This is the fourth of a series of blog posts presented in conjunction with the traveling exhibition, Louis Comfort Tiffany: Treasures from the Driehaus Collection. The exhibit, consisting of approximately 60 artifacts, is on view at Henry Ford Museum of American Innovation from March 6, 2021, through April 25, 2021. Many of the objects shown here are from the collections of The Henry Ford and provide background on themes in the exhibition; those not from our collection are credited by source.

The Influence of Tiffany in His Lifetime

Vase 1901-1905 / THF163599


Favrile Vase circa 1899 / THF163603

By 1900, Louis Comfort Tiffany had transformed the Art Glass Movement, begun in the 1880s, into a much broader and more international trend. Working with his patented “Favrile” glass, which diffuses light on the surface into a shimmering, or iridescent effect, Tiffany transformed the glass world.


Loetz Vase 1900–1910 / THF166027

Working with Samuel Bing, the leader of the Art Nouveau movement in Paris, Tiffany became internationally renowned. European competitors like Loetz Art Glass, in what was then part of the Austrian Empire, took inspiration from Tiffany, and he, likewise took inspiration from them.


Sweetmeat Dish 1903–1930 / THF163634


Aurene Bowl 1915–1930 / THF163625

Tiffany also faced rivals in the American market. The most famous of these was the Steuben Glass Works, of Corning, New York, whose “Aurene” iridescent wares were almost indistinguishable from Tiffany’s own work.


Punch Bowl 1910–1925 / THF34968

Iridescent glass was extremely popular in the years between 1890 and 1920. Late Victorian era Americans were obsessed with showing off their good taste and wealth to family, friends, and neighbors. Conspicuous consumption and ostentatious materialism were bedrock beliefs in Victorian society. Glass for decoration was an important part of the Victorian interior, whether one was wealthy or of modest means. Both Tiffany and Steuben products were expensive, so other glass companies filled the void with lower-end wares. The punch bowl set above was made by the Northwood Glass Company of Wheeling, West Virginia, and would have been a prized possession in a moderate-income home. Known by collectors as “Carnival Glass,” it is also referred to as “Poor Man’s Tiffany.”

Tiffany and Art Deco

Victoire Hood Ornament 1928–1930 / THF168531

Following World War I, tastes began changing. The devastation of the war in Europe and the concurrent crumbling of monarchies and old social orders led society on both sides of the Atlantic to search for something new, something modern, and something different in their décor. By the mid-1920s, this led to a new, geometric style that we call Art Deco. Where Art Nouveau featured organic shapes seen in the work of Louis Comfort Tiffany and his contemporaries, Art Deco embraced the machine and geometric aesthetics. A good example of this is the “Victoire” hood ornament made by Rene Lalique, who had worked in the Art Nouveau style in the 1890s and early 1900s.


Stained Glass White Castle Sign, 1930s / THF101929

Tiffany Studio’s work remained rooted in Art Nouveau and sales plummeted in the 1920s. The Great Depression was the end for Tiffany. As one scholar noted, Tiffany lamps, vases, and decorative objects became fodder for tag and rummage sales in the 1930s and 1940s. Throughout this period there were lingering influences of Tiffany’s windows and aesthetic, as this stained-glass White Castle Hamburger sign shows.

The Tiffany Revival in the 1950s and 1960s

Following World War II, a flickering of interest in Tiffany’s artistry emerged in a number of museums. The Morse Gallery of Art in Winter Park, Florida, was one of the first museums to re-evaluate the contributions of Tiffany to American culture. In 1955, they organized Works of Art by Louis Comfort Tiffany, the first solo exhibition of Tiffany since his lifetime. Other museums, including Henry Ford Museum, began collecting Tiffany objects as early as 1954.

By 1959, the prestigious Museum of Modern Art in New York included Tiffany glass in their modern design gallery and produced a groundbreaking exhibit, Art Nouveau: Art and Design at the Turn of the Century. This reappraisal led to the beginning of new scholarship on Tiffany and a broader market for art glass among collectors from the 1960s onward.

The Revival of Tiffany in Popular Culture

Black Light Poster Featuring a Peace Sign, about 1968 / THF176507


Concert Poster for Electric Flag American Music Band, Moby Grape, and Steve Miller Blues Band at The Fillmore, 1967 / THF125134


Concert Tour Poster Blank, The Rolling Stones in Concert, 1969 / THF267787

The revival of interest in Tiffany’s work and in Art Nouveau in general comes into vogue through the counterculture of the 1960s. Many of this younger generation were called “hippies,” who sought out new directions in material culture. In this they referenced historicism, Victorianism, and just about anything that rebelled against the prevailing minimalism of mid-century modernism. So the highly decorative and organic qualities of Favrile glass appealed to them.


"Summer of Love" Button, circa 1967 / THF175160

Their self-described haven was in San Francisco, which became famous for its “Summer of Love” in 1967. This button uses calligraphic script with a female figure drawn in an Art Nouveau style.

