Stills from a Life’s Cinema C OLIN CA MPBEL L COOPER (1856- 1937)
Sullivan Goss
AN AMERICAN GALLERY
Text by: Nathan Vonk Susan Bush Frank Goss Book design: Jeremy Tessmer Assistance from: Edgard Rincon Nathan Vonk Photography by: Edgard Rincon © 2010 Sullivan Goss, Ltd. Santa Barbara, California First Edition COVER:
Sunset with Rays Over the Ocean, c. 1920s 4.75 x 7 inches | gouache on board signed lower left
This book was published in conjunction with an exhibition called Stills from a Life’s Cinema: Colin Campbell Cooper (1856-1937) at Sullivan Goss - An American Gallery that ran from April 7 - July 3, 2011.
Stills from a Life’s Cinema C OLIN CA MPBEL L COOPER (1856- 1937)
Sullivan Goss AN AMERICAN GALLERY
TABLE OF CONTENTS INTRODUCTION
1
by Frank Goss COLOR PLATES Seascapes
4
Landscapes
18
Cloud Studies
64
Cities and People
88
PLATE LIST
104
BIOGRAPHY
114
CHRONOLOGY
118
EXHIBITION HISTORY
120
COLLECTIONS
122
INTRODUCTION
Colin Campbell Cooper took pencils, crayons, watercolors and oils into the field and made sketches. Some were simply memory tools. He would use them to recall a fleeting cloud formation in the Himalayas, a particular ray of light in Avignon, a horse-drawn cart on a cobbled street in Algiers, or the instant of sunrise over the Rincon in Santa Barbara. At other times, he started with a pencil drawing, converted to a more realized small watercolor and then used this study to create a small oil. Eventually, if he liked the small painting, he would work it into one of his large exhibition canvases.
Cooper was a member of the National Academy and in the midnineteenth century the Academy began showing small pieces in their “Sketch Room.” As a result, friends, collectors and fellow artists began to give real attention to the work of great artists in the small format. Often times, viewers were shocked to see the small studies next to the larger finished work, only to realize that the artist’s field sketches were fresher, more vibrant and simply better than the work done later in the studio.
Somewhere in the process, he made small sketches and kept them in his studio. When he died in 1937, these pieces went to his heir. More than a decade ago, Sullivan Goss acquired his estate from his descendents. This is the first exhibition dedicated to these tiny gems.
Cooper always kept small sketchbooks with him. Most of the time, he simply worked in pencil, but often switched to pastels or watercolors. It is also apparent that he took cardstock, artists’ paper and small canvases into the field where he painted en plein aire. But not all sketches were done outdoors. There were times
Think of them as cinema. Little tiny paintings made over a lifetime. Like 35mm stills that could be linked together into a lifelong feature film. Like travel postcards made on envelopes, backs of menus, and card stock. Quick, fresh, vibrant – small.
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when Cooper worked in his studio creating small studies that lead to larger paintings. For Cooper, these small works were often thought of as his “private” notes. They were the unguarded, unedited and often unfinished first thoughts about a subject. They allow us a view of his facility of hand in all subjects: his original concepts for landscapes, his first thoughts about the arrangement of a still life, and his initial strokes as he rendered the human figure. Because he did not think of these in the same way as fully realized paintings, we get a glimpse into his most naïve and spontaneous responses to life. What is evident in these pieces is that the man, Cooper, was in love with life. Each little painting is like a storage container, a sort of mason jar, filled with preserved delicacies. After being stored for over 100 years, they are finally opened and ready for sampling. - Frank Goss
2
SEASCAPES
PLATE 1 5
PLATE 2 6
PLATE 3 7
PLATE 4 8
PLATE 5 9
PLATE 6 10
PLATE 7 11
PLATE 8 12
PLATE 9 13
