THE FIRST BIOGRAPHY OF BRIDGET BATE TICHENOR

By Zachary Selig

TX, PA, PAU COPYRIGHTS 2000, 2006 & 2009

Writers Guild Registration TX 1382590 2008

Derived from

“Bridget Bate Tichenor – The Magic Realist Painter”

By Zachary Selig

TX, PA, PAU COPYRIGHTS 1990, 2000, 2006, &  2009

TXU 1 321 112 11/6/06

“Love Lies Bleeding”


The Bridget Bate Tichenor Story

By Zachary Selig

Writers Guild Registration TX PA #1342445 2008

Website: www.zacharyselig.com

                                           INTRODUCTION

The mesmerizing story of the Magical Realist painter Bridget Bate Tichenor has not been told.  It is not just a story. It is an extraordinary and riveting story of a remarkable female artist who impacted the 20^th Century world of fashion, art, and society with enormous contributions.  Revealed are the intimacies and secrets of an outwardly beautiful, exotic, bold, and courageous, yet painfully shy and reclusive woman who lived in extraordinary times, hither to the unknown world or her peers and colleagues.

Bridget’s life was led in an astonishing way in many contrasting countries and in many revolutionary platforms on a level of excellence that has not been recognized or acknowledged outside small eccentric art circles. Bridget adhered to rarefied and noble standards of human pride, integrity, respect, discipline, and compassion. These humane traits she honored above all else in life.  Bridget’s impeccable personal values in tandem with her determination and prioritization to execute her artistic vision are the essence of her story, which creates historical value as her world message.

Bridget inherited a peripatetic world from her self-absorbed, famous, and creatively gifted parents that fueled deep insecurities fed by fears of abandonment. Subsequently, she reinvented herself by necessity and by choice to mold herself into the world that she needed to fit into at any given time in order to survive.

Bridget's mother, Vera Bate Lombardi (Sarah Gertrude Baring Arkwright Fitzgeorge Bate Lombardi) was an indomitable combination of beauty and bravado with the highest connections. From 1925-1939, Vera became Co Co Chanel's muse and Public Relations liaison to several European Royal Families. Her demeanor and style influenced the 'English Look’, the very foundation for the House of Chanel. Vera Bate Lombardi's mother was Rosa Frederica Baring of the Baring Banking family, who had rescued the British Royal family during difficult economic times. Vera was allegedly an illegitimate descendent of George III, through her reputed father, HRH Prince Adolphus Cambridge, 1st Marquess of Cambridge Duke of Teck. She was presented socially as Fitzgeorge, as she was the unadopted daughter of her stepfather, the morganatic and bastard Colonel Fitzgeorge, son of Prince George, Duke of Cambridge and his mistress Sarah Louisa Fairbrother. Vera Bate Lombardi Biography

Chanel craved Vera’s immense popularity and privileged patrician heritage, however shrouded in controversial royal illegitimacies. Chanel came from humble beginnings, and was decidedly uneducated. She looked to Vera as a ‘social advisor’, who would be responsible for her societal launch and business triumph. It was evident that Chanel's personal identity had been tragically dehumanized and shamed as an orphan, and she systematically absorbed Vera’s exotic mannerisms, from gestures to stance, with Cambridge and Oxford intonations, in a scheming and arrogant self-reinvention of entitlement.

Lombardi was a flawless British Royal Fashion icon to Chanel, and Chanel shamelessly used her to establish her fashion-identity-template, which became the legendary Chanel brand. Years later, Vera, retaliated against Chanel's ruthless jealousies and manipulations, and exposed her as a Nazi spy to her cousin Sir Winston Churchill in Spain circa 1944. This disclosure shattered Chanel's reputation for many years.

Until now, Vera Bate Lombardi has been relatively obscured in Chanel's literary and film biographies. Chanel cunningly perpetuated her adapted character identity, and concealed the truths of her business cornerstone. What had begun as flattery for Vera, terminated in disgust.

The beautiful, noble, artistic, and rich are different and misunderstood or condemned, yet granted societal privileges few receive. These very qualities that embodied her unique style influenced and were copied by some of the greatest names of the 20^th century, who were capable of creating a mass appeal through their vision that she ignited. She was loved and envied, but most of all she was awe-inspiring.

