.jpg?w=1)
Lot Essay
The present work, taking as its setting one of Cooke's favourite stretches of the northern Dutch coast at Egmond aan Zee with its characteristic lighthouse, dates from the middle period of Cooke's career when he, in common with many other painters of his age, came most under the influence of the 17th Century Dutch school of marine painting. Indeed, Cooke's acknowledged debt to previous masters such as Jan van de Cappelle, meant that he would playfully sign himself 'Van Kook', here seen on the boat's prow. The anonymous commentator in the Art Journal in 1854 (loc. cit.), noting Cookes witty conceit, continues in a rather literal vein: 'This, after all, is the best class of subject painted by the artist, but we doubt whether he will get the "Van Cook" [sic] (if such be the name of the craft - presuming from its being painted on the stern) off to sea without injury, for the wind freshens as the tide comes in'.
The popularity of marine pictures in the Dutch style was widespread; but Cooke's success in particular was perhaps due to his seamless rendering of atmospheric compositional drama - the cool tones of the present work are of the type much admired by his critics and buyers alike - with a forensic regard for the intricacies of coastal paraphernalia. 'His scrupulous attention to the boat's gear and tackle was characteristic of his art: his drawing and painting of baskets, pots, anchors, blocks and even the crudest utensil on board was of long standing. As French fish baskets differed from Dutch wicker-work, so would Edward Cooke's drawings reflect national and regional changes' (Munday, op. cit., p. 121). The rigging of the pinck and the baskets in the foreground of the present work, overflowing with a bumper haul of 'thornback' or skate, evince this almost calligraphic draughtsmanship. Also in evidence, however, is Cooke's ability to add charming human incident to his works, here conveyed through the bustling figure group on the shore.
We are grateful to John Munday for his assistance in preparing this catalogue entry.
The popularity of marine pictures in the Dutch style was widespread; but Cooke's success in particular was perhaps due to his seamless rendering of atmospheric compositional drama - the cool tones of the present work are of the type much admired by his critics and buyers alike - with a forensic regard for the intricacies of coastal paraphernalia. 'His scrupulous attention to the boat's gear and tackle was characteristic of his art: his drawing and painting of baskets, pots, anchors, blocks and even the crudest utensil on board was of long standing. As French fish baskets differed from Dutch wicker-work, so would Edward Cooke's drawings reflect national and regional changes' (Munday, op. cit., p. 121). The rigging of the pinck and the baskets in the foreground of the present work, overflowing with a bumper haul of 'thornback' or skate, evince this almost calligraphic draughtsmanship. Also in evidence, however, is Cooke's ability to add charming human incident to his works, here conveyed through the bustling figure group on the shore.
We are grateful to John Munday for his assistance in preparing this catalogue entry.