I was saddened to hear about the passing of Marty Sklar on July 27, at age 83.
Who is Marty Sklar, you may ask?
He was one of the last people with a direct link to Walt Disney and the creation of Disneyland in the 1950s. Marty started working for Walt Disney as a young intern while still at UCLA, writing marketing copy for Walt’s newly planned theme park in Anaheim, California. Most of us can only imagine Walt Disney walking down Disneyland’s Main Street U.S.A. during the last frenzied months of construction. But Marty was actually there, learning from the master, helping Walt achieve his dream through his own talent for writing. No wonder Marty later gained the nickname of the Sorcerer’s Apprentice!
I met Marty in the early 2000’s, when he was Vice-Chairman and Principal Creative Executive of Walt Disney Imagineering. At The Henry Ford, we were working on a traveling exhibition, “Behind the Magic: 50 Years of Disneyland.” I had heard that Marty was the one who had generously “opened the vault” for us, given us unprecedented access to the amazing Imagineering art collection that had provided the basis for all the lands and attractions in Disneyland. All he asked for in return was to review our progress from time to time.
People who worked for Marty seemed to revere him. And were maybe a little intimidated by him as well. I found him to be down to earth, inquisitive at all the right times, and incredibly insightful. It helped that every review would inevitably wrap up with one of Marty’s humorous anecdotes about his experience working with Walt Disney. Then his serious demeanor would relax a bit and his eyes would twinkle. Whew, the scrutiny was over.
But I realized that it wasn’t scrutiny, really. What Marty was doing was assessing our ideas against a larger vision. Did they fit Disneyland? Did they fit Walt Disney Imagineering? Did they align with Walt Disney’s original vision? Marty was the keeper of the vision. His job at all times was to make sure that every new idea honed to the vision.
As the curator of our Disneyland exhibit, I was asked to co-write a publication with noted historian and scholar Karal Ann Marling, and to speak at a symposium that was held in conjunction with the exhibit. I picked as my topic a question that had long intrigued me and was, coincidentally, one in which Greenfield Village had once played a role: What had inspired Walt Disney to create Disneyland? Marty was also a speaker at the symposium that day, along with several others.
Marty at podium. THF12415
Of course, everyone was rapt with attention when Marty took the stage. In fact, that’s probably why all the people had showed up to begin with! After our presentations, Karal Ann and I kept busy signing our book for symposium attendees. It was reasonably crowded. But Marty’s line was miles long!
Marty signing books. THF12435
Everyone, it seemed, wanted to not only have him sign a book but also just to meet him, to have their picture taken with him. As for me, I tried to act nonchalant by not asking for a picture. But I did screw up my courage to ask Marty to sign my book. And what he wrote in it I still treasure to this day.
Inscription in my book.
In 2013, I picked up a copy of Marty’s just-published memoir, Dream It! Do It! My Half-Century Creating Disney’s Magic Kingdoms. There I learned much more about the projects in which he had been instrumental, including behind-the-scenes stories of the four attractions that the Walt Disney Imagineers had worked on for the 1964-65 New York World’s Fair, the decision to continue Walt’s legacy after his death in 1966 with Walt Disney World in Florida, and the creation of many of the other Disney theme parks worldwide.
Walt Disney World brochure (89.126.19 – THF344606)
Though I only knew him for a brief period of time, I will not soon forget Marty Sklar. His insight, his wisdom, his dry sense of humor will live on in my memory. I will also take away from the experience an important lesson that I can apply to my work and my life every day—the skillful way in which he could somehow, simultaneously, both encourage wild creativity and make sure that everyone aligned with a larger vision.
It sounds easy. But it’s not. That to me was the mark of true genius.
Donna Braden, Senior Curator and Curator of Public Life at The Henry Ford, enjoys both studying and visiting Disney theme parks.
On Wednesday, March 22nd, 2017, a dear friend of The Henry Ford, Bruce Bachmann, passed away. I’ve known Mr. Bachmann since February 2010 when I was welcomed into his Glencoe, Illinois home. Bruce and his late wife Ann invited me to see their spectacular collection of studio glass. I was struck by their gracious hospitality and passion for studio glass. Sociable and gregarious, the Bachmanns loved to talk about their studio glass “family,” a network of artists, collectors, and gallery owners. Over time, the relationship grew into a friendship and ultimately, the donation of the Bachmann’s collection to The Henry Ford in 2015. This collection is the heart of the recently opened Davidson-Gerson Modern Glass Gallery in Henry Ford Museum of American Innovation. A significant portion of the upcoming Davidson-Gerson Gallery of Glass in Greenfield Village, opening this spring, features masterpieces from the Bachmann’s collection.