Bridget had an amazing and tragic multidimensional life that was filled with an arranged marriage, fantasies, true loves, romantic and professional rivalries, artistic achievements, mysticism, perfectionism, and shattered dreams. All of which was portrayed in the most glamorous world settings with famous personalities and eccentric nobility that she orchestrated into a dramatic metaphysical theater of magical relationships.

Her controversial royal illegitimate background overshadowed her profound artistry and her sense of self worth.  In her era and society, it was important to be of royal lineage. Her achievement in the art world was diminished by who she was as an illegitimate royal family member, her ravishing beauty, her refined intelligence, and her commanding personality. Her controversial background was more important and interesting to her friends, which graciously made her celebrated and received on one hand, yet made her hide how great an artist she was on the other and never acknowledged. This is why she was so shy about showing who she was as a superlative painter.

She compartmentalized her life. She was deathly afraid to remove her complex multiple masks and reveal not only her precious art, but also her deepest intimate feelings to others. She was validated only by those relationships that had a higher profile than she, so that she could retreat behind her provocatively mysterious and seductive persona to hide her acute vulnerability.

She was difficult to get to know, guarded, and very secretive.  She revealed certain things to socially survive, while withholding her poetically rich emotional and spiritual communications to focus through her dedicated relationship with her sacred and sovereign art.

Just before her death, I promised my dear friend and genius mentor Bridget that the world would know who she was.

Zachary Selig

                                            THE BIOGRAPHY

Bridget Bate Tichenor was born Bridget Pamela Arkwright Bate in Paris, France November 22, 1917 and died in Mexico City, Mexico October 20, 1990 at the age of seventy-two. She was a Mexican Surrealist painter of Fantasy Art in the school of Magic Realism and a Fashion Editor. Born in France and of British descent, she later embraced Mexico as her home.

Her childhood and adolescence was spent in England and Italy from age 5 – 16, where her father guided her to attend the Slade School for drawing and painting in London. In her early teens she became the protégé of her mother’s friend Giorgio Di Chirico in Italy and was greatly influenced by Lenor Fini when she went to Paris to live with her mother and work as a model for Co Co Chanel at age 16.

In her youth, Bridget was a product of The School of Paris, the inviolable center of art until after WW II. It was the greatest laboratory as a community versus a style of modern art that included Fauvism, Cubism, Orphism, Dadaism, Surrealism, and Magic Realism. She grew up in her parent’s creative world of the great artists of the day such as Picasso, Di Chirico, Salvador Dali, Leonor Fini, Jean Cocteau, Max Ernst, and many others. The photographer Man Ray was a close friend of her father, who photographed her in Europe and later in Hollywood.

Bridget was the daughter of the Virginia born American NBC, World War I correspondent Frederick Blantford Bate and Sarah (Vera) Gertrude Arkwright Bate Lombardi, who were married after Bridget’s birth in 1919. Fred Bate was responsible for the first radio broadcast news via Alistair Cooke of King Edward VIII’s abdication and proposed marriage to Wallis Simpson in 1936. Not only Edward, but also many Royals, and UK military leaders became close friends with Bate during his marriage to Vera. Vera was a nurse at the American Hospital in Paris in 1915 when she first met Bate, who was a US Army officer at the time.

Vera was reputed to be the illegitimate daughter of HSH Prince Adolphus, 1ST Marquess of Cambridge, Duke of Teck, and younger brother of Queen Mary of Teck. Vera’s mother was Rosa Frederica Baring of the Baring Brothers & Co. banking family. The Baring family had a long established history of assisting the British Royal family with various loans and was closely tied in business. Diana, Princess of Wales was a Baring descendent, and therefore a relation of Bridget Bate Tichenor.

Co Co Chanel’s admirer Comte Leon de Laborde introduced Vera to Chanel while she and Chanel worked as nurses at the American Hospital in Paris in 1915 during WW I. Vera later became the public relations liaison to the royal families of Europe for Co Co Chanel between 1925 and 1938. Chanel venerated Vera’s style and built fashion statements upon the core of Vera’s character that would become an eternal style.

Chanel envied Vera in every way and emulated her behind an ingratiating employer’s mask. Vera was ravishingly beautiful, extroverted, royal, popular, creative, well-mannered, ethical, naive, and above all a free spirit. Vera was the antithesis of Chanel from physicality and character demeanor, which Chanel exploited with shrewd business savvy through Vera’s naiveté and financial insecurity.

