This material does not cover all clients and projects undertaken by Dreyfuss. This collection consists of theater design materials, industrial design materials, primarily, though not exclusively, from the 1950s and 60s, draft copies of his books, including extensive research files for the "Symbol Sourcebook," texts of lectures delivered by Dreyfuss, and biographical material. Included is Dreyfuss's Brown Book which provides an outline of his achievements. Photographs and slides of many of his designs are included. Materials relating to three publications include original drafts of the books with author notes, drawings, photographs, correspondence, and research materials. Also contains materials relating to the symbols exhibition held at the Hallmark Gallery in New York City in 1972.This collection was the source of many of the objects and issues addressed in Cooper-Hewitt's 1997 exhibition, "Henry Dreyfuss: Directing Design", and companion book, "Henry Dreyfuss, Industrial Designer: The Man in the Brown Suit", both conceived by Russell Flinchum. 311 reels of microfilm documenting most of the projects undertaken by Dreyfuss Associates were created by the firm and added to the collection later.
Arrangement note:
Materials are arranged into four record groups: 1) Biographical information; 2) Theater design; 3) Industrial design; and 4) Publications.
The biographical material is arranged into four sub groups:1) Lectures and Articles by Dreyfuss; 2) Articles about Dreyfuss; 3) Dreyfuss firm promotional mailings; and 4) Other material (photos, awards, etc.).Each sub-group is filed chronologically.
The Industrial Design records are divided into two sub groups:Early Industrial Design, 1929-1935, and Industrial Design, 1936-1969, and arearranged alphabetically by client name.
The publication materials arearranged alphabetically by title of publication.
Biographical/Historical note:
Industrial and stage designer. Born New York, March 2, 1904. Attended Society for Ethical Culture High School in New York. Apprenticed to designer Norman Bel Geddes, 1922-1924. Established his own industrial design firm in 1929. His clients included Bell Telephone Laboratories, Deere & Company, Honeywell, Inc., Polaroid Corporation, General Electric, the 1939-40 and 1964-65 New York World's Fairs, New York Central Railroad, Hoover Company, Singer Sewing Machine Company, Royal Typewriter Co., Lockheed Aircraft, McCall's magazine, and others.
Dreyfuss was a founding member of the Society of Industrial Designers, and the first president of the Industrial Designers Society of America. He is best known for his designs for the Bell 500 and Trimline telephones, the Westclox Big Ben alarm clock, Deere & Company tractors, Polaroid's Automatic 100, Swinger, and SX-70 Land Cameras, and New York Central Railroad's 1938 Twentieth Century Limited. In the 1950s, Dreyfuss was one of the pioneers in the application of anthropometrics (the study of human dimensions and capabilities) in his designs. In 1969, Dreyfuss retired from his firm, but remained active as a corporate consultant. He was the author of several important books including: "Designing for People", 1955; "Measure of Man", 1959; and "Symbol Sourcebook", 1972.
Location of Other Archival Materials Note:
Cooper-Hewitt, National Design Museum, Applied Arts Department. Models and realized objects including control knobs for GM and Deere vehicles, plastic plates and various ceramic pieces with international symbols, Trimline telephones, an RCA Victor radio, a Westclox "Big Ben" alarm clock, and a Presco "AirClip" hair clipper.
Cooper-Hewitt, National Design Museum, Drawings and Prints Department. Hundreds of drawings of designs for tractors, train, plane, and ship interiors, television and radio cabinets, product labels, logos, packaging, office buildings, and costumes.
Other archival repositories containing Dreyfuss materials include: AT&T Archives, Warren, New Jersey; Deere & Co. Archives, Moline, Iowa; Honeywell Archives, Minneapolis, MN; Hoover Company, Canton, Ohio; Polaroid Archives, Cambridge, MA; Billy Rose Theater Collection, New York Public Library; Ethical Culture/Fieldson School Archives, New York; New York Central System Historical Society, Inc.
United Scenic Artists Local 829 Archives, New York; New York World's Fair 1939-40 Archives, Manuscript Division, New York Public Library; and San Diego Aerospace Museum Archives.
Provenance:
Henry Dreyfuss and Doris Marks donated his papers to Cooper-Hewitt, National Design Museum, in the fall of 1972.
Additional materials were transferred to the museum in 1973 from the University of California at Los Angeles, which held a small collection of material deeded by Henry Dreyfuss in 1962.
311 reels of microfilm were donated to the museum in 1992.
Restrictions:
Unrestricted research use onsite by appointment. Permission of staff required to photograph material.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Philip Van Horn (P. V. H.) Weems Papers, Accession 2012.0052, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Philip Van Horn (P. V. H.) Weems Papers, Accession 2012.0052, National Air and Space Museum, Smithsonian Institution.
National Aeronautic Association (U.S.) Search this
Container:
Box 29, Folder 35
Type:
Archival materials
Date:
1948
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
National Aeronautic Association (NAA) Archives (1918-1976), Acc. XXXX-0209, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Charles Ingram Stanton, Sr., Papers, Acc. NASM.1987.0076, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Curtiss-Wright Corporation Records, Acc. XXXX-0067, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
This collection consists of 7.31 cubic feet of material created by Edward Baldwin during his tenure as a engineer for Kelly Johnson at Lockheed Skunk Works, 1944-1982. The collection consists of original pencil on vellum Skunk Works drawings, blueprints, design studies, logs, engineering notebooks, photographs, technical manuals, correspondence, newspaper articles and newsletters relating to his work on Lockheed aircraft, including the development of the P-80, SR-71, F-94, F-104, F-117 and the U-2.
Biographical / Historical:
Edward Baldwin received his degree in Mechanical Engineering in 1940 from West Virginia University. After graduation he moved to California and began working at Lockheed Aircraft Corporation. He was first assigned to the Special Airplane Projects group, where he worked on the Model 10 Electra, Model 12 Electra Jr, Model B-14, Hudson Bomber and the Model 18 Lodestar. Baldwin was then placed on loan to the P-38 and R6-O Constitution projects. In March of 1944, Baldwin was asked by Dick Boehme to join the Fuselage Design Group of the Advanced Development Projects (ADP) "Skunk Works." Baldwin worked on the P-80, before working on the F-94C and the XF-104. In November of 1954, Baldwin was placed on the U-2 project, where he developed the configuration of the aircraft and completed the design. Baldwin also worked on the ADP's Archangel Program to develop a Mach 3+ reconnaissance aircraft, which became known as the SR-71. Baldwin was then assigned to the "Have Blue" program, which was the Skunk Work's entry into the Stealth Prototype competition. Baldwin was responsible for all structural design of the two test vehicles and when Lockheed won the contract, became the Deputy Program Manager for Structures of the F-117. He retired in September 1982, after the first four production F-117 aircraft were delivered to the Air Force.
Provenance:
Barbara Sulier and Robert Baldwin, Gift, 2016
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Lockheed Aircraft Corporation, reports: Dimensional and Loading Data Cargo and Passenger/Cargo Transports, Lockheed Report SLK/1213, April 29, 1954, and Memorandum Report Phase II Flight Tests of the XF-92A Airplane, USAF No. 46-682, December 20, 1949
Lockheed Aircraft Corporation Annual report of the President, December 31, 1951; Annual Report December 30, 1956; and Day of Trail and Triumph: A Pictorial History of Lockheed
