Journal articles: 'Museum of Victoria ;Dept of History History'

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Evelyn, Douglas E., and John Physick. "The Victoria and Albert Museum: The History of Its Building." Technology and Culture 27, no. 3 (July 1986): 627. http://dx.doi.org/10.2307/3105406.

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Gordon, Tammy S. "Exhibit Review: David Bowie Is, Victoria and Albert Museum." Public Historian 35, no. 3 (August 1, 2013): 116–19. http://dx.doi.org/10.1525/tph.2013.35.3.116.

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Hinson, Benjamin. "A Beaded Scarab in the Victoria and Albert Museum." Journal of Egyptian Archaeology 105, no. 2 (December 2019): 305–8. http://dx.doi.org/10.1177/0307513319899955.

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Geological Curators Group. "Brighton Medal: Presentation of the first Brighton Medal to Mrs Edith Brighton." Geological Curator 5, no. 8 (April 1994): 333. http://dx.doi.org/10.55468/gc703.

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At a ceremony on 27 March 1992 hosted by the Dept. of Earth Sciences, University of Cambridge, the Chairman of GCG, John A. Cooper (Booth Museum of Natural History, Brighton) introduced the presentations of the first two Medals as follows:

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Geological Curators Group. "Brighton Medal: Presentation of the second Brighton Medal to the late Dr David Price as Founder of the Medal, received by Mrs Valerie Price." Geological Curator 5, no. 8 (April 1994): 333–34. http://dx.doi.org/10.55468/gc704.

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At a ceremony on 27 March 1992 hosted by the Dept. of Earth Sciences, University of Cambridge, the Chairman of GCG, John A. Cooper (Booth Museum of Natural History, Brighton) introduced the presentations of the first two Medals as follows:

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Dingle, R. V., C. Giles Miller, and Clive Jones. "R. V. Dingle Ostracod Collection: Natural History Museum, London." Journal of Micropalaeontology 31, no. 2 (July 1, 2012): 189–92. http://dx.doi.org/10.1144/0262-821x12-006.

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Abstract. The collection was donated to the Natural History Museum (NHM) between 2009 and 2011 and consists of 2534 slides. It comprises mainly marine ostracods of Jurassic to Holocene age from southern Africa (and its adjacent oceans), Antarctica and New Zealand. There is also a small collection of Quaternary non-marine ostracods from southwestern Africa, two sets of DSDP/ODP ostracods from the Southern Ocean, and one set of Cape Roberts Drilling Project (CRDP) ostracods from Victoria Land, East Antarctica. The individual slides in this collection have been computer registered. Further details of these can be found by inputting seach criteria based on information given in the paper to the NHM’s on-line catalogue at http://www.nhm.ac.uk/research-curation/collections/departmental-collections/palaeontology-collections/search/index.php.

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Watson, William. "Rose Kerr: Later Chinese bronzes. (Victoria and Albert Museum, Far Eastern Series.) 115 pp. London: Bamboo Publishing Ltd [and] the Victoria and Albert Museum, 1990. £28.95." Bulletin of the School of Oriental and African Studies 55, no. 1 (February 1992): 162–63. http://dx.doi.org/10.1017/s0041977x00003116.

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Fehérvári, Géza. "Haldane Duncan: Islamic bookbindings in the Victoria and Albert Museum. 205 pp. London: World of Islam Festival Trust [and] The Victoria and Albert Museum, 1983. £35." Bulletin of the School of Oriental and African Studies 49, no. 1 (February 1986): 223–24. http://dx.doi.org/10.1017/s0041977x00042762.

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Haddow, Eve. "War Trophies or Curios? The War Museum Collection in Museum Victoria, 1915–1920." Journal of Pacific History 52, no. 4 (October 2, 2017): 543–45. http://dx.doi.org/10.1080/00223344.2017.1382027.

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Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.

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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.

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Sokhan, Marina, Pedro Gaspar, David S. McPhail, Alan Cummings, Larrain Cornish, Derek Pullen, Frances Hartog, Charlote Hubbard, Victoria Oakley, and John F. Merkel. "Initial results on laser cleaning at the Victoria & Albert Museum, Natural History Museum and Tate Gallery." Journal of Cultural Heritage 4 (January 2003): 230–36. http://dx.doi.org/10.1016/s1296-2074(02)01219-0.

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Campbell, Claire. "Modern History Gallery, Royal British Columbia Museum, Victoria B.C. Lorne Hammond Robert Griffin." Public Historian 26, no. 4 (October 2004): 108–11. http://dx.doi.org/10.2307/3378850.

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Plotkin, Howard. "The Iron Creek Meteorite: The Curious History of the Manitou Stone and the Claim for its Repatriation." Earth Sciences History 33, no. 1 (January 1, 2014): 150–75. http://dx.doi.org/10.17704/eshi.33.1.2457k54466405851.

