Untitled

DECORATING
is not
a
surface
performance.
It's a
SPIRITUAL
impulse,
inborn
and
PRIMORDIAL. td
–
From
the time he was discovered in 1941 until his death in 1999,
American artist and designer Tony Duquette was known and admired
for his exuberant signature style. Considered by many as an American
design icon, Duquette left behind an artistic legacy that inspires fantasy and stirs the imagination.
The Selected Works of Tony Duquette for Baker Furniture is the result
of a close collaboration between the Baker creative team and California
designer Hutton Wilkinson, business partner of the late Duquette and
president of Tony Duquette, Inc. For these selected pieces, Baker has
reverently and accurately reproduced Duquette’s original works—
most of which were one-of-a-kind pieces created exclusively for his
international clientele.
Photo: Tim Street Porter
The drawing room at Dawnridge,
Tony Duquette’s home in Beverly Hills, c. 1995.
Following a free-spirited childhood, Tony Duquette
began his formal training at the distinguished
Chouinard School of Art in Los Angeles, California,
in the early 1930s. During this time, the young Tony
was hired by Bullock’s department stores to create
interiors that would set the mood of changing
seasons. He continued working in display and
advertising for department stores postgraduation
until he was discovered by Elsie de Wolfe in 1941.
De Wolfe, also referred to as Lady Mendl through
her marriage to Sir Charles Mendl, was known as
the “First Lady of Interior Decoration” and perhaps
the first professional interior designer. Duquette
assisted de Wolfe with the interiors of her new
Beverly Hills home and went on, with her sponsorship, to a successful international career in design.
In these early years, Duquette’s work impressed the influential film director Vincente
Minnelli, who immediately hired him to create extraordinary costumes and sets for
his films. Duquette contributed his artistry to various Fred Astaire musicals and other
Arthur Freed productions at MGM Studios, including Ziegfeld Follies, Yolanda and the
Thief and Kismet. Over the following years, he continued his work in the film industry
with MGM, as well as 20th Century Fox and Universal Studios. With his entry into
Hollywood, Duquette gained many friends and clients, including Mary Pickford,
Marion Davies, Agnes Moorhead and Robert Cummings.
In addition to costumes, sets and interior décor, Duquette frequently designed
jewelry for friends and family. Soon he was creating pieces for patrons such as the
Duchess of Windsor and Palmer Ducommun. He often mixed gemstones with natural
materials such as sharks’ teeth and rattlesnake vertebrae to construct these highly
sought-after accessories.
In 1951, Tony Duquette became the first American to have been honored with a
one-man exhibition at the Pavilion de Marsan of the Louvre, Paris. His Neo-Baroque
works were chosen by the Louvre to represent the decorative arts of the mid-20th
century. Duquette’s creations for the program fell into one of five categories: décor,
jewelry, aquarelles, bas-reliefs and theatre. Duquette’s work astonished and amazed
those who attended. The great French poetess Louise de Vilmorin wrote of the
exhibit, “The works of Tony Duquette are no more preconceived than dreams, these
works are dreams caught in the net of reality.”
After the Louvre exhibition, Duquette went on to exhibit his works at the
Los Angeles County Museum of Art, the de Young and California Palace of the
Legion of Honor museums in San Francisco, the Museum of the City of New York,
as well as museums in Texas, Hawaii and Rio de Janeiro. He traveled the world
extensively to gain inspiration for these shows, returning home from each trip
with many containers of treasure, which he would then “assemble” to form his
ornaments or ornament his forms.
In 1956 Tony and his wife Elizabeth—whom he lovingly nicknamed Beegle—acquired
the old Norma Talmadge film studio, a giant sound stage they would convert into
In 1951 Duquette was invited to present a one-man
exhibition at the Pavilion de Marsan of the Louvre,
Paris. This was an unprecedented exhibition, as it was
the first time an American had been honored in this
way. Duquette was chosen to represent the decorative
arts of the middle of the 20th century.
