Advertising

Advertising is meant to persuade, and the themes and techniques of that persuasion reveal a part of the nation's history. The Museum has preserved advertising campaigns for several familiar companies, such as Marlboro, Alka-Seltzer, Federal Express, Cover Girl, and Nike. It also holds the records of the NW Ayer Advertising Agency and business papers from Krispy Kreme Doughnuts, Carvel Ice Cream, and other companies. The Warshaw Collection of Business Americana comprises thousands of trade cards, catalogs, labels, and other business papers and images dating back to the late 1700s.

Beyond advertising campaigns, the collections encompass thousands of examples of packaging, catalogs, and other literature from many crafts and trades, from engineering to hat making. The collections also contain an eclectic array of advertising objects, such as wooden cigar-store Indians, neon signs, and political campaign ads.

This sign was purchased by a North Beach second-hand shop from a proprietor in the neighboring Chinatown district of San Francisco. It is said to date from between 1890 and 1910.
Description
This sign was purchased by a North Beach second-hand shop from a proprietor in the neighboring Chinatown district of San Francisco. It is said to date from between 1890 and 1910. If that is so, the sign’s survival is quite miraculous: The 1906 earthquake in April of that year caused much damage throughout the city due to spreading wildfires. Residents of Chinatown grabbed what they could easily carry and evacuated the neighborhood ahead of the fires, taking up temporary residence in relief camps in San Francisco and Oakland. Relocating Chinatown permanently to Hunter’s Point or North Beach was discussed, but, with realization of the continued need for the tax base provided by foreign trade between the business community and Asia, Chinatown was ultimately rebuilt at its original location and continued to be not only a major center for the Chinese American community but a popular destination for tourists to the present day.
Translation of this shop sign would help to document a portion of the economic history of this neighborhood. It is likely that the language is Cantonese, the dialect used in Southern China, which was engaged in foreign trade long before military oppression and American labor recruitment in the mid-19th century brought immigrants to “Gun San” or the “Land of the Golden Mountain,” as the Cantonese referred to the West Coast of the United States. Not only did Chinese pan for gold in San Francisco. They labored excavating coal, mercury, and borax, building railway lines and tunnels, and working for fisheries and canneries throughout Far West. Economic depression following the Civil War brought fear, discrimination, and violence to established Chinese communities. Successively restrictive acts of Congress prohibited further Chinese immigration beginning in 1882, with continuing restrictions of civil rights until the Immigration Law of 1965 eliminated such restrictions, bringing a new wave of migration to the United States from Asia.
With dwindling opportunities to earn enough money to return home, Chinese Americans turned to such service industries as laundries and restaurants and specialized increasingly in trade abroad. But this sign also may have advertised availability of herbal medicines, foodstuffs, cookwares, or furnishings desired by the local Chinese American community, which, while changing in population, has survived in San Francisco to the present day.
ID Number
1985.0844.02
accession number
1985.0844
catalog number
1985.0844.02
This primarily pink tin with white and brown used for writing and design once contained Blum's Almondettes.
Description
This primarily pink tin with white and brown used for writing and design once contained Blum's Almondettes. Blum’s was a San Francisco based candy shop open at least between the years of the 1890s to 1970s.
Chocolate had been known and treasured by Native Americans in Central and South America for thousands of years prior to the arrival of the first Spanish explorers in the late 1400s and early 1500s. Cacao beans were so highly prized by Mayans and Aztecs that they were used as currency in many areas of the Americas. When first taken back to Europe by the Spanish, the chocolate drink continued to be produced exclusively for the enjoyment of royalty or the extremely wealthy. As the cacao bean gradually made its presence known throughout Europe, it still remained trapped in this exclusive section of society well into the 19th century.
