I cannot count all the ways people can send an electronic message to one another these days. Email, text, Facebook Messenger, LinkedIn, Teams, Zoom, Twitter, direct message—the list seems endless. Even the once exalted method of the telephone has receded into a dim, distant place behind these other forms of messaging. People now regularly text me to see if I am able or willing to take a call. While most days I don’t feel particularly old, I fondly remember dial phones and the excitement of coming home to a blinking answering machine light! That all seems like ancient technology to me now.

On a personal level, I rarely see regular mail these days. I get forms and reports for review at the office, but personal mail is mostly just bills and junk punctuated a couple times a year with holiday or birthday cards. Truth is, I have received very few handwritten letters in the mail lately. But when I do get them, I treasure them. Before I came to the State Historical Society, I found that writing to other people the old-fashioned way—with paper, pen, and in cursive—brought me great joy. It turns out that it brought much happiness to the recipients of those letters as well. A couple of my friends confided that the letters meant more to them than I could have imagined.

My letter-writing habit got me thinking about stationery. I often used blank note cards or plain paper. But I wondered if something slightly more personalized might also fit the bill when it came to designing my director’s letterhead. I believe that answers to most of our issues in life can be found by looking back at our history. Most people think of archives as simply a way to source the past, but our State Archives contain thousands of examples of the very best historical graphic design as well. To this end, I asked Sarah Walker, head of reference services, for examples of stationery in our collections. Walker and Lindsay Meidinger, head of archival collections and information management, then served as sounding boards as I sifted through many samples. Just as I had suspected, I was richly rewarded with a plethora of beautiful, artistic, elegant, and professional examples of stationery that made me long for the days past when we communicated with each other by setting pen to paper and writing. TBH, BTW, NGL, those were the days—the days before we communicated primarily in emojis and acronyms! SMH.

A couple of the best examples I found included the stationery of the Lesmeister & Son Automobile Garage in Selz, North Dakota. I loved the graphics in this one with the old cars and the color. It just hollers “adventure.” I also liked the work on the Dakota Territory Centennial Commission stationery and other examples of company stationery that highlighted the organization’s officers. The Bismarck Diamond Jubilee graphic used the original streetscape of historic Bismarck to cleverly cast a shadow of the future Bismarck. What brilliant graphic design and use of color in that one! The steamboat and subtle other nuances in that letterhead caused my gaze to linger. Many businesses’ letterheads contained renderings of their buildings, indicating a great source of pride by the sender in the places they worked.

Lesmeister & Son Automobile Garage stationery, circa 1918. SHSND MSS 11354

Stationery made for Bismarck’s Diamond Jubilee celebrations in 1947. SHSND MSS 11354

Dakota Territory Centennial Commission stationery, 1961. SHSND MSS 11354

After looking at a few of these, Dannie Dzialo, a talented graphic artist who also works in the State Archives, and I sat down to discuss things we liked or didn’t like about the archived stationery. Reference staff also weighed in on what was attractive to them. And then we thought about a few things that are important to me. After some back and forth, Dzialo submitted the finished letterhead, which includes images of the state Capitol and ND Heritage Center & State Museum as well as the names of the agency’s departmental directors, people with whom I am honored and proud to be associated. These elements are mixed with a few others that have deep meaning to me, including, of course, my faithful Labrador retrievers and a steamboat, an expression of my early love of maritime and North Dakota history. 

My new director’s stationery reflects my love of North Dakota history as well as other elements from my past with deep meaning to me.

In past blog posts, I gave a sneak peek at the initial processing lab and the main archaeology lab. Today, let’s take a tour of the big archaeological collections storage room.

Comparisons have been made to the warehouse at the end of “Raiders of the Lost Ark”—but don’t worry, we have much better finding aids. We want people to be able to find the artifacts in the big archaeological collections storage room and use them for research, exhibits, and educational events.

This room was designed to hold at least 20 years of future incoming collections and related materials, with moveable shelving adding extra storage space. This gives us room to store large, oversized objects not currently on display, like this earthlodge model.

This large model of an unfinished rectangular earthlodge shows how it was constructed.

In this room we keep educational, federal, and state collections as well as accession paperwork and storage supplies.

