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Creator:

National Air and Space Museum  Search this

Type:

YouTube Videos

Uploaded:

2023-03-09T18:00:11.000Z

YouTube Category:

Education  Search this

Topic:

Aeronautics;Flight;Space Sciences  Search this

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Data Source:

National Air and Space Museum

YouTube Channel:

airandspace

EDAN-URL:

edanmdm:yt_gR0n0U93_qM

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2018-02-27T16:30:01.000Z

YouTube Category:

Entertainment  Search this

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Data Source:

Smithsonian Channel

YouTube Channel:

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EDAN-URL:

edanmdm:yt_vTdhs5cVx80

Creator:

Jeffers, Grace  Search this

Formica Corporation.  Search this

Names:

Faber, Herbert A.  Search this

Loewy, Raymond  Search this

O'Conor, Daniel J.  Search this

Stevens, Brooks  Search this

Extent:

18 Cubic feet (59 boxes, 11 oversize folders )

Type:

Collection descriptions

Archival materials

Scripts (documents)

Videotapes

Posters

Samples

Advertisements

Brochures

Blueprints

Photographs

Newsletters

Exhibition catalogs

Catalogs

Correspondence

Date:

1913-2003

Summary:

The Formica Collection consists of textual files, photographs, slides, negatives, drawings, blueprints, posters, advertisements, product brochures, newsletters, and informational pamphlets documenting the history of the Formica Corporation and the use of Formica brand plastic laminate.

Scope and Contents:

The Formica Collection, 1913-2003, consists of textual files, photographs, photo slides, drawings, blueprints, posters, advertisements, product brochures, informational pamphlets, and research notes documenting the history of the Formica Corporation and the use of Formica brand plastic laminate.

Arrangement:

The collection is arranged into ten series.

Series 1: Corporate Records, 1920-1992, 2003

Subseries 1.1: Annual reports, 1949, 1966, 1988

Subseries 1.2: Correspondence and company identity, 1920-1988

Subseries 1.3: Corporation histories and timelines, 1949-1991, undated

Subseries 1.4: Newspaper clippings and articles, 1934-2003

Subseries 1.5: Awards, 1940s-1987

Subseries 1.6: Patent information, 1925-1994

Subseries 1.7: Photographs, 1927-1966

Series 2: Personnel Records, 1943-1992

Series 3: Newsletters, Magazines, and Press Releases, 1942-1990

Subseries 3.1: Newsletters, 1942-1988

Subseries 3.2: Press releases, 1973-1990

Series 4: Product Information, 1948-1994

Series 5: Advertising and sales materials, 1913-2000

Subseries 5.1: Advertising materials, 1913-2000

Subseries 5.2: Sales materials, 1922-1993

Series 6: Subject Files, circa 1945, 1955-1991, 2002

Series 7: Exhibits, 1981-1994

Series 8: Grace Jeffers Research Materials, 1987-1997

Series 9: Audio Visual Materials, 1982-1995, undated

Series 10: Martin A. Jeffers Materials, 1963-1999

Subseries 10.1: Background Materials, 1965-1999

Subseries 10.2: Employee Benefits, 1963-1998

Subseries 10.3: Product Information, [1959?]-1997

Subseries 10.4: Advertising and Sales Records, 1987-1999

Biographical / Historical:

Since its founding in 1913, the history of the Formica Company has been marked by a spirit of innovation and entrepreneurship. The history begins with the discovery of Formica by two men who envisioned the plastic laminate as breakthrough insulation for motors. Later, Formica became a ubiquitous surfacing material used by artists and architects of post-modern design. The various applications of the plastic laminate during the twentieth century give it a prominent role in the history of plastics, American consumerism, and American popular culture.

The Formica Company was the brainchild of Herbert A. Faber and Daniel J. O'Conor, who met in 1907 while both were working at Westinghouse in East Pittsburgh, Pennsylvania. O'Conor, head of the process section in the Research Engineering Department, had been experimenting with resins, cloth, paper, and a wide array of solvents in an effort to perfect a process for making rigid laminate sheets from Kraft paper and liquid Bakelite. O'Conor produced the first laminate sheet at Westinghouse by winding and coating paper on a mandrel, slitting the resulting tube, and flattening it on a press. The finished product was a laminated sheet with the chemical and electrical properties of Bakelite that were cut into various shapes and sizes. O'Conor applied for a patent on February 1, 1913, but it was not issued until November 12, 1918 (US Patent 1,284,432). Since the research was done on behalf of Westinghouse, the company was assigned the patent, and O'Conor was given one dollar, the customary amount that Westinghouse paid for the rights to employees' inventions.

Herbert Faber, Technical Sales Manager of insulating materials, was excited about O'Conor's discovery. Faber saw limitless possibilities for the new material. However, he quickly became frustrated by Westinghouse's policy limiting the sale of the laminate to its licensed distributors. After failing to persuade Westinghouse to form a division to manufacture and market the new material, Faber and O'Conor created their own company. On May 2, 1913, the first Formica plant opened in Cincinnati, Ohio. On October 15, 1913, the business incorporated as the Formica Insulation Company with Faber as president and treasurer and O'Conor as vice-president and secretary. The company began producing insulation parts used in place of or "for mica," the costly mineral that had been used in electrical insulation.

Like most new companies, Formica had modest beginnings. Faber and O'Conor faced the challenge of looking for investors who would let them maintain control over the company. Finally, they met J. G. Tomluin, a lawyer and banker from Walton, Kentucky, who invested $7,500 for a one-third share in the Formica Company. Renting a small space in downtown Cincinnati, Faber and O'Conor began work. The company's equipment list consisted of a 35-horsepower boiler, a small gas stove, and a variety of homemade hand screw presses. By September 1913, Tomluin had brought in two more partners, David Wallace and John L. Vest. With the added capital, O'Conor, Faber, and Formica's eighteen employees began producing automobile insulation parts for Bell Electric Motor, Allis Chalmers, and Northwest Electric.

Initially, the Formica Company only made insulation rings and tubes for motors. However, by July 4, 1914, the company obtained its first press and began to produce flat laminate sheets made from Redmenol resin. Business gradually grew, and by 1917 sales totaled $75,000. Fueled by World War I, Formica's business expanded to making radio parts, aircraft pulleys, and timing gears for the burgeoning motor industry. In the years that followed, Formica products were in high demand as laminate plastics replaced older materials in washers, vacuum cleaners, and refrigerators. By 1919, the Formica Company required larger facilities and purchased a factory in Cincinnati.

During this time, patent battles and legal suits emerged to challenge Formica's success. On June 11, 1919, Westinghouse sued Formica for patent infringement on its laminated gears; Formica won. Later that year, Westinghouse brought two new lawsuits against Formica. The first was for a patent infringement on the production of tubes, rods, and molded parts; the second was over an infringement based on a 1913 patent assigned to Westinghouse through O'Conor. Formica prevailed in both suits.

Legal battles did not deter the company. Having to defend itself against a giant corporation gave Formica a reputation as a scrappy contender. Finally, Faber and O'Conor made a quantum leap in 1927, when the company was granted a U.S. patent for a phenolic laminate utilizing lithographed wood grains of light color, forming an opaque barrier sheet which blocks out the dark interior of the laminate. In 1931, the company received two more patents for the preparation of the first all paper based laminate and for the addition of a layer of aluminum foil between the core and the surface, making the laminate cigarette-proof. These patents would allow Formica to move from a company dealing primarily with industrial material to the highly visible arena of consumer goods.

In 1937, Faber had a severe heart attack which limited his activity within the company. O'Conor continued as president, encouraging new product lines, including Realwood, as a laminate with genuine wood veneer mounted on a paper lamination with a heat-reactive binder. With the introduction of Realwood and its derivatives, manufacturers started using Formica laminate for tabletops, desks, and dinette sets. By the early forties, sales of Formica laminate were over 15 million dollars. The final recipe for decorative laminate was perfected in 1938, when melamine resins were introduced. Melamine was clear, extremely hard, and resistant to stains, heat, light, less expensive than phenolic resins. It also made possible laminates of colored papers and patterns.

Due to World War II, Formica postponed the manufacturing of decorative laminate sheets. Instead, the company made a variety of war-time products ranging from airplane propellers to bomb buster tubes.

The post-World War II building boom fueled the decorative laminate market and ushered in what would come to be known as the golden age for Formica. The company, anticipating the demand for laminate, acquired a giant press capable of producing sheets measuring thirty by ninety-six inches for kitchen countertops. Between 1947 and 1950, more than 2 million new homes were designed with Formica brand laminate for kitchens and bathrooms.

Formica's advertising campaigns, initially aimed at industry, were transformed to speak to the new decorative needs of consumer society, in particular the American housewife. Formica hired design consultants, Brooks Stevens, and, later, Raymond Loewy who launched extensive advertising campaigns. Advertising themes of durability, cleanliness, efficiency, and beauty abound in promotional material of this time. Advertisers promised that the plastic laminate, known as "the wipe clean wonder," was resistant to dirt, juices, jams, alcohol stains, and cigarette burns. Atomic patterns and space-age colors, including Moonglo, Skylark, and Sequina, were introduced in homes, schools, offices, hospitals, diners, and restaurants across America.

The post-war period was also marked by expansion, specifically with the establishment of Formica's first international markets. In 1947, Formica signed a licensing agreement with the British firm the De La Rue Company of London for the exclusive manufacture and marketing of decorative laminates outside North America, and in South America and the Pacific Basin. In 1948, Formica changed its name from the Formica Insulation Company to the Formica Company. In 1951, Formica responded to growing consumer demand by opening a million square foot plant in Evendale, Ohio, devoted to the exclusive production of decorative sheet material. In 1956, the Formica Company became the Formica Corporation, a subsidiary of American Cyanamid Company. A year later, the international subsidiaries that Formica formed with De La Rue Company of London were replaced by a joint company called Formica International Limited.

The plastic laminate was not merely confined to tabletops and dinette sets. Formica laminate was used for skis, globes, and murals. Moreover, well-known artists and architects used the decorative laminate for modernist furniture and Art Deco interiors. In 1960, Formica's Research and Development Design Center was established, adjacent to the Evendale plant, to develop uses for existing laminate products. In 1966, the company opened the Sierra Plant near Sacramento, California. Such corporate expansion enabled Formica to market its laminates beyond the traditional role as a countertop surface material.

