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Black limousine parked outside a red brick buildingTHF172232

 

Fit for the pope, perfect for a parade!


Ford Motor Company was approached by the Vatican in 1965 to provide a vehicle in which to transport Pope Paul VI during a visit to New York City that October. It was an unprecedented occasion—no sitting pope had ever visited the United States before—and Ford was determined to meet the challenge. The automaker approached George Lehmann and Bob Peterson of Chicago. The two men had specialized in “stretching” and customizing Lincoln Continentals since 1962, and their firm had earned a reputation for the high quality of its work. Lehmann-Peterson did not disappoint, rushing a special car to completion in fewer than two weeks.

The papal Lincoln was lengthened to 21 feet (from the standard 18). Step plates and handrails were added for security personnel. Additional seats, arranged in a vis-à-vis (i.e., face-to-face) layout, were placed in the rear compartment. Supplemental interior lighting and a public address system allowed the pontiff to be seen and heard by the crowds, and an adjustable seat—capable of being raised several inches—further improved his visibility. A removable roof panel and added windscreen allowed the pope to stand and wave when conditions permitted.

Man in robe and skullcap stands in a limousine, waving, in a dense crowd of people
Pope Paul VI Pictured Visiting New York in 1965 / THF128756

Pope Paul VI spent a whirlwind 14 hours touring New York on October 4, 1965. He gave a blessing at St. Patrick’s Cathedral, met with President Lyndon Johnson at the Waldorf Astoria hotel, addressed the UN General Assembly, and led an outdoor mass at Yankee Stadium. The pontiff ended his tour with a visit to the Vatican exhibit at the New York World’s Fair.

The modified Lincoln returned to Chicago where it served as a city parade car for visiting dignitaries. In 1968, the Vatican called once again, this time requesting the car’s use during a papal visit to Bogotá, Colombia. The car again performed flawlessly, despite Bogotá’s high altitude and the engine modifications made to the vehicle as a result.

Parade with people standing in an open car, waving; uniformed officers walking alongside; and confetti and tickertape in the air
Apollo 13 Astronauts Jack Swigert and Jim Lovell in a Parade, Chicago, Illinois, May 1, 1970 / THF288386

The car went back to Chicago and soon carried a new series of dignitaries. Apollo 8 astronauts Frank Borman, Jim Lovell, and William Anders—the first men to orbit the Moon—were paraded in the car on a visit to the Windy City in January 1969. Seven months later, Apollo 11 astronauts Neil Armstrong, Buzz Aldrin, and Michael Collins enjoyed a similar honor. The crews of Apollo 13 and Apollo 15 would later have their own parades in the Lincoln.

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convertibles, space, popular culture, limousines, Ford Motor Company, cars, by Matt Anderson

Drab-green military jeep

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The 1943 Willys-Overland Jeep above, currently on exhibit in Driving America in Henry Ford Museum, represents the millions of vehicles, aircraft, and military items produced by American automakers during World War II. With many men fighting overseas, women joined the workforce in unprecedented numbers. Ford’s Willow Run plant, which produced B-24 bomber airplanes, showed just how important these women were to America’s war effort.

Red, white, and blue line illustration of woman riveting airplane parts; also contains text
The character “Rosie the Riveter” is celebrated in this sheet music from 1942. / THF290068

More than 42,000 people worked at Willow Run. Approximately one-third were women. Riveting was an essential craft there—each B-24 had more than 300,000 rivets. The skilled women who accomplished this work at Willow Run and elsewhere inspired the symbolic character “Rosie the Riveter.” Women also served in clerical and support staff positions at the plant. Women and men earned the same pay for the same work.

Three women work inside large, oval metal shapes
Real-life Rosies rivet B-24 tail cones at Ford’s Willow Run Bomber Plant, June 1944 / THF272701

Willow Run produced 8,685 B-24 bombers. The plant captured the public’s imagination, with Rosie the Riveter appearing on government-sponsored posters and magazine ads, encouraging more women to join the war production effort. Rosies built plenty of Jeeps, too. Willys-Overland manufactured 380,000 of them, and women and men at Ford built another 279,000 Jeeps, identical to the Willys models, at six plants across the country.

Page with text and images of engines and military vehicles
Ford Motor Company humble-bragged about its wartime production, including Jeeps, tanks, B-24 bombers, and more, in this 1943 ad. / THF93700

Altogether, the women and men who worked in American automotive plants during World War II built 4 million engines, 2.8 million tanks and trucks, and 27,000 aircraft—fully one-fifth of the country’s military materials. Many women came to enjoy the independence and economic freedom provided by their jobs. But, when men returned at war’s end, the same government that called women to the factories now encouraged them to go back to working in the home, so men could reclaim factory jobs.

The women who labored in wartime factories were essential to America’s Arsenal of Democracy. They made Rosie the Riveter into an enduring feminist icon—and a powerful symbol of women’s contributions to the American economy.


This post was adapted from a stop on our forthcoming “Hidden Stories of Manufacturing” tour of Henry Ford Museum of American Innovation in the THF Connect app, written by Matt Anderson, Curator of Transportation at The Henry Ford. To learn more about or download the THF Connect app, click here.

Michigan, airplanes, Driving America, THF Connect app, by Matt Anderson, Ford workers, Ford Motor Company, women's history, World War II, Henry Ford Museum

Sidney Houghton is one of the most interesting and yet-to-be-documented figures in the group surrounding Henry and Clara Ford. Many in the Fords’ entourage are colorful and well-researched, including Harry Bennett, Henry’s security chief, known as the notorious head of the Ford Motor Company “Service” Department; Henry’s business manager, Ernest Liebold, who handled all financial transactions; and even their son, Edsel Ford, whose life and important cultural contributions are thoroughly documented. The great Ford historian Ford R. Bryan tells the story of these figures in his book, Henry’s Lieutenants (1993). Bryan frequently mentions Sidney Houghton, most notably in his book Friends, Family, and Forays (2002).

Perhaps Houghton remains undocumented because he was British, and in the decades before Internet resources became widely available, American researchers like Bryan had limited access to British sources. Today, we are fortunate to not only have the profound resources of the Benson Ford Research Center at The Henry Ford at our disposal, but also digital access to repositories around the world. As Curator of Decorative Arts, I have spent considerable time trying to fully grasp the enigmatic Mr. Houghton—his biography, his business, and, most importantly, his relationship with Henry and Clara Ford. This blog is the first in a series that will delve into this mostly hidden story.

Now, you may ask, why should we care about the Fords’ interior designer? Seeing and understanding the interior environments that the Fords created to live and work provides us with great insight into their characters, creating a well-rounded picture of their lives. We can understand their motivations and desires and see how these changed over time. We can peel back the larger-than-life personas of the Fords that come with such public lives and see them as individuals.

What Do We Know About Sidney Houghton’s Early Life?


Researching Houghton was not easy. The first place I looked was Ancestry.com, but Houghton is a very common name in Britain. After a lot of digging and working with colleagues at The Henry Ford, I located Sidney Charles Houghton, who was born in 1872 and died in 1950. He was the son of cabinetmaker Charles Houghton, which likely led to his interest in furniture-making and interior design.

One of the questions still in my mind is: Where was Houghton educated? To date, I have not been able to find out which art school he attended—these records do not appear to be available online. What I do know is that he married in 1895, and had a family consisting of two sons by 1898. By 1910, according to the British census, his business, Houghton Studio, was established in London.

