The film Ford v. Ferrari, staring Matt Damon and Christian Bale, reignited interest in Ford Motor Company’s racing efforts at Le Mans in the 1960s. While the movie focuses on Ford’s 1966 victory, the automaker returned to Le Mans in 1967 with the Mark IV.
This was the first all-American car and team to win the Le Mans 24-hour race. For decades, Europeans had dominated sports-car racing in cars with small, fast-turning, highly efficient engines. Americans typically used big, slower-turning, less-efficient V-8 engines. This car’s sophisticated chassis used aerospace techniques, and its shape was refined in a wind tunnel. But its big engine was based on Ford’s V-8 used for stock-car racing.
The second-place Ferrari was more complicated and temperamental than the first-place Ford. It had a V-12 engine with fuel injection and twin distributors. The Ford (pictured above) had a V-8 engine with two four-barrel carburetors.
Two of America’s great race drivers, A.J. Foyt, right, and Dan Gurney, teamed up to win the 1967 24 Hours of Le Mans in this car. Gurney’s post-race celebration included racing’s first-ever champagne spray.
This fall we welcomed Rich Sheridan, CEO (and Chief Storyteller) of Menlo Innovations, to The Henry Ford as an Entrepreneur in Residence. Rich is our second EIR to join us in 2019, following Melvin Parsons, founder of We The People Growers Association in Ypsilanti. Hear more about Melvin's story below.
Thanks to a grant, the William Davidson Foundation Initiative for Entrepreneurship has allowed The Henry Ford to provide the next generation of entrepreneurs with hands-on learning opportunities. This initiative includes the Entrepreneur-in-Residence program, a public speaker series featuring influencers in entrepreneurship, workshops and the expansion of youth programming that leverages the institution’s Archive of American Innovation to create a deep and engaging understanding of invention, innovation, and entrepreneurship from a young age.
Learn more about Rich, his background, and his passion for cultivating joy.
Tell us a little bit about yourself and your company, Menlo Innovations. I am a #PureMichigan kid. I grew up in Mount Clemens, Mich., just north of Detroit and attended Chippewa Valley High School where I started learning to program computers on a teletype in 1971. I then went to Ann Arbor and received a bachelor of science in computer science and a master of science in computer engineering from the University of Michigan. After graduation in 1982, I decided I loved Ann Arbor too much to leave and have been there ever since. I married my high school sweetheart, Carol, and we raised our three daughters (Megan, Lauren and Sarah) in a house we’ve been working on since we bought it in 1983. We have two granddaughters now and two more (twins!) on the way.
I co-founded Menlo Innovations in 2001 with James Goebel. We are a contract software design and development firm in downtown Ann Arbor with a mission to “end human suffering in the world as it relates to technology.” Our goal since our founding is to return joy to technology … for the people who use the software our team creates, for the people who pay us to design and build it, and for the people who do the work.
Our team has done lots of work in the automotive industry, the healthcare industry, logistics, retail, in just about every technology and platform available.
Do you have a specific memory about your first visit to The Henry Ford? Growing up in Clinton Township (near Mount Clemens), there was a program offered every summer that I believe they called Summer Recreation. Most of the activities were at the elementary school I attended. They also offered field trips and once a summer they took us to Greenfield Village. I loved it every time I went. My specific memories include rock candy (!), the steam engine train, the Wright Brothers bicycle shop, the horse-drawn carriages, the Model-T fleet, the blacksmith shop, the glassblowing, and of course, the Menlo Park lab of Thomas Edison.
What inspires your most about Thomas Edison and his Menlo Laboratory? As a kid, I got goosebumps whenever I entered that lab. I’m not even sure if I knew what had actually happened there. I could sense the human energy that existed there, the camaraderie, the inventiveness, and the excitement of creating things that had a chance to change the world. I loved the fact that there was a “lab” that was wide open and filled with such fascinating equipment, above a machine shop. My favorites toys as a kid were Erector sets, electrical experimentation kits, LEGO blocks, chemistry sets, and a microscope. In my mind’s eye, I saw all of this at work in this lab and this was a place that adults worked! I wanted that in my own work life.
What have you been working on with The Henry Ford as our EIR? What excites you most about your time here? The Henry Ford wants to ensure they offer practical relevance to the problems we face in our world today. Businesses and engineers at those businesses have the opportunity to create great impact. The adults running those firms and working there need inspiration (just like we kids did). Businesses today need creativity, imagination, invention and innovation more now than ever. What better place to inspire and begin such a journey than The Henry Ford.
My project is to help the amazing team at The Henry Ford imagine an innovation space that businesses can use to bring their teams, their ideas, and perhaps even their customers to play, explore, invent and ideate. The space itself will be right in the middle of the museum. Thus, teams who use that space will be able to use the museum as a sort of lab for creating, drawing important lessons from the past and they ideate about the future. As William Pretzer said in his book Working at Inventing, “Henry Ford’s goal was to create a museum that would not only record the past but would shape the future as well. It would use the past to encourage visitors, especially the young, to aspire great achievements of their own.” It certainly worked for me!
