In the early 1930s, tensions were running high between two competing news sources: newspaper publishers were feeling the strength of their monopoly slipping away as the public’s appreciation for radio news broadcasts grew. This time of conflict in communications history is known as “The Press-Radio War.”
Publishers felt especially threatened by the nimbleness of radio networks. Broadcasters could share breaking news immediately over the airwaves, rather than having to wait for the next day’s run of newspapers to be printed and distributed. At first, newspaper companies tried to boycott radio’s ability to grow into something more than just an entertainment medium by asking wire services to block the flow of newsworthy information to radio stations. But eventually, the two media formats settled into a truce by the late 1930s, partly owing to the demand for reliable information-sharing as the threat of World War II grew.
The Detroit News “autogiro” aircraft flies over the WWJ transmitter towers on the roof of the Detroit News building. The autogiro used a swiveling camera to take aerial photos of newsworthy events and quickly transported reporters to the sites of developing stories. /THF238502
Some newspapers saw the financial benefit in blending formats and went so far as to cut out the competition by starting their own radio news stations. The Detroit News was one of the first newspapers in the United States to incorporate a commercial radio station into its operations. In August 1920, WWJ (then owned by the Detroit News) launched its program of nightly broadcasts under the call sign 8MK. As of 2020, WWJ has been on-air for 100 years!
In this image, the Detroit News autogiro flies over downtown Detroit. The Penobscot Building—site for the News’s experimental W8XWJ station—appears in the foreground. The original vertical “whip” antenna is just visible on the ball that tops the metal tower. /THF239963
In 1936, the Detroit News launched experimental audio broadcasting station W8XWJ from the 47th floor of the Penobscot Building in downtown Detroit. W8XWJ was formed under the FCC’s ultra-high short-wave “Apex” station program, an experiment designed to provide listeners with higher quality AM signals. The station’s original 100-watt AM vertical “whip” antenna was attached to the beacon sphere that tops the metal tower perched on the roof of the Penobscot Building. The height of the Penobscot—the tallest skyscraper in the city at that point—helped to disperse the radio waves over the entire city. Many people are familiar with the glowing red beacon at the top of the Penobscot, but its connection to the growth of radio in the city is not as well known.
From 1938-1940, W8XWJ ran a fascinating but ultimately short-lived experiment with an emerging technology called “radio facsimile.” Customers would hook a special “radio printer” up to their own radio, which would print the news overnight while they slept. In the morning, the news would be ready to enjoy with morning coffee – no need to deliver a physical newspaper!
One of the original Finch Facsimile Transmitters from W8XWJ, complete with original station badge visible and a sample of a radio fax. /THF160295
At W8XWJ, a Finch Facsimile Transmitter was used to convert images and text into audio tones. These signals would arrive in customer’s home via radio waves, where their “radio printer” would translate the tones into human language. Everything would print out onto continuous rolls of thermal paper.
This is a Crosley Reado Radio Printer – the type of device that people would connect to their home radio and would receive their faxed newspapers on. When The Henry Ford conserved this artifact through an Institute for Museum and Library Services grant, our conservators were excited to find an example of a facsimile still on the drum inside the machine. In this image, you can see an original radio facsimile portrait of Boris Karloff, who was famous for his 1931 portrayal of Frankenstein’s monster.
The Henry Ford’s collections also include the original transmitter and amplifier that powered the W8XWJ station.
W8XWJ’s Western Electric 500 Watt Ultra Shortwave Transmitter and Amplifier. These two devices are visible in their original installation here. /THF173159, THF173165
The idea behind W8XWJ’s radio facsimile experiment was revolutionary, but the process was slow and fussy. It could take over 20 minutes to print a single page of news, and signal reception became unreliable beyond a mile or two away from the transmitter. In 1940, W8XWJ ended its radio facsimile project.
While the original “whip” antenna for W8XWJ was replaced by a FM antenna in the early 1940s, if you look toward the top of the Penobscot building today, there is a tangle of communication equipment visible from street level. And in the interesting way that the new and the old can merge and converge within the histories of technology, some of this contemporary equipment fulfills radio facsimile’s promise to provide easily accessible information—the top of the Penobscot now serves as an important hub for Detroit’s wireless Internet network.
Kristen Gallerneaux is Curator of Communications & Information Technology at The Henry Ford.
Trade Card for the Larkin Soap Company, 1900 / THF224516
As part of the William Davidson Foundation Initiative for Entrepreneurship, we had the opportunity to delve into the history of the Larkin Company. What began as a small soap manufacturing business in 1875 became one of the nation’s leading mail-order businesses by 1900. This post highlights the Larkin Company’s rise to popularity under the multi-faceted, ingenious marketing strategy known as “The Larkin Idea."
While the Larkin Company sold its products throughout the country, the company had special appeal for rural customers, offering a broader range of product choices than stores in nearby villages and towns. The company would eventually develop a distribution system, contracting with local deliverymen to deliver Larkin products right to customers’ doorsteps – rather than customers having to pick them up in town. In the early 21st century, people today welcome this same opportunity for conveniently delivered goods!
In 1875, having worked in the soap business for more than a decade, John D. Larkin created his own soap company in Buffalo, New York, called J.D. Larkin, Manufacturer of Plain and Fancy Soaps. This would later become known as the Larkin Company. The first product, made for laundry use, was a yellow bar known as Sweet Home Soap. Boraxine, a flaked laundry soap, quickly followed, and continued to be a signature item in product lists throughout the company’s history.
The first salesman for the company was Larkin’s brother-in-law, Elbert Hubbard. Hubbard was a skilled promoter and successful salesman, devising advertising strategies and boosting sales. In 1878, Hubbard was made a partner in the business, resulting in the company’s name change to J.D. Larkin & Company. With this partnership, Larkin oversaw the manufacturing of the products and Hubbard was placed in charge of advertising and promotion. One of the first strategies Hubbard adopted was offering a chromolithograph (color print) as a premium, or free giveaway, in each box of Boraxine. By 1883 – after additional products were added to Larkin’s line – Hubbard began offering finer premiums, such as a Japanese silk handkerchief in each box of “Elite” Toilet Soap.
Back of a Trade Card for J.D. Larkin & Co.’s “Elite” Toilet Soap, 1882 / THF296327
After years of “slinging soap,” Hubbard noted that direct sales to housewives were more profitable than selling to local merchants. The company was doing quite well – having distributors in every state east of the Rocky Mountains in its first decade – but Larkin and Hubbard believed that the company had even greater potential. In order to maximize profits, the company decided to eliminate all middlemen (including the sales force), thus entering the mail-order industry. The mail-order business was not new – Montgomery Ward & Company had made this popular a decade earlier. But in 1885, Hubbard developed a plan, called “The Larkin Idea,” that offered giveaways with the purchase of particular items from the company’s mail-order catalogs.
Page advertising Rugs as Larkin Premiums, in Larkin Company Trade Catalog, “The Larkin Plan: Factory-to-Family,” Fall and Winter 1917-1918 / THF298153
“The Larkin Idea” was simple: In cutting out all middlemen and selling Larkin products directly to housewives, the money that would have gone to the payroll of the middlemen would instead be used to create desirable premiums that would be given to customers with the purchase of Larkin products. This idea was encapsulated by the slogan, “Factory-to-Family,” and the tagline of “The Larkin Idea” became, “Save All Cost Which Adds No Value.”
Larkin Company Trade Catalog, “The Larkin Factory-To-Family Plan,” Spring and Summer, 1915 / THF297907
The first iteration of “The Larkin Idea” came in 1886 with the introduction of a Combination Box. By this time, the company was offering nine different soap products. At first, the Combination Box sold for $6, but a few years later, a $10 option emerged, offering enough products to last a family the entire year. The $10 Combination Boxes quickly gained popularity as customers could receive 142 products – 100 of those being Sweet Home Soap – and a free premium worth $10. Larkin also introduced a 30-day policy in which customers had 30 days to try a product before paying for it. This gave peace of mind to customers who wanted to try a product, risk-free, and also developed trust between the company and consumer. The public embraced “The Larkin Idea” with enthusiasm, ordering nearly 91,000 Combination Boxes a year!
