Abat-Jour Table Lamp by Cini Boeri for Arteluce

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About This Piece

Vintage Design

This large 'Abat-Jour' table lamp was designed in 1975 by Cini Boeri and produced by the Italian company Arteluce. The lamp combines a monumental silhouette with refined materials: a pyramid-shaped white marble base supports a diffuser in opaline methacrylate, topped with a lacquered metal cap. The design is both architectural and poetic — strong in form, yet soft in its diffusion of light. Notably, French President François Mitterrand selected this model for his office at the Élysée Palace. The lamp features four E27 sockets, offering warm and atmospheric light. In very good vintage condition with minor signs of wear consistent with age.

Literature: Repertorio del Design Italiano 1950–1980 (Giuliana Gramigna, p. 421)

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

Creator	Cini Boeri
Manufacturer	Arteluce
Design Period	1970 to 1979
Production Period	Unknown
Country of Manufacture	Italy
Identifying Marks	This piece has been attributed based on archival documentation, such as vintage catalogs, designer records, or other literature sources
Style	Italian, Vintage
Detailed Condition	Very Good — This vintage/antique item has no defects, but it may show slight traces of use.
	The vendor has confirmed this piece is in working order.
Restoration and Damage Details	Light wear consistent with age and use
Plug Type	European Plug (up to 250V)
SKU	YVJ-2314431
Materials	Plastic, Marble
Color	White
Height	90 cm 90 cm
Diameter	63 cm

Shipping & Delivery

Ships from	Netherlands
Returns	Returns accepted within fourteen days of delivery, except for Made-to-order items

Delivery Options

Front Door Delivery: (Included in Every Order)	A skilled driver will unload the item(s) from the delivery truck and bring it to your building’s doorstep. You will be responsible for further transport beyond that point. We recommend asking a family member or friend for an extra hand; alternatively, you may upgrade to In-Home Delivery (see below). 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.

Front Door Delivery:
(Included in Every Order)

A skilled driver will unload the item(s) from the delivery truck and bring it to your building’s doorstep. You will be responsible for further transport beyond that point. We recommend asking a family member or friend for an extra hand; alternatively, you may upgrade to In-Home Delivery (see below).
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.

Sustainability

Carbon Neutral	For every purchase made, Pamono offsets 100% of estimated carbon emissions from global shipping.
Vintage	Choosing vintage and antique furniture reduces your carbon footprint by cutting down on waste and reduces demand for new materials and extends the life of the products we use.

About the Creator

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

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