Yale Center for British Art

Creator:

John Constable, 1776–1837, British

Title:

Hadleigh Castle, The Mouth of the Thames--Morning after a Stormy Night

Date:

1829

Materials & Techniques:

Oil on canvas

Dimensions:

48 × 64 3/4 inches (121.9 × 164.5 cm)

Credit Line:

Yale Center for British Art, Paul Mellon Collection

Copyright Status:

Public Domain

Accession Number:

B1977.14.42

Classification:

Paintings

Collection:

Paintings and Sculpture

Subject Terms:

Associated Places:

Currently On View:

On view at the Yale University Art Gallery

Exhibition History:

YUAG European Galleries (Yale University Art Gallery, 2023-12-01 - 2025-01-15)

In a New Light: Paintings from the Yale Center for British Art (Yale University Art Gallery, 2023-03-24 - 2023-12-03)

John Constable: The Late work (Royal Academy of Arts, 2021-10-30 - 2022-02-13)

Thomas Cole's Journey - Atlantic Crossings (The Metropolitan Museum of Art, 2018-01-29 - 2018-05-13)

Thomas Cole's Journey - Atlantic Crossings (The National Gallery, London, 2018-06-13 - 2018-10-07)

The Critique of Reason : Romantic Art, 1760–1860 (Yale University Art Gallery, 2015-03-06 - 2015-07-26)

An American's Passion for British Art - Paul Mellon's Legacy (Yale Center for British Art, 2007-04-18 - 2007-07-29)

An American's Passion for British Art - Paul Mellon's Legacy (Royal Academy of Arts, 2007-10-20 - 2008-01-27)

Constable - The Great Landscapes (Tate Britain, 2006-06-01 - 2006-08-28)

Constable - The Great Landscapes (National Gallery of Art, 2006-10-01 - 2007-01-02)

Constable - The Great Landscapes (The Huntington Library, Art Collections, and Botanical Gardens, 2007-02-03 - 2007-04-29)

Nobleness and Grandeur - Forging Historical Landscape in Britain, 1760 - 1850 (Yale Center for British Art, 2005-01-27 - 2005-04-24)

The Romantic Landscape Prints - The Chiaroscuro of Nature (Yale Center for British Art, 2002-09-25 - 2002-12-29)

Great British Paintings from American Collections: Holbein to Hockney (Yale Center for British Art, 2001-09-27 - 2001-12-30)

Great British Paintings from American Collections: Holbein to Hockney (The Huntington Library, Art Collections, and Botanical Gardens, 2002-02-01 - 2002-05-05)

This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of New South Wales, 1998-05-01 - 1998-07-05)

This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Queensland Art Gallery, 1998-07-15 - 1998-09-06)

This Other Eden : British Paintings from the Paul Mellon Collection at Yale (Art Gallery of South Australia, 1998-09-16 - 1998-11-15)

William Wordsworth and the Age of English Romanticism (Chicago Historical Society, 1988-04-06 - 1988-06-05)

William Wordsworth and the Age of English Romanticism (New York Public Library, 1987-10-31 - 1988-01-02)

Constable's England (The Metropolitan Museum of Art, 1983-04-13 - 1983-09-04)

Presences of Nature - British Landscape 1780-1830 (Yale Center for British Art, 1982-10-20 - 1983-02-27)

John Constable - A Selection of Paintings from the Collection of Mr. and Mrs. Paul Mellon (National Gallery of Art, 1969-04-30 - 1969-11-01)

Painting in England 1700-1850 - From The Collection of Mr. and Mrs. Paul Mellon (Yale University Art Gallery, 1965-04-15 - 1965-06-20)

Publications:

A Great Collection of British Pictures in Virginia, The Times (London), , May 1, 1963, p. 5, Times Digital Archive

Sir Geoffrey Agnew, Yale's 1700 Mellon Pictures, The Times (London), , April 28, 1977, p. 9, Times Digital Archive

Art : The Definitive Visual History, DK Publishing, New York, 2018, p. 297, NX440 .A785 2018 Oversize (YCBA)

Timothy J. Barringer, Picturesque and sublime : Thomas Cole's trans-Atlantic inheritance, Yale University Press, New Haven and London, 2018, p. 37, fig. 29, NJ18 .C67 B37 2018 (YCBA)