Advertisement for Larkin Premiums, “A Practical Plan of Saving: The Larkin Idea Factory-to-Family Dealing,” 1906. / THF298080
By 1892, the company changed its name once more, to Larkin Soap Manufacturing Company. As the popularity of the Combination Boxes grew, Larkin sought to expand its product and premium offerings. In 1897, Larkin offered 16 products – including 14 different soaps, a cold cream, and tooth powder – and that number increased every year. This led to the company eventually dropping “soap” from its name to become the Larkin Company in 1904.
Did You Know?
After leaving the Larkin Company, Elbert Hubbard would go on to found the Roycroft community of East Aurora, New York, in the mid-1890s. At the Roycroft community, hundreds of artisans came to live and work as part of an Arts and Crafts utopian community. The Arts and Crafts movement encouraged quality craftsmanship of handcrafted works of simple form as a reaction to poorly made factory produced goods. With his marketing prowess and passion, Hubbard led the Roycrofters to become one of the most successful communities of the Arts and Crafts movement in America. Explore more on the Arts and Crafts movement on our blog and in this Expert Set.
With the success of the Combination Box and the increasing number of customers nationwide, the company introduced another facet of “The Larkin Idea,” which would prove to be invaluable: Larkin Clubs. Women across the country were encouraged to become Larkin Secretaries, and as such they would gather friends and family to purchase products together. A Club-of-Ten was encouraged to have all members buy $1 worth of products each month, and a different member of the club would receive a premium of their choice every month.
Advertisement for a Larkin Club-of-Ten in the Trade Catalog, “A Practical Plan of Saving: The Larkin Idea Factory-to-Family Dealing,” 1906. / THF298079
This Larkin Company infant swing/bed, was given to a woman by her sister, who sold Larkin products. (Gift of Ellen J. Adams) / THF174549
Women found a sense of pride in their participation in the clubs and enjoyed the social aspect of monthly meetings. At its peak, there were 90,000 Larkin Secretaries around the country. The Larkin Clubs were such a tremendous promotional force that the company stopped selling Combination Boxes in order to focus on its ever-increasing product and premium offerings. By 1905, the company began offering teas, spices, and additional foodstuffs among its products. Five years later, the company had added paints and varnishes, as well as rugs, clothing, and other textiles to its product line – along with 1,700 premiums to choose from, ranging from children’s toys to clothing to furniture. In 1915, the catalog featured 700 Larkin products spread over 33 pages, and offered 131 pages of premiums. One of the company’s advertising campaigns involved the idea that customers could furnish their entire house with Larkin products. This catalog for Larkin Wallpaper is an example of this idea in action.
Page showing a variety of Larkin products from the Trade Catalog, “The Larkin Home-Helper,” circa 1910 / THF297831
Larkin Premiums advertised in the publication, “My Larkin Clubs Earned These for Me,” circa 1912 / THF298076
Page from Larkin Company Trade Catalog, “The World’s Greatest Premium Values,” Fall and Winter 1930. The catalog from 1930 included one of the more unusual premiums Larkin offered - Hartz Mountain Canaries (guaranteed to sing) or a pair of mated Love Birds. Clickhereto view the 1930 catalog! / THF298067
As “The Larkin Idea” continued to gain popularity, the Larkin Company sought to bring those companies that produced the premiums under the Larkin umbrella. At its height, Larkin had over 30 subsidiary companies, and had furnished seed money to establish such businesses as the Barcolo Manufacturing Company, to produce furniture, and Buffalo Pottery to produce pottery and kitchenware. Since 1896, the company had begun expanding its manufacturing complex. This process continued through 1912, with 21 new structures built to accommodate the rapidly growing product and premiums list.
Deldare Candlestick, produced by Buffalo Pottery, 1911 / THF176916
Page from Larkin Trade Catalog, “Product and Premium List,” January 1908. The Larkin Administration Building, completed in 1906 in Buffalo, was designed by architect Frank Lloyd Wright. / THF297783
Beginning in 1905, the company established branches and warehouses – first in Cleveland, and then in Boston, Chicago, New York City, Peoria and Philadelphia. With this expansion, Larkin was able to better serve its customers across the country. Despite experiencing significant growth, by 1918 the company found it had a surplus of food products far exceeding demand. Unable to move the product fast enough through mail order or the Secretary system, Larkin created retail establishments called “Larkin Economy Stores” as a way to sell these products. By 1922, there were 103 stores in Buffalo and northwestern New York, as well as others near the additional branches.
Back cover from Larkin Company Trade Catalog, “Product and Premium List,” January 1908 / THF297811
“The Larkin Idea” had taken the company to significant heights. By the mid-1920s, however, the company was beginning to falter for a number of reasons. National chains like A&P grocery stores and Woolworth’s presented stiff competition. Automobiles made going shopping easier, causing mail-order businesses to become less popular. Perhaps the greatest influence in Larkin’s demise was World War I, which had brought many Larkin Secretaries out of their homes and into the workforce, weakening the Larkin sales structure. The crippling economy during the Great Depression also impacted the company.
Between 1924 and 1926, all of the company’s top leadership either retired or passed away, including Larkin himself. Having failed to pass along knowledge and nurture younger leadership, the company was left with little expertise, leading to the company’s gradual closing.
Cover for Larkin Company Trade Catalog, “The Larkin Plan, Factory-To-Family,” Fall & Winter, 1917-1918 / THF298101
In 1939, the decision was made to stop manufacturing soap products, and two years later the manufacture of all products and premiums ceased as well. With an abundance of remaining inventory of both products and premiums, the Larkin Company was still able to fill orders until 1962.
What had started as a small soap manufacturing company became prominent enough to hold its own despite the tremendous popularity of mass-marketers, like Sears, Roebuck and Company, and Montgomery Ward & Company. Through innovative marketing strategies and an entrepreneurial spirit, the Larkin Company experienced significant growth in a short period of time, finding its way into households across America.
Samantha Johnson is Project Curator for the William Davidson Foundation Initiative for Entrepreneurship at The Henry Ford. Special thanks to Jeanine Head Miller, Curator of Domestic Life at The Henry Ford, for sharing her knowledge and for reviewing this content.
We are truly living in unprecedented times. On Friday, March 13, 2020, The Henry Ford closed its doors due to the worldwide coronavirus pandemic. We did not open them again until Thursday, July 2—and even then, only on certain days, with many new guidelines in place about masks, social distancing, and capacity, to protect our visitors and staff. None of us predicted that we would remain closed for 16 weeks—but then, there is much happening now in the world that would have been difficult to predict.
One of the many unusual things that happened over that four-month period is that the most-viewed section of our website was our Digital Collections. While our online collections typically get tens of thousands of views each month, they’ve always fallen well short of our “Visit” section—until COVID-19 shut our doors. Between mid-March and late June, visitors viewed artifacts in our Digital Collections about 285,000 times. This whetted our curiosity about what artifacts people were looking at during our closure, and why—so we decided to put a list together and take a closer look.
The Quadricycle was the third-most viewed artifact in our Digital Collections during our pandemic closure in 2020. / THF90760
One group of artifacts that was not on last year’s list, but that was highly viewed during our closure (and since), is items related to the challenging history of race in America. Given the nationwide protests sparked by the death of George Floyd, many Americans are seeking to broaden their understanding in this area, which might explain this uptick in interest. A slave collar, a “Whites Only” drinking fountain, a Ku Klux Klan robe and hood, and an Emancipation Day photograph are all artifacts on exhibit in “With Liberty and Justice for All” in Henry Ford Museum of American Innovation illustrating this disturbing history—and all were sought out by hundreds to thousands of online visitors between mid-March and late June.
