Seating

iconic lounge chair by Charles and Ray Eames. This icon does not need many words. It is probably the most famous and cozy Mid Century armchair. The ch...

Gorgeous early production 1950s classic Eames for Herman Miller Dax Molded Fiberglass Shell Armchair parchment with black metal base 31 h x 24.5 w x 23.5 d Arm rest 25 Seat 18 Preow...

Carlo Scarpa, Cornaro 140 armchair in ash wood, made for Gavina, Italy, 1973 This is one of the rarest and most fascinating versions of the famous sofa created by Carlo Scarpa, whic...

Early armchairs by George Nelson for Herman Miller. One chair has the original tag. These have been newly upholstered in a mohair fabric with the frames being cleaned and oiled, l...

Beautiful rare Dax Lounge Chair with the H-leg frame. This Version is a bit little lower than the other models. Only 42cm high instead of 45cm. The fiberglass shell is powder coate...

Charles and Ray Eames for Herman Miller Zenith Mid Century 1st Edition Rope Edge Chair Each chair measures: 25 wide x 23 deep x 31.5 high, with a s...

This is a 3473 sofa, originally designed by Charles and Ray Eames for Herman Miller in 1964. It is constructed from aluminum, iron, and plywood. It was recently recovered (2021) in b...

Listed for sale is a Herman Miller Eames Tandem four seater bench, model 3734 base and 3730 top, designed by Ray and Charles Eames. This set was manufactu...

Listed for sale is a super rare and original set of four lemon yellow Herman Miller Eames fiberglass dining / side chairs, designed by Ray and Cha...

This is a Two-Seat Sofa / Settee, designed by Charles and Ray Eames in 1978. The design is rather special as it is the last piece of furniture produced by the Eames Office, which com...

Fiberglass shell with upholstered frame, loose cushion. Extremely rare and hard to find. Aluminum bass on casters swivels.

This is a 3473 sofa, originally designed by Charles and Ray Eames for Herman Miller in 1964. It's constructed from aluminum, iron, and plywood. It may be the original white naugahyde...

Original 1960s molded fiberglass shell chairs in thready tan, designed by Charles and Ray Eames for Herman Miller. Gleaming shells are in original condition, in a lovely tan hue with...

Charles and Ray Eames for Herman Miller time life stool, circa mid-1960s. This solid walnut example has incredible graining and has been newly detai...

“design is a response to social change“ george nelson said, the director of design with office furniture manufacturer herman miller. economic growth and larger companies lead to rapi...

This is a 3473 sofa, originally designed by Charles and Ray Eames for Herman Miller in 1964. It's constructed from aluminum, iron, and plywood. It may be the original white naugahyde...

The swag leg chair designs by the office of George Nelson were developed in response to his desire to create a chair with a beautiful "swagged" leg (one that tapers while it curves)....

Mid-Century Modern Herman Miller Swivel Shell Chairs in Red Orange Vinyl - Set of 4 Fabulous set of 4 early Charles and Ray Eames fo...

This Is a rare iconic set of 4 chairs design by Carlo Scarpa for Bernini, mod 1934-765. This chairs Born in 1970, and come up in original condition, without any restoration as in pho...

Fabulous set of eight Mid Century Modern dining chairs by George Nelson for Herman Miller C1960. Two armchairs, 21x 21 x 29.5h x 18.5 seat height, Arms are 25h. Teak wood is in origi...

An iconic set of 12 chairs designed by Carlo Scarpa for the Auditorium in Via della Conciliazione, Rome on a project by Architect Marcello Piacentini 1950 this set from the first a...

“design is a response to social change“ george nelson said, the director of design with office furniture manufacturer herman miller. economic growth and larger companies lead to rapi...

The iconic RAR chair - Rocking (R) Arm (A) Chair on Rod (R) Base - was designed by Charles & Ray Eames for Herman Miller in 1950 and launched as one of the o...

A Dax rope edge fiberglass Zenith shell chair designed by Charles & Ray Eames for Herman Miller Co. with aluminum-finished legs retaining the original red leather upholstery over a f...

Very nice set of 5 original EA105 Chairs. These swivel chairs are designed by Charles and Ray Eames and fabricated by Herman Miller in the 70's. They have the original green "Hopsak...