Vera was the muse and inspiration for Chanel that established the Chanel “English Look” and brand, based upon Vera borrowing riding tweeds from her uncle the 2nd Duke of Westminster (Bend’Or), and jewels from her aunt Queen Mary of Teck that she and Chanel costumed together at dinner party pranks in Scotland. Vera’s persona became Chanel’s professional identity that she assumed until she died. The Chanel man-tailored tweed suit accessorized with over-scaled paste jewelry that defined Chanel was founded upon Vera Bate Lombardi and her family’s wardrobes and jewelry caches.

Vera Arkwright was socially recognized as the granddaughter of the 1st Duke of Cambridge and therefore a descendent of George III, which was not true, as Fitzgeorge never legally adopted her after her mother divorced Colonel Arkwright. According to Bridget, there were illegitimacies both in Vera’s bloodline and in reference to her mother’s second husband that confused many a genealogist and biographer. There have been Chanel biographies suggesting that Vera’s birth certificate documented that she was the daughter of a stonemason, which is false and a royal family cover-up.

Bridget once stated, “Maman was born in the same year of Rosa’s divorce from Colonel Arkwright in 1885, and she was a child that represented a pawn on a royal chess-set for Rosa. My mother was abandoned by Rosa and hidden away in the country with the Arkwrights to be cared for as an infant. The truth all became so muddled as Rosa married the illegitimate 1st Duke of Cambridge. A huge scandal pushed my great great Aunt Queen Victoria away from Granny, who succeeded in New York as Lady Fitzgeorge. The gossip was that I was Chanel’s illegitimate child, as I was born two years before my parent’s marriage. Some people continue to say that Comte Leon de Laborde and Chanel were my true parents.

Now seriously, do I resemble Mme. Chanel? She was a deceitful little thing full of guile that resembled a crafty dwarf toad draped in luscious faux pearls on exquisite tweed suits reeking of too much partum. She created horrors for maman and the family with her betrayals. Her clothes were ravissant, but she was a cruel hypocrite. This whole matter has to do with Granny Rosa’s affair, while married at 32, with an under-aged 17 year old royal and family financial politics. The Tecks were indebted to the Barings. Granny was miserable in her marriage and she devised a clever plan to get out of it.”

Vera introduced Chanel, her constant companion, to her cousin the Duke of Windsor, which followed with Archies, Duffs, Winstons, Harolds, and many other sophisticated aristocrats for Chanel’s social and business ascent. Chanel had indigent origins as an orphan and required Vera’s entrée and persona, which she maneuvered and assimilated to found a Chanel fashion standard that would insure her success in royal circles and perpetuate the Chanel name.

After 4 years of professional separation, in 1943, Chanel sought collaboration with Lombardi in Rome to access Lombardi’s relative Sir Winston Churchill in the Walter Schellenberg Nazi plot “Operation Modellhut” under the guise of requesting Lombardi return to work for the House of Chanel in Paris. When Vera refused to comply with Chanel’s request to come to Paris; she was arrested as an English spy and thrown into a Roman prison of the worst kind by the Gestapo.

Finally, she agreed to fly to Austria only if escorted by two aristocrat friends of the palazzo set and her pet Calabrian Mastiff dog. The long-legged dog, the size of a bull calf was too big for the small plane that could only hold the SS pilot, her friends Prince Bismarck and Lady Windischgraetz, and herself. Taege had to remain behind in Rome.

At the end of their relationship, Vera exposed Chanel’s “Muddlehut” war crime in a plot devised by Chanel’s Nazi lover to assassinate Sir Winston Churchill and declared her a Nazi spy directly to Churchill while she and Chanel where in Spain in 1944. Chanel was known to sacrifice anything for her own personal gain. Chanel was arrested by the Americans, but later dismissed of espionage charges through the British Royal family. Had Chanel been brought to trial, it would have exposed some of the British Royal Family Nazi alliances, such as the Duke of Westminster. Chanel lost Vera and her name was tarnished until the 1950’s.

Bridget Tichenor was married two times. In 1938 she married poet and International Paper Company heir Hugh Joseph Chisholm in New York City in an arranged marriage by her mother Vera through an introduction made by Cole Porter and his wife Linda Lee to remove Bridget from the looming WW II in London. In 1940, she and Chisholm had a son in Beverly Hills, California named Jeremy Chisholm who died in 1982. Joan Crawford was Jeremy’s godmother. Shortly thereafter, they gave the six-month-old infant to Chisholm’s relative to care for him. He later went to live with his father.

