Early American Luxury at 2022 Old Car Festival

October 11, 2022 Archive Insight, Think THF

We observed a beloved late-summer tradition September 10–11, 2022, with Old Car Festival, our annual celebration of automobiles built between the 1890s and 1932. First held in 1951, Old Car Festival is the longest-running antique automobile show in the United States. (Though we should probably put an asterisk on that, thanks to 2020, when Old Car Festival—like most events—was canceled.)


Luxury was often synonymous with a higher cylinder count. Cadillac delivered with this 1915 V-8 touring car. / Photo by Matt Anderson

Each year, we turn our spotlight on a special make, model, individual, or theme. February 2022 brought the 100^th anniversary of Ford Motor Company’s acquisition of Lincoln Motor Company, so it seemed fitting to feature the broader subject of “Early American Luxury.” (We’d already celebrated Lincoln specifically at this year’s Motor Muster.) Certainly, this theme includes Lincoln, but it also encompasses names like Packard, Cadillac, LaSalle, Pierce-Arrow, and Peerless. These are the marques that defined the very term “luxury car” in the early decades of the 20^th century.


Detroit Central Market housed a selection of luxury vehicles from show participants and from The Henry Ford’s own collection. / Photo by Matt Anderson

This year was our first opportunity to incorporate the Detroit Central Market building into Old Car Festival activities. We took advantage of the spacious new structure to show select upmarket American cars drawn from show participants and from The Henry Ford’s own collection. Among the museum’s cars on view were a 1915 Cadillac Type 51 touring car, representing the first mass-produced V-8 automobile, and a 1923 Lincoln Model L touring car that once belonged to Thomas Edison. We also showed our 1922 Detroit Electric coupe. The little coupe might not have seemed so impressive alongside the big touring cars, but there was a time when electric automobiles were purposely marketed to well-to-do women.


This 1915 Packard Twin Six (Packard’s term for its V-12 engine) embodies our “Early American Luxury” theme. / Photo by Matt Anderson

Several magnificent participant cars rounded out our Central Market display. From Packard, we had a 1915 Twin Six touring car and a 1927 Series 626 sedan. From Franklin, we had a 1931 Series 151 sedan. Auburn—part of E.L. Cord’s Auburn-Cord-Duesenberg empire—was represented by a pair of beautiful 1929 models, including a cabriolet and one of the company’s beloved boat-tail speedsters. Our special exhibit wasn’t limited to exclusive marques. Luxury cars for customers of (relatively) more modest means were represented by a 1928 Studebaker President sedan and a 1930 LaSalle coupe.


Model T cars, wagons and trucks were everywhere at Old Car Festival, including this 1924 depot hack parked near Sarah Jordan Boarding House. / Photo by RuAnne Phillips

We had more than 730 vehicles registered for this year’s show. Automobiles, station wagons, trucks, bicycles, and even a few military vehicles were spread throughout Greenfield Village over the weekend. Visitors could enjoy the sights and sounds of a 1910s ragtime street fair along Washington Boulevard. They could attend a 1920s-era community garden party near Ackley Covered Bridge. They could watch the Canadian Model T assembly team put together a Ford automobile in mere minutes. Or they could hear about wartime struggles on the Western Front outside Cotswold Cottage. At the Ford Home, near the village entrance, Old Car Festival visitors could take in an exhibition of tractors and internal-combustion engines that took some of the backbreaking labor out of early-20^th-century farming. For festival participants in a matrimonial mood, our friends at Hagerty arranged a Drive-Thru Vow Renewals experience. Registered show-car owners could drive their antique vehicles past the makeshift altar in front of Edison Illuminating Company’s Station A and “re-light” their nuptials.


Martha-Mary Chapel provided an inspiring backdrop for cars on the Village Green. It also housed a series of special programs throughout the weekend. / Photo by RuAnne Phillips

Speaking of altars, Martha-Mary Chapel hosted several programs and presentations during Old Car Festival. Tom Cotter, author and host of the popular web series Barn Find Hunter, presented twice during the weekend. On Saturday, he went behind the scenes of his car-seeking show with “A Barn-Finding Life.” On Sunday, Cotter recalled the 3,000-mile journey chronicled in his book Ford Model T Coast to Coast. On both days, longtime festival participant Daniel Hershberger discussed early auto touring and roadside camping. Hershberger dedicated his talks to the memory of Randy Mason, a former curator of transportation at The Henry Ford who passed away earlier this year. Also on both days, historian Joseph Boggs looked at the fascinating relationship between automobiles and 1920s Prohibition. Cars factored into both sides of the equation—used by rumrunners and law enforcement officers alike.

Of special interest were two panel discussions on early American luxury cars, held on Saturday and Sunday. Through the generous support of the Margaret Dunning Foundation, we brought together three experts in the field: Bob Casey, retired curator of transportation at The Henry Ford; David Schultz, president of the Lincoln Owners Club; and Matt Short, former curator at the Auburn-Cord-Duesenberg Automobile Museum and former director of America’s Packard Museum. Our panelists discussed the innovators, manufacturers, and automobiles that defined luxury motoring into the 1930s. Their Sunday session was livestreamed and can be viewed here on The Henry Ford’s Facebook page.


Select participating vehicles at Old Car Festival were judged for various class awards. From those winners, one grand champion was selected each day. / Photo by RuAnne Phillips

Visitors may not be aware of a special distinction (apart from chronology) that separates Old Car Festival from our Motor Muster show. Participants at Old Car Festival can choose to have their vehicles judged by a team of vintage-automobile experts. The judges determine Vehicle Class Awards based on authenticity, quality of the restoration work, and care with which each car is maintained. First-, second-, and third-place prizes are awarded in 11 different classes. One overall Grand Champion is selected on each day of the festival. Additionally, two Curator’s Choice Awards are presented to unrestored vehicles, and guests and participants are invited to vote for their favorites in the People’s Choice Awards. The full list of our 2022 award winners may be viewed here.


Old Car Festival includes trucks, too. Commercial vehicles line Christie Street during the event. / Photo by RuAnne Phillips

Great crowds, good weather, and impressive vehicles made for a perfect show in 2022. While it’s always hard to say goodbye to summer, Old Car Festival is certainly a fine way to do it. We look forward to next year’s event already.


Matt Anderson is Curator of Transportation at The Henry Ford.

Michigan, Dearborn, 21st century, 2020s, Old Car Festival, luxury cars, Greenfield Village, events, cars, car shows, by Matt Anderson

Barney Korn: Tether Car Craftsman

October 5, 2022 Archive Insight, Think THF

In the 1930s and 1940s, race fans who didn’t have the budget or the bravery for full-size auto racing could find big thrills in small scale through the world of tether cars. These gas-powered model cars were raced by adults in organized competition. The models either raced against the clock, running in circles while tethered to a pole, or they raced against each other on a scaled-down board track fitted with guide rails.

The fastest tether cars topped 100 miles per hour—real miles, not scale miles—which explains another name given to them: spindizzies. (Imagine watching a little car zooming around a pole and the name makes perfect sense.) Though they look like toys, these models could be expensive. By the time you bought the car, the engine, the tools, and the accessories, you could be looking at more than $100—at a time when you could by a Ford DeLuxe Convertible for well under $1,000. At the hobby’s peak, some 25 major manufacturers and hundreds of individual builders produced tether cars. But few makers matched the skill and craftsmanship of Barney Korn.


