This year marks the 50th anniversary of an American automotive icon: the Ford Mustang. The Henry Ford counts among its collections three notable Mustangs: the 1962 Mustang I concept car, the first serial number of the 1965 production Mustang, and another 1965 Mustang on display at the Ford Rouge Factory Tour. In addition, our archives include photographs, design drawings (like this one for the 1963 Ford Mustang II prototype), and trade literature from every year of production. Relive the first half-century of the Mustang through the digital collections of The Henry Ford.
William Clay Ford, who passed away on March 9, 2014, is remembered for his generous philanthropy, his dedication to the city of Detroit, and his long-time ownership of the Detroit Lions. They are important legacies that will continue to benefit and inspire for years to come. Automotive industry leaders, historians and enthusiasts point to another of Mr. Ford’s lasting contributions: the 1956 Continental Mark II.
While his brothers Henry II and Benson – especially Henry II – made their marks in Ford Motor Company’s business offices, William Clay Ford inherited his father Edsel Ford’s passion for automotive styling, as well as his consummate good taste. Fittingly, the younger Ford’s most important automobile project was a revival of Edsel’s much-admired Lincoln Continental of 1939 to 1948. The revival car, built and sold under a separate Continental Division, not only measured up to the original Continental’s legend, but became a classic in its own right.
At just thirty years of age, William Clay Ford headed a team of stylists and engineers who worked around the clock to design a car of rare style and luxury. The resulting Continental Mark II, with its clean lines and understated trim, stood in stark contrast with the chrome confections typical of the 1950s. Build quality was of the highest order. Suppliers’ parts were checked and re-checked, and factory components were tested and re-tested. Each car was essentially hand-built, and workers were encouraged to report even the slightest defect so that problems could be corrected before a car ever left the factory.
Power came from a 368-cubic inch Lincoln V-8 capable of 300 horsepower. The car was appointed with every available convenience. Automatic transmission, power steering, power brakes and power windows were all standard equipment. Air conditioning was the only optional extra. Quality and luxury, of course, came at a cost. The Continental Mark II debuted with a price tag of $10,000 – more than twice the cost of a conventional Lincoln. The car quickly became a status symbol among business and entertainment elites. Frank Sinatra and Elizabeth Taylor were proud owners, as was Elvis Presley – despite his penchant for Cadillacs.
Ford Motor Company never intended the Mark II to be a mainstream success. Instead, it was a “halo car” that sprinkled a touch of status over the automaker’s entire line. Even with that imposing price tag, Ford undoubtedly lost money on each Mark II it sold. But the company was willing to take the loss in return for the prestige and publicity the car generated. That mindset changed swiftly when Ford became a publicly-traded company in 1956. The limited-market Continental Mark II was no longer sustainable, and production ceased after just 3,000 cars over two model years.
Today the Continental Mark II is regarded as one of the most elegant American automobiles ever built. Some 1,500 examples survive, and bidding is intense whenever one comes up for auction. Mark II owners and fans keep the car’s spirit alive through clubs and car shows, and car magazines regularly include it in their “best ever” lists. It’s an enduring testament to William Clay Ford’s contributions to the automobile industry.
Matt Anderson is Curator of Transportation at The Henry Ford
William Clay Ford, grandson of Henry Ford, was the longest standing Chairman of the Board of The Henry Ford. He held the position for 38 years from 1951-1989. Through his vision and leadership, the institution, founded in 1929 by his grandfather, began its transformative evolution to the premier American history destination that it is today.
Mr. Ford recognized the national significance of The Henry Ford, its unparalleled collections and educational importance and he was committed throughout his life to the ongoing health and vitality of the institution.
