On Display at Maker Faire Detroit 2019

July 23, 2019 Think THF

At Maker Faire Detroit 2019 this weekend we’re celebrating a decade of makers, entrepreneurs, and innovators. While making your way both inside and out of Henry Ford Museum of American Innovation enjoying the ultimate celebration of geek culture, make sure to be on the lookout for a collection of artifacts from the collections of The Henry Ford that complement the maker spirit. 

Much like the fascinating diversity of makers you will encounter across the faire, the selection of artifacts, many not often seen on display, let alone actually operating, also represent a quite an array of ingenuity. They run the gambit from delicate artistry to powerful brawn. These artifacts will be out of storage for a limited this weekend - get your tickets now to see them for yourself.

Violano Virtuoso, 1925 

Mechanical Singing Bird, 1890-1910 

Mutoscope, 1900-1905 

“Electric Traveling Crane” Arcade Game, circa 1933  

1922 Detroit Electric Coupe 

Replica of 1896 Ford Quadricycle 

Jim Johnson is Director of Greenfield Village and Curator of Historic Structures & Landscapes at The Henry Ford.

Michigan, Dearborn, 21st century, 2010s, making, Maker Faire Detroit, events, by Jim Johnson

Artist in Residence: Shelley Muzylowski Allen

July 5, 2019 Think THF

Looking Glass by Shelley Muzylowski Allen.

This month we’re excited to welcome Shelley Muzylowski Allen to the Greenfield Village Glass Shop at The Henry Ford as our July Artist in Residence. You can see Shelley in action July 9-13; get to know a little more about Shelley in this Q&A.

Tell us a little bit about you and your work.
I was born in Northern Manitoba in a small mining town. I believe that its open skies and barren landscape fostered imagination. I spent a lot of time outside in the long summer light playing outside - on the railroad tracks and on large rock slabs, sometimes finding fossilized stone. During the extreme winter days, my sister and I would dig tunnels through the snow and at night, I would watch the aurora borealis create light up shapes on the snow and on our curtains inside. Here I started to paint at a very early age and eventfully studied the medium at the Emily Carr Institute of Art.

My work then and now was directly influenced from my experiences and environment that surrounded me. I layer glass powder colors and use a reverse carving technique to achieve detail, texture and a painterly style on my blown sculpture. I hope that by leaving ambiguity and creating gesture in the recognizable natural forms, that they become universal, creating their own story and sparking an emotion or a memory in the viewer.

How did you get started with glassblowing?
After I finished my BFA, I worked at a nonprofit arts center in Vancouver, B.C. One of my co-workers saw my paintings and suggested that my work would translate really well to glass. She had been to the Pilchuck Glass School and gave me their catalogue. I had only seen perfume bottles and functional ware being created on the pipe, so I didn’t understand why she thought I should go there. I applied out of curiosity.

The second I walked in the Pilchuck hot shop my life changed completely. I became obsessed with the medium and that fall drove to Seattle to take lessons at night and then back to Vancouver the same night. In retrospect I realize that because I was so open to and intensely focused on working and learning this medium the path I was to follow unfolded before me.

I was extremely fortunate that both Rik Allen and Karen Willenbrink Johnsen (friendships that began during the Pilchuck session) asked me to assist them during that winter season. A couple of years later, Rik and I got married. I was regularly assisting Karen which led me to work with Bill and the Morris team. I was in awe of and had great respect for the passion and fearlessness that every member of that team had working with glass. It is a way of seeing and working that I strive to continue in my own shop and work.

What piece are you most proud of that you’ve created to date?
One of my most recent pieces, See, Swan, that is currently on exhibit at the Habatat Galleries, in Royal Oak, Mich., and focuses on a nearly life-size swan and its reflection, has opened up a new dialogue and direction with glass and my subject matter.

Focusing on a local and magnificent natural phenomena — the northern migration of the swans through the Skagit Valley — See, Swan, is a meditation on this fragile existence.

See, Swan (2018) Blown, hand-sculpted, and engraved glass, steel, 39”w x 80”H x 12”d

Where do you find inspiration for your work?
Inspiration is all around me in the natural world. I watch the weather and the seasons, the flora and the fauna, and how they respond to each other and connect to us as humans.

