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Playbill for Twilight: Los Angeles, 1992

Published by:
Playbill, American, founded 1884  Search this
Edited by:
Judy Samuelson  Search this
Subject of:
Anna Deavere Smith, American, born 1950  Search this
George Costello Wolfe, American, born 1954  Search this
Cort Theatre, American, founded 1912  Search this
Medium:
ink on paper with metal
Dimensions:
H x W x D (Closed): 8 3/8 × 5 7/16 × 1/8 in. (21.2 × 13.8 × 0.3 cm)
H x W x D (Open): 8 3/8 × 10 11/16 × 3/4 in. (21.2 × 27.1 × 1.9 cm)
Type:
theater programs
Place printed:
New York City, New York, United States, North and Central America
Place used:
Crown Heights, Brooklyn, New York City, New York, United States, North and Central America
Place depicted:
Los Angeles, California, United States, North and Central America
Date:
April 1994
Topic:
African American  Search this
Broadway Theatre  Search this
Drama (Theatre)  Search this
Justice  Search this
Race relations  Search this
Resistance  Search this
U.S. History, 1969-2001  Search this
Urban life  Search this
Violence  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kathleen M. Kendrick
Object number:
2015.64.12
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Exhibition:
Taking the Stage
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd57f7188d5-f979-4816-b77a-88a67a066e71
EDAN-URL:
edanmdm:nmaahc_2015.64.12
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Online Media:

Mug, BioCapital

Physical Description:
ceramic (overall material)
Measurements:
overall: 11.5 cm x 13 cm x 8.4 cm; 4 17/32 in x 5 1/8 in x 3 5/16 in
Object Name:
mug
Depicted:
United States: District of Columbia
United States: Maryland
United States: Virginia
Date made:
1996
ID Number:
2001.3066.05
Catalog number:
2001.3066.05
Nonaccession number:
2001.3066
See more items in:
Medicine and Science: Biological Sciences
Science & Mathematics
Biotechnology and Genetics
Advertising
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-6d3b-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_834202
Online Media:

Biotech Bay Poster

Maker:
Synergistic Designs  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 27.8 cm x 21.6 cm; 10 15/16 in x 8 1/2 in
Object Name:
poster
Depicted:
United States: California, San Francisco
Date made:
1991
Subject:
Maps  Search this
Credit Line:
Synergistic Designs
ID Number:
1994.3092.01
Catalog number:
1994.3092.01
Nonaccession number:
1994.3092
See more items in:
Medicine and Science: Biological Sciences
Science & Mathematics
Biotechnology and Genetics
Advertising
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a1-3774-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_333308
Online Media:

Playbill for Joe Turner's Come and Gone

Published by:
Playbill, American, founded 1884  Search this
Used by:
Ethel Barrymore Theatre, American, founded 1928  Search this
Subject of:
August Wilson, American, 1945 - 2005  Search this
Kimberleigh Aarn, American, born 1960  Search this
Angela Bassett, American, born 1958  Search this
L. Scott Caldwell, American, born 1950  Search this
Richard Parnell Habersham, American  Search this
Ed Hall  Search this
Delroy Lindo, American, born 1952  Search this
Jamila Perry  Search this
Bo Rucker, American, born 1948  Search this
Raynor Scheine, American, born 1942  Search this
Kimberly Scott, American, born 1961  Search this
Mel Winkler, American, born 1941  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 1/2 x 5 5/8 in. (21.6 x 14.3 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1988
Topic:
African American  Search this
Actors  Search this
Broadway Theatre  Search this
Drama (Theatre)  Search this
Migrations  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.49
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Exhibition:
Taking the Stage
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5bcb2e566-3531-4d4f-a37e-fb322aceb11e
EDAN-URL:
edanmdm:nmaahc_2011.45.49
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Playbill for Miss Saigon

Published by:
Playbill, American, founded 1884  Search this
Used by:
Broadway Theatre, American, founded 1924  Search this
Subject of:
Jonathan Pryce, CBE, Welsh, born 1947  Search this
Lea Salonga, Filipino, born 1971  Search this
Hinton Battle, German-American, born 1956  Search this
Willy Falk  Search this
Liz Callaway, American, born 1951  Search this
Barry K. Bernal, American, 1963 - 1991  Search this
Kam Cheng, Malaysian, born 1969  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 1/2 x 5 5/8 in. (21.6 x 14.3 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1991
Topic:
African American  Search this
Actors  Search this
Broadway Theatre  Search this
Drama (Theatre)  Search this
Musical Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.67
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd50fe26d77-acdb-44e5-8fdf-e52750b43bc4
EDAN-URL:
edanmdm:nmaahc_2011.45.67
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Online Media:

Integrated Design for Company Identification

Designer:
Henry Dreyfuss, American, 1904–1972  Search this
Medium:
B&W Printed Material
Type:
archive
Archive folder
Object Name:
Archive folder
Date:
4/24/1958
Credit Line:
Henry Dreyfuss Archive, gift of Various Donors
Accession Number:
Dreyfuss Writings Folder 043
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Archives Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq4f658d9e7-3be9-4c7d-a307-64f10d04db77
EDAN-URL:
edanmdm:chndm_Dreyfuss_Writings_Folder_043

Akademie der Künste: Raymond Loewy

Co-Designer:
Nicolaus Ott, German, b. 1947  Search this
Bernard Stein, German, b. 1949  Search this
Medium:
Offset lithography
Type:
graphic design
Poster
Object Name:
Poster
Date:
1990
Credit Line:
Gift of Unknown Donor
Accession Number:
1994-114-38
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq4bd200f5c-60b7-4cd4-b09a-71cd292e0932
EDAN-URL:
edanmdm:chndm_1994-114-38

N W Ayer Advertising Agency Records

Creator:
Ayer (N W) Incorporated.  Search this
Names:
American Telephone and Telegraph Company -- Advertisements  Search this
Cunningham & Walsh.  Search this
Hixson & Jorgenson  Search this
United Air Lines, Inc. -- Advertisements  Search this
Ayer, Francis Wayland  Search this
De Kooning, Willem, 1904-1997  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Extent:
270 Cubic feet (1463 boxes, 33 map-folders, 7 films)
Type:
Collection descriptions
Archival materials
Business records
Interviews
Oral history
Print advertising
Proof sheets
Proofs (printed matter)
Scrapbooks
Trade literature
Tear sheets
Advertisements
Date:
1817-1851
1869-2006
Summary:
Collection consists of records documenting one of the oldest advertising agencies created in Philadelphia. The company then moves to New York and expanses to international markets. During its history NW Ayer & Sons acquires a number of other advertising agencies and is eventually purchased. The largest portion of the collection is print advertisements but also includes radio and television. NW Ayer is known for some of the slogans created for major American companies.
Scope and Contents:
The collection consists primarily of proof sheets of advertisements created by NW Ayer & Son, Incorporated for their clients. These materials are in series one through thirteen and consist primarily of print advertisements. There are also billboards, radio and television commercials. The advertisements range from consumer to corporate and industrial products. The majority of the advertisements were created for Ayer's New York, Chicago, Los Angeles and international offices. Printed advertisements created by Cunningham & Walsh, Hixson & Jorgensen and Newell-Emmett are also included among these materials. Researchers who are interested in records created by Ayer in the course of operating an advertising agency will find these materials in Series fourteen-nineteen.

Series fourteen consists of advertisements created by NW Ayer & Son to promote their services to potential clients.

Series fifteen are scrapbooks of some of the earliest advertisements created by the company. Series sixteen are publications. Some of the publications were created by Ayer while others were about Ayer or the advertising industry in general. Provides good background materials and puts the company in perspective. Series eighteen are the legal records. Materials relating to employees including photographs, oral histories etc. are found in series nineteen.

Series twenty is one of the smallest amounts of materials and includes information relating to the history of NW Ayer & Son.

The container lists for series one-thirteen are part of a database and are searchable. The list has been printed for the convenience of the researcher and is included in this finding aid. Series fourteen-twenty container lists are also a part of the finding aid but are not in a searchable format.

Series 1, Scrapbooks of Client Advertisements, circa 1870-1920, is arranged into three boxes by chronological date. There are two bound scrapbooks and one box of folders containing loose scrapbook pages. NW Ayer & Son compiled an assortment of their earliest ads and placed them into scrapbooks. Besides the earliest advertisements, the scrapbooks contain requests to run advertisements, reading notices and listings of papers Ayer advertised in. The early advertisements themselves range from medical remedies to jewelry to machines to clothing to education and more. Most of the advertisements in the bound scrapbooks are dated.

Series 2, Proofsheets, circa 1870-1930, NW Ayer was fond of creating scrapbooks containing proofsheets. The series contains proofsheets created between 1892 and 1930, organized into 526 boxes. For convenience of storage, access and arrangement, the scrapbooks were disassembled and the pages placed in original order in flat archival storage boxes. The proofsheets are arranged by book number rather than client name. Usually the boxes contain a listing of the clients and sometimes the dates of the advertisements to be found within the box.

Series 3, Proofsheets, circa 1920-1975, is organized into 532 oversize boxes, and contain proofsheets and tearsheets created between 1920 and 1972. Within this series, materials are arranged alphabetically by company name (occasionally subdivided by brand or product), and thereunder chronologically by date of production. Many major, national advertisers are represented, including American Telephone & Telegraph, Armour Company, Canada Dry, Cannon Mills, Carrier Corporation, Domino Sugar, Caterpillar tractor company, Ford Motor Company, General Electric, Goodyear, Hills Bros. Coffee, Ladies Home Journal, National Dairy, Plymouth (Chrysler Corporation), Steinway, TV Guide, United Airlines and the United States Army. Also contained in this series are three scrapbooks of client advertisements including Canada Dry, Ford Motor, and Victor Talking Machine.

Series 4, 2001 Addendum, circa 1976-2001, is organized into ninety three oversized boxes,one folder and contains proofsheets for select Ayer clients, created between 1975 and 2001. Within this series, materials are arranged alphabetically by client name and there under chronologically by date of production. Major national advertisers represented include American Telephone & Telegraph, Avon, the United States Army, DeBeers Consolidated Diamond Mines, Dupont, TV Guide, Sealtest, Kraft Foods, Gillette, General Motors, Cannon Mills.

Series 5, Billboards, circa 1952-1956, consists of mounted and un-mounted original art/mock-ups. Twenty-two pieces of original art created as mock-ups for Texaco billboards.

Series 6, Film and Video Commercials, 1967-1970,

Series 7, Radio and Television Materials, 1933-1993, undated, is arranged into eight boxes and includes radio scripts, television scripts, and story boards for commercials.

Subseries 7.1, Scripts and storyboards for Radio and Television Commercials, dates Scripts for radio and television commercials includes title, date, length of commercial, advertising agency, client information

NW Ayer's radio and television materials mainly focus on the American Telegraph and Telephone account. Some of Ayer's materials relate to Bell Telephone Hours.

Storyboards are used in television and film to assist the director in working with crew to tell the story. To show the viewer through the use of figures, visual effects and camera angles. When directors first start thinking about their storyboard they create a story in their mind. They think of all the camera angles, visual effects and how the figures will interact in their mind. They try to create an extraordinary story in their head to attract the viewer (YOU) In order for the storyboard to be entirely effective it can't be a passive document. When done properly, a storyboard serves as a central design, meeting the needs of many team members including graphics artists, video personnel and programmers.

Another function of a storyboard is to help the team communicate during the training development process. This communication is very important in working with a large team as in the movie King, produced in 1996. Figures help the director explain to the crew how they are going to record the film and how to present it to the audience. Sometimes the director wants special effects to be added to the film, but his budget might not be that big so the director will have to change the story to fit their budget.

The Visual Effects are an important part in the storyboards it adds a special touch of creativity to your film. Camera angles are an important expects in your film because the camera angles determine where the viewing audience will look. If you want your audience to look at a certain object you must turn their attention to it by focusing on that object and maybe you might try blocking something out. Then you will have your audience's attention and you may do whatever else you have to, it could be scaring them are just surprising them or whatever you do.

