At Work With…

… Lee Ismail, Curator of Natural Sciences

This is the second blog on mammal taxidermy. This time describing the processes of preparing a mammal as a posed mount rather than as a flat skin.

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The mammal used was a rabbit acquired from a local butcher’s shop which had already been semi-prepared with the belly opened up and the stomach removed. This time, there was no intention to later include the rabbit in the museum’s accessioned collections, so the usual process of weighing and measuring it was not carried out.

The removal of the rabbit’s skin was carried out in much the same way as with the fox with some differences. These differences were required for the purpose of displaying the skin as a mount rather than a flat skin. The most obvious alteration was in the preparation of the legs. In the case of the fox, each leg was cut down the entire length and the flesh was removed along with the bones. For a mounted specimen the bones need to remain as a method of support and unsightly stitch marks from incisions need to be avoided. So, with the rabbit, the skin on the legs was peeled back to the ankle joint and the flesh was removed from the bones using the scalpel. Once completed an incision was made in the sole of the foot and the muscles and tendons were removed. A sturdy wire was then fed up through the base of the foot and along the length of the bones. This wire was bound to the bone with string, before packages of wood wool and tow (plant fibres) were tied around the bones to mimic the shape of the muscles. The process was repeated on the other three legs. The position of the leg joints was recorded on an outline diagram of the carcass once the body was removed.

The preparation of the head is also different for a mounted specimen. The head of the rabbit was skinned, the same as the fox, however the central incision only went to the base of the neck. The neck and skull were then removed by turning the animal inside out. In normal circumstances the skull would be de-fleshed, then placed back inside the skin to fill out the head. However, the rabbit skull was badly damaged in this case and was not usable.

After the rest of the body was removed, the skin was washed, and any remaining flesh still stuck to the skin removed. The lips of the rabbit were sewn up to prevent the mouth opening during the drying process when the skin shrinks.

Body stuffing can either be purchased from a taxidermy retailer as a preformed plastic body or built from scratch. In our case, a body was made in the traditional way using wood wool (finely shaved wood) jute tow (used in sack cloth) and string. It was built up with wood wool, dampened with water and pesticide. This was wrapped with string at various points to secure the wool as well as to help assess the size of the body. When the body had been constructed, to the appropriate size for the skin, it was covered in a thin layer of tow and wrapped in cotton thread. This gives a smooth surface, which prevents lumps appearing in the skin.

To compensate for the lack of a skull (and Jeremy using it as a good opportunity to demonstrate how to salvage such a situation) a head was added to the body stuffing. In normal circumstances, the skull would be packed out with wood wool and modelling putty would used to fill the eye sockets and hold a pair of glass eyes in place. In this case, the modelling putty was built directly onto the head section of the body stuffing and the skull shaped by using more putty, cotton wool and string.

The whole body stuffing was then inserted head first into the skin. The wires bound to the leg bones were pushed into the stuffing material using the diagram as a guide to the position of the joints. Once the legs were anchored into place, the body was sewn up. The legs were then bent into the desired pose and the body was mounted onto a temporary wooden board to dry.

During drying the skin tightens up and sets the position of the pose. Drying involves pinning the skin into position and brushing and blow drying the fur. Once the fur looks presentable the mammal can be left to dry at room temp for several weeks. In larger mammals the skin shrinks significantly during the drying process so tanning is used to prevent it. On smaller mammals it isn’t such a problem.

At Work With…

… Lee Ismail, Curator of Natural Sciences

This article describes the processes of taxidermy.

Young Vixen

Any keen readers of the Royal Pavilion & Brighton Museums blog will know that I previously worked on bird taxidermy as part of the Monument Fellowship programme at the Booth Museum. The programme facilitates knowledge capture between retiring curators and their successors. As the fellowship draws to a close we have decided to do a series of blogs on the most complicated aspect of taxidermy, namely, preparing mammals. This first blog will examine the steps taken in the basic preparation of a mammal skin and skeleton.

Young Vixen

We start with the animal itself. In this case, we have a young (approximately six month old) vixen. She met her untimely demise following a road collision, and was brought in by a member of the public.

The procedure started in much the same way as in preparing a bird. Measurements were recorded along with the date and location of death. The animal was then weighed, which proved to be a lot messier than with a bird, as most of the blood drained from the nose when it was hung on the scales. The body was then inspected externally and examples of any parasites, such as fleas or ticks, were collected and preserved for future reference.

The next stage was to make an incision into the skin. This initial opening can be made in a number of places depending on what end result is intended. In this case, as we were aiming for an unblemished pelt, the cut was made along the centre of the chest. This was extended to the full length of the body and up to the chin. Further incisions were made along the length of each leg.

Fox Skin

Once the incisions were made, the skin was carefully removed from the body, by using fingertips and a scalpel where neccessary to free the body from the connective tissue. The body was almost entirely removed in this way. Even the tail was removed by simply easing it out, much like a very bristly sock.

Once the body was free, we moved to concentrate on the head. Again, it was skinned in much the same way, including very carefully turning the ears inside out and removing the cartilage. To finish, the gums and the flesh just behind the nose were cut through and the fur was successfully removed from the fox.

Fox Skull

A basic autopsy was then carried out, to record anything significant about the animal’s life. Our little vixen had the following injuries: shotgun pellet holes, an air gun pellet wound and a semi-healed break in her right back leg, all within her first year of life (not to mention the car accident that killed her). All these observations were recorded as part of the specimen history.

The final stage was to prepare parts of the body for skeletal preparation. This involved the removal of the head from the body as well as the broken limb. These parts were placed into a pot and simmered for two days. The pot was not allowed to boil as this fixes the fats into the bone leaving them with a permanent stain. The flesh was then removed with a combination of forceps and a toothbrush to avoid damaging any of the smaller bones. The bones were placed into a bath of petrol for a week, in order to remove any fats still present. Finally, the bones were removed, dried and then bleached in a mixture of ammonia and hydrogen peroxide.

Fox Bones

The next blog will look at preparing a mammal skin for display as a mounted specimen.

The Booth Museum and Brighton Taxidermy

By the time the Booth Museum was built in 1874 Brighton had three established taxidermy companies and the Museum has examples from all three in its collections. The history of taxidermy is told, in part, through the exhibition ‘Life in Death’  which currently forms part of the main gallery.

Swaysland & Son (1814 – 1951)

The exact date of the establishment of this company is difficult to pin down.

It would seem that the firm had its origins with Stephen Swaysland a ‘Wheelwright & Bird Fancier’ and that he probably supplied live caged birds. His son George went from gardener to taxidermist. He became an accomplished naturalist and was acquainted with many prominent scientists of the day such as Charles Darwin, William Borrer and William Yarrell.

George is actually mentioned in Darwin’s “The Descent of Man”. He claims to have mounted several of the exhibits in the Bramber Museum’s “Who Killed Cock Robin?”

His three sons Henry, George and Walter remained in the family business. The firm Swaysland & Son gradually ceased taxidermy and went back to selling caged birds. Walter’s son Walter continued running the business until it ceased to operate in 1951.

The Booth collections include 23 specimens that are attributed to the Swaysland family firm either as taxidermists or as collectors.

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Pratt & Sons (1851 – 1952)

The founder of the firm of H Pratt, H Pratt & Sons, and finally Pratt & Sons was Henry Pratt (born 1818).

Their Brighton premises were at 35 Duke Street, 44 Ship Street, 11 North Street Quadrant and finally 15 Cranbourne Street.

Two of Henry’s children, John and Edwin, stayed in the family business. His oldest son, Henry, became a successful clockmaker in Brighton. John and Edwin both married and one of each brother’s sons, confusingly also called John and Edwin, eventually took over the business.

This was the last commercial taxidermy firm operating in Brighton. It ceased on the death of Edwin Albert Pratt in 1952. The Booth Museum includes in its collections around 50 items attributed to the Pratt family firm.

Brazenor Brothers (1863/8 – 1937)

This successful family firm was started by Robert Brazenor (1819 – 1901).

He and his wife had seven children, five of whom survived into adulthood. They all entered the family business though the girls worked in the furrier shop alongside their mother.

They briefly operated at 20 Duke Street, and afterwards they moved to 39 Lewes Road where they remained till they closed down.

Robert’s style of taxidermy could be described as ‘more enthusiastic than strictly accurate’. His representations of ‘The Babe in the Woods’ adequately demonstrates this.

Brazenor Brothers undertook a great deal of osteological work for the Rottingdean based collector Frederick W Lucas, much of which can be seen in the skeleton gallery in the Booth Museum. One of their biggest tasks was the preparation of the Killer Whale skeleton in the Booth Museum. They undertook several other preparations of large material such as the 20.7 meter long Rorqual. This was sectioned and allowed to rot down in specially built vats on Race Hill. Eventually the skeleton was erected on Boscombe Pier, near Bournemouth, from where it was discarded.

For many years Alfred, the youngest son, was the mainstay of the business. In this he was joined by his son Herbert Ferris Brazenor. Herbert joined the staff of Brighton Museum & Art Gallery and rose to become Deputy Director. He died in 1972.

Jeremy Adams, retired Assistant Keeper at the Booth Museum