Collections consists of the records of both the Norcross Greeting Card Company founded in New York City in the 1920s and The Rust Craft Greeting Card Company, founded in Kansas City, Missouri, 1906. Both the Norcross and Rust Craft companies collected antique greeting cards. Also includes a small number of modern cards by other manufacturers, circa 1930-1980. Collection represents development of the greeting card industry, social trends in the United States and technology of the printing industry from 1924 through 1978.
Scope and Contents:
The Norcross Greeting Card Collection consists of cards and a few records of both the Norcross Greeting Card Company and the Rust Craft Greeting Card Company, circa 1911 1981; antique greeting cards, circa 1800 1930 (bulk 1880 1900) collected by both these companies and their executives; and a small number of modern cards by other manufacturers, circa 1939 1960. According to Norcross Company officials in 1978, this collection represents "not only a history of the development of the greeting card industry but also a history of social trends in the United States" and gives "an indication of the quality and technology of the [printing] industry from 1924 through 1978."
Arrangement:
The collection is divided into six series.
Series 1: Norcross Company Records, 1920-1981
Series 2: Antique Greeting Card Collection, circa 1800-1930 (bulk 1880-1990)
Series 3: Rust Craft Company Records, circa 1920-1980
Series 4: Greeting Cards by Other Manufacturers, 1939-1960
Series 5: Norcross Company Permanent Files, 1911-1981
Series 6: Rust Craft Company Permanent Files, 1927-1981
Biographical / Historical:
Arthur D. Norcross founded the Norcross Greeting Card Company in New York City in the nineteen twenties. From the start Norcross cards had a "look" which contributed to their selling success although, through the years, the company commanded only a small share of the greeting card market. In 1974 the company relocated to West Chester and Exton, Pennsylvania, where in 1981 Norcross and the Rust Craft Greeting Card Company merged to form divisions of a parent company.
At some point, Norcross executives realized the value of collecting and preserving antique greeting cards. The company built a large collection of antique cards, a number of which traveled in shows around the country bringing attention not only to the cards themselves but also to the Norcross Company.
Arthur Norcross died in 1968, and the company had four owners from then until 1982. One of the owners, the Ziff Corporation, a New York publisher, picked up the Norcross Company to augment the floundering Rust Craft Greeting Card Company that it had purchased primarily for its television holdings. Finally the Norcross and Rust Craft combination was acquired by Windsor Communications, Inc., a privately held company. In August 1981 Windsor entered into Chapter 11 proceedings under the Federal bankruptcy law and ceased producing greeting cards. Factors leading to bankruptcy included the expensive consolidation of Norcross and Rust Craft, a doubtful marketing strategy, and unsuccessful efforts to continue producing two distinct lines of greeting cards.
The Rust Craft Greeting Card Company, some of whose records are contained in this collection, was begun as a little bookshop by Fred Rust, (1877? 1949) in Kansas City in 1906. Later that year he created a plain Christmas folder which he called a "letter," perhaps a forerunner of the greeting card. These "letters" proved successful sellers prompting Rust to increase his publications over the years and expand his line to include post cards, greeting cards with envelopes, calendars, and blotters, in addition to lines of cards for New Year's and birthdays.
Donald Rust, his brother, soon joined him to take over manufacturing, and in 1908, Fred Rust, seeking to increase distribution, carried his line to Boston while Donald carried his to California. The original bookshop was retained until 1910 when all retailing was discontinued. After building a considerable volume of business, the firm was consolidated in Boston in 1914 and became known as Rust Craft Publishers.
Sales mounted as the company issued cards for various seasons. Many of the sentiments were written by Fred Rust himself. Around 1927 Ernest Dudley Chase joined the firm as an associate in charge of creation and advertising. In the 1950s the company relocated to Dedham, Massachusetts and finally in 1981 merged with the Norcross Company in West Chester and Exton, Pennsylvania.
A popular innovation of the Rust Craft Company was a card bearing the sentiment printed on the card itself with four or five extra sentiments tucked in as part of the message and design. This card was so popular that it was patented with the name Tukkin. The Rust Craft Company also collected some antique greeting cards.
Related Materials:
Materials in the Archives Center
AC0109 Division of Domestic Life Greeting Card Collection, circa 1854-1975
AC0126 Burris and Byrd Family Card Sample Case, circa 1920
AC0468Archives Center Scrapbook Collection, circa 1880-circa 1960
AC0579 Greeting Card Collection, 1920s-1970s
AC0886 Ernest Dudley Chase Papers, 1930s-1940s
AC1198 Beatrice Morgan Steyskal Collection of Greeting Cards, 1958-1970
AC0060 Warshaw Collection of Business Americana
AC1251 L.F. Pease Greeting Card Company Collection, circa 1908-1913
AC 1252 Sandford Greeting Card Company and Family Papers, circa 1840-1990
AC 0062 Hoffmania (or Hoffman Collection
AC0295 Rocky Herosian Collection, 1910-1943
AC0674 Jean Clairmook Radio Scrapbook, 1930-1932
AC0136 Celia K. Erskine Scrapbook of Valentines, Advertising Cards, and Postcards, circa 1882-1884
The Valentine & Expressions of Love [videocassette], 2000 within the
Archives Center Miscellaneous Film and Videotape Collection, (AC0358)
Provenance:
Norcross Greeting Card Company, West Chester, Pennsylvania, 1982-1985.
Restrictions:
Collection is open for research. Viewing the film portion of the collection without reference copies requires special appointment, please inquire.
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.
Genre/Form:
Lithographs
Business records -- 20th century
Chromolithographs -- 1880-1900
Color slides
Greeting cards -- ca. 1800-1980
Valentines
Trade cards
Postcards
Motion pictures (visual works) -- 1960-1980
Advertisements
Scrapbooks
Slides (photographs) -- 1950-2000
Citation:
Norcross Greeting Card Collection, Archives Center, National Museum of American History
Sports and trading cards, 1952-1996, amassed by card collector Ronald S. Korda. The sports cards are subdivided by sport. Baseball cards, (1952-1996), comprise the vast majority of the sports cards, while football (1968-1996) and hockey (1968-1996) are the two next largest subseries. There are lesser quantities of cards for basketball, and only a few each for all other sports, such as racing, skiing, etc. Non-sports cards cover a large variety of popular culture topics, including motion pictures, television programs, popular music, toys, games, cars and trucks, comics, fantasy art, and many other subjects. Some ephemeral items are also included in the collection, such as sticker albums, posters and programs
Scope and Contents:
This collection is divided into two main series, Series 1, Sports; and Series 2, Non-Sports.
Series 1, Sports, comprises more than 90% of the collection. Within Series 1, the collection is divided into seven subseries:
Subseries 1.1: Baseball;
Subseries 1.2: Football;
Subseries 1.3: Hockey;
Subseries 1.4: Basketball;
Subseries 1.5: Other Sports;
Subseries 1.6: Sports programs, schedules and other paper ephemera; toys, souvenirs and novelty items;
Subseries 1.7: Sports card packaging.
Subseries 1.1 is the largest, with baseball cards making up approximately 70% of the entire Korda collection. Within the first three subseries, the cards are further subdivided into cards in sets, which are sleeved, and cards in packs, which are stored in card-sized boxes. Subseries D and E are in packs only. Both cards in sets and in packs have been arranged alphabetically by manufacturer, and thereunder, chronologically. Within sets, cards are arranged in numerical order by card number. In cases where, for baseball cards, titles of sets were unclear or ambiguous, the reference book Sports Collector's Digest's Standard Catalog of Baseball Cards (which in this finding aid will be referred to as Standard Catalog) was used to determine how card sets should be titled. Likewise, in the rare cases in which cards were not numbered within sets, the order used was that given in Standard Catalog. In the case of football and hockey, Beckett's Football Card Monthly and Beckett's Hockey Card Monthly were used as reference guides.
Series 2: Non-Sports, is arranged into twenty three subseries:
Subseries 2.1: Mass Media and Entertainment
Subseries 2.2: Education
Subseries 2.3: Comic Books and Strips
Subseries 2.4: Toys and action figures
Subseries 2.5: Literature
Subseries 2.6: Automotive Themes
Subseries 2.7: Crime and Law Enforcement
Subseries H: Military Topics
Subseries 2.8: Biography
Subseries 2.9: Fine Arts
Subseries 2.10: Adult Themes
Subseries 2.11: Beauty Contests
Subseries 2.12: Video Games
Subseries 2.13: Parodies
Subseries 2.14: Product Advertising
Subseries 2.15: Fantasy Art
Subseries 2.16: Monsters
Subseries 2.17: Card Games
Subseries 2.18: Stickers, patches and tattoos
Subseries 2.19: Toys, games, puzzles, post cards and posters
Subseries 2.20: Pogs, caps and gum wrappers
Subseries 2.21: Oversize of above topics
Subseries 2.22: Non-card items, relating to above topics
Subseries 2.1, Mass media and entertainment, is the largest of the non-sports categories, comprising movies, television and music. Other subseries are similarly subdivided. Unlike the majority of the sports cards, the non-sports cards are stored in small, card-sized cartons, which have been assigned the letters A through DD, and are stored in 4 Paige boxes and 1 document box. They are listed here according to titles of packs.
