The Cold Road

The Cold Road

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

 

It is 7 am, somewhere on the curves near Woodlands, Manitoba, and the sky is still completely dark. The rain is coming down harder now and approaching headlights are blurred by the slicked windshield. I usually love the open road, but this driving is far from fun.

We are well past Lundar before the late dawn. The traffic has diminished now and the rain has eased a bit, but the wind is rising. At the Ashern Petro-Can we stop for fuel: unleaded for the Jeep and junk food for the humans. Ed takes over the wheel for the next monotonous stretch.

Today we plan to go to William Lake, well north of Grand Rapids, then back to Winnipeg before the evening has progressed too far: a drive of 1000 kilometres or so. Why are we subjecting ourselves to this, in this unpleasant wet weather?

A photo from inside of a vehicle of a passing greyhound bus on the other side of a wet road, rain splashing under its tires.

Trees on the road side, some bare and some with remnants of autumn colours. The sky is grey and the road wet with rain.

Tamaracks and spruce south of Grand Rapids.

Two large slabs of rock on rocky ground. Both contain fossils.

Last summer, in the beautiful warmth of August, we found a greater quantity of interesting rock than we could safely haul back to Winnipeg at the time. In particular, two splendid specimens we discovered on the last day had to be left lying on the outcrop. These were very large slabs, both of which remarkably preserve portions of what appears to be a channel on an ancient tidal flat, filled with fossilized jellyfish! They are the sorts of unusual pieces that the Museum really needs, because they would be very useful for both exhibits and research, and I was determined that we would get them back to Winnipeg before winter.

Then the autumn got busy, very busy, and the trip to retrieve these pieces was placed on the back burner. I began anxiously scanning the calendar and weather forecasts, and determined that October 18th would be the ideal day to make this trip, assuming that it didn’t snow first! Field paleontology is very much a climate-dependent occupation, and we have done this trip north so many times that we know when winter is likely to close our window of opportunity.

Image: The slabs as they appeared when we found them last summer. Both show portions of a large channel that is filled with fossil jellyfish.

A forward stretching smooth road, slick with rain. Construction markers stand periodically on the road shoulder. Further ahead, on the right side of the road, is a large, yellow excavator.

So now Ed and I are in a rented Jeep, heading north past the black spruce,  yellow tamaracks and bare-branched aspen. At Fairford there is a tremendous flow of water past the bridge, and the summer’s pelicans are nowhere to be seen. Over the lip of the St. Martin impact crater the road is empty and desolate. Much of it has been repaved recently and is beautifully smooth, but toward the Pas Moraine we hit a rutted stretch and Ed has to slow down to avoid hydroplaning on the long pond under our right-hand tires.

At the old burn south of Grand Rapids, I recall the exact place where we saw a lynx last autumn.  All self-respecting lynxes are clearly hiding out in the dense brush on this nasty wet day!

We stop again at Grand Rapids for fuel. There is more than a half-tank remaining, but it will be a long drive before we are back here again and it is best not to take chances. Fortunately there is someone on duty at the Pelican Landing gas station, because it really wouldn’t be pleasant to “self serve” in the pouring rain.

I am driving now, up the curves and past the beautiful lakes of the Grand Rapids Uplands. We arrive at William Lake just a bit after noon. Now there is snow blasting in on a north wind, and the thermometer is reading a balmy +1 C.   Navigating slowly across the scree, I can see the two large slabs lying right where we left them. After six hours of driving, we now have 15 minutes of physical work: fold down the seat, spread the tarp, slip on gloves, and manhandle the rock into the back. We pause for a few photos, and are grateful that the outdoor work is so brief, because our hands are already frozen and numb.

Dr Graham Young, wearing a blue jacket and a baseball cap stands at the open trunk of a car holding a large stone slab with a fossil embedded in it.

I move the smaller slab (photo by Ed Dobrzanski)…

A man wearing a coat and hood, with one hand in his pocket and the other holding a camera, stands on a rocky wet surface next to the open trunk of an SUV.

… while Ed freezes his fingers taking photos.

Two large slabs of rock lying on tarps in the back of a vehicle.

Seeing these slabs in the Jeep, it is pretty clear why we couldn’t fit them in with the other fossils and gear during the summer!

Our hands thaw as the Jeep crawls back toward the highway. At the Grand Rapids bridge a solitary pelican flies past; perhaps this one was asleep and missed its flight south? Now we a bit of time for lunch at the Pelican Landing restaurant: smoked meat sandwiches, cream of celery soup, and coffee have never been more welcome. We say hello to a few familiar faces; I guess we are becoming “fixtures” here, but I am not sure when we will manage to get back again. It is an appropriate day for this sort of sombre thought.

Bright orange trees growing on the roadside on a rainy day.

Light snow on the ground and fallen branches of some trees.

Now it is time to confront the long road home. As it turns out, the weather for the drive back will be slightly more pleasant, and we cruise smoothly into Winnipeg just as darkness is setting in. It has been a lot of driving to pick up a couple of rocks, but very worthwhile: within a week it will be winter in the Uplands, and if the pieces had been left until spring they would have been heavily weathered and damaged by the winter’s extreme frost and ice.

The Mineral Exhibit

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

 

If you visit this page occasionally and have been wondering about when the next blog post would be forthcoming, well, I had been wondering that too. I have begun new posts several times, but in each instance my focus has been pulled away by the same all-consuming activity: my time has been taken up by the completion of a mineral exhibit. This past week, we finally did the installation, so I thought I had might as well set those posts-in-progress aside yet again. Here, instead, are some photos of the exhibit.

A dramatically lit display case with multiple levels showing off various mineral specimens.

Two individuals wearing white lab coats place specimen mounts in an open display case.

Collections specialist Janis Klapecki and designer Stephanie Whitehouse work on the final location of one of the plexiglas specimen mounts.

At the Museum we had long recognized that a mineral exhibit was one of the features most lacking in the Earth History Gallery. Minerals are the basic building blocks of rocks and other geological materials, we have a great diversity of minerals in this province’s rocks, and of course minerals are often beautiful objects that are treasured by many collectors.

For the past several years we have been collaborating with the Mineral Society of Manitoba to acquire specimens suitable for exhibit, and The Manitoba Museum Foundation and the Canadian Geological Foundation had kindly provided us with funding to construct cases. This exhibit is at the front end of the Earth History Gallery, where we only had space for a couple of cases, and the number of specimens and volume of text were quite limited, so this should have been a simple little exhibit project, no?

A large pinkish amethyst in a display case.

The giant amethyst now has its own gallery case (in the next post I will tell you how we got it there!).

A selection of placed or mounted mineral specimens against white backgrounds in a display case.

Beryls from eastern Manitoba (top), along with pyrites, feldspars, and base metal ores.

No. Things are never simple when you have to develop an exhibit from scratch. And in this particular instance our design and exhibit staff were working to develop techniques that we had not tried before.  We had examined mineral exhibits in many other places (both in-person and through photographs) and had decided that we needed dark cases with the light really focused on the specimens.

 

Image: The mid part of the case features a variety of minerals, including a Tanco rubellite (donated by Cabot Corporation) and samples of beautiful Michigan copper (the tree-like specimen was acquired and donated by the Mineral Society of Manitoba, John Biczok, and Tony Smith).

Stephanie Whitehouse, our designer, wanted to try working more with metal and glass on this case, and she asked the workshop to look at ways plexiglas could be prepared to allow it to glow. Bert Valentin considered new lighting options (though he eventually settled on fibre optics similar to those in the Ancient Seas cases) and Marc Hébert had to develop new techniques to build cases using different construction materials. Lisa May and Wayne Switek constructed specimen mounts that look simple but had to hold the specimens just so. And once all the pieces were constructed, it still took the team most of last week to assemble them and make everything fit. Dealing with the giant amethyst (now informally rechristened The Mammothist) was a big piece of this process, so big that I will give it its own post in the near future!

A millerite specimen - a moss like mineral of a dark colour.

This splendid millerite is from Thompson, source of some of the best examples of this unusual nickel mineral. It was acquired for the exhibit by the Mineral Society of Manitoba and The Manitoba Museum Foundation. (catalogue number M-3596)

A view of the entrance way into the Earth History Gallery, with a exhibit of the layers of the earth along the left side wall, and a dramatically lit new display case at the far end showing a selection of mineral specimens.

If you visit the Gallery you will still see the old exhibits between the mineral cases and Ancient Seas, but the space is starting to develop quite a different feel.

Close-up on the gallery name Earth History Gallery on the wall at the entrance to the gallery.

For the first time ever, the Earth History Gallery has a title!

Birch Bark Canoe Video

By Kevin Brownlee, past Curator of Archaeology

 

For those of you who have enjoyed my blogs on the creation of the Birch Bark Canoe you will be interested in seeing the video of how it was made. During the intensive 7 days we spent making the canoe Lakeland Public Television documented the construction of the birch bark canoe step by step. Scott Knudson filmed much of the activity and interviewed each of us about the canoe and what it meant to each of us. Scott was one of the producers and edited together a 57:03 minute documentary. The filming was funded under the Minnesota Arts and Culutral Heritage Fund.

You may also be interested in the full un cut interview with Grant Goltz which has also been uploaded to YouTube, above. The interview with Grant Goltz was filmed for audio and video clips used in the full hour documentary (Search Grant Goltz).

Replicating rex

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

 

The Manitoba Museum is home to many unusual and unique specimens. Among the most remarkable is the world’s largest complete trilobite, the holotype specimen of the species Isotelus rex. Over the years we have occasionally received requests from other museums for replicas of this striking fossil.

More than a decade ago, before the specimen ever went on exhibit, we had a mould prepared by an outside contractor who also made a number of resin replicas. These were on the shelf and ready to be painted if an order arrived. But eventually those replicas ran out, and when a new order came in from a museum in Japan last year, it was discovered that the original mould was too old and worn to be used again. A new mould was needed, which meant that we would have to remove the specimen from its exhibit in the Earth History Gallery.

A large oblong fossil specimen of a trilobite.

The holotype of Isotelus rex, MM I-2950

A display case containing  a large fossil trilobite specimen along with a fossilized trackway.

The I. rex type specimen, on exhibit with a trackway and other trilobite material.

So we pulled out the case, carefully slid out the fossil (this is tricky, because it weighs about as much as I do!), and wheeled it away to the artists’ studio to be worked on by Debbie Thompson and Betsy Thorsteinson. While the specimen was “on leave” from the exhibit, it was temporarily replaced by one of the existing replicas.

The following photos are Betsy’s documentation of the complex and fascinating replication process. Our artists are tremendously skilled, as indicated by the high quality of work in so many of our galleries, and by the attention to detail in the preparation of these perfect trilobite replicas.

A fossil specimen on a work table encased in latex and cheesecloth.

First, the fossil specimen was coated with layers of latex to precisely replicate its surface. This was strengthened with cheesecloth.

A fossil specimen on a work table encased in a white plaster jacket with two piece of wood bracing the top portion.

A plaster jacket was built up over the latex, and braced with wood.

The formed mould placed upside down on a work table as an individua; wearing a white lab coat, blue gloves, a respirator, and safety glasses uses a paint brush to apply a coat of mould separator on the interior.

Once this had dried, the mould was pulled from the fossil. Debbie painted a layer of mould separator onto the latex prior to casting.

An individual wearing a white jumpsuit, blue gloves, a respirator, and safety glasses leaning over holding a drill with a mixing bit into a basin of polyester resin.

Polyester resin had to be mixed very quickly, as it begins to set within minutes!

An individual wearing a white jumpsuit, blue gloves, a respirator, and safety glasses applies resin with a paint brush on the inside of the large mould.

The resin was applied to the mould.

Fibreglass layered along the interior base of the mould.

Fibreglass was layered in to strengthen the cast.

Lightweight foam filling the form of an upside-down mould. The open end of an air ventilator hangs above the mould.

As a solid resin cast would be extremely heavy, the interior was filled with lightweight foam.

A flat coat of resin on the top of the trimmed foam within the mould. The open nozzle of an air vent hangs above on the left side.

After the foam had been trimmed down, a resin coat was applied to the back of the replica.

Two individuals, both wearing black t-shirts and blue jeans, stand either side of a work table peeling a flexible latex layer off of a replica fossil trilobite specimen.

Bob Peacock and Marc Hébert peeled the latex from the replica.

An individual wearing a white smock paints a beige base coat on a large model trilobite specimen. Further back on the work table is the original trilobite specimen.

Debbie applied the first coats of paint to the replica. Note that the original specimen was nearby for reference.

An individual leans over a work table, painting a large model trilobite specimen. On their right side is the original trilobite specimen and they use their right hand to cup the portion they're replicating on the left.

Painting of the replica was almost finished. As Debbie says, “The detail work takes a lot out of you. I cup it like this to keep my spot while painting.”

An individual traces a large fossil trilobite replica onto brown paper placed beneath it.

Debbie traced the finished replica onto brown paper, so that a precisely fitted crate could be prepared.

The replica carefully encased in a packing crate.

The crated replica, ready to be shipped to Japan!

Step 5 Birch Bark Canoe

By Kevin Brownlee, past Curator of Archaeology

 

On day 7 Myra and I awoke to another beautiful day. We decided that we would complete all the sewing, attaching the gunwale caps and final trimming but would not pitch the canoe. Grant had offered to complete this last stage after we returned to Winnipeg.

We all marvelled at the beauty of the canoe now that it has the final shape. It is amazing that in one week we could turn bark and wood into such an amazing watercraft. Clearly there is nothing “Printive” about a birch bark canoe. Grant spoke about how when Europeans arrived to North America they came from a long tradition of boat building. However Europeans found them unsuitable to the navigate the waterways of the boreal forest and quickly adopted the birch bark canoe.

A birch bark canoe on sawhorses under an open sided tent. Three individuals stand at the ends of the canoe.

Unpitched canoe 15 feet long.

Three smiling individuals posing around a birch bark canoe supported on sawhorses under an open-sided tent.

Kevin, Grant, and Myra by the our canoe.

Later that Fall on a vacation from the office I took the canoe into northern Manitoba for the inaugural launch into the clear waters of the Canadian Shield. Paddling on the lake I realized this is probably the first time in over a hundred years that anyone has paddled a birch bark canoe in the area. What an amazing gift from relatives from the south.

A birch bark canoe partially banked at the side of a body of water.

Canoe pulled up on shore.

The view over the bow of a canoe on a body of water. To the right is a rocky and treed bank.

First Paddle.

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.

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.