Taxidermy Restoration (www.Victorian-taxidermy.com)

General observation relating to taxidermy preservation

If you posses taxidermy, that has been handed down the generation or are just starting out collecting taxidermy. Firstly welcome to this interesting and diverse world of collecting. From our experience and observations is it NOT advisable to do the following:

Keeping the items in a garage / shed or attic. Damatic variations in temperature has a very dramtic effect on wood, cloth and paper. Mould occurs, cases split and allows both insects and dust into the displays. Damp also causes watercolour paintwork to spoil and paper to begin to crease/crack and also split. If you wish to preserve your investment, then we suggest that you keep these items in the home at an ambient tempreture.
A damp environment, particularly when associated with warmth, creates conditions that favour chemical decomposition, mould formation and pest attack (see below). High temperatures coupled with low humidity - such as may exist near a radiator or boiler - may cause skin to shrink and tear. Mounted specimens should never be placed on a wall over an active fireplace that is also producing soot and other harmful emissions.
Sunlight. Keep your specimens out of direct sunlight as they WILL "bleach" the natural pigments from both fur and feather. This in the main is irreversible and spoils the whole intended effect of the case. Ideally collection shold be kept in a darkened room, lit only by artificial light. Cases, unless designed specifically to do so, should not be hung on walls. Cases should also not be piled on top of each other as the cumulative weight breaks the weakest case, normally the one at the bottom. Good quality taxidermy is both rare to come by, expensive to buy and very very costly to restore. The value of the item is also significantly reduced if the item has been resotred.
The quickest way to de-value your collection is to implement all of the above. These are only our sugestions based upon cumulatively many many years of collecting and preserving. You are free of course to ignore any or all of our suggestions regarding taxidermy preservation.

Historical perspective for Antique Taxidermy Restoration

For a detailed insight into preserving and restoring this art form you are better served to read books produced by Mr Robert Chinnery and Mr Christopher Frost. Both authours are very experienced and their books are well executed, with photographs and are now collector's items in their own right. They have been well researched and should provide those with limited knowledge the confidence to approach the subject of Antique taxidermy restoration more confidently and in a better informed manner. To find them, simply research the names on the Internet.
In terms of my own discussion into the subject, it is merely my own opinion and you are more than welcome to disagree, but at least I have put pen to paper on this matter.
Victorian Taxidermy

I personally having seen a large number of "antique" taxidermy cases in both museums and private taxidermy collections that only a small percentage of the overall work produced is actually worthy of preservation. Many "labelled pieces" are best described as "junk" and do very little to convince others that this subject matter is both worthy of preservation and or collection. Do not forget that in the Victorian era, virtually every large village in the UK had a barber / taxidemist. The taxidermy trade was significant 120 years ago and only really went out of fashion in the 1930/40's and most commercial companies ceased trading in the 1970's. large numbers of cases were therefore produced as a result and consequently the quality varies dramatically. Many museums (in my opinion) and presumably due to lack of funds are not keeping their antique taxidermy collections in the manner that would best preserve them for future generations. This is a shame, but unavoidable currently. For the best examples of antique taxidermy to survive that era, it is best to observe the works by:
• Henry Ward
• Rowland Ward
• Peter Spicer
• James Hutchings (hardly ever affected by insect damage, unless the case has broken glass)
• James Gardner (Be warned, these cases do not survive well and is normally mothed to some degree)

Above are just my personal view of who created the best taxidermy cases, you may feel free to disagree. However during the above period, almost every small town in the UK has a resident taxidermist plying their trade as a side line to more conventional employment.

Preservation / Restoration

I am afraid that I am in the "get the hammer out" school of taxidermy restoration. I personally cannot see the point in trying to restore a case, as in my view it is the contents of the box rather than the beading or the case work itself, that is important.
I agree that where possible it would be nice to have the case in as much as an original condition as possible, but I wonder if "stuffers" such as James Hutchings or Rowland Ward would have been so "precious" about the taxidermy items they produced. Paper pulp (mache) was extensively used historically as was "glued" moss or peat. dating cases from the scaps of Victorian paper, within the groundwork is always both interesting and amusing when reading the articles of the day. Time-capsules they most certainly are from that perspective

Remember that these taxidermists were in business and produced taxidermy cases on an industrial scale that catered for the demand as it was then. A production line was common in the larger family run businesses, I cite Hutchings by example here.
It is now due to suggested rarity of the items that makes some seek only that which is original. The originality of taxidermy cases is a whole discussion point in itself. I agree that it would be preferential to have the case in original condition, but few taxidermy cases can survive 100 plus years of household use and abuse / treatment and not be affected by the passage of time. Cases themselves split, fading of the taxidermy occurs and insects do try and have a "chew" so to speak. The treatment of these issues can however be very rewarding and the finished article pleasing to the eye. It does however take a significant amount of time to restore a case that to the naked eye looks original. Buyers should always beware of fakes and caution when buying high value "original" items should be excercised. Buy in haste and repent a leisure.

Original glass is important as it does covey a certain presence to the item within the case, but this glass was only really that was commercially available and therefore if better materials were available such as toughened glass then I am sure that it would have been used. I personally find 2 / 3 mm glass a nightmare to deal with as it breaks so readily at the slightest touch. It is also difficult but not impossible to replace. Victorian "glass houses" are normally a good source for antique glass, but years in daylight and exposure to all weathers make it very brittle and thin

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