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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
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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
Born July 31, 1860 (Philadelphia)
Died August 22, 1940 (St. Andrews) at the age of 80
Nationality United States of America
Genre floral painting
Profession botanical illustrator, painter, photographer, botanist, scientific illustrator
Family
Father: George Vaux
Mother: Sarah H. Morris Vaux
Sibling: George, Jr. Vaux
Notable works Alaska Fleabane (Erigeron salsuginosus) (1925), Alberta Paintbrush (Catilleja miniata) (1920), Alberta Primrose (Primula maccalliana) (1917), Aleutian Fleabane (Erigeron unalaschensis) (1900), Alpine Fernlife (Pedicularis contorta) (1907)
Museums Smithsonian 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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1.489 artworks found

Mary Vaux Walcott
Puccoon (Lithospermum ruderale)
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Mary Vaux Walcott
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Mary Vaux Walcott
Western Mountain Ash Sorbus samb...
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Mary Vaux Walcott
Prickly Currant Ribes lacustre, ...
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Mary Vaux Walcott
Untitled Autumn Leaves, 1874.
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Mary Vaux Walcott
Umbrella Tree Magnolia tripetala...
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Mary Vaux Walcott
Lodgepole Pine Pinus Contorta mu...
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Mary Vaux Walcott
American Chestnut Castanea denta...
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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
Pussy-ears Calochortus elegans, ...
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Mary Vaux Walcott
Pussy-Toes Antennaria racemosa, ...
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Mary Vaux Walcott
Beargrass Xerophyllum tenax, 1924.
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Mary Vaux Walcott
Bog-Asphodel Tofieldia intermedi...
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Mary Vaux Walcott
Gray Pussytoes Antennaria howell...
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Mary Vaux Walcott
Pink Pussytoes Antennaria rosea,...
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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
Douglas Honeysuckle Lonicera gla...
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Mary Vaux Walcott
Buff Pussytoes Antennaria luzulo...
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Mary Vaux Walcott
Untitled, Group of Flowers, 1883.
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Mary Vaux Walcott
Wild Flax Linum lewisii, 1919.
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Mary Vaux Walcott
Blue Lupine Lupinus argenteus, 1...
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Mary Vaux Walcott
Sun Dial Lupine (Lupinus perennis)
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Mary Vaux Walcott
False Dandelion (Agoseris aurant...
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Mary Vaux Walcott
Butterfly Weed Ascelpias tuberos...
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Mary Vaux Walcott
Wake-Robin (Trillium sessile)
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Mary Vaux Walcott
Group of Flowers, 1881.
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Mary Vaux Walcott
Yellow Dryad (fruit) (Dryas drum...
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Mary Vaux Walcott
Yellow Lupine Lupinis arboreus, ...
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Mary Vaux Walcott
Bottle Gentian (Gentiana saponaria)
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Mary Vaux Walcott
Trumpet Creeper Bignonia radican...
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Mary Vaux Walcott
Wild Rose and Blue-eyed Grass (R...
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Mary Vaux Walcott
Alpine Forget-me-not Myosotis al...
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Mary Vaux Walcott
Fritillary Fritillaria biflora, ...
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Mary Vaux Walcott
Red Lily (Lilium montanum)
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Mary Vaux Walcott
Water Crowfoot Batrachium tricho...
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Mary Vaux Walcott
Sun Dial Lupine Lupinus perennis...
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Mary Vaux Walcott
Closed Gentian (Gentiana andrews...
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Mary Vaux Walcott
Silverberry Elaeagnus commutata,...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
White Fairy Lantern Calochortus ...
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Mary Vaux Walcott
Purple Saxifrage Saxifraga oppos...
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Mary Vaux Walcott
Ocotillo (Fouquieria splendens)
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Mary Vaux Walcott
Dutchman's Breeches Bikukulla cu...
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Mary Vaux Walcott
Rocky Mountain Cassiope Cassiope...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Primrose Primula angustifolia, 1...
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Mary Vaux Walcott
Scarlet Loco Astragalus coccineu...
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Mary Vaux Walcott
Bristle-Cone Pine (Pinus aristata)
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Mary Vaux Walcott
Douglas Fir (Pseudotsuga mucronata)
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Mary Vaux Walcott
Douglas Honeysuckle Lonicera gla...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Plume Anemone (Pulsatilla occide...
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Mary Vaux Walcott
 
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Mary Vaux Walcott
Downy Pinxter Bloom Azalea rosea...
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Mary Vaux Walcott
Columbine Aquilegia ecalcarata, ...
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Mary Vaux Walcott
Purple Butterwort Pinguicula ela...
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Mary Vaux Walcott
Strawberry Bush-Hearts Bustin' w...
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Mary Vaux Walcott
Death Valley Sage (Salvia funerea)
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Mary Vaux Walcott
Lupine Lupinus fornosus, 1935.
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Mary Vaux Walcott
Bottle Gentian Gentiana saponari...
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Mary Vaux Walcott
Arum Arrowhead Sagittaria cuneat...
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Mary Vaux Walcott
Pygmy Androsace Androsace subumb...
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Mary Vaux Walcott
Yellow Violet Viola orbiculata, ...
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Mary Vaux Walcott
American Chestnut (Castanea dent...
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Mary Vaux Walcott
Bearberry (Arctostaphylos uva-ursi)
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Mary Vaux Walcott
California Fuschia Zauschneria c...
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Mary Vaux Walcott
Woolly Arnica Arnica tomentosa, ...
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Mary Vaux Walcott
Western Green Alder Alnus sinuat...
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Mary Vaux Walcott
Fireweed Epilobium angustifolium...
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Mary Vaux Walcott
Evergreen Saxifrage Leptarrhena ...
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Mary Vaux Walcott
Sand Myrtle (Leiophyllum lyoni)
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Mary Vaux Walcott
Lake Louise Arnica Arnica louisi...
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Mary Vaux Walcott
Western Hemlock Tsuga heterophyl...
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Mary Vaux Walcott
Water Lilies Castalia odorata, 1...
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Mary Vaux Walcott
Northern Onion (Allium sibiricum)
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Mary Vaux Walcott
Spicebush Calycanthus occidental...
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Mary Vaux Walcott
Loblolly Pine (Pinus taeda)
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Mary Vaux Walcott
Pyxie Pyxidanthera barbulata, 19...
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Mary Vaux Walcott
Whitebark Pine (Pinus albicaulis)
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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
Queencup Clintonia uniflora, 1902.
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Mary Vaux Walcott
Rosebud Orchid (Pogonia divaricata)
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Mary Vaux Walcott
Rose-Bay Rhododendron Rhododendr...
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Mary Vaux Walcott
Shadbush (Amelianchier oblongifo...
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Mary Vaux Walcott
Pacific Dogwood Cornus nuttallii...
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Mary Vaux Walcott
Squawroot Conopholis americana, ...
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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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Frequently Asked Questions about Meisterdrucke


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.

At Meisterdrucke, you can visualize your configured artwork directly in your own room. Simply upload a photo of your space and see how the artwork looks in it. If you're visiting us on a mobile device — phone or tablet — our augmented reality feature brings the picture to life and projects it right into your room. A unique experience that combines art and technology.

Choosing the right medium is often a matter of personal taste. To give you a better idea, we've provided some images for each medium. We also offer a sample set of all paper variants, so you can decide not just visually but by touch as well. You can order the sample set free of charge — only shipping costs apply.

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.


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

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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