Search Results

Creator:

United Shoe Machinery Corporation  Search this

Names:

Emhart Corporation.  Search this

Extent:

145 Cubic feet (296 boxes)

Type:

Collection descriptions

Archival materials

Papers

Photographs

House organs

Catalogs

Scrapbooks

Commercial catalogs

Albums

Magazines (periodicals)

Advertisements

Clippings

Research

Legal records

Motion pictures (visual works)

16mm motion picture film

Business records

Place:

Massachusetts

Beverly (Mass.)

New England

Date:

1898 - 1987

Summary:

The collection documents the activities of the United Shoe Machinery Corporation of Beverly, Massachusetts, manufacturers of shoe machinery equipment. The collection consists of engineering records, legal records, research and development records, employee/personnel records, correspondence, company catalogs, product literature, advertising materials, photographs, and moving images.

Scope and Contents:

This collection is among the largest and most complete bodies of business records in the holdings of the Archives Center. The records document in considerable detail the firm's engineering department and research and development efforts in shoe making machinery and in related technical areas, especially during World War II and as it attempted to diversify its activities after the war. There is detailed information, much of it on microfilm, about the leasing of United Shoe Machinery (USM) machines. The records also provide insight into the USM's culture of corporate paternalism, including its athletic and relief associations and its industrial school. The collection is rich in visual materials depicting both the machines made by the firm and the employees and the facilities.

Arrangement:

The collection is arranged into seventeen series.

Series 1: Historical and Background Materials, 1901-1985

Series 2: Executive Records, 1927-1987

Subseries 2.1: United Shoe Machinery, 1927-1975

Subseries 2.2: Emhart Corporation, 1976-1987

Series 3: Correspondence, 1890, 1901-1915

Series 4: Wilson Palmer Files, 1925-1952

Series 5: Research and Development Department Records, 1914-1980

Subseries 5.1: Background, 1947-1974

Subseries 5.2: Financial Information, 1947-1975

Subseries 5.3: Reports, 1962-1973

Subseries 5.4: Facilities, 1947-1975

Subseries 5.5: Personnel, 1942-1979

Subseries 5.6: Labor, 1961-1970

Subseries 5.7: Subject Files, 1943-1977

Subseries 5.8: Project Files, 1914-1968

Subseries 5.9: New Development (ND) Project Files, 1924-1970

Subseries 5.10: Experimental (EX) Project Files, 1931-1938

Subseries 5.11: Automatic Controls Project, 1939-1979

Subseries 5.12: Baseball Stitching Machine Projects, 1949-1973

Subseries 5.13: Component Inserting Projects, 1954-1960

Subseries 5.14: Automatic Control Research Notebooks, 1939-1976

Subseries 5.15: Baseball Stitching Machine Research Notebooks, 1942-1956

Subseries 5.16: Component Inserting Research Notebooks, 1956-1965

Subseries 5.17, General Research Notebooks, 1939-1968

Series 6: Legal Records, 1900-1968

Subseries 6.1: Court Exhibits for Machine History, 1910-1951 (bulk 1948-1950)

Subseries 6.2: Leases, Cancellation Letters, Shipments, and Transfers (Microfilm), 1900-1958

Subseries 6.3: Patent Search, 1949

Series 7: Engineering Records, 1904-1979

Series 8: Employee/Personnel Materials, 1908-1981

Series 9: Mutual Relief Association Incorporated, 1902-1951

Series 10: Athletic Association, 1929-1962

Series 11: Industrial School Records, 1909-1938

Subseries 11.1: English for American Citizenship (Industrial Series), 1912, 1919-1921

Subseries 11.2: English for American Citizenship (Intermediate Series), 1921

Subseries 11.3: Text Books, 1909-1938

Series 12: Northwestern University Students' Cooperative Work, 1951-1960

Series 13: Aberthaw Construction Company Records, 1918-1920

Subseries 13.1: Correspondence, 1918-1919

Subseries 13.2: Reports, 1919-1921

Subseries 13.3: Purchase Orders, 1919-1920

Subseries 13.4: Receiving Records, 1919-1920

Series 14: Publications, 1898-1987

Subseries 14.1: United Shoe Machinery Corporation Catalogs, circa 1899-1961

Subseries 14.2: Beverly Today, 1979-1985

Subseries 14.3: Machinery Division Newsletter,1969-1970

Subseries 14.4: The Three Partners,1914-1920

Subseries 14.5: USM Today,1968-1976

Subseries 14.6: Quarter Century Club News, 1977-1987

Subseries 14.7: H.E. Smith & Company Catalogs, 1898-1930

Series 15: Product Literature, 1952-1979

Series 16: Advertising and Marketing Materials, 1902-1981

Series 17: Photographs, 1907-1960s

Subseries 17.1: Employees, 1907-1981

Subseries 17.2: Equipment/Products, 1961-1972

Subseries 17.3: Factories/Buildings, 1920s-1960s

Subseries 17.4: Trade Shows, 1954, 1968-1973

Subseries 17.5: Miscellaneous, undated

Subseries 17.6: Postcards, 1906-1938

Subseries 17.7: Prints from Glass Plate Negatives, undated

Subseries 17.8: Albums, 1915-1950s

Subseries 17.9: Film Negatives, 1956-1958

Subseries 17.10: Glass Plate Negatives, 1915-1923

Series 18: Audio-Visual Materials, 1934-1972

Biographical / Historical:

The United Shoe Machinery Company was formed in 1899 by the consolidation of the most important shoe machinery firms in the industry: Goodyear Shoe Machinery Company; Consolidated McKay Lasting Machine Company; and McKay Shoe Machinery Company. By this merger, conflicting patents were eliminated and patents supplementing each other were brought under United control to permit their prompt combination in a single machine or process. To ensure efficiency, the new company also continued the practice previously followed by its constituent firms of renting machinery that it manufactured instead of selling it. The authorized capital of the new company was twenty five million dollars. After the 1899 merger, United grew quite rapidly. In 1903, it began construction of a new factory in Beverly, Massachusetts about thirty-five miles from Boston. At its peak, this company employed 9,000 workers and produced eighty-five percent of all shoemaking machines in the United States. By 1910, it had an eighty percent share of the shoe machinery market with assets reaching forty million dollars, and it had acquired control of branch companies in foreign countries.

In 1911, the first of three civil anti-trust suits was brought against United by the United States government. It charged that the 1899 merger had restrained trade and violated the Sherman Act. The Massachusetts District Court ruled that the 1899 merger was not an attempt to restrain trade, only an attempt to promote efficiency. The court also said that the five companies that were merged to form United were not competitive with each other. The government appealed to the Supreme Court, which only affirmed the District Court's verdict.

In 1917, the United Shoe Machinery Corporation, incorporated in 1905, absorbed the United Shoe Machinery Company. The United Shoe Machinery Corporation had its headquarters in Boston and its main manufacturing plant in Beverly, Massachusetts.

The second government suit was brought against United Shoe in 1915. The government claimed that United Shoe's leasing system restricted the shoe manufacturer to exclusive use of United Shoe's products and that it was a violation of the newly enacted Clayton Act. The Massachusetts District Court ruled in favor of the government. The Supreme Court, hearing United Shoe's appeal case, only affirmed the District Court's ruling. In 1923, United modified its leasing policy.

The last government suit against United was filed in 1947 and charged United with monopolizing the trade, manufacture, and distribution of shoe machinery from 1923 to 1947. During this period, United had bought all shares, assets, and patents of twenty one companies that dealt in the shoe machinery manufacture. The court ruled that United had clearly violated the Sherman Act, and United was forced to modify its leasing policies and restrict its purchases of other shoe machinery businesses and its acquisition of patents. In 1968, the United Shoe Machinery Corporation changed its name to USM Corporation. In 1976, United Shoe Machinery Company merged with Emhart Industries and produced the modern-day Emhart Corporation.

In 1989, in order to resist a two billion dollar takeover attempt by a New York investment group (which included oil heir Gordon P. Getty), Emhart merged with Black & Decker Corporation. The merged company operates from Black & Decker's headquarters in Towson, Maryland. The company headquarters in Farmington, Connecticut, were closed in June 1989.

Related Materials:

Materials at Other Organizations

Lynn Historical Society & Museum, Lynn, Massachusetts

Lynn, Massachusetts businesses collection, 1888-1991

Small volumes and pamphlets of shoe and shoe-related industry businesses in Lynn, Massachusetts, including miscellaneous articles and histories on the shoe industry in Lynn, manuals, catalogs, broadsides, patents, handbooks, patterns, price lists, brochures, and legal materials. Businesses represented include Beaudry Machine Company, Beckman Machine Company, Bresnahan Shoe Machinery Company, George W. Emerson & Company, Hamel Shoe Machinery Company, Gregory & Read Co., David Knox & Sons Machinery Company, Krippendorf Kalculator Company (manufacturers of a mechanical device to compute pattern values), Peerless Machinery Company, Quarmby & Hilliker, Machine Builders, Swain, Fuller Manufacturing Company, W.J. Young Machinery Company, and George J. Kelly, Inc. (maker of shoe polish).

United Shoe Machinery Company Records, 1915-1974

Materials assembled by Edward F. McCarthy, director of USM research, including notebooks, diagrams, manuals, brochures, catalogs, code sheets, flow charts, price lists, handbooks, lectures, directories, lexicons, catalogs of other firms, personal notebooks on shoe construction (1927-1931), factory visits to other shoe companies, and production of leading manufacturers (1939-1960), and floor directory of the plant; ledgers listing machines shipped and returned from the Lynn and Puerto Rico plants (nine volumes, 1935-1974); and machine development materials, including patents, chiefly those of Edward Quinn.

Peabody Essex Museum (PEM) Salem, Massachusetts

An accession in 1987 of institutional archives, includes publications, photographs, advertisements, lectures, scrapbook of shoes made for United Shoe Machinery Corporation of Beverly, Massachusetts, shoes from which are in the collection of the Peabody Essex Museum (87020).

Beverly Historical Society, Beverly, Massachusetts

The United Shoe and Machinery Company Collection contains a large quantity of the company's patents, most of which pertain to the production and manufacture of shoes. Additionally there are patents for golf balls, nail guns, and magnetic closures. The majority of the remaining materials are Quarter Century Club documents ranging from financial and membership records, to pictures and other ephemera. The remainder of the collection consists of miscellaneous objects including sample knives and knife parts from the Booth Brothers Company.

University of Connecticut, Dodd Center

Emhart Corporation Records, undated, 1883-1989

Emhart Corporation was a multinational company located in Farmington, Connecticut. Prior to its 1989 merger with Black & Decker, Emhart operated in over one hundred countries with a worldwide work force of 30,000 employees. Emhart's products included machines for the manufacture of glass bottles and shoes; filling, sealing and packaging machinery; security systems; electronics; chemical products; metal fasteners; rubber processing equipment; and consumer and do-it-yourself products. Brand name products included True Temper® hardware and sporting goods, and Price Pfister® plumbing fixtures. Emhart's domestic roots went back to the American Hardware Company, founded in New Britain, Connecticut, in 1902.

Beverly Public Schools (Beverly, Massachusetts)

Beverly Public Schools/Beverly trade school records, 1909-1995

Materials relating to the establishment and operation of the Beverly trade schools, including trustee minutes, annual reports, curriculum journals, correspondence, photographs, programs and ephemera, and calendars.

Cornell University, Division of Rare and Manuscript Collections

[United Shoe Machinery Corporation publications], 1911-1913

Harvard University, Baker Library

[United Shoe Machinery Company, of New Jersey, et al. court proceedings], 1911-1917

United Shoe buildings and properties

The Cummings Properties now owns and leases "the Shoe."

Separated Materials:

Materials at National Museum of American History

The Division of Work and Industry holds artifacts related to the United Shoe Machinery Corporation. Some artifacts include a drafting table (1989.0259.349), tool chest (1989.0259.348), and molds for shoes, shoe heels, shoe welts, threads, needles, awls, and show wax.

Provenance:

The collection was donated by United Shoe Machinery Corporation, through Kevin Cochrane on November 20, 1987.

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.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage and audio visual materials. Using cold room materials requires a three hour waiting period, reference copies do not exist for audio visual materials. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit. Contact the Archives Center at 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.

Topic:

Industrial workers  Search this

Photography, Industrial  Search this

Tanners  Search this

Shoe machinery industry  Search this

Industrial history  Search this

Baseball  Search this

Genre/Form:

Papers

Photographs -- 20th century

House organs

Photographs -- Black-and-white negatives -- Glass -- 1900-1950

Catalogs

Scrapbooks

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Commercial catalogs

Albums

Photographs -- Black-and-white negatives -- Acetate film -- 1900-1950

Magazines (periodicals) -- 20th century

Advertisements -- 20th century

Clippings -- 20th century

Research -- 20th century

Legal records

Motion pictures (visual works) -- 20th century

16mm motion picture film

Business records -- 20th century

Citation:

United Shoe Machinery Corporation Records, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0277

See more items in:

United Shoe Machinery Corporation Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83f85a875-2e03-4934-b565-4ea239c46d53

EDAN-URL:

ead_collection:sova-nmah-ac-0277

Creator:

Cooper-Bessemer Corporation (Mt. Vernon, Ohio)  Search this

Former owner:

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

Extent:

27 Cubic feet (68 boxes, 1 map-folder)

Type:

Collection descriptions

Archival materials

Advertising

Airbrushing

Cashbooks

Correspondence

Catalogs

Drawings

Financial records

Letterpress copybooks

Photographs

Price lists

Newsletters

Trade literature

Date:

1870-1961

Summary:

These records document the activities of the Cooper-Bessemer Corporation of Mt. Vernon, Ohio, and Grove City, Pennsylvania, manufacturers of steam, gas, and oil engines, compressors, and furnaces.

Scope and Contents note:

These records document the activities of the Cooper-Bessemer Corporation of Mt. Vernon, Ohio, manufacturers of steam, gas, and oil engines; compressors; and furnaces through correspondence, financial materials, trade literature and photographs.

Arrangement:

The collection is arranged into eleven series.

Series 1: Background Materials, 1895-1944

Series 2: Correspondence, 1866-1961

Series 3: Financial Materials, 1888-1929

Series 4: Newsletters, 1917-1942

Series 5: Product and Sales Materials, 1870-1961

Series 6: Advertising Materials, 1921-1945

Series 7: Printed Materials, 1902-1953

Series 8: Photographs, 1881-1930s

Series 9: Air Brushed Photographs/Renderings, 1909-1930s, undated

Series 10: Glass Plate Negatives, 1906-1913, undated

Series 11: Drawings, 1906-1944

Biographical / Historical:

C. & G. Cooper Company was founded by Charles (1811-1891) and Elias Cooper (1814-1848) in 1833 in Mt. Vernon, Ohio. Situated in Central Ohio, abundant supplies of coal, iron and natural gas were available to the Cooper brothers as well as proximity to the Baltimore and Ohio Railroad lines. Previously, the brothers opened a coal mine in 1832 and then a foundry for casting metals. Their principal products were plows, carding machines, and special power machinery. In 1848, Elias Cooper died and Charles Cooper sold an interest in the Company to T.L. Clark and the firm changed its name from to C. & E. Cooper to Cooper & Clark. In 1852, John Cooper (1824-1916), the younger brother of Charles and Elias, joined the company and became known as Coopers & Clark. T.L. Clark retired in 1853 and the company became C. & J. Cooper.

In 1852, the company built its first blowing engine and with the growth of the railroad system and a demand for railroad equipment, the company responded with manufacturing steam locomotives. In 1865, F.L. Fairchild (d. 1912) joined the company as a partner and the firm became known as C.& J. Cooper & Company. J.C. Debes, a mechanical engineer formerly of the George H. Corliss Works, began working for the company in 1865 designing Corliss engines that came to market in 1869. Corliss engines would become a principal product of the company by 1886. Colonel George Rogers (son-in-law of Elias Cooper) joined the company when John Cooper retired and the name once gain changed to C. & G. Cooper & Company. By 1881, Desault B. Kirk (son-in-law of Charles Cooper) and son, C.F. Cooper (d. 1894) along with E.H. Fairchild and B.F. Williams became active partners in the company. In 1929, Cooper merged with Bessemer Gas Engine Co. of Grove City, Pennsylvania, to form Cooper-Bessemer Corporation. Cooper Machinery Services is the current equipment manufacturer for Cooper-Bessemer engines.

During World War One and World War Two, the company made munitions—steel shells, special purpose lathes, surface grinders and multiple-head cutting off machines—to aid the Allies. Its work contributed to faster and more efficient production for the war effort and earned it the Maritime "M" and Army/Navy "E" Awards. Over the years, the company's products included: simple and compound Corliss engines, gas and diesel engines, rolling mill engines, marine engines, compressors, and power units for ice and refrigeration, cotton-ginning and oil-milling.

Sources

Cooper Machinery Services (last accessed on April 12, 2022 https://www.cooperservices.com/our-company/heritage/cooper-origins/the-history-of-cooper-bessemer/)

C. & G. Cooper Company, Seventy-Five Years of Engine Building, Mount Vernon, Ohio, 1900.

100 Years of Power, Cooper-Bessemer, 1833-1933, 1933.

Related Materials:

Materials at the National Museum of American History

Smithsonian Institution Libraries, Trade Literature Collection

Includes Cooper-Bessemer Corporation, Chapman Engineering Company, and Hope Engineering and Supply Company.

Provenance:

The collection was donated by the Cooper-Bessemer Corporation, through Robert S. Warren, Manager of Advertising and Public Relations, in 1965 and 1969.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Air-compressors  Search this

Engines  Search this

Diesel motor  Search this

Furnaces  Search this

Marine engines  Search this

Steam-engines  Search this

Refrigeration and refrigerating machinery  Search this

Genre/Form:

Advertising

Airbrushing

Cashbooks

Correspondence -- 1900-1950

Catalogs -- 20th century

Drawings -- 19th century

Drawings -- 20th century

Financial records

Letterpress copybooks

Photographs -- 1850-1900

Price lists

Newsletters

Photographs -- 1900-1950

Trade literature -- 20th century

Citation:

Archives Center, Cooper-Bessemer Corporation Records, National Museum of American History.

Identifier:

NMAH.AC.0961

See more items in:

Cooper-Bessemer Corporation Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88284a8f0-2012-488a-ba71-bd3925941302

EDAN-URL:

ead_collection:sova-nmah-ac-0961

Collection Creator:

Fine, Ruth, 1941-  Search this

Container:

Box 4, Folder 35

Type:

Archival materials

Date:

1970s

Collection Restrictions:

The collection is open for research. Access to original papers and audio visual material requires an appointment, and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Ruth Fine Papers, 1929-2016. 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.

See more items in:

Ruth Fine papers

Ruth Fine papers / Series 6: National Gallery of Art Administrative Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ef2a7c4c-5607-4f93-af19-194df0ee4ef4

EDAN-URL:

ead_component:sova-aaa-fineruth-ref162

Creator:

National Association of Civilian Conservation Corps Alumni  Search this

Ward, C.E.  Search this

Civilian Conservation Corps (U.S.)  Search this

Bidwell, Timothy  Search this

Bires, Andrew, G.  Search this

Extent:

155 Cubic feet (331 boxes, 57 map folders)

Type:

Collection descriptions

Archival materials

Panoramas

Photographs

Newspapers

Pamphlets

Audiovisual materials

Newsletters

Books

Blueprints

Cartoons (humorous images)

Logs (records)

Manuals

Magazines (periodicals)

Menus

Memoirs

Rosters

Poems

Sheet music

Date:

1853-2009, undated

bulk 1933-1942

Summary:

The Archival collections of the National Association of Civilian Conservation Corps Alumni (NACCCA) donated in 2006. The Civilian Conservation Corps (CCC), created as part of the New Deal legislation initiated by President Franklin D. Roosevelt in 1933, was a public work relief program for unemployed men designed to reduce high unemployment during the Great Depression. The CCC carried out a broad natural resource conservation program on national, state, and municipal lands from 1933 to 1942. This collection contains papers, photographs, and ephemera collected and created by alumni of the CCC and donated to the NACCCA archives.

Scope and Contents:

This material was acquired by the National Association of Civilian Conservation Corps Alumni (NACCCA)from CCC alumni and originally housed in the NACCCA archives in St. Louis, Missouri. Photographic materials, including loose photos, slides, snapshots, group photos, panoramic photos, and albums and binders of photographs; printed materials, including newspapers published by individual companies, camps and districts, and the national CCC newspaper, Happy Days; materials documenting each camp, including camp histories, personal memoirs, blueprints of camps and projects worked on; the papers of C.E. Ward, Educational Director of the CCC's 3rd Corps, which document the planning and implementation of educational activities in that region; miscellaneous materials, including camp rosters, cartoons, menus, poems, pamphlets, booklets, magazines, manuals, enrollee discharge papers, work logs, and sheet music; and other more recent materials such as research papers, books on the CCC, selected audiotape and video interviews with some of the alumni; and other miscellaneous items. The collection is arranged into nine series.

Arrangement:

The collection is divided into nine series.

Series 1: Scrapbooks, 1853-2003, undated

Series 2: State Material, 1922-2008, undated

Series 3: Publications, 1924-2006, undated

Series 4: C.E. Ward, 3rd Corps, 1933-2001, undated

Series 5: Photographs, 1929-2008, undated

Series 6: General Ephemera, 1915-2006, undated

Series 7: Bidwell Addendum, 1933-1987, undated

Series 8: Bires Addendum, 1934-1985, undated

Series 9: Audiovisual Materials, 1933-2009, undated

Biographical / Historical:

The Civilian Conservation Corps (CCC) was a New Deal era program, created in 1933 to reduce unemployment, a direct result of the Great Depression. The CCC provided national conservation work across the United States for young, unmarried men. Veterans could be enrolled in the CCC after verification of their service by the Veteran's Administration. Veterans were exempt from the age and marriage restriction. Projects included planting trees, bulding flood barriers, combatting forest fires, maintaining forest roads and trails, and building recreational facilities in the National Park system and a host of other projects. There were separate CCC programs for Native Americans of recognized tribes and African Americans. In 1942, with the waning of the Great Depression and America's entry into World War II in December 1941, resources devoted to the CCC (men and materials) were diverted to the war effort. Congress ceased funding for the CCC and liquidation of the CCC was included in the Labor-Federal Security Appropriation Act (56 Stat. 569) on July 2, 1942, and for the most part completed by June 30, 1943. Appropriations for the liquidation of the CCC continued through April 20, 1948.

Related Materials:

Materials at Other Organizations

National Archives and Records Administration

Record Group 35, Civilian Conservation Corps

Provenance:

Collection donated by National Association of Civilian Conservation Corps Alumni in 2006.

Restrictions:

This collection is open for research use.

Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Conservation of natural resources -- 1930-1950  Search this

Depressions -- 1929 -- United States  Search this

National parks and reserves  Search this

New Deal, 1933-1939  Search this

State parks  Search this

Genre/Form:

Panoramas

Photographs -- 20th century

Newspapers

Pamphlets

Audiovisual materials

Newsletters

Books

Blueprints -- 20th century

Cartoons (humorous images)

Logs (records)

Manuals

Magazines (periodicals) -- 20th century

Menus

Memoirs

Rosters

Poems

Sheet music -- 20th century

Citation:

Civilian Conservation Corps Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0930

See more items in:

Civilian Conservation Corps (CCC) Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f608a47e-d1a4-4b39-8a85-c1a7bf9c84b6

EDAN-URL:

ead_collection:sova-nmah-ac-0930

Sponsor:

Civilian Conservation Corps (U.S.)  Search this

Collection Creator:

National Association of Civilian Conservation Corps Alumni  Search this

Ward, C.E.  Search this

Civilian Conservation Corps (U.S.)  Search this

Bidwell, Timothy  Search this

Bires, Andrew, G.  Search this

Extent:

1 Item (Silver gelatin on paper.)

Type:

Archival materials

Black-and-white photographic prints

Date:

[ca. 1933-1942]

Scope and Contents:

22 men in image.

Local Numbers:

AC0930-0000070.tif (AC Scan No.)

Collection Restrictions:

This collection is open for research use.

Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Pool (Game)  Search this

Uniforms  Search this

Guitar -- 20th century  Search this

Camps  Search this

Genre/Form:

Black-and-white photographic prints -- Silver gelatin -- 1900-1950

Collection Citation:

Civilian Conservation Corps Collection, Archives Center, National Museum of American History

See more items in:

Civilian Conservation Corps (CCC) Collection

Civilian Conservation Corps (CCC) Collection / Series 5: Photographs / Unidentified, Oversized Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b6e3cfa9-38e3-4eb5-8337-0855f933bfbf

EDAN-URL:

ead_component:sova-nmah-ac-0930-ref3765

Artist:

Francisco de Goya y Lucientes  Search this

Medium:

Print, Etching on Paper

Dimensions:

2-D - In Frame (H x W x D): 44.5 x 58.4cm (17 1/2 x 23 in.)

2-D - Unframed (H x W): 21.6 x 33.7cm (8 1/2 x 13 1/4 in.)

Type:

ART-Prints, Original

Country of Origin:

Spain

Date:

1815-1823

Credit Line:

Gift of the American Institute of Aeronautics and Astronautics

Inventory Number:

A19772676000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv91a921744-cba2-418c-b630-98d40d19691d

EDAN-URL:

edanmdm:nasm_A19772676000

Creator:

Fischbach Gallery  Search this

Names:

Thiabaut Galley  Search this

Altoon, John, 1925-  Search this

Antonakos, Stephen, 1926-2013  Search this

Bladen, Ronald, 1918-1988  Search this

Chamberlain, Wynn  Search this

D'Arcangelo, Allan, 1930-  Search this

Davis, Gene, 1920-1985  Search this

Dunn, Anne  Search this

Gilardi, Piero, 1942-  Search this

Hesse, Eva, 1936-1970  Search this

Katz, Alex, 1927-  Search this

Krushenick, Nicholas, 1929-1999  Search this

Levine, Les, 1935-  Search this

Mangold, Robert, 1937-  Search this

Ohlson, Douglas Dean, 1936-  Search this

Ryan, Anne, 1889-1954  Search this

Ryman, Robert, 1930-  Search this

Slavin, Arlene, 1942-  Search this

Smith, Tony, 1912-  Search this

Sugarman, George, 1912-1999  Search this

Swain, Robert, 1940-  Search this

Extent:

39.5 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Photographs

Date:

1937-2015

bulk 1963-1977

Summary:

The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials. The 2015 addition of 14 linear feet consists of inventory and client sales records in the form of card indexes. The 2019 addition consists of material related to Marilyn Fischbach's art collection.

Scope and Content Note:

The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials.

Artists and Exhibition Files contain information on over one hundred Fischbach Gallery artists and measure 18 linear feet. The contents of each file varies, but typically may include biographical information; correspondence between the artist, museums, and other galleries; scattered consignment information; printed materials including articles, clippings, exhibition announcements and catalogs, and press releases; photographs of the artist, installations, constructions, and works of art; and negatives, slides, and transparencies. Substantial files are found for John Altoon, Stephen Antonakos, Ronald Bladen, Wynn Chamberlain, Allan D'Arcangelo, Gene Davis, Anne Dunn, Piero Gilardi, Eva Hesse, Alex Katz, Nicholas Krushenick, Les Levine, Robert Mangold, Doug Ohlson, Anne Ryan, Robert Ryman, Arlene Slavin, Tony Smith, George Sugarman, and Robert Swain, among others. Also included are files pertaining to group exhibitions including "According to the Letter" (1963), "Hard Center" (1963), "Six Women" (1965), "Game Without Rules" (1966), "Direct Representation" (1969), and "Eccentric Abstraction" (1966) which was organized by Lucy Lippard.

General gallery correspondence is business correspondence between the gallery and companies, individuals, museums, galleries, dealers, new or non-Fischbach artists, and institutions. Additional business records consist of an address book, lists of Fischbach artists, gallery plans, a notebook, as well as guest lists, mailing lists, and press lists.

Financial records are access restricted and require written permission from the donor's representative for use. The files document financial transactions for many of the artists represented in the artists files and includes sales records, invoices, artists' payments, and correspondence about sales and possible sales. The alphabetical financial files document routine gallery business, such as framing, shipping, insurance, messenger, publicity, etc. and are organized by name of business. General financial files consist of accounting ledgers, banking documents, insurance claims, and travel accounts.

Printed materials consist of various business cards, clippings concerning the Fischbach Gallery, and a pamphlet by Ron Williams as a guide to New York galleries. The bulk of printed materials are found in the Artists and Exhibition Files.

A small series of photographs include those from the Thiabaut Gallery, and unidentified photos of landscapes. It is likely that Fischbach Gallery occupied the space previously used by the Thiabaut Gallery and some materials were included in the collection for that reason. The bulk of photographic materials are found in the Artists and Exhibition Files.

In 2015, 14 feet of records were added to the collection. The addition consists of inventory and client sales records in the form of card indexes. The addition is access-restricted until 2065.

A 2019 addition of 0.2 linear feet, consisting of material related to Marilyn Fischbach's art collection, was processed in 2020.

Arrangement:

The collection is arranged as 9 series.

Missing Title

Series 1: Artists and Exhibitions Files, 1937-1977 (Boxes 1-18, 28; 18 linear feet)

Series 2: Gallery Correspondence, 1962-1974 (Boxes 18-19; 1.75 linear feet)

Series 3: Business Records, 1969-1971 (Box 27; 0.3 linear feet)

Series 4: Financial Records, 1963-1975 (Boxes 20-25; 4.5 linear feet)

Series 5: Printed Material, 1963-1972 (Box 26; 6 folders)

Series 6: Photographs, circa 1960s (Box 26; 2 folders)

Series 7: Inventory Card Indexes, circa 1960s-2015 (12.1 linear feet; Box 29-41)

Series 8: Client Sales Card Index, circa 1970s-2000s (1.9 linear feet; Box 41-42)

Series 9: Marilyn Fischbach Collection Records, circa 1975-2000 (0.2 linear feet; Box 43)

Historical Note:

The Fischbach Gallery was founded in 1960 by Marilyn Cole Fischbach at 799 Madison Avenue in New York City. The gallery was noted for its stable of minimalist young artists in the 1960s, and the work of the painterly realists in the 1970s. The gallery remains open today.

During its early years, the gallery was among the first to focus on 1960s avant-garde and minimalist artists. Marilyn possessed a talent for discovering young artists and for helping them advance their careers. Many of these young artists became well-known, including Ronald Bladen, Eva Hesse, and Alex Katz. Other artists represented by the gallery include Allan D'Arcangelo, Les Levine, Robert Mangold, Robert Ryman, George Sugarman, and Robert Swain.

The gallery also had an active exhibition schedule and organized and hosted group exhibitions of modern art, including "According to the Letter" (1963), "Hard Center" (1963), and "Direct Representation" (1969). Additionally, the Fishbach Gallery hosted "Eccentric Abstraction" in 1966, an exhibition organized by Lucy Lippard.

