The collection documents through correspondence, marketing materials, patent materials, photographs, and newspaper clippings, the development of T-Net, a sport that combines electronic game technology with a diamond-shaped court the length of a tennis court and "invisible" nets created by inventor Michael Fanning.
Scope and Contents:
The collection documents through correspondence, marketing materials, patent materials, photographs, and newspaper clippings the development of T-Net, a sport that combines electronic game technology with a diamond-shaped court the length of a tennis court and "invisible" nets created by inventor Michael Fanning.
Series 1, Correspondence, 1993-1996, consists of incoming and outgoing letters. Fanning, the inventor of T-Net, corresponds with corporations and investment companies, such as Reebok, Blockbuster Entertainment, Family Dollar and Turner Sports, Inc. to solicit interest and/or financial backing in his product.
Series 2, Financial Materials, 1989-2003, consists of correspondence, invoices, purchase orders, Internal Revenue Service papers, and documentation for incorporating a business.
Series 3, Manufacturing Materials, 1993, consists of handwritten notes and sketches about materials used and lists of potential companies to consult for fabricating the product.
Series 4, Marketing Materials, 1995 and undated, consists of sketches and documentation describing the T-Net system for potential customers.
Series 5, Patent Materials, 1983-2003, consists primarily of correspondence with patent attorneys (Shefte, Pinckney & Sawyer of Charlotte, North Carolina) to patent the T-Net system. Also included are patent-related expenses incurred by Fanning and patents issued to other inventors that are similar to the T-Net system.
Series 6, Photographs, 1980-1990s, consists of color prints showing the T-Net system in use and laid out on a field.
Series 7, Newspaper Clippings, 1993, consists of one folder of photocopied newspaper clippings related to T-Net.
Arrangement:
The collection is arranged into seven series.
Series 1, Correspondence, 1993-1996
Series 2, Financial Materials, 1989-2003
Series 3, Manufacturing Materials, 1993
Series 4, Marketing Materials, 1995 and undated
Series 5, Patent Materials, 1983-2003
Series 6, Photographs, circa 1980s-990s and undated
Series 7, Newspaper Clippings, 1993
Biographical / Historical:
T-Net (standing for transparent net) was invented by Michael Fanning. Fanning's idea for the game came from hitting a tennis ball over a telephone wire. In 1993, Fanning was issued US Patent 5,259,625 for an apparatus and method for playing a court game. Fanning's company, Tnnnnt (www.tnnnt.net), manufactures and promotes the game.
The T-Net court/field is divided in two equal halves with three scoring zones on each side. Games can include up to three players per team or be played one-on-one. The objective is to land the flyer in one of your opponent's three scoring zones, and to catch the flyer to prevent the opponent from scoring. Players move freely on their side of the court but cannot cross the center line. Pole- mounted transmitting devices on each side send light beams across the court creating an electronic net (an electronic sensing beam) for each of the three scoring zones. Players must throw a light-reflective projectile (called a "flyer") through the light field and into one of the scoring zones to get a point. When the projectile passes through the beam, a beep is emitted. If the projectile lands on the ground the pole-mounted device flashes a red light and beeps to confirm a score. Players get one point for activating the middle zone, two points for the back zone and three points for setting off both zones. The first team to achieve twenty-one points wins the game. There are six games per set, three sets per match. The game can be played on a variety of surfaces--pavement, turf, composite, snow, carpet, glass, grass, sand, hardwood or over a swimming pool, and it can be played at night in low light conditions.
Related Materials:
Materials at the National Museum of American History
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds related artifacts. See accession 2011.0234.
Provenance:
The collection was donated by Michael Fanning on October 24, 2011.
Restrictions:
The collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Massachusetts entrepreneur Michael Zane purchased a bicycle lock design and its trade name, 'Kryptonite lock," in 1972. Working with members of his family, Zane developed the Kryptonite Corporation. The records consist of audio-visual materials, correspondence, design drawings, photographs, testing records, patent information, sales reports, product information, advertisements, clippings, periodicals, legal documents, and research files.
Scope and Contents:
The Kryptonite Lock Company Records, 1972-2001 document a wide spectrum of activities engaged in by the company. The records consists of audio-visual materials, correspondence, design drawings, photographs, testing records, patent information, sales reports, product information, advertisements, clippings, periodicals, legal documents, and research files. The strength of the collection resides in the marketing and sales documents. They tell a remarkable story of a small family business which created an internationally recognized brand name product. The collection also richly documents competition and innovation in the bicycle and motorcycle lock industry, through sales representative trip reports, product research and development records, and the research files on other companies. Although the collection provides a wide spectrum of documents from most aspects of the company's activities, some portions of the record are sparse and incomplete.
Series 1: History, 1973-1974, 2001, 2003, contains a company history and chronology as well as the field notes and photographs documenting the acquisition of the collection. There are two oral history interviews with Michael Zane conducted by NMAH archivist John Fleckner. The 2001 interview is an overview of the Kryptonite history; the 2003 interview focuses on Zane's description and history of the artifacts collected by the museum. There is a seven-page transcription of the 2001 interview. In addition, this series includes materials related to two companies associated with the early history of the Kryptonite Corporation, Zane Manufacturing Company (the sheet metal company owned by Michael Zane's father) and Ernest Zane and Liberty Distribution (a short-lived bicycle accessory distribution company) created by the Zane brothers to supplement and encourage the sale of their locks.
Series 2: Correspondence, 1983-2000, arranged by topic, documents some of the company's key areas of interest. The topics include customers, design ideas, media, suppliers and distributors, and sponsorships. Most of the correspondence focuses on complaints about or suggested improvements for the locks.
Series 3: Product Research and Development, 1987-2000, is arranged into three subseries, Subseries 1: Development, 1987-2000; Subseries 2: Research, 1985-1999
Subseries 1: Development, 1987-2000, is arranged by project and documents the design process of various security devices. It contains design drawings and design revisions.
Subseries 2: Research, 1985-1999, includes research on various lock patents. It also contains testing data for various locks produced by Kryptonite and outside testing companies.
Series 4: Administrative and Financial Papers, 1972-2000, includes various memos, meeting notes and agendas that thoroughly document the later part of the company's history. There is sporadic documentation of human resources activities of the company in this series. The series also includes various financial records. Sales representative trip reports are included as well. These reports are narrative accounts written by Kryptonite sales representatives to detail the state of product placement and the competition in retail stores throughout the country.
Series 5: Marketing, Advertising, and Publicity, 1972-2001, consists of five subseries,
Subseries 1: Marketing materials, 1985-2000; Subseries 2: Advertising materials, 1989, undated; Subseries 3: Publicity materials, 1973-2001; Subseries 4: Crime-related materials, 1982-1996; and Subseries 5: Liz Zane files, 1990-1998 and is the most comprehensive series in the collection. It documents the marketing, advertising, and publicity efforts of the company.
Subseries 1: Marketing materials, 1985-2000, includes marketing materials, such as product sheets describing each of the company's products, and promotional materials, such as posters, bumper stickers, and postcards. Market research undertaken by the company is also included.
Subseries 2: Advertising materials, 1989, undated, contains various advertisements dating from the earliest lock designs to the merger with Ingersoll-Rand. Of particular note is a retrospective advertising notebook illustrating the numerous advertising campaigns undertaken by the company from its creation in 1972 to 1989.
Subseries 3: Publicity materials, 1973-2001, documents the multi-faceted publicity efforts of the company. Included are company newsletters, press clippings, reprint notebooks, various printed materials, press kits, and press releases.
Subseries 4: Crime-related materials, 1982-1996, consists of materials that document theft prevention activities. Included are claim reports that Kryptonite used to develop new designs and to generate an annual list of the top twenty cities for bicycle theft. Also included is the report on bicycle theft undertaken by the company in response to a sharp increase in the number of claims filed in New York City in 1988; ultimately this report resulted in the repeal of the lock guaranty in that city.
Subseries 5: Liz Zane files, 1990-1998, contains materials documenting Liz Zane, wife of Michael Zane, founder of the Kryptonite Corporation. She served as the Communications Manager for the company in the 1990s. Included in this series are press kits, her correspondence with law enforcement officers, and various research files related to publicity activities.
Series 6: Other Companies, 1985, 1991, 2001, undated, includes the Kryptonite Corporation's files documenting its patent infringement suit against Ming Tay, a Taiwanese competitor. Also included is information about the company's relationship with Trek and the company's merger with Ingersoll-Rand. In addition, the research files contain catalogs and advertisements of the company's competition.
Series 7: Visual Materials, 1988, 1996, 1997, undated, consists of black and white and color prints, slides, contact sheets, negatives and two 1⁄2" VHS tapes. The prints, slides, contact sheets and negatives document Michael and Peter Zane, the factory, a motorcycle lock, and promotional prints featuring the lock in advertising and being used. The 1⁄2" VHS tapes include a New York City Channel 4 News piece about bike theft (April 1988) and an Inside Edition, (October 1996) and Dateline (October 1997) programs on the Kryptonite Corporation.
Arrangement:
This collection is organized into seven series.
Series 1: History, 1973-1974, 2001, 2003
Subseries 1.1: Chronology and company history, undated
Series 6: Other Companies, 1985, 1991, 2001, undated
Subseries 6.1: Ming Tay lawsuit, 1985
Subseries 6.2: Relationships with other companies, 1991, 2001
Subseries 6.3: Competition research files, undated
Series 7: Visual Materials, 1988, 1996, 1997, undated
Subseries 7.1: Photographs, undated
Subseries 7.2: Video cassettes, 1988, 1997
Biographical / Historical:
In 1971, Michael Zane read a newspaper article that sparked his imagination. He discovered that bicycle mechanic, Stanley Kaplan had designed and built a new bicycle lock, which he named the Kryptonite lock. Zane and Kaplan quickly became partners. Aided by the metal manufacturing experience of Ernest Zane, Michael's father, the partners began to produce and market the locks amid a rapidly growing bicycle industry. In this first year, the company sold approximately 50 locks.