Why is it important to put joy into your work every day? I have to admit, my desire to create Menlo Innovations was a selfish one. I wanted to create a workplace I wanted to come to every day, with energy, enthusiasm and inspiration. The beautiful thing is that this kind of environment is contagious. We actually get over 3,000 visitors every year who come from all over the world just to see how we do what we do. They can feel the energy of the place and we end up talking about the “business value of joy.” The visitors often ask, “Why is joy so important?” I present them with a rhetorical question: “Imagine half of my team had joy and the other half didn’t? Which half would you want working on your project?” Everyone chooses the joyful half (of course!). I then ask them why?
“They’d be more productive.”
“They’d care more about the outcome.”
“They’d produce higher quality.”
“They’d be easier to work with.”
There is, in fact, tangible business value to joy. We know this. Thomas Edison knew this. Henry Ford knew this. Now it’s time for the rest of the world to get on board.
In 1973, Hallmark Cards, Inc. decided to venture into the world of producing Christmas ornaments. That year, the company introduced a small line of “Keepsake Ornaments,” consisting of six rather traditional glass ball ornaments and 12 handcrafted yarn figures.
Since then, the company has kept its finger on the pulse of popular tastes, interests, and values. Whether you’re a devoted Hallmark ornament fan or you’re not quite sure why others are, you have to admit that this entrepreneurial company has revolutionized Christmas decorating.
“Spotlight on SNOOPY Series: Joe Cool” ornament, 1998. THF177009
The Henry Ford recently acquired a collection of thousands of Hallmark ornaments from Indiana Hallmark retailer, The Party Shop, spanning the years 1973 to 2009. Besides being fun, artistic, and just plain charming, there are several other reasons we are excited about the addition of these ornaments to our collection.
“Here Comes Santa Series: Santa’s Motorcar” ornament, 1979. THF176989
J. C. Hall, a Visionary Founder
Founded in 1910 by Joyce Clyde (J. C.) Hall, Hallmark did not start with ornaments, but with cards. J. C. Hall (born 8/29/1891) grew up in small-town David City and Norfolk, Nebraska, where at a young age he sold perfume to neighbors and clerked in his older brothers’ bookstore. When he was 16, the three brothers pooled their money and opened the Norfolk Post Card Company. But the market for postcards in Norfolk was limited.
As story has it, in 1910, J. C. dropped out of high school, crammed two shoeboxes full of postcards, and boarded a train for Kansas City, Missouri. He called on drugstores, bookstores, and gift shop owners, wholesaling products that were created and manufactured by others. As business picked up, he ventured to outlying railroad towns. He and his brother Rollie were soon able to open a specialty store in downtown Kansas City, selling postcards, gifts, books, and stationery. Unfortunately, their inventory was wiped out by a fire in 1915. But they were able to float a loan and bought an engraving firm, which set the stage for the creation of their first original Hallmark card designs. In 1921, brother William joined them and in 1923 the three brothers formed Hall Brothers.
Building a Brand
To establish Hallmark as a recognizable brand, it was J.C. Hall’s idea to begin placing ads in women’s magazines. In 1928, J. C. Hall came up with the brand name “Hallmark” because it both incorporated the family name and was an allusion to goldsmiths’ “hallmark,” a mark of quality. The company began to sell its greeting cards nationally. In 1944, Hallmark’s sales and marketing executive Ed Goodman came up with the tag line, “When You Care Enough to Send the Very Best” (using three important company values: caring, quality, and “the best”). In 1954, the company changed its name to Hallmark Cards, Inc.
Traditional glass ball ornament, “Charmers,” 1974. THF177044
J. C. Hall stepped down as president in 1966, and his son Donald J. Hall became the new president and CEO. Under Donald, Hallmark grew and expanded its quality products to a global market. Ornaments were introduced in 1973. The Hallmark Gold Crown Store program was formalized in 1986, with a network of independently owned and operated retailers to build on the strength of the Hallmark brand and its products. The company acquired complementary companies during the 1980s and 1990s, beginning with Crayola in 1984.
Since its beginnings, Hallmark has been known for taking risks and being innovative. In 1917, Hallmark “invented” modern gift wrap by printing its own wrapping paper. The company also patented the “Eye-Vision” greeting card display racks, beginning the idea of displaying greeting cards on public view rather than hiding them in drawers.
Hallmark has continually embraced innovation in the design, technology, and marketing of its ornaments. These include: the use of artists to create original designs; unique translations of cultural celebrities, phenomena, and design trends; groundbreaking experiments in applying sound, light, and other special effects; and sparking the phenomenon of ornament collecting through the creation of a collectors’ club and development of several-year-long ornament series.
“Baby’s First Christmas” ornament, 1990. THF177027
A Mission-Driven Company
Hallmark Cards, Inc. has built an extremely successful business around the core mission of reinforcing stability and connectedness within a rapidly changing world. The company believes that their products and services must enrich people’s lives; that creativity and quality—in their products, services and all that they do—are essential to their success; and that innovation in all areas of their business is essential to attaining and sustaining leadership.
“See ‘n Say” ornament, 2007 (mechanical). THF177011
There is a reason why the most popular ornaments over time have moved from traditional glass balls to “figural ornaments”—that is, ornaments designed to represent something, from Christmas motifs to popular toys to characters in movies, TV shows, and children’s books. Many consumers tell Hallmark that they view the company’s Keepsake Ornaments as more than just holiday decorations. They help them relive special memories, remember special people and events, and express their own unique interests and personalities.
One of the company’s greatest innovations was establishing an international chain of independent Hallmark stores to encourage sales, customer loyalty, and reinforce their brand. The Henry Ford’s collection of ornaments was once displayed at one of these stores—The Party Shop, a 12,000 square foot Hallmark store in Warsaw, Indiana. The family who owned and operated the Party Shop and the Hallmark Ornament Museum displayed within it epitomizes an entrepreneurial family who embraced Hallmark’s mission.
Dorothy Snyder and her son David in front of the Hallmark Ornament Museum inside their Hallmark Store
Norman and Dorothy Snyder bought The Party Shop in Warsaw, Indiana in 1978. They were looking for a career change and thought that owning a Hallmark store would both be enjoyable and align with their own values. During the 1980s, the Snyders bought or added several stores, both locally and in surrounding small communities. They and their two children, David and Dana, managed these stores.
In 1989, the family moved The Party Shop from downtown Warsaw out to a 4,400 square foot store in a shopping center on the outskirts of town. They kept outgrowing their space until, in 1996, they moved into their final location—a 12,000 square foot store in that shopping center, about three times the size of most Hallmark stores! It was then that they opened the Hallmark Ornament Museum, aided by the donation of an earlier collection amassed by a friend of their son David. They stopped adding to the collection in 2009, because they just couldn’t justify adding more cases—the space was needed for the retail operation.
A visionary founder; a successful brand; risk-taking and innovation; a mission-driven company; customer focus; and connections with an entrepreneurial family—these are the qualities that mark our new Hallmark ornament collection. So, they may be cute; they may be funny; they may seem overly sentimental at times. They also make a perfect acquisition for The Henry Ford.
Watch for a growing number of these ornaments to appear in Digital Collections on our website and be sure to check them out in person at Henry Ford Museum of American Innovation during the holiday season.
Donna R. Braden is Senior Curator & Curator of Public Life at The Henry Ford. She was aided in this blog post by Jeanine Head Miller, Curator of Domestic Life and fellow collaborator on “all things Hallmark.”
The Henry Ford acquired the Vegetable Building from Detroit's Central Farmers Market in 2003, saving it from demolition. Like the farmers markets of today, the Detroit Central Farmers Market was a gathering place – a commercial center, a hub of entrepreneurship and a community space where family, friends, and neighbors congregated and socialized.
This farmers market can become a destination again, a resource for exploring America's agricultural past, present, and future. We need your help to make this happen. #PledgeYourPassion by making a gift this Giving Tuesday.
Learn more about the remarkable history of this important structure.
The City of Detroit invested in a new permanent market building - this expansive vegetable hall - in 1860. Located at the east end of Michigan Avenue, just east of Woodward at Campus Martius, it was roughly four blocks square, extending from Woodward to Randolph. The major building in the market was the expansive vegetable building. Market gardeners, florists, orchardists, and nurserymen sold their produce from rented stalls between 1861 and 1893.
The growth of Central Market reflects Detroit’s growth as a city. Much of Detroit’s early history revolved around its importance as a port and strategic location in the Great Lakes. During the 19th century, Detroit’s manufacturing base and its population grew rapidly, more than doubling every 10 years from just 2,222 people in 1830 to 45,619 in 1860. The Central Market was the first Detroit market not located by the docks, reflecting the city’s transition from a port town to a city. Farmers were now coming to Detroit to sell to city residents, rather than to ship produce to eastern cities.
This certified 1884 Sanborn insurance map shows the Central Market area, including the Vegetable Building and other shops.
The Central Farmers Market began in 1843 as a simple shed built off the rear of the old City Hall building. Problems with traffic congestion caused by the market, along with the desire to make the prominent square more presentable, led newly elected Mayor Christian H. Buhl to pledge to build a new covered market building. The city hired local architect John Schaffer to develop plans. Schaffer’s design called for a “structure to be comprised of forty-eight iron columns supporting a wooden roof, [measuring] 70 by 242 feet from outside to outside.” The construction contract was awarded in June to Joel Gray at a cost of $5,312. In late September of 1860, the Detroit Free Press wrote:
“The new market building in the rear of the City Hall is nearly competed and promises to be a fine structure. It covers the whole of the space occupied as a vegetable market, and consists of an open shed, the roof of which is supported on iron columns and a well-finished framework. The roof is of slate and cost about $1,500. It is designed in time to make a tile floor and erect fountains. The building will accommodate all the business of the market and will constitute an ornament as well as a great convenience to that important branch of city commerce.”