Later, the gallery moved to W. 57th Street in Manhattan. Fischbach hired A. Aladar Marberger as director of the gallery. Under his direction, the Fischbach Gallery shifted from the avant-garde to contemporary American realism and minimalist sculpture. In the 1980s, Marilyn Fischbach brought three investors into the gallery. She remined a co-owner, but lived in Paris, France for many years prior to her death at the age of seventy-two. The Fischbach Gallery remains open at 210 West 11th Street at 25th Street in New York City.

Provenance:

Gallery founder Marilyn C. Fischbach and director A. Aladar Marberger donated the majority of the Fischbach Gallery records in 1978. Additional records were donated in 2001 by Maureen Dawley on behalf of the Carnegie Mellon University and in 2015 and in 2019 by John Fischbach, Marilyn C. Fischbach's son.

Restrictions:

Use of original papers requires an appointment. Written permission from the donor is also required to view the series of financial records and the 2015 addition of card indexes. Contact the Reference Services Department for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art, American  Search this

Art, Modern -- 20th century -- United States  Search this

Minimal art -- United States  Search this

Artists -- United States  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Gallery records

Photographs

Citation:

The Fischbach Gallery records, 1937-2015, bulk 1963-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.fiscgall

See more items in:

Fischbach Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9250bd192-6986-4fdd-bec0-08a93a98e4ed

EDAN-URL:

ead_collection:sova-aaa-fiscgall

Creator:

Hales, Landy R., 1889-1972  Search this

Extent:

5.5 Cubic feet (15 boxes, 1 map folder)

Type:

Collection descriptions

Archival materials

Photograph albums

Design drawings

Sketches

Scrapbooks

Photographs

Clippings

Date:

1908 - 1969

Summary:

Papers document Landy R. Hales (1889-1972), an inventor and commercial artist who designed window and interior store displays, posters, children's games, and puzzles primarily from 1920s to 1930s in New York City and Baltimore. Of significance is Hales's work for Macy's Department Store. The papers consist of correspondence, patents, business records for several of Hales's companies, photographs, drawings/sketches, prototypes, and newspaper and magazine clippings.

Scope and Contents:

The papers document Hales's career as an inventor and commercial artist as well as his work in games, puzzles, educational tools, and posters. The collection includes sketches and design drawings, photographs, publicity materials, clippings and articles, and game prototypes.

Series 1, Brilliant Sign Company, 1908-1909, consists of stock shares, transferred by Hales to others in the amount of twenty dollars for the Brilliant Sign Company of Baltimore City, Maryland.

Series 2, Landy R. Hales, Inc., 1927-1929, 1944, consists of of invoices, orders, and check stubs from R.H. Macy and Company and Gimbel Brothers, Inc. for work by Landy R. Hales, Inc. for window displays. The orders detail what will be constructed and decorated. The R.H. Macy materials also contain a 1927 souvenir from Macy's Wonderland Christmas. Included in this series is a 1944 United States Treasury Department War Finance Program citation to Landy R. Hales.

Series 3, Hales Layer Poster Corporation, 1922-1969 (bulk 1920s), consists of materials documenting Hales poster company. Hales's formed Hales Layer Poster Corporation in New York State on July 16, 1925 to manufacture, purchase, sell and deal in layer posters and equipment for constructing layer posters in packaged or other forms. The corporation's other directors were Alfred J. Silberstein and Alvin A. Silberman, both of New York. Hales developed a new method of making a poster by placing cut-out pieces of materials such as composition board or wood on a background, then building layers to form three dimensions in the finished product. The first store to use Hales layer posters was Saks Fifth Avenue in New York City. The posters were never sold and were only used in advertising and window displays.

The materials consist of stock shares and values, a certificate of incorporation, branded letterhead, correspondence, an order book (blank forms), a point-of-purchase ad featuring Little Red Riding Hood, a patent for a display device, layer poster instructions, examples of posters, sample card stock, and instructions for the ABCD Ease Game. The display device patent (US 1,563,485) was issued to Hales on December 1, 1925. The invention relates to display devices for commercial advertising arrangements constructed out of layers of veneer or cardboard for reproducing and illustrating articles for sale, magazines, posters or art works. The principal object was to provide a display picture having depth. The correspondence, 1922-1937, 1969 and undated, contains letters with individuals companies, hotels, and department stores primarily in New York City such as B.F. Keith's New York Hippodrome, Saks & Company, Hotel Nassau, Keystone Manufacturing Company, and Rialto Theatre. Much of the correspondence relates to services provided by Hales Layer Poster Corporation. Hales's correspondence with Morris Gest, a theatrical producer who introduced La Chauve-Souris, a touring revue during the early 1900s, to the United States. There is also a letter typewritten by Hales in 1969 to Pablo Picasso about copying Picasso prints using the Hales layer poster method.

The instructions for "how to make" a Hales layer poster are well documented, detailing the step-by-step process and including the use of Hales Studio colors for painting. Specific instructions for the "Tom, Tom Piper's Son" with color guide are found here. A full, unused layer poster kit is in box 14. Additionally, Hales created the ABCD Ease Game, a board game played with dice with the objective to reach "ease." The way to reach "Ease" is through truth, courage, justice, thrift, study, work, loyalty, and honesty. Instructions and prototypes of the gameboard are represented.

Series 4, Hales Manikins, Inc., 1938-1948 and undated, consists of correspondence, a voting trust agreement, board of directors meeting minutes, stock shares, a floor plan for the company, blueprints for rubber figures, and a patent for a manikin and method of making the same (US 2,129,421). Hales Maninikin incorporated in 1941 in Baltimore, Maryland to manufacture, distribute, sell and otherwise deal in manikins and other display advertising figures. The board of directors meeting minutes contain articles of incorporation, by-laws, and minutes.

Series 5, Hales Pictures, Inc., 1937-1938, 1967 and undated, consists of an agreement with Walt Disney Enterprises, sketches by Kay Kamen, Ltd., a press release about Hales Picture Puzzles, and prototypes of Hales Puzzle Pictures. Of note is a copy of the February 1938 Rockefeller Center Magazine. The magazine contains articles about science, technology, publishing, the arts, events at Radio City Music Hall (Disney-related) and television. It offers good documentation of office business machines.

The first series of puzzles Hales introduced in 1937 were four subjects from Walt Disney's characters: Mickey Mouse, Minnie Mouse, Pluto, and Donald Duck. The object of the puzzle was to put all of the pieces together in their proper place--some of the puzzle pieces were raised to different levels. After the puzzle was completed, it could be glued to a backboard. There are prototypes for the Mickey Mouse, Minnie Mouse and Donald Duck puzzles. Only the Mickey and Minnie puzzles contain puzzle pieces. The Donald Duck puzzle consists of the box only.

In August 1937, Hales Pictures Inc., entered into a one year agreement with Walt Disney Enterprises that granted Hales the right to reproduce Disney characters for his puzzles and poster pictures. Hales paid Disney the sum of five-hundred dollars as an advance on future royalties. Disney also provided to Hales typical representations of the Disney characters. There are a series of Kay Kamen Ltd., Disney character drawings for Pluto, Donald Duck, Minnie Mouse, and Mickey Mouse. These drawings were provided to Hales by Kamen. The Minnie and Mickey Mouse drawings have been heavily annotated and mocked up by Hales for the purposes of creating his signature Hales Puzzle Pictures. Kamen (d. 1949) began his professional career as a retail hat merchant and later entered advertising. In 1932, Kamen contacted Disney, soon signed a contract, and was named the company's sole licensing representative. Through merchandising, Kamen made Disney's mouse star popular.

Series 6, Hales Sign Company, 1909 and undated, consists of examples of promotional and branded pieces for Hales's sign painting business that was located in Baltimore, Maryland.

Series 7, Drawings/Sketches, 1927-1930 and undated, consists of pencil, ink and paint sketches. The bulk of the sketches are Christmas-related, such as the poster study for the Macy's Christmas Wonderland, 1927 and the toy department displays for a bridge, drawbridge, house and tower. Other sketches include Noah's Ark, a matador, the "The Wise Woman of Gotham," Carlin's Amusement Park of Baltimore, Maryland, and resort scenes (tennis, golf and sailing).

Series 8, Photographs, 1925-1935, consists primarily of black-and-white prints documenting Hales's work in his studio and for clients such as Macy's. Some of the photographs were taken by Worsinger Window Service, Hughes Company of Baltimore, Le Don Studio of White Plains, New York; Apeda Studio, Inc. of New York City; Schultze Studio of Brooklyn, New York, and H.C. Campbell Company of Oakland, California.

Series 9, Greeting Cards, undated, consists of examples of greeting cards and postcards, primarily for Christmas, Easter, and Valentines Day, assembled by Hales.

Series 10, Clippings, 1922-1935, consists of loose photocopies and original news and magazine clippings in a bound volume. The clippings primarily relate to Hales's work in New York City, but there are clippings about The Corner Shop at Macy's, and there are copies of illustrations assembled by Hales, specifically the "Best Fifty Small Folio Currier and Ives Prints. " The majority of these he clipped from the New York Sun. Also included are clippings about La Chauve-Souris the touring revue during the early 1900s.

Arrangement:

The collection is arranged into ten series.

Series 1, Brillant Sign Company, 1908-1909

Series 2, Landy R. Hales, Inc., 1927-1929, 1944

Series 3, Hales Layer Poster Corporation, 1922-1969 (bulk 1920s)

Series 4, Hales Manikins, Inc., 1938-1948 and undated

Series 5, Hales Pictures, Inc., 1937-1938, 1967 and undated

Series 6, Hales Sign Company, 1909 and undated

Series 7, Drawings/Sketches, 1927-1930 and undated

Series 8, Photographs, 1925-1935

Series 9, Greeting Cards, undated

Series 10, Clippings, 1922-1935

Biographical / Historical:

Landy R. Hales was born on September 17, 1889 in Baltimore, Maryland to Landy J. Hales and Fanny Linthicum Hales. Hales grew up in Anne Arundel, Maryland and had one brother, Wesley Hales. Hales began his career with no formal art training and apprenticed as a sign painter in Baltimore, Maryland. In 1908, Hales formed the Brilliant Sign Company in Baltimore to design displays for area businesses. In 1913, Hales married Lenore McCully. They had two children, Elizabeth McCully Hales (b. 1915) and Landy Romain Hales (b. 1921).

During World War I, Hales designed posters for the Liberty Bond Program, created by then Secretary of the Treasury William Gibbs McAdoo (1863-1941). This poster campaign was intended to popularize the bonds, and Hales created posters using his "layer technique," which was a method of making a poster by placing cut-out pieces of materials such as composition board or wood on a background, then building layers to form three dimensions in the finished product. In the early 1920s, Hales moved to New York City to advance his career and expand his opportunities. In New York, Hales specialized in display devices, commercial art, and advertising. An artist-inventor, Hales patented two ideas, a display device (US Patent 1,563,485) and a manikin (US Patent 2,129,421). He founded Landy R. Hales, Inc. (1925), Hales Layer Poster Corporation (1925), Hales Manikins, Inc. (1941), and Hales Pictures, Inc. 1937. In 1937, Hales Pictures Inc., entered into a one-year agreement with Walt Disney Enterprises that granted Hales the right to reproduce Disney characters for his puzzles and poster pictures. During the same year, Hales leased office space at Rockefeller Center.

Hales worked for Morris Gest, a theatrical producer, creating advertising for the Russian show Le Chauve Sourvis which featured the Parade of the Wooden Soldiers. Hales also manufactured and installed mechanical displays in Macy's Christmas windows at 34th Street and worked as an independent contractor for other department stores such as Gimbel Brothers and Saks & Company as well as the Hotel Nassau, Keystone Manufacturing Company, Rialto Theater, Keith's New York Hippodrome, and the Music Box Theatre.

Hales left New York City in 1945 and returned to Maryland, where he did commercial work for Carlin's Amusement Park in Baltimore and created layer posters for himself and family members. Hales died in 1972 at the age of 84.

Related Materials:

Materials at the Archives Center

Warshaw Collection of Business Americana, Parades:stereographs, circa 1880-1908 (AC0060)

Messmore and Damon Company Records, 1930s-1990s (AC0846)

Hudson Fulton Celebration Parade Photograph Album, 1909 (AC1149)

William L. Bird "Holidays on Display" Collection (AC1288)

Provenance:

The collection was donated by Katharine Landa McNulty Hogben, Frances Helen McNulty Beverage, Margaret Ann McNulty Klipp, Lenore Hales McNulty Frey, and Elizabeth Stuart McNulty on November 27, 2005.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Games  Search this

Display of merchandise  Search this

Toys -- 20th century  Search this

Store decoration  Search this

Parades  Search this

Parade floats  Search this

Show windows  Search this

Packaging  Search this

Parade float designers  Search this

Genre/Form:

Photograph albums

Design drawings

Sketches

Scrapbooks

Photographs -- 20th century

Clippings

Citation:

Landy R. Hales Papers, 1908-1969, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0906

See more items in:

Landy R. Hales Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep851d5a1c1-6cde-4678-93d8-d2dc3f1dfa2d

EDAN-URL:

ead_collection:sova-nmah-ac-0906

Creator:

Northlight of Colorado, Inc.  Search this

Jacobson, Jake  Search this

Extent:

8 Prints (framed)

3.42 Cubic feet (2 boxes, 1 map-folder)

Type:

Collection descriptions

Archival materials

Prints

Photographs

Sound recordings

Inkjet prints

Iris prints

Ink jet printing

Compact discs

Digital images

Cd-roms

Color prints (photographs)

Date:

1996-2000

Summary:

Collection consists of photoprints and other materials created by Jacob Jacobson for the "Heart & Hands: Musical Instrument Makers of America" exhibition circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004.

Scope and Contents:

The collection consists of photoprints and other materials created by Jacob Jacobson for the "Heart & Hands: Musical Instrument Makers of America" exhibition circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004. The materials are arranged into two series.

Series 1: Iris (Inkjet) Digital Photoprints, dates, consists of eighty six color Iris (inkjet) items. The subjects are primarily individual musicians and craftsmen, although several instrument companies are included, notably the venerable Selmer Company of Elkhart, Indiana, which has manufactured band instruments for many decades. These digital prints were made from Jacobson's 35mm color transparencies (although print number one is monochrome, rather than full color). The prints are from a limited edition of 350, and are signed by the photographer in the lower right beneath the image, and numbered on the lower left. Some prints bears Northlight Atelier blind stamp in the margin and an identifying label with the print number and subject's name is affixed to each print on the verso at the bottom. Most of the prints have an image size of 20" in the long dimension and from approximately 13-1/4" to 14-1/4" on the short side; on heavy, textured archival paper, ranging in size from about 16"x 23" to 19"x 24". Eight larger prints, with image sizes of approximately 21-22" x 31-32" in size, were received matted and in 28" x 40" frames. Some representative image and print sizes are included. Most prints are in one large flat box; prints in the "folder" are stored separately because the paper is slightly too large for the box. The large framed prints are necessarily stored separately and are less accessible.

Series 2: Other Materials, dates, includes a loose-leaf notebook containing inventory of the Smithsonian Institution Traveling Exhibition Services (SITES) exhibit prints with titles and thumbnail images for identification (except item 55, which is omitted), plus a CD-ROM containing the images in pocket. Note that the images for numbers 81 and 85 in the notebook are reversed. There is also a compact disk in plastic jewel case of the same name ("Heart & Hands: Musical Instrument Makers of America"), which contains sixty tracks of instrument makers playing their instruments and interviews with some of them. Compact disk in plastic jewel case, "Heart & Hands: Musical Instrument Makers of America; Music and Interviews Recorded Live; Taken from the Book..." (produced by Northlight). Containing music and selected interviews with instrument makers, produced for commercial distribution by Northlight Atelier; 60 tracks. Compact disk in plastic jewel case, "Heart & Hands: Musical Instrument Makers of America; Music and Interviews Recorded Live; Taken from the Book..." (produced by Northlight). Containing music and selected interviews with instrument makers, produced for commercial distribution by Northlight Atelier; 60 tracks.

Arrangement:

The collection is divided into two series.

Series 1, Iris (Inkjet) Digital Photoprints

Series 2, Other Materials

Biographical / Historical:

"Heart & Hands: Musical Instrument Makers of America" was an exhibition of photographs by Jake Jacobson, circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004 to at least fourteen venues. The first site was April 8, 2000, at the Georgia Mountains History Museum, and the last venue for the show was the Elkhart County Historical Museum, Bristol, Indiana, ending April 6, 2004. Selections from the exhibition were on view from June 4 to 8, 2001, in the Rotunda of the Russell Senate Office Building, and it was shown in the Smithsonian's Arts and Industries building, March 2-April 28, 2002.

The field work for the project was begun in 1996, culminating in 1998. "Traveling coast to coast, in an extensive two-year journey across the United States, Jake Jacobson and research collaborator Trisja Malisoff recorded the images, words, and music of over 300 contemporary musical instrument makers. Documenting the diversity of American music, Jacobson's photographs reveal a complex, living tradition-a heritage that draws upon Latin, Native American, European, African and Asian music influences."

Following this project, Jacobson engaged in a related photographic documentation, "Heart & Hands: Musical Instrument Makers of China." He has established a "Heart & Hands Foundation." Music has been an important part of Jacobson's life throughout his career as a photographer, printmaker, and jazz musician. During the mid-1960s he operated a backyard print shop, producing rock concert posters. As an advertising and editorial photographer, he pioneered new techniques for special effects and printmaking. His continuing passion for photographing musical artists is evident in the portraits in the "Heart & Hands" project.

A graduate of Brooks Institute of Photography, Jacobson has taught photography at UCLA and Cypress College in Orange County. A longtime practitioner and teacher of Yoga, he is the owner of the Center for Yoga in Los Angeles. He operated a "state-of-the-art" photography, printmaking, and video production studio, Northlight of Colorado, in the mountains near Telluride, Colorado, before relocating the Northlight Atelier to Santa Barbara, California, in 2003.

Another project of Jacobson's is entitled, "Oh, Baby--Celebrating Birth Rites around the World."

Provenance:

Collection donated by Mr. Jacobson.

Restrictions:

The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves.

Technical Access: Do not use original

Rights:

Jake Jocobson retains copyright. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Musical instruments -- 20th century  Search this

Musical instrument makers  Search this

Genre/Form:

Photographs -- Inkjet prints -- 1990-2000

Sound recordings -- Compact disks

Inkjet prints

Photographs -- Digital prints -- 20th century

Iris prints

Ink jet printing

Compact discs

Digital images

CD-ROMs

Color prints (photographs)

Citation:

Jake Jacobson "Heart & Hands" Color Iris Photoprints, Archives Center, National Museum of American History,

Identifier:

NMAH.AC.0866

See more items in:

Jake Jacobson "Heart & Hands" Color Iris Photoprints

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e49666db-ef2c-40a1-ad9a-ee43e0d5f3e7

EDAN-URL:

ead_collection:sova-nmah-ac-0866

Creator:

Sachs, Charlotte Cramer, 1907-2004  Search this

Names:

Cramanna  Search this

Cramarc  Search this

Crambruck Press  Search this

Cramer Products Company  Search this

Joy Originals  Search this

Joy Products  Search this

Sachs, Alexander  Search this

Samuels, Donald  Search this

Extent:

4 Cubic feet (13 boxes)

Type:

Collection descriptions

Archival materials

Advertisements

Awards

Business records

Clippings

Correspondence

Notes

Patents

Patent applications

Photographs

Sheet music

Date:

1905-2002

bulk 1940-2002

Summary:

Papers relating to Charlotte Cramer Sachs's life and career as an inventor mainly of food and household-related products: correspondence, photographs, business papers, awards, patents, printed materials, notes, and miscellany. The collection primarily consists of invention-related marketing materials including invention samples and prototypes, notes, clippings, business correspondence, and customer account records.

Scope and Contents:

The records are divided into two series. Series 2 is further divided into eight subseries.

Series 1 documents the inventor's creativity through her artistic, literary, and musical records. Also included are awards and certificates received and materials related to her childhood home. This series contains few photos of Cramer Sachs herself, although a print of one of her paintings, "Portrait of a Lady," circa 1953, seems to be a self-portrait. There are no photos of her husband or daughter in the collection. Also missing is any information related to the inventor's formal education, childhood, the circumstances of her departure from Berlin, marriage, and family life.

Materials in Series 2 constitute the bulk of the collection and are primarily comprised of marketing ephemera, with very few financial and production records. This series gives a broad outline of Cramer Sachs's many inventions documenting Joy Products and wine-related inventions in the most depth.

Series 1: Creative and Artistic Papers, 1933-2002

These records include sheet music, songbooks, stories, and poetry of the inventor's own creation; photographic prints of her artwork; art exhibition materials; publishing company (Crambruck Press) records and published materials; childhood residence ("Haus Cramer") materials, and awards and certificates unrelated to inventions. Artwork and songs make up the bulk of the materials, and are arranged alphabetically by subject. Records in this series provide a context for Cramer Sachs's career as an inventor, although they do not reveal extensive information regarding her personal life or history.

Records relating to artwork include press releases, exhibition photographic prints and negatives, promotional materials, newspaper clippings, notebooks compiled by Cramer Sachs, as well as donation records of artworks given by the inventor to The Cathedral Church of St. John the Divine.

Crambruck Press publishing company is a combined name which incorporates the inventor's surname, Cramer and mother's maiden name, Bruck. These records include a pre-publication notice and order form for a Crambruck Press publication, correspondence from a donor, as well as three Crambruck Press publications: From Boring Dinosaur to Passionate Computer by Livingston Welch, 1968; Poems by Helen H. Shotwell, 1970; and In Search of Harmony by Charlo, 1964.

Haus Cramer materials include photographs, newspaper clippings (many of them in German), correspondence between Cramer Sachs and Stanford University, and floor plans of the house designed in 1912 by German architect Hermann Muthesius. A framed black-and-white photographic print of Haus Cramer is fragile and is housed in a sink matte, box 9.

Poetry materials, songs, and stories are contained in bound books, published songbooks, original sheet music, and copyright records for song words, manuscripts written by Cramer Sachs, as well as correspondence records related to her writings. The song "With Love From New York" was used in the marketing of "Joy New Yorkshire Pudding Mix," and the records contain a vinyl recording which doubles as a marketing piece. Allusions to her husband, Alexander Sachs, and daughter, Eleanor, are found in some of her songs and stories.

Translation materials are comprised of correspondence (mostly in German), as well as Cramer Sachs's complete English translation of the "Stoffel Flies Across the Ocean" story, originally written in German by Erika Mann, circa 1932.

Series 2: Invention Records, 1905-2002

Invention Records contain information related to Cramer Sachs as an inventor and are divided into eight subseries. Materials include: patent related records; samples and prototypes; marketing and advertising materials; newspaper and magazine clippings; business correspondence records; customer account records; Wine Museum materials; and patent searches. These present a broad overview of Cramer Sachs's many inventions, although the majority of information is concentrated in the Household/Office, Food Products, and Wine-related series. Records are arranged chronologically by invention. The final subseries contain patent searches requested by the inventor.

Subseries 2.1: Cramer Products Company and Affiliate Company Records, 1942-2002

Materials include financial records, business correspondence, company awards and certificates, real estate materials, license agreements with outside inventors, a promotion prospectus for the company, and three company stamps (three dimensional). Also included are records of an invention for which Cramer Sachs sought copyright, "Orthodontic Device," 1954, and those having to do with products distributed—not invented—by Cramer Products Company, "Forster Longfresh," 1985. In addition, there are black-and-white photographic prints of an office opening which include images of Cramer Sachs in 1967. These records are arranged chronologically.

Subseries 2.2: Household/Office Records, 1913-1972

These records relate to seven different inventions, each with varying degrees of information. "Combination Key and Flashlight," 1940 was an improvement on previous patents and therefore consists of the earlier patent materials (1913 and 1938), Cramer Sachs's patent application materials, an official, sealed patent application (1940), prototype drawings, correspondence records related to manufacturing and distribution, photographic prints, and a newspaper article. "Cozi-Crib," 1958 and 1968, and "Joy Originals Log Cabin Furniture Set," 1957, records include marketing materials whereas "Holdit," 1972, and "Party Platter," 1962, are minimally represented by one or two photographic prints. "Gaitray" materials consist of four product samples. Materials for "Miracle Knee Tray," circa 1953 include marketing ephemera, a photograph, and two product samples. A prototype for the "Traypron," 1954, is also included. These records are arranged alphabetically by invention name.

Subseries 2.3: Food Products, 1940-1969

Records in this subseries are mostly comprised of Joy Products prepared mix materials. Two exceptions are the small, fragile recipe book, 1940, and the "Caviodka," 1962, records. Business correspondence materials contain those from a food and equipment consultant, the Colgate-Palmolive Company, and Arthur Colton Company, in addition to those relating to the incorporation of Cramer Sachs's "baking mix manufacturing plant" (1945). There are numerous packaging samples of various Joy Products, along with handwritten recipes and notes. An example of early packaging for Joy Products "Early American Muffin Mix" is in flat box 10. This subseries also includes customer surveys and comments, marketing plans and proposals, advertisements, and a marketing portfolio compiled by the inventor. A scrapbook contains Joy Products newspaper clippings, advertisements, marketing ephemera, and photographs of store displays. The scrapbook pages are extremely brittle and are housed in sleeves. Preservation copies are available for research use. These records are arranged chronologically.

Subseries 2.4: Pet Accessories, 1953-1954

This subseries consists of materials relating to three inventions: "Bonnie Stand," circa 1953-1954; "Guidog," 1953; and "Watch-Dog," 1953. Records include photographic prints, marketing materials, printing blocks (for "Bonnie Stand"), as well as a declaration of invention for, and a product sample of, "Watch-Dog." These records are arranged alphabetically by invention name.

Subseries 2.5: Games, 1961-1969

The inventor created two games: "Domi-Notes," circa 1961 and "Musicards," circa 1969. "Domi-Notes" materials include an order form citing the distributor as G. Schirmer, Inc. and the addressee as Walter Kane and Son, Inc., and three games two in cardboard boxes, (fragile) and one housed in the original hard plastic case. Records relating to "Musicards" consist of two game samples including directions for playing.

Subseries 2.6: Wine-Related, 1966-2002

Wine-related records cover twenty distinct inventions and range from specialty cabinets—which make-up the bulk of the materials—to bottle accessories such as the "Bottle Bib" and the "Cramanna Bottle Ring." The type and number of records vary, with the majority concentrated in the "Cool-Safe," "Cramarc Multiple Cabinet," "Modern Wine Cellar," and "Well Tempered Systems" folders. Records in invention-specific folders are arranged alphabetically and include marketing materials, press releases, photographic prints and some negatives, cabinet drawings, brochures, order forms, correspondence, as well as product samples of "Bottle Bibs."

Customer account records are arranged alphabetically and consist of billing statements, invoices, receipts, blueprints, correspondence, cabinet drawings, customer feedback, bills of lading, and memoranda. Letters from David H. Wollins laud Cramer Sachs's cabinet as "the finest home wine storage system in the world." Examples of how the inventor handled an unsatisfied customer can be found in the Col. Charles Langley folder.

Miscellaneous wine-related materials follow the customer account records. Included are advertising ephemera, photographs, and newspaper clippings originally assembled into a binder by Cramer Sachs. Taped to the inside front cover was a cut-out from a magazine advertisement which reads, "If you stick with the herd, you could end up as a lamb chop." Miscellaneous materials also include unlabeled cabinet drawings, photographic prints, competitor materials, photocopies from Grossman's Guide to Wines, Spirits, and Beers, as well as marketing materials and newspaper clippings covering a range of wine-related inventions. These records are arranged alphabetically by subject.

The final section of the wine-related subseries documents the development and eventual dissolution of The Wine Museum of New York. Records are arranged chronologically and include a provisional charter; an extension of the provisional charter; a newspaper clipping; outreach correspondence; a binder of wine museum materials including brochures, event invitations, exhibition opening cards, board member profiles, a press release, and newspaper clippings; wine museum exhibition information; and records related to the dissolution of the museum.

Subseries 2.7: Temperature and/or Humidity Controlled Devices, 1968-2002

This subseries documents the inventor's temperature and/or humidity controlled inventions that do not relate to wine. Cramer Sachs created the "Well Tempered Cabinet" for both wine and musical instruments; it is documented in this and the wine-related subseries. These records cover eight distinct inventions which range from specialty cabinets for musical instruments, furs, and cigars to devices designed to cool the body. Records relate to marketing, invention-specific business correspondence, confidential information and competition agreements, and include photographic negatives and prints. Miscellaneous cabinet drawings, cigar-related materials, and newspaper articles are also included. Records are arranged alphabetically by invention name followed by miscellaneous materials.

Subseries 2.8: Patent Searches, 1905-1980

Records in this subseries include correspondence as well as copies of several patented inventions for which Cramer Sachs requested information.

Arrangement:

Tha collection is arranged into two series.

Series 1: Creative and Artistic Papers, 1933-2002

Series 2: Invention Records, 1905-2002

Subseries 2.1: Cramer Products Company and Affiliate Company Records, 1942-2002

Subseries 2.2: Household/Office, 1913-1972

Subseries 2.3: Food Products, 1940-1969

Subseries 2.4: Pet Accessories, 1953-1954

Subseries 2.5: Games, 1961-1969

Subseries 2.6: Wine-related, 1966-2002

Subseries 2.7: Temperature and/or Humidity Controlled Devices, 1968-2002

Subseries 2.8: Patent Searches, 1905-1980

Biographical / Historical:

Charlotte Cramer Sachs was born in Berlin, Germany on September 27, 1907. Her father, Hans Siegfried Cramer, worked as a businessman for a successful grain import and export company whose innovative enterprises included the import of soy beans from Eastern Europe. In 1903, Hans married Gertrud Bruck, one of the first women to attain her Abitur, somewhat similar to an American high school diploma, at age eighteen. Bruck's formal education ended there, as her wish to attend university was thwarted by her father Adalbert, a judge who insisted that she remain at home. The couple settled in Berlin and had two children—Frederick H., born March 2, 1906, and Charlotte. From 1913 to 1924 The Cramers lived in the Berlin Dahlem suburb occupying "Haus Cramer," a villa built in 1912 to their specifications by German architect Hermann Muthesius.

On September 12, 1924, Cramer Sachs married Donald Samuels, a top executive of the Manhattan Shirt Company and moved to New York from England where their daughter Eleanor was born on June 11, 1926. Several years later, the couple divorced. Mother and daughter lived together in London for a few years before moving back to New York around 1936. Charlotte's parents relocated to New York at the same time, after a brief stay in London following their flight from Berlin after Hitler's rise to power. In August 1945, Charlotte Cramer married Alexander Sachs, a leading economist who had introduced Albert Einstein to President Franklin Delano Roosevelt and acted as advisor to the President.

