs and the design of its arms and front legs resembles the columns designed by Niemeyer for the Alvorada Palace. Thus, L'atelier spread throughout Brazil, making its showrooms a benchmark of modernity. In the 1960s and 1970s, in the city of Brasília, several public buildings were adorned with his works. Comfortable, timeless furniture made with fine materials. In the early 1970s, facing serious financial problems, L'Atelier was sold to a business group. This sale included Zalszupin's transfer as director of product research and development. He thus expanded the design team. In the 1980s, Zalszupin stopped working with furniture and returned to architecture. Jorge Zalszupin Zalszupin Estante Componível Zalszupin Sofa Componível Jorge Zalszupin 1/6 some publications Zalszupin Livro Mobiliario Moderno Brasileiro Livro Desennho da Utopia Livro Zalszupin Livro 1/3 Jorge Zalszupin - L'Atelier - Marina chair, design 1959, in rosewood and metal. Zalszupin - Jerzy chair, 1960s design, in solid rosewood and veneer. Zalszupin - Coffee table, side table, 1960s design, Chancellor model in rosewood. Jorge Zalszupin L'Atelier - Table 511 for dining room in rosewood. Jorge Zalszupin L'Atelier - Itamaraty Chair, solid rosewood and leather Jorge Zalszupin L'Atelier - designer desk, signed, 1960s, rosewood. Jorge Zalszupin - L'Atelier - 1960s design desk in rosewood. Jorge Zalszupin - 1960s design wooden dining table, 8 or 10 chairs Zalszupin - L'Atelier: rosewood side table with drawer - 1960s JORGE ZALSZUPIN - Dining table in rosewood - 1960s JORGE ZALSZUPIN - L'ATELIER - 1960s design bookcase in rosewood Jorge Zalszupin - 1960s design dining chairs, Del Rey solid rosewood. Side table in rosewood and leather. Zalszupin - Jerzy chairs in rosewood and leather, 1960s Bench or coffee table in Jacaranda Works by Jorge Zalszupin that are or have been part of our collection.

Descubra o legado de Sergio Rodrigues para a OCA e sua icônica Poltrona Mole na Galeria Lora Ronco. Conheça o renomado designer e sua contribuição para o mobiliário moderno Sergio Rodrigues architect and designer A creator of authentically Brazilian furniture, Sérgio was born in Rio de Janeiro into a family of artists and intellectuals, becoming one of the most admirable figures in Brazilian design. He began his career as a furniture designer in the 1950s in Rio de Janeiro. His most famous creation is the Mole Armchair, from 1957, a symbol of national design, and part of the collection of the MoMA (Museum of Modern Art) in New York. In 1954, he began working as a design consultant for several companies in São Paulo, including Móveis Artesanal Paranaense. In 1955 he created OCA, a benchmark in modern furniture. His production was committed to Brazilian values and materials. In 1963, he created the company Meia Pataca, aiming to sell mass-produced furniture at affordable prices, which remained in the market until 1968. He also produced many pieces of furniture for the creation of Brasília. For over 45 years, the company produced furniture in the following lines: residences, offices, hotels, and gardens, bringing its creativity and brilliance to the furniture world by expressing national identity through its creations. Sérgio Rodrigues Sergio Rodrigues Poltrona Lia Sergio Rodrigues Poltrona Diz Sérgio Rodrigues 1/7 some publications Sergio Rodrigues Livro Sergio Rodrigues Livro Desenho da Utopia Livro Sergio Rodrigues Livro 1/5 Works by Sérgio Rodrigues that are or have been part of our collection. Sérgio Rodrigues - OCA - Franco armchair, 1960s design, rosewood. Sergio Rodrigues OCA - Baú Sabará design anos 60 em madeira jacarandá Sérgio Rodrigues (OCA) - Luciana Chest of Drawers in rosewood, 1960s design. Sergio Rodrigues - Ottoman stool from the Moleca armchair, 1963, in solid rosewood. Sergio Rodrigues - OCA Lucio Costa Chair, solid rosewood and straw. Sergio Rodrigues OCA - Alex side table, 1960s design, rosewood and glass. Sergio Rodrigues - Dining chairs, 1960s design, solid rosewood. Pair of Cimba armchairs - OCA - Sérgio Rodrigues Sérgio Rodrigues OCA - Stella armchair, 1950s design, solid rosewood. Sérgio Rodrigues - OCA - Latini coffee table - rosewood and glass Sergio Rodrigues OCA - Lia armchair, 1960s design, solid rosewood. Sérgio Rodrigues, OCA - Vivi armchair, in solid freijó wood - 1962 SERGIO RODRIGUES - OCA - 1960 - Buffet in jacaranda wood Sergio Rodrigues OCA - 1960s design sideboard/buffet in rosewood and glass. SÉRGIO RODRIGUES - OCA - 1963 - Vronka armchair in solid rosewood Sérgio Rodrigues (OCA) - Millor armchairs in rosewood - 1965