Loretta Young wears her Tony Duquette mask
at the bal de tête in Los Angeles. Here Tony and
Loretta accept first prize for her mask.
their own home/studio—one of their many homes over the years. This vast building
consisted of work rooms, creative studio spaces, dining rooms, offices and bedroom
suites. Perhaps more important, the home boasted a ballroom that was 100 feet
long, 25 feet wide and had 28-foot ceilings, with a stage at one end and a double
Venetian staircase at the other. The room, referred to as the “big room,” was the
perfect setting for Duquette’s famously extravagant private parties. The historic
Tony Duquette Studios on Robertson Boulevard in Los Angeles became a haven
of grace and charm, and a favorite destination for Duquette’s legendary clients
and friends.
Among these friends was Hutton Wilkinson, who began working with Tony as
a teenager, forging a creative partnership that lasted until Duquette’s death in
1999. Wilkinson now serves as President and Creative Director of Tony Duquette,
Inc. The team’s private clients have included Doris Duke, J. Paul Getty, Norton
Simon, David O. Selznick, Jennifer Jones and James Coburn.
Commercial clients for whom Duquette and Wilkinson have worked include
Elizabeth Arden, the Hilton Hotels Corporation, the Ritz-Carlton Hotel Company,
Sheraton Hotels and the Music Center of Los Angeles. International commissions
include Barretstown Castle in Ireland, an 18th-century apartment on the Place du
Palais-Bourbon in Paris, and the interiors for the 12th-century Palazzo Brandolini
on the Grand Canal in Venice, Italy.
Duquette’s goal was to inspire individuality and creativity in others. He never
duplicated any of his work. Each job was custom—inspired by the client, the
architecture and his own distinct vision. Said Wilkinson, “His attitude was that
the last definition of luxury was that it’s just for you.”
Though Duquette’s style could hardly be defined, he liked to refer to his work as
“Natural Baroque” because of his use of shells, antlers, coral, bones and feathers.
Tony drew inspiration from countless periods and styles—from Victorian to
Moroccan to ancient Chinese.
Duquette in his New York studio, sketching costumes for the original Broadway production of Camelot.
The designer authoritatively mixed his custom-made pieces with ancient and
modern art, fine and decorative art. He combined his scholar’s knowledge and
appreciation for the fine and decorative arts with his acute sense of scale to
make the whole of his work greater than the sum of its parts. Duquette felt as
comfortable working with gold paper as he did with solid gold, often saying,
“Beauty, not luxury, is what I value.”
In the 21st-century, Tony Duquette’s design legacy is more relevant than ever.
In a March 1999 article, Amy Spindler, style editor of the New York Times
magazine, wrote:
What makes Duquette the first designer for the 21st century is his ability to
re-imagine, recycle and regenerate. It’s the prototype for how people will
have to approach design in the future… It’s also apparent that Duquette
is more than just a jeweler-artist-interior designer; he made his name in a
time in which living was an art, too, and the parties he threw with his wife,
Elizabeth… regularly made headlines right out of ‘’L.A. Confidential.’’
Tony Duquette, Inc. preserves the late designer’s legacy, encompassing the arts
of living and the living arts, designs for the theatre, and fine jewelry. Through his
collaboration with Baker Furniture, Wilkinson continues the Duquette tradition of
luxury and handmade decoration that is so closely associated with his firm and
its founder. In line with this tradition, these selected pieces for Baker are true to
the designer’s extraordinary vision. According to Hutton Wilkinson, the pieces
in this remarkable selection will be used by designers as the “jewelry in the
room,” “conversation pieces,” or “decorative punctuation marks!” Whatever the
use, each piece pays homage to Tony Duquette’s unparalleled life, ingenuity
and imagination. TD
Tony sits under his Primal Sun sculpture, created for Personal Culture,
his one-man exhibition in Los Angeles. It was later purchased and
donated to UCLA by Tony's patron, Arthur Spitzer.
