The Red Fox Population of the Sacramento Valley: Artifact of Manifest Destiny or Endemic Anomaly? Part I

Written by Alessandra J. Moyer, fourth year, Integrative Biology

Part I: The holotype

Holotype:

The single specimen (except in the case of a hapantotype,q.v.) designated or otherwise fixed as the name-bearing type of a nominal species or subspecies when the nominal taxon is established (International Commission on Zoological Nomenclature, glossary).

Vulpes vulpes patwin holotype (skin), MVZ mammal #33550.

Vulpes vulpes patwin holotype (skin), MVZ mammal #33550.

The pale red fox skin is soft and supple, beautiful enough to grace the shoulders of any prominent society lady in 1920s California.  In fact, his sibling did become a fashion accessory, but this little fox had a more unique fate.  He is a holotype in the Museum of Vertebrate Zoology at the University of California, Berkeley.  His skin and skull are kept with the museum’s other mammal holotypes, or specimens that were specifically used in the formal definition of a new taxonomic group.

This little guy was collected in 1923, but his subspecies didn’t get a name until 2009.  Why the wait?  Well, nothing about this fox’s story is simple.  His tale is recorded in a letter from Sam Lamme, a trapper who regularly sent bird specimens to the MVZ, to Joseph Grinnell, the first director of the MVZ.  Lamme begins, “Now about the Red Fox I will give you the dope on him,” and proceeds to say that the fox was born in the spring of 1922, on the irrigated plains of Colusa County, California.  He and his siblings belonged to a population of red foxes inhabiting the Sacramento plains, making their homes in abandoned ground squirrel holes (Grinnell, Dixon, and Linsdale 383).  Sadly for the fox family, the litter of nine pups was “dug out” by a Mr. John Gray, who kept a few as pets.  This seems to have not worked out as nicely as Gray had hoped, as the foxes soon “got killing the poultry.”  Gray apparently abandoned the idea of pet foxes and they came into the custody of a man named Buck Thomas, who sold two “dogs” (male foxes) to Lamme for five dollars, which Lamme evidently considered something of a steal.  Setting one aside to skin and tan as a stole for his wife, Lamme sent the other along to Grinnell at the MVZ.

Sam Lamme’s first letter to Joseph Grinnell regarding the fox specimen, dated 5 November, 1923.

Sam Lamme’s first letter to Joseph Grinnell regarding the fox specimen, dated 5 November, 1923.

The carcass was received in Berkeley on November 7th, 1923 and subsequently prepared by Joseph Dixon, who recorded the event in his notes.  He says approvingly, “This animal was very fat and in excellent condition.” Dixon also notes that the stomach contained duck feathers, of unknown species.  The scientists of the MVZ were quite excited to discover the presence of the Sacramento Valley population of red foxes, which, although known to the local inhabitants, were evidently a surprise to Grinnell.  He wrote several letters to Lamme after that, begging for more specimens, preferably older, and dispatched in such a way as to not inflict the kind of damage seen on the skull of the first fox (the bullet hole is rather prominent).  Dixon and Grinnell were anxious to study more specimens in order to determine what the normally montane species was doing in the plains of Northern California. They soon formulated an explanation for deviant population, a hypothesis that will be explained in a subsequent blog post.

References

The Code Online. London: International Commission on Zoological Nomenclature, 2012. Web. July 22, 2014.

Grinnell, Joseph, Joseph Scattergood Dixon, Jean Myron Linsdale.  Fur-bearing Mammals of California: Their Natural History, Systematic Status, and Relations to Man. Vol. 2. Berkeley: U of California P, 1937. Print.

Lamme, Sam (1916-1929), Museum of Vertebrate Zoology historical correspondence, MVZA.MSS.0117, Museum of Vertebrate Zoology Archives, University of California, Berkeley.

Volume 597, Section 2, page 32, Joseph S. Dixon Papers, MVZA.MSS.0079, Museum of Vertebrate Zoology Archives, University of California, Berkeley.

