What Have We Been Collecting at The Henry Ford?: A Peek at Recent Acquisitions
The Henry Ford’s curatorial team works on many, many tasks over the course of a year, but perhaps nothing is as important as the task of building The Henry Ford’s collections. Whether it’s a gift or a purchase, each new acquisition adds something unique. What follows is just a small sampling of recent collecting work undertaken by our curators in 2021 (and a couple in 2020), which they shared during a #THFCuratorChat session on Twitter.
In preparation for an upcoming episode of The Henry Ford's Innovation Nation, Curator of Domestic Life Jeanine Head Miller made several new acquisitions related to board games. A colorful “Welcome to Gameland” catalog advertises the range of board games offered by Milton Bradley Company in 1964, and joins the 1892 Milton Bradley catalog—dedicated to educational “School Aids and Kindergarten Material”—already in our collection.
Milton Bradley Company Catalog, “Welcome to Gameland,” 1964. / THF626388
Milton Bradley Company Trade Catalog, “Bradley’s School Aids and Kindergarten Material,” 1892. / THF626712
We also acquired several more board games for the collection, including “The Game of Life”—a 1960 creation to celebrate Milton Bradley’s centennial anniversary that paid homage to their 1860 “The Checkered Game of Life” and featured an innovative, three-dimensional board with an integrated spinner. “The Game of Life,” as well as other board games in our collection, can be found in our Digital Collections.
Board games recently acquired for use in The Henry Ford’s Innovation Nation. / THF188740, THF188741, THF188743, THF188750
This year, Katherine White, Associate Curator, Digital Content, was thrilled to unearth more of the story of designer Peggy Ann Mack. Peggy Ann Mack is often noted for completing the "delineation" (or illustration) for two early 1940s Herman Miller pamphlets featuring her husband Gilbert Rohde's furniture line. After Rohde's death in 1944, Mack took over his office. One commission she received was to design interiors and radio cases for Templetone Radio. The Henry Ford recently acquired this 1945 radio that she designed.
Radio designed by Peggy Ann Mack, 1945. / Photo courtesy Rachel Yerke
Peggy Ann Mack wrote and illustrated the book Making Built-In Furniture, published in 1950, which The Henry Ford also acquired this year. The book is filled with her illustrations and evidences her deep knowledge of the furniture and design industries.
Making Built-In Furniture, 1950. / Photo courtesy Katherine White
Mack (like many early female designers) has never received her due credit. While headway has been made this year, further research and acquisitions will continue to illuminate her story and insert her name back into design history.
Katherine White also worked this year to further expand our collection of Herman Miller posters created for Herman Miller’s annual employee picnic. The first picnic poster was created by Steve Frykholm in 1970—his first assignment as the company’s internal graphic designer. Frykholm would go on to design 20 of these posters, 18 of which were acquired by The Henry Ford in 1988; this year, we finally acquired the two needed to complete the series.
Herman Miller Summer Picnic Poster, “Lollipop,” 1988. / THF626898
Herman Miller Summer Picnic Poster, “Peach Sundae,” 1989. / THF189131
After Steve Frykholm, Kathy Stanton—a graduate of the University of Cincinnati’s graphic design program—took over the creation of the picnic posters, creating ten from 1990–2000. While The Henry Ford had one of these posters, this year we again completed a set by acquiring the other nine.
Recently acquired posters created by Kathy Stanton for Herman Miller picnics, 1990–2000 / THF626913, THF626915, THF626917, THF626921, THF189132, THF189133, THF189134, THF626929, THF626931
Along with the picnic posters, The Henry Ford also acquired a series of posters for Herman Miller’s Christmas party; these posters were created from 1976–1979 by Linda Powell, who worked under Steve Frykholm at Herman Miller for 15 years. All of these posters—for the picnics and the Christmas parties—were gifted to us by Herman Miller, and you can check them out in our Digital Collections.
