The Curtiss JN-4 always turns heads in “Heroes of the Sky.” / THF39670

Walk into the barnstormers section of our Heroes of the Sky exhibit and odds are the first airplane to catch your eye will be our 1917 Curtiss JN-4 “Canuck” biplane. Whether it’s the airplane’s inverted attitude, its dangling wing-walker, or its fishy-looking fuselage, there’s a lot to draw your attention. And well there should be. The Curtiss Jenny was among the most significant early American airplanes.

Conceived by British designer Benjamin D. Thomas and built by American aviation entrepreneur Glenn Curtiss, the JN airplanes combined the best elements of Thomas’s earlier Model J and Curtiss’s earlier Model N trainer planes. New variants of the JN were increasingly refined. The fourth in the series, introduced in 1915, was logically designated JN-4. Pilots affectionately nicknamed it the “Jenny.” The inspiration is obvious enough, but even more so if you imagine the formal model name (JN-4) written as many flyers first saw it—with an open-top “4” resembling a “Y.”


This Curtiss JN, circa 1915, left no doubt about its manufacturer’s identity. / THF265971

Despite not being a combat aircraft, the Curtiss Jenny became the iconic American airplane of the First World War. Some 6,000 units were built, and nine of every ten U.S. military pilots learned to fly on a Jenny. The model’s low top speed (about 75 mph) and basic but durable construction were ideal for flight instruction. Dual controls in the front and back seats allowed teacher or student to take charge of the craft at any time.

Our JN-4 is one of approximately 1,200 units built under license by Canadian Aeroplanes, Ltd., of Toronto. In a nod to their Canadian origins, these airplanes were nicknamed “Canucks.” While generally resembling American-built Jennys, the Canadian planes have a different shape to the tailfin and rudder, a refined tail skid, and a control stick rather than the wheel used stateside. (The stick became standard on later American-built Jennys.)


Barnstormer “Jersey” Ringel posed while (sort of) aboard his Jenny about 1921. / THF135786

Following the war, many American pilots were equally desperate to keep flying and to earn a living. “Barnstorming”—performing death-defying aerial stunts for paying crowds—offered a way to do both. Surplus military Jennys could be bought for as little as $300. The same qualities that suited the planes to training—durability and reliability—were just as well-suited to stunt flying. The JN-4 became the quintessential barnstormer’s plane, which explains why our Canuck is featured so prominently in the Heroes of the Sky barnstorming zone. As for the inspiration behind our plane’s paint job… that’s another kettle of fish.


Fishing lures, similar to this one, inspired the unusual paint scheme on our Curtiss JN-4. / THF150858

Founded in 1902, James Heddon and Sons produced fishing lures and rods at its factory in Dowagiac, Michigan. Heddon’s innovative, influential products helped it grow into one of the world’s largest tackle manufacturers. That inventive streak spilled over into Heddon’s advertising efforts. In the early 1920s, the company acquired two surplus JN-4 Canucks and painted them to resemble Heddon lures. These “flying fish” toured the airshow circuit to promote Heddon and its products. While our Canuck isn’t an original Heddon plane, it’s painted as a tribute to those colorful aircraft. (Incidentally, the Heddon Museum is well worth a visit when you’re in southwest Michigan.)

Every airplane in Heroes of the Sky has a story to tell. Some of them are even fish stories!


Matt Anderson is Curator of Transportation at The Henry Ford.

Additional Readings:

• Getting into the Air: Alexander Graham Bell’s Aerial Experiment Association
  
• A Stunt-Flying Aviatrix
  
• 1939 Sikorsky VS-300A Helicopter
  
• A Closer Look: Air Traffic Control Radar Scope

World War I, Canada, 20th century, 1910s, popular culture, Heroes of the Sky, Henry Ford Museum, flying, by Matt Anderson, airplanes

THF90811

Although it wasn’t the most expensive car of its day, the 1937 Cord was pricey. But its Depression-era buyers were well-off and didn’t mind a stylish car that attracted attention. The Cord’s swooping fenders, sweeping horizontal radiator grille, and hidden headlights were unlike anything else on American highways. And although it wasn’t the first, the Cord was the only front-wheel-drive production car available in America for the next three decades.


