water-colors. In an exhibition at the Athénée in Geneva, in the autumn of
1902, she exhibited two pictures of sleep, which afforded an almost
startling contrast. They were called "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 all 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, INÉS.</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 follows to circular: "Lady Granby
has been written about by Miss Tomlinson, 20 Wigmore Street, London, W.
And I advise you if you really 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 well
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.
Parnell, 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 medallion 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.
[_No reply to circular_.]
<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; "Château of Madame Cliffe," the property of Dykeman van
Doren; "Landscape, Amsterdam"; pictures of "Bloomingdale Church," "St.
Paul's Church," and the "North Dutch Church," all 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
well-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 realized the world-wide pleasure she gave to children.
The exhibition of her works at the Gallery of the Fine Arts Society,
since her death, was even more beautiful than was anticipated. The grace,
delicacy, and tenderness with which her little people were created
impressed one in an entire collection as no single book or picture could
do.
It has been said that "Kate Greenaway dressed the children of two
continents," and, indeed, her revival of the costumes of a hundred years
ago was delightful for the children and for everybody who saw them.
Among her papers after her death many verses were found. Had she lived
she would doubtless have acquired the courage to give them to the world.
She was shy of strangers and the public; had few intimates, but of those
few was very fond; the charm of her character was great--indeed, her
friends could discover no faults in her; her personality and presence
were as lovely to them as were her exquisite flowers.
<b>GREENE, MARY SHEPARD.</b> Third-class medal, 1900, second-class medal,
1902, at Salon des Artistes Français. Her picture of 1902 is thus spoken
of in _Success_, September of that year:
"'Une Petite Histoire' is the title of Miss Mary Shepard Greene's
graceful canvas. The lithe and youthful figure of a girl is extended upon
a straight-backed settle in somewhat of a Récamier pose. She is intently
occupied in the perusal of a book. The turn of the head, the careless
attitude, and the flesh tints of throat and face are all admirably
rendered. The diaphanous quality of the girlish costume is skilfully
worked out, as are also the accessories of the room. Miss Greene's work
must commend itself to those who recognize the true in art. Technical
dexterity and a fine discrimination of color are attributes of this
conscientious artist's work. She has a rare idea of grace and great
strength of treatment.
"Miss Greene's canvas has a charm all its own, and is essentially
womanly, while at the same time it is not lacking in character. Hailing
from New England, her first training was in Brooklyn, under Professor
Whittaker, from whom she received much encouragement. Afterward she came
under the influence of Herbert Adams, and, after pursuing her studies
with that renowned artist, she went to Paris, where she was received as a
pupil by Raphael Collin. She has exhibited at Omaha, Pittsburg, and at
the Salon. Her first picture, called 'Un Regard Fugitif,' won for her a
medal of the third class."
[_No reply to circular_.]
<b>GREY, MRS. EDITH F.</b> Member of the Society of Miniaturists, Royal
Institute of Painters in Water-Colors, Bewick Club, and Northumbrian Art
Institute, Newcastle-on-Tyne. Born at the last-named place, where she
also made her studies in the Newcastle School of Art, and later under
private masters in London.
Mrs. Grey has exhibited miniatures and pictures in both oils and
water-colors at the Royal Society of British Artists, the Royal Academy,
the Royal Institute of Painters in Water-Colors, and the exhibitions at
Liverpool, Manchester, and York. Since 1890 she has continuously
exhibited at the Academy of the Royal Institute, London, except in 1895
and 1902.
Mrs. Grey was fortunate in having the first picture she sent to London
sold, and has continued to find purchasers for her exhibited works,
which are now in many private collections and number about one hundred
and fifty. "Empty," a child study in oils, 1897, and a water-color, "A
Silver Latch," 1900, are among her important works.
To the Academy Exhibition, 1903, she sent a picture of "Nightfall,
Cullercoats," and a portrait of "Lily, daughter of Mrs. J. B. Firth."
<b>GUILD, MRS. CADWALLADER.</b> I quote from the Boston _Transcript_ a
portion of an article relative to this sculptor, some of whose works were
exhibited in Boston in 1903:
"In spite of the always suspected journalistic laudations of Americans
abroad, in spite of the social vogue and intimacy with royalty which
these chronicle, the work of Mrs. Guild shows unmistakable talent and
such a fresh, free spirit of originality that one can almost accept the
alleged dictum of Berlin that Mrs. Guild 'is the greatest genius in
sculpture that America has ever had.'