Also included is talent information and log sheets relating to the storage of the commercials.

Bell Telephone Hour Program, 1942-[19??], The Bell Telephone Hour, also known as The Telephone Hour, was a five minute musical program which began April 29, 1940 on National Broadcasting Company Radio and was heard on NBC until June 30, 1958. Sponsored by Bell Telephone showcased the best in classical and Broadway music, reaching eight to nine million listeners each week. It continued on television from 1959 to 1968.

Earlier shows featured James Melton and Francia White as soloists. Producer Wallace Magill restructured the format on April 27, 1942 into the "Great Artists Series" of concert and opera performers, beginning with Jascha Heifetz. Records indicate that the list of talents on the program included Marian Anderson, Helen Traubel, Oscar Levant, Lily Pons, Nelson Eddy, Bing Crosby, Margaret Daum, Benny Goodman, José Iturbi, Gladys Swarthout and .The series returned to radio in 1968-1969 as Bell Telephone Hour Encores, also known as Encores from the Bell Telephone Hour, featuring highlights and interviews from the original series.

National Broadcasting television specials sponsored by the Bell System, 1957-1987includes information relating to Science series, Bell system Theshold Series, Bell telephone hour and commercial and public sponsored programs

Series 8, Chicago Office Print Advertisements, 1954-1989, is arranged alphabetically by the name of the client in ninety boxes and six oversize folders. Clients include Illinois Bell Telephone (1955-1989), Microswitch (1969-1989), Teletype (1975-1984), John Deere (1974-1989) and Caterpillar (1966-1972) are particularly well represented. Other clients of interest include Dr. Scholl's shoes (circa 1968-1972), the Girl Scouts (1976-1980), Sunbeam Personal Products Company (1973-1981), Bell and Howell (1974-1983) and Alberto Culver shampoos (1967-1971), Honeywell, Incorporated, Blue Cross and Blue Shield Associations, Kraft, Incorporated, Sears, Roebuck and Company, and YMCA.

Series 9, Los Angeles Office Materials, 1950s-1987, include printed advertisements created by this office and information relating to the employees.

Subseries 9.1, Print Advertisements, 1977-1987, printed advertisements arranged in one box alphabetically by client. There is a sparse sampling of clients from this particular Ayer branch office. The majority of the advertisements contained within this series are from Pizza Hut (1986-1987). Also included are Computer Automation (1977-1978), State of the Art, Incorporated (1982) and Toshiba (1986).

Subseries 9.2, Personnel Files, 1950s-1970s, includes cards of employees who worked in the Los Angeles office. Information on the cards includes name, address, telephone number, birthday, date hired, departure date and why (retired, terminated, resigned, etc) and position. Not all cards have all information. There is also a photograph of the employees on the cards.

Series 10, Foreign Print Advertisements, 1977-1991, undated, NW Ayer maintained partnerships with international companies such as Sloanas Ayer in Argentina, Connaghan & May Paton Ayer in Australia, Moussault Ayer in Belgium, NW Ayer, LTD. in Canada, GMC Ayer in France, Co-Partner Ayer in Germany, Wong Lam Wang in Hong Kong, MacHarman Ayer in New Zealand, Grupo de Diseno Ayer in Spain, Nedeby Ayer in Sweden, and Ayer Barker in United Kingdom. This group of material is a small sampling of advertisements created from these International offices. It is arranged alphabetically by client. There are quite a few automobile advertisements (i.e. Audi, Fiat, General Motors, Mercedes-Benz, and Volkswagen). In addition there are numerous advertisements for various personal items from MacLean's toothpaste to Quick athletic shoes to Labello lip balm, etc. Most of the advertisements have the creator's name printed on the advertisements.

Series 11, Cunningham & Walsh, Incorporated Materials, 1915-1987, undated contains 98 boxes 11 folders materials from the New York advertising agency acquired by NW Ayer in the 1960s. The company began with Newel-Emmett, an agency of nine men which broke up in 1949. Two of the men Fred Walsh and Jack Cunningham formed this agency in bearing their names in 1950. The agency created "let your fingers for the walking campaign for American Telephone & Telegraph, Mother Nature for Chiffon, and Mrs. Olson for Folgers's coffee and let the good times roll for Kawasaki motorcycle. In 1986, NW Ayer Incorporated purchased Cunningham & Walsh Incorporated.

Subseries 11.1, Print Advertisements, 1915-1987, are contained in ninety eight boxes of primarily print advertisements arranged alphabetically by client name. Clients that are particularly well represented are Graybar (electrical implements, circa1926-1937), Johns-Manulle (circa1915-1971), Smith and Corono typewriters (circa 1934-1960), Sunshine Biscuit Company (circa 1925-1961), Texaco Company (circa 1936-1961), Western Electric (circa 1920- 1971) and Yellow Pages (circa 1936-1971). Cunningham and Walsh also represented several travel and tourism industry clients, including Cook Travel Services (circa 1951-1962), Italian Line (circa 1953-1961), Narragansett and Croft (circa 1956-1960) and Northwest Airlines (circa 1946-1955). There are photographs of Texaco advertisements dating from 1913-1962. There is also a scrapbook of advertisements from the Western Electric Company dating from 1920-1922.

Subseries 11.2, Radio and Television Advertisements, 1963-1967, consist of materials created for Western Electric. Materials are arranged in chronological order.

Subseries 11.3, Company Related Materials, 1962-1986, undated include client lists, information relating to NW Ayer purchase and annual report 1962.

Series 12, Hixson & Jorgensen Materials, 1953-1971, a Los Angeles advertising company, merged with Ayer in 1969. This series is housed in one box. Within the box are four scrapbooks and folders with a hodgepodge of materials relating to advertising. Of most interest are the scrapbooks. Two scrapbooks deal with Hixson and Jorgensen's self promotion ad campaign "the right appeal gets action" (1953-1957). The other two scrapbooks contain news clippings about the company and its activities (1959-1971).

Series 13, Newell-Emmet, 1942-1957, founded in 1919 and governed in the 1940s by a partnership of nine men. The partnership broke up in 1949 when the men went their separate ways. The materials consist of print advertisements for one of client, Permutit Company, a water conditioning company. The materials are arranged in one box in chronological order.

Series 14, House Print Advertisements, 1870-1991, 16 boxes consists of advertisements or self-promotion advertisements to campaign for new clients. The series is arranged chronologically by date into fifteen boxes. Within the series are two scrapbooks containing self promotion ads from 1888-1919 and 1892-1895. Numerous house ads relate to Ayer's "Human Contact" campaign. In addition to the self promotion ads, Ayer ran advertisements expounding about particular concepts or themes for example, one month the concept would "understand" while another month would be "teamwork" and yet another would be on "imagination". Some of the self promotion ads target specific groups like Philadelphia businessmen. Other advertisements incorporate the fine arts.

Series 15, Scrapbooks, 1872-1959, relates to company events, records and news clippings about Ayer's history. The six boxes are arranged by chronological date. Two of the boxes focus solely on the death of founder F.W. Ayer (1923). Another box houses a scrapbook that showcases Ayer's annual Typography Exhibition (1931-1959). One box contains a scrapbook that specifically deals with correspondences relating to Ayer's advertising. Yet another box's contents are folders of loose pages from scrapbooks that have newspaper clippings, order forms, correspondences and other company records. In one box, a bound scrapbook houses a variety of materials relating to Ayer and advertising (i.e. newspaper clippings, competitor's advertisements, NW Ayer's advertisements, correspondences for advertisements, clippings regarding the "theory of advertising."

Series 16, Publications, 1849-2006, are housed in thirty four boxes and are arranged into three main categories.

Subseries 16.1, House Publications, 1876-1994, covers diverse topics; some proscriptive works about the Ayer method in advertising, some commemorating people, anniversaries or events in the life of the agency. Materials consist of scattered issues of the employee newsletter The Next Step 1920-1921. The materials are arranged in chronological order by date of publication. Ayer in the News, The Show Windows of an Advertising Agency, 1915, book form of advertisements published on the cover of Printer's Ink, highlighting Ayer's relations with advertisers. The Story of the States, 1916, Reprint in book form of a series of articles published in Printer's Ink for the purpose of adding some pertinent fact, progressive thought and prophetic vision to the Nationalism of Advertising highlights major businesses, manufacturer, natural resources and other qualities or attractions of each state. The Book of the Golden Celebration, 1919, includes welcome address and closing remarks by founder F. Wayland Ayer, The Next Step, 1920 employee newsletter with photographs, employee profiles, in-house jokes, etc., Advertising Advertising: A Series of Fifty-two Advertisements scheduled one time a week. Twenty-seven, thirty and forty inches, a day of the week optional with publisher, 1924

Subseries 16.2, Publications about NW Ayer, 1949-2006, includes a book first published in 1939. Includes articles, documenting events and is arranged chronologically by date of publication.

Subseries 16.3, General Publications about Advertising, 1922-1974, are arranged chronologically by date of publication and relate primarily to the history of advertising.

Subseries 16.4, Publications about Other Subjects, 1948-1964, include four books about the tobacco industry primarily the history of the American Tobacco Company and Lorillard Company from the Cunningham and Walsh library.

Series 17, Business Records, circa 1885-1990s

Subseries 17.1, Contracts, 1885-1908, undated, are arranged alphabetically and span from 1885-1908. The majority of the contracts are with newspaper and magazine publishers from around the country.

Subseries 17.2, General client information, 1911-1999, undated, including active and cancelled lists with dates, client gains, historical client list, (should move this to series 20) Ayer Plan User Guide Strategic Planning for Human Contact, undated

Subseries 17.3, Individual Client Account Information, 1950s-1990s, undated, contain information used by Ayer to create advertisements for some of its clients. American Telephone &Telegraph Corporate Case History, American Telephone &Telegraph Corporate advertisement memo, commissioned artists for DeBeers advertisements, DeBeers information relating to the creative process and photography credits, a case history for DeBeers Consolidated Mines, Ltd., The Diamond Engagement Ring, Managing Communication at all levels, DuPont publications, JC Penny Marketing Communication Plan Recommendation, Leaf, Incorporated, Saturn presentation, and USAREC oral presentation.

Subseries 17.4, Potential Clients, 1993, includes grouping has a questionnaire sent to Ayer by a potential client. Questionnaire response for Prudential Securities, 1993 Prudential Securities advertising account review, 1993.

Subseries 17.5, Financial Records, 1929-1938, includes balance sheet, 1929 May 1 Balance sheet and adjustments Consolidated statement of assets and liabilities, Expenses 191936-37 Business review and expenses, 1937 and 1938 Business review and expenses comparative statement, 1937 and 1938.

Series 18, Legal Records, circa 1911-1982, Ayer's legal records are arranged by twelve subject groupings within four boxes. The twelve groupings are advertising service agreements (circa 1918-1982), bylaws, copyright claims, correspondences, international correspondences, dissolution of trusts, stock information, agreements between partners, incorporation materials, reduction of capital, property information and miscellaneous materials. The bulk of the materials are the advertising service agreements. These agreements are between Ayer and their clients and state the services Ayer will offer and at what cost. The bylaws are Ayer's company bylaws from 1969 and 1972. The copyright claims are certificates stating Ayer's ownership over certain published materials (i.e. "Policy", Media Equalizer Model, and Don Newman's Washington Square Experiment). The correspondences relate to either the voting trust and receipts for agreement or the New York Corporation. The international correspondences are from either Ayer's Canadian office or London office. The dissolutions of trusts contains materials about the dividend trust of Wilfred F. Fry, the investment trust of Winfred W. Fry, the voting trust, and the New York corporation. The stock information has stock certificates and capital stock information. The agreements between partners (1911-1916) specify the terms between F.W. Ayer and his partners. The incorporation materials (circa 1929-1977) deal with Ayer advertising agency becoming incorporated in the state of Delaware. The reduction of capital grouping is a notification that shares of stock have been retired. The property information grouping contains property deeds and insurance policy (circa 1921-1939), a property appraisal (1934), and a bill of sale (1948). The miscellaneous grouping contains a house memo regarding a set of board meeting minutes and a registry of foreign companies in Commonwealth of Pennsylvania (1929-1954).

