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Journal articles on the topic 'Victoria Museum'

Author: Grafiati

Published: 24 June 2021

Last updated: 13 February 2022

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1

McMullen, Gabrielle L. "Noted colonial German scientists and their contexts." Proceedings of the Royal Society of Victoria 127, no. 1 (2015): 9. http://dx.doi.org/10.1071/rs15001.

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German scientists made substantial and notable contributions to colonial Victoria. They were involved in the establishment and/or development of some of the major public institutions, e.g. the Royal Society of Victoria, National Herbarium, the Royal Botanic Gardens, Museum Victoria, the Flagstaff Observatory for Geophysics, Magnetism and Nautical Science, the Pharmaceutical Society of Victoria and the Victorian College of Pharmacy. Further, they played a leading role not only in scientific and technological developments but also in exploration – Home has identified ‘science as a German export to nineteenth century Australia’ (Home 1995: 1). Significantly, an account of the 1860 annual dinner of the Royal Society of Victoria related the following comment from Dr John Macadam MP, Victorian Government Analytical Chemist: ‘Where would science be in Victoria without the Germans?’ (Melbourner Deutsche Zeitung 1860: 192). This paper considers key German scientists working in mid-nineteenth century Victoria and the nature and significance of their contributions to the colony.

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2

Fennessy, Kathleen M. "'Industrial Instruction' for the 'Industrious Classes': Founding the Industrial and Technological Museum, Melbourne." Historical Records of Australian Science 16, no. 1 (2005): 45. http://dx.doi.org/10.1071/hr05003.

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This paper examines the movement to foster scientific and technical learning in the colony of Victoria during the 1860s. It discusses how the concept of a public museum for 'industrial' and 'technological' instruction emerged, and analyses the events leading to the establishment of the Industrial and Technological Museum, Victoria's first public institution for educating the people in applied science.

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3

C.-B., P. "The Victoria and Albert Museum: Confrontation of museum ideologies." Museum Management and Curatorship 8, no. 3 (September 1989): 330–33. http://dx.doi.org/10.1016/0260-4779(89)90084-8.

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4

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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5

Birch, William D., and Thomas A. Darragh. "George Henry Frederick Ulrich (1830–1900): pioneer mineralogist and geologist in Victoria." Proceedings of the Royal Society of Victoria 127, no. 1 (2015): 17. http://dx.doi.org/10.1071/rs15002.

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George Henry Frederick Ulrich (1830–1900) was educated at the Clausthal Mining School in Germany and arrived in Victoria in 1853. After a short period on the goldfields, he was employed on the Mining Commission and then on the Geological Survey of Victoria until its closure in 1868. In 1870 he was appointed Curator and Lecturer at the newly established Industrial and Technological Museum of Victoria. In 1878 he was appointed inaugural Director of the Otago School of Mines, New Zealand, a position he held until his death in 1900. His legacy includes detailed original maps of central Victorian goldfields, the foundation of the state’s geological collections, and among the first accounts of Victorian geology published in German periodicals, until now little known. As the only scientist of his times in Victoria with the qualifications and expertise to accurately identify and properly describe minerals, he provided the first comprehensive accounts of Victorian mineralogy, including the identification of the first new mineral in Australia, which he named maldonite. His contribution to mineralogy is recognised by the species ulrichite. Ulrich was universally respected for his scientific achievements and highly regarded for his personal qualities.

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6

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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7

Skolnick, Lee H. "TOWARDS A NEW MUSEUM: By Victoria Newhouse." Curator: The Museum Journal 42, no. 1 (January 1999): 58–62. http://dx.doi.org/10.1111/j.2151-6952.1999.tb01129.x.

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8

Young, Peter, Jo Darrah, Jennifer Pilc, and James Yorke. "A sienesecassoneat the Victoria and albert museum." Conservator 15, no. 1 (January 1991): 45–53. http://dx.doi.org/10.1080/01410096.1991.9995064.

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9

Turner-Vučetić, Flora, and Eric Turner. "Meštrović and the Victoria and Albert Museum." Sculpture Journal 25, no. 2 (January 2016): 161–76. http://dx.doi.org/10.3828/sj.2016.25.2.3.

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10

Baker, Patricia L. "Wrestling at the Victoria and Albert Museum." Iran 35 (1997): 73. http://dx.doi.org/10.2307/4299960.

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11

Rechter, Deborah. "Review of Melbourne Story, Melbourne Museum, Victoria." History Australia 5, no. 3 (January 2008): 86.1–86.2. http://dx.doi.org/10.2104/ha080086.

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12

Broomfield, John. "Digital asset management case study – Museum Victoria." Journal of Digital Asset Management 5, no. 3 (June 2009): 116–25. http://dx.doi.org/10.1057/dam.2009.4.

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13

Wateren, J. F. van der. "Archival resources in the Victoria and Albert Museum." Art Libraries Journal 14, no. 2 (1989): 16–27. http://dx.doi.org/10.1017/s0307472200006192.

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The Victoria and Albert Museum, itself an archive of material culture, houses several collections of archival records. The Museum’s Registered Papers are divided between the Museum itself, which holds those papers relating to objects in the Museum, and the Public Record Office, where papers relating to Museum buildings and administration can be found; all papers produced since 1984 are to be housed together in a newly established V & A Archive. The quality of the archive of Registered Papers is uneven due to the lack of a controlling and unifying policy; this, and questions of conservation and administration, are being addressed as part of the current restructuring of the Museum. For the same reason the archives of the different Departments, though important, vary considerably not only in content but also in their organisation. The National Art Library, part of the V & A, includes archival collections of ephemera, comprising examples of printing and graphic design, and of manuscripts, including artists’ papers; it also includes the Archive of Art and Design, founded in 1978 to avoid the splitting up of significant archives between the Museum’s Departments.

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14

Teare, Sheldon, and Danielle Measday. "Pyrite Rehousing – Recent Case Studies at Two Australian Museums." Biodiversity Information Science and Standards 2 (June 13, 2018): e26343. http://dx.doi.org/10.3897/biss.2.26343.

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Two major collecting institutions in Australia, the Australian Museum (Sydney) and Museums Victoria (Melbourne), are currently undertaking large-scale anoxic rehousing projects in their collections to control conservation issues caused by pyrite oxidation. This paper will highlight the successes and challenges of the rehousing projects at both institutions, which have collaborated on developing strategies to mitigate loss to their collections. In 2017, Museums Victoria Conservation undertook a survey with an Oxybaby M+ Gas Analyser to assess the oxygen levels in all their existing anoxic microclimates before launching a program to replace failed microclimates and expand the number of specimens housed in anoxic storage. This project included a literature review of current conservation materials and techniques associated with anoxic storage, and informed the selection of the RP System oxygen scavenger and Escal Neo barrier film from Mitsubishi Gas Chemical Company as the best-practice products to use for this application. Conservation at the Australian Museum in Sydney was notified of wide-scale pyrite decay in the Palaeontology and Mineral collections. It was noted that many of the old high-barrier film enclosures, done more than ten years ago, were showing signs of failing. None of the Palaeontology specimens had ever been placed in microclimates. After consultation with Museums Victoria and Collection staff, a similar pathway used by Museums Victoria was adopted. Because of the scale of the rehousing project, standardized custom boxes were made, making the construction of hundreds of boxes easier. It is hoped that new products, like the tube-style Escal film, will extend the life of this rehousing project. Enclosures are being tested at the Australian Museum with a digital oxygen meter. Pyrite rehousing projects highlight the loss of Collection materials and data brought about by the inherent properties of some specimens. The steps undertaken to mitigate or reduce the levels of corrosion are linked to the preservation of both the specimens and the data kept with them (paper labels). These projects benefited from the collaboration of Natural Sciences conservators in Australia with Geosciences collections staff. Natural Science is a relatively recent specialization for the Australian conservation profession and it is important to build resources and capacity for conservators to care for these collections. This applied knowledge has already been passed on to other regions in Australia.

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KOWAL, EMMA. "Spencer's double: the decolonial afterlife of a postcolonial museum prop." BJHS Themes 4 (2019): 55–77. http://dx.doi.org/10.1017/bjt.2019.12.

