Posts Tagged henry ford museum
Al Unser, Sr., in 1971. / THF224820
We are saddened by the passing of Al Unser, Sr., on December 9, 2021. Over his nearly 40-year racing career—ranked as one of America’s top drivers for much of it—Unser added immeasurably to his family’s rich legacy in motorsport. He earned 39 wins in national championship races and three national titles. Unser won two overall victories at Pikes Peak. He earned a championship in the IROC series. Most famously, Unser won four times at the Indianapolis 500.
Some families farmed, and some ran small businesses. The Unsers raced. Al’s father and uncles grew up near Pikes Peak, Colorado, where they competed in the celebrated Pikes Peak Hill Climb starting in 1926. Uncle Louis won nine victories there between 1934 and 1953, while father Jerry scored a personal-best third-place finish on the mountain.
An American racing dynasty: Jerry Unser (rear) with his sons (front, left to right) Bobby, Jerry Jr., Louie, and Al. / THF227428
By the time Al was born in 1939 (on the day before Memorial Day, appropriately enough), Jerry and Mary Unser had moved their family to Albuquerque, New Mexico, where Jerry operated a service station on well-traveled Route 66. Like his older brothers Jerry Jr., Louie, and Bobby, Al grew up helping at the station where he was surrounded by cars and racing culture. Jerry Jr. and Louie went to Pikes Peak for the first time as competitors in 1955. Jerry Jr. earned class wins there in 1956 and 1957. He started in the 1958 Indianapolis 500, but was knocked out of contention by a collision on the first lap. The following year, Jerry Jr. was killed in a crash while attempting to qualify for Indy.
Louie earned class victories at Pikes Pike in 1960 and 1961, but multiple sclerosis forced his retirement from competitive driving in 1964. It was Bobby who became “King of the Mountain,” earning 13 wins—including 10 overall victories—at Pikes Peak from 1956 to 1986. Bobby made his mark at Indianapolis too, winning the Indy 500 in 1968, 1975, and 1981.
The Unsers reigned at Pikes Peak, and Al earned overall wins in 1964 and 1965. He posed there with Wes Vandervoort (left) and brother Bobby (right) in 1964. / THF218643
Al launched his own competitive driving career in 1957. Fittingly, his first taste of success came at Pikes Peak. He interrupted his brother Bobby’s successful streak on “America’s Mountain” by claiming the overall victory in 1964. Al then turned in a repeat performance with another overall win in 1965. That same year, he made his debut in the Indianapolis 500. Al finished ninth, ahead of Bobby (who placed nineteenth) but behind Jim Clark and his rear-engine revolution.
Al’s Johnny Lightning cars of 1970–71 remain Indy fan favorites. / THF148071
Al scored a second-place Indy 500 finish in 1967 and, the following year, he joined Vel’s Parnelli Jones Racing team and chief mechanic George Bignotti. Al’s first win at the Brickyard came in 1970, when he dominated the race by leading 190 of the 200 laps. Just as he had done at Pikes Peak, Al posted a repeat win at Indy by taking the checkered flag again in 1971. In both years, Al turned heads not just with his performance, but with his distinct blue and yellow cars sponsored by toymaker Johnny Lightning.
Unser notched another Indy 500 win in 1978. That year’s victory was followed later in the season by wins at Pocono Raceway and Ontario Motor Speedway. The trio of checkered flags gave Al the Indy car “Triple Crown”—victories in all three of the 500-mile races on the 1978 calendar.
Al’s 1987 Indy 500 victory made him only the second driver (at the time) to win the race four times. / THF225018
Unser’s fourth Indianapolis 500 win shouldn’t have happened at all—which made the triumph that much sweeter. Al was without a ride heading into the 1987 race. But when Team Penske’s Danny Ongais went into the wall during practice and then withdrew from the race under doctor’s orders, the team offered Unser the chance to take his place. Al was less than a week from his 48th birthday, but he was game for another run at the greatest spectacle in racing. Unser started the race in 20th position but steadily moved toward the front, taking the lead on lap 183. He held off the opposition long enough to take the checkered flag with an average speed of 162.175 mph. At that moment, not only did Al become the second driver to win the Indianapolis 500 four times (after A.J. Foyt), he also became the oldest driver to win the race (beating a record set by his brother Bobby, who’d won in 1981 at age 47).
Al retired from competitive driving in 1994, but not before racing several times against his son, Al Unser, Jr. “Little Al” earned two Indianapolis 500 victories of his own, taking the checkered flag in 1992 and 1994. Altogether, an Unser won the Indy 500 nine times from 1968 to 1994—one-third of the races held in those 26 years!
For 30 years, Al Unser, Sr., was one of only three drivers to win Indy four times (along with A.J. Foyt and Rick Mears). Helio Castroneves joined the exclusive club in 2021. / THF146847
We join the racing world in mourning the death of Al Unser, Sr. His passing is especially hard coming in the same year that saw the loss of his brother, Bobby, and his nephew (and Bobby’s son), Bobby Unser, Jr. Al’s achievements and his impressive record will endure, as will the incredible legacy of the Unsers of Albuquerque, the first family of American racing.
You can hear Al Unser, Sr., describe his career and accomplishments in his own words on our “Visionaries on Innovation” page here.
Al Unser, Sr., in 2009 (photo by Michelle Andonian). / THF62695
Matt Anderson is Curator of Transportation at The Henry Ford.
Additional Readings:
Indiana, New Mexico, 21st century, 20th century, racing, race car drivers, in memoriam, Henry Ford Museum, Driven to Win, cars, by Matt Anderson
The Mathematica exhibit in Henry Ford Museum of American Innovation. / Photo by KMS Photography
When Henry Ford Museum of American Innovation reopened in July 2020 after months of shutdown because of COVID-19 restrictions, museumgoers were excited to be back on the floor. Many of them were super excited to get back to one of their favorite exhibitions, Mathematica—a favorite because it’s so hands-on.
And therein lay the problem, said Jake Hildebrandt, historic operating machinery specialist at The Henry Ford. As COVID-19 spread, the hands-on interactivity of Mathematica caused it to remain closed. Mixing a little bit of ingenuity, technology, and lots of problem-solving skills, Hildebrandt, along with master craftsman Brian McLean, ensured the exhibition could remain interactive yet hands-free and open to the public.
