Brendel Plant Model Survey

Written by Donna Young, Curator of Herbarium, World Museum, National Museums Liverpool

Inspired by the project led by the Corning Museum of Glass, which looked at holdings of Blaschka models, I am embarking on a project to map and document collections of Brendel botanical models worldwide.

The objective of this project is not only to provide a useful resource to be used in the curation of anatomical models, but to document their past and present use – promoting and bringing awareness of these collections to new audiences.

Brendel model Papaver rhoeas
© National Museums Liverpool, World Museum

Anatomical Models

The nineteenth century was the golden age of scientific discovery, and as the century progressed, the teaching of science in schools, academies and museums evolved to reach a new mass public audience. Science was no longer the exclusive preserve of an elite few.

Changing teaching techniques promoted this transformation and pedagogical inquiry was seen as a constructive and involved way of learning. The written and spoken word was supported by the use of visually instructive wall charts and classroom demonstrations. The introduction of interactive teaching models encouraged audiences to understand nature using new and original perspectives.

Botanical models were used to illustrate and demonstrate plant anatomy. Unlike living material, their use was not restricted by seasonal availability and they were ideal for demonstrating small or ephemeral details which are difficult to preserve.

In 1827 Louis Auzoux established his workshop in France, manufacturing human and veterinary anatomical models from papier-mâché. The company also produced botanical models, which were widely distributed to universities and schools in France, particularly to support the expansion in teaching agricultural science.

Brendel model Centaurea cyanus ‘dissected’
© National Museums Liverpool, World Museum

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The Dead and the Living: Natural History’s Two Key Pillars in New Art Exhibition

Written by Jack Ashby, Manager of the University Museum of Zoology, Cambridge, and curator of ‘Evolution as Inspiration’

Over the past year, I’ve been working with one of the world’s leading naturalists, Jonathan Kingdon, to produce an exhibition of his artworks, entitled Evolution as Inspiration. Translating his science through his art, Kingdon has sought to explore and explain the how’s of why’s of animal appearances.

Beaks as Flags (detail), 2010. Jonathan Kingdon

Although it is an art exhibition of ceramics, sculpture, paintings and drawings, in several senses a natural history museum like ours is the perfect place for this show. Evolution as Inspiration is arranged in two parts. One focusses on the drawings Kingdon made whilst dissecting animal carcasses as he sought to document and understand the adaptations beneath the skin; the other explores his scientific analysis of the evolution of animal signalling and colouration, resulting from decades of observing the behaviours of wild animals.

These two elements of Kingdon’s work reflect two central pillars of natural history: what we can learn from dead specimens is very different to what we can understand by watching live animals in the field. These dual strands of zoological research are also embodied by the history of our collections, and by the people who work and study here in the Museum, in the University of Cambridge’s Department of Zoology in which we are embedded, and in the Cambridge Conservation Initiative (CCI) with whom we worked with to co-curate this exhibition.

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NatSCA Digital Digest – July

Compiled by Jan Freedman, Curator of Natural History, Plymouth Museums Galleries Archives.

Welcome to the July edition of NatSCA Digital Digest.

Where Should I Go?

Dippy is in Newcastle over the summer, so if you haven’t seen this iconic cast, pop on over!

A nice exhibition is on at the Cambridge University Museum of Zoology, Evolution as Inspiration. A mixture of artworks and natural history specimens look at how animals have evolved visual cues.

What Should I Read?

There’s a new book coming out on Britain’s lost ice age giants. The Missing Lynx: The Past and Future of Britain’s lost mammals is out on 11th July. Written by the co-creator of Twilight Beasts, this book explores the history of some of our amazing large mammals that once roamed Britain. Rewilding, ancient DNA, cave fossils and more – it’s a fabulous book (I’ve had a sneak peak!). And well worth one for the reading list!

Six North Atlantic Right Whales have been found dead in the last 3 months. With just 400 individuals left in the world, this species is highly threatened. In museums we are in a unique position to help highlight species at risk, so if you have any North Atlantic Right Whale specimens on display, lets update our labels! Read about it here.

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Brexit and the Customs Union: The Practical Impact on Museums

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

Who knows where you are and when you are reading this and so this blog comes with a few provisos:

  • Really importantly this is NOT LEGAL ADVICE OR NOTICE. NatSCA has been asked to share information from Defra on this situation but if you need clarification please speak to Defra or a solicitor.
  • The information in this blog pertains to the movement of material between the UK and the EU, it does not apply to non-EU countries, or internal UK movement/material use.
  • The information in this blog is only relevant in the event of a so-called “no-deal Brexit”.
  • This blog was written in May 2019 and so any reference to “current” or “present” refers to this time.

© Leeds Museums and Galleries

With the UK in the EU, Convention on the International Trade in Endangered Species (CITES) listed species in Annexes B to D can be freely traded and moved within the EU. The main change, in the event of a no-deal Brexit, will be that you will need CITES permits to move CITES good between the UK and the EU for species listed in Annexes B to D.

Please click here for an up to date list of Annex B to D species.

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Global Biodiversity Collections: Becoming Part of the Open Data Community

Written by Isla Gladstone, Senior Curator Natural Sciences, Bristol Museums

On 13th March I travelled to Sofia in Bulgaria, my mind buzzing with questions about biodiversity data…

I had been awarded one of 30 funded places on the first training school of Mobilise, an EU initiative to mobilise data, experts and policies in scientific collections. More specifically, Mobilise is an EU COST Action: a bottom-up network funded over four years to boost research, innovation and careers by COST, an intergovernmental framework for European Cooperation in Science and Technology.

Digitisation and data management challenges in small collections promised new skills in the key basics of data quality and cleaning. It also offered a chance to meet colleagues from around the world, and connect to a bigger picture.

At a time of unprecedented human-caused climate change, biodiversity loss and environmental degradation, it feels more urgent than ever to connect museum collections to real-world change. Natural sciences collections offer precious opportunities here. Alongside huge potential to engage communities and inspire debate, specimens are unique sources of the scientific evidence urgently needed to unlock sustainable development solutions:

“There is more information about biodiversity in [the world’s] natural sciences collections than all other sources of information combined.” iDigBio

Collections’ biodiversity data: the what, when, where, who collected attached to many biological and palaeontological specimens © Bristol Museums

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Oldfield Thomas: In His Own Words.

Written by Roberto Portela Miguez, Senior Curator in Charge of Mammals, The Natural History Museum.

One could think that natural history curators are a kind of unidimensional creature because of their secretive nature (preference for collections habitat over open exposed museum public galleries) and their passion verging on obsession for the specimens they look after.

However I like to think that much has been done in the 21st century to change this perception and that our consistent and abundant presence in social media and public events sufficiently demonstrates that we are actually well-rounded human beings capable of entertaining a wide range of interests.

For instance, I myself, am known to be partial to a bit of heavy metal, chocolate spread sandwiches (Wild World Magazine, 2013), have a gentle interest in poetry (Waterhouse Times, 2006) and even have indulged my thespian side by making brief appearances on celluloid alongside Javier Bardem (Mondays in the Sun, 2002) …and therefore, aside from my professional interests, I do enjoy exploring other aspects of my personality and sharing the joy with the world.

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The beauty of a smile

Written by Jan Freedman, Curator of Natural History, Plymouth Museum Galleries Archives.

Someone once said to me “to smile is to live”. What a beautiful statement. And so very true. To smile at the wonders of the world around us makes us happier people. How can a blue tit singing on a branch, or a beetle scurrying in the grass, not bring a smile to our lips?

Smiling really is good for your well-being too. A smile releases chemicals called endorphins, which make your brain happier. These chemicals automatically make you feel more relaxed, and boost your mood. The more we smile the better we feel, making us smile more. Like a circle of happiness, a smile makes you smile more.

A smile is also good for other people too. How wonderful it makes you feel when you see the joy of families exploring our museum galleries. I want visitors to smile when they are wandering around an exhibition, and share that joy with their family. The same endorphins are at work when we see a smile; it makes us smile, and gives you a little boost.

There’s another wonderful side to a smile too. A side that shows people you are listening, you are interested, and you want to hear more.

The beautiful bloody-nosed beetle. Those beautiful feet, and gorgeous antenna brings a smile to my face every time I see one! (© Jan Freedman).

Many of us will have been to talks or presentations, be it might an evening do, or a multi-day conference listening to a number of speakers. All of us are familiar with those long talks that never seem to end. Or it might be the last talk of the day. We drift. We doodle. We tap our phones. The slides click along, and the voice of the speaker seems to drift away.

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