[CLOSED CAPTIONING HAS BEEN PROVIDED BY CARDI'S FURNITURE AND MATTRESSES] ♪ >> THERE IS A PAINTING HERE SO LARGE, WHEN UNROLLED, IT DOES NOT FIT INSIDE THE MUSEUM.

YOU CAN EXPLORE JOURNALS AND LOGBOOKS THAT CHRONICLED THE ENTIRE HISTORY OF A 19TH-CENTURY SEAFARING INDUSTRY.

AND YOU CAN CLIMB ABOARD THE LARGEST MODEL WHALING SHIP IN THE WORLD.

WE ARE AT THE NEW BEDFORD WHALING MUSEUM, AND THIS IS TREASURES INSIDE THE MUSEUM.

♪ ♪ >> FOR OVER 100 YEARS, NEW BEDFORD HAS BEEN DEFINED BY ITS HARBOR.

GENERATIONS OF MEN HAVE SET SAIL ACROSS BUZZARDS BAY AND BEYOND, WHERE THE SKY MEETS THE SEA, IN SEARCH OF FORTUNES AND A BETTER LIFE.

FISHING BOATS POPULATE THE DOCS TODAY BUT IN THE 19TH CENTURY, THE WHALING SHIPS WERE TIED UP HERE, PREPARING FOR THE NEXT ADVENTURE.

MARINERS WOULD SET SAIL FOR VOYAGES THAT TOOK THEM AROUND THE WORLD IN SEARCH OF WHALES.

NEW BEDFORD WAS KNOWN AS THE CITY THAT LIT THE WORLD.

IN THE HEART OF THE CITY, NEW BEDFORD WHALING MUSEUM COLLECTS AND DISPLAYS ALL THINGS HAVING TO DO WITH THE LOCAL HISTORY.

>> THE MUSEUM IS OVER 100 YEARS OLD AND WE REALLY ARE THE REPOSITORY FOR THE OLD REGION.

A LOT OF US KNOW US AS THE NEW BEDFORD WHALING MUSEUM BUT WE ARE ALSO THE OLD ART -- OLD DARTMOUTH HISTORICAL SOCIETY.

WE ARE THE STEWARDS AND REPOSITORY FOR THE NARRATIVES, ARTIFACTS, AND REPRESENTING OUR DEMOGRAPHIC IN THE REGION.

>> THE WHALE SKELETONS THAT GREET YOU WHEN YOU ENTER THE MUSEUM ARE ON DISPLAY SO VISITORS OF ALL AGES CAN EXPERIENCE JUST HOW LARGE THE SEA CREATURES ARE.

THERE ARE FOUR IN ALL, INCLUDING A 48-YEAR-OLD -- A 48 FOOT SPUR TURMOIL.

A GALLERY -- SPERM WHALE.

A COLLECTION ON THE FIRST FLOOR CELEBRATES DECORATIVE ART FROM NEW ENGLAND WITH A FOCUS ON CRAFTSMEN FROM THE REGION.

NEW BEDFORD ARTIST AND ILLUSTRATOR CLIFFORD ASHLEY IS ONE OF THEM.

WHILE PAYING HIS WAY THROUGH SCHOOL, ASHLEY FOUND HIMSELF ON BOARD A WHALING SHIP, WORKING ON A PIECE FOR HARPER'S MONTHLY MAGAZINE.

THAT TRIP INFLUENCED FUTURE WORK, INCLUDING AN INTEREST INK -- IN KNOTS.

>> WITHOUT THEM, THERE WOULD BE NO FISHING, RUGS, CLOTHING.

CLIFFORD WAS A VERY FUN, INTERESTING PERSON TO RESEARCH, AND HE IS A SON OF NEW BEDFORD.

♪ >> CLIFFORD PUBLISHED THE BOOK OF KNOTS IN 1948 -- 1941 AND IT IS ONE OF THE MOST IMPORTANT ENCYCLOPEDIAS OF KNOTS IN THE WORLD.

