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What’s going on behind the scenes: an update

Science, Library Services and Managing Risk to our Collections

You may have seen the story about Te Papa on Campbell Live on Monday night which questioned our commitment to Science, and the future of our collections.

Some of the points made in the story were misleading and inaccurate and this communication is to provide some clarification.

Te Papa’s collections sit at the heart of everything the Museum does. It’s the interpretation of the collections and the importance of research and scholarship behind that which supports us in telling and sharing our Nation’s story.  This has been a key driver behind the recent restructure and remains an important objective for the future.

Investing in Science

Te Papa’s commitment to Science is growing.  We have reorganised the structure of the existing Science programme to accommodate a broader approach to include Physical, Earth and Technological Sciences, including the remarkable history of Science in New Zealand, without diminishing our commitment to Natural History. This is an exciting prospect for Science at Te Papa which will take us in new directions and strengthen Te Papa’s long established position as the premiere Science museum in New Zealand.

We must adapt if Te Papa’s Science programme is to reflect the changing picture of Science in New Zealand and to inspire new generations of scientists for the future.

We are underpinning this commitment by strengthening our curatorial capability in these areas, and establishing six new scientific roles to fulfil this ambition. These include a new position of Head of Science to set the new strategic direction for Science and Technology, as well as two new Science Advisers for the Physical and Earth Sciences.  We have also created three Assistant Curator positions for the Sciences to ensure the foundations of our knowledge, its development and the nation’s curatorial expertise are secured for the future. Senior post-doctoral research positions will also be added as the research programme expands.

To care for our collections we need a mix of Collection Managers with broad skills to contribute across a number of collection areas and with the proven expertise to work in a specific area of the collections and work across other collection areas.  As a result, collection management roles will now meet a wider set of needs in regard to the collections.

We have not reduced our capability of practising/researching Scientists or Curators.

All research programmes that were in place in 2012 continue. To support the future direction of research, Dr Claudia Orange, Practice Leader Research is developing Te Papa’s research programme. A new independent Research Advisory Panel, which includes four external distinguished Science-based panellists, will provide oversight and monitor the direction of our research programme.

Our refreshment plan for the galleries at Te Papa over the next few years will include our major Natural History exhibits, Awesome Forces and Mountains to Sea, and these will showcase our own scientific research and that of our Science partners.

Library Services

Te Papa has changed the way the library service operates, which is also about ensuring our library collections sit with the departments or with the Curators that will use them. This model is in line with how most other Museums operate, internationally. We are also sharing our Library collections with other institutions such as Victoria University of Wellington with whom we have a Memorandum of Understanding specifically for mutual library access. There is no change to public access of the Library collection nor a reduction in the number of Library staff.

The Sciences Library (Hector Room) at the Tory St facility remains available to staff, in addition to an archive reading room available to the public by appointment. We also have a dedicated Sciences Librarian to support research in this area. There are no budget changes to Science Library resources, or Science publications, towards which a significant portion of the budget goes.

The Humanities Library located behind Te Huka ā Tai opened this week for staff to use for research purposes.

We will continue to provide a reading room service and research space for the public by appointment at a new location above Signs of a Nation, Level 4, which is due to open late-June. There will be no diminution of the existing service.

Prior to distributing the library collections to departments the Cable Street collection was reviewed; a practice which is normal in all libraries everywhere. It is standard practice for libraries to review their content to ensure that library collections are current and relevant.

Duplicate and out of scope publications were offered to other libraries and institutions. Those that remained were offered to staff. In some instances these publications were unable to re-homed, and were recycled. This was a very small proportion of publications.

Managing the Risk to Our Collections

Te Papa has the responsibility to ensure that all risks to its collections are minimised. We are examining long term storage solutions that take into account seismic and other natural risks as part of the development of our 10 year strategy. It would be irresponsible of the Museum not to explore such risks, which are real and present. We have been very proactive following the Christchurch earthquakes in improving health and safety and seismic strength of the building as well as the safe containment of the collections.

