Marx, Groucho (Julius Henry), 1890-1977 (comedian) Search this
Extent:
1 Item (ink on paper., 11.1" x 8.6")
Container:
Box 6, Folder 2
Type:
Archival materials
Scripts (documents)
Date:
May 20, 1940
Scope and Contents:
Property of Loew's Incorporated - Metro-Goldwyn-Mayer Pictures.
Local Numbers:
AC0269-0000009 (AC scan)
Collection Restrictions:
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Reference copies of audiovisual materials must be used. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
"Science Finds Silver Mines in Movie Studios" February 26, 1932
"Beware the Motor Oil GYPS" May 13, 1932
"The Switch Engine of the Air"
"Practical Exposure and Development"
Miscellaneous Notes
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 http://airandspace.si.edu/permissions
Collection Citation:
Joseph D. Mountain Collection, Acc. 1991-0079, National Air and Space Museum, Smithsonian Institution.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Leonard and Mary Gaskin Papers, 1923-2006, Archives Center, National Museum of American History.
Series 6: PUBLICATIONS, 1911-1953 & undatedcontains a range of publications relating to the motion picture industry, specific stars or motion pictures. The series is arranged chronologically.
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Motion Pictures, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
This collection was collected from movie houses and video stores in the Washington, DC metropolitan area and with two exceptions, exclusively covers the decade of the 1990s. The collection contains movie posters from a wide range of motion pictures; animated, children's, adult, studio and independently made films and consists of full size, six-sheet posters with two small four-sheet size posters. The collection is arranged alphabetically by movie title.
Historical:
Motion pictures have been exhibited in the United States since debuting at the Columbian Exposition in 1893. The public's love affair with the movies has never waned. Beginning with silent films with simple plots the motion picture industry has grown into a multi-billion dollar industry where the small simple film costs millions of dollars and a great portion of a motion picture budget is designated for advertising. Movie posters have been an integral marketing tool for the motion picture from its inception. Movie posters attempt to capture the essence of the film in one clear defining image and image that will hopefully remain in the consumers mind. Early movie posters boasted original artwork with bright colors and bold lettering. Beginning in the 1950s, movie posters began to use actual photographs from the movie itself as the primary artwork for the movie poster. In the latter 20th century almost all movie posters were photographic in nature. With the expansion of motion pictures into the home video market from the early 1980s onward, movie posters became not only a marketing tool for the movie theatre but for the video store as well.
Collection Restrictions:
Unrestricted research access on site by appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Archives Center Poster Collection, 1910s-2001, Archives Center, National Museum of American History.
This collection consists of three scrapbooks dating from 1903 to 1955 containing mostly newspaper clippings which document the career of California artist Carl Oscar Borg, particularly his work as art director for Hollywood films.
Scope and Content Note:
The collection consists of three scrapbooks compiled by Borg, and after his death by his widow, Lily Borg Elmberg. These contain newspaper clippings from the U.S. and Sweden, documenting Borg's lifelong career as a painter and printmaker since his arrival in Los Angeles in 1903. One scrapbook, 1925-1938, highlights his role as supervising art director for the1926 silent film, The Black Pirate starring actor Douglas Fairbanks. Also included are articles about his years working in the silent movie industry (1925-1928) as the art director of films, Black Pirate, The Gaucho, The Night of Love, The Magic Flame, Two Lovers, and The Iron Mask.
Arrangement:
Volumes are divided into three main categories: I. Los Angeles Years (1903-1935), II. Silent movies and trip to Sweden (1925-1938), and III. Sweden and Santa Barbara years (1935-1955). The dates of a number of the newspaper clippings and exhibition catalogs found in the scrapbooks overlap. In addition, Scrapbook I, 1903-1935, is in fragile condition and should be handled with care.
