László’s Californian clients included Cary Grant, Barbara Hutton and Billy Wilder; his archive is today re-edited by Ecart and documented largely through Julius Shulman’s photography held at the Getty Research Institute.
Conceived as a companion to the Arcadia Chair, the Arcadia Ottoman 1950 by Paul László for Glenn of California extends the same pastoral, sun-warmed vision of modernism into a low, footrest-height piece built for lingering afternoons. László, who had fled Europe in 1936 and rebuilt his career from a Beverly Hills studio on Rodeo Drive, designed the Arcadia line to feel as unhurried and hospitable as the Southern California lifestyle it was meant to serve.
The ottoman shares the chair’s tobacco-toned ash frame with matte varnish finish and its tinted rattan seat, a combination that keeps the piece visually light even as it invites a full, relaxed recline. Circa 1950, this design belongs to a body of work László created for Glenn of California, now revived in solid ash by Ecart for a contemporary audience still drawn to the ease of his Arcadia silhouette.
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Ecart
Designed by Paul László, re-edited by Ecart
Ottoman in tobacco ash with matte varnish
Seat in tinted rattan
Insured Worldwide Delivery
Secure payment
Certificate of authenticity
László’s Californian clients included Cary Grant, Barbara Hutton and Billy Wilder; his archive is today re-edited by Ecart and documented largely through Julius Shulman’s photography held at the Getty Research Institute.
Conceived as a companion to the Arcadia Chair, the Arcadia Ottoman 1950 by Paul László for Glenn of California extends the same pastoral, sun-warmed vision of modernism into a low, footrest-height piece built for lingering afternoons. László, who had fled Europe in 1936 and rebuilt his career from a Beverly Hills studio on Rodeo Drive, designed the Arcadia line to feel as unhurried and hospitable as the Southern California lifestyle it was meant to serve.
The ottoman shares the chair’s tobacco-toned ash frame with matte varnish finish and its tinted rattan seat, a combination that keeps the piece visually light even as it invites a full, relaxed recline. Circa 1950, this design belongs to a body of work László created for Glenn of California, now revived in solid ash by Ecart for a contemporary audience still drawn to the ease of his Arcadia silhouette.
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Founded in the late seventies, Ecart is the brainchild of the ineffable Andrée Putman, the brilliant aesthete who singlehandedly revived the neglected work of some great designers from the 1930s, including René Herbst, Jean-Michel Frank, Pierre Chareau and Eileen Gray. Following her instinct informed by her unique taste, Putman made the rather counterintuitive choice of re-editing some iconic designs from the past, despite the fact that, at the time, the business of furniture was all about newness.
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