Search Results

Artist:

Winslow Homer, American, 1836–1910  Search this

Medium:

Brush and oil paint on wood panel

Type:

figures

Painting

Object Name:

Painting

Made in:

USA

Date:

ca. 1877

Credit Line:

Gift of Charles Savage Homer, Jr.

Accession Number:

1917-14-3

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Drawings, Prints, and Graphic Design Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

EDAN-URL:

edanmdm:chndm_1917-14-3

Collection Creator:

Morehouse, Harold E., 1894-1973  Search this

Container:

Box 1, Folder 11

Type:

Archival materials

Text

Collection Restrictions:

No restrictions on access

Collection Rights:

Permissions Requests

Collection Citation:

Harold E. Morehouse Flying Pioneers Biographies Collection, Acc. XXXX-0450, National Air and Space Museum, Smithsonian Institution.

See more items in:

Harold E. Morehouse Flying Pioneers Biographies collection

Harold E. Morehouse Flying Pioneers Biographies collection / Series 1.1: Biographies of Flying Pioneers 1.1

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-xxxx-0450-ref24

Collection Creator:

Morehouse, Harold E., 1894-1973  Search this

Container:

Box 1, Folder 12

Type:

Archival materials

Text

Collection Restrictions:

No restrictions on access

Collection Rights:

Permissions Requests

Collection Citation:

Harold E. Morehouse Flying Pioneers Biographies Collection, Acc. XXXX-0450, National Air and Space Museum, Smithsonian Institution.

See more items in:

Harold E. Morehouse Flying Pioneers Biographies collection

Harold E. Morehouse Flying Pioneers Biographies collection / Series 1.1: Biographies of Flying Pioneers 1.1

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-xxxx-0450-ref25

Creator:

Free, Jerry D.  Search this

International Battle of the Bands, Inc.  Search this

Extent:

32 Cubic feet (88 boxes)

Type:

Collection descriptions

Archival materials

Audiotapes

Audiovisual materials

Business records

Certificates

Music videos

Scrapbooks

Photographs

Videotapes

Place:

Nashville (Tenn.) -- Music -- 20th century

Date:

1981-1998.

Summary:

Business records, scrapbooks, audio disks, videotape, audio tape, and photographs documenting the business and entertainment activities at the International Battle of the Bands.

Scope and Contents note:

The International Battle of the Bands Records, 1981 - 1998, consists of a varied compilation of business records, advertising materials, scrapbooks, photographs, original video footage, and audio recordings. The Battle of the Bands Records document all aspects related to the production, advertising, and promotion of the regional, final, and future competitions

Arrangement:

The collection is divided into seven series.

Series 1.1: International Battle of the Bands, 1981

Series 1.2: International Battle of the Bands, 1982

Series 1.3: International Battle of the Bands, 1983

Series 1.4: International Battle of the Bands, 1984

Series 1.5: International Battle of the Bands, 1985

Series 1.6: International Battle of the Bands, 1986

Series 1.7: International Battle of the Bands, 1987-1988

Series 1.8: International Battle of the Bands, 1989

Series 2.1: International Battle of the Bands Publishing, 1981

Series 2.2: International Battle of the Bands Publishing, 1982

Series 2.3: International Battle of the Bands Publishing, 1983

Series 2.4: International Battle of the Bands Publishing, 1984

Series 2.1: International Battle of the Bands Publishing, 1985

Series 3.1: International Battle of the Bands Recording, 1981-1986

Series 3.2: International Battle of the Bands Recording, 45s,

Series 3.3: International Battle of the Bands Recording, LPs, 1982-1986

Series 3.4: International Battle of the Bands Recording, Reel to Reel, 1981-1986

Series 3.5: International Battle of the Bands Recording, Cassettes, 1981-1986 Series 4: Photographs and Negatives, 1981-1986

Series 5: Videos, 1981-1993

Series 6: Card Files, 1981-1987

Series 7: Awards and Certificates, 1982-1990

Biographical/Historical note:

The International Battle of the Bands Corporation (IBB) was a Nashville-based promotion founded in 1975 by Mr. Jerry Free. Free, an Ohio native born in 1939, is currently Vice President and General manager of United Gunite Construction, where he began working in 1972. Before he founded the International Battle of the Bands, Free began his professional career as a door-to-door salesman for Look magazine. He remained at Look for 13 years, working his way up to a position on the board of directors in 1968.

Free's battle of the bands concept was not a new idea. Staged competitions between bands had been part of American popular music for most of the 20th century. The purpose of these competitions was to draw audiences to the theaters and music halls where bands would perform during the late afternoons and evenings. These events were a common occurrence in the swing era of the 1930s, as well as in Rhythm and Blues and Jazz in the 1940s and 50s. In the early days of Rock & Roll, fledgling music groups often achieved recognition by winning these types of contests. This local exposure sometimes led to regional and even national recognition. The idea of bringing attention to local artists served as the basis for the International Battle of the Bands. It was referred to by Free as the Agreatest search for new talent. Introducing the band competition into the age of televised coverage and corporate sponsorship enabled Free to take an old idea and transform it into a national enterprise.

With the backing of Seagram=s Seven the International Battle of the Bands Contest got its formal start in 1981. In association with the publishing and recording division of the IBB corporation, the International Battle of the Bands contest was developed with the purpose of discovering and promoting new country music talent. The contest was structured with a series of local and regional competitions, leading up to the Grand Finals held each year, with the exception of 1988, in Nashville, Tennessee. The 1988 finals that were held in Panama City Beach, Florida.

Local auditions were held in IBB affiliated clubs in 50 select cities throughout the United States. Winners of local contests moved on to regional competitions with hopes of reaching the Grand Finals and a chance of a recording contract with IBB records and a one year booking contract with Buddy Lee attractions. While remaining relatively low key in its early years, the IBB Grand Finals were broadcast to a national television audience in a 90 minute program hosted by Sammy Davis, Jr. and Louise Mandrell in 1986.

Provenance:

Collection donated by Jerry D. Free, December 16, 1998.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Some materials are restricted until 2050. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Topic:

Music-halls -- 1980-2000  Search this

Music -- 20th century -- United States  Search this

Music -- Performance  Search this

Music -- Publishing  Search this

Genre/Form:

Audiotapes -- 1980-1990

Audiovisual materials

Business records -- 1950-2000

Certificates

Music videos

Scrapbooks -- 20th century

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1950-2000

Videotapes

Citation:

International Battle of the Bands Records, 1981-1998, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0677

See more items in:

International Battle of the Bands Records

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0677

Creator:

Williams, Ralph William  Search this

Breck Company.  Search this

Dial Corporation.  Search this

American Cyanamid Company  Search this

Sheldon, Charles  Search this

Names:

Basinger, Kim  Search this

Gray, Erin  Search this

Hamill, Joan  Search this

Shields, Brooke  Search this

Tiegs, Cheryl  Search this

Extent:

6.5 Cubic feet (16 boxes, 188 pieces of original artwork)

Type:

Collection descriptions

Archival materials

Photographs

Pastels (visual works)

Advertisements

Business records

Date:

circa 1936-1995

Summary:

The collection documents the development and evolution of the Breck Girl, a highly successful and long-lived advertising campaign whose hallmark was its vision of idealized American womanhood through correspondence, photographs, paintings, and print advertisements.