What are you most looking forward to as being an Artist in Residence this year?
I am looking forward to working and being in the presence of such a magnificent and important collection of history. Stepping out of my familiar work environment, I can let go of my everyday routine stimulating and allowing space for growth and ideas. I’m excited to work with more transparent pieces utilizing the shop’s color pots and am designing some new pieces regarding this. I’m also really looking forward to working with The Henry Ford’s team and exchanging skill sets and ideas.

Additional Readings:

• Artist in Residence: Dean Allison
  
• Goblet by Lino Tagliapietra, 1996
  
• Davidson-Gerson Gallery of Glass
  
• Glass Gallery x2

Canada, women's history, Michigan, making, Greenfield Village, glass, Dearborn, artists in residence, art, 21st century

Archival Inspiration: Decorating for Easter

April 17, 2019 Archive Insight

Many of us celebrate Easter with a number of traditions: dyed eggs, baskets full of candy, or decorations inspired by spring, just to name a few. Many of these traditions go back in history more than 100 years. 

At Edison Homestead in Greenfield Village, we showcase a variety of activities during the Easter weekend that would have been enjoyed around 1915. Where do we find our inspiration? Much of the instructional information used to plan these activities come from promotional booklets from companies like Dennison Manufacturing Co. and their Dennison’s Party Book, or from magazine publications like the Ladies Home Journal, both available to families at the time.

In 1915, Easter crafts ranged from decorative pieces for the table to edible delights.  Dennison Manufacturing Co., which today is now known as Avery Products Corporation, was a large supplier of inexpensive paper products that encouraged decorations for any number of parties, including an Easter celebration. Listings in the Dennison’s Party Book contain a rabbit with basket of eggs decoration, decorated crepe paper, bon bon boxes, and purple and white festoons, all of which were priced at 25 cents or less. They also suggest how a table might be decorated using the items they have listed for sale as well as homemade items (made of paper, of course). 

Easter cards are one of the projects suggested in The Ladies Home Journal, 1912 April edition, and would have been an inexpensive craft to make as a gift. In fact, the journal states that, “[Easter] gifts should always be simple and inexpensive; if they are made rather than bought, so much the better.” Using images from flower catalogues, garden and agricultural magazines, the picture is traced on a folded edge of thick paper to create the body of the card. Once cut out, the image is then colored in and an insert is created to write an Easter note to the recipient.

Like our own Easter traditions today, the journal included many references to sweet treats that could be given as gifts. Chocolate eggs could be made by carefully removing the raw egg from the shell, washing the shell, then filling it with melted chocolate. Once cooled, the egg shell could be colored and decorated with crayons and colored pencils, with a scrapbook pictured glued over the opening. Not only were sweets made, but so were displays to put them in. Moss glued onto a half egg shell provided a holding space for small candy eggs or jelly beans.

Feeling inspired and ready to try creating your own archive-inspired holiday decorations? Stop by the Benson Ford Research Center to see a copy of the Dennison's Party Book for yourself.

Emily Sovey is Supervisor of Inspiring and Living History at The Henry Ford.

20th century, 1910s, research, making, home life, holidays, Greenfield Village buildings, Greenfield Village, Easter, by Emily Sovey

Americans Adjust to Microwave Cooking

April 5, 2019 Archive Insight

Microwave ovens gained popularity in the 1970s, becoming all but standard in American kitchens by the mid-1980s. These new appliances cooked food differently than conventional stovetop or oven methods, which worked by surrounding food with heat. In a microwave oven, electromagnetic waves caused food molecules to vibrate, creating heat that transferred from the outside to the center of the food.

Foods cooked much faster in microwave ovens than in conventional ones. For example, microwaving reduced the cooking time for a baked potato from 75 minutes to just four. And frozen meat pies, which could take 45 minutes to bake, would be ready after nine minutes in the microwave.

This time-saving cooking method promised convenience, but it took some getting used to, requiring adjustments to cookware and cooking techniques. Glass and plastic transmitted electromagnetic waves in microwave ovens, but metal reflected them, causing sparks that could damage the appliance or even cause a fire. Manufacturers had to develop heat-resistant cookware and cooking utensils safe for use in the microwave.