Subseries 18.1, Advertising Service Agreements, 1918-1982

Subseries 18.2, Bylaw Materials, 1969-1972

Subseries 18.3, Copyright Claims, 1962-1969

Subseries 18.4, Correspondence, 1928-1933

Subseries 18.5, International Office Correspondence, 1947-1948

Subseries 18.6, Dissolution of Trusts, 1934-1937

Subseries 18.7, Stock Information, 1934-1974

Subseries 18.8, Agreements between Partners, 1911-1916

Subseries 18.9, Incorporation Materials, 1929-1977

Subseries 18.10, Certificates of Reduction of Capital, 1937; 1975

Subseries 18.11, Property Information, 1921-1948

Subseries 18.12, Miscellaneous Materials, 1929-1977

Series 19, Personnel Records, circa 1889-2001, are arranged into eight groupings within eight boxes. The groupings are employee card files, photographs, Ayer alumni, biographies, speeches, recollections, oral histories, and miscellaneous. Typed manuscript of book A Copy Writer Speaks by George Cecil, NW Ayer, Incorporated copy head 1920s-1950s

Subseries 19.1, Employee card files, circa 1892-1915; 1929-1963, consists of index cards with the name, age, job title, date and wage increases, date of hire/fire, as well as remarks about the employee's service and/or reasons for seeking or leaving the job. Materials are arranged alphabetically by the last name of the employee within three boxes.

Subseries 19.2, Photographs, circa 1924-1984, undated, are housed in two boxes. The photographs grouped together by subjects i.e. personnel, company events, Ayer buildings, and miscellaneous. This grouping primarily consists of personnel photographs. Includes a glass plate negative dated 1924 of NW Ayer.

Subseries 19.3, Ayer Alumni, circa 1989-98, include employees who have left Ayer. There is a listing of Ayer "graduates" and their current job. Emeritus, Ayer's alumni newsletter 1989-1996, makes up the majority of materials in this grouping. The newsletter keeps the alumni up to date with the happenings of Ayer and what has become of former Ayer employees. Emeritus is a quarterly newsletter devoted to the activities, thoughts and feelings of Ayer alumni a body of people who consists of retirees and former employees.

Subseries 19.4, Biographical Information, circa 1889-1994, undated, prominent members of Ayer's operations had biographical sketches completed of them. This was true for the bio sketches of Robert Ervin, Louis T. Hagopian, and George A. Rink. There is a substantial file on Dorothy Dignam ("Mis Dig"), a leading woman in the advertising world from the 1930s to the 1950s. Also of interest is a video ("The Siano Man") compiled by Ayer employees to commemorate Jerry Siano's retirement from Ayer in 1994. The series is arranged alphabetically by last name.

Subseries 19.5, Speeches, circa 1919-1931; 1975, contains speeches made by Wilfred W. Fry and Neal W. O'Connor. Wilfred W. Fry had various speaking engagements connected with Ayer. Contained in this group is a sampling of his speeches from 1919 to 1931. Neal O'Connor's speech "Advertising: Who Says It's a Young People's Business" was given at the Central Region Convention for the American Association of Advertising Agencies in Chicago on November 6, 1975. The speeches are arranged alphabetically by the speaker's last name.

Subseries 19.6, Recollections, 1954-1984, undated, are arranged alphabetically by last name. These are recollections from Ayer employees about the company and its advertisements. Some recollections are specifically about certain types of advertisements, like farm equipment while others reflect on F. W. Ayer and the company.

Subseries 19.7, Oral History Interview Transcripts, 1983-1985; 1989-1991, include interviews with key NW Ayer personnel, conducted by Ayer alumnae Howard Davis, Brad Lynch and Don Sholl (Vice President creative) for the Oral History Program. The materials are arranged alphabetically by the last name of the interviewee.

Subseries 19.8, Oral History Interview Audio Tapes, 1985-1990, include interviews on audiotape the materials are arranged alphabetically by the last name of the interviewee.

Subseries 19.9, Internal Communications, 1993-1999, includes information sent to employees relating to retirements, management changes, awards won by the company, promotions, potential new accounts, free items, grand opening of Ayer Café, donation events, sponsorship programs, holiday schedules, discounts for employees from clients, Ayer joins MacManus Group.

Subseries 19.10, General Materials, 1940; 1970, includes agency directory entry including a list of the employees, 1970s, annual banquet program for the Curfew Club May 22, 1940 a group formed by the Philadelphia employee in 1938. It sponsored numerous sports, social and educational activities. Groups were formed in public speaking, music appreciation and a series of talks on Monday evenings title the modern woman. The front page was a series of talks for general interest. A list of officers, 1991, Twenty five year club membership, 1973 December 1, List of NW Ayer graduates, 1970, List of Officers, 1991 May 31, Obituary for Leo Lionni, 1999 October 17, List of photographers of advertisements, 2001

Series 20, Background and History Information, 1817-1999, undated includes a chronology, 1817-1990, quick reference timeline, 1848-1923, loose pages from a scrapbook containing examples of correspondence, envelopes, advertisements dating from 1875-1878; slogans coined by NW Ayer & Sons, Incorporated, 1899-1990, history of management, 1909-1923, articles and photographs about the building and art galleries, 1926-1976, publications about the Philadelphia building, 1929, pamphlet relating to memories of NW Ayer & Sons, Incorporated, 1930s-1950s, television history, 1940-1948, Article about the history of the company, 1950 January, pocket guide, 1982, AdWeek reports about standings for advertising agencies, information relating to Human Contact which is NW Ayer's Information relating to Human Contact, undated which is their philosophy on advertising.

Series 21, Materials Created by other Advertising Agencies, 1945-1978, undated, consists of print advertisements collected by Ayer from other major advertising companies. The companies include Doyle Dane Bernback, Incorporated, Leo Burnett Company, Grey Advertising Agency, D'Arcy Ad Agency, Scali, McCabe, Sloves, Incorporated and Erwin Wasey Company. The materials are arranged in alphabetical order by client and include products from Ralston Purina and Van Camp (Chicken of the Sea), Kellogg, American Export Lines and No Nonsense Fashions.

Series 22, 2010 Addendum of Print Advertisements, circa 1879s-1999, undated, includes material given to the Archives Center in 2010. It is organized into seventy one oversized boxes and contains proofsheets of print advertisements for select Ayer clients. These are arranged alphabetically by client name and include substantial quantities of materials from American Telephone &Telegraph (1945-1996), Bahamas Ministry of Tourism (1967-1987), Carrier (1971-1981), Citibank (1973-1991), DeBeers (1940s-1960s and1990s), Electric Companies Advertising Program [ECAP] (1942-1970s), General Motors (1989-1998), J.C. Penney (1983-1986), Newsweek (1966-1975), and Proctor and Gamble (1980s-1890s). There are also numerous other clients represented by smaller quantities of materials.

Subseries 22.1, Print Advertisements, 1930-1990, undated

Subseries 22.2, Print Advertisements on Glass Plate Negatives, 1879-1881, undated, include Cannon towels, Cheny Brothers silks, Cornish & Company organs and pianos, Enterprise Manufacturing Company, 1879 sad iron, an ad from Harper's Weekly 1881 for ladies clothing, Ostermoor & Company mattresses, Pear's soap, Porter's cough balsam, Steinway pianos.

Series 23, Microfilm of Print Advertisements, circa 1908-1985, consists of three boxes of printed advertisements for the American Telephone and Telegraph Company. Some of the same advertisements might also be found in series two, three and four.
Arrangement:
The collection is arranged into twenty-three series.

Series 1: Scrapbooks of Client Print Advertisements, circa 1870-1920

Series 2: Proofsheets, circa 1870-1930

Series 3: Proofsheets, circa 1920-1975

Series 4: 2001 Addendum, circa 1976-2001

Series 5: Billboards, circa 1952-1956

Series 6: Audiovisual Materials

Series 7: Radio and Television Materials, 1933-1993, undated

Series 8: Chicago Office Print Advertisements, 1954-1989

Series 9: Los Angeles Office Materials, 1950s-1987

Subseries 9.1: Printed Advertisements, 1977-1987

Subseries 9.2: Personnel Files, 1950s-1970s

Series 10: Foreign Print Advertisements, 1977-1991, undated

Series 11: Cunningham & Walsh Incorporated Materials, 1915-1987, undated

Subseries 11.1: Printed Advertisements, 1915-1987

Subseries 11.2: Radio and Television Advertisements, 1963-1967

Subseries 11.3: Company Related Materials, 1962-1986, undated

Series 12: Hixson & Jorgensen Materials, 1953-1971, undated

Series 13: Newell-Emmet, 1942-1957

Series 14: House Print Advertisements, 1870-1991

Series 15: Scrapbooks, 1872-1959

Series 16: Publications, 1849-2006

Subseries 16.1: House Publications, 1876-1994

Subseries 16.2: Publications about NW Ayer, 1949-1995

Subseries 16.3: General Publications about Advertising, 1922-2006

Subseries 16.4: Publications about other Subjects, 1948-1964

Series 17, Business Records, circa 1885-1990s

Subseries 17.1: Contracts, 1885-1908, undated

Subseries 17.2: General Client Information, 1911-1999, undated

Subseries 17.3: Individual Client Account Information, 1950s-1990s, undated

Subseries 17.4: Potential Clients, 1993

Subseries 17.5: Financial Records, 1929-1938

Series 18: Legal Records, circa 1911-1984

Subseries 18.1: Advertising Service Agreements, 1918-1982

Subseries 18.2: Bylaw Materials, 1969-1972

Subseries 18.3, Copyright Claims, 1962-1969

Subseries 18.4: Correspondence, 1928-1933

Subseries 18.5: International Office Correspondence, 1947-1948

Subseries 18.6: Dissolution of Trusts, 1934-1937

Subseries 18.7: Stock Information, 1934-1974

Subseries 18.8: Agreements between Partners, 1911-1916

Subseries 18.9: Incorporation Materials, 1929-1977

Subseries 18.10: Certificates of Reduction of Capital, 1937; 1975

Subseries 18.11: Property Information

Subseries 18.12: Miscellaneous Materials, 1929-1977

Series 19: Employee Materials, circa 1889-2001

Subseries 19.1: Employee Card files, circa 1892-1915; 1929-1963

Subseries 19.2: Photographs, circa 1924-1984, undated

Subseries 19.3: Alumni Publications, circa 1989-1998

Subseries 19.4: Biographical Information, circa 1889-1994

Subseries 19.5: Speeches, circa 1919-1931; 1975

Subseries 19.6: Recollections, 1954-1984, undated

Subseries 19.7: Oral History Interview Transcripts, 1983-1985; 1989-1991

Subseries 19.8: Oral History Audiotapes, 1985-1990

Subseries 19.9: Internal Communications, 1993-1999

Subseries 19.1: General Materials, 1940-2001

Series 20: History and Background Information about the Company, 1817-1999, undated

Series 21: Materials Created by other Advertising Agencies, 1945-1978, undated

Series 22: 2010 Addendum of Print Advertisements, circa 1879s-1990s, undated

Subseries 22.1: Print Advertisements, 1930-1990, undated

Subseries 22.2: Print Advertisements on Glass Plate Negatives, 1879-1881, undated

Series 23: Microfilm of Print Advertisements, circa 1908-1985
Biographical / Historical:
Founded in Philadelphia in 1869, NW Ayer & Son is one of the oldest and largest advertising agencies in America. For most of its history, it was the undisputed leader and innovator in the field of advertising. In 1876, NW Ayer & Son pioneered the "open contract", a revolutionary change in the method of billing for advertising which became the industry standard for the next hundred years. NW Ayer pioneered the use of fine art in advertising and established the industry's first art department. It was the first agency to use a full-time copywriter and the first to institute a copy department. The agency relocated to New York City in 1974. During its long history, the agency's clients included many "blue-chip" clients, including American Telephone & Telegraph, DeBeers Consolidated Diamond Mines, Ford Motor Company, Nabisco, R. J. Reynolds and United Airlines. However, in later years, the Ayer's inherent conservatism left the agency vulnerable to the creative revolution of the 1960s and 1970s, the advertising industry restructuring of the 1980s and the economic recession of the early 1990s. The agency was bought out by a Korean investor in 1993. In 1996, NW Ayer merged with another struggling top twenty United States advertising agency, Darcy, Masius, Benton & Bowles, under the umbrella of the McManus Group. Ayer continues to operate as a separate, full-service agency.

