CAN-DO Can Do It!: The Henry Ford’s Digitized Collection Hits a Milestone
As regular readers of this blog probably already know, The Henry Ford is in the middle of a big effort to digitize its vast collections of objects, documents, and photographs. Internally, this project is called CAN-DO: Collections Access Network for Digital Objects.
In mid-June, CAN-DO hit a major milestone: over 8,000 objects photographed/scanned, documented and available online!
So we did what any hard-working team would do: we ate cake. And because of the busy meeting schedules we maintain, we had to have our cake party at 9 AM on a Tuesday...but this did not faze us.
As we ate our breakfast cake, we started to reflect a bit on the long road we’ve traveled. If you were checking our collections website last July, you would have been able to browse 516 objects from our collections. In a year, that number has expanded by a factor of more than 16. So what are you able to access now that you couldn’t a year ago?
For starters, all of the approximately 900 artifacts in the Driving America exhibit within Henry Ford Museum, from some of the largest...
...to some of the smallest.
You can also view some of your old favorites from Automobile in American Life, like Tom Thumb’s bicycle:
You can learn about the history of innovation through our extensive collection of patent models, like this one by Thomas Edison…
…or this patent model for a solar lamp — dating from 1871:
If you love annual events such as Hallowe'en in Greenfield Village or Holiday Nights in Greenfield Village, you might be able to recognize some of the historic imagery we draw upon in these vintage greeting cards, like this 1932 Christmas card...
…and this Hallowe’en example from the same era.
Or, you can relive the excitement of the 1908 New York to Paris Race with a series of digitized lantern slides, like this one, covering the entire worldwide route:
But that’s not all you’ll find in our digitized collections — not by a long shot. You can also check out collections relating to automotive designers Bill Mitchell and Virgil Exner, a variety of 19th century cabinet cards and cartes-de-visite, photographs and souvenirs from World’s Fairs from the 1870s through the 1980s, letters from a variety of notable Americans, the buildings of Greenfield Village (plus photographs of many of the buildings on their original sites — do a search on your favorite to see what we have), objects related to female racecar driver Lyn St. James, violins, quilts, advertising trade cards, photographs and memorabilia related to Presidential transport and even some of our toy collection and a few lunchboxes.
And there is still more!
The links and images above provide a few pointers into our digital collections, but the best way to discover them is to search them for yourself. Visit our collections site today and let us know what you find!
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford, and finds something new and fascinating among our 8000+ online collections objects daily.
21st century, 2010s, digitization, digital collections, by Ellice Engdahl, #Behind The Scenes @ The Henry Ford
Now that school's out and summer is here, many of us turn our thoughts to vacation and travel. Camping has long been a way for Americans to spend time relaxing with their families and friends and experiencing the beauties and wonders of nature — and sometimes just being a kid again.
Between 1915 and 1924, Henry Ford, Thomas Edison, tire magnate Harvey Firestone and naturalist John Burroughs (who took part 1916-1920), calling themselves "the Four Vagabonds," embarked on a series of summer camping trips. Others joined the group at various times, among them family, business associates and politicians, including U.S. presidents. (Photo found here.)
Over the years, the group crisscrossed the mountains, valleys and scenic countryside of Upstate New York, the New England states, Pennsylvania, Maryland, West Virginia,Virginia, North Carolina, Tennessee and Michigan's Upper Peninsula.
The group traveled in style and their adventures were well-documented and publicized. Equipment used by the party included a folding circular camp table with lazy Susan seating twenty (pictured above), a twenty-square-foot dining tent, sleeping tents with mosquito netting, a gasoline stove and a refrigerated Lincoln camping truck. A professional chef prepared the group's meals and film crews and numerous outside journalists followed in their wake. Ford complained of the attention and its hampering effects on their trips, but there are strong indications that he nevertheless relished the publicity. (Photos found here and here.)
Yet Henry Ford's interest in nature was not new or merely a public relations gambit. Here he is with Clara at the Grand Canyon in 1906. They were avid birders and had over 500 birdhouses installed amid the naturalistic landscaping (designed by famed landscape architect Jens Jensen) of their Fair Lane Estate. John Burroughs helped them rehabilitate the adjoining land and reintroduce wildlife to the area.
In addition to the collections images online, we've also digitized films of the Vagabonds. Here, John Burroughs plants a tree; the group walks, dines and relaxes at the campsite; and Henry Ford climbs a tree.
