Page:Bryan's dictionary of painters and engravers, volume 1.djvu/466

 COLANDON, D., was a landscape painter who also etched. He is supposed to have been the same person as Collaiidon who was bom at Cannes, and was established in Paris in 1670. He studied under P. F. Mola, his work being for the most part in the style of Genoels. Two plates are known signed with the name D. Colandon. One represents a mountain landscape with two women seated, one of whom is holding a child ; and the other is a landscape with a stream introduced, on the right bank of which is a woman with an infant.

COLANTONIO del FIORI. See Tomasi, Nic.

COLAS, Alphonse, a French historical and por- trait painter, was born at Lille in 1818, and studied under Souclion at the school of his native town. He first attracted attention by a large canvas at the Salon of 18-19, representing the ' Raising of the Cross.' He was much employed as a decorative painter in French churches, a good specimen of his work in this genre being his paintings in grisaille in the cupola of the Eglise de Notre Dame at Roubai.K. He held the post of director of the art school of Lille, where he died in 1887. His portrait of Souclion is in the Lille Museum.

COLBENSCHLAG, Stephen, (or Colbenius,) was a German engraver, who flourished about the year 1610. BruUiot says he was born at Salzburg in 1591 ; and Nagler, that he died at the age of 92. He resided principully at Rome, where he engraved several plates fioiu the works of the Italian painters: among others are the following :

The Adoration of the Shepherds ; after Somau'ch'no. TheTaking down from the Cross ; after Annib. Curracci.

COLCHESTER, Waltee of. See Walter.

COLE, B., an engraver of portraits, worked in England in the early part of the 18th century.

COLE, George, painter, was born in 1808. He was entirely self-taught, and began life at Portsmouth as a painter of portraits and animals. He finally, however, devoted himself to landscape, and settled in London. He first exhibited in 1840, and was afterwards a pretty constant contributor to the Old British Institution, and, later, to the SiifEolk Street Exhibitions. He died September 7, 1883.

COLE, George Vicat, R.A., was born at Ports- mouth April 17, 1833, and died at Campden Hill House, Kensington, on April 16, 1893. His father was a successful artist, and in his studio Vicat Cole worked during his early 3'ears, making copies of works by Turner, Constable, and Cos. The most important part of his art education, however, was that which he obtained by sketching from nature during the summer months, still under his father's direction, both in England and abroad, and so effective was this, that in 1852, at the age of nineteen, he secured admission to the now extinct British Institution with a picture of 'Ranmore Common,' and to the Society of British Artists in Suffolk Street with drawings of the Wye and Teign, while in the following year he was represented for the first time at the Royal Academy by two pictures, 'Kloster Marienburg' and 'A Sunny View.' In spite of these youthful successes his early years were not without their healthy struggles with difBculties, and he was well content often to dispose of his works for quite insitrnificant sums. In 1859 he was elected a member of the Royal Society of British Artists, and in 1860 he was awarded a silver medal by the Society for the Encouragement of the Fine Arts for a painting entitled ' Harvest Time.' He was then residing at Abinger in Surrey, but in 1868 he removed to No. 8, Victoria Road, Kensing-' ton, and his reputation was so well established that in January 1870 he was elected an Associate of the Royal Academy, which was followed ten years later by his promotion to the full Academicianship. No less than three of the works which finally assured his claim to this distinction were renderings of the Thames, ' A Thames Backwater,' ' The Mist of the Morning, Sonning,' and ' The Silver Thames, near Medmenham,' and thenceforward he devoted himself almost exclusively to the depicting of that river, with the intention of recording its most salient beauties from the source to the sea. Thr.s in 1881 he exhibited 'Streatley ' and ' Wargrave'; in 1882 'The Sources of the Thames* and 'Abing- don' ; in 1883 ' Windsor Castle' ; in 1884 'Oxford from IfBey,' ' Ifiley Mill,' 'Mapledurham Lock,' and 'Bisham'; in 1885 ' Sinodun Hill from Day's Lock ' ; in 1886 ' Cornfields at Gatehampton,' ' The Thames at Hartswood,' ' Pangbourne,' 'Cookham,' 'Great Marlow'; In 1887 'Streatley from near Cleve Lock'; in 1888 'The Pool of London,' 'Cornfields at Goring,' and 'A Thames Backwater'; in 1890 'Greenwich' and 'The Meeting of the Thames and the Isis at Dorchester' ; and in 1892 ' Westminster' formed his last exhibit at the Royal Academy, though 'Windsor Castle from a Back- water' was his last completed picture, ' Gravesend' and 'The Nore' being left unfinished at his death. He was typically a lover and painter of English landscapes, and his work was characterized by a straightforward directness of technique, a delicate sense of colour, a keen eye for the picturesque, and a close if not very inspired observation of nature. II. B.

COLE, Humphrey, a goldsmith and engraver connected with the Mint in the Tower, was bom about the year 1530 in the north of England. He engraved the Map of Canaan for the second edition of the Bishops' Bible, published in 1572, and is said by Horace Walpole to have also en- graved the titlepage containing the portrait of Queen Elizabeth, as well as those of the Earl of Leicester and Lord Burghley, for the first edition of the same Bible, issued in 1568, but these are so far superior to the map in execution as to render the statement extremely doubtful.

COLE, John, an English engraver, flourish' d about the year 1720. He was much employed by the booksellers, for whom he engraved some por- traits and other book-plates ; among which is a head of James Puckle, prefixed to his dialogue called ' The Club.' He also engraved several plates of monuments, and a copy from the print by Martin Rota, representing the ' Last Judgment,' after Michelangelo.

COLE, Peter, practised as a portrait painter in the reign of Elizabeth. He was for some time Director of the Mint. He is thought to have been a brother of Humphrey Cole.

COLE, Sir Ralph, Bart., was an amateur who studied under Van Dyck. The date of his birth is not known, but he succeeded to the baronetcy in 1640, and died in 1704. There is at Petworth a portrait of Thomas Wyndham painted by him, which has been mezzotinted by R. Tompson.

COLE, Thomas, the landscape painter, was born at Bolton-le-Moors, Lancashire, in 1801. His father emigrated whilst his son was only eighteen years of -age, in the hope of bettering his fortunes, and established a paper-hanging manufactory at Steubenville in Ohio, and it was while assisting in this