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Bryan's dictionary of painters and engravers (Volume 1) online

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siderably esteemed. We have the following by him :

Pietro Aretino.
Thomas a Kempis.
Ferdinando Cortes.
William Cavendish, Duke of Newcastle ; after Diepen-


Christoffel van der Lanen, painter ; after Tan Dyck.
Theodoras Kogiers, Goldsmith ; after the same.

Anne Wake, Countess of Sussex holding a Fan of

Feathers ; after the same.

Henry Eich, Earl of Holland ; after the same.
Some of the Plenipotentiaries at the C'oi
Munster ; after I'an Hulle.

Congress of

The Descent from the Cross ; after Rubens.
The Death of St. Anthony; after the same; fine and

St. Michael discomfiting the Evil Spirit; after the


The Epitaph of Rubens, with Accessories.
Several gallant Figures in a Garden ; called The Garden

of Lorn. The first impressions are with Flemish

verses ; fine and scarce. Those with the address of

C. van Merlin are retouched, aud very inferior.
A large Landscape, representing AViuter, with the Snow

falling, and a Stable with Cows ; belonging to a set

of six landscapes, of which five are engraved by

The Virgin suckling the Infant Jesus ; after Van Dt/ck,

who has etched the same subject.
A Company of Cavaliers and Ladies at Table, said to

be the Family of the Duke of Newcastle; after


an extraordinary artist, who was born at Grizane in
Croatia in 1498. After learning the rudiments of
drawing in a convent of his own country, he went
to Rome, where he was patronized by Cardinal
Grimani. In the years 1516 to 1519 Clovio executed
for him several excellent pen-and-ink designs for
medals and seals; thereby acquiring the habit of
designing small figures, which he executed with a
taste, accuracy, and firmness that gave grandeur
to miniature. He entered the school of Giulio
Romano, and devoted himself entirely to miniature
painting, a branch of art which he ennobled by
his inimitable talent, and in which he acquired a
reputation that ranks him with the great, at a period
which immediately succeeded the most distin-
guished epoch of Roman excellence. In his de-
sign of the figure, extraordinary as it may appear,
he evinces something of the greatness of the
Roman school, and of Michelangelo, whose works
and those of Raphael he especially studied, and
the naturalist will find every insect delineated
with astonishing correctness, although on so dimi-
nutive a scale as to require the use of a magnifier.
His works were executed solely for the sovereigns
and princes of his time, in whose libraries were
found books embellished with his miniatures,
painted with extraordinary force and beauty of
colouring, with the most correct design. The
most extraordinary work of Clovio is the pro-
cession of Corpus Domini, at Rome, painted in
twenty-six pictures, which occupied the artist dur-
ing nine years. The rich covers to this masterpiece
were executed by Benvenuto Cellini. At Milan,
the Cistercians possess a picture by Clovio of the
' Descent from the Cross,' which breathes all the
spirit of the golden age of Roman art. He died at
Rome in 1578. His cognomen Macedo, or Macedone,
was given him, it is supposed, because his ancestors
were of Macedonia. His works are so incredibly
numerous that their description would fill a large
volume ; we therefore give only a short list of
some of his principal productions :
Florence. Pitti Pal. Deposition, signed JCLICS MACEDO


London. Soane Coll. The Epistle of St. Paul to the


British Mus. The Victories of the Emperor
(Grenville Charles V. (Tirelve miniatures
Collection.} painted for Philip II., King of


Spain, formerly in the



Naples. Royal Coll. The Book of Our Lady, with the
rich and precious covers of Ben-
venuto Cellini.

A Latin Missal, with numerous

pictures (painted for Cardinal
Farnese}. 1546.

Paris. Louvre. A Latin Psalter, with many beauti-

ful miniatures (executed for Pope
Paul III.). 1542.

Rome. Vatican Lib. Dante's Divina Commedia.

