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Eames Aluminum Group spreader wood prototype which has a slight curve and is very simple with small bends on either side.

Carved Spreader 1

Postcard featuring the IBM pavilion that Eliot Noyes designed for the 1968 World’s Fair in San Antonio.

IBM: Lakeside Postcard

Herman Miller postcard promoting four Eames chair designs.

“Sole Concessionaires” Postcard

Herman Miller postcard for the Eames S-73 Sofa with Alexander Girard upholstery, set among paper kites and Eames LTR tables.

“The Sofa by Charles Eames” Postcard

Curved aluminum spreader with flared bends helped to hold fabric taut and served as a handle for the back of the chair.

Cast Spreader 2

Front view of a sculpture designed by Ray Eames cut from a birch plywood splint and stained with black aniline dye.

Large Leg Splint Sculpture

Mathematica exhibition postcard from the Museum of Science and Industry in Chicago features an installation about probability.

Museum of Science and Industry, Chicago, Illinois Postcard

Ink study of biomorphic shapes for the Plyformed Wood Company logo designed by Ray Eames.

Study for Plyformed Wood Company Logo

Fashion drawing of an evening dress is black and gray by Ray using metallic ink, watercolor, and graphite on paper.

Fashion Drawing: Evening Dress in Black and Gray

Postcard for the Evans Products Co. which manufactured the Eameses’ designs until 1948 when they switched to Herman Miller.

“Compliments of Evans Products Co.” Postcard

Front view of the Eames 3700 Tandem Seating upholstered with tan vinyl and including a small table with a Micarta top.

3700 Tandem Seating

Catalog cover from MoMA’s 15th anniversary exhibition Art in Progress: Design for Use in 1944.

Art in Progress: Fifteenth Anniversary Exhibition Catalog

Postcard featuring the exterior of the Winter Palace building at the Hermitage Museum.

“Love Charles” Postcard

Side view of the Eames 692 Dining Table with round white glass top and cast-aluminum pedestal base.

692 Dining Table

St. Louis Dispatch newsclip announcing Charles Eames as the winner of an annual competition held by the local artists’ guild.

St. Louis Post-Dispatch Clippings

Side view of a colorful toy boat made of wood, paper, and metal with the word “Alarm” in red at the boat’s bow.

“Alarm” Toy Boat

Front view of St. Mary’s Church designed by Charles Eames with several slender stained glass windows and an arched doorway.

St. Mary’s Church in Arkansas

Herman Miller postcard with several children among Eames DSS chairs side by side and a tall stack of DSS chairs on the left.

“It’s Child’s Play” Postcard

Front view of the DTW-50 birch veneer coffee table with wood dowel legs designed by Ray and Charles Eames.

DTW-50 Table

Postcard from the retailer “Bett’s” featuring an Eames LCM chair, a mid-century table, and several decorative accessories.

“This is Bett’s” Postcard

Side view of an Eames Aluminum Group anodized aluminum armrest shaped as an uneven trapezoid with rounded corners.

Cast Armrest 2

French postcard circa 1940, featuring a scene of dancers and snake charmers in Djemaa el-Fnaa, in Marrakesh, Morocco.

“Danseurs et Charmeurs de Serpents, Djemaa el-Fna, Marrakech” Postcard

Splint Label for Evans Products Company

Angled side view of the Eames DTM-10 table with a Micarta top and chrome-plated steel legs.

DTM-10

Black fiberglass and Naugahyde prototype for the shell of the Eames Secretarial Chair, designed by Ray and Charles Eames.

PSCA-36 Secretarial Adjustable Side Shell Prototype

Fashion drawing of ink on paper by Ray Eames of a sleeveless gown with a colorful geometric shaped pattern.

Fashion Drawing: Party Dress

Charles Eames alongside the fake diploma that artist Saul Steinberg created for him in 1950.

Photograph of Charles Eames with Steinberg Diploma

Postcard featuring several installations for the Eames Mathematica Exhibition including the dome shaped Celestial Mechanics.

“Mathematica⁠—The World of Numbers⁠—and Beyond” Postcard

Close up portrait of Charles Eames taken in the year before he would graduate from high school.

Photograph of Charles from High School

Oil painting by Charles Eames of the St. Louis Municipal Opera backstage where he also designed and constructed stage sets.

Spring Backstage (St. Louis Municipal Opera)

671 Ottoman

Front view of a tan Handmade Fiberglass Study for an Eames Side Shell from 1951.

Handmade Fiberglass Study for Side Shell

Abstract art in ink and gouache on paper, by Ray who dedicated this piece to her former teacher, artist Hans Hofmann.

