1st Generation Evans Production Charles and Ray Eames LCM Chairs, 1946, Signed For Sale
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1st Generation Evans Production Charles and Ray Eames LCM Chairs, 1946, Signed

About

Yes, these are the first year originals of the design from 1946, a highly sought after and extremely collectible pair of Walnut LCM chairs by Ray and Charles Eames, manufactured by Evans Products Company, prior to Herman Miller which took over in later years. This pair of LCM's, which stands for Lounge Chair Metal, also synonymous with Low Chair Metal, are part of the plywood collection released in 1946 which began as Eames and Saarinen's entry into the Organic Furniture competition in earlier years. Also part of this collection are the LCW, DCM and DCW. They are both signed with the original Evans Products Company labels intact underneath which reads: Molded Plywood Division, Evans Products Company. This pair of lounge chairs are for the discriminating collector or that client who wants only the best of the best. Those who want the earliest examples of original design, so that their home or office can house pieces that would otherwise grace the room of a museum. But unlike art which is generally placed on a wall, these are functional and can also be used for the purpose of sitting. Art, you place and use on the floor. Materials: The plywood seats and seat-backs are made from Walnut. The base is made from metal. Condition: Original vintage condition with age and wear to wood seats and seat backs. Great piece of history, sturdy and sound, ready for use. This is a collector's item so we don't suggest refinishing, although we can do it for you if you prefer it to look like-new. Measurements: H 27" x W 22" x D 25", seat height 15.5".

Details

  • Wear
    Wear consistent with age and use.
  • Dimensions
    H 27 in. x W 22 in. x D 25 in.H 68.58 cm x W 55.88 cm x D 63.5 cm
  • Seat Height
    15.5 in. (39.37 cm)
  • Seller Location
    Los Angeles, CA
  • Sold As
    Set of 2
  • Reference Number
    LU1330214237052
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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

5 / 5
Vetted
Diamond
1stdibs seller since 2015
Located in Los Angeles, CA
Associations:
20th Century Specialists
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