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Posts Tagged nature

Page with hand-written text and painting of people on horseback, pedestrians, and carriages in a park

Pennsylvania folk artist Lewis Miller documented an 1864 scene in New York’s Central Park, with pedestrians, people on horseback, and horse-drawn vehicles. / THF221834

City people have always craved escape from crowds, noise, and their own busy lives, even if only for an afternoon. This is how early picnic grounds and later trolley parks and amusement parks evolved. In the mid-19th century, the recognition of this need for escape in the city led to the development of city parks.

Parks were the perfect place for a refreshing, rejuvenating, and often invigorating outing. City parks like New York’s Central Park, created in 1858, were designed to encourage the urban public to socialize and at the same time to refresh and calm their “hurrying, workaday lives” with beautiful and “reposeful” sights and sounds. Central Park had designated places where people could walk, drive horse-drawn vehicles, ride, row, skate, and engage in various other sports and recreational activities. During its first decade, a substantial majority of Central Park’s regular visitors arrived by carriage or horse to take advantage of the nine miles or so of carriage and bridle paths.

Inspired by this and other great urban parks, the public demand for formal outdoor recreation areas gained momentum during the late 19th and early 20th centuries. Other early parks with special pathways, as well as new parkways around cities, were designed for people to take out and show off their vehicles.

Dirt road along a river, with open lawn and trees on either side
In this colorized image from 1900, a horse-drawn vehicle travels down River Drive in Fairmount Park in Philadelphia. / THF104695

In the winter, a sleigh ride could provide some of the same exhilaration and fresh air. Sleighing was not just for the upper class. Grocers and butchers would affix runners to their wagon boxes and employ their draft horses to take their families for rides.

Horse-Drawn Outing Vehicle Highlights from The Henry Ford’s Collection

 

Horse-Drawn Brougham, 1893


Black-and-white photo of an enclosed carriage with curved lines
THF80569

This carriage was used for outings in Central Park by Byram L. Winters, a lawyer, politician, and newspaper publisher; it was made by Brewster & Company of New York City and originally made to exhibit at the 1893 Chicago Columbian Exposition. When driven in Central Park, this brougham was likely one of several thousand stylish carriages circling the park during an afternoon’s horse-drawn “promenade.”

Pony Wagonette, circa 1900


Black open carriage with red wheels and beige rattan (?) sides, displayed in a room with other vehicles
THF75669

This wagonette, made by Eagle Carriage Company of Cincinnati, Ohio, and other similar vehicles were designed to be drawn by ponies, so they were well-suited for use by governesses in taking children for drives. This particular pony wagonette, which could accommodate several children, was equipped with brakes, which transferred most of the effort of stopping away from the light animal. The fitting at the back is a holder for an umbrella top.

Albany Cutter, circa 1865


Yellow and maroon sleigh with beige upholstered seat, displayed in a room with other vehicles
THF87339

This pleasing design was developed by James Goold of Albany, New York, over a period of years between about 1813 and 1836. Its design was widely copied by other builders and retained its popularity to the end of the horse-drawn era.


Bob Casey is former Curator of Transportation at The Henry Ford. This post is adapted from an educational document from The Henry Ford titled “Transportation: Past, Present, and Future—From the Curators.”

nature, by Bob Casey, horse drawn transport

Panoramic photograph of large group of people, posed sitting and standing, many in uniform

Civilian Conservation Corps Company No. 1614, 1934. / THF293207

The Civilian Conservation Corps (CCC) began during an economic crisis unmatched in U.S. history. One out of four Americans was out of work in March 1933 as consumer demand reached an all-time low. Congress authorized the CCC to put some of these unemployed men to work. The U.S. War Department oversaw the program, building camps and undertaking projects in all 48 United States, plus Alaska, Hawaii, Puerto Rico, and the Virgin Islands. Enlistment peaked during September 1935 when 505,782 enrollees worked in 2,652 camps. Overall, between 1933 and 1942, approximately 5% of the U.S. male population, around 3 million men, participated in the CCC.

Man wearing uniform leans on piece of equipment with one foot on upturned bucket outside structure
Stanley J. Zaleski at 1614th Co., Civilian Conservation Corps, Camp McComb, Munising, Michigan, April–September 1934. / THF274652

Franklin D. Roosevelt emphasized the quantity and quality of CCC work in his re-election campaign booklet, “This Generation Has a Rendezvous with Destiny” (1936). Between its launch in March 1933 and 1936, the CCC had erected 4,200 miles of new telephone lines, cut nearly 47,000 miles of new fire breaks, and cleared 64,000 miles of new truck trails. In cooperation with the Tennessee Valley Authority, its members had constructed over 200,000 stone and stone-and-log dams in that area. Members also engaged in extensive educational activity with 71% of enlistees taking part, including 90,000 attending elementary classes and 212,000 enrolling in special courses (pg. 12).

Black-and-white photo of men with shovels dig in a clearing
This detail from Franklin D. Roosevelt’s campaign booklet, “This Generation Has a Rendezvous with Destiny,” 1936, featured Black and white enlistees at work. / THF132716

The legislation that created the Civilian Conservation Corps prohibited discrimination based on “race, color, or creed.” Promotional material such as the photograph (shown above) of CCC work in Roosevelt’s 1936 campaign booklet illustrated integration. Yet, implementation often appeased anti-integrationists and perpetuated the separate-but-unequal doctrine of the U.S. Supreme Court decision Plessy v Ferguson (1896).

We must also acknowledge that CCC work occurred on lands formerly occupied by indigenous people. Each CCC camp site and CCC project represents an opportunity to remember those who previously occupied the place.

A separate Indian Emergency Conservation Work program began in 1933 in response to requests from Bureau of Indian Affairs administrators and sovereign Indian nations. It was renamed the Civilian Conservation Corps—Indian Division (CCC-ID) in 1937. It undertook work on federally recognized reservations and emphasized land preservation, soil conservation, forest restoration, and sustainable ranching practices, among other projects. Within six months, the CCC-ID had camps on 33 reservations in 28 states. As many as 85,000 men worked on CCC-ID projects. Its success laid the groundwork for a larger “Indian New Deal,” authorized in 1934 with the Indian Reorganization Act.

Black-and-white photo of group of adults and children standing on or near porch of very minimalistic wooden house
Indian Relief Project, McCurtain, Oklahoma, June 18, 1934. / THF290170

The CCC-ID’s worker policies differed in significant ways from the CCC’s policies toward Black and white men. This reflected its autonomy as a division of the Bureau of Land Management and not of the U.S. War Department, and the independence of separate indigenous nations negotiating their own CCC structures that supported families in different ways. For example, married men could enlist in the CCC-ID and live at home, receiving as much as $42 per month for work (including a stipend otherwise spent by camps on housing and feeding enlistees). In contrast, Black and white CCC enlistees, all single, earned $30 per month. They retained only $5 while the remaining $25 went home to their parents or extended families.