Through a series of buyouts and mergers, Ayer traces its lineage to the first advertising agency founded in the United States, a Philadelphia agency begun by Volney Palmer in 1841. Palmer began his career in advertising as a newspaper agent, acting as middleman between newspaper publishers and advertisers across the country. By 1849, Palmer had founded his own newspaper, V. B. Palmer's Register and Spirit of the Press, and had developed a complete system of advertising which included securing advertising space and placing ads in scores of commercial, political, religious, scientific and agricultural journals across the country. Palmer went one step further than the "space jobbers" of the day when he began offering "advertisements carefully drawn for those who have not the time to prepare an original copy." Always an enthusiastic promoter of advertising as an incentive to trade and American economic growth, Palmer promised advertisers that "every dollar paid for advertising in country newspapers will pay back twenty-fold" and encouraged skeptical consumers that "he who wishes to buy cheap should buy of those who advertise." When Palmer died in 1863, the agency was bought by his bookkeeper, John Joy, who joined with another Philadelphia advertising agency to form Joy, Coe & Sharpe. That agency was bought out again in 1868 and renamed Coe, Wetherill & Company. In 1877, Coe, Wetherill and Company was bought out by the newly formed NW Ayer & Son.

Francis Wayland Ayer was an ambitious young schoolteacher with an entrepreneurial streak. Having worked for a year soliciting advertisements on a commission basis for the publisher of the National Baptist weekly, Francis Ayer saw the potential to turn a profit as an advertising agent. In 1869, Ayer persuaded his father, Nathan Wheeler Ayer, to join him in business, and with an initial investment of only $250.00, NW Ayer & Son was born. Notwithstanding a smallpox epidemic in Philadelphia in 1871 and the general economic depression of the early 1870s, the agency flourished. The senior Ayer died in 1873, leaving his interest in the agency to his wife, but Francis W. Ayer bought her out, consolidating his interest in the company's management. In 1877, with Coe, Wetherill & Company (the successor to Palmer's 1841 agency) on the verge of bankruptcy and heavily indebted to Ayer for advertising it had placed in Ayer publications, Ayer assumed ownership of that agency. Thus did NW Ayer lay claim to being the oldest advertising agency in the country.

Both Nathan Wheeler and Francis Wayland Ayer began their careers as schoolteachers, and one of their legacies was a commitment to the cause of education: correspondence schools and institutions of higher learning were historically well-represented among Ayer clients. Just after World War I, the agency was heralded as "co-founder of more schools than any citizen of this country" for its conspicuous efforts to advertise private schools. Well into the 1960s, an "Education Department" at Ayer prepared advertisements for over three hundred private schools, camps and colleges, representing almost half the regional and national advertising done for such institutions. In fact, to its clients Ayer presented advertising itself as being akin to a system of education. In 1886, Ayer began promoting the virtues of the Ayer way advertising with the slogan, "Keeping Everlastingly at It Brings Success."

The agency's goals were simple: "to make advertising pay the advertiser, to spend the advertiser's money as though it were our own, to develop, magnify and dignify advertising as a business." Initially, Ayer's fortunes were tied to newspapers, and the agency began to make a name for itself as compiler and publisher of a widely used American Newspaper Annual. During the first years, Ayer's singular goal was "to get business, place it [in newspapers] and get money for it"; after several years as an independent space broker, however, Francis Ayer resolved "not to be an order taker any longer." This decision led NW Ayer and Son to a change in its mode of conducting business which would revolutionize the advertising industry: in 1876, Ayer pioneered the "open contract" with Diggee & Conard, Philadelphia raised growers and agricultural suppliers. Prior to the open contract, NW Ayer & Sons and most agencies operated as "space-jobbers," independent wholesalers of advertising space, in which the opportunities for graft and corrupt practices were virtually unlimited. In contrast, the open contract, wherein the advertiser paid a fixed commission based on the volume of advertising placed, aligned the advertising agent firmly on the side of the advertiser and gave advertisers access to the actual rates charged by newspapers and religious journals. The open contract with a fixed commission has been hailed by advertising pioneer Albert Lasker as one of the "three great landmarks in advertising history." (The other two were Lasker's own development of "reason-why" advertising copy and J. Walter Thompson's pioneering of sex appeal in an advertisement for Woodbury's soap.) Although the transition to the open contract did not happen overnight, by 1884, nearly three-quarters of Ayer's advertising billings were on an open contract basis. Since Ayer was, by the 1890s, the largest agency in America, the switch to direct payment by advertisers had a significant impact on the advertising industry, as other agencies were forced to respond to Ayer's higher standard. Just as important, the open contract helped to establish N W Ayer's long-standing reputation for "clean ethics and fair dealing" -- a reputation the agency has guarded jealously for over a century. The open contract also helped to establish Ayer as a full service advertising agency and to regularize the production of advertising in-house. From that point forward, Ayer routinely offered advice and service beyond the mere placement of advertisements. Ayer set another milestone for the industry in 1888, when Jarvis Wood was hired as the industry's first full-time copywriter. Wood was joined by a second full time copywriter four years later, and the Copy Department was formally established in 1900. The industry's first Art Department grew out of the Copy Department when Ayer hired its first commercial artist to assist with copy preparation in 1898; twelve years later Ayer became the first agency to offer the services of a full time art director, whose sole responsibility was the design and illustration of ads.

Ayer's leadership in the use of fine art in advertising has roots in this period, but achieved its highest expression under the guidance of legendary art director Charles Coiner. Coiner joined Ayer in 1924, after graduating from the Chicago Academy of Fine Arts. Despite early resistance from some clients, Coiner was adamant that "the use of outstanding palette and original art forms bring a greater return in readership, in impact and prestige for the advertiser." To this end, Coiner marshaled the talents of notable painters, illustrators and photographers, including N.C. Wyeth and Rockwell Kent (Steinway), Georgia O'Keefe (Dole), Leo Lionni (DuPont), Edward Steichen (Steinway, Cannon Mills), Charles Sheeler (Ford), and Irving Penn (DeBeers). Coiner believed that there was a practical side to the use of fine art in advertising, and his success (and Ayer's) lay in the marriage of research and copywriting with fine art, an arrangement Coiner termed "art for business sake." Coiner's efforts won both awards and attention for a series completed in the 1950s for the Container Corporation of America. Titled "Great Ideas of Western Man" the campaign featured abstract and modern paintings and sculpture by leading U.S. and foreign artists, linked with Western philosophical writings in an early example of advertising designed primarily to bolster corporate image. In 1994, Charles Coiner was posthumously named to the American Advertising Federation's Hall of Fame, the first full time art director ever chosen for that honor.

Coiner and fellow art director Paul Darrow also created legendary advertising with the "A Diamond Is Forever" campaign for DeBeers; ads featured the work of Pablo Picasso, Salvador Dali and other modernist painters. The "A Diamond is Forever" tagline was written in 1949 by Frances Gerety, a woman copywriter at Ayer from 1943 to 1970. In 1999, Ad Age magazine cited "A Diamond is Forever" as the most memorable advertising slogan of the twentieth century.

Coiner also earned respect for his volunteer government service during World War II; he designed the armbands for civil defense volunteers and logos for the National Recovery Administration and Community Chest. As a founding member of the Advertising Council in 1945, Ayer has had a long-standing commitment to public service advertising. In the mid-1980s, Ayer became a leading force in the Reagan-era "War on Drugs". Lou Hagopian, Ayer's sixth CEO, brokered the establishment of the Partnership for a Drug-Free America, a media coalition which generated as much as a million dollars a day in donated advertising space and time to prevent the use and abuse of illegal drugs. Famous names appear among NW Ayer's clientele from the very earliest days of the agency. Retailer John Wanamaker, Jay Cooke and Company, and Montgomery Ward's mail-order business were among the first Ayer clients. The agency has represented at least twenty automobile manufacturers, including Cadillac, Chrysler, Ford, General Motors, Plymouth, and Rolls-Royce. Other major, long-term clients through the years have included American Telephone & Telegraph, Canada Dry, Cannon Mills, Hills Bros. Coffee Company, Kellogg's, R. J. Reynolds, Steinway and Sons, United Airlines, and the United States Army. By the time of Ayer's hundredth anniversary in 1969, some of these companies had been Ayer clients for decades if not generations, and the longevity of those relationships was for many years a source of Ayer's strength.

But the advertising industry began to change in the late 1960s and 1970s, due in part to a "creative revolution." Small advertising agencies won attention with provocative copywriting and art direction that more closely resembled art than advertising. Advances in market research allowed clients to more narrowly tailor their advertising messages to distinct groups of consumers, and this led to a rise in targeted marketing which could more readily be doled out to specialized small agencies than to larger, established firms like NW Ayer & Son. The civil rights and anti-war movements also contributed to increasing public skepticism with the values of corporate America, and by extension, with some national advertising campaigns. Older, more conservative firms like Ayer were hard pressed to meet these new challenges.

About 1970, in an effort to meet these challenges and to establish a foothold on the West Coast, Ayer bought out two smaller agencies--Hixson & Jorgenson (Los Angeles) and Frederick E. Baker (Seattle). The agency relocated from Philadelphia to New York City in 1974 in an attempt both to consolidate operations (Ayer had operated a New York office since the 1920s) and to be closer to the historic center of the advertising industry. Riding the wave of mergers that characterized the advertising industry in the late 1980s and 1990s, Ayer continued to grow through the acquisition of Cunningham & Walsh in 1986 and Rink Wells in 19xx.

During this transitional period, Ayer received widespread acclaim for its work for the United States Army, which included the widely recognized slogan "Be All You Can Be". Ayer first acquired the Army recruitment account in 1967 and with help from its direct marketing arm, the agency was widely credited with helping the Army reach its recruitment goals despite an unpopular war and plummeting enlistments after the elimination of the draft in 1973. Ayer held the account for two decades, from the Vietnam War through the Cold War, but lost the account in 1986 amid government charges that an Ayer employee assigned to the account accepted kickbacks from a New York film production house. Despite Ayer's position as the country's 18th largest agency (with billings of $880 million in 1985), the loss of the agency's second largest account hit hard.

NW Ayer made up for the loss of the $100 million dollar a year Army account and made headlines for being on the winning end of the largest account switch in advertising history to date, when fast food giant Burger King moved its $200 million dollar advertising account from arch-rival J. Walter Thompson in 1987. Burger King must have had drive-thru service in mind, however, and Ayer made headlines again when it lost the account just eighteen months later in another record-breaking account switch. Another devastating blow to the agency was the loss of its lead position on the American Telegraph and Telephone account. Ayer pioneered telecommunications advertising in 1908, when the agency was selected to craft advertising for the Bell System's universal telephone service. Despite valiant efforts to keep an account the agency had held for most of the twentieth century, and for which they had written such memorable corporate slogans as American Telephone &Telegraph "The Voice with a Smile" and "Reach Out and Touch Someone", the agency lost the account in 1996.

After a wave of mergers and acquisitions in the late 1980s, the economic recession of the early 1990s hit Madison Avenue hard, and Ayer was particularly vulnerable. Despite the agency's long history and roster of "blue-chip" clients, Ayer was not known for cutting-edge creative work. Moreover, though the agency had offices overseas, Ayer had never built a strong multinational presence, and many of the smaller international offices were sold during the financial turmoil of the 1980s. This left a real void in the new climate of global marketplace consolidation. By about 1990, earnings were declining (although Ayer was still among the top twenty United States agencies in billings), and the agency was suffering from client defections, high management turnover, expensive real estate commitments and deferred executive compensation deals, all fallout of the high-flying 1980s. This was the atmosphere in 1993, when W.Y. Choi, a Korean investor who had already assembled a media and marketing empire in his homeland, began looking for an American partner to form an international advertising network. Jerry Siano, the former creative director who had recently been named Ayer's seventh CEO, was in no position to refuse Choi's offer of $35 million to buy the now floundering agency. The infusion of cash was no magic bullet, however. Choi took a wait-and-see approach, allowing his partner Richard Humphreys to make key decisions about Ayer's future, including the purging of senior executives and the installation of two new CEOs in as many years.

The agency's downward trend continued with the loss of another longtime client, the DeBeers diamond cartel in 1995. Adweek reported that Ayer's billings fell from $892 million in 1990 to less than $850 million in 1995. Several top executives defected abruptly, and the agency failed to attract major new accounts. Ayer was facing the loss not merely of revenue and personnel, but the loss of much of the respect it once commanded. Ayer remained among the twenty largest U.S. agencies, but an aura of uncertainty hung over the agency like a cloud. A new CEO was appointed, and Mary Lou Quinlan became the agency's first woman CEO in 1995. A year later, Ayer and another struggling top twenty agency, D'arcy, Masius, Benton & Bowles, combined as part of the McManus Group of companies. In 1998, the McManus Group had worldwide billings of more than $6.5 billion.

Under the McManus Group, Ayer was able to expand its international operations and begin to rebuild a stronger global presence. Several important new clients were won in 1997 and 1998, including Avon, General Motors, Kitchenaid, several Procter & Gamble brands and, most notably, Continental Airlines worldwide accounts. Born in the nineteenth century, Ayer may be one of a very few advertising agencies to successfully weather the economic and cultural transitions of both the twentieth and twentieth first centuries. Ayer was eventually acquired by the Publicis Groupe based in Paris, France which closed down the N.W. Ayer offices in 2002.
Related Materials:
Materials in the Archives Center

Warshaw Collection of Business Americana (AC0060)

Hills Bros. Coffee Incorporated Records (AC0395)
Provenance:
The collection was donated by N W Ayer ABH International, April 15, 1975 and by Ayer & Partners, October 30, 1996.
Restrictions:
The collection is open for research use.

Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply. Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. All duplication requests must be reviewed and approved by Archives Center staff. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies.
Topic:
Advertising agencies  Search this
advertising  Search this
Genre/Form:
Business records -- 1840-2000
Interviews -- 1980-2000
Oral history -- 1980-1990
Print advertising
Proof sheets
Proofs (printed matter)
Scrapbooks -- 1840-1990
Trade literature
Tear sheets
Advertisements
Citation:
NW Ayer & Sons, incorporated Advertising Agency Records, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0059
See more items in:
N W Ayer Advertising Agency Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0059
Online Media:

Dan Friedman Papers

Creator:
Friedman, Dan, 1945-1995  Search this
Names:
Allgemeie Gewerbeschule  Search this
Anspach Grossman Portugal, Inc.  Search this
Bergdorf Goodman, New York  Search this
Bonwit Teller & Co.  Search this
Citibank (New York, N.Y.)  Search this
Cooper Union for the Advancement of Science and Art  Search this
Cooper-Hewitt Design Archive  Search this
Gran Fury  Search this
Hochschule für Gestaltung (Ulm, Germany)  Search this
Jeffrey Deitch Art Advisory Services  Search this
National Public Radio (U.S.)  Search this
Neotu (Gallery)  Search this
Pentagram Design  Search this
State University of New York at Purchase  Search this
WilliWear (Firm)  Search this
Yale University -- General subdivision--Catalogs  Search this
Deitch, Jeffrey  Search this
Haring, Keith  Search this
Extent:
16 Cubic feet
Type:
Collection descriptions
Archival materials
Stationery
Clippings
Statistics
Correspondence
Photographs
Lecture notes
Speeches
Sketches
Slides
Brochures
Mechanicals
Transparencies
Financial records
Articles
Date:
1967 - 1995
Scope and Contents:
General correspondence files contain all communications that do not pertain to a specific project. Because Friedman's personal life and business were so interconnected, many of his business associates also shared personal correspondence with the designer.,Materials in this collection document Friedman's work from 1967, as a student, until his death in 1995.

Files that document his affiliations with Yale University and the State University of New York at Purchase include administrative memos, proposals, lecture outlines, syllabi, bibliographies, examples of students' work, and design projects Friedman did for each school. A copy of the goals and objectives of the Division of Visual Arts within the School of the Arts at SUNY Purchase written by Friedman is included.

Project files include business correspondence, invoices, sketches, contracts, clippings, photographs, and slides. In the case of his graphic projects, some samples of stationery and brochures are included. Extensive documentation exists for Friedman's projects for Citibank, WilliWear, National Public Radio, and Bonwit Teller. Some correspondence is in German. Friedman's lecture notes, proposals for articles and books, and drafts of many articles are included. Clippings of articles on the designer and his work are arranged chronologically.

Research files consist of articles and Friedman's notes on topics of interest to him, such as typography, structure, simultaneity, and information theory. Photographs, slides, and transparencies of many of Friedman's projects, his sources of inspiration, and the work of his students are included.
Arrangement:
Record Groups include:

1: General Correspondence

2: University Affiliations

3: Project Files

4: Lectures and Writings

5: Clippings

6: Research Materials

7: Photographs and Slides
Biographical / Historical:
Educator, graphic and furniture designer. Born in Cleveland, Ohio, 1945. Friedman recieved a BFA from Carnegie Institute of Technology, Pittsburg, PA. He studied graphic design at Hochschule fur Gestaltung, Ulm, and studied with Armin Hofmann and Wolfgang Weingart at Allgemeine Gewerbeschule, Basel. Friedman returned to America in 1969 and began his career as graphic designer for large corporations.

He worked with the firm Anspach Grossman Portugal as a senior designer from 1975 to 1977. Friedman contributed significantly to what came to be known as "post-modern" or "new wave" typography in the 1970s. He taught graphic design at Yale University, 1970-73. He became Assistant Professor and Chairman of the Board of Study in Design at the State University of New York at Purchase, 1972-1975. Friedman designed catalogs and brochures for both universities. Friedman worked with Pentagram Design in New York City from 1979 to 1984. He designed corporate identity programs, posters, publications, packaging, letterheads, and logos, for clients such as Citibank, and Williwear.

Friedman was a long-time friend of artist Keith Haring, and designed the book, "Keith Haring", 1982. He was the author of "Dan Friedman: Radical Modernism", 1994, and co-authored with Jeffrey Deitch, "Cultural Geometry", 1988, and "Artificial Nature", 1990. He designed the books "New Italian Design", 1990, and "Post Human", 1992. He also designed furniture, lighting, screens, wall elements, and interiors. Many of his furniture designs were done especially for Galerie Noetu in Paris. Among his best known furniture designs are the 1989 Virgin Screen, 1989 Zoid sofa and chair, and the Three Mile Island lamps.

Friedman served as the Frank Stanton Professor of Graphic Design at the Cooper Union in New York city, from 1994 until his death in 1995.
Related Materials:
Cooper-Hewitt, National Design Museum, Drawings and Prints Department

Hundreds of designs for letterheads, logos, business cards, invitations, greeting cards, furniture, lighting, screens, office interiors, shoppings bags and gift boxes, calendars, packaging, weather pattern diagrams and maps, book covers, and posters

Cooper-Hewitt, National Design Museum, Applied Arts Department

"U.S.A." table and dome-shaped floor lamp.,.

Friedman's work can be found in the collections of the following museums: Museum of Modern Art, New York City; Museum of Decorative Arts, Montreal, Canada; Art Institute of Chicago, Chicago, IL; Seibu, Tokyo; Virginia Museum of Fine Arts, Richmond, VA; and Israel Museum, Jerusalem.
Provenance:
This collection was donated to the museum by the designer's brother, Ken Friedman in 1995.
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.
Occupation:
Graphic designers  Search this
Packaging designers  Search this
Topic:
Packaging -- Design  Search this
Design education -- United States  Search this
Graphic arts -- United States  Search this
Furniture design -- United States  Search this
Signs and symbols -- Design  Search this
Letterheads -- Design  Search this
Corporate image -- Design  Search this
Logos (Symbols) -- Design  Search this
Printing  Search this
Postmodernism -- United States  Search this
Posters -- Design  Search this
Book design -- United States  Search this
Genre/Form:
Stationery
Clippings
Statistics
Correspondence
Photographs -- 20th century
Lecture notes
Speeches
Sketches
Slides
Brochures
Mechanicals
Transparencies
Financial records
Articles
Citation:
Dan Friedman Papers, 1967-1995, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1277
See more items in:
Dan Friedman Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1277
Online Media:

Ladislav Sutnar collection

Creator:
Sutnar, Ladislav  Search this
Names:
Addo-X Business Machines  Search this
Bauhaus -- Influence  Search this
Carr's Department Stores  Search this
Cooper-Hewitt Design Archive  Search this
J.C. Penny Co.  Search this
McGraw-Hill Book Company, Inc.  Search this
Printex Corporation  Search this
RCA Corporation  Search this
Sweet's Catalog Service  Search this
Vera (Company)  Search this
Sutnar, Ladislav  Search this
Extent:
85 Cubic feet
Type:
Collection descriptions
Archival materials
Advertisements
Layouts
Brochures
Correspondence
Sketches
Sales catalogs
Photographs
Date:
1927-1976
Summary:
Material relates to Sutnar's career including exhibitions, designs for corporate clients, designs for books on packaging design and catalog information. Little office correspondence and personal information is provided.The major part of the collection consists of Sutnar's designs, including logos, letterheads, catalogs, and advertising campaigns for a large number of clients, notably Addo-X, Carr's Department Stores, JC Penney, RCA, and Vera, as well as product and catalog design for Sweet's Catalog Service. Also included are drafts of books, sketches, over 5,000 photographs, photoprints, and photonegatives. Other materials include clippings, page layouts, brochures and booklets about package design and magazine layouts.
Arrangement note:
Arranged by client account and by material size. A picture reference file is boxed separately.
Biographical/Historical note:
Graphic, display, and industrial designer. Born Pilsen, Austro- Hungary (now Plzen, Czech Republic), 9 November 1897. Sutnar immigrated to the United States in 1939. He was inspired by the Bauhaus and was an advocate for a constructivist and functional approach in graphic design stressing simplicity, order, and precision. He was the art editor of the Prague publishing house, "Druzstevni Prace." Sitmar was head designer for the Czech pavilion at 1939 New York World's Fair.

