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Eames Soft Pad Group EA208 by Vitra Charles & Ray Eames, circa 2000

$1,404.28Asking Price

About

Eames Soft Pad Group EA208 by Vitra Charles & Ray Eames, circa 2000 Eames Soft Pad Chair EA 208 by Vitra, this is a swivel version in blue leather raised on chrome base, the leather shows signs of use but with no tears or rips, a beautiful chair with makers mark to the underside. The design of the Soft Pad Group dates from the year 1969. In terms of both construction and shape, the Soft Pad Chairs are similar to the design of the Aluminium Group. However, their sewn-on cushions create a striking contrast to the slender aluminium profiles. The Soft Pad Chairs are softer and more voluptuous than the chairs in the Aluminium Group, but without losing the clean clarity of their common Silhouette. The chairs adapt to the body of the sitter and provide extraordinary comfort. Condition report: The chair is in excellent used condition, the leather shows signs of use with creases, slight fading to the leather but a good polish should conceal. Dimensions:? Width 23” inch / 58cm? Depth 23.25 inch / 59cm? Height 33 inch / 84cm? Seat height 17 inch / 43cm.

Details

  • Creator
    Vitra (Manufacturer),Charles and Ray Eames (Designer)
  • Dimensions
    Height: 32 in. (81.28 cm)Width: 23 in. (58.42 cm)Depth: 20 in. (50.8 cm)Seat Height: 20 in. (50.8 cm)
  • Style
    Mid-Century Modern (Of the Period)
  • Materials and Techniques
  • Place of Origin
  • Period
  • Date of Manufacture
    2000
  • Condition
    Wear consistent with age and use.
  • Seller Location
    Longdon, GB
  • Reference Number
    1stDibs: LU1832317610142

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.
    Customs Duties & Taxes May Apply.
    Ships From: Longdon, United Kingdom
  • Return Policy

    A return for this item may be initiated within 14 days of delivery.

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About the Designer

Charles and Ray Eames

Charles Eames and Ray Eames were the embodiment of the inventiveness, energy and optimism at the heart of mid-century modern American design, and have been recognized as the most influential designers of the 20th century. As furniture designers, filmmakers, artists, textile and graphic designers and even toy and puzzle makers, the Eameses were a visionary and effective force for the notion that design should be an agent of positive change. They are the happy, ever-curious, ever-adventurous faces of modernism. Charles studied architecture and industrial design. Ray (née Beatrice Alexandra Kaiser) was an artist, who studied under the abstract expressionist Hans Hofmann. They met in 1940 at the Cranbrook Academy of Art in suburban Detroit (where Charles also met his frequent collaborator Eero Saarinen and the artist and designer Harry Bertoia) and married the next year. His technical skills and her artistic flair were wonderfully complementary. They moved to Los Angeles in 1941, where Charles worked on set design for MGM. In the evenings at their apartment, they experimented with molded plywood using a handmade heat-and-pressurization device they called the “Kazam!” machine. The next year, they won a contract from the U.S. Navy for lightweight plywood leg splints for wounded servicemen — they are coveted collectibles today; more so those that Ray used to make sculptures. The Navy contract allowed Charles to open a professional studio, and the attention-grabbing plywood furniture the firm produced prompted George Nelson, the director of design of the furniture-maker Herman Miller Inc., to enlist Charles and (by association, if not by contract) Ray in 1946. Some of the first Eames items to emerge from Herman Miller are now classics: the LCW, or Lounge Chair Wood, and the DCM, or Dining Chair Metal, supported by tubular steel. The Eameses eagerly embraced new technology and materials, and one of their peculiar talents was to imbue their supremely modern design with references to folk traditions. Their Wire chair group of the 1950s, for example, was inspired by basket weaving techniques. The populist notion of “good design for all” drove their molded fiberglass chair series that same decade, and also produced the organic-form, ever-delightful La Chaise. In 1956 the Eames lounge chair and ottoman appeared — the supremely comfortable plywood-base-and-leather-upholstery creation that will likely live in homes as long as there are people with good taste and sense. Charles Eames once said, “The role of the designer is that of a very good, thoughtful host anticipating the needs of his guests.” For very good collectors and thoughtful interior designers, a piece of design by the Eameses, the closer produced to original conception the better, is almost de rigueur — for its beauty and comfort, and not least as a tribute to the creative legacy and enduring influence of Charles and Ray Eames.
About the Seller
5 / 5
Located in Longdon, United Kingdom
Platinum Seller
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Established in 2000
1stDibs seller since 2016
259 sales on 1stDibs
Typical response time: <1 hour
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