DCM Plywood Metal Side Chair

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.

• The DCM has been in non stop production since 1946 and therefore will have a full range of labels and stamps to help with authenticity, if they are still present.
• Our generations section will help you to recognize an authentic chair and age it accordingly as well.
• Look out for clear ageing on the frame, remember they were available in zinc plate or black. Early examples too were solid cast and very heavy. Modern repros tend to be light chrome and in cheap oaks or ash. They can rust and pitt in places, especially joints, this helps authenticate.
• The ply thickness is 5 ply, anything else is not authentic.
• Remember that DCM's used thick mounts right upto the 90's and repros tend to mainly utilize thinner modern mount copies.
• Older generation versions (Evans and 1st gen HM) often have written or stamped abbreviations of the chair code, most likely from assembly, this helps to authenticate too if present.

• Value of the DCM is generally governed by the age and the rarity of the wood, label and upholstery, if it exists.
• The early Evans versions hold the highest desirability and indeed value. This is made more so if the label is fully intact.
• Condition is of course an obvious influence on value but so to is if the chair is in an unspoiled, un-reclaimed and un-repaired state (watch out for bad repairs where bolts have been put through the wood)
• In the later 50's the Rosewood versions were released and these command a high desirability value as they were moderately rare and far more expensive at the time.
• Early upholstered versions also fetch great secondary prices. Those in leather, slunk skin (Calf Skin) especially. The DCM also came in early aniline dye colors and painted colors in recent years. Black and red dye early versions are much rarer than the the Birch and Calico Ash versions.
• Check all the edges for damage or chips in the ply as they affect value and pull on the mounts to see how well they are still fixed.