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Very Early "DCW" Chair by Charles Eames

About

The "Molded Plywood" collection of chairs designed by Charles and Ray Eames and their collaborators in the middle of the 1940s, and introduced after the end of WWII, has the distinction of being the first example of avant-garde furniture design finding immediate acceptance by the ordinary people for whom it was intended. Until then, highly original modernist furniture appealed -- almost without exception -- to a relatively small audience of architects, writers, college professors, and wealthy socialites, however ideologically committed the designers were to the Common Man. This frustrating pattern of unintended exclusivity was finally overturned by the playful and imaginative approach of the Eames office, an achievement usually repeated with each introduction of a new line of Eames designs. This superb "DCW" (dining chair wood) has a very early Evans Products decal which identifies this chair as pre-dating Herman Miller's discovery and patronage of Charles Eames' work. It is thus from the very first batch of molded plywood Eames chairs produced in the summer of 1946. This museum-quality piece is in fine original condition. Marked with decal to underside: "EVANS / Molded Plywood Division / Evans Products Company"

Details

  • Condition
    Excellent. Excellent all-original condition: all rubber shock-mounts are in great shape, and the chair is very sturdy in use. .
  • Dimensions

    H 29 in. x W 19.5 in. x D 22 in.

    H 73.66 cm x W 49.53 cm x D 55.88 cm

  • Seat height
    18 in. (45.72 cm)
  • Seller location
    Los Angeles, CA
  • Reference number
    U1110308091615

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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 “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

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