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Western Europe and its colonies in the Americas have long been fascinated with the Eastern cultures Europeans depicted as “mysterious,” and specifically their exotic trade goods, such as spices, silk, porcelain, and, later, tea. In fact, this interest was the motivation behind the European arrival in the Americas, as Europeans sought a shorter route to reach China and India in the 15th and 16th centuries. This is the first of two blog posts that examine the European and American fascination with Asia and how that was expressed in the decorative arts.

The earliest form of decorative arts that fascinated Europeans was porcelain. Around the 7th or 8th century C.E., the Chinese first produced what Westerners call “hard paste” porcelain—clay that consists of a compound containing the mineral kaolin and is fired at an extremely high temperature, usually around 1400 degrees Celsius. The kaolin in the clay fused the body with the glaze on top during the firing process. The resulting vessel proved to be extremely durable, almost glass-like, and resisted chips and cracking. Should the piece break, it would be a clean break.

Western ceramics were mostly made from earthenware, usually fired at a relatively low temperature with a slip (watered-down clay) glaze or a true glaze. Both processes cover the vessel with fine particles which fuse into a glasslike layer, sealing the pores of the clay body. There are two main types of glazed earthenware. The first is covered with a transparent lead glaze, where the earthenware body to which this glaze is applied has a creamy color, known as creamware. The second type, covered with an opaque white glaze, is called tin-glazed earthenware, popularly known as majolica, faience, or delft. Both types of earthenware chipped and broke easily.

When Europeans were first exposed to Chinese porcelain in the 14th and 15th centuries, it was seen as wondrous and innovative. In addition to its glasslike qualities, the pure white color of the porcelain amazed Europeans. In the 16th and 17th centuries, Spanish, Portuguese, and Dutch traders competed to secure Chinese porcelains for the European markets. The teacup shown below is a good example of what the Europeans craved.

Simple white handleless teacup with blue decorations
Teacup from Vung Tau Shipwreck, Late 17th Century / THF188797

Simple white handless teacup with blue decorations
Teacup from Vung Tau Shipwreck, Late 17th Century / THF188796

This teacup was salvaged from a shipwreck dating around 1690 in the South China Sea, about 100 miles from Vung Tau, Vietnam. During the early 1990s, thousands of porcelain items destined for the Dutch market were brought up from the wreck and sold at auction. The Henry Ford acquired this item from one of the auctions. This small cup would have been prized in the household of a wealthy European. It might even have found its way to the American colonies as a luxury item during the late 17th or early 18th centuries.

Items like this teacup provided a design source for European ceramic makers beginning in the late 17th century. Basically, they attempted to appropriate the Chinese designs in earthenware, as in the storage jar shown below.

White jar with medium base tapering out to wider near top with a narrow mouth; decorated with brown human figures and trees
Storage Jar, 1710-1750, Made in the Netherlands / THF190255

White jar with medium base tapering out to wider near top with a narrow mouth; decorated in brown with water, cliffs, trees, buildings, ships
Storage Jar, 1710-1750, Made in the Netherlands / THF190254

What is so interesting about this piece is that the Dutch decorator is drawing Chinese figures in a Chinese inspired landscape for a European audience. Even the form, known as a ginger jar shape, is based on Chinese precedent. The only missing element here is the circular lid. This is helpful for us because the top rim, where the lid should be, shows us the chips in the glaze that occurred though use. We can see that this is not Chinese porcelain, as the dark-colored earthenware body shows through. Chips are also visible along the base. Clearly this jar was not only a prized object but was used.

White bowl with narrow base and body sloping outward to a wide mouth, with blue decorations of flowers, plants, and bowls of fruit
Punch Bowl, 1700-1730, Made in England / THF188783

White plate with blue floral decorations in three places on rim and large blue floral decoration in center
Plate, 1690-1710, Made in England / THF188779

The punch bowl and plate shown above, both made in England, attempt to copy the look of Chinese porcelains—but, like the storage jar, are made of earthenware. We could really call these the first "knock-offs" in history. They represent the beginnings of what collectors and scholars call “Chinoiserie”—the appropriation and interpretation of Chinese and East Asian design motifs by Europeans. The idea was to create the spirit of a faraway place and give the owner the cachet of owning a luxurious and expensive object. The underlying idea was to project a sense of worldliness and sophistication.

Lacquered box in shades of brown and black with scene of houses and stupa; two silver cannisters with decorated tops sit in front of it
Tea Box and Cannisters, 1800-1840, Made in China for the Western Market / THF190059

Unusually shaped white jar with blue decorations of flowers, vegetation, people, and buildings
Tea Caddy, 1740-1770, Made in England / THF189630

During the 17th and 18th centuries, tea from China became an important trade good, especially in England and America. Elegant Chinese lacquer boxes, complete with Chinoiserie scenes, became the rage, as did tea caddies, a necessary part of a tea set designed to safely store and dispense tea leaves.

Photo of extensive cream colored tea service with intricate multicolored flowers and birds; set contains cups and saucers, small bowls, teapot, and several other miscellaneous dishes
Tea Service, 1765–1770, Made by the Worcester Porcelain Company, Shropshire, England / THF154881

In the later 18th century, tea equipment became extremely sophisticated, as the set above shows. This service uses Chinese or Chinoiserie decorative elements and combines them with the popular French Rococo decorative style to a luxurious effect. The English Worcester Porcelain Company tried to imitate Chinese porcelains with their “soft paste” porcelains, which were close approximations of the true “hard paste” Chinese wares. By 1800, the chemistry of Chinese porcelains was known in Europe—first by the Meissen firm in Germany, then later spreading out across the continent.

Sets of similarly shaped housewares, with one each in silver and ceramic, including two cylindrical teapots, two more spherical teapots, and two bowls
Western Tea Pots and Slop Bowl in Silver Next to Chinese Versions in Porcelain, Late 18th Century / THF139315

An interesting aspect of the China Trade was the production of Chinese versions of Western forms in porcelain. Western traders or agents, known as “supercargoes,” brought examples of Western wares for copy to Guangzhou (then called the port of Canton by the English). There, they presented them to their Chinese counterparts, who took these items to the porcelain factories located in Jingdezhen, then the porcelain capital of China.