Residence in Bel Air, California
designed by Tony Duquette, c. 1960
Photo: Tim Street Porter
the selected works of tony duquette
13
BIOMORPHICMIRRORANDCONSOLE
No. 1612 | 1666
Considered one of Duquette’s most inspired works, the Biomorphic Console was
originally designed for the Charles and Palmer Ducommun Bel Air residence during the
1960s. The Biomorphic Mirror was designed to complement the console, and both resided
in the Bel Air estate until Duquette re-purchased them in the 1990s. Impeccably recreated
by Baker, the console is cast in resin in three separate pieces, then fabricated together to
produce its undulating, organic form. The crystal-clear glass top is rimmed, and although
anchored in place, gives the illusion that it is just barely perching on top of the base.
The mirror is a faithful recreation of the original and features a resin frame that draws its
inspiration from the console’s form. Circa 1965.
console N o . 1 6 6 6
MIRROR No. 1612
w
30"
d
6"
finish option
h
48"
1: gold leaf
w
finish option
2: silver gilt
mirror can be hung in vertical or horizontal position
70"
d
36"
finish option
h
33"
1: gold leaf
¾"-thick glass top
finish option
2: silver gilt
14
the selected works of tony duquette
MARSANCHAIR
No. 1619
The original Marsan Chair was first unveiled as part of Duquette’s unprecedented
one-man exhibition at the Pavilion de Marsan in the Louvre, Paris. He made several
of these charming slipper chairs and upholstered them in his own needlework
patterns, specially woven “watermelon” weaves, and quilted and sequined silks.
These chairs were chosen for some of Duquette’s interiors—including the homes
of Elsie de Wolfe, Mr. and Mrs. Robert Cummings, and photographer, author and
socialite Jean Howard Feldman. Inspired by Louis XV design, the chair sits low to
the floor—giving it a sculptural quality—with a generous-sized back and seat adding
to its commanding silhouette. The chair’s front and back are tightly upholstered
and surrounded by a wood frame with nailhead trim. A slightly crested seat cushion
is similarly detailed in nailhead trim and rests on an exposed wood base that
terminates to cabriole legs. Circa 1951.
w
26"
d
24"
h
28 ½"
finish option
1: pearl lacquer
finish option
2: silver gilt
finish option
3: coral lacquer with pink glaze
Exhibited at the Louvre in 1951 were Duquette's Marsan Chair upholstered
in needle-pointed ermine tails and a similar “Watermelon Chair,” as well
as his Secretary Desk made with antique textiles and reverse painting on
glass. Also on display were his unique antlered figural lamps and abalone,
brass and wire folding screens.
16
the selected works of tony duquette
O r g anic B aro q u e C hair
No. 1648
Tony Duquette first conceived the Organic Baroque Chair while serving in
the Army during World War II, as evidenced by the preliminary sketch found in
his army notebook. Duquette finally realized the design in the 1960s, creating
the entire piece from wrought iron. Baker recreates the steel frame by first
heating the steel strands and forming them into its sensuous, organic form.
The chair’s frame opens up with back and arms curved out, randomly joined
by connecting steel members. The seat is constructed in a sunburst pattern—
forming a natural seat—and is supported by curved legs that are joined by
steel cross members before terminating into straight steel feet. Circa 1965.
w
36"
d
24"
finish option
seat cushion
h
40"
1:
verdigris paint
finish option
2:
pearl paint
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
palmer chair
No. 1649
The Palmer Chair was originally designed for the Charles and Palmer Ducommun
residence in Bel Air, California. Duquette also used the chair to seat his many
guests at round tables of eight at his legendary parties in his historic Los Angeles
studio. He upholstered these gilded chairs in buttoned suede, gold lamé, rich
velvets and even denim. Baker has reproduced this piece with exacting detail. The
chair has generous back and seat cushions detailed in a plush button tufting and
secured to the frame by small ties. The chair back is an intricately woven steel
design. Single bars of steel are heated and bent to form its elaborate curved base
and unique, joined half-moon legs that are met by a single stretcher. Circa 1965.
w
16 ¾"
d
17"
h
finish option
1:
finish option
2:
34 ½"
gold leaf with red undertone with burnt orange upholstery
verdigris paint , burnt orange upholstery
20
To n y D u q u e t t e
Residence in Bel-Air,
Photo: Tim Street Porter
California.
