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Journal articles on the topic 'Museums Victoria History'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

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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2

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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3

Upchurch, Michael. "Hinemihi o te Ao Tawhito." Museum Worlds 8, no. 1 (July 1, 2020): 188–203. http://dx.doi.org/10.3167/armw.2020.080113.

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This report discusses the overriding significance of cross-cultural relationships in heritage management and conservation with regard to Hinemihi o te Ao Tawhito, the whare whakairo (“carved meeting house”) “displaced” in the late nineteenth century from Te Wairoa in Aotearoa New Zealand to Clandon Park in England. Looking at the history and meanings of the meeting house through the relationships of those who interacted with her, it demonstrates how listening, learning, and understanding are at the heart of improving professional practice in museums and heritage practice globally. This article is derived from and expands upon an assignment written for the course MHST507 “Museums and Māori” taught by Awhina Tamarapa as part of the PG-Dip in Museum and Heritage Practice at Te Herenga Waka Victoria University of Wellington in May 2020.

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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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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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6

Measday, Danielle, and Rosemary Goodall. "Measuring and Mitigating Mercury Gases in the Museums Victoria Collection." Biodiversity Information Science and Standards 2 (June 13, 2018): e27044. http://dx.doi.org/10.3897/biss.2.27044.

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For the past six years the conservation and collection management departments at Museums Victoria have been conducting a major survey to determine the type and extent of hazardous substances in the collections to better inform safe handling and storage practices. This paper focuses on mercury compounds in the collection, including mercury chloride applied as a pesticide, mercury sulfide pigments, liquid mercury used in scientific equipment, and mineral specimens such as native mercury and cinnabar. All these compounds can release volatile mercury vapour into storage furniture and have the potential to contaminate both the cabinet and other specimens stored nearby. Although previous testing had confirmed that the air in storage rooms and workspaces contained no detectable levels of mercury vapour, recent publications by Hawks et al. 2004, Havermans et al. 2015 and Marcotte et al. 2017 showing high levels of mercury vapour inside storage containers in herbaria raised concern that there could be higher than acceptable levels of mercury vapour building up inside storage cabinets at Museums Victoria. This prompted analysis of the headspace in cabinets using a Jerome J405 portable mercury vapour meter. Testing was informed by the results of previous hazards surveys using X-ray fluorescence spectrography to target cabinets where mercury vapour was likely to be present. Air from cabinets was sampled across the indigenous cultures, history, technology and natural sciences collections. Results showed levels of mercury vapour could be considerably above 25 μg/m3 the Australian time-weighted average (TWA) exposure standard for an 8 hour workday in cabinets of bird skins and indigenous artefacts treated with mercuric chloride pesticides. Results above 150 μg/m3 the temporary emergency exposure level (TEEL) were measured in the mineralogy collection. Mitigation strategies are being implemented to reduce the risks to staff health and contamination of other collection materials, including enclosing mercury-containing species of minerals in gas barrier film, venting high risk cabinets to dissipate vapour before accessing specimens, and engineering controls during the handling of specimens.

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7

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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Schamberger, Karen. "‘Still Children of the Dragon’? A review of three Chinese Australian heritage museums in Victoria." Australian Historical Studies 42, no. 1 (March 2011): 140–47. http://dx.doi.org/10.1080/1031461x.2010.541471.

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9

Harris, Neil. "Karen A. Rader and Victoria E. M. Cain.Life on Display: Revolutionizing U.S. Museums of Science and Natural History in the Twentieth Century." American Historical Review 120, no. 5 (December 2015): 1911–12. http://dx.doi.org/10.1093/ahr/120.5.1911.

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10

Rutherford-Morrison, Lara. "Playing Victorian." Public Historian 37, no. 3 (August 1, 2015): 76–101. http://dx.doi.org/10.1525/tph.2015.37.3.76.

