Here’s a quick story from the somewhat strange, but definitely true, files of a Collections Specialist, Cataloger, at The Henry Ford.
Recently, I was cataloging some photographs in our collection from the original site of the Susquehanna Plantation. This white house with a deep porch, now located in Greenfield Village, was originally located in the tidewater region of Maryland.
Susquehanna Plantation in Greenfield Village. / THF2024
Some of our photos of the house when it still stood at its original site came from families who lived near the plantation. There are two photographs that include a woman with a rather unique name. She was born Rose Etta Dement in 1902 in St. Mary’s County, Maryland. When she married George Leonard Stone in 1919 or 1920, her name became Rose Etta Stone.
Edward "Buster" Pussler, Malcolm Morris, Rosalie Pussler, Earl Stone, Wilhelmina Morris, Rose Stone, Helen Morris, and Mary Ruth Stone Woodburn Posing on a Truck, 1934. Here, Rose is pictured third from the left, sitting in the truck. / THF249737
Margaret Jones Dement, Agnes Ward, Elizabeth Russell, Viola Russell, and Rose Stone Standing in Front of the Susquehanna House, 1936.Rose is on the far left. / THF249739
When I was cataloging these two photos and doing some research on the people on Ancestry.com, it amused me to come across such a name. Obviously, the Rosetta Stone language learning software was far from existence in the mid-1930s when these photos were taken. It is possible this family knew of the actual artifact called the Rosetta Stone, which helped archaeologists decipher ancient languages, and got a nice little laugh when Rose Etta Dement married George Stone.
You never know what quirky treasures you’ll find among the digitized artifacts at The Henry Ford. Check them out for yourself here.
When Jenny Chandler photographed these Brooklyn children playing games about 1900, she also unwittingly provided us with a “cameo” image of herself. The photograph includes her shadow, slightly bent over her camera as she takes the shot. THF 38025
In 1890, 25-year-old Jenny Young Chandler suddenly found herself a widow with a two-month-old baby to provide for. This heart-rending personal loss would take her on an unexpected path--one as a photojournalist and feature writer for the New York Herald, capturing life in Brooklyn, New York and vicinity. Over the next three decades, Chandler’s sensitive, insightful photography would depict people from all walks of life and the world in which they lived--a legacy preserved in over 800 glass plate negatives.
Jenny Chandler was born in 1865 in New Jersey to William Young and Mary Lewis Young. An only child, Jenny was raised by her father and stepmother, Sarah Bennett Young. The family moved to Brooklyn, New York, when Jenny was six, so her father could work as the city editor for the New York Sun newspaper. Jenny followed the normal “career path” for a young lady at that time, marrying William G. Chandler on April 25, 1888. The groom, a neighbor, worked as a sales representative for a picture frame manufacturer. Jenny and William welcomed a son, William Young Chandler, on October 12, 1890. Two months later, Jenny’s husband died of typhoid fever. Chandler unexpectedly needed to earn a living for herself and her child.
When Jenny Chandler embarked on her career, photographs were made by lugging a heavy camera, glass plate negatives and tripod. Understanding how the photo chemicals worked and how light and camera lenses interacted proved to be an exacting task. While photography was growing in popularity as a hobby for young women whose families could afford the equipment, as a profession, it was still considered a male domain. Yet Jenny Chandler mastered the technical details of camera and chemicals, then used her sensitivity and insight as a professional photojournalist to create evocative images of the world around her.
Jenny Chandler’s photographs have an immediacy—a “you are there” quality. She had a remarkable talent for portraying on film the lives of people of diverse economic and ethnic backgrounds. Chandler captured well-off Brooklyn girls and boys playing games, the exuberance of families enjoying the beach at Coney Island, the well-mannered curiosity of students on a museum visit, young girls bent over their sewing tasks, scruffy boys hanging out at the beach, children gathering tomatoes, a fisherman mending his net, shipwrights making wooden boats, and Norwegian immigrant women laboring at their farm work.
