13 September 2023
Rafael Pereira do Rego is the Interim Programme Manager and Area Specialist at the Eccles Centre for American Studies
It was a great pleasure for the Eccles Centre to welcome the Brazilian Bilingual Book Club to the British Library during the celebration of their 100th edition on Saturday 15th July. The Embassy of Brazil has been running the Book Club for the past nine years with a wide network of international members and friends. This special edition at the Library was an opportunity to deepen ties between our two institutions and to celebrate and invite discussion and reflection on Brazilian literature and culture through the Library’s collections.
The star of the event discussed during the Book Club – and for which we brought a special edition for the show-and-tell presentation – was the classic novella O Alienista (translated in English as ‘The Psychiatrist’ or ‘The Alienist). Originally published in 1882, by the illustrious Brazilian writer Machado de Assis, it is a wonderful short satirical work with an elegant and concise style centred on Dr Bacamarte, an alienist – the designation of psychiatrist in the nineteenth century, from the French ‘aliéniste’ – and his scientific experiments in the town of Itaguai, near Rio de Janeiro. There he established the Casa Verde (Green House) – a cross between a 19th century prototype of a psychiatric asylum and a scientific laboratory – to conduct experiential studies on the human mind. Dr. Bacamarte used his scientific power to define which denizens of the town should be confined to the asylum according to his shifting ideas of normality. As the narrative unfolds, the alienist gets lost in a madness of his own making. O Alienista was included recently in Machado de Assis: 26 Stories (2019) translated by Margaret Jull Costa and Robin Patterson, which among other translations of the title, are available at the British Library.
Machado de Assis is the most celebrated classic Brazilian author, so it is natural that the Library’s holdings will encompass some of his works, but it was very exciting to see the scope and depth of our collections reflecting the interest that his books have attracted from the time of their first publications in Britain. There are over 300 copies of various works by and about Machado de Assis, including some of his earliest works acquired in the nineteenth century, many of which are rare volumes. Nadia Kerecuk, the creator and convenor of the Book Club, very kindly made a list of all of our holdings available. For instance, the British Library holds the first edition of one of his most famous novels Dom Casmurro published in 1889, and the poetry collections Chrysalidas (1866), and Phalenas (1869). In addition, we have some beautiful editions including the 1948 version of the novella with illustrations of one of my favourite Brazilian artists, Cândido Portinari1.
Last year when I visited my hometown, Rio, there was a lovely and comprehensive exhibition at Centro Cultural Banco do Brasil providing an overview of the various facets and languages explored by Portinari – and including some of the illustrations that are present in the selected 1948 edition, as well as from other illustrated editions of Machado de Assis’ Memoria Postumas de Braz Cubas and Miguel de Cervantes’ Don Quixote de la Mancha.
Both Machado de Assis and Cândido Portinari had this incredible capacity to capture the human condition and Brazilian-ness in ways that feel both universal and culturally specific. Portinari was a keen enthusiast of Machado de Assis’ work and both lived in one of the neo-colonial elegant houses in Cosme Velho, a bucolic neighborhood in Rio and perhaps one of my favourite areas of the city. They came from a rather deprived childhood but with unwavering talent and determination, came to represent big names in literature and visual arts.
The 1948 edition was sponsored by the bibliophile and executive Raymundo Ottoni de Castro Maya (1894-1968). It is part of a wider collection named Os Cem Bibliófilos do Brasil (100 Bibliophiles of Brazil) named after a bibliophilic society created by Castro Maya. The society was composed of a hundred personalities of the time, among intellectuals, executives and society figures, which met annually to produce and publish works by great authors of Brazilian literature, illustrated by notable visual artists. In 30 years, they published names such as Machado de Assis, Guimarães Rosa, Jorge Amado, José Lins do Rego, Lima Barreto and Mário de Andrade, with their literary work illustrated by major visual artists such as Di Cavalcanti, Portinari, Iberê Camargo, Cícero Dias, Carybé, among others.
The Brazilian media tycoon Roberto Marinho was part of the select society, alongside names that might be very familiar to Brazilians, such as Walter Moreira Salles, Maria do Carmo de Melo Franco Nabuco, Horácio Klabin, Gilberto Chateaubriand, Francisco Matarazzo Sobrinho, Lineu de Paula Machado, D. Pedro Gastão de Orléans and Bragança, Celso Lafer, Clemente Mariani and Niomar Moniz Sodré Bittencourt.
The artisanal publication of these beautifully illustrated editions was an important initiative, which resulted in the publication of authors and artists portraying Brazil in a variety of themes and motifs. At the same time, it is revealing of the Eurocentric references of Brazilian elites, importing values, techniques and cultural codes to the ‘developing’ country. Castro Maya based this collection on European publishing trends, especially from France where he lived. The publications were generally composed by hand and printed on manual presses. The paper had great quality specifications with rough texture and watermark, supplied by French manufacturers. Many books were engraved with different techniques such as etching, dry point, xylography and lithography.
Each edition took about a year to be completed and each member of the society would receive their own exclusive copy with their names identified and within loose sheets, so the binding could be personalised according to the owners’ tastes. Print runs were limited to about 120 copies. The Society launches took place at gala dinners at Rio’s most exclusive Country Club – established by British executives in 1916 and since then the meeting point of the crème de la crème of carioca society – when auctions were held of the original illustrations not included in the final edition. I was very pleased to find out that the British Library has 20 published copies of the collection Os Cem Bibliófilos do Brasil! Rare and exclusive copies of the beautiful pas-des-deux between classic authors of Brazilian literature and notable visual artists. I hope you can explore more the collection available at the British Library.
