Revamping Madam Taro’s Room

With changes happening throughout the museum, we sometimes find opportunities to update existing exhibits and breathe new life into old favourites. Last spring, when our temporary exhibition about the Winnipeg General Strike, Strike 1919: Divided City, was installed in our Urban Gallery and the entire gallery received beautiful, new mannequins, I jumped at the chance to revamp one of my favourite exhibits – Madam Taro’s room.

From there, I decided which pieces should be removed from the room; some based on aesthetics (or the vibe, for my younger readers), others because they weren’t in keeping with the time period. We kept the majority of the furniture and bedding in the exhibit, but put most of the “dressings” like pictures, doilies, garments, and knickknacks back into storage. In their place, I wanted to feature objects that one might find in a woman’s bedroom – make up, nail polish, brushes, hairpins, perfumes, and powders. Thankfully, our collection is chockful of beautiful examples of personal care items from the early 20^th century, so I had a lot of selection. The existing wardrobe is staged with the door ajar to give visitors a peek at some clothing, shoes, and accessories from our collection.

The main decorative addition to the space is the group of hand fans our talented conservator mounted and hung on the wall as art. This feature complements an existing parasol, feather boa, and astrological chart already decorating the room. We also added a gramophone to the space, along with a few records – and even though you can’t read the labels from the door, I made sure to pick records of the period: for instance, foxtrots by Coleman’s Orchestra, “I’m Coming Back to Dixie and You” by the Peerless Quartet, and “In the Hills of Old Kentucky” by Campbell and Burr.

Throughout its history, the Hudson’s Bay Company had a tradition of recruiting young men from Scotland to serve as clerks, traders, and labourers in its North American posts, offering both adventure and security of employment. Housing and basic needs were covered, but luxuries like sugar, tea, tobacco, and brandy were bought from the post by the men themselves and deducted from their wages. Commerce didn’t stop at the four walls of the post; these men frequently acquired handmade objects from Indigenous women in the communities they lived in, both for their personal use and to send home as gifts for loved ones. Since arriving at the Manitoba Museum, the Hudson’s Bay Company Museum Collection has received donations of these objects from former HBC employees and their descendants, highlighting the skilled work of Indigenous women across Canada. By and large, unfortunately, we lack information on these artisans and turn to our collection for answers – using other objects with similar breading or embroidery styles and techniques that have more robust records, we can often identify which cultures or communities may have produced specific objects.

In the summer of 2018, we received a package from Scotland, full of objects, photographs, and documents that told the story of an HBC employee in northern Manitoba in the 1920s. By the 1920s, HBC was more rigorous in their recruiting process. As opposed to “just showing up” like days of yore, men needed to present personal and professional references and pass a physical examination before being offered a contract. Our new acquisition had all these documents and more…but who was this intrepid young Scot that sailed across the Atlantic to the unknown?

Fowlie documented his experiences and the people at York Factory through photography, including his work mates, his dogs, himself playing with local children and sharing a laugh with young women in front of the Anglican Church.

These candid images of HBC employees, local Indigenous peoples and the buildings and landscape also give us a rare glimpse at HBC’s working class and a real idea of what life was like for the community at York Factory.

Fowlie also carefully preserved the beloved handmade objects he likely acquired from Cree or Métis women during his tenure at the post –some that he used in his everyday life such as moccasins and gauntlet gloves and some that he sent back to Scotland as gifts for his mother, a number of wall pockets and a beaded belt.

Upon leaving the HBC, Fowlie returned to Scotland and worked as a chauffeur until WWII. Following his service in WWII as clerk in the Royal Air Force, he married Madge Briggs and had daughter Marjorie in 1947. When Fowlie passed away in 1985, his HBC collection was passed down to Marjorie, who appreciated the historical significance of her father’s objects. She decided to donate the collection to the Manitoba Museum, but not before making a quick stop on Antiques Roadshow to showcase these beautiful pieces, and allowing them to be researched and exhibited by the University of Aberdeen. Thanks to George Fowlie and his family’s care, these objects have officially made their Manitoba homecoming.

It’s time for the sweaty part of the blog – not the panicky sweating type of emotion I first experienced when large fragile artifacts were being transported all over the city – but literally sweaty in the sense that big artifacts get your muscles moving prepping them for exhibition. Our first workout began after the stained glass window was delivered to Prairie Studio Glass for its complete restoration. Prairie Studio undertook the joyful task of dismantling the entire window, which started with making a template and numbering over 300 pieces of glass. Next, the components were taken out of the original wood frame and piece by piece placed into containers. That’s when the conservation team decided to join in on the fun and help scrub 100-year-old putty and dirt off each individual piece. After three and a half hours, and only a small section of the puzzle back together, Conservation Technician Loren Rudisuela and I decided we would leave the rest up to Prairie Studio Glass staff. 

The second time the Loren and I went back to the studio was to help squish new putty in-between the lead came after the pieces were put back together in their new frame. This was a lot of elbow and thumb grease to make sure everything would be secured. A few weeks later and the big day arrived for the window to be installed into its new wall niche, again making me sweat a little more watching it being hoisted about fifteen feet in the air after having it painstakingly restored. But everything went according to plan and you can now see this amazing artifact on display in our new Winnipeg Gallery! 

Another big workout was prepping the Eaton’s lintel for its debut and installation. Architectural features are beautiful to look at, however harsh outdoor environments can really change the finish to some of the materials. For our Eaton’s lintel, the visible deterioration was mainly on the brass components where years of oxidation, rain, snow … lots of snow … and pollution left a layer of thick corrosion along the surface. Once again, we rolled up our sleeves and spent several days scrubbing off the corrosion. 

Another added touch to the treatment included making a replica rosette for one that was missing. Installing this artifact was a monumental feat on its own as it required careful lifting, mounting and engineered bracketing in order to ensure its long-term preservation. Now in its new home, I think I can finally put down the workout towel for a little bit – until the next big artifact rolls into the lab. 

Post by Debbie Thompson, Diorama and Collections Technician

Dioramas are incredible works of “science meets art”. Planning the layout, construction, and content often takes years, with a tremendous amount of research and collaboration with curators, diorama artists, carpenters, and electricians. Volunteers are also a vital part of the making of dioramas; they take on the mammoth task of hand painting individual leaves. But what happens after the fanfare of the grand opening? What happens as time passes by? There are just a few people to keep a close eye on them, monitoring them for insects, rodents, dust, and repairs.

As Diorama and Collections Technician, I am one of those people. One of my main tasks is the maintenance and repair of the dioramas. Many people, of all ages, want to know if what they see in a diorama is real or not. The temptation to reach in and just test a blade of grass, flower, or a leaf on a tree is enticing. Sometimes, damages occur as a result. Then it’s time for repairs.

Along the fence of the rye field diorama is a thin section of prairie. All the tall grasses and flowers are within reach of visitors, and over time, the combination of accidental and intentional handling had led to the degradation of this section of the diorama. What was once a tall grass prairie has been beaten down to a matted mass of broken, unrecognizable stems.

Knowing where to collect the plant materials, receiving permission to collect in that area, ensuring what I’m collecting isn’t endangered nor threatened, and then processing the plant materials to preserve them is only the first step in repairing the damage. Once the plant material is preserved, its original colours have faded, so the plants must be painted “back to life”. Before the plants were even picked, detailed notes on colour are taken so when the plant is painted, it resembles its living counterpart.

Once the plant materials are painted, then it’s time for the repairs.

From start to finish, this one piece took just over 2 hours to repair. In all, there were 9 pieces that had to be repaired in this fashion.

Many of the dioramas are composed of real, once living plant materials that have been responsibly harvested and preserved using different chemicals and techniques. Examples of these types of plants include the aspens in the rye field and elk dioramas and mosses and spruces in the  Boreal Gallery. However, the green, living looking plants are made of plastic, such as the many plant species in the wolf den diorama. And then there are combinations, like a real stem but plastic flowers, such as the Black-Eyed Susans in the rye field diorama.

I hope this blog gives you a better understanding of what goes into maintaining the dioramas at the Manitoba Museum.

If you want to see the blood pressure rise in a conservator, display really big, historically significant, breakable objects at least ten feet off the ground. It’s the next phase in our Bringing Our Stories Forward capital gallery renewal project, and the conservation team has moved to treating artifacts for the Winnipeg Gallery set to open in the fall of 2019. The objects going on display are not only monumental in size, but genuine monuments from some of the city’s most iconic architectural buildings. 

Remember the second old city hall? For anyone born after 1962, probably not, as this was the year the building was demolished. But that’s OK! Before the wrecking ball came crashing down to make way for the new modern city hall, the Manitoba Museum was given two large stained glass windows that stood above the main entryways. These beautiful stained glass objects measure approximately nine feet wide by four feet tall and weigh a little over 100 pounds. Being so large, and obviously fragile in nature, you can see why a conservator, who repairs artifacts daily, becomes hesitant when they are handed design drawings of one of these windows being displayed above the entrance to the new Winnipeg Gallery. 

So what’s the big deal? No matter the size, all artifacts are prone to deterioration. The issue that was assessed for our chosen window is that over the last one hundred years the glass on the window has begun to slump and a visible concave shape has formed in the object, as well as several cracks and some areas of loss. In order to reverse this damage, we teamed up with Prairie Studio Glass who will help us with the restoration process. The first big step was moving the nine foot wide window from our basement storage, to the loading dock, onto a trailer, and safely transported to Prairie Studio Glass’s workshop twelve blocks away where they can begin to dismantle each piece before putting it back together again – did I mention that this all needed to be done without causing more damage? 

Our second big artifact preparation is what we like to call the Eaton’s lintel. This structure once resided on Portage Avenue as part of the exterior facade of the downtown Eaton’s department store (1905 – 2003), which after demolition became the home of our beloved Winnipeg Jets. Spanning seventeen feet in length, weighing approximately 5,000 pounds, composed of 17 separate limestone blocks, and three brass fixtures, it is the largest and heaviest artifact going into the new gallery. Currently located in our off-site storage facility, groundwork for this object will include construction of an engineered mount to support the weight of stones, pre-assembly of all the pieces (to make sure everything fits!) and general cleaning of the limestone and brass surfaces. 

Once this is complete the lintel will be moved to the Museum, carted across the galleries, and installed in its new home. Again, a lot of moving around here! 

No matter the size of the artifact, as a conservator we are always up for the challenge of preserving our biggest or littlest objects. Stay tuned for part two of this blog which will capture some of the treatment work performed on both of these monumental pieces. 

Post by Karen Sereda, Collections Registration Associate (Natural History)

The incredible diversity of the Museum’s herbarium can only be credited to the dedicated collectors of botanical specimens, both modern and historical. Recently, while updating some herbarium specimens, I came across some plants in our collection dating from the early part of the 20^th century. The importance of these specimens cannot be emphasized enough, as many of them come from locations that are no longer the same as when these collectors visited them. The stories of many of these early Manitoba collectors are fascinating.

John Macoun immigrated with his family to Canada from Ireland in 1850. Being unsatisfied with farming, John took up teaching in 1856 and developed an obsessive interest in botany. Although he had little formal education he became a Professor of Botany and Geology in Ontario in 1868, and in 1872 was recruited for railway surveys in the west. Due largely to his efforts, natural history came to be regarded as an important aspect of these surveys.

John published extensively, and his 1882 publication “Manitoba and the Great North-west” was wildly popular. It was as a botanical field naturalist, however, that Macoun’s abilities shone.

He was able to recognize new plant forms at first sight, and discovered many new species. Many of these were named after him using the specific epithet macounii.

John Macoun’s autobiography was published in 1922 by the Ottawa Field-Naturalists Club; it has now been digitized. Dr. Diana Bizecki Robson also highlighted John Macoun in one of her blogs.

In 1875, William Alfred Burman was persuaded to immigrate to Canada at the age of 18. He studied theology and the natural sciences at university, and in 1880 was sent by the Anglican church to Griswold, now the Sioux Valley Dakota Nation, to teach and establish a mission.

While there, he became fluent in and wrote about the language of the Dakotas. As well, he helped to found the Forestry and Horticultural Association of Manitoba which still promotes horticulture on the prairies. Burman later returned to Winnipeg to lecture in botany and biblical literature, plus act as the steward and bursar for St. John’s College at the University of Manitoba. He had a high opinion of both John Macoun and Norman Criddle (to be discussed in Part 2), two amateur, yet extremely competent botanists. Burman was an avid nature lover, and was also an examiner in botany at the University of Manitoba for many years.

Reginald Buller was an eccentric man. Although he went by Reginald, his full name was actually Arthur Henry Reginald Buller.

He was hired by the University of Manitoba in 1904, and the Buller Building is named after him. One of the first six science professors, he taught botany and mycology, and was a prolific researcher.

A perpetual bachelor despite the interests of various women, he never owned a house in Winnipeg, but lived in various downtown hotels his 40 years in Manitoba. Buller was a serious billiards player, and also wrote poetry. He especially enjoyed writing limericks such as this one he based on Einstein’s theory of relativity.

There was a young lady named Bright,
Whose speed was far faster than light.
She set out one day,
In a relative way,
And returned home the previous night.

If you are interested in more information about Buller,  you can read this article by Dr. Gordon Goldsborough.

Part 2 features the next generation of Manitoba botanists; Norman Criddle, Charles W. Lowe, and Margaret G. Dudley.

Post by Angela May, Conservation Intern

The Collections and Conservation Department hosted Angela May on her 15 week curriculum-based internship between September and December 2018. This internship was the final requirement for Fleming College’s Graduate Certificate in Cultural Heritage Conservation and Management.

First, the loose dirt and dust was removed from the iron frame using a brush and vacuum. Some packing peanuts that were caught on the interior of the frame were also removed using tweezers. Next, a fibreglass bristle brush was used to gently remove corrosion from the frame. It was a slow process to remove the corrosion from all sides of both the exterior and interior of the frame, the front of the metal straps that held the glass in place, as well as each little screw that fastened the straps to the frame.

Because the back sides of the metal straps holding in the glass were unpainted, I was able to use the air abrasive machine with plastic media to more easily and quickly lift the corrosion from these pieces.

Once all of the corrosion had been loosened, I again brushed and vacuumed the artifact to lift the dust that had formed from the corrosion being removed.  I then “degreased” or lifted the rest of the corrosion still left on the surface with saliva and cotton swabs. The enzymes from the saliva help to lift the corrosion without damaging the painted surface like some solvents would. Science!

This took many, many swabs!

Next I began work on the textile number rolls which were covered in dirt and stains (some of the black paint was also lifting). To lift the dirt, cosmetic and soot sponges were used until they came up clean. Water and Orvus, a near-neutral pH anionic detergent, were tested on the surface to see if the yellow stains could also be lifted, but the paint was soluble in water so no further interventions were pursued.

And there you have it, one clean and rust free (for the most part) streetcar sign. You can see this artifact in the upcoming Strike 1919: Divided City exhibition, which commemorates the 100th anniversary of the Winnipeg General Strike opening in March 2019.

Streetcar Sign after conservation treatment. H9-7-13 ©Manitoba Museum

Visitors to the Manitoba Museum are currently enjoying two hockey themed exhibitions – Hockey: The Stories Behind our Passion from the Canadian Museum of History and Manitoba Heart of Hockey developed and produced by the Manitoba Museum. Both exhibitions examine the meaning of hockey in the lives of Canadians as players and their families, coaches, officials, broadcasters, and fans.

One person who literally helps to keep the game running smoothly is the skate sharpener. A trained operator can optimize a player’s performance by skillfully honing the pitch and contour of the blade to match their stride and style. Recently, the Manitoba Museum received a donation of an early skate sharpening machine along with the sign for “Vimy Skate Sharpening” run by Allan Merko.

Allan Merko was a Canadian lad with a passion for hockey. Times were tight growing up in Gilbert Plains, Manitoba, so Allan collected bottles to cash in for the deposit in order to pay for his basic equipment – skates, gloves, and a stick. After a move to Ethelbert, he played centre for the Ethelbert Eagles and later the Sabres wearing jersey No. 9. His skill and speed on the ice earned him the nickname “Squirrel”. Later, he would take up coaching the younger Ethelbert Oilers team and teach power skating. His daughter fondly remembers growing up as a ‘rink rat’ and hanging out with her dad.

Allan’s Stick; Courtesy of the Merko family.

Allan was more than just a player and coach. He also operated the Zamboni and created and maintained the ice at the Ethelbert Arena. Sometimes he flooded the ice between periods in full hockey gear while his team rested in the dressing room! Being mechanically inclined, Allan taught himself how to sharpen skates on an unused machine in the arena thus saving local skaters a 125 km round trip to Dauphin.

Sign. Catalogue Number: H9-38-822 ©Manitoba Museum

by Janis Klapecki, Collections Management Specialist (Natural History)

The Manitoba Museum receives calls daily inquiring if we are interested in receiving artifacts or specimens for our collections. They may have collected some clam shells while on a family outing to the beach, or have found some “treasure” in Great Aunt Muriel’s attic. We never know what to expect until we actually see the item.

In the spring of 1993, we received a call from a woman near Arborg (Manitoba) asking if we would be interested in receiving a butterfly collection. That may sound unusual to some, but for museum staff that work with insects, it’s a common conversation and potentially a good acquisition. What WAS unusual was where the butterflies were currently being stored…… the caller described that they were in a derelict van on the property they had recently purchased! After hearing this, we imagined the worst and didn’t expect to bring much back to the museum. Dried insect collections are highly susceptible to mould and live insect activity. A collection that is exposed to either of these factors can be completely destroyed within days.

Once back at the Museum, the entire collection was placed in our large freezer for pest treatment. This is done to ensure that we aren’t inadvertently bringing in any live insect pests that could damage the Museum’s galleries and collections. When the 2 week freezer treatment period was complete, we started the massive task of inventorying the collection. The collection consisted exclusively of butterfly and moth specimens. There were upwards of 400 expertly pinned specimens with data labels, and approximately another 200 specimens still in their original glassine collection envelopes. As our work progressed further into documenting and cataloguing each individual specimen, we realized that it included some very special and rare specimens.

Among the many specimens of this collection, one species stood out. There were 26 specimens of an extinct butterfly, the Silvery Blue (Glaucopsyche  lygdamus xerces; Family Lycaenidae). They were  collected in the 1920s by R.F. Sternitzky from the dunes of what is now the Sunset District of San Francisco, CA. This butterfly was endemic to the almost uninhabited coastal sand dunes of this area at that time. The species was first documented in that area in 1852, and is believed to have become extinct by the mid 1940s, when the dunes were scraped clear and houses completely replaced the dunes. Its extinction was directly attributed to urban development and habitat loss that included dune plants that the species relied upon for food and egg laying.

L-R: Sunset area dunes, San Francisco, circa 1900. San Francisco sand dunes, c.1900, /Foundsf.org / CC BY-NC SA 3.0. Sunset District, San Francisco, today. © Mike Woods / Urban Sunset / Flickr/MikeWoods / CC BY-SA 2.0.

The majority of the butterflies and moths were collected by R.F. Sternitzky in the coastal regions of California in the years ranging from the 1920s to the 1940s. There isn’t a lot of personal information on the web about R.F. Sternitzky, other than he was born in California (1891-1980) and spent a life time collecting mostly butterflies and moths (also some bees, flies, and ants) in parts of California, including the San Francisco Bay area, and in his later years, Arizona.  He contributed significantly to Lepidopteran (moth and butterflies) collections and subsequent research as is evidenced by the numerous ecological and taxonomic publications online that refer to his specimens. His specimens are deposited in several large American museum collections including the the Essig Museum of Entomology (University Of California, Berkeley, CA), Bohart Museum of Entomology (University of California, Davis, CA), Yale Peabody Museum of Natural History (New Haven, CT), the Smithsonian National Museum of Natural History (Washington, DC), the Harvard Museum of Natural History (Cambridge, MA), the American Museum of Natural History (New York, NY), as well as in Canadian museums such as the Canadian National Collection (Ottawa), and now the Manitoba Museum (Winnipeg).

This home chemistry set came into the conservation lab for treatment after being selected for display in the soon to be constructed Winnipeg Gallery which is part of the Museum’s Bringing Our Stories Forward Capital Gallery Renewal Project. The set was acquired by the museum in 1979 and was manufactured by Lotts Bricks Ltd., a toy company based in Waterford, England. 

It was noticed during an initial condition report that the cardboard insert was weak, ripped, and warped in several locations and needed to be stabilized before display. Since the cardboard had warped over time, the loose and broken parts would no longer fit together and therefore the cardboard would need to be reshaped before repair could be completed. 

The chemistry set consists of a red cardboard box which has a grey blue box adhered to it. There is also a moss green cardboard insert which holds the pieces of the set in place. There are twelve cardboard canisters with pop-off metal lids, and four glass bottles with metal screw-on lids. All of these containers still have their labelled chemicals inside. There is a small glass tube with a cork stopper which containing purple coloured litmus paper. Hidden under the cardboard insert is a small envelope labelled ‘Litmus Paper’ which has two pink papers inside. Lastly, there is an orange rubber tube with a glass end covered in a black coating. 

In the conservation lab, the set was disassembled and the individual parts were examined. In general all surfaces of the set were dusty and covered in grime. The red outer box was very stable but the moss green cardboard insert was ripped in several areas and the structure was warped. The canisters and glass bottles have small areas of corrosion on the metal lids. 

The first step was to clean every surface of the set. This involved brushing all the components with a soft natural hair brush which loosened dust off the surface and allowed the dust to be carefully vacuumed away. The cardboard and canisters were further cleaned by gently rubbing eraser bits over the surfaces to pick up grime and loosen ingrained dirt. 

The most complicated step of the treatment was reshaping the cardboard insert. The insert was reshaped by misting the surface with distilled water, causing the paper structure to relax, which allowed for the manual repositioning of the cardboard to the original position. The insert was placed onto custom cut wood blocks which were covered in absorbent paper (blotter paper). The wood form was clamped and weighed down which prevented the cardboard from deforming during the drying process. 

After a week, the cardboard insert was dry and removed from the wood form. The cardboard was then repaired by reattaching the loose sections and reinforcing ripped areas with light-weight mending paper and conservation grade cellulose based adhesive. The ripped cardboard was further repaired on the front of the insert by adhering tinted light-weight mending paper to breaks in the structure. 

Once everything was stable and dry the insert was set back into the red box and finally all the components were set back into place. 

You will be able to see this home chemistry set in the new Winnipeg Gallery when it opens in the fall of 2019.