This 1937 Cord catalog shows the sedan version of the car. THF83512


The company’s definition of luxury included not only the Cord’s styling but also its comfort, its ease of driving and parking, and the advantages of front-wheel drive. THF83513


Customers who wanted even more luxurious touches could buy accessories from the dealer. The Cord Approved Accessories catalog for 1937 included some items now considered basics, such as a heater, a windshield defroster, and a compass. Image (THF86243) taken from copy of catalog.


This post was adapted from an exhibit label in Henry Ford Museum of American Innovation.

Additional Readings:

• 1959 Cadillac Eldorado Biarritz Convertible: Is This the Car for You?
  
• Noyes Piano Box Buggy, about 1910: A Ride of Your Own
  
• Douglas Auto Theatre Sign, circa 1955
  
• 2016 General Motors First-Generation Self-Driving Test Vehicle

20th century, 1930s, luxury cars, Henry Ford Museum, Driving America, convertibles, cars

Arriving at the holiday season in true 2020 fashion, the Museum experience will be different this year. Santa is focusing his time at The Henry Ford on the physically distant experience at Holiday Nights in Greenfield Village. We will miss seeing the joy of personal visits at Santa’s Arctic Landing and the exploration at seasonal hands-on opportunities. While we regret our inability to offer these programs to guests, there are still many festive offerings in the Museum between November 21^st and January 3^rd.

A towering 25’ Christmas tree as the centerpiece of the Plaza.



Historic dollhouses decorated for the season. Look for three Marvel characters inviting themselves to these miniature vignettes!



Celebrating the Jewish Holiday of Hanukkah was a favorite in 2018. This year, it includes new acquisitions (face masks and a battery-operated menorah) to bring the display right up to the minute.



Della Robbia (Colonial Revival decorative items using fruit and foliage) on the façade of the Museum and within the Clocktower.





Our model train layout is once again decorated with festive lights and holiday happenings.



The Michigan LEGO Users Group (MichLUG) has brought us yet another knockout layout. While we usually ask them for a Detroit cityscape, this year they approached us with the idea of also adding Hogwarts. Why not?



Though the Years with Hallmark: Holiday Ornaments is back with 136 ornaments in a new location. Look for this sampling of our enormous collection of Hallmark ornaments in the awards alcove in the Promenade, between the Museum Store and the Clocktower.



In short, there are still plenty of reasons to feel the cheer of the season in Henry Ford Museum of American Innovation—and you can explore even more of our seasonal events and stories on our holiday round-up page.


Kate Morland is Exhibits Manager at The Henry Ford.

Michigan, Dearborn, 21st century, 2020s, holidays, Henry Ford Museum, Hanukkah, events, COVID 19 impact, Christmas, by Kate Morland

Hanukkah case in Henry Ford Museum of American Innovation.

Legends and stories surround the origin of Hanukkah, whose name means “dedication” in Hebrew. Hanukkah celebrates the 165 B.C.E. victory over the Jews’ Syrian-Greek oppressors, who had seized the Holy Temple in Jerusalem. According to Rabbinic tradition, the Jewish victors—a rebel army known as the Maccabees—set out to purify and rededicate the defiled temple but could only find one day’s worth of ritual oil. Miraculously, the small amount of purifying oil burned in the temple’s lamp stand, or menorah, for eight days.

For centuries, Hanukkah was a modest occasion, a minor holiday. Jewish law and custom only required the lighting of candles for eight nights, with one candle to be used as the shamash (“guard” or “servant” in Hebrew) to light the others. The lighted candles were to be kept by a window where they could be seen by passers-by. In Eastern Europe, the celebration included eating latkes (potato pancakes), distributing small amounts of Hanukkah gelt (coins) to children, playing games with a dreidel (a spinning top), and playing cards.

In America, Hanukkah continued to be celebrated in this modest way, if at all. After the Civil War—as the American Christmas began to transform itself into a holiday of decorations, parties, shopping, and gift-giving—American Jews were drawn to the bright lights and excitement of that holiday.

Leading rabbis worried that, compared to the increasingly popular celebration of Christmas, Hanukkah lacked “romance” and allure. The campaign to revive and enhance Hanukkah began in the 1880s. Families were encouraged to create a festive atmosphere at home, to have Hanukkah parties, and to exchange gifts. By the 1920s, Hanukkah had begun to assert itself as a major Jewish domestic holiday.

Hanukkah reached its full flowering in the child-centered culture of post-World War II America. Beginning in the 1950s, not only did more families celebrate the holiday, the celebrations themselves became more elaborate. Jewish organizations encouraged this with books and manuals to help families make the holiday more appealing (and discourage the celebration of Christmas). Families might exchange gifts for eight nights, light several menorahs, give parties, prepare special foods, and decorate their houses.

Today, the eight-night Hanukkah holiday still usually involves menorah-lighting, latke-eating, and dreidel-spinning, but Jewish celebrants can choose from a wide variety of items and ways to celebrate the traditions and rituals.

Items selected for this year’s Hanukkah display in Henry Ford Museum of American Innovation:



One couple used both of these menorahs to celebrate Hanukkah. The brass menorah was an heirloom, passed down through three generations. Its design incorporates traditional Jewish cultural symbols. The contemporary design of the other menorah, featuring popular cartoon characters, delighted the couple’s grandchildren. Traditional Hanukkah Menorah, 1900-1920 and Modern Hanukkah Menorah, 1998 / 2005.121.62 and 2005.121.61


Just after dark each night of Hanukkah, one additional candle is lit in the menorah until all eight candleholders are filled with light. A ninth shammas (also spelled shammash)—or “attendant”—candle is used to light these candles. Detail from 1953 book, We Celebrate the Jewish Holidays. / THF111666


The alternate and more traditional spelling of the holiday starts with the two letters “Ch,” which is an English transliteration of the eighth letter in the Hebrew alphabet. The words “Chanuka candles” are written in both English and Hebrew on this box. Hanukkah Candles, 1946-1980 / 2010.2.178


Forty-four candles light the Hanukkah menorah—a shammas (also spelled shammash), or “attendant,” candle plus an additional candle (beginning with one) for each of the eight nights. The candles are inserted from right to left (the direction in which Hebrew is read) but kindled from left to right. Spinning the dreidel (pronounced “dray’-duhl”), a four-sided top with a Hebrew letter on each side, is a traditional children’s game played during Hanukkah. A blue dreidel is depicted in the lower left corner of this box of menorah candles. Hanukkah Candles, 1990-2010 / 2010.2.176


This recipe booklet suggests traditional dishes for the Hanukkah celebration, including mandelbrot (a crunchy almond bread also known as mandel bread) and latkes (potato pancakes fried in oil). Famous Recipes for Jewish Housewives, 1940 / 2005.29.79


Ideas for this Hanukkah table arrangement from the 1955 book Jewish Home Beautiful include traditional dishes as well as gelt—chocolate coins often given to children during the festival—and small boxed gifts. Detail from 1955 book, Jewish Home Beautiful / THF111655

Also on exhibit, but not pictured here:

• Fried potato pancakes, or latkes, are a Hanukkah staple. This packaged mix offered a convenient alternative to the traditional preparation—grating numerous potatoes by hand. Product Package for Kosher Potato Pancake Mix, 2000-2010 / 2010.2.100
• In 2020, families celebrating Hanukkah can use everything from traditional spinning dreidels for playing the dreidel game to electric blinking menorahs to face masks for family get-togethers during the COVID-19 pandemic. These are part of a larger acquisition of contemporary items relating to the Chanukah celebration from the online store, www.TraditionsJewishGifts.com. This is an online extension of the Traditions Judaica Gifts retail store, located in South Florida’s Pompano Beach—a family-run business that is one of the largest purveyors of Judaica gifts in the world. Items were selected to represent the wide spectrum of ways in which people express their style, personality, and values in celebrating the holiday. Traditional wooden dreidels, ca. 2020 (2020.140.4-.7); “GO” Menorah (electric or battery-powered), 2018 (2020.104.1); Face Masks, “Happy Chanukah” and “Eight Crazy Nights” (referencing Adam Sandler’s 2002 animated musical), 2020 (2020.104.2, .3).

Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford. She enjoys explaining the Hanukkah traditions that she grew up with to others. Thanks to authors Saige Jedele and Judith Endelman for their previous blog posts about the history and traditions of Hanukkah, from which this blog post heavily draws, and to Saige for writing the initial exhibit labels for many of these objects.

home life, holidays, Henry Ford Museum, Hanukkah, food, events, by Donna R. Braden

Entrance to the exhibition in Henry Ford Museum of American Innovation.

