This Page:
Marie Cornelissen Lucas
Jessie Macgregor
Madeline F. Marrable
Edith Martineau
Clara Montalba
Hilda Montalba
Ellen Montalba
Emily Mary Osborn
Florence Pash Humphrey
Kate Perugini
Elizabeth Piper
Henrietta Rae
Four Sisters--
representative work.
On the Threshold
--representative work.
Small and of no reputation
--representative work.
We are but children weak,
nor born to any high estate
--representative work.
Types of English Beauty
--representative work.
. . . 
Double-sided painting: Purity (left side); Devil (right side).
Henry VI or
Our Baby King,
Henry VI by the Grace of God,
Kynge of Englond and Fraunce
and Lorde of Ireland 1888
(Infant monarch in white and ermine;
crimson
drapery signifies his
sovereignty)--exhibited in Fine
Arts Palace, 1893 Exposition.
Our Baby King,
Henry VI (selection)--
representative work.
British artist Marie Seymour Lucas was born in Paris and studied art in Paris, London (Royal Academy), and Germany. Her birth name was Maria Elizabeth Cornelissen, but she evidently painted and exhibited under the name "Marie Cornelissen" as well as under "Mrs. John Seymour Lucas" after she married the historical painter by that name in 1877. No other information is available online. (Note: Some sources seem to be confusing Maria Elizabeth with her daughter "Mary Ellen.")
Self-Portrait--representative work.
Jepthah 1889--representative work.
In the Reign of Terror 1891
--exhibited in Fine Arts
Palace, 1893 Exposition.
Twenty-Fourth
of December
--may or may not be
The Mistletoe Bough which
was exhibited
in Fine Arts
Palace, 1893 Exposition
Jessie Macgregor grew up in London in a family of painters (uncle, brother, and grandfather), the latter being her first art teacher. She studied at the Schools of the Royal Academy under Lord Leighton, P. H. Calderon, and John Pettie. She frequently exhibited history and religious paintings. Some of her paintings show a Pre-Raphaelite influence.
Mountain Aperture--representative work
Isolabella Lago Maggiore--exhibited in the Rotunda,
Woman's Building, 1893 Exposition.
Piazza Communale Nebbiolo, Lago di Como;
Val de Fex, Engadine, Switzerland; and Old Cedar Trees,
Boyle Farm, Thames Ditton, Surrey (images unavailable)
--exhibited in the Fine Arts Palace, 1893 Exposition.
Born to British army officer James Cockburn (later a merchant)and his Scottish wife, Madeline Susan Dunlop (who died young), Madeline Frances Marrable began her studies, arranged by her painter uncle Ralph Cockburn, with Henry Warren, president of the Old Watercolor Society, and later studied landscape oils with Peter Graham and at Queen Square School (later, Female School of Art) in Bloomsbury. Although left with two young children after the death of her husband, the architect Frederick Marrable, she was employed as a portrait painter for the Royal family, traveled extensively throughout Europe and Ireland, and was the long-time president of the Society of Female Artists (later, of Lady Artists). Her daughter Edith Ferguson also became an artist.
Portrait of an Arab 1870--
representative work.
Door--
representative work.
The Stone Breakers
1887--representative work.
Helen Thornycroft--
representative work.
Early Steps 1885--
representative work.
Session of Sweet
Silent Thought--
representative work.
In Sweet Music; Her Favorite Doll; and Shelling Peas--
all exhibited in Fine Arts Palace, 1893 Exposition.
The niece of the author Harriet Martineau, Edith Martineau was born in Liverpool into the large family of a Unitarian minister. She studied art at the Liverpool School of Art and at the Royal Academy Schools in London. Evidently she worked mainly in watercolors and specialized in children's portraits. No other information is available online.
Doge's Palace from the Bacino, Venice
1870--representative work.
Port of Amsterdam 1870--
representative work.
Venice--representative work
Piazzetta Venice 1870--
representative work.
