The records of the Allan Frumkin Gallery, a Chicago and New York City gallery, measure 25.6 linear feet and date from 1944-2016 with one letter pertaining to artwork documentation dating from 1880. The collection documents the gallery's activities through administrative files, dealer and client correspondence, artist files, financial records, gallery newsletters, printed material, and photographic material. Artist files represent over one-third of the collection and provide insight into the close relationship between Frumkin and many of the gallery's major artists including Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, Colin Lanceley, Maryan, Roberto Matta, Philip Pearlstein, Peter Saul, H.C. Westermann, and William T. Wiley. Also included in the collection are the Frumkin Family papers, consisting of writings by Allan and wife Jean Martin Frumkin, editorial copy of Art Book Review, personal papers, and material relating to the Frumkin personal art collection and estate.
Scope and Contents:
The records of the Allan Frumkin Gallery, a Chicago and New York City gallery, measure 25.6 linear feet and date from 1944-2016 with one letter pertaining to artwork documentation dating from 1880. The collection documents the gallery's activities through administrative files, dealer and client correspondence, artist files, financial records, gallery newsletters, printed material, and photographic material. Also included in the collection are the Frumkin Family papers.
The administrative files reflect the daily operations and business activities of the gallery. Included are address books, appointment books, art fair records, artwork documentation, auction records, gallery logs, maintenance records, leases, loan agreements, shipping receipts, mailing lists, provenance research, and documentation pertaining to the incorporation and administration of several iterations and branches of the gallery, including Frumkin & Struve Gallery, Frumkin/Adams Gallery, and Allan Frumkin Gallery Photographs.
Correspondence is primarily with dealers, clients, and institutions pertaining to sales, purchases, consignments, provenance, and shipping of artworks. The majority of the correspondence dates from the gallery's first decade, 1952-1962.
Artist files represent over one-third of the collection and provide insight into the close relationship between Frumkin and many of the gallery's major artists including Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, Colin Lanceley, Maryan, Roberto Matta, Philip Pearlstein, Peter Saul, H.C. Westermann, and William T. Wiley.
Financial records include check balance books, expenses, financial statements, inventories, invoices, price lists, and sales ledgers. Financial transactions are also found amongst the dealer and client correspondence.
Among the newsletters and related files is a full set of the published newsletters, as well as editorial copy and drafts for nearly every issue. Published from 1976-1995, the newsletters detailed gallery activities and highlighted gallery artists in profiles which included interviews and photographs.
Printed material includes articles and clippings, exhibition announcements, catalogs, newsletters, bulletins, press releases, and assortment of other material pertaining to the Allan Frumkin Gallery and others.
While not extensive, the photographic material is rich, depicting Allan Frumkin, gallery director George Adams, gallery artists, studios, exhibition installations, and artworks, in a variety of formats.
Also included in the records are the Frumkin family papers, which include writings by Allan Frumkin and Jean Martin Frumkin, Art Book Review editorial files, personal papers, and detailed material relating to the Frumkin personal art collection and estate. The writings by Allan Frumkin are particularly insightful in the context of the gallery records, and include essays on art dealing and the gallery, a talk on the artist, Matta, memoir drafts, and an interview transcript.
Arrangement:
The collection is arranged as eight series.
Series 1: Administrative Files, 1880, 1950-2002 (2 linear feet; Boxes 1-2)
Series 2: Correspondence, 1948-2010 (5.4 linear feet; Boxes 3-8)
Series 3: Artist Files, 1944-2015 (9.3 linear feet; Boxes 8-17, OVs 27-28)
Series 4: Financial Records, 1950-2002 (0.9 linear feet; Boxes 17-18)
Series 5: Newsletters, 1970-2000 (1.1 linear feet; Boxes 18-19)
Series 6: Printed Material, 1949-2009 (0.7 linear feet; Boxes 19-20)
Series 7: Photographic Material, 1950-2000 (0.7 linear feet; Box 20)
Series 8: Frumkin Family Papers, 1950-2016 (5.5 linear feet; Boxes 21-26)
Biographical / Historical:
Allan Frumkin Gallery (est. 1952; closed 1995) was a gallery owned and operated by art dealer Allan Frumkin with locations in Chicago (1952-1980; 1979-1980 as Frumkin & Struve) and New York City (1959-1995; 1988-1995 as Frumkin/Adams). Frumkin began his career exhibiting the drawings, paintings, and prints of European artists he met and developed relationships with while traveling abroad, including Roberto Matta, Alberto Burri, Alberto Giacometti, and Esteban Vicente. He soon began representing artists from across the United States, including Chicago artists Leon Golub, Jack Beal, Robert Barnes, June Leaf, and H.C. Westermann; West Coast artists Robert Arneson, Roy de Forest, and Joan Brown; and New York realist painters including Philip Pearlstein, Paul Georges, Alfred Leslie, Luis Cruz Azaceta, and Peter Saul. In the early years, the geography and aesthetic of the artists Frumkin championed--surrealist, realist, figurative, offbeat--contrasted with the prevailing trend toward New York abstraction. Frumkin retired as a gallery director in 1995, and Frumkin/Adams Gallery became the George Adams Gallery. Frumkin continued to work as a private dealer as Allan Frumkin Incorporated until his death in 2002.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Allan Frumkin conducted by Paul Cummings in 1970.
Provenance:
Donated to the Archives of American Art in 2017 by Peter Frumkin, Allan Frumkin's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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.
Citation:
Allan Frumkin Gallery records, 1880, 1944-2016. Archives of American Art, Smithsonian Institution.
The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.
Scope and Contents:
The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.
Administrative files include job descriptions, inventories of artwork, addresses, and contact lists; papers relating to foundries, photographers, framers, and printers; advertising records, property records, travel files, and one gallery guestbook. Correspondence files document the galleries' relationship with collectors, clients, art organizations, and consultants. The files include some sales records, agreements, printed material, and photos of artwork as well. Artists' files include biographical information, artist statements, correspondence, client lists, exhibition materials, loan and consignment records, and more. Among the artists featured extensively is Beth Van Hosen, William T. Wiley, Roy DeForest, Robert Arneson, Tom Holland, Robert Hudson, Marilyn Levine, and Joan Brown.
Exhibition and event files shed light on solo and group shows held at Fuller galleries, Art Unlimited and Hansen Gallery, and outside galleries, museums, and institutions; art fairs held in the U.S. and abroad, and auctions. Files related to film screenings, tours, luncheons, and other special events held at Fuller galleries are also present. Dealer and institution files consist of correspondence, loan and consignments records, bills of sale, commission agreements and contracts, printed material, price lists, and some photographic materials. Financial records contain account ledgers, invoices and receipts, gallery checks, and sales records. Also present are donation records, appraisal reports, and some financial records from Arts Unlimited and Hansen Gallery.
Diana Fuller's papers include project files, appraisal records, membership records, correspondence, and photographic materials. Records related to the Bay Area Consortium for the Visual Arts consist of administrative records, project files, grant applications, 1989 earthquake disaster relief material, and organization finances. Files relating toParallels and Intersections and its accompanying exhibition contain artist files, author files, correspondence, publishing agreements, drafts, cassette tapes, DVDs, and more.
Arrangement:
The collection is arranged as 7 series.
Series 1: Administrative Records, 1969-1992 (Box 1-3; 2.2 linear feet)
Series 2: Correspondence Files, 1963-1993 (Box 3-8; 5.5 linear feet)
Series 3: Artists' Files, 1959-1993 (Box 8-37; 28.5 linear feet)
Series 4: Exhibition and Event Files, 1967-1993, 2001 (Box 37-45; 8.3 linear feet)
Series 5: Dealer and Institution Files, 1965-1992 (Box 45-51; 6.3 linear feet)
Series 6: Financial Records, 1958-1990 (Box 51-58, 68-70; 7.9 linear feet)
Series 7: Diana Fuller Personal and Professional Papers, 1970s-2004 (Box 58-67; 9.2 linear feet)
Biographical / Historical:
The Diana Fuller galleries were contemporary art galleries in San Francisco, California, from 1969 to 1990. During this period, the gallery changed name and ownership on several occasions: Hansen-Fuller Gallery (1969-1979), Hansen-Fuller-Goldeen Gallery (1979-1982), Fuller-Goldeen Gallery (1982-1986), and Fuller-Gross Gallery (1987-1990). The three gallerists who partnered with Fuller were Wanda Hansen, Dorothy Goldeen, and Brian Gross. Among the artists represented by Fuller galleries were Beth Van Hosen, William T. Wiley, Roy DeForest, Robert Arneson, Tom Holland, Robert Hudson, Marilyn Levine, and Joan Brown. Fuller galleries held performance and conceptual art exhibitions, music performances, screened films, and rented its space out for luncheons and other special events. The gallery also exhibited at art fairs in the U.S. and Europe.
Diana Burgess Fuller is a curator, editor, and filmmaker who was previously a gallerist and art dealer. Diana Burgess worked at Saks Fifth Avenue when she married author Blair Fuller in 1965. Around 1967, she began working for Wanda Hansen's contemporary art gallery, which changed names from Art Unlimited to Hansen Galleries (sometimes Gallery). In 1969, Fuller and Hansen opened the Hansen-Fuller Gallery. That same year, Blair Fuller and novelist Oakley Hall started the Community of Writers at Squaw Valley. Diana Fuller has been involved with Squaw Valley since its inception, and currently serves as director of its screenwriting program. Fuller continued in the retail art business for a short period after closing the gallerey in 1990. In the late 1990s, Fuller began working on the seminal exhibition and book catalog, Art/Women/California, 1950-2000: Parallels and Intersections (2002), documenting more than 90 women artists working in California in the second half of the twentieth century. Fuller was the former president of the Film Arts Foundation and former chair of the Roxie Theater; she currently serves on the board of Artists in Residence Program at Recology.