"The list of Mrs. Guild's works executed abroad include a painting
belonging to the very beginning of her career, of still-life in oils,
which was accepted and well hung at the Royal Academy in London; but it
is in Berlin that she has been especially successful. To her credit there
are: A bust of her royal highness the Princess Christian of
Schleswig-Holstein; Mr. Gladstone, in marble and bronze; G. F. Watts, in
bronze, for the 'Permanent Manchester Art Exhibition'; Mr. Peter
Brotherhood, inventor of a torpedo engine, in marble and bronze, which
held the place of honor at the Royal Academy the year of its exhibition;
Princess Henry of Prussia, in marble; her highness Princess Helena of
Saxe-Altenburg; his excellency the Baron von Rheinbaben, minister of
finance; his excellency Dr. Studt, minister of education in art; Prof.
Dr. Henry Thode, of the Heidelberg University; Hans Thoma and Joachim,
the violinist; Felix Weingartner; statuette of her royal highness
Princess Henry with her little son Prince Henry."
[_No reply to circular_.]
<b>GUNTHER-AMBERG, JULIE.</b> Born in Berlin, 1855. Daughter and pupil of
Wilhelm Amberg; later she studied under Gussow. She painted attractive
scenes of domestic life, the setting for these works often representing a
landscape characteristic of the shore of the Baltic Sea. Among these
pictures are "Schurr-Meer," "The Village Coquette," "Sunday Afternoon,"
"At the Garden Gate," and "Harvest Day in Misdroy." In 1886 this artist
married Dr. Gunther, of Berlin.
<b>GUYON, MAXIMILIÈNNE.</b> Medal of third class, Paris salon, 1888;
honorable mention and medal of third class at Exposition Universelle,
1889; travelling purse, 1894--first woman to whom the purse was given;
bronze medal, Paris Exposition, 1900; gold medal at Exposition of Black
and White, Paris; medal in silver-gilt at Amiens. Mme. Guyon is hors
concours at Lyons, Versailles, Rouen, etc. Member of the Société des
Artistes Français, Société des Aquarellistes Français, and of the Société
des Prix du Salon et Boursiers de Voyage. Born at Paris. Pupil of the
Julian Academy under Robert-Fleury, Jules Lefebvre, and Gustave
Boulanger.
Mme. Guyon is a successful portrait painter, and her works are numerous.
Among her pictures of another sort are the "Violinist" and "The River."
In the Salon des Artistes Français, 1902, she exhibited two portraits. In
1903 she exhibited "Mending of the Fish Nets, a scene in Brittany," and
"A Study." The net-menders are three peasant women, seated on the shore,
with a large net thrown across their laps, all looking down and working
busily. They wear the white Breton caps, and but for these--in the
reproduction that I have--it seems a gloomy picture; but one cannot judge
of color from the black and white. The net is well done, as are the
hands, and the whole work is true to the character of such a scene in the
country of these hard-working women.
Mme. Guyon is much esteemed as a teacher. She has been an instructor and
adviser to the Princess Mathilde, and has had many young ladies in her
classes.
In her portraits she succeeds in revealing the individual characteristics
of her subjects and bringing out that which is sometimes a revelation to
themselves in a pronounced manner. Is not this the key to the charm of
her works?
<b>HAANEN, ELIZABETH ALIDA--MME. KIERS.</b> Member of the Academy of
Amsterdam, 1838. Born in Utrecht. 1809-1845. Pupil of her brother, Georg
G. van Haanen. The genre pictures by this artist are admirable. "A Dutch
Peasant Woman" and "The Midday Prayer of an Aged Couple" are excellent
examples of her art and have been made familiar through reproductions.
<b>HALE, ELLEN DAY.</b> Medal at exhibition of Mechanics' Charitable
Association. Born in Worcester, Massachusetts. Pupil of William M. Hart
and of Dr. Rimmer, in Boston, and of the Julian Academy, Paris.
Her principal works are decorative. The "Nativity" is in the South
Congregational Church, Boston; "Military Music," decorative, is in
Philadelphia. She also paints figure subjects.
<b>HALLOWELL, MAY.</b> See Loud.
<b>HALSE, EMMELINE.</b> This artist, when in the Royal Academy Schools, was
awarded two silver medals and a prize of £30. Her works have been
accepted at the Academy Exhibitions since 1888, and occasionally she has
sent them to the Paris Salons. Born in London. Studied under Sir
Frederick Leighton, at Academy Schools, and in Paris under M. Bogino.
Miss Halse executed the reredos in St. John's Church, Notting Hill,
London; a terra-cotta relief called "Earthward Board" (?) is in St.
