This collection is the result of a year-long study of Campbell's "Red and White" Soups advertising and marketing, supported in part by a grant from the Campbell Soup Company. Thirty-one oral history interviews were conducted by Dr. Barbara Griffith for the project, and a variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that provides documentation, in print and media, of the history and development of advertising for Campbell's Red and White Soups in the decades following World War II.
Scope and Contents:
This collection is the result of a year-long study of Campbell's "Red and White" Soups advertising and marketing campaigns. Oral histories conducted by Smithsonian Institution staff with individuals involved with the Campbell's Soup Corporation and its advertising campaigns form the core of the collection. Also included are clippings and background research files, abstracts of the oral history interviews, television and radio commercials, company publications, and promotional items and packaging.
A 2015 addition to the collection was born digital and consists of materials from the groundbreaking "Real Life Campaign" which featured inter-racial couples as well as a gay couple. These materials include storyboards, scripts, consumer feedback both postive and negative, focus group material, labels, commercials, supporting documentation on the development and implementation of the campaign. These materials are available in the Smithsonian Institution DIgital Asset Management System (DAMS).
Arrangement:
Collection is organized into nine series.
Series 1, Research Files, 1939-1989
Series 2, Interviewee Files, 1989-1990
Series 3, Oral Histories, 1989-1990
Series 4, Television Commercials, 1957-1990
Series 5, Radio Commercials, 1966-1975
Series 6, Print Advertisements, 1905-1989
Series 7, Promotional Items and Packaging, 1968-1991
Series 8, Company Publications, 1983-1988
Series 9, Real Life Campaign, 2015
Biographical / Historical:
The Campbell Soup Company's "Red and White" advertising campaigns are remarkable not only for their longevity, but for the consistency of the advertising message. Since 1898, when the red and white label was incorporated, the packaging and the message have changed only marginally. When Andy Warhol painted his pop art Campbell Soup cans in the early 1960s, he presented an immediately recognizable image with which all of America could identify.
Campbell's condensed soups, first marketed in 1897, have become a staple of the 20th century American household. The Joseph Campbell Preserve Company, a canning concern which grew out of an 1869 business partnership between a fruit merchant and an ice box manufacturer, was well established by the time Arthur Dorrance succeeded Joseph Campbell as president. When Dorrance's nephew, John T. Dorrance, a chemical engineer and organic chemist trained at MIT, developed a process for making condensed soup, the company was faced with the task of successfully marketing the revolutionary new convenience food. The soup won a gold medallion for excellence at the 1900 Paris Exposition, and the company incorporated the image on its labels and in its advertising.
In the developing consumer culture which began to grow during and after the industrial revolution, women were identified as the primary consumers of household goods and services. Homemakers have been the target of Campbell' s Red & White advertising since its inception, and this focus is reflected both in the content and the placement of the advertising. The identification of a predominately female consumer market was also influential in the creation of a widely recognized and long-lived symbol, the Campbell Kids, created in 1904 by Grace Gebbie Drayton. The Kids were meant to convey a sense of wholesomeness and physical well-being associated with eating Campbell Soups.
The advertising of the early teens and twenties most often consisted of black and white or two-color depictions of the can and the product, often accompanied by images of the rosy-cheeked Kids. A large portion of the ad was devoted to narrative description of the soups' healthful properties, suggesting that"Campbell Soups Give Vigor and Strength", "I Couldn't Keep House Without Campbell's Tomato Soup", and "If Every Woman Realized How Much Her Husband Likes Soup - She Would Serve It Everyday".
The advertising of the 1930s tended towards idealized illustrations of women and children; the Kids were less visible during the 1930s and 1940s, deemed too "chucklesome" for the Depression years, and too old-fashioned
during World War II. Ad copy continued its appeal to women's sense of responsibility for the well-being of husbands and children, with slogans suggesting "It Takes a Bright and Sparkling Flavor to Attract Children", "When a Man Says It's Good, It's Good", and "Wouldn 't I Be Silly to make It Myself?"
Campbell broadened the scope of its advertising by sponsoring radio programming, beginning in 1931 with the "Hollywood Hotel" program on CBS. Later radio sponsorships included the George Burns and Gracie Allen show, "Campbell Playhouse", "Amos and Andy", the "Jack Carson Show", "Hildegarde", and "Edward R. Murrow with the News", among others . The jingle "M'm M'm Good" was first aired during the radio broadcasts of this period, and was reinforced in the print advertising. Beginning in 1950, Campbell began to sponsor television shows, continuing its focus on women and children as primary purchasers and consumers of suop. Most notable among these sponsorships were "The Donna Reed Show" and "Lassie" . Print ads of the 1950s featuring Johnny Carson, Donna Reed, and the cast of the Lassie Show helped to reinforce the Company's sponsorship of these popular shows.
