June Sears, Rosemary Dishman, and Dorothy Ford Discussing Women's Nutrition, May 1970 / THF620081
A food soldier is a person who fights for something many of us take for granted: widespread, consistent access to good nutrition. George Washington Carver can be described in this way and is familiar to us at The Henry Ford for his work with the peanut—and his friendship with our founder. Carver’s impact went deeper, including dozens of agricultural pamphlets designed to convey scientific farming methods to rural Black Americans. Food Soldiers: Nutrition and Race Activism, a new pop-up exhibit in Henry Ford Museum of American Innovation, looks at these pamphlets as a starting point for a topic with a consequential history in the 20th and 21st centuries. From our partners at Focus:HOPE to our Entrepreneur in Residence, Melvin Parson, this exhibit celebrates those who have made it their life’s work to ensure that everyone has the ability to meet this most basic of necessities.
Food Soldiers connects with Black History Month (February) as well as Women’s History Month and Nutrition Month (March). The exhibit is an on-site component to a larger initiative that includes digital and virtual elements. Debra Reid, Curator of Agriculture and the Environment, will build upon the themes in her blog post Healthy Food to Build Healthy Communities with one on Food Soldiers in coming weeks. You can also look forward to a live Twitter chat on the topic this month.
Food Soldiers is located near the 1930s kitchen in the museum and will be on view through March 31.
Bees—one short name for about 20,000 species of flying insects classified into seven families. All live within social communities that depend on strict work routines; all seek the same food sources (pollen and nectar); and all process their harvest and preserve it in hives built in the ground, in hollow trees, or in human-designed apiaries.
Bees help plants reproduce by facilitating pollination as they search for pollen and nectar to feed themselves and their young. This relationship has long served plants well—DNA research confirms that bees coexisted with flowering plants from their beginning 130 million years ago.
Bees and humans have a much shorter, but more emotional, relationship. As pollinators, bees provide a critical link between humans and their food source: plants. Over millennia, humans domesticated one species of bee, native to Europe, Asia, and parts of Africa, to satisfy their needs—Apis mellifera, the Western or European honeybee. As Europeans colonized North America, they imported honeybees and the crops that honeybees pollinated from the bees’ native ecosystems.
Illustrations of Apis mellifera, the Western or European honeybee / THF621311
Humans clustered hives of honeybees around orchards, grape arbors, and other areas of intense flowering-plant cultivation to ensure pollination. From the hives, they harvested honey—a natural sweetener that required little processing. The hives also produced honey, pollen, and bee venom, which had medicinal value. Beeswax was used to seal containers, produce candles, and create art. And queens from the hives propagated even more honeybees.
Group of beehives (apiary) designed for pollinating a grape arbor / THF621283
The Honeybee Hunt
Historically, honey-seeking humans learned to identify the location of an existing hive, usually in a hollow tree trunk. Some “baited” bees by setting out a little honey to attract a bee and following it back to its hive. This involved “lining” a bee—watching until it flew out of sight, moving closer to that location, waiting to see another bee in flight, and repeating the process. In short increments, this led honey-seekers to hives.
To secure their “own” honey supply and facilitate pollination of crops, humans sometimes moved existing hives closer to their gardens, orchards, and clover fields. They also hunted bee swarms. When a colony becomes too large, a queen will “hive off,” leaving with a portion of the hive’s population. (In the meantime, the remaining bees create a new queen to lead the original hive.) The departing bees swarm together near their former home, lingering only temporarily as scout bees search for a new nesting site. The reward for aspiring beekeepers who successfully encourage a swarm to take up residence in a hive of their own choosing is sweet.
Aspiring beekeepers lured swarms or moved existing hives closer to their crops and kitchens. / THF621285
Beekeepers first mimicked nature, luring swarms of bees into hollow logs much like the tree trunks they’d abandoned. Before long, humans devised prefabricated housing to keep pollinators close to gardens, orchards, and clover fields, and to keep honey close to the kitchen table. These hives, often grouped together in apiaries, took many forms, from simple boxes to highly decorated contrivances.
Manmade beehives ranged from hollow logs to simple boxes to complex, highly decorated inventions. / THF177143, THF172336, and THF172095
Some beekeepers made bee “skeps,” hives made of coiled rye straw held in place with a wooden splint, to house bees and protect honey stores. Skeps held real meaning for those who relied on them to house bees and protect honey stores. But bee skeps also took on symbolic meaning rooted in religious associations with worker bees and the biblical beekeeper, Deborah. Over time, skeps came to represent the industry of a productive household and the dependability of workers. Utah, known as “The Beehive State,” even adopted the coiled beehive as its official state symbol.