This piece of studio glass, shown above, from Richard Royal’s Relationship Series, was a favorite of Bruce and Ann Bachmann. It lived in their master bedroom and was one of the first pieces they saw as they awoke every morning, a warm reminder of familial relationships. The artist describes the piece as the abstracted arms of a mother and father holding a child. The Bachmanns were devoted to their four children and grandchildren, likewise they saw their relationship with The Henry Ford as an extension of their own family, and a place where families gather and spend time together.
Bruce will be missed by all of us at The Henry Ford who have worked closely with him over the past seven years. A link to his obituary can be found here. See more pieces from the Bruce and Ann Bachmann Glass Collection in our digital collections.
Charles Sable is Curator of Decorative Arts at The Henry Ford.
Today, we tend to equate Topps bubble-gum cards with sports heroes, especially baseball players. But, in 1963, a special Topps card series paid tribute to a very different kind of hero—the astronaut. And no astronaut featured in this special card pack was more celebrated at the time than John Glenn.
The Space Race had begun in the late 1950s, when both the United States and the Soviet Union had attempted to launch ballistic missiles into outer space. Americans were surprised when the Russians beat them to it, launching the Sputnik I satellite in October 1957. But, when Soviet cosmonaut Yuri Gagarin orbited earth on April 12, 1961, Americans were downright shocked and not a little concerned. As a response, President Kennedy pledged to support an even more aggressive space program than President Eisenhower had initiated before him. Of course, Congress had to approve a massive budget increase for the newly created civilian space agency NASA (National Aeronautics and Space Administration) to turn President Kennedy’s vision into a reality.
On May 5, 1961, Americans breathed a sigh of relief as astronaut Alan Shepard finally became the first American in space. Two months later, astronaut Virgil “Gus” Grissom followed him with a second suborbital flight (a trip into space but not into orbit). Following up on these and other iterative achievements of Project Mercury, astronaut John Glenn became the first American to orbit the earth on February 20, 1962. Americans held their collective breath as they followed the mission on radio and television, then celebrated like never before. President Kennedy called Glenn’s flight “a magnificent achievement.”
Topps Trading Card, “Glenn in Space,” 1963. THF230113
I was nine years old at the time and witnessed John Glenn’s takeoff that day on a fuzzy little black-and-white TV in our school gymnasium. Watching with my teachers and classmates, I felt a great sense of pride—perhaps doubly so because Glenn hailed from my home state of Ohio.
Topps Trading Card, “1st Man in Orbit,” 1963. THF230115
When John Glenn passed away on December 8, 2016, he was the last survivor of the so-called Mercury 7—those seven courageous but well-trained pilots-turned-astronauts who ventured into outer space for their country during America’s nascent Space Program. Glenn will be remembered for his easy smile, his unassuming manner, his sense of duty, and his extraordinary bravery. He renewed American confidence when it was badly shaken during the Cold War era. After he safely landed, he received a hero’s welcome like no other. And he continued to be revered through his 25 years as a U.S. Senator from Ohio, and when he returned to outer space in 1998, as part of the crew on the Space Shuttle Discovery.
Topps Trading Card, “Taking a Break,” 1963. THF230105
John Glenn struck us as just an ordinary guy, but one who possessed both an extraordinary sense of responsibility and nerves of steel. Through the images on these Topps bubble-gum cards, Glenn seems to be speaking to us across the decades, encouraging us to never stop following our dreams because sometimes the highly improbable actually becomes possible!
Topps Trading Card, “Posing for Photographers,” 1963. THF230111
To repeat the well wishes of fellow astronaut Scott Carpenter when Glenn lifted off into the unknown from his Cape Canaveral launch pad in 1962, “Godspeed, John Glenn!”
Donna R. Braden is Curator of Public Life at The Henry Ford.
John was motivated the same way many photographers with a deep appreciation for history are: he wanted to capture things that had become overlooked, structures that were endangered, vulnerable, and on the brink of destruction. But rather than choosing a neighborhood, or town or region he chose what could be found along the edges of all the old roads, the pre-interstate routes stretched throughout the United States—like a local historian of endless highways. His finest images look like stills from a perfect road movie, and they capture an element of the nation’s essence and identity—mom and pop businesses, motels, diners, crazy signage and attractions, clamoring for the attention of motorists, played out against distance and motion.
A museum presenting America’s ideas and innovations mourns the passing of George Barris, “The King of Kustomizers.”
