The
AndrĂŠArbus Collection
The science of measures is nothing
without the feeling of measure. It is from this geometry of the heart, from
this sensitive calculation, that originates the classicism of French furniture. ~ AndrĂŠ Arbus
orn in 1903, André Arbus was a third-generation French cabinetmaker who worked in his family’s atelier in Toulouse. He was trained in the same traditional techniques as those showcased by 18th century masters Thomas Chippendale and George Hepplewhite. It was his family’s history that imparted Arbus with an innate sense of the craft, and that ultimately enabled him to flourish as an artist. Arbus holds the rare honor of being recognized as a genius in his own time. This distinction is a testament to both his talents and his integrity as a true artist. Part furniture designer, architect, sculptor and philosopher, Arbus changed the direction of modern French décor and architecture by redefining the principles of good design.
Arbus’ gallery in Paris, circa 1932.
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A man of doctrine and principle, Arbus’ search for truth and perfection in his work and the world around him was boundless. Motivated by an unwavering belief that beauty and comfort can raise the human spirit, Arbus’ work drew on the fundamentals of art, architecture and furniture design. The young craftsman applied this aptitude during his training at L’École des Beaux-Arts (School of Fine Art) in Toulouse. Upon graduating, Arbus joined his father’s firm and submitted his early pieces of furniture to the Exposition Internationale, becoming a frequent participant in the Salons des Artistes Décorateurs and the Salons des Artistes d’Automne. His work was immediately praised by critics, not merely for aesthetic design but also for standing apart from that of his peers. This enthusiastic reception encouraged the designer to contract with L’Epoque gallery in Paris to showcase his work. In 1932 he moved to Paris permanently, and soon opened his own gallery on Avenue Matignon. By this time Arbus had established himself in the trade, but the artistic philosophy that was to become his legacy was just beginning to develop.
style, particularly reminiscent of the eras of Louis XV and Louis XVI – yet his designs were still somehow fresh, reflecting a modern
In 1934, after winning a Premier Prix Blumenthal Award for
sensibility and lifestyle.
Decoration, Arbus was dismayed to notice a trend toward functionalism among his Parisian contemporaries. He felt this
Arbus considered each of his designs as individual works of art
trend would lead to the dehumanization of the art of furniture
that could stand alone, independent from the set. He often said,
making and emphatically refused to be associated in any way with
“A beautiful piece of furniture is beautiful anywhere.” Shapes were
this movement. As someone who indefatigably followed the rules
elegant and distinct with gentle curves and pure lines. Proportions
of construction, believing that even the smallest departure would
adhered to the enduring rules of cabinetmaking tradition. Often
compromise the beauty and integrity of a piece as much as a
slender in design, the furniture had a sense of fragility that was
design flaw, his refusal made perfect sense.
juxtaposed with its rigorous lines and striking presence.
Moving in an altogether different direction than his peers, he
In addition to creating beautiful works of art, Arbus’ goal was to
would go on to dedicate himself to preserving the basic tenets that
produce furniture on a human scale. Mankind was his primary
had governed construction for generations of French cabinetmakers
consideration in design: chairs were to feel as though they were
– principles that emphasized beauty and classic proportions rather
created to hold the human form. Tables were to be perfectly
than reducing design to engineered parts. Arbus believed that
proportioned to their intended space. Desks were to feature
a piece of functional art such as furniture or architecture could
drawers in just the right place, for both aesthetics and ergonomics.
and should be pleasing to the soul in addition to fulfilling its
The execution of these designs was impeccable, a result of Arbus’s
intended purpose.
drive for perfection and attention to assembly.
Rather than disregard the artistic heritage of his predecessors —
This thoughtful approach to furniture design was well received
as did many of his peers — André Arbus paid homage to it. He
by the public. As his recognition spread further, Arbus began to
is known to have said, “One should be convinced that tradition
establish himself as an architect as well – and he used the same
was not invented by man; it exists, it demands recognition and
principles for architecture. Said Arbus in an interview: “It is
controls man’s fate, regardless of will.” The designer felt that by
necessary to have learned and practiced decoration before taking
remaining faithful to these traditions, he was honoring the work
on architecture. If you don’t know how to set the furniture of a
of generations of men who strove for beauty and truth in art.
room in a plan, how can you build a house? Walls must be built
Thus, Arbus’ creations remained rooted in neoclassical French
around these elements.”