Although she established her business career in America, Cramer Sachs retained fond memories of the house and extensive grounds in Dahlem. In 1977 she composed the song "A Salute to Berlin" to commemorate the designation of Haus Cramer as one of the city's historic landmarks. In 2000, she donated a painted portrait of herself from the time she had lived in Haus Cramer to the villa's new owner, Stanford University. The house retains additional significance in the context of this collection because Cramer Sachs credited its wine cellar—unusual in that it provided a separate, climate controlled environment for red and white wines—as an inspiration for her line of custom-built, vibration-free wine storage devices, which would later make Cramer Products Company a household name among wine connoisseurs.

While she did not attend university her pursuit of learning continued throughout her life as she studied poetry, musical composition, and the fine arts. Cramer Sachs often told her niece, Lilian Randall, that she wished she had received further education, although her public art exhibitions, poetry awards, numerous original songs, the establishment of Crambruck Press (her own publishing company), as well as language fluency in French, English, and German, are testaments to this inventor's intellectual curiosity and development. Evidence of Cramer Sachs's entrepreneurial spirit surfaced in her early thirties with her first patent: Improvements in Combined Key and Flashlight, July 16, 1940, patent number 2,208,498.

In 1940, Cramer Sachs completed courses from the New York Institute of Dietetics, an effort spurred by the onset of her daughter's diabetes. With financial assistance from her parents in the early 1940s, Cramer Sachs developed Joy Products prepared mixes, marking the beginning of a successful career in inventing. "We were a pioneer in that field," said Cramer Sachs of her baking mix manufacturing company, an operation that consisted of a Bronx neighborhood factory employing ninety workers. The enterprise began with corn muffin and popover mixes and expanded into frostings, puddings, and breads. Newspaper clippings from the time promoted Joy packaged mixes as ideal gifts for "the boys overseas" who were in locations where it was "impossible to get together the makings of a cake." Cramer Sachs refused an early offer to sell her mix formulas which were subsequently copied and exploited by larger, more powerful companies. Joy Products, whose name was chosen to express the inventor's delight in creativity, remained in business as a modest one-woman operation for over twenty years before succumbing to competition.

Cramer Sachs created another highly successful invention, the specialty wine cabinet, more than twenty years after she founded Joy Products. In addition to her memories of visits with her father to the wine cellar in her family's German villa, further motivation came from an interest—though she hardly drank it at all—in wine and recognition that "standard cooling and refrigerating appliances [were] too cold for wines." Reportedly, Cramer Sachs "started looking for [an appropriate device] and could not find one," and thus the impetus to invent took shape. The "Modern Wine Cellar," 1966, was an early example of over twenty wine-related inventions, most of them storage devices. A mention of her product in Grossman's Guide to Wines, Spirits, and Beers, increased demand among wine lovers and may have prompted Cramer Sachs to state that she "should find a good market" for her newest invention line. Testimony from David H. Wollins, a successful New York lawyer and customer of Cramer Sachs, lauded the cabinet as "the finest home wine storage system in the world." She framed his letter and hung it in her office at 381 South Park Avenue, her base operation where she employed one or two part-time helpers from the 1960s until her death in 2004.

The inventor took great joy in music, expressed in her own numerous compositions and her creation of the games "Domi-Notes" and "Musicards" in 1961 and 1969. Her fondness for music also prompted the expansion of her specialty cabinets to include temperature and humidity controlled devices for storing a variety of items, most notably the "Well Tempered Cabinet for Musical Instruments," which Cramer Sachs first designed for legendary violinist Isaac Stern. Soon the inventor began producing similar cabinets for the storage of cigars, furs, and documents.

Described by her niece as "shy with people but a great admirer of talent, intellect, and humanity," Cramer Sachs also "harbored a great love for animals." She invented several pet accessories in the early 1950s, including: "Watch-Dog," a dog collar with a time piece; "Bonnie Stand," a holder fashioned to accommodate disposable food bowls; and "Guidog," an early version of a retractable dog leash.

In 1972, Cramer Sachs suffered the loss of her only child, Eleanor, and in the summer of the next year her husband Alexander passed away. She continued her "business of creating new product ideas" for the remainder of her life. The most recent invention materials represented in the collection are those for the "Conservator" from 2002, a temperature and humidity controlled device with compartments to store a variety of items. In her last telephone conversation with her niece, on March 10, 2004, Cramer Sachs expressed her hope that she would feel "strong enough to get to the office the next day or so." The inventor died the following day at the age of 96.

Patents issued to Charlotte Cramer Sachs:

United States Patent: 2,208,498, "Combined Key and Flashlight," July 16, 1940

United States Patent: 2,509,423, "Wedge Heel Shoe," May 30, 1950

United States Patent: 2,808,191, "Lap Tray," October 1, 1957

United States Patent: Des. 363,618, "Cabinet," October 31, 1995

Related Materials:

Materials in Other Organizations

Franklin Delano Roosevelt Presidential Library and Museum

Related materials on husband Alexander Sachs's political and professional life found in the Papers of Alexander Sachs

Art Gallery of Ontario, E. P. Taylor Research Library and Archives, Toronto Ontario, Canada

Correspondence between Cramer Sachs and Sam and Ayala Zacks dating from the 1970s and relating to Zionist art found in the Sam and Ayala Zacks Fonds.

Columbia University Libraries, Avery Drawings & Archives Collections Haus Cramer architectural records and papers, 1911-2004, (bulk 1911-1955)

This collection primarily contains original and reprographic architectural records, photographs, correspondence and personal and professional records related to the design, construction, and ownership of the Haus Cramer in Dahlem, Berlin, Germany, designed by German architect Hermann Muthesius in 1911-1913 for Hans and Gertrud Cramer, with later additions by Muthesius and other architects. A significant portion of the collection also documents the Cramer family's efforts to obtain restitution after World War II for the seizure of the house in the 1930s. Also included are records documenting the restoration and reuse, an effort led by noted architectural historian Julius Poesner.

Mount Holyoke College Archives and Special Collections

Cramer papers, 1938-1954

Cramer, Frederick Henry, 1906-1954; historian and college teacher. Mount Holyoke College faculty member, 1938-1954. Papers consist of writings, biographical information, and photographs; primarily documenting his scholarly activities and his interest in automobile racing.

German Historical Institute

Charlotte Cramer Sachs in the Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present.

The collaborative research project Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present sheds new light on the entrepreneurial and economic capacity of immigrants by investigating the German-American example in the United States. It traces the lives, careers and business ventures of eminent German-American business people of roughly the last two hundred and ninety years, integrating the history of German-American immigration into the larger narrative of U.S. economic and business history.

Provenance:

The papers were donated to the Archives Center at the National Museum of American History in the spring of 2005 by Lilian Randall (niece), Erich Cramer (nephew), Aileen Katz (niece), Elisabeth Weissbach (niece), and John Cramer (nephew).

Restrictions:

The collection is open for research use. Gloves must be worn when handling unprotected photographs and negatives.

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.

Topic:

Baked products  Search this

Food mixes  Search this

Inventors -- 20th century -- United States  Search this

Wine -- Storage  Search this

Women inventors  Search this

Women inventors -- 20th century  Search this

Works of art  Search this

Genre/Form:

Advertisements

Awards

Business records -- 20th century

Clippings -- 20th century

Correspondence -- 20th century

Notes

Patents

Patent applications

Photographs -- 20th century

Sheet music

Citation:

Charlotte Cramer Sachs Papers, 1905-2002, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0878

See more items in:

Charlotte Cramer Sachs Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep80e9d7739-dea1-4c9b-82cb-6fcf17e24b00

EDAN-URL:

ead_collection:sova-nmah-ac-0878

Creator:

Chase, Ernest Dudley, fl. 1920s  Search this

Holland, Frances  Search this

Holland, Frederic  Search this

Extent:

1 Cubic foot (3 boxes)

Type:

Collection descriptions

Archival materials

Watercolors

Valentines

Poems

Maps

Love letters

Letters (correspondence)

Date:

1924-1966

bulk 1930-1940

Summary:

A collection of greeting cards, pictorial maps, and travel diaries by artist Ernest Dudley Chase. Chase created greeting cards for Clara Holland during their courtship and later marriage. The cards were hand painted by Chase in water color with cut- paper details. Many of the cards include romantic letters or poems composed by Chase.

Scope and Contents:

A collection of greeting cards given by artist Ernest Dudley Chase to Clara Holland in the years during their courtship and marriage, pictorial maps drwan by Chase, and nine travel diaries. The cards were hand-painted by Chase in water color with cut-paper details. Many of the cards include romantic letters or poems composed by Chase.

Series 1, Greeting Cards, circa 1937-1966, consists of hand crafted, personally designed cards that Chase created for his wife Clara Holland. The cards generally include a very affectionate sentiment or on occasion a poem. The cards were done in water color and embellished with cut-paper details and calligraphy. Also included are Monday Morning Letters that Chase wrote to his wife Clara whom he called his "Lovely Little Lady" or "L.L.L."

Series 2, Maps (pictorial), 1935-1947 and undated, consists of maps designed and signed by Chase featuring meticulous illustrations of famous landmarks, flora, fauna and other features.

Series 3, Travel Diaries, 1924-1937, consists of nine volumes of bound, typescript travel diaries maintained by Chase from his travels, to Alaska, the Mediterranean, Carribean, Germany, Holland, Central Europe, Sicily, France, England, Scotland, and Ireland. The diaries are arranged chronologically.

Arrangement:

The collection is divided into three series.

Series 1, Greeting Cards, circa 1937-1966

Series 2, Maps (pictorial), 1935-1947 and undated

Series 3, Travel Diaries, 1924-1938

Biographical / Historical:

Ernest Dudley Chase was born in Lowell, Massachusetts in 1878 but is most associated with the town of Winchester, Massachusetts where he was a well known artist. Chase created a unique body of work, an array of views of various Winchester homes and buildings and whimsically illustrated maps. After attending the Lowell Textile School and the Vesper George Art School in Boston, Chase joined the Butterfield Printing Company in 1900. In 1906, he joined the printing firm of W.T. Sheehan in Boston. He began his own greeting card company in 1908, Des Arts Publishers which eventually became Ernest Dudley Chase Publishers. In 1921, Chase Publishers was purchased by Rust Craft. Chase worked at Rust Craft until 1958 in the position of vice president of creative design. His other duties at Rust Craft included advertising manager and editing the company's newsletter The Rustler and the greeting card industry periodicalThe Greeting Card.

Chase married three times. His first marriage was to Idelle Clark and his second marriage was to Wilhelmina Graham. In 1937, Chase married for a third time to Clara Holland. On all holidays and special occasions, he gave his wife, Clara elaborately crafted, personally designed cards in which he generally included a very affectionate sentiment or on occasion a poem. One of Chase's hobbies was creating enormous greeting cards, gathering thousands of signatures on them and sending them to United States presidents or other famous persons around the world. Chase also enjoyed traveling and documenting his travel experiences in diaries.

According to the book Winchester Artists by Ellen E. Knight, Chase produced more greeting cards than anyone in the United States. He authored the first definitive history of the greeting card business,The Romance of Greeting Cards, which was published in 1926. Chase retired from Rust Craft in 1958 and died in 1966.

Related Materials:

Materials in the Archives Center

Norcross Greeting Card Collection (AC0058)

Olive Leavister 19th Century Handmade Valentine Collection (AC0396)

Warshaw Collection of Business Americana, Greeting Cards (AC0060)

Provenance:

The greeting cards were donated to the Archives Center in 2005 by Ernest Dudley Chase's stepson, Fred, and Frances Holland. Fred Holland donated pictorial maps in July, 2010 and travel diaries in September, 2010.

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 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.

Occupation:

Artists  Search this

Topic:

Greeting cards -- 20th century  Search this

Courtship  Search this

Love  Search this

Genre/Form:

Watercolors

Valentines

Poems

Maps -- 1880-1940

Maps -- 1940-1950

Love letters

Letters (correspondence) -- 1900-1950

Citation:

Ernest Dudley Chase Papers, 1924-1940s, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0886

See more items in:

Ernest Dudley Chase Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a61292ac-6d70-415d-a36d-de58c86a36a0

EDAN-URL:

ead_collection:sova-nmah-ac-0886

Author:

LeGon, Jeni, 1916-  Search this

Names:

Robinson, Bill, 1878-1949  Search this

Extent:

1 Cubic foot (3 boxes, includes photographs)

Type:

Collection descriptions

Archival materials

Letters (correspondence)

Programs

Photographs

Clippings

Itineraries

Advertisements

Date:

1930-2002, undated

Summary:

Collection documents the career of Jeni LeGon as a dancer, dance instructor, and actress.

Scope and Contents:

Collection documents LeGon's career as a dancer, dance instructor, and actress. Materials include biographical information, correspondence, photographs, early travel itineraries, schedules, personal calendars, printed advertisements, invitations to dance events, programs, newspaper clippings, magazine articles, and awards. The collection is arranged into four series: Series 1, Biographical Information and Publicity, 1930s; Series 2, Theatre and Motion Picture Film, 1935-1945, undated; Series 3, Dance Instruction and Performances, 1953-2002, undated; and Series 4: Tributes and Awards, 1979-2002.

Arrangement:

The collection is arranged into four series:.

Series 1, Biographical Information and Publicity

Series 2, Theatre and Motion Picture Film, 1935-1945

Series 3, Dance Instruction and Performances, 1953-2002, undatred

Series 4, Tributes and Awards, 1979-2002

Biographical / Historical:

Jeni LeGon was born in Chicago, Illinois in 1916. Her long, successful career as an African American dancer and actress began in musical theatre and vaudeville. In the 1930s she traveled across the southern United States performing first with the Whitman Sisters company and then with her half-sister, Willa Mae Lane, as the LeGon and Lane song-and-dance team. By 1935, LeGon was working under contract with Fox Studios, RKO Pictures, and MGM performing with Bill "Bojangles" Robinson, Waters and Al Jolson, and Fred Astaire. Throughout the years she performed on Broadway and in other theaters and clubs including the Apollo, Cafe de Paris, Howard, Paramount, and Lincoln. Beginning in the 1950s she offered dance instruction in Los Angeles, California at the Jeni LeGon Dance Studio and Drama and Dance Playhouse; and in Vancouver, British Columbia, where she taught tap and pointe. She died on December 7, 2012 at the age of ninety-six.

Related Materials:

Archives Center, National Museum of American History

Smithsonian Jazz Oral History Program Collection (AC0808)

Ernie Smith Jazz Film Collection (AC0491)

Program in African American Culture Collection (AC0408)

Frank Schiffman Apollo Theatre Collection (AC0540)

Provenance:

The collection was donated to the Archives Center by Jeni LeGon in 2002.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African American women entertainers  Search this

African American women  Search this

Dance in motion pictures, television, etc.  Search this

Dance, Black  Search this

Dancers  Search this

Actresses  Search this

Tap dancing  Search this

Genre/Form:

Letters (correspondence) -- 20th century.

Programs -- 1930-2000

Photographs -- 20th century

Clippings

Itineraries

Advertisements -- 20th century

Citation:

Jeni LeGon Papers, 1930s-2002, undated, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0829

See more items in:

Jeni LeGon Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b5972ffb-e9ea-40ec-baa7-7fc43d772a76

EDAN-URL:

ead_collection:sova-nmah-ac-0829

Creator:

United States. War Production Board.  Search this

Garfield & Co.  Search this

Former owner:

National Museum of American History (U.S.). Division of Science, Medicine, and Society  Search this

Extent:

15 Cubic feet (17 boxes, 11 oversized folders)

Type:

Collection descriptions

Archival materials

Ledgers (account books)

Correspondence

Sales records

Tax records

Date:

1909-1969

Summary:

The collection documents Garfield and Company, a pharmaceutical manufacturer in New Jersey during the twentieth century. Garfield and Company, founded by Isidor Z. Garfield (1863-1951), made Seidlitz Powder, a commonly known medication composed of tartaric acid, sodium bicarbonate, and potassium sodium tartrate that was used as a mild cathartic by dissolving it in water and then drinking it. Materials include customer files, invoices, correspondence, advertising and packaging materials, calendars, posters, financial records, and an oral and video history with Julius Garfield, son of Isidor Z. Garfield.

