The Louise Long Credenza in Smooth Brass is 120 inches wide — ten feet of serpentine front on six cabriole legs, with four cupboard doors on the outer sections and three central drawers with curved metal pulls. The Smooth Brass metal covers the front, sides, top, and all six legs without interruption. At 27.5 inches tall and 20.5 inches deep, the proportions are those of a long low credenza suited to placement along a full wall.
The solid teak frame is carved to the full serpentine profile before Smooth Brass metal sheets are pattern-cut and fitted by hand across every surface. Each section of the front — door panels, drawer fronts, and apron — is individually fitted and secured with flush-set nails. The cabriole legs are carved from solid teak and clad in Smooth Brass metal following the compound S-curve. Interior: teak veneer with adjustable shelves.
Measures 120 inches wide, 20.5 inches deep, and 27.5 inches tall. Four cupboard sections with adjustable shelves and three central drawers. Works as a media console, dining sideboard, or living room credenza in large rooms. Available in all twelve standard finishes. Made entirely to order. Custom sizing available.
Designed by Paul Mathieu for Stephanie Odegard Collection. The Louise Long Credenza extends the language of the Louise series, named for Paul Mathieu's feminine counterpart to Louis XV furniture, to its most ambitious scale. Produced in Udaipur.
Made to order, each piece may show slight variations that are a natural result of handmade metal-clad production. The Smooth Brass surface will gradually mellow in tone over time, which is part of the material's natural character.
The images shown in this listing may be photographed in different lighting conditions or may include 3D illustrations created to represent the available finishes. We warmly encourage customers to request an individual sample or a complete sample set of all twelve finishes to experience the surface, tone, and character firsthand.
Please note that moisture in the air, seasonal climate shifts, and the natural movement of wood over time may cause the metal surface to develop slight wrinkles or occasional bubbling. We use well-seasoned reclaimed teak and high-quality marine-grade MDF wherever technically possible to minimise these natural effects, but complete stability of metal cannot be guaranteed.
All smooth finishes will show subtle tool marks. These are not defects but a natural and unavoidable result of hand-working and hand-polishing metal sheets. Our hammered finishes are recommended where a more textured, forgiving surface is preferred.
None of our metal-clad pieces are sealed with a permanent protective coating. This allows the metal to age naturally and beautifully over time. We polish every piece carefully before packing. A clear PU coat can be applied on request.
The antiqued white bronze finish will react with natural elements the fastest in the beginning, but it too will stop reacting and settle into a stable state like copper after 6-12 months. Since it is already antiqued and looks intentionally tarnished, this early reaction does not change the overall appearance. In that way, this surface is the most forgiving.
The antiqued white bronze finish is done by applying an acidic chemical over the white bronze to recreate a natural patination. Like the aging of silver, copper, or brass, the final result and colour uniformity cannot be guaranteed. The goal of this finish is to achieve rainbow-like tones with dull, shiny, cloudy, and lightly streaked patches to give an illusion of antiquing.
As a default practice, we offer a protective wipe-on PU coat only on this finish. If a designer prefers the natural, uncoated aging, we can leave it untreated just like the other finishes. A PU coat helps keep the surface looking the same as when shipped, but it does not create a fully uniform patina; natural variation will always remain part of this finish.