The Archaeology and Historic Preservation (AHP) Division houses more than 12 million artifacts for their long-term care, research, and access for multiple entities. The archaeological collections (artifacts, ecofacts, samples, associated records, etc.) provide a window to the past for thousands of years of occupation in the northern Plains of North America. In this blog, I focus on a major collections project that works to maximize the usability and accessibility of archaeological collections curated at the State Historical Society. As the archaeology collections manager, my task is not only to ensure that collections are preserved and curated according to Federal Curation Standards, but also to make them accessible to a wide audience through research, exhibits, digitization, public education, loans, and interpretation and publications. Many doctoral and master’s degree researchers use archaeological collections for their studies.

Effective user access to collections requires, at the minimum, assembling and organizing information regarding collection acquisition, accessioning, storage locations, etc. Along with me, three additional AHP archaeologists (Fern Swenson, Amy Bleier, Meagan Schoenfelder) are working on a project to increase the usability and public access to collections. We use journey boards (JB) to divide tasks and track our progress (See photo below). The project aims to summarize and document archaeological collections curated here. The summary includes information regarding site numbers, site names, cultural tradition(s), time period/age, ethnic traditions, land ownership, accession numbers, excavation year(s), storage location, general description of collections, number of records in Re:discovery (collections management software), references, and maps at a site level. By maximizing collections utility and increasing access to collections, we aim to reach a wider audience. This, in turn, will advance science when we promote research, interpretation, and publication.

Among other things, the summary document can be used:

• As reference material for researchers to select sites or collections for their research.
• To identify potential collections for instructional purposes (e.g., collections without provenance (origin) information).
• To understand collections by time period/cultural tradition.
• To map the location of sites where our collections come from.
• To organize/reorganize collections in storage (e.g., collections from the same site may be stored in the same room/aisle).
• To track collection recording and digitizing in Re:discovery.

Sample of Summary Document

Journey Board progress (top) and project members. Journey boards are visual project boards that provide feedback and progress information.

In sum, the summary document will provide archaeologists, scholars, interpreters, educators, culturally affiliated groups, and members of the public with better access to the State Historical Society’s collections for research, publications, exhibitions, education, and other forms of interpretive work, and this will provide information relevant for each of these activities.

Did you know that some historic houses hibernate? Like a giant bear in one of our national parks, the Chateau de Morès must be carefully conditioned to survive the frigid North Dakota winter. And, y’all, it gets cold. Last year, temperatures in Medora clocked in at well below zero, and, for both the Chateau and this Carolina gal used to spending Christmas in flip-flops, that is cold enough.

Why do we shut the Chateau down? Because it lacks a modern heating system. By mid-October, it is simply too cold for guests to tour comfortably. And it was too cold for the Marquis and Madame as well. When he built the Chateau, the Marquis included only one fireplace. Despite its size and central location—the fireplace is about 5 feet deep by roughly 4 feet tall in the middle of the home—it did not provide enough warmth for year-round living.

So we follow their example! Before frost forms on the windowpanes, the Chateau team arms itself with white gloves, bed sheets, and (at least in my case) layers of wool and synthetic blends. Then we head out to protect fragile linens, pack away prized china, and cover century-old furniture. This undertaking is one of my favorite parts of the job because it gives us the opportunity to examine our artifacts. During the summer, our focus is sharing the Chateau with guests from around the world—just like the Marquis and Madame! But the cold weather gives us the chance to make sure the house is fit to survive another season. All 26 rooms plus the basement—that’s a little more than 7,000 square feet—get some tender, loving care from the team.

Welcome to my Top Five Highlights of Winterizing Our Chateau!

1. We get to touch the artifacts! First, let me put our curator’s mind at ease: We wear agency-approved gloves and always use both hands. Still you can’t deny there is something truly incredible about holding the same teacup that Madame used 137 years ago.

Ed Sahlstrom holds a teacup, part of the original collection used by Madame and the Marquis from 1883-86. Madame chose this Gower pattern for its dainty durability—the perfect set of china for life in the badlands.

2. We explore all the nooks and crannies of the Chateau. The house may be small compared to French chateaus, but for us there are still spots tucked away. For example, Madame’s maid was the only servant who had her own workroom hidden beneath the staircase.

