[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-baker-furniture-tony-duquette":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":225},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":220,"matched_pages":221,"match_count":222,"two_pages":223,"show_text":224},879,"Tony Duquette","baker-furniture-tony-duquette","\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fb4\u002F247a955308ec58bc114b5e8265344a.pdf","Baker Furniture",2114,"baker-furniture","4.8 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217],{"image":7,"text":15,"number":16}," Yellow\n Angle@Y\n Black\n Angle@K\n PMS179\n SOLID\n Magenta\n Angle@M\n Cyan\n Angle@C\nPantone 179 strip in the bleed area is for the printer to use for spine color\nJewel Votive image is for FPO\nPrinter will foil stamp\n115973BK_r1_67007_TDuquette_v19.indd   1\n9\u002F5\u002F08   5:34:45 PM\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.2.png","DECORATING \nIs NOT \nA \nsuRfACE \npERfORmANCE.  \n   IT's A \nspIRITuAL \nImpuLsE,  \nINbORN \nAND \npRImORDIAL. –td\t \n PMS 179 C\n Angle@K\n115973BK_r1_67007_TDuquette_v19.indd   2\n9\u002F5\u002F08   5:40:23 PM\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.3.png","From the time he was discovered in 1941 until his death in 1999, \nAmerican artist and designer Tony Duquette was known and admired \nfor his exuberant signature style. Considered by many as an American \ndesign icon, Duquette left behind an artistic legacy that inspires  \nfantasy and stirs the imagination.\nThe Selected Works of Tony Duquette for Baker Furniture is the result \nof a close collaboration between the Baker creative team and California \ndesigner Hutton Wilkinson, business partner of the late Duquette and \npresident of Tony Duquette, Inc. For these selected pieces, Baker has \nreverently and accurately reproduced Duquette’s original works—\nmost of which were one-of-a-kind pieces created exclusively for his \ninternational clientele.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n PMS 9040 C  \n SOLID\n Warm Gray 4\n Angle@K\n115973BK_r1_67007_TDuquette_v19.indd   3\n9\u002F5\u002F08   9:30:47 PM\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.4.png","Photo: Tim Street-Porter\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   4\n9\u002F8\u002F08   4:51:23 PM\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.5.png","Following a free-spirited childhood, Tony Duquette \nbegan his formal training at the distinguished \nChouinard School of Art in Los Angeles, California, \nin the early 1930s. During this time, the young Tony  \nwas hired by Bullock’s department stores to create  \ninteriors that would set the mood of changing \nseasons. He continued working in display and \nadvertising for department stores postgraduation \nuntil he was discovered by Elsie de Wolfe in 1941.  \nDe Wolfe, also referred to as Lady Mendl through \nher marriage to Sir Charles Mendl, was known as \nthe “First Lady of Interior Decoration” and perhaps \nthe first professional interior designer. Duquette \nassisted de Wolfe with the interiors of her new \nBeverly Hills home and went on, with her sponsor-\nship, to a successful international career in design. \nThe drawing room at Dawnridge,  \nTony Duquette’s home in Beverly Hills, c. 1995.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n PMS 9040 C  \n SOLID\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   5\n9\u002F8\u002F08   1:00:14 PM\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.6.png","In these early years, Duquette’s work impressed the influential film director Vincente \nMinnelli, who immediately hired him to create extraordinary costumes and sets for \nhis films. Duquette contributed his artistry to various Fred Astaire musicals and other \nArthur Freed productions at MGM Studios, including Ziegfeld Follies, Yolanda and the \nThief and Kismet. Over the following years, he continued his work in the film industry \nwith MGM, as well as 20th Century Fox and Universal Studios. With his entry into  \nHollywood, Duquette gained many friends and clients, including Mary Pickford, \nMarion Davies, Agnes Moorhead and Robert Cummings.