This short film is part of the Ford Historic Film Collection. It and others like it, including another featuring the Vagabonds, are viewable on the Benson Ford Research Center's online catalog and on our YouTube channel.) Books in our research library about the Vagabonds include Norman Brauer's chronicle of their trips, There to Breathe the Beauty.
Even more still images from our photographic collections featuring the Vagabonds are available on our Flickr page. Here's Henry clowning around in a cowboy getup. (Below photo found here.)
Though executed on a grander scale than most camping trips, the Vagabonds' journeys spoke to a desire, shared by millions of Americans, to get back to the beauties of nature and, as Burroughs wrote, to "be not a spectator of, but a participator in, it all!"*
*(Burroughs, John. Our Vacation Days of 1918. Privately printed by Harvey Firestone, ca. 1918-1920s.)
Rebecca Bizonet is former archivist at the Benson Ford Research Center at The Henry Ford. When she's not helping preserve and provide access to her institution's vast and rich archival holdings, she enjoys exploring Michigan's scenic highways (and finds the many opportunities for great whitefish and pasties, not to mention the scenic historic and natural wonders, more than make up for not having a personal chef in tow!).
20th century, 1920s, 1910s, Vagabonds, summer, John Burroughs, Henry Ford, Firestone family, camping, by Rebecca Bizonet
Summer is here, and many of us look forward to an escape from the daily grind with some relaxation and down time. Our thoughts turn to sandy beaches, summer cottages, picnics.
Today, Internet reservation systems and freeway exit signs make it easy to find lodging on route to our final destination. Except for the venerable old hotels in cities and resort areas, most roadside lodgings are pretty much the same: branded national chains that offer few surprises.
The rise: Motels spring up across America
There was once a time when every roadside lodging was unique. These were the “mom-and-pop” motels that dotted every highway across the country. They had their origins in the 1920s and 1930s with the primitive tourist cabins similar to the one from the photograph from our collections pictured above. These cabins offered the privacy and shelter lacking in the earlier auto camps.
Tourist cabins and cottages were increasingly clustered together into larger tourist courts such as the one depicted on this postcard. They featured enhanced amenities such as private showers, gas pumps and lunch rooms. When tourist court owners realized they could save money by stringing together rooms into single integrated units - the motel was born.
The golden age
After World War II, thousands of new motels beckoned motorists with their bold, colorful signs and unique versions of homey comfort.
Today, these postcards offer silent testimony to the many varieties in motel design.
On the backs of many of these postcards, we get an idea of the once-modern amenities proudly described by motel owners. Features such as tiled bathrooms and thermostatic controlled heat to carpeted floors and Sealy or Beauty-Rest mattresses, are just a few.
Artifacts of motels of the past
In addition to motel postcards from past vacations, what other material evidence survives today from this golden age? We asked this question when we installed a small display of motel items for our Driving America exhibition that opened in January. What items conveyed both the national popularity of motels and the unique attributes of each motel? Here are some of our finds:
Room keys
Today, we are handed electronic key cards programmed to open the door to our room. Once returned, they can be re-programmed to open someone else’s room the very same day.
Although each motel room key was unique, this example from the Sea Breeze Motel depicts a popular example. If you forgot to return your key at check out, a message on the oversized key fob encouraged you to just drop it in the nearest mailbox with return postage guaranteed.
Ashtrays and matches
With the popularity of cigarette smoking, motel owners did their best to prevent cigarette burns on furniture, carpets and mattresses by providing ashtrays such as this one from the Westward Ho Motel. Savvy owners didn't miss the opportunity to throw in a little advertising as well.
Matchbooks like these three examples were ubiquitous at this time with the expectation that smokers would pocket them for later use.
Put out by match companies, these free throw-away souvenirs offered advertising for both the motel and the match producer.
Soap
Also realizing the lucrative benefits of advertising, soap companies produced pocket-sized versions of their soaps for motels, like these examples.
It wasn't uncommon at the time for the soap company’s name or logo to be larger than the name of the motel.
The fall: Inns are in
Motels thrived during the 1950s and 1960s, but by the end of that time, many had fallen on hard times. Ongoing maintenance was expensive and travelers had come to expect more. We can thank Kemmons Wilson for heightening travelers' expectations with the franchising of his Holiday Inn - a new lodging concept that began in 1957 - enticing customers with its flashy neon signs.
Every Holiday Inn promised the same deluxe amenities—free in-room TV and telephone, air conditioning, free ice, a family restaurant and swimming pool. Soon other chains followed suit. Privately owned motels run on modest budgets by hard-working families or couples just couldn’t compete. By the 1980s, the golden age of motels was pretty much a thing of the past.