After the show-and-tell presentation, O Alienista was specifically addressed during the hybrid meeting of the Brazilian Bilingual Book Club, with members joining from overseas via MS Teams. Nadia Kerecuk prepared a historical background of the publication and a series of questions to direct the engaging discussion with the members of this successful bilingual and bibliophile ‘society’ with the welcomed accompaniment of delicious snacks and wine. Notwithstanding the indisputable differences between the Country Club in Rio and the British Library in London, we could say this was an exclusive gala afternoon!
1To learn more about Candido Portinari’s work please check the five-volume catalogue raisonné available at the British Library organised by his son Joao Candido Portinari as part of the major Portinari Project which has the aim of cataloguing thousands of paintings, drawings and printings, as well digitally processing images and oral history outputs. Some of the audiovisual content of this project is also available via the online platform here.
25 January 2023
Philatelic comics, cartoons and caricatures comprise an important research resource in assessing public response to postage stamp design. Published globally from the nineteenth century to the present era, examples of this genre are in the thousands. Significant cartoonists, writers and illustrators had a hand in their creation, as exemplified by the life and work of the Australian historian, artist and writer Montague Thomas Archibald Wedd.
Born on 5 January 1921 in Glebe, New South Wales, Wedd worked as a junior poster artist for a printing firm, then as a designer and illustrator for a furniture manufacturer. Serving in the Australian Armed Forces during the Second World War temporarily interrupted his studies at the East Sydney Technical College in commercial art. Upon completing his studies on the restoration of peace, he produced his first comic strip under the moniker ‘Monty Wedd’ titled ‘Sword and Sabre.’
Following its commercial success, Wedd developed several other important Australian comics including ‘Bert & Ned,’ ‘Captain Justice’ (Figure 1) and ‘Kirk Raven.’ In 1954, he created his best-selling strip ‘The Scorpion’ and became a prolific cover designer for various pulp fiction novels during the 1950s. In 1963, Wedd turned his hand to animation producing ‘Marco Polo Junior versus the Red Dragon’ and the ‘Lone Ranger.’
Wedd also used his amazing talents of art and narration for didactic purposes. In 1966, he created the cartoon mascot ‘Dollar Bill’ to educate the public about Australia’s imminent switch to decimal currency. Later, he produced artwork for the Captain Cook Bicentenary celebrations in addition to a pioneering biographical comic strip chronicling the life of iconic nineteenth century bushranger, Ned Kelly.
Retiring from comics in 1977, Wedd established a museum dedicated to the Australian army with his wife’s support and published a richly illustrated, informative monograph ‘Australian Military Uniforms 1800-1982’ just five years later in 1982 (Figures 2-3). Returning to comics in 1988, Wedd created the long running historic comic strip ‘The Birth of a Nation’ chronicling Australia’s history published in various newspapers. Given this prodigious output, Wedd received the Order of Australia in 1993 for his services as an author, illustrator and historian. Sadly, he passed away on 4 May 2012 in New South Wales aged ninety.
From its launch in 1954, Wedd provided regular contributions to the important new Australian philatelic magazine ‘Stamp News,’ submitting over two hundred comics and illustrations to the editor, which became one of the publication’s most popular features. In their totality, this corpus of material provides a potted cultural history of the world narrated through the lens of stamps, postal history and collecting.
Wedd’s Stamp News work comprises of three distinct categories. First, ‘Postmen in other lands’ being a potted global history of postal communication from ancient times to modernity. Each instalment comprises a single illustration accompanied with a short body of text as illustrated by shown by these two instalments on the Sleigh Posts of North West Canada and Pony Express of the U.S. Mail (Figures 4-5).
His second, longer-lasting series ‘Stamp Oddities’ developed on the previous format, each one devoted to a particular stamp design or historical vignettes from postal history as well as stamp collecting. These generally comprised several connected or independent illustrations, accompanied with a short paragraph of relevant information. This ‘The Inca Post’ strip takes inspiration from the six-peseta stamp depicting an ‘El Chasqui’ issued as part of Spain’s 1966 ‘Explorers and Colonisers of America’ issue (Figure 6).
Another example, ‘Long Legged Lady’ provides a description of a popular masquerade character performed by the Mother Sally Dance Troupe depicted upon Guyana’s 1969 ‘Christmas’ stamp (Figure 7).
In ‘Fake Signature’ Wedd recalls the public uproar occasioned by the US Post Office’s announcement that it amended George Washington’s signature on the design on the USA 1960 4c stamp of its ‘American Credo’ issue to make it more legible (Figure 8).
‘Women Pirates!!’ was inspired by two stamps from Grenada’s 1970 ‘Pirates’ issue to raise awareness of famous female pirates once active in the Caribbean (Figure 9).
However, Wedd’s most developed contributions comprised single-page comic strips, narrating the cultural contexts of particular stamps or philatelic themes. ‘First Born’ recounts the story of the first baby of English parentage born in America via the United States of America’s 18 August 1937 ‘Virginia Dare’ 5-cent stamp (Figure 10).
‘The Pitch Lake’ based on Trinidad and Tobago’s 1953-1959 ‘Definitive’ issue 6-pence stamp looks into the historic, geological and economic background of this world famous geological landmark (Figure 11).
‘The Legend of Toivita Tapaivita’ was part of of a series commemorating myths and legends of Papua New Guinea (Figure 12). This particular instalment was based on 60-cent stamp of Papua New Guinea’s, 8 June 1966 ‘Folklore, Elema Art’ (1st Series) issue.
The story of how Tierra Del Fuego issued a set of local stamps in 1891 forms the crux of the narrative in ‘Tierra Del Fuego: Land of Fire’ (Figure 13).
Finally, ‘The First Fleet’ focuses on the establishment of Britain’s penal colony in Botany Bay as seen through a couple of Australia’s commemorative postage stamps from 1938 (Figure 14).