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La Maison d’une Famille Française, 1937.
A powder room in the pavilion of Manufacture de Sévres Exhibition, 1937.
Music lounge at the Salon des Artistes Décorateurs, 1937. The rug is also an Arbus design.
His 1937 exhibit, “La Maison d’une Famille Française,” (Home of a French Family) illustrated these ideals. Arbus’ goal was to create a domestic sanctuary, one that would contrast with the cold, industrial designs that were so often forced upon the French middle class. He asserted that excellence of taste was not the prerogative of the aristocracy. The small home was designed with both harmony and logic, offering the charm, dignity and urbanity that so many contemporary homes lacked. In 1940, French Minister of Armament Raoul Dautry commissioned Arbus to construct a village near a new ammunition factory in le Gard. The village was to include worker housing, a school and a common house. Again, the architect strove to design an environment that would go beyond the typical requirements of most industrial, blue-collar towns – an environment that would appeal to the human spirit. Arbus continued his career in furniture design and architecture until his death in 1969. Commissions included rural farmhouses in the Crau plains; interiors for the French Embassy at The Hague; a jewel cabinet for Princess Elizabeth of England; the grand salon of the home of General Eisenhower; set decoration for Les Indes Galantes at the opera; the Government Palace at Dakar; and the office of the Secretary General of NATO in Paris – among countless others. Each project adhered to the convictions to which Arbus devoted his life.
The André Arbus Collection Baker is proud to present The André Arbus Collection of furniture and lighting, one of the most exciting endeavors to date. This best-in-class selection of pieces is modeled from the originals by this 20th century master of neoclassical design and demonstrates the enduring beauty and prevailing relevance his furnishings represent. Moreover, the pieces in this collection reflect Arbus’ genius for material, proportion and construction. The many works of this influential artist have been studied and admired by furniture makers and designers over the last 50 years, but seldom reproduced. To create such thoughtful, precise furnishings requires a level of craftsmanship and savoir faire that is rare, but Baker saw this collaboration as an honor and an opportunity to showcase its abilities and attention to detail. The collection was developed in cooperation with Nathalie and Patrick Aubriot, who were chosen by Arbus’ daughter to act as careful stewards of the Arbus oeuvre.
Photographs and drawings from André Arbus Archives – Courtesy of Galerie Yves Gastou, Musée des Arts Décoratifs – Paris.
Significant Dates 1903-24 Arbus is born in Toulouse, France, into a family of
cabinetmakers. Trains at École des Beaux-Arts. Joins his father’s cabinetmaking firm, which he later heads.
Decorates the great reception hall of the Palais de l’Élysée.
1925-33 Debuts his work at the Exhibition Internationale, the
1930 Begins selling his work through L’Epoque gallery
in Paris.
1934 Awarded the Premier Prix Blumenthal.
1935 Opens his own gallery on Avenue Matignon. Collaborates
1952 Decorates the ocean liners Bretagne, Viet-Nam and Nossi-Be. Exhibits “The Genius of Paris” bronze furniture.
with Marc Saint-Saens (painter), Androusov (sculpted decoration in wood, gesso and terra cotta), Paule Marrot (upholstery), Gilbert Poillerat (wrought iron), Belmondo (bas-reliefs) and Bagues (light fixtures).
1951 Named head of studio at the Ecole Nationale Supérieure des Arts Décoratifs. Decorates the cruise ship Provence. Decorates the grand salon of the home of General Eisenhower at Marnes-la-Coquette.
Salon des Tuileries, La Galerie des Quatre Chemins, Salon d’Automne and Salon des Artistes, Décorateurs.
1950 Designs a jewel cabinet for Princess Elizabeth of England.
1953 Decorates the ocean liner Jean Laborde. Collaborates with Raymond Subes to design the grand necklace of the Legion of Honor. Decorates the Government palace at Dakar.
1955 Decorates the Consular palace of the Chamber of Commerce of Rouen, as well as the French Embassy in Washington.
1937 Presents “La Maison d’une Famille Française” with elements created by the Beaux Métiers studio, of which he was the art director.
1938 Presents his work at the Salon des Artistes Décorateurs.
1939 Exhibits at the World’s Fair. Designs the French section at the Expo of New York and Expo of San Francisco.
1958 Wins grand prize at the Exposition de Bruxelles.
1960 Decorates the National Center for Scientific Research and the office of the Secretary General of NATO, as well as the NATO headquarters in Paris.
