critical factor in the 1870s. In 1873 she exhibited her first flower piece and through the 1870s she divided her time between her studio in London and her studio in Glasgow. While Osborn continued to exhibit works at many galleries in the 1880s, none were as well received as her earlier works. In 1884 she made her first portrait in years of Mme Bodichon. Osborn exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois. From the late 1880s to 1908, her works mainly consisted of landscapes. Themes Like other female artists of her time, she focused on literary works for inspiration as it was common for literary paintings to be vehicles female artists used to display their skill and obtain other work such as portraits and landscapes. However, distinguishing her from other female artists who created literary paintings, Osborn's typically were more complex and featured multiple figures to display her ability. For a period of time, her works also focused on the contrast between youth and age, like in Tough and Tender (1862) and Sunday Morning, Betzingen, Wurtemburg (1863). However, her work that got the most acclaim was her work that seemed to have a moralizing aspect. Osborn specialized in emotive scenes and often her subjects were young women and children. Her work was seen to have a moral or educational aspect and had a sense of truth and representation of the real world and subjects they depicted. For example, The Governess (1860), For the Last Time (1864), and Half The World Knows Not How the Other Half Lives (1864) were all three seen as conveying valuable moral lessons. There was also a body of literature and painting focused on middle-class women who had to earn money. These works were often inspired by the middle-class women who wrote and painted these subjects and Osborn's Nameless and Friendless (1857) also plays upon this theme. Nameless and Friendless Osborn's most famous work is Nameless and Friendless (1857), which has been called "The most ingenious of all Victorian widow pictures." It depicts a recently bereaved woman attempting to make a living as an artist by offering a picture to a dealer, while two "swells" at the left ogle her. The creation of this piece was a product of its time. In the 1850s there was an influx of middle-class women