He served as art director for Sweet's Catalog Service from 1941 to 1960. Due to his belief that designers need to be capable of working in many fields of design, Sutnar established his own "full-service" firm in New York City in 1951. He developed a new typography called "information graphics". He was author of "Design for Point of Sale", 1952, "Package Design: The Force of Selling", 1953, and "Visual Design in Action", 1961. Sutnar also created corporate image products for McGraw-Hill and Printex. Died 1976.
Location of Other Archival Materials Note:
Cooper-Hewitt National Design Museum, Drawings and Prints Department.Seven posters, one magazine cover, two designs for glassware, and some duplicates of the archival material.
Cooper-Hewitt, National Design Museum, Applied Arts Department. One ceramic coffee service, one glass tea service.
Archives of American Art, Washington, D.C.Business and personal correspondence, biographical data, sketches, photographs, clippings, and other print miscellany, circa 1927-1976.
Rochester Institute of Technology, Rochester, N.Y.Approximately 215 items dating from 1940 to 1970 include printed samples of Sutnar's designs for periodical covers, advertisements, catalogs, books, displays, and posters.
Getty Research Institute for the History of Art and the Humanities, Special Collections, Los Angeles, C.A.Papers relating to Sutnar's designs and exhibitions, 1928-1969.
Provenance:
The Sutnar Papers were donated to Cooper-Hewitt, National Design Museum, in 1977 by Radoslav L. Sutnar and Citislav Sutnar.
Restrictions:
Unrestricted research use onsite by appointment. Permission of staff required to photograph material.
Topic:
Corporate image -- Design  Search this
Letterheads -- Design  Search this
Graphic arts -- United States  Search this
Design, Industrial -- United States  Search this
Logos (Symbols) -- Design  Search this
Glassware -- Czech Republic -- Bohemia  Search this
Porcelain -- Czech Republic  Search this
Packaging -- Design  Search this
Graphic arts -- Czech Republic  Search this
Genre/Form:
Advertisements
Layouts
Brochures
Correspondence
Sketches
Sales catalogs
Photographs
Identifier:
SIL-CH.2001-26-1
Archival Repository:
Smithsonian Libraries
EDAN-URL:
ead_collection:sova-sil-ch-2001-26-1

William Metzig Papers

Creator:
Metzig, William, 1893-1989  Search this
Donor:
Murgio, Matthew, Mrs.  Search this
Murgio, Matthew, Mrs.  Search this
Names:
Cooper-Hewitt Design Archive  Search this
Dutton  Search this
Fawcett  Search this
Fieldcrest Mills Inc.  Search this
Heubelin, Inc.  Search this
Pelikan Ink Company  Search this
Popov Distilling Company  Search this
Metzig, William, 1893-1989  Search this
Extent:
16 Cubic feet
Type:
Collection descriptions
Archival materials
Clippings
Book jackets
Photographs
Slides
Illustrators
Drawings
Transparencies
Brochures
Advertisements
Date:
circa 1925-1979
Scope and Contents:
The materials in this collection span the years from the late 1920s to the 1970s and document Metzig's work in Germany and the United States. Little background and biographical information is available.

Project files : More than 500 examples of the designer's work, including letterheads, logos, trademarks, brochures, book jackets, magazine covers and layouts, certificates, awards, and product labels.

Printed Materials : Includes articles written by Metzig and a copy of his publication, "Art Lettering and Design," which was done for the International Correspondence Schools of Pennsylvania in 1957. This collection does not include any business records or correspondence.

Other Visual Materials : Photographs, slides, and transparencies of many of Metzig's designs.
Arrangement:
This collection is arranged into three record groups: 1) printed materials; 2) project files; and 3) other visual materials. Project files are arranged in alphabetical order by name of client. Extensive files for projects done for distilleries and publishing companies are alphabetized separately.
Biographical / Historical:
Graphic designer and artist. Born Hanover, Germany, 1893. Metzig apprenticed with a lithographer prior to establishing his own studio in the 1920s. He designed trademarks, logos, letterheads, brochures, and posters for clients. He is best known for his work for Pelikan Ink Company.

He also designed book covers, magazine covers, and page layouts. In the 1930s, Metzig became known as a leading calligrapher and advertising artist in Germany. He immigrated to the United States in 1939 and settled in New York where he taught calligraphy and did freelance graphic design until his death in 1989.
Provenance:
Gift.
Restrictions:
Permission of staff required to photograph materials.
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.
Topic:
Magazine covers -- Design  Search this
Posters -- Design  Search this
Greeting cards -- Design  Search this
Works of art  Search this
Graphic arts -- United States  Search this
Calligraphy  Search this
Graphic arts -- Germany  Search this
Graphic designers  Search this
advertising  Search this
Letterheads -- Design  Search this
Packaging -- Design  Search this
Labels -- Design  Search this
Logos (Symbols) -- Design  Search this
Graphic artists  Search this
Trademarks -- Design  Search this
Corporate image -- Design  Search this
Pamphlets -- Design  Search this
Book jackets -- Design -- United States  Search this
Genre/Form:
Clippings
Book jackets
Photographs -- 20th century
Slides
Illustrators
Drawings
Transparencies
Brochures
Advertisements
Citation:
William Metzig Papers, ca. 1925-1979, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1269
See more items in:
William Metzig Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1269

Raymond Loewy papers

Creator:
Loewy, Raymond, 1893-1986  Search this
Names:
American Society of Industrial Designers  Search this
Coca-Cola Company  Search this
Cooper-Hewitt Design Archive  Search this
Exxon Corporation  Search this
Gestetner Duplicating Machine Company  Search this
Hallicrafter  Search this
Hupp Motor Company  Search this
International Business Machines Corporation  Search this
Raymond Loewy Associates  Search this
Raymond Loewy/William Snaith, Inc.  Search this
Sears, Roebuck and Co.  Search this
Shell Oil Company  Search this
Studebaker Corporation  Search this
United Air Lines, Inc.  Search this
United States. National Aeronautics and Space Administration  Search this
Loewy, Raymond, 1893-1986  Search this
Snaith, William, 1908-1974  Search this
Extent:
3 Boxes (2 letter sized boxes, 1 legal sized box.)
Type:
Collection descriptions
Archival materials
Clippings
Press releases
Speeches
Photographs
Date:
[mid-1940s-early 1960s]
Summary:
This collection spans the period from the mid-1940s to the early-1960s and consists ofnewspaper and magazine articles by and about Loewy, including the 1949 TIME magazine on which he appeared on the cover. Extensive clippings exist pertaining to his designs for automobiles. Also includes many articles and speeches written by and about William Snaith, a partner in the firm which was renamed Raymond Loewy/William Snaith, Inc. in 1961. A catalog from the exhibition, "Ten Automobiles," which took place at the Museum of Modern Art in New York City in 1953, is included. Other materials include brochures printed and designed by the firm, press releases, a listing of projects, honors, and membership. Some photographs of Loewy and his design team are included. The collection does not contain any original design materials or project files.
Arrangement note:
Unprocessed.
Biographical/Historical note:
Industrial Designer. Born Paris, France, November 8, 1893, Loewy initially studied electrical engineering, and by 1909, he has designed and sold a successful airplane model. He immigrated to the United States in 1919 and became a naturalized citizen in 1938. Loewy began working as a freelance window display designer for Macy's and Saks Fifth Avenue, and as an illustrator for Vogue, Harper's Bazaar, and others, from 1919.

He designed the trademark for Neiman-Marcus in 1923. Loewy is identified as one of the founding fathers of industrial design. In 1929, he started Raymond Loewy Associates in New York, and by 1947, he appeared on the cover of TIME magazine. Loewy's designs always stressed the importance of the clean, functional, dynamic design of products. His schooling in electrical engineering translated into his designs for automobiles, trains, airplanes, ships, and spacecraft for NASA. He also designed interiors for many hotels, offices, and supermarkets. He is best known for his designs for the 1947 Studebaker Starlight Coupe; the 1953 Starliner Coupe; the 1961 Avanti; the 1947 line of Hallicrafter radio recievers; the 1929 Gestetner duplicating machine; the 1934 Sears Coldspot refrigerator; and the S-I steam locomotive for the Pennsylvania Railroad.

He also designed logos for Exxon and Shell oil companies, and bottles and refrigerated vending machines for Coca Cola. He became President of the American Society of Industrial Designers in 1946. Loewy established Compagnie de l'Esthetique Industrielle in Paris in 1952. His work has been featured in many exhibitions, including: "An Exhibition for Modern Living", Detroit Institute of Arts, 1949; "The Designs of Raymond Loewy", Renwick Gallery of the National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., 1975; and "The Machine Age in America", Brooklyn Museum, 1986, among others. He authored, "The Locomotive: Its Esthetics", 1937; "Never Leave Well Enough Alone", 1951; and "Industrial Design", 1979. In 1961, Loewy went into semi-retirement, became partners with William Snaith, and renamed the company Raymond Loewy/William Snaith, Inc. Loewy died in Monte Carlo, July 14, 1986.
Location of Other Archival Materials Note:
Library of Congress, Washington, D.C. The Raymond Loewy Collection. Drawings, blueprints, sketches, phtographs, slides, and audio and video recordings, covering the period from 1929-1988.
Canadian Center for Architecture, Special Collections. Vertical file docmenting Loewy's work.
Provenance:
The materials in this collection were donated to Cooper-Hewitt by Betty Reese, Loewy's publicist.
Restrictions:
Unprocessed; access is limited. Permission of Library Director required for use.
Occupation:
Industrial designers  Search this
Interior designers  Search this
Packaging designers  Search this
Topic:
Radio -- Receivers and reception -- Design and construction  Search this
Packaging -- Design  Search this
Corporate image -- Design  Search this
Logos (Symbols) -- Design  Search this
Interior decoration -- United States  Search this
Automobiles -- Design and construction  Search this
Design, Industrial -- United States  Search this
Supermarkets -- Design  Search this
Coldspot refrigerator  Search this
Transportation -- Design  Search this
Genre/Form:
Clippings
Press releases
Speeches
Photographs
Identifier:
SIL-CH.XXXX-0001
Archival Repository:
Smithsonian Libraries
EDAN-URL:
ead_collection:sova-sil-ch-xxxx-0001

A. Bernie Wood Papers

Creator:
Wood, Arthur Bernie, 1921-1986  Search this
Extent:
10 Cubic feet (27 boxes, 2 oversize folders)
Type:
Collection descriptions
Archival materials
Slides (photographs)
Clippings
Negatives
Transparencies
Matchcovers
Placemats
Stationery
Business cards
Business records
Advertisements
Photographs
Drawings
Motion pictures (visual works)
Design drawings
Date:
1942-2001
bulk 1960-1969
Summary:
A. (Arthur) Bernie Wood (1921-1986) was an advertising designer, consultant, and inventor actively involved in the development of the restaurant franchise industry in America during the 1960s and 1970s. Particularly notable is his work with marketing, promotion, and merchandising for the McDonald's Corporation during its formative years.
Scope and Contents:
The collection documents the post-war development of the franchise business system from an insider's view. Wood participated in almost all aspects of franchising activities from design to ownership. The materials consist of a wide variety of corporate identity elements--primarily visual--developed by Wood under contract to various corporations in the food service industry. Wood delivered his services in design concepts and graphics for advertisers and industrial firms using photo graphics and lithographic media.
Arrangement:
The collection organized into seven series.

Series 1: Personal Materials, 1942-1986, undated

Series 2: Business Materials, 1959-2001, undated

Subseries 1: Franchise information, 1961-2001

Subseries 2: Design work, undated

Subseries 3: Reference materials, 1959-1972

Series 3: McDonald's Corporation, 1957-1985

Subseries 1: Background materials, 1963, 1985, undated

Subseries 2: Corporate materials, 1960-1984

Subseries 3: Newsletters, 1960-1964, 1983

Subseries 4: Advertising and marketing materials, 1957-1978, undated

Subseries 5: Packaging, 1964, undated

Subseries 6: Sales materials, 1963, 1964, [1972?], undated

Subseries 7: Drawings, 1960s-1970s

Series 4: Client Files, 1958-1984

Series 5: Patent and Trademark Materials, 1962-1976

Subseries 1: Patents and patent applications, 1962-1969, 1975-1976

Subseries 2: Trademarks, 1964-1970

Series 6: Photographs, Slides and Negatives, 1963-1975, undated

Subseries 1: Biographical, 1964, 1975, undated

Subseries 2: Client Work, 1963-1968

Subseries 3: Slide Presentations, 1963-1969, undated

Series 7: Audio and Moving Image Materials, 1963, 1964, 1968

Subseries 1: Audio Materials, 1963, 1964, 1968

Subseries 2: Moving Image Materials, undated
Biographical / Historical:
Arthur Bernie Wood (1921-1986) was born in Council Grove, Kansas. Wood graduated from Central High School in Kansas City, Missouri, in 1939 and subsequently attended several junior colleges and business and trade schools. Wood held a variety of positions in typesetting and lithographic services from 1940 until military service in the United States Navy (1942-1945). In the Navy, Wood served as a Laboratory Technician, 1st Class Photographic Specialist at the Naval Air Station, Glenview, Illinois. While in the Navy, Wood produced patentable material for a photo-litho process for instant printing techniques through photosynthesis. After being discharged from the Navy, Wood worked for an art studio that serviced advertising agencies. This work involved reproduction art, direct mailing services, mail order books, and newspaper art for Marshall Field's. From 1958 to 1960, Wood established the A. Bernie Wood Studio in Chicago to provide finished photographic art for leading advertising and print publications and television.

