: Collections & Research

If you can believe it, we keep a copy of every museum publication we produce. Yes, every flyer and brochure and after a while it starts to pile up! While in the process of ordering and categorising this mountain of coffee table litter and ephemera into a cohesive collection, it’s been fascinating to see the way that Amgueddfa Cymru’s branding has changed and evolved over the years. The logos and designs tell us not just about how the museum represents itself but also they tell us something about the time they were written in. So, let’s take a look at the museums branding and design over the decades.
In a museum brochure from 1968, the simplicity of the design is striking with its bold text and the solid red graphic of columns and pediment, which is the globally used symbol for museums (but more on that later). Yet for a modern eye it still looks old fashioned; there are no photos or even a colour gradient and it is printed onto plain white paper. The inside contains only small black text of museum department events, in a list, with little formatting. for example:
Zoology: In the Gallery near the Restaurant: Demonstration of Taxidermy of birds and mammals. 10am -12 noon

In 1969 we get a new look for monthly Programmes. This style sticks for the next decade. A bright solid colour fills the background, and the words “Amgueddfa Genedlaethol Cymru National Museum of Wales” are in a large clear bold text. The front of each issue has a large single black and white image that takes up the centre of the cover. This is however the only image the programmes contain, but maybe as a result the images picked usually look dramatic and intriguing. There is something reminiscent of album cover art about them. In the December 1969 issue the cover features a picture of a lunar landing module and the moon from space. Inside are details of a 3-day exhibition where the museum had genuine moon rock on display.

In the 1980’s we get a new look again, which we can see in the museum’s monthly programmes. But if it wasn’t for the date, you might assume it to be older than it is. The writing is in a traditional serif font and each issue has the same image a marble fresco of a woman holding a picture of the Welsh dragon with Ionic columns in the background. It is the Seal of the National Museum of Wales. It is an architectural feature of the Cardiff site that you can see today above the entrance of gallery 1. 

It is an image that is meant to invoke a certain ideal of “The Museum” that it is grand, historic, noble, and “cultured”. The monthly programmes certainly work hard to solidify this visual brand, having the large logo/seal prominent on every issue that leans into the imagery we already associate with museums. As with the earlier 1968 programme both are invoking the image of the Museum as a grand marble Greco-Romanesque styled structure. This seal is then used in slightly different forms on all publications for the next decade and a half.

The icon for museums as a row of pillars with a triangle pediment on top is widely used. It is the image you will see on brown road signs or tourist maps to mark the location of a museum and certainly the National Museum Cardiff and the Roman Legion Museum do have that classic museum look complete with towering columns. It is an image that may well reflect what museums used to be like, opulent buildings that looked at foreign artefacts like Greek statues. But it is an image that now many museums are working hard to move away from.  Ultimately as an icon it doesn’t really capture or express the totality of what Amgueddfa Cymru is all about, a diverse and varied family of museums that celebrate Welsh life.

Then in 1995 there is a major rebrand. We have moved away from the traditional imagery of museums and galleries and instead have a range of icons that highlight the different parts of the museum’s collections including a spinning wheel, anchor, and steam powered machinery to name a few. It excellently highlights the diversity of what we have to offer. The graphics almost look like a website banner with clickable icons displaying the range of choices. The publications go through various changes over the following years with a greater focus on full colour photos, and a variety of graphics and fonts. The publications are exciting and colourful, but is there a downside? Some might see this iteration of publications as overly crowded and busy. Furthermore, there is no signal unifying image for Amgueddfa Cymru as an integrated organisation.

Then in the 2000’s a new rebrand ditched the icons and opted for words. The words “National Museum Wales” and “Amugueddfa Cymu” were placed at an angle to each other in a modern sans serif font for all publications. This echoes the priorities and vision of the museum in this era. Balancing the English and Welsh language at angles so that neither takes priority over the other. It is effective straightforward and unambiguous. However the thirty three characters at 45 degree angles do not work well on a small scale and can become cluttered and difficult to read. As more and more we switched to phones as our primary reading devices there was a greater need to have a clean simple design.

Since last year we have had a brand-new redesign. The Amgueddfa Cymru logo is written in a bold capitalized font, created for the Museum it emulates the look of an industrial brand like that which you would find on metal or bricks to show the maker; it reflects the industrial past of some of our national museums.  For social media, where space is limited, we have a simple “AC” icon on a red background. Clean and simple bold texts work well for online platforms and this process of simplifying graphics has happened across many brands over the past decade as reading from phone screens has become the norm. Amgueddfa Cymru’s new design uses only the Welsh language title, further simplifying the design and highlighting the museum’s commitment to telling the story of Wales, from its earliest times, through its industrial transformation to the modern day. The font highlights the special characters that don’t exist in English, such as the “DD” which is has been linked together in “Amgueddfa” further showing our pride in the Welsh language.

Ultimately there will be pros and cons to any logo or icon. Often it is about what is right for the time, and what is best for the medium the icons will be on. Do you have a favourite?

Like many others, we watched in awe – and horror - as NHS staff made personal sacrifices day after day under unthinkable circumstances. We realise that we have seen only a fraction of what goes on behind-the-scenes, and asked ourselves what can we, as a museum, do to help?

As part of Celf ar y Cyd - a suite of projects launched in 2020  designed to find new ways for people to experience the art collection during the pandemic - we set out to work with health boards across Wales.

We wanted to give NHS and care staff the chance to make art part of their working day, and to decide for themselves how art can be incorporated into their work environment.

Since 2020, we’ve worked closely with health boards to continue this work that began from the pressures caused by the pandemic. We are delighted to launch the Palliative Care Packs, developed closely with Powys Teaching Health Board.

How are we working with Powys Teaching Health Board?

Powys Palliative Care packs are being developed to offer additional support to Powys Teaching Health Board’s palliative care teams.  These packs have been designed in partnership with staff at Powys Teaching Health Board and feature images of artworks from our collection, as well as digital resources, from audio descriptions to soundscapes. We hope that they will provide a compassionate, creative experience for patients, while also presenting opportunities for emotional support through conversation and sharing with friends, family members and carers.

We at Amgueddfa Cymru want to share the national art collection with as many people as possible, offering the opportunity to use our collections in ways that feel appropriate for all. Using Amgueddfa Cymru’s art collections to console and inspire has been our focus in working with Powys Teaching Health Board.

Funding and support

Amgueddfa Cymru support was made possible through Celf ar y Cyd. This started as a series of visual arts projects in collaboration with Arts Council Wales with the support of the Welsh Government, which challenged us to share the national art collection in new and innovative ways during the pandemic. The other strands include our digital visual arts magazine, Cynfas, and the 100 Celf – Art 100 exhibition. The Celf ar y Cyd website launched in June 2023, and offers the opportunity to browse, learn and be inspired by the contemporary art collection from the comfort of your own phone. Follow us on Instagram @celfarycyd for more.

‘Unknown Wales’ is an exciting day of free public natural history talks held each autumn at National Museum Cardiff. It features top speakers from all over Wales, talking about their newest nature discoveries and projects. The talks are short and accessible, and often great fun!

First held in 2011, the bilingual event is a collaboration between Amgueddfa Cymru and the Wildlife Trust of South & West Wales. The conference is a popular highlight in our calendar, regularly attracting over 200 visitors in person and online. The Reardon Smith Lecture Theatre provides a impressive atmosphere in which to hear from people who work on the front line of natural history and nature conservation.

The event was initially created to meet two needs. The first was for a free public conference dedicated to the whole natural history of Wales. From the outset the intention was to cover Zoology, Botany, and Geology – three fundamental aspects of nature that aren’t always dealt with together. It aims to offer an event (and a platform) for everyone with an interest in natural history. The questions from the audience at the end of each talk give a flavour of the enthusiasm that’s out there, as well as the depth of each speakers’ knowledge! Held on a Saturday, the day is unusual in our events calendar in being aimed largely at adults (though anyone aged 12 and over can attend).

The second need was to emphasise that new discoveries are always being made, hence the name “Unknown Wales”. While the event always features famous Welsh nature reserves, familiar species, and well-worn conservation practices, we’ve always encouraged interest in frontiers. Many talks feature recent scientific discoveries (including those made at the Museum itself), or new approaches that are changing how people look at and live with Welsh nature. On occasion there has been controversy, as speakers grapple with the environmental issues and policies of the day. The variety of organisations and projects covered provide inspiration for those looking for career, study or volunteering opportunities in biodiversity.

In total over 80 speakers have helped build Unknown Wales into what it is, and to all of them we are most grateful. Particularly memorable talks include Tim Birkhead on birdsong evolution, Lynne Boddy on the diversity of fungi, Anne Bunker on Welsh seaweeds, and Derek Gow on beaver reintroduction (a situation that has changed drastically since 2011). TV celebrities Rhys Jones, Miranda Krestovnikoff, and Iolo Williams (twice!) have all taken part to lend their support to the initiative.

Subjects covered range from river pollution to heritage trees, caves, coal tips, dolphins, dinosaurs, and eDNA surveys. We have featured the latest updates on iconic species like Red Squirrels, Marsh Fritillaries, Natterjack Toads, and Manx Shearwaters. Plus, of course, the Glutinous Snail…an icon-in-waiting? Another good thing about covering the whole of Wales, including its more remote and quieter places, is that nearly everyone’s milltir sgwâr (square mile) has had a mention!

Several talks have come about through audience suggestions, helping the event evolve. We have sometimes toyed with the format, exhibiting specimens from the Museum collections, supplying goodie-bags, or holding a poster competition, book sale or quiz during the interval. The event moved online in the 2020 pandemic, before adopting the present hybrid event, which allows more people to take part.

Will there be more Unknown Wales to come? You bet! Welsh nature is always full of frontiers and mysteries, which move as times and techniques change. We look forward to the next event, and to many other opportunities to share these with other wildlife lovers.

Details for Unknown Wales 2023 are here.

On 27 August 1981, 36 women from Wales left Cardiff and marched to RAF Greenham Common in Berkshire to begin their battle to stop United States nuclear armaments from being kept on British soil. The group named themselves ‘Women for Life on Earth’. ⁣
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In recognition of these courageous women, I’d like to mark this anniversary by focusing on a collection I’ve been currently cataloguing which gives a valuable insight into the Greenham Common protest. The collection was donated by Carole Stuart McIvor, a leading peace activist heavily involved in the protests at Greenham Common and the later protests at the Royal Ordnance Factory (ROF) base in Llanishen, Cardiff. ⁣
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This collection documents the sacrifices and continuous resilience shown by Carole and her fellow protesters. From numerous newspaper cuttings showing the prejudice they encountered and judgement by the mainstream media of the day to images of the arrests made by police and records of Carole’s time spent incarcerated as one of the many women who received prison sentences for their actions. ⁣
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The collection also includes the court action submitted by Greenham Women Against Cruise Missiles against President Ronald Reagan and US Secretary of Defence Caspar Weinberger. Carole Harwood (later Carole Stuart McIvor) gives her reasoning for supporting nuclear disarmament and the women’s peace movement in her statement:⁣
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“I finally became involved in the women’s peace movement after taking my family to the sea in Tenby in West Wales. The realisation that the sound of children’s laughter, which had been heard along these beaches for centuries could be silenced by men who chose never to hear it was simply too painful… I had been stunned to learn that if we continued to play with nuclear materials (not just bombs) the average lifespan of children being born now could be 18 years.”⁣
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At its heart, this was a protest for peace by Welsh women, and others from across the UK, and this collection encapsulates that struggle.

Written by Madalyne Epperson, MA Conservation Practice student, Durham University – on placement at National Museum Cardiff.

Natural history collections are often central to our understanding of evolution, population genetics, biodiversity, and the environmental impacts of pesticide use and climate change, among other things. For this reason, caring for these collections is of great importance. A taxidermy tree pangolin – named Paddy by the conservation team - was brought to Amgueddfa Cymru – Museum Wales in 2017 in need of attention. Paddy was collected on August 4th, 1957, by researchers during Cambridge University’s French West Africa Expedition. According to the expedition diary, Amgueddfa Cymru had asked the researchers to retrieve a pangolin to make a museum specimen, as was common practice at that time. The mounted pangolin was feared lost after the expedition’s drying tent went up in flames on August 25th, 1957. Paddy was terribly singed by the fire, which greatly disheartened the expedition team. It is perhaps for this reason that Paddy never made it to the museum when the expedition concluded. It was not until 2016/2017 that Paddy was found in Staffordshire in the home of one of the expeditions members and sent over to the museum.

Condition Prior to Conservation

Analysis was conducted to learn more about Paddy’s preparation, and his condition was assessed before interventive conservation treatments were undertaken. X-radiography revealed an iron wire extending the length of the specimen, while scanning electron microscopy with elemental analysis (SEM-EDX) confirmed no arsenic, mercury, or other pesticides are present. After being left on top of a wardrobe for 60 years, Paddy was covered in dust, cobwebs, and other contaminants. He was also coated in smoke residues from the fire that melted the keratin scales on his face, torso, and tail. Larvae casings found on and within the specimen suggest there was a carpet beetle (AKA wooly bear) infestation as one point, although no signs of an active pest problem were found. Arguably the most imperative concern was the split in Paddy’s chest, which was liable to grow if not addressed properly. 

Conservation Treatment

A conservation vacuum and soft bristle brush were used to remove loose debris, including fuzz, insect casings, and dust, from Paddy’s surface. Cosmetic sponges were proposed and tested as a means of removing engrained dirt from the specimen’s scales, but they were not as effective as expected due to the coarse nature of the scales. A dilute solution of Synperonic N non-ionic detergent in 50:50 water and ethanol on dampened cotton swabs proved very successful at removing the stubborn contaminants. Once Paddy was cleaned, ethanol on cotton swabs was utilized to clear any remaining surfactant residues.

After Paddy was clean, attention turned to the split in Paddy’s chest. Bridges were made from Japanese Tissue paper and secured using Evacon R, a neutral pH, non-plasticized ethylene-vinyl acetate (EVA) copolymer emulsion. Tweezers and dental tools were used to manipulate the adhesive-soaked strips of Japanese Tissue paper into the split until the entire gap was sufficiently filled. Once the adhesive was dried, Winsor and Newton acrylic paints were used to tint the Japanese Tissue. The so-called “six-foot, six-inch” rule was followed during the color-matching process. This will allow the gap to be identified upon close inspection but ensures it does not detract from the specimen while on display.

The decision was made to remove the section of iron wire protruding from Paddy’s nose. Although the wire is part of the preparation history of the specimen, there was concern that the wire may snag and cause damage in the future. A small hack saw and wire cutters were utilized to quickly remove the wire. Care was taken to cut off as much of the wire as possible without affecting the organic material surrounding it. The cut wire was very bright and shiny, so the end was obscured using Winsor and Newton acrylic paints.

Paddy is now ready to meet his adoring public! Pangolins, generally, are considered the most trafficked animal in the world. Their defence mechanism (i.e., curling into a ball) makes them easy for poachers to collect and transport. They are primarily harvested for their scales, which are highly valued in traditional Chinese medicine. Now that Paddy is presentable once again, he can be used to help educate and raise awareness for these wonderfully odd and endangered creatures. 

References: 

Pan Golin. 2018. GabonExpeditionPart1. [online video] Available on Youtube  

You can find out more about the vertebrates collections at the museum here. If you'd like to find out more about the stories behind some of the Natural Sciences collections and the work we do, why not check out our articles pages.