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TITLE Broadsides & Posters from the National Archives. INSTITUTION National Archives and Records Administration, Washington, DC. REPORT NO ISBN-0-91333-37-1 PUB DATE 86 NOTE 36p.; Some colored photos may not copy well. PUB TYPE Guides Non-Classrocm Use (055)

EDRS PRICE MFOI/PCO2 Plus Postage. DESCRIPTORS *Archives; *Exhibits; *Government Libraries; Instructional Materials; Library Collections; Material Culture; Museums; National Libraries; Realia; Three Dimensional Aids; * History IDENTIFIERS Broadsides; *National Archives DC; Posters

ABSTRACT This booklet evolved from research for the exhibition "Uncle Sam Speaks: Broadsides and Posters from the National Archives," which opened at the National Archives in February 1986. The booklet is presented chronologically, beginning withbroadsides from the American Revolution and ending with posters of the1980's. Accompanying text explains the significance of each poster or broadside. This publication attempts to show a variety of posted notices that demonstrates how messages remain the same or change over time, and represents some of the interesting choices made through200 years regarding language, artistic designs, andgraphic styles. (EH)

* .7 * Reproductions supplied by EDRS are the best that can be made * from the original document. 0. ****************************************************************** or II* "trMOW U S DEPARTMENT OF EDUCATION Ou.co 01 Foucatonal Hosoaron ano improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) X This document has been reproduced as receiveo from .5e person or organization rigirating II O Moor chdeges n rue been made to rripove repro( ,ctlon qualdy

Pctnts ot notn or orneiortS stated in this d.:)comenl de not necessarily represent OERI on 0, oolicy

PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY ! )11-thiA

TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC)

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Acknowledgments ..1.4 / W IN YV 1 This booklet was prepared by the Office of Public Pro- grams. National Archives and Records Administration in conjunction with the exhibition Uncle Sam Speaks: Broadsides and Posters from the National Archives, which opened at the Na- tional Archives in Fenruary 1986. The booklet was compiled and written by Nancy E. Allyn and desizned bv Gerard Gagne, under the direction of Christina Rudy Smith, Exhib- FORT BARRISON its Branch, Division of Exhibits and Educational Programs. Special appreciation s extended to William Cunliffe. Direc- tor, Special Archives Division. 17.iV!ISSOULAa.

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. JP' :qv All broadsides and posters shown here are part of the holdings of the National Archives. Their are referred to by : . Alt.."41114 record group (RG) number and title. The title for RG 360, . 4.111:::LW Records of the Continental and Confederation Congresses 11 e! and the Constitutional Convention, has been shortened to ,p. ..:*.;AUGUST 8tOM_ 9th,-- Records of the Continental Congress. The title for RG 45, i Naval Records Collection of the Office of Naval Records ;V., :nut ratisninfor 1,7 OA W.;",-. and Library, has been shortened to Naval Records 1.-:,::,...Ts."4:54:A7c1.76,ly.. 1.4WWWWWWW

Collection. 4-1141;/' .1111.1, 1-1:ut 7,1; Following each record group title, specific citations are provided in parentheses. The number code following most of the posters was assigned by the Still Pictures Branch of the National Archives and is used to identify posters within their holdings. Artists' names, to the extent they are known, are provided in the first line of the caption. Titles are derived IBare Ball, 1903 from the text on each poster or broadside. Dimensions are Linecut and kncrpress. printed by Naegele & Co. Printer.Helena given in inches; width precedes height. 24 x 36 (Fort AG 393Records of the U.S. Army Continental Command,. 1821-1920 WUllarri Henry Harnson, Miscellaneous Roc.3rde)

Published for the Nationai Archives and Records Administration by the National Archives Trust Fund Board, 1986.

United States. National Archives and Records Administration. Broadsides and posters from the National Archives. I. Broadsides United States Exhibitions. 2. Posters, American Exhibitions. 3. Government publicity United States HistorySources Exhibitions. 4. United Statcs. National Archives Exhibitions. 1. Allyn, Nancy E. U. United States. National Archives and Records Administration. Office of Public Programs. III. Title. 7 E173.U62 1986 769'.49973 86 743

ISBN 0-91333-37-1 5

ROADSIDES AND POSTERS are vivid records of events, concerns, and ideas. Printedquickly in the heat of the moment, designed to be circulated and posted prominently,they are just as quickly forgotten whenthe moment passes. However, posted notices of the 18th and 19th centuries, as well as those made as rec_dy as one week ago, are all documents of historical events, greatand small. They are valued today for thehistorical and cultural clues they can provide, the concerns and emotions they record, andthe aesthetic choices and styles they embody. Aside from their value as documents. many are saved simply because they are humorous, entertaining,and beautiful to look at. This essay evolved from research done for the exhibition"Uncle Sam Speaks," a show of broadsides and postersdrawn from the rich holdings of the National Archives. This essay, like theexhibition, is pre- sented chronologically, beginning with broadsides fromthe American Revolution anending with posters of the 1980s. Communicationis essential for any government, but in a democracythere is a special requirement that the people be informed of actions andissues. The gov- ernment has used broadsidesthroughout its history to convey informa- tion to the people. In addition, the government hasalways used pn.ited notices for their persuasive power, to urge the people to supportits pro- grams. This publication (likethe exhibition) attempts to show a variety of these posted notices that demonstrates how messagesremain the same or change over time, and represents someof the interesting choices made through 200 years regarding language, artistic designs,and graphic styles. Archives hold- The majority. of broadsides and posters within the ings were made by the government and represent the government com- municating to the people. The Archives also has asmall number of posted notices that were made privately. Someof these have been included in this booklet because they represent concernsof individuals or groups of people that involve some aspectof the government. By the United States in Covress Assembled, Proclamation. 18th Century Broadside issued by the Continental Congress, 1788

