Museum salvage: A case study of Mesoamerican artifacts in museum collections and on the antiquities market

Abstract

Museum salvage refers to critical studies of museum collections with little or no provenience information that seek to glean useful archaeological information from these artifacts and examine the nature of their origins and possible connections to the illicit antiquities trade and the art market. Our case study focuses on artifacts from Mesoamerica and objects from the ancient capital of Teotihuacan in particular. We take a multi-scalar approach, including a quantitative analysis of Sotheby’s auction records for Mesoamerican items from 1966 to 2010, a survey of Teotihuacan attributed items in U.S. museums, and a more detailed examination of Teotihuacan-style artifacts in the Denver Museum of Nature & Science collections. The study tracks and attempts to explain diachronic patterns in the Mesoamerican antiquities trade, connections to museum collecting practices, and looting behavior. The study illustrates the potential benefits of museum salvage, while also revealing the clear limitations of research on poorly documented archaeological material.     

THE ANALYSIS OF SEA TURTLE AND BOVID KERATIN ARTEFACTS USING DRIFT SPECTROSCOPY AND DISCRIMINANT ANALYSIS*

We investigated the utility of diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) for the analysis and identification of sea turtle (Family Cheloniidae) and bovid (Family Bovidae) keratins, commonly used to manufacture historic artefacts. Spectral libraries are helpful in determining the class of the material (i.e., keratin versus plastics), but do not allow for inferences about the species source of keratin. Mathematical post‐processing of the spectra employing discriminant analysis provided a useful statistical tool to differentiate tortoiseshell from bovid horn keratin. All keratin standards used in this study (n = 35 Bovidae; n = 24 Cheloniidae) were correctly classified with the discriminant analysis. A resulting performance index of 95.7% shows that DRIFTS, combined with discriminant analysis, is a powerful quantitative technique for distinguishing sea turtle and bovid keratins commonly encountered in museum collections and the modern wildlife trade.     

Cosmopolitics,border crossings and the complex museum

Collections documentation systems are powerful frameworks for organising, producing and controlling cultural knowledge. Drawing on the findings from the Australian Research Council Linkage project Reconceptualising Heritage Collections (University of Western Sydney and Powerhouse Museum, Sydney, Australia) and research undertaken using the museum’s Palestinian collections through wikis and focus groups with constituencies in Australia, Israel and Palestine, we illustrate the highly political and fluid nature of the meanings and values existent around objects; and how now, in a networked complex world, non-linear interactions are occurring across transnational borders. These interactions sit uneasily with conventional museum practice. The collections became visible mechanisms to confront the complex relations and politics of borders between the museum and everyday life. ‘Cosmopolitics’, in terms of its political, ethical, cosmological and transnational outlook along with cultural complexity, enables an exploration of the dynamics and the shifting borders of an emerging complex museum. Ideas for the future imaginary of these interactions are further explored through the pathway of chaos theory.     

Cultivating Personalized Museum Tours Online and On-Site

Abstract

Web 2.0 — the perceived second generation of the World Wide Web that aims to improve collaboration, sharing of information and interoperability — enables increasing access to digital collections of museums. The expectation is that more and more people will spend time preparing their visit before actually visiting the museum and look for related information reflecting on what they have seen or missed after visiting the museum. It can also be expected that museum curators want to enhance visitors' museum experiences in the more personalized, intensive and engaging way promised by an improved Web. In other words, to keep their visitors, they should adopt an immersive museum environment that combines the museum Web site (online) with the physical museum space (on-site). In this context, the CHIP (Cultural Heritage Information Presentation) project offers tools to the users to be their own curators, e.g. browsing the online collections, planning a personalized museum tour suiting their art interests, getting some recommendations about interesting artworks to see, and quickly finding their ways in the museum. In this paper, we present the new additions to the CHIP tools, which target such functionality: a Web-based museum Tour Wizard based on the user's interests and the Mobile Guide that converts the tours to a mobile device (PDA) used in the physical museum space. To connect the user's various interactions with these tools online and on-site, we built a dynamic user model. Online, the user model stores the user's personal background, ratings of artworks and art concepts, recommended or created museum tours. On-site, it is a conversion of the online user model stored in RDF into XML format which the mobile guide can parse. When the user rates artworks inside the physical museum, the on-site user model is updated and when the tour is finished, it is synchronized with the online user model. In such a way, we support a 'virtuous circle' of the museum visit, which links the personalized museum experiences both online and on-site.     

