Dorothy Falcon Sims Platt (1881–1971), a Philadelphia-born artist, belongs to a generation of women whose work helped expand the visibility of female voices in the arts. Her contributions to American botanical illustration endure through watercolors trusted for identification in Wildflowers of America and collotype prints that brought both knowledge and beauty into mid-century homes. Her legacy lives on not only through her work but also through the Garden Club of Philadelphia, which honors her with an award in her name.
Dorothy Falcon Platt and Wildflowers of America
When the first edition of Wildflowers of America was published (circa 1953), it featured a monumental tally of 400 plates depicting native plants—meant to serve as a visual guide for readers and gardeners alike. Of these, 380 were painted by Mary Vaux Walcott, the renowned "Audubon of wildflowers." The remaining 20 plates were by Dorothy Falcon Platt, making her the only other contributing artist and placing her work confidently alongside Walcott’s in quality and prestige.
Platt's illustrations are defined by uncompromising realism—the curvature of stems, the fine hairs on petals, the nuanced color gradations of leaves—all rendered with botanical precision. These were not mere decoration, but identification tools, helping readers recognize flowers in the wild. Among the species she illustrated were:
- Black-eyed Susan (Rudbeckia hirta)
- Rose Mallow (Hibiscus moscheutos)
- Jewelweed (Impatiens capensis)
- Goldenrod (Solidago canadensis)
- Joe-Pye Weed (Eupatorium purpureum)
In total, she contributed 20 plates—five percent of the volume’s total output—a significant share that speaks to her artistic stature.
Goldenrod (Solidago canadensis) and Joe-Pye Weed (Eupatorium purpureum)
Goldenrod’s bright yellow plumes and Joe-Pye Weed’s purple flower clusters were among the native plants Dorothy Falcon Platt illustrated for Wildflowers of America. These blooms remain recognizable today, and in the Pacific Northwest where I now live, goldenrod flourishes along roadsides while tall summer perennials echo the stature of Joe-Pye Weed.
From Field Guides to the Living Room Wall
Following her work in Wildflowers of America, Dorothy Falcon Platt continued creating prints—this time through Triton Press and Catalda Fine Arts—bringing botanical beauty into homes. These collotypes are more than decorative prints. Each one is marked with printed labels identifying the plant and often its geographic origin. This blend of clarity and artistry was intentional: a true marriage of art and education, designed both to delight the eye and teach about the natural world.
Dorothy Falcon Platt’s Catalda Fine Arts collotypes, such as her Bignonia Venusta and Hibiscus, were designed to be both beautiful and instructive—bringing botanical knowledge into the home while serving as striking decorative art.
This approach mirrored how Platt was known in Philadelphia—generous with her knowledge through her involvement in the Garden Club. The traits later celebrated by the Dorothy Falcon Platt Award—horticultural knowledge, artistic insight, and mentorship—are reflected clearly in these prints. They are lessons in botany presented in forms that beautify living rooms, schools, and libraries alike.
Platt’s work captures a mid-century ethos where education and beauty were intertwined and never at odds.
Recognition and Legacy
Platt’s influence extended beyond her art. She played an important role in civic and club initiatives through the Garden Club of Philadelphia. Historical notes reveal that as early as 1932, Dorothy "Doc" Falcon Platt of The Garden Club of Philadelphia and her sister Emeline "Toby" Marian Sims Rosengarten of The Weeders collaborated on urban beautification projects, including the creation of the Magnolia Tribute Garden at Independence Hall National Historical Park.
In 1972, the Garden Club established the Dorothy Falcon Platt Award—presented to members of the Garden Club of America’s Zone V who exemplify Platt’s qualities: deep horticultural knowledge, artistry, and generous sharing of expertise.
Through her artistic work and civic engagement, Platt left behind a legacy rooted in science, beauty, and community service.
The Magnolia Tribute Garden at Independence Hall National Historical Park in Philadelphia, created with the involvement of Dorothy Falcon Platt and her sister Emeline Rosengarten, remains a living testament to their civic vision and love of horticulture.
Continuing the Story Through Her Prints
Today, Dorothy Falcon Platt may not be as widely recognized as Mary Vaux Walcott, but her contributions remain quietly profound. Her Wildflowers of America illustrations served as botanical guides. Her Triton and Catalda prints carried that clarity into living spaces—offering both beauty and education. Her civic efforts and the Garden Club’s award in her honor further cement her legacy in stewardship and mentorship.
At Pink Flamingos, we are privileged to preserve the collection of her mid-century Catalda Fine Arts prints—works that capture the seamless union of scientific precision and decorative artistry. These prints are tangible proof of her unique capacity to bridge science, art, and community.
The original Catalda Fine Arts catalogue featuring Dorothy Falcon Platt’s Tropical Florals series. At Pink Flamingos, we are fortunate to preserve her entire collection from this catalogue in mint condition.
For anyone who loves vintage botanical art or appreciates the fusion of learning and beauty, Dorothy Falcon Platt’s work offers a rare, mid-century glimpse into a culture where education and aesthetics bloomed together.