All CCC enlistees, regardless of race, color, or creed, worked hard and in all kinds of weather.

Man in coat and boots stands in snow outside simple structure covered in snow with icicles handing from eaves
Man standing outside a Civilian Conservation Corps barracks in winter, circa 1935. / THF620731

Their rest came on cots in barracks with tar-paper walls.

Interior of large wooden room with high windows filled with cots, some with men standing by, sitting on, or lying on them
Interior of Civilian Conservation Corps barracks, 1934. / THF620729

Work schedules allowed some time for recreation, but even then, the company dog warranted attention.

Man kneels with dog next to doghouse; other men stand nearby
Stanley Zaleski and a dog outside Civilian Conservation Corps Barracks, 1934. / THF620737

The CCC followed strict protocols, including formal enlistment and discharge procedures and paperwork.

Certificate with printed text and six signatures at bottom
Civilian Conservation Corps Company 1614 completion certificate, September 30, 1934. Stanley “Toots” Zaleski’s Discharge Certificate confirmed the reason for his discharge as “expiration of term of enrollment for convenience of the U.S.” / THF293211

Communication took the form of monthly newsletters produced by enlistees in camps and in CCC regions. CCC camps held as many as 200 Black or white enlistees while CCC-ID projects incorporated 30–40 enlistees at a time. The newsletters represented a proactive effort to create a community identity. Sporting events and other organized leisure activities also helped generate collegiality.

Page with text and drawing of two men boxing with one man in uniform wedged between them
The Northlander: A Mimeographed Publication of the Fort Brady CCC District, March 1939. / THF624987

Pennants helped convey the identity and camp purpose, much as pennants symbolized allegiance to schools. Some pennants conveyed standard CCC imagery. The lone pine tree symbol appeared on pennants of companies doing work in national forests and others working in state parks. Colors varied as well, even as the logo remained the same. Other pennants emphasized camp features, including barracks. Some carried additional artistic expressions.

Blue pennant with text "C.C.C." and golden seal with text and tree
Civilian Conservation Corps “1614th Co.” pennant, 1934. This company started in June 1933 near McComb and Munising, Michigan, and worked in the national forest. / THF293213

Blue pennant with text "C.C.C." and golden seal with text and tree
Pennant, Civilian Conservation Corps Company 1712. This company started in October 1934 and worked near Kaiser and Bagnall, Missouri, likely on Lake of the Ozarks State Park projects. / THF238732

Red pennant with text "C.C.C." and golden seal with text and tree
Pennant, Civilian Conservation Corps Company 3745. This company worked near Columbia, Missouri, starting in September 1940, on Soil Conservation Service projects. / THF238734

Red pennant with golden eagle and block letters "C.C.C." containing additional images
Pennant, Civilian Conservation Corps, with no company number designated, but featuring illustrations of a typical CCC camp, 19331942. / THF238736

Gray and maroon pennant with text
Civilian Conservation Corps "Co. 713, Camp Jeanette" pennant, 1936–1941. Camp 713 undertook Soil Conservation Service work near Lake Jeanette in Superior National Forest, near Lake City, Minnesota, starting January 16, 1936. / THF188542

Other souvenirs included sweetheart pillows, designed to remind loved ones back home of their son, brother, betrothed, or friend at work in a CCC camp.

White or gray satin pillowcover with image of deer and gold fringe
Civilian Conservation Corps sweetheart pillow cover, 1938–1940. Camp 4603 worked on revitalizing grazing land near Harper, Oregon, starting in July 1938. / THF188543

The Civilian Conservation Corps never officially ceased to exist. Bipartisan support sustained the work through 1940 and 1941, even as potential enlistees pursued different opportunities and obligations. The U.S. Congress authorized the Selective Training and Service Act in September 1940, the first peacetime draft in U.S. history. Veterans of the CCC often chose enlistment in their preferred branch of the military over conscription into military service. After the United States entered World War II, Congress closed remaining CCC camps, discharged personnel, and disposed of camp assets (including non-issued clothing) to the U.S. Army.

Today, private-public partnerships sustain CCC work in various ways. Organizations such as Conservation Legacy provide service opportunities to youth, young adults, and veterans, in partnership with the U.S. Bureau of Land Management, the U.S. Forestry Service, and AmeriCorps. The Veterans Fire Corps helps veterans transition to civilian life while earning Firefighter Type 2 training. Ancestral Lands Conservation Corps engages Indigenous youth and young adults in conservation work that links ecological work with cultural heritage.

The legacy of the CCC remains all around us, but is not always obvious. We travel on roadways that CCC workers helped survey and build. We stop at roadside overlooks and stay in guest lodges that CCC workers built in state and national parks across the country. They also built dams and fire look-out towers, planted trees, improved grazing lands, and restocked lakes—among many other projects. Their signatures remain on the landscape in all these ways, preserving their history while inspiring current conservation work.

Sources:

Civilian Conservation Corps Legacy. This website includes a state-by-state listing of camps and projects. http://www.ccclegacy.org/home.php.

Lacy, Leslie Alexander. The Soil Soldiers: The Civilian Conservation Corps in the Great Depression. Radnor, PA: Chilton Book Company, 1976.

Maher, Neil M. Nature’s New Deal: The Civilian Conservation Corps and the Roots of the American Environmental Movement. New York: Oxford University Press, 2008.

Roosevelt’s Tree Army: The Civilian Conservation Corps, virtual exhibit available through the Digital Public Library of America at https://dp.la/exhibitions/civilian-conservation-corps/history-ccc (accessed September 14, 2021).


Debra A. Reid is Curator of Agriculture & the Environment at The Henry Ford.

making, #THFCuratorChat, nature, environmentalism, by Debra A. Reid

Rocky cliffs or bluffs at the edge of a large body of water

Midway Point near Monterey, California,” 1902, Detroit Publishing Company Collection. / THF118817

The United Nations (UN) first discussed a “world oceans day” during the June 1992 Conference on Environment and Development in Rio de Janeiro. The UN General Assembly designated June 8 as the day to recognize the role of oceans in a global perspective, as well as the influence of law and society on those oceans, starting in 2009. The theme “The Oceans: Life and Livelihoods” provides a focus for World Oceans Day 2021.

The Henry Ford’s collections support reflection on ocean life, livelihoods, and health in several ways. Visual depictions range from a 16th-century map to 20th-century photographs featuring ocean liners and oceanside retreats.