ABROADSIDE is a single sheet of paper printed on one side. Designed to be circulated, broadsides are well-suited for speaking out on current events: editorializing, moralizing, proclaiming, and commencing. They first appeared in the 15th century with the invention of printing presses. BY the 16th and 17th centuries broadsides were used in England as a cheap popular way to spread ideas and report events. In the American colonies broadsides appeared as soon as the first printing presses were set up. Colonial broadsides were created within a rich English tradition of broadside ballads, satirical or humorous poems, editorials, announcements, and K I N G, advertisements. The broadside was a place for proclaiming complex ideas and arguments as well as entertaining a wide public with ribald verse. The English government and the Continental Congress PROCLAMATION, printed broadsides to communicate their acts, regulations, For SuppiefEng Rehellkm add Sedition. and proclamations to colonists. When colonists began to GEORGE R. rebel against English rule, George III issued a two-page H ER LAI ese.y car Ote S.here,s rr. +leen Peel of Ow Colo- n." and reinte.. Amenno.nell.el Sy iteepreo. broadside in which he condemned acts of sedition and ers1 .11.1414r.g him arst birertsr. the r1.7 tet h. sad dikw.lerty Ads tr.r.eate4 Whew.. the rebk urged his "obedient and loyal subjects to use their utmost re... to me 01.14.1.3. c.4 ksrhel Crwemetce. sod 4o the mac. ol O. lor.1 Wessels ram., en ehe have . Endeavors to withstand and suppress such Rebellion, and {mph reosesek...1 nrew ...ell ROMS.. 4 7 ',.T. ink &catch. hothle Mannce is enthilsod the toe..., el awl to disclose and make known all Treasons and traitorous osommiliiemoornip adenot, an! Ierprit Mar wiwit Ct. Conspiracies which they shall know to be against Us, Our AND where. doe is Radon lo .eperhow1 A. loch Rebell.. Imo& Iwo eseedt rammed .easenie4 by the ...mumCartelprndencss e....l.the sod Cosi:. diratInek..1 sag dept.. Performed. this RetIenT. Ow 1..eltherefav. Crown and Dignity" (fig. 2). the. nese of Ove 5.b.tle may areglaet suele. ther Dom looms. thesseie la .1.1.0 wry Webs of a. Prated.. shsil the Law .64 to On December 6, 1775, the Continental Congress Loysley s.A4 74.., We he.s ticroght A. I. seal .01, A. Pory Ce...J. to .111. th.. Che Itoysi hcrel. &den; thes rot ooky responded to George Ill's proclamation with a broadside ol Oficen, ouri Wary. ,ec .134.goi slvt Over teented gado. printed by John Dunlap of Philadelphia (fig. 3). Entitled simply In Congress, this broadside defended the Congress against "aspersions which (George ill's proclamation] is calculated to throw upon our cause." Both broadsides are individually important, but as a pair they hold even greater historical value. 'rogether they supply a more complete understanding of the arguments used by both governmenrs in defense of their respective positions. 'Filet' also bring to life the rhetoric used when each government tried to inEuence the people.

2 By The King.1 Prnclantation. suppresstnq Rebellion and Sedition, August 23, 1i

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The most important broadside in the records of the Of the Ti itCrto. National Archives is the Dunlap broadside of the An OriniNeser for the GOVERNMENT KY of the UNITED STATES,North-Well 01 the Kis IR Declaration of inde penden cc.. In the evening of J uly 4. OHIO. 1776, John Dunlap printed the draft of the Declarationof It 01001110 I/ Ls U../ M. es 4.411. Ls ILS yr.., Ps , ...I.. L. Independence that Congress had approved that dav. By the sea L.A..* " Fs I-Imerre' eM o-s .4 a.. am. ,e ',flee . me.mem Mary m m fly... next day the broadside was ready to be distributed. eeerer e ,roaderege Irt 6. so 1 111.0.1. Imfm.I to MII...... 1, Congress reserved one copy and inserted it into the rough s...ost .1.411.,... err ,. emil 111 a Wag MM. V.01. e. Mr1 figaer... as LIS 6. ott e ton. am bol in. IL. awe ot. 1. journal of the Continental Congress for the 4th of July ((ig. ,,,,, 6.1.1.11,,- Me erraee toe a.. st Law a. W... is../ ge.1 ,tre we.. Me Meg. grw Mt. Meg ee 4). This is the Archives' copy and it remains in the rough Ns. ha.. rd....yorMO.MM es. evyee r orresererra..... ;L- vs . Oree journal to the present day. Congress directed that thc TA. a. on oe LA emeire er ler gee. M 0.,Mege tterO broadsides be distributed to the states and to the lee TA*. lea aer 54 la rower terra le ere 1 o yeeer. Lai commanding officers of the Continental troops. The tIntooos O.... soot ot ant or. Lt.. 1.1..61 Ges Nor.. L.I.S cre Dunlap broadside was the first printed version of the .o toto el r .. 4.O.. ova I Lig at- ...no I fa% mr, 4so. s... oar Declaration of Independence and the first vehicle for 4. .p.ans two nre . .4 boo re. re, ser *err transmitting the Declaration to the people. It supplied the ....71 gr..it.... aro sou tt.. t.to bellen.114 melee, ton s tot o Leer.011.. a.. exact text for all subsequent printed versions. as well as for *to 40 Or ...of TU... I. e,4k6 445. errs., der.. AlaActa the famous engrossed copy which was signed by all the yr. S b ao, ger. earn to ...a bee wore re aro.. delegates and is on permanent display at the National yer, re oe NY. LI *Wan re 1 ...ere ernoso oat...... ont orreo, ...or boerr., rap.= ear ree are L.. al read or... Archives. be 631 Us dm s ror orn re re. The government printed broadsides during the 1. v. es setrearr lore. ler. so re . ro are r. 1. re sr. 4t.ters"' No.* bar abrobi. We +b. L. el Ms. IreeeeMre tel Imrere Revolutionary War to distribute orders, post the progress obs rear. errs so Me/ OW/Mem. erge 1MM LOA of the war, and keep up the morale of the people. They breprefre...111....pAntrlae6.1.4 alos lormarer. eon were an important form of communication between e rr 1.1.=e sr. mo se. ter .4 Or &A rat robe .we. hire are 1.1. L. IA.. government and people, and they contain the sense of Ws./ 1 ems al LI Ls. L...so erre.1.1 el op ...errlas dor se.... roe.. se gee... yer r urgency prevalent during the war. Broadsides from the .ono, . b...... err 11.yees..114... troa s nier...no. so *LW. 11.4 Laddo .1a el postwar years seem less exciting, but they played a critical 1.4 1.err aso... be Aro oe eterreer O... Ls WI role in the survival of the new United States; they as. eas./. 1L 4.7MS err ea.. P...., 1.r. wen et re. sr we fr.wer. oa . ea. roe, informed people of the setting up of their new system of zhyealtese. so erred.ars... ars no. our re... sei be or .. no.r..erer .1 1 1.1.14-, .6 eer- government. Broadsides were used in conjunction with ie ... err. tIten ton to Itt. to. o ol a ., newspapers to communicate laws, proclamations, and ordinances to the people. A well-known early broadside is the Ordinance for the

