Posts Tagged the henry ford staff
The author at his desk at The Henry Ford. / Photo by Jeanine Head Miller
I grew up on Detroit’s far west side, just north of Dearborn, during the 1950s and 1960s. History was always my favorite subject, and I fondly remember school field trips to what was then called Henry Ford Museum and Greenfield Village. I can trace my interest in American history to those visits and remember thinking how great it would be to work there someday.
I graduated from the University of Michigan at Ann Arbor in 1975 with a bachelor's degree in history. My original intention was to become a history teacher, but with teaching positions few and far between in those days, I ended up accepting a position in the mortgage department of Comerica Bank and stayed there for nearly 30 years.
I retired in 2008 and became a volunteer at The Henry Ford. After three years of doing computer data entry in the marketing department and helping at special events like Maker Faire, Old Car Festival, and Motor Muster, I met Jeanine Head Miller, Curator of Domestic Life at The Henry Ford. Jeanie was looking for a volunteer curatorial research assistant to work with her in the Historical Resources department. She was willing to take a chance on me, even though my professional life had been spent in banking, not historical research. The learning curve was steep, but with Jeanie’s knowledge and patience, I learned the ropes.
My primary focus as a volunteer has been to research the lives of some of the people who owned, made, or used the objects in The Henry Ford’s collection. Most of them were ordinary people, using these objects as part of their everyday activities.
Uncovering People’s Stories
I first look for clues in the object’s accession file—a file that contains whatever information we know about the object. Sometimes I find letters from the donor, often a descendent of the original owner, providing some family history and information about the maker or owner of the object, or how it may have been used. More often, though, there may be only a few clues—a name or a place. From these clues, I start my search to learn more about the background of the individual or family and the context of the object.
The advent of the Internet and genealogy websites like Ancestry.com—with access to census records, city directories, birth and death records, and other information—make researching the life of someone born more than a hundred years ago much easier. The census records are a particularly valuable tool in my research. They provide information about a person’s occupation, age, place of birth, marital status, immigration status, place of residence, home ownership, and more. The census also lists all the people living in the same home and their relationship to the head of the household.
Sites like Newspapers.com, with its access to many newspapers nationwide, can provide a wealth of information. I often find marriage and birth announcements, obituaries, and other information. Local historical societies are also a great research resource. I encounter other dedicated volunteers willing to search local records for information on people I am searching for—information not available online.
Conrad Hoffman’s Violin
Violin used by Conrad Ambrose Hoffman, 1793. / THF180694
A few years ago, The Henry Ford acquired a violin used by Conrad Ambrose Hoffman (1839–1916), a musician and teacher from Pontiac, Michigan. The violin had been made in 1793 by Czech violin maker Johann Michael Willer (1753–1826). The family not only donated Hoffman’s violin and bow, but also related archival materials, including concert programs, sheet music and librettos, calling cards, and stationery.
These materials helped provide some information about Hoffman. But further research in sources like Ancestry.com, Newspapers.com, and the Palmer Family Papers: 1853–1940 at University of Michigan’s Bentley Historical Library helped me enrich Hoffman’s story.
The United States census records for Conrad Hoffman revealed that he was born in New York in 1839, but moved to Oakland County, Michigan, with his family by 1840. His father, Ambrose D. Hoffman (1806–1881), made his living as a farmer and cooper. The 1870 census revealed that 31-year-old Hoffman was employed as a music teacher and was living at the family home in Pontiac, Michigan, with his parents and two sisters.
Most of the information I discovered about Hoffman’s life as a musician and teacher came from a biography that I found on Google Books, Biographical Sketches of Leading Citizens of Oakland County, Michigan, published in 1903. The account recalled Hoffman’s early interest in music, the musical abilities of his mother and sisters, and his study of the violin as a young boy—including his traveling to Dresden, Germany, to study music at the Dresden Conservatorium.
Hoffman and his orchestra performed at Clinton Hall in Pontiac, Michigan, on May 27, 1868. / THF279100
Hoffman’s biography also revealed that he served in the Union Army during the Civil War as a musician with the 15th Michigan Volunteer Infantry. In the years following the war, Hoffman organized an orchestra in the Pontiac area.
Conrad Hoffman performed at this concert at the Music Hall in Holly, Michigan, on May 24, 1866. / THF279106
Concert programs from the 1860s and 1870s document Hoffman’s performances in places like Birmingham, Holly, and Pontiac, Michigan. He performed as a solo violinist, as well as a conductor.
I discovered through a marriage announcement, published in the Detroit Free Press on September 25, 1900, that Conrad Hoffman married for the first time at the age of 60. His bride was childhood friend and pianist Philomela Cowles Palmer (1851–1930). Philomela was the daughter of Charles Henry Palmer (1814–1887) of Pontiac, an entrepreneur who was instrumental in helping develop Michigan’s copper industry.
Conrad Hoffman died in 1916. His obituary, found on Newspapers.com, was published in the Detroit Free Press on December 9, 1916. The obituary described Mr. Hoffman as a well-known violinist, the owner of a collection of old violins, and the instructor of several of the best-known Michigan violinists and violin teachers.
Audrey Wilder’s Dress
Audrey Wilder’s blue 1920s dress is second from the right.
In the fall of 2019, Jeanie Miller asked me to find out what I could about the life of Audrey Kenyon Wilder (1896–1979) of Albion, Michigan. Jeanie planned to use Wilder’s 1920s dress for an exhibit called What We Wore: A Matter of Emphasis in Henry Ford Museum of American Innovation. My task was to find out as much as I could about Wilder to help tell the story of the dress and the woman who wore it.
The donor correspondence in the accession file for Wilder’s dress provided just a few clues—her name and place of residence. I guessed Audrey Wilder’s birth date would be about 1900, based on the age of the dress. I was able to find four-year-old Wilder in the 1900 U.S. Census, living with her parents at the home of her paternal grandparents in Albion, Michigan. Her father was the owner of a lumber yard in Albion.
