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Vintage Brown Leather Eames for Herman Miller Soft Pad Aluminium Group Chair

$1,886.14Asking Priceper item

About

Beautiful vintage dark brown leather soft pad aluminium group chair designed by Charles and Ray Eames for Herman Miller in the 1960s. In very good vintage condition. There is some age-related wear to the leather but nothing serious or specific to mention. The arms are in good condition with some light wear on them. The chair rotates 360 degrees.  A well-built, extremely comfortable chair. Approximate dimensions: Height 91cm Width 56.5cm Depth 60cm. We have a matching pair of these at time of listing. Some background on this model from Herman Miller: Charles and Ray Eames developed the Eames soft pad chair in 1969 as a luxury version of their Eames Aluminum group chairs. Introduced in 1958, the Aluminum group was a special project by Charles and Ray Eames for a private residence being designed by Eero Saarinen and Alexander Girard for Cummins Engines founder J. Irwin Miller in Columbus, Indiana. At the time, the furniture was called the "leisure group," or "indoor-outdoor group" since it was meant to address the lack of quality outdoor furniture on the market. Herman Miller began making the Aluminum Group chairs in 1958, and they have been in continuous demand ever since. As Herman Miller say, this comfortable and luxurious chair sits equally well in retro interiors, elegant lobbies, or hip young offices....a statement of enduring design excellence.

Details

  • Creator
    Charles and Ray Eames (Designer),Herman Miller (Manufacturer)
  • Dimensions
    Height: 35.83 in. (91 cm)Width: 22.25 in. (56.5 cm)Depth: 23.63 in. (60 cm)
  • Materials and Techniques
  • Place of Origin
  • Period
  • Date of Manufacture
    Late 1970s
  • Condition
    Wear consistent with age and use.
  • Seller Location
    Lewes, GB
  • Reference Number
    Seller: 27701stDibs: LU2182316405681

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 (1907–78) studied architecture and industrial design. Ray (née Beatrice Alexandra Kaiser, 1912–88) was an artist, who studied under the Abstract Expressionist painter Hans Hofmann. They met in 1940 at the Cranbrook Academy of Art in suburban Detroit (the legendary institution 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.

The collection of original Eames furniture on 1stDibs includes chairs, tables, case pieces and other items.

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