This is the third 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. The lamp shown here is from the collections of The Henry Ford and provides background on themes in the exhibition.
In preparing for the Louis Comfort Tiffany: Treasures from the Driehaus Collection exhibit, The Henry Ford’s curatorial department expressed interest in displaying a Tiffany Studios early floor lamp, circa 1900, from our collections. This lamp features a telescopic shaft and a dual wick kerosene burner for extra illumination.
Our Tiffany lamp (THF186213) as compared to images from Tiffany publications.
In Tiffany publications, the lamp rests on an outer cushion-textured base with six ball-shaped feet. However, the outer base from The Henry Ford’s lamp was missing, with no previous record of its existence when it entered our collection in 1966.
Discussions between Curator of Decorative Arts Charles Sable and conservators led to the decision to create a replica lamp base to ensure both historical accuracy and physical stability to the tall, rather top-heavy floor lamp. The completed object would provide viewers with a more accurate interpretation and the opportunity to experience the object whole, as it was originally designed.
It’s All about the Base
We embarked upon an effort to locate a similar base in museums or private collections to serve as a reference or pattern, to inform the creation of a replacement base—only to discover that the lamp is quite rare. So instead, I decided to create a model base using a CAD (computer-aided design) program, with the design based on photographs from Tiffany publications and auctions. The museum’s lamp was used as a physical frame of reference for measurements and comparisons in CAD. I reached out to several 3D-printing shops to determine if they could use my CAD design to generate a three-dimensional plastic base. Ultimately, the base was printed with the help and generosity of the additive manufacturing team at the Ford Advanced Manufacturing Center.
The above images are the CAD model of the base from different angles.
Ford Motor Company and its Advanced Manufacturing Center (AMC) offered their additive manufacturing expertise and capabilities. Their team includes Global Chief Engineer Mike Mikula, Rapid Prototype Subject Matter Expert Scott Gafken, Technical Leader in Additive Manufacturing Harold Sears, Additive Manufacturing Engineer Supervisor Jay Haubenstricke, and Supervisor Additive Manufacturing John Phillips.
Collaborative discussions with Scott Gafken revealed that the process would take about 24 hours, which included printing as well as model cooldown for handling. The EOS P770 was employed as an industrial selective laser sintering (SLS) printer and produced the print in Nylon 12 (also known as Polyamide 12 or PA12). The printing material was selected based on its ability to bear the weight of the lamp, and someday be a candidate for an investment casting, for the creation of a metal base.
The white image shows the Polyamide 12 print of the base at the Ford Advanced Manufacturing Center. The image with painter’s tape was taken during the process of painting the base. Achieving a finish that matched the original metal lamp required the application of several layers of paint. The image with only one small white section shows the completed base after gloss varnish was applied.
The bronze surface of the lamp was shades of brown with hints of red, orange, and green. These shades are similar to several paint colors: raw umber, chromium oxide green, sepia, burnt sienna, and yellow oxides. The colors were mixed into several formulations to closely match the patina (aged finish) of the lamp. Diluted paint was applied in layers to allow the variations in the tones to be seen. After discussions with the curator and members of our Experience Design department, we made the decision to leave one section of 3D-printed surface unpainted, to allow visitors to see it in the exhibit.
The replica base was painted with the actual lamp present to ensure a match.
Beyond the base, other aspects of our conservation treatment included the cleaning of the Tiffany lamp with a bristle brush and vacuum. Wet cleaning included a dilute blend of anionic and nonionic detergents in distilled water, applied with cotton rags and cotton swabs. Residual detergent was then removed with a distilled water wipedown.
A protective barrier of wax was introduced via hot wax application. The bronze surface was heated with a hot air gun and microcrystalline wax was applied and left to cool down. A boar-bristle brush and bamboo picks were used to remove excess wax. The brush and cotton rags were then used to buff the wax layer, resulting in a uniform sheen.
Details of the lamp both before cleaning and after cleaning and wax application.
Postcard of Percy Jones General Hospital, 1944. / THF184122
When most people think of Battle Creek, Michigan, breakfast cereal comes to mind--the industry created there by “cereal” entrepreneurs W.K. Kellogg and C.W. Post at the turn of the 20th century.
Yet, Battle Creek was also home to an important World War II military medical facility, the Percy Jones General Hospital. By the end of the war, Percy Jones would become the largest medical installation operated by the United States Army. The hospital and its story are, perhaps, hidden in plain sight in a building now known as the Hart-Dole-Inouye Federal Center—unless one notices the historical marker located there.
