Word: bristol
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Dates: during 1960-1969
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Died. Lee Hastings Bristol, 69, suave board chairman of Bristol-Myers Co., middle son of Co-Founder William M. Bristol, an advertising enthusiast who put his firm's jingles on the air in the 1920s (later sponsored Duffy's Tavern, Mr. District Attorney) and so, by feeding back up to 26% of sales into promotion, helped build the small pharmaceutical house into a $160 million-a-year top drugmaker; of a heart attack; in Point Pleasant...
Such free-swinging expansion has been the rule at Harvey's since burly George McWatters became chairman in 1956. The ancient Harvey cellars at Bristol, destroyed by Nazi bombers, have been replaced by an above-ground warehouse where untraditional but highly efficient machinery fills, plugs and crates bottles. Though British vintners long considered advertising unseemly, McWatters spends lavishly on full-color ads in which his wines are surrounded with willowy women. To increase sales, he has opened wineshops in British department stores, bought up 60 small liquor shops, and opened a restaurant in Bristol with a wine card listing...
...highly secret negotiations, France's Beaumont family, which has owned the vineyard since 1670, is wrapping up the final details of a deal that would give co-ownership of Chateau Latour and its annual output of precious claret to Britain's Harvey's of Bristol Ltd. And as a world-girdling distributor of wine and spirits, Harvey's has no intention of sharing its cup with the middlemen of Bordeaux...
...regarded a cellar as incomplete if it did not include a pipe (126 gallons) of carefully chosen port. Now wine buyers are mostly a modest lot who purchase a few bottles at a time. But there are more of them. Harvey's today exports to 130 countries. Its Bristol Cream, Milk and Dry have one-third of the growing sherry market in the U.S. (where most people assume that Harvey's sells nothing else...
...Lurgat's most important contribution was the introduction of the numbered cartoon, a kind of full-scale plan on Bristol board that the weaver follows at the loom. Formerly weavers took considerable latitude with colors and even design, but in transferring Lurgat's fanciful designs to tapestry, they are given no margin at all. Each color area bears a number that corresponds to a number on a skein of wool, not unlike the popular "by the numbers" painting kits; the method gives Lurgat complete control over the finished product...