We are always working on a variety of projects in the archaeology lab. Here are just a few of the interesting artifacts that staff and volunteers have recently encountered from Deapolis Village (32ME5) and Alderin Creek (32ME4). Both sites are in Mercer County near Stanton.

This ice glider is from Deapolis Village. Mandan people lived at this village in the early 1800s. The ice glider is made from a bison rib bone and is decorated with incised marks. Ice gliders are used to play a game of dexterity. (To learn more about ice gliders, check out Archaeology Collections Manager Ashenafi Zena’s blog.) This object was photographed and cataloged in preparation for an upcoming exhibit loan.

An ice glider from Deapolis Village. SHSND AHP 2000.1.503

These gunflints are also from Deapolis Village and would have been used with flintlock muskets or rifles. The gunflint on the far left looks like it was reused, possibly as a scraper for processing hides. If you look closely, you can see that someone worked (chipped away) part of the edge to shape it. These were photographed by one of our volunteers who is helping us document artifacts from many collections. Artifacts from Deapolis Village were collected in the 1950s.

Left: Gunflints from Deapolis Village. SHSND AHP 86.226.14578-14580
Right: A close-up of the reused gunflint. The red arrows point to areas where it has been reworked, possibly for use as a scraper for processing hides.

Most of our volunteers are currently helping us repackage artifacts from Alderin Creek. The artifacts were excavated in 1968 as part of a state highway project. We are rehousing the artifacts in preparation for future study—this collection has not yet been completely analyzed.

Alderin Creek is likely either a Hidatsa or Mandan village and was occupied sometime between 1525 and 1600. We have finished rebagging and reboxing most of the bone tools and ornaments, like this bead.

A bone bead from Alderin Creek. SHSND AHP 16000 X109 Fill

These two items are wrist guards used by archers to protect their arms.

Bone wrist guards from Alderin Creek. SHSND AHP 16000 X105 F200 & X104 Fill

Bone awls like this one were used to puncture hides and leather so that thread or sinew could be sewn through the holes to make clothes, shelter (such as tipis), and containers (like parfleche bags). There are many bone awls in this collection that are still quite sharp.

One of many sharp bone awls from Alderin Creek. SHSND AHP 16000 X103 F212

This bone fishhook is quite impressive—someone was ready to catch a good-sized fish.

A large bone fishhook from Alderin Creek. SHSND AHP 16000 X114 Fill F132

Forget about hibernating this winter. On a crisp day, there are few things more invigorating than getting outdoors for some exercise along the Missouri River. Luckily for us, some of North Dakota’s most significant historic sites also lie in close proximity. Throw in a pair of snowshoes, and you’ve got yourself the perfect outing: good for mind and body.

The best way to see an (outdoor) state historic site.

A recent out-of-state visit from my dad proved the perfect opportunity to learn more about how the Missouri River story has shaped the region’s history. With snowshoes in the trunk, Dad and I set out on a snowy day in late January to our first destination: Fort Clark State Historic Site. Located 15 miles southwest of Washburn, the site is the former home of a prominent 19th-century American Fur Company trading post of the same name as well as a Mandan village (Mih-tutta-hang-kusch) and trading hub.

After being delayed by a passing coal train, missing the turn-off three times, and a few false starts trying to strap on our snowshoes, we make our way over a picturesque stone stile (straight out of a fairy tale) and gingerly descend through a thicket of trees to the river bottoms, where we pass fresh rabbit tracks. Not far away lie fields where in warmer months Mandan women would have come to gather corn and other crops from their gardens. The snow is deep here, and I’m grateful for our fancy footwear, allowing us for the most part to travel over (rather than through) the soft banks (yes, there were a few tumbles). On the other side of the barbed wire fence running along the state historic site’s property line, we spot an elevated hunting blind and a tree stand strapped to a trunk, which adds a hint of danger to the milieu.

I snap a few photos, then we decide to head back up the escarpment to the first high terrace and learn more about the site. Above us a flock of geese flies by, their honks jarring the pristine white silence.

Dad at Fort Clark State Historic Site, snowshoeing in the footsteps of explorers.

At the interpretive signs, we carefully brush off newly fallen snow to read about this former crossroads of trade and once-vibrant cultural confluence. During its three decades of existence, Fort Clark attracted a remarkable stable of high-profile visitors (John James Audubon, George Catlin, Prince Maximilian, and Karl Bodmer among them).

