The Burning of Babel by Una L. Silberrad. 1909
"С успешным продвижением по службе Хьюгера, перемещалась и пара — сначала в Провиденс, затем в Род-Айленд, потом в Бостон, обратно в Филадельфию и, наконец, в Нью-Йорк. Элизабет продолжала иллюстрировать — и даже больше, чем прежде. При втором переезде Эллиоттов в Филадельфию, куда Хьюгер был назначен директором того, что сейчас является Филадельфийским колледжем искусства (Philadelphia College of Art), они приобрели небольшой дом в Джермантауне (Germantown), который назвали "Литл Гарт" (причудливое название для "сада"). После смерти Хьюгера в Нью-Йорке в 1951 году, Элизабет вернулась в Филадельфию. Окружённая своими старыми друзьями, она умерла в 1954 году" (© Elzea, Rowland and Elizabeth H. Hawkes, eds. A Small School of Art: The Students of Howard Pyle. Wilmington: Delaware Art Museum, 1980. © Перевод мой)
The Children by Josephine Daskam Bacon. 1909
Aurelie by Arthur Sherburne Hardy. 1909
The Suitable Child by Norman Dunkan. 1909
The Burning of Babel by Una L. Silberrad. 1909
The Little Romance By Norman Duncan. 1910
Her Eyes Are Doves by Harriet Prescott Spofford. 1910
Rose of the Dawn by Elinor Macartney Lane. 1910
A Credit to Densmore by Margarita Spalding Gerry. 1910
The Real Birthday of Dorante by Arthur Sherburne Hardy. 1910
The Shrine by Marie Manning. 1910
Thomas Conover by Clare Benedict. 1910
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.