Mathematica’s Moebius Band was modified by staff from The Henry Ford to start via a hand wave. / Photo by Jillian Ferraiuolo
The push-start buttons on the Moebius Band and Celestial Mechanics installations, for example, are now initiated with a wave of the hand—no touch necessary. And the 27-button panel of the Multiplication Machine has been covered with Plexiglas for safety and new software installed so random math problems run on the cube throughout the day for visitor education and enjoyment.
A newly-added note under the Plexiglas installed on the Multiplication Machine in Mathematica reads “This machine has been temporarily modified for a touch-free experience / It now multiplies random numbers on its own.” The styling of the note is intended to match the original design of Charles and Ray Eames. / Photo by Jillian Ferraiuolo
“Projects like these, DIY challenges that have high criteria, limited time and budget, are my favorite kinds of projects,” said Hildebrandt. All the alterations to Mathematica are easily reversible, he added, and when you head to the museum to see them, you’ll notice the respectful attention given to the exhibition’s classic Eames styling.
This post was adapted from an article first published in the January–May 2021 issue of The Henry Ford Magazine.
#Behind The Scenes @ The Henry Ford, The Henry Ford Magazine, making, Henry Ford Museum, healthcare, design, COVID 19 impact, collections care
Mimi Vandermolen, 1992–93, in front of the Ford Probe. / THF626259
Today, we take things like ergonomic seats and user-friendly dashboard dials in American automobiles for granted. But back in the mid-1980s, these were radical innovations. Much of the credit for bringing these game-changing elements to an American automobile goes to a creative and determined female lead designer named Mimi Vandermolen, who headed up the 1986 Ford Taurus interior design team.
Interior of 1986 Ford Taurus LX Sedan in The Henry Ford’s collection. / THF90338
In the late 1970s, Ford Motor Company had no room for mistakes. The 1978 oil embargo by OPEC (Organization of the Petroleum Exporting Countries) had resulted in a customer rush to buy economical, fuel-efficient cars made by non-American automobile companies, like Japanese-made Toyota Corollas and Honda Civics. The surge in import sales might have been bad enough. But Ford, unfortunately, had no new models in the works to respond to the rapidly changing market.
Sales brochure for 1977 Honda Civic. / THF202071
However, a new group of leaders at Ford, more familiar with the foreign market, began to implement changes. They envisioned a brand-new “world-class” car—a car that followed and improved upon world-wide trends in engineering and design, that could be sold in any country, and that was second to none in quality (referred to as “best in class”). To accomplish these objectives for what would eventually become the Taurus, Ford executives realized that two things had to change radically: the customer would have to come first, and product integrity could never be compromised.
The design and manufacturing process also had to change. Those who planned, designed, engineered, built, and sold this new car would work as a team. The team concept in developing the Taurus meant that those who styled the interior would work concurrently and in concert with those who developed the car’s exterior. Moreover, the team approach would not be top-down. The input of planners, engineers, designers, promoters, and dealers would be both welcomed and actively invited.
Diagram showing the unique (at the time) integration of departments charged collectively with meeting the new car’s objectives, from the 1986 Taurus marketing manual. / THF625465
Mimi J. Vandermolen was born in the Netherlands and raised in Toronto, and she grew up liking art and drawing. She found her calling when she visited the product design studio at the Ontario College of Art. One of the first female students to attend school there, she graduated in 1969. Disappointingly, she found very few design jobs open to women, as women’s work at the time was primarily narrowed to teaching, nursing, and secretarial jobs. But in 1970, she was hired to work in Ford’s Philco Division, where she designed home appliances like snowblowers and TVs—rather than automobiles.
Still, she was the first female designer in the Ford Design Studio at a time when women were rarely hired by American automotive design studios. Soon enough, her talents were recognized, and after six months she was transferred to car design—working as a trainee on the Mustang II, Cougar, and Granada. All the while, she felt that her ideas were ignored or dismissed, considered too radical or out-of-the-box for a staid American automobile company.
Publicity photo for the 1974 Mustang II. Note the reference to “simulated walnut accents” (rather than real wood), a decorative touch that designers detested and were delighted to see eliminated in the Ford Taurus interior. / THF113139
In 1979, Vandermolen was promoted to Design Specialist at Ford and, in 1980, she was invited to join Team Taurus as the lead designer of the interior. She considered the team approach a “breath of fresh air,” but realized that designers were not used to articulating or defending their ideas. Her design team was going to have to become a lot better at justifying design ideas to have any of them approved and implemented.
She recognized from the start that the key to the potential success of the Taurus was to create an interior that mirrored the style and theme of its exterior body. Each component of the interior—switches, doors, lights, controls, seats—would be designed to meet two key objectives. First, were they “friendly” enough—that is, were they easy to find and use, day or night? And second, did they blend in aesthetically with the car’s exterior and the rest of its interior?
The dashboard (known in the industry as the Instrument Panel, or IP) was traditionally designed to suit the needs of engineers and manufacturers rather than those who actually drove the cars. It tended to be straight and flat, and the driver had to lean forward to reach it—a design already being abandoned in European cars.
The lower image, from the 1986 Ford Taurus press kit, illustrates how the instrumentation and controls were designed to “an exceptional level of passenger comfort.” / THF105522
Vandermolen asked her team to address how a driver could both have easy access to the IP and still ride in a car that was spacious and inviting. In the final design, the Taurus IP was angled in such a way that the instrument and control system would indeed come within quick and easy reach of the driver.
Taurus instrument panel dials, both standard and digital, from the 1986 Taurus marketing manual. / THF625475
Vandermolen encouraged her team to consider how individual controls could be designed to be both manageable and safe. Each component was considered on a case-by-case basis. The speedometer, for example, was redesigned with a large needle to show incremental change in speed. Push-pull switches, like those for the heater, were replaced with rotary knobs, which were easier to operate. Switches had bumps added to the ends, so drivers could locate them easily without taking their eyes off the road. The controls and instruments were in clear view and easy to reach, so with a minimum of effort, one could drive a few times, then operate them by touch without looking away from the road. The IP also came with an optional digital panel, futuristic- and video-game-looking at the time, but foreshadowing future designs.
Driver’s interior front door panel, with integrated features, from the 1986 Taurus marketing manual. / THF625482
The overall interior was designed to mirror the sculpted look of the body, with no straight or sharply angled panels. For example, after sixteen design iterations, the final design of the interior door panel was smoothly sculpted with integrated power controls, curb light, reflector, and map pocket. The interior also exuded a level of quality unlike previous mid-size family cars on the market. Fake woodgrain did not appear anywhere in the interior, to the delight of designers who had long abhorred this cheap substitute for real wood that had become the norm on American cars.