Residence in Bel Air, California
designed by Tony Duquette,
c. 1960
The drawing room at Tony and Elizabeth Duquette’s
birdcage Victorian house in San Francisco featured
18th-century Venetian furniture, Portuguese painted
panels, bronze cow head lamps and the Duquettedesigned ottoman sofa. Note his original abalone
mosaic cocktail table.
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
A B A L O N E M O S ai C TA B L E S
No. 1652 | 1655
Duquette often used abalone shell in his designs, earning him the nickname
“Tony Abalone” from his friends and clients. He often said, “If there were only one
abalone shell in the world, wars would be fought over it over its beauty.” His simple
iron-framed abalone tables were used to decorate his own rooms, as well as those
of his clients. The Abalone Mosaic Cocktail Table and End Table are made from brass
and finished in Dark Bronze. The top is slightly raised above the surrounding brass
apron and square straight legs, and is inset with abalone shell—its random patterning
and coloration creating a one-of-a-kind work of art. The naturally forgiving, handpolished finish promises its otherworldly luster will not diminish over time. Circa 1959.
cocktail table
(1652)
w
38" d 22"
h
18" |
end table
(1655)
finish : dark bronze frame with polished abalone table top
w
22"
d
22"
h
22"
22
the selected works of tony duquette
E L S I E TA B O U R E T
N o . 1 6 97
The original Elsie Tabouret currently resides in Tony Duquette’s studio and is
named after Lady Elsie de Wolfe Mendl, the “First Lady of Interior Decoration”
and mentor to Duquette. So taken with his talent, de Wolfe introduced him into
Hollywood society, personally commissioning significant pieces for her home
to showcase his talent. It was through this recognition that Duquette rose to
worldwide fame and established himself as one of the leading designers of his
time. This sophisticated tabouret pays homage to this important friendship and
remarks upon the sophisticated spirit of the woman behind Duquette’s early
fame. The Elsie Tabouret features a straightforward cylinder shape crafted from
solid wood and wrapped in Dacron to slightly pad the surface before completely
upholstering the piece. The top is set with a single, centered button, and the
sides are decorated in a random button-tufted pattern. Circa 1926.
diameter
18"
h
16"
standard fabric option
1:
leopard skin
standard fabric option
2:
zebra skin
The small ballroom at the Villa Trianon—Elsie de Wolfe’s historic house
at Versailles—with its mural walls by Etienne Drian, Louis XV stool and
leopard-upholstered tabourets, which Duquette purchased from the
Villa Trianon sale in the 1980s for his own use at Dawnridge.
Photo: Andre Ostier
The Cobina Wright residence in Beverly Hills,
California, which Tony designed in 1952 using his
original Paris Snowflake Screens, upholstered
sofas, tables and lamps.
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
PA R I S S nowfla k e S C R E E N s
No. 1699
Duquette loved the 18th-century Chinese snowflake screens in the collection of his friend,
the famous Hollywood costume designer known simply as Adrian. In 1952 Tony created
his own, modern version of the traditional snowflake pattern for an interior in Beverly Hills.
He later produced more of these screens for MGM Studios and 20th Century Fox for such
films as The King and I and Call Me Madame. Inspired by Duquette’s signature snowflake
screens, the three-panel Paris Snowflake Screen reflects the same organic beauty and
intricacy of the original. Squares of cast aluminum frame each panel’s five delicate,
cascading aluminum snowflakes before terminating to small, square feet that slightly
raise the screen from the floor. The panels are individually hinged and finished with
each snowflake tipped in coral for brilliant contrast. Circa 1951.
