The Grand Army of the Republic (often known by its abbreviation, GAR) was an organization of U.S. Civil War veterans who had served for the Union. In existence from 1866 through 1956, it peaked in 1890 at over 400,000 members and 7,000 posts. The GAR scheduled meetings and other gatherings for members, provided charitable donations to the needy, supported the construction and maintenance of Civil War memorials and sites, and became a powerful political lobbying group. In 1868, the group’s commander-in-chief initiated an observance known as Decoration Day, which we still commemorate today as Memorial Day.
From November 20, 2016, through March 5, 2017, our colleagues at the Detroit Institute of Arts (DIA) are presenting an exhibition called Bitter|Sweet: Coffee, Tea & Chocolate. The exhibit will trace the impact of these beverages in Europe, beginning in the late 16th century. One set from The Henry Ford’s collections—this late 18th century tea service—will be on loan to the DIA, helping visitors understand what a formal tea setting would have looked like.
As we learned more about the exhibition, we saw additional parallels between the DIA’s goals and our own collections’ artifacts and themes, and ways our collections can extend the messages of the exhibit. The DIA will help explain how these new tastes spawned a design revolution and entirely new industries devoted to creating specialized tableware; our Made in America exhibit in Henry Ford Museum covers how British innovations in power and production machinery made way for the increasingly precise manufacture of porcelain and other mass-produced goods to support these needs, beginning the Industrial Revolution. Bitter|Sweet will focus on Europe, but The Henry Ford’s collections explore how the craze for these new beverages spread to America—including the tale of early American artisan and entrepreneur Paul Revere.
The exhibit will be interactive, allowing guests to explore via all five of their senses, which is similar in approach to Greenfield Village—for instance, being able to experience the sights, sounds, and smells of historic chocolate-making in our Holiday Nights in Greenfield Village program. And last, coffee, tea, and chocolate all remain popular today, allowing us to bring the past forward and show how these historic drinks fit into life in modern America.
Over the course of the exhibit, we’ll be adding links to this post that explore some of these themes in our collections. We hope these will provide a deeper understanding of the impact these three once-exotic drinks have had, from the earliest days of our country’s history right on through to the takeout coffee in your hand.
The Wawona Tunnel Tree was a popular early tourist attraction at Yosemite National Park. THF130220
At the dawn of the 20th century, horseless carriages were still untested novelties. They were prone to mechanical breakdowns over long distances and likely to get mired in the muck of bad or non-existent roads. Yet, despite these challenges, the lure of taking them out to view the scenic wonders of America’s national parks was irresistible.
The first adventurous motorists showed up at Yosemite National Park in 1900 and at Yellowstone two years later. They shocked everyone and were promptly ordered to leave. For more than a decade afterward, automobiles were banned from the parks. After all, these newfangled contraptions endangered park visitors, spooked the horses who regularly pulled tourist carriages and wagons, and seemed out of keeping with the quiet solitude of the parks. It would take the creation of the National Park Service in 1916 and the vision of its first director, Stephen Mather, to wholeheartedly embrace automobiles as an asset to the parks. And perhaps no other single decision would have more impact on both the parks themselves and on Americans’ attitudes toward them.
Stagecoach loading well-to-do tourists in front of Mammoth Hot Springs Hotel at Yellowstone National Park, part of a package tour offered by the Northern Pacific Railroad. THF120284
Slowing down acceptance of automobiles in the parks was the control of the railroads, who early on realized the profits that could be made by providing exclusive access to the parks. Railroad companies not only brought tourists from distant cities and towns but also financed many of the early park hotels and operated the horse-drawn carriage tours inside the parks. The long railroad journey, hotel stays, and park tours were all geared toward wealthy tourists who could afford such extended and expensive pleasure trips.
Despite the railroad companies’ lobbying efforts and park managers’ arguments that they spoiled the experience of being in nature, automobiles entered the parks in increasing numbers. Mount Rainier National Park was the first to officially allow them in 1907. Glacier allowed automobiles in 1912, followed by Yosemite and Sequoia in 1913. Motorists to the parks still faced long lists of regulations: written authorization to enter, time restrictions on the use of their vehicles, strict attention to speed limits, and rules about pulling over for oncoming horses and honking at sharp turns.
