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Viking Statues & Collectibles
Have you ever wanted to see a Viking in action? Truth be told, it is not a common sight. But now you can not only see it, but immortalize that moment with a great statue or collectible! We carry a wide variety of Viking statues and collectibles that are perfect for decorating with, all of which demonstrate a stellar Viking design drawn from Norse history, lore, and legend. Some of our Viking statues depict the gods themselves, showing off the potential likeness of legendary deities like Odin, Thor, Loki, Freyr, Freyja, Frigga, and more. Some depict the gods during some of their more well-known legends, like Thor batting Jormungandr, while others depict the gods in a more traditional sense, showing their glory for all to see and enjoy. Other statues are dedicated to the men and women who worshipped them, depicting Viking warriors and shield maidens as they stand tall and as they battle. No matter the subject, though, these Viking statues are all made in quality materials like cold cast resin and cast bronze resin, while featuring an impressive level of detail that makes each one an impressive sight to behold. We also offer other Viking collectibles and home decor here, such as our variety of Viking wall plaques. You need not lack for Norse detailing or Viking decor when it comes to your mead hall or longhouse.
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© Copyright 1996-2021 Doug Kirby, Ken Smith, Mike Wilkins. All rights reserved. No portion of this document may be reproduced, copied or revised without written permission of the authors.
Deborah Butterfield, Monekana, 2001, bronze, Smithsonian American Art Museum, Gift of the American Art Forum, Mr. and Mrs. Frank O. Rushing, Shelby and Frederick Gans and museum purchase, 2002.3, © 2001, Deborah Butterfield
Deborah Butterfield’s majestic horse is monumental in scale. Butterfield considered the animal’s expressive postures in response to the natural world as metaphors for human experience. At first glance, the sculpture appears to be made of tree branches. It is, in fact, cast in bronze, with a patina that masterfully captures the textures and colors of the Hawaiian wood fragments the artist used to make the original maquette. Butterfield divides her time between a ranch in Montana and a studio space in Hawaii. Monekana is Hawaiian for the word Montana.
Smithsonian American Art Museum: Commemorative Guide. Nashville, TN : Beckon Books, 2015 .
Smithsonian American Art Museum
Gift of the American Art Forum, Mr. and Mrs. Frank O. Rushing, Shelby and Frederick Gans and museum purchase
Mediums Description bronze Classifications
DEBORAH BUTTERFIELD: I’m Deborah Butterfield here with "Monekana" in the American Art Museum, of the Smithsonian. Monekana means "Montana" in Hawaiian. I thought, since I made it on the mainland of Hawaiian wood, that it was an appropriate name.
It kind of evolves. There's a lot of adding and subtracting and finding out just, I don't know, the emotional end. It's very much, I don't know, just the visual, the balance of it is pretty formal until then there's the neck and the head and then it becomes personified.
I practice karate and dressage, and so there is this, for me, this formal aspect of this that is also very much in a proscribed space where you execute different movements and figures. I believe it relates to this very much.
I told my sensei in karate that your body is your horse. When you're training, you know, there's a question. You propose a question and then you figure out ways that you might solve it. It involves a lot of repetition and a lot of mistake, but that hopefully each day, whether it's in the studio or with your horse or in the dojo, you hope that you come to some point of harmony and satisfaction. Even to the point where maybe things didn't work out so well so then, especially with a horse, you try to go back and do something you do well so that you end at a positive note.
It's so nice to see your old work. You become a different person, and your work changes. I'm so happy to see this piece. For one thing, it's been inside and so the climate—acid rain and just time—hasn't damaged the patina.
Buried treasure and missing statues: 5 unsolved Milwaukee mysteries
[dropcacp]M[/dropcap]ysteries: everyone loves ’em, from amateur detectives and podcast hosts to Sherlock Holmes enthusiasts and Robert Stack. Here are five—including the infamous “Milwaukee treasure”—that hit close to home:
The peculiar case of Milwaukee’s “buried treasure” has gone from half-forgotten stunt to full-on obsession. The background: In 1981, New York-based book publisher Byron Preiss was promoting the fantasy satire The Secret. The back of the book contained 12 riddles and 12 paintings that, when correctly paired and deciphered, would lead enterprising sleuths to 12 specific locations in 12 American cities. Preiss had buried twelve ceramic casques at the locations. Each casque contained a key. Send the key to Preiss and he’d send you a precious birthstone, valued at $1,000. Fun!