Barney Korn’s skill was apparent from his high school days, as when he built this working engine in shop class. / THF160779

Bernard Barney Korn was born in Los Angles on April 24, 1903. He showed his modeling talents at an early age, building an elaborate water-cooled model engine as a project for his high school shop class. After high school, Korn honed his skills in part by working as a machinist for aviation innovator Howard Hughes, whom he joined in 1924.


One of Barney Korn’s “Indianapolis” models, with the hood removed to expose the single-cylinder gas engine. / THF157084

As tether cars became more popular, Barney Korn joined the booming business and formed B.B. Korn Specialty Manufacturing Company in 1939. His first production model, the “Meteor,” was also his rarest. Only 18 examples are known to have been made. The following year, Korn began production of his best-known and, many would say, best-looking model: the “Indianapolis.” Based on real Indianapolis 500 race cars of the time, Korn’s “Indianapolis” was handsome and well proportioned. It was a big model, with an overall length over 20 inches. Many were also exceptionally detailed. The “Liberty Special” car even had a working compass in its dashboard! But the “Indianapolis” was rare too. It’s believed that Korn produced fewer than 70 examples in total. Most featured rear-wheel drive trains and aluminum bodies, though a few had lightweight magnesium bodies. When materials were restricted during World War II, Korn mixed and matched aluminum and magnesium components as needed.


Korn’s working dynamometer measured engine performance in his model cars. / THF159749

Barney Korn used precision tools, molds, and patterns to build his model cars. In a particularly impressive feat, Korn even built a working dynamometer to test his cars’ performance. Like full-size dynamometers, Korn’s version was basically a treadmill for engines. It allowed a model car’s drive wheels to spin while the car itself remained stationary. Korn’s dyno measured the power and torque of the .60-cubic inch engine as it delivered power to the wheels. The little dynamometer was even adjustable to accommodate both front and rear-wheel drive models.


This unfinished Korn “Indianapolis 29” kit would have appealed to the budget-conscious tether car buyer. / THF162913

The B.B. Korn Manufacturing Company provided a few options for budget-conscious buyers. Instead of a standard “Indianapolis” model, they could purchase one of Korn’s “Indianapolis 29” cars. Everything about the “29” series was smaller—from the .29-cubic inch engines (source of the name), to the dimensions, to the all-important price tags. Those wanting to save even more could opt for an unassembled “Indianapolis 29” kit rather than a fully assembled car. With the kit, it was up to the buyer to finish rough edges on the balsa wood body, and to source an engine separately.

Barney Korn’s tether cars were beautifully made and carefully detailed, but that quality came at a price—in dollars and in performance. Korn’s models were too expensive for amateur hobbyists and too slow for serious racers. Poor sales made the B.B. Korn Manufacturing Company unsustainable, and it closed just a few years after it opened.

Barney Korn went on to a career in modelmaking for special effects work in films. His detailed miniatures can be seen in movies like To Please a Lady, a 1950 racing melodrama staring Clark Gable and Barbara Stanwyck, and Moby Dick, the 1956 adaptation of Herman Melville’s novel directed by John Huston. In the early 1980s, Korn even built a few improved versions of his original tether car designs.

Barney Korn died in Los Angeles on October 23, 1996, but his craftsmanship survives. Replicas of Korn’s models are readily available today, and originals are highly prized by collectors. It’s a proud legacy for a talented artist who some regard as the Leonardo da Vinci of the tether car hobby.

Explore Further

“Barney Korn: Tether Car Craftsman” expert set
“Tether Cars: Big Thrills in Small Scale” expert set
Driven to Win: Racing in America exhibit information
Artifacts related to tether cars in our Digital Collections


Matt Anderson is Curator of Transportation at The Henry Ford.

engineering, engines, making, Henry Ford Museum, Driven to Win, toys and games, by Matt Anderson, cars, racing

Celebrating the National Historic Vehicle Register

August 24, 2022 Archive Insight, Think THF

America’s car culture is a subject for music, movies, and postcards—and for serious study and preservation. / THF104062

There’s an exciting new changing exhibit in Henry Ford Museum of American Innovation. In partnership with our friends at the Hagerty Drivers Foundation, we’re spotlighting some of the nation’s most significant automobiles and trucks. Some of these vehicles introduced new ideas in engineering or design, others found glory on the race track, and a few lit up the silver screen. In all cases, these vehicles left a mark on American history important enough to earn them a place on the National Historic Vehicle Register.

We inaugurate this collaborative display with a car from the world of popular culture. For those of us who were teens in the 1980s, the movies of writer-director John Hughes were inescapable. Films like Sixteen Candles, The Breakfast Club, Weird Science, and Pretty in Pink captured the Reagan-era teenage zeitgeist—and timeless teenage angst—to a T. But for self-styled Gen-X slackers, one film in the Hughes catalog stands above the rest: Ferris Bueller’s Day Off.

There’s probably no need to summarize the well-known plot (see here if you disagree). Suffice it to say, high school senior Ferris (Matthew Broderick) convinces best friend Cameron (Alan Ruck) and girlfriend Sloane (Mia Sara) to join him on his own personal skip day through Chicago. The plot really gets rolling, so to speak, when Ferris convinces Cameron to let them take his father’s 1961 Ferrari 250 GT California on their adventures. It doesn’t end well. The Ferrari becomes the target of Cameron’s longstanding anger with his father, and its accidental destruction forces some serious interpersonal growth.


This (genuine) 1958 Ferrari 250 GT California was part of Henry Ford Museum’s 1965 Sports Cars in Review exhibit. / THF139028

We’re delighted to be able to exhibit that Ferrari. Well, not that Ferrari… the one that got destroyed. For that matter, what we’re showing isn’t even a Ferrari. It’s a 1985 Modena Spyder California—an authentic-looking replica built by Modena Design & Development in El Cajon, California. It’s one of three Modena replicas used in shooting the movie. (Even in the mid-1980s, a genuine Ferrari 250 GT was too valuable to risk in film work.) This beloved pop-culture car is a playful way to kick off our celebration of a serious project: the National Historic Vehicle Register.

The National Historic Vehicle Register has its roots in the Historic American Engineering Record (HAER). Established jointly in 1969 by the National Park Service, the American Society of Civil Engineers, and the Library of Congress, HAER documents significant sites and structures associated with America’s engineering and industrial history. According to established HAER guidelines, nominated structures are documented with written reports, photographs, and technical drawings. These materials are then deposited in the Library of Congress. Generally, a listing in the HAER does not, in itself, protect a structure from possible demolition. It does, however, “preserve” that structure for the future via HAER’s extensive documentary materials.