The collection was donated in 1998 by Helen Laird, who received the papers from Borg's widow, Lily Borg Elmberg in preparation for a biography on Carl Oscar Borg.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Artwork includes 2 sketches, 1962, and approximately 60 pencil figurative drawings and studies done during weekly life drawing sessions established by Block and Hans Burkhardt at the Studio Club on the MGM lot from the 1950s to mid-1970s (among them is a pastel by Burkhardt of Block drawing the nude model); and 16 drawings and one print and one poster, most of which were executed by Irving Block for Santa Susana Press, California State University, Northridge's 1986 broadside of John Updike's poem, A Pear Like a Potato. Printed material, 1941-1982, includes exhibition catalogs and clippings. An audio cassette contains Block's reminiscences of his friendship with Burkhardt and a recording of Block delivering a lecture to a senior seminar class on Walt Whitman.
Biographical / Historical:
Irving Block (1910-1986) was a painter and educator in Los Angeles, California. Block was born in New York City. He was involved in the Works Projects Administration's Federal Art Project in the 1930s, and worked as a matte shot artist at 20th Century Fox during the 1940s and 50s. He taught for many years at California State University, Northridge (1963-1980). Block co-authored with Alan Adler the original story for the science fiction film Forbidden Planet, for which he designed Robbie the Robot.
Provenance:
Donated 1984 by Block and in 1996 by Jill Block, the widow of Irving Block. Additional drawings, print and poster donated 2015 by Virginia Elwood-Akers, a former librarian at California State University, Northbridge who received the drawings from colleague Dean Norman Tanis, head of the Santa Susana Press.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art teachers -- California -- Los Angeles Search this
A collection of promotional photographs and press kits used to promote motion pictures and made for television motion pictures and other entertainment.
Scope and Contents:
This collection consists of publicity kits and promotional photographs for newly released and re-released motion pictures and television shows. There is a small quantity of material for other entertainment forms: theater, television, music, dance, and tennis. The files may include such items as still photographs of scenes from the films, plot summaries, news clippings, interviews of performers, and press releases. The titles included cover a range of genres and subject matter. The bulk of the material is from 1995-2000. There is one item from 1961 and a small amount of material for the years 2000-2004.
This collection is arranged in one series by title:
Series 1, Motion Picture Press Kits, 1961-2004, undated.
Arrangement:
This collection is arranged in one series by title.
Series 1, Motion Picture Press Kits, 1961-2004, undated.
Biographical / Historical:
Motion picture, television, and other entertainment producers regularly sent out press kits to news organizations, motion picture theaters, television studios, and entertainment-related publications for publicity purposes. They have been a staple tool of the entertainment industry for decades.
Related Materials:
Materials in the Archives Center
Warshaw Collection of Business Americana (AC0060) Lobby Card, Motion Picture, Television, and Theater categories
Archives Center Business Americana Collection (AC0404) Motion Picture, Television, and Theater categories
Danish Film Stills of American Motion Pictures Collection (AC0543)
Movie Poster Collection (AC0656)
Erol's Video Club Collection (AC0687)
Video Press Kits Collection (AC0748)
Archives Center Poster Collection (AC0751)
Lesbian, Gay, Bisexual, and Transgender Collection (AC1146) Subseries 4.4: Television, Theater, and Motion Pictures
Provenance:
These press kits were collected by Gay Life Magazine, Baltimore, Maryland during the course of journalistic activities. They were donated to the Archives Center through Daniel K. McEvily, Gay Life Magazine editor, when it moved its editorial offices in 2014-2015.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: reproduction fees may apply. All duplication requests must be reviewed and approved by Archives Center staff.
This donation consists of Heveran's scrapbook which contains photographs and ephemera. The photographs include images of the following aircraft and aviation scenes: Curtiss H Flying Boat; SPAD XVI and XIII; de Havilland D.H.4; Salmson; Fokker D.VIII; Halberstadt C.II; Royal Aircraft Factory (RAF) S.E.5; power winch for raising a balloon; and images of the 14th Balloon Photo Section members. There are also images of armament, tanks (including a decoy German tank), German artillery and mortar, images of dead German soldiers, and images of the destruction of the French countryside. The scrapbook also includes a map, French and Belgian currency, a Christmas menu, and newspaper articles.