George grew up building models of cars and then working on cars during his youth. He had a spark of ingenuity in the way he looked at the world as well as in the world that he built. In the mid 1960s Barris Kustom City acquired a Lincoln Futura prototype that was built for the Ford Motor Company in Turin, Italy in 1955. George had been given a contract in August of 1965 by television show producers to build a batmobile for their upcoming television show. As the legend has been told many times, he had only three weeks to build the “winged mammal” car before filming started. George had the winged-like Futura in his shop and saw the possibilities immediately, and of course the result was the most iconic movie car ever built, the Batmobile. George’s ingenious creation appeared on January 12, 1966 to millions of television viewers experiencing the spoof and kitsch of Batman.
The Henry Ford has lost a wonderful friend and colleague. Master Weaver Richard Jeryan passed away on June 25. Richard was an extraordinary individual— not only for his enormous professional contributions, but for his unique personal gifts that he so generously shared. Brilliant, gifted, generous, wise, and caring, Richard will be sorely missed by all who knew him.
Richard grew up in the Philadelphia area. He received a BS in Mechanical Engineering from Drexel University in 1967 and his MS in Mechanical Engineering and Heat Transfer from Massachusetts Institute of Technology in 1969.
Richard had a long and illustrious career at Ford Motor Company before coming to The Henry Ford, retiring as Senior Technical Specialist/Technical Leader in 2006 after 42 years. During his years at Ford, Richard used his vast expertise in lightweight automotive structural materials including aluminum and glass/carbon-fiber composites to research, develop, and create production applications for vehicles ranging from Ford passenger cars and trucks to Formula One race cars, America’s Cup yachts, and the 2005 Ford GT. Richard’s expertise was widely recognized among his colleagues in the field--he served first as Chairman and then on the Board of Directors of the Automotive Composites Consortium for nearly 20 years.
Richard was truly a Renaissance man—someone with wide interests and expertise in many areas. Richard always seemed to know something about everything—and sought out a wide variety of life experiences. (A little known fact: Richard had a number of non-singing roles in Michigan Opera Theatre productions, including Katisha’s beleaguered servant in a 1991 production of Gilbert and Sullivan’s The Mikado.) Perhaps most importantly for us at The Henry Ford, Richard studied, mastered, and then generously shared his knowledge of handweaving.
Richard and his wife Chris brought their weaving expertise to The Henry Ford in 2006—and a new era dawned in Greenfield Village’s Weaving Shop. Here, Richard’s mechanical engineering and weaving skills came together to transform our weaving program. Richard and Chris worked with Historic Operating Machinery’s Tim Brewer to get our historic weaving machinery working again and keep it well maintained. Richard led the team in reactivating our Jacquard loom in 2007—the 600-warp thread loom that had not run for decades—discovering along the way that Henry Ford had commissioned this Jacquard reproduction during the 1930s for the Weaving Shop and had it built by his workers. It is one of only three working Jacquard looms in North American museums.
Richard and Chris also took the lead on organizing and designing the textile projects, assisting Crafts and Trades manager Larry Watson. Improved, as well as new, items rolled off the looms as the weaving staff worked under the Jeryans’ guidance. Firestone Farmhouse received new, sturdier rag rugs for the everyday parlor; various village buildings got period correct handwoven towels for use in foodways programs and in historic kitchen installations, though most of these towels are eagerly snatched up by visitors to our Liberty Craftworks store; weaving products based on traditional coverlet weaving patterns appeared in our holiday catalog; and, soon, scarfs woven on our historic knitting machine will be offered as well. Richard often donated materials to be used for weaving, even prowling estate sales for desirable yarn.
Richard not only helped “behind the scenes” by researching, making the machinery run, designing the textile products, and teaching the staff to weave, but also frequently demonstrated weaving and interpreted our Weaving Shop stories for our visitors as well. Watching Richard present was truly memorable—his passion was contagious and he made it so clear how these stories of the past connect to our lives today. Richard often lent his expertise in coverlets and other historic woven textiles to curator Jeanine Head Miller. He provided invaluable assistance in evaluating and problem solving some of the issues we have had with the Dymaxion House. Richard and Chris were also co-chairs of our annual employee/volunteer fund drive for many years. And they did all of all of this as members of our unpaid staff. For these generous gifts of knowledge, skill, and time we are most grateful.
Richard’s knowledge of weaving and historic textiles benefited not only The Henry Ford, but other organizations as well. From 2008 to 2013, Richard served on the Board of Directors of the National Museum of the American Coverlet in Bedford, Pennsylvania. Here he did everything from strategic planning to teaching to painting the walls. More recently, Richard was elected the President of the Complex Weavers, an international guild of weavers dedicated to expanding the boundaries of handweaving and the sharing of information and innovative ideas.
There are so very many things we will always remember about Richard. Among them: his leadership, his ability to recognize and nurture hidden talent in those around him, his way of teaching and inspiring others, his keen perception and sense of humor, and his passion for The Henry Ford and its stories.
