My Lady Clemency Goes to Rye by Maud Stepney Rawson. 1903
"Элизабет Шиппен Грин Эллиотт (анг. Elizabeth Shippen Green Elliott; 1871–1954) - известна своими работами, опубликованными в "Харперз магэзин" (примечание: Harper’s New Monthly Magazine; Harper’s Monthly Magazine). В 1901 году она начала работать в журнале по эксклюзивному контракту, который продлевался в течение следующих двадцати трёх лет - до октября 1924 года.
----
1 сентября 1871 года у Джаспер Грин (Jasper Green) и Элизабет Шиппен Букл Грин (Elizabeth Shippen Boucle Green) родилась дочь - Элизабет. Серьёзное художественное образование Элизабет началось в вечерних классах Академии изящных искусств Пенсильвании (Pennsylvania Academy of the Fine Arts), где она провела один год в классе античного искусства - рисуя с гипсовых слепков и два года в натурном классе - изучая живые модели. Среди её учителей были Томас Аншуц (Thomas Anshutz), Томас Икинс (Thomas Eakins) и Роберт Вонно (Robert Vonnoh). По окончании Академии Элизабет иллюстрирует статьи в некоторых филадельфийских газетах, в частности в "Филаделфии таймс" и "Паблик леджер"; спустя год - делает рекламные иллюстрации для "Строубридж энд Клотье" (примечание: Strawbridge and Clothier – универмаг в Филадельфии); с 1895 по 1901 год - иллюстрирует статьи, рассказы и детские страницы во многих ведущих журналах тех дней" (© Elzea, Rowland and Elizabeth H. Hawkes, eds. A Small School of Art: The Students of Howard Pyle. Wilmington: Delaware Art Museum, 1980. © Перевод мой) 
Our Tree-top Library by Richard Le Gallienne. 1902
The Rose of Monsieur Alpphonse by Thomas Allibone Janvier. 1902
The Stranger by Virginia Yeaman Remnitz, 1902
Perdita's Lovers by Richard Le Gallienne. 1902
The Very Small Person by Annie Hamilton Donnel. 1902
My Lady Clemency Goes to Rye by Maud Stepney Rawson. 1903
The Winning of Madame Bonnedoux by Marie Van Vorst. 1903
According to data published on the Norman Rockwell Museum website, Elizabeth Shippen Green (1871-1954) was born to a well-connected Philadelphia family. An ambitious student at the Philadelphia Academy of the Fine Arts under Thomas Eakins, Thomas Anschutz, and Robert Vonnoh, Green additionally took on coursework at the Drexel Institute with Howard Pyle. The instruction of these teachers links Green to acclaimed illustrator Maxfield Parrish, an artist whose work influenced Elizabeth Shippen Green. It was in Pyle’s class that she met her fellow artists Jessie Willcox Smith and Violet Oakley. These three women shared a studio space in downtown Philadelphia before moving to the old Red Rose Inn Estate in Villanova, where they lived and worked for many years. This unusually close group of successful female illustrators came to be known as the Red Rose Girls, named as such by Pyle himself. Their body of work is a cornerstone of the Golden Age of American illustration, a time when magazine publishing flourished. In 1901, Green signed a semi-exclusive contract with Harper’s Weekly. She was the first female staff member of Harper’s. I will add that Elizabeth was publishing before she was eighteen, making pen and ink drawings and illustrations for St. Nicholas Magazine, Woman's Home Companion, and The Saturday Evening Post. In the series of drawings that Harper's specially commissioned from her in 1905, she depicts a romanticized domestic life. More typically, however, in her work for Harper's, she portrayed adults in diverse dramatic situations. Critics praised her decorative style, original compositions, and subtle use of color.