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Specimen of the Week 376: Carcinoma of the breast

SubhadraDas8 March 2019

Today’s specimen of the week comes from UCL Pathology Collections. The Collections are displayed at the UCL Pathology Museum at the Royal Free Campus of the UCL Medical School in Hampstead. The museum includes a medical teaching collection of nearly 3,000 specimens of human remains illustrating the history of disease. To open up these specialist medical displays to a wider audience, we’ve developed a trail of 10 specimens of well known diseases. As the museum only opens to the public for special events, we’re sharing the trail as part of the Specimen of the Week series.

All of the entries for the UCL Pathology Collections Top 10 Medical Trail have been written by Nazli Pulatmen, who worked with us for her MA Museum Studies placement in the summer of 2018.

Today’s specimen of the week is an advanced example of breast cancer. The specimen shows how the cancerous tissue has expanded to such an extent that it has completely misplaced and replaced the healthy tissue within the breast. The patient reported that the lump began at about the size of a pea and developed to this enormity over the course of 10 months.

Image of a cross-section of breast tissue showing malignant cancerous growth

Breast.25.1: Carcinoma of the breast. The cancerous tissue appears solid compared to the normal, fibrous breast tissue surrounding it.

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Object of the Week 375: Tomás Harris, Self-Portrait, c.1951

22 February 2019

Today’s entry has been written by Emeline Kaddour, as part of her History of Art Material Studies (HAMS) placement at UCL Art Museum. During her placement Kaddour catalogued our Tomás Harris holdings in preparation for a pop-up exhibition and lecture by Inigo Jones, freelance writer, on ‘Who was Tomás Harris?’ The event was well-attended, and included Neil MacGregor, founding director of the Humboldt Forum in Berlin and former director of the National Gallery and British Museum.

Today’s object of the week is a self-portrait by the artist, art dealer, collector, writer and double-spy Tomás Harris (1908-1964). It is owned by the UCL Art Museum as part of a larger collection of Harris’ works which include an early drawing, 15 prints (8 of them were recently accessioned), 26 printing plates and an oil painting. The museum also holds Goya prints that were formerly part of Harris’ own print collection.

Tomás Harris, Self-Portrait, c.1951 (LDUCS-3008)

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Specimen of the Week 373: Coal worker’s pneumoconiosis

SubhadraDas11 January 2019

Today’s specimen of the week comes from UCL Pathology Collections. The Collections are displayed at the UCL Pathology Museum at the Royal Free Campus of the UCL Medical School in Hampstead. The museum includes a medical teaching collection of nearly 3,000 specimens of human remains illustrating the history of disease. To open up these specialist medical displays to a wider audience, we’ve developed a trail of 10 specimens of well known diseases. As the museum only opens to the public for special events, we’re sharing the trail as part of the Specimen of the Week series.

All of the entries for the UCL Pathology Collections Top 10 Medical Trail have been written by Nazli Pulatmen, who worked with us for her MA Museum Studies placement in the summer of 2018.

This week’s specimen is a lung belonging to a person who worked in soft coal mines in Wales for almost 50 years and died aged 62 from haemoptysis – coughing up blood in laymen’s terms.

A cross-section of human lung showing coal worker’s pneumoconiosis tuberculosis

LDUCPC-RFH.J32.1 Lung in coal worker’s pneumoconiosis tuberculosis

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Object of the Week 372: 3 Meteorite Beads

GrahamIsted4 January 2019

Hello and welcome to the next installment of Object of the Week: Petrie Museum Edition. I am delighted to say that my first UCL Culture blog post will also be the first of 2019. I have chosen a set of 3 objects which are truly out of this world. Something ‘extra-terrestrial’!

The contemplation of space and the cosmos would not have been an ‘alien concept’ by Ancient Egyptians who painted, carved and wrote about the sun, moon, stars and planets. They even went so far as to work with material which had travelled through space. This isn’t science fiction, this is science fact.

I would like to introduce you to three Meteorite Beads (UC10738, UC10739 and UC10740).

Fig.1 Meteorite bead UC10738.

 

 

Fig.2 Meteorite bead UC10739.

Fig. 3 Meteorite bead UC10740.

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Object of the Week 368: William Orpen, Three Studies of a Female Figure, and Study of the Leg, c.1899

23 November 2018

UCL Art Museum’s Object of the Week is by Lucy Waitt, Curatorial and Collections Assistant

When I began reading about Slade artists and the First World War to prepare for UCL Art Museum’s ‘Armistice Pop Up’ (November 9th 2018) I had not expected to become intrigued by William Orpen in particular. Other Slade artists such as CRW Nevinson, David Bomberg and Paul Nash have arguably produced more famous representations of the conflict, but what interested me about Orpen was not so much the work he produced -which is considerable and varied, but his attitude to his war art and ultimately what he did with it after the war.

William Orpen, Three Studies of a Female Figure, and Study of the Leg, c.1899

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Object of the Week 365: A Model Boat

Anna EGarnett2 November 2018

Over the last year, Olivia Foster (MA student in the Institute of Archaeology, UCL) worked as a valued member of the Petrie Museum team as collections volunteer. During this time, Olivia has undertaken a range of work on collections care, documentation and object loans, and in this blog she discusses one of her favourite objects in the Petrie Museum collection.

This small and unassuming model boat in the Petrie Museum collection (UC10805) was recovered from a tomb in Abadiyeh during Flinders Petrie’s excavations in the late 1890s. The decorated pottery object has been dated to the Naqada I period and the original function of the item is unclear.

UC10805

Objects such as this are important when it comes to understanding Predynastic Egypt, as they represent technology that has not survived in the archaeological record. Despite the important economic and symbolic role that boats are thought to have played in the Predynastic, no complete vessels have been found and archaeologists must instead rely on the art of the period to learn about their construction, size and function. This object and others like it also played a pivotal role in the heated debates between Petrie and his contemporaries as they discussed what exactly was being depicted in the decorated pottery of the era.