w
36 ½"
d
1 ½"
finish option
1:
h
75"
gold leaf
finish option
three individual hinged screen panels
2:
silver gilt
26
the selected works of tony duquette
M A C A O G A R D E N S E AT
No. 1616
Duquette used these convenient little tables, made in durable cast resin, in
both interior and exterior installations. He loved the versatility of the design,
easily moving from seating to a table wherever needed. He painted them in
stark white or brilliant coral for a pop of color. Circa 1961.
diameter
18"
finish option
h
1:
16"
coral lacquer
finish option
2:
pearl lacquer
Residence in Bel Air, California,
designed by Tony Duquette, c. 1960
Photo: Tim Street Porter
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
A B A LO N E C H A N D E L I E R
No. TDQ300
Another inspired piece that uses the beauty of abalone shell to decorate its frame, the
Abalone Chandelier was originally unveiled as part of his one man exhibition at the
Los Angeles County Museum of Art. The chandelier was then part of the Charles and
Palmer Ducommun Bel Air residence, appointing its drawing room along with other
designs by Duquette. Years later, Duquette acquired the piece from the estate and
hung it prominently in his own home, Dawnridge, where it remains today. Reproduced
in exacting detail, the chandelier is made from steel, heated and bent to create its
intricate frame then painted in green, pink and white. Abalone shells appoint the frame,
with strands forming a crown around each shell to capture and reflect the light. Circa 1952.
diameter
36"
h
39"
finish : green paint with pink and white accents , abalone shells
hardwired , twelve
15-watt candelabra bulbs required
30
the selected works of tony duquette
S U N B U R S T TO R C H E R E
No. TDQ100
Originally designed to decorate and illuminate the drawing room at Dawnridge, Duquette’s
private residence, Baker has recreated the Sunburst Torchere in painstaking detail. The
torchere features a sunburst medallion cast in bronze and finished in a clear coat of
lacquer. The medallion rests above a carved wooden post, finished in silver leaf, and
an Italian-inspired wood base tightly wrapped in a beige suede. Circa 1949.
w
24"
d
13 ½"
h
74"
finish : natural bronze medallion with varnished silver leaf post and beige suede base
transparent cord with foot switch , one
40-watt bulb required
The drawing room at Dawnridge, 1949, with Duquette’s
unique Sunburst Torcheres, Snowflake Screens and
dipped plaster lambrequins.
Photo: Shirley Burden
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
INSECTMAN
No. TDQ102
The original Insect Man was unveiled as part of Tony Duquette’s first exhibition
at the prestigious Mitch Leison Gallery in Los Angeles, and served as a unique
backdrop to present one of Duquette’s jewelry designs. Circa 1947.
w
9 ½"
d
4 ¾"
finish option
1:
h
18 ½"
gold paint finish option
2:
pearl paint
34
the selected works of tony duquette
J E W E LV OT I V E TA B L E L A M P
No. TDQ101
The Jewel Votive Table Lamp was inspired by a one-of-a-kind Rhodochrosite
set in 18k gold and pearl brooch that was designed by Tony Duquette in 1972.
This functional work of art is completely cast from bronze. The single tapered
spear-like base suspends an egg-shaped medallion surrounded by sun rays—
both recurring themes in Duquette’s work The light emanates from behind the
medallion and cascades over the sun rays to create a stunning presentation.
Circa 1972.
w
12"
d
5 ½"
finish option
h
24"
1:
silver plate
finish option
transparent cord with foot switch , one
2: 24k
gold plate
40-watt bulb required
“A bedroom for a princess” created for a
penthouse apartment in Honolulu, Hawaii,
c. 1960.