Related Materials:
Also found in the Archives of American Art is the Dorothy Goldeen Gallery records.
Provenance:
The collection was donated by Diana Fuller, 1991-1995 and 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century -- California -- San Francisco Search this
Function:
Art galleries, Commercial -- California
Citation:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The Magellan Systems Corporation Records document various aspects of the development of several different Magellan GPS devices through engineering, research, design, manufacturing, and marketing records. Magellan Systems Corporation introduced the first hand-held differential GPS product and the conpany's focus was on research, product engineering, and design activities for GPS receivers. The collection includes correspondence and internal company reports and memoranda; design drawings; research notes; engineering notebooks, technical notes, schematics; photographs, slides and negatives; video and audiocassettes; advertisements; product literature, magazine articles and newspaper clippings; press releases; and user guides and manuals.
Scope and Contents:
The Magellan Systems Corporation Records document various aspects of the development of Magellan GPS devices, including the engineering, research, design, manufacturing, and marketing of the devices. The collection includes correspondence and internal company reports and memoranda; design drawings; research notes; engineering notebooks, technical notes, schematics; photographs, slides and negatives; video and audiocassettes; advertisements; product literature, magazine articles and newspaper clippings; press releases; and user guides and manuals. In Series 1, Operational Materials, Subseries 3, Weekly Reports, 1988-1996, provides an excellent overview of the issues facing the company and what actions/decisions were made and in Series 3, Engineering and Product Development Materials, Subseries 8, Technical Product Development Seminars provide a good foundation for understanding what the product development staff accomplished.
The core team of players who developed, tested and brought to market the GPS devices included: Janice Jones Blankenhorn, Gary Barta, John Foukos, Randy Hoffman, Norm Hunt, Sab Ifune, Don Rea, Dennis Rich, Ed Tuck, Jon Vavrus, Larry Weill, Val Fife Wong, and James Yuan. The majority of the core team were software and hardware engineers as well as mechanical designers. Their energy, enthusiasm, vision, and unwillingness to fail produced the first handheld commercial GPS receiver in 1989 and Magellgan was the first company to make GPS devices affordable to consumers.
Series 1, Operational Materials, 1988-1993, is divided into four subseries: Subseries 1, Organizational Materials, 1988-1994; Subseries 2, Strategic and Operating Plans, 1989-1995; Subseries 3, Weekly Reports, 1988-1996; and Subseries 4, Company Newsletters, 1991-1992.
Subseries 1, Organizational Materials, 1988-1994, consists of an organizational chart detailing Magellan's corporate structure, a document discussing the communication and functional objectives of the company, and a company Christmas card. The Orbital Sciences Corporation profile was prepared by Alex. Brown and Sons Incorporated and provides an overview of the ORBCOMM system technology, a two-way data-only personal communications service.
Subseries 2, Strategic and Operating Plans, 1989-1995, consists of a variety of strategic and operational plans for the company. The plans are arranged chronologically.
Subseries 3, Weekly Reports, 1988-1996, consists of handwritten and typescript reports primarily from Randy Hoffman, president and CEO of Magellan and Gary Barta, Senior Engineer and Vice President of engineering. The reports document issues that include, personnel issues, product development, technological developments, military orders, investments, marketing and sales, financial issues, orders, resource activities, and future activities. The subseries is arranged chronologically and provides an excellent overview of the issues facing the company and what actions/decisions were made.
Subseries 4, Company Newsletters, 1991-1992, consists of two external company newsletters, The Global Navigator, 1991 and The Magellan Explorer, 1992. The Global Naviagtor was created for the marine market and was sent to all NAV PLUS owners as well as dealers.
Series 2, Correspondence, 1989-1994 and undated, is divided into two subseries: Subseries 1, Customer Correspondence, 1989-1993 and Subseries 2, Business Correspondence, 1989-1994 and undated. The customer-related correspondence consists of letters from users of Magellan GPS units (primarily maritime-related) and their feedback about the product. Some color photographs are included. The business-related correspondence consists of records of conversations, invoices, suggestions for strategic planning, correspondence between Randy Hoffman and the Boundary Found, and the agreement and plan for the merger of Orbital Sciences Corporation and Magellan Corporation in 1994.
Series 3, Engineering and Product Development Materials, 1978-1998, consists of ten subseries: Subseries 1, Product Development, 1989-1994; Subseries 2, Engineering Notebooks, 1987-1996; Subseries 3, Technical Notes, 1978-1994; Subseries 4, Breadboard Design, 1986-1994; Subseries 5, First Generation (NAV 1000/NAV 1200), 1985-1994; Subseries 6, Second Generation, 1988-1996; Subseries 7, Third Generation, 1986-1994; Subseries 8, Swiss Army Chip (SAC) Development, 1987-1995; Subseries 9, Technical Products Development Seminars, 1997-1998; Subseries 10, Specifications, 1992-1994 and Subseries 11, TriQuint Semiconductor Materials, 1986-1992.
Subseries 1, Product Development, 1989-1994, consists of documentation related to product development at Magellan. There are sketches for the third generation of GPS products, descriptive materials for the Meridian Plus and third generation receiver, testing data from the Forest Service using GPS in the wilderness near Missoula, Montana, and position description for the director of product engineering at Magellan outlining the skills and responsibilities.
Subseries 2, Engineering Notebooks, 1987-1996, consists of bound, paginated and handwritten notebooks belonging to two Magellan engineers, Janice Jones Blankenhorn, senior software engineer and Don Rea, director of engineering. Each of Don Rea's notebooks contains a page of handwritten annotations made in 2010 describing the contents. Don Rea's 1987 notebook contains documentation on the original Magellan breadboard, custom digital chip (SAC 1), and the digital board design and test, all of which deal with the first generation of the NAV 1000. Rea's 1986 and 1988 notebook contains information about the first generation of software used, GaAS chips, radio frequency (RF) board, second generation (NAV 5000), design work for Swiss Army Chips (SACs), SAC2 digital chip, SAC2B, and the SAC3 chip. Don Rea's 1993-1995 notebook contains notes on the testing of the SAC5, SAC5M and SAC6 custom digital integrated circuit for the third generation.
Subseries 3 Technical Notes, 1978-1994, consists of handwritten and typescript notes of Gary Barta, Janice Jones Blankenhorn, John Foufos, Janice Intyre, Don Rea, Larry Weill, and James Yuan. Where possible, file level information about what the notes relate to and the Magellan staff member who wrote the notes is listed. Much of the documentation consists of equations, algorithms, sketches, block diagrams, and narrative describing processes and research. The subseries is loosely arranged chronologically.
Subseries 4, Breadboard Design, 1986-1994, consists of memoranda, technical notes, drawings, and sketches detailing the radio frequency breadboard design. Magellan's first-generation breadboard, circa 1987, was developed by the team of Janice Jones Blankenhorn, Val Fife Wong, Ed Tuck, Norm Hunt, Sab Ifune, Gary Barta, Larry Weill, Randy Hoffman, and Don Rea.
Subseries 5, First Generation (NAV 1000/NAV 1200), 1985-1994, consists of technical notes, design notes, memoranda, drawings, and blueprints documenting the development of the first generation (primarily the NAV 1000/NAV 1200), handheld GPS unit produced by Magellan. The first generation of GPS were single channel receivers and were quite simple. The NAV 1000 was 8.75" x 3.5" x 2.25" and weighed only 1.5 pounds. The NAV 1000 converted GPS satellite information into a satellite/navigation (sat/nav) positioning. It used Gallium arsenide (GaAs) a compound of the elements gallium and arsenic, and monolithic microwave integrated circuit (MMIC) technology to reduce its size and power consumption. GaAs is a semiconductor used in the manufacture of devices such as microwave frequency integrated circuits, monolithic microwave integrated circuits, infrared light-emitting diodes, laser diodes, solar cells, and optical windows. The device sold for approximately $3,000 dollars.
Subseries 6, Second Generation, 1988-1996, consists of technical notes, design notes, memorandums, drawings, and blueprints documenting the development of the second generation (primarily the NAV 5000) handheld GPS unit produced by Magellan. The NAV 5000 used five channels working simultaneously to locate and collect data from GPS satellites. The units GaAs circuitry rapidly processed the data received from the satellites to compute current location, altitude, velocity and navigation in under one minute. The NAV 5000 was designed primarily for marine use. Other second generation products included: OEM Brain, OEM 1/2 Brain, Nav 500 Pro, NAV 100M5, Skaynav, Fieldpro, NAV 5200 PM, NAV 5000A, NAV 5000D, DX, DLX, Pro mark V, and the Map 7000.
Subseries 7, Third Generation, 1986-1994, consists of technical notes for the development of the third generation (primarily Meridian and Trailblazer models) of Magellan GPS devices. Third generation models were intended for the lower end of the GPS market and were compact hand-held (size, weight, battery life) and a retail price that was reasonable. Other third generation devices included: the meridian, Trailblazer, AIV10 OEM, Skatblazer, NAV 6500 PM, Meridian/TB/SB XL, NAV 1200 Pm, NAV 1200 XL PM, NAV DLX 10, Promark X, and the Pro Mark X-CM.
