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When Frank Greenaway started work at the Science Museum in 1949 it was in a depressed state. Even the first phase of the building in London's South Kensington, opened by King George V and Queen Mary in 1928, had not been completed. Temporary galleries built for an exhibition in the 1870s were still being used. In 1948, the Standing Commission on Museums and Galleries reported that "the position is well-nigh desperate".When Frank Greenaway started work at the Science Museum in 1949 it was in a depressed state. Even the first phase of the building in London's South Kensington, opened by King George V and Queen Mary in 1928, had not been completed. Temporary galleries built for an exhibition in the 1870s were still being used. In 1948, the Standing Commission on Museums and Galleries reported that "the position is well-nigh desperate".
Frank, who has died aged 95, spent just over 30 years at the museum. By the time of his retirement in 1980, two of the three building phases had been completed and the gallery displays, which previously had a distinctly antiquarian feel about them, had been updated to include representation of science, technology and medicine of the later 20th century.Frank, who has died aged 95, spent just over 30 years at the museum. By the time of his retirement in 1980, two of the three building phases had been completed and the gallery displays, which previously had a distinctly antiquarian feel about them, had been updated to include representation of science, technology and medicine of the later 20th century.
Frank was the fourth child of six of a couple who ran a corner shop in Splott, a suburb of Cardiff. He won a scholarship to Cardiff high school and then an exhibition to Jesus College, Oxford, to read chemistry. He found the going tough: later he would describe tutorials with DL Chapman as "painfully obscure" and with HJ George as "lifeless". Wanting to participate in college life, Frank coxed the first eight. The second world war interrupted his studies and he did not progress to the fourth year of research that was usual for Oxford chemists.Frank was the fourth child of six of a couple who ran a corner shop in Splott, a suburb of Cardiff. He won a scholarship to Cardiff high school and then an exhibition to Jesus College, Oxford, to read chemistry. He found the going tough: later he would describe tutorials with DL Chapman as "painfully obscure" and with HJ George as "lifeless". Wanting to participate in college life, Frank coxed the first eight. The second world war interrupted his studies and he did not progress to the fourth year of research that was usual for Oxford chemists.
Joining up in 1939 he became a junior officer in the Royal Army Ordnance Corps. Later he helped train foreign agents; he would take them to London Zoo, instructing them to take photographs clandestinely without his noticing. In June 1944 he went to work for Kodak, in Harrow, where he became PA to the research director.Joining up in 1939 he became a junior officer in the Royal Army Ordnance Corps. Later he helped train foreign agents; he would take them to London Zoo, instructing them to take photographs clandestinely without his noticing. In June 1944 he went to work for Kodak, in Harrow, where he became PA to the research director.
Frank had visited the Science Museum as a child in 1928, the year the building was opened, and it had left an impression of hugeness and other-worldliness. In 1949 he was surprised to receive an invitation to work there under Alexander Barclay, keeper of chemistry. One of his first tasks was to prepare a display called The Science Museum: Past and Future to mark the centenary of the 1851 Great Exhibition – the museum was surprisingly little involved in the Festival of Britain's science exhibition, which was colonising part of its premises.Frank had visited the Science Museum as a child in 1928, the year the building was opened, and it had left an impression of hugeness and other-worldliness. In 1949 he was surprised to receive an invitation to work there under Alexander Barclay, keeper of chemistry. One of his first tasks was to prepare a display called The Science Museum: Past and Future to mark the centenary of the 1851 Great Exhibition – the museum was surprisingly little involved in the Festival of Britain's science exhibition, which was colonising part of its premises.
Once the second phase of the Science Museum building was complete and space became available, Frank worked tirelessly to build up displays of his subject. He was keen to transform the way the museum looked and the stories it told. He had to acquire much of what he wanted to show. He salvaged part of the laboratory of the government chemist at Clement's Inn in Westminster when it was demolished in 1964 and displayed it along with other laboratory installations. When the real thing was simply too enormous and heavy to enter the museum, he had theatrical settings constructed, including part of an offshore drilling rig.Once the second phase of the Science Museum building was complete and space became available, Frank worked tirelessly to build up displays of his subject. He was keen to transform the way the museum looked and the stories it told. He had to acquire much of what he wanted to show. He salvaged part of the laboratory of the government chemist at Clement's Inn in Westminster when it was demolished in 1964 and displayed it along with other laboratory installations. When the real thing was simply too enormous and heavy to enter the museum, he had theatrical settings constructed, including part of an offshore drilling rig.