Richard Jeryan did so incredibly much in his 70 years. He was a truly extraordinary man who chose to use his talents to make the world a much better place.
You will continue to inspire us, Richard--and we will miss you.
Just days before her 12th child is born, 43-year-old Michigan farmwife Sarah Faught makes doughnuts for her family. Sadly, Sarah dies soon after giving birth. Mourning her loss, the Faughts left behind decide to save, rather than eat, Sarah's last batch as well as the cutter that formed it. It's January 1890.
For the next 122 years, Sarah's descendants pass down the remaining doughnuts, cutter and story of their loved one. Food for fodder forever memorializing the enormity of a mother lost yet never forgotten.
This story originally appeared in the June-December 2015 edition of The Henry Ford Magazine. You can read the current issue here.
Lish Dorset is Social Media Manager at The Henry Ford.
George DeAngelis, a long-time Ford Motor Company employee and devoted student of Henry Ford and his automobiles, passed away on December 14, 2014. Mr. DeAngelis is remembered for his published works on the Ford Model A and the Ford V-8, as well as Henry Ford’s early 999 and Arrow race cars. Here at The Henry Ford, though, we especially remember him for a pair of three-dimensional contributions: his incredible 1963 and 1991 replicas of Henry Ford’s first car, the 1896 Quadricycle.
Regular visitors to Henry Ford Museum know that the Quadricycle – the original car built by Henry Ford himself – occupies a prominent place in our Driving America exhibit. While the original car was used frequently during Henry Ford’s life – indeed, he posed with it less than a year before he died – it was retired to Henry Ford Museum by 1963, the centennial of Henry Ford’s birth. DeAngelis set out to build a working replica for the celebration. DeAngelis had the perfect background for the task. He possessed the skills of a tool and die maker, but with the careful eye of an artist. He had a genuine love for antique automobiles, to boot.
There were no blueprints of the Quadricycle, so DeAngelis gathered every written description and photograph he could find. Of course, he also had the original Quadricycle as a pattern. The historic car sat in an enclosed display case, so DeAngelis estimated his initial measurements through the glass. Amazingly, when the original Quadricycle was removed for confirmation, DeAngelis found he had made only one error – and of just 5/8 of an inch!
What DeAngelis thought would be a one-winter project turned into three years of nights and weekends. He was able to source some of his parts from lawn mower catalogs, and some from antique shops, but most he made himself. While the replica stayed remarkably true to the original, DeAngelis made a few concessions to safety and reliability. Most notably, he gave his replica a brake – something Henry’s Quadricycle never had. The work was finished by June 4, 1963, when DeAngelis drove his replica along the same route Henry Ford took during the original Quadricycle’s first drive on June 4, 1896.
When the festivities ended, The Henry Ford purchased the replica from George DeAngelis. Over the years, the 1963 copy became a staple of our annual Old Car Festival, thrilling visitors each year as museum staff drove it through Greenfield Village. In a neat coda to the story, we commissioned DeAngelis to build a second Quadricycle replica nearly 30 years later. DeAngelis’s 1991 replica now sits in the reconstruction of Henry Ford’s Bagley Avenue shed in Greenfield Village.
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.
Reflecting upon Nelson Mandela’s death on December 5, journalist and former news anchor Dan Rather remarked, “Mandela’s legacy is on a line with those of Mahatma Gandhi and Dr. Martin Luther King—both of whom inspired him...”
The Henry Ford owns important historical objects that convey meaning and provide relevance for this line of courageous freedom fighters.
Mahatma Gandhi—champion for Indian nationalism in British-ruled India—gave Henry Ford this spinning wheel in 1941. Gandhi’s gift represented a commitment to world peace that he and Ford shared. Mandela often called Gandhi a role model.
Mandela acknowledged others in the long struggle for human rights. He once said, “Before King there was Rosa Parks. She inspired us…to be fearless when facing oppressors.” Mandela claimed that Rosa Parks’ courageous act sustained him while in prison. He was overjoyed to meet her in 1990, soon after his release from prison. The bus in which Rosa Parks refused to give up her seat in 1955 to a white man represents a decisive moment in the American Civil Rights movement.
In noting Mandela’s passing, President Obama recounted that his first experience in political activism was a protest against apartheid, and Mandela became a personal inspiration to him. Obama reflected, “Never discount the difference that one person can make.” Such perspective may have been present as he sat on the Rosa Parks bus during a 2012 visit to Henry Ford Museum.
With humility and respect for these extraordinary leaders, we hope that these objects and stories can both remind us of all that Mandela stood for and help contribute to ongoing conversations about social justice in our country and the world.
Donna R. Braden is Curator of Public Life at The Henry Ford. Photo by Ted Eytan.