Written by Caitlin Jenkins, Project Conservator at Parliamentary Archives (previously Assistant Conservator at Royal College of Surgeons of England).
The Hunterian Museum at the Royal College of Surgeons (RCS) in London closed in 2017 for redevelopment. This necessitated the temporary removal, storage, and condition assessment of its contents. One particularly challenging project was the conservation of 19 large animal skulls. These specimens are part of the museum founder John Hunter’s original collection, dating from the 18th century.
Although the skulls had been sealed in secure crates since the museum’s closure, most had some noticeable dust and dirt accretions and needed attention before they could be redisplayed. Due to their size and number, a team of conservators from Virtu Conservation Housekeeping was brought in to assist with this task. There was a lack of suitable bench space to accommodate so many large specimens at once, so temporary cleaning stations were set up.
Written by Fiona Roberts (Collaborative ESRC PhD student, Cardiff University & Amgueddfa Cymru-National Museum Wales) and Violet Nicholls (Assistant Curator in Herbarium, Portsmouth Museums).
This post is dedicated to Dr Dagoberto Lima Azevedo (1979-2023), Tukano researcher, translator, scholar, author and a voice for the Indigenous peoples of the Rio Negro in the northwestern Amazon.
The workshop ran in partnership with Museu Goeldi, Brazil and the Department of Cultures and Languages, Birkbeck, University of London. It addressed the question, ‘how ethnobotanical collections in museums can best be used to support Indigenous communities?’. Dr Dagoberto Lima Azevedo, from the Federação das Organizações Indígenas do Rio Negro, and Claudia Leonor López Garcés (Museu Paraense Emílio Goeldi) travelled from the Brazilian Amazon for the event. They met with fellow panellists Professor Mark Nesbitt (Royal Botanic Gardens, Kew), Professor Luciana Martins (Birkbeck, University of London), Cinthya Lana (University of Gothenburg) and Dr William Milliken (Royal Botanic Gardens, Kew).
Fig. 1. Some members of the panel at the workshop with, from left to right, Cynthia Sothers, Luciana Martins, Dagoberto Lima Azevedo, Cinthya Lana, Claudia Leonor López Garcés and Mark Nesbitt. Photo by Gayathri Anand.
The Richard Spruce collection (1849-1864) was used as a case study. Spruce collected plants and recorded their uses in South America, and is considered to be an early ethnographer, as he also recorded the traditions and customs of the different communities that he met on his travels.1 He collected over 14,000 herbarium specimens in the Andes and Amazon regions, and 350 items are in his ethnobotanical collections.2
Written by Verity Burke, John Pollard Newman Fellow of Climate Change and the Arts, University College Dublin.
Blaschka Models. Image credit: courtesy of the National Museum of Ireland: Natural History.
We’re at a crucial historical moment, in which the International Union for Conservation of Nature Red List has announced a catastrophic decline in global biodiversity, and the Intergovernmental Panel on Climate Change has reported on the devastating trajectory of the climate crisis. Museums have an important role to play in communicating the value of nature. Yet nature is, necessarily, mediated in museums, through taxidermy dioramas and skeletal mounts; virtual tours and digital databases; image, text and film. While the natural world has always been mediated in the museum space, what does this mediation mean now for natural history museums and collections, and the natures they present?
These are some of the questions which drive my research into museum representations of the natural world, and was the inspiration behind putting together an event series called ‘The Unnatural History Museum: Mediating Nature in the Sixth Mass Extinction’ (part of the Irish Research Council-funded project ‘Still Lives: Organic and Digital Animals in the Natural History Museum’ at Trinity College Dublin). I was keen to make a space to have these conversations across disciplines and sectors (something which we get surprisingly few opportunities to do, despite often working on similar topics or issues), to allow us to share what we were doing and discuss why. This blog is a short overview of the topics that the first season of the Unnatural History Museum engaged with from September 2022 to April 2023, with some excitement about what arose in the first season, and in anticipation of continuing these conversations in a planned second season.
Written by Bethany Palumbo, ACR, Head of Conservation Unit, The Natural History Museum of Denmark.
At the Natural History Museum of Denmark, work is currently underway to prepare and move thousands of specimens to a new building, located in the Botanical Gardens in Copenhagen. One such specimen is ‘Misty’ our beloved 17-meter-long Diplodocus. Misty has been welcoming visitors to the Zoological Museum since 2014 and is a much-loved part of our exhibitions.
Taking this specimen down was symbolic in many ways. It was a goodbye to the old building but also a celebration of the new building and future of the museum. We wanted to commemorate this milestone and so we decided to make the Diplodocus deinstallation into an outreach event called the ‘Dino Takedown’. This would create a rare opportunity for the public to watch the deinstallation process, ask questions and further understand the types of conservation work we do in a museum.
Written by Dr Simon Jackson, Collections and Learning Curator (Natural Sciences), Colchester + Ipswich Museums.
Ipswich Museums’ Post-Cretaceous Geology Collection, which includes our outstanding ice age collection, has been awarded Designated status by Arts Council England. The team here are delighted!
“OK, what exactly is Designation?” some of you may be thinking… Well, the scheme is administered by Arts Council England and identifies the pre-eminent collections of national importance held in England’s non-national museums, libraries and archives, based on their quality and significance. So, this award is a mark of distinction which is useful, for instance, in securing funding. If this has piqued your interest, and, for instance, you may be thinking “perhaps my collection is eligible for the scheme?” you can read more about Designation here: Designation Scheme | Arts Council England or my 2020 paper about the Tullie House bid I led on then, here https://www.natsca.org/article/2578 .
So, what’s been Designated at Ipswich? The Ipswich Post-Cretaceous Geology Collection includes c.30,000 specimens. The greatest strength of the collection includes Suffolk Plio-Pleistocene fossils, the remains of animals which lived during the Pleistocene ice age, and the warmer Pliocene before it. Suffolk has an outstanding Plio-Pleistocene record, with the only exposures of the Coralline Crag (Middle Pliocene) and extensive exposures of the Red Crag (the only exposed British deposit to document the transition into the ice age). The county’s deposits also document the dramatically changing environments of the ice age between warmer, wetter episodes (interglacials) and colder, drier episodes (glacials). With pre-eminent collections covering this period, the collection now attracts international research, which, for instance, includes searching for the oldest mammoth DNA from Europe in c. 200,000 year old teeth from Suffolk – research led by the Centre for Palaeogenetics, at the Stockholm University and the Swedish Museum of Natural History, and the NHM). You can read more about the project here: https://cimuseums.org.uk/mammothdna/
NatSCA 