UPC 737534439852

• Brand: KARDIEL; Frame: Cushion wrapped fiberglass core body frame.; Seat Platform: Reinforced bottom seat cushion platform for firm longer lasting support; Leg Type: Solid Ash Hardwood Leg and Base Frame
• Foam Type: Multi density foam seat and back cushion wrapped in silk layer provides comfort and cushion structure memory; Seat Cushion Style: Stationary fixed seat cushion; Stitch Edge Type: Low profile hand-stitch - no body piping; Tufting Type: True to original button tufting; Button Type: Body color coordinating buttons
• Fabric Type: Cashmere Tweed Pea-coat; Fabric Content: Cashmere Wool Blend. 50% Cashmere Wool, 50% Synthetic Fiber
• Feature: The entire chair & ottoman is stitched and crafted by hand; Comes standard with floor protection caps on legs; Includes Matching Grant Featherston Ottoman
• Chair Dimensions: Height 36.22 inches x Depth 31.1 inches x Width 27.55 inches; Floor to seat height 14.50 inches; Floor to arm height 22.83 inches; Ottoman Dimensions:: Height 16.14" x Depth 17.32" x Width 26"; Leg Height: 12 inches tall

For a true to the original lounging experience, this Grant Featherston style Contour Wing chair (R-152) is tastefully paired with its matching counterpart, the Grant Featherston Ottoman. The organic shape of this modern classic icon infuses an element of relaxation to your space. Depth enhancing button tufting adds an elegant classic accent to this modernist design. The architecturally significant base and legs are crafted of solid Ash Hardwood. The luxurious Cashmere wool blend fabric is period correct with an updated hue. Kardiel respectfully adheres to high standards when reproducing original designs. Adherence to details such as dimensions, angles, seam finish, pleats, tufting and fabric selection is our specialty. It is only with careful consideration to material and visuals that substantial designs like the 1951 Grant Featherston Contour Wing Chair are reproduced without compromising your budget nor the integrity of the original. * Style: Grant Featherston R-152 Contour Wing Chair * Frame: Cushion wrapped fiberglass core body frame. * Seat Platform: Reinforced bottom seat cushion platform for firm longer lasting support * Foam Type: Multi density foam seat and back cushion wrapped in silk layer provides comfort and cushion structure memory * Seat Cushion Style: Stationary fixed seat cushion * Stitch Edge Type: Low profile hand-stitch - no body piping * Tufting Type: True to original button tufting * Button Type: Body color coordinating buttons * Fabric Type: Cashmere Tweed Pea-coat * Fabric Content: Cashmere Wool Blend. 50% Cashmere Wool, 50% Synthetic Fiber * Chair Dimensions: Height 36.22″ x Depth 31.1″ x Width 27.55″ * Chair Dimension: Floor to seat height 14.50″ * Chair Dimension:: Floor to arm height 22.83″ * Ottoman Dimensions:: Height 16.14” x Depth 17.32” x Width 26” * Leg Height: 12" tall * Leg Type: Solid Ash Hardwood Leg and Base Frame * Feature: The entire chair & ottoman is stitched and crafted by hand * Feature: Comes standard with floor protection caps on legs * Feature: Includes Matching Grant Featherston Ottoman * Warranty: 3 year limited warranty About the Tweed Fabric Style Tweed is a flat surfaced wool, originally homespun and slightly felted. This fabric is sturdy and features a smooth overall appearance with a mottled color. About Cashmere Cashmere wool fiber is obtained from “Cashmere goats.” Historically, fine-haired Cashmere goats have been called Capra hircus laniger, as if they were a subspecies of the domestic goat Capra Hircus. Cashmere goats produce a double fleece that consists of a fine, soft undercoat or under-down of hair mingled with a straighter and much coarser outer coating of hair called Guard Hair. For the fine under-down to be sold and processed further, it must be de-haired. De-hairing is a mechanical process that separates the coarse hairs from the fine hair. After this separating process the resulting premium “cashmere” is ready to be dyed and converted into yarn. About the Original Designer Grant Featherston was born in 1922 in Geelong Victoria, Australia. He was a self taught designer and began what would be an extensive career, working with lighting and glass panels. Like many in the field, World War II interrupted his career for a short period between 1940 and 1944, during his service in the armed forces. When the war was over, Grant returned to Melbourne, Australia. It was in Melbourne that the first of his plywood shell contour chairs was designed. Grant was a founding member in the Society of Designers for Industry, which would later become the Design Institute of Australia. His designs received many awards and his collections are represented in National and State galleries. Several of his chairs are iconic examples of modern furniture, among them the Contour Chair. Featherston's design approach grew from a fondness for making things with his hands, a love of nature and an interest in structural forms. In “Design Reflections”, an essay for the 1988 catalogue for “Featherston Chairs”, an exhibit at the national gallery of Victoria, he wrote, “the idea that there must be a simpler solution, haunts me, has always driven me.” he explained, “In my mind's eye, the ‘simple solution' is as nature would have it: minimum of materials, maximum of effect.” He goes on to say specifically about seating designs, “A chair... should reflect the central organic theme of its existence. It must resolve the sculpturalistic potential of its constituent materials, and the seating demands of the human body...” About the Design The R-152 Contour Chair Series was originally designed in Melbourne Australia, shortly after Grant Featherston returned from service in World War II. The original chair was upholstered in Calfskin and was an armless side-chair. In 1951, Grant released the Contour Chair using bent plywood as its frame. Additional versions or variants of the contour design were produced through 1965. The most popular of which today is the Featherston Contour arm-chair with ottoman. Durable materials like plastic and fiberglass are used to shape frames with curves. At the time, wood was the option and it was a significant hurdle to create a frame of bent plywood. The bending machines were cost prohibitive in Australia for local production. Grant developed a work around method for making bent plywood locally. The chair enjoyed immediate market success. He designed the R-152 to be a “negative” of the human body. Using simpler descriptive, Grant was indicating that the chair was designed to fit the body like a glove. The clearly modernism design features a solid wood leg and architecturally significant wood frame under-structure. The upholstered body of the design lacks clear lines of rigidity. Organic and flowing would well describe the design. It has been reproduced with matching buttons and contrasting random colored buttons. Dimensions