Eames Lounge Chair and Ottoman (1956, First Year Herman Miller): The World's Most Collectible Chair

In April 1956, Charles and Ray Eames unveiled a new furniture design on the Arlene Francis Home show, a nationally televised program. The chair they revealed would become the most recognized and coveted piece of 20th-century furniture design in the world. The Eames Lounge Chair and Ottoman, produced by Herman Miller beginning in 1956, has never stopped being in production. But the first-year examples, made in 1956 and carrying specific features unique to that initial production run, are what serious collectors pursue with particular intensity.

The Design Story

Charles Eames described his design goal with characteristic directness: he wanted to create a chair that had "the warm, receptive look of a well-used first baseman's mitt." The result was a sculptural lounge chair using molded rosewood veneer shells supported on a cast aluminum base, with leather cushions attached by button tufting.

The design's genius was in its integration of industrial processes with a deeply humane aesthetic. The molded plywood shells were a direct evolution of the technology Charles and Ray had pioneered in their furniture designs of the late 1940s. The aluminum base was precision-cast. The result was a chair that looked luxurious, modern, and somehow inevitable, as if it had always existed and someone had just gotten around to building it.

For Herman Miller, the Lounge Chair represented a premium product that brought mid-century modernism into the living room. It launched at approximately $404 (roughly $4,500 in today's dollars), an expensive piece of furniture that signaled taste and design awareness.

What Makes the 1956 First-Year Production Special

The first production year carries several features that distinguish it from all subsequent production:

The Spinning Ottoman: The single most distinctive feature of the 1956 first-year chair is the spinning ottoman. The original ottoman base allowed the ottoman to rotate 360 degrees, giving the user the ability to adjust it freely. Ray Eames reportedly found this unnecessary and possibly unsafe, and it was discontinued early in the production run. Finding a chair with the original spinning ottoman intact and functional is extraordinarily rare.

Specific Rosewood Veneer: The original chairs used Brazilian rosewood veneer of a specific grade and cut. As rosewood became more regulated and expensive over the decades, Herman Miller adjusted their sources and eventually moved to other woods (santos palo santo and other alternatives). The original Brazilian rosewood veneer has a specific warm brown color and grain character that experienced collectors recognize immediately.

Shell Profile: The shell design has been subtly modified over the decades. The 1956 shells have specific proportions and edge details that differ from later production.

Hardware: The aluminum die-casting, connectors, and button hardware on 1956 examples are distinct from later production.

Original Labels: Herman Miller product labels from 1956 are distinct from labels used in later production years.

Identifying 1956 Production

Authentication of a claimed 1956 example requires:

1. Check for the spinning ottoman: The clearest 1956 indicator. If it spins on ball bearings, you have a very early piece.
2. Examine the rosewood grain: Compare to known reference examples. The rich dark brown with visible grain of Brazilian rosewood is distinct.
3. Hardware and label examination: Period-correct hardware and Herman Miller labels must be consistent with 1956 production.
4. Shell underside: Original shells have specific underside details including how the label is affixed and the composition of the connection points.
5. Provenance documentation: Bills of sale, photographs, or other documentation from the period significantly supports authenticity.

For a piece valued in the tens of thousands of dollars, working with a specialist in 20th-century furniture design (auctioneers like Wright or specialist dealers) is strongly advisable before significant transactions.

Current Market Values

Modern Production (new from Herman Miller): $9,000 - $14,000+ (current retail)

Vintage Original Production:

Period/Condition	Approximate Value
1960s-70s example, good condition	$2,500 - $5,000
1960s-70s, excellent with rosewood	$5,000 - $12,000
1956-1958 production, good condition	$8,000 - $20,000
1956 with spinning ottoman, good	$15,000 - $40,000
1956 with spinning ottoman, excellent	$35,000 - $80,000
Documented 1956 first year, near perfect	$50,000 - $100,000+

Auction results confirm the upper ranges for true first-year examples. A verified 1956 chair with spinning ottoman in exceptional condition has sold at Wright Auction for prices that put it in the six-figure territory at peak.

Condition Grades for the Eames Lounge Chair

For vintage examples, condition assessment covers:

Leather Cushions: Original leather cushions are rare. Leather dry-rots, cracks, and tears with age, and most vintage examples have had cushions replaced at some point. Original retained cushions add value; replaced cushions with appropriate period-style leather are acceptable.

Shell Condition: The rosewood veneer shells are vulnerable to cracking, delamination, and veneer lifting. Original shells in excellent condition are critical to value.

Base Condition: The aluminum base should be original. Period-appropriate original bases in good condition are expected. Refinished or replaced bases reduce value.

Cushion Buttons: The button tufting connects the cushion covers to the foam. Correct original-style buttons matter.

Spinning Mechanism: For 1956 examples specifically, the condition of the spinning ottoman mechanism (whether it spins freely, original ball bearings intact) is a key factor.

The MoMA Connection

A 1956 rosewood Eames Lounge Chair and Ottoman is part of the permanent collection of the Museum of Modern Art in New York City. This institutional recognition is not just an honor; it's a confirmation that the design is considered one of the definitive achievements of 20th-century design thinking. Having a piece in MoMA's collection effectively places it alongside works by Picasso, Matisse, and Warhol in terms of cultural acknowledgment.

This status supports the chair's enduring value and ensures that collector interest will persist across generations.

Investment Perspective

The Eames Lounge Chair occupies an unusual position: it's an actively manufactured product (you can buy a new one today) that also has a significant vintage market. The vintage market exists because:

1. Early examples use rosewood (no longer available)
2. Early hardware and construction details differ from modern production
3. The specific aesthetic of a well-patinated 1960s or earlier example cannot be replicated
4. Historical significance of owning an early production piece carries genuine value

First-year examples with spinning ottomans are so rare that they essentially exist outside the normal vintage furniture market and trade like significant art objects.

Final Thoughts

The 1956 Eames Lounge Chair and Ottoman is, without qualification, one of the most important objects of 20th-century design. Owning a first-year example, particularly one with the original spinning ottoman, means owning something that is simultaneously a great work of design, a piece of significant cultural history, and one of the most comfortable chairs ever built. The market reflects all of these qualities.

Browse all Antiques and Decorative Arts →

Related Items