John Constable Paintings & Artwork for Sale | John Constable Art Value Price Guide

Jul. 01, 2026
View of the West End of East Bergholt Church
Est: £80,000 - £100,000
John Constable, R.A. East Bergholt, Suffolk 1776–1837 Hampstead View of the West End of East Bergholt Church oil on canvas, laid on panel unframed: 16.5 x 12 cm.; 6½ x 4¾ in. framed: 27 x 22 cm.; 10 ⅝ x 8⅝ in.
Sotheby's
Jul. 01, 2026
JOHN CONSTABLE, R.A. (EAST BERGHOLT 1776-1837 LONDON). Portrait of Henry Gr
Est: £12,000 - £18,000
JOHN CONSTABLE, R.A. (EAST BERGHOLT 1776-1837 LONDON). Portrait of Henry Greswold Lewis (1754-1829), half-length, in a brown fur-lined.... oil on canvas31 x 26 in. (78.7 x 66 cm.).
Christie's
Jun. 30, 2026
Attributed to: John Constable (BRITISH, 1776–1837) oil on canvas, small landscape painting signed constable lower right, painting 9 x 12 inches overall framed size is 13 x 16 inches.
Est: $400 - $800
Attributed to: John Constable (BRITISH, 1776–1837) oil on canvas, small landscape painting signed constable lower right, painting 9 x 12 inches overall framed size is 13 x 16 inches.
Bill Hood & Sons Arts & Antiques Auctions
Jun. 30, 2026
JOHN CONSTABLE (1776-1837) Study of a Mature Tree in a Landscape pencil on paper 23 x 14cm
Est: $10,000 - $15,000
JOHN CONSTABLE (1776-1837) Study of a Mature Tree in a Landscape pencil on paper inscribed verso: by Constable RA 23 x 14cm PROVENANCE: The Collection of John and Pat McDouall c.1935 Elizabeth Griffiths, Queensland c.1988 (bequeathed by the above) OTHER NOTES: We are grateful to Susan Owens for reconfirming Graham Reynold's 2009 attribution to John Constable, based on photographs. The measurements of the sheet suggest that the present work may be from the sketchbook with the pages measuring 14 x 23.5cm which the artist used in 1834.
Leonard Joel
Jun. 30, 2026
JOHN CONSTABLE (1776-1837) Study of Two Trees in a Landscape pencil on paper 23 x 14cm
Est: $10,000 - $15,000
JOHN CONSTABLE (1776-1837) Study of Two Trees in a Landscape pencil on paper inscribed verso: by John Constable RA 23 x 14cm PROVENANCE: The Collection of John and Pat McDouall c.1935 Elizabeth Griffiths, Queensland c.1988 (bequeathed by the above) OTHER NOTES: We are grateful to Susan Owens for reconfirming Graham Reynold's 2009 attribution to John Constable, based on photographs. The measurements of the sheet suggest that the present work may be from the sketchbook with the pages measuring 14 x 23.5cm which the artist used in 1834.
