Category Archives: Collections

Cats in the Collections

Contributed by Lindsay Randall

The collections staff at the Peabody keep telling me that I can’t have a cat. Which I guess was fair, until I found out that all this time they have been hiding a jaguar in our basement!

A JAGUAR!

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An adorable jaguar cub who would love to live at the Peabody and get belly scratches. Look at those mitts!!! By User:MatthiasKabel – Own work, CC BY-SA 3.0 https://commons.wikimedia.org/w/index.php?curid=8837354

A few weeks ago I was approached by Elizabeth Aureden, instructor in music, to design an interactive class for her Music 410 course, The Musical Brain. While looking through our collections for musical instruments, I learned from collections assistant Samantha Hixson that she had just found and catalogued some effigy rattles.

The objects were made of clay and painted a variety of colors, and some still rattled.

This new find seemed very promising and so I wanted to learn more about them. Research indicated that these objects were from the Nicoya Peninsula of Costa Rica and most likely date from AD 1000 – 1350.

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Map showing the Nicoya cultural region. By Rodtico21 (Own work)[CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0
The parts we have are clearly broken and part of a much larger artifact. These are the remnants of the tripod legs of a rattle effigy vessel. Each of the three legs would have contained three clay balls and had openings on the side for the sound. When shaken a rhythmic sound can be heard.

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Image of a complete vessel. Notice the holes in the side of the legs.  By Daderot (Own work) [CC0], via Wikimedia Commons
That’s pretty neat! But the story became even cooler as I found more information about this style of pottery.

The bowls were used to add a percussive sound to a ceremony. And the sound it made was not an accidental rattling sound, but rather a deliberate and meaningful one. When the bowl is shaken or moved about, and the clay balls rattle together, they create a deep, rumble. This sound is mimicking the low growl of an actual jaguar!!!!! Researchers have even noted that when the bowl is tilted and moving forward – like a jaguar lunging at prey – the sound is more prominent.

If your interest is now piqued about other objects from the Nicoya Peninsula, check out Dr. Rebecca Stone’s book, The Jaguar Within.

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So next time you are at the Peabody be on the lookout, because you never know what other predatory animals might be lurking!!!

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Scary lion from the 1995 movie Jumanji.
Sometimes the Peabody seems like it’s playing its own version of the game Jumanji, with all the random artifacts that mysteriously present themselves to staff members.

 

 

 

Containing the Past

Contributed by Ryan Wheeler

Archaeologists are known as a creative and frugal bunch, and this is evident in the many ingenious ways that we have found to store artifacts and samples from recovery in the field to processing in the lab to long term storage on the museum shelf. Prior to the plastic bag, soil samples were housed in everything from feed sacks to paper bags. Glass food and condiment jars were a great way to keep charcoal samples, especially if you didn’t have a ready supply of tin foil. Metal, and then plastic, 35mm film canisters were highly prized for retaining tiny objects, like beads (the slightly opaque Fuji film canisters allowed a peek at the contents, unlike the black and gray Kodak canisters).

Image of cigar boxes.
A selection of cigar boxes once used to house Peabody Institute collections. Note the site information and catalog numbers visible on some boxes.

Nothing, however, is more ubiquitous for storing artifacts than the classic cigar box. These sturdy wood or cardboard boxes with a built-in hinged lid were highly prized by generations of kids for storing marbles, coins, arrowheads, and other treasures. Perhaps it’s not surprising that as adults these boxes remained as the go-to storage solution. The Canadian Museum of History has a great interactive website about cigar boxes that explores the significance, history, art, and general usefulness of these containers. Much has been written too about cigar box guitars, which apparently go back to at least the 1840s through 1860s when cigars were first being stored and marketed in wooden boxes—see, for example, http://cigarboxguitars.com/about/history.

Image of soil samples from Mexico stored in two large food our sauce jars.
Food or sauce jars used to store soil samples from Richard “Scotty” MacNeish’s Tehuacan Archaeological-Botanical Project, 1960s.

The collections of the Peabody Institute are no exception, and vast numbers of stone points, tools, and pottery fragments were once kept in legions of cigar boxes. Most, if not all, our artifacts have been rehoused in cardboard boxes and now we are working on a massive rehousing and cataloging endeavor that will improve our intellectual and physical control over our collections (museum-speak translated as “we will have a better idea what we have and where it is”). Our current strategic plan, developed in 2014 and 2015 identifies this as one of our most important objectives, and one we plan to accomplish in the next few years.

Image of new storage cartons and old wooden storage drawers.
Side by side comparison of new archival storage cartons and older wooden drawers. Peabody collections personnel are transferring the collections to the new boxes with the help of students and volunteers.

There are, however, still a small collection of cigar boxes and other biscuit, cereal, and medicine boxes and tins that were once used to house objects and photographs. Handwritten labels, pasted over the decorative and distinctive cigar box art, identify sites and catalog numbers. A small collection of these boxes has been retained.

Image of 1970s-1980s shoe box with purple and orange mid-century design.
A groovy Zodiac shoe box from the late 1970s or early 1980s once housed a small, woven bag donated by Dorothy Byers. Note the two part accession/catalog number and other notes written on the lid.

A recent effort to address a backlog of objects awaiting cataloging turned up a groovy mid-twentieth century shoebox that contained a woven bag, apparently given to the Peabody by Dorothy Byers, widow of former director Douglas Byers (1903-1978). Byers worked at the Peabody from 1933 until his retirement in 1968, and served as director from 1938 through 1968. Zodiac was a brand of Encore Show Corp. and first debuted in the late 1970s and has had a recent revival. The woven bag—unfortunately bearing little information—has been rehoused and is now in storage. The shoe box is in my office.

The Peabody’s cataloging and rehousing project is made possible through a grant from the Abbot Academy Fund, continuing Abbot’s tradition of boldness, innovation, and caring, and the generous support of the Oak River Foundation, and Barbara and Les’ 68 Callahan. For information on how you can contribute to this project, please contact Peabody Institute director Ryan Wheeler at rwheeler@andover.edu or 978.749.4490.

Identifying Patterns!

Contributed by Rachel Manning

Out of all the artifacts that I have worked with over the course of my career, one of my favorite types has always been historic ceramics. There are so many different ceramic types and beautiful decorative patterns that it’s easy to see why ceramics can often become collector’s items. Transferware has always been particularly interesting to me. Maybe it’s because there is such a wide array of images and scenery that can be depicted on this type of ceramic.

One of my previous jobs dealt heavily with colonial and antebellum artifacts, so transfer printed ceramic fragments would come through the lab on a regular basis. One of my favorite things to do there was to identify the specific patterns on the fragments as best I could. In order to do that I had many resources, including a Powerpoint with typologies found at the site and access to the Transferware Collectors Club website.

Last week, I decided to inventory a drawer which has historic ceramics in it. I rarely see historic ceramics here, so I figured it would be a good way to keep them fresh in my mind. When it came time to catalog the ceramics, I organized them in my workspace by colors, and then further broke these groups into design patterns.

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Organizing ceramics!

I had kept the aforementioned Powerpoint on a flash drive in case I ever ran into historic ceramics again. It was open on my computer while I was going through this particular drawer and it proved to be a valuable resource once again. I had a few fragments of transfer printed ceramics in front of me and noticed that even though they were tiny sherds, I was able to see that they contained images of grain, a foot, and a window with some shrubs.

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The foot of a gleaner
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Ceramic fragment with a window and shrubs
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Ceramic fragment with gathered wheat

Going through the Powerpoint, I immediately recognized that these match up with a transfer pattern that is known as “Gleaners.” The rim pattern also was a dead giveaway, but that didn’t make it any less exciting to see that from a few tiny pieces of ceramic, I could get a vision of what the entire vessel once looked like!

Gleaners
An entire vessel with the “Gleaners” pattern.

Finding fragments of transfer printed ceramic is always exciting and can be like having pieces of a puzzle that you need to put together. Many antique transfer printing patterns are still used and reproduced to this day. If you have any in your possession, or know anyone else who does, I’d encourage you to look it up online and see what you can learn about something you might have once thought was just a cool decorative piece.

The Inventory Specialist position is supported by a generous grant from the Oak River Foundation of Peoria, Ill. to improve the intellectual and physical control of the institute’s collections. We hope this gift will inspire others to support our work to better catalog, document, and make accessible the Peabody’s world-class collections of objects, photographs, and archival materials. If you would like information on how you can help please contact Peabody director Ryan Wheeler at rwheeler@andover.edu or 978 749 4493.

A Life in Beads

Contributed by Lindsay Randall

I recently received two requests from history faculty for our class on Westward Expansion. Unfortunately, we recently determined that the majority of the objects used for that class should be further investigated to see if they are potential NAGPRA objects – specifically items of cultural patrimony.  Which meant that if I was to fulfill the requests of these teachers I needed to come up with a new activity FAST! I had less than two working weeks to formulate and flesh out what the seventy-minute class would do.

While I was scrolling online for ideas my colleague Samantha Hixson mentioned a Plains dress that we had – thus giving me an “A HA!!!!” moment.  I had seen a lesson related to a Plains dress from the National Museum of the American Indian. That got me thinking and served as a foundation for my own lesson.

I decided to use multiple objects from the Peabody Institute’s collection to understand the long standing close connection that Plains tribes had to their surroundings and communities through traditions. Through the lens of one aspect of life – clothing – the impact that Westward Expansion had on tribes will be more clearly defined.

In addition to the dress I also selected a pair of beaded moccasins, one of the muslin pencil drawings (reproduction), a defleshing tool, as well as a bison skin rattle (reproduction). The class begins with students wandering around the room, simply exploring the objects scattered about before working together to dive more deeply into the material culture.

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Students look at a reproduction of one of the Sioux pencil drawings in our collection.

Some of the questions students are asked are basic observational ones: “what material is the dress made from.” Others begin to stretch their understanding of the process of making clothing: “what role did men and boys have in the creation of the dress and shoes.” We also delve into why decorations are important, not only in the culture we are studying, but our own as well.

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Students answering questions about the material culture.

We then pause as a class to talk about traditions and what they mean to us personally. We talk about the positive influence they have on us and how they bring us closer together as a community (Head of School Day was a favorite tradition that was mentioned. One can tell that the speculation amongst students of when it will be called is going strong!!).

We then discuss how the actions of white settlers and the government destroyed the traditions of Plains tribes and how this affected communities. This was a very emotional part of the class for many students. It is certainly one thing to read about atrocities in the past through the emotional barrier of a textbook – and quite another to “see” it when looking at the clothing that a real person wore. And based on an email I received from one of the faculty asking for more resources for students to further investigate the impact on tribes and how they are dealing with it today, it is a lesson that has already had a lasting impact on the students.

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Lindsay Randall pointing out details in the clothing.

But I do not want to end my post on such a heavy note, so I will tell you about a great way that everyone at the Peabody supports the work of each other. For the first class Samantha sat in on the activity and was VERY helpful. While she did answer some of the student questions – which was very nice and I do not mean to diminish how helpful that was – but more importantly SHE WAS WEARING QUILL EARRINGS!!!!! And in the lesson I mentioned QUILLING!! So I may have made asked her to take them out so that I could show them to students.

She also noticed that I mention elk tooth beads in my lesson and shared with me that students had recently discovered one in our collections! SCORE!!!! Collaboration for the WIN!

Puerto Rican Artifacts at the Peabody

Contributed by Ryan Wheeler

A poorly known collection occupying several drawers at the Peabody Institute sheds a little light on the Taíno, the indigenous people of Puerto Rico and neighboring islands who met Christopher Columbus in 1492.

When Columbus landed in Hispaniola the Taíno population was perhaps in the millions and early records estimate that 85 percent of the population had been lost within a few decades. People lived in family groups, with some villages numbering 3,000 people. Native foods like fish, shellfish, birds, lizards, and other small animals augmented agricultural crops of cassava, yams, and other domesticates. A complex and elaborate religion included the worship of spirits called zemis, and like their neighbors in Mesoamerica, the Taíno played a ball game on a rectangular court that they called Batey. Hereditary chiefs and nobles ruled over commoners and slaves. The Taíno, however, soon succumbed to the Spanish conquest, but most of us recognize a handful of loan words in English that can be traced back to the Caribbean, including barbecue (barbacoa) and canoe (canoa).

Image of Ryan Wheeler at the Caguana Ceremonial Ball Courts Site in barrio Caguana, Utuado, Puerto Rico, 2006. The reconstructed ball court is lined with engraved stone slabs.
Ryan Wheeler at the Caguana Ceremonial Ball Courts Site in barrio Caguana, Utuado, Puerto Rico, 2006. The reconstructed ball court is lined with engraved stone slabs.

I got interested in the Taíno in 1999 when as an employee of the Florida State Archaeologist’s Office I conducted an investigation of the Miami Circle site in downtown Miami. Miami is a melting pot of people from Latin America and the Caribbean. Among those I met during my time in Miami were a group of folks from Puerto Rico who considered themselves living members of the Taíno tribe. Like most other archaeologist and anthropologists at that time I had learned that the Taíno were extinct—one of the first victims of European conquest and colonization of the Americas. My new friends shared that they had, however, preserved their language and culture, including many old songs which they were working to pass on to future generations. Over the next few years I met more Taíno people and several tribal members participated in my excavations near Lake Okeechobee in 2000.

A 2011 Smithsonian.com article by Robert M. Poole recounts his search for modern day Taíno in New York and Puerto Rico with surprising results. Like my friends in Miami, many Puerto Ricans acknowledged indigenous ancestry. Many of my archaeologist friends were still skeptical, suggesting that cultural practices were based on ethnohistoric accounts left by the Spanish and that language was being recreated based on Julian Granberry’s 2005 book Languages of the pre-Columbian Antilles. By the early 2000s there were several Taíno groups that asserted cultural affiliation, including the Jatibonicu Taino Tribal Nation of Boriken, who were the folks I knew. DNA analysis by Juan C. Martínez-Cruzado—reported in 2003 and 2006—suggests that the archaeologists and anthropologists got it wrong. Based on an island-wide DNA survey, Martinez-Cruzado found that 61 percent of all Puerto Ricans have Amerindian mitochondrial DNA, 27 percent have African and 12 percent Caucasian. Martinez-Cruzado’s study also pointed to evidence for cultural survivals into modern times, including traditional fishing practices.

So, back to the Peabody collections. Preserved in several drawers are petaloid celts, adornos and sherds from ceramic vessels (many depict animals), three-point stones (also called zemis), and a very heavy stone belt (or yoke) that would have been worn during the ball game. Mela Pons Alegria, in an article in Archaeology magazine, explains that the three-pointed stone zemis “are the oldest and most abundant” form of Taíno art, and evolve from simple triangular carvings to elaborate effigy forms. Flat areas hint that these may have been attached to handles or staffs. We have little catalog information, but it appears that the collection was a gift from Eugene M. Verges. A little poking around on genealogical sites shows that Eugene Marcelin Verges II was born in 1889 in Arroyo, Puerto Rico and was a student at Phillips Academy in 1907—he’s listed in the catalog as being from Wellesley, Mass.—he died in 1970. Verges’ father was engaged in the sugar business and it seems likely that the Peabody collections from Puerto Rico were made by the Verges family and gifted to us in the first part of the twentieth century.

A Move Around the Country

This job is awesome, but sometimes the material I work with can get pretty repetitive. I have been working on cataloging a bay full of artifacts from sites throughout Massachusetts. This allowed me to see what had been discovered throughout the state in which I now live. While there were a few ground stone tools, the vast majority of artifacts I cataloged were modified stone and bifaces. Drawer after drawer, box after box was filled to the brim with fragments of stone that had been worked by someone, but never fully formed into a usable tool such as a projectile point or a blade, and while it is still incredible to see these artifacts and be able to hone my skills identifying worked stone, it started getting very redundant.

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A completed box of modified stone – more layers under the ethofoam

Luckily for me, when I need a change of pace, I can walk over to another bay and choose drawers from almost anywhere in North America. After cataloging hundreds, if not thousands, of modified stone fragments, I decided to take a break from the Northeast and I moved to a bay containing artifacts from Idaho, Kansas and Iowa. So far these drawers have been amazing! While there are still amorphous fragments of modified stone, the number of finished tools far outweighs them. This particular drawer has many finished projectile points.

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Tiny projectile points!

Not only are they finished points, some of them are seriously tiny! A couple haven’t been much bigger than my pinky nail, and I have pretty small hands. It is incredible to see how small they are and think about the craftsmanship that must have gone into making such a tiny specimen. The level of precision and the skill that must have been required to craft these projectile points without them breaking must have been tremendous. Getting to see final products such as these has the power to make counting all the other fragments of modified stone worth it.

The Inventory Specialist position is supported by a generous grant from the Oak River Foundation of Peoria, Ill. to improve the intellectual and physical control of the institute’s collections. We hope this gift will inspire others to support our work to better catalog, document, and make accessible the Peabody’s world-class collections of objects, photographs, and archival materials. If you would like information on how you can help please contact Peabody director Ryan Wheeler at rwheeler@andover.edu or 978 749 4493.

NAGPRA, Repatriation, and the Peabody

In 1990 President George H. W. Bush (Phillips Academy Class of 1942) signed into law the Native American Graves Protection and Repatriation Act (NAGPRA). The passage of NAGPRA signaled a major shift in the relationship between Native Americans and museums, requiring that the latter inventory collections and identify human remains, funerary objects, sacred objects, and objects of cultural patrimony and contact the appropriate tribal groups to arrange repatriation. For tribal peoples this represented major human rights legislation.

Former Peabody director James Bradley and repatriation coordinator Leah Rosenmeier embraced the new law and worked diligently through the 1990s and into the early 2000s to identify NAGPRA collections, to determine tribal affiliations, and to ensure timely repatriation. Much of the focus during this time was on human remains and associated funerary objects. Major consultations include those that involved Alfred V. Kidder’s excavations at Pecos Pueblo in the early twentieth century, Warren Moorehead’s excavations at the Etowah and Little Egypt sites in Georgia, and excavations at sites in Maine.

Today the Peabody continues its commitment to working with tribes and indigenous peoples to ensure that ancestral remains, funerary objects, sacred objects, and objects of cultural patrimony are repatriated in a respectful and timely fashion. Much work has been done and much remains to be done.

The Peabody supports the United Nations Declaration on the Rights of Indigenous Peoples and is committed to the repatriation provisions outlined in that document. The United Nations Declaration on the Rights of Indigenous Peoples explicitly affirms that indigenous people have a right to repatriation of ceremonial objects and human remains.

We look forward to hearing from the representatives of tribes in the United States or indigenous groups abroad to answer questions, to schedule visits to view collections, to receive guidance on care and storage of collections, or to begin the consultation process. We also are happy to discuss NAGPRA and repatriation with staff members from other institutions. Please contact collections assistant Samantha Hixson (shixson@andover.edu or 978 749 4494) or director Ryan Wheeler (rwheeler@andover.edu or 978 749 4493).

A Day in the Life of Boxing Boxes

Contributed by Rachel Manning

Hi, my name is Rachel and I was hired in August as the Inventory Specialist at the Robert S. Peabody Institute of Archaeology. I am originally from upstate New York although for part of 2016 and the majority of 2017 I did work primarily in Virginia. For my first blog post I wanted to give a brief overview of my daily activities.

The main goal of the project I was hired to do is to conduct a complete inventory and rehousing of the collections at the Peabody. This is a task that has never been done before. Currently, the majority of the collections are housed in the wooden drawers that were brought into the Peabody in the 1930s. In each drawer, collections objects are housed in tan artifact boxes.

This is an example of what drawers look like before I work on them. All of these brown boxes hold artifacts.
This is an example of what drawers look like before I work on them. All of these brown boxes hold artifacts.

Every day I take the objects out of the tan box and record information about them such as what the object is, what its catalog number is, how many there are and their current location. I then record all of this information into a Microsoft Excel spreadsheet, put the objects back into their tan box and put them into the new gray (or blue, depending on who is asked) archival box. Currently I am working on drawers containing collections from Massachusetts.

These artifacts have been rehoused and placed in a gray archival box rather than the original wooden drawer.
These artifacts have been rehoused and placed in a gray archival box rather than the original wooden drawer.

This type of work is something I have done since 2013 when I was a graduate student at SUNY Albany. It is work that I genuinely enjoy doing, which makes getting up in the morning and coming to the Peabody a whole lot easier. It is always amazing to handle various collections. Doing so has helped me to learn so much more than I ever thought I could about material culture from all over the United States. I know working at the Peabody will help push that knowledge even further. It’s such a great experience to be able to work on a collection from Massachusetts one day, then move to a collection from Ohio or Indiana or even the Yukon the next day.

The Inventory Specialist position is supported by a generous grant from the Oak River Foundation of Peoria, Ill. to improve the intellectual and physical control of the institute’s collections. We hope this gift will inspire others to support our work to better catalog, document, and make accessible the Peabody’s world-class collections of objects, photographs, and archival materials. If you would like information on how you can help please contact Peabody director Ryan Wheeler at rwheeler@andover.edu or 978 749 4493.

Dr. Kelvin using the 3D scanner to document a bowl

Canadian researcher visits to examine Strong collection

Contributed by Marla Taylor

Dr. Laura Kelvin, a post-doctoral researcher from Memorial University of Newfoundland, visited the Peabody in October.

Dr. Kelvin is contributing to the Avertok Archaeology Project, a subproject of a larger collaboration between Memorial University and the Nunatsiavut Government representing the Inuit of Labrador – Tradition and Transition.  This community-based archaeology program aims:

  • to locate, excavate and learn more about the original Inuit settlement of Avertok which underlies the present Hopedale community, and other nearby sites,
  • communicate findings to the community and use the research to facilitate knowledge transfer between youth and elders in Hopedale
  • to undertake a ground-penetrating radar survey of the Moravian Cemetery in order to identify the locations of all graves, enabling the community to properly mark and care for the cemetery.

During her visit to the Peabody, Dr. Kelvin examined the William Duncan Strong collection.  Strong was part of the Rawson-MacMillian Sub-Arctic Expedition that the Field Museum in Chicago sent to northeastern Labrador in 1927-1928.  In the early 1930s, Warren K. Moorehead (then Director of the Peabody) orchestrated a trade with the Field Museum to acquire approximately 350 artifacts from this expedition.

A drawer of material from Hopedale, Labrador.
A drawer of material from Hopedale, Labrador.

Dr. Kelvin spent a week photographing all of these artifacts – even 3D scanning some! – for inclusion in a developing community archive of archaeological and traditional knowledge of the Hopedale area.  She will record traditional community knowledge of the artifacts and provide local access to the images through the network.  Follow the project on their facebook page!

Dr. Kelvin using the 3D scanner to document a bowl
Dr. Kelvin using the 3D scanner to document a bowl

Back in the Peabody archives

I was so pleased to learn this summer that the Oak River Foundation had decided to fund another year of the archives project at the Peabody! This continuation of the project will allow me to focus on the photographic and map collections, excavation records from the Tehuacán Archaeological-Botanical Project and the Ayacucho Archaeological-Botanical Project, among others. I also hope to begin developing sustainable digitization workflows for some of the archival material, help with reference requests, and continue an oral history project about Scotty MacNeish. I am very happy to be back at the Peabody, continuing this work.

This black and white photograph depicts two sons of Hugh Raup, who participated in the Andover-Harvard Yukon Expedition of 1944.
A photograph from the archives that caught my eye: Karl and David Raup (sons of Hugh Raup) with fish caught in stream. Big Arm, Kluane Lake. 8/21/44. Andover-Harvard Yukon Expedition.

Since starting back up here in early September, I have mostly been working on organizing and inventorying internal museum records like loan, exhibition, and NAGPRA records. These records might not have huge interest for outside researchers (and, as is common for institutions, are typically restricted for 25 years after creation for privacy concerns), but are important for staff members in the course of day-to-day collections management and ongoing repatriation efforts. Now that I am more familiar with the museum’s institutional history, I am finding that I can categorize material more quickly – I don’t have to repeat the learning curve of my first year.

On a personal note, I spent most of the summer between Boston (where I live) and western Massachusetts, where my sister and I own what used to be our grandparents’ house. My French, North African-born grandmother met my American grandfather (from a Scottish family who emigrated to the Boston area in the 1920s) during World War II while he was stationed in Algeria. The house is full of photographs, letters, books, and interesting objects documenting their lives – essentially, my family’s archives. I also spent two weeks working at the Phillips Academy Archives and Special Collections, helping Director of Archives and Special Collections Paige Roberts prepare for an upcoming move of the collections associated with the Oliver Wendell Holmes Library renovation. So, I didn’t stray too far from the work I do here, even while I was away.

The Temporary Archivist position is supported by a generous grant from the Oak River Foundation of Peoria, Ill. to improve the intellectual and physical control of the museum’s collections. We hope this gift will inspire others to support our work to better catalog, document, and make accessible the Peabody’s world-class collections of objects, photographs, and archival materials. If you would like information on how you can help please contact Peabody director Ryan Wheeler at rwheeler@andover.edu or 978 749 4493.