Timothy J. Barringer, The Englishness of Thomas Cole, University of New Hampshire Press, Durham, NH, 2011, pp. 43-44, 45, fig. 1.18 & Pl. 4, V2383 (YCBA)

Timothy J. Barringer, When Thomas Cole Caught "Panoramania", , The Metropolitan Museum Bulletin, March 16, 2018, https://www.metmuseum.org/blogs/now-at-the-met/2018/thomas-cole-panorama

John Baskett, Painting in England: 1700-1850: the Collection of English paintings formed by Mr and Mrs Paul Mellon : on Exhibition at the Museum of Fine Arts, Richmond, until August 18th, , Connoisseur, Vol. 153, London, June 1963, p. 101, N1 C75 + (YCBA)

John Baskett, Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, pp. 288-9, no. 100, N5220 M552 P38 2007 OVERSIZE (YCBA)

Ronald Brymer Beckett, Correspondence: John Constable, , Her Majesty's Stationery Office, London, 1962, p. 76 (v. 6), NJ18 C74 A2 1962 (YCBA)

Peter Bishop, An archetypal Constable : national identity and the geography of nostalgia, , Athlone, London, UK, 1995, no. 9, NJ18 C74 B57 1995 (YCBA)

British Art at Yale, Apollo, v.105, April 1977, pp. 276, 290-1, fig. 9, N1 .A54 + OVERSIZE (YCBA)

Catalogue of the Constable collection, Her Majesty's Stationery Office, London, UK, 1973, pp. 94. 190, NJ18 C74 R495 1973 (YCBA)

Centenary exhibition of paintings and water-colours by John Constable, R.A. (1776-1837), May 4th to August 31st, 1937. , Tate Britain, London, UK, 1937, p. 12, fig. 6, NJ18 C74 T36 1937 (YCBA)

Malcolm Cormack, A Selective Promenade, Apollo, v.105, April 1977, pp. 290-1, fig. 9, N1 A54 + (YCBA)

Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 64-5, N590.2 A83 (YCBA)

Malcolm Cormack, Constable, Cambridge University Press, Cambridge, UK & New York, NY, 1986, p. 86, 176,179,187-91,193, 198, 225, 229, 233, 238, pls. 179, 181, NJ18 C74 C75 OVERSIZE (YCBA)

Tricia Cusack, Art and identity at the water's edge, Ashgate Publishing, Farnham, Surrey ; Burlington, VT, 2012, pp. 26-7, fig. 2.2, N72 S6 A7195 2012 (YCBA)

Exhibition Catalogue. 1829. 61st., Exhibition of the Royal Academy of Arts, no. 61, Royal Academy of Arts, London, 1829, p. 18, no. 322, N5054 A53 50-64 (YCBA)

Ian Fleming-Williams, Constable and his drawings, Philip Wilson Publishers Ltd, London, UK, 1990, pp. 227-9, fig. 212, NJ18 C74 F53 1990 (YCBA)

Ian Fleming-Williams, The discovery of Constable, H. Hamilton, London, 1984, pp. 17-8, pl. 16, NJ18.C74 F55 (YCBA)

Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 8, ND466 G67 (YCBA)

Hadleigh Castle : A Constable subject, , The Times (London), March 1, 1946, p. 6, Times Digital Archive

Hadleigh Castle : Constable's picture for the National Gallery, , The Times (London), February 8, 1936, p. 10, Times Digital Archive

Hadleigh Castle : History of Constable's paintings, , The Times (London), March 20, 1936, p. 17, Times Digital Archive

James Hamilton, Constable : a portrait, Weidenfeld and Nicolson, London, pp. 4, 315-6, 317-8, 319, 321, 331, , pl. 33, NJ18.C74 H36 2022 (YCBA)

Louis Hawes, Constable's Hadleigh Castle and British Romantic Ruin Painting, Art Bulletin, v. 65., no. 3, September, 1983, pp. 455-470, no. 1, figs. 1 and 7, N11 C4 + (YCBA) Also Available online via JSTOR

Louis Hawes, Presences of Nature : British Landscape, 1780-1830, , Yale Center for British Art, New Haven, CT, 1982, pp. 157-9, no. III.30, pl. 1, 132, ND1354.4 H38 (YCBA)

