Archived Posts from this Category
Archived Posts from this Category
In the early 1960s Ancker Hospital was located at Jefferson Avenue and Colborne Street in St. Paul. The hospital was preparing to move to a new location and by 1967 the old campus was completely demolished. A local “chunker” or “picker” (antiquer) had a friend working on a demolition crew at the old campus. Behind a false wall in a warehouse building the men discovered a cache of 70 gallon bottles of perfume made by the Nipola Company of St. Paul. This perfume was manufactured in the late 1920s, during the Prohibition Era.
Throughout Prohibition (1920-1933), the United States government distributed denatured grain alcohol for industrial use. Denatured alcohol contained additives making it poisonous, though still useful for commercial purposes. Thousands died as a result of drinking denatured alcohol stolen and resold by bootleggers. Soon, chemists employed by bootleggers began to “renature” the industrial alcohol, redistilling it into drinkable liquor. One product targeted by bootleggers was commercial perfume, which had high alcohol content that could be chemically extracted for use in bootlegged liquor.
In February, 1930, thirty-one corporations across the country were indicted for illegally diverting 1,000,000 gallons of government alcohol from legitimate commercial uses to bootleggers, in violation of national Prohibition laws. These companies were accused of taking part in a nation-wide syndicate headquartered in Chicago. Among the businesses named in the indictment was Nipola Company of St. Paul, Minnesota, a perfume manufacturer.
Nipola produced a number of scents beginning in 1927, including Swee-Tone, Ramona, and Lucky Lindy (after Charles Lindbergh). Of these perfumes, at least Swee-Tone was distributed nationally. The label on the gallon jug reads: “SWEE-TONE gives a delightful odor, refreshes the premises, and is a deodorizer as well. It is a “Many-Purpose” perfume–a standard, high-grade product.” Whether officers of the company were active in bootlegging or its products were merely being used by bootleggers is unclear. Luckily for Nipola and the other companies named in the indictment, Prohibition was repealed before the case could come to trial.
Be sure to stop by the current Library exhibit Dry Times: Temperance, Prohibition, and Gangsters in Minnesota 1900 – 1933.
Sondra Reierson, Associate 3D Curator
If you missed Patrick Coleman’s appearance on All Things Considered with Dan Olson, here’s the link to the story featuring many treasures of the Collection. Enjoy!
“It was really a home spun band with very humble beginnings”. That’s how former Soul Asylum lead guitarist Dan Murphy described his Minneapolis-based band, which rose to superstardom in 1992 with their hit single “Runaway Train”. A native of Duluth, Murphy co-founded the group in 1981 with Karl Mueller and Dave Pirner as a trio under the name Loud Fast Rules, playing in garages, at parties, and in local clubs including First Avenue. With the addition of Pat Morley on drums, the band changed its name to Soul Asylum in 1984 and began recording albums for the independent record label Twin/Tone Records. Grant Young replaced Morley on drums shortly after their debut album, Say What you Will, and for the next nine years the band played hundreds of concerts across the United States and Europe, building a following of fans and climbing the college radio charts. After releasing a string of tepidly-received albums under the A&M label, the band signed with Columbia Records in 1992 and released Grave Dancers Union to critical and popular acclaim. The album’s success catapulted Soul Asylum to international celebrity and assured their reputation for the next twenty years as one of the world’s most renowned independent rock bands.
Purchased in the mid 1980’s at Benedict’s Music Store in Minneapolis, Murphy used this Gibson Les Paul guitar on every Soul Asylum album, starting with 1988’s Hang Time, until his departure from the band in 2012. Murphy also logged hundreds of performances on the guitar as a member of Soul Asylum and the supergroup Golden Smog, including appearances at President Bill Clinton’s first inaugural ball, the MTV Music Awards, “Saturday Night Live”, the “David Letterman Show”, and the “Tonight Show with Jay Leno”. The guitar joins the Society’s extensive holdings of artifacts and manuscript materials which document both the storied legacy of Soul Asylum and Dan Murphy’s celebrated achievements as a Minnesota musician.
Adam Scher, Senior Curator
In anticipation of the opening November 9 of American Spirits: The Rise and Fall of Prohibition, we put together some material in the Library Lobby to showcase the Minnesota angle and whet visitors’ appetite for more!
Minnesota played a major role in Prohibition, the banning of alcohol in the United States from 1920 – 1933 made possible by the 18th Amendment to the Constitution. The Temperance Movement (supporters of making liquor illegal) had been active here since the 1880s, but it was the National Prohibition Act (also known as the Volstead Act) championed by Minnesota Congressman Andrew Volstead that made the Amendment reality.
Liquor, of course, did not go away, just underground. A brisk illegal trade in alcohol could be found nationwide, but it was to Saint Paul the gangsters would come to either vacation or “let things cool off.” An arrangement with the Saint Paul Police made the city a haven for criminals. As long as bribes were paid and crime was not committed in the city, Saint Paul Police agreed to look the other way. While this made for some interesting visitors, this arrangement did not last long.
Come take a look at these amazing pieces from that time, showing all sides in the great national debate that came to a largely joyous end in 1933.
This exhibit is open the same hours as the Library.
The diaries kept by Civil War soldiers make for gripping reading. They’re full of the sights and sounds of military life in the 1860s, from routine dress parades and picket duty to dramatic battles like Gettysburg and Antietam. But while the content of these accounts is priceless, it’s sometimes hard for the average person to access. Soldiers’ handwriting is messy; their grammar and spelling are inconsistent; and the words they use are unfamiliar. Sifting through all of a diary’s entries in search of recurring themes can exhaust even the most dedicated reader.
With this in mind, a team of staff in the Collections Department is exploring creative ways to distill and display the content contained within historic manuscripts. They hope to determine whether data visualization–the practice of transforming data sets into interactive graphs and pictures–can be used to make primary sources more accessible. Funded by a grant from the Institute of Museum and Library Services, their project will produce three visualizations of a diary written by Matthew Marvin, a farmer from Winona, Minnesota who served in the 1st Minnesota Volunteer Infantry between 1861 and 1864.
The first of the visualizations, created with the web-based presentation tool Prezi, is now available to the public. For the best viewing experience, be sure to open the Prezi in full-screen mode. To do this, click on the screen enlarger icon in the bottom right-hand corner of the presentation tool bar. You can move backwards and forwards through the Prezi by clicking on the arrows that appear at bottom-center of this tool bar.
Enjoy the visualization, and be sure to record your observations on the Prezi itself. The project team welcomes your feedback.
Cornelia “Coya” Knutson (1912-1996) dreamed of being an opera singer. After graduating from Concordia College in 1934, the North Dakota native set out for New York City to study piano and voice at the prestigious Julliard School. Regrettably, an operatic career was not in the cards but Coya would later apply her musical talents to succeed in an unrelated yet equally competitive vocation – politics. She was helping her husband Andy manage a hotel and cafe in Oklee, Minnesota during the early 1940’s when the political bug bit her. With accordion in hand she hit the campaign trail, singing her way across the state in a vivacious soprano. Inspired by First Lady Eleanor Roosevelt, Coya became a staunch supporter of agricultural reform and won the hearts and votes of Minnesota’s rural communities.
After serving on the Red Lake County Board and in the Minnesota House of Representatives, the former music teacher and Democratic-Farmer-Labor candidate stunned the state’s political establishment in 1954 by beating twelve-year incumbent Harold Hagen for a seat in the U.S. House of Representatives. Coya Knutson was now the first woman from Minnesota elected to Congress, and Washington was soon to become equally astounded by her drive and commitment. Despite her lack of seniority, Coya won a seat on the coveted House Agriculture Committee, initiated the first federal appropriations for cystic fibrosis research, introduced the first bill for the income tax check-off to fund Presidential election campaigns, and wrote the first federal student loan program.
But Knutson’s prospects for a long career in Congress were derailed in 1958 when husband Andy made a public plea for Coya to quit politics and return to Minnesota. In a time when a woman’s place was in the home, not in the House of Representatives, Andy’s appeal struck a resonant chord with voters and toppled Coya’s bid for re-election. Coya Knutson never held elected office again, despite comeback attempts in 1960 and 1977, but her determination, dedication to service, and personal charm firmly established her as an iconic figure in Minnesota political history.
Adam Scher, Senior Curator
The collection had previously only been available on tape cassette or as paper transcriptions. Through years of digitization and cataloging Voices of Minnesota is the new online portal to the more than 1,300 Oral History interviews in our collection. You can search for specific oral history interviews through Collections Online or by subject matter on Voices of Minnesota.
Projects available online range from World War II to recent immigrants, politics, art, and much more.
Keep checking back – more Oral History projects and interviews are being added all the time!
The Minnesota Historical Society is looking to document select current events through collecting digital images, and we need your help.
The Society wants to document the historic recognition of equality for all by collecting digital photos of same-sex weddings held during the month of August, 2013. Our goal is to collect 100 great photos during this time of couples state-wide who are now able to get married.
Please see this page to learn more about this project and specifics to submit.
Come see the new exhibit in the Library Lobby on the Golden Age of Rail Travel, 1880 – 1950. The exhibit highlights a fabulous new donation to the collection from Steve Pattison and family of Great Northern Railway china and silver. It also includes menus and tourism promotion materials from our wonderful railroad archival collections. Visit a time when transportation was so much more civilized!
Unique to North America, porcupine quillwork is an art form used by Indigenous peoples that have traditionally resided in the porcupine’s natural habitat – from coast to coast in the northern United States and Canada.
With tendrils stretching back over centuries, quillwork was the primary decorative art form used for embellishing rawhide and tanned hide items prior to the introduction of glass beads of European manufacture. Many Dakota and Lakota people have oral traditions which explain how quilling was brought to them by Double Woman (or Double Face Woman). The earliest extant examples of quillwork are found in Canada and are said to date to the 6th century.
In their natural state, workable porcupine quills are usually pale with black tips. Historically, color was added through the use of dyes made from plant and animal materials. By the 19th century, commercial dyes became readily available and greatly expanded the possibilities for new designs and color combinations. Historic quillwork from the plains, much like painting and beadwork, is often characterized by geometric patterns – concentric circles and rosettes, as well as other geometric shapes, were commonly found on panels adorning men’s shirts.
Traditionally practiced by women, today many men are also contributing to the revival of the quillwork art form. Through working with knowledgeable practitioners and relatives (and sometimes by studying museum collections), today quillwork artists are revitalizing the practice; it is again becoming a vibrant and living art form.
Quillwork in the Minnesota Historical Society Native American Collections is robust, with examples of historic moccasins, pipe bags, men’s shirts, pipe stems, armbands, dresses, ornaments, dolls, gloves, jackets, tobacco pouches and more attributed to Dakota makers, as well as birchbark tourist trade items made by Ojibwe makers.
In addition to our historic collections, there are also quillwork pieces created by contemporary artists. Among them is a cradleboard done by Hope Two Hearts and Galen Drapeau (Isanti and Ihanktowan Dakota, respectively), circa 1980. An image of this cradleboard, which won best traditional art at the Sante Fe Indian Market, was featured in promotional materials for Hope and Galen’s business, the Elk’s Camp Society.
Surrounded by the art form for most of his life, Dallas Goldtooth, Hope’s son, has himself been creating contemporary work for over a decade. Recently, the MHS Collections Department had the opportunity to purchase a pair of cuffs from the artist, seen here.
These will be on view in the Recent Acquisitions show at the James J. Hill House until the end of June.
Collections Associate, American Indian and Fine Art Collections