CHASE, ADELAIDE COLE. Member of Art Students' Association. Born in Boston. Daughter of J. Foxcroft Cole. Studied at the School of the Museum of Fine Arts, under Tarbell, and also under Jean Paul Laurens and Carolus Duran in Paris; and with Vinton in Boston.

Mrs. Chase has painted portraits entirely, most of which are in or near Boston; her artistic reputation among painters of her own specialty is excellent, and her portraits are interesting aside from the persons represented, when considered purely as works of art.



A portrait called a "Woman with a Muff," exhibited recently at the exhibition of the Society of American Artists, in New York, was much admired. At the 1904 exhibition of the Philadelphia Academy Mrs. Chase exhibited a portrait of children, Constance and Gordon Worcester, of which Arthur Hoeber writes: "She has painted them easily, with deftness and feeling, and apparently caught their character and the delicacy of infancy."



CHAUCHET, CHARLOTTE. Honorable mention at the Salon, 1901; third-class medal, 1902. Member of the Societe des Artistes Francais and of l'Union des femmes peintres et sculpteurs. Born at Charleville, Ardennes, in 1878. Pupil of Gabriel Thurner, Benjamin-Constant, Jean Paul Laurens, and Victor Marec. Her principal works are "Maree"—Fish—1899, purchased for the lottery of the International Exposition at Lille; "Breton Interior," purchased by the Society of the Friends of the Arts, at Nantes; "Mother Closmadenc Dressing Fish," in the Museum of Brest; "Interior of a Kitchen at Mont," purchased by the Government; "Portrait of my Grandmother," which obtained honorable mention; "At the Corner of the Fire," "A Little Girl in the Open Air," medal of third class.

The works of Mlle. Chauchet have been much praised. The Petit Moniteur, June, 1899, says: "Mlle. Chauchet, a very young girl, in her picture of a 'Breton Interior' shows a vigor and decision very rare in a woman." Of the "Maree," the Depeche de Brest says: "On a sombre background, in artistic disorder, thrown pell-mell on the ground, are baskets and a shining copper kettle, with a mass of fish of all sorts, of varied forms, and changing colors. All well painted. Such is the picture by Mlle. Chauchet."

In the Courrier de l'Est we read: "Mlle. Chauchet, taking her grandmother for her model, has painted one of the best portraits of the Salon. The hands, deformed by disease and age, are especially effective; the delicate tone of the hair in contrast with the lace of the cap makes an attractive variation in white."

In the Union Republicaine de la Marne, H. Bernard writes: "'Le retour des champs' is a picture of the plain of Berry at evening. We see the back of a peasant, nude above the blue linen pantaloons, with the feet in wooden sabots. He is holding his tired, heavy cow by the tether. The setting sun lights up his powerful bronzed back, his prominent shoulders, and the hindquarters of the cow. It is all unusually strong; the drawing is firm and very bold in the foreshortening of the animal. The effect of the whole is a little sad; the sobriety of the execution emphasizes this effect, and, above all, there is in it no suggestion of the feminine. I have already noticed this quality of almost brutal sincerity, of picturesque realism, in the works of Mlle. Chauchet who successfully follows her methods."

Chaussee, Mlle. Cecile de.

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CHERON, ELIZABETH SOPHIE. Born in Paris in 1648. Her father was an artist, and under his instruction Elizabeth attained such perfection in miniature and enamel painting that her works were praised by the most distinguished artists. In 1674 Charles le Brun proposed her name and she was elected to the Academy.

Her exquisite taste in the arrangement of her subjects, the grace of her draperies, and, above all, the refinement and spirituality of her pictures, were the characteristics on which her fame was based.

Her life outside her art was interesting. Her father was a rigid Calvinist, and endeavored to influence his daughter to adopt his religious belief; but her mother, who was a fervent Roman Catholic, persuaded Elizabeth to pass a year in a convent, during which time she ardently embraced the faith of her mother. She was an affectionate daughter to both her parents and devoted her earnings to her brother Louis, who made his studies in Italy.

In her youth Elizabeth Cheron seemed insensible to the attractions of the brilliant men in her social circle, and was indifferent to the offers of marriage which she received; but when sixty years old, to the surprise of her friends, she married Monsieur Le Hay, a gentleman of her own age. One of her biographers, leaving nothing to the imagination, assures us that "substantial esteem and respect were the foundations of their matrimonial happiness, rather than any pretence of romantic sentiment."

Mlle. Cheron's narrative verse was much admired and her spiritual poetry was thought to resemble that of J. B. Rousseau. In 1699 she was elected to the Accademia dei Ricovrati of Padua, where she was known as Erato. The honors bestowed on her did not lessen the modesty of her bearing. She was simple in dress, courteous in her intercourse with her inferiors, and to the needy a helpful friend.

She died when sixty-three and was buried in the church of St. Sulpice. I translate the lines written by the Abbe Bosquillon and placed beneath her portrait: "The unusual possession of two exquisite talents will render Cheron an ornament to France for all time. Nothing save the grace of her brush could equal the excellencies of her pen."

Pictures by this artist are seen in various collections in France, but the larger number of her works were portraits which are in the families of her subjects.



CHERRY, EMMA RICHARDSON. Gold medal from Western Art Association in 1891. Member of above association and of the Denver Art Club. Born at Aurora, Illinois, 1859. Pupil of Julian and Delecluse Academies in Paris, also of Merson, and of the Art Students' League in New York.

Mrs. Cherry is a portrait painter, and in 1903 was much occupied in this art in Chicago and vicinity. Among her sitters were Mr. Orrington Lunt, the donor of the Library of the Northwestern University, and Bishop Foster, a former president of the same university; these are to be placed in the library. A portrait by Mrs. Cherry of a former president of the American Society of Civil Engineers, Mr. O. Chanute, is to be placed in the club rooms of the society in New York. It has been done at the request of the society.

An exhibition of ten portraits by this artist was held in Chicago in 1903, and was favorably noticed. Mrs. Cherry resides in Houston, Texas.



CLEMENT, ETHEL. This artist has received several awards from California State fair exhibits, and her pastel portrait of her mother was hung on the line at the Salon of 1898. Member of San Francisco Art Association and of the Sketch Club of that city. Born in San Francisco in 1874. Her studies began in her native city with drawing from the antique and from life under Fred Yates. At the Cowles Art School, Boston, and the Art Students' League, New York, she spent three winters, and at the Julian Academy, Paris, three other winters, drawing from life and painting in oils under the teaching of Jules Lefebvre and Robert-Fleury, supplementing these studies by that of landscape in oils under George Laugee in Picardie.

Her portraits, figure subjects, and landscapes are numerous, and are principally in private collections, a large proportion being in San Francisco. Her recent work has been landscape painting in New England. In 1903 she exhibited a number of pictures in Boston which attracted favorable attention.



COHEN, KATHERINE M. Honorary member of the American Art Association, Paris, and of the New Century Club, Philadelphia. Born in Philadelphia, 1859. Pupil of School of Design, Pennsylvania Academy of Fine Arts, and of St. Gaudens at Art Students' League; also six years in Paris schools.

This artist executed a portrait of General Beaver for the Smith Memorial in Fairmount Park. She has made many portraits in busts and bas-reliefs, as well as imaginary subjects and decorative works. "The Israelite" is a life-size statue and an excellent work.



COLLAERT, MARIE. Born in Brussels, 1842. Is called the Flemish Rosa Bonheur and the Muse of Belgian landscape. Her pictures of country life are most attractive. Her powerful handling of her brush is modified by a tender, feminine sentiment.

I quote from the "History of Modern Painters": "In Marie Collaert's pictures may be found quiet nooks beneath clear sky-green stretches of grass where the cows are at pasture in idyllic peace. Here is to be found the cheery freshness of country life."



COMAN, CHARLOTTE B. Bronze medal, California Mid-Winter Exposition, 1894. Member of New York Water-Color Club. Born in Waterville, N. Y. Pupil of J. R. Brevoort in America, of Harry Thompson and Emile Vernier in Paris. This artist has painted landscapes, and sent to the Philadelphia Exposition in 1876 "A French Village"; to the Paris Exposition, 1878, "Near Fontainebleau." In 1877 and 1878 she exhibited in Boston, "On the Borders of the Marne" and "Peasant House in Normandy."

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COMERRE-PATON, MME. JACQUELINE. Honorable mention, 1881; medal at Versailles; officer of the Academy. Born at Paris, 1859. Pupil of Cabanel. Her principal works are: "Peau d'Ane, Hollandaise," in the Museum of Lille; "Song of the Wood," Museum of Morlaix; "Mignon," portrait of Mlle. Ugalde; the "Haymaker," etc.



COOKESLEY, MARGARET MURRAY. Decorated by the Sultan of Turkey with the Order of the Chefakat, and with the Medaille des Beaux Arts, also a Turkish honor. Medal for the "Lion Tamers in the Time of Nero." Member of the Empress Club. Born in Dorsetshire. Studied in Brussels under Leroy and Gallais, and spent a year at South Kensington in the study of anatomy. Mrs. Cookesley has lived in Newfoundland and in San Francisco. A visit to Constantinople brought her a commission to paint a portrait of the son of the Sultan. No sittings were accorded her, the Sultan thinking a photograph sufficient for the artist to work from. Fortunately Mrs. Cookesley was able to make a sketch of her subject while following the royal carriage in which he was riding. The portrait proved so satisfactory to the Sultan that he not only decorated the artist, but invited her to make portraits of some of his wives, for which Mrs. Cookesley had not time. Her pictures of Oriental subjects have been successful. Among these are: "An Arab Cafe in the Slums of Cairo," much noticed in the Academy Exhibition of 1895; "Noon at Ramazan," "The Snake-Charmer," "Umbrellas to Mend—Damascus," and a group of the "Soudanese Friends of Gordon." Her "Priestess of Isis" is owned in Cairo.

Among her pictures of Western subjects are "The Puritan's Daughter," "Deliver Us from Evil," "The Gambler's Wife." "Widowed" and "Miss Calhoun as Salome" were purchased by Maclean, of the Haymarket Theatre; "Death of the First-Born" is owned in Russia; and "Portrait of Ellen Terry as Imogen" is in a private collection.

"Lion Tamers in the Time of Nero" is one of her important pictures of animals, of which she has made many sketches.



COOPER, EMMA LAMPERT. Awarded medal at World's Columbian Exposition, 1893; bronze medal, Atlanta Exposition, 1895. Member of Water-Color Club and Woman's Art Club, New York; Water-Color Club and Plastic Club, Philadelphia; Woman's Art Association, Canada; Women's International Art Club, London.