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Canada's Iron Creek meteorite, a 320 lb (145 kg) Group IIIAB medium octahedrite iron, was long venerated by the First Nations in Alberta as their sacred Manitou Stone, but it was taken without authority from them by Methodist missionaries in 1866. That began the meteorite's long odyssey, as it was transferred first to the Methodist Mission in Victoria (now Pakan) Alberta; then to the Red River Mission in Winnipeg, Manitoba; then to the Wesleyan Methodist Church's Mission Rooms in Toronto, Ontario; then to Victoria College in Cobourg, Ontario; then to the campus of the University of Toronto in Toronto, Ontario; then to the Royal Ontario Museum in Toronto; and finally to the Provincial Museum of Alberta (now the Royal Alberta Museum) in Edmonton. In recent years, a First Nations movement to repatriate the meteorite to a place near its original find site has been initiated. As of now, the meteorite remains on display at the Royal Alberta Museum's Syncrude Gallery of Aboriginal Culture, where it is a prized showpiece. The present paper explores the curious history and cultural significance of this fabled meteorite, its long odyssey, the issues surrounding the claims for its repatriation, the Royal Alberta Museum's present policy, and a possible way forward.

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Waelkens, Marc, Ali Harmankaya, and W. Viaene. "The Excavations at Sagalassos 1990." Anatolian Studies 41 (December 1991): 197–213. http://dx.doi.org/10.2307/3642940.

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After five years of survey and the rescue excavation in 1989, large scale excavations started at Sagalassos from July 11th until August 22nd 1990. The work was directed by Professor Marc Waelkens (Dept. of Archaeology, Catholic University of Leuven) and by the Archaeological Museum of Burdur, represented by Ali Harmankaya, temporary director of the museum, who also represented the Turkish Antiquities Department. During the excavation the Council of Ministers granted a full scale excavation permit to Marc Waelkens. The team included 18 scientists and students from the Catholic University of Leuven, three from Britain and four from Turkey. Financial support came from the Research Council of the Catholic University of Leuven, from the Belgian Fund for Collective Fundamental Research, the Flemish Ministry of Education, the Ministry of the Flemish Community (Foreign Relations), the ASLK/CGER Bank, the Belgian tour operator ORION, and from the association “Friends of Sagalassos”. Thanks are due to the Anıtlar ve Müzeler Genel Müdürlüǧü and the Bakanlar Kurulu, who gave permission for the excavation, to the staff of the Emniyet Müdürlüǧü and the Archaeological Museum in Burdur, and to the Belediye officials and the inhabitants of Aǧlasun.

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Manuwald, Henrike, and Nick Humphrey. "A Painted Casket in the Victoria and Albert Museum, London." Antiquaries Journal 90 (September 2010): 235–60. http://dx.doi.org/10.1017/s0003581510000144.

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AbstractThis paper seeks to reassess the iconography and the physical condition of a fourteenth-century carved and painted casket in order to review its geographic origins and to consider its function. The intriguing, but under-researched casket (now in the Victoria and Albert Museum) has been discussed mainly in terms of the Tristan iconography of its lid, apparently derived from a German version of the Tristan story. Yet the casket has been generally described as English or French. In order to review these conflicting assumptions, and to exclude the possibility of a nineteenth-century forgery, the casket was reassessed technically, and the well-preserved polychromy was found to be consistent with a fourteenth-century date. Using stylistic and iconographic analyses, a Netherlandish origin of the casket (around 1350–70) is tentatively proposed. Within the context of the controversial discussion of Minnekästchen, the casket is finally interpreted both as a practical object and as the bearer of a coded language of love.

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Scott, Rosemary E. "Wilson Verity: Chinese dress. (Far Eastern Series.) 135 pp. London: Victoria and Albert Museum, 1986." Bulletin of the School of Oriental and African Studies 52, no. 1 (February 1989): 181. http://dx.doi.org/10.1017/s0041977x00023697.

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Farmer, Jennie. "Artists’ books in the National Art Library, Victoria and Albert Museum." Art Libraries Journal 32, no. 2 (2007): 27–31. http://dx.doi.org/10.1017/s0307472200019167.

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The National Art Library’s collection of artists’ books is described here by one of the librarians, who is herself trained as a book artist, having completed an MA in Book Arts at Camberwell College of Art. She has built upon this knowledge through working with the large numbers of artists’ books at the NAL and begins this article by discussing the terminology relating to the book arts, going on to talk about the history of the NAL’s collection and touching on its future. She finishes by highlighting a few very distinctive items available for consultation.

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Christensen, Jørgen Riber. "Four steps in the history of museum technologies and visitors' digital participation." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 23. http://dx.doi.org/10.7146/mediekultur.v27i50.2982.

