This year would have marked the 70^th anniversary of Old Car Festival, the longest running antique car show in America. While due to the COVID-19 pandemic, we currently can’t be immersed in the moving stories of the early automotive era, we didn’t want to miss the opportunity to celebrate our longest running and one of our most loved events in Greenfield Village.



Old Car Festival is more than just a car show. It’s an experience. It’s the detail that goes into the costumes and settings of the vignettes created by our staff that depict the turn of the century to the Great Depression. It’s the blues, jazz and Ragtime that you can hear throughout the streets and the dancing to go with it. It’s the delicious food offerings from our culinary team. It’s the sight and smell of more than 800 vehicles taking to the streets and taking over nearly every corner of the village.  All of it together transports our participants, members, guests and staff back to a time when these vehicles created their own roads.



All of it wouldn’t be possible of course, without our wonderful participants who come year after year to take their cherished treasures out for a spin (or just for show in some cases), participate in games of skill out on Walnut Grove and share their favorite stories with those who pass by.



In addition to the 70^th anniversary of Old Car Festival, this year’s event would have also celebrated the centennial of the 19^th Amendment. Automobiles arrived just as women were making new inroads in the workplace and in civic engagement. It’s not too much to say that the car’s freedom of mobility made an important contribution to this social change. On September 10, our curator of transportation Matt Anderson participated in a special THF Conversations for our members on “Women behind the Wheel,” taking a look at how early American carmakers marketed to women and the role the car played on the road to suffrage. (The link to this video will be available here soon, or read about the same topic here.)



We look forward to making more Old Car Festival memories soon. Until then, stay safe and have a great weekend--and if you want, explore round-ups from previous Old Car Festivals on our blog here.



Melissa Foster is Senior Manager of Public Relations at The Henry Ford.

Michigan, Dearborn, 21st century, 2020s, Old Car Festival, Greenfield Village, events, COVID 19 impact, cars, car shows, by Melissa Foster

THF151617

Just before the official dedication of his museum and historical village in 1929, Henry Ford decided he wanted a tintype studio added to the village. Ford’s staff worked feverishly to construct and furnish this building in one day! It was designed to look like a small tintype photographic studio from the 1870s and 1880s. Last minute details, including curtains hastily brought from the home of Ford’s photographer and hung at the windows, helped complete the look.

The Greenfield Village Tintype Studio has three rooms:

• A dressing room or “primping” room where customers got ready for their picture
• The studio or “operating room,” originally equipped with head rests (to hold people’s heads still so the picture wouldn’t come out blurry), posing chairs, cameras, and a painted backdrop. Large windows provided maximum light for the photographer.
• The darkroom for preparing and developing the tintypes

Ford’s staff built this tintype studio in one day—just in time for the rainy dedication of Greenfield Village on October 21, 1929. THF139188

Tintypes, the popular “instant photographs” of the mid-1800s, could be produced in a matter of minutes at a price the average American could afford. This quick, affordable process gave more people than ever before the chance to have a real likeness of themselves.

Though tintypes became less popular as new and better forms of photography replaced them, traveling tintypists found work at country fairs, summer resorts and other vacation spots as late as the 1930s. One such tintypist was Charles Tremear, who eventually gave up photography and went to work for Ford Motor Company in 1909. When Henry Ford heard that Tremear had been the “last wandering tintypist in America,” he transferred him to Greenfield Village.


Charles Tremear, the “last wandering tintypist in America,” ran the Greenfield Village Tintype Studio from 1929-1943. THF132794

Charles Tremear ran the Greenfield Village Tintype Studio from 1929 until his death in 1943. The studio was a popular destination. Tremear produced more than 40,000 tintypes during his tenure, including many of celebrities. Joe Louis, Walt Disney, and Henry Ford numbered among the famous people who posed for tintype portraits in Greenfield Village.

Though tintypes are no longer made in the Greenfield Village Tintype Studio, it's still a great place to learn more about the tintype process and practice some poses. Selfies are welcome!

20th century, Michigan, Dearborn, photography, Greenfield Village buildings, Greenfield Village

Starting a drag race at the first NHRA national championship meet, Great Bend, Kansas, 1955. (THF122645)

If you’ve visited Henry Ford Museum of American Innovation in the past several months, then you’ve undoubtedly noticed the large construction walls in the museum’s northeast corner, just behind Driving America. That 24,000 square-foot space will soon be home to our newest exhibit, Driven to Win: Racing in America presented by General Motors.


Racing gloves worn by Danica Patrick while competing in NASCAR’s Monster Energy Cup Series, 2016-2017. (THF176306)

Driven to Win will be among the most comprehensive looks at automobile racing in the United States. We’ll cover every major American racing type, and we’ll do it from 1895 – when the Chicago Times-Herald sponsored the country’s first formal auto race – right up to the present day. We’re featuring 26 vehicles in the show, including some old favorites and a few new surprises. We’ll also have more than 225 artifacts from the museum’s collection – many of them newly acquired for this exhibit.


George Heath driving his winning Panhard #7 at the first Vanderbilt Cup race, 1904. (THF277321)

Guests entering Driven to Win will first encounter what we call the “Dawn of Racing” where they’ll learn about American racing’s earliest days, whether on repurposed horse tracks or requisitioned public streets. Fittingly, the first vehicle they’ll see in this section is a successful little racer built and driven by a certain Henry Ford, the 1901 Ford Sweepstakes.


Dan Gurney signing autographs for young fans at the Indianapolis 500, 1966. (THF110522)

Just behind this introductory zone, we talk about “Igniting the Passion.” We’ll see some of the ways in which young people are introduced to motorsport through toys and games. Some of them will go on to become lifelong fans. Others might take up racing-inspired hobbies like tether cars. A few may go on to careers in the sport, whether behind the wheel, behind the pit wall, or behind the scenes. This area also serves as the entrance to our film experience, which forms the literal and figurative center of the exhibit. Inside, audiences will enjoy the sights, sounds, and spectacle of race day, and be inspired by young people pursuing dreams at legendary locations like Daytona, Indianapolis, and Bonneville.


One of the 3.2 million bricks used to resurface Indianapolis Motor Speedway in 1909. (THF152054)

Outside the film theater, visitors can step into The Henry Ford’s own Winner’s Circle presented by Rolex. Here they’ll see the innovative and influential cars that changed the game. They’ll find the 1956 Chrysler 300-B from Carl Kiekhaefer’s phenomenal Mercury Marine team, which dominated NASCAR in the mid-1950s. Nearby is the Penske PC-17 that Rick Mears drove to victory in the 1988 Indianapolis 500, giving him the third of his record-tying four Indy wins – and Team Penske the seventh of its astounding 18 Indy victories. (The Chevrolet-powered Penske chassis is loaned to us courtesy General Motors, the exhibit’s presenting sponsor.)


Bobby Unser charging up Pikes Peak on his way to victory, 1962. (THF218104)

Moving around the exhibit’s perimeter, visitors will encounter the major forms of racing popular in the U.S. They’ll learn about land speed racing at Bonneville, where Goldenrod topped 409 mph in November 1965; they’ll see hill climbing at Pikes Peak, where Bobby Unser and his legendary family reigned supreme; they’ll visit the ceremonial heart of American racing at Indianapolis, where Harry Miller designed some of early racing’s most beautiful (if not always successful) open-wheel racing cars; they’ll travel overseas to Le Mans, where Ford Motor Company raced American sports cars in the 1960s and the 2010s; they’ll visit Daytona, birthplace of NASCAR and home to one of the country’s greatest stock car tracks; and they’ll see an homage to the vanished Detroit Dragway, where gassers and rail jobs once battled for the title of Top Eliminator.


Lyn St. James instructing young students at her Complete Driving Academy, 2008 (THF58563)

But racing isn’t just about the cars, it’s about the people behind them. Driven to Win visitors will have the chance to train using some of the same methods as today’s top drivers. There’s strength training with special machines that mimic muscle motions in a race. There’s neurocognitive training with interactive stations that test vision, memory, and reaction time. We’ll also have a pit crew activity where visitors can try their hand changing tires and refueling cars – though probably not in the 15 seconds it takes a top NASCAR crew. And for those eager to get behind the wheel, we’ll have a set of sophisticated simulators that are about as close to driving a hot lap as you can get without wearing a helmet.


Running the measured mile at Bonneville, circa 1950. (THF238926)

It’s been a long time coming, but Driven to Win: Racing in America promises to be worth the wait. Its blend of exciting immersive experiences will be unlike anything else in Henry Ford Museum of American Innovation – or in any other automotive museum, for that matter. We couldn’t be prouder of the work we’ve put into it, and we look forward to sharing the results with everyone this summer.

Matt Anderson is Curator of Transportation at The Henry Ford. See more racing artifacts in our collection in this expert set.

21st century, 2020s, Michigan, Dearborn, racing, race cars, race car drivers, Henry Ford Museum, Driven to Win, by Matt Anderson

A Half Century in the Making, the Journey from Yuletides to Holiday Nights

What we know and love today as Holiday Nights did not spontaneously appear in 2000 when we first opened Greenfield Village on December evenings for an immersive holiday experience. Holiday Nights has evolved and grown based on many experiences and inspirations from decades of village “Christmases past.” and the work of many talented people.