Introducing the Mirra 2 Office Chair by Studio 7.5 for Herman Miller, the perfect blend of comfort, style, and functionality. Made in the USA in 2015, this gray office chair...

The early Zenith shells are distinctive for their high fiber content and larger, more substantial rubber shock mounts, a translucent quality to the fiberglass. RAR was the designatio...

DCW (Dining Chair Wood) chair created by Charles and Ray Eames around 1945. These are second generation chairs produced by Herman Miller USA between 1950 and 1953 (the production of...

Classic Mid-Century Modern office or desk armchair, model DAT-1 on castors and tilt swivel in off-white with molded fiberglass shell on a chrome base. Tilt s...

Swivel chair on casters in metal and fiberglass. Wear due to time and age of the chair (see photo) Adjustable seat height.

Peter Ghyczy's exceptional 2-seater sofa from the 1970s is an incredibly rare and truly unique piece. Also referred to as the "Fehlbaum sofa". Finding this particular sofa is a rar...

Those original and rare 1st edition of the dining chair, designed by Verner Panton in 1950s where produced for the first time in the middle of 1960 in a mix of polyester with fibregl...

One Charles Eames Herman Miller aluminum group chair 1970s Charles and Ray Eames aluminum group side chair, EA330 office confe...

Classic Eames DSX chair in original blue vinyl upholstery, with black trim, over a blue fiberglass shell. The chair its in very good, original, clean and ready to use conditional th...

Rare pair of bar stools / drafting stools with armless yellow fiberglass bucket / shell chair seats designed by Charles and Ray Eames on bases designed by George Nelson. Both have ad...

One of five original Aluminium EA107 chairs designed by Charles and Ray Eames in 1958. Chromed-plated aluminium base and white leather. Non-swivel. Herman Miller edition, signed. Ex...

Designed by Charles and Ray Eames in the late 1950s, this pair of black leather lounge chairs is the pinnacle of the Herman Miller Aluminum Group family of seating. This pair is not ...

a favourite from the very beginning are the so-called bachelor chairs by ray & charles eames, the correct product name is: dss-ta = dining height side chair stacking base tablet arm)...

Charles and Ray Eames for Herman Miller Zenith Mid Century 1st Edition Elephant Gray Rope Edge Chair – Pair Each chair measures: 25 wide x 23 deep ...

Four blue leather classic rope edge dax armchairs by Charles and Ray Eames for Herman Miller. These chairs were designed in the 1950s by the legendary American couple, who experiment...

eames‘ chairs are so common and widespread today that you’ve actually seen them far too often. but there are some versions that are a bit more special – making them collector’s items. for example, these ray & charles eames side chairs ‚pkw-2‘, meaning a pivoting, k-wire chair on a wooden base. version 1 would be a fully covered seat, version 2 is the cut-out „bikini“ cover, where you can see the wire mesh construction. this is also known as a ‚bikini swivel wire chair‘. here we have a black and a white one. we understood they were imported from the united states as a pair to Europe – but then sold on to different customers. years ago we bought the white one as the first piece in our eames-1st-generations-collection. by chance or serendipity, we were now able to find and buy the black one also and thus reunite the pair. together they make impressive and scarce art objects to grace any collection of early midcentury design. interestingly the dowel-leg-version was discontinued after 1954: the open ball-bearing connection and the elegant thin wooden legs weren’t very practical. weight and power, when swivelling, sometimes resulted in cracks or breakage. (that’s why we wouldn’t recommend them to use as a kitchen chair, maybe.) they are functional, showing a wonderful patina and are great pieces to admire and to understand the thinking behind the design. set of 2 side chair, model pkw-2, swivel dowel-base 1 white powder coated wire-shell, cognac-coloured leather bikini...

Orignal production iconic Marshmallow Sofa designed by Irving Harper for the George Nelson Office therefore attributed to George Nelson. Manufactured by Herman Miller and signed who...

George Nelson daybed for Herman Miller in newly upholstered Alexander Girard Maharam "Checker" fabric. George Nelson and Alexander Girard were both A...