With specialized cookware and new cooking techniques, Americans could microwave a variety of foods (including fish) quickly, with familiar results. THF174103

In addition to purchasing microwave-safe cookware, Americans needed to learn new cooking techniques. Familiar foods required different preparation -- eggs had to be removed from shells and stirred to break the yolks, and potatoes needed to be pierced before cooking. People also had to change their expectations, as microwave cooking didn’t brown or crisp many foods the way conventional methods did. Meat could be cooked in the microwave -- with varying results. Specialized browning skillets provided some familiar texture and flavor to meats that would otherwise seem limp and unappetizing.

Microwave manufacturers included instruction manuals and recipe suggestions with the ovens they sold. Cookbooks also helped home cooks adjust. Some offered information on how to convert conventional recipes for microwave cooking, while others focused solely on recipes created specifically for the microwave. Two booklets from the collections of The Henry Ford offer a look at the early decades of microwave cooking in America.




Some manufacturers published microwave cookbooks to promote their products. From Freezer to Microwave to Table (1978) encouraged people to use Amana microwaves and freezers and cover foods with Saran Wrap. Recipes in Campbell's Microwave Cooking (1987) called for ingredients made by the Campbell Soup Company.THF275056 and THF275081



Microwave cooking required people to arrange, stir or turn, and cover food differently than with conventional methods. Cookbooks describing these techniques helped Americans adjust. THF275059 and THF275060


This brownie recipe reminded cooks to use heat-resistant glass dishes and included instructions for melting, baking, defrosting, and reheating in the microwave. THF27506


This omelet recipe with an Italian twist emphasized convenience and efficiency. It called for store-bought spaghetti sauce and required only two dishes for cooking--one of which, according to the suggestion highlighted in yellow, could be reused to sauce and serve pasta. THF275089

View these and other cookbooks at the Reading Room in the Benson Ford Research Center, and browse objects related to microwave ovens in our Digital Collections.

Jeanine Head Miller is Curator of Domestic Life at The Henry Ford. Saige Jedele is Associate Curator, Digital Content, at The Henry Ford.

recipes, by Saige Jedele, by Jeanine Head Miller, home life, making, food

Looking Back: Maker Faire Detroit 2018

August 16, 2018 Think THF

Michigan, Dearborn, 21st century, 2010s, making, Maker Faire Detroit, events

Engineering a Bigger Dragon

July 24, 2018

Last year, Heavy Meta brought Canada's 30-foot long fire-breathing dragon across the U.S./Canada border to bring the heat to Maker Faire Detroit. Over the year that has passed, one thing that always irked us was the size of the dragon's wings. In the original sketch, the wings are supposed to be as tall as the head of the dragon! However, we had never been able to solve the engineering challenge this posed until now. 

We are pleased to say that Detroit will be the first Maker Faire where attendees can check out our new wings! Here's how we did it.

Designing the Wings
We had two design goals:

1. Safely engineer a system that would allow the wings to be raised and lowered using some kind of mechanical winch.

2. Prevent the wings from rusting.

The first and second parts are related in a way, and the choice was made early on to work with aluminum to keep the wings light, as well as prevent corrosion.

To accomplish the first goal, we looked for other places where this problem has already been solved in an elegant fashion, and we found two "homologous structures" in the engineering world. One is in hydraulic excavating equipment, and the other, much simpler example is a straight razor.

A straight razor has a little handle for the thumb called a tang. It is the perfect length and shape to apply just the right amount of leverage to the spine to open the razor. We asked ourselves, what if instead of the handle, we had a wing stem, and what if instead of one spine, there were three spines, each supporting wing mesh?

With this in mind, we got our friend Ryan Longo at the Apocalypse Metal Shop to CNC plasma cut four large pieces of steel that mimicked the look of a straight razor and tang combo. 

Matt decided inside each spine would need to be a strong piece of steel, we would create an aluminum façade to go over each "dragon finger." 

events, engineering, making, Maker Faire Detroit, by Kevin Bracken

Raising the Bar at Logan County Courthouse

May 22, 2018 Archive Insight

The Logan County Courthouse, a fixture on the Village Green in Greenfield Village, will has reached the milestone of having been here in Dearborn for as many years as it was in Postville, Illinois - 89 years.

Abraham Lincoln featured prominently in Henry Ford’s plans for Greenfield Village, which revolved around the story of how everyday people with humble beginnings would go on to play important roles in American history. Lincoln epitomized Ford’s view of the “self-made man,” and he made a significant effort to collect as many objects as possible associated with him. By the late 1920s, Henry Ford was a “later comer” to the Lincoln collecting world, but with significant resources at his disposal, he did manage to secure a few very important items. The Logan County Courthouse is among them.

