Anniversaries and Anthropologists

Anniversaries and Anthropologists

By Dr. Jamie Morton, past Curator of the Hudson’s Bay Company Museum Collection

 

The impetus for the formation of the Hudson’s Bay Company Museum Collection came from the celebrations surrounding the firm’s 250th anniversary in 1920. The HBC was keenly aware of its role in the development of Canada since 1670, and commemorated the event with a variety of special events, re-enactments, and pageants across the western and northern regions of the country. Although the HBC “Historical Exhibit” was not created in time for the 1920 celebrations, the initiative continued, and the Exhibit was opened in the Winnipeg retail store of the HBC in June 1922.

A group of Indigenous people in formal attire seated on a grassy lawn. In the distance groups of people stand in front of a multi-storey building.

A view of some of the HBC’s 250th anniversary celebrations at Lower Fort Garry, May 1920. Photo by M. Lindenberg, TMM HBC 2562.

A black and white photograph of a room set up as a museum exhibit with display cases, display tables, and artifacts mounted on the walls.

The HBC Historical Exhibit in 1922. Catalogue of the Hudson’s Bay Company’s Historical Exhibit at Winnipeg, Third Edition, 1923, 1. TMM HBC 007-208.

The object of the Hudson’s Bay Company’s Historical Exhibit at Winnipeg is to depict by means of relics, pictures, documents, models, etcetera, the history of the Hudson’s Bay Company, life in the fur trade, the story of the pioneer settlers, and the customs, dress and industries of the aboriginal tribes. (1921 approved statement, quoted in Hudson’s Bay Company, “Catalogue of Historical Relics,” 1935, 6)

 

With the cooperation of his employer, the federal Minister of Mines, Harlan I. Smith, an ethnologist at the Victoria Memorial Museum in Ottawa, travelled to Winnipeg in 1921-22 to assist in organizing the Historical Exhibit, selecting objects for display and writing text “to interest visitors.”  The Exhibit’s mandate to depict aboriginal life and culture corresponded well to Smith’s own anthropological work for the federal government.

A collection of copper coloured artifacts - a harness, yew wedge, and bark pounder.

These and the following objects were collected by Harlan I. Smith in Bella Coola. At the top is part of a climbing harness, for harvesting the inner bark of hemlock trees, in the middle is a yew wedge, used for splitting planks, and at the bottom is a bark pounder or hackler used to prepare cedar bark. TMM, HBC 1530, HBC 1531, HBC1508.

A woven sheet or bag.

Eulachon strainer, used to extract the grease from eulachon, a smelt-like fish. The eulachon grease was a valuable commodity, used as a condiment for various dried foods, such as the inner bark of the hemlock tree. TMM HBC1512.

Close up on an open-weave basket side.

Detail of an open weave spruce root basket used to transport fern roots, clams, and other foodstuffs. TMM HBC 1514.

In 1920-21, he was engaged in fieldwork among the Nuxalk and Tsilqot’in people in the Bella Coola Valley of British Columbia, focusing on the traditional uses of plant and animal materials. For his 1922 fieldwork season, Smith “kindly offered to secure for the Hudson’s Bay Historical Exhibit typical specimens of Indian work in that District.” These objects form an interesting assemblage within the HBC collection, reflecting Smith’s interest in traditional Nuxalk culture and society – objects chosen more for their functional than aesthetic value. This is enhanced by the field notes and visual records Smith obtained at the same time. A pioneer in using film in ethnology, the objects he collected for the HBC Museum Collection are complemented by the still and moving images held today in the collections of the Canadian Museum of Civilization in Ottawa. The clear provenance [information about the origin and ownership of an object] and complementary documentation transforms this small collection, assembled to represent everyday life for the Nuxalk people, into another treasure within the HBC Museum Collection.

A rack made of cedar branches.

Rack made of red cedar used to dry food such as berry cakes and fish, for preservation. TMM HBC 1504.

Step 4 Birch Bark Canoe

By Kevin Brownlee, past Curator of Archaeology

 

On Sunday we started to insert the planking and ribs into the canoe. We started at the end and worked towards the middle. The pairs of ribs are for either end, keeping the shape identical front to back. A finished birch bark canoe can technically be paddled with either end as the stern or bow. We decided to use two different colours of spruce roots at each end to differentiate, the bow we used light spruce roots and the stern we used dark spruce roots. All photos in this blog are the property of Kevin Brownlee (personal collection).

A partially constructed birchbark canoe, with an individual placing planking along the base of the canoe.

Grant places the cedar planking in the canoe before the ribs are added.

A hand reaches into frame holding a tick stick of iron wood as a mallet to place the ribs in the base of the canoe.

Grant hammers in a rib with an iron wood mallet.

Looking down a birchbark canoe under an open-sided tent. Ribs are placed along half of the canoe so far. At the far end an individual rests in a lawn chair.

Starting to add the ribs on the other side. Notice half of the ribs are already in place.

It was truly amazing watching Grant hammer in the ribs. Each was measured, cut to length, the end was tapered and then it was hammered into place. The tension put on the bark as the ribs were inserted is amazing and the canoe truly takes form.

The last rib is in the very middle and the wood was drenched with hot water to help the wood bend. It looks like the rib should break and then it slips into place.

A hand reaches into frame holding a tick stick of iron wood as a mallet to place the final rib in the base of the canoe.

Bending and installing the last rib.

Hands reach into frame holding a small saucepot and pouring water onto the exterior end of a birchbark canoe.

Bending the out wales with hot water.

Hands reach into frame stitching with thick material closing the edge end of a canoe.

Stiching up the out wales.

More Pictures of Canoe Building

By Kevin Brownlee, past Curator of Archaeology

Two individuals working together to bend a strip of wood into a rough, wide horseshoe shape.

Canoe ribs being bent into shape Grant and Myra.

Close up on the joint of a canoe frame.

Assembling the wood frame.

An individual splitting one of three pieces of wood coming together out of the right edge of frame.

Splitting cedar stem piece.

The Birch Bark Canoe Step 3

By Kevin Brownlee, past Curator of Archaeology

 

Over the course of the next 6 days all efforts were on completing the Birch Bark canoe. Each morning I would get up at 6:00 am and review my notes and look at the canoe in order to see if they were complete. Once I updated my notes, and had coffee and breakfast, work would start on the canoe.

Since Myra and I were both beginners, we were given the task of sewing all the seams together with the 500 feet of finished spruce roots. While we worked on that, Grant focused his attention on the wooden structure of the canoe including the inwales, outwales, gunwale caps, thwarts, ribs, planking, headboard, and stem pieces.

All photographs from this post are the property of Kevin Brownlee (personal collection).

The wooden frame of a canoe laid on top of large strips of birchbark with three large cinderblocks weighing down the wooden frame.

Weighing down the bark.

Two individuals working together to wrap and place birch bark strips around the frame of a canoe.

Wooden braces spiked into planks bracing the rough shape of a canoe, holding the birchbark in place, with cinderblocks in the middle weighing it down.

Two individuals inspecting a braced canoe frame from the one end.

Close up on thick cedar root stitching along the lower side of a birch bark canoe.

Sewing with spruce roots.

An individual leaning over at the side of a in-construction canoe, sewing along the upper part of the frame.

Myra Sewing the gunwales.

The inwales, outwales and gunwales caps were split from a 22 foot long cedar pole. The 40 ribs were made from 3 – 5 foot sections of large cedar logs (60 inches in diameter). Five thwarts needed for the canoe were made Black Ash. Myra and I also made over 80 iron wood pegs for pining the inwale, outwale and gunwale caps together.

The canoe started as flat sheets of birch bark and each day began to the canoe looked more and more like a real canoe. By the end of day 5 the canoe was completely sewn and ready for the ribs and planking.

 

Image: Jim Jones Senior helps to sew the gunwales.

A Valuable Feather in the Museum’s “Cap”

Tow photos side by side. On the left, a photo of a passenger pigeon specimen. On the right, a photo of a tiny small shell next to a penny for scale, which is it smaller than.

As curators of some sizeable collections (>100,000 in Zoology alone), we are frequently asked what the most valuable specimen or most important one among them might be. Certainly, the collection contains several items that are “one-ofs”, or are the biggest, or most colourful, or even worth a good deal of money in the marketplace. But value, like beauty, is in the eye of the beholder.

 

Image: Who is to say if a specimen of Passenger Pigeon (Ectopistes migratorius) (MM 3.6-887), a species extinct since 1914, is more valuable than one of the tiny Lake Winnipeg snail (Physella winnipegensis) (MM 2.4-6514), a disputed species found only in Manitoba?

We recently received a request for a few feathers off of a single specimen of Ivory Gull (Pagophila eburnea) collected north of The Pas in 1926, the only specimen we have of this species. The Ivory Gull is a High Arctic breeder that has made an appearance in Manitoba only about a dozen times in the last 100 years. The species is listed as Endangered in Canada and its populations are declining. A research group is examining levels of mercury and stable isotopes of carbon and nitrogen in feathers to investigate the possible role of heavy metal contamination and changes in foraging behaviour in Ivory Gull decline. The Manitoba Museum specimen is one of only about 150 specimens from Canada in all the museums of North America, and its age makes it particularly valuable for reconstructing historic levels of contamination and isotopes. Who could have predicted the value of this Museum specimen for conservation of the species when it was collected those many years ago?

An ivory gull specimen posed in repose with its wings positioned in repose as it lies on its back.

Our Ivory Gull specimen (Pagophila eburnea) (MM 1.2-941) from north of The Pas, collected in 1926. Feathers from this specimen can help determine historical levels of pollutants and ratios of stable isotopes can determine feeding ecology.

By sharing information on Museum rarities with researchers who can pool data from the few specimens available in collections from around the world, we learn more about the biology of the organism, making the specimen more ‘valuable’ in terms of information and helping conservation efforts. The Museum ends up with another story to tell about its collection and about the animals themselves. Science, the Museum, and, most importantly, the animal will all win from this exchange.

Nature generally can be understood through patterns. Unique observations, like a rare gull found north of The Pas in 1926, are curiosities, but can’t contribute very much to the bigger picture as an isolated event. Even the proverbial apple clunking onto Newton’s head, though important as a unique event, only becomes truly valuable when its act of falling towards Earth can be generalized to explain why other things also fall.

This helps to explain why the Museum has, when possible, more than one example of a species, and continues to grow collections through active collecting. Just as a single letter is more as a part of a word, or a word is more meaningful when put into a sentence, a specimen becomes more in the context of a collection. A particular specimen does have value in and of itself as a record of occurrence in a single place at a single moment (called a voucher), or sometimes even has monetary value. But several specimens from different places collected at different times provide a more complete story of species variability, distribution, biology, and, as in the case of Ivory Gull mercury levels, how these might have changed over time and space. Each individual provides a data point, and an important one, but the real value comes from the collection as a whole. And a new specimen added to the collection today, while not necessarily individually significant right now, might be so 100 years from now, just as the Ivory Gull specimen collected in 1926 is valuable today.

Open storage drawers showing many preserved bird specimens.

The Museum collections often include several specimens of the same species to include examples of males, females, and juveniles during different times of the year, different locations, and different decades.

A row of open drawers showing a variety of preserved mammal specimens.

These drawers of dozens of the same species of mouse are waiting patiently to tell their story of change over time; change in distribution, ecology, and other aspects of biology.

Richard Fortey (a paleontologist at The Natural History Museum, London) suggested that natural history museums are the archives of the Earth, an apt metaphor. Through their collections, museums document individual “events” as specimens, which together tell the story of how our natural world changes over time. The Manitoba Museum plays this critical role as natural history archive for the province. Specimens old and new are together a feather in our collective cap.

Dr. Randy Mooi

Dr. Randy Mooi

Curator of Zoology

Dr. Mooi received his Ph.D. in zoology from the University of Toronto working on the evolutionary history of coral reef fishes. Following a postdoctoral fellowship in the Division of Fishes of the Smithsonian Institution…
Meet Dr. Randy Mooi

John Halkett, William Kempt, & the Red River Settlement

By Dr. Jamie Morton, past Curator of the Hudson’s Bay Company Museum Collection

 

John Halkett’s visit to British North America came just a decade after his brother-in-law, Lord Selkirk, initiated the Red River resettlement scheme – and the bicentenary of the arrival of the Selkirk settlers is being commemorated in many ways in 2012. There is a variety of objects in the HBC Museum Collection that relate to these formative years of the Red River Settlement, starting with the Halkett collection. Another important group in the HBC Collection relating to this place and time was assembled by William Kempt.

A series of artifacts clustered together on a white background.

The fine collection of First Nations objects assembled by William Kempt in the 1820s.

A painting depicting a small group of people interacting along a riverbank near tipis.

Untitled (Scene on River Bank), Peter Rindisbacher, 1822-24, watercolour. This is one of the paintings collected by William Kempt, now in the HBC Museum Collection. TMM HBC 83-23-F.

Close-up on the painting in the previous images showing two individuals in discussion, one of whom is holding a child.

He had a keen eye for material culture, and it is fascinating to compare objects collected by individuals like Halkett and Kempt with Rindisbacher’s portrayals of the objects being worn or used by the people of Red River in the 1820s.

One of the things that makes the Hudson’s Bay Company Museum Collection so fascinating is these sorts of stories and connections that exist between the collectors, the collections, and the objects.  Added to the stories of the objects and their creators, this means that the HBC Collection symbolizes and evokes broad historical themes, in a way that may be unique among Canadian museum collections.

 

Image: Detail of TMM HBC 83-23-F. This portrays some of the material culture of the Red River population in the 1820s. Objects represented by Rindisbacher such as the woolen and hide leggings, woolen hood, iron cooking pot, trade gun, and bow and arrows are found in the HBC Collection at The Manitoba Museum.

Congratulations to Ed!

By Dr. Graham Young, past Curator of Palaeontology & Geology

 

Ed Dobrzanski is a “fixture” at the Museum. He had been a volunteer here before I started back in in 1993, and he has volunteered continuously for the past 20 years. Ed has done tremendous work as an amateur paleontologist, collecting, preparing, studying, identifying, and cataloguing fossils. He has contributed to paleontological field and laboratory work in a great variety of ways. For his all-round efforts, many of us are delighted that Ed has just been named as the recipient of the Katherine Palmer Award, a North America-wide award for amateur paleontologists, presented annually by the Paleontological Research Institution.

An inveterate collector with interests in a great variety of objects, Ed had a long career as a government meteorologist. When staff reductions resulted in an opportunity for early retirement, Ed took advantage of this to turn his volunteer work into a daily avocation. In his time here, Ed has contributed tremendous knowledge to the organization of fossil collections as varied as brachiopods (lamp shells), fishes, and bivalves. He has also donated many specimens to the Museum (and to other institutions such as the Royal Ontario Museum), has contributed to exhibit development and public programs, and assists with all sorts of tasks in other departments of the Museum!

An individual wearing a jacket fully zipped, with hood up, and a backpack stands next to a rocky dune.

My colleagues and I are fortunate to have Ed as a collaborator on many research projects. He is skilled with the essential field and laboratory tools: whether using a hammer, GPS, shotgun, survey equipment, microscope, rock saw, or lapidary grinder, Ed has considerable expertise. He takes wonderfully precise notes, understands maps thoroughly, and maintains a compendious knowledge of obscure fossil localities. Ed has been a key member of my field teams, and has also collaborated in the field with many other scientists such as Bob Elias (University of Manitoba), Dave Rudkin (ROM), Jisuo Jin (University of Western Ontario) and Jan Audun Rasmussen (Natural History Museum of Denmark). His efforts have resulted in the co-authorship of several papers, a guidebook, and many conference abstracts.

 

Image: Ed suffering through spring snow and winds, during fieldwork on the Grand Rapids Uplands.

Two individuals standing either end of a work table with a number of specimens laid out across it.

Florence Zawislak (L) and Ed discuss a cartful of specimens.

Two individuals standing in front of a large rocky wall.

Ed assisted visiting Danish researcher Dr. Jan Audun Rasmussen, who carried out field research in southern Manitoba.

Ed Dobrzanski is a tremendous asset to the science of paleontology in Manitoba and beyond; it is wonderful to see this recognized!

Display of Detritus and Delight

The spaces that house Museum curators and collections are, perhaps, notorious for appearing to be crammed full of objects. Our work consists of collecting and organizing, and actively-collecting Museum scientists typically have many specimens spread out for study and cataloguing. Our collections rooms contain many thousands of well-organized specimens, but it is tricky to find space for the largest pieces. For this reason, some of our biggest specimens are not stored in the official Natural History storage: ever since I have worked at the Museum, most of our large mammal mounts have been in alcoves along the hallways here. If I wish to, I could say “good morning” to two muskoxen, a grizzly bear, and two mule deer just in the short space between the elevator and my office!

It used to be that, when the elevator stopped at our floor, those inside would glance out to see our creatures, safe in their protective plastic cocoons. Although this may be an interesting sight (if you know what they are), it is hardly a fitting introduction to the great variety of activities here, and it made it look rather like a warehouse. A few years ago, we decided to remedy this; when an old display case came available in the Museum basement, we grabbed it and placed it facing the elevator to house an introductory exhibit.

A replica of a fossil specimen in a display case positioned in front of three animal skulls.

A replica ichthyosaur rests behind a variety of skulls: a large fish, a coyote, and a beaver.

Close up in a display case showing a number of mineral specimens and two red boxes labelled "dino stones".

A grouping of minerals, Tyndall Stone, fossil ammonoids, and bird gravel and “dino stones” (our idea of what pet products would look like if people kept dinosaurs!).

This display has taken years to develop, because we were always getting sidetracked with our real work! We placed a few items into the case right after we moved it, but then it sat untended for some time. Returning to the case a couple of years ago, we added a lot of interesting pieces and planned to include a title explaining what it was about, but again we of course became busy with projects such as the Biodiversity and Colours in Nature exhibits. Then, this past week, we finally managed to “finish” this display, at least for the moment, adding a title panel and several of the wonderful Haeckel posters that had been included in the Biodiversity exhibit.

A replica fossil of a pterosaur in stone.

This replica pterosaur was beautifully painted by Debbie Thompson.

A specimen display case positioned in front of a specimen freezer and next to a mounted muskox specimen on a wrapped cart.

This angled view of the case shows how it is surrounded by large mammal mounts (under the plastic, that is a muskox on a cart), with a specimen freezer behind.

What is the purpose of this case, and why have we decided to feature the particular items that are in there? As well as providing “eye candy” for those who happen to see it from the elevator on their way to other floors, we wanted the case to introduce the basic research and collecting disciplines that occupy this floor: Zoology, Botany, and Geology/Paleontology. Since it is not climate-controlled, and is subjected to dust, light, and vibration, all the items in it are robust. They are generally replicas or are from the stores of “teaching grade” objects lacking basic data.

Although the choices were limited, we were pleased that we could include some of our favourite sorts of items (an ichthyosaur replica, a box of fake “dino stones”), and examples of things related to some of the research that takes place here (Tyndall Stone fossils, snake skin). Undoubtedly the display will continue to evolve in the coming years as we come upon other suitable exhibits for it!

Halkett Boat to Halkett Collection

By Dr. Jamie Morton, past Curator of the Hudson’s Bay Company Museum Collection

 

The Arctic explorer and HBC employee Dr. John Rae maintained his enthusiasm for Peter Halkett’s invention through several expeditions. A Halkett boat was left for him at Sault Ste Marie in 1845, and in the record of his first Arctic voyage in 1846-47, he referred to it in glowing terms. Rae described Peter Halkett as “the ingenious inventor of the portable air-boat, which ought to be the travelling companion of every explorer.” In August 1847 Rae reiterated his enthusiasm for the Halkett boat:

During the whole of our spring fishing Halkett’s air-boat was used for setting and examining the nets, and was preferred by the fishermen to the large canvas canoe, as it was much lighter, and passed over and round the nets with more facility. Notwithstanding its continued use on a rocky shore, it never required the slightest repair. It is altogether a most useful little vessel, and, as I have said before, ought to form part of the equipment of all surveying parties, whether by land or sea. (John Rae, Narrative of an Expedition to the Shores of the Arctic Sea in 1846 and 1847, London, T. & W. Boone, 1850, 116, 176.)

In 1852 Rae requested “1 Halkett’s Air Boat large enough to carry 3 persons,” and referred to “Halkett’s admirable little boats” following his 1853-54 Repulse Bay expedition. After using them on several Arctic voyages, he was convinced  of their usefulness. (E. E. Rich, ed., Rae’s Arctic Correspondence, 1844-55, London, The Hudson’s Bay Record Society, 1953, 224, xcvi.)

A moosehide coat with a squared neckline and embroidered floral patterns along the centre point and the lower portion of the coat. Short fringes hang off the shoulder points.

Métis or Cree Moosehide Coat collected by John Halkett on his 1821-22 visit to the Red River Settlement. With its combination of European form, floral decoration, and indigenous materials, this coat is a fine example of early nineteenth century Métis or Cree art. TMM HBC 34-30-A.

A whalebone club with a wrapped handle above a carved face at the base of the club.

Nuu chah nulth Whalebone Club collected by John Halkett. This is one of several Northwest Coast objects in the Halkett collection. TMM HBC 38-25.

While the Halkett boat in the HBC Collection evokes the heroic era of Arctic exploration, and remarkable characters like Sir John Franklin, Sir George Simpson, and Dr. John Rae, the associations extend further. The inventor of the boat, Lieutenant Peter Halkett (1820-1885) of the Royal Navy, was the son of John Halkett (1768-1852), a major shareholder in the HBC who became a member of the company’s managing London Committee in 1811. Peter Halkett’s mother was the sister of Lord Selkirk, another major shareholder in the HBC, and the initiator of three schemes to relocate displaced Highlanders from Scotland to British North America. The last of these, in 1811, included a large land grant from the HBC in Rupert’s Land, centred on the forks of the Red and Assiniboine Rivers, which became the Red River Settlement, and later the Province of Manitoba. When Selkirk died, John Halkett became the executor of his estate, travelling to Canada, Rupert’s Land, and the Red River Settlement in 1821-22 as part of his duties.

In his travels, he assembled a collection of objects produced by Inuit and First Nations societies from Hudson’s Bay to the Northwest Coast, which today forms an important and well-documented part of the HBC Museum Collection. Many of the objects John Halkett collected are on permanent exhibit in the HBC Gallery of The Manitoba Museum.

Collections, Convergence, and Coincidence

By Dr. Jamie Morton, past Curator of the Hudson’s Bay Company Museum Collection

 

I started my position as the Curator of the Hudson’s Bay Company Museum Collection in January, and am familiarizing myself with this fascinating collection, comprised of objects which reflect more than three centuries of HBC operations. There is not a single organizing principle, other than objects having some association with the HBC or its employees. The vast majority of the collection was donated by the Hudson’s Bay Company to The Manitoba Museum in 1994. Of the roughly 25,000 objects in this collection, about 1/3 are of indigenous origin – “curiosities of the country” collected by HBC employees – while about 2/3 are of Euro-North American origin. The collection contains some remarkable and iconic objects, but an equally important aspect is the ways in which the collection symbolizes and evokes larger themes in corporate, Canadian, and world history.

An example of this is the Halkett boat – a mid-19th century inflatable or collapsible boat intended for the use of travelers and explorers – in the HBC Collection.

An illustration of two men paddling in a small inflatable boat.

A period image of a two-man Halkett boat in use, from “Footnotes on the Franklin Search,” The Beaver, Outfit 285 (Spring 1955), 48.

A deflated and folded boat in a rectangular chipping case with the hinged lid open.

The Halkett boat in the Hudson’s Bay Company Museum Collection in its shipping box, labelled “Sir George Simpson,” prior to conservation. TMM, HBC 40-95.

A recent request came from Jeremy Ward, Curator of The Canadian Canoe Museum, Peterborough, ON. www.canoemuseum.ca He was interested in obtaining an image and information on this object for an upcoming exhibit on collapsible and folding watercraft. The information he provided, and my search into the records at The Manitoba Museum, produced some interesting results. First, it is one of two known Halkett Boats surviving worldwide. The other, in the Stromness Museum, in the Orkney Islands of Scotland, was associated with the Arctic explorer and surveyor Dr. John Rae – who was employed by the Hudson’s Bay Company. (Click here to learn more)

Rae considered the boats very useful on his Arctic voyages in the 1840s, which included a search for the lost expedition of the famous Arctic explorer Sir John Franklin.

Ironically, the Halkett Boat in the HBC Museum Collection was intended for Franklin, who in turn gave it to Sir George Simpson, the governor of North American operations for the HBC. It is possible that this boat has never been used, but has remained in its box in the corporate collection of the HBC until the HBC Museum Collection was donated to The Manitoba Museum.