Related Links:

The Arctos specimen record

 

Posted in MVZ collections, Stories from the Archives | Tagged , , , , , , , | Comments Off on The Red Fox Population of the Sacramento Valley: Artifact of Manifest Destiny or Endemic Anomaly? Part I

Photographic Equipment, History and the MVZ

Written by John Hickman, Archival Volunteer

Recently I was tasked with cataloging a collection of old photographic equipment that found its way to the archival storage shelves of the MVZ. Being from the ‘pre-digital’ age, what I found was an amazing collection of photographic tools that had undoubtedly been used over the years to capture a wide variety of images supporting MVZ research, description and daily life (See MVZ Archival Image Search). In addition to the ties to the work of the MVZ, these tools also provide a view of the advances in photography through the 20th century.

Working through this collection was also personally interesting because many of the various pieces of equipment were items that were familiar to me due to my own photographic interests. But there were others that I could only guess at how they would be used, which led me to some interesting discoveries. These days, with digital cameras everywhere, we forget the challenges faced by photographers, even up into the 1990s, when you had to have film available, take your photo with crossed fingers, and wait for the film to be developed before you knew if you’d been successful in capturing your subject.

Here are some examples of interesting equipment now catalogued in the MVZ archive:

  • A Nikon F Series camera. Introduced in March 1959, the F immediately became Nikon’s best seller due to its rugged body, extensive lineup of interchangeable lenses and wide variety of accessories.
Nikon F Series, MVZ, July 9, 2014, by John Hickman.

Nikon F Series, MVZ, July 9, 2014, by John Hickman.

  • A Camera Lucida. A clever device that assists a sketch artist by displaying a traceable image onto the surface on which the artist is drawing. The artist sees both subject and drawing surface simultaneously, allowing the artist to duplicate key points of the subject on the drawing surface. A tremendous tool for creating realistic drawings of the natural world.
Camera Lucida in case, MVZ, July 9, 2014, by John Hickman.

Camera Lucida in case, MVZ, July 9, 2014, by John Hickman.

  • A Cine-Kodak Special movie camera in its original case, with manual. The Cine-Kodak Special was introduced in 1933 for advanced amateur and semi-professional work, and quickly became popular with professionals for its vast range of capabilities. A decal on the case exterior noted with Robert Stebbins as passenger to Plymouth, England sailing July 2nd, 1958.
Cine-Kodak Special Movie Camera in case, MVZ, July 9, 2014, by John Hickman.

Cine-Kodak Special Movie Camera in case, MVZ, July 9, 2014, by John Hickman.

  • An Eastman-Kodak Kodascope K-50 Movie projector, a classic old style reel projector first manufactured in 1933. The original case contains the reels and even an oil can for keeping the projector well lubed.
Eastman-Kodak Movie Projector, MVZ, July 9, 2014, by John Hickman.

Eastman-Kodak Movie Projector, MVZ, July 9, 2014, by John Hickman.

  • A Gossen Lunasix exposure meter in its original moulded leather case. Built in Germany, these devices were indispensable to film photographers who had to get the exposure just right, and didn’t have the luxury of immediately viewing their pictures as we do now with digital cameras.
Gossen Lunasix Exposure Meter, MVZ, July 9, 2014, by John Hickman.

Gossen Lunasix Exposure Meter, MVZ, July 9, 2014, by John Hickman.

  • A Konica FS-1 camera. Introduced in 1979, it was the first 35mm SLR  equipped with a built-in motor drive for film transport, which allowed a sequence of images to be captured.
Konica FS-1 Camera, MVZ, July 9, 2014, by John Hickman.

Konica FS-1 Camera, MVZ, July 9, 2014, by John Hickman.

It doesn’t take much imagination to understand how useful these tools were to field researchers and scientists of the MVZ. Its exciting to consider that without doubt images that we’ve seen on display in the MVZ and in various texts were captured using these tools. What a history!

