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Fr o m t h e t i m e h e w a s d i s c o v e r e d 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.

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Photo: Tim Street-Porter

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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 sponsor- ship, to a successful international career in design.

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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

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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 mid-20th century.

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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.

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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.

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Duquette in his New York studio, sketching costumes for the original Broadway production of Camelot.

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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

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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.

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Residence in Bel Air, California designed by Tony Duquette, c. 1960 Photo: Tim Street-Porter

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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

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 repurchased 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.

MIRROR No. 1612 CONSOLE No. 1666

w 30" d 6" h 48" w 70" d 36" h 33"

finish o p t i o n 1: g o l d l e a f finish o p t i o n 2: s i l v e r g i l t finish o p t i o n 1: g o l d l e a f finish o p t i o n 2: s i l v e r g i l t

m i r r o r c a n b e h u n g in v e r t i c a l o r h o r i z o n t a l position ¾"-t h i c k g l a s s t o p

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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 o p t i o n 1: p e a r l l a c q u e r

finish o p t i o n 2: s i l v e r g i l t

finish o p t i o n 3: c o r a l l a c q u e r w i t h p i n k g l a z e

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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.

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OrgaNicBarOquechair

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" h 40"

finish o p t i o n 1: v e r d i g r i s p a i n t finish o p t i o n 2: p e a r l p a i n t

s e a t c u s h i o n

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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

palmerchair

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 34 ½"

finish o p t i o n 1: g o l d l e a f w i t h r e d u n d e r t o n e b u r n t o r a n g e u p h o l s t e r y

finish o p t i o n 2: v e r d i g r i s p a i n t , b u r n t o r a n g e u p h o l s t e r y

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Photo: Tim Street-Porter

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Residence in Bel Air, California designed by Tony Duquette, c. 1960

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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 Duquette- designed ottoman sofa. Note his original abalone mosaic cocktail table.

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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

ABALONEMOSAiCTABLES

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, hand- polished finish promises its otherworldly luster will not diminish over time. Circa 1959.

c o c k t a i l t a b l e (1652) w 38" d 22" h 18" | e n d t a b l e (1655) w 22" d 22" h 22"

finish: d a r k b r o n z e f r a m e w i t h p o l i s h e d a b a l o n e t a b l e t o p

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ELSIETABOURET

No. 1697

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.

d i a m e t e r 18" h 16"

s t a n d a r d f a b r i c o p t i o n 1: l e o p a r d s k i n s t a n d a r d f a b r i c o p t i o n 2: z e b r a s k i n

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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

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The Cobina Wright residence in Beverly Hills, California, which Tony designed in 1952 using his original Paris Snowflake Screens, upholstered sofas, tables and lamps.

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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

PARISSNowflAkeSCReeNS

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 asThe 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" h 75"

finish o p t i o n 1: g o l d l e a f finish o p t i o n 2: s i l v e r g i l t

t h r e e individual h i n g e d s c r e e n p a n e l s

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MACAOGARDENSEAT

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.

d i a m e t e r 18" h 16"

finish o p t i o n 1: c o r a l l a c q u e r finish o p t i o n 2: p e a r l l a c q u e r

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Residence in Bel Air, California, designed by Tony Duquette, c. 1960

Photo: Tim Street-Porter

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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

ABALONECHANDELIER

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.

d i a m e t e r 36" h 39"

finish: g r e e n p a i n t w i t h p i n k a n d w h i t e a c c e n t s , a b a l o n e s h e l l s

h a r d w i r e d , t w e l v e 15-w a t t c a n d e l a b r a b u l b s r e q u i r e d

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SUNBURSTTORCHERE

No. TDQ100

Originally designed to decorate and illuminate the drawing room at Dawnridge, Duquette’s private residence, the Sunburst Torchere has been recreated by Baker 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: n a t u r a l b r o n z e m e d a l l i o n w i t h v a r n i s h e d s i l v e r l e a f p o s t a n d b e i g e s u e d e b a s e

transparent c o r d w i t h f o o t s w i t c h , o n e 40-w a t t b u l b r e q u i r e d