In 1974, Formica established its Design Advisory Board (DAB), a group of leading designers and architects. DAB introduced new colors and patterns of laminate that gained popularity among artists and interior designers in the 1980s. In 1981, DAB introduced the Color Grid, a systematic organization of Formica laminate arranged by neutrals and chromatics. The Color Grid was described as the first and only logically arranged collection of color in the laminate industry. DAB also developed the Design Concepts Collection of premium solid and patterned laminates to serve the needs of contemporary interior designers.

In the 1980s and 1990s, the corporation continued to produce laminates for interior designers, artists, and architects. In 1982, Formica introduced COLORCORE, the first solid-color laminate. Due to its relatively seamless appearance, COLORCORE was adopted by artists for use in furniture, jewelry, and interior design. The introduction of COLORCORE also marked the emergence of a wide variety of design exhibitions and competitions sponsored by the Formica Corporation. In 1985, Formica Corporation became independent and privately held. Formica continues to be one of the leading laminate producers in the world with factories in the United States, England, France, Spain, Canada, and Taiwan.

For additional information on the history of the Formica Corporation, see:

DiNoto, Andrea. Art Plastic: Designed for Living. New York: Abbeville Press, 1985.

Fenichell, Stephen. Plastic: The Making of a Synthetic Century. New York: Harper/Collins, 1996.

Jeffers Grace. 1998. Machine Made Natural: The Decorative Products of the Formica Corporation, 1947-1962. Master's thesis. Bard Graduate Center for Studies in the Decorative Arts.

Lewin, Susan Grant, ed. Formica & Design: From Counter Top to High Art. New York: Rizzoli, 1991.

Related Materials:

Materials at the Archives Center

Leo Baekeland Papers, 1881-1968 (NMAH.AC.0005)

DuPont Nylon Collection, 1939-1977 (NMAH.AC.0007)

J. Harry DuBois Collection on the History of Plastics, circa 1900-1975 (NMAH.AC.0008)

Earl Tupper Papers, circa 1914-1982 (NMAH.AC.0470)

The Division of Medicine and Science holds artifacts related to this collection. See accession # 1997.0319 and #1997.3133.

Provenance:

This collection was assembled by Grace Jeffers, historian of material culture, primarily from materials given to her by Susan Lewin, Head of Formica's New York design and publicity office when the office closed in 1995. The collection was donated to the Archives Center by Grace Jeffers in September 1996.

Restrictions:

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

Rights:

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

Topic:

Plastics industry and trade  Search this

Plastics -- 1920-2000  Search this

Plastics as art material -- 1920-2000  Search this

Plastics in interior design -- 1920-2000  Search this

advertising -- plastic industry -- 1920-2000  Search this

Plastic jewelry -- 1920-2000  Search this

Laminated plastics -- 1920-2000  Search this

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

House furnishings -- 1920-2000 -- United States  Search this

Housewives as consumers -- 1920-2000  Search this

Electronic insulators and insulation -- Plastics -- 1920-2000  Search this

Inventions -- 1920-2000 -- United States  Search this

Women in advertising  Search this

Women in popular culture -- 1920-2000  Search this

Genre/Form:

Scripts (documents)

Videotapes

Posters -- 20th century

Samples -- 1920-2000

Advertisements

Brochures

Blueprints -- 20th century

Photographs -- 20th century

Newsletters -- 20th century

Exhibition catalogs

Catalogs

Catalogs -- 1920-2000

Correspondence -- 20th century

Citation:

Formica Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0565

See more items in:

Formica Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8859e644e-2a2b-427b-ae69-3dfadd400aa4

EDAN-URL:

ead_collection:sova-nmah-ac-0565

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2018-08-31T15:30:01.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_NvsmslMluoc

Creator:

National Air and Space Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2011-10-27T17:33:35.000Z

YouTube Category:

Education  Search this

Topic:

Aeronautics;Flight;Space Sciences  Search this

See more by:

airandspace

Data Source:

National Air and Space Museum

YouTube Channel:

airandspace

EDAN-URL:

edanmdm:yt_qdNooQjlRh8

Creator:

Bengston, Billy Al  Search this

Names:

Ferus Gallery (Los Angeles, Calif.)  Search this

James Corcoran Gallery  Search this

John Berggruen Gallery (San Francisco, Calif.)  Search this

Martha Jackson Gallery  Search this

Alexander, Peter, 1939-  Search this

Altoon, John, 1925-  Search this

Andre, Carl, 1935-  Search this

Chamberlain, John, 1927-2011  Search this

Diebenkorn, Richard, 1922-1993  Search this

Flavin, Dan, 1933-  Search this

Goode, Joe, 1937-  Search this

Lichtenstein, Roy, 1923-1997  Search this

Motherwell, Robert  Search this

Plagens, Peter  Search this

Ruscha, Edward  Search this

Extent:

10.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Photographs

Date:

circa 1940s-1989

bulk 1960-1988

Summary:

The papers of southern California Pop artist Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.

Scope and Content Note:

The papers of Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the southern California artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.

Found within the biographical materials series are three feet of calendars which extensively document Bengston's personal and professional activities for fourteen years, and include ephemera related to these activities. This series also includes health records, wills, and passports.

Correspondence is with galleries, museums, universities, businesses, friends, and colleagues, and primarily concerns exhibitions, sales, consignments, commissions, and Bengston's personal finances. Bengston's relationship with the James Corcoran Gallery, Janie C. Lee Gallery, John Berggruen Gallery, Martha Jackson Gallery, and Texas Gallery are well-documented here, as well as in the Museum and Gallery Files series. Also found is a limited amount of personal correspondence with collectors, researchers, and friends. A few letters from other artists, including Peter Plagens and a letter from Richard Diebenkorn are interfiled here.

Bengston's professional relationships with galleries, museums, and universities are well-documented in the gallery and museum files, including the galleries mentioned above, Ferus Gallery, and others. Lists of consignments and prices, invoices, records of sales, loan agreement forms, shipping receipts, exhibition checklists, and exhibition floor plans provide information about sales, exhibitions, and loans. A few files provide further information about Bengston teaching activities. His personal business records include art sales records, price lists, lists of purchases, records of investment, and personal finance records. Project files include correspondence, notes, and printed materials related to Bengston's commissions for artwork and personal projects, including a book he worked on with Ed Ruscha, Business Cards.

Writings by Bengston include responses to exhibitions of West Coast art and his thoughts on his career, art, the artistic community, motorcycles, as well as a recollection of John Altoon. Also found are questionnaires sent out by Bengston for an art survey, with responses from Peter Alexander, Carl Andre, John Chamberlain, Dan Flavin, Joe Goode, Robert Graham, Roy Lichtenstein, Robert Motherwell, Ed Ruscha, and others. Writings by others consist primarily of exhibition catalog essays, manuscripts of interviews with Bengston, and other writings about Bengston. Also found is an essay by Walter Hopps. Photographs of Bengston include a family picture from the 1940s, Bengston at work on projects in Los Angeles and Syracuse, New York, and Bengston at social events. Other photographs consist of pictures of friends and artists, Bengston's artwork, documentary evidence of damaged artwork, and of commission sites.

Printed materials from the 1960s - 1980s include clippings, full articles, exhibition announcements and catalogs, and posters. They document exhibitions, art in southern California, and society and art events. The collection houses limited amounts of artwork including sketches, cut-outs, doodles and drawings.

Arrangement:

The collection is arranged into 10 series:

Missing Title

Series 1: Biographical Materials, 1958-1987 (Boxes 1-4, 11; 3.7 linear feet)

Series 2: Correspondence, 1966-1989 (Boxes 4-6; 1.75 linear feet)

Series 3: Gallery and Museum Files, 1961-1989 (Boxes 6-7; 1.5 linear feet)

Series 4: Teaching Records, 1968-1982 (Box 7; 7 folders)

Series 5: Personal Business Records, circa 1960-1987 (Boxes 7-8; 1.0 linear foot)

Series 6: Project Files, 1968-1987 (Boxes 8-9; 0.25 linear feet)

Series 7: Writings, 1967-circa 1988 (Box 9, OV 12; 0.25 linear feet)

Series 8: Artwork, 1960s-1987 (Box 9; 7 folders)

Series 9: Printed Materials, 1958-1988 (Boxes 9-10, OV 12-13; 1.25 linear feet)

Series 10: Photographs, circa 1940s-1987 (Box 10; 0.5 linear feet)

Biographical Note:

Billy Al Bengston was born in Dodge City, Kansas on June 7, 1934. After moving back and forth from Kansas to California multiple times, he and his family settled in Los Angeles in 1948. While attending the Manual Arts High School, Bengston became interested in art, especially ceramics. After a brief stint at Los Angeles Junior College, Bengston worked as a beach attendant at Doheny State Beach. While working there he met fellow surfer and future ceramicist Kenneth Price, who became one of Bengston's closest friends. In 1953, he reenrolled in Los Angeles Junior College to study ceramics. For the next four years he attended both the California College of Arts and Crafts and the Los Angeles County Art Institute (now the Otis Art Institute of Parsons School of Design). At these institutions he studied with Richard Diebenkorn, Sabro Hasegawa, Nathan Oliveira, and Peter Voulkos.

Around 1957, Bengston shifted his emphasis from ceramics to painting, and became affiliated with the Ferus Gallery in Los Angeles, founded that same year by Edward Kienholz and Walter Hopps. Bengston's first solo exhibition was held at the Ferus Gallery in 1958, and a second followed in 1960. At this time Bengston began to work with Pop icons combined with Color Field abstractions. His early bold paintings often featured symmetrical strong color compositions with a central image of a valentine, star, cross, chevron, or iris. The irises he called "draculas," after Kenneth Price remarked that they resembled Dracula flying through a window. He first showed his chevron paintings in 1962 at the Martha Jackson Gallery in New York. In the early 1960s, Bengston extended his imagery to the California subculture and created paintings of leisure time activities, focusing on motorcycles, racing, and scuba diving - his own interests as well.