HAER has documented buildings, bridges, and even airplanes, but it’s never documented cars. Recognizing the need for some similar mechanism to record significant automobiles and trucks, the Historic Vehicle Association (HVA) was formed in 2009. Modeling itself on HAER, the HVA had four founding principles:

1. To document and recognize significant vehicles in a national register
2. To establish and share best practices for the care and preservation of significant vehicles
3. To promote the historical and cultural importance of motor vehicles
4. To protect automotive history through affiliations with museums and academic institutions, through educational programs, and through support of relevant legislation

The Historic Vehicle Association, in collaboration with the U.S. Department of the Interior, established the National Historic Vehicle Register (NHVR) in 2013 and, in January 2014, it added the first car to its list. HVA selected a 1964 Shelby Cobra Daytona Coupe, one of six built by Carroll Shelby and his Shelby American team to compete in sports car races. Apart from Mr. Shelby himself, the Cobra Daytona Coupe was also developed with legendary racing figures like Pete Brock, Ken Miles, and Phil Remington.


CSX2287, the first Shelby Cobra Daytona Coupe, won the 12 Hours of Sebring in 1964. Fifty years later, it became the first entry on the National Historic Vehicle Register. / THF130368

We should pause to note that, of necessity, the National Historic Vehicle Register contains individual cars. The register does not list the Cobra Daytona Coupe as a model. Rather, it specifically includes chassis number CSX2287—the first of the six built, and the only one built completely at Shelby American’s Venice, California, shop. CSX2287 won the GT class at the 1964 Sebring 12-Hour race, competing as number 10, with drivers Dave MacDonald and Bob Holbert. The car later set 27 national and international land speed records at the Bonneville Salt Flats, with Craig Breedlove at the wheel. CSX2287 is now in the collections of the Simeone Foundation Automotive Museum in Philadelphia, Pennsylvania.

Following its selection, the Cobra Daytona Coupe—like all subsequent vehicles on the register—was thoroughly documented for the NHRV. Specialists researched the car through written documents and spoken interviews, they photographed it from multiple angles, and they measured the car using sophisticated laser scanners. (You can learn more about the scanning process in this clip from The Henry Ford’s Innovation Nation.) The resulting materials were then sent to the Library of Congress for long-term preservation.

The Historic Vehicle Association was founded with philanthropic support from Hagerty, the world’s largest specialist insurance provider for historic vehicles. In more recent years, the work of the HVA has been folded into the Hagerty Drivers Foundation, which manages the National Historic Vehicle Register with the U.S. Department of the Interior.


The Marmon Wasp driven by Ray Harroun, winner of the 1911 Indianapolis 500. / THF229391

To date, more than 30 vehicles have been added to the National Historic Vehicle Register. There are celebrated race cars like the 1907 Thomas Flyer that won the 1908 New York to Paris Automobile Race, the 1911 Marmon Wasp that won the first Indy 500, and one of NASCAR’s “Fabulous Hudson Hornets” driven by Herb Thomas.


Volkswagen’s groundbreaking Type 2 Transporter is represented on the NHVR by a van that served a higher purpose: supporting Black Americans in the Civil Rights Movement. / THF105564

There are vehicles that participated in large national events, like a 1918 Cadillac employed by the U.S. Army in World War I, or a 1966 Volkswagen Transporter used in humanitarian efforts supporting Black Americans on Johns Island, South Carolina, during the Civil Rights Movement, or a 1969 Chevrolet Corvette driven by Apollo astronaut Alan Bean, who landed on the Moon in November 1969.


The 1964 Chevrolet Impala lowrider is a car culture icon, illustrated by this remote-controlled model. / THF151539

The wide world of American car culture is wonderfully represented by a 1932 Ford V-8 hot rod built by Bob McGee,  a 1951 Mercury Coupe modified for Masato Hirohata by “King of Kustomizers” George Barris, and the pioneering 1964 Chevrolet Impala lowrider “Gypsy Rose,” customized by Jesse Valadez.


Preston Tucker’s 1948 Tucker 48 made a mark in life and on screen. / THF135047

The register doesn’t overlook the automobile’s contributions to popular culture. Apart from the replica Ferrari used in Ferris Bueller’s Day Off, the list includes a 1968 Ford Mustang driven by Steve McQueen during the influential car chase in Bullitt, and a 1981 DeLorean DMC-12 that carried Michael J. Fox’s Marty McFly to 1955 before returning him back to the future. Preston Tucker’s 1947 Tucker 48 prototype is something of a movie car too. Yes, it inspired a real-life production vehicle, but it also inspired the 1988 film Tucker: The Man and His Dream, starring Jeff Bridges.


The 15 Millionth Ford Model T traveled from Greenfield Village to the National Mall in April 2018, after it was added to the NHVR. / Photo courtesy Hagerty Drivers Foundation

Some of you may be wondering if anything from The Henry Ford’s collections is listed on the National Historic Vehicle Register. I’m happy to report that, yes, we are represented by (what else) a Ford Model T added to the list in 2018. It’s not just any T, of course, but the 15 Millionth Ford Model T, which was the ceremonial “last” Model T built before Ford ended production in favor of the 1928–1931 Model A. Like most of the vehicles added to the register, our 15 Millionth Model T traveled to Washington, D.C., where it was displayed on the National Mall—to honor the car, but also to draw attention to the NHVR and the importance of preserving America’s automotive heritage. The NHVR research team also produced a 23-minute documentary on the Ford Model T and its enormous influence.

The register continues to grow. Likewise, The Henry Ford will continue to display a rotating selection of register cars in the years ahead. It’s a fun way to celebrate America’s car culture, but it’s also an opportunity to recognize the important and ongoing work of the National Historic Vehicle Register.


Matt Anderson is Curator of Transportation at The Henry Ford.

Model Ts, race cars, racing, popular culture, movies, by Matt Anderson, Henry Ford Museum, cars

Bringing in the Beans: Harvesting a New Commodity

June 14, 2022 Think THF, Archive Insight

Farmers have only a narrow window of opportunity to harvest their crops. For Michigan soybean growers, that window generally runs from the end of September through November, but is impacted yearly by weather events. By that point in the season, the plant is fully mature and has lost most of its leaves, and only the stalk and pods (with three to four beans per pod) stand in the field (R8 Growth Stage). The seeds are brown and hard at this point, and bean moisture content is 13-15%.


A Close-Up of the Modern Soybean Harvesting Process / Photo courtesy of the United Soybean Board

Harvesting soybeans—to cut the stalk, separate the bean from the pod, clean the bean, and store it until moved from harvester to wagon or truck—requires a multifunctional machine. Soybean growers benefitted from around a century of experimentation with specialized harvest machines when it came time for them to look for the best machine for the job. Farmers need machines that work, and different machines to harvest different crops. The Henry Ford has some of the earliest of these mechanical innovations, each suited to a specific crop—the Ambler mowing machine for hay, models of the Hussey and McCormick reapers for grains, and the Manny combined mower and reaper (one machine adaptable for both crops).

These early-19^th-century innovations represented solutions to the problem of how to reduce human labor costs. Farm families often could not meet labor demand during harvest seasons. Too little labor meant lost crops, and lost crops made it difficult for farmers to feed their livestock (hay) or earn income from market crops (grain). Hiring labor was expensive, and even more expensive during peak demand at harvest time.

A century passed between the 1830s, when mechanical reapers and mowing machines first became viable, and the 1930s, when the first Allis-Chalmers All-Crop Harvester entered Michigan soybean fields.