Some farm families made inexpensive skeps to house bees and protect honey stores. / THF177141
Medals awarded at the 1882 Cincinnati Industrial Exposition featured a bee skep (at bottom), symbolizing industry. / THF154061
During the mid-19th century, the U.S. Patent Office issued numerous patents for improved beehives. Arguably the most important went to Philadelphia pastor Lorenzo L. Langstroth in 1852 for his “Improved Mode of Constructing Beehives.” Langstroth's enduring contribution to beekeeping came through careful observation. He determined that bees naturally left a space of 3/8” between honeycombs (constructed within the hive to house larvae, honey, and pollen). Langstroth designed a beehive with 3/8” spacing (later coined the “bee space”) between the frames, sides, and bottom. This improved access, allowing beekeepers to remove and replace frames of honeycomb without harming bees, and more easily inspect for bee moth infestation, which could seriously damage a hive. The hive Langstroth devised, along with the guide he first published in 1853, revolutionized beekeeping, and Langstroth-style beehives remain standard today.
Lorenzo L. Langstroth’s careful observation of honeybees led to a revolutionary beehive design. / detail, THF621310
Careful spacing within Langstroth-style hives improved access for beekeepers and helped protect the bees. / THF172338
In Defense of Native Bees
Because they did not evolve in tandem with native plants, honeybees are not the best pollinators for all crops grown in North America. They seek nectar more than pollen to produce honey, and many plant blossoms do not produce enough nectar to mobilize honeybees. Native bees and other flying insects find blossoms of native plants—including tomatoes, cucumbers, pumpkins, avocadoes, and cranberries—more appealing than do honeybees, and they do a better job of moving pollen from blossom to blossom, ensuring fertilization. As a consequence, many market-garden and truck-farm crops (cabbage, carrots, squash, and melons), berries (strawberries, blackberries, and raspberries), and orchard crops (apples, pears, peaches, and plums) depend on native bees and other pollinators, even as honeybees play their role. All also pollinate crops that livestock eat (buckwheat and clover) and crops that produce fibers we use to make cloth (cotton and flax).
Native bees pollinate many food crops, including orchard fruits like pears. / THF293065
Vegetables, fruits, and other agricultural products result from the intimate relationships, millions of years in the making, between bees and the plants they pollinate. When colonists imported honeybees to North America, they introduced direct competition to different genera and species like squash bees, bumblebees, and solitary bees. Even today, humans’ special treatment of honeybees puts native bees at a disadvantage. As the disrupters of natural relationships, humans bear responsibility for creating a balance between honeybees and native species that are too often neglected in popular conversations. While we depend on honeybees for our honey supply, we depend on all pollinators to sustain our food system. To learn more, explore the U.S. Geological Survey’s documentation of native bees at the Native Bee Inventory and Monitoring Lab, check out this excerpt from Dave Goulson’s “A Sting in the Tale: My Adventures with Bumblebees,” or browse beekeeping-related artifacts in The Henry Ford’s Digital Collections.
This post was adapted by Saige Jedele, Associate Curator, Digital Content, from several write-ups on bees and beekeeping by Debra A. Reid, Curator of Agriculture and the Environment at The Henry Ford.
The Henry Ford acquires a poster portfolio as a way to document one of the largest protest movements in U.S. history
About half of the Signal-Return solidarity posters acquired by The Henry Ford.
“Justice Can’t Wait,” “Make Good Trouble,” “No Justice No Peace.” These are just a few of the messages that appear in a collection of letterpress posters recently acquired from Signal-Return printshop by The Henry Ford. In the history of well-designed posters, brevity of words and a strong visual impact work together to communicate messages at a glance. Boldly capitalized, imprinted in flat black ink on brown or white chipboard by the embossing strike of a printing press—these posters are meant to generate a feeling of urgency.
In early June 2020, Detroit’s nonprofit letterpress organization Signal-Return responded to the civil unrest sparked by the deaths of George Floyd, Breonna Taylor, Ahmaud Arbery, and others by producing free protest posters. The project was undertaken in solidarity with the principles behind the Black Lives Matter movement, with the intent that the posters would be carried by supporters in protests.
The remainder of the Signal-Return solidarity posters acquired by The Henry Ford.
