c. 1744 – London 1818
“ made his mark as Hogarth engraver, too ”
by whom then also the one and other sujet being unpublished before has been entered first into the new editions of the complete works arranged by Boydell in the ’90s. As after all Hogarth of course “had no independent importance not either as engraver or etcher though chisel and etching-needle were welcome means during all periods of his work to give expression to his brilliant humorous-satiric ideas”. Correspondingly – a mostly neglected fact at rating of his original prints – three French reproductive engravers stood by his side, one of them, Simon François Ravenet I (Paris 1706 or 1721 – London 1774), was Cook’s teacher. Who in such a way was most directly familiar with Hogarth’s œuvre from his beginnings. And who in contrast to all other later Hogarth editions maintained whose folio format. Shortly, “in the last analysis Hogarth made himself a name as original graphic artist only in those receipts and subscription tickets he used as promotion for the marketing of his copperplate sets and individual sheets” (all after Thieme-Becker). At which to remind Cook’s prime reproductions just stimulate. Which then met with approval by a contemporary connoisseur as Maximilian Speck von Sternburg, too, on whose “‘Hogarth’s Works’ … engraved by Thomas Cook (the owner noted on the fly-leaves): ‘Bought in London January 1818 Max Speck …’” (Karsten Hommel, Max. Speck bought in London / Die Bibliothek Maximilian Speck von Sternburgs, in Maximilian Speck von Sternburg – Ein Europäischer Sammler der Goethezeit als Kunstsammler, ed. by Herwig Guratzsch, 1998, p. 44). Thus the Cook rivalry Hogarth of the Robinsons from the Paternoster Row in London, though apart from that Speck used to buy from the Boydells (op. cit., p. 46).
For the common market Cook let follow an edition in smaller format worked, partly together with his son, from 1806 to 1809. Even though here – due to the size – the one or other point only could be suggested, the wealth in detail leaves nothing to be desired.
„ als passionierte Reiterin sind Bilder Ridingers ein Muß! “
(Frau G. G., 9. Januar 2012)