Man Driving an Allis-Chalmers Tractor Pulling an Allis-Chalmers All-Crop Harvester at Michigan and Southfield Roads, Dearborn, Michigan, October 1936 / THF286727

The Crop

Michigan growers raised different types of beans during the early 20^th century. Some raised bush beans (Phaseolus vulgaris), green beans that they harvested by hand when the pod reached the R5 growth stage and seeds had just begun to develop. Wholesale dealers distributed this perishable commodity to grocery stores while processors turned the bush beans into canned green beans. Others raised large fields of beans on contract with the H.J. Heinz Co. After the beans were fully matured and dry, growers harvested the crop by hand, then hauled the crop to a threshing machine that separated the beans from the pods and stems. Employees at Heinz processing plants continued the handwork, sorting beans from debris. Product advertising emphasized this attention to detail that yielded a quality food product.

A different type of bean—the “soy bean” (or soybean, Glycine max)—became increasingly apparent in southeast Michigan during the 1930s. Interest in this new cash crop grew apace with Henry Ford’s investment in soybean research. Scientists at work in the chemical laboratory that Ford built in Greenfield Village confirmed that soybeans had potential as a domestic source for various industrial products. Industrial demand in the region caused growers to seek a harvester suitable to the task.


Soybean Pods Ready for Harvesting / Photo courtesy of the United Soybean Board

Some farmers raised seed crops to meet growing demand for the new cash crop. This specialized cultivation required careful harvesting, as described in “Soy Bean Seed Production in Michigan” (1936). Others raised crops to meet the growing demand for the new industrial raw material. The Ford Village Industries complex in Saline, Michigan, opened in 1938. A press release issued by Ford Motor Company in July 1938 indicated that 700 farmers planted 22,588 acres of soybeans processed at the Saline facility. Ford processing capacity increased as the soybean processing plant at the Rouge Plant began operations around 1942.

Ready for the Harvest: The Allis-Chambers All-Crop

Farmers needed mechanical harvesters to ensure that they delivered a prime crop to Ford Motor Company. Henry Ford thus took an interest in this technology. Allis-Chalmers released its All-Crop 60 harvester in 1935, designed to operate off a tractor big enough to pull a double-bottom plow and powered by the tractor’s power take-off. The “60” represented the width in inches of the swath cut by the harvester. Ford tested the capability of the Allis-Chalmers All-Crop Harvester on a Ford Farms soybean crop in October 1936. By that time, Allis-Chalmers had sold 8,200 of the machines.

The engineer who took a leading role in the machine’s development was Charles J. Scranton, Jr. He began his career as a draftsman at Avery Company, a Peoria, Illinois, company noted for steam traction engines, threshers, and other farm equipment that went bankrupt in 1923. Scranton, as an assignee to a successor company, the Avery Power Machinery Co., secured several patents for improvements to threshers during the late 1920s.

Scranton joined Allis-Chalmers by working at the LaPorte, Indiana, location by 1934. Over 30 years, he secured around 40 patents, all focused on harvesting machinery. The All-Crop marked a crowning achievement because it suited the needs of farmers operating on a smaller scale and growing different cash crops, including soybeans, clover, milo, and other grains.

Ford featured the Allis-Chalmers All-Crop Harvester in early promotional photographs of the Ford tractor with the “Ferguson System,” the Ford-Ferguson 9N, released in 1939. This marked a ringing endorsement from the industrialist who launched soybeans as a cash crop in Michigan.


A Ford-Ferguson Model 9N Tractor Pulling an Allis-Chalmers “All-Crop” Harvester, Macon, Michigan, November 1939 / THF701486


Rear view of the Allis-Chalmers “All-Crop” Harvester, pulled by a Ford-Ferguson Model 9N Tractor, Macon, Michigan, November 1939 / THF701489

More Crop in the Hopper

As soybean acreage increased across the Midwest after World War II, farm implement companies continued to innovate. The Allis-Chalmers All-Crop was well suited to smaller scale farmers growing a variety of crops, but the scale of production increased dramatically during the 1950s as farmers in the midwestern Corn Belt shifted toward monoculture, e.g., corn, a crop heavily dependent on nitrogen, and soybeans, a legume that helps retain nitrogen in the soil. Farmers saw this combination as a strategy to help reduce input costs for synthetic and nitrogen-rich fertilizers.

Illinois-based agricultural implement manufacturer Deere & Company gained an advantage in 1954 when the company introduced an attachment that farmers could install on their combine harvesters to harvest corn. They could harvest their bean crop by switching out that attachment with a four- or five-bat (or horizontal bar) reel mechanism that drew the bean crop into the cutting head. Interchangeable front-end attachments became an industry standard.


The New Holland TR70 Axial Flow Combine, 1975, with Corn Attachment, on Exhibit in Henry Ford Museum of American Innovation / THF57471

The New Holland TR70 Axial Flow combine in Henry Ford Museum of American Innovation is installed with the corn harvester attachment. Farmers could harvest four rows of corn in one pass through the field with this head. To harvest soybeans, they installed a different attachment to the front end, a “pickup reel,” as illustrated below in a New Holland TR70 product catalog. The promotional literature urged farmers to purchase a floating “cutterbar” and a “robot header height control” to harvest most efficiently.


Sperry Rand Corporation - Sperry New Holland Division Catalog, "TR70 Twin Rotor Combine," 1977, Page 10 Detail / THF298867

Soybean acreage increased rapidly from the late 1970s into the 1980s. This sustained research in and development of combines suitable to cutting, threshing, and cleaning soybean crops (along with corn and other smaller grains).


Ford New Holland Agricultural Equipment, 1985, Detail / THF277396

For additional information:

“Charles Scranton Dies; Was Engineer,” Indianapolis Star, 27 July 1980, pg. 14, sec. 3.

Swinford, Norm. Allis-Chalmers Farm Equipment, 1914-1985. American Society of Agricultural Engineers, 1994.

U.S. Patent and Trademark Office records include more than 40 patents secured by Scranton during his work with Allis-Chalmers and at least three from his years with Avery Company.


Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford. This blog post was produced as part of our partnership with the Michigan Soybean Committee to deepen understanding of the important soybean crop and to provide the public with the chance to learn more about agriculture and the innovations that have helped farmers feed the world. You can learn more about the partnership, soybeans, and soybean ties to The Henry Ford in our kickoff post here.

Henry Ford Museum, Michigan, by Debra A. Reid, farms and farming, farming equipment, agriculture, soybeans

Traveling by Ocean Liner: Dressing the Part

June 10, 2022 Think THF, Archive Insight

Our latest installation of What We Wore: Traveling by Ocean Liner. / THF190376

The current What We Wore exhibit in Henry Ford Museum of American Innovation features garments worn by the Roddis family of Marshfield, Wisconsin, while traveling by ocean liner.


Postcard of Cunard’s White Star Line RMS Queen Mary, about 1949. / THF256419

During the mid-20^th century, more Americans had the means and opportunity to experience a vacation abroad. Whether looking for relaxation or seeking adventure, these travelers enjoyed visiting places very different from home. Travel by ocean liner had become faster, more comfortable, and less expensive—and was part of the adventure.


Passenger list for Cunard White Star Line’s RMS Queen Mary, 1949. / THF701257

Traveling on an ocean liner in elegant first-class surroundings—a kind of five-star floating hotel—meant dressing up nearly every evening. So, into trunks and suitcases went formal dresses and tuxedos, along with daywear for shipboard activities and sightseeing on land. Enjoying the superb service and elegant atmosphere on shipboard—while dressing the part— was half the fun for travelers like the Roddis family of Marshfield, Wisconsin.