Donna Braden is Senior Curator and Curator of Public Life at The Henry Ford. She enjoys sleuthing classic motels on Route 66, and has even stayed in a few!
20th century, travel, roads and road trips, hotels, by Donna R. Braden
What's in a name? Sometimes a little confusion...
Hollis Baird (1905-1990) was an inventor, entrepreneur, and, eventually, engineering teacher. Born along the Maine/New Brunswick border, by the mid-1920s Baird had made his way to Boston. He was active in the exciting field of television—in the 1920s and ‘30s. We usually associate television with the prosperous years after World War II, but inventors had been attempting to send pictures over radio waves for many decades. One of the few surviving Baird televisions is in the collections of The Henry Ford.
Mechanical television is based on the premise that a spinning disk can scan an image to be sent by radio, which can then be received by another spinning disk synchronized to the first. Hollis Baird produced televisions as the Baird Receiver Company from 1925-8, after which he founded a company with A.M. Morgan and Butler Perry called the Shortwave and Television Laboratory. Shortwave and Television sold radios and mechanical televisions and, beginning in April 1929, operated Boston’s second experimental television station, W1WX (later known as W1XAV,) which transmitted 60-line mechanical television images, including a speech by Boston’s mayor in 1931.
The television (39.554.1) is a Shortwave and Television Laboratory Model 26/36, sold as a kit or as a finished set. This was the viewer; it would have been connected to a radio receiver. That’s a 3” screen, for watching narrow-band television programming.
Historian of television and The Henry Ford volunteer Tom Genova operates a television history website, where he has put up a wonderful Shortwave and Television Laboratory brochure from 1930 called The Romance and Reality of Television. The brochure clearly explains how mechanical television works and seems aimed at a broader audience than the radio amateurs who usually bought early televisions.
After Shortwave and Television Laboratory dissolved operations in 1935, Baird and his colleagues founded a new company called General Television Corporation. During this time Baird also taught radio telegraphy at a school in Boston. After General Television, too, was shuttered in 1941, Hollis Baird moved on to a career as an educator. He taught electrical engineering and physics at Northeastern University’s Lincoln Institute, starting in 1942 as part of the Engineering, Science, and Management War Training program. He retired in 1976 after a long career as professor and administrator.
Baird had the fortune—or misfortune—of sharing his last name with John Logie Baird, one of the inventors of mechanical television. The colorful Scottish inventor and entrepreneur (early products included soap and socks for trench warfare) demonstrated television at London’s Selfridge’s department store in 1925 and had convinced the BBC to produce television programming through the 20s and 30s.
On this side of the Atlantic, Hollis Baird, who was no relation, took pains in Baird Receiver Company advertising to say that his products were not, in fact, made by the other Baird. The fact that he needed to put disclaimers in his advertisements indicates that this was a common problem, one that Hollis Baird probably didn’t mind if it led to better sales. But the name confusion has meant that Hollis Baird’s name has been mostly occluded by John Logie Baird’s. Even experts were confused: when this television was last on exhibit at the Henry Ford Museum, the label identified it as a John Logie Baird TV. Luckily, this Baird television is such a compelling object that it rewards further research—uncovering the story of an American inventor in a field that no longer exists.
Thanks to Michelle Romero at the Northeastern University Archives and Special Collections for research assistance.
Suzanne Fischer is former Associate Curator of Technology at The Henry Ford. She typed this post on an 1880s index typewriter and sent it to the blog editor via telex.
When I saw the photo of the President of the United States sitting on the Rosa Parks Bus in Henry Ford Museum – like many - I was struck by the profundity of the image. President Barack Obama visited the museum during a private event a month ago. During his visit, White House photographer Pete Souza Tweeted the above image with this caption:
“I just sat in there for a moment and pondered the courage and tenacity that is part of our very recent history but is also part of that long line of folks who sometimes are nameless, oftentimes didn’t make the history books, but who constantly insisted on their dignity, their share of the American dream.” - President Barack Obama, April 18, 2012 (Official White House Photo by Pete Souza)
As the photo of the president was making the rounds in the social sphere (Facebook, Twitter, etc.), many observant commenters noted that they thought Mrs. Parks sat on the other side of the aisle. She did. This diagram from the National Archives shows that her seat was across the aisle from the where the president sat.