Bartholomew's Hospital, London; a relief, the "Pleiades," was purchased
by the Corporation of Glasgow for the Permanent Exhibition; her
restoration of the "Hermes" was placed in the British Museum beside the
cast from the original.
This artist has made many life-size studies of children, portraits in
marble, plaster, and wax, in all sizes, poetical reliefs, and tiny wax
figures.
<b>HAMMOND, GERTRUDE DEMAIN.</b> Several prizes at the School of the Royal
Academy, 1886, 1887, and in 1889 the prize for decorative design; bronze
medal at Paris Exposition in 1900. Member of Institute of Painters in
Water-Colors. Born at Brixton. After gaining the prize for decorative
design Miss Hammond was commissioned to execute her design, in a public
building. This was the third time that such a commission was given to a
prize student, and the first time it was accorded to a woman.
More recently Miss Hammond has illustrated books and magazines; in 1902
she illustrated the "Virginians" in a new American edition of Thackeray's
novels. At the Academy, 1903, she exhibited "A Reading from Plato."
<b>HARDING, CHARLOTTE.</b> George W. Childs gold medal at Philadelphia
School of Design for Women; silver medal at Women's Exposition, London,
1900. Born in Newark, New Jersey, 1873. Pupil of Philadelphia Academy of
Fine Arts and School of Design for Women. In the latter was awarded the
Horstman fellowship. Miss Harding is an illustrator whose works are seen
in a number of the principal magazines.
<b>HART, LETITIA B.</b> Dodge prize, National Academy of Design, 1898. Born
in New York, 1857. Pupil of her father, James M. Hart, and Edgar M. Ward.
Her principal works are "The Keepsake," "Unwinding the Skein," "In Silk
Attire," and "The Bride's Bouquet."
<b>HAVENS, BELLE.</b> Awarded third Hallgarten prize at National Academy of
Design, winter of 1903. Born in Franklin County, Ohio. Studied at Art
Students' League, New York, and at Colarossi Atelier, Paris. In New York
Miss Havens was directed by William Chase, and by Whistler in Paris. In
Holland she studied landscape under Hitchcock, and a picture called
"Going Home" was accepted at the Salon and later exhibited at the
Philadelphia Academy; it is owned by Mr. Caldwell, of Pittsburg.
Mr. Harrison N. Howard, in _Brush and Pencil_, writing of the exhibition
of the National Academy of Design, says: "'Belle Havens' the 'Last Load'
is part and parcel with her other cart-and-horse compositions,
commonplace and prosaic in subject, but rendered naturally and forcefully
and with no small measure of atmospheric effect. The picture is not one
of the winsome sort, and it doubtless makes less appeal to the spectator
than any other of the prize-winners."
<b>HAZLETON, MARY BREWSTER.</b> First Hallgarten prize, 1896; first prize
travelling scholarship, School of Museum of Fine Arts, Boston, 1899;
honorable mention, Buffalo, 1901.
[_No reply to circular_.]
<b>HEDINGER, ELISE.</b> Family name Neumann. Born in Berlin, 1854. Pupil of
Hoguet, Hertel, and Gussow in Berlin, and of Bracht in Paris. In recent
years she has exhibited in Berlin and other cities many exquisite
landscapes and admirable pictures of still-life, which have been
universally praised.
<b>HEEREN, MINNA.</b> Born in Hamburg; living in Düsseldorf. In the Gallery
at Hamburg is her "Ruth and Naomi," 1854; other important works are "The
Veteran of 1813 and His Grandson, Wounded in 1870," "The Little Boaster,"
"A Troubled Hour of Rest," etc.
<b>HELENA.</b> A Greek painter of the fourth century B. C. Daughter of
Timon, an Egyptian. She executed a picture of the "Battle of Issus,"
which was exhibited in the Temple of Peace, in the time of Vespasian, 333
B. C.
<b>HERBELIN, MME. JEANNE MATHILDE.</b> Third-class medal, Paris Salon,
1843; second class, 1844; and first class, 1847, 1848, and 1855. Born in
Brunoy, 1820. A painter of miniatures. One of these works by Mme.
Herbelin was the first miniature admitted to the Luxembourg Gallery.
<b>HEREFORD, LAURA.</b> 1831-1870. This artist is distinguished by the fact
that she was the first woman to whom the schools of the Royal Academy
were opened. She became a pupil there in 1861 or 1862, and in 1864 sent
to the Exhibition "A Quiet Corner"; in 1865, "Thoughtful"; in 1866,
"Brother and Sister"; and in 1867, "Margaret."
<b>HERMAN, HERMINE VON.</b> Born in Komorn, Hungary, 1857. Studied under
Darnaut in Vienna, where she made her home. She is a landscape painter
and is known through her "Evening Landscape," "Spring," "Eve," and a
picture of roses.
<b>HEUSTIS, LOUISE LYONS.</b> Member of Art Workers' Club for Women and the
Art Students' League. Born in Mobile, Alabama. Pupil of Art Students'
League, New York, under Kenyon Cox and W. M. Chase; at Julian Academy,
Paris, under Charles Lasar.
[Illustration: From a Copley Print.
THE DEPARTURE OF SUMMER
LOUISE L. HEUSTIS]
A portrait painter. At a recent exhibition of the Society of American
Artists, Miss Heustis's genre portrait called "The Recitation" was most
attractive and well painted. She has painted portraits of Mr. Henry F.
Dimock; Mr. Edward L. Tinker, in riding clothes, of which a critic says,
"It is painted with distinction and charm"; the portrait of a little boy
in a Russian blouse is especially attractive; and a portrait of Miss
Soley in riding costume is well done. These are but a small number of the
portraits by this artist. She is clever in posing her sitters, manages
the effect of light with skill and judgement, and renders the various
kinds of textures to excellent advantage.
As an illustrator Miss Heustis has been employed by _St. Nicholas,
Scribner's_, and _Harper's Magazine_.
<b>HILL, AMELIA R.</b> A native of Dunfermline, she lived many years in
Edinburgh. A sister of Sir Noel and Walter H. Paton, she married D. O.
Hill, of the Royal Scottish Academy. Mrs. Hill made busts of Thomas
Carlyle, Sir David Brewster, Sir Noel Paton, Richard Irven, of New York,
and others. She also executed many ideal figures. She was the sculptor of
the memorial to the Regent Murray at Linlithgow, of the statue of Captain
Cook, and that of Dr. Livingstone; the latter was unveiled in Prince's
Gardens, Edinburgh, in 1876, and is said to be the first work of this
kind executed by a woman and erected in a public square in Great Britain.
"Mrs. Hill has mastered great difficulties in becoming a sculptor in
established practice."--_Mrs. Tytler's "Modern Painters."_
"Mrs. Hill's Captain Cook--R. Scottish Academy, 1874--is an interesting
figure and a perfectly faithful likeness, according to extant portraits
of the great circumnavigator."--_Art Journal_, April, 1874.
<b>HILLS, LAURA COOMBS.</b> Medal at Art Interchange, 1895; bronze medal,
Paris Exposition, 1900; silver medal, Pan-American Exposition, 1901;
second prize, Corcoran Art Gallery, Washington, D. C, 1901. Member of
Society of American Artists, Women's Art Club, New York, American Society
of Miniature Painters, and Water-Color Club, Boston. Born in Newburyport,
Massachusetts. Studied in Helen M. Knowlton's studio and at Cowles Art
School, Boston, and at Art Students' League, New York.
[Illustration: MINIATURE OF PERSIS BLAIR
LAURA COOMBS HILLS]
Miss Hills is a prominent and successful miniaturist, and her numerous
pictures are in the possession of her subjects. They are decidedly
individual in character. No matter how simple her arrangements, she gives
her pictures a cachet of distinction. It may be "a lady in a black gown
with a black aigrette in her hair and a background of delicate turquoise
blue, or the delicate profile of a red-haired beauty, outlined against
tapestry, the snowy head and shoulders rising out of dusky brown velvet;
but the effect is gem-like, a revelation of exquisite coloring that is
entirely artistic."
"An attractive work," reproduced here, "may be called a miniature
picture. It is a portrait of a little lady, apparently six or seven years
old, in an artistic old-fashioned gown, the bodice low in neck and cut in
sharp point at the waist line in front; elbow sleeves, slippers with
large rosettes, just peeping out from her dress, her feet not touching
the floor, so high is she seated. Her hair, curling about her face, is
held back by a ribbon bandeau in front; one long, heavy curl rests on the
left side of her neck, and is surmounted by a big butterfly bow. The
costume and pose are delightful and striking at first sight, but the more
the picture is studied the more the face attracts the attention it
merits. It is a sweet little girl's face, modest and sensible. She is
holding the arm of her seat with a sort of determination to sit that way
and be looked at so long as she must, but her expression shows that she
is thinking hard of something that she intends to do so soon as she can
jump down and run away to her more interesting occupations."
<b>HINMAN, LEANA MCLENNAN.</b>
[_No reply to circular_.]