In 1961, Wood founded Admart, Inc., Advertising. As the president and creative director of Admart, he created, promoted, and merchandised the new fast-food corporate image of McDonald's Carry-Out Restaurants. While working for McDonald's, Wood designed interior food service floor plans, a logotype, direct mailing materials, posters, newspaper mat campaigns, and radio taped productions (1963-1964). Wood obtained several patents--beverage cup holder (1964), candy box (1967), finger-grip food product containers (1967), and a refreshment tray-forming template (1964) and trademarks--"Chick'n-2-Go" (1968);"NEATRAE" (1967); and "Ma and Pa's Country Candy Store" (1966). Wood, and Donald Conley formed Neat Containers Associates to promote the use of "Neatrae" and license it.

In 1965, Wood founded a franchise business called Ma and Pa's Country Candy Stores in Arlington Heights, Illinois, which he owned and operated with his wife Marilyn until 1972. They also owned another unit in Long Grove, Illinois. As the director and co-founder of this franchise, Wood was responsible for creating names, trademarks, copyrights, and image materials. He sold franchise rights to others, and there were other Ma and Pa's Country Candy Stores located in the United States, especially in St. Louis. He also designed store interiors and exteriors for other clients and supervised construction. From 1964 to 1965, Wood was a freelance designer and consultant on design, marketing, and franchising issues for restaurants and drive-ins. Other corporate images designed by Wood include: Prince Castle, Neba Roast Beef, and Friar Fish's Fish and Chips. Wood expressed his goal to design an image/logo as one "that would be recognized and one that would relate to products, packaging, properties, people, procedures and promotion. Put together, these elements communicated and coordinated the corporate image."

Wood also developed the concept Dial "All Wood," the use of a memorable association of letters rather than phone numbers (255-9663) and requesting specific phone numbers from the local Illinois Bell Telephone.

Wood married Marilyn Dewar (1923-1981) on May 27, 1942, in Kansas City, Missouri. They had five children: Ronald W.; Rhonda C.; Randall S.; Rayne Ann; and Rodger L.

Wood died on April 5, 1986.
Provenance:
The collection was donated by Rayne Ann Wood, daughter of A. Bernie Wood, on February 25, 2007.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Restaurants  Search this
Trademarks  Search this
Patents  Search this
advertising  Search this
Franchises (Retail trade)  Search this
Genre/Form:
Slides (photographs) -- 20th century
Clippings -- 20th century
Negatives
Transparencies
Matchcovers
Placemats
Stationery
Business cards
Business records -- 1950-2000
Advertisements -- 20th century
Photographs -- 1950-2000
Drawings
Motion pictures (visual works) -- 20th century
Design drawings -- 1950-2000
Citation:
A. Bernie Wood papers, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0962
See more items in:
A. Bernie Wood Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0962
Online Media:

Technology Review

Collection Creator:
Brooks, Arthur Raymond, 1895-1991  Search this
Container:
Box 10, Folder 17
Type:
Archival materials
Date:
November 1961
1961-05
1930-07
Scope and Contents:
Massachusetts Institute of Technology, vol. 32, no. 8, July 1930; vol. 63, no. 7, May 1961; and vol. 64, no. 1, November 1961.
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Arthur Raymond Brooks Collection, NASM.1989.0104, National Air and Space Museum, Smithsonian Institution.
See more items in:
Arthur Raymond Brooks Collection
Arthur Raymond Brooks Collection / Series 1: Professional Materials / 1.8: Magazines
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_component:sova-nasm-1989-0104-ref314
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Cresci Electric Incorporated, corporate image designs

Collection Donor:
Mair, LaVeda  Search this
Collection Creator:
Mair, Francis M., 1916-1991 (commercial artist)  Search this
Container:
Box 20, Folder 26
Type:
Archival materials
Date:
undated
Collection Restrictions:
Collection is open for research.
Collection Rights:
Copyright for a portion of the collection held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Collection Citation:
Francis M. Mair Papers, 1938-1990, Archives Center, National Museum of American History. Gift of LaVeda Mair.
See more items in:
Francis M. Mair Papers
Francis M. Mair Papers / Series 4: Freelance Client Files
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0548-ref1231

W. Lockwood Marling, corporate image, design

Collection Donor:
Mair, LaVeda  Search this
Collection Creator:
Mair, Francis M., 1916-1991 (commercial artist)  Search this
Container:
Box 24, Folder 11
Type:
Archival materials
Date:
undated
Collection Restrictions:
Collection is open for research.
Collection Rights:
Copyright for a portion of the collection held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Collection Citation:
Francis M. Mair Papers, 1938-1990, Archives Center, National Museum of American History. Gift of LaVeda Mair.
See more items in:
Francis M. Mair Papers
Francis M. Mair Papers / Series 4: Freelance Client Files
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0548-ref1447

Saul Nesbitt Papers

Collector:
Cooper-Hewitt Design Archive  Search this
Cooper-Hewitt Design Archive  Search this
Creator:
Nesbitt, Saul, 1920-1993  Search this
Names:
Archway Cookies, Inc.  Search this
Borden's Farm Products Co. of Illinois  Search this
Campbell Soup Company  Search this
Cooper-Hewitt Design Archive  Search this
Eastman Kodak Company  Search this
Florists' Telegraph Delivery Association  Search this
Franco American Food Co.  Search this
Lever Brothers and Unilever, ltd.  Search this
National Distillers and Chemical Corporation  Search this
Nesbitt Associates, Ltd.  Search this
P. Ballantine & Sons  Search this
Philip Morris Incorporated  Search this
Revlon, Inc.  Search this
Schick (Firm)  Search this
Scott Paper Company  Search this
Seagram Company  Search this
Extent:
3.5 Cubic feet
Type:
Collection descriptions
Archival materials
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs
Media lists
Blueprints
Drawings
Clippings
Client lists
Date:
1951-1984
Scope and Contents:
Background and biographical information consists of Nesbitt's resume, an artist/designer statement, list of clients and accomplishments of Nesbitt Associates, Ltd., press releases, articles, and photographs of the designer.,The materials in this collection document Nesbitt's work from 1951 through 1984.
The records of the office of public relations cover the years 1955-1963 and include press releases and clippings describing some Nesbitt's products, his theories on consumer motivation, and the results of his surveys, as well as correspondence with members of the press. General office correspondence is boxed separately.
Color slides, color and black & white transparencies, and black & white photographs of most of Nesbitt's designs for packaging from 1951-1981 are included. Oversized materials include books jackets and booklets designed by Nesbitt, as well as some renderings for packaging designs done in color.
Three samples of fitted presentation boxes designed by Nesbitt are included, as well as a prototype for a design award for Parsons School of Design in New York, and two "Multiplication" cubes commissioned by the Museum of Modern Art in New York.
Arrangement:
This collection has been reboxed in archivally-sound containers, but the materials have only been partially processed and arranged. Record groups include: 1) Backgound and Biographical Information; 2) Records of the Public Relations Office, 1955-1963; 3) Correspondence; 4) Slides, Transparencies, and Photographs; 5) Oversized Materials; and 6) Samples.
Biographical / Historical:
Packaging, industrial, and graphic designer. Born in New York City, August 10, 1920. Nesbitt was a student of sculptor Chaim Gross and studied art at many New York institutions including: Art Students League; New York University; Columbia University; Pratt Institute of Art; and the New School.

He served in the U.S. Army from 1942 to 1945 where he worked as a cartographer and as the head of the visual aid section in a military intelligence training center. In 1945, he joined the staff of Harper's Bazaar magazine where he was an illustrator assisting art director Alexey Brodovich. In 1946, Nesbitt was hired by the industrial design studio of Raymond Loewy as a handletterer and packaging designer.

He worked with Lippincott Industrial Design from 1948 to 1951. Nesbitt opened his own design studio, Nesbitt Associates, Ltd. in 1951. The firm specialized in package design, trademarks, and corporate identities. Some of his most recognizable designs were for the label for Campbell's Soup and the Florists' Telegraph Delivery (F.T.D.) Winged Mercury 'Interflora' figure, still used today. Nesbitt's other clients included: Franco American; Revlon; Ballantine Beer; Borden; Champion spark plugs; Kodak; Philip Morris cigarettes; Schick razors; and Archway cookies. In addition, Nesbitt developed the "Karry Kit" for Ballantine Beer which came to be widely used and known as the six pack.

Nesbitt was known for his revealing studies and surveys of the buying needs and preferences of the "average American housewife" and consumers in general. His opinions on what he referred to as "underpackaging" were widely publicized in professional magazines and journals. In 1984, Nesbitt retired from the design field and went to California to resume his career as a sculptor until his death in 1993.
Provenance:
Collection donated by the designer's wife, Mrs. Saul Nesbitt, in 1994.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
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.
Occupation:
Industrial designers  Search this
Packaging designers  Search this
Graphic designers  Search this
Topic:
Consumers -- Research  Search this
Consumers' preferences -- United States  Search this
Housewives as consumers  Search this
Labels -- Design  Search this
Corporate image -- Design  Search this
Logos (Symbols) -- Design  Search this
Graphic arts -- United States  Search this
Design, Industrial -- United States  Search this
Packaging -- Design  Search this
Genre/Form:
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs -- 20th century
Media lists
Blueprints
Drawings
Clippings
Client lists
Citation:
Saul Nesbitt Papers, 1951-1984, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1275
See more items in:
Saul Nesbitt Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1275

Benjamin H. Stansbury Papers

Donor:
Stansbury, Jacqueline  Search this
Creator:
Stansbury, Benjamin H., 1935-1996  Search this
Names:
Dymo Industries  Search this
Industrial Design Affiliates  Search this
Mattel Toys  Search this
Product Specialists  Search this
Ronco Teleproducts  Search this
Stansbury Company  Search this
Walter Dorwin Teague Associates  Search this
Extent:
5 Cubic feet (15 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Photographs
Correspondence
Clippings
Memorandums
Manuals
Design drawings
Slides (photographs)
Date:
1955 - 1995
Summary:
The collection documents the inventing and design work of Benjamin Stansbury.
Scope and Contents:
The collection documents the inventing and design work of Benjamin Stansbury. It contains correspondence; photographs and slides; memoranda, manuals and other internal company documents; design drawings; clippings; and trade literature. The bulk of the material relates to Stansbury's work at the Stansbury Company and the PULSAR electric toothbrush.
Arrangement:
The collection is arranged into ten series.

