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U.S. Savings Bond Stamp Collection

Donor:
Gottlieb, Rosalie F.  Search this
Designer:
Luchton, Bernard, 1924-1970  Search this
Extent:
1 Cubic foot (2 boxes)
Type:
Collection descriptions
Archival materials
Publicity photographs
Photographs
Pamphlets
Scrapbooks
Posters
Brochures
Date:
1949-1970
Summary:
Collection consists of dvertising materials relating to Bernard Luchton's development of U.S. Savings Bond Stamps, including scrapbooks, posters, drawings, and photographs.
Scope and Contents:
This collection consists of savings bond stamp campaign materials—posters, pamphlets, and brochures—primarily from the late 1950s to the early 1960s, to promote the purchase of savings bonds. There are also photos and news about publicity events and displays at bond stamp rallies. Many of the savings bond campaign slogans talk about "planning for your future" and "keep freedom in your future." The scrapbooks provide examples of various savings bond stamp campaigns and some include a poster, volunteer canvasser's guide and chairman's guide promoting each campaign. The collection is arranged into three series—Background Information, Scrapbooks, and Miscellaneous.
Arrangement:
Divided into 3 series

Series 1: Background Information, 1949, 1956

Series 2: Scrapbooks,1950s-1960s

Series 3: Miscellaneous, 1950-1970
Biographical / Historical:
Bernard M. Luchton (1924-1970) was an exhibits specialist with the Department of Labor and later joined the Department of Treasury as Art Director for the Treasury's Savings Bond Division. He designed the 1958 25-cent U.S. Savings Stamp (Minute Man).
Provenance:
Collection donated by Rosalie F. Gottlieb, December 27, 2000.
Restrictions:
Collection is open for research and access 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.
Topic:
Savings stamps  Search this
Savings bonds  Search this
advertising -- 1950-2000  Search this
Rallies  Search this
Genre/Form:
Publicity photographs
Photographs -- 1950-2000
Pamphlets -- 1950-2000
Scrapbooks -- 1950-2000
Posters -- 1950-2000
Brochures -- 1950-2000
Citation:
U.S. Savings Bond Stamp Collection, 1949-1970, Archives Center,National Museum of American History.
Identifier:
NMAH.AC.0758
See more items in:
U.S. Savings Bond Stamp Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep831c9aa0d-87ba-46a6-aab0-11387d353df2
EDAN-URL:
ead_collection:sova-nmah-ac-0758

Unidentified Projects

Collection Creator:
Gugler, Eric, 1889-1974  Search this
Container:
Box 11, Folder 10
Type:
Archival materials
Date:
circa 1950-1970
Scope and Contents:
Renderings, models, and photographs. Oversize material housed in Box 23, Folder 5 and OV 42.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Eric Gugler papers
Eric Gugler papers / Series 4: Project Files / 4.3: Buildings, Residential
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9880abc7e-e6b3-4c4f-a209-c4fff8490192
EDAN-URL:
ead_component:sova-aaa-gugleric-ref303

Octagon House, Washington, D.C.

Collection Creator:
Gugler, Eric, 1889-1974  Search this
Container:
Box 18, Folder 6
Type:
Archival materials
Date:
circa 1955-1965
Scope and Contents:
Renderings and photographs. Oversize material housed in OV 31.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Eric Gugler papers
Eric Gugler papers / Series 4: Project Files / 4.6: Preservation
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98424f18a-5de3-492d-bd36-4ad3b303ad56
EDAN-URL:
ead_component:sova-aaa-gugleric-ref489

Photographs of Artwork

Collection Creator:
Gugler, Eric, 1889-1974  Search this
Container:
Box 19, Folder 29
Type:
Archival materials
Date:
circa 1950-1970
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Eric Gugler papers
Eric Gugler papers / Series 8: Artwork
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94172734b-f618-40ab-89ed-afc9b4a26de2
EDAN-URL:
ead_component:sova-aaa-gugleric-ref540

Robert Smithson and Nancy Holt papers

Creator:
Smithson, Robert  Search this
Names:
Dwan Gallery (New York, N.Y.)  Search this
Holt, Nancy, 1938-2014  Search this
Insley, Will, 1929-2011  Search this
Johnson, Ray, 1927-  Search this
Kepes, Gyorgy, 1906-2001  Search this
Lippard, Lucy R.  Search this
Extent:
67.3 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sketches
Scrapbooks
Moving images
Documentary films
Date:
1905-1987
bulk 1952-1987
Summary:
The papers of sculptor, painter, and author Robert Smithson and sculptor, filmmaker, and earthworks artist Nancy Holt measure 18.9 linear feet and date from 1905 to 1987, with the bulk of the material dating from 1952 to 1987. Also included is Smithson's personal library of books, vinyl records, and magazine, measuring 48.4 linear feet. The papers consist of Smithson's biographical material; business and personal correspondence, much of it with artists; interview transcripts; extensive writings and project files; financial records; printed material; a scrapbook of clippings; holiday cards with original prints and sketches; photographic material; and artifacts. Also found are project files related to Nancy Holt's motion picture film Pine Barrens and her seminal environmental work of art Sun Tunnels, including a video documentary about Sun Tunnels.
Scope and Content Note:
The papers of sculptor, painter, and author Robert Smithson and sculptor, filmmaker, and earthworks artist Nancy Holt measure 18.9 linear feet and date from 1905 to 1987, with the bulk of the material dating from 1952 to 1987. Also included is Smithson's personal library of books, vinyl records, and magazine, measuring 48.4 linear feet. The papers consist of Smithson's biographical material; business and personal correspondence, much of it with artists; interview transcripts; extensive writings and project files; financial records; printed material; a scrapbook of clippings; holiday cards with original prints and sketches; photographic material; and artifacts. Also found are project files related to Nancy Holt's film Pine Barrens and her seminal environmental work of art Sun Tunnels, including a video documentary about Sun Tunnels.

Biographical material includes Robert Smithson's curriculum vitae, personal identification and medical documents, eight engagement/day planners Smithson and Holt maintained from 1966 to 1973, and Smithson's funeral register.

Correspondence is primarily with Smithson's family, friends, fellow artists, and business associates discussing personal relationships, proposed art projects, and exhibitions. Correspondents of note include Carl Andre, the Dwan Gallery (Virginia Dwan), Dan Graham, Will Insley, Ray Johnson, Gyorgy Kepes, Sol Lewitt, Lucy Lippard, and Dennis Wheeler. There is also substantial correspondence received by Holt upon Smithson's death in 1973, and between Holt and the Herbert F. Johnson Museum of Art regarding Smithson's retrospective exhibition in 1982.

There are nine interview transcripts with Smithson discussing his works and his general philosophy on art, and one transcript of the Andrew Dickson White Museum's Earth Art Symposium (1969) featuring the following artists: Mike Hiezer, Dennis Oppenheim, Robert Smithson, Neil Jenney, Gunther Uecker, Jan Dibbets, Richard Long, and Hans Haacke.

Writings are substantial and include 73 drafts of published and unpublished essays by Smithson on art, artists, and works in progress. The series also includes poems by Smithson, six notebooks containing notes and sketches by Smithson, and drafts of writings sent to Smithson and Holt by friends and colleagues, including Carl Andre, Terry Atkinson, Dan Flavin, Dan Graham, and Jack Thibeau.

Project files contain correspondence, project instructions, diagrams and sketches, research materials, photographic material, and maps related to over 50 of Smithson's artworks. These include concepts, proposed projects, sculptures, non-sites, and earthwork projects, including Spiral Jetty, Broken Circle, and Spiral Hill.