Advertising poster promoting Metz “22” automobiles, winner of the American Automobile Association-sponsored Glidden Tour of 1913—a 1,300-mile endurance race from Minneapolis to Glacier National Park. THF111540
As automobile clubs exerted increasing pressure on local and state governments, Congress slowly began taking steps to improve park roads to make them safer for motorists. The advent of World War I—sharply curtailing travel to Europe—coupled with an aggressive “See America First” campaign by highway associations like the Lincoln Highway Association encouraged more Americans than ever to take to the open road. By 1915, so many motorists stopped at Yellowstone National Park on their way to the Panama-Pacific Exposition in San Francisco that in August of that year, automobiles were finally officially allowed entrance to that park.
The scenic Cody Road to Yellowstone National Park, which opened in 1916, offered eastern motorists a more direct route into the park than the original north entrance used by tourists arriving by the Northern Pacific Railroad and the west entrance used by those taking the Union Pacific Railroad. THF103662
In just 15 years, automobiles in the national parks had grown from a trickle to a steady stream. But the real turning point came with the creation of the National Park Service on August 25, 1916, and the vision of its first director, Stephen Mather. Mather wanted all Americans to experience the kind of healing power he himself had found in the national parks. So he aligned himself with the machine that was dramatically transforming people’s lives across the country—the automobile. Mather knew how to appeal to motorists, promising them “a warm welcome, good roads, good hotels, and public camps.” Furthermore, he innately understood that the point-to-point travel of horse-drawn carriage tours would not work for motorists, who wanted to travel on their own schedule and stop where they wanted. Scenic highways with turnouts, lookouts, and trailheads would be oriented to the understanding that, as Mather’s assistant Horace Albright maintained, “American tourist travel is of a swift tempo. People want to keep moving [and] are satisfied with brief stops here and there.”
So many early motorists arrived at the parks prepared to camp that public campgrounds were soon created to ensure safety, order, and control. THF128250
Mather’s ceaseless promotion worked. In 1918, the number of tourists coming to Yosemite by automobile outnumbered those arriving by train by a ratio of seven to one. In 1920, for the first time, the number of people visiting the national parks exceeded one million during a single year. Mather could happily declare that the American people “have turned to the national parks for health, happiness, and a saner view of life.” And the automobile, he concluded, “has been the open sesame.”
As the parks officially opened to automobiles, motorized touring cars rapidly replaced horse-drawn vehicles—in 1917 for both Yellowstone and Yosemite and in 1919 for Rocky Mountain National Park. THF209509
Numbers rose dramatically from that time on. In 1925, yearly visitation to the parks exceeded two million and in 1928, three million. With increased visitation came more willingness by Congress to support the parks. Annual appropriations went toward improvements geared to motorists, including campgrounds, picnic areas, parking lots, supply stations, and restrooms. Newly paved roads were designed to harmonize with the landscape and offered plenty of scenic turnouts and vistas. At the same time, the majority of land would remain wilderness for backcountry hikers and campers.
Roads for motorists were designed to heighten the experience of the parks’ scenic wonders, as shown by this view next to the Three Sisters Trees in Sequoia National Park. THF118881
When automobiles entered the national parks, the foundation was laid for the ways in which we experience them today. Mather believed that there was no better way to develop “a love and pride in our own country and a realization of what a wonderful place it is” than by viewing the parks from inside an automobile. Everyone did not agree, of course. Some argued that cars were a menace, a nuisance, an intrusion. Either way, the automobile was destined to become the “great democratizer” of our national parks.
This 1929 guidebook offered automobile tours not only along the rim of the Grand Canyon but also to the outlying, lesser-known Navajo and Hopi reservations. THF209662
For more on automobiles in the national parks, check out:
We are happy to announce the launch of our second themed release on Google Arts & Culture! GCI’s “American Democracy” release launched July 13, 2016.
The American Democracy collection allows anyone with an Internet connection to explore over 60 exhibits and 2500+ artifacts from 44 institutions including the Constitutional Rights Foundation, Monticello, and the National Archives. The Henry Ford’s presence includes just over 200 artifacts from our collections covering our country’s history from the early 19th century through the 2012 presidential campaign, and consisting of campaign buttons, ballots, lanterns, bumper stickers, and prints, as well as many quirkier items, like campaign-themed bubble gum, cigarettes, top hats, capes, and razors. We are also featuring three online exhibits as part of the collection: Electing Lincoln, on the presidential campaigns of Abraham Lincoln; Bright Past, Fragile Future, on the conservation of our fragile paper political lanterns; and Bottles, Bobbleheads, and Bubblegum, highlighting some of the most interesting and unique presidential campaign items we hold.
The collections of The Henry Ford contain dozens of bandboxes, 19th-century containers originally used to store neckbands (the source of their name), but frequently also used to hold hats or other clothing/accessories. These inexpensive containers were made of pasteboard or wood and then covered in paper—in many cases, as with this vibrant example, wallpaper. Over 70 of these fragile objects can now be viewed in our Digital Collections—and check out the ones that have 360-degree views, showing interiors lined with newspapers of the time.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
Earlier this year, The Henry Ford launched a brand-new, award-winning institutional website. Part of this project—but a big part!—is a completely reimagined Digital Collections. The Henry Ford has been scaling up its collections digitization efforts since 2010, and you’ll find tens of thousands of artifacts available online (some of the most recent additions here), with many new and enhanced features on the new site. Though we hope the new Digital Collections experience is intuitive and easy to use, we wanted to highlight some of the features for those who might not yet have had a chance to dig in and explore.
One of the best things about our Digital Collections is that they are now fully integrated with the rest of our website. This means that any search you try on our website will return results from our educational resources, our Digital Collections, and the rest of the site, in convenient tabbed format.
Digital Collections artifact results from a site search on thehenryford.org.
If you’re specifically interested in our artifacts, you can easily perform collections-specific searches from the homepage of our Digital Collections. By entering a word or phrase in the single box, you will search three kinds of records—individual artifacts, archival collections, and expert sets, with each group of results returning in its own tab. For artifacts, you can limit your search results by date, the type of artifact (objects, photos, documents, videos/film, or audio), the location of the artifact (Henry Ford Museum, Greenfield Village, the Benson Ford Research Center, or not on exhibit), the special multimedia types available for that artifact (360-degree views, audio, or video), and whether there are high-resolution images available for automated download for a service fee. Search results can be sorted by relevance, title, or date.
Search results from a search from the homepage of our Digital Collections. If you need to get even more detailed, you can, with one of my favorite new features on the Digital Collections site, Advanced Search. While the Digital Collections homepage search features a single box and returns results based on relevance, the more sophisticated advanced search lets you combine any of 20 different parameters, such as collection title, color, material, or creator name. Want to find orange automobiles? Or velvet dresses? Or photographs from the Fair Lane Papers collection? With Advanced Search, you can! An online help guide explains the many different fields and provides sample values for each to assist you in constructing your search.
Once you’ve found an artifact you want to check out, you’ll notice that the look of each artifact record has changed. You will now see more information about each object, and it is easier and faster to flip through the images of each object—or zoom in to see fine details. Some objects may include 360-degree views, audio, and/or video. Each record features a “contact us about this artifact” button, through which you can e-mail our collections experts in the Benson Ford Research Center to ask questions or provide additional information or corrections to our data.
The look of an artifact record in our new Digital Collections.
Many Digital Collections records now display related artifacts, so while viewing something like the record for a historic photo of the Autogiro, you’ll be able to easily jump to the Autogiro itself. “Related content,” such as a story or video we’ve created including that object or other objects from our collection, will also appear where appropriate (see the record for our Apple 1 for examples). Artifacts may be shared via Facebook, Twitter, e-mail, or as “artifact cards,” short, portable versions of collections records that you can embed on your blog or website. Social sharing links and instructions for using artifact cards are available via a link on every collections record.
Archival collection records are brand-new to our Digital Collections. Previously, you needed to use our library catalog in order to find broad information about specific archival collections. Our new site allows us to include information from archival finding aids alongside the records that represent individual items from those collections. We will continue to add these archival records as collections are acquired and processed.
A record for one of our many archival collections.
Expert sets have been totally overhauled. They still collect groups of artifacts selected by our collections experts on specific themes, but are much more robust and visually appealing. As noted above, they are also searchable directly from the Digital Collections homepage. But you don’t have to be an expert to create your own set… Anyone can! Just click the “Add to Set” button on any artifact record and log in or create an account. It is also easy to share both expert sets and user sets via Facebook, Twitter, or e-mail.
One of hundreds of artifact Expert Sets created by our collections staff.
Another notable new feature of the site is that many of our collections images are available for immediate high-resolution download for a service fee. Anywhere you see the BUY icon on an image (or use the relevant search limiter), you can purchase that image for personal or educational use in accordance with the terms of service listed on the site. We will continue to add more purchasable images to our Digital Collections over time. Lower-res images may be downloaded without a fee.
