Henry and Clara Ford bird-watch near the Rouge River in Dearborn, Michigan. THF96013

Over the course of a few short weeks, our daily lives have been disrupted in an unprecedented way. For most of us, our daily schedules no longer require moving from place to place — from our homes to our workplaces, miles away.

In our rush to get to the next location, did we ever stop to think about the space we traveled through to reach our destination? Did we ever stop to admire the natural world that envelops our civilization?

We hastily moved through the world. Now, while many of us are temporarily stationary, the natural world continues its movement around us. This presents a unique opportunity. With less demand on where you have to be, take this chance to enjoy the beauty of that motion. All it takes is a look out the window or a step out the door.

Here are the stories of a few makers and doers from The Henry Ford’s collection whose connection to the natural world might just help you step back, admire, reconnect and recharge:

- Learn more about the life of naturalist and writer John Burroughs in this Google Arts & Culture digital exhibit. Or take a look through pressed wildflowers Burroughs collected on an 1899 trip to Alaska in this album.

- Agricultural scientist George Washington Carver was committed to teaching, serving the community and making a difference. Learn more about his work in this blog. Or take a read through one of his publications used by educators to teach kids about gardening.

- Glass artist Paul Stankard, considered one of the fathers of the studio glass movement, drew upon a deep connection with the natural world to intricately replicate flowers and other botanicals in his acclaimed paperweights. Learn more about Stankard’s life, work and inspiration through his own words in this Visionaries on Innovation interview.

- Before starting a national conversation on the use of pesticides, author Rachel Carson found success with her poetic book  The Sea Around Us. A New York Times bestseller for nearly two years and winner of the John Burroughs Medal for nature writing, Carson's work can be checked out virtually for those who can’t make it outdoors.

Whether it’s a new flower blooming or the birds singing outside your window, find solace in the simple beauty of the world around you. Who knows, maybe the inspiration you find will lead you to spark a change in your own way.

Ryan Jelso is an Associate Curator at The Henry Ford.

nature, COVID 19 impact, by Ryan Jelso

Take a look at a collection of clips showcasing design and making within the collections at The Henry Ford.

Continue Reading

technology, African American history, quilts, fashion, manufacturing, Henry Ford Museum, Eames, The Henry Ford's Innovation Nation, making, design

"How to Fix Your Bicycle". THF206623

As we all learn to make do in our new world of social distancing and stay-at-home orders, here’s a look at how Americans have practiced resourceful living in the past. Whether it’s fixing the family car yourself, being proactive in your family’s health and well-being, or simply taking advantage of your extra at-home time to finally get organized, you’ll find much to inspire you in the collections of The Henry Ford.

In the Garage
The Railroad Roundhouse
“Fixing Cars, a People's Primer”
FIXD Car Diagnostic Sensor (as seen on The Henry Ford's Innovation Nation
“Anybody’s Bike Book”
“How to Fix Your Bicycle”
“A Rough Guide to Bicycle Maintenance”

Improvisation & Fixing Things
Whole Earth Catalogs
Quilt Maker Susana Hunter
Susana Hunter (as seen on The Henry Ford's Innovation Nation)

Revisit the Break, Repair, Repeat: Spontaneous & Improvised Design exhibit, on view Summer 2019
Video Tour of the Exhibit
Expert Set (Highlight Artifacts from the Exhibit)
Press Coverage by The Detroit News

Staying Healthy & Keeping Germs at Bay
Phone Soap (as seen on The Henry Ford's Innovation Nation)
Anti-Germ Sponge (as seen on The Henry Ford's Innovation Nation)
Historic Soap and Household Detergent Packaging
Braniff International Airways Bar Soap
For Health, Food and Fun Keep a Garden

An Organized Workspace
Julia Child’s Kitchen
Overhead Drawing of Julia Child's Kitchen
L. Miller & Son Store Displays of Hardware
Hoosier-Style Kitchen Cabinet
Handy Helper Utility Cabinet

Matt Anderson is Curator of Transportation at The Henry Ford.

Did you find this content useful? Consider making a gift to The Henry Ford.

home life, healthcare, by Matt Anderson, environmentalism, COVID 19 impact

Portrait of Young Girl with Hoop and Stick, 1868-1870. THF226622

The challenges posed by COVID-19 have inspired us to figure out new ways of working — and also of playing. Our entertainment is now focused on what can be enjoyed in and around our homes.