3. We treat any problems we discover. It’s an old house, and sometimes things go wrong, or they just need a little TLC. When that happens, we always try to take care of any issues before the first snow. This year, the porch needed conditioning, so we grabbed our brushes and got to work.

Ed Sahlstrom (assistant supervisor) and Mike Sunday (grounds personnel) stain the porch of the Chateau. The porch will live to see another summer!

4. We crawl underneath the Chateau. You read that correctly — we get to go underneath the house. How cool is that? We make sure nothing is nesting in the crawl space and confirm that the unfinished basement is as protected as possible. This basement may look uninteresting, but it once held about 600 of bottles wine, beer, and mineral water that the family left behind. Check us out on Facebook to learn the whole story and find out where you can buy the same wine the Marquis left when he headed east.

5. Finally, we walk on the roof! We historians aren’t usually a thrill-seeking bunch. At least not physically. Give us a good archival mystery, and we are entertained for days. But it’s not so often we do gravity-defying activities. Except at the Chateau, where we annually traverse the second-story rooftop to close the shutters. Don’t worry—we use a spotter and basically hug the house as we make our way across the surface. But it’s a thrill, and the views are incredible.

So there you have them—my favorite aspects of winterizing the Chateau. Happy fall, y’all! This Carolina girl is already bundled up.

We recently took down The Horse in North Dakota exhibit. Some colleagues and I have written about how we produce an exhibit (Part 1 and Part 2), getting the horse-drawn fire wagon into the building, trying to find artifacts for display, research about artifacts, and how we clean those artifacts. These blogs brought to your attention just a few of the artifacts we used in The Horse exhibit.

I thought I would share with you what happens to these pieces now that they are off exhibit.

For most artifacts, we check the condition report completed on the artifact prior to the exhibit. The condition report includes a description of the artifact describing all damage such as chips, dings, scraped paint, frayed edges, tears, fading of colors, insect activity, or whether something like a button on a garment is missing. When we see no changes to the item’s condition after being on exhibit, the object goes back to its storage location. We note that movement in the database and then move on to the next item. But for a few artifacts, it is not so easy.

The horse-drawn fire wagon was probably the most complicated piece to move. Bryan Turnbow, in his Jan. 27, 2020, blog, talked about how we had to use a forklift and our platform loading dock lift to get our fire wagon into the building. We, of course, had to reverse the process to get it out of the museum. It is a bit nerve racking to see such an important artifact suspended over the edge of the platform lift being held only by the tines of the forklift. Both lifts were slowly lowered with staff members standing by as spotters to make sure nothing went wrong.

Fire wagon being lowered with platform lift and forklift (1988.178.11)

I would love to say we have a wonderful enclosed trailer to safely transport the wagon to our off-site storage, but we don’t. Instead, we needed to wait for a nice day and use an open trailer. This also created moments of trepidation. An open trailer leaves the object open to many possible problems from a passing bird, to road debris kicked up from other vehicles, to the wind pulling on parts, or our worst nightmare, its falling off the trailer. All parts of the wagon were double-checked to make sure everything was secure. The tie downs were checked and double-checked to make certain they all were secure, and off they went . . . slowly. Bryan Turnbow said he “drove like I was driving Grandma around: drove slower, braked sooner and gradually, and took the smoothest roads.”

Fire wagon on trailer

Fire wagon going down the road

Fire wagon in its new home

With the skills and planning of our Audience Engagement & Museum team and just a little luck, the fire wagon reached the off-site storage, a 5.5-mile trip, safely. It now sits in preparation for the next exhibit or research opportunity.

When we checked the condition report on a few objects, the condition of some items had changed. Melissa Thompson, in her Aug. 6, 2018, blog titled “Primping and Prepping Artifacts for Exhibit,” showed how she cleaned artifacts that had green corrosion product and spue (fatty acid blooms). Most of these items that had been cleaned beforehand were great when we pulled them off exhibit, but a few were not. Stock saddle 2007.89.1 was found with a fresh outbreak of spue. According to our records, a condition report was done on the saddle in March 2008 when the item was initially brought into the collection, and spue was removed at that time. In preparation for the exhibit, another condition report was done July 2018, and it was cleaned again. When we took it off exhibit a couple of weeks ago, I noticed more white spue and had to clean it for a third time before I put it back into storage. These condition reports indicate that the item seems to have frequent fatty acid blooms, so now I have this item flagged so I can check it at least yearly to see if more spue shows up and clean it if necessary. While the spue is not damaging, it is unsightly and could attract and hold on to dirt that could be damaging. Cleaning it regularly is important for long-term preservation.

