Walt Disney spent years imagining his ground-breaking entertainment venue, Disneyland, before it opened in 1955. Disney found inspiration for this remarkable theme park from many people and places.
Walt Disney (1901–1966) spent his most memorable childhood years in Marceline, Missouri, leaving him with a great fondness for small town America. Disney's early passion for cartoon drawing and humor blossomed in 1928 with his first major success, the Mickey Mouse animated cartoon character. By the 1930s, Disney headed a thriving motion picture studio making animated cartoons and live action movies. He explained his interest in developing a theme park to his biographer, Bob Thomas:
“It all started when my daughters were very young, and I took them to amusement parks on Sunday. I sat on a bench eating peanuts and looking around me. I said to myself, why can't there be a better place to take your children, where you can have fun together? Well, it took me about fifteen years to develop the idea.”
While on business trips and family vacations, Disney visited not only amusement parks, but also fairs, expositions, tourist attractions, and zoos to further his vision of creating an extraordinary family leisure experience. One of these places was Greenfield Village, which Walt Disney visited several times during the 1940s.
Walt Disney Posing in the Greenfield Village Tintype Studio, 1940 / THF109756
Walt Disney paid his first visit to Greenfield Village on April 12, 1940. William B. Stout, an industrial designer best known for the Ford Tri-Motor airplane and the aerodynamic Scarab car, served as Disney's escort as he toured Henry Ford's historical village and museum. The Greenfield Village Journal, a daily administrative report, described Disney’s visit that day:
“Walt Disney, creator of the world-famous movie character, Mickey Mouse, visited the Village and Museum today. He showed great interest in everything mechanical, examining engines and old autos closely. He had a good time with Mr. Tremear while posing for a tin-type. In the Museum Theater he spoke for a few moments to the school children. He was accompanied by Mrs. Disney, and by Ben Sharpsteen, his chief animator. Wm B. Stout was his host.”
Walt Disney Shows Harriet Bennett How to Draw Mickey Mouse during a Visit to Henry Ford Museum, April 12, 1940 / THF118884
During Disney's tour, he stopped at the Tintype Studio to pose for photographer Charles Tremear, autographing one of his tintypes for display there. Disney also spent a few minutes talking with students from the Greenfield Village Schools, who had gathered in the museum's theater to greet him. (Henry Ford established a school system in his museum and village complex several years before his historical enterprise was formally opened to the public in 1933.) Ford Motor Company photographer George Ebling—who was often asked to take personal photographs for Henry Ford—captured images of Disney's delightful visit with the students.
On August 20, 1943, Disney again visited Henry Ford Museum. He; his wife, Lillian; and their daughter, Diane, posed for photographs with examples of some of the historical modes of transportation displayed there. Disney’s joyful, childlike expression embodies the experience he hoped to create for families visiting what would come to be Disneyland.
Walt Disney came back to Greenfield Village five years later, on August 23, 1948. Disney and one of his animators, Ward Kimball—who shared Disney's longtime fascination with railroads—had traveled to Chicago to attend the Railroad Fair. They decided to take a side trip to Greenfield Village. During the visit to Greenfield Village, Disney once again made a stop at the Tintype Studio, where he and Kimball were photographed by tintypist Charles Tremear.
Walt Disney and Ward Kimball Posing in the Greenfield Village Tintype Studio, 1948 / THF109757
By the late 1940s, Disney's ideas for a themed entertainment park had progressed substantially. On the train ride back to California, he shared his ideas with Kimball, then summarized them in a memo dated August 31, 1948. An excerpt of this memo seems to echo aspects of Greenfield Village: “The Main Village, which includes the Railroad Station, is built around a village green or informal park … Around the park will be built the town. At one end will be the Railroad Station; at the other end, the Town Hall…”
When Disneyland opened in Anaheim, California, in 1955, it quickly captured the public’s imagination. In his innovative theme park, Walt Disney drew inspiration from his many interests and experiences to create an entirely new kind of family entertainment. To learn more, check out this blog post!