Using social media to spread the word about their project, Signal-Return offered to create small batches of custom posters for the metro Detroit community, free of charge. As stated in their announcement, “The printing press has been, since its invention, a powerful tool of protest and an agent of change. Let us provide posters to aid in this effort.” Each recipient was asked to submit a concise five-word message through an online form. A few days later, the posters were ready for pickup “social distance style” across the roped-off front entry of the printshop. Many of these posters were visible throughout Detroit in the summer of 2020 at protests and taped to store windows, streetlight poles and freeway overpasses.
Signal-Return Letterpress Shop, Detroit, Michigan, June 2020 / THF610910
By September 2020, Signal-Return’s director, Lynne Avadenka, counted a total of 168 individual requests. Some requests repeated popular protest language of the day, while others were entirely unique and personal. Thanks to Signal-Return’s donation, The Henry Ford has acquired a portfolio of 44 examples as a way to document one of the largest protest movements in the history of the United States. The method by which they were acquired—called “rapid response collecting” by museum professionals—allows museums to collect stories of current events and major moments in history as they unfold.
Kristen Gallerneaux is Curator of Communications and Information Technology at The Henry Ford. This story was originally published in the January–May 2021 issue of The Henry Ford Magazine, available on Issuu.
Stone Cold Systems Ice-Less Vaccine Refrigerator, 2018 / THF185488
People might think that curators look at objects in the same way. In fact, every curator at The Henry Ford has a different background and range of expertise, and we interpret things through a varied set of lenses.
Take, for example, an artifact in The Henry Ford’s collection that is related to a top-of-mind subject right now—vaccines. We were asked to offer two interpretations of the Stone Cold Systems Ice-less Vaccine Refrigerator, a 2018 IDSA (Industrial Design Society of America) winner (you can find out more about The Henry Ford’s relationship with IDSA here). Here are our thoughts.
Katherine White, Associate Curator, Digital Content:
At its best, design solves problems. Good designers are problem solvers, creatively working through a problem’s constraints towards a competent solution. When I first became familiar with this artifact, the Stone Cold Systems Ice-Less Vaccine Refrigerator, I was taken with its functionality and potential for social impact, all wrapped in a sleek case. This vaccine refrigerator, built within a siren-red carrying cage, aims to improve vaccine distribution to hard-to-reach locations.
The invention of vaccines has had an incredibly positive impact on global health. The World Health Organization estimates that 2–3 million deaths globally are avoided due to immunizations each year. But, perhaps surprisingly, vaccines can be fragile. They often need to be kept at a stable temperature (usually cold) without exposure to light or significant environmental fluctuation. The efficacy of the vaccine could be compromised should these factors not be met. The journey from the scientist’s laboratory to the arm of someone in New York City is a long one—and an even longer journey should that someone live in a rural area or developing country.
Stone Cold Systems Ice-Less Vaccine Refrigerator Quick Start Guide / THF621440
This vaccine refrigerator aims to increase access to immunizations, regardless of where one calls home. It utilizes a more reliable iceless thermoelectric cooling technology and is rechargeable by multiple methods, including solar energy, so can be used anywhere. Although developed prior to the global COVID-19 pandemic, its future in fighting the pandemic is clear.
The late design critic Ralph Caplan is noted as saying that “design is a process of making things right.” Creation of a product which facilitates access to effective immunizations for all people—even far from a modern hospital building—is certainly one way to make things right.
Donna R. Braden, Curator of Public Life:
This vaccine refrigerator immediately brought to mind the recent research I’ve been doing on Dr. Alonson Bingley Howard, a 19th-century country doctor whose office is now located in Greenfield Village. At the time Dr. Howard was practicing medicine (1855–83), people didn’t understand the nature of germs and contagion, or that diseases were transmitted this way. As a result, infectious diseases—like cholera, tetanus, yellow fever (or malaria), measles, dysentery, scrofula, and typhoid—were the leading causes of death at the time. These often reached epidemic proportions and people constantly feared that they, or members of their families, might contract them. But, without knowledge of what caused and spread disease, or modern pharmaceuticals (including vaccines), safe drinking water, and improved sanitation facilities, 19th-century country doctors constantly fought an uphill battle.
How relevant this is, I thought, to our lives today—to the COVID-19 pandemic; to people fearing they or members of their family might contract the virus; to our current knowledge of germs and our understanding that washing our hands, cleaning surfaces, and wearing masks reduces their spread; and to our hopes for combatting this disease through the application of successful vaccines.