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The hypothesis of this article is that the authentic and auratic exhibited objects in museums enter into a dialogue with surrounding paratexts. The paratexts anchor and change the meaning of the exhibited object in the museum context. Recent years have indicated a tendency for museum paratexts to grow increasingly allographic, i.e., visitors generate them both in situ and online as a part of Web 2.0 participation. The verification and documentation of this hypothesis are partly empirical, partly historical. The empirical research consists of an examination of the exhibition and display technologies used today in three different museums and galleries: the Bode Museum in Berlin, the Victoria and Albert Museum and Dr. Johnson's House in London.<br />    The historical verification and documentation in this article describe four steps in the development of exhibition technologies: the Boydell Shakespeare Gallery (1789-1805), the post-photographic museum (the 1850s), audio guides, as well as a special focus on how museum paratexts have become independent today in its digital and participatory form. In this way, the article sketches the historical development of curating towards the digital and paratextual participation of visitors and audience. Here the argumentation is based on how the displayed object creates signification in its position between its autonomy and its contexts. The following display technologies are described and analysed: stipple engraving, photography, the audio guide, and the interactive, digital Anota pen and its Internet server.<br />    In conclusion, the article asks where the place of signification or meaning of the exhibited object has moved to in the face of the increased degree of visitor participation. The tentative answer is that the signification generating process has moved away from the historical context of the object and towards the contemporary world of the visitor. The article connects this change in cultural discourse with Karin Sander's archaeological imagination and in a wider sense with the concept of negotiation from new historicism.<br /><br />

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Thomas, Nicholas. "Colonial Conversions: Difference, Hierarchy, and History in Early Twentieth-Century Evangelical Propaganda." Comparative Studies in Society and History 34, no. 2 (April 1992): 366–89. http://dx.doi.org/10.1017/s0010417500017722.

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Colonial discourse, sometimes referred to in the singular, seems unmanageably vast and heterogeneous, for it must encompass not only the broad field of colonialism's relations and representations which constitutes or arises from the business of official rule, including administrative reports and censuses, but also the works of metropolitan literature and other forms of high culture which deploy images of the exotic or the primitive, paintings of unfamiliar landscapes, tourist guides, anthropological studies, and Oriental fabric designs. Colonial discourse includes chinoiserie, Kim, the Victoria and Albert Museum, Camus' Algerian stories, Frans Post, and Indiana Jones, as well as the Vital Statistics of the Native Population for the Year 1887 and the annual reports from wherever.

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Charman, Helen. "REINVENTING THE V&A MUSEUM OF CHILDHOOD." Muzealnictwo 61 (June 30, 2020): 117–26. http://dx.doi.org/10.5604/01.3001.0014.2637.

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In 2018 the Victoria and Albert Museum launched a capital project to transform the Museum of Childhood from a museum of the social and material history of childhood to a powerhouse of creativity for the young. This paper therefore takes the reinvention of the MoC as a case study to explore the process of change and the key drivers for inculcating and realising the transformed museum. In particular, the process of co-design with and for young people is considered as a mechanism for change in creating future facing museums that speak to the needs of young people in a rapidly changing and complex world.

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Mitchell, Stephen, Edwin Owens, and Marc Waelkens. "Ariassos and Sagalassos 1988." Anatolian Studies 39 (December 1989): 63–77. http://dx.doi.org/10.2307/3642813.

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During 1988 the Pisidian survey project continued at a new site, Ariassos, and for a fourth season at Sagalassos. The team, directed at Ariassos by Dr. S. Mitchell and at Sagalassos by Professor M. Waelkens (Dept. of Archaeology, Catholic University of Leuven, Research Associate of the National Fund for Scientific Research (Belgium)) consisted of Bay Sabri Aydal of Antalya Museum (topographer), Dr. E. Owens, Y. Day, and A. Millard (University College of Swansea), S. Cormack (Yale University), Dr. M. Lodewijckx, R. Degeest, L. Vandeput, and C. Nuitjen (University of Leuven), D. Roberts, R. Johnson, and S. Corker (University of Newcastle), A. Schulz and D. Pohl (University of Münster), and Osman Ermişler (Konya Museum), who represented the Turkish Antiquities Department. The main financial support for Ariassos came from the British Academy and the British Institute of Archaeology at Ankara, and for Sagalassos from the National Fund for Scientific Research (Belgium) and from the Flemish Ministry of Education (Belgium). Thanks are due to the Eski Eserler ve Müzeler Genel Müdürlüǧü, who gave permission for the survey and provided surveying equipment, to the staff of the Emniyet Müdürlüǧü in Antalya and in Burdur, and to the Belediye officials and the inhabitants of Bademaǧacı and of Aǧlasun.

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Scott, Rosemary E. "Larson John and Kerr Rose: Guanyin: a masterpiece revealed. 73 pp. London: Victoria and Albert Museum, 1985." Bulletin of the School of Oriental and African Studies 52, no. 1 (February 1989): 186. http://dx.doi.org/10.1017/s0041977x00023752.

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Ghosh, Pika. "A BengaliRamayanaScroll in the Victoria and Albert Museum Collection: A Reappraisal of Content." South Asian Studies 19, no. 1 (January 2003): 157–67. http://dx.doi.org/10.1080/02666030.2003.9628627.

