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Eames for Herman Miller Red Orange RAR Rocker

$1,200

About

Ray and Charles Eames designed RAR rocking chair in red orange. Made, circa 1950s by Herman Miller of Zeeland, Michigan, US. Pristine example of the this icon of modern design. Molded fiberglass seat is in nearly unused condition, with almost no UV fading. Color is bright and consistent throughout the piece, both front and back. Welded steel base has very little oxidation. Chair comes with new birch rocker glides as well as the original ones; which have been shortened at some point. See images for details.

Details

  • Creator
    Herman Miller (Manufacturer),Charles and Ray Eames (Designer)
  • Design
    Eames RAR RockerEames Shell Chairs Series
  • Dimensions
    Height: 26 in. (66.04 cm)Width: 24.75 in. (62.87 cm)Depth: 27 in. (68.58 cm)Seat Height: 16 in. (40.64 cm)
  • Style
    Mid-Century Modern (Of the Period)
  • Materials and Techniques
    MoldedFiberglass,WeldedSteel,Birch
  • Place of Origin
  • Period
  • Date of Manufacture
    1950s
  • Condition
    Replacements made: Additional New Birch Rocker Glides Have been added to the chair. Chair comes with original ones as well, which have been shortened, pictured. Wear consistent with age and use. Fiberglass seat, shock mounts, adhesive, and Rocker Base are original to the chair. A UV protective clear coat has been added to fiberglass seat. Chair comes with both original rocker glides (shortened) and new Birch replacement glides (pictured).
  • Seller Location
    Portland, ME
  • Reference Number
    1stDibs: LU5089121255322

Shipping & Returns

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

    A return for this item may be initiated within 3 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
4.3 / 5
Located in Portland, ME
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2017
1stDibs seller since 2019
10 sales on 1stDibs
Typical response time: 1 hour
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