The Neville Public Museum
The Neville Blog
Dan Smith’s Emmy
Dan Smith broke into the Television Industry as a director. In the 1940s he put on a series of shows with his involvement in the “Neighborhood Playhouse Theater”. He held yearly summer plays after rehearsing with the kids all summer. They showcased the final product to the community in front of his garage to close out the summer.
He received his big break as an assistant director on The Ed Sullivan Show during the 1960s, worked on The Merv Griffin Show, The Joey Bishop Show, and directed several commercials, game shows and soap operas. It was not until 1987 however, that Dan Smith received the utmost recognition for his work. He directed a children’s mathematics program for a PBS series entitled Square One Television. It was for this project that he was awarded a Daytime Emmy Award for Best Director. The following year, he was nominated in the same category for the same program. In 2002, Dan Smith gifted his Emmy award to the Neville Public Museum and is now a part of the permanent collection.
Origin of the Emmy
The first ever Emmy Awards were held on January 25th, 1949 with three separate categories, Primetime, Daytime, and L.A. Area Awards. When it came to finding a design for the statue the winners would receive, the Academy turned down forty-seven designs before finding the perfect fit. The design for the statue was created by Television Engineer Louis McManus who used his wife as his model. This design was chosen by the Academy Board Members in 1948. The statue's design is a woman with wings holding an atom, and each portion has a different meaning. The wings are supposed to be representative to the muse of art, while the atom that the figure is holding represents the electron of science. An Emmy weighs about six pounds and twelve ounces and is made of copper, nickel, silver and gold. It was named by Television Engineer and third Academy President Harry Lubke, when he selected the name “Immy” after an Early Image Orthicon Camera; it was later altered slightly to “Emmy”.
UW- Green Bay
As with all our exhibits, when they are completed we inventory and do condition reports before returning the artifacts back to storage. After Holiday Memories last year, we did an extensive condition report of the artifacts. In looking closely we discovered evidence of stress. Piles of rust at the feet of some of the figures are a clue that something was happening internally that we cannot see on the outside.
Rust is caused by corrosion, a natural process where metal is gradually destroyed. Running the dolls causes the metal rods to move resulting in the rust falling from the rods inside the figurines. This leaves the piles you see in the picture above. Running the dolls constantly, even for a two month exhibit, causes strain on the internal mechanics. Piles of rust weren’t the only things we found while performing our condition reports. We also found issues with the clothing and brown marks on the surface of some of the figurines. Both of these things can happen over time.
The brown marks on this doll are not freckles. Dolls like this were made using a hard plastic. This Plastic breaks down over time and can begin to “sweat” leaving brown marks on the surface of the figurine. The marks are caused by an oily liquid oozing out of the doll. The ooze can also leave a tacky slime behind. This picture shows one of the issues we found with the felt and textiles of our figurines’ clothing. Over time the fabric has deteriorated, ripped, faded, or become stained.
This year, we are decreasing the stress put on our dolls to help ensure that we can display them well into the future.
Vietnam Flight Suit, 1965-1973
The man who wore this flight suit flew high above the terrain of Vietnam, Thailand, and the Philippines between 1965 and 1973. John Evans volunteered for the U.S. Airforce and served as a combat aerial photographer. During the war, Evans was frequently shot at, but luckily was never shot down. After leaving the Air Force he became a lawyer and worked for Brown County and Oconto County. In 2016, Evans lost his battle with lung and brain cancer believed to have been caused by exposure to Agent Orange.
Hotel Northland Switchboard, 1930s-1950s
The Hotel Northland was at the center of a booming downtown Green Bay, hosting celebrities, Green Bay Packers players and staff, and a wealth of other people during its time as a hotel. This piece of communication technology from the mid-twentieth century connected calls from the outside to hotel guests during their stay in Green Bay.
Working in a museum, I get to see plenty of interesting artifacts. Some are more widely recognizable and well researched and others are much more mysterious. One of our mysterious artifacts is this object- the wooden monowheel. While there are other monowheels in collections across the country, this is the only known one made of wood rather than metal.What is a monowheel?
This rare artifact is a self-propelled mode of transportation, much like a unicycle. The big difference is the rider sits on the wooden seat inside the big wheel. The rider uses the hand cranks to move the inner smaller wheel which transfers motion to the larger outer wheel with the stars.What do we know about the monowheel?
This monowheel was collected by Frank Duchateau in the early 1900s. He donated it to the museum in 1943. According to a letter received by Duchateau in 1922, the monowheel was made by a Mr. Rowe in the 1860s. It was first exhibited at the old museum on the corner of Jefferson and Doty Streets and was kept on display when the museum moved here. In 2014, the monowheel was conserved and traveled to Madison and Appleton to be included in the exhibit Shifting Gears: A Cyclical History of Badger Bicycling.What don’t we know about the monowheel?
We know a little about the monowheel but we are still missing some key pieces of information. Why did Mr. Rowe create the monowheel? What was it used for? Are there other pieces like the monowheel in other collections?
The answer to all of these questions is – we don’t know. We can speculate what the piece was used for but without more information we can never be sure. However, just because we cannot be sure does not mean the monowheel is not important. This one-of-a-kind artifact is an excellent example of how the museum has collected, displayed and cared for artifacts throughout the last century.The monowheel is now back at the museum and on exhibit in On the Edge of the Inland Sea. Check it out for yourself!
Here at the Neville Public Museum we care for an extensive doll collection. This collection houses dolls from around the world including Barbie dolls. The Barbies in our collection range in date from the 1950s through the 1990s. Through time the materials used to make barbies changed. Here are a few examples from our collection.
This Barbie was received as a gift from the Neville Public Museum Corporation. It was purchased from Georgia Rankin, a Barbie collector from Sturgeon Bay, Wisconsin in the 1960s. The black and white swimsuit worn by the doll is the original outfit traditionally worn by dolls manufactured from 1959-1961.
This picture shows one of the newer Barbies in our collection. It's a part of the Hollywood Legends Collection/Collector's Edition and represents Glinda the Good Witch from the Wizard of Oz.
Although both of these dolls were manufactured by the same company, they were created using different materials. This means we have to care for these dolls in different ways. Glinda the Good Witch was manufactured in the 1990s and was donated in her original box. The change in plastic used in manufacturing allows us to store the doll in regular collections storage.
The Barbie from Georgia Rankin is not stored with the other dolls in our collection; she is actually stored in collections cold storage with lower humidity. This is because the doll was made using earlier plastics.
The plastics used for Barbie dolls manufactured in the 1950s and early 1960s used PVC, which is brittle. In order to make Barbie flexible, they added a plasticizer when the doll was being molded. As these dolls age, the plasticizer can ooze out of the doll and form a tacky slime across the surface. This is why some dolls can appear to be wet. Warm and humid environments can cause the oozing to occur earlier. By storing some of our Barbies in cold storage we are able to slow this process and preserve them longer.
James Peth, Research Technician
The arrival of Feline Fine: Art of Cats has us excited here at the museum. Avid cat lovers have already shared almost 1,000 photos for our #NevilleCats Instagram contest! Next week the top 12 photos will be chosen for a special photography exhibit in our lobby. Other photos will be selected for digital display in Feline Fine!
Beyond looking at all those cute cat photos, I wanted to know more about what type of cat art we had stored away in our collection. I’m happy to share what I found!Defiance by Rosetta (2000.42.1)
This bronze tiger was a part of a previous exhibit, Art and the Animal in 2000. This piece has been exhibited across the country and has even been displayed in Italy. The piece was purchased in honor of Neville Public Museum board member, Fred Baer. Rosetta has four bronze sculptures on display in Feline Fine.
Cat Figurine (1990.61.17)
This house cat figurine came to the museum in 1990 from the Hazelwood Historic House Museum. It is a casting of a cat created in Boston in the first half
of the 20th century. Our card catalog states the piece was “used by the Hazelwood caretaker”.
Untitled by O. Dickenson, 1846 (1997.114.4)
This painting also came to the museum from Hazelwood Historic House Museum. Hazelwood (built in 1837) was home to Morgan L. Martin and his family. This painting comes from this home but it’s hard to say if it hung while the Martin’s lived there. Either way it lends to our cat art theme!
We have more cat themed fun coming up this spring, including two cat adoptions with the Bay Area Humane Society. We are also partnering with Cats Anonymous and Bay Area Humane Society for our Exhibits Exposed on March 16th. This event will feature the pieces mentioned here and our mummy cat!
Also during the run of Feline Fine visitors can help out the Bay Area Humane Society and get half-price admission to the museum by bringing in any item (not just cat-related!) from the BAHS wish list. Half-price admission with donation is available Tuesday-Friday from March 6th through April 17th!
Lisa Zimmerman, Curator
When our team met recently to discuss ideas for 2016, one of our goals was to find new ways to provide our visitors with unique, one-of-a-kind experiences. In response, we developed a new program series called “Exhibits Exposed,” which will take place the third Wednesday evening of each month, starting at 6:00. In this program you’ll join one of our experts on staff for a tour of a featured exhibit, and learn some of the facts and stories that didn’t make it onto the labels. Then, you’ll have a chance to view some iconic artifacts pulled from our collection that are usually not available to the public.
My colleagues and I are very excited for the chance to share these rarely-heard stories, and even more rarely-seen artifacts from the Neville’s amazing collection. We hope you’ll be able to join us for these intimate and lively discussions.
Exhibits Exposed Schedule
January 20: Iroquois Beadwork and Sisters in Spirit
February 17: The Fur Trade in Green Bay
March 16: Feline Fine and the Art of Cats
April 20: Stories of Life and Death at Fort Howard
May 18: Art and Artists of Green Bay
June 15: The Ice Age is Coming
July 20: Interstellar Overdrive – Eyes on the Sky
August 17: More of Life and Death at Fort Howard
September 21: Frozen Green Bay
October 19: Haunted Wisconsin
November 16: Holiday Memories
All programs take place the third Wednesday evening of each month at 6:00 and are free with regular museum admission. Sessions will be capped to ensure a personalized experience; additional sessions will start on the half hour as needed.
Karen Ann’s contemporary work takes inspiration from the historic pieces like the artifacts in the museum’s collection. When Karen Ann took some time to look at our collection’s Iroquois raised beadwork we asked if she’d be willing to share her thoughts in a blog. So here is a guest blog post from Karen Ann Hoffman about the art of Iroquois raised beadwork and the museum’s collection. Enjoy!
Lisa Zimmerman, Curator
Iroquois Raised Beadwork
Iroquois Raised Beadwork is a rare and beautiful style of Native American art which originated in the Eastern Great Lakes region. This art is a material language which embodies, preserves and expresses Iroquois world view. Its forms and designs reach back over ten-thousand years. The motifs were first executed with bone and shell, later with moose-hair and hide and, since the 1500’s, with glass beads and trade cloth.
I want to thank my teachers: Samuel Thomas and Lorna Hill for instructing me in the the cultural connections and responsibilities that make Iroquois Raised Beadwork so rich and meaningful. Thanks are also due to the Neville Museum for exhibiting my contemporary Iroquois Raised Beadwork. I have come to understand that pieces I produce today, should stand, not for me as an individual; but for our Iroquois world view. That someday, long after my name is forgotten, my beadwork will need to speak about us in a strong, clear voice.
The Iroquois Raised Beadwork pieces in the Neville Museum’s collection represent a different segment of Iroquois beadwork often termed “Whimseys”, though some feel this term trivializes the artform (Elliott, Preserving Tradition and Understanding the Past: Papers from the Conference on Iroquois Research, 2001–2005). They were likely made in New York or Canada by members of the Mohawk and Tuscarora communities specifically for sale to the tourist market in the mid to late 1800’s.
Mohawk-style beadwork of this period, is often characterized by a heavier, more opulent beadwork style using larger seed beads than the Tuscarora-style work which may exhibit more intricate beadwork patterns using smaller seed beads. Some pieces have characteristics of both styles.
Iroquois beaders developed items which would appeal to the souvenir market: pin cushions, needle cases and match holders.
These items were sold at locations popular among Victorian Era middle and upper middle class tourists including: Niagara Falls, New York State Fairs, and exhibitions up and down the Eastern Seaboard and were often embellished with the location name or date of purchase.
Perhaps because so many of the pieces were purchased during honeymoon trips, the heart became a popular form. A tri-lobed heart was not uncommon and examples of this shape appear as pincushions in the Neville’s collection, all in the heavily raised “Mohawk-style” so popular in the last quarter of the 19th-Century.
Iroquois Raised Beadwork is fascinating and important. It relates its maker to the long chain of Iroquois beaders who came before and provides a connection to beaders whose faces we have yet to see. For myself, when I bead sometimes I swear I hear the whispers of the beaders of our past encouraging me to, “do it right, do it well. Keep our voices alive.”
Karen Ann Hoffman
Here at the museum we have over 100,000 three-dimensional artifacts in our collection. They span thousands of years and hail from all around the world. As Halloween approaches we were thinking about the depth of our collection and how we could show some pieces that don’t get much face time with the public. We’ve been changing our case the lobby every few months and we thought this would be a great opportunity to feature some of our eerie artifacts. I’m not going to give too much away here because there are some remarkable artifacts in the case that you should see for yourself.
When we started preparing for this mini exhibit, we asked our interns to explore our collections with death and mourning in mind. They came back with unique artifacts including objects from an old funeral home, a mummified bird from ancient Egypt, and mourning jewelry. All of these objects made it to the exhibit but I found this one piece of jewelry fascinating. It is a necklace made of hair. Yes, human hair. Hair has been used for centuries in different art forms. In our collections we hold necklaces like this one, pendants, pins, and wreathes.
The art of hair jewelry began in a small Swedish town but slowly spread across Europe and was brought to America in the 19th century. It did not gain popularity until after the death of Queen Victoria’s husband, Prince Albert, in 1861 at which time she wore jewelry made of hair. There are a few reasons that hair was a great choice for decoration; it does not decay, it can be used with metalwork or precious gems without damaging either, and it is symbolic of the departed. The use of hair jewelry in mourning demonstrates a personal connection with the deceased.
If you look carefully at this picture, you can see the hair necklace from our collection around this woman’s neck. This image is from an ambrotype in the collection from around 1855. The woman in the photograph is identified as “Aunt Sadi Spencer,” a relative of the Cady family of Green Bay. After some time in our research library and collections I’m sad to say I was unable to find any further information about Sadi Spencer or who may have died for her to be wearing the necklace. But we’ll keep an eye out for our mystery woman and if anyone has any information about her we’d love to see it!
You can see these pieces and the rest of the Artifacts of Death exhibit in our lobby until November 14th.
Lisa Zimmerman, Curator
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