The collection consists largely of print ads, signs, decals and other marketing and promotional materials. Virtually all of the print ads are for the U.S. audience. The period since World War II is more fully documented than the earlier period, although there are some advertisements from the 1930s and earlier. Most of the material documents Pepsi's U.S. advertising, although there are a number of signs and three-dimensional promotional items created for the international market. The international materials date primarily to the late 1960s and 1970s. The materials have been arranged in two series.
Series 1 contains print ads.
Series 2 contains three-dimensional marketing and promotional materials, such as signs, bottle carriers, and thermometers. Within each series, materials have been grouped by size, and there under chronologically (when dates are available).
Related Materials:
This collection complements the "Pepsi Generation" Oral History and Documentation Collection, #111, which includes 29 oral history interviews with people involved with the creation of Pepsi-Cola advertising, television advertisements and related materials.
Researchers interested in the advertising of Pepsi and other soft drinks and beverages should see the Pepsi Generation Oral History Collection (AC #111). The Warshaw Collection of Business Americana (AC #60) contains soft-drink advertising under the subject heading "Beverages." The N. W. Ayer Advertising Agency Collection (AC #59) is arranged by client name and includes beverage advertising for several clients, including Hires and Canada Dry.
Provenance:
Collection donated by Pepsi-Cola USA, May 4, 1984.
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.
Collection of the Smithsonian National Museum of African American History and Culture, Gift from Mae Reeves and her children, Donna Limerick and William Mincey, Jr.
Fisher, Bruce & Company, importers of china, earthenware, and glassware, were located on Market Street, Philadelphia. The collection contains catalog pages and price lists for china, earthenware, and glassware imported from Belgium, Britain, France, and Italy, and some American ceramics.
Scope and Contents:
This collection primarily contains catalog pages and pricelists for china, earthenware, and glassware imported from Belgium, Britain, France, and Italy, as well as some American ceramics. The catalog pages consist of color photographs of numbered ceramic items; the pricelists are separate pages keyed to the same numbers. These records, which date from 1939 1940, are arranged in separate folders by nationality.
The Belgian material consists of one catalog page of glassware. The British catalog pages depict Aynsley bone china (breakfast and tea sets), Grimwades earthenware, and "Toby" mugs of U.S. General McArthur and British General Wavell. The French catalog pages show "Quimper" design faience as well as other china and earthenware pieces. The Italian ceramics are primarily earthenware breakfast sets, bowls, baskets, vases, and donkey figures. There is also some Venetian glassware. The U.S. catalog pages show china breakfast sets and other tableware.
In addition, a photoprint in the collection shows the firm's building, ca. 1920s; a second photoprint shows a 1920s display of Pyrex ovenware in one of the building's display windows.
Biographical / Historical:
Fisher, Bruce & Company, importers of china, earthenware, and glassware, were located on Market Street in Philadelphia. The firm dates back at least to the year 1880, when it was known as Atherholt, Fisher & Company, and was located at 519 Market Street. The principals in the firm were Thomas C. Atherholt, Samuel Fisher, and his son, Joseph G. A. Fisher. By 1885 the company's name had changed to Fisher, Son & Company. By 1889, after the addition of George H. Ruth to the firm, its name had changed to Fisher, Son & Ruth. The following year, probably following the death of Samuel Fisher, Worthington Bruce joined the firm, and its name was changed to Fisher, Bruce & Company. In the same year the firm relocated to 221 Market Street.
The company continued to prosper in its Market Street location, which extended back to Church Street. By 1930, the adjoining building at 219 Market Street was purchased. The ground floors of numbers 219 221 were used as a showroom and the company's offices were located upstairs. The company stayed in the Fisher family's hands for the remainder of its existence, with E. Monroe Fisher as President of the firm beginning in 1930. In the 1970s the company was sold and the business relocated to New Jersey.
Provenance:
These records were donated to the Division of Domestic Life in February 1990 by Mr. Carl Gatter. His father, Herman L. Gatter, had been employed by Fisher, Bruce, for many years. The records were transferred to the Archives Center in March 1990.
Restrictions:
Unrestricted research use on site by appointment.
Probable copyright 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.
The records of the Asian American Foodways Project document the planning, execution and outcome of the Anacostia Community Museum's effort to collect community-informed evidence of Chinese American, Korean American and Vietnamese American food businesses, practices and traditions in the Washington, DC metropolitan region. The project was carried out between August 2020 and December 2022 and involved photo-documentation, interviews, collecting, and description by community curators. Materials include photographs, interviews, video, advertisements, menus, recipes and other ephemera. The project received Federal support from the Smithsonian's Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.
Scope and Contents:
The records of the Asian American Foodways Project encompass hundreds of photographs, some 40 audio interviews, and 2.05 linear feet and 27.4 GB of field-collected materials including recipes and cookbooks, restaurant menus, supermarket flyers, and other ephemera. The bulk of the material dates from 2020 to 2022, with some photographs and ephemera dating to the late 2010s.
The collection was developed in close consultation with the project's community-based scholars. The series are arranged according to types of businesses or organizations (e.g. eating & dining) or types of activities (e.g. festivals & events), and reflect a desire to convey the curatorial underpinnings of the project while also facilitating public access and understanding. Subseries correspond to specific individuals, organizations, places, or events. All photographs and interviews were described or captioned by the scholars.
Materials documenting neighborhoods with Asian American businesses include photographs of urban landscapes and food businesses, from individually-owned institutions to franchises of popular chains from East Asia. Photographs also depict food products for sale in markets and shopping centers.
Asian American producers and distributors are documented with photographs and interviews that provide insights on farming, supply chains, kitchen equipment, cottage food producers, catering and meal delivery services.
Asian American supermarkets and convenience stores are documented with photographs, interviews, and supermarket flyers. The materials document both Asian- or ethnic-focused markets and small stores in neighborhoods with a smaller Asian presence.
The eating and dining series consists of photographs, interviews and menus that document Asian American food services including new and legacy restaurants; take-out or carry-out businesses; and food delivery services. Menus provide a record of local tastes, culinary offerings, imagery, and prices, as well as insight into business models and locations.
Festivals and events held in the Washington, DC region are documented with photographs, interviews, short videos, and programs or flyers. These include community festivals, sponsored events that promote Asian American food and culinary traditions, and public celebrations of significant Asian American holidays such as Lunar New Year and Mid-Autumn Festival.
The work of Korean American artists is documented via photographs and interviews. Another series focuses on recipes and cookbooks developed, compiled, transcribed or commemorated by Asian American home cooks. Materials include photographs, interviews, recipes and cookbooks.
Project files contain background research, planning documents, internal and external correspondence, reports, newspaper articles, and working photos of the community curators.
Arrangement:
The Asian American Foodways Project Records collection is arranged into 8 series which were conceived in close consultation with the project's community-based scholars. The series are arranged according to types of businesses or organizations (e.g. eating & dining) or types of activities (e.g. festivals & events). Subseries correspond to specific individuals, organizations, places, or events.
Series 1: Neighborhoods with Asian American food businesses, 2021-2022
Series 2: Producers and distributors, 2021
Series 3: Supermarkets and convenience stores, 2020-2022
Series 4: Eating and dining, 2020-2022
Series 5: Festivals and events, 2021
Series 6: Artists and creators, 2021
Series 7: Recipes and cookbooks, 2021-2022
Series 8: Project files, 2020-2022
Historical:
The Asian American Foodways Project was developed by the Anacostia Community Museum's Collections & Research department in collaboration with food scholars Jung Min (Kevin) Kim and Anh Hong Duong, who acted as community curators. The project launched in August 2020 and continued until December 2022, with the goal to document Asian American culinary traditions, food businesses and foodways that are a mainstay of the Washington, DC metropolitan area's food landscape. The project focused specifically on the local Chinese American, Korean American and Vietnamese American communities, and happened in parallel with the development of the museum's exhibition Food for the People: Eating and Activism in Greater Washington (April 17, 2021-September 17, 2022).