Government of the Territory of the United Stater, North4 Vest of 5 the River Ohio, commonly called the Northwest Ordinance of 1787 (fig. 5). This document is called a broadsheet instead of a broadside because it was printed on both sides ..,;=1;toon'''..:tro La .. I. /mew .:1-:-. ... IL ..Itt:,..7.4.1. TI roan. -t ::-: . =, la.t:'-:: yr. tv:.^:::::.:17,-..:--.:: . reat per. er re .4, of one sheet of paper. It provided for self government of syrsnl arr. aro ts b. ros. Ira r soroort..... the territory northwest of the Ohio River, and guaranteed .4 sag=eVrairres 0 U., =aror ere, re.:7,7" '''' ""'" "'4' erre,...... 6.....reej Ad. be es kr 1...11111.1.... be.rea "errs a...A err rtebr, . e re... e reIr . .4L.,. Y e o. o, settlers within the territory civil and religious liberties that Co. tbe Yr *ea o ea 16 re reorwores . 4. al 0 I. error . were guaranteed to all Americans by the ratification of the to...... , .10..... tot.. ..111 to 11... t ...11..... t--...... , by..ALL.1...... e orea, 4.- wee. deer. seeerse re ray. row 14 seri..erierst b. rob r Are. . yr... reser re. re, ter Bill of Rights in 1791...... 14.Worma de 161.- UM..- /*mph kilmerM,Mreer se/ Iwo so .. QM L..,Ilmielormitmml _Los. no.. ...I,m . r, ...... 1guy. is .....11111...... 41,... beg sr bo ....er mak* eso Ir.. Ss Ls ..... 5J4',.1. TM ...... I...... O. re e,,o. oyer..../...... AIL...by 1....4...... re, rerl ' ' ' ' 7: .,,,A10111M1..4trgert="""'"*.".12:1=at,"1"=.7.,,.-:`,7:::_7:7,..7,,...... =14 ...... :.1..1.... '' 1rd errjraL.e. Wor...., Noir Oro. a.. or rammer lore br . . fear so. left: 0...141. . J... Tarr. L.,. .4 Were. 1.1 rea. se pr... .0 . 1... e, .. LOobre1...411...... I Ir.,Wow...... 1...... IWO Immo . mow.. Ir.... lo., be os en .... 4 In Congress, July 4, 1776.ADeclaration by the Representatives of the Coa1.17.eurzalybos .....tater 1, :IA I ot rot bro,...... erre....., ,... .4 United States of Amertca, in General Congress. Assembled, July4, I 776 ,,, .", ,_,IltraIrrower= fir/21=W sr .....16 Ir. Yr.. eel lare, or. Yr of ..."V17-"=..r.V"` -':::,,-.... -,:7, -- r---.- ". #1=n. ...4 1..5 ...... ,..4 . 1....., to: VW. -...:::::::-... Letterpress, printed by John Dunlap Mr the Continental Congress lbe.r.lb,...6.....a. Mtrie rreds.,...... et.ntetror..Trox=1.44,1.11...... 1. wee or*. o =...r - 141/4 x IS ,..,4Ir....tr,- e..14. yloy11.1.10.4.r. =.....,....r., eore bre,...n.....* Awl err ore.*. :O... NI .... 2,, anla . , ..,! . . This broadside was inserted with wafers of wax into the Rough Journal of Nora..-...... w...... w...... ,,,,.. , ..4.53=, .... .d..:r .....T. ea.. ,...61.....'' the Continental Congress to complete the record for July 4, 176. fe...a.t....o.o.orrem.....:17.1r...... :::.::=7:;-",,::::: RG 360Records of the Continental Congress (Rough Journals. 1774.1789. Item 1) ' 4- "ggrtettr"Itraleber=474,47. I. sr sorer ere ram Yr L. ts .. OA- . .1.,LS Om, ..I LIALIO Thud., V14/11.11.110.13...... ea ILAel slans sot1...... d. o. . (...lote.... or w I -.3" V=111, dr. ..1.1..114.4 al. Yletsor re sore se sr Inger. Mee te M r. Pr , ., r"" igfr ta...17{tbrer.1:::. ZI'Vtl.:(.1.:7107t/"Mnrereler '4%7; ':e rtght. ' '..' ...reboblos ...... a., bor. by 0.1.1 6..1 1..01.14.41.4 aro r As ta, re ...... oorrer sr.. L...... ,..11.."b... bl...... I.I ....6.1...1 ...v. reel. so. ber 4. rebre Os...... or. 11.,er . oela so...,'..... 5 An Ordinance for the Government of the 7Crritory of the L'nited States, in .00 .141.0.. redo .... err sae er...... 104.116.rol . el A fielher.1 I. ler aburs. . Mo...... ion 1 .. ,Vorth-West of the River Ohio, July 13, 1787 IA.110 raw, W.. 444410by 1....1. ...my G.. et or . Wriboa oror'rm. or.... es.... re 4.1 Mo... re 44.14.1,4 . .1.11.1yrarr,...... bars... re. ofrol .es no. errore nr. ,.. se se. re yr...... roe... We e4 Letterpress, printed (on both sidesofone sheet) for the Confederation .e 4 Ai.. le war N.A. srlei, Than re err&IOU M... err11 mr.1.Yr= re*. error re. be es . Yr. Ire re. re... fore .... tr.. ore 4 ...... gm, 11m1 Yroeo Congress sClorl.".. bee 111A Orr 1.1.1. Art asre re.. sr. or. rel... ry oe -- Sodhrisi.11...11 raw.W sr ea ...... por..e. TI. tss . o..... etloolabe re .41I.., vo..4.4.1. re. ,,b err." . , , 's x 3. DM I. . WITYAI Man ae OW... are. or oroo . XS, ..... 's. RG 360 Records of the Continental Congress (Miscellaneous ('apats. se., WI di termis. ....re. a or Broadsides Issued 1775.1788)

BEST COPY AVAILABLE 12 10

Ame- ,:yns! You are now called upon . . . --;ailside issued by the Washington National 19th Century Mo: uzy entflciriety,1835

BROADSIDES AND POSTERS from the 19th century reflect many aspects of running the country: maintaining territories in the interior of the country and responding to events overseas. They remind us of events and characters in our history, such as the assassination of Abraham Lincoln and the outlaws Butch Cassidy and the Sundance Kid (figs. 6 and 101. One task the government has had throughout its history H is to maintain a military service. Fresh Becfannounced, in War Department, Washington tt7i1 211, 1829, that the government was soliciting bids for keeping the troops fed (fig. 7). This broadside is an interesting forerunner of the presen.-day bid and contract system used 61411.00,000 RHARDI by the government. The recruitment poster Alen Wanted for the Army conveys not only the uniforms and cavalry regalia of 1908 but also a serene image of military order in the shadow of the Rocky Mountains (fig. 8 ). THE MURDERER The form of the broadside changed during the 19th Of our late beloved ?resilient, A*ahani Lineohl century. Lengthy complex discourses common during the a STILL Cr LINE. time of the Revolution gradually disappeared in favor of text that was abbreviated and highly punctuated. Styles of MOAN REWARD type became bolder and more decorative. Often one orb.. 6z, omped broadside contained several styles of type, large and small, arranged in an eye-catching pattern. The mid-century ,000 REWARD broadside announcing the $100,0(X) reward for information pa4 ....mum 4 X10 iwflsZ. t51 eemeame leading to the arrests of John Wilkes Booth and his $15,000 REWARD accomplices has at least seven different styles with the S...1 Mr... to.batiarear.sararongro. attention-getting words "reward" and "murderer" printed 1...... Ma. ifllSo - I. rwl ow aglmallm Allow II. - S.poiro UnIac on. Fano.. lb. very large (fig. 6). Concurrent with these changes was the *ma 4.. I.,. am gal I a Mow. h.*....1 fwoolowelet . ... increasing use of simple line drawings and designs to smod =1.1wod .41.woo .I . . ele olud Imes further attract attention. ZEMIN IL WANTON, Ihorimary of Wan ;or .0.11011. ure I. :Morro.winefl, O.; omma ba IN14 IsmiL mobo. Awe ..loo Y..= . wow hmibmot oia.. tem - wit ow.

