The attendees are members of the Presidential Commission on the Development of the National Museum of African American History and Culture. From left, they are: Dr. Robert Wright, commission Chairman; Renee Amoore; Vicky Bailey; Andrew McLemore, Jr.; Delegate Eleanor Holmes Norton, D-D.C.; Senator Rick Santorum, R-Penn.; Michael Lomax; Congressman John Lewis, D-Ga.; Harold Skramstad, Jr.; Barbara Franco; Robert Wilkins; Senator Sam Brownback, R-Kan.; Cicely Tyson; Lerone Bennett, Jr.; Congressman John Larson, D-Conn.; Eric Sexton; Claudine Brown; Larry Small, Secretary of the Smithsonian Institution; Currie Ballard. White House photo by Paul Morse.
We celebrate a new national museum for the citizens of the United States – the Smithsonian Institution’s National Museum of African American History and Culture. The idea of a national museum for African Americans started 100 years ago when black Civil War veterans announced their intentions in Washington D.C. to create a building on the Mall that would commemorate the deeds, struggles and contributions of Black Americans for the advancement of our nation. In 1929, the same year Henry Ford opened his museum complex in Dearborn, Michigan, President Herbert Hoover appointed a commission to study the idea of establishing an African American museum. However, the commission languished and was eventually dissolved 15 years later.
The Civil Wars veterans’ dream to commemorate the history and culture of African Americans was revived by civil rights icon and U. S. Representative John Lewis, who knows about perseverance and leadership through his many key roles in the 1960s American Civil Rights Movement. For 15 years, Representative Lewis co-sponsored and reintroduced legislation annually to establish a national museum to preserve and present African American history and culture. The museum bill finally passed in the U.S. Senate and House of Representatives and, on December 16, 2003, President George W. Bush signed the National Museum of African American History and Culture Act authorizing the creation of the new Smithsonian Institution museum. John Lewis attended the presidential bill signing ceremony along with members of the African American Presidential Commission, including The Henry Ford’s President Emeritus Harold Skramstad.
In July 2005, Lonnie Bunch was appointed as the founding Executive Director to lead the establishment of the National Museum of African American History and Culture. Mr. Bunch’s vision is that the stories, objects and lives presented in the museum will “make America better.” On September 24, 2016, the museum opened to the public with a dedication ceremony led by President Barack Obama. Our new national museum enables current and future generations to engage in their history at an institution destined to, as Mr. Bunch hopes, “make America better.”
Christian W. Overland is Executive Vice President of The Henry Ford.
Dress, circa 1835, once owned by author and illustrator Tasha Tudor. THF49064
Way back when, making clothing was a household enterprise. Many families raised the raw materials and did much of the labor-intensive spinning, weaving and hand-sewing to produce the clothing they needed. Textiles were precious, and most people had only a few garments. Today, clothing is a massive commercial operation — it’s all about us going off-site or online and searching out ready-to-wear from hundreds of factory-made items hanging on hundreds of racks or presented as seemingly endless choices on websites. Here are some of the tools of the garment trade that got us from in-house to in-store, all part of The Henry Ford Archive of American Innovation.
THE WALKING WHEEL In the 1760s, rural families would spin wool (from sheep raised on-site) on a walking wheel inside the home, creating yarn eventually woven into cloth for making their own clothing. Where can you see one? Walking Wheel, Daggett Farmhouse, Greenfield Village
ROLLER PRINTING The process of printing designs on textiles, shown above, using a cylinder made these fabrics much more affordable and fueled demand. By the 1830s, New England textile factories were producing a staggering 120 million yards of cotton prints each year.
THE SEWING MACHINE Sewing machines began to transform the process of sewing clothing during the late 1840s. While it might take 14 hours to sew a man’s dress shirt by hand, it would only take an hour by sewing machine.
R.S. Bailey’s New Combination System for Ladies and Children’s Waists, Basques, Sacques and Patterns, patented 1888. THF123321
THE DRESS PATTERN Commercial dress patterns made planning and cutting out a garment much easier. These patterns gave people a guide to making the correct cuts, sized from small child to adult.