Scope and Contents:

The Garfield Company Records are divided into seven series: Series 1, Historical Background; Series 2, Customer Materials; Series 3, Correspondence, 1937-1952; Series 4, Financial Records, 1918-1950; Series 5, Advertising and Packaging Materials, 1923-1968 and undated; Series 6, Drawings/Diagrams, 1958; and Series 7, Photographs, circa 1950s. The collection documents Garfield and Company, a pharmaceutical manufacturer in New Jersey during the twentieth century. Garfield and Company made Seidlitz Powder, a commonly known medication composed of a mixture of tartaric acid, sodium bicarbonate, and potassium sodium tartrate that was used as a mild cathartic by dissolving it in water and then drinking it. The records include customer files, correspondence, advertising, packaging, audio visual materials, photographs, packaging, advertising and financial records. The collection provides good insight into the company during the World War II period and the hardship conditions under which they operated, such as delays in receiving raw materials and difficulty with labor.

Series 1, Historical Background, 1915-1969 and undated, consists of newspaper clippings and articles, corporate identity pieces (letterhead and envelopes), correspondence, and audio visual materials about Garfield and Company. The majority of the correspondence relates to machinery companies and their ability to provide equipment and expertise to manufacture powders and handle packaging issues. Other correspondence relates to advertising agencies and the State of New Jersey Division of Employment Security. The correspondence with Seil, Putt and Rusby, Inc., documents an analytical, consulting and research chemists firm that conducted testing for Garfield. The audio visual materials contain an oral history with Julius Garfield, son of Isidor Garfield on ½" VHS video footage (OV 820.1-2) and a demonstration of how Seidlitz powders are manufactured. The video footage, of which there are two copies, is approximately one hour in length and is divided into two segments. The first segment features the manufacturing equipment producing Seidlitz powders and the second segment features an informal interview with Julius Garfield discussing his father's background and his father's automation of the process of packaging Seidlitz powders. The audio cassettes (OTC 820.1-2) contain a more detailed oral history with Julius Garfield. He provides additional information about his father's background, his brother's (especially George's) background, and the history of the company. Curator Ray Kondratus, of the Division of Medicine and Science, National Museum of American History, conducted the oral history interview, circa 1970s.

Series 2, Customer Materials, 1909-1952, includes materials about customers who had a business relationship with Garfield and Company. The materials are divided into two subseries, Subseries 1, Index Card Files, 1909-1939 and Subseries 2, Customer Files, 1949, 1951-1952.

Subseries 1, Index Card Files, 1909-1939, contains customer names, addresses, and order history from 1909 to the 1920s. They are arranged geographically by city and alphabetically by customer name. They adhere to a color coding schema. Department stores are designated yellow; wholesalers pale blue; second jobbers buff; and chain drug stores are pink. The cards are annotated revealing information about the customer's personality, job information, and the specific salesman for that account.

Subseries 2, Customer Files, 1949, 1951-1952, is arranged alphabetically by customer name. The files contain invoices/receipts for companies, department stores, drug stores, and other organizations that ordered Seidlitz powder from Garfield and Company. The receipts include the name and address of the company and the cost for each order. Also included are bills of lading documenting where the shipment was sent and who received it.

Series 3, Correspondence, 1937-1952, is arranged alphabetically and consists of letters to and from other companies, individuals, and the War Production Board. Some general subject files are also here. The War Production Board correspondence contains information about the use and salvage of raw materials in the factory; requests to purchase certain types of materials; and compliance with quarterly requests for inventory, purchases, and usage of certain foods and materials. Included in the general subject files is documentation about insurance and workers compensation claims for employees of Garfield and Company. The documentation includes primarily State of New York Department of Labor Workers Compensation forms and accident/injury reports. The reports provide detailed information on the nature of the accident/injury, hourly wage and demographic information about the employee.

Series 4, Advertising and Packaging Materials, 1923-1968 and undated, and is divided into four subseries, Subseries 1, Advertising Materials, 1923-1968 and undated; Subseries 2, Posters, 1940s and undated; Subseries 3, Radio Broadcasts, 1951-1964, and Subseries 4, Packaging Materials, 1953 and undated.

Subseries 1, Advertising Materials, 1923-1968 and undated, contains primarily proofs of advertisements for Garfield Seidlitz powders, merchandising reports, price lists, metal printing plates for two advertisements, and calendars. The advertising proofs are in color, black-and-white, and pencil on tracing paper and were prepared by firms such as F.M. Advertising Agency, Inc. There are some pin-up calendars advertising Clairol, Inc., products, 1943, and other pin-ups advertising Garfield and Company Seidlitz powders, 1950-1951.

Subseries 2, Posters, 1940s and undated, consists of posters for Garfield and Company Seidlitz powders and war posters created from woodcuts by Frances "Fran" O'Brien Garfield and Ernest Hamlin Baker. Garfield and Baker designed the posters for the Putnum County Defense Council of New York. Garfield and Company distributed the posters.

Subseries 3, Radio Broadcasts, 1951-1964, contains two 5" inch reel-to-reel audio tapes of radio broadcasts for Garfield and Company products and four audio discs (33 rpm and 87 rpm) of radio broadcasts.

Subseries 4, Packaging Materials, 1953 and undated, consists primarily of labels for Seidlitz powders and cardboard carton packages for transporting and displaying Seidlitz powders. The labels are paper and primarily two and one half by four inches. They feature standard language about the Seidlitz powders. They are imprinted with the name of a specific drug company, such as Hazeltine and Perkins Drug Company or Gill Brook Laboratories. There are some labels that have been imprinted on aluminum sheets. The cardboard cartons are for Seidlitz powders, cough syrups, laxatives, rhinitis tablets, diarrhea remedies, and toothpaste. Packaging specific to a company/manufacturer is arranged alphabetically under the name of the company.

Series 5, Financial Records, 1918-1950, is divided into four subseries: Subseries 1, Invoices, 1918-1941; Subseries 2, Sales Books and Ledgers, 1939-1947 and undated; Subseries 3, Receipts, 1948-1952; and Subseries 4, Tax Materials, 1936-1950 and consists primarily of tax information for the company and specific employees, sales ledgers and invoices and receipts.

Subseries 1, Invoices, 1918-1941, contains invoices issued by Garfield and Company to companies, department stores, drug stores, and other organizations for purchases of Seidlitz Powders. Included are bills of lading. The subseries are arranged alphabetically. See also Series 2, Customer Files, 1949, 1951-1952.

Subseries 2, Sales Books and Ledgers, 1939-1947 and undated, documents order information about the number of tins, carts, and packs of Seidlitz powder sold to specific companies.

Subseries 3, Receipts, 1948-1952, is arranged alphabetically by name of company and contains documentation on products and services that Garfield and Company purchased and used. For example, they purchased soda bicarbonate from the American Cyanamid Company and used the Bronx Haulage Company for rubbish removal.

Subseries 4, Tax Materials, 1936-1950, contains employee wage records, tax returns, employee withholding exemption certificates, and invoices for Samuel Markowitz, an accountant. Some of the records detail the name of the employee, time worked (days and hours), wages, deductions, and wage paid.

Series 6, Drawings/Diagrams, 1958, contains one line drawing for hot water at the Garfield Company, December, 1958, and pencil sketches and diagrams for wiring of the tins and cartons machinery, 1958.

Series 7, Photographs, circa 1950s, contains black-and-white photographs of Isidor Garfield, employees operating packaging machinery, an exterior view of the manufacturing facility, and a store display.

Arrangement:

The collection is arranged into seven series.

Series 1: Historical Background, 1915-1969 and undated

Series 2: Customer Materials, 1909-1952

Subseries 2.1: Index Card Files, 1909-1939

Subseries 2.2: Customer Files, 1949, 1951-1952

Series 3: Correspondence, 1937-1952

Series 4: Financial Records, 1918-1950

Subseries 4.1: Invoices, 1918-1941

Subseries 4.2: Sales Books and Ledgers, 1939-1947 and undated

Subseries 4.3: Receipts, 1948-1952

Subseries 4.4: Tax Materials, 1936-1950

Series 5: Advertising and Packaging Materials, 1923-1968 and undated

Subseries 5.1, Advertising Materials, 1923-1968 and undated

Subseries 5.2: Posters, 1940s and undated

Subseries 5.3: Radio Broadcasts, 1951-1964

Subseries 5.4: Packaging Materials, 1953 and undated

Series 6: Drawings/Diagrams, 1958

Series 7: Photographs, circa 1950s

Biographical / Historical:

Garfield and Company of Edison, New Jersey, was the largest manufactures of Seidlitz Powders in the United States. Garfield and Company was founded by Isidor Z. Garfield (1863-1951), a New York pharmacist, who began manufacturing powders in 1908. Garfield was born in Russia and graduated from the University of Moscow with a degree in chemistry. He came to the United States in 1888 with his wife Frances and their first-born son, Louis. Three other sons, George, Julius, and Henry, were born in the United States. Garfield developed an automated process to package reactive ingredients (US Patent 1,091,568) in March, 1914. The process separately packaged the powders in moisture-proof wrappers so druggists no longer had to mix the compounds. In 1916, Garfield patented a machine for measuring and compressing powders (US Patent 1,177,854). Both of Garfield's patents were assigned to Samuel Loewy of New York City. After Garfield died, his sons, Julius and George Garfield inherited the business. The New Jersey manufacturing plant closed in 1980.

Related Materials:

Packaging equipment used by Garfield and Company is located in the Division of Medicine and Science. See Accession #1979.1144.

Provenance:

This collection was donated by Julius and George Garfield in 1979.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Reference copies of audio visual materials must be used. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Antacids  Search this

Packaging  Search this

Pharmaceutical industry  Search this

Genre/Form:

Ledgers (account books)

Correspondence -- 20th century

Sales records

Tax records

Citation:

Garfield and Company Records, dates, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0820

See more items in:

Garfield & Company Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep814322322-8886-4025-b677-0565ed601cd7

EDAN-URL:

ead_collection:sova-nmah-ac-0820

Creator:

Cheatham, Doc, 1905-1997  Search this

Cheatham, Amanda  Search this

Extent:

11 Cubic feet (23 boxes)

Type:

Collection descriptions

Archival materials

Home movies

Interviews

Parts (musical)

Passports

Photographs

Posters

Programs

Motion pictures (visual works)

Sheet music

Appointment books

Address books

Clippings

Awards

Date:

1939-1998

Summary:

Papers documenting Cheatham's career as a jazz trumpeter. The papers include passports, appointment and address books; photographs, both personal and professional; a transcript of an interview of Cheatham; sheet music, including parts for various instruments; home movies from Cheatham's travels; awards and certificates; printed material including posters, programs, clippings.

Scope and Contents:

The Adolphus "Doc" Cheatham Papers contain publications, photographs, correspondence, memorabilia, autobiographical materials, music, awards, and audio and visual recordings documenting his life and career as a big band and jazz trumpeter.

The collection is 11 cubic feet and is organized into five series: Series 1: Publications, Series 2: Photographs and Artwork, Series 3: Personal Papers and Memorabilia, Series 4: Music and Awards, and Series 5: Audioviusal Materials. The majority of the material dates from the mid-1930s to the late 1990s.

Arrangement:

The collection is arranged into five series.

Series 1: Publications, circa 1950s-1990s

Series 2: Photographs and Artwork, 1930s-1990s

Series 3: Personal Papers and Memorabilia, circa 1930s-1990s

Series 4: Music and Awards, circa 1940s-1990s ' Series 5: Audiovisual Materials, circa 1930s-1990s

Biographical / Historical:

Adolphus "Doc" Cheatham (1905-1997) was born in Nashville, Tennessee. He grew up playing trumpet and saxophone in the pit orchestra of the Bijou Theater where he accompanied such blues artists as Ma Rainey and Bessie Smith. His first professional break was with Marion Hardy's band for the Sunshine Sammy Revue.

After touring with Hardy's band in 1924, Cheatham taught himself to read music and moved to Chicago, where he became acquainted with Louis Armstrong. Under the influence of Armstrong, Cheatham decided to play trumpet exclusively and eventually subbed for Armstrong. While in Chicago, Cheatham also worked with Wilbur De Paris and Chick Webb. Between 1927 and 1930 he toured Europe as the lead trumpet player for Sam Wooding.

When Cheatham returned to the United States in 1930, he joined Marion Hardy's Alabamians, but eventually took a position in McKinney's Cotton Pickers. In 1933 he joined Cab Calloway's Orchestra and toured with him for nine years, including a tour of South America. Cheatham took a few months off in 1933 but soon found himself in recording studios with such jazz legends as Count Basie and Billie Holiday. During recording sessions and performances throughout the 1940s Cheatham continued to develop his skills as a trumpet soloist in big bands and smaller ensembles.

The eventual decline of big bands in the 1950s led Cheatham to explore Latin music. As a result, he performed with Marcelino Guerra, Perez Prado, and Machitos Band. Cheatham reunited with Wilbur De Paris in 1957 for a tour of Africa and in the following year he toured Europe with Sammy Price. In 1960 he returned to Africa with Herbie Mann and later moved to New York where he led his own band.

During the 1960s Cheatham decided to build on his past music influences to improve himself as a soloist and improviser. Consequently, he gained an international reputation as a trumpet soloist. It was at this time that he also began singing on his recordings. Throughout the rest of his career he remained in high demand on the concert and festival circuit.

Cheatham continued performing and recording into the 1990s. Every Sunday for the last years of his life he played at Sweet Basil, his "hangout" club in New York. In 1996 he recorded an album with then newcomer Nicholas Payton. However, the morning after a 1997 concert with Payton in Washington, D.C. Cheatham suffered a fatal stroke. He did not live to see his collaboration with Payton receive a Grammy for Best Jazz Instrumental Performance in 1998.

Separated Materials:

The Division of Culture and the Arts (now Division of Cultural and Community Life) holds related artifacts: a trumpet, trumpet mutes, bowtie, and pair of glasses.

Provenance:

The collection was donated to the Archives Center by Amanda N. Cheatham, widow of Doc Cheatham, June, 2002.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Jazz musicians -- United States  Search this

Trumpet players -- 20th century  Search this

Genre/Form:

Home movies

Interviews

Parts (musical)

Passports

Photographs -- 20th century

Posters -- 20th century

Programs -- Concerts

Motion pictures (visual works)

Sheet music

Appointment books

Address books

Clippings -- 20th century

Awards

Citation:

Doc Cheatham Papers, 1939-1998, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0814

See more items in:

Doc Cheatham Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83f5c787e-004e-4ef7-aacf-d2032e6b0930

EDAN-URL:

ead_collection:sova-nmah-ac-0814

Creator:

Baden, Gary  Search this

Baden, Sandra  Search this

Extent:

2 Cubic feet

Type:

Collection descriptions

Archival materials

Tear sheets

Magazines (periodicals)

Date:

circa 1897-1979

Summary:

An extensive collection of magazine advertisements featuring celebrities from entertainment, sports, royalty, and the arts.