With the Taurus, the design of the seats started from scratch. This was, in fact, the most difficult part of the car to get right. The process took 2½ years—Ford’s most extensive seat evaluation program ever. It involved deconstructing and studying best-in-class car seats on the market (the GM Opel Senator was a front-runner), then simulating and recreating these. The newly designed seats for the Taurus were submitted to many miles of consumer test driving and weeks of test-dummy trials for seat and fabric durability.
Ergonomics—the science of relationships between humans and machines—played a crucial role in seat design. Traditional seats—flat, sofa-like slabs of upholstery or unsupportive bucket seats—had often led drivers to purchase after-market cushions and devices to provide back and leg support. Seats had to support a variety of sizes, shapes, and weights—sometimes for hours at a time. Fabric had to withstand extremes of temperature. The interior foam, providing the cushion, had to be resilient.
Ergonomic seats with armrests, optional power adjustments, and cloth or optional leather upholstery, from the 1986 Taurus marketing manual. / THF625477
Final car seat options offered three configurations, fitting a wide range of physical types, and included lower-back support, heavy-density foam, and headrests for the front seats. In addition, ergonomic tests found that window switches and door handles were traditionally placed too far forward to comfortably use. They were, accordingly, moved and/or adjusted for easy reach. Finally, the rear seats were raised slightly for backseat passengers to be able to see over the front seats, while new storage compartments were tested and added.
Much of Vandermolen’s work on the Taurus, and on later projects, was driven by her passion about the needs of female drivers. “If I can solve all the problems inherent in operating a vehicle for a woman,” she maintained, “that’ll make it that much easier for a man to use.” For this, she solicited opinions from a wide range of female consumers, market testing some features over and over until she, her team, and—most importantly—the female customer were all satisfied.
In the end, the interior of the Taurus was a dramatic departure from the usual American car design. Controls were logical, switches made sense, seats were sturdy and comfortable. Moreover, Team Taurus felt that the team concept had worked. Team members debated, discussed, and listened to each other, working together to solve problems. Designers learned to present their vision and argue for it. Vandermolen instilled confidence in her team by telling them, “Don’t be scared. We’re on the right track. We’re meeting our objectives.”
1986 Taurus LX sedan and station wagon, from a sales brochure cover for the 1986 Taurus. / THF208075
The new Taurus was launched on December 26, 1985, leading to what became known as the American auto industry’s “Rounded Edge Revolution.” Some people ridiculed the 1986 Taurus, likening it to a jellybean or a potato. But it won Motor Trend’s Car of the Year Award, with the compliment, “If we were to describe the Taurus’s design in a word, the word would be ‘thoughtful.’” Car and Driver called it “one of history’s most radical new cars,” praising Vandermolen’s efforts as “a bold attempt to reorder the priorities of American-made family sedans.”
Customers responded in kind. The Taurus soon accounted for 25 percent of Ford’s North American sales. In 1987, Taurus became the number-one selling car in the United States.
1986 Ford Taurus LX Sedan in The Henry Ford’s collection. / THF90332
Ford’s gamble to steer the company from a serious downturn with a “world-class” car paid off. Ergonomics, aerodynamics, sculpted interiors, angled IPs, comfortable and supportive seats, market research with targeted customers, and team-oriented planning—all of these would become standard elements of future American automobile design and manufacturing.
In 1987, Vandermolen was promoted to the position of Design Executive for small cars at Ford Motor Company, overseeing interior and exterior design developments in North America—a first for a woman in the automotive industry. That year, Fortune Magazine named her one of its “People to Watch.” She headed the development of the 1993 Ford Probe from start to finish. Her focus on women consumers remained a particular point of pride throughout her career.
Today. Mimi Vandermolen’s legacy lives on. In February 2021, the Classic Cars.com Journal called her one of “11 women who changed automotive history and the way we drive.”
For more on Vandermolen and her contributions to the 1986 Ford Taurus, see the book Taurus: The Making of the Car That Saved Ford by Eric Taub (1991).
Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford. She learned of Mimi Vandermolen’s story in the 1990s and is pleased to finally write about it so others can appreciate it as well.
Additional Readings:
- 1937 Cord 812 Convertible
- 1896 Ford Quadricycle Runabout, First Car Built by Henry Ford
- Texaco "Fire-Chief" Gasoline Pump, circa 1940
- 1959 Cadillac Eldorado Biarritz Convertible: Is This the Car for You?
20th century, 1980s, women's history, immigrants, Henry Ford Museum, Ford workers, Ford Motor Company, Driving America, design, cars, by Donna R. Braden
Machine-harvesting new tomato varieties, as depicted in the 1968 USDA Yearbook, Science for Better Living. / detail, THF621132
For millennia, people have domesticated plants and animals to ensure survival—this process is agriculture. And while most of us neither grow crops nor raise livestock, agriculture affects all our lives, every day: through the clothes we wear, the food we eat, and the fuel we use to move from place to place.
But agriculture is also the changing story of how this work is done. At every step, people have created new technology and tools to challenge nature’s limitations and to reduce the physical labor required to plant, cultivate, and harvest.
People produced much of what they ate until processed foods became big business in the United States during the late 1800s. As market demand increased, and commercial growing and canning grew, it prompted changes in farming. Take the tomato. Canning required ample quantity to guarantee supply, and vast fields of perishable crops required rapid harvest to ensure delivery of the best crop to processors.
Workers harvest tomatoes by hand at a Heinz farm in 1908. / THF252058
But mechanizing the tomato harvest required changing the crop—the tomato itself—so it could tolerate mechanical harvesting. During the 1940s and 1950s, crop scientists cross-pollinated tomatoes to create uniform sizes and shapes that matured at the same time, and with skins thick enough to withstand mechanical picking.
Agricultural engineers developed harvesting machines that combined levers and gears to dislodge tomatoes from the stalk and stem. But humans remained part of the harvesting process. At least eight laborers rode along on the machines and removed debris from the picked fruit.
In 1969, the first successful mechanical harvester picked tomatoes destined for processing as sauce, juice, and stewed tomatoes.