Scope and Contents:

188 pieces of original advertising art (mostly pastel drawings), and photographs, correspondence, and business records, documenting the development and evolution of the Breck Girls advertising campaign. Original advertising art includes portraits of famous models, such as Cheryl Tiegs, Brooke Shields, Kim Basinger, and Erin Gray. Artists represented include Charles Sheldon and Ralph William Williams. The 2006 addendum consists of approximately one sixth of one cubic foot of papers relating to Cynthia Brown's selection as a Breck Girl, 1988 and her induction into the Breck Hall of Fame.

Arrangement:

Collection divided into four series.

Series 1: Company history, 1946-1990

Series 2: Photographs, 1960-1995

Series 3: Print ads, 1946-1980

Series 4: Original artwork, 1936-1994

Biographical / Historical:

Dr. John Breck is credited with developing one of the first liquid shampoos in the United States, in Springfield Massachusetts in 1908; Breck is also credited with introducing the first ph-balanced shampoo, in 1930. During the early years of the business, distribution remained localized in New England, and the product was sold exclusively to beauty salons until 1946. Advertising for the brand began in 1932, but appeared only in trade publications, such as Modern Beauty Shop.

Edward Breck, son of the founder, assumed management of the company in 1936. Breck became acquainted with Charles Sheldon, an illustrator and portrait painter who is believed to have studied in Paris under Alphonse Mucha, an artist noted for his contributions to Art Nouveau style. Sheldon had achieved some measure of fame for his paintings of movie stars for the cover of Photoplay magazine in the 1920s, and had also done idealized pastel portraits for the cover of Parents magazine. He created his first pastel portraits for Breck in 1936, launching what would become one of America's longest running ad campaigns. When the company began national advertising (and mass distribution) in 1946, the campaign featured Sheldon's 1937 painting of seventeen-year old Roma Whitney, a spirited blonde. Ms. Whitney's profile was registered as Breck's trademark in 1951. When he retired in 1957, Sheldon had created 107 oil paintings and pastels for the company. Sheldon was known to favor ordinary women over professional models, and in the early years of the campaign, the Breck Girls were Breck family members, neighbors or residents of the community in which he worked; company lore holds that nineteen Breck Girls were employees of the advertising agency he founded in 1940. A Breck advertising manager later described Sheldon's illustrations as, "illusions, depicting the quality and beauty of true womanhood using real women as models." The paintings and pastels form a coherent, if derivative, body of work which celebrates an idealized vision of American girlhood and womanhood, an ideal in which fair skin, beauty and purity are co-equal.

Ralph William Williams was hired to continue the Breck Girls campaign after Sheldon's retirement. Between 1957 and his death in 1976, Williams modified the Breck Girl look somewhat through the use of brighter colors and a somewhat heightened sense of movement and individuality. The advertising manager during his tenure recalled that Aat first Williams continued in Sheldon' manner, but in later years, as women became more independent, he would take care to integrate each girl' particular personality; he studied each girl and learned her special qualities. During these years, Breck Girls were identified through the company's sponsorship of America's Junior Miss contests. Williams work includes pastels of celebrities Cybil Shepard (1968 Junior Miss from Tennessee), Cheryl Tiegs (1968), Jaclyn Smith (1971, 1973), Kim Basinger (1972, 1974) and Brooke Shields (1974) very early in their careers.

By the 1960s, at the height of its success, Breck held about a twenty percent share of the shampoo market and enjoyed a reputation for quality and elegance. Ownership of the company changed several times (American Cyanamid in 1963; Dial Corporation in 1990). The corresponding fluctuations in management of the company and in advertising expenditures tended to undermine the coherence of the national advertising campaign. In addition, despite William's modifications, the image had become dated. Attempts to update the image misfired, further limiting the brand's coherence and effectiveness. Finally, increased competition and an absence of brand loyalty among consumers through the 1970s and 1980s helped push Breck from its number one position into the bargain bin. The Breck Girl campaign was discontinued around 1978, although there have been at least two minor revivals, first in 1992 with the Breck Girls Hall of Fame, and again in 1995 when a search was begun to identify three new Breck Women. Scope and Content: The 188 pieces of original advertising art (62 oil paintings on board, 2 pencil sketches on paper, and 124 pastels on paper) and related photographs, correspondence and business files in this collection document the development and evolution of the Breck Girl, a highly successful and long-lived advertising campaign whose hallmark was its vision of idealized American womanhood. The collection is a perfect fit with other 20th century Archives Center collections documenting the efforts of American business to reach the female consumer market. The Estelle Ellis Collection (advertising and promotions for Seventeen, Charm, Glamour and House & Garden and many other clients) the Cover Girl Collection (make-up), the Maidenform Collection (brassieres), and the Tupperware Collections offer a prodigious body of evidence for understanding the role women were expected to play as consumers in the 20th century.

These advertising images also offer fertile ground for research into the evolution of popular images of American girlhood and womanhood. The research uses of the collection derive primarily from its value as an extensive visual catalog of the ideal types of American women and girls, arising and coalescing during a period in which 19th century ideals of womanhood were being revisited (the depression, the war years, the immediate post-war period) and continuing, with slight modifications and revisions, through several decades during which those historical ideals were being challenged and revised.

Related Materials:

Several items of packaging, 1930s-1980s are held in the former Division of Home and Community Life; an 18k gold Breck insignia pin is in the former. See Accession #:

Provenance:

The Dial Corporation through Jane Owens, Senior Vice President, Gift, June 1998.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Topic:

Shampoos -- advertising  Search this

Hair -- Shampooing  Search this

advertising -- 20th century  Search this

Feminine beauty (Aesthetics)  Search this

Beauty contestants  Search this

Beauty culture  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1950-2000

Pastels (visual works)

Advertisements -- 20th century

Business records -- 20th century

Citation:

Breck Girls Collection, ca. 1936-1995, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0651

See more items in:

Breck Girls Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0651

Printmaker:

Acevedo, Edwin  Search this

Acevedo, Gilbert  Search this

Photographer:

Von Matthiessen, Maria  Search this

Extent:

2 Cubic feet (4 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Date:

1990-1998

Summary:

Photographic prints depicting Country and Western musicians. Many of the photographs are humorous, whimsical, or even surrealistic.

Scope and Contents:

Photographs (paper, Silver gelatin, matted) of country and Western musicians from the portfolio and book, "Songs from the Hills."

Arrangement:

1 series.

Biographical / Historical:

Edwin Acevedo served as printer for the photographer in the 1980s until his death from cancer. His brother, Gil Acevedo, printed for Ms. von Matthiessen afterward.

