Large Original Colin Campbell Cooper Gouache/Tan Paper Burgos Cathedral Interior

Description: Large Original Colin Campbell Cooper Gouache/Tan Paper Burgos Cathedral Interior Large Original Colin Campbell Cooper Gouache/Tan Paper Burgos Cathedral Interior Click images to enlarge Description Large Original Colin Campbell Cooper NA Watercolor Burgos Cathedral Interior Offered here is a large, rare, original watercolor/gouache on tan paper by Colin Campbell Cooper NA. The work is typical for Cooper who painted many important architectural subjects. This, the interior of the Burgos Cathedral in Spain (Santa Iglesia Catedral Basílica Metropolitana de Santa María de Burgos), is one of his finest. Cooper was elevated to full academician* in 1912. It's a substantial work, 17.75" by 14.75" sight and 28" by 24" framed. It is double matted and presented in a very fine hand carved, gold leafed, Art Nouveau frame which works well with the elegant interior design. As usual with older watercolors, we inspected the interior and replaced all non-conservation quality materials with acid free or pH balanced material. The painting is on tan watercolor paper mounted on heavy card, which protected it from the original cardboard backing which was discarded along with the original mat. We also replaced the glass with UV filtering acrylic. It now should be good for another few hundred years. Cooper's watercolors of this size have auctioned to $45,000.00 and higher (note the Jackson Square Cathedral watercolor in the images). We have reviewed all the Cooper auction results listed in ArtPrice and believe this is one of the most beautiful in any medium. We are, nevertheless, offering at the low end of the auction range. The price is firm. Returns are accepted only in case of misrepresentation but our guarantee of authenticity is without time limit. *Please note that Ebay listings frequently claim National Academy membership for artists that are not, in fact, Academicians. Some may have taken classes or exhibited at the NAD, but that does not confer membership. You can check such claims on the NAD website using this link: http://www.nationalacademy.org/academy/national-academicians/ National Academy of Design Probably many of you viewers know that election to full Academician by one's artist peers is the highest recognition an artist may achieve in the USA. You may not know just how rare that recognition is. Since Samuel F.B. Morse and associates founded the National Academy of Design in 1825, only about 750 artists have been elected full academician. I made that count two years ago from Academy records excluding honorary and associate members. Bear in mind that this group includes architects, sculptors, and etchers, as well as painters, so the number of Academician painters is much lower than 750. From: Who Was Who in American Art 1564-1975 COOPER, Colin Campbell [Painter; writer] b.1856, Philadelphia, PA / d.1937, Santa Barbara, CA. Addresses: Santa Barbara, CA. Studied: PAFA, 1879, with Th. Eakins; Académie Julian, Paris with Bouguereau, 1886-90; also with Lefebvre, Doucet, Académie Delecluse, Académie Viti, all in Paris. Member: ANA, 1908; NA, 1912; Phila. WCC; Lotus Club; SC; AWCS; NAC; SPNY; AFA; San Diego AG; Calif. AC. Exhibited: PAFA, 1880-1913 (prize, 1904), 1915-25 (prize, 1919); Paris Salon, 1890, 1899; NAD, 1891-99; Boston AC, 1892-1909; AIC; Atlanta Expo, 1895 (medal); AWCS, 1903 (prize); ACP, 1905 (gold); Corcoran Gal, 1907-19; Buenos Aires Expo, 1910 (med); NYWCC, 1911 (prize), 1918 (prize); Pan-Pacific Expo, San Francisco, 1915, oil (gold med), watercolors (silver med); Macbeth Gal., NYC, 1915 (joint exh. with his wife, Emma Lampert Cooper); San Diego FA Gal., 1930 (prize). Work: Cincinnati Mus.; Dallas AA; St. Louis AM; Boston Art Club; Club Phila.; Lotus Club; NAC; PAFA; Memorial Art Gallery, Rochester, NY; Oakland Mus.; Reading Mus.; FA Gal., San Diego; Luxembourg Mus., Paris. Comments: An Impressionist who spent more than twenty years painting abroad, focusing on architecture and cosmopolitan scenes more than landscapes. He was also one of the earliest artists at Taos, painting at the Pueblos before 1883. An 1896 fire at the Hazeltine Gal., Phila., destroyed most of his early works from Europe. He married the painter Emma Lampert in 1897. In 1921, a year after his wife's death, he settled in Santa Barbara where he painted landscapes, remarrying in 1927. He painted throughout India in 1913 and returned there later in life. Also in 1913, he painted in Cragsmoor, NY, for the first time. He also produced plays for community theatre in Santa Barbara. Position: Instructor of watercolor, Drexel Inst., Philadelphia, 1895-98; dean, Santa Barbara School of Art. Sources: Hughes, Artists of California, 115; P&H Samuels, 106; Tina Goolsby, “Colin Campbell Cooper,” Art & Antiques, Jan. 1983, p. 56; Fink, American Art at the Nineteenth-Century Paris Salons, 332; Falk, Exh. Record Series. COLIN CAMPBELL COOPER BIOGRAPHY Born in Philadelphia, Pennsylvania on March 8, 1856, Colin Campbell Cooper was the son of surgeon Dr. Colin Campbell Cooper and Emily William Cooper. The painter Cooper later recounted "Whatever artistic incentive I may have had in my early days I probably received from my mother [an amateur copyist in watercolors]...My father...was a great lover of literature and music and encouraged me in every way possible in my wish to be an artist." That encouragement was instrumental in the younger Cooper becoming a prominent American painter. He enrolled in the Pennsylvania Academy of Fine Arts, and studied under the great and then-controversial Thomas Eakins. Following his American studies, in 1886 he went to Europe, as did many young artists who could afford it. After making a tour of the Lowlands he studied in Paris at the Academies Julian, Decluse and Viti, and traveled throughout western Europe. He continued to travel often and widely for the remainder of his life. New York City. In 1902 Cooper began painting the new American building, the skyscraper, and thus documenting the modern city. He painted Cliffs of Manhattan and Fifth Avenue, N.Y.C. during this period. Cooper continued to travel, and was on the S.S. Carpathia when it steamed to the rescue of passengers of the Titanic. In 1913 Cooper was in Ceylon, Burma, and for the first time, India. The Coopers together wintered in Southern California over 1915-1916 when they attended the Pacific-Panama and the Panama-California Expositions, in both of which Cooper exhibited.2 Cooper moved to Southern California in 1921, after the death of his wife Emma. In that year he became Dean of the Santa Barbara School for the Arts, and settled in Santa Barbara. He simultaneously kept a New York residence for many years, and thus maintained a presence on both coasts.3 He became a contributing member of the Santa Barbara community, remarried in 1927 (to Miss Marie Frehsee), and campaigned for an art museum to be placed in the old post office. He maintained a home in Santa Barbara until his death in 1937. 1. Hansen, letter by Cooper written from his residence on Anacapa Street, Santa Barbara, CA . Per Goolsby, letter held at the San Diego Museum of Art, undated and unpublished. 2. Solon, p. 11 of 33 on internet rekeyed article. . 3. Solon, ibid, p. 12. AN ANALYSIS OF THE ARTIST'S WORK Cooper's work is most often discussed in the context of a particular place or movement--American Impressionism within New York, or Impressionism within California are most frequent. Also referenced is work by Cooper that falls within the American Orientalist movement. He is also referred to as an American painter who, sophisticated and well-trained and well-traveled, throughout his life documented his many travels. Actually Cooper was all of the above. While his ouevre has rarely, if ever, been examined in its entirety, both the quality and the scope of his work is tremendous. Colin Campbell Cooper was intelligent, hard-working and talented--combined with his family's willingness to finance many aspects of his early career, Cooper had an edge over many of his contemporaries, and he made the most of it. He traveled, taught, painted and exhibited after he finished school. In 1902, when Cooper was in his mid-forties, he began the long series of skyscraper and modern urban landscape paintings for which he is currently best known. Those paintings were appreciated in print within two years of starting the New York skyscraper paintings. In a 1904 Brush and Pencil review of the Minneapolis Art Exhibition, Cooper was praised for both his handling of the subject matter and his technical expertise: the Colin Campbell Cooper architectural collection [was] so much the center of attraction. His medium was a unique handling of watercolors on canvas, so cleverly done that the eight water-colors could scarcely be distinguished from the two oils...The Flatiron Building held the popular interest...[Two other paintings ] were additional proofs of this artist's skill in clothing the commonplace brick and mortar of the business block with rich, warm colors of their own.1 In 1920, with a bit of time to look back on, another even more laudatory quote came from The Century: Cooper...is pre-eminently the artist who has shown the modern world that there is beauty, even poetry, in its towering structures of steel, as well as old cathedrals laid stone by stone. He has transformed the canyons of New York for their denizens...[he has] revealed the unique beauty behind the Flatiron building, the glorious vaulting across great rivers... It seems clear that a great deal of Cooper's skill in architectural painting is due at least in part to his understanding of the fundamental structure underlying the "skin" of a building, which Cooper could easily have extrapolated from his (then somewhat shocking) studies of anatomy with Thomas Eakins. Certainly as was previously pointed out, Cooper is primarily known as an American Impressionist painter of the skyscraper. However, Cooper was not just an architectural painter. His portraits are lively and have a very personal quality which we can believe are an accurate reflection of the personalities he painted. His landscapes, even the quick gouache sketches with which he documented his travels, have a strong spirit of place. In the later part of his life Cooper wrote about his choices of subject matter, "While architectural subjects have always delighted me, yet I have never wanted to confine myself to one class of subject, which has always seemed to limit the joy of it--life is so full of interesting things." 3 While there are many appreciative mentions and listings of Cooper's work, to date there is no single publication of any length devoted to his work. There is a major Colin Campbell Cooper catalog upcoming in 2006. William Gerdts, the prominent American Impressionism scholar, and Deborah Epstein Solon, a curator known for her work on California painters are in the research stage now. That catalog will accompany a major Cooper retrospective exhibit. William Gerdts devoted substantial attention to Cooper in his book Impressionist New York. Deborah Epstein Solon is a curator who has worked with both the Los Angeles County Museum of Art and the Laguna Art Museum curating some important California exhibits as well as writing major catalog essays. 1. Beard, Emma E. Brush and Pencil, Dec. 1904. 2. Hansen, n.p., quoted from "Among Our Contributors,"The Century, vol. 100, no. 6, October 1920, p. vii. . 3. Hansen, n.p., quoted from an undated letter written by Cooper while he was living at 1715 Anacapa Street, Santa Barbara, California. Lettter held at the San Diego Museum of Art. Get images that make Supersized seem small.Showcase your items with Auctiva's Listing Templates! THE simple solution for eBay sellers. Track Page Views With Auctiva's Counter

Price: 4800 USD

Location: Salem, Virginia

End Time: 2025-01-30T23:45:00.000Z

Shipping Cost: 20 USD