The Grant Museum is currently closed this summer for some refurbishment works but we still have plenty of exciting stories to tell from the collection.

Today’s blog is by visiting researcher Dr Andrew McCarthy from Canterbury College, UK.

Initially this short piece was planned to be solely about the identification of specimens of an intestinal parasite of an endangered species of deep-water shark Echinorhinus brucus, the Bramble Shark, from the collections of the museum.

Echinorhinus brucus, the Bramble Shark.
(Goode & Bean (1896) Oceanic Ichthyology. Public Domain via Wiki Commons)

However, by strange coincidence as will be explained, it is being written on the day that the United Nations in New York announced in its new global marine biodiversity conservation initiative “The High Seas Treaty”. Embracing almost two thirds of the World’s oceans that lie outside national boundaries the treaty provides a legal framework for the establishment of vast Marine Protected Areas (MPA’s) to protect against loss of marine biodiversity. The coincidence is that the specimens under discussion here are thought, ultimately, to have their origin associated with the work of a British pioneer of marine conservation of well over one hundred years ago. He was namely Professor Sir Edwin Ray Lankester FRS, a past Director of the Grant Museum of Zoology and Comparative Anatomy (1874-1890), Jodrell Professor of Zoology and Comparative Anatomy at University College London, and Linacre Professor of Comparative Anatomy at the University of Oxford. A larger-than-life figure, some believe him to be one of the inspirations for Sir Arthur Conan Doyle’s Professor Challenger of “The Lost World”.

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This blog was written by Conservator Graeme McArthur from the UCL Culture Collections Management Team.

The closure of UCL’s campus during lockdown has provided new challenges for UCL Culture’s Collections Management team. We are responsible for taking care of the world-class collections of artworks, ancient artefacts, zoological and pathological specimens, instruments and scientific equipment held by the university. We make sure that these objects and specimens are available for use, study and exhibition by ensuring they are properly stored, handled, displayed and documented. But carrying out this important role usually requires us to be on site!

Usually we carry out regular programmes of cleaning, auditing and conservation as well as environmental monitoring and pest control. We work closely with our curatorial colleagues to agree new acquisitions and prepare objects for loan for exhibition in the UK and abroad. Our lovely team includes Collections Managers, Conservators and four Curatorial and Collections Assistants.

So how have we cared for our collections during lockdown? Well the very first thing we did was produce a risk register to highlight areas of concern when nobody is physically present in our museums and collection spaces. Here are some of the things we’ve been keeping an eye on.

Pests!

Some of UCL’s collections are an excellent food source for the larvae of insects such as beetles and moths. This is especially true of the feathers and fur that are prevalent in the Grant Museum of Zoology. It is vital to know if there has been a pest outbreak as soon as possible, by the time someone notices moths flying around there could already have been significant damage.

Image: A drawer full of feathers and other organic material in the Grant Museum, many pests would consider this to be a drawer full of food!

To this end we have sticky pest traps throughout all of our collection spaces. These will not remove a pest threat but enough will blunder onto them to give us an indication that there is a problem. Traps are placed on the edges of rooms where pests tend to run around as well as near particularly vulnerable materials. Of course to tell us anything these need to be checked regularly which became a problem once the UCL campus closed.

Image: Pest traps and the all-important grabber to position them behind furniture.

Environment

Understanding the environment in museums and object stores is vital to the long-term preservation of our collections. Extremes in light, temperature and humidity as well as rapid changes can all cause permanent damage. We have all seen what can happen to book spines if left next to a sunny window, but this can be stopped with something as simple as closing the blinds!

High humidity can promote mould growth and corrosion whereas low humidity can cause organic materials such as wood to shrink and crack. Knowledge of the materials in the collection allows us to make an informed choice on how we want to the environment to be, though it is not always possible to keep it that way.

Thankfully even though we have not been able to work on campus during this period we are lucky enough to have a system where data is sent to us remotely. We have sensors in all of our collection spaces and we can look at this data even whilst working from home. Without people in spaces and with lights off and the blinds closed the environment has been very stable. It is easier to keep objects safe when they are not seen or used for research, but then there wouldn’t be much point in having them!

Image: A day of environmental data from the Petrie Museum.

Flooding and leaks

Many of the UCL buildings are prone to the occasional leak. Most of the collections are well protected inside cases or cupboards, but even so if left for too long a leak can potentially cause damage. It is important to check the environmental data to look for an increase in humidity that could be caused by there being standing water in the room.

To reduce these risks, we have set up socially distanced fortnightly checks of all of our collections with two members of staff who can drive in to campus. This allows us to check all of the pest traps so any outbreaks can be discovered as soon as possible. Sometimes traps become so crowded that they need replacing so we can see what new pests have become stuck.

Image: Spiders caught in our pest traps

Unfortunately, the pests caught on traps tend to attract spiders who are actually very helpful in reducing pest numbers.

During our fortnightly visits we checked all the spaces, cupboards and drawers where objects are not visible to ensure there were no other problems.

Image: Revealing a beautiful papyrus from the Petrie Museum storage

Adapting our ways of working

Working from home is an unusual situation for our team as we don’t normally spend most of our time in front of a screen! We have had to refocus to other areas, however this has allowed us to work on projects that there would not normally be time for. One of these is improving the collections database that is used as the base for our online catalogue. Over many years data has been entered in an inconsistent manner with fields being used differently by individuals and throughout different collections. We have now standardised how the fields should be used and begun to ‘clean’ the old data to remove inconsistencies. Once this is complete it will be more useful for us, the researchers and general public who use the online catalogue.