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 37
T E R R AP I N L A M P
No. TDQ103
The dramatic Terrapin Lamp takes many of its cues from lamps originally
designed by Duquette for a private penthouse in Honolulu, Hawaii. Cast from
bronze, the lamp features a large raw bronze shell topped with a unique
finial of individual dark bronze shards emanating from a golden bronze and
Murano glass center. An intricate laser-cut brass filigreed column finished in
Dark Bronze surrounds and supports the shell and terminates to a square
base covered in a beige suede. Circa 1960.
w
9 ½"
d
6"
h
24"
finish : raw bronze shell with dark bronze support and beige suede base
black cord with hand switch , one
40-watt bulb required
38
the selected works of tony duquette
A R R OWO F T H E S E A
No. TDQ104
Marrying fine sculpture with abstract practicality, the Arrow of the Sea was first
exhibited by Duquette at his one-man exhibition at the Los Angeles Municipal
Art Gallery at Barnsdall Park, Los Angeles, and currently resides on display at
the Tony Duquette studio. The piece showcases Duquette’s ability to create
unconventionally discreet, yet functional, lighting. Baker pays homage to this
sculptural design, incorporating many of the original materials. The statuesque
tapered form is cast from brass and finished in Dark Bronze. A transparent
Murano glass swordfish snout emits light in a soft cast. Circa 1972.
w
7 ¾"
d
5 ¾"
h
36"
finish : dark bronze base , transparent glass top
black cord with hand switch , one
LED bulb required
Duquette's “palette” of found objects
Tony Duquette painted his Regency Pagoda Lamps blue and white
for the entrance hall at the historic Tony Duquette Studios to fit in
with his vast collection of 18th-century blue and white Chinese
porcelain. The chest of drawers is Portuguese Colonial Chippendale.
Duquette found the antique Chinese Chippendale chairs in Ireland
Photo: Charles White
while decorating Barretstown Castle for Elizabeth Arden.
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
R E G E N C Y PA G O D A L A M P
No. TDQ105
The six-sided Regency Pagoda Lamp was inspired by a pair of small antique lamps
owned by Tony Duquette. Altering the size to custom-fit client interiors, Duquette cast
his designs from resin. Baker also uses cast resin to create the impressive form. Lit from
within, cascading light emanates from the dozens of encircling windows. The lamp rests
on a black base to elevate it slightly from the floor or table. The finish is hand-applied
and gently rubbed so it appears to have been exposed to the elements. Circa 1970.
w
10"
d
10"
h
48"
finish option
1:
finish option
2:
green and blue paint with black base
finish option
3:
clear resin with black base
white paint with black base
black cord with hand switch ,
one frosted
40-watt flood light bulb required
42
the selected works of tony duquette
GHOSTSNAIL
No. TDQ201
One of Duquette’s most beloved and rare designs, the Ghost Snail has
been recreated from cast resin using a rare, craft-based process. The
resin is poured into an intricately hand-carved mold, which sets up and
self-hardens overnight. The piece is then hand-carved to bring out the
elaborate detail, then wrapped in natural pin shell veneer. The interior is
fitted with twin frosted bulbs, illuminating through the pin shell in a soft,
hypnotic glow. Circa 1970.
w
37"
d
16"
h
19"
finish : pin shell wrap
transparent cord with foot switch ,
two frosted
40-watt flood light bulbs required
The original Ghost Snail, situated
in Duquette’s “Frogmore”
porch on his Malibu property.
Photo: Tim Street Porter
44
the selected works of tony duquette
G O L DTO A D
No. TDQ500
A recurring theme in Duquette’s work, toads of every shape and size
were traded back and forth between Duquette and his closest friends
as part of a playful ongoing exchange. His Gold Toad was designed to
eclipse all prior versions and was never traded but held in a place of
honor in his home. The original Gold Toad still resides as part of the
collection housed at the Tony Duquette studio in Los Angeles. Baker
recreates the Gold Toad from cast brass strands, which are heated
to create its complex, skeletal form, then plated in 24-karat gold.
The sculpture rests on a square, transparent base. Circa 1975.
w
12"
d
10 "
h
8½"
finish : gold plate with transparent base
The Gold Toad sculpture decorates
Tony’s Abalone Mosaic Cocktail Table.
Photo: Charles White
Tony and his wife, Beegle, at home
in their Fountain Avenue Studio,
c. 1951.
