Lantern slide based on one of Joseph Boggs Beale's drawings. / THF622550
Joseph Boggs Beale produced illustrations used to create slides for magic lantern shows from the 1880s until about 1920. He was both artistic and prolific. During his career, Beale sketched over 2,000 images used in over 250 lantern slide sets. Beale's education and background led him to create illustrations that demonstrated a high level of cinematic quality for screen-projected images at a time before motion pictures. Ironically, it would be motion pictures that would end his career as a lantern slide illustrator.
Beale before Lantern Slides
Joseph Boggs Beale was born in 1841 to a well-connected Philadelphia family. His father was a prominent dentist, his late great-aunt was Betsy Ross (the seamstress whose family claimed she sewed the first United States flag), and his uncle Edmund Beale was a professional panorama showman. Entertainment opportunities abounded in one of the largest cities in the U.S.—and the Beale family took advantage of them. The Beales enjoyed theatrical productions and concerts, watched animal menageries pass by on the street, went to minstrel shows and panorama displays, and, of course, they saw magic lantern shows.
Magic lanterns use optical lenses and a light source to project images from glass slides onto a screen. / THF160397
Beale was an artistic child, and his family encouraged his talent. He attended Philadelphia's Central High School, where his artistic skills flourished. Later, he took classes at the Pennsylvania Academy of Fine Arts. Upon graduation from Central High School in 1862, the 21-year-old Beale became the school's professor of drawing and writing.
During the Civil War in 1863, as the Southern army invaded the quiet Pennsylvania farmlands west of Philadelphia, Beale joined the 33rd Pennsylvania Volunteers as the regimental artist. After a short stint with the military, he returned to teaching.
In 1865, Beale submitted a drawing of a baseball game to the editors of Harper's Weekly. The editors published it in the November issue. It was the beginning of his professional artistic career. Beale began submitting drawings to other major national periodicals, and soon his illustrations appeared in Frank Leslie's Weekly and Daily Graphic.
"Base-Ball Match" illustration in 1865 Harper's Weekly by J.B. Beale. / THF621986
Beale married Marie Taffard of Philadelphia in 1868. The couple moved to Chicago, Illinois, where Beale worked for Baker and Company, a firm that provided wood engraving to its clients. After his wife died, Beale returned to Philadelphia. There he met Caspar Briggs, owner of C.W. Briggs & Company, one of the country's premier lantern slide firms. Briggs originally hired Beale on a freelance basis. It was the beginning of a nearly 40-year career creating lantern slide illustrations.
Caspar Briggs's father, Daniel, started a lantern slide business in Massachusetts in the 1850s and transferred the company to his son in 1868. Caspar moved the company to Philadelphia in 1872—the city was rapidly becoming a hub for lantern slide production. Two years after the move, Briggs bought out Langenheim Brothers, a company noted for developing the process for photographic lantern slides.
One of the drawings created by Beale for a set of slides illustrating the hymn "Tell Me the Old, Old Story." / THF124495
Instead of using photographic images for his slides, Briggs decided to photograph illustrated works—wash drawings or paintings—made by his company’s artists to create lantern slides. Photographed onto glass, then usually hand-colored, these images recounted well-known stories and poems, chronicled history, and illustrated songs. Briggs's vision built an impressive body of work, making his company one of the leading producers of lantern slides in the country. Presentations using slides purchased from Briggs's company thrilled audiences and inspired political, religious, and fraternal organizations throughout America. The artistic and creative works of Joseph Beale would be central to Briggs's production of lantern slides.
Beale as a Lantern Slide Artist
Briggs first hired Beale on a freelance basis around 1880, one of several artists that Briggs employed. But Beale's artistic hand outshone the other illustrators at Briggs's company—or any other lantern slide company. Beale understood the storytelling power his illustrations could convey when projected onto a screen in a darkened room or theater.
A pivotal moment depicted by Beale from one of his illustrations for the "Life of Benjamin Franklin" series. / THF289382
Drawing on his childhood experiences, education, and early work, Beale created lantern slides that have been described as cinematic. He brought an artistic and dramatic continuity to the story and song sets he created. His detailed illustrations depicted defining moments of a story—moments that had to be conveyed in one slide, rather than in multiple moving images. And while his works are detailed, they are not distracting—organized images focus the viewer's gaze on important action. His illustrations are highlighted and shaded to provide a tonal range that, when transferred to glass and hand-painted by Briggs's colorists, imparted a quality rarely produced by other lantern slide artists. Beale knew how to tell a story using projected images and is considered one of the first great screen artists.