Houghton in World War I


From Ford R. Bryan’s publications and resources in the Benson Ford Research Center, I knew that Houghton was in the British Navy during World War I. I searched the British National Archives and found his fascinating military service record. Houghton, I discovered, was an experienced yachtsman, and was commissioned as a commander. He helped to create patrol boats, called P-boats, that swiftly located enemy submarines. In 1917, he was sent to the United States to work with Reginald Fessenden (1866–1932), a Canadian-American inventor who worked in early radio. Together, they developed an early sonar system to locate enemy ships, submarines, and mines. For his contributions to the war effort, Houghton was awarded the Order of the British Empire, or O.B.E., in 1919.

Through the reminiscences of Ernest Liebold, held in the Benson Ford Research Center, I discovered that Houghton was brought into the Ford Motor Company’s war effort to create what Liebold called the Eagle boats. These were similar to the British P-boats. Unlike the relatively simple P-boats, though, the Eagle boats would be like a “young battleship,” according to Liebold. He went on to state that the boats would “have the eye of an eagle and would flit over the seas.”

Long, narrow boat on elevated trestle with a large group of people on land looking on
Eagle Boat #1 on Launching Trestle at the Ford Rouge Plant, July 11, 1918. / THF270275

Long, narrow boat decorated with flags and bunting on elevated trestle above water, as a crowd looks on
Eagle Boat #60 Lowered to Water, August 1919. / THF270277

Liebold continued:

Houghton came along, and he said, “We ought to have a listening device put on those ships to detect submarines.” That is where [Thomas] Edison came in to develop this listening device, and I think Houghton is the man who contacted him. I remember him coming out with a long rod and stuff, and it was so darned secret that nobody knew a thing about it.

They had a special room provided for it in the Eagle boats. It was to be this listening chamber in which the apparatus was placed. They could detect a submarine by the beat of its propellers. A magnetic signal could determine just exactly in what direction it was, [sic] and approximately, from the intensity of the sound of the beating of the propeller, they could tell just what distance and in what direction it was.

They would radio that information to the nearest battleship in a cordon of battleships, or destroyers or whatever they had. They would be able to attack the submarine, you see. That was the object of it.

As an integral member of the Eagle boat team, it is highly likely that Houghton travelled to Dearborn and met Henry Ford. We know from later correspondence that Henry and Clara developed an abiding personal friendship with Houghton which continued through the 1920s. They commissioned a series of projects, beginning with the Fords’ yacht, the Sialia—but I am getting ahead of myself. At this point, I would like to discuss Houghton’s work in interior design, specifically his role as an interior architect.

Sidney Houghton’s Studio


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Cover of Houghton’s Studio Catalogue, circa 1928. / THF121214

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Back Cover of Houghton’s Studio Catalogue, circa 1928. / THF121230

This brochure or trade catalogue gives us great insight into the Houghton Studio. We date it to the late 1920s, when the projects Houghton worked on for the Fords were complete. From the text, we can see just what the firm’s capabilities were. The back cover reads: “Designs and estimates for decoration and furnishing of every kind / from the simplest to the most exotic / always in good style / always at exceptional values.” What this tells us is that Houghton Studio was a rarity in the interior design world.

Houghton was an interior architect, meaning that he designed both interiors and furnishings—the woodwork, wall treatments, lighting, furniture, textiles, and accessories—to create a unified interior environment. In new construction, an interior architect would collaborate with the architect to create an interior in harmony with the architecture. This contrasts with our present-day conception of an interior designer as a person who simply selects existing furnishings that harmonize to create a unified interior aesthetic. Obviously, Houghton Studio’s clients were wealthy and able to afford the best.

Page with text and three images: Two showing room interiors and one in a round inset showing the exterior of a building
Chateau Laurier National Hotel, Ottawa Canada. / THF121219a

Page with text and drawings of furniture--a wardrobe, dressing table and stool, dresser, nightstand, and two beds with a large headboard and two side tables
Designs for Modern Furniture. / THF121226a

Like most of his contemporaries, Houghton worked in a variety of styles, as demonstrated in the images above—from period revivals as seen in the Chateau Laurier National Hotel, in Ottawa, Canada, to his renderings for “Modern” furniture, done in what we would describe as the Art Deco style, which was synonymous with high-end 1920s taste.

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List of Commissions in the Houghton Catalogue. / THF121229b

One of the most interesting pages in the catalogue notes several commissions to design interiors for yachts, which was a specialty of the Houghton Studio. The most important of these was a commission for the Sialia, Henry Ford’s yacht. The Fords purchased the yacht just before World War I, and it was requisitioned for use by the U.S. Navy in 1917. The ship was returned to Henry Ford in 1920. At this point, Sidney Houghton was asked to redesign the interiors.

Henry Ford’s Sialia


Long boat docked next to an industrial crane or craneway
Henry Ford’s Yacht, Sialia, Docked at Ford Rouge Plant, Dearborn, Michigan, 1927. /THF140396

According to Ford R. Bryan, the cost of the interiors was approximately $150,000. As seen here, the interiors are comfortable, but relatively simple. During the 1920s, the Fords occasionally used the Sialia, but Henry and Clara Ford preferred other means of travel, usually by large Ford corporate ore carriers, when they traveled to their summer home in Michigan’s upper peninsula. According to the ship’s captain, Perry Stakes, Henry Ford never really liked the Sialia, and he sold it in July of 1927.

Room interior with piano, desk, upholstered chair
Parlor on Sialia, Henry Ford’s Yacht, circa 1925. / THF92100

Small room containing double bed with a dresser on either side and a round mirror above each dresser
Bedroom on Sialia, Henry Ford’s Yacht, circa 1925. / THF92098

Following the Sialia commission, the Fords found a kindred spirit in Houghton. The archives contain ample correspondence from the early 1920s, with the Fords asking Houghton to return to Dearborn. Houghton subsequently received a commission to design the interior of the Fords’ Fair Lane railroad car in 1920. Between 1920 and 1926, Houghton was deluged with projects from the Fords, including the redesign of the Fair Lane Estate interiors, design of Henry and Edsel’s offices in the new Ford Engineering Laboratory, interiors for the Dearborn Country Club, as well as interiors for the Henry Ford Hospital addition.

In the next post in this series, we will look closer at several of these projects and present surviving renderings from the Fair Lane remodeling, as well as furniture from the Engineering Laboratory offices.


Charles Sable is Curator of Decorative Arts at The Henry Ford. Many thanks to Sophia Kloc, Office Administrator for Historical Resources at The Henry Ford, for editorial preparation assistance with this post.

home life, decorative arts, technology, archives, research, Ford Motor Company, World War I, by Charles Sable, Henry Ford, design, furnishings

Pictorial map showing building locations with legend (contains text)Greenfield Village map, 1951. / THF133294


Greenfield Village may just look like a lot of buildings to some, but each building tells stories of people. When I wrote The Henry Ford Official Guidebook, it really hit me how unique and one-of-a-kind Greenfield Village is. I wanted to share several stories I found particularly interesting about Greenfield Village.

Researching Building Stories


Whenever we research a Village building, we usually start with archival material—looking at sources like census records, account books, store invoices (like the one below, related to Dr. Howard’s Office), and old photographs—to give us authentic accounts about our subjects’ lives. Here are some examples.

Invoice with printed and handwritten text
1881 invoice for Dr. Howard. / THF620460

At Daggett Farmhouse, Samuel Daggett’s account book showed that he not only built houses but also dug stones for the community schoolhouse; made shingles for local people’s houses; made chairs, spinning wheels, coffins, and sleds; and even pulled teeth! If you are interested in learning more about how our research influenced the interpretation at Daggett, along with four other Village buildings, check out this blog post.

Man wearing historic clothing walks past simple gray wooden house
Daggett Farmhouse, photographed by Michelle Andonian. / THF54173

For Dr. Howard’s Office, we looked at old photographs, family reminiscences, the doctor’s daily record of patients and what he prescribed for them, his handwritten receipt (recipe) book of remedies, and invoices of supplies and dried herbs he purchased. You can read more about the history of Dr. Alonson Howard and his office in this blog post.

Page with hand-written cursive text
Page from Dr. Howard’s receipt book. / THF620470

For J.R. Jones General Store, we used a range of primary sources, from local census records to photographs of the building on its original site (like the one below) to account books documenting purchases of store stock from similar general stores. You can read more about the history of J.R. Jones General Store in this blog post.

Black-and-white photo of two-story wooden building
Photo of J.R. Jones General Store on its original site. / THF255033

Urbanization and Industrialization Seen through Greenfield Village Buildings


Many Greenfield Village buildings were acquired because of Henry Ford’s interests. But some give us the opportunity to look at larger trends in American life, especially related to urbanization and industrialization.

Engelbert Grimm sold clocks and watches to Detroit-area customers, including Henry Ford, in the 1880s. But Grimm Jewelry Store also demonstrates that in an increasingly urban and industrial nation, people were expected to know the time and be on time—all the time.

Two-story brick building with many decorative elements
Grimm Jewelry Store in Greenfield Village. / THF1947

Related to this, notice the public clock in the Detroit Publishing Company photograph below of West 23rd Street, New York City, about 1908. (Clue: Look down the street, above the horse-drawn carriage, and you’ll see a large street clock on a stand.) You can read more about the emergence of “clock time” in this blog post.

Street scene, with tall buildings, carriages, and pedestrians
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Smiths Creek Depot is here because of its connection with Thomas Edison. But this building also shows us that railroad depots at the time were more than simply the place to catch a train—they were also bustling places where townspeople connected with the outside world. Below you can see a photo of Smiths Creek in Greenfield Village, as well asthe hustle and bustle of railroad depots in a wonderful image of the Union Pacific Depot in Cheyenne, Wyoming, from about 1910.

Small brick building with arched windows and decorative eaves and bunting
Smiths Creek Depot in Greenfield Village. / THF1873

Postcard depicting large stone building with clocktower next to railroad tracks; people stand on platform between
Union Pacific Depot. / THF204972

Henry Ford brought Sarah Jordan Boarding House to Greenfield Village because it was home to many of Thomas Edison’s workers. It was also one of three residences wired for Edison’s new electrical lighting system in December 1879—and it is the only one still in existence. In the bigger picture, the mushrooming of boarding houses at this time was particularly due to a shortage of affordable housing in the growing urban-industrial centers, which were experiencing a tremendous influx of new wage laborers.

Two-story yellow wooden building with white picket fence in front
Sarah Jordan Boarding House in Greenfield Village. / THF2007

Black-and-white photo of two-story wooden house with people on porch and standing by and in front; also contains text
Sarah Jordan Boarding House on its original site in Menlo Park, New Jersey, in 1879. / THF117242

Luther Burbank and Henry Ford


Other buildings in Greenfield Village have strong ties to Henry’s personal relationships. Henry Ford met horticulturalist Luther Burbank in connection with the 1915 Panama-Pacific Exposition in San Francisco. That year, Thomas Edison, Henry Ford, and a few other companions traveled there to attend Edison Day. Luther Burbank welcomed them to the area.

Round medallion with text and image of a woman holding a flag, a bear, and buildings
Panama-Pacific International Exposition Souvenir Medal. / THF154006

Afterward, the group followed Burbank up on an invitation to visit him at his experimental garden in Santa Rosa, California. Edison and Ford had a grand time there. Burbank later wrote, “The ladies said we acted like three schoolboys, but we didn’t care.”

Three men in suits sit on steps next to an ivy-covered wall
Thomas Edison, Luther Burbank, and Henry Ford at Burbank's home in Santa Rosa, California. / THF126337

After that visit, the original group, plus tire magnate Harvey Firestone, drove by automobile to the Panama-California Exposition in San Diego. During that trip, Edison proposed a camping trip for Ford, Firestone, and himself. The Vagabonds camping trips, taking place over the next nine years, were born!

Several cars in a field with people by and near them
“Vagabonds” camping trip. / THF117234

Henry Ford was so inspired by Luther Burbank’s character, accomplishments, and “learning by doing” approach that he brought to Greenfield Village a modified version of the Luther Burbank Birthplace and a restored version of the Luther Burbank Garden Office from Santa Rosa.

Small gray wooden building with arched windows and door
Luther Burbank Garden Office in Greenfield Village. / THF1887

Greenfield Village Buildings and World’s Fair Connections


Greenfield Village has several other direct connections to World’s Fairs of the 1930s. At Chicago’s Century of Progress Exposition of 1933–1934, for example, an “industrialized American barn” with soybean exhibits later became the William Ford Barn in Greenfield Village.

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In a striking Albert Kahn–designed building, Ford Motor Company boasted the largest and most expensive corporate pavilion of the same Chicago fair. It drew some 75% of visitors to the fair that year. After the fair, the central part of this building was transported from Chicago to Dearborn, where it became the Ford Rotunda. It was used as a hospitality center until it burned in a devastating fire in 1962.

Page with image of building with "FORD" signage and text "Ford at the Fair"
Ford at the Fair Brochure, showing the building section that would eventually become the Ford Rotunda. / THF210966

Crenellated round building with tiered top with large "FORD" sign
Ford Rotunda in Dearborn after a 1953 renovation. / THF142018

At the Texas Centennial Exposition in 1936, a model soybean oil extractor was demonstrated. This imposing object is now prominently displayed in the Soybean Lab Agricultural Gallery in Greenfield Village.

Person in suit holding microphone stands next to a piece of equipment under text on a wall
A presenter at the Texas Centennial Exposition demonstrates how the soybean oil extraction process works with a model of a soybean oil extractor that now resides in the Soybean Lab in Greenfield Village. / THF222337

At the 1939 New York World’s Fair, Henry Ford promoted his experimental school system in a 1/3-scale version of Thomas Edison’s Menlo Park Machine Shop in Greenfield Village. Students made model machine parts and demonstrated the use of the machines.

Boy stands at machine in room full of machines
Boys from Henry Ford's Edison Institute Schools operate miniature machine replicas in a scale model of the Menlo Park Machine Shop during the 1939-40 New York World's Fair. / THF250326

Village Buildings That Influenced Famous Men


Several people whose stories are represented in Greenfield Village were influenced by the places in which they grew up and worked, like the Wright Brothers, shown below on the porch of their Dayton, Ohio, home, now the Wright Home in the Village, around 1910.

Two men in suits sit on porch steps
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In addition to practicing law in Springfield, Illinois, Abraham Lincoln traveled to courthouses like the Logan County Courthouse in Greenfield Village to try court cases for local folk. The experiences he gained in these prepared him for his future role as U.S. president (read more about this in this “What If” story).

Man in suit sits in chair in front of blue curtain; also contains text
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Enterprising young Tom Edison took a job as a newsboy on a local railway, where one of the stops was Smiths Creek Station. This and other experiences on that railway contributed to the man Thomas Edison would become—curious, entrepreneurial, interested in new technologies, and collaborative.

Black-and-white photo of seated young boy in hat, scarf, and jacket
Young Thomas Edison as a newsboy and candy butcher. / THF116798

Henry Ford, the eldest of six children, was born and raised in the farmhouse pictured below, now known as Ford Home in Greenfield Village. Henry hated the drudgery of farm work. He spent his entire life trying to ease farmers’ burdens and make their lives easier.

White wooden building with white picket fence in front
THF1938

Henry J. Heinz


Henry J. Heinz (the namesake of Heinz House in Greenfield Village) wasn’t just an inventor or an entrepreneur or a marketing genius: he was all of these things. Throughout the course of his career, he truly changed the way we eat and the way we think about what we eat.