Provenance:

Collection donated by Maria von Matthiessen, date unknown.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Reproduction restricted due to copyright or trademark. Artist retains copyright.

Topic:

Country music  Search this

Portraits -- 1980-2000  Search this

Musicians -- United States  Search this

Genre/Form:

Photographs -- 1980-2000

Citation:

Maria von Matthiessen Photoprints, ca 1990-1998, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0622

See more items in:

Maria von Matthiessen Photoprints

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0622

Creator:

Jeffers, Grace  Search this

Formica Corporation.  Search this

Names:

Faber, Herbert A.  Search this

Loewy, Raymond  Search this

O'Conor, Daniel J.  Search this

Stevens, Brooks  Search this

Extent:

18 Cubic feet (59 boxes, 11 oversize folders )

Type:

Collection descriptions

Archival materials

Scripts (documents)

Videotapes

Posters

Samples

Advertisements

Brochures

Blueprints

Photographs

Newsletters

Exhibition catalogs

Catalogs

Correspondence

Date:

1913-2003

Summary:

The Grace Jeffers Collection of Formica Materials consists of textual files, photographs, slides, negatives, drawings, blueprints, posters, advertisements, product brochures, newsletters, and informational pamphlets documenting the history of the Formica Corporation and the use of Formica brand plastic laminate.

Scope and Contents:

The Formica Collection, 1913-2003, consists of textual files, photographs, photo slides, drawings, blueprints, posters, advertisements, product brochures, informational pamphlets, and research notes documenting the history of the Formica Corporation and the use of Formica brand plastic laminate.

Arrangement:

The collection is arranged into ten series.

Series 1: Corporate Records, 1920-1992, 2003

Subseries 1.1: Annual reports, 1949, 1966, 1988

Subseries 1.2: Correspondence and company identity, 1920-1988

Subseries 1.3: Corporation histories and timelines, 1949-1991, undated

Subseries 1.4: Newspaper clippings and articles, 1934-2003

Subseries 1.5: Awards, 1940s-1987

Subseries 1.6: Patent information, 1925-1994

Subseries 1.7: Photographs, 1927-1966

Series 2: Personnel Records, 1943-1992

Series 3: Newsletters, Magazines, and Press Releases, 1942-1990

Subseries 3.1: Newsletters, 1942-1988

Subseries 3.2: Press releases, 1973-1990

Series 4: Product Information, 1948-1994

Series 5: Advertising and sales materials, 1913-2000

Subseries 5.1: Advertising materials, 1913-2000

Subseries 5.2: Sales materials, 1922-1993

Series 6: Subject Files, circa 1945, 1955-1991, 2002

Series 7: Exhibits, 1981-1994

Series 8: Grace Jeffers Research Materials, 1987-1997

Series 9: Audio Visual Materials, 1982-1995, undated

Series 10: Martin A. Jeffers Materials, 1963-1999

Subseries 10.1: Background Materials, 1965-1999

Subseries 10.2: Employee Benefits, 1963-1998

Subseries 10.3: Product Information, [1959?]-1997

Subseries 10.4: Advertising and Sales Records, 1987-1999

Biographical / Historical:

Since its founding in 1913, the history of the Formica Company has been marked by a spirit of innovation and entrepreneurship. The history begins with the discovery of Formica by two men who envisioned the plastic laminate as breakthrough insulation for motors. Later, Formica became a ubiquitous surfacing material used by artists and architects of post-modern design. The various applications of the plastic laminate during the twentieth century give it a prominent role in the history of plastics, American consumerism, and American popular culture.

The Formica Company was the brainchild of Herbert A. Faber and Daniel J. O'Conor, who met in 1907 while both were working at Westinghouse in East Pittsburgh, Pennsylvania. O'Conor, head of the process section in the Research Engineering Department, had been experimenting with resins, cloth, paper, and a wide array of solvents in an effort to perfect a process for making rigid laminate sheets from Kraft paper and liquid Bakelite. O'Conor produced the first laminate sheet at Westinghouse by winding and coating paper on a mandrel, slitting the resulting tube, and flattening it on a press. The finished product was a laminated sheet with the chemical and electrical properties of Bakelite that were cut into various shapes and sizes. O'Conor applied for a patent on February 1, 1913, but it was not issued until November 12, 1918 (US Patent 1,284,432). Since the research was done on behalf of Westinghouse, the company was assigned the patent, and O'Conor was given one dollar, the customary amount that Westinghouse paid for the rights to employees' inventions.

Herbert Faber, Technical Sales Manager of insulating materials, was excited about O'Conor's discovery. Faber saw limitless possibilities for the new material. However, he quickly became frustrated by Westinghouse's policy limiting the sale of the laminate to its licensed distributors. After failing to persuade Westinghouse to form a division to manufacture and market the new material, Faber and O'Conor created their own company. On May 2, 1913, the first Formica plant opened in Cincinnati, Ohio. On October 15, 1913, the business incorporated as the Formica Insulation Company with Faber as president and treasurer and O'Conor as vice-president and secretary. The company began producing insulation parts used in place of or "for mica," the costly mineral that had been used in electrical insulation.

Like most new companies, Formica had modest beginnings. Faber and O'Conor faced the challenge of looking for investors who would let them maintain control over the company. Finally, they met J. G. Tomluin, a lawyer and banker from Walton, Kentucky, who invested $7,500 for a one-third share in the Formica Company. Renting a small space in downtown Cincinnati, Faber and O'Conor began work. The company's equipment list consisted of a 35-horsepower boiler, a small gas stove, and a variety of homemade hand screw presses. By September 1913, Tomluin had brought in two more partners, David Wallace and John L. Vest. With the added capital, O'Conor, Faber, and Formica's eighteen employees began producing automobile insulation parts for Bell Electric Motor, Allis Chalmers, and Northwest Electric.

Initially, the Formica Company only made insulation rings and tubes for motors. However, by July 4, 1914, the company obtained its first press and began to produce flat laminate sheets made from Redmenol resin. Business gradually grew, and by 1917 sales totaled $75,000. Fueled by World War I, Formica's business expanded to making radio parts, aircraft pulleys, and timing gears for the burgeoning motor industry. In the years that followed, Formica products were in high demand as laminate plastics replaced older materials in washers, vacuum cleaners, and refrigerators. By 1919, the Formica Company required larger facilities and purchased a factory in Cincinnati.

During this time, patent battles and legal suits emerged to challenge Formica's success. On June 11, 1919, Westinghouse sued Formica for patent infringement on its laminated gears; Formica won. Later that year, Westinghouse brought two new lawsuits against Formica. The first was for a patent infringement on the production of tubes, rods, and molded parts; the second was over an infringement based on a 1913 patent assigned to Westinghouse through O'Conor. Formica prevailed in both suits.

