Book Review: A Historical Directory of Taxidermists.

Reviewed and written by Jazmine Miles Long, Taxidermist., Twitter: @TaxidermyLondon; Instagram: @Jazmine_miles_long

A Historical Directory of Taxidermists: Bird and Animal stuffers, Naturalists, Beast and Bird Preservers in Southwest England and Wales. Early 19th C to Mid-20th C.

A directory complied by Kelvin Boot
Published by MPM Publishing
ISBN 978-1-7397161-0-3
Contact –

This book is a must have for any researcher exploring the lives and work of taxidermists from Southwest England and Wales during the 19th and 20th Century. 140 pages in black and white including some images of taxidermists trade labels.

The book is a thorough directory of the taxidermists trading in the area at the time, the introduction cites how the directory was researched, exploring printed documents, not only naturalists publications but newspapers, trade directories and census records where taxidermists may have been mentioned or advertised. Exploring what the life of a taxidermist may have been like and how just like today it was the ‘celebrity’ taxidermists that would have been more likely to be written about.

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Book Review: Managing Natural Science Collections

Written by Jan Freedman, Curator of Natural History, The Box, Plymouth.

Working with natural science collections is quite a unique role. The specimens we care for, the stories they tell, the research we carry out or help facilitate, and the engagement with the public, are just a few rewarding jobs that we carry out daily. Sometimes there are barriers between those working with natural science collections and those at a higher management level. This is mainly due to a lack of understanding of the importance of these types of collections. “Why are there so many flies?“, “It’s just taxidermy, bring it out for people to stroke“, “It’s just a rock”. Just a few of things many of us have heard being said about natural science collections.

Whilst we can respond to these kinds of comments, some of us may find it more difficult to respond in a strategic way: in a language that makes sense to high level managers or funders. I have in the past, and I’ve found that frustrating, because I know the importance of the collections I look after. I was very pleased to be asked to review a new book about management of collections, focusing on strategy and development, Managing Natural Science Collections: A guide to strategy, planning and resourcing which was released this year and it couldn’t have come at a better time. A time when the country is recovering from an economic slump after the Covid pandemic. A time when cuts to the museum sector are inevitable.

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NatSCA Digital Digest – September

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

Welcome to the September edition of NatSCA Digital Digest!

Where Should I Go?

A new exhibition at the Oxford University Museum of Natural History, First Animals explores the evolution of the earliest animal life more than 500 million years ago. Highlights include 55 exceptionally-preserved fossils from the Chengjiang biota, on loan from Yunnan University and displayed outside of China for the very first time, and virtual reconstructions of the early Cambrian sea floor, made possible through close collaboration between researchers at the two universities. The exhibition is open until 24th February 2020.

How can we highlight the biggest issues threatening our planet today? It’s difficult with permanent displays, but not impossible. Bristol Museum & Art Gallery have addressed biodiversity loss and extinction in a unique way without new display cases. The natural science curators have covered endangered animals on display with a black veil. Standing out from the other animals, this has a huge visual impact on visitors. This innovative way of showing our impact on the planet was covered by The Guardian last month.

A chimpanzee on permanent display, covered with the black veil. © Bristol Culture

I recently visited As I Live and Breathe at the Horniman Museum, a very impactful exhibit about plastics. At the front of the natural history gallery, taxidermy animals were displayed as if they were dead, with thousands of pieces of black plastic erupting from their mouths, and a hedgehog dead in a fast food container. The message is clear: plastic pollution is killing our wildlife.

A powerful display at the Horniman museum. A dead fox with plastic erupting from it’s mouth. (Image by Jan Freedman)

Bristol Museum & Art Gallery recently were awarded a certificate of excellence by the Curry Fund. This amazing acknowledgment was for the engaging exhibition, Pliosaur! about the life of the almost complete Pliosaur specimen found at Westbury, Wiltshire. The exhibition, which received funding from The Curry Fund, took the visitor into the past to explore the world that this giant reptile lived in.

What Should I Read?