We curators love to show off our expertise in these blog posts—with knowledge we’ve gained from books and articles and stories we’ve gleaned from our own collections. But one thing we often forget to do is to invite opinions from other staff members. As an avid comic book fan, I have written several blog posts about comic books—about my own favorites, the censorship wars of the 1950s, and how you can tell the difference between DC and Marvel superheroes.

When it came time to reflect upon the Marvel: Universe of Super Heroes exhibition currently at Henry Ford Museum of American Innovation, I suggested we talk to other Marvel fans who work here. They could be like ambassadors, I proposed, both for Marvel devotees and for those who are new to the Marvel Universe. What did these fans on our staff like best? What do they think other people shouldn’t miss? Below are their responses to questions I posed to them. And don’t be surprised if you find a few opinions of my own in here. Sorry. I couldn’t help it!


Spider-Man photo op.

First, meet our panel.

Kate Morland is our Exhibits Manager. Although she loved Archie comics as a kid, it was the movies that first interested her in the Marvel franchise. The Spider-Man movie from 2002 was her first Marvel movie. She loved Tobey Maguire as Peter Parker and Kirsten Dunst as Mary Jane Watson. As a teenager herself at the time, she found Spider-Man relatable as a peer. Over the years, she’s broadened her interest through the different movies. Recently, she’s grown to love Guardians of the Galaxy, as she’s come to appreciate humor in tense situations. For that reason, Goose, the Flerken/cat, is another favorite!


X-Men section of the exhibition.

Tim Johnson is our long-time Program Leader in Talent & Culture. He got “hooked” on Marvel through the comic books. His best friend is a massive comic book collector and got him hooked after college. As his friend tired of Tim giving him grief about his own love of “funny books,” he made Tim a bet that he would change his view after reading Watchmen by Alan Moore. He was right. After reading that series, Tim jumped into X-Men. Over time, he has continued to love a wide array of superheroes, especially the antiheroes and “gray hats” (that is, those who are not naturally “white hat” heroes--Wolverine, Punisher, and Gambit would all qualify as Gray Hats). He prefers the antiheroes because being heroic and doing the right thing doesn’t come naturally to them. That’s his “beef” about Superman (the original superhero from that other company, DC)—very little struggle with his conscience! He just naturally always did the right thing.

Melissa Foster is our Senior Manager, Public Relations, Media & Studio Productions Department. Her love for Marvel has been a “slow burn”—in a good way! She’s seen every Marvel movie—including the 2002 Spider-Man and the X-Men movies. Some are better than others, she says, but when Marvel Studios set its focus back on the Avengers, that’s really when her level of interest changed.

What started out as a general interest in the movies flourished, thanks to one of her friends, who is a giant comic enthusiast and gave her more insight into the bigger Marvel Universe and the stories behind the characters. Seeing how innovative Marvel really is when it came to stories of diversity, and making their heroes relatable beyond the big screen, changed her from an occasional enthusiast to a person who owns Marvel TOMS (i.e. casual footwear featuring images of popular Marvel characters and scenes), pays for a subscription to Disney+ so she can watch their content, and is an avid reader of their comics. The movie that really made her say, “Wow!” was Captain Marvel. She loved watching a female superhero who didn’t have a love interest on the screen—and just was a total powerhouse. To Melissa, Captain Marvel is the most powerful Avenger. She’s so happy that this female superhero is represented in the exhibition.

For me (Donna), it has always been about the comic books, which is where I started my interest back in the early 1970s. Like Kate, I found Spider-Man relatable too. Like Tim, once I discovered Marvel, I thought Superman was totally one-dimensional. And I also first learned about Marvel from my best friend.

And now, on to the questions…

Q: What were the most memorable parts of the exhibit to you? Why?

