British Museum blog

The British Museum acquires medals awarded to Captain Scott

Royal Geographical Society medal, awarded to Captain Scott in 1904
Philip Attwood, Keeper, Coins and Medals

The British Museum has a world-famous collection of around 70,000 medals, but it’s not often that we have the chance to get up close to a national icon. Just 100 years after Captain Scott of the Antarctic died during his ill-fated expedition to the Antarctic, the Museum has acquired a group of medals awarded to this internationally celebrated explorer both during his lifetime and posthumously. Together they form a glittering record of an extraordinary man.

Gold Royal Geographical Society medal, awarded to Scott in 1904

Gold Royal Geographical Society medal, awarded to Scott in 1904

The 24 medals always remained within the Scott family, passing from Scott’s widow, the sculptor Kathleen Scott, to the couple’s son, the well-known ornithologist and conservationist Sir Peter Scott. Following the death of Peter Scott in 1989, his widow Philippa Scott – also an active conservationist and an accomplished photographer – placed the medals on long-term loan in the British Museum, and, following the death of Lady Scott in 2010, they were allocated to the British Museum under the government’s Acceptance in Lieu scheme. This arrangement has now been made permanent, and the medals now form part of our permanent collection. Descriptions and images of them all will soon be available on the British Museum’s website.

The medals include the gold Royal Geographical Society medal, awarded to Scott in 1904 as soon as news arrived in England of his first Antarctic expedition’s safe return to New Zealand. There is also a gold example of the special Scott medal commissioned by the Society from the sculptor Gilbert Bayes (illustrated here). This bears Scott’s portrait on one side, and on the other an Antarctic scene complete with penguins. This medal was presented to Scott at a ceremony held in the Albert Hall on 7 November 1904.

Also within the group are Scott’s Commander of the Royal Victorian Order neck badge, as well as Royal Victorian Order, Polar Medal and Legion d’Honneur miniatures.

Silver medal of the Royal Geographical Society of Antwerp, awarded in 1906

Silver medal of the Royal Geographical Society of Antwerp, awarded in 1906

Other awards come from geographical and other societies in Germany, Sweden, Denmark, France, Belgium, Austria, Italy and the United States, and reflect Scott’s international status as an explorer. The silver medal of the Royal Geographical Society of Antwerp, awarded in 1906 (also illustrated here), has globes on both sides and quotes from the Psalms: ‘The earth is the Lord’s, and the fulness thereof’. Other medals were awarded following Scott’s death during his Antarctic expedition of 1910-13 as testimony to his achievements and his bravery.

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  1. ritaroberts says:

    What beautiful medals these are and presented to a well deserved gentleman. He must have been very proud of them.

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  2. Helen Wang says:

    This is special — not only because of Scott’s achievements, but also because his 24 medals have been cherished by his family. By contrast, the medals awarded to Sir Aurel Stein, one of Scott’s contemporaries, are now scattered. Although Stein was no. 1 on the list of “Great Explorers of the Moment” published by the Illustrated London News, 30 Jan 1909), it has taken years to locate just a handful of his medals. Like Scott’s, they are beautiful pieces. Those in the collection of the Royal Geographical Society are published here http://www.britishmuseum.org/research/publications/research_publications_series/research_publications_online/sir_aurel_stein.aspx

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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.
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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.
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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. 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 57. 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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