British Museum blog

Making a new Money gallery at the British Museum

Catherine Eagleton, British Museum

Chinese Ming banknote, AD 1375

Chinese Ming banknote, AD 1375

The Money gallery at the British Museum opened 14 years ago, and was at the time a new way of displaying coins and medals. It represented a new way of thinking about the history of money, and changed the way museums around the world told this global story.

Now, a new partnership between Citi and the British Museum means we are able to redisplay the gallery, make changes to the design and content of the displays, and take advantage of new knowledge and new ideas in museology and monetary history.

We will be building on the results of an evaluation of the current Money gallery that has been done over the past few years. This gives us some clear pointers for how it can be clarified and updated, and we have already started a programme of consultation with key audiences to find out what they would like to see the new gallery containing, and what questions they have about money and its history.

Penny defaced by suffragettes, AD 1903. Crown copyright

Penny defaced by suffragettes, AD 1903. Crown copyright

The gallery will use money as a lens through which to look at the history of the world, as well as showing the different forms and functions money has taken and had around the world in the last 3,000 years or so. The challenge for me as the lead curator on the project is to work out how to edit a complex global story down so that it can be told in a single room. But here I am lucky to be able to draw on the expertise of my subject-specialist colleagues.

Gold coin of Abd al-Malik, probably made in Syria, AH 77 / AD 696-7

Gold coin of Abd al-Malik, probably made in Syria, AH 77 / AD 696-7

Throughout the coming year, members of the project team will be tracking the progress of this exciting project, here on the blog, right up to the opening in June 2012.

I’ll post something about once a month and, in between, there will be contributions from other people on how the project looks from their point of view.

We will be writing about (among other things) evaluation, object selection, text writing, design, conservation, and the tricky business of how you remove thousands of small objects from display and keep track of where they all are while the gallery works are in progress in the first few months of 2012.

The Money Gallery project is supported by Citi and opens in June 2012.

Filed under: Collection, Money Gallery, , , , ,

2 Responses - Comments are closed.

  1. RichardE says:

    I really like your idea of looking at history through money.

    Like

  2. Glyn says:

    I like this idea – will keep track of what is happening

    Like

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It's Toulouse-Lautrec's 150th birthday! Here's his poster for a Parisian cabaret 
#history #art #artist #Paris Although this gilded cartonnage mask of a mummy conveys vitality and alertness, the features are more bland and idealised than those of other masks. The eyes, ears, nose, mouth and chin are highly stylised and not fully integrated into the face. The collar, the wig and the necklace with an ankh (‘life’) pendant, are attributes showing that the deceased has entered the afterlife and been assimilated with the gods. A winged scarab beetle on the top and images of gods on the back also emphasise the funerary character of the mask.

The use of gold was connected to the belief that the sun god Re, with whom the mummy hoped to be united, had flesh of pure gold. The back of the wig is decorated in many colours, with a row of deities, a ba and falcon with outstretched wings and seven short columns of near-unintelligible hieroglyphs.

See this cartonnage mask in our exhibition #8mummies – now extended until 19 April 2015.
#MummyMonday #mummies Another #MummyMonday space: it's Room 63 – together with Room 62 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. As it's #MummyMonday here's Room 62 – together with Room 63 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. It's time for our next #MuseumOfTheFuture gallery space. This is Room 61, the Michael Cohen Gallery of Egyptian life and death (the tomb-chapel of Nebamun). The British Museum acquired 11 wall-paintings from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350 BC, they are some of the most famous works of art from ancient Egypt.
Following a 10-year period of conservation and research, the paintings were put on display together for the first time in 2009. They give the impression of the walls of colour that would have been experienced by the ancient visitors to the tomb-chapel.
Objects dating from the same time period and a 3D animation of the tomb-chapel help to set the tomb-chapel in context and show how the finished tomb would have looked. (There is no Room 60 in the British Museum.) To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 59. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans.
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