In 1922, at the age of 56, Jenny Young Chandler died of a heart ailment. For nearly 10 years, her photographic legacy quietly remained in her Brooklyn home. The subsequent owner of the house, Betty R.K. Pierce--recognizing its importance--contacted Henry Ford hoping “to have Mrs. Chandler’s work preserved in some way.” Mrs. Pierce had read about Henry Ford’s museum and historical village, and thought the photographs particularly related to Ford’s collections. In May 1932, five large boxes containing the carefully packed 800 glass negatives were on their way to Dearborn.
The result of this donation is an amazing document of early 20th century life.
Cynthia Read Miller, former curator, photography & prints, and Jeanine Head Miller, curator of domestic life at The Henry Ford.
Brooklyn and its environs offered Jenny Chandler a varied palette of urban and rural scenes, wealthy and impoverished people, and daily work life and leisure experiences. Below are a few selections from her remarkable collection of photographs.
Coney Island’s beaches and amusement parks offered cooling breezes and leisure opportunities to New York City area residents. THF38292
Children in front of a Gowanus Canal house, Brooklyn, New York. Gowanus Canal was a busy - and polluted - domestic shipping canal. THF38009
Gathering radishes in Ridgewood. Ridgewood - a neighborhood that straddled the Queens/Brooklyn boundary - remained largely rural until about 1900. Buildings in the background attest to the increasing urbanization of the area. THF38392
Norwegian immigrant women laboring at their farm work, about 1900. THF38397
It was so difficult to choose only a few of Jenny Chandler’s photographs! You can enjoy hundreds more of her images in our digital collections.
If you know a bit about The Henry Ford, you probably know that one of our areas of expertise is automobile racing. Along with many artifacts, we hold vast amounts of archival materials on the topic, including the Dave Friedman Collection of hundreds of thousands of racing images, among other materials. We’ve just digitized a grouping of nearly 500 images from the 1968 American Road Race of Champions (ARRC) held at Riverside, California—bringing the total number of images we’ve digitized from this collection to over 20,000.
John Margolies is both a photographer and a collector of items related to American travel and its unique sights. In preparation for our upcoming exhibit about Margolies and the American roadside, we’ve digitized a number of selections from this collection, including 35mm slides taken by John Margolies himself, and pennants and hotel/motel do-not-disturb signs he collected. This week, we add another grouping to that list: Dexter Press photographs dating between 1935 and 1950, designed to be used as postcards. The images, collected by Margolies, capture the same types of establishments he would photograph decades later: gas stations, diners, salons, and stores, such as the Dixie Liquor Store in St. Louis, MO, shown here. Browse more than 30 Dexter Press photos and postcards by visiting our Digital Collections, and be sure to mark your calendar to come see many of our Margolies items in person in the exhibit “Roadside America: Through the Lens of John Margolies” between June 20, 2015 and January 24, 2016.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
As Digital Collections & Content Manager at The Henry Ford, one thing that I find particularly fascinating is how our collections intersect with those of other cultural institutions. Sometimes these connections pop up unexpectedly.
Recently, I was searching in our collections database for items related to Mexican artist Diego Rivera. This 1930s image of Ford Motor Company employees collecting their wages from a payroll truck, pictured above, was one of the items I got back in my search.
Jenny Young Chandler (1865–1922) was a 25-year-old widow in 1890, when she began to support herself and her infant son by working as a photojournalist for the New York Herald. Her images were captured on glass plate negatives via a heavy camera, and intimately depict everyday life on the streets of Brooklyn, New York. We’ve just digitized over 200 images from the collection, including this one of marionette-makers at work. Other noteworthy subjects for Chandler include children at play and work, ethnic minorities (such as “gypsies,” now more commonly known as Roma), and the Brooklyn Children’s Museum (which still exists today, though undoubtedly in much different form). See all the Chandler images digitized thus far in our Digital Collections, and check back in as we add more over upcoming months.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
The admiration Henry Ford held for his friend Thomas Edison has deeply shaped Henry Ford Museum and Greenfield Village, as evidenced today through the cornerstone in the Museum and through more than a half-dozen buildings related to Edison’s life and work in Greenfield Village. We’ve just digitized a number of photos of Edison to bring the total number of our Edison-related collections objects online to nearly 250, with a few more coming soon. Visit our collections site to see this photo of Edison in his West Orange lab in 1920, as well other recently added photos of the inveterate tinkerer analyzing things such as dictating machines, telegraph keys, and even an electric streetcar.