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Mary Vaux Walcott

Mary Vaux Walcott surveyed glaciers, climbed mountain peaks and painted over 1,000 wildflowers - botanical watercolours with the precision of a naturalist.


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Mary Vaux Walcott

Mary Vaux Walcott surveyed glaciers, climbed mountain peaks and painted over 1,000 wildflowers - botanical watercolours with the precision of a naturalist. more about the artist
United States of America · 1860–1940 · Nonclassified artists · 1489 artworks found
Mary Vaux Walcott
1860–1940
BornJuly 31, 1860 (Philadelphia)
DiedAugust 22, 1940 (St. Andrews) at the age of 80
NationalityUnited States of America
Genrefloral painting
Professionbotanical illustrator, painter, photographer, botanist, scientific illustrator
Family
Father: George Vaux
Mother: Sarah H. Morris Vaux
Sibling: George, Jr. Vaux
Notable worksAlaska Fleabane (Erigeron salsuginosus) (1925), Alberta Paintbrush (Catilleja miniata) (1920), Alberta Primrose (Primula maccalliana) (1917), Aleutian Fleabane (Erigeron unalaschensis) (1900), Alpine Fernlife (Pedicularis contorta) (1907)
MuseumsSmithsonian American Art Museum

Mary Vaux Walcott

On a frosty morning at a camp in the Canadian Rocky Mountains, a woman in her sixties sat outside her open tent; a campfire kept the cold at bay, and with her brush she was painting a watercolour of a wildflower. A photograph from 1925 captures this scene, and it reveals more about Mary Vaux Walcott (1860-1940) than any studio portrait ever could: The studio of this American botanical watercolourist and naturalist was a tent camp; her subject was a freshly picked flower, which she had to paint before the colours faded.

Anyone who looks closely at her works will find this fieldwork preserved within them. ‘Western service tree Sorbus sambucifolia, 1918’ shows a twig full of orange-red berry clusters amongst finely serrated pinnate leaves; in the bottom right-hand corner, in her handwriting, is written ‘Vermilion Pass 9.15.1918’ - the place and date of the find, just as in a field notebook. ‘American chestnut, Castanea dentata, 1932’ depicts a spiny husk opening to reveal three glossy chestnuts. Against the light background, both twigs appear as though laid out for an identification guide.

This precision had a long history. Born on 31 July 1860 in Philadelphia, Mary Morris Vaux grew up as the eldest child of a wealthy, devout Quaker family. At the age of eight she was given a set of watercolours; at fourteen she painted ‘Untitled - Autumn Leaves, 1874’, a sheet featuring red and autumn-brown maple leaves on a slender twig, alongside which, in red lettering, are the initials ‘M.M.V.’ - Mary Morris Vaux, her maiden name. Following her mother’s death in 1880, she took charge of the household for her father and two brothers. In 1887, the family travelled west for the first time, covering some 10,000 miles by train, carriage, ferry and on horseback, as far as the Illecillewaet Glacier in the Canadian Selkirk Mountains. When the family returned years later, the ice had visibly receded, and their travel impressions gave rise to a series of measurements spanning decades - fixed points in the rock, rope lines, and steel plates painted red each year on the ice, which made it possible to track the retreat of the ice. These observations are regarded as Canada’s first formal glacier study. On 21 July 1900, ten days before her fortieth birthday, Mary Vaux climbed Mount Stephen with two Swiss mountain guides, the first documented ascent of a peak over 10,000 feet by a woman in Canada. Since 1908, a mountain in Jasper National Park has borne her name, named by her friend, the explorer Mary Schäffer Warren - one woman naming a mountain after another.

One summer, a botanist asked her to paint a rare flowering arnica; the result was so compelling that from then on she made a point of seeking out flowering species. On her mountain expeditions, she met Charles Doolittle Walcott, the palaeontologist at the helm of the Smithsonian Institution; in her letters, she addressed him as ‘Thou’ and ‘Thee’, using the archaic Quaker form of address. The two married in 1914; she was 54. From then on, the couple spent three to four months every summer at their camp in the Rockies: he searched for fossils, she painted wildflowers; over the decades, she produced more than 1,000 watercolours. From 1925 onwards, these were published as *North American Wild Flowers*, five volumes comprising 400 loose plates. The New York printer William Edwin Rudge applied layers of waterproof ink to heavy cotton paper and immersed the finished sheets in water until the fibres stood on end and the smooth printed surface once again took on the fine, rough texture of watercolour paper. She herself felt that the result was almost indistinguishable from a painted sheet, and the work earned her the nickname ‘Audubon of Botany’, after the great American bird painter Audubon.

