The Henry Ford and House Industries, two institutions committed to celebrating the spirit of innovation, joined forces to create House Industries: A Type of Learning, an exhibit in Henry Ford Museum of American Innovation from May 27 through September 4, 2017.
Artifacts provided by House Industries and others are complemented by pieces from our own collections, like this tray of wood type from around 1840. These items can be seen in the exhibit or in this expert set. Regardless of where you see them for yourself, these artifacts showcasing design might just spark your own creative moment.
Many of us like to keep our cars clean. Whether it’s with a trip through the automatic car wash, or a hosing and waxing in the driveway, we try to keep the mud, dirt and grime away. Some of us spend just as much time on the interiors, crawling over seats with a shop vac in hand. A car is a big investment and, the more expensive something is, the better care we’re likely to give it.
An automobile was no less an investment a century ago. Even at its absolute lowest price of $260 in 1924, a Ford Model T cost one-fifth of the average annual wage in the United States. Not surprisingly, many car owners took great pains to keep their cars neat and tidy – both to ensure that the vehicle remained in top condition, and as a more basic point of pride. We recently acquired one of the key tools for a fastidious flivver owner – an “Automobile Special” feather duster from the 1920s.
A look at period mail-order catalogs reveals any number of cleaning products available to motorists in the 1910s and 1920s. Montgomery Ward’s 1916 supplemental automobile equipment catalog grouped its cleaning products under the breezy heading, “A Clean Auto Means a More Attractive Auto.” Its pages include a mix of waxes and polishes easily recognizable today, along with archaic products like “Neats Foot Oil Clutch Compound” (used to soften a leather-surfaced clutch that engaged too abruptly). The mail-order giant’s larger Catalog and Buyer’s Guide No. 93 from 1920 devotes most of page 894 to car cleaning. Ward’s offered waxes, enamels, rubber floor mats, horsehair washing brushes, and renewing compounds for leather roofs. The duster advertised on that page is captioned with a helpful – and persuasive – warning: “Do not let dust remain on the finish of your car as it quickly works its way into the paint which kills the luster.”
On that note, our “Automobile Special” duster likely wasn’t recommended for exterior surfaces. Those ten-inch turkey feathers – with their tendency to scratch – would scare off any discerning car owner, then or now. The choosy motorist would have selected a “dustless duster” with chemically-treated fibers designed to absorb dust rather than push it around. They were readily available 100 years ago but, naturally, they came at an extra cost – 35 cents versus 14 cents for a comparable feather duster. Nevertheless, a feather duster could have been safely used to tidy up an auto’s interior surfaces, and many surely were.
While we have other feather dusters in the collection, they likely were intended for use in the home. None is specifically labeled as being for automotive use. This newly-acquired “Automobile Special” duster is an important piece – rough on the paint or not – in that it gets us to the stories of automotive maintenance and pride of ownership in the 1920s, when automobiles were priced within reach of most Americans.
Matt Anderson is Curator of Transportation at The Henry Ford.
For the past 25 years House Industries has been known for their unique font collections. Their fonts have been used to create logos for some of the best-known brands, from entertainers to news outlets. At The Henry Ford, our collections house some important printing presses. The printing press democratized knowledge. As mechanical improvements were made, printing became faster and cheaper. By extension, the content of newspapers and books diversified, and the printed word was distributed on a mass scale.
This collection documents the mechanical lineage of printing presses, from a circa 1809 Ramage--one of the oldest surviving hand presses in the country--to the efficient Mergenthaler Linotype composing machine.
Tell us a little bit about yourself and your work. I was born in a small town in Ohio in 1946. I received a BFA in Sculpture from the Cleveland Institute of Art, Cleveland, Ohio in 1969 and an MFA in Sculpture from Cranbrook Academy of Art, Bloomfield Hills, Michigan in 1973. I studied sculpture at the Skowhegan School of Painting and Sculpture, Skowhegan, Maine 1967 and glass at the Toledo Museum of Art, Toledo, Ohio from 1970-71.
I am Professor Emeritus, College for Creative Studies. I taught at CCS for 40 years. Currently I indulge myself in the studio, conceptualizing and creating art.
Fire began to dominate my art in 1969, the first time I tried to blow glass. As a sculptor, I was forging steel into “form.” Molten glass was an alternative: a hot, quick and scary medium to make art. Once I immersed myself in the glass process, the material became a “fine art” medium for me.