He purchased products of the chemical industry including two important groups of early plastics, the Newport and Jesse collections. The Science Museum had never spent much money on acquiring objects – the first expensive buy occurred when the museum's director, Frank Sherwood Taylor, purchased Philip James de Loutherbourg's painting Coalbrookdale by Night. Older staff grumbled about this extravagance but Frank, who was more far-sighted, fully supported it. When some remarkable and rare early Islamic glass distillation vessels came up at Sotheby's, he was determined that they should come to the Science Museum, which they did, though at a considerable price.He purchased products of the chemical industry including two important groups of early plastics, the Newport and Jesse collections. The Science Museum had never spent much money on acquiring objects – the first expensive buy occurred when the museum's director, Frank Sherwood Taylor, purchased Philip James de Loutherbourg's painting Coalbrookdale by Night. Older staff grumbled about this extravagance but Frank, who was more far-sighted, fully supported it. When some remarkable and rare early Islamic glass distillation vessels came up at Sotheby's, he was determined that they should come to the Science Museum, which they did, though at a considerable price.
Major changes to all the chemistry galleries took place in 1977 for the centenary of the Royal Institute of Chemistry (now the Royal Society of Chemistry). A range of groundbreaking postwar analytical instrumentation was sought for exhibition. Incorporated was Theodor Svedberg's large ultracentrifuge. In a letter, the inventor wrote: "I value [the display of the instrument] even more than my Nobel prize." Also displayed was a reconstruction of the DNA model made famous by the photo of Francis Crick and James Watson alongside it in Watson's The Double Helix. After the model's construction in 1953, it had been dismantled and the pieces dispersed. It was the enthusiasm of Frank and his staff that brought the original elements back together.Major changes to all the chemistry galleries took place in 1977 for the centenary of the Royal Institute of Chemistry (now the Royal Society of Chemistry). A range of groundbreaking postwar analytical instrumentation was sought for exhibition. Incorporated was Theodor Svedberg's large ultracentrifuge. In a letter, the inventor wrote: "I value [the display of the instrument] even more than my Nobel prize." Also displayed was a reconstruction of the DNA model made famous by the photo of Francis Crick and James Watson alongside it in Watson's The Double Helix. After the model's construction in 1953, it had been dismantled and the pieces dispersed. It was the enthusiasm of Frank and his staff that brought the original elements back together.
Frank was responsible for bringing medicine into the museum. Up until the 1970s, there was only physical science and technology. He got wind of the news that the Wellcome Institute was considering the future of its massive history of medicine collection and engaged the museum in discussions that led to its transfer and display.Frank was responsible for bringing medicine into the museum. Up until the 1970s, there was only physical science and technology. He got wind of the news that the Wellcome Institute was considering the future of its massive history of medicine collection and engaged the museum in discussions that led to its transfer and display.
Frank brought an international and scholarly dimension to the Science Museum, becoming secretary general of the International Union of the History and Philosophy of Science under the presidency of the great sinologist Joseph Needham. He was deeply involved in other external bodies, including the Royal Institution, where he was honorary reader in the history of science, and the Royal Philharmonic Society, where he indulged his deep love of music.Frank brought an international and scholarly dimension to the Science Museum, becoming secretary general of the International Union of the History and Philosophy of Science under the presidency of the great sinologist Joseph Needham. He was deeply involved in other external bodies, including the Royal Institution, where he was honorary reader in the history of science, and the Royal Philharmonic Society, where he indulged his deep love of music.
In 1942 Frank married Miranda Brumfit. She died in 2008. He is survived by their daughters, Harriet, Eleanor and Jessica. A son, Paul, and a stepson, Christopher, predeceased him.In 1942 Frank married Miranda Brumfit. She died in 2008. He is survived by their daughters, Harriet, Eleanor and Jessica. A son, Paul, and a stepson, Christopher, predeceased him.
• Frank Greenaway, museum curator, born 9 July 1917; died 16 June 2013• Frank Greenaway, museum curator, born 9 July 1917; died 16 June 2013
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