Notes, clippings, published and unpublished manuscripts on business and marketing; but primarily personal materials.
Scope and Contents:
The collection primarily documents Harper's personal life, rather than his advertising career. It includes documents from Harper's years at boarding school and college and from the twenty years in Oklahoma City after his resignation from Interpublic. Only an occasional item illuminates the advertising agency years.
During the earliest years of his retirement, Harper was interested in finding a new niche on the business world, and the notes and manuscripts on business and marketing reflect his efforts to form new advertising agency partnerships. Unpublished manuscripts, proposals, clippings and reading notes in this period are largely concerned with scientific management theory and how semantics and marketing procedures can be used to help managers better achieve their objectives.
The remainder of the collection reflects Harpers' interest in developing a book or syndicated newspaper series advising the "mature, achieving woman" on how to achieve her full potential. Several complete versions of the manuscript, some in longhand, are supplemented by notes, corrections, comments, reading notes, clippings and other materials.
The material is arranged into five series. Series one is personal papers dating from 1924-1964. Series two consists of correspondence dating from 1920-1989. Professional materials dating from 1940-1986 are contained in series three. Series four is research notes and unpublished manuscripts dating from 1924-1990. The unpublished manuscript On Reaching for What You Can Become dating from 1984-1989 is in series five.
Arrangement:
Collection is arranged in five series:
Series 1, Personal Papers, 1926-1964, undated
Series 2, Correspondence, 1920-1989, undated
Series 3, Professional Materials, 1925-1988, undated
Series 4, Research Notes and Unpublished Manuscripts, 1947-1995, undated
Series 5, On Reaching for What You Can Become, 1982-1988, undated
Biographical/Historical note:
Marion Harper, Jr. (1916-1989) won distinction as founder of Interpublic, at one time the worlds' largest advertising agency conglomerate, and as a recognized innovator in the use of research in the preparation of effective
advertising. His meteoric career terminated soon after his removal as Chairman and Chief Executive Officer of Interpublic in 1968. Harper devoted his remaining twenty years to other interests.
Harper was born in Oklahoma City on May 14, 1916. He attended Philips Academy in Andover, Massachusetts, and Yale University, where he majored in psychology and graduated tenth in the class of 1938. After college, he decided to follow the example of his father, an advertising executive with General Foods. His assignment to the McCann Erickson mailroom was the first step in an executive training program at the agency.
Known in the industry as the "boy wonder," Harper advanced in nine years from the mailroom to president of McCann Erickson, then the sixth largest advertising agency in America. In the succeeding ten years, his success in attracting new business and in acquiring smaller agencies made McCann Erickson second only to J. Walter Thompson in billings.
Harper saw an expanding role for advertising agencies using global communications and facilities to market "world brands." To achieve this he pioneered important structural changes. One was the agency holding company, The Interpublic Group, which circumvented the prevailing ethic that agencies should not represent competing accounts. Another was the elimination of a
taboo which forbade agencies from raising capital by selling their common stock to the public. By the time Harper was deposed as chair in 1968, Interpublic had become a model for Saatchi & Saatchi and other advertising agencies to expand worldwide.
Harper's reputation as a "boy wonder" rested on more than his skill in acquiring new accounts and agencies. He was a voracious reader of scientific materials related to human motivation. At McCann Erickson he was noted for employing people without regard to race, creed or gender a rarity in advertising agencies of that era. He wrote and talked about the scientific application of semantics in the management of businesses and preparation of more effective advertising.
In 1942, he was named manager of copy research and in 1947, assistant to the president of the agency. The following year, at the age of 32, he was named president of the agency. In 1958, Harpers was named Chairman of the company, which changed its name to Interpublic three years later. By 1967, bankers had become concerned about declining Interpublic profits and on November 7, the six directors turned his power over to Robert Healy, a McCann Erickson
executive recalled from semi retirement. On February 2, 1968, Marion Harper resigned.
