Material relates to Sutnar's career including exhibitions, designs for corporate clients, designs for books on packaging design and catalog information. Little office correspondence and personal information is provided.The major part of the collection consists of Sutnar's designs, including logos, letterheads, catalogs, and advertising campaigns for a large number of clients, notably Addo-X, Carr's Department Stores, JC Penney, RCA, and Vera, as well as product and catalog design for Sweet's Catalog Service. Also included are drafts of books, sketches, over 5,000 photographs, photoprints, and photonegatives. Other materials include clippings, page layouts, brochures and booklets about package design and magazine layouts.
Arranged by client account and by material size. A picture reference file is boxed separately.
Graphic, display, and industrial designer. Born Pilsen, Austro- Hungary (now Plzen, Czech Republic), 9 November 1897. Sutnar immigrated to the United States in 1939. He was inspired by the Bauhaus and was an advocate for a constructivist and functional approach in graphic design stressing simplicity, order, and precision. He was the art editor of the Prague publishing house, "Druzstevni Prace." Sitmar was head designer for the Czech pavilion at 1939 New York World's Fair.
He served as art director for Sweet's Catalog Service from 1941 to 1960. Due to his belief that designers need to be capable of working in many fields of design, Sutnar established his own "full-service" firm in New York City in 1951. He developed a new typography called "information graphics". He was author of "Design for Point of Sale", 1952, "Package Design: The Force of Selling", 1953, and "Visual Design in Action", 1961. Sutnar also created corporate image products for McGraw-Hill and Printex. Died 1976.
Location of Other Archival Materials Note:
Cooper-Hewitt National Design Museum, Drawings and Prints Department.Seven posters, one magazine cover, two designs for glassware, and some duplicates of the archival material.
Cooper-Hewitt, National Design Museum, Applied Arts Department. One ceramic coffee service, one glass tea service.
Archives of American Art, Washington, D.C.Business and personal correspondence, biographical data, sketches, photographs, clippings, and other print miscellany, circa 1927-1976.
Rochester Institute of Technology, Rochester, N.Y.Approximately 215 items dating from 1940 to 1970 include printed samples of Sutnar's designs for periodical covers, advertisements, catalogs, books, displays, and posters.
Getty Research Institute for the History of Art and the Humanities, Special Collections, Los Angeles, C.A.Papers relating to Sutnar's designs and exhibitions, 1928-1969.
The Sutnar Papers were donated to Cooper-Hewitt, National Design Museum, in 1977 by Radoslav L. Sutnar and Citislav Sutnar.
Unrestricted research use onsite by appointment. Permission of staff required to photograph material.
3 Boxes (2 letter sized boxes, 1 legal sized box.)
This collection spans the period from the mid-1940s to the early-1960s and consists ofnewspaper and magazine articles by and about Loewy, including the 1949 TIME magazine on which he appeared on the cover. Extensive clippings exist pertaining to his designs for automobiles. Also includes many articles and speeches written by and about William Snaith, a partner in the firm which was renamed Raymond Loewy/William Snaith, Inc. in 1961. A catalog from the exhibition, "Ten Automobiles," which took place at the Museum of Modern Art in New York City in 1953, is included. Other materials include brochures printed and designed by the firm, press releases, a listing of projects, honors, and membership. Some photographs of Loewy and his design team are included. The collection does not contain any original design materials or project files.
Industrial Designer. Born Paris, France, November 8, 1893, Loewy initially studied electrical engineering, and by 1909, he has designed and sold a successful airplane model. He immigrated to the United States in 1919 and became a naturalized citizen in 1938. Loewy began working as a freelance window display designer for Macy's and Saks Fifth Avenue, and as an illustrator for Vogue, Harper's Bazaar, and others, from 1919.
He designed the trademark for Neiman-Marcus in 1923. Loewy is identified as one of the founding fathers of industrial design. In 1929, he started Raymond Loewy Associates in New York, and by 1947, he appeared on the cover of TIME magazine. Loewy's designs always stressed the importance of the clean, functional, dynamic design of products. His schooling in electrical engineering translated into his designs for automobiles, trains, airplanes, ships, and spacecraft for NASA. He also designed interiors for many hotels, offices, and supermarkets. He is best known for his designs for the 1947 Studebaker Starlight Coupe; the 1953 Starliner Coupe; the 1961 Avanti; the 1947 line of Hallicrafter radio recievers; the 1929 Gestetner duplicating machine; the 1934 Sears Coldspot refrigerator; and the S-I steam locomotive for the Pennsylvania Railroad.
He also designed logos for Exxon and Shell oil companies, and bottles and refrigerated vending machines for Coca Cola. He became President of the American Society of Industrial Designers in 1946. Loewy established Compagnie de l'Esthetique Industrielle in Paris in 1952. His work has been featured in many exhibitions, including: "An Exhibition for Modern Living", Detroit Institute of Arts, 1949; "The Designs of Raymond Loewy", Renwick Gallery of the National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., 1975; and "The Machine Age in America", Brooklyn Museum, 1986, among others. He authored, "The Locomotive: Its Esthetics", 1937; "Never Leave Well Enough Alone", 1951; and "Industrial Design", 1979. In 1961, Loewy went into semi-retirement, became partners with William Snaith, and renamed the company Raymond Loewy/William Snaith, Inc. Loewy died in Monte Carlo, July 14, 1986.
Location of Other Archival Materials Note:
Library of Congress, Washington, D.C. The Raymond Loewy Collection. Drawings, blueprints, sketches, phtographs, slides, and audio and video recordings, covering the period from 1929-1988.
Canadian Center for Architecture, Special Collections. Vertical file docmenting Loewy's work.
The materials in this collection were donated to Cooper-Hewitt by Betty Reese, Loewy's publicist.
Unprocessed; access is limited. Permission of Library Director required for use.
Smithsonian Institution, Office of Public Affairs Search this
5 cu. ft. (5 record storage boxes)
1966, 1979-1980, 1985-1995, 1998-2007
This accession consists of materials maintained by Kathryn B. Lindeman, Director of Publications, in regards to the implementation and coordination of the Visual Identity
Program and its system of logos at the Smithsonian Institution (SI). Early in 1998, Smithsonian Institution Secretary I. Michael Heyman engaged the design firm of Chermayeff
& Geismar in New York City to design a system of logos for the museums, research centers, and administrative offices of the Smithsonian.
In conjunction with designer Ivan Chermayeff, the Office of Public Affairs (OPA) issued a book, "Smithsonian Design Guidelines." These guidelines provided guidance for
Smithsonian Institution staff and contractors in the proper usage of the Smithsonian Institution logo. For a copy of these guidelines see Accession 01-079.
The logo consists of the wording "Smithsonian Institution" accompanied by the sunburst. The sunburst has been used in Smithsonian Institution references from its beginnings
in the mid-1800s for knowledge, enlightenment, and brightness. In the 1960s, a Smithsonian Institution seal was designed with a sunburst at the center. Chermayeff & Geismar
used that sun in the new design. Over the years the various Smithsonian Institution museums, research centers, and units had developed their own logo designs, often including
a sunburst, forming a patchwork of logos in use around the Smithsonian Institution with no cohesive visual identity. Secretary Heyman, feeling the strong need to unify the
uses of the Smithsonian Institution name and the look of Smithsonian Institution logos, began the Visual Identity Program, which was continued under his successor, Secretary
Lawrence M. Small.
Also represented in this accession is David J. Umansky, Director of Communications, who, along with Lindeman, oversaw the Visual Identity Program. Included are memoranda
regarding guidance on the use of the Smithsonian Institution logo in stationery and the use of the "Smithsonian Design Guidelines" book; materials related to waivers on the
use and implementation of the Smithsonian Institution logo; materials related to violations of the use of the Smithsonian Institution logo; cost and budget information regarding
the logo designed by Chermayeff & Geismar, printing costs, and the licensing of the use of the Minion font; materials related to the creation of new podium plaques and
badges for Office of Protection Services officers; materials related to the Visual Identity Program website; concept and schematic drawings for signage for various units and
museums; information on previously used logos; and other related materials.
Materials include correspondence, memoranda, notes, drawings, reports, guidelines, stationery examples, printing samples, logo presentation materials, meeting minutes,
color slides and photographs, and black-and-white transparencies. Some materials are in electronic format.
Restricted for 15 years, until Jan-01-2023; Transferring office; 05/15/2007 memorandum, Toda to Jonas; Contact reference staff for details.