The Diffusion of Tiffany into the Mainstream: 1970–1990

Farrell’s Ice Cream Parlor Menu, circa 1971 / from Seattle Public Library Special Collections Online



Two Farrell’s images above courtesy of Patrick Pehoski

As the 1970s dawned, the sense of nostalgia evoked by “hippie” culture began to come into mainstream material culture. One of the first ways this occurred was through “old-fashioned” ice cream parlors. One of the first of these to become mainstream was Farrell’s Ice Cream Parlour Restaurant. Founded in Portland, Oregon, in 1963, Farrell’s spread to approximately 120 locations by 1975. Each restaurant was designed to look like the 1910 era, complete with Tiffany hanging lamps and waiters and waitresses in period costumes.


Eurich’s Ice Cream Parlor, Dearborn, Michigan, 1960s / THF147849


Coca-Cola Chandelier, circa 1900, from Eurich’s Ice Cream Parlor, Dearborn, Michigan / THF7029

The postcard image above of Eurich’s Ice Cream parlor, formerly located in Dearborn, Michigan, shows an iconic view of the “old-fashioned” look, complete with a leaded hanging pendant Coca-Cola lamp, now in our collections.

By the early 1970s, Tiffany became more than a name—it became a style. At this time, “Tiffany” lamps were at the height of their popularity (like, for example, this lamp in the Tiffany style, made by Loevsky and Loevsky, about 1975).


United States Bicentennial Flag, circa 1976 / THF171693


United States Bicentennial Telephone circa 1976 / THF325912

With the United States Bicentennial in 1976, Americans became even more enamored with the nostalgia of the American past. This led companies like Wendy’s restaurants to emphasize their “old-fashioned” hamburgers and fill their early restaurants with bent-wood chairs and Tiffany-style stained glass lighting. Throughout the early 1980s, this nostalgia continued, although over the course of the decade, it began to wane.

What Happened to the Tiffany Style?

Sharp QT 50 Portable Radio Cassette Player, 1986 / THF88088

By the late 1980s, the Baby Boom generation that created the nostalgia fad of the 1970s had furnished their homes and were aging, while a new generation, seeking new decorative influences, came of age. This younger demographic found the “old-time” nostalgia of their elders somewhat stifling, preferring new sources, such as this Sharp brand radio cassette player, which derives its historical sources from the 1930s and 1950s. In turn, this trend known as “new age” or postmodernism, came and went by the early 1990s, as tastes changed again with generations.


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

Additional Readings:

• Davidson-Gerson Modern Glass Gallery
  
• Frederick Birkhill: The Spark That Ignited a Career
  
• Photographing Glass
  
• "Tension" by Dan Dailey, 2002

art, by Charles Sable, home life, design, popular culture, glass, Louis Comfort Tiffany

We all know that 2020 was quite the year—there was a worldwide pandemic, protests across the United States, and a contentious presidential election. It’s understandable that during the year, we all had a lot on our minds.

That said, we shared more than 160 new posts on our blog during 2020. Most of these were eagerly found and devoured by our readers. But a few really great stories from our collections might have gotten lost in the shuffle—and we wanted to make sure you didn’t miss them. Here are ten of those hidden gems to help you start off 2021 right.

Happy New Year!

Explore Art and Design

Jazz Bowl, circa 1931 / THF88364

The Jazz Bowl: Emblem of a City, Icon of an Age. Discover how a 24-year-old ceramic artist, Viktor Schreckengost, designed a bowl that both captured the essence of New York City in the early 20^th century and became an icon of America’s “Jazz Age.”


Molded Plywood Lounge Chair, 1942-1962 / THF16299

Charles and Ray Eames: Masters of Collaboration. Learn how husband-and-wife design duo Charles and Ray Eames collaborated on an early plywood leg splint, the iconic chairs they are known for, and on Mathematica, now in Henry Ford Museum!

Dive into Computers—and Computing

Burroughs E8000, circa 1965 / THF298298

“Wherever There’s Business There’s Burroughs.” In this post from the William Davidson Initiative for Entrepreneurship, explore the history of the Burroughs Corporation and their entrepreneurial journey from perfecting mathematical calculating machines, through work on wartime bomb sights, to the early computer market.


A LINC console built by Jerry Cox at the Central Institute for the Deaf, 1964.

New Acquisition: LINC Computer Console. The LINC computer may not be as familiar to you as the Apple 1, but it is in contention for the much-debated title of “the first personal computer.” Learn more about its history and the people involved in its creation.

Immerse Yourself in Pop Culture

Lady and the Tramp Charm Bracelet, circa 1955 / THF8604

Lady and the Tramp Celebrates 65 Years. Take a new look at an old classic—Disney’s 1955 movie Lady and the Tramp. Learn how it came to be and share in some personal memories from one of our curators.


Display for Sensation Comics #82

Comic Book Preservation: Tips from Our Conservators. Go behind-the-scenes in our conservation lab to learn how we take care of the comic books in our collections—and how you can take care of your own.

Examine Radio Innovations

Pocket Radio, circa 1925 / THF156309

A “Pocket-Sized” Possibility for the Future. Our idea of what constitutes “portable” has changed over time. Learn how the “pocket radio” allowed people to take their music with them during the 1920s.


Crosley Reado Radio Printer, 1938-1940 / THF160315

Experiments with Radio Facsimile at W8XWJ. Learn about the “Press-Radio War” of the 1930s, and a revolutionary, but ultimately short-lived, experiment by Detroit News radio station W8XWJ to deliver print-at-home news.

Uncover the Stories Behind Fashion Fabrics

Washington Anderton's Textile Samples Notebook, Cocheco Mfg. Co., 1876-1877 / THF670787

"Sampling" the Past: Fabrics from America's Textile Mills. Learn what textile sample books are, and take a visual tour through example pages from the extensive collection of sample books The Henry Ford received from the American Textile History Museum in 2017.


Wells, Richardson & Company "Leamon's Genuine Aniline Dyes: Purple," 1873-1880 / THF170208

A More Colorful World. Discover how a chemistry student, seeking to create a synthetic cure for malaria, inadvertently created the first synthetic dye, aniline purple—and then created more, transforming the world’s access to color.


Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

19th century, 20th century, 2020s, 21st century, radio, popular culture, fashion, design, COVID 19 impact, computers, by Ellice Engdahl

Another group of garments from The Henry Ford’s rich collection of clothing and accessories makes its debut in “What We Wore” in Henry Ford Museum of American Innovation.

Who knew that a company that made toilet tissue and paper towels would start a fashion sensation?

In April 1966, the Scott Paper Company launched a promotion for its new line of colorful paper products. Along with two proofs of purchase and $1.25 for shipping, customers could redeem a coupon for a paper dress, choosing from a red paisley bandana pattern or a black-and-white op art print.

The media took immediate notice. So did the public. Scott’s “Paper Caper” dresses became a surprise hit. Soon fashion enthusiasts were wearing not only Scott’s dresses, but paper apparel created by other manufacturers and designers who quickly joined in the trend.

The 1960s was an era of exploration and pushing boundaries. It was the space age--people envisioned an exciting future where everything was conveniently automated. New materials and disposability were in.

Paper apparel promised convenience--you could simply discard it after one wearing. Altering the hemline was a snap--all it took was a pair of scissors and a steady hand. A tear? You could do a quick repair with sticky tape.

The A-line shape and trendy prints of the paper dress fit perfectly with the youthful “Mod” look and aesthetic sensibilities of the 1960s. You could be up-to-the-minute at little cost--clothing could be quickly and cheaply replaced as trends shifted. There was a paper dress for every budget--from those on the shelves of mass-market retailer J.C. Penney to the chic creations carried by Manhattan boutiques.

People bought over a million paper garments between 1966 and 1968. Some envisioned throwaway clothing as the wave of the future. Yet, by early 1968, the craze was beginning to cool. Paper clothing was not really practical or comfortable for everyday use. And the hippie movement--with its back-to-nature values and strong anti-pollution message--was changing public opinion. What had seemed hip and modern now seemed frivolous and wasteful.

A bit of novelty in an era of experimentation, the paper dress fad was fun while it lasted.

The Dress That Launched a Fashion Craze

Scott Company’s “Paper Caper” Dress and label, 1966. / THF185279, THF146282

When the Scott Paper Company created the first paper dress in 1966, they intended it as a promotional gimmick to help sell their products. But their “Paper Caper” dresses--a paisley bandana design or an Op art print--swiftly and unexpectedly caught on with the public. The publicity the dresses brought Scott far exceeded the company’s expectations. By the end of the year they received nearly a half million orders for dresses they sold at near cost.

The company made little money from sales of the dresses--but that wasn’t the point. Inadvertent fashion innovators, company executives had no intention of continuing the paper dress venture in 1967, leaving the market to eager entrepreneurs.


Scott’s “Paper Caper” black and white Op art dress (geometric abstract art that uses optical illusion) appeared in Life Magazine in April 1966. / THF610489

“Waste Basket Boutique”

Paper Jumpsuit by Waste Basket Boutique by Mars of Asheville, 1966-1968. / THF185294 (Gift of the American Textile History Museum. Given to ATHM by Cathy Weller.)

The Scott company’s success started a trend for disposable fashion--so other companies quickly jumped in. Mars of Asheville, a hosiery company, launched a paper fashion line in June 1966 under the label, Waste Basket Boutique. They sold colorful printed-paper dresses and other garments for adults and children in a variety of strap, neckline and sleeve styles, as well as “space age” foil paper clothing. In September, Mars debuted plain white dresses that came with watercolor paint sets for “doing your own thing.” Pop artist Andy Warhol painted one to promote the new line.

Mars of Asheville became the leading manufacturer of disposable fashion, producing over 80,000 garments each week at its height.


Designers embraced the trend, creating unique disposable couture for a wealthier crowd. Tzaims Luksus designed these hand-painted $1000 balls gowns for an October 1966 fundraiser at the Wadsworth Atheneum in Hartford, Connecticut. Life Magazine, November 1966. / THF610492

Walking Ads/Walking Art

Campbell’s “Souper” Dress, 1967. / THF185289 (Given in Memory of Thelma D. Nykanen)

The advertising potential of these wearable “billboards” was huge. With coupons clipped from magazines, women could buy dresses from a variety of companies, including Green Giant vegetables, Butterfinger candy bars, and Breck hair care products. While some companies offered motifs that reflected their products, others followed fashion with flower power, paisley, or geometric designs.