In 1954, Campbell moved its $10 million dollar condensed soup account from Ward Wheelock Company, the Philadelphia firm which had handled the account since 1910, to Batten, Barton, Durstine & Osborn (BBDO) of New York. By 1966, BBDO account executives urged "selective but not major" use of the Kids and the slogan "M'm M'm Good", choosing instead to employ advertising that stressed health claims and fitness issues rather than the wholesome, comforting associations of hot soup. The Kids became more athletic and less rotund.
Reflecting changes in American social and family structures Campbell' s advertising, began to depict the working wife and the busy schedules of a family "on the go". A 1960 ad declares "Good Things Begin to Happen When Working Girls Have Soup and Crackers" or "Somethings Happened to Supper". In light of the women 's movement, which was gaining momentum during this period, Campbell advertising remained decidedly traditional. In the 1970s, "Give Me the Campbell Life" recognized women 's expanded roles as working mothers, but "They Always Eat Better When You Remember the Soup" and "Get Your Campbells Worth" reveal a more conservative pitch to homemakers responsibilities. Other societal changes are suggested in the advertising, for instance, the "Soup is Good Food" and "Health Insurance" campaigns of the 1980s reflected a new emphasis on health and fitness.
In 1981 the company transferred the soup account to another New York firm, Backer Spielvogel and Bates . The 1980s saw a renewed emphasis on network primetime, strategic radio advertising (where ads for hot soup are tagged to reports of rain or snow, or are aired just before the noon lunch hour), and regional marketing of specialized products or packaging designed to appeal to local tastes and changing nutritional standards. These new products have engendered some changes in Campbell' s time-honored red and white label to emphasize the "new and improved" characteristics of the products
In 2015, Campbells developed the "Real Life" campaign. This campaign was groundbreaking in many ways. The commercials portrayed not only inter-racial couples but also a gay couple, two fathers and their son. This campaign had a product tie in with the 2015 release of the new installment in the motion picture franchise, Star Wars. The campaign received commentary from the public both pro and con. Campbells continued the campaign without revising or pulling any of its commercials. While running in selected markets, the campaign made nationwide headlines and pointed up the continuing change in the make-up of the American family.
Provenance:
Paul N. Mulcahy, V.P. Marketing Services, Campbell Soup Company,1990. Made for the National Museum of American History, Smithsonian Institution by the Center for Advertising History, 1989-1990.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Wurlitzer Company Records, 1860-1984, Archives Center, National Museum of American History
Collection is open for research. Only reference copies of audiovisual materials can be used.
Collection Rights:
The Archives Center can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Ella Fitzgerald Papers, Archives Center, National Museum of American History, Smithsonian Institution.
Oral history describing her career in advertising, especially the creation of the Clairol advertisement "Does She or Doesn't She?" in the 1950s.
Scope and Contents:
Shirley Polykoff covers both her early days in New York as a careerwoman and her distinguished years at Foote, Cone & Belding, where she was responsible for the Clairol account. She discusses the creative process that goes into successful copywriting, the difficulty of being both a woman and Jewish in the advertising world, and the role her personal experiences played in shaping her professional life. The collection consists of one taped 60-minute interview and an abstract of the interview.
Arrangement:
1 series.
Biographical / Historical:
Shirley Polykoff was born in Brooklyn in 1908 of Russian Jewish parents. Polykoff joined the well-known New York advertising agency Foote, Cone & Belding as a copywriter in 1955. Before her association with Foote, Cone & Belding, Ms. Polykoff had worked in a variety of creative positions for both advertising agencies and corporate advertising departments, as she describes in this interview. Her work on Foote Cone and Belding=s Clairol account produced a string of memorable advertising campaigns, including authorship of the campaign slogans "Does she or doesn't she?" and "Is it true blondes have more fun?" When these campaigns were credited with a phenomenal increase in Clairol sales, Polykoff was promoted to a vice presidency at the agency. She founded her own agency, Shirley Polykoff Advertising in 1974, and became the first woman elected to the Advertising Hall of Fame, in 1983.
Ms. Polykoff was married to lawyer George P. Halperin, who died in1960. At the time of this interview, she was living in New York City, having retired from advertising in 1983. She died in 1998.
Provenance:
Collection donated by Shirley Polykoff, 1994.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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.