Legal battles did not deter the company. Having to defend itself against a giant corporation gave Formica a reputation as a scrappy contender. Finally, Faber and O'Conor made a quantum leap in 1927, when the company was granted a U.S. patent for a phenolic laminate utilizing lithographed wood grains of light color, forming an opaque barrier sheet which blocks out the dark interior of the laminate. In 1931, the company received two more patents for the preparation of the first all paper based laminate and for the addition of a layer of aluminum foil between the core and the surface, making the laminate cigarette-proof. These patents would allow Formica to move from a company dealing primarily with industrial material to the highly visible arena of consumer goods.

In 1937, Faber had a severe heart attack which limited his activity within the company. O'Conor continued as president, encouraging new product lines, including Realwood, as a laminate with genuine wood veneer mounted on a paper lamination with a heat-reactive binder. With the introduction of Realwood and its derivatives, manufacturers started using Formica laminate for tabletops, desks, and dinette sets. By the early forties, sales of Formica laminate were over 15 million dollars. The final recipe for decorative laminate was perfected in 1938, when melamine resins were introduced. Melamine was clear, extremely hard, and resistant to stains, heat, light, less expensive than phenolic resins. It also made possible laminates of colored papers and patterns.

Due to World War II, Formica postponed the manufacturing of decorative laminate sheets. Instead, the company made a variety of war-time products ranging from airplane propellers to bomb buster tubes.

The post-World War II building boom fueled the decorative laminate market and ushered in what would come to be known as the golden age for Formica. The company, anticipating the demand for laminate, acquired a giant press capable of producing sheets measuring thirty by ninety-six inches for kitchen countertops. Between 1947 and 1950, more than 2 million new homes were designed with Formica brand laminate for kitchens and bathrooms.

Formica's advertising campaigns, initially aimed at industry, were transformed to speak to the new decorative needs of consumer society, in particular the American housewife. Formica hired design consultants, Brooks Stevens, and, later, Raymond Loewy who launched extensive advertising campaigns. Advertising themes of durability, cleanliness, efficiency, and beauty abound in promotional material of this time. Advertisers promised that the plastic laminate, known as "the wipe clean wonder," was resistant to dirt, juices, jams, alcohol stains, and cigarette burns. Atomic patterns and space-age colors, including Moonglo, Skylark, and Sequina, were introduced in homes, schools, offices, hospitals, diners, and restaurants across America.

The post-war period was also marked by expansion, specifically with the establishment of Formica's first international markets. In 1947, Formica signed a licensing agreement with the British firm the De La Rue Company of London for the exclusive manufacture and marketing of decorative laminates outside North America, and in South America and the Pacific Basin. In 1948, Formica changed its name from the Formica Insulation Company to the Formica Company. In 1951, Formica responded to growing consumer demand by opening a million square foot plant in Evendale, Ohio, devoted to the exclusive production of decorative sheet material. In 1956, the Formica Company became the Formica Corporation, a subsidiary of American Cyanamid Company. A year later, the international subsidiaries that Formica formed with De La Rue Company of London were replaced by a joint company called Formica International Limited.

The plastic laminate was not merely confined to tabletops and dinette sets. Formica laminate was used for skis, globes, and murals. Moreover, well-known artists and architects used the decorative laminate for modernist furniture and Art Deco interiors. In 1960, Formica's Research and Development Design Center was established, adjacent to the Evendale plant, to develop uses for existing laminate products. In 1966, the company opened the Sierra Plant near Sacramento, California. Such corporate expansion enabled Formica to market its laminates beyond the traditional role as a countertop surface material.

In 1974, Formica established its Design Advisory Board (DAB), a group of leading designers and architects. DAB introduced new colors and patterns of laminate that gained popularity among artists and interior designers in the 1980s. In 1981, DAB introduced the Color Grid, a systematic organization of Formica laminate arranged by neutrals and chromatics. The Color Grid was described as the first and only logically arranged collection of color in the laminate industry. DAB also developed the Design Concepts Collection of premium solid and patterned laminates to serve the needs of contemporary interior designers.

In the 1980s and 1990s, the corporation continued to produce laminates for interior designers, artists, and architects. In 1982, Formica introduced COLORCORE, the first solid-color laminate. Due to its relatively seamless appearance, COLORCORE was adopted by artists for use in furniture, jewelry, and interior design. The introduction of COLORCORE also marked the emergence of a wide variety of design exhibitions and competitions sponsored by the Formica Corporation. In 1985, Formica Corporation became independent and privately held. Formica continues to be one of the leading laminate producers in the world with factories in the United States, England, France, Spain, Canada, and Taiwan.

For additional information on the history of the Formica Corporation, see:

DiNoto, Andrea. Art Plastic: Designed for Living. New York: Abbeville Press, 1985.

Fenichell, Stephen. Plastic: The Making of a Synthetic Century. New York: Harper/Collins, 1996.

Jeffers Grace. 1998. Machine Made Natural: The Decorative Products of the Formica Corporation, 1947-1962. Master's thesis. Bard Graduate Center for Studies in the Decorative Arts.

Lewin, Susan Grant, ed. Formica & Design: From Counter Top to High Art. New York: Rizzoli, 1991.

Related Materials:

Materials at the Archives Center

Leo Baekeland Papers, 1881-1968 (AC0005)

DuPont Nylon Collection, 1939-1977 (AC0007)

J. Harry DuBois Collection on the History of Plastics, circa 1900-1975 (AC0008)

Earl Tupper Papers, circa 1914-1982 (AC0470)

The Division of Medicine and Science holds artifacts related to this collection. See accession # 1997.0319 and #1997.3133.

Provenance:

This collection was assembled by Grace Jeffers, historian of material culture, primarily from materials given to her by Susan Lewin, Head of Formica's New York design and publicity office when the office closed in 1995. The collection was donated to the Archives Center by Grace Jeffers in September 1996.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Topic:

Plastics industry and trade  Search this

Plastics -- 1920-2000  Search this

Plastics as art material -- 1920-2000  Search this

Plastics in interior design -- 1920-2000  Search this

advertising -- plastic industry -- 1920-2000  Search this

Plastic jewelry -- 1920-2000  Search this

Laminated plastics -- 1920-2000  Search this

Exhibitions -- 20th century -- United States  Search this

House furnishings -- 1920-2000 -- United States  Search this

Housewives as consumers -- 1920-2000  Search this

Electronic insulators and insulation -- Plastics -- 1920-2000  Search this

Inventions -- 1920-2000 -- United States  Search this

Women in advertising  Search this

Women in popular culture -- 1920-2000  Search this

Genre/Form:

Scripts (documents)

Videotapes

Posters -- 20th century

Samples -- 1920-2000

Advertisements

Brochures

Blueprints -- 20th century

Photographs -- 20th century

Newsletters -- 20th century

Exhibition catalogs

Catalogs

Catalogs -- 1920-2000

Correspondence -- 20th century

Citation:

Grace Jeffers Collection of Formica Materials, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0565

See more items in:

Grace Jeffers Collection of Formica Materials

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0565

Performer:

Basie, Count, 1904-  Search this

Webster, Ben  Search this

Armstrong, Louis, 1901-1971  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Jamal, Ahmad, 1930-  Search this

Robinson, Bill, 1878-1949  Search this

Davis, Miles  Search this

Collector:

Smith, Ernie  Search this

Names:

Apollo Theatre (New York, N.Y.)  Search this

Extent:

30 Cubic feet (352 film reels , 16 mm)

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Place:

Harlem (New York, N.Y.) -- 20th century

Date:

1894-1979

Summary:

More than 300 reels of 16mm black and white and color film, silent and sound, fiction and documentary motion picture film documenting jazz and related musical performances, social and popular dance styles and performances, jazz musicians, performance locales, and documentation of African-American popular culture. A list of featured performers in the collection is shown below. The films are frequently compilations produced by Smith for lectures.