Luke Herrmann, The Paul Mellon Collection at Burlington House, Connoisseur, vol. 157, December 1964, p. 221, N1 C75 + OVERSIZE (YCBA)

Charles John Holmes, Constable and his influence on landscape painting, Archibald Constable and Company, Limited, Westminster, UK, 1902, pp. 107-12, 254, 294, Folio A N80 (YCBA)

Charles John Holmes, Constable's Hadeigh Castle [addendum], Burlington Magazine for Connoisseurs, v. 68, no. 399, June 1936, pp. 294-5, N1 B87 + OVERSIZE (YCBA) Also available online at JSTOR

Charles John Holmes, Constable's Hadleigh Castle, Burlington Magazine for Connoisseurs, v. 68, no. 396, March 1936, pp. 107-113, N1 B87 + OVERSIZE (YCBA) Also available online at JSTOR

Robert Hoozee, L'opera completa di Constable, 98, Rizzoli, Milano, Italy, 1979, p. 137, no. 502, Tav. LVII, NJ18 C74 A12 +H66 (YCBA)

Olivia Horsfall Turner, Nobleness & grandeur : forging historical landscape in Britain 1760-1850, , Yale Center for British Art, New Haven, CT, 2005, no. 56, V 1420 (YCBA)

John Constable : a selection of paintings from the Collection of Mr. and Mrs. Paul Mellon, , National Gallery of Art, Washington, DC, 1969, pp. 56-7, no. 61, NJ18 C74 U5 (YCBA)

Michael Kitson, John Constable at the Tate, Burlington Magazine, vol. 118, no. 877, April, 1976, p. 252, N1 B87 + OVERSIZE (YCBA)

Elizabeth Mankin Kornhauser, Re-examining Thomas Cole, , Magazine Antiques, Januray 9, 2018, fig. 7, Magazine Antiques http://www.themagazineantiques.com/article/re-examining-thomas-cole/

Ray Lambert, John Constable and the theory of landscape painting, Cambridge University Press, Cambridge, UK & New York, NY, 2004, pp. 102-4, 156-8, 169, fig. 26, NJ18 C74 L36 2004 (YCBA)

Charles Robert Leslie, Memoirs of the life of John Constable composed chiefly of his letters, Phaidon Press, London, UK, 1951, pp. 173, 174, 176, 177, 179,181, 418, NJ18 C74 L47 1951 (YCBA)

Charles Robert Leslie, Memoirs of the life of John Constable, R.A., The Medici Society, Ltd., London, UK, 1937, pp. xxxiv, lxxii, 238, 240-1, 248, NJ18 C74 L47 1937 (YCBA)

George Dunlop Leslie, John Constable, R.A., Art Journal, Virtue, London, January 1903, p. 9, British Periodicals

Anne Lyles, Constable : the great landscapes, , Tate Publishing, London, UK, 2006, pp.23, 26, 37, 48,80,164,166, 174-7, 180, 210, 214, no. 57, NJ18 C74 C77 2006 + (YCBA)

Anne Lyles, Late Constable, Royal Academy of Arts, London, p. 79, no. 15, NJ18.C74 A12 2021 Oversize (YCBA)

Julia Marciari-Alexander, This other Eden : Paintings from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 1998, pp. 17-19, 146-7, no. 59, fig. 18, ND1314.3 Y36 1998 (YCBA)

Cosmo Monkhouse, The Grosvenor Gallery : a Century of British Art, , Academy, , January 14, 1888, p. 31, British Periodicals

Edward. Morris, Constable's clouds : paintings and cloud studies by John Constable, , National Galleries of Scotland, Edinburgh & Liverpool, UK, 2000, p.157, fig. 92, NJ18 C74 C76 2000 + (YCBA)

National Gallery of Art, Painting in Georgian England from the collection of Mr. and Mrs. Paul Mellon., National Gallery of Art, Washington, D.C., 1970, p. 20, slide 57, ND488 P25 (YCBA)

Olympic Theatre : The pictures of the late Royal Academician, , Morning Chronicle and London Advertiser, London, May 5, 1838, p. 5, British Library Newspapers

Painting in England 1700-1850 : collection of Mr. & Mrs. Paul Mellon : Exhibition at the Virginia Museum of Fine Arts, , 1,2, Virginia Museum of Fine Arts, Richmond, VA, 1963, pp. 83-84 (v. 1), no. 113, pl. 43, ND466 V57 v.1-2 (YCBA)