Arrangement:
The collection is divided into two series.
Series 1: Sports
Series 2: Non-sports
Biographical note:
Ronald Korda, an employee of NBC television and a man of modest, middle class means, began assembling his card collection in childhood after receiving a pack of cards as a party favor. After that initial inspiration, he began his collecting hobby which was his passion until his death in March, 1996. In the early years of his hobby, he collected baseball cards, later expanding to other sports as well as cards on diverse popular culture topics. Among these topics are films, television, popular music, science and nature, comics and magazines, toys and action figures, games, and products, and in addition to cards, there are stickers, sticker albums, tattoos, gum wrappers, puzzles, games and other novelty items. Numerous foreign issues are included. He amassed his collection by attending cards and collectibles shows and seeking out reputable dealers, and by purchasing factory sets when they became available. He was selective and careful, and in the case of the sports cards, succeeded in acquiring complete sets of virtually every series which he collected. (With the non-sports cards, he tended to collect samples rather than entire sets.) This thoroughness is what makes this collection rare and possibly unique among any card collections in public or private hands. With few exceptions, there are no cards missing, and virtually all are in mint or near mint condition. The Kordas could have sold their collection for a fortune, but felt it important that the collection stay together as a unit. Mr. Korda, in an emotional article entitled "Collections Should Live Forever" written for Baseball Hobby News, referred to his collection as "my card family" and expressed the fear that the family would be split up after he died. He approached the Smithsonian late in 1995. Just days before the Archives Center was to acquire the collection, Mr. Korda died. Finalization of his gift was completed by his wife.
History:
Although baseball and other trading cards date back to the nineteenth century, with some of the earliest accompanying packages of tobacco, they gained great popularity during the Depression with the advent of the bubble gum card. In the post-World War II years, and especially during the prosperous decade of the 1950s, they began to enjoy tremendous popularity, as the technology for producing them improved. The market rapidly expanded, and cards for other sports and other topics became popular, just as competition among manufacturers was heating up. The earliest trading cards accompanied packs of tobacco, but were eventually used to advertise gum, cookies, soft drinks, baked goods, hot dogs, and numerous other products. Card manufacturers, such as Topps, changed card formats with each new set, varying the presentation of statistics, vertical and horizontal orientation, use of action shots, candid shots and portraits, and inclusion of puzzles, games, fold-outs, and other novelties. They also added new features, such as trivia questions, cartoons, and holograms. As the hobby has changed, so have trading cards. Today's glossy, high-tech trading cards bear little resemblance to the tobacco cards of the 19th century or even to the cards produced during the "golden age" of cards in the 1950s. This collection represents a very diverse sampling of the card hobby from the 1950s to the 1990s.
Separated Materials:
Some card packaging was transferred to the Museum's Division of Cultural History.
Provenance:
The entire collection was donated to the Archives Center in April, 1996 by Mr. Korda's widow, Catherine Korda. Some of the card packaging was transferred by the Archives Center to the Division of Cultural History.
Restrictions:
Collection is open for research.
Use of this collection by researchers requires compliance with security procedures more stringent than those required for other collections in the Archives Center. This is due to the high value and rarity of some of the items in this collection. Autographed items, and cards valued at higher than $300 by Standard Catalog and Beckett's are stored separately, and may be seen only with special permission from the Reference Archivist, and then only in cases (such as photography or scanning) where it is deemed a necessity.
Color photocopies have been placed in sleeves where these items would normally be stored. When using card boxes, only six at a time may be requested from the Reference Archivist, and unlike other collections, may not be reserved in advance (i.e., on each separate research visit, a researcher must request boxes only for that visit.)
Card sleeves may be taken out of the binders for photocopying only with the permission and the supervision of the Archives Center staff. Cards may not be taken from sleeves, except with the permission and supervision of Archives Center staff. This may involve making advance arrangements with the Archives Center staff. These procedures are necessary for the preservation of this exceptional collection in perpetuity.
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.
Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, Archives Center, National Museum of American History. Gift of Catherine Korda.
Sponsor:
The enormous task of rehousing and processing this collection was enabled by a generous grant from the Smithsonian Research Resources Program in 1997, which made possible the purchase of large quantities of extremely specialized supplies.
Collection documents the personal life and professional career of American theatre and film actor Jean Stapleton.
Scope and Contents:
The collection consists of papers documenting Stapleton's long career in film, on stage, and on screen. Contents include correspondence from fans and from VIPs; awards and honorary degrees; scrapbooks and photograph albums; papers relating to her career, such as publicity photographs, scripts, sheet music, audiovisual materials; subject files Stapleton kept on topics relating to her roles; papers relating to Stapleton's mother, Marie Stapleton, an opera singer; articles and clippings, and a 16 mm film.
The collection documents Stapleton's long stage, film, and television career, as well as her philanthropic activities. These materials consist primarily of photographs and photograph albums, scripts, sheet music and scores, costume and set designs, programs and posters, awards and honorary degrees, and subject files Stapleton kept on topics relating to her roles.
The collection is arranged into four series. Series one, Production Materials, contains a substantial amount of materials relating to her acting career and the many roles she played on the stage, in film and on television. Series two consists of materials relating to regional theatres. Series three includes Stapleton's personal papers. Series four contain materials relating to the singing career of Marie Stapleton Murray who was the mother of Jean Stapleton.
Arrangement:
Collection arranged into four series.
Series 1, Production Materials, 1939-2007, undated
Series 2, Regional Theatre, 1941-1989, undated
Series 3, Personal Papers, 1930-2014, undated
Subseries 3.1, Correspondence, 1950-2000, undated
Subseries 3.2, Activism and Awards, 1930-2010, undated
Subseries 3.3, Personal Memorabilia and Photographs, 1952-2014, undated
Subseries 3.4, Publications, 1971-2001
Series 4, Marie Stapleton Murray, 1906-1914, undated
In 1957 Stapleton married William Putch, operator of the Totem Pole Playhouse in Pennsylvania. They were married until his death in 1983. Stapleton never remarried. Jean Stapleton died May 31, 2013 of natural causes and is survived by two children, Pamela and John, and grandchildren.
Related Materials:
Materials at Other Organizations
Carnegie Mellon University Archives
The papers of Jean Stapleton's husband, William Putch, mainly his thirty years of work at the Totem Pole Playhouse, were acquired in July 2017.
Provenance:
The collection was donated to the Archives Center by Pamela Putch in 2017.
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.
Archie McPhee Co. (Seattle, Washington) Search this
Source:
Cultural History, Division of (NMAH, SI). Search this
Former owner:
Cultural History, Division of (NMAH, SI). Search this
Extent:
1 Cubic foot
Type:
Collection descriptions
Archival materials
Photographs
Catalogs
Legal records
Date:
1985-2008, undated
Summary:
Accoutrements and Archie McPhee product catalogs dating from 1983-2008.
Scope and Contents note:
Collection consists of almost a complete run of Accoutrements and Archie McPhee product catalogs dating from 1985-2008. It documents the advertising and promotion of the wide range of products during that period. Materials reflect the interests of the consumer market and what was paid for novelty and gift items. Collection is arranged into two series. Series 1, Catalogs, 1985-2008 and Series 2: Other Materials, undated.
Arrangement:
Collection is arranged into two series.
Series 1, Catalogs, 1985-2008
Series 2: Other Materials, undated
Biographical/Historical note:
Accoutrements began as a mail order business in Los Angles, California in the 1970s. The company's creator, Mark Pahlow, started the business from his home offering rubber lizards and other collectible items for sale. In 1983, Pahlow moved his business to Seattle, Washington and established it as the retail outlet, Archie McPhee, named after his wife's great-uncle. Pahlow hired two employees and expanded the product line to include rubber chickens and a host of other novelty items. In 2018, Archie McPhee opened the Rubber Chicken Museum inside its Seattle store. The business currently offers retail, wholesale, and online services.
Source: archiemcpheeseattle.com
Related Materials:
Materials in the Archives Center, National Museum of American History
Warshaw Collection of Business Americana NMAH.AC.0060
Collection is open for research and access on site by appointment.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection is divided into six series. It includes mostly printed materials and interviews, and dates from approximately 1976 to 2005. There are wine-related event materials, interview transcripts and audiotapes, printed material and histories from people and institutions representing a wide spectrum of the wine business. Wine-related objects, such vineyard and winery tools, are stored with the Museum's artifact collections; documentary materials are held in the Archives Center.
Materials from each special event are organized into separate series, which contain records generated at the events and interviews. Series one contains the "Red, White and American Records," series two the "Collectors Event," and series three the "Wine Writers Event." Interviews conducted independently of these events are included in series four. All of the interviews have been partially transcribed and include an abstract and various forms of audiotapes and discs. Series five is composed of printed materials that relate to both specific individuals in the wine business and to more general American wine topics. Most of this material consists of photocopies of original articles. There are also files with materials by and about specific wine writers, such as Anthony Dias Blue, William Heinz, and Dick Rosano. Series five also contains an original telex of George Taber's article about the 1976 Paris Tasting. Series six consists of visual materials, including two landscape photographs of an vineyard in Oregon and two videotaped documentaries on Napa.