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IL1IIED11113 .0111111104111 above: rttir rivr...1., UN tie 21tidity im...ta with 6 The Murderer of Our Late Beloved Presulent, Abraham Lincoln, Is FRESH BEEF, at Large, April 20,1865 ictrerpress, printed for the War Department db. Troops at" V. & Amy Ow re. or mar k Miner! a wethia U. vicinity 4Csintinunesiicli.a. a4Ikamals tom the Met of Jot, es... mid Ow 30014 le. I t30 121/4 x 24 TLe REEF will 11. yyroryl to lin &Wylyd .0 the RG 94Records of the Adnitant General's Office. 1780S-1917 (General Records. mown oil two dart rub Yak, or a. wry lie, olio in. in b. &nip NA) in iriamtity as ms. ha Mr.. Mr Letters Received. 1861-1870. oversize) ttoir ratio... esti day.. Mot I dm. it aftemiary umbra. thom who moy dm to mottos. kw tilt ilerptri dot Inv ttewf. ha tar hint that thy Mak,l cam *ford will be rec.... eibil"rd. a.. by "W. the 1.14.0ring ilerystyA rtirid 7 left: iltWC110* D(d oil) ho reernicil. rniyeestimatrk ainplchicyrity be krthe Fresh Beef, _June Il.1829 la perhini ow. the Y... Penni. no; tn conIrset for We witlitypcwitla Letterpress. printed for the U.S. Army 11-e Os. it Praincol. lb,,r rinpniviv in wywin, eniforic.f..ornpn.l. Inc Awn. innw rrra oat. a a rot. per rasa/. for oh ith flow le II moot, 91/4 x HP: A. W. THORNTON.. RG 92 Records of the Office of the Quartermaster General (Consolidated Correspondence File of the Of(ice of the Quartermaster General) Penwitul., 1111 Amer, 1129.

8 right. Michael P. Whe!an. Men Wanted for the Army.Ca. 1908 Color lithograph, printed American Lithographic Co. for the U.S. Army 29'/A x 40 RO 94Records ofthe Adman( General's Office. 1780's-1917 (94-WIM9) BEST COPY AULABLE 13 erfli Edle0 kr )13® Ana

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In contrast to these strictly commercial posters arethe Colorful posters as we know them today developed from books and lithography, a way of mass-producing a multicolored image artistic posters printed in the 1890s to advertise that was first developed in Munich in 1798. With the periodicals. These posters were very popular. In addition development of sophisticated lithographic printing presses, to promoting books or magazines,the posters themselves end of the were bought by a large andenthusiastic pudience. Poster posters appeared in the United States by the Bradley,Ethel 19th century and were picked up quickly to advertise artists such as , William products and events. The Great Health Drink, circa 1892, Reed,, and Will Carqueville were involving a household names. The "poster craze," as it came to be came to the Archives as a record in a court case decade of trademark dispute with the Charles E. Hires Co. as the called, was short-lived, lasting only through the plaintiff. It is a good example of American commercial the 1890s, but it brought to the public fresh graphic would designs and daring new artistic ideas. posters (fig, 9). The image on this type of poster of this new have been copied from a drawing or painting by a Thegovernment was slow to take advantage medium. By 1908 the Army had produced several professional and usually anonymous lithographer. Each is an color was applied by hand on a separate plate with a recruitment posters of which Men Wanted for the Army lithographic crayon. The rich range of colors in a single example (fig. 8). But it was not until 1917 that the plate on top of government had an urgent need tosend messages to a large poster was achieved by printing one color perfectly suited. the next. (The process used today, called offset audience, a need for which posters were lithography, is essentially the same although the machinery is more sophisticated, and the transfer of color to eachplate is done entirely photomechanicallv.)

...Ir....V.'. brW. 4I 1SC. IMTHIS Erre rm. tkitt, Aul5zt Pinkerton's National Detective Agency. ?nen, ah.../mu* .1r.wora.wo OW. ow. low, revesc 1.1 sW. oh.* Amoral* A:PT A V.NY.FrIN .004 14...... ty..0.1 r4.4..41.."'s I .41.et WM A P*(F1T011...... Iva...a cow* sod Woo .luvl as "OHM (.011,111 V14/W.P.W.* ...Z... .011,1It ...MAR SW two P.1 WW01 I . Ms ...... LI** :lair .M.1 ow won rad. 44444 t 111rmwom 1.4. WM." wow... wro rim VII we, 54 ,vvo adm tww CWT. WIKIW www - ....I.O.W./ Int Mr* Crir. oct..... to nra r A . Wag. l'uh. AdaM.. L.I.vvoR or sorl Ow on* Vow .1. Wyo. .1 Itarr. :-47-:.(Ji Jr 1.1 Iii HP: \ V.. \ It I). Yore. OWN tINIONIII rata art to!. CINC131.4.R N 3. DIMVX11- Cola. Xvintalmr 14.1. 1904. menu., TIIE Mom Axwoo TI \ ITIHN 51. II I \ K OF IVINNE5ItTe I. \ ....La, As . !Lam L.WIRI. alum 141.1 Atu db. ILA I I".th: 1% \ IsEE,I.,n1 A. I %Tit AN, I rd 1132.1140 othr ,enternher kn. Ovo "sok wn...letteeet the hank .114 helrl op t nd tht, ote.u.n. %agora,. Ait. raw** ...11,0WW1 'W veneer I ...... any...m.o. RP.... er. Ann a tinnt a II on hentre Ihre ehtlehet..J latult ht. home ... tht nII re. . Modemm ...... sl woe. Iwo.. vie Wow. *On. tow. 6.11.000 SI° E.kluAln a $1.200 SS 510 IOW RI / 4/w Law trot . he, IthIotte I: tr... A54. . 1.34. 14101. and .trcelet So. t IA DPW Ltakw.1) 5511 Ills I EET FA. t3 %KT 5.1, Int tok. 5.. nat...1 lk.Ther 1:1h ovw.. La poi at Cm* C.. Inren nrannelt 4. terminal Al., ty. IN. AWrwow.. ob.. Iv, lot loom *a.. I Orovv.e. v., Mom C.a.1- ,t.te.4 :her o'd 4, J.. Yoh. ao4 Orwl I.. la.A,A vp Nwilivro r ...manta, Ch. a vel. on,. owl I at.. Wei.. Itaw weft hr. wor od CRSSIt)Y. . (JEOLIOE g000rw, ow irrou Lvw. ....A ..1 Hes. 1.4. 44,.. 44. *WA. 1\4E14 /ALI 0. so ta. 0.04. than. th5H tit 1..10 u..1 1.1 /1WRIn I 0 \II1141:011. ...1011)" I.0 fill. .4 Al Alan' ALO LO. I ow Arwood 2. w oe w Ow vow .vo TIM St NI/ACl. KID ts OM.s moo ow.. to wog. NOW.. owwWwwo ao 14:11 root. armor t 114101) dh. 1,11:/ :II Olt re Ill/11/IVEV 1..4.1 \ 10 time tow0..... Voov ohrool000vq. rower ar welt rtr 9 mfr..* HAI onl tHsn h-c-, Indol root* rfttr. or torero. FO0000mon 0. err Cr, Irr sr. Ifl sr Anothernell hehr, .1 Ito 5, v., \ t twh ht. h n,11 se.. ntertul, to Fromm ar. w000go.... %I I \ \ EMI AX A. th, cV IL on, nn-n the Fl k \ ATI"II.It I\ h: 1.1- AT, IN ,11 TTCTII r At' AORFAT el nPn toI Ilk hIP5I NII1O5C1 VASA OF 1515510II \ sumo 1.1tp $(/ 4111101 Al sIC LA PER lEST.. I \ I teoPf WTI, A ATE 41 klLS Pinkerton's National Detective Airency, P 5 lIt.515 1111. .kOtir4 C. FRAZER, 0/Ore hour. BlaCk. Denver. 4;tio. toelicald. le alio. to the arrt.t hi nth., or.4.1 the ...pd.,. tiil IC Ileartart COLD

abovc kft: Pinkerton's National Detective Agency, November 14,1904 9 The Great Health Drink,ca. 1892 10 printed for Pinkerton's National Detective Agency Color lithograph, printed by Knapp Co. Lith.. New York. for the Charles Letterpress. E.HiresCo., Philadelphia x 11 State flkhiti 29 x41 Ra 84Record, of the Fo: sign Service Poets of the Deparunent of Consular Post 'noel RD 21 Records of District Courts of the United. States. Nauonal ArchfvemKansas City Branch 16 BEST COPY AVAILABLE 14

