Posts Tagged henry ford museum
Have you ever wondered how we photograph quilts at The Henry Ford? While the answer is probably no, you might be surprised to find out that it is quite a process. Most quilts are quite large, ranging from 7ft x 4ft to even 9ft x 5ft. With that being said, our photo studio in the museum only has a ceiling that is 10ft tall, but to get an accurate picture of the quilt we would need the camera to be pointing at the quilt at a 90-degree angle. How do we accomplish that in a room that’s only 10 ft tall? We find higher ground!
Since our studio is on the back wall of the museum, we need to be somewhere elevated, but relatively nearby so we aren’t hauling our equipment all over the place. So, the Highland Park Engine is our answer. We mount the camera on the top railing of the stairs closest to the entrance to Conservation.
Then, with the help of 2-3 people, we lay the quilts on a large 10 x 10 wooden board that has a layer of muslin cloth on it (to protect the quilts and stop them from sliding down the board), We hoist the quilt board up onto stands to hold it in place at about a 60-degree angle which allows us to angle the camera to shoot straight at the quilt, giving us the correct perspective as if it were lying flat.
Here are a few examples of the finished images that go online on our Digital Collections website.
Looking at them, you wouldn’t think that they were photographed any other way than lying down, right? That’s the magic of photography - with a little bit of resourcefulness and ingenuity added in.
You can view all the quilts from our collection that we’ve photographed on our Digital Collections here.
Jillian Ferraiuolo is Digital Imaging Specialist at The Henry Ford.
Henry Ford Museum, quilts, photography, digitization, collections care, by Jillian Ferraiuolo, #Behind The Scenes @ The Henry Ford
When we planned the “With Liberty & Justice For All” exhibit in Henry Ford Museum of American Innovation, we wanted to set aside an area for visitor reflection and response. We decided to pose four questions there and allow visitors to respond to them by writing upon a simple Post-It note and placing their comment under one of the questions. The questions were intended to be timeless—like what does freedom mean to you? But the visitor responses over time have been fascinating in their reflection of changing social and political issues.
We have never seen as many Post-Its as at this year’s free-to-visitors day held on Jan. 15, the day that officially commemorated Dr. Martin Luther King, Jr.’s birthday. That day, post-it notes ran up, down, and sideways across the walls of this exhibit area. Each comment built upon previous ones, creating a long, continuous idea chain. We had never seen anything like that before so we decided to save these comments in our archives.
This month we're opening the doors to our latest traveling exhibition in Henry Ford Museum of American Innovation - “Enduring Ideals: Rockwell, Roosevelt and the Four Freedoms.” The exhibition, organized by Norman Rockwell Museum, presents the Four Freedoms paintings created by Norman Rockwell in 1943, based on the Four Freedoms President Franklin Roosevelt believed all people should be able to benefit from in 1941: freedom of speech, freedom of worship, freedom from fear, and freedom from want.
In celebration of our latest exhibition, we'll be sharing a selection of those responses from our Martin Luther King, Jr. Day each week on our Instagram account in honor of “Enduring Ideals” now through January. They appear in their original form, just as visitors wrote them as they reacted to the questions. As we look at the original Four Freedoms in 2018, we ask you to not only think about what freedom means to you, but which freedom you believe should be the fifth freedom today.
We hope they encourage your own reflection on the continued relevance of freedom and the role it plays in your own lives.
Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford.
Henry Ford Museum of American Innovation is a place of wonder and inspiration, and this past March and April, it was my privilege to work with staff behind the scenes. My name is Jamison Van Andel, and I am an 11th-grade student at Henry Ford Academy. As part of the school’s curriculum, students are expected to complete a six-week internship with a local organization. While searching for an internship placement, I contacted The Henry Ford in hopes that a curator would be willing to work with me. A history aficionado, I had fallen in love with The Henry Ford and was overwhelmingly curious about the work that goes into a curator’s day-to-day experience.
Dr. Kristen Gallerneaux, Curator of Communication and Information Technology, responded with a project. The Mathematica exhibit, a recent addition to the museum floor, was in need of some background research to improve its representation of diverse mathematicians. I was thrilled to tackle the challenge.
Going into my first week of work, I imagined that curators worked in secluded offices, reading and researching various subjects individually. In actuality, curatorial research is a highly collaborative process. As I met several curators, it became clear that they all bounce ideas off each other as they conduct research.