Before a Hospital, a Sanitarium
Even before its genesis as Percy Jones, the site and its buildings had rich layers of use and history. In 1866, the Seventh Day Adventists established the Western Health Reform Institute in a cottage on the site to promote their principles of preventative medicine and healthful nutrition. In 1876, Dr. John Harvey Kellogg (older brother of cereal entrepreneur W.K. Kellogg) became its director, renaming the facility the Battle Creek Sanitarium and expanding it to include a central building, a hospital, and other cottages. In 1902, a fire destroyed the sanitarium. An elegant, six-story Italian Renaissance style building soon rose in its place, completed in 1903. In 1928, the sanitarium was enlarged with a fifteen-story tower addition containing more than 265 hotel-like guest rooms and suites, most of which had private bathrooms. This expansive health and wellness complex on 30 acres could accommodate almost 1,300 guests. After the economy crashed in 1929, business declined. By 1933, the sanitarium went into receivership, and the Great Depression that followed forced the institution to sell assets to help pay its debt.
The sanitarium with its 1928 fifteen-story tower addition. / THF620119
Percy Jones Hospital Springs to Life
With the outbreak of World War II in Europe in 1939, the United States military began to build up its armed forces and medical treatment capabilities. In late 1940—in order to mobilize for what would become a growing need if the United States entered the war—the Medical Department began to develop a plan for providing a comprehensive system of progressive medical care from battlefield to stateside. A year later, with the Japanese attack on Pearl Harbor in December 1941, the United States did enter the war. The military not only constructed new hospital facilities, but also acquired civilian buildings, making alterations and expanding as needed.
In August 1942, the United States Army purchased the near-vacant main Battle Creek Sanitarium building and converted it into a 1,500-bed military hospital, with crews working around the clock for six months to complete it. Dedicated on February 22, 1943, the hospital was named after Col. Percy L. Jones, a pioneering army surgeon who had developed modern battlefield ambulance evacuation during World War I. By the time the hospital opened—a little over a year after the United States entered the war—American troops had fought in the North Atlantic, North Africa, Italy, and the Pacific. Two and one-half more years of fierce fighting in Europe and the Pacific lay ahead. World War II—a global war which would directly involve 100 million people in more than 30 countries—would become the most costly and far-reaching conflict in history.
Percy Jones Hospital was one of the army’s 65 stateside General Hospitals, providing more complex medical or surgical care—those more difficult and specialized procedures requiring special training and equipment. Percy Jones Hospital specialized in neurosurgery, amputations and the fitting of artificial limbs, plastic surgery, physical rehabilitation, and artificial eyes. The Army’s rehabilitation program included physical conditioning and the constructive use of leisure time in educational pursuits to achieve the best possible physical and mental health for each convalescing soldier.
Percy Jones would become one of the army’s nine Hospital Centers, medical facilities that included both a General and Convalescent Hospital. Nearby (three miles from Battle Creek) Fort Custer, a military training base and activation point for Army inductees from Michigan and the Midwest, also served as the site of Percy Jones Convalescent Hospital for patients further along in the recovery process. In 1944, W.K. Kellogg’s summer mansion on nearby Gull Lake became a rehabilitation center for Percy Jones General Hospital and the Convalescent Center.
As the number of casualties increased, the facility grew—its authorized capacity would reach 3,414 beds. In one month alone, over 700 operations were performed. At the end of the war in August 1945, the number of patients at the hospital’s three area sites peaked at 11,427.
The massive Battle Creek hospital complex was self-contained and fully integrated. It had its own water supply and power generation, as well as a bank, post office, public library, and radio station. An indoor swimming pool and a bowling alley helped wounded vets regain their health. Rails and ramps were constructed throughout the facility. The Percy Jones Institute, an accredited high school, offered educational and training programs for patients, ranging from photography to agriculture to business.
Convalescing soldiers at Percy Jones Hospital in April 1944. The soldiers are wearing the Army-issued convalescent suits and bathrobes provided to patients at stateside hospitals. / THF270685
In August 1944, private Dean Stauffacher—training at nearby Fort Custer—sent the postcard at the top of this post (THF184122) of Percy Jones General Hospital to his wife, noting that “This is now an Army Hospital & is full of war casualties, etc.” This postcard was first published during the sanitarium era—the caption on the back dates from that period. Only the title on the front was updated to reflect the building’s use as a military hospital. / THF184123_redacted
Supporting the Troops at Percy Jones
People on the home front found ways to support the troops at Percy Jones. Hundreds of people visited soldiers daily. Celebrities Bob Hope, Jimmy Stewart, Ed Sullivan, Gene Autry, and Roy Rogers visited as well. Organizations provided snack food, reading material, and other gifts for the soldiers. Other groups organized social and recreational activities for convalescing soldiers.
A Ford Motor Company employee purchased two wheelchairs for Percy Jones Hospital with his muster out pay from the military, March 1944. / THF270681
In April 1944, Ford Motor Company employees gathered gifts of food (including candy and potato chips) and reading material for Percy Jones’ convalescing soldiers. / Four images above: THF270683, THF270699,THF270705, THF620569
Musical performances also provided entertainment for the convalescing soldiers. / THF620567
Detroit’s AFL/USO Committee organized a series of weekend social activities for servicemen from Percy Jones Hospital. Volunteer hostesses provided companionship for these soldiers during dinner, dancing, or a visit to local points of interest, as seen in the four images above: Program of social activities, April 1945; soldiers and hostesses gather for the day’s activities; visiting the Willow Run Bomber Plant near Ypsilanti, Michigan; enjoying dinner at the Federal Building in Detroit. / THF290072, THF211406, THF211408, THF289759
After a short deactivation period after World War II, the hospital reopened soon after the Korean War broke out in June 1950. Once again, wounded soldiers found medical treatment and emotional support at Percy Jones Hospital until the war’s end three years later.
A Lasting Legacy
With the end of the Korean War, the hospital closed permanently in 1953. But its legacy lived on in the lives of the nearly 95,000 military patients who received care at Percy Jones during World War II and the Korean War. And in the fact that Battle Creek became the first American city to install wheelchair ramps in its sidewalks, created to accommodate Percy Jones patients who visited downtown.
The hospital’s story would begin its fade from recent memory in 1954, as federal agencies moved into the building (now renamed the Battle Creek Federal Center)—only to reemerge (albeit subtly) in 2003. That year, the complex was renamed to honor three United States senators who had been patients at Percy Jones Hospital during World War II: Philip Hart of Michigan, Robert Dole of Kansas, and Daniel Inouye of Hawaii. The building’s new name honored the public service careers of these men—and also quietly reflected what Percy Jones Hospital and its staff had offered not only these World War II veterans, but tens of thousands of their fellow soldiers.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
An amazing thing happened during the spring and summer of 2020, while The Henry Ford was closed because of the COVID-19 pandemic. A group of dedicated individuals formed a new donor society, the Carver-Carson Society, and raised more than six times what was needed to bring back to life the Detroit Central Market in Greenfield Village.
How in the world did they do this?
Well, prior to the pandemic shutdown, The Henry Ford was still $200,000 shy of reaching its $5 million fundraising goal. The Henry Ford has always had big plans for the market, which was built in 1860 and is considered one of the oldest surviving urban farmer's markets of its kind in the country. The Henry Ford's vision is for the market to become a world-class convening center and hub of innovation by attracting farmers, food entrepreneurs and thought leaders to help educate and engage the public on critical issues, including food security, regenerative agriculture and environmental sustainability. That vision was in danger of being significantly delayed when The Henry Ford had to close its doors in March. This all changed when a group of dedicated donors answered the call to support the market project by forming the Carver-Carson Society and creating plans for The Henry Ford's first-ever virtual fundraiser, Farm to Fork.
On August 20, 2020, Farm to Fork aired live over Vimeo, creating a virtual show filled with interviews, films, cooking demonstrations and engaging conversations. The event was co-chaired by Emily Ford, Lauren Bush Lauren and The Henry Ford's president and CEO, Patricia Mooradian, and raised over $800,000. This thought-provoking and entertaining event helped not only to cross the fundraising finish line but to surpass its original goal.
One of the highlights was the first Carver-Carson Conversation, featuring an intimate conversation moderated by Debra Reid,curator of agriculture and the environment. Special guest panelists included legendary chef and restaurateur Alice Waters; her daughter, designer and author Fanny Singer; event co-chair Lauren Bush Lauren; and Melvin Parson, a community farmer and The Henry Ford's first Entrepreneur in Residence. Their lively discussion touched on important issues around food security, food equity, regenerative farming and the need for local food environments and farmers. We plan to have many more Carver-Carson Conversations, both virtually and in person, in the future.
In almost 91 years, our doors have never been closed for more than two days at a time. We have always been here — for your field trips, your weddings, your holidays and your family days out. Then everything changed.
For almost 16 weeks, we were unable to welcome guests through our doors. With almost two-thirds of our operating budget coming from earned revenue — admission tickets, memberships, signature and private events, food and retail purchases — the closure had a devastating impact. In addition to other cost-saving measures, The Henry Ford made the very difficult decision to place more than 80% of our staff (nearly 1,400 employees) on temporary, unpaid leave. Our venues were dark and quiet.
Although our doors have reopened, we are still operating at a significantly reduced capacity. While The Henry Ford has not had a deficit in decades, we are projecting a crippling shortfall of $10 million to $20 million in our 2020 operating budget. But we have been through difficult times before, persevered and emerged stronger, and with your support we will do so again.
The outpouring of support we have received has been amazing. You have been there for us at each step, through donations, membership renewals, messages of support and, when we were finally able to reopen, visiting our venues again. Thank you! Supporters have donated over $400,000 to the Reactivate The Henry Ford Fund. It is great to see that many of these donors were contributing to us for the first time. Every gift is being matched by a longtime supporter of The Henry Ford, so these donations will have double the impact.
We still have a long way to go, and we can only do it with your help. Please continue to support us however you can — visit, renew your membership, donate, share on social media — every action helps. We are thrilled to have you back at our venues and can't thank you enough for everything you do to Reactivate The Henry Ford!
The Henry Ford acquired the Vegetable Building from Detroit's Central Farmers Market in 2003, saving it from demolition. Like the farmers markets of today, the Detroit Central Farmers Market was a gathering place – a commercial center, a hub of entrepreneurship and a community space where family, friends, and neighbors congregated and socialized.
