[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-baker-furniture-andre-arbus-collection":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":184},{"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":179,"matched_pages":180,"match_count":181,"two_pages":182,"show_text":183},887,"Andre Arbus Collection","baker-furniture-andre-arbus-collection","\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ff8\u002F45f2abb4835784e5bc766e994dc7a0.pdf","Baker Furniture",2114,"baker-furniture","5.1 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,92,96,100,104,107,111,114,118,121,125,128,132,135,139,143,147,150,154,157,161,165,169,173,176],{"image":7,"text":15,"number":16},"André \n                Arbus\nThe\nCollection\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.2.png","The science of \nmeasures is nothing \nwithout the feeling of measure. \nIt is from this geometry \nof the heart, from \nthis sensitive calculation,  \nthat originates  \nthe classicism of  \nfrench furniture.\n~ André Arbus\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.3.png","orn in 1903, André Arbus was a third-generation French \ncabinetmaker who worked in his family’s atelier in Toulouse. \nHe was trained in the same traditional techniques as those \nshowcased by 18th century masters Thomas Chippendale \nand George Hepplewhite. It was his family’s history that imparted \nArbus with an innate sense of the craft, and that ultimately enabled \nhim to flourish as an artist. \nArbus holds the rare honor of being recognized as a genius in his \nown time. This distinction is a testament to both his talents and his \nintegrity as a true artist. Part furniture designer, architect, sculptor \nand philosopher, Arbus changed the direction of modern French \ndécor and architecture by redefining the principles of good design. \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.4.png","Arbus’ gallery in Paris, circa 1932.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.5.png","A man of doctrine and principle, Arbus’ search for truth and \nperfection in his work and the world around him was boundless. \nMotivated by an unwavering belief that beauty and comfort can \nraise the human spirit, Arbus’ work drew on the fundamentals  \nof art, architecture and furniture design.\nThe young craftsman applied this aptitude during his training \nat L’École des Beaux-Arts (School of Fine Art) in Toulouse. Upon \ngraduating, Arbus joined his father’s firm and submitted his early \npieces of furniture to the Exposition Internationale, becoming a \nfrequent participant in the Salons des Artistes Décorateurs and  \nthe Salons des Artistes d’Automne. \nHis work was immediately praised by critics, not merely for aesthetic \ndesign but also for standing apart from that of his peers. This \nenthusiastic reception encouraged the designer to contract with  \nL’Epoque gallery in Paris to showcase his work. \nIn 1932 he moved to Paris permanently, and soon opened his own \ngallery on Avenue Matignon. By this time Arbus had established \nhimself in the trade, but the artistic philosophy that was to become \nhis legacy was just beginning to develop.\nIn 1934, after winning a Premier Prix Blumenthal Award for \nDecoration, Arbus was dismayed to notice a trend toward \nfunctionalism among his Parisian contemporaries. He felt this  \ntrend would lead to the dehumanization of the art of furniture \nmaking and emphatically refused to be associated in any way with \nthis movement. As someone who indefatigably followed the rules \nof construction, believing that even the smallest departure would \ncompromise the beauty and integrity of a piece as much as a  \ndesign flaw, his refusal made perfect sense. \nMoving in an altogether different direction than his peers, he  \nwould go on to dedicate himself to preserving the basic tenets that \nhad governed construction for generations of French cabinetmakers \n– principles that emphasized beauty and classic proportions rather \nthan reducing design to engineered parts. Arbus believed that  \na piece of functional art such as furniture or architecture could  \nand should be pleasing to the soul in addition to fulfilling its \nintended purpose.\nRather than disregard the artistic heritage of his predecessors — \nas did many of his peers — André Arbus paid homage to it. He \nis known to have said, “One should be convinced that tradition \nwas not invented by man; it exists, it demands recognition and \ncontrols man’s fate, regardless of will.” The designer felt that by \nremaining faithful to these traditions, he was honoring the work \nof generations of men who strove for beauty and truth in art. \nThus,Arbus’ creations remained rooted in neoclassical French  \nstyle, particularly reminiscent of the eras of Louis XV and Louis \nXVI – yet his designs were still somehow fresh, reflecting a modern \nsensibility and lifestyle.