Topics addressed in the project include Asian American contributions to the food landscape in the DC-Maryland-Virginia (DMV) region, from farming and food production to supermarkets and other points of sale, as well as food preparation and dining, including restaurants, cafes, catering and take-out. A range of businesses are documented, and a theme that emerges is urban development and demographic change, with providers opening or relocating in neighborhoods with large Asian American populations, or adapting and diversifying offerings to cater to a broader clientele. Documentation covers public spaces and businesses in traditionally Asian American enclaves such as Wheaton, Maryland; Annandale, Virginia; the Chinatown neighborhood of Washington, DC; Union Market in Washington, DC; and the Eden Center shopping complex in Falls Church, Virginia.
Another topic is the way food touches on the everyday lives of Asian Americans in the Washington, DC region. Collecting was guided by themes including tradition, exchange, innovation, hybridity, resistance, resilience, and social justice. The collection documents ways in which local Chinese American, Korean American and Vietnamese American communities have preserved and/or adapted dishes, recipes, and practices. An area of focus is the range of ingredients sold in ethnic markets and supermarkets, specialty products available from small businesses, and seasonal and holiday foods produced or sold locally. Local Asian American cuisine is documented in restaurant menus, photographs, and interviews with food business owners from restaurateurs to take-out and food-delivery operators.
The role of food and meals in facilitating social and cultural connections among Chinese American, Korean American and Vietnamese American communities is documented. Some legacy dining institutions double as popular meeting spots for civic and social groups, and church cookbooks share the congregation's recipes. Documentation also covers the celebration of traditional holidays such as Lunar New Year and Mid-Autumn Festival, when many Asian American businesses increase sales of traditional foods, and Asian American communities gather and celebrate their common heritage. Also documented are several Korean American artists whose work connects to food and foodways.
The project enabled community-informed documentation of Asian American food traditions and foodways. Museum staff worked closely with food scholars Jung Min (Kevin) Kim (Korean American) and Anh Hong Duong (Vietnamese American) to develop collecting priorities, identify content, and describe collected materials. The scholars leaned on their academic expertise and intimate knowledge of the cultures and communities involved. They led outreach and communication with individuals, businesses and organizations, identified and acquired relevant photographs and materials, conducted interviews, and in collaboration with museum staff, developed rich descriptions of the materials.
The project was affected by the COVID 19 pandemic, which curtailed opportunities for in-person engagement, cancelled cultural events, and caused some businesses to pivot, downsize or close. The pandemic was also associated with a rise in anti-Asian rhetoric and violence nationwide, which influenced this project and its participants.
The project team, including Jung Min (Kevin) Kim, Anh Hong Duong, and the museum's collections manager Miriam Doutriaux, expresses its gratitude to the many people who contributed to making this project a success—prime among them, the participants who generously shared their time, knowledge and insights, and consented to their activities and businesses being documented. The museum's archivist, Jennifer Morris, contributed significantly to shaping, arranging, and describing the collection, and registrar Grant Czubinski facilitated acquisitions. Curator Samir Meghelli served as an advisor on the project and archivist Christina Meninger supported cataloguing.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Asian American Foodways Project Records, Anacostia Community Museum, Smithsonian Institution.
Sponsor:
This Asian Pacific American Foodways Project received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Jacob Rabinow Papers, 1947-1990, Archives Center, National Museum of American History.
The collection documents the Fuller Brush Company founded by Alfred C. Fuller in 1906.
Content Description:
The collection documents the Fuller Brush Company from the early years of its existence. The contents include photographs; ledgers; correspondence; internal reports; manufacturing facility studies; quality control reports; financial statements; sales data; company newsletters, some loose and some in bound form; other internal publications; advertising; trade literature; product manuals; catalogs; training manuals and employee handbooks; company annual reports; convention programs and materials; films; materials relating to employee incentives; vinyl records of radio broadcasts; scripts, pressbooks, and other promotional material for motion pictures; informational audio-cassete tapes; contracts, trial testimonies, and other legal papers; industry surveys and marketing campaign proposals; and clippings and printed materials.
