‘The Preservation of Shadrach, Meshac, and Abednego,’ by W. S. Reynolds; and ‘Louis VII, King of France, before Becket's Tomb,’ by W. Sharp. Mrs. Cosway drew ‘The Progress of Female Dissipation,’ and ‘The Progress of Female Virtue,’ published in 1800; besides, she brought out a series of twelve designs, entitled ‘The Winter's Day,’ contributed to Boydell's ‘Shakespeare Gallery’ and Macklin's ‘Poets’. She etched all the plates in a large folio work bearing the following title, ‘Gallery of the Louvre, represented by etchings executed solely by Mrs. Maria Cosway, with an Historical and Critical Description of all the Pictures which compose the Superb Collection, and a Biographical Sketch of the Life of each Painter, by J. Griffiths, &c. &c.,’ Paris, 1802, and numerous other plates, some in soft-ground etching, most of which are in the department of prints and drawings, British Museum.
[Clayton's English Female Artists, London, 1876, 8vo, i. 314; Cunningham's Lives of British Painters, London, 1836, 8vo, vi. 1; Smith's Nollekens and his Times, London, 1828, 8vo, ii. 392; manuscript notes in the British Museum.]
COSWAY, RICHARD (1740–1821), painter in water-colour, oil, and miniature, was born at Tiverton, Devonshire, in 1740. His father was master of the public school there, but the son received his first education at a school in Okeford, near Bampton, and very early displayed a strong disposition to the art of painting. He was therefore sent to London, at the expense chiefly of his uncle, who had been mayor of Tiverton, and his earliest patron, one Oliver Peard. He now studied under Thomas Hudson, Sir Joshua Reynolds's master, and afterwards joined William Shipley's academy of drawing in the Strand. John Thomas Smith, in ‘Nollekens and his Times’ (London, 1828), ii. 392, relates that Cosway when a boy was noticed by Mr. Shipley, who took him to wait upon the students and carry in the tea and coffee which the housekeeper was allowed to provide, and for which she charged threepence per head. The students, among whom were Nollekens and Smith's father, good-temperedly gave ‘Dick’ instructions in drawing, and advised him to try for a prize in the Society of Arts, where, in 1755, he obtained a premium of 5l. 5s. for a drawing. In 1757 he gained another premium of 4l. 4s., in 1758 one of 4l. 4s., in 1759 a premium of 2l. 2s., and in 1760 another of 10l. 10s. He also excelled as a draughtsman from the antique, in the Duke of Richmond's gallery in Privy Garden, Whitehall. After the expiration of his engagement with Shipley, Cosway began to teach in Parr's drawing school and to execute heads for shops, besides fancy miniatures, not always chaste, and used for lids of snuff-boxes. From the money he earned and from the gaiety of the company he kept Cosway rose ‘from one of the dirtiest boys to one of the smartest men.’ Smith tells us how he saw him at the elder Christie's picture sales, full dressed in his sword and bag, with a small three-cornered hat on the top of his powdered toupé and a mulberry silk coat, profusely embroidered with scarlet strawberries. In addition to his artistic works, which he disposed of readily, Cosway increased considerably his income by dealing in old pictures.
In 1766 he became a member of the Incorporated Society of Artists, and in 1769 a student at the Royal Academy. At this period he resided in Orchard Street, Portman Square. His talent and great reputation gained him an early admission to the Academy, for he was elected an associate in 1770, and a full academician in 1771. He exhibited at the Royal Academy, somewhat irregularly, forty-five miniatures. In 1781 he married Maria Hadfield, a native of Italy, distinguished for her talents and beauty [see Cosway, Maria], and now resided at No. 4 Berkeley Street, Berkeley Square, and three years later in Pall Mall, in the centre portion of the house built for the Duke of Schomberg. Hence he moved to a residence at the corner of Stratford Place, Oxford Street, in what was then considered one of the best London mansions (see Crace Collection, department of prints and drawings, British Museum, portfolio xxix. plates 95, 96; and Ackermann, Repository of Arts, 1 March 1815). He left his house on account of some satirical verses referring to the sculptured lions (still in existence) near his doorway:
When a man to a fair for a show brings a lion,
'Tis usual a monkey the sign-post to tie on;
But here the old custom reversed is seen,
For the lion's without, and the monkey's within.
The lines, posted on his door, are supposed to have been composed by Peter Pindar (Dr. Wolcott). Cosway moved to No. 20 in the same street. Here he practised his art with immense success, and fashionable people were in the habit of making his studio a morning lounge. The house was magnificently furnished; it contained, moreover, a large collection of paintings, principally by masters of Dutch and Flemish schools, majolica, arms, prints, drawings, &c. The Prince of Wales's carriage was frequently seen at the door, Cosway having painted a remarkable minia-
