Currently on display at New-York Historical is the final installment of the three-year series featuring all of John James Audubon’s original watercolor models for The Birds of America. Because of their fragility, this is your last chance to catch these stunning works. So don’t miss out—come see Audubon’s Aviary: The Final Flight and perch with flock (through May 10).
A portrait of Maria Martin Bachman. Courtesy of The Charleston Museum, Charleston, South Carolina
Considered America’s first great watercolorist, John James Audubon pioneered innovative artistic techniques and for the first time ever rendered his feathered subjects life-size. He was a French immigrant (born in present-day Haiti) who became an American citizen in 1812 and responded to major developments of his time: among them the 1803 Louisiana Purchase and Manifest Destiny. The push westward opened up new frontiers, and with them, new flocks of avian species for him to catalogue and master.
Martin’s floral flourishes compliment Audubon’s exquisite hummingbirds. John James Audubon [with Maria Martin], Rufous Hummingbird (Selasphorus rufus), Study for Havell pl. 379, 1836–37 Watercolor, graphite, black ink, and gouache with touches of pastel and selective glazing on paper, laid on card. Purchased for the Society by public subscription from Mrs. John J. Audubon, 1863.17.379
But Audubon’s ambitious project to paint the birds of America required assistance. In the Old Master tradition, his assistants worked anonymously under his name, including the self-taught artist, Maria Martin Bachman. She was the sister-in-law, and later the second wife of John Bachman, an impassioned naturalist, a Lutheran pastor, and life-long friend of Audubon. Her personal letters paint the picture of a well-educated, literary, and artistically talented woman. Upon his first visit to the Bachman’s Charleston abode in 1831, Audubon noticed her gift with watercolors. He began supplying her with paints, teaching her new techniques, and encouraging the gifts of “our little sweetheart.” Over the years, her abilities in painting exquisite flowers soared. She contributed to the watercolor models for Audubon’s most famous project The Birds of America. It is thought that she collaborated with him on at least 30 watercolors (he credited her with nine), embellishing them with both flowers and insects.
The Bachmans’ house was a whimsical place. Its gardens boasted splendid varieties of flora.These wild shrubs were all that remained at the turn of the 20th century. It was here, in John’s study, where Audubon painted his watercolors for “The Birds of America.” Bachmans’ house on Rutledge Avenue, Courtesy of St. John’s Lutheran Church, Charleston, South Carolina.
Because their collaborations were virtually seamless, with Audubon designing the composition, it is often very difficult to know where Audubon’s hand ended and Martin’s began. In her lifetime, Martin became South Carolina’s only recognized female artist. Unfortunately, she has not been studied outside of her association with her husband and Audubon, but luckily for us, her gift has been immortalized through the watercolors she painted with Audubon.
![Martin’s moths create interest and add movement to the composition, bringing Audubon’s birds to life. John James Audubon [with Maria Martin and John Woodhouse Audubon], Say’s Phoebe (Sayornis saya), Western Kingbird (Tyrannus verticalis), and Scissor-tailed Flycatcher (Tyrannus forficatus), Study for Havell pl. 359, 1836 –37 Watercolor, graphite, pastel, gouache, and black ink with scratching out on paper, laid on card. Purchased for the Society by public subscription from Mrs. John J. Audubon, ](http://behindthescenes.nyhistory.org/wp-content/uploads/2015/04/186317359SaysPhoebeEtcOE.jpg)
Martin’s moths create interest and add movement to the composition, bringing Audubon’s birds to life.
John James Audubon [with Maria Martin and John Woodhouse Audubon], Say’s Phoebe (Sayornis saya), Western Kingbird (Tyrannus verticalis), and Scissor-tailed Flycatcher (Tyrannus forficatus), Study for Havell pl. 359, 1836 –37 Watercolor, graphite, pastel, gouache, and black ink with scratching out on paper, laid on card. Purchased for the Society by public subscription from Mrs. John J. Audubon, 1863.17.359
![Bachman’s Warbler, featured in this Audubon-Martin collaboration, is now extinct. In this work (inscribed by her), Martin’s flora highlights the bird’s ability to camouflage itself. Can you spot it amidst the leaves? John James Audubon [with Maria Martin], Bachman’s Warbler (Vermivora bachmanii), Study for Havell pl. 395 (plant) Watercolor, graphite, gouache, with touches of black ink and pastel and selective glazing on paper, laid on card. Purchased for the Society by public subscription from Mrs. John J. Audubon, 1863.18.12 ](http://behindthescenes.nyhistory.org/wp-content/uploads/2015/04/186318012BachmansWarblerOE.jpg)
Bachman’s Warbler, featured in this Audubon-Martin collaboration, is now extinct. In this work (inscribed by her), Martin’s flora highlights the bird’s ability to camouflage itself. Can you spot it amidst the leaves?
John James Audubon [with Maria Martin], Bachman’s Warbler (Vermivora bachmanii), Study for Havell pl. 395 (plant) Watercolor, graphite, gouache, with touches of black ink and pastel and selective glazing on paper, laid on card. Purchased for the Society by public subscription from Mrs. John J. Audubon, 1863.18.12
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![![Martin’s moths create interest and add movement to the composition, bringing Audubon’s birds to life. John James Audubon [with Maria Martin and John Woodhouse Audubon], Say’s Phoebe (Sayornis saya), Western Kingbird (Tyrannus verticalis), and Scissor-tailed Flycatcher (Tyrannus forficatus), Study for Havell pl. 359, 1836 –37 Watercolor, graphite, pastel, gouache, and black ink with scratching out on paper, laid on card. Purchased for the Society by public subscription from Mrs. John J. Audubon,](http://behindthescenes.nyhistory.org/wp-content/uploads/2015/04/1863_17_359_SaysPhoebeEtc_OE.jpg){kind=link}
![![Bachman’s Warbler, featured in this Audubon-Martin collaboration, is now extinct. In this work (inscribed by her), Martin’s flora highlights the bird’s ability to camouflage itself. Can you spot it amidst the leaves? John James Audubon [with Maria Martin], Bachman’s Warbler (Vermivora bachmanii), Study for Havell pl. 395 (plant) Watercolor, graphite, gouache, with touches of black ink and pastel and selective glazing on paper, laid on card. Purchased for the Society by public subscription from Mrs. John J. Audubon, 1863.18.12](http://behindthescenes.nyhistory.org/wp-content/uploads/2015/04/1863_18_012_BachmansWarbler_OE.jpg){kind=link}