THERE ARE 7000 HAND DRAWINGS OF EACH.

HE TIED EACH ONE HIMSELF TO MAKE SURE THEY WERE ACCURATE.

HE MADE A LOT OF CORRECTIONS TO OLDER BOOKS ABOUT KNOTS.

THERE ARE BOOKS THAT GO BACK HUNDREDS OF YEARS FOR ALL TYPES OF APPLICATIONS.

>> THERE ARE ALSO THE TOOLS THAT SEAMAN WOULD'VE USED TO REPAIR LIVES.

-- LINES.

EACH KNOT HAS ITS OWN PURPOSE, LARGE AND SMALL.

>> I WENT THROUGH EVERY SINGLE DRAWING AND SHELF IN THE MUSEUM AND FOUND THE MOST INTERESTING AND BEAUTIFUL KNOTS OF ALL CULTURES THROUGHOUT THE PLANET.

THEY ARE ALL ON DISPLAY WITH CLIFFORD ASHLEY'S KNOTS.

IT IS ABOUT HUMAN CONNECTION AND HOW MUCH KNOTS HAVE BECOME PART OF OUR VERNACULAR.

TIE THE KNOT, MY STOMACH IS IN KNOTS.

THESE EXPRESSIONS THAT WE USE ALL THE TIME CONNECT US IN DIFFERENT WAYS.

WE HOLD A LOT OF EXHIBITIONS THAT SHOW WORK OF PRIMARY IMPORTANCE TO THE MUSEUM.

AND WHILE THEY ARE NOT ALWAYS OUT IN PERPETUITY, THE OBJECTS LIVE ON IN DIFFERENT EXHIBITS AND DIFFERENT INTERPRETATIONS.

WE ALSO INCLUDE PUBLICATIONS THAT LIVE ON BEYOND THE EXHIBITION.

SO FOR THE KNOT SHOW, WE HAVE A BOOK THAT INCLUDES MATERIAL THAT SPEAKS TO THE BROADER STORIES OF HUMAN INTERACTIONS.

>> YOU CAN SEE FIRSTHAND THE IMPORTANCE OF KNOTS BY CLIMBING ABOARD THE LAKOTA WITHOUT LEAVING THE MUSEUM.

>> IT IS THE LARGEST SHIP MODEL IN THE WORLD.

AND THIS IS HALF SCALE.

59 FEET LONG.

THE MAST IS 55 FEET HIGH.

THIS WAS FUNDED BY THE DAUGHTER, EMILY, OF JONATHAN BORN.

AT ONE TIME, HER FATHER OWNS MORE SHIPS IN NEW ENGLAND THAN ANY OTHER PERSON.

>> NO DETAIL IN THE SHIP HAS BEEN OVERLOOKED.

EVERY LINE, EVERY SALE, EVERY ASPECT OF THE SHIP IS FUNCTIONAL -- SAIL, EVERY ASPECT OF THE SHIP IS FUNCTIONAL.

>> IF THIS SHIP WAS NOT BUILT INTO THE FLOOR, IT COULD PROBABLY SAIL.

IT IS COMPLETELY FUNCTIONAL.

>> THE ORIGINAL SHIP SAILED ALL OVER THE WORLD, COMPLETING 12 WHALING VOYAGES OVER 45 YEARS.

>> WHEN EMILY BORN WILL THIS AS A MEMORIAL TO HER FATHER, IT WAS ALSO A MEMORIAL TO A WAY OF LIFE.

THE WHALING INDUSTRY IN NEW BEDFORD WAS IN STEEP DECLINE AT THAT POINT AND THIS WAS A WAY TO CAPTURE THE AESTHETIC AND THE MEMORY, AND STILL SHOW LONG-TERM KNOWLEDGE THAT WAS FADING AWAY IN THE CONSTRUCTION.