Arrangement:
Collection is arranged into thirteen series. Unless otherwise noted, material is arranged chronologically.
Series 1: Historical background, 1916-2001
Series 2: Corporate records, 1917-2010 (bulk 1973-1976)
Series 3: Marketing, 1941-2013
Series 4: Operational records, 1913-1976 (bulk 1969-1976)
Series 5: Financial materials, 1919-1996
Series 6: Personnel, 1922-1984
Series 7: Sales managers, 1922-1990
Series 8: Distributors, 1921-2006
Series 9: Publications, 1920-1999
Series 10: Product materials, 1912-2017
Series 11: Photographs, circa 1890-2000
Series 12: Press Clippings and Publicity, 1921-2010
Series 13: The Fuller Brush Man and The Fuller Brush Girl, 1947-1953, 2004 (bulk 1947-1952).
Historical:
Founded in 1906 by Alfred C. Fuller in Hartford, Connecticut, the Fuller Brush Company predominately sold a wide range of cleaning products, marketed for personal care, housekeeping, and commercial users. Mostly a direct-selling company, it is perhaps best known for its independent, door-to-door salesmen, a figure referred to in popular culture as "the Fuller Brush Man." Calling on the housewives of America, the Fuller Brush Man would visit households with a gift, flyers, and a case full of samples, with which he would demonstrate the use of cleaning implements of various shapes and sizes. Through techniques such as developing new products based on customer feedback, and providing a satisfaction guarantee by allowing for product returns during the Fuller Brush Man's next visit, the Fuller Brush Company inspired new levels of trust and credibility in direct selling. In return, the company reaped massive profits. During the peak of the company's popularity, in around the 1950s, the Fuller Brush Man was a ubiquitous part of the American landscape, alluded to in comic strips, radio programs, and popular films, such as the 1948 Red Skelton comedy The Fuller Brush Man and the 1950 comedy The Fuller Brush Girl, starring Lucille Ball.
The Fuller Brush Company continually used its resources to promote and establish the identity of the Fuller Brush Man, to its own salespeople as well as the public. Traditional print advertisements were supplemented with extensive publicity coverage, carefully crafted by the Fuller Brush Company's advertising and public relations team. The company fostered a culture of achievable aspiration among new recruits, through in-house publications, which celebrated the accomplishments of fellow dealers, incentive programs, and a career ladder pipeline, which allowed high achieving salesmen to advance from independent dealers to regional sales managers--who were considered formal employees of the Fuller Brush Company. Some sales managers became local celebrities in their districts, adding their own charisma to the development of the Fuller Brush Man--such as New York District's Al Teetsel--whose "Fine and Dandy" personal motto established a cult following. Other Fuller Brush Company salesmen used the Fuller Brush Man's distinctive optimism, pluck, and perseverance to later become celebrities in their own right, such as evangelist Billy Graham, who attributed his high school days as a successful Fuller Brush Man to his future success.
While the Fuller Brush Company is best known for its door-to-door network of Fuller Brush Men, and its household products division, the company experimented with various channels of distribution and other specialized products during its over 100-year history. The Fuller Brush Company produced implements to clean guns during World War II, and in 1945 was honored with the E Award for its war effort contributions. In the 1940s, the Fuller Brush Company introduced female salespeople, or "Fullerettes" to their door-to-door ranks (mostly to promote their Debutante Cosmetics line, released by Daggett & Ramsdell, Inc. in 1948). The company returned to actively recruiting Fullerettes in 1966, and thereafter welcomed distributors of either sex. The company's Machine Division produced the mast for the sailboat "Columbia" in 1958, and in the 1960s, its Marine Division produced items for the maintenance of nautical equipment. Around the 1960s, its Household Division incorporated new items such as vitamins and hormone treatments into its personal care product line. The company experimented with retail brick-and-mortar locations, and, in 1974, instigated a telemarketing program. After 1985, the Fuller Brush Company began to move away from door-to-door sales techniques, redeveloping its sale channel distribution system to include mail order catalogs, a secure sales website for distributors, network-marketing techniques, and a reinterpretation of sales territories for distributors where district territories began to blur in favor of nationwide sales opportunities.