\nIn addition to costumes, sets and interior décor, Duquette frequently designed \njewelry for friends and family. Soon he was creating pieces for patrons such as the \nDuchess of Windsor and Palmer Ducommun. He often mixed gemstones with natural \nmaterials such as sharks’ teeth and rattlesnake vertebrae to construct these highly \nsought-after accessories. \nIn 1951, Tony Duquette became the first American to have been honored with a \none-man exhibition at the Pavilion de Marsan of the Louvre, Paris. His Neo-Baroque \nworks were chosen by the Louvre to represent the decorative arts of the mid-20th \ncentury. Duquette’s creations for the program fell into one of five categories: décor, \njewelry, aquarelles, bas-reliefs and theatre. Duquette’s work astonished and amazed \nthose who attended. The great French poetess Louise de Vilmorin wrote of the \nexhibit, “The works of Tony Duquette are no more preconceived than dreams, these \nworks are dreams caught in the net of reality.”\nAfter the Louvre exhibition, Duquette went on to exhibit his works at the  \nLos Angeles County Museum of Art, the de Young and California Palace of the  \nLegion of Honor museums in San Francisco, the Museum of the City of New York,  \nas well as museums in Texas, Hawaii and Rio de Janeiro. He traveled the world  \nextensively to gain inspiration for these shows, returning home from each trip  \nwith many containers of treasure, which he would then “assemble” to form his  \nornaments or ornament his forms.\nIn 1956 Tony and his wife Elizabeth—whom he lovingly nicknamed Beegle—acquired \nthe old Norma Talmadge film studio, a giant sound stage they would convert into \n Black\n Angle@K\n PMS 9040 C  \n SOLID\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   6\n9\u002F8\u002F08   6:40:13 PM\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.7.png","In 1951 Duquette was invited to present a one-man \nexhibition at the Pavilion de Marsan of the Louvre, \nParis. This was an unprecedented exhibition, as it was \nthe first time an American had been honored in this \nway. Duquette was chosen to represent the decorative \narts of the mid-20th century. \n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   7\n9\u002F8\u002F08   12:50:31 PM\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.8.png","Loretta Young wears her Tony Duquette mask \nat the bal de tête in Los Angeles. Here Tony and \nLoretta accept first prize for her mask.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   8\n9\u002F8\u002F08   2:24:51 PM\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.9.png","their own home\u002Fstudio—one of their many homes over the years. This vast building \nconsisted of work rooms, creative studio spaces, dining rooms, offices and bedroom \nsuites. Perhaps more important, the home boasted a ballroom that was 100 feet \nlong, 25 feet wide and had 28-foot ceilings, with a stage at one end and a double \nVenetian staircase at the other. The room, referred to as the “big room,” was the \nperfect setting for Duquette’s famously extravagant private parties. The historic \nTony Duquette Studios on Robertson Boulevard in Los Angeles became a haven \nof grace and charm, and a favorite destination for Duquette’s legendary clients \nand friends.\nAmong these friends was Hutton Wilkinson, who began working with Tony as \na teenager, forging a creative partnership that lasted until Duquette’s death in \n1999. Wilkinson now serves as President and Creative Director of Tony Duquette, \nInc. The team’s private clients have included Doris Duke, J. Paul Getty, Norton \nSimon, David O. Selznick, Jennifer Jones and James Coburn.\nCommercial clients for whom Duquette and Wilkinson have worked include  \nElizabeth Arden, the Hilton Hotels Corporation, the Ritz-Carlton Hotel Company, \nSheraton Hotels and the Music Center of Los Angeles. International commissions \ninclude Barretstown Castle in Ireland, an 18th-century apartment on the Place du \nPalais-Bourbon in Paris, and the interiors for the 12th-century Palazzo Brandolini \non the Grand Canal in Venice, Italy.\nDuquette’s goal was to inspire individuality and creativity in others. He never  \nduplicated any of his work. Each job was custom-inspired by the client, the  \narchitecture and his own distinct vision. Said Wilkinson, “His attitude was that  \nthe last definition of luxury was that it’s just for you.” \nThough Duquette’s style could hardly be defined, he liked to refer to his work as  \n“Natural Baroque” because of his use of shells, antlers, coral, bones and feathers. \nTony drew inspiration from countless periods and styles—from Victorian to  \nMoroccan to ancient Chinese.\n Black\n Angle@K\n PMS 9040 C  \n SOLID\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   9\n9\u002F8\u002F08   6:44:02 PM\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.10.png","Duquette in his New York studio, sketching costumes for the original Broadway production of Camelot.