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The British heritage industry has long been a subject for debate in the UK, with critics arguing that heritage invests history with a nostalgic idealism that sanitizes and simplifies the nation’s past. This article examines Blists Hill Victorian Town, a British living history museum that purports to re-create everyday industrial life of the 1890s, within the context of these debates, arguing that Blists Hill portrays the late-Victorian period with more complexity than many critics would allow. Shifting the lens of how such sites have typically been evaluated—away from questions of authenticity, to instead focus on how living history museums engage visitors in meaningful play—I consider the ways that Blists Hill promotes creative learning through an imaginative, visceral engagement with history.

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11

Turnbull, Paul. "Australian Museums, Aboriginal Skeletal Remains, and the Imagining of Human Evolutionary History, c. 1860-1914." Museum and Society 13, no. 1 (January 1, 2015): 72–87. http://dx.doi.org/10.29311/mas.v13i1.318.

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Much has been written about how progress to nationhood in British colonial settler societies was imagined to depend on safeguarding the biological integrity of an evolutionarily advanced citizenry. There is also a growing body of scholarship on how the collecting and exhibition of indigenous ethnological material and bodily remains by colonial museums underscored the evolutionary distance between indigenes and settlers. This article explores in contextual detail several Australian museums between 1860 and 1914, in particular the Australian Museum in Sydney, the Queensland Museum in Brisbane, and the Victorian Museum in Melbourne, in which the collecting, interpretation and exhibition of the Aboriginal Australian bodily dead by staff and associated scientists served to imagine human evolutionary history.

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12

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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13

Marie, Caroline. "Virginia Woolf's Imaginary Museum of the Medieval in ‘The Journal of Mistress Joan Martyn’." Victoriographies 11, no. 2 (July 2021): 165–84. http://dx.doi.org/10.3366/vic.2021.0421.

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This article shows that the Middle Ages Virginia Woolf imagines in her 1906 short story ‘The Journal of Mistress Joan Martyn’ are influenced by the staging of the medieval in late-Victorian museums and reflects late-Victorian medievalism. From the perspective of material culture studies, Woolf's tale reflects the representation and fabrication of the medieval by the British Museum and the South Kensington Museum and shapes a similar narrative of the Middle Ages. Relying on Michel Foucault's definitions of ‘heterotopia’ as well as on Tony Bennett's analysis of Victorian museums, this article argues that Woolf's fictionalisation of the medieval evidences a new, complex temporality of knowledge and consciousness of the past which also defines late-Victorian curatorial philosophy and practices. It analyses each regime of that new temporality: first, the archaeological gaze and its contribution to the grand national narrative via the literary canon and, second, the theatrical gaze, with its focus on spectacularly displayed artefacts, that partakes of an image's mystique. In temporal terms, this results in a tension between the tangible remains of a past clearly separated from the present and the mystical fusion of past and present reinscribing Woolf's poetics of the moment within a sense of history.

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14

Syperek, Pandora. "Hope in the Archive: Indexing the Natural History Museum’s Ecologies of Display." Journal of Curatorial Studies 9, no. 2 (October 1, 2020): 206–29. http://dx.doi.org/10.1386/jcs_00021_1.

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In 2017, a 25-metre-long blue whale skeleton was installed in the Central Hall of the Natural History Museum, London. ‘Hope’ became a symbol of the urgency of marine conservation, and of institutional relevance in the face of ecological devastation. However, the whale is but the latest in a series of dramatic installations of formidable specimens since the museum first opened in 1881. Originally intended as an encyclopaedia of nature, or ‘Index Museum’, the Central Hall’s history charts the intersection of exhibitionary aura and concepts of ecology. This article argues that the original Victorian framework, both institutional and ideological, continues to shape the museum’s ecological aesthetics, and therefore requires self-critical reassessment to be truly transformative.

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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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16

Willis, Frances. "Innovative cover design: an exploration of 19th- and early 20th-century publishers’ cloth bindings designs." Art Libraries Journal 38, no. 1 (2013): 5–11. http://dx.doi.org/10.1017/s0307472200017818.

