NatSCA Digital Digest – November

Written by Sam Barnett, NatSCA Volunteer and PubSci Committee Member

Welcome one and all to the November installment of the NatSCA Digest. First of all, I hope you’re all enjoying the #Museum30 social media event, which runs throughout November on Twitter. It’s not too late to get involved with it, check out the list here:

The Museum 30 list is compiled by Museum Studies and Archaeology student Gracie Price.

First, an Announcement

It’s that special time of year again when NatSCA release their Call for Papers for next year’s NatSCA Conference. Due to be held in May 2019, the conference will be exploring themes under the banner Collections Success. You have until the 4th of January to submit your abstract, and can find the full details here – we can’t wait to see what you come up with for us next year!

Where Should I Work?

Part-time, fixed-term Documentation Assistant, at Oxford University Museum of Natural History. Deadline; 12.30pm on 12th November.

Education Assistant, at National Museum of Ireland. Deadline; 5pm on 12th November.

21 months, fixed-term Project Officer – Freshwater Snails, at National Museum Cardiff. Deadline; 5pm on 16th November.

Full-time (possibility of part-time if preferred), permanent Head of Collections, at Oxford University Museum of Natural History. Deadline at 12pm on 19th November.

What’s Going on?

Wildlife Photographer of the Year has opened up at the Natural History Museum, London. There are some terrific entries this year, see if you can spot my favourite (I’ll give you a hint: it features two birds from the Galapagos).

This week’s PubSci talk was a fascinating journey into the deep sea with James Maclaine; fish curator at the Natural History Museum, London. He introduced us to fish that most of us had never heard of and some recipes most of us wouldn’t want to try (think Hagfish slime as egg white substitute). James was involved in the NHM’s Life in the Dark exhibition and is the one to thank for the blind Mexican cave fish swimming about in there.

Last, Another Announcement!

Finally, I’d like to wish Bethany Palumbo all the best as she moves from the Oxford Museum of Natural History to starting her own business as a Freelance Conservator. You’ve seen what she can do, people – let’s make sure everyone else does too.

Collectors, Collections and the Geology of SW Britain – A View from the Audience

Written by Nadine Gabriel, a recent UCL geology graduate and an emerging museum professional.

This article is a joint paper for the Geological Curators’ Group and the Natural Sciences Collections Association, and has subsequently been published on both blogs.

On the 18th September 2018, I attended the Collectors, Collections and the Geology of Southwest Britain meeting. This joint meeting between the Geological Curators’ Group (GCG) and the History of Geology Group (HoGG) was held at the Bath Royal Literary and Scientific Institution (BRLSI), and it was also my first ever GCG event! If you have an interest in British geology, you probably know that the southwest of Britain has amazing geology, but this meeting – with around 80 attendees – also looked at the people who have dedicated their lives to exploring this geologically diverse region.

The day started off with a keynote speech from Steve Etches who spent over 35 years collecting fossils from the Jurassic Kimmeridge Clay deposits of southwest England. His collection of over 2,300 fossils found an exciting new home in 2016; the Etches Collection museum in Kimmeridge, Dorset. It was interesting to find out about the difficulties associated with starting a museum from scratch, but despite the initial challenges, the museum looks incredible and is filled with a diverse array of scientifically important specimens.

Many of the talks focused on the enthusiastic collectors of the southwest. My favourite story was about Charles Moore (1815-1881), a palaeontologist from Ilminster, Somerset. In 1858, he purchased three tonnes of gravel from Holwell, Somerset for 55 shillings. This massive purchase turned out to be filled with Rhaetian (208.5 to 201.3 million years old) fish, mammal and reptile fossils. Moore also collected fossils from the Lower Jurassic limestone of Strawberry Bank in Ilminster, and these fossils are now cared for by our hosts, the BRLSI. During the coffee break, Matt Williams (the BRLSI collections manger) showed us a selection of Moore’s stunning fossils.

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Harry Higginson: Distributing Dodos in the 1860s

Written by Clare Brown, Curator of Natural Science, Leeds Museums and Galleries.

Curators are often asked to name their favourite object. I’ve got loads and swap between them all the time: the adult longhorn beetle that emerged from someone’s wooden sofa after a few years of chewing, our thylacine mount, the dude-y little rock hyrax with attitude, the Peruvian “mummy’s eyes” (read squid lenses), that gorgeous La Brea tar pits water beetle… My favourites at the moment are our dodo bones. Yes they’re dodo bones and so, obviously, are amazing but the story behind how Leeds came to have them is wonderful too.

It all started in 1838 in Thormanby near York where little Harry Higginson was born. He progressed through school in Leicester and an apprenticeship in Manchester to a railway construction job in Mauritius in 1862. Harry’s completely brilliant ‘Reminiscences of Life and Travel‘ is a great read. It’s packed full of amazing 19th century colonial derring-do from out-galloping the monsoon in a gorge to unbelievable childcare practices (burying them up to their necks in sand) to feeding a friend a dead – and extremely tough – donkey ‘as a lark’. It is in this book that Harry describes the moment when the dodo story gets more interesting:

Shortly before the completion of the railway I was walking along the embankment one morning, when I noticed some [locals] removing some peat soil from a small morass. They were separating and placing into heaps, a number of bones, of various sorts, among the debris. I stopped and examined them, as they appeared to belong to birds and reptiles, and we had always been on the lookout for bones of the then mythical Dodo. So I filled my pocket with the most promising ones for further examination.