Here’s the generally agreed-upon Milwaukee riddle and painting:
View the three stories of Mitchell
As you walk the beating of the world
At a distance in time
From three who lived there
At a distance in space
From woman, with harpsichord
Step on nature
Cast in copper
Ascend the 92 steps
After climbing the grand 200
Pass the compass and reach
The foot of the culvert
Below the bridge
Walk 100 paces
Southeast over rock and soil
To the first young birch
Pass three, staying west
You’ll see a letter from the country
Of wonderstone’s hearth
On a proud, tall fifth
At its southern foot
The treasure waits.
Only two casques were ever found—one in Chicago’s Grant Park in 1983, the other in Cleveland’s Greek Cultural Gardens in 2004. Preiss, meanwhile, died in a car crash in 2005. Despite decades of searching (as well as help from a recent Travel Channel special), the location of the Milwaukee casque remains a mystery. Pre-Pokemon Lake Park seems to be the likely suspect.
The disappearance of Milwaukee’s famed “Germania” statue actually involved two disappearances—though only the second remains a mystery. Designed by Milwaukee master metalworker Cyril Colnik (also the designer of Von Trier’s antler chandelier), “Germania” was a three-ton, 10-foot tall bronze statue of a warrior goddess that adorned downtown’s Germania Building. Due to anti-German sentiments during World War I, however, the building’s owners asked Colnik and a crew to remove the statue in the dead of the night, they did. Colnik kept his pilfered creation in the corner of his studio for decades, though its whereabouts after that are a mystery. According to a terrific piece by Brian Jacobson, “Germania” was “apparently loaned out for a convention at the old Milwaukee Auditorium around 1940, later came close to being melted down for scrap, and over the years there were alleged sightings of the statue or perhaps parts of it, and many differing stories were told about it.”
Squirrel Lady statue
In 1931, a bronze statue was erected in Milwaukee’s Kosciuszko Park, honoring the life and work of Mary Belle Austin Jacobs. Along with her husband, Herbert Henry Jacobs, Mary had founded the University Settlement House in Milwaukee, known for its pioneering work in social work, public health, and industrial employment. Mary also helped establish a self-supporting workingman’s camp, promoted home nursing work in Milwaukee, and set up one of the area’s first branch libraries. The statue depicted Mary as a young woman, kneeling to feed some squirrels. The so-called “Squirrel Lady” statue stood in the park for decades, but in 1975, it vanished without a trace. A fictional play was even written about the nutty South Side heist.
Stolen Royals uniforms
On June 12, 1977, County Stadium played host to a strange game: the Milwaukee Brewers versus…the Milwaukee Brewers? Not quite. The Brewers were playing the Kansas City Royals that day, and most of the Royals players were forced to wear the Brewers’ away-game uniforms due to the theft of their equipment. The Gettysburg Times noted:
The Kansas City Royals had everything but their bats stolen from their County Stadium clubhouse early Sunday morning…
A thief—or thieves—broke into the Royals’ locker room at the Milwaukee ballpark and absconded with 53 Kansas City uniforms, 20 gloves, 10 pairs of baseball shoes, and 15 warmup jackets. All but seven of the Royals were forced to wear the Brewers’ blue road uniforms.
Legendary sportscaster Mel Allen even quipped: “A Brewer flying out to…a Brewer. How about that?”
Death by arrow
In the early morning hours of December 20, 1981, 47-year-old Von Trier owner Karl Lotharius locked up his East Side bar and walked home. As he arrived at his backyard patio on N. Murray Avenue, he was shot with a 30-inch, double-barbed, razor-tipped wooden arrow. He died a few hours later at Milwaukee County General Hospital. The case remains unsolved to this day.
Not that there haven’t been suspects. Lotharius’ dying words, “Buzzy got me,” initially led police to Herbert Dolowy Jr., a former employee of Lotharius’ downtown nightspot Oliver’s Cabaret. Dolowy was never charged, however, and he maintains his innocence to this day. Other factors in the bizarre case: mob ties, jilted lovers, murderous hunters, and a must-read piece from Milwaukee Magazine.
ART NOUVEAU SCULPTURES
Art Nouveau was a movement that swept through the decorative arts and architecture in the late 19th and early 20th centuries. Generating enthusiasts throughout Europe and beyond, the movement issued in a wide variety of styles, and, consequently, it is known by various names, such as the Glasgow Style, or, in the German-speaking world, Jugendstil. Art Nouveau was aimed at modernizing design, seeking to escape the eclectic historical styles that had previously been popular. Artists drew inspiration from both organic and geometric forms, evolving elegant designs that united flowing, natural forms with more angular contours. The movement was committed to abolishing the traditional hierarchy of the arts, which viewed so-called liberal arts, such as painting and sculpture, as superior to craft-based decorative arts, and ultimately it had far more influence on the latter. The style went out of fashion after it gave way to Art Deco in the 1920s, but it experienced a popular revival in the 1960s, and it is now seen as an important predecessor of Modernism.
The desire to abandon the historical styles of the 19th century was an important impetus behind Art Nouveau and one that establishes the movement’s modernism. Industrial production was, at that point, widespread, and yet the decorative arts were increasingly dominated by poorly made objects imitating earlier periods. The practitioners of Art Nouveau sought to revive good workmanship, raise the status of craft, and produce genuinely modern design.
The Myth of Marsyas in Ancient Greek Art: Musical and Mythological Iconography
This paper explores the iconographical approaches to the ancient Greek aulos and its myths. The general aim is two-fold: (a) to demonstrate the relative autonomy and complementary value of textual and visual sources in study of ancient Greek myth and music (b) to establish the reciprocity of the disciplines involved in studying visual representations of musical myths, notably musical and mythological iconography. In particular, this paper integrates approaches researchers can take in studying the Greek myth of Marsyas. In classical mythology, with its primary literary orientation, the myth of Marsyas is widely regarded as an ultimate mythical expression of typical "Greek" dichotomies such as of aulos-kithara, Apollo-Dionysos, Greece-barbarians, etc. However, we can achieve a more nuanced picture by taking a closer look at the iconography, because visual sources are more numerous and specified in time and pace. The Italiote vases are quite independent of the Attic ones. Even the Attic vases in themselves display a variety of traditions. They do not simply depict Marsyas as the doomed opponent of Athena and Apollo. Images of the contest mostly show the satyr performing. Moreover, he plays not only the aulos but other instruments too, even the kithara. Furthermore, he also occurs in less irreputable musical contexts, notably with Olympos. In this, his myth reflected and shaped the debate over the rise of aulos and the "new music" known from music history in all its complexity.
Bronze Aulos Player Figurine - History
It was a time of discrimination. African Americans were banned from the NFL. The University of Minnesota enrolled blacks but enforced segregationist policies. The key player behind the Floyd trophy was an African American who refused to yield to discrimination.
THE MINNESOTA-IOWA RIVALRY
It's late afternoon on Saturday, Oct. 27, 1934. A sportswriter from the Des Moines Register is hard at work while a cold north wind howls outside.
"Iowa Stadium, Iowa City, Iowa," types the reporter.
His story is that day's Iowa-Minnesota football game. Minnesota, bound for the school's first ever national championship, trampled Iowa 48-12.
"Lashed by a human fury even greater than the roaring gale which swept the field, Iowa's football team crumbled before the cyclonic drives of Minnesota's power brigade," the reporter wrote.
The writer's intensity reflects the role of college football in the nation's culture in the 1930s. It was much more popular than its professional counterpart. The rising Minnesota football dynasty was national news.
Herman Schneidman was on the Iowa team that year. He's 93 now. He'd hurt his shoulder in an earlier game, so he watched on the sidelines while his teammates lost ground against Minnesota.
"We hated to play them," says Schneidman. "They were the toughest. They were national champs, I think four years there, or close to it."
The reporter referred to the Gopher team in mythical terms.
"The wild attack of the rampaging Norsemen struck without warning in the opening minutes of the battle. The vicious Vikings ran amuck, leaving destruction in their wake as they plowed and pounded through the Iowa defense," he wrote.
OZZIE SIMMONS, A RARITY IN THE '30S
One Iowa player took the brunt of the Minnesota attack -- Ozzie Simmons. Simmons was a rarity in that era, a black player on a major college football team.
Simmons was a distinctive runner. He liked to grip the ball palm down, waving it hypnotically at the end of his outstretched arm like a magician's wand.
High above the field, a young broadcaster described the action to his radio audience. Fifty years later, after a career in the movies, that announcer, Ronald Reagan, would be president.
In October, 1934, Reagan was an Ozzie Simmons fan. He described a trademark Simmons' move during a telephone interview with Jim Zabel of WHO Radio, Des Moines.
"Ozzie would come up to a man, and instead of a stiff-arm or sidestep or something, Ozzie -- holding the football in one hand -- would stick the football out," said Reagan. "And the defensive man just instinctively would grab at the ball. Ozzie'd pull it away from him and go around him."
There were no dazzling runs against Minnesota. Simmons was knocked out three times, leaving the game for good in the second quarter. The Gophers overwhelmed Simmons and the rest of the Iowa team.
Robert Johnson of Anoka got to know some of the 1934 players when he entered the Minnesota football program the next year.
"We had two fullbacks who were very, very good -- Sheldon Beise and Stan Kostka," says Johnson. "And what happened was, they broke loose through the line and the only player between them and the goal line was Ozzie Simmons, so they just ran over him. And they carried Simmons off the field."
By halftime Minnesota led 34-0. But the Gophers didn't let up. At the head of the Minnesota attack that day was running back and team captain Francis "Pug" Lund. Johnson says Lund was one of the nation's top runners.
"He was a driver," says Johnson. "Nothing fancy about Pug. 'Here I come,' that was Pug."
Lund came to symbolize Minnesota's physical toughness and do-anything-to-win brand of football. The Wisconsin native even had his little finger amputated because it interfered with catching and gripping the football.
"It was broken and it healed crooked, so he had it cut off," says Johnson. "And he had trouble then for a while fumbling, because he didn't have all his fingers to catch the ball."
During the game, Iowa fans grew more upset with each hit. Cutting through the roar of the wind came the sound of boos. They grew louder. One Minnesota coach said later no college team should hear booing like the Gophers did that day in Iowa City.
Some speculated fans were so upset because Minnesota had ruined Iowa's homecoming. Some blamed the crowd's reaction on alcohol. Prohibition ended the year before and one Iowa newspaper called the game a "drunken orgy."
But most felt the crowd was unhappy with Minnesota's play against Ozzie Simmons. They thought Minnesota deliberately roughed Simmons up. Some said it was because he was black.
What happened in Iowa City that day became a long-running sore point between the two states. Ozzie Simmons became the public face of the dispute.
SIMMONS CROSSES THE COLOR LINE
Ozzie Simmons came far and traveled hard to be in Iowa City that day.
He originally came to Iowa from Texas by hopping a freight train. His brother and several friends rode along. Simmons died in 2001, but he described the trip in a 1988 interview with Star Tribune newspaper reporter Jay Weiner.
Simmons described his first meeting with Iowa football coach Ossie Solem. It was a moment Simmons clearly relished. Simmons arrived on campus and asked for directions.
"They told us where the stadium was, and so we went to the stadium and finally we found Ossie Solem's office," said Simmons. "So I walked in and I told him who I was. So he looked at me, like he was just stunned, for about two minutes -- I guess to say, 'What the hell are you doing here?'"
One possible reason for the coach's stunned silence is that Ozzie Simmons had just crossed the color line. Even at Iowa, known by African Americans as a liberal institution, black football players were rare. To have one simply walk into the head coach's office was almost unheard of.
Some alumni, though, had recommended Simmons, and coach Solem agreed to give him a tryout. He was impressive, running a kick back for a touchdown. The coach put him on the team, along with brother Don.
On the field, his breakaway runs quickly attracted media attention. Newspapers soon ranked him as one the best running backs in the nation. Writers called him the Negro halfback, or nicknames like "the ebony eel." He became a symbol for young people.
Near Wheaton, Illinois, there lived a black teenager who met Ozzie Simmons later in life. She had the memorable name of Eutopia Morsell. She says in her teenage years she cheered Simmons' long runs, but fumed at the newspaper coverage.
"They'd always call him 'ebony eel' and everything that meant black," Morsell says. "And I'd get so mad I'd stomp my foot. Why do they have to talk about black? Why don't they just tell it like it is, that he was good and that's it? Why do they have to put this black in there?"
The Iowa running back wasn't the only one getting this treatment. Those were the days of widespread discrimination in college sports.
"College football mirrored society," says Donald Spivey, a history professor at the University of Miami. "The same lines of discrimination, inequality that existed in society in general. The color line is real and it's very difficult to penetrate."
America in the 1930s included Jim Crow laws in southern states, which segregated blacks from whites. In northern states no such laws existed, but discrimination was still widespread.
In college sports, Ozzie Simmons was the exception who proved that discrimination was the rule. History professor Donald Spivey says black players who were stars were allowed in. Everyone else need not apply.
"It was very easy to screen any player out. First of all, the difficult thing was to even get a tryout," says Spivey.
Ozzie Simmons suffered for his unique talents. During a run against Northwestern University, he was punched. In another game, a newspaper account says a player "rammed his locked hands into Simmons' face."
Ronald Reagan told WHO's Jim Zabel that Simmons and other black players of the era routinely faced unfair play.
"The problems were when you played another team that did not have a black, for some reason or other, then they would pick on this one man," said Reagan.
Reagan remembered an incident in a game with Illinois, when Simmons was roughed up.
"I saw Dick Crayne and Ted Osmaloski walk over to the Illinois huddle during a timeout," says Reagan. "They walked over and they said, 'Do that to him once more, and we're going to run you right out of the end of your stadium.'"
There were racial slurs. In his interview with Star Tribune reporter Jay Weiner, Simmons says most teams taunted him.
"'Let's get that nigger over there. Come on nigger, you're not going to run today,'" Simmons recalled. "I didn't say anything, because I learned the best way to do it is just play your game and don't say anything."
Simmons got some of that treatment in the 1934 Minnesota game. Among other things, it was alleged a Gopher player deliberately drove a knee into Simmons during a punt.
Minnesota coaches vigorously defended their team. Head coach Bernie Bierman said the allegations of dirty play were themselves "dirt." He said they treated Simmons the same as any other player.
Minnesota players say they were also roughed up several said they were punched and kicked in the game.
Ozzie Simmons was asked by a newspaper reporter if he thought Minnesota had played dirty. Simmons replied, "No, sir, I don't."
University of Miami historian Donald Spivey says it's probably the only answer Simmons could give. White administrators controlled college football. There was little chance they'd support a complaint by a black player against a white player.
Fifty-plus years later, in a changed racial climate, Simmons said there was, indeed, rough stuff. He told the Star Tribune the Gophers hit him late and piled on after plays were over. Simmons said he always felt he was targeted because he was good. But he said the racial issue probably added some "oomph" to the hits.
The game may have ended with the final whistle on that October day in 1934, but some matters were far from settled. As the Gophers and the Hawkeyes left the field that day, neither side knew the game was just a scene-setter for a tumultuous confrontation the following year.
BLACK ATHLETES KNEW THEIR PLACE
In November, 1935, the Gophers boarded a Rock Island train for Iowa. A scheduling change had the team returning to play at Iowa for a second year in a row.
There were many new faces on the Minnesota team that year, including Dwight Reed of St. Paul. He was the first African American on the Gophers team in several years. Like many northern colleges of the time, Minnesota had black football players from time to time.
Bill McMoore of Plymouth got to know Dwight Reed well. In the 1950s, Reed hired McMoore to his coaching staff at a college in Missouri.
"He loved football," McMoore says of Reed. "Dwight would call me in the morning, at three o'clock in the morning. 'Mac, what are you doing?' I said, 'What the hell you think I'm doing? I'm sleeping.' 'Come over to the office -- let's talk about the defenses next week.' He was just a football nut."
He was also a star end on some very good Minnesota teams in the 1930s. The university Dwight Reed attended was far different from the U today. Only about 50 black students were enrolled. School officials were proud of that. They felt progressive, especially compared to southern schools which banned African Americans.
Mark Soderstrom teaches at Empire State College in Syracuse, New York. He wrote his doctoral dissertation on race relations at the University of Minnesota. He says he was surprised to find how much discrimination black students faced in the 1930s at the university.
"The men's dormitory is segregated at the University of Minnesota, maintained as a white-only space. The women's dormitories are maintained as white-only spaces. Here at the University of Minnesota, we maintain a white-only nursing program. Dances to be racially pure at the University of Minnesota. University employees are white only," says Soderstrom.
At the time, then University President Lotus Coffman claimed "the University of Minnesota has never discriminated against colored students." But Soderstrom calls Coffman the main actor in creating the school's segregated order.
What made the discrimination even more bitter was that it completely ignored Minnesota state law. Mark Soderstrom says state anti-discrimination law was broad and straightforward.
"No person shall be excluded on account of race or color from full and equal enjoyment of any accommodation, advantage or privilege furnished by public conveyances, theaters, or other public places of amusement, or by hotels, barber shops, saloons, restaurants or other places of refreshment, entertainment or accommodation," the law said.
As with Ozzie Simmons, black athletes like Dwight Reed quickly learned their place in the system. When Minnesota played Tulane in 1935, Reed watched the game from the press box.
Like many northern schools, Minnesota honored an unwritten agreement with segregated Southern colleges. They refused to play against African Americans, so northern schools left their black players at home.
Bill McMoore was the final Minnesota athlete to experience this injustice. In 1951, his coach delivered some bad news as the boxing team prepared to travel south.
"We were going to fight the University of Miami. And I was the light-heavy on the team. And the day before we left, Chisolm said, 'Bill, we can't take you. You can't go because they don't have any integrated matches in the South,'" recalls McMoore.
When the university's president at that time, James Morrill, found out, he apologized to McMoore. Morrill said it was the last time Minnesota would honor what they'd once called the gentlemen's agreement.
The racial politics of the time were mainly a distant argument for the Gopher players as they rolled into Iowa on that November day in 1935. They were immersed in football. Once again the team was undefeated, hoping for a second straight national championship.
Bob Weld, now 90, was on the Minnesota team that year. He said as the team settled in, one Iowa player was on their mind.
"Ozzie Simmons was one of the great stars of Iowa," says Weld. "Everything that he did was sensational."
The Minnesota coaches were also concerned, but for a different reason. Minnesota head coach Bernie Bierman received a flood of threatening letters from Iowa fans. He requested and received special police protection for the team when it detrained in Iowa a couple days before the contest.
As the game drew closer, the situation deteriorated. Rumors flew. One was that fans were organizing to storm the field if Ozzie Simmons was roughed up. The day before the game, Iowa Gov. Clyde Herring seemed to funnel all the state's unhappiness into one statement, and the process he appeared to legitimize the rumors.
"Those Minnesotans will find 10 other top-notch football players besides "Oze" Simmons against them this year," said Herring. "Moreover, if the officials stand for any rough tactics like Minnesota used last year, I'm sure the crowd won't."
The news quickly reached Minnesota. Coach Bernie Bierman threatened to break off athletic relations. Minnesota Attorney General Harry Peterson practically accused the Iowa governor of thuggery.
"Your remark that the crowd at the Iowa-Minnesota game will not stand for any rough tactics is calculated to incite a riot," said Peterson. "It is a breach of your duty as governor, and evidences an unsportsmanlike, cowardly and contemptible frame of mind."
At this point, the only politician in the bunch wearing a smile entered the dispute. Minnesota Gov. Floyd B. Olson knew he had to lighten the mood. He sent a telegram to Iowa Gov. Herring on game-day morning.
"Dear Clyde, Minnesota folks are excited over your statement about the Iowa crowd lynching the Minnesota football team. If you seriously think Iowa has any chance to win, I will bet you a Minnesota prize hog against an Iowa prize hog that Minnesota wins today," wrote Olson.
The Iowa governor accepted, and what became known as the Floyd of Rosedale prize was born. Herring apparently followed Olson's cue. He joked it would be hard to find a prize hog in Minnesota, since they all were so "scrawny."
Word of the bet reached Iowa City as the crowd gathered at the stadium. Things calmed down and the game was untroubled. Minnesota won 13-7. Minnesota player Bob Weld says the Gophers were happy to leave with a win.
"We beat the team, but we didn't beat Ozzie," says Weld.
Weld says Simmons impressed Minnesota with a strong game. Simmons himself praised both teams for their clean, crisp play.
The following week Iowa Gov. Herring delivered. He brought a live pig to the Minnesota Capitol building in St. Paul and took it inside to Gov. Olson.
The hog was dubbed "Floyd" after the Minnesota governor, "Rosedale" for the animal's Iowa birthplace. Floyd of Rosedale started out as a game trophy, but he ended up a normal farm animal in southeast Minnesota.
"It was a handsome hog, handsome Hampshire with the white belt," says Donald Gjerdrum. "Yea, it was a special hog, you bet."
Donald Gjerdrum, now 84, remembers seeing the original Floyd. The pig came to this farm when Gjerdrum was a teenager. Gjerdrum says his father bought the pig from the University of Minnesota for $50, a handsome price for a handsome hog.
Within weeks of winning the pig, Gov. Olson gave him away in an essay contest titled "Opportunities for life on the farm." The winner gave Floyd to the University of Minnesota. The school then sold Floyd to the Gjerdrums.
"He bought it as a stock hog, as a breeding hog," says Gjerdrum. "Because they were pedigreed, these are pure-bred Hampshires."
"It's kind of a surprise to people to learn that hog is here," says Gjerdrum. "Every year when the two football teams clash, well then this thing comes up," says Gjerdrum.
Walking past a plot of native grasses and flowers he planted, Gjerdrum leads the way to a special spot on the farm, near a grove of spruce trees.
"We're here," says Gjerdrum. "This is where he came to rest."
Gjerdrum says Floyd died of cholera in July 1936, about eight months after he made the front page, and was buried near the trees.
"People were vaccinating their hogs and somebody said, 'Well, surely that hog's been vaccinated, coming from the U up there,' so Dad let that go. But it was too bad," says Gjerdrum. "Dad said Floyd 'just leaned up against a straw pile and died.'"
The location was appropriate. Six miles from Iowa, almost exactly halfway between the two schools. A bronze statue has since replaced the animal as the annual prize.
The real Floyd, Gov. Olson, passed away less than a month later. He died of cancer in August 1936.
Ozzie Simmons said he never took much interest in the Floyd of Rosedale trophy, in part because of the racial era it recalled. Simmons was denied a chance in pro football, because the NFL banned black players at the time. He played some minor league ball, joined the Navy and eventually became a Chicago public school teacher.
In the 1950s he met an early fan of his, someone who followed his career at the University of Iowa in the newspapers. Eutopia Morsell, the Wheaton, Illinois, teenager who fumed at media nicknames like "ebony eel," was introduced to Ozzie Simmons by friends. Simmons was moonlighting as a stockbroker.
"He sold stock all right, and he sold himself too," says Eutopia Simmons. "And by 1960 we were married. And don't think I don't miss him. Oh, boy."
The Floyd of Rosedale trophy is most of all about football, a celebrated college rivalry. But look a little deeper and it's also about American history. It began in an era when racial discrimination was widespread, and protected at the highest levels of government.
When Ozzie Simmons stepped onto the field in October, 1934, to play Minnesota, he entered a national drama that's still playing out today. All Simmons wanted was a chance. The trophy is an ever-present reminder of how precious that right is.
Thanks to Bob Reha, Rich Besel, Arlen Foss and Bruce Kness for providing the voices of historical characters.
The Artists of the Hagenauer Workshop
Carl Hagenauer (1872 – 1928)
He served his apprenticeship at Würbel & Czokally, the Vienna gold- and silversmith company. He then became a journeyman with the master goldsmith Bernauer Samu in Pressburg (Bratislava). Carl Hagenauer was a trained chaser and master metal former. In his early years as a freelancer, he received orders for restoration work at the Esterhazy Palace. In 1898, he founded the Hagenauer Workshop in Vienna. He produced the so-called "Vienna Bronzeware" according to his own designs and those of others, and recast small sculptures of old masters. Carl increasingly embraced the modern age and produced metal goods designed by Josef Hoffmann, Otto Prutscher, and other Viennese artists. He was represented at numerous exhibitions, as in Paris, London and Berlin, where his awards resulted in increased exports of the workshop.
Karl Hagenauer (1898 – 1956)
He studied at the School of Applied Arts in Vienna with the architects Josef Hoffmann and Oskar Strnad, and acquired his architect certificate. Josef Hoffmann recognized his great talent: "Karl Hagenauer has a very good understanding of form, his craftsmanship is very skilled" he is "very gifted at drawing" and "very talented at design, and perfectly prepared technically." In the wake of Hoffman’s conviction of Karl Hagenauer's talent, he commissioned him to execute objects for the Wiener Werkstätte. From 1917-1919 Karl did military service. In 1919 he joined his father’s workshop, and was increasingly responsible for the commercial artworks. He created numerous works in silver, brass, copper, enamel, ivory, stone and wood which reveal the influence of Josef Hoffmann and the Wiener Werkstätte. After his father’s death in 1928, Karl Hagenauer, with his brother Franz and sister Grete, led the company further and expanded it to include a woodworking shop and sales branches in Vienna and Salzburg. In the sales outlets he showed only the best household furnishings from abroad, in addition to his own work. He was awarded two gold medals for his work in the Triennale in Milan. Karl was a board member of the Austrian Werkbund and the Austrian Workshops in Vienna. He directed the Hagenauer workshop until his untimely death in 1956.
Franz Hagenauer (1906 – 1986)
At the age of twelve he took Franz Cizek’s course for teens at the School of Applied Arts in Vienna. From 1921 he studied sculpture under Anton Hanak and graduated, in addition, from the "workshop for metal forming” headed by Josef Hoffmann in his last academic year. Franz Hagenauer also was praised by his professors in the highest terms. Hoffmann called him "exceptionally gifted technically and artistically, very industrious and inventive." Even at this time (1925) he provided work for the exhibition space at the World Exhibition in Paris. From 1926, Franz worked as a metal former in his father's business, where he found his artistic fulfilment less in the creation of utility and decorative objects, than in his work as a sculptor. Early on, he created the later-famous big brass busts and figures, mostly done in sheet metal. It was only in the 1960s to 1980s that this design line gained increased recognition and aroused the interest of international art dealers. Franz Hagenauer became a member of the "Kunstschau" and took part in the 1934 Venice Biennale. A very important government commission was for the design and manufacture of large federal eagle in the Austrian Parliament. Other art objects, but also simple items of equipment (hardware, ashtrays, etc.), can be found in many public buildings. Franz was awarded the 1950 prize of the City of Vienna Applied Arts. In 1962 he was appointed Director of a Master Class for free forms in metal at the University of Applied Arts. Franz died in 1986. A year later, the Hagenauer workshop closed.
Collecting Giuseppe Armani Artwork
We are finding that more and more people are discovering the beautiful sculptures and artwork Mr. Armani created. The prices for some of his figures have substantially increased in value compared to what they might have fetched a few years ago.
There are not many artists, or companies, who make such large pieces. Some are afraid to make sensual pieces. Many of the pieces are limited editions, and with Armani's passing nothing new is being created. These are true collectibles that will beautify your home.
Checklist for Collecting Giuseppe Armani Figurines:
1. Figurine is in perfect condition, or a condition acceptable to you.
2. Certificate of Authenticity available for limited edition pieces.
3. Is the original box available? Many are not, but the more parts you have of the original sale the more valuable your piece.
4. Confirm it is an Armani statue and not a "like" Armani piece. There is no substitute for the Armani name on the base.
Remember to keep a good perspective on why you want the Armani. If you enjoy the beauty of the piece and it is for your viewing pleasure - does an offer without an original box really matter? If you are looking at an investment to store away then the best price and having more original items will be better.
We hope you enjoy our website as much as we have enjoyed collecting pictures, product details, and values.