Portrait of seated man in suit with mustache and muttonchops
H.J. Heinz, 1899. / THF291536

Beginning with horseradish, Heinz expanded his business to include many relishes and pickles—stressing their purity and high quality at a time when other processed foods did not share these characteristics. The sample display case below highlights the phrase “pure food products.”

Wooden display holding four glass bowls and a sign with text
Heinz Sample Display Case. / THF174348

Heinz had an eye for promotion and advertising unequaled among his competitors. This included signs, billboards, special exhibits, and, as shown below, the specially constructed Heinz Ocean Pier, in Atlantic City, New Jersey, which opened in 1898.

Black-and-white photo of people walking along a pier
Advertising process photograph showing Heinz Ocean Pier. / THF117096

The pickle pin, for instance, was a wildly successful advertising promotion. Heinz first offered a free pickle-shaped watch fob at the World’s Columbian Exposition of 1893. At some point, a pin replaced the watch fob, and the rest is history!

Pin in the shape of a green pickle with a red-and-white can of soup dangling from it; also contains text
Heinz Pickle Pin "Heinz Homestyle Soups." / THF158839

By the time of H.J. Heinz’s death in 1919, his company had grown into one of the largest food processing businesses in the nation. His company was known for its innovative food processing, packaging, advertising, and enlightened business practices. You can learn more about Heinz House and its journey to Greenfield Village here.

Even More Fun Facts about Greenfield Village Buildings


Most of the time, we focus on big themes that tell American history in relatable ways. When we choose a theme to focus on, we inevitably leave out interesting little-known facts. For example, Cohen Millinery was a dry goods store, a candy store, a Kroger grocery, and a restaurant during its lifetime!

Black-and-white photo of street scene, focused on two-story brick building with business windows on first floor
Cohen Millinery at its original site. / THF243213

Surprisingly, for most of its life prior to its incorporation into Greenfield Village, Logan County Courthouse was a private residence. Many different families had lived there, including Mr. and Mrs. Elijah Watkins, the last caretakers before Henry Ford acquired the building. They are depicted below, along with an interior shot of one of their rooms when Henry Ford’s agents went to look at the building.

Woman and man sit on the edge of a porch
Mr. and Mrs. Watkins. / THF238624

Room containing piano, table, sofa, among other items
Interior of Logan County Courthouse at its original site. / THF238596

In the 1820s, eastern Ohio farmers realized huge profits from the fine-grade wool of purebred Merino sheep. But by the 1880s, competition had made raising Merino sheep unprofitable. Benjamin Firestone, the previous owner of Firestone Farmhouse and father of Harvey Firestone, however, stuck with the tried and true. Today, you can visit our wrinkly friends grazing one of several pastures in the Village.

Sheep standing in straw or hay in front of a wooden wall
Merino sheep at Firestone Farm in Greenfield Village in 2014. / THF119103

We have several different breeds of animals at the Village, but some of our most memorable were built, not bred. The Herschell-Spillman Carousel is a favorite amongst visitors. Many people think that all carousel animals were hand-carved. But the Herschell-Spillman Company, the makers of our carousel, created quantities of affordable carousel animals through a shop production system, using machinery to rough out parts. You can read more on the history of our carousel in this blog post.

Carousel containing a variety of animals in dome-ceilinged building
THF5584

And there you have it! Remember, odd and anachronistic as it might seem at times—the juxtaposed time periods, the buildings from so many different places, the specific people highlighted—there’s only one Greenfield Village!

Three people in historic garb wave from the doorway and yard of a gray wooden building with a wooden fence
Presenters at Daggett Farmhouse. / THF16450


Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford. Many thanks to Sophia Kloc, Office Administrator for Historical Resources at The Henry Ford, for editorial preparation assistance with this post.

#THFCuratorChat, Wright Brothers, world's fairs, Thomas Edison, research, railroads, Luther Burbank, Logan County Courthouse, J.R. Jones General Store, Henry Ford, Heinz, Greenfield Village buildings, Greenfield Village, Ford Motor Company, farm animals, Dr. Howard's Office, Daggett Farmhouse, Cohen Millinery, by Donna R. Braden, archives, agriculture, Abraham Lincoln

Seated man with two women standing behind him

Mose Nowland, with wife Marcia and daughter Suzanne, at The Henry Ford in June 2021.

The Henry Ford lost a dear friend and a treasured colleague on August 13, 2021, with the passing of Mose Nowland. When he joined our Conservation Department as a volunteer in 2012, Mose had just concluded a magnificent 57-year career with Ford Motor Company—most of it in the company’s racing program—and he was eager for something to keep himself occupied in retirement. We soon discovered that “retire” was just about the only thing that Mose didn’t know how to do.

To fans of Ford Performance, Mose was a legendary figure. He joined the Blue Oval in 1955 and, after a brief pause for military service, he spent most of the next six decades building racing engines. Mose led work on the double overhead cam V-8 that powered Jim Clark to his Indianapolis 500 win with the 1965 Lotus-Ford. Mose was on the team behind the big 427 V-8 that gave Ford its historic wins over Ferrari at Le Mans—first with the GT40 Mark II in 1966 and then again with the Mark IV in 1967. And Mose was there in the 1980s when Ford returned to NASCAR and earned checkered flags and championships with top drivers like Davey Allison and Bill Elliott.

Black-and-white photo of man with a car engine
Mose with one of his creations during Ford’s Total Performance heyday.

Following his retirement, Mose transitioned gracefully into the role of elder statesman, becoming one of the last remaining participants from Ford’s glory years in the “Total Performance” 1960s. Museums and private collectors sought him out with questions on engines and cars from that era, and he was always happy to share advice and insight. Mose’s expertise was exceeded only by his modesty. He never claimed any personal credit for Ford’s racing triumphs—he was just proud to have been part of a team that made motorsport history. Mose was able to see that history reach a wider audience with the success of the recent movie Ford v Ferrari.

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Ford workers, racing, race cars, philanthropy, Old Car Festival, Model Ts, Mark IV, making, in memoriam, Henry Ford Museum, Greenfield Village, Ford Motor Company, engines, engineering, collections care, cars, by Matt Anderson, #Behind The Scenes @ The Henry Ford

Panoramic image of brick building with many windows behind parking lot completely filled with cars

THF97674

In 1913, Ford Motor Company combined the standardization of interchangeable parts with the subdivision of labor and the fluid movement of work to workers to create the world’s most influential assembly line. We are unusually fortunate that two keen observers of industry, Horace Lucien Arnold and Fay Leone Faurote, were there to document it.

Arnold, a correspondent for The Engineering Magazine, grasped the significance in Ford’s work and began a series of articles on the company’s Highland Park factory. After Arnold’s untimely death, Faurote completed and compiled the articles in the 1915 study Ford Methods and the Ford Shops. The book’s detailed descriptions, numerous photographs and careful diagrams give us a vivid window into Highland Park at a seminal moment in manufacturing history.

Looking back now, the most remarkable aspect of Ford Methods and the Ford Shops is the liberal level of access Ford gave to its authors. It is difficult to imagine Google or Apple opening their doors to today’s press and giving unfettered access to employees, workspaces, and sensitive production figures. The company’s cooperation speaks volumes about Henry Ford’s confidence in Highland Park. He knew that his methods were far ahead of his competitors, and there was little fear of them catching up too quickly.

