Eames Office, Herman Miller Furniture Company: A PICTORIAL HISTORY OF HERMAN MILLER, INC. Los Angeles, Graphics Press, 1967.

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The Eames Office, Herman Miller Furniture Company

[Eames Office] Herman Miller Furniture Company: A PICTORIAL HISTORY OF HERMAN MILLER, INC. Los Angeles, Graphics Press, 1967. Original edition. 14.5 x 42-inch poster printed in three colors and folded into quarters [as issued]. Close inspection reveals faint edgewear, including a couple of light etching spots to lower edge. Expected wear to the three folds, but a very good or better example. An amazing piece of work designed and produced by the Office of Ray and Charles Eames for the Herman Miller Furniture Company.

14.5 x 42 inch poster printed in three colors, with 350 images forming a coherent timeline of the modern movement in America from 1925 to 1965, in the following categories: popular culture (comics, film, literature, art), industrial design and furniture design, with a natural emphasis on the development of the Herman Miller Furniture Company.

”Eventually everything connects – people, ideas, objects, etc., . . . the quality of the connections is the key to quality per se.” — Charles Eames

Here is the description of this poster from EAMES DESIGN by John and Marilyn Neuhart and Ray Eames [page 323]:

The Eames Office produced an illustrated timeline for Herman Miller, Inc. in 1967. Beginning in 1927 and ending in 1967, the year of its publication, it shows in detail the works of designers George Nelson, Charles and Ray Eames, and Alexander Girard, from the date of their first association with Herman Miller in 1946, late 1946, and 1951, respectively.

The timeline is divided into three horizontal strips marked vertically in ten-year increments. The top band outlines developments in the arts (painting, sculpture, architecture, design, literature, music, dance film, theatre) and the work of other designers and architects. The middle band traces events in the history of Herman Miller, Inc., starting with the work of Gilbert Rohde for Herman Miller (their first involvement with the "modern' movement in furniture) in the 1930s. The professional biographies of Nelson, the Eameses, and Girard, including their work for Herman Miller and other major projects, occupy the bottom band.

The 14.5 – by – 42-inch wall chart was printed in three colors by Graphic Press in Los Angeles. Deborah Sussman and Barbara Charles worked on the design and research. It was given first to the Herman Miller International Group at a picnic at the Eames House on September 21, 1967, and later made available to Herman Miller clients and interested students. It is now out of print.

The following artisans have work that is reproduced on this amazing poster: Marcel Breuer, Walter Gropius, Mies van der Rohe, Eric Mendelsohn, Richard Neutra, Edward Wormley, William Lescaze, Alvar Aalto, Buckminster Fuller, Max Bill, Paul Rand, Herbert Matter, Dorothea Lange, Laszlo Moholy-Nagy, Frank Lloyd Wright, James Prestini, Bruno Mathsson, Eliel and Eero Saarinen, Bruno Nervi, Alvin Lustig, George Herriman, Raymond Loewy, Finn Juhl, Paul Rudolph, Hans Wegner, Piet Mondrian, Ben Shahn, Jean Cocteau, A. M. Cassandre, Josef Albers, Alexander Calder, John Entenza, Billy Wilder, Claus Oldenberg, Andy Warhol, Robert Rauschenburg, Gilbert Rohde, Alexander Girard, Charles Eames, Ray Eames, George Nelson, Henry Dreyfuss, Eliot Noyes, Harry Bertoia, Saul Bass, Gio Ponti, Florence Knoll, Poul Kjaerholm, Chermayeff/Geismar, Don Albinson and many others.

”. . . everything hangs on something else.” — Ray Eames

This is a rare opportunity to own a true piece of modern design history: this original Eames Office poster demands to be framed and displayed! Not only is it an amazing design artifact — it can settle any argument about Who, What, Where, When and Why modernism took hold in America.

Charles (1907 – 1978) and Ray Eames (1912 – 1988) created more than a look with their bent plywood chairs or molded fiberglass seating. They had ideas about making a better world, one in which things were designed to fulfill the practical needs of ordinary people and bring greater simplicity and pleasure to our lives.

The Eameses adventurously pursued new ideas and forms with a sense of serious fun. Yet, it was rigorous discipline that allowed them to achieve perfection of form and mastery over materials. As Charles noted about the molded plywood chair, “Yes, it was a flash of inspiration,” he said, “a kind of 30-year flash.” Combining imagination and thought, art and science, Charles and Ray Eames created some of the most influential expressions of 20th century design – furniture that remains stylish, fresh and functional today.

And they didn't stop with furniture. The Eameses also created a highly innovative “case study” house in response to a magazine contest. They made films, including a seven-screen installation at the 1959 Moscow World's Fair, presented in a dome designed by Buckminster Fuller. They designed showrooms, invented toys and generally made the world a more interesting place to be. As the most important exponents of organic design, Charles and Ray Eames demonstrated how good design can improve quality of life and human understanding and knowledge.