Ostin vuosia sitten Mary Griersonin suunnitteleman Arabian World Wide fund for Nature sarjaa kaksi lautasta tässä kuvat lautasista.
Her parents came from Dumfries, but she, the youngest of three children, was born in Bangor, North Wales. She went to the Bangor County School for Girls, where she later self-deprecatingly claimed that apart from drawing and botany she was a hopeless dunce, and in 1930 was awarded the diploma of the Royal Drawing Society in London: this was the first confirmation of her talent.
In 1966 she received her first gold medal for flower painting from the Royal Horticultural Society, and the following year she was invited to contribute designs for two postage stamps: a primrose for the 9d and a violet for the 1s.9d. In 1970 the Israeli Nature Authority invited her to paint the flora of the Negev and Sinai deserts.
Retirement from Kew in 1972 allowed her to accept more private commissions, including a series of paintings of endangered plants for the World Wild Life Fund archives, and a major series of tulip drawings for the Van Tubergen Nurseries at Haarlem which were eventually purchased by Kew. Spink of St. James's regularly exhibited and sold her paintings. Two of her exhibitions on the flora of hedgerows and coasts involved her in driving to remote places where specimens could be found, then hurrying back to her flat in Richmond to paint them before they drooped.
She may have inherited her talent from her mother, who painted in oils, but she herself preferred the delicacy and freshness of watercolours. Her pen and ink dissections in Hooker's Icones Plantarum reveal not only her skill in drawing but also her botanical expertise which enabled her to recreate plants from dried specimens: some of her dissections would include a pen or pencil image of the plant in its entirety, and her compositions always reflect an instinctive sense of design.
The landscapes she painted on small ivory tablets revealed the deftness of a miniaturist; she also made embroidered pictures. Her extraordinary stamina allowed her to work a long day – often very swiftly before a newly-picked plant died – with only brief coffee breaks. Left-handed, she relished the irony of the foreign admirer who asked permission to kiss the hand that produced such beautiful work, and took her right. She hadn't the heart to tell him it should have been the other. She inspired many other flower painters, and died months short of her 100th birthday.
Source: Ray Desmond