The chief thing is to have a soul that loves the truth and harbors it where it finds it. And another thing: the truth requires constant repetition, because error is being preached about us all the time, and not only by isolated individuals but by the masses. In newspapers and encyclopedias, in schools and universities, everywhere error rides high and basks in the consciousness of having the majority on its side.--Goethe on truth and error, Conversations with Eckermann, 1828. From the series G...
Artist:
Leon Kelly, born Perpignan, France 1901-died Loveladies Harbor, NJ 1982 Search this
If there be a country which cannot stand any one of these tests--a country where knowledge cannot be diffused without perils of mob law and statute law; where speech is not free; where the post office is violated, mail bags opened, and letters tampered with; where public debts and private debts outside of the state are repudiated; where liberty is attacked in the primary institution of social life; where the laborer is not secured in the earnings of his own hand; where suffrage is not free or...
Artist:
Herbert Bayer, born Haag, Austria 1900-died Montecito, CA 1985 Search this
Text on verso describes types of lawn tennis courts, rules for balls, etc., and advertises Lawn Tennis Guide. In Sports, box 5, folder 3 - Spalding.
Local Numbers:
AC0060-0001074.tif (AC scan no.)
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Warshaw Collection of Business Americana Subject Categories: Sports, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
The bulk of the collection comprises portraits of American political figures, including Ulysses S. Grant, John Russell Young, and John A. Halderman. The collection also includes a photomechanical reproduction of Hermann Kretzschmer's painting, "Patience," depicting a boy holding yarn for an old woman spinning, with two boys calling from doorway. This print may have hung in John A. Halderman's office or residence during his service as United States minister to Siam (Thailand).
Biographical/Historical note:
Collector John A. Halderman (1833?-1908) was a lawyer in Kentucky and a member of the Kansas House of Representatives and Senate. In 1880 he was appointed Consul at Bangkok, later Consul-General. In 1883, he was the first U.S. Minister to Siam, where he was decorated as Knight Commander of the Order of the White Elephant, and later Commander of the Royal Order of Cambodia. He resigned in 1885 and returned to Leavenworth, Kansas.
Local Call Number(s):
NAA Photo Lot 164, USNM ACC 27737
Location of Other Archival Materials:
This collection has been relocated from Photo Lot 82-3 and Photo Lot 125.
Additional photographs collected by Halderman can be found in the National Anthropological Archives in Photo Lot 97.
objects donated by Halderman can be found in the Department of Anthropology in accession 27737.
Photo lot 164, John A. Halderman photograph collection relating to political figures and a Hermann Kretzchmer painting, National Anthropological Archives, Smithsonian Institution.
Print advertisements covering almost the entire history of Ivory Soap, including advertisements designed by artists including Jesse Wilcox Smith, Elizabeth Shippen Green, and J. C. Leyendecker.
Scope and Contents:
The collection consists of print advertising and publications covering almost the entire history of Ivory Soap.
Researchers may use this collection to examine the evolution of advertising strategies and techniques from the very early days of mass-produced brand-name consumer products to the present. From the beginning, Ivory advertisements proclaimed the product's "99 and 44/100%" purity, its ability to float, and its versatility. The collection, however, is much more than a glimpse into advertising history. It is an extremely rich resource for a wide range of cultural studies. Ivory advertising was primarily aimed at women, and it contains many images of women, babies, and young children. The depictions reflect contemporary attitudes toward class structure, race, immigrants and residents of other countries, cleanliness, and domestic relationships. The advertisements often play upon the guilt of women, suggesting that their main concerns should be their husbands, children, and dishpan hands. Many advertisements associate cleanliness with social and religious propriety, physical fitness, and athleticism. There also are many images of men and women performing every-day tasks in gender-defined situations.
Arrangement:
The collection is arranged into two series.