Related Links:

http://calphotos.berkeley.edu/mvz.html

http://mvz.berkeley.edu/archives_index.php

Posted in MVZ collections | Tagged , , , | Comments Off on Photographic Equipment, History and the MVZ

A Hidden Treasure: MVZ’s Public Service Collection

Written by Christina Kohler, second year double major in Environmental Economics & Policy and Molecular Environmental Biology.

I first experienced the Museum of Vertebrate Zoology on Cal Day before I had decided to come to UC Berkeley. The day was a blur. However, I do clearly remember visiting the Museum and seeing all of the exhibits and animals that were on display. I also remember thinking that this would be the best place for me to develop my passion for research and the environment. The atmosphere at the Museum that day really inspired me to come to Cal. Fortunately, I was able to be a part of that environment again this past semester, working to organize and catalogue the Public Service Collection in the Museum of Vertebrate Zoology Archives.  Dr. Robert C. Stebbins, Museum Curator and Professor of Zoology at UC Berkeley, brought the collection together over the span of several years. The series consists of a variety of conservation issues that the Museum has been involved with, including Off-road Vehicles in the California Desert, Long-toed Salamander Protection, The Bodie Protection Act, and many more.

Christina Kohler hiking in XXX

Christina Kohler hiking in Muir Woods.

I had the honor of reading through all of the material in each series so that I could organize and catalogue the entire collection. I not only learned about the specifics on processing a collection of documents, newspapers, and photographs, but also about the details behind several prominent conservation issues. Working with this collection solidified my decision to work in the field of conservation biology. It also helped me to realize that educating people about the issue is the most important step in making a difference. With many of the issues, individuals initiated the protection of their communities by taking action – creating committees, publicizing the issue, and writing letters to government officials. This collection has inspired me even more to dedicate my future educating people regarding the present situation in order to help restore an overall healthier environment. Working in the MVZ to reveal this collection has been very exhilarating. I plan to continue next semester with the same collection, digitizing the material so that researchers everywhere will know that the Museum has these materials. Many thanks to URAP, Christina Fidler, and everyone at the Museum who made my experience what it was!  

Posted in MVZ collections, URAPs | Tagged , , | Comments Off on A Hidden Treasure: MVZ’s Public Service Collection

Preserving the Lantern Slide Collection of the MVZ

Written by Alessandra J. Moyer, third year Integrative Biology major.

This semester, I’ve been working on a project to preserve a unique photographic resource that most people don’t even know exists: the lantern slide collection in the MVZ archives. Long before PowerPoint lulled its first audiences to sleep, early image projectors called “magic lanterns” allowed entertainers and educators to incorporate illustrations and, later, photographs into their presentations.  Developed in the 17th century or earlier, the magic lantern used a mirror to shine light through a glass slide (called a lantern slide) onto which an image had been painted.  A lens at the front of the lantern focused the image on a screen or wall. The lantern slides owned by the MVZ are from a much later period, when photographic emulsions had replaced hand-painted slides and electric lights were used instead of candles, oil lamps, and limelight.  The subjects all fall under the broader category of vertebrate zoology, and include game birds, mammal bones, and reptiles.

Thus far, I have focused on the “Common Birds” collection.  My task consists of cutting and folding thick archival paper into envelopes that will house each slide individually. Before this project was started, all the slides were packed tightly together in dusty old boxes. Although most of the slides are still in good condition, they are vulnerable to deterioration. The goal of the rehousing project is to ensure that they remain intact.  As I label the envelopes and enclose the slides in their new acid-free, archival-grade armor, I have a chance to look at each one.  Some of them show dead, prepared specimens—ventral this, dorsal that—these I glance at only briefly.  But others I pause to hold up to the light.  Some of these photographs capture something more than bare bones biology. In fact, one must suppose that each of these images held a great deal of significance to whoever was responsible for immortalizing them on glass.  These were not two-a-penny Instagrams; thought and care must have gone into the selection of certain special negatives to become lantern slides.  These would have been the images that lecturers were most excited to share with their students, the ones that could not be replaced with a thousand words.  I believe that to look at these images is to have a little window into biology education at Berkeley half a century or more ago.  When I make a new paper home for each slide, I feel like I’m not just saving a useful image; I also feel like I’m preserving a brittle, fragile message-in-a-bottle sent many years ago from an undergraduate zoology class somewhere in the Valley Life Sciences Building.

