Edward William Cooke RA (British, 1811-1880)The upper floor of Rembrandt's father's mill, Koukerk signed, dated 'E.W. Cooke/1838'; inscribed 'JAN BRANDT/R' (to the wall centre right) oil on panel 50 x 61cm (19 11/16 x 24in).FootnotesProvenance Purchased by Sir Thomas Baring, 1839, and by descent to The Countess of Northbrook, C.B.E., sold for the benefit of the Red Cross and St John Fund, Christie's, London, 20 December 1940, part lot 46, as A Corner of the Mill (2½ gns to Gibbon). H. S. Gibbon, Christie's, London, 30 October 1942, part lot 89, as A Corner of the Mill (3 gns to Beck). Anon. sale, Bonham's, London, 22 January 2014, lot 72. Exhibited London, British Institute, 1839, no. 131. Literature John Munday, E.W.Cooke A Man of his Time, Woodbridge, 1996, Appendix 2: 'Catalogue of Paintings in Oils', 38/18, p.329; Appendix 4: 'The Itinerary 1824-1879: '1838 Oct. 8 Hazersworde: Rembrandt's mill'', p.366 Five paintings of 'Rembrandt's father's mill' are mentioned in the Catalogue of Paintings in Oils, three of them being roughly the same size as the present lot including one that depicts the lower chamber of the mill. The other two depict the upper floor and measure 20.5 x 20.5cm and 25 x 32cm respectively. Four of the paintings were exhibited at the British Institute in 1839. One of the versions measuring 20.5 x 20.5cm is illustrated in John Munday, E.W.Cooke A Man of his Time, Woodbridge, 1996, p.249, 38/4, illus. pl.163 and was sold at Christie's, 25 January 1974 for £550 (lot 116); and Sotheby's A Great British Collection: The pictures collected by Sir David and Lady Scott, 19 November 2008 for £31,250 (lot 18). The version measuring 25 x 32cm was sold at Sotheby's, Chester, 6 November 1986 for £528 (lot 3192). Both of these versions are cropped compositionally as well as being of smaller dimensions than the present lot. For an external view of Rembrandt's father's mill see 'The Mill on the Old Rhine near Leiden', J. Munday, E.W.Cooke..., p.107, 38/19, illus. pl. 53. The present lot is a rare example of a Dutch interior from Cooke, him being mostly pre-occupied with maritime subjects. The fact that this mill was in Rembrandt's family was obviously of great interest to the artist. This is demonstrated by his returning to the subject repeatedly and also a note detailing the link of the mill to the van Rhijn family via Rembrandt's father which Cooke wrote and attached to the back of one of the pictures he exhibited at the British Institute. It was acquired by William Wells who kept an open house for artists in Redleaf, where Cooke stayed frequently. The well worn steps, the objects hanging on the walls, the old hook holding up the sack for the flour to find at the bottom of the wooden ramp, well polished by use, all of these details combine to create a vivid portrait of a place of work. The building seems to have seen better days but still functions and does so with great character, all of which is captured by Cooke who relishes these details as well as the overall composition which draws the eye through the room, past the shutter hanging off its hinge and out to the river beyond. The rich and varied ochres, siennas and umbers that form the palette are a tribute to Rembrandt whilst maintaining the unmistakable economy and strong draughtsmanship of Cooke.
Edward William Cooke RA (British, 1811-1880)The upper floor of Rembrandt's father's mill, Koukerk signed, dated 'E.W. Cooke/1838'; inscribed 'JAN BRANDT/R' (to the wall centre right) oil on panel 50 x 61cm (19 11/16 x 24in).FootnotesProvenance Purchased by Sir Thomas Baring, 1839, and by descent to The Countess of Northbrook, C.B.E., sold for the benefit of the Red Cross and St John Fund, Christie's, London, 20 December 1940, part lot 46, as A Corner of the Mill (2½ gns to Gibbon). H. S. Gibbon, Christie's, London, 30 October 1942, part lot 89, as A Corner of the Mill (3 gns to Beck). Anon. sale, Bonham's, London, 22 January 2014, lot 72. Exhibited London, British Institute, 1839, no. 131. Literature John Munday, E.W.Cooke A Man of his Time, Woodbridge, 1996, Appendix 2: 'Catalogue of Paintings in Oils', 38/18, p.329; Appendix 4: 'The Itinerary 1824-1879: '1838 Oct. 8 Hazersworde: Rembrandt's mill'', p.366 Five paintings of 'Rembrandt's father's mill' are mentioned in the Catalogue of Paintings in Oils, three of them being roughly the same size as the present lot including one that depicts the lower chamber of the mill. The other two depict the upper floor and measure 20.5 x 20.5cm and 25 x 32cm respectively. Four of the paintings were exhibited at the British Institute in 1839. One of the versions measuring 20.5 x 20.5cm is illustrated in John Munday, E.W.Cooke A Man of his Time, Woodbridge, 1996, p.249, 38/4, illus. pl.163 and was sold at Christie's, 25 January 1974 for £550 (lot 116); and Sotheby's A Great British Collection: The pictures collected by Sir David and Lady Scott, 19 November 2008 for £31,250 (lot 18). The version measuring 25 x 32cm was sold at Sotheby's, Chester, 6 November 1986 for £528 (lot 3192). Both of these versions are cropped compositionally as well as being of smaller dimensions than the present lot. For an external view of Rembrandt's father's mill see 'The Mill on the Old Rhine near Leiden', J. Munday, E.W.Cooke..., p.107, 38/19, illus. pl. 53. The present lot is a rare example of a Dutch interior from Cooke, him being mostly pre-occupied with maritime subjects. The fact that this mill was in Rembrandt's family was obviously of great interest to the artist. This is demonstrated by his returning to the subject repeatedly and also a note detailing the link of the mill to the van Rhijn family via Rembrandt's father which Cooke wrote and attached to the back of one of the pictures he exhibited at the British Institute. It was acquired by William Wells who kept an open house for artists in Redleaf, where Cooke stayed frequently. The well worn steps, the objects hanging on the walls, the old hook holding up the sack for the flour to find at the bottom of the wooden ramp, well polished by use, all of these details combine to create a vivid portrait of a place of work. The building seems to have seen better days but still functions and does so with great character, all of which is captured by Cooke who relishes these details as well as the overall composition which draws the eye through the room, past the shutter hanging off its hinge and out to the river beyond. The rich and varied ochres, siennas and umbers that form the palette are a tribute to Rembrandt whilst maintaining the unmistakable economy and strong draughtsmanship of Cooke.
.jpg "Quelle: Christie's")
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