In 1972, Zane bought the lock idea and the company name from Kaplan, and founded the Kryptonite Corporation with $1,500 from his personal savings. Using his father's sheet metal business, Zane Manufacturing Company, as a subcontractor for the metal work, Michael Zane's Kryptonite Corp. began manufacturing a slimmer, stronger lock made of stainless steel versus the original hardened steel version. Concentrating in the Boston area where the company was based, Zane started selling the lock to local bike shops. Realizing the need to expand his market and having no money for national advertising, Zane decided to undertake an experiment. He locked a bicycle to a parking meter with a Kryptonite lock on the Lower East Side in New York City for a month. By the time he retrieved the bike, it was completely stripped except for the part attached to the lock. The press was alerted to the experiment, and the resulting publicity helped move Kryptonite locks into New York City bicycle shops, as well as those in Philadelphia and Washington, D.C.
Michael's brother, Peter, joined the company in 1974. Peter concentrated on exporting and legal matters, while Michael handled marketing, design, research, and manufacturing. In this same year, to supplement and encourage their lock sales, the brothers started Liberty Distribution, a bicycle accessory distribution company. It was also at this time that Kryptonite began guaranteeing its locks—if your bike was stolen while secured with a Kryptonite lock, the company would send you up to $500. The guarantee quickly became a selling point.
The next year the company received another free publicity boost; Consumer Reports awarded the Kryptonite's U-lock its highest bicycle security device rating. Distribution expanded to Chicago and Los Angeles, and the company sold approximately 25,000 locks.
In 1977, Kryptonite introduced the K-4 lock. Michael Zane refined the company's basic U-shaped lock by creating a bent foot on one end making the lock easier to use and simplifying the design. This design gained the Kryptonite K-4 U-lock a place in New York's The Museum of Modern Art permanent design collection in 1983 and won both Japan's Good Design Prize and Germany's Museum of Utilitarian Art Award in 1988.
In 1978, Kryptonite expanded into the motorcycle lock market and began exporting its product into European markets. In the late 1980s, just as Kryptonite began to offer a newly designed mountain bike lock, anti-theft guarantee claims began to increase dramatically in Manhattan. This increase in theft forced Kryptonite to stop offering the guarantee in Manhattan and spurred the Zane's to redesign their locks. During this same time, Kryptonite was under constant competition from various domestic and foreign competitors. Many of these competitors adapted Kryptonite's U-lock design. Some so closely mimicked the Kryptonite design that the company took legal action.
In 1992, in response to an increase in thefts and ongoing competition, Kryptonite introduced its Evolution series of locks. This new design placed the locking mechanism in the middle of the crossbar of the lock, rather than at the end, making it less susceptible to breakage.
The next year Kryptonite entered the automobile security market. In its first year on the market, the Kryptonite Steering Wheel Lock was named one of Motor Trend magazine's top ten innovative car care products for 1993. Kryptonite's entrance into automobile security generated interest from Winner International Corporation, the maker's of The Club automotive lock, resulting in a number of court battles.
Kryptonite introduced the New York Lock in 1994. This newly designed lock allowed Kryptonite to reestablish an anti-theft guarantee for $1,000 in Manhattan. The company recreated its earlier publicity event by successfully locking bicycles throughout New York City to prove the efficacy of its locks. Kryptonite also issued a top ten list of cities with the most bicycle thefts (based on its claim reports) and expanded its involvement in theft prevention activities.
In 1995, Gary Furst became CEO of the rapidly growing company. In the following year, Kryptonite celebrated its twenty-fifth anniversary and developed a program called Flex Security, focusing on innovative locking systems for homeowners and contractors. In addition, Kryptonite entered the computer security market by creating locks for desktops and laptops.
With its expansion into new markets and rising sales, larger companies became increasingly interested in Kryptonite. In 2001, Ingersoll-Rand, a leading industrial firm, bought Kryptonite.
Related Materials:
Materials held at the National Museum of American History
The Division of Work and Industry holds related artifacts. See accession 2003.0234.
2003.0234.01a, b, c Earliest Kaplan design lock, metal bar, U shape with padlock; ca. 1971; 22cm x 15.8cm x 4 cm
2003.0234.02a, b Second generation design, stainless steel bar with combination lock; ca. 1972; 24cm x 17cm x 4cm
2003.0234.02c Crossbar plate marked "SK Associates"; 14.5cm x 3.75cm x .25cm
2003.0234.02d "Sesamee" brand combination lock for use with .02a; 8.5cm x 5cm x 2.4cm
2003.0234.03a, b, c, d Kryptonite-2, improved version of lock with changed lock cover; 24cm x 18cm x 4cm
2003.0234.04a, b, c Kryptonite-2, lock with attached padlock; 21cm x 17cm x 4 cm
2003.0234.04d Cross bar samples tested with bolt cutters; 14cm x 3.8cm & 10cm x 4cm
2003.0234.04e "Dynalock" brand, key operated padlock; 7cm x 4.5cm
2003.0234.05a, b, c Competitor style lock, "Citadel" brand, ca. 1973; 26cm x 17.8 cm
2003.0234.06a,b Kryptonite-3 (K-3) integrated lock eliminated need for padlock; 18cm x 25cm x 4cm
2003.0234.06c, d Sample of integral lock and cover used on K-3 lock; 7cm x 4cm x 8cm
2003.0234.06e Bracket for attaching to bike to carry K-3 lock; 10cm x 3.2cm x 1.5cm
2003.0234.07a, b, c Kryptonite-4 (K-4) made of rod rather than flat steel; 27cm x 19.6cm
2003.0234.08a, b, c Motorcycle version of K-4 lock; 41.3cm x 22.3cm
2003.0234.09 Vinyl lock cover branded "Secur-a-Glide by Harley Davidson"; 28.5cm x 2.5cm d.
2003.0234.10a, b, c Die stamp for lock cam, example of cost saving part; small metal parts
2003.0234.11a Steel lock carrying bracket for attachment to bike, in retail package; 9.5cm x 7cm x 4cm
2003.0234.11b Plastic lock carrying bracket for attachment to bike, retail package; 8.5cm x 4.5cm x 4cm
2003.0234.11c Punched, flat steel plate to be formed into item .11a, bracket; 21cm x 7cm
2003.0234.12a, b, c "Velo Racer" lock; 18cm x 13.4cm
2003.0234.13a, b, c "Evolite" lock with cut-away to show lock mechanism; 25cm x 16cm
2003.0234.13d Sample of lock mechanism opening from side rather than end of cross arm; 7.5cm x 2cm d.
2003.0234.14a, b, c, d K-4 lock and bike bracket in retail package targeted to Mountain Bikers; 27.5cm x 19.7cm
2003.023415a, b, c Heavy weight lock branded "New York Lock"; 32.5cm x 16.5cm
2003.0234.16a, b, c Uncoated metal prototype of "New York Lock"; 27.5cm x 16.3cm
2003.0234.17a, b, c "New York Lock" in retail packaging; 25.5cm x 14cm
2003.0234.18a, b, c Heavy weight chain and Kryptonite EV Disc lock for motorcycle; chain 97cm x 3.7cm x 6cm; lock 9cm x 9.8cm
2003.0234.19a, b, c "Evolution 2000" lock with prototype titanium U bracket; 27.2cm x 16cm
2003.0234.19d Titanium U rod of lock tested to destruction; 60.7cm x 1.3cm d.
2003.0234.20a, b, c, d Computer parts manufactured by Zane family before manufacturing bike locks, 4 small, metal items
Provenance:
This collection was donated to the National Museum of American History by Michael Stuart Zane III and Elizabeth Zane on June 3, 2003.
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:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection documents the life and career of ice skater Dick Price, with emphasis on the 1940s and 1950s, when he was in the prime of his career performing ice shows throughout Europe. Included are photograph albums, letters, most sent from Europe by Price to his parents describing performances and his travel adventures; programs from various ice shows; personal financial records; school report cards, and work-related permits, contracts, and insurance.
Scope and Contents:
The collection documents the life and career of ice skater Dick Price, with emphasis on the 1940s and 1950s, when he was in the prime of his career and performing ice shows throughout Europe. Included are several photograph albums featuring portraits and action shots of Price and other skaters, some autographed, highlights of his travels, his friends and family. Also included is a scrapbook containing clippings and other printed materials; letters most sent from Europe by Price to his parents describing performances and his travel adventures; printed materials, especially programs from the various ice shows; personal financial records; school report cards, and work-related permits, contracts and insurance.
Series 1, Personal Materials, 1936-1999, consists of school report cards, personal financial materials (blank checks and passbook), work-related permits, contracts, membership cards and insurance, ephemera, newspaper clippings, publications, and correspondence. The correspondence constitutes the bulk of the material and consists of handwritten and typescript letters, with some postcards, telegrams, and radio grams, written by Richard "Dick" Price to his parents, Alfred and Mary Price of New York City. Some materials are written by Mary Price and Virginia and Bob Price, sister-in-law and brother to Dick Price. Other materials in this series are addressed to Peter Haener, a friend, particularly Christmas cards from the 1990s. Price describes his ice skating performances, friendships (especially with a woman named Kim), and travels throughout Europe. Additional materials include hotel and air cargo invoices. A series of Trans World Airlines certificates issued to Mary Price, Dick Price's mother, document her travels across the Atlantic Ocean from 1953-1956. The Hawaii materials (maps, postcards, and menus) relate to a trip Price took in July 1948. Price is listed as a passenger on the S.S. Lurline.
Series 2, Programs, 1945-2002, consists of color programs and brochures for ice skating shows Price appeared in or attended. Some of the programs are autographed. Price appears on the cover of Garmisch This Week, 1955, a publication of the United States Army Leave and Rest Center. There are several programs for Holiday in Garmisch/Ice Revue for the Casa Carioca, a night club built by General George S. Patton. The club was located at the U.S. Army base in Garmisch-Partenkirchen, Germany, and operated from 1945-1970. The club was an important venue for professional ice skaters. The programs are arranged alphabetically by the name of the ice skating show and then chronologically. Other programs include musical and theatrical productions that Price organized and/or produced in Austria. All of these programs are in German.
Series 3, Photographs and Scrapbook, 1940s-1990s, consists of black-and-white and color prints both in albums and loose. The majority of the photographs are black-and-white. They document Price's professional ice skating career primarily in Europe and depict both images of Price and other skaters performing. Leisure time sight-seeing and touring throughout Europe is well-documented. Many of the photographs are unidentified. The photographs are arranged chronologically. There is one scrapbook, 1948-1953, which consists of postcards, ice skating programs, newspaper and magazine articles, telegrams, Christmas cards, and hotel ephemera documenting Price's ice skating career primarily in the United States.