Scope and Contents:

The collection consists of 352 reels of 16mm motion picture film. Most of the film is 16mm black and white and sound (composite optical track print), although a few titles are silent or in color. The collection is comprised of compilation reels created by Ernie Smith to accompany his lectures, topical compilation reels created by Ernie Smith, compilation reels created by the Archives Center, and single title reels. The Archives Center produced master and reference video copies using a wet-gate telecine film-to-tape transfer system. Titles were often combined to allow for increased ease of handling, storage, and duplication.

The collection is strongest in the areas of jazz dance styles including Lindy Hop and tap, overviews of jazz musical performers and styles; specific jazz musicians and performers including Duke Ellington, Louis Armstrong, Cab Calloway, Woody Herman, Artie Shaw, Bob Crosby, Lionel Hampton, Count Basie, Jack Teagarden as well as a wide range of female vocalists; and documentation of the New York jazz and club scene. The collection includes feature films and excerpts from feature films, Soundies and other film shorts, television kinescopes, and documentary films.

Arrangement:

The collection is arranged into one series and is not arranged in accordance with standard archival procedures. The breadth of the collection and the existence of so many multiple topic and/or performer compilation reels made it impossible to impose traditional archival series order. Therefore, each reel is described at the item level in the container list.

Biographical / Historical:

Ernie Smith began collecting jazz-related film in 1955. He wrote the entry about jazz film in the "Grove Dictionary of Jazz," and worked with Marshall Stearns on the book "Jazz Dance."

Ernest (Ernie) Smith began collecting jazz and jazz dance films during the mid-1950s. An Art Director for a New York advertising agency, Smith had a long-standing interest in jazz and jazz dance that began during his youth in Pittsburgh, Pa. Early on, Smith discovered that jazz music was best appreciated while dancing. He became an accomplished Lindy Hopper, frequenting both white and African American ballrooms.

His job at the advertising agency supported Smith's two passions - painting and jazz dance and music. Smith was also a film enthusiast so, in 1954, after taking a jazz class at the New School taught by Marshall Stearns, a leading jazz scholar, he began collecting examples of jazz and jazz dance on film. In the process of creating his film collection, Smith became one of the leading authorities on jazz and jazz dance films. He collaborated with Stearns on the 1964 book Jazz Dance, compiling the book's jazz dance film listing. He also wrote the extensive entry on jazz film for the 1988 edition of New Grove Dictionary of Jazz .

Smith built his film collection by identifying films of potential interest and acquiring them through trade and purchase. He created lecture reels on specific topics -- the history of jazz, social dance, tap dance, Duke Ellington, Lindy Hop -- and presented lecture/screenings nationally and internationally. He also provided footage for numerous documentaries and maintained active relationships with filmmakers, other film collectors, jazz scholars, the swing dance community, and musicians.

Ernie Smith donated his film collection to the Archives Center in 1993. He continues to lecture and participate in swing dance activities, but he devotes the majority of his time to painting and related artistic pursuits.

Provenance:

The Archives Center acquired the collection from Ernie Smith in 1993.

Restrictions:

Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Topic:

Tap dancing -- 1930-1970  Search this

Motion pictures and music -- 1930-1970  Search this

Dancing in motion pictures, television, etc. -- 1930-1970  Search this

Television and music -- 1930-1970  Search this

Jazz -- 20th century -- United States  Search this

Jazz musicians -- 1930-1970  Search this

Jazz dance -- 1930-1970  Search this

African Americans in the performing arts -- 1930-1970  Search this

Genre/Form:

Motion pictures (visual works) -- 20th century

Citation:

Ernie Smith Jazz Film Collection, Archives Center, National Museum of American History.

Sponsor:

America's Jazz Heritage: A Partnership of the The Lila Wallace-Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies.

Identifier:

NMAH.AC.0491

See more items in:

Ernie Smith Jazz Film Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0491

Collection Collector:

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Type:

Archival materials

Date:

1938-1985, undated

Scope and Contents:

This subseries contains material and ephemera of Mary Robinson Conner (1930-2009). She was the daughter of Frank A. and Elizabeth Bourne Robinson and the wife of Timothy James Conner, a member of the United States Air Force and then later a computer contractor. This subseries consists of scrapbooks, diaries, her high-school diploma, materials from her correspondence course in nursing, a guidebook (in French) to the luxury liner Ile de France that she took to join her husband in France in August 1951, and original artwork. The subseries includes a conjectural genealogy chart of the Robinson family done by distant cousin Marshall F. Robinson. While accurate in many respects, the chart includes many inaccuracies. In additon to being a homemaker, wife, and mother she was an artist and genealogist.

Collection Restrictions:

Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

The Robinson and Via Family Papers, Archives Center, National Museum of American History

Sponsor:

Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.

Identifier:

NMAH.AC.0475, Subseries 2.5

See more items in:

Robinson and Via Family Papers

Robinson and Via Family Papers / Series 2: Robinson Family

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0475-ref1011

Creator:

Commercial Decal, Inc.  Search this

Seliger, Charles, 1926-2009  Search this

Rockwell, Norman, 1894-1978  Search this

Extent:

4.62 Cubic feet (39 boxes)

Type:

Collection descriptions

Archival materials

Business records

Annual reports

Exhibition catalogs

Decals

Photographs

Lithographs

Screen prints

Date:

1926-1993, undated

Scope and Contents note:

The Commercial Decal, Incorporated records consist of decals, photographs and advertising materials that trace the business transactions of Commercial Decal, Incorporated from its early creation through its closing in 1992. Most of the actual decals and patterns are from the early 1970s through 1992. The records of product orders, however, date back to 1926. Background information on Commercial Decal, Incorporated and its parent company, Pictorial Productions, Incorporated is also included among the materials. There are also several photographs of the plant and its employees from the 1940s.

