A Forgotten Flower: Minnie Aumonier, Artist and Poet

June 2, 1865: Minnie Aumonier, English artist and poet, was born.

Minnie was a woman of remarkable wit, passion, and creativity. Her work is a testament to the beauty of nature and the power of the written word.

Minnie was born into a very artistic family. In 1876, her father, William, founded an architectural sculpture firm in London called Aumonier Studios.

Her Uncle James was a painter.

Minnie was the oldest of five siblings. Her brothers were quite accomplished: William was a sculptor and artist, and Stacy was a critically acclaimed short story writer.

When her mother passed away in 1929, newspapers quoted Minnie:

"My mother passed away without knowing of the death last December of my brother, Stacy.

She thought he was still in Switzerland.

We never undeceived her."

Minnie Aumonier's life story has faded into the annals of time, leaving only tantalizing fragments. Despite her remarkable talent and accomplishments, little is known about her beyond her artistic creations. No known photograph exists to capture her likeness. Yet, her legacy lives on in her poetry and illustrations, a testament to a life dedicated to beauty and creativity.

Ironically, one of the best introductions to Minnie Aumonier comes from the English novelist and anti-Mormon activist Winifred Graham.

In her autobiography That Reminds Me (1945), Winifred included an unattributed copy of Minnie's poem An Old World Creed.

I believe in all things beautiful;

The beauty of simple things.

I believe in music where melody is quickly found,

And in Poems that sound like song.

I believe in books that hold no ugly thought

In pictures that rest the eye and soothe the senses.

And in plays that keep the heart young.

I believe in joy and quick laughter,

In sentiment, in love, in reverence.

I believe in all things beautiful.

I believe in God.

Later, Winifred discovered that Minnie wrote the poem, and she wrote a lengthy public apology in Chapter 13 of her second autobiography, Observations: Casual and Intimate (1947).

She wrote,

"I wonder if any of my readers have met Miss M. Aumonier, perhaps not in the flesh but in volumes of inspirational poetry, for there her love of nature glows and burns as if catching the beauty of a sunset of a star.

She is twice blessed because the fairies at her birth gave her a dual talent, making her artist as well as poetess.

Some envious people might say it was hardly fair that pen and brush should be united in this way, but I think it is lovely when the gods endow one who lives to express beauty, with the power of appealing to the eye as well as the ear.

In lyrical expression Miss Aumonier brings to life the sweetness of English gardens, the purity and message of flowers and the joyful bird songs without which no garden is complete.

Then she takes up her brush and paints: Gardens in Sun and Shade (this is the title of one of her books in its sixteenth impression).

Another volume displays woodland scenes, a perky, bright-eyed nightingale on a bough, white doves on a green lawn, and sketches of delightful houses.

Her own attractive residence in Hampstead Garden Suburb adorns the cover of her book of verse entitled, The Poetry of Gardens. Every line reveals a sensitive and receptive nature, one that could be easily hurt by any unkind action.

Now I am glad to have an opportunity of expressing my regret in print for the unfortunate mistake.

Miss M. Aumonier has kindly forgiven me and I sincerely hope she may write many more [poems] for our edification."

Almost 80 years later, Winifred remains correct; it is through Minnie's work that we get to know her. We glimpse a vibrant and sensitive soul deeply connected to the natural world.

Minnie's poetry and art create a desire in her readers to reach back through the years and learn more about this gifted woman who left such a lasting impression. Today's readers continue to search for any scrap of information about Minnie Aumonier.

So, what does history tell us about Minnie?

In 1886, a newspaper reported that Minnie was active as an art student at the West London School of Art.

Five years later, she was working as a costume designer.

Her creations were likely as exquisite as her poetry. And as with her writing, Minnie loved to incorporate flowers.

One writer referred to Minnie's marvelously botanically-inspired designs in her studio.

He wrote,

[Women] may design chintzes and wallpapers for the manufacturers; paint on china in a porcelain manufactory; paint. tapestries for hanging, portières, and screens, and also paint on silk dresses.

A softer and more natural effect may be obtained with the brush than in embroidery, which is only artistic if used in conventional subjects.

I have seen, in Miss Aumonier's studio, a dress of pale blue-grey silk with a long double spray of Banksia roses in watercolour flung across the skirt.

The effect surpassed in delicacy that of any embroidery I ever saw.

Minnie's artistry extended beyond her written work. Her home and garden on Temple Fortune-lane reflected her love for nature, and she included drawings of both in her work. Her floral illustrations and landscapes brought many garden scenes to life with vibrant colors and meticulous detail.

Minnie spent some time in Rome teaching art. Minnie is mentioned in an 1883 article in The Magazine of Art:

Similar in kind is the art of Miss Aumonier, who is already known as one of our best flower-painters by her exhibits at the Dudley, the Grosvenor, and the British Artists.

As a designer of floral panels she is not to be surpassed.

A tapestry panel now in her studio is a charming and original mingling of ideal with decorative art. The centre, "Spring," is a graceful Watteau-like subject set in floral and ornamental serolls. It forms one of a pro- jected series of the Four Seasons.

