ARLUS or LUNEL? Two visions of French lighting from the 1950s

For a long time, I asked myself the question (and I'm not the only one) without ever really resolving it. Arlus. Lunel. Two names that constantly come up whenever French lighting from the 1950s and 60s is discussed. Two companies often confused. Two signatures rarely found on the objects themselves. And a persistent ambiguity in advertisements, auctions, and appraisals.

Over time, the eye becomes accustomed. We make mistakes. We correct them. We refine them. And we eventually understand that, behind superficial similarities, Arlus and Lunel actually defend two very different visions of modern lighting.

Why do people confuse Arlus and Lunel?

Confusion is almost inevitable. The two houses share:

• Same era: The euphoria of the post-war period and the Trente Glorieuses (Thirty Glorious Years).
• Same clientele: Individuals, architects, and administrations for mass equipment.
• Same materials: Brass, painted metal, simple opaline glass.
• Even the frequent absence of a signature.

They produced lighting for the modernized interiors of the post-war era. As a result, seventy years later, their light fixtures are everywhere… but often without a clear identity. This is where the misattributions begin.

Arlus: modernist rigor and industrial anonymity

Arlus is first and foremost an architectural stance. A way of thinking about light as a tool, not as an ornament.

The DNA and the Arlus Style

Arlus embodies post-war modernism: function, rationality, and efficiency. Its designs feature straight or strictly geometric lines , understated proportions, and minimal ornamentation . These light fixtures are designed to last and blend discreetly into any setting.

The Arlus spirit could be summed up as follows:

Arlus is the lighting fixture that fades into the background, giving way to the space. It complements the architecture.

Industrial Anonymity... Except for Exceptional Pieces

Historically, Arlus has favored creations from its in-house design office , hence its brand image of consistent and anonymous production. However, this strategy was not absolute.

History reveals the existence of very high-end collaborations, proving that the house knew how to position itself in the prestige market. The most striking example is the "Arum" set (pendant and wall lights) designed by Jean Royère in 1957. Royère, a major figure in post-war French interior design, created sculptural and luxurious pieces for Arlus, often listed under a specific catalogue number (model 1370).

These models are rare and represent the exception: the majority of Arlus pieces are anonymous, but when a name comes out, it immediately becomes a collector's item.

 

 

Lunel: Decorative Seduction and Authors

Lunel follows a different logic. Where Arlus seeks simplicity, Lunel embraces visual pleasure and decorative presence.

Lunel's DNA and Style

Similar to Arlus, but with a more deliberate focus on visual appeal. Rounder shapes , curved legs, and a more Italianate style are common. Brass is often more intricately worked, colored glass more prevalent, and lampshades more prominent.

The Lunel spirit could be summed up as follows:

Lunel, it's the lighting that asserts its decorative presence. It actively contributes to the atmosphere.

Collaborations: An Authors' Strategy

Lunel has occasionally collaborated with established designers, which lends credibility to its approach and increases the value of certain pieces. The most emblematic collaboration remains that with Robert Mathieu .

Unlike Royère's prestigious pieces for Arlus, the collaboration with Mathieu was more frequent and aimed at integrating functional and technical design (articulated arms, counterweights) into mass production. This allowed Lunel to expand its catalog towards technical modernity, and these pieces are now among the most sought-after.

Clear table to distinguish between Arlus and Lunel

It's not about saying one house is "better" than the other. They are two expressions of modernism.

Criteria	Arlus	Lunel
General line	Right-wing, strict	Flexible, curvaceous
Intention	Function	Seduction
Major influence	French Modernism	Italian influence/Authors
Visual presence	Discreet (fades into the background)	Assertive (shows herself)
Star Collaboration	Yes, but rare (e.g., J. Royère, luxury).	Yes, more frequent (e.g., R. Mathieu, technique)

Signature and value: the crux of the matter

Neither Arlus nor Lunel systematically signed their products. In most cases, there is no signature. Identification therefore relies on the expert eye: the construction, the proportions, the electrical system, and the type of brass.

Current market value

The nuance of collaborations is crucial to value:

• Arlus today: The market value is solid and rests solely on the strength of the design , rarity, and condition, as there is no "signature effect" on the majority of pieces. Royère pieces are priceless.
• Lunel today: More reasonable prices on anonymous models, but a Lunel attributed to Robert Mathieu changes completely, shifting into the French-signed design of the 50s.

The value depends as much on the design as on the attribution. An exceptional Lunel far surpasses a standard Arlus.

How do I, as a merchant, make the difference?

At first, I was wrong. Often. I relied on vague similarities.

Today, my eye has evolved through its attention to detail. I look at the tension of a line, the way a foot widens, or the relationship between the base and the lampshade. These are details invisible when you start out, but obvious later on. This work of refinement is the only true authority for attribution.

A historic dialogue

Arlus and Lunel are not in competition. They are two different interpretations of the same moment in the history of French design.

Arlus responds with architectural rigor. Lunel responds with decorative allure.

 

 

 

On Nest49, I regularly offer pieces from Arlus, Lunel, and anonymous lighting fixtures from the same period, selected for their design and not solely for their signature.

ARLUS 3-LIGHT FLOOR LAMP 1950

PAIR OF ARLUS GILT BRONZE HAND WALL SCONCES

PAIR OF LUNEL WALL LIGHTS 1950

PAIR OF VINTAGE LUNEL BRASS AND BLACK LACQUERED METAL WALL LAMPS