As spring officially begins today, Michiganders breathe a collective sigh of relief. For those who have experienced it, the winter of 2014 has been memorable; this is especially true for the Firestone and William Ford Barn staff who braved polar vortexes and many feet of snow to ensure our animals had the shelter, food, water, vet care, and stimulation they needed.
Throughout the winter months, we still had vet appointments, our farrier still changed horseshoes, we still taught horses new skills (when conditions were safe for humans and horses alike), and we still moved tons of hay and grain. Carrying several 50-pound hay bales is quite a task; doing the same through drifting snow and arctic winds is heroic! The folks who do this day-in and day-out do not see themselves as heroes, however. They have a deep dedication to the animals that make Greenfield Village home. This is inspiration enough to do whatever is required—and more!
As the days get longer, the sun stronger, and birdsong louder, we think about spring and our spirits are lifted. On the farm, spring means new life: blossoms, pasture grasses, oats, wheat… and lambs! As we prepare for our new arrivals (which should begin around the same time Greenfield Village opens for our guests), staff are busy preparing lambing jugs—small, private pens wherein lambs and mothers can bond, shearing pregnant ewes so that they are more comfortable and hygienic for birthing, and undergoing yearly special training that prepares everyone for the challenges and excitement that comes with lambing.
Despite the threat of more snow and cold temperatures, we know both spring and lambs are on the way… and we are eager to share both with our guests when Greenfield Village opens on April 15th! See you then.
Ryan Spencer is Senior Manager of Venue Interpretation and Firestone Farm at The Henry Ford. He encourages all to think spring!
In May 1937, an event took place that would become a touchpoint and rallying cry in the history of labor organization: the Battle of the Overpass. Numerous United Auto Workers organizers, including Walter Reuther and Richard T. Frankensteen, arrived at the Ford Motor Company Rouge plant in Dearborn, Michigan, shortly before shift change, intending to hand out flyers to plant workers. Instead, the organizers were attacked by Ford employees. We have just digitized a number of photographs documenting those events, including this one showing union representative Robert Sentman being chased by Ford Service Department men. View photos from our digital collections about the Battle of the Overpass, or learn more about the day’s events and aftermath on our website and via the Walter P. Reuther Library.
In early February, the Conservation Deptartment did its yearly inspection of the Dymaxion House with the assistance of Historic Operating Machinery Specialist Tim Brewer. As you’ll recall, it is truly a “tension” structure; the “cage” actually hangs the house off of the central mast. Every year we compare measurements of the cage rings to see what might be out of alignment. We also measure the tension on critical cables and adjust them as necessary.
I am pleased to report that our repairs from two years ago are holding up well. We learned from our engineering study last year that the expected longevity of the repaired beams is excellent. We continue to monitor for any new cracks both visually and with permanently installed wire gauges.
Things went so well with the regular inspection that we were able to make a few improvements.
We installed our prototype version of the “neoprene gutter”. This is the sheet-rubber trough located above the windows inside the house. It was supposed to collect water that would trickle down from the u-shaped “carlins” supporting the roof and carry it to a tank under the house via the black downspout near the back kitchen door.
During our original restoration of the house back in 2000, we decided not to attempt the gutter. Although we found various design plans by Buckminster Fuller’s engineers, we had no proof that they were successful. It was probably one of the “unfinished details” that Bucky was doggedly trying to solve and that eventually helped to scuttle the Dymaxion Dwelling Machine company back in 1946. Yet without that internal gutter, the rain-collection function of the carlins (the U-shaped roof supports) was difficult to interpret. We're happy with our new mock-up gutter.
The new light-color-changing switch located under the “ovolving shelves” is working well, too. The color of the light can be changed. This was a feature that Buckminster Fuller wrote about while he was designing the house.
Clara Deck is Senior Conservator at The Henry Ford. Clara was part of the original team that restored the Dymaxion House at Henry Ford Museum and is still caring for it 13 years after it opened to the public.
World War II Poster, "Free a Man to Fight," 1943. Made by the artist Leslie Darrell Ragan (1897-1972) and published by the Brett Lithographing Co. for the New York Central Railroad. (ID THF154861 / 2013.49.1 )
Women have always worked and worked hard. But how and where has changed over time. During the 19th century, the growing middle class in America promoted the ideal of a woman's primary work being in the home. This viewpoint promoted a woman's primary role at home to make it a haven for her husband from the evils of the outside industrial world and a place to rear civilized children. This ideal of women's place continued throughout much of the 20th century – except when the U.S. faced global wars. I think that looking at posters in our collection from World Wars I and II provides a fascinating view of women's changing roles during these all-out national defense efforts.