The collection is arranged into eight series in thirty nine boxes. Series one contains historical and background materials. Series two consists of the corporate records of Commercial Decal, Incorporated and Pictorial Productions, Incorporated. These materials include articles, newsletters, annual reports, and photographs. Series three consists of the work order cards for individual orders. Order cards follow pieces of work through the several stages of decal production. Series four includes work orders and patterns for specific orders. These orders are written out on pressroom and proofing jackets that are similar to work order cards. Unlike series three, a copy of the pattern used is included with the order jackets. Series five and six contain original and copied decals that were used between the 1970s and 1990s. Series five contains copies of a variety of patterns and series six mainly focuses on special and commemorative decals. Series seven includes advertising materials created by Kleb Associates, Incorporated for Commercial Decal, Incorporated. Series eight contains materials relating to the artistic career of surrealist artist Charles Seliger, Commercial Decal's vice-president of design. There are several catalogues from Seliger's art shows in the United States and Europe dating from the 1970s to the early 1990s.

Arrangement:

Divided into 8 series: (1) Background and Historical Information, 1935-1993; (2) Corporate Records, 1964-1991; (3) Work Order Cards, 1926-1972; (4) Work Orders and Patterns, 1940-1985; (5) Patterns, 1974-1989; (6) Commemorative and Special Decals, circa 1970-1990; (7) Advertising Mmaterials, dates unknown; (8) Charles Seliger Artwork, circa 1970-1990.

Biographical/Historical note:

Commercial Decal, Incorporated Corporate Records, was a pictorial printing company opened in Mount Vernon, New York, in 1912. The company was one of the few American firms that produced decorative decals for major ceramic companies. The company supplied decals to most of the ceramics industry, including such major firms as Haviland, Homer Laughlin, Lenox, Hallcraft, Bradford, Corning, Anchor Hocking, and Salem China. They also produced decals for glass and plastic products. Most of the company's decals featured straightforward, edge-of-the-plate designs in floral, abstract, or geometric patterns. Other products included decals of reproductions of famous art works (Norman Rockwell was particularly popular), commemorative and historical designs, advertising decals for products (including Coca-Cola, McDonald's, and Quaker Oats), and original patterns and designs for china sets and cookware. In 1935, Commercial Decal, Incorporated Corporate Records designed a new set of dishes for the White House at the request of Eleanor Roosevelt, who gave them to her husband, Franklin D. Roosevelt, as a Christmas present. In 1973, company President Charles Silberstein, introduced a new method of transfer, the four color or camera separation process, which revolutionized the business by making colors more reproducible and accurate and production time faster. In the mid-1980s, the company began to lose customers to increased competition. Then, in the late-1908s, the New York State Department of Environmental Control imposed heavy fines on the company for serious violations of environmental laws. Between lost customers, increased competition, and the need to install environmentally-friendly new equipment, the company was unable to pay the fines. By August of 1992 the company had gone out of business.

Related Materials:

Materials held by the Archives Center, National Museum of American History

Salem China Company, 1930s-1981, undated

Provenance:

Collection donated by Commercial Decal, through Charles Seliger, Febuary 1993.

Restrictions:

Collection is open for research but a portion of the collection remains unprocessed and is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Topic:

advertising -- 20th century  Search this

Decalcomania  Search this

Ceramics -- 20th century  Search this

Lithography -- 20th century  Search this

Glass -- 1940-1990  Search this

Serigraphy  Search this

Genre/Form:

Business records -- 20th century

Annual reports

Exhibition catalogs -- 1970-2000

Decals

Photographs -- 20th century

Lithographs

Screen prints

Citation:

Commercial Decal, Incorporated Corporate Records, 1940-1991, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0477

See more items in:

Commercial Decal, Incorporated Corporate Records

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0477

Collection Creator:

Commercial Decal, Inc.  Search this

Seliger, Charles, 1926-2009  Search this

Rockwell, Norman, 1894-1978  Search this

Type:

Archival materials

Date:

circa 1970-1990

Scope and Contents:

Includes art catalogues from the 1970s through the 1990s. Seliger, vice-president of design for Commercial Decal, Incorporated, was also a surrealist artist who exhibited his works in the United States and Europe. The materials are arranged by date.

Collection Restrictions:

Collection is open for research but a portion of the collection remains unprocessed and is stored off-site and special arrangements must be made to work with it. 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:

Commercial Decal, Incorporated Corporate Records, 1940-1991, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0477, Series 8

See more items in:

Commercial Decal, Incorporated Corporate Records

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0477-ref1347

Creator:

Faul, Jan, 1945-  Search this

Extent:

0.3 Cubic feet (1 box)

Type:

Collection descriptions

Archival materials

Topographical views

Manipulated photographs

Photographs

Painted photographs

Hand coloring

Landscapes (representations)

Portfolios (groups of works)

Place:

Washington (D.C.) -- 1990-2000

West Virginia -- 1990-2000

Virginia -- 1990-2000

Maryland -- 1980-2000

Potomac River -- 1990-2000

Date:

1991

Summary:

The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," by Jan Faul, 1991. They include agricultural landscapes, cemeteries, industrial buildings commercial buildings in rural areas, etc., in the Potomac River region of Washington, D.C., Maryland, Virginia, and West Virginia. Each image contains a small area hand-colored by the photographer, providing a subtly mysterious, often whimsical or humorous effect.

Scope and Contents:

The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," and is number six in an edition of forty five. The photographs all were taken in 1991 and the prints were made shortly thereafter. The photographs are basically somewhat romantic documentary images of locales in Washington, D.C., Virginia, Maryland, and West Virginia, including landscapes and industrial settings, interiors and exteriors, some of which are apparently abandoned. Human figures are seen only incidentally in several images. Each print has a small area hand colored by the artist, usually adding subtle humor and/or a hint of mystery. The titles are brief and geographical, and the set is numbered I to XII and XIV to XXV; there is no number XIII, the artist was careful to point out.

Arrangement:

The collection is arranged into one series. Sequence arranged by artist: numbered I-XII, XIV-XXV (no number XIII).

Biographical / Historical:

Jan Faul was born in Port Chester, New York in 1945. His family moved frequently, living in Washington, D.C., New York, Boston, Denver, Toronto, Strasbourg, and Bern, Switzerland. In Bern he received his first camera as a gift for his fourteenth birthday. He returned to the United States and completed high school in Washington.

In his late teens Faul met Roy Stryker, legendary director of the Farm Security Administration documentary photography project, who suggested that he spend time looking at photographs in the Library of Congress which he did, concentrating on the F.S.A. files. Influenced by his artist parents, Faul studied art history and graphics in college, hoping to become a printmaker, but had begun to support himself with photography by the time he graduated from The George Washington University in 1969.

The "immediacy" of photography and other aesthetic considerations in addition to the financial ones finally led to Faul's abandonment of printmaking and commitment to photography. Since 1970 he has been a self employed photographer, working in landscape, still life, and portraiture. He documented the lives of poor people in the U.S. from July 1970 to March 1971 for the Office of Economic Opportunity. In summer 1971 he photographed scenes of rural poverty for the Appalachian Regional Commission. A grant from the Upjohn Institute for American Labor Studies in 1974 supported his photographic documentation of American workers and changing work habits. In the summer of 1975 he worked for the Smithsonian, portraying the locksmen and pilots of the St. Lawrence Seaway. Further grants and contracts for documentary photography followed, including the 1976 Smithsonian Festival of American Folklife.