Yearbooks from high schools and colleges, which I found on Ancestry.com, provided information about Wilder’s education and career. I learned that she graduated from Albion High School in 1914, Albion College in 1918, and earned a master's degree from Columbia University in 1921. Wilder began teaching English at Albion College that same year.
In 1928, Audrey Wilder left Albion College to serve as Dean of Women at Ohio Northern University in Ada, Ohio. I was able to find an article written about her on Google Books, which shed some light on Audrey’s life and activities during this period of her life. The November 1935 issue of her college sorority newsletter, Anchora of Delta Gamma, published a story about Audrey’s life and career, entitled “Audrey Kenyon Wilder, Ohio Northern’s Dynamic Dean.” She is described as a woman “of exquisite grooming” and as having established the first social hall for women on the Ohio Northern campus, providing a setting for the female students on campus to hold teas, receptions, and co-ed dinners.
Dress owned by Audrey Wilder, 1927–1929 / THF177877
Tying an object to the story of its owner is the goal of my research. It is not hard to imagine Audrey Kenyon Wilder, the dynamic dean of exquisite grooming, attending a campus social function wearing the dress which is now part of the collection at The Henry Ford.
“Shopping” for the Collection
At times, I have assisted the curatorial staff in locating items for the museum’s collection. The curators identify a desired object and I then search eBay and other Internet sites to try to locate one in good condition. I then show the possibilities to the curator or curators, who select and acquire the object. These Internet sites make the search easier, but it often requires patient searching—sometimes for months.
Amelia Earhart brand overnight case made by the Orenstein Trunk Company, 1943–1950. / THF169109
One example is an Amelia Earhart brand suitcase. Earhart endorsed various products, including a line of luggage, in order to finance her aviation activities. I searched for six months and found one in like-new condition with the original price tag and keys! Though this example dates from the decade following Earhart’s disappearance, it attests to the staying power of the Earhart brand—this luggage line sold well for decades. This suitcase is on display in the museum’s Heroes of the Sky exhibit, in the section dedicated to Amelia Earhart.
I could not have asked for a more rewarding and interesting way to spend some of my time during my retirement years. I was finally able to find that “job” that I thoroughly enjoy and never get tired of. With millions of artifacts in the collection at The Henry Ford, there is always another life to explore and, for me, another adventure.
Gil Gallagher is Curatorial Research Volunteer at The Henry Ford.
Heroes of the Sky, women's history, Henry Ford Museum, What We Wore, fashion, Michigan, music, musical instruments, violins, The Henry Ford staff, #Behind The Scenes @ The Henry Ford, by Gil Gallagher, research
Cooking in Greenfield Village: Lessons from Master Presenter Cindy Melotti
Baking at Daggett Farm. / Photo courtesy Cindy Melotti
Recently, I sat down with Master Presenter Cindy Melotti, house lead at the Ford Home, to chat with her about 17 years at The Henry Ford. In the first installment of that interview, Cindy talked about her teaching background, her work at the Ford Home and other Village buildings, some of her favorite interactions with guests, and more. In this second installment, she offers insights about how historic cooking in Greenfield Village is far different than modern cooking at home.
What was it like cooking in the village? Did you notice any difference cooking at Daggett, say, and cooking at home?
When I first started as a presenter, I had never baked bread or made a pie before. I was a working mother, so I didn't have time to play around. I used the typical shortcuts. So it was a shock working that first season at Daggett [Farmhouse] and baking loads of bread and pies. Placing these on the table for us to eat for our 1760 mid-day meal and having guests come in and say it was the most beautiful pie crust or bread they’ve ever seen—I experienced such a sense of accomplishment.
I would go home and brag about making the most wonderful loaf of bread, a pie, or a tart. So, I decided I was going to make these same recipes for Thanksgiving dinner at home. I made the pie crust, and I made wheat bread and… I need to tell you that my husband is still living. Because he said: what was so special about them? Sadly, they didn’t turn out the same. Making bread or a pie in a bake kettle on an open hearth, it's not the same product you get using the same recipe in modern oven.
With the bread and pie baked in the modern oven, I couldn't taste all the flavors. I didn't get the flakiness, and it just wasn't the same. There are some things that you can make in a modern oven, and there's no problem. But there are other things that—you know, when you roast something today, you're actually baking it, right? At Daggett using the open hearth, when you roast something, it's on the spit or the small game roaster that you place against the fire and keep turning it. You can’t get that same flavor. When you go from the open hearth, to wood, to coal, to gas, to electric, and to microwave—every time you go up that ladder, you lose flavor. So, your best flavors come from open hearths or open-air cooking. That's why camping is so much fun.
I think part of it too is the cast iron, like at the Ford Home, where we use cast iron pans and pots that are very well seasoned. We do have a couple of cast iron artifacts that we use there. I mean, it takes 100 years or so to get it that seasoned. You can't buy one off the rack. You can’t get the same flavor. And it might have something to do with the moisture and wood smoke that gets in, because it's not hermetically sealed off like a modern oven is. There's no question many of the recipes cannot be duplicated. They’re good, but they're not what it's like when you're there at that table with the ambience of the time period.
Do you have any further observations about the differences between historical and modern recipes and cooking methods?
Yes, guests might think that because a recipe is from a long time ago, from Daggett in 1760 for instance, that it’s easier to make. That recipes are more complex now than they were in the 1700s. But they’re not. For example, our recipes at Daggett are written in the hand of that century, where they use the long “s” that looks like an “f.” And they use such odd quantities, you sometimes have to have a group discussion to figure out what they're trying to tell you about making the recipe. So recipes at Daggett are very often much more difficult than ones at the Ford Home from 1876.
Of course, it’s difficult at the Ford Home making special recipes for Holiday Nights [in Greenfield Village]. But your everyday dishes for 1876 are pretty basic and easier to make. There isn't a tendency in the 1800s to use a lot of herbs, for instance, as they did in the 1700s. So even for your meat at the Ford Home, you basically use salt and pepper, and there's a lot of lard to flavor it. The food is good, but it's not using difficult flavorings like rosewater and all these other things we use at Daggett or the Giddings [Family] Home. Recipes from the 1700s are much fancier than what I put on my own table.
Also, cooking methods in the 1700s had more challenges in the kitchen. In the Ford Home, we have a better understanding of what measurements are needed. In Daggett’s time, they're making huge amounts of food as opposed to what a family would need in the 1800s. For instance, they did all their baking in one day, and they didn't bake more until they needed it.
When you’re cooking on the open hearth or with a wood or coal burning stove, how do you know when food is done? Can you talk more about how to cook using these methods?
When I talk about cooking with guests, what they really want to know is: “how can you successfully cook like this?” And it's not hard, but you need to use all your senses, unlike how we cook today. You feel the temperature of the stove or bake kettle radiating on the skin of your face and your hands. This gives you a hint about the temperature and when you need to add more fuel to the fire. On the hearth, you can see it. But with the wood burning stove, you feel when you have to put more wood in.
To find out how your food is cooking, you use your sense of smell, and you can look and see how something's cooking. But your ears help too, because you can hear if something is over boiling or if it's boiling at all. There’s even a recipe for something that says: cook until you hear it sizzle. That was part of the recipe, to listen to it. Of course, you taste it to see if it's done. So the biggest difference with cooking in a historical kitchen is that you are actively engaged with all your senses in the process. We don't do that now. We set timers. We walk away because we can.
It's fun as a presenter to do on a daily basis. But would I want to do it every day again? I don't think so. And it's also fun for us to cook because we have guests coming into the homes. And we share what we're doing, how we're doing it, and why. I get the best reactions from guests when we have difficulty with something because it's not common to what we do. They love to see how we solve these problems that we've never faced before, because we don't cook like this all the time.
Holiday Nights in the Ford Home, with a Charlotte Russe dessert on middle-right side of table. / Photo by Ken Giorlando
What is the most difficult recipe at the Ford Home?
Charlotte Russe is probably the most difficult thing to make. We display it on the dining room table during Holiday Nights. It’s a sponge cake that you cut into strips, and you line the sides of a mold with the strips. And then you place raspberry or strawberry jelly or jam at the bottom of the mold. Then you make homemade custard and put it in the center and let it firm up.
It's a tricky little recipe to get to turn out right and come out of the mold. We finally figured out after all these years a good way to do that. We flip it over onto a plate and leave it out for a while. And once the mold is off, we put it back in a really cold place. So it stays firm as we display it on the table.
There are other recipes from the Ford Home that are my favorites. Of course, there's the pumpkin fritters that are just to die for.
Frying pumpkin fritters on the set of Live in the D on WDIV Local 4 in 2017. / Photo by Jim Johnson
Speaking of pumpkin fritters, I remember you appeared on a local news show where you made them in their studio kitchen. Can you tell me more about that experience?
Ah, yes. That was so fun. It was Fall Flavor Weekends in 2017, and the first weekend was already over. It was a Monday afternoon, and I was working at Daggett with two of our other talented presenters, Kellie and Erica. And Mary Weikum, who manages domestic life, stopped by and asked if I wanted to be on television the next morning at 10 a.m. on WDIV Local 4. She suggested I make the pumpkin fritters from the Ford Home with some extra batter we had. So, I agreed to do it.
| Recipe for Pumpkin Fritters (1890) |
| One pint of flour, one of buttermilk, half a teaspoonful of salt, one of soda, half a cupful each of molasses and stewed pumpkin, two eggs. Fry quickly in plenty of lard. Serve hot with sugar and cream. |
| —From Larry and Priscilla Massie, Walnut Pickles and Watermelon Cake, 1990, p. 291 |
And then I looked at Erica and Kelly and said: “what have I got myself into?” They both encouraged me and said: “Cindy, you do this 1,000 times in a day, just be yourself.” I thought, I can do that. But then again, it was difficult having to think through all of the preparations. We had to get the ingredients, and the appropriate historic utensils and bowls. To think of all those things, then be down there by 9 a.m. and then cook on television, it was daunting. Fortunately, [The Henry Ford staffer] Jim Johnson came with me, and kept me calm.
One of the funnier parts I remember was making a reference to lard and emphasizing that’s how the pumpkin fritters are made. Two of the show’s hosts went into an uproar about how they can’t eat lard—yet they obviously wanted to try some. I mean, they were just going on and on about lard when we were not on camera. So that's why I make this little reference on camera to say, yes, we fry them in lard! And then later on, I could hear them hollering “lard” across the studio while cameras were rolling. Oh my gosh!
Tati Amare, a Live in the D host, made more batter while we were frying them in the studio kitchen. After the hosts tried them, they wanted more. Eventually, the people in the control room sent down a plate so they didn’t go without. Tati and I took a picture together, and she said I was her new BFF. It was just a wonderful experience.
Amy Nasir is Digital Marketing Specialist and former Historical Presenter in Greenfield Village at The Henry Ford.
The Henry Ford staff, recipes, making, Holiday Nights, Greenfield Village buildings, Greenfield Village, food, Daggett Farmhouse, by Amy Nasir, #Behind The Scenes @ The Henry Ford
Randy Mason (right) waves from inside the door of the Ingersoll-Rand Diesel-Electric Locomotive No. 90, January 1985. / THF271030, detail
The Henry Ford is saddened by the passing of Randy Mason on Saturday, March 19, 2022. Randy was Curator of Transportation at our institution for 20 years. He left a lasting mark on our mobility collections, and on our annual Old Car Festival and Motor Muster shows.
