Conservation and restoration of taxidermy
The Smithsonian's National Museum of Natural History houses Martha, the last passenger pigeon and some collections still have Great Auk specimens, a bird species that went extinct in 1844.
[1] As with other types of collections, taxidermy specimens are susceptible to agents of deterioration, including pests, lights, temperature, humidity, and custodial neglect.
[3] Pests, such as dermestid beetles, clothes moths, and rodents, can cause damage to taxidermy specimens by eating materials and leaving larvae husks behind.
[4] Signs of a pest infestation in taxidermy include small piles of dust (known as frass) underneath a specimen and shedding skin from growing larvae.
[5] Additional signs of an infestation include chewing marks, loss of hair, fur, or feathers on mounts, webbing, and fecal pellets or stains.
[6] Over time, taxidermy specimens can accumulate layers of dust, dirt, and other airborne pollutants, especially if they are house on open shelving or display.
Additionally, cases and containers made of unstable materials can off gas pollutants, such as H2S, SO2, formaldehyde, peroxides, and organic acids, which can damage the surfaces of taxidermy.
Specimens may lose fur or feathers when exposed to warm environments because the high temperature causes residual fats in skins to release.
Additionally, dry environments can cause skins and leathers to contract and shrink over the support form, which eventually leads to cracking and splitting.
Metals, such as nickel and copper, used in support structures and forms can react to fatty acids in skins and cause corrosion.
[7] Gravity can also negatively impact taxidermy specimens by pulling unsupported components, such as tails and horns, away from the main structure, thus causing tears and breaks.
[7] Before extensive handling, hands-on display use [4] or conservation treatments are carried out, it is important to test taxidermy specimens for hazardous materials.
In addition to testing, conservators may also review museum records, inspect specimens, or examine storage areas to determine what hazardous materials may be present.
[10] Exposed skin on a mount, such as noses, mouths, or birds' feet, may be cleaned with a soft microfiber cloth or brush.
Before undertaking any repairs, conservators use a variety of imaging techniques, such as photography and x-rays, to get a good idea of the structure and level of damage of the specimen.
Fills typically consist of a backing made of inert fabric combined with a resin, starch, or cellulose ether.
[11] For example, bird specimens that have been badly damaged by pests may be repaired with a mixture of synthetic fabrics and wheat starch.
One of the most effective ways to prevent damage from occurring to taxidermy collections is to establish a monitoring system or procedure that routinely checks the condition of specimens.
Metal cabinets may be made of aluminum and/or stainless steel with an epoxy powder coating and are effective at preventing pest and light damage.
[7] Though it is essential for cabinets and cases to be well-sealed, they should also allow for minimal airflow to prevent off-gassed chemicals or humidity from building up inside the container.
For taxidermy specimens housed on open shelving, a polythene sheet can provide temporary protection from pollutants, though dust may accumulate electrostatically (2).
It is important for anyone handling taxidermy to remove jewelry, such as watches, rings, or bracelets, that may scratch or snag parts of the specimen.
[5] Bases of taxidermy mounts should be affixed to a shipping container with screws, straps, staples or tapes, with light and loose packing materials supporting the specimen's structure.
[17] In 2011, the Smithsonian's National Postal Museum restored its beloved "Owney", the canine mascot of the Railway Mail Service.
[19] The Smithsonian National Museum of Natural History revamped its main rotunda in 2015, and restored its centerpiece elephant, Henry, which has been on display since 1959.
Previous restorations have been performed, including one in the 1970s that involved replacing the tusks with fiberglass replicas to reduce stress on the specimen.