She continued to paint right up until her final decade. ‘Wake-Robin Trillium simile, 1939’ was created when she was 78; the sheet depicts two white, three-petalled flowers beneath broad, strongly veined leaves, and the signature ‘M.V.W. 5.3.’39’ - now using the initials of her married name - indicates the date. She had celebrated her 75th birthday with a 20-mile horse ride, and spent her last summer in the Rockies at the age of 79. On 22 August 1940, Mary Vaux Walcott died whilst staying with friends in St Andrews, in the Canadian province of New Brunswick, shortly after her 80th birthday. Several hundred of her watercolours were later donated as a complete collection to the Smithsonian Institution.

The printers of 1925 were already aware that much depended on the paper for this artist; they dipped each sheet individually into a water bath. At Meisterdrucke, this task is now fulfilled by a very rough, pure-cotton handmade card, which is particularly well-suited to botanical illustrations and centrally positioned motifs; its open surface restores the fine grain of a watercolour to Walcott’s berry clusters and petals. A word of honesty is in order - on very dark areas, individual fibres may come loose; this is the nature of this paper, and we prefer to mention it in advance. For display on the wall, we therefore recommend framing behind glass, for the sake of the rough paper and the wildflower.

Artworks by Mary Vaux Walcott

1489 artworks found
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Mary Vaux Walcott
American Chestnut Castanea denta...
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Mary Vaux Walcott
Western Mountain Ash Sorbus samb...
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Mary Vaux Walcott
Untitled Autumn Leaves, 1874.
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Mary Vaux Walcott
Puccoon (Lithospermum ruderale)
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Mary Vaux Walcott
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Mary Vaux Walcott
Flowering Dogwood Cornus florida...
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Mary Vaux Walcott
Wake-Robin Trillium simile, 1939.
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Mary Vaux Walcott
Prickly Currant Ribes lacustre, ...
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Mary Vaux Walcott
Lodgepole Pine Pinus Contorta mu...
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Mary Vaux Walcott
Tuliptree (Liriodendron tulipifera)
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Mary Vaux Walcott
Umbrella Tree Magnolia tripetala...
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Mary Vaux Walcott
Pussy-ears Calochortus elegans, ...
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Mary Vaux Walcott
Gray Pussytoes Antennaria howell...
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Mary Vaux Walcott
Pussy-Toes Antennaria racemosa, ...
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Mary Vaux Walcott
Bog-Asphodel Tofieldia intermedi...
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Mary Vaux Walcott
Pussy-ears (Calochortus elegans)
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Mary Vaux Walcott
Untitled Mooring and Anchor, 1873.
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Mary Vaux Walcott
Beargrass Xerophyllum tenax, 1924.
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Mary Vaux Walcott
Alpine Fernlife Pedicularis cont...
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Mary Vaux Walcott
Pink Pussytoes Antennaria rosea,...
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Mary Vaux Walcott
Maypop Passiflora incarnata, 1926.
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Pussy Willow Salix discolor, 1920.
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Mary Vaux Walcott
Pinguicula vulgaris
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Mary Vaux Walcott
Buff Pussytoes Antennaria luzulo...
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Mary Vaux Walcott
Bourgeau Rose Rosa bourgeauiana,...
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Mary Vaux Walcott
(Untitled--Rose)
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Mary Vaux Walcott
Double Bladderpod Physaria didym...
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Mary Vaux Walcott
Untitled, ca. 1920.
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Mary Vaux Walcott
Alpine Forget-me-not Myosotis al...
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Mary Vaux Walcott
Untitled--Study of Mushrooms, 18...
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Mary Vaux Walcott
Strawberry Bush-"Hearts Bustin' ...
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Mary Vaux Walcott
Alaska Fleabane (Erigeron salsug...
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Mary Vaux Walcott
Golden Star Chrysogonum virginia...
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Mary Vaux Walcott
Iris Iris species, 1939.
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Capnoides aureum, 1918.
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Mary Vaux Walcott
Wild Pea Lathyrus decaphyllus, 1...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Yellow Dryad (fruit) (Dryas drum...
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Mary Vaux Walcott
Rosebud, 1872.
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Mary Vaux Walcott
Untitled--Plant Study
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Mary Vaux Walcott
Prairie Pentstemon Pentstemon er...
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Mary Vaux Walcott
Untitled Lily, 1875.
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Mary Vaux Walcott
Green Strawberry Cactus (Echinoc...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Alberta Primrose (Primula maccal...
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Mary Vaux Walcott
Pentstemon ambiguus, 1935.
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Mary Vaux Walcott
Phacelia (Phacelia parryi)
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Mary Vaux Walcott
 