In its first year, the market earned the city $1,127 in rent, covering 20% of the construction costs in one year. The building thrived as the vegetable market through the 1880s. The emergence of the Eastern Market, and the continuing desire to open the street to traffic, led the Common Council to decide to close the Central Market in 1892. In 1893 the Parks and Boulevards Commission, which operated Belle Isle, received approval to move the building to Belle Isle for use as a horse and vehicle shelter. The building was re-erected on Belle Isle in 1894.
In later years it was converted to a riding stable – the sides were bricked in, the roof was altered to add clerestory windows to let in light, and an office and wash area was constructed in the south end. After the riding stable closed in 1963, the building was used to keep the horses of the Detroit Mounted Police, and then later used for storage. It was considered for demolition since the early 1970s. Over the summer of 2003, the building was dismantled and the parts from the original market building were preserved for re-erection in Greenfield Village.
The Detroit Central Farmers Market vegetable building is a rare and important building. Because of fires and development pressures, wooden commercial buildings, particularly timber-framed buildings, rarely survive to the present in urban settings. This may be the only 19th century timber-frame market building surviving in the United States. Its move to Belle Isle saved it from demolition.
The building is architecturally significant. It is an excellent expression of prevailing architectural tastes, as demonstrated by the Free Press review. It captures the rapidly changing world of building construction of the mid-19th century. The building represents the pinnacle of the timber framer’s craft; it is elegantly shaped and ornamented in a way that makes the frame itself the visual keystone of the design. It was built shortly before timber frame construction was eclipsed by the new balloon frame construction, which used dimensional lumber and nailed joints. The cast iron columns that support the timber-framed roof represent the newest in manufactured construction materials. Cast iron was the favorite material of the modern builder in the mid-19th century. It was easy to form into a variety of shapes, and ideal for adding ornamentation to buildings at a moderate cost. The columns in the market building have been formed to represent two different materials – the lower section resembles an elaborately carved stone column, while the upper section looks like the timber frame structure that it supports.
The building captures the exuberance and optimism of the city of Detroit as it grew in its first wave from a frontier fort and outpost, to an important city. A “useful and beautiful” market building in the city’s central square was important to this image of this growing city – as evidenced by the fact that it took only nine months from Mayor Buhl’s inaugural address of January 11, 1860 promising a new market building, to its substantial completion. Few buildings survive from this first era of growth in the city of Detroit.
For 30 years customers engaged with vendors at the Vegetable Building in Detroit's Central Market. For 110 years the building served the public in a variety of ways on Belle Isle. Your donation will help The Henry Ford rebuild this structure in the heart of Greenfield Village. There it will inspire future generations to learn about their food sources. Make history and #PledgeYourPassion this Giving Tuesday.
Jim McCabe is Collections Manager at The Henry Ford.
Big and Little Bird reinforce the concept of contrasting sizes in this 1973 Playskool puzzle. THF97463
No television show has influenced how we think about children’s learning and thought processes as much as Sesame Street. For 50 years, this innovative TV show has continually broken barriers in its portrayal of diverse human interactions and relationships, its clever integration of Jim Henson’s wildly creative Muppets, and its rapid-fire approach to teaching basic educational concepts.
The idea for Sesame Street began back in 1966 at a dinner party hosted by Joan Ganz Cooney, a TV publicist turned documentary producer, and her husband Tim. In attendance was Lloyd Morrisett, who was both Vice President of the philanthropic Carnegie Corporation and an experimental psychologist interested in children’s education. At the dinner, Morrisett described his three-year-old daughter’s fascination with television—which included not only tuning in to Saturday morning cartoons, but also watching the pre-programming test patterns on the screen and reciting every commercial jingle by heart. Talk turned to the potential of television as a medium for educating young children. Could the seemingly addictive quality of TV be harnessed to both entertain and instruct?
This monster with the insatiable appetite—especially for cookies—has, under adult pressure, increasingly shown an awareness for healthy eating habits. THF97460
Cooney quickly developed a proposal entitled, “The Potential Use of Television in Preschool Education.” Her goal was groundbreaking at the time—to test the premise that TV could help level the playing field in education, preparing less advantaged three- to five-year-olds for school by teaching basic academic skills, self-esteem, and positive socialization. In March 1968, Cooney and Morrisett announced the formation of the Children’s Television Workshop (CTW) and set out to create an educational TV show that would both appeal to young children and help them get a jump on learning. With an eight-million-dollar startup grant from private foundations and government agencies (including the rather skeptical Department of Education), Cooney was able to test ideas for the type of show she had in mind.
The colorful, fast-paced Batman TV show, which premiered in January 1966, provided one of many inspirations for Joan Ganz Cooney in creating Sesame Street.THF6651
Cooney’s reference points included the rapid-fire pacing of the hip new adult-oriented TV show, Rowan and Martin’s Laugh-In. The campy breakout TV show Batman also provided a model, with its fast-paced action as well as its bright, bold colors and even its use of cartoon balloons. Cooney drew additional inspiration from short TV commercials, with their simple melodies in bright major keys. She did not get inspiration from most children’s TV shows, which she thought were dull, slow-paced, and seemed more oriented to adults than kids—with the possible exception of the kid-friendly Captain Kangaroo.