• Kate: In my role, I look at both the guest perspective as well as how the exhibit comes together during installation. The most memorable part to me is Dr. Strange’s mirror dimension. Not only do we have two highly recognizable costumes from the film, but the immersive set, including disorienting mirrors and projection, is so intricate and transporting. All of the work that went into its construction was really worth it.
• Tim: Oh, boy, that’s a toughie! I loved the original artwork, since I have no artistic skill whatsoever and wish I did. The photo ops are tremendous, especially hanging on the couch with The Thing. The flow of the exhibit is on point, and I am always into the backstories of the characters and creators.
• Melissa: I’ve seen the exhibit many times—including once before it came to The Henry Ford—and every time I walk through, something new strikes my interest. One of the most memorable things for me during all of this has been watching the “mini”-superheroes dressed in their Iron Man, Black Panther, Spiderman, and Captain Marvel costumes, coming in and not wanting to leave. I was on a shoot with a film crew one day and we were filming a tiny Iron Man interacting with the “Be Iron Man” experience in the exhibit. His mom looked at me and said, “We’ve been in here for two hours and he won’t leave.” That, to me, was amazing. I love watching people connect with our exhibits, and this one has brought in so many different and interesting connections.
• Donna: I loved both reconnecting with my “old friends”—Spider-Man, Dr. Strange, Silver Surfer—and becoming familiar with superheroes I didn’t know that well. And, like Melissa said, watching the families go through the exhibit is fascinating. It is so rare to see an exhibit where the kids are the experts!
  
  

Mirrors in Dr. Strange section of exhibition.


Photo op with The Thing.

Q: What is your single favorite object or feature in the exhibit? Why?

• Kate: My favorite object to talk about in the exhibit is right at the beginning—an original copy of Marvel Comics #1 from 1939. I’m a sap for a good origin story, and the beginning of the franchise is as good as any.
• Tim: The photo ops, both in the exhibit and the photo booth outside. Who wouldn’t love seeing their picture in a comic book? Best $8 souvenir ever!
• Melissa: If you go into Dr. Strange’s Mirror Maze, be sure to walk back through the opposite way one time, or at least look back before taking in the X-Men artwork. The kaleidoscope effect of the artwork displayed is absolutely beautiful, and it’s something you can’t get the full effect of if you walk through only once.
• Donna: The issue of Amazing Fantasy #15, from 1962—the first appearance of Spider-Man. I never get tired of that!
  

Marvel Comics #1 from 1939


Original artwork for The Incredible Hulk comic books.

Q: If you were to describe the exhibit to someone who is new to Marvel, how might you describe it?

• Kate: I would describe the exhibit as an excellent one-hour overview to the franchise. When I first saw the exhibit at a previous venue, I was astounded by how much was covered. If someone is considering jumping into Marvel comics, movies, or shows, they can certainly find a hook in our exhibit that could lead to continuing interests.
• Tim: It’s a wonderfully immersive way to both experience the character history of Marvel and to enjoy a tangible way of putting yourself into their world.
• Melissa: I would describe it as an exhibit for everyone. Seriously, people who love the movies might be interested in seeing their favorite character’s costume up close, but don’t skip the original artwork. There are some very talented artists at Marvel, and I think the work within this exhibit, would be appealing to even those who have zero interest in comics.
• Donna: It’s great if you have a Marvel fan as your tour guide but the exhibition nicely helps you understand the characters and the Marvel Universe without having to feel embarrassed in front of your friends or family!
  

“Become Iron Man” interactive.

Q: What should they not miss?

• Kate: “Become Iron Man” is such a fun interactive because you get to pretend to wear one of his suits and practice shooting targets. It’s my favorite interactive in the exhibit.
• Tim: Bring a camera! You will want to capture and preserve the memories you create!
• Melissa: Do NOT miss the Ant Man and Wasp area of the exhibit located just behind Spiderman. You won’t regret it. Its whimsical, and quirky—and I love it. If it wasn’t for the cool kaleidoscope feature of Dr. Strange’s Mirror Dimension, it would be my favorite part of the exhibit.

Costumes from the Black Panther film.

Q: Is there anything else you would like to add?

• Kate: Marvel has such a long history that one of the best parts of hosting the exhibit is the intergenerational relationships that it nurtures. I love seeing two or three generations of Marvel fans walk through together, swapping stories of different plot points from stories about the same character over the decades.
• Tim: Marvel is one of the best exhibits we have hosted in the Gallery. It is colorful, informative, and fun for all ages. I can’t remember another exhibit we have hosted that was as much pure kick-in-the-pants fun. To sum the exhibit up in one word, let me quote Marvel legend Stan Lee—“Excelsior!”
• Melissa: This year has been such a difficult one for everyone. Sometimes it’s nice to escape the reality for a minute and get distracted by something fun. The Marvel exhibit does just that. Even if you aren’t a fan of Marvel, just walking through and seeing the excitement it brings to so many, might be a little—dare I say it—contagious—in a good way!