And guess what? They were dodo bones and Higginson then kindly sent a box full to York, Liverpool and Leeds Museums. We all still have them.

This beautiful watercolour of a dodo dates back to the 17th Century. During this period, ‘dronte’ (as seen in the image) was the word used in Dutch, French and Italian for the dodo. © Image in public domain.

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NatSCA Digital Digest – October

Compiled by Dr Emma Nicholls, Deputy Keeper of Natural History at the Horniman Museum and Gardens.

What Should I Read?

You may or may not own/have heard of ‘Dinosaurs, How They Lived and Evolved‘ by Dr Darren Naish and Dr Paul Barrett, but either way the good news is there’s now a literally-just-released-second-edition, which is the most up to date a (printed) book can possibly be really. There is a lot of talk about it already but my tuppence is- I have a copy and it’s brilliant. That description fully extends to the captivating cover art by Bob Nicholls of Paleocreations, featuring a hungry Tianyulong (that’s a dinosaur, in case you weren’t sure).

I came across a charming article about getting children into natural sciences recently called ‘Kids and caterpillars: Fostering a child’s interest in nature by rearing Lepidoptera (moth and butterfly) larvae‘. I’m not suggesting we all go out and start rearing leps, but in an age where human lives are ruled by technology, it’s a beautiful story and heart warming example of an intra-familial cross-generational citizen science project by an Assistant Curator at the Carnegie Museum of Natural History and his son.

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Crochetdermy® at the Horniman

Written by Dr Emma Nicholls, Deputy Keeper of Natural History at the Horniman Museum and Gardens.

We all have our hobbies, though some are definitely more gloat-worthy than others. Personally, I do have some respectable things on my list like visiting other natural history collections and reading history books, but then I also have less conventional interests like attending Destination Star Trek, and building model WWII airplanes. Whatever makes you happy, I say! Last Christmas I got a new hobby- I was given a Star Wars crochet set and, having wiled away the cold winter nights using it to learn how to knot wool into shapes*, I used my new found ‘skills’ to make this awesome, if far from perfect, crochet Yoda for my sister’s birthday. I was pretty chuffed with myself to be frank**, but if you happen to know my sister, don’t look at Yoda’s cloak too closely next time you pop round to see her.

My first crochet project; A little Yoda for my sister. © Emma Nicholls.

It is through the eyes of someone with this specific level of skill (loose term in my case) that I introduce you with awe to the new installation in the Inspired by Nature temporary exhibition space at the Horniman Museum and Gardens. When I first saw the lioness peering out over the Natural History Gallery, I let out an audible and involuntary ‘wow’. The exhibition, by artist Shauna Richardson, is called EVOLUTION of The Artist and the Exhibited Works. The exhibition comprises seven 3-dimensional sculptures, and one ‘skin’; a baboon that hasn’t been stuffed in order to show, in part, the process of how her sculptures have been created. Shauna devised the term ‘Crochetdermy®’ as an obvious yet genius amalgamation of the words ‘crochet’ and ‘taxidermy’ to describe her sculptures, which it does really rather well I’d say. The skill required to produce these life-size pieces, speaking from the bottom rung of the crochet skill set ladder, is phenomenal (and I think people on much higher steps than I would have to agree). You can see the muscles in the lioness’s neck, the facial features are as realistic as you like, and the size and impact of the pieces on the visitors is obvious, whenever I walk past.

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NatSCA Digital Digest – September

Lost Treasures- A Statement from the Chair

Dear all,

As most of you will no doubt be aware, the National Museum of Brazil in Rio de Janeiro, suffered a catastrophic fire that started in the evening of 2nd September 2018. Fortunately no people were killed in the blaze, but the majority of the collections housed in the building are thought to be lost. While the cause of the fire is still as yet uncertain, a significant proportion of the blame for the devastation caused has fallen on the Brazilian government, due to ongoing under-investment in the Museum’s infrastructure. This serves as a stark warning of the dangers faced by museums with inadequate support.

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Nature’s Empire

Opportunities for international research are rare when working in a regional museum. So when one arose I grabbed it with both hands.

Thanks to two external specialists, Martyn Rix and Henry Noltie (of Royal Botanic Gardens, Kew and Edinburgh respectively), we already knew that a group of 86 beautiful Indian paintings of plants and animals in RAMM’s collection were important. The works were painted by Indian artists under the instruction of European scientists while India was under British rule.  They also recognised that the plants depicted were economically useful for medicines, dyes and timbers. So in 2016 RAMM displayed half of the works in an exhibition called Flower Power – Botanical Drawings from India. The artworks were all conserved through funding from Arts Council England’s PRISM fund, as outlined in this article Preparing for Flower Power.

Sheah Gosh. Watercolour and gouache, c.1770-80 by an unknown artist. Cresswell collection. © 2018 Royal Albert Memorial Museum & Art Gallery, Exeter City Council. This depiction of a lynx is by an unknown artist. In Urdu it is known as ‘siyah gosh’ meaning ‘black-eared’. The animal was probably kept in a menagerie.

The collection caught the attention of two University of Exeter lecturers, Dr Nandini Chatterjee and Dr Andrew Rudd, as well as Dr Jayanta Sengupta; a visiting curator from India. I explained that although we had learnt a lot about the collection already, there was still much we did not know. Such as:

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