Rare 1924 Photos Capture the First Shenandoah Apple Blossom Festival in Winchester, Virginia
Parade participants circle the racetrack as spectators view the parade from a grandstand. There was no caption on this photo, but I’m guessing it might possibly be the VMI Regimental Band. Photo by Lewis Reed, 1924
On May 3, 1924, a new tradition began in Winchester with the very first Shenandoah Apple Blossom Festival– an event that would grow into one of the region’s most celebrated annual traditions.
At the time, however, it was simply a one-day community gathering. Its lasting visual record exists largely because of one person: Lewis Reed.
His photographs captured the festival as it happened, unrehearsed and unrefined. Parade units circle the fairgrounds track, spectators fill wooden grandstands, and marching bands move through the grounds with a mix of ceremony and curiosity. There is a sense of immediacy in these images, reflecting a community participating in something entirely new, without yet knowing its future significance.
The B&O Railroad had a float in the Apple Blossom Parade. Photo by Lewis Reed, 1924
A flower-laden parade float glides past the grandstand at the Winchester fairgrounds during the first Shenandoah Apple Blossom Festival, captured through the lens of Lewis Reed as spectators look on from the shaded pavilion.
Unlike later years, when the festival would be widely promoted and carefully documented, the 1924 celebration left behind only limited records. Reed’s photographs now stand as one of the few surviving firsthand visual accounts. Parade units circle the fairgrounds track, spectators fill the wooden grandstands, and marching bands move through the space with a sense of purpose that suggests both ceremony and curiosity. There is an immediacy to these images, an unpolished authenticity that reflects a community participating in something entirely new, without yet knowing its future significance.
Taken by Lewis Reed, this image features a grand parade float adorned with white drapery and floral garlands, carrying a court of young women in classic 1920s white gowns and wide-brimmed hats.
This photo is believed to show the inaugural Queen, Elizabeth Steck, atop her floral-draped float. This historic moment during the first Shenandoah Apple Blossom Festival set the stage for a century of tradition in Winchester, Virginia.
What gives these photographs their enduring value is not simply their age, but their perspective. Lewis Reed approached photography as both a practical necessity and a form of documentation. While his work often centered on automobiles, business life, and everyday scenes, it also captured moments that would later take on deeper historical meaning.
His images of the 1924 festival preserve a fleeting beginning. They offer context for early 20th century civic celebrations and document the material culture of the time, from clothing and transportation to public gathering spaces. Without these photographs, the first Apple Blossom Festival would exist largely as a written account. With them, it becomes something far more tangible; a moment that can still be seen and experienced.
This photograph highlights the equestrian spirit of the event. A group of riders, dressed in formal white attire and matching caps, parades past the grandstands on horseback. Photo taken by Lewis Reed, 1924
This photograph captures the Pennsylvania Railroad float as it passes the grandstands. The float features a large keystone, the railroad’s iconic symbol, emblazoned with the interlocking “RR” logo. Photo by Lewis Reed.
The same rustic grandstands seen in the other photos are visible, filled with spectators watching the pageant unfold on the dirt track. Photo by Lewis Reed
Through Lewis Reed’s photography, the 1924 festival is immortalized in its most foundational form. These images do more than just record a date; they preserve the material culture of the early 20th century, documenting the precise moment when the motorized elegance of the era began to define community life. By capturing the formal attire, the rustic grandstands, and the civic pride of Winchester’s inaugural celebration, Lewis Reed ensured that the festival’s origins were not lost to the fog of memory.
Today, the Shenandoah Apple Blossom Festival draws thousands each year, but in 1924, it all began right here.
Then & Now: The Leesburg, VA Passenger Station
The story of the Leesburg Passenger Station becomes even more vivid when viewed through the lens of Lewis Reed, the prolific early 20th-century photographer from Montgomery County, Maryland, whose work documented key moments and locations throughout the region. Reed’s images are renowned for their ability to capture everyday details of local life, including transportation scenes and important sites in Virginia and the greater Washington area.
Leesburg Passenger Station (THEN): When the Alexandria, Loudoun, & Hampshire Railroad (later W&OD) arrived on May 17, 1860, Leesburg realized a dream. A local newspaper praised the railroad, which “throws us within an hour or two’s ride of the cities of the seaboard, and opens up a new avenue of commerce and trade.” At first a single depot, located 0.2 mile east of here, served passengers and freight. In 1887 the railroad opened a separate passenger station here at King Street. It remained in use until passenger service ended in 1951.
Even as the passenger station itself vanished, Reed’s visual archives ensure its memory stays alive. His photographs remain a valuable bridge for comparing “then & now,” letting viewers step back in time and appreciate the evolution of Leesburg, one carefully developed print at a time. The continuing presence of Reed’s work in books and exhibits means the Leesburg Passenger Station is still seen and experienced today, long after trains have passed and the site has become part of the Washington & Old Dominion Trail.
A historic photograph of the Leesburg Passenger Station captured by Lewis Reed showing the depot in its early 20th-century setting.
Leesburg Passenger Station Marker seen from King Street today.
The Leesburg Passenger Station remains a rare survivor of Loudoun’s rail era, an enduring symbol of how a small wooden depot could once shape the rhythm of a town. Its transformation from active rail stop to preserved trail-side icon connects past and present, reminding us that even as technology changes, the places that ground a community can still hold meaning.
“The Boardwalk” Along the Waterfront at Chesapeake Beach, Maryland, Early 1900s
In the early 1900s, the Chesapeake Beach Railway Company offered Washingtonians more than transportation, it promised escape. At the rail line’s eastern terminus, a bustling boardwalk emerged along the Chesapeake Bay, carefully designed to attract crowds with hotels, amusements, and sweeping waterfront views. This was a new kind of destination, where leisure was planned, marketed, and delivered by rail.
Lewis Reed recognized the historical significance of this scene and turned his camera toward it. His photographs of the Chesapeake Beach boardwalk capture the rhythms of a day spent seaside: visitors strolling between attractions, pausing to take in the view, or gathering near the latest amusements. Among the highlights of his images is the Griffith Patent Scenic Railway, an early roller coaster whose curves and speed symbolized the era’s fascination with innovation and thrill. (click on thumbnails to view gallery)
Reed’s photographs preserve more than a popular resort, they document a moment when railroads shaped recreation and when leisure itself became part of the modern experience. Through his lens, the Chesapeake Beach boardwalk is frozen in time, offering a vivid glimpse into how Americans relaxed, traveled, and found excitement at the dawn of the 20th century.
Then and Now: Hotel Cape May, 1919
People have been visiting Cape May, “the nation’s oldest seashore resort,” for longer than America has been a country. That makes Cape May the perfect place to look back on over 100 years ago and from today — then and now.
A bit of Hotel Cape May history: The Christian Admiral, formerly Admiral Hotel and Hotel Cape May, was a luxury beachfront hotel located in Cape May, New Jersey. Opened in 1908, as the Hotel Cape May, the ornate hotel was abandoned five years later due to bankruptcy. It was then sold at a Sheriff’s sale. The hotel was leased by the War Department as a hospital from 1918-1919 during WWI. Afterwards, it was again abandoned. In 1932, the Admiral Hotel company purchased it and renamed it the Admiral Hotel. They too went bankrupt in 1940. The military returned for WWII from 1941 to 1945 and afterwards it was once more sold at Sheriff’s sale. It opened and closed multiple times before being abandoned again in the 1950s. Reverend McIntire saved it from demolition in 1963, and operated it until his organization too, went bankrupt. The Christian Admiral never made a profit for any of its owners and was the cause of six bankruptcies. Nonetheless, it was a gorgeous hotel and one of the most recognizable and beloved buildings in Cape May. The people who liquidated McIntire’s organization shopped the hotel around, but it was deemed too far gone to save. Engineer estimates were $20 million and above, just to make it structurally sound and from $60-$80 million to restore it. The hotel was razed in 1996.
Hotel Cape May (THEN): The Christian Admiral Hotel, originally known as the Hotel Cape May, was erected in the Beaux-Arts style between 1905 and 1908. When opened on April 11, 1908, it was the world’s largest hotel. Completed behind schedule and over budget, Hotel Cape May was part of a development project intended to bring wealthy visitors to the city and rival East Coast resorts such as Newport, Rhode Island. During its existence it would undergo five bankruptcies and ownership changes.