This 1970s Fisher-Price music box plays the song, “The People in Your Neighborhood,” while the Sesame Street scene moves horizontally across the “TV screen.” THF135804
Cooney soon realized that, while she had plenty of vision, she needed help in writing, directing, and producing the show. For this, she called on several veterans from Captain Kangaroo—most significantly Jon Stone, who played such a significant leadership role in shaping Sesame Street that he took over as executive producer for the next 20-odd years. Other talented and dedicated scriptwriters, composers, and directors also joined the team, while psychologists and educators lent their support from the beginning.
Cooney and her collaborators initially created a show that included brief skits, musical numbers, cartoons, and live-action video footage—all basically teaching school-readiness concepts. The idea of portraying a diverse group of people living and working together in a community was intentional, providing a hopeful real-life model for an integrated society, which encouraged respect, mutual tolerance, and cross-cultural friendship. The live action scenes were interspersed with pre-taped “commercials”—that is, short “bits” about letters and numbers presented either as animated segments or featuring Jim Henson’s Muppets. The live-action segments were purposely kept separate from the pre-taped “commercials,” as researchers felt that combining these “reality” and “fantasy” elements would confuse children.
Having the sweetly quizzical Big Bird live in a nest near, and interact with, the live actors on Sesame Street became a key to the show’s success. THF97451
Initial testing, however, revealed that children thought the live-action scenes were boring, the dialog tedious and lengthy. On the other hand, they found the short “commercials” to be catchy and memorable. Pushing back on the researchers’ advice, Cooney and Stone brought in Jim Henson as a full-time producer, while his Muppet creations Big Bird and Oscar the Grouch joined the live-action human cast. The resulting interaction between humans and Muppets—seamless and convincing—provided the missing alchemy. The foundation was laid for Sesame Street as we know it today.
Ongoing episodes about ultra-serious Bert and fun-loving Ernie reinforce to children that vastly different personalities can still be good friends. THF92308
The first episode of Sesame Street premiered on November 10, 1969 and the show aired weekdays on the new Public Broadcasting System (PBS) network. It was immediately hailed as a groundbreaking blend of learning and fun, despite some criticism about its high entertainment quotient, its threat to teachers for undermining early school lessons, and—in Mississippi—its initial banning because of its integrated cast. Time magazine featured popular Sesame Street character Big Bird on its November 23, 1970 cover, next to the headline, “Sesame Street: TV’s Gift to Children.” This issue devoted nine pages to the show’s impact and importance, calling it “the best children’s show in TV history.”
Puppeteer Kevin Clash breathed new energy and vitality into Elmo in the 1980s, but this furry red Muppet became a breakout star in 1996, when comedienne Rosie O’Donnell featured both Clash and this doll on her TV show. THF176791
As Sesame Street has continually changed and grown with the times, its popularity and impact have endured. Comedienne Rosie O’Donnell, whose remarks on her own TV show helped transform Elmo from a minor character to a superstar, described the show’s unique contributions this way:
"From the beginning Sesame Street encouraged imagination and playfulness. It always felt like a show to me about freedom, and it has always spoken to children in a pure and truthful way. Children are children, rich or poor, and there is a language of truth that is innate to these tiny, undeveloped beings that they can hear. Sesame Street had respect for its audience and respect for itself. They never cut any corners and they stuck to their democratic ideals."
Innovative, groundbreaking, and radical when it was introduced, Sesame Street has become nothing short of an American institution.
Donna Braden is Curator of Public Life at The Henry Ford.
Millionaire industrialist John D. Rockefeller bought a White steamer. So did “Wild West” showman Buffalo Bill Cody. President William H. Taft included one in the first presidential car fleet. These men, born before the Civil War, might have felt more comfortable with steam than with newer technologies such as internal combustion. But buyers were moving to gasoline-powered cars. White followed, making its last steamer in 1911.
Smoke-belching steam locomotives were familiar sights to Americans in the 1860s. But a small steam carriage running under its own power—without horses!—was so startling that people paid to see it driven around a track. It was a curiosity, not transportation. By the time its inventor, Sylvester Roper, died in 1896, the next generation of innovators was trying to transform horseless carriages from curiosities into practical vehicles.
Massachusetts machinist Sylvester Roper built at least seven steam carriages and two steam motorcycles. They weren’t considered practical vehicles but became popular attractions at circuses and fairs. The driver is probably W.W. Austin, who exhibited Ropers.
The bicycle boom of the 1890s had liberated riders from the limited routes and schedules of trains and trolleys—and people wanted more. When the automobile arrived, cyclists were ready to embrace its promised freedom. The Locomobile combines railroad and bicycle technology. It’s powered by a compact version of a steam locomotive engine, and the steel-tube frame, wire wheels, pneumatic tires, and chain drive come from bicycles.