A colleague's insightful blog post from March 19, 2012, focuses on the famous "Rosie the Riveter" poster and many photographs of women factory workers at Ford Motor Company during the 1940s.
The first poster (above), "Free a Man to Fight," shows a woman worker not in a factory but in a railroad's maintenance roundhouse. She is lubricating a locomotive wheel, previously a man's occupation. It is part of the early 1940s home front effort encouraging women to join the work force to replace men serving in the armed forces. New York Central Railroad hired the artist Leslie D. Ragan to make the poster artwork. He is the same artist the railroad company used for their well-known posters in the 1920s and 1930s featuring locomotives and travel destinations.
World War I Poster, "For Every Fighter, a Woman Worker," circa 1918. Made by the artist Adolph Treidler (1886-1981) and printed by the American Lithographic Company for the United War Work Campaign and the Young Women's Christian Association. (ID THF81764 / 53.5.406.1).
The next poster, "For Every Fighter a Woman Worker," shows a young woman in a typical factory work outfit from the First World War. She symbolically holds a biplane and a bomb, standing in front of a large blue triangle. In 1914 the Young Women's Christian Association (Y.W.C.A.) was one of a group of organizations in the U.S. that formed the United War Work Campaign, Inc. This campaign recruited women to serve in industry, government and agriculture positions. The Y.W.C.A. supported the war work in diverse ways, including opening and maintaining many "Blue Triangle" houses, which provided safe and morally upright places for young working women to gather for rest and recreation.
World War I Poster, "Back Our Girls Over There," circa 1918. Artwork by Clarence F. Underwood and printed in the United States for the United War Work Campaign and the Young Women's Christian Association. (ID THF112607 / 184.108.40.206).
Another poster of the United War Work Campaign and the Young Women's Christian Association, this features a young woman in uniform working a telephone switchboard. The background includes marching soldiers through a window. The Y.W.C.A. helped to recruit and sustain women working for the government in military jobs in the U.S. and abroad during World War I.
World War II Poster, "Equipment Is Precious!" 1943. Made by the artist B. Rig and printed by the United States Bureau of Engraving and Printing, Washington, D.C. (ID THF111484 / 89.60.5).
During World War II many women served in offices. This U.S. government poster made in 1943 features a young woman cleaning her typewriter in front of an outline of a combat soldier. The text below, pointedly asked women office workers to "Remember his needs. Your care of office equipment will save vital materials and help him win."
World War II Poster, "You, Too, Are Needed in a War Job! Work in a Food Processing Plant," 1945. Artwork by Frank Bensing (1893-1983) and printed by the United States Government Printing Office for the United States War Manpower Commission, Washington, D.C. (ID THF108510 / 94.5.4).
While many posters focus on harnessing youthful energy for the war effort, the reality during World War II was a collaborative endeavor by all Americans. This poster shows one of the ways mature women could help by working the conveyor line in a food processing plant.
World War I Poster, "The Girl on the Land Serves the Nation's Need," circa 1917. Made by artist Edward Penfield (1866-1925) and printed by United States Printing & Lithograph Company, New York, New York. (ID THF112812 / 89.0.565.88).
Many young men left farms to serve in the military during World War I. An acute labor shortage soon ensued and to help farmers continue producing vital food, the Y.W.C.A. Land Service Committee recruited young women to work on the farms. This poster depicts "farmerettes" wearing uniforms walking next to a team of horses while one carries a rake and another a basket of vegetables. Often working with young women from the cities, the Y.W.C.A. and other groups like the Farm and Garden Association provided these young women with training in agricultural skills.
World War II Poster, "Call to Farms. Join in the U.S. Crop Corps," circa 1943. Artwork by John Vickery (1906-1983) for the United States Crop Corps, Washington, D.C. (ID THF108507 / 94.5.1).
During the Second World War, an agricultural labor shortage again developed. The government formed the U.S. Crop Corps to recruit and train young women from the cities to replace the men called to military service. This poster shows a young woman driving a tractor through a farm field, pausing to turn and give the "V for Victory" sign. The government printed thousands of posters and provided a space at the bottom for use by local groups. This poster has a handwritten note in red pencil following the printed "Enlist Today" by the "Junior Board of Commerce - Philadelphia."
World War I Poster, "Corn, the Food of the Nation," 1918. Made by the artist Lloyd Harrison and printed by Harrison Landauer for the United States Food Administration. (ID THF62409 / 220.127.116.11).