The presenters at The Henry Ford knowledgeably point out the actual seat to visitors - who are welcome to sit on the bus. I've watched some eagerly slide right into the spot she sat, while others, like me, don’t feel quite as bold. Mrs. Parks’ personal civil disobedience makes the seat seem a bit like hallowed ground to me. I will say - while sitting on the bus and listening to the recording of Mrs. Parks' tell the events of that day in 1955 - that quiet moment in history really comes alive.
If you’ve ever traveled through With Liberty and Justice for All – the permanent exhibit at the museum that includes the bus – you can’t help but be reminded of the long line of people who stood up (or sat down) for freedom in this country starting from its very founding.
The photo above shows the camp cot and chest used by George Washington when he was commander of the Continental Army during the American Revolutionary War.
Visitors can get up close and see the rocker in which President Abraham Lincoln sat when he was assassinated on April 14, 1865, while watching Our American Cousin at Ford's Theatre in Washington, DC.
Of course there are more non-presidential items in that exhibit, but I found myself prompted to investigate some of the other items that are part of The Henry Ford's collections specifically because of their relationship to past presidents.
There are five presidential limousines in which many presidents sat. There are photographs of presidents sitting such as Abraham Lincoln reading a book to his son Tad, President Warren G. Harding and family sharing a dining table with the Vagabonds* on a 1921 camping trip, and my personal favorite is this one of President and Mrs. Herbert Hoover at the California Pacific International Exposition, San Diego, 1935. (Is he sleeping?) Whatever they are sitting in, I want one.
There are letters to and from some of the 44 men who have held the office - so in writing letters (maybe not reading) I can assume they were seated as well.
All sitting aside, there are also archived collections of presidential bumper stickers and banners, buttons and ribbons marking campaigns, elections and celebrating inaugurations (you can see some of these on The Henry Ford's Online Collections site).
There gifts given by and to presidents or items used by presidents while in office or at home.
Examples include the above Galvanometer used to receive Queen Victoria's message to President James Buchanan over the first transatlantic cable in August 1858, or the newly acquired portable outdoor kitchen once owned by President Dwight D. Eisenhower.
I’m sure some artifacts from President Obama’s time in office will eventually make it into an exhibit somewhere in The Henry Ford (some election and inaugural memorabilia are already part of the collections). But for me - as a fan of The Henry Ford - it was especially poignant to see the county’s current (sitting) president seated in that particular artifact. It's a perfect example of how the institution uniquely gives visitors the opportunity to not only look at some of our nation's treasures from the outside, but to climb right in, take a seat and experience history from the inside.
* Between 1916 and 1924, Henry Ford, Thomas Edison, Harvey Firestone, and John Burroughs, calling themselves the Four Vagabonds, embarked on a series of camping trips.
Kristine Hass is a blogger and long-time member of The Henry Ford.
Michigan, Dearborn, 21st century, 2010s, Rosa Parks bus, presidents, Henry Ford Museum, by Kristine Hass, African American history
Last week The Henry Ford posted this photo its Facebook timeline and asked friends for clues to identify what artifact it depicted. There were some crafty replies.
Some clues related to the artifact’s location in Greenfield Village, others to its former and current functions, others to its name. Examples of some of the clues are:
A few clues made fortune-telling references, perhaps connecting some of the artifact’s similarities to the wagon Prof. Marvel used in the Wizard of Oz (where he looked into his crystal ball to tell Dorothy what he saw).
And although those clues were slightly off base with what the artifact actually is, the Owl Night Lunch Wagon is somewhat of a marvel on its own.
The Henry Ford's 1890s Owl Night Lunch Wagon is believed to be the last remaining horse-drawn lunch wagon in America.
The social discussion about the wagon inspired The Henry Ford’s Facebook friend Dennis Russell to share this photo.
It’s of his father’s high school class during a Spring 1940 trip to Greenfield Village.
The photo prompted some more investigation about the treasured lunch stand. This information comes from the rich database at The Henry Ford:
In 1927, Henry Ford acquired the wagon from John Colquhoun for Greenfield Village. The wagon was refurbished and parked in the village where it served as the sole refreshment stand for visitors through the rest of the decade and into the 1930s.
The 1933 fare included hot dogs, hamburgers, buttermilk, sweet milk, coffee and pop. (The image itself does not have a date, but Cynthia Miller, curator of photographs and prints at The Henry Ford, said it is circa 1933.)
