Contemporary Botanical Artists The Shirley Sherwood Collection.pdf

CONTEMPORARY

BOTANICAL ART ST S I

THE SHIRLEY SHERWOOD COLLECTION

U.SJ50.00

Art/ Nature

lavishly

his

the

celebrates

book

illustrated

international

renaissance of botanical painting.

The

represented

artists

Europe and

here,

that rivals

even

surpasses

cases

botanical

and

Asia, Australia, the Americas,

South Africa, produce work

some

drawn from

exquisite

eighteenth

and

started collecting

con-

of the

studies

the

and in

nineteenth centuries.

Sherwood

Shirley

temporary botanical

1990 when she

art in

became involved with

the

Royal Botanic

Gardens, Kew, England. Since then she has

toured the world in search of the very best

and has brought them

practitioners of the art,

together in this unsurpassed collection.

The

collection ranges

from the romantic

flower portraits of Paul Jones, through the

meticulous and luminous studies of Brigid

Edwards and

Amazonian

Raymond plants

Booth, to the tropical

depicted by the famous

Mee. There

painter and explorer Margaret delicate studies

by Pandora

McEwen

that contrast

accurate

painting

Well over

countries

a

with the vigorous yet

artists

from seventeen

represented,

augmented by illuminating careers. The result

and Rory

of Elizabeth Blackadder.

hundred are

Sellars

are

is

their

essays

a ravishing

on

work their

and important

record of an enduringly popular form of

art.

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Digitized by the Internet Archive in

2014

https://archive.org/details/isbn_9780789202192_0

CONTEMPORARY

BOTANICAL ARTI S T S THE SHIRLEY SHERWOOD COLLECTION

CONTEMPORAR

BOTANICAL ART S T S I

THE SHIRLEY SHERWOOD COLLECTION BY SHIRLEY SHERWOOD

EDITED BY VICTORIA MATTHEWS

CROSS RIVER PRESS A DIVISION OF ABBEVILLE PUBLISHING

NEW YORK

LONDON

PARIS

Sausalifo Public Library Sausalito, California 94965

GROUP

First

published in the United States of America in 1996

by Cross River

A

Press,

Division of Abbeville Publishing Group,

488 Madison Avenue, First

New York,

N.Y. 10022

published in Great Britain in 1996 by

George Weidenfeld

©

Text copyright

Nicolson Ltd

1996 Shirley Sherwood

Weidenfeld

The Orion

&

&

Nicolson Ltd

Publishing

Group

Orion House 5

Upper

St Martin's

Lane

London WC2H 9EA All rights reserved

under international copyright conventions.

of this book may be reproduced or

No

part

any form or by any

utilized in

means, elecronic or mechanical, including photocopying, recording, or

by any information storage and

retrieval system,

without permission in

writing from the publisher. Inquiries should be addressed to Abbeville Publishing Group, 488 Madison Avenue,

bound

Printed and

in

New York,

N.Y. 10022.

Great Britain

ISBN 0-7892-0219-0 First edition

3

1

7

5

Book

9

10

8

6

4

2

design by Harry Green

JACKET ILLUSTRATIONS Front: Details

Blue Water Lily by Pandora

left to right:

Sellars

Artichokes by Brigid Edwards; Bromeliad by

Margaret Mee; Ginkgo by

Rhododendron by

Tai-li

Zhang; Camellia by Paul Jones;

Sally Kier;

Begonia by

Ann

Back: Pansies by Susannah Blaxill

Frontispiece

CLEMATIS ELSA SPATH Josephine Hague, 1991

Farrer

CONTENTS

FOREWORDS Professor Sir Ghillean Prance, Director, the

Royal Botanic Gardens,

Kew

James J.White Curator ofArt, Tlie

Hunt

Institute for

Botanical Documentation

PAGE

7

THE SHIRLEY SHERWOOD

COLLECTION OF BOTANICAL ILLUSTRATION Dr

Brinsley Burbidge

Director, Fairchild Tropical Gardens,

PAGE

Miami, Florida

8

ON COLLECTING Shirley

Sherwood

PAGE

1

1

THE ARTISTS PAGE

15

APPENDIX PAGE

2

1

6

SELECT BIBLIOGRAPHY PAGE

238

EXHIBITION VENUES Kew Gardens Gallery Royal Botanic Gardens, Kew, Richmond, Surrey

The Hunt Institute for Botanical Documentation Carnegie Mellon University, Pittsburgh, Pennsylvania

Wave Hill at

The

National Arts Club,

1

5

New York, NY

6

Gramercy Park South 10003

FOREWORDS

otanical art has always played an important part in

programme of

the

Kew. Part of our has

come from our long

the Royal Botanic Gardens,

large collection

of botanical

undoubtedly the

the

botanical

well as to display

Kew

tunities for extensive travel,

of

great collection

in order to acquire examples

Shirley

Sherwood

porary

artists.

each of the

Dr

gallery stimulated

to start collecting the

and has

lection. This has

who

built

work of contem-

have exhibited in the

up

a fascinating

collections

The

of today.

I

am

Kew Gardens

to

astic

now able to exhibit her fine collection in the gallery. The Kew Gardens Gallery has helped stimulate and revive this

a high quality

of botanical

art

SIR

and

of her

all

details

efforts

have

JAMES

GHILLEAN PRANCE

wider public and

of museums' ancillary

salons.

Matthews and

years ago.

among

myself, followat their

Dr Sherwood was

country enthusi-

J.

as

of this accompanying book. The

made

a distinctive

well

Hunt

mark indeed.

WHITE

Kew

Institute for Botanical

Documentation

Carnegie Mellon University, Pittsburgh, Pennsylvania

1

as

results

Curator ofArt and Principal Research Scholar

Director

Royal Botanic Gardens,

main

exhibition

about the idea and has shown great zeal in setting up

seeing to

exhibition helps us to continue this fine tradition.

PROFESSOR

their

to a

this

the exhibition at Kew, and in the United States,

are

and encourage

due

or her oppor-

idea for this exhibition arose spontaneously

home, Hinton, two

we

that

artists

ing luncheon in the Sherwoods' orangery

many of the

most pleased

and into

Brinsley Burbidge, Victoria

and important col-

been an encouragement

finest botanical artists

interest

by each. With

to continue to bring this genre out

She has chosen some of the best work of

artists

is

but to a discerning eye and a

she hopes to introduce these

most pleased when our

as a biologist,

feat

passion to seek out only the finest contemporary painters

art.

We were

Gallery,

some of our

hands, has been assembled

not solely to her background

Gardens Gallery to promote the work of contemporary artists, as

of contemporary botan-

within just the past five years. This remarkable

Magazine, the oldest continually published journal with

we opened

finest

art in private

ical

art

association with Curtis's Botanical

colour illustrations of plants. In 1988

Sherwood's collection, housed in England and

r

THE SHIRLEY SHERWOOD COLLECTION

BOTANICAL ILLUSTRATION

OF

DR BRINSLEY BURBIDGE he

Sherwood Collection

Shirley

My

unique.

is

Rarely has such an important and fascinating

what was going on

cross-section of

of creative

field

brought together in one

painting.

Dr Sherwood,

me

News, asked

impeccable discrimination been brought to bear on

the opportunity to

or

art

who

a

by the subject of their

are linked only

also

and who, through magazines and other

craft

is

a lot

the

work produced by

lar

time.

It

is

the documentation of

few

working

artists

and foremost

first

selection of paintings.

The

a

From

supremely beautiful

Pandora

artists.

what could

know

so easily have

been

work of art

which composition, use of colour, and

a representational painting into a real

in the handling of paint have

true beauty.

on

Many

of the paintings give

the plants themselves,

that

one

the sheer

is

drawn

skill

combined

new

a

at

tells

us so

much: it

how

tells

it is

the scientist needs in a painting of a plant.

photography, botanical painters are

painter

I

on another can be

at

traced.

in

throughout the world

who

usually a generous one)

It

someone who

purchase of

first

relentlessly

by the

commissioned them

artists,

One

a

work by

pursued the

finest living botanical

once she got

galleries and,

to

fill

to

specific gaps

thing distinguished everything she

Dr Sherwood

unerringly went for the

is

another

way of saying

that

agree with her, she showed impeccable discrimination in

ously missing.

demand and can

painters

commu-

this

living

adding

us

exacting

tell

the

to

of

in significance its

own

story,

artist

of note.

mission to

craft.

8

No

come

a

gap

were obvispecific

unfailing pursuit of paintings by

(one of the few non-

or Celia Rosser. this

What was process

of

was that no distance was too great

and no location too obscure for her to go

a living (not

which

be sought out and added. See, for

Rory McEwen

pictures

and very

works by

and most impressive about

new

in

significant painters

whole

represented)

artists

significant

craftsmen-illustrators

make

grew

a life

Dr Sherwood's

Thalia Lincoln,

is still

fills

To

would have

example,

adeptly than

that there

collection rapidly

soon became evident: some

reinforces the

of science and

are able to

from

the

soon began to take on

done and what

more

shows

It

number of

the

Kew

from the

moment was, for me, the

Dr Sherwood

Sellars,

She bought from

The

and the influence of one

for the artist in the service

with surprise

and

it

choosing what she ultimately bought and added to her

at

us about the

shows how, in an age of easy

nication, national styles persist

room

still

the need for scientific precision It

usual enthusiasm for

contemporary botanical painting than

exhibition and, although this

perspective

even in the face of instantaneous and accurate

can any camera.

took

I

collection.

process of botanical illustration,

satisfy

the subject.

most important or the most innovative picture in any

painters.

This collection also

fact that,

works of

on

original paintings

the time of her

selected: quality.

skill

them and marvel

for

in the collection.

are so stunningly lifelike

look closely

to

of the

many

to create

my

show

acquisition of great paintings

Dr

chosen by

artists

dis-

could ever do through gallery exhibitions.

at a particu-

have, in almost every case, elevated

in

I

plants themselves contribute

beauty but the

significantly to this

Sherwood

a

more than

purpose was to

great relationship with

a

would do more collection

start a gallery at

editor of the Illustrated London

as

She was hooked. That

beginning of

work.

The

Its

to write an article

showed her some

collection.

one another's

publications, are only remotely aware of

Kew

just

play the best of historical and contemporary botanical

energy of a single highly knowledgeable collector of

group of artists

had helped to

I

the Royal Botanic Gardens,

in a single

Almost never has the

place.

when

over five years ago

one time, worldwide, been

activity at

meeting with Dr Shirley Sherwood was

first

in search

of an

time was too long to wait for a

com-

to fruition

and few

artists

were too aloof

to

succumb

work

Dr Sherwood's

to

persistence in adding their

Most

to her increasingly comprehensive collection.

collections

of botanical paintings come from

of the globe but hers

from

tation

truly international,

is

the countries

all

where an

tification.

immediately obvious. The

of

features

knowledge was

of,

now Her

should take notice.

Dr Sherwood's

so did

new and

exciting

me

telling

artists

with the

8th International Exhibition

at

Hunt

have been present

art, is a

a

lovely house

and

its

illustration.

nate

enough

which

outstanding pictures

is

at so

many

the collection

demanded

known and two

that

on

years ago,

Hinton with James White of the Hunt

last acts at

Sherwood would

I

left

for Florida

One

of

was to

discuss

the possibility of producing a

serve as a catalogue but also stand in

now be

with

own

I

Dr

are almost as

hope the

more depth

at its

point for some future

activities;

and

let

as

centive:

who

it

of

The

how

can

I

finest.

Nowhere

else

brought together for close

the originals.

as

I

won-

Dr Sherwood

I

how

the

artist

handles paint.

who do

not

sheer quality of the works should it

artists

hope

prices.

It

is

is

can,

I

believe, also

good

as that?

be

a disin-

Even some of

have such thoughts and

selfis

a

it

will also stimulate the purchase

a

modest

not

art

difficult

with comparatively to

acquire

collection without spending a fortune: the

in

has

from many of the paintings and

ever be as

pictures, for here

modest

a

problem

good is

the

widely scattered nature of the sources of good paintings. Let

in recent years. as a

craft

in the representa-

questioning but the persistence to overcome doubt

the context of what has happened in botanical illustration

Botanical painting will always be needed

good

the leading botanical

a starting

us consider

whenever and wherever

very

at its

is

stimulate inspiration but

importance, not

documentation of what happened but

are fortu-

the answer to the question:

is

details

try.

healthy process. little

who

painters

collection will also inspire those

paint to have a

interested.

Let us look in a

Those

these can be used to study

right.

shared with everyone

origi-

did that? The superb reproductions in this

chosen to show

book which its

on technique

more than an

from them. Here, technique

how he/ she

book

book have happened

Happily, both the exhibition and the

and the collection can

der

Institute

my

should be a travelling exhibition.

The

artists.

craft.

to see the paintings

many examples of a

are so

a

that there

before

the aspiring

Sherwood Collection can

Shirley

tion of a specific subject

it

and Vicki Matthews, the idea was conceived

Kew

master of the

a

inspection. And here

should be more widely visit to

by

greatest influence.

inspiration

day to remember.

The importance of

among

I

they are exhibited will derive an enormous amount of

the

A

is

courses and taken part

that discussion

where the

have

displayed.

day spent there looking

is

a vital

a perfect setting in

mounted, framed and

as

This

one-stop-shop for world botanical

paintings are beautifully

is

nal painting

visit to

Oxford was

pilgrimage for anyone interested in plant

a

and nothing enlivens

attract scholars interested in

the Sherwood's house at Hinton near

much

many of these

conversation almost invariably concentrates

seeing the works of important botanical painters; a

Hinton, very

at

in informal discussions

as a result

1994, the collection had so increased in size and

began to

tradition

popular, as does scientific illustration, as a college course.

of her direct recommendation.

it

The

will not

strong and classes in botanical illustration continue to be

Institute for

Botanical Documentation in Pittsburgh, partly

The

for botanical painters.

reduce the importance of the picture.

I

were included in the

the

work

new means of communication

introduction of

influence spread and in 1995 the artists

significance that

aid accurate identification gives illustration

there will always be

contacts

of painters of whom

works of some twenty or more

By

which

the significant

all

an insurmountable advantage. This alone ensures that

As the collection grew,

result that she

show

is

work-

fact that a skilled artist,

ing together with a botanist, can

with represen-

illustration exists.

with, and

which

superiority of identification guides

use paintings over those illustrated with photographs

a limited area

active tradition

The

way of

eral

me draw

9

brief note together with

and personal observations on botanical

When, some 35

recording plants both for scientific study and for iden-

this

years ago,

I

first

took an

some genillustration.

interest in the

subject

-

inspired by the publication of Wilfrid Blunts

wonderful and scholarly

was extraordinarily

Tlie art of botanical illustration,

museums and botanical garden work went

a small

good work and botan-

difficult to see

number of dedicated

botanists.

I

Natural History in

Museum

did everything

With

at

represented

development of a the future.

I

I

craft

means of talks,

classes

these words at

them

and exhibi-

I

suspect that

Kew in the middle

in the early 1970s

once

I

In conclusion,

botanical art at for Botanical

Kew At

start a gallery

the same time the

Documentation did

showing, on a regular

basis,

some

contemporary work. There was

a

devoted to

Hunt

enthusiastic supporters 'out there'

and between us we

this fragile art until,

network of painters and

collectors

and the Society of Botanical

Kingdom, came the

by the

into being

Artists,

result

work and

of

all

this activity

the calibre of those

ter than, first

based in the United

will give

by

tion increased dramatically until, as tion,

I

believe that

I

I

last

century.

I

said

had seen the work of Franz

feel

we

me

wrong.

are at the

door of a new era in

is

an appreciative audience. The is

limited but to,

or bet-

anything which has gone before continues.

public viewing of the Shirley

added impetus

The

Sherwood Collection

to artists to

produce something

even better and will help to maintain the supremely high standards set in recent years.

was that the quality of

drawn

of the

said exactly

the supply of botanical paintings that are equal

American Society of Botanical Artists.

The

someone

prices paid at auction for illustrated natural hist-

was well established

recently

also sets a standard for

supply of these important historical books

later 1980s, the

— followed more

I

ory books show that there

and

handful of similarly

encouraged

Recent

wonderful job of

a

period in the

the practice and appreciation of scientific illustration.

Institute

really fine historical

Sherwood

Shirley

a particular

but which

mentioned

helped to

the

many

truly wonderful; a collection

This collection has proved

I

but beside them are

in

painting course at the Edinburgh College of Art and, as earlier,

pantheon

and Ferdinand Bauer.

started a botanical

I

surpass,

cannot imagine work even finer than that

shown here - but

at plants.

Elizabeth Blackadder,

artists

art

which documents not only

the

when

their rightful place in the

Here we have something

or the Fitzwilliam

the paintings

and often

of,

Collection.

could to give more publicity to

I

botanical illustration by tions.

London

Cambridge looking

should have been looking I

in

of the

was one of those as

equal

of great contributors to the

and was seen only by

dedicated botanists and spent time in places such

Museum

Bauer brothers have

herbaria. Their often beau-

straight into folders

the

are

anything which has gone before. Redoute, Ehret and the

it

laboured, unappreciated, in dusty corners of

ical artists

tiful

produced today

Botanical illustration always had an assured future based

to botanical illustra-

on need:

write

Shirley

this

introduc-

can say that the best works being

the service of science.

Sherwood Collection

public eye.

10

art in

it

now

Thanks

to the

has a future in the

ON COLLECTING SHIRLEY SHERWOOD

ooking back 1990,

how

realize

I

of this collection, in July

to the start

chase was and what

important

more

interested,

very

wonderful choice

a

was an orchid painted by Pandora wonderland. After that

my

I

down was

realized that there

I

renaissance in botanical painting

and

that

artists

artists,

my

when I was as

a child.

my

watched

I

would become

remember deciding

I

at

world to

a

left

school.

woman

I

Herbarium

Kew where my

at

went on

the Royal

at

botany

botanist in the

trator,

faltered.

but

how few print.

I

I

I

illustration as a

amateur offerings

whole after

Oxford

had intended

became

that

my

I

that

it

might

ratory next door to the

So

be.

I

moved

James Black

who

led the

way

it

London News.

was the Orient-Express Magazine

botanical interests

full circle

it

on

again. In

was

a fascinating subject

article so

tracked

I

that

1988

I

botanical illustra-

London.

I

which would make

a

Royal Horticultural Society

Magazine and the

Illustrated

Burbidge encouraged

I

which had

me

in

him down

botanical

artists

become

a series

show

Brinsley, designed to

team which

London

the Royal

at

of the

day.

director,

Kew

Professor

Gallery had recently

of exhibitions

off the

One

News. Brinsley

involved with

new

The Kew Gardens

opened and was holding

star-

to

appointed a

just

Ghillean Prance.

ted medically orientated research. This culminated in Sir

Illustrated

piece entitled 'Botanical Theatre' for the Orient-Express

to the labo-

Oxford Botany School and

a

Botanic Gardens, Kew, and commissioned him to write a

was designed for what seemed a back-room existence,

however rewarding

the

and eventually wrote

Brinsley Burbidge lecture

wonderful

realized

was enthusiastic and impatient and not sure

my

Dr

thought

even managed to get their names in

illustrators

working with

became intrigued with

& Oriental Magazine, and

tion at the

to train as a botanical illus-

increasingly disconcerted as

number of

Express Magazine and the Eastern

heard

career in

a

publications, the Orient-

brought

university that year.

I

is

two new

In a curious

I

hotels.

started

it. I

helped to edit the

moment

prize just before

and unusual

book about

to read botany at Oxford, the only

was immediately

It

Europe and owning

restoration of the Orient-Express

of botanical

art

across

I

dried speci-

over the

Orient-Express

for reviving the

the age of fourteen

was given Wilfrid Blunt s seminal reference

I

known

By

my

all

the president of Sea Containers and

is

exclusive

were gracefully accepted. Another important

book The

train service

travelling

container factories and luxury hotels.

visit ports,

husband

life,

I

rather nervously to the

came when

never saw their work.

I

in her studio, that

a flower painter.

Botanic Gardens

nine years old,

two of 'my'

married James Sherwood and embarked on a

I

probably best

earlier,

botanical

visiting

realize that

I

mother drawing

was collecting in the Himalaya, and took

mens

started

completely different way of

a great

My

were engaged many years

interests

and

by the extra-

fascinated

Celia Rosser and Paul Jones, were actively painting

In 1977

worldwide phenomenon. In fact

became

plants

there at the time, but

in

was indeed

it

native

I

gardens again. Looking back

It

became more and

indeed obsessed, tracking

far-flung countries as

made.

I

ordinary

Sellars, set in a tropical

plunge

initial

pur-

first

where

visited Australia

of its

initiated

by

works of the best first

shows featured

discovered Tagamet, one of the most successsful drugs ever

over 60 of Margaret Mee's strong flower portraits to mark

produced, which has been used to

the publication of her

for

duodenal

ulcers. Later

Prize for this discovery.

It

During

that time

I

had

of people

book

he was awarded the Nobel

Amazon

forests. Sadly,

and some-

intrepid

woman who made

was

times exhausting part of my

treat millions

a challenging

life,

but very

Amazon

satisfying.

a year's 'sabbatical' leave

and

in search

I

In search

missed meeting that remarkable, 15 challenging trips into the

of rare and beautiful

a car accident just after the exhibition.

1

of flowers of the

plants,

but died in

I

became

of Kew's

a trustee

new

Kew as well

nization designed to raise funds for profile.

its

I

decided that

that

I

new

was embarking on an entirely

would occupy

much of my

so

as to raise

Gallery. Little did

library

room

I

who

tance

artists

my

on

my own judgement.

trust

I

Mee

artists.

course, greatly influenced a

whole generation of environ-

them

Amazon through

Pandora

Margaret

Edwards has painted

McEwen

had taken the

number of

a

illustration into the

realm of modern

doing

so.

I

Paul Jones,

but some

since then.

She and

steps

Raymond Booth and

Pandora

were hard to come

by.

way

art,

addresses

and curricula

which show

from

over the

all

have an invaluable vitae.

list

of the

The

7th

992 and when

1

International

visited

I

names,

artists'

imme-

it I

my

travels.

In 1993

Jim White,

my

growing col-

Jim and Brinsley immediately suggested

later at the

was

Hunt.

did

Little

I

at

we

that

Kew

and

time quite what

realize at the

entailed.

my growing list of who knew of my obsession,

Helped by the Hunt catalogues and and by friends

contacts,

arranged to

Sellars early on,

have only just

recently received Celia Rosser's superb 'Banksia',

to hold interna-

could put together an exhibition to be shown

painters while

I

curator of

lection.

and had consid-

on some contemporary

artists

Vicki Matthews, came to Hinton to see

beyond botanical

art

been

Brinsley Burbidge and Brinsley's wife, the botanical editor

Brigid

traditional

roles has

recent catalogues, edited by James White, the

contacting illustrators on

was able to acquire work by Margaret Mee,

artists

lifetime,

diately realized that they provided an unrivalled source for

especially luminous, arresting studies

of painting flowers

erable influence

of

with her

while

compositions,

The

Exhibition was held in

her paintings of tropical plants.

executed

on vellum. Rory

been much expanded

has

of its most important

world.

had, of

to the dangerous exploitation

Sellars has created 'botanical theatre'

wonderfully

Hunt who, during her

one or two works by selected

quickly

should be represented in a definitive collection

mentalists, alerting

books

a rare

tional exhibitions every three or four years

trav-

of contemporary botanical

the

One

were some painters of particular impor-

realized that there

and

a gallery for exhibitions

designed by Rachel

which

ings

bought, rather cautiously, from the

I

and beginning to

els

prints. The top floor

created a truly wonderful collection of books and paint-

passion

time and energy over

was looking out for

I

extensive

its

her husband founded and endowed the institute in 1960.

In the beginning

soon

floors containing

and collection of pictures and

accommodates

the next five years.

gallery but

two

square building with

could help further by becom-

I

new Kew Gardens

ing a patron of the realize that

Foundation, an orga-

visit galleries

over the world. 'Studio'

name

which

for the

artist's

I

and is

in the their studios

artists

sometimes

workplace: often

all

a rather grandiose

was

it

a

converted

took her four months' to paint, and managed to acquire

bedroom, study or even part of a kitchen. Often, too, there

Rory McEwen s 'Summer

was almost nothing to

1974.

Beech Mast and Clover' from

Old Fashioned Rose,

his estate

and painstakingly,

only just in time

for inclusion here.

finished.

My first important overseas acquisitions were in Rio de Janeiro,

where

paintings;

the

and

I

it

bought was

Documentation

at Pittsburgh,

kept secret in Europe

have heard of illustrators.

it

-

first

discovered

Institute

for

Botanical

USA. The Hunt

is

a

which In

well-

me

about

family near Rio, this

a

all

on Carnegie Mellon campus, housed

I

it

few of the

I

have

artists.

paint flowers, standards.

12

slowly

as

it

is

outgoing

are rather shy, quiet individuals

was

who

and precision

particularly difficult to

found communication

Japanese

in a large,

soon

are confident, vigorous,

In

in Japan

illustrators

when

I

and China com-

Keiko Saino

was

of people in Japan

to the highest botanical

general their

who

communicated with the

Literally thousands

many

meet

speak or write English.

a great friend in

an invaluable interpreter

It

as

alone, seeking a perfection

countries

Fortunately,

passionate

exhibition.

many

everything

work

barely appreciated in the outside world.

plicated as so

splendid academic institu-

memorable

is

some

artists.

unless they are professional botanists or

which had given them

stands

I

selling

of them

work long hours

and, indeed, very few Americans

The Demonte

naturalists, told

tion

Hunt

characters, but

of Margaret Mee's early

also in Brazil that

of the

existence

several

A few

see: botanical painters

work

tends

to

and

artistic

follow the

Western tradition rather than being pronouncedly

encouraged

Japanese in character. Superb exhibitions are held in

London

department

show

and

stores

and there

offices

Museum, Tokyo,

in the Natural Science

several

huge annual

a

is

School and, above

show

most outstanding botanical

world's

famous

is

Old Bond

artists

for

Susannah

known worldwide,

its

Blaxill's

while Celia

work reproduced

arresting watercolours

are

in

London while Jenny

I

prized medals. The compulsory eight entries submitted by

each

was enormously

artist are

Kew

classes at

are

a

is

full,

growth industry these

is

for several

Mee

scholars arrive

Interest

is

also

from Brazil each year

burgeoning in North

only a few.

The newly formed American

Botanical Artists

South Africa

is

is

is

as

outstanding.

particularly

Botanical Institutes

at

scientists, resulting in

some

artists

to

known

RHS's Lindley Library

them

at

the

occasionally

the Westminster Central Hall,

at

United

is

States,

as

a vital focal point in the

is

Everard

the

illustrators. This

London and

The

my

the works in

fact

is

is

Read

Gallery

in

so have

more time

that the English

a tradition for painting flowers

Today

by United

collection are

not only because

this

nessed and encouraged with

I

live

most-

to seek out local

and Scots have always and

a passionate inter-

enthusiasm can be harcourses

and exhibitions

throughout the country, even with diplomas in botanical

their

illustrations ical

many South

outside their

medals

silver

contact with

are in

wonderful collection from these exhibitions.

est in their gardens.

beautifully illustrated books.

African illustrators are hardly

made

Institute

had

is

The National

the isolation induced by apartheid

first

London. The Hunt

artists.

Cape of

work with

whose works

Society of Botanical Artists (SBA) has a large annual

ly in

Pretoria and at Kirstenbosch in

Cape Town have encouraged

With

Society of

the unique flora of the

its

Kingdom

mention

another 'cluster spot' for painters. This

have sometimes

Most of

further indication of rising interest.

not surprising

Good Hope

New York, to

I

artists

Johannesburg.

America, with Pamela Stagg teaching in Toronto, Linda

Maine and Katie Lee near

and

of the

been awarded gold or

show of members' work

months' tuition with Christabel King and

Farrer.

large proportion

collection have

The

running successful

number of

are usually a

from abroad and the standard can be extremely

my

adds to

courses under the expert guidance of Ann Marie Evans,

and Margaret

A

their scientific accuracy as well

There

merit.

society meetings. The

days.

the English Gardening School

London's Chelsea Physic Garden

judged for

their artistic

high.

Melbourne. art

the

at

number of highly

four mid-winter months and awards a

impressed by the standard and enthusiasm on a recent

Teaching botanical

artists

Westminster Shows, Vincent Square, London, during the

recent two-year period.

class in

botanical

works by

and

entries

her

exhibits

arts

merging of the

botanical painters and has taught over three hundred a

contemporary

20

London

in

about

as

people in

(RHS)

The Royal

The

dents alike. Jenny runs an active school for would-be

in

type of work

London, was completely sold out before

Street,

Horticultural Society

admired by patrons and stu-

Phillips' lovely studies are

Annie

this

number of

in

perfect

collected

enthusiastically

visit to

A

the doors even opened for the private view.

Paul Jones' wonderful flower portraits

Rosser's inspired, meticulous

sciences.

years.

rather successfully. Brigid Edwards' recent exhibition in

are probably the best

really

Gardens Gallery, have held

fine art galleries are beginning to

live in Australia.

Funk

Kew

all,

of some two hundred

banksias

In

Gardening

English

few

Some of the

at

the

Gallery,

interesting exhibitions in the last

paintings.

The

Park Walk

thousand schoolchildren and their teachers submit

illustrations for a final selection

art.

the Tryon Gallery, Spink, David Ker, Jonathan

Cooper's

which

for

upsurge of interest in botanical

this

from some

gardens. The result

illustrators in the

own

the world.

Some

universities as well as is

are scientifically trained; others

come

have certainly received international recognition.

careers after a period as

This leads

13

me

more good else in

from

Certain galleries and institutions around the world have

that there are simply

United Kingdom than anywhere

country, but Ellaphie Ward-Hilhorst and Thalia Lincoln

art schools

from botan-

or textile designing, or are reviving their

mothers and housewives.

to the question:

why do

so

many more

women

than

men work

my

approximately 7:2 in probably

botanical

as

artists?

The

ratio

In 1995 the Victoria

is

on an

collection, a proportion that

reflects the field as a

whole.

Many

of the

women

ings

have had careers in other areas and have switched to plant illustration after

more than

careers, far

diency and

it is

make

When

necessarily

pleasure. painters, all,

I

this

have had

collection has given all

sorts

friends with so

must be more wonderful haps

this

book

own

collection with an excellent

Saunders.

Gill

—

all

show opened John

Only two contemporary that the

... It

museum

possesses.

Russell Taylor wrote in The first

half of the twen-

sometimes seems there

is

a certain lack

of confidence, perhaps concerning the continuing useful-

will lead

how

they

work

many of them.

artists

me

me enormous

of adventures tracking

meeting them, seeing

making

the

century

tieth

result in a fat fee.

Building up

by

its

Times: 'The story peters out in the

a living as a botanical artist

where long hours of meticulous work do not

and prints from

paintings were included

those of men, are dictated by expe-

hard to

exhibition called 'Picturing Plants', featuring paint-

catalogue

bringing up their families. In general their

& Albert Museum in London put

I

ness ol botanical illustration in an age of computers.'

down

I

and, above

know

am

sure that

anyone looking through

will realize that there are

confident botanical

there

yet to be discovered: per-

is

far

book

to them.

1

4

from true will prove.

my

collection

dozens and dozens of excellent,

artists

working

in the

world

that the story 'peters out', as

I

today.

hope

It

this

THE ARTISTS

Demonte

Rosalia

S.Africa 16

Brazil 52, 221

Jtf/MM

Francesca Anderson

Yvonne Demonte

J.

USA

Brazil

54

Zmftd

Jakob

Demus

18,217

John Morgan Matyas

Mariko Imai

Fay Anderson

P.

USA

102

136

Mee

Margaret

Iram

227

Kumar Sharma

India

178 Sherlock

Siriol

UK 180, 235

138,232

Brazil

Vijay

Sheila Siegerman

Marilyn Jones

Lindsay Megarrity

Austria 56

UK 228

Italy

Anne Ophelia Todd Dowden

Paul Jones

Mitsuharu Mishima

Annika Silander-Hokerberj

UK 217

USA

Australia

Japan 146

Sweden 188

Helen Batten

Brigid Edwards

Annette dejonquieres

Kate Nessler

Alan Singer

UK 24, 218

UK 60, 222

Denmark 108, 228

USA

and Arthur Singer

Margaret Farr

Jenny Jowett

Miyoko Okakura

USA

Japan 150

Pamela Stagg

Barlow

Gillian

UK 20, 217 Jeni Barlow

Leslie Carol

USA

Berge

USA

218

58

UK 228

222

Elizabeth Blackadder

Arm

UK 26

UK 66, 223

Marjorie Blarney

UK 218 Susannah

Blaxill

Australia 28,

Raymond

219

C. Booth

UK 32 Jenny Brasier

UK 36, 219 Andrew

Brown

104

Farrer

Jinyong Feng

Canada 192, 235

Japan 228

USA

Penny Stenning

Luca Palermo

China 70, 224

UK 110

Italy

Ann

Martha

G Kemp

Linda Funk

Patricia Kessler

Jenny

Phillips

UK 236

US.4 76

USA

Australia 154,

Yoshio Futakuchi

Sharon Morris Kincheloe

Kathy Pickles

Japan 236

Japan 78

USA

UK 233

Mary Tarraway

Marilena Pistoia

UK 236

229

229

UK 82, 225

UK 114

Carroll

de Chair

Patricia

UK 220 S.4fnw 220 Till Jill

inomrK 1LJ

UK 220

King

156

Italy

Knox

233

Jessica

USA

Jaggu Prasad India

Kazuto Takahashi

Tcherepnine 198, 236

Michiko Toyota

158

Japan 200

Gillian Griffiths

Mariko Kojima

Reinhild Raistrick

UK 84

Japan 116,229

UK 233

Yoko Uchijo

Kay Rees-Davies

Japan 202, 237

UK 234

Arundhati Vartak

Celia Rosser

India

Kunz

Noel Grunwaldt

Viet Martin

U&4

Germany 118,230

225

Joanna Asquith Langhorne

Coral Guest

UK 86, 225

Condy

Gillian

196

Ann Swan

Belgium 42

P.

UK

233

Charlotte

44

Luis Pangella

Brazil

Mary A. Grierson

USA

Ronaldo

229

Jean-Claude Victor Buytaert

Richard

Margaret Stones

152

USA

UK 112, 229

Cameron

UK 235

UK 74

Christabel

UK 219

232

Sally Keir

Fraser

190

George Olson

UK 80

Elizabeth

148,232

Yoko Kakuta

Lawrence Greenwood

Peter

UK 40

Canada 186

144

Josephine Hague

UK 90, 226 t v

hrKhnp M 1

i

i

i

1

1

it

Hlalrt— T) pq iydvlCj

1

L

204

UK 120, 230

Australia

Katie Lee

Graham Rust

Russia 206

USA

UK 164, 234

Ellaphie Ward-Hilhorst

122,230

Tn^lia LdJ-Ld A.

I

inf~oln 1L 1

1 J_^ll

rVUSdl

II

Alexander Viazmensky

160

K

I'll

IUI.

1

5

S.Africa

208

UK 94, 226

S.4/Wm 126

UK 166

Carol Woodin

Helen Haywood

Petr Liska

Margaret A. Saul

USA

UK 96, 226

Czech Republic 128, 230

Australia 168,

Sue Herbert

Elizabeth Jane Lloyd

Sara

UK 98

UK 230

UK 234

Helga Hislop

Rory McEwen

Gillian Scott

UK 226

UK 130

Australia

Katherine Manisco

Jenevora Searight

UK 100

USA

Brazil

Ludmyla Demonte

Nicole Hornby

Alister

Brazil 221

UK 227

UK 231

Alison

Cooper

UK 46 Patricia

Dale

UK 221 Pauline

M. Dean

UK 48, 221 Etienne

Demonte

Brazil 50,

221

Jeanne Holgate

134,231

Mathews

Anne

Schofield

170

235

Pandora

Eleanor B.Wunderlich

USA

237

Tai-Li

Sellars

UK 172, 235 15

234

237

Zhang

China 212, 237

ANDERSON

FAY

BORN LAHORE, PAKISTAN

ay Anderson was educated in India and England

and

is

now

a British citizen

with permanent

dence in South Africa. She received

a

1955 and

travelled

still

lives in

which

resi-

Diploma of

plants

growing

hundreds of plant

a

since 1967.

Iridaceae

Grenfell

I

and

duction

RHS

lis,

Gold Medal twice and the South African

Award

has

met her in

I

the at

Cape she

Hunt at

London

new

I

managed

115

&

116).

had beautifully painted

to track

BELLADONNA Signed Fay Anderson (undated)

Acquired from the

artist

1994

Watercolour on paper 470 x 320

16

mm

them down

in

included in the book,

The

third, a pale

fruits,

glowing

life.

I

pink amaryl-

like the

became

my

have seen a good print of it,

South African prints

with very good colour reproduction.

JERSEY LILY: AMARYLLIS

for

edition of Tiie art of botani-

Two had been

choice. Since then

Africa,

that three

was sadly disappointed by their colour repro-

(plates

larger than

me

told

Kew, having been selected

precious pink pearls, and immediately

for botanical illus-

shown widely throughout South

collections such as the

by Wilfrid Blunt andWilliamT. Stearn.When

returned to

although

tration in 1988.

She

first

the Herbarium.

published with Kirstenbosch and the

Botanical Society Cythna Letty

I

cal illustration

Her latest books

Missouri Botanical Gardens. She was awarded the

Her work

and The Missouri Botanical Gardens and

of her best paintings were

in

many

are Jlie Moraeas of southern Africa, Jlie genus Watsonia

The woody

wildlife artists.

When

and has regularly published in

numerous books and journals

many

possible inclusion in the

wealth of paintings, with

studies,

has encouraged so

Kirstenbosch and Pretoria.

southern Africa for her subjects.

She has completed

Gallery in Johannesburg

Institute

widely in Europe, Africa, Asia and Australia but

on

Read

at

numerous botanical

in

is

Kenilworth in Cape Town. She

has almost exclusively concentrated

the Everard

including

Fine Arts from the Michaelis School of Art, Cape Town, in

1931

most first

slightly

are often excellent,

FRANCESCA ANDERSON BORN WASHINGTON

saw Francesca Anderson's strong, powerful black and white globe cabbage

my

door on was hanging

and

I

I

soon

first visit

as

I

made

Hunt

to the

Catalogue which

a

1987. After her children

ing with

Institute. It

vitality

its

1992

and work-

ies

Hunt

invaluable

the

I

is

number of bold pen-and-ink draw-

home

Brooklyn College in

she went back to paint-

work

have a cyclamen from

this series,

a

dozen

for over a

One

between 1990 and 1995.

of poisonous plants was shown in

set

of stud-

number of venues.

which Francesca

feels

almost spitting venom.

She took

addresses.

left

at

vengeance, producing

a

solo exhibitions

shortly afterwards

artist

York, using

lists artists'

me

She showed

by

contact with the

New

Brooklyn,

attracted

degree in drawing and painting

walked through the

in their 7th International Exhibition in

was immediately

manship. in

very

as

DC, USA 1946

on show

at

me on a number

of trips to look

at

work

her

New York,

the charming gallery at Wave Hill,

ings swirling across large sheets of paper. Despite their

and in the Brooklyn Botanic Garden. She has just done

strength they are finely executed. She draws life-size but

striking series

often chooses substantial subjects. That day

Brooklyn Garden's conservatories, beautifully observed,

number of amaryllis

did orchid and a see a set

with

M.

of

plates she

saw

I

studies.

was preparing to

a splen-

She

illustrate a

Balick, The palms of Belize and their uses

preparation),

which demonstrated

that she could

traditional identification drawings, part

let

me

elegantly

book

(still

She had recently completed

a Certificate in

Botanical Illustration

at

the

do the

Sadly

a course for

I

New York

of six solo shows in

New York

at

Hunter College and

a

did not see

would

like far

moment) but passion.

that feeling

a gold

medal

seen

life-size,

of life which

them

as

1995 for

one of her favourite

subjects.

I

the

was away

need

and

at

more of her drawings

my 'wall-space-crisis' I

RHS

in

at

a

huge space

it

is

difficult to

the time.

(I

have

to

do

six at the

my

dominates

invigorating work. These are drawings

at

Gallery 91 in the early 1970s and took a Master of Arts

degree

I

kept in the

trees

her work.

eight drawings of amaryllis,

tor's

a series

all

She was awarded

in

Botanical Gardens.

She had had

drawn and always with

permeates

of the botanical

illustrator's trade.

on the venerable bonsai

collec-

justice to her

which need

to

KALE SPIRAL

CYCLAMEN

Signed Francesca Anderson 4/92

Signed Francesca Anderson

Acquired from the

artist

Pen and ink 580 x 730

12/92

1993

Poison Plant Series Cyclamen

mm

Acquired from the

artist

Pen and ink 730 x 580

1

8

be

reproduce them in

smaller format and retain their impact.

Master of Fine Arts

a

1993

mm

a

GILLIAN BARLOW BORN KHARTOUM, SUDAN

Lilian

Barlow trained

London

in

the Slade

at

and

of Arts

Master

University of Sussex in the history of Professor

degrees

berries. The styles

Orchid Painter

for the

RHS

number of one-person shows and in India

most

London

recent, highly successful, exhibition

vellum. She has illustrated a large calendars with attractive first

and

saw her work

International Exhibition, Gloriosa superba.

in

More

Herald

since 1988

London and

London, in 1995, where she showed

I

as

from

and a

I

New York,

I

a pair

was

at

at

the

Spink,

artist

new works on

and she told

me

that

when viewed

in

my

bought

a

superb Anemone hupehensis

RHS where she received a gold medal.

it

way

she handled the white flowers,

them

to

STINKING IRIS: IRIS FOETIDISSIMA Signed G. Barlow 1991

Acquired from the

artist

1992

Watercolour on paper 415 x 265

20

lilies.

com-

Neither

mm

of

with pink or greenish overtones.

palnstris, at

Barlow wrote

pleased that felt

interesting to

uses white, but they delineate with subtle washes

Gillian

and

It is

with Coral Guest's painting of white

of Botanical Merit

7th

a delicate

tulips

I

Another purchase has been

show me some of her work

of extravagant yellow

the

at

kingcup Caltha

Institute's

where she exhibited

show

silvery grey,

number of books and

Hunt

a

recently

particularly liked the

pare

accessible paintings.

asked her to

1992 and chose

several

different

such a challenge in watercolour.

Bombay, Calcutta and Ahmadabad. Her

in

were very

scarlet

collection.

from 1995. She has had

in

both in flower and with

the pair have proved great favourites

Quentin Bell and Dr Hans Hess.

Painter at the College of Arms in

iris

she had never painted anything like the tulips before, but

the

studying with

art,

She has held very British appointments

as

at

of an

a classic study

School of Fine Art, and took her Bachelor of Arts

1944

I

a

strong study of the

which was awarded

a Certificate

the Society of Botanical Artists. to

me

that she

had bought these

be among her

best.

last

was

particularly

two paintings

as

she

GILLIAN BARLOW

&B«U.0\Y-

PAIR OF

1991

YELLOW PARROT TULIPS

Signed G. Barlow 1991

Acquired from the

artist

ANEMONE HUPEHENSIS Signed G. Barlow 1994

Acquired from the

1992

Watercolour on paper 260 x 365

mm

Anemone

artist

hupehensis

1995

Watercolour on paper 570 x 385

mm

HELEN BATTEN BORN ENGLAND

elen Batten has

been

a

most

and the Central School of Art and Design, London, and

successful freelance

now

jewellery designer since 1984 but has recently

turned her attention to watercolour paintings.

She executed

large

a

commission

for

I

exhibited

at

the

RHS

Award and

She trained

Bower Ashton College of Art,

and

one of the group of orchids she showed

when

she delivered

her work again in 1994

and the Society of

show and

Certificate of Botanical Merit.

at

liked

London.

it

she told

me

in

at

Feathers',

which

ANEMONE AND FEATHERS Signed Helen Batten 94

Acquired from the SBA, London 1994 Pencil and watercolour

on paper 350 x 290

24

the

I

saw

the Society of Botanical Artists'

Westminster in London and bought 'Anemone I

orchid painting. She has

Bristol,

at

she was

thinking ot concentrating more on flower painting.

Botanical Artists, where she received the St Cuthbert's Mill

has her studio in Notting Hill Gate,

RHS

18 paintings of

flowers and sea shells during 1992 and 1993 and has recently

1961

mm

preferred to her award- winning a delicate

touch.

ELIZABETH BLACKADDER BORN

lizabeth Blackadder

painter

whose

cats

among

two

Persians

most distinguished

a

is

subjects range far

flower study.

cal

PvA

from the

way

love the

I

FALKIRK, SCOTLAND 1931

some precious She studied

in

my

me

she places her

my

conservatory, nudging aside

OBE in

huge number of

in a

I

found

visually exciting in

make no

claims

this

statement her plant portraits have

a great

particularly

selected

from

I

and accuracy'

feel for the character

1982.

collections, ranging

and which

artist

Despite

She has had over 40 one-person exhibitions and has

work

an

to botanical truth

Edinburgh University and Edinburgh

College of Art and was decorated with an

as

chose the plants which appealed to

'I

terms of shape, colour and structure.

make themselves comfortable.

plant to at

alogue recently,

classi-

her orchids in just the same way that

roam

herself wrote in a foreword for an etching portfolio cat-

and personality of the specimen,

shown

well

in

Favourite flowers,

by Deborah Kellaway

studies

in an attractive

book

published by Pavilion in 1994.

Scotland to the United States, with paintings in the

Despite her 'loose and wet' technique, her plants are

National Portrait Gallery, London, and the National

always immediately identifiable — indeed botanists are

Museum

of Women in the Arts in Washington

DC. She

designed a lovely series of postage stamps of her

1995 and her paintings the Royal

are always

Academy Summer

Her flower

orchids and stately

paintings are wonderfully free and unin-

most

are splashed

with spots of paint and

carefully observed.

her vigorous approach style

at

Exhibition.

hibited, yet

far

make

they

command of watercolour is when painting velvety dark

cats in

immediately sold

when

often astonished

her

Her watercolours

work with

a

Professor Jinyong

lilies.

It

who

removed from the meticulous

also paints

brush

of the traditional botanical painter. Indeed, she

style.

LILIES Signed Elizabeth Blackadder 1989

Acquired from Montpelier Studio, London 1993 Watercolour on paper 600 x 570

26

mm

Her

quite superb, especially iris,

is

mysterious, speckly

interesting to

compare

Chinese brush painting of

iris

by

Feng who has taught most of today's

Chinese botanical painters in the

stray pencil marks,

this discovery.

classical

mode, but

with the freedom and flow of Chinese

SUSANNAH BLAXILL BORN ARMIDALE, NEW SOUTH

usannah I

Blaxill

is

an Australian painter whose work

saw on exhibition

first

London

in 1991,

when

at

David

whose

a very

flowers, fruit

She applies

layer

fine brushes,

Ker's gallery in

after

detailed

and vegetables seem to

upon

layer

showed

float in space.

I

at

Spink, London, in

was encouraging

a

few

illustrations

December

to see paintings being

It

was

at this

done on

to

startling intensity,

snapped

black, rather than the

have four of her paintings, two from each London

my

son Simon

who

has just started his

I

have given

own

collection

of botanical paintings.

is

I

believe she

is

one of today's best botanical

an example of Australia's depth of quality in

7th International Exhibition (1992).

BEETROOT Artist's

1994,

exhibition that she

show. One, a superb study of pomegranates,

reproduced on the cover of the catalogue for the Hunt Institute's

show

usual white, paper.

artist

A beautiful painting of pears,

it

back in Australia and sent work from there

up with such enthusiasm.

of watercolour, using very

and achieves an almost

clear-edged and dramatic.

where

studying for

and meticulous

now

is

for a sell-out

of East Anglia in Norwich,

five years at the University is

She

she was living in England.

She began painting full-time in 1985

England. She

WALES, AUSTRALIA 1954

stamp SB (undated)

Acquired from Spink, London 1994 Watercolour on paper 480 x 640

28

mm

artists

this field.

and

SUSANNAH BLAXILL

POMEGRANATES

PANSIES Signed Susannah

Blaxill (undated)

Artist's

Acquired from David Ker Gallery, London 1991 Watercolour on paper 290 x 360

stamp SB (undated)

Acquired from Spink, London

mm

1

994

Watercolour on paper 250 x 225

30

mm

RAYMOND BORN

aymond Booth

describes himself as a painter-

plantsman, and

is

and with

He

1951

after

and beautiful

and

1

eye.

He

My

trained at Leeds

illustrate

work was

gaining an art teacher's

on board

at

creating strong images

He

plates in Urquhart's Tfie camellia in

1956

illustrations.

magnifica

which

recently published

has text

by

Don

Elick.

book

lives there.

ly in the

The

original paintings have

book was launched His

first

London, in

in

1975 was mainly of

who

The most

striking

I

original

pavement outside the Fine

London, queuing

to get in

could hardly believe that

managed It

to

buy

appealed to

made up

a large part

today. Perhaps artists are inhibited

those

Redoute

prints.

scarlet rose petals

this fine

me

far

I

was

study of

more than

of the exhibition.

by the perfection of all

Here Raymond Booth balances

with equally vibrant

two branches with

difficult

a tracery

hips, subtly linking

of leaves and perfectly

registering the changes of the seasons.

the Fine Art Society,

Raymond Booth grew

while another

Yorkshire and used

1991 was divided into paintings of rather idealized

vidual plants.

Street, I

RHS.

the

Finding good rose paintings seems curiously

States since the

glossy garden flowers or splendid detailed studies

New Bond

perfect flowers that

been shown wide-

wildlife,

a chilly

7.30 in the morning.

the at

on

Belfast,

the beautifully executed paintings of glossy birds amidst

in 1992.

major exhibition

Museum,

Raymond Booths

introduction to

the red rose, Rosa moyesii.

Rather astonish-

United Kingdom and the United

public collections

the Ulster

Institute,

sixteenth in line, but

Japonica

he he has neither been to Japan, nor met Elick,

number of

a

Museum, Cambridge, and

standing

Art Society,

some

his

first

held in

Hunt

the Fitzwilliam

an interruption for National

book

is

including the

them

later painting

1929

His work

962 (with Paul Jones) and grew most of the plants

used to

one

ENGLAND

for cultivating rare

painted

that reproduce well as

ingly,

late 1940s,

often uses oil

lush

and

knowledgeable

College of Art in the

diploma in

famous

difficult species

a particularly

Service.

LEEDS,

BOOTH

C.

of indi-

it

in Japonica magnified.

was an extraordinary

the

study of potatoes reminiscent of a school-room poster.

Kumano

vertical,

Acquired from Fine Art Society Gallery, London 1991

32

It is

of one of his

in

illustrations

normally found on the

cliffs

of

shaded ravines, often splashed with the spray of

Signed R.C. Booth 1988

mm

for a study

macranthopsis

gorges of southern Kii, Japan, hanging from

ROSA MOYESII

Oil on paper 610 x 430

Tricyrtis

RAYMOND

waterfalls. It flowers in

blossoms and waterfalls (a

genus species

-

the

lily

family)

why is

is

Raymond Booth houses.

painting

shown here seems

to

as that illustrated in Japonica magnified,

study of an earlier stage of flowering.

I

find

He

sometimes gardens

at

crammed with greennight with a spotlight,

He

is

a

very highly considered painter of flowers.

be the

I

personally prefer his

more

austere,

academic

studies,

but he has a large following for both those and his more

probably it

very quietly in Yorkshire, work-

saving the precious daylight hours for painting.

T.

unusual in having blossoms which hang on

The

lives

ing in a small suburban garden

erect flowers covered in spots lilies.

book which, although

informative, has a cluttered background.

made up of a dozen

they are generally called toad

BOOTH

appealing than the plate in the

.

trailing stems.

same plant

waxy, bell-shaped

famous destination for Shinto pilgrims) The

most of which bear

the reason

trailing

found around the base of the Nachi

Tricyrtis (in

macranthopsis

a

is

October,

C.

more

glossy,

polished paintings.

TRICYRTIS MACRANTHOPSIS Signed R.C. Booth (undated)

Acquired from Fine Art Society Gallery, Londonl992 Oil on paper 450 x 325

35

mm

JENNY BRASIER BORN ALVECHURCH, ENGLAND

ike

many

other

botanical

some 16

painting seriously

encouraged to do so by the of botanical

was

first

illustration,

late

Jenny

today,

had no formal training and only

Brasier

art

artists

I

Her work

appears in the

Another source of influence and construc-

tive criticism

was John Whitehead,

who

done

Museum

RHS

in 'Picturing Plants', a Victoria

exhibition

in

1995. She

has

&

shown

Smithsonian Institution in Washington, the Hunt

and has been collected by the History

Museum

RHS,

and many private

has been reproduced in a

and bought

versatility

works which were

far

removed from

is

a strong

and

in watercolour

of

free study

and

a

stem of bananas,

ink, the other a very lily

subde and

flowers, predominantly

colouring of pink.

exhi-

Later

Albert in

like

that

Institute

the British Natural

individuals.

number of books on

I

bought

care.

surface.

She was given

Jenny

now

Brasier's

illuminated manuscript.

BANANAS Acquired from

after his death.

them

she works with great

work

is

JMB

Kew

1991

Gardens Gallery 1991

Watercolour on paper 600 x 470

36

mm

of vellum

several sheets

aside for

skill

on

this

very beautiful with some

of her studies having the intense quality of

by Diana Grenfell (1990).

Signed

small, brilliant, jewel-

she was so intimidated she put

several years, but

botanical

number of her

had belonged to Rory McEwen,

Initially

Her work

a

watercolours on vellum, executed with meticulous

and loving

the

painting and she provided illustrations for Hosta: the flowering foliage plant

Gardens Gallery in

executed in pencil with the most discreet monotone

and was one of the only two contemporary

hung

differing

elegant study of three Crinum

has explored for

She has been awarded four gold medals in

painters

Kew

was most impressed by her

One

plants worldwide.

bitions

the

of fruit or cyclamen on vellum.

new

edition, 1994.

at

her more characteristic small, precise and detailed studies

whose The

written with William T. Stearn,

published in 1950.

I

two widely

years ago. She was

Wilfrid Blunt

saw her work

first

1991.

started

1936

a

medieval

CYCLAMEN PURPURASCENS Signed

JMB

1994 Cyclamen purpurescens Acquired from the

artist

1993

Watercolour on vellum 90 x 125

38

[sic]

mm

3 forms

JENNY BRASIER

CYCLAMEN PSEUDIBERICUM Signed

JMB

1993 Cyclamen pseudibericum 3 forms

Acquired from the

artist

1994

Watercolour on vellum 90 x 125 nun

39

ANDREW PETER BROWN BORN CARSHALTON, ENGLAND

r

Andrew Brown

has

Having seen

been head of the Biology

Department of Westminster School, London, since 1977.

BA

He

iris

read botany at Oxford for his

(Hons) and completed a Ph.D.

at

Cambridge on 'The

large

shows

on

at

plants relatively recently.

the Linnean Society in

He

has

Gallery.

He

silver gilt

Hunt

has

Institute

London and Wolfson

and in the

Kew

voodoo

he had

that

it

Pencil and watercolour

and

I

find

it

LILY:

artist

1994

on paper 680 x 450

40

found in the

it

several bulbs died

while

took a number of years to disasters are

extremely

as a pic-

India Forests

Acquired from the

lily is

academic study holds together remarkably well

Signed Andrew Brown 12 August 1994 S.

started in 1989. This

complex

SAUROMATUM VENOSUM &

an

material. This large,

ture

VOODOO

complete

can be grown indoors and every stage of

common when painting live

RHS.

to

and meticulous

of the Himalaya and South India and has the

complete the work. These natural

Gardens

Himalaya

lily

he was painting them and so

been awarded two gold medals and two

medals by the

his precise

growth recorded. Unfortunately

College, Oxford, and in 1995 he was part of major exhibitions at the

number of

commissioned him

I

advantage that

had one-man

a

and somewhat threatening arum

forests

has always painted, although he only started to con-

centrate

studies

unfinished

Vegetative History of S.W. England' in 1972.

He

1948

mm

extremely

satisfying.

JEAN-CLAUDE VICTOR BUYTAERT BORN ZWARTBERG, BELGIUM

of dry-point botanical

master Buytaert

is

informed has

me

his

sented in the Frick Art

etching, Jan

many

currently a full-time sculptor, painter

and graphic

artist

living

most recent theme

in is

Antwerp who

'Almost Nude'.

I

arts

and has had one-man shows

in

missioned by

Hunt

He

Queen

He

has

Paola of Belgium and

won

his

me

series in the

the

Tolmiea

RHS

had seen

number of

prizes locally

and

is

new

repre-

leaves spring

Acquired from the

artist

1992

Dry-point etching 495 x 645

42

mm

to earth in a I

cupboard

particularly liked the

the Hunt, as

I

have grown

this

been intrigued with the way

from mature ones.

PICKABACK PLANT: TOLMIEA MENZIESII Signed Jan Buytaert 1986

it

his etchings.

at

I

restaurant in Vincent Square,

Persistent enquiries ran

I

at

there was another etching in the

strange plant and have always a

among

dry-point etching of Tolmiea menziesii

with several more of

Institute.

has

saw

London.

been comat

first

same

Antwerp, in

shown

in Pittsburgh,

other collections.

wrote to him he told

the Arboretum, Kalmthout, and at the Russian Artists'

Association in St Petersburg in 1995.

Museum

the Hunt's 7th International Exhibition in 1992. When

He

been professor of both botanical and drawing and

graphic

1944

RICHARD BORN

ere

is

an

realism strong. illustration at

artist

whose

SPRINGFIELD, MASSACHUSETTS, USA

painting with incredible photosense of design

is

Young

&

Rubicam

in

New York

advertising giant in

becoming

1974

after

He

left

20 years and worked

a 'fine' artist in 1987.

exhibitions in the Alexander

F.

He

1989 and in the Hokin/Kaufman

Hunt

Gallery,

Institutes 7th

International Exhibition in 1992.

He

often works with egg tempera and achieves an

and

extraordinary

the

whose painting 'Almost examined with

free-

has had one-

Milliken Gallery,

1931

Chicago, in 1990 and was in the

unfailingly

Richard Carroll studied painting and

Detroit as art director and television producer.

man

York, in

Syracuse University in the early 1950s and

then worked for

lance,

CARROLL

P.

to admire

New

it

degree

a

as a

of detailed perfection, an like

magnifying

whole with

Spinach', must almost be

glass, its

juxtaposition of bark and dried

'ALMOST LIKE SPINACH' Signed Richard Carroll 1990

Acquired from the

artist

Egg tempera 240 x 180

44

1992

mm

artist

before one stands back

deliberate

leaf.

and

satisfying

ALISON COOPER BORN BENGHAZI,

lison

Cooper

who

was

studied

is

the daughter of an

and

also a talented artist at

and plants from her

officer

sculptor.

She

London

and the Society of Botanical

Oxford and Birmingham. She

lives

Artists,

at

the

and

in

I

garden are the inspiration for

liked this delicate, fragile study of hardy geraniums

when

I

saw

Show

it

in a

London

Gallery in

in Worcestershire

in 1993.

HARDY GERANIUMS Signed Alison Cooper June 91 G. phaeum,

Geranium

own

her paintings.

Newport College of Art and

Florence University. She has exhibited in

RHS

army

LIBYA 1951

ibericwn, a seedling

from Richard

Webb

Acquired from Malcolm Innes Gallery, London 1993 Watercolour on paper 450 x 370

46

mm

group show at

at

the

Malcolm Innes

the time of the Chelsea Flower

PAULINE

DEAN

M.

BORN BRIGHTON, ENGLAND

auline

Dean was

a registered nurse

1960s and had no formal training artist.

She

medals by the

RHS, shown

London, the Hunt Johannesburg, and

Institute, the

illustrated a

journal The

ticultural

at

New

five

work

Read

gold

the

RHS

Garden

from where she She

is

at

now

the tutor

I

Kew

Gardens Gallery in 1991. She has perfectly

I

way

the conkers glow in polished splendour.

acquired a precise and immaculate academic

showy

toadstool the fly agaric, with

few miles

stage to perfection

which have

it

later in this

with pristine

volume.

AMANITA MUSCARIA

Signed P.M. Dean (undated)

Acquired from the

RHS Show

1993

Watercolour on paper 290 x 435

48

mm

clarity. It is

with the same subject by

fib

FLY AGARIC:

its

warn-

ing scarlet cap splashed with white spots. She shows every

at

compare

botanical art courses

RHS

watercolour of a horse chestnut from her

study of that

lives.

on the

at

Later

Plantsman has commissioned

a

Wisley since 1994, and designed

a

captured the

number of books. The hor-

Wisley in Surrey, only

bought

show

Gallery,

her to paint a number of plants, most of which grow

at

and Royal Worcester.

the Linnean Society in

Everard

RHS

the successful series of 'Winter Flower' plates for the

botanical

started exhibiting her meticulous

1987 and since then she has been awarded

in

been run by the

through the

as a

1943

interesting to

'Sasha' Viazmensky

ETIENNE DEMONTE BORN

tienne

Demonte

is

one of an almost legendary

family of plant and animal painters

up

in the

his sisters, Rosalia

surrounding father.

now

They

has

Rodrigo,

forests

with

and along the Atlantic coast by

also paint wildlife.

conservationists scientists

and spend

and

way

and Yvonne, were taken into the

two grown-up sons of

who

live

a lot

their

an early age. Etienne his

They

own, Andre and are

all

of their time on

Amazon

is

the Atlantic rainforest and wildlife

probably

is

and they have worked there an

is

attractive, gentle

He

paints birds quite beautifully.

artist

too.

who

had no formal training

but has developed a detailed, meticulous and sometimes ornate ings

has a

He

style.

particularly well

is

known

for his paint-

of humming-birds.

States,

the most publicized area under threat in

as

where the

stress

Demonte

Etienne

field trips

photographs to be worked on in their studios. Although the

under even greater

He

and

such

the north-eastern desert

passionate

ecologists, taking notes, sketches

1931

Brazil, there are others

was spent in Niteroi where he

started painting at

all

who

mountains above Rio de Janeiro, in

Petropolis. His childhood

and

NITEROI, BRAZIL

has had over half a

dozen exhibitions

in the

England and Spain and over 20 shows

won prizes for his postage

number of

on

portfolios

United

in Brazil.