Explore os móveis de Michel Arnoult, Mobília Contemporânea, na Galeria Lora Ronco. Descubra peças contemporâneas que combinam design inovador e elegância atemporal. Michel Arnoult e Mobília Contemporânea SC, RJ e PR Michel Arnoult was born in Paris in 1922. During the Second World War, his father managed to get him discharged from military service. Therefore, Michel was sent to Germany and began working in a furniture factory owned by a friend of his father. In this factory, he worked in the machinery section and in the administrative office, where he organized production, and thus learned about the workings of a furniture industry. Back in France, he decided to become a furniture designer and went to study at the Camondo School (a technical and artistic center that aimed to train interior decorators). While studying at that school, he won a contest whose prize was a job at a Mexican company, Bloch. And so he did in 1947. T. Silva leads the typical artist's life, far from the conventional. Working with various materials and constantly innovating, this artist is recognized for his broad and elaborate style. Contact Modernariato Lora Ronco to find out about available pieces. Pieces of Mobilia Contemporânea that are or have been part of our collection. Michel Arnoult - 1960s design armchair, solid imbuia wood, Ouro Preto model. Michel Arnoult - Vintage armchair, modern design, 1960s, solid wood and leather. Michel Arnoult - Desk/Sideboard in solid imbuia wood, 1960s design. Coffee table in imbuia wood - Michel Arnoult Ouro Preto Armchair Stool - Michel Arnoult Armchair designed in 1960s imbuia wood by Michel Arnoult - Ouro Preto

Descubra as criações do Liceu de Artes e Ofícios na Galeria Lora Ronco. Móveis únicos que combinam a beleza do jacarandá com o design moderno e sofisticado. The institution was created in 1873 by a group of aristocrats belonging to the national coffee elite who intended to train a skilled workforce for a possible future industrialization of the country, focusing on instructing people to work in the industrial and commercial sectors. Initially named "Society for the Propagation of Popular Instruction," it offered evening literacy and arithmetic courses for adults and children. Seven years later, the Superior Council decided on a complete overhaul of the institution and its effective transformation into a school, adopting the European model of Arts and Crafts Schools (the English Arts & Crafts Schools), which advocated the appreciation of the artisan's manual work in industry. With the adoption of the name Lyceum of Arts and Crafts, the new model began to be implemented, and courses in carpentry, metalwork, plastering, drawing, among others, were offered. Teperman is one of the oldest Brazilian companies operating in the area of quality furniture. Created in 1912, it was a pioneer in keeping fine furniture in stock, at a time when this type of product was imported from Europe especially for the customer or made to measure by cabinetmakers. In the first three decades of its existence, it focused on the residential and hotel markets. In the 1940s, it also started to supply offices, banks and government offices. In the 50's, the construction of Brasília resulted in a great demand for furniture according to the principles of modern architecture. It was at this time that he began to invest decisively in design, inviting architects like Jacob Ruchti to be designers. Tepperman introduced in Brazil the exhibition of furniture in formed environments, when the custom of the time was simply to pile up stocks. In 1960, aware of the need to update technology, I obtained a license from the North American company Herman Miller to produce its furniture in Brazil. Teperman manufactured furniture designed by well-known modernist designers such as: Giuseppe Scapinelli and Oscar Niemeyer, among others. Until today, other furniture by Niemeyer and his daughter Ana Maria, Jacqueline Terpins, Eduardo Lamassa, André Leirner and Délia Berú and reprints by John Graz, George Nelson, Isamu Noguchim, Ray and Charles Eames, etc. Liceu de Artes e Ofícios SP Works from the Liceu that are or have been part of our collection. Liceu de Artes e Ofícios - Poltrona em jacarandá maciço e tecido tramado. déc.60 Arts and Crafts High School - 1960s design armchair in rosewood and suede Arts and Crafts School - 1960s design armchair in solid rosewood and beige leather Arts and Crafts School - 1960s design armchair in solid rosewood Arts and Crafts School - Armchair and stool - 1960s Arts and Crafts School - 1960 - 4-seater sofa in solid rosewood. Arts and Crafts School - 1960s style rosewood side table Liceu (LAO) - Pair of armchairs in rosewood and faux leather Arts and Crafts High School - 1960s design armchair, solid wood and green fabric. Armchair in rosewood - Arts and Crafts School Arts and Crafts School - 1960s design armchair in rosewood Arts and Crafts School - 1960s design armchairs in solid rosewood

