<b>FORTIN DE COOL, DELFINA.</b> Third-class medal, Madrid, 1864, for the fol owing 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.
<b>FOULQUES, ELISA.</b> 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, Mancinel i, 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 wel as numerous pastels and water-colors. Among her later works are "La Figlia del Corsaro," "Chiome nere," "Una Carezza al Nonno," and "Di Soppiatto."
<b>FRACKLETON, SUSAN STUART.</b> 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 wel 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.
<b>FREEMAN, FLORENCE.</b> 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 equal y 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.
<b>FRENCH, JANE KATHLEEN.</b> 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 ful y that she cannot prepare for foreign expositions.
<b>FREYBERG, BARONESS MARIE ELECTRINE.</b> 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 Gal ery, Munich; in the same gallery is also a portrait cal ed the "Boy Playing a Flute"; in the Leuchtenberg Gal ery, 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.
<b>FRIEDLAeNDER, CAMILLA.</b> 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.
<b>FRIEDRICH, CAROLINE FRIEDERIKE.</b> 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.
<b>FRIEDRICHSON, ERNESTINE.</b> Born in Dantzig, 1824. Pupil of Marie Wiegmann in Duesseldorf, and later of Jordan and Wilhelm Sohn. While still a student she visited Hol and, 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.
<b>FRIES, ANNA.</b> 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 final y 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.
<b>FRISHMUTH, HARRIET WHITNEY.</b>
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<b>FRITZE, MARGARETHE AUGUSTE.</b> 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.
<b>FRORIEP, BERTHA.</b> Born in Berlin, 1833. Pupil of Martersteig and Pauwels in Weimar. This artist's pictures were usual y of genre subjects.
Her smal game pictures with single figures are delightful. She also painted an unusual y 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.
<b>FRUMERIE, MME. DE.</b> 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.
<b>FULLER, LUCIA FAIRCHILD.</b> 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. Ful er is a most successful miniature painter. Among her principal works are "Mother and Child," in the col ection of Mrs. David P. Kimbal , Boston; "Girl with a Hand-Glass," owned by Hearn; and "Girl Drying Her Feet," for which the medal was given in Paris.
Mrs. Ful er'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.
<b>GAGGIOTTI-RICHARDS, EMMA.</b> 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."
<b>GALLI, EMIRA.</b> 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.
<b>GARDNER, ELIZABETH JANE.</b> 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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<b>GARRIDO Y AGUDO, MARIA DE LA SOLEDAD.</b> 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.
<b>GASSO Y VIDAL, LEOPOLDA.</b> 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.
<b>GEEFS, MME. FANNY ISABELLE MARIE.</b> 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.
<b>GELDER, LUCIA VAN.</b> Born in Wiesbaden. 1864-1899. This artist was the daughter of an art dealer, and her constant association as a child with good pictures stimulated her to study. In Berlin she had lessons in drawing with Liezenmayer, and in color with Max Thedy. She was also a constant student at the galleries. She began to work independently when eighteen, and a number of her pictures achieved great popularity, being reproduced in many art magazines. "The Little Doctor," especial y, in which a boy is feeling, with a grave expression of knowledge, the pulse of his sister's pet kitten, has been widely copied in photographs, wood-engravings, and in colors. She repeated the picture in varying forms. She died in Munich, where she was favorably known through such works as "The Village Barber," "Contraband," "The Wonderful Story," "At the Sick Bed," and "The Violin Player," the last painted the year before her death.
<b>GENTILESCHI, ARTEMISIA.</b> 1590-1642. A daughter of Orazio Gentileschi, whom she accompanied to England when he was invited to the court of Charles I. Artemisia has been called the pupil, and again the friend, of Guido Reni. Whatever the relation may have been, there is no doubt that the manner of her painting was influenced by Guido, and also by her study of the works of Domenichino.
Wagner says that she excelled her father in portraits, and her own likeness, in the gallery at Hampton Court, is a powerful and life-like picture. King Charles had several pictures from her hand, one of which,
"David with the Head of Goliath," was much esteemed. Her "Mary Magdalene"
and "Judith with the Head of Holofernes" are in the Pitti Palace. The latter work is a proof of her talent. Lanzi says: "It is a picture of strong coloring, of a tone and intensity which inspires awe." Mrs.
Jameson praised its execution while she regretted its subject.
[Illustration: Alinari, Photo.
In the Pitti Gal ery, Florence
JUDITH WITH THE HEAD OF HOLOFERNES
ARTEMISIA GENTILESCHI]
Her picture of the "Birth of John the Baptist," in the Gallery of the Prado, is worthy of attention, even in that marvellous collection, where is also her "Woman Caressing Pigeons." The Historical Society of New York has her picture of "Christ among the Doctors."
After her return to Italy from England, this artist was married and resided in Naples. Several of her letters are in existence. They tel of the manner of her life and give an interesting picture of Neapolitan society in her day.
<b>GESSLER DE LACROIX, ALEJANDRENA</b>--known in art circles as Madame Anselma. Gold medal at Cadiz, 1880. Honorary member of the Academy of Cadiz. She has spent some years in Paris, where her works are often seen in exhibitions. Her medal picture at Cadiz was an "Adoration of the Cross." One of her most successful works is called "The Choir Boys."
<b>GILES, MISS--MRS. BERNARD JENKIN.</b> This sculptor exhibited a life-size marble group, called "In Memoriam," at the Royal Academy in 1900, which attracted much attention. It was graceful in design and of a sympathetic quality. At an open competition in the London Art Union her
"Hero" won the prize. In 1901 she exhibited an ambitious group called
"After Nineteen Hundred Years, and still They Crucify." It was excel ent in model ing, admirable in sentiment, and displayed strength in conception and execution.
<b>GINASSI, CATERINA.</b> Born in Rome, 1590. This artist was of noble family, and one of her uncles, a Cardinal, founded the Church of Santa Lucia, in which Caterina, after completing her studies under Lanfranco, painted several large pictures. After the death of the Cardinal, with money which he had given her for the purpose, Caterina founded a cloister, with a seminary for the education of girls.
As Abbess of this community she proved herself to be of unusual ability.
In her youth she had been trained in practical affairs as well as in art, and, although she felt that "the needle and distaff were enemies to the brush and pencil," her varied knowledge served her well in the responsibilities she had assumed, and at the head of the institution she had founded she became as wel known for her executive ability as for her piety.
Little as the works of Lanfranco appeal to us, he was a notable artist of the Carracci school; Caterina did him honor as her master, and, in the esteem of her admirers, excel ed him as a painter.
<b>GIRARDET, BERTHE.</b> Gold medal at the Paris Exposition, 1900; honorable mention, Salon des Artistes Francais, 1900; ten silver medals from foreign exhibitions. Member of the Societe des Artistes Francais and the Union des femmes peintres et sculpteurs. Born at Marseilles. Her father was Swiss and her mother a Miss Rogers of Boston. She was a pupil for three months of Antonin-Carles, Paris. With this exception, Mme.
Girardet writes: "I studied mostly alone, looking to nature as the best teacher, and with energetic perseverance trying to give out in a concrete form al that filled my heart."
[Illustration: GIVE US THIS DAY OUR DAILY BREAD
BERTHE GIRARDET]
Among her works are: "L'Enfant Malade," bought by the city of Paris and placed in the Petit Palais des Champs Elysees; a group cal ed the
"Grandmother's Blessing," purchased by the Government and placed in a public museum; the bust of an "Old Woman," acquired by the Swiss Government and placed in the Museum of Neuchatel; a group, the "Madonna and Child," for which the artist received the gold medal; and two groups illustrating the prayer, "Give us this day our daily bread." Also portrait statues and busts belonging to private collections.
At the Salon des Artistes Francais, 1902, Mme. Girardet exhibited the
"Grandmother's Blessing" and "L'Enfant Malade." At the same Salon, 1903, the two groups illustrating the Lord's Prayer.
A writer, G. M., in the _Studio_ of December, 1902, writes: "Prominent among the women artists of the day whose talents are attracting attention is Mme. Berthe Girardet. She has a very delicate and very tender vision of things, which stamps her work with genuine originality. She does not seek her subjects far from the life around her; quite the reverse; and therein lies the charm of her sculpture--a great, sincere, and simple charm, which at once arouses one's emotion. What, for instance, could be more poignantly sad than this 'Enfant Malade' group, with the father, racked with anxiety, bending over the pillow of his fragile little son, and the mother, already in an attitude of despair, at the foot of the bed? The whole thing is great in its profound humanity.
"The 'Benediction de l'Aieule' is less tragic. Behind the granddaughter, delightful in her white veil and dress of a _premiere communicante_, stands the old woman, her wrinkled face full of quiet joy. She is thinking of the past, moved by the melancholy of the bells, and she is happy with a happiness with which is mingled something of sorrow and regret. It is real y exquisite. By simple means Mme. Berthe Girardet obtains broad emotional effects. She won a great and legitimate success at the Salon of the Societe des Artistes Francais."
<b>GLEICHEN, COUNTESS.</b> Bronze medal at Paris Exposition, 1900.
Honorable member of Royal Institute of Painters in Water-Colors, of Royal Society of Painter Etchers. Sculptor. Pupil of her father, Prince Victor of Hohenlohe, and of the Slade School, London; also of Professor Legros.