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   10\n9\u002F8\u002F08   5:14:46 PM\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.11.png","The designer authoritatively mixed his custom-made pieces with ancient and \nmodern art, fine and decorative art. He combined his scholar’s knowledge and \nappreciation for the fine and decorative arts with his acute sense of scale to \nmake the whole of his work greater than the sum of its parts. Duquette felt as \ncomfortable working with gold paper as he did with solid gold, often saying, \n“Beauty, not luxury, is what I value.” \nIn the 21st century, Tony Duquette’s design legacy is more relevant than ever.  \nIn a March 1999 article, Amy Spindler, style editor of The New York Times  \nmagazine, wrote:\nWhat makes Duquette the first designer for the 21st century is his ability to \nre-imagine, recycle and regenerate. It’s the prototype for how people will \nhave to approach design in the future … It’s also apparent that Duquette  \nis more than just a jeweler-artist-interior designer; he made his name in a  \ntime in which living was an art, too, and the parties he threw with his wife,  \nElizabeth … regularly made headlines right out of “L.A. Confidential.” \nTony Duquette, Inc. preserves the late designer’s legacy, encompassing the arts \nof living and the living arts, designs for the theatre, and fine jewelry. Through his \ncollaboration with Baker Furniture, Wilkinson continues the Duquette tradition of \nluxury and handmade decoration that is so closely associated with his firm and \nits founder. In line with this tradition, these selected pieces for Baker are true to \nthe designer’s extraordinary vision. According to Hutton Wilkinson, the pieces \nin this remarkable selection will be used by designers as the “jewelry in the \nroom,” “conversation pieces,” or “decorative punctuation marks!” Whatever the \nuse, each piece pays homage to Tony Duquette’s unparalleled life, ingenuity  \nand imagination.  TD\n Black\n Angle@K\n PMS 9040 C  \n SOLID\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   11\n9\u002F8\u002F08   6:57:25 PM\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.12.png"," Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   12\n9\u002F8\u002F08   4:19:01 PM\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.13.png","Tony sits under his Primal Sun sculpture, created for Personal Culture, \nhis one-man exhibition in Los Angeles. It was later purchased and \ndonated to UCLA by Tony's patron, Arthur Spitzer.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   13\n9\u002F8\u002F08   4:22:06 PM\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.14.png","Residence in Bel Air, California  \ndesigned by Tony Duquette, c. 1960 \nPhoto: Tim Street-Porter\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   14\n9\u002F8\u002F08   7:10:57 PM\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.15.png","t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e   13\nB I O M O R PH I C M I R R OR ANDCONS OLE\nNo. 1612 | 1666\nConsidered one of Duquette’s most inspired works, the Biomorphic Console was \noriginally designed for the Charles and Palmer Ducommun Bel Air residence during the \n1960s. The Biomorphic Mirror was designed to complement the console, and both resided \nin the Bel Air estate until Duquette repurchased them in the 1990s. Impeccably recreated \nby Baker, the console is cast in resin in three separate pieces, then fabricated together to \nproduce its undulating, organic form. The crystal-clear glass top is rimmed, and although \nanchored in place, gives the illusion that it is just barely perching on top of the base. \nThe mirror is a faithful recreation of the original and features a resin frame that draws its \ninspiration from the console’s form. Circa 1965.\nMIRROR No. 1612\nw 30\"  d 6\"  h 48\"\nfinish option 1: gold leaf    finish option 2: silver gilt\nmirror can be hung in vertical or horizontal position\nCONSOLE No. 1666\nw 70\"  d 36\"  h 33\"\nfinish option 1: gold leaf   finish option 2: silver gilt\n¾\"-thick glass top\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   15\n9\u002F8\u002F08   7:11:41 PM\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.16.png","No. 1619\nThe original Marsan Chair was first unveiled as part of Duquette’s unprecedented \none-man exhibition at the Pavilion de Marsan in the Louvre, Paris. He made several \nof these charming slipper chairs and upholstered them in his own needlework \npatterns, specially woven “watermelon” weaves, and quilted and sequined silks. \nThese chairs were chosen for some of Duquette’s interiors—including the homes \nof Elsie de Wolfe, Mr. and Mrs. Robert Cummings, and photographer, author and \nsocialite Jean Howard Feldman. Inspired by Louis XV design, the chair sits low to \nthe floor—giving it a sculptural quality—with a generous-sized back and seat adding \nto its commanding silhouette. The chair’s front and back are tightly upholstered \nand surrounded by a wood frame with nailhead trim. A slightly crested seat cushion \nis similarly detailed in nailhead trim and rests on an exposed wood base that \nterminates to cabriole legs. Circa 1951.