Descubra a arte de Carlo Hauner & Martin Eisler na Galeria Lora Ronco. Explore as peças produzidas pela Móveis Artesanal e Forma, inovação no design e nos materiais. Carlo Hauner & Martin Eisler designer & architect Carlo Hauner was born in Brescia, Italy. After studying design in Milan, he arrived in Brazil (São Paulo) in 1948, just over 20 years old. Alongside his brother, Ernesto Hauner, he bought the Pau-Brasil factory in 1950, owned by Lina Bo Bardi and Pietro Maria Bardi, which was renamed Móveis Artesanal and began producing modern furniture. Hauner was the company's main designer until the arrival of fellow immigrant Martin Eisler. Móveis Artesanal was "a pioneer in the country in successfully combining a design office with a modern language, a manufacturing system with serial production, and innovative commercial spaces, playing an important role in the history of design in Brazil," - Mina Warchavchik Hugerth. Martin Eisler was born in Vienna, Austria. He left Europe because of the fascist regimes and in August 1938, he arrived in Argentina with an architecture degree from the Vienna Polytechnic School of Fine Arts. He became a naturalized Argentinian citizen and began working as an architect, set designer, and interior designer. Starting in 1952, Eisler began coming to São Paulo every 15 days to do an interior design project for his brother-in-law. It was there that he met the Hauner brothers and became their partner in Móveis Artesanal (Artisanal Furniture). Together with Hauner, Eisler became responsible for the furniture design area. The partnership between the two earned the pair the Compasso d'Oro award at the Milan Triennale in the 1950s. The two would be responsible for designing pieces that became classics of modern Brazilian design and for managing a store that established itself as a benchmark of sophistication at the time. Among Eisler's best-known pieces is the Costela Armchair (1954), with a metal frame, multi-layered imbuia wood slats, and cushions with capitonné detailing. T. Silva leads the typical artist's life, far from the conventional. Working with various materials and constantly innovating, this artist is recognized for his broad and elaborate style. Contact Modernariato Lora Ronco to find out about available pieces. Martin Eisler e Carlo Hauner Poltrona Costela - Forma Poltrona Concha - Forma Martin Eisler e Carlo Hauner 1/5 some publications Mobiliario Moderno Brasileiro Livro Desenho da Utopia Livro Mobiliario Moderno Brasileiro Livro 1/2 Carlo Hauner & Martin Eisler - Cadeiras design anos 50 caviúna maciça e palhinha Carlo Hauner & Martin Eisler - 1950s design magazine rack in brass Carlo Hauner & Martin Eisler - Forma - 1950s design dining table in caviúna wood Martin Eisler and Carlo Hauner: coffee table in solid rosewood, glass and mirror. Carlo Hauner Martin Eisler - Sculptural armchair, 1960s design, iron and wood. CARLO HAUNER & MARTIN EISLER - Handmade Furniture - 1950 - 2 nesting tables Coffee table in rosewood and iron - Martin Eisler and Carlo Hauner Carlo Hauner and Martin Eisler - Armchair design from the 50s and 60s - iron frame Carlo Hauner & Martin Eisler - 1950s design coffee table made of caviúna wood. Pair of Ferro and Junco armchairs - Hauner & Eisler Iron and brass magazine rack - Carlo Hauner & Martin Eisler Works by Carlo Hauner and Martin Eisler that are or have passed through our collection

Descubra a tradição e inovação da Novo Rumo na fabricação de móveis modernos brasileiros. Visite-nos na Galeria Lora Ronco para explorar nosso acervo exclusivo. Novo Rumo SP Francesco Scapinelli, an architect and ceramist, after working for years with his older brother, Giuseppe Scapinelli, an already established designer of modern furniture in Brazil, founded Novo Rumo in the Lapa neighborhood of São Paulo. His goal was to produce furniture on an industrial scale, and he did so masterfully for many years at the helm of Novo Rumo. High-quality furniture, with beautiful design and perfect choices of raw materials, such as Brazilian rosewood, both in its solid form and the veneers used in larger pieces like dining tables and bookcases. It is not uncommon nowadays to find people who attribute some pieces designed and produced by Novo Rumo to Jorge Zalszupin. This may be due to the fact that former employees of L'atelier de Zalszupin were collaborators of Novo Rumo. After several years at the helm of Novo Rumo, Francesco "Checco" Scapinelli returns to his old passion and successfully resumes the design and production of artistic ceramics in Brazil and abroad with Della Robbia, his new factory. In 1990, Checco decided to return to Italy and continue his work as a ceramist, which he did until his death in 2014. Works by Novo Rumo that are or have been part of our collection. Francesco Scapinelli Novo Rumo - 1960s design sideboard in rosewood New Direction - Translucent resin table lamp with fabric shade, 1970s New Direction - Dining table chairs, 1960s design, solid rosewood. New Direction - set of 8 dining table chairs, 1970s design. New Direction - Rosewood Chairs - Dec. 60 New Direction - Dining chairs with a 1960s design, solid rosewood and leather. New Direction - Serving cart/sideboard, 1960s design, in rosewood. New Direction - Dining chair, 1960s design, rosewood.

