Vintage Brown Leather Office Chairs attributed to Charles for Pollock

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One of two original vintage fully restored hand dyed cigar brown leather charles pollock knoll inc executive office swivel armchairs. … Read more One of two original vintage fully restored hand dyed cigar brown leather charles pollock knoll inc executive office swivel armchairs. These are the only two examples of these chairs in the world with this exact colour finish, they have been fully restored by my leather polishers to include having the old colour stripped out, they have then been hand dyed six times, antiqued, sealed, waxed down and polished, the end result is a very fine and unique piece that screams style and charm knoll studio pollock executive chair charles pollock 1963 charles pollock’s 1963 executive chair features what he described as “rim technology”— the use of a single aluminium band around the chair’s perimeter to hold the design together, structurally and visually. Fifty years after its introduction, the pollock chair continues to exude timeless elegance knoll designer bios charles pollock b. Usa 1930-2013 after graduating from pratt institute and working with george nelson, charles pollock assembled a portfolio of designs and presented them to florence knoll, planning unit member vincent cafiero saw promise in a leather and steel lounge chair and encouraged pollock to keep working on the design. The 657 lounge, as it was introduced in 1961, showed the young designer’s precision handling of line, form, and materials. Pollock again demonstrated his command of line and material when he conceived the 1250 series executive collection, introduced in 1965. His idea for the chair was to use an aluminium “rim,” which outlined the chair as the main structural and design element. This rim would hold the parts together, without any further support; slots in the aluminium held the back shell and the upholstery in place, and the plastic back became rigid only after being fitted into the frame. The resulting design was an achievement in structure and aesthetics, and the chair remains a knoll classic to this day. As we remember pollock's legacy, here is an excerpt from a late 1970s interview with the designer encapsulating his rigorous design philosophy: you don’t make this arm shaped like that because it is beautiful just by itself. You are integrating an awful lot of different elements all at once. And that is what makes it what it is. … so to me the fascinating part of industrial design or furniture design is, that the very act of having an enormous amount of, what is it called, parameters. You just put so much in to each part that when you look at it, to me, it looks more like it belongs than a picasso. A picasso isn’t for anything; it is for the eye. I am not saying i am better than picasso, but i am saying that this is a genuinely, completely cohesive way of working. I mean, you have got the strength in material, you have the way to attach it, you have the shape of it based on what it is attached to. You have the surface of the arm whereby it is wider so that you can put it on and it’s also shaped like this. I mean you just fiddle with it forever and run back and forth to the factory and talk to mrs. Knoll forever until finally it just gels. Once again, it is a developmental system. Dimensions height:- 82.5cm width:- 67cm depth:- 71.5cm seat height:- 49.5cm measurements are taken at the widest point. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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