The ability to transport our guests to a different time and place is most powerful after dark as the modern world that constantly pushes closer to our borders can be temporarily pushed away. When all is said and done, Greenfield Village provides the most perfect “set” in which to bring the past alive. With over 300 years of history represented, the possibilities are endless; a world where Charles Dickens’, A Christmas Carol, and It’s a Wonderful Life can seamlessly collide. A place where a small town from the distant past comes to life for several hours on December evenings, bringing forth the magic of the holiday season.

Holiday Nights in Greenfield Village is a classic example of “if you build it, they will come.” What began with conservative hopes for several hundred people in attendance has continually grown year after year.

Information Booklet, "Christmas at Greenfield Village 1964." THF112439

The holiday experience in Greenfield Village has a long history. As early as the mid-1960s, Village buildings were decorated both inside and out for the holiday season. Historic Christmas recipes were prepared in the village kitchens in fireplaces and wood burning stoves. Early on, all the guest experiences were limited to daytime and varied from guided tours, to full access, to tour on your own. Decorations were very elaborate, and included many collection items, but were not always based on sound historical research. Every building got a bit of Christmas, whether it would have been celebrated or not. During this period, attendance was vigorous, especially on December weekends.

Guests at Clinton Inn (Eagle Tavern) During "Yuletide Evening in the Village," 1975. THF144738

By the mid-1970s, new evening holiday experiences, called Yuletide Evenings, were introduced. Guests had the choice of a formal dinner in either the newly constructed Heritage Hall (now the Michigan Café) or the Clinton Inn (now the Eagle Tavern).The experience included horse drawn wagon, or if conditions allowed, sleigh rides into the Village, and depending on which package was purchased, a tour of 4 different decorated historic buildings, either before or after dinner. By the early 1980s, the Clinton Inn became Eagle Tavern, and the evening program changed to become an immersive 1850 dining experience much like the program offered today. Eventually, the Village tour portion of the evening was discontinued, offering a dinner only experience.  

In the early 1990s, a concerted effort had been made for some years to reinvigorate the daytime program. By paying attention to historical accuracy, but at the same time, broadening the scope and allowing for a wider interpretation of how Americans began to celebrate Christmas in the 19^th century, more engaging programs were offered.  Hundreds of artifacts were chosen to fit out the dining rooms, parlors, and where appropriate, Christmas trees. Additional research was also done to lift-up the historic cooking programs and infuse a “living history” approach to the historic structures with the addition of period clothing. All this further supported the stories of the diversity of the American Christmas celebration. This work laid the foundation for the core content of Holiday Nights that we rely on today.

By the late 1990s, for a variety of reasons, the daytime visitation  to the Greenfield Village Holiday Program had begun to decline while the evening program attendance remained strong. Based on the inspiration and fond memories of the wonderful candle and lantern lit buildings decorated for the holidays, a new program was proposed to re-create that opportunity through the Educational Programs class offerings. Though on a very small scale that served less than 100 people, this program reminded us of what could be possible and got the creative process rolling.

Brochure, "Twelve Nights of Christmas" in Greenfield Village, 2003. THF144736

The Twelve Nights of Christmas, what would later be called Holiday Nights, debuted for the Christmas season of 2000. The daytime “Holiday” program remained in place, and the evening program was basically an evening version. This early version was very quiet, and very dark, as none of the village restoration had taken place yet. Most of the activities were based inside the buildings. Despite the slow start, the potential was fully realized, and creative and physical growth began. With the village closed for the holiday season of 2002  for the renovation, there was time to regroup, brainstorm, and make plans. The new and improved version for the “new” village in 2003 saw expanded outdoor activities, more music, and an ice rink that featured an artificial ice surface. Even with enhanced programming elements, the program was still not really filling the space as it could.

Musicians Performing at "Twelve Nights of Christmas" in Greenfield Village, 2003. THF133593

During these early years, it was apparent to the village programs team that to achieve the level of experience we were aspiring to, the event would need to be broken down into production areas, and each would need its own level of care and attention to detail. Decorating the village, designing and deploying the lighting, planning the historic food demonstrations, food sales and retail, staffing and training, musical and dramatic program casting and rehearsing, dressing an army of staff, firewood, lanterns, and communicating the entire thing, all was captured and pulled together with the Holiday Nights manual. This work became the go-to document for what needed to be done when and where, once preparation for the evening program began. This tool also became invaluable in planning and producing subsequent years of the program. So, as ideas came forth as to how to expand and improve the Holiday Nights guest experience, the program manual format made it possible to incorporate the new elements and move the experience forward.

