A Taste of History in Greenfield Village offers our visitors seasonal, locally sourced and historically minded recipes. Over the past year, our chefs have been developing some new recipes, directly drawn from the recipes of George Washington Carver and the ingredients that he used. You can learn more about the inspiration behind the new options both in A Taste of History and in Plum Market Kitchen in Henry Ford Museum of American Innovation in our blog post here, or try out some of the recipes for yourself—like this Brined and Roasted Chicken.

Chef’s Notes

Running out of time? This recipe takes plenty of patience and is well worth it, but if you need something quick, you can roast the chicken with salt and pepper for a few minutes, then brush it with melted butter, apple cider vinegar, and pure maple syrup. Continue roasting, brushing with the mixture an additional two or three times, until the chicken is fully cooked.

We also recommend serving it alongside the sauce (link below). There are many other sauces that Carver has recipes for in his published papers, but we chose the green Tomato Chili Sauce because it uniquely balances the sweet maple flavor of the chicken with just enough spice to make it dance on your palette. You can make the sauce ahead of time and reheat when you are ready to eat.

Recipe: Brined and Roasted Chicken

Makes 8 Chicken Breasts


Maple Brine Ingredients

4 C Boiling Water

7 oz Granulated Sugar

3 oz Kosher Salt

1 C Maple Syrup

3 sprigs Fresh Thyme

4 C Ice


Additional Ingredients

8 Chicken Breasts (6–8 oz each)


Procedure

1. Combine boiling water, sugar, salt, maple syrup, and thyme and stir until sugar and salt are completely dissolved.
2. Add ice and stir, allowing the liquid to cool completely.
3. Rinse the chicken breast and completely submerge in maple brine. Refrigerate for at least five hours.
4. After five hours, remove the chicken and rinse clean. Discard the used brine.
5. Roast at 350°F until the chicken reaches an internal temperature of 165°F, approximately 15-20 minutes.
6. Serve chicken with Tomato Chili Sauce.

Whether you make it for yourself at home, or pay a visit to A Taste of History in Greenfield Village to let us make it for you, let us know what you think!


Eric Schilbe is Executive Sous Chef at The Henry Ford.

making, restaurants, food, by Eric Schilbe, Greenfield Village, recipes, George Washington Carver

A Taste of History in Greenfield Village offers our visitors seasonal, locally sourced and historically minded recipes. Over the past year, our chefs have been developing some new recipes, directly drawn from the recipes of George Washington Carver and the ingredients that he used. You can learn more about the inspiration behind the new options both in A Taste of History and in Plum Market Kitchen in Henry Ford Museum of American Innovation in our blog post here, or try out some of the recipes for yourself—like this Tomato Chili Sauce.

Chef’s Notes

There are many other sauces that Carver has recipes for in his published papers, but we chose the green Tomato Chili Sauce because it uniquely balances the sweet maple flavor of the Brined and Roasted Chicken (link below) with just enough spice to make it dance on your palette. You can make the sauce ahead of time and reheat when you are ready to eat.

Recipe: Tomato Chili Sauce

Makes 8 Portions


Ingredients

1 lb Fresh Green Tomatoes

3 oz Jalapeno Peppers

3 oz White Onion

1 oz Granulated Sugar

½ C Vinegar

1 Tbs Salt

¼ tsp Pepper  


Procedure

1. Peel tomatoes by placing in boiling water for 1 minute, shock by placing in ice water, and then peel skins.
2. Slice jalapenos in half lengthwise and remove seeds and piths. Reserve seeds for later.
3. Dice tomatoes, jalapenos, and onions and combine in small saucepan with all ingredients.
4. Bring to a simmer, allow to simmer for 1-2 hours, and then puree.
5. Adjust seasoning as necessary with salt, pepper, sugar, and jalapeno seeds. The spice level should be a medium, balanced heat.
6. Serve with Brined and Roasted Chicken.

Whether you make it for yourself at home, or pay a visit to A Taste of History in Greenfield Village to let us make it for you, let us know what you think!


Eric Schilbe is Executive Sous Chef at The Henry Ford.

