John Constable

(East Bergholt, Suffolk 1776London 1837 ) - Artworks Wikipedia® - John Constable
CONSTABLE John The Lock

Leslie Hindman /Sep 28, 2014
3,708.92 - 5,192.49
Not Sold

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Artworks in Arcadja
505

Some works of John Constable

Extracted between 505 works in the catalog of Arcadja
John Constable - Child's Hill Looking Towards Harrow With A Rainbow

John Constable - Child's Hill Looking Towards Harrow With A Rainbow

Original 1830
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Lot number: 232
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John Constable, R.A. EAST BERGHOLT, SUFFOLK 1776 - 1837 HAMPSTEAD CHILD'S HILL LOOKING TOWARDS HARROW WITH A RAINBOW oil on canvas 51.5 by 76.2 cm.; 20 1/4 by 30 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Thomas Humphrey Ward (1845-1926), Stocks, Aldbury, Hertfordshire; Ernest C. Innes; Sold by his wife's Executors, London, Christie's, 13 December 1935, lot 98, to Barbizon House for £367.10; Lockett Thomson, Barbizon House; Leo M. Flesh, Rigue, Ohio; G. P. Dudley Wallis; With Arthur Tooth & Sons Ltd., London, by 1955; Private collection, United Kingdom; By whom sold ('The Property of a Lady'), London, Sotheby's, 23 November 2006, lot 95, for £90,000; With Salander-O'Reilly Galleries; From whom purchased by the present owner. Literature A. Shirley, John Constable, R.A., London 1944, reproduced plate 158a. Catalogue Note This lively and atmospheric sketch dates from circa 1830, and appears to depict the landscape at Child's Hill looking towards Harrow. It is probably a preliminary study for a composition which the artist never pursued to completion, and as with several similar pictures, is thinly painted over drawn outlines with plenty of lively white highlights. It must have been executed quickly in the open air and it is interesting to note that the size of the canvas conforms to what is described in the 2006 exhibition Constable, The Great Landscapes at the Tate Gallery as 'the small to medium-sized canvas, measuring approximately 21 by 30 inches (53 by 76 cm.) that Constable especially favoured for outdoor work'. It was Sir Charles Holmes, the great pioneering Constable scholar, who first suggested that this picture depicted Child's Hill, and although it is largely devoid of topographical detail, the prominent hills in the distance are closely reminiscent of such panoramic compositions as Child's Hill: Harrow in the distance of 1825 (Reynolds 25.12, plate 583, Victoria and Albert Museum). The lack of completeness with prominent pencil outline and white highlights can be seen in several of the artist's works, notably Study for The Chair Pier Brighton (Reynolds 27.4, plate 636, Philadelphia Museum of Art), Osmington Bay (Reynolds 24.7, plate 480, John G. Johnson Collection, Philadelphia) and Hove Beach (Reynolds 24.72, plate 543, Musée Royaux des Beaux-Arts de Belgique, Brussels). Graham Reynolds has pointed out that the lively seated figure of the boy recalls the figures in Maria Constable with three of her children, another unfinished study with pencil underdrawing (Reynolds 22.67, plate 390, private collection). The finely observed panoramic sweep of the composition is reminiscent of many of Constable's Hampstead works whilst the irregular gate looks back to that shown in the foreground of Fen Lane East Bergholt of 1817 (Tate Gallery). Constable first took a house for his family in Hampstead in 1819, and continued to visit regularly until finally moving there permanently in 1827. He was greatly attracted to Hampstead Heath, which offered a varied landscape full of local inhabitants, extensive views in all directions and above all, the ever changing skies which were to inspire his remarkable series of cloud studies. Much has been written about Constable's interest in meteorologically accurate rendering of cloud types, but he also had a keen interest in rainbows, a vivid example of which is a prominent feature in the current picture. Though rainbows can be found in some of his early works, they begin to feature regularly in works from the final years of his life, most notably in the Stoke-by-Nayland mezzotint of 1830 and in his great Salisbury Cathedral from the Meadows of 1835. The accompanying text for the mezzotint in English Landscape Scenery extols the visual qualities and the physical properties of rainbows, Nature, in all the varied aspects of her beauty, exhibits no feature more lovely nor any that awaken a more soothing reflection than the Rainbow, 'Mild arch of promise'. The picture came from the collection of the distinguished writer Thomas Humphrey Ward, principal art critic of The Times, who lived with his wife, the well known novellist Mary Ward, at Stocks, an imposing mansion near Aldbury in Hertfordshire. It subsequently passed to the prominent London collector, Ernest Innes. Graham Reynolds saw this picture in 2006 and endorsed the attribution following first-hand inspection. See More See Less
John Constable - Netley Abbey

