Lesser Known Manitoba Botanists (Part 1)

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 (read here).

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. 

By Matthew Gowdar, Collections and Conservation Assistant

I was lucky enough to work alongside a group of intelligent and hardworking colleagues, whose passion for museum work was evident from day one. The support and direction I received from both Cindy Colford, Manager of Collections and Conservation, and Roland Sawatsky, Curator of History, was invaluable. I also would like to thank Loren Rudisuela, Carolyn Sirett, Nancy Anderson, Cortney Pachet, and Amelia Fay and numerous other staff members for all the help they provided me over the last few months. The Manitoba Museum truly employs a special group of people.

You may have heard the old adage, attributed to either Napoleon or Frederick the Great, an army travels on its stomach. The saying attests to the importance of military forces being well-provisioned. A healthy food supply is especially critical for those recovering from illness or injury. Military histories rarely document the key role young women, such as dietitian Nora Mary Attree, played during World War II. Recently, Mary Attree’s niece, Janice Attree-Smith, donated a collection of materials documenting Mary’s war-time service.

Mary was born in 1912 in Sapton, Manitoba, to a family with deeps roots in Manitoba. Her great-great grandfather, “Orkney” John Inkster, came to Red River in 1821 in the service of the Hudson’s Bay Company. Mary’s family describes her as a friendly, unassuming woman with a great sense of humour. She was a good listener and someone they could always count on.

Mary attended the University of Manitoba and seems to have made the most of university life. An article in the Winnipeg Free Press mentions that she assisted as the home economics students entertained in the practice house at the tea hour and played interclass basketball that evening. Mary graduated with a BSc in 1931 and won the gold medal in Home Economics in 1931. She went on to post graduate training in Dietetics at Victoria General Hospital and was working in Regina at the opening of WWII.

Image: Nursing Sisters, No. 8 Canadian Military Hospital, Jan. 21, 1942. Mary Attree is in the second row from the front, third from the right. Catalogue Number: H9-38-623.

In the fall of 1940, Mary Attree applied to enlist. In a letter to her parents she said “the experiences in a hospital of that kind, would be invaluable. As you know I do not mind hard work – and heaven knows there will be plenty of that! If I were to accept, it would merely be changing from one position to another, and actually has little or no danger attached to it. Anyway, who wants to touch an irate cook!” She was appointed an officer in the Royal Canadian Army Medical Corps with whom she would serve in Nova Scotia, then England, France, Belgium, and Holland before returning home to Canada to receive her discharge on August 21, 1945.

Lt. Attree served as a dietitian at No. 8 Canadian General hospital where she “supervised the cooking and distribution of food to approximately 25,000 patients, along with the unit personnel” in one ten-month period. In a letter written by Capt. A. H. Ernswell, he described how she took “care of the feeding problems of a 600 bed hospital, personnel and patients under some very trying conditions”. Today, a 600 bed hospital would be the second largest in Manitoba. During her military career Mary Attree received the oak leaf insignia for mention in dispatches and she was awarded the Royal Red Cross Class 2 (ARRC) medal. A generous and loyal friend, Mary forged strong bonds with her fellow nursing staff members – friendships she would retain throughout her life.

L-R: ARRC medal presented to Mary Attree. Catalogue Number: H9-38-616. The medal is awarded to a member of a nursing service who has performed an exceptional act of bravery and devotion at her post of duty.; Court mounted group of miniature format medals, Catalogue Number H9-38-615. ©Manitoba Museum

Sources: Winnipeg Free Press, October 26, 1929, p. 48; Brandon Sun, September 22, 1966, pg. 8; Documents and biographical notes provided by Janice Attree-Smith.

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

We humans are not the only ones who like to dress up; sometimes animals disguise themselves to look like something else, like we do at Hallowe’en. They may be trying to look like something else or it could be a warning. The ecological term for this is mimicry. There are many different types of mimicry, and differing reasons why an animal would try “look” like something else. I was reminded of this recently when I catalogued a clear wing moth that looked like a wasp. Hover flies also resemble bees or wasps to discourage other animals from eating them, as do some butterflies.