In 1943, she became a student at the Arts Students League of New York under Reginald Marsh with fellow artists George Tooker and Paul Cadmus.

Hugh Chisholm was working overseas in Rome when she met Jonathan Tichenor, the assistant to photographer George Platt Lynes in New York City. They started an affair in 1944, and she divorced Chisholm and married Jonathan Tichenor in 1945. It was rumored that Chisholm was simultaneously involved in an affair with playwright Patrick Dennis (writer of Auntie Mame 1955) that broke the marriage with Bridget. She was engaged to a childhood friend of her mother, who was an Italian Prince in Rome in 1983, where she briefly lived at the Hassler Hotel that ended with her return to Mexico in 1984.

Tichenor was the subject of a 1985 documentary titled Rara Avis. The film was shot in her friend anthropology historian Baron Alexander von Wuthenau’s home in Mexico City that she rented after her return from Rome in 1984.. It was directed by Tufic Maklouf and focused on Tichenor’s life in Europe, her being a subject for the photographers Man Ray, Cecil Beaton, Irving Penn, John Rawlings, George Platt Lynes, Joffe, Horst, her career as a Vogue Fashion Editor in New York with Condé Nast Art Director Alexander Lieberman between 1948 and 1952, and her Magic Realism painting career in Mexico that began in 1953. The title of the film, Rara Avis, is Latin meaning a rare and unique thing or person.

Tichenor attended schools in France, Italy, and England, living in the homes of her mother’s relatives such as the Duke of Westminster (Bend’Or) in England and France, the Savoia family in Rome, and the Agnelli family in Florence until she was sixteen when she went to live with Vera in Paris and work as a model for Chanel. She was mentored in drawing and painting by Di Chirico at a young age in Italy, and later influenced by her mother’s friend Surrealist Lenor Fini.

Tichenor worked at Vogue magazine in New York from 1948-1952 in a close relationship with Leiberman, that was rivaled by 1940’s Harper’s Bazaar Fashion Editor Diana Vreeland. The Vreeland – Bridget relationship, paralled the Chanel – Vera relationship in that Vreeland idolized, yet was jealous of Bridget. Bridget’s dear friend, the late Maxime de la Falaise in Paris once said, “Bridget was on the Chanel team and Diana on the Schiaparelli team. Sciaparelli looked like a monkey, who had lost its banana. Diana looked even more bitterly enraged, turning chartreuse every time she saw or heard of Bridget.” Vogue Editor Dee Dee Ryan, friend of Bridget's once said, "Vreeland wanted to be Bridget - most of all she wanted her feminine beauty as she was what one would call 'far from pretty'."

Mesoamerican cultures, spiritism, shamanism, metaphysics, and her international background of world cultures and religions would influence the style and themes of Tichenor’s work as a Magic Realist painter in Mexico.

Tichenor’s painting technique was based upon 16th century Italian Tempera formulas that Paul Cadmus taught her in New York, where she would prepare an eggshell-finished gesso ground on masonite board and apply, instead of tempera, multiple jewel-like and transparent oil glazes with sometimes one hair of a #00 sable brush.

Tichenor was among a group of Surrealist and Magic Realist female artists who came to live in Mexico in the late 1940s and early 1950s. They were drawn to the American Modern Art movement that was seeded in Mexico’s fertile cultural and political ground by Diego Rivera. After the Mexican Revolution, a new generation of Mexican artists led a vibrant national movement that incorporated political, historic, religious, folk-indigenous, and Pre-Columbian themes. The painters Diego Rivera, Jose Clemente Orozco, David Alfaro Siquieros became world famous for their grand murals, often displaying clear social messages. Rufino Tamayo, Frida Kahlo, Remedios Vara, Leonora Carrington, and Pedro Friedeberg produced more personal, abstract, symbolic, and spiritual works.

Bridget’s introduction to Mexico occurred when she lived in Beverly Hills, California during the War years of the early 1940’s through her cousin Edward James, who was living between Los Angeles and Mexico. It was she that had prompted James to move to Mexico to find a surreal locale where he could realize his creativity. After having her only child in an arranged marriage that resulted in disillusionment and acute depression, she looked deeper for her life’s meaning and purpose that was to be found later through her art. 