By the mid-1960s, most people would choose speedy airplane travel over grand ocean liners, and travel would become increasingly less formal.

Packing for ocean liner travel required careful planning. Nearly every evening, passengers donned formal dresses and tuxedos. Catherine Roddis took the evening dress below along on a 1948 cruise through the Caribbean to Brazil onboard the SS Nieuw Amsterdam.


Catherine Roddis (shown here with her daughter Augusta and husband Hamilton) wore the evening dress below in the Champlain Dining Room of the SS Nieuw Amsterdam, 1948. / Photo courtesy of the Estate of Augusta Denton Roddis


Evening Dress, about 1941, worn by Catherine Roddis. / THF166578

Augusta Roddis wore the dress shown below for daytime activities during a 1949 European trip onboard the RMS Queen Mary—the world’s fastest ocean liner in the late 1940s.


Day Dress, 1945. Worn by Augusta Roddis. / THF166561


Augusta Roddis, with her luncheon partner, in the first-class dining room of the RMS Queen Mary, September 1949. / Photo courtesy of the Estate of Augusta Denton Roddis

Catherine Roddis packed the dress shown below for a trip to Europe onboard RMS Queen Elizabeth. Margery Wilson, author of a 1941 etiquette book, recommended lace for travelers—it held its shape in any climate, required little ironing, and always looked elegant.


Dress, about 1948, worn by Catherine Roddis. / THF166563


Catherine Roddis (shown here with her son-in-law and daughter, Henry and Sara Jones, and husband Hamilton) wore the dress depicted above during a trip to Europe onboard the RMS Queen Elizabeth in 1950. / Photo courtesy of the Estate of Augusta Denton Roddis

While packing for ocean liner travel might be less complicated for male passengers like Hamilton Roddis, it still required suits and ties—and often a tuxedo.


Suit, 1951, worn by Hamilton Roddis. / THF165826


Hamilton Roddis and his daughter Augusta play shuffleboard on the SS Manhattan in 1938. / Photo courtesy of the Estate of Augusta Denton Roddis


Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.

by Jeanine Head Miller, travel, fashion, Henry Ford Museum, What We Wore

Getting Seeds in the Ground: Urgent Business

May 16, 2022 Archive Insight, Think THF

Henry Ford Museum of American Innovation includes an exhibition called Agriculture and the Environment. The first section, Preparing the Soil, includes artifacts used by farmers to prepare the seed bed and plant crops. These artifacts all reflect practices common during the mid-19^th to early-20^th centuries, with the exception of two items: one, a Caterpillar continuous track tractor designed for use in orchards, and the John Deere 7000 No-Till Planter, also known as the MaxEmerge 7000 conservation planter. This post puts the Deere MaxEmerge planter into perspective and explains its utility as a no-till planter, both historically and today.

Tillage

A quick overview of tillage—that is, how farmers prepare land for growing crops—helps lay the groundwork (as it were). For thousands of years, farmers turned the topsoil over with a plow pulled by a draft animal—a single steer or team of oxen, draft horses, or mules. Henry Ford’s experiments with his “automotive plow” and subsequent introduction of the affordable Fordson tractor led to the replacement of draft animals on most farms after World War II, but the plow endured. Plowing broke up the roots of whatever vegetation was established before or between plantings. This was the first step in preparing a seed bed.


Man Using a 1939-1946 John Deere Model "B" Series Tractor / THF286596

The next step involved working the plowed ground to break up clods and create a more even surface. This required use of harrows or discs of various designs, as you can see here. Hitching technology installed on the Ford-Ferguson 9N tractor starting in 1939 and adopted by tractor manufacturers helped keep this disc tracking in line with the tractor. Farmers with large acreages under tillage favored row-crop tractors like the John Deere Model “B” in the photo below, where a farmer is discing a plowed field. The narrow wheel-spacing at the front end ran between rows of crops. After plowing and discing, some farmers harrowed fields to put the finishing touches on the seedbed.


Man Using a 1947-1952 John Deere Model "B" Series Tractor / THF286606

You can explore more than 40 tillage implements in The Henry Ford collection here. This is just the tip of the iceberg of mechanical innovations designed to ease the physically demanding process of field preparation. These tools helped farmers practice integrated pest management, too, because careful field preparation pulverized the organic material that insects like boll weevil in cotton or corn borer larvae lived in during the winter months. These pests could destroy crops in a pre-insecticide agricultural system.

Tillage, however, exposed topsoil to the elements. The more acreage farmers tilled, the more topsoil they lost due to erosion. In addition, severe droughts parched soil, destroying all organic matter. This exacerbated erosion as more and more topsoil blew away or washed away with heavy rains.

Planting and Cultivating

Different crops cover the ground in different ways. Farmers raising small grains drilled seed into prepared seed beds. The grain, planted at times of the year when other plant growth slowed, needed little to no cultivation. You can see grain drills and learn more about them here, including photographs of the Bickford & Huffman grain drill in use at Firestone Farm in Greenfield Village.

Prior to the adoption of in-season herbicides, most crops required cultivation after planting to disturb the roots of plants that threatened to choke out the cash crop. Farmers used different cultivators depending on the crops they grew, but cultivators further disturbed the soil and could hasten moisture evaporation.


Cultivating a Field of Cotton, Around 1911 / THF624655

The photograph below shows a row-crop tractor with an under-mounted cultivator at work in a soybean field. The single-front tire running down the middle of two rows ensured that the cultivators tracked between rows, to better remove weeds in between the cash crop.


Man Using a 1935-1938 John Deere Model "B" Series Tractor / THF286604

The Development of No-Till

You may have already grasped the connection between tillage and the no-till planter. Intensive cultivation of cropland contributed to topsoil erosion. The loss of the fertile topsoil reduced yields, and extreme weather worsened the loss. This led many to call for radical changes in tillage methods.

Agricultural scientists and engineers with the U.S. Department of Agriculture and state-based land-grant colleges addressed the challenge quickly. The University of Illinois established the Dixon Springs Agricultural Center in southern Illinois in 1934 to research soil erosion and low-till options. Purdue University in Indiana began the first experiments planting row crops in uncultivated soil in 1944. Russell R. Poyner, the agricultural engineer who worked on this project, went to work at International Harvester Company in 1945. By 1947, he submitted a patent for a mulch-tiller-planter designed for erosion control and conservation of moisture. He coined the new tillage approach “stubble mulch” farming, and as assignor to International Harvester, received U.S. Patent No. 2,577,363 in 1951. International Harvester produced the two-row McCormick M-21 till planter with fertilizer application only briefly and stopped altogether in 1955 due to sluggish sales.

Another early no-till proponent, agronomist George McKibben, worked at Dixon Springs. He and Donnie Morris, the machinery engineer at Dixon Springs, tested a zero-till planter by 1966. Morris describes the challenges he solved—specifically, how to get the seed in the ground. The research team used his “sod and stubble” planter starting in 1969, but an appeal to Deere and Company (the company that makes John Deere brand items) fell on deaf ears.