Throughout his career, Bengston experimented with technique and materials. He experimented with automobile lacquer and spray painting techniques associated with car customization. He also used non-traditional surfaces, such as masonite and aluminum. In 1965, Bengston began creating paintings on sheets of aluminum into which he hammered dents and sometimes bent and buckled; these subsequently came to be known as "dentos." Along with painting, Bengston has also created watercolors, ceramics, and furniture. He was also one of the artists selected by Carol and Roy Doumani to design their home.

Bengston first visited Hawaii in 1974, and after several subsequent trips, established a second studio there in 1979. The work Bengston created in the following years was characterized by the use of tropical colors and representational images of running figures, airplanes, and the moon. In 1988, the Contemporary Arts Museum in Houston organized a retrospective entitled "Billy Al Bengston: Paintings of Three Decades," which traveled to the Oakland Museum, the Los Angeles County Museum of Art, and the Contemporary Museum of Art, Honolulu. Bengston also completed several years as an art instructor and lecturer at the Chouinard Art Institute in Los Angeles and The University of California at Los Angeles. Bengston continues to create and exhibit new work.

Related Material:

Found in the Archives of American Art are oral history interviews with Bengston conducted by Susan Larsen, September 9, 1980, and Susan Ford Morgan, August 2-October 7, 2002. Also found are portraits of Bengston in the Photographs of artists taken by Mimi Jacobs collection, and a rare copy of the book Business Cards by Bengston and Ed Ruscha in the Wallace Berman papers.

Provenance:

The collection was donated to the Archives of American Art by Billy Al Bengston in 1990.

Restrictions:

The collection is open for research. Use requires an appointment.

Rights:

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

Occupation:

Painters -- California  Search this

Topic:

Works of art  Search this

Art -- Study and teaching  Search this

Art -- Economic aspects  Search this

Genre/Form:

Interviews

Photographs

Citation:

Billy Al Bengston papers, circa 1940s-1989 (bulk 1960-1988). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

Identifier:

AAA.bengbill

See more items in:

Billy Al Bengston papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9100ab903-2685-4182-8e65-3886c54e0d7f

EDAN-URL:

ead_collection:sova-aaa-bengbill

Creator:

National Air and Space Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2012-08-30T21:02:55.000Z

YouTube Category:

Education  Search this

Topic:

Aeronautics;Flight;Space Sciences  Search this

See more by:

airandspace

Data Source:

National Air and Space Museum

YouTube Channel:

airandspace

EDAN-URL:

edanmdm:yt_P_gkcDNWWBI

Physical Description:

paper (overall material)

ink (overall material)

red (overall color)

white (overall color)

blue (overall color)

grey (overall color)

brown (overall color)

black (overall color)

Measurements:

average spatial: 101.8 cm x 76 cm; 40 1/16 in x 29 15/16 in

overall: 30 in x 40 in; 76.2 cm x 101.6 cm

Object Name:

Poster

Other Terms:

Poster; Army

Date made:

1917 - 1921

Related event:

World War I  Search this

Credit Line:

Gift of Chamberlain Ferry

ID Number:

1986.3051.06

Catalog number:

1986.3051.06

Nonaccession number:

1986.3051

See more items in:

Political and Military History: Armed Forces History, Military

Advertising

Art

Princeton Posters

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a9-eb5b-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1148111

Artist:

Koyma, M.  Search this

Collector:

Kamikawa, Juichi  Search this

Names:

Thiel, Philip  Search this

Collection Creator:

Tanaka, Peter, Dr.  Search this

Tsukamoto, Mary  Search this

McGovern, Melvin  Search this

Nitta, Eugene T.  Search this

Ishimoto, Norman  Search this

Extent:

1 Item (Paint on paper., 17.2" x 11.9".)

Container:

Box 3, Folder 4

Type:

Archival materials

Posters

Date:

circa 1943

Scope and Contents:

Hand-painted poster by M. Koyma, featuring a plane and a tank.

Local Numbers:

AC0305-0000006 (AC Scan)

Collection Restrictions:

The collection is open for research use.

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. Collection located at off-site storage area.

Viewing film portion of collection requires special appointment, please inquire; listening to LP recordings only possible by special arrangement. Do not use original materials when available on reference video or audio tapes.

Collection Rights:

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

Topic:

Tanks (Military science) -- World War, 1939-1945  Search this

Airplanes, Military  Search this

War posters, American  Search this

Concentration camps -- United States  Search this

World War, 1939-1945  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Genre/Form:

Posters -- World War, 1939-1945 -- United States

Collection Citation:

Japanese American Documentary Collection, dates, Archives Center, National Museum of American History

See more items in:

Japanese American Documentary Collection

Japanese American Documentary Collection / Vogel, Mabel Rose

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8faac2305-a445-4589-81de-7cffeb914f9f

EDAN-URL:

ead_component:sova-nmah-ac-0305-ref73

Author:

Zippo Manufacturing Company  Search this

Collector:

Jones, William (Vice President, Zippo Lighter)  Search this

National Museum of American History (U.S.). Division of Domestic Life  Search this

Extent:

0.75 Cubic feet (2 boxes, 3 oversize folders)

Type:

Collection descriptions

Archival materials

Pamphlets

Posters

Articles

Date:

1937 - 1998

Scope and Contents:

Advertising brochures, posters, and articles on the company.

Biographical / Historical:

The Zippo Company has made over 300 million cigarette lighters since it was founded in 1932. The founder, George Blaisdell, believed that the policy of planned obsolescence repulsive, so he guaranteed his product "forever". Any Zippo lighter sent back to the factory has always been repaired at no charge to the customer. According to the company's official history, the lighter's qualities, windproof and rugged, caught on big during World War II when just about every man in the service, dogface to Dwight D. Eisenhower, had one. There are numerous stories of the lighter being used to illuminate airplane instrument panels and as emergency signaling devices. There is a confirmed instance of a lighter working after being frozen in solid ice for four months, and one which survived an 1,100 foot fall. Zippo began diversifying in 1962 into such products as money clips, flashlights and pocket rules. The Case Cutlery Company has been a subsidiary of Zippo since 1993.

Related Materials:

Collected in conjunction with accession no. 1983.0394, Division of Home and Community Life (now Division of Cultural and Community Life).

Provenance:

Collection donated by William Jones, Vice President of Zippo, March 1983.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Cigar lighters -- 1930-1980  Search this

Smoking -- 1930-1980  Search this

Genre/Form:

Pamphlets -- 20th century

Posters -- 20th century

Articles

Citation:

Zippo Lighter Advertising Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0094

See more items in:

Zippo Lighter Advertising Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep840bbf7c8-6977-4b5c-bc2a-2d181121c6f0

EDAN-URL:

ead_collection:sova-nmah-ac-0094

Creator:

Hammer, William J. (William Joseph), 1858-1934 (electrical engineer)  Search this

Former owner:

National Museum of American History (U.S.). Division of Electricity and Modern Physics  Search this

Names:

Batchelor, George  Search this

Bell, Alexander Graham, 1847-1922  Search this

Berliner, Emile, 1851-1929  Search this

Curie, Marie  Search this

Curie, Pierre  Search this

Edison, Thomas A. (Thomas Alva), 1847-1931  Search this

Jehl, Francis  Search this

Johnson, Edward H.  Search this

Sprague, Frank J.  Search this

Tesla, Nikola, 1856-1943  Search this

Upton, Francis R.  Search this

Extent:

36 Cubic feet (124 boxes, 3 map-folders)

Type:

Collection descriptions

Archival materials

Correspondence

Photographs

Date:

circa 1847-1989

Summary:

Original documents and papers generated by William J. Hammer and by various companies and individuals with whom he was associated. Includes material related to the research and inventions of Edison, Bell, Tesla, the Curies, etc.

Scope and Contents:

This collection includes original documents and papers generated by Hammer and by various companies and individuals and various secondary sources assembled by Hammer between 1874 and 1934. Hammer's lifelong association with the foremost scientists of his day -- Edison, Bell, Maxim, the Curies, the Wright brothers, and others - afforded him a unique opportunity to collect materials about the development of science along many lines.

This collection, which includes rare historical, scientific, and research materials, was donated by the International Business Machine Corporation to the Museum of History and Technology in 1962 and held by the Division of Electricity. In 1983 it was transferred to the -Archives Center. The collection was badly disorganized when received and contained many fragile documents in poor condition. The collection was organized and arranged as reflected in this register.

The collection documents in photographs, manuscripts, notes, books, pamphlets, and excerpts, the beginnings of electrical technology. In its present state, it comprises four series: Series 1 contains twenty-two boxes of the William J. Hammer Papers, containing both biographical and autobiographical material; Series 2 has twenty boxes of material on Edison; Series 3 consists of thirty-three boxes of reference material; and Series 4 holds twenty-one boxes of photographs and portraits. See the container list beginning on page 39 for more detailed information on the contents of the collection.

Most of the material in the collection is chronologically arranged. However, in some cases alphabetical arrangement has been employed, for example, in the arrangement of portraits of eminent men of electrical science (Series 4, Boxes 78-80, 100-101), and the arrangement of publications (by authors' last names).

Hammer did original laboratory work upon selenium, radium, cathode rays, x-rays, ultra-violet rays, phosphorescence, fluorescence, cold light, and wireless. These aspects of his career are reflected in many parts of the collection: in Series 1 there are articles, notes, diagrams, sketches, graphs,, and correspondence; in Series 3 articles, magazines, news clippings, and bound pamphlets. Tie contributed many technical writings, some of which are found in Series 1.

Papers detailing Hammer's aeronautical activities were transferred to the National Air and Space Museum. They consist of two scrapbooks and one cubic foot of aeronautical photographs of balloons, airplanes, and gliders and one-half cubic foot of correspondence. For further information contact the National Air and Space Museum Archives at (202) 357-3133.

Arrangement:

The collection is divided into four series.

Series 1: William J. Hammer Papers, 1851-1957

Series 2: Edisonia, 1847-1960

Series 3: Reference Materials, 1870-1989

Series 4: Photographs, 1880-1925

Biography of William J. Hammer:

William Joseph Hammer, assistant to Thomas Edison and a consulting electrical engineer, was born at Cressona, Schuylkill County, Pennsylvania, February 26, 1858, and died March 24, 1934. His parents were Martha Augusta Bech (1827-1861) and William Alexander Hammer (1827-1895). He attended private and public schools in Newark, New Jersey, and university and technical school lectures abroad.

On January 3, 1894, Hammer married Alice Maud White in Cleveland, Ohio. They had one daughter, Mabel (Mrs. Thomas Cleveland Asheton). Alice Hammer died in 1906.

In 1878 Hammer became an assistant to Edward Weston of the Weston Malleable Nickel Company. In December 1879 he began his duties as laboratory assistant to Thomas Edison at Menlo Park, New Jersey. He assisted in experiments on the telephone, phonograph, electric railway, ore separator, electric lighting, and other developing inventions. However, he worked primarily on the incandescent electric lamp and was put in charge of tests and records on that device. In 1880 he was appointed Chief Engineer of the Edison Lamp Works. In this first year, the plant under general manager Francis Upton, turned out 50,000 lamps. According to Edison, Hammer was "a pioneer of Incandescent Electric Lighting"! (Hammer's memoranda and notes, Series 2).

In 1881 Edison sent Hammer to London as Chief Engineer of the English Electric Light Co. In association with E. H. Johnson, general manager, Hammer constructed the Holborn Viaduct Central Electric Light Station in London. This plant included three, thirty-ton "Jumbo" steam-powered dynamos (generators), and operated 3,000 incandescent lamps. Holborn was the first central station ever constructed for incandescent electric lighting. Hammer began its operation on January 12, 1882, by lighting the Holborn Viaduct.

In 1882 Hammer also installed a large isolated lighting plant containing twelve Edison dynamos at the Crystal Palace Electric Exposition and the Edison Exhibit at the Paris Electrical Exposition.

At this time Hammer also designed and built the first electric sign. The sign spelled the name "Edison" in electric lights, and was operated by a hand controlled commutator and a large lever snap switch. It was erected over the organ in the Crystal Palace concert hall.

In 1883 Hammer became Chief Engineer for the German Edison Company (Deutsche Edison Gesellschaft), later known as Allegemeine Elektricitaets Gesellschaft. Hammer laid out and supervised the installations of all Edison plants in Germany. While in Berlin he invented the automatic motor-driven "flashing" electric lamp sign. The sign, which flashed "Edison" letter by letter and as a whole, was placed on the Edison Pavilion at the Berlin Health Exposition in 1883.

On his return to the United States in 1884, Hammer took charge of some of Edison's exhibits, including Edison's personal exhibit, at the International Electrical Exhibition held under the authority of the Franklin Institute in Philadelphia. There he built the first flashing "Column of Light." He also became confidential assistant to E. R. Johnson, president of the parent Edison Electric Light Company. Together with Johnson and Frank J. Sprague, he became an incorporator of the Sprague Electric Railway and Motor company. He also was elected a trustee and the company's first secretary.

Hammer installed an all-electric house at Newark, New Jersey in 1884 and he devised various electrical devices and contrivances for an unusual party for friends and colleagues. (See "Electrical Diablerie" beginning on page 6).

At the end of 1884 Hammer became chief inspector of central stations of the parent Edison Electric Light Company. For over two years he made financial, mechanical, and electrical reports on the various stations throughout the United States. During 1886-87 he was chief engineer and general manager of the Boston Edison Electric Illuminating Company. He also acted as contractor for the company. He laid $140,000 of underground tubing and installed Sprague Electric Motors.

In 1888, acting as an independent engineer, he was placed in charge of completing the 8,000 light plant of the Ponce de Leon Hotel in St.Augustine Florida. At the time this was the largest isolated incandescent lighting plant ever constructed. Also in 1888 Hammer was appointed consulting electrical engineer to the Cincinati Centennial Expostition, and as a contractor designed and installed over $40,000 worth of electrical effects.

Hammer was appointed Edison's personal representative remarked, "There are a lot of crowned heads in the Edison business. How many of them am I subservient to?" Mr. Edison answered "You take no instructions except from Thomas A. Edison." Hammer asked "What are your instructions?" Mr. Edison replied, 'Hammer, I haven't any. Go and make a success of it.' In Paris he set up and operated all of Edison's inventions, which embraced nineteen departments and covered 9,800 square feet of space. He also built a huge Edison lamp forty-five feet high employing 20,000 lamps. Edison remarked, 'He had entire charge of my exhibit at the Paris Exposition, which was very successful." This was the largest individual exhibit at the Exposition, costing $100,000. Mr. Edison replied, "I want you to go right out and have a card engraved William J. Hammer, Representative of Thomas A. Edison. You are the only representative I have here," and he complimented him on his work adding, "The French government will do something handsome for you for your work." Hammer replied that he would not raise his hand to get it and did not believe in giving such honors to people who seek them. Mr. Edison said, "You are wrong. You are a young man and such things are valuable. At any rate if there's anyone in this exhibition who deserves recognition, you do, and I'm going to see you get it' (Hammer's memoranda and notes, Series 2). Thirty-four years later, in 1925, through the personal influence of Edison, Hammer was made Chevalier of the Legion of Honor by the French government.

In 1890 Hammer returned to the United States and opened an office as a consulting electrical engineer. He was in private practice until 1925, making reports, conducting tests, and giving expert testimony in patent suits.

On January 31, 1890, Hammer formed the Franklin Experimental Club of Newark where boys could come and carry on experiments, build apparatus, and listen to lectures. Hammer equipped the laboratory at his own expense. One side was an electrical laboratory and the other a chemical laboratory. About forty-five boys joined. Each boy had a key to the club and a section of a bench with his own drawer for keeping notes, tools, and other equipment. In 1892 the structure was destroyed by fire from a saloon next door, ending Hammer's plans for a large and useful institution.

In 1896 Hammer was elected president of the National Conference of Standard Electrical Rules, which prepared and promulgated the "National Electric Code."

In 1902 in Paris, Hammer visited Pierre and Marie Curie, the discoverers of radium and polonium. They gave him nine tubes of radium and one of polonium to bring back to the United States. He also acquired some sulphide of zinc, with which he mixed radium carbonates, producing a beautifully luminous powder. This was the first radium-luminous material ever made. By mixing the powder with Damar varnish he produced the first radium-luminous paint. He was also the first person to make colored (and white) luminous materials. In 1907 he invented and patented a process for producing colored phosphorescent materials by combining phosphorescent and fluorescent substances.

Back in the United States in the fall of 1902 and into 1903, Hammer applied his radium-luminous materials to thirty different objects: luminous dials for clocks and watches, toys, artificial flowers, radium luminous gun sights, taps and pulls for lamp sockets, switches, keyholes, push buttons, telephone transmitters, poison bottle labels, a small plaster figure, push pins, and writing implements among others. He did not patent the invention due to the scarcity and high cost of radium, but later in an important suit involving foreign and American patents of radium-luminous materials, his testimony and that of other noted scientists and professionals of the day who had visited his home and laboratory proved that his work completely anticipated that of all inventors both in the United States and abroad. In 1902 he was one of the first persons to be burned with radium.

Hammer gave eighty-eight lectures on the Curies' work and on radium and radioactive substances. He wrote the first book published on radium, Radium and other Radioactive Substances, 1903. Hammer proposed and used radium for cancer and tumor treatment, successfully treating and curing a tumor on his own hand in July 1903. Tie also supplied several hospitals with radioactive water he had made and conducted extensive experiments with x-rays, cathode-rays, radium-rays, ultraviolet lights, phosphorescence, fluorescence, and cold-light. He was probably the first to suggest many wartime uses for radium-luminous materials, such as airplanes, instruments, markers, barbed-wire, and landing fields.

Hammer also did important work with selenium, a nonmetallic element that resembles sulphur and tellurium chemically. It is obtained chiefly as a by-product in copper refining, and occurs in allotropic forms. A grey stable form varies in electrical conductivity depending on the intensity of its illumination and is used in electronic devices. Hammer invented selenium cells and apparatus, and suggested industrial uses for selenium and other light-sensitive cells.

In 1886 Hammer devised a system for automatically controlling street and other lights by use of a selenium cell. In 1892 he designed a torpedo that could be steered by searchlight and selenium cell. In the early 1900s he suggested many other uses for "light" cells, including burglar alarms, dynamo control, buoy, railroad signaling, automatic gun firing, transmission of music, stethoscope recorder, automatic operating shutters, automatic boiler feed, snow recorder, and electric motor control.

At the St. Louis Exposition of 1904 Hammer was Chairman of the Jury for Telegraphy, Telephony, and Wireless. He was also a member of the "Departmental" Jury ("Applied Science: Electricity") and of the committee appointed to organize the International Electrical Congress at St. Louis in 1904.

In 1906 Hammer received the "Elliott Cresson" gold medal from the Franklin Institute for his "Historical Collection of Incandescent Electric Lamps," accumulated over thirty-four years. This collection received a special silver medal at the International Electrical Exposition at the Crystal Palace, London, England, in 1882, and "the Grand Prize" at the St. Louis Exposition of 1904.

During the First World war Hammer served as a major on the General Staff of the, Army War College, Washington, D.C., where he was attached to the Inventions Section of the War Plans Division and later to the operations Division at the war Department in charge of electrical and aeronautical war inventions. He did special work at the U.S. Patent office, marking and delaying patents that might be useful to the enemy and served on the Advisory Board of Experts attached to the Alien Property Commission. He was elected Historian general of the Military order of the World War (1926-1928) and was a member of the Society of American Military Engineers.

Hammer was an early aeronautics enthusiast and became the owner of one of the first airplanes sold in the United States to an individual. Even in his last few years of his life, Hammer's interest in airplanes did not wane. In 1931, by the permission of the Secretary of the -Navy, Hammer made a twelve-hour flight in the Los Angeles dirigible from the Lakehurst, New Jersey airdrome along the coast of the Atlantic Ocean to New York, flying over New York City at night.

Hammer served on numerous committees. In 1916 he was a member of a special committee, appointed by the Aeronautical Society of America. one of his responsibilities on this committee was to recommend methods for the formation of a reserve force of civilian aviators for the Army. At the start of World War I, Hammer was appointed chairman of a committee on camouflage by the Aeronautical Society. During the war, he flew airplanes and tested sound devices and was also among the first five selected out of thousands for the dissemination of propaganda into many countries. He also examined documents and papers captured from spies and prisoners of war to see if these material contained any technical matter of value to the U. S. Army.

