PRESS RELEASES

October 2009
BAKER INTRODUCES THE ANDRÉ ARBUS COLLECTION

“To be an artist is to invent and choose… What are transmittable are the fundaments of experience. It is the legacy of a succession of forms elaborated along the centuries. One has to start by copying to invent. It is from the knowledge of the past that one acquires an avant-garde spirit.”

CHICAGO (October 17, 2009) – In one of its most exciting collections produced to date, Baker introduced the exquisite André Arbus Collection of lighting and furniture at the Fall 2009 International Home Furnishings Market in High Point, N.C. The best-in-class selection of pieces are modeled from the originals by this 20th century master of neoclassical design and demonstrates the enduring beauty and prevailing relevance his furnishings represent. The collection was developed in cooperation with Nathalie and Patrick Aubriot who were chosen by Arbus’ daughter to act as careful stewards of the Arbus oeuvre and includes ten casegood offerings in four finishes; six upholstered items; and ten superlative lighting items.

“André Arbus had entrusted his sole daughter, Madeleine, to protect and pursue his work as his collaborator,” explained Nathalie Aubriot. “In her later years, Madeleine authorized us as exclusive holders of the rights of reproduction. This great privilege and the responsibility it entails made us seek out the best partner within the industry to ensure that we would do justice to the works of this master of 20th century French furniture.”

Born in 1903, Arbus was a third generation French cabinetmaker who worked in his family’s atelier in Toulouse and was trained in the same traditional techniques as those showcased by 18th century masters Thomas Chippendale and George Hepplewhite. “Arbus possessed an extraordinary background as both son and grandson of cabinetmakers, who handed down the practical knowledge of craftsmanship,” continued Aubriot. “His work as a student of the Beaux Arts gave him a classical culture. His pieces reflected his genius of relating his work to the masters of the past centuries without copying them by keeping the essential aspects of true French tradition. It is this respect for classicism and appreciation of modern line that resonates within every form. As an architect, sculptor and decorator, he had respect for the human scale. Each piece was an original expression portraying a perfect sense of measure and harmony.”

Upon moving to Paris in 1932, Arbus quickly established himself as one of the most influential and innovative furniture designers of his time. With an architect’s eye for line and precision and an aesthete’s desire for grace and elegance, Arbus was heralded as a genius by his contemporaries and the generations that followed.

Arbus believed in culling elements of past movements and paring them down to their most essential components. In that way, his furniture is contemporary while not losing its flair or uniqueness, and they elevate the style of almost any setting. As Arbus himself said, “A beautiful piece of furniture is one you may make a plaster mould of, without it losing its beauty… A beautiful piece of furniture is beautiful anywhere. To prove the beauty of a modern piece of furniture, place it next to an antique; they will go together well.”

The many works of this influential artist have been studied and admired by furniture makers and designers over the last 50 years, but seldom reproduced. To create such thoughtful, precise furnishings requires a level of craftsmanship and savoir faire that is rare, but which Baker sees as an honor and opportunity to showcase its abilities and attention to detail.

“Arbus's influence on furniture design remains very visible today for good reason,” said John Hart, chief creative officer, Kohler Interiors. “We have selected pieces that reflect the designer's genius for material, proportion and construction. Alongside the Aubriots, the Baker creative team scoured the Arbus archives looking for pieces that felt both collectible and relevant for today, and extend the kind of design touch that can elevate an interior and make it feel special. We literally reviewed hundreds if not thousands of historical drawings and photographs of original furniture and lighting designs, as well as interior design installations. It was a once in a lifetime experience to dive into this amazing trove of designs.”

Baker pays homage to Arbus’ elegant economy of line and unsparing attention to detail with its recreation of the Avenue Cocktail Table, originally designed for a private client in 1958. A streamlined exercise in luxurious restraint, its sleek, burnished finish reflects the glow from the polished brass accents. A slim lower shelf parallels the top surface and three pairs of slender, tapered legs capped in brass ferrules further subdivide the piece, giving the table a pure, geometric composition.