Stone Cold Systems Ice-Less Vaccine Refrigerator, alternate view / THF185489
What about those deadly infectious diseases of the 19th century that Dr. Howard was attempting to treat, like cholera, yellow fever, and typhoid? One might assume they have disappeared—but they haven’t. Many of them still exist, especially in developing countries that have limited-to-no access to modern medical treatments, sanitation facilities, and vaccines. This refrigerator was, in fact, designed to hold vaccines where there is no electricity—in these very countries.
Katherine White is Associate Curator, Digital Content, at The Henry Ford. Donna Braden is Senior Curator and Curator of Public Life at The Henry Ford.
If we were taking a vote on the most overused word of 2020, my ballot would go to “unprecedented.” And yet it was indeed an unprecedented year, bringing us widespread social justice protests, an especially contentious presidential election, and, of course, a worldwide COVID-19 pandemic.
For the past several years (2017, 2018, and 2019), we’ve compiled lists of the most-viewed artifacts in our Digital Collections. Every year, there are differences between the lists, but there’s also always a lot of overlap. Given the extraordinary nature of this year, I was especially curious about what the 2020 list would look like.
On a very different note, several pairs of shoes and a number of cars (including presidential vehicles used by Dwight D. Eisenhower and Franklin D. Roosevelt) were new to this year’s list. If you visited us during 2020, you might have encountered COVID-19 precautionary “social distancing” floor markers in the Museum where lines were likely to form. These markers contained shoes, cars, or other highlights from our collections, along with QR codes, so that visitors could learn more about our artifacts while they waited. We were pleased to see that thousands of you did indeed use the QR codes to check these out!
If you’d like to explore the other top artifacts of 2020—or to find out what the most popular object of the year was—check out the full list in this Expert Set.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
Nowadays, we take photos what seems like, well—constantly. Let’s head back to an era when photographs were rare, and an affordable form of photography first made Its debut. Tintypes, the popular “instant photographs” of the 19th century, could be produced in a matter of minutes at a price most people could afford.
Silas McConnell, a Cortland County, New York, general storekeeper, with his daughter Louise, about 1875. / THF278362
Beginning in the mid-1850s, tintypes gave more people than ever before the chance to have a real likeness of themselves—capturing unique glimpses of how everyday Americans looked and lived. Tintypes democratized photography.
Koohns family of Perry County, Indiana, about 1890. / THF289961
There is no tin in a tintype. A tintype is a photograph made on a thin, black-painted sheet of iron. The thin metal of the iron plate probably reminded people of tin, leading to the popular name tintype.
A tintype is a reverse image of the person or scene that was taken directly from the camera. (Notice the reversed lettering on the bakery wagon below.) It looks like a positive print because of the dark color of the metal plate it is on.
L. Hamberger's Bakery Wagon, about 1880. / THF278482
Having your photograph taken was considered an event. People got dressed up and went to the tintype studio in their city or town to have their portrait made.
Mother and daughter in front of a painted backdrop, about 1885. / THF278436
What was a tintype photo studio like? Greenfield Village’s will give you an idea. Built in 1929, it’s designed to look like a small tintype photographic studio from the 1870s and 1880s. A tintype studio had many windows to provide maximum light for the photographer. A studio was equipped with cameras, equipment to develop the photographs, backdrops, and posing chairs.
People didn’t smile in early photographs—their expressions were more serious and formal. Early photography was heavily influenced by pre-photographic portraiture—people hadn’t grinned when having their likenesses drawn or painted, either. Having one’s image made was important occasion—it called for a more timeless expression.
As direct images, tintypes did not produce photographic negatives from which multiple copies of an image could be made. But tintype cameras could be fitted with multiple lenses, allowing several copies of the same tintype image to be produced at one time on a single sheet of iron. When multiple copies were made on a single sheet of iron, the images could be separated with a pair of tin snips and given to family and friends.
Tintype camera, used in Harry Patmore's Photographic Studio in Wyandotte, Michigan about 1882. / THF161617
Multiple images of a young boy probably taken in A.G. Metzger's photographic studio in Harleysville, Pennsylvania about 1895. / THF278490
In the early days of photography, the sitter needed to remain motionless. Any movement would result in a blurred area and an unusable image. A headrest cradled the head and kept it still during the exposure (probably about 10 seconds). As photographic equipment and processes improved, less exposure time was needed and headrests became obsolete. Photo studios also had special chairs with head braces to keep the head from moving.
Photographer’s headrest, used in Harry Patmore's Photographic Studio in Wyandotte, Michigan about 1882. / THF161050
Photographing infants and toddlers could be challenging. Some images show the mother’s hand, covered by a shawl, helping to steady and soothe the infant “off camera”—her arm would be covered by a decorative mat. If a child moved during the exposure, the image would turn out blurry. The tintype for the baby below turned out nicely—nestled into a chair, it was not in danger of tumbling over!
