All posts tagged with botany

Historically, female botanists and botanical artists were rarely given as much credit as their male counterparts. Botanical art was often viewed as a pleasant pastime for women who had time on their hands whilst their husbands were at work, and the contribution that these women made to the advancement of scientific illustration was often undermined.

To highlight the importance of these historically, scientifically and socially significant collections, Kew’s Library, Art and Archives department, in collaboration with the Oak Spring Garden Foundation, is in the process of digitising its out of copyright work by women artists, spanning several centuries.

Kew holds over 200,000 prints and drawings, and this working resource is available to staff and visitors to the department, often providing a reference tool against preserved herbarium specimens. The ultimate aim of this collaborative effort is to ensure that high quality images of illustrations and their associated data is safely stored in digital format for future generations.

Prominent botanist and cataloger of gardens, William Sherard (1659-1728), was hired by an aristocrat to tutor her grandson in botany for “hee loving my diversion so well.” This was Mary Somerset, the first Duchess of Beaufort (1630-1715), an accomplished gardener and botanist in her own right. She sought solace in “natural learning” and tending plants, some cultivated in what she referred to as her “infirmary.” As detailed in landscape historian and conservator Mark Laird’s splendid A Natural History of English Gardening (2015), her gardening activities were a refuge from bouts of depression. She remarked in a letter of her cataloging: “When I get into storys of plants I know not how to get out.” Laird’s chapter on Mary Somerset, and other recent scholarly investigations, examine her work and help elevate her role in the history of science. Rather than simply a diversion from melancholia, she was dedicated in her studies, blossoming late in her life.

How does a young woman create the most important record of Hawaiian flowers in the nineteenth century? Who helps her identify plants and find a London publisher? Why does she leave New Zealand for Niihau, the Forbidden Island? Thanks to a magnificent book in the Rare Book Collection of the Chicago Botanic Garden Library (and a little research), we can answer these questions.

With 44 delightful chromolithographed plates, Indigenous Flowers of the Hawaiian Islands is no ordinary book. Its illustrations introduced the world to an exotic, endemic, and vanishing flora. Indigenous Flowers provides a marker to measure the impact of humans on the fragile ecosystem of two Hawaiian islands, yet another signal of the Anthropocene epoch. Isabella McHutcheson Sinclair (1840–90) was probably the most unexpected ambassador for plant conservation. Her breadth of botanical experiences in the Pacific, in both New Zealand and the Sandwich Islands (better known today as Hawaii), gave her a particular vision to recognize the effects of humans on local flora and fauna.

Two of the most important early contributors to our understanding of orchids were the artist Franz Bauer (1758-1840) and the English botanist and gardener John Lindley (1799-1865), who was to become known as the “father of modern orchidology”. The publication of the Illustrations of Orchidaceous Plants [from sketches prepared between 1792 and 1832] between 1830 and 1838 combined Bauer’s great skill and Lindley’s knowledge and industriousness to produce an invaluable artistic and scientific work. The Natural History Museum, London (NHM) has recently uploaded their copy of this volume to sit alongside the Missouri Botanical Gardens’ own volume.

At the end of the 18th century, French naturalist Jacques-Julien Houtou de Labillardière spent two years exploring and collecting plants in the Levant. The expedition ultimately resulted in the publication of a beautifully-illustrated work on the botany of the region, Icones plantarum Syriæ rariorum (“Rare Syrian Plant Images”).

In 1737, Elizabeth Blackwell published the first weekly installment of a very ambitious project. The final work, entitled A Curious Herbal (1737-39), ultimately consisted of 500 plates of plants alongside 111 pages of text providing descriptions of their medicinal uses. Endorsed by the Royal College of Physicians, the publication helped satisfy the need for an up-to-date reference work for apothecaries.

A Curious Herbal is the subject of a chapter in Dr. Anna K. Sagal’s first monograph project, Resisting Gardens: Pedagogy and Natural Philosophy in Eighteenth-Century Women’s Work. By providing free, online access to relevant literature, such as Blackwell’s Herbal, the Biodiversity Heritage Library has been an important resource for Sagal’s research on the project.

At first glance one notices the unusual oblong-shaped book at 9” x 7” x 3” in a deep brown leather binding.

Peeking inside, there are pages and pages of botanical woodcuts – more than 1,020 – each with at least two woodcuts per leaf. For our purposes, a woodcut is an illustration engraved into a block of wood.

What is this copiously-illustrated work?

Eicones plantarum seu stirpium, arborum nempe, fructicum, herbarum, fructuum, lignorum, radicum, omnis generis : tam inquilinorum, quàm exoticorum : quæ partim Germania sponte producit, partim ab exteris regionibus allata in Germania plantantur : in gratiam medicinæ reiâque herbariæ studiosorum, in tres partes digestæ : adiecto indice gemino locupletissimo [Francofurti ad Moenum: Nicolao Bassaeo, 1590], by Iacobus  Theodorus (1522 or 1525 – 1590).

Or, using an abridged, summarized, and modernized translated title, “Pictures of plants, trees, herbs, fruits, and roots that are native to Germany and foreign countries, which are used for medicinal purposes, for apothecary students, and divided into three parts with the addition of a double index”.