Stock saddle after second cleaning (2007.89.1)

Medora's riding habit (1972.383.1-.2)

Child’s cowboy shirt (2011.30.66)

Métis sash (1986.234.62) on capote (5301)

For a few items the condition reports were fine, and putting them away would not have been a problem; BUT we didn’t need to put them back into storage. They were going back on exhibit in the upcoming exhibit Fashion and Function: North Dakota Style. Visitors to The Horse in North Dakota exhibit will recognize Medora’s riding habit, the child’s cowboy shirt, spurs, leather cuffs and a few more. We see these as a bonus since we won’t have to put them away, nor do we have to put them on a mannequin. Of course, we did double-check the condition report to make sure that things were still good. We did change how the Métis sash is going to be displayed—we put it onto a capote (5301) to complete the look.

Artifacts going on exhibit go through many steps to ensure they can be safely displayed. When they come off exhibit, they go through more to make sure they were exhibited safely. There are many behind-the-scenes steps that happen for each artifact for every exhibit. When you see the new exhibit Fashion and Function: North Dakota Style (opening in January 2021), you will have a better understanding of how we have planned, primped, moved, and built another exciting exhibit for you to enjoy.

Imagine the exhilaration of landing your dream job at one of the leading institutions in your profession. Then, the less exciting tasks of selling your current home, saying goodbye to your award-winning team, and relocating to the other end of the country for your new job on an award-winning team. Throw in the additional excitement of settling into your routine in a new state, purchasing a new home, learning all about your role and the complex organization you now lead. Just think of the exciting new challenges – learning about your coworkers, getting to know how the organization functions, the kinds of things it does, the people it reaches, and of the amazing places you will go. It’s like the first day at an exciting new school, or that first day of college!

Bill Peterson, State Historical Society of North Dakota Director

Now imagine doing all of that in the middle of the current pandemic. Saying goodbye to the old team was sad. Instead of an emotional hug over a cold beer with people you loved, mentored, and wielded the mighty sword of history with, it was online. It should have been battle-scarred history warriors enjoying a celebratory victory lap with cheers, back slaps, and grandiose tales of unimaginable valor. But it was something else. We still nailed it—we laughed, we cried, we said our goodbyes, and gave our well wishes. But the whole thing was dimmed by COVID-19 virtuality and the flatness of Zoom. We didn’t get fist bumps, and we will never get to have those hugs. Historians will never look fondly upon those pictures. I will never reminisce over those photos of treasured friends and colleagues in our final moments together because they don’t exist.

Fast forward to the first day of that amazing new job. I still rely a great deal on what I can observe. On those first days at the ND Heritage Center, I saw nothing really. There were no people working here, and there were no visitors. It was a modern, post-apocalyptical ghost town. I did observe just how clean and secure the Heritage Center was though. If civilizations from alien worlds were observing us in those days in early June, they would have watched custodial teams cleaning the building to a spotless perfection and the security teams constantly monitoring cameras and installing body temperature scanning systems in the hope of future visitors. The word “eerie” comes to mind.

Custodian Josh Masser mopping the terrazzo floor of the Northern Lights Atrium.

The ND Heritage Center & State Museum reopened to the public June 22. My first official day, after spending weeks with outgoing director Claudia Berg, was July 1. I was able to meet more and more of the staff as they came in from their remote locations to pick up work or to drop off something. They were a bit like science fictional scouts or prospectors returning to the ship for supplies and immediately heading back out to the frontier. Some staff are now back in the building full-time, but there are still team members I have yet to meet in person who are continuing to telecommute. Learning everyone’s name was a challenge for me. I had to work at it. And now, it was all for nothing. Bank robbers wear masks for a reason—they work. I am almost back to square one with learning the names behind the masks.

