As the 21st century began, The Henry Ford’s automotive exhibit, Automobile in American Life, was into its second decade of life, and needed a refresh. In a major change that affected 80,000 square feet on the Museum floor, Driving America roared into life in January of 2012. 

Not only were the themes and artifacts included in the exhibit completely rethought, but digital technologies were integrated from the beginning to fuel touchscreen kiosks containing activities, curator interviews, and tens of thousands of digitized artifacts from The Henry Ford’s collections—including a substantial new set of glamour shots for each vehicle in the exhibit. This first big experiment with digitized collections within an exhibit is forming the basis for the use of interactive technologies in upcoming exhibits. 

Technology Accelerates at the Rouge
In late 2014, Ford Motor Company began producing the first mass-produced truck in its class featuring a high-strength, military-grade, aluminum-alloy body and bed after having completely redesigned its F-150 assembly line at the Ford Rouge plant. This posed a challenge for the Ford Rouge Factory Tour—the manufacturing story had completely changed. An overhaul of the entire experience involved updated experiences in both theaters, particularly in the Manufacturing Innovation Theater, offering a multisensory, multidirectional show. An interactive kiosk, similar to those installed in Driving America, was also installed to allow visitors to access The Henry Ford’s digital collections with the touch of a finger. 

Village Growth
While the Village has not yet seen any more changes as substantial as those that occurred in the early part of the 21st century, the period since 2010 has brought a couple of notable upgrades to the working districts of Greenfield Village. One was the 2014 addition of a 50-foot-tall coaling tower, based on historic designs and used to store and load coal into the historic operating locomotives of Greenfield Village. 

The other recent project was the physical expansion of the Pottery Shop in 2013, a project sparked by the need to replace a salt kiln that was nearly three decades old. The kiln room was rebuilt and slightly expanded, and by reconfiguring the layout, a spacious area for the decorators to work was also created. 

Anniversaries and Remembrances
Despite the growth in digital experiences, the power of physical artifacts is still undeniable. Many significant anniversaries related to the objects and stories of The Henry Ford have been observed with events within Henry Ford Museum and Greenfield Village in recent years. 

One of the largest and most notable was the Day of Courage, celebrated with an all-day event on February 4, 2013. Historians, musicians, students, and Museum guests remembered the life of Rosa Parks on her 100th birthday. In November 2013, lectures by newscaster Dan Rather and former Secret Service agent Clint Hill, as well as an opportunity to visit the fateful limousine, formed a remembrance of President John F. Kennedy on the 50th anniversary of his assassination. April 2015, the 150th anniversary of President Abraham Lincoln’s assassination, was marked with a lecture by historian Doris Kearns Goodwin and the first removal of the Lincoln chair from its display case in decades. 

Innovation Focus
Our collecting continues to focus on resourcefulness, innovation, and ingenuity—and both new and old artifacts, along with their stories, are featured in new ways. In particular, as digital technologies became ubiquitous, The Henry Ford began developing new strategies to accomplish its mission to share, teach, and inspire, particularly focused on the “innovation” portion of the mission statement. 

The Henry Ford Archive of American Innovation™ represents the core assets of The Henry Ford that illustrate the process and context of innovation. It refers to artifacts and documents in the collection that provide an unprecedented window into America’s traditions of resourcefulness, innovation, and ingenuity. It is the key to understanding how our entire modern world was created. 

Related stories of artifacts and innovation are featured on The Henry Ford’s Innovation Nation, a weekly educational TV program produced by Litton Entertainment and hosted by Mo Rocca, which has aired since Fall 2014. Innovation is also brought in through events such as Maker Faire Detroit, hosted annually at The Henry Ford since 2010. 

Active Collecting
Though the world has become increasingly digital, The Henry Ford continues to collect hundreds or even thousands of physical artifacts each year. In the second decade of the 21st century, this has included material related to significant artifacts we already hold (John F. Kennedy material, to add additional context to the Kennedy Limousine; and the George Devol collection, which relates to the world’s first industrial robot), design (an Eames-designed, IBM-used kiosk and hundreds of examples of 20th century soap packaging), and auto racing (photographic collections from John Clark and Ray Masser and dozens of tether cars or “spindizzies”). 

Major recent acquisitions include the John Margolies Roadside America collection, the Bachmann studio collection of American glass, the Roddis clothing collection, and Mathematica, a circa 1960 exhibit designed by Charles and Ray Eames. 

