A new group of garments from The Henry Ford’s rich collection of clothing and accessories makes its debut in Henry Ford Museum of American Innovation in our What We Wore exhibit, this time examining how fashion trends can highlight, or manipulate, the human form.
What makes these sleeves puffy? A stiffened underlining--pleated muslin fabric--helps support the sleeves. Sometimes a “sleeve plumper” was used--down-filled pads that tied on at the shoulder under the dress.
The wide silhouette created by these “leg-of-mutton” sleeves and matching pelerine (small cape that covers the shoulders) not only drew attention to the wearer’s arms, but also emphasized the smallness of her waist!
Who wore this dress? During the 1830s? We don’t know. Later, Tasha Tudor (1915-2008), author and illustrator of children’s literature, owned the dress.
Tudor admired the objects and rural lifestyle of the early 19th century. She lived in a secluded New England farmhouse with no plumbing or electricity, surrounded by an orchard, rambling garden, and lively farm animals. Tasha Tudor also collected antique clothing--and wore it.
What supported the elaborately draped fabric at the back of this dress? A bustle--a support of parallel horizontal slats made of wood or steel bent in a half circle. The bustle attached to the body around the waist. A tightly laced corset helped create her extremely small waist.
But how did she sit down? The slats would all collapse together as she sat, then spring back in place when she stood up--maintaining her fashionable silhouette.Between the fabric of the dress and the bustle, garments of this period could be quite heavy to wear!
Who wore this dress? Mary Stevens (1861-1910), the daughter of wealthy capitalist. The Stevens family lived on Woodward Avenue in Detroit, a street lined with the homes of prosperous Detroiters.
Mary Stevens had a privileged lifestyle. She had the money to purchase finely made fashionable clothing. And led a social life that gave her opportunities to wear it. A few days before Christmas 1884, Mary’s mother gave an elegant reception at the Stevens home--complete with elaborate floral decorations, refreshments, and a full orchestra. Could this be the dress that Mary wore that afternoon?
What undergarment helped achieve this slender, youthful silhouette? A straight-line, one-piece garment called a corselette. It de-emphasized the bust and smoothed the natural curves of the body--emphasizing the straight, unbroken line of that era’s “boyish” silhouette.
The movement of the uneven hemline, while walking or dancing, would subtly call attention to the wearer’s legs.
Who wore this dress? Audrey K. Wilder (1896-1979) likely owned this dress. Audrey attended college--quite unusual for women of her time. She graduated from Albion College, then earned a master’s degree from Columbia University in 1921.
In the late 1920s, Audrey Wilder was appointed Dean of Women at Ohio Northern University. One of her first projects was the creation of the first social hall for women on campus--a place where female students could hold teas, receptions, musicals, and dinners. Those who knew her described Audrey as a “dynamic dean” and a woman “of exquisite grooming.”
What undergarment helped create the “hourglass” silhouette of the 1950s? Christian Dior’s “New Look”--with its close-fitting hourglass silhouette--dominated the 1950s. This look emphasized a tiny waistline and feminine curves. Longline bras helped slim the waistline and create a smooth line under garments.
This dress, Dior’s “Sonnet” design, also accentuated the waist through the angled side bodice seams, bows at the waist, and rounded skirt.
Who wore this dress? This dress was custom-made for Elizabeth Parke Firestone (1897-1990), wife of tire magnate Harvey S. Firestone, Jr. Elizabeth felt it her duty to represent her husband, family, and the Firestone Tire and Rubber Company with dignity and grace. She was always flawlessly dressed--whether for informal camping trips, world travel, business functions, or society parties.
Elizabeth had a fine eye for fashion and favored New York and Parisian designers, including Christian Dior. These designers created garments to her specifications, including perfect fit, style, color, fabric, and construction. During the 1950s the New York Dress Institute named Elizabeth one of the "Best Dressed Women in the World.”
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
An image from the set of The Henry Ford’s Innovation Nation.
For many people—especially those who grew up between the decades of the 1970s through the 1990s—the sight of a boombox often prompts the thought: “I wonder how heavy that thing would feel, if I carried it around on my shoulder?” Boomboxes are infused with the promise of human interaction, ready for active use—to be slung from arm to arm, hoisted up on a shoulder, or planted with purpose on a park bench or an empty slice of asphalt in a city somewhere.
Here at The Henry Ford, we recently acquired a trio of classic boomboxes to document stories about the growth of mobile media and the social communication of music in American culture.
The Norelco 22RL962 was developed in the mid-1960s by the Dutch company, Philips. A combination radio and compact cassette player, it had recording and playback functions as well as a carrying handle. While it was generally thought of as the first device that could be accurately called a “boombox,” the Norelco failed to gain mass traction. The core issue wasn’t due to poor performance from a technological standpoint, but rather the bad sound quality of the tapes. In 1965, the American engineer Ray Dolby invented the Dolby Noise Reduction system, which led to clean, hiss-free sound on compact cassette tapes. His invention sparked a revolution in hi-fi cassette audio.