Series 1: Ivory Soap Products Advertisements, 1883-1998, undated
Series 2: Publications, 1883-1969, undated
Biographical / Historical:
In 1837, candle maker William Procter and soap maker James Gamble formed a partnership in Cincinnati, Ohio, to sell their products. The new company prospered, and by 1859 Procter & Gamble sales reached one million dollars. Contracts with the United States Army during the Civil War to supply soap and candles increased Procter & Gamble's customer base and reputation. In 1879, James Norris Gamble, son of the founder, developed an inexpensive pure white soap. A factory worker who forgot to shut off the soap-making machine when he left for lunch inadvertently improved the product. When he returned, the soap mixture was frothy due to the air that had been whipped into it, and the resulting soap cakes floated in water. There was immediate demand for the "floating soap." After considering many names for the new product, Harley Procter, son of the founder, finally named the soap "Ivory" after Psalms 45:8: "All thy garments smell of myrrh and aloes and cassia, out of the ivory palaces whereby they have made thee glad." Chemical analyses of the soap in 1882 revealed that 56/100 of the ingredients were not pure soap. Harley Procter subtracted that amount from one hundred and the slogan "99 and 44/100% pure" was born. The first ads appeared in 1882 in The Independent, a weekly newspaper.
Innovations in production, distribution, and market research contributed to Procter & Gamble's success. Procter & Gamble also developed other products such as Ivory Flakes, Chipso (the first dishwasher soap), and Crisco. By 1945, Procter & Gamble had become a nearly $350 million company. The company also was an innovator in advertising, developing creative print advertisements aimed at different target groups, sponsoring radio shows and comic strips, and airing its first television commercial (for Ivory Soap) during the first televised major league baseball game. Procter & Gamble is now a global company, selling more than 250 products, including Ivory Soap, to five billion customers in 130 countries.
Related Materials:
Several collections in the Archives Center have materials relating to Ivory Soap. The J. Walter Wilkinson Papers contain art he created for Ivory Soap advertisements. The Ivory Soap 1940 Essay Contest Collection consists of documents relating to the contest and its winner, Helen Nixon. The Procter & Gamble Product Packaging Collection, 1940s-1970s, includes Ivory brand products. The Warshaw Collection of Business Americana's "Soap" subject category contains documents relating to Procter & Gamble and other manufacturers. About twenty-five per cent of the advertisements in this collection are reproduced in the Archives Center's digital image library.
Separated Materials:
Artifacts donated to the Division of Medicine and Science.
Provenance:
Procter & Gamble donated this collection to the Archives Center, National Museum of American History, Smithsonian Institution on October 24, 2001.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Incl. interior of the Oriental Tea Co. store, Boston, by W.H. Getchell; Weston & Hill Dry Goods (photog. unident.); 103 views of Sears, Roebuck & Co. (1 complete boxed set of fifty views with original box (box in poor condition) and 1 another nearly complete set from the series "A Trip through Sears & Roebuck & Co.", all halftone photomechanical reproductions); interior, Thayer & Lamberton's Drug Store, Saratoga, N.Y.; A. T. Stewart's Retail Store and Grace Church, New York City; and an unidentified street showing a hardware store.
Restrictions:
Unrestricted research use. Photographs must be handled with white cotton gloves, unless protected by plastic sleeves.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Lloyd A. Strickland purchased these souvenir cards while attending the 1936 Olympic games in Berlin, Germany.
Scope and Contents:
This collection consists of 149 photomechanical reproductions of scenes and events from the 1936 Berlin Olympics. The scenes are not only of the competition, but include opening and closing ceremonies, officials, crowd scenes, candid shots of the athletes while not competing, medal ceremonies, scoreboards, artworks, and close-ups of Olympic medals. Adolf Hitler appears in three of the souvenir cards. Athletes are pictured on the cards with printed captions. Some of the athletes pictured include Jesse Owens, and Kitei Son [i.e., Son Gi-jeong of Korea]. *
All but seven of the souvenir cards are 3 x 4-1/ 2", while the remainder are 4-1/ 2 x 6-1/ 2". The souvenir cards are part of a set, as they are numbered on the reverse up to the number 200 (not all numbers are present). The printed inscriptions on the reverse sides indicate that this is a follow-up set to another set from the 1936 Winter Olympics in Garmisch. Each card also has a printed caption on the reverse, in German. Also included are two postcards of hotels: Hotel Bender and Niederbreisig, which have no clear connection to the Berlin Olympics.
