Displays of dead nonhuman animals are a common sight on the walls of many American homes and commercial establishments. Taxidermists are the individuals who preserve and attempt to re-create dead animals, birds, and fish so they can be displayed. Little is known about those employed in the profession, including characteristics of individuals who enter this line of work. Using a qualitative approach to data collection, this exploratory research examined motivations for becoming a taxidermist in Montana. Findings suggest that Montana (...) taxidermists entered the profession for one of five main reasons: an interest in wildlife, a desire to mount their own trophies, a hobby that became a job, the necessity of changing jobs, and miscellaneous motivations. (shrink)

Large, black, flightless birds with unpredictable tempers and colourful heads and necks, cassowaries have enthralled European audiences for centuries, but perhaps no one more so than private collector and zoologist Lionel Walter Rothschild (1868-1937). Throughout the late 19th and early 20th centuries, Rothschild acquired hundreds of living cassowaries which were kept in his private zoological collection. This paper explores the nature of Rothschild's private zoo and how the collection of living cassowaries was used to support his zoological activities. Spread across (...) three sites-the family estate at Tring Park, the zoological gardens in Regent's Park, and the business premises of Cambridge-based taxidermist Frederick Doggett-it will examine how Rothschild used the living birds kept in his private zoo to devise and inform a process for the preparation and display of cassowary specimens in museum galleries. It will show how he recruited specialist artists and taxidermists to perfect the art, and the significant financial investment this entailed. This is followed by exploration of how Rothschild's access to and observations of living birds informed his taxonomic work and, in particular, the identification of species and subspecies. The argument is made that Rothschild's private zoo and access to living cassowaries enabled his dedication to the study of the genus and ultimately underpinned his reputation as a world authority on cassowaries in the early 20th century. (shrink)

When world’s most famous taxidermist, Carl Akeley, died in 1926, many obituaries cited his consummate skill and innovative technique, often arguing that he had elevated taxidermy from a craft to an art. Such claims notwithstanding, taxidermy tends still to be considered as a craft. While scholars have studied the various ways in which taxidermy has been deployed within art practices – to critique gender, colonialism and concepts of mortality – late nineteenth- and early twentieth-century attempts to classify it as a (...) fine art failed. This critical and historical asymmetry frames the following article, which explores what it tells us about how art is conceived today. I argue that taxidermy ‘failed’ as a form of art not because its procedures were distasteful, nor because its practice lacked the skill and vision an art might require. Rather, taxidermy remains outside of art due to a confluence of historical shifts in art practice and theory in the late nineteenth century, particularly those associated with the rise of instant photography and the advent of the snapshot. In this context, the making and display of taxidermied specimens entailed tensions – between ideal and real, type and example, multiple and singular, index and object – that were and remain central to photography and art. But, unlike photography, around which art historians have developed a sophisticated discourse, taxidermy lacks a critical vocabulary. Importantly, I argue, the taxidermied animal’s status involves no author-function, thus throwing into question methods of production and display. And, in light of this, I delineate taxidermy’s ‘failure’ in order to elucidate some of the tacit exclusions enacted by art history, particularly with regard to works that simultaneously reveal and negate their own manufacture. (shrink)

As a process distinct from its poured cousin, sprayed concrete involves using compressed air to propel cement with various chemical admixtures at a surface. Used in tunnelling for rock surface stabilization, and above ground for securing slopes and fabricating fake rockeries, its chimeric character ranges from the polished landscapes of skateparks and swimming pools to mimicking cast concrete in structural repair work. The origins of this industrial process lie with taxidermist Carl E. Akeley (1864–1926), who invented it during his pioneering (...) work in the proto-photographic field of natural habitat dioramas at the Chicago Field Museum in 1907. Further cementing André Bazin’s notion of photography as embalmment, Akeley also invented a unique 35mm cine camera during his time at the American Museum of Natural History, New York. The essay explores this historical intersection between photography, taxidermy and architecture, and its wider implications for thinking through photography’s material contingency. (shrink)

In the early twentieth century, ornithology underwent significant changes. So far, these changes, basically, have been studied by focussing on the elite of professional biologists working at universities or state museums. However, important developments also occurred in what Lynn Nyhart has called “the civic realm” of science – the sphere given form by private naturalist associations, nature writers, taxidermists and school teachers. This article studies the changing dynamics of civic ornithology, by looking at one particular case: the influential orinthological (...) observatory in Rossitten, East-Prussia. This observatory, the first of its kind, was founded in 1901 and led, for the first three decades of its existence, by the minister Johannes Thienemann. This article analyses the ornithological practices Thienemann developed in Rossitten and the rhetoric he used to defend these practices. In both, so it is argued, one finds a mixture of the traditional, locally anchored naturalist approach with the new ideals of the “modern” and “experimental” university laboratories. The innovations which Thienemann introduced in this hybrid form of ornithology called for specific spatial strategies which made optimal use of the natural chatacteristics of his workplace and which mobilized a large civic network of geograhically scattered amateurs. At the same time, his work also altered the space he shared with the birds – materially, conceptually and culturally. Thus, this article maintains Thienemann's ornithology can only be understood by acknowledging its continuous interaction with the geographical and civic context in which it arose. (shrink)

The post-Civil War American natural history craze spawned a new institution -- the natural history dealer -- that has failed to receive the historical attention it deserves. The individuals who created these enterprises simultaneously helped to promote and hoped to profit from the burgeoning interest in both scientific and popular specimen collecting. At a time when other employment and educational prospects in natural history were severely limited, hundreds of dealers across the nation provided encouragement, specimens, publication outlets, training opportunities, and (...) jobs for naturalists of all motivations and levels of expertise. This paper explores the crucial role that specimen dealers played in the larger natural history community. After briefly examining the development of local taxidermy shops in the mid-nineteenth century, it then traces the history of four large natural history dealerships established in the United States during the latter half of the century: Ward's Natural History Establishment, Frank Blake Webster's Naturalists' Supply Depot, Southwick & Jencks' Natural History Store, and Frank H. Lattin & Co. By the early twentieth century, changing tastes in interior design, the growth of the Audubon movement, and the dramatic expansion of alternate training and job opportunities for naturalists led many specimen dealers either to shift their emphasis or to shut their doors. (shrink)