The ubiquitous compact cassette tape.
In the early 1970s, Japanese manufacturers began to make advancements in boombox technology as an outgrowth of modular hi-fi stereo components. Living spaces in Japan were typically small, and there was a desire to condense electronics into compact devices without losing sound quality.
Later that decade, the improved boombox made its way to the United States, where it was embraced by hip hop, punk, and new wave musicians and fans—many of whom lived in large cities like New York and Los Angeles. In many ways, the boombox was a protest device, as youth culture used them to broadcast politically charged music in public spaces.
An early image of the Brooklyn Bridge and New York Skyline. THF113708
Boomboxes literally changed the sonic fabric of cities, but this effect was divisive. By the mid-1980s, noise pollution laws began to restrict their use in public. The golden years of the boombox were also short lived due to the rising popularity and affordability of personal portable sound devices like the Sony Walkman (and later, the MP3 player), which turned music into a private, insular experience.
This boombox was built for the street, and it is meant to be played loud. Its design is rugged, with a carrying handle and protective “roll bars” in case it is dropped. Many classic photos from the early years of hip-hop depict fans and musicians carrying the El Diablo around cities and on the subway in New York.
The JVC RC-550 is a member of what sound historians refer to as the “holy trinity” of innovative boomboxes. While the origins of its “El Diablo” nickname are uncertain, it is believed to stem from the impressive volume of sound it can transmit—or its flashing red sound meters. It is a monophonic boombox, meaning that it has one main speaker and it is incapable of reproducing sound in stereo. A massive offset 10-inch woofer dominates its design, coupled with smaller midrange and tweeter speakers. As with most boomboxes of this time, bass and treble levels could be adjusted.
An input for an external microphone led to the RC-550 being advertised as a mobile personal amplifier system. Brochures from the Japanese version show the boombox being used by salesmen to amplify their pitches in front of crowds, as a sound system in a bar, and by a singing woman accompanied by a guitarist. Recording could take place directly through the tape deck, or through the microphone on top, which could be rotated 360-degrees.
JVC 838 Biphonic Boombox The JVC 838 is important for its transitional design. It was one of the first boomboxes to incorporate the symmetrical arrangement of components that would become standard in 1980s portable stereos: visually balanced speakers, buttons and knobs, and a centered cassette deck.
As boombox designs evolved, they began to include (almost to the point of parody) sound visualization components such as VU meters and other electronic indicators. In many cases, these were purely for visual effect rather than function. The needle VU meters on the JVC 838 however, were accurate.
A unique feature of the JVC 838 boombox is its “BiPhonic” sound—a spatial stereo feature that creates a “being there” effect through its binaural speaker technology, resulting in “three-dimensional depth, spaciousness, and pinpoint imaging.” The box also includes an “expand” effect to widen the sound even further.
Sharp GF-777 “Searcher.” THF177382 Sharp “Searcher” GF-777 The Sharp “Searcher” GF-777 is an exercise in excess. Often referred to as the “king of the boomboxes,” it was also one of the largest ever produced. Weighing thirty pounds (minus ten D-cell batteries) and measuring over one foot tall and two feet wide, it took a certain amount of lifestyle commitment to carry this device around a city.
The Searcher played a key part in the performance and representation of hip-hop music. Its six speakers include four woofers individually tuned for optimal bass transmission and amplitude. It appeared in a photograph on the back cover of the first Run-DMC album, found its way into several music videos, and was photographed alongside breakdancing crews.
Many people used this boombox as an affordable personal recording studio. Two high quality tape decks opened the possibility for people to create “pause tapes” – a way of creating looped beats through queuing, recording, rewinding, and repeating a short phrase of music. A microphone input and an onboard echo effect meant people could rap or sing over top of music backing tracks.
Much like Thomas Edison’s phonograph, the boombox came full circle, allowing people to record and play back music for public and communal consumption. And while they may not mesh with our ideas of what a “mobile” device is in our age of smartphones and streaming services, their reach permeated popular culture in the 1970s well into the 1990s. Sometimes acting as portable sound systems, sometimes used as affordable personal recording studios—carrying a boombox through the streets (wherever you happened to live) was as much a fashion statement and lifestyle choice as it was a celebration of music and social technology.
Kristen Gallerneaux is the Curator of Communications and Information Technology.
Through furnishings and presentations, the Mattox Home in Greenfield Village tells the story of one family living in rural Georgia in the 1930s. Read on to discover more about the community in Bryan County (where the house was originally located), learn about the Mattox family, and get an inside look at how they lived.
Amos and Grace Mattox Amos Mattox, probably born around 1889, grew up in this house during the harsh years of Southern segregation. He and his wife, Grace, married in 1909.
