Written by Claire Smith, Project Officer at the Cole Museum of Zoology.
If you’ve been following the Cole Museum of Zoology on Twitter, you’ll know that the museum is closed at the moment – not only because of the COVID-19 lockdown, but also because we’re preparing our collections for their move into a brand new Life Sciences building. While the new museum may not be ready to open until 2021, we have plenty of work to do behind the scenes in the meantime.
Along with a team of staff and volunteers, I work on the fluid-preserved collections at the Cole Museum. As well as the ongoing task of keeping all of the wet specimens in good condition, we’re also putting some into safe storage, and getting others ready to go out on display. As part of my fluid-preservation Twitter, I share weekly threads about the kinds of tasks that the team takes on.
When specimens come into the lab needing work, we identify them from an abridged version of the museum’s catalogue. This gives us basic information such as the specimen’s accession number, its species, and what kind of fluid it’s preserved in. The majority of the Cole Museum’s specimens are fairly new, by museum standards – they’re mostly around 60 to 100 years old. Many of them have been re-sealed, re-mounted or been housed in new jars during this time, but every now and then we come across one which appears untouched. Continue reading →
In 2020 the Vertebrate Zoology collection at World Museum took a step towards ‘FAIR’ data sharing and began adding datasets of specimen records to the Global Biodiversity Information Facility (GBIF). There is always a trade-off between releasing datasets as soon as possible and ensuring they contain the most precise and reliable data possible. We’ve taken the view that through releasing these datasets, and encouraging their use, a positive feedback loop will incrementally improve data quality. That said, due to restrictions on other activities, one side effect of the Covid pandemic has been a little more time for in-house provenance research.
One collection I’ve focussed on during this time is that of prolific collecting duo, Herbert Christopher Robinson and Cecil Boden Kloss, which came to World Museum from the Federated Malay States Museums (FMSM) in 1914. Robinson, a former assistant at the Liverpool Museums, directed the FMSM from 1908 until 1926; Boden Kloss was the colleague ‘to whom he was much attached’. It seems that the FMSM specimens arrived in Liverpool without any additional documentation, so the collection locality information in our database (at National Museums Liverpool we use Mimsy XG) must have originally been transcribed from specimen labels with ‘place collected’ presumed to be Malaysia. Continue reading →
This presentation discusses a previous successfully curated public event, The Food Journey, held in the summer of 2019, forming part of a long term international project linked to our Jamaican botanical collection.
Addressing many of the contentions of Jamaican history, this presentation evokes a feel of mid-eighteenth century Jamaica by describing how making use of dramatic narrative, a soundscape, food tasting, aromas and textures of the time and geography, allow the context of the collection to come alive and to, as it were, ‘answer back’ to the authority of the author’s claims. We use costumed dialogue to help re-enact the immersive feel of the original production.
We include in our presentation a discussion of how the collection came about and its use over the years and how that might be critiqued in the context of slavery analyses over time and current notions concerning the erasure of traditional knowledge forms.
Scarborough Museums Trust holds an archive of the big game hunter James Jonathan Harrison (1857-1923) comprising of not only the usual hunting trophies, but also a large number of photographs and nine hunting diaries. Shortly after his death, his collection was donated to Scarborough Corporation, where for many years it was displayed in the upper rooms of the library before eventually making its way to the towns Natural History Museum when that opened in 1952.
After several years of neglect, many of the mounts and trophy heads were destroyed or removed from cases and only through careful detective work have a number of mounts been able to be definitively attributed to this collection.
One of the more interesting aspects of this collection are the photographs and diaries which give an insight into his privileged lifestyle and insatiable appetite for shooting. In 2021/22 the museum is planning an exhibition based around Harrison’s photography which will have to address a number of difficult issues regarding not only the slaughter of hundreds of animals but also the exploitation of the indigenous peoples of Africa and especially the Congo.
In 1904/5 Harrison brought six ‘Pygmies’ from the Congo which at the time was under the brutal rule of the Belgians and toured them around the UK before returning them home. This historically has always been related in a cheery, anecdotal way with little regard for the clearly exploitative nature of the venture (bearing in mind that at around the same time the Bronx Zoo had a Congolese man on display in a cage). This aspect of the narrative will be retold in a way which makes people think a little more about the inherent racism within collections and how we can redress this.
Taking the art collection of the Linnean Society of London as a case study, this paper looks at the many drawings, paintings and illustrations of the natural world collected and commissioned by the Society’s Fellows in the late eighteenth and early nineteenth centuries. These Fellows came from varied backgrounds, including surgeons, medical doctors, reverends and army soldiers. They were part of the British colonial enterprise, exploring and settling in Burma, Nepal, India and the West Indies. Their observations about the botany and zoology they studied were sent back to the Society to be read to other Fellows at meetings and published in the Society’s journals. Yet the artwork accompanying these observations was not generally drawn by the authors themselves but by local or indigenous artists they employed. The identities of these artists remain unknown in most cases, but the images they drew were of paramount importance in the construction of natural historical knowledge in Enlightenment Britain. The images they drew to accompany textual descriptions of new plants and animals were often the first to be seen in Europe. These artists were steeped in their own visual and technical traditions, yet they were expected to conform to Western standards of depicting plants and animals, that mirrored taxonomic and nomenclatural objectives. The resulting works reflect the meeting of different cultural, sociological and ecological concerns. The talk will present three specific examples from the Society’s collections and explore what can be done to decolonise the collections, to resurrect these artists, and give back the recognition they deserve.