As my glass skills evolved and I explored a new process, I created the Image Vessel Series in 1976. In this series, I “painted” using color and line, and “sculpted” to produce a three-dimensional image through a blown-glass vessel.
Do you have a favorite piece you’ve created? Not one favorite piece; however, each step in the evolution of my work has produced several pieces that I believe interpret what I am trying to say.
Why do you enjoy working with glass? The three-dimensional world is reflected light and shadow. Glass adds transparency and translucency. Together this considerably expands the vocabulary of sculpture.
Where do you find your inspiration for your creations? Inspiration comes from the “human figure” along with its movement and stance.
What are you most looking forward to while being an Artist in Residence at The Henry Ford? I look forward to working with the highly skilled artisans that make up the Henry Ford glass studio. I hope to produce a three- dimensional interpretation of my Image Vessel Series.
Record Album, "Sgt. Pepper's Lonely Hearts Club Band," 1967. THF 113167
Fifty years ago this month, the Beatles released their album "Sgt. Pepper’s Lonely Hearts Club Band." Thousands of young people flocked to San Francisco to experience the "Summer of Love."
The summer of 1967 saw the flowering of a counterculture movement, a reaction against the moral complacency and social conformity of postwar America, that would create ripples of change in American society in the coming years. An alternative vision of living—vastly different from the traditional and conformist 1950s—ignited the imaginations of millions of young Americans who came of age during the 1960s. The times, they were a-changing.
Sgt. Pepper’s Lonely Hearts Club Band When the Beatles released their album "Sgt. Pepper’s Lonely Hearts Club Band" in June 1967, it inspired a generation with optimism and an alternative vision of possibility. Young people had eagerly waited for it in great anticipation—it was the first album whose release was truly an "event."
By the time the Beatles recorded "Sgt. Pepper," they were beginning to incorporate a variety of new influences in their music, including a broader range of instruments—including an Indian sitar—and innovative recording techniques. The album features elaborate musical arrangements and use of studio effects like echo and reverberation. The album cover was truly smashing. It featured a colorful collage of cardboard models of famous people—at its center appeared the Beatles themselves, dressed in day-glo satin military band-style outfits. With its mystical influences, psychedelic music, and fanciful album art, "Sgt. Pepper" encapsulated the very essence of counterculture aesthetic.
Millions around the world were galvanized by "Sgt. Pepper’s" music and message. Alienated youth, searching for a better society and a good life, were entranced by the Beatles’ vision of what could be, rather than what was. he album quickly anointed the Beatles as leaders of the 1960s counterculture movement.
The Summer of Love If "Sgt. Pepper" was the quintessential counterculture album, San Francisco’s "Summer of Love" was an iconic counterculture event.
In 1967, the "Summer of Love" turned national attention to the emerging counterculture movement. That summer, over 100,000 young people came to San Francisco’s Haight-Ashbury district, drawn by a "groovy" counterculture vision of freedom and social harmony. Teenagers and college students with rainbow-colored clothing and long hair flocked to join the cultural utopia. Thousands of aspiring, idealistic flower children—mesmerized by images of incense, flowers, psychedelia, acid rock, peace signs and cosmic harmony—gathered in Haight-Ashbury to indulge in communal living, drugs, music, and free love.
Concert Poster for Electric Flag American Music Band, Moby Grape, and Steve Miller Blues Band at The Fillmore, 1967. THF 125134
Record Album, Jefferson Airplane "Surrealistic Pillow," 1967. THF 125136
Rock concerts were an important source of community. In San Francisco during this time, local rock groups like Jefferson Airplane and the Grateful Dead—who were beginning to achieve nationwide popularity and commercial success—provided a counterculture soundtrack. These bands entertained at free concerts around the Haight and Golden Gate Park, and played paid engagements at nearby Fillmore West and Winterland.
Yet this months-long psychedelic love-in, with its counterculture ideals, could not sustain its participants. Overcrowding, homelessness, hunger and drug problems were rampant. By early fall, the crowds had melted away as students returned to school and other young people left to practice alternative living in new settings.