This farmers market can become a destination again, a resource for exploring America's agricultural past, present, and future. We need your help to make this happen. #PledgeYourPassion by making a gift this Giving Tuesday.
Learn more about the remarkable history of this important structure.
The City of Detroit invested in a new permanent market building - this expansive vegetable hall - in 1860. Located at the east end of Michigan Avenue, just east of Woodward at Campus Martius, it was roughly four blocks square, extending from Woodward to Randolph. The major building in the market was the expansive vegetable building. Market gardeners, florists, orchardists, and nurserymen sold their produce from rented stalls between 1861 and 1893.
The growth of Central Market reflects Detroit’s growth as a city. Much of Detroit’s early history revolved around its importance as a port and strategic location in the Great Lakes. During the 19th century, Detroit’s manufacturing base and its population grew rapidly, more than doubling every 10 years from just 2,222 people in 1830 to 45,619 in 1860. The Central Market was the first Detroit market not located by the docks, reflecting the city’s transition from a port town to a city. Farmers were now coming to Detroit to sell to city residents, rather than to ship produce to eastern cities.
This certified 1884 Sanborn insurance map shows the Central Market area, including the Vegetable Building and other shops.
The Central Farmers Market began in 1843 as a simple shed built off the rear of the old City Hall building. Problems with traffic congestion caused by the market, along with the desire to make the prominent square more presentable, led newly elected Mayor Christian H. Buhl to pledge to build a new covered market building. The city hired local architect John Schaffer to develop plans. Schaffer’s design called for a “structure to be comprised of forty-eight iron columns supporting a wooden roof, [measuring] 70 by 242 feet from outside to outside.” The construction contract was awarded in June to Joel Gray at a cost of $5,312. In late September of 1860, the Detroit Free Press wrote:
“The new market building in the rear of the City Hall is nearly competed and promises to be a fine structure. It covers the whole of the space occupied as a vegetable market, and consists of an open shed, the roof of which is supported on iron columns and a well-finished framework. The roof is of slate and cost about $1,500. It is designed in time to make a tile floor and erect fountains. The building will accommodate all the business of the market and will constitute an ornament as well as a great convenience to that important branch of city commerce.”
In its first year, the market earned the city $1,127 in rent, covering 20% of the construction costs in one year. The building thrived as the vegetable market through the 1880s. The emergence of the Eastern Market, and the continuing desire to open the street to traffic, led the Common Council to decide to close the Central Market in 1892. In 1893 the Parks and Boulevards Commission, which operated Belle Isle, received approval to move the building to Belle Isle for use as a horse and vehicle shelter. The building was re-erected on Belle Isle in 1894.
In later years it was converted to a riding stable – the sides were bricked in, the roof was altered to add clerestory windows to let in light, and an office and wash area was constructed in the south end. After the riding stable closed in 1963, the building was used to keep the horses of the Detroit Mounted Police, and then later used for storage. It was considered for demolition since the early 1970s. Over the summer of 2003, the building was dismantled and the parts from the original market building were preserved for re-erection in Greenfield Village.
The Detroit Central Farmers Market vegetable building is a rare and important building. Because of fires and development pressures, wooden commercial buildings, particularly timber-framed buildings, rarely survive to the present in urban settings. This may be the only 19th century timber-frame market building surviving in the United States. Its move to Belle Isle saved it from demolition.
The building is architecturally significant. It is an excellent expression of prevailing architectural tastes, as demonstrated by the Free Press review. It captures the rapidly changing world of building construction of the mid-19th century. The building represents the pinnacle of the timber framer’s craft; it is elegantly shaped and ornamented in a way that makes the frame itself the visual keystone of the design. It was built shortly before timber frame construction was eclipsed by the new balloon frame construction, which used dimensional lumber and nailed joints. The cast iron columns that support the timber-framed roof represent the newest in manufactured construction materials. Cast iron was the favorite material of the modern builder in the mid-19th century. It was easy to form into a variety of shapes, and ideal for adding ornamentation to buildings at a moderate cost. The columns in the market building have been formed to represent two different materials – the lower section resembles an elaborately carved stone column, while the upper section looks like the timber frame structure that it supports.
The building captures the exuberance and optimism of the city of Detroit as it grew in its first wave from a frontier fort and outpost, to an important city. A “useful and beautiful” market building in the city’s central square was important to this image of this growing city – as evidenced by the fact that it took only nine months from Mayor Buhl’s inaugural address of January 11, 1860 promising a new market building, to its substantial completion. Few buildings survive from this first era of growth in the city of Detroit.
For 30 years customers engaged with vendors at the Vegetable Building in Detroit's Central Market. For 110 years the building served the public in a variety of ways on Belle Isle. Your donation will help The Henry Ford rebuild this structure in the heart of Greenfield Village. There it will inspire future generations to learn about their food sources. Make history and #PledgeYourPassion this Giving Tuesday.