\nArbus considered each of his designs as individual works of art \nthat could stand alone, independent from the set. He often said, \n“A beautiful piece of furniture is beautiful anywhere.” Shapes were \nelegant and distinct with gentle curves and pure lines. Proportions \nadhered to the enduring rules of cabinetmaking tradition. Often \nslender in design, the furniture had a sense of fragility that was \njuxtaposed with its rigorous lines and striking presence. \nIn addition to creating beautiful works of art, Arbus’ goal was to \nproduce furniture on a human scale. Mankind was his primary \nconsideration in design: chairs were to feel as though they were \ncreated to hold the human form. Tables were to be perfectly \nproportioned to their intended space. Desks were to feature \ndrawers in just the right place, for both aesthetics and ergonomics. \nThe execution of these designs was impeccable, a result of Arbus’s \ndrive for perfection and attention to assembly.\nThis thoughtful approach to furniture design was well received \nby the public. As his recognition spread further, Arbus began to \nestablish himself as an architect as well – and he used the same \nprinciples for architecture. Said Arbus in an interview: “It is \nnecessary to have learned and practiced decoration before taking \non architecture. If you don’t know how to set the furniture of a \nroom in a plan, how can you build a house? Walls must be built \naround these elements.”\nThe andré arbus collecTion    3\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.6.png","His 1937 exhibit, “La Maison d’une Famille Française,” (Home of a French Family) illustrated these ideals. Arbus’ goal was to create \na domestic sanctuary, one that would contrast with the cold, industrial designs that were so often forced upon the French middle \nclass. He asserted that excellence of taste was not the prerogative of the aristocracy. The small home was designed with both \nharmony and logic, offering the charm, dignity and urbanity that so many contemporary homes lacked.\nIn 1940, French Minister of Armament Raoul Dautry commissioned Arbus to construct a village near a new ammunition factory \nin le Gard. The village was to include worker housing, a school and a common house. Again, the architect strove to design an \nenvironment that would go beyond the typical requirements of most industrial, blue-collar towns – an environment that would \nappeal to the human spirit.\nArbus continued his career in furniture design and architecture until his death in 1969. Commissions included rural farmhouses \nin the Crau plains; interiors for the French Embassy at The Hague; a jewel cabinet for Princess Elizabeth of England; the grand \nsalon of the home of General Eisenhower; set decoration for Les Indes Galantes at the opera; the Government Palace at Dakar; \nand the office of the Secretary General of NATO in Paris – among countless others. Each project adhered to the convictions to \nwhich Arbus devoted his life.\nThe André Arbus Collection\nBaker is proud to present The André Arbus Collection of furniture and lighting, one of the most exciting endeavors to date. \nThis best-in-class selection of pieces is modeled from the originals by this 20th century master of neoclassical design and \ndemonstrates the enduring beauty and prevailing relevance his furnishings represent. Moreover, the pieces in this collection \nreflect Arbus’ genius for material, proportion and construction.\nThe many works of this influential artist have been studied and admired by furniture makers and designers over the last 50 \nyears, but seldom reproduced. To create such thoughtful, precise furnishings requires a level of craftsmanship and savoir faire \nthat is rare, but Baker saw this collaboration as an honor and an opportunity to showcase its abilities and attention to detail.\nThe collection was developed in cooperation with Nathalie and Patrick Aubriot, who were chosen by Arbus’ daughter to act  \nas careful stewards of the Arbus oeuvre. \nLa Maison d’une Famille Française, 1937.\nA powder room in the pavilion of  \nManufacture de Sévres Exhibition, 1937.\nMusic lounge at the Salon des Artistes Décorateurs, 1937. \nThe rug is also an Arbus design.\nPhotographs and drawings from André Arbus Archives – Courtesy of Galerie Yves Gastou, Musée des Arts Décoratifs – Paris.\n4    The andré arbus collecTion\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.7.png","1903-24  Arbus is born in Toulouse, France, into a family of \ncabinetmakers. Trains at École des Beaux-Arts. Joins  \nhis father’s cabinetmaking firm, which he later heads.\n1925-33   Debuts his work at the Exhibition Internationale, the \nSalon des Tuileries, La Galerie des Quatre Chemins,  \nSalon d’Automne and Salon des Artistes, Décorateurs.\n \n1930 Begins selling his work through L’Epoque gallery \nin Paris.\n \n1934 Awarded the Premier Prix Blumenthal.