George Washington Carver, restaurants, recipes, making, Greenfield Village, food, by Eric Schilbe

A new group of garments from The Henry Ford’s rich collection of clothing and accessories has made its debut in Henry Ford Museum of American Innovation in our What We Wore exhibit. With spring here and summer on the horizon, this time it’s a look at garments Americans wore as they delighted in the “sporting life” in their leisure time.

By the 20^th century, recreational sports were an increasingly popular way to get exercise while having fun. Most Americans lived in cities rather than on farms—and lifestyles had become less physically active. Many people viewed sports as a necessity—an outlet from the pressures of modern life in an urban society.

Bicycling

The easy-to-ride safety bicycle turned cycling into a national obsession in the 1890s. At the peak in 1896, four million people cycled for exercise and pleasure. Most importantly, a bicycle meant the freedom to go where you pleased—around town or in the countryside.

Women found bicycling especially liberating—it offered far greater independence than they had previously experienced. Clothing for women became less restrictive while still offering modesty. Cycling apparel might include a tailored jacket, very wide trousers gathered above the ankles, stockings, and boots. Specially designed cycling suits with divided skirts also became popular.


Women's cycling suit, 1895-1900 / THF133355


Columbia Model 60 Women's Safety Bicycle, 1898. Gift of Mr. & Mrs. H. Benjamin Robison. / THF108117


This 1895 poster for bicycle road maps offered a pleasant route for cyclists north of New York City. / THF207603


Young men and women enjoy cycling and socializing in Waterville, Ohio about 1895. Gift of Thomas Russell. / THF201329

Baseball

Baseball has long been a popular pastime—countless teams sprang up in communities all over America after the Civil War. During the early 20^th century, as cities expanded, workplace teams also increased in popularity. Companies sponsored these teams to promote fitness and encourage “team spirit” among their employees. Company teams were also good “advertising.”

Harry B. Mosley of Detroit wore this uniform when he played for a team sponsored by the Lincoln Motor Company about 1920. Of course, uniforms weren’t essential—many players enjoyed the sport while dressed in their everyday clothing.


Baseball uniform (shirt, pants, stockings, cleats, and cap), about 1920, worn by Harry B. Mosley of Detroit, Michigan. / THF186743



Baseball glove and bat, about 1920, used by Harry B. Mosley of Detroit, Michigan. / THF121995 and THF131216


The H.J. Heinz Company baseball team about 1907. Gift of H.J. Heinz Company. / THF292401


Residents of Inkster, Michigan, enjoy a game of baseball at a July 4^th community celebration in 1940. Gift of Ford Motor Company. / THF147620  

Golf

The game of golf boomed in the United States during the 1920s, flourishing on the outskirts of towns at hundreds of country clubs and public golf courses. By 1939, an estimated 8 million people—mostly the wealthy—played golf. It provided exercise—and for some, an opportunity to build professional or business networks.

When women golfed during the 1940s, they did not wear a specific kind of outfit. Often, women golfers would wear a skirt designed for active endeavors, paired with a blouse and pullover sweater. Catherine Roddis of Marshfield, Wisconsin, likely wore this sporty dress for golf, along with the stylish cape, donned once she had finished her game.


Dress and cape, 1940–1945, worn by Catherine Prindle Roddis, Marshfield, Wisconsin. Gift in Memory of Augusta Denton Roddis. / THF162615


Golf Clubs, about 1955. Gift of David & Barbara Shafer. / THF186328


Woman putts on a golf course near San Antonio, Texas, 1947. / THF621989


Clubhouse at the public Waukesha Golf Club on Moor Bath Links, Waukesha, Wisconsin, 1948–1956. Gift of Charles H. Brown and Patrick Pehoski. / THF622612

Swimming

Swimming had become a popular sport by the 1920s—swimmers could be found at public beaches, public swimming pools, and resorts. In the 1950s, postwar economic prosperity brought even more opportunities for swimming. Americans could enjoy a dip in the growing number of pools found at public parks, motels, and in suburban backyards. Pool parties were popular—casual entertaining was in.

For men, cabana sets with matching swim trunks and sports shirts—for “pool, patio, or beach”—were stylish. The 1950s were a conservative era. The cover-up shirt maintained a modest appearance—while bright colors and patterns let men express their individuality.