But the same steamboats that brought visitors and goods also carried the smallpox that would decimate the Mandan community in 1837. The following year, the neighboring Arikaras moved into the village. After Fort Clark burned in 1860, its employees worked out of the nearby Primeau’s Post, which had been acquired from a competitor. Surface features at the site indicate the archaeological remains of the trading posts and the earthlodge village.

As I finish my loop around the interpretive panels, the wind and snow whip up something fierce. Small wonder why in colder months the Mandans resided in winter villages in the protected wooded river valley. Visitors these days can take refuge in a small fieldstone shelter on the site built by the Civilian Conservation Corps in the 1930s. I duck inside and sign my name in the guest book (hooray for being the first visitor of 2022!) then hurry back to the warmth of the car, where Dad has long since repaired.

Prior to returning to Bismarck, we stop off at the Knife River Indian Villages National Historic Site in Stanton, a hidden gem with a strikingly designed abstract visitor center meant to suggest a bald eagle. We pull up minutes before closing but still manage to take in a small exhibit on the culture and lifeways of northern Plains American Indians, and thanks to the lone National Park Service employee on duty even sneak a peek inside a reconstructed earthlodge out back. Dad is duly impressed.

The next day is bright and clear, and we drive 25 miles south of Bismarck to Huff Indian Village State Historic Site, just down the road from the Huff Hills Ski Area. Snow has collected near the entrance, and the car soon gets stuck in a literal rut until a shove or two by Dad, summoning his inner native North Dakotan, frees us.

Many state historic sites like Huff Indian Village feature stations where you can transfer a stamp to your North Dakota Passport.

Once fortified on three sides by a palisade wall and ditch system, this mid-15th century Mandan settlement is sandwiched between the river and a path frequented by rafters of wild turkeys and whizzing snowmobiles. I snowshoe up to the riverbank and look out over the frozen Missouri to the snowy hills in the distance. (For the more reflective among us, or dads with aching hips, there’s also a bench for riparian daydreaming.)

At first glance the site may appear a great white sea of emptiness, but depressions where more than 100 rectangular houses (and one slightly rounded dwelling) formerly stood, as well as a ceremonial lodge and plaza, are evident on closer inspection. Below ground, as the interpretive signage explains, cache pits (an estimated 1,700!) stored produce before mold or infestation turned some into de facto prehistoric landfills. I imagine living in this densely populated 12-acre village, with its obvious concerns of impending attack and need for a strong civil defense. I marvel at the ingenuity of the Mandans who built this community by the river, where even in the midst of threat and foreboding, dances were held and crops cultivated.

Huff Indian Village State Historic Site offers visitors sweeping views of a frozen Missouri and the hills beyond.

While Huff was only occupied for a short time (roughly 20 to 30 years), I like to think that the spirits of its former villagers are still watching from afar, as we traverse these landscapes in much the same way as upper Plains people would have traveled so many years ago. Exploring Huff Indian Village and Fort Clark by snowshoe made our visits seem more authentic and evocative, moving through space just as previous generations would have done, in a different time but the same place.

Gift giving can be hard work. Things that were once thoughtful gifts might seem like bad ideas today. Here are some examples from our museum collection of what not to give your special someone this Valentine’s Day.

1. A Sexist Greeting Card. Nothing screams romance like asking your valentine to repair your clothing. It is hard to say what Ellen Olstad of Galesburg might have thought about this card when she received it in the 1930s, but I bet you can do better.

I would let him figure it out himself. SHSND 1993.19.22

2. Hairy Accessories. Gifts that fit your valentine’s interests are always a good idea. But maybe don’t make an arts and crafts project out of your own hair. I’ve touched on the strangeness of hair art in a previous blog. And here is another example. Peter Davidson lived in Hatton and later in Arnegard with his wife, Hilda. By wearing this watch chain, Davidson displayed both his membership in the Modern Woodmen of America organization and his devotion to whoever braided it.

It would be hard to forget (or forgive) any gift made of hair. SHSND 1990.280.1

3. Lethal Irons. Unless specifically requested, housekeeping items make terrible gifts. Especially ones that can kill you. Asbestos sad irons were all the rage before the rise of the electric iron. These featured a removable asbestos-lined cover that fit over the heated metal iron. The asbestos cover worked great to keep the iron hot and the handle cool. Too bad asbestos is the leading cause of mesothelioma commercials in the United States. Ah, but the ease of housework! Laundry room equipment contained asbestos for decades. So, while the women in Jessie Hunter Lorenz’s family in Pembina pressed their clothes with the asbestos iron in the early 1900s, the Weinrebe family in Minot cooled their irons on this asbestos iron pad in the 1950s.