The two albums, Die Olympischen Spiele 1936 in Berlin und Garmisch-Partenkirchen document the Olympic games through text and photographs of events and athletes. Both albums are in German.
* Note: When Korea was occupied by Japan (1910-1945), Son Gi-jeong competed for the Japanese in the 1936 summer Olympics, but was forced to use the Japanese name "Kitei Son," and this incorrect name was the one printed on the card.
Arrangement:
This collection is organized into two series.
Series 1, Olympics Souvenir Cards, 1936
Series 2, Olympics Souvenir Albums, 1936
Biographical / Historical:
In 1931 the city of Berlin was awarded the summer Olympic games for 1936. The 1936 games (the 11 th Olympiad) featured athletes from 49 countries and some 4,000 athletes participated in 148 events. The games were memorable for many reasons, including the beginning of the tradition of the torch relay, advances in media coverage, and the introduction of canoeing and basketball as Olympic sports. But in particular, they are remembered for the politically charged atmosphere in which they took place, with World War II in Europe just three years away. With Adolf Hitler's election in 1933 and the Nazi Party's rise to power, the games were seen by those in power in Germany as a means to advance the Party's ideologies. As events unfolded and information spread about the persecution of Jews and others by the Nazis, there were more and more demands upon the International Olympic Committee to remove the games from Germany. These efforts did not succeed, and the German government went on to spend huge amounts of money to make the games successful. The Reich Sports Field, a new sports complex built for the summer games, was draped in Nazi regalia for the games. The success of a number of black athletes, notably American track and field star Jesse Owens, was a blow to the notions of "Aryan supremacy" touted by Hitler and the Nazis. The games proceeded to their conclusion without incident. The souvenir cards in this collection provide a cross-section of images of the games of the 11 th Olympiad.
Mr. Strickland had the souvenir cards in his possession for over 60 years.
Provenance:
This collection was donated to the Archives Center, by Lloyd A. Strickland in 2000.
Restrictions:
The collection is open for research use.
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 collection includes Arthur d'Arazien's professional work in industrial photography from the late 1940's through about 1981; personal creative photography and other types of professional work were retained by Mr. d'Arazien or placed elsewhere. Thus this collection is a very cohesive, unified body of work, which documents primarily American (and some Canadian) business and industry during a period of expansion a golden age of American industry. Although it represents the photographer's creative and artistic style and skill, the subject matter is appropriate to the National Museum of American History from several viewpoints the visual documentation of industry and technology, as well as advertising, public relations, and business history.
The photographs include black and white negatives and prints from the negatives, as well as color negative and transparency materials, up to 8" x 10" in size. Probably the majority of the transparencies were made in the large size. The black and white materials include pictures of d'Arazien at work some made by famous Life magazine photographer Alfred Eisenstaedt, a colleague at the Famous Photographers School. A number of Dye Transfer prints mounted on illustration board were made by master color printer Don Browning.
In addition to frequently extensive caption information on all of d'Araziens original envelopes and enclosures, many enclosures for color negatives and transparencies bear d'Arazien labels with technical information or instructions for color printing, such as filter pack designations and local printing controls. These enclosures therefore have been retained in the collection, although usually they are not of archival quality.
Of secondary significance are 62 large color prints, mostly Type C, with a few Cibachromes, which were made from the original transparencies for exhibition purposes. Most were made either by K & L laboratories, New York City (stickers on back) or Eastman Kodak professional laboratories, Rochester, N.Y., and have been wet mounted to non archival Masonite. At the time of acquisition, several had faded and/or changed color. These are available for research and exhibition purposes, but are not expected to survive as long as the original transparencies.
The collection contains Mr. d'Arazien's files of printed materials. These include reproductions which indicate how his photographs were used by clients. Included are annual reports, promotional pieces, magazine tearsheets from advertising and editorial uses, and other biographical items.