Cabana set with short-sleeved shirt and swim trunks, 1955. Gift of American Textile History Museum. / THF186127


Advertisement for Catalina’s swimsuits—including cabana sets for men, 1955. / THF623631


In the years following World War II, the number of public and private swimming pools increased dramatically. Shown here in this June 1946 Life magazine advertisement, pool parties were popular. / THF622575


Swimming pool at Holiday Inn of Daytona Beach, Florida, 1961. Gift of Mr. and Mrs. Robert Moores. / THF104037


Jeanine Head Miller is Curator of Domestic Life at The Henry Ford. Many thanks to Sophia Kloc, Office Administrator for Historical Resources at The Henry Ford, for editorial preparation assistance with this post.

home life, by Jeanine Head Miller, popular culture, bicycles, baseball, What We Wore, sports, Henry Ford Museum, fashion

The multisensory theater in Driven to Win at The Henry Ford.

American innovation knows no bounds, and racing, which combines technical excellence with the human endeavor, speaks to our constant need to push the limits of what’s possible. That’s why Henry Ford Museum of American Innovation has gathered one of the finest collections of innovative, powerful, record-busting race cars and automotive artifacts in the world.

Building on this unparalleled collection, The Henry Ford’s newest exhibition, Driven to Win: Racing in America presented by General Motors, gives guests a visceral sense of just how thrilling it is to “go faster and push the limits of racing.” BRC Imagination Arts partnered with The Henry Ford to help bring its incredible collection to life through emotional storytelling, and to get guests excited about “the lives of those who invented their way into the winner's circle and often changed the world in the process.”

The result: Fueled by Passion, the exhilarating, immersive experience at the heart of the new exhibition. The 15-minute sensory-filled experience shares the stories of five people who have empowered themselves to push their personal limits, and ignites the drive we all have to power our passions.

Continue Reading

2010s, 2020s, 21st century, racing, race cars, race car drivers, movies, Henry Ford Museum, Driven to Win, cars, #Behind The Scenes @ The Henry Ford

Through an initiative funded by The Kroger Co. Zero Hunger | Zero Waste Foundation and The Avangrid Foundation, the Invention Convention Worldwide team at The Henry Ford has created a pathway to connect sustainability to invention for our students in the classroom. Through the lens of biomimicry, student inventors examine how some of humanity’s greatest inventions have been formed by the world around them and how they can tap into nature to find sustainable solutions, while problem solving by using biomimicry.

A great example of this comes from Florida fifth grader and 2020 Invention Convention participant Xavier Baquero-Iglesias and his invention SoleX Turf: Good for Your Sole, Good for Your Plant. SoleX Turf is an invention that uses the principle of photosynthesis and the practice of biomimicry. This artificial turf uses the principles of photosynthesis to collect and create energy from the sun while cooling the temperature of the turf to be more enjoyable for players.

Continue Reading

childhood, philanthropy, inventors, Invention Convention Worldwide, innovation learning, educational resources, education, by Samantha Johnson, by Mitch Hufnagel, by Devin Rittenhouse, by Alisha Hamblen

This is the fifth and final in 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. This post draws connections with art and craft today, and to the work of the artists of Greenfield Village’s Liberty Craftworks.



Touring the current exhibit Louis Comfort Tiffany: Treasures from the Driehaus Collection gives me pause and allows me time to reflect on a career spent in craft. As an artist working at a world-class museum, I am afforded a unique opportunity to explore these connections in a variety of ways. Craft, to me, at its core is about connections, whether through the physical touch of an object, the experience of making, or our basic human desire to create. They not only signify our fundamental needs and speak to functionality, but they can also serve to illustrate our thoughts and ideas.

Crafts and human beings have been inextricably tied for eons. Ceramics and textiles are ancient, reaching back to the dawn of civilization. For example, the art of glassblowing dates to 50 BC, starting with the Phoenicians in Mesopotamia. Because of this lineage, I find a deep personal connection to materials and processes. Each has its own language to decode and understand, and therefore, a unique resonance for me. When making work, I look to what materials seem most appropriate—steel speaks a different language than wood, and glass than ceramics, each eliciting a different response from the viewer. The relationship to each material is also directly related to the creative process. I find that these bonds stem not only from the solitude of practice but also from how materials interact when placed together. I am often surprised how similar they all are—like romance languages stemming from Latin, they seem to have a singular focus at their core.