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The Victoria and Albert Museum’s Renier Collection of Children’s Books provides a rich resource for research into book production as well as social history. Publishers’ cloth bindings have developed in a visually vibrant way that provides clues to the production dates of the books, as well as encouraging reflections on how they were marketed across the Victorian era and early 20th century. Questions also arise, such as, what was the relationship between the reader and cover? How did the cover designs reflect the times in which they were created? And, how different are our paperback era designs to those of the period when cloth was used?

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17

Trofanenko, Brenda. "Karen A. Rader & Victoria E. M. Cain Life on Display: Revolutionizing U.S. Museums of Science and Natural History in the Twentieth Century. Chicago, IL: University of Chicago Press, 2014. 459 pp. Cloth $45.00." History of Education Quarterly 55, no. 3 (August 2015): 396–99. http://dx.doi.org/10.1111/hoeq.12130.

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BUXTON, HILARY. "Health by design: teaching cleanliness and assembling hygiene at the nineteenth-century sanitation museum." British Journal for the History of Science 51, no. 3 (September 2018): 457–85. http://dx.doi.org/10.1017/s0007087418000493.

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AbstractIn 1878, amid a rapidly proliferating social interest in public health and cleanliness, a group of sanitary scientists and reformers founded the Parkes Museum of Hygiene in central London. Dirt and contagion knew no social boundaries, and the Parkes's founders conceived of the museum as a dynamic space for all classes to better themselves and their environments. They promoted sanitary science through a variety of initiatives: exhibits of scientific, medical and architectural paraphernalia; product endorsements; and lectures and certificated courses in practical sanitation, food inspection and tropical hygiene. While the Parkes's programmes reified the era's hierarchies of class and gender, it also pursued a public-health mission that cut across these divisions. Set apart from the great cultural and scientific popular museums that dominated Victorian London, it exhibited a collection with little intrinsic value, and offered an education in hygiene designed to be imported into visitors’ homes and into urban spaces in the metropole and beyond. This essay explores the unique contributions of the Parkes Museum to late nineteenth-century sanitary science and to museum development, even as the growth of public-health policy rendered the museum obsolete.

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19

Knight, William. "Karen A. Rader; Victoria E. M. Cain. Life on Display: Revolutionizing U.S. Museums of Science and Natural History in the Twentieth Century. xiv + 467 pp., illus., bibl., index. Chicago/London: University of Chicago Press, 2014. $45 (cloth)." Isis 107, no. 1 (March 2016): 202–4. http://dx.doi.org/10.1086/686213.

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20

Barringer, T. J. "Nature's Museums: Victorian Science and the Architecture of Display, and: On Exhibit: Victorians and Their Museums (review)." Victorian Studies 45, no. 1 (2002): 151–53. http://dx.doi.org/10.1353/vic.2003.0040.

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Davis, Peter. "RADER, Karen A., and CAIN, Victoria E. M. Life on display: revolutionizing U.S. museums of science and natural history in the twentieth century. Chicago University Press, Chicago and London: 2014. Pp 467; illustrated. Price $ 45.00 (hardback). ISBN 9780226079660." Archives of Natural History 42, no. 2 (October 2015): 373. http://dx.doi.org/10.3366/anh.2015.0332.

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Ivaniuk, Oleg. "Museumification of the military historical heritage in the Dnieper Ukraine and the Crimea in the 19th and early 20th centuries." Kyiv Historical Studies, no. 2 (2018): 81–88. http://dx.doi.org/10.28925/2524-0757.2018.2.8188.

