Tag: museum collections

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From pin to paper

Katherine Child, image technician in the Museum’s Life collections, doesn’t just use photography to capture the beauty of specimens. She is also an artist and has been trying out innovative techniques for her paintings. You may remember her amazing moth illustrations created with deposits of verdigris on pinned insects and she’s now using that technique to explore Museum staff’s favourite insect specimens.

Verdigris is a green corrosion often found on old pins within entomology collections (as well as elsewhere, on things like statues and copper pipes). Last year, after learning that the substance was once used as a pigment, I decided to try and make my own paint.

A clearwing moth before conservation, showing verdigris spreading where metal reacts with insect fats, or lipids.

Verdigris forms when copper or a copper alloy reacts with water, oxygen, carbon dioxide or sulphur. While a beautiful shade of green, the substance is damaging in natural history collections, where it can actually develop inside specimens and if left, split them irreversibly. So as part of the conservation of the Hope Entomological Collections, verdigris is removed.

I started to collect up the substance as it was cleaned from specimens and after about three years (you only get a little bit per pin) I was ready to make my paint! After my first moth project, the only question was, what to paint next…?

Attelabid_small
Byctiscus populi or ‘The Attelabid that changed my life’, chosen by Zoë (collections manager) who said ‘I saw a pink version of this species in the Natural History Museum in London and that’s when I decided I wanted to study entomology’.

With an estimated 6 million insects and arachnids in the entomology collections, it’s very easy to feel overwhelmed. You can pull open any one of thousands of draws and find astonishing specimens. While I have favourites, my first inclinations as to what to paint still felt a little arbitrary. After mulling over various possibilities, I decided to get help!

Chosen by DPhil student Leonidas, Agalmatium bilobum is a little bug which lays its eggs on tree bark, then covers them with mud to protect them.

I asked my co-workers what their favourite insects were, then opened the question out to regular volunteers and visitors of the Life collections. I loved finding out why people chose the things they did. Answers varied from ‘It was the first spider I ever looked at under a microscope aged 12’ to ‘Because they’re cool’ to ‘Because they have an ingenious way of manipulating spiders!’

Nuctenea_small
One of arachnologist Russell’s favourite spiders: Nuctenea umbratica. Though common in the UK, umbratica is Latin for “living in the shadows”, and it often hides away during the day. The slight transparency of the paint lends itself to a spider’s glittering eyes.

 

Painting this live African Mantis Sphodromantis lineola (chosen by conservator Jackie) was made slightly more challenging by the fact that the subject thought Katherine’s pencil might be tasty.

Most of the subjects I painted were based on specimens from the Museum’s collections or specimens individuals had brought in from their own collections, but one favourite was a live African Mantis, housed in the department to help with education and outreach. When I began to draw her she was intrigued by the movement of my pencil and came to the front of the tank, to follow every mark I made with her intimidating gaze.

A detail from the final painting
Attelabid that...
Katherine’s fabulous finished painting, which will be framed and displayed in the Life collections department.

Though time consuming, the painting was loads of fun to research and do. It’s fantastic to be surrounded not only by extremely knowledgeable people, but also by people with a genuine passion for what they do and a love for the insects (and spiders) they study.

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Why do we need pinned insect specimens?

Since we posted about ten-year-old Sarah’s amazing beetle discovery, we’ve had lots of queries as to why the insect needed to be caught and pinned. It’s a question we’re often asked, so here’s Darren Mann, Head of Life Collections at the Museum, to explain the value of ‘voucher specimens’.

The Museum’s collection houses over five million insect specimens, amassed over the past 300 years. This collection is, in effect, a biodiversity database, but unlike virtual databases, each data point has an associated ‘voucher specimen’ that was caught, pinned and labelled.

Although technical advances in digital macro-photography do reduce the need for some collecting, it is impossible to dissect an image to confirm an identification. So for many groups, even the best photograph in the world is inadequate for identification purposes.

Shingle CrawlerD18 (Psammoporus insularis Pittino, 2006) one of our few endemic insects.

Unlike plants and birds, many insects can only be identified with the aid of a microscope, to study tiny features that distinguish closely-related species. Some groups even require the dissection of minuscule genitalia to really tell them apart.