Faul moved to Copenhagen, Denmark, in 1979, and there worked on commercial accounts for Esso, Polaroid, and others, while continuing to pursue a variety of personal photographic projects. He returned to the Washington, D.C., area a decade later.

The photographer's career has included commercial work and contractual documentary projects, as well as the sale of photographic prints as art to private collectors and sales and donations to institutions. Fourteen photographs were donated to the Division of Photographic History of this Museum in 1970, and his work is in the collections of the Royal Museum of Art in Denmark, The Library of Congress, the San Francisco Museum of Modern Art, George Eastman House, the Toledo Museum of Art, the Corcoran Gallery of Art, the Oakland Museum, and others. He has received a number of awards, and has been included in a number of group and solo exhibitions. He has received an artist's residency at Yaddo for 1992 1993. Additional biographical information, including a bibliography, is on file in the Archives Center.

Provenance:

Collection donated by Jan Faul, November 13, 1991.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Use and copyright restrictions: all rights retained by the artist. The Museum may exhibit and reproduce photographs in its publications, but cannot make copies or authorize reproduction by others. Contact artist for reproduction arrangements.

Topic:

Agricultural land -- 1990-2000  Search this

Rivers -- 1990-2000 -- United States  Search this

Commercial buildings -- 1990-2000  Search this

Cemeteries -- 1990-2000  Search this

Industrial complexes -- United States  Search this

Industrial towns -- 1990-2000  Search this

Genre/Form:

Topographical views

Manipulated photographs

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1990-2000

Painted photographs

Hand coloring

Landscapes (representations) -- 1990-2000 -- United States

Portfolios (groups of works) -- 1990-2000

Citation:

Jan Faul "Potomac East and West" Portfolio, 1991, Archives Center, National Museum of American History. Gift of the artist.

Identifier:

NMAH.AC.0441

See more items in:

Jan Faul "Potomac : East and West" (portfolio of photoprints)

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0441

Creator:

United Nations  Search this

Collection Creator:

Princeton University  Search this

Extent:

1 Poster (1/2 size; Multi-color, 56 x 86.5 cm)

Container:

Map-folder 438

Type:

Archival materials

Posters

Place:

India

Image:

Main Image: Nine photographs of life in India

Other Image(s): Chart showing production, commerce, & population figures

Local numbers:

Princeton Poster# 3401

General:

Issued by: Government of India Information Service

Issued for: United Nations [?]

Artist(s): Photographers F.C. Veit & S.M. Adler

Locale:

Washington (D.C.)

Printing Info:

Printing Information: United States

Property of Princeton [...] Received APR 10 1945

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright status of items varies. 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.

Topic:

Education  Search this

World War, 1939-1945  Search this

Genre/Form:

Posters

Collection Citation:

Princeton University Posters Collection, Archives Center, National Museum of American History.

Sponsor:

Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.

See more items in:

Princeton University Poster Collection

Princeton University Poster Collection / Series 4: World War Two / India

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0433-ref14584

Issuing body:

Office of War Information. Washington, D.C.  Search this

Creator:

Perlin, Bernard, 1918-2014 (artist?)  Search this

Artist:

Martin, David Stone  Search this

Publisher:

Office of War Information. Washington, D.C.  Search this

Collection Creator:

Princeton University  Search this

Extent:

1 Poster (Full size; Multi-color, 101.5 x 72 cm)

Container:

Map-folder 453

Type:

Archival materials

Posters

Place:

United States

Date:

1943

Image:

Main Image: U.S. soldiers of 1943 walking past colonial soldiers of 1778

Local numbers:

Princeton Poster# 3506

General:

Issued by: Office of War Information

Artist(s): Bernard Perlin [and David Stone Martin] - [Posters that Won the War by Derek Nelson]

Series:

OWI Poster No.26

Locale:

Washington (D.C.)

Printing Info:

Printer: (U.S.) G.P.O., , 1943 Other Printing Info: 0-502684

Property of Princeton [...] Received FEB 23 1943

Related Materials:

Duplicates: 3506, 477

Condition differs: No

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright status of items varies. 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.

Topic:

Morale and propaganda  Search this

Propaganda  Search this

World War, 1939-1945  Search this

World War, 1939-1945 -- Posters -- United States  Search this

Genre/Form:

Posters

Posters -- World War, 1939-1945 -- United States

Collection Citation:

Princeton University Posters Collection, Archives Center, National Museum of American History.

Sponsor:

Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.

See more items in:

Princeton University Poster Collection

Princeton University Poster Collection / Series 4: World War Two / United States

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0433-ref14600

Issuing body:

Office of War Information. Washington, D.C.  Search this

Creator:

Perlin, Bernard, 1918-2014 (artist?)  Search this

Office of War Information. Washington, D.C.  Search this

Artist:

Martin, David Stone  Search this

Collection Creator:

Princeton University  Search this

Extent:

1 Poster (Full size; Multi-color, 102 x 72 cm)

Container:

Map-folder 49

Type:

Archival materials

Posters

Place:

United States

Date:

1943

Image:

Main Image: World War II US Soldiers meeting Revolutionary war soldiers

Local numbers:

Princeton Poster# 477

General:

Issued by: Office of War Information

Artist(s): B. Perlin [and David Martin Stone] - [Posters that Won War by Derek Nelson P.11]

Series:

OWI Poster No 26

Locale:

Washington (D.C.)

Printing Info:

Printer: (U.S.) G.P.O., , 1943 Other Printing Info: 1943-0-502684

Received by P. Lib Feb 22, 1943

Related Materials:

Duplicates: 3506, 477

Condition differs: No

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright status of items varies. 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.

Topic:

Morale and propaganda  Search this

Propaganda  Search this

World War, 1939-1945  Search this

World War, 1939-1945 -- Posters -- United States  Search this

Genre/Form:

Posters

Posters -- World War, 1939-1945 -- United States

Collection Citation:

Princeton University Posters Collection, Archives Center, National Museum of American History.

Sponsor:

Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.

See more items in:

Princeton University Poster Collection

Princeton University Poster Collection / Series 4: World War Two / United States

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0433-ref14601

Creator:

Office of Education. (Washington, D.C.)  Search this

U.S. Army Air Corps  Search this

Collection Creator:

Princeton University  Search this

Extent:

1 Item (1 pieces, Full size; Multi-color, 72 x 98.5 cm)

Container:

Map-folder 448

Type:

Archival materials

Leaflets

Posters

Place:

United States

Date:

1942 Aug

Image:

Main Image: (A) N/A (B) Photographs B-17 bomber with ground and flight crews

Other Image(s): (A) N/A (B) 26 Photographs of various jobs in U.S. Army Air Force: Armorers, Machinist, Metal Worker, etc.

Local numbers:

Princeton Poster# 3463

General:

Issued by: Federal Security Agency; Office of Education; U.S. Army Air Force

Issued for: U.S. Army Air Force

Artist(s): Anon

Locale:

Washington (D.C.)

Note:

The poster was mailed directly to Princeton U. Library by the Issuing Organization

Printing Info:

Printer: (U.S.) G.P.O., , 1942 Other Printing Info: 0-473420

Property of Princeton [...] Received SEP 30 1942

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright status of items varies. 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.

Topic:

Recruiting and enlistment  Search this

World War, 1939-1945  Search this

World War, 1939-1945 -- Posters -- United States  Search this

Genre/Form:

Leaflets

Posters -- World War, 1939-1945 -- United States

Collection Citation:

Princeton University Posters Collection, Archives Center, National Museum of American History.

Sponsor:

Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.

See more items in:

Princeton University Poster Collection

Princeton University Poster Collection / Series 4: World War Two / United States

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0433-ref14602

Issuing body:

United States. War Finance Division  Search this

Creator:

Beall, C. C. (Cecil Calvert), 1892-1967  Search this

United States. War Finance Division  Search this

Seventh War Loan  Search this

Photographer:

Rosenthal, Joseph  Search this

Collection Creator:

Princeton University  Search this

Extent:

1 Poster (Full size; Multi-color, 93.5 x 66 cm)

Container:

Map-folder 457

Type:

Archival materials

Posters

Place:

United States

Iwo Jima (Japan)

Image:

Main Image: U.S. Marines raising the flag on Iwo Jima

Local numbers:

Princeton Poster# 3554

General:

Issued by: U.S. Treasury Department [War Finance Division]

Issued for: 7th War Loan

Artist(s): C.C. Bell

Series:

WFD 11B

Note:

Image painted from Associated Press photograph

Printing Info:

Printer: (U.S.) G.P.O., , 1945 Other Printing Info: 0-637980

Property of Princeton [...] Received APR 27 1945

Related Materials:

Duplicates: 3554, 8071

Condition differs: No

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright status of items varies. 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.

Topic:

Fund raising  Search this

World War, 1939-1945  Search this

World War, 1939-1945 -- Posters -- United States  Search this

Genre/Form:

Posters

Posters -- World War, 1939-1945 -- United States

Collection Citation:

Princeton University Posters Collection, Archives Center, National Museum of American History.

Sponsor:

Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.

See more items in:

Princeton University Poster Collection

Princeton University Poster Collection / Series 4: World War Two / United States

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0433-ref14603

Issuing body:

United States. War Finance Division  Search this

Creator:

Beall, C. C. (Cecil Calvert), 1892-1967  Search this

United States. War Finance Division  Search this

Seventh War Loan  Search this

Collection Creator:

Princeton University  Search this

Extent:

1 Poster (1/8 size; Multi-color, 32.5 x 23 cm)

Container:

Box 39, Folder 4

Type:

Archival materials

Posters

Place:

United States

Image:

Main Image: U.S. Marines raising the flag on Iwo Jima [from Associated Press photo]

Local numbers:

Princeton Poster# 8071

General:

Issued by: U.S. Treasury Department [War Finance Division]

Issued for: 7th War Loan

Artist(s): C.C. Bell

Series:

WFD 11

Printing Info:

Printer: (U.S.) G.P.O., , 1945 Other Printing Info: 637980

Property of Princeton [...] Received APR 27 1945

Related Materials:

Duplicates: 3554, 8071

Condition differs: No

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright status of items varies. 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.

Topic:

Fund raising  Search this

World War, 1939-1945  Search this

World War, 1939-1945 -- Posters -- United States  Search this

Genre/Form:

Posters

Posters -- World War, 1939-1945 -- United States

Collection Citation:

Princeton University Posters Collection, Archives Center, National Museum of American History.

Sponsor:

Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.

See more items in:

Princeton University Poster Collection

Princeton University Poster Collection / Series 4: World War Two / United States

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0433-ref14604

Issuing body:

United States. War Finance Division  Search this

Creator:

War Bonds  Search this

United States. War Finance Division  Search this

Collection Creator:

Princeton University  Search this

Extent:

1 Poster (1/8 size; Multi-color, 35.5 x 25.5 cm)

Container:

Box 27, Folder 4

Type:

Archival materials

Posters

Place:

United States

Image:

Main Image: Hand gripping War Bonds with the arm of the Statue of Liberty holding up the torch in background

Local numbers:

Princeton Poster# 6993

General:

Issued by: U.S. Treasury Department [War Finance Division]

Issued for: War Bonds

Artist(s): Anon

Series:

WFD 983-B

Printing Info:

Printer: (U.S.) G.P.O., , 1945 Other Printing Info: 0-629877

Property of Princeton [...] Received APR 21 1945

Related Materials:

Duplicates: 6993, 6994

Condition differs: No

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright status of items varies. 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.

Topic:

Fund raising  Search this

World War, 1939-1945  Search this

Statue of Liberty (New York, N.Y.)  Search this

World War, 1939-1945 -- Posters -- United States  Search this

Genre/Form:

Posters

Posters -- World War, 1939-1945 -- United States

Collection Citation:

Princeton University Posters Collection, Archives Center, National Museum of American History.

Sponsor:

Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.

See more items in:

Princeton University Poster Collection

Princeton University Poster Collection / Series 4: World War Two / United States

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0433-ref14605

Issuing body:

United States. Navy. Recruiting Bureau  Search this

Creator:

United States. Navy. Recruiting Bureau  Search this

United States. Navy  Search this

Collection Creator:

Princeton University  Search this

Extent:

1 Poster (1/4 size; Multi-color, 35.5 x 43 cm)

Container:

Box 15, Folder 4

Type:

Archival materials

Posters

Place:

United States

Image:

Main Image: 2 images: John Paul Jones on a ship deck, Battle between the Bonhomme Richard and the Serapis

Other Image(s): The battleship U.S.S. Washington

Local numbers:

Princeton Poster# 5982

General:

Issued by: Navy Recruiting Bureau

Artist(s): Anon

Series:

831

Printing Info:

Printer: NRB, 9/18/1941 Other Printing Info: 30259 10M

Property of Princeton [...] Received OCT 15 1941

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

Copyright status of items varies. 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.

Topic:

Recruiting and enlistment  Search this

World War, 1939-1945  Search this

World War, 1939-1945 -- Posters -- United States  Search this

Genre/Form:

Posters

Posters -- World War, 1939-1945 -- United States

Collection Citation:

Princeton University Posters Collection, Archives Center, National Museum of American History.

Sponsor:

Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.

See more items in:

Princeton University Poster Collection

Princeton University Poster Collection / Series 4: World War Two / United States

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0433-ref14607