Former History and Holdings
In 1971, in cooperation with the Veteran Motor Car Club of America, the Andersons' carriage house became known as the Museum of Transportation, under the direction of Duncan Smith. Smith led a young, enthusiastic staff at this location for six years. He was especially proud of a multi-media presentation chronicling the invention and refinement of the bicycle; it was then the only world-class history of the bicycle on exhibit in the United States. The museum's halls featured rotating exhibits of automobiles, motorcycles, carriages, and bicycles. The museum's collection of antique-auto newsreel footage broadened into a library of vintage movie comedies, displaying vehicles of the 1920s in motion. Museum visitors had the opportunity to see high-wheeled-bicycle demonstrations, and ride in a vintage-1937 fire engine named for Boston Pops conductor and firefighting-memorabilia enthusiast Arthur Fiedler.
The Museum of Transportation at Larz Anderson Park closed on December 31, 1977, and effected a merger with The Children's Museum of Boston. The combined museum reopened in 1979 in a downtown Boston location, but the joint venture was short-lived and the antique-auto contingent returned to its Anderson Park home in the 1980s.
Since then the museum continues to showcase exceptional examples of vintage motor vehicles. While maintaining the most precious "gems" of the original Larz Anderson Auto Collection, the museum no longer has the following: 1905 Walter Tractor & Victoria Carriage, 1907 Walter Brougham, 1910 American Underslung (designed by Harry Stutz), 1913 Hudson 33, 1917 Ford Model T Estate Wagon, 1918 Dodge, 1920 Dodge Truck, 1920 Dodge Hackney, 1924 Dodge Sedan, 1928 Nash Advanced Six, 1930 Packard Limousine, 1931 REO Flying Cloud 6-21, 1936 Dodge Station Wagon, 1938 Dodge Express Truck, 1939 GMC Truck, 1940 Ford Deluxe Wagon, 1941 Packard Suburban, 1947 Pontiac Sedan and the 1948 Ford Super Deluxe Wagon.
Read more about this topic: Larz Anderson Auto Museum
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“Polarized light showed the secret architecture of bodies; and when the second-sight of the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.”
—Ralph Waldo Emerson (1803–1882)