It has taken nearly all the 89 years to achieve this, but an original feature, long absent from the courtroom is making a return. The bar now stands again. Using the original set of spindles, we have re-created our interpretation of what the rail, or the bar, that divided the courtroom may have looked like in the1840s. By referencing images of other early 19^th century courtrooms, and studying architectural features represented in Greenfield Village, a typical design was created. 

The stories associated with the Logan County Courthouse are fascinating. As it turns out, the story of how the original spindles from the original bar finally made their way back into the courthouse is fascinating as well.  

Authenticated objects, related to Lincoln’s early life, were especially scarce by the late 1920s. There seemed to be an abundance of items supposedly associated and attributed to Lincoln, especially split rails and things made from them, but very few of these were the real thing. For Ford, the idea of acquiring an actual building directly tied to Lincoln seemed unlikely.

But, by the summer of 1929, through a local connection, Ford was made aware that the old 1840 Postville/Logan County, Illinois courthouse, where Lincoln practiced law, was available for sale. The 89-year-old building was used as a rented private dwelling, and was in very run-down condition, described by some as “derelict.” It was owned by the elderly Judge Timothy Beach and his wife. They were fully aware of the building’s storied history, and had made several unsuccessful attempts to turn the historic building over to Logan County in return for taking over the care of the building. Seeing no other options, the Beaches agreed to the sale of the building to Ford via one of his agents. They initially seemed unaware of Ford’s intentions to move the building to Greenfield Village, assuming it was to be restored on-site much like another historic properties Ford had taken over.

This image shows the state of the building when it was first seen by Henry Ford’s staff in late August of 1929. Not visible in the large shed attached to the rear of the building. THF238386

The local newspaper, The Courier, even quoted Mrs. Beach as stating that, “she would refund to Mr. Ford if it was his plan to take the building away from Lincoln, as nothing was said by the agent about removal”. By late August of 1929, the entire project in West Lincoln, Illinois, had captured the national spotlight and the old courthouse suddenly had garnered a huge amount of attention, even becoming a tourist destination. By early September, local resistance to its removal was growing, and Ford felt the need to pay a visit to personally inspect the building and meet with local officials, and the Beaches. He clearly made his case with the owners and finalized the deal. As reported, “Ford sympathized with the sentiment of the community but thought that the citizens should look at the matter from a broader viewpoint. He spoke for the cooperation of the community with him in making a perpetual memorial for the town at Dearborn, where the world would witness it. My only desire is to square my own conscience with what I think will be for the greatest good to the greatest number of people."

Henry had made his case and the courthouse would indeed be leaving West Lincoln. Immediately following the final negotiations, Henry Ford’s crew arrived to begin the process of study, dismantling, and packing for the trip to Dearborn. Local resistance to the move continued as the final paperwork was filed to purchase the land. By September 11, the resistance had run its course and the dismantling process began. It was also revealed that the city, county, several local organizations, and even the state of Illinois had all been offered several opportunities to acquire the building and take actions to preserve it. They all had declined the various offers over the years. It was then understood that Judge & Mrs. Beach, in the end, had acted on what was best for the historic building and should not be “subjected to criticism.” Judge Beach would die on September 19, just as the last bits of the old courthouse were being loaded for their journey to Greenfield Village. 

Reconstruction, which included the fabrication of many of the first-floor details and a new stone chimney and fireplaces, began immediately. In roughly a month’s time, the building was ready for the grand opening of Greenfield Village on October 21, 1929.

Nine years later, in 1938, Eugene Amberg sent a letter to Ford describing an interesting discovery. Mr. Amberg was a native of what was now Lincoln, Illinois and worked as a railroad ticket agent. He had a great interest in the local history and was a collector of local artifacts. As he writes in the letter dated February 8, 1938:

Several years ago, you purchased the Old Postville Court House here in Lincoln, Ills from Mrs. T Beach. At the time the Court House was made into a dwelling the railing that separated the judges desk from the main court room was torn out by my father (John Amberg) who was doing the remodeling, this he stored in the attic of his home, recently my mother died and while cleaning out the attic we came across these spindles, which are the original 28 spindles that the hand railing rested upon. The hand railing was of walnut, out of which was carved some arm rests that are now on some of the pews in St. Mary’s, a church here.