The home in Greenfield Village is shown as it would have been during the 1930s, when the entire country was in the grip of the Great Depression. Low prices and little demand for farm products created a crisis for farmers throughout the country, and many abandoned their land. Amos and Grace Mattox maintained their resourceful lifestyle, keeping up a vegetable garden, livestock, and fowl to feed themselves and two young children, Carrie and Amos, Jr. To supplement the family’s income, Amos worked at various jobs—as a laborer for the Atlantic Coast Line Railroad and Seaboard Air Line Railway and at the local sawmill, and as a shoemaker, carpenter, and barber. He also served as a deacon at the Bryan Neck Baptist Church. The church had been founded by his grandfather Amos Morel, a formerly enslaved steam engineer who, in the 1870s, purchased the land the Mattox home stood on. Like his grandfather, Amos Mattox sold parts of his family’s land when he needed cash.
Grace Mattox is remembered by her children as a busy and meticulous homemaker. In addition to daily chores, she canned fruits and vegetables, cared and provided for elderly and sick neighbors, crocheted, did “fancy work” embroidery, and made her home as cozy and attractive as possible. A devoted mother, she encouraged and supported the education of her two children, walking a mile to and from their school daily with a “proper hot lunch” for them.
Although life was hard, the Mattox family proudly affirmed that there was "always enough."
A copy of the only known photograph of Amos Mattox, Sr. THF135142
African American Community Life in 1930s Bryan County, Georgia Sixty-five years after the Civil War, coastal Georgia was a land of sleepy towns, cypress swamps, moss-hung trees, oxcarts, horse-drawn wagons, and a few cars. Among long-abandoned crumbling mansions stood small farmhouses scattered about on what were once extensive holdings of plantation land but were now mostly small individual farms—some privately owned like the Mattox home and property, but most rented on the share system. Following the breakup of the large plantations after the Civil War, members of the same family tended to settle close together on the same land where they had lived when they were enslaved. A generation later, this was still true of the Mattox family. Amos Mattox, Jr., remembers his Uncle Henry living within “hollerin’ distance” and his Uncle Charlie living 5 to 10 minutes’ walk away. In the absence of telephones, close neighbors could be hailed by shouting.
What we know about the Mattox family comes from record searches and oral interviews. When Henry Ford acquired the Mattox home in 1943, there were still many people alive who could recall their youth on the very land on which their descendants lived. Elderly, formerly enslaved neighbors like “Aunt” Jane Lewis were links to the past for children like Carrie and Amos Mattox, Jr.
Henry Ford moved the Mattox Home to Greenfield Village in 1943. He can be seen in this photograph (far right) with Grace Mattox (in the doorway) and others at the home on its original site.THF123296
Like 89 percent of rural homes in 1930, the Mattox home lacked electricity and running water; kerosene lamps provided light. However, the Mattoxes owned a battery-operated radio and a hand-cranked phonograph. Amos, Jr., and Carrie could recall few leisure activities, but many occasions when the family worked together, farming, gardening, canning, and doing the wash. Most work was done outside, with seats provided on porches and under grape arbors. Houses were hot and close inside, and were used mainly for sleeping, bathing, or as shelter from the rain. In the evening the Mattoxes read from the family Bible.
Neighbors allowed their livestock, cattle and hogs, to range freely on common ground in the forest (families notched their animals’ ears with distinctive markings to prove ownership). After butchering a hog, the Mattoxes would smoke the hams for a few months in the chimney of their home. According to Amos, Jr., the chimney, made of clay and sticks, occasionally caught fire. To extinguish the fires, a member of the family climbed on the roof and poured water down the chimney.
Health care was poor and infant mortality high. Grace Mattox gave birth to six children, only two of whom survived past infancy. Often, community members would take shifts caring for a sick person night and day. Grace Mattox was instrumental in organizing home nursing for her local community.
The Mattox family’s social life, like that of their neighbors, centered around the Bryan Neck Baptist Church and the prayer house associated with it. The prayer house was about 150 feet from the Mattoxes’ home. They attended prayer meetings in Bryan Neck Baptist Church every other Sunday morning at daybreak. On alternate Sundays and Sunday evenings, as well as on Tuesday and Thursday evenings, they walked to the prayer house. The whole community was thought of as one family, including mothers, fathers, uncles, aunts, and close friends. They celebrated holidays together, cared for one another in times of sickness and crisis, shared their surplus produce, and encouraged and supported one another in their daily lives.
The Mattox Home in Greenfield Village In 1943 Henry Ford brought the Mattox home to Greenfield Village. After the purchase he agreed to let the Mattoxes continue to live on the property, built the family a new house, and bought new furnishings for it. Since no written agreement was found regarding the continued use of the property after the death of Henry Ford (1947) and his wife, Clara (1950), the Mattoxes were, sadly, evicted by the new owners, the Southern Kraft Timberland Company.
View of the Mattox Home in Greenfield Village, showing the vegetable garden and the birdhouses made from gourdsTHF45319
Exterior and Grounds Bryan County, Georgia, lies in a swampy region of the Low Country. People living in this area usually maintained yards of swept dirt to prevent the growth of vegetation and keep mosquitoes and snakes away from the houses. Residents swept fancy designs into the dirt to make the yards more attractive, especially around holidays. People also fashioned birdhouses from gourds to attract purple martins, which feed on mosquitoes and other flying insects. The birdhouses at the Mattox home, as well as the roof repaired with a cast-off sign, are examples of the family’s ingenious use of available resources.
Vegetable Garden Most of what the Mattox family produced was for their own use. In their vegetable garden the Mattoxes raised corn, sweet potatoes, rice, peas, beans, tomatoes, and okra, as well as collard, mustard, and turnip greens.
Rear view of the Mattox Home in Greenfield Village (the grape arbor is visible at right) THF1967
Grape Arbor In the warm climate of coastal Georgia, families spent much of their lives outdoors. The Mattoxes’ grape arbor provided a cool, shady space for household chores like laundering or food preservation. Amos Mattox made wine from the native Southern scuppernong and muscadine grape varieties grown there.
Chicken Yard The Mattox family raised chickens, hogs, and goats for their own use. The chickens and goats were confined in the yard near the house, while the hogs were allowed to range freely.
Interior of the Mattox Home in Greenfield VillageTHF53390
The Home That Mattoxes covered their interior walls with newspaper for both insulation and decoration. Photographs taken in the 1930s and 1940s show that this was the norm rather than the exception in small rural homes in the South.
Much of the furniture now in the home was owned by the Mattox family. The mirror on the wall originally belonged to Amos Mattox’s grandfather, Amos Morel. Needlework scattered through the rooms represent Grace Mattox’s sewing and decorating skills. Over the mantel is a copy of the only known photograph of Amos Mattox, Sr. Pictures and fans with representations of religious themes and the family Bible reflect the strong religious grounding of the family. A checkerboard with bottle caps as game pieces and homemade dolls show how the family overcame the constraints of limited means.
The room attached to the rear of the home contains the kitchen and dining room, often used as the children’s bedroom. On the woodburning cookstove, Grace Mattox prepared meals for her family and dishes to bring to church suppers and community celebrations. The family worked together to prepare canned goods that could be stored on shelves in the kitchen for use throughout the year. Explore the Mattox Family Home for yourself in the Porches & Parlors district in Greenfield Village.
As with many entrepreneur stories, this one begins with immigrants coming to the United States to pursue the American dream. That dream was to create stylish, attractive silver housewares, but a national economic crisis forced them to get creative with a new material – aluminum – and resulted in the creation of the Everlast Metal Products Corporation. This blog highlights the company’s nearly 30-year history.
Everlast Aluminum Advertisement, “Yours From Everlast The Finest – Bar None!” 1947 THF125124
When the Great Depression gripped the nation during the 1930s, demand for consumer products fell as many people struggled to get by in the faltering economy. Up to this point, silver had been the primary material used for creating fashionable housewares. With few buyers able to purchase silver products, manufacturers turned to aluminum. One of the most prolific manufacturers of aluminum giftware was the Everlast Metal Products Corporation of New York City.
Everlast Aluminum Advertisement, “Everlast Hand-Forged Aluminum, So Beautiful – So Versatile!” 1948-1949 THF295633
Everlast founders Louis Schnitzer and his brother-in-law, Nathan Gelfman, were experienced metalworkers in their homeland of Kiev, Russia before immigrating to the United States in the 1910s. In the early 1920s, the two men created a silver housewares business in New York City called Western Silver Works, Inc., where they polished and plated silver. By 1930, Schnitzer and Gelfman began producing silver- and chrome-plated items under the name Western Silver Novelty Company.
Affected by the decline of buyers for silver products during the Great Depression, Schnitzer and Gelfman decided to adapt, attempting to work with the modern and more affordable metal, aluminum. Aluminum was more costly than gold from its discovery in the 1800s until the first smelting methods were invented in 1886. Inexpensive aluminum cookware and kitchen utensils were manufactured in the 1890s, but poor manufacturing quality made customers skeptical of the new material. During the first World War, aluminum’s light weight and rust-resistant properties made the metal ideal for use in soldiers’ canteens and military vehicles. From this, aluminum gained wider acceptance, and consumer confidence in the metal led to a surge in aluminum products in the next few decades.
In 1932, Schnitzer and Gelfman formed Everlast Metal Products Corporation and began producing high-quality, hand-forged aluminum giftware. Hammered aluminum giftware products were, at once, both “old” and “new.” In an era of growing uniformity via factory production, the “made by hand” aspect of these products held an aesthetic appeal for consumers, while their aluminum material made them seem decidedly modern.