Posters designed by Linda Powell for Herman Miller Christmas parties, 1976–1979 / THF626900, THF189135, THF189137, THF189136, THF189138, THF626909, THF626905
Thanks to the work of Curator of Communications and Information Technology Kristen Gallerneaux, in early 2021, a very exciting acquisition arrived at The Henry Ford: the Lillian F. Schwartz and Laurens R. Schwartz Collection. Lillian Schwartz is a groundbreaking and award-winning multimedia artist known for her experiments in film and video.
Lillian Schwartz was a long-term “resident advisor” at Bell Laboratories in New Jersey. There, she gained access to powerful computers and opportunities for collaboration with scientists and researchers (like Leon Harmon). Schwartz’s first film, Pixillation (1970), was commissioned by Bell Labs. It weaves together the aesthetics of coded textures with organic, hand-painted animation. The soundtrack was composed by Gershon Kingsley on a Moog synthesizer.
“Pixillation, 1970 / THF611033
Complementary to Lillian Schwartz’s legacy in experimental motion graphics is a large collection of two-dimensional and three-dimensional materials. Many of her drawings and prints reference the creative possibilities and expressive limitations of computer screen pixels.
“Abstract #8” by Lillian F. Schwartz, 1969 / THF188551
With this acquisition, we also received a selection of equipment used by Lillian Schwartz to create her artwork. The equipment spans from analog film editing devices into digital era devices—including one of the last home computers she used to create video and still images.
Editing equipment used by Lillian Schwartz. / Image courtesy Kristen Gallerneaux
Altogether, the Schwartz collection includes over 5,000 objects documenting her expansive and inquisitive mindset: films, videos, prints, paintings, sculptures, posters, and personal papers. You can find more of Lillian Schwartz’s work by checking out recently digitized pieces here, and dig deeper into her story here.
Katherine White and Kristen Gallerneaux worked together this year to acquire several key examples of LGBTQ+ graphic design and material culture. The collection, which is currently being digitized, includes:
Illustrations by Howard Cruse, an underground comix artist…
Illustration created by Howard Cruse. / Photo courtesy Kristen Gallerneaux
A flier from the High Tech Gays, a nonpartisan social club founded in Silicon Valley in 1983 to support LGBTQ+ people seeking fair treatment in the workplace, as LGBTQ+ people were often denied security clearance to work in military and tech industry positions...
High Tech Gays flier. / Photo courtesy Kristen Gallerneaux
An AIDSGATE poster, created by the Silence = Death Collective for a 1987 protest at the White House, designed to bring attention to President Ronald Reagan’s refusal to publicly acknowledge the AIDS crisis...
“AIDSGATE” Poster, 1987. / Photo courtesy Kristen Gallerneaux
A number of mid-1960s newspapers—typically distributed in gay bars—that rallied the LGBTQ+ community, shared information, and united people under the cause...
“Citizens News.” / Photo courtesy Kristen Gallerneaux
A group of fliers created by the Mattachine Society in the wake of the 1969 Stonewall Uprising, which paints a portrait of the fraught months that followed...
Flier created by the Mattachine Society. / Photo courtesy Kristen Gallerneaux
And a leather Muir cap of the type commonly worn by members of post–World War II biker clubs, which provided freedom and mobility for gay men when persecution and the threat of police raids were ever-present at established gay locales. Its many pins and buttons feature gay biker gang culture of the 1960s and early 1970s.
Leather cap with pins. / Photo courtesy Kristen Gallerneaux
Another acquisition that further diversifies our collection is the “Nude is Not a Color” quilt, recently acquired by Curator of Domestic Life Jeanine Head Miller. This striking quilt was created in 2017 by a worldwide community of women who gathered virtually to take a stand against racial bias.
“Nude is Not a Color” Quilt, Made by Hillary Goodwin, Rachael Door, and Contributors from around the World, 2017. / THF185986
Fashion and cosmetics companies have long used the term “nude” for products made in a pale beige—reflecting lighter skin tones and marginalizing people of color. After one fashion company repeatedly dismissed a customer’s concerns, a community of quilters used their talents and voices to produce a quilt to oppose this racial bias. Through Instagram, quilters were asked to create a shirt block in whatever color fabric they felt best represented their skin tone, or that of their loved ones.