L-R: Clear wing butterfly; Catalogue Number: 58510 © Manitoba Museum. Hover fly; from www.pexels.com, Photographed by Anonymous, July 26, 2009; Web; 30 October 2017. Hummingbird butterfly; from www.pexels.com, Photographed by Anonymous, No date; Web; 30 October 2017.

I first learned about mimicry years ago during a summer job when I was collecting information about differing types of moths. Near some flowers was a hover fly fluttering about. The research scientist I was working for told me not to worry, that it wouldn’t sting me because it actually was a moth, and it was there to drink nectar from the flower. I thought that was so cool!

Sometimes bright colours are used by animals to warn possible predators that they contain toxic or bad-tasting chemicals. It’s a bit like wearing a costume to scare you.

L-R: Poisonous coral snake; from Pixabay.com; Photographed by mgrpowerlifting, 13 April 2013; Web, 31 October 2017. Toxic monarch butterfly; from Pixabay.com; Photographed by Yolanda, 27707; 5 July 2009; Web, 30 October, 2017. Toxic monarch larva; from Pixabay.com; Photographed by leoleobobeo; 24 September 2017; Web, 30 October, 2017.

And other animals may adopt these bright colours pretending to be toxic, when they actually are not! The king snake lives in areas where the coral snake occurs, and looks very similar to the coral snake. It takes advantage of the coral snake’s warning colouration.

Non-poisonous king snake; from www.pexels.com, Photographed by Anonymous, No date; Web; 30 October 2017.

Stick insects are not dangerous to humans, but many are predators of other insects. They have evolved an appearance that looks just like a twig. They remain very still, and if an unsuspecting insect wanders too close, they grab it and eat it! There are even some other insects that look just like leaves!

L-R: Stick insect photo; from Pixabay.com; Photographed by Mark Jordahl; 19 July, 2017; Web, 30 October, 2017. Green cockroach; from Pixabay.com; Photographed by Josch13; 30 July 2013; Web, 30 October, 2017.

Our human history collection is full of special objects, highlighting significant points in Manitoba’s past –like Cuthbert Grant’s medicine chest or the replica of the Nonsuch. Yet we also make a point of collecting objects that represent everyday life in Manitoba – cans of soup, well-loved toys, and farming implements. These mundane objects surprise people, since most of us consider objects we use routinely to have little historical value. Then there are objects that baffle even the seasoned museologist, begging questions like what and, most importantly, why?

Early in my days working with the human history collection, I was searching for a medical-related artifact in an area of our storage room rife with old medicine and surgical tools. I pulled an unlabeled box off a high shelf to have a look inside and was shocked to find it full of dentures –it gave me quite a start. I wish I could say it was the only time that box of dentures had scared me.

The previous artifacts are odd, true, but everyone knows that teeth are needed for chewing and enunciating and everyone loves a good laugh, but this artifact can turn stomachs and bewilder minds better than no other.

During the Victorian era, the popularity of jewellery made of human hair saw a definite rise. Hair would be collected from a loved one and woven into intricate patterns to make bracelets, brooches, earrings and necklaces. Wearing mourning jewellery fabricated from the hair of deceased relatives was common amongst Victorian women. People also made wreaths from human hair to display on their walls, often taking hair from multiple family members to complete a single wreath.

This example was made in Ontario by Mary Jane McKague and brought to Manitoba in 1881, first to Emerson by train and then transported by ox cart to the community of Coulter south of Melita where Mary Jane and her husband John homesteaded. Mary Jane died in childbirth delivering her sixth and final child in 1895. Her wreath was carefully kept by her eldest daughter and later three of her granddaughters before they donated it to the Manitoba Museum in 1985. It is one of several examples of Victorian hair art and jewellery in our collection. Even if the thought of handling human hair is unsettling, these objects are an important part of our understanding of 19^th century society, fashion and the Victorian mourning process.

What commonplace objects that we think nothing of today will give pause to museum collectors of the future? Only time will tell!