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Details

  • Title: Wivenhoe Park, Essex
  • Creator: John Constable
  • Date Created: 1816
  • Physical Dimensions: overall: 56.1 x 101.2 cm (22 1/16 x 39 13/16 in.) framed: 77.8 x 122.5 x 8.8 cm (30 5/8 x 48 1/4 x 3 7/16 in.)
  • Provenance: Painted for Major-General Francis Slater Rebow [1770-1845], Wivenhoe Park and Alresford Hall, near Colchester, Essex; by inheritance to his youngest daughter's second husband, John Gurdon Rebow [1799-1870]; by inheritance to his son with his second wife, Hector John Gurdon Rebow [1846-1931].[1] (Leo Nardus [1868-1955], Suresnes, France, and New York); purchased 1906 by Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[2] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park; gift 1942 to NGA. [1] In 1796, Francis Slater married Mary Hester Rebow (c. 1777-1834), heiress of Wivenhoe House and Park, and assumed his wife's family name. Slater Rebow was a friend of John Constable's father, and in 1812 Constable painted a portrait of Slater Rebow's youngest daughter, Mary Martin Slater Rebow (1805-1842). She was married twice, first to Sir Thomas Ormsby (d. 1833), and then to John Gurdon, who also took the name Rebow. After his wife's death, Gurdon Rebow married a second time, to Lady Georgina Toller, and their son, Hector, inherited Wivenhoe. The painting was likely sold before, or around, 1902, when he sold the house and park, as well as many of the other works of art owned by the family. See: Tim Gray, "Wivenhoe Park: History and Natural History," in Jonathan Clarkson and Neil Cox, eds., _Constable and Wivenhoe Park: Reality and Vision_, exh. cat. University of Essex Gallery, Colchester, 2000: 62-64; and Ross Watson, short essay on the painting, 2 September 1969, in NGA curatorial files. [2] The date of purchase, approximated by William Roberts in _Pictures in the Collection of P.A.B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania. British and Modern French Schools_, privately printed, Philadelphia, 1915: unpaginated, is given as 1906 in notes written by Edith Standen, the Widener curator, in NGA curatorial files.
  • Medium: oil on canvas

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