Portrait of Joseph Boggs Beale late in life. / THF289386
Magic lantern slide shows were in decline by 1900. The invention of motion pictures in the 1890s slowly began to displace lantern slide entertainment. Beale continued to work for Briggs but was laid off in 1909. He freelanced for Briggs until about 1920. By then, motion pictures dominated the screen entertainment industry. Beale died in 1926 and his illustrations were dispersed. Many found a home in museums and educational institutions across the United States, including The Henry Ford.
You can view original illustrations by Beale, and lantern slides based on his drawings, in The Henry Ford's Digital Collections.
Andy Stupperich is Associate Curator, Digital Content, at The Henry Ford.
By the early 1950s, Ford Motor Company’s engineers had made over one million technical drawings of the parts used to make Ford cars and trucks. In 1949 alone, they used 13 million square feet of blueprint paper!
Ford Motor Company engineers at work, circa 1952. / THF125069
The drawings were being stashed away wherever room could be found. Since many of the drawings were for parts that were still in production, there was concern that the company’s operations would come to a halt if drawings were lost to a fire, a flood, or worse. Plans were made to microfilm the drawings so they could be stored more securely.
Paragraph from a 1951 brochure detailing the microfilming project. Cold War tensions were running high. / detail from THF135511
Eleven fireproof storage safes, holding one million microfilmed drawings, 1951. / THF123713
To save space, most of the original paper blueprints were destroyed after the drawings were copied onto microfilm. But a few can still be found in our Miscellaneous Ford Motor Company Blueprint and Drawings Collection.
Blueprint showing part TT-7851-R for a Ford Model TT Truck. / THF138486
70 mm microfilm copy of the same drawing. / THF406917
The Ford Motor Company Part Drawing Collection consists of over one million Ford engineering drawings from 1903–1957, on 70 mm microfilm. Each piece of film measures approximately 2.625 x 3.5 inches, and is in a manila envelope that shows the part number and the drawing’s latest revision date.
Envelope for drawing TT-7851-R, dated August 25, 1926. / THF406916
The first challenge is the size of the film. Most high-speed scanners on the market now are not equipped to hold 70 mm film. And because each frame of film was cut from its roll and placed in a separate envelope, the film cannot simply be run through a machine.
We image the film using an Epson Perfection V850 Scanner with built-in Transparency Unit (a light inside the lid that allows it to scan film). Each piece of film measures just under 3 x 4 inches, so a scanning resolution of 1200 dpi (3600 x 4800 pixels) will usually suffice … but we go higher if a drawing looks like it will be difficult to read.
Larger blueprints, like this one for a V-8 Cylinder Block, were microfilmed in segments. / THF401366
After the film has been scanned, the images are straightened and cropped, and adjustments may be made to the brightness and contrast. If the film is a negative, we also create an additional, positive version of the digital image.
This version of the digital image can be printed without using as much toner. / THF406918
However, the bigger challenge is the data entry. Even the best digital image is useless if nobody can find it. To that end, it is necessary to transcribe the part number, the date of the drawing, and the title of the drawing from each piece of film. And many of the drawings include more than one part number!
If parts are symmetrical opposites, there is only one drawing for the pair. / detail from THF400831
The revision history appears in the upper right corner of each drawing. This drawing is dated December 3, 1930 … but earlier versions may also exist. / detail from THF400831
The Henry Ford is facing unprecedented financial challenges due to the impact of our 16-week closure and reduced operations. We need your help in securing our future. Love the Henry Ford? Please support all that we treasure—including our digitization program. Longtime supporters of The Henry Ford will match your donation dollar for dollar, so your contribution will have double the impact.
This graphic shows where photography fits into The Henry Ford's overall digitization process.
My name is Jillian Ferraiuolo and I’m a Digital Imaging Specialist at The Henry Ford. In that role, I work with our institutional photographer in our Photo Studio, taking photographs of artifacts and preparing those for use in our Digital Collections. As you might imagine, I get to work with many fascinating artifacts, and I’m going to share a couple of my favorites with you here.
Conservator Fran Faile holds up a detail on the Cognitive Dress as I photograph it.
