Houston

A set of 6 Herman Miller DCM chairs circa 2008. Recently refurbished and in pristine condition. “The Eames Molded Plywood Dining Chair began as an experiment in the California apartment of Charles and Ray Eames and quickly became a favorite of artists and designers around the world. The body-friendly molded shapes and springy rubber shock mounts of the original chair bring ergonomic comfort and classic mid-century style to the table today. This plywood dining chair with metal base...

Iconic set of 2 cherry red Herman Miller chairs designed by Charles and Ray Eames. They have beige fiberglass shells and red vinyl upholstery with black trim. Swivels on 4 legs. Over...

Set of 2 side chairs from the Eames Aluminum Group series produced by Herman Miller. This iconic design, introduced in the late 1950s, features a ...

A walnut classic LCM chair by Charles and Ray Eames for Herman Miller. The chair features a steel frame with a curved plywood seat and backrest. The piece has a thick plywood middle ...

George Nelson & Associates Thin Edge ten drawer cabinet Herman Miller Rosewood veneer, aluminum, enameled metal Large ten drawer cabinet featuring rare George Nelson pull...

Retains original Herman Miller labels. Leather soft and cushions extremely comfortable. The chair is all original Herman Miller parts but they come from 3 donor chairs. The shock mou...

Sculptural drop-leaf dining table with gate leg. The table was designed by George Nelson for Herman Miller and is made from walnut.  

Single Charles Eames for Herman Miller aluminum group office chair. Great armchair for an office or desk.

Beautiful midcentury model 3473 sofa by Charles and Ray Eames for Herman Miller. Upholstered in luxurious black leather, this minimal sofa has a gently-a...

Herman Miller 670 brown leather Eames lounge chair -circa 1970s -Brown leather excellent shape -Rosewood -Incudes ottomans -Round label Model 6...

Pair of 1950s Herman Miller black finished dressers designed by George Nelson. Each drawer has brass color handles and the bottom drawer has wooden dividers. The dressers are sold as...

The glass has Isamu Noguchi's signature and the base has a Herman Miller tag. The Noguchi table is a piece of modernist furniture first produced in the mid-20th century. Introduced by Herman Miller in 1947, it was designed in the United States by Japanese American artist and Industrial designer Isamu Noguchi. The Noguchi table comprises a wooden base composed of two identical curved wood pieces, and a heavy plate glass top. The Noguchi table was an evolution of a rosewood and glass table Noguchi designed in 1939 for A. Conger Goodyear, president of the Museum of Modern Art.[1] The design team at Herman Miller was so impressed by the table's use of biomorphism that they recruited Noguchi to design a similar table with a freeform sculptural base and biomorphic glass top for use in both residential and office environments.[1] The 1947 Herman Miller catalog described the Noguchi coffee table as "sculpture-for-use" and "design for production". The base was carved from solid walnut, and consisted of two identical parts; when one part "is reversed and connected to the other by a pivot rod, a base appears which has a smoothly flowing form and an interest rarely found in furniture of any period". The shape of the two wooden supports produces a self-supporting and stabile base, allowing the heavy plate glass top to be placed without the use of connectors. The Noguchi table became one of Herman Miller's most iconic and successful designs. Production ceased in 1973, and the piece became an instant collectible. Herman Miller reissued it in 1980 in a limited edition of about 480 tables. The table was reintroduced again in 1984 for the "Herman Miller Classics" line, and has been in production ever since. Isamu Noghuci “Any material, any idea without hindrance born into space, I consider sculpture,” said the prolific sculptor-designer Isamu Noguchi. He believed the sculptor’s task was to shape space, to give it order and meaning, and that art should “disappear,” becoming one with its surroundings. Perhaps it was his Dual heritage—his father was a Japanese poet, his mother a Scottish-American writer—that led him to look at the world with an eye for “oneness.” Unwilling to be pigeonholed, Noguchi created sculptures as abstract as Henry Moore’s and as realistic as da Vinci’s. He used any medium he could put his hands on: stone, metal, wood, clay, bone, paper, or a combination—carving, casting, cutting, pounding, chiseling, or dynamiting as his forms took shape. “To limit yourself to a particular style may make you an expert of that particular viewpoint or school, but I do not wish to belong to any school,” he said. “I am always learning, always discovering.” His extraordinary output included playgrounds and plazas, furniture and gardens, those stone-carved busts and delicate Akari paper lights...