The 1968 United States Department of Agriculture Yearbook, Science for Better Living, depicted new machine-harvestable tomato varieties that “all ripen near same time, come from vine easily, and are firm fruited.” The oblong shape reduced rolling and bruising. / THF621135
Today, all processed tomatoes—the canned products you find on grocery store shelves—make their way from field to table via the levers, gears, and conveyor belts of a mechanical harvester. But you can still buy a hand-picked tomato at your local farmers’ market—or grow your own.
The process of growing food still involves planting and nurturing a seed. But exploring agriculture in all its complexity helps us recognize the many effects of human interference in these natural processes—an ever-changing story that affects all our daily lives.
Adapted by Saige Jedele, Associate Curator, Digital Content, from a film in Henry Ford Museum of American Innovation’s Agriculture and the Environment exhibit. The team that wrote and refined the film script included Debra Reid, Curator of Agriculture & the Environment; Ryan Jelso, Associate Curator, Digital Content; Ellice Engdahl, Manager, Digital Collections & Content; and Aimee Burpee, Associate Registrar—Special Projects.
Additional Readings:
- Agriculture and the Environment
- Horse Power
- #InnovationNation: Agriculture & Environment
- Biomimicry: Making Mother Nature Our Muse
Henry Ford Museum, farming equipment, food, farms and farming, by Saige Jedele, agriculture
Our new limited-engagement exhibit, Collecting Mobility: New Objects, New Stories, opening to the public October 23, 2021, takes you behind the scenes at The Henry Ford to show you how we continue to grow our vast collection of more than 26 million artifacts. One key question the exhibit asks is why we collect the items we collect. To get more insight on the artifacts on exhibit and future trends that may impact our collecting, we reached out to several of our partners. In this post from that series, our friends at General Motors (GM), donors of the General Motors first-generation self-driving test vehicle in the exhibit and contributors to our Driven to Win: Racing in America exhibit, tackle questions about autonomous vehicles (AVs), electric vehicles (EVs), and racing.
Our latest permanent exhibit, Driven to Win: Racing in America, is presented by General Motors. How has GM’s racing program evolved over time?
GM’s Chevrolet and Cadillac brands have both had long, storied histories in motorsports. Racing is a fundamental part of what we do—from transferring technology learned on the track to help us build better vehicles to connecting with consumers through something they love.
Racing driver Louis Chevrolet co-founded GM’s Chevrolet brand with William C. Durant in 1911. / THF277330
Chevrolet has been successful in professional motorsports in the United States and around the globe, capturing many manufacturer, driver, and team championships in NASCAR, IndyCar, IMSA, and the NHRA. From stock cars to advanced prototypes, Cadillac Racing has a rich history—more than half a century—of racing around the world and around the clock on some of the world’s notably challenging circuits.
Off the track, our racing programs have evolved with the help of our GM facilities. In 2016, General Motors opened the doors to the all-new GM Powertrain Performance and Racing Center—a state-of-the-art facility designed to enhance the development processes for the company’s diverse racing engine programs.
In 2021, General Motors broke ground on the new Charlotte Technical Center, a 130,000-square-foot facility that will expand GM’s performance and racing capabilities. The facility is a $45 million investment for GM and it will be a strong hub for the racing and production engineering teams to collaborate, share resources, and learn together, delivering better results more quickly, both on the racetrack and in our production vehicles.
The Chevrolet Corvette has a long, proud history in professional and amateur sports car racing. This pair of Corvettes is seen at a Sports Car Club of America race in Maryland in 1959. / THF135778
Engineering has become incredibly advanced over time, and leveraging tools between racing and production has become extremely important. We use tools like computational fluid dynamic models, which uses applied mathematics, physics, and computational software to visualize how a gas or liquid flows. These CFD models help us predict things like powertrain performance and aerodynamics.
Also, our Driver-in-the-Loop simulator allows us to test vehicles on courses virtually. It is the combination of two technologies: a real-time computer (with vehicle hardware) and a driving simulator. The driving simulator allows our development engineers to drive and test the real-time computer simulation and added hardware system on a virtual track, just like they would a physical prototype. The simulator was used extensively during the development of the mid-engine Corvette C8.R race car.
The 2001 C5-R Corvette is currently on loan from General Motors and can be seen by guests inside Driven to Win: Racing in America. Why was this vehicle selected to go on display inside Henry Ford Museum of American Innovation?
The Corvette C5-R made its debut in 1999 at the Rolex 24 at Daytona and was a fixture of global GT racing for the next five years. From 1999–2004, Corvette Racing and the C5-R set the standard for racing success with 31 victories in the American Le Mans Series, along with an overall victory at the Rolex 24 in 2001.
During six years of competition, Corvette Racing—the first factory-backed Corvette team in the car’s history—led the C5.R to an overall victory at the Daytona 24-hour race and three 1-2 finishes in the GTS class at the 24 Hours of Le Mans. During the 2004 season, Corvette Racing won every race the team entered and captured every pole position in the American Le Mans Series.
2001 C5-R Corvette, on loan from General Motors Heritage Center and currently on exhibit in Driven to Win: Racing in America in Henry Ford Museum of American Innovation. / THF185966
This specific car raced 17 times from August 2000 through June 2002 with 10 wins. It brought home the first win for the factory Corvette Racing program—Texas 2000 in the ALMS’ GTS class. Then it went on to become 2001 overall winner at Rolex 24, which was quite an accomplishment for a GT car. The car went on to win its class at Le Mans 24 in both 2001 and 2002. The modern era of Corvette’s factory racing program continues today, after over 20 years and 4 generations (C5/C6/C7/C8).
The success of this C5-R essentially started it all and we are proud to have it on display.
General Motors' donation of the 2016 GM First-Generation Self-Driving Test Vehicle was our first self-driving car acquisition. Why was it important to have this car join more than 300 others—including GM landmarks like the 1927 LaSalle and the 1997 EV1 Electric—in the collections of The Henry Ford?
This vehicle represents a huge step forward on the journey to fully autonomous driving. With Cruise, our majority-owned subsidiary, we’re determined to commercialize safe, autonomous, and electric vehicles on our way to a driverless future—one with zero crashes.
General Motors tested a series of autonomous vehicles in San Francisco, California, and Scottsdale, Arizona, in 2016. These cars used a combination of cameras, radar and lidar sensors, cellular and GPS antennas, and powerful computers to drive themselves on public streets in both cities. GM donated this one, now on exhibit in Driving America in Henry Ford Museum of American Innovation, to The Henry Ford in 2018. / THF173551
Cruise was the first AV company permitted to give rides to the public in its current driverless vehicles in the San Francisco area. Expansion of our real-world test fleet will help ensure that our self-driving vehicles meet the same strict standards for safety and quality that we build into all of our vehicles.