How Art put on Khaki and went into action Will Irwin, Thoughts Inspired by a Wartime World War I Billboard, no date

IN APRIL 1917, when Congress declared war on Germany, President Wilson faced a nation deeply divided about the war. Some supported the English, some the Germans, and some were pacifist, advocating TEAM noninvolvement. In the eyes of the government, differing beliefs, normally cherished in a democracy, mav suddenly become a threat to a nation on the verge of war. lb lessen the threat, the government might feel it necessary to restrict certain freedoms of expression and to persuade the people to willingly cooperate with the curtailment of their Yaur work freedoms and to sacrifice their own comfortsand their here makes own sonsto aid in the war effort. During World War I their work the government relied heavily on voluntary censorship and over there sacrifice to the end of winning the war. possible In 1917 posters became a key element in the government's campaign to unify people in support of the war. In a world without television or radio, posters could spread the wordin the form of short, gripping messages combined with powerful imagesrapidly to a very large audience. By 1917 the way was paved for the appearance of war posters. Advertising posters were a common sight, and many people who had collected posters during the "poster craze" of the 1890s had them in their homes. Many of the artists called upon to des:gn war posters were familiar and even beloved for their prewar illustrations in weekly and monthly magazines. The first war posters exploded onto the scene on April 14, 1917, when the Women's Suffrage Party, aided by the Boy Scouts, covered the city of New York with 20,000 recruitment posters. Wartime poster production in the United States was higher than in any other belligerent country. Immediately after committing the country to war, Wilson appointed a Committee on Public Information

(CPI), headed by a well-known journalist George Creel. 12 The CPI was responsible for distributing information about the war that was in the government's best interests. It relied on voluntary censorship of the press and encouraged the publication of items designed to inspire confidence, enthusiasm, and service from the American people. Creel quickly saw the need for enlisting artists who could make illustrations for advertisments and posters. He rigbt: wrote: "Art is to be conscripted no less than manhood," and asked , then president of the 11 L. N. Britton, Warning! Consider tbe Passible Consequences If You Are in New York, to select artists to help Careless in Your Work, not dated the CPI. Inspired by the call to duty, the entire Society of Color lithograph, printed by Latham Litho and Printing Co. Illustrators joined the CPI as the Division of Pictorial 281/2 a 41 Publicity (DPP), with Gibson as their leader. HO 46Naval Records Collection (45-WP-296) Although the DPP was not responsible for every government war poster, it did oversee the production of above: approximately 700 designs. It served as the middleman 12 Roy Hull Still, Team Work Wins! not dated between capable artists and agencies that needed posters. Color lithograph, printed by John E. Eggers Co., Inc., for the Ordnance For each poster needed, a special committee within the Department, U.S. Army DPP would handpick the artist they believed best suitcd 271/4 a 42 for the job. The selected artists volunteered their time and HO 4 Records of the U.S. Food Administration (4-P-9) materials. Gibson called for posters of the highest quality, and he urged artists to stress the spiritual side of the conflict, to represent idealsthe spirit of the warrather than physical facts. As one artist said, "The game of war has its horrible side, but it is not advisable to look upon that side in a poster." 17 g . ; iLl: . : ',...,1, ',,. , ''..',...0:44"i? ::. , .; -.J.: ; 4.v; - . ' 1. .' . ' ,.. ill., .. ',.' . - ..i.',4.:-.".' ; :I - - + . .$ 4 ' ,s

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The first posters to appear called for men and money, and employed a varktty of strategies for delivering messages. Treat 'Em Rough was a particularlyvivid recruitment poster. challenging men symbolically and graphically with the ferocity of trench warfare (fig. 13). Joseph Pennell, who in peacetime was well known for his picturesque drawings of New York, depicted New York Harbor in flames in the poster That Liberty Shall Not Perish From the Earth (fig. 14). Pennell showed warfare on American soil to frignten people into buying bonds. Howard Chandler Christie presented 3 different image in Americans All for the Victors' Loan of 1919 (fig. 15). One of his famous Christie C;irls, thinly disguised as the spiritually uplifting figure of Columbia, calls forth pride in the nation's sacrifices and victors' to urge people to buy more bonds.

THAT LIBERTY SHALL NOT PERISH FROM THE EARTH BUY LIBERTY BONDS F 0 1..11 T H Lla a R. T LOA. IN 14

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show right: 13 Anglia Mistaf (or Mutat.), Treat 'Em Rough!, not dated Color lithograph, printed by Nstkinal Printing and Engraving Co. for the FOLLOW THE PIED PIPER Tanks Corps. U.S. Army Join the United States 28 x 41 School Garden Army. RG 4 Records of the U.S. Food Administration (4 P-8) above trft

14 Joseph Pennell. That Liberty Shall Not Perish From the Earth, 1919 Photomechanical lithograph. printed by Ketterlinus Co. for the War Loan Organization 30 x 41 RD 53Records of the Bureau of the Public Debt (53-WP-28)

opposite.

15 Howard Chandler Christie.mericans All! 1919 Photomechanical lithograph, printed by Forbes, Boston. for the War Loan Organization 261/4 x 40 RG 53Records of the Bureau of thc Public Debt (53-WP4C)

left. 16 Maginel Wright Enright, Follow the Pied Piper. 1918 Color lithograph, printed by the Graphic Co. for the Depar tinent of the Interior x 20 lo RD 45Naval Records Collection (45-WP-266) 20 18

The next posters to appear were those concerned with decoratise, gentle, or idealized images. Even the soldier in efforts on the home front.Consuler the Pos.oble Consequences Feed a Fighter.dr)wn by illustrator who delik ered a lengthy message coupled w ithcolorful but actually went to Europe to record scenes of war on the dreadful image reminding workers to be conscientious spot, is portrayed in a moment of rest (fig. 1)). The poster when building war materiel (fig. II).Thin! Work Wins allows one to sympathize with soldiers without actually spurred war workers on by likening them to soldiers (fig. going into the trenches with them. 12). The U.S. Food Administration produced many fine When the armistice was declared, posters continued to poster-; to urge Americans to conserve fixid. Edward be made on the home front to appeal for money and food Penficid, perhaps the country's best known poster artist, for wartorn countries. When millions of soldiers returned designedSave Wheat(fig.17). Maginel Weight Enright. and resumed former jobs, and the number of ;,obs whoN.as a prominent illustrator of children's books, drew dwindled as wartime contracts were cancelled, . iere was a Uncle Sam followed by a string of children in her gentle period of strikes and unrest. The Department of Labor poster Followthe Pied Piperfor the School Garden Army produced several interesting postets to smooth the (fig. 16). These posters, like most produced at this time, transition from a wartime to a peacetime economy and to avoided depicting the grim reality of war in favor of urge cooperation between workers and veterans (fig. I9).

