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Front angled view of an Eames Family Seating Fiberglass Shell Prototype for a four-seat sofa designed by the Eameses.

Family Seating Fiberglass Shell Prototype

Front view of the Eames Aluminum Group 680 Upholstered Dining Chair with aluminum frame and steel base.

680 Dining Chair ⁠— Prototype Upholstery 1

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

Side view of a painted Swiss wood and brass top in green that Ray and Charles Eames collected.

Swiss Top

Side view of a low-profile, blue four-wheel pedal cart collected by Ray and Charles Eames.

Kettler Car / Kettcar

ES106 Eames Chaise

Front view of a Japanese Toy Fish Game with painted metal fish that gives the illusion that the fish move along the wire.

Japanese Toy Fish Game

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 a curved circus mirror with a wooden frame that was collected by Ray and Charles Eames.

Circus Mirror

Angled top-down view of a hand-painted tin boat bearing the US flag and named “New York” that was collected by the Eameses.

“New York” Toy Boat

Side view of an Eames EC121 Adjustable Stool Swivel with 1730 Arm Shell, an aluminum base, casters, and steel column.

EC121 Adjustable Stool Swivel with 1730 Arm 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

Front view of an Eames DKR-1 tan leather upholstered wire chair with a steel rod base.

DKR-1 Upholstered Wire Chair

Photo of a 1950s metal toy train with chipped red and green paint

“Grand Duke” Ives Toy Train

Front view of the Eames Secretarial Pull-Up Chair with yellow Naugahyde and woven Hopsack textile and a steel base.

DSX-36 Secretarial Pull-Up Chair

Side view of the Eames ET122 Dining Table, featuring a walnut veneer top, and a base with four cast aluminum legs.

ET122 Dining Table

Front angled view of the stackable Eames Child’s Stool in spruce plywood.

Child’s Stool

Top down view of a colorful butterfly kite with tassels made from paper, ink, string, and bamboo.

Butterfly Kite

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

Study for Plyformed Wood Company Logo

Front view of an Eames LKR-1 Naugahyde Upholstered Wire Chair.

LKR-1 Upholstered Wire Chair

1964 New York World’s Fair IBM Pavilion postcard rendering of the steel “trees” encircling an ovoid theatre at the pavilion.

IBM Pavilion, New York World’s Fair 1964–65 Postcard

Front view of the Eames EC127 upholstered chair with orange fabric and vinyl edging, and a metal base.

EC127 Upholstered Pull-up Chair

Portrait by Charles Eames of Saul Stenberg’s wife, Hedda Sterne, with one of Saul’s drawings projected onto her.

Photograph of Steinberg Drawing Projected onto Hedda Sterne Tilting Face

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

White Horse Mask

Front view of an Eames Steel Wire Shell designed by the Eames in 1951.

Wire Shell

ES108 Eames Sofa

Portrait of a drawing of a woman by Saul Steinberg projected onto his wife Hedda Sterne’s face with an Eames The Toy.

Photograph of Steinberg Drawing Projected onto Hedda Sterne with The Toy in Background

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

Saul Steinberg drawing of a woman projected onto his wife Hedda Sterne’s face taken by photographer Inge Morath.

Photograph of Steinberg Drawing Projected onto Hedda Sterne with Hands in Lap

Angled side view of an Eames EC431 Side Chair with an aluminum base, casters, steel column, and orange Naugahyde upholstery.

EC431 Side Chair

Front view of an early Eames DSR chair. The fiberglass shell is a light muted yellow and the base is made of steel.

DSR Fiberglass Side Shell Chair

Fashion drawing by Ray Eames features a blue and red patterned dress with a green bolero jacket.

Fashion Drawing: Blue and Red Dress with Green Bolero Jacket

Front view of The Whole Earth Catalog front cover from the early 1970s.

The Last Whole Earth Catalog

Ray Eames fashion drawing of a patterned black dress with pleats and a bow at the waist.

Fashion Drawing: Black Pleated Day Dress

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

Red and Green Top

Side view of a birch airplane rudder designed by Ray and Charles Eames that measures almost seven feet tall.

Airplane Rudder Skin

Front view of the Eames Child Chair in Birch, with red aniline dye and a heart cut out on the chair back.

Child’s Chair

Two exploratory illustrations by Ray Eames made in ink and graphite based on the leg splint’s organic outline.

Studies for Leg Splint Sculpture

Front view of the Eames EC434 Adjustable Tilt-Swivel Armchair with black Naugahyde back and Hopsak fabric seat upholstery.

EC434 Adjustable Tilt-Swivel Armchair

Note and drawing by Charles Eames stating, “Keep Out of the Kazam Please” to warn people not to sit on the Kazam! Machine.

“Keep Out of the Kazam Please” Note

1946 House & Garden magazine features the Eames Child’s Chair on their Christmas cover, among other gift items.

House & Garden magazine, November 1946

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

Portrait of Ray

Front view of a brown paper template with fabrication notations for a molded plywood sculpture by Ray and Charles Eames.

Paper Template for Plywood Sculpture

Front view of an Eames MKX-1 upholstered wire chair in tan leather with a metal base.

MKX-1 Upholstered Wire Chair

Top down view of a teal colored serving tray with a pattern of gold marine plants and animals that Ray Eames created.

“Sea Things” Tray

Front view of an Eames molded walnut plywood shell with black electrical tape around the edges.

Molded Plywood Shell with Tape

Side view of the Eames Intermediate Chair upholstered in black leather and featuring a metal base with casters.

ES102 Intermediate Chair

Angled side view of the Eames EC123 Adjustable Stool Swivel Side Shell drafting chair with red Naugahyde upholstery.

EC123 Adjustable Stool Swivel Side Shell

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

Fashion Drawing: Party Dress

Front view of the 1948 Eames designed molded birch plywood airplane seat prototype that was never manufactured.

Airplane Pilot’s Seat

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

Handmade Fiberglass Study for Side Shell

Top down underside view of the Eames DTM-20 Square Folding Dining Table with a Micarta and plywood top and steel legs.

DTM-20 (Dining Table Metal)

Side view of the Eames Minimum Chair. The design is slender and made of two oval pieces of sheet metal and a metal rod base.

Minimum Chair Prototype

St. Louis Post-Dispatch full-page article describing Charles’s travels to Mexico, and watercolors he made during the trip.

“A St. Louisan’s Mexican Diary⁠—in Water Colors”, St. Louis Post-Dispatch, July 29, 1934

Front on view of a Fiberglass Eames DSS-1 Side Shell upholstered in black Naugahyde with a metal base.

DSS-1 Stacking Side Chair

Top down view of the Chutes and Ladders board game, with a grid of squares in blue and tan and a red border.

Chutes & Ladders/Red Riding Hood Game

Front view of an Eames DKR-1 “C” upholstered wire chair with a steel rod base and featuring worn Girard harlequin textile.

DKR-1 “C” Upholstered Wire 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