With many of us holding Pleistocene collections, a new book written by Dr Ross Barnett, The Missing Lynx, can help us understand them more. It looks at the lost mammals of Britain. Mammoths, sabre tooth cats, beavers, and more fill this prehistoric safari. It is full of life histories of the animals and their extinction, the history of their finds, and if they could be reintroduced into Britain. It’s a fascinating, and fun read, and highly recommended! Our very own Jack Ashby has just written a great review of it for our blog.

The Missing Lynx, the new book about Britain’s lost beasts. (Image Jan Freedman)

Where Should I Work?

The Royal Horticultural Society is looking for a horticultural taxonomist to join their horticultural taxonomy team at Wisley, working with one of the largest plant collections in the UK.

Job title: Horticultural taxonomist. Full time. £26,498 per annum. For more information, click here.

Kew Gardens is looking for a botanical horticulturalist to work with their tropical nurseries.

Job title: Botanical Horticulturist – decorative nursery. 1 year, fixed term. £18,590 per annum. For more information, click here.

Before You Go…

If you have visited an exhibition/museum, have something to say about a current topic, or perhaps you want to tell us what you’ve been working on, please drop Jen an email at Thanks!

The Missing Lynx: The Past and Future of Britain’s Lost Mammals

Written by Jack Ashby, Manager of the University Museum of Zoology, Cambridge, and author of Animal Kingdom: A Natural History in 100 Objects.

A good title goes a long way, and based on that alone I was excited to receive a review copy of Ross Barnett’s new book through the post. I knew of Ross from Twitter – and I can heartily recommend following him for a whole host of natural history-related wonders, particularly around climate change, ancient mammal DNA and palaeontology. As a result, I was slightly surprised that he had written a book that I assumed – from the clever title – was about reintroducing the lynx to Britain.

That is, in fact, not what the book is about. Instead, it takes us species-by-species, chapter-by-chapter, through the incredible range of beasts that have disappeared from the British Isles in recent millennia (I should have paid more attention to the subtitle). We learn about the woolly mammoths and rhinos, the huge cave bears and their slightly smaller relatives, cave lions and cave hyenas, sabretooth cats, massive species of cattle and deer, as well as wolves, beavers and, yes, lynx. All of these stories are told in the voice of a person clearly fascinated and excited by the things he has been studying all his life, and with a dry sense of humour.

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Curating Biocultural Collections: A Review.

Book Review:
Curating Biocultural Collections : A Handbook
Edited by Jan Salick, Katie Konchar and Mark Nesbit.
2014. Kew Publishing. Royal Botanic Gardens, Kew. In association with Missouri Botanical Garden, St Louis.
Available from Kew online
E-book available from Chicago University Press

By Jan Freedman, Curator of Natural History, Plymouth City Museum and Art Gallery.

It may appear rather unusual for a natural history curator to review a book on ethnographic collections. However, with a plethora of crossovers from similar storage conditions to comparable conservation methods, this book may potentially be more beneficial than you may first think. I was interested to review this book because I am not an expert on biocultural collections. I am keen to see if this book would be useful to assist with the diverse natural history collections we care for.

Biocultural (ethnographic) collections include any object made with the parts (or whole) of animals or plants. This can include herbarium collections, clothing, animal artefacts, DNA collections, skeletal collections, and many more. These collections provide wonderful evidence of cultures past and present and how they all relied on their natural world to survive; as we still do today. Due to their very nature, these collections require analogous collections management with natural history specimens, and many specimens in our collections cross over (eg. Herbarium, wood samples, etc).

Front Cover

Front Cover

The book itself is well laid out. Each chapter is focused on a different area to fit into one of the five sections: the introduction; practical curation (materials); practical curation (reference material and metadata); contexts and perspectives; and broader impacts. I like that the chapters are written all with the same clear structure, sub headings, images and a detailed accompanying bibliography. They provide detailed, expert advice, case studies, and examples of best practice.