This slave collar was featured in an online article called “Why We Can’t Stop Thinking About George Floyd’s Neck.” / THF13425
Another group of items that seems pandemic-specific are documents and photographs from the World War II era. In George Washington Carver’s last agricultural bulletin, published in February 1942, he encourages Americans to consider wild plants (what many might call weeds) as an alternative to green vegetables, should the war cause shortages. In March, journalist Nicholas Kristof referenced our Willow Run expert set as an example of ramping up production in a short timeframe in a New York Timeseditorial about the coronavirus. Likely as a result, a B-24 Liberator bomber production flowchart and a photograph of a B-24 in flight made it into our top artifacts over this period. A “United We Win” poster speaks to both World War II and issues of race relations.
Ford Motor Company’s fast ramp-up of B-24 Liberator bomber production during World War II provides insight on the ramp-up of coronavirus testing and treatment supplies in 2020. / THF251440
The last pattern we noticed was the popularity of artifacts related to recent films, at a time when many Americans stayed at home and increased their movie watching. Three auto racing photos—including the single-most viewed item during our closure, this photograph of race car driver Ken Miles at the 1966 24 Hours of Le Mans—demonstrate the continuing popularity of Ford v Ferarri, the 2019 movie about that very race. This letter, allegedly from Clyde Barrow to Henry Ford, has been popular ever since last year, when Netflix released The Highwaymen, a movie about the race to apprehend Bonnie and Clyde. During our closure, it was the fifth-most viewed artifact in our online collections.
This portrait of Ken Miles at the 24 Hours of Le Mans Race in 1966 was the most-viewed artifact from our Digital Collections during our closure. / LeMans06-66_441
It’s interesting to see patterns in views of our digital artifacts that map so closely to what has been going on in the world. To see if you can find any additional patterns we missed, check out the entire list of the most-viewed digitized artifacts during our COVID-19 closure here. And check out our Digital Collections for yourself—you might just find something there of value to you during these strange times.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
A display of quilts made by members of the Lincoln, Nebraska Modern Quilt Guild at American Quilt Study Group’s October 2019 Seminar. Photo by Jeanine Head Miller.
The 400 quilts in The Henry Ford’s collection, dating from the 1700s to the 2000s, represent quilting traditions of nearly 300 years--all reflecting the resourcefulness and creativity of their makers. Quilts were among the objects of everyday life that Henry Ford collected as he gathered objects for his museum. Since Ford’s time, The Henry Ford’s curators have continued to add to the collection, gathering quilts that represent diverse quilting traditions.
Quilts serve a practical purpose as warm bedcovers. Yet they are also inherently about design--from a simple traditional pattern to a unique motif crafted through the expert manipulation of pattern and color. While many quiltmakers have no formal training in design, they instinctively create attractive quilts that display their innate talents.
Quiltmaking has continued to evolve, reflecting new aesthetics and influences. An exciting, robust trend of the past 20 years has been the Modern Quilt Movement—a style of quiltmaking we are eager to add to our collection.
A display of quilts made by members of the Lincoln, Nebraska Modern Quilt Guild at American Quilt Study Group’s October 2019 Seminar. Photo by Jeanine Head Miller.
A wonderful opportunity arose. While giving a paper at the American Quilt Study Group’s October 2019 Seminar, I met Kristin Barrus, who was presenting a poster session on “Why Women Under 45 Quilt.” (Silent Generation and Baby Boomers created the quilt revival of the post-Bicentennial era. They were followed by GenX and Millennial quilters, many of whom have shaped and embraced the Modern quilt aesthetic.)
Kristin Barrus’s poster, presented at the American Quilt Study Group Seminar in 2019. Photo by Jeanine Head Miller.
Kristin, a graduate student studying Material Culture and Textile History at the University of Nebraska-Lincoln, is not only knowledgeable about the Modern Quilt Movement, she’s a modern quiltmaker herself. We were delighted to have Kristin join us this Spring for a remote practicum experience at The Henry Ford, conducting research on the Modern Quilt Movement to help us more fully understand its vibrant landscape. Her research will inform strategic additions to our collections: examples of modern quilts, printed materials reflecting the movement, and books on the topic. Part of Kristin’s research involves a survey of modern quilters.
Here’s Kristin to tell you more about the Modern Quilt Movement, and her research survey.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
Kristin Barrus. Photo by Alisha Tunks.
Hi, I’m glad to have this opportunity to tell you about my quilt research project! I started quiltmaking around 2003 in my twenties and got swept up with this new aesthetic called Modern quilting. I co-founded the Utah County Modern Quilt Group, which ran monthly for seven years in Lehi, Utah. While I taught at meetings, quilt shows and retreats, I realized I was more interested in watching the quiltmakers make connections with each other than with what came out of the other side of my sewing machine. (Although I do still love to make quilts!) The topic of my thesis for the University of Nebraska-Lincoln is the first study of QuiltCon, an annual convention for Modern quiltmakers.
Modern Trends, Kristin Barrus, 2017. A sampler quilt turned Modern by joining several popular quilt blocks together in a new layout. Photo by Kristin Barrus.
There is much to celebrate and investigate in 21st century quiltmaking. The Modern Quilt Movement is a sub-category within quiltmaking, bracketed at years 2000–2020 for the purposes of my research. Modern is a very broad and sometimes contested term, not just a new aesthetic. It’s also a new kind of experience in the contemporary quilt world. People come to Modern quilting not only to make quilts, as traditional quiltmaking guilds do, but to be a part of the energetic vibe that happens at Modern meetings, both online and in person. Often people who do not consider themselves Modern quiltmakers join because they love the inclusive comradery, mini quilt swaps and inspiration of the Modern Quilt Movement. Thus this popular phenomenon is identified not only by what Modern quilts look like, but also the type of person and the community involved.
The main design philosophy of Modern is exploration through bending or breaking unspoken—and sometimes spoken—traditional quilt rules. It relies on the use of technology such as blogs, Instagram and digital publications to connect across distances, initially building a vibrant community online. Because of the variety and dispersed nature of these makers, Modern quilting is complicated. The look of Modern quilts can include brighter color palettes in solids or prints, or quiet neutrals to create quilts with a strong graphic feel. Or it could just be a new twist on a traditional pattern. Other common aspects include, but are not limited to, large use of negative space, asymmetrical design and straight-line, rather than curvilinear, quilting.
Group Improv, Kristin Barrus & Sew Night Friends, 2018. An example of collaborative quilt design by seven women, using popular colors and fabrics. Photo by Kristin Barrus.
For my practicum at The Henry Ford, I will present a paper on “The Landscape of the Modern Quilt Movement, 2000-2020” next Spring. I will also recommend specific quilts from the movement to consider acquiring for The Henry Ford’s collection, as well as books on the topic. In the meantime, I will be conducting recorded interviews with key individuals from the movement to be included in The Henry Ford’s archives, as well as future research.
My project also includes a survey for Modern quilters. I am hoping to hear from anyone who has participated in Modern quiltmaking in any way, via an anonymous survey. I hope to capture what Modern means to the people who play a part in it: What do they feel Modern is? What are the trends and people that have influenced them? This data will help academia study what the Modern Quilt Movement is, as well as its impact on the lives of many people all over the world. The survey is anonymous, contains 15 questions and takes about 5–8 minutes to complete.
Tula Pink Millefiori, Kristin Barrus, 2017. A hand applique medallion quilt using motifs from popular fabric designer Tula Pink. Photo by Kristin Barrus.
Let Your Modern Voice Be Heard
If you have participated in Modern quiltmaking in any way, please consider taking the survey, or sending it to someone you know who makes Modern quilts. The lines between Modern and Modern-traditional quiltmaking are blurred and intersect often. As you answer each question, please reflect on what Modern means to you specifically, regardless of how anyone else defines Modern quiltmaking. You can access the survey here, or using the QR code below.
Kristin Barrus is a graduate practicum student at The Henry Ford.
