At the Salon of 1903 Mlle. Fould exhibited "La
Chatouilleuse"--Tickling--and "Nasturtiums." The first shows a young
woman seated, wearing a décolleté 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 last were the
least successful of her works.

Her "Cinderella" is delightful; the two "Merry Wives of Windsor," sitting
on the basket in which Falstaff is hidden, and from which he is pushing
out a hand, is an excellent illustration of this ever-amusing story, and,
indeed, all her pictures of this class may well be praised.

To the Exposition of 1900 she sent an allegorical picture, called "The
Gold Mine." A young woman in gold drapery drops gold coins from her
hands. In the background is the entrance to a mine, lighted dimly by a
miner's lamp, while a pickaxe lies at the feet of the woman; this picture
was accorded a bronze medal.