People work in a factory at a long line containing round parts, with bins of screws or bolts underneath
Workers place magnets on Model T flywheels, 1913. Fittingly, successful experiments with a moving magneto assembly line “sparked” Ford’s adoption of assembly line techniques throughout Highland Park. / THF96001

The assembly line came to Ford Motor Company in stages. Around April 1, 1913, flywheel magnetos were placed on moving lines. Instead of one worker completing one flywheel in some 20 minutes, a group of workers stood along a waist-high platform. Each worker assembled some small piece of the flywheel and then slid it along to the next person. One whole flywheel came off the line every 13 minutes. With further tweaking, the assembly line produced a finished flywheel magneto in just five minutes.

Diagram with numbered shapes and textual key underneath
Flow charts and maps in the book illustrated the logical, sequential arrangement of machine tools at Highland Park. / THF600582

It was a genuine “eureka” moment. Ford soon adapted the assembly line to engines, and then transmissions, and, in August 1913, to complete chassis. The crude “slide” method was replaced with chain-driven delivery systems that not only reduced handling but also regulated work speed. By early 1914, the various separate production lines had fused into three continuous lines able to churn out a finished Model T every 93 minutes—an extraordinary improvement over 12½ hours per car under the old stationary assembly methods.

People work on car bodies in factory
Workers lower an engine into a Model T chassis, 1913. Note that the line is not yet chain-driven. Ford constantly improved the assembly line in search of time and cost savings. / THF91696

The incredible time and cost savings realized through the assembly line allowed Henry Ford to lower the Model T’s price, which increased demand for the car, which then prompted Ford to seek even greater manufacturing efficiencies. This feedback loop ultimately produced some 15 million Model Ts selling for as little as $260 each.

The peak annual Model T production of 1.8 million in 1923 was still years away when Arnold and Faurote made their study. They did not capture Ford’s assembly line in a fully realized form. In fact, the line never was finished. It existed in a state of flux, under constant review for any potential improvements. Adjusting the height of a work platform might save a few seconds here, while moving a drill press might shave some more seconds there. Several such small changes could yield large productivity gains.

Ford Methods and the Ford Shops captures a manufacturer that has just discovered the formula for previously unimagined production levels. The assembly line is groundbreaking, and Ford knows it. The company’s openness with its methods, and Arnold’s and Faurote’s efforts to document and publicize them, helped make the Model T assembly line the industrial milestone that we still celebrate more than a century later.


Matt Anderson is Curator of Transportation at The Henry Ford. This post was adapted from a 2013 post in our Pic of the Month series.

research, Model Ts, cars, Ford Motor Company, manufacturing, by Matt Anderson, Henry Ford, books

Portrait of man with wavy hair wearing suit
Henry Ford’s first official Ford Motor Company portrait, 1904. / THF97952


Henry Ford did not invent the automobile. But more than any other single individual, he was responsible for transforming the automobile from an invention of unknown utility into an innovation that profoundly shaped the 20th century and continues to affect the 21st.

Innovators change things. They take new ideas—sometimes their own, sometimes other people’s—and develop and promote those ideas until they become an accepted part of daily life. Innovation requires self-confidence, a taste for taking risks, leadership ability, and a vision of what the future should be. Henry Ford had all these characteristics, but it took him many years to develop all of them fully.

Portrait of the Innovator as a Young Man


Ford’s beginnings were perfectly ordinary. He was born on his father’s farm in what is now Dearborn, Michigan, on July 30, 1863. At this time, most Americans were born on farms, and most looked forward to being farmers themselves. Early on, Ford demonstrated some of the characteristics that would make him successful. In his family, he became infamous for taking apart his siblings’ toys as well as his own. He organized other boys to build rudimentary waterwheels and steam engines. He learned about full-size steam engines by becoming acquainted with the engines’ operators and pestering them with questions. He taught himself to fix watches and used the watches themselves as textbooks to learn the basics of machine design. Thus, at an early age, Ford demonstrated curiosity, self-confidence, mechanical ability, the capacity for leadership, and a preference for learning by trial and error. These characteristics would become the foundation of his whole career.

Framed painting of a number of boys working with wood, machinery, and fire
Artist Irving Bacon depicted Henry Ford in his first workshop, along with friends, in this 1938 painting. / THF152920

Ford could simply have followed in his father’s footsteps and become a farmer. But young Henry was fascinated by machines and was willing to take risks to pursue that fascination. In 1879, he left the farm to become an apprentice at a machine shop in Detroit. Over the next few years, he held jobs at several places, sometimes moving when he thought he could learn more somewhere else. He returned home in 1882 but did little farming. Instead, he operated and serviced portable steam engines used by farmers, occasionally worked in factories in Detroit, and cut and sold timber from 40 acres of his father’s land.

By now, Ford was demonstrating another characteristic—a preference for working on his own rather than for somebody else. In 1888, Ford married Clara Bryant, and in 1891 they moved to Detroit. Ford had taken a job as night engineer for the Edison Electric Illuminating Company—another risk on his part, because he did not know a great deal about electricity at this point. He took the job in part as an opportunity to learn.

Black-and-white photograph of men standing among machinery outside a large brick building
Henry Ford (third from left, in white coat) with other employees at Edison Illuminating Company Plant, November 1895. / THF244633

Early Automotive Experiments: Failure and Then Success


Henry was a skilled student, and by 1896 had risen to chief engineer of the Illuminating Company. But he had other interests. He became one of the scores of other people working in barns and small shops trying to make horseless carriages. Ford read about these other efforts in magazines, copying some of the ideas and adding some of his own, and convinced a small group of friends and colleagues to help him. This resulted in his first primitive automobile, the Quadricycle, completed in 1896. A second, more sophisticated car followed in 1898.

Green cushioned seat on top of platform containing mechanics with four wheels and rudder
Henry Ford’s 1896 Quadricycle Runabout, the first car he built. / THF90760

Ford now demonstrated one of his most important characteristics—the ability to articulate a vision and convince other people to sign on and help him achieve that vision. He convinced a group of businessmen to back him in the biggest risk of his life—starting a company to make horseless carriages. But Ford knew nothing about running a business, and learning by doing often involves failure. The new company failed, as did a second.

To revive his fortunes, Ford took bigger risks, building and even driving a pair of racing cars. The success of these cars attracted additional financial backers, and on June 16, 1903, just before his 40th birthday, Henry incorporated his third automobile venture, the Ford Motor Company.

The early history of Ford Motor Company illustrates another of Henry Ford’s most valuable traits—his ability to identify and attract outstanding talent. He hired a core of young, highly competent people who would stay with him for years and make Ford Motor Company into one of the world’s great industrial enterprises.

Street scene with man in early, open car; also contains text
Print of Norman Rockwell's painting, "Henry Ford in First Model A on Detroit Street." / THF288551

The new company’s first car was called the Model A, and a variety of improved models followed. In 1906, Ford’s 4-cylinder, $600 Model N became the best-selling car in the country. But by this time, Ford had a vision of an even better, cheaper “motorcar for the great multitude.” Working with a small group of employees, he came up with the Model T, introduced on October 1, 1908.

The Automobile: A Solution in Search of a Problem


As hard as it is for us to believe, in 1908 there was still much debate about exactly what automobiles were good for. We may see them as a necessary part of daily life, but the situation in 1908 was very different. Americans had arranged their world to accommodate the limits of the transportation devices available to them. People in cities got where they wanted to go by using electric street cars, horse-drawn cabs, bicycles, and shoe leather because all the places they wanted to go were located within reach of those transportation modes.

