A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
Temperance contains material documenting perspectives on alcohol use and regulation as well as the impact of various temperance movements on society and the government. The collection covers the issues related to these movements through multiple eras and social lenses, and addresses both pro and anti-temperance perspectives though there is significantly more material that supports the temperance and prohibition movements.
Materials represent a sampling of newsclippings, realia (ribbons, fans, and pendants), artwork in various mediums, and educational resources. No extensive records of any particular group or region exist, and no particular depth is present for any singular subtopic. The subject of temperance often overlaps with news and developments about the women's suffrage movement, elections, and wars.
While newsclippings are divided into specific subject categories, there may be significant overlap between regional issues and files pertaining to legislation and elections due to newsclippings frequently addressing multiple issues.
Temperance is arranged in four subseries.
Cigarette and Tobacco Documentation
Images, Writings, and Music
Temperance and Government
Temperance and Religion
Temperance and Society
Temperance and War
Forms part of the Warshaw Collection of Business Americana.
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Temperance is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Collection is open for research. Some items may be restricted due to fragile condition.
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.
The collection includes thirty-eight punchboards, all unpunched and in very good to excellent condition, and featuring a range of products and imagery. The collection also includes two punchboard manufacturers' catalogs from the 1940s, which detail the money-making opportunities for jobbers and retailers.
The collection also contains correspondence, employment forms, promotional literature, photographs and sales training literature from Evan "Ding" Rangeloff=s early career as a sales representative and regional sales manager for Liggett & Myers Tobacco Company. Of particular interest are sales training manuals which explore the psychology of selling in the 1950s, manuals which detail sales cigarette marketing strategies at military bases and on Indian reservations, and materials relating to Liggett & Myers sponsorship of Formula One car racing in the 1970s.
Series 1: Business Records, circa 1954-1991
Series 2: Photographs, circa 1920-1970
Series 3: Sales Training Literature, circa 1955-1957, 1974, 1979
Series 4: Punchboards, circa 1910-1970
During and after his employment as a salesman and regional sales manager with Liggett & Myers Tobacco Company in Duluth, Minnesota, Mr. Rangeloff began collecting the gambling and sales promotion devices known as punchboards. In 1999-2000, he donated a large and representative selection of punchboards to the Archives Center. The term "punchboard" (or in some cases "punch board," "push board," "punchcard," or "pushcard") refers to a gambling device popular in the United States from roughly 1910 until 1970. Punchboards could be used for fundraising, sales promotion and gambling--sometimes all at once. Punchboards were typically found in places where men gathered socially, such as bars, pool halls, barber shops, and men's clubs. Punchboards also could be found in beauty parlors, drug stores, and other small retail establishments. With their promise of easy money, punchboards enjoyed great success during the Depression, and continued to enjoy popularity during and after World War II. According to Scarne's Complete Guide to Gambling (New York, N.Y.: Simon and Schuster, 1961), approximately 30 million punchboards were sold between 1910 and 1915. Scarne estimated that 50 million punchboards were sold in 1939 alone, at the peak of their popularity. Punchboard sales declined significantly after WWII, and by the mid-1970s the boards had been outlawed in most states.
Punchboards trace their lineage to 18th century lottery game boards. These handmade boards, with the winning ticket placed by the operator, offered no safeguards against corruption, however, and their misuse may have contributed to the game=s waning popularity. In 1905, C.A. Brewer and C.G. Scannell patented a new version of the traditional game. By 1910, modern manufacturing techniques, including the invention of board stuffing machines and ticket folding machines, contributed to the reinvigoration of the punchboard. The new punchboards were constructed out of cardboard, with a sheet of paper or foil covering both front and back of the board. This covering was intended to prevent the operator from discovering where the winning tickets were or otherwise tampering with the board. Cheap, portable, disposable, and offering a ready vehicle for advertising, punchboards are an exuberant, if ephemeral, expression of 20th century mass culture.
A modern punchboard typically consists of a square or rectangular piece of pressed wood or cardboard (from 2 inch to one inch in thickness) in which hundreds or thousands of holes have been drilled in a regular pattern, then loaded with tiny slips of rolled or folded paper. Each slip of paper had a number or symbol printed on it. Both front and back of the board were covered with a foil or paper seal. The front of the board typically featured some form of attention-getting commercial imagery and a chart listing the winning number or combination of numbers and symbols, along with the prizes or cash amounts to be awarded to the winners. The boards were sold with a metal stylus or "punch" for the players to use.