Would appreciate a line from you as to whether or not you would be interested in these spindles, have had numerous offers for them, inasmuch as they are part of the original court house I feel they should be with it, in your Dearborn Village.


Dated February 7, 1938, this is the initial letter from Gene Amberg to Henry Ford offering the 28 original spindles for sale. Despite several letters back and forth, a price could not be settled upon, and the transaction never took place. THF288006


This drawing was sent by Gene Amberg, as a follow-up to his first letter offering the spindles for sale. The artist, Mary Katherine, was Gene’s 14 year old daughter. THF288012

Negotiations evidently faltered, as a price was not agreed upon, and the spindles were never sent. Fast forward 71 years to 2009 when an email arrived from Carol Moore and her brother, Dennis Cunningham, the grandchildren of Eugene Amberg. They had no idea that their grandfather had begun this process, and were amazed when we produced the original correspondence from our archival collection. As it turns out, their story was almost identical to Eugene’s. As Carol wrote their mother, “Patricia Amberg Cunningham died March 1, 2008. While cleaning her house in Delavan, Illinois to prepare for sale, we found 28 old wooden spindles and a newspaper article believed to be from the Lincoln Courier indicating that the spindles are from the original Postville Courthouse in Lincoln, Illinois. It is our desire to donate them to the original Postville Courthouse.”

She was very familiar with Greenfield Village, and had visited the courthouse here. Jim McCabe, the Buildings Curator at the time, gladly accepted the donation.




Clipping from the Lincoln Courier ca. 1934, noting the 28 spindles from the “old Postville courthouse” in the possession of Gene Amberg. THF288016, THF288017    

In 1848, the county seat moved from Postville, to Mount Pulaski. At that time the courthouse was decommissioned, and the county offices moved to a new courthouse.  After a legal battle between the County, and the original investor/builders of the building, it was sold to Solomon Kahn. None other than Abraham Lincoln successfully represented the County in the matter.

Understanding the local history helps to also understand the changes that took place to the building. It explains how and why portions of the building were altered, parts removed, and eventually separated.

By the late 1840s, changes had taken place on both the exterior and interior. The most significant of these was the move off its original foundation, 86 feet forward on the lot. Mr. Kahn converted the building into a general store, and ran the local post office.  It was he who moved the building to its new location. In doing so, it was lifted off its original limestone foundation, and the original single limestone chimney and interior fireplaces were demolished. A new brick lined cellar and foundation were created, along with updated internal brick chimneys on each end of the building, designed to accommodate cast-iron heating stoves.


This is the earliest known photograph of the Logan County Courthouse taken some time between 1850 and 1880. This photograph shows the building in its second location, 80 feet forward from its original foundation, at the crest of a small rise. The original window and door configuration remain intact. The original single stone chimney, now restored to the left side of the building, has been replaced by two internal brick chimneys designed for cast-iron heating stoves. Though not visible in the photograph, the building now sits on a new brick foundation and cellar. The items sitting near the doorway speak to the building’s new life as a store. THF132074

By 1880, the old courthouse had been converted from a commercial building into a private dwelling, and that was the state in which it was found by Ford’s crew in 1929.  The doorway and first floor interior had been radically changed. Later, a porch was added to the front entrance, and a shed addition was added to the rear. Photographs taken in September of 1929 during the dismantling, show the outline of the original chimney on the side of the building where it has been re-created today. Further discoveries revealed the original floor plan of a large single room on the first-floor, and the original framing for the room divisions on the second. Second floor photographs show the original wall studs, baseboards, chair rails, window, and door frames, all directly attached to the framing, with lath and plaster added after the fact. The framing of the walls on the first floor were all clearly added after the original build.


