James Clarke Hook

Charles Prater, Esq., of Notting Hill;
London, Sotheby's, 11 March 1998, lot 82;
Private collection

Royal Academy, 1859, no.250

Art Journal, 1859, pg.165;
John Ruskin, Academy Notes, 1859, published in The Works of Ruskin, ed E.T. Cook and Alexander Wedderburn, 39 Vols, 1903-12, xiv, pp.228-9;
F. G. Stephens, J.C. Hook, R.A., His Life and Work, The Art Annual, 1888, p.22

STRUCTURE The canvas has been lined evidence of which is visible at the lower right edge. PAINT SURFACE This work is in good condition, clean and ready to hang. UNDER ULTRAVIOLET LIGHT There is some cosmetic retouching to areas around the extreme edges and some very light flecks to the centre left and elsewhere. FRAME Held in a decorative gold painted composite frame in fair condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Brook was much praised when it was first exhibited at the Royal Academy in 1859. John Ruskin wrote, in Academy Notes, concluding a notice of Hook's three 1859 exhibits with the words 'Infinite thanks, Mr Hook, for [Luff, Boy!, a painting of a young fisher-boy which seemed to Ruskin to give reassurance of British naval valour and prowess at a time when there were fears of war with France]; for our "Brook of Human Life" [the present painting], and our "Hours of Listless Sway on Gentle Wave". All of them beautiful. The distant landscape in that brook scene is one of the sweetest ever found by painter - for found it evidently is, not composed.' The critic for the Art Journal similarly commended the truthfulness and accuracy of observation in the work, when he wrote: 'The subject is, of course, a brook shaded by trees, and over which, on the right, passes a wooden bridge, painted with happiest reality. It has been worked out with the most earnest labour, from a given locality.' Frederic George Stephens further explained the intended allegory in his essay on the artist for the Art Annual: 'A cart, with an old man and a young man in it, is entering the shallow stream, which is spanned by a rustic wooden bridge; over this a young woman passes, caressing a baby, while, leaning on the handrail, a country boy is talking to the young man. The "moral" of the design is distinct, and could not but give significance of these earthly shows of beauty which, although "men may come and go", are for ever renewed.'