Over time, people have marked the deaths of their loved ones in many ways. One popular method in the 18th and 19th centuries was the wearing of mourning jewelry, which often incorporated the hair of the deceased. We’ve just added close to 50 more stunning examples of mourning jewelry and other memorial items to our digital collections, including the mourning brooch depicted here, a ring dating to 1716, and a doll’s coffin.
Hallowe’en is one of our favorite times of the year here at The Henry Ford and although we’re suckers for tradition, guests should expect some surprises on the horizon at this year’s spooky celebration.
You see, for us, it’s not about the scream-inducing theatrics, but the history and background of Hallowe’en. That’s why the aesthetics we use to transform Greenfield Village are inspired by the 20th century to the early ‘60s.
Wondering how we know so much about what Hallowe’en was like more than 100 years ago? Well, let’s just say we know how to do our research; it’s not an easy or short process, though.
Our creative team works on Hallowe’en in Greenfield Village 365 days a year.
“We are constantly researching and looking into anything that triggers our thought process. Additionally, new technology that can we can incorporate is always emerging,” says Jim Johnson, our Senior Manager of Creative Programs.
Dennison's Bogie Book: Suggestions for Halloween & Thanksgiving, circa 1925 (Object ID: 90.228.474).
Our most inspirational and useful sources of information regarding Hallowe’ens past come from party guides and pamphlets ranging from the early 20th century to the 1960s and Dennison’s Bogie Books.
Surprisingly, Hallowe’en was a much different holiday when it first began, as compared to the terror-ridden night of horror we are accustom to nowadays.
Hollows Eve actually started as a night of romance, even more so than Valentine’s Day. It was a night of finding your future companion by way of a fortune teller or completing a special list of activities at midnight so the face of your true love would be revealed.
In fact, the trick-or-treating tradition we all know and love didn't come into play until the 1930s and was not prominently practiced until the ‘50s.
This year, we’ve decided to implement a masquerade theme, featuring a nod to some classic literature and Frankenstein circa 1820s, complete with new visual, lighting and sound effects, fresh characters and a twist on some of our program staples. (Sounds pretty cool to me.)
“Although we will have a few new elements,” Jim explains, “It’s not about what’s new, it’s about what’s ‘cool’. We’re more focused on ‘looking back’. This year’s program is very cool and definitely sparks the imagination of people of all ages.”
Well, there you have it. History buffs we may be, but we’re nothing if not cool. We believe it’s all about continuing to evolve and that is exactly what we intend to do through our Hallowe’en event and beyond.
Brianna Garza is a media relations intern at The Henry Ford.
Last week the National Toy Hall of Fame at The Strong announced the 12 finalists for this year’s class of inductees. Just two lucky toys will make the cut on Nov. 7 to join the ranks of other beloved honorees, such as LEGO toys, Barbie, Lincoln Logs and Hot Wheels. It’s a tough call: is My Little Pony more worthy than the Teenage Mutant Ninja Turtles?! This year’s finalists are:
My Little Pony
Toy Army Men
Magic 8 Ball
Teenage Mutant Ninja Turtles
Fischer-Price Little People
Which two toys would you nominate for the Toy Hall of Fame? Is there a toy you’re hoping someday will make the list?
We have a variety of toys in our collection here at The Henry Ford, spanning current-day favorites to primitive playthings, including several of this year’s finalists.
From our collection, here are some of this year’s finalists.
Hasbro introduced its My Little Pony line of toys in 1983. It was a big seller. The Ponies were not dolls but they did feature two long-important aspects of doll appeal: hair care and fashion. The ponies' hair was a silky mane that could be twisted, braided, and styled. A matching ribbon and comb came with each pony. These toys combined "friendship" and grooming play. In 1986, My Little Pony got her own cartoon series, My Little Pony 'n Friends. In the series, the Ponies, together with the wise little Moochick, the Bushwoolies, and human friends Megan, Molly, Danny, and Spike, kept Ponyland safe from witches, trolls, and the like.
