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Frank Cadogan Cowper Auction Price Results

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Frank Cadogan Cowper, R.A. (1877-1958)

Lot 1: Frank Cadogan Cowper, R.A. (1877-1958)

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Description: Rapunzel sings from the Tower '.... in the fire Of sunset, I behold a face, Which sometime, if God give me grace, May kiss me in this very place' ( Rapunzel - William Morris) signed and dated 'F.C. COWPER/1908' (lower left) pencil and watercolour with gum arabic, heightened with touches of bodycolour 261/2 x 161/2 in. (67.3 x 42 cm.) PROVENANCE Mrs A.M.W. Stirling. EXHIBITION London, Royal Society of Painters in Water Colours, Summer 1908, no. 102. The Pre-Raphaelites and their Times, exh. circulated in Japan by the Tokyo Shimbun, 1985, no. 37. University of Nottingham, Djanogly Art Gallery, Heaven on Earth, 1994, no. 14. Bunkamura Museum of Art, Shizuoka Prefectural Museum of Art, Daimatu Museum, Kobe, and Tsukuba Museum of Art, Ibaraki, The Victorian Imagination, 1998, no. 89. NOTES This fine example of Cadogan Cowper's work, exhibited at the Royal Watercolour Society in 1908 when the artist was thirty-one, illustrates the well-known fairy story by the brothers Grimm. Rapunzel is a beautiful girl who is shut up in the tower by a witch. The tower has no door or staircase, but the witch ascends it by climbing up Rapunzel's long golden hair. In due course a young prince arrives, climbs up by the same means, and he and Rapunzel fall in love. After the inevitable trials resulting from the witch's fury when she discovers the turn of events, the young couple are married and live happily ever after. Cowper was one of the most interesting of the artists who turned their backs on modernism and attempted to maintain the Pre-Raphaelite tradition far into the twentieth century. He was certainly the most persistent, still exhibiting pictures of this kind as late as the 1950s. Born at Wicken in Northamptonshire, where his maternal grandfather was rector, he studied at the St John's Wood Art School before entering the Royal Academy Schools in 1897. On leaving five years later, he enjoyed a six month apprenticeship in the Cotswold studio of Edwin Austin Abbey, the American muralist who, like his friend and compatriot John Singer Sargent, had settled in England. He finally completed his artistic education by a spell in Italy. Although he exhibited widely, supporting the Royal Watercolour Society and the Royal Institute of Painters in Water Colours, as well as sending to the Paris Salon, Cowper remained loyal to the Royal Academy, where he exhibited regularly from 1899 until his death nearly sixty years later. He became an Associate in 1907, and a full member in 1934. This close adherence to the RA tells us much about his approach to the Pre-Raphaelite heritage. Most of the movement's leading figures were now dead. Rossetti had died in 1882, Madox Brown, Millais and Burne-Jones in the 1890s. Only Holman Hunt survived (until 1910). Younger artists who wished to follow in their footsteps tended to be of two types. The Birmingham Group, most of whom were born in the 1860s, had met Burne-Jones as students and saw Pre-Raphaelitism as a living tradition, albeit one they could develop by exploiting its Arts and Crafts dimension. Others, generally slightly younger and without any personal knowledge of the protagonists, regarded the movement as a phenomenon ripe for survival, going back to the early work of the Brotherhood and attempting to reinterpret it in a more academic spirit. This was Cowper's approach, and he shared it with two artists, Byam Shaw and his friend Eleanor Fortescue-Brickdale, who, both born in 1872, were only five years his senior. Though never, it seems, on intimate terms with Cowper, they must have been acquainted with him. They too showed regularly at the RA, and in 1908-10 both Cowper and Shaw contributed to the murals illustrating scenes from Tudor history that were painted for the Commons' East Corridor in the Houses of Parliament under the supervision of Cowper's former master, Abbey. Cowper shared with Shaw and Brickdale not only an academic approach to the Pre-Raphaelites but a certain campness of vision. In Cowper's case this had emerged strongly by 1907, when he exhibited that whacky masterpiece How the Devil, disguised as a vagrant Troubador, having been entertained by some charitable Nuns, sang to them a Song of Love (private collection). We see the same trend in the portraits which, like so many artists still devoted to the literary themes which had long since gone out of fashion, he was forced to paint for a living. The majority are likenesses of glamorous young women, painted in a rather arch and fey style. But the tendency is most apparent in some of Cowper's late subject pictures. In Titania Sleeps of 1928, sold in these Rooms on 13 June this year, the model wears a modish Art Deco dress, while her abandoned pose suggests Hollywood at its most glamorous and an appropriate Disneyish touch is introduced by the attendant owl and rabbits. Similarly with The Four Queens find Lancelot Sleeping (private collection), an astonishing example of Pre-Raphaelite survival dating from 1954. The subject may look back to Rossettian medievalism but the models could be 1950s film stars - Vivien Lee or Glynis Johns as the Queens, perhaps, certainly Kenneth More as Sir Lancelot. Cowper's first impulse was to steep himself in the early work of the PRB and its associates. This is nowhere more apparent than in St Agnes in Prison receiving from Heaven the shining white Garment (Tate Gallery), a Chantrey purchase of 1905 which borrows freely from Millais, Madox Brown and Rossetti. By the following year, however, Cowper's interest was turning to Rossetti's Venetian manner of the 1860s and he was beginning to evolve a more Renaissance idiom, with an emphasis on rich brocades to create a sumptuous decorative effect. Two rather tentative essays in this style, The Patient Griselda (fig. 2) and Mariana in the South, both exhibited at the RWS in 1906, have been sold in these rooms recently (6 November 1995, lot 113, and 13 June 2001, lot 16). A more significant example, Vanity (fig. 3), followed in 1907. Not only was it Cowper's diploma work, and thus presumably one with which he wished to be closely identified, but we know its visual source. Giulio Romano's haunting portrait of Isabella d'Este at Hampton Court had influenced the young Burne-Jones in 1860, at a moment when, like his master Rossetti, he was moving away from medievalism and looking to sixteenth-century pictures (mostly, but, as this example shows, not exclusively Venetian) for inspiration. The portrait's curiously disturbing mood, the figures who approach so menacingly in the upper right distance, and the serpentine coils of black velvet that cover the sitter's dress, had all