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Abat-Jour Table Lamp by Cini Boeri for Arteluce, Italy, 1978

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  • Abat-Jour Table Lamp by Cini Boeri for Arteluce, Italy, 1978 1
  • Abat-Jour Table Lamp by Cini Boeri for Arteluce, Italy, 1978 2
  • Abat-Jour Table Lamp by Cini Boeri for Arteluce, Italy, 1978 3
  • Abat-Jour Table Lamp by Cini Boeri for Arteluce, Italy, 1978 4
  • Abat-Jour Table Lamp by Cini Boeri for Arteluce, Italy, 1978 5

The seller assumes all responsibility for this listing.

About This Piece

Vintage Design

A sculptural and rare “Abat-jour” table lamp designed by Italian architect Cini Boeri in 1978 for Arteluce. Featuring a bold pyramidal base in black marble and a wide angular shade crafted in painted metal with an opaline acrylic glass diffuser, this lamp plays with contrasts and geometry to create a striking architectural presence. Retains original Arteluce decal. A collector’s piece of 1970s Italian design.

Please note: Vintage pieces may show signs of wear or surface irregularities — these marks are part of their history and character, and reflect the age and authenticity of each item.

Product Details
Designer : Cini Boeri
Model: Abat-jour
Manufacturer: Arteluce
Country: Italy Year: 1978
Materials: Black marble, painted metal, opaline acrylic Glass
Dimensions: H 95 × W 63 × D 63 cm
Marking: Arteluce label
Condition: Small chip at the base

Click here for full description Close description

* The cable of this item may be original and might need replacement, if not specified otherwise.

* Please note that items made of Rosewood are subject to a special export process that may extend the delivery time an additional 2 to 4 weeks
Creator Cini Boeri
Manufacturer Arteluce
Production Period Before 2010
Style Vintage
Detailed Condition Good — This vintage/antique item may have some wear such as scratches and other signs of ageing.
Product Code RUM-2359577
Restoration and Damage Details
Small chip at the base
Materials Metal, Opaline Glass, Acrylic Glass, Marble
Color Black
Width 63 cm 24.8 inch
Depth 63 cm 24.8 inch
Height 95 cm 37.4 inch
Duties Notice Import duty is not included in the prices you see online. You may have to pay import duties upon receipt of your order.

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  • The delivery partner will email and/or call you at least one day in advance to arrange a delivery time.
  • A wooden crate may be used for intercontinental shipments for maximum protection.
  • Item will be left in its packaging after delivery.
  • A signature will be required upon delivery.
In-Home Delivery:
(For in-home delivery service, additional fees apply. Please get in touch)
  • A skilled driver or a team of two will bring your item(s) inside your home and place it in the immediate entryway. For unusually large or heavy items, we recommend asking a family member or friend for an extra hand, as we cannot send more than 2 drivers.
  • The delivery partner will email and/or call you one day in advance to arrange a delivery time.
  • A wooden crate may be used for intercontinental shipments for maximum protection.
  • Item will be left in its packaging after delivery.
  • A signature will be required upon delivery.

*Important Note

Please examine every order upon delivery. In the event that there are visible signs of damage or missing or incorrect pieces, please indicate the problem on the Delivery Note and contact us within 48 hours of delivery. A signed delivery receipt without notations of missing, damaged, or incorrect item(s) represents your acceptance of the complete order in perfect condition.

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Product Safety Information

EU Responsible Person Pamono GmbH
Uhlandstr. 175
10719
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About the Creator

Cini Boeri

Cini Boeri

Born in 1924 in Milan, Cini Boeri is an award-winning industrial designer, architect, and interior designer. Along with Gae Aulenti, she was one of the few female Italian designers to enjoy international success in the postwar era. Her work has consistently underscored the psychological connection between humans and their environment.

After graduating from the Polytechnic University in Milan in 1951, she interned at Giò Ponti’s architectural firm before working for many years with designer Marco Zanuso. In 1963, Boeri founded her eponymous architecture studio, focusing on industrial design as well as civil architecture. She created many modern Italian design classics, including the Bobo Lounge (1967), which was the first exclusively foam Monobloc seat; the 602 Table Lamp (1968); the polyurethane Serpentone Lounge (1971) that was sold by the meter; the modular Strips Series (1972, awarded the Compasso D’Oro in 1979); the sculpted glass Cibi Tumbler (1973), the Ghost Armchair (1987 in collaboration with Tomu Katayanagi); and the Bortolo Chair (2014).

