The 1946 Eames DCM Chair was the abbreviated name representing the Dining Height (D) Side Chair (C) on Metal (M) Rod Base. The chair was part of a small series of chairs and tables which effectively kick started the career of Charles and Ray Eames into notoriety.
History would soon coin the phrase ‘Eames Chairs’ largely based on the design and success of the first group of chairs including the DCM alongside the lounge version LCM as well as the wooden leg versions the DCW and LCW. The series were a result of a long-standing collaboration between Charles Eames and the Evans Plywood Company which had worked together, from the same location in Venice CA, throughout the war years.
The design of the series may seem classical and relatively tame by today’s standards but imagine the post war period from 1946 when designs of new materials and shapes were beginning to reach the public domain. They were perhaps a pre-cursor of the decade to come which had an almost unlimited feel of expression in US design, the 1950’s.
The Eames DCM Plywood Chair would be made available in a range of plywood veneer woods and colours. Herman Miller, whom had been involved in the distribution of the chairs for Evans Plywood Division, purchased the manufacturing operation and all licenses in 1949, literally paving the way for one of the design worlds most potent partnerships.
Such was the popularity of the DCM and lounger LCM version, they have remained on the Herman Miller catalog to this day whereas most of the plywood furniture items were obsolete before the end of the 50’s. As well as the natural wooden versions, upholstered variants were also made through the generations.
|Seat Height||18”||45.72 cm|
|Top||5 Layers of Molded Plywood, glued and with Rubber Shock Mounts|
|Base||Welded Steel Rod Base|
|Feet||Screw in Domes of Silence, Boot Glides, Nylon Glides|
Generations were rarely predefined or premeditated, they were more often than not a natural evolution of the product or transition of what was available.
It is human instinct to pigeon hole to help define what we own but it was doubtlessly unintended. Our interpretation of generations is only to help collectors, buyers and sellers to verify, date and value what they have. We only focus on marketed versions and not prototypes.