helped to form his conception of a uniquely sinister figure in German Romantic literature, Wilhelm Meinhold's Sidonia von Bork (fig. 4). Whether or not Cowper was aware of this (the point had been made in print in 1890 but in a somewhat obscure publication), he followed Burne-Jones in borrowing motifs from the portrait for his picture of Vanity, not only adopting the serpentine patterned dress, but the padded, turban-like head dress, the zazara, for which Isabella d'Este was famous. Rapunzel was painted only a year later than Vanity, and the two pictures have much in common. Both adopt the half-length format, and although Rapunzel lacks the specific references to Giulio Romano's portrait, the emphasis is again on exotic, boldly patterned fabrics. Indeed an opulent sleeve of cream and crimson damask is the picture's dominant motif. The model for the two pictures also seems to be the same, although her demeanor is very different, cool and aloof in Vanity, sexually provocative in Rapunzel. It is as if our heroine has just caught sight of the prince and is going out of her way to vamp him - singing some siren song, displaying her ensnaring coils of hair, and adopting her most coquettish expression. The debt to Rossetti in both pictures needs no emphasis. The focus on a single female figure, seen half-length, leaning on a parapet placed parallel to the picture space, clad in sumptuous robes and favoured with luxuriant tresses - all this is integral to the Venetian or Aesthetic style he evolved in the 1860s. In Vanity, the sitter's string of pearls and silver hand-mirror have many Rossettian precedents, but so equally does the element of music in Rapunzel. One has only to think of The Blue Bower (fig. 5), one of Rossetti's most important works of this period, in which his mistress Fanny Cornforth is seen playing languidly on a Japanese koto or zither. Cowper's earliest essays in the Renaissance style, Griselda (fig. 2) and Mariana, are comparatively gentle and elegiac in mood, but as the voluptuous worldliness celebrated in Rossetti's work in the 1860s strengthened its hold on his imagination, he began, in Vanity and Rapunzel, to express something much more hard and brittle. He changes his model, replacing the pleasant-faced, dark-haired girls found in the former pair of pictures with the more sophisticated beauty represented in the latter. That this new muse had golden hair is surely no accident, since Fanny Cornforth, the presiding genius of Rossetti's Venetian phase, also had locks of this colour. 'A pre-eminently fine woman, with a mass of the most lovely blonde hair, light golden, or "harvest yellow"', was how Rossetti's brother William Michael described her. Moreover, although Cowper's model is a more refined type than Rossetti's handsome, coarse, bedable companion, she too in Cowper's hands projects a sence of animal magnetism and sexual danger. The theme of Vanity was clearly an appropriate one in this context, but in Rapunzel Cowper seems to be so in love with the idea of painting a seductive glamour-puss that he is prepared to twist the story to suit William Morris, who included a version of Grimm's fairytale in his first volume of poetry, The Defence of Guenevere, published in 1858. That he was painting a subject that Morris had already attempted was of course part of his neo-Pre-Raphaelite agenda. Indeed, he quoted from the poem in the RWS catalogue, and there are details in Morris's account, for example the description of the heroine 'bearing within her arms waves of her yellow hair', which he seems to consciously echo. But in general interpretation the poem and the picture would hardly be more different. Morris, surely keeping closer to the original spirit of the story, sees Rapunzel as a beleaguered victim, abused by the witch and pathetically yearning for love. Cowper prefers to make her a knowing and predatory temptress. The very lines he quotes show how far he has moved from the Morrisian concept. It comes from a passage in which Rapunzel, far from playing the aggressive vamp, plaintively describes a vision of the knight who may one day come to her rescue. If any doubt remained that Cowper was currently seduced by the Rossetti of the 1860s, we have only to note the subject of his next important subject picture. There were moments when the appeal that Venetian luxuriance held for Rossetti and his circle - an appeal so different from that of Dantesque piety or Arthurian romance a few years earlier - shaded into a darker preoccupation with the link between beauty and cruelty. This cult of the femme fatale, ultimately to have such enormous repercussions for European Symbolism in general, focused in particular on two images. One was a fictional heroine. Burne-Jones's illustrations (there were in fact a pair of pictures) to Meinhold's spine-chilling gothic romance Sidonia the Sorceress have already been mentioned. Rossetti and Swinburne also admitted to a 'positive passion' for the story of Sidonia, a beautiful, well-born but incurably vicious girl who wreaks havoc in sixteenth-century Pomerania, bewitching the entire ruling house to death or sterility before she is arrested and burnt at the stake. Nor was this a passing craze; as late as 1893 William Morris re-printed Lady Wilde's translation of the book at the Kelmscott Press. The other figure who attracted fascinated attention was historical. Lucretia Borgia was the subject of a watercolour by Rossetti (Tate Gallery), begun in 1860 but extensively reworked some years later. Showing her washing her hands after administering poison to her husband, the picture has close iconographical links with Burne-Jones's contemporary Sidonia von Bork (fig. 4), and the two works, for both of which Fanny Cornforth modelled, are to all intents and purposes twin expressions of the same idea. However, it was Swinburne, always drawn like a magnet to the subject of sadism, who went furthest in fostering a cult of Lucretia, visiting her relics in Milan in 1861, calling her his 'blessedest pet', a member of a 'holy family', and writing both prose and verse in her honour. This is not the place to pursue the most bizarre example of the circle's gleeful delight in flouting conventional morality. The point here is that half a century later Cadogen Cowper deliberately sought to reinvoke the phenomenon. His picture Lucretia Borgia reigns in the Vatican in the Absence of Pope Alexander VI (fig. 6) was begun in 1908 and eventually exhibited at the RA in 1914. It shows Lucretia, once again modelled by the golden-haired beauty who appears in Vanity and Rapunzel, deputising for her father amid scarlet-soutaned cardinals beneath the Pintoricchio frescoes in the Borgia apartments in the Vatican. Within the context of Cowper's current concerns, it would be hard to imagine a more ambitious concept, and indeed, like the earlier St Agnes in Prison, the picture was bought for the Chantrey Bequest.