Like other motor vehicles, steam cars had a limited range, in this case restricted by the amount of water and fuel they carried. Fuels such as kerosene were used to boil the water and create steam. This cutaway reveals a water tank, boiler, two-cylinder steam engine, and fuel supply under the seat.
Left side of J.R. Jones General Store featuring large grocery “department” and a cigar case on the counter up front. (THF53774)
During the 1880s, proprietor James R. Jones would have welcomed customers to this general merchandise store—now in Greenfield Village but originally located in the rural village of Waterford, Michigan. Jones sold everything here that townspeople, local farm families, or visiting out-of-towners might want—from groceries to fabrics to farm tools to fishing poles. The store also served as a community gathering place, for customers to exchange news, socialize, and pick up mail.
Choices between similar products even in country stores like this one were quite plentiful. Decisions by shoppers depended upon such things as their family background, gender, financial means, and personal values.
Here’s a sampling of some of the products that 1880s customers to the J.R. Jones store might have purchased.
Sugar barrel (THF176665)
Sugar (approximate price: .08-.12/lb)
In a study of general store accounts from the era, customers purchased sugar more often than any other single product. It was, of course, used in cooking and baking, but large quantities of it were necessary for preserving fresh seasonal produce in the days before refrigeration.
Sugar was available in many grades, from “A” (the highest) to brown to “X” (the lowest). Sugar was available in bulk and, unless a storekeeper stocked several grades, customers had little choice in the quality of sugar they obtained at the local store.
Store canisters for tea (THF176669)
Tea (approximate price: .45-.75/lb)
The Grocer’s Companion (1884) called tea the “foremost of all beverages in reference to its invigorating and restorative qualities.” Tea came in a tremendous variety of grades and types in the late 19th century, and store canisters were often specifically designed to hold the various types. They came from only one species of evergreen shrub or small tree. The differences came in how the tea was grown and how the leaves were treated. All the tea in the J.R. Jones General Store came from China, which was considered the center of the tea industry at the time. This included:
“Black” teas, which underwent a fermentation process before drying.These included Oolong (strong and pungent, made from young leaves) and English Breakfast (in the 19th century, a blend that came from China, but was popularized in England).
“Green” teas, which were submitted immediately upon gathering to a high temperature in iron pans.These included Gunpowder (made from young leaves, fragrant and pungent taste with a greenish hue and shaped like round small shot); and Imperial (like Gunpowder but with larger leaves).
Cans of tomatoes (THF176668)
Canned tomatoes (approximate price: .15/can)
Tomatoes were one of the most popular commercially available canned food products. By the 1880s, improved manufacturing techniques in canning had raised the production of canned goods to a major American industry, making all manner of fruits, vegetables, and meats available year-round to just about everyone but the very poor.
Canned goods, however, had many critics. Some claimed that the food tasted “tinny,” that it was unhealthy, and that products were adulterated to add weight (this was before the Pure Food & Drug Act of 1906). In some cases, women also could be looked down upon for relying on canned goods rather than canning and preserving themselves. Nevertheless, the presence of canned goods in store accounts and advertisements attests to their popularity.
Packages of Magic Yeast and One Spoon Baking Powder (THF176670)
Magic Yeast and One Spoon Baking Powder (approximate price: .15-.25/box)
Despite the introduction of several different brands of baking powder during this time, yeast still remained the most popular bread-leavening agent. Many women made their own yeast and numerous recipes appeared in cookbooks. As for the commercially processed product, compressed yeast introduced by Gaff, Fleischman & Company in the 1860s, was considered the purest and most dependable form of yeast.
But many brands of packaged yeast cakes and powders, including this Magic Yeast, vied for competition in the market. Critics of these commercial yeast products claimed that their vitality could be easily destroyed by heat, cold or movement, and that they could make bread sour or moldy. Still, they were much more convenient than the homemade.
Baking powder, a leavening agent usually made from a proportion of cream of tartar and carbonate of soda, was fairly new on the scene in the 1880s. It saved careful measuring of one or both of these ingredients in baked goods, and saved hours of time over yeast in making bread. Dozens of baking powders, like this One Spoon brand, were available on the market.
But baking powder, more than just about any other cooking ingredient of the late 19th century, raised suspicion and complaints among housekeepers and advice writers alike. High cost, poor performance, and leaving a bitter taste in foods comprised some of these complaints. But even more alarm was raised by accusations of adulteration—that is, the addition of impure ingredients like lime, earth, or alum, which could actually injure people’s health. Fortunately, most of these problems were worked out in the next decade or so, when the advent of “quick breads” really began. It was the adventurous housewife that tried baking powder in the 1880s.