Explore a Mobilínea de Ernesto Hauner na Galeria Lora Ronco. Descubra móveis icônicos que refletem a sofisticação e o design inovador do renomado designer italiano. Founded by the Italian Ernesto Hauner in 1959, with a small factory in São Paulo that produced modular solid wood shelving, the name Mobilinea comes from the Italian words mobile and linea, which mean furniture and line, respectively. In partnership with her husband, Ernesto Hauner – who, in addition to being one of the business owners, was also responsible for the furniture design – Georgia Hauner worked on showroom planning and producing photographs for decorating magazine editorials and advertising campaigns. The depictions of domestic interiors that she produced, conceived using modular and mass-produced furniture, contributed to the construction of the social imaginary regarding what was understood, at the time, as a "modern lifestyle." Mobilínea sought to inspire modernity in the female sphere through its advertisements, taking into account the period of social transformations, with women seeking more independence and freedom. His designs explored the use of new materials, as well as the use of striking colors in painting furniture (of which he was a pioneer), developing furniture for homes and offices. It played an important role in the construction of Brazil's new capital, providing institutional furniture and student housing for the University of Brasília (UnB). He also created pieces in steel, fiberglass, and acrylic, and his work has been recognized with the Roberto Simonsen Award and at the Rio de Janeiro International Design Biennials. In 1970, John de Souza, then a partner of Ernesto and his wife, Carmute, were wrongly arrested on suspicion of belonging to leftist groups. At that time, Brazil was under a dictatorship, and during their imprisonment, Mobilinea maintained its normal operations, albeit with its telephones tapped. The atmosphere of insecurity was total. Ernesto was overwhelmed, also fulfilling the duties of his partner. After a year, his partner and his wife were released, yet Mobilinea continued to grow, and in 1972 they decided to open a store where it would be possible to buy various household products in one place. Thus, the first Home Store in the country was born. To make the business viable, several partners joined the company, and suspicions of embezzlement began to arise, as John and Ernesto had lost control of the company. Faced with these events and with the feeling that they would never integrate into Brazil, in 1975, Ernesto Hauner and his wife Georgia sold their shares and left the country. From then on, the company followed a new path, focusing solely on producing corporate furniture. Mobilínea SP Works by Mobilínea that are or have passed through our collection Ernesto Hauner Furniture - 1960s design office chair in solid rosewood Ernesto Hauner - 1960s design armchair in solid rosewood Ernesto Hauner - 2-seater sofa in solid rosewood - 1960s Ernesto Hauner - Coffee or side table, 1960s design, rosewood.