Arrangement:
The collection is arranged into seven series.
Series 1: Red, White, and American : Wine in American History and Culture Records, 1976-1996
Series 2: Collections Event, 2001
Series 3: Reflections: A Day in the Life of a Wine Writer Event, 2002
Series 4: Interviews, 1997-2001
Series 5: Printed Materials, 1997-2001
Series 6: Visual Materials, undated
Series 7; Interviews, 2013
Biographical / Historical:
The American Wine History Project began in 1996 with the intention to document the history of American winemaking, mainly for the post-1950 period. While the project includes winemaking areas around the country, the focus has been on northern and central California. The Project explores the convergence of craft, culture, science, technology, and the environment in modern American winemaking. In conjunction with the project, the Smithsonian held a 2-day symposium, "Red, White and American," with a small accompanying exhibition, entitled, "Doubtless as Good: Jefferson's Dream for American Wine Fulfilled," in 1996 and began gathering objects and other documentation.
Since 1997, National Museum of American History staff members have traveled to California to conduct interviews, take photographs and video footage, and gather materials for the Smithsonian collection from grape growers, winemakers, winery owners, and others important to the business, including wine writers and chefs. Some of the materials were generated from events in Napa, such as the collectors and wine writers events, that were held specifically for the purpose of adding documentation to the Smithsonian project. The documentation project is on-going so materials will continue to be added to the collection.
Provenance:
Some of the materials were generated by the Smithsonian Institution, such as those in series 1 through 3. Others were given by separate donors between 1996 and 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.
This collection documents the design, testing, production and promotion of the first zero-emission electric car produced by a major car company, the General Motors EV1. The materials include photographs, promotional booklets and marketing, press coverage, and publications, as well as design details and specifications, describing the process by which this ambitious and controversial vehicle was produced and released to the public in the mid- to late 1990s. This collection would be of interest to researchers in the areas of innovative design, automobile marketing, environmental initiatives, and the automotive industry.
Scope and Contents:
This collection contains materials relating to General Motors's development, promotion, and production of the EV1, the first commercially-available zero-emission electric vehicle, between 1990 and 2005. Included are design diagrams, photographs, and internal communication, but the vast majority of items are publicity materials such as press releases, newspaper and magazine coverage, and promotional material for auto shows.
Due to the nature of the donation (twenty-three separate donors from the original EV1 design team) there is some duplication of materials throughout the collection, though efforts were made to keep duplicates to a minimum.
Arrangement:
This collection is arranged into six series.
Series 1: Design, Testing, and Production Materials, 1991-1997
Series 2: Event Photographs, 1993-1994, 2000
Series 3: Press Coverage Materials,1991-2005
Series 4: Product Promotion Materials, 1990-2002
Series 5: Publications,1994, 1996-1999
Series 6: Post-Production Materials, 1999, 2002, 2004-2005
Biographical / Historical:
The General Motors EV1 is considered one of the most technologically advanced vehicles produced in the twentieth century and was the most energy-efficient car in the world at the time of its premiere. Manufactured for the consumer market by GM in 1997, EV1 featured many engineering innovations in aerodynamics, electric drive systems, electronic controls, and hydraulic braking, and was propelled by a rechargeable lead-acid battery pack, producing zero emissions. It was issued twenty-three patents for its advanced features, as well as winning several awards and competitions, including the electric vehicle world land speed record in 1994.
In early 1990, partly based on a boast by departing president of GM Roger Smith that electric vehicle technology was a reality, the state of California mandated that the major auto makers produce two percent of their vehicles emissions-free by 1998. Between 1990, when the barely-functional prototype car Impact debuted at the Los Angeles Auto Show, and 1994, when a fleet of fifty Impacts were premiered across the nation in the prEView Drive Program, a team of engineers worked on design, manufacture, and proof of concept vehicles that would eventually develop into the EV1: the first zero-emissions car to be released to consumers. The car's components were manufactured in several stages and locations: the assembly plant was in the Craft Centre in Lansing, Michigan; the motors were produced by Delco Remy in Anderson, Indiana; the battery pack, consisting of thirty-two 10-volt lead-acid batteries was produced by Delco Remy at their plant in Muncie, Indiana; and the power inverter and magnetic battery charger were constructed by Hughes Aircraft in Torrence, California.The finished car emitted zero pollutants, could accelerate from 0-60 mph in eight seconds, and had a range of eighty miles between charges. During 1995, the manufacturing process was refined, and the EV1 was announced in 1996 at both the Los Angeles and Detroit Auto Shows. The following year it became available to consumers through the Saturn division of GM marketing. However, due to concerns about parts and maintenance for the life of the car, GM only offered it on three-year lease programs, never for sale outright.
Though the EV1 did relatively well in the California and Arizona markets its first year, the 1999 EV1 Generation II showed a significant decline in consumer interest. The lease-only option was not appealing to many, and the limited range of the car, combined with a lack of publicly available charging stations, was a significant deterrent. Despite initial plans to expand the fleet of EVs by producing an S10 pickup truck with the new technology, and enthusiastic support from EV1's small but loyal customer base, GM stopped production on EVs altogether before the year 2000. When the last lease ran out in 2003, the fleet was recalled into storage, and except for a few that were donated to museums and universities for engineering programs and design study, the remaining EV1 vehicles were crushed and recycled in 2005.
The legacy of the EV1 remains in most of the hybrid fuel-electric vehicles and fuel-cell technology produced in the twenty-first century. It vaulted General Motors into the lead for development of advanced technology vehicles, beginning the long and ongoing effort to reduce US dependence on foreign oil as well as addressing the environmental issues caused by gasoline-powered engines.
Related Materials:
Related artifacts were donated to the Division of Work and Industry. See accession 2005.0061 and 2006.031-.034.
Provenance:
Collection donated in 2006 by Jill Banaszynski, General Motors Corporation; Patrick M. Bouchard, General Motors Corporation; Loran D. Brooks; Dan Brouns; Linda Ludek Brouns; Ray Buttacavoli; Laurel Castiglione, General Motors Corporation; Dennis H. Davis, General Motors Corporation; Robert E. DeGrandchamp; James N. Ellis; Hesham Ezzat, Marty M. Freedman, General Motors Corporation; Jamie Grover, Saturn Corporation; Steve M. Kunder, General Motors Corporation; Michael Kutcher, General Motors Corporation; Linda J. Lamar, General Motors Corporation; Kuen Leung, General Motors Corporation; Thomas M. Lobkovich; Joanne Mabrey, General Motors Corporation; Joseph F. Mercurio, General Motors Corporation; William L. Shepard, General Motors Corporation; Steven Tarnowsky; Lance Turner, General Motors Corporation.
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.
Papers, 1959-1987, of Elizabeth Gordon, editor of the periodical, House Beautiful from 1941-1964, mostly related to her research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; notes; drafts for articles and lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; drawings of paper and foil art; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Scope and Contents:
The Elizabeth Gordon Papers measure 4.5 linear feet and span the years 1959-1987. The collection mainly documents Ms. Gordon's research for the August and September 1960 issues of House Beautiful regarding the Japanese aesthetic concept of "shibui", and the subsequent travelling "shibui exhibition" from 1961-1964. Included are correspondence, some photocopies, 1959-1963; research notes and materials; articles; lectures; printed material including magazine and newspaper clippings, 1959-1987; 2 books, and exhibition announcements; article materials; a photo album containing photos of exhibition installations; and photographs, slides, color transparencies, and lantern slides depicting people, sites, and objects reflecting the "shibui" aesthetic.
Arrangement note:
This collection is organized into eight series. 1. Biographical data, 2. Shibui research, 3. Shibui issues of, House Beautiful, 4. Correspondence, 5. Shibui promotion, 6. Exhibition files, 7. Printed materials, and 8. Photographs.
Biographical Information:
Born in Logansport, Indiana in 1906, Elizabeth Gordon served as editor of House Beautiful magazine 1941 to 1964. Ms. Gordon first became interested in Japanese aesthetics during the mid-1950s. As a result she began to read and study Japanese art, history and culture. In 1959, Gordon travelled to Japan with three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize. In August and September, 1960, House Beautiful, under the editorial control of Ms. Gordon, published two extremely popular issues devoted to the subject of "shibui". Due to the popularity of the issues, museum exhibits devoted to the concept of "shibui" travelled around the United States. Ms. Gordon died in Adamstown, Maryland in 2000.
Biographical Overview
1906 -- Born in Logansport, Indiana
1920s -- Attended the University of Chicago
1930s -- Moved to New York to work as a promotional copywriter for several newspapers
1930s -- Syndicated columnist on home maintenance for The New York Herald Tribune
1930s -- Editor at Good Housekeeping (here for 8 years)
1937 -- More House for your Money by Elizabeth Gordon and Dorothy Ducas published by W. Morrow and Company: New York.
1937 -- Married Carl Hafey Norcross
1939 -- Appointed editor of House Beautiful
1964 -- Left the magazine world
1972 -- Published a special issue on Scandinavian design and awarded the insignia of a knight, first class, in the Finnish Order of the Lion
1987 -- American Institute of Architects made her an honorary member
1988 -- Carl Hafey Norcross died
September 3, 2000 -- Died in Adamstown, MD
(The following biography of Elizabeth Gordon comes courtesy of curator Louise Cort. Written in consultation with Elizabeth Gordon, October 23, 1987)
The research papers, memoranda, magazines, books, photographs and color transparencies and other materials in this archives are related to the publication by Elizabeth Gordon (Mrs. Carl Norcross), editor of House Beautiful from 1941 to 1964 and creator of the August, 1960 issue of the magazine on the special theme of the Japanese aesthetic concept of "shibui". The "shibui issue" was followed by the September, 1960, issue of the same publication on the theme, "How to be shibui with American things." As a by-product of the issues, a "Shibui Exhibition" travelled to eleven museums in the United States during 1961-1964. Each exhibition was opened with a slide lecture by Elizabeth Gordon.
Miss Gordon first became curious about Japanese aesthetics in the mid-1950s when she began to see Japanese objects being displayed and used in the homes of Americans who had spent time in Japan during the Occupation and Japanese influence began to appear in wholesale showrooms of home furnishings manufacturers. It was clear that the time had come: she HAD to go to Japan!
She read for five years before going to Japan - history, social mores, art history. (Many of the books on Japan that she collected during this time have been presented to the library at the University of Maryland, College Park.)
An important bit of advice came from Alice Spaulding Bowen, owner of Pacifica, the highest quality shop of Asian antiquities in Honolulu, who told her, "Be sure to read, The Tale of Genji - then you'll understand everything."
She made her first trip to Japan in April, 1959, accompanied by three staff people from, House Beautiful. In Kyoto she met Eiko Yuasa, a young woman then employed by the City of Kyoto to handle foreign V.I.P.s, who was assigned to assist Miss Gordon during her stay there. It was Ms. Yuasa who, in the course of discussions of Japanese aesthetics, introduced the term "shibui." Around that term and its related concepts ("iki", "jimi", "hade") the theme for the issue began to crystallize.
Miss Gordon came home, planning to spend the summer researching "shibui" with the aid of the Japan Society. But she found virtually nothing written in English on the concept. So she returned to Japan in December, 1959 together with staff member Marion Gough, to dig deeper and to work out details and get better educated with Eiko Yuasa. One of their devices was to walk through department stores and discuss with sales personnel whether objects for sale were "shibui", or were "jimi" or "hade", and why. Between themselves, they did the same for the costumes of women they saw on the streets.
Lacking printed sources for information on "shibui", Miss Gordon sought out and interviewed experts, including Douglas Overton, head of the Japan Society in New York. In Japan in December, 1959, she met Yanagi Soetsu, founder of Japan's Folk Craft Movement and head of the Craft Museum in Tokyo (with an introduction from Tonomura Kichinosuke, head of the Craft Museum in Kurashiki). She met the chef Tsuji Kaichi, who was commissioned to write an article on "kaiseki" (that could not be used because of an inadequate English translation) and Frances Blakemore. She met several times with Bernard Leach and attended his lecture at Bonnier's while he was in New York in March, 1960. (He would later write a "fan letter" for the issue)
As the concept of "the shibui issue" began to take shape, a third trip in the spring of 1960 focused on photography - to produce the shooting script decided on the preceding December. This was executed by the noted photographer Ezra Stoller of Rye, New York, and John DeKoven Hill, House Beautiful's Editorial Director. (Mr. Hill worked with Frank Lloyd Wright except for the ten years that he was a member of the House Beautiful editorial staff)
Miss Gordon was back in Japan in Mid-August 1960 as the "shibui issue" was causing a sensation. Altogether she spent sixteen months in Japan.
As one of the experiences that influenced her strong interest in Japanese costumes and textiles, Miss Gordon remembers a spectacularly thorough exhibition at the Tokyo National Museum in Ueno on, 1200 Years of Japanese Costume. She saw it on the last day of its exhibition (possibly 1964).
The August 1960 issue sold out quickly. Copies of the magazine, which sold for fifty cents, were sold on the "black market" for ten dollars.
The publication of the August 1960 issue was followed by an unprecedented avalanche of "fan mail". Many department heads in colleges and universities, including the Harvard-Yenching Institute and the Oriental Institute of the University of Chicago (where Miss Gordon had worked as an undergraduate) wrote to comment on the issue. Many people in other fields of endeavor wrote: heads of firms concerned with interior design, landscape architecture, and related areas expressed their interest in the concept of "shibui" Other writers include Bernard Leach, Gertrude Natzler, Laura Gilpin, Mainbocher, the architect Yoshimura Junzo, the textile artist Marianne Strengell, Walter Kerr, Craig Claiborne, and Oliver Statler.
The "shibui issue" was followed immediately by the September issue dealing with the use of non-Japanese objects to express the concept of "shibui." (Miss Gordon convinced her advertisers, who had been skeptical about the potential success of the August issue, by promising the September issue dealing with American products.) Four American firms were involved in the production of an integrated line of paints, wallpaper, furniture and carpets expressive of the concept. Products were designed by the firms' designers following the clues offered by objects and fabrics purchased by Miss Gordon in Japan in December 1959 and spring 1960. Miss Gordon has expressed her dissatisfaction with the September issue, although public opinion was positive. She feels that some of the firms failed in the "shibui" project, though some "caught" the message: namely the paint company and the fabric/wallpaper company.
In response to strong public interest, the House Beautiful staff prepared a travelling exhibition to introduce the concept of "shibui" through a series of vignettes, mixing fabrics and objects, colors and textures. The museum installation was designed by John Hill of House Beautiful. Japan Air Lines underwrote shipping costs.
The exhibition began in Philadelphia in late 1961. Ezra Stoller was sent to photograph the installation in considerable detail at the Dallas Museum of Fine Arts in January, 1962, so that his photographs cold serve as guidelines for installations at the other museums, which included the San Francisco Museum of Art (April 1962), the Newark Pubic Library, and the Honolulu Academy of Art. Miss Gordon presented a lecture on "shibui" at each of the museum installations.
In appreciation of her work to introduce Americans to the concept of "shibui", the city of Kyoto presented a bolt of especially "shibui" kimono fabric executed by a Living National Treasure textile artist. Miss Gordon eventually tailored the fabric into a dress and jacket. She received the 1961 Trail Blazer Award from the New York Chapter of the National Home Fashions League, Inc. In June, 1987, Miss Gordon was named an honorary member of the American Institute of Architects, with her introduction of the concept of "shibui" and her promotion of an understanding of other culture cited as her major contributions to American architecture.
Provenance:
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
Elizabeth Gordon donated her papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1988.
The Elizabeth Gordon Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Elizabeth Gordon, 1988
The López Negrete Communications Advertising Collection showcases the successful print advertising campaigns the communications agency undertook with major clients like Goya Foods, NationsBank, and Walmart. The advertising posters in this collection exemplify the agency's creativity in building on U.S. Latinos' everyday experiences to market American products and services. Alex and Cathy López Negrete, the founders of López Negrete Communications, made it their mission to use ethnographic approaches to better understand the U.S. Latino market which led to their success as the largest independently-owned Latino advertising agency in the country.
Scope and Contents:
The collection is made up of López Negrete Communications' large posters created as part of the print advertising campaigns for major American corporations and oral history interviews with Javier Gonzalez Herba, Alex López Negrete, and Cathy López Negrete. Transcripts for oral history interviews with Javier Gonzalez Herba and Alex López Negrete are available.
López Negrete Communications' clients include Fiesta Mart, Goya Foods, NationsBank (and its successor, Bank of America), Tyson Foods, and Walmart. The content of the posters serves as an example of the advertising agency's efforts to better understand the U.S. Latino market by engaging with Latinos' everyday experiences through ethnography and direct communication.
Arrangement:
The collection is divided into ten series.
Series 1: Background Materials, 2016
Series 2: Bank of America, 2000-2007
Series 3: Circle K, Totally Bueno, 2003
Series 4: Fiesta Mart, Inc., 2002-2003
Series 5: Goya Foods, Inc., 2003
Series 6: Houston Metropolitan Transit Authority (METRO), El camino a su destino/The Road to Your Destiny, 1988
Series 7: Microsoft, Nosotros vemos/We See, 2002
Series 8: NationsBank, 1994-1998
Series 9: Tyson Foods, 2001-2006
Series 10: Walmart, Inc. 1998-2015
Biographical / Historical:
Originally named Third Coast Marketing, López Negrete Communications was founded in 1985 by Alex and Cathy López Negrete. The advertising agency has been based in Houston, Texas since the beginning but has additional offices in Los Angeles and New York. López Negrete Communications is currently the largest independently-owned Latino advertising agency in the United States. It is known for drawing on the everyday lives and experiences of US Latino consumers in order to work with major corporate clients to market their products through effective communication and empowerment.
Separated Materials:
The Division of Work and Industry holds the following artifacts related to this collection:
Coin, Accession #: 2015.0305.01
Paperweight, Accession #: 2015.0305.02
Provenance:
Collection donated by López Negrete Communications, 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.
