Testimonial advertisements, today seemingly reserved for fading actors, retired politicians, and late-night cable infomercials, were once a mark of innovation and prestige in advertising. This exhibit, a complement to “The Power of Refined Beauty: Photographing Society Women for Pond’s, 1920s-1950s,” highlights some examples of this style of advertising, as documented in the collections of the Hartman Center.
In 1923, JWT created a new advertising campaign for Pond’s creams, based on the testimonials of leading American society women and European titled nobility. That campaign lasted for over thirty years and is the focus of half of the exhibit. Newsletters, internal memos, publications, ads and other items allow the viewer a behind-the-scenes look at bringing a concept to fruition in a long-standing advertising campaign.
Taking a broader view, the other half of the exhibit documents an overview of the use of testimonials and celebrity endorsements in advertising for a range of products. From an 1893 endorsement by arctic explorer Lieutenant Peary for Kodak, to Count Basie for Camel cigarettes, to Coach K for American Express, a wide variety of well-known celebrities are shown endorsing products. Advertisements, reports, and memos illustrate advertisers’ belief that celebrity testimonials could lend products a feeling of familiarity and credibility, while also creating the illusion that to purchase a given product was to belong to an elite cast.
Post contributed by Jackie Reid, Director of the Hartman Center, and Lynn Eaton, Hartman Center Reference Archivist
The Archive for Human Rights has signed an agreement with Patricia Murphy Derian to serve as the repository for her papers, which document her long career in human rights.
Patt, as she is known to friends and family, was involved in the civil rights struggles in Mississippi prior to being tapped by President Jimmy Carter to head the newly-minted Bureau for Human Rights and Humanitarian Affairs. In 1977, she became the nation’s very first assistant secretary for human rights.
Her papers consist of country files, general files, correspondence, and a collection of audio and video interviews. Processing of the collection will begin immediately and should be complete by summer of 2010. If you’d like to arrange a visit to view the collection, or if you have any questions, please e-mail us at special-collections(at)duke.edu.
Post contributed by Patrick Stawski, Human Rights Archivist.
Nadejda Mikhailovna Romanov Mountbatten, Marchioness of Milford Haven, won a Charleston dance competition at Cannes in 1921 with the future King George VI.
Anne Tracy Morgan organized the American Fund for French Wounded, earning the Croix de Guerre and recognition from the French Legion of Honor.
Clare Josephine O’Brian Egerton, Duchess of Sutherland, lost $84,000 of jewels on the morning of Queen Elizabeth II’s coronation.
Along with other socialites, heiresses, and royalty from families such as the Vanderbilts and the Roosevelts, these women appeared in Pond’s socialite endorsement campaign, masterminded by the J. Walter Thompson Company. The Hartman Center‘s new exhibit,”The Power of Refined Beauty: Photographing Society Women for Pond’s, 1920s-1950s,” charts the course of this wildly-successful thirty-year campaign.
Adding to the prestige of the campaign, the women’s photographs were taken by distinguished fashion photographers such as Edward Steichen, Baron Adolph de Meyer, Louise Dahl-Wolfe, and Cecil Beaton.
A print catalog of these photographs will complement the exhibit. Please e-mail hartman-center(at)duke.edu to request a copy.
And now for a brief history lesson. George Walton was the governor of Georgia for two months in 1779 and then from 1789 to 1790. We found this letter (click image to enlarge) from then-Secretary of State Thomas Jefferson among the small collection of Walton’s papers housed at the RBMSCL. Jefferson writes that he is sending Walton “two copies duly authenticated of the Act providing for the enumeration of the inhabitants of the United States.” Jefferson is referring, of course, to the Census Act of 1790, which authorized the first census of the inhabitants of the new United States.
The census, you see, is very dear to the archivist’s heart. We often use census records, whether it’s to learn about families from long ago whose papers we’re processing or to help researchers discover information about their great-great-great grandparents. So we hope you won’t mind our appeal to you to carefully fill out and mail your census forms. After all, we have Thomas Jefferson’s authority behind us.
We’re beginning a new feature today! We’ve asked some of the wonderful authors and scholars that the RBMSCL has hosted over the years to contribute a few words on their new books and research projects. We’re going to start with an essay from Emily Herring Wilson, editor of the newly-released Becoming Elizabeth Lawrence: Discovered Letters of a Southern Gardener.
Years of research for a life of North Carolina garden writer Elizabeth Lawrence (1904-1985) led me many places, but none more inviting than my trips to Duke’s Special Collections Library, where I found hundreds of letters in the Ann Preston Bridgers Papers that brought Lawrence to life as no other materials, including interviews with family and friends who had known her. As I went through box after box of letters from Elizabeth to Ann (all beautifully catalogued by Janie Morris), I discovered a collection that not only informed the biography I wrote about Lawrence (No One Gardens Alone) but gave vivid testament to the importance of women’s friendships. (Bridgers, a successful playwright and a founder of the Raleigh Little Theatre, was teaching young Elizabeth how to write and how to live, all vividly revealed in the letters.) This month John F. Blair, Publisher, released my edited collection, Becoming Elizabeth Lawrence: Discovered Letters of a Southern Gardener. Among the books I have been privileged to write or edit, it is my favorite because of the charm and intelligence of a private life.
These letters from Elizabeth to Ann are lively with gossip, anecdote, reflection, regret, aspiration, and love—the love of friends, the love of gardens, and the love of literature. I still regard it as a miracle that they were not destroyed after Ann’s death in 1967 but ended up in the Bridgers Papers. I hope that you will read them and enjoy them as much as I did.
This month, stop by the RBMSCL’s reading room (103 Perkins) during open hours to view these new prints:
• Red-headed Woodpecker (Picus erythrocephalus)
• Hooping Crane (Grus americana; at left)
• Rough-legged Falcon (Buteo lagopus)
• Blue Jay (Corvus cristatus)
Visit this earlier blog post for a brief explanation of the monthly page turning.
Date: Tuesday, 16 March 2010
Time: 7:00 PM
Location: Rare Book Room
Contact Information: Patrick Stawski, 919-660-5823 or patrick.stawski(at)duke.edu, or Kirston Johnson, 919-681-7963 or kirston.johnson(at)duke.edu
Susan Stern, the film’s director (and Bob’s daughter), will lead discussion following the film.
The Rights! Camera! Action! film series, which is sponsored by the Archive for Human Rights, the Archive of Documentary Arts, the Duke Human Rights Center, the Franklin Humanities Institute, and Screen/Society at Duke’s Arts of the Moving Image Program, features documentaries on human rights themes that were award winners at the annual Full Frame Documentary Film Festival. The films are archived at the RBMSCL, where they form part of a rich and expanding collection of human rights materials. Additional support for this screening is provided by the Kenan Institute for Ethics and the Divinity School Institute on Care at the End of Life.
The RBMSCL’s Ashkar-Gilson Manuscript is currently on display at Jerusalem’s Israel Museum where it has been reunited with another fragment from the same 1,300-year-old scroll.
The story of the reunion of these two manuscripts, which contain portions of the Song of the Sea, was picked up on the AP wire. Here’s a link to the article as it appeared in the Jerusalem Dispatch.
This photo of the Ashkar-Gilson manuscript was taken with special lighting so that the writing on the aged manuscript could be seen.