In Spring 1967, the Campbell Soup Company produced what became the most famous paper garment of the era--this dress with its repeating soup can image. The dress not only advertised Campbell’s products--it also cleverly referenced Pop artist Andy Warhol’s iconic early 1960s depictions of the Campbell’s soup can that elevated this ordinary object to the status of art.


In 1968, the Mennen Company, makers of Baby Magic infant care products, offered women stylish paper maternity and party dresses “fashion-approved” by designer Oleg Cassini. / THF146023

Disposable Dresses Go Political

George Romney presidential primary campaign dress, 1968 / THF185284

Bumper stickers, buttons, and brochures--those were the standard things that political campaigns were made of in the 1960s. Beyond “standards,” campaigns also latch onto things that are hot at the time—and during the 1968 presidential campaign, that meant paper dresses. Democratic candidate Robert Kennedy and Republicans Richard Nixon, Nelson Rockefeller, and George Romney all had versions.

This George Romney campaign dress may have been “hip,” but it didn’t do the trick for him--Romney’s bid for the nomination was unsuccessful. Nelson Rockefeller’s too.



George Romney bumper sticker and campaign buttons, 1968. / THF146376, THF8545 (Buttons gift of Mr. & Mrs. Charles W. Kurth II)

When You Care Enough to WEAR the Very Best

Hallmark Cards, Inc. paper party dresses, “Flower Fantasy” and “Holly,” 1967. / THF185309 (Gift of the American Textile History Museum. Given to ATHM by Diane K. Sanborn), THF185307 (Gift of the American Textile History Museum. Given to ATHM by Jane Crutchfield)

In the spring of 1967, the Hallmark company embraced the disposable clothing trend, marketing a complete party kit that included a printed A-line shift and matching cups, plates, placemats, napkins, and invitations. While matched sets of disposable tableware had been around for decades, a matching paper dress was a new idea.

In this era of informal entertaining, festive paper tableware (and paper fashion) made hosting parties more convenient and cleanup easier. After guests left, the hostess could simply toss everything into the trash--rather than into the dishwasher and washing machine.


With Hallmark products, a hostess could have every element of her party perfectly matched--including her “swinging new paper party dress,” 1967. / THF146021


Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.

20th century, 1960s, What We Wore, popular culture, home life, Henry Ford Museum, fashion, by Jeanine Head Miller, advertising

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

Superman lunchbox, 1954, THF145091

Comic book super heroes can now be found pretty much everywhere: movies, TV shows, handheld games, action figures, and other merchandise. For those of you unfamiliar with the universes and the multiverses, it’s easy to get confused about the plethora of super heroes that are out there today. But if you’re trying to make sense of it all, here’s the single most important thing you need to know. Is it a DC or a Marvel super hero?

To help you understand the differences between these two comic book companies’ approaches, here’s a little personality test. (If the embedded quiz below doesn't work for you, you can also access it here.)

Continue Reading

quizzes, popular culture, comic books, 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

My name is Shannon Rossi, and I’m a Collections Specialist, Cataloger, for archival items. I started at The Henry Ford as a Simmons Intern in 2018, and have been a Collections Specialist since March 2019. Anyone who knows me knows that I love The Wizard of Oz. It is my favorite film. I collect Oz memorabilia and am a member of The International Wizard of Oz Club.

The artifact I’m going to talk about here is related to The Wizard of Oz. But it’s not the artifact you might expect.


The Wonderful Wizard of Oz, first edition, 1900 / THF135495

On my second day as a Simmons intern in 2018, Sarah Andrus, Librarian at The Henry Ford, showed me a beautiful first edition of The Wonderful Wizard of Oz by L. Frank Baum. The little girl who used to dance around the house singing “We’re Off to See the Wizard” rejoiced when I was able to hold that book in my hands. In my own collection of Oz memorabilia, I have a 1939 edition, but this was another experience entirely.

Last year marked the 80th anniversary of the 1939 musical starring Judy Garland. I signed up to do a History Outside the Box presentation to commemorate the anniversary. History Outside the Box allows us to showcase some of our archival items that visitors to The Henry Ford might not otherwise get a chance to see. In addition to the first edition book, I knew we had some fantastic Oz artifacts in our collection. We have copies of the special edition TV Guides that came out in July 2000, each with one of the main characters on the cover. We have sheet music for “We’re Off to See the Wizard” and “Over the Rainbow,” a coloring book from the 1950s, an original 1939 advertisement for the film an issue of Life magazine, and a photograph of Bert Lahr (the Cowardly Lion) when he visited Greenfield Village in the 1960s.


Bert Lahr Signing Autographs during a Visit to Greenfield Village, August 22, 1966 / THF128032

The artifact I want to talk about isn’t as famous or recognizable as anything I listed above. You pretty much have to be a diehard Oz fan (or have worked on acquiring, cataloging, or digitizing this item—which I did not) to even associate much meaning with it.