Magic 8 Ball
This is novelty version of a crystal ball was introduced in 1946, at a time when forecasting the future was a popular pastime. How it worked: The ball is actually two separate halves glued together (then polished to help make the seam disappear). Inside is a plastic vial, affixed to one end and standing upright. About the size of a juice glass, the vial is filled with a blue liquid, which is made up of a combination of water, blue coloring, and propylene glycol, an antifreeze to keep the solution from turning solid during shipping. Floating in the liquid is a polyhedron, whose 20 sides bear 20 different answers in raised letters. The clear plastic cap that seals the cylinder not only assures that the blue solution won't leak out, but doubles as the little window through which you view your answers.
Toy Army Men
In the 1950s, toy makers began producing military toys that celebrated World War II as a historical event. Along with Civil War and Robin Hood playsets, catalogs featured playsets that allowed children to reenact World War II battles. Ship models were advertised as a way for boys to relate to their veteran fathers. Bags of cheap hard plastic army men, two or three inches tall, were a common toy to 1950s boys, allowing them to restage World War II battles. This type of war play continued into the 1960s and culminated with the introduction of Hasbro's GI Joe doll in 1964. While initially inspired by a television show, GI Joe came to represent the average soldier, evoking memories of fathers' experience in World War II and the Korean War. The point was to imitate the real world of adults in the military and connect fathers with sons.
Chess is one of the oldest and most popular board games. It is played by two opponents on a checkered board with specially designed pieces of contrasting colors, commonly white and black.
Fisher-Price Little People
Often play sets were miniaturized sets of household items, like dishes and kitchen appliances, or real-life settings like farms or circuses. The "Play Family Farm" (Fisher-Price #915) has been produced continually since 1968. When the barn door is open, a mooing sound can be heard. The silo is designed for storing accessories.
Lish Dorset is the social media manager for The Henry Ford. She’s pulling for My Little Pony and Fischer-Price Little People to take the National Toy Hall of Fame honors this year.
50-year-old canned mushrooms? You might be inclined to pass if someone offered these to you—understandably. But despite the age of the contents, food (and other) packaging can provide a wealth of information about an era, from design standards to daily habits. We’ve just digitized about two dozen food boxes, cans, bottles, and jars dating from the 1920s to the 2000s. Check out exotic anchovies, oyster sauce, and truffles, or see hundreds of examples of all types of containers (food and otherwise), on our collections site.
(FYI, thanks to our Conservation Department, the contents of the food packages have now been disposed of, leaving clean artifacts for long-term preservation.)
Ellice Engdahl is the Digital Collections Initiative Manager at The Henry Ford
To put it simply – The Henry Ford is the reason I became a history teacher! As an 8-year old boy, I visited Henry Ford Museum and Greenfield Village with my family in the 1970s. I was immediately hooked by the awesome power of the historical artifacts, buildings and stories. Suddenly, history came alive. I saw the past not just as dates and events in a stuffy textbook, but as a link to where we are right now, and where we are going in the future.
When I learned about The Henry Ford’s Teacher Fellow Program, it was a no-brainer for me to apply. I hoped that my years of experience as a public high school history teacher would be enough to convince The Henry Ford to accept me into the program. Fortunately, it was.
Living almost two hours away from Dearborn, Mich., I wound up making close to 10 round-trips during a six-month time period. The funny thing was, I hardly noticed the drive! Often times I spent the drive brainstorming ideas and different plans to help The Henry Ford really connect with teachers in the classroom.
The Henry Ford is a treasure chest full of so many awesome ideas, programs, primary sources, artifacts, and stories that teachers can use each and every day in their classrooms to make history come alive. History is just that – a STORY! The story is ongoing and never ends. When teachers can make real, concrete links to the past that are hands-on, suddenly students begin to grasp the emotions behind the events – people, who are just like them, experienced history with emotions that are real and identical to those we have right now. The materials at The Henry Ford are just that powerful!
One of our projects was raising awareness to teachers on the “outside” who cannot make it to Dearborn with their classes. So, why not bring The Henry Ford to them? We created a series of videos (I have never shied away from an audience!) to help teachers realize all that The Henry Ford has to offer for in-class use. Teachers can now access so many materials and programs online to use in their own classrooms. It truly is awesome.