So…there you have it! Thanks, Kate, Tim, and Melissa! We hope this little fan exchange has whetted your appetite to see—or return to see—the Marvel: Universe of Super Heroes exhibition before it closes at the end of January 2021. And no doubt you have—or will have—stories of your own to tell!


Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford. Check out these links for her previous blogposts related to comic books: “Hooked on Comic Books,” “Comic Books Under Attack,” and “Battle of the Superheroes.” All photographs courtesy of Caroline Braden.

Michigan, Dearborn, 21st century, 2020s, popular culture, Henry Ford Museum, events, comic books, by Donna R. Braden, #Behind The Scenes @ The Henry Ford

Collection management staff play a crucial role in The Henry Ford's digitization process. We not only find and pull objects from their storage locations and move them to the photo studio, we also unpack or assemble objects if needed, assist the photographer with setup, repack the objects, and return them to storage after being photographed. We also track the locations of objects in the collections database as they are moved from place to place.


This graphic of our digitization process shows where collection management fits in.

Most movements are pretty straightforward and involve only minimal handling, but some objects give us a greater challenge. Sometimes it is the sheer quantity of objects that creates a challenge in coordinating and streamlining the digitization process.

One example of this type of work is our recently acquired Hallmark ornament collection. Over 6,600 ornaments were acquired, and we initially set out to digitize them all, with photography completed by the end of 2020. (Note that this goal has since been disrupted, like so many things, by the worldwide coronavirus pandemic.) With this many ornaments, it became clear that a plan was needed to maximize efficiency and that it was way too much work for the present staff to accomplish due to other job duties, so contract employees were hired to work solely on the project.

We streamlined the process as much as possible, but there were still quite a few steps.


Pallets of incoming unprocessed ornaments in our storage building.

After the ornaments are catalogued by our registrars, collection management staff move the ornaments from the processing area to the Photo Studio, making sure all items are securely packed so no damage occurs during the journey. Because our campus is so large, this involves moving the objects from one building to another.


Catalogued ornaments awaiting delivery to the Photo Studio.

Upon arrival in the studio, the ornament product packages are removed from the storage cartons and then the ornaments are unpacked from their product packages. Care is taken in opening the packages, and the items are carefully removed as to not tear the boxes, damage the ornament, or lose any small pieces. The ornaments are then sorted to keep similarly sized ones together, so the photo setup doesn’t need to be changed between each photograph. Glass or shiny ornaments usually require different lighting, so these are kept in their own batch as well.

The ornaments are readied ahead of the photo shoot to easily move through the process, allowing a large number per day to be shot. We don’t want to get slowed down by taking time in between each shot to unpack the next item.


Ornaments getting prepared to be photographed.


Ornaments with their packages and accession number tags ready for photography.


Ornaments lined up on a cart, ready to be photographed.


Photographing the ornaments.

Assisting with the photography setup is also part of the job: placing the ornaments on the table, removing them after they’re photographed, making sure all parts are included in the shot, and assisting the photographer as needed.

After the photographer is done, we wrap the ornament in clean new tissue paper and carefully place it back into its product package. The product packages are then placed in new, clean archival storage boxes, sorted by year. For permanent storage, the bubble wrap that was included in the original packaging is removed, as it does not contain a stable plastic and may break down and harm the objects.


Photographed ornaments being sorted before being boxed up for storage.

Since this a very large collection, it would take up a large amount of shelf space in storage. To save space, we stack the completed cartons on a pallet. When the pallet is full, it is then shrink wrapped to keep all the cartons in place during movement to their storage location.


Palletized Boxes shrink wrapped to keep everything in place.


Diagram of location of boxes to easily locate boxes (and the individual ornaments they contain) within the pallet in the future.


Barcoded boxes ready to be palletized.

At each step of the process, from cataloging to the final storage location, the location of each ornament is tracked in our collection management database [Axiell’s EMu]. We update the location field each time we move an artifact. With 6,600 ornaments in the collection, that’s a lot to keep track of—so we streamline this step as well.

A holder location is created in EMu and a barcode is generated for each storage box and pallet used. Each time we move a box to a pallet, we scan its barcode and the one on the pallet, and all ornaments in that box get their location updated automatically in our database. Then when we move the pallet, we scan its barcode and the barcode of its storage location, and all ornaments in all the boxes on the pallet get their locations updated. This saves a lot of time and is much more efficient then updating each object individually each time.

