3rd Generation Eames Lounge Chair (670/671) in Rosewood and Leather with Ottoman for Herman Miller. This beautiful highly figured rosewood chair is in incredible original condition. Single owner chair that was babied it's entire life. It was cleaned regularly and it always sat away from windows. Shock mounts are in good working order, leather shows a wonderful patina with very little signs of wear, wood shells are in excellent vintage condition with no scraps or dings. This is a vintage chair circa 1978 that retains the original Herman Miller tags on the chair. It is in excellent original condition with incredible grain. We see a lot of Eames Lounge Chairs and they don't get much better than this one.
About the Eames Lounge Chair: Designed to be a refuge from the strains of modern living.This chair has been thoughtfully designed to improve with age. Treat yourself and enjoy one of the most iconic chairs of the modern era.
According to Charles Eames, this chair was designed to emit the “warm receptive look of a well-used first baseman’s mitt. It was designed as a special refuge from the strains of modern living. The iconic Eames chair is three curved plywood shells: a headrest, backrest, and seat. Two metal spines are set on spacers supporting the reclined rosewood-veneered back and sumptuous leather cushions (designed by Alexander Girard). “ * In 1961, Playboy magazine sang the chair’s praises by saying the Eames Lounge Chair and ottoman “sank the sitter into a voluptuous luxury that few mortals since Nero have known”. Give this chair a try and you will understand why so many hail it as the world’s most comfortable chair. A piece of history and luxury, an icon of design.
* 100 Mid Century Chairs and their stories by Lucy Ryder Richardson
Total Height 32" Seat Height 15" Width 32.75" Depth
About the Designers:
Charles Ormond Eames (1907–1978) and Bernice Alexandra "Ray" Kaiser Eames (1912–1988) were an American married couple. Both were industrial designers who made significant historical contributions to the development of modern architecture and furniture through the work of the Eames Office. They also worked in the fields of industrial and graphic design, fine art, and film. Charles was the public face of the Eames Office, but Ray and Charles worked together as creative partners and employed a diverse creative staff. Among their most recognized designs is the Eames Lounge Chair and the Eames Dining Chair.
Charles Eames secured an architecture scholarship at Washington University, but his devotion to the practices of Frank Lloyd Wright caused issues with his tutors and he left after just two years of study.
He met Ray Gayber at Cranbrook Academy of Art in 1940. Charles arrived at the school on an industrial design fellowship as recommended by Eliel Saarinen (father of famed architect Eero Saarinen), but soon became an instructor. Ray enrolled in various courses to expand upon his previous education in abstract painting in New York City under the guidance of Hans Hofmann. Charles entered into a furniture competition—with his “best friend” Eero Saarinen—hosted by the Museum of Modern Art. Eames and Saarinen's goal was to mold a single piece of plywood into a chair; the Organic Chair was born out. Eames and Saarinen considered it a failure, as it was to expense to mass produce. The tooling for molding a chair from a single piece of wood had not yet been invented. Ray stepped in to help with the graphic design for their entry. Soon after, Eames divorced his first wife Catherine Woermann, and he and Ray married in June 1941. Their honeymoon was a road trip to relocate to Los Angeles.
Their first home, after staying in a hotel for a few weeks, was Neutra's Strathmore Apartments in the Westwood neighborhood. Charles and Ray began creating tooling and molding plywood into chairs in the second bedroom of the apartment, eventually finding more adequate work spaces in Venice at 901 Abbot Kinney Boulevard in Venice, Los Angeles, California.
In addition to their initial attempts in the molding of plywood into functional furniture, the Eames' developed a leg splint for wounded soldiers during WWII. This was in response to the war's medical officers in combat zones reporting the need for improved emergency transport splints. The Eames' created splints from wood veneers, which they bonded together with a resin glue and shaped into compound curves using a process involving heat and pressure. With the introduction of plywood splints, they were able to replace problematic metal traction splints that had side effects of inducing gangrene due to impairment of blood circulation. The US navy's funding for the splints allowed Charles and Ray to begin experimenting more heavily with furniture designs and mass production.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945); Eames Lounge Chair (1956); the Aluminum Group furniture (1958); the Eames Chaise (1968), designed for Charles's friend and film director, Billy Wilder; the Solar Do-Nothing Machine (1957), an early solar energy experiment for the Aluminum Corporation of America; and a number of toys. Herman Miller officially relocated the tooling and resources for the mass production of Eames designs to its headquarters in Zeeland, Michigan in 1958. Herman Miller, along with their European counterpart Vitra, remain the only licensed manufacturers of Eames furnitures and products.
As with their earlier molded plywood work, the Eames' pioneered technologies, such as using fiberglass as a materials for mass-produced furniture. From the beginning, the Eames furniture has usually been listed as by Charles Eames. In the 1948 and 1952 Herman Miller bound catalogs, only Charles' name is listed, but it has become clear that Ray was deeply involved and was an equal partner with her husband in many projects. Charles was consistently advocating that Ray was his equal. In August 2005, Maharam fabrics reissued Eames designed fabrics; Sea Things (1947) pattern and Dot Pattern. The Dot Pattern was conceived for The Museum of Modern Art's “Competition for Printed Fabrics” in 1947. The Eames fabrics were designed solely by Ray. In 1979, the Royal Institute of British Architects awarded Charles and Ray with the Royal Gold Medal. At the time of Charles' death they were working on what became their last production, the Eames Sofa, which went into production thanks to Ray's efforts in 1984.
The Eames Furniture remains a classic staple of Mid Century modern atheistic.