Entomologists take voucher specimens to enable this correct identification and these are later deposited in museum collections, making them available for further study in years to come. From an entomologist’s point of view, we believe we need to know what a species is, where it occurs and as much about it as possible, so we can inform biodiversity conservation.

The conservation assessment of UK insects by Natural England in their Species Status Reviews has only been possible with the data provided by entomologists, generated from collecting and identifying voucher specimens.

Entomologists follow a Code of Conduct for responsible collecting, which ensures they don’t remove too many species or damage the environment during their work .

There are numerous examples of the value and use of insect collections in contemporary science, including the discovery of previously unknown species in the UK and population genetics for butterfly conservation. Recently a species believed extinct in the UK was rediscovered. This was only made possible by checking the identification of several thousand museum specimens.

Museum collections also contain numerous examples of species now considered extinct in the UK. Without voucher specimens much of this research would be impossible and our understanding of insect distribution patterns, ecology and conservation would be significantly diminished.

Large Tortoiseshell butterflies, now considered to be extinct in the UK. The voucher specimens act as record in time of its occurrence in the UK.

What is rare?
Sarah’s False Darkling Beetle (Anisoxya fuscula) has been described as ‘rare’, but what does that mean in reality? For most invertebrates when we talk about a rare species we are not talking about a tiny number of individuals. This conservation status is based on their known distribution and the level of threat they face. A species can be rare if it is only found at one or two locations, but at those locations there may be many thousands of individuals.

The greatest threats to biodiversity are well known and include habitat loss, fragmentation and degradation and pollution, such as pesticides and light. Taking a small number of voucher specimens to confirm the identification of species has negligible impact on its population. But if we don’t know it’s there because we couldn’t identify it, then a housing development destroys its entire habitat… well you get the picture!

Further Reading
Ask an Entomologist
Entomological Collections
Natural England Species Status Reviews
To Kill or Not to Kill That is the Question Part 1
To Kill or Not to Kill That is the Question Part 2
To Kill or Not to Kill That is the Question Part 3
– Austin, J. J., & Melville, J. (2006). Incorporating historical museum specimens into molecular systematic and conservation genetics research. Molecular Ecology Notes, 6(4), 1089-1092.
– Colla, S.R., Gadallah, F., Richardson, L., Wagner, D., & Gall, L. (2012). Assessing declines of North American bumble bees (Bombus spp.) using museum specimens. Biodiversity and Conservation, 21(14), 3585-3595.
– Short, A. E. Z., Dikow, T., & Moreau, C. S. (2018). Entomological collections in the age of big data. Annual review of entomology, 63, 513-530.
– Suarez, A.V., & Tsutsui, N.D. (2004). The value of museum collections for research and society. AIBS Bulletin, 54(1), 66-74. Abstract available here
– Wandeler, P., Paquita, Hoeck, E.A. & Keller, L.F. (2007). Back to the future: museum specimens in population genetics. Trends in Ecology & Evolution 22.12, 634-642.

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Odd egg out

This is a great time of year to hear the distinctive call of the Cuckoo (Cuculus canorus) as it spends the summer in the UK. Collections Manager Eileen Westwig recently shared Cuckoo specimens with the public in one of our Spotlight Specimens sessions. You missed it?! No problem, here she is with the fascinating story of this threatened bird…

Cuckoos could be described as absent mothers, laying their eggs into the nest of a ‘host bird’, such as Dunnocks, Meadow Pipits, Garden Warblers, Whitethroats or Flycatchers. When she finds a suitable nest, the female Cuckoo will remove one of the host’s eggs and lay hers in its place. She lays between 12 and 22 eggs in a season, all in different nests. No worries befall her about building a nest, brooding out any eggs or raising her young as she leaves it all to strangers. One challenge for the Cuckoo is to make sure her trickery is not discovered.