Hammer traveled extensively as a delegate of the Military Order of World War I. For example, in 1922 he attended the aeronautical Congress and Flying Meet in Detroit, Michigan. In the same year he also attended Immigration Conferences of the National Civic Federation in New York.

Between 1922 and 1928 Hammer intensified his efforts in collecting and organizing autographed portraits of eminent scientific men, a project he had been working on for over forty-five years. Tie displayed many of these portraits with his Historical Collection of Incandescent Electrical Lamps in -his New York home. At this time he also prepared an elaborate bibliography on selenium and its industrial and scientific applications.

Major William Joseph Hammer, described by Edison as "my most valuable assistant at Menlo Park" died of pneumonia March 24, 1934.

'Electrical Diablerie':

"ELECTRICAL DIABLERIE"

N.Y. World, January 3, 1885 and Newark, N.J. Daily Advertiser and Journal, January 3, 1885

Some years ago, (1884) on New Year's eve, an entertainment was given at the home of Mr. William J. Hammer, in Newark, N.J., which, for the display of the powers of electricity has seldom, if ever, been equaled. Mr. Hammer, who has for years been associated with Mr. Edison, both in this country and in Europe, desiring to give his old classmates, the "Society of Seventy-Seven," a lively and interesting time, invited them to "an electrical dinner"at his home.

The invitations which were sent out were written upon Western Union telegram blanks with an Edison electric pen. When the guests arrived and entered the gate, the house appeared dark, but as they placed foot upon the lower step of the veranda a row of tiny electric lights over the door blazed out, and the number of the house appeared in bright relief. The next step taken rang the front door bell automatically, the third threw open the door, and at the same time made a connection which lit the gas in the hall by electricity.

Upon entering the house the visitor was invited to divest himself of his coat and hat, and by placing his foot upon an odd little foot-rest near the door, and pressing a pear-shaped pendant hanging from the wall by a silken cord, revolving brushes attached to an electric motor brushed the mud and snow from his shoes and polished them by electricity. As he was about to let go of the switch or button, a contact in it connected with a shocking coil, caused him to drop it like a hot potato. Up-stairs was a bedroom which would be a fortune to a lazy man; he had only to step on the door sill and the gas was instantly lighted. The ceiling was found to be covered with luminous stars, arranged to represent the principal constellations in the heavens-while comets, moons, etc., shone beautifully in the dark. By placing one's head on the pillow, the gas, fifteen feet away, would be extinguished and the phosphorescent stars on the ceiling would shine forth weirdly, and a phosphorescent moon rose from behind a cloud over the mantel and slowly describing a huge arch disappeared behind a bank of phosphorescent clouds on the other side of the room; by pressing the toe to the foot-board of the bed the gas could again be relit.

Pouring a teacup of water into the water clock on the mantel and setting the indicator would assure the awakening of the sleeper at whatever hour he might desire. There was also in the hall outside the room a large drum, which could be set to beat by electricity at the hour when the family wished to arise. The whole house was fitted throughout with electric bells, burglar alarms, fire alarms, telephones, electric cigar lighters, medical coils, phonographs, electric fans, thermostats, heat regulating devices, some seven musical instruments, operated by electricity, etc.

Upon the evening referred to nearly every. piece of furniture in the parlor was arranged to play its part. Sit on one chair and out went the gas, take another seat and it would light again; sitting on an ottoman produced a mysterious rapping under the floor; pressure on some chairs started off drums, triangles, tambourines, cymbals, chimes and other musical instruments; in fact, it seemed unsafe to sit down anywhere. The quests stood about in groups and whispered, each hoping to see his neighbor or a new comer caught napping.

One visitor (Brown) secured an apparently safe seat, and was telling a funny story--he had left electricity far behind--but just as he reached the climax, a pretty funnel-shaped Japanese affair like a big dunce cap, that seemed but a ceiling ornament which was held in place by an electromagnet, dropped from overhead and quietly covered him up, thus silently extinguishing the story and the story-teller.

A big easy chair placed invitingly between the folding doors joining the double, parlors sent the unwary sitter flying out of its recesses by the sudden deafening clamor of twenty-one electric bells hidden in the folds of the draperies hanging in the doorway. In a convenient position stood the silver lemonade pitcher and cup, the former was filled with the tempting beverage, but no matter how much a guest might desire to imbibe one touch convinced him that the pitcher and cup were so heavily charged with electricity as to render it impossible for him to pour out a drink or even to let go until the electricity was switched off from the hidden induction coil.

Some one proposed music, and half a selection had been enjoyed when something seemed to give way inside the piano, and suddenly there emanated from that bewitched instrument a conglomeration of sounds that drowned the voices of the singers, and the keys seemed to beat upon a horrible jangle of drums, gongs and various noise-producing implements which were fastened inside of and underneath the piano.

After the guest were treated to a beautiful display of electrical experiments, under the direction of Mr. Hammer, and Professor George C. Sonn, they were escorted to the dining-room, where an electrical dinner had been prepared and was presided over by 'Jupiter," who was in full dress, and sat at the head of the table, where by means of a small phonograph inside of his anatomy he shouted, "Welcome, society of Seventy-Seven and their friends to Jove's festive board." The menu was as follows: "Electric Toast," "Wizard Pie," "Sheol Pudding," "Magnetic Cake," "Telegraph Cake," "Telephone Pie," "Ohm-made Electric Current Pie," "Menlo Park Fruit," "Incandescent Lemonade," "'Electric Coffee" and "Cigars," etc., and music by Prof. Mephistopheles' Electric Orchestra.

About the table were pretty bouquets, and among the flowers shone tiny incandescent lamps, while near the center of the table was placed an electric fan which kept the air cool and pure, and at each end was a tiny Christmas tree lighted with small incandescent lamps, planted in a huge dish of assorted nuts and raisins. Each lamp had a dainty piece of ribbon attached to it upon which the initials of the Society and the date were printed, and each guest received a lamp to take away with him as a souvenir of the occasion. Plates of iced cakes made in the form of telephones, switches, bells, electric lamps, batteries, etc., stood on each side of the center piece.

Promptly at 12 o'clock, as the chimes of the distant churches came softly to the ears of the assembled quests, pandemonium seemed to change places with the modest dining-room. A cannon on the porch, just outside the door, and another inside the chimney, were unexpectedly discharged; and at this sudden roar, every man sprang back from the table; the lights disappeared; huge fire-gongs, under each chair beat a tattoo. The concussion produced by the cannon in the fireplace caused several bricks to come crashing down the chimney, and as the year of 1884 faded away, the table seemed bewitched. The "Sheol Pudding" blazed forth green and red flames illuminating the room, tiny tin boxes containing 'Greek" fire which had been placed over each window and door were electrically ignited by spirals of platinum iridium wire heated by a storage battery and blazed up suddenly; the "Telegraph Cake" clicked forth messages said to be press reports of the proceedings (it was also utilized to count the guests and click off the answers to various questions put to it); bells rang inside the pastry; incandescent lamps burned underneath the colored lemonade; the thunderbolt pudding discharged its long black bolts all over the room (long steel spiral springs covered with black cloth) and loud spirit rapping occurred under the table. The silver knives, forks and spoons were charged with electricity from a shocking coil and could not be touched, while the coffee and toast (made by electricity) were made rapidly absorbed; the "Magnetic Cake' disappeared; the "Wizard" and "Current Pies' vanished, and 'Jupiter" raising a glass to his lips began to imbibe.

The effect was astonishing! The gas instantly went out, a gigantic skeleton painted with luminous paint appeared and paraded about the room, while Jupiter's nose assumed the color of a genuine toper! His green eyes twinkled, the electric diamonds in his shirt front (tiny lamps) blazed forth and twinkled like stars, as he phonographically shouted "Happy New Year'. Happy New Year!" This "Master of Cererionies' now becoming more gentle, the guests turned their attention to the beautiful fruit piece, over four feet high, that stood in the center of the table. From the fruit hung tiny electric lamps, and the whole was surmounted by a bronze figure of Bartholdils "Statue of Liberty;" uplifted in "Miss Liberty's" right hand burned an Edison lamp no larger than a bean.

The dinner finished, and there was much that was good to eat, notwithstanding the "magical" dishes which they were first invited to partake of, speeches were delivered by Messrs. Hammer, Rutan, McDougall, 'Brown, Duneka, and Dawson, and an original poem was read by Mr. Van Wyck. Upon repairing to the parlors the guest saw Mr. Hammer's little sister, May, dressed in white and mounted upon a pedestal, representing the "Goddess of Electricity:" tiny electric lamps hung in her hair, and were also suspended as earrings, while she held a wand surmounted by a star, and containing a very small electric lamp.

Not the least interesting display of electricity took place in front of the house, where a fine display of bombs, rockets, Roman candles, Greek fire and other fireworks were set off by electricity, which was by the way, the first time this had been accomplished. The guests were requested to press button switches ranged along the front veranda railing thus causing electricity from a storage battery to heat to a red heat tiny platinum iridium spirals attached to each fuse of the various pieces of fireworks thus sending up rocket after rocket, as well as igniting the other pieces which had been placed in the roadway in front of the house.

An attempt was made to send up a large hot air balloon to which was attached a tiny storage battery and an incandescent signal lamp but a sudden gust of wind caused the ballon to take fire as it rose fr(xn the ground. This constituted the only experiment made during the evening which was not an unqualified success. The innumerable electrical devices shown during the progress of the dinner were all operated by Mr. Hammer, who controlled various switches fastened to the under side of the table and attached to a switchboard, which rested on his lap, while the two cannons were fired by lever switches on the floor, which he operated by the pressure of the foot. Electricity was supplied by primary and storage batteries placed under the table. After an exhibition of electrical apparatus and experiments with a large phonograph, the guests departed with a bewildered feeling that somehow they had been living half a century ahead of the new year."