In 2002 Betty Skelton donated a collection of materials outlining her career as an aviatrix and race car driver to the National Air and Space Museum. The donated material consists primarily of news clippings, pamphlets, magazines, photographs, and scrapbooks covering the span of Ms. Skelton's career.
Scope and Contents:
This collection consists primarily of news clippings, pamphlets, magazines, photographs, and scrapbooks covering the span of Ms. Skelton's career.
Arrangement:
The collection has been divided into three series. The first series contains information on Betty Skelton's personal life, including birth and wedding announcements and family photos. The second, pertaining to her professional life, spans a broad range of materials covering the various careers pursued by Ms. Skelton. The third series consists of oversized items such as scrapbooks and large format magazines. Each series is further divided by format (i.e. news clippings, brochures, and photographs) and then chronologically.
SERIES I: Personal
News clippings;
Photographs
SERIES II: Professional
News clippings, Programs and Pamphlets;
Correspondence;
Magazines/Press Releases;
Photographs;
Negatives
SERIES III: Oversized Materials
Biographical / Historical:
Betty Skelton Frankman, noted aviatrix, automobile test driver, race car driver, and business woman, was born in 1926 in Pensacola, Florida. Her interest in aviation was kindled at a young age while watching Navy stunt pilots practice. Soon, she and her parents began taking flying lessons and Betty soloed for the first time at age 12, four years before the legal age. As soon as she was legally able, age 16, Betty got her pilot's license. At age 19 she joined the Civil Air Patrol while also working as a flight instructor at her father's aviation school. She began a professional career as an aerobatic pilot in 1946, flying a 1929 Great Lakes 2T1A biplane. In 1948, while flying that aircraft, Betty won her first International Aerobatic Championship for Women. She would repeat this achievement in 1949 and 1950 while flying a Pitts-Special S-1C that she nicknamed "Little Stinker." By 1951 Betty realized that she had gone as far as a woman could go in aviation and retired.
Through a chance meeting with Bill France, the founder of the National Association of Stock Car Auto Racing (NASCAR), Betty began a second career as a test and race car driver. She set multiple land speed records and two transcontinental speed records. Her work with Dodge and Chevrolet led her to her next career as an advertising executive for Campbell-Ewald Advertising Agency, the firm that handled Chevrolet advertising.
In 1959, Betty was given the opportunity to train with the original Mercury 7 astronauts. She completed the same physical and physiological tests as the astronauts, but knew a woman was not destined to be the first American in space. The experience resulted in only a cover story in LOOK magazine (Vol. 24 No. 3 Feb. 2, 1960). In 1965, Betty married Donald Frankman and, eventually, the two moved to Florida and started a real estate business.
Betty held more combined aviation and automotive records than any other person. Her aviation achievements included: a world speed record for piston engine aircraft (unofficial), two light plane altitude records, and three international aerobatic championships. Her achievements in the automotive field included a women's closed course speed record (144.02 mph), a speed record for 200-249 cubic inch piston displacement (105.8 mph), a 24-hour stock car endurance record, a transcontinental record New York to Los Angeles (56 hrs 58 mins.), four land speed records, a South American transcontinental auto speed record, and multiple Bonneville Speed and Endurance Records.
She was also inducted into many halls of fame including, the International Aerobatic Hall of Fame, the NASCAR International Motorsports Hall of Fame, the Corvette Hall of Fame, the Tampa Sports Hall of Fame, and the Florida Women's Hall of Fame. In 1985, Betty and Don donated her Pitts Special "Little Stinker" to the Smithsonian Institution's National Air and Space Museum (NASM). It currently hangs at the entrance to NASM's Steven F. Udvar-Hazy Center at Dulles, Virginia.
Betty and her second husband, Dr. Allan Erde, retired to The Villages, Florida, a popular retirement community where many residents use golf carts to get from place to place. But Betty, in keeping with her moniker as the "fastest woman on Earth," drove a bright red Corvette convertible. She died at her home on August 31, 2011, at the age of 85.
The following timeline covers key events in Skelton's life, as well as in the aerospace and automotive industries. Events involving Skelton are shown in normal type while those of the latter are shown in italics.