A perfectly ripe tomato is a classic summer joy. But did you know that the growing of tomatoes has ties to many aspects of our history and culture? Curator of Agriculture and the Environment Debra Reid uses our collections to reveal the many facets of the tomato.
The tomato -- a little fruit -- has big lessons to teach.
Tomatoes Growing in a Home Garden, circa 1915 / THF252180
First, yes, that’s right. Tomatoes are, biologically, a fruit – a berry that matures on a flowering plant. As this circa 1915 stereograph explains, “at first they were only small green things that grew where the blossoms dropped off.” Yet, the small green fruit grew into a plump, juicy “culinary vegetable,” considered such because of its low sugar content. (For example, processors transformed the fruit into a spicy vegetable sauce – catsup! – the savory contrast to sweet fruit sauces like apple butter.)
The image above shows a boy named Bob and his two sisters amidst the tomato plants they raised from seed, proudly displaying plants loaded with fruit. The Keystone View Company included an educational message on the back of the stereograph to engage children with growing fruits and vegetables. Bob and his sisters planned to share their finest tomatoes with others during their school garden show. They became role models for other students sprouting seeds and planting seedlings and then weeding and watering their crops.
By growing tomatoes, these children learned about domestication, the process by which humans select seed from bigger or tastier fruits or from plants that survive a disease or a drought. They cultivate these seeds (planting, weeding, harvesting, saving seed, and replanting year after year). This results in cultivars, each with different shapes, textures, colors, flavors. Over generations, humans have created more than 10,000 tomato cultivates by saving seed from their best tomatoes.
Why do tomatoes come in so many different shapes, sizes and colors?
Tomatoes in the background and white eggplant in the foreground of the wheelbarrow. Photograph by Debra Reid, taken Saturday, August 15, 2020, at the kitchen garden at Firestone Farm.
Evolution resulted in distinctive varieties, but humans have also picked good-tasting fruits to propagate. (See how many different cultivars this proud gardener grew in the mid-1940s!)
The historic gardens in Greenfield Village include heritage cultivars documented in historic sources and saved through traditional seed saving. Three tomatoes often grown at Firestone Farm (pictured above) include Red Brandywine, Oxheart and Yellow Pear.
As demand for quality seeds grew during the second half of the 19th century, commercial seed businesses flourished. Companies such as Hiram Sibley & Co. contracted with growers to produce seed in clearly marked packages for customers to purchase. In addition to illustrations of the cultivar, the packet included descriptions of the qualities of the fruit, as well as best practices of cultivation (often in more than one language).
Noted plant breeder Luther Burbank (1849–1926) crossed varieties to create hybrid cultivars that did not exist in nature. He sought disease resistance as well as a meaty tomato that had more pulp than seed – the meatier the tomato, the heartier the sauce! Some of Burbank’s varieties are still sold today.
Charles C. Hart Seed Company "Burbank Slicing Tomato" seed packet, circa 2018THF276144/THF276145
Twentieth-century concerns about food quality and nutrition led to the popularity of seeds like “Double Rich,” which were certified organic and yielded tomatoes with twice the Vitamin C!
You can learn more about organic cultivation and its relationship to the plant breeding process from the U.S Department of Agriculture’s (USDA) Organic Integrity Database, and about biotechnology, including hybridization, from this USDA glossary.
Have you ever wondered who grows the tomatoes sold in cans or bottles?
Product label for tomato catsup by Heinz, Noble & Co., 1872-1873THF117246
Anyone with yard space enough can grow tomatoes. Yet, by the time home gardeners like Bob and his sisters planted their crop in the early 20th century, many urban Americans wondered what a vine-ripened tomato tasted like. Why? Because tomatoes could be easily processed into affordable packaged products, and most urban consumers paid clerks in general stores to pick tomatoes off the canned goods shelf.
Workers harvest tomatoes at a Heinz tomato farm near Salem, New Jersey, 1908 / THF252058
Companies like the H. J. Heinz Company contracted with farmers to meet the demand for canned goods and catsup. Their production far exceeded the yields of home gardens. Heinz ensured success by growing seed tomatoes from which the best seeds became the basis for the next year’s crop. The company maintained a network of greenhouses to start the plants that growers put in the ground.
A rapid, careful and organized tomato harvest and transport led to high-quality processed foods. A sense of urgency dictated the harvest season, which began with careful picking and packing of the delicate and perishable fruit in special crates and baskets. It continued as laborers moved the full containers from fields to shipping points. Specially designed wagons and baskets reduced stress on the ripe fruit during transit. Only the best tomatoes made the journey to H.J. Heinz plants. Laborers discarded damaged fruit into barrels and packed others into baskets for shipment.
Shipping tomatoes by boat, H. J. Heinz Company, Salem, New Jersey, circa 1910 THF292108
Transporting tomatoes from truck farms to Heinz processing plants sometimes involved sailing vessels loaded with ripe fruit. At the height of harvest, barges carried loads of tomatoes from farms to processors. Growers in Salem, New Jersey, used the Salem River, a tributary to the Delaware River, to send crops to processing centers near large east coast markets, including Philadelphia and New York.
Mass production of tomatoes did not make home gardening obsolete.
Man inspecting tomato plant in Victory Garden, June 1944 / THF273191
In fact, times of economic hardship increased the general public’s interest in growing their own tomatoes. During the Great Depression, Henry Ford dedicated 1,500 acres of Ford Farms land (between Birmingham and Flat Rock, Michigan) to vegetable gardens. Ford Motor Company employees could sign up to tend a garden plot and retain the produce. Interest in growing tomatoes remained high during World War II, largely through the U.S. government’s Victory Garden program.
Tomatoes have been at the heart of economic conflict between growers and laborers. California growers produced 85 percent of tomatoes canned in the United States by 1940. The larger the fields, the more urgent the need for laborers to harvest a crop that quickly moves from maturity to rot.
Most large-scale growers relied on migrant agricultural laborers at harvest time. They worked for wages determined by the grower and did not receive protection under legislation passed during the New Deal that established minimum wage, maximum hours and workers’ compensation. Instead, growers had legal protection to hire agricultural laborers for wages below the legal minimum and were exempt from compliance with maximum hour and overtime regulations. This meant that laborers had to work until the perishable crop was completely harvested.
Edward R. Murrow’s 1960 news report, Harvest of Shame, increased attention to the plight of U.S. agricultural laborers along the East Coast. Then, in 1965, Filipino-American laborers, members of the Agricultural Workers Organizing Committee, launched a strike to protest pay and working conditions. Latino pickers, members of the United Farm Workers Association, joined with them, and began a five-year strike in and around the grape fields of Delano, California. Consumers increasingly sympathized with the laborers on whom growers of other perishable crops depended.
Mechanical tomato harvesters became commercially viable in the context of this successful strike. When the FMC Corporation introduced its Cascade Tomato Harvester, Model 69W, in 1969, it advertised the machine as the savior of a multi-million-dollar crop and the preserver of the American people’s eating habits. The machine did not eliminate humans from the picking process, but it sped it up. FMC explained that it “picks a crop at the rate of nine tons per hour and cuts the cost of handpicking by 40 to 50 per cent.” Crews who operated the machine included a driver, a mechanic, and ten to twelve individuals who rode on the machine and removed debris from the picked tomatoes. This machine carried crews through midwestern fields, last on a farm near Grant Park, Illinois, between 1983 and 1990, which produced for the Heinz catsup factory in Muscatine, Iowa.
Changing harvesting practices required changing the form of tomatoes, too. Mechanical engineers believed the shape of San Marzano tomatoes would suit harvester belts. Plant breeders spent 30 years cross-pollinating tomatoes (including the San Marzano) to create a new hybrid that tolerated mechanical harvesting. In addition to uniform size and firmness, the fruits had to all mature at the same time on one plant, and they had to come off the vine easily.
