John Constable

(17761837 ) - Artworks Wikipedia® - John Constable
CONSTABLE John View Of Old Hall, East Bergholt, Suffolk

Sotheby's /Dec 4, 2013
239,793.76 - 359,690.64
Not Sold

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Artworks in Arcadja
458

Some works of John Constable

Extracted between 458 works in the catalog of Arcadja
John Constable - Flatford Lock With Flatford Footbridge And Bridge Cottage In The Distance

John Constable - Flatford Lock With Flatford Footbridge And Bridge Cottage In The Distance

Original
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Lot number: 422A
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John Constable, RA (British, 1776-1837) Flatford Lock with Flatford footbridge and Bridge Cottage in the distance, circa 1805-1807 inscribed lower left "Flatford Mill" pencil on buff paper h:14 w:19 cm Provenance: Probably Leggatt Brothers, London, 1899: H A Sutch; Leggatt Brothers, 1952; by descent to the present owner (please refer to introduction by Anne Lyles for further information on provenance) This drawing was made by Constable from the tow path of the river Stour at Flatford very close to the lock. Flatford footbridge can be glimpsed in the distance to the left of the roof and gables of Bridge Cottage. Flatford Mill is just out of the composition to the right (the drawing is inscribed 'Flatford Mill' lower left, but this appears to have been added by another hand). Constable more often painted or drew Flatford Lock from the other side (usually from the 'island' on the river Stour at Flatford) or indeed, from the opposite direction. However, he did also paint a very similar view to this one in oils on paper, around 1811 (Royal Academy of Arts; see Graham Reynolds, The Early Paintings and Drawings of John Constable, 1996, Yale University Press, no.11.31, plate 915). Furthermore, another very similar view of the lock from this point was painted in 1814 by Constable's friend, John Dunthorne Senior (c.1770-1844), the local plumber and glazier in East Bergholt who was also an amateur artist (Colchester Museum and Art Gallery; repr and discussed in Constable: Paintings, Watercolours and Drawings, Tate Gallery, 1976, exhibition catalogue by L.Parris, I.Fleming-Williams and C. Shields, no. 339). The trees on the left of the composition with a deep fork, identified as black poplars by naturalist and author, Richard Mabey (Flora Britannica, 1996, p.134), appear in many of Constable's paintings, for example in the famous picture in Tate Britain, Flatford Mill ( 'Scene on a Navigable River'),1817. John Constable RA (1776-1837) Introduction by Anne Lyles This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street, St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond Street, where Sutch specialised in the Old Master side of the business (American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G. Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45). Sutch's name is mistakenly given under the provenance for this entry as H.S. Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection. The latter work, Bristol House and Terrace, Putney Heath (R.18.18) - although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water- Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L. Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). Anne Lyles. February, 2014. Estimate £8,000-12,000 Paper has water mark upper right-hand corner. On laid paper. Stuck down to board.
John Constable - Borrowdale By Moonlight

John Constable - Borrowdale By Moonlight

Original 1806
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Lot number: 169
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Charles Golding Constable, England (the artist's son) Private Collection, England (by descent from the above) Mr West (a gift from the above in 1888) Dr. Andrew Scott Myrtle, England Mrs P.M. Crabb, England, by descent from the above (sale: Sotheby's, London, 13 th November 1980, lot 99) Spink & Sons, London Mr & Mrs E.M. Rooth (sale: Sotheby's, London, 15 th July 1993, lot 68) Purchased at the above sale by the late owner London, Tate Britain, Constable, 1991, no. 237 Berlin, Staatliche Museen zu Berlin, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 59 Venice, Peggy Guggenheim Collection, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, 1999, no. 92 Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 89 From Goya to Picasso: Works from the Private Collection of Jan Krugier 169 FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER John Constable, R.A. 1776 - 1837 BORROWDALE BY MOONLIGHT - RECTO THE BRIDGE AT WATENDLATH - VERSO watercolour and pencil on paper - recto grey washes and pencil on paper - verso 10.7 by 24cm., 4 1/4 by 9 1/2 in. Executed in 1806. Estimate 20,000 - 30,000 GBP Print Please notify me when the condition report is available
John Constable - Study Of Three Nudes