GM became the first company to assemble self-driving test vehicles in a mass-production facility when its next generation of self-driving Chevrolet Bolt EV test vehicles began rolling off of the line at Orion Township, Michigan, in January 2017.
The self-driving Chevrolet Bolt EVs feature an array of equipment, including LIDAR, cameras, sensors, and other hardware designed to accelerate development of a safe and reliable fully autonomous vehicle.
Reshaping cities and the lives of those who live in them has tremendous societal implications. Since we believe that all AVs will be EVs, these efforts will clearly advance our vision of zero crashes, zero emissions, and zero congestion, and help us build a more sustainable and accessible world.
This vehicle was really the first of its kind and its display is a sneak peek at the future of autonomy.
By 2025, General Motors plans to offer more than 30 electric vehicles globally. What does an all-electric future look like for Generation E?
For electric vehicles to make an impact, we need consumers to embrace them in mass numbers. So earlier this year, General Motors introduced the world to EVerybody In.
This is our brand commitment toward advancing a world with zero crashes, zero emissions, and zero congestion. EVerybody In is more than a brand campaign, it's a global call to action for everybody to join us on the road to an all-electric future.
GM introduced the EV1 in 1997. It was among the most sophisticated electric cars built during the 20th century. / THF91060
GM wants to put everyone in an EV. Thanks to Ultium, our EV architecture, GM is able to reimagine the vehicles it produces today as electric vehicles with equivalent power, excellent range, and a manufacturing cost different that is expected to diminish as EV production increases.
Not only will our EVs be fun to drive and cost less to own, they will also provide an outstanding customer experience. This is how we will encourage and inspire mass consumer adoption of EVs. GM has the technology, talent, scale, and manufacturing expertise to do it.
The all-electric future we are creating goes beyond our vehicles, it is inspiring us to do even more to help mitigate the effects of climate change. We plan to source 100 percent renewable energy to power our U.S. sites by 2025, and to become carbon neutral in our global vehicles and operations by 2040.
General Motors wants to impact society in a positive way and these are some of the steps we are taking to make it happen.
General Motors is committed to electrification—what types of current EV projects from the company might we expect to see in the museums of tomorrow?
With more than 30 EVs being introduced by 2025, we have a lot of exciting vehicles coming. From sedans, to trucks, to full-size SUVs, we will have a wide range of offerings in terms of size and design.
We are entering an inflection point in the transportation industry, a transformation the industry has not seen in decades—the mass adoption of electric vehicles. The first of any of these entries will be a sight to see in the museums of tomorrow for generations to come.
Lish Dorset is Marketing Manager, Non-Admission Products, at The Henry Ford. Todd Christensen is Strategy and Operations Manager, Chevrolet Motorsports Marketing & Activation, and Gina Peera is Corporate Strategy and Executive Communications at General Motors. General Motors is a global automotive manufacturer, driving the world forward with the goal to deliver world-class customer experiences at every touchpoint and doing so on a foundation of trust and transparency. See Collecting Mobility for yourself in Henry Ford Museum of American Innovation from October 23, 2021, through January 2, 2022.
Additional Readings:
- Driven to Win: Sports Car Performance Center
- A Lesson in Safety: Salt Walther’s Race Car
- I Would Drive 500 Miles: Scottish Drivers at the Indy 500
- 2001 Chevrolet Corvette C5-R. On Loan from General Motors Heritage Center.
engineering, manufacturing, Henry Ford Museum, Driving America, Chevrolet, alternative fuel vehicles, technology, autonomous technology, Driven to Win, race cars, racing, cars, by Gina Peera, by Todd Christensen, by Lish Dorset
Henry Ford's “Sweepstakes” Celebrates its 120th Anniversary
The original “Sweepstakes,” on exhibit in Driven to Win: Racing in America in Henry Ford Museum of American Innovation.
Auto companies often justify their participation in auto racing by quoting the slogan, “Win on Sunday, sell on Monday.” When Henry Ford raced in “Sweepstakes,” it was a case of win on Sunday to start another company on Monday. On October 10, 2021, we commemorate the 120th anniversary of the race that changed Ford’s life—and ultimately changed the course of American automotive history.
In the summer of 1901, things were not going well for Henry. His first car company, the Detroit Automobile Company, had failed, and his financial backers had doubts about his talents as an engineer and as a businessman. Building a successful race car would reestablish his credibility.
Ford didn’t work alone. His principal designer was Oliver Barthel. Ed “Spider” Huff worked on the electrical system, Ed Verlinden and George Wettrick did the lathe work, and Charlie Mitchell shaped metal at the blacksmith forge. The car they produced was advanced for its day. The induction system was a rudimentary form of mechanical fuel injection, patented by Ford, while the spark plugs may have been the first anywhere to use porcelain insulators. Ford had the insulators made by a Detroit dentist.
1901 Ford "Sweepstakes" Race Car. / THF90168
The engine had only two cylinders, but they were huge: bore and stroke were seven inches each. That works out to a displacement of 538 cubic inches; horsepower was estimated at 26. Ford and Barthel claimed the car reached 72 miles per hour during its road tests. That doesn’t sound impressive today, but in 1901, the official world speed record for automobiles was 65.79 miles per hour.
Ford entered the car in a race that took place on October 10, 1901, at a horse racing track in Grosse Pointe, Michigan. The race was known as a sweepstakes, so “Sweepstakes” was the name that Ford and Barthel gave their car. Henry’s opponent in the race was Alexander Winton, who was already a successful auto manufacturer and the country’s best-known race driver. No one gave the inexperienced, unknown Ford a chance.
When the race began, Ford fell behind immediately, trailing by as much as 300 yards. But Henry improved his driving technique quickly, gradually cutting into Winton’s lead. Then Winton’s car developed mechanical trouble, and Ford swept past him on the main straightaway, as the crowd roared its approval.
Henry Ford behind the wheel of his first race car, the 1901 "Sweepstakes" racer, on West Grand Boulevard in Detroit, with Ed "Spider" Huff kneeling on the running board. / THF116246
Henry’s wife, Clara, described the scene in a letter to her brother: “The people went wild. One man threw his hat up and when it came down he stamped on it. Another man had to hit his wife on the head to keep her from going off the handle. She stood up in her seat ... screamed ‘I’d bet $50 on Ford if I had it.’”