THE POWER LOOM The power loom industrialized textile weaving during the early Industrial Revolution, automating the process of weaving and dramatically reducing the need for the skilled human hand. It took decades and a cast of innovators to perfect this technology.
One of the main components of The Henry Ford’s IMLS-funded grant is the treatment of electrical objects coming out of storage. This largely involves cleaning the objects to remove dust, dirt, and corrosion products. Even though this may sound mundane, we come across drastic visual changes as well as some really interesting types of corrosion and deterioration, both of which we find really exciting.
An electrical drafting board during treatment (2016.0.1.28)
Conservation specialist Mallory Bower had a great object recently which demonstrates how much dust we are seeing settled on some of the objects. We’re lucky that most of the dust is not terribly greasy, and thus comes off of things like paper with relative ease. That said, it’s still eye-opening how much can accumulate, and it definitely shows how much better off these objects will be in enclosed storage.
Before and after treatment images of a recording & alarm gauge (2016.0.1.46)
The recording and alarm gauge pictured above underwent a great visual transformation after cleaning, which you can see in its before-and-after-treatment photos. As a bonus, we also have an image of the material that likely caused the fogging of the glass in the first place! There are several hard rubber components within this object, which give off sulfurous corrosion products over time. We can see evidence of these in the reaction between the copper alloys nearby the rubber as well as in the fogging of the glass. The picture below shows where a copper screw was corroding within a rubber block – but that cylinder sticking up (see arrow) is all corrosion product, the metal was actually flush with the rubber surface. I saved this little cylinder of corrosion, in case we have the chance to do some testing in the future to determine its precise chemical composition.
Hard rubber in contact with copper alloys, causing corrosion which also fogged the glass (also 2016.0.1.46).
Hard rubber corrosion on part of an object – note the screw heads and the base of the post.
This is another example of an object with hard rubber corrosion. In the photo, you can see it ‘growing’ up from the metal of the screws and the post – look carefully for the screw heads on the inside edges of the circular indentation. We’re encountering quite a lot of this in our day to day work, and though it’s satisfying to remove, but definitely an interesting problem to think about as well.
There are absolutely more types of dirt and corrosion that we remove, these are just two of the most drastic in terms of appearance and the visual changes that happen to the object when it comes through conservation.
We will be back with further updates on the status of our project, so stay tuned.
Louise Stewart Beck is the IMLS Project Conservator at The Henry Ford.
If you know a bit about The Henry Ford, you probably know that one of our areas of expertise is automobile racing. Along with many artifacts, we hold vast amounts of archival materials on the topic, including the Dave Friedman Collection of hundreds of thousands of racing images, among other materials. We’ve just digitized a grouping of nearly 500 images from the 1968 American Road Race of Champions (ARRC) held at Riverside, California—bringing the total number of images we’ve digitized from this collection to over 20,000.
“The glory of soaring above God’s Earth and the satisfaction of taking the machine up and bringing it back to the ground safely, through my own skill and judgment, has melted away the boundaries of my life. Racing opens my door to the world. Don’t cut me off from the adventure men have been hoarding for themselves in the guise of protecting me from danger.” – unnamed female aviator, 1929
Several of the women aviators competing in the 1929 Air Derby gathered for this photograph at Parks Airport in Illinois. Included, from left-to-right, are Mary Von Mach, Jessie Miller, Gladys O’Donnell, Thea Rasche, Phoebe Omlie, Louise Thaden, Amelia Earhart, Blanche Noyes, Ruth Elder, and Vera Walker. THF256262
The 1929 Women’s “Powder Puff” Air Derby was the first air race in which women aviators were allowed to participate, despite air races occurring internationally and nationally since 1909. By 1929, 117 women held pilot’s licenses in the United States and were breaking records, including some set by men, left and right. Twenty of these aviators arrived at Clover Field in Santa Monica ready to compete, but perhaps the greater motivation was to show the world how truly capable women aviators were.
The derby, from Santa Monica, California, to Cleveland, Ohio, was to be completed over nine days with the total time in flight recorded each day. The aviator with the shortest flight time overall, for both the DW (heavy aircraft) and CW (light aircraft) classes, would win the top prize. In order to qualify to compete, the aviators, like their male counterparts in the National Air Races, were required to have completed over 100 logged hours in flight. Several of the twenty aviators did not actually meet this qualification but flew anyway. Unlike their male counterparts, however, there were restrictions placed on the women’s aircraft engine strength. One of the aviators, Opal Kunz, had her newly-purchased 300 horsepower Travel Air airplane deemed “too fast for a woman” and was forced to rent a 200 horsepower plane for use in the derby.
The nine-day derby saw multiple mishaps. Both Florence “Pancho” Barnes and Ruth Nichols crashed their planes but managed to escape unscathed. Phoebe Omlie accidentally landed in a field where the local Sheriff nearly arrested her for alleged drug smuggling, while numerous other aviators discovered suspected sabotage efforts to their aircraft. Ruth Elder, lost on the leg to Phoenix and needing directions, accidentally landed in a field of grazing bulls, causing her to panic that the red color of her airplane would incite anger. The farmer’s wife relayed her location and Elder quickly resumed flight without damages. Tragically, on the second day of the race, Marvel Crosson perished when she crashed in the Arizona desert. Despite calls to suspend the race after Crosson’s death, the remaining women decided that finishing the race would best honor their fallen friend.
On the final day, August 26, 1929, fifteen of the original twenty women crossed the finish line in Cleveland, Ohio. Louise Thaden won the DW class and Phoebe Omlie won the CW class. As Thaden was lauded for her first-place finish, she addressed the crowd, “The sunburn derby is over, and I happened to come in first place. I’m sorry we all couldn’t come in first, because they all deserve it as much as I.”
The Henry Ford recently added over 200 artifacts related to women aviators to the Digital Collections. Of the women aviators who competed in the 1929 Air Derby, the collection includes archival materials for five of them; Louise Thaden, Amelia Earhart, Ruth Elder, Mary Von Mach, and Ruth Nichols. Numerous other significant early female aviators that did not participate in the 1929 Air Derby are also represented in the collection.
Katherine White is Associate Curator of Digital Content at The Henry Ford.
Hanks Silk Mill was acquired by Henry Ford in 1929, moved to Greenfield Village in 1931, and reconstructed in 1932, with a grove of mulberry trees (the standard diet of silkworms) planted nearby in 1935. The mulberry grove still stands, but the mill is a fairly small, unassuming-looking building, which belies the “firsts” in its history. Established in 1810, it is believed to be the first water-powered silk mill in the United States, and perhaps also to have produced the first machine-made silk.
As part of our ongoing effort to digitize photos of the buildings of Greenfield Village, we’ve just digitized over a dozen images of the Hanks Silk Mill, including this 1931 photo of the mill on its original site, with a sign proudly proclaiming its heritage. Visit our Digital Collections to view all the newly digitized images.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
During his 1927 summer retreat to Seal Harbor, Maine, Edsel Ford spent time having discussions with his neighbor John D. Rockefeller Jr. on the importance of the national parks to the American public. One year before, in 1926, Arno B. Cammerer, then Associate Director of the National Park Service, had initiated his career-defining project of establishing numerous national parks in the Eastern United States when Congress authorized the National Park Service's Great Smoky Mountains and Shenandoah park proposals. At the time, Lafayette National Park, now Acadia National Park, was the only park east of the Mississippi and despite growing travel to western parks, Cammerer was concerned that only a very small portion of those living east of the Mississippi would ever have the time or the money to visit them.
Realizing that there were millions of people in "the congested areas of the East who never will see the western parks," Cammerer helped the National Park Service establish an unofficial commission composed of park experts to ascertain whether there were lands in the East that would meet the National Park Service standards. The commission, partly funded by John D. Rockefeller Jr., focused on the Southern Appalachian Mountain region, concluding that the lands that would eventually make up the Great Smoky Mountains National Park and Shenandoah National Park should be set aside for the American public. West of the Mississippi, parks could be easily carved out of large public land holdings. In the East, however, a majority of land was privately held which meant that although these Eastern park projects had been authorized in 1926, they could not be fully established until a majority of the land in the planned areas had been bought by the state and deeded to the U.S. government. Cammerer soon realized that land purchasing financed by state funding and small public donations would not be enough to make the Eastern park project a reality.