The past century saw an explosion of entertainment choices to enjoy in our leisure time, and plenty of these remain accessible to help lift spirits and put smiles on our faces. Favorite music, movies and television shows are at our fingertips. Video and board games can be enjoyed. Craft projects await. Reading material surrounds us —found online, downloaded on tablets or discovered on our own bookshelves. Weather permitting, outdoor activities like walking, riding a bicycle or even barbecuing remain accessible — all while maintaining social distancing, of course!

Right now, for many, there is little physical or mental separation between work and leisure. Taking time to savor leisure activities while remaining at home helps renew energy and focus. There are so many ways to stay engaged. Enjoy!

Perhaps the close quarters many of us are currently experiencing may even inspire more face-to-face communication, creativity — and play.

Home Media Entertainment
Sesame Street 50th Anniversary
The Real Toys of Toy Story
Is That from Star Trek?
Star Wars: A Force to Be Reckoned With
Immersit Game Movement (as seen on The Henry Ford's Innovation Nation)
Travel Television with Samantha Brown's Passport to Great Weekends"
A TV Tour of the White House" with Jacqueline Kennedy
Edison Kinetoscope with Kinetophone
Allan McGrew and Family Reading and Listening to Radio

Staying Busy with Games
Games and Puzzles
Board Games
McLoughlin Brothers: Color Printing Pioneers
Playing Cards
Girl with Hoop and Stick
Alphabet Blocks and Spelling Toys
CBS Sunday Morning with Mo Rocca: Piecing together the history of jigsaw puzzles

Crafting at Home
Leatherworking Kit
Paragon Needlecraft American Glory Quilt Kit
Carte de Visite of Woman Knitting

Video Games
History of Video Games (as seen on The Henry Ford's Innovation Nation)
Player Up: Video Game History
Unearthing the Atari Tomb: How E.T. Found a Home at The Henry Ford

Reading for Pleasure
Comic Books Under Attack
Commercializing the Comics: The Contributions of Richard Outcault
The "Peanuts" Gang: From Comic Strip to Popular Culture
It All Started with a Book: The Wonderful Wizard of Oz
Woman Reading a Book
John Burroughs in His Study

Staying Engaged & Family Activities
Partio Cart Used by Dwight Eisenhower
Connect 3: Guided Creativity

Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.

Did you find this content of value? Consider making a gift to The Henry Ford.

by Jeanine Head Miller, books, video games, radio, TV, movies, making, toys and games, COVID 19 impact

Members of the Woman's National Farm and Garden Association, 1918. THF288950

Most Americans rely on grocery stores today. Few remember the time when there was constant demand on people to produce and preserve the grain, vegetables and meat they needed to feed themselves.

Over the last few weeks, self-isolation and social distancing have brought into sharp focus the need to plan for your next meal. Do you do it yourself, heading to your cellar to extract the last potatoes or turnips from the bins, or lift the lid off the sauerkraut crock, or pull down a cured ham from the rafters? Probably not. Do you head to the local market or the grocery store and stock up on fresh supplies to see you through for a few days? Or do you dig into the back of your cupboard and pull out a boxed mix or canned goods.



There’s never been a greater time to be resourceful than now. Last week, we donated food from The Henry Ford’s restaurants and cafeteria to Forgotten Harvest to help support our community after our campus closed this month because of COVID-19.

Looking for inspiration to be resourceful in your kitchen? We've dipped into resources and stories from The Henry Ford's collections to try to help. Explore the differences between home cooking and food resourcefulness today and in the past — from farm fresh and family raised to preserved and prepackaged. These digital resources will help you find inspiration whether it’s breakfast, lunch or dinner. Sort through recipe books, dig out that potato — is it a Burbank?! — and season with that essential preservative, salt, reflect and enjoy.

What are you doing in your kitchens right now to make the most of what’s in your cabinets? Share your examples of resourcefulness by tagging your photos and ideas with #WeAreInnovationNation.

