Tag Archives for collections

Where are the Women? Uncovering Hidden Connections to Calke Abbey’s Natural History Collection

Written by Julie Griffith, Property Experience Curator, Calke Abbey, National Trust.

Exploring the stories of Selina (1822-1905), Georgiana (1824-1910) and Matilda (1831-1899) Lovell, uncovers three curious and accomplished women. With interests in botany and conchology and stretching from Derbyshire to Australia, their story is of both individual achievement and natural history connecting sisters across the globe.

With existing narratives around Calke Abbey’s natural history collection overwhelmingly male focussed, recent research into the three Lovell sisters aims to bring women’s stories and connections to natural history into the spotlight at this country house property.

Selina Lovell (1822-1905). Credit: National Trust/David Midgelow
Georgiana Lovell (1824-1910). Credit: National Trust/Ian Buxton, David Midgelow and Brian Birch
Matilda Lovell (1831-1899). AI created image

Who were the Lovell sisters?

The Lovell sisters were closely related to the Harpur Crewe family of Calke Abbey through their mother, Selina Crewe (d.1838), a daughter of Sir Henry, Calke’s 7th Baronet and Nanny, Lady Crewe. Their father, Vice-Admiral William Stanhope Lovell (c.1788-1859) was a distinguished naval officer and veteran of the Battle of Trafalgar.

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Micro to Macro: Modelling and Magnifying Insects

Written by Maria Dragoi, PhD Candidate, UCL Institute of Archaeology & NHM Science.

Insects are very numerous, and very small. Their ubiquity and importance has meant that they need to be addressed in natural history galleries, but their minute size and fragile nature can make this a challenge. Various techniques have been developed to represent insects in galleries, including projection, illustration, and sculpture. This blog looks at model making as a technique used to enlarge insects for public displays at the Natural History Museum in London in the 20th century. It reflects on what magnification as a representation and display tactic does to how we construct a relationship with an insect.

I think something that’s important to remember about when we interact with insect models is that we know and recognise them as such. We are aware that they are not the thing in itself, but a representation of it. What we don’t often realise is that there needs to be a cultural schema around us for us to know and understand these things as representations. There’s some really interesting research by Pauline Kusiak on the use of projections to teach West African communities about the dangers of malaria in the early twentieth century. French Christian missionaries used new projection technology in order to show enlarged images of mosquitoes and their larvae to create awareness within these communities about the transmission of disease. At first it didn’t go very well, because the people that were shown the projections didn’t understand them as such. They told the French missionaries they clearly had no idea what was going on, because what they had shown was huge, a monster, whereas the insects that were known by communities to cause a problem were very small. Before using the model, or projection, as an educational tactic, the missionaries realised they first had to build up an understanding of what their representation technology was.

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From Dioramas to The Red List: Conserving Felbrigg Hall’s Taxidermy Birds for a New Conservation Story.

Written by Louise Green, Project Manager and Collections & House Manager, Felbrigg Hall, National Trust, and Martha Infray, Regional Conservator, National Trust.

Introduction

The Bird Corridor at Felbrigg Hall, Norfolk, houses a nationally significant natural history collection. Consisting of taxidermy bird dioramas collected by Thomas Wyndham Cremer (1834-1894), the displays document many of the resident and migratory bird species historically found in East Anglia.

Created by renowned nineteenth-century taxidermists Gunn of Norwich and Pratt of Brighton, the dioramas are a first-hand resource documenting the ornithological scene in East Anglia during the 19th-century.

Following the successful completion of the first Phase of conservation treatment in 2025, the second and final phase is nearing completion, with only two weeks of treatment remaining this autumn.

Historic label by Thomas Gunn, attached to the back of a diorama © National Trust/ Rob Coleman

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Beyond the Scientific Record: Using Photography to Inspire Curiosity about Natural History Collections

Photo essay, written and produced by Molly Wilders, Photographer, mollywilders.com.

While museum collections on display are designed to be viewed and understood by the public, collection storerooms primarily exist to support research. Museum professionals spend their lives studying and caring for specimens but few outsiders truly understand what that work looks like.

As a photographer with a background in biology, my projects often focus on documenting the work of researchers in laboratories and the field. In 2022 I reached out to Ashleigh Whiffin, Curator of Entomology at National Museums Scotland, to collaborate on a photography project focusing on her work and the collections she oversees.

The digitisation of museum collections has become increasingly important, with high-quality images supporting research and education, allowing collections to reach audiences without geographical barriers. However, while digitised specimens are invaluable scientific resources, they have a limited ability to inspire awe in the average viewer.

Our first experiences of nature are usually emotional, with feelings coming before facts. Yet it can be difficult to connect with a specimen viewed only as scientific data. My work as a photographer is to make the viewer feel something about these collections and the people who care for them. If an image then inspires someone to ask questions about a specimen, collection or curator, then my job is complete.

Huge thanks to Ashleigh for being so generous with her time. It’s been a delight to make these photographs with her and to see her use them in her own science communication work.

Slide tray holding holotype and paratype specimens on slides. Image credit: Molly Wilders
Ashleigh showing the way slide trays are stored. Image credit: Molly Wilders
Ashleigh using a step ladder to look in drawers in the top shelves. Image credit: Molly Wilders
Ashleigh looking through shelves of entomology collections. Image credit: Molly Wilders
A pinned jewel scarab beetle. Image credit: Molly Wilders
A pinned beetle being held by tweezers to show its various data labels. Image credit: Molly Wilders
Ashleigh reviewing Coleoptera specimens under a microscope. Image credit: Molly Wilders
Ashleigh sat at a microscope in the Entomology department of the NMS Collections Centre. Image credit: Molly Wilders
Ashleigh looking at a beetle under the microscope. Image credit: Molly Wilders
A close up of a specimen under review. Image credit: Molly Wilders
Drawer of ex-display specimens. Image credit: Molly Wilders
Drawer of Endromis versicolora specimens from Aviemore. Image credit: Molly Wilders
Ashleigh showing a comparison of a faded and non-faded death’s-head hawkmoth. Image credit: Molly Wilders

Impala Trophy Head – A Conservation Treatment Summary

Written by Greta Kelly, Conservation Practice MSc Student at Cardiff University.

During my studies on the Conservation Practice MSc at Cardiff University I had the opportunity to do a placement with the natural science conservation department at Museums NI. As part of this I assisted in an ongoing project to conserve and stabilise a number of trophy heads in the museums stores. The trophy head that I worked on was an impala skull, mounted on a wooden shield, dated to the 1930s.

Before beginning any conservation, I carried out a condition assessment of the skull and shield, to determine what treatment would be needed. The skull was generally in good condition, with no identifiable breakages or loss. The teeth while still in their sockets, were loose, and there was slight delamination at the base of the right horn. There was extensive surface dirt on the teeth, horns and skull, including inside the skull.

Before cleaning images of the impala skull. Image credit: Greta Kelly

The wooden shield was in good condition, with just some surface dirt. However the two metal hooks which looped through the zygomatic arches to hold the skull in place, were not providing sufficient support, allowing the skull to move about on the shield and putting it at risk of damage.

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