Several popular tourist stops in the Great Smoky Mountains National Park appear on this pennant. THF238700
To remedy the funding problem, Cammerer again turned to one of the wealthiest men in America and the largest benefactor of the East's first national park, John D. Rockefeller Jr. After helping to fund the commission, Rockefeller Jr. had previously mentioned to Cammerer that he was very much interested in continuing his support of the Eastern national parks project. This prompted Cammerer to write him in the beginning of August 1927 at Rockefeller Jr.'s Seal Harbor home, "The Eyrie". Cammerer's letter explained that while he had intended for public donations to be split fifty-fifty between the Great Smoky Mountain project and the Shenandoah project, the Great Smoky Mountains project was further along and more time-sensitive, as some of the lands set aside for the project were being clear-cut of their primitive forests before being sold. Securing the land for the Great Smoky Mountains project had become the utmost priority.
Expressing that the potential Great Smoky Mountains park “appeals to him more than any national park," Cammerer also enclosed photographs in his letter that he thought illustrated the “wonderful scenic character of the country proposed for inclusion in the park.” In Seal Harbor, Rockefeller Jr. brought the issue to the attention of his philanthropic partner, neighbor, and avid photographer, Edsel Ford. Sparking an interest with Edsel to contribute to the project, Rockefeller Jr. relayed to Cammerer that Edsel would possibly be willing to donate, spurring Cammerer to contact Edsel in the beginning of September 1927. In his letter to Edsel, Cammerer added, “I am taking the liberty to enclose a considerable number of photographs showing the superb scenic qualities of the region, which Mr. Rockefeller also has seen, which I believe Mrs. Ford and you will enjoy looking over."
Over the course of September 1927, Cammerer kept sending Edsel information on the Eastern parks project, reiterating that the Great Smoky Mountains park in Tennessee and North Carolina continued to be the top priority. He also explained that the land required for the Shenandoah park consisted of mostly Virginian farmland and would take much longer to acquire. Luckily, the proposed Shenandoah park would include part of the Shenandoah Valley, which happened to be the birthplace of Harry F. Byrd, the Governor of Virginia at the time. The son of a wealthy apple grower from the Shenandoah Valley, Governor Byrd supported the idea of establishing a national park in his state and worked to make it a reality. Governor Byrd's brother, Admiral Richard E. Byrd, also happened to be a world-renowned explorer, pioneering aviator, and friend of Edsel Ford. Edsel would be responsible for helping to fund Richard Byrd's expeditions to the Arctic and Antarctic, including convincing Rockefeller Jr. to aid in funding the latter.
Running the entire length of Shenandoah National Park, Skyline Drive offers 105 miles of scenic views along the Shenandoah Blue Ridge. This souvenir pennant depicts the 670-foot-long Mary's Rock Tunnel -- the only tunnel on the drive. THF239213
Rockefeller Jr. wrote Edsel from Seal Harbor at the end of September looking for a decision, noting that the Great Smoky Mountains project still needed money to purchase land and that Edsel had “expressed an interest in this project" when Rockefeller Jr. saw him in Seal Harbor a few weeks ago. Rockefeller sent him a copy of his pledge hoping that his letter of gift might be suggestive to the amount of money Edsel would donate. Edsel responded the same day saying, "I feel like I would like to help in this great undertaking," but financial obligations like a new home and other philanthropic efforts required him to donate "less than I would like to do if the circumstances were otherwise." Nonetheless, Edsel was "very glad to contribute $50,000 dollars" to the Great Smoky Mountains project and also would "be very glad to consider increasing" the pledge the next year if additional funds were needed.