Map with land masses outlined in different colors, with a large ship in the water
Map, “Die Neuwen Inseln / So hinder Hispanien gegen Orient ven dem land indie ligen,” drawn by German cartographer Sebastian Münster (1488–1552) in 1550 to illustrate the “new island” lying between Spain, the Orient, and the country of India. / THF284540

Black-and-white photo of large ship at dock
“Docking a Big Liner,” RMS Oceanic, 1903. Briefly, between 1899 and 1901, the Oceanic was the largest ship in the world. / THF204952

Black-and-white photo of large building at the edge of bluffs over a body of water
Cliff House, San Francisco, California, circa 1905. / THF200584

Physically crossing the ocean required a voyage by sea, and later by air, but transatlantic communication took the underwater route. You can learn more about the laying of the transatlantic cable in 1858 in the segment “History of Communication Cables” from The Henry Ford’s Innovation Nation with Mo Rocca. You can read even more about the process and learn more about the technology through artifacts from our collections in “Starts and Stalls: Creating a Successful Transatlantic Cable” and at “Signals Under the Ocean.”

Ocean health anchors World Oceans Day. Marine biologist Rachel Carson featured ocean health in her earliest mass-media publications. Three publications drew the public’s attention to these issues. They included Under the Sea Wind (1941), The Sea Around Us (1951), and The Edge of the Sea (1955).

Woman looks into a microscope
Rachel Carson using a microscope, April 1963. You can see a drawing of an octopus on the wall above her head, and a pencil holder with a map of the world’s oceans. / THF147922

The urgency to clean up our oceans has increased in the decades since Carson issued her clarion calls. An Innovation Nation segment, “Seabin Ocean Cleanup,” shared the story of the “sea bin”—think of it as a “trash bin” designed to collect plastics floating in the ocean. Another segment looked at a larger clean-up project focused on the Great Pacific Garbage Patch, where the innovator planned to use ocean currents to help consolidate the refuse. A later segment updated viewers on that project as Boyan Slat and his Garbage Patch clean-up team set sail. Other Innovation Nation segments have featured plastic-eating bateria (PETase enzyme), a robotic snake that detects water pollution (Envirobot), and an oil-spill sponge.

What might we do to be more engaged with World Oceans Day?

The raindrop in our personal space starts a journey we can all follow. The droplets accumulate and flow into freshwater creeks, streams, rivers, the Great Lakes, and ultimately into the world’s oceans. Maintaining water quality starts with the runoff, redirecting it to retention ponds where sediment can settle out before it enters rivers, lakes, and oceans. The Ford Rouge Factory Tour offers guests the opportunity to learn more about this process, and so can walks through Greenfield Village, paying particular attention to the ponds and their connections to the Rouge.

Pond at dusk, surrounded by wood and rope rails, with building(s) in the background
Greenfield Village in the evening, 2004, featuring the retention pond in the Liberty Craftworks district. / THF133611

Young innovators play a major role in this work. Students participating in Invention Convention Worldwide often focus on water quality. Alie Ward spoke with a student about their project to rid oceans of microplastics on the TV show Did I Mention Invention?

The Henry Ford supports ocean-focused education in additional ways. The Giant Screen Experience features films on the subject, including Secret Ocean 3D as a “Teacher’s Choice” option for school and youth groups. Currently playing, Hidden Pacific is a film featuring areas of natural significance protected as national marine monuments.

Exhausted from your world-wind tour of THF ocean-related resources? There is still more to see, and much more to do, on our collective journey to ocean health. Contemplate your next steps as you explore art inspired by oceans, on view in the Davidson-Gerson Modern Glass Gallery in Henry Ford Museum of American Innovation.

Colorful ladder with various shapes and items attached
“Ocean Floor” Ladder by Therman Statom, 2007 (Gift of Bruce and Ann Bachmann). / THF164729


Compiled by Debra A. Reid, Curator of Agriculture and the Environment at The Henry Ford, following the lead of Zachary Ciborowski, Administrative Assistant and Project Coordinator; with inspiration from The Henry Ford’s Green Team members, including Cynthia Jones, General Manager, Innovation Experience; and with the assistance of Saige Jedele, Associate Curator, Digital Content.

nature, environmentalism, by Debra A. Reid

This is the first of a series of blog posts presented in conjunction with the traveling exhibition, Louis Comfort Tiffany: Treasures from the Driehaus Collection. The exhibit, consisting of approximately 60 artifacts, is on view at Henry Ford Museum of American Innovation from March 6, 2021, through April 25, 2021. All of the objects shown here are from the collections of The Henry Ford and provide background on themes in the exhibition.

In the 1890s, artists and designers in Europe and the United States attempted to create a modern aesthetic for the emerging 20th century. This aesthetic was consciously modern. The decorative style that emerged, Art Nouveau, featured bold color contrasts and organic lines, sometimes flowing gracefully and sometimes sharply undulating, like a whiplash. Artists and designers associated with this trend looked to nature as their guide. As they often said, there is nothing historical about nature, it is universal.

Decorative pattern of leaves and flowers, with decorative text EMILIE
Bookplate Designed by Rene Lalique for Emilie Grigsby, 1890-1905 / THF291251

This bookplate, created by French designer Rene Lalique, is derived almost purely from nature, although the floral forms are abstracted into sinuous and linear elements that we associated with French Art Nouveau of the 1890s and early 1900s. Even the letters of the name, “Emilie,” are rendered into organic shapes.

One person walks behind another person on a horse on a snowy road with trees in the background
Japanese Travelers in a Snow Storm, 1900-1929/ THF292633

Increased communication and trade with Asia in the second half of the 19th century brought new design inspiration to Europe. Japanese woodblock prints particularly appealed to Art Nouveau poster and decorative designers, who incorporated asymmetry and contrasting colors in their own work. Notice the unmodulated areas of light colors against dark colors, which create pictorial depth.

Woman sitting in a garden looks at flowers and a butterfly; contains text
Bookplate of Georges Goury, 1900-1910/ THF291287

A major element of the Art Nouveau style, the sensual female figure was popularized by French poster artists like Jules Cheret and Alphonse Mucha. The illustrator of this Art Nouveau bookplate placed a woman at the center, used diagonal lines to create an illusion of depth (a technique derived from Japanese prints), and added stylized botanical motifs to frame the image.

Stylized image of woman holding sheaf of wheat and corn, with subtle images of turkey and greenery in the background; also contains text
Harper's Bazar Thanksgiving, Number 1895 / THF292639

Art Nouveau in America came first as imported graphic art printed in Europe for an international audience. American illustrators, like the young Will Bradley, adapted these design elements for their illustrations in magazines and advertising posters. This poster promotes the Thanksgiving issue of the magazine Harper’s Bazar (which would later become Harper’s Bazaar) and appeared on newsstands in American cities from coast to coast. This poster is full of harvest and Thanksgiving symbols: the sheaf of wheat and the subtle turkey, suggesting the bounty of the season. The Art Nouveau elements include the organic whiplash floral forms and the female figure predominating the scene.

Iridescent blue and gold glass cup with dimensional s-shaped swirls on bottom
Favrile Toothpick Holder, circa 1895 / THF165617

In the 1890s, American designer Louis Comfort Tiffany developed a process to imitate the iridescent shimmer of ancient, weathered glass. His "Favrile" line of art glass included organic forms characteristic of the Art Nouveau style, sometimes featuring abstract ornamentation, such as the design on this toothpick holder.