Biographical / Historical:
Glenn Edward Heveran, Sr. (1895-1960) was born in Chicago, Illinois. As a young man he was a commercial photographer and participated in the infant motion picture industry in Chicago. Heveran was inducted into the United States Army in March of 1918. He became a corporal in the 14th Balloon Photo Section, First Army, and was sent to France in August of 1918. When he returned home in 1919, he prepared a scrapbook, containing photographs that he took or collected during his time in France
Provenance:
Ronald D. Heveran, Gift, 2003
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
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:
Ruth Law Collection, Acc. NASM.XXXX.0387, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Blanche Stuart Scott Collection, Acc. NASM.XXXX.0062, National Air and Space Museum, Smithsonian Institution.
This collection documents Harrison's aviation career. The material consists mainly of newspaper articles on Harrison and early aviation in general, as well as a small amount of material on his son, Bennett.
Biographical / Historical:
George Blair Harrison (1873-1930) was a pioneer aeronaut and businessman. Following graduation by Washburn College and University of Michigan, he entered the business world, working as a newspaperman (1898-1903, 1908-15), for the St.Louis World's Fair (1903-05), in printing and lithography (1905-07), and in the motion picture industry (1915-17). During this time he earned Federation Aeronautique International (FAI) Balloon certificate 32, becoming the first licensed balloon pilot west of St.Louis. In January 1910 he helped organize the first U.S. International air meet, at Dominquez Field, Los Angeles. He was also associated briefly with Wright Airplane Co (1910) and Glenn L. Martin Co. (1911). He joined the army as an aviation cadet when the US entered World War I, attending Ground School at Austin, TX (1917) and Balloon School, Ft. Omaha, NE (1917-18). After his discharge in 1919, he returned to commercial aviation, serving as airport inspector for Los Angeles County (1920, 1921), secretary and director of Universal Institute of Aeronautics, Inc., until his death.
General:
NASMrev
Provenance:
Marion S. Harrison, gift, 1986, 1987-0012, not NASM
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Gordon Hendricks Motion Picture History Papers, 1895-1970, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Gordon Hendricks Motion Picture History Papers, 1895-1970, National Museum of American History.
An artificial collection of posters on various subjects, at present organized according to donor. Examples of contents include movie posters and propaganda posters.
Scope and Contents note:
An artificial collection of posters on various subjects from various sources, including curatorial units, the public, and SI staff. Series one consists of miscellaneous posters, typically acquired one or two at a time. The remaining series contain posters acquired from individual sources, usually all relating to one topic. Detailed cataloging information for many of these posters can be found following this finding aid. This collection will be augmented periodically by new acquisitions.
The movie posters, all except two from the 1990s, represent a wide range of popular films, including both adult and children's films, live action and animated, and studio and independently made films.
Arrangement:
Collections divided into four series.
Series 1: Miscellaneous Posters
Series 2: World War One Posters, 1917-1919
Series 3: Motion Pictures Posters, 1963-2016
Series 4: Soviet Propaganda Posters, 1959-1960
Biographical / Historical:
Motion pictures have been exhibited in the United States since debuting at the Columbian Exposition in 1893. The public=s love affair with Athe movies@ has never waned. Beginning with silent films with simple plots the motion picture industry has grown into a multi-billion dollar industry where the small simple film costs millions of dollars and a great portion of a motion picture budget is designated for advertising. Movie posters have been an integral marketing tool for the motion picture from its inception. Movie posters attempt to capture the essence of the film in one clear defining image and image that will hopefully remain in the consumers mind. Early movie posters boasted original artwork with bright colors and bold lettering. Beginning in the 1950s, movie posters began to use actual photographs from the movie itself as the primary artwork for the movie poster. In the latter 20th century almost all movie posters were photographic in nature. With the expansion of motion pictures into the home video market from the early 1980s onward, movie posters became not only a marketing tool for the movie theatre but for the video store as well.
Provenance:
Collection donated by Nelse L. Greenway, July 6, 2001, and Martha Rosen, May 29,2002.
Restrictions:
Unrestricted research access on site by appointment.
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.