Everlast “Forged” Gravy Boat, 1938-1950 THF125117 Everlast’s first product line, “Forged Giftware,” was introduced in 1933 and continued until the company closed. Featuring Colonial Revival- and Neoclassical Revival-inspired designs, this line – with items like this gravy boat – appealed to customers with traditional tastes.
Schnitzer, the creative force behind the company, recognized the necessity of increased marketing to promote Everlast’s products. Around 1935, Jack Orenstein was brought on as National Sales Manager. Orenstein, skilled in merchandising techniques and in building relationships with clients, was essential in the success of the company. Already successful in the giftware industry before joining the company, Orenstein organized a highly effective sales force which gave Everlast a national presence in the decorative aluminum giftware market.
Everlast “Forged” Tray, 1938-1947 THF144107 Through innovative manufacturing and creative marketing, Everlast was able to expand its “Forged Giftware” product line. Instead of creating new product forms each year, the company combined new handles and design motifs with previous years’ product forms to create “new” pieces. This cost-effective method for product development enabled Everlast to introduce new items regularly while also keeping up with rapidly changing design trends. The two trays pictured here have the same form, but the second piece now features handles and a different motif.
Everlast Aluminum Advertisement, “Yours from Everlast for ‘Dining Out’ at Home!” THF295629
When the United States entered World War II in 1942, the production of aluminum for consumer goods was halted to focus on the production of military equipment. While some aluminum houseware companies struggled to adapt, Everlast rose to the challenge, securing government contracts and upgrading their facilities to produce military equipment under the name Browning Precision Tool Co.
Throughout the war, Everlast created partnerships with various businesses in the floral, woodworking, and ceramic industries, enabling the company to remain in the public awareness, despite not producing consumer goods itself. As the war was winding down, Everlast turned its focus back to manufacturing consumer products. The upgrades made to its facilities during wartime put the company in a better position to manufacture mass-produced giftware in a more cost-effective manner – just in time for increased consumer spending during a time of post-war prosperity.
Everlast “Bali Bamboo” Ice Bucket, 1953-1959 THF125114 Everlast’s most successful line, “Bali Bamboo,” was a direct result of America’s fascination with the South Pacific following World War II. More than 60 different items, produced between 1946 and 1959, featured raised bamboo shoots and a satin finish. Together these features provided the added advantage of hiding scratches.
Following the war, Everlast resumed its advertising and marketing strategies. To increase its accessibility to consumers in the Midwest, the company also established a showroom in Chicago in 1946. Unfortunately, despite the initial post-war momentum for aluminum housewares, the industry and company struggled throughout the 1950s, experiencing setbacks that ultimately led to its demise.
Everlast “Silvercrest” Tumbler, circa 1952 THF125119 In 1952, Everlast introduced a line called “Silvercrest,” featuring a highly polished aluminum finish. By this time, as a cost-cutting measure, the products’ “hand-forged” hammer marks were actually produced by a machine.
The first blow to the Everlast company came in 1951 when the Korean War initiated a restriction on the use of aluminum for consumer goods once again. Soon after, Jack Orenstein left the company to pursue a career in the new era of modern housewares – ceramics and plastics. Compared to these materials, which were colorful and lacked ornamentation, aluminum was beginning to be seen as old-fashioned and outdated. Despite several attempts to reinvent its products, Everlast floundered, failing to revive consumer interest in aluminum housewares.
Everlast “Modern” Three-Tier Tidbit Tray, circa 1953 THF125116 In an attempt to reinvent its products amidst the growing popularity of plastics, Everlast introduced a contemporary line in 1953 called, “Everlast Modern.”
Like other manufacturers of the time, the company also chose to forego quality in favor of machine-made, mass-produced goods. This ultimately over-saturated the housewares market and crushed any interest in “hand-forged” household items. After nearly thirty years in business, Louis Schnitzer and Nathan Gelfman closed Everlast in 1961.
The two men from Russia had forged their American dream, adapting early on to pursue their entrepreneurial vision. It can be said that advances in technology and rapidly changing consumer interests secured the downfall of the aluminum industry. It cannot be said, however, that Everlast’s founders went down without a fight. Though their entrepreneurial journey came to an end in 1961, the founders experienced undeniable success during their company’s thirty-year history to become one of the eminent manufacturers of aluminum housewares and giftware.
To see more artifacts from the Everlast Metal Products Corporation, visit our Digital Collections.
Samantha Johnson is Project Curator for the William Davidson Foundation Initiative for Entrepreneurship at The Henry Ford. This post was adapted from the Pic of the Month from April 2007, written by Donna Braden and Kira Macyda. Special thanks to Constance Levi for sharing her knowledge of the company and for reviewing this content.
A closer look at an unassuming machine in The Henry Ford’s collection reveals personal stories and reminds us of the far-reaching impacts of what we eat and where we live.
