TonyDuquette Brochure

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115973BK_r1_67007_TDuquette_v19.indd 1 9/5/08 5:34:45 PM

DECORATING Is NOT A suRfACE pERfORmANCE. IT's A spIRITuAL ImpuLsE, INbORN AND pRImORDIAL.–td

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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.

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Photo: Tim Street-Porter

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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.

The drawing room at Dawnridge,

Tony Duquette’s home in Beverly Hills, c. 1995.

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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

B IOMORPHICM I R R OR ANDCONS OLE

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

w 30" d 6" h 48"

finish option 1: gold leaf finish option 2: silver gilt

mirror can be hung in vertical or horizontal position

CONSOLE No. 1666

w 70" d 36" h 33"


¾"-thick glass top

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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

MARSANCHAIR

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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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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 option 1: verdigris paint finish option 2: pearl paint

seat cushion

OrgaNicBarOqu ech ai r


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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 option 1: gold leaf with red undertone burnt orange upholstery

finish option 2: verdigris paint, burnt orange upholstery

palmerchair

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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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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.

cocktail table (1652) w 38" d 22" h 18" | end table (1655) w 22" d 22" h 22"

finish: dark bronze frame with polished abalone table top

ABALONEMOSAiCTA BLES

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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.

diameter 18" h 16"

standard fabric option 1: leopard skin standard fabric option 2: zebra skin

ELS IETABOURET

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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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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" h 75"


three individual hinged screen panels

PAR ISSNowfl Ake S C Ree NS


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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" h 16"

finish option 1: coral lacquer finish option 2: pearl lacquer

MACAOGARDENS EAT


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Residence in Bel Air, California,

designed by Tony Duquette, c. 1960


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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

ABALONECHANDEL IER


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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: natural bronze medallion with varnished silver leaf post and beige suede base

transparent cord with foot switch, one 40-watt bulb required

SUNBURSTTORCHERE


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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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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 option 1: gold paint finish option 2: pearl paint

INSECTMAN


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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 option 1: silver plate finish option 2: 24k gold plate

transparent cord with foot switch, one 40-watt bulb required

JEWELVOT IVETABLELAM P

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“A bedroom for a princess” created for a

penthouse apartment in Honolulu, Hawaii,

c. 1960.

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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

TERRAP INLAMP


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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

ARROWOFTHESEA


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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

while decorating Barretstown Castle for Elizabeth Arden.Photo: Charles White

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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: white paint with black base

finish option 2: green and blue paint with black base

finish option 3: clear resin with black base

black cord with hand switch

one frosted 40-watt flood light bulb required

REGENCYPAGODALAM P


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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: pin shell wrap

transparent cord with foot switch

two frosted 40-watt flood light bulbs required

G HOSTSNAIL


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The original Ghost Snail, situated

in Duquette’s “Frogmore”

porch on his Malibu property.


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The Gold Toad sculpture decorates

Tony’s Abalone Mosaic Cocktail Table.


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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: gold plate with transparent base

G OLDTOAD


Photo: Charles White

Yellow Angle@Y

Black Angle@K

Magenta Angle@M

Cyan Angle@C


Tony and his wife, Beegle, at home

in their Fountain Avenue Studio,

c. 1951.

Yellow Angle@Y

Black Angle@K

Magenta Angle@M

Cyan Angle@C

PMS 9040 C SOLID


1612 Biomorphicmirror finish option 1: gold leaf


page13 w 30" d 6" h 48"

1666 Biomorphicconsole finish option 1: gold leaf


¾"-thick glass top

page13 w 70" d 36" h 33"

1619 marsanchair finish option 1: pearl lacquer


finish option 3: coral lacquer with

pink glaze

page14 w 26" d 24" h 28 ½"

1648 organicBaroquechair finish option 1: verdigris paint finish option 2: pearl paint

seat cushion

page16 w 36" d 24" h 40"

1649 palmerchair finish option 1: gold leaf with red undertone, burnt orange upholstery

finish option 2: verdigris paint with

burnt orange upholstery

page17 w 16 ¾" d 17" h 34 ½"

1652 aBalonemosaic cocktailtaBle finish: dark bronze frame with polished abalone table top

page21 w 38" d 22" h 18"

1655 aBalonemosaicendtaBle finish: dark bronze frame with polished abalone table top

page21 w 22" d 22" h 22"

1697 elsietaBouret standard fabric option 1: leopard skin

standard fabric option 2: zebra skin

page22 diameter 18" h 16"

1699 parissnowflakescreens finish option 1: gold leaf


page25 w 36 ½" d 1 ½" h 75"

1616 macaogardenseat finish option 1: coral lacquer

finish option 2: pearl lacquer

page26 diameter 18" h 16"

tdq300 aBalonechandelier finish: green paint with pink and white

accents, abalone shells hardwired twelve 15-wattcandelabra bulbs requiredpage29 diameter 36" h 39"

tdq100 sunBursttorchere finish: natural bronze medallion with

varnished silver leaf post and beige

suede base. transparent cord with foot switch

one 40-watt bulb requiredpage30 w 24" d 13 ½" h 74"

tdq501 insectman finish option 1: gold paint

finish option 2: pearl paint

page33 w 9½” d 4¾” h 18½”

tdq101 JewelVotiVetaBlelamp finish option 1: silver plate

finish option 2: 24k gold plate

transparent cord with foot switch one 40-watt bulb required

page34 w 12" d 5 ½" h 24"

tdq103 terrapinlamp finish: raw bronze shell with dark bronze

support and beige suede base

black cord with hand switch one 40-watt bulb required

page37 w 9 ½" d 6" h 24"

tdq104 arrowofthesea finish: dark bronze base, transparent

glass top, black cord with hand switch

one led bulb required

page38 w 7 ¾" d 5 ¾" h 36"

tdq105 regencypagodalamp finish option 1: clear resin with black base

finish option 2: white paint with black base

finish option 3: green and blue paint with

black base

black cord with hand switch, one frosted

40-watt flood light bulb required

page41 w 10" d 10" h 48"

tdq201 ghostsnail finish: pin shell wrap

transparent cord with foot switch

two frosted 40-watt flood light bulbs requiredpage42 w 37" d 16" h 19"

tdq500 goldtoad finish: gold plate with transparent base

page44 w 12" d 10" h 8 ½"


Black Angle@K

PMS 9040 C SOLID


Taken in the drawing room of Dawnridge, the Beverly Hills

headquarters of Tony Duquette Inc., business partners

Tony Duquette and Hutton Wilkinson wear their shaman robes.

Yellow Angle@Y

Black Angle@K

Magenta Angle@M

Cyan Angle@C

Photo: Keith Morrison


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

PMS 179 C Angle@K


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Black Angle@K

PMS179 SOLID

WarmGray5 Angle@K


Date post:	07-Oct-2014
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