While browsing our collections for archival items to use in my History Outside the Box presentation, I found a theater program from the 1903 musical production of The Wizard of Oz at the Boston Theatre. (Be honest, how many of you knew that the 1939 film wasn’t the first musical production of Oz?)


Theater Program, "The Wizard of Oz," Boston Theatre, Boston, Massachusetts, 1903 / THF93092

We’ve established that I am a huge Oz fan. I knew about this production, as well as several of the early film productions (check them out if you get a chance!), but I had never seen a program from the show. This program is not visually spectacular. It is black and white. The vivid colors and magical illustrations from W.W. Denslow that are featured in the Oz first edition are conspicuously absent. In fact, the only illustration that anyone might associate with Oz is on the cover, which features a beautiful illustration of the Cowardly Lion about to fall asleep among a field of poppies that create a border around the page.

The story and lyrics for this musical adaptation was written by L. Frank Baum, but not all of it would seem familiar. We’d see, of course, Dorothy, the Scarecrow, Tin Man, and the Wizard. The Cowardly Lion, however, cannot speak, as he does in the book and almost every later adaption, nor does he ever befriend Dorothy. Dorothy’s house doesn’t land on any Wicked Witch. Nor does she receive any magical slippers (silver, as in the book, or ruby, as in the movie). Even our favorite precocious Cairn Terrier, Toto, is missing from this story. Toto is replaced by a cow named Imogene, who serves as Dorothy’s Kansas companion.


The cast list for Act I in the program includes Dorothy Gale and “Dorothy’s playmate,” the cow Imogene. / THF141760

The action in Oz has to do with political tensions between the Wizard and Pastoria, the King of Oz (who does appear in later Oz books). In fact, even real-life politicians and notable members of society at the time, including Theodore Roosevelt and John D. Rockefeller, were mentioned in the script.

The Boston Theatre production that audiences saw in November 1903 featured songs by composer Paul Tietjens, who had approached L. Frank Baum about creating an Oz musical as early as March 1901. Tietjens wasn’t exactly famous, but the play did feature some well-known actors of the early 20th century.

Most importantly, there are two names in the program that stand out: Fred Stone and David Montgomery. The two actors were paired on stage in many vaudeville shows. The pair played the Scarecrow and Tin Man in this musical adaptation. Later, when Ray Bolger was cast as the Scarecrow in the 1939 musical, he would credit Stone with inspiring his “boneless” style of dance and movement as the character.


Page seven of the program lists actors Fred A. Stone as the Scarecrow and David C. Montgomery as the Tin Woodman / THF141761

I’m grateful that this artifact was digitized. It’s not something you see or hear about very often, but it has a lot of power for Oz fans like me. That’s the power of digitization—the impact of a digitized artifact doesn’t have to reach huge audiences, if it reaches a smaller but enthusiastic audience. Digitization can allow us to marvel (slight pun about Professor Marvel in the 1939 musical definitely intended…) at an object we know exists somewhere out in the world, but have never seen before.

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Massachusetts, music, 20th century, 1900s, popular culture, digitization, digital collections, by Shannon Rossi, books, archives, actors and acting, #digitization100K

Comic book covers from the collections of The Henry Ford. See them in our Digital Collections here.

Comic books, like all things, change as they age and not necessarily for the better. Whether from the golden, silver or modern age, comic books are all printed on paper that is made from wood pulp. Lignin (a substance found in wood) breaks down and causes the paper to become increasingly acidic, discolored and brittle. Those of you who collect comic books have certainly seen and handled extremely brittle and discolored books. Conservators refer to this the inherent instability of wood pulp paper as “inherent vice.”

If you wish to preserve your comics, you need to take measures to combat this inherent vice by minimizing factors that accelerate deterioration. Steps that you can take to fend off inherent vice include:

• Limiting exposure to high levels of moisture, either in the form of water or high humidity. Both can damage comics and accelerate degradation.
• Avoiding exposure to ultraviolet and visible light, which can cause inks to fade and paper to become yellow.
• Using inappropriate non-archival storage or display materials, such as PVC vinyl plastic bags or boxes, inexpensive wood pulp cardboard boxes, wood pulp mat boards, wooden boxes or wooden frames. Contact with these can cause discoloration.
• Avoiding frequent handling.

 

In this video, recorded live in the conservation lab at The Henry Ford, Chief Conservator Mary Fahey demonstrates how to store, display, repair, and preserve your comic books.

What can be done to preserve comic books?

Take measures to limit exposure to moisture by placing books in archival bags or sleeves made from polypropylene, polyethylene or polyethyleneterephalate (Mylar).

Never store comic books directly on the floor.

Avoid storing books in attics, basements or other damp areas. If no alternative is available, use watertight polyethylene or polypropylene boxes and add a few silica gel packets conditioned to 45-50% relative humidity. The packets will need to be changed periodically.