When enamel-coated ironware was introduced in 1874, it was marketed as light (compared to cast iron), handsome (the gray mottled surface was considered picturesque and elegant), wholesome (wouldn’t rust or corrode like tinware and didn’t contain poisonous arsenic, lead, or antimony like cheap imitations), and durable (actually, it chipped easily but 3 out of 4 points in its favor weren’t bad!). Manufacturers of this so-called granite ironware, or graniteware (because of its visual appearance like granite), optimistically claimed that these goods would entirely supplant the “common and unserviceable” stamped tinware. (Actually, it was aluminum that did this in the early 20th century.) In the 1890s, enamel-coated steel replaced much of the earlier granite ironware.
Coffee, as an accompaniment to breakfast and other meals, was an extremely popular beverage at this time. The most common way of preparing it was in an open boiler on a cookstove.
Package of Rising Sun Stove Polish (THF176674)
Package of Rising Sun Stove Polish (approximate price: .08-.10/pkg)
This product would have been used in conjunction with blacking to clean and give luster to cast-iron stoves. It was mixed with a liquid agent (e.g., turpentine or soap-suds) for application to the stove. This was a crucial task for cleaning cast-iron stoves, but it was also marketed as necessary to maintaining a tasteful home. Rising Sun Stove Polish was very aggressive in its marketing. Advertisements boasted that it was “the oldest and most reliable stove polish in the world” and that it would “keep stoves looking good and operating efficiently.”
Case of boxes of cigars (THF176666)
Cigars (approximate price: .04-.08 apiece)
During the 1880s, cigar-smoking was extremely popular, especially among men who wanted to appear prosperous and ambitious. Unlike smoking tobacco (for pipes) and plugs of chewing tobacco, where production was monopolized by a few large national manufacturers, cigars were still produced at thousands of small, local manufactories across the country as well as in Havana, Cuba. Detroit had several cigar factories. As a result of this great number of producers, cigars came in a daunting array of sizes, colors, grades, and flavors. To the uninitiated, sometimes only the eye-catching images on their boxes in the store’s showcase distinguished one brand from another.
Packages of Ayer’s Hair Vigor (THF176671)
Ayer’s Hair Vigor (approximate price: .50)
The hairstyles of the 1880s required an abundant supply of healthy hair in order to make it stand up as high and look as natural as possible. Hair dressings and restorers abounded, with Ayer’s Hair Vigor among the best known.
This product claimed to promote hair growth, restore color and vitality to faded or gray hair, and render the hair soft, youthful, and glossy. It contained cream of tartar (removed the reddish color in hair caused by rust from iron-rich well water); glycerin (a moisturizer); lead acetate (which claimed to remove the gray hair); and a caustic soda (a.k.a. sodium hydroxide or lye), which claimed to be a hair relaxer or straightener. The colorful images of young women with long, luxurious hair on Ayer’s trade cards and packages must have encouraged older women to try this product as well.
Medical journals attacked Ayer’s Hair Vigor as unsafe and denounced its manufacturer as deceiving the public. But the product’s allure persisted, and certainly J.R. Jones and his customers would have been unaware of any safety warnings from such journals.
Jars of Woodworth’s Ursina Bear Grease (THF176672)
Pomades, oils, and dressings for keeping hair in place and sometimes for promoting hair growth were popular men’s grooming aids in the late 19th century. In fact, that is the major reason why ornamental lace tidies and antimacassars were so common—to protect the surfaces of chairs and sofas from these often greasy concoctions. This particular product claimed to be “real bear grease procured from the Rocky Mountains and very carefully refined.”
3 varieties of castor sets (THF176678)
Castor set (approximate price: $1.50-2.25)
In the 1880s, silver-plated castor sets frequently formed the centerpiece of the dining table for middle-class families, reflecting the families’ good taste and economic status. Castor sets would have been a necessity in places like hotels and boardinghouses, where large groups of people dined—each with different tastes in food. They were available in a tremendous variety of styles and prices. Most contained two to six bottles, generally for holding pepper, mustard, oil, and vinegar, and sometimes other spices.
Boxes of men’s and women’s collars (THF176676)
Men’s and women’s collars (approximate price: .10-.30)
A white shirt with a white collar and cuffs marked the man as someone of means, or at least on his way up. But clean collars and cuffs were always a necessity, no matter what color and style shirt a man wore. Enter replaceable collars and cuffs.
Men’s collars of the 1880s were plain in style and were made of paper, celluloid, or linen. Collars were high and tight, either “standing” (straight up around the neck) or “turned outward” (tips or side edges turned outward or over and slightly down), complementing the coats which buttoned high during this time. Paper and celluloid collars were considered disposable, while linen collars could be washed and ironed and kept fresh for a period of time.
Women’s dresses were time-consuming to make and costly to have someone else make. Purchasing a new collar was an inexpensive way of freshening or updating the look of a dress that had been around for a while. Ladies’ collars were detachable and could be used multiple times on various garments. They ranged in price, from fairly plain linen collars to intricate lace ones.
Men’s derbies and straw hats (THF176675)
Men’s hats (approximate price: .50-1.75 for straw; $1.00-2.50 for derby)
While top, or silk, hats might have been worn by a wealthy city gentleman going to a fancy affair, Waterford men would have generally worn a bowler hat, supplemented by a low-crowned straw hat for summer occasions. The hard felt bowler (usually referred to as a derby in the United States) was a staple, durable hat that could have been worn all day long—even at work—and was generally considered a symbol of respectability.