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The drawing room at Dawnridge, 1949, with Duquette’s unique Sunburst Torcheres, Snowflake Screens and dipped plaster lambrequins. Photo: Shirley Burden

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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. TDQ501

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" h 18 ½"

finish o p t i o n 1: g o l d p a i n t finish o p t i o n 2: p e a r l p a i n t

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JEWELVOTIVETABLELAMP

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" h 24"

finish o p t i o n 1: s i l v e r p l a t e finish o p t i o n 2: 24k g o l d p l a t e

transparent c o r d w i t h f o o t s w i t c h , o n e 40-w a t t b u l b r e q u i r e d

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“A bedroom for a princess” created for a penthouse apartment in Honolulu, Hawaii, c. 1960.

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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

TERRAPINLAMP

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: r a w b r o n z e s h e l l w i t h d a r k b r o n z e s u p p o r t a n d b e i g e s u e d e b a s e

b l a c k c o r d w i t h h a n d s w i t c h , o n e 40-w a t t b u l b r e q u i r e d

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38 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

ARROWOFTHESEA

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: d a r k b r o n z e b a s e , transparent g l a s s t o p

b l a c k c o r d w i t h h a n d s w i t c h , o n e led b u l b r e q u i r e d

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Duquette's “palette” of found objects

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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.

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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

REGENCYPAGODALAMP

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 o p t i o n 1: w h i t e p a i n t w i t h b l a c k b a s e

finish o p t i o n 2: g r e e n a n d b l u e p a i n t w i t h b l a c k b a s e

finish o p t i o n 3: c l e a r r e s i n w i t h b l a c k b a s e

b l a c k c o r d w i t h h a n d s w i t c h

o n e f r o s t e d 40-w a t t f l o o d l i g h t b u l b r e q u i r e d

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42 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

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, radiating through the pin shell in a soft, hypnotic glow. Circa 1970.

w 37" d 16" h 19"

finish: p i n s h e l l w r a p

transparent c o r d w i t h f o o t s w i t c h

t w o f r o s t e d 40-w a t t f l o o d l i g h t b u l b s r e q u i r e d

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The original Ghost Snail, situated in Duquette’s “Frogmore” porch on his Malibu property.

Photo: Tim Street-Porter

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44 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

GOLDTOAD

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 24k gold. The sculpture rests on a square, transparent base. Circa 1975.

w 12" d 10" h 8½"

finish: g o l d p l a t e w i t h transparent b a s e

The Gold Toad sculpture decorates Tony’s Abalone Mosaic Cocktail Table.

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Photo: Charles White

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Tony and his wife, Beegle, at home in their Fountain Avenue Studio, c. 1951.

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1612 tdq300 Biomorphic mirror aBalone chandelier finish o p t i o n 1: g o l d l e a f finish: g r e e n p a i n t w i t h p i n k a n d w h i t e finish o p t i o n 2: s i l v e r g i l t a c c e n t s , a b a l o n e s h e l l s h a r d w i r e d p a g e 13 w 30" d 6" h 48" t w e l v e 15-w a t t c a n d e l a b r a b u l b s r e q u i r e d p a g e 29 d i a m e t e r 36" h 39"

1666 Biomorphic console finish o p t i o n 1: g o l d l e a f tdq100 finish o p t i o n 2: s i l v e r g i l t sunBurst torchere ¾"-t h i c k g l a s s t o p finish: n a t u r a l b r o n z e m e d a l l i o n w i t h p a g e 13 w 70" d 36" h 33" v a r n i s h e d s i l v e r l e a f p o s t a n d b e i g e s u e d e b a s e . transparent c o r d w i t h f o o t s w i t c h o n e 40-w a t t b u l b r e q u i r e d 1619 p a g e 30 w 24" d 13 ½" h 74" marsan chair finish o p t i o n 1: p e a r l l a c q u e r finish o p t i o n 2: s i l v e r g i l t finish o p t i o n 3: c o r a l l a c q u e r w i t h p i n k g l a z e tdq501 p a g e 14 w 26" d 24" h 28 ½" insect man finish o p t i o n 1: g o l d p a i n t finish o p t i o n 2: p e a r l p a i n t