Personal business records include gallery related loan arrangements and receipts for miscellaneous art supplies. Financial records include tax forms and preparation documents, including cancelled checks, receipts, statements, and related correspondence.

Printed materials include books, clippings, and periodicals related to Smithson, either containing writings or sketches by him, or containing articles reviewing his work. There are also exhibition announcements and catalogs of Smithson's group and solo shows from 1959 to 1985.

The scrapbook contains clippings of Smithson's published articles from 1966 to 1973 with annotated shorthand notes.

Artwork consists of Christmas cards collaged by Smithson, and sketches by Smithson and Leo Valledor.

Photographic materials include prints and negatives of Smithson with friends, promotional Hollywood movie stills, and original prints and copyprints of other artists' artwork.

Artifacts consist of a paper bag silkscreened with a Campbell's soup can (Warhol), promotional buttons (N.E. Thing Co.), various organic materials, and two art kits.

Nancy Holt's papers consist of correspondence, a grant application, printed materials, and project files and audio visual material related to her motion picture film Pine Barrens (1975) and her seminal environmental work of art Sun Tunnels (1975).
Arrangement:
The collection is arranged as 14 series:

Missing Title

Series 1: Biographical Materials, 1905-1974 (Box 1; 14 folders)

Series 2: Correspondence, 1959-1987 (Boxes 1-2, OV 21; 1.7 linear feet)

Series 3: Interview Transcripts, 1966-1973 (Box 2; 11 folders)

Series 4: Writings, 1959-1975 (Boxes 2-3; 1.1 linear feet)

Series 5: Project Files, circa 1950s-1982 (Boxes 4-5, Boxes 17-18, OV 20, OV 22-26, OV 36, RD 28-30, RD 32-35; 6.5 linear feet)

Series 6: Personal Business Records, circa 1967-1970s (Box 5; 4 folders)

Series 7: Financial Records, 1962-1972 (Box 6-7; 0.4 linear feet)

Series 8: Printed Material, 1955-1985 (Boxes 7-11, Box 18, RD 31; 5.6 linear feet)

Series 9: Scrapbook, 1966-1973 (Box 11, Box 16; 0.3 linear feet)

Series 10: Artwork, circa 1950s-1970s (Box 11; 4 folders)

Series 11: Photographs, circa 1950s-1970s (Box 11, Box 18; 5 folders)

Series 12: Artifacts, circa 1950s-1970s (Box 11, Box 14, OV 19; 0.5 linear feet)

Series 13: Nancy Holt Papers, circa 1960s-1980s (Box 12-13, 15, OV 27, FC 37-38; 1.9 linear feet)

Series 14: Robert Smithson Personal Library (Boxes 39-87; 48.4 linear feet)
Biographical Note:
Robert Smithson (1938-1973) was a sculptor, painter, author, and lecturer who was known as a pioneer of land and earthworks art, based primarily in New York City. Nancy Holt (1938-2014) was a land artist, conceptual artist, and filmmaker. Smithson and Holt were married from 1963 until Smithson's death in 1973.

Born in Passaic, New Jersey, Smithson expressed an early interest in art, enrolling in classes at the Brooklyn Museum School and the Art Student's League in New York while still attending high school. Smithson's early works were primarily paintings, drawings, and collages. In 1959, he exhibited his first solo show of paintings at the Artists' Gallery in New York and had his first solo international show in Rome with the Galleria George Lester in 1961.

During the early to mid-1960s, Smithson was perhaps better known as a writer and art critic, writing numerous essays and reviews for Arts Magazine and Artforum. He became affiliated with artists who were identified with the minimalist movement, such as Carl Andre, Donald Judd, Nancy Holt, Sol LeWitt, Robert Morris and others. In 1963, Smithson married sculptor and filmmaker Nancy Holt and a year later started to create his first sculptural works. In 1966, Smithson joined the Dwan Gallery, whose owner Virginia Dwan was an enthusiastic supporter of his work.

Smithson's interest in land art began in the late 1960s while exploring industrial and quarry sites and observing the movement of earth and rocks. This resulted in a series of sculptures called "non-sites" consisting of earth and rocks collected from a specific site and installed in gallery space, often combined with photographs, maps, mirrors, or found materials. In September 1968, Smithson published the essay "A Sedimentation of the Mind: Earth Projects" in Artforum that promoted the work of the first wave of land art artists. Soon thereafter, he began creating his own large scale land art and earthworks.

From 1967 to 1973, Smithson's productivity was constant as he wrote, lectured, and participated in several solo and group shows a year, both at home and abroad. He explored narrative art as essay in "The Monuments of Passaic" and fully committed to his idea of visiting sites and using them as the basis for creating non-sites, Non-Site, Pine Barrens, (1968); incorporated and documented the use of mirrors at sites in Mirror Displacement, Cayuga Salt Mine Project (1968-1969); and created his first site-specific works through liquid pours of mud, asphalt, and concrete, including Asphalt Rundown (1969). In 1969, he also completed his first earth pour at Kent State University with his project Partially Buried Woodshed. Later that year, he created the sculptural artwork for which he is best known, Spiral Jetty (1969) on the Great Salt Lake in Utah. This was the first of his pieces to require the acquisition of land rights and earthmoving equipment, and would be followed two years later by Broken Circle and Spiral Hill in 1971.

On July 20, 1973, while surveying sites in Texas for the proposed Amarillo Ramp, Smithson died in a plane crash at the age of 35. Despite his early death, Smithson's writings and artwork had a major impact on many contemporary artists.

Nancy Holt began her career as a photographer and video artist. Today, Holt is most widely known for her large-scale environmental works, Sun Tunnels and Dark Star Park. Holt has also made a number of films and videos since the late 1960s, including Mono Lake (1968), East Coast, West Coast (1969), and Swamp (1971) in collaboration with her late husband Robert Smithson. Points of View: Clocktower (1974) features conversations between Lucy Lippard and Richard Serra, Liza Bear and Klaus Kertess, Carl Andre and Ruth Kligman and Bruce Brice and Tina Girouard. In 1978, she produced a film about her seminal work Sun Tunnels.
Related Material:
The Archives also holds several collections related to Robert Smithson and Nancy Holt, including an oral history interview with Robert Smithson conducted by Paul Cummings in 1972; an interview with Robert Smithson conducted by Tony Robbin in 1968; Robert Smithson letters to George B. Lester, 1960-1963; an oral history interviews with Nancy Holt conducted by Scott Gutterman in 1992 and Joyce Pomeroy Schwartz in 1993; and the Nancy Holt Estate records, circa 1960-2001.
Provenance:
The papers of Robert Smithson and Nancy Holt were donated by Nancy Holt in several accretions between 1986 and 2011.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art, Smithsonian Institution, holds the intellectual property rights, including copyright, to all materials created by Robert Smithson and Nancy Holt with the exception of the following items: two holiday cards found in box 11, folders 22-23. For these two items, copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
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.
Occupation:
Conceptual artists -- New York (State) -- New York  Search this
Topic:
Earthworks (Art)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Women filmmakers  Search this
Genre/Form:
Interviews
Sketches
Scrapbooks
Moving images
Documentary films
Citation:
Robert Smithson and Nancy Holt papers, 1905-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smitrobe
See more items in:
Robert Smithson and Nancy Holt papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96b7b3eff-59b4-4fed-a5db-394ea8d534bf
EDAN-URL:
ead_collection:sova-aaa-smitrobe
Online Media:

Photographs

Collection Creator:
Bufano, Beniamino, 1898-1970  Search this
Container:
Box 1, Folder 6
Type:
Archival materials
Date:
1950s-1960s
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Beniamino Bufano papers, circa 1910-1972. Archives of American Art, Smithsonian Institution.
See more items in:
Beniamino Bufano papers
Beniamino Bufano papers / Series 1: Personal and Professional Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b2c0b6c1-73d1-4f18-aae0-e70707174398
EDAN-URL:
ead_component:sova-aaa-bufabeni-ref12

Thomas Dale Stewart Papers

Creator:
Stewart, T. D. (Thomas Dale), 1901-1997  Search this
Names:
American Association of Physical Anthropologists  Search this
National Academy of Sciences (U.S.)  Search this
National Geographic Society (U.S.)  Search this
National Museum of Natural History (U.S.). Department of Anthropology  Search this
Angel, J. Lawrence (John Lawrence)  Search this
Collins, Henry B. (Henry Bascom), 1899-1987  Search this
Hrdlička, Aleš, 1869-1943  Search this
McKern, T. W.  Search this
Extent:
65 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Alaska
Shanidar Cave (Iraq)
Virginia
Maryland
Delaware
Mexico
Peru
Guatemala
Chaco Canyon (N.M.) -- Archeology
Date:
1875-1991, bulk 1931-1991
bulk 1927-1991
Summary:
Thomas Dale Stewart was a physical and forensic anthropologist and worked at the Smithsonian National Museum of Natural History from 1931 until his death in 1997. He worked under Ales Hrdlicka until 1943, became the head curator in 1960, director of the museum in 1962, and retired in 1971. Stewart's research interests included physical and forensic anthropology and archaeology, mostly in North and South America. He also worked with the F.B.I. frequently to aid in homicide investigations, and worked extensively with the U.S. Army to identify skeletal remains from the Korean War in Operation Glory. The Thomas Dale Stewart Papers primarily deal with his life and career at the Smithsonian, particularly his research projects and publications between 1931 and 1991. Materials consist mainly of correspondence, photographic material, dossiers based on writings and research projects, and administrative files.
Scope and Contents:
The Thomas Dale Stewart Papers document his research and professional activities from 1931 to 1991 and primarily deal with his anthropological and archaeological research in North and South America. There is also significant material related to ancient human skeletal remains found in Egypt and the Middle East, Stewart's work identifying skeletal remains for the U.S. Army (Operation Glory), and the history of physical and forensic anthropology. Material documenting Stewart's work with Ales Hrdlicka and other colleagues are also represented in this collection. The collection consists of correspondence, writings and research files, project data, skeletal data punch cards, photographic and illustration materials, and administrative and financial papers.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
This collection is arranged in 9 series: Series 1. Biographical and Background, 1937-1983; Series 2. Correspondence, 1931-1990; Series 3. Writings and Research, 1875, 1902-1990; Series 4. Operation Glory, 1954-1957; Series 5. Professional Organizations, 1930-1990; Series 6. Trip Files, 1945-1985; Series 7. Teaching and Lectures, 1950-1970; Series 8. Exhibit Material, 1961-1969; Series 9. Photographs, 1928-1979.
Biographical note:
Thomas Dale Stewart was a curator of physical anthropology at the Smithsonian specializing in anthropometry, early man, and forensic anthropology. He worked in the Department of Anthropology for over seventy years. Born in Delta, Pennsylvania in 1901, Stewart moved to Washington, D.C. to pursue a degree at George Washington University. While attending school, he also began working at the Smithsonian in 1924 as a temporary substitute for John Baer, a family friend from Delta. After Baer died during conducting research in Panama, Stewart was invited to stay on as assistant to Ales Hrdlicka, curator of physical anthropology. Hrdlicka was impressed by Stewart's abilities and quickly took him on as a student. Promised that he would succeed Hrdlicka one day if he obtained an M.D., Stewart enrolled at The Johns Hopkins University and graduated in 1931. After graduating, Stewart was rehired by the Smithsonian as an assistant curator.

Stewart rose through the ranks of the Department of Anthropology quickly, being promoted to associate curator in 1939 and curator in 1943 after the death of his mentor Hrdlicka. Stewart was appointed head curator of the department in 1960 and director of the Natural History Museum in 1962. He continued to work at the Smithsonian well after he retired in 1971, conducting research and producing a stream of publications well into his 90s. He died in 1997 at the age of 96. Many of Stewart's early research interests matched those of his mentor: a focus on dental caries, separate neural arch and spondylolisthesis, ossuary excavation, cranial deformations, and other examinations of archaeological remains throughout North America. While Hrdlicka was alive, Stewart provided support for many of his research projects and publications. After Hrdlicka died, Stewart expanded his interests to include forensic topics and analysis of other archaeological remains.

Anthropometry was prominent in a great deal of his work. He was the first to describe Tepexpan Man from Mexico and Midland Man from Texas. He also studied the remains of Neanderthal specimens that Ralph S. Solecki, of the Bureau of American Ethnology, had uncovered at Shanidar Cave in Iraq. In forensic work, as Hrdlicka's heir, Stewart assumed work for the Federal Bureau of Investigation and other law enforcement officials. Moreover, Stewart devised new methods and published books and articles concerning forensic analysis, including his Essentials of Forensic Anthropology. In closely related work during 1954-1955, the United States Army engaged Stewart to go to Japan to examine skeletal remains repatriated after the Korean War in a project called "Operation Glory."

In terms of his areal specialization, Stewart was essentially an Americanist. In North America, he worked in Alaska with Henry B. Collins in 1927, and in subsequent years he excavated several ossuaries and other sites in the Washington, D.C., vicinity. These included a site on Potomac Creek in Virginia, Piscataway sites in Maryland, and the Townsend site in Delaware. He also carried out laboratory studies and prepared reports on skeletal remains uncovered by Smithsonian colleagues. In the 1940s and 1950s, Stewart conducted field work at archaeological sites in Mexico, Guatemala, and Peru.

He was awarded the Viking Medal in Physical Anthropology in 1953, the Joseph Henry Medal of the Smithsonian Institution in 1967, and an award from the physical anthropology section of the American Academy of Forensic Sciences in 1981.

Sources: Ubelaker, Douglas H. "Thomas Dale Stewart, A Biographer Memoir," National Academy of Sciences, 2006.

Pace, Eric. "T. Dale Stewart Dies at 96; Anthropologist at Smithsonian," The New York Times, 1997.

Chronology

1901 -- Born in Delta, Pennsylvania.

1922-1927 -- Moved to Washington, D.C. and attended George Washington University.

1924 -- Began working at the Smithsonian Institution.

1927 -- Sent by Ales Hrdlicka to Alaska to collect skeletal remains with Henry Collins.

1931 -- Graduated from The Johns Hopkins University with an M.D.

1931 -- Appointed assistant curator at the Smithsonian under Hrdlicka.

1939 -- Promoted to associate curator.

1939 -- Field work in Mexico.

1941 -- Field work in Peru.

1943 -- Taught at the Washington University School of Medicine in St. Louis.

1943 -- Promoted to curator after Hrdlicka dies.

1943 -- Began working on forensic cases for the F.B.I.

1945 -- Field work in Mexico.

1949 -- Field work in Peru.

1947, 1949 -- Field work in Guatemala.

1954-1955 -- Traveled to Japan to assist in the identification of skeletal remains from the Korean War (Operation Glory).