Painting in England 1700-1850 from the Collection of Mr. and Mrs. Paul Mellon, The Royal Academy of Arts Winter Exhibition 1964-65., , Royal Academy of Arts, London, UK, 1964, p. 21-22 (v.1).., no. 68, ND466 R68 1964/65 (YCBA)

Leslie Parris, Constable : paintings, watercolours & drawings, , Tate Publishing, London, UK, 1976, p. 156, no. 263, fig. 263, NJ18 C74 P37 + (YCBA)

Leslie Parris, Constable : pictures from the exhibition, , Tate Publishing, London, UK, 1991, p. 64, NJ18 C74 P373 1991 (YCBA)

Leslie Parris, Constable, Tate Publishing, London, UK, 1991, pp. 312-4, fig. 84, NJ18 C74 P372 1991 + (YCBA)

Leslie Parris, The Tate Gallery Constable collection : a catalogue, , Tate Britain, London, UK, 1981, pp. 128-33, fig. 1, NJ18 C74 P374 + (YCBA)

Paul Mellon's Legacy : a passion for British art [large print labels], , Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 P381 2007 OVERSIZE (YCBA)

Christiana Payne, Where the sea meets the land, artists on the coast in nineteenth century Britain , Sansom & Co., Bristol, 2007, ND1373 G7 P38 2007 (YCBA)

Graham Reynolds, Constable's England, The Metropolitan Museum of Art, New York, NY, 1983, pp. 160-1, no. 58, NJ18 C74 R496 (YCBA)

Graham Reynolds, Constable, the natural painter, Panther, St. Albans, UK, 1976, pp. 17, 111-12, , NJ18 C74 R48 1976 (YCBA)

Graham Reynolds, English Landscape 1630-1850, Apollo, vol.105, April 1977, p. 276, N1 A54 105:2 + (YCBA)

Graham Reynolds, John Constable : Struggle and Success, , Apollo, vol. 103, no. 170, April 1976, pp. 323-4, N1 A54 + OVERSIZE (YCBA)

Graham Reynolds, Scene and Sensibility, TLS, the Times Literary Supplement, , April 29, 1983, p. 438, TLS Historical Archive

Graham Reynolds, The later paintings and drawings of John Constable, Yale University Press, New Haven, CT, 1984, vol. 1, pp. 199-200, no. 29.1, pl. 704 (vol. 2), NJ18 C74 R485 + (YCBA)

Michael Rosenthal, Constable, Thames and Hudson, London, UK, 1987, pp. 176-8, 206, fig. 169, NJ18 C74 R683 (YCBA)

Michael Rosenthal, Constable, the painter and his landscape, Yale University Press, New Haven, CT, 1983, pp. 214-21, figs. 245, 247, NJ18 C74 R68 OVERSIZE (YCBA)

Lindsay Rothwell, Paul Mellon's legacy : an American's passion for British art : Sackler Wing of Galleries, 20 October 2007 - 27 January 2008 : an introduction to the exhibition for teachers and students., , Royal Academy of Arts, London, UK, 2007, pp. 5-8, no. 100, V 2038 (YCBA)

Jessica Skwire Routhier, Thomas Cole’s Journey Atlantic Crossings, https://www.antiquesandthearts.com/thomas-coles-journey-atlantic-crossings/ , Antiques and the Arts Weekly, January 16, 2018, Available Online

Simon Schama, The Yale Centre for British Art, TLS, the Times Literary Supplement, , May 20, 1977, p. 620, TLS Historical Archive

Science and Feeling in Constable's Hadleigh Castle, The Times (London), January 26, 1965, p. 15, Times Digital Archive

Alan Sorrell, Hadleigh Castle : To the Editor of the Times, , The Times (London), March 1, 1946, p. 5, Times Digital Archive

Denys Sutton, Principles and Priorities in British Art, Apollo, v. 122, no. 283, September, 1985, pp. 192-3, no. 37, N1 A54 + (YCBA)

Denys Sutton, Some English Landscapes in Mr. Mellon's Collection, Apollo, vol. 77,ns.# 14, April 1963, pp. 268, 282, frontpiece, N1 A54 + (YCBA)