Street scene with pedestrians and carriages; tall buildings line both sides of street
This Boston street scene, circa 1908, shows pedestrians and horse-drawn carriages on the road—but no cars. / THF203438

Most of the commercial traffic in cities still moved in horse-drawn vehicles. Rural Americans simply accepted the limited travel radius of horse- or mule-drawn vehicles. For long distances, Americans used our extensive, well-developed railroad network. People did not need automobiles to conduct their daily activities. Rather, the people who bought cars used them as a new means of recreation. They drove them on joyrides into the countryside. The recreational aspect of these early cars was so important that people of the time divided motor vehicles into two large categories: commercial vehicles, like trucks and taxicabs, and pleasure vehicles, like private automobiles. The term “passenger cars” was still years away. The automobile was an amazing invention, but it was essentially an expensive toy, a plaything for the rich. It was not yet a true innovation.

Henry Ford had a wider vision for the automobile. He summed it up in a statement that appeared in 1913 in the company magazine, Ford Times:

“I will build a motor car for the great multitude. It will be large enough for the family but small enough for the individual to run and care for. It will be constructed of the best materials, by the best men to be hired, after the simplest designs that modern engineering can devise. But it will be so low in price that no man making a good salary will be unable to own one—and enjoy with his family the blessings of hours of pleasure in God’s great open spaces.”

Two-page spread with text and image of family looking from a hill at a landscape, with a ghostly factory in the sky
This 1924 Ford ad, part of a series, echoes the vision expressed 11 years earlier by Henry Ford: “Back of all of the activities of the Ford Motor Company is this Universal idea—a wholehearted belief that riding on the people’s highway should be in easy reach of all the people.” / THF95501

It was this vision that moved Henry Ford from inventor and businessman to innovator. To achieve his vision, Ford drew on all the qualities he had been developing since childhood: curiosity, self-confidence, mechanical ability, leadership, a preference for learning by trial and error, a willingness to take risks, and an ability to identify and attract talented people.

One Innovation Leads to Another


Ford himself guided a design team that created a car that pushed technical boundaries. The Model T’s one-piece engine block and removable cylinder head were unusual in 1908 but would eventually become standard on all cars. The Ford’s flexible suspension system was specifically designed to handle the dreadful roads that were then typical in the United States. The designers utilized vanadium alloy steel that was stronger for its weight than standard carbon steel. The Model T was lighter than its competitors, allowing its 20-horsepower engine to give it performance equal to that of more expensive cars.

Page with text and image of car at top
1908 advertisement for the 1909 Ford Model T. In advertisements, Ford Motor Company emphasized key technological features and the low prices of their Model Ts. Ford's usage of vanadium steel enabled the company to make a lighter, sturdier, and more reliable vehicle than other early competitors. / THF122987

The new Ford car proved to be so popular that Henry could easily sell all he could make, but he wanted to be able to make all he could sell. So Ford and his engineers began a relentless drive both to raise the rate at which Model Ts could be produced and to lower the cost of production.

In 1910, the company moved into a huge new factory in Highland Park, a city just north of Detroit. Borrowing ideas from watchmakers, clockmakers, gunmakers, sewing machine makers, and meat processors, Ford Motor Company had, by 1913, developed a moving assembly line for automobiles. But Ford did not limit himself to technical improvements.

When his workforce objected to the relentless, repetitive work that the line entailed, Ford responded with perhaps his boldest idea ever—he doubled wages to $5 per day. With that one move, he stabilized his workforce and gave it the ability to buy the very cars it made. He hired a brilliant accountant named Norval Hawkins as his sales manager. Hawkins created a sales organization and advertising campaign that fueled potential customers’ appetites for Fords. Model T sales rose steadily while the selling price dropped. By 1921, half the cars in America were Model Ts, and a new one could be had for as little as $415.

Portrait of man wearing suit
Norval Hawkins headed the sales department at Ford Motor Company for 12 years, introducing innovative advertising techniques and increasing Ford’s annual sales from 14,877 vehicles in 1907 to 946,155 in 1919. / THF145969

Through these efforts, Ford turned the automobile from an invention bought by the rich into a true innovation available to a wide audience. By the 1920s, largely as a result of the Model T’s success, the term “pleasure car” was fading away, replaced by “passenger car.”

The assembly line techniques pioneered at Highland Park spread throughout the auto industry and into other manufacturing industries as well. The high-wage, low-skill jobs pioneered at Highland Park also spread throughout the manufacturing sector. Advertising themes pioneered by Ford Motor Company are still being used today. Ford’s curiosity, leadership, mechanical ability, willingness to take risks, ability to attract talented people, and vision produced innovations in transportation, manufacturing, labor relations, and advertising.

What We Have Here Is a Failure to Innovate


Green car with black top, with text on side: "The Fifteen Millionth Ford"
Henry Ford was slow to admit that customers no longer wanted the Model T. However, in 1927, he finally acknowledged that shift, and Henry Ford and his son, Edsel Ford, drove this last Model T—number 15,000,000—off the assembly line at Highland Park. / THF135450

Henry Ford’s great success did not necessarily bring with it great wisdom. In fact, his very success may have blinded him as he looked to the future. The Model T was so successful that he saw no need to significantly change or improve it. He did authorize many detail changes that resulted in lower cost or improved reliability, but there was never any fundamental change to the design he had laid down in 1907.

He was slow to adopt innovations that came from other carmakers, like electric starters, hydraulic brakes, windshield wipers, and more luxurious interiors. He seemed not to realize that the consumer appetites he had encouraged and fulfilled would continue to grow. He seemed not to want to acknowledge that once he started his company down the road of innovation, it would have to keep innovating or else fall behind companies that did innovate. He ignored the growing popularity of slightly more expensive but more stylish and comfortable cars, like the Chevrolet, and would not listen to Ford executives who believed it was time for a new model.

But Model T sales were beginning to slip by 1923, and by the late 1920s, even Henry Ford could no longer ignore the declining sales figures. In 1927, he reluctantly shut down the Model T assembly lines and began the design of an all-new car. It appeared in December 1927 and was such a departure from the old Ford that the company went back to the beginning of the alphabet for a name—it was called the Model A.

Two men wearing suits stand by car in indoor space with lights and banners
Edsel and Henry Ford introduce the new Model A at the Ford Industrial Exposition in New York in January 1928. Edsel had worked to convince his father to replace the outmoded Model T with something new. / THF91597

One area where Ford did keep innovating was in actual car production. In 1917, he began construction of a vast new plant on the banks of the Rouge River southwest of Detroit. This plant would give Ford Motor Company complete control over nearly all aspects of the production process. Raw materials from Ford mines would arrive on Ford boats, and would be converted into iron and steel, which were transformed into engines, transmissions, frames, and bodies. Glass and tires would be made onsite as well, and all of this would be assembled into completed cars. Assembly of the new Model A was transferred to the Rouge. Eventually the plant would employ 100,000 people and generate many innovations in auto manufacturing.

But improvements in manufacturing were not enough to make up for the fact that Henry Ford was no longer a leader in automotive design. The Model A was competitive for only four years before needing to be replaced by a newer model. In 1932, at age 69, Ford introduced his last great automotive innovation, the lightweight, inexpensive V-8 engine. It represented a real technological and marketing breakthrough, but in other areas Fords continued to lag behind their competitors.

Engine
The V-8 engine was Henry Ford’s last great automotive innovation. This is the first V-8 engine produced, which is on exhibit in Henry Ford Museum of American Innovation. / THF101039

By 1936, the company that once sold half of the cars made in America had fallen to third place behind both General Motors and the upstart Chrysler Corporation. By the time Henry Ford died in 1947, his great company was in serious trouble, and a new generation of innovators, led by his grandson Henry Ford II, would work long and hard to restore it to its former glory. Henry’s story is a textbook example of the power of innovation—and the power of its absence.


Bob Casey is former Curator of Transportation at The Henry Ford. This post is adapted from an educational document from The Henry Ford titled “Henry Ford and Innovation: From the Curators.”

by Bob Casey, engines, advertising, Ford Rouge Factory Complex, Model Ts, entrepreneurship, engineering, manufacturing, cars, quadricycle, Ford Motor Company, Henry Ford

This is the third of a series of blog posts presented in conjunction with the traveling exhibition, Louis Comfort Tiffany: Treasures from the Driehaus Collection. The exhibit, consisting of approximately 60 artifacts, is on view at Henry Ford Museum of American Innovation from March 6, 2021, through April 25, 2021. The lamp shown here is from the collections of The Henry Ford and provides background on themes in the exhibition.

In preparing for the Louis Comfort Tiffany: Treasures from the Driehaus Collection exhibit, The Henry Ford’s curatorial department expressed interest in displaying a Tiffany Studios early floor lamp, circa 1900, from our collections.  This lamp features a telescopic shaft and a dual wick kerosene burner for extra illumination.

Lamp with bronze base and stem, and green and yellow "fishscale" patterned glass shadeTwo black-and-white images of floor lamps next to each other
Our Tiffany lamp (THF186213) as compared to images from Tiffany publications.

In Tiffany publications, the lamp rests on an outer cushion-textured base with six ball-shaped feet. However, the outer base from The Henry Ford’s lamp was missing, with no previous record of its existence when it entered our collection in 1966.

Discussions between Curator of Decorative Arts Charles Sable and conservators led to the decision to create a replica lamp base to ensure both historical accuracy and physical stability to the tall, rather top-heavy floor lamp. The completed object would provide viewers with a more accurate interpretation and the opportunity to experience the object whole, as it was originally designed.

It’s All about the Base


We embarked upon an effort to locate a similar base in museums or private collections to serve as a reference or pattern, to inform the creation of a replacement base—only to discover that the lamp is quite rare. So instead, I decided to create a model base using a CAD (computer-aided design) program, with the design based on photographs from Tiffany publications and auctions. The museum’s lamp was used as a physical frame of reference for measurements and comparisons in CAD. I reached out to several 3D-printing shops to determine if they could use my CAD design to generate a three-dimensional plastic base. Ultimately, the base was printed with the help and generosity of the additive manufacturing team at the Ford Advanced Manufacturing Center.

Green lamp base CAD drawing from aboveGreen CAD drawing of lamp base, from a side angle
The above images are the CAD model of the base from different angles.

Ford Motor Company and its Advanced Manufacturing Center (AMC) offered their additive manufacturing expertise and capabilities. Their team includes Global Chief Engineer Mike Mikula, Rapid Prototype Subject Matter Expert Scott Gafken, Technical Leader in Additive Manufacturing Harold Sears, Additive Manufacturing Engineer Supervisor Jay Haubenstricke, and Supervisor Additive Manufacturing John Phillips.

Collaborative discussions with Scott Gafken revealed that the process would take about 24 hours, which included printing as well as model cooldown for handling. The EOS P770 was employed as an industrial selective laser sintering (SLS) printer and produced the print in Nylon 12 (also known as Polyamide 12 or PA12). The printing material was selected based on its ability to bear the weight of the lamp, and someday be a candidate for an investment casting, for the creation of a metal base.

GIF rotating through several images of 3D-printed circular lamp base
The white image shows the Polyamide 12 print of the base at the Ford Advanced Manufacturing Center. The image with painter’s tape was taken during the process of painting the base. Achieving a finish that matched the original metal lamp required the application of several layers of paint. The image with only one small white section shows the completed base after gloss varnish was applied.

Paint Matching


The bronze surface of the lamp was shades of brown with hints of red, orange, and green. These shades are similar to several paint colors: raw umber, chromium oxide green, sepia, burnt sienna, and yellow oxides. The colors were mixed into several formulations to closely match the patina (aged finish) of the lamp. Diluted paint was applied in layers to allow the variations in the tones to be seen. After discussions with the curator and members of our Experience Design department, we made the decision to leave one section of 3D-printed surface unpainted, to allow visitors to see it in the exhibit.

Man wearing face mask sits at a table covered with bottles, jars, and papers, painting a round lamp base brown
The replica base was painted with the actual lamp present to ensure a match.

Additional Treatment


Beyond the base, other aspects of our conservation treatment included the cleaning of the Tiffany lamp with a bristle brush and vacuum. Wet cleaning included a dilute blend of anionic and nonionic detergents in distilled water, applied with cotton rags and cotton swabs. Residual detergent was then removed with a distilled water wipedown.

A protective barrier of wax was introduced via hot wax application. The bronze surface was heated with a hot air gun and microcrystalline wax was applied and left to cool down. A boar-bristle brush and bamboo picks were used to remove excess wax. The brush and cotton rags were then used to buff the wax layer, resulting in a uniform sheen.

GIF rotating through two photos of round lamp base with swirled pattern; the first is dark and dull and the second is lighter and shiny
GIF showing two images of part of a lamp stem; the first is dark and dull and the second is lighter and shiny
Details of the lamp both before cleaning and after cleaning and wax application.

Additional information on the care of these types of artifacts and more can be found in The Henry Ford’s conservation fact sheets, “The Care and Preservation of Historical Brass and Bronze” and “The Care and Preservation of Glass & Ceramics.”

Please check out this lamp and other Tiffany Studios artifacts in the Louis Comfort Tiffany: Treasures from the Driehaus Collection exhibit before its closing on April 25, 2021.


Cuong Nguyen is Conservator at The Henry Ford.

Henry Ford Museum, Ford Motor Company, philanthropy, technology, glass, by Cuong Nguyen, #Behind The Scenes @ The Henry Ford, collections care, conservation, Louis Comfort Tiffany

The unprecedented COVID-19 pandemic that started a year ago—and that we are still living through—is an extraordinarily significant moment in our history. It connects our nation’s past with its present and future—revealing who we were before, who we are today, and who we will become in the future.

As this pandemic began to unfold last year, museums quickly stepped forward to collect—or lay out plans to collect—evidence of it, in many different ways. The majority of these collecting initiatives were local and community-based. Curators at The Henry Ford also developed a plan describing our approach to collecting the COVID-19 pandemic. Like all our collecting plans, it reflects who we are and what we represent as an institution. This begins with our mission statement: The Henry Ford provides unique educational experiences based on authentic objects, stories, and lives from America’s traditions of ingenuity, resourcefulness, and innovation. Our purpose is to inspire people to learn from these traditions to help shape a better future.

Using the filter of the mission statement, The Henry Ford’s approach to collecting the COVID-19 pandemic includes 3D objects, photographs, and archival materials that reflect how we are being innovative, how we are being resourceful, and how entrepreneurs are using their ingenuity to both address people’s needs and remain sustainable. In keeping with the scope of our collections, items must also have national significance. Even if they are local or regional, they should align with broader patterns and national trends.

Currently, we are actively bringing items into the collection that we have saved in our basements over the past year (because of COVID-19 safety protocols), as well as collecting ongoing trends (like vaccine-related items). Here are just a few examples of our collecting to date.

Poster showing two green chairs with dotted lines denoting six feet between them; also contains text
Yellow "smiley face" emoji; also contains text
Masking and social distancing quickly became new habits, as seen in these signs from Henry Ford Health System. (Future acquisitions.)

Black face mask with red, white, and black geometric pattern in beads around edge
This beaded facemask, created by Diné craftswoman Brighid “Birdie” Pulskamp, features a traditional Navajo Wedding Basket design. / THF186023

Maroon-colored sign with text "Curbside Pickup: Please do not leave returned library items on this cart."
Many businesses and services adopted curbside pickup. This sign from the Northville [Michigan] District Library marked where patrons could pick up their online book requests without entering the building. (Future acquisition.)