As I completed more and more research, Dr. Gallerneaux introduced me to the art of writing narratives--capsules of information about an object or topic, in 60 words or less. A delicate exercise, narrative writing requires the author to communicate lots of information on in a terse, but erudite fashion. I found this was especially difficult when I had spent a great deal of time with a subject, because every discovery of my research seemed incredibly meaningful in my eyes.
I’m quite fond of the following narrative, largely because Artur Avila was a fun character to research, but also due to the fact that I believe I was able to capture the cultural significance of his achievements as well as their mathematical implications:
Along with his easygoing persona, Artur Avila is known for his remarkable ability to clarify very complex material. Avila, a Fields Medalist in 2014, holds citizenship in both his native Brazil and France. He has become an ambassador for Brazilian mathematicians, working in the dynamical systems field that analyzes the correlation between time and geometrical position of a point.
Later, I composed a narrative about the International Mathematical Olympiad after noting that several of the mathematicians I researched had participated in it. This was an entertaining exercise for me, as many of the Olympiad competitors are close to my own age. Curators often face the challenge of making subjects compelling for all museum guests, and it helps to have several connection points within an exhibit that pertain to different groups. In this case, a narrative about teenage mathematicians might serve as common ground with current-day students.
The International Mathematical Olympiad is the premier contest for high school mathematicians. Held yearly in different countries, the Olympiad invites six-person teams from over 100 countries to participate. Each student individually constructs answers to six problems, with content ranging from complicated algebra to number theory. Winners may receive a gold, silver, or bronze medal as well as an honorable mention.
Besides the research and narrative writing, I was able to attend several curatorial meetings. One particular gathering, a Collections Committee meeting, was especially entertaining. Twice a month, the curatorial team meets to determine what artifacts are to be added to the collection. Humorous, engaging, and thought-provoking, the meeting was the epitome of curatorial work at The Henry Ford. I left with a concrete idea of the qualities an artifact must have in order to fit into a museum’s mission.
After compiling a portfolio of 20 narratives, I arranged them in a digital platform that serves as a prototype for a future digital project that will support the interpretation of the Mathematica exhibit. The capstone project of my internship, it presents the narratives in an interactive way for guests to experience, similar to many of the digital resources currently on the museum floor. For now, the finished narratives will be stored in the museum’s database for future implementation, with the eventual goal that guests will be able to interact with this information.
An absolutely unforgettable experience, the internship gave me an extensive, behind-the-scenes look at the inner workings of a world-class museum. The intentionality with which everything was done was remarkable to someone who often only sees the finished product. It was an honor to work beside the masterminds responsible for making The Henry Ford the wonderful, inspirational place that it is.
Jamison Van Andel is an 11th Grade student at Henry Ford Academy.
#Behind The Scenes @ The Henry Ford, education, research, Henry Ford Museum, by Jamison Van Andel
By the 1930s, many motorists had grown weary of camping out. Turned out it wasn’t much fun cooking meals, sleeping in crude tents, and roughing it with primitive equipment and few amenities. Homey little cabins like this one, which were increasing in number at the time, seemed much more appealing. Often home-built by the property owners with a little elbow grease and a can-do attitude, these offered privacy, a modicum of comfort, and a needed respite on the journey from home to one’s final destination.
This tourist cabin, now in the “Driving America” exhibition in Henry Ford Museum of American Innovation, was once part of a group of cabins clustered together along U.S. Route 12 in Michigan’s picturesque Irish Hills region. Originally called the Lore Mac Cabins, this modest cabin complex was built between 1935 and 1938. Today this cabin looks much as it did back then, with many of its original fixtures and furnishings.
Come now on a tour of the Lore Mac Cabins, as a series of snapshots and personal reminiscences give us a glimpse of what the place was like back in the 1940s.
The cabins were arranged in a semi-circle along a dirt road. Common bathroom facilities were located behind the main office and the owner’s residence (visible in the foreground of this snapshot). Men’s and women’s shower facilities were located here as well.
The owner of the Lore Mac Cabins was also an approved Gulf gasoline dealer. Two gasoline pumps out in front beckoned both overnight guests and other motorists needing to fill up while driving along busy Route 12 between Detroit and Chicago.
The cabin proprietors lived behind the office in which lodgers registered for their nightly stay. Here the daughter of the owner (and donor of the snapshot) poses self-consciously on the back porch of their residence.
The heat for the “heated cabins”--as advertised in large letters emblazoned across the main building--was provided by small, pot-bellied stoves in each cabin, fueled with wood or coal. The Gulf gasoline sign is visible out front.