Subseries 8, Swiss Army Chip (SAC) Development, 1987-1995, consists of technical notes, diagrams and drawings, and specifications for the development of a digital chip used in Magellan GPS products. Don Rea and Norm Hunt of Magellan are credited with naming the chip. The chip combined several elements--GPS DPS channels, correalators, real time clock, alarm timer, interval timer, keyboard interface, display interface, precise timing, power sequencing, memory decoding, code generators, and beeper driver, to name a few--which allowed the development team reduce the overall power, size, and cost of the chip. Magellan outsourced the manufacture of the SAC.
Subseries 9, Technical Products Development Seminars, 1997-1998, consists of documentation for nine seminars in a series of technology seminars initiated by the product develpment group at Magellan. The seminars were created to keep all staff up to date on past, present, and future technology developments at Magellan. The nine seminars cover the history of Magellan GPS technology and address specific areas of development such as antennas, circuits, signal processing, software, navigation needs, and radio frequency. Other information includes tables providing comparisons for the first, second, and third generations, timelines, SAC chip characteristics, and product shipping dates. The seminars provide a good foundation for understanding what the product development staff accomplished. Researchers should consult Series 8 which documents some of the technical seminars.
Subseries 10, Specifications, 1992-1994, consists of preliminary, functional, and system requirements describing technical characteristics for several Magellan products.
Subseries 11, TriQuint Semiconductor Materials, 1986-1992, consists of materials documenting TriQuint Semiconductor, Inc.'s work. TriQuint was a division of Tektroninix, Inc., a manufacturer of analog and mixed signal gallium arsenide (GaAs) integrated circuit products. TriQuint supplied custom radio frequency (RF) and Gallium arsenide (GaAs) chips for Magellan's hand-held GPS systems and tested its chips. Documentation includes trip summaries and observations to TriQuint by Don Rea, a Magellan engineer as well as technical drawings, memorandums, development schedules, invoices, purchase orders, and tests results, production quantity and costs, and specifications. In 1986, Don Rea met Gary Barta, then principal engineer at TriQuint through his frequent visits to the company. Barta led the engineeering development of the an integrated circuit which combined the GPS L-band low-noise pre-amplifier, UHF local oscillator, down converter and high speed digital divisers on a single gallium-arsenide chip. Nothing like this had been done before for a cost senstive commerical application. Barta later joined Magellan in November 1988 as Vice President of Engineering and made the chip he had designed actually work in the environment of a hand-held product.
Series 4, Marketing and Promotional Materials, 1985-1997, is divided into six subseries: Subseries 1, Market Research, 1985-1993 and undated; Subseries 2, Product Literature, circa 1990s; Subseries 3, Advertisements, 1988-1995 and undated; Subseries 4, Press Releases, 1988-1996; Subseries 5, Presentation Materials, 1990-[1997?] and undated; and Subseries 6, Newspaper and Magazine Clippings, 1988-1996 and undated. The series consists of product literature, advertisements, press releases, presentation materials, and newspaper and magazine clippings about Magellan products as well as competitors.
Subseries 1, Market Research, 1985-1993 and undated, consists of market research data in the form of reports prepared by Merrill Lynch, Simmons Market Research Bureau, J & H Instruments, and others, directed interviews and focus group data. There are directed interviews and discussion documentation from 1986 with Coast Guard Rescue, survival trainers, surveyors, hunters, harbor patrols, expeditionists, and mountaineer trainers providing detailed feedback into experiences with the product. The focus group information consists of transcribed interviews, survey text, selection criteria, participant lists, invoices, and technical drawings and mock-ups for the marine, outdoor and hunting markets.
Subseries 2, Product Literature, circa 1990s, consists of one file folder of product information sheets detailing specifics about Magellan products such as the NAV 1000, NAV 5000DX, NAV 1000 PRO/Geolink, NAV 5200, NAV 1000M, Meridian GPS, ProMARK V, GPS 2000, and the Global Satellite Communicator (GSC) 100.
Subseries 3, Advertisements, 1988-1995 and undated, consists of point of purchase ads, artwork and transfer designs for Magellan products. There are some oversize drawings (copies of blueprints) with the transfer design materials.
Subseries 4, Press Releases, 1988-1996, consists of press releases and one press kit containing biographies of staff members, black-and-white prints of Randy D. Hoffman, President and Chief Executive Officer, prints of the NAV 1000, and press releases introducing the NAV 1000. The marine outdoor press releases also contain 1993 dealer price lists for the Trailblazer, Meridian, NAV 5000DX, NAV 5200DX, and the mimimum advertised price policy for 1993.
Subseries 5, Presentation Materials, 1990-[1997?], consists primarily of staff presentation materials used to promote Magellan products. There is one bound presentation, Magellan Systems Corporation Management Presentation, undated, prepared by Merrill Lynch, that provides documentation about the company (an overview), market segments, competition, sales and marketing, product development, technology, manufacturing, and a financial overview.
Subseries 6, Newspaper and Magazine Clippings, 1988-1996 and undated, consists primarily of magazine articles. The articles appeared in a variety of publications and included Defense Electronics, Southern Boating, Maritime Reporter, Cruising World, Boating the Journal of the Sport, International Defense Review, and Navigation News. The subseries is arranged chronologically.
Series 5, User Guides and Manuals, 1989-2005 and undated, consists of training, reference, and user guides for the consumer who purchased Magellan products. The guides are primarily spiral bound and some are annotated. Multiple copies of some years exist. The series is arranged chronologically.
Series 6, Financial Materials, 1991-1995 and undated, consists of stock information, a Securities and Exchange Commission registration statement, correspondence, registration rights agreements, preferred stock purchase agreements, agreement and plan of merger documents between Magellan Corporation and Orbital Sciences Corporation (November 1994), and two floppy discs (3 1/2" and 5") containing information about the company and its staff.
Series 7, Photographs and Slides, 1987-1995 and undated, consists of slides, negatives, transparencies, and color and black-and-white prints of Magellan products. Many of the images document early product concepts, and there are some promotional and publicity materials. There is one folder of photographs with images of employees from 1989.
Series 8, Audiovisual Materials, 1991-1998 and undated, consists of 1/2" VHS, BETA Cam SP, and 8 mm video cassettes documenting technical seminars presented by Magellan Systems Corporation staff and instances of Magellan products featured in news segments. Researchers consult the technical seminar documentation in Series 3, Engineering and Product Development Materials. The series is arranged chronologically.
Arrangement:
Collection arranged into eight series.
Series 1, Operational Materials, 1988-1993
Subseries 1, Organizational Materials, 1988-1994
Subseries 2, Strategic and Operating Plans, 1989-1995
Subseries 3, Weekly Reports, 1988-1996
Subseries 4, Company Newsletters, 1991-1992
Series 2, Correspondence, 1989-1994 and undated
Series 3, Engineering and Product Development Materials, 1978-1998
Subseries 1, Product Development, 1989-1994
Subseries 2, Engineering Notebooks, 1987-1996
Subseries 3, Technical Notes, 1978-1994
Subseries 4, Breadboard Design, 1986-1994
Subseries 5, First Generation (NAV 1000/NAV 1200), 1985-1994
Subseries 6, Second Generation (NAV 5000), 1988-1996
Subseries 7, Third Generation, 1986-1994
Subseries 8, Swiss Army Chip (SAC) Development, 1987-1995
Subseries 9, Technical Product Development Seminars, 1997-1998
Subseries 10, Specifications, 1992-1994
Subseries 11, TriQuint Semiconductor, 1986-1992
Series 4, Marketing and Promotional Materials, 1985-1997
Subseries 1, Market Research, 1985-1993 and undated
Subseries 2, Product Literature, circa 1990s
Subseries 3, Advertisements, 1988-1995 and undated
Subseries 4, Press Releases, 1988-1996
Subseries 5, Presentation Materials, 1990-[1997?]
Subseries 6, Newspaper and Magazine Clippings, 1988-1996 and undated
Series 5, User Guides and Manuals, 1989-2005 and undated
Series 6, Financial Materials, 1991-1995 and undated
Series 7, Photographs and Slides, 1987-1995 and undated
Series 8, Audiovisual Materials, 1991-1998 and undated
Biographical / Historical:
Ed Tuck of the Boundary Fund, a venture capital firm specializing in technologies founded the Magellan Systems Corporation in 1986 and served as its director from 1986 to 1993. Tuck assembled the initial team of Norm Hunt, Larry Weill, Val Wong, and Sab Ifune to conduct a feasibility study in early 1986 to pursue commercial markets for products based on global positioning system (GPS) technology. Magellan introduced the first handheld commercial GPS receiver in 1989 and was the first company to make GPS devices affordable to consumers. Magellan introduced the first handheld commercial GPS receiver in 1989 and was the first company to make GPS devices affordable to consumers. The company successfully introduced GPS products into the marine, professional, military and automotive and general aviation markets.
The Global Positioning System (GPS) began as a United States Department of Defense Program in the 1960s with a navy system known as Transit (first satellite navigation system). Two other projects soon followed, Timation (satellite to broadcast accurate time reference) and Air Force Project 612B, which began in the 1970s. In 1973, the development of the Navigation Signal Timing and Ranging Global Positioning System (NAVSTAR) began under the management of the Air Force. Designed by the military, the system provided twenty-four positioning satellites under all- weather conditions using passive (non-transmitting) receivers. This kept a user's presence from being detected as a result of the receiver. Although primarily for military use, the system also offered a less-precise coded signal for civilian use.