1963 Placed in charge of the École Nationale Supérieure des Beaux-Arts in Gimond’s Studio.
1940 Commissioned by Raoul Dautry to design a village in le Gard.
1964 Designs and oversees the construction of la Chapelle Saint-Augustin d’Eguilles in Provence.
1945 Decorates the office of General Marshall as well as
furniture offered as gifts by General De Gaulle to foreign heads of state.
1946 Decorates the presidential apartment in Rambouillet.
Designs furnishings for the office of Jacques Jaujard, Director General of Arts and Letters. Decorates the French Embassy at The Hague.
1969 Passes away at the age of 66 in Paris.
Press clips regarding Arbus’ decorative work on the Liner France. The photo (top) shows the First Class smoking lounge of the ship, which Arbus designed. (1962)
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Paquebot chair and ottoman no. 7348c | 7348o An exercise in equilibrium, the lyrical curves and riveting lightness of this chair and ottoman celebrate the designer’s contribution to the ocean liners of the 1950s. Arbus worked on several important ships, including the Le France – the largest, fastest and most luxurious of its time. The spirit often attributed to the work of André Arbus springs from a single-minded belief that the grand traditions of French cabinetmaking—whether intricate hand joinery, exotic veneers, hand polish, cast bronze or glowing parchment—are the tools of innovation rather than imitation. And so it was that the genius of the era came to map a course from the values of the 18th century to the luxury of the 20th—at home and at sea. Circa 1958. A delicate, deeply pitched and tightly upholstered frame allows for both a sensuous line and unexpected comfort. Scrolled ends and saber legs, ending in brass sabot, speak to the designer’s neoclassic vocabulary. chair w 24" d 42.5" h 43.5" sh 17" ah 25" ottoman w 20.5" d 23" h 18" beech solids | chatain or ebonized finish | brass hardware
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du roi chaise no. 7391cs The early work of André Arbus was much lauded as a new neoclassical vocabulary for a new world. Visually attenuated, this modern evolution of the recamier, or daybed, serves as a symbol of overdue luxury in postwar France. While the designer was commissioned to rework several national palaces after the war, the Du Roi Chaise was a longtime fixture in the King’s Bedroom at the Palais de l’Élysée, home of the President of the French Republic. Circa 1946. A rolled top contrasts with a welted, tightly upholstered back and seat. A hardwood base holds the seat. The frame itself is cast bronze, with a back support hinting at French Directoire, over tapered, asymmetrically placed legs. w 26.5" d 65" h 35" sh 14.5" beech solids | chatain or ebonized finish | dark bronze legs and hardware
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galerie chair and ottoman no. 7384c | 73840 Originating in the 18th century, the bergère remains the cornerstone of comfort and conversation in French salons. The Galerie Chair and Ottoman revisit that idea through a simplicity of form, a high quality of materials and an array of hand-applied finishes that have collectively come to define French Modernism. Among the later designs of André Arbus, these items have a sculptural quality to them—more urbane than urban. Circa 1958. With compound curves, a measure of convergence and cast bronze front posts, the Galerie Chair is a sculpture in mixed materials. The attached back and loose seat cushion both offer a boxed look. Together with an overall welt detail, the result is a crisp canvas for fabric. With a cascading form and disengaged bronze posts, the ottoman embraces the graphic appeal of the chair. In the interest of coordination and customization, a thin wood frame also follows the chair. Attached top. chair w 30" d 35.5" h 35.5" sh 19" ah 24" ottoman w 27" d 25.5" h 18.5" beech solids | chatain finish | traditional brass legs and hardware
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galerie settee no. 7384L Steeped in French Modernism, the sheer scale of the Galerie Settee couples with a disengaged leg to create the illusion of a floating mass. An exposed wood back rewards the eye with just the hint of a curve. A single, fairly tight, attached box cushion back offers ample opportunity for a fabric statement. A substantial single seat cushion not only mirrors that look but also adds a graphic appeal. Circa 1958. w 75" d 35.5" h 35.5" sh 19" ah 24" beech solids | chatain finish | traditional brass legs and hardware
Original watercolor by AndrĂŠ Arbus for an interior design project.