\nw 26\"  d 24\"  h 28 ½\"\nfinish option 1: pearl lacquer\nfinish option 2: silver gilt\nfinish option 3: coral lacquer with pink glaze\nM AR SA N C H A I R\n14 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r1_67007_TDuquette_v19.indd   16\n9\u002F5\u002F08   9:06:34 PM\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.17.png","Exhibited at the Louvre in 1951 were Duquette's Marsan Chair upholstered \nin needle-pointed ermine tails and a similar “Watermelon Chair,” as well \nas his Secretary Desk made with antique textiles and reverse painting on \nglass. Also on display were his unique antlered figural lamps and abalone, \nbrass and wire folding screens.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   17\n9\u002F8\u002F08   3:39:17 PM\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.18.png","No. 1648\nTony Duquette first conceived the Organic Baroque Chair while serving in  \nthe Army during World War II, as evidenced by the preliminary sketch found in \nhis army notebook. Duquette finally realized the design in the 1960s, creating \nthe entire piece from wrought iron. Baker recreates the steel frame by first \nheating the steel strands and forming them into its sensuous, organic form. \nThe chair’s frame opens up with back and arms curved out, randomly joined \nby connecting steel members. The seat is constructed in a sunburst pattern—\nforming a natural seat—and is supported by curved legs that are joined by \nsteel cross members before terminating into straight steel feet. Circa 1965.\nw 36\"  d 24\"  h 40\"\nfinish option 1: verdigris paint   finish option 2: pearl paint\nseat cushion\nO rg aNi c B a rOq u ech ai r\n16 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   18\n9\u002F8\u002F08   3:43:50 PM\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.19.png"," t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e   17\nNo. 1649\nThe Palmer Chair was originally designed for the Charles and Palmer Ducommun \nresidence in Bel Air, California. Duquette also used the chair to seat his many \nguests at round tables of eight at his legendary parties in his historic Los Angeles \nstudio. He upholstered these gilded chairs in buttoned suede, gold lamé, rich \nvelvets and even denim. Baker has reproduced this piece with exacting detail. The \nchair has generous back and seat cushions detailed in a plush button tufting and \nsecured to the frame by small ties. The chair back is an intricately woven steel \ndesign. Single bars of steel are heated and bent to form its elaborate curved base \nand unique, joined half-moon legs that are met by a single stretcher. Circa 1965.\nw 16 ¾\"  d 17\"  h 34 ½\"\nfinish option 1: gold leaf with red undertone burnt orange upholstery\nfinish option 2: verdigris paint, burnt orange upholstery\npal m e r c h a i r\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   19\n9\u002F8\u002F08   7:18:17 PM\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.20.png","Photo:  Tim Street-Porter\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   20\n9\u002F8\u002F08   4:57:30 PM\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.21.png","Residence in Bel Air, California \ndesigned by Tony Duquette, \nc. 1960 \n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   21\n9\u002F8\u002F08   3:50:07 PM\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.22.png","The drawing room at Tony and Elizabeth Duquette’s \nbirdcage Victorian house in San Francisco featured \n18th-century Venetian furniture, Portuguese painted \npanels, bronze cow head lamps and the Duquette- \ndesigned ottoman sofa. Note his original abalone  \nmosaic cocktail table.