Due to the worldwide COVID-19 pandemic, our digitization priorities have shifted—but we were still able to digitize more than 2,000 of the Hallmark ornaments before we had to stop. You can check out some curator highlights from the collection in our Expert Set, or browse them all in our Digital Collections.

The Henry Ford is facing unprecedented financial challenges due to the impact of our 16-week closure and reduced operations. We need your help in securing our future. Love the Henry Ford? Please support all that we treasure—including our digitization program. Longtime supporters of The Henry Ford will match your donation dollar for dollar, so your contribution will have double the impact.

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Hallmark, Miniature Moments, Henry Ford Museum, photography, digitization, COVID 19 impact, collections care, by Victoria Morris, #digitization100K, #Behind The Scenes @ The Henry Ford

Luther Burbank at His Desk, 1915 THF126963

Luther Burbank overcame nature’s limitations to create more than 800 plants the world had never seen. 

Burbank experimented with plant reproduction to change the traits of plants. He considered himself a student in “Nature's school” and a lifelong learner. Through the power of observation, Burbank overcame the limits of nature to create new varieties of plants.


Luther Burbank’s plant hybridization experiments led him to develop a plumcot: a cross between the plum and the apricot. THF275310

Luther Burbank used methods like selective breeding, cross-pollination, and hybridization in his experiments. In one famous example, he crossed a plum and an apricot to create a brand-new fruit: the plumcot. In another, he created a cactus with no spikes!

Burbank’s plant creations brought him fame. He amazed more formally trained scientists, and crowds of people showed up at his experimental gardens. The media described Burbank as a “plant wizard,” but he rejected that label. He argued that anyone could do what he did.


An interactive digital experience in Henry Ford Museum features the stories of Luther Burbank, Rachel Carson, and George Washington Carver.

Learn more about Burbank’s life and work in Henry Ford Museum of American Innovation, where a new digital experience in the Agriculture & the Environment exhibit explores

• Grafting – a technique Burbank used to clone fruit varieties
• The process of creating the famous Russet Burbank potato
• Tools used by Luther Burbank in his work
• Burbank’s work tracing the origins of corn to an ancient wild grass
• Popular Burbank plant creations still sold today

Luther Burbank, technology, Henry Ford Museum, agriculture

THF127375

Rachel Carson devoted her early career to studying and writing about the ocean. During the 1950s, her poetic books about the sea brought her recognition and fame as an author.

Carson’s books helped build a new awareness about the environment. Her most important book, Silent Spring, released in 1962, asked Americans to examine the negative effects of widespread chemical pesticide use.


Rachel Carson’s 1962 book, Silent Spring, linked human action to environmental destruction and ignited a national conversation. THF110029

During World War II, a chemical called DDT protected troops by killing disease-spreading insects. After the war, numerous products containing DDT became commercially available to American consumers for pest control.

In Silent Spring, Carson urged the public to live in harmony with nature and cautioned against the overuse of DDT, which destroyed insect populations and threatened other wildlife species. America reacted. The government banned DDT in 1972. The environmental movement—sparked in part by Carson’s book—continues today.


An interactive digital experience in Henry Ford Museum features the stories of Rachel Carson, Luther Burbank, and George Washington Carver.

Learn more about Carson’s life and work in Henry Ford Museum of American Innovation, where a new digital experience in the Agriculture & the Environment exhibit explores

• The post-WWII “chemical craze” that prompted Carson to act
• The long-term environmental effects of pesticide misuse
• Books and magazines from the beginning of the environmental movement
• Carson’s influence on the evolution of environmental activism
• Pesticide use today

20th century, 1970s, 1960s, 1950s, women's history, technology, Rachel Carson, nature, Henry Ford Museum, environmentalism, books

Do you have a favorite dish — or dishes — from Michigan Café? With a diverse menu ranging from Falafel Dogs to Corktown Burgers, it may be hard to choose just one! If you’re in the mood for some Detroit-inspired recipes, try two of our most popular Café selections featuring unique tastes of Detroit: Vernors Ginger Soda and Better Made Potato Chips.