Basil Taylor, Constable : paintings, drawings and watercolours, , Phaidon, London, UK, 1973, pp. 10, 30, 206-7, no. 121, NJ18 C74 T39 + (YCBA)

The critique of reason : Romantic art, 1760-1860 : March 6-July 26, 2015, Yale University Art Gallery, Yale University Art Gallery, New Haven, 2015, [pp. 6, 7], fig. 9, V 2574 (YCBA)

The Exhibition at the Royal Academy, London Magazine, vol. 3, June 1829, pp. 606-7, British Periodicals

The Grosvenor Exhibition (First Notice), Athenaeum, , January 14, 1888, p.56, British Periodicals

The Grosvenor Exhibition (Second Notice), Athenaeum, , January 28, 1888, p. 122, British Periodcals

The Grosvenor Gallery : "A Century of British Art", , Glasgow Herald, Glasgow, Scotland, January 4, 1888, p. 4, British Library Newspapers

The Literary Examiner : review of Memoirs of the Life of John Constable, Esq., R.A., composed chiefly of his Letters. By C.R. Leslie, R.A. Longman and Co., , Examiner, , London, September 27, 1845, p. 612, British Library Newspapers

The romantic landscape print : the chiaroscuro of nature, , Yale Center for British Art, New Haven, CT, 2002, no. 14, V 0998 (YCBA)

John E. Thornes, John Constable's skies : a fusion of art and science, , University of Birmingham Press, Birmingham, UK, 1999, pp. 136-7, pl. 54, NJ18 C74 T56 1999 (YCBA)

William Vaughan, John Constable, Tate Publishing, London, 2015, pp. 80, 83, 100, fig. 55, NJ18.C74 V28 2015 (YCBA)

Malcolm Warner, Great British paintings from American collections : Holbein to Hockney, , Yale Center for British Art, New Haven, CT, 2001, pp. 166-7, no. 48, ND464 W27 2001 (YCBA)

Malcolm Warner, The Paul Mellon Bequest : treasures of a lifetime, , Yale Center for British Art, New Haven, CT, 2001, p. 36, N5247 M385 P28 2001 (YCBA)

Scott Wilcox, Sun, wind, and rain : the art of David Cox, Yale University Press, New Haven, 2008, p. 53, fig. 40, NJ18 .C829 W542 + Oversize (YCBA)

Timothy Wilcox, Constable and Salisbury : the soul of landscape, , Scala Publishers, London, UK, 2011, pp. 161-4, fig. 131, NJ18.C74 W53 2011 Oversize (YCBA)

John Wilmerding, Essays in honor of Paul Mellon, collector and benefactor, Essays , National Gallery of Art, Washington, DC & Hanover, NH, 1986, pp. 4-5, fig. 2, N7442.2 M455 1986 (YCBA)

Richard Wollheim, Painting as an art, Thames and Hudson, London, UK, 1987, p. 87, no. 70, ND1440 W78 (YCBA)

Jonathan Wordsworth, William Wordsworth and the age of English romanticism, Rutgers University Press, New Brunswick Grasmere, UK, 1987, pp. 179-80, 232, no. 273, fig. 168, PR5885 W67 1987 (YCBA)

Yale Center for British Art, Selected paintings, drawings & books, Yale University Press, New Haven, CT, 1977, p. 39, N590.2 A82 (YCBA)

Yale University Art Gallery, Painting in England, 1700-1850, from the collection of Mr. and Mrs. Paul Mellon : [exhibition at] Yale University Art Gallery, April 15-June 20, 1965, , vol. 1, W. Clowes and sons, New Haven, 1965, pp. 9-10 (v. 1), no. 32, ND466 Y35 (YCBA)

Gallery Label:

The ruins of Hadleigh Castle stand on the northern shore of the Thames estuary, overlooking the stretch of water known as the Nore, where the river meets the sea. Merchant ships come and go across the Nore, plying their trade with the far corners of the empire, a powerful contrast between modern civilization and the ruins of the feudal culture of the Middle Ages. John Constable made drawings at Hadleigh in 1814, remarking in a letter that he was “always delighted with the melancholy grandeur of the sea shore.” His grief following the death of his wife, Maria, in 1828, moved him to paint the view on a grand scale. He would be desolate and depressed, likening himself to a ruin, for the rest of his life. Looking toward the open sea, which gleams in the sunlight bursting through the clouds, his painting suggests the grief of a bereaved Christian looking toward heavenly consolation. Gallery label for installation of YCBA collection, 2016