I think the most interesting artifact I’ve photographed is the “Cognitive Dress,” Designed by IBM and Marchesa, 2016. Besides being a beautiful gown, it is strung with lights throughout the skirt that change color based off technology developed by IBM using their Watson AI. Because of the innovative nature of this dress, and our partnership with IBM, it was important that we thoroughly document it.
The dress in the studio getting ready for its close-up with curator Kristen Gallerneaux and conservators Fran Faile and Cuong Nguyen assisting.
Normally we capture five standard angles when we photograph clothing, but this one was a special case because we had to account for the lights on the dress, and the changing colors. In total, we took 27 images of the dress, showing different angles, the shifting colored lights on the dress, and details of the skirt and lighting technology.
I enjoyed photographing this dress not only because it was a beautiful gown, but also because it was a challenge. To get the right exposure with the lights while keeping the dress lit up was tough, but that’s also where the handiness of Photoshop comes in. I was able to adjust after the fact and create a very nice finished product!
Here’s a quick look at some of the shots we got!
Another fun project we had was imaging the Jens Jensen landscape drawings that show the plans for the grounds of Henry and Clara Ford’s estate, Fair Lane. These drawings were so interesting to look through—they lay out the gardens and surrounding areas of the estate in such detail, they’re works of art. Who would’ve thought that an estate would have so many blueprints? There are 29 in total, varying from gardens to orchards and even to plans for a bird pool.
Landscape Architecture Drawing for Fair Lane, "A Planting Plan for section around service buildings," June 1920 / THF155896
Jens Jensen Landscape Architecture Drawing, "A General Plan of the Estate of Mr. Henry Ford, Dearborn, Michigan," 1915 / THF155910
One of the reasons why we had to photograph these prints in the Studio is because they are large, folded up into individual leather portfolios. Usually anything two-dimensional goes through our scanning or flat photography process in our Archives, but the nature of these prints did not allow for that. To get a good image of them they had to be unfolded, then carefully flattened with a large piece of glass while being imaged. The trickiest part is to make sure the print lays as flat as possible while ensuring there isn’t any glare off the glass from the lights in the studio.
At a glance, I’m sure you’d never guess that that’s how they were photographed!
Here is a look at all the prints and the box they’re stored in.
What interesting artifact will we be photographing next? Peek through the Photo Studio’s glass doors at the back of Henry Ford Museum of American Innovation on your next visit and find out!
This full-color, large-format book is a compilation of Buster Brown comic strips that originally ran in the New York Herald in 1903 and 1904.THF297428
You may not know his name, but you’re likely familiar his work. Richard Outcault, a talented comic illustrator with a keen eye for marketing, found his ultimate success with the character Buster Brown in the early 1900s.
Born in Lancaster, Ohio, in 1863, Richard Felton Outcault showed an early interest in art. As a teenager, he attended the McMicken School of Design (now the Art Academy of Cincinnati) and found work painting decorative scenes for a Cincinnati safe manufacturer. By 1889, Outcault had taken a position as an artist at Thomas Edison’s West Orange, New Jersey, laboratory, working primarily on corporate exhibitions.
Richard Outcault created this illustration for Edison’s exhibit at the 1889 Exposition Universelle in Paris. It depicts the Menlo Park laboratory complex in 1879, when Edison first demonstrated his experimental lighting system. THF236600
Around 1890, Outcault left West Orange for New York City, where he began contributing mechanical drawings to technical publications like Electrical World and Street Railway Journal. He also submitted comic illustrations to some of the popular weekly humor magazines that had emerged in the 1880s, including Judge, Life, and Puck.
As public interest in comic publications grew, new advances in color printing technology became available, and newspaper publishers saw an opportunity to cash in. In 1893, the New York World introduced a weekly color comic supplement that, at first, reprinted illustrations from the humor magazines it mimicked. Richard Outcault joined the staff of the World as a cartoonist and published his first original comic for the paper in September 1894.
The Yellow Kid By 1896, one of the recurring characters in Outcault’s comics – a little baldheaded boy wearing a bright yellow nightshirt – had become a sensation. World readers began buying the paper every Sunday to check in on the adventures of the “Yellow Kid,” who the paper also licensed for merchandising. The Yellow Kid became the face of a wide range of products, from cigarettes and packaged foods to fashion accessories and household appliances.