The archaeological educational collection is one of my favorite collections to show people. You don’t just get to peer at items in this collection from afar—you can touch, hold, and look closely at them.

Some objects in the educational collection are replicas, objects that were made recently but from the same materials people used in the past. Because things like wood, hide, and sinew usually do not last long in North Dakota’s environment, replicas are often the only way to show objects made from these materials. For instance, the wooden paddles that were used to shape pottery.

Replica wooden pottery paddles and pottery sherds from the educational collection.

Sometimes replicas are used for experimental archaeology. Experimental archaeology involves using the same kinds of tools used in the past to learn more about how something was done, such as making stone tools. Replicas are often used so the original artifacts are not damaged or destroyed in the process.

A replica flintknapping kit for making stone tools. From left: a leather pad, a stone abrader, a deer antler tine flaker, a hammerstone, and an elk antler billet.

Other objects in the educational collection are cast replicas. Casts are made from a mold or 3D scan of a real artifact. This is useful for artifacts that are too fragile or rare to handle, or for artifacts that come from places outside of North Dakota. Only North Dakota collections are currently accepted into the archaeology collections. But sometimes it is useful for researchers to have access to comparisons from other places. This projectile point is a synthetic cast of a real Paleoindian projectile point from the Mill Iron site in Montana.

A realistic cast replica of a Goshen Paleoindian projectile point from the Mill Iron site in Montana.

The real artifacts in the educational collection have little or no provenience (i.e., we do not know exactly where they are from or what was found around them). While this means they are not very useful for scientific study, they are still useful for learning about objects and material types. Many of these artifacts are donated.

Examples of real artifacts with low provenience. Even though such artifacts might not be scientifically studied, they are very useful for training volunteers and staff to identify different kinds of materials in collections.

Collections from federal lands in North Dakota are kept in this room. We help curate North Dakota’s federal collections for the U.S.  Bureau of Reclamation, the U.S. Army Corps of Engineers, the U.S. Forest Service, and the U.S. Fish and Wildlife Service.

This is just part of the U.S. Bureau of Reclamation’s North Dakota collections!

Artifacts from projects on state, county, or municipal lands are also stored here, in addition to donations from private landowners.

These boxes hold artifacts from Fort Abraham Lincoln (32MO141) and are part of North Dakota’s state collections.

Filing cabinets and storage supplies might not be too exciting to look at, but they are important. These are the accession files. Accession files tell us who donated a collection or what federal agency owns the collection and where the artifacts came from.

These accession files might not look exciting, but they hold treasures of information, such as where collections come from and who donated them.

Storage space for supplies means we can continue moving North Dakota’s collections out of old acidic boxes and into better materials to preserve the artifacts for the future.

Archival boxes ready and waiting to be put to good use.

If you would like to schedule an in-person tour of the archaeology collections, please contact us.

If your Spidey senses are tingling, it may be because Marvelocity: The Art of Alex Ross is coming to the North Dakota Heritage Center & State Museum. The traveling exhibition, developed by the Bess Bower Dunn Museum of Lake County, Illinois, will bring the gravity-defying world of Marvel Comic illustrations to Bismarck from March 16 through June 9, 2024.

Spider-Man, Marvelocity Cover, 2018

The exhibition includes more than 50 original illustrations, including cover art, storyboards, preliminary drawings, sculptures, and even a set of homemade action figures fashioned by Alex Ross when he was a child in Lubbock, Texas.

Ross is a prolific and award-winning illustrator, writer, and fine artist. He created his first cartoon at age three after seeing a live action Spider-Man sequence on “The Electric Company” television program. As a teenager he carefully studied the visual techniques of comic book and graphic novel artists before following in his mother’s footsteps and studying at the American Academy of Art in Chicago.

In 1990, Ross’ first published comic book illustrations appeared in Now Comics’ “Terminator: The Burning Earth.” His initial Marvel cover art was printed in 1993. Ross’ work in the 1990s was primarily for DC Comics. Beginning in 2000 he became more closely associated with the world of Marvel.

Dr. Strange, Marvelocity Cover, 2018 

His work is now synonymous with the images of the Avengers, Captain America, Spider-Man, Captain Marvel, Black Panther, Guardians of the Galaxy, the Hulk, the Fantastic Four, and many, many other superheroes.

The fantastical world Ross creates lives outside human parameters, allowing him to push his visual representations of superheroes into a dramatic realm even beyond the limitations of computer-generated imagery (CGI). His characters are monumental and epic in scale, enhanced by exploding compositions that burst from the page. Ross works in the medium of gouache, an opaque watercolor. It allows for layering colors and is popular with commercial artists for its precise control and matte finish.

In 2018, Ross created a new series of cover images as part of a publication project documenting his career with Marvel. These illustrations form the Dunn Museum’s Marvelocity traveling exhibition and feature his signature hyperrealist style and dynamic poses.

Captain America, Marvelocity Cover, 2018

So if action is your reward, come get your fill at Marvelocity: The Art of Alex Ross, on exhibit in the James E. Sperry Gallery at the State Museum, March 16-June 9, 2024. Radioactive spiders not included.
 

Take the time to fill in the State Archives’ survey and help us serve you better.

The State Archives has launched a short demographic survey, the first in a series, and we invite you to participate! As stewards of the documentary history of North Dakota and its people, we want to know the people we serve, how we can improve our services, and how we can bring new interest to the wonderful world of archives and historical research.

The State Archives’ resources can help patrons solve genealogical mysteries.

Our overarching goals are to get better acquainted with those we serve and increase services and outreach to grow all audiences. With that in mind, we’ve compiled a list of reasons for why getting to know our clientele will help us reach these goals:

1. Communication: We can devise the best strategies to communicate who we are and what we do.

2. Engagement: Those who have fun together learn better together. We can share our love of history with our users in more effective ways.

3. Collection description and access: We can prioritize the identification, description, and digitization of items and collections of significant research interest. 

4. Technology: We can utilize technologies that are familiar to our audience to provide better access to our collections as well as identify and assist with less familiar technologies. 

5. Programming: We can design programming to engage our current patrons and draw in groups of people not previously reached. 

6. Collection acquisition: We can focus on acquiring collections that align with the research interests of our users and identify and fill topical gaps in our collections. 

7. Overall experience: We want visitors to have fun here (and on our website), to use our resources to solve mysteries, answer questions, and formulate new ideas. We want the journey of conducting research and finding information to be as streamlined as possible. As archivists, we are proud of the history we get to work with every day and want to share our love of history with everyone, whether they are virtual or on-site, a first-time visitor or a regular. We truly believe that history is created by everyone, and that history is for everyone.

February is the month of love. Do you know what I love? Dogs! Here are some artifacts in our museum collections that make me say, “What a good boi!”

1. Doorstops

Shaped like Boston terriers, this set of cast-iron doorstops held open doors in the Devils Lake area around the 1930s. The Hubley Manufacturing Company is well-known for cast-iron toys, but they also created doorstops, bookends, and door knockers. These helpful pups were originally sold with a leather collar and a leash.

Sturdy silent types. SHSND 16695.1-2

2. Nutcracker

Everyone knows dogs love treats. Gustav and Bertha Helm used this cast-iron canine cruncher in their home three miles south of Mandan. Although its age is not known, the nutcracker was likely produced in the 1910s or 1920s.

Ready to crack your toughest nuts. (Shown with a photoshopped nut for full effect.) SHSND 2007.80.95

3. Dachshund Woodcarving

Ben Ehreth of Mandan carved this little pal in March 2001. Ben first started carving in 1973. He was largely self-taught in the craft and gave away his creations as gifts. Ben’s son and daughter-in-law Mike and Linda Ehreth received their dachshund friend along with many other Ben Ehreth originals.

So cute you can almost see his tail wag. SHSND 2018.6.2

4. Stuffed Animals

These two chunky puppies kept Hazel McCulloch company while growing up near Washburn in the early 1900s. The homemade hounds are stuffed with straw around a wire frame. Hazel became one of the first 12 faculty members at the Minot Normal School (now Minot State University). She served on the staff from 1913 to 1959 as a training school supervisor and history professor. Students can now stay in a residence hall named in her honor.

Loved so much, their eyes fell out. SHSND 15574.1-2

5. Salt and Pepper Shakers

The Wahpeton-based pottery company Rosemeade was well known for its eclectic salt and pepper shaker sets. You can get the spice of life from any number of flora and fauna: flickertail gophers, a prairie rose, pheasants, cacti, and 13 different breeds of dogs! Made sometime between 1953 and 1961, these disembodied cocker spaniel shakers are ready to add excitement to your meal. But they don’t seem happy about it.

They're making that face to let you know they also want to be eating your food. SHSND 2017.55.16

Learning how to tell stories objectively isn’t always easy. Not many people realize it, but the Lewis & Clark Interpretive Center and Fort Mandan State Historic Site where I work is staffed with team members who are nationally certified in interpretation. To obtain certification, our staff attends training courses offered through the National Association for Interpretation (NAI). These are weeklong programs, which teach the core principles of interpretation.

One might ask, “What is interpretation?” NAI defines it as “a purposeful approach to communication that facilitates meaningful, relevant, and inclusive experiences that deepen understanding, broaden perspectives, and inspire engagement with the world around us.”

So how does that apply to these sites? Through our training from NAI, we are able to help visitors better understand and relate to site content, and hopefully spark interest in furthering their knowledge of what they learn at these sites. We do so by offering hands-on items that bring seemingly intangible information learned through textbooks or novels to life. The Lewis & Clark Interpretive Center and Fort Mandan State Historic Site hold more than 1,500 items (mainly replicas) related to their content. Using replicas allows us to offer visitors the opportunity to handle some of these items. In a sense, we are able to put history into the hands of visitors. Interpretive Resource Specialist Shannon Kelly makes sure all the items we acquire are both historically accurate and add to the story the sites tell. A recent commission by the agency included a beaded belt by Hunkpapha Lakhota/Hidatsa artist D. Joyce Kitson. The purpose of the belt is to allow visitors to handle and contextualize what this representative piece of history may have been like.

This blue beaded belt by Hunkpapha Lakhota/Hidatsa artist D. Joyce Kitson will be used as an interpretive piece for staff to discuss Sacagawea’s possessions and attire during the expedition. We do not know the exact design of Sacagawea’s belt, but this is a good approximation.

Aside from historical items at the site, we also have a lot of programming. From arts and crafts to geology and navigation, we add fun educational activities for visitors. Certified Interpretive Guide (CIG) training teaches you how to develop these programs. Staff then create engaging interactive activities and programs that allow visitors to get the most out of their visit. One recent program we ran was a paper boat challenge, where visitors were taught how to make paper boats and then offered “provisions” in the form of beads, corn, corks, and wooden clothespins. The visitor was tasked with loading up their boat with the provisions and seeing how long it could stay afloat while dealing with the elements (or in this case, people splashing).

Our setup for a recent paper boat challenge held at the Fort Mandan State Historic Site Visitor Center near Washburn.

Once staff obtain their certification, they are required to maintain credits for their NAI membership, and this is done by attending its conferences. After an NAI conference, staff come back motivated, inspired, and sometimes even with a new skill set. In November 2023, Bethany Schatz, one of our team members, and I went to Little Rock, Arkansas, for the NAI National Conference. While there, we attended a workshop on 19th-century blacksmithing. Bethany was offered the opportunity to make an item in the forge. She created a steak flipper, which is something that could have very easily been made by the blacksmiths of the Lewis and Clark Expedition. From the forge to the tools, it was all similar to what would have been used in 1804 at the site. Bethany was able to experience in just a short amount of time what it would have been like to work as a blacksmith during the expedition. Not only did she leave the session with a new item she created with her own hands, but she also left with a desire to learn more about the trade as well as how to bring similar hands-on learning experiences to the site and spread inspiration to visitors.

Seasonal employee Bethany Schatz learns how to blacksmith during the 2023 NAI National Conference in Little Rock, Arkansas. Bethany was guided through the steps to make a steak flipper by Historic Arkansas Museum site interpreter/residential blacksmith Casey Marshall.

In North Dakota, we are fortunate to have nationally certified interpreters at many of our state historic sites and museums. After all, interpretation is a way to connect with visitors, help develop their interests, and cultivate memorable experiences. Come check us out!