He

stamp designs and produced

He

birds.

done

has

of

a lot

broadcasting and television in which he emphasizes conservation and his concerns about the environment. I

saw

his

work

Nature, compiled

Hunt

Institute.

directness

and

The

by James White, and then

When

I

met him

I

chose

a

later at the

study for the

with which he had painted an orna-

skill

mental banana

in a booklet called For Love of

first

tree

which grew

just outside his house.

flower was being pollinated by a vivid humming-bird

taking the nectar. Later

I

commissioned him

a striking bauhinia, a beautiful

in his garden, again lives at

a

me

flowering tree which grew

humming-bird

pollinator.

He

the end of a challenging track in a house sur-

rounded by

trees, in

The Demonte painting

with

to paint

among

the cooler climate near Petropolis.

family has developed

themselves.

I

its

own

style

of

prefer their simpler water-

colours and gouache works, but they do elaborate paintings in oil as well,

some highly

which seem

to

be

much

favoured in South America.

ORNAMENTAL BANANA: MUSA VELUTINA Planalto

Hermit Humming-bird:

Signed Etienne

Phaethornis pretrei

Demonte 1993

Acquired from the

artist

1994

Gouache on paper 700 x 480

mm

ROSALIA DEMONTE BORN

osalia

Demonte town

altitude

where the too hot and

humid

lives

in Petropolis, the high

came

in the

mountains behind Rio

pen

carioca retreat

in the

city.

when

She and her

sister,

Rosalia's daughters. Rosalia's brother, Etienne

nearby where he paints alongside

his

two

Ludmyla

one of

Demonte,

of painting are sometimes very

on

concentrate

to

flowers

and

similar.

None

daughter paints dramatic pictures of the wild

the

town of

Hunt

work. The book was written by Chrystiane Ferraz

Blower, another of Rosalia's daughters, so keeping

it

as a

was on one of these

trips

near

found the

rare

of the family

this subject for

me from her

it

was driven as

a terrifying road.

magnificent scenery, with great

down

passes

vistas

falls

of Atlantic rainforest

and

areas

well

being part of a large show

as

Aristolochia gigantea,

wind-

where

garden.

tor-

ture,

have swept away the protective parapets.

its

striking

designer

Demmonte

Acquired from the

supplied by the

Hunt

had

also painted

New York,

the Hunt, with an

who

artist

1992

the estate of Institute)

52

an extraordinary vine, a steep

bank

in her

she painted for this dramatic pic-

maroon and white

was such

(undated)

[sic]

is

flower,

was given

by Roberto Burle Marx, the famous landscape

LANGSDORFFIA HYPOGEA

Gouache on vellum (from

at

which grows up

The specimen

with

to her

reached the Demontes' house the front wheel

Signed R.

realized that she

Another painting of hers

through quite

the mountainside, but the narrow

ing road overlooks precipitous rential streams

It

I

emphasis on Brazilian ecology.

on what can only be

Petropolis

Institute. Later

she was given by the

She has exhibited in London, Madrid and

in the as

to

McEwen, which

another version, for the Hunt's collection.

family yet again.

we

use

notes using a large sheet of vellum that had originally

mixture of essays and plates showing a range of

Just as

It

Balanophoraceae. She painted

of South

Brazil, a

stretching

camper driven

They

Caitite in Bahia that Rosalia

belonged to Rory

described

Rosalia's husband.

to paint.

heard about the family through Flora and fauna of

I

Rosalia,Yvonne and

take off into the jungle in a big

first

their

did not hap-

on the road up

hangs&orffia hypogea, a curious root-parasite

America. I

hairpin curves

their subjects in the wild,

them specimens

while her

cats

on one of the

it

base for several weeks, asking the local people to bring

Rosalia tends

butterflies,

can only be thankful

I

by Richard Blower,

of them has had any extensive formal training and their styles

earlier,

To study

Yvonne,

sons.

off the car and

from Rio.

the weather gets

share a studio next to their house with Ludmyla,

lives

NITEROI, BRAZIL 1932

Rory McEwen,

550 x 410

mm

a great friend

of Margaret Mee.

YVONNE DEMONTE BORN

lthough Yvonne

Demonte

NITEROI, BRAZIL 1932

encyclopedias and scientific books. But the books of hers

studied at the School

of Fine Arts, Rio de Janeiro, it was only for

a

very

I

brief period and she feels that the real stimulus for her talent

was the work of

wildlife painters

such

Audubon, Roger Tory Peterson and Arthur Singer she studied

as

the

lived,

as

whom

Itatiaia

time in

Brazil's

Sul, in the backlands

trating

all

naturalist

of Bahia and in the

on

Birds of Brazil (Aves do Brasit), has

missioned for two

sets

saw

Rosalia

illus-

been com-

of postage stamps and

monkey

endangered

the pen-and-ink reproductions in one of the

volumes of

environment, showing where

and what

to

its

babies looked

to the outline

the

sloth,

They

encourage children to become environ-

way and

bromeliad on the very

unfinished but

I

to complete

for

Commissioned 1992

Gouache on paper 690 x 490

first visit I

and Yvonne's studio in Petropolis.

Demonte 1992

54

it

typified

wildlife.

this

BROMELIAD Signed Yvonne

of the

or jaguar that she was describing.

it

liked

its

subtle, quiet tones

me. She had found

Atlantic rainforest near Petropolis.

illustrated

like,

a

the Demontes' passionate involvement with Brazil's

all

I

Augusto Ruschi,

ate

its

mentally conscious in the most appealing

expeditions organized by Rosalia's husband.

She worked with the

it

were designed

wilder places such

Pantanal. Generally she goes with her sister Rosalia

and

whole book being shaped

National Park, around the river Amambai in

Mato Grosso do

what

tamarin

much

were for children. Each one was about

best

particular animal

later.

She has spent

remember

mm

it

made It

to

was

and asked her

growing in the

JAKOB DEMUS BORN VIENNA, AUSTRIA

Demus

akob

trained

Academy where he drawing in master

a

as

sculptor at

classes

He

is

an

artist

who

is

much

has not only studied the Elder,

made him decide

work of

past.

smoke

his

colours and

to create the

As well studies

own

as

flowers

warm

making

tones of his

Demus

also

extracts

of

first

I

etching of a

Pieter Breughel the

century, but he also uses their techniques, grinding

other centres.

When

He

Claude and the Dutch painters of the seventeenth

mixing

is

many

arts.

influenced by the

been exhibited widely, inTokyo,Vienna, Munich

and

under Joannis Avramidis. His

on painting and the graphic

has

New York and held in the British Museum, the Victoria & Albert in London, the Metropolitan Museum of Art, New York, the Rijksmuseum, Amsterdam, and

studied sculpture, anatomy and

passionate love for nature eventually to concentrate

work

the Vienna

1959

thistle at

Exhibition in 1992

and

thistle

wood

I

bistre.

draws intensely detailed

of rocks and stones and delicate landscapes. His

saw

I

a

Hunt

felt

Institute's

it

was not

I

an antique-style frame and

hangs in

Acquired from G.C. Boerner Gallery,

7th International

was the best drawing of

it

beautiful ranunculus instead.

Demus 1988 7/30

dry-point

available,

but

whole range of his flower etchings and chose

our old house.

II

It is

et

New York

Diamond-needle dry-point etching 260 x 210

5 6

the I

diamond-needle

his

had ever seen. Sadly

RANUNCULUS ASIATICUS Signed Jakob

saw

1992

mm

it

deliberately a

one of the drawings

mounted

panelled I

a

later this it

in

room

in

treasure most.

ANNE OPHELIA TODD DOWDEN BORN DENVER, COLORADO. USA

many

ike

Dowden

other botanical

artists,

started off earning her

Anne Ophelia

way

through the three-page book her most recent

as a textile

designer and teacher, only later following her early interest in plants.

and taken her

By

the time she had trained

BA at the

Carnegie

Institute

1994

and jobs were hard to

find. Eventually she

As head of the

New York,

College,

saw many young

for

artists

art

department

became

ical artist.

children

Her

curator, told

book

in

writer's

—

Manhattanville

campus

number of her

me

she was

at

common.

Now

really started to establish herself as a

botan-

rians have rediscovered

project was Look at a flower, a

22

years.

illustrated

From then on

preparation,

sometimes

work, but often doing

where she writes the

text

and

a

book

for to

paints the pictures.

It

I

traced her back

has recently returned

turned out that she and

on Carnegie Mellon a friend

each other.

When she heard wanted to add one of her my collection she responded quickly and

made

another

kept

project

Reading

lier

into a print

it

Anne Ophelia Dowden

Acquired from the

since then

works for

SQUASH BLOSSOM Signed

which she

and

paintings sent

me

'Squash Blossom 1978', a painting which she had had

she has always had a

one-woman

active

I

and which stayed

illustrating

still

Institute's collection

three productive and bright octogena-

in

first

HarperCollins in

about the same time, and they shared

was in

her

seems that

paintings. James White, the

husband's mother were both

life, it

all

illustrated for

she spent her childhood there.

develop.

it

Poisons in our path: plants that harm and

to Boulder, Colorado, to

my

which she wrote and

in print for

across a

23 years from 1932 to 1955, she

Although she had painted flowers 1952 that she

at

she sent me,

the age of 87).

(at

came

I

part of a successful group, producing wallpaper and fabric designs.

list

While browsing through the Hunt

of Technology

and Fine Arts the Depression was gripping the United States

is

which she wrote and

heal

Boulder

at

1907

artist

1978

(undated)

1994

Watercolour on paper 350 x 460

58

mm

my

by the Frame House

and

I

Gallery.

She had

was pleased to get one of her ear-

collection.

BRIGID EDWARDS BORN LONDON, ENGLAND

rigid

Edwards has worked

as a

1994 she had

botanical illustra-

where the

tor for nearly ten years. After a successful career as a television

inspired

by the work of the Bauer brothers and Ehret in

one of those

who have been hung Academy Summer Show (1990). cal artists

I

first

saw her work

that she lived near

Academy

at

the

me, went

Hunt

She painted (1994). The

She had

Institute and, realizing

to see her

work. Her Royal

exhibit 'Magnolia Fruit and Leaves'

is

who work show me on my

a robust

artichoke flower and two rusty-red onions. In

1

a

Gardens Gallery of Rory

that

McEwen she

often works

glowing, quiet brilliance, like

medieval

treasures.

John Richards'

Primulas

has twice awarded her a gold medal.

wonderfully successful exhibition in

London's Old

Bond

at

Thomas

Street at the

her paintings were sold before the

all

show opened. Brigid Edwards

immediately commissioned studies of

in 1992.

RHS

end of 1995, where

a small

first visit

a

the plates for

Gibson Fine Arts Ltd

gem. As so often happens with plant painters very slowly, she had hardly anything to

all

Kew

the standard-bearers of today's renais-

sometimes framing her pictures

Royal

at

compared her work with

critics

on vellum, painting with

rare botani-

recently in the

remarkable show

sance in botanical painting. Like

the eighteenth century and started to paint flowers from is

a

McEwen, one of

producer and director she became

her lovely village garden. She

1940

botanical

artists

work on vellum.

ARTICHOKE FLOWER Signed Brigid Edwards 1989

Acquired from the

artist

1992

Watercolour over pencil on vellum 360 x 260

60

mm

is

asnd

undoubtedly one of today's I

am

finest

particularly attracted to her

BRIGID EDWARDS

GOOSEBERRY

DOUGLAS FIR: PSEUDOTSUGA

Signed Brigid Edwards 1993

MENZIESII

CAPE

Acquired from

Kew

Gardens

Signed Brigid Edwards 1993 Pseudotsuga menziesii x 2/i,

Gallery 1994

with acknowledgements to

Watercolour over pencil on vellum 190 x 125

mm

Professor William

Henlow

Kew

Gardens

Acquired from

Gallery 1994

Watercolour over pencil on vellum 250 x 180

mm

BRIG1D EDWARDS

in-,

BRIGID EDWARDS

REDCURRANTS

KOHLRABI

Signed Brigid Edwards 1993

Signed Brigid Edwards 1993

Acquired from

Kew

Acquired from

Gardens

Gallery 1994

Gardens

Gallery 1994

Watercolour over pencil on

Watercolour over pencil on vellum 200 x 165

Kew

mm

vellum 445 x 303

64

mm

ANN FARRER BORN MELBOURNE, AUSTRALIA

nown

able plates for Tlie

and

Tlie

Curtis's

New

Farrer

dramatically blotched and spotted leaves are brilliantly

a

is

Kew, having painted innumer-

familiar figure at

more, called

Ann

affectionately as Annie,

Kew Magazine

observed and the composition has depth and strength.

(now, once

Later

Botanical Magazine), Tiie Plantsman

plants,

Kew monograph The genus Arum. When she is not freelancing at Kew,

leading a trekking party in

some remote

is

away places from her

part of the

widely in China and into

Burma and

which took her

ling scholarship

draw the

to

She has been awarded

many

six

good with

books,

in

London

taught

Jill

RHS

It

and

She has

some of

'Margaret

the

Kew. Her paint-

been exhibited

in the

Kew

at

Gardens Gallery,

colours

first

swamp in

I

Hunt

tiful

my

bought was

a set

which Spink, London, had made

simple

as it

lifespan. as

I

chose Annie to

she

is

might seem

late

to execute these

my

specimen pro-

back by some bad

It is

died.

So

it

took three years to

a

it

to

choose one of the

chose Begonia

and painted them

there. It

six to illustrate here,

chlorosticta

which was

but eventually

produced cones

deciduous conifer and has

a particularly

tree into a

I

burning

spire.

I

well

remember

first

1967 in the Hose Mountains of Sarawak. The

Ann

at last.

Farrer 1990

Acquired from the

artist

1991

Watercolour on paper 330 x 260

plant's

66

driving to

gave the almost naked branches to Annie, so that

Signed

discovered in

beau-

needles falling off en route and mostly shed

BEGONIA CHLOROSTICTA

I

The

did not cone again for two

she could complete the picture

was hard

finish.

late-autumn foliage of flaming, rusty red which turns

before

into a limited

it

ent endangered rainforest areas around the world. She got

Kew

with their

one spring with Clematis

cypress was just as difficult: having

London with

of six water-

edition of prints. The subjects were plants from six differ-

her plants from

particularly

subtle patterns

flowers, set

abundance one season,

years.

at

Exhibition.

work of hers

good condition, but

are in

leaves.

as

unfortunately

teaches an

Lancaster University and at the most recent (1995) Institute's International

was not

with cones

weather. Annie then bought one from a nursery but

Mee

annual course in botanical illustration

have been storm-dam-

lower branches, sweeping on to

weaving

duced uncharacteristic

illustrated

now

The

accessible

conifers,

One was felled before

'Miss Bateman', then the next year

Smythies award by the

in 1988.

a

was particularly

I

a rather distorted tree

commissions. She started

Foundation' students from Brazil and

ings have

dated about 1720.

two other cedars

needle-shaped

Himalaya with

gold medals by the

recipient of the

Linnean Society

of Lebanon.

a cedar

one of them and the cypress

paint

art at

Kashmir and Ladakh

illustrations for Flowers of the

first

map

the lawn. The

plants

by O. Polunin and A. Stainton (1984).

was the

a

on conveniently

Churchill travel-

a

from the garden,

fine trees

must be nearing the end of their

degree in English and history of

a

two

aged years ago, leaving

travelled

many

introduced

Manchester. In 1977 she was awarded

text

who

and

garden. She

favourite clematis, C. orientalis and C.

we bought Hinton and one must

Western gardens.

She took

to

marked on

fit

famous botanical

Reginald Farrer (1880-1920)

cypress

my home

to

my

in

'feel'

favourite

anxious to have her paint the cedar. Four were originally

passion for far-

this

the

relative,

swamp

probably

Himalaya. She recently came back from Nepal looking

and bronzed. Perhaps she inherited

my

'Miss Bateman', and

she

my

some of

which involved her coming down

painted two of

particularly dramatic paintings recently

for a

explorer

asked Annie to paint

I

near Oxford to capture their

Plantsman.

She did some

1950

mm

ANN FARRER

CEDAR OF LEBANON

CLEMATIS ORIENTALIS Signed

Ann

Signed

Farrer 1991

Farrer

91/92

Commissioned 1991, received 1992

Commissioned 1991 Watercolour on paper 590 x 465

Ann

mm

Watercolour on paper 550 x 680

69

mm

JINYONG FENG BORN

rofessor

Feng has

all

the appearance of a distin-

guished Chinese academic with

white

face,

friendly

hair,

the botanical illustrators in

well

as

won

He

from

Read

major prizes in the

at

own

his

Hunt

Gallery in Johannesburg.

his final position

done

most of

has taught

country

Institute,

Missouri Botanical Gardens, in Sydney, in Japan and

Everard

magnifying

He

which he described

now

is

at

as

tact.

wrote to the

After a lengthy pause

away I

I

vast

Flora

where every

Reipublicae

plant

illus-

is

drawing on each flimsy page.

He

by

had

number of watercolours, some gouache and some

a

a small line

the

much

that

artists

proud of

and make con-

transpired that

briefly to Beijing

powerful

trated

(All

less

I

met

also

been done on paper with in Beijing

their oil paintings, but

I

were

oil.

particularly

them

generally found

refined than watercolour or gouache.)

want-

I

he was very reluctant and offered to copy them for me.

he had been

This

for a year, visiting his daughter in Canada. Eventually

was able to go very

a

ed to buy some of Feng's older paintings of camellias but

institute to try it

1-78 of the

the

neer' at the Botanical Institute in Beijing. Inititally

Volumes

studies that appeared to have

engi-

even under

tail;

they were breathtaking. Thousands were

glass

the

retired

as 'senior

for

a wolf's

Popularis Sinicae (1959—1989),

China during the course of his

abroad

exhibiting

and rosy

a fresh

from

just three hairs

twinkling eyes and a relaxed,

and yet dignified manner.

long career and

YIXING, JIANGSU PROVINCE, CHINA 1925

where

met him,

I

Communication was

is

a

very alien approach for

a Westerner,

ly

within the Chinese tradition. Eventually

I

would buy one older

painting, a

but

we

small

it is

total-

agreed that treasure

of

a real

Camellia chekiangolesa that has already been published as a

problem because, although he understands some English

journal cover, and a recent painting of the newly discov-

his

wife and several colleagues.

and writes

it

well,

we had

operative translator.

of Beijing in

skirts

The

to talk through a rather

botanical garden

is

on

around the gardens which were

filled

the out-

where the

a semi-agricultural area

roads are thronged with trucks and bicycles.

ered Camellia chrysantha executed on Winsor

unco-

We

walked

exceptionally

painted

some

fine,

particularly

years previously.

tea.

his

I

a

ed

institute's

found

H.

syriacus.

brush

me

slightly

As

a

oil

Canada. Feng painting of

a

charming gesture he gave iris

mounted on

also

pink

me

a

a silk sur-

of Elizabeth Blackadder s work. At the end

of our meeting

his

copy

older pieces

He showed me some

drawings of great beauty, executed with

formal

lyrical, less

Newton

round, called 'Butterflies before the Wind', which remind-

looked through Feng's portfolio in the

work

parted with a

flowing brush-painting of

with people admir-

reception room, sipping the customary

his visit to

hibiscus,

ing the spectacular beds of peonies. I

paper brought back from

&

a

I

agreed, rather uncertainly, that he

white Camellia vietnamensis for me.

It is

would

a success

and almost has the quality of the original which he paint-

line

made of

ed

when he was

CAMELLIA CHEKIANGOLESA Signed with Chinese characters

Acquired from the

artist

1994

Watercolour on paper 245 x 160

70

mm

younger.

JINYONG FENG

'BUTTERFLIES BEFORE THE WIND' Signed with

his

chop, 'Butterflies before the wind'

Institute

of Botany, Academia Gift

from the

(Iris)

Sinica, Beijing,

artist

1994

Watercolour on paper 660 x 480

mm

HIBISCUS SYRIACUS Signed with

his

Aquired from the

chop

artist

Oil on paper 400 x 280

73

1994

mm

by Jinyong Fens

China

ANN FRASER BORN

ady

Ann

spent her

Fraser

Kashmir, returning Scottish Borders.

She had

flower painter, only beginning

home and

upbringing on

little

when

painting and she set up her studio in a small conservatory

childhood in

attached to the seventeenth-century house.

the

formal training

as a

her four sons

left

I

Sir Charles Fraser, started

1985, converting

in

plot

Scotland and

Rosemary Verey's

(and open to the public

They

filled it

with

a

recent

book

on occasions

1994

summer).

changing borders were

a

The

powerful stimulus to Ann

I

fully

a

where

the I

painted and

THE BLACK BORDER Fraser

September 93

Acquired from Malcolm Innes Gallery, London 1994 Watercolour on paper 480 x 660

74

I

Malcolm

bought her

then she had shown widely in the Everard

Read

visited

Gallery in

own

Shepherd House

I

mm

garden later in

remarkable series of 12 paintings, one

selection was skilfully designed

duced well enough

Fraser's

Ann

at

month, of an array of seasonal border

Each month's

ever-

Signed

By

group show

in 1994,

as far afield as

was shown

for each

potent array of interesting flowers,

planted in subtle and unusual combinations.

London

or conservatory. When

Secret gardens

in the

in a

Johannesburg. All her subjects are from her

at

Shepherd House, Inveresk, into an enchanting place described in

saw her work

'The Black Border'.

gardening

one-acre

their

first

Innes Gallery in

finished using her garden as a football pitch.

She and her husband, seriously

an

to

early

INDIA 1936

hope to

that

one day they

do justice

flowers.

and beauti-

will

be repro-

to her 'calendar' series.

LINDA FUNK BORN OAK

inda

Funk

is

a

highly considered teacher

very popular courses

at

exhibitions

in

venues

number of transparencies of her

runs

Blue Hill in Maine during

the summer. She has had a substantial solo

who

PARK, ILLINOIS, USA 1937

ranging from

Gardens in Pennsylvania to Ursus Prints in the Atlantic Gallery in Washington

I

what

liked

New York and

opportunity to

the

drove

she has

oil

work

down with

paint-

properly,

a substantial

and

filled

I

in

did not

Maine.

New York when

Linda

with paintings, stacked

mobile luggage rack and wheeled them

a

streets

out to be an

Northeast Harbor, Maine.

her car

make

her studio

visit

Eventually our paths coincided in

through the

Her work

reluctant to

have

net panels decorated with large-scale botanical

and

felt

Longwood

DC. Recently

a freelance designer

I

purchase without seeing the

them on

She has been

saw,

number of

been preoccupied with designing and executing 56 cabi-

ings, in

I

Although

latest paintings.

my hotel. She turned woman who can well

of Manhattan to

attractive

and

lively

I

understand would be an inspiring teacher.

illustrator since

bought

in botanical illustration

was enhanced

by Claire Roberts

Flatford Mill,

Zinnia elegans. She has drawn the rusty red, pink and

Essex, England, in 1985, followed by study at Eagle Hill

orange zinnia flowers to perfection and her use of pencil

Wildlife Research Station, Steuben, Maine, with Biruta

alone on a

Hansen

hers)

1979.

with

I

who and

a course led

at

I

in 1988.

New

a

watercolour and graphite pencil study of

bud and some of the stems

makes

(a 'trade

for a very satisfying whole.

The

mark' of

painting of

Orleans

the veins

on

was tremendously enthusiastic about her teaching

sensitive.

This painting really runs the gamut between

first

heard about her from a friend in

illustrations.

She arranged for Linda

to send

me

the undersurface of the petals

botanical illustration and

a

ZINNIA ELEGANS Signed Linda Funk 1995

Acquired from the Pencil and watercolour

artist

1995

on paper 430 x 540

76

mm

artistic

is

expression at

particularly

its

best.

YOSHIO FUTAKUCHI BORN

oshio Futakuchi tion.

He

artist

and

painters like dio.

I

the oldest

a teacher

and

still

who

which he executed

at

I

smock

in his studio

me

sent

composed and

still

are at least ten different plant portraits really large, others detailed studies, all

ter

his

has illustrated half a

artists,

There

mastery

latest

at

He

has had

group exhibitions in the

last

Hunt

its

Institute in

having such

a

1988 in

Signed Y. Futakuchi (undated) artist

1994

Watercolour, gouache on paper 325 x 235

78

many one-man and

20 years and showed

mm

at

the

6th International Exhibition.

It is

number of horticultural

wonderful that he has been

productive and respected old age.

CAMELLIA SASANQUA Acquired from the

of many con-

the department of science,Tokyo University, for

His paintings have appeared in a

of

finesse

but they do show the form and charac-

books published in Japan.

dozen books, the

a dedication in beautifully

without the precision and

ten years from 1927.

of design and lay-out.

He

He

attended the Tokyo University of Arts in 1925 and

worked

around him, some

showing

copy with

published in 1992.

of each variety of camellia.

He

a

serious,

day.

a signed

temporary

navy-blue painting

draws every

me

relaxed,

trans-

me

Tlte picture book of camellias

is

executed Japanese characters. The paintings are loose and

chose Camellia sasanqua

sitting in his

where he

sent

visit his stu-

the age of 94. She also sent

work,

which

collec-

works with younger

frequently

recent photograph of him looking his

my

in

in Japan as an

him through Michiko who

some of his work.

surrounded by

artist

immensely respected

Michiko Toyota,

contacted

parencies of

is

is

ISHIKAWA, JAPAN 1900

LAWRENCE GREENWOOD BORN TODMORDEN, ENGLAND

efore World War as

Lawrence Greenwood worked

or an alpine species nestling in the rocks and stones of

carpet designer, engineering draughtsman

a

and

II

He

general manager in industry.

a

school for five years. For the

started

detail as

has exhibited his

work

at

in 1981

I

the

and

I

bought one of

Hunt

have

Institute's

always

alkaline

tographs, mainly because the camera can never

show

particular

need

and see what

there, as well as

is

front of them.

to

from ity.

a

which

who

photograph provided

Because of

having the

live plant in

this skill

able to

produce

that the latter

is

a

I

skill.

^ ^4

painting

by using transparencies taken around the

Most

species

from the Himalaya, Chile and Argentina — water-

who

rhododendrons

one of

world.

colours

admired the yellow

of high qual-

their plant-hunting travels

recently he has painted rare

which have amazed the

botanists

and

inacessible

and gardeners

have seen them.

Lawrence produces two kinds of painting. The

first is

the traditional 'botanical illustration' of a plant set

on

white background; the rhododendron shown here

is

example. The second

is

of the plant

haps a woodland plant growing

set in

among

its

RHODODENDRON FALCONERI

a

Signed L.G. Rhododendron falconeri

an

Acquired from the

habitat, per-

fallen

artist

1992

Watercolour on paper 335 x 455

dead leaves

SO

at

7th International Exhibition in 1992.

he has been able to paint plants

are not in cultivation

by botanists on

is

is

Tire

work

hidden behind other

Lawrence Greenwood, however,

those unusual painters

his paintings after seeing his

be able to look round the back

parts. Illustrators

careful

my great regret cannot grow them in my soil. He has painted the foreshortened leaves with

pho-

are

much

Plantsman in 1994 and further paintings will be pub-

botanical illustrators will not paint from

which

as

the botanical subject of the study.

although to

in 1991.

those parts of the plant

painted in

a

lished in future issues.

He showed 40 Rock Garden

Nottingham University

at

Warwick University Most

Club.

each of the 5th and 6th

Conferences held

New

the shows of the Alpine Garden

Rock Garden

Society and Scottish paintings

at

is

is

His illustration of a Calochortus was published in

20 years he

last

background

scree slope: the

painting flowers in 1968 and attended evening classes at his local art

1915

mm

MARY

GRIERSON

A.

BORN BANGOR, NORTH WALES

ary Grierson

is

women who aunt.

I

The

first

met her

Kew

first at

RHS

and then

paintings of hers that

Reading

later as

shown

for

is

as

Women's

a

tographs during World

started a

But

new

War

in 1960,

II,

when

and

is still

to

numerous

as a car-

at a series

at all

She was awarded

five

she

at

Kew

record

A

at

I

and

ing

the important shows in

gold medals by the

its

and

gallery.

RHS

the Natural History

Kew. She has

and

its

illustrated a plethora

by Anthony Huxley

flowers

by Brian Mathew

to

in

of

1967

in 1989, as well as painting

She

P.F.

also

Hunt.

Hawaii in the 1970s and 1980s to

native flora. Tht

work

will

be published soon

as

florilegium.

have never met an life

Museum,

plates for Curtis's Botanical Magazine.

Hawaiian

to attend during her

until the early 1970s

at

She was invited

first

of courses on botanical painting

which she used

She remained be seen

RA whom

Museum,

painted the plates for the huge Orcliidaceae by

career as the official botanical illustrator at

Flatford Mill, Essex, holidays.

worked

to Hellebores

she was nearing 50, she

Kew, encouraged by John Nash encountered

later

commemorative china and her work

books from Mountain

Auxiliary Air Force flight officer interpreting aerial pho-

tographer.

in the British

London, and skills

1986

University.

the Franklin Mint's

years.

She honed her observational

in 1984. In

She has produced postage stamps and many designs for

bought were from an

I

Memorial Medal

she received an honorary doctorate in philosophy from

flower painting commit-

exhibition at Spink, London, where she has

many

received their Veitch

attractive

must be everyone's favourite

one of the judges on the tee.

one of those warm,

1912

more. She

still

artist

who

always has

has enjoyed her paint-

some

painting 'on the go'

gives thanks for her eyesight because she

is

still

an

active plant illustrator.

YELLOW WATER Signed

Mary Grierson

LILY

(undated)

Acquired from Spink, London 1990 Watercolour on paper 260 x 340

mm

THE GREAT SUNFLOWER: HELIANTHUS

ANNUUS Signed Mary Grierson July '92

Acquired from

Kew

Gardens Gallery

1993 Watercolour on paper 400 x 300

82

mm

GILLIAN GRIFFITHS BORN BRIDGEND, WALES

s

a

now

preliminary career to flower painting, Gillian

Griffiths' previous life as a police secretary for

years

is

certainly

unique

among

the

artists

collection. Botanical painting started off as a

in

23

I

my

by the

RHS

in

She was awarded

1986 and two

silver gilt

a

study of Sarracenia purpurea

I

She

that

supplement their

RHS Show

1993

Watercolour on paper 455 x 305

84

mm

diets

by

where they

it

at

an

attracting

are trapped

in the fluid at the base.

PURPUREA

Griffiths, Sarracenia purpurea ssp. purpurea (undated)

Acquired from the

purpurea, a

have always been intrigued with those rather

and ultimately digested

SSP.

ssp.

plant, after seeing

insects into their vase-like leaves

SARRACENIA PURPUREA Signed G.

this

sinister plants

gold medal later.

bought

RHS show.

hobby and

medals

teaches adults the joys of painting in watercolour.

North American carnivorous

then became a full-time obsession. Since 1990 she has had several exhibitions in Wales.

1946

Cj. Crnffijkj-.

CORAL GUEST BORN LONDON

oral

Guest just beams with enthusiasm about

talks

rather sparse, not

always

sell

her

hung with

work immediately

plants, life-size,

show some

She was trained

at

the

and studied Zen

I

finished.

strong, large

later

won

on watercolour techniques. The

her gold medals in 1984 and 1986. She has had

person exhibitions in London,

I

looking

at last

who

at large, original paintings

had somehow missed seeing

I

bought

I

and splendid

a vast

I

to

hang

that

on

it

I

did not even consider where

my

commissioned her

crowded to paint

walls.

me

a

white

lily as

she revelled in the challenge of white subjects. Eventually

Queen'

Lilium longiflorum 'Ice

some

started

that

one-

Hague,

interesting

skilled

no white

arrived,

paint

it

on

might appear, there this

work. All

I

the most unusual and interesting in

PAEONIA 'SARAH BERNHARDT' Signed Coral Guest '93 artist

1994

Watercolour on paper 880 x 600

86

is

most

cer-

achieved with

find the design one of

my collection and love

the subtlety of the grey-green leaves.