Inspired by various texts and illustrations as well as postage stamps, the intertextual nature of Wedd’s work effectively culminated in the generation of creative new cultural meanings. Influencing mid-twentieth century western worldviews, Wedd’s work provides a powerful example of response to postage stamp design from a highly talented artist and influencer.
By Richard Scott Morel, FRPSL
Curator, British Library’s Philatelic Collections
The British Library’s Philatelic Collections: Stamp News Australia.
Toby Burrows and Grant Stone. Comics in Australia and New Zealand. Routledge, 1994.
Monty Wedd. Australian Military Uniforms 1800-1982. Kangaroo Press, 1982.
Monty Wedd. Captain Justice. Sydney, Australia: New Currency Press.
28 November 2022
Barry Robinson is the Robert Haywood Morrison Professor of History at Queens University of Charlotte and was a 2020 British Library Eccles Centre Visiting Fellow.
In August 1895 a committee of prominent musicians and members of the Italian community in Lima, Peru announced a benefit concert to be held on behalf of the seventy-seven-year-old composer Carlos Enrique Pasta. Their stated purpose was “to alleviate the pitiful situation in which the well-known and respectable maestro finds himself in his old age.”1 Pasta had first come to Lima in 1855 as part of the many waves of Italian performers who travelled through and to the Americas during the nineteenth century.
Italian migrants like Pasta brought European content to American audiences, but they also created new performances that drew from local themes and contemporary politics. Pasta’s zarzuela ¡Pobre indio! debuted in Lima on 3 March 1868. The performance included two yaravies and a huayno (indigenous Andean folk ballads and dance, respectively), with the overture incorporating the chorus of the Peruvian National Anthem.2 This cultural exchange filtered back across the Atlantic, with productions of American-inspired work making their way to the most prominent opera houses of Europe.
Pasta’s best remembered work, the opera Atahualpa, recast the Inca emperor as a tragic and nuanced figure, set to a melancholy and melodious score. His librettist, Antonio Ghislanzoni, also authored the libretto for Verdi’s Aida. Pasta returned to Italy for the debut of Atahualpa in November 1875 at Genoa’s Teatro Paganini, where critics reported “applause galore – more than twenty calls to the maestro – Bravo Maestro Pasta!”3 Atahualpa’s success continued at the Teatro alla Scala in Milan, but by January 1877 Pasta had returned to Lima for the opera’s Peruvian debut at the Teatro Principal.4 He continued to compose zarzuelas over the next few years. As of 1887 he was offering his services to the citizens of Lima as a piano and voice teacher.5
Along with my colleague, Dr. Lucia Galleno, I have been constructing a database of hundreds of individuals like Carlo Enrico Pasta to track the movement of Italian opera performers (singers, musicians, and empresarios) from Italy to the Americas in the nineteenth century. We are employing traditional historical research along with techniques from the digital humanities and geospatial analysis to identify broader patterns among the companies, theatres, and performers who formed part of this influential cultural transference. Their stories might best be visualized as a fluid network of journeys spanning the Atlantic and centering on urban hubs with theatres connecting to the international tour circuits.6
Lima makes for a revealing node from which to begin charting these transatlantic opera networks. Italian opera served as a vibrant element of the city’s cultural life, drawing large crowds of passionate supporters who often engaged in vigorous public critiques and debates, occasionally spilling over into physical violence.7 In 1896, the year after the benefit concert for Maestro Pasta, famed Peruvian literary figure Manuel Moncloa y Covarrubias recalled the vigorous partisanship surrounding the career of soprano Clotilde Barilli in the 1850s, labelling it “a scandal of colossal proportions.”8 Barilli’s fans developed such a furious rivalry with those of the O’Loghlin theatre company that in the 1852 season grave wounds were delivered with a rapiers and firearms, to the point that General Pedro Cisneros de la Torre called in an infantry battalion to restore order. In his Mujeres de teatro, Moncloa y Covarrubias notes that, given the politically fluid nature of those times, this action put the inhabitants of the entire city in a state of great alarm.9
The British Library Reader Pass has provided an invaluable opportunity to connect nineteenth century Italian migrants more fully to the communities in which they lived and performed, and to trace their movement across the Atlantic from cities like London, Madrid, and Milan through our focal point of Lima, Peru, and around the Americas to cultural hubs such as New York, Havana, and New Orleans.
The career of Clorinda Corradi Pantanelli, credited by Basadre with “definitively popularizing” Italian opera in Peru during the season that began on 2 September, 1840, illustrates the scope of this movement.10 After initiating her career in Italy and Spain in the 1820s and 1830s, Corradi Pantanelli sang in Havana, Cuba as a part of a company managed by her husband, Raffaele Pantanelli, from 1836 to 1839. During an interim 1837 season at the St. Charles Theatre in New Orleans, two other performers “absconded” from the company and the empresario engaged in a heated financial dispute with the owner of the St. Charles.11
Corradi Pantanelli’s company arrived in Peru in 1840. The immediate popularity of Corradi Pantanelli’s performance in Lima prompted conservative literary figure Felipe Pardo y Aliaga to publish an essay entitled “Opera y nacionalismo” in October 1840, in which he critiqued what he viewed as a liberal, mercantile fascination with this foreign art form as an ornament of national modernity. Pardo y Aliaga protested that “Nonsensical nationalism has produced few more original phenomena than the one observed on the occasion of the arrival of the Italian company that today charms this capital.”12
Corradi Pantanelli’s company remained in Lima until April 1844, when they continued southward to Chile. They opened the newly constructed Teatro Victoria in Valparaiso in December.13 Corradi Pantanelli continued to perform in Chile over the next decade. Records of the University of Chile show that she took a post as a professor at the National Conservatory of Music in May of 1861.14
The career of mezzo-soprano Estefanía Collamarini provides a final example of the migrant trajectories of these performers. In 1898 Moncloa y Covarrubias characterized Collamarini as “the most splendidly beautiful Carmen we have had [in Lima]”.15 The following year Collamarini ranged as widely as Mexico City, San Francisco, and even Kansas City, Missouri, where she personally funded a reorganization of the stranded Lombardi Opera Company to enable it to complete its tour of the United States.16 Collamarini returned to South America where she continued to perform through at least 1905, when she performed at the Teatro de Sao Pedro d’Alcantara in Rio de Janeiro.17
The British Library affords world class access to a wealth of source material that is not accessible at our home institution, including memoirs, catalogues of performances, photos and paintings, diagrams of theatres, an outstanding general reference collection, and excellent nineteenth century newspaper collections (including both hard copy and digital databases). The Eccles Centre Visiting Fellowship has enabled me to track the locations and management of theatres, the movement of individuals and opera companies, and the public reactions and responses to their performances in the major cities of South and North America. These materials help us to transcend the violence of abstraction by putting a personal and individual contour onto the data, adding a human voice to the historic drama that the performers experiences represent.
1. El Comercio (Lima, Peru) 19 August 1895. British Library e-resources, Readex: World Newspaper Archive.
2. Jorge Basadre, Historia de la República del Perú (Lima, 1961-1968), Vol. IV, p. 1903, BL shelfmark: W31/3274. Basadre points out that this debut occurred during a period of heightened indigenismo in Lima. A zarzuela differs from an opera in that it intersperses the music and singing with sections of unaccompanied spoken verse. Vera Wolkowicz views the huayno and yaraví as part of the early foundation of national Peruvian music, and cites Pasta as the first composer of any nationality to incorporate Andean folk elements into his compositions. Vera Wolkowicz, Inca Music Reimagined: Indigenist Discourses in Latin American Art Music (Oxford University Press, 2022) p. 57.
3. Carlo Civallero, “Gazzetino di Genova,” 29 November and 9 Dicembre, in: Appolonio e Caprin, L'Arte: Rassegna di teatri, scienzi e lettere con annessa Agenzia. Trieste, 30 November 1875 No. 33, p. 3 and 13 December 1875, No. 34, p. 3.
4. On August 6, 2015, Lima’s Gran Teatro Nacional hosted a resurrected performance of Pasta’s Atahualpa for the first time since the nineteenth century. El Comercio (Lima, Peru) 7 August 2015. British Library e-resources, Readex: World Newspaper Archive.
5. El Comercio (Lima, Peru) 9 October 1887, British Library e-resources, Readex: World Newspaper Archive. The Hotel de Francia é Inglaterra was located at 204 Calle Judíos.
6. John Rosselli has identified a number of seasonal patterns to this movement, which he categorizes into three distinct circuits: 1) Austral America (including Brazil, Uruguay, and Argentina), 2) the Circum-Caribbean, including Havana, Caracas, and major cities in the Eastern United States, and 3) a Pacific circuit extending from Mexico up to San Francisco and down through Central America to Peru and Chile. John Roselli, “The Opera Business and the Italian Immigrant Community in Latin America 1820-1930: The Example of Buenos Aires.” Past & Present, May, 1990, No. 127, pp 165-166.
7. Robert Stevenson’s Foundations of New World Opera (Lima: Pacific Press, 1973) BL shelfmark YM.1991.b.9 and Chad Gasta’s Transatlantic Arias: Early Opera in Spain and the New World (Madrid: Iberoamericana, 2013) BL shelfmark YD.2014.a.786, identify Peru as a center of early New World Opera through the eighteenth century, but scholars of nineteenth century opera tend to overlook Peru.
8. Moncloa y Covarrubias often used the pen name M. Cloamón. M. Cloamón, “De telón adentro,” El Comercio (Lima, Peru) 29 May, 1896, British Library e-resources, Readex: World Newspaper Archive. His extensive Diccionario teatral del Perú (Badiola y Berrio, 1905) offers a vital foundation for identifying specific Italian opera performers at a date and theatre in Lima, and identifying their company and the works they performed.
9. Enrica Jemma Glickman, “Italian Dramatic Companies and the Peruvian Stage in the 1870s,” Latin American Theatre Review, Spring 1973, p. 43; Manuel Moncloa y Covarrubias, Mujeres de teatro: apuntes, perfiles, y recuerdos (Callao, Imp. El Progreso, 1910) p. 11.
10. Jorge Basadre, Historia de la República del Perú (Lima, 1961-1968), Vol. II, p. 399, BL shelfmark W31/3272.
11. Times-Picayune (New Orleans, Louisiana) 8 June 1837. British Library e-resources, Readex: World Newspaper Archive; Katherine K. Preston, Opera on the Road: Traveling Opera Troupes in the United States, 1825-60. (Music in American Life. Urbana: University of Illinois Press, 1993) pp. 113-117, BL shelfmark 93/24434.
12. Felipe Pardo y Aliaga, “Opera y nacionalismo,” in: El espejo de mi tierra. Edición y estudio preliminar de Alberto Tauro (Lima: Editorial Universo, 1971) pp. 74-89, BL shelfmark X.907/12764.
13. José Manuel Izquierdo Konig details the process of constructing the Teatro Victoria in: “The Invention of an Opera House: The 1844 Teatro Victoria in Valparaiso, Chile,” Cambridge Opera Journal, Vol. 32, 2021, p. 140.
14. Anales de la Universidad de Chile: memorias científicas y literarias, Volume 18 (Universidad de Chile, 1861) p. 603, BL shelfmark Ac.2693.