Henry Ford’s victory had the desired effect. New investors backed Ford in his next venture, the Henry Ford Company. Yet he was not home free. He disagreed with his financiers, left the company in 1902, and finally formed his lasting enterprise, Ford Motor Company, in 1903.
Ford sold “Sweepstakes” in May of 1902, but eventually bought it back in the 1930s. He had a new body built to replace the original, which had been damaged in a fire, and he displayed the historic vehicle in Henry Ford Museum of American Innovation. Unfortunately, Ford did not keep good records of his restoration, and over time, museum staff came to believe that the car was not an original, but a replica. It was not until the approach of the 1901 race’s 100th anniversary that the car was closely examined and its originality verified. Using “Sweepstakes” as a pattern, Ford Motor Company built two running replicas to commemorate the centennial of its racing program in 2001.
Ford gifted one of the replicas to us in 2008. That car is a regular feature at our annual Old Car Festival in September. Occasionally, it comes out for other special activities. We recently celebrated the 120th anniversary of the 1901 race by taking the replica to the inaugural American Speed Festival at the M1 Concourse in Pontiac, Michigan. The car put on a great show, and it even won another victory when it was awarded the M1 Concourse Prize as a festival favorite.
The “Sweepstakes” replica caught the attention of Speed Sport TV pit reporter Hannah Lopa at the 2021 American Speed Festival. / Photo courtesy Matt Anderson
The original car, one of the world’s oldest surviving race cars, is proudly on display at the entrance to our exhibit Driven to Win: Racing in America presented by General Motors. You can read more about how we developed that display in this blog post.
Specifications |
| Frame: Ash wood, reinforced with steel plates Wheelbase: 96 inches |
Bob Casey is Former Curator of Transportation at The Henry Ford. This post was adapted from our former online series “Pic of the Month,” with additional content by Matt Anderson, Curator of Transportation at The Henry Ford.
Additional Readings:
- Driven to Win: Sports Car Performance Center
- Barney Oldfield: America’s Racer
- Fast Cars and Warm Quilts: Auto Racing’s "Quilt Lady"
- 2016 Ford GT Full-Size Clay Model, 2014
20th century, 1900s, 21st century, 2020s, racing, race cars, race car drivers, Michigan, making, Henry Ford Museum, Henry Ford, Driven to Win, design, cars, car shows, by Matt Anderson, by Bob Casey, #Behind The Scenes @ The Henry Ford
Our current What We Wore exhibit in Henry Ford Museum of American Innovation features clothing from generations of one family. / THF188474
In 1935, 59-year-old Louise Hungerford sent a trunk full of clothing to Henry Ford—clothing that had belonged to her mother’s family, the Mitchells, who had lived in the village of Port Washington, New York, for six generations.
Letter from Louise Hungerford to Henry Ford, September 9, 1935. / THF624791 and THF624793
Ford had opened his museum to the public only two years before. Louise Hungerford was one of the hundreds of people who sent letters to Henry Ford at this time offering to give or sell him objects for his museum. The clothing she sent remains among the oldest in The Henry Ford’s collection.
Map of Port Washington in 1873—the Mitchell home is highlighted in red. / (Not from the collections of The Henry Ford.)
The Mitchell Family and Port Washington
Since the 1690s, the Mitchells had been respected members of the Long Island community of Port Washington as it evolved from farming to shellfishing and construction sand and gravel. In the early 1800s, Port Washington (then called Cow Neck) provided garden produce for New York City residents and hay for their horses—all shipped to the city by packet ships. By the mid-1800s, oystering was profitable in the area. After the Civil War, the sand and gravel industry took hold, providing construction materials for the growing city of New York.
By the early 1900s, the village had become a summer resort and home for the wealthy. The Long Island Railroad reached Port Washington in 1898, providing convenient transportation to the area from New York City. The city’s Knickerbocker Yacht Club moved to Port Washington in 1907. By the mid-1930s—when Louise Hungerford sent Henry Ford the letter and trunk full of family clothing--Port Washington’s quaint homes and wooded hills had been giving way to prestigious residences and sailboats for over 30 years.
Postcard views of Port Washington sent by tourists to family or friends about 1910. / THF624985 and THF624981
Mitchell family occupations evolved through the years along with Port Washington’s local economy: farmer, ship’s captain, stagecoach operator, land developer, highway commissioner, librarian.
Preserving the Past
The Mitchell family had changed with the times—yet hung onto vestiges of its past. Family clothing had been stored for over a century, first in Manhasset Hall, the house that had been home to the Mitchells since the late 1760s. Generations of the extended Mitchell family were born there, grew up there, married there, raised families there, and died there.
By the early 1900s, the Mitchell family home—added onto over the years before being sold out of the family—offered accommodations to tourists. The house was later torn down to make way for a housing development. / THF624821
When the Mitchell home was sold in 1887, the trunk full of clothing remained in the family. By the early 1900s, it was probably kept by Louise Hungerford’s aunt, Wilhelmina, and then by Louise’s mother, Mary. Wilhelmina had remained in Port Washington, helping establish the town’s first library and serving as its first librarian.
Port Washington Public Library, where Wilhelmina Mitchell served as the first librarian. / THF624979
Wilhelmina’s sister, Mary Hungerford, lived most of her adult life in Watertown, New York, after her marriage to produce dealer Egbert Hungerford. But, sometime before 1930, Mary—now a widow—returned to her hometown of Port Washington, along with her daughter, Louise. Wilhelmina Mitchell passed away in 1927; Mary Mitchell Hungerford died in 1933. Fewer Mitchell family members remained in Port Washington to cherish these tucked-away pieces of the family’s past. So Louise Hungerford wrote her letter, offering the trunk and its contents to Henry Ford for his museum.
Looking Inside
Trunk, 1860-1880. / THF188046
What clothing was in the Mitchell family trunk? Once-fashionable apparel. Garments outgrown. Clothing saved for sentimental reasons—perhaps worn on a special occasion or kept in someone’s memory. Everything was handsewn; much was probably homemade.
Louise Hungerford—if she knew—didn’t provide the names of the family members who had once worn these items, and Henry Ford’s assistants didn’t think to ask. For a few garments, though, we made some guesses based on recent research. For many, the mystery remains.