PLATE 10 14
PLATE 11 15
PLATE 12 16
LANDSCAPES
PLATE 13 19
PLATE 14 20
PLATE 15 21
PLATE 16 22
PLATE 17 23
PLATE 18 24
PLATE 19 25
PLATE 20 26
PLATE 21 27
PLATE 22 28
PLATE 23 29
PLATE 24 30
PLATE 25 31
PLATE 26 32
PLATE 27 33
PLATE 28 34
PLATE 29 35
PLATE 30 36
PLATE 31 37
PLATE 32 38
PLATE 33 39
PLATE 34 40
PLATE 35 41
PLATE 36 42
PLATE 37 43
PLATE 38 44
PLATE 39 45
PLATE 40 46
PLATE 41 47
PLATE 42 48
PLATE 43 49
PLATE 44 50
PLATE 45 51
PLATE 46 52
PLATE 47 53
PLATE 48 54
PLATE 49 55
PLATE 50 56
PLATE 51 57
PLATE 52 56
PLATE 53 57
PLATE 54 58
PLATE 55 59
PLATE 56 60
PLATE 57 61
PLATE 58 62
PLATE 59 63
CLOUD STUDIES
PLATE 60 65
PLATE 61 66
PLATE 62 69
PLATE 63 70
PLATE 64 71
PLATE 65 72
PLATE 66 73
PLATE 67 74
PLATE 68 75
PLATE 69 76
PLATE 70 77
PLATE 71 78
PLATE 72 79
PLATE 73 80
PLATE 74 81
PLATE 75 82
PLATE 76 83
PLATE 77 84
PLATE 78 85
PLATE 79 86
CITIES AND PEOPLE
PLATE 80 89
PLATE 81 90
PLATE 82 91
PLATE 83 92
PLATE 84 93
PLATE 85 94
PLATE 86 95
PLATE 87 96
PLATE 88 97
PLATE 89 98
PLATE 90 99
PLATE 91 100
PLATE 92 101
PLATE 93 102
PLATE 94 103
PLATE LIST 1
Rincon Peak, Santa Barbara, Mesa, ND 4.75 x 7.25 inches | gouache on paper signed lower right
6
Sunset with Rays Over the Ocean, ND 4.75 x 7 inches | gouache on board signed lower left
2
Santa Rosa Island, circa 1920 4.75 x 7.25 inches | oil on board signed lower right
7
Peach Clouds with a Patch of Blue Over the Sea, ND 4.75 x 6 inches | gouache on paper signed lower left
3
Refugio at Sunset, October 6, 1925 4.75 x 7 inches | gouache on paper estate stamped lower left
8
Orange Sunset Over Lavender Sea, ND 4.75 x 5.75 inches | gouache on paper signed lower right
4
Seascape with Pink Sun, Yellow Rays, ND 3.75 x 6.5 inches | gouache on board signed lower right
9
Rain on the Ocean, ND 4.75 x 7 inches | gouache on paper signed lower left
5
Blue Sky, Blue Ocean, White Clouds, ND 4.5 x 7 inches | gouache on board signed lower left
10
Sunset Over a Green Sea, ND 4.5 x 6 inches | gouache on paper signed lower right
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11
Clearing Sky Over Dark Blue Sea, ND 4.5 x 7 inches | gouache on paper signed lower right
16
Waterfall, ND 7 x 4.75 inches | oil on board signed lower left
12
Sunset with Green Rays Over Ocean, ND 4.75 x 7 inches | gouache on paper signed lower right
17
Green Hills and Turbulent Sky, ND 4.5 x 5.75 inches | gouache on paper unsigned, from the Estate
13
Landscape with Peak, ND 4.5 x 6.75 inches | gouache on paper unsigned, from the Estate
18
Creekside, ND 4.5 x 7 inches | oil on board signed lower left
14
Yellow Sun Over Hills, ND 4.75 x 6.5 inches | watercolor on paper estate stamped lower left
19
Sunset Sky, Purple Mountains, ND 2.5 x 7.5 inches | gouache on board signed lower left
15
Nocturne: Lightning in the Foothills, Santa Barbara, ND 4.5 x 6.75 inches | oil on board estate stamped lower left
20
Sunset, Purple Mountains, Brown Hills, ND 4.75 x 7 inches | gouache on board signed lower right
105
21
Sunset in Village, ND 4.75 x 7 inches | gouache on board signed lower right
26
Valley Sunset with Silver Lake, ND 4.5 x 7 inches | gouache on paper estate stamped lower right
22
Bright Sky Over Desert Landscape, ND 4.5 x 7 inches | gouache on board estate stamped lower left
27
Sunset Rain Storm with Purple Mountain Range, ND 4.75 x 7 inches | gouache on board unsigned, from the Estate
23
Clouds and Sun with Golden Rays, ND 4.75 x 7 inches | gouache on board signed lower left
28
High Peaks, European Bay, ND 4.5 x 7 inches | gouache on paper signed lower left
24
Impasto Sunset, ND 4.5 x 7 inches | gouache on board signed lower right
29
Sunset over Greenery, ND 4.5 x 7 inches | gouache on paper signed lower right
25
Minimalist Landscape with Pink Mountains, ND 3.75 x 6.5 inches | gouache on paper signed lower right
30
Landscape in Brown and Blue, ND 4.5 x 7 inches | gouache on paper
106
31
Purple and White Clouds, with Patch of Blue Sky, ND 4.5 x 7 inches | gouache on paper signed lower left