The Trio Table is modeled after a piece designed for a private Parisian townhouse and also displayed at the Salon des Artistes Décorateurs in 1947. A circular mirror top just over 18 inches in diameter is balanced on the points of three black arrows adorned with antique silver metal leaf and tethered at the middle. The use of the arrows is a motif borrowed from the earlier Directoire period, an era which followed the French Revolution and often incorporated symbols of war in the furniture to reflect the climate of the country at the time.

Sinuous and sleek, the new Atlantique Chair is a study in curves and symmetry. Designed initially for private clients in the 1950s, its low slung seat is tightly upholstered in smooth leather and brass accents cap the arms and feet. These chairs, which have matching ottomans, are deeply comfortable while presenting a chic, masculine silhouette.

The inspired L’Epoque Wall Unit was originally designed for a private client in 1938. Crafted of walnut solids and Mozambique veneers, the door is faced with parchment leather. The bronze mirror below the top case reflects two front turned legs which are capped by brass ferrules and stand on a curved wooden base. The lower mirrors were often found in pieces such as this one to reflect surrounding light and furnishings as well as providing a discreet, fashionable way for ladies to check the lower half of their outfits as they passed by.

The Chateau Table lives up to its noble name, its lithe form sculptural and striking. The original design appointed a private bedroom/study at the Château de Rambouillet. The round white marble top is just over 16 inches in diameter and is supported by four slender steel legs that bow out at the base to frame a stunning brass star ornament. The lower square base of four slightly flared feet provides an interesting linear contrast to the curvature above.

Baker also introduced a vibrant luminary ensemble of three André Arbus table lamps; one floor lamp; four spectacular chandeliers; and two sets of wall sconces. The selection makes use of materials such as antique brass, frosted glass, hand-stitched leather and ebonized wood to create distinctive, functional works of art.

True to its name, the Couture Floor Lamp borrows a few design ideas from the world of high fashion with a slim post that is sheathed in creamy taupe leather. An ivory silk shade encircles the two bulbs, and a circular metal base is connected by three polished strips of brass that drape off the post like ribbons from a Maypole.

The Ebene Table Lamp takes its name from the French word meaning ebony and its slender column of jet wood provides a stark and eye-catching contrast to the antique brass hardware. An ivory silk shade with frosted glass diffuser creates an atmosphere that is softly radiant and lovely.

Meaning small cup in French, the Coupelle Wall Sconce features a frosted glass vessel atop an antique brass post. The combination of the tapered lines of the post and the brightly lit cup atop give this sconce the look of an ancient Olympic torch. Also offered as companion pieces are the Coupelle Chandelier in both three- and five-arm versions. The striking five-arm model has an added clear glass band that surrounds the lights, giving the entire piece a gleaming, ethereal aura.

The sensual Christal Chandelier creates a commanding silhouette in a room and is modeled after the original, which hung in Arbus’ own Parisian apartment. Three candelabra bulbs warmly glow amid crystal shards that rise up around them like a crown. A clear glass globe encases the coronet of light and is suspended from an ornate column like a jewel.

“We are so pleased with the outcome,” concluded Aubriot. “The concept was to present for the first introduction by Baker a collection which would appeal both to the Arbus connoisseurs and to a larger audience not as familiar with his work. Iconic pieces were selected to represent the various periods, direction and materials he favored during his lifework. We agreed to the philosophy of a first collection, knowing that our extensive archives would allow us to continue Arbus’s design legacy with future introductions.”

Baker Knapp & Tubbs, Inc. includes Baker furniture, Baker Knapp & Tubbs Showrooms, and Baker Stores. Along with McGuire Furniture Company, Ann Sacks tile, stone and plumbing company, Kallista plumbing, and Mark David hospitality furniture, it is part of the Kohler Interiors Group and wholly owned subsidiary of Kohler Co., a global leader in kitchen and bath designs.

Founded in 1873 and headquartered in Kohler, Wis., Kohler Co. is one of America's oldest and largest privately held companies. Kohler is a global leader in the manufacture of kitchen and bath products, engines and power generation systems, cabinetry, tile and home interiors, and international host to award-winning hospitality and world-class golf destinations.