Resilient Foods, Resourceful People
Women and the Land: Agricultural Organizations of WWI
Freedom from Want
Mattox Home

Staples
A Versatile Ingredient (Salt)
What If A Potato Could Change the World of Agriculture?
Summer Staples: Tomato and Corn
Eggs
Eggs (as seen on The Henry Ford’s Innovation Nation)
Historic Recipe Bank
Bread & Biscuits

Preservation & Processing Foods
Henry J. Heinz: His Recipe for Success
Canning
Refrigerators
Fresh Paper (as seen on The Henry Ford’s Innovation Nation)

Supply Chains
Horse-Drawn Deliveries
Lunch Wagons: The Business of Mobile Food
Tri-Motor Flying Grocery Store

Alternative Eating & Home Cooking
Farmbot
Food Huggers (as seen on The Henry Ford’s Innovation Nation)

Individual Artifacts
Swanson Frozen Dinners, 1967
Waffle Iron
Victory Gardens
Macaroni
Bean Pot

Debra A. Reid is Curator of Agriculture and the Environment. Did you find this content useful? Consider making a gift to The Henry Ford.

COVID 19 impact, by Debra A. Reid, agriculture, philanthropy, food

by Kristen Gallerneaux, home life, radio, computers, technology, communication, COVID 19 impact

A new group of garments from The Henry Ford’s rich collection of clothing and accessories makes its debut in Henry Ford Museum of American Innovation in our What We Wore exhibit, this time examining how fashion trends can highlight, or manipulate, the human form.


Dress and Pelerine, 1830-1835
(Purchased with funds from the Eleanor B. Safford Memorial Textile Fund)


What makes these sleeves puffy?
A stiffened underlining--pleated muslin fabric--helps support the sleeves. Sometimes a “sleeve plumper” was used--down-filled pads that tied on at the shoulder under the dress.

The wide silhouette created by these “leg-of-mutton” sleeves and matching pelerine (small cape that covers the shoulders) not only drew attention to the wearer’s arms, but also emphasized the smallness of her waist!

Who wore this dress?
During the 1830s? We don’t know. Later, Tasha Tudor (1915-2008), author and illustrator of children’s literature, owned the dress.

Tudor admired the objects and rural lifestyle of the early 19^th century. She lived in a secluded New England farmhouse with no plumbing or electricity, surrounded by an orchard, rambling garden, and lively farm animals. Tasha Tudor also collected antique clothing--and wore it.


Dress, 1884-1885
(Gift of Ruth W. Crouse)


What supported the elaborately draped fabric at the back of this dress?
A bustle--a support of parallel horizontal slats made of wood or steel bent in a half circle. The bustle attached to the body around the waist. A tightly laced corset helped create her extremely small waist.

But how did she sit down? The slats would all collapse together as she sat, then spring back in place when she stood up--maintaining her fashionable silhouette.Between the fabric of the dress and the bustle, garments of this period could be quite heavy to wear!

Who wore this dress?
Mary Stevens (1861-1910), the daughter of wealthy capitalist. The Stevens family lived on Woodward Avenue in Detroit, a street lined with the homes of prosperous Detroiters.

Mary Stevens had a privileged lifestyle. She had the money to purchase finely made fashionable clothing. And led a social life that gave her opportunities to wear it. A few days before Christmas 1884, Mary’s mother gave an elegant reception at the Stevens home--complete with elaborate floral decorations, refreshments, and a full orchestra. Could this be the dress that Mary wore that afternoon?


Dress, 1927-1929
(Gift of Audrey K. Wilder)


What undergarment helped achieve this slender, youthful silhouette?
A straight-line, one-piece garment called a corselette. It de-emphasized the bust and smoothed the natural curves of the body--emphasizing the straight, unbroken line of that era’s “boyish” silhouette.

The movement of the uneven hemline, while walking or dancing, would subtly call attention to the wearer’s legs.

Who wore this dress?
Audrey K. Wilder (1896-1979) likely owned this dress.  Audrey attended college--quite unusual for women of her time. She graduated from Albion College, then earned a master’s degree from Columbia University in 1921.

In the late 1920s, Audrey Wilder was appointed Dean of Women at Ohio Northern University. One of her first projects was the creation of the first social hall for women on campus--a place where female students could hold teas, receptions, musicals, and dinners. Those who knew her described Audrey as a “dynamic dean” and a woman “of exquisite grooming.”


Cocktail Dress by Christian Dior, 1952
(Gift of Mrs. Harvey Firestone, Jr.)

What undergarment helped create the “hourglass” silhouette of the 1950s?
Christian Dior’s “New Look”--with its close-fitting hourglass silhouette--dominated the 1950s. This look emphasized a tiny waistline and feminine curves. Longline bras helped slim the waistline and create a smooth line under garments.