Randy was operating an automobile rustproofing franchise in Inkster, Michigan, when he crossed paths with Leslie Henry, then The Henry Ford’s Curator of Transportation. Les was so impressed with Randy’s knowledge of automotive history, and his passion for the subject, that he convinced Randy to leave the franchise and put the full range of his talents to work at the museum.
Randy succeeded Les Henry as Curator of Transportation in 1971. He oversaw the automotive, railroad, and aviation collections at a transformative time for The Henry Ford. Tightly-packed rows of cars and machines, long a fixture at automotive and industrial museums, were falling out of favor with visitors, who wanted more in the way of explanation and context. Randy helped create uniform labels and signs, and more thoughtful displays, throughout The Henry Ford’s transportation exhibits.
Undoubtedly, the most dramatic change during Randy’s tenure came in 1987 with the opening of The Automobile in American Life. The 50,000-square foot exhibition was a landmark in interpreting automotive history. Rather than focusing on the car as a technology, the exhibit explored the many changes that the car brought to everyday life in the United States. Automobiles were shown alongside related objects, like highway travel guides, fast food restaurant signs, and even a real tourist cabin and a re-created Holiday Inn room, that provided greater context for guests. The Automobile in American Life was replaced by Driving America in 2012, but its core concept—treating the car not only as a technological force but as a social force—endures in the new exhibit.
Even after he left The Henry Ford, Randy remained active in the automotive world, both as a historian and as an enthusiast. He was involved with the Henry Ford Heritage Association and he worked on the successful effort to preserve the Ford Piquette Avenue Plant in Detroit. We will miss Randy, but we take heart knowing that his efforts, his knowledge, and his passion survive—in the artifacts he preserved, in the articles he wrote, and in the many new enthusiasts he inspired through his work.
Matt Anderson is Curator of Transportation at The Henry Ford.
20th century, 1980s, 1970s, Michigan, Dearborn, The Henry Ford staff, railroads, in memoriam, Henry Ford Museum, cars, by Matt Anderson, airplanes, #Behind The Scenes @ The Henry Ford
Cooking in the Ford Home. / Photo by Ken Giorlando
Cindy Melotti is currently master presenter and house lead at the Ford Home, which is often considered to be the intellectual center of Greenfield Village. I had the honor of working alongside her in the Ford Home and Daggett Farmhouse in 2012. Cindy captivates guests with her energetic and authentic storytelling, and I’m delighted to chat with her about 17 years of adventures at The Henry Ford.
What did you do before you worked at The Henry Ford? And why were you interested in working here?
I worked at Wyandotte Public Schools as an elementary school teacher for 35 years, mostly in the upper elementary grades. Not surprisingly, I taught language arts and social studies. It was interesting in that we didn't really use textbooks. We, like Henry Ford, thought history should not be just about memorizing generals, dates, and wars. So I taught my social studies classes in a more contextual way. We learned about people in the times that they lived, and how they lived, not just timelines and titles.
I had always wanted to work at The Henry Ford. After retiring from Wyandotte Public Schools and taking a couple years to think about it, I decided that I was going to try and get a job here. So I went to a job fair. I didn't even tell my husband and my family that I was going, because I was afraid I wouldn't be accepted. This was actually the first time I wrote a resume. And it was the first time I applied for a job since I got my teaching position, which was when Lyndon Baines Johnson was president! I was as scared as a 16-year-old sitting there waiting to be interviewed. Despite there not being any historical presenter positions open, [The Henry Ford staffer] Mike Moseley recognized that I had the potential to be a good presenter. Thankfully, I got an interview with Cathy Cwiek, our former manager of domestic life. I got the job and was in training within a week.
Preparing food at Edison Homestead. / Photo by Ken Giorlando
Do you have any highlights of your teaching career or adventurous experiences that you’d like to share?
Well, a person of my age very typically followed the dictates of society at that time. I always wanted to be a teacher. I was fortunate to be able to go to Wayne State University. My parents were a one-income family, and we didn’t have a whole lot of money. So I considered myself lucky that I got hired by the school district where I student taught. I worked there for 35 years.
The brightest highlights for me are the memories of the children and their families. Some I still associate with and frequently talk to. I am still delighted to find out that I had a really big impact on a former student’s life. Once I became friends with a woman whose best friend from college remembered me from the fourth grade. She said that her friend had broken her arm near the start of the year, so she wasn’t able to write. This student was already ashamed of her handwriting, as she had been previously criticized in another class. She was telling our mutual friend that she had been so tense about this issue. And she said that I saved her life by suggesting she use a typewriter!
After all this time, this former student was so encouraged by my advice, she was still talking about it as an adult to her best friend. To think that I made that much difference in this this child's life! It was so wonderful that this story got back to me.
And in another instance on Facebook, one woman made a comment to me: “I just wanted to let you know that you were the most important teacher I ever had.” Never would I have expected that. It's amazing. Now, it was hard work. It was a lot of fun, and I enjoyed myself, but I never really thought about the impact I had on people's whole lives.
But those are the kind of things when you asked about adventurous experiences, that was the adventure. I guess the adventure was working with people and hopefully making an impact on their lives and making their lives better—making them better to fit their lives.
And of course, there's part of that that goes into presenting at The Henry Ford too. Because every guest that you interact with, you want their experience to make a difference. You want them to be different and more open to our stories when they leave, than when they came in.
Which historic homes and what programs have you worked at?
When I started in 2005, everyone in domestic life started at Daggett Farm. You also worked in uniform at the Noah Webster Home, Hermitage Slave Quarters, and the Mattox [Family] Home. You had to work your way into the Susquehanna Plantation and the Adams [Family Home]. Well, I never quite got to do that before they made me the house lead at the Ford Home, which was I think was 2007–2008. I eventually presented at Susquehanna Plantation. As I became a master presenter, they could schedule me in any home, really. I always wanted to work at Adams House, and I never got in there before it was closed for renovation. I can work at Firestone Farmhouse. And I’ve worked at the Edison Homestead.