In the early 1940s, the owner charged around $2.50 for a single cabin and four to five dollars for a double cabin. The interior walls of the cabins were lined with an inexpensive beaver board material while linoleum covered the floor. Throw rugs alongside the metal-frame beds added a touch of hominess. Guests not wanting to trek all the way to the central sanitation facility could use a white enamelware commode discreetly placed under the bed.
The chairs scattered about the property became a perfect place to pose for snapshots. Taking pictures provided a concrete reminder of a trip and might serve as free advertising for the proprietor when guests shared their adventures with family and friends back home.
Alas, competition eventually made it impossible for small Mom-and-Pop operations like the Lore Mac Cabins to survive. Travelers began to bypass tourist cabins like these for the improved amenities of motels, motor inns and, by the 1950s, standardized chains like Holiday Inn.
Cabins like those at the Lore Mac were certainly preferable to camping. But, despite the attempts by tourist cabin proprietors to offer “homes away from home” at a modest price and in an informal atmosphere, the days of these early bare-bones roadside lodgings were numbered.
Donna R. Braden is Curator of Public Life at The Henry Ford.
travel, Driving America, Henry Ford Museum, Michigan, roads and road trips, by Donna R. Braden, hotels
Henry Ford Museum of American Innovation: One of the World's Coolest Museums
A special section of The New York Times this month compiled a list of the 10 coolest museums in the world. With shout-outs to the Lego House in Denmark and the International Spy Museum in Washington, D.C., we were excited and honored to see Henry Ford Museum of American Innovation kick off the list.
Visitors to the museum have long known what makes it such a cool destination, as The New York Times pointed out – we're "chock-full of inventions, machines and pieces of Americana to explore, including a 1952 Wienermobile."
But what else makes our museum so cool? Take a look at just a few of the well-known artifacts, exhibits, and experiences that inspire our younger visitors every day and challenge them to think differently.
Walk Around the Set of The Henry Ford's Innovation Nation
Henry Ford Museum of American Innovation, along with Greenfield Village and the Ford Rouge Factory Tour, is the home to Emmy Award-winning The Henry Ford's Innovation Nation with host Mo Rocca on CBS. Every Saturday morning our correspondents showcase present-day change makers from all over the world who are creating solutions to real needs.
The Rosa Parks Bus
Inside this bus on December 1, 1955, Rosa Parks, a soft-spoken African-American seamstress, refused to give up her seat to a white man, breaking existing segregation laws. Today you can step inside the bus yourself and take a seat as you immerse yourself in the courage of Rosa Parks.
Driving America
Driving America is an opportunity to look at America’s favorite mode of transportation in a different way. Stand back in awe as you explore some of the earliest automobiles to take to America's roads, and then immerse yourself in our interactive exhibits to dive deep into our digital collections.
Build a Model T
Do you think you could build a Model T just like Henry Ford? Pick up a wrench and see if you could build a quality product in 2018.
Dymaxion House
Enter Buckminster Fuller's circular aluminum dwelling, and sample a suburbia never realized. To some people Dymaxion is a giant Hershey’s Kiss. Others sense a kinship with the Airstream travel trailer. Painstakingly restored, it’s the only remaining prototype in the world.
Mathematica
Math can be playful, thanks to the ideas of designers Ray and Charles Eames. Mathematica: A World of Numbers and Beyond connects math to the world around us all.
Steer the Allegheny
What does it look like from the conductor's perspective on the Allegheny, one of the largest steam locomotives ever built? Step up to seat and see for yourself.
Maker Faire Detroit
Which event is a wild two-day spectacle of maker inventions and creations at the home of American innovation? Maker Faire Detroit, housed inside and outside of Henry Ford Museum of American Innovation.
Who else made The New York Times list? Take a look.
The 10 Coolest Museums in the World
- Henry Ford Museum of American Innovation, Dearborn, Mich.
- Exploratorium, San Francisco, Calif.
- International Spy Museum, Washington, D.C.
- The Children's Museum of Indianapolis
- The Horniman Museum and Gardens, London
- Deutsches Museum, Munich
- Museo Subacuatico De Arte, Cancun, Mexico
- The Metropolitan Museum of Art, New York
- The Mutter Museum, Philadelphia
- Lego House, Billund, Denmark
Dan Gurney at Indianapolis Motor Speedway, 1963. THF114611
The Henry Ford is deeply saddened by the loss of a man who was both an inspiration and a friend to our organization for many years, Dan Gurney.
