By descent to Isabel Constable (d. 1888), the artist’s daughter; Christie’s, London, 17 June 1892, lot 254, when acquired by the following, with Dowdeswell, London.
P.A. Chéramy, Paris, by 1902; his sale, Galerie Georges Petit, Paris, 5-7 May 1908, lot 19, when acquired by the following, Baron Ferenc Hatvany (1881-1958), from whom looted after the German invasion of Hungary in 1944.
Mr Meyer, from whom acquired by the following
in 1962, with Leger Galleries, London, from whom acquired by the following, Broadway Art Gallery, Broadway, Worcestershire, from whom acquired by the following, Mrs P.M. Rainsford, by whom presented to the Tate Gallery in 1986.
Restituted to the heirs of Baron Ferenc Hatvany in 2016.
RESTITUTED TO THE HEIRS OF BARON FERENC HATVANY
H. Frantz, ‘English Pictures in France: M. Chéramy’s Collection’, Magazine of Art, 1902, pp. 109-10, illustrated.
J. Meier-Graefe, Entwickelungsgeschichte der modernen Kunst, Stuttgart, 1904, I, p. 212; III, pl. 92.
J. Meier-Graefe, Modern Art, London and New York, 1908, I, p. 129, illustrated opp. p. 128.
J. Meier-Graefe and E. Klossowski, La Collection Chéramy, Munich, 1908, pp. 60-61, no. 52. R.A. Meyer, ‘Die Vente Cheramy’, Der Kunstsammler, 1908, I, p. 489.
Dr. L. Béla, ‘Angol Mesterek Magyar Gyujteményekben’ [‘English Masters in Hungarian Collections’], Magyar Muvészet, Budapest, 1926, illustrated p. 204.
I. Genthon, 'Báró Hatvany Ferenc Modern Képgyujteménye ['Baron Ferenc Hatvany’s Collection of Modern Paintings'], Magyar Muvészet, XI, 1935, pp. 20 and 24, illustrated.
A. Chegodaev, Constable in Paris, Moscow, 1960, p. 403.
E. Gerlotei, ‘L’Ancienne Collection Francois de Hatvany’, Gazette Des Beaux-Arts, LXVII, 1966, p. 358.
L. Parris, I. Fleming-Williams and C. Shield, Constable: Paintings, Watercolours and Drawings, exhibition catalogue, Tate Gallery, London, 1976, p. 139, under no. 232, p. 149, under no. 247, and p. 201, under 1824, no. 1.
R. Hoozee, L’Opera Completa di Constable, Milan, 1979, p. 130, no. 426, illustrated.
L. Parris, The Tate Gallery Constable Collection, London, 1981, p. 124, fig. 5.
G. Reynolds, The Later Paintings and Drawings of John Constable, New Haven and London, 1984, I, p. 147, no. 24.64, p. 178, under no. 27.1; II, pl. 536. The Tate Gallery 1984-6, Illustrated Catalogue of
Acquisitions, London, 1988, pp. 21-3, illustrated. The ‘Sacco di Budapest’ and depredation of Hungary, 1938-1949: works of art missing from Hungary as a result of the Second World War, compiled by László Mravik, Budapest, Hungarian National Gallery for the Joint Restitution Committee at the Hungarian Ministry of Culture and Education, 1998, p. 234.
London, Grosvenor Gallery, Winter Exhibition, 1889, no. 276, entitled ‘Beaching the Boat’ (lent by Isabel Constable’s executors).
Budapest, Mucsarnok, A Koztolajdonba vett Mukincsek Elso Kiállitása [The First Exhibition of Nationalised Works of Art], June 1919, no. 3.
Budapest, Hungarian Fine Art Society, Mucsarnok, Az Angol-Magyar Kiállitás [The British Hungarian Exhibition], 15 May-27 June 1926, no. 73.
London, Tate Gallery, Constable, 13 June- 15 September 1991, no. 153.
Paris, Galleries Nationales du Grand Palais, Constable, Le Choix de Lucian Freud, 7 October 2002-13 January 2003, no. 147.
London, Tate Britain; Washington, D.C., National Gallery of Art; and San Marino, California, The Huntington Art Gallery, Constable: The Great Landscapes, 1 June 2006-29 April 2007, no. 48.