Category Archives for Projects

Designated Status for Ipswich Museums’ Post-Cretaceous Geology Collection.

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/

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Aliens Escape the Herbarium

Written by Annette Townsend (Interdisciplinary Natural History Artist) & Sally Whyman (Curator: Botany Curator, Amgueddfa Cymru – National Museum Wales).

Aliens 1956. Close-up. Annette Marie Townsend. Image Dewi Tannatt Lloyd

Plants growing on the wall of a London art gallery!! On closer inspection you discover they are alien plants, introduced to the UK. Looking even closer you realise they are delicate sculptures, handmade from beeswax, paraffin wax, tinned copper wire, tissue paper, cotton thread, artists’ pigments, acrylic paint and acrylic varnish.

Aliens 1992. Close-up. Annette Marie Townsend. Image Dewi Tannatt Lloyd

Mounted on stainless steel plates with stainless steel strips, and epoxy printed collector labels, in a juxtaposition of historic and modern materials and techniques, each sculpture mimics a real herbarium sheet, found in the Welsh National Herbarium, Amgueddfa Cymru.   

Wax passion flowers in progress. Image A.M. Townsend

The brainchild of Annette Marie Townsend and Sally Whyman who wanted to combine the skill, vision and dexterity of the artist with the depth of collection knowledge of the curator, allowing the plants to come to life and escape the confining folders and cabinets of the herbarium. This Aliens series allows the plants tell their stories of biodiversity change and invasive species to new audiences, further afield than museum visitors and botanical researchers.    

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Flora Explorer: Opening the Cabinets at Portsmouth Museums.

Written by Violet Nicholls, Assistant Curator (Herbarium), Portsmouth Museums.

Plants, lichens and fungi have captured the interests of collectors, scientists and artists for centuries, and I have discovered something about them for myself. As time passes from them being found in the field, they don’t get any less complicated, any less fascinating or any less beautiful. I am about 6 months into a two-year project working on the Guermonprez Herbarium called “Flora Explorer”, which is funded by the Headley Trust.

Image of lichen specimens in open trays
Fig. 1. Drawer of colourful specimens from the lichen cabinet.

The Herbarium

I have been cataloguing and studying the plant, fungi and lichen collections at Portsmouth Museums, and am learning a huge amount about past collecting practices, as well as taxonomy and the collectors themselves. There were so many! Sixty-two different names have cropped up whilst cataloguing the herbarium, with nearly 1000 plant specimens recorded on the database so far. There are around 10,000 plants in the Guermonprez Herbarium in total. How many more names will appear?

Henry Leopold Foster Guermonprez (1858-1924) was a taxidermist, ornithologist and “a botanist who should have been better known”.1 The herbarium is made up of plants collected by Guermonprez and members of his family, plants that were sent to him, and others that were purchased. The large collection was transferred from Bognor Regis Museum to Portsmouth Museum in the 1970’s. Many specimens were collected from West Sussex, where I have lived for most of my life.

“Flora Explorer” builds on work carried out during the “Wild about Portsmouth” project, funded by the National Lottery Heritage Fund. The herbarium is organised into taxonomic order, stored in sealed herbarium cabinets, and the specimens are being catalogued using the relational database used by over 650 museums in the UK, Modes Complete. Digitising the collection has many benefits as it increases access for researchers, and for people who may need the data but can only obtain it remotely. Through the process I have also been updating the taxonomy where necessary, which adds further value to the collection.

Image of herbarium cabinets at Portsmouth City Museum
Fig. 2. Herbarium cabinets at Portsmouth City Museum, containing plant specimens arranged into taxonomic order.
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Top NatSCA Blogs of 2022

Compiled by Jen Gallichan, NatSCA Blog Editor.

A very Happy New Year to all of our readers and contributors! Being the blog editor is a great job as I get to read all of your fantastic posts first and hear about all of the great work going on out there with natural history collections. To reflect on this, here is a round up of the most read blogs that came out in 2022 in case you missed any of them. A huge thank you to everyone who contributed an article, the blog continues to go from strength to strength and this is purely as a result of your work and writing. The 2023 calendar is half full already – so if you are considering submitting something for later in the year, do drop me a line and get it scheduled in.

10. A Foot In The Door – Finding Collections Work As A Trailing Spouse In A Foreign Country. Written by Caroline Grounds, Freelance Zoological Collections Assistant, Musée national d’histoire naturelle, Luxembourg. A lovely blog about finding your niche in a new country, and showing that collections work has no borders.

My happy place: sorting bees from by-catch from pan traps which we set up throughout the country. © Dylan Thissen

9. Thomas Bateman’s Ichthyosaurs. Written by Alistair McLean, Curator of Natural Science, Sheffield Museums Trust. Documenting the conservation work (part funded by the Bill Pettit award) that helped restore two beautiful Ichthyosaur specimens.

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Naturalis’ New Hall of Evolution

Written by Becky Desjardins, Senior Preparateur, Naturalis Biodiversity Center.

In 2019 Naturalis opened a new building with eight permanent exhibit halls. We are happy to announce that we have opened the ninth hall, Evolution. The exhibit designer, Marijke Besselink, told me that the concept for the hall was developed after she heard how visitors reacted to a stone that was in the former Naturalis prehistory exhibit. This stone came from Greenland and dates to 3.76 billion years ago. In this rock you can see layers that indicate the presence of oxygen that might have been produced by single celled organisms. It is one of the earliest signs of life on earth. One of the museum educators told Marijke how in the old exhibit, visitors were astonished that the rock was so old, and would touch it with awe. Now this centerpiece is in the front centre of the dark blue exhibit, and when a visitor touches the stone, it starts up a light and sound interaction which connects to other vitrines around the exhibit. This gives the visitor a feeling of connection, that everything on Earth is intertwined: we are all related.

© Henk Caspers

Around the stone we can find fossils from the Burgess Shale, a Canadian formation that includes more than 500-million-year-old ancestors of most modern animals. Marijke wanted to make it clear to the public what the animals preserved as fossils looked like as to the casual observer these small fossils sometimes look like a dark grey smudge! Projections help the fossil organisms manifest out of their slate beds and move across the vitrine and into an aquarium filled with creatures from the so-called Cambrian explosion. The aquarium, made with the Pepper’s Ghost technique, is one of the highlights of the hall. Besides being very cool looking, visitors see how these prehistoric animals moved, and see how similar they are to modern animals.

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