Extraordinary nesting sites of Allen Hummingbird, Undated, by Joseph Mailliard, glass lantern slide, Lantern Slide #60.

Extraordinary nesting sites of Allen Hummingbird, Undated, by Joseph Mailliard. Glass lantern slide, Lantern Slide #60.

A couple of my favorite bird slides are shown here.  The caption on the first (right) reads, “Extraordinary nesting sites of Allen Hummingbird.”  The photograph was taken by Joseph Mailliard at his family’s ranch in Marin County.  It was printed in The Condor in 1913, and in the accompanying article Mailliard comments that, “The pulley on the left of the picture was used to haul up the successful results of the numerous deer hunts that took place on our ranch, the nest having been built upon it before the opening of the deer hunting season in that year (1911).”  He hastens to add that the baby birds were long fledged before the pulley was again used for its intended purpose.  The article can be found here:“Some Curious Nesting Places of the Allen Hummingbird.”

Cactus Wren’s nest, Undated, by W.M. Pierce. Glass lantern slide, Lantern Slide #50.

Cactus Wren’s nest, Undated, by W.M. Pierce. Glass lantern slide, Lantern Slide #50.

The second slide (left) is a photograph taken by W.M. Pierce, a photographer who frequently contributed to The Condor, and whose correspondence with the MVZ spans the years 1913-1930.  The subject is “Cactus Wren’s nest.”  If you’re curious about this nest and the bird who made it, I recommend Edmund Carroll Jaeger’s 1922 book Denizens of the Desert; a book of southwestern mammals, birds, and reptiles, where you will also find several more lovely photos by Pierce.  (It’s available for free online at the Hathi Trust Digital Library.) Skip over to page 69, where Jaeger, who certainly has a taste for the dramatic, begins his account of the Cactus Wren.  These birds find some protection against predators by building their nests among the spines of cacti, but apparently are not themselves troubled by the prickly needles.  Jaeger wonders about this, saying, “How it happens that they can dodge the spears and daggers in which all their foes are likely to be caught, I cannot say, for never were skins or bodies more tender than theirs. Does each have a guiding spirit or have they all been dipped in the river Styx?”*  I can only hope that the professor who used this slide as a lecture aid made sure to mention these hypotheses.

*It seems a bit much coming from a man who, in his preface (page viii), complains, “Writers on natural-history subjects have, in their desire to create interest and to bring their story to a fitting climax, frequently conveyed impressions concerning the behavior of animals which were false or misleading.”

Works Cited:

Mailliard, Joseph. “Some Curious Nesting Places of the Allen Hummingbird on the Rancho San Geronimo.” The Condor 15.6 (1913) : 205-207. SORA. Web.  28 Apr. 2014.

Jaeger, Edmund C. Denizens of the desert; A book of southwestern mammals, birds, and reptiles. Boston and New York: Houghton Mifflin, 1922. Hathi Trust. Web. 28 Apr. 2014.

Related Links:

A short history of lantern slides from the Library of Congress’ online archive “American Memory”: Lantern Sides: History and Manufacture

Facts about lantern slides and, more importantly, a fun coloring activity, from the UBC Botanical Garden’s online exhibit “Botany John: The Legacy of a Canadian Botanist”: Lantern Slides Factsheet and Tint some of John Davidson’s lantern slides

A couple neat blog posts from the Preservation Department at Iowa State University Library: Lost & Found: Ada Hayden Lantern Slides and Landscape Architecture Lantern Slides Digital Collection

Posted in MVZ collections, The Hidden Collections Project, URAPs | Tagged , , | Comments Off on Preserving the Lantern Slide Collection of the MVZ

An Illustrious Life: The Collections of Wildlife Artist Allan C. Brooks (1869-1946)

Written by Joi Misenti, third year Integrative Biology major.

