People find the darndest things – first confirmed barn owl for Manitoba this Century

People find the darndest things – first confirmed barn owl for Manitoba this Century

[Note: This blog contains descriptions and images that may not be suitable for sensitive individuals.] 

A taxidermized great gray owl specimen mounted on a branch.

When thinking of Manitoba’s owls, the great gray (our provincial bird) is usually the first to come to mind, whereas of the 12 species recorded for the province, the barn owl (Tyto alba) would likely be the last. Although barn owls have one of the widest ranges of any owl species, occurring in temperate and tropical regions around the world, they are very rare anywhere in Canada, and especially so on the prairies. They just don’t do very well in our climate; -35°C is hardly tropical or even temperate! There are only about a dozen records for barn owl in Manitoba since the first was found in November of 1912, and several of these are sight records only – they are convincing, but remain unconfirmed by photos or specimen evidence. There is one recorded (failed) nesting attempt in 1994 in Springstein, about 20km west of Winnipeg, and this is the last confirmed sighting. [See the excellent species account in The Birds of Manitoba available from Nature Manitoba (www.naturemanitoba.ca ).]

 

Image: Not a barn owl, but a great gray owl, Manitoba’s provincial bird. This is a mounted Museum specimen (MM 3.6-901) from southern Manitoba collected in February 1917.

So imagine my surprise in mid-December when a report of an expired (and frozen) barn owl from a farm near Elie, Manitoba arrived in my e-mail inbox from Manitobabirds (a birding listserve)! The importance of the find was not lost on its discoverer, Mr. Dick Steppler, so he collected the bird and brought it to Jim Duncan of Manitoba Conservation. Jim has been banding and studying various owl species, particularly great gray and hawk owls for, well, probably longer than he’d care to admit, and has published several books and lectured extensively on these species. So Jim was the logical choice to notify about the barn owl, and, fortunately for the Museum, he has always been a great supporter of our collections, recognizing their value as both a repository and as a research tool. Our bird collection would soon contain Manitoba’s first record of barn owl for this century and the first in over 18 years!

But before it came to the Museum, it was off to Dr. Terry Galloway of the Entomology Department of the University of Manitoba. Among his many areas of expertise, Terry is an authority on external bird parasites, and because finding barn owls is so unusual, it was important to try to get as much information as possible from the specimen. Despite his careful inspection, this owl seemed free of external parasites.

I went to pick up the bird from his office and brought it back to the Museum. Under my and (mostly) Janis Klapecki’s guidance (our Collections Specialist), the bird would be prepared as a study skin by Laurel McDonald. Laurel is a wonderfully skilled volunteer who has been processing bird specimens for us over the last few years. Preparing a study skin is different from taxidermy, although it uses some of the same techniques; it is the finished product that is different. With the number of bird specimens we hold (over 6300), it would be far too time consuming and take too much storage space to create taxidermy mounts for each one.

An individual wearing gloves working on a bird specimen in front of them.

Volunteer bird preparator extraordinaire, Laurel McDonald, beginning to dissect the Elie barn owl to make a study skin.

Collections storage, three drawers, all containing owl specimens, open to varying distance.

A cabinet of great gray owl specimens (Strix nebulosa). These are study skins arranged on their backs. Note that if these were all taxidermied mounts, they would require six or seven cabinets rather than one. Taxidermy is also a much more time-consuming and expensive process.

The barn owl was found frozen, but had been thawed a couple of times, once by Mr. Steppler to clean and reposition the bird, and another time by Terry in order to wash it for external parasites. Because there was no certainty as to when the owl had expired, we had no idea of what condition it would be in or whether it could even be made into specimen. If it had been outside a long time, it could either have decomposed substantially or it might have “freeze-dried.” In either case, there would be little we could do but make a skeleton.

To our surprise, the owl was in quite good condition (for a dead bird!), meaning it probably had not been long on the ground before it was found, but just long enough to freeze. To make the study skin, the bird is thawed, an incision is made along the belly, and the skin is peeled back from the body and over the head to be turned inside out. The body, including skeleton is removed with only the lower leg bones, some wing bones and the skull remaining with the skin. The skin is then turned right-side-out, stuffed with cotton and stiffened with a wooden rod to be arranged to lie flat on its back. The vital organs are examined for internal parasites (we found none), checked for general condition, stomach contents examined (although this specimen had none), and the sex organs are checked to determine gender and measured to assess condition. We saved some tissue for future DNA work, in case that is required, and the bones not left with the skin will be cleaned by dissection and in the “bug tank”, a special sealed treatment area that houses beetle larvae that will eat the flesh off the bones to make a clean skeleton.

Barn owls, like many birds, are difficult to sex externally with any confidence. Because this bird was quite buffy with relatively large spots on its breast, we were pretty sure it was a female, but couldn’t be positive. In most birds of prey the females are larger than males. In barn owls, females are bigger on average, but there is considerable overlap in measurements between the sexes. Dissection conclusively determined that this owl was a female. Plumage also suggested that it was a hatch year bird, meaning that it was under one year of age when it died. Although the bird was very emaciated (it had no fat at all), it seemed otherwise in pretty good shape and likely died of starvation. There was some indication of trauma and bruising on the lower right leg, but the bone didn’t appear to be broken, so it didn’t seem enough to explain its death.  There were two holes in the skin of the right wing that we initially thought might be due to decomposition after death, but because the rest of the bird seemed in good shape, these might have been indicative of injury – although there was no evidence of bleeding so these are likely to be postmortem. The exact cause of death will remain unknown.

A owl specimen with the chest cavity surgically opened for dissection. Beside the specimen is a stick wrapped with cotton to about the width of the owl's torso.

The Elie barn owl emptied of internal organs and most of the skeleton including the backbone. It has been turned right-side out and is ready for insertion of a cotton wad around a stick (top of photo) to give the study skin some shape and stiffness.

An owl sparsely swaddled to hold it in repose shape with its wings to its side. Hand reach in from the left side of the frame, tying off the wrapping.

The study skin has been sewn up and is being wrapped for final drying before being placed with the main collection.

An individual sitting at a desk looking at the internal organs of an owl through a microscope.

Examining the internal organs of the Elie barn owl to check for parasites, general condition, and clues to explain its demise. This is also the only way to definitively determine its gender; it was a female.

Two photos, one above the other, of an owl specimen. One looking down on the specimen, and one looking from the side in profile.

It is certainly unfortunate that the first confirmed record of barn owl for Manitoba this century was an expired individual. But with the specimen now in The Manitoba Museum collection, it provides a permanent record of its occurrence and it is available for study by the likes of Jim Duncan or other owl specialists. Given the unlikely possibility of finding this specimen before it was carried off by a coyote or became buried or otherwise dispersed, one wonders how many other records of rare species like the barn owl are missed. Even specimens of common birds are extremely valuable for the Museum collection. In many ways, common birds can tell us more about our environment because we have the “luxury” of statistical power – one specimen is a curiosity or even anomaly, but several specimens can provide a pattern and tell a coherent story. And bird collecting, in the historical sense, just doesn’t happen anymore (probably for the good!), so the Museum collections grow slowly. But the addition of the rare finds like the Elie barn owl, along with window-killed specimens of common species make valuable contributions to our understanding of Manitoba’s birds.

 

Image: “Top” and side view of the finished study skin of the Elie barn owl (Tyto alba) (MM 1.2-5418). Note the buffy breast and relatively large spots that hinted that this was a female. Dissection confirmed the gender. Scale bars are in centimeters.

Stay on the lookout for the unusual any time you are outside. You never know what exciting contributions you might make to our province’s natural history. A special thanks to the sharp-eyed Elie resident, Dick Steppler, who recognized the value of his discovery. Generations of researchers can now benefit from his thoughtful addition to the Museum collections.

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

A Once Sticky Situation

By Lisa May, past Conservator

 

When performing inventory and maintenance in the museum galleries, the collections and conservation staff sometimes discover things which are questionable museum practices.

This month while working in The Sod House exhibit, we discovered some artifacts had a substance resembling adhesive on the bottom of them. After discussions with senior staff it was found that in the 1970s when the exhibit had originally been an open exhibit, not enclosed behind a Plexiglas door, artifacts were glued to surfaces to prevent them from being stolen. Obviously, this was an act executed long ago, possibly by a non-collections staff member, as we are all now aware this is not an appropriate method for securing or mounting artifacts in an exhibit. Conservation knowledge and theory have advanced and changed significantly since this exhibit was installed in the 1970s; we would not glue things down this way today.

Next steps included removing the artifacts from the exhibit and taking them to the conservation lab and, after condition reporting and taking photographs, trying to remove the adhesive without damaging the artifacts. Luckily, as a significant amount of time had passed, the adhesive had dried out and lost its “sticky” properties and with a hammer and chisel (not what we usually consider cleaning tools in conservation), we were able to chip the adhesive off with no damage to the artifacts.

A large shiny silver kettle.

This kettle is one of the artifacts in the Sod Hut.

The bottom of a large silver kettle with the remains of a crusty brown adhesive around the bottom.

Bottom view shows the old adhesive.

The bottom of a large silver kettle with a stain on the bottom, but the remnants of the adhesives removed.

The old, hardened adhesive was removed successfully; the brighter area shows where it was.

The artifacts were then returned to exhibit and collections and conservation staff continue to perform inventory and maintenance in the galleries, hoping not to find too many other unwanted surprises!

Comet PANSTARRS becomes visible in Manitoba Skies!

Beginning March 7, Comet PANSTARRS will become visible in the evening sky for observers in Manitoba. This is a cool chance to see a comet, those mysterious visitors from the ragged edge of the solar system that occasionally grace our skies. But, you’ll need a pair of binoculars (and clear skies) for the best view.

 

What is Comet PANSTARRS?

It’s a small chunk of ice only a few kilometers in diameter that is in a long, oval-shaped orbit around the sun. Most of the time it is totally invisible, but right now it is swinging close past the sun. The sun’s heat vaporizes some of the ice, and the solar wind blows the dust and gas back into a tail which can stretch for a million kilometers or more.  There are millions of comets out there, but usually they are too far from both the Sun and the Earth to be visible except in large telescopes.

 

What’s with the name?

PANSTARRS is the name of the program that discovered it – the PANnoramic Survey Telescope and Rapid Response System. Comets are named after their discovers, which in the past meant the person who first saw it. Nowadays, in the realm of automated telescopes making discoveries without human intervention, it often means an acronym instead of a name. You can learn more about the PAN-STARRS system here.

 

How do I see it?

There is a finder chart from Sky and Telescope magazine here. While the comet is bright enough to be visible to the unaided eye, it is also in very bright twilight skies right after sunset. Most observers will probably need binoculars to see it, and a clear western horizon with no buildings, trees or streetlights to distract. The comet is about second magnitude, which is about as bright as the stars of the Big Dipper, so it should be visible if the sky is clear and haze-free. It will likely look like a faint fuzzy blob, and the tail may or may not be visible. Comets are notoriously unpredictable, and can change their appearance in a matter of hours, especially if they’re as close to the Sun as this one is, so keep checking back for updates.

 

Can I take a picture of it?

You can try! If you have a digital camera, put it on a tripod or fencepost or something sturdy and point it towards the comet. Set the camera for Manual exposure, and select an exposure time of between 2 and 10 seconds. (Check your camera’s manual for how to do this.) Take a picture and see what it looks like, then take another one with a longer exposure time and see what it looks like. Trial and error will give you a decent chance of recording this celestial interloper. Try zooming in (which usually requires a longer exposure time) and even holding the camera up to your binocular or telescope eyepiece if you have one. Today’s cameras can do some amazing things, so try yours and see what happens.

 

So what?

Bright comets are beautiful and rare sights. Scientifically they offer a glimpse into the early days of our solar system. They’re basically left-over chunks of material that didn’t get swept up into one of the planets of our solar system, kept in a deep freeze for the last few billion years or so. Comets are responsible for most of the water on our planet, by impacting the Earth during the early days of its formation. And, they’re just cool!

 

Finally, another comet, Comet ISON, will appear in the sky later this year, and could be even bigger and brighter, so this is a good warm-up for observers.

We’d love to see your pictures of this comet. Send them to SkyInfo@ManitobaMuseum.ca and we’ll post the best ones on our website.

Scott Young

Scott Young

Planetarium Astronomer

Scott is the Planetarium Astronomer at the Manitoba Museum, developing astronomy and science programs. He has been an informal science educator for thirty years, working in the planetarium and science centre field both at The Manitoba Museum and also at the Alice G. Wallace Planetarium in Fitchburg, Massachusetts. Scott is an active amateur astronomer and a past-President of the Royal Astronomical Society of Canada.

The clam that sank a thousand ships 

Unless you happen to be chowing down on some steamed clams at the time, a discussion of important influences on human history is unlikely to include a clam as part of the conversation. But the eating habits of one small group of highly evolved clams has altered the travel plans of Christopher Columbus and Sir Francis Drake, changed the outcome of naval battles, and has inspired folklore and poetry. 

Clams are members of the Bivalvia, a relatively diverse subgroup of molluscs that includes about 10,000 living species of oysters, mussels, scallops and any of the typical “seashells” we are used to finding washed up on beaches, whether on fresh- or saltwater. Other molluscs include snails, slugs, squids, and octopus. Bivalves are creatures that have two roughly symmetrical hinged shells (hence Bivalvia from the Latin bi = two, and valva = leaf of a folding door) that usually can enclose the entire animal for protection. Most are filter-feeders, meaning they take in great quantities of water through one siphon, pump it through the gills that strain out small food particles, and then send it out a second siphon. 

Three illustrations of shipworm getting progressively close-up on the front-end.

Old woodcut illustrations of “shipworm” showing the worm-shaped body (B) on the left along with the shell valves at the front (S) and the siphons for incoming and outgoing water to the gills for breathing (IO). The middle figure is a close up of the front part of the animal and the shell valves (S) and on the right is the shell itself, showing its modification into a grinding surface. From Popular Science Monthly, August 1878. 

But bivalves have been around a very long time, over 500 million years, and over that time some strange exceptions to the usual life history have evolved. The two valves of its shell have been modified from protective devices into two small, but extremely effective grinding surfaces at one end that are used to bore into any piece of wood encountered in the ocean. The clam starts out as a small juvenile that settles on a wood surface. As the new small clam bores into its new home, the wood is digested with the help of symbiotic algae that live on its gills. As the hole gets deeper, the animal’s body elongates to maintain a connection to the surface, and the burrow is buttressed with a shell-like lining. 

An illustration demonstrating the growth stages of shipworm, starting from a small hole and growing into a long, curved tube through the wood. As the worm growing further into the wood, two small siphons at the back end remain at the surface of the wood.

The settling of a young Teredo onto a piece of wood and its gradual growth. The shell halves grind up the wood. Note that the siphons remain at the wood surface to bring clean seawater to the animal. Figure from Flingeflung, German language Wikipedia. 

As the common name “shipworm” suggests, and is emphasized by its scientific name Teredo navalis, this species has a long history of damaging ships. Some have suggested that the anxiety of Christopher Columbus’ crew to head west from Europe was not fear of the unknown, but fear of shipworm damage on a long journey, and for good reason. The fourth voyage of Columbus to the Americas in 1502 came to a disastrous end when all his ships sank due to damage resulting from Teredo. His ships were, “… rotten, worm-eaten … more riddled with holes than a honeycomb… With three pumps, pots and kettles, and with all hands working, they could not keep down the water which came into the ship, and there was no other remedy for the havoc which the worm had wrought… my ship was sinking under me…”  (from a letter describing the voyage). Columbus was forced by these small clams to land on Jamaica. He and his crews were marooned for a year before being rescued. 

Left, a painting of Christopher Columbus, seated, wearing dark robes and hat. Right, a painting of Sir. Francis Drake, standing near a table with a globe on it with one hand on his hip. Wearing dark robes and an frilled ruff.

The fourth voyage of Christopher Columbus (left) to the Americas in 1502 came to a disastrous end when all his ships sank because of damage from these clams. In 1579, Sir Francis Drake (right), the famous English pirate/explorer/Vice Admiral spent a month on the Californian coast repairing the Golden Hind, which had been eaten by shipworms. 

In 1579, Sir Francis Drake spent over a month on the Californian coast repairing the Golden Hind, which had been damaged by shipworms. And there are claims that shipworm appetites might have been a factor in the English defeat (more like repulsion) of the Spanish Armada in 1588. The Spanish had remained docked in marine waters off Portugal for several months before engaging the English, providing plenty of time for infiltration of ship’s timbers by the clam that would have weakened and slowed the vessels. 

Three paintings, side-by-side. Left, a formal painting of King Philip II of Spain. Centre, a painting of the panish Armada at sea. Right, a formal painting of Queen Elizabeth I.

Perhaps shipworm appetites helped the English defeat the clam-weakened ships of the Spanish Armada in 1588! King Philip II of Spain (left), was forced to keep his Armada at sea several months (centre) before engaging the navy of Queen Elizabeth I of England (right). 

Even the eventual  addition of copper cladding to naval vessels was not certain protection from the “worm”, as this famous poem by Henry David Thoreau (1817-1862) attests: 

… The vessel, though her masts be firm, 

Beneath her copper bears a worm … 

Far from New England’s blustering shore, 

New England’s worm her hulk shall bore, 

And sink her in the Indian seas … 

-(excerpted from “Though all the Fates” 1849) 

It has been estimated that ship timbers needed replacement every eight years on average, largely due to damage from Teredo wood-boring. At this rate, it is clear that this marine clam has had a tremendous impact on terrestrial ecology, too – huge tracts of coastal forests around the world have been cut down to replace damaged hulls of the ships of all the colonial powers as they travelled the seas. And all that travel introduced these clams all over the world as affected ships brought the animals with them. For this reason, scientists are uncertain of the original distribution and habitat of “shipworms.” 

Photograph of a portion of wood that has had grooves and holes eaten into it by shipworms.

A small portion of wood from the Philippines showing the damage that occurs from the activities of Teredo, a woodboring clam that can digest wood with the help of symbiotic bacteria (MM 2.4-1062). Scale bar is 5 cm. 

Of course, Teredo clams do not only target vessels, but any wooden structure in the sea. In 1731, parts of Holland were flooded because wooden dikes were eaten and weakened by “shipworm,” prompting replacement by costly imported stone. And perhaps Teredo was the cause of (or inspiration for) the famous hole plugged by the little Dutch boy’s finger.  Damage to piers and moorings amounts to tens of millions of dollars per year. An infestation in San Francisco Bay between 1919 and 1921 caused over $2 billion of damage in today’s dollars, and repairing such damage is a considerable cost to this day. 

Photograph of a section of fossil wood with bore lines and remnants of holes across the surface.

Woodboring clams have been around for awhile. This is fossil wood from Souris, Manitoba showing the bore holes of Teredo or a similar species from the Cretaceous Period, about 65 million years old (MM I-2139). Because all existing species require salt water, this suggests that the wood had been floating in an ocean environment before it became fossilized. Scale bar is 3 cm. 

The influence that a tiny bivalve mollusc can have on human history and economic activity is truly astounding. And this is only one of many examples from molluscs, a wonderfully diverse group of animals that is usually well outside our consciousness. Given how some have altered history, perhaps we should give these animals more of the attention they deserve. 

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

A Glass Cane and a Search for Family

This last weekend The Manitoba Museum had a very special guest. Joseph Winzoski arrived on Saturday afternoon with family and friends to have a look at a special artifact his grandfather had made back in about 1910. Joseph’s grandfather, Juszef Wiazowski, was a master glass blower at the Manitoba Glass Works in Beausejour, and created this glass cane there. Referred to sometimes as “whimsies”, these kinds of decorative pieces could be made as gifts or for sale. Juszef was recruited in Poland by Josef Albert Keilbach to help start up the factory work in 1906.

Two individuals sitting next to each other in conversation in the Parklands Gallery of the Manitoba Museum.

Joseph Winzoski with curator Roland Sawatzky in the Parklands/Mixed Woods Gallery.

An illuminated display case with a shalf of glass bottles and a number of glass canes suspended above.

Glass cane (top) believed to have been made by Jozef Winzoski, ca. 1910. On display in the Parklands/Mixed Woods Gallery.

Joseph Winsozki’s granddaughter has provided the museum with some of her detailed research of the family history:

“Juszef Wiazowski was a part owner of a Glass Company in Poland. This…was discovered in the Archives of Poland by a distant cousin in 2012.”

“It is my belief that [Josef] Albert Keilbach visited with Mr. Juszef Wiazowski at his glass manufacturing plant in Lodz, Poland and recruited him as a partner in the Manitoba Glassworks.”

Juszef’s son Adam was also a glass blower at the factory, and his son Joseph, our visitor, was born in 1916. Joseph never really knew his father. Both of Joseph’s parents died of the Spanish Flu, a world-wide epidemic, in 1918, and around the same time his grandfather Juszef was kicked by a horse and killed. Joseph had a difficult childhood: he and his siblings were forced by their step-family to work on farms all over Manitoba. Joseph later served in the Netherlands, fighting in the Liberation of Arnhem, and was later a guard for the war criminal Kurt Meyer in Aurich, Germany. As an orphan, Joseph was always interested in reconnecting to his father’s family history, and this glass cane, and the Winzoski’s of Beausejour, were a big part of that story. Thanks for the visit, Joe.

Dr. Roland Sawatzky

Dr. Roland Sawatzky

Curator of History

Roland Sawatzky joined The Manitoba Museum in 2011. He received his B.A. in Anthropology from the University of Winnipeg, M.A. in Anthropology from the University of South Carolina, and Ph.D. in Archaeology…
Meet Dr. Roland Sawatzky

From Acquisition to Exhibit – One Artifact’s Journey

By Kathy Nanowin, past Manager of Conservation

 

When the Museum receives an artifact or specimen, very often the donor asks or expects that the new acquisition will be put immediately on display. This, more than 90% of the time, is NOT the case. The reasons are various, but mostly it comes down to scarce resources – of staff, time, and money. It takes resources to process the new donation; it takes resources to prepare it for exhibit; it takes resources to plan and develop the exhibit. Having said all that, here is the tale of one object which went from initial acquisition to permanent display in less than a year.

The artifact is a horse watering trough, which would have been a common sight in public spaces up until just over a century ago. TMM did not have anything like this in its collection, so it was approved for acquisition. Normally, once the collections management process is followed, it ends with the artifact or specimen being found a home in one of our storage areas; however, in this case, Curator of History Roland Sawatzky thought that there was an empty area in the Urban Gallery where the horse trough would naturally fit.

We have a formal Exhibit Procedure at the museum, so Roland followed this while the artifact was proceeding to be accessioned, catalogued, photographed, and condition reported. Ultimately, the idea was approved for this unique object to take its place in TMM’s permanent galleries.

The horse watering trough is made of painted steel. It is quite stable, but did need some conservation treatment – a good cleaning – before it was at its best to be displayed.

After the conservation treatment and documentation, the watering trough was brought down to the Urban Gallery on a Monday when we’re closed to the public, and placed in position against the wall between the Proscenium Theatre and Amy Galbraith’s Dress Shop. It took several sets of strong arms and legs to lift and lower it into position.

An individual wearing a white lab coat, face mask, and blue gloves uses a stiff brush to clean an upside-down water trough upturned on clear plastic.

Conservator Lisa May cleans trough with a wire brush.

Five individuals work together to move a large solid water trough in a museum gallery.

The heavy trough was lifted off a dolly and lowered into place

A water trough with a fountain-like piece in the centre, placed against a brick wall near a sign showing a horse drinking from a similar shaped trough, and an arrow pointing towards this one.

The horse watering trough in the gallery.

Again, I have to emphasize that this is a rare case, when a newly acquired object goes on long-term display shortly after it arrives at The Manitoba Museum (yes, eleven months is relatively short in the museum world). In this instance, the artifact fills a gap in the gallery space, and helps tell a story we weren’t telling before – a reminder that horses used to be ubiquitous in the city, before motorized vehicles became common. The next time you visit the Museum, be sure to check it out!

Textiles from Slovakia

Slovakian textiles recently donated to The Manitoba Museum help tell the story of one family’s immigration to Manitoba in the late 1940s. These textiles were made in the tiny village of Lentvora, in a small valley in central Slovakia. The Karman family grew their own flax, which was then beaten, spun, dyed, and finally woven into these textile patterns. The donor of the textiles, Anne Anderson, was a child in the village in the early 1940s, and remembers her mother Anna and her mothers’ relatives gathering in the kitchen/dining room around a loom to do some weaving.

A cream-coloured textile with dark-coloured detailing.

Anna, the donor’s mother, lived with her grandmother in this house after Anna’s husband Pavel died in 1945. As he lay dying, Pavel asked his cousin Andrew to take care of his daughter. A few years later Anna received word from Andrew, who had immigrated to Canada and lived in Dugald, Manitoba. His young wife had died, and he asked Anna and her daughter to join him on his farm. On the train to Winnipeg in 1948, in possession of these textiles, Anna pointed to a fine house she would like to one day live in. It turns out that was the house of her future husband, Andrew.

 

Image: Slovakian textile, early 1940s. Photograph by Nancy Anderson. Copyright The Manitoba Museum.

Mrs. Anderson held on to these textiles for years before donating them to museum this summer, because they told her mother’s story and they reminded her of life back in Slovakia, where the family worked together to produce what they needed. Now this story will endure at The Manitoba Museum.

Dr. Roland Sawatzky

Dr. Roland Sawatzky

Curator of History

Roland Sawatzky joined The Manitoba Museum in 2011. He received his B.A. in Anthropology from the University of Winnipeg, M.A. in Anthropology from the University of South Carolina, and Ph.D. in Archaeology…
Meet Dr. Roland Sawatzky

Tracking Atlatls in Manitoba

By Kevin Brownlee, past Curator of Archaeology

 

You may ask yourself what is an atlatl? An atlatl is a hunting tool that is in two parts, a dart or very thin spear and a throwing board which is used to propel the dart. In most of North America it was the hunting tool of choice for many thousands of years. Archaeologists often use the size of projectile points as indication of which hunting tool was used. To the best of our knowledge somewhere around 3,000 years before present the bow and arrow was introduced. For about 1,000 years atlatls and bows and arrows were used together. Somewhere around 2,000 years ago the atlatl fell out of favour and the bow and arrow was the main hunting tool. Exceptions to this exist in the arctic and in the southern states and Mesoamerica, where the atlatl continued to be used until European Contact.

An illustration depicting a person through five stages of movement launching a long dart over their head with an atlatl.
A selection of 28 stone spear points of varying colours and sizes on a black background.

The parts of an atlatl are mostly made from perishable materials like wood, hide, and sinew. The most common evidence of the atlatl in Manitoba is midsized stone spear points. While this may be the archaeological interpretation it is almost impossible to know for certain what hunting tool a spear point was attached. Some of these points could have been attached to thrusting spears, or used for other purposes. To positively know what a spear point was attached to you would need excellent preservation of the wood shaft which has not occurred in Manitoba.

 

Image: Stone Spear Points likely used with an atlatl.

Another clue that atlatls were used in Manitoba is the recovery of stone or antler atlatl weights. It appears that these may not have been always used with atlatls since they are uncommon. In the entire 2.5 million artefacts held by The Manitoba Museum only 17 are atlatl weights. In comparison the collection includes over 8,500 projectile points many of which we believe were used with the atlatl.

A long, thin shaft with a handle of leather straps on one end, and a point for a dart to attach for launching at the other end. A flattish stone is attached to the third of the shaft closest to the handle to serve as a counterweight.

Preproduction Atlatl (note stone weight).

Rocket lands in Science Gallery

Did you know that one of the most successful small rocket programs in the world is run from right here in Winnipeg? Magellan Aerospace (formerly Bristol Aerospace) builds the Black Brant series of sounding rockets for customers around the world. Payloads launched by Black Brants have been studying the upper atmosphere and near-space environment for over 50 years, and have even been launched from right here in Manitoba (at the Churchill Rocket Range on the northern coast of Manitoba). So it’s no surprise that we’ve always wanted a real rocket for the Science Gallery. Well, now we have one!

Black Brant 5C Rocket in the Science Gallery.

Magellan has loaned the Manitoba Museum a real Black Brant 5C rocket, and it was delivered and installed in the Science Gallery on February 4, 2013. It was a big job getting the rocket into the building, since even disassembled the main motor case wouldn’t fit into the elevator. A team of engineers from Magellan and Museum staff carried it through the parkade and down the stairs to its final resting place. At 9.5-metres (31′) long and nearly 360 kilograms (800 lbs.), this is the single largest artifact in the Science Gallery.

The Black Brant exhibit will officially open this March, with interpretive panels and video footage of the rocket in action. However, you can see the rocket in place now, in the Science Gallery’s space wing next to the Planetarium entrance.

The Old Museum Lives On

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

 

Winnipeg has a long and complicated history of museums featuring natural history collections. Our current museum was a centennial project, opened in 1970, but we are very fortunate that we possess vestiges of those earlier museums, such as minerals from the Carnegie Library collection and mounted animals from some of the early taxidermists. The most visible and best-documented of these “inheritances” are pieces that were exhibited in the old Manitoba Museum, which occupied part of the Winnipeg Civic Auditorium from 1932 until about 1970.

Black and white image of museum display cases showcasing various Indigenous artifacts, including a kayak.

We have a good record of specimens from the old museum because they were numbered, with the numbers listed in a book. We also have good knowledge of how some of these pieces were exhibited thanks to a set of photographs that are digitally filed at the Museum. I am not certain of the dates of these photos; some seem to be from the 1930s when specific exhibits were being installed, while others are from the 1940s or 1950s and show finished exhibits.

The old museum was not large, but it was clearly a pleasant place to spend an afternoon examining cabinets of archaeological artifacts, First Nations clothing, stuffed birds, and fossils. It was very much a “cabinet of curiosities” of the old school, and a good one. Sometimes when I look at these photos I feel a bit sad, and wish that we had been able to keep that old museum as well as building this newer one.

 

Image: Some of the exhibits at the old Manitoba Museum.

In a way, though, we have kept some of that old Museum, in the specimens and artifacts we inherited. It is intriguing that, even after all this time, many of those fossils are still the best examples we have for particular groups, and several of them are in the Earth History Gallery or have been selected for temporary exhibits. The most obvious of these is our mounted Cretaceous plesiosaur, Trinacromerum kirki.

A black and white image of an old museum gallery showing a plesiosaur fossil on display in the front and centre of the image.

The plesiosaur as exhibited in the old Manitoba Museum after 1937.

A full plesiosaur fossil specimen on display in the Manitoba Museum's Earth History Gallery.

The plesiosaur on exhibit last week.

The plesiosaur fossil (and aquatic dinosaur) on display next to the skull of a mosasaur, with pterosaur, long-beaked flying dinosaur ,models suspended above.

The plesiosaur is now exhibited near a mosasaur skull, with beautiful reconstructions of the pterosaur Nyctosaurus suspended above.

This specimen, collected from the Manitoba Escarpment near Treherne in 1932, was a highlight of the old museum. After several re-mountings (including a more accurate replica skull), it remains a focus of our Earth History Gallery today. Skeletons of large extinct creatures never go out of style, but what other fossils can also be traced to the old museum?

The exhibits there featured some beautiful specimens of cephalopods (relatives of octopus and squid) of Ordovician age (about 450 million years old). Ordovician cephalopods are familiar to many Winnipeggers because cut sections through these fossils are often seen in Tyndall Stone walls. Although the cut fossils are common, complete cephalopods are very rarely found nowadays, because the stone is cut directly out of the quarry walls.

In the early years of quarrying, however, the work was done by hand. Three-dimensional fossils were extracted more commonly, and as a result many of our best large Tyndall Stone fossils come from the old collections. This is particularly striking in the Ancient Seas exhibit, where the finest endocerid cephalopod is one that was on exhibit in the old museum, and where some of the other fossils also came from old collections.

Four oblong specimens against a black background.

Ordovician cephalopods in the old museum. We have all of these specimens in our collection; look at the next photo for another image of the largest one!

A conical fossil specimen of a cephalopod on display in the Earth History Gallery.

The endocerid from the old museum is one of the highlighted specimens in the Ancient Seas exhibit.

Other specimens from the old museum make appearances almost every time we do a temporary exhibit in the Discovery Room, featuring  geology or paleontology pieces. Right at the moment, the cephalopod case in our Marvellous Molluscs exhibit includes a pair of fossils from that source. Looking at the old photographs, I was fascinated to discover that two “old friends” that shared a case in the old museum are right beside one another in this current exhibit!

There is something very pleasing about seeing them together like this, 70 years or so after that previous photo. In this way at least, the old museum lives on.

Five cephalopod specimens against a black background.

A group of Tyndall Stone cephalopods in the old museum. Note the specimens at top right and bottom left.

Five cephalopods on display next to small labels in museum exhibit.

Part of the cephalopod exhibit in Marvellous Molluscs, with the two old museum specimens in front.

A glass display case containing a number of sea fossil specimens.