These first months have taught me just how much I have to learn about North Dakota. Nothing is quite as good at reminding me of my intellectual inadequacies as the bookshelf in my new office. It is quite the bully at 16 feet long by 6 feet tall. I have never had a problem filling a professional bookshelf or case with more than enough materials to impress your average professional. I read. A lot. Yet the hulking, half-full bookshelf mocks me. Constantly lurking behind me, growling sinisterly in my ear in its Stephen King- inspired voice, “I’M NOT FULL! Why am I not sagging beneath of the weight of North Dakota knowledge containers?” The bully never stops. It’s sulking hungrily behind me as I write.

I think I just heard the bookcase say, “FEED ME."

In late July and early August, I traveled to our various historic sites to meet the rest of the teams. They opened to the public as planned on Memorial Day weekend. On these trips, I learned so much and met some of the best history professionals imaginable. We manage some of the most amazing history sites in all the land. I learned another thing about the State Historical Society of North Dakota on those trips too. We love to mow grass. I think we mow the whole state. I am told people love us for this. The grass selfishly kept right on growing during the whole summer. Maybe it is a bit of a bully, too.

Grass, the bully at Fort Buford State Historic Site.

Grass, the bully at the Chateau de Morés State Historic Site.

The green bully at Welk Homestead State Historic Site.

It’s been challenging, but I am learning. This is an amazing institution, staffed by an incredible team of professionals. They are doing great work despite the challenges of COVID-19. I am overjoyed to be here and looking forward to all of the amazing places we will go together. I still can’t see a lot of how things are getting done, but I see the great results.

I know a lot of people have been severely damaged and lost loved ones to COVID-19. Through it all I have been very fortunate, and I am grateful that my wife, Susan, and I have fared so well while so many have struggled. We are delighted to be in North Dakota. If I haven’t met you yet, I look forward to making your acquaintance soon. When you feel comfortable coming to the building, stop in and say hello. To guarantee safe passage, I would bring a book to feed the monster in my office.

This might be one of the most frequently visited questions in my household. Some examples: Why did Germans support Hitler when he was so terrible? Why did humans enslave other humans? Why did George Washington believe that bloodletting would get rid of his sore throat (it killed him)? Why were some women anti-suffrage? How was child labor justified during the Industrial Revolution? Why do fools fall in love?

There are many curious minds in my household, including a wide range in the ages of our kids and young adults. Despite (or because?) of this broad span of perspective, these “why” questions come up a lot.

When they do, the easiest solution is to check my phone; but the easiest solution might not be the best. There are fascinating videos online about the algorithms Google and other search engines use to produce top results when you ask “Hey, Google” or “Alexa. …” But--are the top results accurate? Paid for? Unbiased? Politicized? Do Google results tell you correct answers?

In addition to questions of the reliability of search engine results, it is easy to get lost in a rabbit hole of responses, chats, debates and “expert” answers online without ever coming up with a solid answer.

As an archivist and lifelong learner of history, I am especially grateful during those “why” times that archives, libraries and museums exist. Because of the work of these fields and members of the public who contribute to them, we have access to answers to some of our most burning “why” questions.

Archives (and other cultural heritage institutions) and their supporters are a partnership: Archives could not preserve and provide access to human history without members of the public who see the current and future value in the movies, photos, book, documents and artifacts they donate to public institutions. Simply put, private archives would not exist without donations of important historic materials from their constituents.

The more we save, the more data we will have to interpret in the future. We will have a greater firsthand spectrum of the human experience and reasons for why people did that. If we rely only on published sources to tell our stories, we might miss out on the unique perspectives and voices that make us interesting as a species. Like anything else, published sources are a product of their times, and are written through the socio-political lens of writers and editors, biases and all. Firsthand accounts can provide raw data that can be analyzed and interpreted across time and cultures.

I’m not sure whether other generations anticipated these “why” questions. Based on the records they preserved, I think that many did.

I often wonder how future generations will view our time. In this “information age” there will likely be a ton of information for them to sift through. However, as in the case of search engine results, quantity does not always equal quality: How much of the available information will be by the people who lived it? If my great-grandchildren ask how we felt during COVID-19, what it was like to go to fourth grade during a pandemic, or why wearing masks was politicized, will they get their answers from a news site (which we know often report differently based on political affiliation)? Will they read comment threads on Facebook? Will they watch news clips of the various responses of political leaders?