The study of science demands diligence and discipline. This truth stands resolute even in the realm of creative expression. Wildlife artists, though artists at heart, pledge themselves to an oath of accuracy, scientific veracity, and representationalism. Through my research work on the collections of Allan Brooks, I gleaned the devotion with which the core values of proper scientific work were upheld. I found those rigorous qualities incorporated into his paintings in striking, resplendent, and beautifully textured ways. He captured the wispy movements of foxes, the delicate plumage layers in bird feathers, the curiosity that gleams in otter eyes, and importantly, the backdrop against which all this faunal secrecy took place. It was this true portrayal of landscape alongside accurate subject matter that exemplified Brooks’ principled approach and set him apart from colleagues of his time.

Allan Brooks, Okanagan Landing, British Columbia, October 7, 1921, by H.S. Swarth. MVZ Image 3742.

Allan Brooks, Okanagan Landing, British Columbia, October 7, 1921, by H.S. Swarth. MVZ Image 3742.

Allan Brooks not only experienced an illustrious career, but he led an incredibly colorful life. English by heritage, Brooks was born in northern India in 1869 before being sent to England for schooling at the age of 4. However, he only remained in England for 8 years before the family uprooted to Canada, where Brooks discovered the country he would call his home. By this time, Brooks was well underway to nurturing his passion for ornithology, specimen collection, skin preparation, and sketching. He had already begun to make ripples as a wildlife illustrator when World War I splashed to the forefront. Brooks promptly enlisted in 1914 and distinguished himself as an exemplary sniper, earning a medal for his service. Upon returning to Canada unhurt, save for a new disenchantment with hunting, Brooks resumed his work and engrossed himself in his projects. It was during this time, the 1920s, that Brooks rose to prominence as a premier wildlife artist in demand. He came into association and friendship with the Museum of Vertebrate Zoology’s very own Joseph Grinnell, the museum’s first director, as well as Harry Swarth, the museum’s curator of birds.

Perusing through the letters that Brooks exchanged with Grinnell, Swarth, and other contemporaries, I was illuminated by the manner of correspondence characteristic of the time period. Extensive, painstakingly written letters exchanged with detailed accounts, transactions, and lists, in addition to pleasantries. Moreover, these letters were sent dutifully and often. I realized these documents stood as a testament to scientific collaboration, experts in various fields consulting one another, providing resources and information, down to debating scientific names. I was endlessly amused by how the idiosyncrasies of the correspondent inevitably surfaced through the page. Grinnell would implore Brooks to pen a biography, an offer which Brooks would–true to his modest nature–turn down, citing that he couldn’t be trusted to complete such a promise. Occasionally, Brooks and Grinnell poked jabs at a mutual nemesis, chortling amongst themselves in a manner not unlike those of snickering schoolchildren.

Joi's Allan Brooks display, prominently placed in the MVZ's front office.

Joi’s Allan Brooks display, prominently situated in the MVZ’s front office.

Indeed, I was entranced by these historical treasures. Immersed in the letters, I shared in on these inside jokes, sensed the urgency underneath some of the requests, and felt the wonderment expressed at the sight of some elusive animals. Through the paintings, I became awed by the meticulousness and skill Brooks wielded over his craft–the countless hours of observation, the preliminary sketches, the transcription of even the slightest detail. This wonderful experience has been incredibly multifaceted and far-reaching, even culminating in an Allan Brooks display on Cal Day that justifiably gives a talented artist deserved recognition. Ultimately, I hope others will stumble across the art of Allan Brooks and find themselves equally suspended with disbelief at his masterful encapsulation.

Joi Misenti published the Finding Aid to the Allan Brooks papers on the Online Archive of California as part of her project with the MVZ Archives.

Related Links:                                                                   http://www.abnc.ca/index.php/gallery  http://www.vernonmuseum.ca/cr_allan_brooks.html

Posted in Finding Aids, MVZ collections, The Hidden Collections Project, URAPs | Tagged , , , , , | Comments Off on An Illustrious Life: The Collections of Wildlife Artist Allan C. Brooks (1869-1946)