36
Orange Sunset, Purple Mountains, Dark Foothills, ND 4.25 x 6.5 inches | gouache on board signed lower right
32
Desert Sunset, ND 3.75 x 7 inches | gouache on paper unsigned, from the Estate
37
Sunset with Orange, Pink, and Yellow Clouds, ND 4.75 x 7 inches | gouache on paper signed lower right
33
Smoking Volcano, ND 4.5 x 7 inches | gouache on paper signed lower left
38
Rays of Sunlight Over Purple Mountains, ND 4.5 x 7 inches | gouache on paper signed lower right
34
Rainy Day in the Green Hills, ND 4.5 x 7 inches | gouache on paper signed lower left
39
Horizontal Orange Sunset, ND 4.5 x 7 inches | gouache on paper signed lower right
35
Sun Peeking Through Cloud Over Mountains, ND 4 x 6.25 inches | gouache on board estate stamped lower left
40
Whispy Clouds, Gold Sunset, March 30, 1927 4.75 x 7 inches | gouache on paper signed lower left
107
41
Bright Sunset with Rays Over Purple Landscape, ND 4.75 x 7 inches | gouache on paper signed lower right
46
Golden Foothills and Blue Mountains, ND 4.75 x 6 inches | gouache on paper signed lower right
42
Landscape and Sky in Mauves, ND 4.75 x 7 inches | gouache on paper signed lower right
47
Snow Capped Pink Mountains, ND 4 x 7 inches | gouache on paper estate stamped lower right
43
Color Sky Study, ND 4.75 x 7 inches | gouache on paper signed lower left
48
Bright Sky Over Purple Valley, ND 3.75 x 6 inches | gouache on paper signed lower left
44
Sunset in Gold Sky, ND 4.75 x 7 inches | gouache on paper estate stamped lower right
49
Sunset Clouds of Yellow, Purple, and Pink, ND 4 x 7 inches | gouache on paper unsigned, from the Estate
45
White River Through Green Valley, ND 4.75 x 6 inches | gouache on paper signed lower left
50
Peach Sunset, ND 4.5 x 7 inches | gouache on paper
108
51
Rain on Snow and Capped Peaks, ND 4.75 x 7 inches | gouache on paper unsigned, from the Estate
56
Thunderhead and Rain, ND 4.5 x 7 inches | gouache on board signed lower left
52
Nocturne: Moon in Mauve Sky, ND 4.5 x 6.5 inches | gouache on board estate stamped lower right
57
Landscape and Sunset Seascape, Dec. 12, 1924 4.5 x 6.75 inches | Gouache on paper unsigned, from the Estate
53
Treeline at Sunset, ND 4.5 x 7 inches | gouache on board unsigned, from the Estate
58
Two Green Trees, ND 4.5 x 7 inches | gouache on paper signed lower left
54
Santa Barbara Sunset, ND 7.5 x 11.75 inches | oil on board signed lower left
59
Clouds amd Hills Study, ND 2.75 x 4.75 inches | gouache on paper signed lower right
55
Quiet Woods, ND 5.5 x 8.25 inches | oil on board estate stamped lower right
60
Grey Cumulus Clouds Over Purple Horizon 4.5 x 7 inches | gouache on board signed lover left
109
61
Autumn Clouds Over Landscape, ND 4.5 x 7 inches | gouache on board signed lower left
66
Rolling White Clouds Over Dark Landscape, ND 4.75 x 7 inches | gouache on paper
62
Big Clouds, Green Landscape, ND 5.75 x 6 inches | gouache on paper signed lower right
67
Bright White Clouds, Bright Blue Sky, ND 4.75 x 7 inches | gouache on paper signed lower left
63
Bright White Cumulus Cloud, ND 4.75 x 7 inches | gouache on paper signed lower left
68
Cloud Study with Grey and Mauve Clouds, ND 4.75 x 7 inches | gouache on paper signed lower left
64
Big Clouds Little Villa, ND 4.75 x 7 inches | gouache on paper signed lower left
69
Pink Clouds and a Patch of Blue Sky, ND 4.75 x 7 inches | gouache on paper signed lower right
65
Cumulus Clouds and Yellow Hill, ND 4.75 x 7 inches | gouache on paper signed lower right
70
Clouds Study with Bright Patch of Blue Sky, ND 3.5 x 6.75 inches | gouache on paper estate stamped lower right
110
71
Cumulus Cloud Study with Pink Orange and Blue, ND 4.75 x 6.75 inches | gouache on paper signed lower left
76
Peach Colored Cloud, ND 4.75 x 7 inches | gouache on paper signed lower right
72
Cloud Study with Greys and Blues, ND 4.75 x 6.75 inches | gouache on paper signed lower left
77