Allis-Chalmers released the two-row No-Til planting system in 1966, recognized as the first commercially available (and successful) no-till planter. The planter had a fluted coulter (vertical cutting blade) that sliced crop residue and prepared the seed bed just ahead of the fertilizer tank and planter unit.

The John Deere 7000 No-Till Planter: Agricultural Superstar

John Deere 7000 No-Till Planter, 1978 / THF151661

Peter Cousins, then Curator of Agriculture at The Henry Ford, acquired the John Deere 7000 No-Till Planter because, as he wrote in a memo to The Henry Ford’s collections committee on August 23, 1994, he considered it one of a few “superstars” of modern agricultural technology. In that same memo, he explained that of the three companies that introduced no-till planters, only Deere and Company survived. Allis-Chalmers left the farm implement business in 1985. International Harvester also ended its agricultural lines and broke up in 1985. Thus, he believed that only Deere and Company could locate, restore, and donate a first model no-till planter.

What qualifies as a “superstar?” Peter does not go into detail, but he names one other artifact in his memo—the FMC tomato harvester (1969). These two artifacts share at least three key elements that Peter considered as he strengthened The Henry Ford’s collection of 20^th-century agricultural technology. First, the implement represents exchange between adopters, engineers, and others, a process described as the social construction of technology. Second, the implement transforms agricultural production. Third, the consequences of the transformation reverberate beyond farm fields.


A Modern John Deere No-Till Planter Sowing Soybeans / Photo courtesy of the United Soybean Board

The collaborative research undertaken by teams of experts at agricultural experiment stations across the country satisfy the first of these three “superstar” criteria. The experiments station staff worked with farmers to determine their needs and respond to them. The planter donated by Deere and Company to The Henry Ford, for example, had been used by Arthur Kruse on his Calmar, Iowa, farm between 1979 and 1994. It included “a wheel module planter with dry fertilizer option, insecticide box, unit mounted coulters, and cast closing wheels.” That insecticide box is telling—the stubble-mulch farming system came with another set of challenges. The stubble served as a vector for pests, namely the European corn borer in corn. A no-till planter that applied insecticide as well as dry fertilizer appealed to farmers even more.


Soybean Seedlings Emerging Among the Residue of the Previous Year’s Crop / Photo courtesy of the United Soybean Board

No-till planter technology changed the system of agriculture. The title of a July 16, 1994, New York Times article that Peter attached to the collections committee memo says it all: “New Way of Tilling Speeds the Plow’s Demise.” Today, no-till or conservation tillage helps farmers reduce erosion and retain soil moisture. Yet, input costs remain high as they apply herbicide to deaden growth before no-till planting, and then apply fertilizer and insecticides while planting.

On the other hand, Michigan State University researchers claim that “no-till farming practices have very positive economic and environmental benefits over decades.” Farm fields can benefit from the environmental benefits of topsoil retention enriched with hygroscopic (tending to absorb moisture from the air) organic matter. They can also realize higher yields over the long run.

Farmers, Please Share Your Stories

The Henry Ford would love to hear from Michigan farmers about your reasons for adopting no-till farming practices, either wholly or selectively, and what you believe the benefits are. You can e-mail us your feedback at MichiganSoybeanFarmers@thehenryford.org.


Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford. This blog post was produced as part of our partnership with the Michigan Soybean Committee to deepen understanding of the important soybean crop and to provide the public with the chance to learn more about agriculture and the innovations that have helped farmers feed the world. You can learn more about the partnership, soybeans, and soybean ties to The Henry Ford in our kickoff post here.

environmentalism, Henry Ford Museum, farms and farming, farming equipment, agriculture, by Debra A. Reid

Eagle Tavern Inspiration to Enjoy at Home

May 6, 2022 Archive Insight, Think THF

Photo by KMS Photography

When it comes to dining experiences, Eagle Tavern in Greenfield Village is one of a kind. The stagecoach tavern was built in 1831 in Clinton, Michigan. Calvin Wood and his wife Harriet operated it from 1849 to 1854, offering food, drink, and accommodations to the locals and those who came through the town. In 1927, Henry Ford purchased the tavern and brought it to Greenfield Village as the Clinton Inn, where it first served as a cafeteria for Edison Institute students and then for visitors. In April 1982, Eagle Tavern officially opened as the restaurant we know today. Forty years later, Eagle Tavern continues to delight members and guests with mid-1800s food and drink.

As we celebrate the beginning of the 2022 Greenfield Village season, Sous Chef Kasey Faraj shares three of his favorite Eagle Tavern recipes for you to try at home.


Photo by Emily Berger

“My absolute favorite thing about the tavern is the overall guest experience,” said Faraj. “There is simply no place like this anywhere in America where we are taking our guests on a journey to the past. Everything from our Calvin and Harriet Wood characters chatting with our guests to the food, to the look of the bill of fare and restaurant, and the servers in period clothing, we all collectively create an experience that is unique, historically accurate, and unmatched by any establishment.”

Faraj found inspiration for his menus from classic mid-1800s era cookbooks, like Mrs. Putnam’s Receipt Book and The Kentucky Housewife. It was in these wonderful books that he was inspired to create dishes such as our delicious Asparagus Soup, Pork and Potato Balls, and Bouilli Beef.

Eagle Tavern’s Asparagus Soup

serves many



Ingredients

• ½ pound unsalted butter
• 1 ½ cups yellow onion, medium dice
• 1 teaspoon fresh garlic, minced
• 5 pounds asparagus, trimmed
• 1 ½ cups celery, diced
• 2 bay leaves
• ¾ gallon vegetable broth
• ½ cup cornstarch
• 1 quart half-and-half
• Salt and pepper to taste

Method

• Heat a stockpot and melt the butter.
• Add the onions and garlic and cook over medium-high heat until onions are translucent.
• Add the asparagus, celery, bay leaves, and vegetable broth. Bring to a boil.
• Once boiling, turn heat to low and simmer until asparagus is tender.
• Add the cornstarch and half-and-half and puree the mixture with a hand blender until smooth. (You can also slowly break down the asparagus with a potato masher.)
• Add salt and pepper to your liking.
• Adjust the cornstarch if thicker or thinner soup is desired.
• Strain if you wish to have a lighter-style soup. Serve with fresh bread or crackers.

“The awesome curators here at The Henry Ford and I collaborate to find these menu items in cookbooks from the past,” said Faraj. “I then take said items and build the menu through both seasonal availability and the story of Harriet and Calvin Wood. It is not as simple as, ‘I found a recipe for a mid-1800s era style corn soup, so we are going to offer that soup.’”

Faraj and team take everything into consideration:

• How did season and local availability influence the meals that a tavernkeeper like Harriet Wood might have prepared for her tavern customers?
• What foodstuffs could have been imported in southern Michigan in 1850?
• What type of meals and desserts might Harriet Wood have had time to prepare over an open hearth in her busy tavern kitchen?

“In-depth research from period American cookbooks found in our research center, and expertise from our curators, help us find our way to these answers,” he said. “The ability to find a recipe from a book written almost two centuries ago, test that recipe, and then place it on a menu (that is seasonally accurate!) is what makes a chef working in historic dining challenging—yet fun!”