When the female host returns to her nest, she will inspect it for any changes and if she discovers the intruder’s egg, she will simply toss it out. So the female Cuckoo has to be pretty good at forgery and mimic the host bird’s egg ‘signature’, copying the colour, pattern and shape of the original eggs. This is the only way to get away with her ‘brood parasitism’. Around 20% of Cuckoo eggs never make it. In the top picture, you can see the nest of a Garden Warbler with three Warbler eggs and one larger Cuckoo egg, on the top left.

An adult Garden Warbler (Sylvia borin borin) can reach a weight of 16-22g with a wingspan of 20-24.5cm

After twelve days, the Cuckoo hatches and pushes the other nestlings out. As the single remaining occupant of the nest, it has the full attention of the host parents, which try to feed a nestling soon outweighing. An adult Cuckoo is more than 6 times the weight of an adult Garden Warbler. The Cuckoo young will leave the nest after 19 days, but gets fed by the parents for a further two weeks. That is one busy summer.

OUMNH.ZC.11868_Cuculus_canorus_canorus_Eileen_Westwig
An adult Cuckoo (Cuculus canorus) can reach a weight of 105-130g with a wingspan of 55-65cm.

According to the RSPB, there are about 15,000 breeding pairs in the UK and Cuckoos are now included on the Red List, giving them the highest conservation priority. Ten years ago, numbers of this migrant bird fell by 21% and more than half of the population has disappeared in the past 25 years. Threats include damage to the bird’s winter habitats and a decline in large insect species that are its major food source.

Cuckoos migrate to West Africa over the winter months and can be seen in the UK from late March or April through July or August. Young birds leave a month or so later to give them time to grow and prepare for the long journey ahead. Wintering grounds are not exactly known but include Cameroon, Gabon and other African nations.

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Seasonal sights

The Museum’s collections are on the move. For decades, a deconsecrated church has been used to house material from our Earth collections, but we now have a new and improved off-site space, and between now and the end of 2018 a huge project is underway to sort and shift these objects. You can find out more about all this in our Stories from the Stores article. 

Chantelle Dollimore, Move Project Assistant, recently emigrated from Australia and has been experiencing her first British autumn. Here she shares a glimpse of the natural encounters the collections move has offered so far.

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As the project team for the collections move settles into the daily hustle and bustle of work there are extraordinary things happening outside. Winter is coming; we have already wound our clocks back for that extra hour of sleep. Leading up to that time, creatures great and small have been preparing themselves for seasonal changes.

Autumn leaves litter the footpath to the store

Something truly blissful in an English autumn is the deciduous trees shedding their leaves as the days grow shorter and chillier. The crunching underfoot of hues of browns, reds, yellows and oranges adds charm as we make the rounds of our 19th-century church workspace.

A Red Kite soars above the Museum’s offsite collections store

Driving from the Museum to the off-site store, we’re likely to see at least one Red Kite. Less than 30 years ago Red Kites were nearly extinct, but through conservation efforts they have flourished in the Oxfordshire countryside. Their distinct calls and unique silhouette, with long narrow wings and forked tail, are a haunting yet beautiful addition to the skyline.

A Red Kite (Milvus milvus) on display in the Museum

The move project team have also been visited by a different ‘bird’ altogether; the ladybird! At this time of year, when you find one you will most likely see many more close by. When a ladybird finds the perfect place to hibernate for spring it excretes a pheromone to attract more to the area. For some, the perfect place seems to be inside the church itself!

(Lady)birds of a feather flock together

Grey Squirrels and deer are also making appearances throughout the day while we’re working. One cannot help but watch as the bushy tail of the squirrel peeks through the hedges as it forages for food and admire the deer as they stroll through the fields happily unaware of our activities some 50 metres away.

Although it’s great to admire the specimens on display in the Museum, I love that my job allows me to get out and about to appreciate the wildlife of the Oxfordshire countryside. There’s always something unexpected… like a butterfly choosing its resting place on some disassembled storage shelves.

A butterfly (Nymphalidae sp.) in torpor finds shelter from the impending cold

To keep up with all the move project action, follow the museum hashtag #storiesfromthestore on Twitter @morethanadodo.

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High time for a check up

by Bethany Palumbo, life collections conservator

This month marks three years since the completion of our ‘Once in a Whale’ project. The initial conservation undertaken in 2013 focused on the cleaning and stabilisation of five whale skeletons, which had hung from the roof of the Museum for over 100 years.