15. Moncloa y Covarrubias, Diccionario teatral del Perú (Badiola y Berrio, 1905) p. 51.
16. Manuel Mañon, Historia del Teatro Principal de México (México, 1932) p. 209, BL shelfmark, 11795.tt.36; “Stranded Opera Company Reorganizes.” New York Times (1857-1922); Oct 24, 1899.
17. Richard Langham Smith and Clair Rowden, eds. Carmen Abroad: Bizet's Opera on the Global Stage (Cambridge University Press, 2020) p. 162, BL shelfmark YC.2022.b.205.
10 August 2022
Kathryn Sampeck is Associate Professor of Anthropology at Illinois State University and was the 2021-22 British Library Eccles Centre Fulbright Scholar.
I arrived in London with all kinds of baggage—not only clothes, personal items, and tech to see me through six months of my UK Fulbright at the Eccles Centre, but also expectations about what I would find in the archives. My project investigates the relationships of race and food. I am interested in a notable case: chocolate and vanilla. I knew from previous research that these two substances had a long history of being paired (chocolate and vanilla “go together”) yet also semantic and culinary opposites (a difference of black and white; one cannot substitute for the other). One version of the semantic contrast of the two is as racial metaphors. For example, a 1974 article in Jet magazine describes how entertainer Connie Stevens “began her act with two Black dancers and two white dancers by saying that she has two daughters at home—‘one Chocolate and one Vanilla.’”
I knew from previous research that the association of chocolate with a dark colour, pejorative qualities such as sinfulness, and racial blackness occurred as early as the seventeenth century; the evidence was less clear about vanilla’s linkage with the colour white, purity, a bland taste, and racial whiteness. I assumed that I had not looked in the right places. Surely the British Library’s mountain of rare chronicles and medical and culinary books and manuscripts would fill in the gaps about when and how vanilla got its reputation. I thought vanilla would be there, perhaps a bit everywhere, and I had overlooked it because I was focusing on chocolate. My months in the archive and in British grocery stores and restaurants showed me how wrong I was! I now understand that I had an American bias about vanilla. My American bias is that vanilla is the go-to flavour for almost anything, and I assumed that such vanilla use had its roots in British cookery and medical practice. My deep dive into the British Library holdings showed this to be untrue. It is not until the nineteenth century that, as Mrs. Beeton claimed, vanilla was “in daily use for ices, chocolates, and flavouring confectionary generally.”
I wanted to know more about how vanilla fit in with other American ingestibles, so I cast my net broadly, looking for mentions in diverse kinds of documents of any American plants or foods. What I found surprised me, even after years of chocolate-focused research. More common than chocolate were turkey and potatoes, with the latter a regular entry in Queen Anne of Denmark's Household Book (Harley MS 157) from 1613.
A close second was sassafras (Sassafras albidum), a tree native to eastern North America, showing up in botanical, medical, and culinary works by people including James Petiver, Apothecary to the Charter-House (“Virtues of herbs”, Sloane MS 2346), a multi-authored 1619-1674 note-book of medical and culinary recipes (Add MS 36308), Mary Glover’s 1688 cookery and medical receipts (Add MS 57944), and most prominently, in Pierre-François-Xavier de Charlevoix’s 1744 history and description of New France. Much less common—yet still more common than vanilla—was cochineal, a tiny parasitic insect (Dactylopius coccus) native to the tropical and subtropical Americas that feeds on prickly pear cacti (genus Opuntia). The dried, ground bodies of these insects yield the brilliant red, durable natural dye carmine, which certainly gave a rosy tint to those seventeenth-century concoctions.
The works that noted sassafras, cochineal, and other American substances often also included of cocoa or chocolate, such as the seventeenth-century Medicamenta usitatiora by George Bate, MD (Sloane MS 519). Cocoa or chocolate often occurred on its own (with sugar, water, milk, or cream); the most common additional flavour to chocolate was vanilla, a pairing that various sources from the earliest mentions to well into the nineteenth century claimed improved the taste of chocolate (and made it cost more!).
Culinary and medical recipes “white” or “clear” foods were abundant and had flavourings such as ambergris, sugar, mace, and cinnamon, but no vanilla.
Why didn’t one of these substances pegged as white become the contrast to chocolate? I found one clue in the seventeenth-century Observations on the preparation and virtues of Chocolate (Sloane MS 1471). After discussing the medical and sensorial qualities of “Bainilla”, the author goes on to describe that “All those Ingredients are usually put into the Chocolatte…But the meaner sort of people, as blackmors, and Indians commonly put nothing into it, but Cacao, Achiotte, Maiz, and a few Chiley with a little Anny seeds.” Chocolate consumption in itself did not distinguish race and class, but the subtleties that people added to it drew a sharp distinction between people of colour and (by implication, white) people of taste. The “Account of the inhabitants of Cathagena from Ulloa’s Voyage to South-America” in the New York Magazine; or A Literary Repository for July, 1792 echoes a similar complaint that chocolate (there known as cacao) was so common that an enslaved Black person “constantly allows himself a regale of it after breakfast” and Black women “sell it ready made about the streets”; their habit was to consume cacao with wheat bread. So, chocolate was cheap, easily available, and a significant part of the diet of Afro-Latin Americans, but the authors complain—and thereby distinguish their tastes from these South American Blacks—that it was not good (i.e. pure) chocolate: “This is however so far from being all cacao, that the principal ingredient is maize.”
The implication of these and other complaints is that in the hands of people of colour, chocolate did not realise its full potential for flavour. Furthermore, not just any flavour would enhance chocolate—vanilla was a key to good taste, worth paying more for. This brings me to the discovery that surprised me the most: vanilla became increasingly associated with the colour white in foods or medicines after it was associated with racial whiteness. Vanilla and chocolate history give a remarkable view into the depth of the history of the construction of racial disparities; colour did not precede colourizing.
