• In 1927 Cooper's contribution to the Royal Academy Summer Exhibition, titled
Venus and Cupid, was reproduced in colour in
The Sphere. The newspaper described it as, "a curiously modern treatment of the
Cytherean".
The Sphere, 6 August 1927. • For the 1929 Royal Academy Summer Exhibition, Cooper contributed
The Judgment of Paris, " a singularly pleasing treatment of a conventional if not hackneyed theme by an artist whose aviation pictures made a great name for him".
The Sphere, 11 May 1929. • In 1933, three of his portraits from his one-man show at the Leger Galleries, Bond Street, London, were reproduced in
The Sphere. They were,
There it Goes,
Ann Todd in The Water Gypsies and
The Sketcher on the Cliff. The newspaper captioned them as follows: "Three of the outstanding canvases at this distinguished artist's one-man show at the Leger Galleries, Old Bond Street, an exhibition in which his great talent is seen at its versatile best. All these 1932 pictures show a remarkable sense of action and atmosphere".
The Sphere, 7 January 1933. • For
The Sphere newspaper in 1935, Cooper produced a painting of a stretch of the
Thames: ''The King's Capital, from Westiminster to St Paul's''. The picture's caption demonstrates the amount of detail typically included by Cooper, and it also captures a 1930s glimpse of London, where the urban landscape is constantly changing. :: "This reach of the Thames is one of the finest prospects in London, and one that, owing to extensive building development, has changed considerably during the post-war years. No artist is better qualified to convey such a scene to canvas than Mr A. Egerton Cooper, and this reproduction from a recently-completed painting by him does full justice to a subject which demands the exercise of skill of a very high order. Mr Cooper established his easel at the top of the tower of the new building of Messrs. W. H. Smith and Son on the
Albert Embankment, and every afternoon for nine days climbed to the summit with his painting paraphernalia up four almost perpendicular iron ladders. Fortunately he enlisted the sympathy of the resident engineer, and the canvas itself was hauled up by a rope; otherwise the artist might never have been able to accomplish his task. Mr Cooper was also fortunate with regard to the weather which, for March, was unusually fine and clear. Even so, the horizon played hide and seek in remarkable fashion, and
St Paul's, which, because of the bend in the river, appears to have moved over to the
Surrey side, was visible only twice during the whole time he was at work. :: "On the left of the new
Lambeth Bridge can be seen a section of the imposing block of office buildings that has done so much to improve the
Millbank district, and on the right of the bridge is
Lambeth Palace, for 600 years the residence of the
Archbishops of Canterbury. The massive red-brick entrance gateway to the palace, which is known as Morton's Tower, was erected in 1490 by
Cardinal Morton – the adviser of
Henry VII, who achieved such notoriety with his device for extracting extortionate taxes from rich and poor. On the right is the gateway of the
parish church of St Mary, which although rebuilt in 1851, still retains its beautiful fifteenth-century tower. Behind these buildings is
St Thomas' Hospital while, facing it on the other side of the river and, dominating the whole scene, are the
Houses of Parliament and
Westminster Abbey – those stately piles that epitomise the dignity and grace of London's architecture. Beyond, almost on the skyline, are some of the modern concrete edifices that of recent years have risen between
Charing Cross and old
Waterloo Bridge".
The Sphere, 11 May 1935. • In 1936, Cooper submitted his
Paddock at the Pony Races – A Summer Meeting at Northolt Park, to the Royal Academy Summer Exhibition. It was reproduced in
The Sphere, which captioned it: "The gay colours of the jockeys and the impression of bright sunshine give the picture a pleasing air of gaiety and vitality. Mr Cooper's work is well known to readers of
The Sphere".
The Sphere, 2 May 1936. The same picture was also reproduced as a two-page spread, under the title,
Get Up Please! The Paddock at Northolt Park, in the
Illustrated Sporting and Dramatic News, which said, "Mr Egerton Cooper's masterly studies of Epsom and other courses are as well known as his portraits, and his exhibitions at the Leger Gallery are always well patronised".
Illustrated Sporting and Dramatic News, 15 May 1936. • In 1942, Cooper exhibited his portrait
The Australian at the Royal Academy United Artists Exhibition at
Worthing's Art Gallery. The
West Sussex Gazette said it was a "noble study ... by A. Egerton Cooper, virile in both composition and colouring".
West Sussex Gazette, 1 October 1942. • In 1943,
The Scotsman included the following in an article about the Royal Academy Summer Exhibition of that year: "Portrait of the Prime Minister. It is difficult not to call Mr Egerton Cooper's portrait of the Prime Minister the picture of the year. The man of the hour seems to claim that distinction almost automatically; but looked at dispassionately it is merely one of a number of excellent portraits. Mr Churchill is seen in profile possibly because the artist thought of a good title:
Profile for Victory. We see a man of great determination, conscious of a great task still to he performed, and ready to carry it through to the end. The expression is not especially grim. It is interesting to compare this portrait with the head in bronze of Mr Churchill by Sir
W. Reid Dick, which is among the best exhibits in the Sculpture Gallery".
The Scotsman, 1 May 1943. • "Sporting canvas by Mr A. Egerton Cooper, in the exhibition of his works in the
Grafton Street Galleries of Messrs Ellis and Smith. The number of well-known turf personalities identified on this painting give added interest to its wealth of colour and detail. Mr Cooper is a portrait painter of distinction, and his brilliant profile of the Rt. Hon. Mr. Winston Churchill, which attracted a great deal of attention at the Royal Academy of 1943 has been loaned to this show. This versatile artist, equally expert in the handling of flower studies as open-air subjects of a sporting flavour, has a number of such works both in oils and water-colour on view. The exhibitions of Messrs. Ellis and Smith in the past have been mainly devoted to the paintings by the old masters, and this changeover to contemporary work is for the special benefit of the
South London Hospital for Women and Children. This hospital has set out to raise a sum of £100,000 () in the course of the next seven years. Mr Egerton Cooper has donated a framed canvas for sale to the highest tender, to be painted with a subject of the purchaser's choice".
Illustrated Sporting and Dramatic News, 22 June 1945. (Note: Cooper was photographed at that exhibition, with his portrait of Churchill). == Cooper in popular culture ==