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Mary Vaux Walcott
(Untitled--Flower Study)
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Mary Vaux Walcott
Tampa Epidendrum Epidendrum tamp...
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Mary Vaux Walcott
Sweetbay (Magnolia virginiana)
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Bellflower (Campanula)
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Mary Vaux Walcott
American Twinflower Linnaea bore...
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Mary Vaux Walcott
Rose-Bay Rhododendron Rhododendr...
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Mary Vaux Walcott
Canada Wild Ginger Asarum canade...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
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Mary Vaux Walcott
Untitled Plant Study, ca. early ...
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Mary Vaux Walcott
Strawberry-Blite Chenopodium cap...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Nodding Onion Allium cernuum, 19...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Untitled, Group of Flowers, 1883.
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Mary Vaux Walcott
Hedge Bindweed Calystegia Convol...
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Mary Vaux Walcott
Group of Flowers, 1881.
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Mary Vaux Walcott
Yaupon Ilex vomitoria, 1926.
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Mary Vaux Walcott
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Mary Vaux Walcott
 
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Mary Vaux Walcott
White Globeflower Trollius albif...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Maypop (Passiflora incarnata)
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Mary Vaux Walcott
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Mary Vaux Walcott
Untitled Pansy, 1876.
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Mary Vaux Walcott
Pineland Blueberry (Vaccinium te...
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Mary Vaux Walcott
Spider Lily (Hymenocallis rotata)
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Mary Vaux Walcott
Rose-Bay Rhododendron (Rhododend...
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Mary Vaux Walcott
Northern Onion (Allium sibiricum)
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Mary Vaux Walcott
Lloyd's Strawberry Cactus (Echin...
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Mary Vaux Walcott
Wild Calla (Calla palustris)
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Mary Vaux Walcott
Death Camas Zygadenus venenosus,...
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Mary Vaux Walcott
Western Hemlock (Tsuga heterophy...
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Mary Vaux Walcott
Glacierlily Erythronium grandifl...
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Mary Vaux Walcott
Willow (Salix)
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Mary Vaux Walcott
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Mary Vaux Walcott
Untitled--Plant Study, 1904.
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Mary Vaux Walcott
Prickly Currant Ribes lacustre, ...
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Mary Vaux Walcott
Whippoorwill Flower Trillium hug...
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Mary Vaux Walcott
Jacob's Ladder Polemonium viscos...
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Mary Vaux Walcott
Wild Flax Linum lewisii, 1919.
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Mary Vaux Walcott
Lewis Monkey Flower (Mimulus lew...
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Mary Vaux Walcott
Bellflower Campanula, 1935.
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Mary Vaux Walcott
(Untitled)
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Mary Vaux Walcott
Aleutian Fleabane Erigeron unala...
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Page 1 / 15

About the artist

Mary Vaux Walcott
1860–1940
BornJuly 31, 1860 (Philadelphia)
DiedAugust 22, 1940 (St. Andrews) at the age of 80
NationalityUnited States of America
Genrefloral painting
Professionbotanical illustrator, painter, photographer, botanist, scientific illustrator
Family
Father: George Vaux
Mother: Sarah H. Morris Vaux
Sibling: George, Jr. Vaux
Notable worksAlaska Fleabane (Erigeron salsuginosus) (1925), Alberta Paintbrush (Catilleja miniata) (1920), Alberta Primrose (Primula maccalliana) (1917), Aleutian Fleabane (Erigeron unalaschensis) (1900), Alpine Fernlife (Pedicularis contorta) (1907)
MuseumsSmithsonian American Art Museum

On a frosty morning at a camp in the Canadian Rocky Mountains, a woman in her sixties sat outside her open tent; a campfire kept the cold at bay, and with her brush she was painting a watercolour of a wildflower. A photograph from 1925 captures this scene, and it reveals more about Mary Vaux Walcott (1860-1940) than any studio portrait ever could: The studio of this American botanical watercolourist and naturalist was a tent camp; her subject was a freshly picked flower, which she had to paint before the colours faded.