The chocolate trade to North America began more than 300 years ago, primarily centered in or near major port cities of the time, such as New York City, Boston, Philadelphia and Newport, RI. Due to lower transportation costs, chocolate was often less expensive in the Americas than in Europe and therefore had a broader consumer base. The Industrial Revolution radically changed chocolate production and helped propel it into the hearts and stomachs of the working class. Instead of being a labor intensive product, it became entirely machine made reducing costs even further in the late 19th and early 20th century. During this time, chocolate went from being something a person drank to being something to eat, finally becoming a treat for the masses.
Location
Currently not on view
ID Number
AG.77-FT-15.0274
accession number
283681
catalog number
77-FT-15.0274
David Lance Goines is known as a writer and lecturer as well as an illustrator and printer of both letterpress and offset lithography, his work much exhibited and collected throughout the country.
Description
David Lance Goines is known as a writer and lecturer as well as an illustrator and printer of both letterpress and offset lithography, his work much exhibited and collected throughout the country. But his Arts and Crafts influenced design is best known on his posters and in books. Goines was a recognized activist in Berkeley, associated with the Free Speech and Anti-War movements, and he did poster and book work for these movements.
Alice Waters, who founded the Berkeley restaurant, Chez Panisse, was a founding inspiration of the fresh, local, and organic food movement. She met David Goines in the Berkeley Free Speech movement. They began to collaborate on a column, “Alice’s Restaurant” for the local alternative paper. She wrote the recipes and he provided the artwork. He collected and printed each column as Thirty Recipes for Framing and the entire set and individual prints from the set began to appear on Berkeley walls and beyond, establishing him with enough profits to buy the Berkeley Free Press, rechristened the St. Hieronymus Press.
He issued his first Chez Panisse poster, "Red-Haired Lady," in 1972 and his most recent, "41st Anniversary," in 2012. In between is a series of anniversary posters, plus occasional others celebrating the restaurant's book releases, such as the Chez Panisse Café Cookbook, and other ventures. These works established his place as the primary artist associated with food and wine in the so-called Gourmet Ghetto. His early posters for Chez Panisse were soon followed by requests from other food and wine related sites and events, as well as from many other commercial entities.
The 1976 logo for Ravenswood Winery shows three intertwined ravens in a triskelion on the label designed by Goines for the release of the winery’s first vintage of Zinfandel. Winemaker Joel Peterson, the founder of Ravenswood Winery, told the artist of something he experienced in harvesting his first vintage. Ravens were the vineyard protectors who cawed at him through his stormy, debut harvest. Years later, the image is well known from the wine label which has remained as Goines designed it in 1976 (number 83 in the Goines repertory), on what became one of the most popular wines in the country.
The label even inspires tattoos. Peterson says that anyone showing up at the winery with a tattoo of said Ravenswood/Goines image will receive tastings of the wine free. Since 2008, every July the Winery holds a Tattoo Coming Out Party and Poetry Slam where people without permanent ink on their bodies can receive a temporary tattoo if they write a poem that “declares your love for tattoos, Ravens, or tattoos.”
Location
Currently not on view
date made
1979
maker
Goines, David Lance
ID Number
2012.0169.01
accession number
2012.0169
catalog number
2012.0169.01
Made of red fabric. This skirt is from the ensemble worn by jazz vocalist, Ella Fitzgerald, in an American Express Card advertisement, photographed by Annie Liebovitz. Sewn on the inside waistbandFCurrently not on view
Description