Except for two brief and unsuccessful efforts to form new partnerships in advertising, Harper remained in seclusion in Oklahoma City. During those years, he returned to his voracious reading and his interest in semantics and human potential. Much of his effort during the last 10 years of his life was devoted to writing a manuscript advising "the well functioning" mature woman on ways to "reach her possibilities." Harper died on October 25, 1989.
Harper was the author of Getting Results from Advertising. He served as chair of the American Association of Advertising Agencies and the Advertising Research Foundation. He received the Parlin Award of the American Marketing Association Hall for contributions to the advancement of marketing, and was elected to the Market Research Council's Hall of Fame in the 1980s.
Related Materials:
Archives Center, National Museum of American History
AC421 Barton Cummings Papers, 1938-1991, undated
Provenance:
Collection donated by Ellen Harper Bridges,1990.
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.
Collection documents Barton Arthur Cummings's career as an advertising industry spokesman, particularly in the areas of advertising education, and advertising in the public interest.
Scope and Contents note:
Collection documents Cummings's professional career as an industry spokesman, particularly in the areas of advertising education, and advertising in the public interest. Materials include manuscripts, interviews, photographs, speeches, awards, magazine articles, interview transcriptions, and newspaper clippings. There is a significant amount of material relating to his book Advertising's Benevolent Dictators published in 1984. Collection is arranged into five series. Series 1, Speeches and publicity, Series 2, Business papers, Series 3, Published and unpublished manuscripts, Series 4, Advertising's Benevolent Dictators, and Series 5, Multi-media materials.
Arrangement:
Collection is arranged into five series.
Series 1, Speeches and Publicity, 1950-1988, undated
Series 2, Business Papers, 1938-1991
Series 3, Published and Unpublished Manuscripts, 1981-1991, undated
Series 4, Advertising's Benevolent Dictators, undated
Series 5, Multi-Media Materials, undated
Biographical/Historical note:
Barton Arthur Cummings (1914-1994) was a former Chief Executive Officer of Compton Advertising, Incorporated, and Chairman Emeritus of Saatchi & Saatchi Worldwide.
Cummings began his advertising career working during school breaks at his father's advertising agency, the Earl Cummings Advertising Agency (later Cummings Brand McPherson Associates, Incorporated) in Rockford, Illinois. He graduated with a degree in Journalism from the University of Illinois in 1935, where he also played varsity football. Cummings maintained a lifelong interest in football, and in 1959 was awarded the Sports Illustrated Silver Anniversary Award for former college football stars who go on to distinguish themselves in other fields.
After graduation, Cummings took a trainee position with his father's agency, leaving several months later to take a trainee position with Swift & Company. From 1936 until 1942 he was with Benton & Bowles in New York, where he was a copywriter on accounts for Hellmann's Real Mayonnaise and Lord Calvert Whiskey, among others. During World War II, he served in the Offices of War Information and Price Administration in Washington, DC. He resigned in 1943 to join the Navy, and was assigned to the Amphibious Forces, 7th fleet. He saw action in Guinea, Borneo, and the Philippines.
After the War, Cummings joined Maxon, Incorporated as an account executive, and was elected to Vice President a year later. In 1947, he began a long and successful career with Compton Advertising, moving from account executive to President in only eight years. In 1963, Cummings was named chairman and chief executive officer, a position he held for nearly twenty years. When Compton merged with Saatchi & Saatchi in the 1980s, Cummings was named chairman emeritus of that international agency.
Mr. Cummings enjoyed a distinguished career as leader and spokesman for every major advertising industry association. He served as chairman of the American Association of Advertising Agencies (1969-1970); chairman of the American Advertising Federation (1972-1973), Chairman of the Ad Council (1979-1981), chairman of the board of trustees for the James Webb Young Fund at the University of Illinois, and chairman and director of the Advertising Educational Foundation. Other public service included work as the chairman of the advertising division for the New York Heart Association (1963-1973), chairman of the Public Service Advisory Committee for the City of New York, and director of the Better Business Bureau of Metropolitan New York (1954-1977). Throughout his career, Mr. Cummings championed the use of advertising in the public interest, and washas been outspoken on the need for advertising education and industry self-regulation.