Alexander Girard for Herman Miller Color Wheel. The ottoman is made from a fabric used by the creator called Kvadrat Hallingdal fabric. Legs are po...

Unusual pair low slung slipper lounge chairs attributed to Peter Protzmann for Herman Miller.. Amazing original condition. Superior quality and construction. Retains its original Kno...

Herman Miller Eiffel Parchment Fiberglass Chair Set of Two 31 tall x 24.75 w x 23.75 d, Seat 18 Arm rest 26 Original vintage unrestored preowned condition. Wear visible. Refer to all...

Patinated 1970s production Herman Miller stool in its original finish. 4 matching stools were acquired at the same time from a Grosse Pointe Michigan Estate. This one is often re...

Sold as a group of 10. We have 20 chairs available. Contact us if you need a custom quantity. Eames stackable fiberglass shell chairs with original brown naugahyde pads. The famous Charles and Ray Eames fiberglass shell chairs are outfitted with their original brown seat pads (cushions). We’ve never found a group of naugahyde Eames chairs in such outstanding condition! That is not to say that they are perfect, but you will be hard pressed to find flaws. The seams are all intact and no rips or holes. The black fiberglass shells are perfectly sound as well. This lot is being sold as a group of ten. That is one money for ten chairs. However, we have twenty chairs in total. Contact us if you want a custom quantity. Each chair bears the Herman Miller insignia, embossed in the fiberglass beneath the seat. The chairs feature the “DSS” base which allows the chairs to conveniently stack. This Eames stacking chair...

Light yellow fiberglass shell desk chair by Herman Miller. Designed by Charles and Ray Eames. Model PSCC, with swivel base and casters. In good workin...

Cornaro two-seater sofa, designed by Carlo Scarpa and manufactured by Studio Simon in 1974. Made of Iroko wood, foam, and azure chenille velvet. Excellent vintage condition. Born in Venice on June 2nd, 1906, Carlo Scarpa began working very early. Only a year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity; from 1927, he began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building which stands on the banks of the Grand Canal, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa was constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the first of many works which were to follow in the nineteen fifties: the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and shows clearly Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most incredible ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of the Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) and at the Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti Award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on renovating and restoring the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he worked on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began building a villa in Udine for the Veritti family. To shed some light on how much his work evolved over the years, it may be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions which were to make the most of his formal skills, working on the Carlo Felice Theatre in Genoa as well as another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, plenty of other episodes can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen in 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he carried out simultaneously on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, arising out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea,” followed by a cloister that ends by a small chapel, with an arcosolium bearing the family sarcophagi, the central pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways, teamed with the luminosity of these harmoniously blended spaces, shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all his many skills to come up with this truly magnificent space. As well as an outstanding commitment to architectural work, with the many projects we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added a couch and armchair, “Cornaro,” to the collection and the “Toledo” bed...

Herman Miller Eiffel Gray Fiberglass Shell Armchair Set of Two 31 tall x 24.75 w x 23.75 d, Seat 18 Arm rest 26 Preowned Original vintage condition Refer to all images.

Pair of Cornaro 140 armchairs designed by Carlo Scarpa. Solid hardwood structure (iroko). Polyurethane padding. Upholstery in original chenille velvet. The one-unit side and back cus...

American Mid-Century Modern design rocking chair designed by Charles & Ray Eames and produced by Herman Miller with original fiberglass frame and fabric upholstered seat, refurbished...

Gorgeous early Eames for Herman Miller fiberglass chair LAX (Low Armchair on X Base) having large shock mounts and flat edge shell. All origina...

The original Herman Miller Classic Aeron Chair Fully Adjustable in great vintage condition. Measures 24 to 30" in width with swinging arms, 24" in depth and stands 42" max. height. A...

Introducing the midcentury Charles Eames by Herman Miller Orange Fiberglass Shell Chair, a timeless piece of design history. We are pleased to off...

George Nelson for Herman Miller, sofa, model ‘5671’, fabric, metal, designed in 1955 and produced in 1956-78. This wonderful midcentury sofa is designed by the renowned American ...

Special Edition Herman Miller Eames Aluminum Group Executive Char in Silver Leather, 50th Anniversary Edition-- One Chair This chair ...