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but returning again to Lyons is believed to have died there. Nagler gives a long de- scription, in the most stilted language, of her personal charms, her works, ana ner talents, and says the English galleries are full of her exquisite works. She certainly possessed great talent as a musician, and excelled as an artist. There are some etch- ings by her, but in outline only, of a number of ner husband's works. ' The Progress of Female Virtue' by hsr was published in 12 plates, 1800. *U-<$ocLL /£>Zf> • COTES. Francis, R. A. portrait painter. He was the son of the mayor of Galway, who, on some political dispute, came to settle in London about 1720, and prac- tised as an apothecary in Cork-Street, Bur- lington Gardens. Here the painter was born in 1726, and commenced the study of art as the pupil of George Knapton. He became eminent for his portraits in crayons, and also painted in oil with much ability. He was a member of the Incorporated So- ciety of Artists, and one of the founda- tion members of the Royal Academy. He painted, in 1767, ' Queen Charlotte with the Princess Royal on her lap' — a pleasing portrait which was well engraved by Ry- land. He was in considerable practice, and for a time had so great a run that fashion followed him from London to Bath, and back again. He drew well, sketched his subject freely, and was agreeable in his co- louring. He occupied the house 32 Caven- dish Square, afterwards tenanted by Rom- ney, and then by Sir Martin Shee, P.R.A. He died there on July 20, 1770, in his 46th year, having imprudently taken soap-lees as a cure for stone, to which he was a martyr, and was buried at Richmond. His pre- sentation picture to the Royal Academy — a portrait of his father — is a good specimen of his abilities. There is a full-length por- trait by him of Admiral Lord Hawke in the gallery of Greenwich Hospital; but a portrait-group of Mr. and Mrs. Joah Bates, in the possession of the Sacred Harmonic Society, is one of the best examples of his art in oil — well grouped, and solidly and care- fully painted. His prices for portraits were —three-quarters, 20 guineas; half-length, 40 guineas; whole-length, 80 guineas. His draperies were mostly painted by Toms.

COTES, Samuel, miniature painter. Younger brother to the foregoing. He was brought up to medicine, but quitted that profession, stimulated by his brother's suc- cess in art, and was assisted by him in the study of painting. He was a member of the Incorporated Society of Artists. His works in crayons were much esteemed, and in miniature, both enamel and on ivory, he ranked among the first of the day. He exhibited miniatures at the second Royal Academy Exhibition in 1769, and con- tinued an occasional exhibitor. He married

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a Miss Shepheard, who had great talent for painting, and who died 1814. He had quitted the profession for many years, when he died in Paradise Row, Chelsea, March 7, 1818, aged 84.

• COTMAN, John Sell, landscape and marine painter. Was the son of a silk- mercer at Norwich, and born there June 1 1 , 1782, and educated at the City Free School. He was intended for his father's business, but his early love of art prevailed, and he came to London, where he remained from 1800 to 1806, and during that time he was an exhibitor, chiefly of Welsh views, at the Academy, and frequented the well-known artists' meetings at the house of Dr. Monro. In 1807 he was living at Norwich, and became a member and the secretary of the Norwich Society of Artists. He then styled himself a portrait painter, and in that and the following years was a large contributor to the Society's Exhibitions, sending no less than 67 worlts in 1 808. He afterwards lived for some time at Yarmouth, and having now a wife and young family, he added to his means by teaching drawing. In 1811 he commenced a publication by subscription of his * Architectural Etchings; ' and m 1816 his ' Specimens of Norman and Gothic Ar- chitecture, Norfolk Churches,' &c.; and in 1817 he accompanied Mr. Dawson Turner, the antiquary, on a tour to Normandy, ana again visited that country in 1818 and 1819. In these two years he completed his ' Etch- ings illustrating the Architectural Anti- quities of Norfolk,' and his 'Engravings from Sepulchral Brasses, Norfolk —works which had been for several years in pro- gress, and which are more antiquarian than artistic in their character. The result of his visits to Normandy appear in the illus- trations to Dawson Turners ' Architectural Antiquities of Normandy,' published in 1822.

Though at that time residing in Nor- wich, he was in 1825 elected an associate exhibitor of the Water-Colour Society; and was from that year a constant contributor to the Societys Exhibitions. His works were — 'Views in France and Normandy/ 'Fishing-boats off Cromer,' 'Vessels off Yarmouth' (where he found many of his favourite subjects), landscape compositions, and some sketches of figure subjects. In 1834 he was appointed drawing-master to King's College School, and then removed to London. Here his health began to decline. He had long been subject to great nervous depression, which became more severe, ano!gradually terminated in loss of reason. He died m London, July 28, 1842. He painted in water-colour and oil, excelling m both. His light and shade were good, the masses broad and simple; the details in water-colours fre- quently added with a reed pen; his colour

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