In this letter from Edsel Ford to Rockefeller Jr., Edsel mentions his various other philanthropic activities, including an explanation on how important Richard Byrd's South Pole expedition will be. Due to Edsel's convincing justification above, Rockefeller Jr. would later help fund Byrd's expedition.THF255218
On October 6th, referring to their new partnership in funding the Great Smoky Mountains National Park, Rockefeller Jr. wrote Edsel saying, “It is particularly gratifying to me that we are to be associated together with it." By November of 1927, Edsel had contacted Cammerer to declare that he intended to subscribe $50,000 to help establish the Great Smoky Mountains National Park, which Cammerer graciously accepted. In February 1928 though, the Great Smoky Mountains project hit delays. Lagging fundraising meant that the lands designated for the park, which had yet to be acquired, were still under constant threat of being logged and needed to be procured immediately. The only public pledges to the park had been the ones made by Edsel and Rockefeller Jr. For the park to go forward, five million dollars would need to be raised in order to match the five million dollars in state funds already set aside to buy land for the park. With Edsel's pledge of $50,000 and Rockefeller Jr.'s pledge of $1,000,000, they had fallen well short of that goal.
Edsel Ford's signed letter to Arno B. Cammerer, stating that he is interested in contributing to the Great Smoky Mountains National Park project that Rockefeller Jr. had brought to his attention. THF255210
With time being of the essence, Rockefeller Jr. wrote Edsel with his proposed solution to the problem. The trustees of the Laura Spelman Rockefeller Memorial, a fund established by Rockefeller Jr.'s father in memory of his mother and headed by Rockefeller Jr., decided that an enterprise of this kind would have made a "very strong appeal" to Mrs. Rockefeller. The foundation would cover the entire five million dollars needed to match the state funds, helping to acquire all of the land needed to establish the Great Smoky Mountains National Park. With the total cost covered for the first park, Rockefeller Jr. suggested that Edsel transfer his donation over to the Shenandoah project, to which Edsel obliged.
While Edsel admitted that he had not taken a deeper look into the Shenandoah National Park project, he did accompany his family on a 1921 camping trip to the Blue Ridge Mountains of Maryland, a location less than hundred miles north of Shenandoah and geographically similar. Possible memories from this trip could have also played a role in Edsel's decision to donate to Shenandoah. THF255214
On February 28th, 1928, Edsel withdrew his pledge to the Great Smoky Mountains National Park and promptly informed Cammerer that he would be transferring the same pledge over to the Shenandoah National Park fund. Rockefeller Jr. sent a letter thanking Edsel for his understanding and the transfer, ending the note with, “Looking forward to the reunion of our summer colony at Seal Harbor.” Cammerer also sent a letter thanking Edsel for his cooperation, noting, "There is nothing finer available in the East than these two areas selected for national park establishment and this is the psychological time, as the history of our country goes, to still procure these outstanding scenic beauty spots for the millions who will not have a chance to see the western wonderlands reserved in the national park system." Rockefeller Jr. would also contribute to the Shenandoah National Park fund as well.
This letter illustrates the pivotal role that Seal Harbor, Maine played in the friendship of Rockefeller Jr. and Edsel Ford. THF255212
In 1932, the state of Virginia began to collect the pledges that had been made to the Shenandoah National Park fund. Edsel reaffirmed his interest in this philanthropic endeavor with a letter to the Governor of Virginia saying, "It has been a great pleasure to contribute" to the fund. By 1935, Shenandoah had officially been established as a national park and, in 1936, they held a dedication ceremony to which Edsel was invited. Unfortunately, Edsel was leaving for Europe soon, which he explained to Cammerer, but his good friend Rockefeller Jr. was able to send a transcript of the dedication speech given by Secretary of the Interior Harold Ickes. Part of the speech thanked Edsel for his contribution.
A page from Harold L. Ickes' Shenandoah National Park dedication speech. Named Secretary of the Interior by Franklin D. Roosevelt, Ickes held the position for thirteen years from 1933 to 1946. Known for being brutally honest, tough, and sharp-tongued, Ickes worked with Arno B. Cammerer to dramatically increase national park land even though the two constantly quarreled. THF255228
Ryan Jelso is Associate Curator, Digital Content, at The Henry Ford.