Jim McCabe is Collections Manager at The Henry Ford.
In the early years of World War I hundreds of thousands of Belgian refugees fled to England to escape their war torn country. Lord Perry, of Ford of England, worked with Henry Ford to establish a home for these refugees to help get them on their feet while they found work and homes of their own in England. For this purpose, Perry leased Oughtrington Hall in Cheshire, England with money donated from Henry and Clara Ford to house up to 100 refugees at a time.
The idea of helping the refugees appears to have been discussed in person between Perry and the Fords in October 1914 while Perry was visiting the states. On returning to England, Perry wrote Clara Ford in December of 1914, saying he’d secured Oughtrington Hall for $35.00 per month, with the landlord giving the rent money to the Belgian Refugee Fund. By December 29, 1914 the first group of refugees had arrived consisting of “six better class adults, 14 better class children and 3 nurses for the children; one wounded Belgian Officer and his wife; 7 discharged Belgian soldiers (these men have been wounded and are sufficiently recovered from their wounds to be discharged from Hospital, but not well enough to rejoin the Army; they cannot go back to their homes in Belgium because they have been destroyed); 4 working class married couples with 5 young children, 3 elderly single men.” The first group of refugees was picked by Perry and included those he considered “the better class” and those of the “working class.” Perry envisioned the wealthy refugees overseeing the children and the working class, and the working class performing the housekeeping, and cooking. The “servant class,” however, rebelled at this notion and Perry was soon writing to Clara noting the working class, “imagine themselves guests and see no reason why they should not be treated as guests with a consequence that they expect to be waited on etc.” Perry compromised by proposing they be paid a servants wage for their labor which would be payable after they left the house to return to Belgium or other employment. The number of refugees in the house continued to grow quickly, by February 1915 there were 93 refugees in the house and in March, 110.
To oversee the group’s needs, Perry appointed a former Ford Motor Company agent in Brussels, Vandermissen as he was the only one in the original group who could speak English. The initial group of refugees battled outbreaks of many contagious diseases, including a scarlet fever and small pox scare. Perry was unable to find a Belgian doctor for some time, so he had to hire local doctors and even use the Manchester plant doctor to see to the refugees needs, however the language gap proved a problem. Eventually, a Belgian doctor was hired, and a surgery and doctor’s office were set up on the grounds. A chapel was built, and a Belgian priest was brought in to see to the refugees’ spiritual needs. Oughtrington Hall was one of the few refugee homes that could house large families and there were always many children in the hall. A nursery and school were established, and the indoor tennis court was heated with a stove to provide a play area for the children. The refugees also raised and sold pigs and cows on the 30 acres attached to the hall.
Perry and his wife, Katie, spent countless hours arranging for the lease, administrating the house, and seeing to the needs of the refugees. They donated much of their own furniture and clothing, “Katie and I have both taken all of our clothes, excepting those that we are actually wearing – both suits and under-clothes – and used them for fitting out some of these poor people.” Perry also requested the Fords send their second-hand clothing to the refugees as well “if it is not too much trouble, it would be nice to receive from you any old clothes of Edsel’s or Mr. Ford’s which could be spared…Such clothes would be of much better quality than we can think of buying, and would further more save money,” a request the Fords followed through with (although only one woman in the hall could fit into Clara’s shoes). However, not all the refugees’ needs were met immediately. When the boiler went out in 1915, Perry refused to pay for a new one as they were only renting, demanding the landlord replace the unit, but it took the landlord sometime to make up his mind and “meanwhile the poor Belgians are very cold.” The money the Fords provided not only furnished the house, and provided food, but also bought clothing, toiletries, and basic items for the refugees (many of whom had left the country with no extra clothes or personal possessions) as well as provided the refugees with pocket money from $0.50 - $1.00 each per week. Perry also purchased subscriptions for magazines and rented a piano and gramophone (asking Edsel Ford to send along any old records). Because the first refugees moved in around Christmas the Perry’s purchased a Christmas tree, decorations, and small gifts for the children.
By 1918, because of war rationing, Perry was forced to reduce the number of refugees in the home and stop taking in new refugees; he proposed to the Fords to gradually start winding up the project and close down Oughtrington Hall. The chapel, priest, and doctor had all left by this time and Perry stated only families with children were left. Perry wrote Clara, “I feel that the conditions under which you have, for so long, rendered help to Belgian Refugees in this country, have materially changed; so much so, that it is probably true to say that there are no Belgian refugees in the same sense that there were three years ago.” He went on to add most of the refugees had found work and had become part of community, the others he believed should be taken care of by the government. Over the three years of operation a constant flow of hundreds of refugees came and went through Oughtrington Hall, the number of refugees fluctuated but appears to have stayed around 100 for the most part. Many found jobs, some at the Ford Manchester plant, and moved into homes of their own, or a relative in Belgium sent them money so they could establish their own residence. In July 1918, Perry transferred administration of the hall to the Manchester Belgian Refugees Committee along with the furniture and all equipment in the house. Kathy Makas is Reference Archivist at The Henry Ford.