A very memorable off site staff mini-retreat to a local book store cafe in 2004 laid the foundation for the program we know today. Building on the sound historical content of our village holiday celebration, our success with Holiday Nights thus far, along with a commitment from the institution, we created and refined the combination of guest experiences that today, makes Holiday Nights truly one of the nation’s greatest holiday experiences. The fireworks finale, the end of the evening procession and sing-a-long, a visit from Santa, a real ice skating rink, immersive food and drink stalls in the center of the Village, a greens market, storytellers, over 100 staff in period dress as well as a wide variety of additional dining experiences and top quality live music, has put Holiday Nights on the map over 20 seasons.

The program continues to grow and evolve. For my part, it’s been a privilege and source of pride to see how far we have come and how we have come together to achieve such greatness. I look forward to the road ahead and what the next 20 years may bring.

Inspired by the evolution of Holiday Nights? See it for yourself - limited tickets for 2019 remain.

Jim Johnson is Curator of Historic Structures and Landscapes at The Henry Ford and Director of Greenfield Village.

Michigan, Dearborn, 20th century, 21st century, holidays, Holiday Nights, Greenfield Village, events, Christmas, by Jim Johnson

Greenfield Village’s historic buildings were not Henry Ford’s first preservation effort.  Ford’s restoration of his own childhood home in 1919 set him on a preservation path.  And it was just the beginning.  Soon Ford began to restore other buildings. 

In 1919, Henry Ford contemplated the importance of his own birthplace when a road improvement project required the farmhouse be either moved 200 yards from its original location or be torn down.

Henry Ford birthplace after it was moved 200 yards and restored, 1923. THF255378

Ford on the porch of his restored childhood home in 1923.  THF96278

Ford decided to move the house and restore it to the way it looked at the time of his mother’s death in 1876, when he was 13 years old. For Ford, the project was personal--he took charge of the birthplace restoration, meticulously re-creating the details of the house.   

Ford’s assistants placed this advertisement in the Detroit News in the fall of 1922.  THF136552

After an 18^th-month-long search, a Starlight stove like the one Ford remembered from childhood took its place in the restored Ford birthplace. THF255596

Ford worked hard to find original or similar furnishings. For 18 months, he searched for a Starlight stove like the one in the dining room when he was growing up.  Ford’s staff contacted stove manufacturers and dealers and used the network of Ford Motor Company branch offices and automobile dealers to comb the country. When nothing turned up, his staff even placed advertisements in Detroit newspapers--though not revealing that it was Henry Ford who wanted the stove. After a nationwide search, Ford’s desire for a Starlight No. 25 was satisfied at last. He found one in a small Michigan town, paying $25 for it. Piece by piece, Henry Ford was re-creating his childhood home as he remembered it.

Sunday parlor in Henry Ford birthplace, 1923. THF96899

When the restoration of Ford’s childhood home was complete, people were awestruck by its authenticity. It seemed remarkable to him, and others, how a re-created environment could catapult one into another time and place.

Scotch Settlement School, Dearborn, Michigan, 1926. THF245410

In 1923, Ford bought and preserved the red brick Scotch Settlement School he had attended as a child.  Henry Ford kept the building on its original site while he supervised every detail of its restoration.

Henry Ford’s restoration of his birthplace had received extensive press coverage.  Not surprisingly, Americans deluged the wealthy man with pleas of assistance for preservation projects of their own.  Although Ford turned down most requests for assistance, a few caught his fancy.

The Wayside Inn in the mid-1920s, after its restoration.  THF132883

Henry and Clara Ford periodically visited the Wayside Inn, whose doors had been opened to the public.  By 1927, however, Henry’s attention increasingly turned to his plans for his historical village and museum in Dearborn.  THF 98987

Ford agreed to assist in the restoration of the 1686 Wayside Inn in Sudbury, Massachusetts, west of Boston. Henry Wadsworth Longfellow had made the inn famous in his Tales of a Wayside Inn. The author’s “Psalm of Life,” read by Ford in the McGuffey Readers of his youth, was among the industrialist’s favorite inspirational verses.  Ford purchased the inn for $65,000, restoring and furnishing it at significant expense.  He bought up much surrounding land and even diverted the Boston Post Road to keep automobile traffic from ruining the bucolic setting.

Presentation Drawing, "Proposed Development of a Colonial Village of South Sudbury, Massachusetts," 1926   THF58202

Ford clearly contemplated even grander plans for the Wayside Inn and its surrounding property.  A “Proposed Development of a Colonial Village of South Sudbury, Massachusetts…done at the Lowthorpe School of Landscape Architecture” in 1926 shows a “village” composed of the Wayside Inn, houses, a church, a mill, and other buildings.  Although the plan was never realized, Ford may have been working out ideas that were later revealed in Greenfield Village.

Botsford Inn in Farmington, Michigan, 1925.  THF108707

Musicians’ Stage in Botsford ballroom, 1925.  THF108709

Closer to home, Ford refurbished the old Botsford Inn on Grand River Avenue in Farmington, Michigan, in 1924. The inn had once served 19^th-century travelers en route from Detroit to Lansing. Ford’s staff sought out old-timers who remembered the inn in its heyday and used their recollections to help furnish the place. Ford added a maple floor to the ballroom and, for a while, held old-fashioned dances there.

Ford had turned down a request for funds to restore Williamsburg, the colonial-era Virginia capital. He was more interested in creating his own village closer to home, which would include buildings from different time periods and places. In 1927, Ford began to gather buildings for what would become Greenfield Village.

Scotch Settlement School being reconstructed in Greenfield Village, 1929. THF138711

Ford birthplace being moved to Greenfield Village, 1944.  THF136562

Two of Ford’s early preservation projects would find their way into Greenfield Village.  During the summer of 1929, Scotch Settlement School was dismantled and moved as Ford’s historical village began to take shape.  Ford’s birthplace would be the last building moved to the village during his lifetime.  By the 1940s, the city of Dearborn was growing up around the Ford family homestead, and the house required 24-hour security protection.  In January 1944, the home was cut in two and hauled by truck a few miles from the Dearborn farmstead to its new location in Greenfield Village.

Excerpted from Telling America’s Story:  A History of The Henry Ford, 2019; compiled by Jeanine Head Miller, Curator of Domestic Life at The Henry Ford.

Dearborn, Michigan, Greenfield Village history, Scotch Settlement School, school, home life, collections care, Greenfield Village buildings, Greenfield Village, Henry Ford

Robert O. Derrick, about 1930. THF 124645

As part of our 90^th anniversary celebration the intriguing story of Henry Ford Museum of American Innovation’s design bears repeating. It was last discussed in depth in the 50^th anniversary publication “A Home for our Heritage” (1979).

Our tale begins on the luxury ocean liner R.M.S. Majestic, then the largest in the world, on its way to Europe in the spring of 1928. On board were Henry and Clara Ford, their son Edsel and Edsel’s wife Eleanor. Serendipitously, Detroit-based architect Robert O. Derrick and his wife, Clara Hodges Derrick, were also on board. The Derricks were approximately the same age as the Edsel Fords and the two couples were well-acquainted. According to Derrick’s reminiscence, housed in the Benson Ford Research Center, he was invited by Henry Ford to a meeting in the senior Fords’ cabin, which was undoubtedly arranged by Edsel Ford. During the meeting Derrick recalled that Mr. Ford asked how he would hypothetically design his museum of Americana. Derrick responded, “well, I’ll tell you, Mr. Ford, the first thing I could think of would be if you could get permission for me to make a copy of Independence Hall in Philadelphia. It is a wonderful building and beautiful architecture and it certainly would be appropriate for a collection of Americana.” Ford enthusiastically approved the concept and once back in Detroit, secured measured drawings of Independence Hall and its adjacent 18^th century buildings which comprise the façade of the proposed museum. Both Derrick and Ford agreed to flip the façade of Independence Hall to make the clock tower, located at the back side of Independence Hall in Philadelphia, a focal point of the front of the new museum in Dearborn.

Robert Ovens Derrick (1890-1961) was an unlikely candidate for the commission. He was a young architect, trained at Yale and Columbia Universities, with only three public buildings to his credit, all in the Detroit area. He was interested in 18^th century Georgian architecture and the related Colonial Revival styles, which were at the peak of their popularity in the 1920s.

In his reminiscence, he states that he was overwhelmed with the commission, but was also confident in his abilities: “I did visit a great many industrial and historical museums and went to Chicago. I remember that I studied the one abroad in Germany, [The Deutsches Museum in Munich] which is supposed to be one of the best. I studied them all very carefully and I did make some very beautiful plans, I thought. Of course, I was going according to museum customs. We had a full basement and a balcony going around so the thing wouldn’t spread out so far. We had a lot of exhibits go in the balcony. I had learned that, in museum practice, you should have a lot more storage space, maintenance space and repair shops than you should have for exhibition. That is why I had the big basement. I didn’t even get enough there because I had the floor over it plus the balconies all around.”


Original museum proposal, aerial view. THF 170442


Original museum proposal, facade design. THF 170443


Original museum proposal, side view. THF 170444

In the aerial view [THF0442], the two-story structure is a warren of courtyards and two-story buildings, with exhibition space on the first floor and presumably balconies above, although no interior views of this version survive. A domed area on the upper right was to be a roundhouse, intended for the display of trains. THF0443 shows a view of the front of the museum from the southeast corner. This view is close to the form of the completed museum, at least from the front. An examination of the side of the building [THF0444] shows a two-storied wing.

Derrick recalled Mr. Ford’s initial response to his proposals, “What’s this up here? and I said, that is a balcony for exhibits. He said, I wouldn’t have that; there would be people up there, I could come in and they wouldn’t be working. I wouldn’t have it. I have to see everybody. Then he said: What’s this? I said, that is the basement down there, which is necessary to maintain these exhibits and to keep things which you want to rotate, etc. He said, I wouldn’t have that; I couldn’t see the men down there when I came in. You have to do the whole thing over again and put it all on one floor with no balconies and no basements. I said, okay, and I went back and we started all over again. What you see [today] is what we did the second time.”

Henry Ford Museum proposed Exhibit Hall. THF294368

A second group of presentation drawings show the museum as it was built in 1929. THF294368 is the interior of the large “Machine Hall,” the all-on-one-floor exhibit space that Mr. Ford requested.  The unique roof and skylight system echo that of Albert Kahn’s Ford Engineering Laboratory, completed in 1923 and located just behind the museum. Radiant heating is located in the support columns through what appear to be large flanges or fins. The image also shows how Mr. Ford wanted his collection displayed – in long rows, by types of objects – as seen here with the wagons on the left and steam engines on the right.


Proposal for museum corridor. THF 294390


Proposal for museum corridor. THF 294388

These corridors, known today as the Prechter Promenade, run the width of the museum. Floored with marble and decorated with elaborate plasterwork, the promenade is the first part of the interior seen by guests. Mr. Ford wanted all visitors to enter through his reproduction of the Independence Hall Clock Tower. The location of Light’s Golden Jubilee, a dinner and celebration of the 50^th anniversary of Thomas Edison’s development of incandescent electric lamp, held on October 21, 1929 is visible at the back of THF294388. This event also served as the official dedication of the Edison Institute of Technology, honoring Ford’s friend and mentor, Thomas Edison. Today the entire institution is known as The Henry Ford, which includes the Henry Ford Museum of American Innovation and Greenfield Village.


Museum Auditorium. THF 294370

Just off the Prechter Promenade is the auditorium, now known as the Anderson Theater.  Intended to present historical plays and events, this theater accommodates approximately 600 guests. During Mr. Ford’s time it was also used by the Greenfield Village schools for recitals, plays, and graduations. Today, it is used by the Henry Ford Academy, a Wayne County charter high school, and the museum for major public programs.


Virginia Courtyard inside Henry Ford Museum. THF294374  


Pennsylvania Courtyard inside Henry Ford Museum. THF294392

Derrick created two often-overlooked exterior courtyards between the Prechter Promenade and the museum exhibit hall. Each contains unique garden structures, decorative trees and plantings, and both are accessible to the public from neighboring galleries.


Greenfield Village Gatehouse front view, about 1931. THF 294382


Greenfield Village Gatehouse rear view, about 1931. THF 294386

The Greenfield Village Gatehouse was completed in 1932 by Robert Derrick, in a Colonial Revival style to complement the Museum. From its opening in 1932 until the Greenfield Village renovation of 2003, the gatehouse served as the public entrance to the Village. Today, visitors enter the Village through the Josephine Ford Plaza behind the Gatehouse.  Although the exterior was left unchanged in the renovation, the Gatehouse now accommodates guests with an updated facility, including new, accessible restrooms and a concierge lounge with a will-call desk for tickets.


Lovett Hall in 1941. THF 98409


Edison Institute students dancing in Lovett Ballroom, 1938. THF 121724


Edison Institute students in dancing class with Benjamin Lovett, instructor, 1944. THF 116450

In 1936 Robert Derrick designed the Education Building for Mr. Ford.  Now known as Lovett Hall, the building served many purposes, mainly for the Greenfield Village School system. It housed a swimming pool, gymnasium, classrooms, and an elaborately-decorated ballroom, where young ladies and gentlemen were taught proper “deportment.” Like all the buildings at The Henry Ford, it was executed in the Colonial Revival style. Today the well-preserved ballroom serves as a venue for weddings and other special occasions.

Obviously, Mr. Derrick was a favorite architect of Mr. Ford, along with the renowned Albert Kahn, who designed the Ford Rouge Factory. The museum was undoubtedly Derrick’s greatest achievement, although he went on to design Detroit’s Theodore J. Levin Federal Courthouse in 1934. Unlike the Henry Ford commissions, the courthouse was designed in the popular Art Deco, or Art Moderne style. Derrick is also noted for many revival style homes in suburban Grosse Pointe, which he continued to design until his retirement in 1956. He is remembered as one of the most competent, and one of the many creative architects to practice in 20^th century Detroit.