This post 1880 view of the Logan County Courthouse shows its transformation into a two- family dwelling. Note the single doorway is now two, the second now taking the place of a former window opening. THF238350     


This image shows further remodeling of the front of the building. This photo ca.1900 shows the addition of recessed covered porch with some decorative posts and millwork. This is the iteration in which the building was found when it was sold to Henry Ford in September of 1929. THF238348


These three images show the re-modeled interior of what was the original courtroom, now serving as the kitchen, dining room, and parlor. These photos were taken by Henry Ford’s staff just prior to the dismantling of the building in September of 1929. THF238580 


The sub-divided first floor courtroom. THF238600


View of the cellar entrance under the stairway in the sub-divided courtroom. THF238598 

We have no evidence that tells us what if any interior changes Mr. Kahn may have made when he relocated the building around 1850. The earliest photograph we have of the building shows it in its new location, but except for its new brick chimneys, it retains what appears to be its original door and window configuration. We can only assume that Mr. Kahn had kept the rail in place, which may have proved useful in the building’s new configuration as a store and post office. No photographs of the original courtroom exist and extensive changes made first in 1880, and then when the building was dismantled and reconstructed in Greenfield Village, further comprised any original evidence.


This view of the dismantled second floor shows matching trim and chair rail connected directly to the studs indicating this as the originally installed woodwork from 1840. The wall partition studs are also notched to meet the ceiling joists, showing that they are also part of the original framing configuration of the second floor. All the trim work, including the doors were made of walnut. THF285571  

Based on the evidence we do have about these changes, it is very likely that at the time of the building’s conversion into a private dwelling, around 1880, the decorative hand-turned spindles and walnut hand rail would have been salvaged as the first floor of the building was sub-divided into a duplex. As stated in the family history, the walnut top rail was re-purposed and used in St. Mary’s Catholic Church (which burned in 1976), and the spindles saved for a future project.

Analysis of the original spindles showed that they were poplar, a wood commonly used for turning and as a secondary wood in the mid-19^th century. Based on what we knew, we decided to use a combination of woods for the reconstruction of the bar rail. Walnut was used for the top rail and column caps, and the remainder of was done in poplar. Though refinished in 1929, the original walnut trim throughout the building was used as a guide for the color and sheen of the final finish. Reproduction hardware, again based on the existing hardware, mainly on the second floor, was used to mount the center gate.


Mose Nowland, conservation team volunteer at The Henry Ford, works on the design rendering for the bar. (Photo by Jim Johnson)


Mose Nowland and other members of The Henry Ford Conservation Team with the newly installed bar. (Photo by Bill Pagel)

The design of the physical installation of the rail and gate was robust. Each of the support columns is supported within by a steel post that runs through the floor joists and into the cellar floor. With over a half million guests visiting Greenfield Village each year, we thought this important. The design also offers some degree of protection to the original spindles that are centered within the top and bottom rail. This is a permanent installation, and we wanted to be sure it would stand up to the test of time.




Views of the newly re-created bar at the Logan County Courthouse in Greenfield Village. (Photos by Jim Johnson)

A huge thank you to Mary Fahey and Dennis Morrison for stewarding the project. Also to Mose Nowland, our extraordinary volunteer with The Henry Ford’s Conservation Team, who lead the charge in creating the design, and produced beautifully detailed drawings. Ken Gesek, one of our Historic Buildings Carpenters, built the rail, Cuong Nguyen and Tamsen Brown, with the help of the rest of the THF Conservation Team, oversaw the restoration of the original spindles. Tamsen also developed the formula to match the stain and finish to the existing woodwork in the courthouse. Jason Cagle, from the Painting Staff, skillfully applied the finish. Many other people worked to move the project forward as well.

This true team effort resulted in the original spindles finally being reunited with the Logan County Courthouse after an absence of nearly 140 years.

Logan County Courthouse as it appears today in Greenfield Village. (Photo by Jim Johnson)

Jim Johnson is Director of Greenfield Village at The Henry Ford. 

Explore more of our Logan County Courthouse artifacts in our digital collections.

