ALEXANDER COZENS (ST PETERSBURG 1717-1786 LONDON)
ALEXANDER COZENS (ST PETERSBURG 1717-1786 LONDON)
ALEXANDER COZENS (ST PETERSBURG 1717-1786 LONDON)
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ALEXANDER COZENS (ST PETERSBURG 1717-1786 LONDON)

High Tor, Matlock Derbyshire

Details
ALEXANDER COZENS (ST PETERSBURG 1717-1786 LONDON)
High Tor, Matlock Derbyshire
signed and dated 'ACozens. / 1756' ('AC' linked, lower right)
oil on canvas
28 1⁄8 x 36 ¼ in. (71.4 x 92.1 cm.)
Provenance
(Probably) Nathaniel Curzon, Lord Scarsdale (1726-1804), Kedleston Hall, Derbyshire, 1789.
with Spink and Son, London, October 1960.
H.G. Balfour, and by descent to the seller at the following,
Anonymous sale [The Property of a Gentleman, a descendant of the artist]; Sotheby's, London, 9 June 1998, lot 5, where acquired by the present owner.
Literature
(Probably) James Pilkington, A View of the Present State of Derbyshire with an Account of its most remarkable Antiquities, II, London, 1789, p. 124, from a list of the pictures at Kedleston Hall, as 'Matlock high tor, by Cozens'.
'Advert - Spink & Son', The Burlington Magazine, CII, October 1960, p. xxxii.
B. Nicolson, Joseph Wright of Derby: Painter of Light, I, London, 1968, p. 86 and 88, fig. 108.
M. Rosenthal, British Landscape Painting, Oxford, 1982, p. 56, fig. 46.
K. Sloan, Alexander and John Robert Cozens: The Poetry of Landscape, New Haven and London, 1986, pp. 37 and 38, pl. 42.
K. Sloan and P. Joyner, 'A Cozens album in the National Library of Wales, Aberystwyth', The Walpole Society, LVII, 1993-4, p. 117, under no. 37b.
S. Leach, Joseph Wright and the Final Farewell, Cambridge, 2023, p. 87.
Exhibited
London, Tate Gallery, Landscape in Britain c.1750-1850, 21 November 1973-3 February 1974, no. 83, with catalogue entry by L. Parris.

Brought to you by

Alastair Plumb
Alastair Plumb Senior Specialist, Head of Sale, European Art

Lot Essay

Alexander Cozens was one of the earliest artists to depict the atmospheric beauty of Matlock Tor, a limestone escarpment overlooking the Derwent Valley, Derbyshire, that later also captured the imagination of Lord Byron, J.M.W. Turner and Joseph Wright of Derby, whose own renderings of the landscape some twenty years later are now generally recognised to have been influenced by Cozens. Benedict Nicolson proposed that it was from Cozens that Wright drew ‘his sense of sublimity’, and the confidence to experiment with the effects of dramatized natural light (Nicolson, loc. cit.). Furthermore, he suggested that Wright may have been led by Cozens in his inclusion of very small figures in the immediate foreground, which serve to maximise the impact of the imposing landscape they inhabit.

This painting and its pendant (sold Christie’s, London, 8 December 2023, lot 201) are rare surviving examples of Cozens’ work in oil; although no fewer than ninety of the artist’s oils were listed in his son John Robert Cozens’ sale at Greenwood’s in 1794, the vast majority still remain untraced.

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