Short-ish bowl with wide base and even wider sides, decorated with a wharfside scene of buildings, people, docks, boats, and water
“Hong” Bowl, about 1780, Made in China for the Western Market / THF190085

Short-ish bowl with wide base and even wider sides, decorated with a wharfside scene of buildings, people, docks, boats, and water, with the Union Jack flying in the middle
“Hong” Bowl, about 1780, Showing Trading Offices, Indicated by the Flags of Great Britain, the Hanseatic League (Now Germany), and Sweden / THF190086

Short-ish bowl with wide base and even wider sides, decorated with a wharfside scene of a harbor, mountains, buildings, people, docks, boats, and water
“Hong” Bowl, about 1780, Showing the Port of Guangzhou and the Trading Office of Denmark, Indicated by the Flag / THF190088

One of the most interesting aspects of the China Trade was souvenir “Hong” bowls that showed panoramic views of offices, warehouses, and living spaces for foreign merchants in Guangzhou in the late 18th century. These were brought back to the West by supercargoes and used for serving punch at parties. Western merchants were allowed access only to the port area and needed Chinese intermediaries to send their orders to the porcelain factories inland.

In addition to porcelain tea and lacquerware, Westerners sought out luxurious Chinese silks, but relatively little else was imported to the West. One exception is the teapot shown below, made of a Chinese alloy of nickel and copper known as Paktong that resembles silver. In fact, the term “Paktong” is a corruption of the Chinese “bai tong,” meaning “white copper.”

Oval-shaped cylindrical silver teapot with black handle
Teapot with Stand, Made for Export, circa 1800 / THF92948

This teapot, made around 1800, was created for sale in the newly independent United States. Following the Revolutionary War, Americans were eager to establish international trade, and the lucrative China Trade was at the top of their list. This teapot would have appealed to Americans as it was executed in the fashionable Federal or Neoclassical style, which emphasized geometric forms, ovals, and cylindrical shapes.

By 1800, the China Trade began to transform. The American market broadened the China Trade, especially as the 19th century progressed and the United States grew. Also, Chinese goods were no longer viewed as unique and luxurious, as they were in the 18th century. This is partly due to the Western discovery of true or “hard paste” porcelain. The Chinese monopoly was gone. Still, Asian goods were depicted as exotic and the romanticized mystery of the Far East continued. In a second installment of this story, we will examine the transformation and role of Japanese influence on the West in the later 19th century.


Charles Sable is Curator of Decorative Arts at The Henry Ford.

manufacturing, making, home life, design, decorative arts, ceramics, by Charles Sable

Engine mounted on stand

1932 Ford V-8 Engine, No. 1. / THF101039

It’s been said that when the Ford flathead V-8 went into production in 1932, Ford Motor Company revolutionized the automobile industry—again. And the engine put the hot rod movement into high gear.

What made this engine revolutionary? It was the first V-8 light enough and cheap enough to go into a mass-produced vehicle. The block was cast in one piece, and the design was conducive to backyard mechanics’ and gearheads’ modifications.

Illustration of two engines, one without and one with protrusions; also contains text
This 1932 brochure illustrates the difference between the Ford V-8, with the cylinders and crankcase cast as a single block of iron, and a traditional V-8, built by bolting separate cylinders onto the crankcase. / THF125666

With so much at stake, you would think Henry Ford would set up his engineers tasked with the engine’s design in the most state-of-the-art facility he had at his disposal.

Not so. Instead, Ford sent a handpicked crew to Greenfield Village to gather in Thomas Edison’s Fort Myers Laboratory, which had been moved from Fort Myers, Florida, to Dearborn not long before.

Two men in suits, one wearing a hat, stand in front of a wooden building partially obscured by vegetation
Henry Ford and Thomas Edison with Fort Myers Laboratory at its original site, Fort Myers, Florida, circa 1925. / adapted from THF115782

“Henry Ford likely used the building because it provided his engineers with privacy and freedom from distraction,” said Matt Anderson, Curator of Transportation at The Henry Ford. “I imagine he also thought the team might be inspired by the surroundings.”

Ford’s plan worked. In just two years, Ford’s engineering crew left the lab in Greenfield Village with a final design.

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Greenfield Village history, Greenfield Village buildings, Greenfield Village, Ford Rouge Factory Complex, Henry Ford, Ford Motor Company, manufacturing, design, engineering, engines, race cars, cars, racing, The Henry Ford Magazine

Red wooden building among other buildings by a pond
Tripp Sawmill in Greenfield Village. / THF1880

Visit the Liberty Craftworks district in Greenfield Village, and a red structure stands out at the far end of the pond. That’s the Tripp Sawmill, which once operated in Tipton, Michigan, in the mid-1800s, under the ownership of Rev. Henry Tripp and his family.

“It’s an interesting example of a logical, sequential, flowing process,” Marc Greuther, vice president of historical resources and chief curator at The Henry Ford, said of the sawmill. “It’s not a stretch to think of the building as a kind of machine, if you will, a single-purpose machine that is quite refined.”

Black-and-white photo of man working next to very large tree trunk mounted on a machine in a wooden building
A Man Working in the Tripp Sawmill in Greenfield Village, June 15, 1936. / THF277109

The sawmill was built and run solely by the Tripp family, tailored to the needs of the surrounding community. Tipton, an early American startup of sorts, was not necessarily looking for a large-scale logging operation in its midst. Instead, it needed a self-contained, functioning sawmill that could cut and process lumber from the area’s felled trees. It most likely operated only during the winter months, when residents could easily move felled trees from their properties across the frozen ground. “The Tripps were quite adept at figuring out how to start a business and find a niche,” said Greuther. “They were venturesome, entrepreneurial, and had that can-do attitude.”

Black-and-white photo of a wooden building with a sloped roof
The Tripp Sawmill on its original site in Tipton, Michigan. / THF243590

While many such sawmills in the United States at the time were water-powered, especially those started in newly founded communities, the Tripp Sawmill was powered by steam from the outset—finely tuned and aligned to the resources within its vicinity. A well, for example, was on-site. The mill collected and used rainwater. Its boiler was fueled with waste wood and sawdust from the mill’s operation. “The mill exemplifies a judicious use of resources and technology and human personnel and output all working together,” said Greuther.