Women’s Slippers, about 1830. / THF156005
Flat-soled slippers were the most common shoe type worn by women during the first part of the 1800s. The delicate pair above might have been donned for a special occasion. Footwear did not yet come in rights and lefts—the soles were straight.
Child’s Dress, 1810-1825. / THF28528
The high-waisted style and pastel silk fabric of the child’s dress depicted above mirror women’s fashions of the 1810s. This dress was probably worn with pantalettes (long underwear with a lace-trimmed hem) by a little girl—though a boy could have worn it as well. Infants and toddlers of both genders wore dresses at this time. The tucks could be let down as the child grew.
Woman’s Gaiters, 1830-1860. / THF31093
Gaiters—low boots with fabric uppers and leather toes and heels—were very popular as boots became the footwear of choice for walking. To give the appearance of daintiness, shoes were made on narrow lasts, a foot-shaped form. By the late 1850s, boots made entirely of leather were the most popular.
Dress, 1780-1795. / THF29521
By the late 1700s, women’s fashions were less full and less formal than earlier. The side seams of this dress are split—allowing entry into a pair of separate pockets that would be tied around the waist. The dress, lined with a different fabric, appears to be reversible. The dress above was possibly worn by Rebecca Hewlett Mitchell, who died in 1790—or by her sister Jane Hewlett, who became the second wife of Rebecca’s husband, John Mitchell, Jr. 
Pockets, 1790-1810. / THF30851
In the 1700s and early 1800s, women’s gowns didn’t have pockets stitched in. Instead, women wore separate pockets that tied around their waist. A woman put her hand through a slit in her skirt to pull out what she needed. This pocket has the initials JhM cross-stitched on the back. They were possibly owned by John Mitchell, Jr.’s second wife, Jane Hewlett Mitchell (born 1749), or by his unmarried daughter, Jane H. Mitchell (born 1785).
Boy’s Eton Suit, 1820-1830. / THF28536
During the early 1800s, boys wore Eton suits—short jackets with long, straight trousers—for school or special occasions. The trousers buttoned to a shirt or suspenders under the short jacket. This one, made of silk, was a more expensive version, possibly worn by Charles W. Mitchell, who was born in 1816.
Sleeve Puffs, about 1830. / THF188039
The enormous, exaggerated sleeves of 1830s women’s fashion needed something to hold them up. Sleeve plumpers did the trick, often in the form of down-filled pads like these that would tie on at the shoulder under the dress.
Corset, 1830-1840. / THF30853
A corset was a supportive garment worn under a woman’s clothing. A busk—a flat piece of wood, metal, or animal bone—slid into the fabric pocket in front to keep the corset straight, while also ensuring an upright posture and a flatter stomach.
Quilted Petticoat, 1760-1780. / THF30943
In the mid-to-late 1700s, women’s gowns had an open front or were looped up to reveal the petticoat underneath. Fashionable quilted petticoats usually had decorative stitching along the hemline. Women might quilt their own petticoats or buy one made in England—American merchants imported thousands during this time.
Man’s Trousers, 1820-1850. / THF30007
These trousers appear to have been worn on an everyday basis for work. Both knees, having seen a lot of wear, have careful repairs.
Woman’s House Slippers, 1840-1855. / THF156001
The quilted fabric on these house slippers made them warmer—quite welcome during cold New York winters in a house heated only by fireplaces or cast-iron stoves.
Calash Bonnet, 1830-1839. / THF188043
Collapsible calash bonnets were named after the folding tops of horse-drawn carriages. These bonnets had been popular during the late 1700s with a balloon-shaped hood that protected the elaborate hairstyles then in fashion. Calash bonnets returned in the 1820s and 1830s, this time following current fashion—a small crown at the back of the head and an open brim. The ruffle at the back shaded the neck.
| When Henry Ford was collecting during the mid-1900s, many of the objects were gathered from New England or the Midwest—often from people of similar backgrounds to his. We are looking to make our clothing collection and the stories it tells more inclusive and diverse. Do you have clothing you would like us to consider for The Henry Ford’s collection? Please contact us. |
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford. Many thanks to Joan DeMeo Lager of the Cow Neck Peninsula Historical Society, Phyllis Sternemann, church historian at Christ Church Manhasset, and Gil Gallagher, curatorial volunteer at The Henry Ford, for meticulous research that revealed the story of generations of Port Washington Mitchells. Thanks also to Sophia Kloc, Office Administrator for Historical Resources at The Henry Ford, for editorial preparation assistance with this post.
New York, 19th century, 18th century, women's history, What We Wore, home life, Henry Ford Museum, fashion, by Jeanine Head Miller
Fans of The Henry Ford know that we are a big, (wonderfully) complicated, messy (in a good way) place—we are definitely not just a car museum. Our collections are so broad that they can sometimes confuse visitors. As just one example, take a look at the five most-viewed artifacts in our Digital Collections during the second quarter of 2021.
This GIF shows the most-viewed artifacts in our Digital Collections during Q2 2021: 1) 1896 Ford Quadricycle Runabout, First Car Built by Henry Ford; 2) Slave Collar, circa 1860; 3) Melting Pot Ceremony at Ford English School, July 4, 1917; 4) "Whites Only" Drinking Fountain, 1954; and 5) Letter from Clyde Barrow to Henry Ford Praising the Ford V-8 Car, 1934. / THF90758, THF13425, THF106481, THF13419, THF103458
Do you see any connections? Right off the bat, perhaps you see a connection between the Quadricycle (the first car built by Henry Ford) and the alleged Clyde Barrow letter about the Ford V-8—certainly both revolve around the larger-than-life figure of Henry Ford. Or maybe it seems obvious that the slave collar and the segregated drinking fountain both tell a story of the oppression of Black Americans over time.
But The Henry Ford’s collections contain many more artifacts than just these five, and there are many ways to find connections between them. When The Henry Ford’s curatorial, digital, experience, and web teams, as well as our experience design partners at Bluecadet, began working on Intersection of Innovation, a new multimedia experience in Henry Ford Museum of American Innovation, we set out to explore the various ways the artifacts in our collection work together as a disparate yet cohesive whole to tell a variety of stories.