Acquired from the

is

'Please note

washes of varying greys and remains true to the

purest traditions of watercolour.'

Giverny, France, for Tlie Artist magazine

accompanied by

comments on technique:

however deceptive

tainly

represented in several public collections

at

was going Later

including the Sechuan Academy, China. She painted at

Monet's garden

was

away with enthusiasm

awarded

New York and The

I

made me

painting of Paeonia 'Sarah Bernhardt' and was so carried

she had

five

at

near Edinburgh, admiring

glorious flower prints. Closer examination

before. Shortly afterwards

flora there as

RHS

each 'Painting Flowers' workshop

sitting in a restaurant

by Coral Guest,

calligraphic painting at Seitei-Ji,

and had

was

realize that

a travel scholarship

By 1986

at

since 1993.

some

She often

Harrow School of Art and

a freelance botanical illustrator

is

I

find very oriental.

well as working as a screen-painter.

Holland, and

Kew

is

paintings, as she can

Jamanashi prefecture. She painted the native

lecturing

studio

tiny seedhead hovering in the centre

Chelsea School of Art and

become

and has taught

she

suspending them in space. Occasionally

of a huge white expanse which

to Japan

it is

Her

and paints

uses substantial pieces of paper

she will

flowers.

illustrating

as

1955

mm

CORAL GUEST

LILIUM LONGIFLORUM 'ICE QUEEN' Signed Coral Guest 1995

Commissioned 1995 Watercolour on paper 760 x 570

89

mm

JOSEPHINE HAGUE BORN LIVERPOOL, ENGLAND

osephine Hague studied

textile design at

College of Art, returning to the college years a refresher course.

From 1979

to

freelance career in textile design

her

work

Kew

has been exhibited in

Gallery,

have included a

and

used to

by

a series

London. Her

set ol paintings

and

exhibits at the

of species and

she was invited to

Liverpool

Museum

become

artist

in

residence

of

up

until the correct colour

Hague would come

Jo

in the orangery.

I

Spath',

a

that

I

and

is

to

or

are

both

— charming

stud-

layers

of paint

a study

love to grow.

of the I

my

Kew

Gardens Gallery 1990

Watercolour on paper 380 x 280

90

mm

are built

country house and paint

my many

favourite varieties

remember her

AND TROPAEOLUM SPECIOSUM Signed Josephine Hague (undated)

which

achieved.

clematis, 'Elsa

of

Streptocarpus

leaving, laden

different plants, anxious to see if she could

Foundation.

Acquired from

life

asked her to do the morning glory

'Heavenly Blue', one of

the

of British wildflower plates for The Conservation

PANSIES

with most

in the collection

demonstrate the way in which the

be

of Natural History. She has designed

common

she only paints from

illustrators,

of Clematis 'Vyvyan PennelT —

ies

1993

at

her subjects. In

have a couple of working drawings

I

Between 1984 and

RHS awarded her four gold medals and in

many of

bold and accurately observed.

forthcoming monograph on the genus

MacAllister and Nigel Taylor.

1988, the

will

which provides

from working drawings. Her finished paintings

RHS

cultivars

near to Ness Gardens, the botanic garden

other botanical

galleries including

of portraits of Sorbus species which

illustrate a

Hugh

series

her with

a

Gardens Gallery, the National Theatre in London

and the Tryon

ivy,

many

illustration

lives

attached to the University of Liverpool,

later for

1995 she followed

and

She

Liverpool

1928

with

grow them

too.

JOSEPHINE HAGUE

STUDIES OF STREPTOCARPUS

MORNING GLORY

Signed Josephine Hague (undated)

Signed Josephine Hague 1990

Commissioned 1992

Delivered 1991

Watercolour on paper 510 x 400

mm

Watercolour on paper 310 x 360

93

mm

CHRISTINE HART-DAVIES BORN SHREWSBURY, ENGLAND

hristine Hart-Davies

for her miniatures

is

known

particularly well

native flora.

of flowers, landscapes and gar-

by the RHS,

is

a

five

member of

founder

Although her miniatures

somehow

gold medals

the Society of

artist's

Her meticulous flower

Bright's

paintings illustrated

A year in a Victorian garden (1989)

commissioned to paint

for T\xe

Kew

Henry

and she has been

in this field.

follicularis,

Royal Horticultural Society dictionary of gardening

unwary

new

(ed.

in

upon which every

Europe and North

Africa, she settled in Dorset in 1975.

She

still

PAW:

with a

tiny its

have

time and eventually

Kew

Gardens

Albany pitcher

plant,

small, barrel-shaped leaves

mossy bank waiting

paw

The

other

is

for

some

perhaps rather

artist

plant, Anigozanthus

focuses

when show most

manglesii,

the collec-

striking pat-

tern and contrast with the green, paw-shaped flowers.

ANIGOZANTHUS MANGLESII

Signed Christine Hart-Davies (undated)

Acquired from

my

tion. Its scarlet, hairy stems create the

travels to

Europe, Australia and the Americas making studies of the

KANGAROO

bided

insect to venture in.

Australian kangaroo extensively

I

uncharacteristic of her work: an arresting study of an

A.

Huxley). travelling

the

crowded together on Tlie

I

life-size paintings at

One shows

Cephalotus

Magazine.

She contributed black-and-white drawings to

After

work

Gallery.

are beautifully painted

never got very excited by any contemporary

bought two excellent

Botanical Artists and was their honorary secretary for ten years.

Recently she joined an expedition to Sumatra

to paint plants in the rainforest.

dens and for her detailed and precise studies of

mosses and lichens. She has been awarded

1947

Kew

Gardens Gallery 1994

Watercolour on paper 375 x 280

94

mm

HELEN HAYWOOD BORN LONDON

elen

Haywood

near Ashdown

and took

a

and moved

She studied for her

teens.

Her most important

spent her childhood in Sussex,

forest,

Masters in illustration

at

to Wales in her

BA degree

at

the

Gwent,

a

Birmingham. She did

in conservation

and

award in 1988;

it

and

Attenborough. She has done

illustrations

Magazine and the Reader's Digest

for

as

David

Tlie

HA

Acquired

at

History,

two

all

who

saw them.

small paintings

collection

Kew

leaves

A garden for all seasons.

I

on

smaller studies

It

was there that

on vellum. For

chose a superb

and thorns

I

bought

my

thistle as his first

number of enthusiasts

as

well

purchase.

Her

and she

for her work.

WILD CABBAGE Haywood the

Signed

(undated)

Museum

Acquired

of Garden

London 1994

Watercolour on paper 330 x 180

HA at

History,

mm

Haywood 1994 the

Museum

of Garden

London 1994

Watercolour on paper 723 x 525

96

a

son Simon's

are particularly well observed

deserves the growing

THISTLE Signed

some

wild cabbage with flowers, roots and crinkly leaves

won the 'Young Illustrator of the Year' Sir

of Garden History in London. She showed

selection of paintings with

delighted

a passionate interest in nature

was presented to her by

Museum

exhibition so far was in 1994 at

vellum: most were botanical but a few were of insects and

some teaching and enjoyed making jewellery. She had always had

1964

mm

SUE HERBERT BORN DARWEN, ENGLAND

ne of the Institute's

first

paintings

its I

to

at

the

Hunt

ed them

leaf that

was most arresting

show me more of her

lives

and works

in

London,

been culled from

river

like

specimens in a herbarium.

who

sees

my

It is

inter-

collection has always

attracted to this subject.

Sue Herbert trained

paintings and she arrived with a

portfolio of 'king-sized' leaf portraits. The leaves

they were partially dried out and they

esting that every artist

been

who

when

looked exactly

stark simplicity.

asked Sue Herbert,

huge

saw

7th International Exhibition in 1992

was an enormous in

I

1954

at

the Sunderland College of Art

and graduated in 1976. She has contributed to exhibitions

had

at

banks and pressed. She had paint-

the Society of Botanical Artists, the Society of Wildlife

Artists

and

LEAF Signed Susan Herbert (undated)

Acquired from the

artist

1992

Watercolour on paper 690 x 460

98

mm

at

the Chelsea Physic Garden, London.

JEANNE HOLGATE BORN LONDON

ith a career as

one of the world's leading

while the

botanical painters, spanning at least 40 years,

Holgate

Jeanne

between England and the United

States.

kept hearing about her in relation to

Indeed,

Longwood

Pennsylvania, where she taught in the 1960s,

I

when

II

of America', showing each

I

Gardens,

a

taught herself flower painting and

from 1954

hundred of her orchid

won

exhibition with her

flight

became an

officer.

She

including those of

official artist

paintings.

Hunt

the silver trophy for best scientific

work on

orchids at the 4th

World

with

1966 and began her con-

impressive gardens in the United States

which

has

wonderfully supported by the Dupont family.

remember having dinner conservatories,

(560 x 710

To complete

it

mm/22

she travelled

in

one of with

its

the

I

well

lecting,

She has had one-person shows

London and

all

at

is

Museum

collections

and the University of

illustrated in

Tlie art of botanical

T. Stearn (1994)

member of the Guild of Scientific a

I

had

and was immediately captivated by

formal

about

she told

Illustrators,

gallery in St James's,

in 1991, less than a year after

ing of a yellow peony. it

me

When

I

started col-

a lovely paint-

spoke to Jeanne Holgate

she particularly

remembered painting

the red veining in the stem and along the leaves,

Sotheby's and the

thing that

over the United States,

is

distinctive to that plant

observed in the

illustration here.

PAEONIA MLOKOSEWITSCH1I Signed Jeanne Holgate (undated)

Acquired from King Street

Galleries,

London 1991

Watercolour on paper 240 x 340

I

1)1)

mm

is

Fellow of the Linnean Society in 1991.

immaculate and gardens

many

held in

wandered into Hal O'Nians'

London,

been

is

wonderful portrait of a pale pink magnolia. She

a

founder

I

New Mexico, taking over four

by Wilfrid Blunt and William

and was elected

stretched around us as far as the eye could see.

in

flower emblem. This was

HM Elizabeth the Queen Mother, the

Carolina, and

illustration

a

in

She

Institute, the British

North

She was awarded four

nection with Longwood, one of the most important and

Museum

portfolio.

years in the process.

to 1966. The society has over five

She moved from England

British

state's

task, resulting in a large

Hawaii, and from Alaska to

Orchid Conference.

towering

mammoth

x 28 inch) limited

thought she

she joined the Women's Auxiliary

Air Force and attained the rank of

gold medals and

commissioned to paint 'The Flowers

over 45,000 kilometres (28,000 miles) from Maine to

During World War

RHS

of her work

Institute held a retrospective

In 1972 she was

must be American.

to the

Hunt

in 1973.

time

her

divided

has

1920

some-

and quite beautifully

MARIKO

M

I

BORN TANAGAWA, JAPAN

ariko Imai

botanical

is

considered to be one of the best

artists

important to

in Japan

visit her.

and

I

thought

She was holding

it

was

exhibition in the hallway of an office building (exhibitions

commercial premises or in department

stores in Japan) in

Mito, some considerable distance from

I

1942

by the Japanese branch of the RHS. She has taught

at art

school, lectured at botanical gardens and, like so

many

other good botanical

a small

are often held in

A

Her

and Dracula and most of the paintings in her exhibition

ing practical corduroy trousers and tough boots and

matsui for

looked

set off

as if

with

she was just off for a hike in the countryside.

illustrated a great

on the covers

number of books

of the journal

There were

a

few more

finished illustrations

which she had used

botanical magazines.

I

A

its

stylized, less

for covers

on

eventually chose Heterotropa mura-

strong design element and intriguing mass of

recent publication, Masdevallia and Dracula, has

some

superb illustrations by Imai, beautifully reproduced.

including quite a few for children. In 1992 and 1993 her paintings were used

plants.

tangled roots.

She has had many solo and joint exhibitions, both in Japan and Canada, and

some time working

favourite subjects are the orchid genera Masdevallia

were of these

I

has spent

as a textile designer.

my trusty Japanese colleague, Keiko Saino, who navigated me through two train trips and then translated for me when I finally met Imai. She was wearTokyo.

artists,

sense of composition

produced

ticularly well painted.

HETEROTROPA MURAMATSUI Signed Imai (undated)

Acquired from the

artist

1994

Watercolour on paper 380 x 250

1

02

mm

is

Her

unerring and her leaf texture par-

PAUL JONES BORN SYDNEY, AUSTRALIA

aul Jones Australia,

is

by

far the best

whose

known

flower painter in

exquisitely beautiful

work

cel-

is

ebrated in several important books and has been

He Julian lias

trained at East

Sydney Technical College and

Ashton Art School.

He

was

first

at

the

there. It

much

felt

was then

Jones Supreme', the camellia

named

Hampshire, England, to paint

the Leslie Urquhart Press,

London

from

Raymond

two limited edition books,

Booth).

Flora

Then came

superba

and

the

Flora

published by the Tryon Gallery, London, where

the original paintings were also exhibited to great acclaim.

plants

growing

them hanging

a set

after

visited West

of 40 flower

on the occasion of

there

Romneya

birthday. Paul Jones painted

garden in 1988 and 1989. eagerly waiting for the

He

told

main bud

paint a really choice bloom;

work he

him.

Mc Alpine's

Lord

in

and when he

he painted Camellia 'Paul

For three summers in the 1980s he

interested in camel-

to art in 1971.

influenced by the

that

two vol-

(with a few plates by

magnifica,

returned to Australia

plates for Tlie camellia in

and produced superb

umes published by

He was awarded the OBE for his services He visited Japan in the mid-1970s had seen

collected worldwide.

1921

to

portraits

garden.

me how

saw

I

Alistair's

40th

from the

trichocalyx

open

Green,

he had been

so that he could

and was devastated

to find the

next morning that someone going round the garden on

open day had

the

So

that

is

When

why I

stolen

ture

of

and taken

several

the portrait was painted over

buds

two

started collecting botanical paintings

Lord McAlpine's fought

it

my way

gallery in

through

Cork

Street,

as well.

years. I

visited

London, and

his extraordinarily eclectic

artefacts (he collects

Roman

and Celtic

mix-

objects,

Australian aboriginal bark paintings, coins, dinosaur eggs

much

and

else besides).

There

I

found

a

number of Paul

Jones' paintings nestling alongside Sidney Nolan's massive canvases and chose the

arranged to meet

I

lives in a delightful rear. tle

Now

two shown

him

here.

recently in Sydney,

where he

studio house with a small garden in the

in his seventies,

flower painting, but

white photography.

He

is

he seems to be doing very

lit-

concentrating on black-and-

does every stage of the photo-

graphic development himself so that he can get exactly the result he wants.

These pictures

are

amongst the most remarkable flower

CAMELLIA 'PAUL JONES SUPREME' Signed Paul Jones '77

Acquired from Erasmus Gallery, London 1991 Acrylic on paper 512 x 330

mm

PAUL JONES

CALIFORNIAN TREE POPPY:

CAMELLIA JAPONICA 'USU-OTOME'

ROMNEYA TRICHOCALYX

Signed Paul Jones (undated)

Signed Paul Jones

Gift

from the

artist

1995

(painted 1988-89)

Watercolour on paper

Acquired from Erasmus Gallery,

Acrylic

190 x 180 nun

London 1991

on paper

710 x 520

mm

photographs

I

have ever seen, created by a

appreciates the subtlety

He

able shell collection, a passion he has indulged for

truly

and beauty of flowers.

of

and

is

quite right to

do

romantic and dramatic appeal which scientific illustration; yet

work: he always gets

When

I

was

visiting

he does not

is

so.

often not found in

a great 'feel' for

accuracy in

his

shells

are

all

his treasures

labelled

shells in his

design of

New

remark-

107

work.

He

did,

a beautiful set

Guinea

and

I

much

and exquisitely I

was

suppose rather sur-

he had not portrayed more

prised, in retrospect, that

each subject.

him he showed me

The

overwhelmed by

His work has a

sacrifice

his life.

arranged in subtle patterns in drawer after drawer.

describes himself as a flower painter, not a botani-

cal illustrator,

his

man who

however, use them in the

of postage stamps for Papua

in the 1980s.

ANNETTE DE JONQUIERES BORN COPENHAGEN. DENMARK

lthough she

now

is

living

Annette de Jonquieres was

work of Margaret Mee

in

Denmark

first

inspired

that

started

for I

She saw bromeliads and orchids

Margaret

Mee had

drawing

herself.

lecting seriously.

in

by the

use

a friend's

painted growing around her and

at

Kew.

Bangkok, before

She was

a

had

really started col-

wonderful companion, exploring

was fascinated by everything in

exciting and exhausting

that throbbing,

She foraged through the klongs, picking and the

last

in

Sao Paulo and

Hunt

Institute's

showed an

encyclopedia I

the

excellent Amaryllis is

and produces

doing

which

artist

is

now

part of the

illustrations for Tlie

a range

Danish

of charming postcards.

have a dramatic painting of a bromeliad executed while

she was in

Signed Annette de Jonquieres, Fragaria

uesca, juli

1995

Watercolour on paper 480 x 360

108

at

8th International Exhibition in 1995, where

Hunt's collection. She

Bangkok and

WILD STRAWBERRY Acquired from the

water

Oriental Hotel in Bangkok. She was represented in the

a

more

recent study of a wild straw-

berry which she has used for a postcard

city.

lotus,

of that season s water-hyacinth blooms.

She had one-person shows

the klongs, foraging in antique shops, trying unusual food; in fact she

as illustrations in

lilies

she I

me some of the local water plants for my new magazine based on South-east

asked her to paint

Asia.

similar to those

She had no formal training except

two weeks of classes

met Annette

I

At the time she

in Brazil.

was living in Sao Paulo and saw Mee's paintings in collection.

again,

1942

mm

1995

illustration.

SALLY KEIR BORN UNITED KINGDOM

s

with so many

not

start

her

women

artistic

glow from

painters, Sally Keir did

career until she

worked

was in her

mid-forties because of family commitments. She

took

a

degree in design, specializing in jewellery and

versmithing, at

Duncan of Jordanstone

At the same time she

abroad.

Signed

I

number of medals by

its

intensity

shown widely at

the

Hunt

ferent

from anything

RHODODENDRON (undated) Pink

Acquired from the

Rhododendron

artist

1994

Gouache on board 330 x 380

1

10

mm

the

RHS

in Britain

Institute

in

and

and was

and the way she had achieved

depth and fleshy texture through shadows.

flowers

SAK

a

metalwork.

saw her work

interested in

colour but graduating to gouache to give the more

PINK

as a lecturer in

the early 1990s and has

sil—

College, Dundee.

make her

dark background. Since 1985 she has also

a

She was awarded

started painting, initially in water-

intense and dramatic jewel-tones that

1938

else in

my

collection.

It is

quite dif-

CHRISTABEL KING BORN LONDON

hristabel

King

is

a quiet,

meticulous painter

who

1990.

paints other plants beautifully too, but

painting in Brazil over the

I

feel

she

bedecked with wicked

spines.

collection of cacti plants

ing the flowers

at their

and

Kew

now

much

Illustration

part-time

been

Jill

at

Capel

also

Kew

Mountains, to tains

illustrate

of the moon,

monographs on

monograph on

at Enfield. artists

Guy Yeoman's book

where she

Africa's

moun-

sketched landscapes.

also

and

Pleione, Echinocereus Cleistocactus

to paint

Kew

Magazine

Lewisia: n fourth

in progress.

is

was most impressed with her painting of the showy

I

Mee Amazon

Uganda

of the Ruwenzori

flora

Closer to home, she has illustrated three

Horticultural and Environ-

with help from the Margaret

and extraordinary

the unique

Magazine

had great influence tutoring student

visit-

Amazon, holding

In 1987 she was part of an expedition to

closely

Smythies Award for Botanical

Manor

She recently

She has been involved with other overseas exploration.

since 1975, producing a series of Curtis's Botanical

to her patient dedication.

feel that

seminars in the jungle.

from the Linnean Society in 1989. She teaches

mental Centre

She has

has

due

few years and

stimulating and exciting time in the

father's

grows her own, paint-

who

is

last

ed Brazil to be feted by her students, and had the most

succulent stems

brief moment of perfection.

superb paintings published in

and she received the

fat

She inherited her

a freelance botanical artist

associated with

sent to

and

I

she started teaching in

was amazed to see the improvement in botanical

draws the best cactus portraits in the world. She

contrast of their delicate flowers

is

whom

Trust scholarship scheme

particularly excells at cacti, perfectly capturing the weird

She

1950

tree Spathodea,

exhibition at

which was one of the

Kew

Gardens Gallery.

I

highlights of her

bought

it

and com-

missioned her to do any cactus of her choice. When she

showed

me

the

Gymnocalycium

cf.

delicate,

fleischerianum

I

shell-pink

it

The

cushiony,

transient

fat

flower

of

immediately realized

would become one of the gems of my

that

ile,

small,

collection.

stem was in perfect contrast to the frag-

bloom.

She has produced a great body of superb work in the last

few years and must be considered one of today's

best

botanical illustrators.

GYMNOCALYCIUM Signed

cf.

C

F King

Labelled: Gymnocalycium

Cult

C

FLEISCHERIANUM cf. fleischerianum

F King 6/8/92

Commissioned 1993 Watercolour on paper 210 x 170

1

12

mm

AFRICAN TULIP TREE: SPATHODEA COMPANULATA VAR. NILOTICA Signed Labelled:

C

F King, Jan. 1993

Uganda: Ruwenzori Mts., Nyakalingeju, 1600 m,

in riverside forest. 16/8/87; fruit

Acquired from

CFK

324, tree

drawn from J. Lebrun 9383, Ruindi, Zaire

Kew

Gardens Gallery 1993

Watercolour on paper 265 x 365

mm

CHARLOTTE KNOX BORN LONDON

espite

gallery

the

fact

that

London

I first

work

Ursus Prints,

at

was showing

illustrate Fruit

She trained

and then did

she

lives

and works in

held

a set

in 1992.

The

of paintings she had done to

Ruskin School of Fine

and Art, Oxford,

London. She was

worthy winner of the W.H. Smith award

I

on

these

when

I

visited

admired her strong sense of design and

easy to understand sions for stamps

why

she

and books.

OTAHEITE GOOSEBERRY, EMBLIC, BIGNAY AND RAMBAI Signed Charlotte

Knox 1991

Madison Avenue,

Watercolour on paper 305 x 240

Reproduced

set

set for

her studio clarity

Charlotte Knox's illustrations are so appealing that

a

Prints,

1992 and a

of

execution.

for illustration

Acquired from Ursus

in

Royal Mail was voted the most popular

1993. She was working

a postgraduate course in illustration at St

Martin's College of Art and Design in

& Albert Museum

the Victoria

for the

and Seafood by Alan Davidson. at the

at

of autumn postage stamps she was commissioned to do

saw Charlotte Knox's decorative

New York,

1951

in Fruit

New York,

1992

mm

by Alan Davidson

and Charlotte Knox

p.

127

Left to right: Otaheite gooseberries with yellow fruit,

bignays with red, yellow and purple

fruit,

emblics with green

with yellow-brown

1

1

4

fruit.

fruit,

rambais

is

getting so

it is

many commis-

M

ARIKO KOJIMA BORN HOTEN, CHINA

ariko

Kojima

lished

and well-known botanical

now

lives

in

one of Japan's most

is

book

now

in his nineties,

who

ot gentle camellia paintings)

member of the Japan organize the

last

(a

most respected

She has been an

Academy, Tokyo, and

a

of stamps

Blossom'

series in 1990.

first

sets

beautiful orchid.

I

a

several

at

the

Hunt

enjoyed

sev-

Her

where she was showing

a

months

it

was able to get

my letter trans-

me some

of her postcards and

I

a straw-

thought looked interesting.

It

and

to establish satisfactory contact

ripe strawberries are

plump and

most

met her when

paint

and

wrote to her in English, only realizing

it

one of the

Signed Mari (undated) artist

1992

Watercolour on paper 380 x 250

1

1

6

inviting

I

visited

Tokyo

roses she

I

in the spring

have

mm

and the

of 1994.

commissioned her

to

was cultivating in her garden

duly arrived after the flowering season.

STRAWBERRIES Acquired from the

I

for

fruits are beautifully painted.

Having seen more of her work

7th

took

ever since.

green developing

'Cherry

Institute's

communicate with

the arrival of the strawberry plant painting, but

I

saw her work

International Exhibition

including

I

to

newspaper cutting which showed her painting

me

other cultural centres. She has been commissioned to several

would be

in Japan. Eventually

berry plant which

active

at

it

interpreted for me. She sent

has recently produced a .

difficult

lated into Japanese characters and, in turn, have her reply

eight of their annual exhibitions. In addi-

execute

I

artists

Botanical Art Association, helping to

tion she teaches at the Sankei eral

who

artists,

how

later

Kanagawa. She trained with

Yowai Ota and Yoshio Futakuchi teacher,

estab-

1937

VIET MARTIN KUNZ BORN STUTTGART, GERMANY

unz

started his career as an art teacher after grad-

He

1941

He showed

at

on

Hunt

Institute in

botanical illustrations in watercolour from 1972,

work.

I

uating from Stuttgart.

showing solo

has concentrated

in Filderstadt Municipal Gallery, in

Bad

liked

bought an painted

Garden

which he

in Stuttgart in 1990.

1992 and

and purchased

illustration

on

Worishofen and Wilhelma Zoological and Botanical

the 7th International Exhibition at the

1992

Watercolour on paper 390 x 340

mm

I

first

his 'Brussels Sprouts'

the Atlantic shore

called 'Sand Thistle'.

SignedV.M. Kunz (undated) artist

was there that

of an Eryngium

SAND THISTLE: ERYNGIUM MARITIMUM Acquired from the

it

and

thistle that

when he was on

saw

his

later

he had holiday,

JOANNA ASQUITH LANGHORNE BORN FULMER

ncouraged by her

father,

himself an

artist,

CHASE, ENGLAND

several field study courses at

Flatford Mill, Essex,

where she was tutored by

John Nash and,

later,

Mary

at

a

BA

degree and

I

residence at

Kew

a illustrated a

showed

and stayed

shows

work when at

Kew

the

at

a beautifully painted

and

leaves

Museum, and

Watercolour on paper 285 x 305

1

20

mm

it

Chelsea over 30

artists.

in 'Three Continents',

of slipper orchids which had an issue of

mountain

glowing with autumn

Gardens Gallery 1993

RHS, the

Gardens Gallery in 1993. She

and

Signed Joanna A. Langhorne (undated)

Kew

saw

as a frontispiece for

ASH: SORBUS AUCUPARIA

Acquired from

I

a delightful painting

been used

number of monographs, execut-

MOUNTAIN

liked her

an exhibition

there until 1980.

She has

other publications. She has had half a dozen

where she has exhibited with other

the Freshwater Biological Association as a

as official artist in

many

Physic Garden and the British

zoological illustrator. In 1973 she was appointed to a full-

time post

in

solo exhibitions including

fruitful career in botanical

She studied graphic design for

then worked

work

Grierson.

This triggered a long and painting.

ing over 80 plates for Curtis's Botanical Magazine, and with

Joanna

Langhorne attended

1945

ash,

light.

Ttie

Plantsman

with the berries

KATIE LEE BORN ELDORET, KENYA

orn in Kenya, Africa, Katie Lee

American still

live in

citizen although

the

at

an

all

some of her family

a realistic

New

and well-designed

style

to 1991

ble.

and

She shows her work

New York, at the Hunt

Wave

Institute, has

Don

at

in

Illustrators

She

number of books.

a

merit award

illustrations are

tempted

very appealing and she has

all.

sat,

visit to

at

the

met her when

Garden and

ing painting of a Streptocarpus.

out to her

home

On

I

bought

a

a later occasion

tographed

drove

home. The

and meet her properly.

Hanging

she had painted

on

room was

a trip to the

a

yellow orchid which

Rio Negro

long, trailing, almost root-like leaves

and

I

eventually realized that

I

of the

Amazon

Scuticaria steelii

Negro.

forests

(1988)

in Brazil.

were very

As

she

book tells

///

specimen certainly looks

whose

identical

I

she collected and painted

giving the

a collecting licence, so

a

is

—

-

when

rotten branch I

really

promise to myself that

would spend more and more time

it

first

The

light

was the

one

year.

I

I

painting

first

study painted

- most

envied as

soon

in these

was gone by the time we sketched and phoI

did

when

on returning from

I

got

a trip

is

energetic and most truthful.'

commission she painted

soft colours

me

the

have always found

dogwood Cornus it

the most strik-

is

one of Iceland poppies

she has captured to perfection.

SCUTICARIA STEELII Signed

to

KT

1991 collected Rio Negro, Amazonas

Acquired from the

how

of the

were draped with

trees

she found

Margaret Mee's. Katie described

Mori, had

the spring. Another lovely study

bordering a creek on the River Daraa, Rio

Katie's

rose

ing and beautiful tree in the American woods, heralding

familiar

search oj flowers

how

a

florida early

Its

had seen the same subject

painted by Margaret Mee. In Mee's

of the

trunk and got the orchid

a

always the best

in her living

moon

reflections

down —

returned to the boat, so the next day

South Salem to see her working space

in

party, Scott

places, drawing.

charmI

the

the junction of water to tree

Heaven, pure heaven. This

as possible

show

she was dismantling a small

New York Botanical

all

Margaret Mee, and made

surrounded by sea

Hons, with Sally Lightfoot crabs scrambling over the sand. first

set,

touch the blossoms.

and

she

Almost

visual

to reach into the water to

of the ecosystem, something that was reinforced

when

had decid-

was hard not to be

climbed

there

I

it

Mo

first visit

boats.

a

orchids and bromeliads of all kinds. So pure black was the

at

very strongly about preserving the

feels

tall trees,

and

black water with dead tree

still,

water, and perfect the reflection

charming book, A

just returned

in the jungle,

on the other horizon, the

lost.

of our

She

was

area

tried

proved impossi-

camera behind in order to just do

impression of very

completely

it

we had

crystal clear,

trunks were straight up and

tree

One

Galapagos.

I

The

in competition

represented at the

and received

map

trunks emerging. As the sun began to

group shows with the Guild of

recently published a particularly

by her

is

a

two-day hike and sleeping out

inputting.

New Milford, Connecticut,

New York. been

New York

Harrington Discovery Centre in 1993.

Her book

integrity

our daily locations on

my

we

two hours out of Manaus. Our

is

few of us went out in one of the small

Ursus Prints, Madison Avenue,

Silo Gallery,

Hill,

Natural Science the

a

best actual location

would just go-go, and no matter how we

ed to leave

Botanical Garden and has illustrated a

at

Mo

The evening was

from

of consider-

Since then she has been teaching at the

Rio Negro -

the

come up with

to follow

able appeal.

and

can

guide

York Botanical Garden

Programme from 1989

Botanical Illustration

developed

now

is

England and she spent most of her childhood

She trained

there.

'We were on

the daughter of

She

colonial policeman.

British

a

is

1942

artist

Gouache on Stonehenge

it:

I

22

1992 Print 140 lb

HP

740 x 350

mm

KATIE LEE

DOGWOOD: CORNUS FLORIDA Signed

KT

ICELAND POPPIES: PAPAVER NUDICAULE

1993

Acquired from the

Signed artist

1992

Acquired from the

1993

Gouache on Stonehenge Print 560 x 380

KT

mm

artist

1993

Gouache on Whatman 140

125

lb

HP

325 x 340

mm

THALIA LINCOLN BORN CAPE TOWN, SOUTH AFRICA

halia

Lincoln trained

Fine Art in Cape

Town and

time in advertising and

was in 1964,

started

when

drawing flowers.

then worked for a

I

first

tion,

and

a visit to

achieved her

made me

her home,

results

by using

layer

else;

examina-

layer

and shadow being put in with graphite

I

on African

plates in total, always

met Thalia

in

subjects.

me some

of dry

the

rather small figure,

with her drawing In the end

pencil.

I

never completely

which apparently had some occult

Over

significance.

I

curious, abstract

last

frail

few years she has seemed

wrist.

despaired of getting a protea drawing from

her and opted to buy one from the Sappi portfolio

duced some of the most magnificent

it

of the

at last

1975 she started

major project with

a

Dr John

a

marked with

Botanic Gardens, Kirstenbosch. They collaborated on a

It

with Thalia

of the genera Mimetes and Orothamnus,

authentic habitat. These rare plants, protea family, only restricted

grow

and inaccessible

ly difficult to propagate.

places,

districts. It

at its

moment

of flowering.

finished the project. illustrated

The

result

was

a fine

with beautifully reproduced

flowering on the native plants. The

hillsides,

plates

monograph,

can be found in some botanic

libraries,

flowers during the South African summer, in

It

makes

down

dies

a spectacular

display

with the

rest

is

no doubt

portraits

it

completely in

pot plant and soon.

I

My draw-

of the Sappi portfolio in last

part of 1995.

that Thalia Lincoln

very best of South African flower

of mimetes

a limited edition

on

There

artists

of proteas, agapanthus and

lilies

is

among

the

and some of her in particular are

breathtaking in their beauty. Signed prints can be bought

often towering above the other

book Mimetes was

it is

South Africa and London during the

finally

centre.

the grassy mountainside in the Belfast and Lydenburg

ing was

It

its

distribution in the Eastern

have every intention of trying to grow

took years of fieldwork, expeditions to remote places and then concentrated work in her studio before Thalia

dramatic dark purple blotch in

the cold months.

down

chrome-yellow spathe

a

November and December, and

immense-

be tracked

with

found on rocky ground near streams

to the

to

chose Zantedeschia pentlandii,

where

which belong

are

few of her 12

natural

on

and many

a

lily

I

a

when

restricted

plant's

Each one had

and sketched in the wild

a

Transvaal

the Cape, often in very

in

has

each

illustrating the flowers set against

arum

spectacular

Rourke, Curator of the Compton Herbarium, National

definitive study

completed in 1995. Only

drawings were available and

native proteas.

In

was

a

and unwell and having trouble

This painstaking and very lengthy process eventually proportraits

of

series

1990 she was already preoccu-

although she did show

understood, but

coloured pencil, to build up an intense colour base with fine detail

Raymond Ching and David

drawings of concentric rings which

I

realize that she

upon

like

pied with the Sappi project and reluctant to do anything

saw some of her

that she used watercolour but closer

artists

dozen

a

When

to pottery.

excellent colour prints of native South African plants

assumed

about

she was in her forties, that she

When

other

Shepherd have been asked to do comparable

the Olifantsfontein

at

on

Pottery Studio, applying designs It

Many

the Michaelis School of

at

1924

but

at

Kirstenbosch botanical gardens, Cape Town. Thalia has

supervised the reproduction and

including Kew.

it is

very good.

In 1989 she was commissioned by Sappi (South African

CALLA

Pulp and Paper Industries) to draw indigenous South African flowers for a Sappi portfolio.

A limited number of

signed prints are produced by a particular

artist

LILY:

ZANTEDESCHIA PENTLANDII Signed Thalia Lincoln (undated)

Acquired from Everard Read Gallery, Johannesburg 1995

each year

and the proceeds go towards the World Wildlife Fund.

Coloured pencil on paper 590 x 470

1

26

mm

PETR LISKA BORN PRAGUE, CZECH REPUBLIC

between 1968 and 1972

etr Liska trained

High School of Graphic Arts became head of

ting in his tidy, well-organized studio-room lined with the

the

books he has

1980 he

The

the publicity department at the

Company

Medical Plants

in Prague. In

at

in the

same

and created

city

cactus

designs and illustrations for a variety of printed material.

Since 1991 he has in

tempera and

worked

as a

his paintings

freelance

artist.

the 6th International Exhibition at the

1988, and

at

the Everard

illustrations

The

illustrated guide to cacti

by Dlouha, Richter

I

byV

I

is

narvaezensis,

could not

is

cacti.

rat's-tail

trailing steins

Another, the

tiny,

the actual painting for the

the plums with their beautifully

resist

painted bloom, nor the small Carlina

Institute in

its

the

painted from the same plant that

Tlte illustrated guide to

white Rebutia

book.

flagelliformis,

from Mexico, shown here with

appeared in

acaulis.

Gallery in Johannesburg.

&

by Rudolf Slaba (1992), Les

fruits

APOROCACTUS FLAGELLIFORMIS

Valicek (1995) and he Jardin de

Signed Liska '95

Vodickova (1995).

visited his

showed

Read

painting of Aporocactus

have appeared in several books including

His

rocaille

He works

exhibited in

Hunt

illustrated.

and upright flowers

have been reproduced in a

number of Czech magazines. His work was

1953

apartment on the outskirts of Prague.

me some

small paintings in acrylic

on

paper,

Acquired from the

He

Acrylic

sit-

Acrylic

mm

REBUTIA NARVAEZENSIS

Signed Liska '93 artist

1995

on paper 250 x 175

STEMLESS THISTLE: CARLINA ACAULIS Acquired from the

artist

Signed Liska

'88,

reproduced on page 198 of The

by R. Slaba

1994

on paper 210 x 150

illustrated

Gift

mm

from the

artist

1995

Acrylic on paper 250 x 175

128

mm

guide

to cacti

RORY McEWEN BORN SCOTLAND;

Rory McEwen's work

believe that

He

influenced the

development of a number of artists in

my

paintings in reproduction, but

saw the true

scale

had seen some of

I

was only

it

of them, that

recently,

regret that

memorial exhibition of

work

his

in Scotland

Serpentine Gallery, London, in 1988. But

of

his family

and have recently met

McEwen. She and

allowed

me

at last get a feeling for

It

his

his paintings

carnation and auricula series to

scale,

its

and with the intense

about one and

is

floated leaves

and flowers

sometimes enlarging them tenfold to

huge piece of vellum. These paintings

a

The

all

told

jazz player, a poet,

gifts, a

me

that

which he

quarter

work

in

leries.

He

Japan and

at

him

as,

hands'.

man

to

paper can match the smoothness of

its

art in itself

on

it

with the concentration of

It

artist to pass

them

He

painted from cut

alongside the board

stretched the skin as tight as a drum. His long

more

McEwen, who had

ters

-

for

and the

Rory

illustration,

in the

mas-

Aubriet - description and imagination co-exist. Rory's

work

in the 1950s always displayed a poetic refinement,

CROWN IMPERIAL: FRITILLARIA IMPERIALIS

my that

Rory McEwen 1965

first

should not even Watcrcolour on vellum 780 x 565

mention

it

the likes of Robert, Redoute, Ehret and

Acquired from private collection 1995

edition of The art of botanical rate a

subjects in a

floral artist. With the botanical

Signed

featured prominently in Blunts

now

stopped playing the guitar professionally. But

ical illustrator

his

Eton, to

was particularly disappointing to find

on

imaginative painter, the key difference between the botan-

art gal-

through

a

tiniest sable brushes, a

the works of Redoute and Ehret. Blunt described 'perhaps the most gifted

to water-

did not prevent his evolution from a documentary to an

painted flowers from the age of eight and was his art teacher at

painted

and richness

concert promoter interrupted his painting until 1964,

trav-

and showed

procurable.Vellum

'Rory's role as a folk-singer, television producer and

of great

He

number of modern

encouraged by Wilfrid Blunt, look

a

still

made

single image.

his frame,

immensely charming.

also in a

was

began. In 1963 he introduced two or

are as signficant

he was

brother, writes:

experiment with the relation of subject and space

ethereally in fill

Rory

when he

elled widely, especially in the Far East,

No

kids,

specimens, sometimes lying

for their space as for their subjects.

His friends have

Tulips

pen-knife to scrape away any errors.

sometimes arranging them in horizontal order isolated on a

Blunt s

plates for Wilfrid

sheet of cartridge paper as a colour tester and a delicate

times larger than the natural plant, giving great drama to

space,

1964,

watchmaker, using a sheaf ot the

flowers such as his

also painted other plant subjects quite differently.

crown imperial shown here

challenge.

colour.

original

observation and detail needed for botanical identification,

He

illustrated Tlie auricula in

surface or lend such translucency

McEwen's

many

the painting.

He

and pinks by Charles

and Rory responded

was the product of an

the originals.

work, for although he painted

he

carnations

from the hides of unborn

Romana

widow,

his illustrations

to discard paper for vellum. The best quality vellum,

the

at

do know some

look through

to

particularly important to see

is

I

and

but by the

'The greatest change in Rory's work in the 1960s was

go to the

I

art school,

Old

John McEwen, Rory's youngest

never met him, nor did

I

an

and tulipomania (1977).

impact of his unique vision. I

in

and painted many of the

I

at

Cambridge University

Oscar Moreton (1955).

profound

realized the

I

at

had been published

his

when

had no formal training

time he finished

collection;

Brigid Edwards, Jenny Brasier, Susannah Blaxhill and Lindsay Megarrity are examples.

1932-1982

second edition.

130

mm

RORY McKEWEN

even

if

it

purposely inclined to traditional

he aspired to be

a

modern

as a

artist.

'During the early 1970s he embarked on

ded 'True

from Nature'. Plants were often mixed with

Facts

and dead

tension. Desiccated plants

for the first time. subject.

Many

of

his

seems to

leaves are depicted

luck was an autumn ritual

reflect the onset

'In the final

of his

—

own

the

add one of

was delighted

work 'Summer

The

much

1974.

fritillary (also a

when

I

at last

obtained

to this

Old Fashioned Rose, Beech his series 'True Facts

from

old-fashioned rose shows his mastery of

as

itself

seems

the three objects

there.

his

SUMMER

on

1974. OLD FASHIONED ROSE, BEECH MAST AND CLOVER

favourite

favourite butterfly of his)

and

Signed Rory

McEwen,

Acquired from the

Hall,

his later paintings

about the surrounding space

suspended

the gentian.

Douglas

I

to

months Rory experimented even more

vellum of the magnified heads of some

—

as

assured

in an ancient tradition."

watercolour on vellum, while the composition

age.

daringly by painting similarly detailed watercolours

flowers

Nature'.

or have other

middle

artist

Mast and Clover', derived from

the fading of

itself,

collection

beautiful

childhood - catching

emotional significances. Desiccation glory,

my

spa-

modern

is

mission was accomplished.'

Having longed

Sentiment was implicit in the choice of

are reminders

falling leaves for

on

highly aware

Rory s

a series enti-

vegetables and placed sequentially with the accent tial

Gallery of Modern Art, has written: "His position

but

illustration,

founder and

first

keeper of the Scottish

painted 1974

McEwen

Estate

Watercolour on vellum 545 x 695

132

1995

mm

KATHERINE MANISCO BORN UNITED KINGDOM

lthough she

Manisco

is

now still

New York,

lives in

a British citizen.

and bought

Katherine

She trained

whole painting

the Accademia di Firenze in Italy and was art director

for Wells,

&

Rich

She exhibited

Greene at

the

for ten years

Hunt

Island,

I

York

in

saw her work

at

the Horticultural

1992 and bought

a

New Society of New

more

recently

I

saw

a portfolio

had brought over to London. has been included in the

Victoria I

of

One

RHS

still

with

its

still

flowers

new work which

she

in

the

of these

new

permanent collection of the

a substantial

change in her

She saw

tulip

tree.

She has

fresh.

I

am

which

a superb tulip tree

I

first

Pam Dupont

and took

the painting while they

particularly attracted to the tulip tree

yellow, green

subtle

the page. She

Old Westbury Gardens, Long

work on

to

upon

her studio in Milbrook, Pine

to

and orange bell-shaped

saw in profusion covering the paths

Copeland's famous garden 'Cuba' in

Delaware in the United

paintings

States

one

spring.

The

carpet of

flowers had fallen from the tree canopy far above. Inspired,

& Albert Museum, London.

was interested to see

were

and

at

New York.

New York,

Plains,

watercolour and pencil draw-

ing of a sunflower. Later she showed

of the

beautifully placed

some branches back

7th International

Exhibition in 1992 and has had several shows in York.

is

collected this specimen in

from 1977.

Institute's

a lovely study

observed most subtle changes in the leaf colour and the

at

the Slade School of Fine Art, London, and later at

1935

style

some

I

planted

a

long way to grow to

trees in

my

rival the

TULIP TREE: LIRIODENDRON TULIPIFERA Signed Katherine Manisco 1995

Acquired from the

artist

1995

Watercolour on paper 475 x 390

1

34

mm

country garden, but they have

American specimens.

JOHN MORGAN MATYAS BORN

ere

is

an

whose passion

artist

forests has led to

He

conservation. tant

OHIO, USA 1955

for tropical rain-

an extensive commitment to

and enormous portfolio of endangered

easily targeted in this

animals of Costa Rica's rainforest, In the realm of Eden: an artist in the rain forest. This

starting in

Washington

will

DC

be exhibited

in

birds

many venues

has

been commis-

this

1980 he has had many solo exhibitions.

His huge painting of the ostrich fern dominated the 7th International Exhibition 1992.

I

found

his

work

at

the

Hunt

Institute

painting

searching for nectar.

which he

He

titled 'Sizing

the

months)

humid lower canopy

wrote to

me

about

painting so that

is

layers

between flower and

pella

not only

size

compar-

bird. In the rain forest,

on nectar and assists

Topaza

small insects located in

in pollinating the small

able to bring out the subtle graying effect

By on

the bromeliad due to the growth of fungus

this

still

utilizing a

MARIAE WITH TOPAZA PELLA

'SIZING UP': VRIESEA

M. Matyas 1990

Labelled: 'Sizing

Acquired from the

Up'

artist

1994

Watercolour and gouache on paper 860 x 740

1

36

mm

I

am

the leaves of

on them and

display the exciting colours of the inflorescence

humming-bird.'

Up':

J.

could show the actual

ison

feasts

studio for use in

combination of transparent and opaque watercolours

its

Signed

I

my

flowers found within the vibrant bracts.

in

flower just about to be pollinated by a humming-bird is

frequent

the inflorescence but also

strong and well designed and

eventually bought a painting of a bromeliad with

which

that

and char-

world of green by the humming-

the crimson topaz humming-bird, to

sioned by several organizations which support rainforest studies. Since

brilliant red

A colleague in Ecuador sent a specimen of Topaza pella,

Matyas lectures about the environment to encourage

He

Its

between 30—60 metres high.

in 1996.

conservation through education.

Vriesea mariae.

treuse inflorescence (which can last for several

and

plants

one of the most beautiful bromeliads of

South America,

been preparing an impor-

has

depicts

'It

and

MARGARET MEE BORN CHESHAM, ENGLAND;

Mee

argaret St

trained as an

artist

in

London

moved

1950s she

early

1980s.

One was

that

I

never met Margaret Mee.

It is

the

1990 and by

start collecting seriously until

this collection

true that

I

the

to

Amazon, but

Leicester, in England, only a

umphant

exhibition at

had nearly crossed

Mee

now

and

in Brazil

tion in the United

Kew

few weeks

that time she

ber

bought

my

shown

to

me

raises

Kew

sister

money

and

ous

a

with

Mee

a

a

She

rainforest trees.

a full-scale rainforest flower in the

me

told

much

that she really did not care for

as for

remarkable

her more

woman,

But

classic studies.

apparently

mass of wavy gold hair

trips to the

guides.

Amazon,

far

who

and del-

frail

survived 15 ardu-

usually with only local Indian

Hers was one of the

first

the destruction of the rainforest.

warning voices decrying

Some of the

flowers she

painted have not been seen again and their habitat has

been destroyed by the

fund

relentless

advance of slash-and-burn

farming, logging and gold mining. She discovered a

Brazil.

Rio from

three paintings in

backdrop of

these paintings with their jungly settings that have

is

icate

foundato

Amazon, each with

She was

tri-

Rio de Janeiro,

involved with the

and

in the 1970s

more than her other work.

heads up the Fundacao Margaret

Kingdom which

first

her

London

caught the public imagination and are reproduced

trips

Mario and Julia Gibson-

the exchange of scholars between I

it

had opened. But our paths

friends in

am

I

after

set against a

these paintings as

car accident near

a

several times earlier in

where we had mutual Barbosa. Mario

in

tragically

in

the Tryon Gallery

painting from the Tryon Gallery was a philo-

front. Greville

did not

had already died, not in one of her daring and lonely

Rio and two from

painted only about a dozen scenes with backgrounds from

which she became renowned.

of my greatest regrets while making

One

dendron

to Brazil with her husband: here she

taught art but by 1958 she had begun to paint the native flowers for

later visits to

which had shown her work

Martin s School of Art, Central Art School

and Camberwell School of Art. In the

on

ings

at

1909-1988

num-

ber of previously

by Sylvia de Brautigam, owned by

named

after her,

unknown

species,

num-

of which four are

and she brought back hundreds of valu-

which were then

Rio

Margaret Mee's husband, Greville.They were early works;

able

indeed one

Botanical Gardens or by the landscape architect, Roberto

in the

phy in

is

almost certainly the

Amazon

how

in 1956.

She describes

branch of the cannonball

I

find

is

plant she painted

a vigour

most

tree

to cut

with more subtlety

in her early

I

fits

outside Rio.

exactly.

work which

particularly

I

He

had 18 paintings by Margaret

wanted

to see.

CANNONBALL TREE: COUROUPITA GUIANENSIS Signed Margaret (J.B.)

Museu

Mee

Some were of plants after

that

I

she had

him. Here he

kept his amazing nursery of plants, some of which he had

bought three more paint-

Couroupita guianensis

the

house some 20 kilometres (12 miles)

brought back and had been named

although she probably painted leaves

later on.

in

was invited to have lunch with Roberto Burle Marx

in his remarkable

a flowering

and the date

and immediacy

attractive,

Museu Goeldi

down

cultivated

Burle Marx.

in her autobiogra-

she visited the Botanical Garden

Belem and asked someone

There

first

plants

Mee

(undated)

Goeldi, Belem, Para

December 1956

Acquired from Greville Mee, Brazil 1990 Watercolour on paper 640 x 460

138

mm

MARGARET MEE

BROMELIAD NEOREGELIA

NYMPHAEA AMPLA Signed Margaret

SP.

Mee Signed Margaret

Mee

(undated) (undated)

Nymphaea ampla

(Salisb.)

Neoregelia

D.C. var

Espirito Santo

Acquired from Greville

Represa de Santo Amaro,

Mee,

flowered July 1957

Brazil

1992

Watercolour on paper

Acquired from Greville Mee, Brazil

sp.

pulchella Casp.

640 x 465

1990

mm

Watercolour on paper

630 x 460

mm

introduced into cultivation while he was revolutionizing

Between them Margaret Mee and Burle Marx aroused

the landscaping of tropical gardens in Brazil and elsewhere

the conscience of Brazil and the world to the depletion of

around the world.

the rainforest, and the Fundacao Botanica Margaret

a table spread

with

I

will never forget that lunch, sitting at

a cloth

ical fish flirting in a

he had designed, beautiful trop-

is still

tank nearby, the most exquisite vase of

delicate jungle leaves

and 80-year-old Roberto in

nursery

full

left his

to that

end with

and studentships for training painters.

full

Many

with botanical

voice, serenading us in his splendid baritone.

Sadly he too died recently, but he

working

have

come

artists like

to

carefully assessed grants

today's

Kew

Christabel

young

an annual competition which

of rare and exotic plants to the nation.

141

is

scientists

and honed

and

their skills

King and Ann

The Fundacao Botanica Margaret Mee

important

Mee

Farrer.

has also started

exhibited in the National

MARGARET MEE

Gallery in Rio. The

work of the winner

Fundacao Botanica and shown in Brazil.

This year

standards of the

has

I

Margaret

Mee

retained

several other

-

Mee

association with

that

produced

coincided plates for

first

theTryon

for

shown

this year's

Mee

Gallery. All the

in a travelling exhibition in the

143

Foundation in London.

place.

of which was produced in

the next few years, organized by

and, remarkably, their vote

first

two important lim-

the second one were bought recently by

competition anxious to register their vote

for their favourite painting

of the judges

ited edition books, the

was fascinating and heart-warming

of small children racing around

that

Margaret

rise in

20 competitors and the enthusiasm It

and

by the

venues in

was most impressed to see the

been generated.

to see the dozens

is

Kew

58 paintings for

Kew

United

and

will

be

States over

and the Margaret

LINDSAY MEGARRITY BORN SYDNEY, AUSTRALIA

indsay Megarrity artists

have

working

made

a

in

is

one of the very few botanical

Italy.

He

and

career in the theatre he

painting and

a fellow Australian

wonderful nursery in the vicinity of garden

Volterra, re-creating a

full

of herbs and

work

roses

on

Tuscan climate. They specialize in plants, often aromatic, that

grey, silver

Coffinet Ltd,

blend into the region's rolling

visited

them

in the

was glorious weather but the

It

few kilometres were

across dirt-track roads

plexity that navigation

of visits

I

felt

we

of such com-

we

was able to commission Lindsay to paint

which was just beginning

Lindsay told

me

me

this

first

I

saw

USA. He

He

old masters, that

by him

for Francois a series

it is

completed, so he had

little

on the ground

has completed a

autumn

as

many

to

memorial exhibition London.

and not very glorious

I

SAFFRON: CROCUS SATIVUS Signed Lindsay Megarrity 1995

Commissioned 1995

144

1988

number of

paintings of

He

Dutch

told

me

in this collection

McEwen when at

show

he saw

his

the Serpentine Gallery in

think this shows particularly in his studies of

individual specimens.

Watercolour on paper 343 x 235

in

sell

floor of the

well as simple flower studies.

was inspired by Rory

of

Rome, who

in 1991. Like

he was yet another of the painters

who

I

his

from Martyn

working on

also

is

fritillaries

flowers gathered in antique vases, in the style of the

to flower.

that after a short

where

been preparing

has

in his spartan studio

monastery.

did not have time to

explore the monastery and nursery garden properly, but

crocus

me

last

arrived for the most fleeting

very regretful that

which he

everything before

would have been impossible with-

out a local guide. When

is

been awarded two

flower painters he works painstakingly slowly and can

the

winding route from Florence through the spectacular Tuscan countryside.

of

series

also published Fiori, illustrated

autumn of 1995, driving along

has

antique camellia varieties for Torsanlorenzo,

landscape of vineyards and ancient towns. I

RHS, which

was showing a

Rix's collection

and purple

He

earlier in 1995.

He

those that can survive the extremes of the

had devoted himself to botanical

studies.

still-life

gold medals by the

around the old monastery of Venzano. They concentrate particularly

1953

mm

V

MITSUHARU MISHIMA BORN TOKYO, JAPAN

met Mitsuharu Mishima 1994.

I

had asked him

suggestion of Mr K.

Art Association. botanical

artists

It

is

in

to a

Tokyo

in the spring

meeting of

artists at

Fairy Ring, in Yokohama and

of

He

called the

at

From 1960

Centre.

He

to

botanical

at

1962 he was

he became art

work.

the horticultural department

of Chiba University and then

appointed

illustrations

in

man and seemed

a tiny

a

He

was delightfully good-humoured and

tutor

at

He

explained to

Kuwazawa Design

members of the

a freelance graphic

tillandsia in

artist

and was

Chunichi

Cultural

botanical

come it

has exhibited widely in Japan, often with the

Fairy

M. Mishima

which he

has

1994

Watercolour and pencil on paper 610 x 400

146

he had been

this

mm

his art-

criticized

drawn

by the

specimen had never

into flower properly, but he painted

'89 Tillandsia xerographica artist

that

insist-

Ring because he had not shown

for the wonderful coils

base

Acquired from the

me

bloom. Apparently

TILLANDSIA XEROGRA PHICA Signed

many

only just larger than his

ed on both of us being photographed holding

Mishima was educated

designer, then

is

paintings.

'Fairy Ring'.

School.

as

Botanical Garden.

encyclopedias.

societies for

one being

in Japan, the other

Toyoma

His paintings have been used

the

Kurokawa of the Japan Botanical

one of two principal

1932

it

and

I

bought

of strappy leaves entwined to perfection.

at its

KATE NESSLER BORN

RHS Westminster

remarkable contrast to the beautifully observed, exotic

shows, just after she had been awarded a third gold

and yet delicate flowers. Her training in design serves her

first

met Kate Nessler

medal.

bought

Later page,

I

I

at

one of the

was attracted to her

a favourite plant

arum with

strong, positive style

of mine,

well in the whole orchid series.

and

Kate Nessler had not been

a 'Jack in the pulpit'

saw a dramatic orchid, almost crawling off the

which was

in the 'Treasures

Kew

contact with

of the

RHS'

exhibition

Gardens Gallery. Jonathan Cooper of

Park Walk Gallery saw

it

too and he asked

Kate Nessler. From

magnificent exhibition of orchids

Her

thick, strappy leaves

I first

me

this

to put

him

exhibition thoughout the

She only

work

exhibitions in

met her

in

state.

relatively recently, artist in

New York

and

for a travelling

lives)

started

showing

having previously had

a

Chicago. She has had solo

Illinois

and

is

a director

of

the newly formed American Society of Botanical Artists.

1995 in

and vigorous roots form

now

career as a commercial

sprang her

at his gallery in

flowers of Arkansas (where she

botanical

Now she must be

which she has obviously reached new heights of excellence.

idle since

1993. She had been preoccupied with painting the prairie

scarlet berries.

held in the

in

ST LOUIS, MISSOURI. USA 1950

ical art in

a

one of the leading exponents of botan-

the United States.

PAPHIOPEDILUM SPICERIANUM Signed Nessler (undated)

Acquired from Park Walk Gallery.

London 1995 Watercolour on paper

267 x 287

mm

JACK IN THE PULPIT Signed Nessler (undated)

Acquired from the

RHS Show

1993

Watercolour on paper

360 x 265

1

48

mm

MIYOKO OKAKURA BORN TOKYO, JAPAN

met Miyoko Okakura when meeting of

Tokyo trained at

artists

that

I

I

asked her to

held during a brief

in 1994. This attractive, dignified

1960 to 1964. She

at

Maruzen

to a

Gallery,

Tokyo, since 1986. She has been pub-

lished in calendars

visit to

woman

Ikenoboh Gakuen College and had

commercial film production

come

1940

was

and in

a

1990 to 1995. She exhibited

She

a career in

now

lives in

medical plants brochure from at

Hunt

the

Yokohama and

arrived at the meeting

laden with her portfolio. She showed

Dentsu, Sapporo, from

started exhibiting in the Gallery Yu,

beautifully

composed study of

a

PELARGONIUM Signed Miyoko (undated)

Acquired from the

artist

1994

Watercolour on paper 520 x 350

150

mm

me

a strong

and

pelargonium viewed

somewhat from above, shown below.

Tokyo, in 1983 and has had regular shows with the

Institute in 1992.

LUCA PALERMO BORN ROME,

visited

Luca Palermo's apartment in

after

had bought

I

year in London. turned-artist,

I

Rome

in

1995

sheets

was intrigued to meet

who ground

his

own

doctor-

this

drawers

and worked on

paints

to his studio

He where

his easel

was

He

seems more

like

a

medieval artist-scholar than a doctor now, with

his

certainly

flowing locks and splendid black beard, in the corner

He

and

his library

me

explained to

his lute

and

a

few years

after

from the University of

freelance flower painter,

him

since childhood.

He

was

and decided to become that

is

a

at

Museum in

Italian

Cambridge and

Rome

has

He

e is

University

Moda in

and the

show

the 8th

I

is

at

where

the

brought

Hunt

first

I

and the

Royal

the

Fitzwilliam

been published

saw

John Mitchell

work).

his

Gallery,

his Paeonia rockii.

art

in

many

He

New

had

London,

He showed a

a

in

tulip

International Exhibition in 1995, using prefer his

I

more

conventional botanical paintings, although he seems to be

moving towards

1979, entitled

Windsor

birds,

He

'tapestry'

style

studies,

I

with paintings

find rather heavy-handed and lacking the

for an interesting

moment he

he pastes large

as

is

Acquired from John Mitchell Gallery, London 1994

Egg tempera on vellum 450 x 380 The

New

1

mm

Plantsman vol. 1:201 (1994)

5 2

and

is still

his

exper-

work make

distinctive Italianate style.

Marilena Pistoia stopped painting flowers.

Signed LP 1994

in

He

At the

the only Italian flower painter active in Italy

PAEONIA ROCKII

Reproduced

on vellum.

imenting and the medieval overtones of

Castle,

tempera used by the masters of the

He showed me how

which

subtlety that can be achieved

and Florence and he experiments with

Renaissance.

Castle

and

illustration

Costume

1990.

New

London and

almost completely covered in leaves, sometimes with

has studied antique books in libraries in

early recipes for the

Italy,

watercolour and tempera on vellum.

particularly interested in the early techniques

Paris

Windsor

at

1994, where

by an

used for gouache, tempera and watercolour on vellum.

London,

di

Popolare since

at

successful

'Flowers in Art from East and West'.

He

using egg-tempera).

Accademia

Plantsman (which

had fascinated

also greatly influenced

exhibition he saw at the British

and has

paints

magazines, showing plates of several peonies in Tlie

graduating with top honours

something

own

the botanical garden of

also at the

Museum

propped

although his parents were

Rome

at

Collection

prominent doctors, he himself became disenchanted with medicine

when

had solo exhibitions in

has

Universita

of books.

that,

grinds his

smooth

of brightly coloured powders which he mixes

full

techniques

beneath stacked with pots of coloured powder and small china bowls of mixed paint.

He

a beautifully

York and has been teaching botanical

set

open window with the cupboard

upright, close to an

surface.

daily (especially

vellum using medieval techniques.

He welcomed me

of vellum on to board, creating

and receptive

painting of his in the previous

a

ITALY 1956

JENNY PHILLIPS BORN BOORT, VICTORIA, AUSTRALIA

enny

although herself largely self-taught,

Phillips,

the cluster of good botanical painters already living in

her

students from her

has recently nose-dived.