But these new ideas, values, behaviors and styles of fashion defined the coming-of-age of a generation. America’s youth eschewed chasing material success and social status, and championed alternative, non-conformist ways of living. They embraced things like transcendental meditation, hallucinogenic drugs, and utopian communal living. America’s youth were determined to change "the system."
Counterculture Goes Commercial Counterculture values distained capitalism. Yet, ironically, the counterculture also developed a commercial side. Retailers enthusiastically sold faded blue jeans, hippie-inspired fashions, beads, and incense. Health food stores sprouted up. Rock groups, despite protests against materialism or capitalism in their song lyrics, made millions from their concert tours and record albums.
By the mid-1970s, the counterculture movement was winding down. Many of the flower children had by then joined "the establishment," taking up professions or becoming businesspeople—living much more "traditional" lives.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
Brightly-colored outdoor signs, mounted on poles or directly onto the walls of buildings, were intended to capture the attention of passersby. These metal signs, ranging from the 1920s through the 1960s, advertised products and roadside establishments through their clever combination of eye-catching colors, images, lettering, and contrast.
Artist in Residence Hiroshi Yamano at work in the Greenfield Village Glass Shop.
Art in action. It’s one thing to admire a sculpture made of glass through the display case, studying the technique and artistry from afar. How do you take such art appreciation to the next level? Put it into action?
That’s the question Charles Sable, curator of decorative arts, and Joshua Wojick, master glassblower at the Greenfield Village Glass Shop, pondered as they thought about what’s next for The Henry Ford’s studio glass collection.
“We wanted to broaden our involvement with studio glass,” said Sable, the curator behind of The Henry Ford’s two new glass galleries, which feature studio glass. “We didn’t want the collection to become static. We wanted to express our commitment to studio glass, and glass in general, in ways that would keep our visitors engaged long into the future.”
Added Wojick, “We wanted to continue to build on the studio glass collection, build on its connection to The Henry Ford and create more of a story — our own story — that would be integrated into each object.”
That story’s next chapter comes in the form of an artist-in-residence program. This spring and summer, the Glass Shop hosts a quartet of renowned glass artists, as talented as they are different in their approaches. The program is a first of its kind for the Glass Shop.
In May, Japanese glass artist Hiroshi Yamano kick-started the program, spending five days in the Glass Shop working with The Henry Ford’s artisans and giving visitors a close-up view of his creative process. Formally trained sculptor and glass artist Herb Babcock will also take up temporary residence in the village, along with Marc Petrovic (several of his pieces are part of The Henry Ford’s Bachmann studio glass collection) and technical glassblower Janusz Pozniak.
“We wanted artists that were willing to share their individual artistic process with the public at large,” said Wojick. “Within our shop, we show the public mostly early American glass. This program opens up our studio for the first time, really giving us a chance to show visitors how contemporary artists work, implement designs, collaborate and meld concepts into the physical.”
The pièce de résistance of the program — each artist will leave behind a one-ofa-kind finished piece that will undoubtedly add to the evolving story of The Henry Ford’s glass collection.
”We are Bound for Glory with a Fair Wind, Nothing but Working and Fighting Ahead.” – Samuel Chapman Armstrong, Lt. Col., 9th USCT, between Hilton Head, South Carolina and Petersburg, VA, 1864
The American Civil War was the seminal event affecting daily life and ideals about freedom and citizenship during the 1860s and beyond. People coped with the reality of war-time devastation in a variety of ways. As the Civil War generation passed during the late 1920s and 1930s, when the collections of The Henry Ford were forming, the sacred family mementos that associated with personal memories of pride, honor and glory became part of this great museum of the American experience. Even though The Henry Ford is not a military history museum, the collections are rich with Civil War photographs and letters, battlefield relics, and even a medal of honor. The war is deeply imbedded in the collective memory of 19th and early 20th century Americans, and it was so often included in the “archives” of their lives that, by default, their mementos became part of our collections.
Henry Ford’s own interest in documenting the lives of his parents and his own childhood and young adulthood, caused him to collect his own family’s rich Civil War stories. Two of Henry’s mother’s brothers, John and Barney Litogot, served in the storied 24th Michigan. John was killed near Fredericksburg, Virginia, and Barney survived to fight in many battles, including Gettysburg. He also served in the honor guard at Abraham Lincoln’s funeral.
John and Barney Litogot at the time of their enlistment, August, 1862. THF 226852
The variety of Civil War objects in the collection is amazing, and represents both Union and Confederate perspectives.