Anyone who looks closely at her works will find this fieldwork preserved within them. ‘Western service tree Sorbus sambucifolia, 1918’ shows a twig full of orange-red berry clusters amongst finely serrated pinnate leaves; in the bottom right-hand corner, in her handwriting, is written ‘Vermilion Pass 9.15.1918’ - the place and date of the find, just as in a field notebook. ‘American chestnut, Castanea dentata, 1932’ depicts a spiny husk opening to reveal three glossy chestnuts. Against the light background, both twigs appear as though laid out for an identification guide.

This precision had a long history. Born on 31 July 1860 in Philadelphia, Mary Morris Vaux grew up as the eldest child of a wealthy, devout Quaker family. At the age of eight she was given a set of watercolours; at fourteen she painted ‘Untitled - Autumn Leaves, 1874’, a sheet featuring red and autumn-brown maple leaves on a slender twig, alongside which, in red lettering, are the initials ‘M.M.V.’ - Mary Morris Vaux, her maiden name. Following her mother’s death in 1880, she took charge of the household for her father and two brothers. In 1887, the family travelled west for the first time, covering some 10,000 miles by train, carriage, ferry and on horseback, as far as the Illecillewaet Glacier in the Canadian Selkirk Mountains. When the family returned years later, the ice had visibly receded, and their travel impressions gave rise to a series of measurements spanning decades - fixed points in the rock, rope lines, and steel plates painted red each year on the ice, which made it possible to track the retreat of the ice. These observations are regarded as Canada’s first formal glacier study. On 21 July 1900, ten days before her fortieth birthday, Mary Vaux climbed Mount Stephen with two Swiss mountain guides, the first documented ascent of a peak over 10,000 feet by a woman in Canada. Since 1908, a mountain in Jasper National Park has borne her name, named by her friend, the explorer Mary Schäffer Warren - one woman naming a mountain after another.

One summer, a botanist asked her to paint a rare flowering arnica; the result was so compelling that from then on she made a point of seeking out flowering species. On her mountain expeditions, she met Charles Doolittle Walcott, the palaeontologist at the helm of the Smithsonian Institution; in her letters, she addressed him as ‘Thou’ and ‘Thee’, using the archaic Quaker form of address. The two married in 1914; she was 54. From then on, the couple spent three to four months every summer at their camp in the Rockies: he searched for fossils, she painted wildflowers; over the decades, she produced more than 1,000 watercolours. From 1925 onwards, these were published as *North American Wild Flowers*, five volumes comprising 400 loose plates. The New York printer William Edwin Rudge applied layers of waterproof ink to heavy cotton paper and immersed the finished sheets in water until the fibres stood on end and the smooth printed surface once again took on the fine, rough texture of watercolour paper. She herself felt that the result was almost indistinguishable from a painted sheet, and the work earned her the nickname ‘Audubon of Botany’, after the great American bird painter Audubon.

She continued to paint right up until her final decade. ‘Wake-Robin Trillium simile, 1939’ was created when she was 78; the sheet depicts two white, three-petalled flowers beneath broad, strongly veined leaves, and the signature ‘M.V.W. 5.3.’39’ - now using the initials of her married name - indicates the date. She had celebrated her 75th birthday with a 20-mile horse ride, and spent her last summer in the Rockies at the age of 79. On 22 August 1940, Mary Vaux Walcott died whilst staying with friends in St Andrews, in the Canadian province of New Brunswick, shortly after her 80th birthday. Several hundred of her watercolours were later donated as a complete collection to the Smithsonian Institution.

The printers of 1925 were already aware that much depended on the paper for this artist; they dipped each sheet individually into a water bath. At Meisterdrucke, this task is now fulfilled by a very rough, pure-cotton handmade card, which is particularly well-suited to botanical illustrations and centrally positioned motifs; its open surface restores the fine grain of a watercolour to Walcott’s berry clusters and petals. A word of honesty is in order - on very dark areas, individual fibres may come loose; this is the nature of this paper, and we prefer to mention it in advance. For display on the wall, we therefore recommend framing behind glass, for the sake of the rough paper and the wildflower.



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Personalizing your art print at Meisterdrucke is simple and intuitive: Choose a frame, set the image size, pick a printing medium, and add suitable glazing or a stretcher frame. We also offer additional customization options like mats, fillets, and spacers. If you have any questions, our customer service team is ready to help you create your perfect artwork.

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Don't worry! At Meisterdrucke, we don't just process orders mechanically. Every order is manually reviewed by our team. If we spot any inconsistencies or issues with your configuration, we'll get in touch with you right away. And of course, our friendly and patient support team is always here to help you with your configuration. We'll work with you by phone or email to adjust your image so the final result is exactly what you had in mind.


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+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00

Still have questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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