John Constable

(East Bergholt, Suffolk 1776London 1837 ) - Artworks Wikipedia® - John Constable
CONSTABLE John A Sea Beach - Brighton

Bonhams /Jul 9, 2014
500,093.69 - 750,140.53
455,662.50

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Artworks in Arcadja
492

Some works of John Constable

Extracted between 492 works in the catalog of Arcadja
John Constable - The Lock

John Constable - The Lock

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Lot number: 138
Other WORKS AT AUCTION
Description:
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)
John Constable - St Mary's Church

John Constable - St Mary's Church

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Lot number: 210
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John Constable, R.A. (East Bergholt, Suffolk 1776-1837 London) St Mary's Church, East Bergholt from the grounds of West Lodge pencil and watercolour 12½ x 9 in. (31.7 x 22.8 cm.) Charles Golding Constable. Mrs A. M. Constable. Captain Constable (†); Christie’’’’s, London, 11 July 1887, lot 44 (6 gns to Shepherd Brothers) where purchased by Lord Feversham, and by descent to the present owner. PROPERTY FROM THE COLLECTION OF WILLIAM ERNEST DUNCOMBE, 1ST EARL OF FEVERSHAM (LOTS 210-212) The three drawings offered here combine to encapsulate John Constable’’’’s breadth of style and virtuosity as a draughtsman and are notable for their extraordinary state of preservation. The soft, restricted colours which Constable favoured at the time he executed the View of East Bergholt; the stronger palette and mixed media of the later Brighton study (lot 211); and the vibrancy of the pencil in the view of Salisbury Cathedral (lot 212) have all survived in remarkable condition, too often lost over time. Their survival in such a condition is due primarily to the fact that they have only been in two collections: the artist’’’’s descendants and then since 1887, in the same family collection. They formed part of Charles Golding Constable’’’’s collection and on his death he requested that this be divided by his trustees for his children. He apparently intended to write on the back of each work. It seems this was never done and for reasons which remain unclear, perhaps confusion as to who should get what, the will was contested by the children’’’’s grandfather on their behalf. The High Court found in favour of the defendants, but because the children were all minors, it was decided that the pictures should remain together for the time being and placed on loan at the South Kensington Museum, now the Victoria and Albert Museum. They remained at the Museum until 1883, when it seems that the loan was withdrawn. This was apparently due to Mrs Constable feeling that certain promises had not been met: the works were not hung in a separate room, other works were included in the hang, which she believed to be ‘shams’’’’ and a separate catalogue had not been produced. Whether these undertakings had ever been promised is uncertain, Mrs Constable was by all accounts not an easy woman to deal with. The works were subsequently transferred to the Edinburgh Museum of Science and Art, where they remained until 1887, when they were brought to London and sold at Christie’’’’s. The sale was titled 'The Property of the late Captain Constable' with the notice that the sale was 'pursuant to an Order of the High Court of Justice made in an action Re CONSTABLE CONSTABLE V BLUNDELL, 1880, C. 1621 with the approbation of Mr Justice Chitty.' These three works were all purchased at that sale by Shepherd Brothers, who sold them to William Ernest Duncombe, 1st Earl Feversham of Ryedale and have remained with the family. Duncombe was born on 28 January 1829 and died just short of his 86th birthday on 13 January 1915. He was the son of William Duncombe, 2nd Baron Feversham of Duncombe Park, Yorkshire, and Lady Louisa Stewart. He married Mabel Violet Graham on 7 August 1851 and they had seven children. He was M.P. for East Retford between 1852-7 and M.P. for North Riding between 1859-67 and also served as Deputy Lieutenant and as a Justice of the Peace. He was an active member of the Royal Agricultural Society and was appointed its President in 1892. He succeeded to the title of 3rd Baron Feversham of Duncombe on 11 February 1867 and was created 1st Earl of Feversham of Ryedale and 1st Viscount Helmsley on 25 July 1868. We are grateful to Anne Lyles for her help with these drawings. G. Reynolds, The Early Paintings and Drawings of John Constable, London, 1996, p. 64, 05.35, pl. 274. Oxford, Ashmolean Museum, on loan, 2012-13.
John Constable - A Sea Beach - Brighton

John Constable - A Sea Beach - Brighton

Original
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Lot number: 28
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John Constable R.A. (Suffolk 1776-1837 Hampstead) A Sea Beach - Brighton oil on canvas 65.6 x 100.5cm (25 13/16 x 39 9/16in). Footnotes Provenance Vernon C Brown With John Mitchell, London With Museum of Fine Arts, Boston, 1946 By whom sold, Sotheby's, 6 April 1993, lot 69 (as attributed to John Constable) Private Collection, Detroit Exhibited Museum of Fine Arts, Boston, Paintings, Drawings and Prints by J.M.W Turner, John Constable and R P Bonington , 1946, cat. no. 136 Clark Art Institute, Williamstown, Mass., and Smith College, Jongkind and the Pre-Impressionists: Painters of the École Saint-Simeon , 1976-1977, cat. no. 50 Literature An Exhibition of Paintings, Drawings and Prints by Turner, Constable, Bonington , exh. cat., Museum of Fine Arts, Boston, 1946, no. 136, p. 45. "Turner-Constable-Bonington," (exh. review), Connoisseur , vol. CXVIII, Sept. 1946, p. 43 H. Read, The Meaning of Art , London, 1949, p. 139, pl. 146 H.Comstock, 'Constable in America', in Connoisseur , vol. CXXXVII, May 1956, p.288, ill. pl 8 Jongkind and the Pre-Impressionists: Painters of the École Saint-Siméon , exh. cat., Clark Art Institute, Williamstown, Mass., and Smith College, 1976-1977, no. 50, p. 84. R.Hoozee, L'Opera Completa di Constable , Milan, 1979, no.653 G. Reynolds, The Later Paintings and Drawings of John Constable , London, 1984, p.150 John Constable began visiting Brighton in 1824 for the health of his wife, Maria, who was consumptive and of their eldest child, John Charles, who was also sickly. Although he did not much care for the bustle and noise of Brighton's fashionable visitors, describing the town as 'nothing less than Piccadilly "by the seaside"', he found the ever-changing sky and sea completely enthralling and began sketching on the spot in oil, pencil and pen and ink. More than 60 works related to Brighton are recorded from this year alone. The composition of A Sea Beach - Brighton is familiar to us from the mezzotint produced by David Lucas in 1830 for Various Subjects of Landscape, characteristic of English Scenery from Pictures Painted by John Constable RA (see fig.1). The spirited small oil sketch in the Detroit Institute of Fine Arts is considered to be the picture on which the mezzotint is based (see fig. 2). The Detroit picture has all the hallmarks of a plein air sketch: violent pencil underdrawing and swift application of the paint to the paper. Our painting has many of the same qualities, but because of its size, was clearly worked on in the studio from earlier sketches. It differs from the Detroit picture in various details: the disposition of the figures, the addition of sails and nets drying and the large anchor embedded in the sand in the right foreground. Furthermore, the palette is more sombre and monochrome and the lighting more dramatic. The weather is more turbulent, in fact more reminiscent of the climate in the Brighton drawings of 1828 produced at a time when Maria's health was rapidly declining. Our painting was squared for transfer by Constable and recent cleaning for a BBC programme has made this visible to the naked eye. Quite where this places A Sea Beach - Brighton in the genesis of the subject is a matter of conjecture as no other squared versions of this composition survive. Peter Harrap, who is curating the exhibition mentioned below, has pointed out that John Arrowsmith the dealer in Paris who had taken the Hay Wain to the Salon of 1824 refers to 'The Brighton Sea piece' in a letter of 21 December 1824 and again as a P.S to a letter of 20 March 1825, he writes 'think on my Brighton Sea Piece', which sounds very much like a commission, which Constable never got round to completing. In a letter of 9 December 1835 to C.R. Leslie, Constable says that Edward Carey of Philadelphia, a relative of Leslie's brother-in-law wanted him to 'send him a picture which I have not got nor ever have. But through the kindness of your sister he has seen the book (English Landscape Scenery) and has taken a liking to The Sea Beach – thinking, no doubt, that it was done from something more than the sketch'. Graham Reynolds took this to mean that all other versions, other than the Detroit one, of the subject were spurious, but it could be that Carey's interest in the mezzotint inspired Constable to produce a more elaborate version of the subject after 1835, or that he simply did not consider such a free and spirited large sketch as A Sea Beach - Brighton which could have already been in his studio since the Arrowsmith commission to be an appropriate purchase. What is undeniable is that this large canvas perfectly evokes the text to the mezzotint in which Constable wrote 'the magnitude of a coming wave when viewed beneath the shelter of a Groyne is most imposing'. He also said 'of all the works of the Creation none is so imposing as the Ocean; nor does Nature anywhere present a scene that is more exhilarating than a sea-beach'. We are grateful to Anne Lyles for her kind assistance with this catalogue entry. This picture has been requested as a loan for an exhibition Constable in Brighton , in the Brighton Museum, scheduled for March-October 2017.
John Constable - Study Of Susanna Hobson Reading A Book

John Constable - Study Of Susanna Hobson Reading A Book

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Lot number: 187
Other WORKS AT AUCTION
Description:
Sale, London, Sotheby's, 11 July 1990, lot 18 PROPERTY FROM AN IMPORTANT BRITISH PRIVATE COLLECTION John Constable, R.A. EAST BERGHOLT, SUFFOLK 1776 - 1837 HAMPSTEAD STUDY OF SUSANNA HOBSON READING A BOOK Pencil, on laid paper watermarked: IKE (George Pike); inscribed lower left: S.H 181 by 112 mm
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