Mr. Gurney’s story began on Long Island, New York, where he was born on April 13, 1931. His father, John Gurney, was a singer with the Metropolitan Opera, while his grandfather, Frederic Gurney, designed and manufactured a series of innovative ball bearings.
The Gurneys moved west to Riverside, California, shortly after Dan graduated high school. For the car-obsessed teenager, Southern California was a paradise on Earth. He was soon building hot rods and racing on the amateur circuit before spending two years with the Army during the Korean War.
Following his service, Gurney started racing professionally. He finished second in the Riverside Grand Prix and made his first appearance at Le Mans in 1958, and earned a spot on Ferrari’s Formula One team the following year. Through the 1960s, Gurney developed a reputation as America’s most versatile driver, earning victories in Grand Prix, Indy Car, NASCAR and Sports Car events.
His efforts with Ford Motor Company became the stuff of legend. It was Dan Gurney who, in 1962, brought British race car builder Colin Chapman to Ford’s racing program. Gurney saw first-hand the success enjoyed by Chapman’s lithe, rear-engine cars in Formula One, and he was certain they could revolutionize the Indianapolis 500 – still dominated by heavy, front-engine roadsters. Jim Clark proved Gurney’s vision in 1965, winning Indy with a Lotus chassis powered by a rear-mounted Ford V-8. Clark’s victory reshaped the face of America’s most celebrated motor race.
Simultaneous with Ford’s efforts at Indianapolis, the Blue Oval was locked in its epic battle with Ferrari at the 24 Hours of Le Mans. Again, Dan Gurney was on the front lines. While his 1966 race, with Jerry Grant in a Ford GT40 Mark II, ended early with a failed radiator, the next year brought one of Gurney’s greatest victories. He and A.J. Foyt, co-piloting a Ford Mark IV, finished more than 30 miles ahead of the second-place Ferrari. It was the first (and, to date, only) all-American victory at the French endurance race – American drivers in an American car fielded by an American team. Gurney was so caught up in the excitement that he shook his celebratory champagne and sprayed it all over the crowd – the start of a victory tradition.
Just days after the 1967 Le Mans, Gurney earned yet another of his greatest victories when he won the Belgian Grand Prix in an Eagle car built by his own All American Racers. It was another singular achievement. To date, Gurney remains the only American driver to win a Formula One Grand Prix in a car of his own construction.
Dan Gurney retired from competitive driving in 1970, but remained active as a constructor and a team owner. His signature engineering achievement, the Gurney Flap, came in 1971. The small tab, added to the trailing edge of a spoiler or wing, increases downforce – and traction – on a car. Gurney flaps are found today not only on racing cars, but on helicopters and airplanes, too. In 1980, Gurney’s All American Racers built the first rolling-road wind tunnel in the United States. He introduced his low-slung Alligator motorcycle in 2002 and, ten years after that, the radical DeltaWing car, which boasted half the weight and half the drag of a conventional race car. Never one to settle down, Gurney and his team most recently were at work on a moment-canceling two-cylinder engine that promised smoother, more reliable operation than conventional power plants.
Dan Gurney, 2008. THF56228
Our admiration for Mr. Gurney at The Henry Ford is deep and longstanding. In 2014, he became only the second winner of our Edison-Ford Medal for Innovation. It was a fitting honor for a man who brought so much to motorsport, and who remains so indelibly tied to The Henry Ford’s automotive collection. Cars like the Ford Mark IV, the Mustang I, the Lotus-Ford, and even the 1968 Mercury Cougar XR7-G (which he endorsed for Ford, hence the “G” in the model name), all have direct links to Mr. Gurney.
We are so very grateful for the rich and enduring legacy Dan Gurney leaves behind. His spirit, determination and accomplishments will continue to inspire for generations to come.
Hear Mr. Gurney describe his career and accomplishments in his own words at our “Visionaries on Innovation” page here.
View the film made to honor Mr. Gurney at his Edison-Ford Medal ceremony below.
engineering, Mark IV, Indy 500, Le Mans, Europe, Indiana, California, New York, 21st century, 20th century, racing, race cars, race car drivers, in memoriam, Henry Ford Museum, Driven to Win, cars, by Matt Anderson
Nostalgia for those who experienced it—and a hip mid-century modern revival for others.
