André ArbusThe

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.

~ André 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.

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.

In 1934, after winning a Premier Prix Blumenthal Award for

Decoration, Arbus was dismayed to notice a trend toward

functionalism among his Parisian contemporaries. He felt this

trend would lead to the dehumanization of the art of furniture

making and emphatically refused to be associated in any way with

this movement. As someone who indefatigably followed the rules

of construction, believing that even the smallest departure would

compromise the beauty and integrity of a piece as much as a

design flaw, his refusal made perfect sense.

Moving in an altogether different direction than his peers, he

would go on to dedicate himself to preserving the basic tenets that

had governed construction for generations of French cabinetmakers

– principles that emphasized beauty and classic proportions rather

than reducing design to engineered parts. Arbus believed that

a piece of functional art such as furniture or architecture could

and should be pleasing to the soul in addition to fulfilling its

intended purpose.

Rather than disregard the artistic heritage of his predecessors —

as did many of his peers — André Arbus paid homage to it. He

is known to have said, “One should be convinced that tradition

was not invented by man; it exists, it demands recognition and

controls man’s fate, regardless of will.” The designer felt that by

remaining faithful to these traditions, he was honoring the work

of generations of men who strove for beauty and truth in art.

Thus, Arbus’ creations remained rooted in neoclassical French

style, particularly reminiscent of the eras of Louis XV and Louis

XVI – yet his designs were still somehow fresh, reflecting a modern

sensibility and lifestyle.

Arbus considered each of his designs as individual works of art

that could stand alone, independent from the set. He often said,

“A beautiful piece of furniture is beautiful anywhere.” Shapes were

elegant and distinct with gentle curves and pure lines. Proportions

adhered to the enduring rules of cabinetmaking tradition. Often

slender in design, the furniture had a sense of fragility that was

juxtaposed with its rigorous lines and striking presence.

In addition to creating beautiful works of art, Arbus’ goal was to

produce furniture on a human scale. Mankind was his primary

consideration in design: chairs were to feel as though they were

created to hold the human form. Tables were to be perfectly

proportioned to their intended space. Desks were to feature

drawers in just the right place, for both aesthetics and ergonomics.

The execution of these designs was impeccable, a result of Arbus’s

drive for perfection and attention to assembly.

This thoughtful approach to furniture design was well received

by the public. As his recognition spread further, Arbus began to

establish himself as an architect as well – and he used the same

principles for architecture. Said Arbus in an interview: “It is

necessary to have learned and practiced decoration before taking

on architecture. If you don’t know how to set the furniture of a

room in a plan, how can you build a house? Walls must be built

around these elements.”

T h e a ndr é a r bus collecTion 3

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.

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.

Photographs and drawings from André Arbus Archives – Courtesy of Galerie Yves Gastou, Musée des Arts Décoratifs – Paris.

4 T h e a ndr é a r bus collecTion

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.

1925-33 Debuts his work at the Exhibition Internationale, the

Salon des Tuileries, La Galerie des Quatre Chemins,

Salon d’Automne and Salon des Artistes, Décorateurs.

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

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).

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.

1940 Commissioned by Raoul Dautry to design a village

in le Gard.

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.

1950 Designs a jewel cabinet for Princess Elizabeth of England.

Decorates the great reception hall of the Palais de l’Élysée.

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.

1952 Decorates the ocean liners Bretagne, Viet-Nam and

Nossi-Be. Exhibits “The Genius of Paris” bronze furniture.

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.

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.

1964 Designs and oversees the construction of la Chapelle

Saint-Augustin d’Eguilles in Provence.

1969 Passes away at the age of 66 in Paris.

Significant DateS

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)

T h e a ndr é a r bus collecTion 7

Paquebot chair anD ottomanno. 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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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 post-war 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

Du roi chaiSe

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

galerie chair anD ottoman

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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

galerie Settee

Original watercolor by André Arbus

for an interior design project.