Timeline of Betty Skelton
6/28/1926 -- Betty is born in Pensacola, Florida
May 1927 -- Charles Lindbergh makes the first solo west to east transatlantic flight
May 1932 -- Amelia Earhart becomes first women to solo across the Atlantic
1937 -- Amelia Earhart and Captain Fred Noonan go missing
12/7/1941 -- Bombing of Pearl Harbor forces American entry into World War II
1942 -- Officially soloed and received pilot's license at age 16
1944 -- Women's Airforce Service Pilots program ends
1945 -- Joins the Civil Air Patrol, eventually achieving rank of Major
May 1945 -- End of War in Europe
August 1945 -- Atom bomb dropped on Hiroshima and Nagasaki followed by Japanese surrender and end of World War II
1946 -- Begins career as aerobat at Southeastern Air Exposition in Jacksonville, Florida
1947 -- The United States Air Force becomes an independent military service Chuck Yeager breaks the sound barrier becoming the first man to fly faster than the speed of sound
1948 -- Becomes International Aerobatics Champion for women Buys "Little Stinker" Orville Wright dies at age 76 Berlin Airlift begins operation NASCAR is formed
1949 -- Pilots the smallest plane to cross the Irish Sea Represents United States in RAF Pageant – Belfast, Ireland Sets World Light Plane Altitude Record (~26,000 ft) First non-stop round the world flight is made by Capt. James Gallagher Represents United States in International Air Pageant – London, United Kingdom Unofficially sets world Speed Record for engine aircraft (426 mph) Retains title as International Aerobatics Champion for women
1950 -- Retains title of International Aerobatics Champion for women Becomes hostess of radio program "Van Wilson's Greeting Time"
1951 -- Four monkeys become the first living creatures to travel in space Retires from Flying Sets World Light Plane Altitude Record (~29,000 ft)
1953 -- Jacqueline Cochran becomes first women to fly faster than the speed of sound Stars in a movie short about motor boat jumping Meets Bill France and takes first ride in pace car
1954 -- Sets Stock Car Flying Mile Record (105.88 mph) Sets new world women's closed course record (144.02 mph) Sets new world women's closed course record (143.44 mph) First woman to drive an Indy Car
1955 -- Participates in Stock Car Endurance Run
1956 -- Becomes an advertising executive for Campbell-Ewald Participates in Stock Car Endurance Run First successful launch of a Chrysler Redstone Rocket from Cape Canaveral Sets new land speed record (145.044 mph) Sets transcontinental record New York to Los Angeles (56 hrs 58 mins)
1957 -- Sputnik 2 carries first dog into space Participates in Mobilgas Economy Run Sputnik is launched by the Soviet Union
1958 -- United States launches Explorer 1, the first US satellite to enter Earth's orbit National Aeronautics and Space Administration (NASA) is established South American Transcontinental Auto Speed Record (41hrs 14 mins)
1959 -- Trains with Mercury 7 astronauts
1960 -- Participates in Mobilgas Economy Run
1961 -- Alan Shepard becomes the first American in space Participates in Mobilgas Economy Run Yuri Gagarin becomes first man in space
1962 -- Cuban Missile Crisis Participates in Baja Run
1963 -- John F. Kennedy is assassinated Valentina Tereshkova becomes first women in space
1965 -- Sets new land speed record (315 mph) Marries Donald A. Frankman
1967 -- An accident during testing of Apollo 1 kills Virgil Grissom, Roger Chaffee, and Edward White
1969 -- Successfully lobbies to end discrimination against female pilots in air racing Becomes Vice President of Campbell-Ewald's new Women's Market and Advertising Department Apollo 11 is launched with Neil Armstrong, Buzz Aldrin, and Michael Collins, making Neil Armstrong the first man on the moon
1970 -- Explosion onboard Apollo 13 First scheduled service of the Boeing 747
1972 -- The last manned mission to the moon, Apollo 17 is completed President Nixon announces funding for the building of a reusable space shuttle
1974 -- Charles Lindbergh dies at age 72
1975 -- Apollo/Soyuz Test Project and Soyuz 19 successfully dock in Earth orbit
1977 -- Begins working for First Florida Realty Publishes book Little Stinker British Airways and Air France begin regular Concorde service from New York's JKF Airport National Aeronautics and Space Administration (NASA) launches Voyager I & II
1980 -- Jacqueline Cochran dies at age 74
1981 -- Space Shuttle Columbia launches for the first shuttle mission
1983 -- Sally Ride becomes first American woman in space
1985 -- Donates Little Stinker to NASM
1986 -- Space Shuttle Challenger explodes on take off Soviet Union launches Mir Space Station
1988 -- Inducted into International Aerobatic Hall of Fame (1st woman)
1989 -- Destruction of the Berlin Wall
1993 -- Inducted into NASCAR International Motorsports Hall of Fame (1st woman) Inducted into Florida Women's Hall of Fame
1997 -- Inducted into Women in Aviation Pioneer Hall of Fame Mars Pathfinder lands on surface of Mars
2001 -- Space Station Mir ends its 15 year life in space Inducted into Corvette Hall of Fame (1st woman) Donald A. Frankman dies
2003 -- Concorde service between the United States and Europe ends Inducted into International Council of Air Shows Foundation Hall of Fame
2005 -- Marries Allan Erde Inducted into National Aviation Hall of Fame
2008 -- Inducted into Motorsports Hall of Fame of America
8/31/2011 -- Betty dies at her home in The Villages, Florida
Provenance:
Betty Skelton, Gift, 2001
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.