Could scientists really slow the aging process? Microbiologists at Calgene, Inc. began research with that goal in mind in 1981. Their work paid off by 1988 with the “first commercially available genetically engineered whole food,” the Flavr Savr™ tomato. Genetic modification had shut down a protein that ripened fruit. It resulted in a tomato that could “last up to four weeks in a non-refrigerated state” (Martineau, pg. 4). An assessment of safety of the genetically modified tomato published in 1992 determined that the Flavr Savr™ remained a tomato and was food. (It bears mentioning that genetically modified tomatoes tend not to be listed in the Cultivated Plant Code because they derive from lines still being developed.)
Page from Safety Assessment of Genetically Engineered Fruits and Vegetables: A Case Study of the Flavr Savr™ Tomato from The Henry Ford's library.
Hungry for more on this little fruit with big impact?
The Acme tomato in the Firestone Farm garden, August 21, 2018. Photograph by Debra A. Reid.
The Henry Ford has resources to help you explore the complete tomato trajectory to date.
See tomatoes growing in three gardens in Greenfield Village (Firestone Farm, Ford Home, and Mattox Farmhouse). And, learn why there are no tomato plants in the Daggett house garden!
Charles, Daniel. Lords of the Harvest: Biotech, Big Money, and the Future of Food. Perseus Publishing, 2001.
Dreyer, Peter. A Gardener Touched with Genius: The Life of Luther Burbank. Rev. Ed. University of California Press, 1985.
Hersey, Mark D. My Work is That of Conservation: An Environmental Biography of George Washington Carver. The University of Georgia Press, 2011.
Martineau, Belinda. First Fruit: The Creation of the Flavr Savr™ Tomato and the Birth of Biotech Food. McGraw Hill, 2001.
Redenbaugh, Keith and William Hiatt, Belinda Martineau, Matthew Kramer, Ray Sheehy, Rick Sanders, Cathy Houck, and Donald Emlay. Safety Assessment of Genetically Engineered Fruits and Vegetables: A Case Study of the Flavr Savr™ Tomato. CRC Press, 1992.
Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford.
American homes in the Victorian period were designed to showcase their owners’ good taste. This is the Wright home in Greenfield Village, where brothers Wilbur and Orville Wright grew up in the 1880s and 1890s.
As the “best” room, parlors were meant to show the family’s good taste to honored guests, so decoration was carefully arranged. This photo, probably taken by Katharine Wright, sister to Orville and Wilbur, documents the room in the 1890s.
The Firestone Farmhouse, where Harvey Firestone was raised, is also in Greenfield Village. Here is the parlor as curators interpreted it to the mid-1880s. Notice the conscious profusion of pattern, ornament, and what we would call clutter.
Dramatic changes in taste came through the work of English reformer, William Morris. Morris sought to change society by creating the first interior design firm, Morris & Company. Probably his most important design was this reclining chair.
Morris despised “overwrought” decoration. He wanted to return to the simple design of the pre-industrial world. He wanted to reunite the arts with the crafts, destroyed by industrialization. This came to be called the "Arts and Crafts" movement. Ideals of the Arts and Crafts movement were adopted by American tastemakers in the 1890s. Gustav Stickley published a popular magazine called The Craftsman, and marketed a line of furniture, including his version of Morris’ chair.
Stickley advocated simpler, less fussy interiors, with multi-purpose rooms, for less formal living. The concept of the living room was born on the pages of Stickley’s The Craftsman magazine.
This brochure for wallpaper shows the most up-to-date Arts and Crafts interior available to Americans in 1912. As the title says: "A Well Decorated Home is a Potent Aid to Contentment & Happiness." The hall flows into the living room.
Architect Frank Lloyd Wright took these ideas further with his Prairie houses, where rooms flowed into one another, and exteriors took their cues from the surrounding landscape. This is an unexecuted design for Henry Ford’s Fair Lane Home.
Textiles were an integral part of the Arts and Crafts interior. Designers emphasized the use of stylized botanical motifs, such as roses, which harmonized with furniture, ceramics, and artwork. The ideal was to create a unified interior environment.
This tile was intended to be a part of a larger composition, perhaps lining a fireplace, where the turtles would follow in a line from head to tail. The effect was intended to harmonize with an Arts and Crafts interior environment.
Detroit's Pewabic Pottery was founded in 1903 as part of the American Arts and Crafts movement. This vase represents naturalistic oak leaves in high relief from the surface of the vase. The matte glaze is typical of Arts and Crafts pottery.
After World War I, interest in the Arts and Crafts waned, as Americans looked toward other styles like the Colonial Revival and new Art Deco for their homes. However, the concept of the multi-purpose living room persisted.
In the post-World War II era, most American homes featured a comfortable living room. In this Christmas 1962 snapshot, note the Victorian rocking chair on the right and the recliner, an updated version of the “Morris” Chair, at the left.
This has been a whirlwind tour of American interiors through the 19th and 20th centuries. If you’d like to learn more about the Arts and Crafts movement, check out this Expert Set and other artifacts within our Digital Collections.
Charles Sable is Curator of Decorative Arts at The Henry Ford.
In the years following the introduction of the automobile, women had few chances to challenge prevailing, gendered beliefs about their place behind the wheel. But where limited opportunities did exist, women seized them. They competed in organized races and reliability tours, volunteered for motor service during World War I, and drove to rally support for women’s suffrage.
This 1867 music sheet (00.4.183) was dedicated to Elizabeth Cady Stanton, Susan B. Anthony, George Francis Train, Lucy Stone, and other “advocates of female suffrage.” / THF93144
We often hear the names of Elizabeth Cady Stanton and Susan B. Anthony in connection with the early struggle for “woman’s suffrage,” which we know more commonly today as “women’s suffrage”—the right of women as American citizens to vote. What is lesser known is that the early women’s suffrage movement began within the context of the broader struggle for women’s rights and it involved many more people—men as well as women, Black as well as white.
This scene of domestic bliss from an 1880 trade card (89.0.541.1270) for parlor stoves belies the fact that women at this time lacked basic rights. / THF224913
Women’s Rights, Denied
Into the early 20th century, women were not considered entities with rights separate from men. They could not vote, serve on a jury, testify in court, or hold public office. If married, it was illegal for women to sign contracts, inherit property, keep or invest their own earnings, have automatic rights to their children (even after a divorce or if their husband died), or make a will without their husband’s consent. It was very difficult for them to get divorced from an abusive husband or have a profession other than that centered around home and children. Furthermore, they were expected to stay out of public matters—centering their lives around family and home, obeying their husbands, and behaving at all times in a refined, polite way.
Abolitionist literature like The American Anti-Slavery Almanac for 1840 (2005.0.17.1), produced by and for northern abolitionists, often featured provocative covers depicting the brutality of slavery. / THF7209
Breaking Early Barriers
During the early 19th century, a few strong women began expressing their views about the rights of women as separate from men. Many of the early women who spoke out were white, educated, middle-class members of the Society of Friends, or Quakers. Members of this religious sect not only accepted women as equals to men but also saw it as their duty to seek justice for all. Lucretia Mott, one of the organizers of the 1848 Seneca Falls Convention, was Quaker. Susan B. Anthony, who joined the movement a bit later, also had a Quaker upbringing.
Many of these women had also long championed the abolition of slavery. In this they found allies in men as well as Black women. It was as advocates for this movement that these women got practice attending and speaking out at meetings. They paved the way for other women.
The title of this ca. 1851 oil painting (59.124.1) is “The Temperance Pledge,” referring to an important component of the temperance movement that involved signing a document in public promising to abstain from alcohol. / THF119917
Some of the early women’s rights advocates also championed temperance reforms—that is, an organized effort to encourage abstinence from, or at least moderation in, the consumption of intoxicating beverages—especially hard liquor. Excessive drunkenness, especially by men, was threatening the stability of many families (in 1830, consumption of alcohol was three times the current norm) and women led the charge to battle this. Elizabeth Cady Stanton and Susan B. Anthony were both temperance movement reformers before they became women’s rights advocates.
Elizabeth Cady Stanton was a leader in the struggle for women’s rights and an early advocate for women’s suffrage (98.94.18). / THF6584
A Few Voices Lead to Many
The Seneca Falls Convention of 1848 was the first official public forum for discussing women’s rights. But suffrage was never the main or the only goal there.
Lucretia Mott met Elizabeth Cady Stanton (who had recently married abolitionist Henry Stanton) at the World Anti-Slavery Convention in Great Britain in 1838, just as that country had ended slavery. They found they shared similar views and kept in touch after that. During a conversation when Mott visited Stanton’s hometown of Seneca Falls, New York, in 1848, Stanton’s feelings of oppression as a wife and mother came tumbling out. The two decided to call “a convention to discuss the social, civil, and religious conditions and rights of Woman.”
In July 1848, Mott, Cady Stanton and nearly 300 other attendees—men as well as women—gathered in Seneca Falls, including well-known self-emancipated orator and editor Frederick Douglass. James Mott, Lucretia’s husband, chaired the meeting, as women felt they lacked the experience as well as the knowledge of parliamentary procedure. Cady Stanton, possessing a gift for writing, had drafted a Declaration of Sentiments for the meeting, not unlike those presented and discussed at anti-slavery conventions at the time. But it was her genius to use the language and legitimacy of the Declaration of Independence, modifying the phrase “all men are created equal” to “all men and women are created equal.”
Self-emancipated abolitionist Frederick Douglass was an early champion for women’s suffrage (96.68.1). / THF210623
At the meeting, the attendees discussed the 18 grievances and 11 resolutions that Cady Stanton had drafted in her Declaration. But it was the resolution “that it is the duty of the women of this country to secure to themselves their sacred right to the elective franchise,” that led to the longest debate and greatest opposition. To most people at the meeting—women as well as men—the idea of women voting seemed far-fetched, ludicrous, even illogical. Cady Stanton defended it, claiming (what seems so obvious to us today) that women needed political rights to be able to make other gains through legal means. The resolution almost failed, until Frederick Douglass spoke fervently in its favor. It passed by a small margin—the only resolution adopted that was not unanimous.
Emancipated oratorSojourner Truth championed women’s rights along with abolition (96.72.1). / THF121160
The Seneca Falls Convention gave rise to numerous other women’s rights conventions that emerged over the next decade, in New York, Pennsylvania, Ohio, and Massachusetts. It was in Akron, Ohio, in 1851 that emancipated orator Sojourner Truth—best known for speaking out against slavery—gave her first known speech on women’s rights. She would continue to appear at many women’s rights conventions and give valiant service to the movement. It was also during this time that Susan B. Anthony assumed a leadership role in the women’s rights movement.
These conventions gave women practice in airing grievances, building consensus, and establishing alliances and friendships. Abolitionist support dominated these discussions, as the slavery issue heated up through the decade. There was no consensus about women’s suffrage. In fact, women’s suffrage was barely an issue on the table at convention after convention.
This 1867 cover of Harper's Weekly (2005.16.2) shows Black freedmen lining up to cast their ballots. Congress had recently approved measures allowing African Americans the right to vote—a right later ratified in the 15th Amendment. / THF11673
An Unfortunate Split
Only after the Civil War did women’s suffrage become the primary goal of the women’s rights movement. However, two factions split over how to achieve it. According to Angela P. Dodson in “Remember the Ladies”: Celebrating Those Who Fought for Freedom at the Ballot Box (2017), this “fissure” sundered alliances, strained relationships, diffused energies, squandered resources and stalled progress, and it took decades to heal.
The Revolution (2005.14.1), a newspaper distributed by the National Woman Suffrage Association (NWSA) and edited by Elizabeth Cady Stanton, featured essays supporting NWSA’s agenda. / THF277269
Although many women’s rights advocates supported the passage of the 13th Amendment formalizing emancipation, the dissension started with passage of the 14th Amendment (guaranteeing equality to all “male citizens”) and especially with the passage of the 15th Amendment (giving Black males the right to vote). In retrospect, it seems obvious that Black enfranchisement in the South was in peril if lawmakers didn’t act quickly and it was simply not judicious to fight for two difficult causes at the same time—Black freedmen’s rights and women’s rights. However, some women, including the vocal Elizabeth Cady Stanton, did not see it that way. These women felt they had fought long and hard for both abolition and women’s rights, and they felt they deserved their due.
It was at this time that women realized they needed to advocate for a national amendment calling for “universal suffrage” and began referring to themselves as suffragists. This would have been the perfect time for a national organization to push this agenda, and one was attempted at the 1866 National Woman’s Rights Convention, led by Susan B. Anthony. But there was almost immediately a division in the ranks—leading to two competing organizations. Stanton and Anthony formed the National Woman Suffrage Association (NWSA), working specifically for the enfranchisement of women and opposing the 15th Amendment. At the same time, women’s rights advocate Lucy Stone organized the American Woman Suffrage Association (AWSA) in support of the 15th Amendment and working toward a broader coalition (her group ultimately received more support). These two groups competed for allies and support for the next 25 years, weakening each other’s success and forcing each of them to work harder for state-by-state support rather than working together to fight for a federal amendment.
During the struggle for women’s suffrage, many men and some women strongly opposed the notion of women voting, as evidenced by this ca. 1910 button (2004.117.1). / THF8518
In 1869 and 1870, respectively, the Wyoming and Utah territories granted women the right to vote (primarily to attract settlers), while an amendment granting women the right to vote was finally brought to Congress beginning in 1878. But none of these actions engendered wider support, and many people (both men and women) continued to oppose women’s suffrage on many fronts.
During the early 20th century, suffragists often appealed to potential voters by distributing items with symbolic imagery, such as this ca. 1910 button (2004.116.1). / THF155862
A New Generation Takes Charge
It would take a new generation of women, lacking the painful memories of the reason for the rift in the first place, to take up the fight. These women reunified the group by forming the National American Woman Suffrage Association in 1890 (NAWSA) and creating new strategies for state and national support. This was also a time for Black women—who had played a modest role in the previous organizations—to form their own organizations that could champion women’s rights and women's suffrage, including the National Association of Colored Women in 1895 and the National Association for the Advancement of Colored People (NAACP) in 1909. Prominent leaders like Ida Wells-Barnett and Mary Church Terrell arose to lead other Black women in support of these causes. Unfortunately, white suffragists did not always welcome their help—in fact, some were willing to sacrifice this support to pacify Southerners and court their support for the ballot.
Alice Paul’s extremist tactics included aiming strong messages directly at President Wilson, as seen in this small handheld flag (2005.3.1) from about 1916. / THF8533
Two different kinds of leaders emerged during the early 1900s, for the final push to the 19th Amendment—Carrie Chapman Catt, the lobbyist, and Alice Paul, the agitator. Catt and Paul strongly disagreed with each other’s tactics, but neither would have succeeded without the other. Their different strategies offered women from all walks of life a way to get involved—organizing parades, printing flyers, and getting people to sign petitions. Victory was not easy to achieve, but on August 26, 1920—72 years after the Seneca Falls meeting—the 19th Amendment granting women the right to vote was added to the Constitution.
During the Jim Crow era, most southern states had adopted poll taxes to keep Blacks from voting. The person who wore this button (2005.9.8) protested the injustice of paying to vote, which was finally abolished with the passage of the 24th Amendment to the U. S. Constitution (1964) and subsequent court rulings (1966). / THF 96541
The Struggle Continues
Unfortunately, the 19th Amendment did not guarantee equal voting rights to women. Racist laws and practices kept African American women as well as women of other disenfranchised groups—including Latinx, Indigenous, and Asian American women—from voting for decades. Voter suppression is, in fact, still an ongoing issue today.
The Equal Rights Amendment (E.R.A.) finally passed both houses of Congress in 1972, but it was not ratified in enough state legislatures for approval (2001.76.1). / THF153507
Returning full circle to the larger issue of women’s rights, an Equal Rights Amendment was drafted in 1923—only three years after the 19th Amendment was ratified. Although it received much attention in the 1970s and early 1980s, it has never passed.