Narrow red vase with blue-and-red abstracted "peacock feather" pattern on bottom
Favrile Vase, 1901-1915 / THF163631

Tiffany’s small vase expresses the Art Nouveau trademark element of the peacock feather, which, like many Art Nouveau elements, has its roots in European design. Tiffany was renowned in America and Europe for developing the Art Nouveau into elegant, yet simple, products, as well as grand, large-scale objects like stained glass windows and elaborate electric lighting.

Bronze candelabrum with six green bud-shaped sconces
Candelabrum, 1903-1919 / THF163661

Louis Comfort Tiffany gained international acclaim, exhibiting his work in metal, glass, and jewelry alongside European Art Nouveau designers in Paris as early as 1895. The sinuous, plant-like design of this high-end glass and metal Tiffany candelabrum exemplifies the Art Nouveau style.

Tiffany Studios made a great variety of candleholders for upper middle-class clients. This model is described in the 1906 catalogue as simply, "6 lights, in a row, extinguisher on stem." The customer could choose from 11 designs of "candlestick tops," or standard interchangeable sockets, that were listed and priced separately. These included "long" or "short" metal or glass and metal tops in a variety of forms.

GIF that cycles through several images and detail shots of a bronze floor lamp with bronze and glass shade.
Floor Lamp, about 1900 / THF186205, THF186208, THF186219, THF186215, THF186218

Around 1900, Tiffany started making large scale floor lamps—this is one of his first efforts. The fishscale-like shade is composed of his signature Favrile glass, which glows when illuminated. The bronze base features undulating spirals which rise up through the lamp’s shaft. The kerosene reservoir is covered with organic S- or wave-like patterns, all of which derive from Tiffany’s Art Nouveau vocabulary.

Lamp with bronze base and stem and stained glass shade featuring daffodils
Electric Table Lamp, 1903-1920/ THF167923

Louis Comfort Tiffany became known for applying Art Nouveau aesthetics to lighting products. This nature-themed "Daffodil" lamp is the first design attributed to Clara Driscoll, who led the Women’s Glass Cutting Department at Tiffany Studios. Driscoll designed many now-iconic leaded-glass lamps for Tiffany.

White vase, widening from thin base to flattened, flower-shaped top, which is iridescent blue inside
Aurene Vase, circa 1920 / THF162344

“Aurene” was the name that Frederick Carder used for his iridescent art glass at the Steuben Glass Works in Corning, New York. When Aurene was first produced, around 1902, Louis Comfort Tiffany sued Carder for copyright infringement. The courts found in favor of Frederick Carder and Steuben’s Aurene competed with Tiffany’s Favrile glassware. This elegant, floral-shaped vase combines a cased white outer shell with a dark blue iridescent interior and comes directly from the Art Nouveau vocabulary found in Tiffany’s production.

Silver pitcher with swirling decorative images, including octopus
Martele Pitcher, 1898-1905 / THF129337

Like Steuben, the Gorham Silver Company of Providence, Rhode Island, produced its own line of Art Nouveau–inspired wares. Called Martele, meaning hand-hammered, this was one of Gorham’s high-end lines. This pitcher shows an organic swirl of motion, presumably sea water, with an octopus placed asymmetrically across the surface.

Brown pebbled leather handbag with elaborate silver clasp with a peacock in the center and a silver chain
Handbag, circa 1900 / THF175168

By the turn of the century, well-heeled consumers could choose from an array of luxury goods in the Art Nouveau style. This handbag features classic Art Nouveau motifs: botanical elements, curved lines, and a peacock, whose fanned tail feathers dominate the center of the design.

Black, red, and beige floral-patterned rug
Wilton Rug, circa 1900 / THF175015

In the first decade of the 20th century, the Art Nouveau style began to filter through many levels of American society. This Wilton rug is a good example, as it features characteristic elements of Art Nouveau design: striking color combinations, undulating "whiplash" lines, and stylized botanical motifs.

Cover with image of building, elaborate decorative pattern, and text
"Electrical Apparatus and Supplies for Isolated Plants," June 2, 1902 / THF267443

The explosion of the electrical industry in the 1890s generated new design needs. Electrical corporations hired artists working in the style of the day—Art Nouveau—to design their buildings, products, and communications. These partnerships marked the beginnings of industrial design.

Bar of soap wrapped in blue paper with decorative blue elements and yellow-orange oval and text
Sterne's Deodorizing Toilet Soap, 1900-1915 / THF175155

Art Nouveau reached its peak of popularity in 1900, but American manufacturers incorporated echoes of the style in products and product packaging into the 1910s. The Art Nouveau styling of the label for this everyday product—a bar of soap—would have appealed to many consumers.

By 1914, the Art Nouveau style was considered old-fashioned. Most European and American designers had moved on with their work. Tiffany was the rare exception. Tiffany Studios continued producing Art Nouveau–inspired lamps, vases, desk sets, and windows through the 1920s. Tiffany retired from day-to-day management in the early 1920s. It took until the Great Depression struck in 1929, and Tiffany’s death in 1933, for the firm to cease production.


Charles Sable is Curator of Decorative Arts at The Henry Ford.

nature, Henry Ford Museum, Louis Comfort Tiffany, design, home life, glass, by Charles Sable, art

Man standing at what appears to be a white wooden beehives, with other similar beehives around him and a building in the background
Detail,
THF278671

An Introduction


Bees—one short name for about 20,000 species of flying insects classified into seven families. All live within social communities that depend on strict work routines; all seek the same food sources (pollen and nectar); and all process their harvest and preserve it in hives built in the ground, in hollow trees, or in human-designed apiaries.

Bees help plants reproduce by facilitating pollination as they search for pollen and nectar to feed themselves and their young. This relationship has long served plants well—DNA research confirms that bees coexisted with flowering plants from their beginning 130 million years ago.

Bees and humans have a much shorter, but more emotional, relationship. As pollinators, bees provide a critical link between humans and their food source: plants. Over millennia, humans domesticated one species of bee, native to Europe, Asia, and parts of Africa, to satisfy their needs—Apis mellifera, the Western or European honeybee. As Europeans colonized North America, they imported honeybees and the crops that honeybees pollinated from the bees’ native ecosystems.

Page with illustrations of bees and text
Illustrations of Apis mellifera, the Western or European honeybee / THF621311

Humans clustered hives of honeybees around orchards, grape arbors, and other areas of intense flowering-plant cultivation to ensure pollination. From the hives, they harvested honey—a natural sweetener that required little processing. The hives also produced honey, pollen, and bee venom, which had medicinal value. Beeswax was used to seal containers, produce candles, and create art. And queens from the hives propagated even more honeybees.

