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Charles Eames Time Life 'Lobby' Lounge Chairs for Herman Miller, 1970s, Signed

$2,400Asking Price

About

This wonderful pair of Time Life 'Lobby' lounge armchairs were designed by Charles Eames in 1959 and manufactured by Herman Miller, these examples produced in the 1970s. This handsome pair features its original deep chocolate brown colored leather over aluminum frames with height adjustment and tilt function. Casters can be added, contact us for details. Designed by Charles Eames in 1959 for the Time Life building in New York City, this executive office armchair hasn't budged from its role as the pinnacle of professional style, as proven by its constant appearance in the entire Mad Men series. The deep brown leather features both back cushions tufted by two buttons, these executive or management armchairs were created specifically for comfort and support. Padded armrests are perched on the aluminum frame, on top of four prong sculptural legs (caster can easily be added to make these desk / task chairs). The chairs have a mechanism to adjust the tilt function and another mechanism that allows you to adjust the height of the chair. Signed underneath with early rectangular black Herman Miller labels indicating a production year of 1970-1984. These luxurious and collectible desk chairs are bar none the quintessential piece for those who need to have the best in their place of relaxation or work. The legendary chess player Bobby Fischer required a Time Life chair during his games for its supreme comfort. As stated on Eames Office's website: "In 1972, chess grand master Bobby Fischer specifically requested the Eames (Time-Life) executive chair while he competed in the World Chess Championship in Reykjavik, Iceland. He said he could concentrate well in the chair. When opponent Boris Spaasky saw it, he refused to play until he got one, too." These executive lounge chairs would work great in a Mid-Century Modern, Scandinavian Modern or Danish Modern home or penthouse apartment but could also look fantastic in a Contemporary or Postmodern room. Also consider mixing it up in a Traditional, Transitional, Classical or Art Deco room with a splash of juxtaposition. Would also be an Apt choice in a commercial project such as a hotel lobby lounge or members club, creative design studio or high-rise executive office. Consider using as side chairs, cafe or breakfast table chairs, bedside chairs, fireside chairs, dressing or changing room chairs, hallway chairs, entryway or mudroom chairs, nursing or reading chairs, conference room chairs, office or desk chairs, guest chairs, task chairs, lounge chairs or occasional chairs ideal in virtually any setting. Measurements: H 33" x W 28.5" x D 28" Height can be adjusted with a variance of up to 3" Condition: Good vintage condition. Frames are sturdy and structurally sound with light wear and patina throughout, can be polished to a shine if desired, contact us for details. Leather is in good condition, with no rips or tears, light to moderate patina including "flea bites" tiny flea sized snags) to the leather. Ready for immediate use.

Details

  • Creator
    Charles Eames (Designer),Charles and Ray Eames (Designer),Herman Miller (Manufacturer)
  • Dimensions
    Height: 33 in. (83.82 cm)Width: 28.5 in. (72.39 cm)Depth: 28 in. (71.12 cm)
  • Style
    Mid-Century Modern (Of the Period)
  • Materials and Techniques
  • Place of Origin
  • Period
  • Date of Manufacture
    1970s
  • Condition
    Wear consistent with age and use. Good vintage condition. Sturdy and structurally sound with light wear and patina throughout, see description for greater detail.
  • Seller Location
    Los Angeles, CA
  • Reference Number
    1stDibs: LU1330217173142

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.
    Ships From: Los Angeles, CA
  • Return Policy

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

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About Charles and Ray Eames (Designer)

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 Los Angeles, CA

Automaton is the premier source for early-production originals of hard-to-find 20th-century designs and functional art, serving a range of clients, from celebrities and interior designers to aficionados with modest budgets. Its 20,000-square-foot Los Angeles space is packed with rare examples of designs from a large repertoire of such...

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