Explore o legado de Geraldo de Barros e Unilabor na Galeria Lora Ronco. Descubra o brilhantismo do renomado designer brasileiro em móveis e objetos de design únicos. Geraldo de Barros painter, photographer, visual artist and designer Born in 1923 in the city of Chavantes (SP), he was a multifaceted artist: painter, photographer, furniture designer, and visual artist. His work also extends to printmaking and industrial design. He was one of the founders of Grupo 15, a studio established in downtown São Paulo in 1947, and also participated in the creation of Grupo Ruptura, which marked the beginning of concrete art in Brazil. In 1954, he founded the Unilabor Furniture Cooperative, where employees participated in the profits and management of the company. Geraldo changed the course of design in Brazil, using iron, wood, and Formica, straight, clean lines, and perfect finishes, definitively breaking the paradigm of classic, colonial, and art deco furniture. In 1964, he created Hobjeto, a furniture factory based on a personalized sales system that adapted to the environment and lifestyle of the moment, with practical furniture, simple aesthetics, and straight lines. Ultimately, his works remain a source of inspiration and admiration to this day. Geraldo de Barros Incrível artista multifcetado, destaque para as belíssimas peças do mobiliário moderno produzidas pela Unilabor, em ferro, madeira e fórmica. Linhas retas, limpas, acabamentos perfeitos, design que quebra o paradigma com clássico, colonial e art deco. Geraldo de Barros Fotoforma Incrível artista multifcetado, destaque para as belíssimas peças do mobiliário moderno produzidas pela Unilabor, em ferro, madeira e fórmica. Linhas retas, limpas, acabamentos perfeitos, design que quebra o paradigma com clássico, colonial e art deco. Geraldo de Barros Hobjeto Incrível artista multifcetado, destaque para as belíssimas peças do mobiliário moderno produzidas pela Unilabor, em ferro, madeira e fórmica. Linhas retas, limpas, acabamentos perfeitos, design que quebra o paradigma com clássico, colonial e art deco. Geraldo de Barros Incrível artista multifcetado, destaque para as belíssimas peças do mobiliário moderno produzidas pela Unilabor, em ferro, madeira e fórmica. Linhas retas, limpas, acabamentos perfeitos, design que quebra o paradigma com clássico, colonial e art deco. 1/6 some publications Geraldo de Barro Livro Mobiliario Moderno Brasileiro Livro Desenho da Utopia Livro Geraldo de Barro Livro 1/3 Geraldo de Barros Unilabor - 1950s design desk/sideboard in rosewood Geraldo de Barros - Hobjeto - square coffee table in imbuia wood and chromed steel GERALDO DE BARROS - Unilabor - 1950 - Pair of bedside tables GERALDO DE BARROS - Unilabor - 1950 - chairs in jacaranda wood Geraldo de Barros - Dining chair, 1960s design, solid rosewood. Tea trolley in Caviúna - Geraldo de Barros Works by Geraldo de Barros that are or have been part of our collection.

Descubra o mundo fascinante de Abraham Palatnik na Galeria Lora Ronco. Explore as criações inovadoras deste renomado artista brasileiro, pioneiro na arte cinética. Abraham Palatnik visual artist and designer Born in Rio Grande do Norte in 1928, and being from a family of Russian Jews, he spent his childhood and adolescence between Natal and Tel Aviv, where he studied. He returned to Brazil in 1947 and in 1951 made an unusual debut at the 1st São Paulo Biennial, following the absence of a Japanese representative. His submitted work was: "chromatic kinetic apparatus, a pictorial machine". From then on, he went down in history as the pioneer of kinetic art in Brazil. In 1954, he and his brother founded a furniture factory in Copacabana called ARTEVIVA. They produced iron tables, sofas, armchairs, and other items with a very modern design. Painter, sculptor, inventor, industrial designer, furniture designer—in short, Palatnik was a powerhouse of creativity! "To invent something, one must possess unconventional behavior." - Abraham Palatnik some publications Palatnik livro Mobiliario Moderno Brasileiro Livro Desenho da Utopia Livro Palatnik livro 1/3 Abraham Palatnik Abraham Palatnik, um gênio a frente do seu tempo, artista mutifacetado, artista-engenheiro, vasta produção sempre com muito destaque no que fazia. Quadros, objetos cinéticos, esculturas em resina, mobiliário moderno, etc. Palatnik Quadro Abraham Palatnik, um gênio a frente do seu tempo, artista mutifacetado, artista-engenheiro, vasta produção sempre com muito destaque no que fazia. Quadros, objetos cinéticos, esculturas em resina, mobiliário moderno, etc. Corujas e gato Palatnik Abraham Palatnik, um gênio a frente do seu tempo, artista mutifacetado, artista-engenheiro, vasta produção sempre com muito destaque no que fazia. Quadros, objetos cinéticos, esculturas em resina, mobiliário moderno, etc. Abraham Palatnik Abraham Palatnik, um gênio a frente do seu tempo, artista mutifacetado, artista-engenheiro, vasta produção sempre com muito destaque no que fazia. Quadros, objetos cinéticos, esculturas em resina, mobiliário moderno, etc. 1/8 Works by Abraham Palatnik that are or have been part of our collection.