As the largest donor in the history of the institution, his generosity helped restore Greenfield Village and build new visitor experiences in Henry Ford Museum, most notably, "With Liberty and Justice for All" and "Driving America," the country’s most significant automotive exhibition. During his tenure as Chairman of our Board from 1951 to 1989, he influenced the addition of many visitor amenities and collecting initiatives including programs such as Old Car Festival, Motor Muster and Hallowe'en in Greenfield Village, the acquisitions of John F. Kennedy’s Limousine, Firestone Farm, the Allegheny and the DC3 and the building of Greenfield Village’s railroad to name just a few.
In recognition and honor of Mr. Ford’s many contributions, the museum hall was named the William Clay Ford Hall of American Innovation.
At the time of his passing, Mr. Ford was Chair Emeritus, serving The Henry Ford for a total of 63 years. In recent years, he visited the institution often and enjoyed touring the archives, the Village and museum exhibitions.
Recently, when recounting his memories of The Henry Ford, Mr. Ford simply said, “I was brought up with it.” He spoke fondly of roller skating and riding bicycles on the floor of Henry Ford Museum and spending time with his grandparents Henry and Clara Ford in Greenfield Village as a child.
We are deeply saddened by this loss and grateful for Mr. Ford’s lifelong dedication and commitment to The Henry Ford. He will be greatly missed.
We encourage you to take a moment and share your thoughts or memories honoring Mr. Ford’s legacy. Visit our online collections to see more images of Mr. Ford.
Last year I was invited to serve as a guest judge for the CASI Cup at the Detroit Autorama, the signature hot rod and custom car show that comes to Cobo Center every March. I’m happy to report that the Autorama team invited me back this year, but with a nice amendment – this time I got to give out an award created and sponsored by The Henry Ford.
The Henry Ford’s members and visitors know that our institution is dedicated to American innovation, a commitment reflected in our mission statement. Hot rods and custom cars were born of the time-honored American traits of ingenuity and individuality, and the Detroit Autorama showcases the finest examples of creatively modified automobiles. The Henry Ford’s Past Forward Award celebrates these traditions. Winning cars are those that best evoke the spirit of hot rodding and customization. These vehicles:
Combine traditional inspirations with modern innovations
Exhibit a highly skilled technique
Show a decided sense of whimsy
Capture the “anything goes” attitude behind the rodder’s and customizer’s craft
With these criteria to guide me, I hit the show floor in search of potential winners. To be sure, there was no shortage of candidates. The show seems to get bigger each year, and more than 1,000 exhibits filled Cobo Center for 2014. While pre-war Fords, post-war Mercurys and late 1950s Chevrolets were all present in big numbers, I was struck by the number of more recent cars. Fieros, Camaros and Mustangs from the 1980s all appeared. It seems that rodders from my generation are drawing on the cars from our youth for inspiration, just as the Boomers have done for years. While I haven’t seen a chopped Plymouth Horizon yet, it seems there’s hope.
After a few trips around the floor, I settled on three possibilities. With only one award to give, though, I let the crowd help me make my final choice. While every car had its admirers, there was a steady stream of people drawn to “Orange Crush,” a 1969 Chevrolet Chevelle owned by Joseph Messina of Fair Haven, Michigan. The Chevy had presence – even beyond that electric orange paint. What really struck me in talking to Joe, though, was the pride he took in the small details. He boasted about the car’s stainless steel bolts, explaining that he spent 20 minutes grinding and polishing each one personally. The companion washers were all laser-cut to exacting specifications. It was the perfect blend of new technology and old fashioned craftsmanship that the Past Forward award is all about. Plus, I loved the double meaning in the name. Sure, the car’s color looked a lot like the soft drink, but it’s also clear that Joe had a deep “crush” on his car and was rightfully proud of his work. I hope he’s proud to be our 2014 Past Forward Award winner, too.
And so another great Autorama came to a close. It was a much-appreciated reminder that, despite all the bitter cold and snow this winter, it won’t be long before these cars come off of their mirrored platforms and start hitting the streets as cruising weather returns.
