Original Appalachian Artworks, Inc. v. Schlaifer Nance & Co.

679 F. Supp. 1564, 4 U.S.P.Q. 2d (BNA) 1657, 1987 U.S. Dist. LEXIS 13196, 1987 WL 42570
CourtDistrict Court, N.D. Georgia
DecidedSeptember 24, 1987
DocketCiv. A. C 85-4336-A
StatusPublished
Cited by19 cases

This text of 679 F. Supp. 1564 (Original Appalachian Artworks, Inc. v. Schlaifer Nance & Co.) is published on Counsel Stack Legal Research, covering District Court, N.D. Georgia primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Original Appalachian Artworks, Inc. v. Schlaifer Nance & Co., 679 F. Supp. 1564, 4 U.S.P.Q. 2d (BNA) 1657, 1987 U.S. Dist. LEXIS 13196, 1987 WL 42570 (N.D. Ga. 1987).

Opinion

ORDER

VINING, District Judge.

This action was .originally brought as a declaratory judgment action by Original Appalachian Artworks, Inc. (“OAA”) seeking a declaration of its rights and obligations under a contract it entered into with Schlaifer Nance & Company, Inc. (“SN & C”) dated March 1, 1982, and subsequently amended on November 3, 1982, *1567 and June 24, 1983. 1 Coleco Industries, Inc. (“Coleco”) was subsequently joined as a plaintiff. SN & C answered the complaint and asserted a total of 25 counterclaims against OAA and Coleco. Pending before the court are OAA’s and Coleco’s motions for partial summary judgment with respect to the counterclaims asserted by SN & C.

I. FACTUAL BACKGROUND

In mid-1977, Xavier Roberts began experimenting with soft sculpture techniques to make handmade needle-sculptured dolls. Roberts never used the term “doll” to refer to his works but, instead, identified them as “babies” and displayed them for “adoption” as if they were real human infants. The “babies” were sold at various arts and crafts shows and also at a craft store which Roberts managed. The early “babies” were priced from approximately $40 to $150, and each was signed on the buttocks by Roberts. Each “baby” was given a different name, and each “baby’s” individuality and uniqueness were emphasized in presentations to potential customers.

By early 1978, Roberts had developed a design for what he regarded as an essentially perfected “baby.” The proportions were similar to those of a human infant, and the “baby” employed a distinctive combination of facial and other body features. The physical features were produced by stuffing knitted fabric with polyester and shaping the fabric by means of needle-sculpturing. In February 1978, instead of continuing to create each baby as a new and separate work of art, Roberts began reproducing, with slight individual variances, the perfected prototype from patterns, and he began teaching employees and assistants to perform the various steps involved in producing the handmade “babies.”

Roberts contends that he soon recognized that his strength was in the areas of creativity and marketing, and, therefore, in 1978, he began the process of forming a company and employing others to handle manufacturing, production of written materials, routine business, managerial, and financial aspects of company operations. The company was incorporated in the fall of 1978 as Original Appalachian Artworks, Inc.

In displaying and marketing his “babies” at craft fairs and art shows, Roberts told potential purchasers that he had found the babies in an enchanted Cabbage Patch, that he cared for them in “Babyland General Hospital,” and that he was offering them for adoption to people who would promise to give them good homes. Purchasers were asked to take an oath of adoption, and the “babies” were given birth certificates and were sent birthday cards on the first anniversary of their adoption. The “babies” were sold under the trademark “The Little People,” which was chosen for its connotation that the dolls were small, real people. By the end of 1978, Roberts had established a manufacturing facility and had begun distributing the “babies” through gift retail facilities known as “adoption centers.” Each adoption center was required to commit completely to the myth, or “legend” that the “babies” had been found in the enchanted Cabbage Patch, thus treating the items as “babies” rather than as dolls.

The success of The Little People grew rapidly, and the unique marketing scheme of offering individually named “babies” for adoption and other aspects of the Cabbage Patch legend attracted extensive media attention. Gross retail sales of OAA’s “babies” reached approximately $5 million in 1980 and approximately $10 million in 1981.

By 1980 and 1981, OAA was considering ways to expand its business activities, having recognized that the manufacture of handmade “babies” was highly capital and labor intensive; consequently, OAA was looking for business opportunities which would require less investment of capital and management energies on its part. OAA determined that licensing was a means of deriving income from intellectual *1568 property based on an assumption of risk and expenditure of capital by other investors. Therefore, OAA began investigating possible licensing and franchising opportunities. During this time period, OAA also designed and produced other fabric-sculptured designs, some of which were identified as ancillary products to The Little People and others of which were entirely independent of and unrelated to The Little People. However, these other products enjoyed little success in the marketplace.

Early in its history, OAA became aware of the importance of securing and protecting exclusive rights to its artistic works through copyright ownership and to trademarks under which The Little People “babies” and other products were sold. OAA applied for and obtained a copyright registration for its needle-sculpture work, The Little People. OAA also applied for and obtained registration for the trademarks The Little People, Babyland General, Cabbage Patch, and other trademarks associated with its soft sculpture works.

In early 1981, Roger-Schlaifer first contacted OAA to seek out OAA’s advertising business. However, OAA rejected Mr. Schlaifer’s original proposal, since it was doing its advertising internally at that time. Later in 1981, Mr. Schlaifer again contacted OAA about doing advertising and licensing work for OAA. Several meetings took place between Mr. Schlaifer and the principals of OAA, eventually leading to a contract between OAA and SN & C dated as of March 1, 1982.

Although Mr. Schlaifer, in the course of the contract negotiations, attempted to obtain licensing rights to Xavier Roberts’ name and signature (sometimes referred to by the parties to this litigation as “Xavier Roberts plus design”), such inclusion was rejected by OAA. However, under the agreement SN & C did obtain the exclusive worldwide rights to license the designs, trademarks, and tradenames of OAA in the areas of subsidiary, literary, and audiovisual rights. The above terms are identified in paragraph 1 of the March 1982 contract as follows:

The term “DESIGN” shall mean designs derived from THE LITTLE PEOPLE, BABYLAND GENERAL HOSPITAL, CABBAGE PATCH, CABBAGE PATCH KIDS, PREEMIES, AND THE BABYLAND GENERAL STORK.
The term “SUBSIDIARY RIGHTS” shall mean the worldwide rights relative to the reproduction or use of Designs upon and in the form of greeting cards, posters, footwear, toys, games, three-dimensional figures, novelties, jewelry, clothing, wheel goods and accessories and other similar products.
The terms TRADEMARKS and TRADENAMES shall mean the marks and names THE LITTLE PEOPLE, BA-BYLAND GENERAL HOSPITAL, CABBAGE PATCH, CABBAGE PATCH KIDS, PREEMIES, and STORK.
The term LITERARY RIGHTS shall mean the rights to authorize third parties to prepare and reproduce materials in literary form based on the Designs, Trademarks and Tradenames of Producer [OAA].

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679 F. Supp. 1564, 4 U.S.P.Q. 2d (BNA) 1657, 1987 U.S. Dist. LEXIS 13196, 1987 WL 42570, Counsel Stack Legal Research, https://law.counselstack.com/opinion/original-appalachian-artworks-inc-v-schlaifer-nance-co-gand-1987.