Expositions and Exhibitions:

The many Expositions held at the end of the 19th and the beginning of the 20th centuries were important for the Edison Electric Company's future business. In particular the Paris Electrical Exposition, 1881, and the Crystal Palace Exposition in London in 1892 were introductions for the company's international business enterprises. Edison, therefore, sent his ablest men from the Menlo Park staff (Batchelor, Hammer, Jehl, Johnson) to Europe to oversee the installation and promotion of the company's exhibits.

THE INTERNATIONAL PARIS EXPOSITION OF 1881

The International Paris Electrical Exposition was held during the summer of 1881. Many of Edison's electric lighting systems, ranging from arc lights to incandescent devices, were exhibited. A model of the Edison central-station lighting system showed an arrangement of incandescent lights within a complete electrical distributing system, including novel appliances and controls of the Edison system. "The completeness of its conception made a profound impression on the foremost European electrical engineers of that era." (Josephson, Matthew. Edison, A Biography. p. 252). Edison also exhibited his first "Jumbon generator. It was "direct-connected" to its driving engine, another area in which Edison pioneered. Edison improved upon the original design of William Wallace's "Telemachon' - a generator coupled to a water-powered turbine. Wallace had earlier in the decade produced the first dynamo in America.

Charles Batchelor headed the Edison exhibits within Paris. Edison received many gold medals and diplomas and was awarded the ribbon of the Legion of Honor.

The William J. Hammer Collection contains various reports and catalogues exhibited at the International Exposition of Electricity. (Series 3, Box 44, Folders 1-4)

THE CRYSTAL PALACE EXHIBITION OF 1882

At the Crystal Palace Exhibition of 1882 in London, Edison displayed a great many of his inventions, including: the steam dynamo; specimens of street pipes and service boxes used in the Edison underground system of conductors, and the system of house conductors with devices for preventing abnormal increase of energy in house circuits; apparatus for measuring the resistance of his lamps, for measuring the energy consumed in lamps, and rheostats for restoring currents; also thermogalvano-meters, carbon rheostats, dynamometers, photometers, carbon regulators, Weber meters,, current regulators, and circuit breakers for controlling electric light circuits; the carbon relay, the pressure relay, and the expansion relay; the telegraph system in Morse characters; and the Roman character automatic telegraph.

Thomas Edison also exhibited the carbon telephone, the musical telephonograph, telephone repeater, and numerous apparatus for demonstrating the method of varying the resistance of a closed circuit by contact with carbon, illustrative of the experimental factors of the Edison carbon transmitter. Incandescent lamps, the process of the manufacture of lamps, and various designs of electric light chandeliers were also on display.

Hammer won the silver medal at the exposition for the first complete development of the incandescent electric lamp from its initial stages to date. At the exhibition the first hand-operated flashing electric lamp sign was displayed, which was invented and built by Hammer.

The collection contains photographs of the Edison dynamo, and the Edison Electric Lighting Plant of 1882 erected by Hammer. The official Catalogue of the International Electric and Gas Exhibition, and various articles from the Daily Telegraph, Daily Chronicle, and Daily News are also included within the collection (Series 4, Box 99 and Series 3, Box 42, Folder 1-2).

THE BERLIN EXPOSITION OF 1883.

The Berlin Exposition of 1883 had the first motored flashing electric sign designed, built and operated by Hammer. The electric sign spelled out the word "Edison" letter by letter and was used on the Edison pavilion in the Health Exposition. It has most features of today's flashing sign.

The collection contains two photographs of the first flashing sign (Series 4, Box 99).

THE FRANKLIN INSTITUTE INTERNATIONAL ELECTRICAL EXHIBITION OF 1884

The Franklin Institute International Electrical Exhibition was held in Philadelphia from September 2 to October 14, 1884. Many of Edison's companies had display booths at the exhibition. The Edison Electric Light Company showed in operation their system of house lighting as supplied from a central station. The Edison Company for Isolated Lighting exhibited their system of lighting factories, hotels, hospitals, and other places situated beyond the reach of a central lighting station. A full assortment of Edison lamps and dynamos also made up parts of other exhibits. Also displayed at the exhibition was the first flashing column of light, which Hammer designed and built.

Included within the collection are a variety of photographs of the exhibitions. Four pamphlets also are contained in the collection (Series 3, Box 1, Folder 3), (Series 4, Box 99).

THE EXPOSITION OF THE OHIO VALLEY AND THE CENTRAL STATES OF 1888

The Exposition of the Ohio Valley and Central States, in Cincinnati from July 4 to October 27, was in honor of the one hundredth anniversary of the settlement of Cincinnati. The exposition showed the progress and ramifications of the first hundred years of this settlement.

The space occupied by permanent buildings was greater than that covered by any building for exhibiting purposes on the Western continent. T',ie exposition developed the Electric Light Plant to make a special feature of electric lighting in the evening. Several companies used this opportunity to make exhibits of their apparatus and for their equipment to be used for illumination. The Edison Lamps were used for displays in showcases and pavilions of exhibitors of the Park Building.

The collection contains photographs of the halls of the exposition and a poster which is a souvenir of the electrical display of the exposition. An official Guide of the Centennial Exposition of the Ohio Valley and Central States is included within the collection. (Series 4, Box 99), (Series 3, Box 42, Folder 4).

THE SUMMER CARNIVAL AND ELECTRICAL EXHIBITION, ST. JOHN, NEW BRUNSWICK, 1889

The Summer Carnival and Electric Exhibition held at St. John, New Brunswick, Canada was to celebrate the opening of the Canadian Pacific Short Line to St. John and Portland. The Electrical Exhibition was the most popular of the displays present, containing the Monster Edison Lanm, the Mysterious Electric Fountain, and many other inventions.

The William J. Hammer Collection contains a poster that illustrates some of the leading exhibits at the Electrical Exhibition (Series 4, Box 99).

PARIS UNIVERSAL EXPOSITION OF 1889

The Universal Exposition of 1889 held in Paris was larger than all previous expositions held there. The famous Eiffel Tower was its principal attraction.

A large portion of the exhibit hall within the Palace of Mechanical Industries contained Thomas Edison's electrical inventions, including various electric lamps for use in houses. Variations of the telephone also were shown. During the Paris Exposition Europeans were exposed to the phonograph for the first time. Hammer represented Edison's interests at the Paris Exhibition.

The collection contains articles from New York World, New York Herald and Electrical World on Edison's exhibits at the Paris Exposition (Series 3, Box 44, folder 6). A scrapbook of photographs from the exhibition showing exhibit buildings and halls and loose photographs showing Edison's exhibits are included in the collection (Series 4, Box 98).

THE CRYSTAL PALACE EXHIBITION OF 1892

The Crystal Palace Exhibition of 1892 was held in London. Hammer displayed a great variety of products in the machine room of the Electrical Exhibition. Sockets for controlling individual incandescent lamps on alternating currents and the Ward Arc Lamp for use on incandescent circuits were just a few of the items displayed. Edison's companies displayed specimens of all types of incandescent electric lamps for public and private illumination. They also displayed primary batteries for use in telegraphy, telephony, household work, and engines.

The William, J. Hammer Collection contains a variety of photographs of the electrical exhibition. The Official Catalogue and Guide of the Electrical Exhibition is also contained within the collection (Series 4, Box 99), (Series 3, Folder 2, Box 42).

LOUISIANA PURCHASE EXPOSITION, 1904

The Louisiana Purchase Expostition of 1904, held in St. Louis, Missouri from April 30 to December 1, celebrated the centennial of the Louisiana Purchase. The nineteen million people who attended made it the largest exposition ever. The year 1904 marked the twenty-fifth anniversary of Edison's invention of the carbon filament lamp and central power station system.

F.J.V. Skiff, the exhibits classifier for the fair, developed a twofold classificatory arrangement. He organized exhibits in a sequential synopsis corresponding to the sixteen different departments of the exposition. The principal exhibition buildings were built in the shape of a fan. The departments of education, art, liberal arts, and applied sciences-including electricity - headed the classification, Skiff noted, because they "equip man for the battle and prepare him for the enjoyments of life.' Departments devoted to displays of raw materials such as agriculture, horticulture, !inning, forestry, fish and game came next. Anthropology, social economy, and physical culture concluded the classification.

The Hammer collection contains photographs of Hammer with other Chairmen of Domestic and Foreign Jurors of the Electricity Section of the International Jury of Awards of the Louisiana Exposition and Hammer as chairman of the jury on telegraphy, telephony, and wireless. (Series 4, Box 102). A pamphlet by the American Telephone and Telegraph Company on the exhibit of the Radiophone at the Department of Applied Science is also part of the collection (Series 3, Box 42, Folder 5).

THE PANAMA-PACIFIC EXPOSITION OF 1915

The Panama Pacific Exposition celebrated the opening of the Panama Canal and the four hundredth anniversary of the European discovery of the Pacific Ocean. It was held in San Francisco from February 20 to December 4, 1915. Approximately nineteen million people attended the exposition.

The eleven main buildings of the exposition were grouped around a central court of the Sun and Stars at the entrance of which was the famous Tower of Jewels. The main group of exhibits comprised the Palaces of Education, Liberal Arts, Manufactures, Varied Industries, Mines,

Transportation, Agriculture, Horticulture and all kinds of food products. During the exposition special days were set aside to honor industrialists Henry Ford and Thomas Edison. The Pacific Gas and Electric Company provided a large searchlight to flash out a Morse code greeting on the nighttime sky for their arrival.

The William J. Hammer Collection contains a pamphlet on the "Illumination of the Panama-Pacific International Exposition." The pamphlet describes the lighting of the exposition, and the use of arc lamps ' searchlights, incandescent electric lamps, and gas lamps (Series 4, Box 99), (Series 3, Box 43).