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

Henry Ford, Dearborn, by Charles Sable, THF90, Michigan, Henry Ford Museum, drawings, design, #Behind The Scenes @ The Henry Ford

This 1930 Hupmobile Model S was one of nearly 800 vehicles that filled Greenfield Village for this year’s Old Car Festival.

Another summer car show season is in the books as we wrap up our 69^th annual Old Car Festival in Greenfield Village. We enjoyed practically perfect weather, enthusiastic crowds, and a field of nearly 800 vintage automobiles, trucks, motorcycles, and bicycles. You couldn’t have asked for a better weekend – or a better way to spend it.


This 1925 Ford Model TT truck fit perfectly with the Depression-era Mattox Family Home. Greenfield Village provides an incomparable setting for Old Car Festival.

Our spotlight for 2019 shined on early sports cars, whether genuine performers like the Stutz Bearcat, or mere sporty-looking cars like Ford’s Model T Torpedo Runabout. We usually associate sports cars with postwar imported MGs or all-American Corvettes, but enthusiast motoring is an old idea. For as long as there have been cars, there have been builders and buyers dedicated to the simple idea that driving should be fun.


The Henry Ford’s 1923 Stutz Bearcat. Many consider the Bearcat to be America’s first true sports car.

In keeping with the theme, we featured three sporty cars in our special exhibit tent across from Town Hall. From The Henry Ford’s own collection, we pulled our 1923 Stutz Bearcat. If there’s one name synonymous with early sporting automobiles, it’s “Bearcat.” Indianapolis-based Stutz introduced the model in 1912. The first-generation Bearcat featured only the barest bodywork and a trademark “monocle” windshield. Our later model was a bit more refined but, with 109 horses under the hood, it had no problems pushing the speedometer needle to the century mark. And, with its $3500 price tag, it had no problems pushing your bankbook into the red, either.


The sporty, affordable 1926 Chevrolet – for when the heart says, “speed up” but the wallet says, “slow down.”

Our good friends at General Motors once again shared a treasure from the company’s collection. This time it was a beautiful 1926 Chevrolet Superior Series V. The car boasted custom bodywork from the Mercury Body Company of Louisville, Kentucky. The speedster body and disc wheels gave a sporty look to a car targeted at budget-minded buyers. The Chevy sold for $510 – about one-seventh the cost of that Stutz!


This newly-restored 1927 Packard ambulance served the city of Detroit for nearly 30 years.

Every car at Old Car Festival has its own story, but some of them are particularly special. You could certainly say that about the 1927 Packard ambulance bought to us by owner Brantley Vitek of Virginia. He purchased the vehicle, in rather rough condition, at the Hershey swap meet in 1974. Dr. Vitek planned to restore it but, as is sometimes the case for car collectors, life got in the way. He wasn’t able to start the project until 2016, but it was well worth the wait. The finished ambulance is gorgeous – and not without southeast Michigan ties. The Packard served all its working life with the Detroit Fire Department. Old Car Festival wasn’t just a debut for the completed project, it was a homecoming as well.


The corn boil was just one of the dietary delights offered at this year’s show.

Veteran Old Car Festival attendees know that the show mixes a little gastronomy with its gasoline. Each year brings historically-inspired foods to the special “Market District” set up along the south end of Greenfield Village’s Washington Boulevard. Offerings for 2019 included turkey legs, sliced pastrami sandwiches, baked beans and cornbread (served in a tin cup), and peach cobbler. Longstanding favorites like kettle corn, hobo bread, and frozen custard were on hand too.


Prize winners received glass medallions handcrafted in the Greenfield Village Glass Shop.

As it does every year, Old Car Festival wrapped up with the Sunday afternoon awards ceremony. Show participants are invited to submit their vehicles for judging. Expert judges award prizes based on authenticity, quality of restoration, and the care with which each vehicle is maintained. First, second, and third-place prizes are awarded in eight classes, and one Grand Champion is selected for each of the show’s two days. Additionally, two Curator’s Choice awards are given to significant unrestored vehicles.


The Canadian Model T Assembly Team entertained by putting together this vintage Ford in mere minutes.

Year after year, Old Car Festival provides sights, sounds, and tastes to delight the senses. It’s no wonder the show has been going strong for 69 years. We’ll see you for show number 70 in 2020!

Matt Anderson is Curator of Transportation at The Henry Ford.