Venetian Festival Scene--
representative work.
Busy Marketplace in Venice--
representative work.
San Marco, Venice--
representative work.
Thames Barge Off Battersea--
exhibited in the Fine Arts
Palace, 1893 Exposition.
St. Mark's Square, Venice
1877--this painting may
be St. Mark's, Venice
which was exhibited
in the Fine Arts Palace,
1893 Exposition.
Pallazzio Rezzonice, Regatta
Day (Browning's Palace,
Venice)--exhibited in the
Rotunda, Woman's Building,
1893 Exposition.
A Venetian Ferry and After a Storm, Venice
(images unavailable)--exhibited in
the Fine Arts Palace, 1893 Exposition.
Born in England, Clara Montalba was part of a family of painters and sculptors, including her Swedish painter-father Anthony Montalba (her mother was British). She and her three artist sisters began exhibiting at the Royal Academy in London during the 1870s. Studying occasionally and individually in Paris with the French Impressionist Eugene Isabey and in Venice at the Accademia di Belle Arti, Clara became internationally recognized through her European and American exhibitions and was one of the first women admitted to the Royal Watercolor Society in England in 1876. She was particularly known for her watercolors of fishing boats, coastal areas, and Venice, where she lived with her mother and sisters after her father's decease. Clara was the most successful of the Montalba sisters.
Visit of English Mediterranean Fleet to Lagoon, Venice 1893.
Venetian Boatman--
representative work.
Venetian Boy Onion-seller--
representative work.
[Boy holding large melon]--
representative work.
Venecia con buen viento--
representative work.
Market-Women, Dordrecht (image unavailable)
[listed incorrectly as "Dortrecht" in official catalogue]
--exhibited in Rotunda, Woman's Building,
1893 Exposition.
Born in England, Hilda Montalba was part of a family of painters and sculptors, including her Swedish painter-father Anthony Montalba (her mother was British). She and her three artist sisters began exhibiting at the Royal Academy in London during the 1870s. Hilda had some training at South Kensington and Slade Schools. Like her sisters, Hilda painted many landscape subjects, including scenes of Venice, where she lived with her mother and sisters after her father's decease. She also painted close-up studies of Venetian people.
Self-portrait 1885--
representative work.
Elegant Ladies in an Interior Casting Flowers
from an Open Window--representative work.
Dreams--
representative work.
Venetian Seven Ravens--
A Fairy Tale--
representative work.
On the Riviera--exhibited
in the Rotunda, Woman's
Building, 1893 Exposition.
A Lost Love--
representative work.
Born in England, Ellen Montalba was part of a family of painters and sculptors, including her Swedish painter-father Anthony Montalba (her mother was British). She and her sisters began exhibiting at the Royal Academy in London during the 1870s. Ellen studied at the Royal College of Art and abroad, but was based in Venice where she lived with her mother and sisters after her father's decease. Ellen was known for her portraits, genre studies, and landscapes.
Barbara Leigh Smith Bodichon
--representative work.
God's
Acre--
representative work.
Lord Nithsdale, Escape from the Tower--
representative work.
Estuary at Dusk--
representative work.
Santa Maria della Saluta (image unavailable)--
exhibited in the Rotunda, Woman's
Building, 1893 Exposition.
Summer Shroud: "When nature's dying
face is veiled" (image unavailable)--
exhibited in Fine Arts Palace, 1893 Exposition.
Emily Mary Osborn studied art in London privately and at Dickinson's Academy, perhaps also in Munich. By age seventeen, she was exhibiting at the British Royal Academy; soon she was receiving commissions, and one of her paintings was purchased by Queen Victoria.
Portrait
of Walter Sickert--
representative work.
What
Shall We Do?--
representative work.
Over the Way (image unavailable)--exhibited
in Fine Arts Palace, 1893 Exposition.