>> ANOTHER PLACE WHERE KNOWLEDGE IS PRESERVED IS IN THE READING ROOM.

>> YOU CAN SEE PAINTINGS, PRINTS, OBJECTS LIKE HARPOONS, HAVE SCALE WILL SHIP MODELS.

BUT MOST OF WHAT I HAVE IS NOT ON EXHIBIT.

2400 LOGBOOKS AND JOURNALS.

THEY GO BACK TO 1835.

THEY STARTED OUT WITH A GIANT LEDGER BOOK AND EVERYONE SIGNED THEIR NAME.

IN 1841, THE CHAPLAIN PUT IT ASIDE AND MADE A COPY.

ONE YEAR PER VOLUME.

WHEN THEY FINISHED THE YEAR, THEY PUT IT ON THE SHELF.

WE HAVE THE ENTIRE COLLECTION FROM 1841 UNTIL THE END IN 1925.

IF YOU SHIPPED FROM PORT IN NEW BEDFORD, YOU WERE INCLUDED.

>> METICULOUS RECORDS WERE KEPT OF EACH CREW MEMBER, JOB, SALARY, WEATHER CONDITIONS, WHERE THE SHIP SAILED, AND HOW MANY WILLS WERE CAUGHT.

>> I LIKE THIS ONE BECAUSE IT HAS A WHALE STAMP ATTACHED TO IT.

WHEN THEY TOOK A WHALE, THEY WOULD STAMP IT IN THE LOGBOOK.

THAT MEANT THEY TOOK AN ENTIRE WHALE.

YOU CAN SEE ON THIS DAY, THEY CAUGHT A WHOLE BUNCH OF WHALES.

FIVE OF THEM.

YOU CAN SEE THE STAMP RAISED IN THE MIDDLE.

THEY WROTE THE NUMBER OF BARRELS EACH WHALE WIELDED.

ON EACH -- ON REALLY GOOD DALES -- ON GOOD DAYS, FIVE OR SIX.

>> LOGBOOKS ALSO HAVE DETAILED SKETCHES THAT CHRONICLE THE VOYAGES.

THESE DRAWINGS WOULD OFTEN DEPICT THE THRILL OF THE CHASE AND DISTANT PORTS OF CALL THEY CAME FROM.

SOMEONE DOING GENEALOGY MIGHT VISIT HIS ROOM IN SEARCH OF FAMILY HISTORY.

BUT OTHER RECORDED DATA ALSO GETS USED IN THE WAYS AUTHORS NEVER IMAGINED.

>> CLIMATE SCIENTISTS WERE INTERESTED IN THE DATA IN OUR LOGBOOKS AND JOURNALS, BECAUSE THERE WAS A DATE, LATITUDE AND LONGITUDE, AND THE DESCRIPTION OF THE DAY.

>> USING THE DATA, SCIENTISTS WERE ABLE TO PUT TOGETHER A PICTURE OF WHAT THE POLAR ICECAPS LOOKED LIKE IN THE 19TH CENTURY AND COMPARE IT TO TODAY, AND PREDICT FUTURE CLIMATE MODELS.

>> THEY USED IT BASED ON DATA FROM OUR LOGBOOKS THAT YOU WOULD NOT NECESSARILY THINK TO USE THAT WAY.

BUT THE DATA WAS THERE AND COULD BE USED THAT AY.

>> RIGHT NOW WE ARE FOCUSING ON WHALE CONSERVATION.

WE HAVE A FEW DIFFERENT COLLECTIONS OF ARTIFACTS I FIND PARTICULARLY FASCINATING AND VERY HELPFUL FOR THE COMMUNITY FOR PEOPLE OUTSIDE THE REGION AND GLOBALLY TO UNDERSTAND THE HISTORY OF WHALES.

MY FAVORITE PART OF THAT IS WE GOT THIS COLLECTION CALLED THE WALK IN CHEVELLE COLLECTIONS THAT INCLUDE A HISTORY.