Illustration of small building with five-sided fence around yard and multiple structures holding vines in yard
Group of beehives (apiary) designed for pollinating a grape arbor / THF621283

The Honeybee Hunt


Historically, honey-seeking humans learned to identify the location of an existing hive, usually in a hollow tree trunk. Some “baited” bees by setting out a little honey to attract a bee and following it back to its hive. This involved “lining” a bee—watching until it flew out of sight, moving closer to that location, waiting to see another bee in flight, and repeating the process. In short increments, this led honey-seekers to hives.

To secure their “own” honey supply and facilitate pollination of crops, humans sometimes moved existing hives closer to their gardens, orchards, and clover fields. They also hunted bee swarms. When a colony becomes too large, a queen will “hive off,” leaving with a portion of the hive’s population. (In the meantime, the remaining bees create a new queen to lead the original hive.) The departing bees swarm together near their former home, lingering only temporarily as scout bees search for a new nesting site. The reward for aspiring beekeepers who successfully encourage a swarm to take up residence in a hive of their own choosing is sweet.

Drawing of man with saw on pole sawing a tree limb with a beehive hanging from it
Aspiring beekeepers lured swarms or moved existing hives closer to their crops and kitchens. / THF621285

Housing Honeybees


Beekeepers first mimicked nature, luring swarms of bees into hollow logs much like the tree trunks they’d abandoned. Before long, humans devised prefabricated housing to keep pollinators close to gardens, orchards, and clover fields, and to keep honey close to the kitchen table. These hives, often grouped together in apiaries, took many forms, from simple boxes to highly decorated contrivances.

Wooden stump with rough wooden lid on top
Roughly rectangular wooden box with wooden lid on top
Yellow, drum-shaped form painted with text and decorations, on wooden stool with three legs
Manmade beehives ranged from hollow logs to simple boxes to complex, highly decorated inventions. /
THF177143, THF172336, and THF172095

Some beekeepers made bee “skeps,” hives made of coiled rye straw held in place with a wooden splint, to house bees and protect honey stores. Skeps held real meaning for those who relied on them to house bees and protect honey stores. But bee skeps also took on symbolic meaning rooted in religious associations with worker bees and the biblical beekeeper, Deborah. Over time, skeps came to represent the industry of a productive household and the dependability of workers. Utah, known as “The Beehive State,” even adopted the coiled beehive as its official state symbol.

Woven structure with cylindrical bottom topped with a dome
Some farm families made inexpensive skeps to house bees and protect honey stores. / THF177141

Gold coin with text and illustration of two women in classical robes with other items around them
Medals awarded at the 1882 Cincinnati Industrial Exposition featured a bee skep (at bottom), symbolizing industry. / THF154061

During the mid-19th century, the U.S. Patent Office issued numerous patents for improved beehives. Arguably the most important went to Philadelphia pastor Lorenzo L. Langstroth in 1852 for his “Improved Mode of Constructing Beehives.” Langstroth's enduring contribution to beekeeping came through careful observation. He determined that bees naturally left a space of 3/8” between honeycombs (constructed within the hive to house larvae, honey, and pollen). Langstroth designed a beehive with 3/8” spacing (later coined the “bee space”) between the frames, sides, and bottom. This improved access, allowing beekeepers to remove and replace frames of honeycomb without harming bees, and more easily inspect for bee moth infestation, which could seriously damage a hive. The hive Langstroth devised, along with the guide he first published in 1853, revolutionized beekeeping, and Langstroth-style beehives remain standard today.

Portrait of man wearing glasses, suit, and clerical collar
Lorenzo L. Langstroth’s careful observation of honeybees led to a revolutionary beehive design. / detail, THF621310

Birdhouse-shaped box made out of wooden planks
Careful spacing within Langstroth-style hives improved access for beekeepers and helped protect the bees. / THF172338

In Defense of Native Bees


Because they did not evolve in tandem with native plants, honeybees are not the best pollinators for all crops grown in North America. They seek nectar more than pollen to produce honey, and many plant blossoms do not produce enough nectar to mobilize honeybees. Native bees and other flying insects find blossoms of native plants—including tomatoes, cucumbers, pumpkins, avocadoes, and cranberries—more appealing than do honeybees, and they do a better job of moving pollen from blossom to blossom, ensuring fertilization. As a consequence, many market-garden and truck-farm crops (cabbage, carrots, squash, and melons), berries (strawberries, blackberries, and raspberries), and orchard crops (apples, pears, peaches, and plums) depend on native bees and other pollinators, even as honeybees play their role. All also pollinate crops that livestock eat (buckwheat and clover) and crops that produce fibers we use to make cloth (cotton and flax).

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Native bees pollinate many food crops, including orchard fruits like pears. / THF293065

Vegetables, fruits, and other agricultural products result from the intimate relationships, millions of years in the making, between bees and the plants they pollinate. When colonists imported honeybees to North America, they introduced direct competition to different genera and species like squash bees, bumblebees, and solitary bees. Even today, humans’ special treatment of honeybees puts native bees at a disadvantage. As the disrupters of natural relationships, humans bear responsibility for creating a balance between honeybees and native species that are too often neglected in popular conversations. While we depend on honeybees for our honey supply, we depend on all pollinators to sustain our food system. To learn more, explore the U.S. Geological Survey’s documentation of native bees at the Native Bee Inventory and Monitoring Lab, check out this excerpt from Dave Goulson’s “A Sting in the Tale: My Adventures with Bumblebees,” or browse beekeeping-related artifacts in The Henry Ford’s Digital Collections.


This post was adapted by Saige Jedele, Associate Curator, Digital Content, from several write-ups on bees and beekeeping by Debra A. Reid, Curator of Agriculture and the Environment at The Henry Ford.

agriculture, nature, by Saige Jedele, by Debra A. Reid

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Rachel Carson devoted her early career to studying and writing about the ocean. During the 1950s, her poetic books about the sea brought her recognition and fame as an author.

Carson’s books helped build a new awareness about the environment. Her most important book, Silent Spring, released in 1962, asked Americans to examine the negative effects of widespread chemical pesticide use.

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Rachel Carson’s 1962 book, Silent Spring, linked human action to environmental destruction and ignited a national conversation. THF110029

During World War II, a chemical called DDT protected troops by killing disease-spreading insects. After the war, numerous products containing DDT became commercially available to American consumers for pest control.

In Silent Spring, Carson urged the public to live in harmony with nature and cautioned against the overuse of DDT, which destroyed insect populations and threatened other wildlife species. America reacted. The government banned DDT in 1972. The environmental movement—sparked in part by Carson’s book—continues today.

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An interactive digital experience in Henry Ford Museum features the stories of Rachel Carson, Luther Burbank, and George Washington Carver.