GPS uses a group of twenty-four earth-orbiting satellites which broadcast continuously. The data being broadcast can be processed by a portable receiver to determine a user's position, velocity and time. GPS has three parts: 1) space part with twenty-four satellites; 2) ground part with monitor and 3) user part with receivers that process the signals and calculate position.
In the spring of 1986, the Magellan team published a specification for a custom mixed signal RF (radio frequency) integrated circuit and by fall 1986, had a breadboard (used in prototyping of electronics) and began software development and testing. Magellan focused its research, product engineering, and design activities on the development of GPS receivers that were application-specific, software-intensive, reliable, lower power, easy to use, and affordable.
From 1986 to 1988, the Boundary Fund provided the venture capital for feasibility studies and the initital product design. By 1988, the company occupied its first stand-alone facility in Monrovia, California with thirty-five employees. In May 1989, the company's first product, the NAV 1000, shipped, and in that same year, the company entered the military market with the NAV 1000M. The company entered the professional market in January 1990 with the NAV 1000 PRO, the world's first hand-held GPS product. By 1991, Magellan moved to a new facility in Dimas, California and introduced advanced five-channel technology. It also incorporated in the United Kingdom (UK) as Magellan Systems to handle product distribution in the rest of the UK and Europe.
The SkyNAV 5000 was introduced in 1992 for the general aviation market, and in the same year, hand-held differential GPS technology for the marine market appeared. Magellan was purchased by Orbital Sciences Corporation in 1994. In 2001, Thales Group purchased the Magellan division of Orbital Sciences, and the company became known as Thales Navigation. In 2006, a private equity firm, Shah Capital Partners, and other investors purchased Thales Navigation, and the company was officially renamed Magellan Navigation. Magellan (also known as MiTAC Digital Corporation) is a wholly-owned subsidiary of MiTAC International Corporation and promotes and sells products and services under the Magellan brand name. Magellan is headquartered in Santa Clara, California.
Related Materials:
The Division of Work and Industry holds related artifacts (GPS receivers, computer electronics boards, computer chips, antennas, packaging, components, circuit boards, keyboards, a Swiss Army Chip (SAC), and receiver brackets). See Accession numbers 2010.0117; 2010.0118; 2010.0151; 2010.0152; 2010.0153; 2010.0154 and 2010.0155.
Provenance:
Donated to the Archives Center in 2010, by MiTAC Digital Corporation through Michael Williams, Director of Marketing and Gary Barta, Janice Itnyre, Jean Tuck McGregor, Donald Rea, Edward F. Tuck, Lawrence R. Weill, and James P. White.
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 intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Records relating to Small Beginnings, Inc., a medical supply company that designs, invents, manufactures, and distributes products for premature infants. The records include contacts with distributors, correspondence, product advertisements, patent and trademark files, photographs, a scrapbook, and oral history interviews with Kenneth S. Croteau, Mary S. "Sharon" Rogone, and Philip N. Rogone.
Scope and Contents:
Series 1, Background Information, 1983-2006, is divided into nine subseries and includes articles of incorporation for the business, correspondence, corporate identity branding, and journal articles and magazine and newspaper clippings about Small Beginnings, Inc. The correspondence consists of thank you letters from hospitals and medical centers for visits made by Small Beginnings staff during the holiday season and a September 2001 letter from Kenny Loggins discussing his partnership with Small Beginnings to distribute his CD "More Songs from Pooh Corner." The Entrepreneur packet was created by Kenneth Croteau of Caring Creations, Inc., to assist potential inventors/entrepreneurs in developing ideas into a patented product and bringing it to the marketplace.
Series 2, Oral History Interviews and Logs, 18 January 2007, is divided into two subseries. Subseries 1 contains reference CD-ROM copies for listening and Subseries 2 consists of master CD-ROMs. The interviews were created digitally using a Marantz PMD 660 recorder. The oral history interviews were conducted by National Museum of American History staff members Maggie Dennis and Judy Chelnick. The interviewees include Kenneth S. Croteau, Mary S. "Sharon" Rogone, and Philip N. Rogone, founders of and business partners in Small Beginnings, Inc. Each interview has a time code log. Full text transcripts do not exist.
Series 3, Product Information, 1994-2006, is divided into four subseries.
Subseries 1, Small Beginnings, Inc. Products, 1998-2004, contains documentation on the products made available by Small Beginnings, Inc. The company offers a wide variety of products for neonatal intensive care units and newborn nurseries. This subseries is arranged alphabetically by product name. The bulk of the documentation consists of printed product literature that was disseminated to distributors and/or at conferences. In some instances, such as the Bili-Bonnet, Climate Cover, and Pacee Pacifier—correspondence, testing information, and sketches exist.
Subseries 2, Disclosure Statements, 2000-2003, contains waivers and agreements between Small Beginnings, Inc., and individuals which state that an idea or ideas will not be used or revealed to others.
Subseries 3, Competitors, 1994-2004, includes files on competitors in the neonatal medical supply business. The documentation is primarily product literature and company overviews. The subseries are arranged alphabetically by company name.
Subseries 4, Miscellaneous, 1999, 2001, undated, contains printed paper examples of the fabric Small Beginnings used on its products and a Neonatal Intensive Care Unit (NICU) booklet designed for parents of preemie infants. The booklet provides a checklist of tasks for parents to be conscious of when caring for their premature infant.
Series 4, Sales Records, 1993-2006
Subseries 1, Catalogs, 2001-2005, contains catalogs in hard copy and on CD-ROM for distributors and other interested parties.
Subseries 2, Price lists, 2000, 2003, undated, includes itemized pricing lists for all Small Beginnings products and special pricing lists designed for hospital admission kits. There is also a pricing list with similar competitor products and the savings gained by using Small Beginnings products.
Subseries 3, Distributor Information, 1993-2006, consists of documentation on distributors around the United States who are distributing or considering distributing Small Beginnings, Inc., products. Arranged alphabetically by the name of the distributor, this subseries consists primarily of contracts—the independent distributor contract—between Small Beginnings, Inc., and the distributor.
The contract details the sales representatives appointment, terms, permitted sales, distributor sales and service obligation, supplier organizations, prices, orders, payment, shipment, trademark protection, no competitive products, proprietary rights protection, warranty, disclaimer, and warrant service, limitations or remedies and liability, termination, taxes, duties, import permits, approvals, and general provisions. In some instances, there is correspondence with a distributor and sales report information detailing the product type, cost and to which hospital it was sold.
The Advanced Medical Systems file also contains vendor sales information. This report details what Small Beginnings product(s) were sold, to whom, when, how many, the price, and any shipping details.
The HealthTrust file documents a "purchasing group." A purchasing group negotiates with suppliers to provide member facilities with high quality supplies, equipment, and other services at competitive prices through national, regional and local supply agreements. Small Beginnings did not enter into a formal agreement with HealthTrust but explored the idea of becoming a prospective vendor.
Subseries 4, Licenses and Agreements, 1998-2005, includes license and compensation agreements with five individuals (Eileen Clayton, Linda Cook, Diane D'Eugenio, Ilija Kainovic, and Kathleen Porter) for a variety of products. The agreements cover the definitions, license grants, royalties and payments; term and termination; best effort; breach and cure; patent, applications, prosecution and ownership; new inventions; infringement; representations by the licensee; force majeure; and other rights and conditions.
There are also letters of agreement for purchase and compensation documents. These agreements between Small Beginnings, Inc., and said party states what the product/idea is, how much it will cost, if the product/idea will be commercially produced and marketed, and if the product/idea can be altered. There is one agreement among the officers of Small Beginnings, Inc., dated 1999 which states that any and all future intellectual property(s) and/or product(s) and/or idea(s) shall be the property of the individual and not Small Beginnings, Inc.
Subseries 5, Finances, 2000-2003, contains sales summary data, expense allocations, invoices, and cost analyses. The sales summary provides an itemized breakdown of Small Beginnings's inventory for the period January 1, 2000 to July 10, 2000. The expense allocation spreadsheet of January 2000 to July 2000 provides a detailed breakdown of salary payments, office equipment, goods sold, and other line items such as printing, attorney's fees, and shipping supplies. Also provided is the total actual expenses, total income, difference, and starting and ending balance information. The invoice reports provide information about the customer, the invoice number, date due (0-30 days, 31-60 days or 61-90 days or over 90 days), amount due, purchase order number and the date paid. The projected cash flow from January 2000 to May 2000 details the amount of cash taken in and cash spent. The cost analyses provide a breakdown by list price, materials, manufacturing, labor costs, and packaging for six products: Bili-Bonnet, Climate Cover, Iso-sphere Covers, Baby-Crates, Security Baby Wrap, and Baby Blotters, Preemie Swaddler, Preemie Gown, Privacy Poncho, Bed Buddie, Posture Pillow, Preemie Nest, Bebeonkers and Pacee Pacifier.
Subseries 6, Neonatal Conference Programs, 1998-2002, consists primarily of conference programs and, in some instances, only the program cover.
Subseries 7, American Hospital Association Guide (partial), 1998, contains a partial print out of hospitals located in Indiana, Kentucky, Michigan, and Ohio.