A player paid the punchboard's operator a set amount of money (typically a nickel, dime, or quarter) for a chance to use a metal stylus to break the seal on the hole of his choice, and punch one of the slips of paper out of the board. If the number or symbols found on the slip of paper matched one of the pre determined winning combinations, the player was awarded the corresponding prize.
Punchboard manufacturers sold the boards blank or preprinted. Blank boards were sold to "jobbers" or salesmen who then added their own imagery or advertisement, and many surviving punchboards feature advertisements for products that were inexpensive and had mass appeal, such as peanuts, candy and cigarettes. Some of these boards offered the advertised product as the prize; these came to be known as prizeboards. Some prizeboards were constructed with a shadow box meant to contain prizes such as rhinestone sunglasses, wristwatches, Bowie knives, or even handguns. Punchboard manufacturers also sold the board pre-printed with various kinds of commercial imagery--sports, gambling, and patriotic imagery were well-represented, as were folk figures, racial and ethnic stereotypes, and the ubiquitous pin-up girls. Most of these boards were played for cash.
Gift of Evan Rangeloff, October 1999.
Collection is open for research. Unprotected photographs must be handled with gloves.
The Marlboro Oral History and Documentation Project is the result of a two-year effort supported in part by a gift from Philip Morris, Inc. Sixty oral history interviews and a variety of television commercials, print advertising, promotional materials, packaging, and industry publications were gathered to document Marlboro cigarette advertising. The bulk of the collection focuses on the period between 1954 and 1986, and examines the "Marlboro man", "Settle Back" and "Marlboro Country" campaigns. The collection is a rich source of information for researchers interested in advertising and marketing history, issues of smoking and health, and the export of both tobacco and American cultural symbols abroad.
The core of the collection is a series of interviews conducted during 1985-1987 by Dr. Scott Ellsworth, an independent scholar and oral historian. The broad range of interviewees included executives of Philip Morris, advertising agency personnel from Leo Burnett, photographers, production staff, sales and marketing personnel, and Marlboro cowboys.
Twenty-seven interviews were conducted overseas, in Argentina, Brazil, the Dominican Republic, Hong Kong, Switzerland, and West Germany. Conducted primarily with Marlboro licensee and affiliate staff, the interviews focus on the marketing and advertising history of Marlboro in the six nations. These interviews and others conducted with executives of Philip Morris International in New York City also address the history of Marlboro advertising in Africa, the Middle East, China, Eastern Europe and elsewhere in Europe and Latin America.
The interviews cover events from the 1930s through the 1980s. They focus on the theory and development of Marlboro advertising, its content and creation, and its modifications over the years. The foreign interviews also discuss the structure of the local cigarette marketplace, marketing and advertising techniques, and the use and modification of Marlboro advertising for different cultures.
Finding aids to the oral histories include abstracts of each interview indicating the major topic discussed, a cumulative index to personal names and topics in the interviews, and brief biographical and scope notes.
Dthe collection is divided into seven series.
Series 1: Research Files, 1943-1987
Series 2, Interviewee Files, 1986
Series 3; Oral History Interviews, 1986
Series 4: Advertising Materials, 1926-1986
Series 5: Promotional items and packaging, 1926-1986
Series 6: Publications and Research Material, 1960-1988
Series 7: Travel Slides Generated by Project Team, 1926-1986
Biographical / Historical:
The history of Marlboro cigarettes offers insight into one of the great advertising and marketing success stories of the 20th century. Marlboro cigarettes were marketed from the Victorian era through the first half of this century as a women's cigarette, with tag-lines that aimed to appeal to female smokers, such as "Marlboro - Mild As May." In 1955, two transformations occurred which would affect both profitability and brand recognition: the addition of an integrated filter and the re-invention of the market through the debut of the "Marlboro Man" advertising campaign. The original Marlboro Man campaign featured close-up images of all kinds of men using the product -- the cowboy was one, along with lifeguards, sailors, drill sergeants, construction workers, gamblers and other types suggestive of a masculine spirit and rugged independence. By 1963, the "Marlboro Country" campaign began. This campaign focused on the cowboy and his symbolic canon: boots, hats, horses, and western landscapes. By the mid-1980s, Marlboro was the best-selling brand in the United States and the world, and the Marlboro cowboy was among the most widely recognized of American cultural symbols. Sold in over 180 nations, both the cigarettes and the ad campaign had become a global phenomena.
The collection was donated to the Archives Center by Philip Morris, Inc. in 1986.
The materials in the Marlboro Collection are made available for research according to the established practices and principles of the Archives Center and the National Museum of American History.
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000