Even with the successful recruiting of young women to work on the farm, another challenge during wartime is inevitably food shortages. During the First World War "Meatless Mondays" and "Wheatless Wednesdays" became campaigns of the United States Food Administration seeking voluntary changes in the eating habits of Americans. The mainstay of many a woman's work continued to be as food shopper and cook for her family. This poster from 1918 shows a woman cooking muffins and pancakes made from corn products like corn meal, grits and hominy. It was a challenge substituting corn for wheat and the government used this poster to encourage women to do this by promoting corn as "appetizing, nourishing, economical."
Our collection of world war posters from the 1910s and 1940s features women contributing to the war effort in so many different ways. I think it is illuminating to see the variety of jobs that the poster artists chose to help rally women for the national effort during these wars.
By Cynthia Read Miller, Curator of Photographs and Prints at The Henry Ford, with much thanks to the catalogers of our hundreds of world war posters, especially Jan Hiatt, Marian Pickl and Carol Wright.
This year marks the 50th anniversary of an American automotive icon: the Ford Mustang. The Henry Ford counts among its collections three notable Mustangs: the 1962 Mustang I concept car, the first serial number of the 1965 production Mustang, and another 1965 Mustang on display at the Ford Rouge Factory Tour. In addition, our archives include photographs, design drawings (like this one for the 1963 Ford Mustang II prototype), and trade literature from every year of production. Relive the first half-century of the Mustang through the digital collections of The Henry Ford.
William Clay Ford, who passed away on March 9, 2014, is remembered for his generous philanthropy, his dedication to the city of Detroit, and his long-time ownership of the Detroit Lions. They are important legacies that will continue to benefit and inspire for years to come. Automotive industry leaders, historians and enthusiasts point to another of Mr. Ford’s lasting contributions: the 1956 Continental Mark II.
While his brothers Henry II and Benson – especially Henry II – made their marks in Ford Motor Company’s business offices, William Clay Ford inherited his father Edsel Ford’s passion for automotive styling, as well as his consummate good taste. Fittingly, the younger Ford’s most important automobile project was a revival of Edsel’s much-admired Lincoln Continental of 1939 to 1948. The revival car, built and sold under a separate Continental Division, not only measured up to the original Continental’s legend, but became a classic in its own right.
At just thirty years of age, William Clay Ford headed a team of stylists and engineers who worked around the clock to design a car of rare style and luxury. The resulting Continental Mark II, with its clean lines and understated trim, stood in stark contrast with the chrome confections typical of the 1950s. Build quality was of the highest order. Suppliers’ parts were checked and re-checked, and factory components were tested and re-tested. Each car was essentially hand-built, and workers were encouraged to report even the slightest defect so that problems could be corrected before a car ever left the factory.
Power came from a 368-cubic inch Lincoln V-8 capable of 300 horsepower. The car was appointed with every available convenience. Automatic transmission, power steering, power brakes and power windows were all standard equipment. Air conditioning was the only optional extra. Quality and luxury, of course, came at a cost. The Continental Mark II debuted with a price tag of $10,000 – more than twice the cost of a conventional Lincoln. The car quickly became a status symbol among business and entertainment elites. Frank Sinatra and Elizabeth Taylor were proud owners, as was Elvis Presley – despite his penchant for Cadillacs.
Ford Motor Company never intended the Mark II to be a mainstream success. Instead, it was a “halo car” that sprinkled a touch of status over the automaker’s entire line. Even with that imposing price tag, Ford undoubtedly lost money on each Mark II it sold. But the company was willing to take the loss in return for the prestige and publicity the car generated. That mindset changed swiftly when Ford became a publicly-traded company in 1956. The limited-market Continental Mark II was no longer sustainable, and production ceased after just 3,000 cars over two model years.
Today the Continental Mark II is regarded as one of the most elegant American automobiles ever built. Some 1,500 examples survive, and bidding is intense whenever one comes up for auction. Mark II owners and fans keep the car’s spirit alive through clubs and car shows, and car magazines regularly include it in their “best ever” lists. It’s an enduring testament to William Clay Ford’s contributions to the automobile industry.
Matt Anderson is Curator of Transportation at The Henry Ford
William Clay Ford, grandson of Henry Ford, was the longest standing Chairman of the Board of The Henry Ford. He held the position for 38 years from 1951-1989. Through his vision and leadership, the institution, founded in 1929 by his grandfather, began its transformative evolution to the premier American history destination that it is today.