Born in Nunda, N. Y. Studied under Agnes D. Abbatt at Cooper Union and at the Art Students' League, New York; in Paris under Harry Thompson and at Delecluse and Colarossi Academies.



Mrs. Cooper's work is principally in water-colors. After several years abroad, in the spring of 1903 she exhibited twenty-two pictures, principally of Dutch interiors, with some sketches in English towns, which last, being more unusual, were thought her best work. Her picture, "Mother Claudius," is in the collection of Walter J. Peck, New York; "High Noon at Cape Ann" is owned by W. B. Lockwood, New York; and a "Holland Interior" by Dr. Gessler, Philadelphia. Of her recent exhibition a critic writes: "The pictures are notable for their careful attention to detail of drawing. Architectural features of the rich old Gothic churches are faithfully indicated instead of blurred, and the treatment is almost devotional in tone, so sympathetic is the quality of the work. There is a total absence of the garish coloring which has become so common, the religious subjects being without exception in a minor key, usually soft grays and blues. It is indeed in composition and careful drawing that this artist excels rather than in coloring, although this afterthought is suggested by the canvasses treating of secular subjects."—Brooklyn Standard Union.



CORAZZI, GIULITTA. Born at Fivizzano, 1866. Went to Florence when still a child and early began to study art. She took a diploma at the Academy in 1886, having been a pupil of Cassioli. She is a portrait painter, and among her best works are the portraits of the Counts Francesco and Ottorino Tenderini, Giuseppe Erede, and Raffaello Morvanti. Her pictures of flowers are full of freshness and spirit and delightful in color. Since 1885 she has spent much time in teaching in the public schools and other institutions and in private families.



CORRELLI, CLEMENTINA. Member of the Society for the Promotion of the Fine Arts, in Naples. Born in Lesso, 1840. This artist is both a painter and a sculptor. Pupil of Biagio Molinari, she supplemented his instructions by constant visits to galleries and museums, where she could study masterpieces of art. A statue called "The Undeceived" and a group, "The Task," did much to establish her reputation. They were exhibited in Naples, Milan, and Verona, and aroused widespread interest.

Her pictures are numerous. Among them are "St. Louis," "Sappho," "Petrarch and Laura," "Romeo and Juliet," "Hagar and Ishmael in the Desert," "A Devotee of the Virgin," exhibited at Turin in 1884; a series illustrating the "Seasons," and four others representing the arts.



COSWAY, MARIA. The artist known by this name was born Maria Hadfield, the daughter of an Englishman who acquired a fortune as a hotel-keeper in Leghorn, which was Maria's birthplace. She was educated in a convent, and early manifesting unusual artistic ability, was sent to Rome to study painting. Her friends there, among whom were Battoni, Raphael Mengs, and Fuseli, found much to admire and praise in her art.

After her father's death Maria ardently desired to become a nun, but her mother persuaded her to go to England. Here she came under the influence of Angelica Kauffman, and devoted herself assiduously to painting.

She married Richard Cosway, an eminent painter of miniatures in water-colors. Cosway was a man of fortune with a good position in the fashionable circles of London. For a time after their marriage Maria lived in seclusion, her husband wishing her to acquire the dignity and grace requisite for success in the society which he frequented. Meantime she continued to paint in miniature, and her pictures attracted much attention in the Academy exhibitions.

When at length Cosway introduced her to the London world, she was greatly admired; her receptions were crowded, and the most eminent people sat to her for their portraits. Her picture of the Duchess of Devonshire in the character of Spenser's Cynthia was very much praised. Cosway did not permit her to be paid for her work, and as a consequence many costly gifts were made her in return for her miniatures, which were regarded as veritable treasures by their possessors.

Maria Cosway had a delicious voice in singing, which, in addition to her other talent, her beauty, and grace, made her unusually popular in society, and her house was a centre for all who had any pretensions to a place in the best circles. Poets, authors, orators, lords, ladies, diplomats, as well as the Prince of Wales, were to be seen in her drawing-rooms. A larger house was soon required for the Cosways, and the description of it in "Nollekens and His Times" is interesting:

"Many of the rooms were more like scenes of enchantment pencilled by a poet's fancy, than anything perhaps before displayed in a domestic habitation. Escritoires of ebony, inlaid with mother-of-pearl, and rich caskets for antique gems, exquisitely enamelled and adorned with onyx, opals, rubies, and emeralds; cabinets of ivory, curiously wrought; mosaic tables, set with jasper, blood-stone, and lapis-lazuli, their feet carved into the claws of lions and eagles; screens of old raised Oriental Japan; massive musical clocks, richly chased with ormulu and tortoise-shell; ottomans superbly damasked; Persian and other carpets, with corresponding hearth-rugs bordered with ancient family crests and armorial ensigns in the centre, and rich hangings of English tapestry. The carved chimney-pieces were adorned with the choicest bronzes and models in wax and terra-cotta. The tables were covered with Sevres, blue Mandarin, Nankin, and Dresden china, and the cabinets were surmounted with crystal cups, adorned with the York and Lancaster roses, which might have graced the splendid banquets of the proud Wolsey."

In the midst of all this fatiguing luxury, Maria Cosway lost her health and passed several years travelling in Europe. Returning to London, she was again prostrated by the death of her only daughter. She then went to Lodi, near Milan, where she founded a college for the education of girls. She spent much time in Lodi, and after the death of her husband established herself there permanently. A goodly circle of friends gathered about her, and she found occupation and solace for her griefs in the oversight of her college.

She continued her painting and the exhibition of her pictures at the Royal Academy. She made illustrations for the works of Virgil, Homer, Spenser, and other poets, and painted portraits of interesting and distinguished persons, among whom were Mme. Le Brun and Mme. Recamier. The life and work of Maria Cosway afford a striking contradiction of the theory that wealth and luxury induce idleness and dull the powers of their possessors. Hers is but one of the many cases in which a woman's a woman "for a' that."

At an art sale in London in 1901, an engraving by V. Green after Mrs. Cosway's portrait of herself, first state, brought $1,300, and a second one $200 less.



COUDERT, AMALIA KUeSSNER. Born in Terre Haute, Indiana. This distinguished miniaturist writes me that she "never studied." Like Topsy, she must have "growed." By whatever method they are produced or by whatever means the artist in her has been evolved, her pictures would seem to prove that study of a most intelligent order has done its part in her development.

She has executed miniature portraits of the Czar and Czarina of Russia, the Grand Duchess Vladimir, King Edward VII., the late Cecil Rhodes, many English ladies of rank, and a great number of the beautiful and fashionable women of America.



COUTAN-MONTORGUEIL, MME. LAURE MARTIN. Honorable mention, Salon des Artistes Francais, 1894. Born at Dun-sur-Auron, Cher. Pupil of Alfred Boucher.

This sculptor has executed the monument to Andre Gill, Pere Lachaise; that of the Poet Moreau, in the cemetery Montparnasse; bust of Taglioni, in the foyer of the Grand Opera House, Paris; bust of the astronomer Leverrier, at the Institute, Paris; a statue, "The Spring," Museum of Bourges; "Sirius," in the Palais of the Governor of Algiers. Also busts of Prince Napoleon, General Boulanger, the Countess de Choiseul, the Countess de Vogue, and numerous statuettes and other compositions.

At the Salon, Artistes Francais, 1903, she exhibited "Fortune" and "A Statuette."



COWLES, GENEVIEVE ALMEDA. Member of the Woman's Art Club, New York; Club of Women Art Workers, New York; and the Paint and Clay Club of New Haven. Born in Farmington, Connecticut, 1871. Pupil of Robert Brandagee; of the Cowles Art School, Boston; and of Professor Niemeyer at the Yale Art School.

Together with her twin sister, Maud, this artist has illustrated various magazine articles. Also several books, among which are "The House of the Seven Gables," "Old Virginia," etc.

Miss G. A. Cowles designed a memorial window and a decorative border for the chancel of St. Michael's Church, Brooklyn. Together with her sister, she designed a window in the memory of the Deaconess, Miss Stillman, in Grace Church, New York City. These sisters now execute many windows and other decorative work for churches, and also superintend the making and placing of the windows.

Regarding their work in the Chapel of Christ Church, New Haven, Miss Genevieve Cowles writes me: "These express the Prayer of the Prisoner, the Prayer of the Soul in Darkness, and the Prayer of Old Age. These are paintings of states of the soul and of deep emotions. The paintings are records of human lives and not mere imagination. We study our characters directly from life."

These artists are now, November, 1903, engaged upon a landscape frieze for a dining-room in a house at Watch Hill.

Miss Genevieve Cowles writes: "We feel that we are only at the beginning of our life-work, which is to be chiefly in mural decoration and stained glass. I desire especially to work for prisons, hospitals, and asylums—for those whose great need of beauty seems often to be forgotten."



COWLES, MAUD ALICE. Twin sister of Genevieve Cowles. Bronze medal at Paris Exposition, 1900, and a medal at Buffalo, 1901. Her studies were the same as her sister's, and she is a member of the same societies. Indeed, what has been said above is equally true of the two sisters, as they usually work on the same windows and decorations, dividing the designing and execution between them.



COX, LOUISE—MRS. KENYON COX. Third Hallgarten prize, National Academy of Design; bronze medal, Paris Exposition, 1900; silver medal at Buffalo, 1901; medal at Charleston, 1902; Shaw Memorial prize, Society of American Artists, 1903. Member of Society of American Artists, and an associate of the Academy of Design. Born at San Francisco, 1865. Studies made at Academy of Design, Art Students' League, under C. Turner, George de Forest Brush, and Kenyon Cox.

Mrs. Cox paints small decorative pictures and portraits, mostly of children. The Shaw prize was awarded to a child's portrait, called "Olive." Among other subjects she has painted an "Annunciation," the "Fates," and "Angiola," reproduced in this book.



A writer in the Cosmopolitan says: "Mrs. Cox is an earnest worker and her method is interesting. Each picture is the result of many sketches and the study of many models, representing in a composite way the perfections of all. For the Virgin in her 'Annunciation' a model was first posed in the nude, and then another draped, the artist sketching the figure in the nude, draping it from the second model. The hands are always separately sketched from a model who has a peculiar grace in folding them naturally."