Sources Cited

• Fraker, Guy C. Lincoln’s Ladder to the Presidency: The Eighth Judicial Circuit, Carbondale, IL., Southern Illinois University Press, 2012.
• Leigh Henson, Mr. Lincoln, Route 66, and Other Highlights of Illinois, The Postville Courthouse as Private Property, http://findinglincolnillinois.com/sitemap.html
• Lincoln’s Eight Judicial Circuit, http://www.lookingforlinocln.com/8thcircuit/
• Logan County Courthouse Spindle Accession File, 2009.111, items 1-28, Archival Collection of the Benson Ford Research Center, The Henry Ford.
• Logan County Courthouse Building Files including original correspondences, records, photographs prior to dismantling in September of 1929, photographs of dismantling process, September 1929, reconstruction photographs, Greenfield Village, September 1929, 19^th century photographic images, Benson Ford Research Center, The Henry Ford.
• The Herald, vol. 5 n.3, The Edison Institute Press, March 4, 1938.
• Illinois, Logan County, Postville, 1840 U.S. census, population schedule. NARA microfilm publication, Washington, D.C.: National Archives and Records Administration
• Illinois, Logan County, Postville, 1850 U.S. census, population schedule. NARA microfilm publication, Washington, D.C.: National Archives and Records Administration
• Stringer, Lawrence B, The History of Logan County, Illinois, A Record of its Settlement, Organization, Progress and Achievement, Pioneer Press, Chicago, 1911.
•  “The Story of the Purchase of the Logan County Courthouse and its Removal to Greenfield Village by Mr. Henry Ford, as told in the columns of the Lincoln Evening Courier, 8/19/29-10/21/29”, compiled by Thomas I. Starr, Aug 1931. Logan County Courthouse Building Files, Benson Ford Research Center, The Henry Ford.

21st century, 2010s, 19th century, 1840s, Illinois, Michigan, Dearborn, presidents, making, Logan County Courthouse, Greenfield Village history, Greenfield Village buildings, Greenfield Village, collections care, by Jim Johnson, Abraham Lincoln, #Behind The Scenes @ The Henry Ford

Postwar Prosperity on the Grill: The Partio

May 9, 2018 Archive Insight

This upscale Partio outdoor kitchen is an eye-catching icon of America’s postwar prosperity during the Eisenhower era (1953-1961)—and was owned by none other than President Dwight D. Eisenhower himself. America enjoyed unprecedented prosperity as the economy soared to record heights. As people moved to the suburbs, they rediscovered the pleasures of outdoor cooking and eating. 

In the 1950s--after the material deprivations of a decade and a half of economic depression, and then war--Americans were ready to buy. The number of homeowners increased by 50 percent between 1945 and 1960. Americans filled their homes with consumer goods that poured out of America’s factories—including televisions, refrigerators, washing machines, vacuum cleaners, electric mixers, and outdoor grills. 

Advertising fueled their desire for materials things; credit cards made buying easier.  Newsweek magazine commented in 1953 that, “Time has swept away the Puritan conception of immorality in debt and godliness in thrift.” Even President Eisenhower suggested that the American public “Buy anything,” during a slight business dip.

President Eisenhower used this Partio portable kitchen cart at his Palm Springs, California home. The Partio performed surface cooking (burners and griddle), oven cooking (roasting and broiling), and charcoal cooking (grilling and rotisserie).  As mentioned in the article, “The Cottage the Eisenhowers Called Home,” published in the February 1962 issue of Palm Springs Life Magazine, the Partio appears pictured with the following caption: “Chef Eisenhower shows Mamie and Mary Jean the patio barbecue cart—‘It’s the most fantastic things you ever saw.’”

GE Partio Cart User's Manual, circa 1960. THF112534

Designed and built by General Electric, the Partio offers both a seductive glimpse of mid-century southern California outdoor living and hints at trends that become pronounced five decades later. This unit, essentially a cart-mounted range, married with a charcoal grill and rotisserie, combines a vivid 1950s turquoise palette with that decade's angular "sheer" look, forecasting styling trends of the early 1960s. The high-end Partio prefigures the lavish outdoor kitchen barbeque/range units that became popular at the end of the 20th century.  At the same time, along with the more familiar Weber charcoal grills, it speaks to an increased leisure and love of outdoor entertaining. 

The Henry Ford acquired the Partio in 2012; currently the artifact is out on loan to the Atlanta History Center as part of its current exhibit, "Barbecue Nation," an exploration of the history behind one of America's greatest folk foods.

Jeanine Head Miller is Curator of Domestic Life at The Henry Ford. Marc Greuther is Chief Curator and Senior Director, Historical Resources, at The Henry Ford.