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l’Epoque wall unit no. 7382 The L’Epoque Wall Unit speaks to both the designer’s early neoclassical work and his imaginative use of those forms. André Arbus believed that the design of a fine home should ideally follow the plan for the furnishings; however, that is generally the exception rather than the rule. An alternative might be furniture as architecture. While the owner might view this item as a dry bar, humidor or pedestal, it is surely architecture—and a signature Arbus design ultimately appearing in several variations. Circa 1938. With a heavy base and forward columns, the design of this item draws from the vocabulary of French Directoire furniture. The lead species is a polished Walnut. The contrasting drop front presents a glazed leather suggesting parchment, and the interior is a highly figured Mozambique. A bronze mirror back and a concave base, also in Mozambique, add a modern sense of lightness to an otherwise traditional look. w 33" d 19.5" h 65.25" walnut solids | mozambique veneers | bronze mirror traditional brass hardware | chatain with parchment leather on door
Personal art collection of Arbus beloved daughter, Madeleine, surrounding the original Palais Cabinet in her Neuilly-sur-Seine apartment, Circa 1936.
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palais cabinet no. 7370 As with much of the designer’s early work, the Palais Cabinet draws from neoclassical furniture—and particularly its architectural roots. This is once again furniture as architecture. At once ancient and abstract, this item was presented at the Exhibition of Le Petit Palais of 1936. Three scant years before World War II, this was among the last great shows, the end of a long creative feast, and the onset of many artists moving abroad. Circa 1936. This cabinet features a stepped entablature top over an ebonized two-door facade. The case visually floats over a deeply recessed plinth base. The lead species is Walnut, adding a subtle texture. A swagged rope pull, in cast brass with an Antique Silver finish, can be found on several Arbus cabinets of the period, including one designed for his daughter Madeleine. w 52" d 21" h 35.25" walnut solids and veneers | ebonized finish | antique silver leaf base finish antique silver hardware finish | two adjustable shelves
Wall unit from smoking lounge of the ocean liner Viet Nam. Above, a bas relief in plaster by Robert Couturier. 1952.
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indochine cabinet no. 7373 Even postwar, the great continental ocean liners remained colorful, less-than-subtle symbols of nationalism. Commissioned for the indulgent smoking lounge of the ocean liner Viet-Nam, one of three sister ships brazenly marking French influence in the region, the Indochine Cabinet represents the most brilliant designer of the era working on behalf of a new French icon. As with much of the designer’s later work, the product is openly sculptural. Circa 1952. This unusual cabinet has a shape dating to the time of Louis XVI with a glazed faux Parchment finish. Four asymmetrical posts, each turned to a different side of a falling leaf motif, extend the bronze look to the base of the cabinet and ultimately to four toupie feet. w 68" d 18.25" h 38.25" hardwood solids and veneers | silver liner | aged bronze posts and dark bronze feet parchment finish | one adjustable shelf | one drawer
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l’architecte desk no. 7387 This neoclassical-inspired desk is an example of what the French call mechanized furniture. Actually more of an elaborate presentation table, André Arbus designed the original for Aimé Maeght—an influential gallery owner, enabler, fixer and collector who found patrons for the leading artists of the day. Commissioned for prints and drawings, L’Architecte Desk features two pullout slides, each with an adjustable tilt-up surface. Circa 1958. The lead species is Walnut with an Ebonized finish. Regardless of period, the use of ebony and ebonized substitutes has been a hallmark of French furniture at the highest level. A floating top offers a large work area and a reading rail. Engaged brass capitals contrast with tapered legs, themselves ending in brass sabot. closed w 61.25" d 25" h 29.25" | open w 88.75" d 25" h 36.75" walnut solids and veneers | ebonized finish | traditional brass hardware finish adjustable top and writing surfaces
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avenue cocktail table no. 7354 | 7355 Designed for gallery owner Aimé Maeght’s residence on avenue Foch—arguably the most prestigious street in Paris and among the most expensive addresses in the world—the Avenue Cocktail Table offered an entirely new glamour to a home already unspeakably glamorous. It also acknowledged the designer’s enduring taste for neoclassical furniture. Circa 1958. The Avenue Cocktail Table appears in two versions. The first is Walnut with an Ebonized finish. The second is polished Walnut with a highly figured Mozambique top. Both feature disengaged brass capitals over square tapered legs, themselves supporting a narrow lower shelf. Brass ferrule feet add a sense of elevated refinement. w 60" d 20.5" h 21.25" 7354 walnut solids and veneers | traditional brass hardware ebonized finish (above) | one shelf 7355 walnut solids and mozambique veneers | traditional brass hardware chatain finish (left) | one shelf
