Page:Bryan's dictionary of painters and engravers, volume 1.djvu/496

 to the British Institution, and frequently painted in water-colour: the South Kensington Museum has a collection of his works in this medium. He was a fellow of the Royal, the Geographical, the Geological, and the Linnaean Societies. He died at Groombridge, near Tunbridge Wells, in 1880. His paintings generally represent views on the Thames, the Medway, and the English coast; but they also include scenes from Holland and France, and even so far afield as Morocco and the lagoons of Venice. We need mention but few :

Dutch Boats in a calm. 1844. In the National Gallery. The Boat-House. In the National Gallery. Lobster Tots. 1836. Brigliton Sands. 1833. j» e„„«i Mending the Bait Nets, Shanldin. 1836. Portsmouth Harbour— The Hulks. Portsmouth Harbour — The Victory. Dutch Boats on the Y. 1837. Dutch Boats on the Dollart Zee. A Calm Day in the Scheldt. A Bit of English Coast. Catalan Bay, Gibraltar. 1863. The Goodwin Light-Ship. A Dutch Galliot aground. H. M. S. Terror abandoned. 1860. Schevening Pinks running to anchor off Yarmouth. 1864.

COOKE, George, a line-engraver, who was born in London in 1781, was apprenticed to James Basire, and early in life attained celebrity. He died at Barnes in 1834. He was brother to William Bernard Cooke, and father of Edward W. Cooke, R.A. The following are his principal works :

Illustrations to the ' Beauties of England and Wales.' „ Pinkerton's ' Collection of Voyages and Travels.' „ 'The Thames.' 1811. „ "The Southern Coast of England.' 1814- 1826. „ Surtees's ' History of Durham.' „ Clutterbuck's ' Hertfordshire.' „ Hakewell's ' Italy ' „ D'Oyly and Mant's • Bible. „ 'The Botanical Cabinet.' 1817-1833. „ ' London and its Vicinity.' 1826-1828. Gledhouse, Yorkshire ; after Turner. Rotterdam ; after Sir A. W. Callcoit. 1825. Old Loudon Bridge ; after E. W. Cooke. New Loudon Bridge ; after the same.

COOKE, Henry, a portrait painter and copyist, flourished in 1640, as appears by several portraits painted by him in that year for the Company of Ironmongers, and now in their Hall. They are probably copies of older pictures, as with the exception of Sir James Campbell, who sat to the artist, all the persons represented were dead long before the time when these were executed.

COOKE, Henry, son of Henry Cooke, who was employed by the Ironmongers' Company, was bom in 1642. He went to Italy and studied under Salvator Rosa. He painted the choir of New College Chapel, Oxford, the staircase at Ranelagh House, and Lord Carlisle's House in Soho Square. He died in 1700. It is said that he committed a murder and fled from England ; and that after his return, he was employed by King William to " repair " the Cartoons of Raphael. He finished the portrait of Charles II. at Chelsea Hospital ; and also tried portrait painting, but gave it up.

COOKE, William Bernard, a line-engraver, and a pupil of Angus, was bom in 1778. He was the elder brother of George Cooke. He succeeded best in marine subjects, but never attained any great eminence. He published conjointly with his brother ' The Thames ' and ' The Southern Coast of England.' His death occurred in 1855.

COOKE, William John, was bom in Dublin in 1797, but his parents left Ireland when he was a year old. He was a pupil of his uncle, George Cooke, and in 1826 received from the Society of Arts a gold medal for improvements in engraving upon steel. About 1840 he left England and went to reside at Darmstadt, where he died in 1865. His best plates are those after Turner of ' Notting- ham ' and ' Plymouth ' in the ' Views in England and Wales,' and ' Newark Castle ' in Scott's Poetical Works.

COOL, Jan Daemen, of Rotterdam, is a painter of whom but little is known. In 1614, he was ad- mitted into the Guild of St. Luke at Delft ; but by 1618 he had returned to Rotterdam, and in 1623 he married Lysbeth, the widow of the painter Lowys Percelles. In 1652 the governors of the " Old Men's Home" at Rotterdam agreed to receive him into the institution on condition of his paying a sum of 1225 florins and painting a picture representing them assembled together. Cool died there in 1660, and was buried in the church of the institution. The work, which he executed in accord- ance with the agreement, is the only one known to be by him ; and it is only lately that it has been given to its true author. Lamme ascribed it to Aart Mytens ; Biirger gave it to Jacob Backer ; and it is attributed to Daniel Mytens, the elder, by the catalogue, of 1867, of the Rotterdam Museum, where it has been since its removal from the Old Men's Home in 1849. It is dated 1653, and repre- sents ' Five Governors, clothed in black, ranged round a table.' (See Obreen's 'Archief voor Nederlandsche Kunstgeschiedenis,' vol. I.)

COOL, Pieter, a Flemish engraver, flourished about the year 1690. His name is afiixed to a middling-sized upright plate, representing Christ bearing the Cross, with St. Veronica and other figures, after Martin De Vos. It is executed entirely with the graver, in a coarse, stiff style.

COOL, Thouas Simon, a Dutch historical and genre painter, was bom at the Hague in 1831. He studied at the Hague Academy under J. E. J. van den Berg, and first distinguished himself by his 'Atala,' exhibited in 1853. He resided in Paris from 1857 to 1860, and in Antwerp from 1861 to 1865. He died at Dordrecht in 1870.

COOPER, Abraham, was born in London in 1787. His father was a tobacconist, who afterwards kept an inn at HoUoway, but being unfortunate in business, his son was early left to his own resources. For some time he was employed in the mimic battles and pageants at Astley's theatre, then under the management of his uncle Davis. He employed much of his leisure time in making sketches of dogs and horses, and in 1809, without any instruction, succeeded in painting a favourite horse belonging to Sir Henry Meux so succeeefully that that gentleman purchased it, and was ever afterwards a liberal patron of the artist. He soon met with further encouragement as a painter of horses, from the Dukes of Grafton, Bedford, and Marlborough, and others of the sporting nobility and gentry, and many of his works were engraved in the 'Sporting Magazine.' In 1816 he was awarded a premium of 150 guineas by the British Institution (where he first exhibited in 1812) for a picture of the 'Battle of Waterloo.' In 1817 he was elected an Associate of the Royal Academy ; in 1819 he exhibited a fine picture of 'Marston Moor"; and in