Founded in Hartford, Connecticut, the company remained in the region through the 1960s, though the company shifted locations to larger offices and manufacturing facilities as it grew. In 1960, operational facilities and headquarters moved to a large, custom-built campus in East Hartford, Connecticut. However, in 1968, the company was acquired by the Kitchens of Sara Lee, Inc. (then a part of the Consolidated Foods Corporation). During the 1970s the Fuller Brush Company experienced rapid changes in administration and organization. Under President Nat Zivin, headquarters relocated to Niles, Illinois in 1973. Later the same year, headquarters and operations moved to a large manufacturing facility in Great Bend, Kansas. The company remained a division of Sara Lee until 1989.
The Fuller Brush Company grew to involve multiple subsidiaries, including many that were international. The Fuller Brush Company established a wholly-owned Canadian subsidiary in 1921, called the Fuller Brush Company, Limited. In 1942, the Fuller Brush Company bought out a competitor, the Albany, New York-based Mohawk Brush Company. The "bristlecomb" hairbrush, introduced by the Mohawk Brush Company in 1928, remained one of the Fuller Brush Company's signature products. In 1961, the Fuller Brush Company founded and incorporated Charter Supply Corporation as a wholly-owned Mohawk subsidiary. Charter Products operated as a "private label" division, to rebrand duplicate products. The Fuller Brush Company also owned subsidiaries in Mexico; in 1968, the Fuller Brush Company held 100% interest in House of Fuller, S.A. and Charter de Mexico, S.A., both established in Mexico. Also in 1968, the Fuller Brush Company was a partial owner of House of Fuller (Jamaica), Ltd. The Fuller Brush Company conducted business around the world, including dealings in England, France, Jamaica, Trinidad, Puerto Rico, Spain, and Venezuela.
With growth came legal challenges. The Green River Ordinance, established in 1931, placed limits on door-to-door sales. The Fuller Brush Company challenged the ordinance, when it went to the Supreme Court in 1937. Over the course of its history, the Fuller Brush Company weathered lawsuits ranging from trademark disputes to labor treatment complaints from area managers in Puerto Rico.
After the sale by Sara Lee in 1989, the Fuller Brush Company was held by a series of private owners, including Lee Turner and Stuart A. Ochiltree. In June 1994, CPAC, Inc. purchased the company. In 1995, CPAC, Inc. also bought a longtime competitor of the Fuller Brush Company, Stanley Home Products, a company founded in 1929 by Stanley Beverage, a former sales vice president for the Fuller Brush Company. The two companies became siblings under the same parent organization; items from the Stanley Home Products line were sold by Fuller Brush Company distributors, and manufactured at the Fuller Brush Company plant in Great Bend. In 2012, both the Fuller Brush Company and Stanley Home Products filed for Chapter 11 bankruptcy. The companies merged their product lines and catalogs, eliminating equivalent products, to cut costs and streamline operations.
In December 2012, David Sabin and Chicago-based private equity firm Victory Park Capital purchased the Fuller Brush Company. The company headquarters moved to Napa Valley, California. Facing increased financial difficulties, in 2016 the company began to phase out its independent distributor system and domestic manufacturing operations. Around January 2018, the company was sold to Galaxy Brush LLC of Lakewood, New Jersey.
Biographical:
Alfred C. Fuller (January 13, 1885 - December 4, 1973), was founder and first president of the Fuller Brush Company, as well as the "original Fuller Brush Man." He was born in rural Nova Scotia, to parents Leander Joseph Fuller and Phebe Jane Collins. The eleventh of twelve children, Fuller took pride in the resilient and self-sufficient spirit he developed growing up on a Nova Scotian farm, and valued such qualities throughout his life over formal education. Long after his success, he promoted himself as an average man among average men.