08 August 2022
The Eccles Centre recently hosted a one-day symposium on Black Women’s Activism in the Americas, in collaboration with the Society for the History of Women in the Americas (SHAW). The day included a Show and Tell for the delegates, inspired by some of the topics under discussion. Here are some highlights from the display.
A few years ago the Library acquired a number of issues of Spotlight magazine. Produced by American Youth for Democracy during World War Two (formerly the Young Communist League), it was edited by Claudia Jones, the Trinidad and Tobago-born journalist and activist who emigrated to the US as a child.
Following the persecution of Communists by the US Government, Jones was deported to Britain in 1955. She continued her Communist activism in the UK and went on to found Britain’s first major black newspaper, the West Indian Gazette, in 1958, and played a major role in founding the Notting Hill Carnival. You can read more about Jones’ life and work in the British Library’s Windrush Stories online exhibition here. As with many histories of activism by women of colour, Jones’ legacy was maintained for many years by community activists and historians, through works such as Claudia Jones, 1915-1964: A Woman of Our Times [researched and compiled by Jennifer Tyson], published by Camden Black Sisters Publications in c1988.
Later US Communist activist and scholar Angela Davis was also represented with the Show and Tell including a number of works produced around her imprisonment in 1971 on murder and kidnapping charges. The case generated interest around the world and the display included items published in the UK and Germany demonstrating solidarity with her case, as well as a booklet produced by the United States Information Service and distributed by the US Embassy in London which endeavoured to present the ‘legal background’ to the case.
Alongside Official Government Publications, such as the USIS booklet shown above, another type of collection item which may be less familiar to British Library researchers are examples of political ephemera. The Library continues to acquire a range of this type of material including this striking broadside “I Am A Black Woman Communist”, featuring a portrait of Angela Davis, which was produced for the 20th Convention of the Communist Party USA in New York in February 1972. The following quote is printed beneath her portrait: "I am a black woman Communist / the corrupt government of this country could not accept such a combination / this is why they launch an effort to murder me." The artist's signature, identified only as ‘Sherman,’ is printed at upper right corner.
The political ephemera continued with election pamphlets produced by the Worker’s Party (PT, Partido dos Trabalhadores) during Brazilian federal elections in 1982. Included amongst those standing for office was Lélia Gonzalez, the leading Afro-Brazilian feminist, intellectual, politician, professor, anthropologist and Black and women’s rights activist. Her influential concept of Amefricanidade or ‘Amefricanity’ references both the black diaspora and indigenous populations of the Americas, signalling their histories of resistance as colonised peoples. Among a long career in activism and education, she ran as a federal candidate for the Worker’s Party in 1982. The broader context of the PT slate of candidates (included at the same shelfmark) provide fascinating insights in to the range of social justice concerns active in Brazilian politics in the early 1980s, including gay rights.
An underused part of the Library’s holdings, the Philatelic Collections offer a fascinating way into many different aspects of social and political histories. The Show and Tell was enriched by items from our Philatelic colleagues which illustrated the way black women’s activism has been commemorated on stamps, in turn helping to construct national and international conversations about women’s history and achievements. To find out more about Philately at the British Library, visit their subject page or their social media channels.
By Cara Rodway, Eccles Centre, August 2022 (with thanks to my Eccles and Americas colleagues for their help developing and mounting the Show and Tell)
31 May 2022
In the latest of our blogs on digital resources for Americas Studies, the Eccles Centre's Philip Abraham looks at the early period of European contact and invasion of the Americas. Remember, once you have your Reader Pass a number of these e-resources can be accessed remotely, from the comfort of your own home.
The emergence of what many scholars now think of as Vast Early America during the early modern period is one of the central pivots of global history.  The emergence of an Atlantic world during the two centuries after 1450 was a complex and truly transnational phenomenon, which involved the transfer and circulation (often violent and coerced) of peoples, plants, animals, goods and ideas between Europe, Africa and the Americas.
Because this moment involved so many different kinds of people and things scattered across three continents, it is also a subject that particularly benefits from the development of digital platforms. Digital technology allows researchers to bring together documents and sources from institutions and repositories from around the world in a way that was only possible for the most privileged researchers in the analogue age. These platforms often also include features like maps and infographics which help students and researchers to visualize the movements and voyages that are so fundamental to understanding these histories.
This blog is going to focus on some of the more specialized digital platforms and resources available through the British Library, but it is always worth remembering that some of the more general resources for the humanities (and early modern studies in particular) have a lot to offer. 
For building a bibliography, general resources that have been mentioned elsewhere, like the Hispanic American Periodicals Index, America: History & Life and the Bibliography of British and Irish History (which, despite the name, also covers the British Empire in North America and the Caribbean, and Britain's military, economic and diplomatic relations with Latin America) are indispensable starting points. These platforms rely on keywords searches, however, which is great if you have a fairly specific idea of what you are looking for, but less useful if you’re entering a subject for the first time and would like a bit more guidance. For those new to the subject, the best jumping off point for building a reading list are the annotated bibliographies in Atlantic History available through Oxford Bibliographies. Assembled by world-leading experts and covering 360 themes ranging from ‘African Retailers and Small Artisans’ to ‘Dreams and Dreaming’ in the Atlantic world, it is an eclectic but extremely inspiring way into the subject.
Again, many of the general platforms for early modern studies offer important pathways into the subject of Europe’s overseas expansion. Early English Books Online (which has a digitized copy of almost every book printed in the British Isles and North America before 1700) is invaluable if you are interested in the ideas that animated England’s engagement with the Atlantic, as you can retrieve texts like Richard Hakluyt’s foundational treatise, Principal Navigations, Voyages and Discoveries of the English Nation, at the click of a button.