Vernors Cake
1 12-ounce can Vernors Ginger Ale
6 ounces unsalted butter, softened (let sit at room temperature)
1½ cups sugar
2 eggs
½ teaspoon vanilla extract
½ teaspoon ground ginger
1½ cups flour

Heat oven to 350 F. Empty Vernors into a saucepan and bring to a boil. Reduce by at least half, so ginger ale is syruplike. This should yield ¼ cup of syrup for the cake batter, plus extra for brushing on top. Set aside to cool.

In a large bowl, cream together butter and sugar. Combine eggs and vanilla in a separate bowl and add slowly to the butter mixture. Combine ground ginger and flour in another bowl and add alternately to the batter with ¼ cup of Vernors syrup.

Bake in a paper loaf pan or cupcake pan with liners for 30 minutes. Yields 8 loaves.

Brush with reserved Vernors syrup while warm. Cool completely before serving. Top with vanilla icing.

Looking for more Vernors recipes? Try this 1950 recipe book from our digital collections.


Better Made Chicken Tenders (gluten free)
1 pound (about 12 pieces) chicken breast tenderloins
Salt and pepper
1½ cups gluten-free all-purpose flour
2 eggs, beaten with ¼ cup water
2 cups crushed Better Made Potato Chips

Arrange chicken tenders on a sheet pan and pat dry with paper towel. Season with salt and pepper. Place the flour, beaten eggs and chips in separate bowls. Dredge tenders individually in the flour, shaking off excess. Then dip floured tenders in egg wash and finally coat with crushed chips. (Can be made a day ahead to this point and refrigerated.)

When ready to eat, heat frying oil to 350 F. Gently place breaded tenders into oil and fry until they are golden brown and reach an internal temperature of 165 F (about 4-5 minutes).

Michigan, Detroit, Henry Ford Museum, restaurants, food, recipes

An early McDonald’s after the menu change and before the iconic Golden Arch redesign. THF125822

If you do an Internet search on the date and place of the first McDonald’s, chances are you’ll get 1955, Des Plaines, Illinois. But that was actually the first McDonald’s franchised by milkshake machine salesman Ray Kroc.

The first real McDonald’s was created by Richard (“Dick”) and Maurice (“Mac”) McDonald in San Bernardino, California, on May 15, 1940. Located on Route 66 and based upon a food stand opened by their father a few years earlier, Dick and Mac’s “McDonald’s Bar-B-Que” was typical of car-hop type drive-in restaurants of its day.

The big shift from a joint selling barbecue ribs, beef, and pork sandwiches on china plates to the McDonald’s we know today occurred in 1948. Dick and Mac were tired of trying to keep capable cooks and reliable carhops on staff. And the teenagers were driving them crazy—hanging out, breaking the china, and keeping other customers away. So they closed their restaurant, fired the carhops, and a few months later, introduced a whole new “Speedee Service System.” This radical new concept featured a limited menu, walk-up service, an assembly-line system of food production, and drastically reduced prices. Five years later, milkshake machine salesman Ray Kroc recognized a “golden” concept when he saw one. He franchised the concept with their name across the country, especially in the new suburban neighborhoods across the Midwest.


McDonald’s sign, 1960, in the Driving America exhibition, Henry Ford Museum of American Innovation. THF151145

Neon signs like this one, with a single “golden” arch and the logo of Speedee, the hamburger-headed chef, flashed in front of early McDonald’s franchises. The instantly recognizable design was drawn by Richard McDonald in 1952, first applied to a McDonald's restaurant in 1953, and then co-opted by Ray Kroc when he began franchising the restaurants in 1954. It became the corporate logo in 1963, after Kroc bought out the McDonald brothers in 1961. This particular sign lit up Michigan’s second McDonald’s, located in Madison Heights.

The McDonald’s innovative Speedee Service System, reduced-price menu, and recognizable Golden Arches set the standard for numerous other fast food establishments to come. During the 1970s, Happy Meals raised the bar again. McDonald’s continues to be at the forefront of new trends in the fast food industry.

Donna R. Braden is Curator of Public Life at The Henry Ford.

Additional Readings:

• 1896 Ford Quadricycle Runabout, First Car Built by Henry Ford
  
• 1937 Cord 812 Convertible
  
• Douglas Auto Theatre Sign, circa 1955
  
• Driving America

Henry Ford Museum, Driving America, Michigan, popular culture, by Donna R. Braden, food, restaurants