John Constable - Study Of Three Nudes

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Lot number: 60
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John Constable, R.A. (East Bergholt, Suffolk 1776-1837 London) Study of three nudes oil on canvas 24 x 20 in. (60.9 x 50.8 cm.) Constable family and by descent. Private Collection. with Salander-O'Reilly Galleries, New York, where acquired by the present owner. PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTION R. Hoozee, L'opera completa di Constable, Milan, 1979, pp. 92-93, no. 55. G. Reynolds, The early paintings and drawings of John Constable, New Haven, 1996, I, pp. 123-124, no. 08.30; II, pl. 7133. Borough of Colchester, Colchester Public Library, Exhibition of Works of John Constable, R.A., 1950, no. 4 or 5 (listed as "Life Study" oil, c. 1808-1858). London, Tate Gallery, Constable: Paintings, Watercolors and Drawings, 18 February 18-25 April 1976, no. 84. G. Reynolds et al., John Constable, R.A. (1776-1837): an exhibition: paintings, drawings, watercolors, mezzotints, exhibition catalogue, Salander-O'Reilly Gallery, New York, 1988, p. 31, no. 4.
John Constable - View Of Old Hall, East Bergholt, Suffolk

John Constable - View Of Old Hall, East Bergholt, Suffolk

Original
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Lot number: 44
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Commissioned by Peter Reade (d.1804), of Old Hall, East Bergholt; Acquired, together with the house, following Reade's death, by Peter Godfrey; Thence by descent to Miss Muriel Gore; By whom sold, London, Sotheby's, 2 July 1958, lot 135, for £3,800 to Leger; With Leger Galleries, London, 1959; C. H. Pittaway; By whom offered (The Property of a Gentleman), London, Sotheby's, 14 June 2001, lot 25, and bought privately before the sale by the present owner. London, J. Leger & Sons, 13 Old Bond Street, Old and Modern Masters, October 1959, no. 93; Birmingham, City Art Gallery, 1962, no 19; London, Royal Academy, Bicentenary Exhibition, 1968, no. 76 (lent by C.H. Pittaway); London, Tate Gallery, Constable: Paintings, Watercolours and Drawings; Bicentenary Exhibition, 18 February - 25 April 1976, no. 27; New York, Salander-O'Reilly Gallery, John Constable R.A., 1988, no 32; Sudbury, Gainsborough's House, and London, Leger Galleries, From Gainsborough to Constable, 17 August - 13 October 1991, no. 60. 44 PROPERTY FROM A PRIVATE COLLECTION John Constable, R.A. EAST BERGHOLT, SUFFOLK 1776 - 1837 HAMPSTEAD VIEW OF OLD HALL, EAST BERGHOLT, SUFFOLK oil on canvas 73 by 108 cm.; 28 3/4 by 42 1/2 in. Estimate 200,000 - 300,000 GBP Print Please notify me when the condition report is available
John Constable - Helmingham Dell, Suffolk

John Constable - Helmingham Dell, Suffolk

Original 1823
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Gross Price
Lot number: 271
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John Constable, R.A. (East Bergholt, Suffolk 1776-1837 London) Helmingham Dell, Suffolk inscribed and dated 'July 23 1800./Afternoon' (lower right) pencil and grey wash, on paper 21 1/8 x 26 1/8 in. (53.7 x 66.5 cm) Probably C.R. Leslie. Anonymous sale; Christie's, London, 9 June 1964, lot 229 (280 gns to Spink). with Spink, London, from where purchased by G.D. Lockett, 1964, and by descent to C.D. Lockett. Clonterbrook Trustees, 1976. Anonymous sale; Sotheby's, London, 1 April 1993, lot 57. C.R. Leslie, Memoirs of the life of John Constable, London, 1843, p. 6; ed. J. Mayne, 1951, p. 11. F. W. Hawcroft, 'English Drawings and Water-Colours from the Lockett Collection', The Old Water-Colour Society's Club, XLV, 1970, p. 35. I. Fleming-Williams, Constable: Landscape Watercolours and Drawings, London, 1976, pp. 7, 18, pl. 1. L. Parris, I. Fleming-Williams and C. Shields, Constable, exhibition catalogue, London, Tate Gallery, 1991, pp. 391-2, illustrated. G. Reynolds, The Later Paintings and Drawings of John Constable, New Haven and London, 1984, p. 174, under no. 26.21, and pp. 217-8, under nos. 30.1 and 30.2. M. Cormack, Constable, Oxford, 1986, p. 28, p. 19. London, Leger Galleries, From Gainsborough to Constable: the Emergence of Naturalism in British Landscape Painting, exhibition catalogue, London, 1991, p. 77. G. Reynolds, The Early Paintings and Drawings of John Constable, New Haven and London, 1996, p. 25, no. 00.1, pl. 87. London, Tate Gallery, Constable: Paintings, Watercolours & Drawings, February - April 1976, no. 21, illustrated. London, Tate Gallery, Constable, June - September 1991, no. 224, illustrated. This large and important drawing is one of two known to have been executed in Helmingham Park in July 1800. The subject clearly inspired Constable who relished the sinuous form of the trees, rising up above the viewer and framing the central bridge. This highly finished work is one of the few dated drawings from this period and its continuing importance to the artist is demonstrated by the fact that over twenty years later Constable was to use it in the preparation of four oil paintings. Inland from Southwold, Helmingham Hall and its park were the property of the Tollemache family, the Earls of Dysart. Later, in 1807, Constable was introduced to the 6th Earl Dysart and this led to a string of commissions, but in 1800 he would have needed special permission to work there. The site obviously had special qualities that appealed to the artist, as on 25 July he wrote excitedly to his friend John Dunthorne at Bergholt: 'Here I am quite alone amongst the Oaks and solitudes of Helmingham Park. I have taken quiet possession of the parsonage finding it quite emty [sic]. Woman comes up from the farm house (here I eat) and makes the bed; and I am left at liberty to wander where I please during the day. There are an abundance of fine trees of all sorts; though the place upon the whole affords good objects [rather] than fine scenery, but I can badly judge yet what I may have to shew You. I have made one or two drawings that may be useful' (R.B. Beckett, ed., John Constable's Correspondence II: Early friends and Maria Bicknell (Mrs Constable), Ipswich, 1964, p. 25). The drawing probably belonged to Constable's first biographer, his friend and fellow Royal Academician, C.R. Leslie who wrote, after quoting the above letter, that 'Two of these drawings, dated July 23rd and 24th, one in my possession, they show that he at that time possessed a true sense of the beautiful in composition' (Leslie, loc. cit.). The drawing dated 24 July is untraced. There is an even larger drawing in Leeds City Art Gallery showing the same twisted tree on the right together with the tree with interlocking trunks to its left. The Leeds drawing is squared for transfer and was probably also used for the oil paintings. The oil paintings consist of two finished works and two oil sketches. In chronological order, as set out by Graham Reynolds, they are; 1.) that in a private collection (Constable, 1984, p. 218, no. 30.2, pl. 771), an oil sketch that, despite its listing under 1830 Reynolds dates to circa 1823-6 (it could even be the large sketch of Helmingham Dell admired by Sir George Beaumont in 1823); 2.) that painted 1825-6 for James Pulham of Woodbridge (fig. 1. Constable, 1984, pp. 174-5, no. 26.21, 1830, pl. 630), closest in size and format to no. 30.2; 3.) the oil sketch in the Louvre (Constable, 1984, p. 218, no. 30.3, pl. 775) which is larger and was presumably painted in preparation for 4.) that painted 1829-30 for James Carpenter but withheld and now in the Nelson-Atkins Museum of Art, Kansas City (Constable, 1984, pp. 217-8, no. 30.1, pl. 770) and of much the same size as the Louvre sketch. The twisted tree on the right can still be seen, wider in girth, in the park but the wooden footbridge was replaced by a stone one in 1815; despite this it still appears as a wooden bridge in the oil paintings. In addition it has been suggested (Parris, et al., 1976, p. 44, under no. 21) that a study of ash and other trees in the Victoria and Albert Museum was made a little further upstream, perhaps during the same summer, but Reynolds dates it to 1803 (Constable, 1996, p. 53, no. 03.61, 1803, pl. 218). Ian Fleming-Williams, having pointed out that the drawing was done in the summer after Constable had been studying in Fuseli's life classes at the Royal Academy Schools, adds, 'it is interesting to note how closely Constable's pencil-line resembles that of Henry Fuseli in the studies from life the Swiss artist was making at this time...' (Fleming-Williams, op. cit., 1976, p. 18). This drawing was formerly in the collection of G.D. Lockett, who from 1959 began to form an important collection of English drawings and watercolours. Francis Hawcroft, writing in 1970, when surveying the collection states that amongst the 'most outstanding' of his major acquisitions, was a 'View of Helmingham Dell by Constable' (F. Hawcroft, op. cit., 1970, p. 7).
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