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Mandu Valet Stand
ENTRUST THIS VALET STAND WITH ANYTHING
In 1929, the Maharajah of Indore commissioned Eckart Muthesius to build and furnish his Manik Bagh palace. Completed four years later, the palace was a masterpiece of the Art Deco style. Muthesius complemented his architecture with his own furniture and lamp designs.
The Maharajah had countless servants. Eckart Muthesius added to them yet another: his valet Mandu serves up an elegant appearance with typical Art Déco flourish. Very feminine and yet – or perhaps for this reason – used mostly by gentlemen who do not want to entrust their business jackets to a simple coat rack. The original chrome-plated version reflects the environment, whereas the new colors, black and bronze, especially emphasize the lines of the design.
Tubular steel, powder-coated in black or bronze, or chrome-plated. Silicone anti-slide strip for trousers. Plastic gliders in black.
Dimensions
W. 41cm (16 1/8”) D. 38cm (14 31/32”) H. 109cm (42 15/16”)
DESIGNEr
ECKART MUTHESIUS
Eckart Muthesius
Mandu Valet Stand
Following his studies at the Associated State School for Applied Arts in Berlin and the London Polytechnic, Eckart Muthesius became a master student in the studio of his father, Hermann Muthesius, cofounder of the Deutscher Werkbund. In 1929 Muthesius met Prince Yeshwant Rao Holkar Bahadur in Oxford, the later Maharajah of Indore, who commissioned him to build and furnish his Manik Bagh palace – and within four years Muthesius created a masterpiece of the Art Deco style.
The architectural design of the palace as well as the design of many of the furniture and lamps were created by himself. Together with avant-garde pieces by Marcel Breuer, Charlotte Perriand or Eileen Gray, he combined them to create a masterful total work of art. From 1936 to 1939, Muthesius was also head of the urban planning and redevelopment department of the state of Indore. When war broke out, he had to leave India and returned to Berlin, where he worked as a freelance architect.
MANUFACTURER
CLASSICON
Good furniture is like a good friend: somebody we like to have around and who accompanies us through life, wherever it may take us. We have been producing this kind of furniture since 1990. At the time, ClassiCon emerged from the traditional Vereinigte Werkstätten in Munich.
The licenses for the designs by famous designers of classic modernism, including Eileen Gray, Eckart Muthesius and Otto Blümel, formed the cornerstone for today’s collection. Soon, furniture by contemporary designers such as Sebastian Herkner, Neri & Hu, Konstantin Grcic and Jader Almeida followed. From the beginning, ClassiCon intentionally created a suspenseful relationship between classics and contemporary design. Owner Oliver Holy has had a lasting impact on the family-run company with his passion for design, architecture and art for almost 20 years now. Since mid-2024, he and CEO Timotheus Günak have been jointly managing ClassiCon.
Design, function and quality at the highest level plus a good amount of emotion – this is our vision: furniture design that convinces and accompanies people through their lives, something reliable and beautiful that is used and appreciated and, in the best case, passed down.
How much spirit of departure does a piece of furniture contain? At ClassiCon, you will only find innovative furniture that expresses the courage to depart from familiar ground. Some of the pieces carry big names, and each can look back on a proud design history, sometimes over several decades or even an entire century. Others, however, are only at the beginning of writing their own big stories.
We consider it our task to accompany and enable a multitude of such stories – now and in the future. For this purpose, we are continuously expanding our partner network and engage in intensive dialogs with international designers, often young and unknown.
Local craft businesses that bring design ideas to life through their skills and expertise play an equally important role for us. Through our production methods, we aim to bring this craftsmanship and wealth of experience to light and secure it for the future.
Designs from the ClassiCon collection can be found in museum collections around the world. Rare and precious originals by Eileen Gray, for example, are owned by the Victoria and Albert Museum in London, the National Museum of Ireland and the Museum of Modern Art in New York. In the meantime, designs by our contemporary designers have found a place in collections: classics of the future are exhibited or archived in various contexts. They represent formal innovation, originality and quality. With each selection, we are delighted about the success of the designers and the confirmation of our work.
Classicon Headquarters