The collection consists largely of print ads, signs, decals and other marketing and promotional materials. Virtually all of the print ads are for the U.S. audience. The period since World War II is more fully documented than the earlier period, although there are some advertisements from the 1930s and earlier. Most of the material documents Pepsi's U.S. advertising, although there are a number of signs and three-dimensional promotional items created for the international market. The international materials date primarily to the late 1960s and 1970s. The materials have been arranged in two series.
Series 1 contains print ads.
Series 2 contains three-dimensional marketing and promotional materials, such as signs, bottle carriers, and thermometers. Within each series, materials have been grouped by size, and there under chronologically (when dates are available).
Related Materials:
This collection complements the "Pepsi Generation" Oral History and Documentation Collection, #111, which includes 29 oral history interviews with people involved with the creation of Pepsi-Cola advertising, television advertisements and related materials.
Researchers interested in the advertising of Pepsi and other soft drinks and beverages should see the Pepsi Generation Oral History Collection (AC #111). The Warshaw Collection of Business Americana (AC #60) contains soft-drink advertising under the subject heading "Beverages." The N. W. Ayer Advertising Agency Collection (AC #59) is arranged by client name and includes beverage advertising for several clients, including Hires and Canada Dry.
Provenance:
Collection donated by Pepsi-Cola USA, May 4, 1984.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
National Portrait Gallery, Smithsonian Institution; acquisition made possible through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Collection primarily documents American folk art collected by Frederick Fried (1908-1994) and his wife Mary McKensie Hill Fried (1914-1988). It includes photographic materials, newspaper clippings, magazine articles, research files, lecture notes, unpublished manuscripts, brochures, drawings, printed advertisements, blueprints, books, patents, correspondence, trade literature, sheet music, auction catalogs, oral history interviews, and commercially recorded music. Of particular interest is the material relating to carousels. There is a substantial amount of material relating to New York architecture, wood carvings, show figures, weathervanes, mechanical and coin operated machines, amusement parks, the circus, tattoos and lesser-known folk arts. The collection is arranged by subject or genre in the order maintained by Frederick and Mary Fried.
Arrangement:
Series 1, Professional Materials, 1930-1995, undated
Subseries 1.1, Lectures, 1968-1989, undated
Subseries 1.2, Research Notes, 1962-1975, undated
Subseries 1.3, Published and Unpublished Materials, 1960-1990, undated
Subseries 1.4, Exhibitions, 1966-1985, undated
Subseries 1.5, Correspondence, 1945-1995, undated
Subseries 1.6, Office Files, 1930-1991, undated
Series 2, Sculptors and Ship Carvers, 1855-1987, undated
Series 3, Ship Carving Reference Files, 1875-1990, undated
Subseries 16.2.1, Lectures and Performances, 1969-1973, undated
Subseries 16.2.2, Interviews, 1940-1976, undated
Subseries 16.2.3, Conferences and Meetings, 1973-1977
Subseries 16.2.4, Music, 1956, undated
Subseries 16.2.5, Other, undated
Subseries 16.3, Videotapes, 1982-1991, undated
Biographical / Historical:
Frederick P. Fried was born December 11, 1908 in Brooklyn, New York. He grew up in the Williamsburg section of Brooklyn where his father owned a clock business across the street from Charles Carmel, a carousel carver. Fried acquired a fine-arts education in the 1930s with an emphasis on sculpture. He served with the Air Force during the Second World War. After a successful military career, Fried worked as art director in several fashion agencies. He met Mary McKenzie Hill, an academically trained artist in one of the studios.
Mary McKenzie Hill was born in 1914 in Baltimore, Maryland. She graduated from the Maryland Institute of Fine Arts. After graduation, she spent a year abroad studying before she returned to the United States to work as a fashion illustrator in Baltimore and New York. During World War Two Hill was a draftsman for a firm of architects.
Fried and Mary Hill married in 1949. The couple had two children Robert Hazen and Rachel. Around 1953 Fried began to collect architectural ornaments in New York. Fried served as the art director for Bonwit Teller in New York City from 1955-1962. He left the fashion world in 1962 to pursue his passion for collecting and writing full time. Fried published his first book, Pictorial History of Carousels in 1964. In 1967, Fred and Mary Fried purchased a forty-acre farm in Bristol, Vermont where the family spent their summers.