Mr. Cummings was preceded in death by his first wife Regina Pugh Cummings when he died in 1994. He was survived by his second wife Margaret K. Cummings, children Ann Haven Cummings Iverson, Peter Barton Cummings, and Susan Cummings, and one grandchild, Haven Cummings Iverson.
Provenance:
Collection donated by Barton Arthur Cummings in November 1991.
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.
Harper, Marion, 1916-1989 (advertising executive) Search this
Type:
Archival materials
Date:
1925-1988, undated
Scope and Contents:
Contains press clippings, speeches, certificates of awards, invitations, and articles from a number of magazines about Harper including Aberdeen Angus Journal, Advertising Age, Newsweek, United States Review, Time, Print, Fortune, The Saturday Evening Post, Printer's Ink, Esquire, Business Horizons, and the Journal of Marketing. There is a small amount of material from McCann Erickson, Incorporated and Interpublic. In addition, there is a copy of the book The Benevolent Dictators written by Barton Cummings, former Chief Executive Officer of Compton Advertising, Incorporated, and Chairman Emeritus of Saatchi & Saatchi Worldwide. Materials are arranged in chronological order.
Collection 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.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Marion Harper Papers, circa 1920-1995, Archives Center, National Museum of American History.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Romania consists of several distinct geographical regions, all of which have historically been more gateways than barriers to different cultures and peoples. To the west lie the hills and flatlands of CriÅŸana and Banat, regions that open onto the immense Hungarian plain even farther west. To the north are the hills and mountains of MaramureÅŸ and Bucovina, regions that have long been considered the cradle of Romanian folklore and traditional art. In the center is Transylvania, with its distinctive multicultural heritage influenced by Romanians, Hungarians, and Germans. To the south of the Carpathians are Oltenia and Muntenia, often grouped together under the name Wallachia, with their vast agricultural zones washed by the Danube. And situated between the Danube and the Black Sea is Dobrogea, where ancient fishing villages have given way to bustling tourist resorts.
At the time of the 1999 Festival, Romania's population was just under 23 million. While Romanians formed the majority population, major ethnic minorities included Hungarians (7 percent) and Roma or Gypsies (2 percent), as well as Germans, Ukrainians, Jews, Turks, Serbs, and other peoples. Diaspora communities were scattered throughout the world, especially in the United States, Canada, and Western Europe.
Modern Romanian culture is the product of centuries of interaction between local populations and successive waves of immigration to the region. Music, dance, folk art, and religious traditions share many commonalities with those of Hungarians, Slavs, Turks, and other Balkan peoples, even if the Romanian language is a Romance language like French, Italian, or Spanish. Pre-Christian festivals associated with the changing of the seasons were combined with saints' days and other religious feasts after the coming of Christianity. Many of these traditions are preserved among the country's large rural population.
A people with a rich Latin heritage influenced by myriad other cultural traditions, the Romanians inhabit a land of diverse landscapes, where local customs, rituals, and ways of life have adapted to distinct physical environments: the woodlands of Transylvania and MaramureÅŸ, the plains of the west, the lowlands along the Danube river, and the urban cityscapes of Bucharest, IaÅŸi, and Cluj, ancient settlements that are nodal points in Romania's expanding array of private businesses, tourist outlets, and expatriate communities. The folk culture of the peasant had long been seen as the embodiment of Romanian identity, but at the close of the millennium, Romanian culture was more than ever a dynamic combination of both tradition and modernity - both vividly on display to Festival visitors in Washington.
Colin Quigley was Curator and Robert Dunlap Miclean was Program Coordinator. A Curatorial Committee included Corneliu Bucur, Nicolae Constantinescu, Mihai Dăncuş, Zamfir Dejeu, Irina Nicolau, Ioan Opriş, and Georgeta Roşu; Charles King was Curatorial Advisor.
The Romania program was produced with the Romanian Cultural Foundation and organized with the cooperation of the Office of the President of Romania, the Ministry of Foreign Affairs, the Ministry of Culture, and the U.S. Embassy in Romania, and with support from the Government of Romania. Major sponsors were Coca-Cola and CONNEX. Contributors included the Romanian Development Bank, Chase Manhattan Bank and the Timken Foundation. Donors included Nestor Nestor & Kingston Petersen, Cold Chain Impex S.R.L., Zero International Inc., and General Electric. Major in-kind support was provided by Tarom Airlines, Bates Centrade Saatchi & Saatchi Romania, and Romtrans.
Presenters:
Eva Borbely, Nicolae Constantinescu, Mihail Dăncuş, Zamfir Dejeu, Carmen Firan, Irina Horea, Ioana Ieronim, Cipriana Petre, Luminiţa Petrescu, Georgeta Roşu, Nicolae Voiculeţ
Participants:
Music and Dance Traditions
FOLK ENSEMBLE -- FOLK ENSEMBLEAlexandru Şandorică Ciurcui, violinist, Soporu de Câmpie or Frata, Cluj, RomaniaMaria Ciurcui, dancer, Soporu de Câmpie or Frata, Cluj, RomaniaRomulus Ciurcui, violinist, Soporu de Câmpie or Frata, Cluj, RomaniaAlexandru Gheti, braci (viola) player, Soporu de Câmpie or Frata, Cluj, RomaniaIuliu Gheti, contrabassist, Soporu de Câmpie or Frata, Cluj, RomaniaDumitru Moldovan, dancer, vocals, Soporu de Câmpie or Frata, Cluj, RomaniaVasile Soporan, dancer, vocals, Soporu de Câmpie or Frata, Cluj, RomaniaFlorineta Ilincuţa Trif, dancer, Soporu de Câmpie or Frata, Cluj, Romania
COSÂNZEANA, FOLK ENSEMBLE -- COSÂNZEANA, FOLK ENSEMBLEEmilia-Cornelia Boloţ, vocals, dancer, Orăştioara de Jos, Hunedoara, RomaniaAdrian Ioan Bruzan, vocals, dancer, Orăştioara de Jos, Hunedoara, RomaniaAlina-Valeria Bruzan, vocals, dancer, Orăştioara de Jos, Hunedoara, RomaniaEugen-Ioan Bruzan, leader, dancer, vocals, Orăştioara de Jos, Hunedoara, RomaniaValeria Bruzan, vocals, dancer, Orăştioara de Jos, Hunedoara, RomaniaCamelia-Gabriela Bura, dancer, vocals, Orăştioara de Jos, Hunedoara, RomaniaDafin Georgescu, vocals, dancer, Orăştioara de Jos, Hunedoara, RomaniaSorin-Ioan Georgescu, vocals, dancer, Orăştioara de Jos, Hunedoara, RomaniaDorel Josin Sibişan, braci (viola) player, Orăştioara de Jos, Hunedoara, RomaniaValentin-Florin Ioan Stăncioi, contrabassist, Orăştioara de Jos, Hunedoara, RomaniaIoan (Neleţu) Urs I, violinist, Orăştioara de Jos, Hunedoara, RomaniaIoan Urs II, violinist, Orăştioara de Jos, Hunedoara, Romania
Florin Colibaba, potter, Rădăuţi, Suceava, Romania
Neculai Diaconu, clay figurine maker, Codlea, BraÅŸov, Romania
Gheorghe Iorga, potter, Horezu, Vâlcea, Romania
Maria Iorga, potter, Horezu, Vâlcea, Romania
Augustin Pall, potter, Corund, Harghita, Romania
Mihai Truşcă, potter, Balş, Olt, Romania
Weaving
Rodica Maria Ispas, weaver, Buzău, Romania
Margareta Nagy, corn-husk artisan, Chendu Mare, MureÅŸ, Romania
Cristina Delciza Nicolau, weaver, eggs and beads, Buzău, Romania
Adela Petre, weaver, spinner, Buzău, Romania
Alice Torella Kosza Szegedi, reed dolls and mask artisan, Câmpeniţa, Mureş, Romania
Woodcarving
Pavel Caba, Nereju, Vrâncea, Romania
Ion Costache, MeriÅŸani, Prahova, Romania
Dan Gherasimescu, Valea Dorului, ArgeÅŸ, Romania
Viţa Lepădatu, Băbeni, Vâlcea, Romania
Icon Painting
Marioara Ciupitu, Cârţişoara Abbey, Sibiu, Romania
Angela Niculai, Tulcea, Romania
Filofteia Papacioc, Cârţişoara Abbey, Sibiu, Romania
Mihaela-Lidia Zamfirescu, Bucharest, Romania
Ornament and Mask Making
Ion Albu, masks and dolls, Roman, Romania
Mircea Lac, ornaments, woodcuts, Deva, Romania