I’m trying to think of the clothes I have in my closet, which period clothes are hanging there? So, it's Daggett, Edison, Ford Home, and Firestone, which are the buildings where we dress in period clothing. And then I wore the field uniform at Webster, Hermitage, and Mattox. I have also worked on a number of programs with the Henry Ford Academy.
Preparing food at Daggett Farm. / Photo by Ken Giorlando
What is your favorite home to work in?
I've been house lead at the Ford Home for over 10 years, so that’s a contender. I’ll always love Daggett Farm, and I’ll always say, once a Daggetteer, always a Daggetteer. But I really can’t say what my favorite building is.
Now with the Ford Home, people think it's strange when I'm elsewhere in the village besides the Ford Home. I'm like a fence post almost. I put in a lot of work at that house when they made me the lead, and I’m seen here most often.
The Ford Home was categorized differently over the years. It was part of the Ford Motor Company group when I started as a presenter. And then it went to the domestic life group. So the story of the home needed a little extra attention by then. We needed to work on the stories, and make sure they were authentic and correct. So that's when Cathy Cwiek asked me to upgrade the presentation at the building.
For about three or four years, anyone who presented there, if they were asked a question that wasn't in the manual, we wrote it down and researched it. That's why the manual is now very thick. Because when guests go into the Ford Home, they're not just asking about Henry Ford growing up in the house. There are so many different aspects of that house that are asked about and you want to be able to answer. Ford Home certainly demands a lot of work. But as much as I love Daggett, I really cannot pick a favorite.
Front of Ford Home. / Photo by Ken Giorlando
What is the relevance of the Ford Home within the village? I’ve considered it to be the intellectual center. Do you see it this way as well?
Well as Cathy Cwiek said when I became the house lead, the Ford Home is the cornerstone of the village. We needed to tell a more full story. We really want to have the best stories told there. In one perspective, Henry Ford restored and saved his childhood home to memorialize his beloved mother. His home played a big role in eventually developing the village and the museum itself.
And then there’s the perspective that you have this space that when you sit in it, you must realize the brilliant ideas that bounced off those walls from a little boy who eventually used those ideas to change the world. And when you think of that, it's awe-inspiring. The key for every presenter in any home is that it isn't about the house—it's about the people who lived in it and their ideas.
Presenters only have so much time to try and tell these stories as guests go through the house. You just never know what's going to interest the guests as they come in. You must have your background and information ready for basically any question. Plus, in many cases, the Ford Home is the first house that our guests visit. As they enter the village, they either go to the left to Firestone Farm, or they go to the right to the Ford Home.
A good presentation can set the tone for every guest’s entire day, especially for those who have never been here before. They’re not always aware of the scope of our campus. They might say: I have an hour, what should I see? In many ways, we are the ambassadors for the whole village at that point, and we can set the tone for an international guest or someone from out of state. We can set the tone for their whole day. We want to make sure the tone is one of positiveness, curiosity, interest, and amazement of the stories we have to share.
I know you have a lot of favorite stories about what you most like about working here, but perhaps you can pick one right off the top of your head?
If I can pick out a little snapshot, it would be during Holiday Nights [in Greenfield Village] in the Ford Home. I was in the dining room in the back, and a three-generation family came in. They were in the parlor up front where we've got the tree up with music and lighting, and I'm listening to their 10-year-old boy who’s giving my presentation! And he is spot on!
When the family came through the house to me, I said to the boy: “wow, you really did a good job telling our story.” He said: “of course, I was here on a field trip this year.” I love to tell this story because despite this kid having access to all the bells and whistles of electronics and technology—this kid learned it from our field trip program. I’m proud to say we’re still reaching an audience and, yes, we have a future and a purpose. This little boy is telling the story, and his whole family is interested.
There are so many instances when I’m very happy to see guests leave the building with a look as if they’re saying: “wow, I need to think about this.” I try my best to encourage them to understand that, as much of what we thought was true in history, there are preconceptions that aren’t always true, and you need to think in terms of the time and the setting of the place to understand what was going on.
This leads me to my cheese straw story. Before it was closed for renovation, the Adams House made these cheese straws, which were a specific recipe for that house. They could not be made at the Ford Home. When they closed Adams, we were now able to make them at the Ford Home. I had heard how good these cheese straws were and I was excited. We made the first batch, and after they came out of the oven, we just kind of sat there and looked at them. They were these flat, long things. I thought they were going to turn out puffier. They didn't rise at all. We realized that they were named, not after a modern sipping straw, but after actual straw from a field. We were completely off the mark.
When we look back at history, we need to ask ourselves: if my modern perception doesn’t allow me to understand what a cheese straw was, how can I use my modern perception to say, understand our Civil War? How do we understand a single event back then when we’re looking through our modern eyes and not going further? We encourage that “aha” moment that opens your mind for the stories that are accurate, instead of stories based in preconceptions or fantasy.
Spinning wool at Daggett Farm. / Photo by Ken Giorlando
What skills have you picked up and learned how to do and demonstrate at the village?
Well, there are textile skills like carding, spinning, and dying wool that I’ve done at Daggett. I did do some weaving on the big old colonial loom when that was set up inside Daggett. But I only had a little experience on that because I was so short. I had to jump down to change the bottom pedals, so it would take me an awfully long time. But I did work successfully on the treadle wheel that you pump with your foot. That's very difficult to do, as I was spinning with linen. Linen is a whole different process compared to wool.
Also, during the first year I was here, we had candle dipping over in the Liberty Craftworks area, near where the Davidson-Gerson Gallery of Glass is now. We wore field uniforms. We were considering it to be a craft at the time, as opposed to it being part of a culture or time period. That was my first experience with it. Candle dipping was a lot cooler in period clothing and more fun to set up under the trees next to Daggett or the [William Holmes] McGuffey Birthplace, where the activity fit with the history of the building.
Screenshot of 1876 centennial program at the Ford Home for WDIV.