EEBO (as those in the know call it!) is an amazing achievement but again, it rewards those that know what they are looking for. European Views of the Americas, 1493-1750 similarly does not easily facilitate browsing but is a really useful gateway into online primary sources for more experienced researchers. There are no comparable resources available through the British Library in languages other than English, however, so if you want to get a more pan-European, indeed pan-Atlantic, perspective, some of the specially curated platforms are very useful.
Its somewhat old-fashioned (indeed, some might say problematically euphemistic) title notwithstanding, Age of Exploration, c. 1420-1920 is a really dynamic and compelling way into the subject, and has a number of really useful features. It has hundreds of documents relating to Europe’s colonization of the Americas (as well as Europe’s colonization of other regions of the world, as it is not focused solely on the Atlantic), organized into collections and themes to make browsing much easier. A particularly useful feature are the interactive maps, which not only chart the routes taken by some of the most significant voyages of exploration during this period, but connects these to fascinating primary sources. For instance, the map plotting William Baffin’s second voyage (March – August 1616) in search of the fabled Northwest Passage connecting the Atlantic and Pacific Oceans links to a full digitization of his account of the journey and the log of the voyage. 
Other documentary highlights include a digitized copy of Antonio de la Ascensión’s 220 page account of Sebastián Vizcaíno’s voyage along the coast of California in 1602-1603, and an equally long manuscript describing the conquistador Pedro de Valdivia’s subjugation of Chile in the 1540s.
Age of Exploration also features videos by leading scholars introducing a number of topics, as well as essays and biographies of several major white European men involved in the exploration and invasion of the Americas. Other curated platforms that similarly offer in-depth access to select primary sources together with helpful editorial or secondary interpretive material include Global Commodities: Trade, Exploration & Cultural Exchange, which uses datasets, documents and maps relating to 15 raw and manufactured goods such as fur, silver and gold, sugar and coffee as ways into global history. Empire Online covers the British Empire from a broad range of perspectives. Obviously, the African and Indigenous experiences need to be brought into view before a full picture of the emergence of the early modern Americas can be made, but these resources on European travel, war-making, trade and early settlement are a good starting point.
 This notion was developed by the Omohundro Institute of Early American History and Culture, and is very well articulated by former Director Karin Wulf here.
 This blog will not deal in depth with digital resources concerned with the Atlantic slave trade, or the Indigenous American experience of European colonization. Look out for blogs that will deal with these themes in the future.
 This happens to a British Library manuscript. William Baffin, True Relation of his Fourth Voyage for the discovery of a north-west passage, in the year 1615; preceded by the Log of the voyage, Add MS 12206.
03 May 2022
The fortieth anniversary of the Falkland Islands War is an opportunity to draw attention to the extensive collections on the subject, British and Argentinian, in the BL.
One immediate effect on the then Hispanic Section of the Library, responsible for acquisitions from all Spanish- and Portuguese-speaking countries (we are now split into European Collections and American Collections) was that books from Argentina bought for the Library were impounded at Dover and curators had to examine them to satisfy the authorities that they were not a threat to national security.
Showcase items from the period might include the volumes of ephemera collected and donated to the BL by Argentinian journalist Andrew Graham-Yooll (1944-2019), who had fearlessly exposed the Junta’s ‘dirty war’ at risk of his life.
[A collection of communiqués issued by the Argentine government relating to the Falkland Islands War of 1982]. Shelfmark: HS.74/2206
[A collection of communiqúes issued by the Argentine Government and printed ephemera relating to the Falklands Islands War of 1982]. Shelfmark: HS.74/2207
[A collection of newspaper cuttings from US and Argentine papers relating to the Falkland Islands War]. Shelfmark: HS.74/2208
Researchers though don’t go to a library to see standout items but common or garden books and journals. According to Explore, we have 618 books on the subject (Search “Falkland Islands War 1982”), 333 in English and 263 in Spanish. One shouldn’t give greater attention to one publisher over another, but 44 of these are published in Buenos Aires by Falklands specialists Ediciones Argentinidad and 4 by Grupo Argentinidad. On both sides of the Atlantic the anniversary year has encouraged publication of personal testimonies by combatants of both parties.
Blog post by Barry Taylor, European Collections
30 March 2022
It’s been a while since we’ve been able to do ‘in real life’ show and tells for students attending the Library’s Doctoral Open Days so the Americas and Oceania Collections Curatorial team and Eccles team were delighted to be able to discuss a selection of items from the collections with researchers at the latest on-site sessions.
On 4 and 7 March 2022, a number of students from all disciplines visited the Library’s site at St Pancras to get better acquainted with the services and collections available for their research, inspiration and enjoyment. Theses practical sessions were offered to all who attended our PhD webinars that took place earlier in the year.
The days give the chance to attend Reader Registration appointments, go on building tours, take advantage of drop-in sessions with Reference Services, see how collection items are handled and conserved, and come along to show and tells with curatorial teams across the Library to see and discuss items from different collections.
Asian and African Collections, British and European Collections, Music Collections, Digital Collections and Resources, Contemporary Society and Culture Collections, and Maps and Visual Arts Collections all took part. We love being part of these days; not only do we get to meet new researchers and discuss their work, but we also get the chance to see colleagues from other collection areas and chat with them about the items in their remit and beyond – both things that have been much-missed in-person activities over the past two years.
For those unable to attend, we thought we’d share a few things with you digitally instead! Here are a selection of items that the Americas and Oceania team displayed over the two days:
DOWN THE RABBIT HOLE
Text by Lewis Carroll; designed by Tara Bryan
Flatrock, Newfoundland, Canada: Walking Bird Press, 2016
Lewis Carroll’s original manuscript for Alice's Adventures Under Ground is housed at the British Library, so we are always excited to see how the tale has been re-imagined, re-interpreted and re-illustrated over the last 160 years. This item invites readers into the rabbit hole, with the words from Carroll tunnelling down and down… just as Alice did. This artists’ book was designed by Tara Bryan in her studio in Newfoundland. One of only 40 copies, it is made from delicate handmade Thai Bamboo paper and Japanese paper.