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The article focuses on the beginning of the process of formation of museum collections relevant to the military past of the Dnieper Ukraine in the 19th — first decade of the 20th century. It is determined, in the research scope, that the process of creating museum exhibits, which consisted of monuments of military historical heritage, was influenced by the following: the development of archaeological research, which was stimulated by the domination of classicism, which induced interest in the ancient past, the imperial power ideologizing the historical process, the Ukrainian nobility (descendants of the Cossacks elders) preserving historical memory of the victorious past of their people, and so on. It is found, that during the 19th century, museumification of the 19th and early 20th centuries military heritage had several trends: the creation of “propaganda” exposition, which would remind of the key, from the tsarist regime point of view, imperial army victories, foster respect for the imperial family and the royal power institution self, commemorate imperial myths, the formation of the Cossacks antiquities collections, initiated by Ukrainian intellectuals and scholars; expositions formed by the military according to purely professional interest. During the 19th and early 20th centuries, a number of museums, which had monuments of military history as a part of their collections, were founded. Some of the aforementioned museums are the following: the Museum of Ukrainian Antiquities in Chernihiv, the Museum of Heroic Defense and the Liberation of the City of Sevastopol, the Museum of Poltava Battle, etc. Museumification of the military heritage has stimulated the development of various areas of special military-historical research.

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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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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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Barringer, Tim. "BOOK REVIEW: Carla Yanni.NATURE'S MUSEUMS: VICTORIAN SCIENCE AND THE ARCHITECTURE OF DISPLAY. and Barbara J.ON EXHIBIT: VICTORIANS AND THEIR MUSEUMS." Victorian Studies 45, no. 1 (October 2002): 151–53. http://dx.doi.org/10.2979/vic.2002.45.1.151.

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Alberti, Samuel J. M. M. "Karen A. Rader and Victoria E.M. Cain, Life on Display: Revolutionizing U.S. Museums of Science and Natural History in the Twentieth Century. Chicago and London: The University of Chicago Press, 2014. Pp. xiv + 467. ISBN 978-0-2260-7966-0. $45.00/£31.50 (hardback)." British Journal for the History of Science 48, no. 4 (December 2015): 719–21. http://dx.doi.org/10.1017/s0007087415000928.

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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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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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Goldstein, Daniel. "Karen A. Rader and Victoria E. M. Cain. Life on Display: Revolutionizing U.S. Museums of Science and Natural History in the Twentieth Century. Chicago: University of Chicago Press, 2014. xiv+467 pp.; 24 black-and-white illustrations, notes, bibliographic essay on sources, bibliography, index. $45.00." Winterthur Portfolio 50, no. 1 (March 2016): 90–91. http://dx.doi.org/10.1086/687168.

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Gates, Barbara T. "INTRODUCTION: WHY VICTORIAN NATURAL HISTORY?" Victorian Literature and Culture 35, no. 2 (June 29, 2007): 539–49. http://dx.doi.org/10.1017/s1060150307051625.

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VICTORIANS WERE IN LOVE WITHnatural history. David Allen describes their passion as a series of crazes – over geology, over shells, and over ferns, as in pteridomania (mania over ferns) – to cite just a very few examples. Lynn Merrill, on the other hand, delineates a more comprehensive, cultural romance, one extending over many years. Whatever we choose to call this love, we are still in the process of discovering just how deep and lasting it was. Like many love affairs, it was marked at first by a blush enthusiasm and fascination with otherness. This was followed by curiosity and a rage to risk self in the quest to know more about the other – and sometimes, as a result, by ridiculous missteps. Think of George Eliot and George Henry Lewes sloshing around at the seashore, ill-equipped but determined to find out enough to write about what they were trying to capture and study. Or recall Mary Kingsley out in Africa in a canoe propelled by several Congolese, tumbling out of the boat but saving her trusted copy of Albert Günther's 1880Introduction to the Study of Fishes, tenacious in her desire to bring back labeled specimens to the British Museum of Natural history. Earlier, in a similarly resolute quest to record birdlife, John and Elizabeth Gould globe-trotted to the extent that they put Elizabeth's life and their growing family at risk. And people like explorer/naturalist Thomas Bowdich died of fever for their fervor over natural history, in Bowdich's case as he worked to detail facts about specimens in Porto Santo, off the coast of West Africa. Bowdich left a wife to fend for herself and their family via her own study of natural history, and one result was Sara Bowdich Lee's beautifully illustratedFresh-Water Fishes of Great Britain(1828). The romance with nature certainly cut across class and gender barriers. Stonecutter Hugh Miller could lose himself as easily in geological pursuits as could Charles Darwin or Sir Charles Lyell and Marianne North's passion for plants may well have matched or exceeded that of Kew's famous botanist, Sir Joseph Hooker.