Scope and Contents:

A wide-ranging collection of over 1,000 celebrity advertising endorsements, ca. 1897-1979. The endorsements were culled by a collector/hobbyist from high-end magazines publications such as Fortune, McCalls, Playbill and Vogue. They feature a wide range of celebrities from the fields of performing arts, sports, business, politics and "society." The products endorsed vary greatly with heavy concentrations of cigarettes, beauty products and electronic equipment predominating. The bulk of the collection covers the 1920s-1970s with an especially high concentration of material from the 1930s-1940s. The majority are in color.

Advertisements are filed according to the profession or background of the endorser Thereunder, ads are arranged alphabetically by the last name of the endorser. Where more than one endorser is featured, the advertisement is filed under the last name of the endorser most prominently featured in the advertisement. If they are all of equal status within the advertisement, the advertisement is filed under the last name appearing earliest in the alphabet.

Arrangement:

The collection is arranged into five series.

Series 1: Performing Arts

Series 2: Business/Politics

Series 3: Sports

Series 4: Society, fashio, Royalty

Series 5: Writers, Musicians, Artists, Singers

Biographical / Historical:

The use of celebrities for promoting a product is an advertising device that has been used with increasing frequency since the latter part of the 19th century. Personalities from all walks of life, society, sports, and entertainment have regularly lent their image for product endorsement. These products have ranged from alcohol to moth crystals to cigarettes and a variety of other products. The trend continues to grow and refine itself expanding from the realm of print media into television, radio, motion pictures, and the internet.

Provenance:

The collection was donated to the Archives Center of the National Museum of American History by Gary and Sandra Baden, of Chevy Chase, D.C., in 1997.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Celebrities  Search this

Endorsements in advertising  Search this

advertising  Search this

Genre/Form:

Tear sheets

Magazines (periodicals) -- 20th century

Citation:

The Sandra and Gary Baden Collection of Celebrity Endorsements in Advertising, 1897-1979, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0611

See more items in:

Sandra and Gary Baden Collection of Celebrity Endorsements in Advertising

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ddbbdd2a-6ac1-4ec5-a013-b96ffc469af6

EDAN-URL:

ead_collection:sova-nmah-ac-0611

Creator:

Frank K.M. Rehn Galleries  Search this

Subject:

Burchfield, Charles Ephraim  Search this

Dasburg, Andrew  Search this

Speicher, Eugene Edward  Search this

Bartlett, Frederic Clay  Search this

Bellows, George  Search this

Coleman, Glenn O.  Search this

Cook, Howard Norton  Search this

Cuthbert, Virginia  Search this

Brook, Alexander  Search this

Chappell, Warren  Search this

Clancy, John C.  Search this

Marsh, Felicia Meyer  Search this

Marsh, Reginald  Search this

Mangravite, Peppino  Search this

Orton, J. Robert  Search this

Pepper, Charles Hovey  Search this

McFee, Henry Lee  Search this

Melchers, Gari  Search this

Hawthorne, Charles Webster  Search this

Henri, Robert  Search this

Gellatly, John  Search this

James, Alexander  Search this

Luks, George Benjamin  Search this

Kroll, Leon  Search this

Hopper, Edward  Search this

Hopper, Jo N. (Josephine Nivison)  Search this

Young, Mahonri Mackintosh  Search this

Winters, Denny Sonke  Search this

Phillips, Duncan  Search this

Tucker, Richard Derby  Search this

Tucker, Allen  Search this

Spalding, John T.  Search this

Russo, Alexander  Search this

Poor, Henry Varnum  Search this

Strater, Henry  Search this

Spruance, Benton  Search this

Sparhawk-Jones, Elizabeth  Search this

Type:

Scrapbooks

Sketchbooks

Photographs

Citation:

Frank K. M. Rehn Galleries records, 1858-1969, bulk 1919-1968. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- New York (State) -- New York  Search this

Works of art  Search this

Theme:

Sketches & Sketchbooks  Search this

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9193

(DSI-AAA_SIRISBib)211388

AAA_collcode_franrehg

Theme:

Sketches & Sketchbooks

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211388

Interviewee:

Sun Ra  Search this

Gaskin, Leonard, 1920-  Search this

Taylor, Billy  Search this

Sullivan, Maxine, 1911-1987  Search this

Wells, Ronnie  Search this

Whiting, Margaret  Search this

Towers, Jack  Search this

Venuti, Joe, 1903-1978  Search this

Pullen, Don, 1941-  Search this

Roney, Wallace  Search this

Pizzarelli, Bucky, 1926-  Search this

Pizzarelli, John, 1960-  Search this

Shaw, Artie, 1910-2004  Search this

Shepp, Archie, 1937-  Search this

Sanders, Pharaoh  Search this

Grant, Felix, 1918-1993  Search this

Scott, Jimmy  Search this

McPhail, Jimmy  Search this

McPartland, Marian  Search this

McFerrin, Bobby  Search this

Krall, Diana  Search this

O'Connell, Helen  Search this

Mulligan, Gerry  Search this

Metheny, Pat  Search this

McShann, Jay  Search this

Horn, Shirley, 1934-  Search this

Hinton, Milt, 1910-2000  Search this

Hill, Andrew, 1937-  Search this

Hendricks, Jon, 1921-  Search this

Keane, Helen  Search this

Kaminsky, Max, 1908-  Search this

Jordan, Sheila, 1928-  Search this

Humes, Helen, 1913-1981  Search this

Hampton, Lionel  Search this

Harris, Eddie, 1934-  Search this

Heath, Jimmy, 1926-  Search this

Frishberg, Dave  Search this

Ennis, Ethel  Search this

Farmer, Art, 1928-  Search this

Flanagan, Tommy, 1930-  Search this

Hampton, Slide  Search this

D'Rivera, Paquito, 1948-  Search this

Daniels, Billy  Search this

Davison, Bill  Search this

Donegan, Dorothy, 1922-  Search this

Crouch, Stanley, 1945-2020  Search this

Conyers, John, 1929-  Search this

Cruz, Celia, 1924-2003  Search this

Byard, Jaki  Search this

Brown, Ruth  Search this

Carter, Betty, 1930-  Search this

Byron, Don  Search this

Betts, Keter, 1928-  Search this

Bellson, Louis  Search this

Bowie, Lester, 1941-  Search this

Blakey, Art, 1919-1990  Search this

Allen, Steve, 1921-2000  Search this

Adderly, Nat, 1931-2000  Search this

Bailey, Benny, 1925-  Search this

Collector:

Stokes, W. Royal, Dr., 1930-  Search this

Names:

Armstrong, Louis, 1901-1971  Search this

Davis, Miles  Search this

Ellington, Duke, 1899-1974  Search this

Gillespie, Dizzy, 1917-  Search this

Extent:

10 Cubic feet (39 boxes)

Type:

Collection descriptions

Archival materials

Audiotapes

Black-and-white photographic prints

Publicity photographs

Date:

1940s-2005

Summary:

Publicity photographs of musicians and entertainers, mostly jazz musicians, such as Duke Ellington, Louis Armstrong, Miles Davis, and Dizzy Gillespie, but including many rock and even a few classical performers. The collection also contains tape recorded radio interviews conducted between 1970 and 2003. In addition there are posters relating to musical performances.

Scope and Contents:

This collection was formed by W. Royal Stokes in the course of his professional work as a music and arts critic. It is composed primarily of publicity portraits of musical performers, both single acts and groups. The emphasis is on jazz musicians and singers, although many rock stars and groups, and other popular musical performers are included. Even a few classical musicians are represented. The pictures are primarily mass-produced black and white publicity photographs distributed to newspapers, writers, etc., by agents for entertainment personalities. Some prints were made from the original negatives, while others clearly were made from copy negatives after typography was stripped together with a print and re-photographed. However, there are some rarer original photographs included in the collection, such as personal color snapshots, higher quality prints by art photographers, etc. Nearly all the prints are unmounted, and are 8 x 10 inches or smaller in size. The bulk of the photographs date from circa 1970 to 2000, however, a number of the earlier photographs are included as well as slightly later examples.

Arrangement:

The collection is divided into nine series.

Series 1, Photographs of Musicians and Ensembles, circa 1970-2000; undated

Subseries 1.1, Musicians and Ensembles

Subseries 1.2, Recording Company Photographs

Subseries 1.3, Unidentified Musicians

Series 2, Photographs of Performances, 1987-2002; undated

Subseries 2.1, Music Festivals, 1987-2002; undated

Subseries 2.2, Concerts, Music Clubs and Other Venues, 1920s-1940s and circa 1980s-1990s; undated

Series 3, Formal and Informal Groups, circa 1980s-2000; undated

Series 4, Photographs of Musicians in Films, Radio, Television and Theater, 1940s-2000; undated Series 5, Photographs of Subjects and Products related to Musicians and Music, 1970-2000; undated

Series 6, Photographs of Non-Musicians, circa 1980s-2000; undated

Series 7, Interviews with Musicians, 1970-2003

Series 8, Audiovisual Materials, 1970-2003

Subseries 8.1, Audio Recordings - Audiocassettes

Subseries 8.2, Audio Recordings-Audiotapes

Series 9, Posters, 1976-1990; undated

Biographical / Historical:

Born in Washington, D.C., W. Royal Stokes served in the Army and then embarked on an academic career, teaching at the University of Pittsburgh, Tufts University, Brock University and the University of Colorado. He left the academic profession in 1969 and become a writer, broadcaster and lecturer, journalist, and critic and authority on jazz music. A follower of jazz since his teens in the 1940s, Stokes has written about music for such publications as Down Beat, Jazz Times, and the Washington Post, and hosted the public radio shows "I Thought I Heard Buddy Bolden Say . . ." and "Since Minton's". Today he is the editor of the quarterly Jazz Notes, and is the author of The Jazz Scene: An Informal History From New Orleans to 1990 and Swing Era New York: The Jazz Photographs of Charles Peterson.. He is also the author of Living the Jazz Life: Conversations with Forty Musicians about Their Careers in Jazz (Oxford; New York: Oxford University Press, 2000). Dr. Stokes lives in Silver Spring, Maryland.

Materials in the Archives Center, National Museum of Ameican History:

Duke Ellington Collection, 1928-1988 (AC0301)

Herman Leonard Photoprints, 1948-1993

Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copyprints], 1923-1972

Jazz Oral History Collection, 1988-1990

Ernie Smith Jazz Film Collection, 1910s-1970s (mostly 1930s-1960s)

Jeffrey Kliman Photographs

Stephanie Myers Jazz Photographs, 1984-1987, 2005

Chico O'Farrill Papers

Paquito D'Rivera Papers, 1989-2000.

Louis Armstrong Music Manuscripts, undated

Tito Puente Papers, 1962-1965.

Audrey Wells "Women in Jazz Radio Series, 1981-1982

Mongo Santamaria Papers, 1965-2001

Ramsey Lewis Collection, 1950-2007

Earl Newman Collection of Monterey Jazz Festival Posters, 1963-2009

James Arkatov Collection of Jazz Photographs, 1995-2003

Francis Wolff Jazz Photoprints, 1953-1966

Floyd Levin Jazz Reference Collection, circa 1920s-2006

Jazz Oral History Program Collection, 1992-2009

Leslie Schinella Collection of Gene Krupa Materials

Provenance:

Donated by W. Royal Stokes to the Archives Center in 2001.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Jazz musicians -- 1950-2000 -- United States  Search this

Musicians  Search this

Publicity  Search this

Portraits -- Musicians  Search this

Popular music -- 20th century -- United States  Search this

Entertainers  Search this

Rock music  Search this

Genre/Form:

Audiotapes

Black-and-white photographic prints -- Silver gelatin -- 1950-2000

Publicity photographs

Citation:

W. Royal Stokes Collection of Jazz Musicians' Photographs, ca. 1970-2000, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0766

See more items in:

W. Royal Stokes Collection of Music Photoprints and Interviews

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b79b5a94-c967-451e-bafb-e62dc2d8ff45

EDAN-URL:

ead_collection:sova-nmah-ac-0766

Artist:

Rethi, Lili, 1894-1969  Search this

Extent:

8 Cubic feet (21 boxes, 8 map folders)

Type:

Collection descriptions

Archival materials

Bookplates

Books

Christmas cards

Drawings

Newspaper clippings

Photographs

Transcripts

Watercolor drawings

Date:

1918-1969

Summary:

Papers document artist and illustrator Lili Réthi who was best known for her drawings of industrial subjects such as bridges, construction scenes and mines.

Scope and Contents:

Drawings, sketches, watercolors, biographical material, photographs, printed material, correspondence and books relating to the career of artist and illustrator Lili Réthi. The bulk of the collection consists of originals and copies of Réthi's drawings and sketches for various projects in Europe and the United States.

Arrangement:

The collection is arranged into five series.

Series 1: Biographical Materials, 1928-1968

Series 2: Projects, 1918-1969

Series 3: Exhibits, 1940-1943, 1965

Series 4: Portraits, 1919-1965

Series 5: Illustrated Books, 1916-1969

Biographical / Historical:

Lilly (Lili) Maria Réthi (1894-1969) was born in Vienna, Austria to Leopold Réthi (1857-1924), a professor of medicine and Marie née Mauther (1863-1955). Réthi had one sister, Elizabeth "Elsie" (1889-1970). Lili attended the Viennese Kunstschule für Frauen und Mädchen (The Art School for Women and Girls), established in 1897. The school existed until 1945, but it closed to Jewish women artists in 1938, when the school was subordinated to the municipality of Vienna and used to inculcate Nazi ideology. (Ben-Eli, 1999). Réthi learned to sketch the human form at the Vienna Anatomical Institute—training, no doubt, that her physician father encouraged. This training, which sharpened her sense of form and function, helped her later when drawing complicated machinery and illustrating Victor Hecht's book, Leitfaden der Physikalisch-Therapeutischen, (Guide to Physical Therapy, 1916). Réthi became fascinated with construction at a young age. "When I was a little girl in Vienna, I used to take walks and watch men building houses. I was fascinated by the men working as well as the excitement of watching the building grow." (Constructor, December 1967, page 25) Her burgeoning interest would grow, and she became one of the best-known illustrators of engineering, construction, and industrial sites. She was named a Royal Society of Art Fellow in 1961.

During the inter-war years (1918-1939) Réthi interrupted her academic studies to work across Europe, illustrating sites in Austria, Belgium, Czechoslovakia, Denmark, France, Germany, the Netherlands, and Switzerland. The bulk of her work captured coal mines, coal yards, factories, chemical plants, blast furnaces, iron foundries, shipyards, steel production, buildings, aircraft, and bridges.

In 1929, Réthi moved to Berlin where she worked recording engineering projects and was an illustrator for the magazine "Der Bücherkreis" (Book Circle). She illustrated many of the "Dortmunder Union" activities during this period. The Union, a vertically integrated mining group (mining and iron and steel production), was founded in 1872 and was located in the Ruhr area of Germany. This work for the Union resulted in an exhibition in Berlin at the Verein Deutscher Ingenieure (1931) and "Wien- Berlin: Das Gesicht zwei Städte" (Vienna and Berlin: The Face of Two Cities") (1932); at the World Power Conference in Stockholm (1933); and the Technical Museum of Vienna (1934). While in the Ruhr, Rethi documented workers, elevating their significance as subjects in their own right. She recorded the working conditions, many of which depicted harsh and dangerous physical labor. Her published work Germinal (1924) highlighted, through seven lithographs, the terrible conditions in French mines. Her work with the Union provided exposure and elevated her growing artistic status, especially with the Third Reich. With war imminent in Europe, the erosion of her personal rights as a Jewish woman, and a commission invitation by Hermann Göring to create propaganda images for the Nazi Regime, she left for England, never to return to her homeland in Austria.