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Deauville center table no. 7361 Called the Lady of the French Coast, Deauville was the most exclusive of prewar seaside resorts. Those leisure properties were confiscated during the German occupation, and many doubted whether the region would ever regain its former luster. Designed for the Chambre de Commerce de Rouen, the Deauville Center Table celebrates the restoration of liberty, prosperity and luxury for all of France. While a creamy, gold-veined marble top offers a whimsical flourish, the overall demeanor of the table is French Empire. For AndrĂŠ Arbus, the return of neoclassicism mirrored the return of optimism. Circa 1955. Bold classical details include a marble top, round pulls symbolic of perfection, an open diamond apron with prominent roundels, square tapered legs unified by a wrapped rope stretcher and a doe foot. The frame is forged steel in Antique Silver Leaf. h 30.5" dia 40.25" steel and marble | antique silver metal leaf finish with white marble top
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chateau table no. 7359 André Arbus designed this table for a study at le Château de Rambouillet, the summer residence for the President of the French Republic. A striking example of modernism, the Chateau Table speaks to not only luxury materials and superb finishes but also the optimism of postwar France. A brass Moravian star rises above two paths at cross purposes to one another. The Advent star, long manufactured in a single shop that was destroyed at the close of the war, is reintroduced by Arbus in the grandest style of the French – in the very place from which Charles de Gaulle began his ride to a liberated Paris – and emerges as an iconic motif. Circa 1947. A black and gold marble top contrasts with a brass edge banding and a delicate rope detail. The pedestal swells to a accommodate a star finial in cast brass. Short, flaring feet. h 25.75" dia 16.75" steel, brass and marble | moderne brass finish with traditional brass rope and star black and gold marble top | brass star ornament at base
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soleil table no. 7356 The Soleil Table was originally designed for the ocean liner Jean Laborde. Inspired by the elaborate marquetry of the late 18th century, this is an example of an older AndrĂŠ Arbus revisiting a lighter, more refined neoclassical form. The twelve-point star alludes to a sundial. A yoke finial on the lower shelf would have allowed the original to be bolted to the deck during rough seas. Circa 1952. With highly figured Sycamore veneers, this table capitalizes on the combination of crossfire and flashing that are natural to the species. Every step around the Soleil Table reveals a shifting of light and dark, a kaleidoscopic resolution of form and finish. An oversized top rests on three square tapered legs steadied by a concave shelf. h 27.25" dia 26" hardwood solids and sycamore veneers | traditional brass hardware | blond or chatain finish one shelf with decorative brass ornament in center | decorative veneer pattern on top
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trio table no. 7363 Designed for the Salon des Artistes DĂŠcorateurs in 1947, the Trio Table projects a lighter and more whimsical approach to neoclassical furniture. With peace restored, Arbus literally blunts the warrior arrows of Campaign furniture. At the same time, he rejects the shield-like marble top of another era in favor of a looking glass. Even the costly metal leaf finishes, in vogue a decade earlier, but largely forgotten during the war, make their return. It was a new style for a new day. Circa 1947. The top of this item features antiqued mirror with an inset frame and a thick wire gallery recalling the classical Wall of Troy motif. A cast ring element serves as a stylized quiver firming the base. Arrowheads and feathers add a sense of dimension. h 22.75" dia 18.25" steel | black finish with antique silver metal leaf antique mirror top
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christal chandelier no. AA303 Even for a man widely acknowledged as the creative force of his generation, this Christal Chandelier ranks among his signature work. Conceived for his own Paris apartment, a version of this naturally reforming water-drop sculpture was later featured at the Museum of Decorative Art’s 5th Exhibition of Arts de la Table. The original chandelier enjoyed pride of place in his daughter’s fashionable Neuilly-sur-Seine apartment until it was auctioned in 2006. Circa 1950. Suspended from a classical-leaning glass column, a mouth-blown globe encloses a coronet of crystal shards. Three small candelabra bulbs are seated low in an antique brass candle cup, allowing light to travel up the prisms and project a warmer glow. Two-piece water-drop finial. h 43.75" dia 13.5" glass and brass | light antique brass hardware finish | three 40-watt candelabra bulbs max finish adjustable brass chain