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Almond, Gemma. "Normalizing Vision: The Representation and Use of Spectacles and Eyeglasses in Victorian Britain." Journal of Victorian Culture 26, no. 2 (April 1, 2021): 267–81. http://dx.doi.org/10.1093/jvcult/vcab007.

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Abstract This study explores the representation and use of Victorian visual aids, specifically focusing on how the design of spectacle and eyeglass frames shaped ideas of the ‘normal’ and ‘abnormal’ body. It contributes to our understanding of assistive technologies in the Victorian period by showcasing the usefulness of material evidence for exploring how an object was produced and perceived. By placing visual aids in their medical and cultural context for the first time, it will show how the study of spectacle and eyeglass frames develops our understanding of Victorian society more broadly. Contemporaries drew upon industrialization, increasing education, and the proliferation of print to explain a rise in refractive vision ‘errors’. Through exploring the design of three spectacle frames from the London Science Museum’s collections, this study will show how the representations and manufacture of visual aids transformed in response to these wider changes. The material evidence, as well as contemporary newspapers, periodicals, and medical texts, reveal that visual aids evolved from an unusual to a more mainstream device. It argues that visual aids are a unique assistive technology, one that is able to inform our understanding of how Victorians measured the body and constructed ideas of ‘normalcy’ and ‘abnormalcy’.

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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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Alberti, Samuel J. M. M. "Natural history and the philosophical societies of late Victorian Yorkshire." Archives of Natural History 30, no. 2 (October 2003): 342–58. http://dx.doi.org/10.3366/anh.2003.30.2.342.

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Natural history, so popular a pursuit in nineteenth-century Britain, was a thriving part of the activities of the literary and philosophical societies that epitomized urban middle-class cultural life. The “lit and phils” are most famous for their museums, but this paper outlines the range of other activities pertaining to natural knowledge that went on within their walls, focusing on the thriving societies in England's largest county, Yorkshire. Foremost among these were regular lectures: this paper discusses the speakers, audience and content, as well as the significance of the architecture of the halls in which they were staged. More exclusive meetings and didactic classes are also examined, as well as their (often extensive) libraries. After a brief examination of the purported decline of the philosophical societies around the turn of the century, a conclusion outlines the importance of science within these voluntary associations both to the provincial middle classes and the emerging professional men of science.

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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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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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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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De Hollanda, Bernardo Buarque. "FOOTBALL, MEMORY AND HERITAGE: THE STORY OF DJALMA SANTOS." Oral History Journal of South Africa 1, no. 1 (September 23, 2016): 116–24. http://dx.doi.org/10.25159/2309-5792/1598.

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The article aims at showing results from the project â€˜Football, Memory and Heritage: a Collection of Oral History Interviews for the Football Museumâ€™. The research was performed at the Center for Research and Documentation on Contemporary History of Brazil (FGV, Rio de Janeiro) in partnership with the Football Museum (SÃ£o Paulo, Brazil). The article shows, on the one hand, how the interest in soccer and its patrimonial and institutional aspects in Brazilian society has been increasing since the creation of collections of testimonies by institutions such as the Museum of Image and Sound in Rio de Janeiro (1965) and in SÃ£o Paulo (1970), and the Football Museum, opened in 2008, which follows the latest world expographic standards. On the other hand, the article seeks to explore the raw material of testimonies collected from former players of the Brazilian team, who played in the 1958, 1962 and 1970 World Cups, the years the team were champions of the world, in order to put up for discussion how the complex relationships between history and national memory operate in the sports universe. The central argument to be raised in the article is that, in the discourse of former players such as Djalma Santos and others still living, the nostalgia for a bygone era of victories rekindles an important discussion for the collective imagination. The demarcation of boundaries between a glorious past â€“ close to national roots â€“ and a present of defeats or failures marked by â€˜forgettingâ€™ the true form of national play, activates a rhetoric built not only by the athletes but by an expressive fraction of the sporting press and the more general public opinion in which the national sporting memory is seen as impregnated with representations associated with nostalgia, loss and alienation from a â€˜golden ageâ€™ of authentic Brazilian football.