Book cover with image of room containing desk with computer screen with multiple boxes containing silhouettes; also contains text
A parody of the classic Goodnight Moon, Good Morning Zoom was created to help kids make sense of the changes in their world brought on by the pandemic. (Future acquisition.)

Wooden cut-out in the shape of a roll of toilet paper; contains text
This wooden ornament references the shortage of toilet paper that occurred in the pandemic’s earliest days, making it a highly sought-after commodity. (Future acquisition.)

Flyer with images of Santa, a reindeer in a scarf, and other holiday items, with text
Holiday traditions took on new twists, such as this drive-thru Santa event in Bay City, Michigan. (Future acquisition.)

Beige facemask with dark blue trim and images of dreidels, menorahs, and jelly doughnuts, along with text
A facemask can be found for every holiday and occasion. (2020.104.2)

Large-headed figurine of man in gray suit with glasses, next to box containing photo of man's head and text
Throughout the pandemic, Dr. Anthony Fauci has been one of the most prominent medical voices updating the public on the fight against the virus. As early as April 2020—when the National Bobblehead Hall of Fame released this tribute—he was already viewed as a hero by many. (Future acquisition.)

Rear view of red van with large back window; various text on vehicle and large American flag on visible side
Ford and subsidiary Troy Design & Manufacturing Company (TDM) converted Ford Transit vans into mobile COVID-19 testing units. Starting in April 2020, they took tests to health care workers and first responders—people who didn’t have to time to travel to a lab. Each van could test up to 100 people a day, and results were returned within 24–36 hours. Within a few months, the mobile testing program was extended to nursing homes, substance abuse centers, and community shelters. (2020.124.1)

Black-and-white equipment with dials, switches, and gauges, covered in signatures in various colors
Early in the pandemic, hospitals depended on scarce ventilators to treat patients with the most serious infections. Ford Motor Company employees built more than 51,000 ventilators at the Rawsonville Components Plant between April and August 2020. This unit, the last one off the assembly line, was signed by some of the 1,100 people involved in the effort. / THF185919

White face mask with blue presidential insignia in one top corner and blue oval "Ford" logo in the other
Health worries added to security concerns at the inauguration of President Joe Biden and Vice President Kamala Harris on January 20, 2021. Ford produced 15,000 single-use face masks and donated them to ceremony attendees. Employees at Hatteras, Inc., who printed inauguration logos on the masks, worked around the clock to get them shipped to Washington and inspected by the Secret Service in time. (2021.19.6)

Clear plastic rectangle with rounded corners, topped with blue band patterned with white text "Built Ford Proud"
Ford subsidiary TDM manufactured more than five million face shields. Elastic, to hold the shield securely on the wearer’s head, was in short supply. TDM instead used flexible automobile weather stripping, pinned to the shield with automotive fasteners. / THF185929

White surgical face mask with subtle "Ford" oval logo in upper right
Disposable face masks, made at Ford’s Van Dyke Transmission Plant, were distributed free of charge to underprivileged communities, schools, food banks, and military veterans. The automaker set a goal to produce 100 million masks through 2021. / THF185913

Nurse with hands clasped in a prayer position, head bowed, eyes closed, on a red background with white halo-like lines behind her; also contains text
Portrait of woman with dark hair in green scrubs wearing blue face mask marked with yellow and red "Superman" symbolic S
Poster with mottled green, white, and blue background, featuring text shaped like a fist reading "We Got This"
Produced through the Amplifier Foundation, these posters acknowledge the heroic efforts of healthcare workers, and offer encouragement in the midst of upheaval. /
THF621827, THF621829, THF621843

We continue to work through additional donations offered to us by the public; for more information on how to contribute to this collection, visit The Henry Ford - COVID-19 Collections. You can also see more pandemic-related artifacts in our Digital Collections, and read additional stories related to the many impacts of the COVID-19 pandemic on our blog


Donna Braden is Senior Curator and Curator of Public Life at The Henry Ford. Rachel Yerke is Curatorial Assistant at The Henry Ford.

manufacturing, home life, healthcare, Ford Motor Company, by Rachel Yerke, by Donna R. Braden, COVID 19 impact

The Henry Ford’s archives contain a great deal of material about radio and television shows produced or sponsored by Henry Ford and Ford Motor Company. Here is just a small sampling of the types of items and shows covered.

Henry Ford began broadcasting over his WWI radio station in 1922. Early broadcasts featured musical acts from company bands, such as the Ford Motor Company Band and the Ford Hungarian Gypsy Orchestra. Later broadcasts expanded the talent pool to acts across the United States, including singers, bands, soloists, and even the California Bird Man.

Men sit at desks with typewriters and equipment
Ford Motor Company Radio Station WWI, Dearborn, Michigan, February 1924. / THF134739

The Ford Sunday Evening Hour was a popular radio show produced by Ford. This show was broadcast from 1934–1942 (and then again from 1945–1946). The show was performed live in Detroit, first at Orchestra Hall and then at the Masonic Temple, and broadcast over the CBS radio network. Musical pieces were played by 75 members of the Detroit Symphony Orchestra under the name the Ford Symphony Orchestra, with each show featuring guest star soloists and singers.

Page with text
Ford Sunday Evening Hour program, October 7, 1934. / THF137776

Display with image of orchestra on stage above a car dashboard, including radio; also contains text
Ford Sunday Evening Hour Dealer Display, 1938. The program was broadcast across the U.S. and was advertised by Ford dealers all over the country. / THF269154

In the summer, the Ford Summer Hour offered lighter, more popular tunes. This program used a smaller 32-piece orchestra and sometimes featured Ford employee bands such as the River Rouge Ramblers and the Champion Pipe Band.

Poster with images of three people's heads and text of varying sizes/colors, against a backdrop of a silhouetted orchestra with conductor; also contains musical notes
The Ford Summer Hour poster, 1939. / THF111542

Yellow sheet with text
Ford Summer Hour program, August 24, 1941. / THF134690

Ford Motor Company sponsored their share of television programs in the 1940s and 1950s as well. The Lincoln-Mercury division sponsored Toast of the Town, later The Ed Sullivan Show. The archives holds this scrapbook of reviews of the first season of the show (or shew) in 1948.

Teal-colored cover with curved text "Toast of the Town"
Teal colored page with TV Guide cover and page pasted onto it
Toast of the Town scrapbook, 1948-1949. / THF622224, THF622504

The 50th anniversary of Ford Motor Company in 1953 was a big celebration. Paintings were commissioned by Norman Rockwell to depict the company history, calendars were assembled, banquets and celebrations were planned worldwide, and the company put together a TV special to celebrate its 50-year history.

Page containing text, some of it arranged in a spiral, with small image of three faces
Advertisement, "Ford 50th Anniversary Show," June 15, 1953 / THF622247

The TV program featured many well-known performers, many of whom signed Benson Ford’s personal copy of the script.

Page with a small amount of typewritten text and many signatures
Page with typewritten text
Script for the Ford Motor Company 50th Anniversary TV Show, Broadcast June 15, 1953
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These are only a few of the radio and TV shows produced or sponsored by Ford over the years. The archive at the Benson Ford Research Center has additional material, including scripts, ratings, and public relations analysis reports, for several of these shows. Some of these items may be viewed in our Digital Collections, while others have yet to be digitized. While the reading room at the Benson Ford Research Center remains closed at present for research, if you have any questions, please feel free to email us at research.center@thehenryford.org.


Kathy Makas is Reference Archivist at The Henry Ford. This post is based on a February 2021 presentation of History Outside the Box as a story on The Henry Ford’s Instagram channel.

Dearborn, Michigan, Detroit, archives, TV, music, radio, Ford Motor Company, by Kathy Makas, History Outside the Box