However,

I

own home

admire her

cal style as

own

an

skill

in the country near

output

deserved gold medal.

met

A

to see the

I

first

at that

the

RHS,

this fresh, attractive

rest.

was able

to

She had just been

and

Acquired

at

the

a

number of one-person in an important

at

the Everard

illustrated a

James Haliday's Wine

ability,

styles

-

exhibitions in

group show in 1994

Melbourne

Festival,

Read

a teacher will

to

Gallery in Johannesburg.

number of books including T.R.

atlas

established botanical artist

after-

and

A gardener's potpourri and

of Australia

and

I

She

is

already an

her influence

feel that

as

have a profound effect on Australian painters

not only now, but in the future.

visiting galleries

EUPHORBIA GRANDICORNIS Signed Jenny Phillips-Goode

Hook

RHS Show

1993 Euphorbia

grandicornis.

Goeb

1993

Acquired

Watercolour on paper

225 x 255

a flying visit

had inspired each one of her

Garnett's Stumbling on melons

came round

come down

shown

She has

gaining a well-

exhibition and she

later she

also

Signed Jenny Phillips-Goode obesa.

Melbourne on

in the Victoria Arts Centre for the

classi-

EUPHORBIA OBESA 1993 Euphorbia

Phillips

Melbourne and was

Melbourne.

house to see some of my collection

few days

class in

together with Celia Rosser and Margaret Stones. She has

at

my London

Jenny

She has had

artist.

woman

some of

students to follow an individual path.

four of her paintings, two from a set of eight

intelligent

kind of

sensibility.

met some of her

clearly

of her

with watercolour and her subtle

euphorbias that she showed

Hinton

a lot

to her students

but perhaps even more by the diversity of their

have seen a number

of her original paintings, her portfolio and prints at her

own

own

on

this

in 1995 and was very impressed with their obvious

few years ago and has taught over 300 peo-

a

ple during this period. In consequence her

wards.

I

She established the Botanical Art School of

Melbourne

to

England and France and

study has enabled her to pass

classes.

I

libraries in Italy,

probably the most influential teacher in Australia, and

Melbourne has been enlarged by

I

and

is

1949

mm

at

the

RHS Show

Watercolour on paper

700 x 480

1

54

mm

1993

MARILENA PISTOIA BORN MILAN,

uriously,

there

are

working today

in

very few botanical

Italy.

exception, with a large big, glossy

The

.

original

Marilena Pistoia was an

flowers;

body of work

pletely finished.

arranged upon the page, often curved in

sive way.

until

I

in several

But somehow

a sensitive

did not

I

soft

she had given to the

Hunt

subtle, the colours better

with

swathes

Institute. The originals are

as

After studio

I

many

We

more

at last

ries,

meet her and

house

set in a

garden

looked around her austere studio

here, only the

— while

rows

many books

— no

she had illustrated laid out in

I

she prepared a picnic in her immaculate

let

ly

bank told

to

me

specially retrieved her flower paintings

show

to

me.

I

understood her caution

that several years

ago a publisher had

from the

when

lost

me buy

a

I

found them rest

Arte

di Belle

intense,

of her time di

Bologna

and she showed

of strawberries and blackber-

drawing of the flowers and

Somehow she had managed

leaves

done

to balance each

harmonious composition. They were

a

and had only been published

I

from the

that

often look at

artist

1994

Watercolour on paper 175 x 265

156

The

drawn

Pistoia (undated)

mm

draw something

one of her flower

but firmly, but she gave

DANDELION Gift

dis-

magnified some tenfold. Behind the

tried to persuade her to

lightly

52 of her

M.

Accademia

arresting pictures

consolation.

she

Signed

was

I

(poorly) in the local newspaper.

artistic clutter

home. She had

com-

but she was quite

to her flower paintings

fruit

into

and

strange

this

a living.'

it is

only draws futuristic globes delineated

fascinating studies

with the

painting

English roses. I

make

to

it

and

life

has taught etching since 1980.

at natural size.

of

full

stopped painting

'I

and worrying. She spends the

huge berry was

see her

arranged to drive from Venice with some

friends to visit her small

now

went back

me some

and the greens more varied. They

abortive attempts to

said,

period of my

only did

I

professor at the

where she

that

very pristine and pure.

all

a different

she

compass-operated pen.

a fine

introspective

enthusiast

was shown some of the many original paintings

was

it

adamant and

and yet deci-

become an

Then

paintings.

turbed and rather saddened by

flowers are always most beauti-

around the centre, and painted in

are

artists

books published by Mondadori (Milan) and

Calderini (Bologna) fully

ITALY 1933

it

fluffy it is

paintings.

me

for

me

or to

She refused, kind-

this delicate

dandelion clock

is

painting as a so finely

and

almost impossible to reproduce, but

and hope she

starts

painting flowers again.

JAGGU PRASAD BORN

aggu Prasad has been brought up in one of

JAIPUR, INDIA 1963

since the age of six.

India's

great artistic centres. Jaipur, in Rajastan, has always

been

a focus for the arts

artisans

who

and

for the

most

and

brilliant

ivory and alabaster inlaid with semi-precious stones. They

was

tutored

in

Indian

and botanical

painting

Padamshree Kripal Singh and has been learning

Institute's

Wave

He by

the cover for the catalogue

New York, through

the

Hunt and

1994 and 1995.

He

at

cinated with trompe-l'oeil and in the traditional Indian

way

skills

quite prepared to copy anything and has the superb to

do

so.

Signed Jaggu Prasad (undated)

Acquired from the Hunt

Institute

1995

on wood panel 180 x 130

158

at

fas-

is

Hill,

RED APPLES

gesso

as

is

he

his skills

Gouache on

7th International Exhibition in 1992

painting was used

this

paintings of apples in

of an exhibition from Rajastan shown

produce exquisite miniatures, carved

use traditional techniques going back for centuries.

Hunt

the

He showed two

mm

CELIA ROSSER BORN MELBOURNE, AUSTRALIA

rom

a strictly botanical

ing Australian

artist

pendous

on

of Australian

oeuvre

point of view, no other

can

Joseph Banks and named

working with the botany

first

seen by

transparent

monumental work

their

that time the

has

been published

one

still

in

This monograph

Tlie banksias.

two mighty volumes, with

in preparation.

Each

plate

more

is

colour.

composed and placed upon

mental work in every way too big to

mine

are waiting for

specially for first

I

honour

place of

the

at

to

saw the books in the

hung

in a

monu-

met her

came

when

original paintings

to

In January 1995

London

at

Kew

for the

moment

her place

be created

I

we met

again,

had flown for

banksia, a painting that has

first

major outside commission she

interested in

on

ond

opening in 1993

a brief

the great botanical

field sketches

day,

explorers lected

visit.

and

been finished

the

I

when he

Fashion Illustration and she worked

as a

of Australian wild flower paintings was

Diploma

first

The

in

artist

licles

exhibition

in 1965. In

first

species of

landed in Botany

Holland), on 28 April it

during the sec-

is still

found near Cook's landing

would have been

in flower

when

Twenty specimens were

in large drying books.

It

coastal plain

and into the Blue Mountains behind Sydney.

pale flower develops into a fruit with large seed fol-

surrounded by shaggy old flowers which

Signed with her

monogram and

persist for

Celia Rosser 1995

Commissioned 1993, received 1995 Watercolour on paper 760 x 560

I

60

It

of Australia from Melbourne

SAW BANKSIA: BANKSIA SERRATA

Island.

col-

in a glasshouse in 1800.

1980

and she has been com-

the

was amongst

several years.

missioned to design botanical postage stamps for Australia,

and Christmas

of any age.

artists

Australian species to be raised from Bank's seed in

grows along the

her delicate and beautiful drawings of mosses were published in Mosses of South Australia

first

century in

explored further inland from the

foot ashore.

and pressed

to Brisbane

commercial

before turning to botanical illustration: her

first set

this

Celia Rosser takes

when he

New

England and flowered there

just in time for

Celia Rosser's original training was for a

it

was probably not the

serrata

seashore. Banksia serrata

occasion in

one-day

must be one of the

it

1770 but he certainly would have seen

they were

Gardens Gallery.

this

contemporary botanical

Tlie banksias;

Bay, Australia (then called

inclusion in the exhibitions of my collection.

Islands

among

Banksia

photographed her with her preliminary work for 'my'

Cocos

is

place at Kurnell and

She brought her notebooks with her

the

the

is

its

took 16 weeks to

serrata

terms of beauty and scholarship. With

at last.

Melbourne where

kept refrigerated to preserve

most outstanding works to be published

Kew, and then

library at

memorable exhibition

Celia Rosser

is

banksia found by Joseph Banks

examined the

I

a

of colour on

layer

two months or more and during

painting of Banksia

should try to see

art

them.

later

and

some

It is

takes

specimen

Anyone who

the books themselves are far

normal bookshelf and

in any

fit

as

plant.

satisfied.

has undertaken since the mid-1970s.

beautiful than

the page that each painting

seems the essence of that particular

My

complete and

a third

the next, detailed almost beyond belief and yet so elegantly

she

background washes of watercolour on paper.

Often the process

University since the early 1970s, painting the plates for

completely

is

upon

After that she builds up layer

of Monash

department

Then

natural habitat.

its

ing nine or ten overlays, until she

him. She has been

after

painting a particular

roughs out her drawings on tracing paper, perhaps involv-

mainly shrubs, with their pin-cushion

plants,

when

field trips

plant to collect samples in

the banksias.This unusual group

flowers and extraordinary cone-like fruit was Sir

She always makes

liv-

Celia Rosser's stu-

rival

1930

mm

GRAHAM RUST BORN HERTFORDSHIRE, ENGLAND

raham Redgrave-Rust attended London,

at

the

Regent

New York's

exhibited at the Royal

National

&

Crafts,

and has become internationally renowned

famous book on mural design presently

which

will

ited

a

working on

is

to complete. His

Tlie painted house

He

with

pumpkin

spec-

The

most

and he

London where he

Spink and Colnaghi.

Hazlitt,

at

lives in

fruit

the

as

Panama,

The Museum of Garden

He

is

has exhib-

particularly

and vegetables and showed

Hunt

Institute's

first

painting

I

bought was

sketch of narcissus and daffodils a gala

also illustrated a

a

recent edition of Some flowers by Vita Sackville-West.

8th

a fine

International

beautiful, lush

superb

command

to a specialist

iris

IRIS 'SPARTAN' Signed Graham Rust '95

Acquired from the

artist

1995

and body colour 360 x 260

164

a

delightful, casual

which he had donated

gardening evening auction in 1994. Later

most

his

His watercolours and botanical paintings have been

Pencil, watercolour

He

and varied

Exhibition in 1995.

a sequel called Decorative designs

be published in 1996/97.

London.

happy painting

Ragley Hall near Stratford-upon-

Avon, which took over ten years

is

History,

first

years old

is

as disparate

Chicago, San Francisco and

for his murals

and ceiling paintings. The most famous of these tacular 'Temptation' at

22 solo shows in places

and

and then

Academy of Art. He

Academy when only 23

exhibited in Europe and the United States and he has had

school in

Street Polytechnic

the Central School of Arts

studied at

art

1942

mm

and velvety

iris

of watercolour.

I

to

bought

study which shows

He

had raced down

nursery, Kelways, to paint

it

at its best.

ROSANNE SANDERS BORN STOKE

osanne Sanders was introduced to

me

as

POGES,

Devon and eties.

fruit.

has

She

now

become an

lives

This culminated in her book

lished in 1988,

which

Exhibition

on old apple

vari-

Queen

Tlie English apple

pub-

RHS,

has dozens of plates

showing the

set

that have

She went ed

to

more or

botanical

RHS

artist

in 1974.

in 1985.

Hunt

Institute in 1992.

II,

HM

the

visited I

me

in 1992, bringing

position with discreet shadows. into

two

fine old

immense

been

wooden

Signed RJS (undated) artist

1992

Watercolour on paper 165 x 265

TOM PUTT

mm

APPLE

Signed RJS (undated)

Acquired from the

artist

1992

Watercolour on paper 165 x 265

166

to design a

mm

upon I

studies,

each of

the page, settled in

had the

pair

mounted

frames and they have given

satisfaction ever since.

DEVONSHIRE QUARRENDEN APPLE Acquired from the

for the

up her portfolio from

was particularly attracted to two

She has been

has

HM

of wild plant stamps for Barbados.

three apples very simply placed

Her work

Queen Mother,

Rose Society and

start-

gold medals and received the Royal

Academy Miniature Award

Elizabeth

Devon.

vanished from cultivation).

High Wycombe College of Art and

as a freelance

awarded four

less

the

the Royal National

She

flowers and fruit of every imaginable type of apple (and

some

at

She has been commissioned to do paintings for

in cider country in

authority

1944

exhibited in Britain, and appeared in the 7th International

the

'Apple Lady' because of her superlative studies

of

ENGLAND

me

MARGARET BORN AUSTRALIA

argaret Saul lives in

Queensland but

I

first

saw

had written

a lively

Illustrators,

USA, where

account of plant collecting and

in

a

she

Australia.

first

for the

was

at

Queensland Museum, then

working on dozens of

unique plants.

course

in

botanical

illustration

at

Botanical Gardens. She has also painted a great

I

latest

books she

commissioned her

flora

the Flora of

illustrated

was Dink-

I

asked her to paint

me

We

have always been fascinated by

agreed on the 'peanut

which grows

ing will also be used

local

I

as

in her garden. This paint-

She collected

the Brisbane Botanical Garden,

number of

tree', Sterculia quadrifida,

the cover and frontispiece for the

Flora of Australia,Vo\ume 7.

Brisbane

Mount

this

PEANUT TREE: STERCULIA QUADRIFIDA A

Saul 1995

Commissioned 1995 Watercolours with colour pencil and gouache on

Arches watercolour paper 420 x 300

1

68

mm

specimen in

Coot-tha.

black seeds are edible and taste like peanuts.

Signed Margaret

its

and Queensland has some most unusual

a spectacular tree

commissions. Since 1989 she has organized and taught an

annual

of the

Australia in the 1970s

Queensland Herbarium, Brisbane. By 1980 she

a freelance illustrator,

as

something particularly Australian. Since working in

the zoology department at Queensland University and

then

such

Queensland, Flora of Australia and Ferns of

One

When

four-year course in commercial illustration

working

scientific publications

um gardening: green my Australia by T. Low.

illus-

Brisbane and then launched herself on a packed

schedule,

many

south-eastern

tration in Australia.

She took

1951

plates for

her work in the newsletter of the Guild of Natural Science

SAUL

A.

The

GILLIAN SCOTT BORN LONDON

Scott

illian

now

is

Queensland

an Australian

as a freelance

one-person exhibitions in Australia. Her work has

citizen, living in

writer and

artist,

been exhibited

and

When

occasionally teaching botanical art and miniature

painting

Winter School Before

this

at

well-known McGregor College

the

at

moved around

I

at

the

Hunt

also

Institute.

contacted her to commission

ticularly asked

Toowoomba.

she

1933

a

painting

I

par-

her to choose an Australian subject and

we

decided on a eucalyptus. There are some 450 species of a

good

deal, starting

grow

eucalyptus and the vast majority of these

by

in Australia

going to university in Belfast to study botany and zoology.

— indeed

Between

Australian landscape and an important source of nectar

University, Canada, Australia.

in

During

as a

and then

this

marine biology

1978 she taught

1974

and

1955

at

she

lectured

at

Ottawa

at Flinders University,

Adelaide in 1962.

From 1974

showy

to

the University of Central Queensland

founding

and biological

member of the

illustrator.

She

is

and

artist

is

1993

Watercolour on paper 510 x 355

170

pompon

of 'red cap gum'. This eucalyptus

is

com-

a small tree

ultimately reaches a height of about 8 metres (26

(undated)

Acquired from the

flowers have a scarlet

a feature reflected in the tree's

native to western Australia.

native flora to

GS

whose

with the

of yellow stamens —

mm

I still

find

its

Although

I

once

amazingly diverse

be strange and intriguing.

RED CAP GUM: EUCALYPTUS ERYTHROCORYS Signed

really delighted

they open, revealing the

lived in Australia for a year,

gold for Australian mistletoes in 1991 and has had several

was

as

feet)

RHS including a

I

cap which drops off

which

a

Society of Botanical Artists.

She was awarded three medals by the

the most characteristic genus of the

Eucalyptus erythrocorys

mon name

senior lecturer but retired in 1979 to pursue her pre-

sent career as a writer

is

and pollen for honey-bees.

South

period she also completed a Ph.D.

at

Eucalyptus

PANDORA SELLARS BORN HERTFORD, ENGLAND

he very

first

painting

I

bought

collection was Laelia tenebrosa

my

for

the centrepiece of a splendid exhibition

Kew

ed by the

back

feel

I

I

is

the

at

Botanical

Kew

immensely strong

RHS and contributes

two

Kew

and

Tlie

genus

She painted the design

a presentation picture for

the

today.

occasionally to

new Kew

Arum

(1993)

five

I

artists

and she has

devoted following of

a

'When

paintings for the exhi-

I

she arrived with her

first

at

Kew:

was stunned by what she had produced.

It

was

which impressed —

for her style

is

detailed,

LAELIA TENEBROSA 1990

plate

Signed Pandora

Sellars

1989

Labelled: Laelia tenebrosa, Philodendron hybrid, Calatheaomata,

Philodendron

postage stamps

depicting orchids for the British Post Office.

on

the recent books

all

— and

commemorative

of

in

show

paintings

conservatory was opened by her in set

been shown

not the area of paper she had covered nor the number of

HRHThe Princess ofWales

1987. In 1993 she designed a

has

Brinsley Burbidge wrote of her

bition,

Kew by RJchard Mabey

for a

and

roses

cognoscenti in this area.

Magazine monographs — The genus

contributed to Tlie flowering of

when

temporary

and the

work

of Christmas

the art of botanical illustration that have included con-

Magazine (which became temporarily

Papliiopedilum (1987)

and

Her work

Magazine). She illustrated the Flora of Jersey

(1984) and

(1987).

in her

a painting

Illustrated

holly with an unusual festive red background.

painting.

Sellars started as a textile designer

She exhibited

Tie

mount-

1990. Looking

more dramatic and complex

design element

Curtis's

May

London News in 1991,

Sellars,

could not have started with a more impor-

tant artist or a

Pandora

Gardens Gallery in

sioned her to do the Christmas cover for the

botanical

by Pandora

1936

Acquired

commis-

at

Kew

leichthnii,

Polypodiaceae specie

Gardens Gallery 1990

Watercolour on paper 410 x 600

mm

Laelia tenebrosa

purchase for catalogued

beginning

Kew

was the very

my

collection,

In the

as 1/PS.

bought

I

first

it

to support

Gardens Gallery but soon

afterwards,

becoming obsessed by

collectors fever, galleries

world.

I

started to visit

and painters around the

It is

a rather

sombre

orchid, pictured against a

dramatic background of tropical plants

from the greenhouse

tended by her husband. There

is

an excellent print produced from the painting.

found

it

Some

people have

an almost threatening find the complexity

subject but

I

of the

background

leafy

absolutely fascinating and

immensely

172

satisfying.

GLORY

LILY:

living subjects

GLORIOSA ROTHS CHILD I A NA Signed Pandora

what

Commissioned 1990

I

grew

this

one of the

-

the

with

first

a

glory walls

one

lily

is

ty or so

mm

of my conservatory and commissioned Pandora to paint

had drawn. She saw

specimen to work on

in her

away from

called in English

works painted

still life.

Looking over the twen-

specially for this exhibition

it in situ

and superior

talent in the delineation

ty to nature

is

of plants: the

absolute, the quality

of draughtsmanship

unwavering; the use of colour impeccable and the repre-

own home.

painstaking and consequently slow

ability to

which looked surprise.

like a

— but

it

was the sheer

phonies, so

of her work and her remarkable

incorporate a

number of

me

real botanical theatre

it is

instantly attract

many of us

by

Similarly

first

as

sym-

the large-scale "plant symphonies"

which

and

often appeal later as

plants in a set piece

"corner of nature" which took

These set-pieces were

fideli-

and then went off

respond musically to large-scale works such

quality

is

it

sentation of texture without equal. Just as

overwhelming

one

immediately aware of being in the presence of a consistent

through the palms and plumbago that rampaged up

that she

a million miles

the traditional association between flower painting and

Sellars '90 Gloriosa rothschildiana

Watercolour on paper 280 x 370

which seemed

are

most

accessible.

Chamber works

knowledge and appreciation matures.

one moves from admiration

for the large

com-

plex paintings to a deep respect for the elegant but simple

with

174

SNAKE'S HEAD FRITILLARIES

exactly the

AND COWSLIPS

to

Signed Pandora

produce

the elegant

Sellars '91

pheasants,

same time. After

that the ginkgos stubbornly refused

their fresh leaves to coincide fritillary

who

with the cowslips, and

flower helmets were eaten by marauding

neatly and literally nipped

them

in the bud.

Today

Commissioned 1991 the ginkgos have at

Watercolour on paper 280 x 320

Pandora

Sellars

was rather uneasy

mm

memory and

painting

at

fritillaries

and

most generous

cowslips together, feeling they were not usually closely associated in the wild.

But she did

it

to please

ginkgo avenue under-planted with first

year

it

was

a great success,

me, a

as

I

had just

tender yellow leaves of the ginkgo

all

plants.

fritillaries

The

Meadow

in

gardening plans work, but

175

but a

I still

have Pandora's

of my scheme which was inspired by

me

my Oxford

favourite picking of

at

fritillaries are

fashion.

seeing tender fresh ginkgo leaves in Korea,

and the

reaching perfection

all

painting to remind

started a

mixture of both

with cowslips,

Sadly not

decided to grow, the

last

the cowslips are happily seeding themselves in the

my

fritillaries

from Port

days and abundant cowslips, such a

youth.

PANDORA SELLARS

NYMPHAEA CAPENSIS Signed Pandora

Pandora

come

Sellars '95

way

Commissioned 1993

mm

Watercolour on paper 385 x 500

This commission of the blue water

lily

took some time to materialize

approaches, and several living

and wonderful

artists

in his

come even

clos-

me, only the brothers Bauer occupy, with

that corner

as

Ehret, Redoute, Turpin, Lilian Snelling

close. Fitch, prolific, liberated

er but, for

Pandora only managed to paint the flowers during one summer and the leaves

Sellars.

her,

of the botanical painting world in which one

can truly say that no one has ever done

it

better. But,

were

during another season, getting the specimens from Wyld Court

the Bauers so

good

at

painting leaves?'

Nurseries near Newbury.

The

backdrop of lily pads framing to meticulous perfection.

water

lily,

Nymphaea

I

all

find

stages

it

some

of the graceful flower.

interesting to

ampla, painted by Margaret

rippled paper and foxing from her

painted

In July 1993 Pandora Sellars and her husband

painting shows her strong sense of design, with a semi-circular

compare

it

It is

with

Mee which

a

painted

from Southampton

blue

down

has water-

Amazonian environment. She

leaves erect, as they so often appear standing clear

the

Wye Valley

moved

Herefordshire where she looks

to

towards the

Radnor

Hills. It

was

a

disruptive time for her painting as she struggled to estab-

has also

lish

of the

her

new

garden and battled with the builders.

her husband has built a

water in calm stretches of river.

Now

new greenhouse from which

she

can draw inspiration. She has had time to finish a recent plant portraits

which have formed the main body of her

work for over ten years. As must be obvious from introduction

I

a

this short

capensis,

to

be convinced that the world has ever

forest

me

of a beautiful blue water

painted over the

supplied by

have the highest possible admiration for her

work and I remain

known

commission for

Wyld Court

177

two

years

Nymphaea

from specimens

Nurseries, the remarkable rain-

conservatory with several acres under

Newbury, Berkshire.

botanical painter with a greater talent than

last

lily,

glass,

near

VIJAY

KUMAR SHARMA BORN

.K.

Sharma

when he was

ticed to the atelier of master-painter

lar

who

is

showed

started training in traditional Indian

painting in the early 1970s

Sharma,

JAIPUR, INDIA 1962

also his uncle. After

best of the Jaipur

appren-

Ramesh

hundreds of

he had finished regu-

cards,

school for the day he would spend laborious hours,

alongside

many

strokes used in Indian painting.

and

is

group of

artisans there

pictures

Sharma

now considered one

painters.

who

There

are willing to

He

copy post-

from newspapers or photographs. VK.

started to illustrate bonsai trees in

by an American patron.

BONSAI TREE Unsigned and undated Acquired from the Hunt

Institute

Watercolour on paper 265 x 190

178

1994

mm

of the

are literally

1987

when he

was commissioned to paint them and other nature

other eager children, learning the fine and

demanding brush

particular ability

studies

SIRIOL SHERLOCK BORN NANTWICH, ENGLAND

iriol

Sherlock has mastered the

to perfection.

skill

She had an excellent solo exhibition

of watercolour

Her washes flow with such apparent on

1954

Gallery where

I

bought

to the paper,

and

paeony 'Joseph Rock'.

often does not use the faintest pencil guidelines. She

tells

a fuchsia 'Corallina'

ease that she paints straight

me

she

get her students to

tries to

takes courage

do

this

- but

that

many

so

off as a textile designer

Women

botanical

artists,

some

she started

and has only ventured

to

show

Watercolour,

as

and

in the

well as at

Royal

many

Institute

the

Hunt

Institute's

1995. She often paints

at

and

do

leaves

and showed

Siriol travelled

I

at

Wyld Court

from her home

have

a

and water

number of

me and

painters, gardeners

such

plates for botanical magazines.

and

It is

in

which

an inspiring place

Hampshire

lilies at

to paint

their peak.

Wyld Court

conservationists.

a luxuriant display in the

MAGNOLIA CAMPBELLII VAR. MOLLICOMATA Acquired from

Nurseries,

has proved a

magical place for tropical plants and a focal point for

the Sir Harold Hillier's Gardens

Siriol

a series

splendid plant portraits created

while she was working there.

8th International Exhibition in

Signed

She decided to paint

of glass near Newbury.

orchids, passion flowers

and Arboretum in Hampshire and has been commissioned to

do

to

remarkable selection of fascinating plants under

a

several acres

of Painters in

RHS

projects further afield.

houses

English galleries. She has

been awarded three gold medals by the at

and she has painted both

of tropical plants grown

Society of Botanical Artists, the Society of

Painters

commissioned her

Now that her family have grown up, she can undertake

flower paintings since 1986. She has been showing regularly at the

Gardens

pink magnolia and the white

later

I

Kew

flowers with great fluidity.

it

and experience.

As happens with

a

at

Sherlock (undated)

Kew

Gardens Gallery 1992

Watercolour on paper 570 x 460

1

80

mm

Never have

I

northern hemisphere.

seen

SIRIOL SHERLOCK

PAEONIA SUFFRUTICOSA 'JOSEPH ROCK' Signed

Siriol

FUCHSIA 'CORALLINA' Signed Siriol Sherlock (undated)

Sherlock (undated)

Acquired from

Kew

Commissioned 1993

Gardens Gallery 1992

Watercolour on paper 620 x 460

Watercolour on paper 430 x 370

mm

183

mm

SIRIOL SHERLOCK

GROUP OF LOWLAND TROPICAL PLANTS

STANHOPEA TIGRINA

Signed

Signed

Siriol

Sherlock (undated)

Acquired from the

artist

1994

Watercolour on paper 650 x 480

Siriol

Sherlock (undated)

Acquired from the

mm

artist

1994

Watercolour on paper 440 x 580 Painted

185

at

Wyld Court

mm

Nurseries, near

Newbury, England

SHEILA SIEGERMAN BORN KAMLOOPS,

heila

Siegerman has had a most varied and

with

interest-

ing career. She started off as a jewellery designer in

Vancouver in the

and when she was

early 1950s,

only 20 years old created

a silver

rose-bowl which was

went on

linist in

Toronto and Montreal,

an

and

ods

as

also

winning awards

mond

actress

rings,

It

be

was

she describes herself

She

work is

in

vio-

less

choice for

set

I

understand these

lively,

many

vivacious

at

International Exhibition in 1992,

blockbuster orchid,

fleshy,

a

met her

I

that

Hunt

voluptuous and

the next year. She was

her

in

own home and

painted with great

chosen

a different painting,

Laeliocattleya

'Amber Glow'

I

but in the end

after dithering in

have not regretted it

as a

my

final choice,

and went on

cover for one of my magazines

an

article

on

orchids.

It is

image for

to

when we were

sometimes necessary

a cover.

Watercolour

notoriously difficult to reproduce successfully, but

is

this

painting had the strength to print well and was received

life. I first

with enthusiasm.

7th

where she showed

RHS

gold medal for a strong series of eight orchids,

tentatively

illustrating

can well

Institute's

a

irritating fashion.

use

this field

I

the

at

to have a very decisive

woman

the

when

grown

I

She has been exhibit-

creative strands in her

saw her botanical work

bought

eventually

I

bought the

an

Ontario since 1990.

such a

second painting of the same

and

had

She was

than ten years ago that she

as self-taught.

me

impact stayed with

confidence. Having seen slides in advance of the show,

designer of

and in

leaves. Its

all

for her jewellery, with prizes for diacritics'

ous roots and strong, leathery

awarded

well as working for peri-

started painting botanical watercolours

ing her

a freelance

as a theatrical set designer.

and was the

the year (1971).

as

to

1931

red-rimmed yellow flowers displayed with vigor-

its

plant

given to Princess Elizabeth by the city of Vancouver. After private music studies, she

CANADA

BC,

sycamore

a

as

it

enough impact

slightly vulgar

LAELIOCATTLEYA 'AMBER Signed Sheila Siegerman 1993

Acquired from the

artist

1993

Watercolour on paper 650 x 485

I

8 6

mm

I

had

it

framed in bold, yellow-striped

needed something powerful and with to contain the image.

GLOW

S.SieSERMAM

'?a

ANNIKA SILANDER-H6KERBERG BORN GOTHENBERG, SWEDEN

suspect that a

of botanical

art.

shown work gold medal) and

Hunt and

new

at

at

star

in the ascendant in the

world

Annika Silander-Hokerberg has only the

RHS

(where she was awarded

a

the 8th International Exhibition at the

Institute in 1995.

irises

is

But her paintings of tulips, lemons

demonstrate great confidence and quality of

execution and design. She showed a wonderful painting of a

euphorbia

the

at

the Hunt,

which was

opening night with many

greatly

admired on

fellow-artists

crowding

1949

round to look

at it

with their magnifying

tery of dry-brush was

honed

at

glasses.

Her mas-

one of Kew's painting

courses and she seems to catch the very essence of each subject that she paints.

She has

a

and, perhaps

degree in political science and economics

more

relevantly, she studied graphic design at

Konstfack, Stockholm. I

bought

hope

to see

Iris sibirica

from her show

much more

at

the

of her work in the

RHS

future.

and

ALAN SINGER and BORN NEW YORK. USA

t is

BORN MANHATTAN, NEW YORK, USA

1950

unusual to find a painting signed by two

'Cactus Wren

on Saguaro' was painted by

artists

but

a father

and

He was

of the designs for

a

US

Flowers of the Fifty

cactus.

It

postage-stamp

States'

was used

set

as

one

of 'Birds and

States in recent times

started painting birds after a period in the II

for the

when he worked on camouflage Normandy

illustrator

invasion.

He made

army

in

art,

I

He

Rochester

has written widely

and

style in his paintings,

He

artists.

on the

somewhat

at

and

visual arts

book

it

and many other publications

painting in the

when

through the open

much

sized bird

which

world

knew

I

breakfast

Hunt

Institutes 7th

I

was quietly reading when

I

a cactus

larger than any

well. Clearly it

Outside the

a dramatic

it

wren,

that the

who aim for almost photographic correctSome of his work was much influenced by the

was used to foraging for

proceeded to 'vacuum' the floor

window was

a

huge saguaro cactus and

wren had burrowed

its

The

nest in the

mighty

of

ness.

the desert, reaching up to 9 metres (30 feet) or

this

extraordinary plant.

and Koson.

extraordinary quality to these desert regions.