As part of our continuing partnership with Google Arts & Culture, we are excited to announce the September 13, 2016, launch of “Natural History,” our third themed release on the platform! This is an interactive, dynamic and immersive discovery experience covering the diversity and fragility of nature, featuring over 170 online exhibits and 300,000 artifacts from dozens of cultural heritage institutions. You might wonder why The Henry Ford is included in this release, alongside some of the world’s most esteemed natural history museums. The answer is that though natural history is not a collecting focus for us, the stories we tell of American innovation, ingenuity, and resourcefulness often intertwine with the flora and fauna around us—in fact, many of our stories cannot be told without careful consideration of the environment in which they transpired.
Our participation in the release includes three online exhibits telling such stories. “The Many Facets of John Burroughs” tells the story of the famed naturalist and author who became close friends with Henry Ford in his later life. The challenges faced by Henry Ford’s rubber-growing venture along the Amazon River in Brazil from the 1920s through the 1940s are explored in “Fordlandia.” And last, “Yellowstone, America’s First National Park” chronicles the development of this attempt to share America’s natural wonders with the masses—even before the birth of the National Park Service.
Our presence also includes close to 300 individual artifacts from our collections. These include objects related to each of our exhibit themes, but also significant individual artifacts such as John Muir’s pocket compass, two science texts used by the Wright Brothers and their family, and George Washington Carver’s microscope. In addition, we were very pleased to discover during our research for this project three shadowboxes of seashells collected by legendary innovator Thomas Edison in Fort Myers, Florida, an unexpected find we documented earlier this year on our blog. Prints (including several each by John James Audubon and Alexander Wilson), photographs, and other items highlighting the natural world round out our participation.
Visit g.co/naturalhistory to check out all the exhibits and artifacts within this brand new Natural History experience.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
African-American quiltmaker Susana Allen Hunter turned the "fabric" of everyday life into eye-catching quilts with an abstract, asymmetrical, and often, modern feel. Created from the 1930s to the 1970s, Susana Hunter's quilts reflect her life in rural Wilcox County, Alabama—one of the poorest counties in the United States.
Strip Quilt by Susana Allen Hunter, 1950-1955. THF73619
Susana Hunter made handsome, unique quilts, fashioned literally from the fabric of everyday life.
Susana's quilts are pieced in a design-as-you-go improvisational style found among both blacks and whites in poorer, more isolated pockets of the rural South. People living in these more remote areas had less access to quilt pattern ideas published in newspapers or printed in books. For fabrics, rural women depended on mail order catalogs or whatever was available in the local store. These "constraints" left quiltmakers like Susana Hunter free to use their imaginations. Bedsheet Pieced Together from Commercial Sugar Sacks by Susana Allen Hunter, 1930-1970. THF94355
Making an improvisational quilt top required a continual stream of creativity during the entire process, as the quiltmaker made hundreds of design decisions on the fly, fashioning an attractive whole out of whatever materials were at hand. Overall visual impact mattered most—not minor details such as whether a patch in a row had a square or rectangular shape. Size and shape was determined by the scraps available at the time.
Sewing Thimble Used by Susana Allen Hunter, 1930-1969. THF93486
Handmade Fan Used by Susana Allen Hunter. THF44759 For Susana and her husband Julius, life often meant hard work and few resources. The Hunters were tenant farmers who grew cotton and corn, tended a vegetable garden, and raised hogs, chicken and cattle. They lived in a simple, two-room house that had no running water, electricity or central heat. The outside world came to them through a battery-powered radio and a wind-up phonograph. Though the Hunters didn't have much in the way of material goods or the latest 20th century technology, they never went hungry, raising much of their own food.
Portrait of Susana Allen Hunter, June 1960. THF125834
Susana Hunter wanted all of her quilts to be different. Some of her quilt designs have a warm, homey feel. Many resemble abstract art. Other quilts pulsate with the visual energy created by many small, irregular pieces of vividly-colored fabric sewn together. Still others incorporate cornmeal or rice sacks, often reserved for quilt backing, as part of the design of the carefully-pieced quilt top.