In many of his illustrations of Choral, Mass, and
Prayer-Books, and in the execution of small por-
traits for lockets, he was assisted hy his pupils,
amongst whom were Bartolommeo Torri, Bernar-
dino Buontalenti, arid Marco Du Vail.

CLOWES, BUTLER, a mezzotint engraver, who
worked in the latter half of the 18th century, and
died in 1782. He engraved from his own designs,
and also after Heemskerk, Stiibbs, and others.



Flemish engraver, who flourished from about 1570
to 1590. He was a pupil of Hans Collaert, whose
works Coblent's plates so much resemble in their
neat and finished manner that they are often con-
founded with them. Coblent marked his plates

with a cipher composed of //. C. F. JC-P*

We have by him :

The Four Evangelists ; four plates.

Lucretia under an Arch

A set of the Heathen Deities, single figures under

A Man seated at a Table, and a Woman behind him.

COBO Y GUZMAN, JOSEF, a Spanish historical
painter, was born in 1666, at Jaen, where he
learned to paint from Valois. He settled at Cor-
dova, where he died in 1746. Some paintings by
him are in the churches of that town, and are taste-
fully executed in the style of Sebastian Martinez,
by whom Valois was instructed.

COCCAPANI, SIGISMONDO, an Italian painter,
who was born at Florence in 1585. He at first
studied literature and mathematics, but abandoned
them for painting, and became a scholar of Cigoli.
In 1610 he went to Italy, and after his return home
gained considerable reputation both as a painter
and an architect. He died in 1642.

COCCETTI, PIETRO PAOLO, was a native of
Italy, who flourished about the year 1725. He
engraved some plates of architectural subjects,
which are executed in a slight, indifferent style.

COCCHI, POMPEO, was a painter who lived in
the early part of the 16th century. In the cathedral
of Perugia is a ' Virgin and Child ' by him with
the date ' Anno M.D. xxv.' (? 1527). No certain in-
formation exists with respect to his birth or death.

painter, born at Montigny-le-Gannelon near Cha-
teaudun in 1793. He was a pupil of David, of
the interior of whose studio lie has left us a paint-
ing which now hangs in the Louvre. He died on
the coast of Africa in 1817, when returning from
Greece with his uncle, Pierre Prevost, the painter
of panoramas.

COCHET, ADODSTINE, a French painter, born at
St. Omer in 1788. She was a pupil of Chery, and
devoted herself chiefly to genre subjects and por-
traits. She died in Paris in 1832.


COCHIN, CHARLES NICOLAS, the elder, a French
line-engraver, was born in Paris in 1688. His
father, Charles Cochin, was a painter, and Charles

Nicolas followed the same profession until he was
twenty-two years of age, when he abandoned
painting and devoted himself entirely to engraving.
In 1731 he became an Academician, and on the
cccasion of his reception engraved the portraits of
Jacques Sarrazin and Eustache Le Suem He then
turned his attention to the fancy subjects of
Watteau, Lancret, and Chardin, after whom he
executed several fine works. He also assisted his
son, Charles Nicolas Cochin, with the plates of the
ceremonies at the marriage of the Dauphin with
the Infanta of Spain in 1745. He died in Paris in
1754, having engraved about one hundred plates,
among which are many vignettes for the ' Virgil'
of 1742 and other books. The undermentioned are
his best works :

La Marine de Village : after Watteau.
Decoration du Bal pare ; after C. If. Cochin, Jlls. 1745.
Decoration du Bal masque ; after the same. 1745.
Decoration et Desseiu du Jeu tenu par le Roy et la

Reine, 1747 ; after the same.
Le Jeu du Pied-de-bceuf ; after De Troy.
Le Jeu de Coliu-Maillard ; after Lancret.
Fuyez Iris ; after the same.
L'Amant sans gene ; after the same.
La,Blanchisseuse : La Fontaine ; after Chardin.
L'Ecureuse : Le Garcon Cabaretier ; after the same.
The Funeral of the Queen of Sardinia, 1735; after

Perault and. Slodtz.

Cochin, likewise practised engraving. She was
born in Paris in 1686, and married in 1713. Among
the plates which she executed two of the best are
'La Charmante Catin' and ' Le Chanteur de
Cantiques,' which form part of the set of the
' Charges des Rues de Paris,' designed by her son.
She also completed his large plate of the ' Feu
d'artifice' at Rome, which greeted the birth of the
Dauphin in 1729, and often assisted him in other
works. She died in Paris in 1767.

Further details respecting Cochin and his works
are to be found in MM. Portalis and Beraldi's
"Graveurs du dix-huitieme siecle,' i. 492-502.


COCHIN, CHARLES NICOLAS, the younger, an
eminent French line-engraver, and the most cele-
brated of the artists of this family, was the son
and pupil of the preceding. He was born in Paris
in 1715, and produced his first engraving, a 'St.
Joseph.' in 1727, and his first essay in etching,
'The Flight into Egypt,' in 1730. In 1735 ap-
peared his plate after Pannini of the ' Feu d'arti-
fice ' with which the Cardinal de Polignac cele-
brated at Rome the birth of the Dauphin in 1729,
and in 1736 that of the Illumination and Fireworks
with which the Duke of Orleans entertained the
Dauphin at Meudon in 1735. These plates, together
with that of the ' Decoration de ['Illumination et
Feu d'artifice ' at Versailles on the occasion of the
marriage of Madame Premiere with the Infant Don
Philip, revealed the talent which Cochin possessed,
and secured his admission into the Academy in
1741. Besides engraving, he made many draw-
ings for vignettes, among which may be noted the
illustrations to the Abbe Desfontaines' translation
of Virgil, published in 1742, to the works of
Rousseau, 1743, and to those of Boileau, 1746.
In 1745 the marriage of the Dauphin gave Cochin
another opportunity for the display of his wonder-
ful skill in the representation of vast crowds in
motion, nowhere seen to greater advantage than in
his famous drawing of the ' Bal masque ' at
Versailles, whicli is still preserved in the Louvre.


This and the ' Bal pare 1 ' were engraved by his
father. Not many months elapsed ^before he was
called upon to commemorate the Funeral and
Interment of the same Spanish Princess, in 1746.
About this time the vignettes engraved by Cochin
became fewer, for he had become a courtier, and
at the close of 1749 he was chosen to accompany
to Italy the Marquis of Marigny, the brother of
Madame de Pompadour. On his return in 1751 the
order of St. Michael was bestowed upon him, and
he was received as an Academician without having
executed the usual trial work. In 1752 he suc-
ceeded Coypel as Keeper of the King's Drawings,
and in 1758 he published his ' Voyage d'ltalie.'
From this time fortli Cochin's labours were devoted
chiefly to works connected with the court, such as
the ' Medallic History of the Keign of Louis XV.,'
the etchings of the Ports of France after Joseph
Vernet, which were completed by Le Bas, and the
' Parade ' and book-plate of Madame de Pompadour,
whom he assisted in her etchings. In 1764 he
designed and engraved an allegorical cartouche,
representing the sun in an eclipse, to contain verses
by Favart upon the convalescence of the favourite,
but she had a relapse, and died a few days later.
The plate was then suppressed, and proofs from it
are very rare. He also wrote several works on the
fine arts. There were, moreover, but few celebrities
of the period in France whose portraits he did not
draw in pencil or in crayons, with much skilful
delineation of character, and some of which he
himself engraved. Cochin died in Paris in 1790,
after having exercised for nearly forty years no
inconsiderable influence upon art, for the Marquis
of Marigny seldom took any important step without
first coming to him for advice, which was always
conscientiously given.

The ' Catalogue de 1'CEuvre de C. N. Cochin fils '
was published by C. A. Jombert in 1780. MM.
Portalis and Beraldi have given a full account of
Cochin's life and works in their ' Graveurs du dix-
huitieme siecle,' i. 503-570, and many interesting
details of the earlier years of his life are to be found
in his own ' Memoires,' published by M. Henry in
1880. The following are the. principal portraits
etched or engraved by him :

Louis XV. (Schola Martis), an allegory. 1770.