This post by Cynthia Read Miller, former Curator of Photography and Prints at The Henry Ford, originally ran in September 2005 as part of our Pic of the Month series. It was reformatted for the blog by Saige Jedele, Associate Curator, Digital Content, at The Henry Ford.
When Jenny Chandler photographed these Brooklyn children playing games about 1900, she also unwittingly provided us with a “cameo” image of herself. The photograph includes her shadow, slightly bent over her camera as she takes the shot. THF 38025
In 1890, 25-year-old Jenny Young Chandler suddenly found herself a widow with a two-month-old baby to provide for. This heart-rending personal loss would take her on an unexpected path--one as a photojournalist and feature writer for the New York Herald, capturing life in Brooklyn, New York and vicinity. Over the next three decades, Chandler’s sensitive, insightful photography would depict people from all walks of life and the world in which they lived--a legacy preserved in over 800 glass plate negatives.
Jenny Chandler was born in 1865 in New Jersey to William Young and Mary Lewis Young. An only child, Jenny was raised by her father and stepmother, Sarah Bennett Young. The family moved to Brooklyn, New York, when Jenny was six, so her father could work as the city editor for the New York Sun newspaper. Jenny followed the normal “career path” for a young lady at that time, marrying William G. Chandler on April 25, 1888. The groom, a neighbor, worked as a sales representative for a picture frame manufacturer. Jenny and William welcomed a son, William Young Chandler, on October 12, 1890. Two months later, Jenny’s husband died of typhoid fever. Chandler unexpectedly needed to earn a living for herself and her child.
When Jenny Chandler embarked on her career, photographs were made by lugging a heavy camera, glass plate negatives and tripod. Understanding how the photo chemicals worked and how light and camera lenses interacted proved to be an exacting task. While photography was growing in popularity as a hobby for young women whose families could afford the equipment, as a profession, it was still considered a male domain. Yet Jenny Chandler mastered the technical details of camera and chemicals, then used her sensitivity and insight as a professional photojournalist to create evocative images of the world around her.
Jenny Chandler’s photographs have an immediacy—a “you are there” quality. She had a remarkable talent for portraying on film the lives of people of diverse economic and ethnic backgrounds. Chandler captured well-off Brooklyn girls and boys playing games, the exuberance of families enjoying the beach at Coney Island, the well-mannered curiosity of students on a museum visit, young girls bent over their sewing tasks, scruffy boys hanging out at the beach, children gathering tomatoes, a fisherman mending his net, shipwrights making wooden boats, and Norwegian immigrant women laboring at their farm work.
In 1922, at the age of 56, Jenny Young Chandler died of a heart ailment. For nearly 10 years, her photographic legacy quietly remained in her Brooklyn home. The subsequent owner of the house, Betty R.K. Pierce--recognizing its importance--contacted Henry Ford hoping “to have Mrs. Chandler’s work preserved in some way.” Mrs. Pierce had read about Henry Ford’s museum and historical village, and thought the photographs particularly related to Ford’s collections. In May 1932, five large boxes containing the carefully packed 800 glass negatives were on their way to Dearborn.
The result of this donation is an amazing document of early 20th century life.
Cynthia Read Miller, former curator, photography & prints, and Jeanine Head Miller, curator of domestic life at The Henry Ford.
Brooklyn and its environs offered Jenny Chandler a varied palette of urban and rural scenes, wealthy and impoverished people, and daily work life and leisure experiences. Below are a few selections from her remarkable collection of photographs.
Coney Island’s beaches and amusement parks offered cooling breezes and leisure opportunities to New York City area residents. THF38292
Children in front of a Gowanus Canal house, Brooklyn, New York. Gowanus Canal was a busy - and polluted - domestic shipping canal. THF38009
Gathering radishes in Ridgewood. Ridgewood - a neighborhood that straddled the Queens/Brooklyn boundary - remained largely rural until about 1900. Buildings in the background attest to the increasing urbanization of the area. THF38392
Norwegian immigrant women laboring at their farm work, about 1900. THF38397
It was so difficult to choose only a few of Jenny Chandler’s photographs! You can enjoy hundreds more of her images in our digital collections.
