All posts in Featured Books

The pineapple, indigenous to South America and domesticated and harvested there for centuries, was a late comer to Europe. The fruit followed in its cultivation behind the tomato, corn, potato, and other New World imports. Delicious but challenging and expensive to nurture in chilly climes and irresistible to artists and travelers for its curious structure, the pineapple came to represent many things. For Europeans, it was first a symbol of exoticism, power, and wealth, but it was also an emblem of colonialism, weighted with connections to plantation slavery.

Originating from the region around the Paraná and Paraguay Rivers (present-day Brazil, Paraguay, and Argentina), it was an important economic plant in the development of Indigenous civilizations in the Americas. The Tupi-Guarani and Carib peoples called the fruit, a staple crop, nanas (excellent fruit) and several varieties were grown. As well as food, the pineapple was a source of medicine, fermented to become alcohol, its fibers made into robes and bow strings and thread for cloth.

José and Virginia Correia are one of history’s most prolific bird collecting teams. For over three decades, they participated in many scientific exploring expeditions for the American Museum of Natural History, including the Whitney South Sea Expedition from 1922 to 1926.

Although the published literature is scant regarding their scientific contributions, their story is certainly worth telling. Described by The Standard-Times (New Bedford) as a “life reading like fiction”,³  —  their work has emerged from obscurity with the recent digitization of José’s field notes from the Whitney South Sea Expedition (1920–1941). Now audiences far and wide can enjoy this quintessential American story of two immigrants propelled by fate, hard work, and a sincere desire to improve one’s lot in life.

The Language of Flowers genre is at the intersection of botany, horticulture, natural history, art, poetry, and women’s studies. This popular literary trend in the 19th century, presented the world of botany through dictionaries of flowers and associated meanings, floral poetry and prose, offering a sentimental view of natural history. A properly arranged bouquet was said to convey a “secret message” for the recipient. The “social media” of its day, this Victorian fad, led to many editions of works published, with multiple titles by successful authors.

Frances Sargent Osgood edited two works in this genre, Poetry of Flowers and Flowers of Poetry and The Floral Offering.

Earlier this year Dr. Simon Leslie, Francis Houssemayne du Boulay’s great-grandson, contacted Melbourne Museum about accessing du Boulay’s hand-painted Coleoptera volumes, held in the Museums Victoria Archives. Dr. Leslie and family accessed the physical volumes in February 2020. While I carefully supervised flipping through the pages of these volumes, I was intrigued by their aesthetic, and scientific and historic, value. Since then, the volumes have been digitised by Biodiversity Heritage Library (BHL) Australia.

Published in 1914, Butterflies of Australia by Gustavus Athol Waterhouse and George Lyell was the first comprehensive work on Australian butterflies to appear in Western scientific literature. It is a thick and rather chunky volume, with descriptions of 332 butterfly species, and was the product of many years of research. The copy held in Museums Victoria’s Rare Book Collection is even thicker than a standard issue, as it is bound with lined pages interleaved throughout. It is an author’s copy, owned and annotated by George Lyell.

John Sibthorp’s Flora Graeca (1806-1840) has been described as “the most costly and beautiful book devoted to any flora” [1]. Dedicated to the plants of Greece and the eastern Mediterranean, only 30 subscriptions were sold and of those, only 25 were completed. While each copy was sold for £254, the cost to produce each copy was about £620 [2, 176].

The Zoological Sketches are two volumes of 100 plates published between 1857 and 1867. They show particularly rare animals from Regent’s Park in London, which Joseph Wolf captured in watercolours and on the basis of which Joseph Smit made lithographs. The edited notes were written by David William Mitchell, Secretary of the Zoological Society. After his death his successor, Philip Lutley Sclater, took over the work and completed the volumes.