Mr. Ford recognized the national significance of The Henry Ford, its unparalleled collections and educational importance and he was committed throughout his life to the ongoing health and vitality of the institution.
As the largest donor in the history of the institution, his generosity helped restore Greenfield Village and build new visitor experiences in Henry Ford Museum, most notably, "With Liberty and Justice for All" and "Driving America," the country’s most significant automotive exhibition. During his tenure as Chairman of our Board from 1951 to 1989, he influenced the addition of many visitor amenities and collecting initiatives including programs such as Old Car Festival, Motor Muster and Hallowe'en in Greenfield Village, the acquisitions of John F. Kennedy’s Limousine, Firestone Farm, the Allegheny and the DC3 and the building of Greenfield Village’s railroad to name just a few.
In recognition and honor of Mr. Ford’s many contributions, the museum hall was named the William Clay Ford Hall of American Innovation.
At the time of his passing, Mr. Ford was Chair Emeritus, serving The Henry Ford for a total of 63 years. In recent years, he visited the institution often and enjoyed touring the archives, the Village and museum exhibitions.
Recently, when recounting his memories of The Henry Ford, Mr. Ford simply said, “I was brought up with it.” He spoke fondly of roller skating and riding bicycles on the floor of Henry Ford Museum and spending time with his grandparents Henry and Clara Ford in Greenfield Village as a child.
We are deeply saddened by this loss and grateful for Mr. Ford’s lifelong dedication and commitment to The Henry Ford. He will be greatly missed.
We encourage you to take a moment and share your thoughts or memories honoring Mr. Ford’s legacy. Visit our online collections to see more images of Mr. Ford.
Last year I was invited to serve as a guest judge for the CASI Cup at the Detroit Autorama, the signature hot rod and custom car show that comes to Cobo Center every March. I’m happy to report that the Autorama team invited me back this year, but with a nice amendment – this time I got to give out an award created and sponsored by The Henry Ford.
The Henry Ford’s members and visitors know that our institution is dedicated to American innovation, a commitment reflected in our mission statement. Hot rods and custom cars were born of the time-honored American traits of ingenuity and individuality, and the Detroit Autorama showcases the finest examples of creatively modified automobiles. The Henry Ford’s Past Forward Award celebrates these traditions. Winning cars are those that best evoke the spirit of hot rodding and customization. These vehicles:
Combine traditional inspirations with modern innovations
Exhibit a highly skilled technique
Show a decided sense of whimsy
Capture the “anything goes” attitude behind the rodder’s and customizer’s craft
With these criteria to guide me, I hit the show floor in search of potential winners. To be sure, there was no shortage of candidates. The show seems to get bigger each year, and more than 1,000 exhibits filled Cobo Center for 2014. While pre-war Fords, post-war Mercurys and late 1950s Chevrolets were all present in big numbers, I was struck by the number of more recent cars. Fieros, Camaros and Mustangs from the 1980s all appeared. It seems that rodders from my generation are drawing on the cars from our youth for inspiration, just as the Boomers have done for years. While I haven’t seen a chopped Plymouth Horizon yet, it seems there’s hope.
After a few trips around the floor, I settled on three possibilities. With only one award to give, though, I let the crowd help me make my final choice. While every car had its admirers, there was a steady stream of people drawn to “Orange Crush,” a 1969 Chevrolet Chevelle owned by Joseph Messina of Fair Haven, Michigan. The Chevy had presence – even beyond that electric orange paint. What really struck me in talking to Joe, though, was the pride he took in the small details. He boasted about the car’s stainless steel bolts, explaining that he spent 20 minutes grinding and polishing each one personally. The companion washers were all laser-cut to exacting specifications. It was the perfect blend of new technology and old fashioned craftsmanship that the Past Forward award is all about. Plus, I loved the double meaning in the name. Sure, the car’s color looked a lot like the soft drink, but it’s also clear that Joe had a deep “crush” on his car and was rightfully proud of his work. I hope he’s proud to be our 2014 Past Forward Award winner, too.
And so another great Autorama came to a close. It was a much-appreciated reminder that, despite all the bitter cold and snow this winter, it won’t be long before these cars come off of their mirrored platforms and start hitting the streets as cruising weather returns.