Made of red fabric. This skirt is from the ensemble worn by jazz vocalist, Ella Fitzgerald, in an American Express Card advertisement, photographed by Annie Liebovitz. Sewn on the inside waistband

F

Location
Currently not on view
advertiser
American Express Company
wearer
Fitzgerald, Ella
designer
Loper, Don
ID Number
1996.0342.007
accession number
1996.0342
catalog number
1996.0342.007
This small wooden box painted to look like a stage showcases three dancing candy bars created by George Pal to advertise Peter Paul's Mounds Candy. Mounds Candy originated in 1920 and was purchased by the Peter Paul Company in 1929.
Description (Brief)
This small wooden box painted to look like a stage showcases three dancing candy bars created by George Pal to advertise Peter Paul's Mounds Candy. Mounds Candy originated in 1920 and was purchased by the Peter Paul Company in 1929. This animated commercial for the popular candy bars probably made its debut in the movie theaters sometime after World War II. The three Mounds candy figures are made of rubber and the set includes eight interchangeable heads, two hats, a cane, and a miniature newspaper.

George Pal was one of the pioneers of stop-frame animation, a painstaking process achieved by moving figures and shooting each change on a single frame of motion picture film in a series of progressive steps. For each frame shot, the head, arms, and legs of the figures were changed according to the motions needed to create the illusion of movement. Pal was awarded an honorary Oscar in 1944 for "the development of novel methods and techniques in the production of short subjects known as Puppetoons".

George Paul (1908-1980) nee George Marczincsak, was born in Austria Hungary and educated at the Budapest Academy of Arts where he studied architecture. Limited job opportunities encouraged Pal to further his interest in human anatomy, and he attended a local medical school where he studied kinetic motion—the energy of motion and the interrelationships between moving parts. This sparked Pal’s interest in animation and his studies served him well when he went to work at a silent film company where he became the head of the cartoon department.

By 1933, fascism was on the rise and the Nazi regime was spreading its influence in Europe. Pal fled to Prague, and where he was known as an animator, special effect designer, and producer and then Paris where he opened his own animation studio. He disliked the flat two-dimensional looks of the early cartoons and he began to create three-dimensional figures using carved wood with wire limbs that made for easy movement. Pal created replacement parts, such as heads, arms, and legs, that could be used interchangeably to create the impression of continuous, flowing movement. These puppets with no strings were named “Puppetoons”, a combination of the two words puppet and cartoon. Pal finally settled in Eindhoven, Netherlands were he produced short films and commercials for products that were sold in England, France, and the Netherlands.

On average, the animated shorts lasted about eight minutes, and for each film, Pal created as many as 9,000 puppets with as many as 200-300 heads and appendages. One of his first advertisements included dancing cigarettes.

In 1939, while Pal was traveling in the U.S. lecturing at Columbia University, the Germans invaded Poland. Pal, his wife, and his son were granted asylum in the U.S. and in 1940 he was hired by Paramount Pictures.

Pal had a long and successful career in Hollywood, and his work with the Puppetoons addressed a wide variety of subject matters, including politics, fairy tales, and music. Pal was also well known and respected for his work in feature films and was the first producer-director to combine animated puppets with human actors. He was awarded several patents for his creations and he was awarded eight Academy Awards for his work in film.