The Visits with Santa experience in Henry Ford Museum of American Innovation this year is a throwback to the 1960s. Kids can tell Santa their wishes as they sit next to him under a colorful kiosk made by Ray and Charles Eames for the IBM pavilion at the 1964 New York World’s Fair. Nearby is a cozy 1960s living room vignette—complete with a La-Z-Boy chair, television set, and an aluminum Christmas tree from the era.
This mid-century modern theme coincides with the opening of our newest permanent exhibit in the museum, Mathematica, also designed by Ray and Charles. Several components of Mathematica were featured inside that IBM Pavilion at the 1964 World’s Fair, so we were excited to bring those two experiences together for this year’s holiday programming.
The scene provides a bit of nostalgia for those who experienced the 1960s—and a hip mid-century modern revival for others. Let’s look at some blasts from the 1960s Christmas past.
Aluminum trees brought a modern look to a mid-1960s Christmas. THF170112
The early 1960s brought a fresh, new look to Christmas tree aesthetics. A completely modern look--the aluminum Christmas tree. It made a shiny, metallic splash in living rooms all over America. More than a million trees were sold during the decade. A tree choice that eschewed the traditional pine- or fir-scented Christmas experience when it landed on the Christmas scene in the 1960s, now conjures up images of a retro Christmas past.
Color wheel sold by Sears, Roebuck and Company, 1960-1965. THF8379
A color wheel lit up the aluminum tree, with the tree changing from blue to red to green to gold as the wheel revolved. The color wheel was there for a practical reason—you couldn’t put strings of lights on aluminum trees because of fire safety concerns. But to those viewing the transformation, the color wheel seemed a no-brainer way to light these trees—so modern and so magical. It was mesmerizing to watch—whether from a front row seat in your living room or the view through your neighbor’s window.
The Smith family of Redford, Michigan purchased these ornaments in 1964 to hang on their aluminum Christmas tree. THF309083
Aluminum trees called for minimalist look. The trees were often sparingly decked with ornaments all of one color.
The Wojewidka siblings pose for a Christmas photo in front of their live tree in 1960. THF125145
Yet, “real” trees remained popular as well—fresh-cut trees chosen from one of the many temporary Christmas tree lots that popped up in cities and towns. (The cut-your-own trend was not yet widespread.) Scotch pines were favored by many—though there were diehard balsam fans as well. These trees were bedecked with a varied array of ornaments—glass ones by the Shiny Brite company were popular. And shiny “icicles”—made of lead before it was prohibited—hung from the branches to add to the sparkle.
Holiday Greetings in the Mail
By the early 1960s, Christmas cards offered a greater variety of seasonal images beyond those traditionally found. This image shows a woman clothed in a pine tree decorated with 1960s trendy-colored ornaments. THF287028
By mid-December, mailboxes were filling with Christmas cards, sent by family and friends to let the recipient know that they were being specially thought of during the holiday season. It was exciting to pull out handfuls of cards from the mailbox—it may have been the only time during the year when a kid had much interest in what the postman delivered. And not necessarily because of the cards themselves—the cards were a tangible sign that Christmas was indeed on its way and that Santa would soon be making his deliveries!
Christmas card display clothesline and pins, about 1964. THF155082
Where did people display all these Christmas cards? On a mantle, a table, or the top of the television. Or taped to a wall or a large mirror in the living room. Hanging them from a Christmas-themed clothesline was a more novel way to display them.
This 1962 stamp carried traditional Christmas images of lighted candles and a wreath. THF287036
In 1962, the United States Postal Service issued the first Christmas-themed postage stamps in America. (A few other countries had already beaten us to the punch on issuing Christmas-themed postage stamps.) But once begun, Christmas stamps graced more and more Christmas card envelopes to complete the annual presentation of holiday-themed greetings sent through the mail.
Making a List
Christmas catalogs like this 1964 Sears, Roebuck & Company got a workout in December. THF135874
Kids were busy deciding what to ask Santa for. Instead of perusing the web, kids looked forward to the arrival of Christmas season catalogs sent by stores like Sears, Roebuck and Company, J.C. Penney, and Montgomery Ward. Kids (and adults) eagerly leafed through the pages of the toys, clothing, and other gifts offered within, making their wish list for Santa’s perusal before passing the catalog along to another family member.
Television offered additional gift ideas, playing out the merits of products before viewers’ eyes in commercials that one couldn’t speed past with a DVR.
Toys for Girls and Boys
Many 1960s toys that appeared on the Christmas lists of millions of kids during the 1960s—some in updated versions—are still classics.