Cloud Study in Peach and Blue, ND 4.75 x 5.75 inches | gouache on paper signed lower right
73
Cloud Study - “5p.m. Looking N. W.”, ND 4.5 x 7 inches | gouache on paper signed lower right
78
Small Cloud Study, ND 4.5 x 5 inches | oil on board signed lower left
74
Bright White Clouds with Blues and Greys, ND 4.5 x 7 inches | gouache on paper signed lower right
79
Cloud Study II, ND 7.25 x 11.75 inches | gouache on board signed lower right
75
Cloud Study - “Looking E. 6p.m., April, ND 4.75 x 7 inches | gouache on paper signed lower left
80
White Ship in European Bay, August 8th, 1914 4.5 x 7 inches | oil on board signed lower left
111
81
View to a Village Church, ND 4.75 x 7 inches | gouache on board signed lower right
86
Tree Lined Lane, Build with Four Arches, ND 7 x 4.75 inches | gouache on paper signed lower left
82
Tunis Street Scene with Figures, ND 4.75 x 6.75 inches | gouache on paper signed lower right
87
Italian Church Interior, ND 4.75 x 6.75 inches | mixed media on paper signed lower right
83
View to a Dome, ND 4.5 x 7 inches | gouache on paper signed lower left
88
Eight Figures, ND 4.75 x 7.25 inches | gouache on board signed lower right
84
View with Smoke Stacks and Cloudy Sky, ND 4.5 x 7 inches | gouache on paper signed lower left
89
Old House with Water Well, ND 6 x 8 inches | oil on board signed lower right
85
Village in the Hills on a Cloudy Day, ND 4.75 x 6.75 inches | gouache on paper signed lower right
90
Barn Interior, ND 7 x 11.5 inches | oil on board signed lower left
112
91
Baby Basket, ND 6.875 x 11 inches | oil on board signed lower right
92
Study for Figures with Flower Basket, ND 4.75 x 10 inches | oil on board signed lower right
93
Study for Eleven Oriental Personages, ND 7 x 11.5 inches | oil on board signed lower right
94
Music by the Window, ND 7.875 x 9.875 inches | oil on canvas signed lower right
Essay
Study of Three Swans, ND 4.5 x 5.75 inches | gouache on paper signed lower left
113
BIOGRAPHY and unique vision of the modern American city. These paintings beam with an optimistic appreciation of the wonders of human invention.This series would earn Cooper a national reputation and the most critical acclaim he would achieve during his lifetime.
Colin Campbell Cooper was born in Philadelphia, Pennsylvania on March 8, 1856. His father, the surgeon Dr. Colin Campbell Cooper, and mother, Emily William Cooper, encouraged their son’s artistic endeavors from the start. By the age of 23, he was enrolled in the Pennsylvania Academy of Fine Arts and studied under the great American artist Thomas Eakins. In 1886, Cooper looked to Europe to continue his training and to satisfy a wanderlust that stayed with him throughout his life. After completing a series of sketches and studies while traveling through Belgium and Holland, Cooper headed to France and attended the Académies Julian, Viti, and Delécluse. Cooper stayed in Europe for nearly a decade, traveling widely and making small plein air sketches of the sublime scenery as he went.
Growing artistic success in the States did not stop Cooper from feeding his wanderlust with travel abroad. During the first decade of the 20th century he made repeated visits to Europe and continued to paint many of the continent’s architectural monuments, focusing particularly on Gothic cathedrals, but also creating many picturesque views of the countryside. While en route to Europe in 1912, Cooper was aboard the Carpathia when it received a distress call from the Titanic. The Carpathia raced towards the Titanic’s last known position and eventually took on 705 survivors. After assisting with the rescue, Cooper quickly recorded the tragic event in the early morning light while still aboard a Carpathia lifeboat. The two paintings he created are the only artworks known to be painted at the site of one of the world’s most infamous maritime disasters. These historic documents now reside in the collection of the Minnesota Marine Art Museum in Winona, Minnesota.