Michigan, Dearborn, 21st century, 2010s, Old Car Festival, Greenfield Village, events, cars, car shows, by Matt Anderson

1965 Ford Mustang Convertible, Serial Number One. THF90618 


Ford Mustang Serial Number 1 and Original Owner Captain Stanley Tucker, 1966. THF98053 

More than 55 years ago, Harry Phillips sold Mustang Serial No. 1 to Stanley Tucker in St. John’s, Newfoundland, Canada.

The very first Mustang sold was a pre-production model only intended for display. It was meant to be sent back to Ford, and it took nearly two years for the car to be officially returned.


Harry Phillips and Mustang Serial No. 1, September 2019.

Thanks to a campaign spurred on by fellow Ford Mustang lovers, Mr. Phillips was reunited with that same car, in Henry Ford Museum of American Innovation, on Sept. 27, 2019. Hear his story of that landmark sale in 1964, and learn more about this important artifact: Stanley Tucker and Ford Mustang Serial Number One.


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Canada, Michigan, Dearborn, 21st century, 2010s, 20th century, 1960s, Mustangs, Henry Ford Museum, Ford Motor Company, events, convertibles, cars

The Henry Ford was recently recognized by WXYZ as one of the most Instagrammable spots in metro Detroit. If you’re always striving for that perfect Instagram post, here are a few tips and tricks I’ve learned in the Photography Studio at the Henry Ford Museum of American Innovation.

First, composition is key. Make sure to take a look around you as you compose your shot—what do you want to include? Sometimes an interesting angle, or an object in the foreground, can change your picture drastically. Make sure to walk around a bit before you snap your shot, or take multiples, and see which one you like best.

Take, for instance, this image I took of the water tower.  By keeping it in the background, and other things in the foreground, it changes the photo to a view you might not see right away.



Similarly, going for a different angle can make for an interesting photo, especially when it’s something like Thomas Edison’s Menlo Park lab. Most people see its profile while walking by, and don’t look back when they’re exiting, but just seeing it from another perspective makes it look like an entirely different building.



Another thing to keep in mind is lighting, especially if you’re outside in Greenfield Village. On a sunny day, you want to make sure the sun is at your back, and if you’re taking photos of people, make sure it’s not in their eyes. On a gloomy day, always make sure to play around with the saturation and brightness/contrast before you post your picture. These little things can go a long way and can turn the grayest of photos a bit more vibrant!

An overcast day at the Roundhouse can still have a pop of color.

For larger subjects, it comes back to angles. If you’re having a hard time fitting everything in the frame, take a couple steps back, or turn your focus to the details. Sometimes the most interesting photos come from looking at something a little more closely.

And finally, lighting and exposure are important things to take into account when you’re going for the perfect shot. Though cell phones don’t allow as much control over exposure as cameras do, there’s still a lot that can be done. Take, for instance, these photos of the McDonald’s sign over by Lamy’s. By adjusting the exposure, we get a much more dynamic photo.

Hopefully some of these tips will help you out the next time you’re wandering about the museum or village. What’s your favorite place to take photos here at The Henry Ford? Show us! Use #THFPhoto and show off your work.

Jillian Ferraiuolo is Digital Imaging Specialist at The Henry Ford.

Michigan, Dearborn, photography, photographs, Henry Ford Museum, Greenfield Village, by Jillian Ferraiuolo

Studio artist Dean Allison is our August Artist in Residence at The Henry Ford. Looking forward to a week of new ideas and exploration, Dean joins our artists in the Greenfield Village Glass Shop Aug. 13-17. Follow him on Instagram and learn more about his background below.

Tell us a little bit about you and your work.
My work deals with portraiture and documenting people in glass. I’m interested in the figure and physical details that translate identity and the human condition. Most of my work is cast and utilizes molds and processes like bronze casting.

How did you get started with glassblowing?
I took an elective in glass when I was an undergraduate in college. I wasn’t interested in 3D work at the time, but that swiftly changed, and glass became a material I grew to love.



What piece are you most proud of that you’ve created to date?
That is a difficult question because each piece has differing challenges and obstacles. The most ambitious piece was titled “The Boxer.” It is a piece that I worked on for more than three years, ultimately made in five parts. I designed and built specialized equipment to make the piece. I mixed and melted all the glass from scratch and learned a great deal from the many processes involved.



Where do you find inspiration for your work?
People, memories, conversations, human interaction, and social concerns.

What are you most looking forward to as being an Artist in Residence this year?
Creating a new body of work that involves experimenting with the figure on a smaller scale and finding inspiration in gesture and form.

Additional Readings:

• Digitizing Our Newest Exhibit
  
• Photographing Glass
  
• Beyond Favrile: Louis Comfort Tiffany and American Culture
  
• Studio Glass Expert on Display: Paul Stankard

Michigan, Dearborn, 21st century, making, Greenfield Village, glass, artists in residence, art