British Museum blog

Pinning it down: the installation of the Money Gallery


Amanda Gregory, Senior Museum Assistant, British Museum

I manage the team of four Museum Assistants in the Department of Coins and Medals, and we are responsible for all aspects of practical collections care, which includes exhibition installation, loans, gallery maintenance, documentation and supervision of the Study Room, where any interested visitor can examine objects from our collection of over one million coins, medals, banknotes, badges and tokens.

The Citi Money Gallery installation is by far the biggest project I have ever dealt with, and one of the biggest challenges has been the schedule. In any gallery refurbishment, the objects are always installed last, after all the building, decoration and case refurbishment has been completed. This is to ensure that our collection material, particularly sensitive metal, is not adversely affected by fumes given off by paints and varnishes, a process known as “off-gassing”. The opening date is fixed, so if the initial building works overrun, the period we have to install the objects is squeezed.

Some money boxes ready to be installed in the gallery

Some money boxes ready to be installed in the gallery

We begin installing the first of over a thousand objects this week, and have three weeks to complete the task. In the meantime we have been laying out all of the panels for the wall cases and pinning the objects. As we have 48 panels to pin in a small department overflowing with numismatists, horizontal surfaces are at a premium.

Underwear with a concealed pocket to store cash

Underwear with a concealed pocket to store cash

As well as familiar objects like coins, medals, banknotes and tokens, we have had to tackle more unusual items such as a Barbie cash register, a beer-can shaped money box, and perhaps the most bizarre of all, a pair of lacy ladies’ pants with a concealed pocket to store cash. My colleague Henry nobly took up the challenge of pinning this item, which inevitably made him the butt of many lame jokes. Moments of levity like this, together with the plentiful supply of home-baked cake provided by a kindly curatorial colleague, have kept our spirits up during this challenging time.

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

If you would like to leave a comment click on the title

Filed under: Collection, Money Gallery, ,

2 Responses - Comments are closed.

  1. ritaroberts says:

    Your money project seems so interesting. I will visit the British Museum to see your money collection when I next come to England. Thanks for interesting blog posts.

    Like

  2. acmeart says:

    I will definitely come and view this exhibition! I could also donate items, having inherited my father’s money collection and wonder what would be of relevance. Part of his collection is “books with money in the title”…

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 10,319 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This is our next gallery space in the #MuseumOfTheFuture series. It's Room 64, the Raymond and Beverly Sackler Gallery of Early Egypt. Rapid advances in the technology and social organisation of Egypt during the 5th millennium BC produced a material culture of increasing sophistication. Further innovations followed in about 3100 BC when the separate Predynastic peoples of Upper and Lower Egypt were united under a single ruler. The resulting increase in wealth and strong central control led to dramatic achievements in architecture, writing and fine goods, culminating in the building of the Great Pyramids of Giza in around 2600 BC.
Objects on display in Room 64 illustrate the cultural, technological and political development of early civilisation in Egypt throughout this period. In this picture you can see Gebelein Man, a mummy who was naturally preserved in the desert sands, and who used to have the unofficial nickname of Ginger (although the Museum doesn't use this name). In the background you can see an interactive virtual autopsy of the mummy which was installed in the newly refurbished gallery last year. 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.)
Follow

Get every new post delivered to your Inbox.

Join 10,319 other followers

%d bloggers like this: