Where to See Marianne North

The Marianne North Gallery at the Royal Botanic Gardens, Kew, is the main repository of her artistic output. Opened in 1882^[5], the gallery was purpose-built to house North's collection of 832 paintings. North herself oversaw the arrangement of the pictures, creating a dense, salon-style hang that reflected her travels and botanical interests. Beyond Kew, examples of North's work can be found in other institutions, though often in smaller numbers. These include the National Portrait Gallery, which holds a portrait of North by Henrietta Ward, and the Royal Society, which possesses a portrait by North of her father, John North. Some botanical gardens and herbaria may also hold individual paintings or studies by North, although these are less commonly on public display. Researchers should consult catalogues of botanical art collections for further locations. The Kew gallery remains the most comprehensive and accessible place to view North's artistic achievement.

Between 1871^[5] and 1885, Marianne North travelled to fifteen countries in fourteen years. She almost always travelled alone.

Marianne North's works can be seen at Marianne North Gallery, Royal Botanic Gardens, Kew, Library, Art & Archives, British^[5] Library, and 2 other museums worldwide.

Marianne North, a painter and naturalist, was photographed by Julia Margaret Cameron in Ceylon (now Sri Lanka) in January 1877^[5]. Cameron, active as a photographer from 1864 to 1879, produced various prints, including portraits and allegorical scenes. She sold these through dealers such as P. & D. Colnaghi and William Spooner. Colnaghi, a leading print seller, often marked prints with a gold outline around the image. Spooner used a blind stamp reading "Registered Photograph". Cameron also diversified her sales by using additional vendors; in 1865, the royal household purchased five of her photographs from John Mitchell, a bookseller. To increase the value of her portraits, Cameron sometimes had notable sitters, such as Alfred Tennyson and John Herschel, sign the mounts. She also had signatures lithographed onto the mounts of portraits of Tennyson, George Frederic Watts, and others. In 1875, Cameron contracted the Autotype Company to produce carbon prints of about seventy of her images. Carbon prints were valued for their permanence and quality. However, due to a 40 percent commission charged by the Autotype Company, this venture was not financially successful for Cameron.

Marianne North (1830-1890^[5]) was an English botanical artist. She travelled the world, painting plants in situ. Charles Darwin encouraged her to visit Australia. North's importance lies in her dedication to documenting global flora. She created a gallery at Kew Gardens^[4], opened in 1882^[5], to house her work. Her paintings offer a record of plant life from various regions during the late 19th century. North's work also intersects with the history of botanical gardens and their role within the British^[5] Empire. These gardens served as sites for acclimatising plants for economic and medicinal use. North's paintings, along with other records, contribute to an understanding of changing environments. North met Ellis Rowan in Australia in 1880, and Rowan credited North with galvanising her life's work. North's paintings of Eucalyptus macrocarpa were significant because the botanist Ferdinand von Mueller had named it but never seen it in flower.

Marianne North considered marriage a terrible experiment. She never married, as her inheritance depended on her staying single.

Marianne North was a self-taught artist who primarily worked in oils on paper or board. Her method was direct and practical, suiting the demands of travel and on-site work. She prioritised accurate representation and scientific observation over stylistic innovation. North prepared her own materials. She primed paper and boards with a white ground, creating a smooth surface suitable for detailed work. She also built a lightweight, portable painting box to carry her supplies. This allowed her to work efficiently in diverse environments. North's approach was to paint directly from nature, capturing botanical details and the overall atmosphere of her surroundings. She aimed for botanical accuracy in her depictions of plants, which reflects her close association with scientific circles. Her direct method and careful preparation allowed her to create a substantial body of work, documenting plant life from many regions of the world. She left these paintings to the Royal Botanic Gardens, Kew.

Marianne North's influence can be seen in the work of other botanical artists and travellers. North's friend Annie Brassey, also from Hastings, shared her interest in worldwide travel and observation. Brassey, like North, took advantage of her social position to meet botanists and collectors. Brassey admired North's collection of drawings at Kew. Both women were received at the White House by President Ulysses S. Grant. North's work also galvanised the Australian artist Ellis Rowan. Rowan credited North with inspiring her to travel the world in search of flowers. In 1880^[5], Rowan greeted North upon her arrival in Albany, Western Australia, and hosted her in a cottage. Rowan admired North's genius and the speed with which she painted. North, in turn, described Rowan as a charming, fairy-like woman and admired her work. North's donation of her life's work to Kew Gardens^[4], where it opened in 1882, ensured her legacy as a botanical artist.