For me, the writing tone is very professional, almost textbook style in a factual way that provides a lot of information in each section. And as such it is not a light read; possibly a book that you wouldn’t read from start to finish. But you would be able to easily search the index for an area you were looking for, and find the most up to date information written by experts in the field. Although I find more casually written pieces easier to digest and understand, I can actually see myself using this book as a reference for many different areas in the future.

The sections covered are detailed, precise, and written by experts across the world. The first section introduces the types of collections that are dealt with, the ethical standards, and the impact of the collections; lots of cross over with natural history collections, as you will find throughout the book. This first short section finishes with a visually impressive summary of the main collaborators of putting the book together; Missouri Botanical Garden, National Botanic Gardens of Ireland, National Museum of Natural History, Paris, Royal Botanic Gardens, Kew, and the Smithsonian Collections.

Section 2 focuses on practical curation, starting with including the basics (environmental conditions, pests, hazards, storage, handling, and labelling) to the more detailed, including storing voucher specimens, reference collections (botanical and zooarchaeological), seeds, DNA and even living plant collections. I found this section interesting because of the huge variety it covered and amount of detail in each chapter; if you find yourself wondering ‘how do I curate genetic resources’ then you can easily flick to Chapter 8 to find out. I had not really thought of curating DNA specimens, when we actually have them en masse in natural history collections. There are a couple of chapters in this Section I will take my time to read with interest in the coming weeks.

Examples of Images

Examples of Images

Section 3 looks at the curation using reference materials and metadata. Covering best practice in database standards, cataloguing of collections, and associated photograph collections, these chapters provide detailed guidelines on standardising the information for the future. In short, it spells out the importance of recording everything you know associated with that specimen; from letters/emails to photographs of the sites/collectors, and any associated documents. There is also a chapter on the legalities of biocultural collections, which does cover the important issues of CITES and copyright. The chapter that jumped out for me covered how to store oral history recordings and videos. This may not appear relevant to a natural history curator, but I think it may be getting more and more important: after organising and leading several pop up museums around the city, the amount of stories from local people sparked by seeing a photograph, painting, or mineral, was amazing. I wished I could record them all, because these stories will soon be gone forever. I have several collections where the collectors, or people who knew the collectors, are still alive, and I am keen to capture their thoughts and anecdotes relating to the collections before they are lost.

It is a shame Section 4 is the shortest section, as this examines different perspectives on cultural collections. Although not directly related to the hands-on dirty curation work, this section makes you take a little step back and think about the collections we care for. Alongside legal issues, it highlights the importance of respect and building relationships between museums and communities (from the indigenous communities in this book to the communities of amateur specialists for the natural history curator). Many specimens in our stores once belonged to someone and each individual specimen has a story to tell, linking back to the collector. These are the stories that bring the collections to life; forgetting where they have come from cuts any personal link with the visitors.

The final section of the Handbook looks at the broader impacts of biocultural collections. We all work with our collections and have a variety of users from the visitors in the museum, artists, researchers, and school groups. However, looking at the different ways different collections are used can invite ideas in using your own collections in a new and exciting way. This section goes into quite a lot of detail about the different impacts these collections have, where there are many cross overs with natural history. The potential for several different research outcomes for biocultural collections are outlined, many of which can be tied in with natural history collections too (showing a closer working between two departments). A separate chapter examines the use of collections for education, which many of us do on a regular basis with our own collections. This Section includes a useful chapter on the uses of herbarium specimens, including vouchers specimens, and DNA analysis. A useful section in the book showing that sharing ideas and ways of working can encourage new uses of collections.

I would recommend this book to a museum that holds ethnographic collections, and a bonus if it also holds natural history collections. The book can be used by both areas to help safeguard the collections for the future. It is a Handbook which can be used if you are undertaking a specific collections project or if you updating your database. Clearly laid out with nice images the chapters make available the most up to date information on that area.

The book provides a really useful guide to caring for a diverse range of collections many of which a natural history curator cares for too. As there is a lot of cross over, the book can also develop a stronger understanding between departments about the objects and specimens they care for; a better understanding of other curators collections will lead to greater working relationships.