Provenance:

Created by John Constable (1776-1837), the artist; purchased at auction by Walter Benjamin Tiffin (1795-1877), 434 West Strand, London, England at Foster’s, May 15-16, 1838 (lot 78, 'Hadleigh Castle'), in "Finished works, studies and sketches, of John Constable" [a]; acquired by Joseph Hogarth (1801-1879) [1] [b]; purchased at auction by "Britton" at Christie & Manson, London, England, June 13, 1851 (lot 46, 'Hadleigh Castle, Looking Towards the Nore') in "English Pictures, of the Very Highest Class" [2] [c]; … ; acquired by Louis Huth (1821-1905), Possingworth Park, Cross in Hand, Waldron, East Sussex, by 1863 and to at least 1888 [3]; … ; private collection, United States to 1960 [4]; acquired by Thomas Agnew & Sons Ltd., London, England by 1961; purchased by Paul Mellon (1907-1999), 1961 [d]; by whom given to the Yale Center for British Art, New Haven, CT, 1977. Notes: --- [1] Hogarth assembled a collection as source material for his multi-volume The royal gallery of British art, https://collections.britishart.yale.edu/catalog/orbis:5454716. The cover to his anonymous June 13, 1851 sale states this explicitly: "Chef-d'oeuvres of nearly all the most distinguished Artists–formed with a view to be Engraved IN THE ROYAL GALLERY OF BRITISH ART." Constable's Hadleigh Castle is listed there as indeed being "engraved" for the series. [2] Graham Reynolds in his catalog raisonne suggests Hogarth bought in the work at Christie's through the agent "Winter," insofar as a collection of mezzotints published in 1855 still claims Hogarth owned Hadleigh Castle. See English Landscape Scenery (Convent Garden: Henry G. Bohn, 1855), https://archive.org/details/gri_33125010875488/page/n9. Algernon Graves's index of sales also invokes Winter, https://archive.org/details/graves-art-sales-vol-1/page/124. Recent comparison of two copies of the catalog–one at the National Gallery, one at the library of the Netherlands Institute for Art History (RDK)–reveals "Winter" is likely a corruption of "Britton." The inscription in the RDK copy is unambiguously "Britton." The inscription in the National Gallery copy–which Graves and/or Reynolds may have consulted–is hasty enough to be read either way. Unlikely to be the antiquary and topographer John Britton (1771-1857), who was penurious near death, see https://doi.org/10.1093/ref:odnb/3458. No other suitable Britton has yet been found. [3] When it was exhibited by Huth in 1863 at the British Institution in Pall Mall and in 1888 at Grosvenor Gallery. See A Century of British art from 1737-1837, ed. F.G. Stevens (London: Henry Good & Son, 1888), 10, https://archive.org/details/ACenturyOfBritishArt17371837GrosvenorGalleryWinterExhibition1888/page/n9. [4] An exhibition catalog by The Arts Council of Great Britain published as late as 1959 still refers to "the picture by Constable exhibited at the Royal Academy in 1829" as "now lost" and "last heard of in 1888." See The Romantic Movement; fifth exhibition to celebrate the anniversary of the council of Europe. 10 July to 27 September 1959 (London: The Arts Council of Great Britain, 1959), 91-92, https://archive.org/details/romanticmovement0000vari_x4e7/page/90. Citations: --- [a] Foster's. May 15-16, 1838. Finished works, studies and sketches, of John Constable. https://doi.org/10.1163/2210-7886_ASC-15074 [b] Graham Reynolds, The later paintings and drawings of John Constable, Yale University Press, New Haven, CT, 1984, p. 199 (v.1), no. 29.1 https://collections.britishart.yale.edu/catalog/orbis:582470 [c] Christie & Manson. June 13, 1851. A Most Important Collection of English Pictures, of the Very Highest Class. https://doi.org/10.1163/2210-7886_ASC-20411 [d] Graham Reynolds, The later paintings and drawings of John Constable, Yale University Press, New Haven, CT, 1984, p. 199 (v.1), no. 29.1

Link:

https://collections.britishart.yale.edu/catalog/tms:5001