Learn more about Carson’s life and work in Henry Ford Museum of American Innovation, where a new digital experience in the Agriculture & the Environment exhibit explores

  • The post-WWII “chemical craze” that prompted Carson to act
  • The long-term environmental effects of pesticide misuse
  • Books and magazines from the beginning of the environmental movement
  • Carson’s influence on the evolution of environmental activism
  • Pesticide use today

environmentalism, women's history, technology, nature, Henry Ford Museum, books

As we celebrate Earth Day, do you know which iconic symbol for the environmentalism movement came first? The bird wing design on an Earth Day poster or the “Give Earth a Chance” button? If you thought it was the button, you’re correct.

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Give Earth a Chance Button, 1970. THF284833

Students at the University of Michigan formed ENACT (Environmental Action for Survival Committee, Inc.) in 1969. They prototyped the button and started selling it in late 1969, months before the official Earth Day on April 22, 1970. This button was reputedly worn during Earth Day 1970.

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Advertising Poster, "Earth Day April 22, 1970.” THF81862

If you picked the wing, the artist that created the poster, Jacob Landau, used a stylized wing in earlier artwork. Landau, an award-winning illustrator and artist, taught at the Pratt Institute in Brooklyn. He created this poster for the Environmental Action Coalition which coordinated New York Earth Day activities in 1970.

Did Earth Day launch the Age of Conservation?

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“Newsweek” Magazine. THF139548_redacted

Newsweek itemized threats that ravaged the environment in its January 26, 1970 issue. All resulted from human actions. Emissions and sewage polluted the air and water. Garbage clogged landfills. Population growth threatened to overtake available food supplies. Solving these challenges required cooperation and unity on the part of individuals as well as local, state, and national governments. Editors believed that replenishing the environment to sustain future generations could be “the greatest test” humans faced. They featured the “Give Earth a Chance” button with the caption: "Symbol of The Age of Conservation?"

What to do to save the Earth?
The overall goal of replenishing the environment to sustain future generations required action on many fronts. More than 20 million people across the United States participated in the first Earth Day. The teach-ins informed, marches conveyed the intensity of public interest, and graphic arts spoke volumes about what needed to be done.

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“March 1975, Bazaar, Fight Air Pollution, What You Should Be Wearing,” Poster, 1970. THF288328

This 1970 poster envisioned high fashion of the future, complete with a gas mask accessory. The moral of the story? Self-protection would not solve the problem of environmental pollution.

The Clean Air Act of 1970 empowered states and the national government to reduce emissions through regulation. This applied to industrial emissions as well as mobile sources (trains, planes, and automobiles, among others).

Interest in Recycling Grows

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Poster by Eli Leon for Ecology Action, “Recycle” 1971. THF284835

Recycling emerged as a natural outgrowth of Earth Day, but local efforts could not succeed without explanation. First, consumers had to be convinced to save their newspapers, bottles, and cans, and then to make the extra effort to drop them off at centralized locations. This flyer showed how every-day consumer activity (grocery shopping) contributed to deforestation, littering, and garbage pile-up. Everybody could participate in the solution – recycling.

Recycling cost money, and this caused communities to balance what was good for the Earth, acceptable to residents, and possible within available operating funds.  Even if customers voluntarily recycled, it still cost money to store recyclables and to sell the post-consumer materials to buyers.

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Recycling Bin, Designed for Use in University City, Missouri, 1973. THF181540

City officials and residents in University City, Missouri, started curbside newspaper recycling in 1973, one of the first in the country to do so. Some argued that the city lost money because the investment in staff and trucks to haul materials cost more than the city earned from the sale, but saving the planet, not profit, motivated the effort. Eight years into the program, in 1981, city officials estimated that newspaper recycling kept 85,000 trees from the paper mill.

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Easter Greeting Card, "Happy Easter," 1989-1990. THF114178

Today, more than 1/3 of post-consumer waste, by weight, is paper. Processing requires energy & chemicals, but recycled paper uses less water and produces less air pollution than making new paper from wood pulp. Maybe you buy greeting cards of 100% recycled paper, like this late 1980s example from our digital collections.

Environmentalism and Vegetable Gardening

Awareness of environmental issues affected the habits and actions of gardeners. Home gardening became an act of self-preservation in the context of Earth Day and environmentalism.

Lyman P. Wood founded Gardens for All in 1971, and the association conducted its first Gallup poll of a representative sample of American gardeners in 1973. It helped document the actions of gardeners, those proactive subscribers to new serials such as Mother Earth News. It confirmed their demographics and their economic investment.

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Mother Earth News, 1970. THF290238

Raising vegetables using organic or natural fertilizers and traditional pest control methods became an act of resistance to increased use of synthetic chemical applications as concern about residual effects on human health increased.

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How to Grow Vegetables and Fruits by the Organic Method, 1971. THF145272

Interest in organic methods remains high as concern about genetic-engineered foods polarizes consumers. The U.S. Department of Agriculture defines biotechnology broadly. The definition includes plants that result from selective breeding and hybridization, as practiced by Luther Burbank, among others, as well as genetic modification accomplished by inserting foreign DNA/RNA into plant cells. This last became commercially viable only after 1987.  These definitions affect seed marketing, as this “organic” Burbank Tomato (not genetically engineered) indicates.

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Charles C. Hart Seed Company “Burbank Slicing Tomato” Seed Packet, circa 2018. THF276144

What Gardening Means Today
Gardening as an act of personal autonomy

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"Assuming Financial Risk," Clip from Interview with Melvin Parson, April 5, 2019. THF295329

Social justice entrepreneurs believe gardens and gardening can change lives. Learn about the work of Melvin Parson, the Spring 2019 William Davidson Foundation Entrepreneur in Residence at The Henry Ford, in this expert set. You can also learn more from Will Allen in an interview in our Visionaries on Innovation series.

Environmentalism
The 1970 “The Age of Conservation” has changed with the times, but individual acts and world-wide efforts still sustain efforts to “Give the Earth a Chance.” You can learn more about environmentalism over the decades by viewing artifacts here.

To read more about Adam Rome and The Genius of Earth Day: How a 1970 Teach-In Unexpectedly Made the First Green Generation (2013), take a look at this site.

Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford. This post came from a Twitter chat hosted in celebration of Earth Day 2020.

gardening, nature, environmentalism, by Debra A. Reid, #THFCuratorChat

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THF213753 / George Washington Carver at Dedication of George Washington Carver Cabin, Greenfield Village, 1942.

On this day in 1946, George Washington Carver Recognition Day was designated by a joint act of the U.S. Congress and proclaimed by President Harry S. Truman. Carver died just three years earlier on this day in 1943.

Immediately, public officials and the news media began to celebrate his life and create lasting reminders of his work in education, agricultural science, and art. Carver, mindful of his own legacy, had already established the Carver Foundation during the 15th annual Negro History Week, on February 14, 1940, to carry on his research at Tuskegee. It seems fitting to pay respects to Carver on his death day by taking a closer look at the floral beautis that Carver so loved, and that we see around us, even during winter.

