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. What is a fair market price for 1970s Eames Lounge Chair and Ottoman ?
Ballpark numbers are all I ask, just to make sure the deal is in the ballpark. Please state 3 prices: Poor, Average, Mint.With graceful, sweeping lines and a distinctly modern design, the iconic Eames lounge chair debuted in 1956 and remains in production. Known as the 670 Eames chair and 671 Eames ottoman, these incorporate layered plywood seat shells, wood veneer, and leather cushions. Designers Charles Eames and his wife Ray-Bernice created the lounge chair as commissioned by Herman Miller Furniture. Consumers can find an Eames chair from brick-and-mortar stores and online sources, such asBefore purchasing a vintage Eames chair, consumers should consider a few tips. Shortly after the Eames lounge chair hit the market, imitators soon followed. Herman Miller took out an advertisement that cautioned consumers to avoid fakes. Plycraft produced a notable knock-off, which was considerably taller and bulkier than the original chair. The genuine headrest and chair back have equal proportions.
Additionally, the ottoman and the seat cushions are interchangeable. Charles Eames believed the chair should have "the warm, receptive look of a well-used first baseman's mitt." The chair's design originates with traditional and comfortable English club chairs. Consumers may wish to become familiar with the distinctive details of the Eames chair through reference books. While many faux Eames chairs recline when the user leans back, the authentic item does not. The seat is low, and these lounge chairs contain a permanent recline. The armrests curve outward, following the flare of the seat's shell. A second piece of leather welting covers authentic armrests. Copies have flat armrests and may have one piece of leather covering the edge. Many vintage Eames lounge chairs have paper labels on their undersides but about 30 percent of early original examples never had a label. These cream, red, or black labels typically read "Designed by Charles Eames" or "Charles Eames." The manufacturer's label reads "Herman Miller Furniture Company" and displays the company logo, which has two sharp prongs with a U-shaped interior.
The factory location indicates Venice, California or Zeeland, Michigan. Early chairs should not have a zip code on the address, as they were not in use in the 1950s. The stickers may also include the plywood manufacturer name "Evans." Authentic Eames lounge chairs utilized specific materials in the exterior shell and cushions. Brazilian rosewood, walnut, cherry, or santos palisander construct the shell. Herman Miller ceased production of chairs made with Brazilian rosewood, which embargoed worldwide in 1992. Age should softly wear the original finish of an Eames chair. It is possible that the chair's owner refinished or replaced the shell if the finish looks brand new. The urethane foam-filled cushions should be 6 inches deep and upholstered with soft leather. Look for black, tan, cream, or other muted colors in vintage examples. The seat cushions attach to the plywood shells with invisible rings and clips, which eliminate the need for bolts and screws. Authentic Eames lounge chairs display careful attention to detail that extends to the metalwork's fit and finish.
Potential buyers should examine several crucial details to ensure that the chair is a true Eames. The ottoman has a four-legged base with legs that rise slightly toward the center pedestal. The chair's base contains five legs. Sets with the wrong number of legs are copies. Bases contain die-cast aluminum that is powder-coated black and the trim is polished aluminum. The feet should have adjustable glides made of stainless steel or rubber shock mounts. The threaded glides allow the chair to stay level. The top and bottom elements of the chair back connect with two die-cast aluminum braces. Chair backs with square tubular braces indicate a copy. Authentic Eames lounge chairs should not have any exposed bolts or screws. Consumers should check the connection point between the legs and the center post. There should be a clean weld with no caps to hide bolts or uneven welds. While vintage pieces should have well cared for shells and leather, consumers may replace consumables, such as the shock mounts or rubber tips on the feet, without affecting the value of the chair.