Keeping troops in the field proved challenging for the Confederacy and the Union. A broadside confirms pay scales for Union troops and employees of the United States Army.
Recruiting Broadside, United States Army, c1863. THF 8551
Lackluster enlistment, however, prompted both armies to institute conscription. The Confederacy did this in April 1862 and the Union followed in March 1863.
The U.S. Army issued broadsides to recruit soldiers, including men of African descent, after passage of the Emancipation Proclamation. One broadside in the collection depicts a white male standard bearer front and center and elevated above others in the scene. He is armed with a sword and the banner, “Freedom to the Slave.” To the left sits a public school and a black man reading a newspaper rather than manning the plow. This implied that education and literacy could free people from manual labor. To the right, a black soldier aids black women and children recently freed from the shackles of slavery while black troops fight in the background.
“Freedom to the Slave. . . Fight for the Stars and Stripes,” 1863-1865. THF 118383
Black men had opportunities to serve in the Union forces before the Emancipation Proclamation. In fact, in May 1862, General David Hunter, in command of occupying forces in Hilton Head, South Carolina, organized the First South Carolina Volunteer Infantry. He acted without permission of the War Department and reputedly impressed men enslaved on plantations in the occupied territory into service. This sparked controversy about whether contraband of war, the enslaved in occupied territory, could, or should, serve in the military. The regiment disbanded in August 1862
Wood Engraving, First and Last Dress Review of 1st Regiment South Carolina (Negro) Volunteers, 1862. THF 11672.
The Militia Act on July 1, 1862 made it legal for the U.S. President, as commander in chief, to accept “persons of African descent” into the Union military or navy. The Militia Act authorized their pay and rations equivalent to that of soldiers already serving, but instead of $13 per month, they received $10 per month, with the remaining $3 paid in clothing). It also allowed persons of African descent to work for the Union, performing camp service and building fortifications.
Union officers reorganized the First South Carolina Volunteer Infantry in November 1862, in conjunction with the Port Royal Experiment to redistribute lands on the Sea Islands of South Carolina to the formerly enslaved. Company A, under command of Charles T. Trowbridge, became the first official regiment of U.S. Colored Troops (USCT) on January 1, 1863, the same day that officials read the Emancipation Proclamation for the first time, in Beaufort, South Carolina, on Port Royal Island, just south of Fort Sumter. The First South Carolina was renamed the 33rd U.S. Colored Infantry in 1864 and remained in service until January 31, 1866.
"Dress Parade of the First South Carolina Regiment (Colored) near Beaufort, South Carolina," 1861-1865. THF 8221
Stories of tragedy and triumph abound in the history of the USCT, including experiences lived by residents on our own Susquehanna Plantation.
Susquehanna as it appears in Greenfield Village today. THF 2024
Morris Robertson, an enslaved carpenter, left Susquehanna and enlisted with the Federal Army on October 25, 1863. He became a member of the 9th USCT, Company C. This regiment was organized at Camp Stanton, Benedict, Maryland, from November 11 to December 31, 1863. They saw service in South Carolina and Virginia, including Petersburg and Richmond. Following the end of hostilities, the regiment was moved to Brownsville, Texas, where it remained until September 1866. The 9th was ordered to Louisiana in October and mustered out at New Orleans, November 26, 1866. Sadly, it was in Brownsville, Texas, very near the end of his term of service that Morris Robertson died of cholera on August 25, 1866. We would like to think that Morris’ brief time of freedom, though under frequent periods of extreme danger, gave him some joy. It is troubling to know that though free, he would never see his family again.
Service Record for Morris Robertson from the Company Descriptive Book. (Library of Congress)
Other objects in the collections document USCT in several other states, and confirms their service across the Confederate States from Virginia to south Texas. Examples include the 54th Massachusetts, perhaps the most well-known USCT regiment. It received national media attention in July 1863 for its “gallant charge” on rebel-held Fort Wagner, on Morris Island in the Charleston, South Carolina harbor.