Shared heritage,shared authority,shared accountability? Co-generating museum performance criteria as a means of embedding ‘shared authority’

Abstract

This New Zealand case study presents insights from the perspectives of Māori and non-Māori museum stakeholders. It aimed to understand which activities and responsibilities mattered to stakeholders, in order to develop more meaningful accountability for their shared heritage. Using a participatory mixed method, the research explored how museum stakeholders assess their museum’s performance. Māori and non-Māori generated, sorted and rated 'possible performance statements’. A cultural analysis, using proprietary software, produced concept maps which illustrate differently nuanced museum constructs with different relative importance for constituent elements. Pattern-matching revealed divergent priority accorded certain museum activities, but also commonalities. Both cultural groups prioritised factors not generally featured in compliance-driven approaches to accountability reporting. For Māori, greatest importance was placed on care of taonga (‘treasures’), Māori-specific practice and engagement with Māori, while collections and staff were the key assessment factors for non-Māori. Incorporating stakeholder perspectives in a museum performance framework provides opportunities to report performance on dimensions which matter to wider communities. Where shared authority is taken seriously and stakeholders are involved, accountability becomes meaningful. This collaborative approach to performance framework development offers a tool for embedding the realities of shared authority into planning and delivering the museum’s activities and responsibilities.     

The effects of PVAc treatment and organic solvent removal on δ13C, δ15N,and δ18O values of collagen and hydroxyapatite in a modern bone

The stable isotopic analysis of archaeological and paleontological bones has become a common method to examine questions of ecology, climate, and physiology. As researchers addressing such questions incorporate museum collections in their studies, it is necessary to understand the isotopic effects of common preservation techniques utilized in such collections to ensure the preservation of original isotopic values. This study examines the effects of PVAc glue (polyvinyl acetate) applied in acetone solution and the subsequent removal of PVAc using various organic solvents on the δ¹³C and δ¹⁵N values of extracted bone collagen, the δ¹³C and δ¹⁸O values of carbonate in bone hydroxyapatite, and the δ¹⁸O values of phosphate in hydroxyapatite. The data demonstrate that isotopic values in the collagen and phosphate are unaffected by any combination of PVAc treatment and solvent application. The carbonates show little variation in δ¹³C values, but exhibit variable δ¹⁸O values upon exposure to the PVAc solution. It is here suggested that δ¹⁸O values from carbonates in PVAc-treated bones do not retain an original isotopic value and should not be included in future studies.     

Cross-cultural interaction on Wuvulu Island,Papua New Guinea: the perspective from use-wear and residue analyses of turtle bone artifacts

Recent studies have emphasized the importance of Indigenous producers and traders in the formation of ethnographic museum collections, but have found difficulty in finding concrete evidence for their active roles. A use-wear and residue study of turtle bone cleavers from Wuvulu Island, Papua New Guinea provides the opportunity to test whether objects that comprise a significant component of early collections were made specifically for sale, as hypothesized by contemporary observers in the late 19th century. Comparative studies of used and unused turtle bone artifacts from the Caroline Islands and Papua New Guinea identified differences between wear traces resulting from manufacture and use. Analyses of the Wuvulu turtle bone cleavers showed they had been heavily used prior to sale. Rather than produce artifacts to meet the high demand from German traders, the local people sold old, worn-out objects, many of which had been repaired. The study demonstrates that archaeological approaches to ethnographic museum collections can trace Indigenous agency within cross-cultural interaction. It also showcases the potential of use-wear and residue analytical techniques for the analysis of bone tools and the utility of digital, hand-held microscopes for the analysis of large artifacts.     