Silly Putty modeling compound, about 1962. THF135811
Silly Putty was invented during World War II as General Electric researchers worked to develop a synthetic substitute for rubber. While no practical purpose could be found for the stuff, it did turn out to be a great toy. Silly Putty bounced higher and stretched farther than rubber. It even lifted images off the pages of color comics. (My sister took Silly Putty to bed with her, leaving a perfect egg-shaped stain on the sheets that never came out.)
Eight-year-old Rachel Marone of New York received this Etch A Sketch as s Christmas gift in 1961. THF93827
The 1960s saw an innovative new arts and crafts toy—the Etch A Sketch. Turning the knobs at the bottom of the screen (one to create horizontal lines, one for vertical) let the user “draw” on the screen with a mixture of aluminum powder and plastic beads. To erase, you just turned the screen over and shook it. Incidentally, it was the first toy that Ohio Art, its manufacturer, ever advertised on television. (Accomplished users could make great drawings on the Etch A Sketch—and some of us were just happy to produce decent-looking curved lines.)
This 1962 Play-Doh Fun Factory was a childhood toy of Mary Sherman of Minnesota. THF170363
Play-Doh introduced their Fun Factory in 1960. Now kids could go beyond free-form modeling with their red, yellow, blue and white Play-Doh. The Play-Doh Fun Factory provided instructions on how to create things like trains, planes, and boats—and an extruder with dies to easily make the components.
Watching Christmas Specials on TV
Album from A Charlie Brown Christmas television special, about 1965. THF162745
Kids eagerly listened for announcements on television or leafed excitedly through TV Guide magazine to find out when the holiday specials would air. You didn’t want to miss them—it was your only shot at watching! There were no DVRs or DVDs back then. Two animated classics from the mid-1960s--A Charlie Brown Christmas and How the Grinch Stole Christmas--are among the earliest and most enduring of the Christmas specials developed for television.
Within their engaging storylines, these two shows carried a message about the growing commercialization of the holiday. As kids watched the barrage of toy ads that appeared with regularity on their television screens and leafed through catalogs to make their Christmas lists, seeing these cartoons reminded them that Christmas was also about higher ideals—not just about getting presents. These television shows—and the increasing number and variety of Christmas specials that have since joined them—remain a yearly reminder to temper one’s holiday-related commercialism and to think of the needs of others.
Not only have Charlie Brown and the Grinch become perennial favorites enjoyed by children and adults alike, but the soundtracks of these shows have joined the pantheon of musical Christmas classics.
Christmas Music
The Ronettes’ version of Sleigh Ride, with its freshly melodic “Ring-a-ling-a-ling Ding-dong ding” background vocals on this 1963 Phil Spector-produced album, has become an iconic Christmas classic. THF135943
What would a 1960s Christmastime be without Christmas-themed music heard on the stereo at home and over speakers in stores? The 1960s saw a flood of Christmas albums and singles. Various singers—like Andy Williams, Nat King Cole, Perry Como, Johnny Mathis, Brenda Lee, Ella Fitzgerald, Elvis Presley, the Ronettes, the Crystals, and the Beach Boys—recorded their versions of old favorites and new tunes.
The Annual Christmas Photo
In 1963, the Truby brothers of Royal Oak, Michigan, posed in Santa pajamas given to them by their grandmother. THF287005
After the presents were opened and everyone was dressed in their Christmas finery, it was time to round up the kids for photos. Siblings (and, sometimes, their parents) might be posed together in front of a seasonal backdrop like the Christmas tree or a fireplace. Some families filmed home movies of their celebrations. These home movies often captured only strategic snippets of the Christmas celebration—movie film was expensive. And these home movies were without sound—which was probably sometimes a good thing!
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
1960s, 20th century, home life, toys and games, popular culture, holidays, Henry Ford Museum, events, correspondence, Christmas, by Jeanine Head Miller
Our 1967 Ford Mark IV at SEMA with the 2018 GT Heritage Edition it inspired.
It’s been a busy couple of years for our 1967 Ford Mark IV. In the last 24 months, the car traveled to England, France, California and, most recently, Nevada. Race fans have welcomed the car at each stop, excited to see it 50 years after its Le Mans win with Dan Gurney and A.J. Foyt. The car’s trip to the Silver State coincided with this year’s SEMA Show, presented by the Specialty Equipment Market Association from October 31-November 3 in Las Vegas.