According to The Henry Ford’s online collections, since its initial arrival in the village, the Owl Night Lunch Wagon has undergone several renovations. The wagon was in dilapidated condition when Henry Ford acquired it. He refurbished it, having it painted white with red trim. It was later "renovated" into a popcorn wagon. Few traces of the original lunch wagon remained. The most recent refurbishment was completed in 1986.
Jeanine Head Miller, The Henry Ford’s curator of domestic life, said that there are some late 1930s photos of the Owl Night Lunch Wagon hitched to a horse, but it was usually stationary, as shown in the above photos.
Early on, the wagon was the only place to get food in Greenfield Village . The Clinton Inn (Eagle Tavern) was dedicated to serving lunch to the children who attended school in the village. Miller also said the wagon wasn’t always in Greenfield Village; it spent some years on the floor in Henry Ford Museum in the horse-drawn vehicle collection.
The Owl Night Lunch Wagon still operates serving up nostalgia and history along with some good food. On the Owl Night Lunch Wagon's menu for 2012, visitors will find:
The Owl Night Lunch Wagon is located in Greenfield Village right in front of the Ford Motor Company building and across the street from the Miller School.
Kristine Hass is a writer and long-time member of The Henry Ford. She frequently blogs for America's Greatest History Attraction.
Greenfield Village history, restaurants, Greenfield Village buildings, Greenfield Village, by Kristine Hass, horse drawn transport, food
Pomona, Riverside, Santa Barbara, Laguna Seca, Sebring, Le Mans, Indianapolis…race fans know that these are the tracks where legends were made.
Gurney, Shelby , Foyt, Hall, Clark…driving legends who defined modern automobile racing. If it had an engine and rolled, they raced it.
Cobra, Lotus, Lola, Porsche, Corvette, Ferrari…cars that defied the laws of physics and the test of time.
Between 1960 and 1990, tracks, drivers and cars combined to create a memorable era in automobile racing, and one of the best-known photograph collections documenting this era is now accessible. Selected images from the Dave Friedman collection are now available for viewing at The Henry Ford’s Flickr page. More than 10,000 images have been uploaded since the beginning of 2012, with many more to come!
During the 1950s and 1960s, American auto racing underwent a radical transformation, evolving from a sport of weekend racers in their home-built hot rods and dragsters to professional teams driving powerful race cars in competitions all over the world. Photographer Dave Friedman had a front row seat for the action during this important transition, capturing the excitement, the grit and the glamour - and creating some of the most iconic images of American motor sports of that era.
In 1962 Friedman was hired as staff photographer for Shelby-American Inc., the racing design and construction shop owned by a former driver, the late Carroll Shelby. While with Shelby-American Inc., Friedman had the unique opportunity to document the development of one of racing’s iconic stable of cars, the Shelby Cobras. In 1965, Friedman continued to capture the dynamic innovations of Shelby and Ford Motor Company as he documented the development of the record-setting Ford Mark IV race car that was the first American-designed and built car to win the grueling 24 Hours of Le Mans race in 1967 . Friedman continued to pursue his passion for motor sports into the 1990s, when he refocused his lens on a new art form – classical ballet.
In 2009, The Henry Ford acquired the unique collection of this internationally renowned photographer, author and motion picture still photographer. The Dave Friedman collection consists of over 200,000 unique images, including photographs, negatives, color slides and transparencies. The collection also includes programs, race results and notes from across the United States and around the world. Dating between 1949 and 2003, the images and programs illustrate the transition of auto racing from dirt tracks and abandoned airfields to super speedways.
The Dave Friedman collection is a unique resource that documents in subtle shades the art, power and passion of automobile racing in the second half of the 20th century.
What's your favorite moment in automotive racing history? Tell us in the comments below, or check out Racing In America for more details on these iconic races and more.
Peter Kalinski is an archivist at the Benson Ford Research Center, part of The Henry Ford.
20th century, archives, race cars, race car drivers, racing, photography, photographs, cars, by Peter Kalinski
The Henry Ford mourns the passing of Carroll Shelby—race car driver, champion team owner, automotive designer, true innovator.
From his racing days behind the wheel, to his innovative designs on the track, one common trait threads through all that he accomplished in his more than 50 years in the automotive racing field: passion. He was a firm believer in being passionate about what you did and what you created, always focusing on the future. When asked what was his favorite car creation, he would reply, "the next one."
We are grateful to Mr. Shelby for his pioneering leadership and all that he has done in the automotive and racing industries and we are proud to display his work in the 1967 Ford Mark IV LeMans Race Car in Henry Ford Museum.