\n \n \n1935 Opens his own gallery on Avenue Matignon. Collaborates \nwith Marc Saint-Saens (painter), Androusov (sculpted \ndecoration in wood, gesso and terra cotta), Paule Marrot \n(upholstery), Gilbert Poillerat (wrought iron), Belmondo \n(bas-reliefs) and Bagues (light fixtures).\n \n1937 Presents “La Maison d’une Famille Française” with \nelements created by the Beaux Métiers studio, of  \nwhich he was the art director.\n \n1938 Presents his work at the Salon des Artistes Décorateurs.\n \n1939 Exhibits at the World’s Fair. Designs the French section \nat the Expo of New York and Expo of San Francisco.\n \n1940 Commissioned by Raoul Dautry to design a village \n \n in le Gard.\n \n1945 Decorates the office of General Marshall as well as \nfurniture offered as gifts by General De Gaulle to \n \n foreign heads of state.\n \n1946 Decorates the presidential apartment in Rambouillet. \nDesigns furnishings for the office of Jacques Jaujard, \nDirector General of Arts and Letters. \n \n Decorates the French Embassy at The Hague.\n \n1950 Designs a jewel cabinet for Princess Elizabeth of England. \nDecorates the great reception hall of the Palais de l’Élysée.\n \n \n1951 Named head of studio at the Ecole Nationale Supérieure \ndes Arts Décoratifs. Decorates the cruise ship Provence. \nDecorates the grand salon of the home of General \nEisenhower at Marnes-la-Coquette.\n \n1952 Decorates the ocean liners Bretagne, Viet-Nam and \nNossi-Be. Exhibits “The Genius of Paris” bronze furniture.\n \n1953 Decorates the ocean liner Jean Laborde. Collaborates \nwith Raymond Subes to design the grand necklace of the \nLegion of Honor. Decorates the Government palace  \nat Dakar.\n \n1955 Decorates the Consular palace of the Chamber of \nCommerce of Rouen, as well as the French Embassy  \nin Washington.\n \n1958 Wins grand prize at the Exposition de Bruxelles.\n \n1960 Decorates the National Center for Scientific Research and \nthe office of the Secretary General of NATO, as well as the \nNATO headquarters in Paris.\n \n1963 Placed in charge of the École Nationale Supérieure des \nBeaux-Arts in Gimond’s Studio.\n \n1964 Designs and oversees the construction of la Chapelle \nSaint-Augustin d’Eguilles in Provence.\n \n1969 Passes away at the age of 66 in Paris. \nSignificant DateS\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.8.png","Press clips regarding Arbus’ decorative work  \non the Liner France. The photo (top) shows the  \nFirst Class smoking lounge of the ship, which  \nArbus designed. (1962)\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.9.png","The andré arbus collecTion    7\nPaquebot chair anD ottoman\nno. 7348c | 7348o\nAn exercise in equilibrium, the lyrical curves and riveting lightness of this chair and ottoman celebrate the \ndesigner’s contribution to the ocean liners of the 1950s. Arbus worked on several important ships, including the \nLe France – the largest, fastest and most luxurious of its time. The spirit often attributed to the work of André \nArbus springs from a single-minded belief that the grand traditions of French cabinetmaking—whether intricate \nhand joinery, exotic veneers, hand polish, cast bronze or glowing parchment—are the tools of innovation rather \nthan imitation. And so it was that the genius of the era came to map a course from the values of the 18th century \nto the luxury of the 20th—at home and at sea. Circa 1958.\nA delicate, deeply pitched and tightly upholstered frame allows for both a sensuous line and unexpected comfort. \nScrolled ends and saber legs, ending in brass sabot, speak to the designer’s neoclassic vocabulary.\nchair w 24\" d 42.5\" h 43.5\" sh 17\" ah 25\"\nottoman w 20.5\" d 23\" h 18\"\nbeech solids | chatain or ebonized finish | brass hardware\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.10.png","",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.11.png","The andré arbus collecTion    9\nno. 7391cs\nThe early work of André Arbus was much lauded as a new neoclassical vocabulary for a new world. Visually \nattenuated, this modern evolution of the recamier, or daybed, serves as a symbol of overdue luxury in post-\nwar France. While the designer was commissioned to rework several national palaces after the war, the  \nDu Roi Chaise was a longtime fixture in the King’s Bedroom at the Palais de l’Élysée, home of the President  \nof the French Republic. Circa 1946.\nA rolled top contrasts with a welted, tightly upholstered back and seat. A hardwood base holds the seat. The frame \nitself is cast bronze, with a back support hinting at French Directoire, over tapered, asymmetrically placed legs.