Lady Diana Cooper as the Madonna in The Miracle, London 1932
Lady Diana Cooper as the Madonna in The Miracle, London 1932
VIOLET, DUCHESS OF RUTLAND (1856-1937)
Lady Diana Cooper as the Madonna in “The Miracle”, London 1932
Signed l.r.: Violet Rutland and inscribed and dated l.l.: Diana, Madonna, Lyceum 1932
Watercolour and pencil
27 by 18 cm., 10 by 7 in. (frame size 50.5 by 40 cm., 20 by 15 in.)
Marion Margaret Violet Lindsay married Henry Manners in 1882. He became Marquess of Granby and succeeded to the Dukedom of Rutland in 1906. Said to be one of the most striking beauties of her day she was also a talented artist and sculptor, exhibiting at the Royal Academy, Grosvenor Gallery and Fine Art Society as well as in France and America. She was a leading member of a loosely-knit social group of intellectual aristocrats known as The Souls. The group, which formed in the 1870s, were known for their shared avant-garde artistic taste and cultural sophistication. Other members included Arthur Balfour, George Curzon, Alfred Lyttelton and Margot Asquith. This portrait is of her youngest daughter, Lady Diana Manners. Another great wit and beauty, Diana was one of the most photographed and painted women of her day. In 1919 she married the diplomat, Duff Cooper (later Viscount Norwich) and partly in order to finance her husband’s political career she turned to the stage. The present work depicts Lady Diana Cooper in the role of the Madonna in Karl Vollmoller’s wordless play The Miracle. The play was originally produced by C B Cochran at Olympia in 1911. It was revived in New York in 1924 and again at the Lyceum Theatre in 1932 with costumes by Oliver Messel. The revival was extremely successful and toured for two years in the Britain and abroad.
Dimensions:
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 Lady Diana Cooper as the Madonna in “The Miracle”, London 1932 Signed l.r.: Violet Rutland and inscribed and dated l.l.: Diana, Madonna, Lyceum 1932 Watercolour and pencil 27 by 18 cm., 10 by 7 in. (frame size 50.5 by 40 cm., 20 by 15 in.) Marion Margaret Violet Lindsay married Henry Manners in 1882. He became Marquess of Granby and succeeded to the Dukedom of Rutland in 1906. Said to be one of the most striking beauties of her day she was also a talented artist and sculptor, exhibiting at the Royal Academy, Grosvenor Gallery and Fine Art Society as well as in France and America. She was a leading member of a loosely-knit social group of intellectual aristocrats known as The Souls. The group, which formed in the 1870s, were known for their shared avant-garde artistic taste and cultural sophistication. Other members included Arthur Balfour, George Curzon, Alfred Lyttelton and Margot Asquith. This portrait is of her youngest daughter, Lady Diana Manners. Another great wit and beauty, Diana was one of the most photographed and painted women of her day. In 1919 she married the diplomat, Duff Cooper (later Viscount Norwich) and partly in order to finance her husband’s political career she turned to the stage. The present work depicts Lady Diana Cooper in the role of the Madonna in Karl Vollmoller’s wordless play The Miracle. The play was originally produced by C B Cochran at Olympia in 1911. It was revived in New York in 1924 and again at the Lyceum Theatre in 1932 with costumes by Oliver Messel. The revival was extremely successful and toured for two years in the Britain and abroad.){kind=link}