Location
Currently not on view
date made
1946
maker; producer
Pal, George
maker
Pal, George
ID Number
1983.0361.08
accession number
1983.0361
catalog number
1983.0361.08
Currently not on view
Location
Currently not on view
date made
ca 1850 - 1900
ID Number
CL.65.0033
catalog number
65.0033
accession number
258075
This poster depicts some of the biotechnology firms of “Biotech Beach” (the San Diego area) in 1993. It was created by artist Terry Guyer for Synergistic Designs, a promotional media publisher.For more information, see object 1994.3092.01.
Description (Brief)
This poster depicts some of the biotechnology firms of “Biotech Beach” (the San Diego area) in 1993. It was created by artist Terry Guyer for Synergistic Designs, a promotional media publisher.
For more information, see object 1994.3092.01.
date made
1993
maker
Synergistic Designs
ID Number
1994.3092.02
catalog number
1994.3092.02
nonaccession number
1994.3092
This button is part of a set of materials (much of it advertising ephemera) relating to computing donated to the Smithsonian for possible use its Information Age exhibition. It reads: Discover (/) The Dysan (/) Difference.
Description
This button is part of a set of materials (much of it advertising ephemera) relating to computing donated to the Smithsonian for possible use its Information Age exhibition. It reads: Discover (/) The Dysan (/) Difference. The "disc" is faint.
Dysan Corporation was a California manufacturer of data storage devices, including 8", 5 1/4", and 3 1/4" discs, as well as magnetic tapes. It was in business independently from 1973 until 1984., Hence the rought= date of 1980.
Several Dysan products are in the collections, particularly as used with microcomputers.
Location
Currently not on view
date made
1980
maker
Computerworld
ID Number
1990.0407.08
catalog number
1990.0407.08
accession number
1990.0407
This sleeveless T–shirt depicts some of the biotechnology firms of “Biotech Beach” (the San Diego area) in 1993. It was created by artist Terry Guyer for Synergistic Designs, a promotional media publisher.For more information, see object 1994.3092.01.Currently not on view
Description (Brief)
This sleeveless T–shirt depicts some of the biotechnology firms of “Biotech Beach” (the San Diego area) in 1993. It was created by artist Terry Guyer for Synergistic Designs, a promotional media publisher.
For more information, see object 1994.3092.01.
Location
Currently not on view
date made
1993
maker
Synergistic Designs
ID Number
1994.3092.06
catalog number
1994.3092.06
nonaccession number
1994.3092
This poster depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1991.
Description (Brief)
This poster depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1991. It was created by artist Kat Wilson for Synergistic Designs, a promotional media publisher.
Starting in 1984, Synergistic Designs created a series of artwork maps it dubbed “FusionScapes” to promote regional areas of high technology, particularly biotechnology. The maps depicted local businesses and research facilities, and were intended to serve as “both a fun conversation piece and an effective line of corporate image-enhancement tools.” Concentrated centers of biotechnology throughout the United States were given catchy nicknames referring to the region and its ties to genetics. Among these names were “Genetown” (a play on “Beantown” for the greater Boston area) and “BioForest” (the name for the Pacific Northwest biotech industry.)
Companies, universities, and research facilities in the biotech field paid to be included on the maps as well as in regional directories, which were updated every other year. The maps were printed on posters, postcards, T–shirts and other promotional ephemera, and could be modified to highlight specific institutions. By the mid-1990s, Synergistic Designs shifted its emphasis from traditional printed promotional materials to a website that integrated all of the regions of biotechnology in a single space. BioSpace.com launched in 1996 with the intention of being a “virtual on-going trade conference for the global biotech industry.” The site was still live and publishing new regional biotech maps as of 2012.
Today, the older maps provide unique historical snapshots of the development of the biotechnology industries in the different regions of the United States.
Sources:
“Synergistic designs unveils 4th Biotech Bay promotional campaign; demonstrates biospace web site enhancements” PR Newswire.
“Md. Biotech industry setting up Web site ‘Nonstop trade show’ starts next month at www.biospace.com.” Guidera, Mark. Baltimore Sun. August 28, 1996.
1994 Biotech Bay Directory
Accession File
date made
1991
maker
Synergistic Designs
ID Number
1994.3092.01
catalog number
1994.3092.01
nonaccession number
1994.3092
The cover of this eight-page pamphlet is blue and black. It reads: HOW THE (/) OTIS KING (/) SPIRAL (/) SLIDE RULE (/) SAVES TIME (/) AND MISTAKES (/) IN ALL (/) CALCULATIONS (/) SIMPLE (/) QUICK (/) ACCURATE.
Description
The cover of this eight-page pamphlet is blue and black. It reads: HOW THE (/) OTIS KING (/) SPIRAL (/) SLIDE RULE (/) SAVES TIME (/) AND MISTAKES (/) IN ALL (/) CALCULATIONS (/) SIMPLE (/) QUICK (/) ACCURATE. The text describes the features and advantages of the Otis King cylindrical slide rule. Drawings demonstrate the three steps required to make calculations. The pamphlet also lists 13 sample problems the Otis King Pocket Calculator could solve, 37 companies that were major customers of the rule, and 50 professions that usefully employed the rule. The back page carries five anonymous testimonials and is stamped in blue ink with the address of the instrument's U.S. distributor: CALCULATOR COMPANY (/) BOX 593 (/) LAKEWOOD, CALIFORNIA 90714.
