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Eames Time Life Lobby Chair for Herman Miller

$3,000Asking Price

About

A legendary office design by Ray and Charles Eames for the three modernist lobbies of the new Time Life Building in Manhattan, the Time Life lobby chair has a polished aluminum frame and segmented, tufted cushions in leather upholstery. Leather armrests sit neatly on the aerodynamic curves of the metal frame, which is supported by a four-star base. Slightly wider than the time life executive chair, the lobby version sits on plastic glides, though casters are available as well if this option is preferred. Unlike the narrower executive version, the lobby chair is no longer produced by Herman Miller. This example has the original black leather upholstery. Condition: Excellent vintage condition; All elements professionally cleaned and polished. The leather on the armrest pads has been replaced with new leather in keeping with the original. Dimensions: 29” width x 28”, depth x 29”, height, seat height is 16” and arm height is 22”.

Details

  • Creator
    Herman Miller (Manufacturer),Charles and Ray Eames (Designer)
  • Dimensions
    Height: 29 in. (73.66 cm)Width: 29 in. (73.66 cm)Length: 29 in. (73.66 cm)Seat Height: 16 in. (40.64 cm)
  • Style
    Mid-Century Modern (Of the Period)
  • Materials and Techniques
  • Place of Origin
  • Period
  • Date of Manufacture
    1971-1985
  • Condition
    Reupholstered. Wear consistent with age and use. Excellent vintage condition; All elements professionally cleaned and polished. The leather on the armrest pads only has been replaced with new leather in keeping with the original leather of the chair body.
  • Seller Location
    Los Angeles, CA
  • Reference Number
    Seller: ST17961stDibs: LU1645219878112

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

    This item cannot be returned.

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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
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Established in 2010
1stDibs seller since 2015
264 sales on 1stDibs
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