Category Archives for Projects

A Stable Future – Research into the Stability of Materials used in Taxidermy Manufacture.

Written by Jazmine Miles Long – Taxidermist & Bethany Palumbo – Head of Conservation, Natural History Museum Denmark.

Taxidermy collections are crucial for our understanding of biodiversity, evolution, population genetics and climate change. They form a large part of natural science collections and their long-term preservation is essential. Historically, taxidermy was created using natural, durable materials such as wood, plant fibres, wax, clay and glass with examples dating back to the 16th century. However, over the past 50 years, taxidermists have increasingly adopted synthetic and plastic-based materials due to their ease of application, lower cost, and effectiveness in creating realistic specimens. One such example is polyurethane, a very widely used material to build the form that goes under the taxidermy skin. Although polyurethane has been extensively tested (albeit not specifically for taxidermy), it has already been shown to be unstable and unsuitable for long-term use. Awareness of stable, durable materials is not widespread within the taxidermy community. As a result, many modern museum taxidermy pieces are made with untested and potentially unstable materials.

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A Time Capsule of Extinction: Scotland’s Iconic Wildlife

Written by Caitlin Jamison, Museum Collection Technician, Montrose Museum: ANGUSalive.

Montrose Museum in Angus, northeast Scotland, houses an impressive natural history collection. Everything from taxidermy to fossils to rare minerals are housed in a modest, Greek-revival style museum off the high street. Built in 1842, it is one of the first purpose-built museums in Scotland.

Sadly, due to changing public interest (and the challenging funding situation facing many local authority museums) the collection has been somewhat forgotten since it was catalogued onto neat pink index cards in the late 1970s.

Montrose Museum’s 1970s card catalogue (author’s own photo)
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Packing the Blaschka Glass Models 

Written by Julian Carter, Principal Conservator Natural Sciences, Amgueddfa Cymru – Museum Wales, Cardiff

During the late 19th century, Leopold Blaschka (1822-1895) and his son Rudolf (1857-1929) produced thousands of beautifully detailed glass models of a wide range of sea creatures, and other animals, for natural history museums and aquaria all over the world. The work has since been hailed as “an artistic marvel in the field of science and a scientific marvel in the field of art”. The work of the Blaschka’s remains remarkably contemporary today, working as they did on the cusp of design, craft, and industry. Crossing the boundaries of science and art, the surviving models today have a value that makes them irreplaceable. 

The idea for making lifelike renditions of sea creatures out of glass arose from the difficulty of preserving and displaying soft-bodied animals such as jellyfish, marine worms, and sea anemones. Preserving such animals in a lifelike way is difficult as techniques such as fluid preservation cause colours to quickly fade and shapes to become distorted. Leopold Blaschka devised a solution to this problem by using his glass working skills to accurately model these animals out of glass and other materials available to him and went on to establish a successful business supplying glass models to museums worldwide during the latter half of the 19th century. 

The model of the sea anemone Actinia mesembryanthum (right) based on a plate (left) from Phillip Henry Gosse’s Actinologia britannica. A history of the British sea-anemones and corals which Leopold Blaschka used for the early sea anemone models that he built.
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It’s Getting Better

Written by Dr Amy Geraghty, Assistant Keeper/Curator of aquatic zoology collections with responsibility for fluid collection management.

The National Museum of Ireland (NMI) Natural History Division (NHD) holds about 2 million specimens in its collection. The collection is ordinarily split between three locations: the museum and two off-site storage buildings. However, at the time of writing, nearly all specimens are in one of the two storage buildings. The museum galleries are being emptied to facilitate investigative works on and the refurbishment of building itself.

One of the National Museum of Ireland’s two storage buildings in 2006. It is an old British army barracks that now stores the fluid collection, some of the dry zoology, mineralogical and paleontological collections. (Image courtesy of Nigel Monaghan)

One of the storage buildings is a mid-nineteenth century British army barracks that came to NMI in the mid-1990s and now stores NHD collections. Retrofitting the building for collection storage has involved the installation of plasterboard ceilings, internal doors, and security and fire alarm systems. Toilets, telephones, a tearoom, shelving, and internet facilities were later installed in the 2000s.

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65 Million Years in the Making, Five Seconds to Explain

Written by Callum Smart, a natural history volunteer at Bolton Museum. He works both in the stores, documenting the collections, and in the gallery engaging with visitors using the objects to start conversations. Here he shares his experience of one afternoon with a school group.

It’s Wednesday afternoon at Bolton Museum and I have just finished setting up the fossil touch tray, a selection of ancient artefacts for visitors to get hands on with. A school trip marches through the atrium, passing the gift shop with furtive glances, heading towards the wonderful Egyptian exhibits. The children clutch their worksheets, a scavenger hunt checklist filled with items from around the museum’s galleries. They whisper to each other, checking if they’ve missed anything in the Bolton’s History gallery and making bold claims over what they’ll find in the next room.

Callum at the object handling table with the fossil touch tray speaking to visitors. © Bolton Museum

A few of them spot the fossils on my trolley and start to stop, blurting out questions, weighing up whether to reach out and touch the strange rocks. I’d love for kids to interact with the fossils, it’s why I’m there. But I also don’t want to distract them from their trip, so I’m grateful when the teacher steers them on. Their teacher asks if I would be able to talk to the children about the fossils when they finish in the Egypt gallery. “Of course,” I say, “I’d be happy to.”

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