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AbstractIn the mid-1990s, staff at Museum Victoria planned the new Melbourne Museum. The Indigenous gallery was a major focus at a time when many museums around the world forged new ways of displaying Indigenous heritage. Named Bunjilaka (a Woiwurrung word meaning ‘place of Bunjil', referring to the ancestral eaglehawk), the permanent Indigenous exhibit was a bold expression of community consultation and reflexive museum practice. At its heart was a life-size model of Baldwin Spencer, co-author of the classic anthropological monograph The Native Tribes of Central Australia (1899). When Bunjilaka was replaced with a wholly Indigenous-designed exhibit of Aboriginal Victoria in 2011, the model was informally retained by museum staff. Initially sitting awkwardly on a trolley in a narrow room where objects were processed for accession, Spencer himself remained unrecorded in any database. With no official existence but considerable gravity, he ended up housed in the secret/sacred room, surrounded by restricted objects that Spencer the man had collected. This article traces Spencer's journey from a post-colonial pedagogical tool to a transgressive pseudo-sacred object in an emerging era of decolonial museology. I argue that Spencer's fate indicates a distinct period of post-colonial museology (c.1990–2010) that has ended, and illustrates how the shifting historical legacies of science operate in the present.

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16

Fartas, Nadia. "« David Bowie is », au Victoria & Albert Museum." Volume !, no. 10 : 2 (June 10, 2014): 221–23. http://dx.doi.org/10.4000/volume.4039.

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17

Robertson, Bruce. "The Victoria and Albert Museum: Rethinking the Context." Victorian Review 43, no. 1 (2017): 41–45. http://dx.doi.org/10.1353/vcr.2017.0009.

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18

Ladas, Nancy. "Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria." Heritage 2, no. 1 (March 13, 2019): 858–67. http://dx.doi.org/10.3390/heritage2010057.

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With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.

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19

O’Hara, Catherine, and Matteo Augello. "Exhibition Reviews." Film, Fashion & Consumption 8, no. 2 (October 1, 2019): 207–19. http://dx.doi.org/10.1386/ffc_00007_5.

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Fashion and Feminism, Ulster Museum, Belfast, 22 June 2018–2 June 2019Christian Dior: Designer of Dreams, Victoria and Albert Museum, London, February–September 2019; Christian Dior: Couturier Du Rêve, Musée des Arts Décoratifs, Paris, July 2017–January 2018

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20

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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21

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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22

Whitehead, Christopher. "Henry Cole’s European Travels and the Building of the South Kensington Museum in the 1850s." Architectural History 48 (2005): 207–34. http://dx.doi.org/10.1017/s0066622x00003786.

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In January 1859, Henry Cole, the first Director of the South Kensington Museum (from 1899 known as the Victoria and Albert Museum) was in Rome, commissioning the photographer Pietro Dovizielli to produce photographs of buildings in the capital which Cole considered ‘suggestive’ and ‘picturesque’.

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23

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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24

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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25

Ordoñez, Margaret. "Lace from the Victoria and Albert Museum, Clare Browne." TEXTILE 4, no. 2 (July 2006): 226–27. http://dx.doi.org/10.2752/147597506778052340.

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26

Floud, Peter. "LE SERVICE DE PRÊT DU VICTORIA AND ALBERT MUSEUM." Museum International (Edition Francaise) 3, no. 4 (April 24, 2009): 296–303. http://dx.doi.org/10.1111/j.1755-5825.1950.tb00056.x.

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27

Goodman, David. "Fear of circuses: Founding the national museum of Victoria." Continuum 3, no. 1 (January 1990): 18–34. http://dx.doi.org/10.1080/10304319009388147.

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28

HARROD, T. "British Studio Pottery: The Victoria and Albert Museum Collection." Journal of Design History 4, no. 2 (January 1, 1991): 128–30. http://dx.doi.org/10.1093/jdh/4.2.128.

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29

Bancroft, Anne, Sandra Smith, and Sarah Bashir. "Recording the sacred integrity: the victoria and albert museum." Material Religion 8, no. 4 (December 2012): 545–46. http://dx.doi.org/10.2752/175183412x13522006995259.

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30

Coldwell, Paul. "The Errant Muse, Charlotte Hodes and Deryn Rees-Jones." Drawing: Research, Theory, Practice 5, no. 1 (April 1, 2020): 165–69. http://dx.doi.org/10.1386/drtp_00029_5.

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31

Lang, Caroline. "Design for learning: developing the Sackler Centre for arts education at the V&A." Art Libraries Journal 36, no. 1 (2011): 34–38. http://dx.doi.org/10.1017/s0307472200016771.

