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Two 1970s Lamps by the Decorator Jean-Claude Mahey
About the Item
Two 1970s red lacquer lamps by the decorator Jean-Claude Mahey, with a Chinese ideogram decoration on one side. One light, new shades.
- Dimensions:Height: 31.89 in (81 cm)Width: 17.72 in (45 cm)Depth: 17.72 in (45 cm)
- Sold As:Set of 2
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1970s
- Condition:Slight wear consistent with age. Very good general condition.
- Seller Location:Paris, FR
- Reference Number:1stDibs: 0910167922176
About the Seller
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- ShippingRetrieving quote...Shipping from: Paris, France
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Biography
Claude de Musac (1935-2022) was a highly talented decorator and artist.
With subtlety, precision and daring, Claude de Muzac set out from her beginnings around 1960 to showcase the rarest and strangest objects, from dog bones to paintings by her contemporaries, in surprising, precious and poor materials, Plexiglas, enamel and scales, art objects that had suffered or no longer suffered the velvet and gilding of an overly 19th-century frame. After studying drawing at Paul Colin’s studio and working as a window dresser, she was hired by Daniel Cordier, with whom she trained in the presentation of artworks.
She soon opened her own boutique where she offered frames of constant inventiveness, playing with contrasting materials and matching colors. Her famous clients included Georges Pompidou, Peter O’Toole, André Malraux, Edmond de Rotschild, Man Ray and the list goes on. Some, like Max Ernst, chose the frame and painted for the frame. As for Serge Poliakoff, he came in every day and commissioned frames, and in one of his favorites, which was made of lapis lazuli, he painted a large blue composition. Her customers are often her friends, and her friends become her collaborators, so she surrounds herself with those she loves, inspiring them to create new objects and jewelry that she presents in her Grotte-galerie. The unclassifiable intuition that makes Claude de Muzac’s work so beautiful is certainly this quality of entourage. Shadows become frames, pedestals become faces, and the other is each time for her a new form of inspiration, of rapprochement or opposition, of respect and passion.
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