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 (now Division of Cultural and Community Life).
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 but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270
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.
Sol leve woyo --Shango hymn --Fay oh (Leaves of gold) -- Invocation --Hymn to Osine --Pendant moin dans l'armee -- Wake song (Adieu, Dudu) --Adieu, Madras --'Ti Paule -- Miss Lily White --Adam in de garden.
Track Information:
101 Sol Leve Woyo.
102 Shango Hymn.
103 Fay Oh (Leaves of God).
104 Invocation.
105 Hymn to Osine.
201 Pendant Moin dans l'Armee.
202 Wake Song (Adieu, Dudu).
203 Adieu Madras.
204 'Ti Paule.
205 Miss Lily White.
206 Adam in De Garden.
Local Numbers:
FW-ASCH-LP-0438
Riverside.4004
Publication, Distribution, Etc. (Imprint):
New York Riverside 195x
General:
Holder was the star of a popular series of advertisements for the soft drink 7-Up. Also known as the "Un-Cola" man. Subtitle on the container: Songs of the Caribbean. Principally sung in French Creole. Program notes by Orrin Keepnews on container. Performer(s): Geoffrey Holder, vocals ; Trinidad Hummingbirds.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
The Pepsi Generation Collection is the result of an oral history and documentation project conducted in 1984 and 1985 by the Center for Advertising History and supported in part by a grant from the Pepsi Cola Company.
Scope and Contents:
At the core of the "Pepsi Generation" Oral History and Documention Collection are oral history interviews with individuals involved with Pepsi-Cola and its advertising campaigns. In addition to the oral histories there are research files which include an almost complete run of Pepsi-Cola World, interview abstracts, print advertising, and television commercials from Pepsi's best-known advertising campaigns.
Arrangement:
The collection is arranged into five series
Series 1: Research Files, 1943-1985
Series 2: Interviewee Files, 1984-1985
Series 3: Oral History Interviews, 1984-1985
Subseries 3.1: Reference Copies, 1984-1985
Subseries 3.2: Master Tapes,1984-1985
Subseries 3.3: Original Tapes, 1984-1985
Series 4: Pepsi-Cola Video, 1946-1988
Subseries 4.1: Reference videos
Subseries 4.2: Master Copies
Series 5: Pepsi Cola Audio, circa 1970, undated
Biographical / Historical:
In 1983, as part of the 20th anniversary of the "Pepsi Generation" advertising campaign, Pepsi-Cola donated to the Archives Center approximately 200 advertising and promotional items (see collection AC0092). The Archives Center accepted these items and proposed an oral history project to document the "Pepsi Generation" story.
The Archives Center embarked upon this project in the spring of 1983. A professional oral historian, Dr. Scott Ellsworth, conducted twenty-nine interviews during 1984 and 1985 with twenty-six people involved in Pepsi advertising, including bottlers, advertising executives, producers, directors, a songwriter, a performer, a publisher, the president of Pepsi, the chairman of the board, and two former Pepsi presidents.
The interviews focus primarily on the "Come Alive, You're In The Pepsi Generation" advertising campaign, Pepsi's adoption of youth-oriented advertising, campaign execution, television commercial production, background of the idea for the "Think Young" campaign, and the company's response to the "Pepsi Generation"campaign.
The Pepsi Generation Collection is the result of this oral history and documentation project conducted in 1984 and 1985 by the Center for Advertising History and supported in part by a grant from the Pepsi Cola Company.
Related Materials:
Materials in the Archives Center
Warshaw Collection of Business Americana, Beverages
N.W. Ayer Advertising Agency Records
Pepsi-Cola Advertising Collection
Provenance:
Collection donated by Pepsi-Cola Company through Rebecca Madiera in 1983. Interviews made for the Smithsonian Institution in 1984 and 1985.
Restrictions:
Collection is open for research. One oral history is restricted. Only reference copies of the audiovisual materials may be used. Several reels of television commercials have been digitized and are available in the Smithsonian Institution's Digital Asset Management System (DAMS).
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.
Research files include materials collected by the Archives Center to provide background for the project team and materials produced by Pepsi-Cola, including an almost complete run of Pepsi-Cola World, the company publication,and various trade literature, both advertising and soft drink industry.