Another project was the Digital Curator Kit. We wanted to have something hands-on for students of all ages to utilize while both in their classrooms and during a field trip. It places the responsibility squarely on the shoulders of the students and allows them to find artifacts that relate to an area of their choosing. In a way, the students are now making their own personal museum!
The Henry Ford’s Teacher Fellow Program allows a group of teachers, who would not otherwise work together, to collaborate in a way that benefits not only themselves, but other teachers as well. It empowers them to have a lasting effect, together, on the future students and teachers coming to, and using, the resources of The Henry Ford.
The Teacher Fellow Program was an opportunity for professional development unlike any other. Teachers collaborate on-site at America’s Greatest History Destination. We are given the unique ability to be hands-on, behind the scenes, at The Henry Ford. We are given access to every possible resource we could imagine. While that can seem overwhelming at first, once the purpose and direction of the Fellows becomes clear, there is no limit to the impact the group can have on the hundreds of thousands of students and teachers who use The Henry Ford each year.
I have made contacts with teachers from both Ohio and Michigan that I wouldn’t have met. We can now collaborate, as Fellows, on future projects in our classrooms and continue the work we have done as 2013 Teacher Fellows at The Henry Ford.
I am truly looking forward to Graduation Day on Oct. 26. To see the finished product of our hard work – and to show others for the first time our vision – is very exciting.
Over the past several months I have become a member of a large group of professionals with the dedication to bring history to life for everyone of any age. I am so honored to be a part of The Henry Ford’s family. The little 8-year old boy has now turned a passion for history into a life-time dedication of helping others see that the past is a link to the present and future. You could easily say, I have always been a part of The Henry Ford – or better yet, it is a part of ME!
Todd Edmond is a member of The Henry Ford’s 2013 Teacher Fellow Program. He hails from Tiffin, Ohio and teaches U .S. History and AP U. S. History at Tiffin Columbian High School.
One of the most distinctive features of Greenfield Village is the period-authentic clothing worn by the presenters, all created on site by our Clothing Studio. Many of the designs they create are based on objects from our own costume collection, including clothing, shoes, hats, and other accessories. We’ve just digitized a selection of bonnets, including this delicate 19th century example. See detail shots of two dozen bonnets, ranging from the very simple to the very ornate, in our Digital Collections.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
For three days, September 13-15, the clock turned back to the glory days of postwar British motorsport at the inimitable Goodwood Revival. Racing, aviation, music and vintage fashions of the 1940s, ’50s and ’60s came together on the Goodwood race circuit, outside Chichester, England, for what may well be the world’s premier historic automobile event. As in past years, the 2013 Goodwood Revival spotlighted a legendary race driver. Jim Clark, the Scottish wunderkind who won 25 races and two Formula One world championships before he died in a 1968 racing accident, took center stage this year. Clark’s groundbreaking win at the 1965 Indianapolis 500 is among his best-known victories, and The Henry Ford brought to Goodwood the Lotus-Ford Type 38 that he drove that day.
Once each day during the event, 36 cars associated with Clark’s career gathered on the track for an exciting parade lap around the 2.4-mile circuit. Dario Franchitti, a devoted Jim Clark fan and a three-time Indy 500 winner, drove our Type 38 in the parade. Some of Clark’s contemporaries, including Sir Jackie Stewart and John Surtees, also drove parade cars, making the tribute particularly special.
Significant though it was, the Jim Clark program was only one element at this year’s revival. Of particular interest to me was the 50th anniversary celebration of Ford’s GT40. Goodwood brought together 40 such cars, 27 of which competed in a 45-minute race complete with a mid-contest driver change. The GT40 dominated Le Mans in the late 1960s, and Goodwood’s collection included chassis #1046, the car that won the 1966 24-hour and started Ford’s reign. Appropriately enough, Goodwood displayed #1046 and several of its siblings in a recreation of the Le Mans pit building where they looked right at home.
Goodwood’s airfield housed two Royal Air Force fighter squadrons during World War II, so it’s only natural that vintage aircraft have a presence at the Revival too. The most impressive exhibit this year – for sheer size if nothing else – was a German-built 1936 Junkers JU 52. (With its three engines and corrugated aluminum skin, it bore more than a passing resemblance to a certain Ford aircraft of a decade earlier.) The Junkers flew several demonstration loops around the Goodwood grounds on Sunday. Few things can divert your attention from a vintage motor race, but a 1936 airplane with a 97-foot wingspan flying overhead will do it!