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Gannon, Anna. "The Double Life of Aufret – Revealed." Antiquaries Journal 92 (July 10, 2012): 115–27. http://dx.doi.org/10.1017/s0003581512000133.

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The Aufret ring, acquired by the Victoria and Albert Museum in 1871, has long been considered an Anglo-Saxon artefact, its inscription counted as part of the Anglo-Saxon heritage. Because of the similarity between the names Aufret and Alfred, it became associated with this king and with a ‘lost’ ninth-century coin hoard allegedly found with the ring. On the continent, however, the ring sits comfortably in a well-attested corpus of Lombard seal rings of the seventh century. Thanks to some archive archaeology and the identification of a drawing of the ring in a publication of Ludovico Muratori, an eighteenth-century antiquary, the story of the ring can be traced from its retrieval amongst the ruins of a tomb in Bagnoregio in 1726, to its acquisition by an Italian collector, the Marquis Capponi, until his death in 1746. In 1857 the ring was presented to Edmund Waterton, FSA, who eventually sold it to the Victoria and Albert Museum. By tracing the historical background, and demolishing a few misattributions, this paper restores the Aufret ring to its Lombard context.

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Bitelli, G., V. A. Girelli, M. Medica, and M. A. Tini. "From 3D surveying to replica, a resource for the valorisation of museum artifacts. The case of the bas-relief of Giovanni da Legnano in Bologna." Journal of Physics: Conference Series 2204, no. 1 (April 1, 2022): 012093. http://dx.doi.org/10.1088/1742-6596/2204/1/012093.

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Abstract This paper describes the experience carried out by the Geomatics group of the DICAM Dept. (Department of Civil, Chemical, Environmental and Materials Engineering) of the University of Bologna, in collaboration with the Civic Medieval Museum, about the digitization and reproduction by 3D printing of the bas-relief of Giovanni da Legnano. This artwork is one of the symbols of the University of Bologna, the oldest of the western world, and consequently of all European academic tradition. In the text, the 3D surveying and physical reproduction operations of this object are described. The faithful copy of the object was presented in Brussels in 2017, on the occasion of the inauguration of the House of the European History.

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Savi, Lucia. "‘Undressed: A Brief History of Underwear,’ Victoria and Albert Museum, London, UK, 16 April 2016-12 March 2017." Textile History 48, no. 1 (January 2, 2017): 140–44. http://dx.doi.org/10.1080/00404969.2017.1295672.

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PRESS, BOB. "CAROLYN RASMUSSEN, A Museum for the People: A History of Museum Victoria and its Predecessors, 1854–2000. Melbourne: Scribe Publications, 2001. Pp. xvi+423. ISBN 0-908011-69-5. AU$49.95 (hardback)." British Journal for the History of Science 36, no. 2 (June 2003): 235–36. http://dx.doi.org/10.1017/s0007087403235044.

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Pharaoh, Mark. "A Museum for the People: A History of Museum Victoria and its Predecessor Institutions, 1854-2000 by Carolyn Rasmussen (together with 46 specialist contributors)." Historical Records of Australian Science 14, no. 1 (2002): 106. http://dx.doi.org/10.1071/hr02901d_br.

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Pomeroy, Jordana. "A Grand Design: The Art of the Victoria and Albert Museum, and: Photography, An Independent Art: Photographs from the Victoria and Albert Museum 1839-1996 (review)." Victorian Studies 42, no. 3 (2000): 562–64. http://dx.doi.org/10.1353/vic.2000.0077.

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Topsfield, Andrew. "John Guy and Deborah Swallow (ed.): Arts of India: 1550–1900. 240 pp. London: Victoria and Albert Museum, 1990. £19.95." Bulletin of the School of Oriental and African Studies 55, no. 1 (February 1992): 149. http://dx.doi.org/10.1017/s0041977x00002998.

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Waelkens, Marc, and Edwin Owens. "The Excavations at Sagalassos 1993." Anatolian Studies 44 (December 1994): 169–86. http://dx.doi.org/10.2307/3642990.

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During 1993 the excavations at Sagalassos continued for their fourth season from 3 July until 19 August. From 21 until 28 August a survey was carried out in the district immediately south and south-east of the excavation site. The work was directed by Professor Marc Waelkens (Dept. of Archaeology, Catholic University of Leuven). A total of 45 Turkish workmen and 62 scientists or students from various countries (Belgium, Turkey, Great Britain, Portugal, France, Austria and Greece) were involved in the project. The team included 25 archaeologists, 8 illustrators, 8 architect-restorers (supervised by T. Patricio and directed by Prof. K. Van Balen and Prof. F. Hueber), 4 cartographers (directed by Prof. F. Depuydt), 2 geomorphologists (Prof. E. Paulissen and K. Vandaele), 2 archaeozoologists from the Museum of Central Africa at Tervuren (Belgium), 6 conservators (directed by G. Hibler-Vandenbulcke), 1 photographer (P. Stuyven), 2 computer specialists and 4 people taking care of everyday logistics. The Turkish Antiquities Department was represented by Mrs. Nurhan Ülgen for the first and by Mrs. Aliye Yamancı for the second half of the season, whom we both thank for their much appreciated help and collaboration.