The collection documents the work of Dolores Valdes-Zacky and her advertising firm Valdes-Zacky Associates, who specialize in the Hispanic consumer market.
Scope and Contents:
The collection includes guidebooks on marketing to Hispanics; business records; letters and emails; photographs; an award; case studies; ad campaign proposals; story boards; press releases; print advertisements for the agency and for its clients, as well as for products; a DVD of commercials; newsletters; magazine and newspaper articles. Some items in the collection relate to Valdes Zacky's work with the J. Walter Thompson firm.
Arrangement:
The collection is divided into two series.
Series 1: Background Materials, 1955-1999
Series 2: Advertising and Marketing Materials, 1989-1999
Biographical / Historical:
Dolores Valdes-Zacky started her career in advertising with the J. Walter Thompson agency. She left to start her own firm, Valdes-Zacky Associates in 1987, specializing in tapping the Hispanic consumer market. Some of the agency's clients have been Mitsubishi Motors, Adolph Coors Company, Arrowhead Puritas Waters, Vons Grocery, and the Partnership for a Drug Free America.
Provenance:
Collection donated by Dolores Valdes Zacky, 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.
The collection consists of photocopied American, Japanese, German, and French patents; photocopied articles, advertisements, news releases, user manuals, buyer's guides, company analyses, technical references, and an oversize timeline documenting the history and development of cellular phones and related wireless devices.
Scope and Contents:
The collection consists of photocopied American, Japanese, German, and French patents; photocopied articles, advertisements, news releases, user manuals, buyer's guides, company analyses, technical references, and an oversize timeline. The collection provides documentation for 79 artifacts—including telephone answering machines, cellular phones, and related wireless devices—which Henderson donated to the museum's Electrical Collections holdings. Compiled by Henderson to accompany the artifacts, the materials document the history and development of cellular phones and related wireless devices. The materials are arranged into twelve series and reflect the original order in which Henderson created them. Henderson assembled books/binders of material with numeric dividers. There is no index nor is there a key to the four-letter alphabetical acronyms used in books four, eight and nine.
Series 1, Book One, 1977-1994; Series 2, Book Two, 1978-1995; and Series 3, Book Three, 1978-1995, contain photocopied American patents.
Series 4, Book Four, 1992-2002, is comprised of photocopied American patents divided into two separate arrangements: numerically from 300 to 363, and by four-letter code from DDTQ-DDUE.
Series 5, Book Five, 1979-2002, is comprised of photocopied American, French, German, and Japanese photocopied patents.
Series 6, Book Six, 1990-1995, consists of photocopied materials that include a Magic Cap catalog, a General Magic information pamphlet, English and Japanese articles, advertisements, press releases, buyer's guides, Telecomworldwire news releases, Telocator Network Paging Protocall (October 20, 1993), and Telocator Data Protocall (June 12, 1993).
Series 7, Book Seven, 1992-1995, includes a Telocator Alphanumeric Protocall (July 21, 1994), several technical references, articles, user's manuals, advertisements, Telecomworldwire news releases, and technical references.
Series 8, Book Eight, 1981-2002, is divided into sections according to four-letter codes. In the attached container listing, the files are arranged and listed according to Henderson's original order. Materials include photocopied articles, news releases, advertisements, and user manuals.
Series 9, Book Nine, 1991-2002, is divided into sections according to four-letter codes. In the attached container listing, the files are arranged and listed according to Henderson's original order, followed by unlabeled materials. The first two folders have coded labels; the last three do not. Records in Book Nine are comprised of photocopied articles, news releases, and buyer's guides, in addition to company analyses for WORLDCOM and Sprint.
Series 10, Book Ten, 1991-2002, is comprised of unlabeled materials including articles, advertisements, and news releases, in addition to a photocopy of US patent # 3,727,003.
Series 11, Book I-II, 1968-2002, is divided into sections according to four-letter codes which are dated and arranged chronologically. In the attached container listing, the files are arranged and listed according to Henderson's original order. Materials are comprised of color computer prints of significant people and devices; and photocopies of patents, articles, and advertisements. CD-ROM 875.3 contains some of the articles in PDF format.
Series 12, Timeline, 1968-2002, consists of the Converged Wireless Communications / Computing Device Development timeline which traces the chronological development of portable electronic devices. The oversized chart measures 90" by 50" and begins with the first answering machine and ends with "Smart Phones." The timeline includes scanned images of inventors, patents, advertisements, devices, and textual information. Copies of the time line in PDF format are available on CD ROMS 875.1-2.
Information from the above historical note came primarily from the PhoneTel Communications website located at http://www.phonetel.com.
Arrangement:
The collection is arranged into twelve series.
Series 1, Book One, 1977-1994
Series 2, Book Two, 1978-1995
Series 3, Book Three, 1978-1995
Series 4, Book Four, 1992-2002
Series 5, Book Five, 1979-2002
Series 6, Book Six, 1990-1995
Series 7, Book Seven, 1992-1995
Series 8, Book Eight, 1981-2002
Series 9, Book Nine, 1991-2002
Series 10, Book Ten, 1991-2002
Series 11, Book I-II, 1968-2002
Series 12, Timeline materials, 1968-2002
Biographical / Historical:
Dr. Kazuo Hashimoto, widely recognized as the father of the modern answering machine, was an inspired technologist who developed thousands of advancements in the field of telephony. Hashimoto registered over 1000 patents throughout the world, over 800 of which are related to the telephone answering device. In 1993, inventor Daniel Henderson became an apprentice of Hashimoto and worked with him on licensing, management issues, and infringement analysis. After Hashimoto's death in August 1995, Henderson turned his attention to ensuring that Hashimoto's work would be respected in the telecommunications and computer industries. In 1996, Henderson and Hashimoto's widow co-founded PhoneTel Communications, a company dedicated to protecting the patent portfolios of inventors including Hashimoto. By successfully licensing with nearly every telecommunications and computer company, Henderson made sure Hashimoto's work was respected and rewarded.
Henderson has broad experience in the creation, management, and licensing of intellectual property. He also holds numerous patents in telephony and communications. Henderson was formerly with IBM Corporation and received the "Distinguished Alumnus Award" from Southern Oregon University. Henderson worked with Jack Kilby, who received the Nobel Prize for Physics in 2000 for the invention of the world's first integrated circuit (IC) chip. At the time this collection was donated, Henderson presided over several companies including PhoneTel Patent Services, PhoneTel Communications, and Pinpoint Incorporated. Henderson's many ties to the New Jersey Institute of Technology (NJIT) include establishing the PhoneTel IE Inventions and Patents Fund, the PhoneTel Endowed Graduate Fellowship Fund, and involvement in creating a new course entitled "Inventions and Patents." He was the commencement speaker when NJIT first presented the Hashimoto Prize in 1998.
Separated Materials:
The Division of Work and Industry (formerly the Division of Information, technology and Society) holds artifacts, such as telephone answering machines, cell phones and related wireless devices related to this collection. See accession # 2003.0095.
Provenance:
The collection was donated to the Archives Center, National Museum of American History by Daniel Henderson on April 25, 2003.
Restrictions:
The collection is open for research use.
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:
Telephone answering and recording equipment industry Search this
The collection documents the Spiller Company's work in developing print advertising and advertising novelties such as advertisements placed on balloons, blotters, clipboards, calendars, hats, etc. Many of the products they developed advertisements for were toys and novelties. The collection includes design drawings, a notebook, business records, correspondence, photographs, trade literature, point of purchase displays, and newsletters.
Arrangement:
Collection is unarranged.
Biographical / Historical:
Advertising company, Batavia, New York.
Provenance:
Donated to the Archives Center in 2016 by Harley J. Spiller.
Restrictions:
Collection is unprocessed.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection documents S. Newman Darby's development of the sailboard, which became known as the windsurfer through sketches, mechanical drawings, plans, patent specifications, legal documents, photographs, correspondence, notebooks, clippings, periodicals, and an 8mm film.
Scope and Contents:
The S. Newman Darby Windsurfing Collection, 1946-1998, documents the body of Newman Darby's inventive output as well as the development of the windsurfing industry. It consists of sketches, mechanical drawings, plans, patent specifications, legal documents, photographs, correspondence, notebooks, clippings, periodicals, an 8mm film and a videocassette. The collection is particularly rich in the material related to the development of the sailboard, including Darby's personal memoirs. It contains U.S. and foreign patents related to windsurfing as well as records and reports related to Darby's testimony in litigation and the recognition of the priority of his invention. the collections research value lies in the documentation of the invention of the windsurfer and the industry and culture it spawned. It documents the processes of invention and marketing of new devices. It is evidence of the full range of S. Newman Darby's imagination, life and career.
Arrangement:
The collection is divided into six series.
Series 1: Biographical materials, 1969-1982
Series 2: Inventions and designs, 1953-1990
Series 3: Darby Industries, 1982-1983
Series 4: History of windsurfing, 1944-1998
Series 5: Photographs, 1946-1997
Series 6: Audio-Visual materials, 1965-1997
Biographical / Historical:
S. Newman Darby is recognized as the first person in the United States to conceive of connecting a hand-held sail rig fastened with a universal joint to a floating platform for recreational use. He called it sail boarding in 1965, when he published his designs in Popular Science Monthly magazine. Although he and his brothers Ronald and Kenneth began manufacturing the boards through their company Darby Industries, they never applied for a patent.