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   22\n9\u002F8\u002F08   3:56:55 PM\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.23.png"," t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e   21\nNo. 1652 | 1655\nDuquette often used abalone shell in his designs, earning him the nickname  \n“Tony Abalone” from his friends and clients. He often said, “If there were only one \nabalone shell in the world, wars would be fought over it, over its beauty.” His simple \niron-framed abalone tables were used to decorate his own rooms, as well as those \nof his clients. The Abalone Mosaic Cocktail Table and End Table are made from brass \nand finished in Dark Bronze. The top is slightly raised above the surrounding brass \napron and square straight legs, and is inset with abalone shell—its random patterning \nand coloration creating a one-of-a-kind work of art. The naturally forgiving, hand-\npolished finish promises its otherworldly luster will not diminish over time. Circa 1959.\ncocktail table (1652)  w 38\" d 22\"  h 18\"  |  end table (1655)  w 22\"  d 22\"  h 22\"\nfinish: dark bronze frame with polished abalone table top\nAB ALO N E M OSA i C TA BL ES\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   23\n9\u002F8\u002F08   5:33:36 PM\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.24.png","22 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\nNo. 1697\nThe original Elsie Tabouret currently resides in Tony Duquette’s studio and is  \nnamed after Lady Elsie de Wolfe Mendl, the “First Lady of Interior Decoration”  \nand mentor to Duquette. So taken with his talent, de Wolfe introduced him into  \nHollywood society, personally commissioning significant pieces for her home  \nto showcase his talent. It was through this recognition that Duquette rose to \nworldwide fame and established himself as one of the leading designers of his \ntime. This sophisticated tabouret pays homage to this important friendship and  \nremarks upon the sophisticated spirit of the woman behind Duquette’s early \nfame. The Elsie Tabouret features a straightforward cylinder shape crafted from \nsolid wood and wrapped in Dacron to slightly pad the surface before completely \nupholstering the piece. The top is set with a single, centered button, and the \nsides are decorated in a random button-tufted pattern. Circa 1926.\ndiameter 18\"  h 16\"\nstandard fabric option 1: leopard skin    standard fabric option 2: zebra skin\nEL S I E TA B O U R E T\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   24\n9\u002F8\u002F08   3:58:14 PM\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.25.png","The small ballroom at the Villa Trianon—Elsie de Wolfe’s historic house \nat Versailles—with its mural walls by Etienne Drian, Louis XV stool and \nleopard-upholstered tabourets, which Duquette purchased from the \nVilla Trianon sale in the 1980s for his own use at Dawnridge.\nPhoto: Andre Ostier\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r1_67007_TDuquette_v19.indd   25\n9\u002F5\u002F08   9:27:10 PM\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.26.png","The Cobina Wright residence in Beverly Hills,  \nCalifornia, which Tony designed in 1952 using his  \noriginal Paris Snowflake Screens, upholstered  \nsofas, tables and lamps.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r1_67007_TDuquette_v19.indd   26\n9\u002F5\u002F08   9:37:21 PM\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.27.png","No. 1699\nDuquette loved the 18th-century Chinese snowflake screens in the collection of his friend, \nthe famous Hollywood costume designer known simply as Adrian. In 1952 Tony created \nhis own modern version of the traditional snowflake pattern for an interior in Beverly Hills. \nHe later produced more of these screens for MGM Studios and 20th Century Fox for such \nfilms as The King and I and Call Me Madame. Inspired by Duquette’s signature snowflake \nscreens, the three-panel Paris Snowflake Screen reflects the same organic beauty and  \nintricacy of the original. Squares of cast aluminum frame each panel’s five delicate,  \ncascading aluminum snowflakes before terminating to small, square feet that slightly  \nraise the screen from the floor. The panels are individually hinged and finished with  \neach snowflake tipped in coral for brilliant contrast. Circa 1951.\nw 36 ½\"  d 1 ½\"  h 75\"\nfinish option 1: gold leaf   finish option 2: silver gilt\nthree individual hinged screen panels\nPARISS N ow f l A k eS C Ree NS\n t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e   25\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   27\n9\u002F8\u002F08   5:53:31 PM\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.28.png","No. 1616\nDuquette used these convenient little tables, made in durable cast resin, in \nboth interior and exterior installations. He loved the versatility of the design, \neasily moving from seating to a table wherever needed. He painted them in \nstark white or brilliant coral for a pop of color. Circa 1961.