coupelle chandelier-five arm no. AA300 While there is little documentation surrounding the designer’s lighting, it remains readily identifiable. André Arbus viewed lighting as an integral part of furnishing—if not the furniture itself—the ultimate polish, the unspoken refinement to scale and proportion. Circa 1940s. Drawn from a neoclassical vocabulary, this grandly scaled chandelier includes a symbolically perfect circular antique brass support and five torch-like lamps, each with a frosted glass candle cup. The most distinctive feature may, however, be the curved blown-to-fit mantle. The resulting medley of diffusion, reflection, and transparency casts a distinctive glow, itself essential to the art. h 50.75" dia 27.75" glass | light antique brass finish | five 60-watt globe bulbs max five frosted glass shades | clear glass surround
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flambeau chandelier and sconce no. AA302 | AA401 The Flambeau Chandelier represents a more refined Murano Glass version of the designer’s signature torch motif. Nowhere do we find André Arbus more open about his commitment to the old ways as a route to new designs worthy of the French tradition. Four fluted mouth-blown cones are infused with 24-carat gold, gradually migrating toward a narrow point seemingly lit from a brass tip. The geometry, varying colors and flicker of the fluted cones contrast with the center orb. Art Moderne. Circa 1940s. The Flambeau Sconce draws on the same classical motif. In some ways, the scale of the two-armed sconce is bolder. The cones assume more visual mass relative to the half-dome back plate. At the same time, the proximity of sconce to wall allows for the halo of an up-light. AA302 w 28.5" d 28.5" h 30.5" murano glass | bronze with brass accents four 60-watt candelabra bulbs max | telescoping rod AA401 w 15" d 6.75" h 12.5" murano glass | bronze with brass accents two 60-watt candelabra bulbs max
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ebene table lamp no. AA100 Dramatic, but ultimately neutral, the Ebene Table Lamp refers to the greatest of French cabinetmakers and the long tradition of highly polished, ebonized surfaces. A contrasting shade, complete with a fabric diffuser, adds visual interest. Small ball finials draw attention to the suspended design. Circa 1940s. h 29.75" dia 16" ebonized finish with light antique brass hardware | brass accents one 60-watt bulb max | ivory silk shade with fabric diffuser six-foot black power cord
colonne table lamp no. AA101 With the Colonne Table Lamp, Arbus once again updates elements of neoclassical furniture to create something at once modern and somehow familiar. In keeping with the name, a reeded column is comprised of a series of gathered brass tubes. The upper candle cup holds light within the boundaries of the shade and the diffuser. Sculptural elements gain emphasis. A cast finial borrows from antiquity, and the lower candle cup offers unexpected dimension. Circa 1950s. h 28.25" dia 15.5" brass finish with light antique brass hardware | brass accents two 60-watt bulbs max | ivory silk shade | six-foot black power cord
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couture floor lamp no. AA200 While fashion relies on basic building blocks and measured accents, couture favors strong silhouettes, unexpected materials and a flair for the dramatic. The Couture Floor Lamp is neither more nor less than the silhouette. Wide at the shoulders, with a long torso, and a flaring skirt: this described couture for the better part of the 1940s, and it also describes this floor lamp. Both, the one right look for the occasion. Circa 1940s. Supple hand-stitched leather wraps the column. The top of the column is defined by an inverted cup acting as a small diffuser of sorts, and the bottom offers a stepped brass stand reminiscent of a candleholder. h 65.75" dia 18.75" hand-stitched leather with light antique brass hardware two 60-watt bulbs max | ivory silk shade ten-foot black power cord
couture table lamp no. AA102 Hand-stitched leather, cut and sewn to fit, wraps the column much the way a couture gown might wrap the owner. In this case, however, the color of the leather conspires with the Brass finish to create a tone-on-tone effect further reminiscent of fashion at the highest level. Striking, even with a very different scale and proportion, the design may in fact suggest there is a place for all of us in the world of couture. h 29.25" dia 18" hand-stitched leather with light antique brass hardware two 60-watt bulbs max | ivory silk shade six-foot black power cord
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paquebot chair
l’Epoque wall unit
no.
no.