After the Civil War, urban populations swelled. Until this time, farm families had kept flocks of chickens and gathered eggs for their own consumption, but with increased demand for eggs in growing cities, egg farming grew into a specialized industry. Some families expanded egg production at existing farms, and other entrepreneurs established large-scale egg farms near cities and on railroad lines. Networks developed for shipping eggs from farms to buyers – whether wholesalers, retailers, or individuals operating eating establishments.
While farmers who sold eggs directly to customers carried their products to market in different ways, sellers who shipped eggs to buyers standardized their containers to ensure a consistent product. The standard egg case became an essential and enduring part of the egg industry.
Egg producers initially used different sizes and types of containers to pack eggs for market. As the egg industry developed, standardized cases that held thirty dozen (360) eggs – like this version first patented by J.L. and G.W. Stevens in 1867 – became the norm.THF277733
Egg distributors settled on a lightweight wooden box to hold 30 dozen (360) eggs. The standard case had two compartments that held a total of twelve “flats” – pressed paper trays that held 30 eggs each and provided padding between layers. Retailers who purchased wholesale cases of eggs typically repackaged them for sale by the dozen (though customers interested in larger quantities could – and still can – buy flats of 30 eggs).
The standard egg case held 12 of these pressed paper trays, or “flats,” which held 30 eggs each. THF169534
Some egg shippers purchased premade egg cases from dedicated manufacturers. Others made their own. Enter James K. Ashley, who invented a machine to help people build egg cases to standard specifications. Ashley, a Civil War veteran, first patented his egg case maker in 1896 and received additional patents for improvements to the machine in 1902 and 1925.
Ashley’s machine, which he marketed as the Champion Egg Case Maker, featured three vises, which held two of the sides and the interior divider of the egg case steady. Using a treadle, the operator could rotate them, making it easy to nail together the remaining sides, bottom, and top to complete a standard egg case, ready to be stenciled with the seller’s name and filled with flats of eggs for shipment.
Ashley’s first customer was William Frederick Priebe, who, along with his brother-in-law Fred Simater, operated one of the country’s largest poultry and egg shipping businesses. As James Ashley continued to manufacture his egg case machines (first in Illinois, then in Kentucky) in the early twentieth century, William Priebe found rising success as the big business of egg shipping grew ever bigger.
One of James K. Ashley’s Champion Egg Case Makers, now in the collections of The Henry Ford.THF169525
James Ashley received some acclaim for his invention. Ashley’s Champion Egg Case Maker earned a medal (and, reputedly, the high praise of judges) at the St. Louis World's Exposition in 1904. And in 1908, The Egg Reporter – an egg trade publication that Ashley advertised in for more than a decade – described him as “the pioneer in the egg case machine business” (“Pioneer in His Line,” The Egg Reporter, Vol. 14, No. 6, p 77).
While the machine in the The Henry Ford’s collection no longer manufactures egg cases, it still has purpose – as a keeper of personal stories and a reminder of the complex ways agricultural systems respond to changes in where we live and what we eat.
Saige Jedele is Associate Curator, Digital Content, and Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford. For more information about James K. Ashley and his Champion Egg Case Maker, see Reid’s related article in Midwest Open Air Museums Magazine, Spring 2018.
In the early 21st century, the threat of global warming and the end of cheap gas worried many drivers. Among drivers’ options was buying a gasoline-electric hybrid such as this Prius. The hybrid concept was over 100 years old, but new technologies made it practical. Hybrids cost more but reduce fuel consumption, which leads to lower emissions.
Toyota introduced the Prius in Japan in 1997 and then worldwide in 2000. The price was steep for a compact, but tax credits offset some of the cost, and drivers got a little environmental peace of mind in the deal, too. THF206198
One of the selling points of modern hybrid cars is that computers do all the work. But many owners like monitoring the car’s operation on the in-dash screen and enjoy minimizing fuel usage. This image shows the dashboard of a 2004 Prius. THF101127
Toyota pointed to the Prius as proof of its commitment to the environment. This 2001 advertisement highlighted the company’s efforts to refine its hybrid system in a continued “search for even greener forms of transportation.” THF205087
The Woods Motor Vehicle Company, established in 1899 as one of America's earliest automobile producers, was one of the biggest makers of battery-powered electric cars. But, by the early 1910s, the popularity of electric cars was waning. Gasoline-powered cars went farther on a tank of gas than electric cars went on a single battery charge, and filling an empty tank was easier and quicker than recharging batteries. These key shortcomings became more important as car owners drove their cars longer and longer distances. The Woods company sought to meet the challenge by building a car with two power-plants -- a clean, quiet, electric motor fed by batteries and an internal combustion engine fed by gasoline. The Woods Dual-Power automobile appeared in 1916.