This connectivity has transformed our digital world. For centuries, craft has lived in the guild system of master and apprentice, and this long-standing arrangement has created a path for generations to pass on the skills and traditions of each artist. Today in America, this tradition has primarily been assigned to universities, which are now tasked with the distillation of information from lengthy apprenticeships (glassmaking was a seven-year appointment) to a few short years. However, as a former college faculty member, I witnessed student skills develop rapidly in this digital age. The level of sophistication and awareness that students arrive with is far more advanced than previously, given the rise of social media. Digital communication has shortened the learning curve for young artists in understanding their craft. When viewed as a resource, certain pitfalls of making and unique techniques can be shared and recognized through social media platforms like Instagram and YouTube. No longer are artists islands unto themselves, but part of a global community where information and understanding are at their fingertips. But make no mistake, there is no shortcut for honing skills. Craft will always demand the prolonged communication that an artist has with their chosen medium.



Occasionally, my role at the museum requires me to create exact reproductions for use in programming and I relish the chance to search through the collection with our curators discovering hidden treasures. The opportunity to study artifacts from hundreds of years ago is one I am truly grateful to have. Here, in front of me, are the movements and expressions of each artist left crystallized for me to examine. I think of all the craftspeople that came before me, how their movements transcend time, and their work on display for me to experience in my own way. The craft hasn’t changed, the actions of the artist are still the same—it is the unspoken language of craft, the secret language that makers speak. 


Joshua Wojick is Crafts and Trades Program Manager at The Henry Ford. You can see Joshua, along with Curator of Decorative Arts Charles Sable, walk you through a live demo in Greenfield Village’s Glass Shop on our Facebook page here.

Additional Readings:

• Glassblowing
  
• Armington & Sims Machine Shop
  
• Printing Office & Tin Shop
  
• Glass Shop

making, Louis Comfort Tiffany, Greenfield Village, glass, by Joshua Wojick, art

Sir John Bennett. / THF17783

For decades, Sir John Bennett's shop—with its figures of mythological giants Gog and Magog—has intrigued and enthralled Greenfield Village's visitors. Prior to 1930, the jewelry and clock shop was a popular presence many thousands of miles away in London, where its animated giants chimed the quarter-hours above the busy thoroughfare of Cheapside.

While London and Dearborn would seem to have little in common, Gog and Magog—if they could talk, as well as chime—might disagree. Exposure to the weather has been a continuous element in their over 125 years of timekeeping in both England and America. Climate has taken its toll on the figures. So, during the winter of 2005–2006, The Henry Ford undertook an extensive restoration of the Sir John Bennett figures.

Clock Figures

This was not the first time that the figures, or "jacks," as they are known in the world of clocks, had been given a thorough restoration. When Henry Ford originally brought them to the United States in 1931, he had them repaired and repainted. A second restoration and repainting took place in the 1970s.

Pre-restoration deterioration on the feet of one of the carved wooden figures.

The 2005–2006 restoration, in addition to reversing damage and safeguarding Gog and Magog for future generations, also offered an opportunity to attempt to determine what the wooden figures originally looked like. Deeply carved recesses were carefully excavated in order to discover clues to the original color scheme. Conservators also studied a similar set of Gog and Magog figures in London's Guildhall; a set in Melbourne, Australia; and many historical prints and illustrations to compare our paint analysis with other known examples.

One finding was that the giants' chain mail had, at some point, been painted the color of their clothing. The chain mail is now painted to look like metal rather than cloth. Areas of the giants' armor were found to have traces of gold leaf in the recesses. Also, successive paint layers and weathering had obscured a number of decorative elements in the giants' armor. Previous restorations had used gold-colored paint on the armor, which eventually oxidized and turned brown. In 2005–2006, all the decorative armor components were coated with gold leaf.

The figures themselves were in poor structural condition, with many breaks and numerous large cracks. With a view to preserving as much of the original figures as possible, the decision was made to inject a deep penetrating resin into the porous wood, rather than cut out and replace damaged sections.


Newly restored Gog and Magog await their return to the Sir John Bennett shop.