ALL KINDS OF MEDIA, INSTRUMENTS, PHOTOGRAPHS AND PHOTOGRAPHY EQUIPMENT THAT IS THE HISTORY, LEARNING ABOUT THE SOUNDS OF WHALES SINCE THE 1940'S UNTIL AROUND 2000.

>> THE SOUNDS FROM THESE MARINE MAMMALS COLLECTED OVER SEVEN DECADES AND GIFTED TO THE WHALING MUSEUM ARE AVAILABLE FOR VISITORS TO LISTEN TO AND LEARN FROM.

[WHALE SOUNDS] >> SAMPLES FROM DIFFERENT SPECIES CAN ALSO BE HEARD ON THE WHAT MUSEUM'S WEBSITE.

>> WE ARE LOOKING AT APPLYING THESE TWO CONTEMPORARY ISSUES INVOLVING WHALE CONSERVATION TODAY.

SO THIS COLLECTION IS USED AS BASELINE DATA SOURCES FOR CONTEMPORARY SCIENTIFIC RESEARCH.

IF THEY RECORDED GREAT WHALES OFF THE COAST OF THE VINEYARD IN THE 60'S, THEY CAN NOW COMPARE THE RECORDINGS TO RECORDINGS MADE OF THE SAME ANIMAL.

>> ONE OF THE GREATEST TREASURES AT THE NEW BEDFORD WHALING MUSEUM IS SO LARGE, THERE IS NOT A SPACE TO GET IT -- BIG ENOUGH FOR IT TO BE ON PERMANENT DISPLAY.

THE 1000 200S 75 FOOTWORK OF ART IS LONGER -- THE 1275 FOOT WORK OF ART IS LONGER THAN THE EMPIRE STATE BUILDING.

IT IS A PANORAMA.

>> IT IS PAINTED ON THIN COTTON SHEETING.

IT IS LIGHTER THAN CANVAS.

IT IS LIKE BEDSHEETS.

IT WAS PAINTED IN 1848.

THIS PAINT IS KNOWN TO DRY OUT OVER TIME AND SINCE THIS WAS PAINTED 150 YEARS AGO, WE HAD TO FIGURE OUT HOW TO STABILIZE THE PAINT IN ORDER TO DISPLAY IT OR HANDLE IT AGAIN.

WE RECENTLY UNDERWENT A MAJOR CONSERVATION AND RESTORATION OF THE PAINTING THAT HAD 26 DIFFERENT KINDS OF DAMAGE DOCUMENTED ON IT.

YOU CAN IMAGINE DAMAGE ALONG 1300 FEET OF CLOTH.

THAT IS THE LENGTH OF THE PAINTING.

IT WAS QUITE AN UNDERTAKING TO PUT BACK TOGETHER.

FIRST WE HAD TO STABILIZE THE PAINT SO IT WOULD NOT FLAKE OFF THE COTTON AND ONTO THE FLOOR WHEN YOU HANDLE IT.

THAT WAS THE FIRST CHALLENGE.

WE ENDED UP SPRAYING THE PAINTING WITH A GELATIN SOLUTION THAT ACTED AS AN ADHESIVE.

IT BINDS THE PIGMENT BACK INTO THE CLOTH AND REMAINS FLEXIBLE.

SO WE ARE ABLE TO HANDLE IT AND DISPLAY IT NOW.

>> THAT CONSERVATION PROCESS ALSO GAVE THE MUSEUM AN OPPORTUNITY TO CREATE A DIGITAL VERSION OF THE PANORAMA SO THE IMAGES COULD BE DISPLAYED AND EXPERIENCED IN SMALLER VENUES.

>> IT WAS PAINTED BY A LOCAL ARTIST NAMED BENJAMIN RUSSELL, WHO WAS A WILLING INVESTOR AND EMERGENT WHO LOST A LOT OF MONEY IN THE 1930'S -- 1830'S AND DECIDED TO GO TO SEA AND GO ON A WHALING VOYAGE.

