alon, 1894; medal, third class, 1895; medal,
second class, 1897; Hors Concours; bronze medal at Paris Exposition,
1900. Officer of Public Instruction; member of the Societe des Artistes
Francais. Born at Asnieres (Seine). Pupil of Cabanel, Antoine Vollon, and
Leon Comerre.

A painter of figure subjects and portraits. Several of her works are in
private collections in the United States. Among these are the
"Flower-Seller," the "Knife-Grinder," "M. de Richelieu's Love Knots,"
exhibited in the Salon of 1902, and "Going to School."

"The Dull Season" is in London; "Cinderella" and many others in Paris.

This artist, when still in short skirts, sent her first picture, "In the
Market Place," to the Salon of 1884. She is most industrious, and her
history, as she herself insists, is in her pictures. She has been
surrounded by a sympathetic and artistic atmosphere. Her mother was an
art critic, who, before her second marriage to Prince Stirberg, signed
her articles Gustave Haller. Her home, the Chateau de Becon, is an ideal
home for an artist, and one can well understand her distaste for realism
and the professional model.

"M. de Richelieu's Love Knots" is very attractive and was one of the
successes of 1902. He is a fine gentleman to whom a bevy of young girls
is devoted, tying his ribbons, and evidently admiring him and his
exquisite costume. The girls are smiling and much amused, while the young
man has an air of immense satisfaction.

At the Salon of 1903 Mlle. Fould exhibited "La
Chatouilleuse"--Tickling--and "Nasturtiums." The first shows a young
woman seated, wearing a decollete gown, while a mischievous companion
steals up behind and tickles her neck with a twig. It is less attractive
than many of this artist's pictures.

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