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London’s Victoria and Albert Museum, the UK’s national museum of art and design, recently created a new centre for public learning through creative design. The development process was key to the project, which has resulted in one of the most innovative and attractive learning spaces in any museum today. Research, consultation and collaboration, involving the people who are going to use the building and the architects/designers from the outset, has been an approach that has worked very successfully.

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32

Wilcox, David. "The Clothing of a Georgian Banker, Thomas Coutts: A Story of Museum Dispersal." Costume 46, no. 1 (January 1, 2012): 17–54. http://dx.doi.org/10.1179/174963012x13192178400074.

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In the early years of the twentieth century, the surviving wardrobe of the Georgian banke r Thomas Coutts (1735–1822) was donated to the Victoria and Albert Museum, London. This large collection of clothing was subsequently parcelled up and dispersed to museums around Britain and North America. This essay gives an account of this process and attempts to provide a description of Coutts’ late wardrobe, discusses how it relates to his life and times and re-unites on paper, at least, the surviving strands of the original collection. The essay also presents details of the cut and construction of some of these clothes, through descriptions, photography and annotated cutting diagrams.

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33

Mussies, Martine. "A Ludomusicologist Goes to the Museum." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 125–32. http://dx.doi.org/10.1525/jsmg.2020.1.1.125.

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From September 2018 to February 2019, the famous Victoria and Albert Museum in London hosted Videogames: Design/Play/Disrupt, a major exhibition on contemporary video game design and culture. Announced as “a unique insight into the design process behind a selection of groundbreaking contemporary videogames,” this immersive exhibition was the end presentation of a project that took four years to undertake. Dutch PhD student Martine Mussies went over the Channel to take a look and write down her experiences for this first issue of the Journal of Sound and Music in Games.

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34

Cameron, Fiona, and Conal McCarthy. "Museum, Field, Colony: collecting, displaying and governing people and things." Museum and Society 13, no. 1 (January 1, 2015): 1–6. http://dx.doi.org/10.29311/mas.v13i1.313.

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The papers selected for this special issue of Museum and Society have their beginnings in the workshop, ‘Colonial Governmentalities’, held in late October 2012 and hosted by the Institute of Culture and Society, University of Western Sydney, followed by the seminar ‘Reassembling the material,’ hosted by the Museum and Heritage Studies programmes at Victoria University of Wellington in early November. The stimulus for these events was the international research collaboration, ‘Museum, Field, Metropolis, Colony: Practices of Social Governance funded by the Australian Research Council’.

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35

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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36

Dodds, Douglas, and Ella Ravilious. "The Factory Project: digitisation at the Victoria and Albert Museum." Art Libraries Journal 34, no. 2 (2009): 10–16. http://dx.doi.org/10.1017/s0307472200015820.

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The Victoria and Albert Museum’s Word and Image Department holds an estimated 750,000 prints, drawings, paintings and photographs. Recent acquisitions have been catalogued using the Museum’s Collections Information System, but the vast majority of earlier acquisitions are still only described in a wide range of card indexes and printed catalogues. The indexes have been scanned, but the Museum now needs to complete the transfer of the catalogue records to its online system. The ‘Factory’ digitisation project was established in November 2007, with the intention of digitising the Department’s entire holdings and making them available online. Some 15,000 objects have been photographed in the first year, and cataloguing is also under way. The digital images and catalogue descriptions will be made available online via the Museum’s website as the project proceeds.

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37

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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38

Smith, Charles Saumarez. "The practice of research at the Victoria and Albert Museum." Museum Management and Curatorship 12, no. 4 (December 1993): 349–59. http://dx.doi.org/10.1080/09647779309515373.

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39

Lyon, Peter. "The Victoria and Albert museum royal college of art project." Museum Management and Curatorship 15, no. 2 (June 1996): 187–94. http://dx.doi.org/10.1080/09647779609515479.

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40

Wilson, Elizabeth. "Review: Radical Fashion at the Victoria and Albert Museum 2001." Feminist Review 71, no. 1 (July 2002): 101–4. http://dx.doi.org/10.1057/palgrave.fr.9400039.

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41

Lenz, Melanie. "Early Argentine Computer Art at the Victoria & Albert Museum." Journal of Design History 31, no. 2 (November 11, 2017): 154–66. http://dx.doi.org/10.1093/jdh/epx035.

