This is one of two important watercolour drawings attributed to the same artist being offered here which has been acquired from a London private estate collection. A fine original 19th century watercolour drawing of Richmond Park, a special area of conservation and the largest of London's Royal Parks created in 1634. This watercolour drawing is attributed to the famed British landscape artist John Constable (1776-1837). It has been shown to fine art professionals and they are in agreement that it is of the correct age and style, but it would be up to the buyer to conduct further research for authentication and getting the opinion of a knowledgeable nationally or internationally recognized or respected expert on the artist's works for proving that it's actually by the artist as many of Constable's discovered works were not known until his death as Constable produced numerous small preparatory works and sketches in his later years. This watercolour drawing of Richmond Park is probably one of John Constable's “small compositional drawings” in pen, ink and wash that can be dated to Constable‘s late period. This picture depicts a scene of Richmond Park with finely drawn characters and images of wildlife and trees and the John Constable pictorial device of a splash of warm summer evening colour scheme with salmon pink clouds and pale blue sky; an image of a man wending his way home provides the focal point. The artwork's painted surface measures 6 inches in height and 9 inches in width. In it's original old frame and though this painting is unsigned a label at verso in which a handwritten description is originally attached. Previously covered in dust In it's original frame before acquisition, this watercolor drawing comes from the same lot of acquisition from another John Constable attributed watercolor drawing being offered here. Please note this artwork is unexamined out of frame and photographed behind the glass in the frame with some diffusion and reflections in the photos.
About the artist:
John Constable (1776-1837) is one of the great English landscape painters of the 19th century. The son of an Suffolk miller and landowner, he grew up in the valley of the Stour River, the scene of many of his greatest paintings. Constable went on his first sketching tour (of Norfolk) in 1794. Through the art patron Sir George Beaumont (1753-1827, he encountered works by Thomas Gainsborough, Thomas Girtin, and Dutch landscape artists, all had strong influences on his style. He enrolled in the Royal Academy school in 1800 and exhibited his first works in 1802. He made a tour of Westmorland and Cumberland in 1806, sketching in pencil, ink wash and occasional watercolors with many notes on light and atmosphere; and this was the practice he followed over the next decade, patiently and independently refining his art. He married Maria Bicknell in 1816 after overcoming her family's long opposition. In 1819, after two unsuccessful attempts, he was elected to the Royal Academy by a one vote margin. He settled in Hampstead in 1820 just north of London, in part to aid his wife's weak health. They had six children and his wife Maria died in 1828. After this, Constable began painting more frequently in watercolours, producing larger and more finished works, as well as many "blot paintings" after the manner of Alexander Cozens. He died in his Somerset House, at age 60 in 1837.
Constable's usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. His watercolour sketches were probably finished indoors, based on notes and chalk drawings made in the field (a method also used by J.M.W. Turner). These were a painter's working documents, quick studies of composition or color, preparation for Constable's works in oil, and were not known until after his death. He was elected to the Royal Academy in February 1829, at the age of 52 a year after his wife's death. In 1835, he has his last lecture to the students of the Royal Academy. Among his popular later paintings after being elected to the Royal Academy were; Cottages on High Ground (circa 1833) and Stonehenge (circa 1835). Although Constable produced paintings throughout his life for the "finished" picture market of patrons and R.A. exhibitions, constant refreshment in the form of on-the-spot studies was essential to his working method. He was never satisfied with following a formula. "The world is wide", he wrote, "no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine productions of art, like those of nature, are all distinct from each other. Constable painted many full-scale preliminary sketches of his landscapes to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. Constable's many watercolours were also remarkably free for their time. Constable was never a painter of facts: for him the eyes were secondary, "it is the soul that sees."
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