p a g e 33 w 9½” d 4¾” h 18½” 1648 organic Baroque chair tdq101 finish o p t i o n 1: v e r d i g r i s p a i n t Jewel VotiVe taBle lamp finish o p t i o n 2: p e a r l p a i n t finish o p t i o n 1: s i l v e r p l a t e s e a t c u s h i o n finish o p t i o n 2: 24k g o l d p l a t e p a g e 16 w 36" d 24" h 40" transparent c o r d w i t h f o o t s w i t c h

o n e 40-w a t t b u l b r e q u i r e d p a g e 34 w 12" d 5 ½" h 24" 1649 palmer chair tdq103 finish o p t i o n 1: g o l d l e a f w i t h r e d terrapin lamp u n d e r t o n e , b u r n t o r a n g e u p h o l s t e r y finish: r a w b r o n z e s h e l l w i t h d a r k b r o n z e finish o p t i o n 2: v e r d i g r i s p a i n t w i t h s u p p o r t a n d b e i g e s u e d e b a s e b u r n t o r a n g e u p h o l s t e r y b l a c k c o r d w i t h h a n d s w i t c h p a g e 17 w 16 ¾" d 17" h 34 ½" o n e 40-w a t t b u l b r e q u i r e d p a g e 37 w 9 ½" d 6" h 24" 1652 aBalone mosaic

cocktail taBle finish: d a r k b r o n z e f r a m e w i t h tdq104 p o l i s h e d a b a l o n e t a b l e t o p arrow of the sea p a g e 21 w 38" d 22" h 18" finish: d a r k b r o n z e b a s e , transparent g l a s s t o p , b l a c k c o r d w i t h h a n d s w i t c h o n e led b u l b r e q u i r e d p a g e 38 w 7 ¾" d 5 ¾" h 36" 1655

aBalone mosaic end taBle

finish: d a r k b r o n z e f r a m e w i t h p o l i s h e d a b a l o n e t a b l e t o p p a g e 21 w 22" d 22" h 22" tdq105 regency pagoda lamp finish o p t i o n 1: c l e a r r e s i n w i t h b l a c k b a s e 1697 finish o p t i o n 2: w h i t e p a i n t w i t h b l a c k b a s e elsie taBouret finish o p t i o n 3: g r e e n a n d b l u e p a i n t w i t h s t a n d a r d f a b r i c o p t i o n 1: l e o p a r d s k i n b l a c k b a s e s t a n d a r d f a b r i c o p t i o n 2: z e b r a s k i n b l a c k c o r d w i t h h a n d s w i t c h , o n e f r o s t e d p a g e 22 d i a m e t e r 18" h 16" 40-w a t t f l o o d l i g h t b u l b r e q u i r e d p a g e 41 w 10" d 10" h 48"

tdq201 1699 ghost snail paris snowflake screens finish: p i n s h e l l w r a p finish o p t i o n 1: g o l d l e a f transparent c o r d w i t h f o o t s w i t c h finish o p t i o n 2: s i l v e r g i l t t w o f r o s t e d 40-w a t t f l o o d l i g h t b u l b s r e q u i r e d p a g e 25 w 36 ½" d 1 ½" h 75" p a g e 42 w 37" d 16" h 19"

1616 macao garden seat tdq500 finish o p t i o n 1: c o r a l l a c q u e r gold toad finish o p t i o n 2: p e a r l l a c q u e r finish: g o l d p l a t e w i t h transparent b a s e p a g e 26 d i a m e t e r 18" h 16" p a g e 44 w 12" d 10" h 8 ½"

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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.

115973BK_r2_67007_TDuquette_v19.indd 50 9/8/08 7:13:45 PM PMS 179 C Angle@K 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.”–h w

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WWW.BAKERFURNITURE.COM 1 800 592 2537

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