Of course, Gog and Magog are not the only figures in the facade of the building—Father Time and a Muse are also in attendance to assist in the job of chiming. Made of plaster rather than wood, these figures were given structural repairs and then gilded with 1,400 sheets of gold leaf. During the repair work on the Muse, decorative elements were discovered on the harp under layers of paint and filler. The decoration was carefully restored, and can be seen on the front vertical post of the harp. A maker's name, "Brogiotti," was also revealed during the restoration.

Finally, the internal mechanisms for all four figures were repaired, and additional lubrication points were added to help minimize future wear.


Father Time and the Muse show off their new coats of gold leaf.

The Clock

The clock mechanism was in need of a complete overhaul. Many of the bronze bearings—separate components fitted into the clock movement's large cast iron frame—had become worn and needed to be "re-bushed" to bring the mechanism back to its original operating specifications. During cleaning, conservators discovered that all of the cast iron framing was originally painted a blue-green with white pin striping. All of this original paint was carefully cleaned and preserved.


Conservator Malcolm Collum reassembles the restored Sir John Bennett clock movement.

During the 1931 reconstruction of the building and clock in Greenfield Village, a number of components were replaced. Cleaning the mechanism helped us gain a better understanding of the extent of Henry Ford's restoration: the modern steel components lack the dark graining found in the original wrought iron pieces. These dark lines are called "slag inclusions," remnants of a glass-like material that gets worked into the iron during the smelting and production processes.

Weathervane

Gog and Magog receive the most attention from visitors—understandably, given their size, character, and animation—but higher up, fully exposed to everything the Michigan climate has to offer, is one of the most vivid elements of Sir John Bennett's shop: the dragon weathervane. The dragon—made of hammered copper and detailed with sharp claws, taut bat-like wings and a fiery tongue—is a quiet masterpiece of design, craftsmanship, and balance. Its swept-back wings and extended tail are designed to catch even the slightest breeze; its head is weighted with lead in order to balance the body and allow for free pivoting.


The dragon weathervane is readied for removal from its perch.

When the dragon was removed from its perch in late 2005, it was found to be in stable condition. Structural repairs were followed by a thorough cleaning to remove corrosion and degraded metallic paint. Finally, rather than simply repaint the dragon, we returned it to its original splendor with a coat of gold leaf.


Dragon weathervane during gilding.

Repaired and resplendent, silhouetted against a Dearborn rather than a London sky, the dragon once again watches over the visitors who gather to watch Gog and Magog.


Malcolm Collum is former Conservator at The Henry Ford and Marc Greuther is Chief Curator and Vice President, Historical Resources, at The Henry Ford. This post originally ran as part of our Pic of the Month series in May 2006.

Michigan, Dearborn, Europe, 21st century, 2000s, Sir John Bennett, research, Greenfield Village buildings, Greenfield Village, conservation, collections care, by Marc Greuther, by Malcolm Collum, art, #Behind The Scenes @ The Henry Ford

THF1882

With Greenfield Village reopening soon, you’ll find something new at the Noah Webster Home!


THF186494

We have reinstalled the formerly sparsely furnished Webster dining room to better reflect a more active family life that took place in the Webster household at the time of our interpretation: 1835.


THF107986

Noah and Rebecca Webster moved to their New Haven, Connecticut, home in their later years to be near family and friends, as well as the library at nearby Yale College. This painting of Noah dates from about this time.


THF119510

The Websters moved into their comfortable, newly-built home on Temple Street in New Haven in 1823. This portrait shows Rebecca Webster from about this time as well.


THF147812

New research and evolving historical perspective often lead us to reinterpret Greenfield Village buildings. So, furnishings change to reflect these richer or more accurate stories. This is what the Webster dining room looked like in 1947.


THF147776

In 1962, the Webster house was refurnished to showcase fine furnishings in period room-like settings—rather than reflecting a household whose elderly inhabitants started housekeeping decades before.


THF186507

In 1989, after meticulous research on the house and on the Webster family, the home was beautifully transformed, and its furnishings more closely reflected the Webster family’s lives.


THF53248

You could imagine the Websters living there. This is Rebecca Webster’s dressing room.


THF147817

Yet the dining room was sparsely furnished. The 1989 reinstallation suggested that the Websters were “in retirement” and “withdrawn from society,” and didn’t need or use this room much.