Best to avoid giving cancer-causing household items this Valentine’s Day. SHSND 1995.37.55, 1993.33.106

I’ll leave you with this parting advice when it comes to last-minute gifts for your sweetie:

Doing the ironing for your valentine. Good gift.
Giving your valentine an iron. Bad gift.
Giving your valentine a deadly iron. Really bad gift.

At this time of year, I often get asked about what I do since the majority of the state historic sites I oversee are closed. One of the best parts of working with sites is that no two days are ever the same. I know that sounds a bit cliché, but there is a lot of truth in the statement. During the offseason, I find myself working on various projects for different sites. Each project offers new and unique challenges and allows me to work with our excellent site staff.

One of the projects nearing completion is an upgrade to the playground equipment at Writing Rock State Historic Site, which we undertook in partnership with the Divide County Job Development Authority. You might wonder why we have a playground at a historic site. The playground equipment was installed at the site when it was initially created as a state park in 1936. The State Historical Society of North Dakota operated both state parks and historic sites until the mid-1960s when parks were moved to a separate agency.

The original equipment at Writing Rock was outdated and no longer safe to use. Playground equipment has a lifespan of 20 years. Grondahl Construction installed the new equipment in November. All I have left to do on the project is finish up some grant reporting and install a sign recognizing the contributions of all involved. I have never worked on a project like this before, and it allowed for some great learning opportunities. Plus, I can now amaze my friends with my knowledge of the cost of playground equipment.

New playground equipment at Writing Rock State Historic Site.

Another project on my plate this offseason is writing interpretive panels for Fort Dilts State Historic Site. Fort Dilts has long been on our list of sites that need interpretive panels. After its inclusion in the North Dakota Passport, we felt it was time to move it to the top of the list. For the past month, I have been researching the history surrounding the site and have begun to write the panels.

Fort Dilts State Historic Site

One project that has been on my list for a long time is creating a video tour of the upstairs of the Chateau de Morès in Medora. Currently, guests who cannot climb the interior staircase have no way of experiencing the Chateau’s upstairs. This past fall, Assistant Site Supervisor Ed Sahlstrom and I recorded a tour of the upstairs. I am currently editing the video, and hopefully, it will be available at the site this summer for guests.

Screen capture of a video of Assistant Site Supervisor Ed Sahlstrom describing the upstairs nursery at the Chateau de Morès State Historic Site.

If you are a regular blog reader, you may have seen my post about the Ask-an-Expert program. We continue to work on that program, but we are also expanding our virtual offerings in other ways. We are working with several of our sites to develop virtual tours. We are doing test tours and looking at lighting and sound quality. We are also trying to work with our site staff to make the tour fit within a 45-minute time limit. I am excited for our site staff to share these tours with schools, civics groups, and other museums.

Ronald Reagan Minuteman Missile State Historic Site Supervisor Rob Branting shows off one of the underground capsules as part of a trial run of a virtual tour to 1883 Stutsman County Courthouse State Historic Site Supervisor Steve Reidburn and Historic Sites Manager Chris Dorfschmidt.

In addition to offseason projects, I often help answer questions for the general public about sites. Sometimes these questions require research. For example, a gentleman from the Twin Cities recently contacted me with questions about sites related to the 1863 punitive campaign led by Brig. Gen. Henry H. Sibley against the Dakota for the 1862 uprising. He wanted to know the exact location of several of the campsites. Thanks to some help from the friendly folks up in the State Archives, I was able to answer his questions.

The north wing of the hospital building at Fort Totten State Historic Site will eventually house a hands-on exhibition geared toward children.

The projects listed above are a small taste of all of the ones I am currently working on this winter. I could go on about other projects like the children’s exhibit for the north wing of the hospital building at Fort Totten State Historic Site, getting replacement signs made for various historic sites, or making some slight updates to site cards. Then there are all of the other responsibilities that come with being a manager—budgeting, staff development, and hiring. As much as others might think that winter is my quiet time, it can be one of the busiest times of the year. But that said, I enjoy working on all of these projects, making every day different and enjoyable.

I love stories about the Depression-era gangsters, bootleggers, and crime bosses of Chicago and New York City, but they are rarely something I get to research at the State Historical Society of North Dakota.