Baekeland, L. H. (Leo Hendrik), 1863-1944 Search this
Collection Creator:
Baekeland, L. H. (Leo Hendrik), 1863-1944 Search this
Extent:
1 Item (6.0" x 3.5")
Container:
Box 19, Folder 5
Type:
Archival materials
Diaries
Date:
1916 May 1-1916 October 1
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Original caption: "Studying the motions of champion typists. In 1915 I was particularly interested in finger motions on such work as adding machines and the Monotype machines and I asked the two leading typewriter companies to send me the best demonstrators of their machines. This they did and I studied their motions and recorded them on the film and by means of chronocyclegraphs. It was not until some time after this that the Remington people asked me to develop a champion typist for the world for their advertising department. The result was that we did furnish them a champion, not only of the United states but finally as champion mateur of the world, whose picture is #16245 and #16188. Miss Hortense Stollnitz in 1916 wrote 147 words gross and after deducting 5 wrods per mistake was credited with 137 words net per minute for a half an hour. The best previous record was the same net with 5 less words per minute gross and consequently the Remington people were extrememly pleased." (GPP NF1/0019 vol. III).
Location of subject: Gilbreth Motion Study Laboratory, Providence RI
Subject names: Margaret Owen, Underwood Typewriter's reigning professional champion operator, whom FBG invited to Providence in April 1916.
Series Restrictions:
Series 2: Glass Stereo Slides are restricted. The glass stereo slides in boxes 3-9 were digitized in 2021. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Public Relations Department, formerly known as the Sales Department, promoted the company through sales, advertising, and marketing, and rate research.
The news clipping books, 1958-1962, were created by Western Union's Public Relations Department to bring to the attention of local editors news about Western Union and to obtain publicity. Each news clipping book consists of photocopies and contains a preface page stating the nature of the clipping(s) and highlighting certain articles. There is no index accompanying these books. Some news clipping books are devoted to a subject. This is noted parenthetically in the container list. Several of the books bear a stamped number and the books have been arranged according to this number. The majority of the news clipping books belonged to Mr. Love, Comptroller for Western Union.
The news clipping binders, 1918-1975, are originals and appear to have been produced by the Public Relations Department. Like the news clipping books, the clippings have been assembled according to topics of interest to Western Union.
The publicity clippings, 1959-1978, were created by the Public Relations and Advertising Department and consist of three folders of photocopied material which is a representative collection of newspaper stories and magazine articles about Western Union services and people
House Organs were publications produced in-house by Western Union for internal dissemination only. These included: Commercial Suggestions, a weekly pickup of sales ideas on "how the other fellow did it" and "how you can do it." Journal of the Telegraph, formerly known as Telegraphic Journal of New York, began on December 2, 1867 and ceased December 20, 1914. The Telegraph & Telephone Age, established in 1883, was a semi-monthly journal dedicated to commercial and railway telegraph, telephone, and submarine cable interests and radio telegraphy. Western Union News was introduced in July, 1914. It was edited by and for employees and provided up-to-date research information forum for more personal and social related matters. Western Union Technical Review began in July 1947.
Arrangement:
This series is divided into fourteen subseries:
1. Now Our Next 100 Years, 1952
2. Marketing Materials, 1959-1965
3. Sales Materials, 1941, 1966
4. Newsclippings, 1869-1956
5. Newsclipping Binders, 1918-1975
6. Newsclipping Books-Numbered, 1958-1962
7. Newsclipping Books--Unnumbered, 1864-1967
8. Press clippings, 1927-1939
9. Miscellaneous clippings, 1894-1954
10. Publicity clippings, 1959-1966
11. Articles, 1935, 1944
12. Advertisements, undated
13. Posters (British), 1858-1936, undated
14. Western Union House Organs, 1867-1980
15. Publications by other companies, 1928-1937, 1963
Collection Restrictions:
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