Limit exposure to light including visible and invisible ultraviolet light. If you wish to display your comics, consider display methods that limit light exposure by avoiding display near windows and turning off the lights when you are not in the room. If you choose to display your books in a lighted showcase case, LEDs on a timer are the best option since they emit minimal ultraviolet light and minimal heat. At The Henry Ford, we have noticed that Mylar covers appear to block some of the damaging effects of light, providing some protection from fading.

All books should be bagged and boarded or encapsulated (see image below) for storage, display and handling. This protects them from dirt and moisture, minimizes flexing and stress of the fragile paper, and protects from the oil and salt in people’s hands. The use of archival materials and methods for storage and display can have a big impact on the longevity of your collection.



The use of acid-free, lignin-buffered mat board, boxes and paper inserts are recommended. These products are made from cotton, and generally contain calcium carbonate, which helps to neutralize the acid that is formed in the comic books as they age. They do cost a bit more, but are well worth it. The Henry Ford uses a variety of display and storage methods for comic books. Some examples include:

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popular culture, conservation, comic books, collections care, by Mary Fahey

Postcard, “Disneyland,” 1975. THF 207872

Welcome to Disneyland!

Disneyland was created from a combination of Walt Disney’s innovative vision, the creative efforts and technical genius of the team he put together, and the deep emotional connection the park elicits with guests when they visit there. Walt Disney himself claimed, “There is nothing like it in the entire world. I know because I’ve looked. That’s why it can be great: because it will be unique.” Here’s the story of how Walt created Disneyland, the first true theme park.


Souvenir Book, “Disneyland,” 1955. THF 205151

Disneyland is much like Magic Kingdom at Walt Disney World in Florida, but it’s smaller and more intimate. To me, it seems more “authentic.” It’s like you can almost feel the presence of Walt Disney everywhere because he had a personal hand in things.


Walt Disney posing the Greenfield Village Tintype Studio, 1940. THF 109756

In creating Disneyland, Walt Disney challenged many rules of traditional amusement parks. We’ll see how. But first…since he insisted that everyone he met call him by his first name, that’s what we’ll do. From now on, I’ll be referring to him as Walt!


Souvenir Book, “Disneyland,” 1955. THF 205155

DISNEY INSIDER TRIVIA: Do you know where Walt Disney’s inspiration for Main Street, USA, came from?

ANSWER: Born in 1901, Walt loved the bustling Main Street of his boyhood home in Marceline, Missouri. Marceline later provided the inspiration for Disneyland’s Main Street, USA.


Map and guide, “Hollywood Movie Capital of the World,” circa 1942. THF 209523

After trying different animated film techniques in Kansas City, Walt left to seek his fortune in Hollywood.


Snow White and the Seven Dwarfs Valentine, 1938. THF 335750

There, he made a name for himself with Mickey Mouse (1927) and—10 years later—the first full-length animated feature film, Snow White. Walt innately understood what appealed to the American public and later brought this to Disneyland.


Handkerchief, circa 1935. THF 128151

DISNEY INSIDER INFO: Here’s how Mickey Mouse looked on a child’s handkerchief in the 1930s.

“Merry-Go-Round-Waltz,” 1949. THF 255058

Walt claimed the idea of Disneyland came to him while watching his two daughters ride the carousel in L.A.’s Griffith Park. There, he began to imagine a clean, safe, friendly place where parents and children could have fun together!

Herschell-Spillman Carousel. THF 5584

DISNEY INSIDER INFO: That carousel in Griffith Park was built in 1926 by the Spillman Engineering Company—a later name for the Herschell-Spillman Company, the company that made the carousel now in our own Greenfield Village in 1913! Here’s what ours looks like.

Coney Island, New York, circa 1905 – THF 241449

DISNEY INSIDER INFO: For more on the evolution of American amusement parks, see my blog post, “From Dreamland to Disneyland: American Amusement Parks.”


1958 Edsel Bermuda Station Wagon Advertisement, “Dramatic Edsel Styling is Here to Stay.” THF 124600

The decline of these older amusement parks ironically coincided with the rapid growth of suburbs, freeways, car ownership, and an unprecedented baby boom—a market primed for pleasure travel and family fun!


Young Girl Seated on a Carousel Horse, circa 1955. THF 105688

Some amusement parks added “kiddie” rides and, in some places, whole new “kiddie parks” appeared. But that’s not what Walt had in mind. Adults still sat back and watched their kids have all the fun.


Chicago Railroad Fair Official Guidebook, 1948. THF 285987

Walt’s vision for his family park also came from his lifelong love of steam railroads. In 1948, he and animator/fellow train buff Ward Kimball visited the Chicago Railroad Fair and had a ball. Check out the homage to old steam trains in this program.


Tintype of Walt and Ward. THF 109757

After the Railroad Fair, Walt and Ward visited our own Greenfield Village, where they enjoyed the small-town atmosphere during a special tour. At the Tintype Studio, they had their portrait taken while dressed up as old-time railroad engineers.


Walt Disney and Artist Herb Ryman with illustration proposals for the Ford Pavilion, 1964-1965 New York World’s Fair. THF 114467

DISNEY INSIDER TRIVIA: Walt Disney used the word Imagineers to describe the people who helped him give shape to what would become Disneyland. What two words did he combine to create this new word?