Sabina Costinela Medrea, ornaments, Deva, Romania
Lucia Todoran, ornaments, beaded textiles, Bistriţa, Romania
Egg Decorating
Oltica Cârstiuc, Vatra Moldoviţei, Suceava, Romania
Filofteia Drajmici, Vatra Moldoviţei, Suceava, Romania
Foodways Traditions
MoÅŸica Bercovici, Bucharest, Romania
Rodica Bulboacă, Suceava, Romania
Iulia Goran, Bucharest
Church Builders
Teodor Bârsan, Maramureş, Romania
Ioan ChindriÅŸ, MaramureÅŸ, Romania
Ion ChindriÅŸ, MaramureÅŸ, Romania
loan Fodoruţ, Maramureş, Romania
Dumitru Hotico, MaramureÅŸ, Romania
Gavrilă Hotico I, Maramureş, Romania
Gavrilă Hotico II, Maramureş, Romania
Gavrilă Hotico III, Maramureş, Romania
Petru Ioan Pop, MaramureÅŸ, Romania
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1999 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Use of electronic records requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Zarina Hashmi papers, 1950-2015. Archives of American Art, Smithsonian Institution.
This collection consists of a single scrapbook of proofsheets and photo proofs from DFS's advertising campaign for Falstaff Beer in the period 1945 1946.
The advertisements center around three distinct themes. The first and most comprehensive features a salute to "The Men Who Keep Faith with America." These ads contain handsome black and white woodcut illustrations depicting men at work in a wide variety of occupations, accompanied by a text which emphasizes each occupation's contribution to the war effort. Some of the occupations featured include: railroad workers, telephone linemen, grocers, policemen, laborers, design engineers, construction workers, white collar workers, bus drivers, doctors, farmers, bakers, steel workers, cowboys, machinists, newspapermen, and auto mechanics. Interestingly, this campaign does include a few women newspaperwomen.
The second theme treated in this scrapbook features returning veterans, who have earned the right to relax and enjoy the bounty of America. They are depicted in a variety of social scenes, such as at parties or at the beach.
The final theme concerns tie ins for the "Falstaff Show" on radio. These also feature Americans enjoying their rights to relaxation and depict men and women playing tennis and baseball, bowling, fishing, etc.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
The DFS (Dancer, Fitzgerald Sample) Advertising Agency was a New York based firm organized in 1923. One of their clients was the Falstaff Brewing Corporation of St. Louis, Missouri. DFS was merged into the Saatchi & Saatchi advertising agency in mid 1987.
In 1917, Joseph Griesedieck founded the Griesedieck Beverage Company after purchasing the small Forest Park Brewing Company plant in St. Louis. During Prohibition, the company changed its name to the Falstaff Corporation, and produced soft drinks and near beer. Towards the end of Prohibition, the name was again changed, to the Falstaff Brewing Corporation. The company received the first Federal permit issued when brewing was made legal again in 1933. In 1935 the company was among the first to pioneer the concept of multiple breweries in several cities. By 1973 it was among the top ten American breweries in terms of sales. It was purchased by the General Brewing Company in 1977.
Provenance:
The scrapbook was discovered in a records storage center in New York and was donated to the Archives Center by the archivist of the Procter & Gamble Company in 1989.
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.