To Hofmann, Love from Buddha

Colorful still life oil painting from Ray’s years studying at the Hans Hofmann School of Fine Arts in New York City.

Untitled, 1934–1935

Front view of a stackable Eames Child’s Chair in birch plywood with dark aniline dye and a heart cutout in the chair back.

Child’s Chair

Three quarter side view of an angled wooden plank that was used to display the Eames Lounge Chair three point spider or base.

Lounge Chair Spider Pattern Display Board

Front view of the Eames 684 Lounge Chair with black Naugahyde upholstery and steel base.

684 Lounge Chair

Front view of an Eames Fiberglass side shell in the color “Greige”.

Fiberglass Side Shell

1962 Seattle World’s Fair postcard with a view of the Space Needle through the arches of the Science Pavilion.

Seattle World’s Fair Postcard

Front view of an etching of Notre-Dame made from a sketch by Charles Eames.

Etching of Notre-Dame de Paris, Paris, France

Herman Miller showroom graphic designed by the Eameses with a variety of bold letters in squares that referenced key staff.

ABC Graphic for Herman Miller

Front view of the 680 Dining Chair from the Eames Aluminum Group, with orange polynit upholstery.

680 Dining Chair ⁠— Prototype Upholstery 2

ECS Flyer

Side view of a white papier-mache horse head mask that is painted white and brown.

White Horse Mask

Side angled view of a wooden top painted with a red spiral that was collected by the Eameses.

Red and Green Top

Vertical box mock-up by Ray Eames featuring multicolored rectangles containing letters spelling out House of Cards.

House of Cards Mock-up Process (Box 1)

Front view of an Eames EC175 Office Seating Prototype, featuring an aluminum base, steel column and black vinyl upholstery.

EC175 Office Seating Prototype

Side view of the Eames ES108 Upholstered Sofa with a walnut and teak frame and steel legs.

ES108 Eames Sofa (2000)

Front view of the Eames EA218 Upholstery prototype featuring textile by Alexander Girard with deep wrinkles in the textile.

EA218 Upholstery Prototype

Front view of an Eames Fiberglass shell in the color “Parchment”.

Fiberglass Side Shell

Front view of a study for the Eames Side Shell in brown paper created by Ray and Charles Eames.

Paper Study for Side Shell

Front on view of a colorful oil painting by Charles Eames of the Metropolitan Cathedral in Monterrey, in Mexico.

Metropolitan Cathedral of Our Lady of Monterrey, Mexico

Charles Eames’ cartoon in ink and graphite on paper for the Yeatman High School yearbook was made when he was a freshman.

Yearbook Cartoon for Yeatman High School

Portrait of a drawing of a woman by Saul Steinberg projected onto his wife Hedda Sterne’s face while she is holding a glass.

Photograph of Steinberg Drawing Projected onto Hedda Sterne with Glass

Front view of the 50th anniversary Eames Lounge Chair featuring Santos palisander veneer and grey leather.

670 Lounge Chair

Frontal photograph of the undulating abstract Molded Plywood Sculpture by Ray Eames

Molded Plywood Sculpture

Close up of Ray Eames from the 1930s smiling and wearing a festive hat.

Portrait of Ray

Side view of the Eames EC127 Upholstered chair with checkered textile by Alexander Gerard and a metal base.

EC127 Upholstered Chair

About the Eames Collection

The Eames Collection contains more than 40,000 objects spanning the expansive creative practice of Ray and Charles Eames. Drawn largely from the Eames Office at 901 Washington Boulevard in Venice, California, the holdings⁠—which the Eames family asked the Institute to safeguard⁠—include one-of-a-kind design prototype parts and pieces, early examples of their iconic furniture, extensive photographs, correspondence, tools, ephemera, and personal artifacts collected over decades of experimentation, travel, and collaboration. Together, these materials provide the world’s most intimate view into the Eameses’ work, which shaped, and continue to shape, modern design across furniture, architecture, exhibition design, film, and visual communications.

The Collection exists today because Lucia Eames as the owner and Llisa Demetrios as registrar spent decades caring for and archiving the materials that remained outside institutional archives. Believing Ray and Charles’s iterative process to be as important as their finished work, incredible care has been put into accounting for virtually every piece of material at the closure of the Eames Office in Venice, California. Today, the Eames Institute stewards the Collection through ongoing cataloging, preservation, research, and public engagement, ensuring that this remarkable archive is accessible to current and future generations at the Eames Archives, Eames Ranch, and the Institute’s forthcoming museum, as well as through loans to peer institutions.

All Exhibitions