Description: A Herman Miller Cross Section Original 1956 Herman Miller Furniture Company Mailer Furniture Designed By Charles Eames and George Nelson and Textiles by Alexander Girard Herman Miller Furniture Company: A Herman Miller Cross Section [title]. Zeeland, Michigan: The Herman Miller Furniture Company, [1956]. Original edition. 18.5 x 16-inch brochure machine folded into eighths as issued. Recto printed in two colors and single color to verso. Unmarked but from the library of James Prestini. Lightly handled but a nearly fine copy. 18.5 x 16-inch brochure machine folded into eighths showcasing furniture by Charles and Ray Eames and the George Nelson with textiles by Alexander Girard. The Herman Miller furniture lines from 1948 has been called the most influential groups of furniture ever manufactured. A rare piece of original ephemera that captures the zeitgeist of Herman Miller Furniture Company at the height of its influence. In a characteristically wry 1944 correspondence with Herman Miller founder, DJ De Pree, George Nelson wrote that “your reservations on my suitability as a designer for Herman Miller Co., impressed me very much for they seem to be well founded… the question of lack of experience in the commercial furniture field is also important, but here, I am afraid, you and your associates will have to make the decision on your own.” Fast forward four years later, and Nelson once again found himself reflecting on the integrity of the Herman Miller Co., but this time, not as a potential hire but rather as Herman Miller’s founding creative director. In the 1948 introduction to the catalogue for his first ever collection for the company, he writes, “From the viewpoint of the designer, which is the only viewpoint I can assume with any degree of propriety, the Herman Miller Furniture Company is a rather remarkable institution.” Whatever leap of faith was required of De Pree to hire Nelson, the affinity and mutual respect shared between the two was undeniably fruitful. Nelson credits Herman Miller’s singularity as a result of a “philosophy” or “attitude” compounded of a set of principles—that what you make is important; that design is integral to business; that products must be honest; that only we can decide what we make, and that there is a market for good design—that allow for a degree of autonomy and innovation unavailable to companies driven by the shallow demands of the market or sales. “There is no attempt to conform to the so-called norms of ‘public taste,’ nor any special faith in the methods used to evaluate the ‘buying public.’ The reason many people are struck by the freshness of Herman Miller designs is that the company is not playing follow-the-leader.” Charles (1907 – 1978) and Ray Eames (1912 – 1988) created more than a look with their bent plywood chairs or molded fiberglass seating. They had ideas about making a better world, one in which things were designed to fulfill the practical needs of ordinary people and bring greater simplicity and pleasure to our lives. The Eameses adventurously pursued new ideas and forms with a sense of serious fun. Yet, it was rigorous discipline that allowed them to achieve perfection of form and mastery over materials. As Charles noted about the molded plywood chair, “Yes, it was a flash of inspiration,” he said, “a kind of 30-year flash.” Combining imagination and thought, art and science, Charles and Ray Eames created some of the most influential expressions of 20th century design – furniture that remains stylish, fresh and functional today. And they didn't stop with furniture. The Eameses also created a highly innovative “case study” house in response to a magazine contest. They made films, including a seven-screen installation at the 1959 Moscow World's Fair, presented in a dome designed by Buckminster Fuller. They designed showrooms, invented toys and generally made the world a more interesting place to be. As the most important exponents of organic design, Charles and Ray Eames demonstrated how good design can improve quality of life and human understanding and knowledge. Alexander Girard (American, 1907 – 1993) became director of design for Herman Miller's textile division in 1952, a time when fabrics, especially in the office, tended toward the utilitarian, drab and pattern-less. “People got fainting fits if they saw bright, pure color,” Girard commented at the time. At Herman Miller, Girard had the freedom to express himself. With primary colors, concise geometric patterns, and a touch of humor, he injected joy and spontaneity into his designs. During his tenure, he created over 300 textile designs in multitudes of colorways, wallpapers, prints, furniture, and objects. Girard's work with Herman Miller continued until 1973 and included spicing up the Action Office system with a series of decorative panel fabrics. Born in New York City and raised in Florence, Girard was educated in Europe as an architect. He began practicing architecture and interior design in the late 1920s. The exhibition he curated for the Detroit Institute of Arts in 1949—“For Modern Living”—celebrated postwar modernism. Girard developed a friendship with Charles Eames in the 1940s when the two men realized they had coincidently designed almost identical modern radio cabinets and were both experimenting with plywood chairs. Girard's reputation soared in 1959, when his zestful interior design of the La Fonda del Sol restaurant in New York electrified the public. He designed the entire experience for the restaurant—interior, graphics, place settings, staff uniforms. Girard reprised the feat for Braniff International Airways in the mid 1960s, designing no less than 17,543 different items—from logo to lounge furniture. While Girard focused his abilities at Herman Miller on the textile program, he had a long history of designing furniture for other projects and clients. For Braniff this included sofas, lounge chairs, café seating, and tables for its airport lounges. In 1967, these designs were commercialized into the Girard Group—his only collection of furniture for Herman Miller. One of Girard’s biggest ventures with Herman Miller was the innovative yet financially unsuccessful Textiles & Objects store in New York City, opened in 1961. The store sold objects that he brought back in bulk from his travels around the world, as well as products made with his textiles such as pillows and tablecloths, and small furniture by other Herman Miller designers. The short lived store, seen by many as an exhibit rather than an enterprise, provided the experience Girard described as "seeing, touching, and remembering familiar associations and all the other intangible activities of the mind and soul." Please visit my Ebay store for an excellent and ever-changing selection of rare and out-of-print design books and periodicals covering all aspects of 20th-century visual culture. I offer shipping discounts for multiple purchases. Please contact me for details. Payment due within 3 days of purchase.
Price: 249.99 USD
Location: Shreveport, Louisiana
End Time: 2024-11-27T17:51:32.000Z
Shipping Cost: 6 USD
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