She has exhibited regularly at the Royal Academy since 1893.
In 1895 she completed a life-size statue of Queen Victoria for the Victoria Hospital, Montreal. The Queen is represented in royal robes, with one child asleep on her knee, while another, with its arm in a sling, stands on the steps of the throne. Shortly before the Queen's death she gave sittings to Countess Gleichen, who then executed a bust of her majesty, now at the Cheltenham Ladies' Col ege. The Constitutional Club, London, has her bust of Queen Alexandra, which was seen at the Academy in 1895. Her "Satan" attracted much attention when exhibited in 1894. He is represented as seated on a throne composed of snakes, while he has scales and wings and is armed like a knight. In 1899 her statue of
"Peace" was more pleasing, while a hand-mirror of jade and bronze was much admired both in London and Paris, where it was seen in the Exposition of 1900. In 1901 she executed a fountain with a figure of a nymph for a garden in Paris; a year later, a second fountain for W.
Palmer, Esq., Ascot. She has made a half-length figure of Kubelik. Her sculptured portraits include those of Sir Henry Ponsonby, Mme. Calve, Mrs. Walter Palmer, and a bust of the late Queen, in ivory, which she exhibited in 1903.
<b>GLEICHEN, COUNTESS HELENA.</b>
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<b>GLOAG, ISOBEL LILIAN.</b> Born in London, the daughter of Scotch parents. Her early studies were made at St. John's Wood Art School, preparatory to entering the School of the Royal Academy, but the conservative and academic training of these institutions so displeased her that she went to the Slade School. Il health compel ed her to put aside al plans for regular study, and she entered Ridley's studio for private instruction, following this with work at the South Kensington Museum. After still further study with Raphael Col in in Paris, she returned to London and soon had her work accepted at the Royal Academy.
Miss Gloag is reported as saying that women have little sense of composition, a failing which she does not seem to share; in this respect and as a colorist she is especially strong. "Rosamond," in which the charming girl in a purple robe, sitting before an embroidery frame, is startled by the shadow of Queen Eleanor bearing the poisoned cup, displays these qualities to great advantage. The leafy bower, the hanging mantle, show great skill in arrangement and a true instinct for color.
"The Magic Mantle," "Rapunzel," and the "Miracle of the Roses" have all--especial y, the first named--made an impression; another and strikingly original picture, cal ed the "Quick and the Dead," represents a poorhouse, in the ward of which is a group of old women surrounded by the ghosts of men and children. Miss Gloag has also made some admirable designs for stained-glass windows. She has been seriously hampered by ill health, and her achievements in the face of such a drawback are al the more remarkable.
<b>GODEWYCK, MARGARETTA.</b> Born at Dort, 1627. A pupil of the celebrated painter, Nicholas Maas. She excelled as a painter of flowers, and was proficient in both ancient and modern languages. She was cal ed by authors of her time, "the lovely flower of Art and Literature of the Merwestrom," which is a poetical way of saying Dordrecht!
<b>GOLAY, MARY--MME. SPEICH GOLAY.</b> Silver medal at Geneva Exposition, 1896; eighteen medals and rewards gained in the Art Schools of Geneva, and the highest recompense for excel ence in composition and decoration.
Member of the Amis des Beaux-Arts, Geneva; Societe vaudoise des Beaux Arts, Lausanne. Born in Geneva and studied there under Mittey for flower painting, composition, and ceramic decoration; under Gillet for figure painting.
Mme. Golay has executed a variety of pictures both in oil and water-colors. In an exhibition at the Athenee in Geneva, in the autumn of 1902, she exhibited two pictures of sleep, which afforded an almost startling contrast. They were cal ed "Sweet Sleep" and the "Eternal Sleep." The first was a picture of a beautiful young woman, nude, and sleeping in the midst of roses, while angels watching her inspire rosy dreams of life and love. The roses are of al possible shades, rendered with wonderful freshness--scarlet roses, golden roses--and in such masses and so scattered about the nude figure as to give it a character of purity and modesty. The flesh tints are warm, the figure is supple in effect, and the whole is a happy picturing of the sleep and dream of a lovely young woman who has thrown herself down in the carelessness of solitude.
It required an effort of will to turn to the second picture. Here lies another young woman, in her white shroud, surrounded with lilies as white as her face, on which pain has left its traces. In the artistic speech of the present day, it is a symphony in white. The figure is as rigid as the other is supple; it is frightfully immovable--and yet the drawing is not exaggerated in its firmness. Certainly these contrasting pictures witness to the skill of the artist. Without doubt the last is by far the most difficult, but Mme. Golay has known how to conquer its obstacles.