Series 1: Professional industrial photographs.
Photographs document primarily American business and industry (including some taken in Canada). Black-and-white negatives with prints from these negatives, also color negative and transparency materials. Most transparencies are 8" x 10". The photographs demonstrate the photographer's reputation as a master of dramatic lighting and the coordination of large-scale, complex industrial setups in factories, steel mills, and even outdoor settings. Also 65 color prints, mostly Type C with a few Cibachromes, made from the original transparencies for exhibition purposes, mostly wet-mounted to Masonite. Black-and-white photographs include pictures of d'Arazien at work--some by Life magazine photographer Alfred Eisenstaedt.
Series 2: D'Arazien's files of printed materials, some of which include photomechanical reproductions of his work, indicating how the photographs were used by clients; also annual reports, magazine tearsheets from advertising and editorial uses, and other promotional items, in addition to biographical materials.
2007 addendum: Transparencies, slides, prints and negatives of additional photographs by Arthur d'Arazien, including industrial subjects as well as travel, architectural, agricultural, portrait, art, still life and personal photographs. Also included are miscellaneous papers, mostly relating to d'Arazien's photographic work.
Arrangement:
The collection is divided into three series.
Series 1: Paper Documents
Subseries 1.1: Publications and Reproductions.
Subseries 1.2: Photographer's Labels, Envelopes, Etc.
Series 2: Photographs
Subseries 2.1: Color Phototransparencies
Subseries 2.2: Color Photonegatives and Color Photoprints
Subseries 2.3: Black and White Photonegatives and Photoprints
Subseries 2.4: Color Photoprints: Enlargements Mounted on Masonite
Material is arranged in each sub-series primarily by client names, in alphabetical order.
Series 3: Oversize prints
Biographical / Historical:
Arthur d'Arazien began his photographic career as an assistant to a famous theatrical photographer, documenting Broadway shows. A distinctive emphasis on dramatic lighting in his later work suggests the heavy influence of the theater. He did fashion and commercial photography, as well as photographing the 1939 World's Fair, for Underwood & Underwood Illustration Studios, East 44th St., New York City, in 1938 1939. He was described in a U.S. Camera Annual article as Aan architect whose interest in photography has caused him to make a profession of it.
D'Arazien taught aerial photography for the U.S. Air Corps Technical Training Command at Lowry Field, Denver, during World War II. He began his career in industrial photography with the De Laval Separator Company, New York City. His energy and creativity led to assignments which often were judged too difficult for lesser photographers. His growing reputation as an industrial photographer kept pace with the dynamic growth of the industrial and technological activities he was photographing during the 1950s through the 1980s.
Robert Vogel, former Curator of Mechanical and Civil Engineering for the National Museum of American History, wrote that d'Arazien:
...became internationally known for his dramatic color views of the American industrial scene at a time when our industry can be said to have been at the height of its powers....He was commissioned by the giants of steel, paper, chemicals, machinery, transportation, automobiles, mining, metal refining, textiles, and the other heavy (and medium) industries. ...He developed a number of special techniques for obtaining the grand, sweeping views that became his trademark, including multiple exposures to achieve dramatic lighting effects, elaborate lighting setups involving multiple flashes from several vantages employing a number of assistants intercommunicating by radio, complex arrangements with transportation lines and the various departments of the subject organization to produce the desired juxtaposition of elements in the photograph, and the like. His MO was anything but that of simply walking onto the scene and snapping the shutter; for many of his breathtaking views he appears to have been more producer and impresario than photographer.
Arthur d'Arazien describes the growth of his spectacular style as an eager response to new subjects, challenges, and photographic materials:
...knowing that color was the coming thing in corporate advertising, I pursued that line. I did lots of experimenting; every assignment gave me an opportunity to try something new, such as combination day and night exposures on a single sheet of film, multiple flash bulbs to light large interiors, multiple exposures on the same film, such as...moving objects ...automobiles, trains...to build up excitement in a picture. Colored gels to change colors. I even used old fashioned flash powder to light ...steel mills, because there were no flashbulbs powerful enough to light these dark, cavernous interiors: this idea was borrowed from the Air Corps night time aerial photography with magnesium flash powder.