Matt Anderson is Curator of Transportation at The Henry Ford
Edsel Ford commissioned Charles Hart, a New York-based architect affiliated with the Treadway Service Company to reproduce a group of late 18th- and early 19th-century houses for an addition to the Dearborn Inn. Dearborn-based landscape architect Marshall Johnson prepared this rendering. The aerial photograph shows the Inn from the southwest, one year before construction. Note the adjacent Ford Airport and the clock tower of Henry Ford Museum in the background. (Left: Object ID P833.63669E, THF107996; Right: Object ID 59.13.2)
This is the third of three blog entries on objects related to the Dearborn Inn in the collections of The Henry Ford. The first centered on a remarkable scrapbook documenting the original furnishings of the Inn, which opened in 1931. The second concerned Edsel Ford’s pivotal role in commissioning the Inn and hiring the L.G. Treadway Service Company to furnish and manage it.
By late 1935, Edsel Ford, in consultation with the L.G. Treadway Company of New York City, was hard at work on a plan to add additional accommodations. A promotional brochure published by Treadway sums up the need for expansion:
“The Inn eventually became so popular that additional guest rooms were necessary. As the architectural plan of the Inn would not, with good taste or economic soundness, allow an addition, it was decided, after a thorough survey of the problem, to build separate cottages, or houses, to accommodate travelers. To be in keeping with the traditional environment these should be, externally, exact replicas of houses famous in American history, and, inside, afford the same comfort as enjoyed by guests at the Inn. The scheme calls for several houses to be grouped harmoniously as a Colonial Village.”
The brochure goes on to state that the landscape was to be carefully arranged, “such as might have grown around the original houses.”
A series of telegrams between A.J. Lepine, Edsel Ford’s secretary, and architect Charles Hart documents the design approval process.
Landscape design proposalssubmitted to Edsel Ford for the “Colonial Village” at the Dearborn Inn.
Work on the “Colonial Village” progressed through the winter and spring of 1936. A series of landscape designs were submitted to Edsel Ford for his approval. In mid-March a meeting among Edsel Ford, architect Charles Hart, and landscape architect Marshall Johnson was held in Dearborn. Ultimately the designs, including swimming pools and a bath house, were scaled down to just five houses: the Barbara Fritchie House, from Frederick, Maryland, the Governor Oliver Wolcott House, from Litchfield, Connecticut, the Patrick Henry House, from Red Hill, Virginia, the Edgar Allan Poe House from the Bronx, New York, and the Walt Whitman Birthplace, from Huntington, Long Island, New York. Selection of these houses for a “Colonial Village” seems questionable when one considers that three of the famous individuals, Barbara Fritchie, Edgar Allan Poe and Walt Whitman, were active in the 19th century, long past the colonial period. Perhaps the selection of these figures relates to romantic perceptions of American history in the 1930s, combined with an interest in the broader “Colonial” past.
Correspondence between Charles Hart and A.J. Lepine, Edsel Ford’s secretary, suggesting purchase of the original Walt Whitman Birthplace for Greenfield Village.
A fascinating exchange between Charles Hart and A.J. Lepine, Edsel Ford’s secretary, in late April and early May, 1936, suggests that there was discussion between Edsel Ford and Hart about purchasing the original Walt Whitman Birthplace, located in Huntington, Long Island, New York, for Greenfield Village. The Birthplace was currently on the market for $30,000. Hart states that Edsel Ford asked him “. . .to hold up on this particular house until you had a chance to talk with your Father [sic] to determine whether he would be interested in the purchase of it for his Greenfield Village.” The response was that the house would not be “further considered, as it has been determined that the price is too high.” In this exchange, the bath house and pool were likely eliminated as well, because of the high cost.
Over the summer and fall of 1936 the five reproduction houses were completed at the rear of the Inn. The houses opened for guests in the spring of 1937. Interiors were filled with reproductions of 18th- and 19th-century furnishings, updated to the needs and comfort of the discriminating traveler of the 1930s: promotional brochures boasted that the houses were outfitted with radios, telephones, and private bathrooms in each suite.