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Frank Cadogan Cowper (1837-1958)

Lot 10: Frank Cadogan Cowper (1837-1958)

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Description: The Cathedral Scene from 'Faust': Margaret tormented by the Evil Spirit signed and dated '1919' and further signed and dated (on the reverse) oil on canvas 751/4 x 57 in. (190.6 x 144.6 cm.) PROVENANCE Lord Blanesburgh. The Royal Caledonian Schools. Anon. sale; Parke-Bernet, New York, 3 November 1978, lot 243. Anon. SNY. 28/2/90, lot 44 unsold. EXHIBITION London, Royal Academy, 1919, no. 168. London, Wembley, British Empire Exhibition, 1924. Wilmington, Delaware Art Museum, The Pre-Raphaelite Era 1848-1914, 1976, no. 81, illustrated in catalogue. NOTES Frank Cadogan Cowper was born in 1877 at Wicken in Northamptonshire, where his maternal grandfather was rector. He studied art at the St John's Wood Art School and then spent five years in the Royal Academy Schools (1897-1902), before entering the Cotswold studio of Edward Austen Abbey (1852-1911). After six months working with this American muralist who, like his friend John Singer Sargent, had taken up residence in England, Cowper completed his artistic education by studying for a while in Italy. Although he exhibited widely, supporting the Royal Watercolour Society and the Royal Institute of Painters in Oil Colours, as well as sending to the Paris Salon, Cowper remained loyal to the Royal Academy, where he exhibited regularly from 1899 until his death nearly sixty years later. He became an Associate in 1907 and a full academician in 1934. Throughout his life he painted subject pictures, whether historical, biblical or literary, although as the taste for these declined in the early years of the twentieth century, he turned increasingly to portraits, specialising in glamorous and slightly fey likenesses of young women which vaguely reflected his interest in literary themes. His early work is strongly influenced by the Pre-Raphaelites; a striking example is St Agnes in Prison receiving from Heaven the Shining White Garment (Tate Gallery), a Chantrey purchase of 1905 which quotes from Rossetti, Millais and Madox Brown. Comparisons can be made with Byam Shaw and his friend Eleanor Fortescue-Brickdale, who were his slightly older contemporaries. Unlike the Birmingham Group of painters, some of whom had met Burne-Jones and all of whom certainly regarded Pre-Raphaelitism as a living tradition, these artists looked on the movement as a phenomenon ripe for revival, going back to the early work of the Brotherhood and attempting to reinterpret it in a more academic spirit. By about 1906 Cadogan Cowper was adopting a more Renaissance idiom, often with an emphasis on rich brocades to create a decorative effect. His RA diploma picture, Vanity, exhibited in 1907, the year he became an Associate, is particularly significant since it borrows motifs from Guilio Romano's portrait of Isabella d'Este at Hampton Court, a picture which had inspired the young Burne-Jones half a century earlier. In 1908-10 he contributed to the murals illustrating Tudor history which a group of artists, supervised by his former master, Abbey, painted for the Commons' East Corridor in the Houses of Parliament. Cowper's subject was The New Learning in England: Erasmus and Thomas More visit the children of Henry VII at Greenwich. But his most sumptuous essay in Renaissance subject matter was Lucretia Borgia reigns in the Vatican in the Absence of Pope Alexander VI, another Chantrey picture which was exhibited at the RA in 1914 (fig.1) Cowper's later work undoubtedly deteriorated and is often mawkish in mood, but he is rightly regarded as one of the last exponents of the Pre-Raphaelite tradition. As such he was patronised by Evelyn Waugh and included in the Last Romantics exhibition at the Barbican in 1989. He was in fact responsible for one of the latest pictures in the show, The Four Queens find Lancelot sleeping (private collection), exhibited at the RA no earlier than 1954. In subject, mood and technique, this astonishing example of Pre-Raphaelite survival might belong to the 1900s. Only the types of the figures, which look like 1950s film stars (Vivien Leigh and Glynis Johns as the Queens, perhaps; certainly Kenneth More as Sir Lancelot) give a clue to its real date. Exhibited at the RA in 1919, The Cathedral Scene from 'Faust' is yet another fine example of the 'last romantic' spirit, a quixotic attempt to keep a tradition going long after, by all the laws of historical determinism, it should have been dead and buried. As Cowper no doubt knew, the subject had been a favourite with the young Rossetti, as well as with artists like Delacroix and Von Holst who had fed his youthful imagination. Though five years later than Lucretia Borgia, the picture still has something of its scope, complexity and decorative richness, with the brocaded dress of the kneeling woman to the right striking a particularly characteristic note. Also reminiscent is a picture shown by Cowper at the RA in 1907 and last seen when sold by Christie's on 27 November 1987 (lot 136): How the Devil, disguised as a vagrant troubadour, having been entertained by some charitable nuns, sang to them a song of love. Like The Cathedral Scene from 'Faust', this delightfully camp and tongue-in-cheek performance, even the title of which, in its absurd length, looks back to the Pre-Raphaelite heyday, has an ecclesiastical setting in which deeply shadowed space is pierced by brilliantly coloured stained-glass windows. Indeed,it would be interesting to discover if the windows in our picture, like those in How the Devil..., were based on the famous fifteenth-century glass in the parish church at Fairford in Gloucestershire. This was a part of the country that Cowper knew well from his early apprenticeship with Abbey, and for which he clearly retained a strong affection. He settled there after the Second World War, dying at Cirencester in 1958 at the age of eighty-one.

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Lot 16: Frank Cadogan Cowper, R.A. (1837-1958)

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Description: Mariana in the South signed with monogram (upper left) and inscribed 'And "Ah" she sang "to be all alone/to live forgotten and love forlorn"/Mariana in the South/Frank Cadogan Cowper/38 Barrow Hill Road/St. John's Wood/N.W./No 2.' and with inscription '9886/œ125' (on a second label attached to the reverse) pencil and watercolour heightened with bodycolour on card 193/4 x 13 in. (50.2 x 33 cm.) EXHIBITION London, Royal Society of Painters in Water Colours, Summer 1906, no. 134, priced at œ125. NOTES This fine early example of Cowper's neo-Pre-Raphaelite style (see lot 17) illustrates one of two linked poems, 'Mariana' and 'Mariana in the South', by Tennyson. First published in 1833, the poems were inspired by the image of Mariana abandoned in a lonely 'moated grange' by her heartless fianc‚, Angelo, which Shakespeare evokes at the beginning of Act IV of Measure for Measure. Cowper shows the heroine lamenting her fate in song, accompanying herself on a lute: But 'Ave Mary', made she moan, And 'Ave Mary', night and morn, And 'Ah', she sang, 'to be all alone, To live forgotten, and love forlorn'. The subject had made a powerful appeal to the Pre-Raphaelite imagination. Rossetti painted Mariana as Shakespeare portrays her in a life-size painting, modelled by Jane Morris, of 1870 (Aberdeen Art Gallery). But it was Tennyson's treatment of the theme that proved most fertile. 'Mariana' was the subject of an important early painting by Millais (Tate Gallery), exhibited at the Royal Academy in 1851, and the two poems were illustrated by Millais and Rossetti in the famous Moxon edition of Tennyson's works published in 1857. Rossetti chose 'Mariana in the South', showing the bored and sexually frustrated woman passionately kissing a crucifix while her faithless lover's letters lie strawn around her (fig. 2). This haunting image would undoubtably have been known to Cowper. His design may lack the intensity of Rossetti's, but he too shows the unhappy heroine surrounded by her lover's letters. His emphasis on the musical dimension to the story also suggests the influence of Rossetti, who so often uses music to create atmosphere and mood. Mariana, his painting of 1870, is a case in point. The lady is seen as Shakespeare describes her, listening to a song sung by a page with lute accompaniment: Take, O take those lips away, That so sweetly were forsworn. But Cowper was not content to reflect the Pre-Raphaelites themselves; he also makes conscious references to a picture which he must have known had inspired them, namely Jan Van Eyck's double portrait celebrating the marriage of Giovanni Arnolfini and Giovanna Cenami in the National Gallery, London (fig. 1). The picture had entered the collection in 1842, and Holman Hunt recalled in his reminiscences how it had helped to shape the ideas of the Pre-Raphaelite Brotherhood when it was formed six years later. Hunt himself borrowed the motif of the circular convex mirror behind the bridal couple for his early illustration to another poem by Tennyson, The Lady of Shalott, and echoes of the picture occur in many subsequent paintings by the Pre-Raphaelites and their followers Ford Madox Brown's Take your Son, Sir (Tate Gallery) is an obvious example. Burne-Jones often turned to the Van Eyck for inspiration, still expressing his admiration for it in the 1890s, while the circular mirror becomes something of a signature motif in the work of Ricketts and Shannon. This tradition, fully explored, would make a fascinating subject for an article. Cowper's Mariana in the South could not fail to have a place in the survey since it borrows from the National Gallery picture with an almost reckless abandon. The carved wooden settle, draped in red, on which Mariana reclines, is lifted bodily from the far wall of the Van Eyck. So is the circular mirror, though admittedly its design is made simpler. Moreover, just as Van Eyck uses this detail to elaborate the picture's narrative, showing the couple from the back and himself, the artist, as a sort of witness to the marriage, so Cowper makes the mirror tell us more about the mysterious 'grange' in 'the south' where the hapless Mariana is marooned: Close-latticed to the brooding heat, And silent in its dusty vines: A faint blue ridge upon the right, An empty river-bed before, And shallows on a distant shore, In glaring sand and inlets bright. Nor are these the only appropriations. Mariana's dress is made of one of Cowper's favourite Renaissance brocades, but the white silk linings to her sleeves echo Giovanna Cerami's white wool over-sleeve facings. As for her wooden pattens, they are copied almost exactly from the two pairs in the Van Eyck. Where the Flemish master shows the floor covered with wooden boards and a Persian carpet, Cowper prefers a mosaic of medieval tiles, but the Arnolfinis' little long-haired terrier is transmogrified as Mariana's greyhound or whippet, looking as bored and weary as his mistress in the stifling heat. Cowper was not alone in seeking to prolong the Pre-Raphaelite tradition by illustrating Tennyson's poem. J.W. Waterhouse (1849-1917) had done so in a picture exhibited at the New Gallery in 1897, twelve years before the appearance of Cowper's interpretation. The primary version (private collection) was included in the Treasures of the North exhibition shown at Christie's in London and at the Whitworth Art Gallery, Manchester, last year (no. 74) while a full-scale oil study, slightly different in detail, is at Leighton House, Kensington. Mariana in the South was one of two pictures that Cowper showed at the Royal Water Colour Society in 1906. The other, The Patient Griselda (no. 126), was sold in these Rooms on 6 November 1995, lot 113.