OBJECTS OF HISTORY: THE PAST MATERIALIZED1

What is the role of material culture in understanding the past? This review essay explores two principal approaches—the history of museums and antiquities and environmental history—to reflect on their shared investment in historical materialism. It reviews Timothy LeCain's The Matter of History and Peter Miller's History and Its Objects, discussing their perspectives on objects and the writing of history. One important part of this history concerns the relationship of academic historians to the idea of a history museum, curatorial practices, and public history. What kinds of history can we do in a museum, with things, that might not occur without the presence of objects? Why were nineteenth- and early twentieth-century efforts to encourage a close relationship between historical research and the history museum largely abandoned in favor of a document-driven approach? The second dimension of current interest in historical materialism concerns new approaches to environmental history. It draws inspiration from Deep History as well as recent work in archaeology and STS (Science and Technology Studies) to argue for a more integrated history of humans and nature that demonstrates how things have made us. The history of successive efforts to remake the environment in different parts of the world and their consequences offers crucial object lessons in how humans have responded to nature's own creativity. Both approaches to historical materialism highlight the virtues of a more interdisciplinary approach to historical scholarship, in the museum or in the field, but most important, in our own sensibilities about what it means to think historically with artifacts and to treat them as compelling evidence of a shared history of humanity and nature.     

Rivet's Mission in Colonial Indochina (1931–1932) or the Failure to Create an Ethnographic Museum

By focusing on a transfer of a museological model from the Musée d'Ethnographie du Trocadéro to colonial Indochina, the paper examines the failure to create an ethnographic museum. The paper analyses, on the one hand, the collecting practices in the field and the circulation of knowledge, people, and objects from metropole to colony and vice versa. On the other hand, it seeks to highlight why Rivet and the École Française d'Extrême-Orient focused their research programme on the Montagnards from 1932 onwards at a time when French administration attempted to control the Highlands due to its strategic importance in terms of controlling Indochina. The concern with establishing ethnographic collections in Indochina extending from 1920s to 1938 attests the ways in which museums could be evolved in the governance of colonial populations. However, this concern underestimated the very fact that ethnographic museums differed for metropolitan populations and for colonizers.     

Some examples of Medieval Oxidized and Decorated earthenwares occurring in North-Eastern France

THIS PAPER concludes a programme of research into the medieval earthenwares of the littoral of N. and W. France.¹ (This particular research was done with the aid of a Colt Fund grant.) As in the earlier work, information was obtained by a study of suitable material held in museum collections; in this case located in the ME. of France.     

A Very Remote Storage Box Indeed: The Importance of Doing Archaeology with Old Museum Collections

Although our practice has come to be defined by a focus on excavation as the trademark of archaeological research, research on archaeological collections lies at the scientific heart of the discipline. We demonstrate through two very different case studies how a return to primary sources (in this case, boxes of artifacts) can upend our understanding of the objects themselves and create new narratives of social and technological change. At the same time, access to museum collections is becoming increasingly difficult as institutions struggle with the growing pressure to enhance public outreach and modernize data management, while simultaneously contending with persistent budget cuts. As archaeologists who work closely with museum curators and museum collections, we offer suggestions for how researchers can work with museums to ensure that future generations of researchers and the general public can learn from the ancient materials preserved within their collections.     

Public Archaeology as Renewer of the Historical Museum

Abstract

Working towards greater public interaction in the museum, and with archaeology reflecting on its contemporary context, traditional collection practices will inevitably be challenged. Archaeologies of the contemporary bring new kinds of artefacts to collections and raises ethical and political questions, since it must interact with the world of the living. Public archaeology, on the other hand, strives to involve people in the making of history, with an aim towards more inclusive, and even democratic, pasts and collections. Three recent research projects at the Swedish Museum of National Antiquities have dealt with these issues. The case studies future memories, archaeologist for a day and public contract archaeology question artefact categorizations, policies for storage and display, as well as database organization, design, and availability. It clearly turned out that the way museums work with collections structure and limit the ways in which audiences can engage with them. To deal more intensively with the public relations of archaeology, and to get more engaged in the contemporary, has definite consequences for the collections and collection practices of archaeological museums. A public-need focus will inevitably give opportunities for archaeologists and institutions to renew their perspectives and practices.     