Te Papa is not diminishing any of its collections. We are scoping a number of storage options to minimise any risk to them. This includes ensuring that they continue to remain fully accessible research collections. The protection of our staff and its collections is at the forefront of our thinking. At this stage no decisions have been made any future locations. Any decision will take account of our stated commitment in the Vision to providing national access to the national collection through a variety of solutions.

Solander: Kingdom of the Birds

Steeped in history, Solander Island stands as a reminder of how beautiful it once was in this land which once was the kingdom of the birds.

Monday 6 May

Our party of 3 comprising Dr Dominique Filippi, Director Sextant Technology Ltd, Jean Claude Stahl (photographer scientist) and myself (Michael Hall) spend time readying for the trip. Comprehensive checks of our bags at the Invercargill Doc office, to ensure no stray flora or fauna make it to the island, are carried out along with safety briefings  and last minute words of advice.

Tuesday 7 May

We head off to the rendezvous point with the chopper, Clifton, a blip on the map south of Invercargill and are greeted by Rob, former pilot for the famous Jacques Cousteau and almost as famous boat Calypso.

Flying over the sea in the chopper, the steep cliffs of Solander loom out of the mist like a latter day Kong island.  Once home to a band of hapless sealers for five years, forgotten by their employers and left to fend for themselves, this looks like no place for an extended stay! 

Approaching Solander, accessible only with permit and as weather permits. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Approaching Solander, accessible only with permit and as weather permits. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Hovering above our landing spot seals scatter in all directions, a flurry of noise and activity sees our provisions for the next few days unloaded and then, in a moment the chopper is gone, silence bar the crashing waves and honking of seals.

Jean Claude points us towards our new campsite not far from the landing spot. I stumble along the beach doing my best to keep up with the two Frenchmen,  alas my city legs are no match for them as they steam ahead.

When I finally arrive at the site two tents are nearly up. Several large rocks fall from the cliffs above and we decide it might be wise to move our site elsewhere.

econd campsite in the colony. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Second campsite in the colony. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Our new campsite, higher up a small gully, is right in the middle of the action.

The first thing I notice is the chicks. Looking like little furry dodos they sit high in the nest waiting for their next feed. As you near the nests, the  chicks make a clop, clop sound; if get too close they spew,  nice!

Buller's albatross chick. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Buller’s albatross chick. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Pairs of the bigger birds resplendent with their striking yellow beaks and dark grey markings set against white plumage, waddle around each other awkwardly, nodding and rubbing beaks in a ritualised mating dance, while singles sit patiently, waiting to be noticed.

Above us the sky is filled with birds,  this is where the albatross is truly king.

Wheeling high above they hug the cliffs, riding the eddies and updrafts with ease. At sea they skim the surface, often glancing a wing into the water, but still never seeming to flap, mesmerizing.

Albatross in flight. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Albatross in flight. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Weds 8 May

Time is spent attaching the loggers to the birds, these will record flight details, and also proximity to boats, useful information when looking at ways to understand and preserve these amazing creatures.

Close up Buller's albatross, or mollymawk. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Close up of a Buller’s albatross, or mollymawk. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Jean Claude informs me one recorder showed a flight of 3000km  over a 32 hour period, that’s an average speed of  nearly 100kmh, and again over water.

After two relatively fine days taking photos attaching loggers and enjoying extensive 3 course banquets on the camp stoves, our honeymoon with Solander is about to end.

Attaching logger to bird. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Thursday 9 May

The day breaks looking a little more ominous, the sea is getting big as a front closes in from the southwest. By midday we are holed up in our tents the wind is screaming, rain , hail, thunder and lightning, this is the Solander Island  I was warned about. Still the birds are happy.