This dress, Dior’s “Sonnet” design, also accentuated the waist through the angled side bodice seams, bows at the waist, and rounded skirt.

Who wore this dress?
This dress was custom-made for Elizabeth Parke Firestone (1897-1990), wife of tire magnate Harvey S. Firestone, Jr. Elizabeth felt it her duty to represent her husband, family, and the Firestone Tire and Rubber Company with dignity and grace. She was always flawlessly dressed--whether for informal camping trips, world travel, business functions, or society parties.

Elizabeth had a fine eye for fashion and favored New York and Parisian designers, including Christian Dior. These designers created garments to her specifications, including perfect fit, style, color, fabric, and construction. During the 1950s the New York Dress Institute named Elizabeth one of the "Best Dressed Women in the World.”

Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.

Firestone family, Elizabeth Parke Firestone, women's history, What We Wore, Henry Ford Museum, fashion, by Jeanine Head Miller

An image from the set of The Henry Ford’s Innovation Nation.

For many people—especially those who grew up between the decades of the 1970s through the 1990s—the sight of a boombox often prompts the thought: “I wonder how heavy that thing would feel, if I carried it around on my shoulder?” Boomboxes are infused with the promise of human interaction, ready for active use—to be slung from arm to arm, hoisted up on a shoulder, or planted with purpose on a park bench or an empty slice of asphalt in a city somewhere.

Here at The Henry Ford, we recently acquired a trio of classic boomboxes to document stories about the growth of mobile media and the social communication of music in American culture.

The Norelco 22RL962 was developed in the mid-1960s by the Dutch company, Philips. A combination radio and compact cassette player, it had recording and playback functions as well as a carrying handle. While it was generally thought of as the first device that could be accurately called a “boombox,” the Norelco failed to gain mass traction. The core issue wasn’t due to poor performance from a technological standpoint, but rather the bad sound quality of the tapes. In 1965, the American engineer Ray Dolby invented the Dolby Noise Reduction system, which led to clean, hiss-free sound on compact cassette tapes. His invention sparked a revolution in hi-fi cassette audio.


The ubiquitous compact cassette tape.

In the early 1970s, Japanese manufacturers began to make advancements in boombox technology as an outgrowth of modular hi-fi stereo components. Living spaces in Japan were typically small, and there was a desire to condense electronics into compact devices without losing sound quality.

Later that decade, the improved boombox made its way to the United States, where it was embraced by hip hop, punk, and new wave musicians and fans—many of whom lived in large cities like New York and Los Angeles. In many ways, the boombox was a protest device, as youth culture used them to broadcast politically charged music in public spaces.


An early image of the Brooklyn Bridge and New York Skyline. THF113708

Boomboxes literally changed the sonic fabric of cities, but this effect was divisive. By the mid-1980s, noise pollution laws began to restrict their use in public. The golden years of the boombox were also short lived due to the rising popularity and affordability of personal portable sound devices like the Sony Walkman (and later, the MP3 player), which turned music into a private, insular experience.


The JVC RC-550 ”El Diablo” boombox. THF179795

JVC RC-550 “El Diablo”

This boombox was built for the street, and it is meant to be played loud. Its design is rugged, with a carrying handle and protective “roll bars” in case it is dropped. Many classic photos from the early years of hip-hop depict fans and musicians carrying the El Diablo around cities and on the subway in New York.

The JVC RC-550 is a member of what sound historians refer to as the “holy trinity” of innovative boomboxes. While the origins of its “El Diablo” nickname are uncertain, it is believed to stem from the impressive volume of sound it can transmit—or its flashing red sound meters. It is a monophonic boombox, meaning that it has one main speaker and it is incapable of reproducing sound in stereo. A massive offset 10-inch woofer dominates its design, coupled with smaller midrange and tweeter speakers. As with most boomboxes of this time, bass and treble levels could be adjusted.

An input for an external microphone led to the RC-550 being advertised as a mobile personal amplifier system. Brochures from the Japanese version show the boombox being used by salesmen to amplify their pitches in front of crowds, as a sound system in a bar, and by a singing woman accompanied by a guitarist. Recording could take place directly through the tape deck, or through the microphone on top, which could be rotated 360-degrees.


JVC 838 Biophonic Boombox. THF177384

JVC 838 Biphonic Boombox
The JVC 838 is important for its transitional design. It was one of the first boomboxes to incorporate the symmetrical arrangement of components that would become standard in 1980s portable stereos: visually balanced speakers, buttons and knobs, and a centered cassette deck.