Driving a Dual-Power was different from driving an electric or gasoline car. The driver manipulated levers to vary the balance between the gasoline and electric motors.THF103732
Driving a Dual-Power was considerably different from driving either an electric or a gasoline car. The driver began by moving a lever on the steering wheel to get the car rolling under electric power. When the car reached the speed of 20 miles per hour, the driver moved another lever to engage a clutch connecting the electric motor to the gasoline motor, starting the gasoline motor. By manipulating the levers, the driver varied the balance between the gasoline and electric motors; the car could run on both power sources at the same time, or either independently.
But the Dual-Power seemed to solve problems customers didn't have in 1916. The 48 miles-per-gallon figure claimed for the car meant little to a driver who could afford the Woods' $2,650 price. And the Woods' 35 miles-per-hour top speed was no better than a $740 Model T Ford sedan's. Woods didn't even advertise the Dual-Power's lower exhaust emissions, because automobile pollutants were of little concern at that time. It also seems that the Dual-Power was not as smooth and trouble free as the ads and brochures suggested. Woods re-engineered the car for 1917, but potential buyers were not impressed. The Dual-Power -- and the Woods Motor Vehicle Company itself -- vanished in 1918.
Ratchet forward to the 1990s. Automakers around the world were confronted by rising gasoline prices and stringent regulations on tailpipe emissions. Japanese giant Toyota set out to design a new car that dramatically improved gas mileage and dramatically reduced exhaust emissions. Toyota engineers probably never heard of the Woods Dual-Power, but in 1994 they settled on a dual-power design, combining a small gasoline engine with batteries and an electric motor. The first hybrid Toyota Prius went on sale in Japan in December 1997, and in the United States in August 2000.
Operating a Prius was simple -- a sophisticated computer system controlled both the electric and gasoline motors, smoothly shifting power between the two.THF91042
Although the Prius drivetrain was similar in principle to the Dual-Power's, operating a Prius was much simpler. The driver merely turned the ignition key, pulled the transmission selector lever into "D," stepped on the gas, and drove away. A sophisticated computer system controlled both the electric and gasoline motors, smoothly shifting power between the two. Sometimes the computer system used the gasoline engine to recharge the batteries. It even shut the engine off when the car stopped and started it up again as needed. The Woods engineers would have given their eye teeth for such technology. Woods sales staff might have given their right arms for the Prius' popularity.
Toyota's Prius hybrid sold well in Japan and even better in the United States. By 2005, Prius accounted for nearly 10% of Toyota's American sales. Part of that popularity was due to Prius' reliability, good performance, and considerable amount of interior room for its size. Part was due to Prius' excellent gas mileage -- over 40 miles-per-gallon on the highway and over 50 mpg in stop-and-go traffic. But it could take several years for savings on gasoline to make up for the several thousand-dollar price difference between a Prius and a comparable, conventional Toyota Corolla -- even with federal tax subsidies for hybrid cars.
For many people, what a car doesn't do -- use lots of gasoline, emit lots of pollutants -- has become as important as what it does do. THF205087
What really sold many people on the Prius was environmental responsibility. Driving cars with lower emissions and higher gas mileage was The Right Thing To Do, whether it reduced out-of-pocket expenses or not. Furthermore, driving a Prius told the world that you were Doing The Right Thing. The Prius became hip, especially among intellectuals and celebrities. Movie stars took to arriving at the Academy Awards in Priuses rather than limousines to demonstrate their concern for the environment. Even after other car makers such as Ford, Honda, Saturn and Nissan added hybrids to their lineups, the Prius retained its cachet.
The stories of the Dual-Power and Prius tell us that the definition of what we want an automobile to do is always evolving. Yes, we want cars to take us where we want to go. And taking us there in high style, or high comfort, or at high speed is often still important. But, for many people, what a car doesn't do -- use lots of gasoline, emit lots of pollutants -- has become as important as what it does do.
Bob Casey is The Henry Ford’s former Curator of Transportation. A version of this post originally ran in March 2007 as part of our Pic of the Month series.
While the concept of the e-bike has been around since the 1890s, it was not until the 1990s that battery, motor, and materials technology had advanced to the point where motorized bicycles became practical. While fully motor-driven units do exist, most e-bikes are of the “assist” variety. The rechargeable battery-powered motors on these bikes aren’t intended to replace muscle. Rather, they deliver a boost on steep hills or provide a few moments’ rest for a fatigued pedaler. The motors supplement rather than supplant human effort.
The Henry Ford acquired its first examples of electric-assist bicycle technology in 2017, with two prototype bicycles from Ford Motor Company’s Mode:Flex project. This 2015 initiative came out of the company’s efforts to position itself as a “mobility provider” for a post-car future. With the millennial generation returning to cities and, to some extent, turning away from automobiles in favor of public transit and other alternative forms of transportation, Ford charged teams of designers and engineers to create prototype bicycles specifically tailored for its automobile customers.