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17 Edv.ard Penfield. Will You Helpthe Women ofFrance? Sazy.Wheat, not dated (olor lithograph. printed W F Prmer, (.0 for the Der irtment ot the interior x RG 4Records of the U S Food Admimstranon t4-P 135) right:

15 Wallace Ntargan.reed a Itch& r.not dated

th /5rir'itAedlr Photomechanical lithograph. printed M. the Strobridge Lithographic Co 171, /Art..4had for the Department of the Interior lain skit.- In o m sAt luture Ls (ter andbnyhter RG 4Records of the U S Food Admuustranon (4-13-136) b.1116V: left 19 Cerra A lieneker.rh, Past h Mind Eu. the Future Is .1head,

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America's present need is not heroics but healing; not

nostrums but normalcy . . . BetweentheWars --Warren G. Harding,1920

S THE COUNTRY SETTLED DOWN after World War 1, the government produced far fewer posters. But posters had proven themselves an effective form of mass communication; agencies continued to use them to convey peacetime concerns for improving industry, promoting health and education, and celebrating the nation's natural beauty. New messages and images in postwar posters reflect the country's transition from war to peacetime. Look, Why , Freeze? shows how messages on military recruitment IMMO posters swung from an emphasis on heroism and sacrifice intr.firmunra to a peacetime emphasis on personal benefits of signing I I uptravel, education and recreation (fig. 20). United States Lines, Leviathan at Southampton shows a ship that was originally built in Germany for the Hamburg-Amerika Line but in 1917 was confiscated by the U.S. Government and used to transport troops to Europe (fig. 21). After the war the ship again became a luxury liner, this time for the United States. This poster reflects a new modernist aesthetic that originated in Europe and filtered through American graphic arts during the 1920s and 1930s. The sleek glittering ship, decorated with tiny people and we/ portholes and topped with great smokestacks, celebrates T both in style and subject matter an excitement with modern technology. Air Mail Is Socially Correct is perhaps the most surprising of these transitional posters (fig. 22). One of the by-products of the war was airmail service provided by the U.S. Post Office using army airplanes. This poster shows the government entering the world of social etiquette in 1920, persuading ladies to use airmail for personal correspondence.

2

kft: Ow 4.11ft 6/ , 1414115' 20 bok,Wby Freeze? 1925 LOOK Photomechaniail lithograph, printed for the U.S. Navy 15% x IS% WHY FREEZE? AG 287Publications of the U.S. Government (287-N17.232:C12) TAKE A TRIP TO SUNNY CALIFORNIA AT UNCLE SAKS EXPENSE VW HONOLULU, ME PHILIPPINES, JAPAN AND CHINA above: FISHING EDUCATION 21 United States Lines, Leviathan at Southampton, notdated BASE BALL GOOD FOOD Color lithograph, printed for the U.S. Lines SWIMMING TRAVEL FREE 241/4 a 391/4 41ff.....:-.1 RC132 Recordsof theU.S. Shipping Board (32-P-1)

eery man who enlists in the Navy, if he will be sent free across the continent right: to "Frisco" and So duty with the Big Pacific Fleet 22 John McEwan,Air Mail Is Socially Correct,1920 MIORIA111.1 AI ry &OMR* Station Photomechanical lithograph, printed by the U.S. Army Engineer MO NOM ST . N. W. Reproduction Plant for the U.S. Post Office WASHINGTON. D.C. 14 x 20 FIG 287Pubhcationa of the U.S. Government (287-PI.26:A02) 20 23 BEST COPY AVAILABLE -- ' )111,

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THERE'S DANGER gr" when people tire too easily when minds are slow to think when bodies can't fight disease

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After World War I the government became increasingly involved in many aspects of people's lives. Egg Candling Chart is a ddicatelv executed example of informational posters designed by the Department ofAgriculture to establish industry standards and educate the public (fig. 23). The Park Service and the Forest Service were both concerned with land conservation. During the l920s and 1930s posters such as Adventures of Thiluy Are the .ilemoriesof 7ionorrow promoted national parks to a public that could drive across the country in their new automobiles (fig 241 Death Rides the Forest When Han Is careless is an early , example of the fire-prevention posters that became necessary because of the increasingnumber of visitors to parks and wilderness areas (fig. 25). A burst of posters and broadsides ushered in President Roosevelt's New Deal administration. Some, such as -- broadsides printed for the Farm Credit Administration, BUREAU OF CHEMISTRY. U S DEPARTMENT OF ACP:CULTURE. people to nesk 23 were purely informational, introducing programs. Others promoted an awarenessof health and social issues, and promoted cultural programs of the New Deal. Many of these were produced by a special poster abuzy. division set up within the Federal Art Project of the Works 23 H. M. P, EgCandling Chart.1914 Progress Administration. Seeking an inexpensive way to Color lithograph, printed by Breuker & Kessler ( o. for the 13oreau print small numbers of posters, artists on the project Chemistry. Department of Agricukure revived the silkscreen printing process. Room Service is 24-4 x 19 typical of the silkscreen posters that promoted local RG 297Publications of the U.S Government (287.A7 2.E031 productions of the Federal Music, Art and Theater Projects (fig. 26). rrgbt: There's Danger marks the end of the Great Depression of a 24 Dorothy Waugh,Adz.entures of Thday Are the Alemomes of Tomorrow, and the beginning of World War II (fig. 27). It was one produced by 1934 poster series entitled "Make America Strong," Color lithograph, printed by Borland Printing Co for the National Park the Department of Agriculture. There's Danger conveys the Service, Department of the Interior government's concern with the spiritual as well as the physical well-being of the public. 27 x 40 RG 287Publications of the U S. Government (287-129.20 P84 no 6)

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25Death Rides the Forest When Alan Is Careless,193 3 Color lithograph, printed (or the Fore! t Service. Department of Agriculture fitcADVEN11.1 RES ofTODWife 101/4 x 16' R AAEMO RI ES ciTOMORROW RG 287Publications of the U S Government (287.A13 203 1)34 933)

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26Room Service,not dated Serigraph. printed for the Federal Theater Project. Works Progress Administration 28 x 42 130 69Records of the Work Proiects Administration (69-TP-207)

,pporilt 27There's Danger,1941 Photomechanical lithograph. printed 1,y he CM, ernmeni Priming Office for the Extension Service itt the DeNctment of Agriculture

x RC 287Publications of the US. Government (287-A43.8.Arn3 no.41

NATIONAL 1 PARKSJ BEST COPY AVAILABLE 9624 24

Never hehre have we had so little time in which to do so much. World WarII Franklin D. Roosevelt,1942

BV 1939. AMERICANS were watching war escalate in Europe and the Far East. Then. in December of 1941, Japanese planes bombed Pearl Harbor and the United States entered a war that now spread across the globe. Once again the government faced the t% arnme task of persuading the people to make sacrifices. As during the First World War. posters were a dominant form of mass communication. Government agencies and private industry printed them by the thousands as a cheap effective way to promote production. conservation, and ,acrifice. Before IA ar was actually declared. the Federal Art Project mad, Fy.)sters to promote increased production of tanks, guns, ships. and planes for Britain and her allies. Pwiurnon Lines Are Battle Lines! is a good example of these early, now rare, war posters (fig. 28). President Roosevelt gave responsibility to several different offices for spreading war-related information, but he created no central office (comparable to the Division of Pictorial Publicity created during World War I) to coordinate artists and agencies. Each military service had intelligence and propaganda units that produced posters for recruits and servicemen. The inspiring poster Ready was produced by the Marine Corps (fig. 29). Between 1942 and 1945 the Office of War Information. the Treasury Department and the Office of Emergency Management all published posters independently to meet their own needs.

