Atomic Lamps (PRICE for PAIR), Space Age Lamps, Maurice Chalvignac Lamps, Fat Lava Lamps, Mid Century Modern Lamps, Chalvignac Dome Lamps

Atomic Lamps (PRICE for PAIR), Space Age Lamps, Maurice Chalvignac Lamps, Fat Lava Lamps, Mid Century Modern Lamps, Chalvignac Dome Lamps
These mid century table lamps by renowned artist Maurice Chalvignac features an acrylic dome space age-like look that make these pieces highly sought after as a hallmark of mid century space-age aesthetic. These rare lamps, as art pieces on end tables, or bedside tables would be appreciated for years to come. Veritable pieces of modern art history for anyone from collector, to enthusiast of a wonderful aesthetic design period. The classic brown and white drip glazing is a hallmark of Maurice Chalvignac, and of course, there is the quintessential dabs of orange to evoke the color schemes of the day. The mid-century sensibility stemming from the colors of the earth. A great pair of lamps for anyone on your list.
DIMENSIONS: 15" high to top of the finial; ceramic body is 10 3/8" high x 6" diameter at the top and 4 1/4" diameter at the base. Acrylic domes are 7 1/2" diameter x 4 1/2" high. Cord 5' long. Weight 3lbs. 4oz. each.
CONDITION: Very good to excellent vintage condition. Original wiring. In good working order. No chips, cracks or repairs. The acrylic domes are brand new.Please carefully refer to photographs for more condition information.
Maurice Chalvignac is the quintessential mid century modern artist and ceramist who migrated to Canada in 1957 at the height of the Scandinavian influence in design and artistry. Born in Paris in 1927, he studied at the Ecole des Beaux Arts and is internationally recognized for his pottery and his artwork. After the 2nd World War, Chalvignac was given a sculptor's training for 7 years and it is then that he became interested in pottery. Chalvignac emigrated to Canada in 1957 and settled in Montreal where he found a job in a religious sculpture business.
He is known for his West German and Danish aesthetic, in particular his development and use of what is known as 'fat lava' glazing. It includes tones of tawny brown, beige, white overlay and a foamy effect that overcoats his pieces.
Once in Canada, he met Claude Jasmin (1930-), a leading man of letters who, at that time, was a ceramist. He encouraged Chalvignac to return to this art, which he did. He quickly expands his workshop until about thirty employees are working under him. His wares begin to be produced, including some in collaboration with Jordi Bonet and influenced by a close relationship with Giovani Liva, who works as his foreman. In the early 1980s, Chalvignac goes back to his more artisanal approach and produces more of his finer masterpieces.
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