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John Constable

(East Bergholt, Suffolk 1776 -  London 1837 ) Wikipedia® : John Constable
CONSTABLE John Cottage And Sunset

Rosebery's /Dec 6, 2016
950.48 - 1,425.72
17,812.50

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Artworks in Arcadja
649

Some works of John Constable

Extracted between 649 works in the catalog of Arcadja
John Constable -  Beached Fishing Boats With Fishermen Mending Nets On The Beach At Brighton

John Constable - Beached Fishing Boats With Fishermen Mending Nets On The Beach At Brighton

Original 1897
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Gross Price
Lot number: 104
Other WORKS AT AUCTION
Description:
John Constable, R.A. (East Bergholt 1776-1837 Hampstead) Beached fishing boats with fishermen mending nets on the beach at Brighton, looking West with inscription 'Brighton Beach by/ John Constable I got/ this sketch from his son/ Captain Charles Constable/ Walter May.' and 'Bought this sketch from Mrs May/ 1897/ E. Hayes' (verso) black chalk, pen and grey ink, grey and ochre wash, watermark '[WHA]TMAN/ [TURKE]Y MILL/ [18]21' 4 ½ x 7 1/8 in. (11.4 x 18.1 cm.) The Constable family first visited Brighton in May 1824, taking a house for six months at Western Place near the beach. The following year Maria and the children returned in August and remained until January 1826 and then between May and September 1828. Each time Constable would remain based in London and would come down to Brighton for regular, sometimes extended, visits. Constable was initially disdainful of Brighton describing it in a letter to his friend Fisher as \\\‘the receptacle of the fashion and offscouring of London. The magnificence of the sea, and its … everlasting voice, is drowned in the din & lost in the tumult of stage coaches – gigs – \\\“flys\\\”. –and the beach is only Piccadilly … by the sea-side. … In short there is nothing here for the painter but the breakers - & sky – which have been lovely indeed and always varying. The fishing boats are picturesque but not so much so as the Hastings boats.\\\’ Brighton, however, underneath the gloss of fashion, remained a working fishing town and as Constable became more familiar with the town his opinion changed. He became increasingly interested in the beach and the sea, the picturesque qualities of the vessels pulled up on the shore, the constantly changing atmospheric effects, as well as the people who made their living from the sea. Initially Constable worked exclusively in oils, however by the end of August 1824, he began to make drawings as well. Some were highly finished watercolours or pen and ink or wash drawings, whilst others were more rapidly executed pencil studies, such as the present work. The breadth of handling as well as the variety of subjects amply demonstrates Constable\\\’s deep enjoyment of the scenes. Interestingly, despite the numerous studies, Constable only executed one large-scale painting of the town; Marine Parade and Chain Pier, Brighton (London, Tate). It was possible that Constable intended to create a series of engravings of the town. He had recently met the publisher Henry Phillips in Brighton and conversations between the two men may well have inspired Constable to think about publishing his own work. Furthermore, in December 1824, the French picture dealer, John Arrowsmith engaged Constable \\\‘to make twelve drawings (to be engraved here and published in Paris)…about 10 or 12 inches…all complete compositions – all of boats or beach scenes\\\’. (I. Fleming-Williams, Constable and his Drawings, London, 1990, p. 208). During the 1820s there was great demand for beach scenes both in London and Paris and Arrowsmith must have been keen to take advantage of this. Constable enjoyed widespread popularity in France and the project would surely have been favourably received. Furthermore, the newly opened Royal Suspension Chain Pier allowed ferries from France to dock in Brighton for the first time, opening the town to French tourists, who might well have been keen to secure a memento of their visit. However, for some reason, the project was never completed. Some of Constable\\\’s studies of Brighton concentrate solely on the beach, whilst others, such as the present drawing, also shows glimpses of the town. It appears that the view depicts part of what was called East Cliff, with the distinctive five-bayed building on the left and The Ship Hotel to its right. This drawing also shows a glimpse in the lower left of Cissbury Ring, the Iron Age hill fort overlooking Worthing. There is a slightly larger drawing depicting the beach from slightly further along the promenade, which also shows Cissbury Ring, now in The Huntingdon, San Marino, California. The series of drawings and watercolours that Constable produced as a result of his time in Brighton form a fascinating insight into the variety of working methods and technical abilities of one of the great masters of the period. We are grateful to Ian Warrell for identifying the topography of this view. Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer\\\’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance The artist's son, Captain Charles Constable, from whom acquired by Walter May. E. Hayes (all the above according to inscriptions on the verso of the mount). Pre-Lot Text Property from a Distinguished New York Collection Exhibited London, Wildenstein Galleries, Constable Centenary, 1937, no. 50, pl. XXIX. Suffolk, Aldeburgh Festival, Drawings, 1948, no. 26. British Arts Council, An Exhibition of Paintings and Drawings by John Constable, R.A., 1949, no. 50. American Federation of the Arts, 1955, catalogue untraced. San Diego, Museum of Fine Arts, 1959, catalogue untraced.
John Constable - Windmill With Storm Clouds