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 page
13
1612
B iomorphic M irror
finish option 1: gold leaf
finish option 2: silver gilt
w 30" d 6" h 48"
page
page
13
1666
B iomorphic C onsole
finish option 1: gold leaf
finish option 2: silver gilt
¾"-thick glass top
w 70" d 36" h 33"
page
1619
M arsan C hair
finish option 1: pearl lacquer
finish option 2: silver gilt
finish option 3: coral lacquer with
pink glaze
14
w
26"
d
24"
h
28 ½"
1648
O r g anic B aro q u e C hair
finish option 1: verdigris paint
finish option 2: pearl paint
seat cushion
16
w
36"
d
24"
h
40"
page
1649
Palmer C hair
finish option 1: gold leaf with red
undertone, burnt orange upholstery
finish option 2: verdigris paint with
burnt orange upholstery
17
w
16 ¾"
d
17"
h
34 ½"
page
1652
A balone M osaic
C oc k tail Table
finish: dark bronze frame with polished abalone table top
21
w
38"
d
22"
h
18"
1655
A balone M osaic E nd Table
finish: dark bronze frame with page
36"
h
39"
TDQ100
S u nb u rst Torchere
finish: natural bronze medallion with
page
varnished silver leaf post and beige
suede base.
transparent cord with foot switch
one
40-watt bulb required
w
33
TDQ102
I nsect M an
finish option 1: gold paint
finish option 2: pearl paint
w 9½" d 4¾" h 18½"
24"
13 ½"
30
d
h
74"
TDQ101
J ewel Votive Table L amp
finish option 1: silver plate
finish option 2: 24k gold plate
transparent cord with foot switch
one
34
w
40-watt bulb required
12"
5 ½"
d
h
24"
TDQ103
T errapin L amp
finish: raw bronze shell with dark bronze
support and beige suede base
black cord with hand switch
one
37
w
40-watt bulb required
9 ½"
d
6"
h
24"
page
TDQ104
A rrow of the sea
finish: dark bronze base, transparent
glass top, black cord with hand switch
one
38
w
LED bulb required
7 ¾"
d
5 ¾"
h
36"
TDQ105
R e g ency Pag oda L amp
finish option 1: clear resin with black base
finish option 2: white paint with black base
finish option 3: green and blue paint with
polished abalone table top
21
w
22"
d
22"
h
22"
1697
E lsie Tabo u ret
standard fabric option 1: leopard skin
standard fabric option 2: zebra skin
diameter 18" h 16"
page
15-watt candelabra bulbs required
diameter
page
twelve
29
page
TDQ300
A balone C handelier
finish: green paint with pink and white
accents, abalone shells hardwired
page
page
47
22
page
black base
black cord with hand switch, one frosted
40-watt flood light bulb required
41
w
10"
d
10"
h
48"
page
25
1699
Paris S nowfla k e S creens
finish option 1: gold leaf
finish option 2: silver gilt
w 36 ½" d 1 ½" h 75"
page
TDQ201
Ghost S nail
finish: pin shell wrap
transparent cord with foot switch
two frosted
37"
w
44
TDQ500
Gold Toad
finish: gold plate with transparent base
w 12" d 10" h 8 ½"
d
16"
40-watt flood light bulbs required
42
h
19"
page
26
1616
M acao Garden S eat
finish option 1: coral lacquer
finish option 2: pearl lacquer
diameter 18" h 16"
page
Taken in the drawing room of Dawnridge, the Beverly Hills
headquarters of Tony Duquette Inc., business partners
Photo: Keith Morrison
Tony Duquette and Hutton Wilkinson wear their shaman robes.
WE HAVE SO
MUCH CHOICE
TODAY IN WHAT
WE WEAR
AND WHAT WE
SURROUND
OURSELVES WITH
THAT I ALWAYS
SAY, “IF IT’S NOT
FABULOUS, IT’S
MEANINGLESS.” hw
–
W W W. B A K E R F U R N I T U R E . C O M
1 800 592 2537