Paul László was a Hungarian-born architect and designer who fled Nazi persecution in Europe and rebuilt his career from a Beverly Hills studio on Rodeo Drive.
Designed by Paul László and today re-edited by Ecart, the Wilshire Console 1942 takes its name from the grand Los Angeles boulevard that came to define the sunlit, gently glamorous modernism László brought to California after fleeing Nazi persecution in Europe in 1936. Trained in Vienna and Stuttgart before opening his own Beverly Hills studio on Rodeo Drive, László softened the rigor of European modernism with a more sensuous, hospitable line suited to his adopted city.
This console was originally custom-made for the Los Angeles house of Joan Harrison, the pioneering screenwriter and producer best known for her work with Alfred Hitchcock, and survives today largely thanks to the archival photography of Julius Shulman, held at the Getty Research Institute. Ecart’s re-edition is crafted in solid ash finished with an ultra-matte varnish, a restrained material choice that lets the console’s clean, architectural lines speak for themselves, exactly as they did in Harrison’s home more than eighty years ago.
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Ecart
Designed by Paul László, re-edited by Ecart
Console pictured here in solid ash with ultra matte varnish
Insured Worldwide Delivery
Secure payment
Certificate of authenticity
Paul László was a Hungarian-born architect and designer who fled Nazi persecution in Europe and rebuilt his career from a Beverly Hills studio on Rodeo Drive.
Designed by Paul László and today re-edited by Ecart, the Wilshire Console 1942 takes its name from the grand Los Angeles boulevard that came to define the sunlit, gently glamorous modernism László brought to California after fleeing Nazi persecution in Europe in 1936. Trained in Vienna and Stuttgart before opening his own Beverly Hills studio on Rodeo Drive, László softened the rigor of European modernism with a more sensuous, hospitable line suited to his adopted city.
This console was originally custom-made for the Los Angeles house of Joan Harrison, the pioneering screenwriter and producer best known for her work with Alfred Hitchcock, and survives today largely thanks to the archival photography of Julius Shulman, held at the Getty Research Institute. Ecart’s re-edition is crafted in solid ash finished with an ultra-matte varnish, a restrained material choice that lets the console’s clean, architectural lines speak for themselves, exactly as they did in Harrison’s home more than eighty years ago.
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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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