I think that the following illustrations represent Elizabeth Shippen Green's best work. She had mastered her technique of sparkling watercolor glazes over solid charcoal drawings and yet, in the last color image seen below, she began painting in opaque colors. Personally, I don't like the direction she took and show only one such example. There are also two ink drawings that appear very derivative of her teacher Howard Pyle's pen renderings. The full view images may be enlarged, the closeups cannot.
"He Gazed at Her His Face Smiling," an illustration for "Tiphaiine la Fée" for the April 1906 issue of Harper's Monthly Magazine.
"She Was Lying Back Watching Him, in the Great Chair," another illustration for "Tiphaiine la Fée" for the April 1906 issue of Harper's Monthly Magazine.
"She Heard Him Speak to Someone Below," probably an illustration for another chapter of "Tiphaiine la Fée" which appeared in a later issue of Harper's Monthly Magazine for August 1907.
She looks to be drawn from the same model. The face is exquisite and the rest of the illustration: pose, drapery, background and all, is masterfully done.
"Miguela, Kneeling Still, Put it to her Lips," an illustration for "The Spanish Jade" for the September 1906 issue of Harper's Monthly Magazine.
Another exquisite model and a superb illustration.
"Jehane – The Constant Lover," an illustration for "The Navarrese" by James Branch Cabell for the September 1906 issue of Harper's Monthly Magazine.
"Giséle," one of Green's most memorable illustrations. It appeared in the October 1908 issue of Harper's Monthly Magazine. Compare the beauty and impact of this superb work with the image below.
"The Arbor," one of four paintings for "The Child in the Garden," featured in the December 1914 issue of Harper's Monthly Magazine. I don't know what the editors could have been thinking when they ran with these. However, Green may have fallen under other influences. She married Huger Elliott, a Philadelphia architect, in 1911 when she was 40 years old. Elliott soon became director of the Rhode Island School of Design and this may have influenced her to begin painting in a traditional way. She had, after all, studied in her youth with a great American painter, Thomas Eakins. Mary Cassatt was also an early influence. We can only speculate. Green continued to paint in this way for years to come and the results were stiff and unengaging.
"The Spirit of Life in All Things was Luminous." An illustration for "The Mansion" in the December 1910 issue of Harper's Monthly Magazine.
Illustration for "The White People" by Frances Hodgson Burnett, a lead story in the December 1916 issue of Harper's Monthly Magazine. Though the illustration and even the lettering reminds us of Howard Pyle, the drawing is dull and uninteresting. A pity she didn't stay with what she knew best how to do.