Long before restoration, photography, or exhibition, there is research. This process can take many forms—from studying period catalogs and magazines from the 1950s, 60s, and 70s, to visiting the original homes for which pieces were designed and observing them in situ. The methods required to uncover the history of each work of mid-century furniture vary from piece to piece, but together they form the foundation of how we understand and present our collection.
The process begins with sourcing, undertaken personally by our Founder, Rodrigo Salem. This direct approach allows for a high level of confidence in authenticity, often acquiring pieces from original owners or their families—ensuring they are not later reproductions or imitations. Many of these works require extensive restoration to return them to their intended state. One example is the Chaise Lounge in Caviúna Wood & Fabric by Pierre Weckx, 1950s. When acquired, the frame had been painted black, obscuring the richness of the original caviúna wood beneath. Through careful restoration, the paint was removed to reveal the material as intended. A new cushion was also produced, guided by archival references from a Brazilian magazine of the period to match the original form.
Photo of Pierre Weckx Chaise Lounge from Casa e Jardim. 
Shown is the Chaise Lounge in Caviúna Wood & Fabric by Pierre Weckx, 1950s.
The photograph on the left shows the piece prior to the completion of its restoration, when the rope support structure had not yet been restrung, and the upholstery remained unfinished. For some works like this Chaise, restoration is a lengthy, multi-step process, while others require minimal intervention.
The MP-163 “Earth” Lounge Chair with Ottoman by Percival Lafer, 1976, is one such example of a more straightforward restoration. The piece arrived in strong overall condition, requiring only reupholstery. The chrome legs were carefully cleaned and preserved, while the original, lightly worn white upholstery was replaced with a new tufted velvet fabric in a deep purple tone.
Shown Above MP-163 “Earth” Lounge Chair with Ottoman in Tufted Velvet Upholstery, Percival Lafer, 1976 — Lot 651A
Vintage magazine clipping of a Brazilian magazine that shows the MP-163 “Earth” Lounge Chair with Ottoman in Tufted Velvet Upholstery, Percival Lafer, 1976 — Lot 651A
While restoration varies in scope from piece to piece, research and provenance remain constant threads throughout the process. In some cases, this research not only informs restoration decisions but also reveals extraordinary histories that can be traced directly back to the designers themselves.
One such example is the Brazilian Modern “Pétala” Coffee Table in Rosewood by Jorge Zalszupin for L’Atelier, Brazil, 1959 — Lot 850. This piece carries a particularly compelling provenance, having been acquired directly from the family who originally purchased it over sixty years ago for a private residence in Rio de Janeiro—a home designed and fully furnished by L’Atelier. Remarkably, the original architectural floor plan still survives and explicitly places the Pétala coffee table at the center of the living space, confirming its intended role as both the compositional and spatial anchor of the interior.
Original floor drawings by L'Atelier of the apartments' living room. There is a drawing of the petala coffee table in the center of the living room.
Clear and traceable provenance of this kind is exceptionally rare. Most pieces pass through multiple owners over time, and their early histories are often lost. This does not diminish their significance or value, but when ownership and context can be precisely understood—who lived with the piece, how it was used, and how it has evolved—it adds a deeper dimension to the work. At Found Collectibles, we place great importance on uncovering and preserving these histories whenever possible, while respecting the integrity of what remains unknown.
Ultimately, our work exists at the intersection of research, restoration, and stewardship. Each piece is approached not simply as an object, but as a record of design, material, and lived experience. Whether through careful archival study, considered restoration, or the preservation of provenance, we aim to present these works as faithfully as possible—honoring both their original context and their continued life in the present.