ANSWER: Walt hand-picked a group of studio staff and other artists to help him create his new family park. He later referred to them as Imagineers—combining the words imagination and engineering. This image shows Walt with Herb Ryman—one of his favorite artists.

DISNEY INSIDER INFO: For a deeper dive on an early female Imagineer, see my blog post, “The Exuberant Artistry of Mary Blair.”


Postcard viewbook of Los Angeles, California. THF 7376

Walt continually looked for new ideas and inspiration for his park, including places around Los Angeles, like Knott’s Berry Farm, the Spanish colonial-style shops on Olvera Street, and the bustling Farmer’s Market—one of Walt’s favorite hangouts.


Times Square – Looking North – New York City, August 7, 1948. THF 8840

Walt also worried about how people got fatigued in large and crowded environments. So, he studied pathways, traffic flow, and entrances and exits at places like fairs, circuses, carnivals, national parks, museums, and even the streets of New York City.


Souvenir Book, “Disneyland,” 1955. THF 205154

Studying these led to Walt’s first break from traditional amusement parks: the single entrance. Amusement park operators argued this would create congestion, but Walt wanted visitors to experience a cohesive “story”—like walking through scenes of a movie.


Souvenir Book, “Disneyland,” 1955. THF 205152

Another new idea in Walt’s design was the central “hub,” that led to the park’s four realms, or lands, like spokes of a wheel. Walt felt that this oriented people and saved steps. Check out the circular hub in front of the castle on this map.


Disneyland cup & saucer set, 1955-1960. THF 150182

A third rule-challenging idea in Walt’s plan was the attractor, or “weenie” for each land—in other words, an eye-catching central feature that drew people toward a goal. The main attractor was, of course, Sleeping Beauty Castle.

To establish cohesive stories for each land, Walt insisted that the elements in them fit harmoniously together—from buildings to signs to trash cans. This idea—later called “theming”—was Walt’s greatest and most unique contribution.


Halsam Products, “Walt Disney’s Frontierland Logs,” 1955-1962. THF 173562

DISNEY INSIDER INFO: This Lincoln Logs set reinforced the look and theming of Frontierland in Disneyland.


Woman’s Home Companion, March 1951. THF 5540

DISNEY INSIDER TRIVIA: Which came first, Disneyland the park, or Disneyland the TV show?

ANSWER: To build his park, Walt lacked one important thing—money! So, he took a risk on the new medium of TV. While most Hollywood moviemakers saw TV as a fad or as the competition, Walt saw it as “my way of going direct to the public.” Disneyland the TV show premiered October 27, 1954—with weekly features relating to one of the four lands and glimpses of Disneyland the park being built.


Child’s coonskin cap, 1958-1960. THF 8168

The TV show was a hit, but never more than when three Davy Crockett episodes aired in late 1954 and early 1955.


Souvenir Book, “Disneyland,” 1955. THF 205153

Disneyland, the park, opened July 17, 1955, to special guests and the media. So many things went wrong that day that it came to be called “Black Sunday.” But Walt was determined to fix the glitches and soon turned things around.

DISNEY INSIDER INFO: For more on “Black Sunday” and the creation of Disneyland, see my blog post, “Happy Anniversary, Disneyland.”


Walt Disney World Magic Kingdom guidebook, 1988. THF 134722

Today, themed environments from theme parks to restaurants to retail stores owe a debt to Walt Disney. Sadly, Walt Disney passed away in 1966. It was his brother Roy who made Walt Disney World in Florida a reality, beginning with Magic Kingdom in 1971.


Torch Lake steam locomotive pulling passenger cars in Greenfield Village, August 1972. THF 112228

DISNEY INSIDER INFO: In an ironic twist, a steam railroad was added to the perimeter of Greenfield Village for the first time during a late 1960s expansion—an attempt to be more like Disneyland!


Marty Sklar speaking at symposium for “Behind the Magic” at Henry Ford Museum, November 11, 1995. THF 12415

In 2005, The Henry Ford celebrated Disneyland’s 50^th anniversary with a special exhibit, “Behind the Magic: 50 Years of Disneyland.” The amazing and talented Marty Sklar, then head of Walt Disney Imagineering, made that possible.

DISNEY INSIDER INFO: Check out this blog post I wrote to honor Marty’s memory when he passed away in 2017.

During these unprecedented times, Disneyland has begun its phased reopening. When you feel safe and comfortable going there, I suggest adding it to your must-visit (or must-return) list. When you're there, you can look around for Walt Disney's influences, just like I do.

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

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California, 20th century, popular culture, Disney, by Donna R. Braden, #THFCuratorChat

June 1955 magazine advertisement for the release of Lady and the Tramp. THF145583

Although this animated feature film received mixed reviews when it was first released on June 22, 1955, Walt Disney’s Lady and the Tramp has since become a classic.  It is beloved for its songs, its story, its gorgeously rendered and meticulously detailed settings, and its universal themes of love and acceptance—not to mention that scene with the spaghetti!  Numerous story artists and animators contributed their talents to creating this film, but it would take years before Walt Disney would finally give it his nod of approval. 