A third picture by this artist in the exhibition is called the "Abundance of Spring." Mme. Golay's reputation as a flower painter has been so long established that one need not dwell on the excellence of the work. A writer in the Geneva _Tribune_ exclaims: "One has never seen more brilliant peonies, more vigorous or finer branches of lilacs, or iris more delicate and distinguished. How they breathe--how they live--how they smile--these ephemeral blossoms!"
<b>GONZALEZ, INES.</b> Member of the Academy San Carlos of Valencia. In the expositions of 1845 and 1846 in that city she was represented by several miniatures, one of which, "Dido," was much admired. Another--the portrait of the Baron of Santa Barbara--was acquired by the Economic Society of Valencia. In the Provincial Museum is her picture of the "Two Smokers."
<b>GRANBY, MARCHIONESS OF.</b> Replies as fol ows to circular: "Lady Granby has been written about by Miss Tomlinson, 20 Wigmore Street, London, W.
And I advise you if you real y want any information to get it from her.
V. G."
I was not "_really_" anxious enough to be informed about Lady Granby--who drops so readily from the third person to the first--to act on her advice, which I give to my readers, in order that any one who does wish to know about her will be able to obtain the information!
<b>GRANT, MARY R.</b> This sculptor studied in Paris and Florence, as wel as in London, where she was a pupil of J. H. Foley, R.A. She has exhibited at the Royal Academy since 1870. She has executed portraits of Queen Victoria, Georgina, Lady Dudley, the Duke of Argyll, Mr. C.
Parnel , M.P., and Sir Francis Grant, P.R.A.
Her memorial work includes a relief of Dean Stanley, Royal Chapel, Windsor; and a relief of Mr. Fawcett, M.P., on the Thames Embankment. The late Queen gave Miss Grant several commissions. In Winchester Cathedral is a screen, on the exterior of Lichfield Cathedral a number of figures, and in the Cathedral of Edinburgh a reredos, all the work of this artist.
At the Royal Academy, 1903, she exhibited a medal ion portrait in bronze.
<b>GRATZ, MARIE.</b> Born at Karlsruhe, 1839. This portrait painter was a pupil of Bergmann, and later of Schick and Canon. Among her best-known portraits are those of Prince and Princess Lippe-Detmold, Princess Hohenlohe-Langenburg, Prince Wittgenstein, the hereditary Princess Reuss, and Princess Biron von Kurland.
<b>GRAY, SOPHIE DE BUTTS.</b> First honor, Maryland Institute; second honor, World's Fair, New Orleans; gold medal, Autumn Exhibition, Louisville, 1898; first and second premiums, Nelson County Fair, 1898.
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<b>GREATOREX, ELIZA.</b> In 1869 Mrs. Greatorex was elected associate member of the National Academy, New York, and was the first woman member of the Artists' Fund Society of New York. Born in Ireland. 1820-1897.
Studied under Witherspoon and James and William Hart in New York; under Lambinet in Paris; and at the Pinakothek in Munich. Mrs. Greatorex visited England, Paris, Italy, and Germany, spending a summer in Nuremberg and one in Ober-Ammergau.
Among her most important works are "Bloomingdale," which was purchased by Mr. Robert Hoe; "Chateau of Madame Cliffe," the property of Dykeman van Doren; "Landscape, Amsterdam"; pictures of "Bloomingdale Church," "St.
Paul's Church," and the "North Dutch Church," al painted on panels taken from these churches.
Mrs. Greatorex illustrated the "Homes of Ober-Ammergau" with etchings, published in Munich in 1871; also "Summer Etchings in Colorado,"
published in 1874; and "Old New York from the Battery to Bloomingdale,"
published in 1875. Eighteen of the drawings for the "Old New York" were at the Philadelphia Exhibition, 1876.
<b>GREENAWAY, KATE.</b> Member of the Royal Institute of Painters in Water-Colors, 1890. Born in London. 1846-1901. Her father was a wel -known wood-engraver. Miss Greenaway first studied her art at the South Kensington School; then at Heatherley's life class and at the Slade School. She began to exhibit at the Dudley Gallery in 1868.
Her Christmas cards first attracted general attention to her as an artist. Their quaint beauty and truthful drawing in depicting children, young girls, flowers, and landscape soon made them more popular than the similar work of other artists. These cards sold by thousands on both sides of the Atlantic and secured consideration for any other work she might do.
She soon made illustrations for _Little Folks_ and the _London News_. In 1879 "Under the Window" appeared, and one hundred and fifty thousand copies were sold; it was also translated into French and German. The
"Birthday Book," "Mother Goose," and "Little Ann" followed and were accorded the heartiest welcome. It is said that for the above four toy books she received $40,000. Wherever they went--and they were in all civilized countries--they were applauded by artists and critics and loved by all classes of women and children. One can but hope that Kate Greenaway realiz