THF53258

The dining room was presented as a seldom-used space in the Webster home during the mid-1830s. This detail showed boots being cleaned in the otherwise unused room.


THF186509

Webster family correspondence and other documents paint a picture of a household that included not only family activities, but more public ones as well, during the 1830s and beyond.


THF236367

Daughter Julia Goodrich and her family lived down the street and were frequent visitors. The Webster house appears at far right in this photo of Temple Street taken in the 1920s.


THF174984

Webster children and grandchildren who lived farther away came for extended visits. Daughter Eliza Jones and her family traveled from their Bridgeport, Connecticut, home for visits.


THF186515

At times, some Webster family members even joined the household temporarily. They could stay in a guest room in the Webster home.


THF204255

Webster’s Yale-attending grandsons and their classmates stopped in for visits and came to gatherings. This print shows Yale College—located not far from the Webster home—during this time.


THF133637

The Webster family home was also Noah’s “office.” He had moved his study upstairs in October 1834, met there with business associates and students.


THF53243

Guests—including visiting clergymen, publishing associates, Yale faculty, and political leaders—would have called at the house or would have been invited to gatherings in the home. This is the Webster parlor.


THF186495

To help reflect the active family life that took place in the Webster household in 1835, the new dining room vignette suggests members of the extended Webster family casually gathering for a meal.


THF186496

The room’s arrangement is deliberately informal, with mismatched chairs. Hepplewhite chairs that are part of the dining room set are supplemented by others assembled for this family meal.


THF186497

A high chair is provided for the youngest Webster grandchild.


THF186498

The grandchildren’s domino game was quickly set aside as the table was set and three generations of the family began to gather.


THF186500 

The dining room furnishings, like those in the rest of the home, reflect a household whose elderly inhabitants started housekeeping decades before. The Websters would have owned most of their furniture, tableware, candlesticks, and other items for decades. The Connecticut-made clock on the mantel would have been a bit newer, since it dates from 1825–1835.


THF186499

But the Hepplewhite style chairs—no longer in fashion—would have been purchased more than 30 years before.


THF186501

The early 1800s Chinese export dishes would have likely been bought decades before. Quite fine and fashionable when new, the sturdy dishes would have survived to be used at everyday meals and for family gatherings many years later.


THF186503

The Websters would have acquired other furnishings more recently--including newly available whale oil lamps, which provided brighter lighting than candles. In coastal New Haven, whale oil was readily available.


THF186505

Stylish curtains of New England factory-made roller-printed cotton fabric are gracefully draped over glass curtain tiebacks and decoratively arranged.


THF186506

Do stop by the Noah Webster Home when Greenfield Village opens this spring and see what the Websters are having for dinner as they “gather” with their children and grandchildren! And for even more Village building makeover stories, see also this recent post from Senior Curator and Curator of Public Life Donna Braden.


Jeanine Head Miller is Curator of Domestic Life and Charles Sable is Curator of Decorative Arts at The Henry Ford.

Additional Readings:

• Prototype Eames Fiberglass Chair, circa 1949
  
• Arts and Crafts Furniture Making in West Michigan: The Charles Limbert Company of Grand Rapids and Holland
  
• Creatives of Clay and Wood
  
• Sidney Houghton: The Fair Lane Estate

Connecticut, 19th century, 1830s, 21st century, 2020s, Noah Webster Home, home life, Greenfield Village history, Greenfield Village buildings, Greenfield Village, furnishings, food, by Jeanine Head Miller, by Charles Sable, #THFCuratorChat, #Behind The Scenes @ The Henry Ford

Official Timing Stand, Bonneville Salt Flats, Utah, 1956 / THF126228

How Fast Will It Go?

Land speed racing is like a moonshot that never leaves Earth, and it answers the never-ending question, “How fast can it go?” In the quest for the prestige of setting a land speed record, highly specialized cars compete in flat, wide-open, isolated settings, without a lot of fanfare or spectators.