IT IS BELIEVED FROM READING HIS OBITUARY THAT HE ACTUALLY WENT ON THE WHALING VOYAGE AND TAUGHT HIMSELF TO DO THIS KIND OF PAINTING WHILE HE WAS ON BOARD SHIP.

HE CAME BACK TO NEW BEDFORD WITH THE MEMORIES OF THE SITES HE SAW AND SKETCHBOOKS HE MADE ON BOARD.

THE NEW BEDFORD SCENE OF THE CITY'S LONG, 250 FEET.

IT SHOWS WHERE THE CITY WAS DURING THOSE DAYS, INCLUDING THE NEWLY BUILT TEXTILE MILL AND WHERE THE TRAINS WERE FOR -- TRAINS WERE FEATURED.

THE WHALING VOYAGE AROUND THE WORLD TAKES YOU FROM NEW BEDFORD TO CAPE VERITY -- VERDE TO HAWAII AND TAHITI.

THIS WAS AN ENTERTAINMENT PHENOMENON IN THE 19TH CENTURY.

>> A WHALER OUT OF NANTUCKET, CRUISING IN THE PACIFIC OCEAN, RAMMED AND SUNK BY A LARGE SPERM WHALE.

.

>> ORIGINALLY, THIS WOULD BE SHOWN AS A MOVING PANORAMA.

>> TODAY IT IS PUT UP IN ITS ENTIRETY AND THE VISITOR HAS TO WALK THE EXPANSE OF THE PAINTING.

WE CAN NO LONGER SHOW IT IN MOTION.

YOU WILL NOTICE AT THE TOP EDGE IS WHITE CLOTH.

THAT WAS TO REPLACE A PORTION OF THE PANORAMA THAT HAD BEEN CUT OUT AT SOME POINT DURING ITS HISTORY, PROBABLY TO FIT ON A CERTAIN WALL DURING A CERTAIN EXHIBITION.

TO PUT THE WHOLE PANORAMA BACK TOGETHER AGAIN, WE HAD TO ENSURE THAT IT WAS THE SAME HEIGHT IT HAD BEEN ORIGINALLY.

SO THE CONSERVATIVES -- CONSERVETORS WORK TIRELESSLY TO RESTORE DIMENSIONS.

>> IT IS NOW PRESERVED AND TRAVELS AROUND THE COUNTRY, JUST AS IT WAS WHEN ORIGINALLY PAINTED.

OTHER CREATIONS ARE LESS SPECTACULAR IN SIZE BUT EQUALLY ACCURATE IN DRAWINGS.

>> WHALERS WERE THE ONLY PEOPLE BESIDES MERCHANT MARINERS WHO GOT TO SEE WHALES IN THEIR NATURAL ENVIRONMENT.

THEY DREW THEM AND UNDERSTAND -- UNDERSTOOD HOW THEY ACTED AND INTERACTED WITH OTHER SPECIES.

THAT WAS TO MAXIMIZE THE EFFICIENCY OF THE HUNT, BUT THEY WERE GREAT OBSERVERS.

WHEN YOU LOOK AT A WHALERS LOGBOOK, THEY ARE REALLY ACCURATE DRAWINGS.

>> ANOTHER ART FIRM IS BELIEVED TO HAVE ORIGINATED -- ART FORM IS BELIEVED TO HAVE BEEN ORIGINATED IN THE WHALING INDUSTRY.

SKELETAL REMAINS BECAME A CANVAS FOR CARVING AND ENGRAVING.

>> CRAFTSMANSHIP WAS DEVELOPED DURING TIMES OF DOWNTIME AND THEY ARE EXTRAORDINARY.