Louis XV., a medallion in profile.

The Comte de Caylus. 1752.

Joachim Gras, Treasurer of France. 1753.

The Duke of La Valliere. 1757.

The Marquis of Vandieres, afterwards Marquis of

Marigny ; two plates. 1752, 1757.
Jean Restout, painter. REG


COCHIN, NICOLAS, called the Elder, a French
draughtsman and engraver, was the son of a painter
named Noel Cochin. He was born at Troyes in
1610, and about 1635 went to Paris, where he died
in 1686. He often imitated and copied Callot, bul
chose for his model De la Belle, some of whose
drawings he engraved. Like these two artists he
excelled in small figures, which he grouped and
delineated with life-like animation. His specialty
was topography, including battles, sieges, and en-
campments. He engraved several hundred sub-
jects, the most important of which are those which
he executed for the ' Glorieuses Conquetes de Louis
le Grand,' called the ' Grand Beaulieu,' published
between the years 1676 and 1694. The best of
these plates is that of the ' Siege of Arras,' en-
graved on sixteen plates by Cochin and Frosne.

X ?.

Nicolas Cochin is the best of the engravers whom
Troyes has produced. His drawing is firm, and
his engraving fine and delicate. His plates are
marked with his name in full, or with his initials
only, or with a monogram. M. Corrard de Breban
has given in his ' Graveurs Troyens,' 1868, a list of
Cochin's works, among which the following are
the best :

The Life of the Virgin ; after Albrecht Diirer ; 18 plates

The Marriage in Cana ; after Paolo Veronese.

The Miracle of the Loaves ; after Devos,

The Parable of the Prodigal Son ; after Audran
4 plates.

Christ bearing the Cross ; after Callot.

The Ascension of the Virgin ; after the same

The Passion ; 12 plates.

The Conversion of St. Paul.

The Procession of St. Geuevieve in 1652; extremely

The Entry of Louis XIV. and his Queen into Paris in
1660 ; an enormous work composed of several plates.

The Entry of the Queen of Sweden. 1658.

The Fair of Guibray ; after F. Cha'tvel. 1058.

Portrait of Boutmie, the goldsmith ; rare and highly

View of Tournay ; after Tan tier Meulen ; 2 sheets.


COCHIN, NOEL, a painter, draughtsman, and
engraver, born at Troyes in 1622, was the half-
brother of Nicolas Cochin. He studied painting at
Rome, devoting his attention especially to land-
scapes, and was working in Paris in 1667. About
1670 he went to Venice, and never left that city
until his death, which took place in 1695. M.
Corrard de Breban has pointed out in his ' Graveurs
Troyens ' that there has hitherto been a great con-
fusion between the engravings of the two brothers,
owing to their initials having been the same, but
that they may easily be distinguished by the vast
difference in talent which exists between them, the
work of Noel Cochin being below mediocrity. He
signed his plates sometimes with the initials N. C.,
sometimes with his name preceded by Noel, Natalis,
or Noe\ Twenty-three of the plates of the ' Tabulae
selectse et explicate,' published by Catherine Patin
at Padua in 1691, are signed with the name of
Cochin, but with variable initials. Thirteen of
these, bearing the initials N. R., are probably the
work of Nicolas Robert, the son of Noel Cochin.
The remaining ten are by Noel Cochin, as are also
the following plates :

The Marriage in Cana ; after Andrea J'icentino ; signed

Natal. Cochin.

View of Paris ; 4 sheets. 1669.
The Cries of Paris ; 8 plates. K.E.O.