Collection Restrictions:
Collection is open for research. One oral history is restricted. Only reference copies of the audiovisual materials may be used. Several reels of television commercials have been digitized and are available in the Smithsonian Institution's Digital Asset Management System (DAMS).
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The "Pepsi Generation" Oral History and Documentation Collection, Archives Center, National Museum of American History, Smithsonian Institution
Collection is open for research. One oral history is restricted. Only reference copies of the audiovisual materials may be used. Several reels of television commercials have been digitized and are available in the Smithsonian Institution's Digital Asset Management System (DAMS).
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The "Pepsi Generation" Oral History and Documentation Collection, Archives Center, National Museum of American History, Smithsonian Institution
The collection documents the work of the Sosa, Bromley and Aguilar and Associates advertising agency of San Antonio, Texas.
Scope and Contents:
The collection documents the work of the Sosa, Bromley and Aguilar and Associates advertising agency of San Antonio, Texas. They created advertising for large corporations such as Western Union, American Airlines, Coca-Cola, Mars, Procter and Gamble, Anheuser-Busch, and Burger King. Additionally, they worked on political campaigns for Republican candidates including George W. Bush and Ronald Reagan. Works created for local institutions such as the San Antonio Symphony and Incarnate Word High School are also represented in the collection. Sosa, Bromley and Aguilar were pioneers in developing advertising strategies to appeal to Latino consumers.
Lionel Sosa (b. 1939) is from San Antonio, Texas and is of Mexican descent. His first venture as an entrepreneur was starting a graphic design studio called Sosart which later developed into an advertising agency. Ernest Bromley (b.1951), of Puerto Rican and Canadian descent, joined the company in 1981 while employed at the University of Texas, San Antonio as a researcher. Bromley's background in acculturation, advertising and consumer research provided a unique perspective for the newly developed Sosa and Associates. Adolfo "Al" Aguilar (b. 1955), also of Mexican descent, studied advertising and marketing at the University of Texas, Austin. Aguilar worked for Coca-Cola's first Hispanic Marketing Department when he began meeting with Sosa and Bromley. Eventually, Aguilar helped bring the Coca-Cola account to Sosa Bromley and Associates. This successful transfer ultimately led to the development of Sosa, Bromley and Aguilar and Associates.
Spanish Language Television Collection (NMAH.AC.1404)
Goya Foods, Inc. Collection, 1960-2000 (NMAH.AC.0694)
Separated Materials:
Items relating to this collection were donated to the Division of Numismatics and Division of Work and Industry. See accessions: 2002.0007.0517 (Tetradrachm coin); 2015.0080.01 (1988 Clio Award Trophy Hispanic Advertising AIDS Campaign); 2015.0080.02 (Promotional Mug); 2015.0080.05 (Promotional Watch); 2016.3049.02 (1993 Clio Award for Hispanic Market Coca Cola Classic); 2015.0080.06 (1990 Adweek Plaque); 2015.0080.03 (1995 Selena Commemorative Pin).
Provenance:
Donated to the Archives Center in 2015, by Lionel Sosa, Ernest Bromley and Adolfo Aguilar.
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.
Baseball memorabilia, including postcards, of teams, players, venues and other baseball-related topics; team programs, 1930s-1990s, mostly for minor league teams but including a few major league teams; sheet music; advertising on baseball topics; posters; black-and-white photographs of baseball players and teams; and ephemeral items such as ticket stubs.
Scope and Contents:
The archival collection is divided into seven series: Series 1: Team Programs, 1895-1999, mostly minor leagues; Series 2: Postcards, most undated but many go back to the turn of the 20th century, in addition to some before that date which are reproductions; Series 3: Sheet Music, 1908-1984, entirely on the subject of baseball; Series 4: Advertising, with baseball images, including advertising for newspapers, soft drinks, beer, tobacco and other products, and many posters, including one movie poster for a 1928 silent film Warming Up; Series 5: Photographs, mostly black and white portraits of major league players; Series 6: Miscellaneous Publications, undated and 1903, 1950, including a comic book, a short story magazine and a theater program; and Series 7: Ephemera, consisting entirely of ticket stubs.