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Lot 17: Frank Cadogan Cowper, R.A. (1877-1958)

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Description: Titania Sleeps: 'A Midsummer Night's Dream' signed and dated 'F C COWPER 1928' (lower left) oil on canvas 351/2 x 45 in. (90 x 114.2 cm.) PROVENANCE Anon. sale; Christie's, London, 23 June 1989, lot 146. with Julian Hartnoll, 1990. LITERATURE Christopher Wood, Fairies in Victorian Art, Woodbridge, 2000, p. 151, illustrated in colour. EXHIBITION Royal Academy, London, 1928, no.366. Tokyo, Isetan Museum of Art, and three other venues in Japan, Shakespeare in Western Art, 1992-3, no. 91. NOTES Frank Cadogan Cowper was born in 1877 at Wicken in Northamptonshire, where his maternal grandfather was rector. He studied art at the St John's Wood Art School and then spent five years in the Royal Academy Schools (1897-1902), before entering the Cotswold studio of Edward Austen Abbey (1852-1911). After six months working with this American muralist who, like his friend John Singer Sargent, had taken up residence in England, Cowper completed his artistic education by studying for a while in Italy. Although he exhibited widely, supporting the Royal Watercolour Society and the Royal Institute of Painters in Oil Colours, as well as sending to the Paris Salon, Cowper remained loyal to the Royal Academy, where he exhibited regularly from 1899 until his death nearly sixty years later. He became an Associate in 1907 and a full academician in 1934. Throughout his life he painted subject pictures, whether historical, biblical or literary in theme, although as the taste for these declined in the early years of the twentieth century, he turned increasingly to portraits, specialising in glamorous and slightly fey likenesses of young women which vaguely reflected his literary interests. His early work is strongly influenced by the Pre-Raphaelites; a striking example is St Agnes in Prison receiving from Heaven the Shining White Garment (Tate Gallery), a Chantrey purchase of 1905 which quotes from Rossetti, Millais and Madox Brown. Comparisons can be made with Byam Shaw and his friend Eleanor Fortescue-Brickdale, who were his slightly older contemporaries. Unlike the Birmingham Group of painters and craftsmen, some of whom had met Burne-Jones and all of whom regarded Pre-Raphaelitism as a living tradition, these artists looked on the movement as a phenomenon ripe for revival, going back to the early work of the Brotherhood and attempting to reinterpret it in a more academic spirit. By about 1906 Cadogan Cowper was adopting a more Renaissance idiom, often with an emphasis on rich brocades to create a decorative effect. His RA diploma picture, Vanity, exhibited in 1907, the year he became an Associate, is particularly significant since it borrows motifs from Giulio Romano's portrait of Isabella d'Este at Hampton Court, a picture which had inspired the young Burne-Jones half a century earlier. In 1908-10 he contributed to the murals illustrating Tudor history which a group of artists, supervised by his former master, Abbey, painted for the Commons' East Corridor in the Houses of Parliament. Cowper's subject was The New Learning in England: Erasmus and Thomas More visit the children of Henry VII at Greenwich. But his most sumptuous essay in Renaissance subject matter was Lucretia Borgia reigns in the Vatican in the Absence of Pope Alexander VI, another Chantrey picture which was exhibited at the RA in 1914. Cowper lived most of his life in London, owning a succession of studios in St John's Wood, Kensington and Chelsea. Titania Sleeps was painted in Tite Street, Chelsea, formerly home to Whistler, Oscar Wilde and Sargent. At the end of the second world war Cowper moved to Gloucestershire, settling first at Fairford, not far from where he had served to apprenticeship to Abbey. He died at Cirencester on 17 November 1958 at the age of eighty-one. Cowper's later work undoubtedly deteriorated and is often mawkish in mood, but he is rightly regarded as one of the last exponents of the Pre-Raphaelite tradition. As such he was patronised by Evelyn Waugh and included in the Last Romantics exhibition at the Barbican in 1989. He was in fact responsible for one of the latest pictures in the show, The Four Queens find Lancelot sleeping (private collection), exhibited at the RA as late as 1954. In subject, mood and technique, this astonishing example of Pre-Raphaelite survival might belong to the 1900s. Only the types of the figures, which look like 1950s film stars (Vivien Leigh and Glynis Johns as the Queens, perhaps; certainly Kenneth More as Sir Lancelot) give a clue to its real date. Only a year before this, in 1953, Cowper had exhibited Hermia in the Wood, an illustration to A Midsummer Night's Dream . Our picture has the same literary source, but had appeared at the Academy twenty-five years earlier, in 1928. No doubt both works were conscious references to the Victorian tradition of fairy painting, which had found one of its most fertile sources of inspiration in Shakespeare's play (figs. 2-3). Noel Paton's famous paintings of the Quarrel and Reconciliation of Oberon and Titania, dating from 1847-50, are the obvious examples. Cowper must have known these familiar images, and perhaps even echoes them in the secluded woodland setting he devises for his figure of Titania asleep. The fairy queen herself, however, is pure 1920s. Her dress, for all its Renaissance origins, is essentially Art Deco, while her abandoned pose and exquisite maquillage suggest Hollywood at its most glamorous. Walt Disney could hardly have improved on the owl and rabbit.

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                                        Frank Cadogan Cowper, R.A. (1877-1958)

Lot 23: Frank Cadogan Cowper, R.A. (1877-1958)

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Description: Frank Cadogan Cowper, R.A. (1877-1958) Our Lady of the Fruits of the Earth signed and dated 'F C COWPER/1917' (lower left) oil on canvas 40 x 29 7/8 in. (102 x 76 cm.)

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Lot 31: COWPER, Frank Cadogan (1877-1958, British)

Description: Classical beauty, s. Oil Painting (12x15in).

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Frank Cadogan Cowper (British, 1877-1958)

Lot 35: Frank Cadogan Cowper (British, 1877-1958)

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Description: Titania Sleeps, A Midsummer Night's Dream signed and dated 'F C Cowper 1928' (lower left) oil on canvas 371/4 x 451/2 in. (94.6 x 115.6 cm.) Painted in 1928 PROVENANCE Christopher Wood, London. Anon. sale, Christie's, London, 23 June 1989, lot 146. Julian Hartnoll, 1990. LITERATURE Christopher Wood, Fairies in Victorian Art, Woodbridge, 2000, p. 151, illustrated. EXHIBITION London, Royal Academy, 1928, no. 366. Tokyo, Isetan Museum of Art, and three other venues in Japan, Shakespeare in Western Art, 1992-3, no. 91. NOTES Frank Cadogan Cowper was born in 1877 at Wicken in Northamptonshire, where his maternal grandfather was rector. He studied art at the St John's Wood Art School and then spent five years in the Royal Academy Schools (1897-1902), before entering the Cotswold studio of Edward Austen Abbey (1852-1911). After six months working with this American muralist who, like his friend John Singer Sargent, had taken up residence in England, Cowper completed his artistic education by studying for a while in Italy. Although he exhibited widely, supporting the Royal Watercolour Society and the Royal Institute of Painters in Oil Colours, as well as sending to the Paris Salon, Cowper remained loyal to the Royal Academy, where he exhibited regularly from 1899 until his death nearly sixty years later. He became an Associate in 1907 and a full academician in 1934. Throughout his life he painted subject pictures, whether historical, biblical or literary in theme, although as the taste for these declined in the early years of the twentieth century, he turned increasingly to portraits, specialising in glamorous and slightly fey likenesses of young women which vaguely reflected his literary interests. His early work is strongly influenced by the Pre-Raphaelites; a striking example is St Agnes in Prison receiving from Heaven the Shining White Garment (Tate Gallery), a Chantrey purchase of 1905 which quotes from Rossetti, Millais and Madox Brown. Comparisons can be made with Byam Shaw and his friend Eleanor Fortescue-Brickdale, who were his slightly older contemporaries. Unlike the Birmingham Group of painters and craftsmen, some of whom had met Burne-Jones and all of whom regarded Pre-Raphaelitism as a living tradition, these artists looked on the movement as a phenomenon ripe for revival, going back to the early work of the Brotherhood and attempting to reinterpret it in a more academic spirit. By about 1906 Cadogan Cowper was adopting a more Renaissance idiom, often with an emphasis on rich brocades to create a decorative effect. His RA diploma picture, Vanity, exhibited in 1907, the year he became an Associate, is particularly significant since it borrows motifs from Giulio Romano's portrait of Isabella d'Este at Hampton Court, a picture which had inspired the young Burne-Jones half a century earlier. In 1908-10 he contributed to the murals illustrating Tudor history which a group of artists, supervised by his former master, Abbey, painted for the Commons' East Corridor in the Houses of Parliament. Cowper's subject was The New Learning in England: Erasmus and Thomas More visit the children of Henry VII at Greenwich. But his most sumptuous essay in Renaissance subject matter was Lucretia Borgia reigns in the Vatican in the Absence of Pope Alexander VI, another Chantrey picture which was exhibited at the RA in 1914. Cowper lived most of his life in London, owning a succession of studios in St John's Wood, Kensington and Chelsea. Titania Sleeps was painted in Tite Street, Chelsea, formerly home to Whistler, Oscar Wilde and Sargent. At the end of the second world war Cowper moved to Gloucestershire, settling first at Fairford, not far from where he had served to apprenticeship to Abbey. He died at Cirencester on 17 November 1958 at the age of eighty-one. Cowper's later work undoubtedly deteriorated and is often mawkish in mood, but he is rightly regarded as one of the last exponents of the Pre-Raphaelite tradition. As such he was patronised by Evelyn Waugh and included in the Last Romantics exhibition at the Barbican in 1989. He was in fact responsible for one of the latest pictures in the show, The Four Queens find Lancelot sleeping (Private Collection), exhibited at the RA as late as 1954. In subject, mood and technique, this astonishing example of Pre-Raphaelite survival might belong to the 1900s. Only the types of the figures, which look like 1950s film stars (Vivien Leigh and Glynis Johns as the Queens, perhaps; certainly Kenneth More as Sir Lancelot) give a clue to its real date. Only a year before this, in 1953, Cowper had exhibited Hermia in the Wood, an illustration to A Midsummer Night's Dream . Our picture has the same literary source, but had appeared at the Academy twenty-five years earlier, in 1928. No doubt both works were conscious references to the Victorian tradition of fairy painting, which had found one of its most fertile sources of inspiration in Shakespeare's play. Noel Paton's famous paintings of the Quarrel and Reconciliation of Oberon and Titania, dating from 1847-50, are the obvious examples. Cowper must have known these familiar images, and perhaps even echoes them in the secluded woodland setting he devises for his figure of Titania asleep. The fairy queen herself, however, is pure 1920s. Her dress, for all its Renaissance origins, is essentially Art Deco, while her abandoned pose and exquisite maquillage suggest Hollywood at its most glamorous. Walt Disney could hardly have improved on the owl and rabbit.

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After Frank Cadogan Cowper

Lot 51: After Frank Cadogan Cowper

Description: The Nun's Song,indistinctly signed by both the artist and engraver, engraving, published 1908 by The Fine Art Society, image 43.5 x 62.5cm (17 1/8 x 24 5/8in)

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Frank Cadogan Cowper (1877-1958) Fanny pencil and

Lot 51: Frank Cadogan Cowper (1877-1958) Fanny pencil and

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Description: Frank Cadogan Cowper (1877-1958) Fanny pencil and watercolour signed 'F. Cadogan Cowper' and titled lower right 31.5 x 21 cm

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                                        Frank Cadogan Cowper, R.A. (1877-1958)

Lot 52: Frank Cadogan Cowper, R.A. (1877-1958)

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Description: Frank Cadogan Cowper, R.A. (1877-1958) The Blue Bird signed and dated 'F. C. Cowper 1918' (lower right) and inscribed 'F. Cadogan Cowper A.R.A./Edwardes Square Studios' (on the reverse of the frame)oil on canvas 34 7/8 x 28 in. (88.4 x 71.1 cm.)