Along with this WDIV segment, and a previous video promoting Fall Flavor making an 1860s apple cake, you were most recently involved in a video celebrating the Fourth of July in 1876 outside the Ford Home recorded during the pandemic. Could you tell us how this came about?
Yes, it was 2020 during COVID, and we were unable to host Salute to America. Over the years, we had developed a Fourth of July program specifically for the 1876 centennial at the Ford Home. And I was asked if I could do a video presentation of this program. I didn’t know what the filming was for at the time. I thought it was for a kind of video that we do for in-house purposes.
We filmed this on June 16. We didn't open the village up until July 2. And I came in early to work to do the video. It was basically a sample of the program we would do for a Fourth of July holiday at the Ford Home—a few of the games and the food that we’d make. So it was fun.
It wasn't until after filming that I learned that this was not being used for our website. I learned that it was for a WDIV Fourth of July virtual celebration! It was a surprise for sure, but we are presenters. And just because there's a camera there doesn't change the energy and information you give. You know, it's what we do.
So WDIV aired this the following Friday night at 8 p.m., and they broadcast snippets of the Detroit Symphony Orchestra playing, along with my Ford Home centennial program. It was hosted by Tati Amare, who I met previously. Of course, they filmed theirs, and I filmed mine, and it was only on television that we met, so I couldn't say hello again. But they pieced it all together as a virtual presentation for the holiday on WDIV. I was honored to be a part of it.
So you’ve been in many pictures and videos. Can you think of any other fun or unusual stories regarding getting your picture taken?
When I was going through training in 2005, and we needed to sign the waiver to give permission for The Henry Ford to use our photographs, guess who said: “why would anybody want to take my picture?” Ironically, my picture has been in so many places. It’s been amazing. I knew within a month that I asked this that I had made a silly statement, because I realized that guests are taking our pictures all the time and sending them all over the world. Presenters are world travelers in that way.
I remember presenting at Edison Homestead one day during our noon meal, and an Asian guest came in and he wanted his picture taken with us. We handed him a cup to hold, to make it look like he was having a meal with us. A young couple also came in and they graciously took this photo of us. I turned to the gentleman and asked where our picture was going. And he said it was going to Beijing, China. Well, I didn't want the young couple to feel left out, so I asked where they were visiting from. The young man said Wyandotte, Michigan—and then he said that I had been his teacher! This is the experience of presenter. You can have a visitor from Beijing, China, and also someone that you knew years before in your classroom. Like, how does this happen?
Barney Litogot in 1865. / THF226856
Did you have any experiences at the Ford Home of guests reaffirming stories of Henry Ford’s life? Any other surprising interactions with guests?
When I first started working at the Ford Home around 2007, I used to get guests who had firsthand memories of the Fords, just little stories. People who had funny interactions with the Ford family, for instance, neighborhood kids who would be playing on the farm, when it was in its original location, and they’d get caught.
I remember there was an elderly man who would take walks in the village in the morning, and he told me once that he used to drive by the Ford Home every day on his way to work when it was located on Ford Road. And sometimes he’d see Henry Ford walking around. He’d be picking vegetables and fruits to put in baskets that would be placed on the porches of neighbors who didn’t have enough food. I heard stories like that all the time. But all of a sudden, kind of recently, I realized those guests are gone, that generation is gone.
So the guest in 2009 who was 78 years old when he told me this story about getting caught by Henry Ford—he said it was actually his brother's fault. He also told me about the time the Ford family was moving the house to the village, and he got on his bike and followed it down the road. I have a pile of stories that were told to me. You come to think that after hearing the same story over and over again, that there is truth to them, and that's exciting.
I have at least twice had guests tell me stories that I've read in my research, which is amazing. There’s the story of the Vagabonds—Henry Ford, Thomas Edison, Harvey Firestone, and John Burroughs—when they were driving around Kentucky or Tennessee. There were no roads, so they had to follow river beds and try to find open areas to drive. They were scouting and looking for forests and sources of wood, because they needed wood to build Model Ts. Henry Ford owned many forested areas for that purpose.
And to paraphrase a story, the Vagabonds were driving through the wilderness, and their car got stuck. A farmer came by and used his horse to get them out. As the story goes in the research that we have in our Ford Home manual, Henry Ford introduces himself to the farmer. Thomas Edison introduces himself to the farmer. Harvey Firestone was there, and he introduces himself. And then John Burroughs who has this long white beard, right? He says: “well, you know, if you want to believe those guys then you can believe I’m Santa Claus!” Now, there are other ways people have told this story, of course.
Back to the Ford Home, I’m presenting and there's a three-generation family who comes in and we're talking about the house and the history, and the man said: I have a Ford story. He said: “my great grandfather had one of the first Ford dealerships (around Kentucky or Tennessee) and my grandfather told me the story about how Ford and his friends got stuck in a riverbed and one of our local farmers with horses pulled them out.”
The guest went on to explain that it wasn't long after this incident happened that a Ford tractor was delivered to the dealership to be given to the farmer who had helped them out. Isn't that amazing? I was delighted then to tell him and his family about the Vagabonds introducing themselves to the farmer. So where else could you ever present where you hear a direct story from a family that you had read about in a book as part of your research? You know, what's not to like about that?
One of the most emotionally powerful days I ever worked in the Ford Home was on the 150th anniversary of Abraham Lincoln's death. In the museum, they took Lincoln’s chair out and put it up on a platform behind the cornerstone. Unfortunately, I didn’t get to see it. However, there is a connection to Lincoln's death at the Ford Home. We have a photo in the sitting room of Barney Litogot, Henry Ford’s uncle on his mother, Mary Litogot’s, side. Barney was in the 24th Michigan Volunteer Infantry, part of the famed “Iron Brigade,” serving as an honor guard on the train carrying Lincoln to his final resting site in Springfield, Illinois.