Lithograph: GALLANT CHARGE OF THE FIFTY FOURTH (COLORED) MASSACHUSETTS REGIMENT / On the Rebel Works at Fort Wagner; Morris Island near Charleston, July 18th 1863, and the death of Colonel Robt. G. Shaw. THF 73704
USCT saw action in the Gulf of Mexico. Evidence includes a portrait of J.D. Brooker. Inscriptions on the back of the photo matte indicated that Brooker served with the Corps d’Afrique, 79th Regiment of Infantry. U.S. Army recruiters worked at the parish-level in occupied Louisiana, to attract volunteers. Troops saw heavy action during the Port Hudson campaign, May through July 1863. Major General Nathaniel P. Banks praised the Corps--"It gives me great pleasure to report that they answered every expectation. In many respects their conduct was heroic. No troops could be more determined or more daring."
Portrait of J.D. Brooker, soldier with the Corps d'Afrique 79th U.S. Colored Troops from Louisiana. THF 93151
Fragments of “our flag” were glued to the back of J.D. Brooker’s portrait.
Collections include portraits of white commanding officers of black troops.
Union Army Colonel Bernard Gains Farrar, who assisted in the siege of Vicksburg, recruited African-American troops from the area after Vicksburg fell. He commanded the 6th U. S. Colored Heavy Artillery.
Portrait of a Union Army Colonel Bernard Gains Farrar, 1862-1864. THF 6229
Lieutenant Andrew Coats, served with the 7th Colored Infantry Regiment and as Acting Assistant Adjutant General for the District of Florida. In 1864, the 7th Colored Infantry Regiment was part of the 10th Army Corps, located in the area of Hilton Head and Beaufort, South Carolina.
Portrait of Lieutenant Andrew Coats, 7th Colored Infantry Regiment, 1864. THF 57539
Americans of African descent remained the fulcrum around which debates about status and citizenship revolved. An 1864 print by Currier and Ives, conveyed this debate graphically as a contrast between the George B. McClellan, the Democratic presidential candidate, who wanted to restore the Union, but not abolish slavery, and the incumbent, Abraham Lincoln, author of the Emancipation Proclamation. If McClellan won the election, the CSA president, Jefferson Davis, would slit their throats. If President Lincoln retained his seat, black soldiers could stand at Lincoln’s right hand, defending the Union of States against CSA president Davis, in rags and on his posterior and held at bay by Lincoln. Black soldiers, however, remained culturally distinctive in the Currier and Ives depiction, as the dialect in the captioning re-enforced.
“Your Plan and Mine,” Political Cartoon, Presidential Campaign, 1864. THF 251879
Our collections also document post-war service of USCT. The Muster Roll for Company E, 46th Regiment of United States Colored Infantry confirmed the presence of men serving in the Regiment between April 30 and June 30, 1865. It also included names of at least fifteen men who had been taken as prisoners of war and men who had been discharged and deceased. The roll may have been used to keep track of soldiers after the war, perhaps for pension applications. Some annotations are dated 1885 and 1890. The Company E, 46th Regiment USCT saw action in Arkansas and the Mississippi Delta.
Another muster roll, confirmed the presence of thirteen soldiers in Company G, 25th Regiment of United States Colored Infantry, on April 12, 1865. Col. F.L. Hitchcock, commanding officer of the troops in Fort Barrancas, Florida, signed the roll. It includes details about each soldier:
Name; Rank; Date mustered in; Place mustered in; Mustered in by [name]; How long in service; Hair color; Eye color; Complexion color; Height (feet and inches); Where born; Age; Occupation; Pay information.
The 25th Regiment USCT was on garrison duty at Fort Barrancas, Florida, when these soldiers were recruited, and remained on garrison duty until December, 1865, never seeing action. During the spring and summer of 1865 about 150 men died of scurvy, the result of lack of proper food. Col. Hitchcock wrote:
"I desire to bear testimony to the esprit du corps, and general efficiency of the organization as a regiment, to the competency and general good character of its officers, to the soldierly bearing, fidelity to duty, and patriotism of its men. Having seen active service in the Army of the Potomac, prior to my connection with the Twenty-fifth, I can speak with some degree of assurance. After a proper time had been devoted to its drill, I never for a moment doubted what would be its conduct under fire. It would have done its full duty beyond question. An opportunity to prove this the Government never afforded, and the men always felt this a grievance."