The campus has been eerily quiet during the checks but we are looking forward to welcoming back UCL students, staff and the general public in the near future!

Image: UCL campus

This week’s blog is written by Graeme McArthur, from our conservation team.

Our museum of Egyptology may be named after Flinders Petrie but it owes a large debt of gratitude to Amelia Edwards. She travelled to Egypt in 1873 for some winter sun and returned a dedicated campaigner for the preservation of Egyptian heritage. On her death in 1892 she left her own collection to UCL and left an endowment for a Chair in Egyptian Archaeology and Philology. The wording all but ensured that the job would go to Petrie. He also gave his collection to UCL in 1915 and the museum was born.

A bust of Amelia Edwards was sculpted by Percival Ball in around 1873 and is held by the National Portrait Gallery (NPG 929). A plaster copy was made for the Department of Egyptology at UCL by the British Museum in 1961 and thus ended up in the Petrie’s collection (LDUCE-UC80677).

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This blog is from Graeme McArthur, Conservator at UCL Culture.

UCL’s Whistler Room, located next to the Octagon Gallery, is so named because it contains murals painted by the artist Rex Whistler, who studied at the Slade School of Fine Art and whose career was sadly cut short by the Second World War. These were originally completed in 1935 for a private residence on Gower Street; however by 1959 the house was due to be demolished. The murals were saved by literally cutting them out of the wall and removing them to their current location. They are part of  the UCL Art Museum collections and therefore come under the care of UCL Culture.

Removing a mural in the Whistler Room

The murals are painted in oil on top of house paint, supported by around 2cm of the original wall plaster with an auxiliary support of wood battens and plaster of Paris. Unfortunately the change in environment and support has caused severe stability issues. Ongoing conservation has been required since 1960 as the house paint layer keeps cracking and flaking away from the plaster beneath. Glazing was added in 1963 to try and alleviate these issues, but although it protects the surface from physical damage it has not improved the environment.

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Hello everyone! I’m very sad to say that this is my last Specimen of the Week post because my internship finishes at the end of July. My final specimen is a carrion crow, and it was collected from a road on the Isle of Anglesey, Wales in 1993, and then donated to us in 2008 by the Museum of London. The purpose of the donation was “to fill a gap in the bird teaching material”. Read on to find out more about this magnificent bird…

Taxidermy carrion crow, Corvus corone LDUCZ-Y1533

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This week we are meeting one of the weirder-looking species at the Grant Museum, and that’s really saying something. In life it had a nose like a snorkel, a shell like tree bark and a neck longer than its body. Specimen of the week is…

Mata mata skeleton Chelus fimbriata LDUCZ-X187

**The mata mata skeleton**

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Disposal?

Back by somewhat popular demand, this week’s Specimen of the Week says goodbye to another batch of fluid specimens which were beyond salvation. Last time the disposed specimens were equal parts sludge, rot and mould. This second batch of disposals also has plenty of murky fluid, active decay and rotting carcasses for your viewing displeasure as well as several less-queasy ‘phantom’ specimens that had already made their final journey into oblivion. Please join us to pay our respects to…

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Like everybody else, we had an eventful 2017. Surely the pinnacle was our blockbuster exhibition, The Museum of Ordinary Animals: The boring beasts that changed the world. In it we gave the mundane creatures from our everyday lives – like cats, dogs, chickens, mice, cows and rats – a chance to tell their stories. Despite the profound impacts they have had on humanity, they are typically excluded from natural history museum displays in favour of more exotic beasts.

We’ve also been putting the conservation work that is critical to maintaining collections like ours (and which normally happens behind the scenes) front and centre, and getting our visitors involved with it. Following on from Project Pickle, which focussed on our fluid preserved specimens, we launched Fluff It Up: Make Taxidermy Great Again – a project to care for our important historic taxidermy specimens (and replace them with plushy toys in the display cases while they were off for conservation). This involved some ethical quandries, including whether or not we should “correct” the googly-eyed owl (we did).

In July was our Whale Weekender, when we invited you, the glorious public, to come and help us clean and rebuild the largest skeleton in our collection – a northern bottlenose whale. This specimen came to us in 1948 and had never been put together here, so we had no idea how complete it was. And thanks to the 800 people that showed up to do the work, we now know that it’s pretty much all there – except the digits, the hyoid, a rib or two and the last vertebrae in the tail: the bits you might you might expect to lose if you bury a whale for two years, which is exactly what happened after it was shot in the Bristol Channel in 1860.

On top of all of that, we’ve continued to help develop the next generation of zoologists by teaching with our specimens every day, as well as boring the world to tears with Underwhelming Fossil Fish of the Month (but then invigorating again with Specimen of the Week).

As a way of looking back, on Twitter over the past week we’ve been counting down the best of 2017’s blogs – the Top Ten most viewed Grant Museum posts of last year*.

I’ve announced those ranking at 10 to 2 in the charts, and exclusively revealing here that the most popular post of 2017 is… (more…)

An Update of Papyrus Conservation Using a Red Papyrus and a Green Papyrus

Since the last blog for the Papyrus for the People project, the conservation work on the Petrie Museum’s papyri has been progressing steadily and strongly. So much so, that it is nearly over! In light of this, I would love to share with you two of my favourite fixes that have occurred during this work.

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Firstly, I would like to apologise to those readers who think that this blog will be about the type of seals who like to eat fish. It is, in fact, about the seal created by a layer of tape, which protects conserved papyri from external forces. I’m not really sorry, however, because this blog is all about the importance and means by which we protect and save objects, some nearly 4000 years old, for both the present and the future.

This poor exposed seal….

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