Alvin Alonzo Dunivent, nicknamed "Don" by his coworkers, began working in a Kansas City, Missouri, White Castle restaurant in July 1927. He flipped burgers and worked the counter of this small fast food restaurant. The White Castle System of Eating Houses, Corporation called his position an operator for the Kansas City Plant. Employment included corporate training in customer service and pride of a job well done in this emerging industry. It was a good career move for Don.
Hamburgers were considered an inferior “poor man’s food” until fry cook Walter Anderson improved their reputation by coming up with a secret new cooking method. In 1921, he and partner Edgar Waldo “Billy” Ingram opened a chain of hamburger eating houses—compact, castle-like structures they called “White Castles.” From the architecture to the menu to the workers’ appearances, White Castle set a new standard for cleanliness and uniformity.
"If you really have a good thing, it will advertise itself." - Henry Ford
Introduced in the fall of 1908, Ford Motor Company's Model T was the right car for a newly developing market. It was affordable, efficient and reliable. Almost immediately the Ford Model T became the standard by which other reasonably priced cars were judged. By 1918, half of all cars in America were Model Ts. By the time that the company finally ended the model's production in 1927, more than 15 million Model Ts had been produced.
The very endurance of this single model offers an intriguing look at how the Model T was advertised over the nearly 20 years it was in production. Model T advertisements show the changes in print ads in general and the Ford Company's marketing policies in particular. These advertisements also reflect the company's response to changing market conditions.
This lively scene from 1905 documents African Americans proudly parading through the streets of Richmond, Virginia, in celebration of Emancipation Day. The well-dressed marchers include many elders who were formerly enslaved, as well as many of their children and grandchildren born after the end of slavery. In 1905, forty years after the American Civil War ended, this life-changing event—Emancipation—continued to have deep, emotional meaning for African Americans.
During the height of the Civil War, President Abraham Lincoln signed the Emancipation Proclamation to take effect on January 1, 1863. This Executive Order, aimed at the secessionist states of the fledgling Confederate States of America, declared their slaves to be free. (However, this proclamation did not include all enslaved people—slaves were not freed in slave states that had remained loyal to the Union. In December 1865, the 13th Amendment completed Emancipation by declaring slavery illegal everywhere in the United States.)
Take a look at images from The Henry Ford’s wonderful, eclectic collection of Lincoln-related photographs. These images span the years from Lincoln’s career as an Illinois legislator during the 1840s to his tragic death in 1865.
The original daguerreotype of this image of Abraham Lincoln was taken by Nicholas H. Shepherd in Springfield, Illinois, shortly after Lincoln’s election in 1846 to the U.S. House of Representatives. It is believed by many to be the earliest known image of Lincoln, who was 37 or 38 years old when it was taken. At this time, Lincoln was a husband and father of two small boys, had a successful law practice in Springfield, and had just become a junior member of Congress.
Daguerreotypes like this one are one-of-a-kind photographs made on silver-coated copper plates. In order to make photographic prints, copy negatives had to be made from the original daguerreotypes. This photographic print was made in the early 20th century from a 19th-century copy negative. In 1902, Frederick Hill Meserve, an early collector of photography, found glass negatives from Mathew Brady’s Washington, D.C., studio in a Hoboken, New Jersey warehouse. Meserve carefully preserved the negatives and made the later photographic prints of the earlier images--including this photographic print in our collection.
Marion Served as Manager of The Henry Ford's First Educational Television Department
In the early days of television, we became a pioneer in producing TV shows for use in the classroom. It was a way to spark students' interest in the past, assist American history teachers, and fulfill our museum's educational mission. The first show, "Window to the Past," was broadcast by WTVS-Detroit television station beginning in the fall of 1955. A weekly 15-minute program shown live in the afternoon on television sets in Detroit Public School classrooms, it was also captured on kinescope film and made available to schools nationally. The museum's manager of educational television, Marion Corwell, in a brochure described the programs as "designed to bring living American history into your classroom." She planned the programs based on objects in the museum and village chosen for their important historical themes. She then wrote the scripts, produced the program and performed as the on-air "storyteller" for the televised show. By 1956 she also co-produced and hosted a 30-minute program designed for an adult audience and broadcast by WSPD-Toledo, "Yesterday Lives Today".
Following the final "Window to the Past" show in 1959 Marion Corwell developed several new television programs, including a quiz show, "You Name It". She moderated this program which she described on-air as "a completely unrehearsed, unrigged quiz game built around objects of the Henry Ford Museum and Greenfield Village which have played an important part in the development of our country." It featured two teams of 5th through 8th grade girls versus boys, competing to name the objects one at a time by asking questions that helped them come up with the correct name. Can you guess what the object is in the photo shown above?
A publicity photograph from August 1955 features Marion Corwell, the museum's Manager of Educational Television, holding a handmade giraffe, ready to take her school-student audience on a voyage of discovery to children's toys from 100 years earlier. (THF114821)
Imagine a time when having one television set in your home was a big deal, you saw the programs in black and white, color television was brand new, and you'd never heard of TVs in the classroom.
This was the mid-1950s and The Henry Ford (then called Henry Ford Museum and Greenfield Village) began using the technology of television to reach into the classroom. It was a way to further our educational mission by assisting social studies teachers and sparking students' interest in the past.
Easter greeting card, circa 1885. Featuring a spray of lilies, a Bible quotation, and the Christian cross, the greeting reads, "A Happy Easter to You. (THF114187)
After a long winter, we all naturally welcome the signs of spring! I've selected these greeting cards and photographs from our collections that represent a return to warm weather and new growth in nature.
Easter greeting postcard, circa 1920. Artwork shows biblical story of three women and angel at the tomb of Jesus Christ. The message reads, "May this Easter be for you A time of Joy and Gladness." (THF114197)
Many people celebrate the Easter holiday as a time to attend church followed by a family gathering. Easter, a Christian ceremony observing the resurrection of Jesus Christ, has also become popular as a secular celebration of the arrival of spring.
Trade card advertising Rosenbloom Brothers business establishment of Providence, Rhode Island, 1882. The artwork features children playing around a gigantic egg, decorating it with a flower garland, ribbons and a U.S. flag. (THF114209)
Mailing family and friends Easter greeting cards and children waking up the morning of Easter to eggs and candy brought by a rabbit are two examples of activities that became popular in the United States by the 1880s.
Oval-shaped photographic print mounted onto gray cardboard, circa 1895. The photo depicts two young children, probably a sister and brother, holding Easter baskets full of candy in rabbit and egg forms. (THF114216)
Snapshot photograph printed April 1957. Featuring a man and baby girl, probably dad and daughter, dressed in their Easter best with a fancy Easter basket. They are outdoors in a yard with daffodils in bloom. (THF114228)
Publishers made greeting cards with themes of a religious nature, but many cards reflected less spiritual, earthly themes of flowers, eggs, rabbits, baby animals and birds that signaled the return of spring.
Easter greeting card, used April 12, 1936. Artwork shows a rabbit holding a radio script and talking into a broadcasting microphone. The message (starting on the front and continuing onto the inside) reads, "I'll Tell the World / I'm Wishing You a Real Happy Easter!" (THF114175)
Easter greeting card, made circa 1950. Featuring an Easter basket overflowing with spring flowers and a sleeping kitten, the greeting reads, "From Friend to Friend an Easter Wish." (THF114172)
For more examples of Easter images, go to our online collections and search Easter. I hope this brief journey through time with Easter-related images brings you a breath of springtime!
Cynthia Read Miller is former Curator of Photographs and Prints at The Henry Ford.
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.