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.
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.
Last November, I made a trip to the Benson Ford Research Library to see a small (8-by-6.75-inch) album of watercolor drawings made by Lewis Miller, a Pennsylvania German carpenter who lived from the time of the American Revolution to the Centennial. I have long been intrigued by his drawings, which have provided me with great material for the history of American landscape design, my specialization as an art historian.
Over the years I had seen hundreds of Miller’s drawings, which are primarily in two collections: the York Heritage Center, York, Penn., and the Abby Aldrich Rockefeller Museum, Williamsburg, Va. There are about 2,000 of his drawings in these collections. The album, however, is alone in Dearborn and how it got there is an interesting story.
Donald Shelley, former executive director of Henry Ford Museum was himself from York, and knew well “the Chronicler” of his hometown. When Miller’s album appeared on the market in New York in the 1960s, Shelley purchased it for The Henry Ford collection. In his introduction to the only major work on Miller, (Miller, Lewis. Lewis Miller, Sketches and Chronicles: The Reflections of a Nineteenth Century Pennsylvania German Folk Artist. York, Pa: Historical Society of York County, 1966) Shelley said Miller’s work was unmatched by that of any other American folk artist.
When the opportunity arose to write an online article for Nineteenth-Century Art Worldwide, my colleagues, Kathryn Barush, Emily Pugh, and I immediately saw that Miller, whose large body of work had not been seriously studied in almost fifty years, was an ideal topic. The Dearborn album is a guide to Central Park, the greatest public urban park in America. It offered a focused entry into both Miller’s worldview and into the study of the most important landscape undertaking of the nineteenth century, New York City's first public park. The 54 leaves are filled with watercolors of the park’s earliest features and structures and inscribed with English and German poems and commentary.
Upon seeing the album, my first reaction, after delighting in its bright colors and charm that are lost in reproductions, was to query, what is this object? Why did this folk artist make it? How does it relate to the rest of his work? Kathryn Barush undertook the identification of all the texts that filled the sketchbook, English and German. That was the first breakthrough in terms of understanding the breadth of Miller’s literary appetite: William Cullen Bryant, Shakespeare, Martin Luther--a miscellany of poems, fiction, and travel literature as well as botanical lists. Then the images, once analyzed, compared and decoded, revealed a wealth of pictorial sources that drew from newspapers, magazines and again, travel literature. Miller was not the naive folk artist we took him to be, but rather a man of his times, and his works were an omnium-gatherum of visual culture.
This study has taught us a great deal about the penetration of the new pictorial press, especially in the middle decades of the 19th century, when innovations in printing and photographic technology revolutionized popular publishing. It is fitting that today’s innovations in online publishing has made it possible to bring the Miller album to the Web in a multifaceted digital facsimile. The online article designed by Emily Pugh unifies traditional scholarly interpretation with new tools and links to rich digital resources. Thus, the Dearborn album is important for two reasons. First, its study provided a model for how digital humanities can be a tool to enhance scholarly communication. More significantly, it has provided a key to writing a new interpretation of Miller’s lifetime of drawing and writing, one which sees him not as an exponent of a closed tradition but as a person partaking very much in contemporary life, where the deluge of visual and textual culture impressed and shaped his worldview. This is just the beginning of a new history of Lewis Miller.
Therese O'Malley is associate dean at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, D.C. She oversees the Center's publications and scholarly programs. Her scholarly publications have focused on the history of landscape architecture and garden design, from the eighteenth to twentieth centuries, concentrating on the transatlantic exchange of plants, ideas, and people.
Her recent publications include Keywords in American Landscape Design (Yale University Press), The Art of Natural History, co-edited with Amy W. Meyers (National Gallery of Art), and several articles on aspects of the early profession of landscape design and the history of botanic gardens.