Matt Anderson is Curator of Transportation at The Henry Ford
Edsel Ford commissioned Charles Hart, a New York-based architect affiliated with the Treadway Service Company to reproduce a group of late 18th- and early 19th-century houses for an addition to the Dearborn Inn. Dearborn-based landscape architect Marshall Johnson prepared this rendering. The aerial photograph shows the Inn from the southwest, one year before construction. Note the adjacent Ford Airport and the clock tower of Henry Ford Museum in the background. (Left: Object ID P833.63669E, THF107996; Right: Object ID 59.13.2)
This is the third of three blog entries on objects related to the Dearborn Inn in the collections of The Henry Ford. The first centered on a remarkable scrapbook documenting the original furnishings of the Inn, which opened in 1931. The second concerned Edsel Ford’s pivotal role in commissioning the Inn and hiring the L.G. Treadway Service Company to furnish and manage it.
By late 1935, Edsel Ford, in consultation with the L.G. Treadway Company of New York City, was hard at work on a plan to add additional accommodations. A promotional brochure published by Treadway sums up the need for expansion:
“The Inn eventually became so popular that additional guest rooms were necessary. As the architectural plan of the Inn would not, with good taste or economic soundness, allow an addition, it was decided, after a thorough survey of the problem, to build separate cottages, or houses, to accommodate travelers. To be in keeping with the traditional environment these should be, externally, exact replicas of houses famous in American history, and, inside, afford the same comfort as enjoyed by guests at the Inn. The scheme calls for several houses to be grouped harmoniously as a Colonial Village.”
The brochure goes on to state that the landscape was to be carefully arranged, “such as might have grown around the original houses.”
A series of telegrams between A.J. Lepine, Edsel Ford’s secretary, and architect Charles Hart documents the design approval process.
Landscape design proposalssubmitted to Edsel Ford for the “Colonial Village” at the Dearborn Inn.
Work on the “Colonial Village” progressed through the winter and spring of 1936. A series of landscape designs were submitted to Edsel Ford for his approval. In mid-March a meeting among Edsel Ford, architect Charles Hart, and landscape architect Marshall Johnson was held in Dearborn. Ultimately the designs, including swimming pools and a bath house, were scaled down to just five houses: the Barbara Fritchie House, from Frederick, Maryland, the Governor Oliver Wolcott House, from Litchfield, Connecticut, the Patrick Henry House, from Red Hill, Virginia, the Edgar Allan Poe House from the Bronx, New York, and the Walt Whitman Birthplace, from Huntington, Long Island, New York. Selection of these houses for a “Colonial Village” seems questionable when one considers that three of the famous individuals, Barbara Fritchie, Edgar Allan Poe and Walt Whitman, were active in the 19th century, long past the colonial period. Perhaps the selection of these figures relates to romantic perceptions of American history in the 1930s, combined with an interest in the broader “Colonial” past.
Correspondence between Charles Hart and A.J. Lepine, Edsel Ford’s secretary, suggesting purchase of the original Walt Whitman Birthplace for Greenfield Village.
A fascinating exchange between Charles Hart and A.J. Lepine, Edsel Ford’s secretary, in late April and early May, 1936, suggests that there was discussion between Edsel Ford and Hart about purchasing the original Walt Whitman Birthplace, located in Huntington, Long Island, New York, for Greenfield Village. The Birthplace was currently on the market for $30,000. Hart states that Edsel Ford asked him “. . .to hold up on this particular house until you had a chance to talk with your Father [sic] to determine whether he would be interested in the purchase of it for his Greenfield Village.” The response was that the house would not be “further considered, as it has been determined that the price is too high.” In this exchange, the bath house and pool were likely eliminated as well, because of the high cost.
Over the summer and fall of 1936 the five reproduction houses were completed at the rear of the Inn. The houses opened for guests in the spring of 1937. Interiors were filled with reproductions of 18th- and 19th-century furnishings, updated to the needs and comfort of the discriminating traveler of the 1930s: promotional brochures boasted that the houses were outfitted with radios, telephones, and private bathrooms in each suite.
The Treadway Company managed the Inn and the “Colonial Village” for just three more years, until 1939, when their contract expired. The Inn and the reproduction homes have endured and prospered over the decades. Today, visitors to Dearborn may experience these houses in much the same manner as guests in the 1930s. Fortunately for us, the Marriott Corporation, who manages the Village and Inn, have maintained the high standards set in the 1930s.
For more insights on the Inn and “Colonial Village”, take a look at Jennifer Czerwick Ganem’s Images of America: Dearborn Inn (Charleston, South Carolina: Arcadia Publishing, 2011).
Charles Sable is Curator of Decorative Arts at The Henry Ford.