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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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Hodgkinson, Richard L. "The Reverend Henry Eley, and his collection of foraminifera preserved in flint." Journal of Micropalaeontology 19, no. 1 (May 1, 2000): 60. http://dx.doi.org/10.1144/jm.19.1.60.

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Abstract. INTRODUCTIONThe Reverend Henry Eley ma was a little-known Victorian cleric who wrote a delightful book entitled Geology in the Garden in 1859. In it are described and illustrated many foraminifera preserved in flint, which are some of the first recorded Upper Cretaceous foraminifera from south east England. Jones & Parker thought well enough of his work to review Eley’s material in 1872. Eley’s collection is preserved in The Natural History Museum, London.BACKGROUNDWhilst undertaking an investigation into the life and work of Professor Thomas Rupert Jones, I came across an old collection of foraminifera in The Natural History Museum (registration numbers 54916–54944) attributed to a Rev. H. Eley. This, Jones had not only recorded in his Catalogue (1882: p. 14) but earlier in 1872 (with W. K. Parker) had thought worthy of revision – much as they had done with other more famous collections during the 1860s in their series On the Nomenclature of the Foraminifera. Why they should choose such an apparently obscure collection was unclear until I had chance to read a letter in the Museum’s archive, which Jones (1882) had previously mentioned. The letter was written by Eley to Jones on the 23 February 1872 from 5 Bloomsbury Place, Brighton. This indicates that Jones knew Eley and his whereabouts, since the former writes that he was going to read the March 1872 issue of the Geological Magazine with interest, because he remembered that ... ‘the note at the foot of page 195 of the Geology . . .

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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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Robertson, Bruce. "Grand Designs: Labor, Empire and the Museum in Victorian Culture." Social History 34, no. 3 (August 2009): 360–62. http://dx.doi.org/10.1080/03071020902982012.

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Rogers, Janine, and John Holmes. "Monkey Business: The Victorian Natural History Museum, Evolution, and the Medieval Manuscript." Romanticism on the Net: An open access journal devoted to British Romantic literature, no. 70 (2018): 1. http://dx.doi.org/10.7202/1074444ar.

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Cook, Laurence M. "Joseph Sidebotham: vicissitudes of a Victorian collector." Archives of Natural History 42, no. 2 (October 2015): 197–210. http://dx.doi.org/10.3366/anh.2015.0305.

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Joseph Sidebotham (1824–1885) was a Manchester cotton baron whose natural history collections are now in the Manchester Museum. In addition to collecting he suggested a method for identifying and classifying Lepidoptera and investigated variation within species as well as species limits. With three close collaborators, he is credited with discovering many species new to Britain in both Lepidoptera and Coleoptera. A suspicion of fraud attaches to these claims. The evidence is not clear-cut in the Lepidoptera, but a possible reason is suggested why Sidebotham, as an amateur in the increasingly professional scientific world, might have engaged in deceit.

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Van Keuren, David K. "Cabinets and culture: Victorian anthropology and the museum context." Journal of the History of the Behavioral Sciences 25, no. 1 (January 1989): 26–39. http://dx.doi.org/10.1002/1520-6696(198901)25:1<26::aid-jhbs2300250103>3.0.co;2-j.

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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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Nyhart, Lynn K. "Nature's Museums: Victorian Science and the Architecture of Display. Carla Yanni." Isis 92, no. 1 (March 2001): 190–91. http://dx.doi.org/10.1086/385116.

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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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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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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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