Cooper returned to Philadelphia in 1895 and began teaching watercolor classes at the Drexel Institute. Two years later he married the painter Emma Lampert. In 1898 Cooper left his position at Drexel and moved to New York City. Beginning in 1902 Cooper began a series of paintings focusing on the new modern American icon, the skyscraper. Cooper gave these new urban landscapes a poetry and natural grandeur that was a new
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In the fall of 1913, the Coopers made their most exotic trip, sailing past Europe, through the Suez Canal, Ceylon, Burma, and landing in India. Over the next six months they traveled extensively throughout the country. Cooper kept a diary to record their trip and made sketches to record what he saw. After leaving the subcontinent, the Coopers spent the summer of 1914 in France where he worked on a collection of at least 10 large canvases based upon these Indian sketches. However, in November of that year the effects of First World War forced the Coopers to return to the United States. Upon his return Cooper organized a large exhibition of his Indian paintings at the pre In 1915 the massive Panama-Pacific International Exposition was held in San Francisco to celebrate the completion of the Panama Canal and four hundredth anniversary of the discovery of the Pacific Ocean by western explorers. The arts pavilion of the expo, the Palace of Fine Arts held 113 gallery spaces with works by renowned international artists and many of the most important American painters of the day, including James McNeil Whistler, John Singer Sargent, William Merritt Chase, and Childe Hassam. Cooper was included in this prestigious company, exhibiting six
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works, receiving a gold medal for oil painting and a silver medal for watercolor. The exhibition of his work in the exposition lured the Coopers to the West Coast for the first time and they decided to spend the winter of 1915 - 1916 in Los Angeles. This may have also been Cooper’s first trip to Santa Barbara as he traveled from San Francisco to San Diego that winter. As with much of Cooper’s life, the details of his life and travels was not well documented other than in his paintings. However, we can be fairly certain that he enjoyed his time in Southern California since it is where he chose to relocate upon the tragic death of his wife from tuberculosis in 1920. Cooper remained active in New York, however, and kept a studio there for a decade after his move to Santa Barbara. Upon settling in his new home, Cooper quickly became a fixture in the local art community. In 1921, he joined the faculty of the newly formed Santa Babara School of the Arts. Cooper’s inclusion on the faculty helped to raise its reputation. Instructors at the school included some of the most important California painters of the early 20th century, including John Gamble, Carl
Oscar Borg, DeWitt Parshall, Douglas Parshall, Edward Borein, and school founder Fernand Lungren. Cooper married Marie Frehsee in 1927. He became a contributing and active member of the Santa Barbara community and campaigned for an art museum to be placed in the old U.S. Post Office on State Street. Seduced by the Southern California light and temperate climate, like so many artists before and after him, Cooper maintained a home in Santa Barbara until his death in 1937. Thanks to his efforts, and the efforts of others, the Santa Barbara Museum of Art opened in 1941 in the “old� Post Office, where it remains to this day.
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CHRONOLOGY 1856 1879 1886 1889 1895-1898 1896 1897 1902 1903 1904 1906 (c.) 1908 (c.) 1908 1912 1912 1913 1915 1916 1920 1921 1921 (c.)
Born in Philadelphia, Pennsylvania to Colin Campbell Cooper [Sr.] and Emily William Cooper Enrolled in Pennsylvania Academy of Fine Arts, Philadelphia; studied under Thomas Eakins Sketching trip to Holland & Belgium Studied at Academie Julian, France Instructor in watercolor, Drexel Institute, Philadelphia Fire at Hazeltine Galleries, Philadelphia destroyed much of his work Married Emma E. Lampert (b. 1855) Began skyscraper paintings Painted Cliffs of Manhattan; studio in Gainsborough Studio Bldg at 222 Central Park South Louisiana Purchase Exposition juror, St. Louis Painted Fifth Avenue, N.Y.C Painted Flat Iron Building, casein Elected Associate, National Academy of Design Cooper is on the Carpathia when it rescues the Titanic survivors; he paints the rescue Elected Member, National Academy of Design First trip to India Wintered in California In San Diego at the Panama-California International Exposition Wife Emma died Moved to Santa Barbara Became dean of painting at the Santa Barbara Community School of Arts