Imagine my surprise when I was shown this photo below of James Vincenzo Capone, eldest brother of infamous gangsters Al, Frank, and Ralph Capone, in our Frank Fiske photograph collection. Taken at Fort Yates, North Dakota, it shows James Capone, who by then was known as Richard James “Two Gun” Hart, surrounded by confiscated liquor stills. Immediately I had questions: How did a Capone brother end up in North Dakota as a Prohibition agent? And how did this photo come to be taken by the early 20th-century photographer Frank Fiske? I began searching through our newspaper holdings as well as the vital records available on Ancestry.com to learn more.

Richard James “Two Gun” Hart (born James Vincenzo Capone) with his collection of confiscated stills, 1926. SHSND SA 1952-00088

I soon found out that this Capone had immigrated in 1893 with his parents to the United States where the rest of his eight siblings were born. At age 16 James left New York to make his life out West, choosing to distance himself from his Italian heritage by eventually changing his name to Richard James Hart. He married Kathleen Winch in 1919 and worked as a Prohibition agent in the western Plains states.

Meanwhile, Frank Fiske was born in 1883 at Fort Bennett, Dakota Territory, and grew up around Fort Yates. He learned photography from S.T. Fansler at Fort Yates and though still a teenager took over the studio after Fansler left town in 1900. Fiske would continue to work out of Fort Yates, save for a few brief periods, until his death in 1952. While Fiske was best known for his portraits of Native Americans, the true relevance of his photographs comes from his documentation of everyday life at Fort Yates and the Standing Rock Indian Reservation.

Photographer Frank Fiske in 1910. SHSND SA 1952-00111

As former Photo Archivist Sharon Silengo has noted of his legacy: “Fiske produced pictures of the life that the Sioux of the Standing Rock Reservation really lived—they were involved in celebrations when allowed by the government agent, they competed in rodeos with other cowboys, they performed in bands on instruments that they were taught to play in their boarding schools, and they married in the white way including wearing the garb of a fancy wedding dress and dress suit, not their traditional dress that would have been worn in the past. These are photographs of the reality of life for Indians.”

From left, John Brought Plenty, Jersey Grey Bear, Francis Mossman, Eugene D. Mossman, and Richard Hart with confiscated stills and liquor, 1926. SHSND SA 1952-01623

While we don’t know much about their relationship, Fiske and Hart’s paths crossed when Hart was a special agent for the Bureau of Indian Affairs, working alongside Fort Yates Superintendent Eugene D. Mossman to confiscate illegal stills and liquor in the Standing Rock Indian Reservation and surrounding areas. In January 1926, the Sioux County Pioneer reported that a series of raids on the reservation conducted by Mossman netted “many victims besides a lot of evidence and other paraphernalia.” Hart and officer Jersey Grey Bear picked up farmer Frank Slawa and “confiscated a five gallon jug of moonshine.” One of these raids was reported to have resulted in the removal of 25 gallons of alcohol from the reservation. Due to his skills, Hart was described by the paper as “a most crafty enforcement officer.” Fiske’s photographs make it clear just how much was confiscated in such a short period of time.

The photographs taken of the raid spoils and officers also shed light on one facet of the reservation life that Fiske would spend his life documenting. The photos preserved these events and speak to the impact Prohibition had on the Standing Rock Indian Reservation. Interestingly, according to records in Fiske’s business ledger, Hart purchased 12 postcards of these photographs of him for a total of $5.00.

Hart poses with a Colt .45-caliber revolver. SHSND SA 1952-06187

As for Hart’s efforts to keep his identity under wraps, a year before his death in 1952 his secret as a Capone was revealed to the nation when he was subpoenaed to appear before a jury in his brother Ralph’s tax evasion case. Fiske also passed away in 1952, and one can’t help but wonder what he might have thought about the revelation or if he already knew?

We are always fortunate when a new object enters the museum collection with a fantastic story attached. The recent donation of the S.D. Nelson Collection came with a whole series of stories attached—in fact, the contents of the collection revolve around the art of storytelling.

S.D. Nelson is a prolific, award-winning writer and illustrator. Since 1999 he has produced a series of 12 children’s books and collaborated on an additional seven books focused on the cultural heritage of Native American communities.

A registered member of the Standing Rock Sioux Tribe and a descendant of the Hunkpapa Lakota, Nelson spent childhood summers visiting his grandmother at Fort Yates, where he learned about his family’s cultural heritage. His mother, Christine Rose Gipp (Elk Tooth Woman), was a gifted storyteller who inspired him from a young age with tales and traditional lore of his tribe.