Photograph of an infant, probably taken in Indiana about 1865. / THF243420
The child in the tintype image below has been dressed in her best, bedecked with a necklace, and had her hair curled. Like this young girl, children were often photographed with toys—their own or perhaps studio props. Unlike today, having your child’s photograph taken was not a frequent event. For kids from families of modest means, just one photograph might be taken during childhood.
Girl seated at a table with her toys, about 1870. / THF278444
Some tintype customers—like this family—wanted their images enhanced with color. For an additional charge, red might be applied to give cheeks a rosy hue. Gold paint emphasized jewelry, buttons, or buckles.
Portrait of a family, with accessories accented with gold paint, 1860-1870. / THF277866
Tintypes—inexpensive and durable—proved to be of special value in the 1860 presidential campaign, when small tintype images of Abraham Lincoln (Republican candidate) and Stephen Douglas (Democrat candidate) decorated tokens, medals, and campaign pins. The use of photography in political campaigns was still unusual at the time—most campaign buttons did not yet include photographic images of the candidates.
Abraham Lincoln and Stephen Douglas presidential campaign tokens, 1860. / THF101182, THF128085
During the Civil War, many soldiers had their photographs taken in uniform—either at a studio before leaving home or in the field by photographers who followed the army. Quickly made, inexpensive and sturdy, tintypes could be left with loved ones or slipped inside a letter and sent through the mail. These images often captured a soldier’s pride in serving his country—and helped preserve his memory if he did not return home from battle.
17-year-old Civil War soldier Frank Stough of Elyria, Ohio, a member of the 128th Ohio Infantry, about 1865. / THF277880
Photograph albums—introduced in the very early 1860s—provided a way to organize, preserve, and conveniently view photographs of friends and relatives. The album below holds “gem” photographs, the smallest tintype at ¾ to 1 inch in size.
Outdoor tintypes were quite rare until the 1880s, when a new, more convenient dry-plate process replaced the earlier wet-plate process. Even with the challenges that outdoor photography presented (taking tintype equipment out of the studio and lack of ready access to a dark room to develop the image), photographs of outdoor scenes became more common.
Workers and horse-drawn wagons at a sawmill, 1880-1900. / THF278450
Tintypists sometimes traveled with their equipment from farm to farm, offering their services to rural customers, who assembled their family—dressed in their best clothing—and proudly posed in front of their homes. In the early 1880s tintype below, the Webster family is shown in front of their farmhouse in rural Delaware County, Ohio.
William and Corilla Webster, their daughters Lucy and Clarabel, and son William in front of their Delaware County, Ohio farmhouse about 1881. / THF97629
Work gave meaning to people’s lives—it was part of one’s personal identity. Many people sat for the photographer in the clothing they wore while working, holding objects that represented their occupation. In the first tintype below, the men worked as plasterers. The three men in the tintype below that also hold the tools of their trades—typesetter, butcher, and blacksmith. The blacksmith had the most challenging “prop” to bring to the tintype studio—a 200-pound anvil on a wood block!
Typesetter, butcher, and blacksmith, about 1880. / THF278446
Most occupational tintypes were of men rather than women—it was a male-dominated workforce during this time. But tintypes did capture images of those who worked for pay outside the home—women like factory workers, milliners, or domestic servants. The young women below worked in a textile mill, tending power looms.
Two textile workers holding spindles of thread, about 1870. / THF278406
For his portrait, the drygoods salesman below not only brought along “props”—thread, buttons, and fabric—from his retail establishment, but a “customer” as well.
Salesman displaying his wares, about 1860. / THF278414
People not only had tintypes taken of themselves at “work,” but also at “play.” This young man, dressed in his baseball uniform and holding a bat, headed to the tintype studio for a portrait. By the 1880s, when this tintype was taken, playing baseball was a popular sport in many American communities.
Group portraits were more complicated to capture than photographs of individuals. The photographer had more people to pose artfully—and then had to keep everyone’s attention during the several-second exposure. Images of outdoor leisure activities like the picnic below became more common in the late 1800s.
Group of women at a picnic, about 1895. / THF278356
Tintypes became less popular as new and better forms of photography replaced them. But traveling tintypists still found work at country fairs, summer resorts, and other vacation spots during the late 19th century—and well into the 1930s.