The Yellow Kid’s popularity demonstrated the commercial value of comics and helped establish the medium as a newspaper fixture. Richard Outcault likely never benefitted directly from the licensing of the Yellow Kid – at that time, newspapers owned the rights to the images published in them, and copyright law didn’t protect characters – but he noted the marketing potential of a popular comic character.
Buster Brown With the success of the Yellow Kid, Outcault himself became something of a commodity. Demand for his comics kept him busy, and Outcault continued illustrating for several newspapers and magazines through the turn of the century. In 1902, he introduced Buster Brown, a mischievous 12-year-old boy from a well-heeled Manhattan family. Readers went crazy for Buster Brown’s shenanigans (and for his pet dog, Tige). Outcault had another hit on his hands.
Richard Outcault was a pioneer in the strip style of comic illustration, with sequential image panels and accompanying text (often in speech bubbles) that contributed to the narrative. By about 1900, this format had become standard for comics. THF297493
This time, he managed to profit from it. Though he never owned the legal rights to Buster Brown, Outcault licensed the character’s name and face to hundreds of companies. Buster Brown promoted everything from bread and cigars to toys and – perhaps most famously – shoes.
This bank is just one example of the hundreds of products manufactured during the first quarter of the twentieth century that bore Buster Brown’s likeness. Buster’s canine companion, Tige, sits at the horse’s feet. THF304975
The St. Louis-based Brown Shoe Company (now Caleres) is probably the best-known Buster Brown licensee. Buster and Tige promoted the Brown company’s shoes – commonly called “Buster Browns” – into the 1990s. THF297402
Americans purchased these branded products for decades after Outcault introduced Buster Brown. The character became a household name that outlived its comic strip, which was last published in 1921. By then, Richard Outcault was focusing less on illustrating and more on marketing. Eventually, he stepped away from comics altogether, returning to painting before his death in 1928. Eighty years later, the comic industry formally recognized Outcault’s important career, inducting him into its hall of fame at the 2008 San Diego Comic Convention.
Saige Jedele is Associate Curator, Digital Content at The Henry Ford
As part of our 90th anniversary celebration the intriguing story of Henry Ford Museum of American Innovation’s design bears repeating. It was last discussed in depth in the 50th anniversary publication “A Home for our Heritage” (1979).
Our tale begins on the luxury ocean liner R.M.S.Majestic, then the largest in the world, on its way to Europe in the spring of 1928. On board were Henry and Clara Ford, their son Edsel and Edsel’s wife Eleanor. Serendipitously, Detroit-based architect Robert O. Derrick and his wife, Clara Hodges Derrick, were also on board. The Derricks were approximately the same age as the Edsel Fords and the two couples were well-acquainted. According to Derrick’s reminiscence, housed in the Benson Ford Research Center, he was invited by Henry Ford to a meeting in the senior Fords’ cabin, which was undoubtedly arranged by Edsel Ford. During the meeting Derrick recalled that Mr. Ford asked how he would hypothetically design his museum of Americana. Derrick responded, “well, I’ll tell you, Mr. Ford, the first thing I could think of would be if you could get permission for me to make a copy of Independence Hall in Philadelphia. It is a wonderful building and beautiful architecture and it certainly would be appropriate for a collection of Americana.” Ford enthusiastically approved the concept and once back in Detroit, secured measured drawings of Independence Hall and its adjacent 18th century buildings which comprise the façade of the proposed museum. Both Derrick and Ford agreed to flip the façade of Independence Hall to make the clock tower, located at the back side of Independence Hall in Philadelphia, a focal point of the front of the new museum in Dearborn.
Robert Ovens Derrick (1890-1961) was an unlikely candidate for the commission. He was a young architect, trained at Yale and Columbia Universities, with only three public buildings to his credit, all in the Detroit area. He was interested in 18th century Georgian architecture and the related Colonial Revival styles, which were at the peak of their popularity in the 1920s.
In his reminiscence, he states that he was overwhelmed with the commission, but was also confident in his abilities: “I did visit a great many industrial and historical museums and went to Chicago. I remember that I studied the one abroad in Germany, [The Deutsches Museum in Munich] which is supposed to be one of the best. I studied them all very carefully and I did make some very beautiful plans, I thought. Of course, I was going according to museum customs. We had a full basement and a balcony going around so the thing wouldn’t spread out so far. We had a lot of exhibits go in the balcony. I had learned that, in museum practice, you should have a lot more storage space, maintenance space and repair shops than you should have for exhibition. That is why I had the big basement. I didn’t even get enough there because I had the floor over it plus the balconies all around.”