Unlike other Disney animated films of the time, Lady and the Tramp is not based upon a venerable old fairy tale or a previously published book.  Its origins can be traced back to 1937, when Disney story artist Joe Grant showed Walt Disney some sketches and told him of his idea for a story based upon the antics of his own English Springer Spaniel named Lady, who was “shoved aside” when the family’s new baby arrived.  Walt encouraged Grant to develop the story but was unhappy with the outcome—feeling that Lady seemed too sweet and that the story didn’t have enough action.  For the next several years, Grant and other artists worked on a variety of conceptual sketches and many different approaches. 

In 1945, the storyline took a drastic turn, which ultimately led to its final film version.  That year, Walt Disney read a magazine short story called, “Happy Dan, the Cynical Dog.”  Here, in the story of a cynical, devil-may-care dog, Walt found the perfect foil for the prim and proper Lady.  By 1953, the film had evolved to the point that Walt asked Ward Greene, the short story’s author, to write a novelization of it.  It is Greene—not Joe Grant—who received credit in the final film.  Walt couldn’t resist adding a personal tidbit to the story.  According to his telling of the story, the opening scene came from his own experience of giving his wife a puppy as a gift in a hat box to make up for having forgotten a dinner date with her. 

Interestingly, the spaghetti-eating scene was almost cut, as Walt Disney initially thought it was silly and unromantic.  But animator Frank Thomas had such a strong vision for the scene that he completed all the animation for it before showing it to Walt, who was so impressed he agreed to keep in the now-iconic scene.

1955 charm bracelet of the dogs in Lady and the Tramp, likely a souvenir obtained at Disneyland. THF8604

Since the dogs were the main characters of the film, it seemed only natural to both show and tell the story from the dogs’ point of view.  The animators studied many real dogs to capture their movements, behaviors, and personalities, while the scenes themselves were shot from a low “dog’s-eye-view” perspective.

A depiction of Main Street, U.S.A. at Disneyland from the 1955 Picture Souvenir Book to the park. THF205154

The film’s setting—early 20^th century small-town America—referenced Walt Disney’s own return to his roots, particularly his growing up in the small town of Marceline, Missouri.  As the setting was coming to life on film, a real live 3D version of it was being constructed at Disneyland, Walt Disney’s new park in Anaheim, California.  Disneyland opened a mere three weeks after the film was released.

Although the setting hearkened back to the past, the filmmaking technique that Walt chose was typically state-of-the-art.  As Walt marked the growing interest in widescreen film technology, he decided this would be the first of his animated films to use CinemaScope.  To fill in the extra-wide space of this format, the animators extended the backgrounds—resulting in settings that are unusually breathtaking, detailed, mood-setting and, when the story called for it, filled with dramatic tension.  Unfortunately, many theatres were not equipped with CinemaScope, so Walt decided that two versions of the film had to be created, forcing layout artists to scramble to restructure key scenes for a standard format as well.  CinemaScope ultimately proved too expensive and did not last past the early 1960s.  But its influence on Lady and the Tramp lives on—a testament to Walt’s commitment to filmmaking innovation.


Although souvenirs related to Lady and the Tramp are hard to come by these days, I was thrilled to find these salt-and-pepper shakers and collectible pins over several visits to Walt Disney World.

I saw Lady and the Tramp when it was re-released in theatres in 1962.  I was nine years old at the time and I was completely enraptured.  The details and setting—from the frilly ladies’ dresses, dapper men’s suits, and overstuffed furniture inside Lady’s house to the horses’ clip-clopping down the cobblestone streets—seemed like old photographs come to life.  Taking in these details on the big screen as a girl, I was transfixed.  Is this where my interest in history began?

After seeing Lady and the Tramp at the movies, I also became obsessed with wanting a dog.  Not just any dog.  I wanted Lady, or a cocker spaniel as close to Lady as I could get.  I dreamed of her, drew pictures of her, transferred her personality onto the stuffed dogs I inevitably got as presents.  When I was in eighth grade, my parents finally relented.  One day my Mom surprised us and took us kids down to the animal shelter to get a dog.  It wasn’t a cocker spaniel.  But we did find a little golden-haired puppy that was a fine substitute. 

I don’t know that I thought much of Tramp when I was a girl.  He was wayward, a nuisance, too different.  But from my older perspective, I see that Lady meeting, and ultimately falling for, Tramp was really a symbol of what happens in your life.  Forced out of your comfort zone, broadening your horizons, seeing things from new perspectives, taking life’s curves with grace until, rather than resisting it, you accept it—even embrace it. 

Who knew, when I was a girl, that this movie was not just about dogs but about life? 

Note: The complete story of the making of Lady and the Tramp, including Joe Grant’s contributions, can be found in the bonus feature, “Lady’s Pedigree: The Making of Lady and the Tramp,” in the 50^th Anniversary DVD of Lady and the Tramp.

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

by Donna R. Braden, popular culture, movies, Disney