John Constable - Windmill With Storm Clouds

Original
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Lot number: 186
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PROPERTY OF A GENTLEMAN John Constable, R.A. WINDMILL WITH STORM CLOUDS EAST BERGHOLT, SUFFOLK 1776 - 1837 HAMPSTEAD Pen and black ink, heightened with scratching out 75 by 119 mm Probably with Leggatt Brothers, London, 1899; H.A. Sutch; with Leggatt Brothers, London, 1952; sale, Cambridge, Cheffins Fine Art, 5 March 2014, lot 428; from where acquired by the present owner Probably London, Leggatt Brothers, 1899, unknown number This drawing dates to the early 1830s and shows Constable tackling two of his favourite themes: the British weather and windmills. With a masterful combination of black ink and scratching out, Constable conjures up a powerful image, which is alive with wind, rain, light and cloud. In the foreground to the right, stands a solitary figure who, in contrast to everything else, is motionless.  Other examples of Constable employing this expressive and avant garde technique can be found in the Victoria and Albert Museum, London.1  1. I. Fleming-Williams, Constable and his Drawings, London 1990, pp. 278 & 9, figs. 247 & 248
John Constable - A Dell, Helmingham Park, Suffolk

John Constable - A Dell, Helmingham Park, Suffolk

Original 1855
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Lot number: 1031
Other WORKS AT AUCTION
Description:
John Constable (British, 1776-1837) A DELL, HELMINGHAM PARK, SUFFOLK Mezzotint, 1855, from 'English Landscape Scenery: A Series of Forty Mezzotint Engravings on Steel, by David Lucas, from Pictures Painted by John Constable, RA', published by H G Bohn, London, on wove paper, with full margins plate 17.8 x 22.5cm, framed A copy of this print is in the Tate collection (T04066).
John Constable - Cottage And Sunset

John Constable - Cottage And Sunset

Original
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Lot number: 496
Other WORKS AT AUCTION
Description:
John Constable RA, British 1776-1837- "Cottage and Sunset"; watercolour, 6.8x11cm Provenance: with Thomas Agnew & Sons Ltd, London, according to the label attached to the reverse of the frame Exhibited: London, The Arts Council of Great Britain, no. 46, according to the label attached to the reverse of the frame
John Constable - Study Of A Tree Trunk

John Constable - Study Of A Tree Trunk

Original 1828
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Lot number: 94
Other WORKS AT AUCTION
Description:
Lot 94 JOHN CONSTABLE (1776-1837): STUDY OF A TREE TRUNK Oil on paper mounted on board, c. 1828, unsigned, with label from Salander-O'Reilly Galleries, Inc., NY. Literature: Graham Reynolds, The Early Paintings and Drawings of John Constable, no. 28.20A (illust.pl.1428). Provenance: Collection of Baron Duveen; Sold Sotheby's, March 9, 1988. Property from Salander-O'Reilly Galleries, Inc
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