S. Newman Darby (1928-2016) was born in West Pittston, Pennsylvania. He graduated from West Pittston High School in 1946. A sign painter and artist, like his father Sidney Darby, he studied drafting at the Pennsylvania State University extension school where he took chemistry, business, art, and photography courses for one year. His first invention, the Darby Dory, a folding rowboat dates from 1953. The sailboard developed out of Darby's experiments with a personal pontoon catamaran, each hull being big enough for one foot and designed to be operated with a hand-held sail and no rudder. By 1964 he had designed a universal joint that connected a mast to a flat bottom sailing scow. This board had a centerboard, tail fin and kite shaped free sail. Early tests were conducted on Trailwood Lake and the Susquehanna River, near West Pittston.
Today sail boarding is known as windsurfing. It adopted its name from Windsurfer International, a company Hoyle Schweitzer and Jim Drake established on the basis of a patent granted to them in 1970 for a "wind-propelled apparatus." In all essential qualities, their claims duplicated Newman Darby's earlier work.
After Schweitzer bought out Drake's share in 1973, he energetically promoted the sport and licensed manufacturing rights to more than 20 companies around the world. Schweitzer forcefully prosecuted patent infringements he perceived among windsurfer manufacturers and he threatened to sue the 1984 Olympic Committee should it authorize a board produced by a manufacturer not licensed by Windsurfer International.
Although he was aware of the growth of the sport and the profits flowing into Windsurfer International through its licensing activities, Darby was unable to mount a legal challenge to Schweitzer. His priority in the invention of the sport was overlooked and almost forgotten.
In the late 1970's, Mistral, a Swiss manufacturer sued by Windsurfer International in Germany, located Darby and presented his "prior art" as a defense. In the early 1980's, courts in the United States were asked to rule on the validity of the Windsurfer International patent. Newman Darby's prior art was at the center of the controversies. The court voided Windsurfer's original patent and Schweitzer was forced to apply for a reissue based on severely limited claims. He lost the use of "windsurfer" as a trademark. Schweitzer retained the reissued patent through further challenges until it expired in 1987. The example of Newman Darby has become a textbook case of the importance of thorough searches for "prior art" for patent attorneys.
Following completion of the patent litigation Darby designed original sail rigs for Mistral in Europe and Horizon in the United States. In 1982 Newman entered into a new partnership with his brothers Ronald and Kenneth and formed NRK, Inc., to design and manufacture windsurfing boards, training devices and to produce written and video documentaries of his contributions to the history of the sport.
Naomi Albrecht Darby, Newman's wife, sewed the first sails for the boards and participated in their testing and marketing. She documented Darby's inventions through the years in photographs and moving images. Over the years, Darby has worked on numerous inventions--most of them related to wind propulsion. Like many independent inventors, Newman Darby conceives of his ideas, executes all of the mechanical plans, builds his own prototypes and tests them. Darby continues to research improvements in windsurfing and to teach courses in boat building and design.
Related Materials:
An original sailboard, rig, mast and daggerboard from the same period are also housed in the Pennsylvania State Museum at Harrisburg.
Separated Materials:
The Division of Culture and the Arts holds artifacts relating to S. Newman Darby and his invention of the windsurfer, including an original board, boom and mast, and sail dating from 1964. See accessions #1998.0086 and #1998.0323.
Provenance:
Most of the collection was donated to the Archives Center of the National Museum of American History by S. Newman Darby and his wife Naomi on February 3, 1998.
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.
Papers relating to products developed and marketed by Joseph Enterprises, Inc., including the Chia Pet and the Clapper. The collection includes internal business documentation including correspondence, design drawings, and photographs. Print advertising and packaging samples as well as audiovisual materials make up an important part of the collection. The video collection includes commercials for the Chia and Clapper products as well as clips of product mentions in popular entertainment. In addition, there are two recorded oral history interviews with Joseph Pedott.
Scope and Contents:
The collection documents the Chia Pet, the Clapper, and other products of Joseph Enterprises, Inc. Other materials include packaging and advertising campaigns by Joseph Pedott Advertising & Marketing for other companies.
While fragmentary and limited in extent, these materials illustrate the progress of Joe Pedott's career from a one-man advertising agency to a modest scale, enduring marketing business. The papers include early advertising work for small local clients and for a national client (Eversharp/Parker Pen) and well as early television for a variety of retail products. There is little on unsuccessful products, often just a few advertisements. The materials are complemented by the oral history interviews.
Arrangement:
Collection organized into eight series.
Series 1: Oral History Interviews, September 2004, April 2008
Series 2: Chia Pet, 1981-2005, undated
Series 3: The Clapper, 1976-1985, undated
Series 4: Scribe Ett, 1981, 1984, undated
Series 5: Eversharp Pen Company, undated
Series 6: Various Products, 1985, undated
Series 7: Newspaper Clippings, 1989-2004, undated
Series 8: Audiovisual Materials, 1979-2005, undated
Subseries 8.1, Commercials, 1979-2005
Subseries 8.2, Promotions, 1996-2001
Biographical / Historical:
Joseph Pedott was born April 14, 1932 in Chicago. He attended the University of Illinois, where he and friend Daryl Peters, began the advertising company, Pedott & Peters. They successfully began producing commercials for automotive and retail companies and made a large amount of money by the time they reached the age of twenty-one. After making a bad business investment the partners focused on completing college. They began building up the company upon graduation.
Pedott and Peters worked together for several years before deciding to dissolve the partnership. Pedott then began working for R. Jack Scott, a Chicago advertising agency. Pedott worked for Scott for just over two years and during that time, out-performed those with more experience in the advertising field. Pedott left Chicago for San Francisco in 1956. He worked briefly at a small firm on commission before forming his own agency, Joseph Pedott Advertising & Marketing. Pedott's firm was innovative in advertising techniques. The company was the first to use "dealer tagging," a technique used at the ends of television commercials. During the last five seconds of the commercial consumers would learn where the advertised item could be purchased.
While attending a Chicago house wares show Pedott noticed the Chia Pet. He spoke with the product owner and learned that while the product was selling well, the owner was losing money on every Chia sold. Pedott bought the name and concept and reworked the manufacturing of the product after a trip to Mexico to witness first hand how the Chias were made. Later pedott moved Chia manufacturing to China. Pedott created a new company, Joseph Enterprises, Inc., (JEI) to manufacture the Chias. Joseph Pedott Advertising ran the advertising campaigns for all of JEI's products while continuing to work for non JEI clients.
After improving the quality of the product, the "new" Chia arrived on the market in 1982 and quickly expanded throughout the country, sold largely at drugstores. Today, the Chia Pet has large name recognition among the American public and continues to be a popular gift, especially at Christmas time. The line has expanded beyond the original ram and bull shapes to include a variety of animals (pig, elephant, kitten, dinosaur, etc.) as well as famous cultural icons such as Jerry Garcia, Bugs Bunny and various Looney Tunes characters, and Homer and Bart Simpson. In addition, the Chia Herb Garden entered the market in the mid-1990s.
Pedott's other success, the Clapper, came about through the advertising campaign for the Great American Turn On. Pedott discovered that the original product did not work properly and felt the owners were cheating their customers. JEI bought the product, including the patent, and reworked the electrical wiring to ensure that the company was selling a high quality product. As with the Chia Pet, The Clapper and its advertising, like the Chia, are familiar to a large number of Americans.
Note: Material for this section was taken from Joe Pedott Oral History Interview Abstract, September 20, 2004, Joseph Pedott Papers, Archives Center, National Museum of American History, Smithsonian Institution.
Related Materials:
Materials in the National Museum of American History
The Division of Culture and the Arts holds artifacts related to this collection (Accession # 2005.3116) that include:
1. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia pet dog
2. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia pet ram
3. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia pet bull
4. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia-saurus
5. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia Shrek character
6. Handmade Clay Decorative Planter with Chia Seeds, Donkey from Shrek
7. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Jerry Garcia Chia
8. Bigmouth: A portable, plastic garbage bag holder
9A. CD Mobile antenna with packaging
9B. CB Mobile monitor with box
10. Video recorder with packaging
11. Metal detector with packaging
12. Pen set with frame and packaging
13. Light switch with box
14. Light switch with packaging
15. Jar lid opener with box
16. Tapeless measure with packaging
17A. Pen, engraving
17B. Pen, engraving with packaging
17C. Pen, engraving with packaging
17D. Pen, engraving with packaging
18A. Knife, Pumpkin cutter
18B. Knife, Pumpkin cutter
18C. Knife, Pumpkin cutter
18D. Knife, Pumpkin cutter
18E. Knife with packaging
18F. Pumpkin cutter with packaging
Provenance:
The collection was donated by Joseph Pedott, 2005.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The Cover Girl Make-Up Advertising Oral History and Documentation Project, 1923-1991, is the result of a year-long study in 1990, which examined the advertising created for Noxell Corporation's Cover Girl make-up products from 1959 to 1990. The objective of the project was to document, in print and electronic media, the history of Cover Girl make-up advertising since its inception in 1959.