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left: 29 HaddonH. Sundblom. Ready, 1942 Photomechanical lithograph, printed by Alpha Litho Co tbrthe U.S. Marine Corps 277ii x 39'ia Jor RG 44 Records of the Office of Government Reports (44-PA-1618) righ):

30 Harriet Nuiciu, Deliver Us From Evil, 1943 Photomechanical lithograph. printed for the Treasury Department

281/2 x -t(1 RG 44Record, of the Office of Government Reports (44-PA-2590)

APPLY, OR WRITE,TONEAREST RECRUITING STATION 29 fri 5.. 4-* # eliverus ro .,

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After the experience of World kVar I most Americans Every Mile You Drive Over 35 mphlxis Smiles, which discarded any romantic notions they may have had about promoted cooperation through comic strip caricatures of war. In contrast to the spiritually upliftingand romantic Hitler, Mussolini, and General Thjo (fig. 32). posters used in World War I. posters from \NorId War II Though less often than in the first world war, prominent realistically conveyed the grim results of destruction to artists and illustrators contributed designs for war posters. communicate urgent needs and messages. Deliver L's From The Sowers is one of a series of posters privately printed by Evil employs the powerful realism of a photograph to get Thomas Hart Benton to, in his words. "he of some help in people to buy bonds (fig. 30). The realistic illustration of a pulling some Americans out of their shells of pretense and dead soldier, a subject that was very rare in posters of the make-believe" (fig. 33). Perhaps the most beloved artist at that time was , whose illustration for the First World War, appear on A Careless Word . . . ANeedless Luss (fig. 31). On the other hand, artists frequently used Saturday Evening Post was made into the poster Hasten the popular cartoon images to frame a deadly serious message Homecoming (fig. 34). in humorous terms. The Emerson Electric Co. printed

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31 Anton Otto Fischer, A Carekss Word ... A NeedlessLoss, 1943 Photomechanical lithograph, printed by the Government Printing Office for the Office of War Information 22 x 28 RG 208Records of the Office of War Information "0501111 above:

32 Pointer, Every Mlle You Drive Over 35 mph-(xis Smiles! not dated

Serigraph. printed for Emerson Electric --"S '5,41114.. x RG 179Records of the War Production Board (179-WP-72) new..

aboverigbs: Ague -14 AP' 3 3 Thomas liart Benton. ne Soz.:Trs. not dated Photomechanical lithograph. printcr unknown a. 41 x If 110 44Records of the Office of Government Reports (44.PA19661

left. 4 Norman Rockwell. Hasten the Homecoming, not dated Photomechanical lithograph. printed for the Treasure Department

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Roofs are for shelterIt'allsare j;),- exprecsion. After World War II John Chancellor,1972

IN -11IE LAST FOUR DECADES modern media, such as television, film, and radio, have replaced posters as the dominant form cl mass communication. But posters still provide an effective, inexpensive way to proclaim a message to a large audience. Far from becoming obsolete, posters today are a creative, popular, ar.d forceful medium for conve%ing artistic ideas as well as current events. Perhaps thy most powPrful posters created recent times have been made outside the government. Beginning in the 1960s. groups and individuals with a cause seized *Lir* upon posters to promote social or political change. The antiwar, civil rights, and women's rights movements, for Vallow example. all relied on posters to communicate their demands for change directly to the people in the streets. At the same time, the poster medium, partially freed from the function of delivering messages, underwent an artistic renaissance. Posters today demonstrate a wide variety of techniques, subjects, and artistic experimentation. Many contemporary artists design posters expressly as decorative artifacts to appeal and be sold to a wide audience. In the last four decades advertising through television and radio has emerged as a whole new field. Great strides have been made to exploit thc persuasive potential of opposite: images and words through audiovistv; media. Posters arc 35 Please! Only Ifni Gan Prevent Forest Fires. 1964 developed as part of large advertising campaigns. Often Photomechanical lithograph, printed by the Gmernment Printing Office through the use of a single carefully selected image they for the Forest Service, Department of Agriculture remind the audience of the larger campaign. In this way 13 x 181/4 they reflect the ever-increasing levels of sophistication in Sctheduled to be added to RO 95. Records of the Forest Service advertising today. The effects of these changes are evident in government above: posters produced since World War II. The Advertising 36 Daniel J. Ransohoff, Pub. Law 88-452, not dated Council. formed in 1946, helps assure that government advertising keeps up with the high quality of private Photomechanical lithogmph, printed for Volunteer, in Service to \ merit:a advertising. The council serves as a clearinghouse between 161/2 x the government and advertisement agencies; members of RO 381Records of Agencies lor Fconornic Opportunity and Legal Services the council donate their time as a public service. The first 1381-PX-44, well-known campaign undertaken with the assistance of the Advertising Council was for fire prevention, and it led to the birth of Smokey the Bear (fig. 35). The council's influence today is widespread and can be seen in public service advertisements warning against drugs and alcohol abuse, educatit-r the public about health issues, selling savings bonds, and promoting a variety of other subjects. Social protest of the 1960s and 1970s is reflected in posters printed for government programs responding to the protests. Pub. 1,aw 88-452 for the Volunteers in Service to America (VISTA) program shows the government's reactions to social pressure to help people in poor communities (fig. 36). Another form of recruitment poster, this one makes a humanitarian appeal to potential volunteers. /tMay Not BeMuch But It's AllWe'veGot, recruiting people for the Peace Corps, springs from a similar sentiment (fig. 40).

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.1 he poster CwIMMI1111 Act jon inf ire directly refers to social unrest of the Prik. (him: strong language that derived front the struggle ss ith urliim and rural pin erty:

-the hometoss n fight . . . protest against apathy . . . commitment to chang.- Ihe message urged educated. energetic. and concerned \ming people to get involved in President Johnson's War on Poverty program (fig. 1-). In addition to its ins ids cment with social siellare. the government, through the National Foundation on the Arts and I lumanities. has awarded grants in support of the arts liver the last two decades. ll'hatilakes aCavl.r.iabie?is a poster tor the Architecture, Planning and Design Program of the National Endoss ment for the Arts dig. .,8).I he subject matter, as die po,,ter itself, reflects the government 5 interest in promoting excellence in artistic design and fOr impros lug the quality of American life. Perhaps ;0 response to the high quality of contemporary artistic posters, pisters produced \L ithin federal agencies denumstrate the 120s ernment's eftOrt to improve the quality ,c1 its oss n design. Intik du.il ;2.,,eres has,: established high standards for their osc 11 graphics programs. Ihe National Park Service, for example, des eloped a unified graphics program ss ith the assistance of designer Massimo Vignelli. The Park Sers ice printed a series of posters bv prominent American artists in conitinction ss ith its new design program.l'homes Edison,pnkluced by Michad Melford and Is an Chemayeff, and SittirwBull,by Leonard Baskin, are from this series (figs. 39 and 41). Related to this, and to its interest in supporting excellence in the arts, the National Endoss mem for the Arts has established programs specifically to encourage first-rate design within federal agencies. Recent posters designed bv artists and designers within the gosernment. and commissioned from prominent artists outside the government, represent a fresh and inventive contribution to the field of posters today.