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42

Bretherton, June. "Education Programmes for Visually Impaired Visitors, Victoria and Albert Museum." British Journal of Visual Impairment 9, no. 2 (July 1991): 55–56. http://dx.doi.org/10.1177/026461969100900209.

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43

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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44

Sakai, K. "A new species, Callianassa poorei sp. nov. (Decapoda: Crustacea: Callianassidae) from Tasmania." Journal of the Marine Biological Association of the United Kingdom 79, no. 2 (April 1999): 373–74. http://dx.doi.org/10.1017/s0025315498000460.

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As part of my ongoing studies of the Callianassidae, Dr G. Poore of the Museum of Victoria, Australia, sent me four small specimens from Tasmania. These specimens, which include two ovigerous females, are closely allied to Callianassa lewtonae from the northern Great Barrier Reef, Queensland, Australia. They differ from that species because the merus of the chelipeds bears a triangular ventral lobe in the larger cheliped and a sharp ventral spine in the smaller cheliped; and the antennular peduncle is much longer than the antennal peduncle. Only Callianassa ceramica, C. arenosa, and C. australiensis have been previously recorded from Tasmanian waters.Abbreviations used are: MV, Museum of Victoria, Australia; CL, carapace length; TL, whole length of the specimen from the tip of rostrum to the end of telson; A1, antennule; A2, antenna; P, pereiopod; Plp, pleopod.

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Flynn, Martin. "Illustrating the illustrators: the V&A Illustration Awards." Art Libraries Journal 35, no. 3 (2010): 45–50. http://dx.doi.org/10.1017/s0307472200016540.

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The Victoria and Albert Museum has been running an illustration awards competition for nearly 40 years. This aims to recognise and reward the best quality illustration in books, newspapers, magazines and comics. However, the awards have suffered from being extremely labour-intensive, had a very low level of awareness in the industry amongst publishers and artists and produced minimal permanent records of the quality and range of their annual output. Recently the museum has begun addressing these issues.

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Webber, Monique. "Torchlight, Winckelmann and Early Australian Collections." Journal of Curatorial Studies 9, no. 1 (April 1, 2020): 114–34. http://dx.doi.org/10.1386/jcs_00013_1.

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Mid-nineteenth-century Melbourne wanted to be more than a British outpost in southern Australia. Before its second decade, in 1854, the city founded an impressive museum-library-gallery complex. As European museums developed cast collections, Redmond Barry – Melbourne’s chief patron – filled Melbourne’s halls with a considerable selection. With time, these casts were discarded. The now lost collection seldom receives more than a passing remark in scholarship. However, these early displays in (what would become) the National Gallery of Victoria reimagined European Winckelmann-inspired curatorial models. The resulting experience made viewing into a performative action of nascent civic identity. Considered within current practice, Melbourne’s casts expose the implications of curatorial ideology.

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Gibson, Rebecca. "Effects of Long Term Corseting on the Female Skeleton: A Preliminary Morphological Examination." NEXUS: The Canadian Student Journal of Anthropology 23, no. 2 (October 2, 2015): 45–60. http://dx.doi.org/10.15173/nexus.v23i2.983.

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This 2012/2013 study looks at corset dimensions and skeletal rib deformation in female remains from three time periods and two locations to understand certain aspects of longevity. All artifacts and skeletal remains originate from the Early Modern, Victorian, and Edwardian periods. The corsets are held in the Victoria and Albert Museum, and range in date from 1750-1908. The data on the skeletal remains are the result of the author’s examination of collections held in the Musée de l’Homme in Paris, France, and the Centre for Human Bioarchaeology at the Museum of London Archaeology (MoL) in London, England. An anachronistic view of corseted women posits that they lived short and painful lives. I examine these skeletal remains with an eye toward establishing that rich or poor, young or old, corseted women lived comparatively long lives, and that the corset was not, in itself, a death sentence. My findings indicate that although women experienced skeletal deformation because of corseting, they also lived longer than the average age for their times.

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Neufeld, David. "First Peoples Gallery, Royal British Columbia Museum, Victoria, B.C. Martha Black." Public Historian 26, no. 4 (October 2004): 106–8. http://dx.doi.org/10.2307/3378849.

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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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Wilkinson, L. "Collecting Korean Art at the Victoria and Albert Museum 1888-1938." Journal of the History of Collections 15, no. 2 (November 1, 2003): 241–55. http://dx.doi.org/10.1093/jhc/15.2.241.

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