This pamphlet arrived with 1989.3049.02. See also 1989.3049.03.
Location
Currently not on view
date made
ca 1965-1968
maker
Carbic Limited
ID Number
1989.3049.04
nonaccession number
1989.3049
catalog number
1989.3049.04
Notebook with celluloid cover. Its white and blue paper pages are trimmed with gold leaf. Many pages are hand-marked in black ink with messages from people the owner met aboard the ship.
Description (Brief)
Notebook with celluloid cover. Its white and blue paper pages are trimmed with gold leaf. Many pages are hand-marked in black ink with messages from people the owner met aboard the ship. Notebook contains traveler information, an autograph book, a calendar for 1907-1908, and more.
Location
Currently not on view
date made
1907
maker
Bachrach & Company
ID Number
2006.0098.1110
accession number
2006.0098
catalog number
2006.0098.1110
A blotter pad with a celluloid cover. It is an advertising novelty for the Independent Order of Foresters. The organization's logo and motto are printed on the cover, with images depicting the I.O.F. Orphans Home in Oakville, Ontario, the I.O.F.
Description (Brief)
A blotter pad with a celluloid cover. It is an advertising novelty for the Independent Order of Foresters. The organization's logo and motto are printed on the cover, with images depicting the I.O.F. Orphans Home in Oakville, Ontario, the I.O.F. Tuberculosis and Cancer Sanatoria in Los Angeles County, the I.O.F. Temple Building in Toronto, Ontario, and the I.O.F. Aged Members Home Cottages in Los Angeles County Calif. The I.O.F. is a fraternal benefit society that celebrated its 135th year in 2009. It provides financial services and benefits to members in the United States and Canada.
Location
Currently not on view
maker
Whitehead & Hoag Company
ID Number
2006.0098.1419
catalog number
2006.0098.1419
accession number
2006.0098
Ann Miller, the vivacious tap-dancing star of such classic screen musicals as On the Town (1949) and Kiss Me Kate (1953) wore this sparkling costume in a famous 1971 TV commercial for Heinz’s short-lived product, Great American Soup.
Description (Brief)
Ann Miller, the vivacious tap-dancing star of such classic screen musicals as On the Town (1949) and Kiss Me Kate (1953) wore this sparkling costume in a famous 1971 TV commercial for Heinz’s short-lived product, Great American Soup. The one-minute commercial, produced and directed by noted humorist and broadcaster, Stan Freberg, was a tribute to the spectacular, Busby Berkeley-style Hollywood musicals of the 1930s and 1940s, with Miller rising up out of the floor on top of a eight feet high cylinder designed to look like a giant soup can. She was backed by spurting red, white, and blue fountains and a staircase filled with singing and dancing platinum blonde chorines. The song featured in the commercial is a Freberg parody of a Hollywood tribute and has, as one of its campy, nonsensical lyrics the following phrase: ”Who’s got its noodles up in lights/ From Broadway to the Loop?/It’s the great – I said the great – the Great American Soup!” At the conclusion of the lavish musical number, Miller whirls back into kitchen setting where the scene began and Dave Willock, the actor playing her husband, remarks, “Why do you always have to make such a production out of everything?”
The costume, created by the Berman Costume Company, is made of red satin and decorated with iridescent red sequins and a glittering white rhinestone filigree pattern trim around the hips and top of bust Another major component of the costume is a bright red silk top hat, decorated with a silver band and blue stars. Both elements of costume, combined with Miller’s sunny, tongue-in-cheek performance style and Freberg’s witty script, make this one of the funniest, most elaborate commercials ever produced.
Location
Currently not on view
date made
1970
performing artist
Miller, Ann
maker
Berman Costume Company
ID Number
2002.0268.01
accession number
2002.0268
catalog number
2002.0265.01
This T–shirt depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1991.
Description (Brief)
This T–shirt depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1991. It was customized to highlight one of the firms, Genentech, with an orange star over the Genentech campus, the Genentech logo on the sleeve, and the slogan “Success is in our genes” on the back. The original image was created by artist Kat Wilson for Synergistic Designs, a promotional media publisher.
For more information, see object 1994.3092.01.
Location
Currently not on view
date made
1991
maker
Synergistic Designs
ID Number
1994.3092.05
catalog number
1994.3092.05
nonaccession number
1994.3092
This T–shirt depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1994. The image was created by an artist for Synergistic Designs, a promotional media publisher.For more information, see object 1994.3092.01.Currently not on view
Description (Brief)
This T–shirt depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1994. The image was created by an artist for Synergistic Designs, a promotional media publisher.
For more information, see object 1994.3092.01.
Location
Currently not on view
date made
1994
maker
Synergistic Designs
ID Number
1994.3092.07
catalog number
1994.3092.07
nonaccession number
1994.3092

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