Edgar was a partner with his brother Lewis Reed, in Reed Brothers Dodge. During WWI, Edgar served as a Sergeant in the U.S. Army Medical Corps from February 1918 to August 1919 and had been posted to GENERAL HOSPITAL NO. 11 in CAPE MAY, NEW JERSEY. The spirit of patriotic service which swept the country prompted many persons to offer their properties to the War Department for hospital purposes. These offers included buildings of every conceivable kind, such as department stores, private establishments, hospitals, and properties in large cities. It was found that many of these could be obtained and converted into hospitals much more expeditiously than barrack hospitals could be constructed, and at less cost.
The Surgeon General recommended that the War Department authorize the leasing of the Hotel Cape May for use as a general hospital on December 18, 1917. The Hotel Cape May was located on the Ocean Drive, at the eastern end of the city, and within 100 feet of the beach of the Atlantic Ocean. Opened first as GENERAL HOSPITAL NO. 16, the designation was changed to GENERAL HOSPITAL NO. 11, March 14, 1918. The enlisted personnel were quartered in tents which were located to the rear of the building.
Hotel Cape May as it looked in 1919. Photo by Lewis Reed.
The Christian Admiral Hotel (NOW): In 1991, the hotel was closed by Cape May City officials. The hotel was demolished in 1996 and the site was reused for a development of single family homes. The demolition of the hotel placed the city’s National Historic Landmark status at risk.
The Christian Admiral Hotel, late 1970s. Closed by Cape May City Officials, 1991 for want of tens of millions of dollars to bring up to modern codes. Destroyed: Feb, 1996.
The Reed Sisters and the Spirit of Early Motorcycling
Eleanora Reed with Lewis Reed’s sisters, Geneva and Eva, posing on Excelsior motorcycles. Photo by Lewis Reed, ca. 1912.
At the dawn of the 20th century, motorcycles symbolized the spirit of innovation sweeping the modern age. Adapted from bicycles and powered by the new internal combustion engine, these machines represented freedom, ingenuity, and progress. Before cars dominated the roads, motorcycles often outnumbered automobiles, and it wasn’t uncommon to see riders as young as fourteen traveling the open road.
Photographer Lewis Reed captured this transformative era through his lens, preserving scenes of both relatives and acquaintances astride their machines between the 1900s and early 1920s. His collection offers a rare glimpse into an age when motorcycling was as much a bold adventure as it was a social pastime. Among his most memorable subjects were sisters Eleanora, Geneva, and Eva Reed, who embodied the daring enthusiasm of the time, embracing both the excitement and modernity that early motorcycling so vividly represented.
In the photograph below, a woman and a young child are seated on an Excelsior motorcycle, one of America’s premier machines of the early twentieth century. The child’s cap and goggles, likely intended as playful props rather than functional equipment, evoke the novelty and adventure associated with motorcycling during this era. The woman’s practical riding skirt, tailored jacket, and matching cap and goggles, however, suggest that she was an experienced rider with a genuine familiarity with the motorcycle.
Woman and toddler on an Excelsior motorcycle. Photo by Lewis Reed.
The Excelsior itself showcased early 20th-century innovation, featuring a headlamp for night riding, a handlebar-mounted Klaxon horn with its famous “Ahoo-ga!” sound, and a padded passenger seat for a brave companion. In the early 1900s, many women rode motorcycles before they were even widely allowed to drive cars… while wearing military-style riding gear that shocked more than a few bystanders along the way.
Adding to this story of early American motorcycling is another remarkable photograph below; one featuring a woman and toddler posed on a Harley-Davidson motorcycle. Images like this one remind us how quickly motorcycles captured the public imagination in the years before World War I. They were not only practical for travel over rough roads but also symbols of progress and personal freedom. For women, especially, posing on, or even simply near, a motorcycle was a subtle act of empowerment at a time when societal expectations were still very traditional.
Woman and toddler on Harley Davidson motorcycle, ca. 1912. That slightly timid look says it all; not quite ready to ride, but definitely ready for her close-up! Photo by Lewis Reed.
Preserved through Lewis Reed’s remarkable photography collection, these images remain both a family heirloom and a glimpse into a transformative era. Through his lens, we see not only the evolution of transportation but also the growing independence and confidence of women at the dawn of modern motorcycling.
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Reed Brothers Dodge History (1915-2012) by Jeanne Gartner is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.
Reed Brothers Dodge History 1915 – 2012 
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