部署梯子

部署梯子

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Wander the galleries with a virtual visit to the Museum

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部署梯子

Browse the collections online with archaeological and ethnographic objects from across the world and across time. Visit our archives to find important collections of historical photography and unique field recordings.

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部署梯子

Find out about some of the exciting research projects still going on behind the scenes, connecting people all over the world with the collections and their histories.

Kesang Ball. Photograph by Nyema Droma. 2018.

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Discover our past exhibitions through images and videos

Please make a donation to support the work of the Museum

The Caretakers: An art project celebrating the essential work of security staff during lockdown

Contemporary artist Eloise Moody conceived the idea for The Caretakers to give a rare glimpse into life for the UK museum and gallery staff maintaining the buildings and collections during lockdown. The project offered a sneak peek into the collections of six museums and galleries by the people whose voices often go unheard as they look after the museums with diligence and passion.

Listen to John, who has worked at the Pitt Rivers Museum for more than 36 years, as he walks around the empty galleries - "The whole collection is just waiting for reanimation, just waiting for the public to come back in."

Detail of damage on mask (1884.114.23) - the conservator needs to decide at what stage in an object's life a surface treatment or repair has taken place

Conservation case study: Noh theatre masks

The Museum holds a collection of 52 Noh theatre masks. Many had suffered from shrinkage of the wood resulting in...

The Museum holds a collection of 52 Noh theatre masks. Many had suffered from shrinkage of the wood resulting in cracking and loss to the gofun top layer. A total of 102 hours of conservation...

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The Museum holds a collection of 52 Noh theatre masks. Many had suffered from shrinkage of the wood resulting in cracking and loss to the gofun top layer. A total of 102 hours of conservation work was needed to get them ready for display.

Detail of the neck of shirt (1893.67.5) before conservation

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In 2010, five historic Blackfoot hide shirts travelled from the Pitt Rivers Museum to Alberta, Canada, for handling...

In 2010, five historic Blackfoot hide shirts travelled from the Pitt Rivers Museum to Alberta, Canada, for handling workshops and exhibitions. The combined conservation treatment time...

In 2010, five historic Blackfoot hide shirts travelled from the Pitt Rivers Museum to Alberta, Canada, for handling workshops and exhibitions. The combined conservation treatment time to prepare the shirts for travel...

In 2010, five historic Blackfoot hide shirts travelled from the Pitt Rivers Museum to Alberta, Canada, for handling workshops and exhibitions. The combined conservation treatment time to prepare the shirts for travel was 303 hours.

Repairing the kimono oni figure (1964.1.2.5)

超级微皮恩安卓破解版

The Museum's two oni figures stand just over 1m tall. Over time, their paint had begun to peel and the kimono...

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The Museum's two oni figures stand just over 1m tall. Over time, their paint had begun to peel and the kimono was very fragile with considerable damage. It took nearly 200 hours of conservation work to get...

The Museum's two oni figures stand just over 1m tall. Over time, their paint had begun to peel and the kimono was very fragile with considerable damage. It took nearly 200 hours of conservation work to get them ready for display.

Detail of willow shaving layers (inau) on quiver (1910.68.12)

Conservation case study: Ainu hunting quiver

While the quiver was being assessed in the conservation department, it became apparent that the object had numerous...

While the quiver was being assessed in the conservation department, it became apparent that the object had numerous signs of wear and repair suggesting its long-term use. It took 126...

While the quiver was being assessed in the conservation department, it became apparent that the object had numerous signs of wear and repair suggesting its long-term use. It took 126 hours of conservation work to...

While the quiver was being assessed in the conservation department, it became apparent that the object had numerous signs of wear and repair suggesting its long-term use. It took 126 hours of conservation work to get it ready for display.

Stroud cloth on war bonnet (1954.8.140) with felted wool gap-fill

Conservation case study: Lakota war bonnet

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This war bonnet was made by the Oglala Lakota, one of the tribes comprising the 'Great Sioux Nation.' Over time, many of the materials had begun to deteriorate and weaken due to damage caused by insect...

This war bonnet was made by the Oglala Lakota, one of the tribes comprising the 'Great Sioux Nation.' Over time, many of the materials had begun to deteriorate and weaken due to damage caused by insect attack and the accumulation of Museum dust.

Detail of headdress (1886.1.1637.6) before construction

Conservation

The case studies on this page document the work of the Museum conservators who are responsible for safeguarding...

The case studies on this page document the work of the Museum conservators who are responsible for safeguarding the 300,000 artefacts in the Museum's collections for the futur...

The case studies on this page document the work of the Museum conservators who are responsible for safeguarding the 300,000 artefacts in the Museum's collections for the future.

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部署梯子

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The Caretakers: An art project celebrating the essential work of security staff during lockdown

Find out more about our conservation interventions

Conservation case study: Noh theatre masks

超级微皮恩安卓破解版

Conservation case study: Ainu hunting quiver

Conservation case study: Lakota war bonnet

Conservation