John Constable, R.A.

STRUCTURE The painting is on paper which has been laid on panel and set into a cradle. PAINT SURFACE The painting appears to be in very good condition and there is notable impasto overall. There is one small crease in the paper on the upper edge of the centre but otherwise there appears to be no apparent damage or loss of paint. ULTRAVIOLET Examination under ultraviolet light reveals a mottled and unevenly discoloured varnish overall and scattered minor retouchings predominantly to two very small tears in the lower centre. FRAME Held in a gilded baroque style frame. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@sothebys.com, or Emmeline Hallmark on 44 (0)207 293 5407, or at emmeline.hallmark@sothebys.com.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Previously untraced and unrecorded this painting is an exciting new discovery. As Graham Reynolds pointed out in recent correspondence, we can see that Constable was clearly inspired by the landscape painting of Cornard Wood (National Gallery, London) by another Suffolk born artist, Thomas Gainsborough. Constable's work was painted at the same time as another oil painting which is a variation on the same theme entitled The Edge of a Wood (Art Gallery of Ontario, Toronto) and also the study of The Elm Tree (Victoria & Albert Museum). It should be noted that it has been suggested that these oil paintings may actually date from c. 1816 on the basis of a recently discovered and clearly related pencil drawing which is dated 1816.

Constable has specifically focused his attention upon the depiction of the native British trees, including the prominent elm tree in the foreground of this particular scene. However, the vulnerability of the female figure in red who is walking through the relative darkness of this woodland setting strikes a particular poetic and romantic tone in a painting which is very much more than just a landscape study.

We would like to thank Graham Reynolds and Conal Shields for confirming their thoughts on this painting following first hand inspection.