Provenance:

Collection donated by IBM, 1962.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Fluorescence  Search this

Electrical engineering  Search this

Incandescent lamps  Search this

Phosphorescence  Search this

Selenium cells  Search this

Cathode rays  Search this

X-rays  Search this

Radium  Search this

Genre/Form:

Correspondence -- 1930-1950

Photographs -- 1850-1900

Photographs -- 20th century

Citation:

William J. Hammer Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0069

See more items in:

William J. Hammer Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep806480cfb-3204-4fc1-8e11-b58fffe1b338

EDAN-URL:

ead_collection:sova-nmah-ac-0069

Artist:

Boris Chaliapin, 22 Sep 1904 - 18 May 1979  Search this

Printer:

U.S. Government Printing Office  Search this

Sitter:

Dwight David Eisenhower, 14 Oct 1890 - 28 Mar 1969  Search this

Medium:

Halftone poster

Dimensions:

Sheet: 71.1 × 50.7cm (28 × 19 15/16")

Type:

Print

Date:

1944

Topic:

Vehicle\Ship  Search this

Weapon\Gun  Search this

Printed Material\Map  Search this

Equipment\Optical Devices\Binoculars  Search this

Vehicle\Airplane  Search this

Human Figures\Soldier  Search this

Poster  Search this

Vehicle\Military vehicle\Tank  Search this

Poster\Political  Search this

Dwight David Eisenhower: Male  Search this

Dwight David Eisenhower: Literature\Writer  Search this

Dwight David Eisenhower: Military and Intelligence\Army\Officer\General  Search this

Dwight David Eisenhower: Education and Scholarship\Administrator\University administrator\University president  Search this

Dwight David Eisenhower: Politics and Government\President of US  Search this

Dwight David Eisenhower: Politics and Government\Chief of Staff  Search this

Dwight David Eisenhower: Military and Intelligence\Army\Officer\World War II  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.89.150

Restrictions & Rights:

Usage conditions apply

Copyright:

© Chris Murphy

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4e56e8be4-e853-4184-99df-d8ab9ef8a6ee

EDAN-URL:

edanmdm:npg_NPG.89.150

Creator:

Hammer, William J. (William Joseph), 1858-1934 (electrical engineer)  Search this

Names:

Hudson-Fulton Celebration (1909)  Search this

Curtiss, Glenn Hammond, 1878-1930  Search this

Hammer, William J. (William Joseph), 1858-1934 (electrical engineer)  Search this

Wright, Wilbur, 1867-1912  Search this

Extent:

5.66 Cubic feet (13 boxes)

Type:

Collection descriptions

Archival materials

Drawings

Scrapbooks

Publications

Manuscripts

Correspondence

Photographs

Date:

1881-1934

bulk 1905-1915

Summary:

The collection is the result of Major Hammer's passion for amassing material related to aeronautics and technology, and it is arranged into eleven series: articles, clippings, correspondence, drawings and blueprints, leaflets, legislation, minutes, miscellaneous, photographs, programs and publications. Housed in 23 folders, the correspondence is the most comprehensive series, reflecting the original order which grouped the letters into series by topic. Much of the correspondence concerns the planning of the Hudson-Fulton Celebration of 1909, and the involvement of Wilbur Wright and Glenn Curtiss. There is also a scrapbook of black and white photographs providing front and side views of specified airplanes. Each page has 3 photos showing different views of the same plane accompanied by a label with additional information. (See written copy for details. Also, please see information written on 8x11 notebook paper.)

Scope and Contents:

The William J. Hammer Collection reflects Hammer's great interest in aeronautics --a passion he cultivated for several decades by accumulating a veritable storehouse of materials. Hammer's important contributions to the early development of aviation are also evident in this collection.

The collection of materials listed in the finding aid is arranged into two series. The first series includes correspondence, reports, handbooks, drawings, brochures, programs, leaflets, magazines, articles, newspaper clippings and miscellaneous materials. The second series is comprised of photographs of various sizes, scrapbooks, scrapbook pages and miscellaneous materials (the front pages of newspapers, certificates, posters, etc.).

Hammer's papers are arranged both chronologically and alphabetically. Correspondence, drawings, brochures, programs, leaflets, miscellaneous materials, scrapbook pages, articles and newspaper clippings are organized by the former method. Reports, handbooks, magazines and booklets are grouped alphabetically by either title of publication or author. Photographs are arranged either by subject or chronologically.

The reader should note that at some point, Hammer produced a series of large format photographs. These mounted photographs are duplicates. Due to the very fragile condition of these particular images, the photographs and are not available to researchers.

Additional photographic material regarding Hammer Collection photographs can be found in the NASM Archives Images database. An Archives staff member will assist you with research using this database.

Box 13 of the William J. Hammer Collection has not been scanned.

Note: The digital images in this finding aid were repurposed from scans made by an outside contractor for a commercial product and may show irregular cropping and orientation in addition to color variations resulting from damage to and deterioration of the original objects.

Arrangement:

The William J. Hammer Collection is arranged by content type.

Biographical/Historical note:

William J. Hammer was born in Cressona, Pennsylvania, on February 26, 1858, was an associate of Thomas Edison and an early aviation supporter and enthusiast. He began his career as an assistant to Edward Weston of the Weston Malleable Nickel Company. In 1879, he moved on to a new position as laboratory assistant to Thomas Edison at Menlo Park, New Jersey. His duties ranged from aiding in conducting experiments on such devices as the phonograph, telephone and ore separator to acting as Edison's key person in further developing the incandescent electric lamp. By 1880, he was made chief engineer of the Edison Lamp Works. A year later, Edison dispatched Hammer to London to be chief engineer of the English Electric Light Company. In this position, he helped construct the Holborn Viaduct Central Electric Light Station in London. This was the first central station ever built for incandescent electric lighting. In 1883, Hammer became chief engineer for the German Edison Company. This task included planning and supervising the construction of all Edison plants in Germany. He returned to the United States late in the following year and acted as chief inspector of central stations of the parent Edison Electric Light Company. In 1886-87, Hammer was general manager and chief engineer of the Boston Edison Electric Illuminating Company. In 1888, he worked as an independent engineer and supervised the completion of the then-largest isolated electric lighting plant, located at the Ponce de Leon Hotel in St. Augustine, Florida. During that year, Hammer also was chosen as consulting electrical engineer to the Cincinnati Centennial Exposition. Subsequently, Edison selected him as his personal representative to the Paris Exposition of 1889. This assignment rounded out Hammer's eleven years with Edison. During his time as one of Edison's most trusted and important employees, Hammer devised a number of innovations to the incandescent electric lamp. He designed and built the first electric sign, which spelled out the name "Edison". While in Germany, he invented the automatic motor-driven flashing electric lamp sign. This particular sign flashed the word "Edison" letter by letter and then all at once. At the International Electrical Exhibition, held in Philadelphia in 1884, Hammer also constructed the first flashing column of electric lights.

Upon his return to the U.S. in 1890, Hammer worked as an independent consulting electrical engineer by assisting in a variety of electrical projects, carrying out tests, giving lectures and providing expert testimony in patent disputes. He based this modest enterprise in an office in New York City and continued in this occupation until 1925. His career as an electrical engineering consultant was interrupted by World War I. In June 1918, he was commissioned a major in the U.S. Army. He was assigned to the Inventions Section of the War Plans Division of the General Staff in charge of Aeronautical and Electrical Inventions at the Army War College, Washington, D.C.. By December of that year, he was attached to the Operations Division General Staff at the War Department (Inventions Section). During the war and on into 1919, Hammer also worked for the U.S. Patent Office by identifying any aviation-related patents likely to convey too much information to potential enemies. In conjunction with his War Department duties, he acted as a member of the Advisory Board of Experts affiliated with the Alien Property Commission.

Busy as he was with his private consulting work, Hammer also immersed himself in other scientific activities. He took a particular interest in radium after visiting Pierre and Marie Curie in Paris in 1902. The two discoverers of radium gave him some samples of this substance. Soon after returning to the United States, Hammer experimented with radium. His research yielded numerous useful applications for this material such as radium-luminous powders and paints that were used to coat everything from watch and clock dials to aeronautical instruments, switches and toys. Hammer also advocated the use of radium for cancer and tumor treatment. Beyond his interest in this material, he invented selenium light-sensitive cells and recommended many practical uses for them. He also conducted a great deal of laboratory work on X-rays, ultraviolet and cathode rays, phosphorescence and wireless communications. Accordingly, he lectured and published extensively on many of these fields of research and study.

Hand in hand with his overall interest in science and technology, Hammer had a particular passion for aeronautics. Beyond paying careful attention to the rapid progress made in this field at the turn of the twentieth century, he also played an active role as participant and supporter. He made his first balloon flight over France during the Paris Exposition of 1889. His last lighter-than-air journey took place in 1931 aboard the U.S. Navy dirigible Los Angeles. Moreover, he attended and officiated over many balloon, airship and airplane exhibitions and races. Hammer was a member of the Aero Club of America and a director of the Aeronautical Society. This latter group made the first ever purchase of an airplane in January 1909. He served as expert and secretary of the Aeronautics Committee on the Hudson-Fulton Celebration Commission of 1909 and wrote the contracts for Wilbur Wright and Glenn Curtiss to fly their airplanes for this event. This occasion in New York was important as it marked the first time a large gathering of people in the U.S. witnessed heavier-than-air powered flight. As a friend of the Wright brothers, Hammer testified as an expert witness on their behalf during various patent litigation suits. His contact with aviation pioneers went beyond the Wrights and Curtiss. He also knew and interacted with, among others, Samuel Langley, Alberto Santos-Dumont, Henri Farman and Count Ferdinand von Zeppelin. Even his work with radium had applications for aviation. Hammer developed radium-based luminous compounds and used them on aircraft instruments so pilots could more easily view their cockpits' dials and gauges.

Hammer's last years were filled with serving as Historian General of the Military Order of the World War, as well as participating in many scientific, engineering and aeronautical committees and societies. During this time, he was the recipient of numerous honors and awards, including the Elliott Cresson Gold Medal, John Scott Medal from the Franklin Institute and the Cross of the Legion of Honor from France. Up until his death on March 24, 1934, he also labored in his efforts to organize a vast personal collection of rare and valuable scientific artifacts, photographs and other materials accumulated since his days with Edison. Following Hammer's death, this important collection was left in the care of his daughter Mabel (his wife of twelve years, Alice, having died in 1906). Some years later, International Business Machines (IBM) acquired it. In 1962, IBM donated the William J. Hammer Scientific Collection to the Smithsonian Institution. The bulk of the collection resides with the National Museum of American History's Archives Center. In the mid 1980s, the aeronautical portion of this collection was transferred to the National Air and Space Museum (NASM) Archives.