Biographical / Historical:
Lou Newman, a retired New York City businessman originally from Baltimore, is a third-generation baseball fan and collector of baseball memorabilia. He continued the tradition started by his grandfather and his father, of anything connected to baseball. Before he donated portions of it, Mr. Newman's massive collection filled an entire room in his home, and included baseball books numbering in the thousands, baseball games and toys, coin banks, watches and charms, pennants, uniforms, advertising, baseball art, bats, balls, baseball cards, products with player endorsements, buttons, pins, and numerous other types of items. Mr. Newman, in his travels throughout the U.S., expanded on the collection by gathering souvenirs and memorabilia from games and stadiums in the many places he visited, collecting not just on the major leagues but the minor leagues and spring training.
Provenance:
Mr. Louis Newman donated the archival collection to the Archives Center and numerous artifacts to the Division of Cultural History in 1999. He donated nearly his entire collection of baseball books to the Babe Ruth Museum in Baltimore a short time later.
Restrictions:
Gloves required with unprotected photographs.
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.
Jones, Caroline Robinson, 1942-2001 (advertising executive) Search this
Container:
Box 23, Folder 2
Type:
Archival materials
Date:
1971
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection consists largely of print ads, signs, decals and other marketing and promotional materials. Virtually all of the print ads are for the U.S. audience. The period since World War II is more fully documented than the earlier period, although there are some advertisements from the 1930s and earlier. Most of the material documents Pepsi's U.S. advertising, although there are a number of signs and three-dimensional promotional items created for the international market. The international materials date primarily to the late 1960s and 1970s. The materials have been arranged in two series.
Series 1 contains print ads.
Series 2 contains three-dimensional marketing and promotional materials, such as signs, bottle carriers, and thermometers. Within each series, materials have been grouped by size, and there under chronologically (when dates are available).
Related Materials:
This collection complements the "Pepsi Generation" Oral History and Documentation Collection, #111, which includes 29 oral history interviews with people involved with the creation of Pepsi-Cola advertising, television advertisements and related materials.
Researchers interested in the advertising of Pepsi and other soft drinks and beverages should see the Pepsi Generation Oral History Collection (AC #111). The Warshaw Collection of Business Americana (AC #60) contains soft-drink advertising under the subject heading "Beverages." The N. W. Ayer Advertising Agency Collection (AC #59) is arranged by client name and includes beverage advertising for several clients, including Hires and Canada Dry.
Provenance:
Collection donated by Pepsi-Cola USA, May 4, 1984.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
This donation is a 'Vin Fiz' advertisement, 2 x 4 inches. One side reads: 'Greetings for the sky - Rodgers in the Vin-Fiz Flyer from New York to Los Angeles for the Hearst {dollar}50,000 ocean to ocean flight.' The other side advertises the Vin-Fiz grape drink, 'sold everywhere.'
Biographical / Historical:
In 1910, William Randolph Hearst offered a {dollar}50,000 prize to the first person to make a transcontinental flight in thirty days or less. Calbraith Perry Rodgers, hoping to win the prize, took off from Sheepshead Bay, Long Island, New York, on September 17, 1911 in the Wright EX "Vin Fiz." His sponsor, the Armour Company of Chicago, was marketing a grape-flavored soft drink called "Vin Fiz." In addition to the prize money, should he win it, Rodgers would receive {dollar}5 from Armour for every mile flown. Accompanying Rodgers along the route was a special train carrying mechanics, spare parts, and of course, several representatives of the Armour Company. Unfortunately, thirty days passed and Rodgers found himself only as far as Oklahoma. But with the Armour Company's backing, and his own determination to succeed, Rodgers continued west. On November 5, he reached his original goal, Pasadena, California, after flying 4,321 miles. Averaging 52 mph, his total air time was 82 hours and 4 minutes. However, Rodgers wanted to reached the Pacific. So on November 12 he took off again, only to be forced down at Covina Junction and then at Compton. In the Compton crash, he was severely injured, and grounded for nearly a month. Finally, on December 10, using crutches to walk to the repaired aircraft, Rodgers flew onto the sand at Long Beach, California, having completed the first transcontinental flight after more than seventy stops, numerous accidents, an in-flight run-in with an eagle, and replacing enough parts to build four new aircraft.
General:
NASMrev
Provenance:
Frank Hempstead, Gift, 1988, 1989-0010, Public Domain
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