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by Jennifer LaForce, The Henry Ford Magazine, Michigan, manufacturing, Greenfield Village buildings, Greenfield Village

Black-and-white photo of a tractor sitting in front of a brick building with wooden doors and windows; also contains text
Fordson Tractor No. 100,000, Completed at Dearborn, February 21, 1920 / THF146392


Henry Ford & Son organized on July 27, 1917, to make Fordson tractors. David L. Lewis, author of The Public Image of Henry Ford: An American Folk Hero and His Company, explains that the first 7,000 went to England to support British food production during the Great War (World War I). Distribution to U.S. customers began early in 1918.

Aggressive advertising got the public’s attention, and the tractor’s price—$750—made it a reasonable investment. It quickly became a bestseller. Just three years after its debut, on February 21, 1920, the 100,000th Fordson rolled off the assembly line in Dearborn, Michigan.

In November 2020, a full century after the photographic print above marking the tractor’s milestone manufacturing moment was taken, it became The Henry Ford’s 100,000th artifact to be digitized.

You can find out more about our digitization program and celebration of reaching 100,000 digitized artifacts on our blog here, and can explore more artifacts related to Fordson tractors in our Digital Collections here.


This post was adapted from an article first published in the January–May 2021 issue of The Henry Ford Magazine.

digitization, Ford Motor Company, manufacturing, Michigan, Dearborn, The Henry Ford Magazine, agriculture

Medium-skin tone man in a blue suit stands in front of a corrugated white metal wall Corey Williams, Dearborn Truck Plant Manager, will tell you that the culture at the plant where the F-150 is built is one of a kind. / Photo by Nick Hagen


Corey Williams has been a part of the Dearborn Truck Plant management team for nearly four years, promoted to plant manager in January 2021, and he’s worked at many Ford facilities in a variety of management positions over the 25-plus years he’s been with Ford. He’ll tell you with conviction that the Dearborn Truck Plant, where the Ford F-150 is built and The Henry Ford’s Ford Rouge Factory Tour welcomes thousands of visitors a year, is unlike anywhere else in the world.

“Every Ford plant has the same goals, metrics and objectives—we all want to deliver the best, highest-quality product to the customer that we can,” said Williams. “But at Dearborn Truck, the culture is different. And when I say different, I mean everyone here understands that we are building America’s bestselling truck and the sense of pride in that is like no other.”

“Everybody knows that we are leaders, never followers,” he added. “That if it can be done, it will be done at DTP [Dearborn Truck Plant]—at not only the highest rate and volumes but with the greatest efficiency.”

Partially assembled truck cabs on an assembly line; a person works on one in the distance
Ford F-150 Truck Assembly at the Dearborn Truck Plant at the Ford Rouge Complex

That attitude and mental mantra fit perfectly with Williams’ persona. He’s not afraid to admit he’s an ultracompetitive guy who feeds off having to face the next challenge.

“I’ve been a sports guy my entire life,” he said. “I love to compete and like the idea of a team—the collaborative part of it and how you have to work together toward a common goal.”

And when asked about the new set of players—vehicles as well as workers—that are now ready to call the Ford Rouge Complex home along with Dearborn Truck Plant, Williams couldn’t be more excited. In 2022, the new Rouge Electric Vehicle Center is slated to open, employing hundreds of new hires and manufacturing the all-new battery-electric F-150. “Not a day goes by that people don’t ask me about our new hybrid, the EV center, and electric truck—the buzz and amazement just grows,” said Williams. “It’s a huge step in continuing our truck leadership and dominance. We are changing the game.”

Play to Work


Gameboard, box top, and box bottom filled with cards and game pieces
Staff from Ford Motor Company and The Henry Ford trace some of their interest in STEM and manufacturing to childhood television, toys, and games, like this 1960s Clue set in our collection. / THF188744

We asked Corey and other members of Ford Motor Company’s vehicle launch team and The Henry Ford’s Ford Rouge Factory Tour what games, TV shows, toys, etc., they remember growing up that helped spark their interest in STEM and manufacturing.

Corey Williams, Plant Manager at Ford: Playing team sports in his younger years is a key precursor to his manufacturing management skills today. “Involving yourself in team events where you need to collaborate and compete as a team toward a common objective is extremely relevant from a STEM standpoint,” he said.

James Housel, Bodyshop Launch Manager at Ford: “Saturday morning cartoons watching ‘Wile E. Coyote, SUUUUUUPER Genius.’” The cartoon character is always obtaining crazy gizmos from fictional mail-order company Acme in the hopes of capturing the Road Runner.

Cynthia Jones, Director, Museum Experiences & Engagement, at The Henry Ford: “I loved to play the board games Risk and Clue. Both of those helped me identify patterns, test hypotheses, set strategy goals and learn from failure.” Like Williams, Jones, a dedicated swimmer through high school, credits competitive sports too.

Doug Plond, Senior Manager, Ford Rouge Factory Tour, at The Henry Ford: “As a really young tyke, I loved to build with my red cardboard brick set—knocking them down was the fun part. Once I got a bit older, I moved up to Lincoln Logs.”


Jennifer LaForce is Editorial Director at Octane and Editor of The Henry Ford Magazine. This post was adapted from an article first published in the June–December 2021 issue of The Henry Ford Magazine.

African American history, toys and games, The Henry Ford Magazine, sports, Michigan, manufacturing, Ford workers, Ford Rouge Factory Complex, Ford Motor Company, Dearborn, childhood, cars, by Jennifer LaForce, alternative fuel vehicles

When you think of museums—particularly history museums—it seems to make sense that they are inevitably all about the past. From an artifact collecting standpoint, there is an element of truth to this—most anything a museum can collect already exists and is already sliding into the past. But, putting aside ideas about the swift passage of time, it is important to understand that many museums—including The Henry Ford—do engage in what is known as “contemporary collecting.”

Contemporary collecting seeks to document history as it is happening, and relates to significant current events, trends, or cultural moments. When this collecting is done in the heat of the moment, especially when the conditions being documented are ever-changing or incredibly brief, it is known as “rapid response” collecting. Rapid response collecting relies on a well-tuned sense of what events will have greater historical significance—even after they are over—and requires a particularly proactive approach to gathering information and objects.