In 1903, at age eighteen, Alfred Fuller left his family home in Nova Scotia, and followed siblings who settled in the United States. He moved in with his sister Annie and her husband, Frank Adler, in Somerville, Massachusetts. After a series of odd jobs, Fuller considered trying his hand at selling brushes (he was inspired by a brother, Dwight, who made and sold brushes before his death by tuberculosis in 1901). Alfred discovered a knack for trade; unlike many other direct salesmen at the time, his sales technique emphasized product demonstrations. Eventually, Fuller decided to make his own brushes. He set up a workbench in his sister's basement in January 1906. Four months later, he moved to Hartford, Connecticut where he founded the Fuller Brush Company.
The rapid success of the company, improved Alfred C. Fuller's romantic prospects. With the enthusiastic support of his sister, Annie, Alfred initiated a courtship with a Nova Scotian woman who had formerly caught his eye, Evelyn Ellis. They were married on April 10, 1908. However, the marriage was strained, and they divorced in 1930. In 1932, Alfred Fuller remarried. His second wife, Mary Primrose Pelton, was also Nova Scotian, the daughter of a judge from Yarmouth. They remained together for the rest of his life.
Alfred C. Fuller and his first wife Evelyn had two sons. Alfred Howard was born in 1913 and Avard in 1916. Both would later rise to prominence within the Fuller Brush Company, serving as its second and third presidents. The elder son, Howard, was Fuller Brush Company President from 1943 until 1959. From an early age, Howard challenged his father regarding the direction of the company. With his bold and aggressive personality, Howard was able to institute changes to the company that resulted in higher profits, such as distributing catalogs before the salesman's visit, shortening product demonstrations, prioritizing many small sales over few large sales, and developing other techniques that emphasized speed and efficiency. However, his temperament also contributed to Howard and his wife Dora's untimely deaths. Howard, always interested in thrilling, high-risk pursuits (such as driving sports cars, piloting airplanes, and racing speedboats and sailboats) was cruising through Nevada at 120-miles per hour for a business trip, uncharacteristically accompanied by his wife, when his Mercedes-Benz 300 SL blew a tire. Both Fullers died in the accident.
Following the tragic accident, Avard assumed leadership of the Fuller Brush Company. Avard's more conservative nature ushered in an era of leadership where his father, Alfred C. Fuller, rose in honor and influence with the company. However, Avard relied on traditional sales strategies (such as promoting a culture around the Fuller Brush Man, rather than take a more active strategy toward integrating female distributors) which placed the Fuller Brush Company at a disadvantage with competitors such as Avon Cosmetics. Avard served as President of the Fuller Brush Company until 1969.
Although Alfred C. Fuller never reclaimed presidency of the Fuller Brush Company, he remained chairman emeritus for the duration of his life. A treasured company figurehead, celebrations were held in his honor long after his retirement. In 1956, a testimonial dinner was held where a portrait of Fuller was unveiled in honor of the 50-year anniversary of the Fuller Brush Company. In 1965, Alfred C. Fuller was further honored, when his birthplace was dedicated as a historic landmark. Alfred C. Fuller was known as "Dad" Fuller to the thousands of Fuller Brush Men and Fullerettes who represented the company door-to-door throughout the country, and made frequent appearances in in-house publications and external publicity. Working with Hartzell Spence, Alfred C. Fuller wrote an autobiography, titled A Foot in the Door, published by the McGraw-Hill Book Company, Inc. in 1960. A practicing Christian Scientist with a devout Methodist mother, Fuller frequently alludes to the influence of his faith in his autobiography. Alfred C. Fuller passed away on December 4, 1973.
Related Materials:
Materials in the Archives Center
Stanley Home Products Collection (AC0788)
Earl S. Tupper Papers (AC0470)
Brownie Wise Papers (AC0509)
Ann and Thomas Damigella Collections (AC0583)
Industry on Parade Film Collection, episodes 66, 217 (AC0507)
Materials at the Smithsonian Institution
Smithsonian Libraries Trade Literature Collection, includes some Fuller Brush Company catalogs;
The Division of Work and Industry, National Museum of American History holds artifacts from the Fuller Brush Company from previous accessions, such as hairbrushes for women and men (including bristlecomb hairbrushes); shower brushes; toothbrushes; combs; a military brush; brush holders; and similar materials. (AG.A.6645-AG.A.6653; AG.A.6656-AG.A.6666; AG.77-FT-15.0523; ZZ.RSN833134).