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FRANK CADOGAN COWPER (1877-1958, BRITISH) Pencil

Lot 53: FRANK CADOGAN COWPER (1877-1958, BRITISH) Pencil

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Description: FRANK CADOGAN COWPER (1877-1958, BRITISH) Pencil and Wash Head Portrait of a Lady thought to be Mary Mayfield of Walberswick, further inscribed "Mary from F Cadogan Cowper 1930" 8" diameter

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FRANK CADOGAN COWPER R.A. 1877-1958 THE GOLDEN BOWL

Lot 60: FRANK CADOGAN COWPER R.A. 1877-1958 THE GOLDEN BOWL

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Description: signed and inscribed on an old label pasted to the central stretcher: THE GOLDEN BOWL/ painted 1955 by/ F. Cadogan Cowper, R.A.oil on canvasEXHIBITEDRoyal Academy, 1956, no. 401

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Frank Cadogan Cowper, R.A. (1877-1958)

Lot 67: Frank Cadogan Cowper, R.A. (1877-1958)

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Description: Frank Cadogan Cowper, R.A. (1877-1958) ><i>Ecce Ancilla Domini! (The Annunciation)<i>, after Dante Gabriel Rossetti >the second signed and inscribed '<span style="font-size:9">F.C. COWPERAFTER/D.G. ROSSETTI' (lower left) and with inscription 'Mr Cowper c/o Parfeitt 2 Nov 1901' (on the stretcher) >oil on canvas<br>47 x 17 ½ in. (119.4 x 44.4 cm.); and 47 x 18 ¾ in. (119.4 x 47.7 cm.) >(2)a pair<br>

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FRANK CADOGAN COWPER R.A.

Lot 69: FRANK CADOGAN COWPER R.A.

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Description: signed and dated F. C. Cowper/1920 (lower right)

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Frank Cadogan Cowper (1877-1958). Vanity, artist

Lot 76: Frank Cadogan Cowper (1877-1958). Vanity, artist

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Description: Frank Cadogan Cowper (1877-1958). Vanity, artist signed coloured print, dated 1908, 46cm x 30cm

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Lot 86: COWPER, FRANK CADOGAN (1877-1958)

Description: Portrait of a young girl Oil/canvas 40x35 inches (101.5x90 cm).

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Lot 89: FRANK CADOGAN COWPER (1877-1958)

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Description: LA BELLE DAME SANS MERCI signed and dated lower left F C Cowper 1946, signed again, dated and inscribed on a label attached to the reverse "La Belle Dame Sans Merci" (Keats) watercolour painted by F Cadogan Cowper RA A Version of the larger picture in oils painted in 1926 and exhibited at the Royal Academy the same year, watercolour 30 x 28 1/2 in. (76.2 x 72.4 cm.).

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Lot 90: FRANK CADOGAN COWPER (1877-1958)

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Description: THE LEGEND OF SIR PERCEVAL signed, inscribed and dated on a label attached to the stretcher The Legend of Sir Perceval painted 1952-1953 by F Cadogan Cowper RA, oil on canvas 40 3/4 x 33 in. (103.5 x 83.4 cm.) EXHIBITED London, Royal Academy, 1952, no. 553 "Sir Perceval the gallant young knight of the Court of King Arthur, when about to succumb to the realisation of his position by seeing the hilt of his own sword, which is in the form of a cross, lit up by the setting sun. This turns his thoughts to higher things, whereupon the temptress with a loud shriek vanishes with all her magical works." (From Sir Thomas Malory's, Morte d'Arthur).

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Lot 92: FRANK CADOGAN COWPER (1877-1958)

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Description: SELF-PORTRAIT signed, inscribed and dated on a label on the reverse F Cadogan Cowper RA in his Eightieth year 1957 painted by himself, oil on canvas 32 1/4 x 28 1/4 in. (82 x 71.7 cm.) EXHIBITED London, Royal Academy, 1957, no. 439.

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Lot 93: Frank Cadogan Cowper (British, 1877-1958) 'An Aristocrat Answering to the Summons to Execution: Paris, 1792', signed and dated 'F.C. Cowper 1904'; signed and inscribed on label verso, watercolour heightened with bodycolour, 30 x 25 cm. (11.75 x 10

Description: Frank Cadogan Cowper (British, 1877-1958) 'An Aristocrat Answering to the Summons to Execution: Paris, 1792', signed and dated 'F.C. Cowper 1904'; signed and inscribed on label verso, watercolour heightened with bodycolour, 30 x 25 cm. (11.75 x 10 in.) E1,000-1,500 Footnote: Cowper exhibited a work of a similar title (dated 1793) at the Royal Academy in 1901, no.506.

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Frank Cadogan Cowper, R.A. (1877-1958)

Lot 94: Frank Cadogan Cowper, R.A. (1877-1958)

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Description: Study for 'Patient Griselda' signed and inscribed 'Study for "Patient Grielda"/F.C. Cowper' (lower left, overmounted) and with further inscription 'A Study for Patient Griselda/by F.C. Cowper RA' (on the reverse) pencil 15 x 11 in. (38.1 x 28 cm.) NOTES This is a study for the finished watercolour that was sold in Christie's, London, 6 November 1995, lot 113 (œ35,600). The finished watercolour was exhibited at the Royal Society of Painters in Water-Colour, 1906, and reproduced in the Studio the following year. The subject is taken from the tenth tale of the tenth day of Boccaccio's Decameron, a story rendered into Latin by Petrarch and adapted by Chaucer for the 'Clerk's Tale' in the Canterbury Tales. The Marquis of Saluzzo is persuaded by his subjects to marry, and chooses as his wife a humble peasant girl, Griselda. He then proceeds to test her loyalty by subjecting her to a series of cruel trials, all of which she suffers with exemplary fortitude. For the Middle Ages, Griselda was the type or embodiment of Patience. The story of Griselda appealed to several Victorian artists, notably C.W. Cope, who used it for a mural in the House of Lords, 1849. Cowper's painting, however, belongs to a later phase of interest in Italian literary sources, finding parallels in the work of Marie Spartali, Byam Shaw and others. Cowper's Patient Griselda is a charming example of his early style, and the present drawing has something of the same quality.

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Lot 107: COWPER, FRANK CADOGAN (1877-1958)

Description: Portrait of lady Ledgard, 1925 Oil/canvas 50x40 inches (127x102 cm) signed & dated (Lower Right) Inscr.

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Frank Cadogan Cowper (British, 1877-1958)

Lot 110: Frank Cadogan Cowper (British, 1877-1958)

Description: An aristocrat answering to the summons to execution, Paris, 1792 signed and dated 'F.C. Cowper 1904' l.r.watercolour heightened with bodycolour30 x 25 cm. (11 3/4 x 10 in.)

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Lot 113: COWPER, Frank Cadogan (1877-1958)

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Description: The Patient Griselda Watercolour & pencil 16,1 x 100,4 inches (41.0 x 255.0cm) Inscr. upper left Illustrated.

