THE HOWARD MILLER COLLECTION
Clocks, Bubble Lamps, Fireplace Accessories
Designed by George Nelson
The Howard Miller Clock Company
[George Nelson]: THE HOWARD MILLER COLLECTION [Clocks, Bubble Lamps, Fireplace Accessories Designed by George Nelson]. Zeeland, MI: Howard Miller Clock Company, n. d. Publishers folder with three single-folded 11x 17 inserts: The Bubble Collection, Howard Miller Clocks, and Fireplace Accessories. Also included is an 11 x 17 single fold brochure of the George Nelson Bird Houses and Weather Vanes [offprint from Furniture Forum]. All pieces in fine condition and housed in the original mailing envelope with an undated postal cancellation.
The folder and 3 brochures are all designed and printed in a matching style by—presumably—Irving Harper. The Furniture Forum offprint is somewhat less exciting visually, but contains a wealth of curatorial information. The initial line of clocks designed by George Nelson and his Associates in the late forties have become synonymous with mid-century American design. The Nelson Ball Clock—along with the Eames plywood chair—are two of the most recognizable and iconic designs of the 20th Century. Irving Harper designed three of these brochures and his layouts display the same wit and precision as the clocks themselves.
The ephemeral nature of these marketing brochures ensure scarcity, and a collected set is rare.
The Howard Miller Clock Company was founded in 1926, as the Herman Miller Clock Company division of office furniture manufacturer Herman Miller, specializing in chiming wall and mantle clocks. It was spun off in 1937 and renamed, under the leadership of Herman Miller's son Howard C. Miller (1905–1995). Today, there is no connection between the two companies although their headquarters are across the street from one another.
Starting in 1947, the Howard Miller Clock Company produced scores of modern wall clocks and table clocks designed by George Nelson Associates. (At that time, Nelson was Director of Design at Herman Miller Furniture Company.) They also produced Nelson's "Bubble Lighting" through the late 1970s, selling the business in the early 1980s. Howard Miller Clock Company also produced other Nelson Associates products; spice cabinets, pull-down wall mounted vanities and desks, a vertical hanging vinyl strip system called "Ribbon Wall" (which was available in many different variations from 12 inches to 84" wide and 12" to 144" high), a complete line of fireplace tools, and other hanging lighting.
In the 1960s, a line of ceramic wall clocks called "Meridian" was produced using ceramic wall plates designed in Italy and using the Nelson clock hands. This line, as well as the other Nelson clocks and other pieces, was distributed by Richards Morganthau, Inc. (also known as Raymor).
George Nelson (American, 1908 – 1986) possessed one of the most inventive minds of the 20th century. Nelson was one of those rare people who could envision what isn’t there yet. Nelson described his creative abilities as a series of “zaps” – flashes of inspiration and clarity that he turned into innovative design ideas.
One such “zap” came in 1942 when Nelson conceived the first-ever pedestrian shopping mall – now a ubiquitous feature of our architectural landscape – detailed in his “Grass on Main Street” article. Soon after, he pioneered the concept of built-in storage with the storage wall, a system of storage units that rested on slatted platform benches. The first modular storage system ever, it was showcased in Life magazine and caused an immediate sensation in the furniture industry.
In 1946, Nelson became director of design at Herman Miller, a position he held until 1972. While there, Nelson recruited other seminal modern designers, including Charles Eames and Isamu Noguchi. He also developed his own designs, including the Marshmallow Sofa, the Nelson Platform Bench and the first L-shaped desk, a precursor to the present-day workstation. He also created a series of boldly graphic wall clocks and a series of bubble lamps made of self-webbing plastic.
Nelson felt that designers must be “aware of the consequences of their actions on people and society and thus cultivate a broad base of knowledge and understanding.” He was an early environmentalist, one of the first designers to take an interest in new communications technology and a powerful writer and teacher. Perhaps influenced by his friend, Buckminster Fuller, Nelson’s ultimate goal as a designer was “to do much more with much less.”
“Imagining a sheet of paper as building site will give you a good sense for Irving Harper’s (American, 1916–2015) approach to graphic design. As the Swiss magazine Graphis noted in a 1953 survey of his print work for the Nelson Office, it’s an approach not dissimilar to that of an architect. “The page on which to print is regarded as a site on which to build…. Pictorial material, often broken into fragments, is organized by asymmetrical harmonies.” From his start working with Nelson in 1947 through his tenure as design director at the office until 1963, Harper brought a visual coherence and energy to everything he created—from furniture, to ads, to clocks—but it's in the printed collateral that his approach to design as a total experience is most easily gleaned. Be it evoking three-dimensional spatial gestures into a two-dimensional magazine spread, for example, or turning a functional object like a clock into a graphic abstraction, or giving a simple typographic treatment the textural quality of a swath of fabric, everything he designs has a deeper sense of dimension.
“Formally trained as an architect, Harper studied in his native New York at Brooklyn College and Cooper Union and eventually landed his first architectural job for Morris B. Sanders, who had been invited to design the Arkansas pavilion for the 1939-40 World's Fair. He put Harper in charge of interiors, thus inadvertently altering the course of his career. As he recalled to Julie Lasky in an interview for her book Irving Harper: Works In Paper, “‘[I] found design much more interesting because it was entrepreneurial.’ In an architecture office, ‘it’s hard to rise to the top.’ And ‘design work is more varied. Everything is a first-time thing. You learn a lot more.’” Harper’s early foundational work for Sanders and then for Gilbert Rohde, the illustrator-turned-product designer who had a hand in shepherding American furniture design into the 20th century through his work with Herman Miller and Heywood-Wakefield, helped solidify Harper’s position as a designer. It also helped him land the job at the Nelson Office: Ernest Farmer, an old colleague from Rohde’s office, had moved on to work for Nelson, and it was he who convinced Nelson to hire Harper to design graphics for the office. This early foundation in 3D design informed so much of Harper’s compositional predilections at the Nelson Office, and unlike many of the furniture pieces he designed there, his advertisements—especially the collateral work for Herman Miller, for whom George Nelson was design director—were often credited to him by name.
“When Nelson undertook his debut furniture collection as design director for Herman Miller, he was also tasked with creating the graphics and advertising work to support its sale. This included a new trademark that could be heat-stamped into the wood furniture. Nelson had initially approached Paul Rand, one of the most sought after graphic designers at the time (and well revered for his identity work, most notably the IBM logo) to create the mark, but when Rand backed out of the project, the job went in-house and ultimately landed in the hands of Harper. The first ad for the collection was to be printed in 1946, prior to any tangible furniture to photograph or illustrate and was limited to a two-color printing process. But like any good designer or architect might, Harper took note of his limitations, and building around them, fashioned a monumental, French-curved M in bold red, set against a black and white wood-grain texture. Harper later called it the century's least expensive corporate branding, but even despite the mark’s humble beginnings, the bones of that original M (minus the wood grain) have endured as Herman Miller’s logo—a testament to both Harper’s skill as a designer and the company’s belief in the clarity of his vision.” — Amber Bravo