Edsel Ford and Eleanor Ford with Their Children, Henry, Benson, Josephine and William, at Gaukler Pointe, circa 1938. THF99953
Edsel Bryant Ford was born in Detroit to Henry and Clara Ford on November 6, 1893. As their only son, Edsel seemed destined for a career at Ford Motor Company. He began working for Ford after his high school graduation in 1912 and rose through the ranks to President by age 26. Edsel spent 31 years with the organization, but his life was tragically cut short when he passed away from cancer on May 26, 1943 at just 49 years old.
While his career at Ford was extremely important to Edsel, his wife, Eleanor, and their four children – Henry, Benson, Josephine, and William – were most precious to him. During his limited leisure time he enjoyed painting and collecting art, spending time outdoors, and relaxing with his family at their home in Grosse Pointe Shores. Edsel was also a prolific philanthropist, and, 75 years after his death, exploring his extensive philanthropy is a fitting way to honor his life and legacy of good will.
Edsel Ford at Yale-Harvard Boat Races, New London, Connecticut, 1939. THF94864
Edsel Ford is perhaps best-known for his involvement with the arts. Millions have viewed the Edsel Ford-sponsored and funded Detroit Industry murals by Diego Rivera at the Detroit Institute of Arts or visited the Museum of Modern Art in New York City, of which Edsel was a trustee from 1935 until 1943. Eleanor became a MoMA trustee in 1948, and the Ford Foundation (which was founded by Edsel in 1936) donated one million dollars to the museum in Edsel’s memory in 1963. He also attended many concerts at the Detroit Symphony Orchestra and was a generous patron of the Detroit Symphony Society.
Oil Portrait of Edsel Ford by Diego Rivera, 1932. THF116599
Edsel donated regularly to the Detroit Society of Arts and Crafts – which is now the College for Creative Studies – and attended painting classes in the late 1920s. By 1933 the Society had altered its original mission of keeping handmade craftmanship alive in an increasingly industrialized world and was one of the first art institutions to acknowledge the automobile as an art form. In the book “Making the Modern: Industry, Art, and Design,” author Terry Smith describes this new relationship between art and industry in relation to the Detroit Society of Arts and Crafts:
“Like the shift from the Model T, like the basic move within design itself, this group negotiated a passage from applying ‘art’ to industrial products (decorative devices, elaborate ornamentation) toward seeing ‘art’ in them (their ‘natural simplicity’, ‘precise’ beauty, their matching of ‘form’ and ‘function’). This implied the possibility of designing art into them, of controlling the matching so skillfully that the result would be ‘a work of art’.”
This emphasis on the intersection of art and design was also reflected in Edsel’s work at Ford. He was instrumental in moving the company beyond the Model T into a new automotive era in which both form and function were equally incorporated into the design process.
Edsel Ford as a Child, Fishing, Lake Orion, Michigan, 1899. THF99836
Another of Edsel’s lifelong passions was nature. He engaged in many outdoor hobbies, including fishing, golfing, camping, and sailing, and these interests are reflected in his philanthropy. He supported our national parks – “America’s best idea” – through his contributions to Shenandoah National Park in Virginia and the nonprofit National Parks Association (now the National Parks Conservation Association). In 1931 Congress authorized the creation of Isle Royale National Park in Michigan and Edsel served on the Isle Royale National Park Commission, which managed land acquisition. After the commission acquired most of Isle Royale the land was transferred back to the National Park Service to create the park.
State of Michigan Certificate Reappointing Edsel Ford to the Isle Royale National Park Commission, June 22, 1939. THF256194
Edsel unsurprisingly gave to Henry Ford Hospital, which was founded by his father in Detroit in 1915, but he also donated to many healthcare organizations across the United States and around the world. He contributed to the building fund of King George Hospital in London five years after King George’s son Prince Edward visited Ford Motor Company to learn more about methods of large-scale manufacturing.
Edsel Ford, Edward Albert the Prince of Wales, and Henry Ford at Fair Lane, Dearborn, Michigan, 1924. THF116352
He gave nearly every year to the Frontier Nursing Service, which provided nurse midwifery services to women in rural Kentucky and was one of his mother’s favorite charities. In 1939 he sent the nurses a used Ford station wagon, which they christened “Henrietta," and a second new station wagon in 1941. The American Red Cross, the American Foundation for the Blind, The Seeing Eye, the National Foundation for Infantile Paralysis (now March of Dimes), and many other health organizations also received generous contributions from Edsel.
Fundraising Letter from Mary Breckinridge, Frontier Nursing Service, to Edsel Ford, June 3, 1940. THF130768
Vanda Summers of the Frontier Nursing Service, with Automobile Donated by Edsel Ford, May 1940. THF130772
This list represents a miniscule fraction of Edsel’s charitable career, and the impact of his philanthropy is still felt today through the work of the hundreds of organizations that benefitted from his time and contributions. While remembering Edsel’s career and philanthropy in his 1956 Reminiscences for Ford Motor Company his longtime secretary A.A. Backus stated, “Yes, Mr. Edsel Ford was a swell individual and in my twenty-seven years with the Ford Motor Company I never heard anyone say anything different.”