ENTIRELY MADE BY SELF-TAUGHT FOLK ARTISTS AND GENERAL WORKING MAN ON THE SHIPS WHO LEARN FROM EACH OTHER THE CROPS OF THE SCREEN SHOT -- CRAFTS OF THE SKRIM SHOT.

IT COULD BE CARVED ONTO JAWBONES.

>> THE NEW BEDFORD WHALING MUSEUM HAS THE WORLD'S LARGEST COLLECTION OF SCRIMSHAW.

IT IS THE RESULT OF 25 YEARS OF RESEARCH AND COLLECTING.

WHALES TEETH WERE PLENTIFUL AND SMALL ENOUGH TO BE KEPT IN THE SAILORS CHEST.

CARVINGS WERE USUALLY DONE WITH A POCKET KNIFE AND GIVEN AWAY WHEN THE SHIP RETURNED FROM VOYAGE.

>> IT WAS NOT A COMMERCIAL PRODUCT.

IT WAS MADE FOR SWEETHEARTS AND FRIENDS.

IT WAS PERSONAL AND NOT FOR SALE.

THEY WERE NOT SHOVING SOMETHING SELLABLE.

E WAS DEEPLY IMPORTANT TO THEM AND TO GIVE -- IT WAS COMPLETELY IMPORTANT FOR THE MEN TO GIVE TO SWEETHEARTS WHEN THEY CAME HOME.

>> THEY MADE TOOLS AND WALKING STICKS AND AN INSTRUMENT LIKE THIS VIOLIN.

THE SCRIMSHAW IS A REFLECTION OF THE REMARKABLE TALENT ON BOARD THE SAILING VESSELS.

♪ >> THE SCRIMSHAW, DRAWINGS AND PAINTINGS WHALERS MADE OUR ARTIFACTS OF THE DAILY LIFE OF THE MEN.

AND WHAT WAS IMPORTANT TO THEM AT SEA.

>> ANOTHER EXHIBIT EXPLORES THE CONNECTIONS BETWEEN WHALERS AND TRADE IN THE FAR EAST.

♪ >> SHIPS FROM NEW BEDFORD SAILED ACROSS THE GLOBE AND ESTABLISH RELATIONSHIPS WITH EMERGING TRADE PARTNERS THAT RESULTED IN TREASURES OF A DIFFERENT SORT.

♪ >> ONE OF THE SHIPS THAT SAILED THE WORLD WAS THE ESSEX OUT OF NANTUCKET.

IT WAS ATTACKED AND SUNK BY A SPERM WHALE AND IS SAID TO BE THE INSPIRATION FOR NEVILLE TO WRITE MOBY DICK.

>> I HEARD HE WROTE A BOOK.

HE WENT WHALING.

HE DECIDED PARTWAY THROUGH THE VOYAGE THAT WHALING WAS NOT FOR HIM.

HE DECIDED TO WRITE INSTEAD.

THIS IS A DOCUMENT THAT SHOWS HE DESERTED.

YOU CAN SEE HIS NAME AS ONE OF THE PEOPLE WHO DESERTED.

WE COLLECT INFORMATION HAVING TO DO WITH THE NEW BEDFORD REGION.

WE ALSO COLLECT WHALING RELATED LOGS.

THIS DOES BOTH.

HE SHIPPED OUT OF THE PORT OF FAIRHAVEN.

SO WE HAVE A LOCAL STORY OF FAIRHAVEN AND THE WHALING STORY.

SO HERMANN MELVIN PLAYS A STARRING ROLE IN THE STORY.

>> THE LANDLORD WAS NEAR SCREAMING, DEVIL SETS THAT HARPOON OR.

>> THE CLASSIC, MOBY DICK, LIVES ON EVERY JANUARY WITH A 25 HOUR REDEFINE OF THE NOVEL.

-- READATHON OF THE NOVEL.

IT STARTS ON THE WHALESHIP AND MOVES AROUND THE MUSEUM AS LOCAL AUTHORS, CHILDREN, AND FANS OF THE NOVEL READ ALOUD EACH OF THE 136 CHAPTERS.