Mrs. Cox gives her ideas about her picture of the "Fates" as follows: "My interpretation of the Fates is not the one usually accepted. The idea took root in my mind years ago when I was a student at the League. It remained urgently with me until I was forced to work it out. As you see, the faces of the Fates are young and beautiful, but almost expressionless. The heads are drooping, the eyes heavy as though half asleep. My idea is, that they are merely instruments under the control of a higher power. They perform their work, they must do it without will or wish of their own. It would be beyond human or superhuman endurance for any conscious instrument to bear for ages and ages the horrible responsibility placed upon the Fates."



CRESPO DE REIGON, ASUNCION. Honorable mention at the National Exhibition, Madrid, 1860. Member of the Academy of San Fernando, 1839. Pupil of her father. To the exhibition in 1860 she sent a "Magdalen in the Desert," "The Education of the Virgin," "The Divine Shepherdess," "A Madonna," and a "Venus." Her works have been seen in many public exhibitions. In 1846 she exhibited a miniature of Queen Isabel II. Many of her pictures are in private collections.



CROMENBURCH, ANNA VON. In the Museum of Madrid are four portraits by this artist: "A Lady of the Netherlands," which belonged to Philip IV.; "A Lady and Child," "A Lady with her Infant before Her," and another "Portrait of a Lady." The catalogue of the Museum gallery says: "It is not known in what place or in what year this talented lady was born. She is said to have belonged to an old and noble family of Friesland. At any rate, she was an excellent portrait painter, and flourished about the end of the sixteenth century. The Museo del Prado is the only gallery in Europe which possesses works signed by this distinguished artist."



DAHN-FRIES, SOPHIE. Born in Munich. 1835-98. This artist was endowed with unusual musical and artistic talent. After the education of her only son, she devoted herself to painting, principally of landscape and flowers. After 1868, so long as she lived she was much interested in Frau von Weber's Art School for Girls. In 1886, when a financial crisis came, Mme. Dahn-Fries saved the enterprise from ruin. She exhibited, in 1887, two pictures which are well known—"Harvest Time" and "Forest Depths."



DAMER, MRS. ANNE SEYMOUR. Family name Conway. 1748-1828. She was a granddaughter of the Duke of Argyle, a relative of the Marquis of Hertford, and a cousin of Horace Walpole. Her education was conducted with great care; the history of ancient nations, especially in relation to art, was her favorite study. She had seen but few sculptures, but was fascinated by them, and almost unconsciously cherished the idea that she could at least model portraits and possibly give form to original conceptions.

Allan Cunningham wrote of her thus: "Her birth entitled her to a life of ease and luxury; her beauty exposed her to the assiduity of suitors and the temptations of courts; but it was her pleasure to forget all such advantages and dedicate the golden hours of her youth to the task of raising a name by working in wet clay, plaster of Paris, stubborn marble, and still more intractable bronze."

Before she had seriously determined to attempt the realization of her dreams, she was brought to a decision by a caustic remark of the historian, Hume. Miss Conway was one day walking with him when they met an Italian boy with plaster vases and figures to sell. Hume examined the wares and talked with the boy. Not long after, in the presence of several other people, Miss Conway ridiculed Hume's taste in art; he answered her sarcastically and intimated that no woman could display as much science and genius as had entered into the making of the plaster casts she so scorned.

This decided her to test herself, and, obtaining wax and the proper tools, she worked industriously until she had made a head that she was willing to show to others. She then presented it to Hume; it has been said that it was his own portrait, but we do not know if this is true. At all events, Hume was forced to commend her work, and added that modelling in wax was very easy, but to chisel in marble was quite another task. Piqued by this scant praise she worked on courageously, and before long showed her critic a copy of the wax head done in marble.

Though Hume genuinely admired certain portions of this work, it is not surprising that he also found defects in it. Doubtless his critical attitude stimulated the young sculptress to industry; but the true art-impulse was awakened, and her friends soon observed that Miss Conway was no longer interested in their usual pursuits. When the whole truth was known, it caused much comment. Of course ladies had painted, but to work with the hands in wet clay and be covered with marble dust—to say the least, Miss Conway was eccentric.

She at once began the study of anatomy under Cruikshanks, modelling with Cerrachi, and the handling of marble in the studio of Bacon.

Unfortunately for her art, she was married at nineteen to John Darner, eldest son of Lord Milton, a fop and spendthrift, who had run through a large fortune. He committed suicide nine years after his marriage. It is said that Harrington, in Miss Burney's novel of "Cecilia," was drawn from John Damer, and that his wardrobe was sold for $75,000—about half its original cost!

Mrs. Damer was childless, and very soon after her husband's death she travelled in Europe and renewed her study and practice of sculpture with enthusiasm. By some of her friends her work was greatly admired, but Walpole so exaggerated his praise of her that one can but think that he wrote out of his cousinly affection for the artist, rather than from a judicial estimate of her talent. He bequeathed to her, for her life, his villa of Strawberry Hill, with all its valuables, and L2,000 a year for its maintenance.

Mrs. Damer executed many portrait busts, some animal subjects, two colossal heads, symbolic of the Thames and the Isis, intended for the adornment of the bridge at Henley. Her statue of the king, in marble, was placed in the Register Office in Edinburgh. She made a portrait bust of herself for the Uffizi Gallery, in Florence. Her portrait busts of her relatives were numerous and are still seen in private galleries. She executed two groups of "Sleeping Dogs," one for Queen Caroline and a second for her brother-in-law, the Duke of Richmond. Napoleon asked her for a bust of Fox, which she made and presented to the Emperor. A bust of herself which she made for Richard Payne Knight was by him bequeathed to the British Museum. Her "Death of Cleopatra" was modelled in relief, and an engraving from it was used as a vignette on the title-page of the second volume of Boydell's Shakespeare.

Those who have written of Mrs. Darner's art have taken extreme views. They have praised ad nauseam, as Walpole did when he wrote: "Mrs. Darner's busts from life are not inferior to the antique. Her shock dog, large as life and only not alive, rivals the marble one of Bernini in the Royal Collection. As the ancients have left us but five animals of equal merit with their human figures—viz., the Barberini Goat, the Tuscan Boar, the Mattei Eagle, the Eagle at Strawberry Hill, and Mr. Jennings' Dog—the talent of Mrs. Damer must appear in the most distinguished light."

Cerrachi made a full length figure of Mrs. Damer, which he called the Muse of Sculpture, and Darwin, the poet, wrote:

"Long with soft touch shall Damers' chisel charm, With grace delight us, and with beauty warm."

Quite in opposition to this praise, other authors and critics have severely denied the value of her talent, her originality, and her ability to finish her work properly. She has also been accused of employing an undue amount of aid in her art. As a woman she was unusual in her day, and as resolute in her opinions as those now known as strong-minded. Englishwoman as she was, she sent a friendly message to Napoleon at the crisis, just before the battle of Waterloo. She was a power in some political elections, and she stoutly stood by Queen Caroline during her trial.

Mrs. Damer was much esteemed by men of note. She ardently admired Charles Fox, and, with the beautiful Duchess of Devonshire and Mrs. Crewe, she took an active part in his election; "rustling their silks in the lowest sinks of sin and misery, and in return for the electors' 'most sweet voices' submitting, it is said, their own sweet cheeks to the salutes of butchers and bargemen." She did not hesitate to openly express her sympathy with the American colonies, and bravely defended their cause.

At Strawberry Hill Mrs. Damer dispensed a generous hospitality, and many distinguished persons were her guests; Joanna Baillie, Mrs. Siddons, Mrs. Garrick, and Mrs. Berry and her daughters were of her intimate circle.

She was fond of the theatre and frequently acted as an amateur in private houses. She was excellent in high comedy and recited poetry effectively. Mrs. Damer was one of the most interesting of Englishwomen at a period of unusual excitement and importance.

When seventy years old she was persuaded to leave Strawberry Hill, and Lord Waldegrave, on whom it was entailed, took possession. Mrs. Damer then purchased York House, the birthplace of Queen Anne, where she spent ten summers, her winter home being in Park Lane, London.

She bequeathed her artistic works to a relative, directed that her apron and tools should be placed in her coffin, and all her letters destroyed, by which she deprived the world of much that would now be historically valuable, since she had corresponded with Nelson and Fox, as well as with other men and women who were active in the important movements of her time. She was buried at Tunbridge, Kent.



DASSEL, MRS. HERMINIE, whose family name was Borchard. Daughter of a Prussian gentleman, who, having lost his fortune, came to the United States in 1839. His children had enjoyed the advantages of education and of an excellent position in the world, but here, in a strange land, were forced to consider the means of their support. Herminie determined to be a painter, and in some way earned the money to go to Duesseldorf, where she studied four years under Sohn, all the time supporting herself. Her pictures were genre subjects introducing children, which found a ready sale.

She returned to America, determined to earn money to go to Italy. In a year she earned a thousand dollars, and out of it paid some expenses for a brother whom she wished to take with her. Herminie was still young, and so petite in person that her friends were alarmed by her ambitions and strenuously opposed her plans. However, she persevered and reached Italy, but unfortunately the Revolution of 1848 made it impossible for her to remain, and she had many unhappy experiences in returning to New York.

Her pictures were appreciated, and several of them were purchased by the Art Union, then existing in New York. Soon after her return to America she married Mr. Dassel, and although she had a large family she continued to paint. Her picture of "Othello" is in the Duesseldorf Gallery. Her painting of "Effie Deans" attracted much attention.

Mrs. Dassel interested herself in charities and was admired as an artist and greatly respected as a woman. She died in 1857.



DEALY, JANE MARY—MRS. W. LLEWELLYN LEWIS. Silver medal at Royal Academy School and prize for best drawing of the year. Member of Royal Institute of Painters in Water-Colors. Born in Liverpool. Studied at Slade School and Royal Academy School. Has exhibited several years at the Royal Academy Exhibition and Institute of Painters in Water-Colors.

In 1901 her picture, "A Dutch Bargain," was etched and engraved. "Hush-a-Bye Baby" and "Good-by, Summer," have been published by Messrs. De la Rue et Cie. She has successfully illustrated the following children's books: "Sixes and Sevens," "The Land of Little People," "Children's Prayers," and "Children's Hymns."

To the Academy Exhibition of 1903 Mrs. Lewis sent "On the Mountain-side, Engelberg."



DE ANGELIS, CLOTILDE. This Neapolitan artist has made a good impression in at least two Italian exhibitions. To the National Exposition, Naples, 1877, she sent "Studio dal Vero" and "Vallata di Porrano," showing costumes of Amalfi. Both her drawing and color are good.



DEBILLEMONT-CHARDON, MME. GABRIELLE. Third-class medal, Salon, 1894; honorable mention at Paris Exposition, 1900; second-class medal, Salon, 1901. This miniaturist is well known by her works, in which so much grace, freshness, skill, and delicacy are shown; in which are represented such charming subjects with purity of tone and skilful execution in all regards, as well as with an incomparable spirit of attractiveness.

This artist is one of the three miniaturists whose works have a place in the Museum of the Luxembourg. She has had many pupils, and by her influence and example—for they endeavor to imitate their teacher—she has done much to improve and enlarge the style in miniature painting.



DE HAAS, MRS. ALICE PREBLE TUCKER. Born in Boston. Studied at the Cooper Union and with M. F. H. de Haas, Swain Gifford, William Chase, and Rhoda Holmes Nicholls. Painter of water-color pictures and miniatures.

Her pictures are in private hands in Washington, New York, and Boston.

The following article written at the time of an exhibition by Mrs. de Haas gives a just estimate of her work:

"Mrs. de Haas is especially devoted to the painting in water-color of landscape and sea views, for which the Atlantic coast affords such a wide and varied range. A constant and keen observer of Nature, she has seized her marvellous witchery of light and color, and reproduced them in the glow of the moonlight on the water when in a stormy mood, and the silvery gleam has become an almost vivid orange tint. She is most happy in the tender opalescent hues of the calm sea and the soft sky above, while the little boats seem to rock quietly on the water, barely stirred by the unruffled tide beneath.

"The sunset light is a never-failing source of variety and beauty, and Mrs. de Haas has found a most attractive subject in the steeple of the old church in York Village—whose graceful curves are said to have been designed by Sir Christopher Wren—as it rises above the soft mellow glow of the sky or is pictured against the dark clouds.

"In another mood the artist paints the low rocks among the reeds, with the breakers playing about them, while the distant sea stretches out to a horizon, with dark, stormy clouds brooding over the solitary waste. A remarkable union of the beauty of land and water is produced by a foreground of brilliant fancy flowers relieved by a scrubby tree in the background, with the faint responsive touch of yellow in the clouds over a calm sea, where gentle motion is only indicated by the little boat floating on its surface.

"The schooners on the Magnolia Shore with Norman's Woe in the distance suggest alike the tragic story of the past and the present beauty, for now the sea is calm and the sails are drying in the sun after the storm is over.

"Many other pictures might be mentioned—a quaint old house at Gloucester, a view of Ten Pound Island, with its picturesque surroundings, and the familiar beach, with Fort Head at York Harbor. As a specimen of landscape I would mention a picturesque group of trees at Gerrish Island, full of sunshine.

"But Mrs. de Haas has added another most attractive style of art to her resources, and her miniatures, besides their charm of simplicity of treatment and delicacy of coloring, are said to have the merit of faithful likeness to their originals. Of course portraits, being painted on commission, are not generally available for exhibition, but Mrs. de Haas has a few specimens of her work which warrant all that has been said in their praise.

"One is a charming picture of a child, which for beauty of delineation and delicacy of tinting recalls the memory of our greatest of miniature painters, Malbone.

"Another is the portrait of the artist's father, and is represented with such truth of nature and so much vitality of expression and character as at once to give rise to the remark, 'I must have known that man, he seems so living to me.'"



DE KAY, HELENA—MRS. R. WATSON GILDER. This artist has exhibited at the National Academy of Design, New York, since 1874, flower pieces and decorative panels. In 1878 she sent "The Young Mother." She was the first woman elected to the Society of American Artists, and to its first exhibition in 1878 she contributed "The Last Arrow," a figure subject, also a portrait and a picture of still-life.

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DELACROIX-GARNIER, MME. P. Honorable mention, Salon des Artistes Francais; medal at Exposition, Paris, 1900, for painting in oils; and a second medal for a treatise on water-colors. Member of the Societe des Artistes Francais, of the Union of women painters and sculptors, and vice-president from 1894 to 1900. Pupil of Henry Delacroix in painting in oils and of Jules Garnier in water-colors.

Mme. Delacroix-Garnier has painted numerous portraits; among them those of the Dowager Duchess d'Uzes, Jules Garnier, and the Marquis Guy de Charnac, the latter exhibited at the Salon des Artistes Francais, 1903. At the same Salon in 1902 she exhibited the portrait of J. J. Masset, formerly a professor in the Paris Conservatory.

Among her pictures are the "Happy Mother," "Temptation," "Far from Paris," "Maternal Joys," and in the Salon des Artistes Francais, 1903, "Youth which Passes."



DELASALLE, ANGELE. Honorable mention, Salon des Artistes Francais, 1895; third-class medal, 1897; second-class medal, 1898; travelling purse, 1899; Prix Piot, of the Institute, 1899; silver medal, Paris Exposition, 1900. Member of the Societe des Artistes Francais, the Societe Nationale des Beaux-Arts, Societe des prix du Salon et boursiers de voyage de la Societe Nationale. Born in Paris. Pupil of Jean Paul Laurens and Benjamin-Constant.

Her picture of "Diana in Repose" is in the collection of Alphonse de Rothschild; "Return from the Chase," a prehistoric scene, purchased by the Government; "The Forge," in the Museum of Rouen, where is also a "Souvenir of Amsterdam." Portrait of Benjamin-Constant and several other works of Mlle. Delasalle are in the Luxembourg; other pictures in the collections Demidoff, Coquelin, Georges Petit, etc.

At the Salon des Artistes Francais, 1902, this artist exhibited the portrait of M. Constant and the "Roof-Maker." At the Salon des Beaux-Arts, 1903, "The Park at Greenwich," "The Pont Neuf," "On the Thames," and a portrait in oils; and in water-colors, "The Coliseum, Rome," "A Tiger Drinking," "A Lion Eating," "Head of a Lion," "The Forge," etc.

In the Magazine of Art, June, 1902, B. Dufernex writes of Mlle. Delasalle essentially as follows: This artist came into notice in 1895 by means of her picture of "Cain and Enoch's Daughters." Since then her annual contributions have demonstrated her gradual acquirement of unquestionable mastery of her art. Her characteristic energy is such that her sex cannot be detected in her work; in fact, she was made the first and only woman member of the International Association of Painters under the impression that her pictures—signed simply A. Delasalle—were the work of a man. Attracted by the dramatic aspects of human nature, she finds congenial subjects in the great efforts of humanity in the struggle for life. Her power of observation enables her to give freshness to hackneyed subjects, as in "La Forge." The attitudes of the workmen, so sure and decided, turning the half-fused metal are perfect in the precision of their combined efforts; the fatigue of the men who are resting, overwhelmed and stupefied by their exhausting labor, indicates the work of a profound thinker; whilst the atmosphere, the play of the diffused glow of the molten metal, are the production of an innate colorist. Her portrait of Benjamin-Constant represents not only the masterful man, but is also the personification of the painter. The attentive attitude, discerning eye, the openness of the absorbing look, the cerebral mask where rests so much tranquil power, the impressive shape of the leonine face, all combine to make the painting one of the finest portraits of the French school.

She has a perfect and rare knowledge of the art of drawing and a faculty for seizing the character of things. Mlle. Delasalle exhibited her pictures at the Grafton Gallery, London, in 1902.



DELORME, BERTHE. Medals at Nimes, Montpellier, Versailles, and London. Member of the Societe des Artistes Francais. Born at Paris. Pupil of A. Chaplin.

Mlle. Delorme has painted a great number of portraits, which are in the hands of her subjects. Her works are exhibited in the Salon au Grand Palais. In 1902 she exhibited a "Portrait of Mlle. Magdeleine D."



DEMONT-BRETON, VIRGINIE. Paris Salon, honorable mention, 1880; medals of third and second class, 1881, 1883; Hors Concours; gold medal at Universal Exposition, Amsterdam, 1883; Paris Expositions, 1889 and 1900, gold medals; medal of honor at Exposition at Antwerp; Chevalier of the Legion of Honor and of the Belgian Order of Leopold; officer of the Nichan Iftikhar, a Turkish order which may be translated "A Sign of Glory"; member and honorary president of the Union des femmes peintres et sculpteurs de France, of the Alliance Feminine, of the Alliance Septentrionale; fellow of the Royal Academy, Antwerp; member of the Societe des Artistes Francais; member of the committee of the Central Union of Decorative Arts and of the American National Institute; member of the Verein der Schriftstellerinnen und Kuenstlerinnen of Vienna; one of the founders of the Societe Populaire des Beaux-Arts and of the Societe de bienfaisance l'Allaitement Maternel, etc. Born at Courriere, Pas de Calais, 1859. Pupil of her father, Jules Breton.

The works of this artist are in a number of museums and in private collections in several countries. "La Plage" is in the Gallery of the Luxembourg, "Les Loups de Mer" in the Museum of Ghent, "Jeanne d'Arc at Domremy" in a gallery at Lille; other pictures are in New York, Minneapolis, and other American cities; also in Berlin and Alexandria, Egypt.

At the Salon des Artistes Francais, in 1902, Mme. Demont-Breton exhibited a picture of "Les Meduses bleues." The fish were left on the beach by the retreating water, and two nude children, a boy and a girl, are watching them with intense interest. The children are very attractive.

At the Salon of 1903 she exhibited "Seaweed." A strong young fisherwoman, standing in the water, draws out her net filled with shells, seaweed, and other products of the sea, while two nude children—again a boy and a girl—are selecting what pleases them in the mother's net.

At the exhibition of Les Femmes Peintres et Sculpteurs, in February, 1903, Mme. Demont-Breton exhibited the "Head of a Young Girl," which attracted much attention. Gray and sober in color, with a firmly closed mouth and serious eyes denoting great strength of character, it is admirably studied and designed and proves the unusual excellence of the art of this gifted daughter of Jules Breton. At the Exposition of Limoges, May to November, 1903, Mme. Demont-Breton was pronounced hors concours in painting.



DICKSON, MARY ESTELLE. Honorable mention, Paris Salon, 1896; bronze medal, Paris Exposition, 1900; honorable mention, Buffalo Exposition, 1901; third-class medal, Paris Salon, 1902.

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DIETERLE, MME. M.

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DIETRICH, ADELHEID. Born in Wittemberg, 1827. Daughter and pupil of Edward Dietrich, whose teaching she supplemented by travel in Italy and Germany. She made her home in Erfurt after her journeys and painted flower and fruit subjects. Her pictures were of forest, field, and garden flowers. They are much valued by their owners and are mostly in private collections.



DIETRICHSEN, MATHILDE—NEE BONNEIRE. Born in Christiania, 1847. When but ten years old she began the study of art at Duesseldorf, under the direction of O. Mengelberg and Tideman. When but fifteen she married, at Stockholm, the historian of art, Dietrichsen. She travelled extensively, visiting Germany, France, Italy, and Greece. She passed three years in Rome. Her pictures show refined, poetic feeling as well as good taste and humor.



DILLAYE, BLANCHE. Silver medal at Atlanta Exposition, 1895; medal at American Art Society, 1902. Member of New York and Philadelphia Water-Color Clubs, American Women's Art Association, Paris; first president of Plastic Club, Philadelphia. Pupil of Philadelphia Academy of Fine Arts; has also studied in Europe.

This artist makes a specialty of etching, and the medal she received at Atlanta was for a group of works in that art. She paints in water-colors, and has exhibited at the principal American exhibitions, in London, and in both Paris Salons. Her etchings have been widely noticed. At an early age she showed talent, and preferring etching as a mode of expression, she soon became noted for the qualities which have since made her famous, and is one of the best known among a group of women etchers. Her work, exhibited at the New York Etching Club, is conspicuous on account of its strength, directness, and firmness, allied to delicacy of touch.

"In Miss Dillaye's work one sees the influence of her wanderings in many lands; the quaintness of Holland landscapes, the quiet village life in provincial France, the sleepy towns in Norway, and the quietude of English woods."—Success, September, 1902.



DINA, ELISA. A Venetian figure and portrait painter. Is known through the pictures she has shown at many Italian exhibitions. At Venice, in 1881, she exhibited a graceful, well-executed work called "Caldanino della Nonna." "Di Ritorno dalla Chiesa" appeared at Milan in the same year. The latter, which represented a charming young girl coming out of church, prayer-book in hand, is full of sentiment. She sent to Turin, in 1884, "Popolana," which was much admired. Her portraits are said to be exceedingly life-like.



DRINGLINGER, SOPHIE FRIEDERICKE. Born in Dresden, 1736; died 1791. Pupil of Oeser in Leipzig. In the Dresden Gallery are seven miniatures by her of different members of the Dringlinger family. The head of this house was John Melchior Dringlinger, court jeweller of Augustus the Strong.



DUBOURG, VICTORIA—MME. FANTIN-LATOUR. Honorable mention, Paris Salon, 1894; medal third class, 1895; picture in Gallery of Luxembourg, 1903. Member of the Societe des Artistes Francais. Born in Paris, 1840. Studies made at the Museum of the Louvre.

Mme. Dubourg has exhibited her works at the Salons regularly since 1868, and her pictures are now seen in the Museums of Grenoble and Pau, as well as in many private collections. Her subjects are of still life.

At the Salon of the Artistes Francais, in 1902, Mme. Dubourg exhibited a "Basket of Flowers."



DUBRAY, CHARLOTTE GABRIELLE. Born at Paris, and was the pupil of her father, Gabriel Vital-Dubray. In 1874 she exhibited at the Salon a marble bust of a "Fellah Girl of Cairo"; in 1875, a silvered bronze bust called the "Study of a Head," in the manner of Florence, sixteenth century; in 1876, "The Daughter of Jephthah Weeping on the Mountain," a plaster statue, a bust in bronze, and "A Neapolitan"; in 1877, "The Coquette," a bust in terra-cotta, and a portrait bust, in bronze, of M. B.



DUCOUDRAY, MLLE. M. Honorable mention, 1898; honorable mention, Paris Exposition, 1900. At the Salon des Artistes Francais, in 1902, this sculptor exhibited "Mon Maitre Zacharie Astruc," and in 1903, "En Bretagne."

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DUFAU, CLEMENTINE HELENE. Awards from the Salon, Bashkirtseff prize, 1895; medal third class, 1897; travelling purse, 1898; medal second class, 1902; Hors Concours; silver medal, Paris Exposition, 1900. Picture in the Luxembourg, 1902. Member of the Societe des Artistes Francais and of the Societa Heleno Latina, Rome. Born at Quinsac (Gironde).

Studies made at Julian Academy, under Bouguereau and Robert-Fleury. Mlle. Dufau calls her works illustrations and posters, and gives the following as the principal examples:

"Fils des Mariniers," in Museum of Cognac; "Rhythme," "Dryades," "Automne," a study, Manzi collection; "Espagne," "Ete," Behourd collection; "Automne," Gallery of the Luxembourg. The latter is a decorative work of rare interest. At the Salon of 1903 Mlle. Dufau exhibited two works—"La grande Voix" and "Une Partie de Pelotte, au Pays basque." The latter was purchased by the Government, and will be hung in the Luxembourg.



DUHEM, MARIE. Officer of the Academy, 1895; member of the Societe Nationale des Beaux-Arts; medal at the Paris Exposition, 1900; diploma of honor at Exposition of Women Artists, London, 1900. Born at Guemps (Pas-de-Calais). Has had no masters, has studied and worked by herself.

Her pictures are in several museums: "The Communicants," at Cambrai; "Easter Eve," at Calais; "Death of a White Sister," at Arras, etc. The picture of St. Francis of Assisi was exhibited at the Salon of the Beaux-Arts, 1903. The saint, with a large aureole, is standing in the midst of a desolate landscape; his left hand raised, as if speaking—perhaps to some living thing, though nothing is revealed in the reproduction in the illustrated catalogue of the Salon.

The other exhibits by Mme. Duhem are flower pictures—jonquils and oranges, chrysanthemums and roses. In 1902 she exhibited "The House with Laurels" in water-colors, and in oils "The High Road" and "The Orison." The first is a scene at nightfall and is rendered with great delicacy and refinement.



DUPRE, AMALIA. Corresponding member of the Academy of Fine Arts, Florence, and of the Academy of Perugia. Born in Florence, 1845. Pupil of her father, Giovanni Dupre, who detected her artistic promise in her childish attempts at modelling. She has executed a number of notable sepulchral monuments, one for Adele Stiacchi; one for the daughter of the Duchess Ravaschieri, in Naples, which represents the "Madonna Receiving an Angel in her Arms"; it is praised for its subject and for the action of the figures. "A Sister of Charity" for the tomb of the Cavaliere Aleotti is her work, and for the tomb of her parents, at Fiesole, she reproduced "La Pieta," one of her father's most famous sculptures.

For the facade of the Florence Cathedral she made a statue of "Saint Reparata," and finished the "San Zenobi" which her father did not live to complete.

She has a wide reputation in Italy for her statues of the "Young Giotto," "St. Peter in Prison," and "San Giuseppe Calasanzio."



DURANT, SUSAN D. This English sculptor was educated in Paris, and died there in 1873. She first exhibited at the Royal Academy in 1847. She was the teacher of the Princess Louise, and executed medallion portraits and busts of many members of the royal family of England. Her works were constantly exhibited at the Royal Academy. The Art Journal, March, 1873, spoke of her as "one of our most accomplished female sculptors." Her bust of Queen Victoria is in the Middle Temple, London; the "Faithful Shepherdess," an ideal figure, executed for the Corporation of London, is in the Mansion House. Among her other works are "Ruth," a bust of Harriet Beecher Stowe, and a monument to the King of Belgium, at Windsor.



D'UZES, MME. LA DUCHESSE. Honorable mention, Paris Salon, 1889. Born in Paris, 1847. Pupil of Bonnassieux and Falguiere. The principal works of this artist are "Diana Surprised," in marble; "Saint Hubert," in the church of the Sacre-Coeur; the same subject for a church in Canada; "The Virgin," a commission from the Government, in the church at Poissy; "Jeanne d'Arc," at Mousson; the monument to Emile Augier, the commission for which was obtained in a competition with other sculptors; and many busts and statuettes.

In the spring of 1903, at the twenty-second exhibition of the Society of Women Painters and Sculptors, the Duchesse d'Uzes exhibited a large statue of the Virgin which is to be erected in the church of St. Clothilde. It is correct anatomically and moulded with great delicacy.



EARL, MAUD. A painter of animals, whose "Early Morning" was exhibited at the Royal Academy in 1885, and has been followed by "In the Drifts," "Old Benchers," "A Cry for Help," etc. In 1900 she exhibited "The Dogs of Death"; in 1901, "On Dian's Day."

Miss Earl has painted portraits of many dogs on the Continent and in Great Britain, notably those belonging to Queen Victoria and to the present King and Queen.

This artist exhibits in the United States as well as in the chief cities of England, and has held private exhibitions in Graves' Galleries. In 1902 her principal work was "British Hounds and Gun-Dogs." Many of her pictures have been engraved and published in both England and the United States. Among them are the last-named picture, "Four by Honors," "The Absent-Minded Beggar," and "What We Have We'll Hold."

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EGLOFFSTEIN, COUNTESS JULIA. Born at Hildesheim. 1786-1868. This painter of portraits and genre subjects belonged to a family of distinction in the north of Germany. She was a maid of honor at the court of Weimar. Her pictures were praised by Cornelius and other Munich artists. Her portrait of Goethe, in his seventy-seventh year, is in the Museum at Weimar. She also painted portraits of Queen Theresa Charlotte of Bavaria and of the Grand Duchess of Saxe-Weimar. Her picture of "Hagar and Ishmael in the Desert" is well known in Germany.



EGNER, MARIE. Pupil of Schindler in Vienna. She has exhibited her pictures at the exhibitions of the Vienna Water-Color Club. In 1890 an exquisite series of landscapes and flowers, in 1894 "A Mill in Upper Austria," in gouache, and in 1895 other work in the same medium, confirming previous impressions of her fine artistic ability.



EISENSTEIN, ROSA VON. Born in Vienna, 1844. This artist is one of the few Austrian women artists who made all her studies in her native city. She was a pupil of Mme. Wisinger-Florian, Schilcher, C. Probst, and Rudolf Huber. Her pictures are of still-life. She is especially fond of painting birds and is successful in this branch of her art.



ELLENRIEDER, ANNA MARIE. Born at Constance. 1791-1863. A pupil of Einsle, a miniaturist, and later of Langer, in Munich. In Rome, where this artist spent several years, she became a disciple of Overbeck. Returning to Switzerland, she received the appointment of Court painter at Baden in 1829.

Her works are portraits and pictures of historical subjects, many of the latter being Biblical scenes. Among her best works are the "Martyrdom of Saint Stephen," in the Catholic church at Carlsruhe; a "Saint Cecilia," a "Madonna," and "Mary with the Christ-Child Leaving the Throne of Heaven" are in the Carlsruhe Gallery. "Christ Blessing Little Children" is in the church at Coburg. Among her other works are "John Writing his Revelation at Patmos," "Peter Awaking Tabitha," and "Simeon in the Temple."

Her religious subjects sometimes verge on the sentimental, but are of great sweetness, purity, and tenderness. She was happier in her figures of women than in those of men. She also made etchings of portraits and religious subjects in the manner of G. F. Schmidt.



EMMET, LYDIA FIELD. Medal at Columbian Exhibition, Chicago, 1893; medal at Atlanta Exhibition, 1895; honorable mention at Pan-American Exposition, Buffalo, 1901. Member of the Art Students' League and Art Workers' Club for Women. Born at New Rochelle, New York. Studied at Art Students' League under Chase, Mowbray, Cox, and Reid; at the Julian Academy, Paris, under Robert-Fleury, Giacomotti, and Bouguereau; at the Shinnecock School of Art under W. M. Chase; at Academie Viete, Paris, under Collin, and in a private studio under Mac Monnies.



Miss Emmet has painted many portraits, which are in private hands in New York, Chicago, Boston, and elsewhere. She executed a decorative painting for the Woman's Building at Chicago which is still in that city.



EMMET, ROSINA—MRS. ARTHUR MURRAY SHERWOOD. Silver medal, Paris Exposition, 1889; the Art Department medal, Chicago, 1893; bronze medal, Buffalo, 1901. Member of the Society of American Artists, American Water-Color Society, New York Water-Color Club. Born in New York City. Studied two years under William M. Chase and six months at Julian Academy, Paris.

Miss Emmet exhibited at the National Academy of Design, in 1881, a "Portrait of a Boy"; in 1882, a "Portrait of Alexander Stevens" and "Waiting for the Doctor"; in 1883, "Red Rose Land" and "La Mesciana"; her picture called "September" belongs to the Boston Art Club. The greater number of her works are in private collections.



ESCALLIER, MME. ELEONORE. Medal at Salon, 1868. A pupil of Ziegler. A painter of still-life whose pictures of flowers and birds were much admired. "Chrysanthemums," exhibited in 1869, was purchased by the Government. "Peaches and Grapes," 1872, is in the Museum at Dijon; and in 1875 she executed decorative panels for the Palais de la Legion d'Honneur.



ESCH, MATHILDE. Born at Kletten, Bohemia, 1820. Pupil of Waldmueller in Vienna. She also studied a long time in Duesseldorf and several years in Paris, finally settling in Vienna. She painted charming scenes from German and Hungarian life, as well as flowers and still-life. Most of her works are in private galleries.



ESINGER, ADELE. Born in Salzburg, 1846. In 1874 she became a student at the Art School in Stuttgart, where she worked under the special direction of Funk, and later entered the Art School at Carlsruhe, where she was a pupil of Gude. She also received instruction from Hansch. Her pictures are remarkable for their poetic feeling; especially is this true of "A Quiet Sea," "The Gollinger Waterfall," and "A Country Party."



EYCK, MARGARETHA VAN. In Bruges, in the early decades of the fifteenth century, the Van Eycks were inventing new methods in the preparation of colors. Their discoveries in this regard assured them an undying fame, second only to that of their marvellous pictures.

Here, in the quaint old city—a large part of which we still describe as mediaeval—in an atmosphere totally unlike that of Italy, beside her devout brothers, Hubert and Jan, was Margaretha. When we examine the minute detail and delicate finish of the pictures of Jan van Eyck, we see a reason why the sister should have been a miniaturist, and do not wonder that with such an example before her she should have excelled in this art. The fame of her miniatures extended even to Southern Italy, where her name was honorably known.

We cannot now point to any pictures as exclusively hers, as she worked in concert with her brothers. It is, however, positively known that a portion of an exquisite Breviary, in the Imperial Library in Paris, was painted by Margaretha, and that she illustrated other precious and costly manuscripts.

She was held in high esteem in Bruges and was honored in Ghent by burial in the Church of St. Bavo, where Hubert van Eyck had been interred. Karl van Mander, an early writer on Flemish art, was poetically enthusiastic in praise of Margaretha, calling her "a gifted Minerva, who spurned Hymen and Lucina, and lived in single blessedness."

A Madonna in the National Gallery in London is attributed to Margaretha van Eyck.



FACIUS, ANGELIKA. Born at Weimar. 1806-87. This artist was distinguished as an engraver of medals and gems. Pupil of her father, Friedrich Wilhelm Facius. Goethe recommended her to Rauch, and in 1827 she went to Berlin to study in his studio. Under her father's instruction she engraved the medal for the celebration at Weimar, 1825, of the jubilee of the Grand Duke Charles Augustus. Under Rauch's direction she executed the medal to commemorate the duke's death. In 1841 she made the medal for the convention of naturalists at Jena.

After Neher's designs, she modelled reliefs for the bronze doors at the castle of Weimar.



FARNCOMB, CAROLINE. Several first prizes in exhibitions in London, Toronto, Montreal, and Ottawa. Member of Women's Art Club, London, Ontario. Born near Toronto, Canada. Pupil of Mr. Judson and Mlle. van den Broeck in London, Canada, and later of William Chase in New York. Now studying in Paris.



FASSETT, CORNELIA ADELE. 1831-1898. Member of the Chicago Academy of Design and the Washington Art Club. Born in Owasco, New York. Studied water-color painting in New York under an English artist, J. B. Wandesforde. Pupil in Paris of Castiglione, La Tour, and Mathieu. Her artistic life was spent in Chicago and Washington, D. C.

She painted numerous portraits in miniature and a large number in oils. Among those painted from life were Presidents Grant, Hayes, and Garfield; Vice-President Henry Wilson; Charles Foster, when Governor of Ohio, now in the State House at Columbus, Ohio; Dr. Rankin, president of Howard University, Washington; and many other prominent people of Chicago and Washington.

Her chief work and that by which she is best remembered hangs in the Senate wing of the United States Capitol. No picture in the Capitol attracts more attention, and large numbers of people view it daily. It is the "Electoral Commission in Open Session." It represents the old Senate Chamber, now the Supreme Court Room, with William M. Evarts making the opening argument. There are two hundred and fifty-eight portraits of notable men and women, prominent in political, literary, scientific, and social circles. Many of these were painted from life.

The Arcadian, New York, December 15, 1876, in speaking of this picture, says: "Mr. Evarts is addressing the court, and the large number of people present are naturally and easily grouped. There is no stiffness nor awkwardness in the positions, nothing forced in the whole work. There are, in the crowd, ladies in bright colors to relieve the sombreness of the black-coated men, and the effect of the whole picture is pleasing and artistic, aside from its great value as an historical work."

The Washington Capital, March 17, 1878: "Mrs. Fassett's 'Electoral Commission' gives evidence of great merit, and this illustration in oil of an historical event in the presidential annals of the country, by the preservation of the likenesses in groups of some of the principal actors, and a few leading correspondents of the press, will be valuable. This picture we safely predict will be a landmark in the history of the nation that will never be erased. It memorizes a most remarkable crisis in our life, and perpetuates, both by reason of its intrinsic value as a chapter of history and its intrinsic worth as an art production, the incident it represents and the name of the artist."

In the Washington Star, October, 1903, an article appeared from which I quote as follows: "On the walls of the beautiful tessellated corridor of the eastern gallery floor of the Senate wing of the Capitol at Washington, just opposite the door of the caucus room of the Senate Democrats, hangs a large oil painting that never fails to attract the keenest curiosity of sightseers and legislators alike. And for good reason: that painting depicts in glowing colors a scene of momentous import, a chapter of American political history of graver consequence and more far-reaching results than any other since the Civil War. The printed legend on the frame of the picture reads:

"'The Florida case before the electoral commission, February 5, 1877. Painted from life sittings in the United States Supreme Court room by Cornelia Adele Fassett.'"

"The painting belongs to Congress, having been purchased from the artist for $15,000. As you face the picture the portraits of two hundred and fifty-eight men and women, who, twenty-six years ago, were part and parcel of the legislative, executive, judicial, social, and journalistic life of Washington, look straight at you as if they were still living and breathing things, as, indeed, many of them are. As a work of art the picture is unique, for each face is so turned that the features can easily be studied, and the likenesses of nearly all are so faithful as to be a source of constant wonder and delight."—David S. Barry, in Pearson's Magazine.



FAUVEAU, FELICIE DE. Second-class medal at Florence in 1827, when she made her debut by exhibiting a statue, "The Abbot," and a group, "Queen Christine and Monaldeschi." Born in Florence, of French parents, about 1802. For political reasons she was forced to leave Florence about 1834, when she went to Belgium, but later returned to her native city.

Among her best works are "St. George and the Dragon," bronze; the "Martyrdom of St. Dorothea," "Judith with the Head of Holofernes," "St. Genoveva," marble, and a monument to Dante.

Her works display a wonderful skill in the use of drapery and a purity of taste in composition. She handled successfully the exceedingly difficult subject, a "Scene between Paolo and Francesca da Rimini."



FAUX-FROIDURE, MME. EUGENIE JULIETTE. Honorable mention at Salon, 1898; the same at the Paris Exposition, 1900; third-class medal at Salon, 1903; first prize of the Union of Women Painters and Sculptors, 1902; chevalier of the Order Nichan Iftikar; Officer of Public Instruction. Member of the Association of Baron Taylor, of the Societe des Artistes Francais, of the Union of Women Painters and Sculptors, and of the Association of Professors of Design of the City of Paris. Born at Noyen (Sarthe). Pupil of P. V. Galland, Albert Maignan, and G. Saintpierre.

Mme. Faux-Froidure's pictures are principally of fruit and flowers, and three have been purchased by the Government. One, "Raisins" (Grapes), is in the Museum at Commerey; a second, "Hortensias" (Hydrangeas), is in the Museum of Mans; the third, which was in the Salon of 1903, has not yet been placed. In 1899 she exhibited a large water-color called "La Barque fleurie," which was much admired and was reproduced in "L'Illustration." Her water-color of "Clematis and Virginia Creeper" is in the Museum at Tunis. In the summer exhibition of 1903, at Evreux, this artist's "Peonies" and "Iris" were delightfully painted—full of freshness and brilliancy, such as would be the despair of a less skilful hand.