Edward James, the British Surrealist art collector and sponsor of the magazine Minotaure that was published in Paris, invited Tichenor, along with Leonora Carrington, to Mexico several times during those War years. Bridget’s life-changing epiphany occurred during an ancestral spiritual ceremony with James at his home in 1947. James had urged Bridget for many years to undergo the same secret ceremony that had helped him find his life purpose through his ancestral spirit guides.

James lived in Las Pozas, San Luis Potosi, Mexico from the early 1940’s, and his home had an enormous Surrealist sculpture garden with natural waterfalls, pools and Surrealist sculptures in concrete. Tichenor had first met him in Paris in the 1930s. Carrington painted a mural at Las Pozas as a gift to James.

After visiting Mexico again through invitations of her Mexican friends artist Diego Rivera, architect Luis Barragan, and Mathias Goeritz in the early 1950’s, she obtained a divorce from her second husband Jonathan Tichenor in New York in 1952 and moved to Mexico in 1953, where she made her permanent home and lived for the rest of her life. She left her marriage and job as a professional Fashion and Accessories Editor for Vogue behind and was now alongside expatriate painters such as Carrington, Remedios Varo, Alice Rahon, and photographer Kati Horna living in the magic of Mexico. The French Philosopher Andre Breton, who was instrumental in Carrington’s career said, “Mexico is a surreal place where the people live surreally.”

In 1958, she participated in the First Salon of Women’s Art at the Galerías Excelsior of Mexico, together with Carrington, Rahon, Varo, and other contemporary women painters of her era. In 1959- 1960, she bought the ‘Contembo’ ranch near the remote pre-Columbian village of Ario de Rosales, Michoacán where she painted reclusively with her extensive menagerie of pets and numerous servants until 1978. Tichenor and her Purepecha lover Roberto built the house together. They maintained a relationship for 13 years, until one day Roberto left on a bus trip and never returned.

Ario de Rosales was named “Place where something was sent to be said” in the Purepecha language. Tichenor in essence was an artistic channel for the powerful spiritual vortex that she chose to call her home. She produced paintings that embraced and reflected a divinely supernatural world that was beyond the emotional or mental content of the Surrealist’s of her day. She did not like being called a Surrealist as she said her work was of a spiritual nature and contained the alchemy of ‘magic’. She adored Remedios Varo, and Carrington followed in her preference for artists that she was close to. Varo was more spiritual to Tichenor than Carrington, yet Carrington and she shared many technical commonalities that are evident in their painterly works of art.

Many of the faces and bodies of Tichenor’s magical creatures in her paintings were based upon her assorted pet Terriers, Chihuahuas, Italian Mastiffs, sheep, goats, monkeys, parrots, iguanas, snakes, horses, cows, and local Purepecha Indian servants and friends.

The masks that she painted were symbolic of the many mysterious facets of her extraordinarily diverse spiritual perceptions that she would hide both her acute emotional vulnerability and the awesome power of her soul behind, which she chose to express only in her sacred art.

The landscapes of Tichenor’s paintings were inspired by the topography of the volcanic land that surrounded her mountaintop home, ‘Contembo’. There was a curvature of the earth that could be seen from her second-story studio where the pine tree covered Venetian red mountains cascaded towards the Pacific Ocean. The days would build with sun blazed brilliant colour in a luminous heat from the contrasting dark grey-green cold nights. There also was a magnificent waterfall with turquoise pools of water that traversed her property in a stream of liquid light that appeared to come directly from Heaven.

Tichenor counted painters Leonora Carrington, Alan Glass, and Pedro Friedeberg amongst her closest friends and artistic contemporaries. In 1971, Friedeberg introduced his friend and former apprentice, American artist and spiritist Zachary Selig, to Tichenor in Mexico City. She spiritually adopted Selig as her protégé and became his mentor until her death in 1990. In 1978, she was photographed in the studio of photographer Francesco Scavullo and his lover Sean Byrnes through Selig’s introduction for the book Scavullo Harper & Row 1984.

After a series of life-shattering events that began with her former lover Patrick Tritton’s ill negotiated sale of her beloved painting by Di Chirico in 1976, her son’s death and the family events that surrounded it in 1982, and culminating in the sudden and untimely death of her still married Italian fiancé and the proceedings of his family to exclude her from the estate in Rome 1984, Tichenor became emotionally exhausted and began to physically deteriorate. Although apathetic about her fated return to Mexico, she continued to paint and lived her last years with her English Bulldog ‘Bi Bi’ in a home built to her specifications in San Miguel de Allende, Guanajuato, Mexico by her close friend the late Swedish shipping owner Eric Noren.