Maybe it’s my bias, but my hope is that future generations will have access to read/hear/watch the voices of the many who experience an event like COVID-19 firsthand. The best way to do that is to start documenting daily experiences, even if they seem trivial or mundane. It is the experiences of daily life that future generations will relish for their authenticity and rely on to answer their own “why” questions, whatever they may be.

I think there is a misconception that you have to be a George Washington to be preserved in archives. This couldn’t be further from the truth. This idea prevents people from documenting their lives and experiences, which are the building blocks of history, the keys to understanding life and events of the past. The more voices that are available, the better understanding that future generations have of our time. I’ve included two examples below of materials that could be collected by the State Archives: records that my family kept during COVID-19 and a collection of newspaper clippings about the coronavirus pandemic that were collected and donated to the Archives by a North Dakota resident.

Coronavirus pandemic-related news clippings from a variety of sources that will be a resource for future researchers about North Dakota history (MSS 11450).

My family’s schedule for our 9-year-old son during the early stages of COVID-19 in North Dakota.

If you are interested in donating your stories related to COVID, please use this link. We all play a part in preserving today to answer the “why” questions of tomorrow.

An impossible ache runs deep when you hold an old document, a childhood toy, or a photograph and connect with its history. It might involve the thrill of finding an unmarked musty dusty box, coming across a long-forgotten love letter, or finding a black-and-white photograph of your hometown. Those moments cause you to pause and sigh with a satisfied “A-ha” as the lines blur between past and present. I’ve been fortunate to experience several of those twinklings in 2020 while working on an upcoming exhibit and new visitor tours. Here are three of my favorites.

1. Mystery Murals in a Hidden Box

Nothing gets a curator’s heart racing with glee like finding a mysterious box on a storage shelf. The large box was unmarked when a few Audience Engagement & Museum collections staff discovered it. What mysteries would lie within the box? Inside they found 30-some rolled strips of painted canvas with torn edges. As these 10-foot strips were unrolled, my collections team realized these pieces came from State Historical Society murals created as backdrops for 1930s natural history exhibits. Clell Gannon (1900-1962), a regionally known artist and historian, painted the canvases.

Clell Gannon lived an adventuresome life as a skilled artist, poet, historian, and creator of a charming stone home in Bismarck. You can view a few of his murals at the Burleigh County Courthouse. SHSND 00200-4x5-0402c

Part of this story remains a history mystery, but we think that Gannon’s North Dakota badlands landscape scenes hung in the Liberty Memorial Building on the Capitol Grounds (now the home of the State Library) until the North Dakota Heritage Center opened on the grounds in 1981. In 1980, the State Historical Society staff moved all museum collections from their space in the Liberty Memorial Building into the North Dakota Heritage Center. The unexplained history mystery evolves around “why” and “who” tore the 13’ x 10’ murals into long narrow strips and placed them in an unidentified box on a shelf.

Deer and antelope shared the exhibit platform in front of artist Clell Gannon’s painted mural at the former State Museum location in the Liberty Memorial Building. SHSND 00200-4x5-C-00402

We’re thrilled about discovering these fragile murals and are in the process of digitally bringing Gannon’s artwork back to life. In June, while the State Museum was closed due to COVID-19, we opened the box while we had daily access to sparkling clean and empty museum corridors. Our curators carefully unrolled each 90-year-old strip on long tables and gently brushed off areas of flaking paint. All the strips have deteriorated, but oh my, they are still beautiful. Gannon’s bison—blurred from peeling paint—represent a former generation of these majestic herds that continue to thrive in the badlands today.

David Newell, Jenny Yearous, and Lori Nohner of the Audience Engagement & Museum team unroll and prepare a section of a Clell Gannon mural for photographs.

Loose paint flecks are carefully removed from the panels by Jenny and Lori, one small brushstroke at a time.

New Media Specialist DeAnne Billings begins photographing two adjacent strips of a mural. Similar to a quilter, she’ll digitally stitch the pieces together to create two murals.

Over the next several months, DeAnne will be digitally “stitching” the sections of these two murals back together, like a careful repair of a beloved old quilt. Watch for our 2021 digital reveal of these artistic treasures.