Lastly, if you ever tried to use our old Digital Collections site on a smartphone or tablet, you might have found it a frustrating experience. The new Digital Collections site is completely responsive, and all features will work equally well on your phone, tablet, or desktop computer.
Please try out our Digital Collections, if you haven't already, and feel free to contact us if you have any questions or comments about your experience. Our hope is that our new Digital Collections makes it easier and more fun for you to find, enjoy, and share the many treasures of The Henry Ford!
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
“Opening the Door” is an unusual and large ( 6 feet tall and 4 feet wide) painting that recently received some much-needed conservation here at The Henry Ford.
Painted in the 1840s by self-trained artist George W. Mark, it depicts a young girl holding a flower. She stands in an elaborately-painted open doorway. Behind the girl a bust and lamp are visible on the table in a very shadowy room. The intent is to present a life-size vision that fools the eye into thinking that we are looking into a real space.
If you have the opportunity to take part in a VIP or Special Access tour of our Benson Ford Research Center storage, you will see this painting. It is greatly admired and it is positioned in a prominent location in the state-of-the-art storage facility here at The Henry Ford.
The painting needed conservation attention because it was not in stable condition after years of storage and many moves. Some of the damages were due to the challenges of handling – the painting is not framed, so corners got crushed when it was set down with too much force. And past attempts to hang it resulted in old patched holes near the top.
Take a look behind the scenes to see some of our work conserving "Opening the Door." This project was made possible by the generous support of The American Folk Art Society and Susan and Henry Fradkin.
Curator of Decorative Arts Charles Sable, Conservator Celina Contreras de Berenfeld, and Senior Conservator Clara Deck examine the work in progress.
This image shows the last old, yellowed varnish as it was removed from the paint surface.
This is a microscopic image of the thick varnish, before and during removal. The cracks (which are actually quite small!) are expected in a painting of this age and type.
Many paintings suffer over time due to the natural aging that darkens the once-clear protective varnish coat. As the varnish darkens, it shifts colors that were originally intense and bright; they become murky and brownish. Varnish removal restores the painting’s original colors. It is not unusual for old varnishes to require renewal, and this was done as part of an extensive conservation treatment completed last year.
Old patches were also redone so that they are invisible from the front and the whole painting was lined with stable backing material to support its large size. The restoration of damaged areas of the paint was done by “in-painting” only the small areas of lost paint. Finally a new, reversible varnish was applied overall.
The final result is a stronger, stable painting that can survive for at least another 171 years in the care of The Henry Ford.
Clara Deck is Senior Conservator at The Henry Ford.
We are closing in on the end of our multi-year project to digitize photographs related to the buildings in Greenfield Village, and one of the most recent buildings we’ve tackled has been the William Holmes McGuffey Birthplace. In the 1830s, McGuffey created a series of textbooks commonly known as McGuffey’s Readers, intended to teach reading and writing to various grade levels of schoolchildren. Henry Ford used these readers as a child and considered them an important influence in his life, so he moved the Washington County, Pennsylvania birthplace of McGuffey to Greenfield Village in the early 1930s, dedicating it on September 23, 1934, the 134th anniversary of the author’s birth. Among the several dozen images we’ve just digitized is this 1845 portrait of Harriet Spining McGuffey, who became William Holmes McGuffey’s wife in 1827.
If you’ve ever walked by the conservation labs at the back of Henry Ford museum, you’ve probably seen the conservators at work on a variety of objects, of a variety of sizes. With a grant from the Institute for Museum and Library Services, we are primarily working on “bench-top” objects – which can be picked up and moved by hand. There are, however, a handful of extra-large objects that we have planned to work on over the course of the grant, including (but not limited to!) historically significant motors, electrostatic producers, and transformers. These objects are important within the electrical scope of the grant, and they need work to be stabilized and preserved for the future. Note that “extra-large” for us is a lot different than extra-large for the rest of the museum – the Allegheny is magnitudes larger than anything we are working with, for example! The “extra-large” objects that we are working on range up to 2 tons in weight, and require specialized equipment such as forklifts to move. We draw the line at artifacts requiring specialist rigging or outside contractors. These sorts of objects do bring their own issues – moving them from one place to another is difficult and requires careful planning, they require a good deal of space in the lab, and the treatments can take a significant length of time. We’re moving at a quick pace with the work on this grant, so taking up two to three weeks just working on one object isn’t a good solution for us.