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Lot 117: Frank Cadogan Cowper, R.A., R.W.S. 1877-1958 A self-portrait of the artist, bust-length; and Two sketchbooks of landscape, animal and figure studies including studies for: 'The Damozel of the Lake called Nimue the Enchantress', 'Mariana in the

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Description: Frank Cadogan Cowper, R.A., R.W.S. 1877-1958 A self-portrait of the artist, bust-length; and Two sketchbooks of landscape, animal and figure studies including studies for: 'The Damozel of the Lake called Nimue the Enchantress', 'Mariana in the South', 'The New Learning in England. Erasmus and Thomas More visit the children of Henry Vil at Greenwich, 1499', 'Paoio and Francesca', 'Portrait of Celandine Hanevry Tracy', Lueretia Borgia reigns in the Vatican in the Absence of Pope Alexander VI', 'Our Lady of the Fruits of the Earth', 'The Cathedral Scene from Faust-Margaret tormented by the evil spirits', 'The legend of St Percivai', 'La belle dame sans merci': and a characture of Cowper by Mary Half ord the portrait signed and dated 'F.C. Cowper/Dec. 21t' 1911', one sketchbook signed 'Frank Cadogan Cowper' (on the inside front cover) and inscribed flagon/beakers/Piies of/fine fruit/not too/much food/flowers at/feet/ship behind/her.'and further inscribed variously on the pages of the album sixty-three pencil, fourteen pencil and watercolour, one with pen and black ink, fragmentary watermark on the pages of one of the sketchbooks 9 x 12.25in. 22.8 x 31.1 cm.); and 9.375 x 11.5in. 23. 8 x 29.2 cm overall 3 Estimate:

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Lot 124: Frank Cadogan Cowper, R.A., R.W.S. (1877-1958)

Description: Portrait of a lady, half-length, in a green dress signed and dated 'F.C. Cowper/1923' (lower right) pencil and watercolour, heightened with white, oval 20 1/2 x 13 3/4 in. (52 x 34.9 cm.)

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Lot 128: Frank Cadogan Cowper (British, 1877-1958) An aristocrat answering to the summons to execution, Paris, 1792 30 x 25 cm. (11.75 x 10 in.)

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Description: Frank Cadogan Cowper (British, 1877-1958) An aristocrat answering to the summons to execution, Paris, 1792 30 x 25 cm. (11.75 x 10 in.)

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Lot 138: Frank Cadogan Cowper, R.A., R.W.S. (1877-1958) Margaret (Alone at her Spinning Wheel) "My heart's oppresse My peace is o'er I know no rest, No, nevermore..." Goethe, Faust, Act I. signed and dated 'FC COWPER 1907' (upper left) and further signed and

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Description: Frank Cadogan Cowper, R.A., R.W.S. (1877-1958) Margaret (Alone at her Spinning Wheel) "My heart's oppresse My peace is o'er I know no rest, No, nevermore..." Goethe, Faust, Act I. signed and dated 'FC COWPER 1907' (upper left) and further signed and inscribed 'Frank Cadogan Cowper 38 Barrow Hill Road/St. Johns Wood/N.W.' (on the artist's label on the reverse) and further inscribed 'Margaret (alone at her spinning-wheel);/My hearts oppressed/My peace is O'er;/I know no rest,/No, nevermore./(Goethes' Faust)' (on a label attached on the revrse) pencil and watercolour with touches of white heightening 17 x 13in. (43 x 33cm.) Provenance: with The Graves Gallery, Birmingham.

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Frank Cadogan Cowper (British, (1877-1958)

Lot 140F: Frank Cadogan Cowper (British, (1877-1958)

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Description: Portrait, three quarter length of Mrs E.H. Evans-Combe wearing evening dress,signed and dated 1920, also signed, titled and dated on label attached to stretcher verso, oil on canvas,50 x 36 in. (127 x 92 cm.)

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Lot 165: COWPER, FRANK CADOGAN ()

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Description: The Visitation, 1877-1958 A sketch, oil/canvas 40.2x48.1 in (102x122 cm).

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Lot 169: Frank Cadogan Cowper, R.A. (British, 1877-1958)

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Description: PORTRAIT OF FRAUNCES, BEATRICE, JAMES AND SYNFYE, CHILDREN OF JAMES CHRISTIE, ESQ. signed and dated F.C. Cowper 1919 (lower left) oil on canvas 34 by 40in. 86.4 by 101.6cm. Frank Cadogan Cowper is considered one of the last exponnents of the Pre-Raphaelite tradition. During the 1890's, he was greatly influenced by the work of Ford Madox Brown, Dante Gabriel Rossetti and John Everett Millais, whose works were widely exhibited in the late Victorian and Edwardian periods. Cowper found the work of these artists refreshing, and was influenced by their vivid use of color. The Pre-Raphaelite influence is evident in the rich color palette, attention to minute detail, as well as the deliberately angular, simple and almost shadowless modelling in this portrait of children. This clarity of gesture was inspired by Cowper's diligent study of engravings after early Italian murals, as well as early Netherlandish paintings. After 1906, Cowper turned more and more to painting in a Renaissance style. His work was first accepted at the Royal Academy in 1899, where he exhibited regularly for the rest of his life. Provenance: Sale, London, Sotheby's, June 17, 1980, Lot 165 Adams (acquired at the above sale) Exhibited: London, Royal Academy, 1920, No. 592#Sotheby's Scan169-TITLE-Important 19th Century European Paintings, Drawings and Sculpture.

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FRANK CADOGAN COWPER (1877-1958, BRITISH) Pencil

Lot 208: FRANK CADOGAN COWPER (1877-1958, BRITISH) Pencil

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Description: FRANK CADOGAN COWPER (1877-1958, BRITISH) Pencil and Wash Head Portrait of a Lady thought to be Mary Mayfield of Walberswick, further inscribed "Mary from F Cadogan Cowper 1930" 8" (diameter)

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Lot 246: Attributed to Frank Cadogan Cowper 13.75in. x 20in. 35 x 51cm A watermill Signed with initials and dated 1904

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Description: Attributed to Frank Cadogan Cowper 13.75in. x 20in. 35 x 51cm A watermill Signed with initials and dated 1904

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Lot 250: Frank Cadogan Cowper, R.A. (1877-1958)

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Description: Frank Cadogan Cowper, R.A. (1877-1958) Portrait of Elizabeth Witts, daughter of Frederick Vavasour Broom Witts (1889-1969)signed, inscribed and dated 'Elizabeth/Daughter of Major-General F.V.B. Witts, C.B.E., D.S.O., M.C./painted 1954 by/F. Cadogan Cowper. R.A.' (on the artist's label attached to the stretcher)oil on canvas 49½ x 39 3/8 in. (125.7 x 100 cm.)

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Frank Cadogan Cowper (British, 1877-1958) Portrait of Elizabeth Witts, wearing a white satin gown, and seated before a tapestry

Lot 262: Frank Cadogan Cowper (British, 1877-1958) Portrait of Elizabeth Witts, wearing a white satin gown, and seated before a tapestry

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Description: Portrait of Elizabeth Witts, wearing a white satin gown, and seated before a tapestry signed and inscribed: 'Elizabeth/Daughter of Major-General F.V.B. Witts, C.B.E., C.S.O., M.C./painted 1954 by/F.Cadogan Cowper R.A.' (on label verso),oil on canvas, unframed,128 x 101cm (50 3/8 x 39 3/4in).