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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

l’ePoque wall unit

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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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

PalaiS cabinet

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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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

inDochine cabinet

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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 f inish | traditional brass hardware f inish

adjustable top and writing surfaces

l’architecte DeSk

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T h e a ndr é a r bus collecTion 21

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 f inish (above) | one shelf

7355 walnut solids and mozambique veneers | traditional brass hardware

chatain f inish (left) | one shelf

avenue cocktail table

T h e a ndr é a r bus collecTion 23

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 André 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 f inish with white marble top

Deauville center table

T h e a ndr é a r bus collecTion 25

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

chateau table

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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 André 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

Soleil table

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no. 7363

Designed for the Salon des Artistes Décorateurs 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

trio table

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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

chriStal chanDelier

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

couPelle chanDelier-five arm

T h e a ndr é a r bus collecTion 33

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

flambeau chanDelier anD Sconce

T h e a ndr é a r bus collecTion 35

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

ebene 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

colonne table lamP

T h e a ndr é a r bus collecTion 37

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 floor 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

couture table lamP

galerie Setteeno. 7384L | w 75" d 35.5" h 35.5" sh 19" ah 24"

beech solids | chatain finish

traditionaL brass Legs and hardware

page 11

Deauville center tableno. 7361√ | h 30.5" dia 40.25"

steeL and marbLe | antique siLver metaL Leaf finish

with white marbLe top

page 23

Paquebot chairno. 7348c | w 24" d 42.5" h 43.5" sh 17" ah 25"

beech soLids | chatain or ebonized finish

brass hardware

page 7

l’ePoque wall unitno. 7382 | w 33" d 19.5" h 65.25"

waLnut soLids | mozambique veneers

bronze mirror | traditional brass hardware

chatain with parchment Leather on door

page 13

Paquebot ottomanno. 7348o | w 20.5" d 23" h 18"

beech soLids | chatain or ebonized finish

brass hardware

page 7

PalaiS cabinetno. 7370 | 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

page 15

Du roi chaiSeno. 7391cs | w 26.5" d 65" h 35" sh 14.5"

beech solids | chatain or ebonized finish

dark bronze feet and hardware

page 9

inDochine cabinetno. 7373 | w 68" d 18.25" h 38.25"

hardwood soLids and veneers

aged bronze posts and dark bronze feet | silver liner

parchment finish | one adjustabLe sheLf | one drawer

page 17

galerie chairno. 7384c | w 30" d 35.5" h 35.5" sh 19" ah 24"

beech solids | chatain finish

traditionaL brass Legs and hardware |

page 10

l’architecte DeSkno. 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

avenue cocktail tableno. 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 ottomanno. 7384o | w 27" d 25.5" h 18.5"

beech solids | chatain finish

traditionaL brass Legs and hardware

page 10

38 T h e a ndr é a r bus collecTion

T h e a ndr é a r bus collecTion 39

flambeau chanDelierno. aa302 | w 28.5" d 28.5" h 30.5"

murano glass | bronze with brass accents

four 60-watt candelabra bulbs max

telescoping rod

page 33

chateau tableno. 7359 | 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

page 25

flambeau Sconceno. aa401 | w 15" d 6.75" h 12.5"

murano glass | bronze hardware with brass accents

two 60-watt candelabra bulbs max

page 33

Soleil tableno. 7356 | 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

page 27

colonne table lamPno. aa101 i h 28.25" dia 15.5"

brass with light antique brass hardware finish

two 60-watt bulbs max | ivory silk shade

six-foot black power cord

page 35

trio tableno. 7363 | h 22.75" dia 18.25"

steel | black finish with antique silver metal leaf

antique mirror top

page 29

ebene table lamPno. aa100 | h 29.75" dia 16"

ebonized finish with Light antique brass hardware

one 60-watt buLb max | ivory siLk shade with fabric diffuser

six-foot bLack power cord

page 35

chriStal chanDelierno. aa303 | h 43.75" dia 13.5"

glass and brass | light antique brass hardware finish

three 40-watt candelabra bulbs max

adjustable brass chain

page 31

couture floor lamPno. 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

couture table lamPno. aa102 i 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

page 37

couPelle chanDelier - five armno. aa300 | h 50.75" dia 27.75"

murano glass | light antique brass finish

five 60-watt globe bulbs max | five frosted glass shades

clear glass surround

page 32

To be an artist is to

invent and choose ... it is from

the knowledge of the past

that one aquires an

avant-garde spirit.

~ André Arbus

To be an artist is to

invent and choose ... it is from

the knowledge of the past

that one aquires an

avant-garde spirit.

~ André Arbus

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