Provenance:

IBM (Mr. William J. Hammer Collection), gift, 1961, XXXX-0074, not NASM

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.

Topic:

Aeronautics -- Exhibitions  Search this

Aeronautics -- 1903-1916  Search this

Periodicals  Search this

Aeronautics  Search this

Genre/Form:

Drawings

Scrapbooks

Publications

Manuscripts

Correspondence

Photographs

Citation:

William J. Hammer Collection, Acc. NASM.XXXX.0074, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.XXXX.0074

See more items in:

William J. Hammer Collection

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2b19d3684-d8df-43fc-ba10-9da9e20ed7c2

EDAN-URL:

ead_collection:sova-nasm-xxxx-0074

Collection Creator:

Lopez, Donald S.,, 1923-2008  Search this

Type:

Archival materials

Date:

1978

Scope and Contents:

A collage of film clips put together for the Exhibition Flight Gallery. 1. Smoke loop. 2. Piper J-3 Cub taking off from an automobile roof. 3. Running takeoff of a Piper Cub. 4. Automobile to airplane transfer (country road). 5. Hooded hook on transfer (by the feet). 6. Straight jacket and parachute escape. 7. Human pick-up with Stinson (Aircraft) SR-10F Reliant. 8. French ribbon snatch. 9. Belly slide. 10. Bendix race crash. 11. Mass parachute drop from a balloon. 12. Little girl tap dancing on top of a balloon. 13. Balloon gymnastics. 14. Glider over the cliff (French?). 15. Crashing into a house. 16. Motorcycle to airplane transfer (on the beach). 17. Hydroplane to airplane transfer. 18. Sport boxing on an Avro 504. 19. Diving out of an airplane into the water. 20. Lilian Boyar - wingwalker. 21. Hanging by teeth. 22. Wing to wing transfer. 23. Automobile to air aircraft transfer (beach). 24. Train to airplane transfer. 25. Flying into house. 26. Flying into house at the Minnesota State Fair (1935) with a bow from Captain Frank Frakes. 27. Roman C. Warren flying his Thomas Morse Scout under Mission Bridge (Santa Anna River) at Riverside California June 13, 1926. 28. Hanging by hair. 29. Wingwalking (Dougherty 'torn wing' aircraft). 30. Automobile (Ford Mustang) to airplane (Piper Cub) transfer with a flaming finish (crashing through a wall of fire). 31. Little girl tap dancing on the upper wing of a Curtiss JN-4 Jenny.

Collection Restrictions:

No restrictions on access

Collection 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.

Collection Citation:

Donald Sewell Lopez Collection, NASM.2008.0042, National Air and Space Museum, Smithsonian Institution.

See more items in:

Donald Sewell Lopez Collection

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2d4229433-9c91-4433-b8ae-adb6dbe6e144

EDAN-URL:

ead_component:sova-nasm-2008-0042-ref9

Medium:

paper; ink

Dimensions:

Height x Width: 16 15/16 x 13 3/8 in. (43 x 34 cm)

Type:

Archival Material

Date:

c.1949-1958

Topic:

Postal Administration  Search this

Object number:

2010.2004.41

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm8f868e9ba-5efa-434e-a71f-baf37edf150c

EDAN-URL:

edanmdm:npm_2010.2004.41

Medium:

paper; ink

Dimensions:

Height x Width: 16 15/16 × 13 3/8 in. (43.02 × 33.97 cm)

Type:

Archival Material

Place:

United States of America

Date:

c.1949-1958

Object number:

2010.2004.42

See more items in:

National Postal Museum Collection

Data Source:

National Postal Museum

GUID:

http://n2t.net/ark:/65665/hm87b624a6f-8bca-47ab-9ccd-3af87cf0ec21

EDAN-URL:

edanmdm:npm_2010.2004.42

Artist:

Robert Wesley Wilson, born 1937  Search this

Copy after:

Herb Greene, born 1942 (Photographer)  Search this

Sitter:

Jorma Kaukonen, born 1940  Search this

Spencer Dryden, 7 Apr 1938 - 10 Jan 2005  Search this

Marty Balin, born 1942  Search this

Jack Casady, born 1944  Search this

Ronald McKernan, 1945 - 1973  Search this

William Kreutzmann, born 1946  Search this

Jerome John Garcia, 1 Aug 1943 - 9 Aug 1995  Search this

Robert Hall Weir, born 1947  Search this

Philip Chapman Lesh, born 1940  Search this

Medium:

Offset lithographic poster

Dimensions:

Sheet: 50.5 x 36cm (19 7/8 x 14 3/16")

Mat: 55.9 x 40.6 x 1.9cm (22 x 16 x 3/4")

Type:

Print

Date:

1966

Topic:

Poster  Search this

Commercial  Search this

Jerome John Garcia: Male  Search this

Jerome John Garcia: Performing Arts\Performer\Musician  Search this

Jerome John Garcia: Performing Arts\Performer\Musician\Singer\Rock singer  Search this

Philip Chapman Lesh: Male  Search this

Philip Chapman Lesh: Performing Arts\Performer\Musician\Rock musician  Search this

Robert Hall Weir: Male  Search this

Robert Hall Weir: Performing Arts\Performer\Musician\Rock musician  Search this

William Kreutzmann: Male  Search this

William Kreutzmann: Performing Arts\Performer\Musician\Rock musician  Search this

Marty Balin: Male  Search this

Marty Balin: Performing Arts\Performer\Musician  Search this

Jorma Kaukonen: Male  Search this

Jorma Kaukonen: Performing Arts\Performer\Musician\Guitarist  Search this

Jack Casady: Male  Search this

Jack Casady: Performing Arts\Performer\Musician  Search this

Spencer Dryden: Male  Search this

Spencer Dryden: Performing Arts\Performer\Musician  Search this

Ronald McKernan: Male  Search this

Ronald McKernan: Performing Arts\Performer\Musician  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2004.16

Restrictions & Rights:

Usage conditions apply

Copyright:

© Wes Wilson

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4d613800d-485d-450e-834c-8bc42f0db976

EDAN-URL:

edanmdm:npg_NPG.2004.16

Artist:

Jean A. Mercier, 1899 - 1995  Search this

Sitter:

Buster Keaton, 4 Oct 1895 - 1 Feb 1966  Search this

Medium:

Color lithographic poster

Dimensions:

Image: 145.9 x 105.9cm (57 7/16 x 41 11/16")

Board: 163.2 x 126.4cm (64 1/4 x 49 3/4")

A to G Depth: To be determined by strainer

Type:

Print

Date:

c. 1928

Topic:

Vehicle\Train  Search this

Caricature  Search this

Equipment\Camera  Search this

Vehicle\Boat  Search this

Nature & Environment\Animal\Bird  Search this

Vehicle\Automobile  Search this

Weapon\Cannon  Search this

Vehicle\Airplane  Search this

Poster  Search this

Poster\Movie  Search this

Buster Keaton: Male  Search this

Buster Keaton: Performing Arts\Performing arts director\Film director  Search this

Buster Keaton: Performing Arts\Performer\Actor\Movie actor  Search this

Buster Keaton: Performing Arts\Performer\Comedian  Search this

Buster Keaton: Performing Arts\Performer\Vaudeville performer  Search this

Buster Keaton: Performing Arts\Performer\Actor\Television actor  Search this

Buster Keaton: Oscar  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.86.170

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4ff97358c-ea00-4d97-b888-3850ee2cfecf

EDAN-URL:

edanmdm:npg_NPG.86.170

Artist:

Morgan Lithography Company, active c. 1917 - 1945  Search this

Sitter:

Oliver Hardy, 18 Jan 1892 - 7 Aug 1957  Search this

Stan Laurel, 16 Jun 1890 - 23 Feb 1965  Search this

Medium:

Color lithographic poster

Dimensions:

Image: 195.7cm x 100.7cm (77 1/16" x 39 5/8")

Sheet: 202.2cm x 101.3cm (79 5/8" x 39 7/8")

Mount: 227cm x 105.5cm (89 3/8" x 41 9/16")

Type:

Print

Date:

1939

Topic:

Costume\Headgear\Military  Search this

Weapon\Gun\Rifle  Search this

Vehicle\Airplane  Search this

Poster  Search this

Poster\Movie  Search this

Oliver Hardy: Male  Search this

Oliver Hardy: Performing Arts\Performing arts director\Film director  Search this

Oliver Hardy: Performing Arts\Performer\Actor\Movie actor  Search this

Oliver Hardy: Performing Arts\Performer\Comedian  Search this

Stan Laurel: Male  Search this

Stan Laurel: Performing Arts\Performing arts director\Film director  Search this

Stan Laurel: Performing Arts\Performer\Actor\Movie actor  Search this

Stan Laurel: Performing Arts\Performer\Comedian  Search this

Stan Laurel: Performing Arts\Performer\Vaudeville performer  Search this

Stan Laurel: Literature\Writer\Screenwriter  Search this

Stan Laurel: Oscar  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.91.10

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm48aa29a2a-498c-4a3d-8d03-413fcc39a60e

EDAN-URL:

edanmdm:npg_NPG.91.10

Artist:

Morgan Lithography Company, active c. 1917 - 1945  Search this

Sitter:

William A. ("Bud") Abbott, 1895 - 1974  Search this

Louis Francis Cristillo ("Lou") Costello, 1906 - 1959  Search this

Medium:

Color halftone poster

Dimensions:

Sheet: 96.4 × 71.1 cm (37 15/16 × 28")

Type:

Print

Place:

United States\Ohio\Cuyahoga\Cleveland

Date:

1941

Topic:

Exterior\Sky  Search this

Vehicle\Airplane  Search this

Costume\Headgear\Hat\Aviator  Search this

Poster  Search this

Poster\Movie  Search this

William A. ("Bud") Abbott: Male  Search this

William A. ("Bud") Abbott: Performing Arts\Performer\Comedian  Search this

Louis Francis Cristillo ("Lou") Costello: Male  Search this

Louis Francis Cristillo ("Lou") Costello: Performing Arts\Performer\Comedian  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.97.140

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4c9e2fdb1-14a3-4300-bfec-48df6317b018

EDAN-URL:

edanmdm:npg_NPG.97.140