The Collections Go Digital
The Henry Ford began scaling up its collections digitization effort in 2010, hiring new staff with new skills to advance this technology-intensive effort that involves conservation, cataloging, photography, and scanning. Images of tens of thousands of artifacts are now freely available online, from our Digital Collections, and provide the basis for additional layers of supporting content, helping the public to understand artifacts in the context of their original time and place as well as the context of today. 

Digitization efforts include artifacts on display within the Museum or Village, new acquisitions, and “hidden” items currently in storage. In 2013–15, for example, more than 1,200 communications-related artifacts in storage, including many significant rediscovered treasures, were digitized through a grant from the Institute for Museum and Library Services (IMLS). 

From Digital Artifacts to Digital Stories
While more than 20,000 artifacts are on public exhibit in Henry Ford Museum, Greenfield Village, the Benson Ford Research Center, and the Ford Rouge Factory Tour, The Henry Ford’s collection holds many more—about 250,000 objects and millions more photographs and documents within our archives. Institutional commitment to the digitization of The Henry Ford Archive of American Innovation™ is making these collections, and the ideas behind them, more accessible to more people in more ways than ever. 

Acquisitions Made to the Collections - 2010s 

Apple 1 Computer, 1976
In 2013, The Henry Ford acquired an Apple 1 computer—one of the first fifty ever made, and fully operational. This groundbreaking device documents an important “first,” as one of the earliest desktop computers to be sold with a pre-assembled motherboard (although users had to purchase a separate keyboard, monitor, and power source). The Apple 1 is also the beginning of something in the sense that it led to the founding of one of today’s most successful computer companies in the world. This artifact demonstrates The Henry Ford’s commitment to collecting the hardware, software, and the ephemeral culture that powers the digital age. You can see a video describing the Apple 1 acquisition and the process of booting it up here. - Kristen Gallerneaux, Curator of Communication & Information Technology 

Throstle Spinning Frame
This rare spinning frame was part of a landmark acquisition, perhaps the largest since Henry Ford’s time--nine truckloads of textile history-related objects and archival materials! Spinning frames like this circa 1835 example--likely the earliest surviving American industrial textile machine--helped spin the large quantities of thread that growing industrial weaving operations needed in the early and mid-19th century. In 2016, the American Textile History Museum in Lowell, Massachusetts closed its doors and began to transfer their collections to other organizations. The Henry Ford was among them--able to provide a home for many thousands of objects dating from the 18th to 21st centuries: textile machinery and tools, clothing and domestic textiles, and hundreds of sample books of printed fabrics from several major New England companies. This rich collection from ATHM tells the story of a key player in America’s Industrial Revolution--the textile industry. - Jeanine Head Miller, Curator of Domestic Life 

La-Z-Boy Reclina Rocker
La-Z-Boy is a story of technological innovation, marketing, and sales savvy. Two cousins created the first chair in the late 1920s but didn’t gain acclaim until the 1960s with the Reclina Rocker, which combined a built-in ottoman with a rocking feature. Multi-faceted promotional strategies, including celebrity endorsements, caught the eye of middle-class Americans, who eagerly bought the chair for their homes. - Charles Sable, Curator of Decorative Arts 

2016 General Motors First-Generation Self-Driving Test Vehicle
Self-driving cars have the potential to reduce accidents, ease traffic, reduce pollution, and improve mobility for people unable to drive themselves. Assuming we can solve the remaining technical, legal, and psychological challenges, autonomous cars promise to bring the most significant change in our relationship with the automobile since the Model T itself. This experimental vehicle represents General Motors' first major step toward our autonomous future -- and The Henry Ford's first major step to document the journey. - Matt Anderson, Curator of Transportation 

Ruth Adler Schnee Textiles
Designer Ruth Adler Schnee's modern textiles are bold, colorful, and pushed the mid-20th century modern design movement forward. She drew inspiration from the world around her, the ordinary as well as the extraordinary. The Henry Ford's acquisition of her textiles in 2000 and in 2018 speak to her continued relevance to our collection-- as a modern design pioneer, a female entrepreneur, and a Jewish immigrant. - Katherine White, Associate Curator 





Robert Propst Papers
Noted industrial designer Robert L. Propst is best known for his work with Herman Miller and for designing the “Action Office,” an office furnishing system which became the basis for the modern cubicle. Propst’s papers cover the design and business aspects of “Action Office” as well many of his other projects such as a residential housing system, hotel housekeeping carts, hospital furniture, an industrial timber harvester, and even children's playground equipment. - Brian Wilson, Sr. Manager, Archives and Library

Champion Egg Case Machine, 1900-1925
This artifact furthers The Henry Ford's mission in several ways –it’s the product of an innovator. James Ashley first patented a box-making machine in 1892. Resourceful farm families with eggs to sell built boxes with this machine, marked the contents "farm fresh," and shipped their product to meet the growing demand of chicken-less urban consumers. The machine created a standardized box which held 12 flats (six on each side). Each flat held 30 eggs for a total of 360 eggs (30 dozen) in one box. Consumers today eat eggs transported to market on flats in boxes similar to the ones this machine was designed to build. Ashley's egg-case maker helps document the long history of farm-market exchange that responded to wary consumers' concerns over the freshness of the agricultural product. - Debra A. Reid, Curator of Agriculture and the Environment 

Workers Repaving Maple Lane in Greenfield Village, April 2003 

By the late 20th century, competition for the public’s leisure time was fierce and audience expectations were changing. Museum staff laid the foundation for a new generation of offerings in several distinct and separate venues—creating a unique, multi-day destination opportunity for local and out-of-town guests. These included: Henry Ford Museum, featuring a new changing exhibit gallery in 2003; Greenfield Village, refreshed and reimagined in 2003; IMAX® Theatre, opened in 1999; Benson Ford Research Center, opened in 2002; and the Ford Rouge Factory Tour, created in partnership with Ford Motor Company in 2004 and featuring a fully functioning, state-of-the-art manufacturing facility. Adding so many new venues to the museum led to a name change to encompass them all—The Henry Ford. 

Dymaxion House Reconstruction in Henry Ford Museum, December 26, 2000 / reconstruction 

Dismantling the 1939 Douglas DC-3 Airplane for Conservation, 2002 / de-installation progress 

The Henry Ford acquired its Douglas DC-3 airplane in 1975. Due to its size, the plane initially was displayed outside Henry Ford Museum. In 2002, the plane was disassembled and thoroughly conserved to correct the effects of 27 years of weather exposure. The treated DC-3 was reassembled for display inside the museum in 2003. 

Bidding on History


Rosa Parks Bus in Montgomery, Alabama, 2000-2001, before Acquisition by The Henry Ford 

In September 2001, an article in the Wall Street Journal announced that the Rosa Parks bus would be auctioned online in October, and we immediately began researching this opportunity. 

We spoke to people involved in the original 1955 events, to those who planned other museum exhibits, and to historians. A forensic document examiner was hired to see if the scrapbook was authentic. A Museum conservator went to Montgomery to personally examine the bus. 

Convinced that this was the Rosa Parks bus, we decided to bid on the bus in the Internet auction. 

The bidding began at $50,000 on October 25, 2001 and went until 2:00 AM the next morning. We persevered, with our staff bidding $492,000 to outbid others who wanted the bus, including the Smithsonian Institution and the City of Denver. At the same time, our team also bought the scrapbook and a Montgomery City Bus Lines driver's uniform. 

Rosa Parks Bus before Restoration, outside Henry Ford Museum, September 12, 2002 

Collecting in the 2000s 

Pig Pen Variation and Mosaic Medallion Quilt by Susana Allen Hunter, 1950-1955
Recent decades found curators gathering objects and stories of previously underrepresented groups. In 2006, the museum acquired 30 quilts made by African American quiltmaker Susana Hunter. After working the fields of her rural Alabama tenant farm and tending to her family's needs, Susana Hunter sat down to lavish her creativity on quiltmaking. On-the-fly inspiration--rather than tradition--guided her improvisational creations made from the worn clothing and fabric scraps available to her. Along with Susana Hunter’s quilts came quilting and household equipment from her simple, two-room house that had no running water, electricity, or central heat. - Jeanine Head Miller, Curator of Domestic Life


Everlast "Fallen Leaves" Relish Tray, 1940 – 1941 
During the early 2000s, curators sought out collections representing entrepreneurial stories to broaden our holdings. From the 1930s into the 1960s, the Everlast Metal Products Company manufactured aluminum giftware, which became fashionable during the Depression as an alternative to silver. Founded by immigrant brothers-in-law in Brooklyn, New York, they also partnered with designers, such as Russel and Mary Wright, who designed this relish tray. - Charles Sable, Curator of Decorative Arts 

"Monarch Coffee" Thermos, circa 1931
The Henry Ford opened "Heroes of the Sky" in 2003, just in time to commemorate the centennial of the Wright brothers' first flight. Several pieces were acquired in advance of the exhibit, but this simple little vacuum flask is a favorite. It's a relatable object that helps us to imagine those early days of open cockpits and seat-of-the-pants navigation -- when a pilot had little more than coffee with which to keep warm and alert. - Matt Anderson, Curator of Transportation 

4-H Uniform, circa 1948
The 4-H began as a youth program in Ohio in 1902 and by 1914 it became an official program of the U.S. Department of Agriculture's Federal Extension Service and cooperating state-based land-grant colleges. Boys and girls formed and managed their own local clubs. Ruth Ann Goodell joined the Eden Willing Workers 4-H Club near Garrison, Iowa, in 1942 when she was 10 years old. She sewed this uniform during the late 1940s, likely applying sewing skills she learned through club activities. The Henry Ford, anticipating the 100th anniversary of 4-H, collected this uniform as evidence of rural and farm youth culture.- Debra A. Reid, Curator of Agriculture and the Environment 

Rosa Parks Visiting Mattox House in Greenfield Village, August 1992. THF125176 

By the early 1990s, museum staff decided that The Henry Ford's mission statement about America’s change through time was both too oriented toward the past and too inwardly focused on the museum’s own work. 

In 1992, staff settled upon a new mission statement with three key words—innovation, resourcefulness, and ingenuity—that both aligned with Henry Ford’s original vision and provided better opportunities to impact and inspire current and future audiences. These three words shaped and energized collecting—to encompass such topics as social transformation, modern design, and the stories and objects connected with innovators and visionaries. The Museum would launch its first web site in 1995. 

Park & Shop Game 

In the 1990s, collecting objects that reflected social and technological history of the second half of the 20th century increasingly became a focus. This 1960 Park and Shop game--representing a typical shopping center of the era, complete with parking lot--mirrored the rapid suburbanization of the post-World War II era as people moved from cities into the surrounding new suburbs. This game also immersed children in an adult world of shopping and consumerism. - Jeanine Head Miller, Curator of Domestic Life 

Jam Dish and Spoon, 1900 – 1910 

In the 1990s curators sought out Arts and Crafts era objects—especially those made by women—such as this charming silver and enameled jam dish and spoon, made about 1905 by silversmith Mary Winlock. Winlock was educated at the Boston Museum of Fine Arts in the 1890s, and in 1903 she joined the Handicraft Shop, an artist cooperative, where she sold her distinctive enameled silver and jewelry. - Charles Sable, Curator of Decorative Arts 

1906 Locomobile "Old 16" Race Car 

The Henry Ford's auto racing collection covers all of the most popular racing types in the United States, and it includes several landmark cars. None may be more significant than "Old 16," winner of the 1908 Vanderbilt Cup. This legendary Locomobile was the first American car to win America's first great international race, and it served notice that American-built cars were every bit as good as their European counterparts. Never restored, "Old 16" still looks much as it did at the time of that victory. We intend to preserve the car just as it is -- a rare and important survivor from motorsport's earliest years. - Matt Anderson, Curator of Transportation 

Photographic print - "Bar Mitzvah Portrait, circa 1925" - Hurwitz Studio (Photographer : Brooklyn, N.Y.) 

During the 1990s, the museum leadership actively sought to represent more diverse American voices at Henry Ford Museum and Greenfield Village. In response, a collections task force called for an increase in the racial, ethnic, and geographic diversity of the collections. Curators purchased images, like this one, that depicted the lives of African Americans, Jews, and immigrant populations. - Andy Stupperich, Associate Curator, Digital Content 

Environmental Enrichment Panel, "Girls," Designed by Alexander Girard for Herman Miller, 1972 

The Henry Ford's collection of mid-20th century design expanded as the century came to a close. In 1992, the Herman Miller furniture company donated a substantial collection of material designed by Alexander Girard, the Director of Design of Herman Miller's textile division from 1952-1973. Girard's incredible eye for color, texture, and whimsy helped transform the aesthetic of the modern movement. - Katherine White, Associate Curator 

“Lost in Space” Lunchbox and Thermos, 1967 

In the 1990s, the museum assessed its holdings and developed guidelines for future collecting. The acquisition of a group of pictorial lunchboxes in 1999 reflected a new focus on post-World War II America. Introduced in 1950, pictorial lunchboxes relate to mass media, merchandising, and the Baby Boomer generation. Curators selected lunchboxes representing current events and popular culture, especially TV shows and movies. -Saige Jedele, Associate Curator, Digital Content 

FMC Tomato Harvester, 1969 

Large machine designed to harvest a delicate crop - the mass-produced and processed tomato. Tomato genetic research in California made the machine viable but this machine was sold in Ohio to a northern Illinois truck farming family. The story is essential to conveying the massive scale required to put canned tomatoes on grocery store shelves. - Debra Reid, Curator of Agriculture and the Environment 

Construction at Firestone Farm in Greenfield Village, January 1985. THF138461 

Guided by the 1980s mission-based phrase, “Stories of a Changing America,” Greenfield Village took on new life and Henry Ford Museum exhibits explored new topics. These included the acquisition of the Firestone farmhouse and creation of its living history program (1985), the “Automobile in American Life” exhibit (1987), and the “Made in America” exhibit (1992). During the 1980s and 1990s, museum staff placed new attention on accurate research, creative program planning, and engaging public presentations. 

Additions the collections: 1980s 

Christian Dior Dress, Worn by Elizabeth Parke Firestone to the Wedding of Martha Parke Firestone and William Clay Ford, 1947 

Elizabeth Parke Firestone donated a large segment of her stunning wardrobe in 1989, including custom-made garments created for her by prominent American and European couturiers. Firestone was an early client of French designer Christian Dior, who had just caused a sensation introducing his “New Look” to a post-WWII world, emphasizing slim waists and rounded feminine features. Firestone visited Dior’s Paris salon in 1946 and commissioned this dress, made for her daughter Martha’s wedding to William Clay Ford. - Jeanine Head Miller, Curator of Domestic Life 

Television Lamp, 1947-1960 

This type of lamp is typically called a "Television Lamp." It was made to sit atop a television console and to provide a low level of illumination, sufficient to keep one's eyes from being "harmed" by watching the small TV screens of that time (1946-1960). This marks a change in collecting as curators sought out objects that provided insight into social history. - Charles Sable, Curator of Decorative Arts 

Holiday Inn "Great" Sign, circa 1960 

For 50 years Henry Ford Museum of American Innovation generally presented artifacts in a traditional typological format. Tractors, airplanes, furnishings -- you name it -- sat in tidy rows where visitors were left to trace an item's technological evolution. That all began to change in the 1980s as the museum refocused on social history. No exhibit signaled this shift more dramatically than "The Automobile in American Life," opened in 1987. Cars were moved out of their stodgy rows and instead placed alongside contextual items like maps and travel literature, menus from quick-service restaurants, and replicated roadside lodgings. This Holiday Inn "Great Sign" was one of the more visible artifacts acquired for the new show. - Matt Anderson, Curator of Transportation 

Advertisement from Newspaper, "For Millbury -This Day," 1829" 

In 1982, Henry Ford Museum & Greenfield Village purchased the Seymour Dunbar Collection from Chicago's Museum of Science & Industry. The collection consists of over 1,700 prints, drawings, maps, and other items documenting various modes of travel from 1680 to 1910. Dunbar compiled this material while researching his four-volume history of travel in the U.S., which was published in 1915. - Andy Stupperich, Associate Curator, Digital Content 

Advertising Poster, "In 1939 The New York World's Fair" 

Reflecting a new emphasis on social history, museum staff developed interpretive exhibits that integrated objects from across collections categories to examine special themes. “Streamlining America” explored an influential mid-20th-century ideology and design style. This striking poster, selected for the exhibit, embodies the streamlined environment of the 1939-40 New York World’s Fair. - Saige Jedele, Associate Curator, Digital Content 

Firestone Barn (and House) 

Harold K. Skramstad, Jr., president of The Edison Institute, considered the opening of Firestone Farm a "landmark event." Why? The house, barn, and outbuildings added a living historical farm to Greenfield Village, complete with wrinkly Merino sheep collected to sustain the type and increase interpretive potential. - Debra A. Reid, Curator, Agriculture and the Environment 

Lighting and Communications Exhibits at Henry Ford Museum, 1979. THF112161 

Home Arts Exhibit at Henry Ford Museum, 1979. THF112157 

Transportation Exhibit at Henry Ford Museum, 1979. THF112159 

Inaugural Run of the Torch Lake Steam Locomotive and Passenger Train in Greenfield Village, August 9, 1972. THF133929 

With an unmatched treasury of America’s past already at their fingertips, the staff at Henry Ford Museum continued Henry Ford’s vision as they began to add to the collection.  

1939 Douglas DC-3 after Move from Ford Proving Ground to Henry Ford Museum, June 2, 1975. THF124077 

In 1974, North Central Airlines (known today as our partner Delta after a series of mergers) donated a 1939 DC-3 Douglas airplane that, at the time of its donation, had flown more than 85,000 hours, more than any other plane. In 1978, the Ford Motor Company donated the limousine President and Mrs. John F. Kennedy rode in when he was assassinated in Dallas in 1963. The car, leased by the government from Ford Motor Company, was extensively rebuilt and then used by four presidents after Kennedy. The Ford Motor Company donation stipulated that the car could not be displayed until the Kennedy children reached adulthood. 

Decorative Arts Gallery in the Henry Ford Museum Promenade, 1976. THF271166 

In the 1970s, museum staff began to place more emphasis on collection decorative and fine arts, such as furniture and paintings. The museum’s research library began to acquire engravings, rare books, and documents associated with the early history of the country, such as an original Paul Revere engraving of the Boston Massacre and a copy of the famous “Stamp Act,” published in London in 1761. In the early 1970s, the museum purchased an extraordinary collection of 19th century quilts made my Susan McCord, an Indiana farmwife.  

Fire Damage, Henry Ford Museum, August 9, 1970. THF111720a 

As the museum staff worked to make significant improvements to the museum experience, they faced another challenge. In August 1970, as more than 1,000 visitors toured the exhibits, a fire broke out in the museum. It was one of the worst fires to ever hit an American museum, destroying hundreds of artifacts, including major portions of the textile collections. Though the museum reopened to the public in just two days, it was a full year before the building was completely repaired.  

Torch Lake Locomotive at Main Street Station in Greenfield Village, July 1978. THF133933 

Let Freedom Ring Parade, Greenfield Village, 1976. THF112250 

This decade witnessed a flurry of planning and construction, with a steady stream of improvements designed to broaden the appeal and educational impact of Henry Ford Museum and Greenfield Village. (Attendance at historic sites was climbing during the early 1970s as the nation moved toward the bicentennial of its founding.) The expansion was intended to attract new audiences and set the institution on a path to self-sufficiency. In Greenfield Village, the most dramatic changes were the new railroad and period amusement park. The railroad line, completed in 1972, circled the village perimeter. Visitors rode in open cars, pulled by a steam locomotive. The train quickly became a visitor favorite.  

Suwanee Park and Steamboat, Greenfield Village, 1975. THF95455 

Suwanee Park, located alongside the Suwanee Lagoon, opened in 1974 as a recreation of a turn-of-20th amusement park. The complex was designed to be a “focal point fun,” offering a “nostalgic look at how American amused themselves in bygone days.” The centerpiece of the new amusement park complex was a restored, fully operational, 1913 Herschell-Spillman Carousel. 

The village received an important new building in the 1970s, a mid-18th-century rural Connecticut saltbox house (now Daggett Farmhouse). In Henry Ford Museum, the vast Hall of Technology underwent a total redesign. New restaurants and gift shops further improved the visitor experience. In 1972, the museum opened its first professional conservation lab and staffed it with trained conservators. A year later, the Tannahill Research Center (now incorporated into the Benson Ford Research Center) opened and held the institution’s remarkable collection of historical manuscripts, books, periodicals, maps, prints, photographs, music, and graphic collections.  

Additions Made to the Collections: 1970s 

“Brewster” Chair, 1969 
In 1970, the Museum purchased what was believed to be a rare and remarkable 17th century armchair. In 1977, a story broke about a woodworker who attempted to demonstrate his skill by making a similar chair that would fool the experts. Analysis proved the Museum's chair was the woodworker's modern fake. Today we use this chair as a teaching tool in understanding traditional craft techniques. - Charles Sable, Curator of Decorative Arts 

Susan McCord Vine Quilt 
In 1970, a fire in Henry Ford Museum destroyed many objects on exhibit and in storage--including much of the quilt collection. Curators soon began to fill the void. An exceptional acquisition in 1972 brought ten quilts made by Indiana farmwife Susan McCord--an ordinary woman with an extraordinary sense of color and design. This distinctive vine pattern is a McCord original, made by sewing together fabric scraps to create over 300 leaves for each of the thirteen panels. McCord’s quilts remain among the most significant in the museum’s collection. - Jeanine Head Miller, Curator of Domestic Life 

1961 Lincoln Continental Presidential Limousine 
For years, the White House leased Lincoln parade limousines from Ford Motor Company. When the leases ended, Ford Motor reclaimed the cars and generously gifted them to The Henry Ford. This arrangement enabled our unmatched collection of presidential vehicles. None is more significant than the 1961 Continental that carried President Kennedy through Dallas in November 1963. Following the assassination, the open car was rebuilt with a permanent roof, armor plating, and other protective features and put back into service. The Henry Ford acquired the limo in 1978 and first exhibited it -- alongside its 1939 and 1950 Lincoln predecessors -- in 1981. - Matt Anderson, Curator of Transportation 

Black & Decker Type AA Circular Saw, 1930-1931  
In the 1970s, curators worked to bring Henry Ford Museum’s considerable tool collection into the 20th century. As part of that effort, staff wrote to power tool manufacturer Black & Decker for information about its history and most important products. The company responded with a donation of five electric power tools, including this example of Black & Decker’s first portable circular saw. -Saige Jedele, Associate Curator, Digital Content 

Self-Propelled Cotton Picker, 1950  
John Rust invented a wet-spindle system for mechanically picking cotton in 1928. By 1933 his machine picked five bales per day (2,500 lbs). Peter Cousins, Curator of Agriculture, wanted one of Rust’s machines, and Allan Jones agreed to donate his 1950 picker, named "Grandma," in 1975. Twenty years of life intervened before the picker arrived at The Henry Ford in January 1995. -Debra Reid, Curator of Agriculture and the Environment 

Henry Ford’s energy had been the animating force behind the Edison Institute. His death in 1947 challenged the institution to manage a collection that had grown to massive proportions – with no adequate storage solutions and no formal cataloging system.


Aerial View of Henry Ford Museum, circa 1953. THF112188

Clara Ford took over for her husband after his death, and the skeletal staff maintained the status quo at the Institute for the next few years without real direction. In 1950, the death of Clara signaled the end of another era. The Ford family stepped away from the daily management of the institution and began a strong tradition of lay leadership. In the early 1950s, all three of the Fords’ grandsons served on the Board of Trustees. William Clay Ford took over the position of board president in 1951 and remained chairman of the board for 38 years.

Museum Executives and "Today" Show Staff after Live Broadcast from Greenfield Village, October 25, 1955. THF116184

In January 1951, the board appointed A.K. Mills to the new post of executive director of Greenfield Village and the Edison Institute Museum. He implemented business practices and hired professional staff members. During the 1950s, the public – especially the vast traveling public – became the focus of the institution’s attention. In 1952, as a tribute to its founder, the Edison Institute was renamed Henry Ford Museum and Greenfield Village. Mills died suddenly in 1954; Donald Shelley replaced him as executive director, a position he held for the next 22 years.

Industrial Progress U.S.A. Exhibit, Henry Ford Museum, 1952-1954. THF112172

Traveling exhibits, developed by the institution in the 1950s, offered the museum a chance to promote itself beyond the local area, increase awareness, and increase visitation. Henry Ford Museum’s attendance steadily climbed each year. The number of visitors doubled over the decade, from 500,000 in 1950, to 1 million by 1960. The village and museum had become a national attraction.

Acquisitions to the Collections: 1950s 

Walking Doll 
In the 1950s, the museum’s curators acquired many objects for the collection through a network of antique collectors and dealers.  Curators were especially looking for folk art and other “early American” objects.  Collector Titus Geesey of Wilmington, Delaware had filled his home with three decades worth of collecting.  Ready to pare down a bit, Geesey sold over 300 objects to the museum over the years, including prints, tableware, coverlets, a weathervane, and toys.  This late 19th-century mechanical doll from Geesey’s collection came in 1958. - Jeanine Head Miller, Curator of Domestic Life 

Moravian Bowl with Stylized Fish and Turtles in Center, 1810-1820 
In the mid-20th century, Henry Ford Museum built on its early holdings to become one of the preeminent collections of American decorative and folk arts.  This ceramic serving bowl was made by Moravian-German immigrants in Alamance County, North Carolina.  The playfully arranged turtles and fish are unique representations in Moravian ceramics, which usually emphasizes abstract decoration. - Charles Sable, Curator of Decorative Arts 

1941 Allegheny Steam Locomotive
It's perhaps the most photographed object in Henry Ford Museum of American Innovation, and certainly among the best-remembered by our visitors. The mighty Allegheny has anchored the museum's railroad collection since 1956. Used steam locomotives were a dime a dozen in those days as railroads switched to diesel-electric power. Some went to museums and some to tourist railroads. But many more went to city parks and county fairgrounds, left to the mercies of the weather. The Allegheny is a gem carefully preserved indoors for more than 60 years now -- four times longer than it actually operated on the Chesapeake & Ohio Railway. - Matt Anderson, Curator of Transportation 

"Battle Scenes of the Rebellion" Battle of Gettysburg, Civil War Panorama" 
In the 1880s, Thomas Clarkson Gordon (1841-1922), a self-taught artist and Civil War veteran, created a panorama depicting scenes from the Civil War.  Gordon toured his 15-paneled panorama throughout eastern Indiana, retelling the history of the conflict through his vivid illustrations.  In 1956, Thomas Gordon's daughters wrote to Henry Ford II, hoping he would want the panorama for his grandfather's "Dearborn Museum." The request was redirected to the Henry Ford Museum and Greenfield Village. The donation arrived in 1958. - Andy Stupperich, Associate Curator, Digital Content 

Birth and Baptismal Certificate for Maria Heimbach, 1784|
German immigrants in Pennsylvania created fraktur – highly-decorated documents – to commemorate life’s most significant events. This particular fraktur is a Geburts-und Taufscheine – or a birth and baptismal certificate – and is the most common type. The name fraktur is rooted in a German calligraphic tradition and was primarily used for official documents. The Pennsylvania German frakturs continue this typographic tradition but expand upon it to create a new cultural tradition for a new homeland. - Katherine White, Associate Curator 

1953 Ford X-100 Concept Car
During its 50th anniversary in 1953, Ford Motor Company celebrated the past and looked to the future. A. K. Mills -- former head of Public and Employee Relations and recently-appointed Executive Director of the newly-renamed Henry Ford Museum -- managed multiple anniversary projects. While Mills organized new exhibits, oral histories, books, films, and -- most importantly -- a company archive, Ford engineers completed a special project of their own. Their fully-functional concept car, known as the X-100, was showcased during anniversary celebrations and featured more than 50 futuristic innovations, including heated seats and a telephone. - Ryan Jelso, Associate Curator 

Print of Mary Vaux Walcott Wildflower Sketch, "Trumpet Honeysuckle," 1925 
Clara Ford was an active gardener who presided over several gardening organizations during her lifetime. Citing her interest in flowers, the William Edwin Rudge Printing House of New York sent Mrs. Ford a set of prints originally illustrated by Mary Vaux Walcott in 1925. (The gift also served to demonstrate the quality of the firm’s color reproductions.) When Clara Ford died in 1950, a group of items from her estate – including these prints – came into the museum’s collection. - Saige Jedele, Associate Curator, Digital Content 

Sears, Roebuck and Company Mail-Order Catalog, "Consumers Guide, 1901," Catalogue No. 111
Mail order catalogs opened up the world of retail to families around the country. With thousands of items right at their fingertips this Sears and Roebuck catalog would give access to clothing, equipment, home goods, and everything in between to anyone in the United States.  The Benson Ford Research Center now utilizes trade catalogs like this to document fashion and innovation of the time.  - Sarah Andrus, Librarian 

H.J. Heinz Company Collection
Expansion at the H.J. Heinz Company in Pittsburgh during the early 1950s looked to be the end for “The Little House Where We Began,” the small brick building where H.J. Heinz began his business and that had been moved by barge to Pittsburgh in 1904. To save it from demolition, the H.J. Heinz Company donated the building to the Edison Institute, where it was reconstructed in Greenfield Village as the Heinz House. Along with the building, the H.J. Heinz Company donated this sizable archival collection that includes photographs, advertising layouts, publications, scrapbooks, and business records, all of which help convey the history of the Heinz House, the H.J. Heinz Company, and other stories of innovation and entrepreneurship. - Brian Wilson, Senior Manager, Archives and Library 

Ford-Ferguson Model 9N Tractor, 1940
The Ford Motor Company re-entered the tractor business in the United States in 1939 with the 9N, a Ford tractor with a 3-point hydraulic hitch-and-lift system invented by Harry Ferguson. After Edsel and Henry both died, Henry Ford II ended the Ford-Ferguson arrangement and released a new model, the 8N, marketed through the Dearborn Motor Corporation, not through Ferguson. Ferguson sued, and after four years he accepted $9.25 million paid by FMC to settle the patent-infringement case. This tractor was one of eight that FMC assembled for the litigation and then transferred to the Edison Institute to complete its display of Ford tractors. - Debra Reid, Curator of Agriculture and the Environment