I told Barney’s story to the guests who had already been to the museum and seen the chair. I really wish that I could have had a camera taking pictures of people’s expressions, because they were so moved, even crying. The museum exhibit, along with Barney’s story, was so emotional. It was just so special to be a part of that immediate tie-in to that event in our country's history, and I don't know that you could have felt too much closer. Presenting an artifact, a story, an emotion—that is what we do best.
I really love the story of Barney, and I’ve visited his burial site at Sandhill Cemetery on Telegraph Road near the I-75 ramp in Taylor, Michigan. And I always wave as I drive by and say: “hi, Barney”!
Yes, I do too! My husband doesn’t even think I’m weird anymore, he’s used to it! I always say hi to Barney. Speaking of the Litogots, the Litogot family had a reunion in the village a few years ago. They visited the Ford Home, and I got to talk to them for about 10–15 minutes. And they were talking about Uncle Barney as he was a true part of their family. It was really cool. You just never know who's going to walk through the door.
I've had fun remembering all these stories and experiences, and it's really hard to rank anything when you've been doing it for so long. But every experience and interaction deals with a relationship with guests and co-workers, and that's where the good stuff comes from. When you look over everything that goes on at The Henry Ford, it's a wonderful job, and it's why people get hooked.
Amy Nasir is Digital Marketing Specialist and former Historical Presenter in Greenfield Village at The Henry Ford.
Michigan, Dearborn, The Henry Ford staff, 21st century, 20th century, racing, race cars, philanthropy, Old Car Festival, Model Ts, Mark IV, making, in memoriam, Henry Ford Museum, Greenfield Village, Ford workers, Ford Motor Company, engines, engineering, collections care, cars, by Matt Anderson, #Behind The Scenes @ The Henry Ford
Rudy Ruzicska working in The Henry Ford’s photographic studio on August 10, 2021. You can see Rudy's completed photos of this display cabinet, containing "Munyon's Homeopathic Remedies" dating from the late 19th or early 20th century, in our Digital Collections here.
1956 was a momentous year in history. President Dwight D. Eisenhower and Vice-President Richard M. Nixon were running for re-election. The Montgomery Bus Boycott had just started, inspired by Rosa Parks refusing to give up her seat the previous December. The Interstate Highway System was authorized. Elvis Presley had his first chart-topping hit with “Heartbreak Hotel.” There were no satellites in space, and the United States had only 48 states, since Alaska and Hawaii were still three years away from statehood. In the midst of all this, a fresh-faced young lad officially began a career at The Henry Ford. His name? Rudy Ruzicska.
Now, 65 years later, Rudy still works at The Henry Ford, expertly photographing our artifacts as part of our collections digitization process so we can share them with the world through our Digital Collections. If you see a photo of a three-dimensional artifact in our Digital Collections, chances are good that Rudy took it. His long career and deep expertise have been featured both on Detroit television news and on The Henry Ford’s Innovation Nation (watch those clips below). He even received a congratulations on his 65th work anniversary from Innovation Nation host Mo Rocca.
Continue Reading
Michigan, Dearborn, 21st century, 20th century, The Henry Ford staff, photography, photographs, digitization, by Tim Johnson, #Behind The Scenes @ The Henry Ford
Detroit native Frederick Birkhill can recount numerous memories of his time at The Henry Ford and Greenfield Village as a child. He can remember riding his bike through the village, taking in all that its history and grounds offered. Truly enamored with Liberty Craftworks, he spent most of his time there, observing the artisans perfecting their crafts.
During one school field trip, his class observed employee Neils Carlson giving a glassblowing demonstration. From five feet away, the students watched Carlson pull and shape a hot, glowing blob into a graceful swan. This was the exact moment that Birkhill fell in love with glassmaking and knew he wanted to learn everything about it. After the demonstration, he bought one of the glass swans for his mother and studied it whenever he could.
Frederick as a child with a camera, circa 1959. / Photo by Dr. F. Ross Birkhill, courtesy Frederick Birkhill
Few people can pinpoint the place where they found their passion. Frederick Birkhill can. Anyone who comes to The Henry Ford can find something that excites them and sparks their future passions. That single experience in the Glass Shop stuck with Birkhill and led him on a path to a very successful career as an artist. Because of Neils Carlson, Birkhill's thirst for knowledge took off, leading him to study in England, elsewhere in Europe, and at what is now the College for Creative Studies in Detroit and the University of Michigan in Ann Arbor.
In the early years of his career, Birkhill was an employee of Greenfield Village and worked in the Tintype Studio. During his tenure, he was able to study and learn about glassblowing, stained glass, photography, daguerreotypes, and tintypes from various artisans around Liberty Craftworks and metro Detroit. At the time, The Henry Ford was one of the only places in the United States where one could learn about tintype photography and other specialized crafts. Birkhill created some of his first daguerreotype photos of scenes at The Henry Ford. One of those early daguerreotypes of Greenfield Village's Farris Windmill was later acquired by the Smithsonian National Museum of American History.
"The Windmill at Greenfield Village, 1972,” daguerreotype created by Frederick Birkhill, in the collection of the Smithsonian National Museum of American History / Photo courtesy Frederick Birkhill
In addition to learning about different media during his time working in the village, Birkhill was able to use his skills and artistry to teach an array of subjects at The Henry Ford, including classes he developed on the history of glass and stained glass.
Birkhill also collaborated with David Grant Maul, another former employee. Birkhill acquired a special tool from Maul that allowed him to hold hot glass so he could effectively complete flame-worked glass objects. This tool was the catalyst for a successful career in flame-worked glass and furnace glass. Our Glass Shop includes a furnace that allowed Birkhill to learn both specialties.
Frederick Birkhill is a renowned artist, inventor, educator, and historian whose international career continues to this day. His work can be seen at the Corning Museum of Glass, Museum of Arts and Design, Detroit Institute of Arts, the Mint Museum, the Smithsonian, and the Stamelos Gallery Center at the University of Michigan-Dearborn, as well as in private collections around the world. Never once has Birkhill forgotten the place that sparked his curiosity and put his ideas into motion—The Henry Ford.