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1926 1927 1927-1931 1929 1937
Cooper’s comedy spoof “Head Acres” produced at Pasadena Playhouse Married Miss Marie Frehsee Painted Central Park oil Painted at Kimberly Crest, home of J.A. Kimberly (of Kimberly-Clark Paper) Redlands, CA Died in Santa Barbara, CA
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EXHIBITION HISTORY 1895 1897 1899 1901 1902 1903 1904 1905 1906 1907 1908
1909 1910 1911 1912 1913 1914 1915 1916
Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA Galleries of the ART Club , New York, NY Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA Klackner Galleries, New York, NY Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA Corcoran Gallery, Washington, D.C. City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA City Art Museum of St. Louis, St. Louis, MO
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Art Institute of Chicago Corcoran Gallery, Washington, D.C. City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago Corcoran Gallery, Washington, D.C. Art Institute of Chicago Carnegie Institute Museum of Art, Pittsburgh, PA City Art Museum of St. Louis, St. Louis, MO The Macdowell Club of New York, New York, NY Art Institute of Chicago Corcoran Gallery, Washington, D.C. City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago Art Institute of Chicago Corcoran Gallery, Washington, D.C. Panama Pacific International Exposition, San Francisco, CA Arlington Art Galleries, New York, NY Macbeth Gallery, New York, NY Art Institute of Chicago
1917 1919 1920 1920 1922 1924 1925 1927 1929 1930 1931 1932
1933 Ebell Salon of Art, Los Angeles, CA 1934 Faulkner Memorial Art Gallery, Santa Barbara, CA 1938 Memorial Exhibition at the Faulkner Memorial Art Gallery, Santa Barbara, CA 1939 Santa Barbara Museum of Art, Santa Barbara, CA 1941 Santa Barbara Museum of Art, Santa Barbara, CA County National Bank and Trust, Santa Barbara, CA 1944 Santa Barbara Museum of Art, Santa Barbara, CA 1951 Santa Barbara Museum of Art, Santa Barbara, CA 2003 Studies, Drawings, and Small Works, Sullivan Goss An American Gallery, Santa Barbara, CA 2004 Colin Campbell Cooper: An Extraordinary Life, Sullivan Goss - An American Gallery, Santa Barbara, CA 2006 East Coast / West Coast and Beyond, Laguna Art Museum, Laguna, CA 2007 Colin Campbell Cooper: Selections from the Back Room, Sullivan Goss - An American Gallery, Santa Barbara, CA 2009 Colin Campbell Cooper: Paper Sketches, Sullivan Goss - An American Gallery, Santa Barbara, CA 2010 Lasting Impressions: Colin Campbell Cooper, Santa Barbara Historical Museum, Santa Barbara, CA
O’Brien Gallery, Chicago, IL Cleveland Museum of Art Corcoran Gallery, Washington, D.C. Art Institute of Chicago City Art Museum of St. Louis, St. Louis, MO Art Institute of Chicago Corcoran Gallery, Washington, D.C. City Art Museum of St. Louis, St. Louis, MO Fine Arts Gallery, San Diego Museum of Art Casa de la Guerra, Santa Barbara, CA Stendahl Art Galleries, Los Angeles, CA Ainslie Galleries, Los Angeles, CA Friday Morning Club, Los Angeles, CA Biltmore Galleries, Santa Barbara, CA Jules Kievits Fine Art, Pasadena, CA Art Club of Philadelphia, Philadelphia, PA County National Bank and Trust, Santa Barbara, CA New York Society of Painters, New York, NY County National Bank and Trust, Santa Barbara, CA National Arts Club, New York, NY
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COLLECTIONS BROOKLYN MUSEUM OF ART, Brooklyn, NY CINCINNATI MUSEUM OF ART, Cincinnati, OH CITY OF SANTA BARBARA, Santa Barbara, CA CROCKER MUSEUM, Sacramento, CA DALLAS MUSEUM OF ART, Dallas, TX IRVINE MUSEUM, Irvine, CA LUXEMBOURG COLLECTION, Paris, France METROPOLITAN MUSEUM OF ART, New York, NY NATIONAL ARTS CLUB, New York, NY NEW YORK HISTORICAL SOCIETY, New York, NY OAKLAND MUSEUM OF CALIFORNIA, Oakland, CA PENNSYLVANIA ACADEMY OF FINE ARTS, Philadelphia, PA PHILADELPHIA SKETCH CLUB, Philadelphia, PA READING PUBLIC MUSEUM, Reading, PA ST. LOUIS MUSEUM OF ART, St. Louis, MO SAN DIEGO MUSEUM OF ART, San Diego, CA SANTA BARBARA MUSEUM OF ART, Santa Barbara, CA UNIVERSITY OF MICHIGAN MUSEUM OF ART, Ann Arbor, MI THE WHITE HOUSE, Washington, D.C. 122