In the aerial view [THF0442], the two-story structure is a warren of courtyards and two-story buildings, with exhibition space on the first floor and presumably balconies above, although no interior views of this version survive. A domed area on the upper right was to be a roundhouse, intended for the display of trains. THF0443 shows a view of the front of the museum from the southeast corner. This view is close to the form of the completed museum, at least from the front. An examination of the side of the building [THF0444] shows a two-storied wing.
Derrick recalled Mr. Ford’s initial response to his proposals, “What’s this up here? and I said, that is a balcony for exhibits. He said, I wouldn’t have that; there would be people up there, I could come in and they wouldn’t be working. I wouldn’t have it. I have to see everybody. Then he said: What’s this? I said, that is the basement down there, which is necessary to maintain these exhibits and to keep things which you want to rotate, etc. He said, I wouldn’t have that; I couldn’t see the men down there when I came in. You have to do the whole thing over again and put it all on one floor with no balconies and no basements. I said, okay, and I went back and we started all over again. What you see [today] is what we did the second time.”
Henry Ford Museum proposed Exhibit Hall. THF294368
A second group of presentation drawings show the museum as it was built in 1929. THF294368 is the interior of the large “Machine Hall,” the all-on-one-floor exhibit space that Mr. Ford requested. The unique roof and skylight system echo that of Albert Kahn’s Ford Engineering Laboratory, completed in 1923 and located just behind the museum. Radiant heating is located in the support columns through what appear to be large flanges or fins. The image also shows how Mr. Ford wanted his collection displayed – in long rows, by types of objects – as seen here with the wagons on the left and steam engines on the right.
These corridors, known today as the Prechter Promenade, run the width of the museum. Floored with marble and decorated with elaborate plasterwork, the promenade is the first part of the interior seen by guests. Mr. Ford wanted all visitors to enter through his reproduction of the Independence Hall Clock Tower. The location of Light’s Golden Jubilee, a dinner and celebration of the 50th anniversary of Thomas Edison’s development of incandescent electric lamp, held on October 21, 1929 is visible at the back of THF294388. This event also served as the official dedication of the Edison Institute of Technology, honoring Ford’s friend and mentor, Thomas Edison. Today the entire institution is known as The Henry Ford, which includes the Henry Ford Museum of American Innovation and Greenfield Village.
Just off the Prechter Promenade is the auditorium, now known as the Anderson Theater. Intended to present historical plays and events, this theater accommodates approximately 600 guests. During Mr. Ford’s time it was also used by the Greenfield Village schools for recitals, plays, and graduations. Today, it is used by the Henry Ford Academy, a Wayne County charter high school, and the museum for major public programs.
Virginia Courtyard inside Henry Ford Museum. THF294374
Pennsylvania Courtyard inside Henry Ford Museum. THF294392
Derrick created two often-overlooked exterior courtyards between the Prechter Promenade and the museum exhibit hall. Each contains unique garden structures, decorative trees and plantings, and both are accessible to the public from neighboring galleries.
Greenfield Village Gatehouse front view, about 1931. THF 294382
Greenfield Village Gatehouse rear view, about 1931. THF 294386
The Greenfield Village Gatehouse was completed in 1932 by Robert Derrick, in a Colonial Revival style to complement the Museum. From its opening in 1932 until the Greenfield Village renovation of 2003, the gatehouse served as the public entrance to the Village. Today, visitors enter the Village through the Josephine Ford Plaza behind the Gatehouse. Although the exterior was left unchanged in the renovation, the Gatehouse now accommodates guests with an updated facility, including new, accessible restrooms and a concierge lounge with a will-call desk for tickets.
Edison Institute students dancing in Lovett Ballroom, 1938. THF 121724
Edison Institute students in dancing class with Benjamin Lovett, instructor, 1944. THF 116450
In 1936 Robert Derrick designed the Education Building for Mr. Ford. Now known as Lovett Hall, the building served many purposes, mainly for the Greenfield Village School system. It housed a swimming pool, gymnasium, classrooms, and an elaborately-decorated ballroom, where young ladies and gentlemen were taught proper “deportment.” Like all the buildings at The Henry Ford, it was executed in the Colonial Revival style. Today the well-preserved ballroom serves as a venue for weddings and other special occasions.