Muster Roll of 13 Soldiers in Company G, 25th Regiment of United States Colored Infantry, April 12, 1865. THF 284824
As we pause to celebrate Memorial Day, a holiday with its origins linked to the Civil War, we need to pause to also honor all those who have given their lives in service, and all those who have, and continue to, serve to protect our freedoms. Americans did not agree on the meaning of freedom during the 1860s, and the evidence indicates that Americans of African descent were not given their freedom by white Americans. They fought during the Civil War to attain it.
Jim Johnson is Curator of Historic Structures and Landscapes at The Henry Ford. Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford.
Where can you get a real diner experience, especially here in Michigan? The answer is Lamy’s Diner inside Henry Ford Museum of American Innovation—an actual 1946 diner brought here from Massachusetts, restored, and operating as a restaurant in the Museum since 2012.
Now Lamy’s Diner is more authentic, more immersive, and serving more delicious food than ever! What’s behind this makeover?
In 1984, the Henry Ford Museum purchased the Clovis Lamy's diner. It took a crane to lift the diner in preparation for transporting it from Hudson, Massachusetts. Once here, it was restored to its original 1946 appearance. THF 25768
Back in the 1980s, museum staff worked with diner expert Richard Gutman to track down an intact vintage diner for the new “Automobile in American Life” exhibit. Gutman not only found such a diner in Hudson, Massachusetts (moved twice from its original location in Marlborough, Massachusetts) but also helped in its restoration and in interviewing its original owner, Clovis Lamy, about his experiences running the diner and about the menu items he served.
Diners are innovative and uniquely American eating establishments. Lamy, like other World War II veterans, was lured by dreams of prosperity and the independence that came with being an entrepreneur of his own diner. As he remarked, “during the war, everyone had his dreams. I said if I got out of there alive, I would have another diner—a brand new one.”
This photograph shows Lamy's Diner on its original site in Marlborough, Massachusetts, 1946. The diner moved three times, first to Framingham, Massachusetts, next to Hudson, Massachusetts in 1949, and finally to the Henry Ford Museum in 1984. THF 88966
Sure enough, when he was discharged from the army, he ordered a 40-seat, 36- by 15-foot model from the Worcester Lunch Car Company, a premier diner builder at that time. It boasted a porcelain enamel exterior, 16 built-in stools, six hardwood booths, a marble counter, and a stainless steel back bar. Lamy could choose the diner’s colors, door locations, and outside lettering. He and his wife Gertrude visited the Worcester plant once a week, eager to check on its construction.
Clovis Lamy stands behind the counter of his diner in Massachusetts. His favorite part of running a diner was talking to his customers. THF 114397
Lamy’s Diner opened for business in April 1946, in Marlborough, Massachusetts. As Lamy remembered, business was brisk:
We jammed them in here at noon—workers from the town’s shoe shops—and we had a good dinner trade too… People stopped in after the show…[and] after the bars closed, the roof would come off the place.
During the long hours of operation (the place closed at 2 a.m.), the kitchen turned out everything from scrambled eggs to meat loaf. To Clovis Lamy, there was no better place than standing behind the counter talking to people.
But the dream had its downside. The work day was long. He was seldom able to eat with his family. After moving the diner to Framingham, Massachusetts, he sold the business in 1950. The new owner moved it down the road to Hudson.
Lamy’s Diner exterior as it looked in the Museum in 1987. THF 77241
When Clovis Lamy and his wife viewed the diner at the 1987 opening for “The Automobile in American Life” exhibition, they confirmed that it looked as good as new. “Even the sign is the same,” he remarked later with a tear in his eye.
Lamy’s Diner interior as it looked in the Museum in 1987. THF 3869
For 25 years, no food was served at Lamy’s Diner in the museum. It was interpreted as a historic structure, until the opening of the new “Driving America” exhibit in 2012, when museum staff decided to once again serve diner fare there. Delicious smells of toast and coffee wafted out of its doors, while the place hummed with activity. Museum guests sat in the booths, on stools at the counter, or at tables on the new deck with accessible seating. They could choose entrees, beverages, and desserts from a menu that was loosely inspired by diner fare of the past.
Then, in 2016, Lee Ward, the new Director of Food Service and Catering, came to me and posed the question, what if we served food and beverages at Lamy’s that more closely approximated what customers would have actually ordered here in 1946? The diner is already an authentic, immersive setting. What if we took it even further and truly transported guests to that time and place? I have always believed in the power of food to both transport guests to another era and to serve as a teaching tool to better understand the people and culture of that era. Over the years, I’ve helped create Eagle Tavern, the Cotswold Tea Experience, the Taste of History menu, the Frozen Custard Stand, and cooking programs in Greenfield Village buildings. So I excitedly responded, sure, we could certainly do that!