As boombox designs evolved, they began to include (almost to the point of parody) sound visualization components such as VU meters and other electronic indicators. In many cases, these were purely for visual effect rather than function. The needle VU meters on the JVC 838 however, were accurate.

A unique feature of the JVC 838 boombox is its “BiPhonic” sound—a spatial stereo feature that creates a “being there” effect through its binaural speaker technology, resulting in “three-dimensional depth, spaciousness, and pinpoint imaging.” The box also includes an “expand” effect to widen the sound even further.


Sharp GF-777 “Searcher.” THF177382

Sharp “Searcher” GF-777
The Sharp “Searcher” GF-777 is an exercise in excess. Often referred to as the “king of the boomboxes,” it was also one of the largest ever produced. Weighing thirty pounds (minus ten D-cell batteries) and measuring over one foot tall and two feet wide, it took a certain amount of lifestyle commitment to carry this device around a city.

The Searcher played a key part in the performance and representation of hip-hop music. Its six speakers include four woofers individually tuned for optimal bass transmission and amplitude. It appeared in a photograph on the back cover of the first Run-DMC album, found its way into several music videos, and was photographed alongside breakdancing crews. 

Many people used this boombox as an affordable personal recording studio. Two high quality tape decks opened the possibility for people to create “pause tapes” – a way of creating looped beats through queuing, recording, rewinding, and repeating a short phrase of music. A microphone input and an onboard echo effect meant people could rap or sing over top of music backing tracks.

Much like Thomas Edison’s phonograph, the boombox came full circle, allowing people to record and play back music for public and communal consumption. And while they may not mesh with our ideas of what a “mobile” device is in our age of smartphones and streaming services, their reach permeated popular culture in the 1970s well into the 1990s. Sometimes acting as portable sound systems, sometimes used as affordable personal recording studios—carrying a boombox through the streets (wherever you happened to live) was as much a fashion statement and lifestyle choice as it was a celebration of music and social technology.

Kristen Gallerneaux is Curator of Communications and Information Technology at The Henry Ford.

1980s, 1970s, 1960s, 20th century, technology, radio, portability, popular culture, music, communication, by Kristen Gallerneaux

The Mattox Home in Greenfield Village THF68734

Through furnishings and presentations, the Mattox Home in Greenfield Village tells the story of one family living in rural Georgia in the 1930s. Read on to discover more about the community in Bryan County (where the house was originally located), learn about the Mattox family, and get an inside look at how they lived.

Amos and Grace Mattox
Amos Mattox, probably born around 1889, grew up in this house during the harsh years of Southern segregation. He and his wife, Grace, married in 1909.

The home in Greenfield Village is shown as it would have been during the 1930s, when the entire country was in the grip of the Great Depression. Low prices and little demand for farm products created a crisis for farmers throughout the country, and many abandoned their land. Amos and Grace Mattox maintained their resourceful lifestyle, keeping up a vegetable garden, livestock, and fowl to feed themselves and two young children, Carrie and Amos, Jr. To supplement the family’s income, Amos worked at various jobs—as a laborer for the Atlantic Coast Line Railroad and Seaboard Air Line Railway and at the local sawmill, and as a shoemaker, carpenter, and barber. He also served as a deacon at the Bryan Neck Baptist Church. The church had been founded by his grandfather Amos Morel, a formerly enslaved steam engineer who, in the 1870s, purchased the land the Mattox home stood on. Like his grandfather, Amos Mattox sold parts of his family’s land when he needed cash.

Grace Mattox is remembered by her children as a busy and meticulous homemaker. In addition to daily chores, she canned fruits and vegetables, cared and provided for elderly and sick neighbors, crocheted, did “fancy work” embroidery, and made her home as cozy and attractive as possible. A devoted mother, she encouraged and supported the education of her two children, walking a mile to and from their school daily with a “proper hot lunch” for them.

Although life was hard, the Mattox family proudly affirmed that there was "always enough."