In a recent conversation I had with Nelson, he reflected on how the summer visits also exposed him to the shared community trauma that stemmed from reservation life and the disruptions inflicted by the American Indian boarding schools. He noted as an adult looking back on those painful childhood experiences that much of the trauma and many of the issues remain and have intensified, often with tragic results.

Nelson’s father, Thurston D. Nelson, was of Scandinavian descent and a career military officer. The family moved constantly following new postings, and S.D. and his three siblings were exposed to a broader world beyond the Standing Rock Reservation. Nelson would eventually graduate from high school in Fargo. His interest in art led him to complete the art education program at the University of Minnesota Moorhead. His professional career evolved as an art educator in Flagstaff, Arizona.

Nelson views his children’s books as an extension of his advocacy for children’s education. He is a cofounder of Read@Home, an organization promoting literary opportunities for preschoolers in Native American communities. He is a popular lecturer and was profiled on an episode produced by Prairie Public in 2010.

Last summer, Nelson visited the North Dakota Heritage Center & State Museum in Bismarck to deliver a selection of artwork, documentation, and objects relating to his publications. In all we received 135 objects, including original paintings, sketches, colored pencil drawings, printer’s proofs, and handcrafted traditional objects made by the artist.

The collection arrived as we were developing the graphic design and interpretation for the Sitting Bull exhibition currently on view at the Missouri-Yellowstone Confluence Interpretive Center. As luck would have it, one of Nelson’s children’s books—which is well represented in the donation—is “Sitting Bull: Lakota Warrior and Defender of his People.” We eagerly incorporated several of his illustrations into the interpretive layouts and included one of his original acrylic paintings in the section exploring Sitting Bull’s contemporary legacy.

Two illustrations from S.D. Nelson’s 2015 book “Sitting Bull: Lakota Warrior and Defender of his People.” SHSND PAR-2020082.55

Sitting Bull killed his first bison at age 10. “Buffalo Brother” shows Sitting Bull thanking the bison for giving up his life. SHSND PAR-2020082.56 

The new donation also includes materials relating to Nelson’s first publication “Gift Horse: A Lakota Story” and his 2012 book “Buffalo Bird Girl: A Hidatsa Story.” “Buffalo Bird Girl” is a retelling of the landmark narrative provided by Buffalo Bird Woman (Waheenee, 1839-1932) to ethnographer Gilbert L. Wilson, and whose subsequent publication in 1921 provides much of the primary research documenting traditional Hidatsa lifestyles and agricultural practices. Nelson’s book focuses on Buffalo Bird Woman’s childhood, thus the age shift in the title.

S.D. Nelson shows Assistant Registrar Elise Dukart the beadwork on a pipe bowl bag he made.

We are currently developing a new exhibition drawn from materials in the S.D. Nelson Collection to be installed in the North Dakota Artists Gallery in late March 2022. The installation will include vignettes from the production of “Gift Horse: A Lakota Story,” “Sitting Bull: Lakota Warrior and Defender of his People,” and “Buffalo Bird Girl: A Hidatsa Story.” We will also show a selection of traditional objects fashioned and embellished by Nelson.

Nelson’s artistic style incorporates multiple aesthetics, which run the gamut from realism to highly stylized representation. His proud Native American figures are often brilliantly colored, blending the tradition of full body paint and the symbolism of favored Lakota colors. His characters and narratives exist in multi-layered landscapes merging the natural world, the spiritual, and the fantastical as one.

An illustration from “Sitting Bull: Lakota Warrior and Defender of His People” shows Lakota and Cheyenne warriors celebrating after the June 17, 1876, Battle of the Rosebud in the Montana Territory. SHSND PAR-2020.082.60

Nelson has illustrated book jackets, greeting cards, and CD covers, and his paintings are held in both private and public collections. His books have received the American Indian Library Association Honor Book Award in 2016; the Spur Award from Western Writers of America in 2004 and 2006; the Notable Children’s Book Award from the American Library Association in 2001 and 2011; and he was included on the 2011 Texas Bluebonnet Award Master List from the Texas Library Association. He has lectured at the National Museum of the American Indian in Washington, D.C., and was the keynote speaker for Read North Dakota in 2010 (North Dakota Humanities Council).

We look forward to introducing you to the evocative world of S.D. Nelson when we premier All Is Grass and Clouds, Forever: The Art of S.D. Nelson this spring.