THE MARATHON ENDS IN THE GALLERY WHERE PARTICIPANTS CAN OVERLOOK THE NEW BEDFORD HARBOR AND BE SURROUNDED BY THE TREASURES INSIDE THE MUSEUM.

♪ IN NEWPORT, RHODE ISLAND, NOT ALL OF THE FANCY CARS ARE FOUND ON BELLEVUE AVENUE.

ONE OF THE LARGEST COLLECTIONS IS DOWN THE ROAD, AT THE NEWPORT CAR MUSEUM IN PORTSMOUTH.

AMERICANS HAVE ALWAYS HAD A LOVE AFFAIR WITH AUTOMOBILES.

BY THE 1950'S AND 1960'S, JUST ABOUT EVERY FAMILY OWNED THEIR OWN CAR.

FOR MOST PEOPLE, IT WAS SIMPLY A PRACTICAL WAY TO GET TO WORK OR TRAVEL AROUND TOWN TO RUN ERRANDS.

DURING THE SAME ERA, A GROWING NUMBER OF PEOPLE STARTED CUSTOMIZING THEIR CARS AND SHOWING THEM OFF AT CAR SHOWS TO FRIENDS AND OTHER ENTHUSIASTS.

MORE ADVANCED SHOWS FEATURED EUROPEAN CARS THAT WERE STARTING TO FIND A GROWING MARKET IN THE U.S.

SOME OF THE SPECIAL CARS ARE NOW PART OF THE MUSEUM COLLECTION.

>> I COLLECTED CARS FOR A SIGNIFICANT TIME.

>> FOR MOST OF THE TIME, AND THERE KEPT HIS CARS IN STORAGE AND WAS FINDING LESS TIME TO ENJOY THEM.

>> I WOKE UP ONE MORNING AND SAID TO MY WIFE, WE SHOULD SELL THE CARS.

WE ARE NOT DRIVING THEM AND THEY ARE JUST SITTING THERE.

IT DOES NOT MAKE ANY SENSE.

OR, HOW ABOUT WE DO A MUSEUM?

SHE SAID, LET US DO A MUSEUM.

>> WERE SOME PEOPLE SEE A VEHICLE AS TRANSPORTATION, BERMAN SEES ART.

>> WE THOUGHT THIS WOULD BE A GOOD WAY OF SHARING THE LOVE FOR SOME OF THE CAR ART WE HAVE, AS WELL AS THE WONDERFUL VEHICLES.

IT STARTS IN 1954 AND TRIES TO REFLECT THE DESIGN OF CARS THROUGH THOSE ERRORS, INCLUDING THE FINN CAR ERA WHICH REFLECTS THE HISTORY OF AMERICA.

YOU LOOK AT THE FINS ON CARS IN THE FRONT AND BACK.

IT REFLECTS AMERICA AT THE SECOND WORLD WAR WHEN ALL THE CARS WERE PAINTED IN DARK GREEN, DARK BLUE, AND BLACK TO ALL OF A SUDDEN FLOWERS CAME OUT AND YOU WAS SHAKING OFF THE DISMAL TIME AFTER THE WAR.

♪ >> IT HAS BEEN FUN DESIGNING THE MUSEUM.

WHEN ACQUIRING CARS, I WAS A CORPORATE LAWYER.

I HAVE MADE THE DEALS ON ALL OF THESE CARS, WHETHER I BOUGHT THEM ON EBAY OR IN OPTIONS.

20% OF THE VEHICLES ARE IN THE MUSEUM NOW.

WE HAVE COLLECTED THE REST AND PUT THEM ON DISPLAY IN A WAY THAT IS DIFFERENT THAN MOST CAR MUSEUMS.

>> YOU WILL NOT FIND THE COMPLETE HISTORY OF CARS REPRESENTED.