But, as the chefs and food service managers at The Henry Ford began to ply me with endless questions about the correct menu, recipes, and serving accoutrements for a 1946 Massachusetts diner, I realized I needed help.
Dick Gutman talking to Lamy’s staff.
Fortunately, help was forthcoming, as Richard Gutman—the diner expert who had found Lamy’s Diner for us in the 1980s—was overjoyed to return to the project and give us ideas and advice. And the 300-some diner menus he owned in his personal collection didn’t hurt either. In fact, they became our best documentation on diner foods and what they were called in 1946, as well as the graphic look of the menus.
Cookbooks of the era offered actual recipes for the dishes we saw listed on the menus, while historic images of diner interiors provided clues as to what the serving staff might wear, what kinds of dishes customers ate on, and what was displayed in the glass cases on the counter.
All of these are reflected in the current Lamy’s Diner experience. Here’s a glimpse of what you’ll encounter when you visit Lamy’s after its recent makeover:
New Lamy’s Diner menu, front and inside
New England Clam Chowder, a signature dish in New England diners and here at Lamy’s
Chicken salad sandwich,using arecipe from the 1947 edition of the Boston Cooking School Cookbook, a pioneering cookbook that offered practical recipes for the average housewife.
Meat loaf plate,using Clovis Lamy’s original meatloaf recipe
Milkshake, which in Massachusetts isa very refreshing drink made of milk, chocolate syrup, and sometimes crushed ice (no ice cream), shaken until it is creamy and frothy.
Peanut butter and marshmallow fluff sandwich, a New England specialty based upon Archibald Query’s original marshmallow creme invention and later called “Fluffernutter”
Prices are, by necessity, modern, but typical prices of the era can be found on the menu boards mounted up on the wall, based upon Lamy’s original menu and prices.
So, for a fun, immersive, and delicious experience, check out the makeover at Lamy’s Diner!
In Other Food News... A Taste of History: Now featuring recipes and menu items guests might see prepared in Greenfield Village historical structures, such as Firestone Farm and Daggett Farmhouse. Mrs. Fisher's Southern Cooking: The menu is based solely on Mrs. Fisher's 1881 cookbook or authentic recipes.
American Doghouse: New regional hot dog options are available, from the Detroit Coney and Chicago dogs to the California dog wrapped in bacon and avocado, tomato and arugula.
Donna R. Braden, Curator of Public Life at The Henry Ford and author of this blog post, has decided that her new favorite drink is the refreshing Massachusetts version (without ice cream) of the chocolate milkshake. She thanks Richard Gutman and Lee Ward for their enthusiasm and support in making this makeover possible.
Jacket, Worn by Robert H. Hendershot, circa 1890. THF 155871
In the 1880s and 1890s, Civil War veteran Robert Hendershot wore this elaborate jacket when he played his drum at Grand Army of the Republic (GAR) events and at other community gatherings. The accompanying “souvenir” card is actually an advertisement, letting interested parties know Hendershot was available for hire.
Trade Card from Major Robert H. Hendershot, "The Original Drummer Boy of the Rappahannock," circa 1895. THF 115938
Since the 1860s, Hendershot had billed himself as “The Drummer Boy of the Rappahannock.” But was he? In December 1862, during the fighting at Fredericksburg, Virginia, reports had come of a brave young drummer boy who had crossed the Rappahannock River with the 7th Michigan Infantry under a hail of Confederate bullets. The 12-year-old Hendershot was indeed with a Michigan regiment at Fredericksburg at this time. But so were several other young drummer boys.
The controversy over who really was “The Drummer Boy of the Rappahannock” raged for decades among Civil War veterans—reports from members of Michigan units engaged at Fredericksburg offered conflicting stories. But Hendershot used his savvy promotion skills to keep his name before the public, receiving recognition from some GAR members and even from prominent men like newspaper editor Horace Greeley.
Hendershot may or may not have been “The Drummer Boy of the Rappahannock.” But throughout his life, he certainly used his celebrity to his advantage.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.