Photographer outside his studio, likely at a vacation spot or resort, about 1890. / THF146156
In 1901, Henry Ford’s family—wife Clara, son Edsel, and mother-in-law Martha Bryant—had their tintype taken during a trip to Niagara Falls, though the image itself was made in a nearby tintype studio in front of a painted backdrop.
Clara Ford and family “playing tourist” at Niagara Falls, 1901. / THF96764
Hope you enjoyed this look at tintypes. Don’t forget to strike a properly timeless expression should you meet up with this photographer!
Studio portrait of a photographer with his camera, about 1870. / THF122762
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
Cyclecars – slim, cheap cars with motorcycle engines – took the United States by storm starting around 1912. But most were poorly built and rattled to pieces on America’s rough, unpaved roads.
The cyclecar’s reputation was so bad by 1917 that Woods Mobilette carefully described this two-passenger Model 5A as a “light car” rather than a cyclecar. / THF84558
The Woods was, in fact, better built than its competitors. The 3-speed transmission surpassed the 2-speed units in most cyclecars, and the Inline-4 was bigger than the 2-cylinder motorcycle engines in competing vehicles. Woods promised that its gearbox caused “no clashing, no grating, no slipping or grabbing.” / THF84560
The company also offered a third seat – in reality, a folding chair – to turn the 5A into a 3-passenger car. But the base price for the little Woods was $20 more than a full-size Ford Model T. Small wonder that 1917 marked the final year for Mobilette production. / THF101167
This post was adapted from an exhibit label in Henry Ford Museum of American Innovation.
We all know that 2020 was quite the year—there was a worldwide pandemic, protests across the United States, and a contentious presidential election. It’s understandable that during the year, we all had a lot on our minds.
That said, we shared more than 160 new posts on our blog during 2020. Most of these were eagerly found and devoured by our readers. But a few really great stories from our collections might have gotten lost in the shuffle—and we wanted to make sure you didn’t miss them. Here are ten of those hidden gems to help you start off 2021 right.
The Jazz Bowl: Emblem of a City, Icon of an Age. Discover how a 24-year-old ceramic artist, Viktor Schreckengost, designed a bowl that both captured the essence of New York City in the early 20th century and became an icon of America’s “Jazz Age.”
A LINC console built by Jerry Cox at the Central Institute for the Deaf, 1964.
New Acquisition: LINC Computer Console. The LINC computer may not be as familiar to you as the Apple 1, but it is in contention for the much-debated title of “the first personal computer.” Learn more about its history and the people involved in its creation.
Immerse Yourself in Pop Culture
Lady and the Tramp Charm Bracelet, circa 1955 / THF8604
Lady and the Tramp Celebrates 65 Years. Take a new look at an old classic—Disney’s 1955 movie Lady and the Tramp. Learn how it came to be and share in some personal memories from one of our curators.
Crosley Reado Radio Printer, 1938-1940 / THF160315
Experiments with Radio Facsimile at W8XWJ. Learn about the “Press-Radio War” of the 1930s, and a revolutionary, but ultimately short-lived, experiment by Detroit News radio station W8XWJ to deliver print-at-home news.
A More Colorful World. Discover how a chemistry student, seeking to create a synthetic cure for malaria, inadvertently created the first synthetic dye, aniline purple—and then created more, transforming the world’s access to color.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
Most Americans weren’t very interested in small cars—until 1973, when Middle Eastern oil-producing countries cut back on oil exports. Gas prices skyrocketed in the U.S., and shortages led to long lines at service stations. Many people still wanted big American-style cars, but more and more actually bought small four-cylinder, front-wheel-drive, European-inspired cars like this Ford Escort. “The new world car” evoked the Model T’s slogan: “the universal car.”
Model Ts were built in 20 countries, on every continent but Antarctica. / THF104934
Ford responded to competition from small gas-sipping foreign cars by making an Escort for the North American market. Introduced in Europe in 1968, the Escort was built and sold in many countries, coming to the U.S. in 1981. / THF84548
Many Escort ads focused on technology that improved the car’s fuel efficiency, reflecting customers’ growing interest in improved gas mileage. / THF84549
This post was adapted from an exhibit label in Henry Ford Museum of American Innovation.
Fred Duesenberg set out to build an automotive masterpiece. Its superlative engineering included a 265-horsepower engine that could push the car to a 116-mph top speed. Duesenberg built only 481 Model Js between 1928 and 1935. No two are identical because independent coachbuilders crafted each body to the buyer’s specifications. Is it the world’s finest? One thing is certain--the Model J will always be in the running.