Albatross at home on rough seas. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Albatross at home on rough seas. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Friday 10 May

 The weather has cleared and time for this city boy to take his leave, the hardened scientists are staying on to retrieve the loggers.

At the copter landing site I stare out to sea. A convoy of Albatross rises effortlessly on some unseen current, and glide  over me, a fitting send off from this remarkable place.

Driving back to Invercargill in the DOC van we stop at McCracken Rest. A rusted signpost points out to sea ‘Solander Island 72km’ I look hoping to glimpse the island but see nothing.

Signpost, McCrackens Rest, 'Solander Island 72km'. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

Signpost, McCrackens Rest, ‘Solander Island 72km’. Photo credit: Michael Hall © Museum of New Zealand Te Papa Tongarewa

I would like to thank the following people for their help and support on the trip;

  • Sharon and Janice from Doc, Janice for the ride back into town.
  • Terry Nicholas from Hokunui Runanga, for his Hospitality and Hot shower.
  • Rob and Sam the Helicopter pilots for getting us there safely.
  • Dominique and Jean Claude for their companionship and for watching out for me.
  • Susan Waugh for sending us down.

Further reading;

What’s going on behind the scenes

There’s been some publicity about Te Papa lately and in particular our commitment to science and the future of the National Collections.  Just so we’re all clear, here are the facts.

Te Papa’s commitment to science hasn’t changed, in fact we are strengthening it.  We have not reduced our numbers of practising and researching scientists or curators.

We have broadened our sciences programme to include physical, earth and technological sciences.

We have also strengthened our curatorial capability and have established six new scientific roles including a new position of Head of Science. We have created three assistant curator positions and senior research positions will also be added as our research programme expands.

All research programmes underway last year remain in place.  We are also refreshing our major natural history exhibits, Awesome Forces and Mountains to Sea, and these will showcase our own scientific research as well as that of our science partners.

In other developments, we have changed the way Library Services operate. We have reviewed our library collection and the material now sits with the departments and curators who use them.  We then offered the remaining material to other institutions like Victoria University.  Any other material which was duplicated or out of scope was offered to staff.  In some instances these publications were unable to be re-homed and were recycled. This was a very small proportion of publications.

The Sciences Library, the Hector Room at Tory Street, is still there and there’s an archive reading room available by appointment.  We also now have a dedicated Sciences Librarian. We will continue to provide a reading room service and research space for the public by appointment at a new location on Te Papa’s Level 4.  That’s due to open at the end of next month.

One final point: the National Collection.  We have a responsibility to take excellent care of it and we take that responsibility extremely seriously.  We’ve been looking at long term storage solutions so that the Collection will be safe in the event of a natural disaster like an earthquake.  We’ve made no decision yet on where that might be, but rest assured our focus is on the preservation and safety of the Collection for future generations.

Three Kings Expedition collects yellow weever, a new record for the area

By Clive Roberts

Three Kings Expedition collects yellow weever, Parapercis gilliesi (family Pinguipedidae), a new record for the area, 13 April 2013. Te Papa

Three Kings Expedition collects yellow weever, Parapercis gilliesi (family Pinguipedidae), a new record for the area, 13 April 2013. Te Papa

The Te Papa fish team currently has two members participating in the Three Kings Islands Marine Expedition. Skilled in fieldwork techniques, collecting, photographing and preserving fishes, Vincent Zintzen and Jeremy Barker are busy underwater surveying and sampling fishes, invertebrates and algae with colleagues during the day, and are up late at night on board MV Braveheart processing the day’s catch.

Carefully preserved and frozen specimens will be brought back to Te Papa, Auckland Museum and NIWA collections, to be documented and made available for 3–4 generations of researchers to study over the next 50 years or more.

An early highlight and new record for the Three Kings fish fauna was the capture of a yellow weever, also known as the yellow cod, Parapercis gilliesi family Pinguipedidae (see photo).  Three species of weever are known in New Zealand waters. By far the most common is the ubiquitous blue cod Parapercis colias – the largest species in the weever family, which can weigh 5kg. Closely related are two poorly known, smaller, deeper water cousins – the yellow weever (or yellow cod) and the redbanded weever (or redbanded grubfish).