The first extra-large object we’ve grabbed, viewed top-down – a Sprague streetcar motor.
So how do we balance the amount of time it takes to treat very large objects with the need to keep up a pace in order to achieve completion goals? We’ve tackled this perrenial problem in an interesting way. Since we don’t have an enormous number of extra-large objects to complete, we are allowing three months for the conservation of each. What this means practically is that we can bring the object into the lab, give it a space, and then as we have breaks between work on smaller objects, we can dedicate a few hours to it here and there. Breaking up the conservation work in this way has been very successful so far!
The first object that we’ve treated in this way is a Sprague streetcar motor. This is a really interesting and important object, believed to have been used in Richmond, Virginia on the first major electric street railway system, and dating to the end of the 19th century.
Two of the coils on the motor before treatment.
In the image above are shown two of the coils on the motor before treatment – the textile covering was loose and dirty, and in some places the damage extended to the layer below the outer wrapping as well. The treatment for this object required not only cleaning, but repair to these areas of damage.
Their ‘tails’ have been rewound and reattached, and the dust and dirt have been removed. The area around the coils has also been cleaned and the wire wrappings have been tidied. The engine overall is nearing completion, but does have some areas that still need cleaning. It’s been great to have it as a project we can come back to for small spurts of time, which is exactly what we were hoping for our extra-large object treatment plan.
Louise Stewart Beck is an IMLS Conservator at The Henry Ford.
Although medical history is not currently a focus of The Henry Ford’s collections, we do have numerous medical artifacts because they relate in some way to a different area of our collections, such as public life, transportation, buildings and architecture, or design. New Associate Curators of Digital Content, Katherine White and Ryan Jelso, combed through The Henry Ford’s collection looking for artifacts that were medically innovative, either as physical innovations or as representations of innovations in the medical profession. The objects they found were initially acquired for their relation to a different collections area, but they tie closely to the development of today's medical technologies and practices.
A Civil War surgeon used this government-issued Field Operating Kit, initially acquired by The Henry Ford as a public history artifact, at the Battle of Chancellorsville in May of 1863. It contains all the tools needed to perform the most common Civil War medical procedure – amputation.
New Weapons Technology Leads to New Surgical Techniques In 1849, French military officer Claude-Etienne Minié invented a hollow-based cylindrical bullet, which was more accurate over long distances than its predecessors and more quickly loaded into a rifle barrel due to its slightly smaller size. The minié bullet provided a significant advantage to those on the offensive; however, the bullet was immensely destructive to those on the defensive. Due to its hollow nature, the projectile became misshapen upon impact and its ragged edges caused significantly more internal damage than the solid bullets used previously.
Both the Union and Confederate Armies utilized the minié bullet extensively during the American Civil War. The damages wrought by this particular bullet surely contributed to the war’s astronomical death count, but also contributed to the advancement of amputation surgery. While amputation had been used throughout the ages, Civil War surgeons innovated numerous surgical advancements. Immediate amputation of an injured limb before infection spread to healthy tissue became standard and drastically decreased battlefield mortality rates.
The Henry Ford's broad transportation collection covers the motorization of ambulances during World War I. Take a look at a few archival photographs that document the Model T's role in this important part of ambulance history, here.
The Motorization of Medical Care The Industrial Revolution of the 18th and 19th centuries spurred technological innovations that would change how wars were conducted in the decades to come. By the beginning of World War I in the early 20th century, military units had become increasingly motorized, replacing the horses and wagons of past wars. Armies employed mechanized military vehicles like tanks, airplanes and submarines along with new forms of chemical warfare to inflict mass casualties during what became known as "The Great War." With a surge in casualties, quick transportation of the wounded away from the battlefronts to safer hospitals became a life-saving priority. To meet this need, volunteer services and individual armies experimented with and developed motor ambulance corps, eventually making them commonplace.
The torn up roads, heavily shelled areas, and muddy terrain of the war-torn European continent made lighter vehicles preferable. While other makes and models were present, lightweight Ford Model Ts made up a large percentage of the ambulances in service during World War I. The vehicles’ ability to traverse the war environment along with their easy maneuverability made them popular among ambulance drivers. Other advantages of Model T ambulances included their low cost, economical fuel usage, and ease of operation for the average solider or volunteer. The standardization of Model T parts also meant that maintenance for these ambulances could be performed readily, extending each vehicle's service life and allowing medical professionals to tend to the wounded quicker than ever before.
As a part of the historic building collection in Greenfield Village at The Henry Ford, Doc Howard's office serves as an example of the 19th century origins from which modern American medicine would evolve.
A Snapshot of Mid-19th Century Medicine Representative of a typical early rural doctor's office, this mid-19th century building is where Dr. Alonson Bingley Howard (1823-1883) practiced an eclectic combination of conventional, botanical, and homeopathic medicine. Born in New York, Howard moved to Tekonsha, Michigan, and began his career as a farmer, eventually deciding that he wanted to become a physician. He first attended Cleveland Medical College from 1850-1851, later entering the University of Michigan's School of Medicine, where he took classes from 1851-1852. Although medical school records list him as a non-graduate, Howard moved back to Tekonsha and went on to practice medicine until his death in 1883.
In the 19th century, medical professionals had a limited understanding of illnesses and often relied on bloodletting or other purging methods to "balance" the body and keep diseases at bay. Along with minor surgery, these common practices were available to Dr. Howard as he traveled across his community attending to pregnancies, chronic diseases, tuberculosis, dental problems, and various wounds. To aid him in treating his patients, he relied on the early pharmaceutical medicines that could be found on the market during this period. However, he also kept a laboratory in his office where he could experiment with developing his own medicines through a wide personal stock of plants and minerals.
Experimentation with Plywood Provides Medical Solution The Museum of Modern Art held a design competition in 1940 entitled Organic Design in Home Furnishings, which aimed to spur development of modern furniture that adequately addressed the era’s changing way of life. Charles Eames and Eero Saarinen, friends and peers at Michigan’s Cranbrook Academy of Art, entered multiple molded plywood chair designs into the competition and won two of the six categories. At the time, molding or bending plywood was still a quite progressive process and molded plywood was not yet commonly used in mass-produced goods for the public. Along with his wife, Ray, Charles Eames continued experimentation with molded plywood after the competition.
America’s entry into World War II brought shortages of many materials, including metal. Splints for broken limbs had historically been produced of metal, although metal splints were not ideal for military use due to their weight and inflexibility. Charles and Ray Eames, perpetual problem-solvers, designed a lightweight, strong, and flexible leg splint produced through their innovative method of molding plywood. The Eames molded leg splint became a highly effective solution for the military as well as a highly sculptural design object.
Represented in The Henry Ford's large American public life collection is the late 19th- and early 20th-century phenomenon of patent medicines, over-the-counter drugs that consumers used to self-medicate.
Consumerism Helps Standardize Early Medicines In the late 19th century, an increasing body of medical knowledge had begun to revolutionize the practice of medicine. However, a lack of scientific understanding of early medical drugs meant that drugs used in treatment were often inadequate and could even exacerbate illnesses. At a time when disease was still widespread, Americans sought cures for any number of maladies and tried nearly anything to get relief. Entrepreneurs took advantage, using advertising to make claims and promise cures with manufactured patent medicines. Such patent medicines rose to popularity in the last quarter of the 19th century, but the industry was unregulated and manufacturers were secretive about their recipes.
Some of these concoctions contained harmful ingredients or ingredients used in unsafe quantities. Cocaine, alcohol, opium, and heroin were some of the common ingredients that could be found in early patent medicines. These examples, as well as other additives, could result in addiction or even death, prompting national legislation that prohibited misleading health claims and required manufacturers to list their product's contents. In the United States, the Pure Food and Drug Act of 1906 helped stop the manufacture of drugs and products considered poisonous, adulterated or mislabeled.
Some of the patent medicines in our collection were analyzed in 2013 through a partnership between The Henry Ford's conservation staff and the Chemistry & Biochemistry Department at University of Detroit Mercy. Their findings, as well as more information on patent medicines can be found here in our Digital Collections.
An artifact, especially an innovative artifact, often has multidisciplinary significance. An object that is distinctly medical in nature may be equally as significant, or even more significant, as a public history or design history artifact. The Henry Ford’s collections boast countless significant artifacts with histories that reach across subject matter boundaries, such as this grouping of medically innovative artifacts.
By Katherine White and Ryan Jelso, Associate Curators, Digital Content at The Henry Ford. This post was made possible in part by our partners at Beaumont. Beaumont is a leading high-value health care network focused on extraordinary outcomes through education, innovation and compassion. For the latest health and wellness news, visit beaumont.org/health-wellness.