Still more beautiful is a "piano back," designed to make that ungainly instrument pleasing to the eye even when placed in the middle of the room.

It is a lovely study of olive, browns, and yellows, painted on old gold satin. It represents a lake with reeds, rushes, yellow iris, and water-lilies; a long diminishing flight of swallows skims across the waters in chase of a green-blue dragon-fly.

Miss Aumonier is also very successful in her designs for artistic chintzes and wall-papers, a branch of decorative art in which some advanced students in our art-schools might achieve much. Her studio is in the Ladies' Art College, 38, Via degli Artisti, Rome, where Miss Mayor is making a successful effort to found a school of decorative art.

No doubt Minnie's connections helped her display some of her art in Rome.

An 1882 edition of The Artist reported, 

In the Pascucci gallery-Via Nazionale, is now open an exhibition of ladies' work.

Though painting has the pre-eminence, specimens of all the feminine arts, of needlework, illumination, and painting on china, are also on view. The principal contributors are English and German ladies, for the most part students of art in Rome or Florence.

Miss Aumonier, sister to the well known artist, exhibits a copy of a fresco in the Museo Tiberino, some charming decorative panels, flowers on gold grounds, and designs for wall papers.

Miss Aumonier is particularly happy in flower painting, and shows great delicacy and feeling in her colouring.

An 1882 edition of the Building News shared Minnie's work with floral panels:

The water-colours form, as usual, a small but select display.

Among the drawings... Miss Aumonier's two skilfully-painted decorative panels, representing hollyhocks and sunflower.

An 1887 edition of The Art Journal shared a rare illustration of Minnie's botanically inspired wallpaper for Woollams & Co.

And, there's a charming obscure reference to a young Minnie Aumonier in an article titled Papermaker Ladies at Play in a 1919 edition of The Stationery World:

On the occasion of a final competition for the National News Shield, an interesting hockey match was recently played between the ladies of the staffs of Messrs. Derry & Tom's (the" Argyle" team) and Messrs. Alex. Cowan and Sons, the well - known paper - makers and stationers (the " Mentor" team) at Battersea Park.

Thanks to the defence of Misses Flynn, Crump, and Wells the " Argyle" centre-forward had failed to score when half time had arrived. After change of ends the "Argyle " returned to the attack, but the " Mentor" half backs were now in their form, Miss Smith at right half and Miss Aumonier stopping their fast right wing, checked them.

Time arrived with no score, and an extension of time being played, Miss Wells, passing deftly to Miss Doyle, enabled the latter to score close in at a second attempt. Subsequently the "Mentor" attacked with crisp goalkeeper prevented any further score.

By the 1939 Census, Minnie lists her occupation as Artist & Writer.

As a writer, Minnie turned her attention to poetry, publishing several mini volumes celebrating the natural world.

Her little booklets of poetry include Gardens in Sun and Shade(1920), The Poetry of Gardens (1928), and The Garden of the Nightingale (1932).

A 1922 review of Gardens in Sun and Shade appeared in The Bookseller.

A booklet has just been published, "Gardens in Sun and Shade," in which both poems and pictures are by M. Aumonier.

The ten sets of verses are really poems, and the five reproductions of water-colour drawings are entirely beautiful and sympathetic corners of typical garden scenes, including Wordsworth's Garden at Rydal.

The Gardener's Chronicle's review revealed that Minnie was an active member of the Horticulture Society.

Gardens in Sun and Shade." This is the title of an attractive booklet issued by Miss Minnie Aumonier, who shows paintings of garden subjects from time to time at the Royal Horticultural Society's meetings.

There are ten short poems, interspersed with some pretty floral pictures reproduced from watercolour drawings by the authoress.

The table of contents for Minnie's poetry in Gardens in Sun and Shade includes:

- 'There is Healing' - p.6

- 'A Greeting' - p.8

- 'The Garden at Dawn' - p.10

- 'The Lavender Garden' - p.11

- 'Memories' - p.12

- 'Who Could Stay Lamenting?' - p.14

- 'Take All Thy Sorrows' - p. 15

- 'The Forget-Me-Not' - p.16

- 'How Glad am I' - p.18

- 'My Garden Lies Asleep' - p. 19

This booklet was likely a compilation of earlier efforts. Three years earlier, Minnie displayed a group of her watercolors under the general heading of Gardens in Sun and Shade, suitable for gift cards or calendars, at the Englishwoman Exhibition in November 1919.

In 1924, The Musical Observer revealed that Minnie's Take All Thy Sorrows was used for the lyrics of a song by Guy d'Hardelot.

Minnie's booklet, The Poetry of Gardens, includes the following poems:

- 'The Garden is Full of Music' - p.6

- 'The Awakening' - p.8-9

- 'To-day' - p.10

- 'Singing' - p.12

- 'My Secret'- p.13

- 'Climbing Roses' - p.14

- 'In the Garden' - p.16

- 'A Sunday in Autumn' - p.17

- 'Sun and Shade' - p.18

- 'I Dreamed of Heaven' - p.20

- 'The Passing of the Flowers' - p.22-23

- 'Moonshine' - p.24

A review of The Poetry of Gardens was featured in the Poetry Review in 1969:

A charming series of water-colour drawings of the gardens of poets and other distinguished men, by Miss Mi. Aumonier, includes several of Wordsworth's home, Rydal Mount.

The artist has chosen perhaps the best possible time of year, the early summer, when the Westmoreland gardens, beautiful at all times, reach their gorgeous zenith in a blaze of rhododendron bloom.

We like to think of the poet in his little strip of fell-side at Dove Cottage, ' the loveliest spot that man on earth has found," and in daintily depicting these poets' gardens Miss Aumonier has found a happy subject for her talent.

Minnie Aumonier's love for gardens was evident in her work. Her poems captured the delicate beauty of flowers, the soothing sounds of birdsong, and the tranquility of green spaces. 

She wrote in one of her most popular verses,

"There is always music amongst the trees in the garden, but our hearts must be very quiet to hear it."

Another verse revealed her spiritual connection to nature.

"I think of heaven as a garden where I shall find again those dear ones who have made my world."

Minnie's more romantic and sentimental poetry still finds its way onto garden art and signage.

"When the world wearies and society ceases to satisfy, there is always the garden."

The Victorian era saw a growing interest in gardening, botany, and natural history. Minnie's poetry and illustrations captured this fascination, offering readers and viewers a glimpse into the beauty of the natural world. Her booklets were reprinted regularly, and in 1925, she even published a calendar featuring her poetry and garden-themed designs.

The Poetry Review of 1925 reported,

Miss Minnie Aumonier, author of the booklet Gardens in Sun and Shade-now in its fifth edition-has published The Poetry of Gardens Calendar for 1926. Prettily designed, with appropriate weekly quotations by Miss Aumonier, this calendar will please imaginative lovers of gardens, in which, as in poetry, they find solace and healing.

Minnie's poetry and illustrations were not merely a reflection of her taste; they were also a response to the cultural and social climate of her time. In an era when women were often limited to domestic roles, Minnie's pursuit of artistic expression was a bold statement.

One humorous article in Punch from November 4, 1882, poked fun at the un-Christmassy seasonality of Minnie's art.

"Autumn leaves and Christmas Trees are approaching. In fact, Father Christmas has already left his cards at our door, and gone away to call again, we suppose, later on.

Such cards, too!

Most of them are quite too-too beautiful for anything except a glass case and admiration and, at the same time, about as appropriate to Christmas as strawberries and iced cream.

....There are four designs by Miss Aumonier, beautifully executed, but, being Summer Landscapes, how can they have the face to pass themselves off as Christmas Cards, unless our seasons are to be utterly changed?

For example, " Wishing you a Merry Christmas" is written under a July scene."

Minnie Aumonier dedicated her final booklet, The Garden of the Nightingale, to British cellist Beatrice Harrison and her sisters. In 1935, The Poetry Review praised the booklet as a "charming garden booklet, delightfully and delicately written and illustrated."

My Garden wrote,

The Garden of the Nightingale, by Mile. Aumônier (O. Anacker, Ltd. 1s. 6d. net), is a little booklet of verse written and illustrated in the Garden of Beatrice Harrison, which will be appreciated by those interested in Miss Aumonier's work.

Beatrice, known as "The Lady of the Nightingales," gained fame after the BBC recorded her outdoor cello performance accompanied by a nightingale. Minnie Aumonier was captivated by this extraordinary duet.

Beatrice's discovery of her avian accompanist was accidental. While practicing in her garden, she noticed a nightingale singing along. Recalling the moment, she described it as a miracle:

"After playing for some time, I stopped. Suddenly, a glorious note echoed in the notes of the cello. I then trilled up and down the instrument, up to the top and down again...

The voice of the bird followed me."

Inspired by Beatrice's story, Minnie wrote The Garden of the Nightingale.

However, in 2022, the BBC revealed a shocking truth: the original recording was a hoax. The recording crew had inadvertently scared away the birds, forcing them to resort to a backup plan: a bird impressionist suspected to be Maude Gould, a professional whistler known as Madame Saberon. Maude's nightingale imitation was so convincing that it fooled both listeners and experts.

While Minnie Aumonier's name may not be as familiar as her contemporaries, her contributions to the arts are undeniably significant. Her poetry and illustrations continue to captivate and inspire, reminding us of the enduring beauty of nature and the boundless power of creativity.

As we celebrate the birth of Minnie Aumonier, let us remember her as a woman deeply inspired by gardens and driven by an unwavering passion for her craft. Though often overlooked, her work is a valuable addition to the rich tapestry of botanical history, art, and literature.

To honor her memory, let's conclude with Minnie's poignant poem for the sundial from her Gardens in Sun and Shade booklet.

When the sun sinks,
Of the dial none thinks.

This marker marks by its shadow
That our days pass away like a shadow.

Time will hurry away the day.
Whilst thou art looking the hour is flying.

I smite no clanging bell
And yet each hour I tell
Of every day.

My noiseless shadow cries
In speech heard by the wise
Against delay.

Mourn not the past,
Today is with thee still
To make — or mar— the future
At thy will.