\nw 26.5\" d 65\" h 35\" sh 14.5\"\nbeech solids | chatain or ebonized finish | dark bronze legs and hardware\nDu roi chaiSe\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.12.png","no. 7384c | 73840\nOriginating in the 18th century, the bergère remains the cornerstone of comfort and conversation in French \nsalons. The Galerie Chair and Ottoman revisit that idea through a simplicity of form, a high quality of materials \nand an array of hand-applied finishes that have collectively come to define French Modernism. Among the later \ndesigns of André Arbus, these items have a sculptural quality to them—more urbane than urban. Circa 1958.\nWith compound curves, a measure of convergence and cast bronze front posts, the Galerie Chair is a sculpture  \nin mixed materials. The attached back and loose seat cushion both offer a boxed look. Together with an overall \nwelt detail, the result is a crisp canvas for fabric.\nWith a cascading form and disengaged bronze posts, the ottoman embraces the graphic appeal of the chair.  \nIn the interest of coordination and customization, a thin wood frame also follows the chair. Attached top.\nchair w 30\" d 35.5\" h 35.5\" sh 19\" ah 24\" \nottoman w 27\" d 25.5\" h 18.5\"\nbeech solids | chatain finish | traditional brass legs and hardware\ngalerie chair anD ottoman\n10    The andré arbus collecTion\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.13.png","The andré arbus collecTion    11\nno. 7384L\nSteeped in French Modernism, the sheer scale of the Galerie Settee couples with a disengaged leg to create the \nillusion of a floating mass. An exposed wood back rewards the eye with just the hint of a curve. A single, fairly \ntight, attached box cushion back offers ample opportunity for a fabric statement. A substantial single seat \ncushion not only mirrors that look but also adds a graphic appeal. Circa 1958.\nw 75\" d 35.5\" h 35.5\" sh 19\" ah 24\"\nbeech solids | chatain finish | traditional brass legs and hardware\ngalerie Settee\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.14.png","Original watercolor by André Arbus  \nfor an interior design project.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.15.png","The andré arbus collecTion    13\nno. 7382\nThe L’Epoque Wall Unit speaks to both the designer’s early neoclassical work and his imaginative use of those \nforms. André Arbus believed that the design of a fine home should ideally follow the plan for the furnishings; \nhowever, that is generally the exception rather than the rule. An alternative might be furniture as architecture.  \nWhile the owner might view this item as a dry bar, humidor or pedestal, it is surely architecture—and a signature \nArbus design ultimately appearing  in several variations. Circa 1938.\nWith a heavy base and forward columns, the design of this item draws from the vocabulary of French Directoire \nfurniture. The lead species is a polished Walnut. The contrasting drop front presents a glazed leather suggesting \nparchment, and the interior is a highly figured Mozambique. A bronze mirror back and a concave base, also  \nin Mozambique, add a modern sense of lightness to an otherwise traditional look.\nw 33\" d 19.5\" h 65.25\"\nwalnut solids | mozambique veneers | bronze mirror\ntraditional brass hardware | chatain with parchment leather on door\nl’ePoque wall unit\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.16.png","Personal art collection of Arbus beloved daughter, \nMadeleine, surrounding the original Palais Cabinet  \nin her Neuilly-sur-Seine apartment, Circa 1936.\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.17.png","The andré arbus collecTion    15\nno. 7370\nAs with much of the designer’s early work, the Palais Cabinet draws from neoclassical furniture—and particularly \nits architectural roots. This is once again furniture as architecture. At once ancient and abstract, this item was \npresented at the Exhibition of Le Petit Palais of 1936. Three scant years before World War II, this was among the \nlast great shows, the end of a long creative feast, and the onset of many artists moving abroad. Circa 1936.\nThis cabinet features a stepped entablature top over an ebonized two-door facade. The case visually floats over a \ndeeply recessed plinth base. The lead species is Walnut, adding a subtle texture. A swagged rope pull, in cast brass \nwith an Antique Silver finish, can be found on several Arbus cabinets of the period, including one designed for his \ndaughter Madeleine.\nw 52\" d 21\" h 35.25\"\nwalnut solids and veneers | ebonized finish | antique silver leaf base finish\nantique silver hardware finish | two adjustable shelves\nPalaiS cabinet\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.18.png","Wall unit from smoking lounge of the \nocean liner Viet Nam. Above, a bas relief \nin plaster by Robert Couturier. 1952.\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.19.png","The andré arbus collecTion    17\nno. 7373\nEven postwar, the great continental ocean liners remained colorful, less-than-subtle symbols of nationalism. \nCommissioned for the indulgent smoking lounge of the ocean liner Viet-Nam, one of three sister ships brazenly \nmarking French influence in the region, the Indochine Cabinet represents the most brilliant designer of the \nera working on behalf of a new French icon. As with much of the designer’s later work, the product is openly \nsculptural. Circa 1952.