At the Limoges Exposition, May to November, 1903, Mme. Faux-Froidure was announced as hors concours in water-colors.

La Societe Francais des Amis des Arts purchased from the Salon, 1903, two water-colors by Mme. Faux-Froidure—"Roses" and "Loose Flowers," or "Jonchee fleurie."

Her pictures at the Exposition at Toulouse, spring of 1903, were much admired. In one she had most skilfully arranged "Peaches and Grapes." The color was truthful and delicate. The result was a most artistic picture, in which the art was concealed and nature alone was manifest. A second picture of "Zinnias" was equally admirable in the painting of the flowers, while that of the table on which they were placed was not quite true in its perspective.

Of a triptych, called the "Life of Roses," exhibited at the Salon des Artistes Francais, 1903, Jules de Saint Hilaire writes: "Mme. Faux-Froidure was inspired when she painted her charming triptych of 'Rose Life.' In the compartment on the left the roses are twined in a crown resembling those worn in processions; in the centre, in all its dazzling beauty, the red rose, the rose of love, is enthroned; while the panel on the right is consecrated to the faded rose—the souvenir rose, shrivelled, and lying beside the little casket which it still perfumes with its old-time sweetness."



FISCHER, CLARA ELIZABETH. Born in Berlin, 1856. Studied under Biermann six years, and later under Julius Jacob. Her pictures are portraits and genre subjects. Among the latter are "What Will Become of the Child?" 1886; "Orphaned," "In the Punishment Corner," and "Morning Devotion."



FISCHER, HELENE VON. Born in Bremen, 1843. She first studied under a woman portrait painter in Berlin; later she was a pupil of Frische in Duesseldorf, of Robie in Brussels, and of Hertel and Skarbina in Berlin.

She makes a specialty of flowers, fruit, and still-life; her fruit and flower pieces are beautiful, and her pictures of the victims of the chase are excellent.



FLESCH-BRUNNENGEN, LUMA VON. Born in Bruenn in 1856. In Vienna she worked under Schoener, the interpreter of Venetian and Oriental life, and later in Munich she acquired technical facility under Frithjof Smith. Travels in Italy, France, and Northern Africa furnished many of her themes—mostly interiors with figures, in which the entering light is skilfully managed. "The Embroiderers," showing three characteristic figures, who watch the first attempt of their seriously earnest pupil, is full of humor. In sharp contrast to this is a "Madonna under the Cross," exhibited at Berlin in 1895, in which the mother's anguish is most sympathetically rendered. "Devotion," "Shelterless," and the "Kitchen Garden" are among the paintings which have won her an excellent reputation as a genre painter.



FLEURY, MME. FANNY.

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FOCCA, SIGNORA ITALIA ZANARDELLI. Silver medal at Munich, 1893; diploma of gold medal at Women's Exhibition, London, 1900. Member of Societa Amatorie Pittori di Belle Arti, of the Unione degli Artisti, and of the Societa Cooperativa, all in Rome.

Born in Padua, 1872. Pupil of Ottin in Paris, and of the Academy of Fine Arts in Rome.

The principal works of this sculptor are a "Bacchante," now in St. Petersburg; "Najade," sold in London; "The Virgin Mother," purchased by Cavaliere Alinari of Florence; portrait of the Minister Merlo, which was ordered by the Ministry of Public Instruction. Many other less important works are in various Italian and foreign cities.

Signora Focca is a professor of drawing in the Normal Schools of Rome.



FOLEY, MARGARET E. A native of New Hampshire. Died in 1877. Without a master, in the quiet of a country village, Miss Foley modelled busts in chalk and carved small figures in wood. At length she made some reputation in Boston, where she cut portraits and ideal heads in cameo. She went to Rome and remained there. She became an intimate friend of Mr. and Mrs. Howitt, and died at their summer home in the Austrian Tyrol.

Among her works are busts of Theodore Parker, Charles Sumner, and others; medallions of William and Mary Howitt, Longfellow, and Bryant; and several ideal statues and bas-reliefs.

In a critical estimate of Miss Foley we read: "Her head of the somewhat impracticable but always earnest senator from Massachusetts—Sumner—is unsurpassable and beyond praise. It is simple, absolute truth, embodied in marble."—Tuckerman's Book of the Artists.

"Miss Foley's exquisite medallions and sculptures ought to be reproduced in photograph. Certainly she was a most devoted artist, and America has not had so many sculptors among women that she can afford to forget any one of them."—Boston Advertiser, January, 1878.



FONTAINE, JENNY. Silver medal, Julian Academy, 1889; silver medal at Amiens Exposition, 1890 and 1894; honorable mention, Paris Salon, 1892; gold medal at Rouen Exposition, 1893; third-class medal, Salon, 1896; bronze medal, Paris Exposition, 1900. Officer of the Academy, 1896; Officer of Public Instruction, 1902. Member of the Societe des Artistes Francais, Paris; Societe de l'Union Artistique, du Pas-de-Calais, at Arras; corresponding member of the Academy of Arras. Pupil of Jules Lefebvre and Benjamin-Constant.

Mlle. Fontaine paints portraits only—of these she has exhibited regularly at the Salons for sixteen years. Among her sitters have been many persons of distinction, both men and women.

At the Salon of 1902 she exhibited her own portrait; in 1903, portraits of MM. Rene et Georges D. The Journal des Arts, giving an account of the exhibition at Rheims, summer, 1903, says: "The portraits here are not so numerous as one might expect, but they are too fine to be overlooked. Mlle. Jenny Fontaine has, for a long time, held a distinguished place as a portraitiste in our Salons, and two of her works are here: a portrait of a young girl and one of General Jeanningros."



FONTANA, LAVINIA. Born in Bologna, 1552. Her father was a distinguished portrait painter in Rome in the time of Pope Julius III., but the work of his daughter was preferred before his own. She was elected to the Academy of Rome, while her charms were extolled in poetry and prose.

Pope Gregory XIII. made her his painter-in-ordinary. Patrician ladies, cardinals, and Roman nobles contended for the privilege of having their portraits from her hand. Men of rank and scholars paid court to her, but, with a waywardness not altogether uncommon, she married a man who was even thought to be lacking in sense.

One of her two daughters was blind of one eye, and her only son was so simple that the loungers in the antechamber of the Pope were accustomed to amuse themselves with his want of wit. She is said to have died of a broken heart after the death of this son, and her portrait of him is considered her masterpiece.

Her own portrait was one of her most distinguished works, and though it is in possession of her husband's family, the Zappi, of Imola, it may be judged by an engraving after it in Rossini's "History of Italian Painting."

Many portraits by Lavinia Fontana are in the private collections of Italian families for whom they were painted. In the Gallery of Bologna there is a night-scene, the "Nativity of the Virgin," by her, and in the Escorial is a Madonna lifting a veil to regard the sleeping Jesus, while SS. Joseph and John stand near by.

In the churches of San Giacomo Maggiore and of the Madonna del Baracano, both in Bologna, are Fontana's pictures of the "Madonna with Saints." In Pieve di Cento are two of her works—a "Madonna" and an "Ascension." It is said that several pictures by this artist are in England, but I have failed to find to what collections they belong.

Lavinia Fontana was a distinguished woman in a notable age, and if, in translating the tributes that were paid her by the authors of her day, we should faithfully render their superlatives, these writings would seem absurd in their exaggerations, and our comparatively cold adjectives would be taxed beyond their power of expression.



FONTANA, VERONICA. Born in 1576. A pupil of Elisabetta Sirani, who devoted herself to etching and wood-engraving. She is known from her exceedingly fine, delicate portraits on wood and etchings of scenes from the life of the Madonna.



FOORD, MISS J. A painter of plants and flowers, which are much praised. An article in the Studio, July, 1901, says: "Miss Foord, by patient and observant study from nature, has given us a very pleasing, new form of useful work, that has traits in common; with the illustrations to be found in the excellent botanical books of the beginning of the nineteenth century." After praising the works of this artist, attention is called to her valuable book, "Decorative Flower Studies," illustrated with forty plates printed in colors.

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FOOTE, MARY HALLOCK. Born in Milton, New York. At New York School of Design for Women this artist studied anatomy and composition under William Rimmer, and drawing on wood and black and white under William J. Linton. Mrs. Foote is a member of the Alumni of the School of Design.

Her illustrations have been exhibited by the publishers for whom they were made. In the beginning her work was suited to the taste and custom of the time. She illustrated the so-called "Gift Books" and poems in the elaborate fashion of the period. Later she was occupied principally in illustrations for the Century Company and Houghton, Mifflin & Co. Mrs. Foote writes that Miss Regina Armstrong—now Mrs. Niehaus—in a series of articles on "Women Illustrators of America," whom she divided into classes, placed her with the "Story-Tellers."



FORBES, MRS. STANHOPE. Mr. Norman Gastin, in an article upon the work of the Royal Academician, Stanhope Forbes, in the Studio, July, 1901, pays the following tribute to the wife of the artist, whose maiden name was Elizabeth Armstrong:

"Mrs. Stanhope Forbes's work does not ask you for any of that chivalrous gentleness which is in itself so derogatory to the powers of women. As an artist she stands shoulder to shoulder with the very best; she has taste and fancy, without which she could not be an artist. But what strikes one about her most is summed up in the word 'ability.' She is essentially able. The work which that wonderful left hand of hers finds to do, it does with a certainty that makes most other work look tentative beside hers. The gestures and poses she chooses in her models show how little she fears drawing, while the gistness of her criticism has a most solvent effect in dissolving the doubts that hover round the making of pictures."

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FORTI, ENRICA. Rome.

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FORTIN DE COOL, DELFINA. Third-class medal, Madrid, 1864, for the following works reproduced on porcelain: the "Conception" of Murillo, the "Magdalen" of Antolinez, and the portrait of Alonso Cano by Velazquez; also a portrait on ivory of a young girl.

This artist, who was French by birth, was a pupil of her father. For paintings executed in the imperial works at Sevres, she was awarded prizes at Blois, Besancon, Rouen, Perigueux, and Paris.