\ndiameter 18\"  h 16\"\nfinish option 1: coral lacquer    finish option 2: pearl lacquer\nM ACAO G A R D E N S E AT\n26 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   28\n9\u002F8\u002F08   5:55:31 PM\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.29.png"," Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   29\n9\u002F8\u002F08   5:57:48 PM\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.30.png","Residence in Bel Air, California,  \ndesigned by Tony Duquette, c. 1960\nPhoto: Tim Street-Porter\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   30\n9\u002F8\u002F08   5:01:02 PM\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.31.png","No. TDQ300\nAnother inspired piece that uses the beauty of abalone shell to decorate its frame, the \nAbalone Chandelier was originally unveiled as part of his one-man exhibition at the \nLos Angeles County Museum of Art. The chandelier was then part of the Charles and \nPalmer Ducommun Bel Air residence, appointing its drawing room along with other  \ndesigns by Duquette. Years later, Duquette acquired the piece from the estate and \nhung it prominently in his own home, Dawnridge, where it remains today. Reproduced \nin exacting detail, the chandelier is made from steel, heated and bent to create its \nintricate frame then painted in green, pink and white. Abalone shells appoint the frame, \nwith strands forming a crown around each shell to capture and reflect the light. Circa 1952.\ndiameter 36\"  h 39\"\nfinish: green paint with pink and white accents, abalone shells\nhardwired, twelve 15-watt candelabra bulbs required\nABALO N E C H A N D E L I E R\n t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e   29\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   31\n9\u002F8\u002F08   12:51:20 PM\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.32.png","No. TDQ100\nOriginally designed to decorate and illuminate the drawing room at Dawnridge, Duquette’s \nprivate residence, the Sunburst Torchere has been recreated by Baker in painstaking \ndetail. The torchere features a sunburst medallion cast in bronze and finished in a clear \ncoat of lacquer. The medallion rests above a carved wooden post, finished in silver \nleaf, and an Italian-inspired wood base tightly wrapped in a beige suede. Circa 1949.\n \nw 24\"  d 13 ½\"  h 74\"\nfinish: natural bronze medallion with varnished silver leaf post and beige suede base\ntransparent cord with foot switch, one 40-watt bulb required\nS UNB UR ST TO R C H E R E\n30 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   32\n9\u002F8\u002F08   6:56:24 PM\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.33.png","The drawing room at Dawnridge, 1949, with Duquette’s \nunique Sunburst Torcheres, Snowflake Screens and \ndipped plaster lambrequins.\nPhoto: Shirley Burden\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   33\n9\u002F8\u002F08   5:39:26 PM\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.34.png"," Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   34\n9\u002F8\u002F08   5:58:49 PM\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.35.png","No. TDQ501\nThe original Insect Man was unveiled as part of Tony Duquette’s first exhibition \nat the prestigious Mitch Leison Gallery in Los Angeles, and served as a unique \nbackdrop to present one of Duquette’s jewelry designs. Circa 1947.\nw 9 ½\"  d 4 ¾\"  h 18 ½\"\nfinish option 1: gold paint  finish option 2: pearl paint\nIN S E C T M A N\n t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e   33\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   35\n9\u002F8\u002F08   5:22:51 PM\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.36.png","34 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\nNo. TDQ101\nThe Jewel Votive Table Lamp was inspired by a one-of-a-kind Rhodochrosite \nset in 18k gold and pearl brooch that was designed by Tony Duquette in 1972. \nThis functional work of art is completely cast from bronze. The single tapered \nspear-like base suspends an egg-shaped medallion surrounded by sun rays—\nboth recurring themes in Duquette’s work. The light emanates from behind the \nmedallion and cascades over the sun rays to create a stunning presentation. \nCirca 1972.\nw 12\"  d 5 ½\"  h 24\"\nfinish option 1: silver plate   finish option 2: 24k gold plate\ntransparent cord with foot switch, one 40-watt bulb required\nJ E W E LVOT I V E TA BLELAM P\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   36\n9\u002F8\u002F08   12:52:25 PM\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.37.png"," Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r1_67007_TDuquette_v19.indd   37\n9\u002F6\u002F08   11:05:49 AM\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.38.png","“A bedroom for a princess” created for a \npenthouse apartment in Honolulu, Hawaii, \nc. 1960.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   38\n9\u002F8\u002F08   6:01:28 PM\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.39.png","No. TDQ103\nThe dramatic Terrapin Lamp takes many of its cues from lamps originally \ndesigned by Duquette for a private penthouse in Honolulu, Hawaii. Cast from \nbronze, the lamp features a large raw bronze shell topped with a unique \nfinial of individual dark bronze shards emanating from a golden bronze and \nMurano glass center. An intricate laser-cut brass filigreed column finished in \nDark Bronze surrounds and supports the shell and terminates to a square \nbase covered in a beige suede. Circa 1960.\nw 9 ½\"  d 6\"  h 24\"\nfinish: raw bronze shell with dark bronze support and beige suede base\nblack cord with hand switch, one 40-watt bulb required\nT ERR API N L A M P\nt h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e   37\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r1_67007_TDuquette_v19.indd   39\n9\u002F6\u002F08   11:13:00 AM\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.40.png","No. TDQ104\nMarrying fine sculpture with abstract practicality, the Arrow of the Sea was first \nexhibited by Duquette at his one-man exhibition at the Los Angeles Municipal \nArt Gallery at Barnsdall Park, Los Angeles, and currently resides on display at \nthe Tony Duquette studio. The piece showcases Duquette’s ability to create \nunconventionally discreet, yet functional, lighting. Baker pays homage to this \nsculptural design, incorporating many of the original materials. The statuesque \ntapered form is cast from brass and finished in Dark Bronze. A transparent  \nMurano glass swordfish snout emits light in a soft cast. Circa 1972.\nw 7 ¾\"  d 5 ¾\"  h 36\"\nfinish: dark bronze base, transparent glass top\nblack cord with hand switch, one led bulb required\nARROWO F T H E S E A\n38 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   40\n9\u002F8\u002F08   6:04:19 PM\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.41.png","Duquette's “palette” of found objects\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r1_67007_TDuquette_v19.indd   41\n9\u002F6\u002F08   11:21:26 AM\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.42.png","Tony Duquette painted his Regency Pagoda Lamps blue and white \nfor the entrance hall at the historic Tony Duquette Studios to fit in \nwith his vast collection of 18th-century blue and white Chinese \nporcelain. The chest of drawers is Portuguese Colonial Chippendale. \nDuquette found the antique Chinese Chippendale chairs in Ireland \nwhile decorating Barretstown Castle for Elizabeth Arden.\nPhoto: Charles White\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   42\n9\u002F8\u002F08   6:54:24 PM\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.43.png","No. TDQ105\nThe six-sided Regency Pagoda Lamp was inspired by a pair of small antique lamps \nowned by Tony Duquette. Altering the size to custom-fit client interiors, Duquette cast \nhis designs from resin. Baker also uses cast resin to create the impressive form. Lit from \nwithin, cascading light emanates from the dozens of encircling windows. The lamp rests \non a black base to elevate it slightly from the floor or table. The finish is hand-applied  \nand gently rubbed so it appears to have been exposed to the elements. Circa 1970.\nw 10\"  d 10\"  h 48\"\nfinish option 1: white paint with black base\nfinish option 2: green and blue paint with black base\nfinish option 3: clear resin with black base\nblack cord with hand switch  \none frosted 40-watt flood light bulb required\nREG EN CY PAG O DA L A M P\n t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e   41\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   43\n9\u002F8\u002F08   12:54:02 PM\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.44.png","No. TDQ201\nOne of Duquette’s most beloved and rare designs, the Ghost Snail has \nbeen recreated from cast resin using a rare, craft-based process. The \nresin is poured into an intricately hand-carved mold, which sets up and \nself-hardens overnight. The piece is then hand-carved to bring out the \nelaborate detail, then wrapped in natural pin shell veneer. The interior is \nfitted with twin frosted bulbs, radiating through the pin shell in a soft, \nhypnotic glow. Circa 1970.\nw 37\"  d 16\"   h 19\"\nfinish: pin shell wrap\ntransparent cord with foot switch \ntwo frosted 40-watt flood light bulbs required\nGH OSTSNA I L\n42 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\n115973BK_r2_67007_TDuquette_v19.indd   44\n9\u002F8\u002F08   12:56:02 PM\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.45.png","The original Ghost Snail, situated \nin Duquette’s “Frogmore”  \nporch on his Malibu property.\nPhoto: Tim Street-Porter\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   45\n9\u002F8\u002F08   5:03:50 PM\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.46.png","The Gold Toad sculpture decorates \nTony’s Abalone Mosaic Cocktail Table.\n44 t h e  s e l e c t e d  w o r k s  o f  t o n y  d u q u e t t e\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n Warm Gray 4\n Angle@K\nNo. TDQ500\nA recurring theme in Duquette’s work, toads of every shape and size \nwere traded back and forth between Duquette and his closest friends \nas part of a playful ongoing exchange. His Gold Toad was designed to \neclipse all prior versions and was never traded but held in a place of \nhonor in his home. The original Gold Toad still resides as part of the \ncollection housed at the Tony Duquette studio in Los Angeles. Baker \nrecreates the Gold Toad from cast brass strands, which are heated  \nto create its complex, skeletal form, then plated in 24k gold. The \nsculpture rests on a square, transparent base. Circa 1975.\nw 12\"  d 10\"  h 8½\"\nfinish: gold plate with transparent base\nG O LDTOAD\n115973BK_r3_67007_TDuquette_v19.indd   46\n9\u002F9\u002F08   10:32:10 AM\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.47.png","Photo: Charles White\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n115973BK_r2_67007_TDuquette_v19.indd   47\n9\u002F8\u002F08   5:42:43 PM\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.48.png","Tony and his wife, Beegle, at home \nin their Fountain Avenue Studio, \nc. 1951.\n Yellow\n Angle@Y\n Black\n Angle@K\n Magenta\n Angle@M\n Cyan\n Angle@C\n PMS 9040 C  \n SOLID\n115973BK_r3_67007_TDuquette_v19.indd   48\n9\u002F9\u002F08   10:40:42 AM\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fe2\u002F1f5645f4318648fbbe178c8ac155f9.49.png","\t\n1612\n\t\nBiomorphic\tmirror\n\t\nfinish option 1: gold leaf\n\t\nfinish option 2: silver gilt\npage\t13\t\nw 30\"  d 6\"  h 48\"\n\t\n\t\n1666\n\t\nBiomorphic\tconsole\n\t\nfinish option 1: gold leaf\n\t\nfinish option 2: silver gilt\n\t\n¾\"-thick glass top\npage\t13\t\nw 70\"  d 36\"  h 33\"\n\t\n\t\n1619\n\t\nmarsan\tchair\n\t\nfinish option 1: pearl lacquer\n\t\nfinish option 2: silver gilt\n\t\nfinish option 3: coral lacquer with\n\t\npink glaze\npage\t14\t\nw 26\"  d 24\"  h 28 ½\"\t\n\t\n\t\n1648\n\t\norganic\tBaroque\tchair\n\t\nfinish option 1: verdigris paint\t\n\t\nfinish option 2: pearl paint\n\t\nseat cushion\npage\t16\t\nw 36\"  d 24\"  h 40\"\n\t\n\t\n\t\n1649\n\t\npalmer\tchair\n\t\nfinish option 1: gold leaf with red\t\n\t\nundertone, burnt orange upholstery\n\t\nfinish option 2: verdigris paint with\n\t\nburnt orange upholstery\npage\t17\t\nw 16 ¾\"  d 17\"  h 34 ½\"\n\t\n1652\n\t\naBalone\tmosaic\n\t\ncocktail\ttaBle\n\t\nfinish: dark bronze frame with  \n \n \n \n \npolished abalone table top\npage\t21\t\nw 38\"  d 22\"  h 18\"\n\t\n\t\n\t\n1655\n\t\naBalone\tmosaic\tend\ttaBle\n\t\nfinish: dark bronze frame with  \n \n \n \n \npolished abalone table top\npage\t21\t\nw 22\"  d 22\"  h 22\"\n\t\n\t\n\t\n1697\n\t\nelsie\ttaBouret\n\t\nstandard fabric option 1: leopard skin\n\t\nstandard fabric option 2: zebra skin\npage\t22\t\ndiameter 18\"  h 16\"\t\n\t\n\t\n\t\n1699\n\t\nparis\tsnowflake\tscreens\n\t\nfinish option 1: gold leaf\n\t\nfinish option 2: silver gilt\npage\t25\t\nw 36 ½\"  d 1 ½\"  h 75\"\t\n\t\n\t\n1616\n\t\nmacao\tgarden\tseat\n\t\nfinish option 1: coral lacquer\n\t\nfinish option 2: pearl lacquer\npage\t26\t\ndiameter 18\"  h 16\"\t\n\t\n\t\n\t\n\t\ntdq300\n\t\naBalone\tchandelier\n\t\nfinish: green paint with pink and white\n\t\naccents, abalone shells hardwired  \n \ntwelve 15-watt\tcandelabra bulbs required\t\npage\t29\t\ndiameter 36\"  h 39\"\n\t\n\t\n\t\ntdq100\n\t\nsunBurst\ttorchere\n\t\nfinish: natural bronze medallion with\n\t\nvarnished silver 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