Scope and Contents:
Twenty-two oral history interviews (conducted by Dr. Scott Ellsworth for the Archives Center) and a variety of print and television advertisements, photographs, scrapbooks, personal papers, business records and related materials were gathered by the Center for Advertising History staff. The objective was to create a collection that provides documentation, in print and electronic media, of the history and development of advertising for Cover Girl make-up since its inception in 1959.
Collection also includes earlier material related to other Noxell products, including Noxzema, with no direct connection to the Cover Girl campaign.
Arrangement:
The collection is arranged into eight series.
Series 1: Research Files
Series 2: Interviewee Files
Series 3: Oral History Interviews
Series 4: Television Advertising Materials
Series 5: Print Advertising Materials
Series 6: Company Publications and Promotional Literature
Series 7: Photographs
Series 8: Scrapbooks
Biographical / Historical:
George Avery Bunting founded the Noxzema Chemical Company in Baltimore, Maryland in 1917. In the 1890s, he left behind a teaching job on Maryland's Eastern shore to move to Baltimore, where he hoped to pursue a career as a pharmacist. He landed a job as errand boy and soda jerk at a local drugstore, where he worked while attending classes at the University Of Maryland College of Pharmacy. Valedictorian of the Class of 1899, Bunting was promoted to manager of the drugstore, which he purchased. Bunting began to experiment with the formulation of medicated pastes and compounds, which he marketed to his customers. In 1909, he began refining a medicated vanishing cream, which he introduced in 1914. "Dr. Bunting's Sunburn Remedy," an aromatic skin cream containing clove oil, eucalyptus oil, lime water, menthol and camphor, was mixed by hand at his pharmacy. Marketed locally as a greaseless, medicated cream for the treatment of a variety of skin conditions, including sunburn, eczema, and acne, the product was renamed "Noxzema" for its reputed ability to "knock eczema." By 1917, the Noxzema Chemical Company was formed. During the 1920s, distribution of the product was expanded to include New York, Chicago, and the Midwest and, by 1926, the first Noxzema manufactory was built in northwest Baltimore to accommodate the demand for nearly a million jars a year.
Having achieved a national market by 1938, Noxzema Chemical Company executives pursued product diversification as a means to maintain the corporate growth of the early years. In the 1930s and 1940s, line extensions included shaving cream, suntan lotion and cold cream, all with the distinctive "medicated" Noxzema aroma.
In the late 1950s, Bill Hunt, director of product development at Noxzema, suggested a line extension into medicated make-up. Creatives at Sullivan, Stauffer, Colwell & Bayles, Incorporated (SSC&B), Noxzema's advertising agency since 1946, suggested that the advertising for the new product focus on beauty and glamour with some reference to the medicated claims made for other Noxzema products. In contrast to other cosmetics, which were sold at specialized department store counters, Noxzema's medicated make-up would be marketed alongside other Noxzema products in grocery stores and other mass distribution outlets. After experimenting with names that suggested both glamour and the medicated claims (including Thera-Blem and Blema-Glow), Bill Grathwohl, Noxell's advertising director, selected Carolyn Oelbaum's "Cover Girl," which conveyed the product's usefulness as a blemish cover-up, while invoking the glamorous image of fashion models. These three elements of the advertising, wholesome glamour, mass marketing, and medicated make-up, remain central to Cover Girl advertising nearly a half-century later.
Beginning with the national launch in 1961, American and international fashion models were featured in the ads. The target audience was identified as women between eighteen and fifty-four and, initially, the "glamour" ads were targeted at women's magazines, while the "medicated" claims were reserved for teen magazines. Television ads featured both elements. Cover Girl advertising always featured beautiful women -- especially Caucasian women, but the Cover Girl image has evolved over time to conform to changing notions of beauty. In the late 1950s and 1960s, the Cover Girl was refined and aloof, a fashion conscious sophisticate. By the 1970s, a new social emphasis on looking and dressing "naturally" and the introduction of the "Clean Make-up" campaign created a new advertising focus on the wholesome glamour of the "girl next door," a blue-eyed, blonde all-American image. In the 1980s, the Cover Girl look was updated to include African-American, Hispanic and working women.
In January 1970, SSC&B bought 49% of the Lintas Worldwide advertising network. After SSC&B was acquired by the Interpublic Group of Companies in 1979, the entire Lintas operation was consolidated under the name SSC&B/Lintas in 1981. With the Procter & Gamble buy-out of the Noxell Corporation in September 1989, the cosmetics account was moved to long-time P&G agency Grey Advertising, in order to circumvent a possible conflict of interest between P&G competitor Unilever, another Lintas account. In 1989 SSC&B/Lintas, Cover Girl's agency since its launch in 1961, lost the account it helped to create and define, but the brand continues to dominate mass-marketed cosmetics.
This project is the result of a year-long study of advertising created for the Noxell Corporation's Cover Girl make-up products, 1959-1990. The effort was supported in part by a grant from the Noxell Corporation. The target audience was identified as women 18-54, and initially, the "glamour" ads were targeted at women's magazines, while the "medicated" claims were reserved for teen magazines. Television ads featured both elements. Cover Girl advertising has always featured beautiful women (especially Caucasian women), but the Cover Girl image evolved over time to conform with changing notions of beauty. In the late 1950s-1960s, the Cover Girl was refined and aloof, a fashion conscious sophisticate. By the 1970s, a new social emphasis on looking and dressing "naturally" and the introduction of the "Clean Make-up" campaign created a new advertising focus on the wholesome glamour of the "girl next door," a blue-eyed, blonde all-American image. Through the 1980s, the Cover Girl look was updated to include African-American and Hispanic models and images of women at work.
Related Materials:
Materials in the Archives Center
Warshaw Collection of Business Americana (AC0060)
N W Ayer Advertising Agency Records (AC0059)
Separated Materials:
The Division of Home and Community Life, Costume Collection holds eighty-six cosmetic items and one computer that were also donated by the Noxell Corporation in 1990 in conjunction with the oral history project. These artifacts include lipstick, manicure sets, brushes, make-up, eye shadow, blush, powder puffs, eyelash curler, nail polish, and mascara. See accession number 1990.0193.
Provenance:
Most of the materials in the collection were donated to the Center for Advertising History by the Noxell Corporation, 1990. All storyboards and videoscripts, and a large collection of business records and proofsheets were donated by George Poris in June 1990. All mechanicals were donated by Art Weithas in June 1990. (These contributions are noted in the finding aid).
Restrictions:
Collection is open for research. Researchers must handle unprotected photographs with gloves. Researchers must 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, as resources allow.
The records of Wedge Innovations document the invention and development of a new hand tool, the SmartLevel, an electronic builder's level; also included are company management and policies.
Scope and Contents:
The SmartLevel story gives excellent insight into the life cycle of a small Silicon valley start-up in the 1980s. SmartLevel's creator, Wedge Innovations, established a market for a new product, achieved national distribution, off-shore manufacturing, and product licensing, before going out of business due to pressure from profit-hungry venture capitalists.
The records of Wedge Innovations is a "tool biography" that documents the invention and development of a new hand tool, the SmartLevel, an electronic builder's level first conceived in 1985 by Andrew Butler. The SmartLevel Collection is divided into seven series: Corporate Records, Engineering Records, Financial Records, Marketing Records, Operations Records, Product Development Records, and Corporate Culture, reflecting both the organizational structure of Wedge Innovations and the company's working environment.
Series 1, Corporate Records, 1985-1993, address the overall management of Wedge Innovations and document its policies, especially through the company's annual business plans, 1986-1992, and the monthly reports prepared for the Board of Directors' meetings, 1989-1992. This series also details the workings of each department through weekly departmental reports. The staff meetings files, July-November 1989, February 1990-November 1992, are particularly useful for understanding the day-to-day operation of the company.
Series 2, Engineering Records, 1985-1993, document the design and development of the SmartLevel from its conception in 1985 as the WedgeLevel, through its production as the SmartLevel in 1989, and through its refinement into the Pro SmartLevel and the Series 200 SmartLevel in 1991. The design process is particularly well documented through Andrew Butler's and Kevin Reeder's design notebooks and through the detailed technical drawings done by Butler, Reeder, and Ronald Wisnia. Also well documented are the efforts made to solve the many problems associated with the development and quality control of the electronic sensor module that was the heart of the SmartLevel.
Series 3, Financial Records, 1985-1992, include Wedge's summary financial statements from 1985 to 1992.
Series 4, Marketing Records, 1986-1992, document customer and dealer relations through marketing department correspondence, operational records, and advertising campaigns. This series is particularly rich in promotional material (1988-1992), such as advertisements, advertising copy, photographs, product promotion plans, and videotapes that demonstrate the varied features and uses of the products.
Series 5, Operations Records, 1990-1993, document the manufacturing process and the Company's offshore operations.
Series 6, Product Development Records, 1986-1993, document the company's intended development of an entire "Smart Tools" line.
Series 7, Corporate Culture, 1985-1996, contains employee photographs and oral history interviews with key Wedge personnel conducted in 1995 and 1996 by David Shayt, Division of Work and Industry, National Museum of American History. The interviews discuss the background of the participants, the company's origins and history, product development, the Silicon Valley context, and the efforts of Wedge Innovations successor firm, SmartTool Technologies.
Arrangement:
The collection organized into seven series.
Series 1, Corporate Records, 1985-1993
Series 2, Engineering Records, 1985-1993
Series 3, Financial Records, 1985-1992
Series 4, Marketing Records, 1986-1992
Series 5, Operations Records, 1990-1993
Series 6, Product Development Records, 1986-1993
Series 7, Corporate Culture, 1985-1996
Biographical / Historical:
Andrew G. Butler (b. 1955), the founder of Wedge Innovations exhibited an interest in building construction and an entrepreneurial spirit early in life. From age 12 to 17 he built a boat that he then sailed alone from California to Tahiti, where he spent several years as an independent carpenter and building contractor. After returning to the United States, he earned a B.S. degree in electromechanical engineering from Stanford University (1983) and became a software specialist for Bechtel Construction. In 1985, he conceived of an idea for an electronic carpenter's level that could read a range of angles. Butler formed Wedge Innovations in 1986. He worked in the basement of his home in order to develop and market this level, selling his boat to finance the venture. He hired Marilyn Crowell as his secretary and Robert Nagle and Dan Kellogg as engineers. This company developed the sensor technology and software necessary to build the company's first product, the WedgeLevel. The heart of this tool was an electronic sensor circuit connected to a microprocessor capable of measuring the tool's orientation. This sensor module fit into an ergonomically-designed teak rail with anodized aluminum edges jointly developed by Butler, engineering design consultant Kevin Reeder, and engineer Ronald Wisnia.
In 1987, Wedge moved to Santa Clara to begin manufacturing the WedgeLevel. The transition from a research and development concern to a manufacturing company proved difficult, due to manufacturing and financial difficulties. It was difficult to obtain a reliable yet inexpensive source of teak for the rails, designs for a plastic composite and aluminum rail were developed, while offshore manufacturing of the sensor components was established. Overarching all concerns was the persistent difficulty of obtaining sufficient investment capital. While managing his growing company, Butler also began planning for a line of hand tools that combined microelectronics and user-oriented, ergonomic design. In 1988, the company changed the name of its product to SmartLevel in order to emphasize the company's proposed line of Smart Tools. That same year, the company adopted a new corporate logo, a stylized W with a red wedge, signaling its growing maturity. Promotion of the product also began through demonstrations of the prototype done by consultant building contractor, Rick Feffer.
In January 1989, the SmartLevel prototype was launched at the National Association of Home Builders Show in Atlanta, Georgia. The favorable publicity generated by this launch and by the company's media campaign generated many orders. To supply these orders, Wedge moved to larger quarters in Sunnyvale on April 1, 1989. In June 1989, Wedge gained further publicity by donating several SmartLevels to a Habitat for Humanity project in Milwaukee, where former president Jimmy Carter used one. Although Wedge expected to ship the first SmartLevels in July 1989, there were considerable delays in manufacturing. In particular, there were stability and performance problems with the sensor, which engineer Ken Gunderson was brought in to remedy. The sensor module was re-engineered to be more rugged and the level was redesigned with a plastic composite and aluminum rail. The new level, known as the Pro SmartLevel, was intended for the professional construction market. The first SmartLevels were shipped on September 5, 1989.
In 1990, patents were granted to Andrew Butler, Donald G. Green, and Robert E. Nagle for an inclinometer sensor circuit and to Butler and Ronald Wisnia for a carpenter's level design. That same year, Brian Bayley joined Wedge as Vice-president for Engineering, and Edwin "Win" Seipp joined as Project Manager - DIY SmartLevel. Seipp's responsibility was to develop a low-cost, "do-it-yourself" version of the SmartLevel, which was eventually called the Series 200 SmartLevel. This level had an all-aluminum rail and a non-removable sensor.
In September 1990, the company moved to San Jose and by 1991 had over 60 employees. Although sales continued to grow and name recognition of the product was quite strong, Wedge had difficulty meeting the expectations of its investors. Butler entered into financial negotiations with the Macklanburg-Duncan Corporation, a large-scale manufacturer of hand tools, to seek investment in his company. These negotiations led in November 1992 to the acquisition of Wedge by Macklanburg-Duncan, which dissolved all but Wedge's engineering section. Macklanburg-Duncan today manufactures a "SmartTool" level, while Butler co-owns D2M (Design To Market), a company that develops new product ideas for the market.
SmartLevel Chronology
1992 -- Butler negotiates with Macklanburg-Duncan for a merger to save Wedge. In the midst of the negotiations, Butler is fired by his Board of Directors. Butler regains control of Wedge three months later, fires the replacement president, and sells Wedge outright to Macklanburg-Duncan, which dissolves all but the engineering functions of Wedge.
1991 -- Wedge sponsors a "New Product Development Conference," where numerous designs for new hand tools are worked on. SmartLevel sales and name recognition grows but not quickly enough to meet overhead expenses of new facility or investors' demands.
1990 -- Yet more redesign work, both in-house and with Kevin Reeder, who also develops idea for "SmartTube" carrying case (not built). Patents granted to Andy Butler et al. for inclinometer sensor circuit and carpenter's level design. Wedge hires Brian Bayley as vice-president for engineering to develop a low-cost model of the SmartLevel. The all-aluminum Series 200 SmartLevel is born. Wedge moves to larger facilities in San Jose.
1989 -- SmartLevel launched at National Association of Home Builders show in January. Good press coverage, but cannot meet orders. More publicity from Habitat for Humanity project when former President Jimmy Carter uses a SmartLevel. But stability and performance problems plague sensor. More redesign work results in more rugged Pro SmartLevel. The first SmartLevels shipped on September 5, 1989.
1987-1988 -- Wedge moves to Santa Clara; intends to begin manufacturing and todevelop an entire line of "Smart Tools" but encounters financial and engineering difficulties; Wedge consults with independent design engineer, Kevin Reeder, on level design. Intensive redesign effort develops the SmartLevel, made of plastic and aluminum rail.
1986 -- Wedge Innovations founded in the basement of Butler's house; basic sensor design worked out; teak & aluminum WedgeLevel developed.
1985 -- Idea for electronic carpenter's level formulated by Andy Butler.
Related Materials:
Materials at the National Museum of American History
The Division of Work and Industry, National Museum of American History contains artifacts related to the SmartLevel Collection. These include five SmartLevels (Accession #1991.0823; 1996.0284; 1996.0285; 1996.0288; and 1996.0289). They are an original teak WedgeLevel, a Pro SmartLevel, a Series 200 SmartLevel, a Bosch version of the SmartLevel, and a Macklanburg-Duncan SmartTool level. There are also four sensor modules (torpedo levels), two sensors, two carrying cases, one cap, one tee shirt, and one wooden puzzle with the inscription "The World Isn't Just Level and Plumb."
Provenance:
The collection was donated by Andrew Butler, SmartLevel inventor and company founder, Brian Bayley, Vice-President for engineering at Wedge Innovations from 1989-1992, and Kevin Reeder, an independent industrial designer, 1995-1997.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection is open for research use. Only reference copies of audiovisual materials may be used for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The donor has imposed restrictions on reproduction, broadcast or use of the collection for commercial purposes of any kind by third parties. Reproduction, broadcast or other use of the collection for commercial purposes of any kind by third parties is subject to prior written consent. These permissions will be required until July 2047. Please see the repository for further details.
The collection is open for research use. Only reference copies of audiovisual materials may be used for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The donor has imposed restrictions on reproduction, broadcast or use of the collection for commercial purposes of any kind by third parties. Reproduction, broadcast or other use of the collection for commercial purposes of any kind by third parties is subject to prior written consent. These permissions will be required until July 2047. Please see the repository for further details.
The collection is open for research use. Only reference copies of audiovisual materials may be used for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The donor has imposed restrictions on reproduction, broadcast or use of the collection for commercial purposes of any kind by third parties. Reproduction, broadcast or other use of the collection for commercial purposes of any kind by third parties is subject to prior written consent. These permissions will be required until July 2047. Please see the repository for further details.
The collection is open for research use. Only reference copies of audiovisual materials may be used for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The donor has imposed restrictions on reproduction, broadcast or use of the collection for commercial purposes of any kind by third parties. Reproduction, broadcast or other use of the collection for commercial purposes of any kind by third parties is subject to prior written consent. These permissions will be required until July 2047. Please see the repository for further details.
Model is posed apparently holding onto construction equipment, high above city skyscrapers.
Local Numbers:
AC0585-0000016.tif (AC Scan)
Collection Restrictions:
The collection is open for research use. Only reference copies of audiovisual materials may be used for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The donor has imposed restrictions on reproduction, broadcast or use of the collection for commercial purposes of any kind by third parties. Reproduction, broadcast or other use of the collection for commercial purposes of any kind by third parties is subject to prior written consent. These permissions will be required until July 2047. Please see the repository for further details.