Arrangement:
The collection is arranged into three series.
Series 1, Personal Materials, 1936-1999
Series 2, Programs, 1945-2002
Series 3, Photographs and Scrapbooks, circa 1940s-1990s
Biographical / Historical:
Richard "Dick" S. Price was born on March 27, 1928 to Mary Schweitzer Price and Alfred Price. He had one brother, Robert Ira Price. He was raised in the New York City area and attended local schools (Columbia Grammar, Junior High School 165, Pratt Institute, and Parsons School of Design) as well as a brief period at the Admiral Farragut Academy, a boarding school in New Jersey. Price took skating lessons at Lake Placid, New York, circa 1934 and dance lessons in New York City as a young boy. According to Price's "memoirs" he was hired as a replacement skater for the Hollywood Ice Revue (regular skaters went on strike) and he convinced his father to sign the contract since he was underage. Price enlisted in the United States Coast Guard on March 19, 1946. He was a Seaman second class and served on the Cutter Pequot. Price was dishonorably discharged on October 17, 1946.
Price's first skating performances were with Sonja Henie's ice show company in 1947. He later performed with other companies such as Holiday on Ice and Ice Vogues. His ice skating career took off and by 1948, he was known as the "Bombshell of the Ice." Later in life he produced Las Vegas-style nightclub shows, and he translated and presented many significant Broadway musicals in the German theatre. Price died on June 5, 2005, in a senior care facility in Mondsee, Austria.
Provenance:
The collection was donated by Andrea Stevens on June 17, 2010.
Restrictions:
The collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The rights to the published programs remain with the publishers.
Correspondence, administrative records, operational records, company newsletters, news clippings, photographs, photograph albums, and audio-visual materials.
Scope and Contents:
Series 1: History of Krisy Kreme, includes records and materials which document the history of Krispy Kreme Doughnut Company and Corporation. Included are stories about the company and its founder, Vernon Rudolph ("A Man and an Enterprise" is in booklet form while "Brief Outline of the History of Krispy Kreme" is 115 pages) and also a story about the employees and facilities of the Corporation; a report that includes the organization's history and brief biographies of the management team; and overall operating reports from 1948 and 1950. There is also information pertaining to Krispy Kreme's association with Beatrice Foods Company as well as a biography of William Lewis Rudolph, brother of Vernon. This series also contains a draft (from 1952) of a report to the Government Purchasing Agencies about Krispy Kreme's mix plant operations, comprising a detailed list of equipment, cost controls, and a chronology of Krispy Kreme store openings. These are located in a folder marked "Historical Data." There is also a folder entitled "Vernon Rudolph" which contains a photocopy of two photographs -- one is of the front of a house while the other is of a family -- and a funeral tribute, dated 1973, to Vernon Rudolph.
Series 2: Administrative Records, contains those records which deal with the overall operation of the Krispy Kreme Doughnut Company and Corporation. This series is arranged into the following subseries:
Subseries 2.1: Correspondence, contains copies of letters to and from Vernon Rudolph and vendors, banks, Krispy Kreme stores and office personnel, local organizations, government agencies. The dates range from the 1930s through 1972. There is one original letter and its accompanying envelope from 1939.
Subseries 2.2: Executive Records, contains the articles of incorporation, bylaws, minutes, and resolutions of the Board of Directors. The dates range from 1946-1977. This subseries also includes an organizational chart from the mid-1970s as well as an article of incorporation for Frozen Products, Inc., a subsidiary of the Krispy Kreme Doughnut Corporation. There is also an Incorporation Plan from 1946 that includes a plan of organization, bills of sale, and a balance sheet. The folder marked "Miscellaneous," contains minutes from the first meeting of the incorporators in 1946 and a short note from 1952 concerning floor space at the Ivy Street plant.
Subseries 2.3: Financial Records, ca. 1940-1996, includes annual and audit reports, gross sales statements for the company and the corporation as well as for doughnut mix. This subseries also contains balance sheets, a general accounting ledger, and operating reports. In the folder "Canceled Checks," there are signed checks by Vernon Rudolph as well as a handwritten listing of expenses that is titled "Personal Bank Records." There is also a prospectus dated from 1975 which is one year before the merger with Beatrice.
Subseries 2.4: Legal Records, 1947-1982, deals mostly with trademark issues. It contains the correspondence and registration applications pertaining to trademark laws. Also included are the actual trademark registrations from all 50 states (since expired) as well as a list of expiration dates for the registrations. This subseries also contains correspondence between Krispy Kreme and Prudential Insurance Company concerning loans. There is also a folder "Miscellaneous Agreements and Contracts" that contains a lease agreement from 1957 and an accident claims agreement from 1955.
Subseries 2.5: Personnel Records, dates range from the 1950s-1985. It includes information concerning employee benefits and manuals on selling doughnuts and running doughnut machines. Female employees are provided with guidelines in both a booklet, ca. 1963, titled "Salesgirl," and a plaque from the early 1960s that instructs them on appearance, retail manner, and attitude. Also contained in this subseries are award certificates given for years of service and a photograph of service award pins, jewelry, watches, and a clock. Other certificates were those for Associates and store operators certifying that they are fully capable and properly trained to operate a Krispy Kreme store. In the "Miscellaneous" folder, there are memorandums to employees, want-ad clippings, and a thank you card from the Corporation to its employees for 50 years of success.
Subseries 2.6: Professional Associations, contains a certificate of membership into the US Chamber of Commerce, 1955.
Subseries 2.7: Stock Records, deals with the purchase and sale of stocks from 1947-1975. There are copies of two agreements -- one regarding Krispy Kreme selling an employee stocks and the other concerning Krispy Kreme buying stocks in the Pinebrook Real Estate and Development Corporation. The folder "Stockholders," contains a 1950 end of year letter to stockholders and a brief report on a court case entitled "How Not to Sell Company Stock to Key Employees" from a 1949 newsletter, "Estate and Tax Letter." There is a stockholders ledger dated 1947-1975 which also has a list of stockholders attached to one page.
Subseries 2.8: Testimonial Letters, are from customers and date from 1994-1997. In some cases, Krispy Kreme responses were attached with the original, in others they were not. All the letters are copies of the originals and are on acid-free paper.
Subseries 2.9: Miscellaneous, contains drawings and pictures of the Corporation headquarters in Winston-Salem, NC, and of exterior store signage. It also includes logo designs from the 1960s through 1989, samples of stationery, a brochure for and a photograph of the Krispy Kreme plane, and a program for the 1994 Krispy Kreme Annual Conference. There is also a folder containing Holiday greeting cards from Krispy Kreme management and a program from their 1990 Christmas party.
Series 3: Operational Records, contains those records which pertain to all aspects of the production and sale of Krispy Kreme doughnuts. This series has the following subseries:
Subseries 3.1: Advertising and Promotions, ca. 1947-1993, contains small and full page newspaper advertisements from 1947 through 1993 (including some undated advertisements), the mats and layouts that the retail stores used in their own in-store advertising, and information and correspondence concerning billboard advertising. This subseries also includes television commercial storyboards and an audience pre-test report for three of them. There is also materials on the different promotions Krispy Kreme used. The "Miscellaneous" folder contains a variety of indoor and outdoor advertisements.
Subseries 3.2: Equipment and Engineering, is itself broken down into three categories: American Gas Association (AGA), Equipment Design, and Equipment Information. The "American Gas Association" section contains correspondence between the AGA and Krispy Kreme regarding AGA inspection of and seal of approval for Krispy Kreme-made equipment. "Equipment Design" contains the notes, sketches, test results, and photographs of various pieces of equipment designed and made by Krispy Kreme. "Equipment" information includes equipment brochures and booklets and more detailed information on the use of the equipment.
Subseries 3.3: Franchises/Associates, ca. 1940s-1990s, contains literature to attract potential new franchisees as well as samples of franchise agreements. This subseries also includes photographs and press releases concerning store openings. These are located in three folders: "Grand Opening Summary," "Knoxville Grand Opening," and "Krispy Kreme Locations." There is also a videocassette that highlights Krispy Kreme's foray into New York City in 1996.
Subseries 3.4: Fundraising, includes a variety of materials that concern Krispy Kreme's program of assisting local organizations in their fundraising efforts. The dates range from the 1940s-1990s. It contains brochures, ca. 1940s-1990s, which explain the fundraising plan and its benefits. There are also guides geared towards Krispy Kreme salespersons to help them present the plan to potential clients. In the "Miscellaneous" folder, there is a newspaper advertisement from September 1988 promoting the fundraising plan. There is also a photo collage done by Krispy Kreme Fundraising Representative, Sharon Craig, to commemorate a local parade in Memphis, TN (at the Elvis Presley Boulevard plant).
Subseries 3.5: Marketing, contains a 1996 marketing standards manual and press kits from 1997. The marketing manual was directed to store operators to assist them in promoting and selling their products. The press kits were given to the Smithsonian when discussions concerning Krispy Kreme's donation to the museum began in the spring of 1997.
Subseries 3.6: Packaging, ca. 1930s-1992, contains examples of the different packaging used by Krispy Kreme to market their food products and mixes. Also included are designs for new packaging. One example is for doughnuts done by Comet Products Inc. (of MA) in 1979. Four samples of pie packaging designs were created by Pike & Cassels, Inc. (of NC) in late 1991 and early 1992. In the "Miscellaneous" folder there are examples of other Krispy Kreme packaging.
Subseries 3.7: Quality Control Laboratory, ca. 1959-1976, consists of two items. The first one, which was originally housed in a binder, is a notebook of information on lab procedures and on the chemical consistency and test concerning doughnut ingredients. This belonged to David Downs, Chief Chemist at Krispy Kreme. The second item is a "pictorial" prospectus of the entire Krispy Kreme operation -- departments, individual stores, products and packaging -- which belonged to the Laboratory.
Subseries 3.8: Sales Records, ca. 1950s-1980s, contains materials that would assist both franchise managers and operators (with in-store sales) and route salespeople (in selling wholesale Krispy Kreme products to groceries, etc). It includes a Route Book, ca. late 1950s, that contained order information and belonged to Robah G. Hendrick, a Krispy Kreme salesman. There is also a sales order pad, ca. 1950s-early 1960s, used by a Krispy Kreme store in Memphis, TN. There are also two in-house catalogs -- in folders "Posters, inserts, cards..." and "Shelf talkers catalog" -- that contain items that can be ordered by managers and that are used to sell store products. Shelf talkers are signs posted near the merchandise or on grocery display shelves. They, like the posters, inserts, cards, are used to attract customers with specials and promotions. Samples of shelf talkers are included in this subseries. There is also a "Miscellaneous" folder which contains a Krispy Kreme coupon, a book of gift certificates, another example of a shelf talker sign, and brochures of different store displays.
Subseries 3.9: Store Operations, ca. 1960s-1970s, deals primarily with items that are meant for store operators and mangers to help them in running a Krispy Kreme store. Two manuals -- Production and Extruded Doughnut manuals -- instruct managers in producing high quality products. Two other manuals -- Associates Operations and Branch Plant Managers' Manual -- discuss doughnut production, but also give directives and policies on other store issues, such as safety, sanitation, and personnel. The Branch Plant Managers' Manual also delves into the natural gas crisis in January 1977 and deals with advertising, security, and photo requests. This subseries also includes five 8"x6" laminated cards that contain doughnut recipe information and checklists of cleanup and sanitation procedures. There is also a plaque entitled "What is a Customer?" which explains to employees why a Krispy Kreme customer is so important. In the "Miscellaneous" folder there are two guides that advise on how to promote and sell items and a store/production area sign containing the store mission statement. [Also see Series 2: Administrative Records, Subseries E: Personnel, for a guide entitled "Salesgirl" which instructs the female Krispy Kreme employee on matters pertaining to dress and attitude.]
Series 4: Newsletters, 1957-1998, includes, Krispy Kreme News, Krispy Kreme Management Circle, and Hot Doughnut News.
Krispy Kreme News, 1957-1998, is geared towards all members of the Krispy Kreme community -- management, operators and managers, and employees. Its articles discuss new store openings, Corporation news, community (or news-related) events, and provides instructions and reminders concerning store upkeep and sanitation. There are sections announcing upcoming retirements, congratulating outstanding employees, and honoring long service to Krispy Kreme. Also included are articles that do not necessarily pertain to Krispy Kreme, but, rather, add a human element to the newsletters, such as humorous stories, articles on birds, and tips on highway safety. Some articles of interest are a history of chocolate (September 1963), "You Can Improve Your Memory" (May 1967), "A Communist is a Rich Marxist" (July 1967), and a discussion on skirt lengths and their relation to economics (February 1970). [In addition, there are two early issues of Krispy Kreme News (May 9 and May 15, 1951) in a folder entitled "Brief Outline of the History of Krispy Kreme, 1977" which is located in Series 1: History of Krispy Kreme.]
Also included in this subseries and relating to Krispy Kreme News are a subject index, a questionnaire form, and signed release letters.
Krispy Kreme Management Circle, 1995-1997, is a quarterly newsletter geared towards Krispy Kreme management and leadership. The articles focus on product quality, marketing and promotions, and training. At the end of each issue, there is a ranking of stores in different sales categories, i.e., average customer purchases (in dollars), highest percentages of customers buying beverages with their food or buying a second dozen doughnuts.
Hot Doughnut News, 1997, caters primarily to Krispy Kreme store operators, providing reports on stores and ideas for marketing.
Series 5: Press Clippings, 1949-1998, contains articles and stories that cover the Corporation, its history, its founder and subsequent leaders, and its community programs and promotions. The bulk of the clippings are from newspapers with a scattering of magazine articles. The largest number clippings come from the Winston-Salem Journalof Winston-Salem, NC, where Krispy Kreme is based. All articles have been copied onto acid-free paper.
Some clippings have been separated from the rest. One folder, "Davey Allison," contains clippings concerning the sudden death of this popular NASCAR driver and Krispy Kreme spokesman, in 1993. The folder titled "Ralph Simpson and Associates, July-Sept 1995" contains articles and news briefs on Krispy Kreme and its competitors collected by a Winston-Salem public relations firm. Two other folders with clippings from the Simpson PR firm concern Krispy Kreme's donation into the Smithsonian in July 1997. The contents of these two folders are not on acid-free paper. "School Computers" documents the efforts of the Krispy Kreme Corporation to help distribute computers to schools across North Carolina. The "TV Monitoring Report, July 1997" folder does not contain any clippings, but includes a listing of news stories that appeared on television about the Krispy Kreme donation to the Smithsonian.
Series 6: Photographs, ca. late 1930s through the mid 1990s, consists of black-and-white and color photographs and some negatives and transparencies. This series is divided into the following subseries:
Subseries 6.1: Corporate Staff, Associates, and Store Managers, ca. 1940s-early 1990s, is broken down into the following two categories: "Corporate Staff" and "Associates and Store Managers." Corporate Staff contains photographs of the officers of the corporation as well as members of the staff at the headquarters in Winston-Salem. Most are portrait shots with some group photos, e.g., the Board of Directors. There are also photographs of a 1974 retirement party for Mike Harding (Chairman of the Board and CEO) and Louise Joyner (editor of the Krispy Kreme News) and of a wedding cake made in 1990 for the wedding of headquarters accountant Cathy Rogers. The cake and the wedding were featured in the winter 1991 issue of Krispy Kreme News. [Also of interest are two photocopies of photographs -- of a house and a family -- located in Series 1: History of Krispy Kreme, Folder: "Vernon Rudolph."]
The Associates and Store Managers photographs consist mostly of group portraits taken at their respective annual meetings: Associate Operators' Meeting and Store Managers' Conference. Also included are scenes of store manager training, which was mandatory for all new Krispy Kreme managers.
Subseries 6.2: Corporate Headquarters, date from the late 1940s through the late 1980s. This subseries contains photographs of the General Offices, Equipment Department, Laboratory, Mix Department, and Warehouse. [Other photographs pertaining to these areas can be found in Series 6: Photographs, Subseries H: "Tour Given to Smithsonian Staff."]
The General Offices photographs include exterior and interior views of the headquarters on Ivy Avenue. The Equipment Department photographs show various pieces of doughnut equipment as well as the designing, manufacturing, and assembling of said equipment by Krispy Kreme. [For more technical information on the different equipment, please refer to Series 3: Operational Records, Subseries B: "Equipment and Engineering."]
The Quality Control Laboratory photographs consist of views that show the interior of the laboratory and of the chemists at work. There are also some images of test results of the doughnut mixes for quality and consistency. In addition, there are pictures of lab results of tests on glaze made with and without stabilizers.
The Mix Department photographs contain views of the different stages of department operations. They also show the equipment used to prepare the dry doughnut mixes, which later are sent to the Krispy Kreme stores. The Warehouse photographs show bags of Krispy Kreme prepared mixes stacked in a large warehouse at the headquarters and waiting to be shipped.
Subseries 6.3: Retail Shops and Plants, ca. 1937-1994, contains photographs of specific Krispy Kreme stores. They show the exterior and interior views of the shops including storefront, signage, retail, and production areas, as well as employees and customers. The bulk of the photos range from the 1950s through the 1970s. They are arranged by state, by city within the state, and then by street name within the city.
Subseries 6.4: General Photographs, ca. 1940s-mid 1990s, concern unspecified Krispy Kreme shops and plants. They include views of store exteriors (storefront and signage) and interiors (production and retail areas and signage). The production area photographs show the various stages of the production of doughnuts, pies, and honeybuns. There are also photographs of customers, employees, and of students participating in the Krispy Kreme fundraising plan. The employee photographs consist of general in-store action and posed shots as well as views of employees receiving service awards for years of service. The fundraising photographs show students picking up boxes of doughnuts from Krispy Kreme shops or selling those boxes in an effort to raise money.
This subseries also contains photographs of the trucks used by the Krispy Kreme stores throughout the years to deliver their products to groceries and other food stores. [A a set of press clippings that detail the use of Kripsy Kreme trucks in delivering school computers to North Carolina schools. These can be found in SERIES 5: Press Clippings, in the folder titled "School Computers, May-June 1993."]
Subseries 6.5: Trade Shows, range in date from the 1950s through 1970s. This subseries includes photographs of Krispy Kreme displays at trade shows in the United States (Atlanta and St. Louis) and in Greece, Indonesia, Japan, and Pakistan.
Subseries 6.6: Products and Packaging, ca. late 1940s-early 1990s, shows samples of various grocery store displays as well as photographs of doughnuts, fried pies, and honeybuns -- with and without packaging. There is also a folder that contains shots of Krispy Kreme coffee cups.
Subseries 6.7: Advertising and Promotions, dates from 1965-1990s. The bulk of the photographs centers around shots of Davey Allison's race car. Allison was a Krispy Kreme spokesman for their Race to Daytona Sweepstakes in 1991. The other photographs consist of views of various advertising posters used in shops and grocery stores. There are also photographs that show Krispy Kreme advertising displays in airports.
Subseries 6.8: Photo Albums, consist of six albums, all falling within the date range of the 1950s through the mid 1980s. The first album, "Exterior and Interior shots of Unspecified Retail Shops," contains photographs that date from the late 1970s-mid 1980s; these consist of exterior and interior views of various stores.
The second album, entitled "Krispy Kreme Album," dates from 1962. A Christmas gift to Vernon Rudolph from the Corporate staff and associates, it contains photographs of the individual staff members and associates as well as group shots of the associates at annual meetings. There are also photographs of various shop storefronts. This album also includes exterior and interior views of the corporate headquarters.
"Krispy Kreme Doughnut Co.," ca. 1950s-1960s, is the third album. It served as a pictorial marketing tool used to attract new associates and franchisees. It shows exterior views of the corporate headquarters, various storefronts, and views of a typical Krispy Kreme trade show display. There are also photographs showing retail doughnut production as well as images of packaging and final products. In addition, there is a price list of equipment and mixes.
The "Plant and Production" album dates from the 1960s. It consists of photographs showing the different stages of doughnut production and the preceding steps involving the equipment and mix departments and laboratory. There are also exterior views of various retail shops and of the headquarters in Winston-Salem.
The "Production Equipment Album," ca. 1960s-early 1970s, is similar to the "Krispy Kreme Doughnut Co." album with regards to the subject of the photographs. Additionally, there are photographs of the officers of the Corporation as well as images of advertising posters used in grocery stores.
The sixth album, entitled "Social Gatherings Album," dates from 1951-1971. It contains photographs of female corporate staff members at various social gatherings, such as bridal and baby showers, picnics, birthdays, and Christmas parties.
Subseries 6.9: Tour Given to Smithsonian Staff, contains photographs that were taken on May 28, 1997. The photos, taken by Smithsonian photographer Rich Strauss, depict a tour of the Corporation headquarters in Winston-Salem, NC. One highlight of interest is a view of the safe where the secret Krispy Kreme recipe is kept (located in the "Quality Control Laboratory" section of this subseries). The photographs are arranged according to the order of the tour.
Series 7: AUDIOvisual Materials, remains unprocessed as of the date of this finding aid. This series consists of training films, videotapes, TV and radio commercials, and slide presentations. A rough inventory of these materials is provided in the container list.
Biographical / Historical:
The Krispy Kreme Doughnut Corporation started with a recipe, a Pontiac, a pack of cigarettes, and a dream. Add in hard work and a commitment to quality and consistency and what emerges is a company that is at the top of its field and beloved by its customers. It is an organization that has been innovative over the years, but has also remained true to its belief in making top quality products and ensuring excellent customer service. All of this has made Krispy Kreme doughnuts and its company a Southern icon.
The story of Krispy Kreme is the story of one man: Vernon Rudolph. Vernon Rudolph opened his first Krispy Kreme shop in the 1930s and from there built a corporation which he led until his death in the early 1970s. There is another part of the story and that is the continuation of the dream by Joseph McAleer. It was after some years under corporate food giant, Beatrice Foods, that McAleer, beginning in 1982, steered Krispy Kreme back to its traditional emphasis on excellent doughnuts as well as on a family atmosphere within the entire corporation.
The story begins on June 30, 1915 in Marshall County, Kentucky with the birth of Vernon Carver Rudolph. He was the eldest son of Rethie Nimmo Rudolph (mother) and Plumie Harrison Rudolph (father) and had a strict, but loving, upbringing. Vernon Rudolph did well in school, both academically and athletically. He also found time to work in his father's general store as well as helping his neighbors with odd jobs.
After graduating from high school, Rudolph then began his life's work when he went to work for his uncle, Ishmael Armstrong. It seems Armstrong bought a doughnut shop -- along with the assets, name, and recipe -- from a Frenchman from New Orleans, Joe LeBeau. So in 1933, Rudolph began selling the yeast-based doughnuts door to door for the Krispy Kreme Doughnut shop in Paducah, Kentucky. Not only did Rudolph sell doughnuts, he took part in producing them, thereby giving him an all-around experience in the doughnut business.
The economic depression that rocked the country also affected the shop. Armstrong decided to move from Paducah to the much bigger Nashville, Tennessee, hoping that business would be better there. Vernon Rudolph went with him to the new location, hoping for the same. But after trying, Armstrong, in 1935, decided to sell the shop and return to Kentucky. Rudolph wanted to buy it, but unfortunately did not have the money. However, his father -- whose general store had closed and who was working for the doughnut shop as a salesman -- stepped in. He borrowed the money and soon after Krispy Kreme was operating under new ownership. It was also at this time that one of Rudolph's younger brothers, Lewis, joined the family business.
The shop was doing well, enough so that in 1936 Rudolph's father opened another shop in Charleston, West Virginia. Awhile later, a third shop opened in Atlanta, Georgia. While this growth was occurring, Vernon Rudolph still wanted to own his own Krispy Kreme store. In the summer of 1937, he left Nashville with two friends in their new 1936 Pontiac and $200. Carrying start-up doughnut equipment the three young men set out towards an unknown destination, but with a known dream.
Louise Skillman Joyner, Krispy Kreme News editor, recounts how Rudolph and his friends settled on Winston-Salem, North Carolina as the location for their shop.
After some disappointments in looking for a suitable location, Vernon Rudolph, standing on a street corner in Peoria, [Illinois], one evening, wondered what the next move should be. Rents were quite high in that section of the country and the trio was running out of money. He took a pack of Camel cigarettes from his pocket and noticed that they were manufactured in Winston-Salem, N.C. "Why not Winston-Salem?" he thought, "A town with a company producing a nationally advertised product has to be a good bet." So off across the mountains to North Carolina they went.
With only $25 left, they arrived in Winston-Salem. Using that money to rent a space on Main Street and then getting the ingredients and some equipment on credit (which they paid back promptly), the three men began making yeast doughnuts. That day was July 13, 1937. Vernon Rudolph believed in producing only doughnuts of high quality and those were the only ones that were ever sold. That belief (as well as the mouth-watering doughnuts) endeared them to the people of Winston-Salem. What also caught their eye (and their taste buds) was the doughnut production that occurred in the store's front window and the free samples given away in the evenings.
Krispy Kreme at this time was primarily a wholesale enterprise. Using trucks to deliver the products, Rudolph was able to sell doughnuts throughout the area. But soon the wonderful aroma that came from the shop caused passersby to ask for doughnuts right there on the spot. This led to the beginning of Krispy Kreme's retail operations.
In the midst of all this, Rudolph met and married an Atlanta woman, Ruth Ayers, in 1939. This family increased by one in 1943 when the Rudolphs adopted a baby girl, whom they named Patricia Ann. Sadly, Ruth Ayers Rudolph was killed in an automobile accident in Orangeburg, South Carolina in 1944.
The number of Krispy Kreme stores continued to grow in the years that followed. But instead of Rudolph owning all of them outright, he entered into partnerships or into associate (franchise) relationships. The arrangements gave the operators of these particular shops that use of the Krispy Kreme name, recipe, and later the ingredients. But more importantly, they had to agree to adhere to the Krispy Kreme philosophy of producing only the highest quality doughnuts. In those early years, the business was truly family-oriented. This atmosphere continued with these associate owners.
In 1946, Rudolph began thinking about consolidating all the Krispy Kreme resources together under a corporation. This umbrella, he believed, would enable Krispy Kreme to grow further and also give the shops a sense of uniformity. So on October 1, 1946 a corporation named the Krispy Kreme Doughnut Company was formed. Less than a year later, on June 3, 1947, a new corporation, the Krispy Kreme Corporation, was incorporated. The Company concerned itself with individual store operations, while the corporation took care of producing dry mixes used by the shops. Vernon Rudolph served as President and Chairman of the Board.
It was also in 1946 that Rudolph married again -- to Lorraine Flynt of Winston-Salem. Their family of three grew over the years to include Vernon Carver Jr., Sanford, Curtis, and Beverly.
The formation of the corporation was followed by the creation of three important departments within Krispy Kreme: the Mix Department, the Laboratory, and the Equipment Department. Each had an essential role in the overall success of the company. The Mix Department has grown since its creation in 1948. Its primary mission: to mix, in bulk, the key ingredients needed by the shops to make doughnuts -- both yeast- and cake-doughnuts -- but also newly added products -- fried pies and honeybuns. By providing these mixes, Krispy Kreme was able to ensure that all stores made the same excellent products.
The Laboratory was created in 1949. Vernon Rudolph's beliefs in top quality and uniformity were put in action. The Laboratory tested ingredients that were in the prepared mixes and experimented with others to see if perhaps a new ingredient would make a great product better.
Rudolph started the Equipment Department because Krispy Kreme's main supplier of yeast doughnut machines, the Doughnut Corporation of America, decided to enter the retail doughnut business itself. So with the help of consultants and staffed with engineers and machinists, the Equipment Department began manufacturing its own equipment in 1949.
The push towards automation that swept the nation also affected Krispy Kreme. One piece of equipment that illustrates this is the Ring King Junior. Designed for cake doughnut production and taking up only seven square feet, the Ring King Junior cut, fried, turned, and cooled about 30 to 75 dozen per hour. How different from the early days of Krispy Kreme when everything had to be done by hand -- measuring, cutting, frying. The Ring King not only saved space and time, but also ingredients used. And it gave a uniformity to the doughnuts produced -- something Vernon Rudolph liked very much.
Over the years, Krispy Kreme has followed a philosophy of excellent quality and customer service. It recognizes the importance of the customer -- because without him or her there would be no reason to be in business. Along with giving their customers the best, getting involved in the community is another way Krispy Kreme has endeared itself to them. They do this by primarily helping area schools raise money for equipment, uniforms, trips, etc. In order to accomplish its goals, the company needs hard-working and dependable people. Krispy Kreme recognizes the value of its employees. The family atmosphere of those early days has continued.
Vernon Rudolph believed in that philosophy and always strove to make Krispy Kreme the best in the doughnut business. His death on August 16, 1973, left a large void and the years immediately afterwards were tough. Then, in 1976, Krispy Kreme merged with corporate giant Beatrice Foods Company of Chicago. It was still headquartered in Winston-Salem and continued its operations, but as a subsidiary.
For Beatrice, showing a profit was extremely important. To help its Krispy Kreme division, Beatrice encouraged additions to the menu and substitutions of ingredients in the doughnut mixes. This did not appeal to long-time Krispy Kreme associates, but unfortunately there was not much that could be done at that time.
Beatrice's association with Krispy Kreme was not as profitable as it had hoped it would be. So in 1981, the food corporation decided to sell its subsidiary. One Krispy Kreme associate saw this as an opportunity to bring the doughnut company back to the basic traditions upon which it had built a successful enterprise. The associate, Joseph A. McAleer, Sr., had been with the company for almost thirty years when this situation arose. An Alabama native, he went to work for the company in 1951 after he saw an advertisement in the Mobile Press Register for qualified people to join a profitable organization -- the Krispy Kreme Doughnut Corporation. After meeting with Vernon Rudolph, McAleer worked at the Pensacola, Florida store for $1 per hour in order to learn all aspects of a shop's operations. Rudolph had initially wanted McAleer to work for no pay, but with a family to care for, McAleer could not do this and so the $1 an hour agreement was arranged.
McAleer worked 120 hour weeks for over a year. This experience enabled him, in 1953, to start a shop of his own, in Pritchard, Alabama, a suburb of Mobile. His first effort there was not a success -- due to a poor location. He opened another shop in 1956 -- this time off of a busy street in Mobile -- and this time was successful. Over the next 17 years, McAleer opened up other Krispy Kreme shops in Alabama and Mississippi and all promised to provide the highest quality product and the best service. And continuing the family-oriented tradition, members of his immediate family worked in the different shops.
The death of Vernon Rudolph and Beatrice's purchase of Krispy Kreme seemed to send the doughnut company in a new direction -- one not everyone, including McAleer, liked. When Beatrice wanted to sell Krispy Kreme, McAleer talked with his fellow associates and those with ties to the company -- people, like him, who had a stake in Krispy Kreme's success -- and through his efforts was able to form a group of investors. In 1982, the Krispy Kreme Doughnut Corporation had new owners.
These new owners, though, saw Krispy Kreme as a specialty-type of operation with a certain uniqueness and familial closeness and one which needed to concentrate on its basic foundation. That is, going to back to Vernon Rudolph's philosophy of top quality and top service as well as focusing on people, both customers and employees. They are beliefs and values that have proven successful and have helped Krispy Kreme grow from a small doughnut shop in Winston-Salem to a large corporation that still makes the same much-loved doughnut.
Related Materials:
There is a folder of duplicate Krispy Kreme material in Archives Center collection #439, the Sally L. Steinberg Collection of Doughnut Ephemera. The Archives Center also contains collection #662, two scrapbooks from the Doughnut Corporation of America. Artifacts donated by the Krispy Kreme Doughnut Corporation to the National Museum of American History are located in the Division of Cultural History and the Division of the History of Technology.
Provenance:
This collection was donated to the National Museum of American History, Archives Center on July 17, 1997, by the Krispy Kreme Doughnut Corporation. Additional items were donated on July 17, 1997, by V. Carver Rudolph and on August 6, 1997, by Steve Cochran.
Restrictions:
Collection is open for research. 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.
Papers of Kevin M. Tuohy (1921-1986) containing technical information on contact lenses designed to correct vision problems.
Scope and Contents:
Technical information on contact lenses, including manuals, brochures, etc. from Solex Laboratories, and articles from professional journals and other publications. Numerous photographs, including a set of color prints, illustrate techniques of fitting, inserting, and removing contact lens. Medical problems, legal cases involving patent infringement and other aspects of contact lenses are described. Includes an interesting thumb-flip "Movette" movie book demonstrating insertion of contact lenses, and a cassette tape recording.
Biographical / Historical:
Tuohy, a partner at Solex Laboratories, developed the corneal contact lens in the 1940s, which quickly supplanted the scleral lens.
Related Materials:
The Tuohy Corneal Lens Collection in the Division of Medicine and Science contains objects, such as contact lens samples, received as part of the same gift.
Provenance:
Collection donated by Anita Tuohy Wolver.
Restrictions:
Researchers must use researcher copy of audio tape (not yet available).
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.
Goya Foods, Inc., supported the cultural life of various communities in the United States and Puerto Rico. The company's current headquarters is in Secaucus, New Jersey. Photographs, calendars, sales promotional materials, cookbooks, packaging, and news clippings. Photographs depict primarily company sponsored events, but a few are family pictures.
Scope and Contents:
The Goya Foods, Incorporated Collection documents the history of the company from the 1960s to 2000. (A few earlier documents pertaining to Unanue and Sons and family photographs can be found in the collection, as well.) Materials include photographs, calendars, sales promotional materials, cookbooks, recipe packages, point-of-purchase items, and box and can labels, scrapbooks, and clippings files. Sound recordings, televisions advertisements, and anniversary video productions are also included. The material documents sales meetings, plant activities, and workers' events as well as the office life of the company and the philanthropic efforts and community activities of Goya Foods, Incorporated.
Series 1, History and Biography 1960s-1990s, includes photographs and biographies of the Unanue family members. Also includes company anniversary programs.
Series 2, United States Publicity Materials, 1970-2000, undated, contains extensive files of news clippings (compiled by an outside agency) arranged in chronological order. Also, press releases and publicity materials and copies of the newsletter La Voz Femenina[2], 1982-1989.
Series 3, United States Photographs, 1960s-1990s, includes photographs of Goya "sponsored" activities, which took place in the United States. The majority of the photos are unlabeled and undated. The series is divided into twelve subseries.
Subseries 3.1, Parades and Festivals, 1966-1999, include parades and festivals which Goya participated in, mainly in New York City and New Jersey. For many parades, Goya created a special float for participants to ride on. Many parades feature pageant contestants (see Subseries D). Tito Puente is a frequent performer.
Subseries 3.2, Parties and Banquets, 1970s-1990s, include many of the banquets and parties included are related to the various parades and pageants, this may or may not be obvious from looking at the photographs. Also included are employee parties.
Subseries 3.3, Community Events, 1970s-1990s, Goya prides itself on its civic work within the Hispanic communities of the United States. This subseries reflects many of the events Goya has sponsored or been a part of, including its support of the Manhattan Valley Golden Age Senior Center and Casa de Don Pedro, a home for children.
Subseries 3.4, Pageants, 1980s-1990s, include beauty pageants sponsored throughout the 1980s and 1990s, usually associated with a community parade (for example, a Dominican Parade Pageant). Sometimes the photos from the pageants and related events are included, though the parades themselves can be found in Subseries A.
Subseries 3.5, Employees, Plants, and Offices, 1960s-1990s, include photographs of Goya employees (both line workers and executives), offices, and plant facilities. Events in which employees participated (dances, parties, and picnics) are included here.
Subseries 3.6, Awards, 1970s-1990s, include awards given to the Unanues or Goya Foods, Incorporated by various organizations and awards given to others by Goya.
Subseries 3.7, Celebrities, 1980s-1990s, mainly events with celebrities in attendance. Prominent people include: Cardinal Cooke, Gloria Estefan, Michael J. Fox, Ed Koch, Spike Lee, David Letterman, Olga Elena Mattei, and Tito Puente.
Subseries 3.8, Sporting Events, Teams, and Awards, 1970s-1990s, soccer, baseball, bowling, volleyball, and softball teams are included, as well as little league teams and sporting workshop participants (mainly children with "professional" players). Teams are mostly Goya sponsored, though some professional players appear.
Subseries 3.9, Concerts, 1980s-1990s, include Tito Puente, Eddie Palmieri, and Willie Colón concerts at Penns Landing, plus multi-city Festival de Musica Goya, 1990.
Subseries 3.10, Trade Shows, 1966, 1980s, include Food expositions, trade shows, and demonstrations.
Subseries 3.11, Travel, 1970s-1990s, trips taken by [presumably] Goya employees. Santo Domingo, Peru, and Haiti were destinations.
Subseries 3.12, Unidentified, 1970s-1990s
Sub-subseries 3.12.1, Parade related events, 1980s-1990s
Sub-subseries 3.12.2, Other, 1970s-1990s
Series 4, United States Corporate Materials, 1960s-1990s, includes product labels and packaging, advertising materials, press kits, and memos.
Series 5, Puerto Rican Publicity Materials, 1980s-2000, consists of publications arranged chronologically within each title.
Series 6, Puerto Rican Photographs, 1960s-2000; undated, include photographs documenting events sponsored by Goya in Puerto Rico. The majority of the photographs were not identified or dated. The items that could be identified were arranged by subject including parades, parties, banquets, community events, employees, plants, offices, award ceremonies, sporting events, travel and products.
Subseries 6.1, Parades, 1977, include images from one parade, Reina el Dario la Prenza.
Subseries 6.2, Parties and Banquets, 1970-1996, primarily document employee parties.
Subseries 6.3, Community Events, 1972-1999; undated, documents Goya's involvement with the Puerto Rican community and some of the events that the company sponsored.
Subseries 6.4, Employees, Plants, and Offices, 1961-1999, undated, include images of Goya employees (both line workers and executives), offices, and plant facilities. Events in which employees participated (dances, parties, and picnics) are included here.
Subseries 6.5, Awards, 1970s-1996; undated, awards given to the Unanues or Goya Foods, Incorproated by various organizations and awards given to others by Goya.
Subseries 6.6, Sporting Events, Teams, and Awards, 1970s, contains one (1) folder of sporting events and teams sponsored by Goya.
Subseries 6.7, Travel, 1960s; undated, document trip(s) taken by [presumably] Goya employees primarily to Boca Cagrejos and Puerto Rico.
Subseries 6.8, Products, 2000, undated, contain images of Goya products and of a photograph shoot for an advertisement.
Series 7, Puerto Rican Corporate Materials, 1970s-2000, included are office forms, blank letterhead, advertising materials, press kits, annual reports, and newsletters.
Series 8, Audiovisual Materials, 1990s; undated, consists of commercials and biographical programs on the Unanues. ** No reference copies exist for most audiovisual materials; please see the Reference Archivist for availability in viewing.
Arrangement:
The collection is arranged in eight (8) series:
Series 1, History and Biography 1960s-1990s,
Series 2, United States Publicity Materials, 1970-2000; undated
Series 3, United States Photographs, 1960s-1999; undated
Subseries 3.1, Parades and Festivals, 1966-1999
Subseries 3.2, Parties and Banquets, 1970s-1990s
Subseries 3.3, Community Events, 1970s-1990s
Subseries 3.4, Pageants, 1980s-1994
Subseries 3.5, Employees, Plants, and Offices, 1960s-1990s
Subseries 3.6, Awards, 1970s-1990s
Subseries 3.7, Celebrities, 1980s-1990s
Subseries 3.8, Sporting Events, Teams, and Awards, 1970s-1990s
Subseries 3.9, Concerts, 1987-1990; undated
Subseries 3.10, Trade Shows, 1966-1994; undated
Subseries 3.11, Travel, 1970s-1996
Subseries 3.12, Unidentified, 1970s-1990s
Sub-subseries 3.12.1, Parade related events, 1983-1993
Sub-subseries 3.12.2, Other, 1970s-1992; undated
Series 4, United States Corporate Materials, 1960s-1990s
Series 5, Puerto Rican Publicity Materials, 1980s-2000
Series 6, Puerto Rican Photographs, 1960s-2000; undated
Subseries 6.1, Parades, 1977
Subseries 6.2, Parties and Banquets, 1970-1996
Subseries 6.3, Community Events, 1972-1999, undated
Subseries 6.4 Employees, Plants, and Offices, 1961-1999, undated
Subseries 6.5, Awards, 1970s-1996, undated
Subseries 6.6, Sporting Events, Teams, and Awards, 1970s
Subseries 6.7, Travel, 1960s, undated
Subseries 6.8, Products, 2000, undated
Series 7, Puerto Rican Corporate Materials, 1970s-2000; undated
Series 8, Audiovisual Materials, 1990s, undated
Biographical / Historical:
Prudencio Unanue (1886-1976) was born in the Basque region of northern Spain. He immigrated to the island of Puerto Rico in 1902 and married Carolina Casal (1890-1984) in 1921. In 1916, he moved to New York where he studied business and worked for a customs agency. Missing the tastes and smells of home cooking, the Unanues believed that there was an expanding immigrant market for the ingredients of "authentic Spanish cuisine." In 1936, they opened Unanue, Incorporated, a warehouse on Duane Street in lower Manhattan, to supply corner stores or bodegas. Over thirty years, the Unanue and Sons import business grew tremendously. Eventually, the business began to do its own food processing, canning, and packaging. In 1958, Goya Foods bought its first factory in Brooklyn, New York.
The Unanues and Sons Company purchased the name "Goya"[1] in 1936 from a Moroccan sardine supplier for one dollar. In 1946, the company changed its name to Unanue and Sons, Incorporated. It assumed the name Goya Foods, Incorporated in 1961, although it had used the name Goya for its products since 1936.
Goya Foods Company continued to innovate, pioneering television advertising in Puerto Rico. During the 1960s, Goya Foods sought out opportunities to expand its customer base as larger numbers of Caribbean immigrants moved into the United States. By sponsoring music festivals, sports teams, and other activities Goya Foods supported the cultural life; parades, beauty pageants, festivals, of various communities in the United States and Puerto Rico.
In 1974, Goya Foods moved to its current office headquarters and factory building in Secaucus, New Jersey. By 2000, Goya owned factories in upstate New York, California, Illinois, New Jersey, Massachusetts, Texas, Florida, as well as Puerto Rico, the Dominican Republic, and Spain.
Footnotes:
[1] Francisco de Goya (1746-1828) was an influential Spanish artist whose paintings reflected the historical upheavals of his time. For many, the art of Francisco de Goya truly revealed Spain because he painted all of its people.
[2] Note that words in Spanish are set off in italics; periodical titles are underlined.
Related Materials:
Government of Puerto Rico Division of Community Education Posters, Teodoro Vidal Collection, and Tito Puente Papers.
Separated Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds items related to this collection including promotional items, display props, a neon sign, products and containers, and clothing. See accession number, 1999.3017.
Provenance:
This collection was donated to the National Museum of American History in 1999 by Goya Foods, Inc. through Rafael Toro, Director of Public Relations.
Restrictions:
The collection is open for research use.
Physical Access: Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Technical Access: Do not use when original materials are available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection documents the career of Saburo "Sab" Shimono, an American actor of Japanese descent.
Scope and Contents:
The collection documents Saburo Shimono, an American born actor of Japanese descent primarily through movie and theatre scripts for productions featuring Shimono.
Arrangement:
The collection is divided into five series.
Series 1: Biographical Materials, 1948-2013
Series 2: Scripts, 1962-2012
Series 3: Photographs, 1965-1986
Series 4: Posters, 1966-2010
Series 5: Audiovisual Materials, 1970-2009
Biographical:
Sab Shimono is an accomplished actor and voice performer with numerous television, film, and stage credits to his name and an important figure in Asian-American arts and culture. He was born on July 31, 1937, in Sacramento, California, to restaurant owners Masauchi Shimono and Edith Mary Otani Shimono.
During World War II he and his family were incarcerated at the Sacramento Assembly Center, then at Tule Lake Segregation Center, California and Camp Amanche (also known as the Granada War Relocation Center) in Colorado. After graduating from Sacramento High School (where he was student body president) in 1956, Shimono went on to the University of California, Berkeley, where he studied acting under Henrietta Davis. His first professional theatre role was a summer stock production of Flower Drum Song where he played Wang Ta. In 1966 he debuted on Broadway as Ito in the original production of Mame starring Angela Lansbury and directed by Greg Saks. After working on a number of off-Broadway projects including multiple productions with La MaMa, Shimono returned to Broadway in 1976 as Manjiro in the original production of Stephen Sondheim's Pacific Overtures. In addition to the stage, he has appeared in numerous films including, Midway (1976), Gung Ho (1986), Presumed Innocent (1990), Hot Summer Winds (1991), Suture (1993), The Shadow (1994), Waterworld (1995), Paradise Road (1997), The Big Hit (1998), and Southland Tales (2006). He guest starred in many television shows, including 2 ½ Men, Friends, Seinfeld, M*A*S*H, Mad Men, and Hawaii, Five-0. He voiced the role of Uncle for five seasons on Fox's Jackie Chan Adventures, and was the voice of Chow Lo in Disney's Mulan.
Shimono has worked extensively with a number of acclaimed Asian-American playwrights including Philip Kan Gotanda, Wakako Yamauchi, and Ken Narasaki. He has appeared in several plays or movies that reference the mass incarceration of Japanese Americans, including Alan Parker's Come See the Paradise(1990), Michael Uno's movie version of the Philip Kan Gotanda play The Wash (1988), and independent shorts Day of Independence (2003) and Half Kenneth (2009). Shimono also starred in a short film for the National Museum of American History's exhibition, A More Perfect Union: Japanese Americans and the U.S. Constitution, which ran from 1987 to 2004.
He has been honored on numerous occasions with awards for outstanding performance from the LA Weekly and Dramalogue, and received the 1975 Clio Award for Best Actor. Shimono has also been active in the push for LGBT equality, working extensively with a number of organizations dedicated to LGBT rights, particularly within the Asian-American Pacific Islander communities. He lives and works with his husband, Steve Alden Nelson, in Los Angeles, California.
Source
Densho Encyclopedia
Separated Materials:
Materials about Saburo Shimono's US Army service (1960-1964) and wood hand tools (1940s) from Tule Lake Camp, California and Camp Amanche (Granada War Relocation Center) in Colorado are held in the Division of Armed Forces History (now Division of POlitical and Military History). See accession 2016.3049.
Provenance:
Collection donated by Saburo Shimono, May 2016.
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.
Social Security numbers are present and have been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
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.
23 color Cibachrome photoprints: portraits of farmers at the Carrboro Farmer's Market, Carrboro, North Carolina. Portraits made 1994 in a garage studio setup near the market, prints by JW Labs, Raleigh, North Carolina.
Arrangement:
1 series.
Biographical/Historical note:
Documentary and corporate photographer who worked in New York City and Tokyo for 25 years before moving to North Carolina. Was Tokyo correspondent, Photo District News; photo editor, Business Tokyo; co-author, Women See Woman (Harper & Row, 1977). Photographs published: Sports Illustrated, Life, Time, Fortune, Forbes, Vogue, Interview, The NY Times Magazine, etc. Founding member, Soho Photo Gallery.
Provenance:
Collection donated by Sonia Katchian, November 2001.
Restrictions:
Unrestricted research access on site by appointment. The photographer requests that the Museum notify her or her heirs whenever the Museum anticipates display or reproduction of any of her photographs.,Unprotected photographs must be handled with gloves.
Rights:
Sonia Katchian retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Sonia Katchian Carrboro Farmer's Market Project Color Photoprints, 1994, Archives Center, National Museum of American History. Copyright (c) 2001 Sonia Katchian. Gift of the artist. [Note: this credit line must accompany any reproduction or exhibition of photographs in this collection, as stipulated in the Deed of Gift.]
Two color prints of industrial subjects in Elgin, Texas, and Taylor, Texas, 1995-1996; and 35mm color slide copies of 20" x 24" color prints: 12 from "Texas Cotton Towns series, 1995-1996, and 10 from "Guatemalan Altars" series, 1989-1996.
Scope and Contents:
Collection consists of color prints of industrial subjects in Elgin, Texas, and Taylor, Texas, 1995-1996 and color slide copies of 20" x 24" color prints.
Arrangement:
The collection is arranged into twp series.
Series 1: Color Prints
Series 2: Color Slides
Biographical / Historical:
Born in Rho (Milan) Italy in 1963. BFA, San Francisco Art Institute; M.F.A. in photography, Yale University 1988. Since then, she has completed projects in Italy, Guatemala, Turkey and the United States. She has received several awards and fellowships, including the Friends of Photography/Calumet Emerging Photographer award in 2000 and the Paul Taylor/Dorothea Lange Prize from Duke University in 2001, Puffin Foundation Grant in 2003, a Guggenheim Fellowship in Photography in 2004 and Harnish Visiting Fellowship at Smith College 2005–11 and 2016–17. Her work has been collected by the Museum of Modern Art in New York. Ferrario is the author of 19 Pictures, 22 Recipes 2012. She has published criticism in such publications as Art in America and Photograph magazine. She is represented by Rick Wester Fine Art in New York. Asssistant Professor of Photography, Rhode Island College, Providence.
Provenance:
Collection donated by Paola Ferrario, December 18, 1998 and June 26, 2002.
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:
Paola Ferrario retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Philadelphia College of Art -- Faculty Search this
United States. Works Progress Administration Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1930-1983
Scope and Contents:
Material primarily relating to Hood's work on the Federal Art Project, the Philadelphia College of Art, and the American Color Print Society. Hood's earlier work as a printmaker is not well represented. Included are correspondence, notes, writings, sketches, scrapbooks, printed material and photographs.
Materials on the WPA, 1936-1942, include correspondence regarding exhibitions, appointments of district directors and artists to the project rolls, and the project's day to day operations; minutes of meetings; material on Art Week including correspondence, minutes, reports, and printed matter; artist supply requisitions; field reports on the Pennsylvania Game Commission, the L.A. Visual Aids to Education project, and the Terrace Village Art Center, as well as official reports from various departments, illustrated with photographs of the museum extension project; WPA publicity transcripts of radio interviews; photographs of sculpture, murals, painting, and museum extension exhibitions, views of the Graphic Workshop, and 2 scrapbooks of clippings.
Materials on the Philadelphia College of Art, 1951-1982, include teaching files with course outlines for advertising design, color and design, experimental design, and lettering; handouts; teaching notes; student assignments; slide lists; and faculty and student lists. Project files include memorandums, receipts, certificates, and material relating to the alumni association. Printed matter include school calendars, brochures and catalogues; and materials relating to exhibitions organized at the college.
The American Color Print Society materials, 1954-1983, include correspondence regarding exhibitions, membership, and board meetings; membership files and lists; newspaper clippings, exhibition announcements and catalogs, press releases, and a scrapbook of clippings.
The collection also contains biographical material; correspondence, 1930-1989, regarding exhibitions, awards and commissions; writings by Hood, including the essay "The Constant and the Variable"; sketches by Hood; printed material; miscellaneous project and subject files on the Army Navy Library, Rittenhouse Square Clothesline Exhibitions, and camouflage; photographs of Hood, artwork, and the Army Navy Medical Library displays; and miscellany.
Arrangement:
I. Biographical materials, 1942-1975. II. Correspondence, 1930-1989. III. Writings and notes, undated. IV. Works of Art, undated. V. WPA files, 1940-1943. VI. American Color Print Society files, 1952-1983. VII. Philadelphia College of Art, 1951-1982. VIII. Misc. Project and subject files, 1941-1974. IX. Artists' biographies, undated. X. Print labels, 1969-1976. XI. Exhibition papers, undated. XII. Printed material, 1930-1982. XIII. Photographs, ca. 1936-1942 and 1958. XIV. Scrapbooks.
Material concerning the WPA, the Philadelphia College of Art, and the American Color Print Society may also be found in the chronological correspondence, printed material, and photographs.
Biographical / Historical:
Arts administrator, art instructor, printmaker; Philadelphia, Pa. Full name Thomas Richard Hood. District Supervisor, 1936-1938, Federal Field Supervisor, 1938-1939, and State Director, 1939-1942, for the Pennsylvania Works Project Administration; instructor and gallery director, Philadelphia College of Art, 1951-1982; and President of the American Color Print Society, 1956-1983.
Provenance:
Donated 1990 by Marianne Vadorsky for the Hood estate. Hood's estate and gave papers on Hood's behalf.
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.
Occupation:
Printmakers -- Pennsylvania -- Philadelphia Search this
Topic:
Prints -- 20th century -- United States -- societies, etc Search this
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Natalie Finney Mallard in memory of her Uncle Onie Burnett Granville
Object number:
2016.33.4
Restrictions & Rights:
Unknown - Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hofmann, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.
Scope and Contents note:
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hofmann, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.
Biographical material consists of one literary poem.
The bulk of the collection consists of correspondence with many artists, estate executors, gallery partners, collectors, galleries, and museums regarding works of art, sales, account balances, requests for information, and general updates.
Scattered business records are found for all four galleries and include a Kootz Gallery guest register, address books, corporation and partnership agreements for the Kootz, H-C, HCE, and Sun galleries, insurance policies, and a Kootz Gallery employee file. Both the guest register and address books were also used as general business related notebooks.
Financial material consists of inventory stock books, price lists and sales, checkbook registers, and general expense invoices/receipts for the four galleries. The undated stock books list artists' names, general artwork identification information, and prices. Additional sales information is found in price lists, correspondence, sales notebooks, and checkbook registers. Invoices and receipts also document general operating expenses.
Printed material includes newspaper clippings on the Provincetown art scene and major artists represented by Halper, three exhibition catalogs, and an event calendar from the National Association of Women Artists.
Photographic material consists of prints and slides of the Kootz, H-C, and HCE galleries; black and white and color prints of exhibitions by Harry Botkin, Adolph Gottlieb, Robert Motherwell, and Hans Hofmann; and black and white prints, color slides, and transparencies of select works of art shown at the galleries.
Arrangement note:
The collection is arranged as 6 series:
Missing Title
Series 1: Biographical Material, circa 1953-1970 (Box 1; 1 folder)
Series 2: Correspondence, 1952-1979 (Boxes 1-2; 1.3 linear feet)
Series 3: Business Records, 1953-1970 (Box 2; .7 linear feet)
Series 4: Financial Material, 1953-1970 (Boxes 3-4; 2 linear feet)
Series 5: Printed Material, 1952-1976 (Box 5; 3 folders)
Series 6: Photographic Material, 1953-1969 (Box 5; 11 folders)
Biographical/Historical note:
Nathan Halper (1907-1983) worked in Provincetown, Massachusetts as a contemporary American art dealer, writer, and James Joyce scholar.
Nathan Halper first moved to Provincetown, Massachusetts in 1936 where he met and eventually married his wife, Helen Marjorie Windust Halper. During the late 1940s and early 1950s, their circle of friends included artists, writers, and academics drawn to the Provincetown art colony. Through friendships with Adolph Gottlieb and Fritz Bultman, Halper was introduced to Hans Hofmann, his students, and other abstract expressionist artists.
In 1949, Halper was invited to give a talk on James Joyce at Forum 49, a Provincetown summer lecture series on the future of art organized by Weldon Kees and held in a gallery at 200 Commercial Street. Speakers ranged from Jackson Pollock to poet laureate Howard Nemerov, and the series also presented one of the first major exhibitions of abstract expressionism in America. In 1952, Halper became the treasurer of the Provincetown Art Association (est. 1914), an influential social nexus that connected artists, galleries, patrons, and the public through memberships and annual events.
In 1953, he entered into a partnership with New York art dealer Sam Kootz and helped establish the Kootz Gallery in Provincetown. Their stable initially consisted of abstract expressionists Kootz represented in New York: Robert Motherwell, Hans Hofmann, Adolph Gottlieb, Fritz Bultman, and William Baziotes. Halper and Kootz mutually agreed to dissolve their partnership in 1954 and Halper opened the H-C Gallery with John Murray Cuddihy in 1955. After Cuddihy's departure at the end of the 1956 season, Halper opened the HCE Gallery (1957-1967), a name inspired by Joyce's Finnegan's Wake. In 1962, Halper entered into a one year partnership with Noah Goldowsky to help finance and run the Sun Gallery.
After the dissolution of the Kootz Gallery, Halper continued to represent Motherwell and, for a short time, Gottlieb in the Provincetown area, but quickly added other artists to the HCE stable. Through its relationship with New York dealers, such as Martha Jackson Gallery, Andre Emmerich Gallery, and Waddington Galleries, HCE was able to exhibit and sell works by Milton Avery, Gandy Brodie, Anthony Caro, Edwin Dickinson, Marsden Hartley, Hans Hoffman, Wolf Kahn, William King, Jan Muller, Elie Nadelman, David Smith, Richard Stankiewicz, Tal Streeter, and Anthony Vevers, among others.
Related Archival Materials note:
Also found in the Archives of American Art are the Kootz Gallery records and oral history interviews with Nathan Halper conducted by Dorothy Seckler, July 17, 1963 and by Robert Brown, July 8-August 14, 1980. Columbia University also holds Nathan Halper's papers concerning his literary scholarly work.
Provenance:
The Nathan Halper business records were donated by Nathan Halper in 1979. Additional materials were donated in 1983 and 1984 by his wife Helen Marjorie Windust Halper.
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.
1 Exhibition catalog (includes essays and photographs)
1 Item (exhibition post card, black and white, 11 x 35 cm)
2 Photographs (color, 20 x 25 cm)
Type:
Collection descriptions
Archival materials
Letters
Exhibition catalogs
Photographs
Chromogenic color prints
Correspondence
Place:
China
Canada -- Ontario -- Toronto
Date:
1986-1988
Scope and Contents:
This collection was created and collected by the late Dr. Marcus Jacobson. It consists of materials relating to contemporary Chinese artist Gu Wenda, whom Dr. Jacobson supported in Gu's early days (mid-1980s) by purchasing works and trying to interest fellow US and Canadian academics (Dr. Jacobson was a well-known neuroscientist) in Gu's works. This collection includes an original catalogue of Gu's first exhibition in North America at York University in Toronto to which Marcus contributed. Along with a few other items of similar nature including: correspondence from Gu to Dr. Jacobson, a letter from Dr. Jacobson to his art colleagues, and 2 photographs of Gu.
Arrangement:
Organized by document type: correspondence, notes, catalog, photographs.
Biographical / Historical:
Dr. Marcus Jacobson biographical note
Local Numbers:
FSA A2009.05
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Dr. Marcus Jacobson Papers of 20th Century Contemporary Artist Gu Wenda. FSA.A2009.05. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A2009.05
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Photographs taken by Alixa Naff between 1957 and the early 1970s on trips to England, Europe, the Mediterranean, and the Middle East, and open reel audio tapes of interviews regarding Syrian-Lebanese folklore that Naff conducted in 1965 in the Lebanese Village of Rashaya al-Wadi. Comprising this collection are images of cities, structures, art, people, activities, and scenery, and two folders of Dr. Naff's notes relating to the recorded interviews. Photographic formats include 35mm slides, black and white prints, and 35mm negatives. Naff annotated many of the slide mounts or verso of prints with descriptions and identifications.
Biographical Note:
Alixa Naff began collecting Arab folklore in 1962 when she visited 16 communities in the U.S. and eastern Canada. After earning her MA and PhD, she taught at California State University, Chico, and at the University of Colorado, Boulder. Naff left academia in 1977 to research and collect material relating to the Arab immigrant experience (particularly Syrian and Lebanese immigrants from the turn of the 20th century). In 1984, with prompting from Richard Ahlborn, curator of the Smithsonian Institution Community Life Division (now the Department of Cultural Affairs), Naff donated her collection of Arab immigrant material. Naff eventually became the archivist of the "Faris and Yamna Naff Arab American Collection", named in honor of her parents, at National Museum of American History Archives Center.
Local Call Number(s):
NAA Photo Lot 2011-02
Location of Other Archival Materials:
One reel of 8mm film of Zahle, Lebanon was donated with this collection. It has been relocated to the Human Studies Film Archives.
Archives Center, National Museum of American History holds the Faris and Yamna Naff Arab American Collection and several other Naff accessions.
The National Anthropological Archives also holds a 1950 map of Cairo donated by Alixa Naff (MS 7449).
Restrictions:
Negatives are not available for viewing. Some restrictions on open reel audio tapes.
Photo Lot 2011-02, Alixa Naff photographs of Europe, the Middle East and the Mediterranean and audio tapes on Mediterranean folklore, National Anthropological Archives, Smithsonian Institution.
