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Lot Essay
In early 1801, Constable worked on a commission to paint Old Hall, East Bergholt, the manor house opposite his father’s home, for its owner John Reade. This major project completed, he travelled to Fenton, Staffordshire, to stay with Daniel Whalley, his sister Maria’s father-in-law. He stayed for nearly four months, gaining confidence and developing ‘patience in pursuit of my profession’ (G. Reynolds, op.cit., p. 31). About a week after he arrived, on 31 July, he set off on a sketching tour of the Peak District, accompanied by Daniel Whalley Junior, which lasted until 20 August. The work made on this tour is all that is known from his time in Staffordshire.
During his tour, Constable predominantly worked in a sketchbook, now dismantled, of approximately 7 x 10 ¼ in. There are two drawings of approximately 8 ½ x 12 ½ in. on white paper, and then a group of four known sheets of a similar size to the present drawing, on blue paper. It seems that these blue sheets must have been ‘saved’ for views Constable particularly appreciated or wanted to develop. Anne Lyles has suggested that the present drawing may have been sketched on the spot, and then worked up in the evening, elevating it beyond a topographical record.
This drawing has a dynamism and vigour beyond most of those from the tour, and is certainly the most finished of the group. The sinuous handling of the trees recalls that of Helmingham Dell (sold in these Rooms, 20 November 2013, lot 271), and the small figure on horseback adds a romantic, Claudian element, suggesting further development from an on-the-spot sketch. Two drawings in the sketchbook are also dated August 5th: A view of the Derwent Valley from Cromford Moor, and The Derwent Valley with Chatsworth in the Distance. The first of these smaller drawings employs a similar pencil and grey wash technique, but lacks the poetic character and ambition of the present sheet.
Cromford Bridge is on the Chatsworth estate, and crosses the River Derwent just below Willersley Castle, the seat of the Arkwright family.
We are grateful to Charles Noble, Curator of Fine Art, Chatsworth House Trust for identifying the location of the drawing, and Anne Lyles for her help in preparing this catalogue entry.
During his tour, Constable predominantly worked in a sketchbook, now dismantled, of approximately 7 x 10 ¼ in. There are two drawings of approximately 8 ½ x 12 ½ in. on white paper, and then a group of four known sheets of a similar size to the present drawing, on blue paper. It seems that these blue sheets must have been ‘saved’ for views Constable particularly appreciated or wanted to develop. Anne Lyles has suggested that the present drawing may have been sketched on the spot, and then worked up in the evening, elevating it beyond a topographical record.
This drawing has a dynamism and vigour beyond most of those from the tour, and is certainly the most finished of the group. The sinuous handling of the trees recalls that of Helmingham Dell (sold in these Rooms, 20 November 2013, lot 271), and the small figure on horseback adds a romantic, Claudian element, suggesting further development from an on-the-spot sketch. Two drawings in the sketchbook are also dated August 5th: A view of the Derwent Valley from Cromford Moor, and The Derwent Valley with Chatsworth in the Distance. The first of these smaller drawings employs a similar pencil and grey wash technique, but lacks the poetic character and ambition of the present sheet.
Cromford Bridge is on the Chatsworth estate, and crosses the River Derwent just below Willersley Castle, the seat of the Arkwright family.
We are grateful to Charles Noble, Curator of Fine Art, Chatsworth House Trust for identifying the location of the drawing, and Anne Lyles for her help in preparing this catalogue entry.