The skeletons were lowered into a special conservation space, where the team were able to work up close with the specimens. As well as the cleaning, they improved incorrect skeletal anatomy, replacing old corroded wiring with new stainless steel. For final display, the specimens were put into size order and rigged using new steel wiring, with the larger specimens being lifted higher into the roof space to make them a more prominent display than previously. You can read all about the project on our blog, Once in a Whale.

Three years on, our conservation team felt it was a good time to check on the specimens to see how they’re coping, post-treatment, in the fluctuating museum environment.

Conservation intern Stefani Cavazos works on high to clean the Beaked Whale

It’s been wonderful to see the whales on display and their new position looks very impressive. However, when the time came for making this recent conservation assessment, the new height was greater than any of our ladders could reach. Specialist scaffolding was brought in to allow the conservators to access the specimens. Starting at the highest level, with our Beaked Whale, cleaning was completed using a vacuum and soft brush for delicate areas. This removed a thick layer of dust and particulate debris: especially satisfying work!

Dust gathered on the Beaked Whale fin

With cleaning complete, visual assessments could then be undertaken. These showed that while the specimens were still very stable, a few areas of bone have continued to deteriorate, visible in cracking and flaking of the surface. In other areas, the fatty secretions which we previously removed using ammonia had once again started to emerge. We had expected to see this though, because, in life these whales’ bodies contained a lot of fat, deep within the bones and this is notoriously impossible to completely remove.

Lubricant stain seen on a vertebra

It was also observed that the lubrication used on the new rigging bolts had melted and dripped down the wires. You can see in the photo above how this has become drawn into the vertebrae of the Orca and Common Dolphin, staining them yellow. While no conservation treatment was undertaken due to time restrictions, thorough photography was performed to document these changes and once time permits this can be carried out.

This shows how conservation work, especially with natural history specimens, is a gradual, ongoing process. With frequent check-ups and specialist attention, these whales will be able to continue their life as our beautiful display specimens.

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Stories from the Stores

by Hannah Allum, Move Project Manager

Museums are space-hungry places. There’s rarely enough room to properly house the collections we currently hold, never mind finding space for new material. Roughly 90% of museum collections are not on public display, so many museums use storage beyond their main building, in offsite stores.

The Museum of Natural History has faced the same challenges and, for the past few decades, has found a solution in a somewhat surprising building. Where might you least expect to find a vast collection of rocks and fossils dating back millions of years? How about a nineteenth century church, complete with beautiful stained glass windows?!

Stained glass windows in the former church

As atmospheric as it is, this deconsecrated church is no place for good quality museum storage. To do the collections justice they need a monitored and controlled environment, suitable containers and pest prevention measures. Plus, it’s always a bonus to be able to access specimens without playing a very nerve-wracking game of Jenga or Tetris!

Carving detail in the former church

So, once again we are faced with the most terrifying and exciting of museum tasks; a collections move project! In 2016 we successfully relocated approximately 17,000 specimens from some of our old offsite stores and showed you some behind the scenes secrets along the way with the hashtag #storiesfromthestores. This time we have a team of eager beavers (also known as project assistants) who can’t wait to share glimpses of the project as we go, so make sure to keep an eye on @morethanadodo on Twitter.

An oats box made an unusual storage solution for Earth materials

After a much needed clean of the church, we’re starting to prepare the material to be moved. Alongside the specimens, we’re already coming across some interesting historical packaging. It seems that the mass consumption of Oxo cubes was a pre-requisite for collectors of old, as many specimens are stored in these retro tins. A few other repurposed boxes include; Quaker oats, Sharp’s toffee, Fry’s chocolates, marmalade, mustard oil and even wine crates. Quite the picnic!

A toffee tin for storing fossils – just one of the interesting choices for collections tins over the years.

Once removed from the church, the project team will be working on processing these collections in a dedicated space, as well as giving them some TLC and new homes (boxes). This will take place at a specialist heritage storage site until the end of 2018. Keep your eyes peeled for more on the treasures from this trove.