A copy of the only known photograph of Amos Mattox, Sr. THF135142

African American Community Life in 1930s Bryan County, Georgia
Sixty-five years after the Civil War, coastal Georgia was a land of sleepy towns, cypress swamps, moss-hung trees, oxcarts, horse-drawn wagons, and a few cars. Among long-abandoned crumbling mansions stood small farmhouses scattered about on what were once extensive holdings of plantation land but were now mostly small individual farms—some privately owned like the Mattox home and property, but most rented on the share system. Following the breakup of the large plantations after the Civil War, members of the same family tended to settle close together on the same land where they had lived when they were enslaved. A generation later, this was still true of the Mattox family. Amos Mattox, Jr., remembers his Uncle Henry living within “hollerin’ distance” and his Uncle Charlie living 5 to 10 minutes’ walk away. In the absence of telephones, close neighbors could be hailed by shouting.

What we know about the Mattox family comes from record searches and oral interviews. When Henry Ford acquired the Mattox home in 1943, there were still many people alive who could recall their youth on the very land on which their descendants lived. Elderly, formerly enslaved neighbors like “Aunt” Jane Lewis were links to the past for children like Carrie and Amos Mattox, Jr.


Henry Ford moved the Mattox Home to Greenfield Village in 1943. He can be seen in this photograph (far right) with Grace Mattox (in the doorway) and others at the home on its original site. THF123296

Like 89 percent of rural homes in 1930, the Mattox home lacked electricity and running water; kerosene lamps provided light. However, the Mattoxes owned a battery-operated radio and a hand-cranked phonograph. Amos, Jr., and Carrie could recall few leisure activities, but many occasions when the family worked together, farming, gardening, canning, and doing the wash. Most work was done outside, with seats provided on porches and under grape arbors. Houses were hot and close inside, and were used mainly for sleeping, bathing, or as shelter from the rain. In the evening the Mattoxes read from the family Bible.

Neighbors allowed their livestock, cattle and hogs, to range freely on common ground in the forest (families notched their animals’ ears with distinctive markings to prove ownership). After butchering a hog, the Mattoxes would smoke the hams for a few months in the chimney of their home. According to Amos, Jr., the chimney, made of clay and sticks, occasionally caught fire. To extinguish the fires, a member of the family climbed on the roof and poured water down the chimney.

Health care was poor and infant mortality high. Grace Mattox gave birth to six children, only two of whom survived past infancy. Often, community members would take shifts caring for a sick person night and day. Grace Mattox was instrumental in organizing home nursing for her local community.

The Mattox family’s social life, like that of their neighbors, centered around the Bryan Neck Baptist Church and the prayer house associated with it. The prayer house was about 150 feet from the Mattoxes’ home. They attended prayer meetings in Bryan Neck Baptist Church every other Sunday morning at daybreak. On alternate Sundays and Sunday evenings, as well as on Tuesday and Thursday evenings, they walked to the prayer house. The whole community was thought of as one family, including mothers, fathers, uncles, aunts, and close friends. They celebrated holidays together, cared for one another in times of sickness and crisis, shared their surplus produce, and encouraged and supported one another in their daily lives.

The Mattox Home in Greenfield Village
In 1943 Henry Ford brought the Mattox home to Greenfield Village. After the purchase he agreed to let the Mattoxes continue to live on the property, built the family a new house, and bought new furnishings for it. Since no written agreement was found regarding the continued use of the property after the death of Henry Ford (1947) and his wife, Clara (1950), the Mattoxes were, sadly, evicted by the new owners, the Southern Kraft Timberland Company.


View of the Mattox Home in Greenfield Village, showing the vegetable garden and the birdhouses made from gourds THF45319

Exterior and Grounds
Bryan County, Georgia, lies in a swampy region of the Low Country. People living in this area usually maintained yards of swept dirt to prevent the growth of vegetation and keep mosquitoes and snakes away from the houses. Residents swept fancy designs into the dirt to make the yards more attractive, especially around holidays. People also fashioned birdhouses from gourds to attract purple martins, which feed on mosquitoes and other flying insects. The birdhouses at the Mattox home, as well as the roof repaired with a cast-off sign, are examples of the family’s ingenious use of available resources.

Vegetable Garden
Most of what the Mattox family produced was for their own use. In their vegetable garden the Mattoxes raised corn, sweet potatoes, rice, peas, beans, tomatoes, and okra, as well as collard, mustard, and turnip greens.


Rear view of the Mattox Home in Greenfield Village (the grape arbor is visible at right) THF1967

Grape Arbor
In the warm climate of coastal Georgia, families spent much of their lives outdoors. The Mattoxes’ grape arbor provided a cool, shady space for household chores like laundering or food preservation. Amos Mattox made wine from the native Southern scuppernong and muscadine grape varieties grown there.