Florence Pash Humphrey was a British portrait artist who, during the mid-1890s, ran a private art school with her artist friend Walter Sickert until she married a well-off Canadian name Albert Alexander Humphrey. Her second husband's name was C. T. Holland. No other information is available online.
Portrait of Mrs. Benjamin
Charles Stephenson--
representative work.
Mary Angela Dickens 1882
--representative work.
Eric Hawksley--
representative work.
Dora 1892--
representative work.
Dorothy de Michelle 1892
--representative work.
A Young Girl and her Doll--
representative work.
Portrait of Agnes Pheobe
Burra (or Feeding the Rabbit)
--representative work.
Flossie--
representative work.
Tomboy--exhibited in
the Fine Arts Palace,
1893 Exposition.
The Flower Merchant
1891--representative
work.
Molly's Ball Gown 1887--
exhibited in Rotunda,
Woman's Building,
1893 Exposition.
Happy and Careless--
exhibited in Fine Arts
Palace, 1893 Exposition.
Kate Dickens Perugini, the youngest surviving and reputedly favorite daughter of the Victorian novelist Charles Dickens, was known for her genre paintings and portraits. After her first husband (artist Charles Allston Collins, the brother of novelist Wilkie Collins) died in 1873, she married artist Charles Edward Perugini who nurtured Kate's development as an artist. By 1877, Kate was exhibiting at the Royal Academy and enjoying artistic society, including friends such as George Bernard Shaw and J.M. Barrie. Kate and her second husband collaborated on some paintings such as Flossie (above).
Portrait of Mrs.
Piper
at Spinning Wheel--
exhibited in Woman's
Building, 1893 Exposition.
Saint John Baptist, Yeovil
c. 1910--representative
work.
Chelsea Homes of Carlyle, Rossetti, Turner, and George Eliot;
Le Musee de Cluny, Paris; Old Chelsea Church;
and The Cloisters, Bristol Cathedral (images unavailable)
-- exhibited in Fine Arts Palace,
1893 Exposition.
British etcher and painter Elizabeth Piper studied art at the Clifton School of Art in Bristol and at the Royal College of Art in London, as well as in Belgium and Paris. She often exhibited her work which was purchased by the City of Leeds and by Queen Victoria. She was an Associate of the Royal Engravers and a member of the Royal West of England Academy.
Study for Head of Whittington--representative work.
Ellen Terry and Henry Irving
as Heloise and Abelard
--representative work.
The Lady with the Lamp
(Florence Nightingale, at Scutari)
--representative work.
Pandora--
representative work.
Zephyrus Wooing Flora--
representative work.
Apollo and Daphne--representative work.
Psyche before the Throne of Venus 1894--representative work.
La Cigale--exhibited in
Fine Arts Palace, 1893 Exposition.
Eurydice
Sinking Back
to Hades--exhibited
in the Rotunda, Woman's
Building, 1893 Exhibition.
Doubts 1886--exhibited in the
Fine Arts Palace, 1893 Exposition.
Henrietta Rae was born in London and began studying art at age thirteen at the Queen's Square School. Further studies were undertaken at Heatherley's, the British Museum, and the Royal Academy Schools where she had to apply at least a half-dozen times before finally being accepted (she eventually won a seven-year scholarship). She became a well-known Victorian artist, exhibiting often. Her magnum opus was Psyche at the Throne of Venus, a 12ft x 7ft composition, but the original painting seems to be lost; only the "study" (above) is available to determine the colors of the finished painting. Rae also painted melodramatic literary subjects, nudes, portraits, and genre pictures. She married artist Ernest Normand. At the 1893 Exposition, she won at least one medal.
Go to British Women Painters, p. 4
Return to Women Painters Index
Return to Site Index
Text written by K. L. Nichols
Painting, top of page: Marie Konstantinovna
Bashkirtseff,
In the Studio (1881).
Return to Nichols Home Page
Suggestions/Comments: knichols11@cox.net
Posted: 6-25-02; Updated: 5-29-19
