We have little information about Andriolli’s wife, Natalia Tarnowska of Osiny. She was born in 1856 as a daughter of Adam Tarnowski, the coat of arms of the Rolicz family, and Aniela Skrzyńska. She had seven siblings. She was considered a “handsome blonde”, artistically talented. This fact probably influenced the fascination with a well-known artist, 19 years older than her. Unfortunately, their relationship did not survive the test of time. Certainly, the psyche of both spouses was influenced by the death of the two-year-old daughter Maria in 1878, experienced by each of them in a different way. Elwiro, at the peak of his success, completed a huge number of commissions from publishers, took various social actions, and was also popular with women. Natalia, less emotionally stable, was doing worse. Although she took part in the events as “Mrs Andriolli”, the famous artist’s wife, went to Paris with him, their paths were finally separated and ended at Natalia’s request with the at-fault divorce against her husband, pronounced in 1887.

Elwiro, despite his huge popularity and large commissions from Parisian publishers, returned to Poland. Natalia stayed in Paris and began to devote herself more intensively to art. Already in 1886 she sent her portrait sketches to be exhibited. In 1888 she sent to the Industrial Exhibition the products made of fired clay, which were assessed by the press as “cleverly thought out, but the bronzing of clay and especially the painting gives an equally good impression”. In the same year she decided to study at the “women’s department” at the Academie Collarossi in Paris. She studied painting and sculpture under the sculptor Henri Chapu (1833-1891),  and after his death, under Jean-Antoine Injalbert (1845–1933). She also established her own sculpting atelier. In 1890 she took part in an exhibition at the Palais de l’Industrie, where she exhibited two life-size busts. In the following year she was already acclaimed a talented artist who, as one of two Polish women, sent two works to an exhibition in Berlin: the sculpture Lyrist and an oval bas-relief entitled Spring. These works were later exhibited at the Salon of the Society for the Encouragement of Fine Arts in Warsaw. She also planned a series of sculptures of rural figures, starting with the Harvester. In 1892 she exhibited two sculptural compositions at the Paris Salon: Nude Female Model and Peasant Figure. Even though it won no official awards, the latter sculpture gained the recognition of critics. In the same year, she sent three statues to the exhibition of female artists in Paris: Fantasy, Two Daisies (Deux marguerites) and Boxer, which received very favourable reviews. In 1894, on the occasion of the 100^th anniversary of the Proclamation of Połaniec issued by Tadeusz Kosciuszko, major ceremony were held at the Rapperswil Museum, which received a lot of artistic works. A part of the ceremony was a bust of Kosciuszko on a pedestal of the globe, made and offered by Natalia Andriolli. The sculpture with her autograph (donated together with other collections to Poland after regaining independence) is now a highlight of the main hall of the Kazimierz Palace of the University of Warsaw.  Another work by Natalia, the terracotta Head of the Man of Sorrows was submitted for the competition of the Society [of Fine Arts] in 1895.Next year, at the “Paris-Province” exhibition at Avenue del’Opera, she exhibited three busts: her own, the Laughing Woman (La Rieuse) and that of professor K. She was very successful here receiving a cash prize of 300 francs for the first sculpture and the first gold medal for the Laughing Woman. Also in 1896, she received another gold medal for the sculpture Sleeping Cupid (Cupid with a Lily), exhibited at the Paris Salon. The sculpture is in the collection of the National Museum in Cracow and is presented in the Internet gallery Female Sculptors in the Late 19th and Early 20th Centuries.

Despite this series of achievements, Natalia Andriolli decided to return to her homeland. Her decision was influenced by the death of her sister, who orphaned four children. Natalia decided to devote herself to their upbringing. In Paris, she left behind a reputation for being a talented and nice artist.

After returning to her homeland she did not stop her artistic activity, as evidenced by press releases. In 1898 she opened a sculpting atelier in Częstochowa. In 1904 the Society of Fine Arts purchased her sculpture Bust of a Ukrainian Woman. In 1905 she donated her sketches to Krywult’s Salon for charitable causes for the poor. These sketches were sent by under the name of Andriolli-Miecznikowska, which proves that she remarried. She died in Osiny in May 1912 at the age of 56.