Carver recalled that, “day after day I spent in the woods alone in order to collect my floral beautis” [Kremer, ed., pg. 20]. He believed that studying nature encouraged investigation and stimulated originality. Experimentation with plants “rounded out” originality, freedom of thought and action.THF213747
THF213747 / George Washington Carver Holding Queen Anne's Lace Flowers, Greenfield Village, 1942.

Carver wanted children to learn how to study nature at an early age. He explained that it is “entertaining and instructive, and is the only true method that leads up to a clear understanding of the great natural principles which surround every branch of business in which we may engage” (Progressive Nature Studies, 1897, pg. 4). He encouraged teachers to provide each student a slip of plain white or manila paper so they could make sketches. Neatness mattered. As Carver explained, the grading scale “only applies to neatness, as some will naturally draw better than others.”

Neatness equated to accuracy, and with accuracy came knowledge. Farm families could vary their diet by identifying additional plants they could eat, and identify challenges that plants faced so they could correct them and grow more for market.

Carver understood how the landscape changed between the seasons, and exploring during winter was just as important as exploring during summer. Thus, it is appropriate to apply Carver’s directions about observing nature to the winter landscape around us, and to draw the winter botanicals that we see, based on directions excerpted from Carver’s Progressive Nature Studies (1897). (Items in parentheses added to prompt winter-time nature study - DAR and DE, 3 Jan 2018.)

  • Leaves – Are they all alike? What plants retain their leaves in winter? Draw as many different shaped leaves as you can.
  • Stems – Are stems all round? Draw the shapes of as many different stems as you can find. Of what use are stems? Do any have commercial value?
  • Flowers (greenhouses/florists) – Of what value to the plant are the flowers?
  • Trees – Note the different shapes of several different trees. How do they differ? (Branching? Bark?)  Which trees do you consider have the greatest value?
  • Shrubs – What is the difference between a shrub and a tree?
  • Fruit (winter berries) – What is fruit? Are they all of value?

Carver worked in greenhouses and encouraged others to use greenhouses and hot beds to start vegetables earlier in the planting system. The sooner farm families had fresh vegetables, the more quickly they could reduce the amount they had to purchase from grocery stores, and the healthier the farm families would be. 

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THF213726 / George Washington Carver in a Greenhouse, 1939.

In 1910, Carver included directions for work with nature studies and children’s gardens over twelve months. Selections from “January” suitable for nearly all southern states” included:

  • Begin in this month for spring gardening by breaking the ground very deeply and thoroughly
  • Clear off and destroy trash (plant debris) that might be a hiding place for noxious insects.
  • Cabbages can be put in hot beds, cold frames, or well-protected places.
  • Grape vines, fruit trees, hedges and ornamental trees should receive attention (pruning, fertilizing)
  • Both root and top grafting of trees should be done.
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THF213314 / Pamphlet, "Nature Study and Children's Gardens," by George Washington Carver, circa 1910.

Carver illustrated his own publications, basing his botanical drawings on what he observed in his field work. He conveyed details that his readers needed to know, be they school children tending their gardens, or farm families trying to raise better crops.

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THF213278 / Pamphlet, "Some Possibilities of the Cow Pea in Macon County, Alabama," by George Washington Carver, 1910 / page 12.

carver-illustration-1Edible wild botanicals, also known as weeds, appeared in late winter. Carver encouraged everyone from his students at Tuskegee to Henry Ford to consumer more wild greens year round, but especially in late winter when greens became a welcome respite from root crops and preserved meats which dominated winter fare. His pamphlet, Nature’s Garden for Victory and Peace, prepared during World War II, featured numerous drawings of edible wild botanicals, also called weeds. Americans could contribute to the war effort by diversifying their diets with these greens that sprouted in the woods during the late winter and early spring. Carver illustrated each wild green, including dandelion, wild lettuce, curled dock, lamb’s quarter, and pokeweed. Following the protocol used in botanical drawing, he credited the source, as he did with several illustrations identified as “after C.M. King.” This referenced the work of Charlotte M. King, who taught botanical drawing at Iowa State University during the time of Carver’s residency there, and who likely influenced Carver’s approach to botanical drawing. King’s original of the “Small Pepper Grass” drawing appeared in The Weed Flora of Iowa (1913), written by Carver’s mentor, botanist Louis Hermann Pammel. 

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THF213586 / Pamphlet, "Nature's Garden for Victory and Peace," by George Washington Carver, March 1942.

To learn more about Carver, consult these biographies:

 

  • Hersey, Mark D. My Work is that of Conservation: An Environmental Biography of George Washington Carver. Athens: University of Georgia Press, 2011.
  • Kremer, Gary R. George Washington Carver: A Biography. Santa Barbara, Cal.: Greenwood, 2011.
  • Kremer, Gary R. ed. George Washington Carver in His Own Words. Columbia: University of Missouri Press, 1987.
  • McMurry, Linda O. George Washington Carver, Scientist and Symbol. New York: Oxford University Press, 1981.

To read more about Carver and Nature Study, see:

  • Carver, G. W. Progressive Nature Studies. (Tuskegee Institute Print, 1897), Digital copy available at Biodiversity Heritage Library, https://www.biodiversitylibrary.org/item/98621#page/132/mode/1up
  • Harbster, Jennifer. “George Washington Carver and Nature Study,” blog, March 2, 2015, https://blogs.loc.gov/inside_adams/2015/03/george-washington-carver-and-nature-study/

Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford. Deborah Evans is Master Presenter at The Henry Ford.

winter, nature, George Washington Carver, education, by Debra A. Reid, by Deborah Evans, art, agriculture, African American history

history-collage

As part of our continuing partnership with Google Arts & Culture, we are excited to announce the September 13, 2016, launch of “
Natural History,” our third themed release on the platform!  This is an interactive, dynamic and immersive discovery experience covering the diversity and fragility of nature, featuring over 170 online exhibits and 300,000 artifacts from dozens of cultural heritage institutions.  

You might wonder why The Henry Ford is included in this release, alongside some of the world’s most esteemed natural history museums. The answer is that though natural history is not a collecting focus for us, the stories we tell of American innovation, ingenuity, and resourcefulness often intertwine with the flora and fauna around us—in fact, many of our stories cannot be told without careful consideration of the environment in which they transpired.

Our participation in the release includes three online exhibits telling such stories.  “The Many Facets of John Burroughs” tells the story of the famed naturalist and author who became close friends with Henry Ford in his later life. The challenges faced by Henry Ford’s rubber-growing venture along the Amazon River in Brazil from the 1920s through the 1940s are explored in “Fordlandia.” And last, “Yellowstone, America’s First National Park” chronicles the development of this attempt to share America’s natural wonders with the masses—even before the birth of the National Park Service. 