Mark IV, 21st century, 20th century, racing, race cars, race car drivers, in memoriam, Henry Ford Museum, Driven to Win, design, cars
If you watched any news over the weekend, you probably saw at least a few images of some spectacular hats - from the beautiful to the extreme. Fancy hats have long been a tradition - meant to bring good luck - at the Kentucky Derby.
You don't have to visit Kentucky to see some really stunning hats: Mrs. Cohen's Millinery in Greenfield Village has its share of beautiful one-of-a-kind headdresses right in Dearborn, Mich.
There's always something new to discover when you visit Mrs. Cohen's Millinery shop.
The store was built in Detroit in the 1880s and was run by Mrs. Elizabeth Cohen. She was a young widow who opened the shop to earn money after her husband’s death. She designed new hats and redecorated old ones. She also shared with her customers news about the latest fashions. She lived with her children on the second floor of the building.
The hats that are made and displayed now in the shop are representative of those made during the shop's operations in the mid 1890s.
The presenter at the shop showed off the lovely hat boxes and the display of hats that are for sale.
In years past, the hats made in the shop were sold at the Greenfield Village Store, but this year for the first time they are displayed and sold right from the millinery shop. Guests may choose a hat at the store where they'll receive a sales slip to take across the street for payment at the Emporium. When they present their receipt at the Mrs. Cohen's shop, they'll receive their hat, packaged in a lovely box.
The hats range in price from $40-$65. Girls' hats are $40 and women's hats are priced at $45, $55 and $65, depending on the embellishments. All of the hats are hand embellished at the shop by skilled craftswomen.
Although there isn't a record of what Mrs. Cohen charged for hats, an 1895 Montgomery Ward & Co. catalog lists ready-made trimmed hats ranging in price from $1.50-$5. (Montgomery Ward's prices were often less expensive than other catalogs at the time.)
If you're not purchasing a hat, there are many hats you can try just for fun. There are also some beautiful hats that are only for display.
There is a display at the shop of boys' hats that were typical for Sunday church-going. The hat this young visitor is wearing is a style that boys wore until they were about 10 years old.
Sorry to say, you're out of luck gentlemen - Mrs. Cohen's shop doesn't sell any hats for boys or men. But, there are some dapper hats for boys to try on for size.
Women of all classes (not just those going to the Kentucky Derby!) wore hats when they were outside. Some women may have only had one or two hats - one for everyday and one for church or special occasions - while wealthy women may have had many. Women of even modest means would buy trimmings or have someone like Elizabeth Cohen refresh their hat’s trimmings to fit current fashions.
Don't miss a stop at Mrs. Cohen's shop when you're in the neighborhood. You may find the perfect hat that's just your size, and if the hat fits ... buy it!
Kristine Hass is a long-time member and frequent blogger for The Henry Ford.
19th century, women's history, shopping, Michigan, making, hats, Greenfield Village buildings, Greenfield Village, fashion, entrepreneurship, Detroit, design, Cohen Millinery, by Kristine Hass
When the typewriter is a player piano.
By the beginning of the twentieth century, modern office culture was taking off and work was speeding up. To stay competitive, businesses needed to pick up the pace.
Office equipment manufacturers developed machines to allow clerical work to go faster. Automatic typewriters, just like player pianos, used punched rolls of paper — in this case, to speed up clerical work by producing multiple form letters at once.
Automatic typewriters generally worked as follows: A letter was written on one typewriter, the perforator, which encoded the letter onto a punched paper roll. The punch roll was fed into a reader typewriter, which reproduced the original. An operator would be standing by to fill in specific information (such as name and date) and to remove finished letters.
This Auto-Typist pneumatic automatic typewriter was manufactured by a Chicago player piano company in the1930s and used a player piano pneumatic mechanism to make offices more efficient.
Each key of the specially-prepared Underwood typewriter is hooked up to a small bellows. The encoded paper roll is fed into the Auto-Typist, and each punch on the paper roll directs specific bellows to move. The Auto-Typist allowed small business owners, like the Chicago doctor who probably used this machine, to quickly produce personalized form letters.
Auto-Typists continued to be manufactured even after World War II and into the era of business computing. In the 1960s, an insurance company automated their policy-writing department with Auto-Typists hooked up to IBM electrics.
Suzanne Fischer is former Associate Curator of Technology at The Henry Ford.
20th century, 1930s, technology, correspondence, communication, by Suzanne Fischer