Her portfolio of work is immense and while she primarily focused on engineering, industrial and construction sites, trade publications, industry magazines and newspapers, she branched into other areas. She illustrated the German version of Upton Sinclair´s Letters to Judd, an American Workingman (Briefe an einen Arbeiter, Leipzig- Wien, 1932) and was widely published in Austrian, Danish and German newspapers such as Aften-Avisen, Bergland Wien, Børsen, Der Welt Spiegel, Beitbilder, and VDI Nachrichten. Later projects included books, primarily for children, commissions to sketch churches, portraits of individuals, illustrated book plates, pamphlets, and Christmas cards. Catholic entities such as St. John the Divine and the Capuchin Friars in New York, also sought her services to sketch church interiors and illustrate brochures. And, in 1950, Réthi sketched the interior renovation (1948-1952) of the White House during the Truman Administration.

The Illustrated London News hired Réthi in 1937 to sketch the coronation of King George. While in England, she also created sketches for a booklet issued by the London, North Eastern Railway (L.N.E.R.) posters for the London, Midland and Scottish Railway (L.M.S.) and the General Post Office (GPO): Post Office Motor Transport Depot (1937); the Post Office Underground Mail Train (1935); and LMS Crewe Works, Building Coronation Class Engine (1937). The Illustrated London News sent her to the 1939 New York World's Fair where her introduction and love of New York City was launched. Réthi arrived in the United States on March 23, 1939, and became a citizen in 1944.

In the United States, Réthi continued illustrating engineering and construction activities, many of which were major post war projects. Réthi was attracted to the great industrial scene of 1940s America, and New York City provided a fertile location for most of her projects. The first public showing of her work in the United States was at the Architectural League of New York (1940) and her "American Industry at War" exhibit was held at the Metropolitan Museum of Art (1943). She documented some of the most significant projects in North America such as the New York City Pavilion at the World's Fair (1964), the United Nations Building (1949), the Pan Am Building (1962), Pennsylvania Station (1965), and the World Trade Center (1967-1968).

She had commissions from Surveyer, Nenniger & Chênevert (an engineering and construction firm that used her images on company Christmas cards), Sperry Gyroscope Company, U.S. Tobacco Company, Turner Construction, Walsh Construction, Atlas Steel Plant, Bliss Manufacturing, George A. Fuller Company, Standard Chemicals, and the United States Pipe and Foundry Company, to name a few.

Réthi also worked with several book publishers, especially, McGraw-Hill and Harcourt Brace. She illustrated over 40 books, many for children. Her work also appeared on the covers of many trade publications and magazines such as Pencil Points, Service, Factory, Product Engineering, and the Journal of the American Society of Automotive Engineers. Réthi was one of a few, if not the only female artist who devoted her career to portraying engineering works.

Related Materials:

Materials at the Smithsonian Institution

Archives Center, National Museum of American History

Division of Mechanical and Civil Engineering Bridges Reference Collection, NMAH.AC.1577

Contains negatives and prints of drawings for the Verranzo-Narrows Bridge, New York, New York

Smithsonian Instituton Archives

Records, circa 1948-1988

Contains documentation about a Lili Réthi exhibit, 1964-1965, curated by the then Museum of the History of Technology.

Archives of American Art

Associated American Artists Records, circa 1934-1983

Includes three file folders in the Series: Artists Files about Lili Réthi.

Materials at Other Organizations

Hagley Museum and Library

Sperry Gyroscope Company Division photographs and films (1986-273)

Contains Lili Réthi graphic arts, 1943, consisting of 24 reproductions.

Provenance:

The collection was bequeathed by Lili Réthi to the United States National Museum (now known as the National Museum of American History) through Herbert G. Fenison in 1971.

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.

Occupation:

Artists  Search this

Book illustrators  Search this

Illustrators  Search this

Topic:

Bridges  Search this

Buildings  Search this

Construction  Search this

Construction and civil engineering  Search this

Engineering -- 20th century  Search this

Illustrated books, Children's  Search this

Women artists -- United States  Search this

Genre/Form:

Bookplates

Books -- 20th century

Christmas cards

Drawings -- 20th century

Newspaper clippings

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Transcripts -- 20th century

Watercolor drawings

Citation:

Lili Réthi Papers, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0749

See more items in:

Lili Réthi Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep876ee6154-c5e2-4c2f-a217-9c4044b6a002

EDAN-URL:

ead_collection:sova-nmah-ac-0749

Author:

Rabinow, Jacob, 1910-  Search this

Names:

Census Bureau  Search this

Control Data Corporation  Search this

RABCO  Search this

United States. National Bureau of Standards  Search this

Collector:

National Museum of American History (U.S.). Division of Engineering and Industry  Search this

Extent:

5.5 Cubic feet (14 boxes, 1 map folder)

Type:

Collection descriptions

Archival materials

Correspondence

Patents

Photographs

Engineering drawings

Date:

1947-1990

Summary:

The collection documents three major areas of Jacob Rabinow's work in improvement of electronic and other devices: phonograph record players, optical character recognition (reading machines) and automatic self regulation of watches and clocks.

Scope and Contents:

This collection comprises material from three major areas of Jacob Rabinow's work in improvement of electronic and other devices: phonograph record players, optical character recognition (reading machines) and automatic self regulation of watches and clocks. Included are technical descriptions, engineering drawings and sketches, numerous patent applications, patents, photographs of devices and voluminous correspondence, often related to patents and financial claims arising from them. The papers are grouped into the three areas of product innovation in approximate chronological order. In addition to many U.S. patents, Rabinow was granted numerous foreign patents, including British, French, German, Canadian and Japanese which are part of the collection. The patents as early as 1910 1917 were collected and assembled by Rabinow in his search of previous inventors' work.

Arrangement:

The papers are arranged into three series.

Series 1, Straight Line Photograph Arm, 1910-1917; 1947-1988

Subseries 1.1, Patents, 1910-1917; 1947-1988

Subseries 1.2, Litigation and Royalties, 1954-1980

Subseries 1.3, Brochures, Publicity, Photo Prints, and Advertisements, 1954-1980

Subseries 1.4, General Correspondence, 1954-1978

Series 2, Reading Machine, 1956-1990

Subseries 2.1, Patents, 1957-1958

Subseries 2.2, Brochures, Publicity, and Photo Prints, 1954-1970

Subseries 2.3, Correspondence, 1956-1960

Subseries 2.4, General Correspondence, 1954-1978

Series 3, Automatic Regulation of Watches and Clocks, 1948-1981

Subseries 3.1, Patents, 1948-1975

Subseries 3.2, Patent Right Litigation and Royalties, 1948-1976

Subseries 3.3, Brochures, Publicity, and Photo prints, 1953-1964

Subseries 3.4, General Correspondence, 1948-1981

Biographical / Historical:

Jacob Rabinow was born Jacob Rabinovich in the Kharkov, Ukraine in 1910 and moved with his family to Siberia in 1917 during the Bolshevik Revolution. In 1919, the Rabinow Family moved to China, where his father died. With his mother and brother, Rabinow then immigrated to the United States in 1921, where his mother established a corset shop in New York City. Rabinow graduated from the City College of New York with a Bachelor's Degree in Engineering (1933) and a Master's Degree in Electrical Engineering (1934). After graduation in 1934, he worked at diverse jobs until he was hired by the National Bureau of Standards (NBS) and now known as National Institute of Standards and Technology or NIST in 1938. At NBS Rabinow calibrated flow meters and then, with the outbreak of World War II, designed proximity fuses for Army bombs and rockets. To calculate the velocity of the falling fuses, he devised an acceleration integrator. He also worked on bombing techniques. Rabinow eventually became Chief of the Electro-Mechanical Ordnance Division at NBS before leaving in 1954 to form his own company, Rabinow Engineering.

At Rabinow Engineering, projects included the development of automatic winding equipment and test equipment for Sprague Electric; design of a letter sorter later built by Burroughs; a digital computer for the U.S. Post Office; and the construction of reading machines for RCA, UNIVAC, and others. When servicing machines began to require too much staff and travel, Rabinow sold his company and became a consultant. In 1964, Rabinow Engineering eventually became part of Control Data Corporation (CDC) where Rabinow was head of the Rabinow Advanced Development Laboratory. In 1968, Rabinow formed RABCO Company to manufacture his straight-line phonographs. RABCO was later acquired by the Harmon-Kardon Corporation. In 1972, Rabinow rejoined NBS where he was Chief Research Engineer. In 1975, he retired, but acted as a consultant.

Rabinow held 230 United States Patents on a wide variety of mechanical, optical and electrical devices. Of note is his magnetic particle clutch (1956) used in tape and disk drives; first automobile clutch to work by magnetic and not electrostatic charge (1956); first phonograph whose cartridge moved along a straight track rather than at the end of a swinging arm (1959); first self-regulating clock (1960); and his best known invention, a Reading Machine (1960). Rabinow was honored for his scientific work with the Naval Ordnance Development Award (1945); the President's Certificate of Merit (1948); the IEEE's Harry Diamond Award (1977); and the Lemelson-MIT Lifetime Achievement Award (1998) Rabinow died September 11, 1999.

Related Materials:

The Division Medicine and Science holds the Rabinow Scanned Comparison Reading Machine (Accession #: 1982.0393.01).

Provenance:

Collection donated by Jacob Rabinow, 1990, Decmeber 17.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Electrical engineering  Search this

Computers  Search this

Electrical engineers  Search this

Genre/Form:

Correspondence -- 1930-1950

Patents

Photographs -- 20th century

Engineering drawings

Citation:

Jacob Rabinow Papers, 1947-1990, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0403

See more items in:

Jacob Rabinow Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep89c2aa548-4a5d-493e-a066-fe931d5dff11

EDAN-URL:

ead_collection:sova-nmah-ac-0403

Collector:

Ivy, Robert Henry, 1881-1974  Search this

Donor:

Lamp, Robert A.  Search this

Names:

Blair, Vilray Papin, 1871-1955  Search this

Extent:

1 Cubic foot (3 boxes, 1 map folder)

Type:

Collection descriptions

Archival materials

Articles

Journals (periodicals)

Letters (correspondence)

Motion pictures (visual works)

Photographs

Reports

Slides (photographs)

Writings

Date:

1901-1972

Summary:

Papers document Dr. Robert H. Ivy's work as an oral surgeon primarily through correspondence and printed publications.

Scope and Contents:

The collection documents the work of Dr. Robert H. Ivy, an oral surgeon of cleft lips and cleft palates, primarily through correspondence, printed publications and photographs. The majority of the correspondence relates to Dr. Ivy's military service during World War I as a surgeon, and his work post World War II with the International Congress of Plastic Surgeons.

Arrangement:

Collection is arranged into six series.

Series 1: Biographical Materials, 1918-1951

Series 2: Correspondence, 1917-1963

Series 3: Photographs and Lantern Slides, 1927-1964

Series 4: Writings, Robert H. Ivy, 1915-1974, undated

Series 5: Writings, Others, 1901-1971

Series 6: Audio Visual Materials, 1937-1938

Biographical:

Robert Henry Ivy was born to Robert D. Ivy and Anne Edith Cryer in Southport, England in 1881 and emigrated to the United States at the age of six in 1887 but returned to England to finish his education at the Emanuel School. In 1898, Ivy returned to the United States and enrolled in the University of Pennsylvania Dental School graduating in 1902. He then attended University of Pennsylvania Medical School from 1903-1907 and was a resident physician from 1907-1910 at the Episcopal Hospital of Philadelphia. In 1910, he opended an oral and plastic surgery practice in Philadelphia at a time when this speciality did not exist. Ivy also served as a pathologist and baceterilogist at the West Philadelphia Hospital for Women and helped develop the Wasserman test for syphillis.

Commissioned in 1917 as a Captain in the Army Medical Corps, Ivy was assigned to the Medical Reserve Corps under the Surgeon General of the Army for temporary duty. He was an assistant to Vilray P. Blair of the Office of the Surgeon General. He was assigned to the Services of Supply, Headquarters, Base Section 1 (Surgical Unit No. 1), Chaumont (Haute Marne), France, and the Maxillofacial Surgery Hospital Centers of Vichy and Clermont where he assisted patients with face, head and jaw injuries.

After the war, Ivy returned to the United States and was in charge of Maxillofacial Surgery at Walter Reed Hospital. In November 1919, he was discharged as a Lieutenant Colonel and opened a practice in Philadelphia. He was appointed Professor of Clinical Maxillofacial Surgery at the School of Dentistry at the University of Pennsylvania (1919) and in 1920 he was a Professor of Maxillofacial Surgery at the Graduate School of Medicine, ultimately becoming Chief of Maxillofacial Surgery.

In 1920 he was called to active duty and was a representative for the U.S. Army at the Inter-Allied Surgical Conference where he discussed bone grafts. In 1924 he was elevated to Colonel in the Army Medical Corps Reserve up until WWII, making frequent trips to the Walter Reed Hospital. he served two terms of active duty at Army Medical Centers in Washington DC. He was an instructor to Army Surgeons treating facial injuries under Division of Plastic and Maxillofacial Surgery.

In the post war years, Ivy was a civilian consultant to Surgeon General with Jerome Webster of New York. Together they inspected all the Plastic Surgery Centers in the United States. Dr. Ivy taught courses for Army officers at Army Medical Center and University of Pennsylvania and authored many papers, including Applied Anatomy and Oral Surgery: For Dental Students, 1917 and The Manual of Plastic and Maxillofacial Surgery for Military Surgeons, 1942.

Ivy established the University of Pennsylvania's Department of Maxillofacial Surgery, for dental students and community dentists. Dr. Ivy later developed interdisciplinary treatment of cleft palates in children. He wrote a textbook called Applied Anatomy and Oral Surgery for Dental Students.

Ivy was a founder of the American Board of Plastic Surgery, American Society of Plastic Surgeons, founder and president of the American Association of Plastic Surgery, and founder of the Journal of the American Society of Plastic and Reconstructive Surgery.

Robert H. Ivy married Norma Corrine Crossland on June 19, 1912, in Barrie, Ontario. They had four children: Cythia, Robert H., Jr., Eleanor and Peter. Dr. Ivy died on June 21, 1974.

Sources

https://www.pennmedicine.org/departments-and-centers/oral-and-maxillofacial-surgery/about-us/history (last accessed March 6, 2024)

https://www.ivysociety.org/uploads/1/2/4/4/124459515/history_of_ivy_society__part_1_.pdf (last accessed March 6, 2024)

https://journals.lww.com/plasreconsurg/citation/1973/04000/robert_h__ivy__m_d_,_d_d_s__a_tribute.8.aspx (last accessed March 6, 2024)

Related Materials:

Materials at Other Organizations

Historical Medical Library of The College of Physicians of Philadelphia Repository

Robert H. Ivy papers (unprocessed), 1904-1974

Provenance:

Collection donated by Robert Lamp, 2016.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Occupation:

Dentists  Search this

Oral surgeons  Search this

Physicians  Search this

Surgeons  Search this

Topic:

Cleft palate  Search this

Face -- Surgery  Search this

Medicine  Search this

Mouth -- Surgery  Search this

Surgery, Plastic  Search this

Genre/Form:

Articles -- 20th century

Journals (periodicals) -- 20th century

Letters (correspondence) -- 20th century.

Motion pictures (visual works) -- 20th century

Photographs -- Black-and-white photoprints -- 20th century

Reports -- 20th century

Slides (photographs) -- 20th century

Writings -- 20th century

Citation:

Dr. Robert H. Ivy Papers, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1411

See more items in:

Dr. Robert H. Ivy Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85828810b-d22f-4d05-9ff0-d1fa7dfa41db

EDAN-URL:

ead_collection:sova-nmah-ac-1411