7348 c | w 24" d 42.5" h 43.5" sh 17" ah 25" beech solids | chatain or ebonized finish brass hardware page
7
7382 | w 33" d 19.5" h 65.25" | mozambique veneers bronze mirror | traditional brass hardware
walnut solids
chatain with parchment leather on door page
13
paquebot ottoman
palais cabinet
no.
no.
7348 o | w 20.5" d 23" h 18" beech solids | chatain or ebonized finish brass hardware page
7
7370 | w 52" d 21" h 35.25" | ebonized finish antique silver leaf base finish | antique silver hardware finish
walnut solids and veneers
two adjustable shelves
15
page
du roi chaise
indochine cabinet
no.
7391cs | w 26.5" d 65" h 35" sh 14.5" beech solids | chatain or ebonized finish
no.
dark bronze feet and hardware
aged bronze posts and dark bronze feet
page
9
7373 | w 68" d 18.25" h 38.25"
hardwood solids and veneers
parchment finish page
| silver liner | one adjustable shelf | one drawer
17
galerie chair
l’architecte desk
no.
no.
7384 c | w 30" d 35.5" h 35.5" sh 19" ah 24" beech solids | chatain finish traditional brass legs and hardware | page 10
7387 | closed w 61.25" d 25" h 29.25" open w 88.75" d 25" h 36.75" walnut solids and veneers | ebonized finish
traditional brass hardware finish adjustable top and writing surfaces page
19
galerie ottoman
avenue cocktail table
no.
no.
7384 o | w 27" d 25.5" h 18.5" beech solids | chatain finish traditional brass legs and hardware page
10
7354/ 7355 | w 60" d 20.5" h 21.25" 7354 walnut solids and veneers traditional brass hardware | ebonized finish | one shelf
7355 walnut solids and mozambique veneers traditional brass hardware | chatain finish | one shelf page 20-21
galerie settee
deauville center table
no.
7384L | w 75" d 35.5" h 35.5" sh 19" ah 24" beech solids | chatain finish
no.
traditional brass legs and hardware
with white marble top
page
11
7361√ | h 30.5" dia 40.25" | antique silver metal leaf finish
steel and marble
page
23
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chateau table
flambeau sconce
7359 | h 25.75" dia 16.75" steel , brass and marble | moderne brass finish
no.
no.
with traditional brass rope and star black and gold marble top
AA401 | w 15" d 6.75" h 12.5" | bronze hardware with brass accents two 60-watt candelabra bulbs max page 33 murano glass
brass star ornament at base page
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soleil table no.
7356 | h 27.25" dia 26"
hardwood solids and sycamore veneers
colonne table lamp no.
AA101 I h 28.25" dia 15.5"
brass with light antique brass hardware finish
60-watt bulbs max | ivory silk shade
traditional brass hardware
two
blond or chatain finish
six-foot black power cord
one shelf with decorative brass ornament in center
page
35
decorative veneer pattern on top page
27
trio table
ebene table lamp
7363 | h 22.75" dia 18.25" steel | black finish with antique silver metal leaf
no.
antique mirror top
one
no.
page
29
AA100 | h 29.75" dia 16"
ebonized finish with light antique brass hardware
60-watt bulb max | ivory silk shade with fabric diffuser
six-foot black power cord page
35
christal chandelier
couture floor lamp
AA303 | h 43.75" dia 13.5" glass and brass | light antique brass hardware finish three 40-watt candelabra bulbs max
no.
no.
adjustable brass chain page
31
AA200 I h 65.75" dia 18.75"
hand - stitched leather with light antique brass hardware two
60-watt bulbs max | ivory silk shade
ten-foot black power cord page
37
coupelle chandelier - five arm
couture table lamp
no.
AA300 | h 50.75" dia 27.75" murano glass | light antique brass finish five 60-watt globe bulbs max | five frosted glass shades
no.
clear glass surround
six-foot black power cord
page
32
flambeau chandelier AA302 | w 28.5" d 28.5" h 30.5" | bronze with brass accents four 60-watt candelabra bulbs max no.
murano glass
telescoping rod page
33
AA102 I h 29.25" dia 18"
hand - stitched leather with light antique brass hardware two
page
60-watt bulbs max | ivory silk shade 37
To be an artist is to invent and choose... it is from the knowledge of the past that one aquires an avant-garde spirit. ~ AndrĂŠ Arbus
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