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ESPASSO

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ESPASSO, located in New York, Los Angeles, Miami and London, is a leading luxury furniture gallery sp

10/09/2026

Ricardo Fasanello’s early ambition was to build race cars. He designed automotive seats and later drew on his ergonomic studies when developing his lounge chairs. The Esfera armchair reflects this attention to the seated body.

Its hemispherical fiberglass shell surrounds thick cushions, with a continuous curve that your eye can follow around the exterior. A swivel base lets you change direction without leaving your seat.

From across the room, the Esfera draws the eye with its sculptural shape and resin finish. Up close, the spacious seat invites a closer look at how the chair accommodates the body. Once you sit down, the rounded shell surrounds you, and the generous cushions offer room to settle in and stay a while.

Esfera Lounge Armchair - Ricardo Fasanello, 1970

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10/02/2026

At first glance, the Mantas Soltas Armchair seems to be made of folded blankets over a wooden frame. Its name captures that impression: in Portuguese, “mantas” means blankets, and “soltas” means loose.

Designed by Joaquim Tenreiro in 1960 and reissued by ETEL , the chair’s upholstery forms the seat and folds over the arms before rising into the backrest. The turned solid wood is visible beneath and around the upholstery. This design reflects Tenreiro’s attention to woodworking, texture, and the balance of form. The rounded wooden elements support the upholstery and define its contours, revealing the careful construction that gives those seemingly loose blankets hold their shape.

Mantas Soltas Armchair - Joaquim Tenreiro, 1960 | Reissued by ETEL

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09/23/2026

An early design by Sergio Rodrigues, the Cantu dining chair dates to 1958 and pairs a solid wood frame with a seat and back upholstered in leather or fabric. Named after the Italian town where it earned third prize at the IV International Furniture Competition, the chair belongs to the formative years of Rodrigues’s work in Brazilian modernism.

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09/22/2026

ESPASSO and Sergio Rodrigues’s studio share a longstanding partnership. In 2011, that collaboration expanded with the opening of a permanent exhibition dedicated to his furniture at ESPASSO’s Tribeca gallery, introducing American audiences to the breadth of his work.

On what would have been his 99th birthday, we celebrate a designer who helped shape Brazilian furniture and whose influence extends well beyond individual pieces. Today, we revisit his work through two lifelong passions: furniture and drawing. His sketches offer insight into his creative process, revealing the precision, humor, and affection that characterized his work.

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Archives of and

09/10/2026

The Curves of Brazilian Modernism: Onda, Marquesa and Copan Benches

The curve has long been an important element of Brazilian furniture design, closely tied to the architectural language of Brazilian modernism and its exploration of fluid, expressive forms.

Designed by Jorge Zalszupin in 1960, when L’Atelier was producing furniture for public buildings in Brasília, Brazil’s newly built capital, the Onda Bench reflects this relationship. A continuous sheet of molded wood forms the seat and extends into a leather magazine holder. Today, Etel reissues the piece.

In 1974, Oscar Niemeyer and his daughter Anna Maria designed the Marquesa Bench, bringing the curves so present in Niemeyer’s architecture into furniture. Its long, sweeping frame and woven cane seat give the piece a sense of movement while keeping its construction remarkably simple. The Marquesa is also reissued by Etel.

Ronald Sasson’s Copan Bench, designed in 2019, makes the architectural reference explicit. Named after Niemeyer’s Edifício Copan in São Paulo, its solid wood form echoes the rhythmic curves of the building’s façade.

Designed nearly six decades apart, the Onda, Marquesa, and Copan benches show how the curve continues to reappear in Brazilian design, interpreted by different designers, and through different materials and at different moments. All the while, they maintain a close relationship between form, structure, and movement.

1, 2: Marquesa Bench — Oscar Niemeyer, 1974 | Reissued by Etel
3, 4: Onda Bench — Jorge Zalszupin, 1960 | Reissued by Etel
5, 6: Copan Bench — Ronald Sasson, 2019

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09/04/2026

Designed in the late 1970s and reissued exclusively by ETEL, the Cubo Armchair belongs to Jorge Zalszupin’s collection of the same name. Its rigorous geometry marks a departure from the sinuous curves and intricate carved-wood details found throughout much of the designer and architect’s work.

The chair is built around a solid, orthogonal structure defined by the precise proportions of a cube. The seat and backrest follow this geometric logic, with visible seams and topstitching emphasizing its clean lines and giving structure to the generous upholstery.

The original Cubo was fully upholstered. Over time, the design was carefully revisited by the Zalszupin family archive. This re-edition introduces solid wood elements, adding a new material dimension to the piece while preserving the lightness of the collection and the integrity of Zalszupin’s original design.

Cubo Lounge Armchair - Jorge Zalszupin, 1970 | Reissued by Etel

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08/27/2026

The Mole Lounge Armchair by Sergio Rodrigues brings a relaxed sense of Brazilian hospitality to this Rio de Janeiro residence, overlooking the Atlantic.

The piece reflects Rodrigues’ approach to Brazilian design: inviting and deeply attuned to the way people inhabit a space. Its sculptural frame and generous natural leather cushions embrace the body, creating a quiet vantage point from which to take in the view.

The residence captures a fluid dialogue between contemporary architecture and the enduring legacy of Brazil’s modernist masters.⁠
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08/25/2026

This collection brings together a curated selection of works by the design duos Dualde Cornelsen and Pali & Jejo Cornelsen.

Designer Pali Xisto Cornelsen is the common thread between the two, yet each studio has developed a distinctly independent creative identity.

Pali & Jejo Cornelsen’s work is rooted in an intergenerational dialogue between Pali and artist and architect Jejo Cornelsen. Their practice brings together the spatial thinking of interior design and the experimental nature of fine art. Through direct interventions on reclaimed wood and the use of natural pigments, their pieces blur the boundaries between functional furniture and sculptural objects, while carrying forward Brazil’s rich tradition of making.

Dualde Cornelsen, a creative partnership between Pali and architect Lucas Jimeno Dualde, draws from experiences across Brazil, Spain, and the United States. Furniture becomes a medium for structural and tactile exploration, bringing together references from across these cultures while expanding the language of contemporary Brazilian design.

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Conversa Round Dining Table
Pali & Jejo Cornelsen, 2025

Conversa Stool
Pali & Jejo Cornelsen, 2025

DC Floor to Ceiling Lighting
Dualde Cornelsen, 2026

DC Amebic #1 Coffee Table
Dualde Cornelsen, 2026

DC Floor Lamp 3 Lighting
Dualde Cornelsen, 2026

DC Floor Lamp 2 Lighting
Dualde Cornelsen, 2026

DC Wall Lamp Lighting
Dualde Cornelsen, 2026

DC Floor Lamp 2 Lighting
Dualde Cornelsen, 2026

DC Floor Lamp 3 Lighting
Dualde Cornelsen, 2026

DC Wall Lamp Lighting
Dualde Cornelsen, 2026

DC Amebic #1 Coffee Table
Dualde Cornelsen, 2026

Conversa Three-Part Room Divider
Pali & Jejo Cornelsen, 2025

Conversa Three-Part Room Divider
Pali & Jejo Cornelsen, 2025

08/22/2026

Espasso’s collection features Brazilian furniture named after iconic Brazilian landscapes. Each piece captures the unique character of its region through authentic forms, native woods, and visionary design.

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08/19/2026

The Curve and the Straight Line
The Geometry of Brazilian Modernism

In 1955, Le Corbusier published Le Poème de l’angle droit, a series of nineteen lithographs accompanied by texts in which the right angle emerges as a principle of order and a point of connection between man and his environment.

Forty-three years later, Oscar Niemeyer wrote in a poem of his own attraction to the free curves he found in Brazil’s mountains and rivers.

The tension between these two geometries informed much of twentieth-century architecture and found a natural extension in furniture. Yet the distinction rarely holds when considering a designer’s body of work as a whole.
A curved backrest may rest on an orthogonal structure; the rigid plane of a table may soften at its edges. Rather than opposites, the curve and the straight line continually meet, balance, and depend on one another.

1. Amorfa Coffee Table - Arthur Casas, 2017
2. Dominó Concreto Bench - Claudia Moreira Salles, 2024 | Asturias Ottoman - Carlos Motta, 2001 | Caju Coffee Table - Carlos Motta, 2004
3. Cuiabá Dining Chair - Sergio Rodrigues, 1985 | Circular Dining Table - Joaquim Tenreiro, 1950 / Reissued by Etel
4. Barca Armchair - Carlos Motta, 2018
5. Cuiabá Mirror - Sergio Rodrigues, 1985
6. JZ Tea Trolley - Jorge Zalszupin, 1959 / Reissued by Etel
7. Onda Bench, Jorge Zalszupin, 1960 / Reissued by Etel
8. Marquesa Bench - Oscar Niemeyer, 1974 / Reissued by Etel
9. Gaivota 80s Lounge Armchair - Ricardo Fasanello, 1970 | Ayahuasca Sideboard - Arthur Casas, 2022 | FM Table Lighting - Claudia Moreira Salles

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Address

38 N Moore Street
New York, NY
10013

Opening Hours

Monday	10am - 6pm
Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm

Telephone

+12122190017

Website

http://www.espasso.com/

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