The SEMA Show is among the largest automotive trade shows on the calendar. It brings together original equipment manufacturers, aftermarket suppliers, dealers, restoration specialists and more. SEMA draws some 2,400 exhibitors and 160,000 people (all of them industry professionals – the show isn’t open to the public) to the Las Vegas Convention Center each year. You’ll find a bit of everything spread over the show’s one million square feet of exhibit space: speed shop equipment, specialty wheels and tires, seats and upholstery, car audio systems, paints and finishes, motor oils and additives – basically, anything that makes a car run, look, sound or feel better.
Ford provided (joyously tire-shredding) rides in Raptors, Focus RS hatches and Mustang GT350s.
Our Mark IV was given an honored place in Ford Motor Company’s main exhibit, where it was paired with the 2018 GT Heritage Edition that pays tribute to the Gurney/Foyt win. Ford’s exhibits continued outside the Convention Center in the “Ford Out Front” area. Jersey barriers formed an impromptu track in the parking lot, where attendees could ride with a professional driver in a Mustang GT350, a Focus RS, or an F-150 Raptor. Believe me, you haven’t seen drifting until you’ve seen it done with a pickup truck.
The American Southwest, native habitat of the Roadrunner – like this 1970 Superbird tribute car.
Of course, Ford wasn’t the only OEM in town. Chevrolet, FCA, Toyota, Audi, Honda and Hyundai all had a presence at the show. Chevy brought its new special edition Camaro, honoring the 50th anniversary of Hot Wheels diecast cars, while FCA celebrated all things Mopar. Toyota, marking the 60th anniversary of its U.S. sales arm, brought Camrys representing each of that venerable model’s eight styling generations.
PPG Paints displayed airbrushed portraits of this terrorsome trio: Edgar Allan Poe, Pennywise and Herman Munster.
PPG Paints gets my vote for most elaborate show booth. Embracing SEMA’s opening date of October 31, the company built a giant haunted house, complete with cars and parts strewn about the front lawn called – what else – “The Boneyard.” The surrounding fence was decorated with incredible airbrush art celebrating Halloween heroes like Edgar Allan Poe and Herman Munster.
Having a hard time finding new cassettes for your mid-1980s Buick Regal? Retro Manufacturing will sell you a perfect-match stereo with a USB port.
More than a few vendors drew crowds to their booths with the help of celebrity appearances. Walk around and you’d spot stars from every field of automotive endeavor. There were drivers (Emerson Fittipaldi, Ken Block), television hosts (Jessi Combs, Dennis Gage), custom builders (Gene Winfield, Chip Foose), rock stars (Jeff Beck, Billy Gibbons), and all-around icons (Linda Vaughn, Richard Petty, Jay Leno, Mario Andretti).
Many SEMA booths hosted live demonstrations, like this pinstriper at work on a Ford Focus RS.
There were educational opportunities, too. Workshops and seminars throughout the week ranged from standard business conference fare (“Building a Sustainable Social Media Strategy”) to the decidedly SEMA-specific (“Building the Best Boosted Engines of Your Career”). If seminars aren’t your thing, you could learn by watching everything from welding to pinstriping taking place right at exhibitor booths.
When is a Mustang a Lincoln? When it’s this P-51 Mustang airplane-inspired hot rod by Chip Foose, powered by a Lincoln-Zephyr V-12.
Contests added to the fun, too. Hot Rodders of Tomorrow, a nonprofit that encourages young people to consider careers in the automotive aftermarket industry, sponsored a challenge in which high school teams competed against each other in timed engine rebuilds. The most celebrated contest was SEMA’s annual Battle of the Builders. Nearly 200 customizers brought vehicles to be judged in four categories: hot rods, trucks/off-road vehicles, sport compacts, and young guns (for builders age 27 and under). Three top finishes were selected from each category over the show’s run, and these top 12 vehicles led the post-show SEMA cruise. An overall winner was then selected from the 12. Troy Trepanier took this year’s top prize with his 1929 Ford Model A hot rod.
Tucker Tribute: A hand-built replica powered by a Cadillac Northstar V-8.
So ended another SEMA Show – and a successful golden anniversary tour for the Mark IV. And while it’s good to have the car back in the museum, we’re glad we could share it with so many people over the past two years. We’ll hope to see some of you again in 2067!
Matt Anderson is Curator of Transportation at The Henry Ford.