John Constable - Netley Abbey

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Lot number: 115
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John Constable (1776-1837) Netley Abbey (Reynolds 33.10) etching, circa 1826, on chine collé, a fine impression of this rare print, second, final state, after the addition of the artist's initials, with wide margins, scattered foxing, time-staining at the sheet edges P. 132 x 184 mm., S. 246 x 304 mm. The composition is based on a drawing (Victoria & Albert Museum, London, R. 148) which Constable made during his honeymoon in October 1816, whilst travelling to visit his patron and friend, Reverend John Fisher, in Osmington, Dorset. It is one of only four etchings by the artist, impressions are extremely rare as no proper edition was ever published.
John Constable -  Portrait Of A Gentleman, Traditionally Identified As Lancelot Archer-burton

John Constable - Portrait Of A Gentleman, Traditionally Identified As Lancelot Archer-burton

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Lot number: 39
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John Constable, R.A. (East Bergholt, Suffolk 1776-1837 London) Portrait of a gentleman, traditionally identified as Lancelot Archer-Burton (1789-1852), bust-length, in a white cravat and black coat oil on canvas 30¼ x 24 7/8 in. (76.8 x 62.9 cm.) In the family of the present owner since the late 1940s.
John Constable - The Lock

John Constable - The Lock

Original
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Lot number: 138
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Manner of John Constable (British, mid 19th century) The Lock oil on canvas 59 x 76 inches. Property from the Collection of the Snite Museum of Art, University of Notre Dame, Notre Dame, Indiana Provenance: Sold: Christie's London, March 18, 1913, Lot 116 R. Turner, London (acquired from the above sale) Mr. Horace Townsend, New York Dr. Maurice H. Goldblatt, Chicago Sold: Grant Art Galleries, Chicago, February 18, 1926, Lot 63 Mr. Edward Hoke, Chicago (acquired from the above sale) Thence by descent to Richard, Herbert, and Elaine Hoke, Chicago, 1940 Acquired from the above by Harry Sugar, Akron, Ohio, 1954 Gifted to the University of Notre Dame by the above, 1957 Craquelure and surface dirt throughout; yellowing to varnish in upper corners; minor nailhead chips to paint in upper left quadrant. See images. Framed: 74 3/4 x 93 1/2 inches.
John Constable - David

John Constable - David

Original 1816
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Lot number: 174
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CONSTABLE (JOHN) LUCAS (DAVID, engraver ) English Landscape Scenery, 40 mezzotint engraved plates after Constable, faint spotting on fore-margin, initial and final leaves, contemporary red half morocco gilt, rubbed, lacking backstrip, Henry G. Bohn, 1855--WHITAKER (THOMAS DUNHAM) Loidis and Elmete: or, an Attempt to Illustrate the Districts Described in those Words by Bede: and supposed to embrace the lower portions of Arebale and Wharfdale, together with the entire Vale of Calder, in the County of York, engraved portrait frontispiece by W. Holl after J. Northcote, 48 further engraved plates (of 49, lacking Gledhow) and 15 genealogies, faint dampstaining at fore-margin, contemporary calf with gilt-stamped armorial crest, rebacked, lacking one spine label, Leeds, T. Davison, 1816, folio (2)
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