Series 5, Patent and Trademark Files, 1991-2002, contains copies of patent and trademark information relating to Small Beginnings, Inc., products. The trademark file includes documentation with the law firm of Townsend and Townsend and Crew LLP and the United States Patent and Trademark office for Small Beginnings, Peeweeonkers, Bebeonkers, Nasalonkers (all infant nasal suction devices), and Doctor Nurse Apparel, (DNA) trademark logos. The patent files contain correspondence, drawings and narrative text for Bebeonkers, Bili-Bonnet, Climate Cover, Pacee Pacifier, Positioning Device, Preemie Nest, and Privacy Poncho.
Series 6, Photographs and Scrapbook, 1987-2007
Subseries 1, Photographs, 2000-2001, are arranged by topic and include color and color photocopies documenting some of Small Beginnings products, a 2001 Christmas party, a 2000 neonatal conference, and office and factory images.
Subseries 2, Digital images, 2007, consists of office, factory and employee images taken by National Museum of American History staff members Judy Chelnick, Maggie Dennis, and Alison Oswald.
Subseries 3, Scrapbook, 1987-2000, consists of nineteen pages featuring photographs of employees, products and the factory, as well as printed product information.
Arrangement:
The collection is organized into six series.
Series 1, Background Information, 1983-2006
Subseries 1, Articles of Incorporation, 1997-2005
Subseries 2, Small business certification, 2006
Subseries 3, Women's Business Enterprise Council, 2004-2006
Subseries 7, American Hospital Association Guide (partial), 1998
Series 5, Patent and Trademark Files, 1991-2002
Series 6, Photographs and Scrapbook, 1987-2007
Subseries 1, Photographs, 2000-2001
Subseries 2, Digital images, 2007
Subseries 3, Scrapbook, 1987-2000
Biographical / Historical:
Small Beginnings, Inc., of Hesperia, California, was founded by Mary S. Rogone and her business partner, Austin J. Webber, II in the late 1990s. It officially incorporated on November 21, 1997, in the State of Nevada. The company specializes in products conceived and developed by healthcare professionals, specifically nurses who work with premature infants. The name "small beginnings" originated from the small amount of money used to start the company and for the tender age of the patients it serves. The company motto is "Clinicians on a Mission" with the entire company dedicated to making better, more innovative products for premature infants.
Mary Sharon Shoffstall was born August 8, 1942 and raised in the San Bernardino Hills of California. She attended Huntington Park High School where she concentrated on math and science and graduated in 1960. She earned degrees as a licensed practical nurse (LPN) in 1976 and as a registered nurse (RN) in 1980 from San Bernardino Valley College. Rogone worked a variety of nursing jobs—labor and delivery and surgical—but found her niche in the neonatal intensive care unit (NICU).
In the late 1980s, Rogone was motivated by her work in the neonatal intensive care units at St. Bernardine's Hospital (now St. Bernardine Medical Center) and San Bernardino County Hospital in California to create a better phototherapy mask for premature infants suffering from bilirubin. "Bilirubin is a brownish yellow substance found in bile. It is produced when the liver breaks down old red blood cells. The most obvious symptom of high bilirubin levels is jaundice, a condition in which the skin and whites of the eyes appear yellow. Therefore, some babies who develop jaundice may be treated with special lights (phototherapy) or a blood transfusion to reduce their bilirubin levels."
Rogone's phototherapy mask was fashioned out of a variety of hospital materials and was designed to take the pressure off the ocular socket, transfer it to the cheekbone and reduce the ability of light to penetrate the mask. With no objections from fellow nurses or doctors, Rogone developed the Bili-Bonnet Phototherapy Mask and began using it on infants in the NICU. Encouraged by Austin Webber, a medical sales representative she met at the hospital, Rogone formed a financial partnership with Webber. Both Rogone and Webber contributed $1,500.00 to start the business. Webber provided knowledge about materials, manufacturing processes, and distribution while Rogone supplied the ideas and medical background. Rogone began the patent process for the mask in 1992 and was granted US Patent # 5,613,502 for a "Photo therapy eye mask" in 1997. This invention launched Rogone's inventive career and her company, Small Beginnings, Inc.
In 1995, Sharon married Phil Rogone, a respiratory therapist and physician's assistant she met while working at St. Bernardine's Hospital. Phil soon joined the company as Vice President for Marketing and began attending tradeshows to promote the company's growing line of products. In 1998, Ken Croteau, a respiratory specialist and close friend of Phil and Sharon's, joined the staff of Small Beginnings, Inc., as the business manager. Croteau established the company's website, www.small-beginnings.com, and began to recruit distributors. Croteau, along with Sharon Rogone, Philip Rogone, Winnifred Croteau, and Ted Lopez founded Caring Creations, Inc., a separate corporation on May 1, 2002. Caring Creations, Inc., is a vehicle intended to launch Small Beginnings products into the retail market. By 2000, Sharon Rogone left full-time nursing to focus on the company as Chief Executive Officer.
As the company grew, more products were developed. The company now offers: Bebeonkers (oral suction device), Lil' and Nu' Pacee Pacifiers, Cuddle Bunsâ„¢ Diapers; Preemie Nest (swaddler and positioning device); Bed Buddy (positioning device); Baby Blotters (absorbent, moisture proof plastic blotters); Abdominal Pillow; Head Pillow; Wedge Pillow; Preemie Gown; Arm immobilier; Baby Cratesâ„¢ (allows moisture to flow through and away from the baby), Baby Blankeeâ„¢; Isosphereâ„¢ covers (for NICU warmers); Universal Climate Cover II, and the Privacy Poncho.
Not all products are developed and patented by Small Beginnings, Inc. The company inspires and assists budding inventors, especially nurses and other healthcare professionals to realize their dreams. The Pacee Pacifier sold by Small Beginnings (US Patent # 4,909,253) was invented by Linda L. Cook from Infrapreem, Inc., of Connecticut. Cook licensed her invention to Small Beginnings in 1999 so they could commercially develop, produce and market the pacifier as the Lil' and Nu' Pacee Pacifier. In a 1998 letter Cook wrote to Rogone, "It is so good to know there are people like you in the world that are out there to help nurses. Thank you." Other products, such as the Cuddle Bunsâ„¢ Diapers, are not patented, but the name is trademarked.
Related Materials:
Materials at the National Museum of American History
The Division of Medicine and Science holds artifacts related to this collection. See Accession # 2007.0022:
Bili-Bonnet mold with masking tape
Bili-Bonnet mold with foam inserts
Pacifier choking test stand (includes barbell and pacifier)
Pac black foam disk
Diapers from Children's Medical Ventures
Diaper, prototype 1 from Mexico, Small Beginnings, Inc.
Diaper, prototype 2 from Mexico, Small Beginnings, Inc.
Diaper, prototype 3 from Mexico, Small Beginnings, Inc.
Diaper, prototype 4 from Mexico, Small Beginnings, Inc.
Diaper, prototype 5, Small Beginnings, Inc.
Diaper, final version production model
Diaper, ultra preemie production model, 2003
Diaper, Pampers Preemie Swaddler from Procter & Gamble
Oral suction device, Bebeonkers
Pacifier, Original Pacee with product literature, Small Beginnings, Inc.
Pacifier, second generation with packaging, Small Beginnings, Inc.
Pacifier, Competitor's "Soothie" Children's Medical Ventures
Pacifier "Lil' Pacee," Small Beginnings, Inc.
Phototherapy mask, competitors, Children's Medical Ventures
Phototherapy mask, Bili-Bonnet #1, Small Beginnings, Inc.
Phototherapy mask, Bili-Bonnet #2, Small Beginnings, Inc.
Phototherapy mask, Bili-Bonnet #3, Small Beginnings, Inc.
Packaging, new Bili-Bonnet, Small Beginnings, Inc.
Packaging, old Bili-Bonnet, Small Beginnings, Inc.
Phototherapy mask, original preemie Bili-Bonnet, Small Beginnings, Inc.
Posture pillow sets for preemies, Small Beginnings, Inc.
Bed Buddy 36" for ultra preemies, Small Beginnings, Inc.
Preemie nest set, Small Beginnings, Inc.
Bendy Bumpy, Children's Medical Ventures
Bulb syringe "Adult Yankauer," taken from NICU
Suction tube with collecting bottle, Delee taken from NICU (for use after c-section)
Bulb and syringe, taken from NICU
Catheter, size 6 cut, for suction, taken from NICU
Catheter for oral and nasal use (by Ballard)
Pen, Small Beginnings, Inc.
Phototherapy mask, original ultra preemie, cat #OIC 38, Small Beginnings, Inc.
Pacifier, 'Nu' Pacee" in packaging, Small Beginnings, Inc.
Provenance:
The collection was donated by Small Beginnings, Inc., through Mary S. Rogone, Philip N. Rogone, Austin J. Webber II, Kenneth S. Croteau and Winnifred D. Croteau, February 2007.
Restrictions:
The collection is open for research use.
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 papers of New York painter and educator Marcia Marcus measure 8.42 linear feet and .389 gigabytes (1 computer file), and date from 1928-2016, with the bulk of the materials dating from 1950-2000. The papers include biographical material, correspondence, interviews, writings (including two diaries), project files, personal business records, printed material, photographic material, eight sketchbooks, and artwork. Extensive personal and professional correspondence is with her husband and close friends, galleries, museums, and other arts organizations. Notable correspondents include Sally Avery, Dody Müller, and Robert (Bob) Richenburg, and, to a lesser extent, Dorothy Gill Barnes, Elaine Benson, Elaine de Kooning, Grace Hartigan, and Myron Stout. Photographic material includes photographs of Marcus at all stages of her life and photographs and slides documenting her paintings.
Scope and Contents:
The papers of New York painter and educator Marcia Marcus measure 8.42 linear feet and .389 gigabytes (1 computer file), and date from 1928-2016, with the bulk of the materials dating from 1950-2000. The papers include biographical material, correspondence, interviews, writings (including two diaries), project files, personal business records, printed material, photographic material, eight sketchbooks, and artwork.
Biographical material includes address books, diplomas, certificates, identification documents, resumes, and other material.
Extensive personal and professional correspondence is with Marcia Marcus's husband and close friends, galleries, museums, and other arts organizations. Notable correspondents include Sally Avery, Dody Müller, and Robert (Bob) Richenburg, and, to a lesser extent, Dorothy Gill Barnes, Elaine Benson, Elaine de Kooning, Grace Hartigan, and Myron Stout.
Interviews include 2 sound cassettes and a few transcripts. Writings by Marcia Marcus consist of diaries, artist statements, notebooks, notes, lists and poems. There are also a few writings by others about Marcus. Project files mostly consist of grant applications, a mail art project, information on exhibitions curated by Marcus, and other material.
Personal business records include receipts, ledgers, prices lists, leases, and other documentation. Photographic material includes photographs of Marcus at all stages of her life and photographs and slides documenting her paintings. There are eight sketchbooks and artwork, mostly in the form of small sketches and watercolors.
Arrangement:
The collection is arranged as ten series
Missing Title
Series 1: Biographical Material, 1928-2000s (0.7 linear feet; Box 1, OV 9)
Series 2: Correspondence, 1948-2016 (4.0 linear feet; Box 1-5)
Series 3: Interviews, 1970s-1980 (3 folders; Box 5)
Series 4: Writings, 1970s-2014 (0.3 linear feet; Box 5)
Series 5: Project Files, 1962-circa 2000 (0.2 linear feet; Box 5-6)
Series 6: Personal Business Records, 1960s-2000s (0.3 linear feet; Box 6)
Series 7: Printed Material, 1950s-1990s (0.8 linear feet; Box 6-7, OV 10-11)
Series 8: Photographic Material, 1950s-1990s (1.3 linear feet; Box 7-8)
Series 9: Sketchbooks, circa 1954-2000 (0.3 linear feet; Box 8)
Series 10: Artwork, 1950s-1990s (0.4 linear feet; Box 8, OV 12)
Biographical / Historical:
Marcia Marcus (1928- ) is a figurative painter working in New York, New York.
Born in New York City, Marcus earned her bachelor's degree in fine arts from New York University in 1949, studied at the Cooper Union from 1950-1952, and studied at the Art Students League with Edwin Dickinson in 1954. In 1951, Marcus exhibited her first painting in a group exhibition at Roko Gallery in New York City. Since then, she has been the subject of over a dozen solo shows and participated in many group exhibitions.
Marcus had an exhibition of self-portraits (1960) at the Delancey Street Museum, where the artist Red Grooms, one of her many friends in the art world, was one of the founders. She also directed and performed a "Happening" there. In 1961, Marcus studied Byzantine and fresco painting in Florence, Italy. She then traveled to France from 1962-1963 on a Fulbright fellowship, and was the recipient of many other grants throughout her career including a Esther and Adolph Gottlieb grant and a National Endowment for the Arts grant. Marcus has taught as a visiting artist at a number of colleges and universities, including Vassar College, New York University, and Purdue University.
Marcus married Terrence (Terry) Barrell in 1959 and they have two children, Kate and Jane.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Marcia Marcus conducted by Paul Cummings in 1975.
Provenance:
Marcia Marcus donated her papers in multiple increments between 1974-1984. Her daughter Kate Prendergast donated additional papers in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
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.
Occupation:
Art teachers -- New York (State) -- New York Search this
Topic:
Painters -- New York (State) -- New York Search this
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
Personal business records date from 1960s-2000s and consist of conservation documentation relating to Marcus' paintings, leases for residences and studios, financial ledgers, price lists for exhibitions, receipts for art supplies, loan agreements, contracts for exhibitions and teaching positions, as well as documentation related to unemployment benefits.
Arrangement:
This series is arranged alphabetically by folder title.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
The collection documents approximately fifty years of the Hubbard Harpsichord business. The records include correspondence, financial and accounting materials, sales and promotional materials, records, newsletters, dealer files, project files, photographs, research files on European instruments, kit manuals, and design drawings.
Scope and Contents:
The collection documents the approximately fifty years of the Hubbard Harpsichord business. The records include correspondence, financial and accounting materials, sales and promotional materials, records, newsletters, dealer files, project files, photographs, research files on European instruments, kit manuals, and design drawings.
Series 1, Correspondence, 1949-2003, consists of letters among representatives of the company, individuals, churches, seminary schools, musical societies, companies, universities, harpsichord owners and enthusiasts. The correspondence is rich with information about historical issues, construction techniques, ownership genealogy, the early music movement, and Hubbard's importance to the historical building movement. The correspondence is handwritten and typed. There are some loose papers, notes, and postcards. Requests for information on the harpsichord manual kit, harpsichord purchases, and questions/answers pertaining to the building of harpsichords comprise the majority of the series. There are also invoices, checks, and publications such as the Wall Street Journal, the New York Review, and Saturday Review. Correspondents include the Smithsonian Institution, Harvard University, Yale University, a number of professional harpsichordists, and dealers of the company. The series is arranged in chronological order, then alphabetically by correspondent's last name or business name.
Series 2, Business Files, 1965-2000, is divided into three subseries: Subseries 1, Annual Meetings and Reports, 1965-2000; Subseries 2, Corporate Affairs, 1960-1997, and Subseries 3, Employee Files, 1967-1997.
This series documents both the development of Frank Hubbard Harpsichords Kit, Inc., the company created to sell "do-it-yourself" kits, and Frank T. Hubbard Harpsichords, the finished instruments company. Hubbard headed the finished instruments company, officially established in 1973, until his death, while Lawrence C. Erdmann headed the kits company. The issue of what role the two separate companies should take was a prominent question before and after Hubbard's death. Diane Hubbard, Hubbard's wife, began running the company after Hubbard's death in 1976 until her retirement in 2000. This series is arranged topically, then in chronological order.
Subseries 1, Annual Meetings and Reports, 1965-2000, documents many of the issues the company faced at the corporate level. Minutes, corporate resolutions, and correspondence highlight yearly financial and operational activities, financial and operations projections, consolidation of the two companies, review of leadership positions, proposed investments, incoming stockholders and activities of the board of directors, and acquired leases.
Subseries 2, Corporate Affairs, 1960-1997, includes property leases the company held from its founding at Moody Street in 1959, until the 1980's. This subseries documents stockholder, stock purchases by Phil Cooper, a major shareholder in the company in the 1990's. Other items include the Hubbard Memorial Committee which documents a memorial concert, the establishment of the Historical Harpsichord Monograph essays, and some of Hubbard's publications. Dr. Howard Schott, author of the Historical Harpsichords series, and Dr. John D. Montgomery, chairman of the Frank Hubbard Memorial Committee are frequent correspondents. A finished instruments schedule documents (Box 21/folder 9), through notes and correspondence, the length of time it took to complete building the harpsichord. The same box holds records of the company's acquisition of a clavichord business (Box 21/folder 10), and a 1997 business plan (Box 21/folder 11).
Subseries 3, Employee Files, 1967-1996, consists of correspondence among representatives of the company, college students searching for internships, and job applicants seeking positions.
The materials document the continually changing structure and hierarchy of the company through notes and correspondence. There are materials relating to the employment of Michel Van Hecke, an apprentice craftsman in the late 1960's, and Robert A. Murphy, a piano craftsman, in 1984, which document the company's hiring process over time.
Series 3, Frank Hubbard Harpsichords Kit, Inc., 1964-1997, is divided into three subseries: Subseries 1, Kit Instructions, 1964-1989, undated, Subseries 2, Price Lists and Costs, 1974-1999, undated, and Subseries 3, Catalogues of Hubbard Harpsichords, 1984-1997.
Determined to offer instruments of authenticity and perfection, Hubbard initially created a finished instruments company. In 1963, Hubbard also developed a kit manual which anyone with basic woodworking skills could follow in order to build their own harpsichord. This series is arranged topically, then chronologically.
Subseries 1, Kit Instructions, 1964-1989, undated, consists of the pioneering kit manuals Hubbard promoted while waiting for finished instrument orders. The earliest manual, 1964, is a general purpose harpsichord manual that is most likely an early kit for a French harpsichord. Others include the Flemish harpsichord, fortepiano by Johann Andreas Stein, a German maker of keyboard instruments, English bentside spinet, 17th century Flemish Ottavino, Flemish virginal-museler spinet, and Flentrop chamber organ.
Subseries 2, Price Lists and Costs, 1974-1999, undated, consists of the costs, price, and inventories related to the production of kit manuals.
Subseries 3, Catalogues of Hubbard Harpsichords, 1984-1997, contains Hubbard harpsichord catalogues and price list booklets. Orders for kits are with the packing lists under sales and promotional materials.
Series 4, Research, 1930-1973, is divided into eight subseries: Subseries 1, Notebooks, 1932-1973, undated; Subseries 2, Correspondence and Notes, 1955-1956, undated; Subseries 3 Drawings, 1950-1959; Subseries 4, Publications and Manuscripts, 1930-1974, undated; Subseries 5, Photographs, undated; Subseries 6, Card Files, undated; Subseries 7, Samples, undated; and Subseries 8, Miscellaneous, 1934-1960, undated.
Research files document Hubbard's efforts to perfect his skills building harpsichords in the 1940's and 1950's. Hubbard journeyed to archives in small towns and gathered information there. He also worked as an apprentice at Arnold Dolmetsch's workshop and later with Hugh Gough in England. This research eventually resulted in instruments that had all the qualities of their older models. This series is arranged topically, then chronologically.
Subseries 1, Notebooks, 1932-1973, includes Work and Ideas of Arnold Dolmestch, which paved the way for building harpsichords based on historical principles. Other notebooks include the Ruckers Taskin (an eighteenth century Flemish harpsichord) and Hubbard's notebook on the alteration of a Hemsch Harpsichord in 1972. There are some notebooks titled by volume that relate to the Hubbard and Dowd Company.
Subseries 2, Correspondence and Notes, 1955-1961, undated, consists of letters and technical notes such as workshop methods, the Ruckers Taskin, and notes from the Harding Museum. The majority of correspondence and notes are unidentified.
Subseries 3, Drawings, 1950-1959, undated, consists of tracings, rubbings, templates, and Hubbard and Dowd drawings of harpsichord designs and harpsichord parts. Some drawings depict the construction of harpsichords by earlier builders. The drawings are unprocessed.
Subseries 4, Publications and Manuscripts, 1930-1974, undated, includes loose pages of an "Ars Organi sketch," articles by Edwin W. Ripin, and loose pages of the French Encyclopedia. There are publications in French, such as a biographical note on the "Blanchet" describing Parisian harpsichord makers. Illustrated London News, Le Soir Illustre, Christian Science Monitor, and Cincinnati Enquirer magazine articles are also included.
Subseries 5, Photographs, undated, consists of unidentified photographs of harpsichords.
Subseries 6, Card Files, undated, consists of index cards documenting instruments examined and instrument makers. There is an index for the cards.
Subseries 7, Samples, undated contains DeQuoco harpsichord iron strings, wood samples, DeQuoco harpsichord wire, and soft iron wire samples.
Subseries 8, Miscellaneous Items, 1934-1960, undated, includes a map of Central Europe, sheet music, museum procedure forms, concert programs, Successor Brocco Instruments, a 1950's instrument maker of the fortepiano, and promotional material for instrument makers.
Series 5, Sales and Promotional Materials, 1961-2000, is divided into six subseries: Series 1, Sales Journals, 1983-1998, Series 2, Instruments on order, 1968-1987, Series 3, Dealer files, 1975-1990, Series 4, Packing lists, 1970-2000, Series 5, Promotional files, 1961-2001, and Series 6, Catalogs of Other Instruments. It is arranged topically then chronologically.
Subseries 1, Sales Journals, 1983-1998, consists of loose pages of expenses and receipts for the instruments produced by the company in the 1980's and 1990's. These include the French harpsichord, the English Bentside Spinet, fortepiano, virginal, ottavino, and organ.
Subseries 2, Instruments on Order, 1968-1987, includes correspondence between representatives of the company and individuals, companies, musical societies, and colleges relating primarily to orders for finished instruments. Requests for kit orders and replacement parts are included. There are also instrument-on-order tracking sheets, invoices, and shipping orders and forms that document the orders that were placed.
Subseries 3, Dealer Files, 1975-1990, contains correspondence between Hubbard representatives and dealers, both domestic and international, who promoted Hubbard harpsichords. The customs broker company, T.D. Downing, is also represented. Other materials include tracking sheets, shipping forms invoices, bills, checks, inventory lists, mail, telegrams, and certificates of insurance between the Hubbard Harpsichords Company and dealers. Dealers include Japanese companies like Arai and Company and German individuals like Klevers. Dealers from Australia, Belgium, Canada, England, Finland, France, Germany, Israel, Italy, Japan, Netherlands, New Zealand, Norway, Sweden, Switzerland, and United States are also represented.
Subseries 4, Packing Lists, 1970-2000, consists of the kit orders placed for the French harpsichord, English bentside spinet, fortepiano, virginal, ottavino, and organ the company produced. Some packing lists indicate the number of kits the company packed each year. The numbers on the folders indicate the number of kits produced by the company.
Subseries 5, Promotional Files, 1961-2001, includes correspondence and catalogs from festivals, exhibitions, workshops, and projects that helped the company reach out to the wider public. The Boston Early Music Festival, for which Diane Hubbard was a board member, is well represented. Workshops in skills such as voicing, tuning, repair, and general woodworking classes helped amateur craftsman receive instructions for harpsichord-related activities. The special projects document other activities and venues, such as high school projects, and other activities by the Hubbard's to share their knowledge of, and enthusiasm for, harpsichords.
Subseries 6, Catalogs of Other Instruments, undated, consists of competitors' catalogs for early instruments. Hubbard's notable competitors include Wallace Zuckerman (Zuckerman harpsichords), and Hubbard's former business partner, William Dowd. The subseries is arranged alphabetically by competitor name.
Series 6, Financial Records, 1976-2000, consists of general financial documents, balance sheets, tax information, and payrolls.
Materials include account receivables, kits work in progress, monthly expense budgets, accounts payable, cash disbursements, write-offs and cancellations, bad debts, finished instrument orders and sales, miscellaneous income, monthly totals from sales journals, cash disbursements petty cash statements, kits ordered and shipped, restorations and fixed assets. Balance sheets, tax information, payroll documents, and related income statements complement the general financial documents to document the company's finances. The materials are arranged chronologically, then topically.
Series 7, Legal Records, 1959-1987, undated, consists of memoranda, notes, correspondence, and financial materials relating to legal cases and commercial acquisitions for the Hubbard Harpsichord Company from the 1970's to 1980's. The series is divided into five subseries: Subseries 1, Notes of John Ashby, 1968-1977; Subseries 2, Notes of Henry S. Healy, 1973-1978; Subseries 3, Belt v. Hubbard, 1963-1977; Subseries 4, Correspondence, 1963-1979; and Subseries 5, Acquisitions and Mergers, 1959-1987.
Subseries 1, Notes of John Ashby, 1968-1977, consists of notes of the company's lead attorney John H. Ashby pertaining to legal agreements between Hubbard and Erdmann, Hubbard's estate, Belt v. Hubbard, and general financial matters.
Subseries 2, Notes of Henry S. Healy, 1973-1978, consists of the notes of Henry S. Healy regarding the company's acquisition of commercial real estate and leases.
Subseries 3, Belt v. Hubbard, 1963-1977, consists of correspondence, memos, notes, affidavits, pleading matters, and pending matters used in the Belt v. Hubbard case.
Subseries 4, Correspondence, 1963-1979, consists of general correspondence. Wallets five through nine deal with merger acquisitions and sublease agreements during the 1970's and 1980's. Reviews of the company's financial operations are included in accountant reports, tax returns, and documents for the board of directors meetings.
Series 8, Soundboard Newsletters, 1979-1999, consists of a yearly newsletter with information about the company's activities for harpsichord enthusiasts.
Series 9, Photographs, 1968-1993, undated, consists of two albums of harpsichord photos and slides at events and concert halls.
Series 10, Drawings, undated (unprocessed)
Arrangement:
The collection is arranged into nine series.
Series 1: Correspondence, 1949-2003
Series 2: Business Files, 1965-2000
Subseries 2.1: Annual meetings and reports, 1965-2000
Subseries 2.2: Corporate Affairs, 1960-1997
Subseries 2.3: Employee Files, 1967-1996
Series 3, Frank Hubbard Harpsichord Kits, Inc., 1964-1997, undated
Subseries 4.4: Publications and Manuscripts, 1930-1974, undated
Subseries 4.5: Photographs, undated
Subseries 4.6: Card Files, undated
Subseries 4.7: Samples, undated
Subseries 4.8: Miscellaneous, 1934-1960, undated
Series 5: Sales and Promotional Materials, 1961-2001, undated
Subseries 5.1: Sales Journals, 1983-1998
Subseries 5.2: Dealer Files, 1975-1990
Subseries 5.3: Instruments on Order, 1968-1987
Subseries 5.4: Packing Lists, 1970-2000
Subseries 5.5: Promotional Files, 1961-2001
Subseries 5.6: Catalogs of Other Instruments, undated
Series 6: Financial Records, 1976-2000
Series 7: Legal Records, 1959-1987, undated
Subseries 7.1: Notes of John Ashby, 1968-1977
Subseries 7.2: Notes of Henry S. Healy, 1973-1978
Subseries 7.3: Belt v. Hubbard Materials, 1963-1977
Subseries 7.4: Correspondence, 1963-1979
Subseries 7.5: Acquisitions and Mergers, 1959-1987
Series 8: Soundboard Newsletters, 1979-1999
Series 9: Photographs, 1968-1993, undated
Biographical / Historical:
Frank Twombly Hubbard (1920-1976) was an American early instruments maker who with William R. Dowd (1922-2008) and the German harpsichord maker Martin Skowroneck, resurrected historical methods of harpsichord building. Many harpsichord makers in the United States are in debt to Frank Hubbard, his research, and his work with Dowd which became central to the twentieth century revival of harpsichord building in the United States.
