7 July 2010
Follower of John Constable, R.A.
View on the Stour near Dedham with Flatford Lock and Old Bridge
with signature and date 'Constable 1824' (lower left)
oil on canvas
51 x 74 1/8 in. (129.5 x 188.3 cm.)
in a carved and gilded frame
Sir William Thomas, Rockfield Park, Monmouth.
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
+44 (0)20 7389 2541
C. Peacock, Constable, The Man and His Work, London, 1965, p. 63, pl. 12, as 'Constable'.
J. Graham, 'Constable, Painter of England', in Reader's Digest, February 1976, pp. 126-7, illus.
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.Please note Payments and Collections will be unavailable on Monday 12th July 2010 due to a major update to the Client Accounting IT system.
For further details please call +44 (0) 20 7839 9060 or e-mail email@example.com
Highlights from a sale of items from Rugby School’s collection include works by Lucas van Leyden and Correggio, medieval manuscripts and important antiquities
Ahead of our Paris sale on 10 September, Meredith Etherington-Smith salutes three generations of collectors from one family
Andrew Graham-Dixon on how full-length portraits have been used in history to boost the status of nobles, kings and statesmen
Artists, patrons and critics have argued for centuries over the right way to frame a painting. Ultimately, it’s a matter of personal taste, says Andrew Graham-Dixon
Christie’s specialists discuss Haring, Banksy and Stik, and how to bring the street into the home
Offered on 6 December in London, Anthony van Dyck’s Portrait of Princess Mary, Daughter of King Charles I of England