California, 20th century, 1960s, 1950s, presidents, popular culture, making, home life, food, by Marc Greuther, by Jeanine Head Miller

Type and Ceramics

August 16, 2017 Innovation Impact, Think THF

FROM TOUR TO TILES: A tour of the Heath Ceramics factory in Sausalito, California, led House Industries co-founder Andy Cruz to a collaboration with the owners of the storied ceramics maker that produced objects like decorative clocks and tiles. (Carlos Alejandro)

How House Industries and Heath Ceramics turned a happenstance online meet-and-greet into a creative collaboration

Heath Ceramic owners Robin Petravic and Catherine Bailey (Aya Brackett)

After Andy Cruz’s blog post about the Heath Ceramics men’s restroom caught the eye of Catherine Bailey, co-owner of the distinctive California ceramic manufacturer, she reached out to House Industries.

Soon after, Cruz and Bailey began corresponding regularly.

Realizing they shared a mutual appreciation for each other’s work, the two decided that House Industries and Heath Ceramics should collaborate. “Andy is a genius. Working with him is a guarantee that you’re going to learn something new, that you’re going to see something differently and that you’re going to find yourself paying attention to the next level of detail you didn’t even realize existed,” said Robin Petravic, who co-owns Heath Ceramics with Bailey.

Recognizing Heath Ceramics founder Edith Heath as a California design legend for her elegant designs accented by raw finishes, Heath and House decided to pair her legacy with those of two other greats — Charles and Ray Eames and Richard Neutra. After working through an arduous process of trial and error, House Industries fonts inspired by the Eameses and Neutra were applied to a series of tiles that later inspired a ceramic wall clock collection, both of which have been in production ever since.

“Along with Andy’s immense and unique talent comes a great collaborator,” said Petravic. “We’ve come to trust that, as the conversation goes one way, then the other and then off in yet another direction, we’re going to end up in a great place in the end.”

As to House Industries’ willingness to follow those other directions and learn from its own mistakes, it was the original drawings and hours of tweaking, proofing and redrawing of the stencil numbers for the Heath Ceramics clock project that ended up providing inspiration for another landmark House Industries work — Yorklyn Stencil, the house typeface of House Industries.

This story originally ran in The Henry Ford Magazine. House Industries: A Type of Learning is on exhibit at Henry Ford Museum of American Innovation.

House Industries, The Henry Ford Magazine, making, design, ceramics

A Quilted Alphabet

August 4, 2017 Archive Insight

This alphabet quilt, likely made in Berks County, Pennsylvania, dates from about 1910.   THF168579  (Purchased through the Eleanor B. Safford Memorial Textile Fund.)

“A, B, C, D, E, F, G—   H, I, J, K, L-M-N-O-P—.… Now I know my ABCs”

The alphabet song gave us a fun way to learn our ABCs—and the order of the letters.  (I don’t know about you, but I sometimes still find myself singing it as I alphabetize something.)  Even before kids head off to school, we not only sing the alphabet song to them, but surround them with images of alphabet letters—on building blocks, children’s dishes, and even, wallpaper—to help them learn their ABCs. 

Alphabet letters also appear on quilts. Quilt block patterns published in the 20^th century made it easier to plan and create these quilts. In 1906, Ladies Art Company, a mail order business that published hundreds of quilt patterns, offered a series of alphabet block designs. The Henry Ford’s alphabet quilt was likely made using these patterns.

The letters on this alphabet quilt may look like they are curved—but they are actually made up of triangles, squares, rectangles and trapezoids.  The letter blocks were designed to avoid curved seams, which are more difficult to execute than these other geometric shapes. Yet, even using these Ladies Art Company patterns offered challenges.  Some letters, like the G and Q, required more intricate piecing.  Some quiltmakers simply deviated a bit in piecing the blocks for these, and other letters.  Our quiltmaker managed the Q, but made a few small changes in creating the G.

Though working from the same pattern, each individual quiltmaker created her own unique quilt through her choice of fabric, the exact arrangement of the letter blocks, the design of the sashing and borders, and the quilt patterns used in the decorative corner blocks that complete the quilt. Some quiltmakers arranged the letter blocks in rows of three and five. Others placed them in four rows of five letter blocks—and then figured out what to do with the leftover Z! Our quilt maker tucked the Z into one corner, creating a delightfully whimsical effect.

We don’t really know who made this quilt, or who they made it for.  But it is easy to imagine a child cuddling with this charming alphabet quilt—and learning his or her letters at the same time.

Pennsylvania, 20th century, quilts, making, design, by Jeanine Head Miller