A skilled painter and metal sculptor as well as photographer, d'Arazien came from a family of artists. His photographs were made primarily on assignment from industrial corporations for advertising, editorial, and public relations purposes, but have been exhibited and collected as works of art in the Smithsonian Institution (Division of Photographic History), the Metropolitan Museum of Art, and the Cleveland Museum. His work was included in the Photography in the Fine Arts exhibitions organized by Ivan Dimitri, and he was a founding faculty member of the Famous Photographers School, Westport, Connecticut, in the early 1960's.
D'Arazien married Margaret Scott and has two sons. He had a studio in Waterside Plaza, New York, and made his home in New Canaan, Connecticut, until moving to Naples, Florida, upon his retirement in 1988. The collection was brought to the Smithsonian's attention by his son Steven, and was donated to the Archives Center before this move. In anticipation of this gift, Mr. d'Arazien spent several months inspecting his collection, eliminating duplicate and technically unsuccessful images, and captioning photographs.
Sources
American Aces, U.S. Camera Annual 1939. Clipping in scrapbook no. 1, box 24, first page.
Robert M. Vogel, memorandum, undated, but written after a December 1987 visit to d'[Arazien's home.
In Archives Center collection control file.
Letter to the author, 26 February 1992, in collection control file.
Provenance:
Collection donated by Arthur d'Arazien, December 24, 1988.
Restrictions:
Collection is open for research but the majority of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Industry -- Photographs -- 1940-1980 -- Canada Search this
Industry -- Photographs -- 1940-1980 -- United States Search this
Library of Congress -- 1900-1910 -- Washington (D.C.) Search this
Lincoln Memorial (Washington, D.C.) -- 1900-1910 Search this
Parrot, The (restaurant) -- ca. 1906 -- Washington (D.C.) Search this
Extent:
1 Folder
Type:
Collection descriptions
Archival materials
Postcards
Picture postcards
Photolithographs
Photomechanical prints
Reproductions
Date:
circa 1906
Scope and Contents:
Three picture postcards of Washington, D.C., one postmarked 1906; all are photomechanical reproductions of photographs: two color photolithographs of: (1) the Library of Congress (printed in Germany, addressed, with Christmas greeting, postmarked 1906); (2) the Lincoln Memorial (publ. Washington News Co., copyright C.O. Buckingham, no message, unmailed); and (3) a black-and-white advertising postcard of a restaurant interior ("The Parrot", no message, unmailed).
Arrangement:
Collection is unarranged.
HIstorical Note:
"Picture postcards became the medium of choice for informal correspondence shortly after their introduction in the first decade of the twentieth century. Many postcards were engraved, lithographed, or otherwise mass produced.... Taken as a whole, postcards provide us with the most complete pictorial record of life in early twentieth century America...."*
The history of commercial photomechanical postcard publishing is treated in references such as: Range, Thomas E. The Book of Postcard Collecting. New York: Dutton, 1980.
Provenance:
Collection donated by North Carolina Museum of History, through Allen R. Hoilman, Collections Assistant in 1988 and 1989.
Restrictions:
Collection is open for research.
Rights:
Probably public domain due to copyright expiration. Fees for commercial use.
Topic:
Buildings -- 1900-1910 -- Washington (D.C.) Search this
Belden & Company (45 Clinton Street, Newark, N.J.) Search this
Extent:
1 Item (in loose-leaf album, Ink on paper, mounted on paper, then mounted on another sheet of paper, punched for loose-leaf binder., 6.6" x 8.9")
Container:
Box 37
Type:
Archival materials
Photomechanical reproductions
Date:
circa 1917
Scope and Contents:
Front view, with description and history of building printed on mount under picture. No stamp on verso. Photographer unidentified.
Local Numbers:
AC0214-0000013 (AC Scan No.)
2000-11263 (OIPP Scan)
Restrictions:
Unrestricted research use by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