Eagle Tavern’s Pork and Potato Balls

serves many



Ingredients

• 3 pounds cooked Idaho potatoes
• 3 fresh eggs
• 1 pound cooked pork-sage sausage, crumbled
• Salt and pepper to taste
• 1 pound unsalted butter

Method

• Put cooked potatoes in a large mixing bowl. Using a potato masher, mash the potatoes until there are very few lumps.
• In a separate bowl, whisk the eggs.
• Add the crumbled sausage, salt, and pepper to the eggs and mix until evenly distributed.
• Using a spoon or a small scooper, shape the mix into small balls no larger than a golf ball.
• Heat a nonstick pan and melt the butter.
• Cook the balls in the butter until browned on all sides and the internal temperature is 165° F. When cooked, sprinkle with additional salt and pepper and serve with extra butter, if desired.

One last recommendation from Chef Faraj: Eagle Tavern’s Bouilli Beef. “This dish is great served with roasted potatoes and mashed parsnips,” he said.

Eagle Tavern’s Bouilli Beef

serves many

Ingredients

• 3 pounds beef, cut into 8-oz. portions (preferably chuck eye roll)
• Salt and pepper to taste
• 3 ounces vegetable oil
• 1 pound turnips, cut into 1-inch pieces
• ¼ pound yellow onion, medium dice
• ¼ pound peeled carrots, medium dice
• ¼ pound celery, medium dice
• 1 ½ gallons beef stock
• 2 bay leaves
• ½ teaspoon ground cloves
• 6 cloves fresh garlic
• 1 ounce soy sauce
• 2 ounces Dijon mustard
• 4 ounces cornstarch
• 4 ounces chopped sweet pickles

Method

• Season the beef with salt and pepper. Heat the vegetable oil in a stockpot on the stove and sear the meat on all sides.
• Add the rest of the ingredients except for the soy sauce, mustard, cornstarch, and pickles.
• Bring it all to a boil; once boiling, turn the heat down to a low setting and cover. Let cook slowly until the meat is almost fall-apart tender, 2-3 hours. Turn off and leave on stove.
• Take half the stock the beef was cooked in and strain. Whisk together the soy sauce, mustard, and strained stock in a small saucepot over medium heat. Add the cornstarch and bring to a slow boil; cook until gravy is slightly thick. Add the cooked beef and plate with the turnips it was cooked with.
• Ladle 2-3 ounces of gravy over each piece and top with chopped pickles.

Eagle Tavern, Greenfield Village / THF1918

Want to learn more about Eagle Tavern? Look below for links to blog posts, Innovation Nation segments, and artifact records.

• Artifact Record: Eagle Tavern
• Plan Your Visit
• Creating the Eagle Tavern Dining Experience
• The Henry Ford’s Innovation Nation: 1850s Dining Experience at Eagle Tavern
• 1988 Eagle Tavern Cookbook

• Maple Bourbon Sour
• Mint Iced Tea
• Stone Wall
• Cherry Effervescing
• Mint Julep
• Lemon & Ginger Shrub

Dig Deeper

• Greenfield Village Building Makeovers
• Meet Calvin Wood
• Drinking at Eagle Tavern
• Root Vegetables, Now & Then
• Behind the Bar at Eagle Tavern

Lish Dorset is Marketing Manager, Non-Admission Products, at The Henry Ford.

making, Michigan, recipes, food, restaurants, by Lish Dorset, Greenfield Village buildings, Greenfield Village, Eagle Tavern

Walt Disney Visits The Henry Ford

April 14, 2022 Archive Insight, Think THF

Walt Disney spent years imagining his ground-breaking entertainment venue, Disneyland, before it opened in 1955. Disney found inspiration for this remarkable theme park from many people and places.

Walt Disney (1901–1966) spent his most memorable childhood years in Marceline, Missouri, leaving him with a great fondness for small town America. Disney's early passion for cartoon drawing and humor blossomed in 1928 with his first major success, the Mickey Mouse animated cartoon character. By the 1930s, Disney headed a thriving motion picture studio making animated cartoons and live action movies. He explained his interest in developing a theme park to his biographer, Bob Thomas:

“It all started when my daughters were very young, and I took them to amusement parks on Sunday. I sat on a bench eating peanuts and looking around me. I said to myself, why can't there be a better place to take your children, where you can have fun together? Well, it took me about fifteen years to develop the idea.”

While on business trips and family vacations, Disney visited not only amusement parks, but also fairs, expositions, tourist attractions, and zoos to further his vision of creating an extraordinary family leisure experience. One of these places was Greenfield Village, which Walt Disney visited several times during the 1940s.


Walt Disney Posing in the Greenfield Village Tintype Studio, 1940 / THF109756

Walt Disney paid his first visit to Greenfield Village on April 12, 1940. William B. Stout, an industrial designer best known for the Ford Tri-Motor airplane and the aerodynamic Scarab car, served as Disney's escort as he toured Henry Ford's historical village and museum. The Greenfield Village Journal, a daily administrative report, described Disney’s visit that day:

“Walt Disney, creator of the world-famous movie character, Mickey Mouse, visited the Village and Museum today. He showed great interest in everything mechanical, examining engines and old autos closely. He had a good time with Mr. Tremear while posing for a tin-type. In the Museum Theater he spoke for a few moments to the school children. He was accompanied by Mrs. Disney, and by Ben Sharpsteen, his chief animator. Wm B. Stout was his host.”


Walt Disney Shows Harriet Bennett How to Draw Mickey Mouse during a Visit to Henry Ford Museum, April 12, 1940 / THF118884

During Disney's tour, he stopped at the Tintype Studio to pose for photographer Charles Tremear, autographing one of his tintypes for display there. Disney also spent a few minutes talking with students from the Greenfield Village Schools, who had gathered in the museum's theater to greet him. (Henry Ford established a school system in his museum and village complex several years before his historical enterprise was formally opened to the public in 1933.) Ford Motor Company photographer George Ebling—who was often asked to take personal photographs for Henry Ford—captured images of Disney's delightful visit with the students.


Walt Disney and Family Visiting Henry Ford Museum, August 1943 / THF130871, THF130883, THF119434

On August 20, 1943, Disney again visited Henry Ford Museum. He; his wife, Lillian; and their daughter, Diane, posed for photographs with examples of some of the historical modes of transportation displayed there. Disney’s joyful, childlike expression embodies the experience he hoped to create for families visiting what would come to be Disneyland.

Walt Disney came back to Greenfield Village five years later, on August 23, 1948. Disney and one of his animators, Ward Kimball—who shared Disney's longtime fascination with railroads—had traveled to Chicago to attend the Railroad Fair. They decided to take a side trip to Greenfield Village. During the visit to Greenfield Village, Disney once again made a stop at the Tintype Studio, where he and Kimball were photographed by tintypist Charles Tremear.


Walt Disney and Ward Kimball Posing in the Greenfield Village Tintype Studio, 1948 / THF109757

By the late 1940s, Disney's ideas for a themed entertainment park had progressed substantially. On the train ride back to California, he shared his ideas with Kimball, then summarized them in a memo dated August 31, 1948. An excerpt of this memo seems to echo aspects of Greenfield Village: “The Main Village, which includes the Railroad Station, is built around a village green or informal park … Around the park will be built the town. At one end will be the Railroad Station; at the other end, the Town Hall…”

When Disneyland opened in Anaheim, California, in 1955, it quickly captured the public’s imagination. In his innovative theme park, Walt Disney drew inspiration from his many interests and experiences to create an entirely new kind of family entertainment. To learn more, check out this blog post!