Shirt blocks on the “Nude is Not a Color” quilt. / THF185986, detail
Quilters responded from around the United States and around the world, including Canada, Brazil, the United Kingdom, Spain, the Netherlands, and Australia. These quilt makers made a difference, as via social media the quilt made more people aware of the company’s bias. They in turn lent their voices, demanding change—and the brand eventually altered the name of the garment collection.
Jeanine Head Miller has also expanded our quilt collection with the addition of over 100 crib quilts and doll quilts, carefully gathered by Paul Pilgrim and Gerald Roy over a period of forty years. These quilts greatly strengthen several categories of our quilt collection, represent a range of quilting traditions, and reflect fabric designs and usage—all while taking up less storage space than full-sized quilts.
A few of the crib quilts acquired from Paul Pilgrim and Gerald Roy. / THF187113, THF187127, THF187075, THF187187, THF187251, THF187197
During 2021, Curator of Agriculture and the Environment Debra Reid has been developing a collection documenting the Civilian Conservation Corps, a New Deal program that employed around three million young men. This year, we acquired the Northlander newsletter (a publication of Fort Brady Civilian Conservation Corps District in Michigan), a sweetheart pillow from a camp working on range land regeneration in Oregon, and a pennant from a camp working in soil conservation in Minnesota’s Superior National Forest.
Recent Civilian Conservation Corps acquisitions. / THF624987, THF188543, THF188542
We also acquired a partial Civilian Conservation Corps table service made by the Crooksville China Company in Ohio. This acquisition is another example of curatorial collaboration, this time between Debra Reid and Curator of Decorative Arts Charles Sable. These pieces, along with the other Civilian Conservation Corps material collected, will help tell less well-documented aspects of the Civilian Conservation Corps story.
Civilian Conservation Corps Dinner Plate, 1933–1942. / THF189100
If you’ve been to Greenfield Village lately, you’ve probably noticed a new addition going in—the reconstructed Vegetable Building from Detroit’s Central Market. While we acquired the building from the City of Detroit in 2003, in 2021, Debra Reid has been working to acquire material to document its life prior to its arrival at The Henry Ford. As part of that work, we recently added photos to our collection that show it in service as a horse stable at Belle Isle, after its relocation there in 1894.
“Seventy Glimpses of Detroit” souvenir book, circa 1900, page 20. While this book has been in our collections for nearly a century, it helps illustrate changes in the Vegetable Building structure over time. / THF139104
Riding Stable at the Eastern End of Belle Isle, Detroit, Michigan, October 27, 1963. / THF626103
Horse Stable on Belle Isle, Detroit, Michigan, July 27, 1978. / THF626107
This year, Debra Reid also secured a photo of Dorothy Nickerson, who worked with the Munsell Color Company from 1921 to 1926, and later as a Color Specialist at the United States Department of Agriculture. Research into this new acquisition—besides leading to new ideas for future collecting—brought new attention (and digitization) to a 1990 acquisition: A.H. Munsell’s second edition of A Color Notation.
Dorothy Nickerson of Boston Named United States Department of Agriculture Color Specialist, March 30, 1927. / THF626448
All of this is just a small part of the collecting that happens at The Henry Ford. Whether they expand on stories we already tell, or open the door to new possibilities, acquisitions like these play a major role in the institution’s work. We look forward to seeing what additions to our collection the future might have in store!
Compiled by Curatorial Assistant Rachel Yerke from tweets originally written by Associate Curators, Digital Content, Saige Jedele and Katherine White, and Curators Kristen Gallerneaux, Jeanine Head Miller, and Debra A. Reid for a curator chat on Twitter.
quilts, technology, computers, Herman Miller, posters, women's history, design, toys and games, #THFCuratorChat, by Debra A. Reid, by Jeanine Head Miller, by Kristen Gallerneaux, by Katherine White, by Saige Jedele, by Rachel Yerke, #Behind The Scenes @ The Henry Ford