\nThis unusual cabinet has a shape dating to the time of Louis XVI with a glazed faux Parchment finish. Four \nasymmetrical posts, each turned to a different side of a falling leaf motif, extend the bronze look to the base  \nof the cabinet and ultimately to four toupie feet.\nw 68\" d 18.25\" h 38.25\" \nhardwood solids and veneers | silver liner | aged bronze posts and dark bronze feet\nparchment finish | one adjustable shelf | one drawer\ninDochine cabinet\n",19,{"image":90,"text":51,"number":91},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.20.png",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.21.png","The andré arbus collecTion    19\nno. 7387\nThis neoclassical-inspired desk is an example of what the French call mechanized furniture. Actually more of an \nelaborate presentation table, André Arbus designed the original for Aimé Maeght—an influential gallery owner, \nenabler, fixer and collector who found patrons for the leading artists of the day. Commissioned for prints and drawings, \nL’Architecte Desk features two pullout slides, each with an adjustable tilt-up surface. Circa 1958. \nThe lead species is Walnut with an Ebonized finish. Regardless of period, the use of ebony and ebonized substitutes \nhas been a hallmark of French furniture at the highest level. A floating top offers a large work area and a reading rail. \nEngaged brass capitals contrast with tapered legs, themselves ending in brass sabot. \nclosed w 61.25\" d 25\" h 29.25\" | open w 88.75\" d 25\" h 36.75\"\nwalnut solids and veneers | ebonized f inish | traditional brass hardware f inish\nadjustable top and writing surfaces\nl’architecte DeSk\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.22.png","20    The andré arbus collecTion\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.23.png","The andré arbus collecTion    21\nno. 7354 | 7355\nDesigned for gallery owner Aimé Maeght’s residence on avenue Foch—arguably the most prestigious \nstreet in Paris and among the most expensive addresses in the world—the Avenue Cocktail Table offered \nan entirely new glamour to a home already unspeakably glamorous. It also acknowledged the designer’s \nenduring taste for neoclassical furniture. Circa 1958.\nThe Avenue Cocktail Table appears in two versions. The first is Walnut with an Ebonized finish. The  \nsecond is polished Walnut with a highly figured Mozambique top. Both feature disengaged brass capitals  \nover square tapered legs, themselves supporting a narrow lower shelf. Brass ferrule feet add a sense of \nelevated refinement.\nw 60\" d 20.5\" h 21.25\"\n7354 walnut solids and veneers | traditional brass hardware\nebonized f inish (above) | one shelf\n7355 walnut solids and mozambique veneers | traditional brass hardware \nchatain f inish (left) | one shelf\navenue cocktail table\n",23,{"image":105,"text":51,"number":106},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.24.png",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.25.png","The andré arbus collecTion    23\nno. 7361\nCalled the Lady of the French Coast, Deauville was the most exclusive of prewar seaside resorts. Those leisure \nproperties were confiscated during the German occupation, and many doubted whether the region would \never regain its former luster. Designed for the Chambre de Commerce de Rouen, the Deauville Center Table \ncelebrates the restoration of liberty, prosperity and luxury for all of France. While a creamy, gold-veined \nmarble top offers a whimsical flourish, the overall demeanor of the table is French Empire. For André Arbus, \nthe return of neoclassicism mirrored the return of optimism. Circa 1955.\nBold classical details include a marble top, round pulls symbolic of perfection, an open diamond apron with \nprominent roundels, square tapered legs unified by a wrapped rope stretcher and a doe foot. The frame is \nforged steel in Antique Silver Leaf.\nh 30.5\" dia 40.25\"\nsteel and marble | antique silver metal leaf f inish with white marble top\nDeauville center table\n",25,{"image":112,"text":51,"number":113},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.26.png",26,{"image":115,"text":116,"number":117},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.27.png","The andré arbus collecTion    25\nno. 7359\nAndré Arbus designed this table for a study at le Château de Rambouillet, the summer residence for the \nPresident of the French Republic. A striking example of modernism, the Chateau Table speaks to not only \nluxury materials and superb finishes but also the optimism of postwar France. A brass Moravian star rises \nabove two paths at cross purposes to one another. The Advent star, long manufactured in a single shop that \nwas destroyed at the close of the war, is reintroduced by Arbus in the grandest style of the French – in the \nvery place from which Charles de Gaulle began his ride to a liberated Paris – and emerges as an iconic motif. \nCirca 1947.