Here’s a sneak peek at a few of Clell Gannon’s badlands bison on small section of a mural, painted about 90 years ago.

2. Peggy Lee’s Hidden Talent Trove
Like one of Grandma’s quilts tucked into a dusty attic trunk, famous Wimbledon native Peggy Lee’s fashion designing talents were hidden away. Familiar with Disney’s classic “Lady and the Tramp” film? Then you already know Peggy Lee’s trademark sultry purr. She’s the voice of both Siamese cats, Peg, and Darling. The talented Lee also composed and sang three of the movie’s memorable songs (“He’s a tramp, but I love him...”). Or you might know her from her many #1 Billboard hits such as “Fever.” What you might not be aware of is this North Dakota native’s lesser known artistic talent.

The “Lady and the Tramp” film (one of my all-time favorites!) showcases the multifaceted brilliance of Peggy Lee. She helped compose the score, sang songs, and was the voiceover of four characters including Peg. Did you know “Peg” was named in tribute to her? Credit: © Walt Disney Productions

Peggy Lee was considered a celebrity fashionista of her day, often appearing on stage in gorgeous form-fitting gowns. Over the years, I’ve wondered where she purchased her stunning wardrobe. Where does a North Dakota girl shop after she becomes internationally famous? Which designer’s label was her go-to?

While recently researching and writing about Peggy Lee for an upcoming fashion exhibit, I had an opportunity to speak with Lee’s granddaughter Holly Foster Wells. Of course, I had to ask about the gowns. Wells shared, “After she became famous, my grandmother used to sketch all of her gowns. She designed her gowns and had a seamstress who made clothes for her come to her house every day. She was very into fashion.”

From bathrobes to ball gowns, this Theodore Roosevelt Rough Rider Award winner designed most of her own stylish garments. I love learning another dimension to Peggy’s amazing talents—Grammy award-winning singer, composer, and actor by day, and talented clothing designer at night.

“Her wonderful talent should be studied by all vocalists; her regal presence is pure elegance and charm,” Frank Sinatra once said about Peggy Lee. You can view one of Peggy Lee’s early performance dresses in our Fashion & Function: North Dakota Style exhibit opening at the State Museum in Bismarck in January 2021.

3. Rumors of a Hidden Tunnel to Nowhere
About 20 steps from my office at the ND Heritage Center & State Museum is a non-descript, ivory metal door--always locked. Behind this door is a short tunnel, winding around a couple of turns and abruptly ending with a stark cement wall after 79 feet. So what’s the story behind this quirky hidden tunnel?

What’s behind this locked door at the North Dakota Heritage Center & State Museum?

As a high school student when the ND Heritage Center opened in 1981, I remember hearing rumors about a newly constructed tunnel system running underneath the State Capitol. As the rumor went, it was allegedly a secret emergency escape route for the governor. While “The Case of The Secret Escape Tunnel” might have caused Nancy Drew and her gal pals Bess and George to come running, alas, the rumor isn’t true. The real story, however, is a noteworthy piece of North Dakota government’s architectural planning history.

Here’s the scoop: This tiny tunnel was part of the original ND Heritage Center construction project. The architectural plan included an underground passageway connecting this building with the Department of Transportation (DOT) building and the State Capitol, all located within eyesight of each other. If completed, the service tunnels would have been used by state employees for easy multi-building access. An underground walkway between the Capitol and DOT was constructed and is currently used by staff, but at the ND Heritage Center, only our small concrete segment of the tunnel was started. Lack of funding stopped the project. Your challenge: Try to find the door to the “hidden tunnel” during your next trip to the ND Heritage Center & State Museum! It’s hidden in plain view.

No physical distancing is needed in the North Dakota Heritage Center’s tunnel to nowhere. This cement wall is the end of the journey.

COVID-19 concerns have caused our team to shift several professional priorities in 2020, providing an unusual invitation for us to look deeper into some hidden places. While living the sobering realities and challenges of a pandemic in our personal and professional lives, our Audience Engagement & Museum team continues to create positive, engaging visitor experiences for the citizens of North Dakota, retaining a sense of wonder as history continues to reveal itself in our work.