Chicken Yard
The Mattox family raised chickens, hogs, and goats for their own use. The chickens and goats were confined in the yard near the house, while the hogs were allowed to range freely.


Interior of the Mattox Home in Greenfield Village THF53390

The Home
That Mattoxes covered their interior walls with newspaper for both insulation and decoration. Photographs taken in the 1930s and 1940s show that this was the norm rather than the exception in small rural homes in the South.

Much of the furniture now in the home was owned by the Mattox family. The mirror on the wall originally belonged to Amos Mattox’s grandfather, Amos Morel. Needlework scattered through the rooms represent Grace Mattox’s sewing and decorating skills. Over the mantel is a copy of the only known photograph of Amos Mattox, Sr. Pictures and fans with representations of religious themes and the family Bible reflect the strong religious grounding of the family. A checkerboard with bottle caps as game pieces and homemade dolls show how the family overcame the constraints of limited means.


Mattox Home kitchen THF53400

The room attached to the rear of the home contains the kitchen and dining room, often used as the children’s bedroom. On the woodburning cookstove, Grace Mattox prepared meals for her family and dishes to bring to church suppers and community celebrations. The family worked together to prepare canned goods that could be stored on shelves in the kitchen for use throughout the year.

Explore the Mattox Family Home for yourself in the Porches & Parlors district in Greenfield Village.

1930s, home life, Greenfield Village buildings, Greenfield Village, Georgia, African American history, 20th century

As with many entrepreneur stories, this one begins with immigrants coming to the United States to pursue the American dream. That dream was to create stylish, attractive silver housewares, but a national economic crisis forced them to get creative with a new material – aluminum – and resulted in the creation of the Everlast Metal Products Corporation. This blog highlights the company’s nearly 30-year history.


Everlast Aluminum Advertisement, “Yours From Everlast The Finest – Bar None!” 1947 THF125124

When the Great Depression gripped the nation during the 1930s, demand for consumer products fell as many people struggled to get by in the faltering economy. Up to this point, silver had been the primary material used for creating fashionable housewares. With few buyers able to purchase silver products, manufacturers turned to aluminum. One of the most prolific manufacturers of aluminum giftware was the Everlast Metal Products Corporation of New York City.


Everlast Aluminum Advertisement, “Everlast Hand-Forged Aluminum, So Beautiful – So Versatile!” 1948-1949 THF295633

Everlast founders Louis Schnitzer and his brother-in-law, Nathan Gelfman, were experienced metalworkers in their homeland of Kiev, Russia before immigrating to the United States in the 1910s. In the early 1920s, the two men created a silver housewares business in New York City called Western Silver Works, Inc., where they polished and plated silver. By 1930, Schnitzer and Gelfman began producing silver- and chrome-plated items under the name Western Silver Novelty Company.

Affected by the decline of buyers for silver products during the Great Depression, Schnitzer and Gelfman decided to adapt, attempting to work with the modern and more affordable metal, aluminum. Aluminum was more costly than gold from its discovery in the 1800s until the first smelting methods were invented in 1886. Inexpensive aluminum cookware and kitchen utensils were manufactured in the 1890s, but poor manufacturing quality made customers skeptical of the new material. During the first World War, aluminum’s light weight and rust-resistant properties made the metal ideal for use in soldiers’ canteens and military vehicles. From this, aluminum gained wider acceptance, and consumer confidence in the metal led to a surge in aluminum products in the next few decades.

In 1932, Schnitzer and Gelfman formed Everlast Metal Products Corporation and began producing high-quality, hand-forged aluminum giftware. Hammered aluminum giftware products were, at once, both “old” and “new.” In an era of growing uniformity via factory production, the “made by hand” aspect of these products held an aesthetic appeal for consumers, while their aluminum material made them seem decidedly modern.


Everlast “Forged” Gravy Boat, 1938-1950 THF125117
Everlast’s first product line, “Forged Giftware,” was introduced in 1933 and continued until the company closed. Featuring Colonial Revival- and Neoclassical Revival-inspired designs, this line – with items like this gravy boat – appealed to customers with traditional tastes.

 

Schnitzer, the creative force behind the company, recognized the necessity of increased marketing to promote Everlast’s products. Around 1935, Jack Orenstein was brought on as National Sales Manager. Orenstein, skilled in merchandising techniques and in building relationships with clients, was essential in the success of the company. Already successful in the giftware industry before joining the company, Orenstein organized a highly effective sales force which gave Everlast a national presence in the decorative aluminum giftware market.