Europe, 21st century, 2010s, racing, Le Mans, Henry Ford Museum, Driven to Win, events, 1960s, 20th century, race cars, Mark IV, cars, car shows, by Matt Anderson
Tucked away among the rolling stock and locomotives on display in Henry Ford Museum of American Innovation is an unassuming piece of railroad equipment, modest and apparently devoid of style or character. This little locomotive is one of the most significant items in the collection. It is one of the first locomotives to successfully use internal combustion instead of steam as its power source.
The decline of steam
By the mid-1920s the design and development of steam locomotives had become rigorous and scientific. The dominance of steam, however, was being challenged. Could the internal combustion engine with its higher efficiency, ease of operation, and reliance on cheap fuel become an alternative power source for railroad operations? Smoke abatement rulings in Chicago and New York City provided a further incentive for researching alternatives to steam power.
Success with internal combustion
General Electric's internal combustion engine/railroad interests dated back to 1904. However, by 1920 they had not developed a suitable engine. In late 1923, the Ingersoll-Rand Company successfully developed a locomotive to General Electric's specifications. Over the next 13 months it was tested on 10 different railroad systems. Its success led to a production run of variant engines that ended in 1937 when Ingersoll-Rand withdrew from the locomotive-building field.
Cheaper than steam
The American Locomotive Company supplied the car bodies for these early locomotives. Assembly took place at the General Electric plant in Erie, Pennsylvania. Ingersoll-Rand supplied the engines, building their sales pitch around low operating cost. Number 90, the sixteenth unit built, was delivered in December 1926 and used as a promotional demonstrator, switching in Ingersoll-Rand's Phillipsburg, New Jersey, plant rail yards.
Ingersoll-Rand's Number 90 Diesel-Electric Locomotive, Phillipsburg, New Jersey, probably 1926. THF271020
Efficient design
Number 90's blunt appearance hardly suggests speed or glamour, but compared to steam locomotive switchers its angular outline appears neat and businesslike. The operator's positions -- located at either end -- are clean and tidy, partitioned from the heat of the engine, located in the center of the car. The locomotive's operation is streamlined even if its style is minimal. Subsequent collaborations between industrial designers and railroad companies produced locomotive designs that would further emphasize Number 90's utilitarian appearance.
The job of the switcher
Switchers worked out their years in dirty yards assembling the freight trains that were as much a part of the railroad experience as the fastest overnight express. Number 90 continued in use as a switcher in the Ingersoll-Rand plant until the late 1960s by which time the diesel revolution that it had helped begin had swept steam power aside in the United States.
Maker: General Electric/Ingersoll-Rand/American Locomotive Company
Engine: 6-cylinder diesel
Horsepower: 300 @ 550 rpm.
Displacement: 5655 cu. in.
Generator: 200 kilowatts, 600 volts
Traction motors: 4 @ 95 horsepower each
Weight: 60 tons
Tractive effort: 36,000 lbs.
Speed: 30 mph.
Gift of Ingersoll-Rand Company
Marc Greuther is Chief Curator and Senior Director of Historical Resources at The Henry Ford.
Additional Readings:
- Newcomen Engine, circa 1750
- The Ingersoll-Rand Diesel-Electric Locomotive: Boxy but Significant
- Westinghouse Portable Steam Engine No. 345
- 1927 Plymouth Gasoline-Mechanical Locomotive
New Jersey, railroads, power, Pennsylvania, Henry Ford Museum, by Marc Greuther, 20th century, 1920s
THF91558 (Photographed by John Sobczak)
In the early 19th century, lined paper was generally used only in business ledgers and account books. And the ruling was done by hand using cylindrical rulers and dip pens. Imagine the tedious hours that went into ruling just one book, with multiple colored lines as well as many stop lines, cross lines and sets of double as well as single lines.
In the 1840s, William Orville Hickok got to work on improving this by-hand paper-ruling process, inventing a machine that had a moving belt running beneath a set of pen nibs held in place by a crossbar. Cotton threads, dipped into a trough of ink containers, kept the overhead pens moist. Ink was applied from the mounted pens to the paper fed through the machine — an exercise in perfect positioning and synchronicity.
Learn more about William Orville Hickok and his contributions to the paper-ruling business, and see the 1913 Hickok Paper Ruling Machine for yourself in Made in America at Henry Ford Museum of American Innovation. The Hickok paper-ruling machine was donated by Carl H. Dubac of Saginaw, Michigan, in 1986. Dubac’s father, who bound books by hand for more than 60 years, used the machine to line paper for ledger books.
making, manufacturing, communication, Henry Ford Museum, Made in America
