20 The <strong>British</strong> <strong>Museum</strong> Review 2011/12 been heavily restored in the 18th century. The original marble and that used in the restoration were closely matched, so scientific investigation was required to identify what was original. Minero-petrographic and scanning electron microscopic analyses were carried out on four samples. Scientists identified two different marbles, one dolomitic, which was used for the original parts, and the other calcitic, which was employed for the restored components. Photographs enabled the BM to identify the plinth that had been used to display the statue in the 19th century and the two have now, after several decades’ severance, been reunited. The beautiful figure of Hermes will go on display in the BM as part of its Olympic Trail in 2012. Four Centuries of Spanish Prints and Drawings In the BM collection, they range from a simple playing card of the Spanish Renaissance to Goya’s portrait of the Duke of Wellington. With funding from the Arts and Humanities Research Council (AHRC), the BM is exploring the largely uncharted territory of the origins and development of Spanish prints and drawings, a subject little studied outside of Spain. The research project looks at the history of Spanish graphic arts from around 1400 to the time of Goya in the early 19th century Head of a monk, 1635–55 Research and a forthcoming exhibition on Spanish drawings feature artists such as Francisco de Zurbarán, known for his powerful renderings of monastic life. (28 x 20 cm) Andean textiles An international team is studying natural dyes in textiles such as these from Peru, some over 2000 years old. – including architectural prints, religious subjects, landscapes and even fans. One critical aspect is to consider the presence of foreign artists working in Spain and how they contributed to the artistic landscape. Research in Spanish collections has led to significant discoveries about artists and works associated with the BM’s own prints. New acquisitions will support a major exhibition in 2012/13. They include a penand-wash cartoon of embroideries to decorate vestments in the Escorial monastery and an exquisitely drawn 17th-century male nude by Valencian artist Juan Antonio Conchillos y Falcó. Unknown Dyes from the Andes Our knowledge of European dyes is extensive: what they are made of, how they operate chemically and how they endure. But we know far less of dyestuffs from the rest of the world, as until recently they have been much less studied. With a major grant from the Leverhulme Trust, the BM is pioneering research into Andean textiles and in particular, the natural dyes used to produce them. The programme is multidisciplinary, with colleagues from Paris, Madrid and Peru engaged in fieldwork in South America gathering plants and other raw materials and examining traditional dyeing practices, knowledge which is at risk of disappearing in the modern age. 21 Section Heading Qur’an case necklace, 1950s The study of Omani silver included this necklace incorporating barrelshaped silver beads, coral and 12 Indian rupees. The study is wide-ranging, and will raise complex questions: from the effect of the environment on colour longevity to the impact of local resources on colour choice and its cultural significance. Not least among the benefits will be improvements in the long-term care and preservation of fragile textiles across the world. Rattling Bracelets from Oman What we know about artefacts is a complex business. Imported materials may reveal the presence of trade and cultural contact. Dirt or wear on objects can tell us how they were used. Living makers may have knowledge of methods employed in the past. A wonderful collection of Omani silver jewellery at the BM has recently been studied with just such a combination of approaches. Acquired in 2009, the 240 pieces are in a tradition of handmade jewellery that reaches back to the mid-19th century at least. The BM’s is the largest public collection of Omani silver in Europe, and all the more significant as the region’s silver jewellery is now in decline. Omani women today generally prefer gold. Some materials can be identified historically – much of the silver was melted down from imported coins such as Maria Theresa thalers and Indian rupees. Sometimes thalers, rupees and Saudi rials were used as decorative pendants on Omani necklaces, signalling the wealth of the owner and also acting as portable bank accounts. An elaborate child’s necklace of chains, embossed disks and a Qur’an-case amulet incorporates a wolf’s tooth and carnelian stone to ward off illness, poverty and the evil eye. Scientific analysis explained much more. X-radiography showed that the varying rattles you could hear in hollow bracelets and anklets were caused by the different materials hidden inside: metal and glass beads and stone fragments. Backscattered electron images revealed tool marks. X-ray fluorescence determined the composition of solder and gilding. Speaking to makers in Oman, BM staff learned exactly how the chains, gilding and stamped designs they could observe were in fact produced. Further fieldwork in Oman is planned, to gather as much information as possible while we still can about this rich tradition of Arabian jewellery-making.
22 The <strong>British</strong> <strong>Museum</strong> Review 2011/12 23 Section Heading The Tomb of the Unknown Craftsman, 2011 Grayson Perry’s awardwinning exhibition concluded with this long iron ship incorporating artefacts based on the BM collection. (3 x 2 m) At the museum
Change language