1957-1967 -- Taught at the George Washington University School of Medicine.

1960-1962 -- Served as head curator of the Department of Anthropology.

1962-1965 -- Served as the director of the National Museum of Natural History.

1964 -- Assisted in the production of Smithsonian exhibits on physical anthropology.

1966 -- Retired from administrative duties and appointed senior scientist.

1971 -- Retired from the Smithsonian.

1997 -- Died in Bethesda, Maryland.
Related Materials:
The following manuscripts related to Stewart and his work can be found at the NAA:

NAA MS 1615- Excavations in Mancos Canyon, Colorado September 1943.

NAA MS 4669- The Townsend Site Near Lewes, Delaware 1962 by Henri Omwake.

NAA MS 4843- Report by T. Dale Stewart on Human Skeletal Material Excavated by W.M. Walker at Cedar Grove Cave, Arkansas and Natchitoches, Louisiana.

NAA MS 7025- A Tentative Closing Report on the Willin Site, Eldorado, Maryland September 1, 1952.

NAA MS 7121- "Memories from Half a Century at the Smithsonian January 11, 1978" recording.

NAA MS 7223- The Townsend Site January 1950.

NAA MS 7264- Documents Concerning Preserved Paleolithic Human Remains Found in the Vicinity of Cueva, Spain 1969-1972.

NAA MS 7357- Material Relating to Dermatoglyphics of Mayan Groups ca. 1947-1949.

NAA MS 7358- Personal Identification in Mass Disasters December 9-11 1968.

NAA MS 7359- T. Dale Stewart on the Identification of Human Remains April 6, 1970.

NAA MS 7474- Sketches of Burials at Ossuary 2, Juhle Site ca. 1971-1972.

Additional material T. Dale Stewart created while assisting Ales Hrdlicka is located at the National Anthropological Archives, The Papers of Ales Hrdlicka, ca. 1887-1943.

Many objects and artifact materials collected by T. Dale Stewart throughout his career are also held by the Smithsonian Department of Anthropology. These include skeletal remains and other materials from the Shanidar Cave in Iraq, forensic anthropological material including bone casts from Operation Glory, archaelogical materials from excavations in Maryland and Virginia including the Nanjemoy and Potomac Creek sites, and skeletal remains and other related materials from Stewart's 1927 expedition to Alaska with Henry Collins. Contact Anthropological Collections for more information.
Provenance:
Materials were transferred from T. Dale Stewart to the National Anthropological Archives in multiple accretions between 1975 and 2000 under accessions 1981-52, 1981-59, 1986-04, 1988-15, 1988-33, 1995-04, 1998-61, and 2000-46.The bulk of materials in this collection were transferred to the NAA from the Department of Anthropology in 1994 (1995-04).
Restrictions:
The Thomas Dale Stewart papers are open for research.
Rights:
Contact the repository for terms of use.
Topic:
Physical anthropology  Search this
Operation Glory  Search this
anthropometry  Search this
Physical anthropology -- Eskimo  Search this
Physical anthropology -- American Indian  Search this
Americans  Search this
Aging  Search this
Anthropology -- Exhibits  Search this
Fossil hominids  Search this
Early man -- Neanderthal  Search this
George Washington University  Search this
Forensic anthropology  Search this
Anthropology -- History  Search this
Archaeology  Search this
Physical anthropology -- Early man  Search this
Primates  Search this
Genre/Form:
Photographs
Citation:
Thomas Dale Stewart Papers, National Anthropological Archives, Smithsonian Institution.
Identifier:
NAA.1988-33
See more items in:
Thomas Dale Stewart Papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw39eaa4784-50aa-40db-84d5-481a455cd42c
EDAN-URL:
ead_collection:sova-naa-1988-33

Modjeski and Masters Company Records

Creator:
Modjeski and Masters  Search this
Collector:
National Museum of American History (U.S.). Division of History of Technology  Search this
National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this
Names:
Masters, Frank, 1883-1974  Search this
Modjeski, Ralph, 1861-1940  Search this
Interviewer:
Vogel, Robert M.  Search this
Extent:
60 Cubic feet (140 boxes, 23 map folders)
Type:
Collection descriptions
Archival materials
Oral history
Lantern slides
Photographs
Drawings
Contracts
Letterpress books
Correspondence
Place:
Harrisburg (Penn.)
Pennsylvania
Date:
1870-1979
bulk 1900-1940
Summary:
The records document the work of consulting engineers and bridge builders, Ralph Modjeski (1861-1940) and Frank Masters (1883-1974) of Harrisburg, Pennsylvania.
Scope and Contents:
This collection documents the civil engineering career of Ralph Modjeski (1861-1940) and Frank masters (1883-1974). The materials include bound volumes and loose photographs of bridge work-in-progress; printed reports; articles, pamphlets; drawings, blue prints and tracings of bridges; letterpress books of correspondence; contracts; reports; studies of bridge materials; and glass plate negatives and lantern slides depicting bridges.
Arrangement:
The collection is arranged into ten series.

Series 1: Biographical Materials, 1915-1986

Series 2: Letter Press Books, 1898-1906

Series 3: Photographs, 1878-1979

Series 4: Contracts, 1895-1960

Series 5: Printed Materials, 1862-1969

Series 6: Newspaper Clippings, 1924-1941

Series 7: Lantern Slides, undated

Series 8: Glass Plate Negatives, 1906-1926

Series 9: Film Negatives, 1924, undated

Series 10: Drawings, 1901-1952
Biographical / Historical:
Rudolphe Modrzejewski was born to Helena Jadwiga Opid (d.1909) and Gustav Sinnmayer Modrzejewski (d. 1901) on January 27, 1861, in Cracow, Poland. His mother was an internationally known stage actress who went by the name Helena Modrzejewska. In 1868, Helena married Count Karol Bożenta Chłapowski. In July 1876, Helena and Rudolphe emigrated to America, where, for purposes of American citizenship, the Polish form of their surname was later changed to Modjeski (feminine form Modjeska). Modjeski became a naturalized citizen in 1883 in San Francisco, California.

In 1882, Modjeski returned to Europe to study at the Ecole Des Ponts et Chaussees and graduated in 1885 with a degree in civil engineering. Modjeski worked with prominent civil engineer and "Father of American Bridge Building," George S. Morison, on the Union Pacific Railroad Bridge over the Missouri River at Omaha as an assistant engineer. He remained with Morison from 1885 to 1892. Some of his assignments included working in the shops which produced steel sections; the design office where he advanced to chief draftsman; and as an inspector of quality control in shops that fabricated steel elements. Modjeski worked with Morison on his Willamette, Nebraska City, Sioux City, Winona, Cairo, and Memphis bridges across the Mississippi River. The Memphis bridge was the longest span cantilever in the country at the time.

In 1893, Modjeski opened a civil engineering practice in Chicago with S. Nicholson. After some financial difficulties, Nicholson and Modjeski dissolved their partnership. Modjeski's first individual large commission was the bridge at Rock Island, Illinois (1895) across the Mississippi River where he designed and supervised the construction of the bridge for the federal government and the Chicago, Rock Island and Pacific Railway Company.