Everlast “Forged” Tray, 1933-1936 THF144106

Everlast “Forged” Tray, 1938-1947 THF144107
Through innovative manufacturing and creative marketing, Everlast was able to expand its “Forged Giftware” product line. Instead of creating new product forms each year, the company combined new handles and design motifs with previous years’ product forms to create “new” pieces. This cost-effective method for product development enabled Everlast to introduce new items regularly while also keeping up with rapidly changing design trends. The two trays pictured here have the same form, but the second piece now features handles and a different motif.


Everlast Aluminum Advertisement, “Yours from Everlast for ‘Dining Out’ at Home!” THF295629  

When the United States entered World War II in 1942, the production of aluminum for consumer goods was halted to focus on the production of military equipment. While some aluminum houseware companies struggled to adapt, Everlast rose to the challenge, securing government contracts and upgrading their facilities to produce military equipment under the name Browning Precision Tool Co.

Throughout the war, Everlast created partnerships with various businesses in the floral, woodworking, and ceramic industries, enabling the company to remain in the public awareness, despite not producing consumer goods itself. As the war was winding down, Everlast turned its focus back to manufacturing consumer products. The upgrades made to its facilities during wartime put the company in a better position to manufacture mass-produced giftware in a more cost-effective manner – just in time for increased consumer spending during a time of post-war prosperity.


Everlast “Bali Bamboo” Ice Bucket, 1953-1959 THF125114
Everlast’s most successful line, “Bali Bamboo,” was a direct result of America’s fascination with the South Pacific following World War II. More than 60 different items, produced between 1946 and 1959, featured raised bamboo shoots and a satin finish. Together these features provided the added advantage of hiding scratches.

Following the war, Everlast resumed its advertising and marketing strategies. To increase its accessibility to consumers in the Midwest, the company also established a showroom in Chicago in 1946. Unfortunately, despite the initial post-war momentum for aluminum housewares, the industry and company struggled throughout the 1950s, experiencing setbacks that ultimately led to its demise.


Everlast “Silvercrest” Tumbler, circa 1952 THF125119
In 1952, Everlast introduced a line called “Silvercrest,” featuring a highly polished aluminum finish. By this time, as a cost-cutting measure, the products’ “hand-forged” hammer marks were actually produced by a machine.

The first blow to the Everlast company came in 1951 when the Korean War initiated a restriction on the use of aluminum for consumer goods once again. Soon after, Jack Orenstein left the company to pursue a career in the new era of modern housewares – ceramics and plastics. Compared to these materials, which were colorful and lacked ornamentation, aluminum was beginning to be seen as old-fashioned and outdated. Despite several attempts to reinvent its products, Everlast floundered, failing to revive consumer interest in aluminum housewares.


Everlast “Modern” Three-Tier Tidbit Tray, circa 1953 THF125116
In an attempt to reinvent its products amidst the growing popularity of plastics, Everlast introduced a contemporary line in 1953 called, “Everlast Modern.”

Like other manufacturers of the time, the company also chose to forego quality in favor of machine-made, mass-produced goods. This ultimately over-saturated the housewares market and crushed any interest in “hand-forged” household items. After nearly thirty years in business, Louis Schnitzer and Nathan Gelfman closed Everlast in 1961.

The two men from Russia had forged their American dream, adapting early on to pursue their entrepreneurial vision. It can be said that advances in technology and rapidly changing consumer interests secured the downfall of the aluminum industry. It cannot be said, however, that Everlast’s founders went down without a fight. Though their entrepreneurial journey came to an end in 1961, the founders experienced undeniable success during their company’s thirty-year history to become one of the eminent manufacturers of aluminum housewares and giftware.

To see more artifacts from the Everlast Metal Products Corporation, visit our Digital Collections.

Samantha Johnson is Project Curator for the William Davidson Foundation Initiative for Entrepreneurship at The Henry Ford. This post was adapted from the Pic of the Month from April 2007, written by Donna Braden and Kira Macyda. Special thanks to Constance Levi for sharing her knowledge of the company and for reviewing this content.

by Kira Macyda, by Donna R. Braden, by Samantha Johnson, home life, furnishings, immigrants, entrepreneurship, design