Time Life Lobby Desk Chair by Charles and Ray Eames for Herman Miller, Signed

American chess grand master Bobby Fischer pronounced the Eames Executive chair to be so comfortable that he insisted it was the only chair he could concentrate on during his world championship match against Boris Spassky in Iceland in 1972. In the end, both Spassky and Fischer were seated on the lightweight aluminum and leather chairs that have been seen in offices around the world since the piece's debut in 1960.

Modern American design luminaries Charles and Ray Eames (1907–78; 1912–88) initially came up with the concept for the Executive chair at the request of Time Inc. founder Henry Luce for the lobbies of the Time Life Building in Manhattan. Luce had asked the Eameses to design several of the property’s lobbies as a return favor for their use of the Time/Life photo library, to which they had been granted access for their film Glimpses of the U.S.A., first shown at the American National Exhibition in Moscow in 1959.

Conceived to be smaller than the now-famous Eames lounge chair, the Executive chair was versatile enough to be used as a conference-room chair while still extremely comfortable. Since then, the Eames Executive chair, which features three individual upholstered cushions, has become so synonymous with chic mid-century modernism that examples of it were used around the conference table on the set of the TV series Mad Men.

Charles and Ray Eames first met at Cranbrook Academy of Art in Bloomfield Hills, Michigan, where Ray was taking classes after studying painting with Hans Hofmann in New York. Charles had already established his own architecture practice in St. Louis, when he received a fellowship to Cranbrook and later headed its industrial design department.

After marrying in 1941, the newlyweds moved to Los Angeles, where they established the Eames Office and eventually built their lifelong residence, the Eames House in Pacific Palisades as part of the Case Study House Program.

Perhaps best known for their visionary work with molded plywood, the Eameses’ furniture designs, toys, graphic and textile designs, films and architecture truly transformed American interior design and furniture like almost no other designer of the 20th century. Many museums throughout the United States, such as the Museum of Modern Art in New York, hold examples of the Eames Executive chair in their permanent collections.

Herman Miller, the core business of which was office furnishings by the 1960s, continues to produce the Eames Executive chair. In Europe, the alluring leather swivel chair is manufactured by Vitra as the Eames Lobby chair.

The legacy of Charles Eames looms large in design. In partnership with his wife, Ray, Charles was at the forefront of pioneering innovation in the use of molded plywood for furniture making. The Eameses’ cheerful and inviting work has endured among the most important advancements in the history of 20th-century design.

Together, visionary mid-century modern duo Charles and Ray Eames introduced a wide range of renowned furniture to the postwar market, including iconic designs such as the Eames lounge chair and ottoman, the wildly colorful birch plywood-and-plastic-laminate Eames storage unit, the Eames compact sofa and more. The designers were trailblazers in molded plywood furniture and brought lively organic form to metal and plastic.

Charles Eames studied architecture at Washington University in St. Louis. He traveled to Mexico and Europe, and experienced firsthand the work of designer-architects Le Corbusier and Ludwig Mies van der Rohe. In 1930, upon returning to Missouri, Eames opened an architecture practice with Charles M. Gray but later moved to Michigan in 1938. He received a fellowship at Cranbrook Academy of Art, which would become a breeding ground for the stars of mid-century design. Eames continued his architecture studies at Cranbrook and also taught in the design department.

In 1940, Eames met his future wife, artist and designer Beatrice Alexandra "Ray" Kaiser, who was studying at Cranbrook under Abstract Expressionist painter Hans Hofmann. Charles teamed up with another Cranbrook instructor, Finnish-American designer Eero Saarinen, to explore the possibilities of plywood for use in furniture design.

With support from Ray, Charles and Eero created chairs and case pieces and submitted them to the “Organic Design in Home Furnishings” competition at the Museum of Modern Art in New York City — among them was the groundbreaking organic Side chair made of molded plywood with maple legs. It was upholstered by Heywood-Wakefield. This exhibition is considered critical by many to the popularization of what is known as mid-century modernism. Eames and Saarinen won first place for their submissions to the competition.

Charles and Ray were married in 1941 and soon after moved to Los Angeles, California, and lived in an apartment building designed by architect Richard Neutra. Charles worked on set design at MGM, and at night, in a humble workshop they established in the guest bedroom, he and Ray experimented with molded plywood on a homemade device they called the “Kazaam!” machine. In 1942, the couple won a U.S. Navy contract to create molded plywood leg splints that would be used to support wartime medical efforts. Soon, the Evans Product Company was making the splints and the Eameses opened the famed Eames Office and studio.

The Eameses’ innovative use of wire framing, molded plywood and applied fabrics caught the attention of many notable figures in interior design and architecture, including George Nelson, director of design at Herman Miller, a now-legendary modern furniture manufacturer. The company enlisted the Eameses’ talents and was eventually home to the couple’s classic pieces such as the Eames DCW chair and the DCM chair.

Find an extensive array of vintage Charles Eames seating, tables and case pieces on 1stDibs.