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Scheduled to be added to RG 79 Records of the National Park Service

BEST COPY AVAILABLE

32

A Note About Sources Selected Bibliography Compiled by William Cunliffe Newmners hxiking fig. broadsides and Bureau, Comnussion on Fine Arts. Works Barnicoat. Ji liii. .1 Concise History of Nct posters in the National Archives may profit by Progress Adnnnistration. Army (:hief if ers IVO-1970 New Yr urk: Harry N mime 1Nunters about the records. (Ieneralls, Engineers. Public ile.n lth Service. Office of Abrams. 1972. tecords iii the National Archives are held in Economic Opportunity. American Revolution the original arrangement that was created by Bicentennial Administration. U.S. Shippin5 Duffy. John. ed. Earlx l'ermont Broadudes the branches. dis isions, offices, bureaus, and Board, Federal Jixtension Sens ice, and ( )ffice inZroductitin by Mason I. lam Aflec. departments of the federal government that 11f Civilian Defense. Jr. I lanover, NI I: L'oicersiss Press sent the records to the National Archives. Per- One grim p of reciirds, Rf257. Publica- of Nes% Enudand, 19-5. forming research in the records requires the tions of the U.S. (Iovernmenr. coriums copies researchers and archivists to identify the of prnited materials published by the ( iovern- Max. Ihe Poster in Ihstory Nes% government office that ii CCII ld have been eim ment Printing Office, mcludnig posters .md York. The American Heritage cerned silt h the topic, then to I. watt: the series broadsides from manv government agencies. lishing Co.. 19-4, if records most likely to hold such informa- Posters from this group can be humid in both tion. Attempting to guide a researcher to the Still Pictures Branch and the Printed image, of an Era: The .Iinerican Poster specific types of records is not an easy task. Archives Branch. The% . depict al; aspects of 1945-19-5. Exhibition catalogue si ith because recordsin generalare not segre- agencies' furc:tions and missions. Militars cos essays by Margaret ( :iigssn ell and gated by physical type. erage inciticks posters created b the Arms four other authors. Washington. 'Hie broadsidea single sheet printed on Service Forces. the War Department Special National Collection of:ne Arts. one side and meant for posting or distribution Services Division. and the Offic.e of War Infor- Smithsonian Institution, I9-5. is in many %nays a precursor to the poster. mation. A wider range of topics is suggested Some broadsides issued by the Congress before by the agency functions associated with the Margolin, Victor, American Poster Renais- 1789 appear in the records of the Continental National Park Service, the U.S. Fish and sance. New York: Watson-Guptill and Confederation Congresses and the Consti- Wildlife Service, the Labor Department Wom- Publications, 1975. tutional Conventiim. Many of these are repro- en's Bureau, the Federal Bureau of Investiga- duced on microfilm. Broadsides relating to tion. the ( m rast Guard, the Public Ilealth Mock, James R. and Cedric Larson. later activities of the government, such as those Service, and die Treasury Department. Words that Won the War. Princeton: printed to inform citizens of land sales in the For example, there are copies of many Princeton University Press, 1939. west or those informing people of laws or gov- "wanted'. posters produced by the Bureau of Investigation, which in 1935 became the Fed- ernmental pmgrams, are interleaved within the Posters for Victory. Exhibition catalogue eral Bureau of Investigation fl:BI). Since the records of specific agencies. with introduction by Michael Miiss. first such poster was issued for an army Most posters, because of their special West Point: West Point Museum, deserter in 1919. thousands of suspected crimi- ..tainance and storage requirements, have 1978. been placed in the Still Pictures Branch of the nals have found their pictures on the snails of Special Archives Division. Other large collec- U.S. post offices throughout the country. Each poster. blazoned sn ith WANTED across the Rhoads, Anthony. Propaganda: The Art of tions of posters can be found in the Library Persuasion. World War II. Edited b and Printed Archives Branch. Central Infor- masthead, pictured the suspect, provided a Victor MargolinI findon: Clidsea mation Division, which has cusuxly of Publi- physical description, and usoally detailed the House Publishers, 1976. cations of the U.S. Giwernment, Record crimes for which he was accused. C;roup (RG1 287% and the General Branch, Records of the Office of War information, Civil Archives Division, which has many post- RG 208, in the Civil Archives Division, Gen- Rickards, Maurice. Pocrera of the First ers from the Office of War Information. eral Branch, include some 50 cubic feet of rec- World War New York:.Walker and 208. ords of the OWI Graphic Bureau. Created in Co., 1968. The Still Pictures Branch has approxi- 1944, this bureau guided agene.es and the Gov- mately 15,200 posters. Although there are a ernment Printing Office in the production and Sobel. Robert. The Manipulators. America few that were made in the 19th century, most publication of graphics and their distribution in the Media Age. Garden City: date frann the early 20th century to the late both inside and outside the government. Anchor Press, Doubleday, 1976. 1970s. Posters in the Still Pictures Branch Other places to lorik for broadsides and come from many record groups, with a major posters within the National Archives system Some Early .1fassachusetts Broadsides. Fore- segrnent from military records reflecting su ar- are the Presidential libraries. At the libraries word by Clifford Shipton. Boston: time concerns. Posters from World War I have there arc few systemized collections of posted Massachusetts 1 listorical Society, been taken from the records of the American notices: the ones that can be found reflect Pres- 1964. Expeditionary Forces. the Office of Naval idential campaigns, and activities and programs Records and Library, the reasury Depart- related to each President from I lerbert I louver Winslow. Ola Elizabeth. American Broad- ment's Bureau of Puldic Debt. and the U.S. to Jimmy Carter. The lloover Library, for side Verse. New I Liven: Yale Univer- Food Adnnnistration. World War II posters are example, has posters and some original poster sity Press, 1930. from the records of the Office of W'ar Informa- designs made for the U.S. Food Administra- tion. the War Production Board, the Office of tion. which Iloover directed during the First Government Reports, the Adjutant General's World War. Personal interests of a President Office, the Office of the Quartermaster (jell- are sometimes reflected in a library's poster eral, the Chief of Ordnance, the War Depart- holdings. The Roosevelt Library has a number right ment General and Special Staffs, thc Office of of interesting 19th-century hrtiadsides collected Price Administration, the Coast Guard, the by Franklin D. Roosevelt himself. 40Ii dfav,Vot Be Much But Its Wc.!.e Grd.. State Department. the Office of Inter- ca. 1971 American Affairs, and the Gift Collectiim Photomechanical 'Qin Traph. primed for the The Still Pictures Branch also has posters Peace Corps that reflect a sn ide variety of peacetime con- cerns. These posters are from the records of x 24 the U.S. I lousing Corporation, Weather Scheduled to be added to RC 381. Records of Agencies fon Economic Opportunity and Lzoal BEST COPY.SA1LABLE Services t.

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