COCHRAN, WILLIAM, born at Strathearn in
Clydesdale, in 1738, received his first instruction
at the Academy of Painting at Glasgow, founded
by the two celebrated printers, Robert and Andrew
Foulis. About 1761 he went to Italy and studied
under Gavin Hamilton, and on his return to Glas-
gow about 1766 he practised portrait painting both
in oil and miniature. Some pieces from fable,
executed by him when at Rome, are to be found in
Glasgow. He was a modest artist, and never ex-
hibited his works, nor put his name to them. He
died at Glasgow in 1785, and was buried in the
cathedral, where a monument was erected to his


COCK, HIERONIMOS, (or KOCK,) a Flemish
painter and engraver, was born at Antwerp in
1510, and died there in 1570. He was admitted



into the Guild of St. Luke in 1545 as a painter, but
he soon after abandoned painting, and applied
himself to engraving and the business of a print-
seller. In the Belvedere at Vienna, there is a
painting of an ideal view of Rome by him.
When at Rome, where he stayed some time, he
became acquainted with Vasari, whom he assisted
in the execution of the biographies of the Dutch
engravers. We have several plates by him after
his brother Matthys, Peeter Brueghel, Jerom Bosch,
L. Lombard, and Frans Floris ; they are executed
in a slight manner, and without much effect. He
sometimes marked
his plates H. Cock

... j

fecit ; and some-
times with this
device :

The following are his principal works :


Francis II., King of France and Scotland.

Mary, Queen of Scotland and France.

Gustavus, King of Sweden.

Solimau, Emperor of the Turks.

Camelia, Daughter of the Emperor.

Six Portraits on cue sheet; of Guido Cavalcauti, Dante,

Boccaccio, Petrarch, Politian, and Ficinus.
A set of twenty-four Portraits of Flemish painters,

with Latin verses by Lampsom'us. They are mostly

marked /. H. W., for Jf'ierix, the publisher; and

are entitled, Pictorum aliquot celebrium Gennania

inferioris Effigies, $c. 1572.
The Funeral Pomp of Charles V., large frieze ; Hieroni-

vtus Cock invent. 1559.
Twelve Plates ; entitled Divi Caroli T'., ex multis

prtecijnu 1'ictoriarum imagines. Hieronymus Coccius

Pictor Antw. 1556.

Moses with the Tables of the Law; H. Cock inv. et exc.
St. Christopher with the Infant Jesus on his shoulders.


A set of fifteen Landscapes ; after Matthys Cock.

A large Landscape, with the Feast of St. George ; afte>
the same.

Samson and Delilah ; after Marten Heemskerk.

Daniel in the Lions' Den ; after the same.

A aet of eight Female Figures, six from the Old Testa-
ment, Jael, Ruth, Abigail, Judith, Esther, and Su-
eanuah ; and the Virgin Mary, and Mary Magdalene ;
after the same.

An Allegory, Fraud and Avarice ; after the same.

Infant Bacchanalians dancing ; after the same.

The Resurrection ; after Peeter Brueyhel, the elder.

The Temptation of St. Anthony ; after the same.

The Temptation of St. James ; after the same. 1565.

The Last Judgment ; after the same.

The Laboratory of an Alchemist ; after the same.

The Dispute between the Fat and the Lean ; after the

A set of twelve Landscapes with subjects from the
Bible ; after the same.

A grotesque subject of the great Fish devouring the
little ones; a whimsical composition; after Jerom

The Temptation of St. Anthony ; after the same.

St. Martin in a Boat, surrounded by Devils ; after the

An Incantation ; after the same. 1561.

Shrove Tuesday ; a Woman making Pancakes. 1567-


COCK, MATTHYS, (or KOCK), the brother of
Hieronimus Cock, was born at Antwerp about the
year 1500 or 1505. He was one of the early
Flemish painters of landscapes, and one of the first
of his countrymen who reformed the art from the
stiff Gothic style that existed before. Several
of his landscapes were engraved by his brother


i graver,


Hieronimus, and possess considerable merit for the
time at which they were executed. The ' Tower
of Babel,' by him, is in the Belvedere, Vienna.
He died in 1552.


an officer of the Artillery, who was born in 1778,
is known as the author of several books of travel
which he illustrated : ' A Voyage to Cadiz and
Gibraltar,' with 30 coloured plates, published in
1815; 'Swiss Scenery,' with 62 plates, in 1820;
'The Route of the Simplon,' in 1822; 'The Valley
of Aosta,' in 1823 ; and ' Pompeii Illustrated,' in
folio, in 1827. He died at Woolwich in 1847.