New

York, and then went on to complete

Master of Fine Arts degree

at

When

I

wrote to Alan Singer about

delighted to find that

a

remind

Cornell University.

me

Signed Arthur Singer, Alan Singer

Acquired from Alan Singer 1993

Gouache and watercolour on paper 175 x 120

90

was

'trunk'

available

more and

this painting,

and

I

now

mm

I

have

of that strange, austere desert landscape.

CACTUS WREN ON SAGUARO

1

it

saw

They impart an

only branch after a century's growth.

Cooper

I

saguaro stand isolated in

Japanese prints he collected, especially those by Hiroshige

Union,

a thrush-

of the European wrens

bird illustrators

at

was

was staying in the Sonora Desert

window came

crumbs and

I

before leaving in a dignified and unhurried fashion.

odds with some current

Like his father, Alan Singer also trained

illustrated

dozen solo exhibitions.

near Phoenix, Arizona.

Birds of Europe

developed

a

this small

reminded of

These established him amongst the most impor-

of American bird

saw

of Technology,

Institute

International Exhibition in 1992. About a year later

his lifetime. the

New York

New York.

and has held over

World

his living as a

producing over 20 volumes during

(1961), Birds of North America (1966)

tant

fine

He

designs for tanks

His three most famous books were Birds of

(1970).

ment of

with a huge number his credit.

illustration at the

currently an assistant professor in the depart-

for the National Geographic

of exhibitions, publications and awards to

War

is

(1982) and has the most

Arthur Singer was one of the best-known bird painters

United

while and

Rochester,

delightful impact.

in the

an instructor in

1917-1990

Botanical Gardens, lived in Trinidad, West Indies, for a

son team, with Arthur Singer drawing the wren while

Alan Singer painted the saguaro

ARTHUR SINGER

was it

to

PAMELA STAGG BORN NOTTINGHAM. ENGLAND

amela Stagg holds joint nationality British

and Canadian

where she teaches and College of Art in the at

late

as

both

citizen

and

paints.

She went to Ontario

lives in

1960s and then read

my

a

Toronto

Bagpuss became

botanical Later,

a

amazing

is

and immediately

she had a solo show,

and

iris

friends. It

love cats

artists

when

bearded

art history

1949

I

bought

show with Jonathan Cooper

Canada, and two in London

vegetables, this time a study, 'Miniature

as

Gallery.

She was awarded

well as their Grenfell I

first

Medal

saw her work

more of her tulip.

gold medal by the

RHS

Hunt

Pamela Stagg has

I

Institutes

asked to see

7th

some

work.

Somehow we

visited

me

I

decided to buy

fruit

and

Aubergine and

and books. She

think she

Signed Pamela Stagg

May

artist

1991

1992

Watercolour on paper 420 x 300

is

I

feels that

hope

to see their

a

very strong painting

work sometime.

fruit

irises are particularly beautifully

BLACK PARROT TULIP

192

as

students

articles

while her

Acquired from the

a strong reputation

many of her

I

got on to cats and she and

up

numer-

are 'seriously good', so

to

built

teacher and lecturer in Toronto and has illustrated

ous

paintings and chose a dramatic 'black' parrot

London and

a large, tall

Artichoke', and five 'Fiorello' pears suspended in space.

in 1992.

1992.

Later that year she was in

discuss her

Jonathan Cooper's Park

the

at

International Exhibition in

a

mine.

very beautiful study of figs which have

ing in 1987 and has since had several one-person shows in

Walk

relate to

an extraordinary bloom upon them. In her next London

the University of Guelph. She started botanical paint-

at

how many

mm

and vegetables executed.

PAMELA STAGG

FOUR

FIGS

Signed Pamela Stagg March 1993

Acquired from Park Walk Gallery, London 1993 Watercolour on paper 200 x 326

194

mm

PAMELA STAGG

MINIATURE AUBERGINE AND ARTICHOKE Signed Pamela Stagg August 1993

Acquired from Park Walk

Gallery,

London 1994

Watercolour on paper 250 x 300

195

mm

MARGARET STONES BORN VICTORIA, AUSTRALIA

argaret Stones

who now

distinction

lives just

Kew. She arrived in England attended

worked

school in Australia. For

art

as

an independent painter

to 1981 she

as

at

group shows

Kew

and from 1957 artist

Museum

the British

1996

at

having

a

major retrospective of her

National Gallery of Victoria.

the

alongside

already held in the

her

work on

Kew will be

the Tasmanian

flora

Queen Victoria Museum.

to Curtis's as

well

and National

Gallery ofVictoria, Melbourne. She has illustrated

books including the massive

shown

she

years

in

is

Paintings normally curated in Louisiana and

in 1951, having

She has had 17 solo exhibitions

at

work

next door to

many

was the major contributing

Botanical Magazine.

Margaret Stones

an Australian painter of great

is

1920

many

Tlie endemic flora of Tasmania

by W. Curtis (1962—77) whose

six

volumes contain 250 of

her watercolours. She painted a collection of wild flowers

from Louisiana which have been shown widely throughout the United States and the United

which were published

in Flora of Louisiana (1991).

received

two honorary degrees

work

been selected

has

the Natural History in

Kingdom and

for

many

Museum

well as the

as

She has

MBE. Her from

collections ranging

London, the Ashmolean

in

Oxford, the British Museum, Cornell University and

the National Gallery ofVictoria to the National Library

of Australia. For several years she visited Ascreavie, the Scottish

home of Major George growing

paint the plants

Sherriff and his wife Betty, to in their garden. Sherriff

and

his

friend Frank

Ludlow were renowned plant-hunters and

introduced

many garden-worthy

Himalaya: the garden

at

painter's delight. After the

plants

from

Ascreavie was a botanist's and

death of the Sherriffs Margaret

Stones' paintings were given to the Royal Botanic in

the

VIBURNUM RHYTIDOPHYLLUM

Garden

Signed Margaret Stones (undated) Viburnum rhytidophyllum China —

Edinburgh.

When

I

RBG Kew

visited

her

home

in

1993 she showed

me

plates

Acquired from the

of her paintings for the Flora of Louisiana which had just

come back from from her

the printers.

lavish portfolio, first

phyllum, painted to berries,

which

I

show

its

I

selected

artist

1993

Watercolour on paper 482 x 370

mm

two paintings

choosing Viburnum

NERINE BOWDENII

rhytido-

dramatic black and scarlet

have growing in

September 2nd 1992

my own

garden.

Signed Margaret Stones, Nerine bowdenii

The

Acquired from the

other was Nerine bowdenii.

artist

RBG Kew

1993

Watercolour on vellum 195 x 172

196

mm

1990

JESSICA TCHEREPNINE BORN LONDON

essica

now lives

Tcherepnine

although she

and works

New York,

in

England regularly and shows

visits

London. She describes herself

as

start

to have British roots.

in

folio

I

studied drawing in Florence under Signora

Simi, and learned that important facet of botanical art

tall,

attractive

decisive

prising shock of white hair has larly

Paris

from the

early 1980s,

—

ed her their gold medal.

in 1991. gallery,

I

showing

imperial.

I

I

with her sur-

in

wandered

assumed the

many

botanical

as a

New York

United

States

I

is

Hunt

and

for the

Institute, the

Kew

at

RHS's

the

hands.

Gardens Gallery

a striking picture

of the skunk

nothing sweet and flowery about as

squat and

spots.

1995

this

uncompromising clumps

But what character

Montgomery

has!

more conventional

Stephenson's

New York

it

anemone

circle,

book Looking

Flower Show,

is

a

at

gem

of delicacy and charm. Recently,

as

one of the

with setting up the Artists in the

as

-

become

Kew

Gardens Gallery 1993

Watercolour on paper 505 x 400

198

new American

interested in this

Signed Jessica Tcherepnine 1991

mm

directors, she has

been involved

Society of Botanical

hope of encouraging more Americans

SKUNK CABBAGE: SYMPLOCARPUS FOETIDUS Acquired from

the

as in private

bought

damp and shady

flowers

New York Flower

in the

well

group exhibition

a

1993 where

used in Cara

was American but was not

working

at

flowers and fruit most beautifully and her

banner floating from the

poster for the

work was

In fact, Jessica Tcherepnine paints

and saw the original painting,

artist

artists

in

magnified drawing of the crown

in

as

arum, which grows

bought her

I

an interesting port-

Museum, London, and

History

cabbage. There

RHS has twice award-

unduly surprised to discover she was born in England, so

in

London, New York,

met her when

a large

a vastly

which had been used Show.

I first

woman

from Shepherd's Gallery in

had noticed

showing

that her

Lindley Library

had solo exhibitions regu-

and Palm Beach, Florida. The

Fritillaria imperialis

found

She shared

and

me

of native North American plants which she hopes to

Natural

intense observation.

This

She showed

turn out

publish one day.

painting

flowers from her family's garden in Sussex at an early age. Later, she

—

Katie Lee and Katherine Manisco, for example

having 'no relevant

education and no career' but she did

1938

burgeoning

field.

to

MICHIKO TOYOTA BORN TOKYO, JAPAN

aving started

as a

kimono

designer in Yuzen,

Michiko Toyota now works botanical

artist

including

the

a

Superiority

won

at

a variety

Prize

has exhibited in a

at

number of galleries and

dens from Tokyo to Nagoya, Mito,

freelance

and instructor in painting

Botanic Gardens of Toyama. She has

awards

as

1952

Hunt

the

of

posters

the

I

International Orchid Festival, Tokyo, 1994. Since 1983 she

and

to

meet

16

artists

me

their

way but

with

I

tried to organize the

in the

end

from

Eventually strelitzia,

'bird

In

I

I

meeting in

She

is

is

an attractive and

in regular contact

In the

meantime

a splendid selection

chose a

of her

large, strongly

I

own

paintings.

designed painting of

and complicated

shows every

seedlings that

big visual impact.

I

stage

me

a lot

tree

of germination and has a

do not know

but non-specialists always single has given

artists.

bought an unusual study of oak

I

with

was trying

of paradise' flower that so intrigues botanical

addition,

it

why out

it is

so appealing,

as interesting

and

of pleasure.

BIRD OF PARADISE: STRELITZIA Signed Toyota (undated) Bird of Paradise Flower

Acquired from the

artist

Strelitzia

regime Banks

1994

Watercolour on paper 750 x 430

mm

SEEDLINGS OF OAK: QUERCUS SERRATA Signed M.Toyota '92

Acquired from the

artist

1994

Watercolour on paper 490 x 355

200

a

looked through Michiko

extraordinary, dramatic

that

About

Yoshio Futakuchi and she offered to

artist

show me some of his work. to choose

painters,

reception in Tokyo in 1994.

young woman who

the respected

for

group of other

a

Toyota's paintings in a corridor. intelligent

been used

has

companions accepted and arrived with

of work.

portfolios

dignified

her, together

at a small

and

the

books and pamphlets.

to illustrate several

had asked

Yokohama and

Her work

1988.

in

Institute

botanical gar-

mm

it

YOKO UCHIJO BORN TOKYO, JAPAN

oko Uchijo has children and

She

is

a

is

good

illustrated a

now working freelance

duced animated at

films,

Tokyo. She

for

in this field.

employed by

a

Immediately

company

is

member of

a

the

prestigious Japanese

Botanical Art Association.

in Tokyo.

She exhibited

botanical painter although she has

had no formal education leaving school she was

number of books

1949

in the

Exhibition in 1992 and

after

met her

that pro-

but she has recently been working

in

Tokyo

Hunt I

Institute's

7th International

saw more of her work

in 1994.

Yoko Uchijo

when

uses pencil to

define her watercolour and places her images very well

the Asahi Cultural Centre for Botanical Art, Tama,

the paper.

SLIPPER ORCHID:

PAPHIOPEDILUM Signed Yoko (undated)

Acquired from the

artist

1993

Watercolour on pencil 335 x 240

202

mm

I

on

ARUNDH ATI VARTAK BORN

rundhati Vartak

is

a lively

young

artist

SHIVAJINAGER, INDIA 1960

who

made

painting trees one of her hallmarks. In

sense

can she be described

as

a

has

1990 she has had solo exhibitions in Bombay

no

House of Soviet Gallery and the

mainstream

botanical painter, but her light-hearted compositions have all

the appeal of an Indian miniature, while in fact being

considerably larger. She takes

all

sorts

of liberties with the

relative

proportions ot different parts of the

when

rejecting

naturalism

she

tree,

somehow

retains

I

find her

work

She went to

BA

World

Wildlife

Fund

and the Society

(India)

popular following in

a

Bombay where one

wrote: 'The solemnity of the trunk, the languor of

trees.'

echo in the

its

life

that

flits

in

associated with that par-

all

She showed another of her charming

ticular tree.

and

think what he meant was that the birds

I

she shows in the branches are

studying psychology and Marathi literature. Since

She has made

Education of the Crippled.

around the University where she gained a

Gallery.

the

as

the branches, finds

fun.

Bombay

Nehru Centre Art

such

critic

essence and character of each one she paints.

Culture, the Artists Centre, Jehangir Art

of delightful cards to be sold on behalf of charities

She has

the

The

a series

for the

but even

at

paintings, a portrait

of

neetn or Indian lilac, in the

tree

Hunt

Institutes 8th International Exhibition in 1995.

Anyone who surroundings

shown

here.

has seen the cannonball tree in tropical

will

The

immediately recognize

big,

brown-red flowers

the

sketch

are scattered

all

over the ground and the extraordinary, huge globular fruits

hang

esting to

close to the trunk

compare

Mee made

this

on

with the

short branches.

classic

of the flower on her

in 1956 (plate

on page

It is

study that Margaret

first trip

to the

KAILASPATI:

COUROUPITA GUIANENSIS Signed by the

artist

Acquired from the Poster colours

(undated) artist

1994

on paper 660 x 510

mm

INDIAN CORAL TREE OR PANGAEA: HOLOPTELIA INTEGRIFOLIA Signed by the

artist

Acquired from the Poster colours

2(>4

(undated) artist

Amazon

139).

CANNONBALL TREE OR

1994

on paper 660 x 510

mm

inter-

ALEXANDER VIAZMENSKY BORN LENINGRAD

lexander Viazmensky trical

initially

(ST

PETERSBURG), RUSSIA

trained as an elec-

engineer, but he was a freelance

artist

are exuberant: larger-than-life toadstools

from

all

1976 and between 1988 and 1991 he attended the Art

Academy

Institute's

in St Petersburg.

He

the debris of the

dead

was in the Hunt

mushroom

surrounded by

hunt, with pine needles,

of moss, twigs and 'button' toadstools

leaves, scraps

scattered over the paper.

Anyone who

gone on

has

a

7th International Exhibition in 1992 (which

fungi-foray will immediately recognize the familiar mess

work) and had held many

lying in the collecting basket after a successful expedition.

was where

I

shows before

first

admired

that in

his

what was

awarded the 'Best of the

still

Leningrad.

Show Award'

at

He

And

was

signs his letters as 'Sasha',

which somehow

yet his

of the

the Millstream

Arts Festival, St Joseph, Minnesota, in 1995.

He

1946

work

specimen's

identification. fits

amanita

his

is

I

am

very accurate and shows every stage

development

to

fond of

particularly

make

easy

for

and

his boletus

portraits.

Sasha wrote a fascinating account of collecting fungi in

paintings better than Alexander. His fungi watercolours

Russia

(in

Mushroom 9:5-7, 1990—91) describing

how

the

populace moves out of town before dawn to establish

good rises.

strategic positions to pick their supplies as the

The competition

is

so intense

Switzerland and France)

that

all

(as

indeed

it is

in

sun

Italy,

of decoys are

sorts

arranged, and cars are driven deep into the

woods during

the night so that they cannot be followed to the best, most secret places.

Many

over-picking so he basket

when

from the

areas

have become depleted through

stresses

how

collecting as the spores can

fruiting caps, escaping

during the

important

mushroom

FLY AGARIC:

artist

AV

in old Russian 08.90

1992

artist

AV

mm

in old

Watercolour on paper 340 x 240

206

Russian 14.09.89

1992

mm

to use a

from cracks in the

BOLETUS Signed with hieroglyphic

is

be scattered

hunt.

Watercolour on paper 340 x 240

Acquired from the

still

AMANITA MUSCARIA

Signed with hieroglyphic

Acquired from the

it

basket,

ELLAPHIE WARD-HILHORST BORN PRETORIA, SOUTH

llaphie

Ward-Hilhorst was one of the

gracious people lection. In fact

when

visiting

quently and

I

have met while making

I

I

nicest,

I

her

got to

know her quite

brief time. She died most tragically while

colour, during her

She

quite fre-

well during that still

at

showed

the height

scientific

and

artistic

much

touring

is

job, during World War

II,

was

and her

map-maker

as a

first

at

she studied watercolour for a year in the Netherlands with

having run

it

naturalist painter. After this she

was

artist in

Cape Town. She

almost immediately started a artist.

paint

new

as

retired in

the

of botanists

known at

species.

on

sketches.

her studio early in 1994 she signed

me, while

I

all

When

three

I

group

after

for her

with two

to

a

Gallery in

South African

Haemanthus paintings. She art

of botan-

one of Haemanthus, the

plates,

this

ground

had been sent

to

pelargonium painting in 1994,

in

Kew Herbarium

London

after she told

for the publication.

with pelargoniums was such that one

first

painting

on Table Mountain.

volumes for

me

she did not need to measure a the information she

all

I

acquired was of Crassula

coccinea, a

It is

an amazing picture, with every

and each

tiny flower painted to perfection

fleshy leaf

exuding succulence.Yet she has never forgotton the perspective, depth

other

Later

I

went

and

her death and yet other monographs which will use

flowers

on

to a

to her small studio in Kenilworth,

1993, Crassula coccinea

Acquired from the

artist

- Table Mountain

1993

Watercolour on paper 370 x 305

208

mm

a

courtyard

filled

Cape with

panorama of Table Mountain. She had sev-

CRASSULA COCCINEA H

plant's

overall shape.

Town, which looked out over

was published just

Signed E.Ward

was

study of a spectacular specimen that she had found herselt

visited

many

It

of months before she died.

fidelity

The

distinguished publications, including the journal Flowering plants of Africa. Gasterias of South Africa

Read

beautiful plates.

admired her more recent work.

Ellaphie Ward-Hilhorst was involved with

the Everard

required from Ellaphie's meticulously accurate and yet

to

the pelargonium, involving

314 watercolours and 160 habit

and she

often rather small)

living specimen, she could get

Stellenbosch, producing the illustrations for

three wonderful volumes

RHS

research worker told

career as a botanical

a

it

Her

1973 and

She collaborated with

com-

She was awarded the Botanical

bought

just a couple

a freelance

She had always loved pelargoniums and decided all

me

well-known

returned to South Africa

and spent many years supporting herself commercial

a

artist.

other of one of her famous pelargoniums, Pelargonium

for the sur-

I

who

the

illustration

ical

tetragonum.

P.L. Hilhorst,

an active botanical

well represented in the latest edition of Tlie

vey department of Witwatersrand Gold Mines. In 1947

her uncle, Gerhardus

prodigious

larger plant portraits for

Institute,

exhibition.

gold medal

further afield. early age

a

Society of South Africa's Cythna Letty Gold Medal, and a

Africa's

and her work was recognized

She had always drawn from an

Hunt

the

are

plates

as

Johannesburg and in 'Art meets Science',

community.

She must certainly be placed among South greatest botanical artists

(book at

24 years

produced some

also

missions

of her powers. The sense of shock and sorrow reverberat-

ed through the

being prepared. She had

illustrations are

output, producing 800 plant portraits, mostly in water-

this col-

only saw her on a few occasions

Cape Town, but we corresponded feel

most

AFRICA; 1920-1994

ELLAPHIE WARD-HILLHORST

HAEMANTHUS CANALICULATUS AND CYRTANTHUS LEUCANTHUS Signed E.Ward

H

1993, Haemanthus canaliculatus,

Cyrtanthus leucanthus

Acquired from the

artist

1994

Watercolour on paper 380 x 280

mm

PELARGONIUM TETRAGONUM Signed E.Ward

H

1993, Pelargonium tetragonum

Acquired from the

artist

1994

Watercolour on paper 480 x 350

eral paintings

the

latest

on the

book on

mm

walls

Gasterias.

and showed I

me

friend of Ellaphie's at Kirstenbosch Botanical Gardens, told

me

decided to buy a joint study

of two South African bulbs, Haemanthus Cyrtanthus leucanthus,

the proofs of

canaliculatus

which only flower and seed

and

Both

ture

on

paper.

been very

Dr John Rourke,

difficult to

a close colleague

this

way

(in

the

she captured

the feeling of the living, growing plants. The painting was

after fire

used

are very rare and, because they flower so

spasmodically, have previously

them near Betty's Bay

Cape) before they were collected. In

has swept through the veld clearing a space for their establishment.

she had rushed off to see

as

the cover of Veld and Flora magazine

(December

1994).

She was

cap-

and

is

211

a quiet, dignified

sadly missed.

and remarkable

woman

and

ZHANG

TAI-LI BORN

managed

as a

to contact Tai-Li

Feng,

who

hotel

where

Zhang through

arranged for her to I

me

visit

at

JIN

ZHOU, CHINA

the blue Paulownia elongata

Professor

the

huge

all

her

life,

training at the School

had already been published

of

Botanical Painting, Institute of Botany, Academia Sinica, Beijing, at

from 1958

to

taxonomy

in the Institute

arresting study of Begonia

painted in

oil

of

She has shown in many exhibitions in China, and in

work was

Prominent

Read

Institute's

thousand of

her drawings have been reproduced in Flora Reipublicae Papillaris Sinicae, in several

of the volumes that

where

I

people. table

vast,

ugly suite

could have held a reception for

We laid

and

I

I

was occupying

because

Eventually

I

her

bought

eyesight

is

not

so

a beautiful classical

sharp

I

the

(it

tag.

was the painting of ginkgo

illustrated in the

I

longed to have

that she

would

twice before.

later,

Hunt Catalogue of

it.

(1988).

them

I

the

have

extensively in

She would not part with

paint

me

another

The copy duly

as

she had

some

arrived

together with a charming, rather stylized

In retrospect rarely seen a

had executed some years also,

as

painting of a yellow peony.

Professor Feng, she was reluctant

ago saying that she needed them to copy (but

it

months

hundred

was immediately impressed with the quality of

to part with paintings that she

pect,

copied

out her paintings on the large conference

some of her work. Like

on vellum

6th International Exhibition

my garden, so it but told me

won prizes.

at least a

was the price

always loved ginkgo trees and planted

She presented her portfolio rather apprehensively, perhaps intimidated by the

I

it

in her portfolio

had seen

that

a

argenteoguttata

had the 'see-through',

paper. This

rather sheepishly, that

represented in the

Over

also

I

asked what the large red stamp on the back was

African International Plant Exhibition held in the Everard Gallery, Johannesburg, in 1992.

x

it

can be seen faintly from the front) and she explained,

Sydney, Australia, and the Missouri Botanical Gardens in recently her

because

had sunk into the paper.

oil I

USA. Most

on

it

a botanical plate.

as

bought an

Botany

the

with

to part

translucent quality of some watercolours

1960 and then working for 35 years

the department of plant

which she had painted many

She was prepared

years earlier.

was staying in Beijing. She has worked

botanical painter

1938

go.

I

know

I

more

am

glad

now).

art

watercolour of

and

she did not paint

PAULOWNIA ELONGATA Unsigned and undated artist

1994

Watercolour on paper 285 x 210

2

1

2

is

it

from

mm

life,

a traditional

totally acceptable in the East

able to a print..

Acquired from the

commissioned

attractive characterization

original painting, but this

sus-

I

it

as

I

have

of the gink-

but copied her

aspect of Chinese

and

I

find

it

prefer-

TAI-LI

ZHANG

ARGENT EO GUTTATA

MAIDENHAIR TREE: GINKGO BILOBA

Signed with her chop (undated)

Signed with two chops in red and two

BEGONIA X

Acquired from the

artist

Oil on paper 340 x 250

Chinese characters

1994

in black (painted

Commissioned 1994

mm

Watcrcolour on paper 430 x 300

214

mm

1

APPENDIX

SADLY

IT

HAS PROVED IMPOSSIBLE

FOR REASONS OF SPACE TO ILLUSTRATE THE ENTIRE SHIRLEY SHERWOOD COLLECTION IN

THE MAIN SECTION OF THE BOOK; THE REMAINING PAINTINGS ARE SHOWN

COLOUR ON THE FOLLOWING

216

PAGES.

IN

FRANCESCA ANDERSON See main catalogue entry for biographical 1

details

Vanda 'Fuchs Blue'

Signed Francesca Anderson for

Sherwood 5/92

Shirley

Acquired from the

artist

Pen and ink 730 x 580 2 Amaryllis

1992

mm

(1)

Signed Francesca Anderson (undated)

Acquired from the

artist

Pen and ink 580 x 730 3 Amaryllis

1992

mm

(2)

Signed Francesca Anderson (undated)

Acquired from the

artist

Pen and ink 580 x 730

1992

mm

4 Two Arthurium Signed Francesca Anderson 2/92 Gift

from the

artist

Pen and ink 230 x 295 Inscribed:

Shirley

To

my

mm

friend and patron

Sherwood on her 60th birthday

GILLIAN

BARLOW

See main catalogue entry for biographical

details

5 Yellow Parrot Tulip

Signed G.Barlow 1991

Acquired from the

artist

1992

Watercolour on paper 260 x 365 6 Kingcup: Caltha

palustris

Signed G. Barlow

'94

mm

Acquired from the SBA, London 1995 Watercolour on paper 550 x 370

mm

Awarded

Merit

JENI Born

Certificate of Botanical

BARLOW

Stevenage, England 1961

Jeni Barlow studied textile design and began a career as a knitwear designer in 1982. She turned to botanical painting in

1990 and has since held

several exhibitions.

Her work was included

in the

Hunt

8th International Exhibition in 1995.

7 Stinking Hellebore: Helleborus

foetidus

Signed Jeni Barlow '94

Acquired from the

artist

1994

Watercolour on paper 470 x 340

4

217

mm

Institute's

HELEN BA TTEN See main catalogue entry for biographical

details

8 Phalaenopsis

Signed Helen Batten 93, Orchid Phalaenopsis

Rosa x Zada

'Lipper'

RHS Show

Acquired from the

1993

Watercolour on paper 510 x 400

mm

CAROL BERGE

LESLIE

Born Taunton, Leslie Carol

Massachusetts,

USA

1959

Berge studied painting and

illustra-

tion in Paris and the United States and has freelance

artist

since

Institute's

Her

1981. She has had

work was shown

exhibitions and her

been

in the

a

many Hunt

7th International Exhibition in 1992.

paintings are in both public and private col-

lections.

She often works in coloured pencil.

9 Colocasia

Signed

LC

Berge 1992

Acquired from the

1992

artist

Coloured pencil on paper 895 x 605

mm

MARJORIE BLAMEY Born

Sri

Lanka 1918

Marjorie Blarney is

best

known

lives in

for her

Cornwall, England, and

book

which

illustrations

have appeared in 27 books, and perhaps especially for the botanical field-guides she has illustrated.

She did not begin to paint professionally mid-1960s: before that she was photographer, actress and then has the ability not only to

at

until the

various times a

a farmer's wife.

work

quickly,

She

making

rapid notes from a heap of specimens, but also to

plan

complex

bloom 10

lay-outs,

at different

Autumn

fitting

species

times on to the same plate.

Berries

Signed Marjorie Blarney 1989

Acquired from

Kew

Gardens Gallery 1990

Watercolour on paper 420 x 320 11 Gentiana

mm

occidcntalis

Signed Marjorie Blarney 1990

Acquired from

Kew

Gardens Gallery 1990

Watercolour on paper 210 x 160 12 Magnolia

mm

grandiflora.

Signed Marjorie Blarney 1991

Commissioned 1991 12

Watercolour on paper 350 x 490

218

which

mm

SUSANNAH BLAXILL See

mam

catalogue entry for biographical details

13 Cyclamen

Signed Susannah

Blaxill (undated)

Acquired from David Ker Gallery, London 1991 Watercolour on paper 230 x 200

mm

JENNY BRASIER See main catalogue entry for biographical

details

14 Plum Signed

JMB

1995

Acquired from the SBA, London 1995 Watercolour on vellum 80 x 60

mm

15 Kumquats

Signed JMB 1995

Commissioned 1995

mm

Watercolour on vellum 100 x 160 17

16 Crimtm x

powellii

Signed JMB 1988

Acquired from

Kew

Gardens Gallery 1991

Pencil and watercolour 290 x

mm

730

ELIZABETH CAMERON Born London 1915

Cameron

Elizabeth

trained at the Slade School of

Wood

Fine Art and St John's

Art School in

London. Marriage, children and running most of her time

ness took

1972

until

a busi-

when

she

returned to painting. She has exhibited in

New

York, Boston, Johannesburg and

Hunt

Institute

as

well as in

awarded three dens

RHS

the

London, and has been

The white

gold medals.

at Sissinghurst in

at

gar-

Kent and Crathes Castle

in

Aberdeenshire inspired her to paint a series of

white flowers which she published in

A

book of

white flowers in 1980.

17 Dandelion

Signed

EC

1986

Acquired from the

artist

1993

Watercolour on vellum 320 x 240 18 Purple Signed

EC

Filbert: Corylus

maxima 'Purpurea'

77

Gift fromVenetia

Ross Skinner 1993

Watercolour on paper 340 x 295

219

mm

mm

PATRICIA DE CHAIR Born Farnham, UK 1944 A

self-taught

and

sporadically

Kingdom and was only

moved

is

in

to boarding school.

frequently, often living in

C

cramped accom-

not conducive to painting.

is

labradorica

Signed P de

United

an army officer and the family has

modation which 19 Viola

the

able to paint seriously

once her children had gone

Her husband

Chair has painted

Patricia de

artist,

exhibited

— Anemone

nernorosa

(undated)

Acquired from Malcolm Innes Gallery,

London 1993 Watercolour on paper 130 x 143

CONDY

GILLIAN Born

Nairobi, Kenya 1952

Gillian at

mm

Condy became

the resident botanical

artist

the National Botanical Institute in Pretoria,

South Africa, in 1983. She has exhibited in South Africa and Britain since 1980, and was included in the

Hunt

in 1992.

Institute's

7th International Exhibition

She has been awarded two

RHS

gold

Smythies Award trom

medals and received the

Jill

the Linnean Society in

London

in 1990.

She has

designed botanical postage stamps for Bophuthat-

swana and Botswana, and her work has been reproduced in a number of publications; notably

more than 170

she painted

illustrations for the

journal Flowering Plants of Africa.

20 Erythrina Signed G.

caffra

Condy 1990

Acquired from the

artist

1992

Watercolour on paper 260 x 250

JILL

mm

COOMBS

Born England 1935 Jill

Coombs

studied ceramics and textile design at

West Sussex College of Art. She drew for various Floras for for the

RHS

in the

Kew

illustrations

and was Orchid

Artist

mid-1980s. Her watercolours

have appeared in books and journals and she designed the 1990

RHS

Chelsea

Plate.