You’ll find the Intersection of Innovation right under the Douglas DC-3 in the center of Henry Ford Museum of American Innovation. / Photo by Marvin Shaouni
One of the features you’ll see in the Intersection, probably the one that involved the most work, is a twelve-foot-long touch table. This table contains images and a little bit of information on nearly 32,000 artifacts from our collection, a number that will continue to grow. But it will never contain all of our digitized artifacts, and it is not meant to be the deep dive into individual artifacts or stories that our Digital Collections and online content are—instead, it’s designed to help quickly reveal connections between artifacts in a responsive, fun, and colorful interface. Those connections take two distinct forms, each with their own strengths and limitations.
First, we started with connections created by our curators. Curators are used to illuminating the many interweaving connections between seemingly different artifacts. We tried to go beyond very straightforward connections (for example, artifacts used by George Washington Carver, or artifacts created in New York) and find unexpected connections that might catch your attention. If you’ve ever watched one of our Connect3 videos, you might be familiar with this kind of connection.
For example, for the table, we used the concept of weaving to connect an oriole’s nest, a machine used to strand transatlantic cable, and a childhood artwork by Edsel Ford in which he wove a bear out of brown yarn. These connections are surprising, unexpected, and often subtle—something artificial intelligence might not (at least today) be able to achieve. But the limitation to human-created connections is the physical limitations of the human—our staff will never be able to create these types of complex connections for tens of thousands of artifacts.
Do these artifacts make you think of weaving? / THF164049, THF98041, THF234948
So we also added connections created by artificial intelligence. The computer that runs the table analyzes the artifact images in bulk and creates threads between them according to their color and shape—no human intervention required. The advantage of artificial intelligence connections is that computers can process much more information much more quickly than any human brain. There is no way that we could ever establish the mass of interconnections that the table’s computer does. Artificial intelligence can also pick up fine distinctions of color and shape that may be challenging for human eyes. However, the drawback of artificial intelligence is that, despite what science-fiction books and movies may tell us, computers do not function like the human brain (which is probably for the best).
Some of the early results of artificial intelligence analysis of shape (left) and color (right) gradients among our collections artifacts. We were excited to see that the computer analysis got better as it looked at more artifacts—the machine really did learn! / Image courtesy Bluecadet
Our conclusion, therefore, was that both humans and computers bring something to the table (pun intended). Artificial intelligence can help our visitors and staff see our collections in new ways—but humans also provide a unique sensibility that computers cannot, at least today.
The entire Intersection of Innovation, including the connections table, suffered from an incredibly unfortunate accident of timing—it was installed in the museum just before The Henry Ford closed for three months last year due to the worldwide COVID-19 pandemic. When we reopened, the table remained turned off until we were sure it could be operated safely. But today it is on—and it really is a lot of fun. Swiping your fingers along the table bring up seemingly infinite dynamic and colorful strings of artifacts for which you can explore both human- and artificial intelligence-created connections.
Try to resist the connections table—we dare you. / Media courtesy Bluecadet
If you haven’t yet had a chance to check out the table, we hope you’ll stop by and check it out, along with the rest of the Intersection. And if you are a tech geek (or just really interested), Bluecadet has a nice general overview of the table on their website, and an in-depth article about the process of tweaking and training the artificial intelligence on Medium.
Ellice Engdahl is Digital Collections and Content Manager at The Henry Ford.
Michigan, Dearborn, 21st century, 2020s, technology, Henry Ford Museum, digital collections, by Ellice Engdahl, #Behind The Scenes @ The Henry Ford
1959 Cadillac Eldorado Biarritz Convertible: Is This the Car for You?
THF90001
In the prosperous 1950s, many people bought luxury cars like this vast Cadillac, and many more wished they could. The car did more than fulfill needs—it sparked desires. But even at the height of uninhibited automotive design, some people questioned the logic of such vehicles. This car mirrors American attitudes of an era when gas was cheap, times were good, and the future seemed unlimited.
The 1958 book shown below peeked under the chrome and found some grime. The price and operating costs of American cars were soaring along with their size—while quality and fuel economy were declining.
"The Insolent Chariots," 1958. / THF108045
George Romney, president of American Motors, said famously in 1955, “Cars 19 feet long, weighing two tons, are used to run a 118-pound housewife three blocks to the drugstore for a two-ounce package of bobby pins and lipstick.” Even America’s inexpensive cars grew bigger. Plymouth, Ford, and Chevrolet all offered flashy entry-level vehicles. By 1960, highways, driveways, and parking lots were full of fins.
Postcard, Hart's U.S. 30 Diner, Lancaster, Pennsylvania, circa 1960. / THF297320
Archie finds the girl of his dreams in July 1959. / THF100874
This post was adapted from an exhibit label in Henry Ford Museum of American Innovation.
Additional Readings:
- 1931 Bugatti Type 41 Royale Convertible: Unmatched Style and Luxury
Driving America - 1896 Ford Quadricycle Runabout, First Car Built by Henry Ford
- 1981 Checker Marathon Taxicab
20th century, 1950s, Henry Ford Museum, Driving America, convertibles, cars
THF90538
Drop the top and cruise like a movie star! It sounds like fun. But movie stars live in sunny California— most of us don’t. Convertibles may draw people into showrooms, but sedans take them home. In 1956, only about 2.6% of Chevy customers drove home in ragtops. Despite that fact, the carefree appeal of 1950s convertibles has made them a symbol of that era. Let the wind blow through your hair!
Many entry-level brands—such as Chevrolet—made sleek, powerful convertibles to boost their image. It didn’t matter that convertibles weren’t big sellers.
1956 Chevrolet Bel Air Advertisement, "Man, that Chevy's Really Got It!" / THF100023
After enclosed cars became inexpensive enough for everyone to buy in the 1920s, open cars gained an aura of luxury and adventure. Ads associated the ’56 Chevy with youth, appealing not only to the young but also to those wanting to appear young.
1956 Chevrolet Bel Air Advertisement, "Youth, Beauty, Chevrolet, Action!" / THF100024
Convertibles became show-off cars, perfect for cruising around town, impressing dates, and hanging out. In 1949, these teenagers posed at a drive-in with their Ford convertible. / THF101124
This post was adapted from an exhibit label in Henry Ford Museum of American Innovation.
Additional Readings:
- 1956 Continental Mark II Sedan: “The Excitement of Being Conservative”
- Fozzie Bear’s 1951 Studebaker Commander
- Douglas Auto Theatre Sign, circa 1955
- 1931 Bugatti Type 41 Royale Convertible
20th century, 1950s, popular culture, Henry Ford Museum, Driving America, convertibles, Chevrolet, cars