FOULQUES, ELISA. Born in Pjatigorsk, in the Caucasus. She came under Italian influence when but four years old, and was taken to Naples. At the Institute of the Fine Arts she was a pupil of Antoriello, Mancinelli, Perrisi, and Solari. She received a diploma when leaving the Institute. Her picture, "Mendica," was exhibited in Naples, 1886; "Un ultimo Squardo" and "Sogno," 1888. In London, in 1888, "Tipo Napoletano," "Studio dal vero," and "Ricordi" were exhibited. Since 1884 this artist has taught drawing in the Municipal School for Girls in Naples, and has executed many portraits in oil, as well as numerous pastels and water-colors. Among her later works are "La Figlia del Corsaro," "Chiome nere," "Una Carezza al Nonno," and "Di Soppiatto."



FRACKLETON, SUSAN STUART. Medal at Antwerp Exposition, 1894; at Paris Exposition, 1900. Founder and first president of National League of Mineral Painters; member of Park and Outdoor Association. Born at Milwaukee, 1848. Pupil of private studios in Milwaukee and New York.

Mrs. Frackleton's gas-kilns for firing decorated china and glass are well known; also her book, "Tried by Fire," a treatise on china painting. As a ceramic artist she has exhibited in various countries, and has had numerous prizes for her work. She declined the request of the Mexican Government to be at the head of a National School of Ceramic Decoration, etc. She is also a lecturer on topics connected with the so-called arts and crafts.



FREEMAN, FLORENCE. Born in Boston. 1836-1883. Pupil of Richard S. Greenough in Boston and of Hiram Powers in Florence, Italy. After a year in Florence she went to Rome, where she made her home. Among her works are a bust of "Sandalphon," which belonged to Mr. Longfellow, bas-reliefs of Dante, and a statue of the "Sleeping Child."

She sent to the Exhibition in Philadelphia, 1876, a chimney-piece on which were sculptured "Children and the Yule-Log and Fireside Spirits." This was purchased by Mrs. Hemenway, of Boston.

"Her works are full of poetic fancy; her bas-reliefs of the seven days of the week and of the hours are most lovely and original in conception. Her sketches of Dante in bas-reliefs are equally fine. Her designs for chimney-pieces are gems, and in less prosaic days than these, when people were not satisfied with the work of mechanics, but demanded artistic designs in the commonest household articles, they would have made her famous."—The Revolution, May, 1871.



FRENCH, JANE KATHLEEN. Member of the Water-Color Society of Ireland. Born in Dublin. Studied in Brussels under M. Bourson, and in Wiesbaden under Herr Koegler. Miss French is a miniaturist and exhibited at the Royal Academy, London, in 1901, a case of her works which she was later specially invited to send to an exhibition in Liverpool, and several other exhibits.

The last two years she has exhibited in Ireland only, as her commissions employ her time so fully that she cannot prepare for foreign expositions.



FREYBERG, BARONESS MARIE ELECTRINE. Elected to the Academy of St. Luke, 1822. Born in Strassburg. 1797-1847. Daughter and pupil of the landscape painter, Stuntz. After travelling in France and Italy, making special studies in Rome, she settled in Munich. She painted historical and religious subjects, and a few portraits. "Zacharias Naming the Little St. John" is in the New Picture Gallery, Munich; in the same gallery is also a portrait called the "Boy Playing a Flute"; in the Leuchtenberg Gallery, Petersburg, is her "Three Women at the Sepulchre." She painted a picture called the "Glorification of Religion through Art" and a "Madonna in Prayer." She also executed a number of lithographs and etchings.



FRIEDLAeNDER, CAMILLA. Born in Vienna, 1856. She was instructed by her father, Friedrich Friedlaender. Among her numerous paintings of house furniture, antiquities, and dead animals should be especially mentioned her picture in the Rudolfinum at Prague, which represents all sorts of drinking-vessels, 1888. Some critics affirm that she has shown more patience and industry than wealth of artistic ideas, but her still-life pictures demanded those qualities and brought her success and artistic recognition.



FRIEDRICH, CAROLINE FRIEDERIKE. Born in Dresden. 1749-1815. Honorary member of Dresden Academy. In the Dresden Gallery is a picture by this artist, "Pastry on a Plate with a Glass of Wine," signed 1799.



FRIEDRICHSON, ERNESTINE. Born in Dantzig, 1824. Pupil of Marie Wiegmann in Duesseldorf, and later of Jordan and Wilhelm Sohn. While still a student she visited Holland, Belgium, England, and Italy. Her favorite subjects were scenes from the every-day life of Poles and Jews.

Her best pictures were sold to private collectors. Among these are "Polish Raftsmen Resting in the Forest," 1867; "Polish Raftsmen before a Crucifix," 1869; "A Jew Rag-picker," 1870; "The Jewish Quarter in Amsterdam on Friday Evening," 1881; "A Goose Girl," 1891.



FRIES, ANNA. Silver medal at Berne, 1857; two silver medals from the Academy of Urbino; silver medal at the National Exposition by Women in Florence. Honorary member of the Academy Michael Angela, Florence, and of the Academy of Urbino. Born in Zuerich, 1827. She encountered much opposition to her desire to study art, but her talent was so manifest that at length she was permitted to study drawing in Zuerich, and her rapid progress was finally recognized and she was taken to Paris, where the great works of the masters were an inspiration to her. She has great individuality in her pictures, which have been immoderately praised. She visited Italy, and in 1857 went to Holland, where she painted portraits of Queen Sophia and the Prince of Orange. She returned to Zuerich and was urged to remain in Switzerland, but she was ambitious of further study, and went again to Florence. She there painted a portrait of the Grand Duchess Marie of Russia. She turned her attention to decorative painting, and her success in this may be seen in the facades of the Schmitz villa, the Schemboche establishment, and her own home. When we consider the usual monotony of this art, the charming effects which Mme. Fries has produced make her distinguished in this specialty.



FRISHMUTH, HARRIET WHITNEY.

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FRITZE, MARGARETHE AUGUSTE. Born in Magdeburg, 1845. This genre painter worked first in Bremen, and went in 1873 to Munich, where she studied with Gruetzner and Liezen-Meyer. The most significant of her pictures is "The Little Handorgan-Player with His Monkey." She has also executed many strong portraits, and her painting is thought to show the influence of A. von Kotzebue and Alexander Wagner. In 1880 she spent some time in Stuttgart, and later settled in Berlin.



FRORIEP, BERTHA. Born in Berlin, 1833. Pupil of Martersteig and Pauwels in Weimar. This artist's pictures were usually of genre subjects. Her small game pictures with single figures are delightful. She also painted an unusually fine portrait of Friedrich Rueckert. At an exhibition by the women artists of Berlin, 1892, a pen study by Fraeulein Froriep attracted attention and was admired for its spirit and its clear execution.



FRUMERIE, MME. DE. Honorable mention at the Salon des Artistes Francais in 1893 and 1895. Born in Sweden, she studied in the School of Fine Arts in Stockholm. There she gained a prize which entitled her to study abroad during four years.

She has exhibited her works in Paris, and to the Salon of Les Femmes Peintres et Sculpteurs, in February, 1903, she contributed a bust of Strindberg which was a delightful example of life-like portraiture.



FULLER, LUCIA FAIRCHILD. Bronze medal, Paris Exposition, 1900; silver medal, Buffalo Exposition, 1901. Member of the Society of American Artists and of the American Society of Miniature Painters. Born in Boston. Studied at the Cowles Art School, Boston, under Denis M. Bunker, and at the Art Students' League, New York, under H. Siddons Mowbray and William M. Chase.

Mrs. Fuller is a most successful miniature painter. Among her principal works are "Mother and Child," in the collection of Mrs. David P. Kimball, Boston; "Girl with a Hand-Glass," owned by Hearn; and "Girl Drying Her Feet," for which the medal was given in Paris.

Mrs. Fuller's miniatures are portraits principally, and are in private hands. Some of her sitters in New York are Mrs. J. Pierpont Morgan and her children, Mrs. H. P. Whitney and children, J. J. Higginson, Esq., Dr. Edwin A. Tucker, and many others.



GAGGIOTTI-RICHARDS, EMMA. Historical and portrait painter, of the middle of the nineteenth century, is known by her portrait of Alexander von Humboldt (in possession of the Emperor William II.) and by her portrait of herself before her easel. Her historical paintings include "The Crusader" and a "Madonna."



GALLI, EMIRA. Reproduces with great felicity the customs of the lagoons, the boys and fishermen of which she represents with marvellous fidelity. She depicts not only characteristics of features and dress, but of movement. "Giovane veneziana" and "Ragazzo del Popolo" were exhibited at Turin in 1880, and were much admired. "Il Falconiere" was exhibited at both Turin and Milan. "Un Piccolo Accattone" has also been accorded warm praise.



GARDNER, ELIZABETH JANE. Honorable mention, Paris Salon, 1879; gold medal, 1889; hors concours. Born in Exeter, New Hampshire, 1851, her professional life has been spent in Paris, where she was a pupil of Hugues Merle, Lefebvre, and M. William A. Bouguereau, whom she married.

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GARRIDO Y AGUDO, MARIA DE LA SOLEDAD. Born in Salamanca. Pupil of Juan Peyro. She exhibited two works at the National Exposition, 1876—a portrait and a youth studying a picture. In 1878 she sent to the same exposition "The Sacrifice of the Saguntine Women." At the Philadelphia Exposition, 1876, she exhibited her "Messenger of Love." Her "Santa Lucia" is in the church of San Roque de Gardia.



GASSO Y VIDAL, LEOPOLDA. Honorable mention, 1876. Prizes, 1876, for two works sent to the Provincial Exposition of Leon. Member of the Association of Authors and Artists, 1876. Born in the Province of Toledo. Pupil of Manuel Martinez Ferrer and Isidoro Lozano. At Madrid, in 1881, she exhibited "A Pensioner," "A Beggar," a portrait of Senorita M. J., and a landscape; in 1878, "A Coxcomb," "Street Venders of Avila," and a landscape; and in 1881, at an exhibition held by D. Ricardo Hernandez, were seen a landscape and a portrait of D. Lucas Aguirre y Juarez.



GEEFS, MME. FANNY ISABELLE MARIE. Born at Brussels. 1814-1883. Wife of the sculptor, Guillaume Geefs. A painter of portraits and genre subjects which excel the historical pictures she also painted. Her "Assumption of the Virgin" is in a church at Waterloo; "Christ Appearing to His Disciples," in a church at Hauthem. "The Virgin Consoling the Afflicted" was awarded a medal in Paris, and is in the Hospital of St. John at Brussels. The "Virgin and Child" was purchased by the Belgian Government. Her portraits are good, and among her genre subjects the "Young Mother," the "Sailor's Daughter," and "Ophelia" are attractive and artistic in design and execution.