Also during this time, the hat industry aimed to persuade every man to purchase a new straw hat at the beginning of every summer. Straw hats tended to be water-resistant to hold up even on rainy days.
Bolts of fabric (THF176677)
Fabric (approximate price: .05 for print to 1.30 for silk)
Women’s clothing was not ready-made yet, so all dresses had to be fashioned at home or by a seamstress. Bolts of fabric and trims lined numerous shelves of general stores like this one. The bolts of fabric in this store include:
“Print”– a general term for a fabric onto which patterns were printed or applied by dyes after it was machine-woven.Available in a huge variety of designs, it was about the cheapest and most durable, but least elegant, dress fabric available.
Linen – One of the oldest textile fabrics known, this would have been imported.It was more elegant and fashionable than cotton, but also quite a bit more expensive and harder to maintain.
Wool – A very warm and durable fabric, produced in mills in the eastern United States.(In fact, the fleece from sheep raised on farms around Waterford was shipped to these mills.)Wool was very serviceable for winter clothing.
Silk – Noted for its resiliency and elasticity, this would have been imported.It was quite a bit more expensive than wool, and dresses made of this material would have been elegant and stylish.
Donna Braden is Senior Curator and Curator of Public Life at The Henry Ford.
Portrait of J.R. Jones taken about 1890 (THF277166)
It took only a little bit of capital but a lot of business ingenuity and risk-taking to run a general store in the late 19th century. Because of the great financial risks involved, many storekeepers went out of business and stores changed hands often. The general store in Greenfield Village was one such store, changing hands at least nine times before being purchased by Henry Ford in 1927. J.R. Jones, the store’s proprietor between 1882 and 1888, was like many other storekeepers of his time—low on funds but high on ambition and filled with the dream of prosperity just around the corner.
James R. Jones was the youngest of seven children born to James, a stonemason, and Eliza Webb Jones. James, Sr. and Eliza, both originally from England, had moved to New York State, then to Stillwater, Minnesota (where James R. was born on January 5, 1858), before finally settling in Holly, Michigan, about 1865.
Recreated interior of the general store in Greenfield Village, showing bolts of fabric, clothing, hats, and clothing accessories (THF53760)
Jimmie (as James R. was called well into adulthood) must have fancied himself quite a salesman when he clerked at his brother’s store while still in his teens. By the time he was twenty, he was already in charge of operating T. G. Richardson’s store in Waterford. And he must have been pretty good at that. A newspaper account of the time reported that, “Mr. James Jones, the accomplished ‘how many yards ma’am,’ from Holly has charge of Richardson’s store here and is well liked.” A few years later, in 1882, he decided to venture out on his own and he took over the proprietorship of the store that would eventually move to Greenfield Village.
Front window of J.R. Jones store with display of sporting goods (THF176664)
The ingenuity that Jones demonstrated in attracting customers is evident in newspaper accounts of the time. For example, in 1884, “with the enterprise characteristic of the man,” Jones opened up a trade in sporting goods, in which he bought and sold second-hand guns (for the sport of hunting). That same year, as an added incentive for customers, Jones offered a free “chromo” (or colored lithograph) with every large bill of goods.
Jones’s desk and office area recreated at the back of the general store in Greenfield Village, with an 1880s-era telephone on the wall (THF53764)
Jones was also resourceful in running his business, drawing customers by having his store serve as the site of the local post office from 1882 to 1885, during the presidency of Republican James A. Garfield, as well as having what was the first—and for a time the only—telephone in town installed in his store (probably in 1882). By 1887, the local business directory referred to Jones not only as a general store merchant but also as manager of the Michigan Bell Telephone Company in Waterford. To remain frugal, he and his wife lived upstairs from the store from about 1883 on, partitioning the space into several small rooms.
J.R. Jones (right) with his brother-in-law, John Maybee, outside the Jones and Maybee General Store in Holly, Michigan, about 1890 (THF277163)
Around 1887, Jones must have decided that he could not make a profitable go of running the Waterford store. By 1890, he had returned to Holly where he ran a general store with his brother-in-law John Maybee, then he went on to stints as a salesman for the Cyclone Wire Fence Company and as a boot and shoe dealer.
Portrait of J.R. Jones and his wife, Alice Isabelle Maybee Jones, about 1920 (THF277164)
Probably the high point of Jones’s later life came a few years before his death in 1933, when Henry Ford invited him to Greenfield Village to get his reactions to the historic installation he had just completed of the very general store that Jones had operated in Waterford back in the 1880s!
We would like to acknowledge the generosity of J.R. Jones’s great-nieces—Marion H. Roush, Isabel Maybee Stark, and Charlotte Maybee—for providing access to family photos in order to help us document J.R. Jones’s life.
Donna Braden is Senior Curator and Curator of Public Life at The Henry Ford.