Bridget stated in her letters of 1982 after her son’s death and the indigenous squatters that claimed her land, “F____g invaders of Contembo – I’ll try to sell it for anything – a shame, as it is truly one of the most beautiful places I ‘ve ever seen. I always despised family, but now? Crave it and envy all of the “tribes”. I suppose I had this super egocentric idea that I could create my own non-blood family, but people are still so scared and here we are rushing into the 21st Century with 18th Century debauchery and no advancements – weird – 16th Century infinitely less prejudiced.”  


Tichenor never had a true blood-related family that was bonded, but did have the most amazing sincere family of loyal friends that respected, admired, and loved her dearly. Her relationship with her son was a rigid and distant one due to the early abandonment, with many unresolved issues throughout both of their lives. There were family resentments towards Bridget for her paternal neglect of her son Jeremy.

At the time of Tichenor’s death in the Hospital Londres and finally at the de Laborde-Noguez residence in Mexico City in 1990, she chose to be exclusively with her intimate friends Pedro Friedeberg, Zachary Selig, Eric Noren, Jon Lightfoot, Countess Bachu Woranzow, Alan Glass, and the de Laborde Noguez family. Even her other friends such as Leonora Carrington and Maria Felix were not permitted to visit her.

After her son Jeremy Chisholm’s death in 1982, she had no contact with or from his estranged family. There were no family members with her at the time of her death, nor were there family relations included in the last will and testament of her estate. There were no family members that had biographical data on Tichenor's intimately personal or professional life until Zachary Selig established the first registered biography. 

It is interesting to note that Tichenor’s mother Vera Bate Lombardi was a close friend of Comte Leon de Laborde, who was the most fervent admirer of Co Co Chanel in her youth; and his descendents became Tichenor’s most respected allies, trusted friends, and caretakers at the end of her life in their home in Mexico City, Mexico. The celebrated artist Marina Lascaris, former wife of Carlos de Laborde Noguez at the time of Bridget’s death, was the one stoic individual who stood a constant vigil at Bridget’s side from the onset of her illness until her last breath. Marina was the embodiment of ‘quiet dignity’, which is the noble characteristic that the British have always admired most.

Bridget’s paintings were first sold in 1954 by the Ines Amor Gallery in Mexico City, and then later by her beloved patron, the late Mexican art dealer and collector Antonio de Souza at the Galeria Souza, Paseo de la Reforma 334-A, Berna 3, Mexico D. F., Mexico. In 1955, the Karning Gallery, directed by Robert Isaacson, represented her. In 1972 and 1974 she exhibited at the Galeria Pecanins, Durango, 186, Colonia Roma, Mexico D.F, Mexico 6700.

Her last exhibition was a comprehensive retrospect at the Instituto de Bellas Artes de San Miguel de Allende in February 1990 Her works became a part of important international private and museum collections in the United States, Mexico and Europe that included the Churchill and Rockefeller families.

Bridget’s paintings are sought after for their rare and refined esoteric nature with superlative detail in master painting technique. She left 200 paintings upon her death that were divided between Pedro Friedeberg and the De Laborde-Noguez family.

Interest in her work by art collectors and museums has been increasing greatly in recent years. Christie’s auctioned two paintings by Tichenor in July 2007 at New York’s Rockefeller Plaza, and both received nearly 10 times the original estimates in the auction of Mexican actress María Felix’s estate. Bridget’s oil on canvas titled ‘’Domadora de Quimeras’’, featuring the face of Félix with details by painter Antoine Tzapoff, went for $20,400 USD, which was several times higher than its original low estimate of $2,000 USD.
Another work, ‘’Caja de Crystal’’, fetched more than its estimated price:

Price Realized:
(Set Currency)
• $18,000 USD
• Price includes buyer’s premium
 estimate:
 $2,000 – $3,000

The Museo de Arte Contemporáneo de Monterrey held an exhibition of Bridget’s work in 2008, with the inclusion of her paintings amongst 50 prominent Mexican artists, including the renowned Frida Kahlo. It was titled “History of Women: Twentieth-Century Artists in Mexico.” The exhibition centered on women who had developed their artistic activities within individual and diverse disciplines while working in Mexico.