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Our presence also includes close to 300 individual artifacts from our collections.  These include objects related to each of our exhibit themes, but also significant individual artifacts such as John Muir’s pocket compass, two science texts used by the Wright Brothers and their family, and George Washington Carver’s microscope.  In addition, we were very pleased to discover during our research for this project three shadowboxes of seashells collected by legendary innovator Thomas Edison in Fort Myers, Florida, an unexpected find we documented earlier this year on our blog.  Prints (including several each by John James Audubon and Alexander Wilson), photographs, and other items highlighting the natural world round out our participation.

Visit g.co/naturalhistory to check out all the exhibits and artifacts within this brand new Natural History experience.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

environmentalism, by Ellice Engdahl, nature, John Burroughs, Google Arts & Culture

Part 2: Mount Desert Island, Maine
Located off the coast of Maine, Mount Desert Island is one of the largest islands in the United States and home to Acadia National Park. Long known for its rocky coast, mountainous terrain, and dense wilderness, Mount Desert Island was popularized in the mid-19th century by the Hudson River School. The painters from this art movement focused on scenic landscape paintings, creating works of art that inspired many prominent citizens from the East Coast to build their summer homes on the island. By the late 19th century a resort tradition that became locally known as "rusticating" had taken root on Mount Desert. Wealthy East Coast families known as "rusticators" would spend their summers relaxing in their island mansions, taking in the scenery, and socializing with other prosperous families doing the same. In the early 20th century, the "rusticators" on Mount Desert Island also began to include affluent Detroit families as well.

Eleanor Lowthian Clay, Edsel Ford's future wife, was accustomed to affluence and spent her summers vacationing on Mount Desert Island as a child. Eleanor's wealthy uncle, Joseph Lowthian Hudson, was successful in the Detroit department store scene. As patriarch of the family, the childless J.L. Hudson cared for his other family members and allowed Eleanor's family, as well as some of his other nieces and nephews, to live with him. Hudson employed most of them in his business and groomed his four Webber nephews, Eleanor's cousins, to take over the family trade. Their sister, Louise Webber, married Roscoe B. Jackson, a business partner of J.L. Hudson. In 1909, Jackson helped formed the Hudson Motor Car Company with backing from Hudson. Jackson had found early success with the Hudson Motor Car Company and after inheriting the department store company, the Webber brothers were able to continue its success as well. The wealth and status that these families enjoyed allowed them to later choose Mount Desert Island as the location for their summer retreats and influenced Edsel to do the same.

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Eleanor, right, and her sister Josephine, left, vacationing in Maine with their family. THF130536

The wealth of J.L. Hudson had helped establish Eleanor's cousins and acquaint Eleanor with the son of another wealthy Detroiter in Edsel Ford. While Edsel courted Eleanor, her sister Josephine was simultaneously being courted by up-and-coming lawyer Ernest Kanzler. Edsel became close friends with Kanzler, his future brother-in-law, who eventually was hired by Henry Ford to help manage the Fordson tractor company. By the early 1920's, Edsel and Eleanor along with the Kanzlers, Webbers and Jacksons were all vacationing on Mount Desert Island. Edsel began his Mount Desert residency by renting summer homes there, occasionally inviting his parents to vacation with him. During the late summer or early fall of 1922, Edsel purchased property in the area known as Seal Harbor. Sitting 350 feet above sea level on what is known as Ox Hill, Edsel's property had a panoramic view of the surrounding sea and sky. Also within walking distance of Acadia, then Lafayette National Park, Edsel soon found that his property adjoined the property of the neighborhood national park's biggest benefactor, John D. Rockefeller Jr.

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Edsel with his sons Henry II and Benson spending time at the beach in Seal Harbor. THF95355 

Rockefeller Jr. first visited Mount Desert Island in 1908 and immediately became enamored with the area. He built a large estate in Seal Harbor and by the time he became neighbors with Edsel in 1922, Rockefeller Jr. had already used his wealth to donate large tracts of land to his local national park. During this time he was also in the process of building a network of carriage roads that allowed the beautiful vistas of Acadia to be accessed by the public. Preferring the quiet serenity of horse-drawn carriages over the noisy automobiles, Rockefeller Jr. worked personally with the engineers to ensure that the carriage roads captured the tranquil scenery the park had to offer. The beautiful landscapes of the area would become the topic that Rockefeller Jr. used to initiate his friendship with Edsel Ford.

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Panoramic view of Seal Harbor located on Mount Desert Island, Maine. THF255236
 

Initially writing in December of 1922, Rockefeller Jr. didn't hide his feelings when congratulating Edsel on the purchase of his Seal Harbor property. He had visited Edsel's property at the top of Ox Hill during sunset one night and stated in his letter, "I do not know when I have seen a more magnificent and stunning view than that which met my eye on every side. You have certainly made no mistake in selecting a site for your home.” He concluded the letter by expressing how happy he and his family were at the thought of having Edsel as a permanent summer neighbor. In Edsel's gracious response to Rockefeller Jr., he mentioned that he would be using architect Duncan Candler to design his Seal Harbor home. Candler had previously designed the neighboring Rockefeller home, as well as other note-worthy properties on the island.

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John D. Rockefeller Jr.'s initial letter to Edsel congratulating him on the purchase of Edsel's Seal Harbor property. This letter lead to a life-long friendship that would be fueled by the spirit of philanthropy. THF255332

Christened with the name "Skylands" due to the unbroken views of the Maine horizon line that the property provided, Edsel's summer retreat was built between 1923 and 1925. In 1924, familiar with his new summer neighbor's philanthropic efforts and swayed by his past experiences, Edsel began donating yearly to the National Parks Association, known today as the National Parks Conservation Association. Created by industrialist Stephen Mather in 1919, the organization's mission was to protect the fledgling National Park Service, of which Mather was the director. For eight years Edsel would donate $500 annually to the National Parks Association, until the Depression years of 1932 and 1933 when other business and philanthropic demands restrained his monetary donations.

By the time Edsel's summer home was done in 1925, he and Rockefeller Jr. had become good friends and philanthropic partners. They shared a love for the arts, beautiful scenery, social justice, and civic responsibility. Although twenty years his senior, Rockefeller Jr. found Edsel's situation relatable. Both men were the only sons of immensely wealthy industrialist fathers and both had inherited the responsibility of their massive family fortunes. Each looked to use those fortunes to serve humanity and steer society towards a positive future. Rockefeller Jr. cherished the trait of modesty, a trait that he saw Edsel strongly demonstrate throughout his life. For that reason, Rockefeller Jr. held Edsel, "in the highest regard and esteem," describing him as, "so modest and so simple in his own living and in his association with his fellow men." Their summers spent together at Seal Harbor would undoubtedly include conversations about where they could best direct their philanthropic efforts.

Ryan Jelso is Associate Curator, Digital Content, at The Henry Ford. 

nature, by Ryan Jelso, philanthropy, Ford family, Edsel Ford, national parks