The struggle for women’s rights, including women’s right to vote, continues today.
Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford.
In recent months, we previewed a new virtual experience that we’ve created in partnership withSaganworks, a technology startup from Ann Arbor, Michigan. Today, we are happy to officially launch this experience for you to interact with!
A view of the Produce Industry section, featuring items from the Detroit Publishing Company Collection, the Label Collection, and photographs of Entrepreneur-in-Residence Melvin Parson’s time at The Henry Ford.
What we’ve created is a Sagan: a virtual room capable of storing content in a variety of file formats, and experienced like a virtual gallery. The Henry Ford and Saganworks have partnered together to use this Sagan to highlight some of the work the museum has done under the auspices of theWilliam Davidson Foundation Initiative for Entrepreneurship, which focuses on providing resources and encouragement for the entrepreneurs of today and tomorrow. Through this grant, we have been given the opportunity to examine some of our collections through an entrepreneurial lens, digitizing thousands of artifacts and sharing these stories through blog posts, expert sets and interviews with our Entrepreneurs in Residence. Our Sagan highlights these entrepreneurial stories and collections, displaying a sampling of objects we’ve digitized and content we’ve created all in one place – starting with those related to our collecting themes of Agriculture and the Environment and Social Transformation.
Text panels, like the one seen here, are featured throughout the Sagan to provide information about the items you’re seeing in that section.
As previously mentioned, our Sagan is experienced like a virtual gallery with objects and photographs arranged on the walls – similar to an exhibit. Unlike an exhibit, however, the Sagan does not have extensive labels throughout. Instead, one brief text panel can be found in each section of the Sagan describing the collection within that space and how it relates to entrepreneurship.
Once you’re in the Sagan, you’ll have the opportunity to move throughout the space using the arrow or WASD keys on your keyboard and can scan the room by right-clicking and dragging your mouse in the direction you want to view. (Laptop users can hold the “control” key and use the trackpad to scan the room as well.) Within the Sagan, you’ll find photos and documents that we’ve digitized as part of the Initiative for Entrepreneurship. To view an item up close, select the artifact and click on the description that appears or double-click the artifact itself. On tables throughout the Sagan, you’ll also find digital content elements, such as blog posts and artifact sets, that provide further context. Double-clicking these elements will take you to the blog or set on The Henry Ford’s website.
This stack of vinegar barrels was customized and created by Saganworks exclusively for The Henry Ford’s Sagan.
One of the exciting features we were able to incorporate within our Sagan is 3D artwork customized for The Henry Ford by the talented artists at Saganworks. Our 3D artwork includes an orange tree, fruit crate stands with life-like fruit, pickle barrels, and a larger-than-life stack of vinegar barrels, representing the vinegar products sold by the H.J. Heinz Company. Also visible within the space are virtual furniture pieces created by Saganworks and available to anyone who uses the program to help customize a space and create a mood within each room.
There are tons of furniture options to help furnish your virtual space from bookshelves and couches to sculptures and decorative artwork.
So what else makes The Henry Ford’s Sagan extra special? Our collections, of course. Items from the following collections are featured within our Sagan:
Production – Entrepreneur H.J. Heinz entered the processed food industry in 1869 when he began selling horseradish out of his family home. Upon achieving success, his product line quickly expanded to include other products, such as pickled foods, condiments, and preserves. The items shown here document the production aspect of the H.J. Heinz Company, including photographs of the farms where the fruits and vegetables were grown and harvested, as well as images of the factory where the items were processed and packaged and the employees who worked there. The featured content element describes a Heinz employee notebook we found in our collection.
Marketing – H.J. Heinz was at the forefront of creative marketing. He rarely missed an opportunity to market his “57 Varieties” – a catchy slogan he created despite offering a line of more than 60 packaged food products. A prolific promoter, Heinz aimed to reach consumers in stores, at home, and everywhere in-between. The items shown here document the many advertising strategies of the H.J. Heinz Company, including streetcar advertisements, trade cards, labels, advertising drawings and illustrations, and photographs of elaborate grocery store displays. The featured content element explores other aspects of H.J. Heinz’s entrepreneurial journey.
Richard J.S. Gutman Diner Collection – The American diner is recognized as an icon of roadside architecture and entrepreneurial enterprise. The items shown here come from the collection of Richard J.S. Gutman, the leading expert on American diners. Photographs, trade catalogs, menus, and matchbooks help tell the story of innovation and entrepreneurship from the craftsmen and designers who built the dining cars to the owners and operators who served customers every day. Explore further by visiting the press release,finding aid or the artifacts we’ve digitized from the collection.
Recipe Booklet Collection – Recipe booklets allow us to examine the changing eating habits of Americans and discover early products from some of the well-known companies in the food industry today. For many companies, recipe booklets were a method of marketing, offering creative uses for their products. Featured content elements include a history of the Jell-O Company and an opportunity to browse the booklets from the entrepreneurial companies included in this section. Explore further by visiting the finding aid or the artifacts we’ve digitized from the collection.
Detroit Publishing Company Collection – The Detroit Publishing Company (1895–1924) was an entrepreneurial venture that produced, published and distributed photographic views of the world. The company’s photographers captured images ranging from the exotic to the ordinary, including special events, everyday activities, infrastructure, various industries and views of cities and countrysides. The images shown here document the West Coast fruit industry, including photographs of the fields and groves where the fruit was grown, and images of the fruit being packaged and crated for shipping. Explore further by visiting the collection record,finding aid or the artifacts we’ve digitized from the collection.
Label Collection - Labels are important advertising tools that inform customers what a product is, who produced it and where it comes from. As competition increased within the West Coast fruit industry and the canned food industry in the late 1800s, labels and brand identification became even more important. The labels shown here include some of the entrepreneurial companies within our larger Label Collection. Featured content elements explore the history of labels, the process of lithography (how labels were made) and the entrepreneurial journey of “The Fruit King.” Explore further by visiting the artifacts we’ve digitized from the collection.
Entrepreneur-In-Residence Program, Melvin Parson – Melvin Parson, founder of We The People Growers Association, was the Spring 2019 Entrepreneur in Residence at The Henry Ford, funded by the William Davidson Foundation Initiative for Entrepreneurship. Driven by his mission for equality and social justice, Farmer Parson uses vegetable farming as a vehicle to address social ills. The featured content element links to an interview with Parson where he shares his journey and mission to secure equality and social justice through urban farming. Explore further by visiting the artifacts related to Parson that we’ve digitized.
Visitors to our Sagan have the opportunity to click on individual items located on the walls or can interact with our content elements (blog posts and expert sets) throughout the Sagan. The content element featured here is an expert set of video clips from an interview with Melvin Parson, spring 2019 Entrepreneur in Residence at The Henry Ford.
Have we piqued your interest yet? Click here to explore our Sagan on your own (please note that this experience will be best in the Chrome browser on a desktop computer). After providing your name and email, you’ll be able to fully enjoy this new virtual experience we’ve created. Or, if you're on your mobile device, check out our narrated walkthrough right here:
This 1995 Kellogg’s Corn Flakes box (220.127.116.11) features Cornelius Rooster, a popular character logo since the late 1950s. THF302682
Perhaps it could only happen in western Michigan: the combination of religious fervor, fertile soil to grow grains that could be transformed into easily digestible breakfast cereals, and the spirit that one could accomplish anything with hard work and determination. Out of this world came John Harvey (J.H.) and William Keith (W.K.) Kellogg—two brothers who would transform the way that Americans ate breakfast. They were, unfortunately, often at odds. And they didn’t work alone. But, through their persistence and combined efforts, the dry cereal flakes they perfected would start a breakfast revolution.
Into the early 20th century, the American breakfast was often heavy, starchy, salty, and fatty—laden with leftovers from last night’s dinner, like cured meats, day-old biscuits, and lard-fried potatoes. No wonder that one of the most common complaints of the time was “dyspepsia”—a term that applied to a medley of stomach ailments, including constipation, diarrhea, heartburn, and indigestion. For the sick and the elderly, lengthy cooking of porridges or gruels was the only morning-meal alternative.