The yellow weever can be distinguished from its relatives by maximum size, colour and soft fin ray counts. It attains a maximum size of 32cm and has a yellow-tan body with two horizontal rows of dark brown blotches, and bright yellow fins in fresh examples (vs. max size 40cm, whitish with two longitudinal bands along the back in females, or max size 60cm, body blue to blue‑grey in males of blue cod; and a max size of 20cm and a pale pinkish-yellow body with 13-14 dark red-brown vertical bars arranged in pairs in the redbanded weever). The yellow weever has 21 dorsal fin soft rays and 18 anal fin soft rays (vs. 20 and 17 soft rays in blue cod; and 22–23 and 20 in redbanded weever).

Originally described in 1879 by Captain F. W. Hutton of the OtagoMuseum, Dunedin, the yellow weever is endemic (unique) to the New Zealand region, where it is widely distributed on the shelf and upper slope at depths of 60–350m. The present specimen, collected by rod and line from 100 m depth, is the most northerly record for the species. 

Update: the team on MV Braveheart are sheltering from 50 knot winds, driving rain and large swells. Soon the storm will pass and they will get back to collecting and survey. Watch this space.

Find out more about the Three Kings Islands Marine Expedition

Thinking on Petrus van der Velden and the Rijksmuseum

Last weekend, on Saturday the 13th April 2013, the Rijksmuseum in Amsterdam reopened to the public after a decade of renovations. Imagine that, ten years to perfect your vision and build a new experience for the visitor from the ground up.

The Rijksmuseum is an iconic art museum that is home to an impressive array of art and history from the middle ages to the present day. It is particularly strong in works from the Netherlands: those solitary studies of female figures by Vermeer; the drama of Rembrandt; the emotions of van Gogh.

See Zelfportret, Vincent van Gogh, 1887, on the Rijksmuseum website

It made me think on the place that the Dutch artist Petrus van der Velden (1837-1913) might have held in this culture, if he hadn’t emigrated here in 1890 and been claimed for New Zealand art history as one of our own.

Van der Velden in Holland

Van der Velden was a member of the Hague School in Holland, and studied under Josef Israels, whose work he emulated.

Petrus van der Velden, Interior of a Marken Fisherman’s cottage, circa 1871, oil on canvas, Te Papa (1936-0012-119)

Petrus van der Velden, Interior of a Marken Fisherman’s cottage, circa 1871, oil on canvas, Te Papa (1936-0012-119)

Compare this with Israel’s painting in the Rijksmuseum: See ‘Moederweelde’, Jozef Israëls, 1890 on the Rijksmuseum website

Van der Velden had one work purchased for the state collections of the Rijksmuseum in 1880, the second version of a painting called Double Blank, 1878. It is still part of their collections, but I have been frustrated in my attempts to find a record of it on their new website.

In a letter to his brother, Theo, Vincent van Gogh wrote favourably of van der Velden, stating ‘there is something manly and powerful in him, even though he doesn’t say or do anything in particular. I hope to come into closer contact with him someday…’

Van der Velden in New Zealand

Unfortunately they didn’t meet again, but this was to our advantage. Van der Velden’s arrival brought with it a much needed dose of the avant garde to these far flung lands. He showed New Zealanders what it meant to be an artist, the commitment and passion required. This was what most impressed Peter Tomory, art historian and director of Auckland Art Gallery who wrote:

…as he painted, his style broadened into a powerful expression and the molten anger of his heart found an expressive catharsis in the molten geology of New Zealand.

‘The Visual Arts’, in Distance looks our way: the effects of remoteness on New Zealand, edited by Keith Sinclair, p. 70

Van der Velden, Mountain Stream, Otira Gorge, circa 1893, oil on canvas on cardboard. Gift of Sir Charles Norwood, 1936 (1936-0001-1)

Van der Velden, Mountain Stream, Otira Gorge, circa 1893, oil on canvas on cardboard. Gift of Sir Charles Norwood, 1936 (1936-0001-1)

Van der Velden’s legacy

Thinking on van der Velden in the wake of the re-opening of the Rijksmuseum raises several questions for me. Why did he leave the Netherlands if it seemed he was gaining esteem in the art world in the 1880s? How might he have progressed differently in his art had he stayed in the Netherlands – would he have found the impetus that the New Zealand landscape seemed to provide to push forward in his work? Alternately, has the fact that we have taken him on board as such a key figure in our art history denied him earning a place in the art history of the Netherlands?

Van der Velden died 100 years ago on the 11 November 2013. Currently, you can see three works by him as part of the exhibition ‘Framing the view’ in Ngā Toi | Arts Te Papa on level 5.

See the ‘Framing the view’ exhibition on the Ngā Toi | Arts Te Papa exhibition website

We hope to honour van der Velden more properly in a dedicated hang later in the year.

Hei Tiki journey to the heart of Chinese Jade culture

人形项饰-海蒂基远涉重洋来到中国这个古老的玉文化国度

Hei tiki (pendant in human form), Dec 2008, Rotorua. Gardiner, Lewis. Purchased 2009. Te Papa

Hei tiki (pendant in human form), Dec 2008, Rotorua. Gardiner, Lewis. Purchased 2009. Te Papa

Te Papa’s exhibition “Kura Pounamu: Treasured Jade Art of Aotearoa New Zealand” opens on 1 April at Liangzhu Museum, Hangzhou, China.

Liangzhu Museum is located in the heart of one of the largest and most significant jade archaeological sites in China dating back over 5000 years.

新西兰国家博物馆-蒂帕帕关于“毛利碧玉:新西兰文化艺术珍品展”即将于今年4月1日在中国杭州市的良渚博物院展出。 良渚博物院座落于中国最大的也是最显著的玉文化遗址区,良渚玉文化有超过5千年的历史。

Whales: Giants of the Deep exhibition centre stage in New York

Te Papa’s Whales exhibition is about to open at one of the world’s most prestigious venues, the American Museum of Natural History, in New York.

Whales: Giants of the deep installed in New York

The exhibition has been touring the world since 2008 and has already been seen by more than a million people in North America.  The American Museum of Natural History gets about five million visitors each year.

Te Papa’s Chief Executive Michael Houlihan says there’s tremendous excitement about the public opening of Whales: Giants of the Deep.

“It’s the first touring show at the American Museum of Natural History Museum in more than ten years and is recognition of the significance of the exhibition on the world stage.”

“This fascinating exhibition is a perfect fit for the AmericanMuseum of Natural History,” said John Flynn, Frick Curator of Fossil Mammals, who is overseeing the exhibition at the Museum. “Whales provide an ideal opportunity to explore an array of important topics that align with our commitment to engaging with and educating the public, including evolution, biology, species diversity, and conservation, and the rich variety of cultures around the world.”

Te Papa houses one of the largest whale collections in the world and the touring exhibition features more than 20 skulls and skeletons from various whale species.  It includes many rare specimens, including the real skeleton of a male sperm whale nearly 58 feet long – about 18 feet longer than a bus school. 

The exhibition in New York also includes rarely-viewed items from the American Museum of Natural History’s world-class collection of more than 32 million specimens and artifacts, such as the massive fossil skull of Andrewsarchus, a 45 million year old land-dwelling relative of whales.

The exhibition opens to the public Saturday 23 March and runs until 5 January 2014.

Te Papa acknowledges the support of the New Zealand Government and the Smithsonian Institute in bringing this exhibition to the world.

Whales: Giants of the Deep is developed and presented by the Museum of New Zealand Te Papa Tongarewa.

For further information including high resolution photos, contact:

Heather.church@tepapa.govt.nz or 029 601 0180 or
Roberto Lebron Senior Director of Communications, AMNH,
Office: (212) 496 – 3411
Mobile: (917) 841 – 5244
rlebron@amnh.org

Download a printable version (PDF, 97kB)

Sweden and modernism in New Zealand: identifying connections

Easy Chair, 1951-1952, Sweden. Made by Ostrom, inspired by Gustaf Berg. Purchased 2011. Te Papa

Easy Chair, 1951-1952, Sweden. Made by Ostrom, inspired by Gustaf Berg. Purchased 2011. Te Papa

When Te Papa purchased Easy Chair two years ago, we acquired it for its associations with modernism and with the Auckland store jon jansen. But we wanted to verify the designer. Detailed research – surveying design publications, comparing similar chairs, identifying woods – finally led me to the original Swedish designer.

Jon jansen made and imported designs between the 1950s and early 60s:  the retailer’s stamp on the rail of Easy Chair verified this connection. This was one of several contemporary stores that sought to reflect modern design through sleek designs – like this chair – and advanced use of materials. Modernism had quite a presence in New Zealand at the time, fuelled by the arrival of European émigrés and a desire for cultural change.

The ‘jon jansen’ stamp appears on the inside of the back rail. Te Papa

The ‘jon jansen’ stamp appears on the inside of the back rail. Te Papa

Before we acquired the chair, we were informed that the designer was Bob Roukema, designer with jon jansen. In considering this aspect I checked through the local publication Home & Building which carried jon jansen advertisements crediting Bob Roukema. However there were no images that suggested any similarity to this specific chair design with its laminated bentwood frame and use of webbing.   But a check through modernist publications suggested that the chair may have had some association with Swedish design: the moulded wood and webbing indicated this connection.   I then wondered if the chair may have been designed by the great Swedish modernist designer Bruno Mathsson, as he introduced webbing with laminated bentwood in the mid 1930s. Mathsson’s   Pernilla 1 Easy Chair has some resemblance to this chair.

Webbing provided comfort for the sitter within the bentwood laminated structure. Te Papa

Webbing provided comfort for the sitter within the bentwood laminated structure. Te Papa

Bruno Mathsson’s designs

Then a friend mentioned that she owned a Mathsson chair, and this gave me the opportunity to compare designs. Webbing and bent laminated wood construction were common features. But in Mathsson’s designs, the arms always came as separate components rather than being integrated into the legs, as was the case with our example.

Here is Vicki’s chair with the back stamp behind the top rail: signature of Bruno Mathsson and DUX, one of the manufacturers of Mathsson’s designs from the 1960s.

Work Chair by Bruno Mathsson. Photograph by Justine Olsen. Te Papa

Work Chair by Bruno Mathsson. Photograph by Justine Olsen. Te Papa

Impressed marks show the signature of Mathsson and the manufacturer DUX. Photograph by Justine Olsen. Te Papa

Impressed marks show the signature of Mathsson and the manufacturer DUX. Photograph by Justine Olsen. Te Papa

Woods – identifying materials

Identifying the wood was another consideration. With the help of conservator Robert Clendon and museum preparator Penny Angrick, (a former cabinetmaker) we identified the wood as birch with other European hardwoods. This eliminated the possibility that the chair had been manufactured in New Zealand.

Publications and finally some further clues …

A search through the New Zealand magazine Home & Building, the 1952-53 editions, offered several important clues. It seemed that a New Zealand company (probably jon jansen) was importing Swedish-designed furniture, including examples like our Easy Chair, under the name of Ostrom.  These chairs were described as economical to export from the other side of the world on account of their flat packing. This idea sounds strangely familiar, as contemporary furniture designer David Trubridge exports from New Zealand in a similar manner.

Another publication, this time a recent title, Bruno Mathsson: architect and designer (2007)  illustrated furniture by another Swedish designer working  at the same time as Mathsson: Gustaf Berg. The shape of Torparen chair is so similar to our Easy Chair in the way the legs and arms are made from one continuous piece of moulded wood that finally we have a clearer design source.  Our Easy Chair is not an exact replica but I would suggest that a designer was inspired by the shape.  And at this stage we have yet to know a great deal about the manufacturer Ostrom but research continues.

Easy Chair will be part of the new exhibition Being Modern, Ngā Toi | Arts Te Papa, Level 5. It opens on 29 March.

By Justine Olsen, Curator of Decorative Arts and Design (contemporary)

Whales in New York

Te Papa’s exhibition Whales:Giants of the Deep opens at the American Museum of Natural History in New York on Saturday 23 March.

This blockbuster exhibition has been seen by over 1 million visitors during its  4 year tour in North America. Over 350,000 people visited the exhibition in Chicago alone.

Here is the link to the American Museum of Natural History website announcing the upcoming exhibition – Whales: Giants of the Deep.

Media interest is strong with a large US media contingent confirmed to attend the opening blessing at the American Museum of Natural History. A great installation image has already run in the Wall Street Journal.

The exhibition is physically huge. It travels in 10 x 48 ft trucks. A team of 4 Te Papa staff have worked with the American Museum of Natural History to install the exhibition, which includes two fully sized sperm whale skeletons.

Here is a back of house glimpse at the installation process.

Nearly there!!

Installation shots of Whales:Giants of the Deep, on at the American Museum of Natural History in New York

Installation shots of Whales:Giants of the Deep, on at the American Museum of Natural History in New York

Installation shots of Whales:Giants of the Deep, on at the American Museum of Natural History in New York

Installation shots of Whales:Giants of the Deep, on at the American Museum of Natural History in New York

Images  © AMNH/R. Mickens,   © AMNH/D. Finnin

Burgess Island – a recovering seabird island

By Alan Tennyson, Curator of Vertebrates

I was invited by Chris Gaskin (Forest & Bird) and Matt Rayner (Auckland University) to join a party in February 2013 on the Mokohinau Islands to hunt for the nesting grounds of the recently rediscovered New Zealand storm petrel (Fregetta maoriana). This island group lies more than 50 km to the east of Whangarei and 21 km northwest of Great Barrier Island. The storm petrels that we were hunting are tiny (35 g) tube-nosed seabirds that spend most of their lives at sea, coming ashore only to nest.

Twenty-four storm petrels had been caught at sea and fitted with transmitters shortly before my visit, so one of our main plans was to use handheld telemetry receivers to try and detect where the birds were going. However by the time of my arrival another team on Little Barrier Island Hauturu had already determined that several of the birds were visiting that island (http://www.birdlife.org/community/2013/02/new-zealand-storm-petrel-discovered) so our focus became other projects on the Mokohinaus. 

Fig. 1. Team members Jo Peace, Megan Friesen and Derek Bettesworth head towards the Burgess Island lighthouse. Little Barrier Island Hauturu can be seen in the background. Photo Alan Tennyson, Te Papa

Fig. 1. Team members Jo Peace, Megan Friesen and Derek Bettesworth head towards the Burgess Island lighthouse. Little Barrier Island Hauturu can be seen in the background. Photo Alan Tennyson, Te Papa

Fig. 2. Old lighthouse accommodation provided a comfortable base with spectacular views. Photo Alan Tennyson, Te Papa

Fig. 2. Old lighthouse accommodation provided a comfortable base with spectacular views. Photo Alan Tennyson, Te Papa

From 12-19 February our team was based on Burgess Island. It is the most accessible of the Mokohinau Islands, requiring no landing permits but needing permits for over-night stays (it is a scenic reserve). It is also the only one to have permanent accommodation, in the form of an old lighthouse keepers’ building. The light was built in 1883 and fully automated in 1980. Burgess Island used to have Pacific rats (Rattus exulans) present but these were eradicated in 1990 and the island has been left to recover naturally since then (that is, largely without human help). We focused on assessing the current status of petrels on the island but also completed surveying some vegetation plots established by researchers in previous years. This was hot work in 30˚C temperatures without shade but it provided a good incentive to go snorkelling. Unlike the much better known Poor Knights group, just to the north, the waters around the Mokohinaus are not a marine reserve, however the underwater life was still spectacular in the crystal clear water.

Fig 3. Bottlenose dolphins (Tursiops truncatus) accompanied us as we approached the Mokohinau Islands. Photo Alan Tennyson, Te Papa

Fig 3. Bottlenose dolphins (Tursiops truncatus) accompanied us as we approached the Mokohinau Islands. Photo Alan Tennyson, Te Papa

Many of the petrel species known to nest on the island, including grey-faced petrels (Pterodroma macroptera), North Island little shearwaters (Puffinus assimilis haurakiensis) and northern diving petrels (Pelecanoides u. urinatrix), were in their non-breeding seasons, so absent from the island during our visit. Fluttering shearwaters (Puffinus gavia) had finished breeding but we heard several flying around the coast at night. A few sooty shearwaters (Puffinus griseus) had been reported but we found none ashore. The two species that were breeding were the New Zealand white-faced storm petrel (Pelagodroma marina maoriana) and the black-winged petrel (Pterodroma nigripennis). At 45 g, white-faced storm petrels are a little larger than New Zealand storm petrels and much browner above. A night of catching storm petrels quickly established that the species has a drawn-out breeding season on Burgess Island with chicks ranging from being small and downy to ready to fledge.

Fig. 4. This white-faced storm petrel chick was heading to the sea for its first flight. Photo Alan Tennyson, Te Papa

Fig. 4. This white-faced storm petrel chick was heading to the sea for its first flight. Photo Alan Tennyson, Te Papa

Black-winged petrels are a numerous but very poorly known bird because most of their nesting sites are hard to get to, being mainly at the subtropical Kermadec Islands. Although the species had been recorded from Burgess Island for many years, only recently were a few pairs found nesting. This relatively accessible colony has allowed some on-going research on the species. Graeme Taylor (Department of Conservation) is leading a team tracking the movements these birds using geologgers attached to their legs (see images in Night Life on the Poor Knights Islands) and one of our jobs was to try and recover these devices so that the data could be downloaded (however we didn’t find any geologgers!). We were however able to gather more information on the species’ breeding cycle and colony size. It was the end of the incubation period and the tiny colony was showing no signs of on-going expansion.

Fig. 5. Black-winged petrels displaying over Burgess Island at night. . Photo Alan Tennyson, Te Papa

Fig. 5. Black-winged petrels displaying over Burgess Island at night. . Photo Alan Tennyson, Te Papa

At the time of the rat eradication in 1990, the only petrel species reported to nest on Burgess Island were grey-faced petrels and common diving petrels, so it seems that the eradication has had dramatic effects and allowed several new petrel populations to establish. Certainly the number of lizards was very high, with the day active moco skink (Oligosoma moco) often seen basking, while at night the local undescribed gecko (Dactylocnemis sp.) was abundant, as was Suter’s skink (Oligosoma suteri) – New Zealand’s only egg-laying lizard – on the shoreline. By day bellbirds (Anthornis melanura) and red-crowned parakeets (Cyanoramphus n. novaezelandiae) were seen at densities rarely found on the mainland.

Fig. 6. Bellbirds are the most common land birds on Burgess Island. Photo Alan Tennyson, Te Papa

Fig. 6. Bellbirds are the most common land birds on Burgess Island. Photo Alan Tennyson, Te Papa

It will be fascinating to see how Burgess Island continues to recover.

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