The model is striking in its similarity to the shape of modern-day boats and the simple painted line decorations may hold clues as to how the boat was constructed. The narrow vertical lines on the sides of the object may be interpreted as lashing, with bundles of reeds or perhaps even wood forming longitudinal ribs to form a small canoe-type vessel. In addition to functional canoe vessels which may have been used for fishing or transport along the Nile, large watercraft with rows of oars are believed to have played an important symbolic and religious role in Predynastic Egypt.

Vessel decorated with a boat motif (British Museum EA30920)

Boats are a common motif on decorated pottery, however these illustrations are abstract in nature and in the 1890s there was some dispute over what exactly they represented. It was Flinders Petrie who first interpreted the decoration on Predynastic Egyptian ceramics as a ‘galley’ in the mid-1890s, Cecil Torr however proposed that the illustrations represented enclosures with two towers at the entrance. Model boats such as this example were used to dismiss these claims, as Petrie remained absolute in his interpretation of the motif as a boat and his assertion that vessels played an important symbolic role in early Egypt.

The exact purpose of the model boat remains unclear and it may have had a decorative, functional or symbolic purpose or perhaps may even have been a child’s toy. The model boat clearly depicts a very different type of vessel from those commonly depicted and associated with Predynastic Egypt and offers a unique insight into more functional boats used by ancient people.

Olivia was an MA student in the Institute of Archaeology, UCL from 2017-2018

Further Reading

Petrie, W. M. F. 1920. Prehistoric Egypt. London: Bernard Quaritch.

Petrie, W. M. F. Corpus of Prehistoric Pottery and Palettes. pl. XXXVII, D 81D. London: Bernard Quaritch.

Uildrinks, M. 2018. Building a Predynastic: The Construction of Predynastic Galleys. Journal of Ancient Egyptian Interconnections. Vol. 17. Pp. 156-172.

 

Teaching in the Grant Museum

TannisDavidson15 October 2018

Grant Museum of Zoology, UCL

Grant Museum of Zoology, UCL

At UCL, Term 1 is now fully underway – ID cards have been issued, classrooms have been located and routines have been established. Object-based teaching has also begun at the Grant Museum where students from UCL and throughout the London area will have the opportunity to use museum specimens in their practicals.

During a typical academic year, around 2500 university students use the Grant Museum collection as part of their formal coursework on a wide range of courses including zoology, palaeontology, the history of art, geography, museum studies, communication and even dance. The Museum and its collection is also used by students for project work and postgraduate research or as a testing ground for museum engagement, new technologies and visitor research.

The Grant Museum invites use of its collection for teaching to any faculty at UCL. We’re pretty good at what we do (if we do say so ourselves), because we’ve had 190 years of practice… (more…)

Specimen of the week 359: The Infant Elephant Molar

Christopher JWearden21 September 2018

If you were to look inside your mouth (I hope) you would see four different types of teeth: the incisors, canines, premolars and molars. As omnivores with varied diets, humans need these different types of teeth to eat. Our molars are used for chewing, crushing and grinding the food which has been gripped, torn and sliced by the incisors, canines and premolars. Like the animal kingdom itself animal teeth are incredibly varied in their shape and size, making them a fascinating topic of study. Today’s specimen comes from an animal with fewer types of teeth than humans, but considerable size to make up for it. Without further ado let’s get our teeth into this week’s Specimen of the Week…

Infant elephant molar, Elephas maximus LDUCZ-Z250

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Object of the Week: A child’s toy pig

Alice EWilliams3 August 2018

UC7205: A child’s toy pig

We have some exciting news about Specimen of the Week! We’re expanding the scope of SOTW to include more UCL Museums and collections. Here’s the first blog from the Petrie Museum of Egyptian Archaeology, and keep your eyes peeled for blogs about specimens and objects from UCL Art Museum, UCL Pathology Museum and more as well as your favourites from the Grant Museum.

In a display case in the Petrie Museum of Egyptian Archaeology stands a little mud figure of a pig. At least it is thought to be a pig. It is so small, no bigger than a thumb nail, that you would be excused for not noticing it among the dense displays of archaeological objects. This figurine was originally thought to be a toy made by a child, but is that really true? (more…)

Splicing Time. Rome and the Roman Campagna at UCL Art Museum

MartineRouleau2 March 2017

Blog post written by Liz Rideal, Leverhume artist in residence at UCL Art Museum and Reader in Fine Art at the Slade School of Fine Art. She also lectures and writes educational material for the National Portrait Gallery.

Being invited to take up the role of artist in residence at UCL Art Museum was an unexpected outcome of Splicing Time, Rome and the Roman Campagna, my 2016-17 Leverhulme Fellowship.

Liz Rideal, Splicing Time: Rome and the Roman Campagna, 2016

Liz Rideal, Splicing Time: Rome and the Roman Campagna, 2016

One theme was to study Claude Lorraine’s Liber Veritatis drawings, in the British Museum’s collection and attempt to plot their contemporary locations, to study his concept of real, imagined and invented landscape and relate this imagery to my own work in the Roman Campagna today. However, it occurred to me that UCL Art Museum might also be a fruitful venue for my quest and I decided to approach curator Andrea Fredericksen to investigate this further. Coincidentally the museum’s upcoming Legacy exhibition was to concentrate on Richard Cooper Jnr, eighteenth century Grand Tour printmaker, an artist who followed the footsteps of Claude Lorraine and who was thus perfectly suited to my own theme. So, in this synchronous and surprising manner I started to consider Cooper Jnr’s work.

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