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Lot 269: Frank Cadogan Cowper, R.A. (British, 1877-1958)

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Description: "VANITY" signed and dated 1919 oil on canvas 50 by 36 in. 127 by 91.4 cm. Frank Cadogan Cowper was a painter of portraits, historical and fantasy scenes. This work epitomizes the elegance of English high society during the Edwardian era and the 1910s and 1920s, but at the same time the sitter's pose and aloof, distant expression give her the air of a character out of a fairytale. Set against a backdrop of heavy decorated curtains, the figure appears to occupy a hermetically sealed world far distant from the bustle of London's society life. The other-worldliness of Cowper's works can be attributed to the influence of the Pre-Raphaelites, whose ideas and style influenced his oeuvre well into the twentieth century. The present work also displays some of the hallmarks of the Aesthetic movement prevalent in England in the last decades of the nineteenth century, whose dictum, "art for art's sake" is reflected in Vanity. For although the painting ostensibly depicts a lady of leisure in a plush aristocratic interior, it is essentially without narrative, Cowper's aim being to create a sensuous feast for the eye. Overriding any "story" are the heavy, velvety fabrics, the richly decorated drapes, and the silky fur. The tactility of the work is symbolically underlined by the pearls being caressed by the sitter. Cowper was named Associate of the Royal Watercolour Society in 1904, and was made a full member in 1912. In 1921 he was elected to the Royal Society of Portrait Painters. He was elected a Member of the Royal Academy in 1934, but had exhibited there since 1899. Exhibited: London, Royal Academy of Art, 1919, No. 190 Literature: Alison Lurie, The Language of Clothes, Feltham, 1982 (as the cover illustration of the 1983 edition).

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FRANK CADOGAN COWPER (1877-1958) - A full length

Lot 293: FRANK CADOGAN COWPER (1877-1958) - A full length

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Description: FRANK CADOGAN COWPER (1877-1958) - A full length portrait of a young lady in a white silk strapless dress, oil on canvas, 83" x 42 1/4" (see illustration).

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Lot 312: COWPER, FRANK CADOGAN (1877-1958)

Description: Margaret alone at her spinning wheel, 1907 Watercolour 17x13 inches (43x33 cm) signed & dated (Lower Left) Title S/label/verso.

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FRANK CADOGAN COWPER R.A. 1877-1958

Lot 319: FRANK CADOGAN COWPER R.A. 1877-1958

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Description: signed and inscribed on an old label pasted to the central stretcher: THE GOLDEN BOWL/ painted 1955 by/ F. Cadogan Cowper, R.A.oil on canvas

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Lot 319: COWPER, FRANK CADOGAN (1877-1958)

Description: Lancelot slays the Caitiff Knight Sir Tarquin and rescue the Fair Lady Oil/canvas 41x32 inches (103x81 cm).

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FRANK CADOGAN COWPER:

Lot 359: FRANK CADOGAN COWPER: "PORTRAIT OF LADY LEGARD"

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Description: FRANK CADOGAN COWPER: "PORTRAIT OF LADY LEGARD" circa 1925 signed and titled on paper verso Provenance: Kurt E. Schon, New Orleans The Estate of Ed Limato 50 1/4 x 40 1/4 inches

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Pre-Raphaelite painting, mother kneeling with

Lot 389: Pre-Raphaelite painting, mother kneeling with

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Description: Pre-Raphaelite painting, mother kneeling with children, portion of a larger work (likely a triptych), unsigned, bears similarities to the work of Frank Cadogan Cowper (British, 1877-1958), oil on canvas, American or British, 19th century, unframed, 33-1/2 x 19-3/8 in. Laid down on plywood panel, nails at all edges, losses to canvas at edges upper right, retouch primarily at edge, crackle, cupping, flaking. Property of a Los Angeles, California, Collector

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Lot 390: Frank Cadogan Cowper, R.X British, 1877-1958 Portrait Of Fraunces, Beatrice, James And Synfye: Children Of James Christie, Esq. signed and dated Ec Cowper 1919 (lower left) oil on canvas 34by40in. 86.4 by101.6cm. Provenance: Sale, Sotheby's

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Description: Frank Cadogan Cowper, R.X British, 1877-1958 Portrait Of Fraunces, Beatrice, James And Synfye: Children Of James Christie, Esq. signed and dated Ec Cowper 1919 (lower left) oil on canvas 34by40in. 86.4 by101.6cm. Provenance: Sale, Sotheby's Belgravia, June 17, 1980, Lot 165 Adams (acquired from above sale) Exhibited.. Royal Academy, London, 1920, No. 592

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Frank Cadogan Cowper,

Lot 552: Frank Cadogan Cowper, "A Merciles Beaute" (details

Description: Frank Cadogan Cowper, "A Merciles Beaute" (details verso), watercolour in the pre-Raphaelite style of a lady in regal attire, signed and dated in bottom right-hand corner 1906, 17"x10", framed and glazed in attractive heavy ornate gilt frame (Illustrated)

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Lot 566: COWPER, FRANK CADOGAN (1877-1958)

Description: Portrait of Lady Ledgard, 1925 Oil/canvas 50x40 inches (127x101 cm) signed & dated (Lower Right).

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Lot 603: Att. Frank Cadogan Cowper - Watercolour Woodland scene with watermill, 13.75in by 20.25in signed with initials and dated 1904 mounted and in glazed

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Description: Att. Frank Cadogan Cowper - Watercolour Woodland scene with watermill, 13.75in by 20.25in signed with initials and dated 1904 mounted and in glazed gilt frame

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Frank Cadogan Cowper, RA (1877-1958) Portrait of a Lady in Mauve, oil on canvas, 44 x 34cm. Provenance: A gift from Frank Cadogan Cowper to his landlady, thence by descent to her daughter, Mrs Franks and by descent within the family Estimate -

Lot 645: Frank Cadogan Cowper, RA (1877-1958) Portrait of a Lady in Mauve, oil on canvas, 44 x 34cm. Provenance: A gift from Frank Cadogan Cowper to his landlady, thence by descent to her daughter, Mrs Franks and by descent within the family Estimate -

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Description: Frank Cadogan Cowper, RA (1877-1958) Portrait of a Lady in Mauve, oil on canvas, 44 x 34cm. Provenance: A gift from Frank Cadogan Cowper to his landlady, thence by descent to her daughter, Mrs Franks and by descent within the family

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Frank Cadogan Cowper, RA (1877-1958) Self-Portrait of the Artist, signed lower right

Lot 646: Frank Cadogan Cowper, RA (1877-1958) Self-Portrait of the Artist, signed lower right "F C Cowper 1899", oil on canvas, 53 x 49cm. Provenance: A gift from Frank Cadogan Cowper to his landlady, and by descent to her daughter, Mrs Franks, and by descent

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Description: Frank Cadogan Cowper, RA (1877-1958) Self-Portrait of the Artist, signed lower right "F C Cowper 1899", oil on canvas, 53 x 49cm. Provenance: A gift from Frank Cadogan Cowper to his landlady, and by descent to her daughter, Mrs Franks, and by descent within the family

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Lot 748: FRANK CADOGAN COWPER. Signed and dated 1906 pastel on paper, head and shoulder study of a pretty girl 'Griselda'. 18in x 11.75in

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Description: FRANK CADOGAN COWPER. Signed and dated 1906 pastel on paper, head and shoulder study of a pretty girl 'Griselda'. 18in x 11.75in

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Frank Cadogan Cowper (1877-1958) pencil drawing, Study of a child, 8 5 x 7 ins.

Lot 949: Frank Cadogan Cowper (1877-1958) pencil drawing, Study of a child, 8 5 x 7 ins.

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Description: Frank Cadogan Cowper (1877-1958) pencil drawing, Study of a child, 8 5 x 7 ins.

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