Edsel Ford on the Beach with Henry Ford II and Benson Ford, 1921. THF95355
Meredith Pollock was formerly Special Assistant to the Vice President at The Henry Ford.
With the Davidson-Gerson Modern Glass Gallery opening in Henry Ford Museum of American Innovation last fall, Greenfield Village is the site for the next chapter in this exhibit's story.
The Davidson-Gerson Modern Glass Gallery is in Henry Ford Museum of American Innovation. It opened in October 2016. The Davidson Gerson Gallery of Glass is in Greenfield Village’s Liberty Craftworks District. Its grand opening is set for spring 2017.
Both galleries provide an in-depth look at the American glass story. The museum gallery focuses specifically on the studio glass movement of the 1960s, while the village gallery, supported by the Michigan Council for the Arts and Cultural Affairs, surveys the history of American glass, ranging from 18th-century colonial glass through 20th-century mainstream glass as well as studio glass.
Charles Sable, curator of decorative arts, was tasked with updating and reinterpreting The Henry Ford’s American glass collection. He envisioned creating an all-new gallery adjacent to the museum’s Glass Shop in the Liberty Craftworks District of Greenfield Village — a place to exhibit portions of the institution’s 10,000 glass artifacts currently in storage. His vision intersected with that of collectors Bruce and Ann Bachmann, who were seeking to donate their 300-piece studio glass collection.
According to Sable, the studio glass movement, which began in the early 1960s, is recognized as a turning point in the history of glass, as artists explored the qualities of the medium in a studio environment. Their goal was to create fine art. Evolving over a 20-year period, the movement matured in the 1980s with artists producing a myriad of unique works.
While other museums were interested in the Bachmann collection, it was The Henry Ford that garnered the collectors’ full attention and eventually their generous donation. “The Bachmanns had very specific criteria for their collection,” said Sable. “They were looking for an institution that was in an urban area, preferably in the Midwest where they live, had a large visitation, and was capable of exhibiting and maintaining the collection.
“As Bruce told me, it was a good marriage. He felt his collection would live here in perpetuity,” added Sable.
The story of the studio glass movement is now on permanent exhibition in the DavidsonGerson Modern Glass Gallery, which is located in the museum space that once showcased The Henry Ford’s silver and pewter collections. “Our exhibit is a deep dive into how studio glass unfolded,” said Sable. “It’s the story of the combination of science and art that created a new and innovative chapter in the history of glass.”
The exhibition also looks at the impact of studio glass on everyday life and includes a section on mass-produced glass influenced by studio glass and sold today by retailers such as Crate and Barrel, Pier 1 Imports and others.
Once the new Davidson-Gerson Gallery of Glass in Greenfield Village opens this spring, thousands of visitors will have an added opportunity to see larger-scale studio glass pieces from the Bachmann collection as well as the evolution of American glass.
DID YOU KNOW? The Bachmann studio glass collection includes representation of every artist of importance in the movement, including Harvey Littleton, Dominick Labino, Dale Chihuly, Lino Tagliapietra, Laura Donefer and Toots Zynsky.
The gallery is a careful redesign of the McDonald & Sons Machine Shop in the Liberty Craftworks District. BY THE NUMBERS 180: The number of glass artifacts on display in Henry Ford Museum of American Innovation’s Davidson-Gerson Modern Glass Gallery. 155: The number of artists represented in the Bachmann studio glass collection. 300: The number of studio glass pieces in the Bachmann collection
When Charles Sable, curator of decorative arts, was tasked with updating The Henry Ford's American glass collection, he accepted the challenge with enthusiasm. He envisioned creating an all-new gallery on the grounds of The Henry Ford, a place to exhibit portions of the institution's 10,000 glass artifacts currently in storage.
The gallery would also give him a strong talking point with Bruce and Ann Bachmann, private collectors of one of the most important Studio Glass collections. According to Sable, the Studio Glass Movement, which originated in the early 1960s, is recognized as a turning point in the history of glass as artists explored the qualities of of the medium in a studio environment. Their goal was to create fine art, in place of craft or mass produced objects.
While other museums were interested in the Bachmann Collection, it was The Henry Ford that garnered their full attention. "The Bachmanns had very specific criteria for their collection," said Sable. "They were looking for an institution that was in an urban area, preferably in the Midwest where they live, had a large visitation, and was capable of exhibiting and maintaining the collection."
After years of hard work, The Henry Ford recently added the Bachmann glass collection to its Archive of American Innovation. "As Bruce [Bachmann] told me, it was a good marriage," noted Sable of the donation. "He felt his collection would live here in perpetuity."