‘My voice counts because I’m handsome.’ Democratising the museum: the power of museum participation

Abstract

Participation – where visitors are invited to leave a comment, co-create, or contribute to exhibitions – has been hailed as an opportunity to democratise the museum experience. New qualitative data from on-site and follow up interviews with museum visitors and practitioners at the experimental exhibition Power of 1 at the Museum of Australian Democracy has been used as a case study to determine if the rhetoric of the highly interactive, audience-centred approach of the participatory museum is meeting its aims. This paper argues that participation has the potential to democratise the museum experience for visitors, particularly when a more expansive definition is applied which acknowledges the benefits of participation beyond simply leaving a comment. Participation can provoke conversations and forge connections with real and imagined communities within the museum and beyond; however this potential is hampered by the often unacknowledged undemocratic practices within institutions by professionals who devalue visitor participation and power-sharing in order to uphold traditional museum practices.     

The Dispersed Sculpture of Parthenay and the Contributions of Nuclear Science

Abstract

TWENTY-TWO limestone sculptures, thought to have once decorated the now-destroyed 12th-century church Notre-Dame-de-la-Couldre in Parthenay (Deux-Sèvres), are dispersed in numerous American and French museum collections. To assess their provenance, stylistic analysis and documentary evidence are here combined with compositional analysis of their stone by neutron activation. Comparison of the resulting compositional profiles with those of samples from the still-standing west façade produced matches for works in the Musée du Louvre, Glencairn Museum, William Hayes Fogg Museum, and a private collection. Samples from sculptures in the Philadelphia Museum of Art, the Cleveland Museum of Art, and the Metropolitan Museum of Art differ in composition from each other and from those that match stone from the façade of Notre-Dame-de-la-Couldre. Still other works, such as those in the Isabella Stewart Gardner Museum, returned varied results conflicting with other provenance information. This application of scientific techniques sheds new light on these sculptures, but just as importantly, this diverse group — by offering a range of archival, photographic, and restoration records — provides an excellent demonstration of the contributions, as well as limitations, of nuclear science to provenance study.     

Chronologies in wood and resin: AMS C dating of pre-Hispanic Caribbean wood sculpture

This paper establishes a chronological framework for selected pieces of Caribbean (Taíno/Lucayan) wooden sculpture, enabling previously ahistoric artefacts to fit back into the wider corpus of pre-colonial material culture. Seventy-two ¹⁴C AMS determinations from 56 artefacts held in museum collections are reported, including 32 ceremonial duhos, or seats. Far from being constrained to the last few centuries prior to contact, the dates for these objects extend back to ca. AD 250, and include the artistic legacies of various cultures. Duhos in both low and high back styles are present from about AD 600, if not earlier, in a distribution that spans the Antillean island chain from Trinidad to Cuba. Complex, drug-related paraphernalia and elaborate ancestral reliquaries are in evidence by AD 1000, as are some distinctive regional styles – such as the unique iconography from the Bahamas and Turks and Caicos islands. This paper explores relevant methodological issues – from the challenges of working with museum pieces (e.g., uncertain provenance, discrete sampling techniques, impact of previous conservation treatments on dating results), to dealing with potential ‘in-built’ age in tropical hardwoods.     

A Forgotten Legacy: The Romanov Patronage of Finland’s Early Art Collections

The earliest art collections of Finland’s National Gallery came into being when, as the Grand Duchy of Finland, it was an autonomous part of imperial Russia (1809–1917). The prevailing view of Finnish museum studies, however, sees the Finnish Art Society, the precursor of the Finnish National Gallery, as being modelled on exclusively European cultural institutions. The history of the Society and its collections have thus been seen as resistant to any alien eastern influences, and as an attempt to differentiate Finnish culture from Russian art collecting practices. Drawing on the theoretical shift in cultural studies from the conception of stable, clearly demarcated cultural identities of nation states toward less rigidly defined identities, the aim of this essay is to reconstruct the hidden Russian presence in Finnish museum historiography. Based on original unpublished sources, my study shows that the earliest support of Finland’s cultural infrastructure was given by the Romanov patrons Nicholas I, Alexander II, and Alexander III. By exposing the absence and physical erasure of “imperial identity” in the official Finnish museum narrative, I reveal how museums can at once elevate particular discourses and practices while marginalizing other historical processes in a nation’s cultural past.     

Was Lacquer the Key Ingredient for Luxurious Jinyin Pingtuo Products in the Tang Dynasty of China (AD 618–907)?

Jinyin pingtuo is one of the most sumptuous decorative methods applied on ‘lacquered' objects described in Tang dynasty literatures. Two Tang dynasty objects, a silver bowl and a bronze mirror, in the British Museum collection said to be made by this technique, were scientifically examined to confirm the application of the technique. Although the metal décors levelled with the rest of the surfaces on these objects suggested the application of the pingtuo method, lacquer, a major ingredient of this technique, was not identified by Py (HMDS)-GC–MS in any of the four samples analysed. The results question the use of lacquer in the pingtuo technique as usually described. The detection of shellac and oil in the bronze mirror aligns with other studies on similar objects, whereas proteinaceous materials as main ingredient of the decorative layers of the silver bowl, appear less usual. Further comparative study by scientific analysis of similar objects in other museum collections or from excavations is required to help better understand the use of lacquer in ancient China.     

Archaeological and Historical Materials as a Means to Explore Finnish Crop History

ABSTRACT

In Northern Europe, barley (Hordeum vulgare L.) has been cultivated for almost 6000 years. Thus far, 150-year-old grains from historical collections have been used to investigate the distribution of barley diversity and how the species has spread across the region. Genetic studies of archaeobotanical material from agrarian sites could potentially clarify earlier migration patterns and cast further light on the origin of barley landraces. In this study, we aimed to evaluate different archaeological and historical materials with respect to DNA content, and to explore connections between Late Iron Age and medieval barley populations and historical samples of barley landraces in north-west Europe. The material analysed consisted of archaeological samples of charred barley grains from four sites in southern Finland, and historical material, with 33 samples obtained from two herbaria and the seed collections of the Swedish museum of cultural history.

The DNA concentrations obtained from charred archaeological barley remains were too low for successful KASP genotyping confirming previously reported difficulties in obtaining aDNA from charred remains. Historical samples from herbaria and seed collection confirmed previously shown strong genetic differentiation between two-row and six-row barley. Six-row barley accessions from northern and southern Finland tended to cluster apart, while no geographical structuring was observed among two-row barley. Genotyping of functional markers revealed that the majority of barley cultivated in Finland in the late nineteenth and early twentieth century was late-flowering under increasing day-length, supporting previous findings from northern European barley.     

Battlefield Casualty: The Archaeology of a Captured Gun

Abstract

Many artefacts in museums lack adequate information about the context from which they were collected. Not surprisingly, this often applies to artefacts recovered from battlefields, where chaotic conditions can result in uncertainty about their origins. This paper examines the case of a Second World War German 88 mm gun preserved in an Australian museum. The museum had little contextual information for this weapon, except that the Australian Army captured it in North Africa in 1942, probably after the Second Battle of El Alamein. However, an archaeological analysis of the gun, particularly of damage incurred during battle, can link it to photographs taken after the battle and re-establish its historical context and the circumstances of its acquisition. In this way, a museum artefact can become more than a mere exhibit: it can be made to document its own past.     

Zoos as heritage tourism attractions: A neglected area of research?

Abstract

Zoos are a form of museum.¹ The main difference between zoos and other forms of museum is that zoos exhibit living objects. These objects are examples of natural heritage. Unlike other museums, the focus of much research in the past decade, zoos appear under‐researched. Zoos, however, are significant tourist attractions. There are over 10,000 zoos worldwide,² many in major world cities and some attract millions of visitors annually. Zoos date back at least three thousand years, but their role has been changing in the past twenty‐five years from menageries to conservation centres. Concern recently has focused on animal welfare when wildlife is in captivity, and this has led to a re‐examination of the purpose of zoos. This article examines the aims of zoos, their nature as heritage‐tourism attractions and the profile of zoo visitors. In an attempt to establish a new research agenda, the article also examines issues about the future of zoos, including questions concerning potential and real conflict between their educational, scientific and entertainment roles.