COCKE, HENRY, a decorative painter and a pupil
of Salvator Rosa in Italy, where he spent some
time when a young man, worked in England about
the middle of the 17th century. He was employed
by William III. to repair some of the paintings
in the Royal Palaces. He painted the choir of
New College Chapel, Oxford, and the staircase at
Ranelagh House.

COCKELS, JOSEPH, a painter of hunting subjects,
was born in Brussels in 1786, and died in Bavaria
in 1851.


COCKSON, THOMAS, was an English engraver,
who flourished from about 1610 to 1630.
He engraved several portraits in a neat but
stiff style. His plates are sometimes marked
with the cipher

We have by him the following portraits, &c. :

King James I. sitting in Parliament.

King Charles I. in like manner.

The Princess Elizabeth, daughter of James I.

Louis XIII., King of France.

Marie de Mcdicis.

Matthias, Emperor of Germany.

Demetrius. Emperor of Russia.

Henry of Bourbon, Prince of Conde.

Coucini, Marquis of Ancre.

Charles, Earl of Nottingham.

Francis White, Bishop of Norwich.

Samuel Daniel. 1609.

T. Coryat.

The Revels of Christendom.

COOLERS, JAN BAPTIST, a Dutch painter of
portraits and historical subjects, was born at
Maastricht in 1692. He was the son and pupil of
Philip Coders, and worked for a time at Rome
with Servandoni. After his return he established
himself at Liege, and died, wealthy and honoured,
in 1762. Some of his works exist at Liege, but
they possess no great merit.

His daughter, MARIA LAMBERTINE, engraved
some plates in the style of Adriaan van Ostade.

COOLERS, Louis BERNARD, was born at Maes-
tricht in 1740. He was instructed by his father,
Jan Baptist Coders. He passed three years in
Italy, and after his return he painted portraits and
cabinet pieces, in the manner of Mieris, Metsu,
and Schalken at Maestricht, Nimeguen, Dordrecht,
and Leyden, where he settled in 1769. Compro-
mised politically, he left Holland in 1787, and went
to Paris, where he remained several years. He
again returned and resided at Amsterdam, where
he painted portraits and cabinet pictures, which
he exhibited from the year 1808 to 1813. One of
his pictures is in the Museum of that city.
He died at Liege in 1817. He was also
a print-seller, and engraved 166 plates;
they are signed with the ciphers, or his


Among his best plates may be mentioned :

An Old Woman with an Owl ; after F. Hals.
A Dutch Gentleman reading and smoking.

COCLERS, PHILIP, a Dutch painter, who flour-
ished at Maestricht during the latter part of the
17th century. He studied in Italy, and on his
return to his native land was appointed painter to
Joseph Clement of Bavaria, Prince-Bishop of Liege.
He was a skilful portrait painter, and died early in
the 18th century, at the age of 76.

born at Antwerp in 1614. He received his ele-
mentary instruction from Peeter Brueghel III., as
whose pupil he entered the Guild of St. Luke in
1627 ; he then studied under David Ryckaert
the elder (whose daughter, Catharina, he married
in 1643), but he owed the fume which he after-
wards acquired to the excellent disposition with
which nature had favoured him. He was made
a master of the Guild in 1640-41 ; and in 1665-G6,
and again in 1680-81, he was its Dean. In 1671
the Count de Monterey, Governor-General of the
Low Countries, appointed him his official painter.
His first subjects were conversations and gallant
assemblies; but the extraordinary reputation Van
Dyck had acquired by his admirable portraits,
inspired him with the ambition of distinguishing
himself in like manner, though on a different
scale. He painted portraits of a small size, and
endeavoured to give them the correctness and
simple character of nature which we admire in the

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