In this section of our new racing exhibit, Driven to Win: Racing in America, you will experience the unique setting that is the Bonneville Salt Flats and feel a touchable material that simulates the area’s salt surface. There are many classes—right up to the ultimate “unlimited” world land speed record—so a diverse assortment of cars turns up at each of these events. Drivers race against the clock, one at a time, to an agreed-upon point and back again. Speed is recorded over a “measured mile” within those runs. Usually, it is the average speed from the out-and-back measured miles that establishes the official record. Vehicles used in this type of racing are innovative in developing their conquest of speed.

1951 Beatty Belly Tank Lakester Land Speed Race Car

THF90121

Its exterior bodywork was crafted by Tom Beatty from the auxiliary “belly” fuel tank of a World War II fighter plane. Because of their aerodynamic design, these war-surplus tanks were ideal in shape and size to form the body of a land speed racing car, and many were used for that purpose on California’s dry lakes and Utah’s Bonneville Salt Flats. Tom Beatty’s car was fastest in its class at the Bonneville National Speed Trials in 1951, 1952, 1955, 1959, and 1962. At its debut in 1951, a run of 188.284 mph made it the fastest open-wheeled car at the event. In 1955, Beatty set a two-way average of 211.267 mph, and he became the 16th member of Bonneville's 200 mph club. In 1962, using an upgraded driveline, he set what was to be his highest speed record for the car and class—243.438 mph.

1965 Goldenrod Land Speed Race Car

THF90969

In November 1965, this sleek car flashed across Utah’s Bonneville Salt Flats to break the world land speed record for wheel-driven cars (as opposed to jet or rocket-powered autos). One key to Goldenrod’s success was its long, slim shape, which minimized wind resistance. The other key was the clever engineering that packed four Chrysler Hemi engines—along with the machinery to drive all four wheels—inside its slim shape. Goldenrod’s record of 409.277 mph stood for more than a quarter century, until 1991. Goldenrod’s builders, Bob and Bill Summers, started their own business building custom transmission and driveline parts and became part of Southern California’s automobile culture. This generated a “hot rod economy” with people who built cars and equipment, promoted races, operated tracks, sold equipment and accessories, and wrote about cars and events.

Additional Artifacts

THF152168

Beyond the cars, you can see these artifacts related to land speed racing in Driven to Win.

• Racing Helmet Worn by Bob Summers While Winning New Land Speed Record, 1965
• Shirt Made for Bill Summers, Commemorating Land Speed Record Set by Goldenrod, circa 1965
• Hat Worn by Bill Summers, circa 1982
• Racing Suit Worn by Bob Summers While Winning New Land Speed Record, 1965
• Scale Model of Goldenrod Land Speed Record Race Car, 1966

Dig Deeper

Goldenrod Land Speed Race Car, circa 1965 / THF244527

Learn more about land speed racing with these additional resources from The Henry Ford.

• Learn when, how, and why we acquired Tom Beatty’s Belly Tank Lakester.
• Dive deep into the story of the Goldenrod, written as we celebrated its 50^th anniversary.
• Find out why the Goldenrod is a national treasure.
• Watch this video to discover how Goldenrod fits into the grand tradition of land speed racing.
• Watch The Henry Ford’s Innovation Nation’s segment on the Goldenrod.
• Find out what ties the Goldenrod together with a marine engine and Thomas Edison’s Fort Myers Laboratory in this Connect3 video.

making, race cars, racing, Henry Ford Museum, Driven to Win

Looking to add some adrenaline to your next virtual meeting? Try the new backgrounds below, taken from Driven to Win: Racing in America, presented by General Motors. These images feature some of the exhibition’s iconic race cars, including the 1965 Goldenrod and the 1967 Ford Mark IV.

If you want even more background options, you can download any of the images of our artifacts from our Digital Collections. Our racing-related Digital Collections include more than 37,000 racing photographs, 400 three-dimensional artifacts (including race cars!), and nearly 300 programs, sketches, clippings, and other documents. Beyond racing, this collection of backgrounds showcases some views from Henry Ford Museum of American Innovation, Greenfield Village, and the Ford Rouge Factory Tour.

These links will give you instructions to set any of these images as your background on Zoom or Microsoft Teams.

Continue Reading

race car drivers, African American history, Mark IV, photographs, Driven to Win, Henry Ford Museum, cars, by Bruce Wilson, by Ellice Engdahl, by Matt Anderson, race cars, racing, technology, COVID 19 impact