Obviously, Mr. Derrick was a favorite architect of Mr. Ford, along with the renowned Albert Kahn, who designed the Ford Rouge Factory. The museum was undoubtedly Derrick’s greatest achievement, although he went on to design Detroit’s Theodore J. Levin Federal Courthouse in 1934. Unlike the Henry Ford commissions, the courthouse was designed in the popular Art Deco, or Art Moderne style. Derrick is also noted for many revival style homes in suburban Grosse Pointe, which he continued to design until his retirement in 1956. He is remembered as one of the most competent, and one of the many creative architects to practice in 20th century Detroit.
Charles Sable is Curator of Decorative Arts at The Henry Ford.
As you might expect, a car company with as long a life and as many different vehicles in production at various times as Ford Motor Company needed to document down to individual nuts and bolts each part of each vehicle. Over the 50 years between 1903 and 1957, Ford produced more than one million parts drawings, a comprehensive microfiche set of which now reside in The Henry Ford’s Benson Ford Research Center. We’ve just digitized several hundred of these parts drawings, including a couple dozen, like this one, that cover Model T ambulances built by Ford to be used during World War I.
In a recent post on our blog for National Space Day, Digital Access & Preservation Archivist Brian Wilson highlighted a few concept drawings created by the Sundberg-Ferar industrial design firm, in conjunction with Lockheed and NASA, in the early 1980s. As Brian notes, these drawings of a manned space station “considered how the astronauts would perform normal earthbound tasks in the tight quarters of the space station, including the need to exercise, bathe and sleep, and how a near-zero gravity environment would affect those tasks.” The drawings shown here, for example, demonstrate how dining might work in space. If your interest is piqued, you can now browse a couple dozen more of these newly-digitized drawings on our collections website.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
It's usually a safe bet that when someone asks us, "Do you have FILL IN THE BLANK in the collections at The Henry Ford?" odds are pretty good that we do. Today is #NationalSpaceDay and, as you guessed it, we've got space-related artifacts in our collections to share. Digital Access & Preservation Archivist Brian Wilson took a look in our archives and found these designs from Sundberg-Ferar. Take a look. - Lish Dorset is Social Media Manager at The Henry Ford.
In the early 1980s, Detroit-area industrial design firm Sundberg-Ferar, Inc. worked with the Lockheed Corporation and NASA to develop concepts for a manned space station.
Through a series of drawings, including those shown here, Sundberg-Ferar illustrated what life in space could be like for astronauts aboard the station.
The designers considered how the astronauts would perform normal earthbound tasks in the tight quarters of the space station, including the need to exercise, bathe and sleep, and how a near-zero gravity environment would affect those tasks. For example, the shower design features a retractable toe restraint in the floor, while the treadmill uses a waist belt to keep the user in place.
In addition to the space station renderings, our collection of Sundberg-Ferar material includes their work on designs for a variety of other transportation and travel vehicles dating from the 1960s-1980s, including supersonic transport and large passenger jet planes, commuter trains, and rapid transit rail cars used in San Francisco, Washington D.C. and Atlanta.
Brian Wilson is Digital Access & Preservation Archivist at The Henry Ford.
It should come as no surprise, given the founder of this institution, that our digital collections already contain hundreds of items related to Henry Ford’s son, Edsel. We’ve just expanded this selection by digitizing some of Edsel’s childhood artwork. My personal favorite is this bear, made of brown thread stitched into paper and likely created when Edsel was between 5 and 10 years old, but other pieces include family portraits, highly geometric works, and slightly later, more sophisticated works. View these and other items related to Edsel Ford in our online collections.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
Jens Jensen (1860–1951) was a Danish-born landscape architect who did a large amount of design work for the Ford family and Ford Motor Company. This included Ford Motor Company pavilion landscaping for the 1933–34 Chicago World’s Fair, landscape design for multiple residences of Edsel Ford, and complete landscaping for Fair Lane, the Dearborn estate of Henry and Clara Ford. We’ve just digitized 29 blueprints from the Jens Jensen Drawings Series showing planting plans, grading and topographical plans, and water feature plans for the Fair Lane estate, such as this one for a bird pool. View all related material in our digital collections.
Ellice Engdahl is Digital Collections Initiative Manager at The Henry Ford.