One of two Mode:Flex units acquired by The Henry Ford in 2017, this prototype bicycle is fully functional and capable of carrying a rider. Made of mostly steel, it weighs around 80 pounds – considerably heavier than a typical road bike’s 20-30 pounds. Bruce Williams, who led the Mode:Flex project, contended that the weight could be halved by using different materials if the bicycle ever went into production.THF172635
The Mode:Flex team – led by Bruce Williams, a Senior Creative Designer who had previously worked on the redesign of Ford’s F-150 pickup – developed a concept for a jack-of-all-trades bicycle that is easily disassembled for compact storage in any Ford vehicle. The front and rear ends are interchangeable between city, road and mountain bike configurations. (The bike’s seat post, which houses its 200-watt electric motor and rechargeable battery, remains the same in any configuration.)
The Mode:Flex connects to an app that controls the electric-assist motor; operates the LED headlight, taillight and turn signal (inspired directly by the units on the Ford F-150); and provides speedometer and trip odometer functions, navigation assistance, and real-time traffic updates. Running in “No Sweat” mode, the app monitors a user’s heart rate. When the heart rate climbs, the bicycle’s electric motor kicks in with a corresponding level of assistance, allowing novice bikers to ride to work in standard office attire (rather than Lycra or Spandex).
This non-functional mock-up of the Mode:Flex bicycle was largely created from thermoplastic materials rendered on a 3D printer. Built for promotional display purposes only, it lacks a working motor and is unable to support the weight of a rider, but it clearly illustrates the Mode:Flex bike’s foldability. THF172637
While the Mode:Flex could be used as a commuter’s sole mode of transportation, it is particularly geared toward those making multi-modal commutes. Someone might drive in from a distant suburb, park in a satellite lot outside the urban core, and then bike the “last mile” to work, shopping or entertainment. The bicycle’s app is designed to work seamlessly with an owner’s car as well. It can lock and unlock doors, monitor gas mileage or electric vehicle charging, track parking locations and perform other similar functions. The bicycle’s battery can be pulled out for remote charging or connected directly to a Ford vehicle’s electrical outlet.
The Mode:Flex bikes in The Henry Ford’s collection are concept prototypes, and Ford has no immediate plans to put them into production. Nevertheless, they represent concrete efforts by automakers to broaden their product lines and customer bases in response to evolving trends in personal transportation.
Matt Anderson is Curator of Transportation at The Henry Ford.
George Washington Carver at Tuskegee Institute, 1939 THF213730
George Washington Carver’s commitment to knowledge, serving the community, and making a difference drove his work as an influential agricultural scientist.
Carver loved plants as a child and studied them his entire life. Despite the many challenges he faced, he earned degrees in agricultural science and gained international recognition for his work.
In 1896, Carver began his 47-year career at Tuskegee Institute, a university in Alabama committed to educating African-Americans. There, he taught agricultural science, managed the school’s experimental farm, and researched better farming practices.
One of the many bulletins Carver produced to help southern farmers THF288047
Carver shared his knowledge through practical instruction, “how-to” publications, and a mobile classroom. His research became the basis for lessons on improving the health and nutrition of the soil as well as the health and well-being of people and the livestock they tended.
Carver understood that farm families who raised cash crops like cotton had little time to grow food for themselves and no extra money to buy it. He identified hundreds of new uses for undervalued food crops like peanuts and sweet potatoes, which increased market opportunities and improved diets.
An interactive digital experience in Henry Ford Museum features the stories of Luther Burbank, Rachel Carson, and George Washington Carver.
Learn more about Carver’s remarkable career in Henry Ford Museum of American Innovation, where a new digital experience in the Agriculture & the Environmentexhibit explores
Bulletins produced by Carver to help southern farm families
Carver’s work to create nutrient-rich soil needed to grow healthy crops
Weeds – an untapped food source Carver liked to call “nature’s vegetables”
New products Carver developed from crops southern farmers already grew
In 1916, gasoline was cheap, and no one cared about tailpipe emissions. But this hybrid wasn’t about fuel prices or pollution. Woods Motor Vehicle Company built it to capture new customers. Sales of the company’s electric cars were falling as more people chose gasoline-burning cars. The Dual-Power supposedly combined the best of both, but customers disagreed. The car and the company disappeared in 1918.
This 1913 Woods Electric was much like other companies’ electric cars. Sales of all electrics—not just Woods—declined in the teens. THF103736
The 1916 Dual-Power’s gasoline engine and electric motor are under the hood, connected by a magnetic clutch. Its battery box is under the seat, toward the rear.” THF103732
Woods used surprisingly antiquated imagery in the logo for the Dual-Power. Perhaps the company was trying to assure potential buyers that its radical new car was as reliable as the familiar horse. THF103741
Events & Exhibits
Midwest Premiere Exhibition. Thousands of characters. Hundreds of creators. One experience beyond imagination.
Special Exhibits at The Henry Ford
Take a look at some of our resource roundups for past exhibits and special events at The Henry Ford: