Some Buggy's Watching Me

Some Buggy’s Watching Me

One of my favorite photographs is the one of a young chimpanzee reaching out to touch Jane Goodall’s face. This photograph was taken many months after Jane has started quietly and patiently observing the chimpanzees. Eventually her patience paid off and the chimps felt safe enough to make contact. I love the idea of being so close to nature that nature wants to touch you back.

Last month I had a wildlife encounter of the entomological kind. I was in Spruce Woods Provincial Park to observe the insect pollinators of the rare Hairy Prairie Clover (Dalea villosa) plant. Like Jane, I found that that the best way to ensure good observations was to simply sit down, keep still and shut up. Movement, especially sudden ones, and noise frightens the insects away. Fortunately for me it doesn’t take months for insects to become accustomed to you. After a few minutes of sitting still all sorts of marvelous insects the like of which I’ve never seen before were swarming over the plants.

The side of a sandy dune with green grass growing up to it.

The location of one of my research plots in Spruce Woods Provincial Park.

A small insect on a fluffy purple flower.

A bee fly pollinating Hairy Prairie Clover.

As it turns out I wasn’t the only creature interested in observing strange animals.  I was the subject of much curiosity by my backbone-challenged subjects. A long-legged wasp investigated my camera bag. Then, a shiny copper bug landed on my hand and probed me with its proboscis. A grasshopper jumped on my shoe and began delicately nibbling one of my laces. A large cicada landed on my hip with a loud thump to check me out. But the most thrilling moment was when a beautiful black butterfly landed on my wrist and started licking me to get the salts in my sweat. It tickled and I giggled. Then I sobered and got a bit teary: this lovely creature trusted me enough to make contact so that it could obtain something it needed to survive.

A close up on a large insect, a cicada, on the knee of light-coloured pants.

A curious cicada thoroughly examined my leg!

A light-winged butterfly on an elongated purple flower.

Butterflies in the park fed on nectar and my sweat!

Read any scientific paper and you are presented with cold, hard facts and stoic observations. Emotions do not belong in scientific journals. Conclusions are restricted to what the data can tell you. Scientists are trained to do this but it gives the public a distorted perception of what we are really like. I don’t know any field biologists that don’t love nature, and haven’t been deeply and profoundly moved by what they’ve seen. Jane Goodall learned something a long time ago: just as the animals being observed are changed by their experience, so is the observer. In observing nature, you grow to love it and are compelled to help save it because you see the truth of our reality: we are all connected, and in losing a species we lose a part of ourselves.

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

Door to Door – A Collecting Trip

By Kathy Nanowin, past Manager of Conservation

The Manitoba Museum recently acquired a number of objects that add to an existing collection. The Wilson family collection of bottles and crocks is an extensive one, with over 1600 artifacts. The Wilsons contacted the Museum with an offer to donate a related collection of ceramic footwarmers and various Medalta ware. Curator Roland Sawatzky recommended we accept the offered items; the subject went to our Collection Committee, which approved it on the curator’s recommendation. Follow us now through the process of preparing for and completing the acquisition.

Photo of a mini van with the side door open, and file storage boxes stacked in the back of the van.

Preparation

 

We had been provided a list of items. Knowing the number was roughly 150, with 49 of those being ceramic footwarmers, I collected 35 “Banker’s box” size boxes. An intern, Megan Narvey, cut pieces of foam for packing and placed them in every box. She also cut up some extra bubble wrap for packing.

Two ceramic footwarmers wrapped in bubble wraps in a box.

Pickup

Three people were involved in the pickup: Curator Andrea Dyck (Contemporary Cultures and Immigration), acting for Roland, who was undertaking fieldwork; Nancy Anderson, Collections Assistant, Human History; and Megan Narvey, Collections and Conservation intern. We rented a minivan, and all the boxes fit into the back. Arriving at the donor’s house, the empty boxes were brought in, and packing proceeded. Luckily, all the objects were stored on shelves in one area in the basement, which made packing faster. The boxes were then loaded into the van, and staff returned to the Museum. The Deed of Gift forms had been signed at the house, so the objects were legally ours to take.

 

Image: Footwarmers packed in box.

Unloading and Unpacking

The boxes were put onto carts and brought into the Museum, into the elevator and up to the sixth floor History Lab.

A variety of Medalta pottery items including jars, bowls, and pitchers, arranged across two tables in a museum storage room.

Here is the Medalta ware unpacked in the History lab.

A few dozen Medalta pottery footwarmers - tube-shaped containers with blunt ends and a cork like stopper in the middle.

The footwarmers in the lab.

Next Steps

With all items removed from boxes, the next step is to process them. Each must be assigned a catalogue number and entered into the collection database. They also must be physically numbered, catalogued, photographed, and condition reported, before being put into their permanent storage location.

More than meets the eye

The actual collection trip took approximately a half day. However, the preparation took about the same amount of time, and the next steps will be far more time-consuming. With cataloguing and condition reporting, many entries can be cut and pasted, and the conservators can use a checklist to speed the process; however, I still anticipate that the processing of these 150 or so objects will take person-hours adding up to weeks of work!

Unless you work in a museum, most likely you have no idea of the details involved in collections work. The steps I’ve described are required for all new acquisitions. This is a glimpse into the day to day tasks the Collections and Conservation department staff tackle, although it’s just one part of what we do.

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!

Harry Finnigan

Harry Finnigan, founder and principal of McKay Finnigan and Associates in Winnipeg, is recognized internationally as a leader in downtown revitalization.

Born and raised in Winnipeg’s inner city, he has extensive experience in community economic development, policy development, urban and regional planning, and project management.

Harry overcame initial adversities in Winnipeg’s inner city with his steadfast educational development, culminating in a Masters of City planning from the University of Manitoba. Harry used his knowledge to unlock the potential in the Winnipeg downtown core area for the enrichment of all its residents.

Harry’s continued legacy of community development can be seen in the oil capital of Edmonton, America’s most livable city Pittsburg PA, and even the Republic of Botswana. In the early 90’s he was instrumental in developing the Downtown Winnipeg Business Improvement Zone which we now know as the Downtown Winnipeg Biz. During his tenure as Director of the City of Winnipeg, Planning, Property and Development Department he played a pivotal role in the development of downtown’s new residential neighborhood “Waterfront Drive”.  

Harry is currently channeling his drive and experience into his own highly successful consulting firm, providing community enrichment where it’s needed most. Being a donor to The Manitoba Museum since 2004 and a Museum Tribute supporter, Harry also officially adopted the first artifact from the Museum’s Adopt an Artefact program.

Harry is continuing in the altruism that has governed his professional life by sharing a very unique and personal artifact and Heirloom from the famous Sitting Bull. This unique treasure was presented to Harry’s Grandmother Ellen Inkster as a gift by Sitting Bull himself in thanks for her kindness to him.

As seen in the June issue of Features Online:

An open mounted necklace with numerous bear claws lining it.

Sitting Bull’s Bear Claw Necklace  –  An interesting memoire of a local man’s family history and their connection to Sitting Bull and a precious artefact on permanent display within The Manitoba Museum.

Following the battle of Little Big Horn in 1876, Sitting Bull led many of his people to safety within the Hudson Bay Company’s territory to the north, Rupertsland. Protected under the authority of Queen Victoria, and specifically the Northwest Mounted Police, he spent quite some time around FortQu’Appelle, in what is now part of Saskatchewan. That’s where he met my grandmother, Ellen Arabella Inkster, and my grandfather, Henry McKay.

Yes, I did say “grandmother” and “grandfather”! In some ways I’ve jumped a few generations as my grandfather was 47 years old when my father, Reginald Harold Stanley McKay, was born in 1903, and my father was 47 years old when I was born in 1950. It seems odd to be able to note that when my grandparents got married at Ft.Ellicein August, 1881, Sir Sam Steele, an historic figure in our country’s history, and then head of the North West Mounted Police, served as best man at their wedding.

In the 1960’s, my father wrote a short paper about the McKay family and their deep roots to the history of Western Canada. In it he mentioned that his father “soon learned to converse in the Sioux tongue and Sitting Bull told him much of his life story in the Northwestern States during those turbulent days. He presented my mother with his necklace of Grizzly Bear Claws, a symbol of authority only reserved for chiefs of high rank. In turn, my mother gave this relic to her uncle Sheriff Colin Inkster and at present I believe this is seen periodically in a glass case in the Winnipeg Civic Auditorium Museum”.

There are a few stories within the McKay family which have been passed down over the years about Sitting Bull’s necklace. They all affirm that it was given as a gift by Sitting Bull himself. One story has our grandmother sitting in the general store at Ft. Ellice when Sitting Bull walked in. She noticed the poor shape that his shoes were in so she offered him a pair of moccasins which she had made. He then gave her the necklace in appreciation of her gift. Another story suggests that the necklace was given by Sitting Bull as a gift for my grandparent’s wedding.

As chance would have it, in the early 1990’s I was invited to a small luncheon the purpose of which was to brainstorm ideas on how funds could be raised in support of The Manitoba Museum (then known as The Manitoba Museum of Man and Nature). Following the luncheon I mentioned to the then Director, that while through my family I was aware of a grizzly bear claw necklace in the Museum’s collection, I never had the opportunity to actually see it. I was encouraged to make arrangements to view the necklace through the Curator of the Native Ethnology Department at the Museum.

The viewing was organized for later that summer. I was joined by my sister Roberta McGillivary, her son Clifford, my wife Elvira, our son Shaun, and our friend (and photographer) Bill Eakin. We all followed up to the 3rd floor where the necklace was being kept in storage.

The white box containing the necklace was opened and voila – there it was! Roberta exclaimed: “That’s it, that’s it. I’ve heard so much about it! Can I try it on?” I turned to her and said: “Roberta, it’s a precious artifact, and this is a museum!” However, to my surprise the curator lifted the necklace from the box and gently placed it around Roberta’s neck. I immediately had this vision, or strange sense of a special moment from long ago – of Sitting Bull placing his necklace on my grandmother, Ellen Inkster. It was a powerful feeling and hard to explain.

Displayed below is the photograph of my sister Roberta wearing the bear claw necklace. After the meeting, I provided the curator with my father’s paper on the McKay family, as well as a few old newspaper clippings and other documents connecting Henry McKay with Sitting Bull reinforcing our interesting family history and connection of Western Canada.

“Every time I visit the Manitoba Museum, I make a point of going to the Parklands/Mixed Woods exhibit, where Sitting Bull’s Bear Claw Necklace is on permanent display. I am reminded of my grandmother and her connection to the iconic Aboriginal leader, Sitting Bull; and I think fondly of my sister Roberta who passed away on January 2, 2011. I am pleased to have been able to adopt this priceless artefact in her memory.”

Harry H. McKay Finnigan

Monarchs ate our Milkweeds (but that’s OK!)

Recently the Manitoba Centennial Centre renovated Steinkopf Garden (the area between the Concert Hall and the Museum). I was part of the consultation process with the landscape architect company Hilderman Thomas Frank and Cram. I suggested including some native plant species in the garden since that way we could potentially use the area for programming. The architects were willing to do so, having used native species successfully in the past. One of the plants I suggested was a species of milkweed (Asclepias ovalifolia) since I thought it would help to attract Monarch butterflies (Danus plexippus). So one of the raised flower beds was planted with 44 Dwarf Milkweed plants last fall.

I went for a walk through the garden recently and was absolutely astounded. Not only were Monarch butterflies attracted to the plants, they outnumbered them! I counted 73 monarch caterpillars crawling around! Some were big and fat, and others still just little babies. And they were eating like mad. In fact they had eaten almost every single plant down to the veins. You’d think that being a botanist this would bother me but monarchs are just too cute to stay mad at!

Close up on a small plant with clustered white flowers at the top.

Dwarf Milkweed was planted in Steinkopf Garden last fall.

A Monarch caterpillar, a yellow, black and white striped caterpillar, on a green leaf near small pink-purple flower buds.

A face you just can’t stay mad at (or is that its bum?).

My astonishment soon gave way to concern. The big, fat monarch caterpillars might be able to successfully enter the pupal stage and become butterflies but I was afraid that the little ones would starve. I decided to rescue a few of them and put them on the milkweeds that I grow in my backyard. Shortly after transplanting them they were happily (at least I assume they were happy but you never really know do you?) munching my milkweeds. I also contacted the other staff at the Museum to see if they could rescue a few as well.

The Museum staff came through with flying colours, relocating just about every single caterpillar to backyards, and community and public gardens. Apparently this abundance of Monarchs is happening all over North America with unusually large numbers of butterflies seen in Canada (Click for Winnipeg Free Press article). Growing milkweeds in your yard is a great way to help save these beautiful creatures from extinction. Plus you get to enjoy watching some of the loveliest insects in Manitoba!

Close-up on at least five striped monarch caterpillars eating from a small milkweed plant.

Those Monarchs were very hungry!

An orange and black monarch butterfly on a bright yellow sunflower in front of a blue sky.

Monarch butterfly on a sunflower.

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

The Red River Fiddle

In our new exhibit, “The Selkirk Settlement: 200 Years”, we feature a violin with a unique and travelled history. It was made around 1800 in London, England, in the shop of John Betts. Pierre Bruce, a Scottish man who joined Selkirk’s colony acquired it (probably in Scotland) and brought the violin with him when he settled in Red River in 1815. Pierre was the “unofficial dance master” of the Red River, leading music and dancing at local festivities. The violin was handed down through successive Bruce generations, until it was donated to The Manitoba Museum in 1991 by the Bruce family.

The Selkirk Settlement was the brainchild of the Earl of Selkirk, who wanted to re-settle dispossessed Scottish farmers in North America. He was granted a large portion of Hudson Bay Company land holdings in 1811 known as “Assiniboia”, and planned to ship settlers to the Red River area to begin a colony of farmers. However, the people who already lived in the region were not consulted about this development, and for the first ten years of the Selkirk Settlement, political conflict was even more disruptive than the initial disastrous attempts at farming. The Red River area was inhabited by Assiniboine, Métis, and Ojibwe people, as well as HBC and North West company traders, all of whom had their own interests, alliances, and conflicts. Nevertheless, the various groups did eventually co-exist peacefully (well, at least until 1870). I like to think that perhaps the dances led by Pierre Bruce and his fiddle went some way to bringing people together.

A violin laid on its side against a cream coloured background.

About the violin: The violin was made between 1795 and 1805 by the John Betts shop, Royal Exchange, London, England. The back is formed of two pieces of maple, quarter cut, and the interior ribs and scroll are also maple. The front is made of two pieces of spruce. The varnish is golden orange-brown in colour over a pale brown ground.  The violin was repaired in 1910 by renowned Scottish violin maker John Smith (1859-1941), who was at the time living and working at 617 Furby St., Winnipeg.

 

Image: The Pierre Bruce Violin, circa 1800

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

Eatin’ Weeds

As the Museum’s botanist it is important for me to know not just how to identify plants but also how people traditionally and contemporarily use wild and weedy plants. Although I am familiar with the edible fruit and nut plants of the prairies (and am quite enthusiastic about eating them!), I have been less inclined to try the edible wild greens. The main reason behind my reluctance had to do with the fact that I wasn’t quite sure when and how to harvest and prepare said greens.  When I heard that an acquaintance of mine, Laura Reeves, offered workshops on how to prepare and eat wild edible plants (amusingly called “you can eat that?”), I determined that it would be beneficial for me to get some first-hand instruction.

One of the plants with a wide variety of uses is cattail (Typha spp.). First Nations traditionally ate cattails, which are also an important food source for animals like muskrats and geese. Our morning began by removing and munching on a few cattail shoots, which were crunchy yet tender and reminiscent of cucumber. We then proceeded to carefully dug up a few roots which we later washed to remove the starch; the wet starch was used later to make cattail pancakes. Cattail pollen can also be used as “flour” and the green flower heads (which we couldn’t try because there weren’t any yet) can apparently be eaten like corn on the cob.

Closely growing cattails in a dip in the ground.

Cattails were traditionally eaten by First Nations peoples.

An individual holding a handful of plucked cattail roots over a white plastic bucket.

Laura Reeves holding a cattail root.

We went on to harvest the roots of burdock (Arctium lappa), sweet cicely (Osmorhiza claytoni), caraway (Carum carvi), and dandelion (Taraxacum officinale), the spring shoots of milkweed (Asclepias syriaca), the leaves of basswood (Tilia americana), stinging nettle (Urtica dioica), lamb’s quarter’s (Chenopodium album), maple-leaf goosefoot (Chenopodium simplex), and stinkweed (Thlaspi arvensis), and the flowers of caragana (Caragana arborescens). With our buckets full of wild plants we went on to wash, rub, scrape, chop, roast, boil, steam, and bake our plants into a delicious meal of:

  • Stinging nettle, goosefoot and fiddlehead soup;
  • Wild mesclun (featuring lamb’s-quarters and basswood leaves with stinkweed and Caragana flower garnish);
  • Wild rice with morels;
  • Curried chickpeas with cattail stamens and lamb’s-quarters;
  • Steamed milkweed shoots;
  • Boiled caraway roots; and
  • Burdock root with vinegar sauce.

Dessert included:

  • Dandelion flower fritters with sweet cicely honey;
  • Cattail pancakes with Manitoba maple syrup;
  • Vegan dandelion root and wild spearmint cake; and
  • Sweet cicely tea.

Clockwise from top: cattail pancakes, wild mesclun, milkweed shoots, caraway roots, curried chickpeas and cattails, dandelion fritters, wild rice and morels.

A reddish wicker basket with a handful of light-coloured dandelion roots in the bottom.

One of the most interesting things I discovered was how nutritious wild greens are compared to some domestic ones. Blanched stinging nettle leaves (which can be eaten or used like cooked spinach) have a whopping 481 mg of calcium per 100 g compared to spinach with only 99 mg, Swiss chard with 57 mg, and iceberg lettuce with a paltry 18 mg! Dandelion greens have 3.1 mg of iron per 100g but celery only 0.2 mg. Clearly, regularly consuming wild greens can result in a much healthier diet.

In an earlier blog I talked about the virtues of the common dandelion plant. Although I mentioned in that blog that the roots are edible, I had never actually eaten them myself until I took this workshop. Not only did I try (and really enjoy) a mug of dandelion root tea, but I baked the roasted dandelion root cake and fried the dandelion flower fritters that we ate for dessert. Just the other day I harvested some of the dandelions in my own yard to make a nice herbal tea for the winter months (I’m going to add some cinnamon sticks and dried ginger to the mix as well). So now I’m better prepared to answer questions about what wild plants taste like, and eager to incorporate some of what I’ve learned into Museum programs and exhibits.

Basket of washed dandelion roots ready for roasting.

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

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).

Planning the North American Prairie Conference

For the last several months I have been helping to organize the 23rd North American Prairie Conference (NAPC) (click here for conference details) which will be held at the University of Manitoba from August 6-10. This is first time that this conference has been held in western Canada (it is usually held in the mid to western U.S.). I’m looking forward to learning more about prairie conservation and restoration initiatives from other Canadians  as well as our American neighbours. This conference will feature a number of prominent prairie enthusiasts including Canadian authors Sharon Butala and Candace Savage as well as Dr. Wes Jackson from the Land Institute in Kansas and Dr. David Young from the Natural Resources Institute in Winnipeg. Ojibway elder David Daniels will be talking about Canada’s native plants and their traditional use.

A panoramic photograph of the iconic bison diorama in the Manitoba Museum. Four taxidermized bison are posed running as a rider on horseback holding a rifle chases after them. The mural behind depicts a full herd with more riders in pursuit.

The conference banquet will be at the Manitoba Museum.

A bull elk is situated in a parkland habitat full of grasses, herbs, shrubs and trembling aspen trees in the fall at the Birdtail Valley in Riding Mountain National Park.

The Manitoba Museum will be hosting the NAPC conference banquet on August 9. Rather than a typical sit down dinner, attendees will be able to graze their way through the Museum’s galleries while socializing and interacting with interpreters and yours truly. I will be presenting some of the findings on my recent pollination and rare plant research as well as leading the conference tours to Spruce Woods Provincial Park and Riding Mountain National Park. The former Curator of Botany, Dr. Karen Johnson, will be leading the pre-conference field trip to the Northern Studies Centre in Churchill, Manitoba where participants will learn more about the wildflowers and whales in the region.

 

Image: The post conference field trip will go to Riding Mountain National Park, a spot where the prairie meets the forest.

Conferences like this provide a great opportunity for professionals to meet and exchange information that will assist with their work. But it is also a chance for people who are just concerned about prairie conservation to learn more about these beautiful and intricate habitats that are now almost gone. Hope to see you there!

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

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!