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Charles and Ray Eames 670 Rosewood Lounge Chair and 671 Ottoman

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$9,450.23

About

Charles and Ray Eames lounge chair The Eames lounge chair and ottoman are furnishings made of molded plywood and leather, designed by Charles and Ray Eames for the Herman Miller furniture company. They are officially titled Eames lounge 670 and ottoman 671 and were released in 1956 after years of development by designers. It was the first chair that the Eameses designed for a high-end market. Examples of these furnishings are part of the permanent collection of New York's Museum of Modern Art. Famously described as “a special refuge from the strains of modern living,” the Eames lounge chair and ottoman is one of the most significant designs of the 20th century. Unparalleled craftsmanship and rigorous attention to detail made it a fixture in homes across the world. Charles and Ray Eames' modern take on a 19th century club chair was originally inspired by a "well-used first baseman's mitt." Today, it's one of the most significant furniture designs of all time. A 1956 rosewood Eames lounge chair and ottoman are in the permanent collection of the Museum of Modern Art in New York City. The set was a gift of the Herman Miller Company, donated in 1960. A rosewood Eames lounge chair and ottoman are on display at the Henry Ford Museum in Dearborn, Michigan. A rosewood Eames lounge chair and ottoman are in the permanent collection of the V&A Museum of London. ?Museum number: CIRC.67-1969. A walnut or rosewood Eames lounge chair and ottoman are on display and in the permanent collection of the Museum of Fine Arts Boston. Charles and Ray Eames sought to develop furniture that could be mass-produced and affordable, with the exception of the Eames lounge chair. This luxury item was inspired by the traditional English club chair. The Eames Lounge Chair is an icon of Modern style design, although when it was first made, Ray Eames remarked in a letter to Charles that the chair looked "comfortable and un-designy". Charles's vision was for a chair with "the warm, receptive look of a well-used first baseman's mitt." The chair is composed of three curved plywood shells covered with veneer: the headrest, the backrest and the seat. The layers are glued together and shaped under heat and pressure. The shells and the seat cushions are essentially of the same shape, and composed of two curved forms interlocking to form a solid mass. The chair back and headrest are identical in proportion, as are the seat and the ottoman. The products have changed in various ways over time. Beginning in 1956 and running through the very early 1990s, the shells were made up of five thin layers of plywood which were covered by a veneer of Brazilian rosewood. The use of Brazilian rosewood was discontinued in the early 1990s, and current production since then consists of seven layers of plywood covered by finishing veneers of cherry, walnut, Palisander rosewood (a sustainably grown wood with similar grain patterns to the original Brazilian versions), and other finishes. Small changes include the sets of spacers between the aluminum spines and the wood panels, originally of rubber, later hard plastic washers, and the number of screws securing the armrests, originally three, changed to two in second-series models, while the "domes of silence" (glides/feet) on the chair base originally had thinner screws attaching them to the aluminum base than those on later chairs, and the zipper around the cushions, either brown or black on early models, was later black only. Further, early ottomans had removable rubber slide-on feet with metal glides, and early labels are of oblong foil. The Eameses constantly made use of new materials. The pair's first plywood chair—the Eames lounge chair wood (LCW)—made use of a heavy rubber washer glued to the backrest of the chair and screwed to the lumbar support. These washers, which have come to be called "shock mounts", allow the backrest to flex slightly.This technology was brought back in the 670 lounge chair. The backrest and headrest are screwed together by a pair of aluminum supports. This unit is suspended on the seat via two connection points in the armrests. The armrests are screwed to shock mounts, which are connected only by glue to the interior of the backrest shell, allowing the backrest and headrest to flex when the chair is in use. This is part of the chair's unusual design, as well as its weakest link, as the shock mounts have been known to tear free, causing collapse and damage. Other creative uses of materials include the seat cushions, which eschew standard stapled or nailed upholstery. Instead, the cushions are sewn with a zipper around the outer edge that connects them to a stiff plastic backing. The backing affixes to the plywood shells with a series of hidden clips and rings. This design, along with the hidden shock mounts in the armrest allow the outside veneer of the chair to be unmarred by screws or bolts. The chair has a low seat which is permanently fixed at a recline. The seat of the chair swivels on a cast aluminum base, with glides that are threaded so that the chair will remain level.??

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About the Design

Eames Lounge Chair and Ottoman

Long before it was the pièce de résistance in a collector’s office or an upscale bachelor pad — landing in ample design magazines, on television and in well-appointed offices over the years — the Eames lounge chair was a fresh, subversive new take on a classic club chair and a culmination of experimentation by its inventive creators. Charles and Ray Eames (1907–78; 1912–88) met while studying at the Cranbrook Academy of Art, the prestigious Michigan institution that drew such illustrious design minds as Florence Knoll, Eero Saarinen and more. After graduation, they formed the Eames Office, where they spent much time exploring and formulating new techniques in bent plywood and fiberglass with the goal of producing affordable furniture for a mass market. The Eames lounge chair, on the other hand — with its signature wood-grain back and sumptuous (usually black) leather seat — was different. While the couple’s DCW chairs, introduced in the 1940s, prioritized ease of production and affordability of materials, the lounge, which debuted in 1956, was Charles and Ray’s interpretation of luxury furniture. And to the Eameses, luxury meant, above all, comfort. The couple famously called the lounge chair and ottoman “a special refuge from the strains of modern living” and described their design as having the “warm receptive look of a well-used first baseman’s mitt.” Although the seat makes use of the same bentwood technique the Eameses pioneered using their famous “Kazam! Machine” (a handmade apparatus for molding plywood) for their DCW chairs, it tops off this frame with supple leather over a plump, upholstered shape. Ever fascinated by ergonomics, the Eameses carefully calibrated the pitch of the seat. It has enough flexibility for comfort but not so much that stability is sacrificed. This precise shape comes by way of three connected plywood pieces, which, on early models is covered in five layers of Brazilian rosewood; owing to an early 1990s-era embargo on the material, however, the Brazilian rosewood has since been replaced with either ash, walnut or palisander. The accompanying ottoman is the icing on the comfort cake, inviting the sitter to quite literally kick back and relax. Today, imitations of the Eames lounge chair and ottoman abound. The seat is currently manufactured by both Herman Miller and Vitra, and when it was launched initially by the former, the supporting marketing blitz emphasized the chair’s versatility — an effort that, given the seat’s current ubiquitousness, was clearly successful.
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