Page with text and four small images: coffin with covid molecule; tiki torches and Confederate flag; child clutching at chain-link fence; polar bear floating on small ice floe
One example of contemporary collecting occurs every four years, when The Henry Ford collects material related to the presidential election cycle. This postcard, created by Sea Dog Press, is from our 2020 collecting initiative. More examples from that initiative can be found here. / THF622210

In early 2020, the world was overtaken by the COVID-19 virus. It soon became clear—as industries ground to a halt, scores of workers were sent home, and international travel all but ceased—that the pandemic would become a major moment in history. Upon this realization, the curatorial staff of The Henry Ford went to work, developing a rapid response plan to document the still-unfolding pandemic. When developing this plan, the curatorial staff was keen to ensure that these collecting efforts not only captured a vivid perspective on the pandemic but also built upon the uniqueness of our collections. They determined to focus on three broad themes: innovation on a nationally significant level, grassroots resourcefulness on the part of individuals, and ingenuity demonstrated by businesses and entrepreneurs. Within each of these categories, curators identified topics that had already begun to emerge, and noted potential objects or types of objects that could be acquired.

With the plan complete, it was presented to The Henry Ford’s Collections Committee—the chartered committee responsible for reviewing and approving all proposed additions to the collections of The Henry Ford. The majority of the committee’s business consists of taking a final vote as to whether or not an item should be accessioned—the term for officially adding an item to the collection. However, some acquisitions are discussed with the group before curators begin making final preparations to acquire them; this gives the committee an opportunity to weigh in on proposed acquisitions that may be more complex, or that would require a greater outlay of the institution’s time or resources. The committee also approves all collecting initiatives, as they typically involve special effort, or result in a larger number of acquisitions; having the committee’s endorsement ensures that the collecting can be adventurous and creative but within clear parameters. Once approved by the committee, the COVID-19 Collecting Initiative was put into place, and curators began gathering information and materials.

Black fabric face mask with pattern of white, black, and red beads around border
Pleated fabric face mask with geometric pattern in blue, white, yellow, and red
Our COVID-19 collecting initiative included outreach to people with items of interest, such as Brighid "Birdie" Pulskamp, a Diné craftswoman who created a beaded facemask featuring a traditional Navajo wedding basket design, as well as fabric masks that she sent to the Navajo Nation to help combat the spread of the virus on reservations. /
THF186023, THF186021

While many acquisitions for the collection are actively sought out by our staff, others end up finding us. On September 9, 2020, Curator of Transportation Matt Anderson returned to Collections Committee with word that Ford Motor Company—with whom we have a long and fruitful relationship, particularly in regard to collecting—had reached out to him regarding a prototype COVID-19 testing van that they had developed. Ford Motor Company’s COVID-19 response—particularly their shift from manufacturing automobiles to producing equipment and supplies to aid in the fight against COVID-19—had already been a point of interest on our radar, and had been specifically identified in the collecting initiative.

After hearing the details of the acquisition, the Collections Committee gave Matt a “consensus to proceed” with the acquisition. Consensuses to proceed are given after an initial discussion of a potential acquisition, but before said acquisition is presented for final accessioning; they allow curators to proceed with making any necessary arrangements—like shipping—without overcommitting the institution, should the circumstances of an acquisition change.

Tall red van with text on front and side and American flag on side
Ford Transit Van, Modified for Use as a COVID-19 Mobile Testing Facility, 2020. / THF188109

In working with Ford Motor Company to arrange the donation of the COVID-19 testing van, Matt had the opportunity to discuss other COVID-19–related material that Ford had produced. Of particular interest were the ventilators produced at Ford’s Rawsonville plant. Ford indicated that they would be willing to offer us not one but three of those ventilators: a standard one, one signed by the Rawsonville workers, and one signed by President Donald Trump during his visit to the plant. Would The Henry Ford be interested in all three?

GIF that cycles through three images of white boxy equipment with knobs and dials on front--one plain, one covered in signatures, and one with one large signature on top
pNeuton Model A-E Pneumatic Ventilators produced by Ford Motor Company, 2020. / THF185924, THF185919, THF186031

In considering objects, The Henry Ford also considers the stories they represent, and these three ventilators were no different. While one alone would have served to document Ford’s manufacturing response, collecting all three would allow us to tell a more multi-layered story. The blank ventilator is just like all the others that rolled off Ford’s assembly line; the one signed by the Rawsonville employees documents and celebrates the people who made Ford’s manufacturing feat possible; and the one bearing President Trump’s signature captures his historic visit to the plant. While we are always cautious of over-duplication in our collection, in this instance, while the objects themselves were similar, the elements of the story were distinct, and all were important to document via our collection.

In addition to the COVID testing van and ventilators, Ford Motor Company also offered numerous pieces of PPE (personal protective equipment) they had prototyped or produced: ventilator connectors, masks, face shields, a gown, and a door pull. Matt accepted all of these items and began preparing them for presentation to Collections Committee, crafting a justification for their addition for the collection and writing a brief summary of their historical significance. On November 11, 2020, the Collections Committee gave their final seal of approval, voting to approve the addition of the van, ventilators, and assorted PPE to The Henry Ford’s collection. With that, the process of rapid collecting—at least in the case of the Ford COVID-19 response acquisitions—had come full circle.

As it turned out, though, just as the pandemic continued on, so too did our collecting opportunities. Ford Motor Company reached out again in the new year with more PPE—this time, though, created for a very unique event: the 2021 inauguration of President Joseph Biden and Vice President Kamala Harris in Washington, D.C. Ford had produced 15,000 single-use masks—in two designs, printed by Hatteras, Inc., in Plymouth, Michigan—to provide to those attending the ceremony. Matt Anderson gratefully accepted the 10 masks Ford offered us, noting their significance, as their production not only furthered Ford’s efforts to combat the spread of the virus, but also demonstrated Ford’s commitment to, in the words of the company’s president and CEO, Jim Farley, “a tradition so fundamental to our democracy.” Just like the testing van and other COVID-19 materials donated by Ford, these masks were presented to the Collections Committee for final approval, which was readily granted, and they became an official part of the collections of The Henry Ford.

White pleated cloth or paper face mask with Ford logo in upper right and blue circular logo in upper left
This face mask, produced for the 2021 inauguration, represents a unique overlap of two contemporary collecting initiatives undertaken by The Henry Ford: documenting the 2020–2021 presidential election cycle and documenting the COVID-19 pandemic. / THF186524

Thanks to the quick thinking and eager work of the curatorial department and the efficient processes of the Collections Committee, The Henry Ford was able to start documenting the COVID-19 pandemic as it was happening, and—with the help of a well-established relationship with Ford Motor Company—quickly tick an important item (and then some) off our collecting wish list. The thoughtful work of our staff and the relationships they build with outside organizations prove time and again to be key elements of building our collections, whether that be through collecting the past or the present.


Rachel Yerke is Curatorial Assistant at The Henry Ford.

philanthropy, presidents, Michigan, cars, manufacturing, #Behind The Scenes @ The Henry Ford, Ford Motor Company, healthcare, COVID 19 impact, by Rachel Yerke

Our new limited-engagement exhibit, Collecting Mobility: New Objects, New Stories, opening to the public October 23, 2021, takes you behind the scenes at The Henry Ford to show you how we continue to grow our vast collection of more than 26 million artifacts. One key question the exhibit asks is why we collect the items we collect. To get more insight on the artifacts on exhibit and future trends that may impact our collecting, we reached out to several of our partners. In this post from that series, our friends at Ford Motor Company, donors of the COVID-19 mobile testing van in the exhibit, tackle questions about their efforts to serve the community during the COVID-19 pandemic.

Similar to the World War II “Arsenal of Democracy” effort, Ford Motor Company joined “Arsenal of Health” efforts through its Project Apollo to fight COVID-19 and serve the community. What Ford practices (or values) helped the company shift gears quickly to ramp up Project Apollo?

For 118 years and counting, Ford has had a culture of innovation and service, which enabled the team to respond quickly and nimbly to the personal protective equipment (PPE) shortages caused by the COVID-19 pandemic.

Red van with large American flag painted on side and text on side and front
This Ford Transit van, on display in Collecting Mobility in Henry Ford Museum of American Innovation until January 2, 2022, is one of four converted into mobile test units in spring 2020, early in America's COVID-19 pandemic, by Ford Motor Company and Troy Design & Manufacturing. The vehicles collected genetic samples in the field and transported them to labs for testing. Free tests were given to first responders, nursing home residents, and people at substance abuse centers and community shelters in Michigan. / THF188109

How fast did Project Apollo ramp up? How many products did you make?

The earliest seeds of Project Apollo began in mid-March 2020, when concerns around the safety of healthcare workers faced with a shortage of PPE were first raised. Project Apollo has produced face shields, multiple types of masks, gowns, powered air purifying respirators (PAPRs), ventilators, air filtration kits, and mobile testing/vaccination units.

What were some of the unexpected improvisations that happened turning car parts into useful medical products?

Working with 3M, the team was able to use off-the-shelf parts like vehicle ventilator fans and power tool batteries for a PAPR, or airbag material for washable gowns.

Light pink plastic gown
Level 1 isolation gowns protect wearers from contaminants in minimal-risk situations. This gown is made from the same fabric used in automobile airbags. Ford set a goal to produce 1.3 million gowns during the COVID-19 pandemic—each one washable up to 50 times. / THF186847

What is a new way of working that came out of Project Apollo that you think will influence manufacturing innovation in the next 10 years?

The team being very clear on a compelling purpose and mission—there was a common mission that was crystal-clear, very ambitious: to build 50,000 ventilators, 20 million face shields, 32,000 PAPRs, 100 million face masks… and more. On a normal day, this would feel like a Herculean task for each individual item—but to do all of it at the same time was a stretch goal. Ford had a mindset of aim high, fail fast, learn, pivot, adjust—but stay focused on that goal, that mission.

Piece of white machinery with black handles and dials and knobs on the front; covered in people's signatures in various colors
Early in America's COVID-19 pandemic, Ford Motor Company converted a portion of its Rawsonville Components Plant to produce more than 51,000 medical ventilators. These critical machines helped patients with the most serious COVID-19 infections to breathe. This unit, the last one off the Rawsonville assembly line, was signed by some of the 1,100 Ford employees involved in the effort. / THF185919

Teams were empowered. In many cases, the teams set their own goals—it often wasn’t a matter of Ford leadership asking, employees stepped up across the company with ideas on how Ford could help. And everyone played a role in eliminating constraints that were getting in the way of the team mission to serve the greater good.


Cynthia Jones is General Manager of Innovation Experiences at The Henry Ford. Ted Ryan is Ford Motor Company Archives and Heritage Brand Manager and Jim Baumbick is Vice President, Enterprise Product Line Management, Strategy, and Planning, at Ford Motor Company. Ford Motor Company is a global company based in Dearborn, Michigan, that is committed to helping build a better world, where every person is free to move and pursue their dreams. See Collecting Mobility for yourself in Henry Ford Museum of American Innovation from October 23, 2021, through January 2, 2022.

Ford workers, healthcare, manufacturing, COVID 19 impact, Ford Motor Company, by Jim Baumbick, by Ted Ryan, by Cynthia Jones

Our new limited-engagement exhibit, Collecting Mobility: New Objects, New Stories, opening to the public October 23, 2021, takes you behind the scenes at The Henry Ford to show you how we continue to grow our vast collection of more than 26 million artifacts. One key question the exhibit asks is why we collect the items we collect. To get more insight on the artifacts on exhibit and future trends that may impact our collecting, we reached out to several of our partners. In this post from that series, our friends at Hagerty tackle questions about trends in mobility and in car collecting—both today and tomorrow.

What aspect of mobility history (artifacts, topics, or themes) preserved at The Henry Ford feels the most significant in the current moment?

The Henry Ford’s amazing collection of self-propelled transportation machinery ranges from the diminutive 1896 Ford Quadricycle runabout that weighs just 500 pounds with an engine making four horsepower, to the Chesapeake & Ohio Railway’s gargantuan 1941 Allegheny steam locomotive weighing in at an unimaginable 1.2 million pounds and making 7,500 horsepower.

Of all these, however, the most powerful is an unassuming lime, white, and gold bus that powered the country out of its dark past of segregation into a future where laws would not discriminate against the nation’s citizens simply on the color of their skin. Especially when viewed through the prism of current events such as the Black Lives Matter movement, the 1948 General Motors (GM) bus where Rosa Parks made her stand against racial discrimination by sitting down is the most significant piece of mobility history in The Henry Ford’s collection.

