Past Forward

Activating The Henry Ford Archive of Innovation

The Plymouth Barracuda, seen here in its 1964 form, could be made into a muscle car by 1967, when Chrysler’s big 383-cubic inch V-8 became an engine option.

If it’s summer, it’s car show season. And if it’s Father’s Day weekend, then it’s time for Motor Muster at The Henry Ford. Some 850 cars, bikes, commercial and military vehicles gathered in Greenfield Village for our annual celebration of automobiles built from 1933 to 1977. This year, we paid special attention to muscle cars, those massive-engine, intermediate and full-sized cars that reined for about ten years before rising insurance premiums and gas prices – to say nothing of tighter emissions regulations – put them out to pasture. Formally, the muscle car’s beginning is traced to Pontiac’s GTO performance package, first offered for the 1964 model year. But 2014 was the year of the Mustang at Motor Muster (and besides, our own GTO is a 1965 model) so 2015 seemed like a perfect opportunity to salute Detroit’s horsepower heavies. Continue Reading

Motor Muster

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Over about a decade in the early part of the 20th century, a quartet including Henry Ford, inventor Thomas Edison, businessman Harvey Firestone, and naturalist John Burroughs took a series of summer camping trips, sometimes inviting others along for part or all of the journey.  The group, calling themselves the Vagabonds, took trips that might not exactly qualify as “roughing it”—they travelled with a caravan of vehicles, a full contingent of service staff, and many comforts of home including furniture and china tableware. We’ve just digitized dozens of photos of the Vagabonds in action, including this photo of the group having breakfast at a large lazy susan–equipped wooden table. View more than 100 photos and artifacts related to the Vagabonds by visiting The Henry Ford’s digital collections.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

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Automobiles powered by electricity have been around almost as long as there have been automobiles. In fact, in 1900, battery-powered electric cars outsold cars with gasoline-fueled internal combustion engines. But there is far more energy in a pound of gasoline than in a pound of storage batteries, meaning that gasoline-powered cars could travel farther on a tank than electric cars could on a single charge. Largely because of this, electric cars had virtually disappeared from the market by the late 1920s. By the end of the 20th century concerns about air pollution and imported oil caused people to look once again at alternatives to the internal combustion engine.

In 1997 General Motors introduced the EV1, probably the best electric car ever produced. The car was in part a response to California laws requiring the sale of a certain percentage of vehicles that emitted no pollutants. General Motors went to great lengths to overcome the limited range offered by storage batteries. Continue Reading

The Henry Ford's Innovation Nation

 

Premier event photography by KMS Photography

While our annual Motor Muster weekend takes us back to an era of classic cruisers, this year's Saturday night Record Hop USA! dance party is focusing on one particular year and a moment in music history: 1964 and the arrival of the Beatles in America.

As pictured in this February 21, 1964 "Life" magazine article, screaming fans followed the Beatles wherever they went. THF 231546

While we celebrated the 50th anniversary of the British Invasion in 2014, the recent induction of Ringo Starr into the Rock and Roll Hall of Fame and Paul McCartney hitting the road for the summer festival circuit remind us that we don't need an official anniversary to honor The Fab Four whenever we want.

Premier event photography by KMS Photography

This Saturday you can join us for a night of dancing and and favorite 1960s hits in Greenfield Village during Motor Muster. For those who can't join us for dance lessons on Main Street, you can learn more about 1964 and the Beatles' first trip to America thanks to our collections and this blog post from Curator of Public Life Donna Braden.

Lish Dorset is Social Media Manager at The Henry Ford.

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A little over a year ago, The Henry Ford embarked on a project to digitize material related to John Burroughs (1837–1921), an American naturalist who was good friends with Henry Ford and a member of the Vagabonds (along with Henry, Thomas Edison, and Harvey Firestone). As often happens with our collections, we found more material than we were expecting. Last summer, we reported on the 250 or so items we had digitized at that point; we’re now happy to share that we’ve just wrapped up the project, with nearly 400 total items from our collections digitized. One of the last additions was this photograph of the statue of Burroughs that was installed at Henry Ford’s estate Fair Lane—a sure sign of the esteem in which the naturalist was held by the auto magnate.  Browse all of these items—mainly photographs and letters, but also essays, poetry, scrapbooks, periodicals, notebooks, and postcards—on our collections website.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

The Rocket Motel, in Joplin, Missouri, was once a stop on Route 66.  Sign photographed 1979 by John Margolies.  THF115692

As the pre-Interstate American roadside has slowly disappeared, why has it taken on such meaning for us? Historical geographer David Lowenthal tried to explain it in his book with the unusual title, The Past is a Foreign Country. He said it has to do with our desire to re-establish a sense of place in an increasingly rootless world. Old buildings, old signs, old lampposts and fences—those genuine pieces of evidence that prove to us that an earlier, almost mythic time once existed—provide a sense of stability and permanence lacking in our present lives.

Today, we appreciate the buildings, signs, and landscapes of the American roadside for many different reasons: their pre-Modernist artistry; their funky and humorous attempts to beckon motorists during the Golden Age of road trips; or perhaps the entrepreneurial spirit of the many Mom-and-Pop establishments that tried to make a go of it before national chains and franchises took over. No matter what the reason, our appreciation inevitably relates to a respect for—even a reverence of—what once was but is no more. Continue Reading

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From 1895 to 1924, the Detroit Publishing Company (DPC) created images that helped Americans see the world’s wonders from the comfort of their own homes. They used consumer desire for these images, coupled with determined sales tactics and the technical advantage of the Photochrom process that made lithographs look like color photographs (which did not yet exist), to sell up to 7 million prints annually at the company’s peak. As new technologies developed, DPC lost its competitive edge, and finally declared bankruptcy in 1924. The Henry Ford’s collection of DPC material includes 30,000 vintage photographic prints, 15,000 postcards, and 5,000 color and sepia lithographic prints. We’ve just digitized a representative sampling of these materials, based on selections made by former Curator of Photographs and Prints Cynthia Read Miller and others. The retouched photograph seen here can be compared to the unretouched version and the retouched and colorized version to gain an understanding of the DPC’s multistage process in preparing these images. If you’d like to browse more than 500 items from our DPC collection, including the vivid and visually arresting Photochroms, visit our digital collections.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

Sarah's Doughnut

June 5, 2015

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Just days before her 12th child is born, 43-year-old Michigan farmwife Sarah Faught makes doughnuts for her family.  Sadly, Sarah dies soon after giving birth. Mourning her loss, the Faughts left behind decide to save, rather than eat, Sarah's last batch as well as the cutter that formed it. It's January 1890.

For the next 122 years, Sarah's descendants pass down the remaining doughnuts, cutter and story of their loved one. Food for fodder forever memorializing the enormity of a mother lost yet never forgotten.

This story originally appeared in the June-December 2015 edition of The Henry Ford Magazine. You can read the current issue here.

Lish Dorset is Social Media Manager at The Henry Ford.

 

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Now that it’s June, amusement park season is really ramping up. In doing some related research in our archives for an upcoming post, Curator of Public Life Donna Braden turned up several folders of Detroit Publishing Company photos, shot around 1905, showing various views of Coney Island, Brooklyn, New York. We were so taken by these photos that we digitized all 80. You can now browse through photos of Coney Island at night (like the one shown here), the beach at Coney Island, and dozens of others. Visit our digital collections to see these images and other items related to Coney Island.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

Jim McCabe, Curator of Agriculture and The Environment

This year The Henry Ford has been very excited to be collaborating with the Detroit Institute of Arts, and other Detroit-area community organizations, to provide additional context for their current exhibit, "Diego Rivera and Frida Kahlo in Detroit." This year we've been digitizing parts of our collection that directly relate to Diego Rivera, Frida Kahlo, their relationship with Edsel Ford and Ford Motor Company, and the creation of the well-known frescos found in the DIA's Rivera Court.

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Because of the close involvement of Edsel Ford and Ford Motor Company in the project, our archives contain documents, photographs, and correspondence related to these subjects.

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Earlier this year a group of curators spent time in Rivera Court thinking about how their areas of expertise here at The Henry Ford connect in some way to Diego's murals. From agriculture to communications, each of our curators found an instant connection.

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Take a look at our curators' reflections in this series of videos shot on location at the DIA.

Lish Dorset is Social Media Manager at The Henry Ford.