Frederick Birkhill flameworking in his studio. / Photo by Henry Leutwyler, courtesy Frederick Birkhill
Now, after several decades as a glass artist, an artist's monograph, Glassworks: The Art of Frederick Birkhill, has been published by The Artist Book Foundation. An extensive colorplate section includes the lavish photography of Henry Leutwyler, showcasing Birkhill's work in complex detail as well as his artistic mastery of glass. A copy now resides in The Henry Ford's Benson Ford Research Center. We are honored to have Frederick and his wife, Jeannie, as friends of The Henry Ford.
Caroline Heise is Annual Fund Specialist at The Henry Ford.
Additional Readings:
- Davidson-Gerson Modern Glass Gallery
- "Devils Blowing Glass" by Lucio Bubacco, 1997
- Now Open: Davidson-Gerson Modern Glass Gallery
- Western Interactions with East Asia in the Decorative Arts: The 19th Century
21st century, 20th century, Dearborn, The Henry Ford staff, The Henry Ford Effect, photography, Michigan, making, Greenfield Village buildings, Greenfield Village, glass, education, Detroit, by Caroline Heise, books, art
The Henry Ford has lost a wonderful friend and colleague. Master Weaver Richard Jeryan passed away on June 25. Richard was an extraordinary individual— not only for his enormous professional contributions, but for his unique personal gifts that he so generously shared. Brilliant, gifted, generous, wise, and caring, Richard will be sorely missed by all who knew him.
Richard grew up in the Philadelphia area. He received a BS in Mechanical Engineering from Drexel University in 1967 and his MS in Mechanical Engineering and Heat Transfer from Massachusetts Institute of Technology in 1969.
Richard had a long and illustrious career at Ford Motor Company before coming to The Henry Ford, retiring as Senior Technical Specialist/Technical Leader in 2006 after 42 years. During his years at Ford, Richard used his vast expertise in lightweight automotive structural materials including aluminum and glass/carbon-fiber composites to research, develop, and create production applications for vehicles ranging from Ford passenger cars and trucks to Formula One race cars, America’s Cup yachts, and the 2005 Ford GT. Richard’s expertise was widely recognized among his colleagues in the field--he served first as Chairman and then on the Board of Directors of the Automotive Composites Consortium for nearly 20 years.
Richard was truly a Renaissance man—someone with wide interests and expertise in many areas. Richard always seemed to know something about everything—and sought out a wide variety of life experiences. (A little known fact: Richard had a number of non-singing roles in Michigan Opera Theatre productions, including Katisha’s beleaguered servant in a 1991 production of Gilbert and Sullivan’s The Mikado.) Perhaps most importantly for us at The Henry Ford, Richard studied, mastered, and then generously shared his knowledge of handweaving.
Richard and his wife Chris brought their weaving expertise to The Henry Ford in 2006—and a new era dawned in Greenfield Village’s Weaving Shop. Here, Richard’s mechanical engineering and weaving skills came together to transform our weaving program. Richard and Chris worked with Historic Operating Machinery’s Tim Brewer to get our historic weaving machinery working again and keep it well maintained. Richard led the team in reactivating our Jacquard loom in 2007—the 600-warp thread loom that had not run for decades—discovering along the way that Henry Ford had commissioned this Jacquard reproduction during the 1930s for the Weaving Shop and had it built by his workers. It is one of only three working Jacquard looms in North American museums.
Richard and Chris also took the lead on organizing and designing the textile projects, assisting Crafts and Trades manager Larry Watson. Improved, as well as new, items rolled off the looms as the weaving staff worked under the Jeryans’ guidance. Firestone Farmhouse received new, sturdier rag rugs for the everyday parlor; various village buildings got period correct handwoven towels for use in foodways programs and in historic kitchen installations, though most of these towels are eagerly snatched up by visitors to our Liberty Craftworks store; weaving products based on traditional coverlet weaving patterns appeared in our holiday catalog; and, soon, scarfs woven on our historic knitting machine will be offered as well. Richard often donated materials to be used for weaving, even prowling estate sales for desirable yarn.
Richard not only helped “behind the scenes” by researching, making the machinery run, designing the textile products, and teaching the staff to weave, but also frequently demonstrated weaving and interpreted our Weaving Shop stories for our visitors as well. Watching Richard present was truly memorable—his passion was contagious and he made it so clear how these stories of the past connect to our lives today. Richard often lent his expertise in coverlets and other historic woven textiles to curator Jeanine Head Miller. He provided invaluable assistance in evaluating and problem solving some of the issues we have had with the Dymaxion House. Richard and Chris were also co-chairs of our annual employee/volunteer fund drive for many years. And they did all of all of this as members of our unpaid staff. For these generous gifts of knowledge, skill, and time we are most grateful.
Richard’s knowledge of weaving and historic textiles benefited not only The Henry Ford, but other organizations as well. From 2008 to 2013, Richard served on the Board of Directors of the National Museum of the American Coverlet in Bedford, Pennsylvania. Here he did everything from strategic planning to teaching to painting the walls. More recently, Richard was elected the President of the Complex Weavers, an international guild of weavers dedicated to expanding the boundaries of handweaving and the sharing of information and innovative ideas.
There are so very many things we will always remember about Richard. Among them: his leadership, his ability to recognize and nurture hidden talent in those around him, his way of teaching and inspiring others, his keen perception and sense of humor, and his passion for The Henry Ford and its stories.
Richard Jeryan did so incredibly much in his 70 years. He was a truly extraordinary man who chose to use his talents to make the world a much better place.
You will continue to inspire us, Richard--and we will miss you.
The Henry Ford staff, Pennsylvania, Michigan, 21st century, 20th century, making, in memoriam, Greenfield Village, Ford workers, Ford Motor Company, engineering