IT IS AN ECLECTIC COLLECTION OF WHAT THE OWNER FINDS INTERESTING, STARTING WITH THE MID-1950'S.

>> THIS IS A 1957 DE SOTO ADVENTURER.

>> GUNTHER KNOWS THIS CAR AS WELL AS ALL OF THE NEW AND OLD CARS IN THE COLLECTION AND THE MUSEUM.

>> THIS HAS A PLACE IN MY HEART OF ALL OF THE CARS BECAUSE THE 1957 DE SOTO WAS THE FIRST CAR I EVER BOUGHT.

>> HE BOUGHT IT IN 1960 14 $295.

THAT WAS THE BEGINNING OF HIS -- 1961 FOR 295 DOLLARS.

IT WAS THE BEGINNING OF HIS LOVE AFFAIR.

THE CAR WAS A BIG PART OF HIS LIFE.

>> I TOOK MY GIRLFRIEND TO THE DRIVE-IN, WHICH WAS QUITE POPULAR IN THOSE DAYS.

I WILL NOT GO INTO DETAILS ON THAT.

SPEAKING OF THE DRIVE-IN, IN THOSE DAYS, IT WAS COST PER HEAD.

AND THE TRUNK OF THE CAR IS LARGE.

WE WOULD FILL IT WITH MY FRIENDS TO BEAT THE DOLLAR PER HEAD CHARGE.

>> AND HE HAS ANOTHER REASON FOR PRESERVING ALL OF THE CARS.

>> WE HAVE A MORAL OBLIGATION TO THE CARS.

ONE OF THE BUSINESSES I AM IN IS THE ROCK SALT BUSINESS FOR ROADS.

I HAVE RUSTED OUT MOST OF THESE CARS AND I NEED TO PRESERVE THEM , SORT OF LIKE THE DODO BIRD OF AUTOMOBILES BECAUSE OF THE RUST.

[LAUGHTER] WE HAVE A WORLD CAR AREA THAT HAS JAGUARS, PORCHES, LAMBORGHINIS, MERCEDES.

IN THE U.S., WE HAVE A GALLERY THAT IS CHRYSLER AND ARE DEDICATED TO THE ICONIC MUSCLE CARS OF THE 1960'S WHEN THEY CAME INTO FASHION.

CORVETTES, A 1954 ALL THE WAY TO THE 2019 CR 1.

A SHELBY FORD THAT REFLECTS THE WONDERFUL THINGS SHELBY DID.

FORWARD ON THE RACING VENUES.

>> SHELBY HAD MANY DIFFERENT TALENTS BUT MUST BE BEST KNOWN AS THE DESIGN THAT TRANSFORMED THE AMERICAN SPORTS CAR.

IN 1965, HE CREATED A RACECAR THAT SUFFERED ITS BIGGEST LOSS BEFORE HE GOT ON THE TRACKS.

>> YOU HAD TO HAVE 50 CARS IN ORDER TO RACE.

SHELBY HAD 50 RACECARS THAT HE COULD NOT RAISE BECAUSE OF A CHANGING OF THE RULES -- RACE BECAUSE OF A CHANGING OF THE RULES.

SOMEONE SAID, WHY DON'T YOU PUT A REGULAR WINDSHIELD ON IT INSTEAD OF A SMALL RACING WINDSHIELD AND SELL THESE AS REGULAR CARS.

FOR PEOPLE WHO BOUGHT THE CARS ON THE DEALER FLOOR, THEY GOT A CAR THAT WAS ESSENTIALLY A FLIGHT OUT RACECAR.

>> ONE OF THESE IS THE FAVORITE TREASURES HERE AT THE NEWPORT CAR MUSEUM.

♪ [CAPTIONING PERFORMED BY THE NATIONAL CAPTIONING INSTITUTE, WHICH IS RESPONSIBLE FOR ITS CAPTION CONTENT AND ACCURACY.

VISIT NCICAP.ORG] ♪