The Treadway Company managed the Inn and the “Colonial Village” for just three more years, until 1939, when their contract expired. The Inn and the reproduction homes have endured and prospered over the decades. Today, visitors to Dearborn may experience these houses in much the same manner as guests in the 1930s. Fortunately for us, the Marriott Corporation, who manages the Village and Inn, have maintained the high standards set in the 1930s.
For more insights on the Inn and “Colonial Village”, take a look at Jennifer Czerwick Ganem’s Images of America: Dearborn Inn (Charleston, South Carolina: Arcadia Publishing, 2011).
Charles Sable is Curator of Decorative Arts at The Henry Ford.
In March of 1938 Zenith Radio Corporation introduced a remarkable product—an elegant listening device, priced at $19.95, designed to allow parents to monitor their children after bedtime.
The idea for the Radio Nurse originated with Zenith’s charismatic president, Eugene F. McDonald Jr. Like all parents, McDonald was concerned about his baby daughter’s safety—especially in the wake of the kidnapping of Charles Lindbergh’s young son. As a result, he had experimented with an ad hoc system of microphones and receivers that allowed him to keep an ear out for his daughter’s well-being.
Once he was satisfied with his improvised system’s workability, he handed it off to his company’s technicians to create something more reliable and marketable. The device they engineered could not have been simpler. The transmitter, called a "Guardian Ear" could be placed close to the child’s crib or bed; the receiver, called the ‘Radio Nurse” would be set close to wherever the parents happened to be spending their time; both components would be plugged into electrical outlets, the house wiring acted as the carrier for the transmitted sound. The final finished product however was much more than a marriage of concerned fatherhood, ingenuity, and engineering; the presence of another creative mind—that of sculptor Isamu Noguchi—resulted in a product now regarded as an industrial design classic.
Noguchi was responsible for the styling of the system’s most visible, and audible, component—the Radio Nurse receiver. Minimally, he had to create a vessel to house and protect a loudspeaker and its associated vacuum tubes, but actually his task was much more challenging: he had to find a way to soften a potentially intrusive high tech component’s presence in a variety of domestic settings.
Noguchi’s solution, remarkably, was both literal and paradoxical: he created a faceless bust, molded in Bakelite, fronted by a grille and backed by the suggestion of a cap—an impassive abstract form that managed to capture the essence of a benign, yet no-nonsense, nurse. Shimmering in a grey area where the abstract and figurative appear to meet, it strikes a vaguely surrealist note—it wouldn’t be out of place in an image by Giorgio de Chirico or Man Ray. A touch of whimsy is incorporated: adjustment of the concealed volume control wheel amounts to a kind of tickle under the unit’s chin—subtly undermining the effect of the stern Kendo mask-like visage. Still, with its human yet mechanical features, the Radio Nurse remains slightly sinister and finally inscrutable.
But was it neutral enough to sit close at hand without, in silence, striking its own discordant note? Sales never did take off, but it was a technical problem—rogue broadcasts picked up or transmitted by the house wiring—that gave cause for customer complaint. Alarming as the Radio Nurse might be when provoked into voicing one of junior’s broadcasts, the possibility that some other unknown voice might start to speak through that blank grille would surely have made the unit’s presence aggravatingly suspenseful.
Visitors to The Henry Ford may have noticed that we have a very special guest in the Driving America exhibit: GT40 chassis number 1075, one of the world’s most celebrated race cars. The car has six race victories to its credit, but it is best known for winning the 24 Hours of Le Mans – twice. Race fans know that Le Mans is not only the most prestigious event in motorsport, but also among the most grueling. Cars and drivers are pushed to their limits, running hard on the difficult course for 24 non-stop hours. Simply finishing the race is a major accomplishment. Winning is the capstone in any car’s career. Winning twice, well, that’s nothing short of extraordinary.
Car 1075 has its roots in Ford Motor Company’s legendary fight to beat Ferrari in the 1960s. After avoiding motor racing for many years, Ford jumped in with both feet in the early 1960s. The company actually tried to purchase Ferrari in 1963. It was a shrewd idea – the acquisition would have given Ford instant prestige and a massive head start in its racing efforts. But it was not to be. The two companies could not come to agreeable terms and the negotiations ended. Unable to buy the Italian automaker, Ford decided to beat it.
Ford turned to Eric Broadley, of British-based Lola Cars, to jump-start its sports car racing effort. Broadley designed a car based on Lola’s own sophisticated 1963 GT car and powered by Ford’s Indy Car 289-cubic inch V-8. The resulting racer stood a mere forty inches off the ground – hence its name, the GT40. Results in the 1964 season weren’t particularly promising, and Ford turned to its big NASCAR 427 V-8 to power the GT40 Mark II. The bigger engine started winning races in 1965, and a Ford-sponsored Mark II took the checkered flag at Le Mans in 1966. As if to prove the victory wasn’t a fluke, Ford came back and won again with the Mark IV in 1967. The Mark IV, having been designed and built entirely in the U.S. and piloted by Californian Dan Gurney and Texan A.J. Foyt, gave the 1967 win the further distinction of being an all-American effort.
Ironically, Ford’s domination with the big 427 engine provided a break for the smaller 289. The big engines regularly pushed cars past 200 miles per hour on the Le Mans circuit and French officials, fearing a catastrophic accident on a track designed for slower speeds, imposed a 305-cubic inch limit for 1968. The Mark I’s 289 cubic inches suddenly didn’t seem too few. Ford ended its involvement at Le Mans after 1967, but other teams continued to field GT40s. JW Automotive Engineering dominated the next two racing seasons with Mark I cars, including chassis 1075.
Mexican Pedro Rodriguez and Belgian Lucien Bianchi drove 1075 to its first Le Mans win in 1968. It was an unusually cold and wet race (held in late September, rather than the usual June, due to political unrest), but the drivers – and the car – performed flawlessly and held the lead for 17 of the 24 hours. It was the third win in a row for a Ford car, but the first for the original Mark I design. Sadly, Rodriguez and Bianchi both died in separate racing accidents within three years of their Le Mans triumph.
Car 1075 came back to Le Mans in 1969, this time with Belgian Jacky Ickx and Brit Jackie Oliver at the wheel. Ickx started the race with a bold protest against the fabled “Le Mans start,” in which drivers stood across the track, ran to their cars and then drove off – buckling their harnesses as they sped along. Ickx took his time getting to his car and carefully strapped himself in before setting off. Tragically, Ickx’s point about the inherent danger was proved on the first lap: British driver John Woolfe was killed in an accident before he had a chance to buckle his harness. The fatal crash foreshadowed one of the most dramatic Le Mans races. Car 1075 traded the lead with a Porsche 908 constantly during the last 2½ hours. On the last lap, the Mark I crossed the finish line a mere 100 yards ahead of the Porsche – in a race of more than 3,100 miles. With that second win, car 1075 earned its place in history and cemented the GT40’s reputation as one of the most successful cars in motorsport.
Matt Anderson is Curator of Transportation at The Henry Ford
1968 Ford Mark I, Chassis Number 1075
Maker: Ford Motor Company, Dearborn, Michigan
Engine: Ford V-8 with Gurney-Weslake cylinder heads, overhead valves,302 cubic inches
Transmission: 5-speed manual
Overall length: 164.5”
Weight: 2186 pounds
Horsepower: 425 @ 6000 rpm
Pounds per horsepower: 5.1
Competition History: Winner of Le Mans 24-hour in 1968 and 1969. Winner of BOAC International 500 in 1968. Winner of Spa 1000-kilometer in 1968. Winner of Watkins Glen 6-hour in 1968. Winner of Sebring 12-hour in 1969.