This month, the story of the Studio Glass Movement becomes a permanent exhibit in Henry Ford Museum with the opening of the Davidson-Gerson Modern Glass Gallery. "Our exhibit is a deep dive into how Studio Glass unfolded," said Sable. "It's the story of the combination of science and art that created a new and innovative chapter in the history of glass. As a history museum we look at the impact of Studio Glass on everyday life – we will include a section on mass-produced glass influenced by Studio Glass, but sold by retailers such as Crate and Barrel, Pier 1 Imports and others."
With donor support and fundraising, Sable's vision for an all-new glass gallery in Greenfield Village is also a reality. The Gallery of American Glass will open in the Liberty Craftworks District in spring 2017, giving thousands of visitors the opportunity to see the artistry and evolution of American glass through artifacts, digitized images and interactive displays.
Did You Know? The Bruce and Ann Bachmann Studio Glass Collection numbers approximately 300 pieces, with representation of every artist of importance, including Paul Stankard, Harvey Littleton and Toots Zynsky.
The all-new Gallery of American Glass is a careful redesign of the McDonald & Sons Machine Shop in Greenfield Village's Liberty Craftworks District. The Davidson-Gerson Modern Glass Gallery in Henry Ford Museum is located in the hall that once displayed the sliver and pewter collection.
Dressing Goodfellows dolls has been a Christmas tradition in Detroit since 1924, and the Ford Motor Company Girls’ Club was a major participant in dressing Goodfellows dolls for underprivileged children in Detroit for many years. Starting in 1946 by dressing 65 dolls, the club’s peak donation was 3,000 dresses in 1967, 1969, and 1970, and they averaged between 1,500 to 3,000 dolls most years.
The Ford Girls’ Club was started in 1946 under the Recreation Section of Ford Motor Company. Every female employee – salaried, or hourly – was automatically a member (though active membership did cost $1.00 per year). Any immediate female family member of a club member could join, as could the wives of Ford male employees. The club was primarily social, meeting once a month in addition to dinners, picnics, dances, lectures, and workshops. Members were also service oriented - they held dances for returning veterans, gave gifts and visited veterans in hospitals, and each Christmas they participated in clothing dolls for the Goodfellows to distribute, making thousands and thousands of handmade dresses over the years.
Dolls were usually handed out at the annual November service meeting. The club’s first foray into dress making was in 1946, when women of the club made 65 handmade dresses for dolls. The next year they jumped up to 290, with the dresses being displayed in the Administration Building cafeteria before being sent to the Goodfellows. As more women joined the club, interest grew in this Christmas service project and the club dressed more and more dolls each year, with their finished projects being displayed in various Ford Motor Company buildings’ lobbies, and offices, as well as the Dearborn Virginia Dare storefront window in 1949. The number of dresses made continued to climb each year reaching to almost one thousand in 1954, and the dolls were displayed for the first time at the Rotunda Christmas Fantasy. The next few years were dress-making bonanzas, and in 1957 2,500 dolls were dressed and displayed at the Rotunda for visitors to view before they were distributed to girls in the Detroit area on Christmas Eve. The Girl’s Club maintained a high production rate in the years to come - between 1,750 and 2,000 dresses were made annually and displayed at the Rotunda or Ford Motor Company buildings. In 1966 production saw another jump when the club made almost 3,000, a number they reached the next year and continued to reach or come close to for the next four years.
The handmade dresses were made of all kinds of fabric, from cotton to organdy, satin and lace. Women also knit and crocheted dresses, from wool to angora. Dolls dressed as nurses, astronauts, drum majorettes, hula dancers, Girl Scouts, flying nuns, ballerinas, and ice skaters complete with skates, graced the displays, as did brides, baby dolls, and all kinds of different ethnic dresses. Women could make any type of dress they wanted, but prizes were given by the Goodfellows, and later Ford, in specific categories:
Knit and crocheted
Goodfellows prizes ranged from $1 for a dress placing in a particular division to a grand prize of $10. Ford soon began judging the Girls’ Club’s work and awarding prizes as well, with the dresses usually judged by the wives of the Goodfellows’ president and executive officers. Early on prizes were cash, but when the displays headed to the Rotunda the stakes were raised. Grand prize in the 1950s and early 1960s was a sewing machine and console, second prize being a portable sewing machine, and third prize was a sewing cabinet.
The prizes, of course, were always of secondary importance in the Girls’ Club work with the Goodfellows' goal of “no child without a Christmas.” Over a 27-year period, 1946-1972, the Ford Girls’ Club donated over 45,000 hand-made dresses to the Detroit Goodfellows' organization to distribute to area children. The Ford employee newsletter The Rouge News and later Ford World carried stories and photos of the club’s donations every year, urging members of the club and others in the Ford organization to participate. We lose track of the Ford Girls’ Club here in the archive at about 1973, when Ford World ceased publishing stories on the yearly donation of dolls. However, judging from the 1972 output of 2,000 dolls, it seems likely the club continued the annual service drive for some years after.
The Goodfellows still distribute dolls and people in the metro Detroit area continue to provide dresses each year.
Kathy Makas is Reference Archivist at The Henry Ford.