In 1902, Modjeski went into partnership with fellow civil engineer, Alfred Noble (1844-1914) forming the firm of Noble and Modjeski. He went into partnership with Walter Angier, under the name Modjeski and Angier, civil and inspecting engineers, between 1912 and 1924 with several offices around the United States. Angiers had worked with him beginning in 1902 on the bridge across the Mississippi at Thebes, Illinois. Modjeski partnered, in 1924, with Frank Masters (1883-1974), who had worked with him and Angiers between 1904 and 1914 on the Memphis and Louisville Bridges, forming Modjeski and Masters. Clement E. Chase and Montgomery B. Case later joined the firm as partners. In 1937, Masters assumed full control and ownership of the firm which specialized in the design and construction supervision of large bridges and other structures, rehabilitation and reconstruction of existing bridges, the design of highways and expressways, subways and wharves, the design of large and complex foundations, inspection of construction materials, and the creation of surveys, investigations and reports.

Modjeski built and/or consulted on over forty bridges in his lifetime. He built truss, steel arch, and suspension bridges. He introduced steel tower pylons in place of masonry towers and he used better grades of steel, such as new steel alloys with improved strength and durability. He also introduced advancements in the design of cable configurations and deck-stiffening beams. Some of his major projects included: the Columbia River and Willamette bridges, McKinley Bridge at St. Louis; the Celilo Railroad Bridge at Celilo, Ohio; the Thebes Bridge over the Mississippi; the Quebec Bridge over the St. Lawrence River; the Delaware River Bridge; the San Francisco-Oakland Bay Bridge, the Manhattan Bridge, and the Mid-Hudson Bridge.

On December 28, 1885, Modjeski married Felicie Benda (d. 1936) in New York and the couple had three children: Felix Bozenta Modjeski (1887); Marylka Stuart Modjeski (1894) and Charles Emmanuel John Modjeski (1896-1944). Ralph and Felicie divorced in 1931. He later married Virginia Giblyn on July 7, 1931. Modjeski died in Los Angles on June 26, 1940.
Related Materials:
Materials in the Archives Center

Bollman Truss Bridge Collection, 1852-1986 (AC1064)

Canadian Bridges Photograph Albums, 1873-1911 (AC1025)

Victor C. Darnell Bridge Construction Photographs, 1911-1913 and undated (AC1018)

Beata Drake Covered Bridge Collection, 1954-1981 (AC0998)

Ben Franklin Bridge Photograph Album, 1922-1926 (AC1029)

Hartford, Connecticut Bridge Collection, 1903-1905 (AC1066)

Lake Shore and Michigan Southern Railroad Bridge Profiles, 1877-1896 (AC1073)

Richard H. Miller Bridge Collection : postcards and slides, circa 1950-1988 and undated, #950

George S. Morison Collection, 1846-1903 (AC0978)

Niagara Falls Bridge Commission Records, 1848-1946 (bulk 1890-1929) (AC1060)

Northern Pacific Railroad Bridge Construction Photograph Album, 1883-1884 (AC1030)

David Plowden North American Bridge Photographs, 1970-1976 (AC1019)

Quebec Bridge Photograph Collection, 1905-1986 (bulk 1905-1916) (AC1026)

Railroad Bridges Construction Photograph Album, circa 1905-1914 (AC1024)

Samuel Reed Bridge Collection, 1947-1964 (AC1001)

Rip Van Winkle Bridge Photographs, 1933-1935 (AC1027)

John A. Roebling Collection,1836-1975 (bulk 1930-1950) (AC0981)

Holton Duncan Robinson Papers, 1889-1938 (AC0963)

Lucinda Rudell Covered Bridges Collection, 1942-1979 (AC1028)

Lester Shanks Collection of Covered Bridge Photographs and Ephemera, 1876-2010 (bulk 1973-2008) (AC1244)

Washington, D.C. Bridges Collection, 1900-1905 (AC01095)

Raymond E. Wilson Covered Bridge Collection, 1958-1974 (AC0999)

Materials at Other Organizations

Southern Illinois University, Morris Library Special Collections

Walter E. Angier photograph collection, 1901-1915

Walter E. Angier Vertical File Manuscript, 1924

Michigan Historical Collections, Bentley Historical Library, University of Michigan

Alfred Noble Papers, 1862-1922
Provenance:
The collection was donated by Modejeski and Masters Consulting Engineers, through Joseph J. Scherrer, October 2, 1990.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Civil engineering  Search this
Bridge failures  Search this
Bridges  Search this
Genre/Form:
Oral history -- 1950-1970
Lantern slides
Photographs -- Black-and-white negatives -- Glass
Drawings
Contracts
Letterpress books
Photographs -- 19th century
Correspondence
Citation:
Modjeski and Masters Company Records, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0976
See more items in:
Modjeski and Masters Company Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep827750b46-05ec-4519-8a2c-dddf6ab57d6e
EDAN-URL:
ead_collection:sova-nmah-ac-0976
Online Media:

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:
Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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
GUID:
https://n2t.net/ark:/65665/ep8920ed035-d211-4a58-9047-b31fa79464bd
EDAN-URL:
ead_collection:sova-nmah-ac-0059
Online Media:

Robert Smithson and Nancy Holt papers, 1905-1987, bulk 1952-1987

Creator:
Smithson, Robert  Search this
Subject:
Insley, Will  Search this
Holt, Nancy  Search this
Lippard, Lucy R.  Search this
Johnson, Ray  Search this
Kepes, Gyorgy  Search this
Dwan Gallery (New York, N.Y.)  Search this
Type:
Interviews
Sketches
Scrapbooks
Moving images
Documentary films
Citation:
Robert Smithson and Nancy Holt papers, 1905-1987, bulk 1952-1987. Archives of American Art, Smithsonian Institution.
Topic:
Earthworks (Art)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Women filmmakers  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7105
(DSI-AAA_SIRISBib)209239
AAA_collcode_smitrobe
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209239
Online Media:

