Items Similar to Charles & Ray Eames for Herman Miller Fiberglass DSX Chairs, Early ProductionView More
Currently we have:
One dark olive green,
One red orange,
Three raw umber,
Two ochre light,
One seal brown
Please specify which color(s) you are purchasing. Simply message us before or after you place your order and we will make sure that we ship you the color that you request.
This classic set would be a great used together or individually around the house in a classic or contemporary dining room, living room, den, family room, kitchen, office or bedroom. They would also be an apt choice in a corporate, retail or hospitality location such as a boutique hotel lobby, cocktail bar, members club, workspace studio, executive office or in a luxe clothing emporium.
Measurements: 31.25" H x 18" W x 21.5" D
Seat height 17.25"
All chairs in good to fair original vintage condition and structurally sound. As expected, signs of use commensurate with age are evident. Some markings and scuffs found on the fiberglass. An attractive patina and signs of oxidation has built up on the chrome plated bases. The Red Orange chair has some fading to the seat. Please message us for images of this chair. The dark green olive looks darker in the images, contact us for further images. All chairs have Herman Miller stamps or stickers, they are all different depending on the chair.
About Herman Miller (Manufacturer)
No other business of its kind did more than the Herman Miller Furniture Company to introduce modern design into American homes. Working with legendary designers such as Charles and Ray Eames, George Nelson and Alexander Girard, the Zeeland, Michigan-based firm fostered some of the boldest expressions of what we now call Mid-Century Modern style. In doing so, Herman Miller produced some of the most beautiful, iconic and, one can even say, noblest furniture of the past seven decades.
Founded in 1923, Herman Miller was originally known for grand historicist bedroom suites: heavily ornamented wood furniture that appealed to a high-minded, wealthier clientele. The company—named for its chief financial backer—began to suffer in the early 1930s as the Great Depression hit, and D. J. De Pree, the company’s CEO, feared bankruptcy. In 1932, aid came in the form of Gilbert Rohde, a self-taught furniture designer who had traveled widely in Europe, absorbing details of the Art Deco movement and other modernist influences. After persuading De Pree that the growing middle-class required smaller, lighter household furnishings, Rohde set a new course for Herman Miller, creating sleek chairs, tables and cabinetry that were the essence of the Streamline Moderne style.
Rohde died suddenly in 1944. The following year, De Pree turned to George Nelson, an architect who had written widely about modern furniture design. Under Nelson’s leadership, Herman Miller would embrace new technologies and materials and audacious biomorphic forms. Some of the pieces the company produced are now emblems of 20th century American design, including the Eames lounge chair and ottoman and Nelson’s Marshmallow sofa and Coconut chair. As you can see on these pages, such instantly recognizable furnishings have become timeless—staples of a modernist décor; striking, offbeat notes in traditional environments.
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