Seventh-day Adventist Tabernacle, Battle Creek, Michigan, 1914 (99.146.39). THF316219
The Kellogg brothers—John Harvey (1852-1943) and his younger brother Will Keith (1860-1951)—grew up in the close-knit community of Battle Creek, Michigan, a center for the Seventh-day Adventist Church. Members of this homegrown Christian religious sect not only believed in the connection between spiritual and physical health, but also that healthy living depended upon maintaining a nutritious vegetable- and grain-based diet.
Seventh-day Adventist leaders Ellen and James White hand-picked J.H. Kellogg to run their medical and health programs in Battle Creek, and ultimately sent him to the prestigious Bellevue Hospital Medical College in New York City. It was during his morning rush to classes at Bellevue that he began thinking about creating a nutritious, ready-to-eat cereal.
In 1888, Dr. John Harvey Kellogg authored this book (29.1119.14), aimed at explaining to young people, “in clear and simple language,” the structure and functions of the human body as well as his personal philosophy for healthful living. THF183317
Upon returning to Battle Creek in 1876, Dr. J.H. Kellogg assumed leadership of the Whites’ Western Health Reform Institute. But his vision was much larger than theirs, ultimately leading to his breaking ties with his Seventh-day Adventist backers. With the able (but underappreciated) assistance of his brother, Will, to run the business end of things, Dr. Kellogg turned the Whites’ once-modest institution into the grand Battle Creek Sanitarium. Nicknamed the San, this “university of health” would become a world-famous health resort, catering to the rich and famous (including Henry Ford) as well as the truly ill. At the San, Dr. Kellogg would profess and put into practice his long-held philosophy of “biologic living”—that is, the belief that correct eating and drinking, plenty of exercise, hydrotherapy, and the abstinence of tobacco would lead to a healthy mind, body, and spirit.
Corn Flakes loom large in thispostcard (94.82.4) showing the packing room at the Kellogg’s plant, about 1935. THF320131
The true origin of corn flakes is difficult to trace, as competing versions of it have been offered by Dr. Kellogg’s wife Ella (whose dedicated assistance was integral to the San’s food operations), his brother Will, other family members, and San employees. All agree, however, that it started with Dr. Kellogg’s correct hypothesis that a grain-based cereal would be easier to digest if the grain’s starch was broken down through a pre-cooking process. (Ironically, nutritionists now agree that easy digestibility is less healthful than the slower-to-digest high-fiber cereals that are so popular today.) Hours of experimentation and a little accidental fermentation finally led to the creation of an easily digestible flaked cereal made of wheat. Patients at the San loved it and mail-order demand (usually by former patients) soon exceeded supply. Dr. Kellogg felt that he had accomplished what he had set out to do.
Recipes for health foods that Dr. J.H. Kellogg served his patients at the San were featured in this 1928 booklet (95.174.22) aimed at the general public. THF17004
But his younger brother Will was far from done. Will saw a raft of competitors scrambling to introduce their own—often very similar—flaked breakfast cereals and making money off of their original idea. Whereas his brother, the doctor, was satisfied with continuing to produce healthy, nutritious foods for his niche group of patients, Will saw an opportunity to market a light, healthy breakfast cereal to a much larger public. After helping his brother rebuild the San following a devastating fire in 1902, he bought the rights to the flaked cereal and struck out on his own.
Will immediately made some changes to the initial cereal his brother was serving at the San. He replaced the wheat with cheap, plentiful, better-tasting corn, and added (to his brother’s horror) malt, sugar, and salt to make the cereal more palatable to the general public. In 1906, Will Kellogg founded the Battle Creek Toasted Corn Flake Company and the cereal we know today as Corn Flakes was born.
A postcard (99.146.41) of the Kellogg’s factory in 1914. THF316221
Will’s business acumen kicked in, as he embraced ever more sophisticated forms of advertising and packaging, as well as the most up-to-date machinery, factory practices, modes of communication, and distribution networks. By adding his signature to the front of each cereal box, he guaranteed the quality of his products to the public while also—once and for all—staking his claim to them. By 1909, the company was producing and shipping 120,000 cases of Corn Flakes every day!
The popularity of dried cereal flakes for breakfast was in part due to improvements in both safe-to-drink milk and electric refrigerators (as shown in this 1925 ad, 2019.0.3.1) to keep the milk cold. THF290841
During Will’s active years of running the company—from 1906 to 1939—Kellogg’s became a national and ultimately global brand. These years also coincided with the growth of self-service grocery stores—in which name brand products and eye-catching packages were key to customer purchasing decisions. The success of Kellogg’s cereals was also aided by improvements in safe, pasteurized milk and the increasing popularity of electric refrigerators to keep the milk fresh.
In 1949, consumers who sent in a Kellogg’s Rice Krispies box top and 15 cents could receive this Snap! cloth doll kit (72.177.618.1). THF300027
Through Will’s leadership, the company continued to embrace new methods of advertising—cereal box coupons and giveaways, catchy jingles and character logos, colorful print ads, recipe booklets, and radio advertising. By 1939, Kellogg’s controlled over 40% of the ready-to-eat cereal business in the United States and over 50% of the business outside the U.S.
The owner of this 1950s U.S.S. Nautilus submarine toy (2015.35.47) remembered sending in 25 cents and a box top from either Kellogg’s Sugar Smacks or Sugar Corn Pops to receive it through the mail. THF183318
After Will stepped down, the company continued the aggressive marketing for which it had long been known. TV commercials and sponsorships replaced those previously on radio. Facing stiff competition from other cereal companies after World War II, Kellogg’s veered from its traditional reputation for healthful cereals and introduced a succession of sugar-loaded cereals for the new Baby Boomer market. Iconic new character logos helped promote them, like Tony the Tiger (introduced with Sugar Frosted Flakes in 1952) and Toucan Sam (introduced with Froot Loops in 1963).
The interest in “natural foods” in the 1970s and 1980s included healthful grains that, ironically, Kellogg’s had initially promoted—like those in the bran cereals featured as ingredients in this circa 1982 recipe booklet (92.256.9). THF296229
For Kellogg’s and other cereal companies, pre-sweetened and classic cereals would dominate the market during the 1950s and 1960s. But, in 1972, following a trend toward more “natural” foods, a little-known company named Pet, Inc., achieved breakout success with its Heartland Natural Cereal. Mainstream cereal companies scrambled to introduce their own versions of “natural” cereals, including Kellogg’s contribution, Country Morning Natural Cereal (1975–80). The trend toward more healthful and nutritious cereals brought Kellogg’s full circle back to its roots and continues to be popular today.
The front of this 1990s Frosted Flakes box (18.104.22.168) both features popular character logo Tony the Tiger and alludes to Kellogg’s sponsorship of NASCAR. In keeping with the times, this pre-sweetened cereal also claims to be fat-free, cholesterol-free, and include nine essential vitamins and minerals. THF302680
Too few people today recall the names of the two Kellogg brothers who started the breakfast revolution with their toasted flake cereal some 120 years ago. But it is impossible to ignore the legacy of their contribution. Through their lifetimes, Dr. J.H. Kellogg promoted healthful living, while his brother, W.K., convinced consumers that breakfast was the most important meal of the day. Meanwhile, the familiar character logos and advertising jingles for which Kellogg’s has long been famous remain in our heads and hearts.
For more reading, see: The Kelloggs: The Battling Brothers of Battle Creek, by Howard Markel (2017) and The Great American Cereal Book: How Breakfast Got Its Crunch, by Marty Gitlin and Topher Ellis (2011).
Donna R. Braden, Senior Curator and Curator of Public Life at The Henry Ford, fondly remembers watching all those Corn Flakes commercials when Kellogg’s sponsored her favorite pre-teen TV show, The Monkees.