Ancher (whom she married in 1880) noticed and encouraged her talent, which was first displayed in small crayons treating pathetic or humorous subjects.  From 1875-78 she studied with Khyn, and later more or less under the direction of her husband.  She has painted exclusively small pictures, dealing with simple and natural things, and each picture, as a rule, contains but a single figure.  She believes that a dilapidated Skagen hovel may meet every demand of beauty.  “Maageplukkerne”—­“Gull plucking”—­exhibited in 1883, has been called one of the most sympathetic and unaffected pieces of genre painting ever produced by a Danish artist.

An “Old Woman of Skagen,” “A Mother and Child,” and “Coffee is Ready” were among the most attractive of her pictures of homely, familiar Danish life.  The last represents an old fisher, who has fallen asleep on the bench by the stove, and a young woman is waking him with the above announcement.

“A Funeral Scene” is in the Copenhagen Gallery.  The coffin is hung with green wreaths; the walls of the room are red; the people stand around with a serious air.  The whole story is told in a simple, homely way.

In the “History of Modern Painters” we read:  “All her pictures are softly tender and full of fresh light.  But the execution is downright and virile.  It is only in little touches, in fine and delicate traits of observation which would probably have escaped a man, that these paintings are recognized as the work of a feminine artist.”

ANTIGNA, MME. HELENE MARIE. Born at Melun.  Pupil of her husband, Jean Pierre Antigna, and of Delacroix.  Her best works are small genre subjects, which are excellent and much admired by other artists.

In 1877 she exhibited at the Paris Salon “On n’entre pas!” and the “New Cider”; in 1876, an “Interior at Saint Brieuc” and “A Stable”; in 1875, “Tant va la cruche a l’eau,” etc.

APPIA, MME. THERESE. Member of the Society of the Permanente Exposition of the Athenee, Geneva.  Born at Lausanne.  Pupil of Mercie and Rodin at Paris.

Mme. Appia, before her marriage, exhibited at the Paris Salon several years continuously.  Since then she has exhibited at Turin and Geneva.

She has executed many portrait busts; among them are those of M. Guillaume Monod, Paris, Commander Paul Meiller, and a medallion portrait of Pere Hyacinthe, etc.

ARGYLL, HER ROYAL HIGHNESS, THE PRINCESS LOUISE, DUCHESS OF. This artist has exhibited her work since, 1868.  Although her sketches in water-color are clever and attractive, it is as a sculptor that her best work has been done.  Pupil of Sir J. E. Boehne, R.A., her unusual natural talent was carefully developed under his advice, and her unflagging industry and devotion to her work have enabled her to rival sculptors who live by their art.

Her busts and lesser subjects are refined and delicate, while possessing a certain individuality which this lady is known to exercise in her direction of the assistant she is forced to employ.  Her chief attainment, the large seated figure of Queen Victoria in Kensington Gardens, is a work of which she may well be proud.