In 1890 Mlle. Fould painted a portrait of her stepfather, and for a time devoted herself to portraits rather than to the subjects she had before studied with such success. In 1893 she painted a portrait of Rosa Bonheur, in her studio, while the latter paused from her work on a large picture of lions. This portrait presents the great animal painter in a calm, thoughtful mood, in the midst of her studio, surrounded by sketches and all the accessories of her work. In the opinion of many who knew the great artist most intimately this is the best portrait of her in existence.
Mlle. Fould, at different periods, has painted legendary subjects, at other times religious pictures, but in my judgment the last were the least successful of her works.
Her "Cinderella" is delightful; the two "Merry Wives of Windsor," sitting on the basket in which Falstaff is hidden, and from which he is pushing out a hand, is an excellent illustration of this ever-amusing story, and, indeed, all her pictures of this class may well be praised.
To the Exposition of 1900 she sent an allegorical picture, called "The Gold Mine." A young woman in gold drapery drops gold coins from her hands. In the background is the entrance to a mine, lighted dimly by a miner's lamp, while a pickaxe lies at the feet of the woman; this picture was accorded a bronze medal.
Adam, Mme. Nanny. First prize from the Union of Women Painters and Sculptors, Paris. Medal from the Salon des Artistes Français, and "honors in many other cities." Member of the Société des Artistes Français. Born at Crest (Drôme). Her studies were made under Jean Paul Laurens. Her pictures called "Calme du Soir" and "Le Soir aux Martignes" are in private collections. "Les Remparts de la Ville Close, Concarneau," exhibited at the Salon Artistes Français in 1902, was purchased by the French Government. In 1903 she exhibited "June Twilight, Venice," and "Morning Fog, Holland."
Adelsparre, Sophie Albertine. Born in Oland 1808-62. In Stockholm she received instruction from the sculptor Ovarnström and the painter Ekman; after her father's death she went to Paris and entered the atelier of Cogniet, and later did some work under the direction of her countrymen Wickenberg and Wahlbom. She had, at this time, already made herself known through her copies of some of the Italian masters and Murillo. Her copy of the Sistine Madonna was placed by Queen Josephine in the Catholic church at Christiania. After her return from Dresden where she went from Paris, she painted portraits of King Oscar and Queen Josephine. In 1851, having received a government scholarship, she went to Munich, Bologna, and Florence, and lived three years and a half in Rome, where she was associated with Fogelberg, Overbeck, and Schnetz, and became a Catholic. During this time she copied Raphael's "Transfiguration," now in the Catholic church at Stockholm, and painted from life a portrait of Pius IX. for the castle at Drottningholm. She also painted a "Roman Dancing Girl" and a "Beggar Girl of Terracina."
Ahrens, Ellen Wetherald. Second Toppan prize, Pennsylvania Academy of Fine Arts. Second prize and silver medal, Carnegie Institute, Pittsburg, 1902. Member of the Pennsylvania Academy, the Plastic Club, and the Pennsylvania Society of Miniature Painters. Born in Baltimore. Studied at Boston Museum of Fine Arts under Grundmann, Champney, and Stone; Pennsylvania Academy under Thomas Eakins; Drexel Institute under Howard Pyle.
Many of her portraits are in private hands. That called "Sewing," a prize picture, will be in the St. Louis Exhibition. Her portrait of Mr. Ellwood Johnson is in the Pennsylvania Academy. That of Mary Ballard—a miniature—was solicited for exhibition by the Copley Society, Boston.
Miss Ahrens is also favorably known as a designer for stained-glass windows.
Alcott, May—Mme. Nieriker. Born in Concord, Massachusetts, 1840-79. A sister of the well-known author, Louisa M. Alcott. This artist studied in the Boston School of Design, in Krug's Studio, Paris, and under Müller. She made wonderful copies of Turner's pictures, both in oil and water colors, which were greatly praised by Ruskin and were used in the South Kensington Art Schools for the pupils to copy. Her still-life and flower pictures are in private collections and much valued.