Jean Warren (J. W.) Seele Aircraft Photography Collection

Topic:
Jane's all the world's aircraft
Creator:
Seele, Jean W. (Jean Warren), 1924-1993  Search this
Names:
Aero Commander (Aircraft manufacturer)  Search this
Aeronca (Aeronautical Corp of America)  Search this
Arrow Aircraft & Motors Corp  Search this
Beech Aircraft Corp  Search this
Bell Aircraft Corporation  Search this
Bellanca Aircraft Corporation  Search this
Boeing Company  Search this
Bucker (Bucker Flugzeugbau GmbH)  Search this
Callair (Call Aircraft Co)  Search this
Cessna  Search this
Consolidated Aircraft Corp  Search this
Convair (Consolidated Vultee Aircraft Corp)  Search this
Dassault (Aircraft manufacturer)  Search this
Douglas Aircraft Corp  Search this
Erco (Engineering and Research Corporation)  Search this
Experimental Aircraft Association  Search this
Fairchild Aircraft Corp  Search this
Fleet Aircraft Ltd.  Search this
Ford Motor Company. Airplane Division  Search this
Goodyear Aircraft Corp  Search this
Great Lakes Aircraft Corp  Search this
Grumman Aerospace Corporation  Search this
Hawker Siddeley (Aircraft manufacturer)  Search this
Heinkel (Aircraft manufacturer)  Search this
Jodel (Societe des Avions Jodel)  Search this
Junkers (Junkers Flugzeug Werke AG)  Search this
Lawson Aircraft Corp  Search this
Lawson Airplane Co.  Search this
Lockheed Aircraft Corp  Search this
National Antique Airplane Association  Search this
Pazmany Aircraft Corp (Ladislao Pazmany)  Search this
Piaggio (Industrie Aeronautiche e Meccaniche Rinaldo Piaggio SpA)  Search this
Piper Aircraft Corp.  Search this
Pitcairn (Pitcairn-Cierva)  Search this
Pitts Aviation Enterprises, Inc.  Search this
Porterfield Aircraft Corp  Search this
Republic  Search this
Saab (Svenska Aeroplan Aktiebolaget AB)  Search this
Sikorsky (Aircraft manufacturer)  Search this
Stearman Aircraft Co.  Search this
Stinson (Aircraft manufacturer)  Search this
Swearingen Aircraft  Search this
Vickers (Aircraft manufacturer)  Search this
Vought (Aircraft manufacturer)  Search this
Waco Aircraft Company  Search this
de Havilland Aircraft Company, Ltd.  Search this
Hughes Aircraft Co  Search this
Seele, Jean W. (Jean Warren), 1924-1993  Search this
Extent:
12.11 Cubic feet ((1 shoebox) (7 slide and card cabinets))
Type:
Collection descriptions
Archival materials
Color slides
Color negatives
Black-and-white negatives
Photographs
Date:
[ca. 1950s-1970s]
Scope and Contents:
This collection consists of approximately 6000 color slides and over 2000 negatives/prints (a mixture of color and black and white) of civil and military aircraft taken by Seele, circa 1950s-1970s. The shots were taken in the United States, specifically in the Midwest. Aircraft from the following manufacturers are represented: Aero Commander, Arrow, Aeronca, Beechcraft, Bell, Bellanca, Boeing, Bristol, Bucker, Callair, Cessna, Consolidated, Convair, Curtiss, Dassault, de Havilland, Davis, Dart, Douglas, ERCO, Fairchild, Fleet, Ford, Goodyear, Great Lakes, Grumman, Howard, Hawker Siddeley, Hughes, Heinkel, Jodel, Junkers, Lockheed, Ling-Temco-Vought, Lawson, Parsons, Pitts, Pitcarin, Piper, Pazmany, Piaggo, Porterfield, Republic, SAAB, Sikorsky, Stampe, Stearman, Stinson, Swearingen, Taylor, Vickers, and Waco. In June of 2001 the Smitihsonian's Museum of American History transferred an additional shoebox of Seele photography that had been sent directly to them from the widow. This color images included balloon events as well as aircraft shots. The ballooning images are color prints taken mostly around Topeka, Kansas, while the aircraft images are color transparencies of aircraft taken, again, mostly around Topeka.
Biographical / Historical:
Jean Warren (J. W.) Seele (1924-1993) was born in Topeka, Kansas, and spent almost his entire life there. After his graduation from Topeka High School he was enrolled for about one and a half years at the Spartan School of Aeronautics, Tulsa, Oklahoma. Although he worked for a few years at Bendix Aviation Corp, Kansas City Division during the 1950s, most of his professional career was spent as an engineering technician for the Kansas Department of Transportation. While he was not directly employed in the aviation field, Seele's hobby was photographing aircraft. Over a twenty year period, Seele photographed aircraft and at various times he was the official photographer for the National Antique Airplane Association, and for the annual fly-in sponsored by the Experimental Aircraft Association at Rockford, Illinois. Seele's photographs often appeared in the publications of both organizations, and several of this photographs also appeared in Jane's All the World's Aircraft during the 1970s.
General:
Additional materials: photographs taken by Seele of the Kansas countryside, including many of threshing demonstrations, were transferred to the Archives Center at the National Museum of American History.
Provenance:
Charline Seele, Gift, 2000, 2000-0057, NASM, except for images not taken by Seele.
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
Topic:
Aeronautics, Commercial  Search this
Airplanes  Search this
Aeronautics  Search this
Aeronautics, Commercial -- United States  Search this
Balloons  Search this
Photography  Search this
Genre/Form:
Color slides
Color negatives
Black-and-white negatives
Photographs
Identifier:
NASM.2000.0057
See more items in:
Jean Warren (J. W.) Seele Aircraft Photography Collection
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg238db35a6-d677-42a9-b258-4d94977ef9c8
EDAN-URL:
ead_collection:sova-nasm-2000-0057

Robert F. Heizer papers

Correspondent:
Evans, Clifford, Jr.  Search this
Cook de Leonard, Carmen  Search this
Kubler, George  Search this
Payne, Melvin M.  Search this
Bushnell, Geoffrey  Search this
Carmichael, Leonard, 1898-1973  Search this
Coe, Michael Douglas  Search this
Coe, William R.  Search this
Bernal, Ignacio  Search this
Stirling, Matthew Williams, 1896-1975  Search this
Squier, Robert J.  Search this
Rainey, Froelich G. (Froelich Gladstone), 1907-1992  Search this
Wuchopi, Robert  Search this
Williams, Howel  Search this
Stuckenrath, Robert  Search this
Author:
Contreras, Eduardo  Search this
Healy, P. F.  Search this
Drucker, Philip, 1911-1982  Search this
Clewlow, C. William  Search this
Squier, Robert J.  Search this
Creator:
Heizer, Robert F. (Robert Fleming), 1915-1979  Search this
Photographer:
Stirling, Matthew Williams, 1896-1975  Search this
Extent:
16.75 Linear feet
Culture:
Olmec (archaeological culture)  Search this
Type:
Collection descriptions
Archival materials
Photographic slides
Maps
Letters
Writings
Notebooks
Processed materials
Photographs
Printed materials
Notes
Date:
1943-1978
bulk 1955-1970
Scope and Contents:
Robert F. Heizer was an anthropologist best known for his archeological work in California and Nevada and ethnographic work in California. A University of California Ph.D. (1941), he was on the Berkeley staff from 1946 to 1976, when he gained emeritus status. For many years he headed the Archeological Survey in California.

In 1955, Heizer extended his work into Mexican archeology with an expedition to La Venta with Philip Drucker, of the Bureau of American Ethnology, and Robert J. Squiers. The National Geographic Society, the Smithsonian, and the University of California sponsored the expedition. Its purpose was to follow up with large-scale excavations the preliminary work of Matthew W. Stirling of 1941 and Stirling and Waldo R. Wedel's work of 1943. Controversies concerning chronology took Heizer back to La Venta between 1967 and 1969. His interest in Middle American archeology continued until his death.

In 1957, Heizer began work at a site just west of the great pyramid at Cuicuilco. Involved was an investigation of a group of mounds threatened by lava quarrying. The site proved to be one of long occupation, back to around 2000 B.C. With James A. Bennyhoff, Heizer worked at the site in 1957, 1958, 1959, 1960, and 1962.

Virtually the entire collection of Heizer's papers in the National Anthropological Archives concerns the work at La Venta, the material relating to Cuicuilco representing a small miscellany. There are a few additional materials that concern Heizer's other activities, particularly in Middle America. Included are documents of an administrative nature concerning arrangements, management, and publications. There are also materials that came directly from the field work and studies of museum specimens. Also present are materials that concern controversies over Olmec chronology.

Heizer also collected notes, notebooks, photographs, cartographic material, and manuscripts from some of his colleagues and assistants on the La Venta expeditions. Included among these are materials of C. William Clewlow, Eduardo Contreras, Philip Drucker, and P.F. Healy. There are manuscripts of writings and reprints of publications from some of these and from students of Heizer. The photographic collections, considerable amounts of which are unidentified, include field negatives and prints of LaVenta, many other Olmec sites, and other archeological sites in Mexico and Middle America. There are also photographs collected from other archeologists, including Stirling.

Correspondents include James A. Bennyhoff, Ignacio Bernal, Geoffrey Bushnell, Leonard Carmichael, Michael D. Coe, William R. Coe, Carmen C. de Leonard, Philip Drucker, Clifford Evans, George Kubler, Melvin M. Payne, Froelich G. Rainey, Anna O. Shepard, Robert J. Squier, Matthew W. Stirling, Robert Stuckenrath, Howel Williams, and Robert Wuchopi.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
(1) Correspondence, 1954-1973; (2) notebooks, 1955-1968; (3) subject file, ca. 1954-1970; (4) writings, 1956-1974; (5) printed and processed material, ca. 1950s-1970s; (6) miscellany, 1955-1978; (7) maps and other cartographic material, 1955-1968; (8) drawings, n.d.; (9) photograph albums with negatives, n.d.; (10) photographs arranged by site, 1955-1969; (11) photographs of expeditions, 1955, 1967-1969; (12) miscellaneous photographs, n.d.; (13) slides, 1943-1971; (14) illustrations for Bureau of American Ethnology Bulletin 170, ca. 1957
Biographical Note:
Robert Fleming Heizer was an anthropologist best known for his archeological work in California and Nevada and ethnographic work in California. A University of California PhD (1941), he was on the staff at Berkeley from 1946 to 1976, when he assumed an emeritus status. For many years he headed the Archeological Survey in California. In 1955, Heizer extended his work into Mexican archeology with an expedition to La Venta that was led by him, Philip Drucker, of the Bureau of American Ethnology, and Robert J. Squiers. The expedition was sponsored by the National Geographic Society, the Smithsonian, and the University of California. Its purpose was to follow up with large-scale excavations the preliminary work of Matthew Williams Stirling of 1941 and Stirling and Waldo Rudolph Wedel of 1943.

Controversies concerning the chronology of the site led to Heizer's return to La Venta between 1967 and 1969. His interest in Middle American archeology continued in the meantime and afterward until his death.
Related Materials:
The National Anthropological Archives holds Photo Lot 77-59, Photograph of Robert F. Heizer at Palenque.

Papers relating to other aspects of Heizer's career are at the Bancroft Library of the University of California at Berkeley.
Provenance:
The papers were donated to the National Anthropological Archives by the terms of Dr. Heizer's will and placed in the archives in 1979. An addition to the collection was donated by Thomas R. Hester in 1980.
Restrictions:
The Robert F. Heizer papers are open for research.

Access to the Robert F. Heizer paper requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Archeology -- Olmec -- Mexico -- La Venta -- Middle America  Search this
Genre/Form:
Photographic slides
Maps
Letters
Writings
Notebooks
Processed materials
Photographs
Printed materials
Notes
Citation:
Robert F. Heizer papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.1980-44
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3f1fb9309-b635-4369-9636-4e377456df0b
EDAN-URL:
ead_collection:sova-naa-1980-44

Pablo Picasso - Photographs of Family and Friends

Collection Creator:
Frank Perls Gallery  Search this
Extent:
(2 folders)
Container:
Box 19, Folder 12-13
Type:
Archival materials
Date:
circa 1950-1970
Collection Restrictions:
Use of original papers requires an appointment.
Collection 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.
Collection Citation:
Frank Perls papers and Frank Perls Gallery records, circa 1920-1983, bulk 1949-1975. Archives of American Art, Smithsonian Institution.
See more items in:
Frank Perls papers and Frank Perls Gallery records
Frank Perls papers and Frank Perls Gallery records / Series 4: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92685c7c3-eb20-4656-9d34-0f29206126fd
EDAN-URL:
ead_component:sova-aaa-perlfran-ref544

Galleries and Events

Collection Creator:
Frank Kleinholz, 1901-1987  Search this
Container:
Box 4, Folder 16
Type:
Archival materials
Date:
circa 1950s-1970s
Collection Restrictions:
The collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection 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.
Collection Citation:
Frank Kleinholz papers, 1910s-1980. Archives of American Art, Smithsonian Institution.
See more items in:
Frank Kleinholz papers
Frank Kleinholz papers / Series 6: Photographs
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97dbbfb52-8a4c-4bf6-b102-4daaf9cc631c
EDAN-URL:
ead_component:sova-aaa-kleifran-ref71

Ménélik une Abyssinie des photographes 1868-1916 Hugues Fontaine

Author:
Fontaine, Hugues  Search this
Physical description:
317 pages illustrations (some color), maps, portraits (some color) 28 cm
Type:
Books
Pictorial works
Place:
Ethiopia
Date:
2020
1889-1974
Topic:
Description and travel  Search this
History  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1162738

American Watercolor Society records, 1867-1977, bulk 1950-1970

Creator:
American Watercolor Society  Search this
Subject:
American Watercolor Society  Search this
American Society of Painters in Water Colors  Search this
New York Water Color Club  Search this
Type:
Photographs
Citation:
American Watercolor Society records, 1867-1977, bulk 1950-1970. Archives of American Art, Smithsonian Institution.
Topic:
Watercolor painting -- 19th century -- United States  Search this
Watercolor painting, American  Search this
Watercolor painting -- 20th century -- United States  Search this
Watercolorists  Search this
Theme:
Art organizations  Search this
Record number:
(DSI-AAA_CollID)8636
(DSI-AAA_SIRISBib)210816
AAA_collcode_amerwate
Theme:
Art organizations
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210816
Online Media:

Harold Leeds papers

Creator:
Leeds, Harold E., 1913-2002  Search this
Names:
Pratt Institute -- Faculty  Search this
Barr, Margaret Scolari, 1901-1987  Search this
Bishop, Elizabeth, 1911-1979  Search this
Frankenberg, Lloyd, 1907-1975  Search this
Galentine, Wheaton  Search this
MacIver, Loren, 1909-  Search this
Matisse, Pierre, 1900-1989  Search this
Sweeney, James Johnson, 1900-  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
France -- description and travel
Date:
1940s-circa 2002
Summary:
The papers of architect Harold E. Leeds measure 0.8 linear feet and date from 1940s-circa 2002. The letters found here are primarily from painter Loren MacIver writing from France, during which time Leeds looked after the home belonging to MacIver and her husband, poet Lloyd Frankenberg. While mainly logistical in nature, MacIver does describe aspects of her daily life in France, and her and Frankenberg's friendships with prominent figures including Margaret Barr, Elizabeth Bishop, Pierre Matisse, and James Johnson Sweeney. The photographs in the collection document Leeds' life with partner and documentary filmmaker Wheaton Galentine, and Leeds' work as an architect and interior design professor at Pratt Institute.
Scope and Contents:
The papers of architect Harold E. Leeds measure 0.8 linear feet and date from 1940s-circa 2002. The letters found here are primarily from painter Loren MacIver writing from France, during which time Leeds looked after the home belonging to MacIver and her husband, poet Lloyd Frankenberg. While mainly logistical in nature, MacIver does describe aspects of her daily life in France, and her and Frankenberg's friendships with prominent figures including Margaret Barr, Elizabeth Bishop, Pierre Matisse, and James Johnson Sweeney. The photographs in the collection document Leeds' life with partner and documentary filmmaker Wheaton Galentine, and Leeds' work as an architect and interior design professor at Pratt Institute.
Arrangement:
The collection is arranged as two series

Missing Title

Series 1: Letters, 1950s-1970 (0.3 linear feet; Box 1)

Series 2: Photographic Material, 1940s-circa 2002 (0.5 linear feet; Box 1-3)
Biographical / Historical:
Harold E. Leeds (1913-2002) was an architect and professor of interior design at Pratt Institute in New York City. He designed the Paris Theater, the Caribe Hilton in San Juan, and Martha Graham's dance studio. In 1951, Leeds, along with his partner, documentary filmmaker Wheaton Galentine, purchased a house at 64 Perry Street in the West Village. His neighbors, the painter Loren MacIver and her husband, poet Lloyd Frankenberg lived at 61 Perry Street. During their extended stays in France, Leeds would look after their home.
Provenance:
The papers were donated in 2014 by Harry Leeds' estate via Barry Skovgaard, executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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.
Topic:
Architects -- New York (State) -- New York  Search this
Expatriate artists -- France  Search this
Architecture -- Study and teaching  Search this
Interior decoration  Search this
Filmmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Harold Leeds papers, 1940s-circa 2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.leedharo
See more items in:
Harold Leeds papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw906da5113-dbca-4783-aad1-86b05df6c9af
EDAN-URL:
ead_collection:sova-aaa-leedharo
Online Media:

Harold Leeds at Pratt Institute

Collection Creator:
Leeds, Harold E., 1913-2002  Search this
Container:
Box 2, Folder 1
Type:
Archival materials
Date:
1950s-1970s
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection 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.
Collection Citation:
Harold Leeds papers, 1940s-circa 2002. Archives of American Art, Smithsonian Institution.
See more items in:
Harold Leeds papers
Harold Leeds papers / Series 2: Photographic Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98c8c4704-a53b-4729-8f55-d46fd5dc3211
EDAN-URL:
ead_component:sova-aaa-leedharo-ref29

Harold Leeds papers, 1940s-circa 2002

Creator:
Leeds, Harold, 1913-2002  Search this
Subject:
Barr, Margaret Scolari  Search this
Frankenberg, Lloyd  Search this
Bishop, Elizabeth  Search this
MacIver, Loren  Search this
Galentine, Wheaton  Search this
Sweeney, James Johnson  Search this
Matisse, Pierre  Search this
Pratt Institute  Search this
Type:
Photographs
Place:
France -- description and travel
Citation:
Harold Leeds papers, 1940s-circa 2002. Archives of American Art, Smithsonian Institution.
Topic:
Architects -- New York (State) -- New York  Search this
Expatriate artists -- France  Search this
Architecture -- Study and teaching  Search this
Interior decoration  Search this
Filmmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)16224
(DSI-AAA_SIRISBib)369704
AAA_collcode_leedharo
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_369704
Online Media:

National Cotton Council of America (NCC) Photographs and Film

Creator:
National Cotton Council  Search this
Extent:
28 Cubic feet (48 boxes)
224 Motion picture films
Type:
Collection descriptions
Archival materials
Motion picture films
Photographs
Motion pictures (visual works)
Slides (photographs)
Date:
circa 1945-1999, undated
Summary:
The collection consists primaily of photographs and films created by the National Cotton Council of America (NCC) to document cotton production and use and to support the advocacy and educational work of the organization.
Scope and Contents:
Collection consists of photographs, slides, and 16mm films created by the National Cotton Council of America (NCC) to document cotton production and use and to support the educational and advocacy work of the organization. It is arranged into four series.

Series one contains black and white photographic prints dating primarily from the 1950s-1970s. The photographs document every aspect of cotton farming, from before the seed is planted to the production of finished cloth. Most of these prints illustrate agricultural practices, including land preparation, planting, bedding, plowing, harrowing, drainage, cultivation, stripping, and harvesting. Another group documents pests and infestations – boll weevils, fleas, mites, pink bollworm, hoppers - and the methods of countering them with insecticide and herbicide applications. Other photographs illustrate more general topics, including the history of cotton, research programs, trading, foreign cotton farming, printing, spinning, and weaving. There are also photographs of agricultural equipment manufactured by International Harvester. In addition, a small group of photographs consist of images from movies produced by the National Cotton Council of America (NCC). The photographs were maintained in the order that was created by the National Cotton Council of America (NCC).

Series two include slides and color photographs which date from the 1980s-early 2000s. These materials document many of the same topics as the black and white photographic prints during a later time. Many of the slides were created and assembled for use in presentations. In addition, there are slides of individuals and activities from the National Cotton Council of America (NCC) board meetings and conferences.

Series three consists of publications and reference materials.

Series four contains two hundred and fourteen films that were created by the National Cotton Council of America (NCC) and date from the 1960s-1980s. Films primarily document cotton farming and its versatility and use in consumer goods. A consistent theme and message are to promote cotton to the fashion industry and for home use.
Arrangement:
The collection is arranged into four series.

Series 1, Black and White Photographic Prints, 1945-1970s, undated

Subseries 1.1, Cultivation and Production of Cotton, 1950s-1970s

Subseries 1.2, Film Stills, 1956-1971, undated

Subseries 1.3, Subjects and Events, 1945-1965

Series 2, Slides, 1979-1999, undated

Series 3, Publications, 1954-1981

Series 4, Films, 1953-1996, undated
Biographical / Historical:
The National Cotton Council of America (NCC) is the official trade association of the cotton industry. The NCC was founded in 1939 to promote the interests of cotton farmers, ginners, brokers, and manufacturers from the Southern, cotton-growing states. Its mission evolved over the years as new uses for cotton and its byproducts were found; as synthetic fibers were developed; as fashion tastes changed; as government regulation increased; and as foreign competition in farming and manufacturing grew. The National Cotton Council's website states that its current mission is "to ensure the ability of all United States cotton industry segments to compete effectively and profitably in the raw cotton, oilseed and United States-manufactured product markets at home and abroad." Throughout its existence, the NCC has been the contact point for industry issues affecting its members, legislators in Congress, allied agribusinesses, and consumers.

The National Cotton Council of America (NCC) initially gave this collection to the Cotton Museum at the Memphis Cotton Exchange early in 2008, during the move of the Memphis-based NCC's corporate offices into a much smaller facility. Calvin Turley, president of the Board of the Cotton Museum, accepted the materials with the understanding that he could do with them as he wished. Ultimately, he decided that the collection was outside the scope of the Cotton Museum's mission. Turley offered the collection to the National Museum of American History in the belief that this was "the best possible place in the whole world for it."
Related Materials:
Materials in the Archives Center

Maid of Cotton Records (NMAH.AC.1176)

Warshaw Collection of Business Americana (NMAH.AC.0060)

Peter Paul Haring Papers (NMAH.AC.1014)

Sally Fox Innovative Lives Presentation (NMAH.AC.0646)

William Mason Papers (NMAH.AC.0045)

Anne E. Peterson Stereograph Collection (NMAH.AC.0402)

Southern Agriculture Oral History Project Records (NMAH.AC.0773)

Uriah A. Boyden Papers (NMAH.AC.0982)
Provenance:
Donated to the Archives Center in 2009 by the Cotton Museum.
Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives.
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:
Cotton textile industry  Search this
Cotton industry  Search this
Cotton growing  Search this
Cotton picking  Search this
Cotton manufacture  Search this
Trade associations  Search this
Textile industry  Search this
Cotton  Search this
Cotton farming  Search this
Genre/Form:
Photographs -- 1950-2000
Motion pictures (visual works)
Slides (photographs) -- 1950-2000
Citation:
National Cotton Council of America Photographs and Film, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1177
See more items in:
National Cotton Council of America (NCC) Photographs and Film
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep842ca420b-ff48-45ca-8699-a5af5759a074
EDAN-URL:
ead_collection:sova-nmah-ac-1177

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