"The Saturday Evening Post," June 20, 1903, featuring the first installment of "The Call of the Wild" (Object ID: 2014.0.5.1).
In 1903, Jack London was a young writer still in the early stages of his career. He was 27 years old when he published The Call of the Wild, the story that was destined to become an American classic and earn him a place in the canon of American literature. Drawing upon London’s experiences in the Klondike Gold Rush, The Call of the Wild is the story of Buck, a dog who is kidnapped from his idyllic home in northern California and thrown into the harsh life of a sled dog in the cold wilderness of the Yukon.
The Call of the Wild was first published in The Saturday Evening Post, a popular weekly magazine that featured a variety of content including articles on current events, editorials, illustrations, cartoons, poetry, and fiction. The magazine paid Jack London a sum of $750 for his story, the equivalent of almost $20,000 today. The Call of the Wild was published in five consecutive issues from June 20, 1903 to July 18, 1903. The first two of these issues are held in the collections of The Henry Ford, including the initial issue which features The Call of the Wild on the cover.
The Saturday Evening Post had widespread circulation; in fact, even Clara Ford had a subscription. Several of The Henry Ford’s issues from around 1903 bear an address label for Mrs. H. Ford at 332 Hendrie Ave., the address of the Fords’ residence in Detroit at the time. Henry Ford founded Ford Motor Company on June 16, 1903, just four days before The Call of the Wild was first published. When the final installment of The Call of the Wild was published a month later, Ford Motor Company had just sold their first car for $850, as recorded in their first checkbook. Coincidentally, the base price of the Model A car was $750, the same amount that Jack London received from The Saturday Evening Post for his story. (Ford Motor Company’s first customer paid an extra $100 for a tonneau, or backseat compartment, bringing the total for the car to $850.) I imagine that Henry Ford was quite busy building his fledgling company and didn’t have much time for leisure reading. However, it is interesting to think that he or his wife Clara might have read The Call of the Wild when it was first published, especially at a time when both Henry Ford and Jack London were on the verge of success that would lead them to become icons in American industrial and literary history, respectively.
"The Saturday Evening Post," June 27, 1903, addressed to Mrs. H. Ford; although it is not featured on the cover, this issue includes the second installment of The Call of the Wild. (Object ID: 220.127.116.114).
Edsel Ford and Henry Ford II at the National Air Tour, Ford Airport, Dearborn, 1928. Sponsored in part by Ford, the National Air Tour brought pilots and visitors to Dearborn in the late 1920s and early 1930s. The need to house guests and participants was one of the factors that led to the construction of the Dearborn Inn. (Object ID P.O.8527)
This is the second of three blog posts on objects related to the Dearborn Inn in the collections of The Henry Ford. The first concerned a remarkable scrapbook documenting the original furnishings of the Inn, which opened in 1931.
In the first piece, I discussed the unique nature of the Dearborn Inn, intended as an airport hotel and as a “front door” for visitors to our campus, Ford Motor Company and the Dearborn community. What I did not address was who conceived of the Inn and oversaw the project to its fruition. That individual was Edsel Ford. While it is generally acknowledged that Edsel Ford was a pivotal figure in the management of the Ford enterprise, individual achievements are rarely accorded to him. In the case of the Dearborn Inn, it is generally considered to be the conception of Henry Ford. While researching the scrapbook, I ran across reminiscences in our archives of Ernest Gustav Liebold (1884-1956), who served as Henry Ford’s executive secretary and financial manager. Mr. Liebold oversaw nearly all of Henry Ford’s business outside of Ford Motor Company. Mr. Liebold categorically states that the idea for the Dearborn Inn came from Mr. Edsel Ford. He continues to briefly discuss the construction of the Inn, specifically the interaction of architect Albert Kahn’s office with the Ford organization. Finally, Mr. Liebold states the following:
“Mr. Edsel Ford brought in Treadway to operate the Dearborn Inn. He also had Treadway at his Inn up in Maine. (Edsel Ford owned a large summer home near Seal Harbor, Maine.) Edsel bought it shortly after Mr. (Henry) Ford bought the Wayside Inn (in Sudbury, Massachusetts). He had that as an inn of his own, and Treadway operated it. Treadway was brought here at the same time and given a contract, I think for five years.”
This statement led me to investigate the Treadway Inn and its history. According to The Motel in America (1996) Treadway Inns were America’s earliest motel chain. They were founded accidentally by Mr. L.G. Treadway. In 1912 he took over operations at the Williams Inn at Williamstown, Massachusetts. (This inn continues today.) It was an old coaching inn, dating back to the early 19th century. Under Treadway’s management, the establishment was attractive, comfortable, and provided good meals. Treadway’s innovation came in 1920 when he and the owners of inns in nearby towns, specifically the Ashfield House of Ashfield, Massachusetts, and the Dorset Inn of Dorset, Vermont, combined resources. Guests were recommended to the associated inns, and employee exchanges took place. The three inns found economies of scale by combining advertising and purchasing; the resulting increase in business and decrease in costs brought increased profits – the affiliation grew into a chain, with many other New England inns added over time.
Each inn maintained its own character, but they all shared comfort, good food and efficiency. They did not attempt to duplicate the hotels of big cities, but rather extend to all travelers old-fashioned rural New England hospitality. Once established, the chain made its headquarters, ironically, in New York City and always included the trademark, “The Real New England Inns” with a distinctive logo of a colonial innkeeper pointing with a cane in the left hand, lantern held high in his right.
While traveling from Michigan to his summer home in Maine, Edsel Ford likely encountered the Treadway chain. After experiencing “The Real New England Inns” it must have been a foregone conclusion for Edsel Ford to invite Treadway to manage the Dearborn Inn. According to articles in Ford News, Ford Motor Company’s in-house magazine, announcing the Inn’s opening in the summer of 1931, a number of the Inn’s staff was recruited from Treadway Inns throughout New England.
Reproduction 18th and 19th century furniture filled the public and guest rooms of the Dearborn Inn (Object ID 59.13.7).
The Dearborn Inn differed from typical Treadway Inns in a major way – it was a totally new construction. In keeping with their corporate identity, the Treadway staff sought to recreate interiors reminiscent of a New England inn, filling the public and guest rooms with reproduction 18th and 19th century furniture.
The Treadway firm managed the Dearborn Inn until 1939, when the contract with Ford was not renewed. A subsidiary of Ford known as Seaboard properties operated the Inn until 1983, when the Marriott Corporation took over.
This 1966 brochure for the Treadway Publick House, at the Old Sturbridge Village living history museum, documents a typical Treadway Inn property. It was described as “A 1771 Coaching Tavern,” and visitors had the option of staying in the Inn, Treadway House (a “Colonial Farmhouse”) or the adjacent, modern Treadway Motor Inn. (Object ID 90.281.40).
Following World War II, Treadway changed with the times and oriented itself to the automobile traveler. While maintaining “The Real New England Inns” trademark and logo, they added motor inns across the northeast and north-central United States. In 1971, the firm turned to franchising, reaching a peak of 55 inns by the mid-1970s. In the 1980s, like many aging motel chains, including competitor Howard Johnson’s, the firm sold many properties, eventually liquidating the entire chain. Today, only one hotel, in Oswego, New York, operates under the Treadway name. Many of the original coaching inns, like the Williams Inn in Williamstown, Massachusetts, and the Publick House in Sturbridge, Massachusetts, continue to operate as independent inns.
For more insights on the Dearborn Inn and lots of great images, take a look at Jennifer Czerwick Ganem’s Images of America: Dearborn Inn (Charleston, South Carolina: Arcadia Publishing, 2011).
Charles Sable is Curator of Decorative Arts at The Henry Ford.