\nA black and gold marble top contrasts with a brass edge banding and a delicate rope detail. The pedestal  \nswells to a accommodate a star finial in cast brass. Short, flaring feet.\nh 25.75\" dia 16.75\"\nsteel, brass and marble | moderne brass finish with traditional brass rope and star\nblack and gold marble top | brass star ornament at base\nchateau table\n",27,{"image":119,"text":51,"number":120},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.28.png",28,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.29.png","The andré arbus collecTion    27\nno. 7356\nThe Soleil Table was originally designed for the ocean liner Jean Laborde. Inspired by the elaborate marquetry \nof the late 18th century, this is an example of an older André Arbus revisiting a lighter, more refined neoclassical \nform. The twelve-point star alludes to a sundial. A yoke finial on the lower shelf would have allowed the original \nto be bolted to the deck during rough seas. Circa 1952.\nWith highly figured Sycamore veneers, this table capitalizes on the combination of crossfire and flashing that \nare natural to the species. Every step around the Soleil Table reveals a shifting of light and dark, a kaleidoscopic \nresolution of form and finish. An oversized top rests on three square tapered legs steadied by a concave shelf.\nh 27.25\" dia 26\"\nhardwood solids and sycamore veneers | traditional brass hardware | blond or chatain finish\none shelf with decorative brass ornament in center | decorative veneer pattern on top\nSoleil table\n",29,{"image":126,"text":51,"number":127},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.30.png",30,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.31.png","The andré arbus collecTion    29\nno. 7363\nDesigned for the Salon des Artistes Décorateurs in 1947, the Trio Table projects a lighter and more whimsical \napproach to neoclassical furniture. With peace restored, Arbus literally blunts the warrior arrows of Campaign \nfurniture. At the same time, he rejects the shield-like marble top of another era in favor of a looking glass. Even \nthe costly metal leaf finishes, in vogue a decade earlier, but largely forgotten during the war, make their return.  \nIt was a new style for a new day. Circa 1947.\nThe top of this item features antiqued mirror with an inset frame and a thick wire gallery recalling the classical \nWall of Troy motif. A cast ring element serves as a stylized quiver firming the base. Arrowheads and feathers add \na sense of dimension.\nh 22.75\" dia 18.25\"\nsteel | black finish with antique silver metal leaf\nantique mirror top\ntrio table\n",31,{"image":133,"text":51,"number":134},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.32.png",32,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.33.png","The andré arbus collecTion    31\nno. AA303\nEven for a man widely acknowledged as the creative force of his generation, this Christal Chandelier ranks \namong his signature work. Conceived for his own Paris apartment, a version of this naturally reforming  \nwater-drop sculpture was later featured at the Museum of Decorative Art’s 5th Exhibition of Arts de la Table. \nThe original chandelier enjoyed pride of place in his daughter’s fashionable Neuilly-sur-Seine apartment  \nuntil it was auctioned in 2006. Circa 1950.\nSuspended from a classical-leaning glass column, a mouth-blown globe encloses a coronet of crystal shards. \nThree small candelabra bulbs are seated low in an antique brass candle cup, allowing light to travel up the \nprisms and project a warmer glow. Two-piece water-drop finial.\nh 43.75\" dia 13.5\"\nglass and brass | light antique brass hardware finish | three 40-watt candelabra bulbs max finish\nadjustable brass chain\nchriStal chanDelier\n",33,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.34.png","no. AA300\nWhile there is little documentation surrounding the designer’s lighting, it remains readily identifiable.  \nAndré Arbus viewed lighting as an integral part of furnishing—if not the furniture itself—the ultimate \npolish, the unspoken refinement to scale and proportion. Circa 1940s.\nDrawn from a neoclassical vocabulary, this grandly scaled chandelier includes a symbolically perfect \ncircular antique brass support and five torch-like lamps, each with a frosted glass candle cup. The \nmost distinctive feature may, however, be the curved blown-to-fit mantle. The resulting medley of \ndiffusion, reflection, and transparency casts a distinctive glow, itself essential to the art.\nh 50.75\" dia 27.75\"\nglass | light antique brass finish | five 60-watt globe bulbs max\nfive frosted glass shades | clear glass surround\ncouPelle chanDelier-five arm\n",34,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.35.png","The andré arbus collecTion    33\nno. AA302 | AA401\nThe Flambeau Chandelier represents a more refined Murano Glass version of the designer’s signature torch \nmotif. Nowhere do we find André Arbus more open about his commitment to the old ways as a route to new \ndesigns worthy of the French tradition. Four fluted mouth-blown cones are infused with 24-carat gold, gradually \nmigrating toward a narrow point seemingly lit from a brass tip. The geometry, varying colors and flicker of the \nfluted cones contrast with the center orb. Art Moderne. Circa 1940s.\nThe Flambeau Sconce draws on the same classical motif. In some ways, the scale of the two-armed sconce is \nbolder. The cones assume more visual mass relative to the half-dome back plate. At the same time, the proximity \nof sconce to wall allows for the halo of an up-light.\nAA302 w 28.5\" d 28.5\" h 30.5\"\nmurano glass | bronze with brass accents\nfour 60-watt candelabra bulbs max | telescoping rod\nAA401 w 15\" d 6.75\" h 12.5\" \nmurano glass | bronze with brass accents\ntwo 60-watt candelabra bulbs max\nflambeau chanDelier anD Sconce\n",35,{"image":148,"text":51,"number":149},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.36.png",36,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.37.png","The andré arbus collecTion    35\nno. AA100\nDramatic, but ultimately neutral, the Ebene Table Lamp refers to the greatest \nof French cabinetmakers and the long tradition of highly polished, ebonized \nsurfaces. A contrasting shade, complete with a fabric diffuser, adds visual \ninterest. Small ball finials draw attention to the suspended design. Circa 1940s.\nh 29.75\" dia 16\"\nebonized finish with light antique brass hardware | brass accents\none 60-watt bulb max | ivory silk shade with fabric diffuser  \nsix-foot black power cord\nebene table lamP\nno. AA101\nWith the Colonne Table Lamp, Arbus once again updates elements of neoclassical \nfurniture to create something at once modern and somehow familiar. In keeping \nwith the name, a reeded column is comprised of a series of gathered brass tubes. \nThe upper candle cup holds light within the boundaries of the shade and the diffuser.\nSculptural elements gain emphasis. A cast finial borrows from antiquity, and the lower \ncandle cup offers unexpected dimension. Circa 1950s.\nh 28.25\" dia 15.5\"\nbrass finish with light antique brass hardware | brass accents \ntwo 60-watt bulbs max | ivory silk shade | six-foot black power cord\ncolonne table lamP\n",37,{"image":155,"text":51,"number":156},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.38.png",38,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.39.png","The andré arbus collecTion    37\nno. AA200\nWhile fashion relies on basic building blocks and measured accents, couture \nfavors strong silhouettes, unexpected materials and a flair for the dramatic.  \nThe Couture Floor Lamp is neither more nor less than the silhouette. Wide at \nthe shoulders, with a long torso, and a flaring skirt: this described couture for \nthe better part of the 1940s, and it also describes this floor lamp. Both, the one \nright look for the occasion. Circa 1940s.\nSupple hand-stitched leather wraps the column. The top of the column is \ndefined by an inverted cup acting as a small diffuser of sorts, and the bottom \noffers a stepped brass stand reminiscent of a candleholder.\nh 65.75\" dia 18.75\"\nhand-stitched leather with light antique brass hardware \ntwo 60-watt bulbs max | ivory silk shade  \nten-foot black power cord\ncouture floor lamP\nno. AA102\nHand-stitched leather, cut and sewn to fit, wraps the column much the way a \ncouture gown might wrap the owner. In this case, however, the color of the \nleather conspires with the Brass finish to create a tone-on-tone effect further \nreminiscent of fashion at the highest level. Striking, even with a very different \nscale and proportion, the design may in fact suggest there is a place for all of \nus in the world of couture.\nh 29.25\" dia 18\"\nhand-stitched leather with light antique brass hardware \ntwo 60-watt bulbs max | ivory silk shade\nsix-foot black power cord\ncouture table lamP\n",39,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.40.png","galerie Settee\nno. 7384L | w 75\" d 35.5\" h 35.5\" sh 19\" ah 24\"\nbeech solids | chatain finish\ntraditionaL brass Legs and hardware \npage 11\nDeauville center table\nno. 7361√ | h 30.5\" dia 40.25\"\nsteeL and marbLe | antique siLver metaL Leaf finish \nwith white marbLe top\npage 23\nPaquebot chair\nno. 7348c | w 24\" d 42.5\" h 43.5\" sh 17\" ah 25\"\nbeech soLids | chatain or ebonized finish \nbrass hardware\npage 7\nl’ePoque wall unit\nno. 7382 | w 33\" d 19.5\" h 65.25\"\nwaLnut soLids | mozambique veneers\nbronze mirror | traditional brass hardware\nchatain with parchment Leather