Over the course of her career, Boeri has collaborated with some of the biggest Italian and international brands including Arflex, Artemide, Rosenthal, Knoll, Magis , Venini, Fiam, Misawa Homes, Tre-P Tre-Piu, Tronconi, and Philips. Her most celebrated architectural projects include The Domestic Project, first exhibited at the 1986 Triennale; The Bunker House (1967) on the island of La Maddalena; Casa nel Bosco (1969) near Lago Maggiore; and the Apartment on Three Levels in central Milan (2006).

As well as winning the Compasso d’Oro for the Strip Series, Boeri has been the recipient of many prestigious international prizes, including a Lifetime Achievement Award from the Italian Cultural Institute of Los Angeles in 2008; she was nominated as an honorary member of ADI in 2012. She has held many esteemed positions at several international institutions and universities, including the Politecnico di Milano, UC Berkeley, UCLA, and the University of Lugano in Switzerland. Her work can be found in Milan Triennale Design Museum and New York's MoMA.

For more information about Boeri's unique design philosophy, check out The Human Dimension of Home Living (Franco Angeli: Milan, 1980).

 

* Images courtesy of Cini Boeri Architetti

About the Maker

Arteluce

Arteluce

Italian lighting design company Arteluce was established in 1939 by the young Venetian designer-entrepreneur Gino Sarfatti. Political upheaval at the time forced Sarfatti to abandon his aeronautical engineering degree in Genoa and move with his family to Milan. There, despite a lack of formal design training, Sarfatti embarked on a lighting career. Yet it is arguably because he was wholly self-taught that Sarfatti immersed himself in the full lifecycle of the design process, from conception to production, collaborating with artisans and architects to create stronger, lighter, and cheaper modernist lamps than Italy has seen before.

During the Second World War, Sarfatti fled to Switzerland, returning to Milan after the war to restart his company. In 1951, Arteluce’s first retail outlet opened on the bustling Corso Vittorio in central Milan (now named Corso Matteotti). The shop was re-designed by Marco Zanuso in 1953. Arteluce's second outlet, located on the glamorous Via della Spiga, was designed by Sarfatti's lifelong friend and fellow lighting designer Vittoriano Viganò in 1961.
 
Arteluce quickly established itself as a successful and visionary lighting brand thanks to Sarfatti’s commitment to technical, material, and production research. He designed over 400 lamps in his lifetime (though some sources say it was as many as 700), which are celebrated for their minimalist yet expressive aesthetic and experimental materials. In the mid-1950s, he began to work with Plexiglas, and, in the early 1970s, he pioneered the use of halogen bulbs into fixtures. Sarfatti also dedicated himself to improving every single element of a light fitting, from the switch to the wiring and the reflectors. The ultra-minimal Model 1063 (1954) would influence Italian floor lamp design for years to come. It was awarded the prestigious “Grand Prix” at the Milan Triennale and is known as the most eloquent example of Sarfatti's purist vision of beauty in everyday objects. In the same year, Arteluce was awarded the ADI Compasso d’Oro for the Model 559 and again the following year for the Model 1055.
 
In the 1960s, Arteluce became a creative hub for Italy’s most talented designers, producing designs by major talents, such as Franco Albini, Cini Boeri, Franca Helg, Ico Parisi, and Massimo Vignelli. The lighting installation for the Teatro Regio opera house in Turin—one of Arteluce's last projects, which comprised hundreds of pendant plexiglas tubes installed under the direction of legendary architect Carlo Mollino in 1972—is considered one of the company's greatest achievements.

In 1973, Sarfatti sold his business to Flos and retired to Lake Como. Many Arteluce creations are still in production today, and several original models are housed permanently in important museums like MoMA in New York. Somewhat forgotten after merging with Flos, Sarfatti’s designs are experiencing a renaissance amongst vintage collectors following the first retrospective exhibition of his work at the Triennale Design Museum in Milan in 2012.

* Images courtesy of Flos

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