This post by Cynthia Read Miller, former Curator of Photography and Prints at The Henry Ford, originally ran in September 2005 as part of our Pic of the Month series. It was reformatted for the blog by Saige Jedele, Associate Curator, Digital Content, at The Henry Ford.

photographs, popular culture, by Saige Jedele, by Cynthia Read Miller, Henry Ford Museum, Greenfield Village, Disney

The Hidden Painting of Robert Frost Home

April 12, 2022 Archive Insight, Think THF

The same painting, after conservation. / Photo by Marlene Gray

It is that time again, as Greenfield Village opens this week for another exciting season! While you were away, staff at The Henry Ford have been busily cleaning and repairing objects throughout the village buildings. During the winter months, conservation staff move artifacts in need of repair back to our labs for a bit of TLC. Some of these objects are on full display while others hardly ever get the spotlight. One of the latter objects is a painting rarely seen by visitors.


View of Robert Frost Home with the parlor on the right. / THF1883

Within the Porches and Parlors district of Greenfield Village is the home of American poet Robert Frost. Originally located in Ann Arbor, Michigan, the house was moved to the village by Henry Ford in the 1930s. As you enter the house, a parlor is on the immediate right. If you look inside on the left, you will see a frame on the wall. There hangs a portrait of a woman, “Lady in a Lace Bonnet.” During routine maintenance, our dedicated clean team noticed the painting had some paint losses, which you typically find with old paintings. The paint losses at the top and bottom of the painting were the most obvious. These types of losses can occur when the painting is roughly handled during framing.


Image courtesy of clean team member Teresa McCloud, who noted the damage.

Conservation staff then brought the artwork to the lab to give this hidden painting some much needed attention. Once the painting was removed from the frame, the next step was a good cleaning. Paintings trap abrasive dust and debris, both on the canvas behind and the painted surface. After vacuuming to remove the larger debris, a very mild cleaning agent was used to remove the surface grime collected over the years. What a drastic change that made!


Grime cleaning, with right side cleaned. / Photo by Marlene Gray

Still, the portrait had a yellow tint, visible in the sitter’s face, which is a tell-tale sign of an aged varnish. Various solvents were tested to see what worked best at removing the old varnish, and we selected one that did not cause harm to the paint surface. After the varnish was removed, the portrait looked much brighter and fresher.


Varnish removal, with left side cleaned. / Photo by Marlene Gray

Once our lady was cleaned, it was time to tackle the paint losses. Color-matching the surrounding paint is tricky and takes patience to get right, but when we do, it is so rewarding to see the complete image. Last but certainly not least, a new coat of varnish with stabilizers that resist the harmful effects of ultraviolet radiation was added to protect the painting from light from the window on the other side of the parlor.

After securing the painting back inside the frame (being sure not to scratch the surface), we whisked it back to Frost home, tucked into its “hidden” spot. Now you know what hangs on the wall, and you may even be able to get a little peek from outside the parlor window on your next visit. The lady will be happy to show off her fresh appearance!


“Lady in a Lace Bonnet” returned home. / Photo by Marlene Gray


Marlene Gray is Senior Conservator at The Henry Ford.

collections care, conservation, Greenfield Village buildings, Greenfield Village, #Behind The Scenes @ The Henry Ford, by Marlene Gray, art, paintings

Ackley Covered Bridge in Pennsylvania

April 6, 2022 Think THF

Few visitors to Greenfield Village cross Ackley Covered Bridge realizing the significance of the structure surrounding them. It is one of the oldest surviving covered bridges in the country, and considerable thought went into its overall design. Covered bridges have long been stereotyped as quaint, but the reason behind their construction was never charm or shelter for travelers. The sole function of the “cover” was to protect the bridge’s truss system by keeping its structural timbers dry.

Built in 1832, Ackley Covered Bridge represents an early form of American vernacular architecture and is the oldest “multiple kingpost” truss bridge in the country. This structural design consists of a series of upright wooden posts with braces inclined from the abutments at either end of the bridge and leaning towards the center post, or “kingpost.” It is also a prime example of period workmanship and bridge construction undertaken with pride as a community enterprise.


This map of Washington County, Pennsylvania, shows the original site of Ackley Covered Bridge (bottom left). / THF625813

Ackley Covered Bridge was constructed across Wheeling Creek on the Greene-Washington County line near West Finley, Pennsylvania. The single-span, 80-foot structure was built to accommodate traffic caused by an influx of settlers. Daniel and Joshua Ackley, who had moved with their mother to Greene County in 1814, donated the land on which the bridge was originally constructed, as well as the building materials. More than 100 men from the local community, including contractor Daniel Clouse, were involved in the bridge’s construction. Like most early bridge builders in America, they were little known outside their community. But their techniques were sound, and their work stood the test of time.

Initial community discussions about the bridge included a proposal to use hickory trees, which were abundant in the region, in honor of President Andrew “Old Hickory” Jackson. Instead, they settled on white oak, which was more durable and less likely to warp. The timber came from Ackley property a half mile south of the building site. It was cut at a local sawmill located a mile south of the bridge. Hewing to the shapes and size desired was done by hand on site. Stone for the abutments was secured from a quarry close by.

Ackley Covered Bridge replaced an earlier swinging grapevine bridge, and it may soon have been replaced itself if settlement and construction in the region had continued. Instead, the area remained largely undeveloped for several decades. This, along with three roof replacements (in 1860, 1890, and 1920), helped ensure the bridge’s survival.


Ackley Covered Bridge at its original site before relocation to Greenfield Village, 1937. / THF235241

Plans to replace the more than 100-year-old structure with a new concrete bridge in 1937 spurred appeals from the local community to Henry Ford, asking him to relocate Ackley Covered Bridge to Greenfield Village. Ford sent representatives to inspect, measure, and photograph the bridge before accepting it as a donation from Joshua Ackley’s granddaughter, Elizabeth Evans. She had purchased the well-worn structure from the state of Pennsylvania for $25, a figure based on the value of its timber. Evans had a family connection to one of Ford’s heroes, William Holmes McGuffey. McGuffey’s birthplace, already in Greenfield Village, had stood a mere seven miles from the original site of Ackley Covered Bridge—an association that likely factored in Ford’s decision to rescue the structure.

Dismantling of Ackley Covered Bridge began in December 1937. Its timbers were shipped by rail to Dearborn, Michigan, and the bridge was constructed over a specially designed pond in Greenfield Village just in time for its formal dedication in July 1938.


Ackley Covered Bridge after construction in Greenfield Village, 1938. / THF625902


This post was adapted by Saige Jedele, Associate Curator, Digital Content, at The Henry Ford, from a historic structure report written in July 1999 by architectural consultant Lauren B. Sickels-Taves, Ph.D.

Michigan, Dearborn, Pennsylvania, 1830s, 19th century, travel, roads and road trips, making, Henry Ford, Greenfield Village buildings, Greenfield Village, by Saige Jedele, by Lauren B. Sickels-Taves, Ackley Covered Bridge