The Medicine and Science Division (now Division of Medicine and Science) National Museum of American History holds a general purpose cleaning brush, and a bathroom fixtures cleaning brush from a previous accession (2006.0098).
National Portrait Gallery holds a portrait of Alfred Fuller.
Materials at Other Organizations
Hagley Museum and Library, Manuscripts and Archives Department
Avon Products Inc., Records, 1880-2012
University of Wyoming, American Heritage Center, Archives
Columbia Pictures Records, 1934-1974 (collection #93555)
Includes materials related to the Fuller Brush man and Fuller Brush Girl, 1950.
Separated Materials:
Artifacts collected along with the acquisition of archival material are held by the Divisions of Work and Industry, and Medicine and Science.
Separated materials assigned to the Division of Work and Industry include a men's tie; buttons; ashtray; charm; and tape measure. See accession 2018.0089.
Separated materials assigned to Division of Medicine and Science include a bathing brush, a dental plate brush, a women's hair brush, a comb cleaner, and toothbrushes. Some items are maintained in original packaging, or are kept with original paper inserts. See accession 2018.0090.
Provenance:
Collection donated by the Fuller Brush Company through David Sabin, 2018.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
William Jones World War II Scrapbook, NASM.2006.0067, National Air and Space Museum, Smithsonian Institution.
Landor Associates used 35 mm color photographic slides for business presentations and work sessions, both internally and with business clients. Slides documented Landor Associates design projects in progress, social events, the ferryboat Klamath, and the Museum of Packaging Antiquities. Most of the slides are of finished products -- carefully produced images of packaging and of corporate identity work, including logos, symbols, and stationery. Several versions of a design often are included for comparisons and there are occasional images of point-of-sale locations. For come corporate identity assignments, especially banks, there are on-location slides of existing buildings and signage. Documentation is especially rich for Philip Morris international brand cigarettes. Most of the slides were initially found in binders but not always in a discernable order.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
The collection is open for research use. Only reference copies of audiovisual materials may be used for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The donor has imposed restrictions on reproduction, broadcast or use of the collection for commercial purposes of any kind by third parties. Reproduction, broadcast or other use of the collection for commercial purposes of any kind by third parties is subject to prior written consent. These permissions will be required until July 2047. Please see the repository for further details.
Collection Citation:
Maidenform Collection, Archives Center, National Museum of American History, Smithsonian Institution
Portrait of woman in profile, with advertising text on verso, including testimonials from Henry Ward Beecher, Erasmus Wilson, Lillie Langtry, and others, showing signatures. This portrait depicts Mary Antoinette Anderson, a celebrated stage actress. The verso advertises "Pears' Soap / FOR TOILET AND NURSERY" and claims that it "Specially [sic] Prepared for the delicate skin of Ladies and Children..." Hanging device glued to verso.
Both sides of card shown in scan.
Biographical / Historical:
Biography available in Wikipedia article.
Local Numbers:
Ivorydata4 1100
0300600267 (Scan No.)
Restrictions:
Unrestricted research use on site by appointment. Reproduction restrictions due to copyright.
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: Soap, 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).
power tools, accessories, and attachments ; tool and accessory merchandisers ; tool and accessory spinner merchandisers ; point of sale merchandisers ; "Moto-Tool" and "Minimite" floor stand merchandisers ; sign kits ; safety supplies
Cable winches, chain hoists, chain pullers, trolleys, hand winches, 12 volt winches, hand trucks, jacks, load binders, web strap tools, clamps. Hydraulic pullers ; snap ring pliers ; point of sale program with merchandiser...this comprises the uncataloged portion.