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Dodds, Douglas. "From analogue to digital: preserving early computer-generated art in the V&A’s collections." Art Libraries Journal 35, no. 3 (2010): 10–16. http://dx.doi.org/10.1017/s0307472200016485.

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The Victoria and Albert Museum holds the UK’s emerging national collection of early computer-generated art and design. Many of the earliest works only survive on paper, but the V&A also holds some born-digital material. The Museum is currently involved in a project to digitise the computer art collections and to make the information available online. Artworks, books and ephemera from the Patric Prince Collection and the archives of the Computer Arts Society are included in a V&A display on the history of computer-generated art, entitled Digital pioneers. In addition, the project is contributing to the development of the Museum’s procedures for dealing with time-based media.

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Becker, Barbara J. "Richard Gillespie. The Great Melbourne Telescope. 188 pp., illus., bibl., index. Melbourne: Museum Victoria Publishing, 2011. $29.95 (paper)." Isis 103, no. 4 (December 2012): 797–98. http://dx.doi.org/10.1086/670106.

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Gesztelyi, Tamás. "Gems in the Ustinow Collection, Museum of Cultural History, University of Oslo." Acta Classica Universitatis Scientiarum Debreceniensis 58 (September 1, 2022): 101–41. http://dx.doi.org/10.22315/acd/2022/6.

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Scientifically, the collection’s primary importance is its Middle-Eastern origin; collections of gemstones from the Middle East have rarely been published unlike those from European archaeological sites. Thus the possibility opens up to compare finds from the eastern and western parts of the Roman Empire with a focus on similarities and differences. While in the western provinces the gemstones typically spread during the era of the Roman Empire, in the eastern provinces the use of seals and gemstones goes back several thousand years. It follows that in the western regions, representations of the official themes of the age of the emperors, including the characteristic figures of gods of the state religion (Jupiter, Minerva, Mars, Venus Victrix), are the most common. In contrast, the eastern provinces saw the spread of representations of local gods (Zeus Ammon, Zeus Heliopolitanos, Sarapis) or the Hellenistic types of the Greek gods (Apollo Musagetes, Aphrodite Anadyomene, Hermes Psychopompos). However, there were figures of gods that were equally popular in both regions, such as Tyche–Fortuna, Nike–Victoria, Eros–Amor, Dionysos–Bacchus, Heracles–Hercules. Each of these became rather popular in the Hellenistic World, spreading basically spontaneously throughout the entire Roman Empire. There was a similar unity in the popularity of represenations of animals, too.The eastern region was, however, characterised by the relatively large number of magic gemstones. There is a piece among these which has no exact analogy (Cat. 69) and its analysis sheds new light on the previous interpretation of similar pieces. The popularity of magic gemstones is highlighted by the fact that some of their motifs became distorted beyond recognition in the popularisation process. Understandably, Sasanian gemstones and seals, which revived the Romans’ dying custom of sealing for some time, were also typical of the eastern regions. What is conspicuous is that the stone cameos (agate, sardonyx) so common in the western regions are completely missing from the collection, while there is a fair number of glass cameo pendants made in the eastern regions.From an educational and community cultural aspect, the significance of the Ustinow collection lies in the fact that it represents several historical and cultural eras between the fourth century B.C. and the fifth century A.D. for the benefit of the interested public, private collectors, and students of archaeology and the antiquities. The gemstones may be small, but the representations on them can be extraordinarily rich in meaning. With adequate enlargement and due professional expertise, which this catalogue aims to promote, all this information can come to life in front of us, allowing us a glimpse into the lives and thoughts of the citizens of a Mediterranean world two thousand years back.

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Mahadevan, Iravatham. "Persian-Tamil inscription from āmbūr Fort." Bulletin of the School of Oriental and African Studies 51, no. 3 (October 1988): 540–41. http://dx.doi.org/10.1017/s0041977x00116544.

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I read with interest the brief report on the Persian–Tamil inscription on a stone tablet recording the reconstruction of the Āmbūr Fort in Tamilnadu, and now preserved in the Victoria and Albert Museum (BSOAS, XLIX, 3, 1986, 553–7). As a Tamil epigraphist, I was particularly interested in the Tamil text edited by J. R. Marr (ibid., 553, n. 3). Unfortunately, he has misread two words (each occurring twice), made wrong segmentations of two other words and omitted the last word in the text. These happen to be crucial words and consequently his translation has suffered. The Tamil characters of the epigraph are almost modern and they can be made out quite clearly from the excellent reproduction (ibid., pi. I). Without more ado, I proceed to furnish a revised transliteration and translation of the Tamil record with brief notes on some of the interesting expressions occurring in it.

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Hakiwai, Arapata, and Paul Diamond. "Plenary: The legacy of museum ethnography for indigenous people today - case studies from Aotearoa/New Zealand." Museum and Society 13, no. 1 (January 1, 2015): 107–18. http://dx.doi.org/10.29311/mas.v13i1.320.

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The following plenary took place at the seminar ‘Reassembling the material: A research seminar on museums, fieldwork anthropology and indigenous agency’ held in November 2012 at Te Herenga Waka marae, Victoria University of Wellington, Aotearoa New Zealand. In the papers, indigenous scholars and museum professionals presented a mix of past legacies and contemporary initiatives which illustrated the evolving relations between Māori people, and museums and other cultural heritage institutions in New Zealand. Whereas most of the papers at this seminar, and the articles in this special issue, are focused on the history of ethnology, museums, and government, between about 1900 and 1940, this section brings the analysis up to the present day, and considers the legacy of the indigenous engagement with museums and fieldwork anthropology for contemporary museum practice. What do the findings, which show active and extensive indigenous engagements with museums and fieldwork, mean for indigenous museum professionals and communities today?

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Browne, Janet. "Colin Finnet, Paradise Revealed: Natural History in Nineteenth-Century Australia. Melbourne: Museum of Victoria, 1993. Pp. xv + 186. ISBN 0-7306-2494-3. A$ 34.95." British Journal for the History of Science 28, no. 1 (March 1995): 115–16. http://dx.doi.org/10.1017/s0007087400032829.

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Waelkens, Marc, Edwin Owens, Ann Hasendonckx, and Burcu Arikan. "The Excavations at Sagalassos 1991." Anatolian Studies 42 (December 1992): 79–98. http://dx.doi.org/10.2307/3642953.

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During 1991 large-scale excavations at Sagalassos continued for their second season from 13 July until 5 September. The work was directed by Professor Marc Waelkens (Dept. of Archaeology, Catholic University of Leuven). A total of 42 scientists from various countries (Belgium, Turkey, Great Britain, Germany and Portugal) as well as 25 local workmen (supervised by Mr. Ali Toprak) carried out the work. The team included 20 archaeologists, 4 illustrators (supervised by G. Evsever and R. Kotsch), 4 architect-restorers (directed by Prof. R. Lemaire and Dr. K. Van Balen), 3 cartographers (directed by Prof. F Depuydt), 2 geologists (directed by Prof. W. Viaene), 2 geomorphologists (Prof. J. De Ploey and Prof. E. Paulissen), 1 archaeozoologist (Dr. W. Van Neer), 1 anthropologist (Dr. Chr. Charlier), 2 restorers for the small finds (directed by Miss K. Norman) and 1 photographer (P. Stuyven). The Turkish Antiquities Department was represented by Muhammet Alkan from the Sivas Museum, whom we thank for his help. Financial support came from the Research Council of the Catholic University of Leuven, the Belgian Fund for Collective Fundamental Research (F.K.F.O.), the Belgian Programme on Interuniversity Poles of Attraction (I.U.A.P. no 28), the National Bank of Belgium, the ASLK/CGER Bank, the tour operator ORION, the car rental company Interleasing, the restoration company E. G. Verstraete & Vanhecke N. V., Agfa-Gevaert films and the association “Friends of Sagalassos”.

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Weber, Anke, Willem Hovestreydt, and Lea Rees. "Third Report on the Publication and Conservation of the Tomb of Ramesses III in the Valley of the Kings (KV 11)." Journal of Egyptian Archaeology 107, no. 1-2 (June 2021): 79–104. http://dx.doi.org/10.1177/03075133211060539.

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Since antiquity, the tomb of Ramesses III (KV 11) has been among the most frequently visited royal tombs in the Valley of the Kings. It was also one of the first to be described and documented in detail by European travellers in the eighteenth to nineteenth centuries. As large parts of the wall decoration of the tomb, especially in its rear, are now destroyed, the drawings, notes and squeezes of those early researchers who saw the site in its former splendour offer an invaluable resource for the reconstruction of the tomb’s unique decoration programme. The collection, revision, and publication of all relevant archive material concerning KV 11 is an important goal of The Ramesses III (KV 11) Publication and Conservation Project. The following article reports on first and preliminary results from the authors’ research in the archives of the British Library and the Victoria and Albert Museum in London, as well as the Bodleian Libraries and the Griffith Institute in Oxford, carried out in September 2019 and made possible through the Centenary Award 2019 of the Egypt Exploration Society.

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Brekke, Torkel. "Bones of Contention: Buddhist Relics, Nationalism and the Politics of Archaeology." Numen 54, no. 3 (2007): 270–303. http://dx.doi.org/10.1163/156852707x211564.

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AbstractRelics of Sāriputta and Moggallāna, two of the Buddha's closest disciples, were discovered by Fred. C. Maisey and Alexander Cunningham in a stūpa at Sānchī in 1851 and were re-enshrined at the same place in November 1952. The exact whereabouts of the relics between these two dates has been uncertain, partly because both Buddhists and scholars have assumed, incorrectly, that the relics that were brought back to India had been in the possession of Mr Cunningham. The purpose of this article is to give a detailed account ot the relics of Sāriputta and Moggallāna found at Sānchī. The account is based on correspondence and notes about the relics found in archives of the Victoria & Albert Museum, London, and on relevant sources published by the Maha Bodhi Society. I argue that the quarrel over the relics was an important part of the revival of Buddhism from the end of the nineteenth century. I also discuss how the relics of the two saints were used by the government of India as nationalist symbols.

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Tregenza, Liz. "‘Mary Quant’, Victoria and Albert Museum, London, UK, 6 April 2019–16 February 2020." Textile History 50, no. 2 (July 3, 2019): 253–55. http://dx.doi.org/10.1080/00404969.2019.1654231.

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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.

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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.

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ALLSOPP, PETER G., and PETER J. HUDSON. "Novapus bifidus Carne, 1957, a primary homonym and synonym of Novapus bifidus Lea, 1910 (Coleoptera: Scarabaeidae: Dynastinae)." Zootaxa 4560, no. 3 (February 26, 2019): 576. http://dx.doi.org/10.11646/zootaxa.4560.3.9.

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In his landmark revision of the Australian Dynastinae (Coleoptera: Scarabaeidae) Phil Carne (1957) described Novapus bifidus Carne, 1957 from males and females collected at Cape York and Thursday Island. The type series is in the Australian National Insect Collection, Canberra, Australia (ANIC); the Natural History Museum, London, United Kingdom; the South Australian Museum, Adelaide, Australia (SAM); and the Museum of Victoria, Melbourne, Australia. He noted “In the collections of the South Australian Museum there are specimens designated as types of bifidus Lea. No description of this species has been published, and it is now described under the same specific name”. One of his paratypes is a female in SAM identified as “Lea’s unpublished ♀ type” and two other paratypes are males in SAM. Cassis & Weir (1992) noted that one of the SAM specimens has the registration number I4268, although they knew of only two paratypes (one male, one female) in that collection. The name has been attributed to Carne by most subsequent authors (Endrődi 1974, 1985; Carne & Allsopp 1987; Cassis & Weir 1992; Dechambre 2005; Atlas of Living Australia 2018.). Krajcik (2005, 2012) listed it in his scarab checklists but as “bifidus? Carne 1957”.

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Mather, Patricia. "Carolyn Rasmussen et al. A Museum for the People: A History of Museum Victoria and Its Predecessors, 1854–2000. xvi + 423 pp., illus., bibl., index. Melbourne: Scribe Publications, 2001. AUD $49.95 (cloth)." Isis 94, no. 1 (March 2003): 199–201. http://dx.doi.org/10.1086/376186.

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Storey, Taryn. "Devine Intervention: Collaboration and Conspiracy in the History of the Royal Court." New Theatre Quarterly 28, no. 4 (November 2012): 363–78. http://dx.doi.org/10.1017/s0266464x12000668.

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Taryn Storey believes that a series of letters recently discovered in the archive of the Arts Council of Great Britain (ACGB) makes it important that we reassess the genesis of the English Stage Company at the Royal Court. Dating from November 1952, the correspondence between George Devine and William Emrys Williams, the Secretary General of the ACGB, offers an insight into a professional and personal relationship that was to have a profound influence on the emerging Arts Council policy for drama. Storey makes the case that in 1953 Devine not only shaped his Royal Court proposal to fit the priorities of the ACGB Drama Panel, but that Devine and senior members of the ACGB then collaborated to ensure that the proposal became a key part of Arts Council strategic planning. Furthermore, she puts forward the argument that the relationship between Devine and Williams was instrumental to new writing and innovation becoming central to the future rationale for state subsidy to the theatre. Taryn Storey is a doctoral student at the University of Reading. Her PhD thesis examines the relationship between practice and policy in the development of new writing in post-war British theatre, and forms part of the AHRC-funded project ‘Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945–1995’, a collaboration between the University of Reading and the Victoria and Albert Museum.

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FISHER, CLEMENCY. "FINNEY, C. Paradise revealed: natural history in 19th-century Australia. The Museum of Victoria, Melbourne, Victoria: 1993. Pp xv, 186; illustrated. Price A$ 34.95 pbk. ISBN: 0-7306-2494-3." Archives of Natural History 21, no. 3 (October 1994): 420. http://dx.doi.org/10.3366/anh.1994.21.3.420.

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Smith, Nicholas. "The Garrick Papers: Provenance, Publication, and Reception." Library 21, no. 3 (September 1, 2020): 293–327. http://dx.doi.org/10.1093/library/21.3.293.

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Abstract The Garrick Papers are among the brightest literary jewels in the Forster Collection at the Victoria and Albert Museum. This article reconstructs their provenance, along with that of significant deposits of Garrick’s correspondence held elsewhere, and examines the circumstances that led to their publication in 1831–1832. It uses unpublished manuscripts, Chancery records, and annotated sale catalogues to identify the chain of ownership between 1822, when the executors of Eva Maria Garrick (1724–1822), the actor’s widow, found them in two cabinets at her Thames-side villa at Hampton, and 1876, when they were bequeathed to the South Kensington Museum. It reveals the original order of Garrick’s epistolary archive, and his and others’ involvement in its appraisal and arrangement, the various depredations and augmentations that occurred during the fifty years that followed Eva Maria Garrick’s death, and the early critical reception and publishing history of the printed editions of Garrick’s correspondence.

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Rowley, Chris, and Joanne Taylor. "Implementing 'Museum Victoria Wireless Input System for EMu (MVWISE)' Barcoding for Location Management of a Wet Type Collection." Biodiversity Information Science and Standards 2 (June 13, 2018): e26178. http://dx.doi.org/10.3897/biss.2.26178.

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The Non-Arthropod Wet Type Collection consists of approximately 1660 lots of specimens spread across 13 phyla. The collection covers a range of taxa including Annelida (earthworms, leeches, bristle worms); Echinodermata (sea stars, brittle stars, sea cucumbers); Mollusca (snails, octopus, squid, cuttlefish); Porifera (sponges); Cnidaria (anemones, hydroids). The majority of specimens in the collection are preserved in 70% ethanol or 10% formalin. Being a collection of zoological type specimens, this collection is considered to be of high scientific value and is irreplaceable. Concerns over possible deterioration and a lack of documented history of preservation, led the Museums Victoria Marine Invertebrate Section and Conservation Department to undertake an audit to assess and document the current state of the collection. The aim of the assessment was to: establish baseline data covering the physical condition of specimens, jars and seals. assess the chemical properties of the preservation fluid. where required, undertake appropriate preventative and remedial treatment. data gathered from the audit will be loaded onto the museum’s database (EMu). As part of the audit, implementation of a storage location management system using Museums Victoria Wireless Input System for EMu (MVWISE) was incorporated into the project. Storage location management using MVWISE ensures that object and container records have their current Location updated in EMu when they are physically moved. Implementing object barcoding in a collection that is preserved in fluid where specimens are tiny and stored in vials is problematic. We report on the strategy used to overcome these issues without compromising the best practice for fluid preserved specimens. Advantages of barcoding the fluid preserved specimens of the Invertebrate Type Collection at Museums Victoria include the ability to easily audit the collection even when the taxonomic nomenclature has changed.

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Darragh, Thomas A. "William Blandowski: A frustrated life." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 11. http://dx.doi.org/10.1071/rs09011.

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When Johann Wilhelm Theodor Ludwig von Blandowski (1822-1878), was appointed Government Zoologist on 1 March 1854, Victoria gained a scientist, who had attended Tarnowitz Mining School and science lectures at Berlin University. He had been an assistant manager in part of the Koenigsgrube coal mine at Koenigshütte, but as a consequence of some kind of misdemeanour, resigned from the Prussian Mining Service and joined the Schleswig-Holstein Army in March 1848. After resigning his Lieutenant’s commission and trying unsuccessfully to obtain another appointment in the Prussian Mining Service, he left for Adelaide in May 1849 as a collector of natural history specimens. After some collecting expeditions and earning a living as a surveyor he moved to the Victorian goldfields. He undertook official expeditions in Central Victoria, Mornington Peninsula and Western Port and in December 1856 he was leader of the Murray-Darling Expedition, but control of the Museum passed to Frederick McCoy with Blandowski relegated to the position of Museum Collector. Feted on his return from the Expedition, he fell out with some members of the Royal Society of Victoria over somewhat puerile descriptions of new species of fishes and he also refused to recognise McCoy’s jurisdiction over him. After acrimonious arguments about collections and ownership of drawings made whilst he was a government officer, Blandowski resigned and left for Germany, where he set up as a photographer in Gleiwitz in 1861, but some kind of mental instability saw him committed to the mental asylum at Bunzlau (now Boleslawiec, Poland) in September 1873, where he died on 18 December 1878. Assessments of Blandowki’s scientific and artistic career in Australia have been mixed. The biographical details presented provide the opportunity to judge assessments of Blandowski in Australia against his actions both before and after his arrival there.

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Bide, Bethan. "‘Christian Dior: Designer of Dreams’, Victoria and Albert Museum, London, UK, 2 February–1 September 2019." Textile History 50, no. 2 (July 3, 2019): 249–52. http://dx.doi.org/10.1080/00404969.2019.1654227.

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Journal articles on the topic 'Museum of Victoria ;Dept of History History'

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