Lukas Rieppel

During the 1920s, researchers from the American Museum of Natural History led by Roy Chapman Andrews exported a large collection of valuable fossils from the Gobi Desert. While their expedition was celebrated across Europe and the United States, it aroused enormous controversy in China and Mongolia, especially after a new Nationalist government was formed in Nanjing during the late 1920s. Whereas Chinese scholars accused American scientists of plundering their natural heritage, Andrews argued that because dinosaurs went extinct long before the creation of China, prehistoric fossils belonged equally to all mankind. This essay locates the Central Asiatic Expedition within a broader history of epistemic imperialism to explore what the controversy that it engendered reveals about the production, circulation, and accumulation of knowledge in a global context.

A lively account of how dinosaurs became a symbol of American power and prosperity and gripped the popular imagination during the Gilded Age, when their fossil remains were collected and displayed in museums financed by North America’s wealthiest business tycoons. Although dinosaur fossils were first found in England, a series of dramatic discoveries during the late 1800s turned North America into a world center for vertebrate paleontology. At the same time, the United States emerged as the world’s largest industrial economy, and creatures like Tyrannosaurus, Brontosaurus, and Triceratops became emblems of American capitalism. Large, fierce, and spectacular, American dinosaurs dominated the popular imagination, making front-page headlines and appearing in feature films. Assembling the Dinosaur follows dinosaur fossils from the field to the museum and into the commercial culture of North America’s Gilded Age. Business tycoons like Andrew Carnegie and J. P. Morgan made common cause with vertebrate paleontologists to capitalize on the widespread appeal of dinosaurs, using them to project American exceptionalism back into prehistory. Learning from the show-stopping techniques of P. T. Barnum, museums exhibited dinosaurs to attract, entertain, and educate the public. By assembling the skeletons of dinosaurs into eye-catching displays, wealthy industrialists sought to cement their own reputations as generous benefactors of science, showing that modern capitalism could produce public goods in addition to profits. Behind the scenes, museums adopted corporate management practices to control the movement of dinosaur bones, restricting their circulation to influence their meaning and value in popular culture. Tracing the entwined relationship of dinosaurs, capitalism, and culture during the Gilded Age, Lukas Rieppel reveals the outsized role these giant reptiles played during one of the most consequential periods in American history.

How much is a dinosaur worth? This essay offers an account of the way vertebrate fossils were priced in late 19th-century America to explore the process by which monetary values are established in science. Examining a long and drawn-out negotiation over the sale of an unusually rich dinosaur quarry in Wyoming, I argue that, on their own, abstract market principles did not suffice to mediate between supply and demand. Rather, people haggling over the price of dinosaur bones looked to social norms from the mineral industry for cues on how to value these rare and unusual objects, adopting a set of negotiation tactics that exploited asymmetries in the distribution of scarce information to secure the better end of the deal. On the mining frontier in America’s Gilded Age, dinosaurs were thus valued in much the same way as any other scarce natural resource one could dig out of the ground, including gold, silver, and coal.

ABSTRACT This essay examines the exhibition of dinosaurs at the American Museum of Natural History during the first two decades of the twentieth century. Dinosaurs provide an especially illuminating lens through which to view the history of museum display practices for two reasons: they made for remarkably spectacular exhibits; and they rested on contested theories about the anatomy, life history, and behavior of long-extinct animals to which curators had no direct observational access. The American Museum sought to capitalize on the popularity of dinosaurs while mitigating the risks of mounting an overtly speculative display by fashioning them into a kind of mixed-media installation made of several elements, including fossilized bone, shellac, iron, and plaster. The resulting sculptures provided visitors with a vivid and lifelike imaginative experience. At the same time, curators, who were anxious to downplay the speculative nature of mounted dinosaurs, drew systematic attention to the material connection that tied individual pieces of fossilized bone to the actual past. Freestanding dinosaurs can therefore be read to have functioned as iconic sculptures that self-consciously advertised their indexical content.

This article uses the example of Hesperornis regalis, an ancient toothed bird discovered in Kansas during the 1870s, to discuss a practice that became extremely widespread in late-nineteenth-century paleontology: the use of plaster cast replicas to circulate especially noteworthy discoveries. Building upon a growing literature at the intersection of book history and the history of science, I argue that paleontologists developed plaster casts as a compromise medium that combined some features of print with others from original natural history specimens. For example, because plaster casts were mechanical reproductions, they could be fabricated in fairly large numbers at a relatively modest price. This allowed them to circulate more readily than original fossils. At the same time, however, paleontologists treated casts as a material trace of prehistory, much like an original fossil itself. As a result, they were seen as especially authoritative and trustworthy objects of knowledge. Insofar as they combined features of print and prehistory, I argue that casts functioned as a genuine mode of publication in late-nineteenth-century paleontology, but one that foregrounded its own materiality.`