Angled, aerial view of gold, green, and white bus in museum exhibit
The Rosa Parks Bus, on exhibit in With Liberty and Justice for All in Henry Ford Museum of American Innovation, is Hagerty’s pick for the most significant artifact from The Henry Ford’s collections in the current moment. / THF14922 

What cars are popular with collectors right now that might eventually make their way into museum collections?

Definitely include the Tesla Roadster as the start of an incredible story about Elon Musk. It’s also the first vehicle to make electrics cool. The McLaren P1 hybrid supercar was important for establishing electrification as a must-have feature in the supercar class, making every other supercar seem outdated. Any current Formula One car, as their complex hybrid powerplants are achieving formerly unheard-of efficiency rates of over 50 percent, which is the future of the internal combustion engine … assuming it has a future. The Chevy Bolt will be remembered as the turning point for General Motors’ reputation and the industry as a whole, transforming GM from the company that notoriously “killed the electric car” (the EV1) to one of the technology’s chief proponents. The same holds true for a Volkswagen diesel, circa 2010—an enormously influential moment in which the world’s largest automaker was forced by its own actions to pivot to fully embracing electric tech, thus spurring the industry as a whole to commit to electrification.

Back view of low black car parked in lot by building
One of Hagerty’s suggestions for cars that might make their way into museum collections is a Tesla Roadster—like this one, photographed in 2008 and owned by Elon Musk himself (photographed by Michelle Andonian). /  THF55832

Are there vehicle(s), innovator stories, or mobility technologies you think The Henry Ford should add to its collections right now? Why?

An early fuel-cell vehicle, either a Honda Clarity or Toyota Mirai or Hyundai Tucson FCEV, would represent how the industry has placed bets on various technologies—and how at that moment in time, it wasn’t clear which would win out (one could debate whether it is clear even now). Obviously, a Tesla Model S with autopilot tells the story of Silicon Valley’s attempt to disrupt the auto industry through fast-paced innovation common in big tech, but unknown in the historically cautious and slow-moving auto industry. A retired Waymo or GM Cruise taxi studded with LiDAR sensors would be an example of the first attempts to commercialize autonomous vehicles.

What mobility artifacts, innovator stories, or technologies do you think The Henry Ford will be collecting in 10 years? 50 years? 100 years?

Batteries are the new frontier, as are electric motors—and the relentless drive for efficiency in both. Nothing else defines this era so aptly. Also, semiconductor manufacturing. We have seen how beholden the industry is to a component that wasn’t even used in cars just a few decades ago. The cars of today and tomorrow are just the boxes that computers come in; every automaker is turning itself into a tech company whose primary competitive advantage will be in software.

Metal box with label with text on top and connection ports on back
By 1990, computer engine controls were nearly universal on American automobiles. This GM computer module controlled a gasoline engine's ignition firing sequence. Hagerty notes thatThe cars of today and tomorrow are just the boxes that computers come in.”  / THF109463

Aluminum construction is important, too. The 2015 Ford F-150, the first aluminum-body truck, is a watershed moment for aluminum in high-volume vehicles. It is an open question now whether aluminum will spread beyond that experiment, but no automaker has made such a high-stakes gamble as Ford with the F-150. New materials and manufacturing methods are coming as the battle to reduce weight continues into the electrification era.

What aspects of mobility is Hagerty paying the most attention to right now?

The act of getting behind the wheel, twisting the key, and hitting the road is an act of personal freedom, and we believe anyone and everyone who wants to experience that should be able to. Our longstanding Hagerty Driving Experience has put thousands of young people all over North America behind the wheels of classic cars, alongside passionate owners, to teach the basics of operating a manual transmission. Through the nonprofit Hagerty Drivers Foundation, we launched the “License to the Future” program, which provides financial assistance to kids ages 14–18 to cover the expense of driver’s training. And the Hagerty Driving Academy partners with Skip Barber Racing School at dozens of events around the country to teach safe, proficient driving skills in a variety of situations.

Man in raincoat and hat holds a paper by a car with decal with text on side; young man sticks head and elbow out driver side window
Ensuring young people have access to driver training is important. In this 1940 photo, a young man takes a driver’s test as part of the Ford Motor Company Good Drivers League at the New York World’s Fair. / THF216125 

We also regularly report on developments taking place in the realm of autonomous vehicles as a trusted voice to assure our members that this beloved activity that connects us—driving—is under no threat from the far-off future.

Will the future make owning classic vehicles more difficult or less difficult? Servicing older vehicles is already becoming harder, due to shortages in knowledge and parts, but will new technologies such as 3D printing or electric conversion mean that older vehicles will have new lives and relevance in the future?


Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford. Aaron Robinson is Editor-at-Large, Kirk Seaman is Senior Editor, and Stefan Lombard is Executive Editor at Hagerty. Hagerty is an automotive enthusiast brand and the world's largest membership organization for car lovers everywhere. See Collecting Mobility for yourself in Henry Ford Museum of American Innovation from October 23, 2021, through January 2, 2022.

autonomous technology, education, manufacturing, alternative fuel vehicles, African American history, Rosa Parks bus, technology, cars, by Stefan Lombard, by Kirk Seaman, by Aaron Robinson, by Ellice Engdahl

Our new limited-engagement exhibit, Collecting Mobility: New Objects, New Stories, opening to the public October 23, 2021, takes you behind the scenes at The Henry Ford to show you how we continue to grow our vast collection of more than 26 million artifacts. One key question the exhibit asks is why we collect the items we collect. To get more insight on the artifacts on exhibit and future trends that may impact our collecting, we reached out to several of our partners. In this post from that series, our friends at General Motors (GM), donors of the General Motors first-generation self-driving test vehicle in the exhibit and contributors to our Driven to Win: Racing in America exhibit, tackle questions about autonomous vehicles (AVs), electric vehicles (EVs), and racing.

Our latest permanent exhibit, Driven to Win: Racing in America, is presented by General Motors. How has GM’s racing program evolved over time? 

GM’s Chevrolet and Cadillac brands have both had long, storied histories in motorsports. Racing is a fundamental part of what we do—from transferring technology learned on the track to help us build better vehicles to connecting with consumers through something they love.

Man with broom mustache in jacket and soft racing helmet, with goggles pushed up on forehead
Racing driver Louis Chevrolet co-founded GM’s Chevrolet brand with William C. Durant in 1911. / THF277330

Chevrolet has been successful in professional motorsports in the United States and around the globe, capturing many manufacturer, driver, and team championships in NASCAR, IndyCar, IMSA, and the NHRA. From stock cars to advanced prototypes, Cadillac Racing has a rich history—more than half a century—of racing around the world and around the clock on some of the world’s notably challenging circuits.

Off the track, our racing programs have evolved with the help of our GM facilities. In 2016, General Motors opened the doors to the all-new GM Powertrain Performance and Racing Center—a state-of-the-art facility designed to enhance the development processes for the company’s diverse racing engine programs.

In 2021, General Motors broke ground on the new Charlotte Technical Center, a 130,000-square-foot facility that will expand GM’s performance and racing capabilities. The facility is a $45 million investment for GM and it will be a strong hub for the racing and production engineering teams to collaborate, share resources, and learn together, delivering better results more quickly, both on the racetrack and in our production vehicles.

Two open-top race cars on a road or track with wooded hills in the background
The Chevrolet Corvette has a long, proud history in professional and amateur sports car racing. This pair of Corvettes is seen at a Sports Car Club of America race in Maryland in 1959. / THF135778

Engineering has become incredibly advanced over time, and leveraging tools between racing and production has become extremely important. We use tools like computational fluid dynamic models, which uses applied mathematics, physics, and computational software to visualize how a gas or liquid flows. These CFD models help us predict things like powertrain performance and aerodynamics.

Also, our Driver-in-the-Loop simulator allows us to test vehicles on courses virtually. It is the combination of two technologies: a real-time computer (with vehicle hardware) and a driving simulator. The driving simulator allows our development engineers to drive and test the real-time computer simulation and added hardware system on a virtual track, just like they would a physical prototype. The simulator was used extensively during the development of the mid-engine Corvette C8.R race car.

The 2001 C5-R Corvette is currently on loan from General Motors and can be seen by guests inside Driven to Win: Racing in America. Why was this vehicle selected to go on display inside Henry Ford Museum of American Innovation? 

The Corvette C5-R made its debut in 1999 at the Rolex 24 at Daytona and was a fixture of global GT racing for the next five years. From 1999–2004, Corvette Racing and the C5-R set the standard for racing success with 31 victories in the American Le Mans Series, along with an overall victory at the Rolex 24 in 2001.

During six years of competition, Corvette Racing—the first factory-backed Corvette team in the car’s history—led the C5.R to an overall victory at the Daytona 24-hour race and three 1-2 finishes in the GTS class at the 24 Hours of Le Mans. During the 2004 season, Corvette Racing won every race the team entered and captured every pole position in the American Le Mans Series.

Low yellow race car with text and logos
2001 C5-R Corvette, on loan from General Motors Heritage Center and currently on exhibit in Driven to Win: Racing in America in Henry Ford Museum of American Innovation. / THF185966

This specific car raced 17 times from August 2000 through June 2002 with 10 wins. It brought home the first win for the factory Corvette Racing program—Texas 2000 in the ALMS’ GTS class. Then it went on to become 2001 overall winner at Rolex 24, which was quite an accomplishment for a GT car. The car went on to win its class at Le Mans 24 in both 2001 and 2002. The modern era of Corvette’s factory racing program continues today, after over 20 years and 4 generations (C5/C6/C7/C8).

The success of this C5-R essentially started it all and we are proud to have it on display.

General Motors' donation of the 2016 GM First-Generation Self-Driving Test Vehicle was our first self-driving car acquisition. Why was it important to have this car join more than 300 others—including GM landmarks like the 1927 LaSalle and the 1997 EV1 Electric—in the collections of The Henry Ford? 

This vehicle represents a huge step forward on the journey to fully autonomous driving. With Cruise, our majority-owned subsidiary, we’re determined to commercialize safe, autonomous, and electric vehicles on our way to a driverless future—one with zero crashes.

Side view of compact white car with equipment on top and wires dangling down side
General Motors tested a series of autonomous vehicles in San Francisco, California, and Scottsdale, Arizona, in 2016. These cars used a combination of cameras, radar and lidar sensors, cellular and GPS antennas, and powerful computers to drive themselves on public streets in both cities. GM donated this one, now on exhibit in Driving America in Henry Ford Museum of American Innovation, to The Henry Ford in 2018. / THF173551

Cruise was the first AV company permitted to give rides to the public in its current driverless vehicles in the San Francisco area. Expansion of our real-world test fleet will help ensure that our self-driving vehicles meet the same strict standards for safety and quality that we build into all of our vehicles.

GM became the first company to assemble self-driving test vehicles in a mass-production facility when its next generation of self-driving Chevrolet Bolt EV test vehicles began rolling off of the line at Orion Township, Michigan, in January 2017.

The self-driving Chevrolet Bolt EVs feature an array of equipment, including LIDAR, cameras, sensors, and other hardware designed to accelerate development of a safe and reliable fully autonomous vehicle.

Reshaping cities and the lives of those who live in them has tremendous societal implications. Since we believe that all AVs will be EVs, these efforts will clearly advance our vision of zero crashes, zero emissions, and zero congestion, and help us build a more sustainable and accessible world.

This vehicle was really the first of its kind and its display is a sneak peek at the future of autonomy.

By 2025, General Motors plans to offer more than 30 electric vehicles globally. What does an all-electric future look like for Generation E? 

For electric vehicles to make an impact, we need consumers to embrace them in mass numbers. So earlier this year, General Motors introduced the world to EVerybody In.

This is our brand commitment toward advancing a world with zero crashes, zero emissions, and zero congestion. EVerybody In is more than a brand campaign, it's a global call to action for everybody to join us on the road to an all-electric future.

Front view of compact red car
GM introduced the EV1 in 1997. It was among the most sophisticated electric cars built during the 20th century. / THF91060

GM wants to put everyone in an EV. Thanks to Ultium, our EV architecture, GM is able to reimagine the vehicles it produces today as electric vehicles with equivalent power, excellent range, and a manufacturing cost different that is expected to diminish as EV production increases.

Not only will our EVs be fun to drive and cost less to own, they will also provide an outstanding customer experience. This is how we will encourage and inspire mass consumer adoption of EVs. GM has the technology, talent, scale, and manufacturing expertise to do it.

The all-electric future we are creating goes beyond our vehicles, it is inspiring us to do even more to help mitigate the effects of climate change. We plan to source 100 percent renewable energy to power our U.S. sites by 2025, and to become carbon neutral in our global vehicles and operations by 2040.

