Charles and Ray Eames

Conceived and manufactured in 1956, with a Herman Miller label to the underside of the Ottoman

Tokyo, Metropolitan Art Museum; Osaka, Suntory Museum, Eames Design, 2001-2002, pp 135-137., another example illustrated; p. 280-281, this example illustrated

Charlotte & Peter Fiell, 1000 Chairs, Taschen, Cologne, 2000, p. 337, another example illustrated
John & Marilyn Neuhart, Eames Design : The Work of the Office of Charles and Ray Eames, Neuhart and Eames, pp. 206-207, another example illustrated
Arthur Drexler, Charles Eames: Furniture from the Design Collection of the Museum of Modern Art, New York, 1973, pp. 40-41, another example illustrated

With general wear and tear to the leather seats, and light scratches and scuffs to the metal feet, the work is generally in good condition. The tears and leather-loss are located at the ottoman around the two buttons on top; there is oxidation to one of the buttons. There are mild chipping marks to the edges of the veneer and a small area is lifted at the underside of the chair.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."