Born on May 15, 1920, in New York, Hubbard graduated from Harvard University (Bachelor's, 1942; Master of Arts, 1947). At Harvard, Hubbard met William Dowd (1922-2008) who also had an interest in early instruments. Together they constructed a clavichord, an early stringed keyboard instrument used during the fifteenth to eighteenth centuries. Hubbard and Dowd both decided to leave Harvard to pursue instrument making. In 1947, Dowd went to work with John Challis in Michigan, while Hubbard went to England and became an apprentice at the workshop of Arnold Dolmetsch in Haslemere. Not learning much about the historic harpsichord, Hubbard worked with Hugh Gough in London in 1948. During his one-year stay with Gough, he was able to visit collections of early keyboard instruments around Europe and study the instruments of fifteenth to eighteenth century harpsichord makers.
Hubbard returned to the United States in 1949 and founded a workshop with Dowd, called Hubbard and Dowd, Inc., in Boston, Massachusetts, which was dedicated to building harpsichords on historical principles. Hubbard and Dowd restored harpsichords in public and private collections (including the Smithsonian) which helped improve their own techniques of design and construction. In 1958 the partnership ended and Hubbard formed his own workshop, Frank Hubbard Harpsichords, Inc. on the Lyman Estate in Waltham, Massachusetts. Dowd opened a larger workshop in Cambridge, Massachusetts.
Hubbard held several fellowships--a Fulbright Fellowship (1957), American Philosophical Society Grant (1958) and the Belgium American Educational Foundation CRB Fellowship (1958)--to examine instrument collections in Europe. From 1967 to 1968, he set up the restoration workshop for the Musee Instrumental at the Paris Conservatoire. In the 1970s, he taught courses at Harvard and Boston Universities. Hubbard wrote Three Centuries of Harpsichord Making in 1965. Ralph Kirkpatrick, a harpsichordist, wrote, "Hubbard unquestionably knows more about the history and construction of harpsichords than anyone alive today."
Hubbard developed a harpsichord in 1963 based on a 1769 French harpsichord which was sold as a "do-it-yourself" kit. It included a manual and all the crucial parts. Any person with a good grasp of woodworking and basic knowledge of harpsichord making, with dedication and careful work, was able to produce a fine instrument. Other kit designs followed in subsequent decades, and were marketed and sold under the name of Frank Hubbard Harpsichord Kits, Inc.
Frank Hubbard died on February 26, 1976 in Wellesley, Massachusetts. Operations at the Hubbard shop continued under the direction of Hubbard's wife, Diane Hubbard until 2000. Diane Hubbard died in 2009. Approximately 300 instruments were built in the shop, and nearly 4,000 kits were sold to customers around the world.
Related Materials:
Materials at the National Museum of American History
Materials in the Archives Center
Dowd Harpsichord Collection, 1949-1997 (AC0593)
The Division of Culture and the Arts (now Division of Cultural and Community Life
The division has a Hubbard clavichord and harpsichords built by other makers.
Provenance:
The collection was donated by Hendrik Broekman, President, Hubbard Harpsichords, Inc., on September 20, 2011.
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.
This collection includes papers that were important to Henry, Henry B. and Juliette Arden. There is some confusion caused by the names of father and son. Juliette referred to her father as Henry, never as Harry or Henry B. Early patents, granted before his death in 1912 may have been granted to the father. All documents or correspondence later than 1912 obviously relate to the son. There are a number of patents granted by the U.S. and several by Canada, a few perhaps to the father, the others to the son, and one to Juliette for a gas stove broiler. A number of legal documents, originals or copies, relate to efforts by the son to raise funds to manufacture machinery or equipment or to develop engineering ideas such as strengthening levees on the Mississippi, building a ships' canal and a channel tunnel. His correspondence relates to such projects also, there is extensive correspondence with the W.H. de Udy & Co. of Montreal, Canada in reference to the organization of a syndicate to finance the manufacture of steel from iron separated from sands. The sparse correspondence identified with his father is largely personal.
Juliette Arden's correspondence is extensive. It includes many pleas to the rich and/or famous to right the alleged wrongs done to her father in prior years. Her early correspondence is related to a broiler for gas stoves that she invented and had patented, (March 26, 1912 Patent No. 585,734) and a legal suit arising from this. Other early correspondence relates to an unsolicited welfare plan developed for the American Sugar Refining Co. The only extraordinary letter from this early period is one to Queen Mary at Buckingham Palace (November 7, 1915) about Juliette's concern for Paris during World War I.
Also included are a number of letters detailing attempts to sell in England an ore reduction process invented by her father. Sir John Beverly Tomlinson of Toronto, Canada and Mr. T.W. Ridley of England were involved in this.
The thirties were evidently years of real or imagined financial hardship. Numerous letters recounting the alleged wrongs done to her father by the unauthorized use of his inventions were addressed to the famous, rich or powerful. A few of these also proffered advice about cures for cancer and other physical problems. Among the people to whom such letters were addressed were Col. Charles Lindbergh, Senators Hiram Johnson, Robert Wagner and Joseph Robinson, Presidents Roosevelt and Coolidge, Col. Howe (an aide to President Roosevelt, Mr. and Mrs. William Vanderbilt, J.P. Morgan, William Randolph Hearst, Pierre du Pont, Henry Ford and Mrs Harry Payne Whitney.
The remainder of the collection consists of miscellaneous notes on a variety of subjects, blue prints of machinery and equipment, a few personal artifacts (theater ticket stubs, invitations, etc.) and family photographs.
4 boxes.
Arrangement:
This collection is organized into 8 series.
Series 1: Reports, telegraphs, statements, 1902-1029
Series 2: Legal papers, 1896-1938
Series 3: Correspondence, 1884-1950
Series 4: Notes, 1903-1920
Series 5: Personal artifacts, 1898-1914
Series 6: Price lists, vouchers, invoices, circa 1920s
Series 7: Blueprints, 1905-1929
Series 8: Photographs, 1907-1925
Biographical/Historical note:
Henry Arden, a graduate of Cambridge, England, came to the United States in 1867 after a quarrel with his family. He went directly to Cincinnati. Observation during that trip by railroad led to his invention of the Arden Car Elevator for transferring freight from broad gauge to narrow gauge roadbeds. (U.S. Patent No. 77,706, according to Juliette Arden). The idea was developed and used by the railroads but Mr. Arden received no compensation inspite of the patent. The family shortly moved to New York where four children were born. Mr. Arden was admitted to the New York bar in 1890 and became a successful lawyer according to his daughter, Juliette.
Seven years of litigation over the railroads' use of the idea for the Arden Car Elevator resulted in defeat. In 1895 Mr. Arden became ill and moved to California for the climate. Shortly after he invented a "magnetic ore separator". This idea was allegedly stolen by the steel companies according to Juliette Arden who called it "the second great steal". She also claimed that a number of other inventions patented by her father were stolen. Henry Arden died in 1912.
There is no biographical information in the papers about Henry B. Arden and very little about Juliette Arden who signed many of her letters as "trustee" for her father's estate. She seems to have been active in church work both as a volunteer and an employee at least briefly. She wrote and had published privately a manuscript entitled "Cole 200 to 1920" which traces the family name Cole through English history and tried to have published a manuscript entitled "The Lifted Veil". It is evident from the material that Juliette Arden and her brother Henry or Harry were not compatible.
Juliette Arden was interested in preserving good in the late 19th century-early 20th century. She was the director of Girls' Club, director of the Class Department of Dr. Parkhurst's Mission as well as working with the poor. She had a talent for openly supporting persons who were taken advantage of by businesses and other commercial organizations.
Provenance:
The collection was donated by Juliette Arden.
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.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fritz Bultman papers, 1928-2010, bulk 1940s-1990s. Archives of American Art, Smithsonian Institution.
Material relating to exhibitions and performances dates from 1950s-2000s and are announcements; brochures and pamphlets; exhibition catalogs; press releases; pricelists; programs; playbills; and assorted material. Announcements, which include invitations and flyers, provide a comprehensive document of the New York art world over several decades, including exhibitions and performances at 112 Greene Street, OK Harris, Ronald Feldman Gallery, Light Gallery, Foto, the Kitchen, La Mama, and many more. Exhibition catalogs are from exhibitions on Andy Warhol, Willem de Kooning, and Jasper Johns. Catalogs from thematic exhibitions cover photography, ceramic arts, graphic arts, serial art, American art, and sculpture of the 1960s. Press releases and price lists document the exhibitions and performances of Cosmos and other artists. Programs represent theater and dance performances at both small venues including Westbeth, La Mama, The Bridge, Judson Memorial Church, and large venues like Carnegie Hall and The Metropolitan Opera. Playbills are for Broadway productions including Tom O'Horgan's productions of Hair and Jesus Christ Superstar, Off-Off Broadway productions, and dance performances including those by the Paul Taylor Dance Company. One folder of assorted exhibition and performance material includes artist biographies and mailings from galleries.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Use of archival audiovisual recordings with no duplicate copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.
The collection documents the Spiller Company's work in developing print advertising and advertising novelties such as advertisements placed on balloons, blotters, clipboards, calendars, hats, etc. Many of the products they developed advertisements for were toys and novelties. The collection includes design drawings, a notebook, business records, correspondence, photographs, trade literature, point of purchase displays, and newsletters.
Arrangement:
Collection is unarranged.
Biographical / Historical:
Advertising company, Batavia, New York.
Provenance:
Donated to the Archives Center in 2016 by Harley J. Spiller.
Restrictions:
Collection is unprocessed.
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.
