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charles eames
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Charles Eames and Eero Saarinen, USA, 1940s.
Small cabinet for the Organic Design Competition. Manufactured by the Red Lion Furniture Co. Honduran mahogany; unmarked.
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This diminutive cabinet was designed by two young architects who had met at Cranbrook for the Organic Design in Home Furnishings Competition at MoMA in 1941, where it was part of a system of case furniture which received First Prize in the “Other Furniture for a Living Room” category. Red Lion’s collaboration with Eames and Saarinen was briefly retailed at department stores in major cities following the exhibition. Another example of this rare model is in the permanent collection of MoMA. -
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Charles and Ray Eames, USA, 1950s
"DTM-20" folding table with chrome folding legs, hairpin support arms, and white Micarta top. Designed by Charles and Ray Eames for Herman Miller, USA, circa early 1950s.
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Charles and Ray Eames, USA, 1946
LCM lounge chair with original blue leather upholstery. Designed by Charles and Ray Eames and manufactured by Herman Miller, USA, 1946. Original leather, anilin-dyed ash plywood, chrome-plated steel, rubber. Applied foil manufacturer's label to underside: 'Design Charles Eames Herman Miller Zeeland, Michigan'.
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Charles and Ray Eames
Charles and Ray Eames
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LCM (Lounge Chair Metal). Designed 1946
Manufactured by Herman Miller, Zeeland, Michigan
Molded ash plywood with original black aniline dye finish and original blue leather upholstery, chrome-plated steel, rubber shock mounts
From the 1920’s to the 1940’s, the pioneers of modern chair design – Aalto, Breuer, Eames - produced seats in three distinct mediums. Tubular Steel. Bent Plywood. And…the most difficult of all, the marriage of steel and plywood. I firmly believe that the most successful realization of the third category is the LCM and DCM designed by Charles and Ray Eames in 1946. The separation of the molded plywood back and seat simplified production and heightened the design’s sculptural qualities by emphasizing the space surrounding the actual form. The rubber shock mounts were the secret sauce of all Eames chair designs, cushioning the impact of sitting on plywood on top of the frame. In the end, the LCM is a far more compelling chair than the LCW, in which the seat, back and legs were plywood.
Eames collectors love early and quirky examples of the most famous designs, and the present LCM certainly fits the bill. We acquired a pair of these chairs because it is the first time we have ever seen original blue leather seats and backs, contrasted with black aniline dye finish to the wood on the underside. The manufacturer and retailer labels date these examples to approximately 1952.
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Charles and Ray Eames for Herman Miller, USA, 1958
"670" lounge chair and ottoman in rosewood with aubergine leather upholstery.
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Charles and Ray Eames, USA, 1948
Charles and Ray Eames. Half-size FSW-6 screen. Circa 1948. Manufactured by Herman Miller, Zeeland, MI, ca. 1948. Ash plywood, canvas. Unmarked.
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Charles and Ray Eames, USA, 1951
First edition ESU Desk, Zeeland, Michigan, ca. 1951-52. Birch plywood, laminated plywood, enameled masonite, fiberglass, zinc-plated steel.
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Wendy Maruyama and Pamela Weir-Quiton In Conversation
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Tour the R & Company Archives
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Why Brazilian Design? Why Now?
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Wendy Maruyama’s Mickey Mackintosh Chair
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