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Charles Eames for Vitra "EA 116" Hopsack Lounge Swivel Armchair

$1,358.77

About

The EA 116 Aluminium Group easy chair from 1958 is one of the greatest furniture designs of the 20th century. It stands out for its intelligent combination of materials. It has a clear, transparent form and its construction is clearly visible. Charles and Ray Eames departed from the principle of the seat shell, instead stretching a panel of fabric or leather between two aluminium side members to create a taut but elastic sling seat. The chair adapts to the body of the sitter and is extremely comfortable. The aluminium chair EA 116 offers superb comfort with it’s high backrest. The seating height is designed so that users can easily rise from the chair but is lower than a regular desk chair. The seating has it's original beautiful teal green blue collar fabric and it's original label on the base. Condition: Good used condition, some slight discoloring on the fabric in places due to possible light bleaching & could do with some cleaning. Otherwise all in working order as expected. Dimensions: Height 35.83 in. (91 cm) Width 24.41 in. (62 cm) Depth 27.96 in. (71 cm) Seat height 16.93 in. (43 cm).

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    Ships From: London, United Kingdom
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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.

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