She has

been awarded three gold medals by the RHS. 21 Gooseberry: Ribes Signed

Jill

Coombs

Acquired from

Kew

grossularia

21

'93

Gardens Gallery 1994

Watercolour on paper 250 x 190

mm

220

PATRICIA DALE Born London 1930 Patricia

Dale studied

and has been has

shown her work

USA

the Putney School of Art

at

a freelance illustrator since 1972.

RHS, Westminster

United Kindom, the

frequent exhibitor

at

the

shows, she designed the 1995

RHS

Chelsea

many

greetings cards

Her work

Plate.

22 Scarborough

in the

A

and Germany.

She

has

been used on

and calendars.

Lily: Cyrtanthus eiatus

(Vallota speciosa)

Signed Patricia Dale (undated)

Acquired from the

RHS Show

1993

Watercolour on paper 710 x 470

mm

PAULINE M. DEAN See main catalogue entry for biographical

details

23 Horse Chestnut Signed P.M. Dean (undated)

Acquired from

Kew

Gardens Gallery 1991

Watercolour on paper 460 x 340

24 Earth

mm

Star: Geastrutn triplex

Signed P.M. Dean (undated)

Acquired from the

RHS

Show 1993

Watercolour on paper 127 x 200

mm

ETIENNE DEMONTE

25

See main catalogue entry for biographical

details

25 Bauhinia and Humming-bird Signed Etienne

paintings

Demonte 1994

Acquired from the

artist

and

other

cats

of the

Brazilian rainforest.

1994

26 Passion Flower and Humming-bird

Gouache and watercolour on paper 650 x 480

of jaguars

Signed Ludmyla

mm

Demonte 1991

Acquired from the Hunt

Institute

Gouache on paper 500 x 350

7

1992

mm

LUDMYLA DEMONTE Born

Petropolis, Brazil

Ludmyla and

is

is

the daughter of Rosalia

Demonte

carrying on the family tradition of paint-

ing subjects from nature.

Her

paintings have

been

exhibited in Brazil and the United States, includ-

ing in the

Hunt

Institute's

Exhibition in 1992. She

is

21

ROSALIA DEMONTE

1966

7th International

well

known

for her

See main catalogue entry for biographical

27

Aristolochia gigantea

Signed Rosalia

Demonte 1985

Acquired from the

artist

1992

Watercolour and gouache on paper

660 x 480

mm

221

details

L

BRIGID EDWARDS See main catalogue entry for biographical

details

28 Magnolia Leaves and Fruit Signed

BE

87

Acquired from the

artist

1992

Watercolour over pencil on vellum 180 x 250

29 Two

mm

Red Onions

Signed Brigid Edwards 1992

Commissioned 1992 Watercolour over pencil on vellum 280 x 220

mm

30 Primulas Signed Brigid Edwards (undated)

Acquired from

Kew

Gardens Gallery 1994

Watercolour over pencil on paper 450 x 330 Plate

XIX

mm

from Primula by J. Richards

31 Hydrangea Signed Brigid Edwards 1993

Acquired from

Kew

Gardens Gallery 1994

Watercolour over pencil on vellum 330 x 275

32

mm

Red Onion

Signed Brigid Edwards 1995

Acquired from Thomas Gibson Fine

Arts,

London 1995 Watercolour over pencil on vellum 660 x 457

mm

33 Squash Signed Brigid Edwards 1995

Acquired from Thomas Gibson Fine

Arts,

London 1995 Watercolour over pencil on vellum 382 x 305

mm

MARGARET FARR Born Macon, Georgia, Margaret Farr took

a

USA 1951 BA in art

history at the

University of North Carolina in 1974 and then studied commercial art in Virginia.

Her

paintings

have been exhibited in Virginia and Colorado, well as in the

Hunt

Institute's

7th Internationa]

Exhibition in 1992.

34 Tulip Bouquet Signed Margaret Farr 1992

Acquired from the

artist

1992

Watercolour on paper 660 x 490

222

as

mm

ANN FARRER See main catalogue entry for biographical

35 Banana: Musa Signed

Ann

details

sp.

Farrer 1991

Commissioned 1991 Watercolour on paper 630 x 460

mm

Flowers of Endangered Rainforests

36 Papliiopedilum Signed

Ann

parishii

Farrer 1990

Acquired from the

artist

1991

Watercolour on paper 350 x 250

37

Passi flora coccinea

Signed

Ann

Farrer 1990

Acquired from the

artist

1991

Watercolour on paper 340 x 260

38

mm

Tliunbergia grandiflora

Signed

Ann

Farrer 1990

Acquired from the

artist

1991

Watercolour on paper 340 x 260

39 Allamanda Signed

Ann

mm

cathartica

Farrer 1990

Acquired from the

artist

1991

Watercolour on paper 340 x 260

40

mm

mm

Phalaetiopsis aphrodite

Signed

Ann

Farrer 1990

Acquired from the

artist

1991

Watercolour on paper 355 x 270

mm

37

223

ANN FARRER

continued

41 Juncus maritimus

Signed

Ann

Farrer 1981/3

Acquired from

Kew

Gardens Gallery 1994

Watercolour on paper 240 x 155

mm

42 Clematis 'Miss Bateman' Signed

Ann

Farrer

92/94

Commissioned 1994 Watercolour on paper 600 x 430 43

Swamp

Signed

mm

Cypress: Taxodium distichum

Ann

Farrer Sept. 1995

Commissioned 1993, received 1995 Watercolour on paper 490 x 690

mm

JINYONG FENG See main catalogue entry for biographical

details

44 Camellia chrysantha Signed with

his

name and

Acquired from the

artist

in Chinese characters

1994

Watercolour and gouache on

Winsor

& Newton

paper 410 x 310

mm

45 Camellia vietnamensis Signed Jinyong Feng plus Camellia vietnamensis

Acquired from the

his

Hu

artist

et

Chinese chop,

Huang

1994

Watercolour on paper 410 x 310

mm

224

MARY GRIERSON See main catalogue entry for biographical

details

46 Allium Collection Signed

Mary Grierson

'87

Acquired from Spink, London 1990 Watercolour on paper 530 x 340

mm

47 Passion Flower Signed

MG

(undated)

Acquired from Spink, London 1990 Watercolour on paper 230 x 130

48 Epigeneium Signed

coelogyne

Mary Grierson

Acquired from

mm

Kew

(undated)

Gardens Gallery 1993

Watercolour on paper 400 x 290

mm

NOEL GRUNWALDT Born Carmel,

California,

Noel Grunwaldt now and works

USA

lives in

1964 Albany,

New York,

1989 and since

her Masters degree in studio

art in

then has shown in

of group exhibitions,

a variety

some of them connected with Natural Science galleries in

Illustrators.

New York

City,

48

She finished

as a freelance illustrator.

the

She has

also

Guild of

shown

in

Albany and Chicago.

She produces very strong, powerful studies of fruit and

it

will

be interesting to see

how

she develops

in the future.

49

Two

Pears

Signed Grunwaldt (undated)

Acquired from the

artist

1993

Watercolour on paper 210 x 190

mm

CORAL GUEST 49 See main catalogue entry for biographical

details

50 Rose 'Alba Maxima' Signed Coral Guest '94

Acquired from the

artist

1994

Watercolour on paper 460 x 370

mm

50

225

JOSEPHINE HAGUE See main catalogue entry for biographical

details

Haws

51 Hips and

Unsigned and undated

Kew

Acquired from

Gardens Gallery 1990

Watercolour on paper 355 x 260

mm

52 Cornfield Plants Signed Josephine Hague (undated)

Kew

Acquired from

Gardens Gallery 1990

Watercolour on paper 210 x 150 53, 54

Two

mm

of Clematis 'Vyvyan PennelT

studies

Signed Josephine Hague (undated)

Commissioned 1991 Watercolour on paper 305 x 240

mm

CHRISTINE HART-DAVIES See main catalogue entry for biographical

55 Australian Pitcher Plant: Cephalotus

details

follicularis

Signed Christine Hart-Davies (undated)

Kew

Acquired from

Gardens Gallery 1994

Watercolour on paper 230 x 240

mm

HELEN HAYWOOD See main catalogue entry for biographical

details

56 Lords and Ladies Signed

HA. Haywood

Acquired

at

the

(undated)

Museum

of Garden History,

London 1994 Watercolour on vellum 223 x 173

mm

57 Kingcups Signed H.A.

Acquired

at

Haywood the

(undated)

Museum

of Garden History,

London 1994 Watercolour on vellum 222 x 180

mm

HELGA HISLOP Born London 1941 Helga Hislop went to school then trained

at

in Sydney, Australia,

the Cardiff College of Art and the

Central School of Arts and Crafts designer.

She changed

often working

lum. She

is

on

a

known

as

a

graphic

to flower painting in 1978,

honey-coloured, crinkled velfor her meticulous, detailed

and very restrained bunches of spring and summer

53

which have been bought by many

flowers

private

collectors.

She has shown her work

Galleries,

London, Guildford House and the

the Mall

at

Linnean Society in London and

is

member

Artists.

of the Society of Botanical

founder

a

58 Winter into Spring Carousel Signed Helga Hislop '90

Acquired from the

artist

1994

Watercolour on paper 250 x 340

mm

59 Rose Hips Signed Helga Hislop (undated)

Acquired from the

artist

1994

Watercolour on paper 250 x 340

mm

NICOLE HORNBY Born London; 1908-1988

Hornby

'Nic'

Gallery,

London and

studied at art schools in

Florence and exhibited her

work

the Trafford

at

London, and the Bodley

Gallery,

the 1950s and 1960s. She had

York, in

exhibition at Partridge, London, in

1976. She

painted charming watercolours of flowers in the superb garden

Michael, created

at

New

a large

grown

which she and her husband,

Pusey House, Oxfordshire.

60 Cyclamen Signed Nicole Hornby '82 Gift

from

Simon Hornby 1994

Sir

Watercolour on paper 215 x 215

mm

IRANI

J. P.

Born

Devlavi, India 1938

J.P. Irani

trained as a commercial

artist

and spent

38 years working in advertising agencies. His paintings were exhibited in

1989 and al

his illustrations

books on

for India

61 Vanda

Signed

birds.

He

Bombay

in

1988 and

have been used in sever-

has designed postage stamps

and Bhutan. teres

J.P. Irani

(undated)

Acquired from the

artist

1994

Watercolour on paper 300 x 370

62 Jacob's Coat: Acalypha

62

mm

wilkesiana

Signed J.P. Irani '89 Gift

from the

artist

1994

Watercolour on paper 365 x 250

mm

227

MARILYN JONES Born England 1947 Marilyn Jones graduated from the Camberwell School of Art in London

after

working

lor

1

1

years in the botany department of the Natural

History

Museum, London. She

has exhibited her

watercolours in North Wales and

Ness Gardens

at

(University of Liverpool) and has received a silver

medal from the RHS.

gilt

63 Rhododendron

augustinii

Signed M.R.Jones 1993

RHS Show

Acquired from the

1993

Watercolour on paper 390 x 310

mm \

ANNETTE DE JONQUIERES See main catalogue entry for biographical

details

63

64 Neoregelia grande Signed Annette dejonquieres Bangkok 1989

from the

Gift

artist

1991

Watercolour on paper 600 x 460

mm

JENNY JOWETT Born Bromley, England 1936

A Diploma led

in

Dairy Husbandry and Horticulture

Jenny Jowett on to

a three-year

course in

ography and printing. She has been artist

United Kingdom

Institute's

and

a freelance

many

times

well as in the

Hunt

since the mid-1970s, exhibiting

in the

at

as

lith-

6th International Exhibition in 1988

Read

the Everard

Gallery in Johannesburg.

She teaches painting courses both

medals and designed the

in Britain

and

RHS gold RHS Chelsea

two

abroad. She has been awarded

1992

Plate.

Her work

cards

and she produced botanical lithographs for

Christies

on greeting

has been reproduced

Contemporary Art

65 Lenten Rose: Helleborus

in

1978 and 1979.

artist

instructor at the Asahi Cultural Centre and the

Sogei Cultural Centre in Tokyo. She has

orient alis

ed several books about

Signed Jenny Jowett '92

Acquired from the

64

was

1993

Watercolour on paper 480 x 370

included

plants. In

the

in

Hunt

illustrat-

1992 her work Institute's

7th

International Exhibition.

mm

66 Camellia japonica

YOKO KAKUTA

Signed Y. Kakuta (undated)

Born Talien, China 1939

Acquired from the

Japanese

teaching

artist

Yoko Kakuta followed studying

after

it

student of

a

OhtaYoai and began

artist

her work in the

Ochanomizu

She then became

University, Tokyo.

the botanical

at

a career in

1

980s,

when

she also

to exhib-

became an

artist

1993

Watercolour on paper 430 x 340

67 Rosa

mm

hirtula

Signed Y. Kakuta (undated)

Acquired from the

artist

1994

Watercolour on paper 420 x 330 nun

67

228

MARTHA

KEMP

G.

Born Houston, Texas,

Kemp

Martha ogy

USA

1944

studied interior design and sociol-

and returned

in California in the 1960s

from 1991 to 1993

to

to

study botanical

drawing although she had been

a freelance artist

college

She has exhibited in California, and

since 1975.

the

RHS

medal 68

where she was awarded 1993 and

in

Fragaria

x

Signed M.G.

a

Kemp

at

silver gilt

gold in 1995.

Potentilla

Acquired from the

a

'Pink Panda'

'93

RHS Show

1993

Watercolour on paper 275 x 380

mm

PATRICIA KESSLER Born Michigan,

USA

1948

Patricia Kessler received a

Bachelor of Fine Arts

degree from Wayne State University and has studied under a

work

has

number of recognized

been exhibited widely

including

States,

in

the

Hunt

Her

artists.

in the

United 7th

Institutes

International Exhbition in 1992.

69 Phalaetwpsis Signed Kessler 3/92

Acquired from the

artist

1992

Watercolour on paper 700 x 500

mm

SHARON MORRIS KINCHELOE Born Winston-Salem, North After studying art at

Carolina,

USA

69

1952

Old Dominion University

CHRISTABEL KING

and Tidewater Community College in Virginia,

See main catalogue entry for biographical

Sharon Morris Kincheloe spent some time

71 Echinopsis

commercial for

the

last

as

a

She then turned freelance and

artist.

14 years has

made

etchings

and

coloured-pencil drawings of the native flowers of Virginia plants

where she now

from other

areas

lives, as

well as portraying

of North America. She has

had

several exhibitions in the

her

work was shown

in the

United

Hunt

States,

and

Institute's

7th

tubi flora

Signed C.E King Labelled: Echinopsis tubiflora Cult

C.E King

26/6/93

Commissioned 1994 Watercolour on paper 670 x 520

mm

MARIKO KOJIMA

International Exhibition in 1992.

See main catalogue entry for biographical

70 Showy Lady's

72 Roses

Signed

S.

Slipper: Cypripidium reginae

Morris Kincheloe '87

Acquired from the

artist

Signed

1992

Watercolour on paper 470 x 225

Man

details

(undated)

Acquired from the

mm

details

artist

1994

Watercolour on paper 430 x 330

mm

72

229

VIET MARTIN

KUNZ

See main catalogue entry for biographical

details

73 Brussels Sprouts 1991

SignedV.M. Kunz (undated) Acquired from the

1992

artist

mm

Watercolour on paper 480 x 345

JOANNA ASQUITH LANGHORNE See main catalogue entry for biographical

details

74 Slipper Orchid: Paphiopedilum Signed Joanna A. Langhorne (undated)

Kew

Acquired from

Gardens Gallery 1993

Watercolour on paper 230 x 155 nun

KATIE LEE See main catalogue entry for biographical

75 Pink Passion Flower:

details

Passiflora mollissima

Orange-throated Sun Angel Humming-bird: Heliangelus mavors

Signed

KT

1993

Acquired from the

1993

artist

Gouache on Stonehenge

mm

Print 560 x 330

PETR LISKA See main catalogue entry for biographical

76 Plum: Primus

details

domestica

Signed Liska '93

Acquired from the Acrylic

artist

1994

on paper 210 x 150

mm

ELIZABETH JANE LLOYD Born London; 1928 - 1995

A

godchild of the architect Sir

Lloyd

Elizabeth Jane

School of Art and in

studied

later at the

Edwin

Lutyens,

the

Chelsea

at

Royal College of Art

London. She exhibited widely

her

Academy Summer

She taught

in various art schools in the

the United States as well

studio in Chiswick, London.

Signed with her

Acquired from

initials

Kew

(undated)

Gardens Gallery 1991

Watercolour on paper 740 x 540

2

30

mm

United

as in

77 Passion Flower

77

Royal

Exhibition almost continuous-

her death.

Kingdom and

own

1953 and

were accepted for the

paintings

ly until

after

her

KATHERINE MANISCO See main catalogue entry for biographical

78 Sunflower:

Heliantlius

details

annum

Signed K. Manisco '92

Acquired

at

the Horticultural Society of

New York

1992

Watercolour on paper 350 x 325

mm

79 Asparagus Signed K. Manisco '95 Gift

from the

artist

1995

Watercolour on paper 470 x 520

mm

ALISTER MATHEWS Born

Prestwich, England 1939

After graduating from the University of Wales Alister

Mathews taught

for four years before

She began 1970s.

in secondary education

becoming

a freelance

to exhibit her watercolours in the late

Her work was included

Institute's

artist.

in

the

Hunt

8th International Exhibition in 1995.

80 Lenten Rose: Helleboms

orientalis

Signed Alister Mathews (undated)

Acquired from Malcolm Innes Gallery,

London 1992 Watercolour on paper 460 x 320

mm

81 Redcurrants Signed Alister Mathews (undated)

Acquired from the SBA, London 1995 Watercolour on paper 132 x 95

mm

81

231

MARGARET MEE See main catalogue entry for biographical

82

details

Aristolochia eriantha

Signed Margaret

Mee

Aristolochia eriantha

Botanica,

Mart. Zucc. Instituto de

Paulo,

S.

(undated)

March

'59

Acquired from Greville Mee, Brazil 1990 Watercolour on paper 640 x 470 83 Sophronites

mm

grandiflora

Signed Margaret

Mee

(undated)

Sophronites grandiflora

Acquired fromTryon Gallery, London 1992 Watercolour on paper 560 x 390

84 Nidularium

mm

seidclii

Signed Margaret

Mee

(undated)

Acquired from Greville Mee, Brazil 1993 Watercolour on paper 640 x 470

mm

KATE NESSLER See main catalogue entry for biographical

85 Clamshell Orchid: Enq/clia

details

cochleata

Signed Nessler (undated)

Acquired from Park Walk Gallery, London 1995 Watercolour on paper 845 x 685

mm

GEORGE OLSON Born Lake

City,

Minnesota,

USA

1936

George Olson has been professor of

art at

The

College of Wooster in Ohio since 1963 and has

had many exhibitions of

his prints

and water-

colours both in the United States and the United

Kingdom

since 1983.

He

for his paintings of native

is

perhaps best

American

86 Willow-leaf Sunflower: Helianthus

salicifolius

Signed Olson (undated)

Acquired from the

artist

1993

Watercolour on paper 590 x 395

87

Common

Milkweed: Asdcpias

mm syriaca

Signed Olson (undated)

Acquired from the

artist

1993

Watercolour on paper 555 x 445

known

prairie plants.

mm

RONALDO Born Sao

LUIS PANGELLA

Paolo, Brazil 1956

Ronaldo Luis Pangella

has been exhibiting his

botanical watercolours in Brazil since 1993 and

work was included

his

in the

Hunt

Institute's

8th

International Exhibition in 1995.

He

combines mountaineering and painting in

a

of orchid studies on the Sugar Loaf

special series

Mountain, RJo de Janeiro. 88 Zygopetalum mackayi Signed Pangella '95 Zygopetalum mackayi

Hook, Pad de Gift

from the

Aciicar,

Rio de Janeiro

1995

artist

Watercolour on paper 700 x 500

mm

JENNY PHILLIPS See main catalogue entry for biographical

details

89 Magnolia

Unsigned and undated Acquired from the

1995

artist

Watercolour on paper 400 x 480

mm

90 Figs and Currants Signed Jenny K. Phillips Sept '95 Gift

from the

1995

artist

Watercolour on paper 110 x 125

mm

KATHY PICKLES Born London 1953

89

Kathy Pickles obtained

degree in the history of

from the University of Sussex

art

the

next seven years

London and lives.

in

a

in

1995.

The

secretarial

to

show her

Hunt

their 8th

in

now

paintings in galleries

Institute

afield

included one of her

International Exhibition in

RHS has awarded her four gold medals

and she has been commissioned

RHS

work

1988 and has exhibited further

since 1991: the

works in

1977 and for

Orkney, Scotland, where she

in

She began

Orkney

did

in

to

Chelsea Plate for 1997.

91 Auricula: Primula

Reinhild Raistrick trained in England

now

lives,

by the

mm

art

where she

RHS.

92 Dactylorhiza incamata and Equisetum

palustre

Signed Reinhild Raistrick 25.5.94

Marsh Orchid (Dactylorhiza

Acquired

1993

an

and has been awarded two gold medals

Meadows, Barton

Watercolour on paper 160 x 147

as

teacher and taught both there and in Tanzania. She has had several exhibitions in England,

Marsh Horsetail (Equisetum

auricula

artist

Born Tanzania 1940

Early

Signed Kathy Pickles '93

Acquired from the

design the

REINHILD RAISTRICK

at

the

incarnata),

palustre)

Mills, Suffolk

RHS Show

1994

Watercolour on paper 360 x 250

233

mm

Water

Born Brighton, England 1936

An

education in

Rees-Davies to

music and drama led Kay

art,

a career in teaching

and lecturing,

from 1956 to 1976. In 1987 she became lance

botanical

courses versity

and has recently taught

artist

on botanical

art at

Ness Gardens (Uni-

of Liverpool). Her paintings have been

Kingdom and

exhibited in the United

Hunt

a free-

in

the

8th International Exhibition in

Institute's

1995, and have been reproduced

as

greeting cards

and calendars. 93 Sulphur Heart Ivy

Signed Kay Rees-Davies Nov. 1993

Acquired

at

the

RHS Show

1993

mm

Watercolour on paper 405 x 330

GRAHAM RUST See main catalogue entry for biographical

details

94 Daffodils and Narcissus Signed Graham Rust 1994

Acquired

at a gala

charity ball 1994

mm

Watercolour on paper 240 x 165

MARGARET

A.

SAUL

See main catalogue entry for biographical

details

95 Dendrobium kingianum Signed Margaret A. Saul 1995

Dendrobium kingianum Commissioned 1995

mm

Coloured pencil on drafting film 230 x 155

SARA ANNE SCHOFIELD Born Twickenham, England 1937 Sara

Anne

Schofield

College of Art, worked exhibitions

in

studied at

Kew

at

Twickenham

and has had many

London and elsewhere

in

the

United Kingdom. She holds two gold medals

from the

RHS

and

is

a

founder

Society of Botanical Artists.

Hunt

member

Her work

is

of the in the

Institute's collection.

96 Poppies, Day

Lilies

Signed Sara

Anne

Acquired

Kew

at

and Crocosmia

Schofield (undated)

Botanic Gardens Auction

—

Conservation International 1993

Watercolour on paper 600 x 430

mm

234

1

102

SIRIOL

SHERLOCK

See main catalogue entry for biographical

details

99 Paphiopedilum lawrenceanum Signed

Siriol

Sherlock (undated)

Acquired from the

artist

1994

Watercolour on paper 700 x 400

100 Banana Passion Flower: Signed

Siriol

mm

Passiflora mollissima

Sherlock (undated)

Acquired from the

RHS Show

1995

Watercolour on paper 470 x 355

mm

103

JENEVORA SEARIGHT

PAMELA STAGG

Born England 1936 Jenevora

Searight

See main catalogue entry for biographical studied

picture restoration in

self-employed and in the

She es

Paris

and

later

101

worked on

centrated

in

on

last

London. She

Bearded Ins 'Going

My Way'

is

ten years has con-

natural history subjects.

travels

Tall

details

Signed Pamela Staggjune 1992

Acquired from Park Walk

Gallery,

Watercolour on paper 650 x 440

London 1993

mm

widely in Brazil where she research-

and sketches

and has done

habitats, animals, birds

and plants

for future

books on

illustrations

102 Five Fiorello Pears Signed Pamela Stagg February 1994

Acquired from Park Walk Gallery, London 1994

bromeliads and macaws.

Watercolour on paper 280 x 510

mm

97 Bombax Signed J. Searight (undated) Eriotheca macrophylla

PENNY STENNING

(Schum.) A. Robyns

Born England 1940

Imbirucu

Penny Stenning has had no formal

Acquired from the

artist

1995

Watercolour on paper 560 x 440

botanical illustration apart from attending short

mm

courses held

the Chelsea Physic Garden,

at

paint seriously

See main catalogue entry for biographical

some

ten years ago.

details

103 Gloxinia

98 Christmas Rose and Holly

Commissioned Illustrated

Signed Stenning (undated)

Sellars '91

Acquired for cover of

235

at

the

SBA, London 1995

Watercolour on paper 285 x 420

London News Christmas 1991

Watercolour on paper 192 x 170

where

she has also exhibited her paintings. She began to

PANDORA SELLARS

Signed Pandora

training in

mm

mm

ANN SWAN Born England 1949

Ann Swan at the

qualified in textile design in the 1960s

Manchester College of Art and Design and

worked

for

many

years in advertising

She began to exhibit her drawings since

shown her work widely

two gold medals from the

awarded

a silver

at

the

industry.

in England.

received

medal

and

1990 and has

in

1

RHS

She has and was

4th World Orchid

Conference. Most of her very detailed drawings

sometimes uses conte pencil

are in pencil, but she

or

to

pastel

showed

a

apply small

areas

superb drawing in the

of colour. She

Hunt

Institute's

8th International Exhibition in 1995.

104 Mangosteen: Garcinia mangostana Signed

Ann Swan,

Acquired from

Garcinia mangostana (undated)

Kew

Gardens Gallery 1994

Conte pencil and pencil on paper 350 x 330

mm 107

KAZUTO TAKAHASHI Born Changchun, China 1951 Japanese

artist

Kazuto Takahashi was educated

the Art

Academy of Musashino and

for the

Showa Rubber Chemical

has

at

MARY TARRAWAY

worked

Born Wimborne, England 1928 since 1985.

colour.

He

He works

Industry Co.

A

degree in botany led Margaret Tarraway to

career as a biology teacher. In

has received a

retirement, she began to

Museum

exhibit her botanical

paintings and has continued to

show her work

in

Tsukuba, Ibaragi prefecture, Japan. the United

105

1991, after her

number of awards and

three of his paintings are in the National ot Science,

a

mainly in pencil and water-

Sow Thistle:

Sonchus oleraceus

Unsigned and undated Acquired from the

artist

Kingdom.

She was included

in the

Hunt

Institute's

8th

International Exhibition in 1995.

1992

Watercolour on paper 490 x 720

106 Elderberries: Sambucus

mm

Humulus

nigra,

and Hops:

lupulus

Signed Mary Tarraway (undated)

Acquired from the

artist

1994

Watercolour on paper 480 x 350

JESSICA

mm

TCHEREPNINE

See main catalogue entry for biographical

107 Crown Imperial: Signed

Jessica

Fritillaria imperialis

Tcherepnine 1990

Acquired from Shepherd's Gallery,

New York

1991

Watercolour on paper 510 x 375

2

36

mm

details

YOKO UCHIJO See main catalogue entry for biographical

details

108 Cyclamen persiaim Signed Yoko Cyclamen persicum Mill (undated)

Acquired from the

1993

artist

Watercolour on paper 400 x 330

109 Japanese Stewartia:

mm

Stewartia pseudo-camellia

Signed Yoko Stewartia pseudo-camellia (undated)

Acquired from the

1994

artist

Watercolour on paper 250 x 350

mm

CAROL WOODIN Born Salamanca, Carol

Woodin

lance

artist

shown

self-taught

Her

since 1990.

both the United

in

Kingdom and

1956

and has been

States

been

and the United

she was included in the

currently painting the plates for a

is

a free-

paintings have

Hunt

8th International Exhibition in 1995.

Institute's

She

is

New York, USA

which

the orchid genus Phragmipedium,

book on will

be

published by Kew.

110 Showy Lady's Slipper: Cypripedium Signed Carol Woodin

Acquired from the

artist

1994

Watercolour on paper 550 x 420

ELEANOR Born

B.

reginae

'92 Cypripedium reginae

mm

WUNDERLICH

New York, USA

1925

Eleanor Wunderlich trained in design and watercolour painting and has been an instructor

New York

the

Botanical Garden since 1984. She has

exhibited widely since 1983 and her

shown

112 at

in the

Hunt

Exhibition in 1995. watercolour technique

Institute's

Her book is

a

'how

to

work was

8th International Botanical illustration

do

it'

TAI-LI

manual.

111 Pink Flowering Dogwood: Cornus

florida

112 Paeouia

var. rubra

Cornus

florida v. rubra, artist

Pink flowering dogwood

delavayi var. lutea

characters in black

Acquired from the

1993

Watercolour on paper 350 x 440

details

Signed with two red chops and three Chinese

Signed Eleanor B. Wunderlich 1993,

Acquired from the

ZHANG

See main catalogue entry for biographical

mm

artist

1994 (painted 1994)

Watercolour on paper 425 x 320

237

mm

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Megarrity, L. 1991.

trees

6 volumes. Ariel Press, London.

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&

rhododendrons (1956);

Modem

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S.B. 1990. Ferns of Queensland.

George, A. S.

PA. Modern

Curtis, W. 1967—78.

(Nautiloidea). Bureau of Flora and Fauna,

Suffolk.

&

shrubs (1958);

London

Phaidon,

Margaret

Beesley,

to field identification.

Cox, PA. 1973. Dwarf rhododendrons. Batsford,

Tlie English apple.

Industries, Brisbane.

London.

a guide

Nelson, Edinburgh.

roses.

by The Philosophical Library NY, (1988).

Andrews,

Janeiro.

Flowers of the Brazilian

Gallery,

little

American edition published

Botanic Gardens, Kew.

Mee, M. 1980.

— 1968.

A

Oxford, in association with the

1988. Margaret Mee's Amazon. Royal

S.

R. 1988.

Sanders,

Mee, Margaret

NY.

Press,

Modern

Appletree Press, Belfast.

cacti.

NY.

—

Golden

Stones, Margaret

Rosanne

Rougetel, H. de 1992.

Sterling Publishing Co., Inc.,

North America

Cox, E.M.H.

Sanders,

Liska, Petr Slaba,

with The National

in association

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Publishers,

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London

Lincoln, Thalia

Rourke, J.

Graham

Rust,

China. Beijing.

a-

Sherwood

Dr. Shirley

Botany

studied

Oxford

University.

at

She

has been involved with

the restoration of the

Orient her book about

gone into

has

it

Express,

and'

several edi-

tions.

Her renowned

collection of contemporary

botanical paintings will be exhibited in Great Britain and the United States. She

is

a

judge

on the Botanical Painting Committee of the London,

Royal

Horticultural

trustee

of the Royal Botanic Gardens, Kew,

and an honorary

Society,

trustee

of the

a

new American

Society for Botanical Artists.

Also Available from the Abbeville Press: 9

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Orchids,

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3 00 Extraordinary Plants: For

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Wildflowers ofAmerica,

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