FOR HOME USE: A BOOK OF REFERENCE ON MANY SUBJECTS RELATIVE TO THE TABLE
Proprietors of Angostura Bitters
Trinidad: Angostura Bitters (Publication year unknown/Donated)
This item speaks to culinary social history, especially concerning those deemed belonging to the middle and upper classes of Trinidad and Tobago. ‘Invaluable to the Host and Hostess’, this book of recipes by the makers of Angostura Bitters, is an example of great marketing from a bygone era.
SÃO FERNANDO BEIRA-MAR: CANTIGA DE ESCÁRNIO E MALDIZER
São Paulo: Dulcinéia Catadora, 2007
LA MUJER DE LOS SUEÑOS DEL DOMADOR DE YAKARÉS
Asunción: Yiyi Jambo, 2008
TRIPLE FRONTERA DREAMS
Buenos Aires: Eloísa Cartonera, 2012
CARTONERAS IN TRANSLATION = CARTONERAS EN TRADUCCIÓN = CARTONERAS EM TRADUÇÃO: ANTOLOGÍA
Lucy Bell et al., eds.
Cuernavaca: La Cartonera, 2018
Cartoneras are books of poetry, literature, and translations made with covers from salvaged cardboard with original illustrations in acrylic colours made by members of cartonera workshops. Their illustrated cardboard covers are often anonymous, even when created by famous artists, or signed by all members of the publishing group in a clear attempt to promote the community effort over the individual artist. The focus is on making books together and giving everyone access to reading and writing their stories.
Cartonera books are not only visually beautiful, but also make a critical intervention in publishing and reading cultures in Latin America starting in the wake of the financial crisis in Argentina with Eloísa Cartonera in 2003. This type of cheap community publishing spread quickly across the region and allowed other Latin American countries plagued by economic and social inequality to appropriate reading and book-making practices creatively and in a community-based way.
LIP MAGAZINE ISSUE 1
Frances (Budden) Phoenix (featured artist)
Melbourne, Australia: Women in the Visual Arts Collective, 1976
Lip was an Australian feminist journal self-published by a collective of women in Melbourne between 1976 and 1984. The art and politics expressed in the journal provide a fascinating record of the Women’s Liberation era in Australia. The inaugural issue seen here includes articles on writer Dorothy Hewett, Australian embroidery, and Australian feminist art, film and performing arts, as well as a double page removable centerfold: a doily vulva artwork called ‘Soft Aggression’ by artist Frances (Budden) Phoenix. Phoenix was an Australian feminist artist who helped to establish the Women’s Domestic Needlework Group, and known for her provocative textile and needlework which subverted traditional notions of women’s domestic crafts. In her centerfold here, she revisits the tradition of women inscribing messages into their work and includes the directive to readers: “female culture is in the minds, hearts and secret dialogues of women. Use your culture in your own defence: use soft aggression.”
THE LITERARY VOYAGER OR MUZZENIEGUN
Henry Rowe Schoolcraft, edited with an introduction by Philip P. Mason
[East Lansing]: Michigan State University Press, 1962.
ALGIC RESEARCHES, COMPRISING INQUIRIES RESPECTING THE MENTAL CHARACTERISTICS OF THE NORTH AMERICAN INDIANS: FIRST SERIES: INDIAN TALES AND LEGENDS
Henry Rowe Schoolcraft
New York, 1839.
In 1962, scholar Philip P. Mason collected and republished the entirety of the manuscript magazine The Literary Voyager. Originally produced between December 1826 and April 1827 by Henry Rowe Schoolcraft, it is considered to be the first periodical related to Native American culture. Its alternative title, Muzzeniegun is Ojibwe for ‘book’.
Schoolcraft, an ethnologist and Indian Agent in Sault Ste. Marie, Michigan, handwrote a few copies of each issue which were posted to friends and family. Schoolcraft was married to Bamewawagezhikaquay, also known as Jane Johnston Schoolcraft, who was of Ojibwa and Scots-Irish ancestry. She is considered to be the first known Native American woman writer. Notably she wrote in both English and Ojibwe. Many of her poems and traditional stories were included in The Literary Voyager, however she does not receive credit for her work. Her mother, from whom Schoolcraft also collected traditional stories and cultural knowledge, is also not named. It has taken considerable efforts by Native American literary scholars to correct this historical omission, and to bring attention to this important Ojibwe voice.
Some of Bamewawagezhikaquay’s stories were later published in Algic Researches, also compiled by Henry Rowe Schoolcraft. This Library copy is an original edition from 1839.
We’d like to thank our colleagues in the Library’s Research Development Team for organising the webinars and in-person sessions, and to our friends in the Eccles Centre for American Studies for their support in helping the days run smoothly.
As the Library continues to working hard at both our sites to make sure everyone can visit us safely, we are looking forward to the opportunity to run similar sessions and meet more of you in person over the coming year.
Americas and Oceania Collections blog recent posts
- Machado de Assis, Portinari and the Bilingual Brazilian Book Club at the British Library
- The World According to Monty Wedd: Philatelic Comics, Cartoons and Caricatures
- Tracing Italian Opera Performers in the Nineteenth Century Americas
- In Search of Vanilla
- Black Women’s Activism in the Americas
- E-Resources on European Colonization in the Americas to c.1650
- The Falklands forty years on
- A welcome return for on-site Doctoral Open Days
- The Value of Libraries: a report from the Hay Festival, Cartagena, Colombia
- Slavery and the Sugar Trade: cataloguing five bills of lading