Figures to accompany: “Herman Miller: Furnishing Modern Masculinity in Postwar America�
Madeline Bailis
Figures
Please note: The photographs that appear throughout the 1952 Herman Miller catalog do not have distinct credits. On the last page of the catalog, the photography credit states: “Majority of photographs by Dale Rooks, with supplementary pictures by Ezra Stoller, Midori and William Vandivert”
Figure 1. Herman Miller Catalog, 1952, p. 22
Figure 2. Detail, Herman Miller Catalog, pg 86. 1952. Â
Figure 3. BSC System Description and Rendering. Herman Miller Catalog, 1952.
Figure 4. Detail of George Nelson’s BSC. Herman Miller Catalog, 1952.
Figure 5. Photograph of George Nelson’s slatted bench. Herman Miller Catalog, 1952.
Figure 6. Configuration line sheet for George Nelson’s slatted bench. Herman Miller Catalog, 1952. (Previous Page)
Figure 7. Detail of Nelson slatted bench configurations. Herman Miller Catalog, 1952.
Figure 8. Herman Miller Advertisement featuring George Nelson’s slatted bench as a guest-room unit, 1949. Source: Herman Miller Archives, Zeeland, Michigan.
Figure 9. Photograph of Eames DCM. Herman Miller Catalog, 1952.
Figure 10. Photograph of arranged models of the Eames Molded Plywood series, printed in the Herman Miller Catalog, 1952.
Figure 11. Herman Miller Advertisement for Eames Molded Plywood Chairs, 1955. Source: Herman Miller Archives, Zeeland, Michigan.
Figure 12. Detail of “Everyday Tastes from High-Brow to Low-Brow” reprinted in Life Magazine, 1949.
This work was originally written and submitted by Madeline Bailis as her final research paper for ARTH 401: Masculinity and American Art taught by Professor Tripp R. Evans at Wheaton College, MA in May 2013.