<b>HULBERT, MRS. KATHERINE ALLMOND.</b> Born in Sacramento Valley, California. Pupil of the San Francisco School of Design under Virgil Williams; National Academy of Design, New York, under Charles Noel Flagg; Artist Artisan Institute, New York, under John Ward Stimson.
This artist paints in water-colors and her works are much admired. Among the most important are "The Stream, South Egremont," which is in a private gallery in Denver; "In the Woods" belongs to Mr. Whiting, of Great Barrington; and "Sunlight and Shadow" to Mr. Benedict, Albany, New York.
Mrs. Hulbert is also favorably known as an illustrator and decorative designer.
<b>HUNTER, MARY Y.</b> Four silver medals at Royal Academy Schools Exhibitions; diploma for silver medal, Woman's International Exhibition, Earl's Court, London. Member of Society of Painters in Tempera. Born in New Zealand. Studied at Royal Academy Schools.
The following list of the titles of Mrs. Hunter's works will give an idea of the subjects she affects: "Dante and Beatrice," "Joy to the Laborer," "An Italian Garden," "Where shall Wisdom be Found?" and the "Roadmenders," in Academy Exhibition, 1903.
The only work of Mrs. Hunter's that I have seen is the "Dante and Beatrice," Academy, 1900, and the impression I received leads me to think an article in the _Studio,_ June, 1903, a just estimate of her work. It is by A. L. Baldry, who writes: "In the band of young artists who are at the present time building up sound reputations which promise to be permanent, places of much prominence must be assigned to Mr. J. Young Hunter and his wife. Though neither of them has been before the public for any considerable period, they have already, by a succession of notable works, earned the right to an amount of attention which, as a rule, can be claimed only by workers who have a large fund of experience to draw upon. But though they have been more than ordinarily successful in establishing themselves among the few contemporary painters whose performances are worth watching, they have not sprung suddenly into notice by some special achievement or by doing work so sensational that it would not fail to set people talking. There has been no spasmodic brilliancy in their progress, none of that strange alternation of masterly accomplishment and hesitating effort which is apt at times to mark the earlier stages of the life of an artist who may or may not attain greatness in his later years. They have gone forward steadily year by year, amplifying their methods and widening the range of their convictions; and there has been no moment since they made their first appeal to the public at which they can be said to have shown any diminution in the earnestness of their artistic intentions.