Series 1: Personal Materials, 1954-1983

Series 2: Walter Dorwin Teague and Associates Records, 1959-1971

Series 3: Dymo, 1961, 1966

Series 4: Mattel Toymakers, Inc., 1962-1966

Series 5: Product Specialists, 1962-1971

Series 6: Innovation, undated

Series 7: Industrial Design Affiliates, 1964-1973

Series 8: The Stansbury Company, 1966-1994 (bulk 1978-1990)

Series 9: Ronco Teleproducts, Inc., 1978-1980

Series 10: Pulse Innovations, Inc., 1990-1995
Biographical / Historical:
Benjamin H. Stansbury, Jr. (September 26, 1934-March 11, 1996) was born in Chattanooga, Tennessee and graduated high school from the Baltimore Polytechnic Institute (founded in 1883 as an engineering school). He attended the Georgia Institute of Technology, School of Architecture, earning a BS in Engineering in 1957. From 1957 to 1961, Stansbury worked for Walter Dorwin Teague Associates in New York as an industrial designer. At Teague, Stansbury worked on a variety of products and missile components. In 1960, he won the Industrial Design Institute Design Award Citation for the Euphorian dental chair (for Ritter Dental). While at Teague, Stansbury met Helen Marie Beheney (December 5, 1935-July 27, 2014) who was a secretary. The couple married in 1961 in California and had two children, Claude and Jacqueline.

Stansbury left New York for Berkeley, California where he joined Dymo Industries, Inc. as Director of New Product Planning from 1961 to 1965. At Dymo, Stansbury crafted a new corporate image and supervised plant and office construction. From 1965 to 1966 he worked for Mattel Toymakers in Hawthorne, California as Director of Corporate Planning and Acquisitions. In 1966, Stansbury, along with John Pylant, formed Product Specialists in Santa Monica. Rudy Hurwich later invested in the company as a three-way partner. Product Specialists focused on product development, manufacturing and marketing. While at Product Specialists, Stansbury developed and built a folding polypropylene boat called the Stowboat (US Patent 4,556,009) available in three sizes (seven, eight and nine feet). His marketing included the phrase, "Let's Go Stowboating!" Stansbury obtained approximately thirty-five patents, many of which were design patents. Almost all of the patents issued to him were assigned to the company who contracted his services. In 1969, Stansbury founded Innovation, a company to take conceptual ideas to the point of commercialization and to then license or sell them.

In 1969, Stansbury was hired by Industrial Design Affiliates (IDA) of Beverly Hills to help turn around the faltering design practice. After years of creative frustration working for someone else, Stansbury left IDA and founded his own design firm, the Stansbury Company, in 1973. Stansbury believed in giving creative people as much freedom as possible and all of his employees were encouraged to be part of the creative process. His company provided full service product development--concept, design, appearance models, engineering development, prototype construction and testing, tool patterns, and pre-production models. A strong emphasis was placed on engineering and manufacturability. Some of the diverse products created included: an exercise bike, roller skates, a smokeless ashtray, a sewage treatment device for boats, cosmetic bottles, surgical rubber gloves, musical toys, a dental chair, packaging (Elvis concert album), and special effects (twenty-four foot alligator) for the film Alligator and miniature sets for the disaster filmMeteor. In 1978, The Stansbury Company was awarded the Western Plastics Art and Design Award for the toy category (sun runner roller skates) and the rotational molding category (La Chair). Some of his clients included: Honda Motor Car, Mansfield Sanitary, Procter and Gamble, Max Factor & Company, Mattel Toys, Schlage Lock, Technicolor, Tomy Toys, Redkin, Jaybee Manufacturing, American Hospital Supply Company and Ronco Teleproducts, Inc.

Stansbury was also a senior consultant to the Bender Corporation, which advised large manufacturing facilities about air quality issues and engineering improvements. He worked with the company on matters related to fluid dynamic modeling and to devise optimal air movements/clearance within a structure.

Stansbury was heavily involved in local politics in Beverly Hills, California. He served as traffic commissioner (1973-1977) and as a planning commissioner (1977-1980). In 1980, Stansbury was elected to the Beverly Hills City Council serving as mayor in 1983 and 1988. After leaving politics, Stansbury continued to invent and in 1992, moved to King City, Ontario, Canada to pursue his invention of the PULSAR Electric Toothbrush (US Patent 5,259,083). The patent was later reissued (RE 35,941) on November 3, 1998. Stansbury was an initial shareholder in Pulse Innovations, Inc., a Canadian corporation formed to develop, market, and license the Pulse toothbrush. The other shareholders in Pulse Innovations included Spark Innovations, Inc. (SPI), a Canadian venture capital incubator and other investors. At SPI, Stansbury was Vice-President of technical services and acted as an engineering consultant and technical advisor on other products under development. In 1995, Procter & Gamble was given an exclusive development option for the Pulse toothbrush, but ultimately Procter & Gamble underwent a restructuring and returned its focus to core products which did not include electric toothbrushes. In 1996, Pulse entered into an agreement with Butler Gum, Canada's largest consumer oral care product company. Stansbury's children, Claude and Jacqueline sold their parents' shares in Pulse Innovations to other shareholders. Stansbury returned to the United States in 1995 and died on March 16, 1996, in Alexandria, Virginia.
Separated Materials:
Artifacts related to the Ronco Egg Scrambler are located in the Division of Work and Industry.

Artifacts related to The Mr. Dentist, Pulse toothbrushes, Hayes School Publishing Co. posters for "Good Manners" (1957) and Safety (1957), a Sesame Street learning kit and parent guides (1970) are located in the Division of Home and Community Life.

A Hayes School Publishing Company poster for "Good Habit Check Charts" (1959) is located in the Division of Medicine and Science.

Materials related to Helen Stansbury's volunteer work for the Democratic Party, especially a George McGovern Handbook, 1972 and Mike Dukakis materials, 1988 are in the Division of Political History.
Provenance:
Collection donated to the Archives Center by Benjamin H. Stansbury's daughter, Jacquelyn Stansbury in 2015.
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.
Topic:
Toys  Search this
Inventors  Search this
Designers  Search this
Design, Industrial  Search this
Inventions -- 1950-2000 -- United States  Search this
Toothbrushes  Search this
Genre/Form:
Photographs -- 2000-2010
Correspondence -- 1950-2000
Clippings -- 1950-2000
Memorandums -- 1950-2000
Manuals -- 1950-2000
Design drawings -- 1950-2000
Slides (photographs) -- 1950-2000
Citation:
Benjamin H. Stansbury Papers, Archives Center, National Museum of American History
Benjamin H. Stansbury Collection, 1959-1995, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1350
See more items in:
Benjamin H. Stansbury Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1350

Client Files

Collection Creator:
Wood, Arthur Bernie, 1921-1986  Search this
Type:
Archival materials
Date:
1958 - 1984
Scope and Contents:
The subseries is arranged alphabetically by client or project name. In most instances, it is noted what type of material exists for each file such as a license agreement or promotional literature. The majority of documentation in this series consists of artwork and promotional materials Wood designed for the client. He performed a variety of activities and services for his clients and the documentation for each client/project is uneven. Overall characteristics for these files include: artwork, articles, logos, newsletters, packaging such as bags, postcard ads, promotional literature, paper dolls, stationery and corporate image and identity, newsletters such as the Bell News for Illinois Bell Telephone, brochures, and handwritten notes by Wood on operations, training, and sales issues.
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
A. Bernie Wood papers, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0962, Series 4
See more items in:
A. Bernie Wood Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0962-ref17

Francis M. Mair Papers

Donor:
Mair, LaVeda  Search this
Creator:
Mair, Francis M., 1916-1991 (commercial artist)  Search this
Names:
Landor Associates  Search this
United States. Naval Training School  Search this
Landor, Walter  Search this
Extent:
56 Cubic feet (104 Boxes, 40 map-folders)
Type:
Collection descriptions
Archival materials
Beverage labels
Fruit crate labels
Labels
Place:
San Francisco (Calif.)
Date:
1935-1994
Summary:
Client files, administrative files, artwork, and collected food labels from graphic and industrial designer Francis Mair. Mair specialized in beverage labels and packaging during his many years with Landor Associates in San Francisco. Late in his career, he directed Landor's Museum of Packaging History. His prolific freelance career included designs for furniture, decorative arts, letterhead, and corporate images. His personal artwork included alphabets, typefaces, and sketchbooks. Much of his personal artwork is humorous or erotic.
Scope and Contents:
The collection consists largely of client files and artwork from Mair's years with Landor Associates and his freelance design work. Mair's specialty was the design of beverage containers, labels, and packaging, and there is a significant body of material produced for West Coast and national breweries and wineries. Mair also managed Landor's Museum of Packaging Antiquities, and there are several boxes of the Museum's administrative files. Of particular interest is Mair's large collection of historical and contemporary wine, liquor, and fruit crate labels (both foreign and domestic). The labels seem to have served as an inspiration and a record of his work, as well as documentation of historical packaging for the Museum. Mair's freelance clients were diverse, though most of them were small businesses and organizations in the San Francisco Bay Area. In addition to food and beverage labels, these commissions included posters, promotional materials, letterhead and personal announcements, invitations, and cards. Lastly, the collection includes personal artwork and records of entrepreneurial projects (such as the Flexigon, a flexible geometric toy).
Arrangement:
Collection is arranged into eight series.

Series 1, Professional Materials, 1956-1991, undated

Series 2, Landor Associates Files, 1946-1993, undated

Series 3, Landor Museum of Packaging Antiquities, 1960-1989, undated

Series 4, Freelance Client Files, 1946-1989, undated

Series 5, United States Naval Training School, Radio Chicago, 1943-1945, undated

Sereis 6, Personal Artwork and Designs, 1935-1994, undated

Series 7, Reference Files, 1950-1985, undated

Series 8, Labels, undated
Biographical / Historical:
Francis Marion Mair was born in Streator, Illinois to Alexander Morrison Mair and Jessie C. Williams on May 5, 1916. He began his career as an artist and designer at the University of Illinois School of Design in Chicago receiving a Bachelor of Fine Arts degree in Painting in 1938. That year he joined the United States Navy and where he designed visual aids for the Naval Training School in Chicago, Illinois. Even at this early stage in his career, acute design sense and humor are evident in his work. In 1949, he joined Landor Associates in San Francisco, California where he worked for forty years, retiring in 1989. At Landor, he specialized in designing packaging and labeling for beverages. He also was the director of Landor's Museum of Packaging History which shared quarters with Landor Associates on the Ferryboat Klamath. Throughout his career, Mair took on diverse freelance projects. One of his most successful was the Suva line of rattan furniture and decorative objects for Decorative Imports. Mair published articles in Advertising Age, Industrial Design, Advertising Techniques, and Wines and Vines. Mair died on April 29, 1991 in Contra Costa County, California.
Related Archival Materials:
Archives Center, National Museum of American History

Walter Landor and Associates (AC0500)

NW Ayer Advertising Agenecy Records (AC0059)

Hills Bros. Coffee Company Records (AC395)

Emmett McBain Afro American Adertising Poster Collection (AC0192)

Warshaw Collection of Business Americana (AC0060)

Marilyn E. Jacklear Memorial Collection of Tobacco Advertisements (AC1224)

Marlboro Oral History and Documentation Project (AC0198)
Related Materials:
A glass final production version of a French's mustard jar and three hand-carved, solid-wood prototypes for this jar are in the Museum's Division of Work and Industry. These were found in Mair's home studio.
Provenance:
Collection donated by LaVeda Mair, April 23, 1996.
Restrictions:
Collection is open for research.
Rights:
Copyright for a portion of the collection held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Topic:
advertising -- 20th century  Search this
Beverages -- advertising -- 1940-1990  Search this
Commercial art -- 1940-1990  Search this
Design, Industrial  Search this
Erotica  Search this
Graphic design  Search this
Labels -- Alcoholic beverages  Search this
Labels -- Crates -- Fruit  Search this
Liquors -- advertising -- 1940-1990  Search this
Nudes  Search this
Nudity  Search this
Packaging  Search this
Rattan furniture  Search this
Toys  Search this
Wine labels  Search this
Wit and humor  Search this
Wit and humor in advertising  Search this
Genre/Form:
Beverage labels
Fruit crate labels
Labels
Citation:
Francis M. Mair Papers, 1938-1990, Archives Center, National Museum of American History. Gift of LaVeda Mair.
Identifier:
NMAH.AC.0548
See more items in:
Francis M. Mair Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0548

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