General Motors wants to impact society in a positive way and these are some of the steps we are taking to make it happen.

General Motors is committed to electrification—what types of current EV projects from the company might we expect to see in the museums of tomorrow?

With more than 30 EVs being introduced by 2025, we have a lot of exciting vehicles coming. From sedans, to trucks, to full-size SUVs, we will have a wide range of offerings in terms of size and design.

We are entering an inflection point in the transportation industry, a transformation the industry has not seen in decades—the mass adoption of electric vehicles. The first of any of these entries will be a sight to see in the museums of tomorrow for generations to come.


Lish Dorset is Marketing Manager, Non-Admission Products, at The Henry Ford. Todd Christensen is Strategy and Operations Manager, Chevrolet Motorsports Marketing & Activation, and Gina Peera is Corporate Strategy and Executive Communications at General Motors. General Motors is a global automotive manufacturer, driving the world forward with the goal to deliver world-class customer experiences at every touchpoint and doing so on a foundation of trust and transparency. See Collecting Mobility for yourself in Henry Ford Museum of American Innovation from October 23, 2021, through January 2, 2022.

engineering, manufacturing, Henry Ford Museum, Driving America, Chevrolet, alternative fuel vehicles, technology, autonomous technology, Driven to Win, race cars, racing, cars, by Gina Peera, by Todd Christensen, by Lish Dorset

Black wooden chair, with woven seat, painted with gold decoration
Side Chair, Created by Lambert Hitchcock, 1825-1835. /
THF81928

Many people believe that mass production started with Henry Ford and the Model T. But the ideas that led to this breakthrough were already being put into practice back in the early 1800s, in mills and manufactories dotting the countryside across New England. It was here that Lambert Hitchcock applied early mass production techniques to turn out chairs by the thousands—uniform, durable, attractive, affordable, and, for a time, wildly popular.

Portrait of woman with elaborate hairstyle wearing a dark dress with lace collar and holding a book
Julia Barton Hunting of Pine Plains, New York, sat on a Hitchcock chair while posing for this portrait by Ammi Phillips, about 1830. / THF95303

Invention was in the air in New England during the early 1800s. Burgeoning industries like firearms, clocks, and textiles were experimenting both with new machinery—to increase production and make up for labor shortages—and with new factory arrangements that integrated materials and activities under one roof.

Furniture making had a long tradition of handcraftsmanship, and manufacturers varied in their adoption of machine production over generations-old hand processes. Hand-crafted pieces were made to order, resulting in low production and fairly high costs. With water- or steam-powered machines to rough out the pieces, furniture makers could turn out more products at lower costs to sell to a wider market.  Neither of these processes was right or wrong—the choice was essentially a business decision.

Lambert Hitchcock chose machine- over hand-production, inspired by the bustling firearms and clock industries in his home state of Connecticut. He had started out learning the craft of fine furniture-making. But Hitchcock dreamed of manufacturing affordable furniture, using uniform parts that were quickly and cheaply made by machine, and easy to assemble.

In 1818, Hitchcock chose a site in northwestern Connecticut, where two fast-moving rivers came together. Here, using the rivers’ power to operate his machinery, Hitchcock produced a line of chairs that was so affordable he basically created a brand-new market. Before long, Hitchcock’s chair factory—in the newly named village of Hitchcocks-ville—was turning out some 15,000 chairs per year.

The price, ranging from 45 cents to $1.75 (about $10.15 to $39.40 today), certainly appealed to people. Also appealing was the idea that machines could be harnessed to produce sturdy, functional chairs that everyone could enjoy. But Hitchcock did not ignore aesthetics. His characteristic stenciling across the back chair rails served as an attractive substitute for the hand-carving on more expensive custom-made chairs.

In 1825, Hitchcock went one step further. He erected a three-story factory, arranged into sections, in which specific tools and materials were associated with logical steps in the assembly process. The ground floor held areas for rough-cutting work, like sawing, turning, and planing. On the second floor, the chair parts were bonded together with glue, then dried in a kiln until their joints were firm. On the third floor, the chairs were painted and decorated, using pre-cut stencils and pre-arranged patterns. Each of these stencils, designed to create a different part of the overall composition, was positioned on the chair back, then carefully rubbed with bronze powders to achieve the special tone and shading.

Professional male stencilers probably cut the stencils and lent their expertise, but women did much of the actual stenciling at Hitchcock’s factory. Many had learned this skill as young women at female academies popular in New England at the time. There they practiced the art of theorem painting—that is, creating stylized pictures of fruits and flowers that similarly used pre-cut stencils, metallic powders, and prearranged patterns.

Painting of bowl of fruit with other produce surrounding it
An example of a theorem painting, created in 1835 by Caroline Bennett, a young woman who would have attended a female academy. / THF119757

Women also worked as seat rushers and caners, while children often did the painting and striping.  At its peak of production, in the late 1820s and early 1830s, Hitchcock employed over 100 workers.

Lambert Hitchcock was innovative in his manufacturing techniques: integrated work processes, division of labor, and application of fast and inexpensive, yet still attractive, decorative techniques. Hitchcock was also an assertive salesman, opening retail stores in Hitchcocks-ville and Hartford (the state capital), selling chairs wholesale to dealers and store owners, and distributing his chairs far and wide through the network of itinerant Yankee peddlers.

Unfortunately, Lambert Hitchcock also made some costly mistakes. He located his factory in a very isolated area, with deplorable roads to Hartford and other markets. In 1844, Hitchcock moved his factory to a town called Unionville, banking on the construction of a new canal. But, alas, the canal construction was halted, and a new railroad bypassed the town. For all his tremendous contributions, Hitchcock died at the age of 57 with few assets to his name.

But Hitchcock’s name and his chairs lived on. The chairs were so popular during their heyday that many competitors tried to imitate both their aesthetics and production techniques. To this day, chairs of this general style are referred to as Hitchcock (or Hitchcock-type) chairs. Hitchcock chairs were also painstakingly reproduced by succeeding generations of artisans, a tribute to the genius and foresight of Lambert Hitchcock, a true American innovator.


Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford. This post originally ran in March 2008 as part of our Pic of the Month series.

Henry Ford Museum, entrepreneurship, home life, manufacturing, furnishings, by Donna R. Braden