on door\npage 13\nPaquebot ottoman\nno. 7348o | w 20.5\" d 23\" h 18\"\nbeech soLids | chatain or ebonized finish \nbrass hardware\npage 7\nPalaiS cabinet\nno. 7370 | w 52\" d 21\" h 35.25\"\nwalnut solids and veneers | ebonized finish\nantique silver leaf base finish | antique silver hardware finish \ntwo adjustable shelves\npage 15\nDu roi chaiSe\nno. 7391cs | w 26.5\" d 65\" h 35\" sh 14.5\"\nbeech solids | chatain or ebonized finish\ndark bronze feet and hardware\npage 9\ninDochine cabinet\nno. 7373 | w 68\" d 18.25\" h 38.25\" \nhardwood soLids and veneers\naged bronze posts and dark bronze feet | silver liner\nparchment finish | one adjustabLe sheLf | one drawer\npage 17\ngalerie chair\nno. 7384c | w 30\" d 35.5\" h 35.5\" sh 19\" ah 24\" \nbeech solids | chatain finish\ntraditionaL brass Legs and hardware |\npage 10\nl’architecte DeSk\nno. 7387 | cLosed w 61.25\" d 25\" h 29.25\"\n \nopen w 88.75\" d 25\" h 36.75\"\nwaLnut soLids and veneers | ebonized finish\ntraditionaL brass hardware finish\nadjustabLe top and writing surfaces\npage 19\navenue cocktail table\nno. 7354\u002F 7355 | w 60\" d 20.5\" h 21.25\"\n7354 walnut solids and veneers\ntraditionaL brass hardware | ebonized finish | one shelf\n7355 walnut solids and mozambique veneers\ntraditionaL brass hardware | chatain finish | one shelf\npage 20-21\ngalerie ottoman\nno. 7384o | w 27\" d 25.5\" h 18.5\"\nbeech solids | chatain finish\ntraditionaL brass Legs and hardware \npage 10\n38    The andré arbus collecTion\n",40,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.41.png","The andré arbus collecTion    39\nflambeau chanDelier\nno. aa302 | w 28.5\" d 28.5\" h 30.5\"\nmurano glass | bronze with brass accents\nfour 60-watt candelabra bulbs max \ntelescoping rod\npage 33\nchateau table\nno. 7359 | h 25.75\" dia 16.75\"\nsteel, brass and marble | moderne brass finish \nwith traditional brass rope and star\nblack and gold marble top\nbrass star ornament at base\npage 25\nflambeau Sconce\nno. aa401 | w 15\" d 6.75\" h 12.5\"\nmurano glass | bronze hardware with brass accents\ntwo 60-watt candelabra bulbs max \npage 33\nSoleil table\nno. 7356 | h 27.25\" dia 26\"\nhardwood solids and sycamore veneers\ntraditional brass hardware\nblond or chatain finish\none shelf with decorative brass ornament in center \ndecorative veneer pattern on top\npage 27\ncolonne table lamP\nno. aa101 i h 28.25\" dia 15.5\"\nbrass with light antique brass hardware finish\ntwo 60-watt bulbs max | ivory silk shade \nsix-foot black power cord\npage 35\ntrio table\nno. 7363 | h 22.75\" dia 18.25\"\nsteel | black finish with antique silver metal leaf\nantique mirror top\npage 29\nebene table lamP\nno. aa100 | h 29.75\" dia 16\"\nebonized finish with Light antique brass hardware  \none 60-watt buLb max | ivory siLk shade with fabric diffuser \nsix-foot bLack power cord\npage 35\nchriStal chanDelier\nno. aa303 | h 43.75\" dia 13.5\"\nglass and brass | light antique brass hardware finish\nthree 40-watt candelabra bulbs max \nadjustable brass chain\npage 31\ncouture floor lamP\nno. aa200 i h 65.75\" dia 18.75\"\nhand-stitched Leather with Light antique brass hardware  \ntwo 60-watt buLbs max | ivory siLk shade\nten-foot bLack power cord\npage 37\ncouture table lamP\nno. aa102 i h 29.25\" dia 18\"\nhand-stitched Leather with Light antique brass hardware  \ntwo 60-watt buLbs max | ivory siLk shade \nsix-foot bLack power cord\npage 37\ncouPelle chanDelier - five arm\nno. aa300 | h 50.75\" dia 27.75\"\nmurano glass | light antique brass finish \nfive 60-watt globe bulbs max | five frosted glass shades \nclear glass surround\npage 32\n",41,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.42.png","To be an artist is to \ninvent and choose... it is from  \nthe knowledge of the past \nthat one aquires an \navant-garde spirit. \n~ André Arbus\n",42,{"image":174,"text":171,"number":175},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.43.png",43,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002F25\u002Fa437287a0b99e0d98709d7e021c323.44.png","B A K E R F U R N I T U R E . C O M   1  8 0 0  5 9 2  2 5 3 7\n",44,[],0,false,true,{"success":183,"data":185,"meta":403,"count":404,"next":405,"previous":406,"results":444,"brand_chips":505},[186,199,209,219,229,238,248,258,268,280,293,306,316,329,342,352,362,371,381,393],{"id":187,"title":188,"slug":189,"image":190,"source":191,"brand_name":192,"brand":193,"brand_slug":194,"file_size":195,"pages":196,"pages_count":197,"matched_pages":198,"match_count":181,"two_pages":182,"show_text":183},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 MB",[],1218,[],{"id":200,"title":201,"slug":202,"image":203,"source":204,"brand_name":192,"brand":193,"brand_slug":194,"file_size":205,"pages":206,"pages_count":207,"matched_pages":208,"match_count":181,"two_pages":182,"show_text":183},26606,"Architectural Systems  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