Lesser Known Designers
At Found Collectibles, we’ve always believed that great design speaks for itself. While iconic names like Sergio Rodrigues and Joaquim Tenreiro are essential to the history of Brazilian modernism, they’re only part of the story. Much of our work centers around uncovering and celebrating the lesser-known artisans and anonymous makers who shaped this rich design era.
Found Collectibles founder Rodrigo Salem pictured with a curated selection of Mid-Century Brazilian furniture by lesser-known and unknown designers. Left to Right: Nightstands in Imbuia wood by Tepperman(Lot 816), Club Chair in Rosewood & Boucle by Jorge Jabour(Lot 233A), Chest with 5 drawers in Rosewood by Unknown(Lot 695), Pair of “Torchierre” Floor Lamps in Rosewood by Unknown(Lot 474), Pair of Armchairs in Rosewood and Fabric by Celina(Lot 455A)
From the 1940s through the 1970s Brazil experienced an emergence of new designers. This was a time of rapid cultural and artistic transformation, when architects and designers reimagined global modernism through a uniquely Brazilian lens. Many talented designers and workshops emerged during this time. Many of these artisans produced extraordinary furniture but were never formally recognized or documented. Over time, their names faded, even as their work endured.
Living room vignette showcasing works by lesser-known and unidentified mid-century Brazilian designers. Left to Right: Chaise in Caviuna wood by Pierre Weckx(Lot 573), Nightstands in Imbuia wood by Tepperman(Lot 816), "Concha" Loveseat by Carlo Hauner(Lot 42A), Armchairs in Ivory wood and leather by Joaquim Tenreiro(Lot 31)
These pieces are often overlooked in European and American markets, however, they carry the same refined craftsmanship, sculptural forms, and inventive spirit as their more famous counterparts. They simply don’t have a brand name attached. 
Armchair in hardwood and white bouclé by John Graz (Lot 817A), photographed on the steps of Collette Home in Southampton, New York.
Each item in our collection is hand-sourced by founder Rodrigo Salem through extensive travel and treasure hunting across Brazil. Whether a piece is attributed or anonymous, it’s restored with the same care and respect for its original craftsmanship. We treat each object as a piece of history—because it is.
The Caviuna frame of the Pierre Weckx chaise lounge, photographed in Brazil at the home where Found Collectibles' founder Rodrigo Salem originally discovered it. Shown here in its unrestored condition.
Caviuna and red fabric chaise lounge by Pierre Weckx, 1950s (Lot 573A), shown post-restoration with Red upholstered seat and newly re-tied rope support structure in excellent condition.
Pieces like the chaise lounge by Pierre Weckx or the armchair by John Graz exemplify refined design by more obscure names in Brazilian modernism. While these designers may be lesser-known to American audiences, their work offers the same level of elegance, craftsmanship, and historical value as their more celebrated peers—often with the added appeal of rarity and discovery for collectors seeking something truly unique.
By offering these works alongside more recognizable names, we aim to shift the conversation. Design value shouldn’t depend solely on a signature. It should be about quality, innovation, and the ability to tell a story through form and material. 
The rosewood credenza by Francisco Alva anchors the space alongside iconic works like the chaise lounge by Ernesto Hauner (Lot 340A), Joaquim Tenreiro’s sculptural rosewood and glass coffee table (Lot 746A), and a pair of Forma armchairs with curved rosewood slats (Lots 238–239).
While Alva remains a lesser-known figure in Brazilian design, his Rosewood credenza holds its own among these celebrated names. Its clean lines, thoughtful proportions, and richly grained rosewood create a quiet strength that complements the more sculptural forms around it, rather than fading into the background.
As seen below, the rosewood and cane armchair by John Graz sits alongside the iconic MF-710 shelf by Geraldo de Barros—two pieces that complement one another beautifully. While one is widely recognized and the other more obscure, their pairing demonstrates how thoughtful design transcends fame. Each enhances the other, proving that lesser-known works can hold their own, and even shine next to celebrated classics.
Hardwood and cane armchair by John Graz pictured beside the iconic Geraldo de Barros “MF 710” bookshelf in rosewood and metal—demonstrating how pieces by lesser-known designers can hold their own alongside design icons.
We’re proud to represent a fuller, more inclusive vision of Brazilian modernism. One that honors not just icons, but the unsung talents who helped define this era and aesthetic . Their work still resonates, and we want to ensure it continues to be seen, and appreciated. 