In 1968, Fried led a national campaign to preserve the Titanic Memorial Lighthouse (Seamen's Church Institute at South Street). He also became active in politics and served as the campaign manager for a New York State senator. His interest in Indian cigar store figures resulted in his publication Artists in Wood: American Carvers of Cigar Store Indians, Show Figures and Circus published in 1970. The focus of the book was Samuel Anderson Robb a New York wood carver. Fried co-founded the National Carousel Association in 1973. In 1978, Fried wrote America's Forgotten Folk Art with his wife Mary. This publication covered subjects such as carousels, banner painting, scarecrows, beach sand sculpture, tattoos, cast iron toys, amusement park architecture and trade signs.
Fried's collecting goal was to first preserve artifacts and to then make them available through his writings and exhibitions. His most treasured relics were the items he salvaged from the ruins of Coney Island. Fried referred to such artifacts as the uncelebrated arts. He became one of the founders of the Anonymous Arts Recovery Society a group of individuals who saved architectural ornaments from the wreckers' balls. In addition, he was one of the founders of the National Carousel Round Table which was created to preserve hand-carved merry-go-rounds. As a result of his collecting, research and writing Fried became recognized as the authority on carousels, coin-operated machines, and cigar store figures. He served as a consultant to many Museums; in particular as chief consultant on American Folk Art for the Smithsonian Institution.
Frederick and Mary Hill worked together in many ways to document, collect, preserve and increase the awareness about primarily the folk arts. Mary McKenzie Hill Fried passed away in 1988 at the age of seventy-four. Frederick P. Fried died July 1994 at the age of eighty-six.
Related Materials:
Materials in the Archives Center, National Museum of American History
E. Howard Clock Company Records (NMAH.AC.00776)
M. Francis Misklea Carousel Collection (NMAH.AC.0665)
Archives Center Carousel Collection (NMAH.AC.0675)
Messmore and Damon, Incorporated Company Records (NMAH.AC.0846)
Anthony W. Pendergast Collection (NMAH.AC.0882)
Frank Paulin Photoprints (NMAH.AC.1373)
Wurlitzer Company Records (NMAH.AC.0469)
Industry on Parade (NMAH.AC.0507)
Reel #191, Craftsmen of the Carousel, 1954. Manufacturing merry-go-rounds for amusement reports. Arrow Development Co., Mountain View, California.
Materials at Other Organizations
Columbia University Libraries, Rare Book & Manuscript Library
Frederick Fried Coney Island collection, 1847-2001
The collection consists of materials used by Frederick Fried in his research and writing about folk art and material culture, especially related to Coney Island, Brooklyn, New York. A significant portion of the collection consists of the personal archive of William F. Mangels, which was purchased by Fried in 1955. Mangels was a designer and manufacturer of amusement rides and founder of the American Museum of Public Recreation at Coney Island. Subjects include amusement parks, amusement rides, architecture, bathing pavilions, beaches, beauty contests, carousels, carousel animals, Brooklyn, coin-operated machines, Coney Island, exhibitions, games of chance and skill, hotels, mechanical rides, mechanization, parades, pleasure railways, recreation, roller coasters, sideshows, transportation, and other subjects related to American material culture and popular amusement.
Provenance:
Collection a bequest of the Frederick Fried Estate.
Restrictions:
Collection is open for research.
Rights:
Reproduction restricted due to copyright or trademark. Fees for commercial reproduction.
Scurlock, George H. (Hardison), 1919-2005 Search this
Extent:
1 Item
Container:
Box 72
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Virginia -- 20th century
Date:
undated
Scope and Contents:
No Ink on negative. Front entrance to shoe repair business. Sign hanging over entrance reads: "OLD DOMINION SHOE REBUILDERS" (first line) and "520 NORTH HENRY ST." (second line). "KODAK-SAFETY 452" edge imprint. No Scurlock number.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