The Goodwood Revival is a magical experience. With so many historic automobiles and airplanes around you, and so many of the visitors and participants attired in period clothing, it’s quite easy to get lost in time. That wonderful vintage atmosphere is one of the two strongest memories I take from this year’s event. The other is of people jumping back startled whenever our Type 38 fired up. After all, 495 horses make a lot of noise!
Matt Anderson is Curator of Transportation at The Henry Ford
The Wright Brothers are perennial favorites among our visitors and staff, and so we have just digitized a couple dozen Wright-related photos (including this one showing Orville prepping for a 1908 flight), pamphlets, and other items from our archives, as selected by Chief Archivist Terry Hoover. Explore more Wright Brothers material in our digital collections related to the Wright Brothers, Orville Wright, and Wilbur Wright—or pay a visit to the Wright family home and cycle shop.
In addition to those many hats, collections managers often have to wear gloves.
Even now, after having interned with the Collections Management department at The Henry Ford for an entire season, it is difficult to come up with one succinct, all-encompassing description of my job and duties. I will say, simply and incompletely, that collections management is the care and regulation of the objects in a museum. Collections managers are asked to do so many different types of work that the job necessitates a variety of skills. In an institution as large as The Henry Ford, there is such a large number of specialized job titles as to warrant an entire Collections Management team. During the course of my internship, however, I learned that even in a specialized department, a historian has to wear a lot of different hats to get the job done.
Even before this summer, I was familiar with The Henry Ford. Besides growing up in the area, I was also an intern at the museum in the fall of 2010, researching automobile specifications for Driving America. As I entered graduate school at Appalachian State University in 2012, I knew that I was required to do another internship; I also knew where I wanted to intern. My first experience at The Henry Ford was so beneficial that I felt compelled to return.
Together with two other Simmons interns, I was fortunate enough to work on the George Matthew Adams Birthplace in Greenfield Village. About two years ago, employees at The Henry Ford noticed that the house appeared to be sliding down the hillside. This challenged the institution to find a way to halt the slide and preserve the historic integrity and structural stability of the house. Curatorial staff researched the history of this Baptist parsonage and decided that another interpretation provided more compelling stories and was more compatible with the institution's mission. In this new interpretation, the date shifts from the mid-Victorian 1870s to the early Victorian 1840s. This requires replacing furnishings dating from the 1860s and 1870s with those dating from the late 1820s to early 1840s.
That is where I came in. I was hired on as the Collections Management intern for the Adams House project. My duties took me to every storage unit at The Henry Ford, both onsite and off, in order to track down artifacts that curators deemed as possible fits for the new interpretation. After locating the furnishings that appeared on the list, I documented my findings by taking photographs of artifacts and reporting on their condition and location. I then updated their information and added reference photos to EMu, the institution's collections management system. If the objects were selected by the curatorial team, I moved them to conservation, where they are undergoing preparation for eventual installation in the house.
During this internship, my professional and historical skills grew by leaps and bounds. I learned the proper ways to handle, transport, and store artifacts. Just as importantly, I now know how to recognize, update, and store the data that goes along with the artifacts. With a collection as large The Henry Ford's, it is important that details are not lost in the shuffle; EMu is a great tool for keeping collections organized and projects flowing smoothly. Like all professions, the museum field has become increasingly dependent on new technology in recent years. One such example is with the program Sketchup, which allows the user to create 3D renderings of objects and buildings. I used this program to plan the layout of the Adams House, allowing staff members to determine what furniture can fit in the new interpretation.
This internship made me a more well-rounded museum professional. I have had internships filled with research and education in the past, and it was a very welcome change to have an experience with a little more physical work and independence. Most museums are not as large as The Henry Ford. The variety of skills I gained working in this expansive, fast-paced environment can easily transfer to any museum, large or small, when I begin my career.
Jacob Thomas was one of this summer's Simmons Graduate Interns.