Leonard Joel
Jun. 10, 2026
JOHN CONSTABLE RA (EAST BERGHOLT 1776 - 1837 HAMPSTEAD)
Est: €30,000 - €50,000
Title: Sketch - Cottage in the Wood (1832) Medium: Oil on Paper (Envelope) Laid on Millboard Signature: Inscribed on Label Verso Provenance: These Rooms, Gentleman's Library: Includes the Beauvoir Collection and the Late Dr. Kevin Moynihan's Irish Art Collection, 7 November 2023, Lot 240, Where acquired by the Family of the Present Owner Notes: The Late Conal Shields and Graham Reynolds came across four other works in their studies at the Victoria and Albert Museum by Constable that were painted on envelope. Observe a pinhole at the centre - top of the work to pin the paper into place onto the paint box when painting en plein air. Another work of this nature was discovered by the Victoria and Albert Museum in London in 2013, found glued behind one of the artist's paintings, containing a pinhole. Unframed We are Grateful to the Late Conal Shields for authenticating this work on the basis of a physical inspection in 2022 Depicting a cottage set within a dense woodland and overshadowed by trees in full leaf, this oil sketch was likely done out of doors, as evidenced by a pinhole at the top centre of the sheet of paper, used by the artist to secure the paper to a drawing board. The foreground, which includes a stretch of river, is animated by bands of light and shade, while the fence around the cottage is picked out with neat brushstrokes. The vertical trunks of two trees on the right contrast with gently sloping ground on the left. Only the gable wall of the cottage is visible, with smoke rising from the chimney. A further important part of the content is his quite typical, deft inclusion of a touch of red, visible on the roof of the cottage, acting as a ploy to pull the composition together and give it a focal point. It is a peaceful scene, with white cumulus clouds massed in the sky, reflecting ConstableÕs interest in observing natural forms, such as water, clouds and trees, and recording specific weather conditions. In the distance, between the trees, can be seen a hillside, and below that, there are more cottages, with just their red roofs visible. Although a small sketch, the composition is a strong ÔZÕ, formed by the horizontal band in the foreground and the diagonal of sky between the trees. The scene is most likely Dedham Vale, the subject of many of ConstableÕs paintings and sketches, such as The Mill Stream in the Tate collection, and his ink sketch Trees and a stretch of water on the River Stour, in the V & A. The cottage depicted may well be Willy LottÕs cottage on the banks of the Stour,near Flatford Mill. ConstableÕs nickname for The Haywain was Ôold Billy LottÕs HouseÕ and the building appears in many of the artistÕs works; he painted it both from life and from memory. The house held a special appeal, as the home of a tenant farmer who lived there for eighty years and never travelled far from Flatford, so epitomising for Constable the sense of continuity he valued in rural life. The visual device of highlighting a cottage gable against a darker woodland background was often used by the artist, as in his 1819 The White Horse, in the Frick Collection. Although nowadays one of BritainÕs best-known artists, Constable sold relatively few paintings during his lifetime. The majority of his works are in public collections such as the V & A, Ashmolean, British Museum, Royal Academy, Yale and Tate Gallery, and relatively few of his paintings appear on the open market. In the 1970s, along with Leslie Parris, the art historian Conal Shields was responsible for bringing Constable back to the attention of a wide public, curating several exhibitions at the Tate, from 1976 through to the 1990s. ShieldsÕ most recent contribution to Constable studies is his catalogue of the 2020 exhibition at the Teylers Museum in the Netherlands. Dr. Peter Murray, May 2026
Sheppards
May. 21, 2026
Attributed to John Constable RA (British, 1776-1837), A pair of sketches
Est: £2,000 - £3,000
Attributed to John Constable RA (British, 1776-1837) A pair of sketches depicting rural landscapes Pencil on paper With coastal scene and figures fishing to the reverse The attribution to Constable was confirmed by Conal Shields to the present owner after viewing in person (email communication, 10 April 2012). The attribution has been questioned by Anne Lyles. Provenance: Private Collection, UK Dimensions: (Paper) 5 in. (H) x 6.25 in. (W)
Sloane Street Auctions
May. 19, 2026
John Constable RA (British, 1776-1837) Portrait of George Elmer, 1804, half-length, in a dark coat and buff waistcoat
Est: £6,000 - £8,000
John Constable RA (British, 1776-1837) Portrait of George Elmer, 1804, half-length, in a dark coat and buff waistcoat inscribed on plaque with the artist's name, identification of the sitter and the date, oil on canvas (59 x 48cm; framed 77 x 64cm) Provenance: Provenance: By descent to the sitter's daughter, Mrs Lewis; purchased from her descendants in 1969 by the late Reginald Hodson. Footnote: Literature: 'John Constable's Correspondence', edited by R B Beckett, 6 volumes, Ipswich, 1962-68, 1, p.60; L Parris, 'The Tate Gallery Constable Collection', London, 1981, pp.26, 28 note 5; G Reynolds, 'The Early Paintings and Drawings by John Constable', New Haven and London, 1996, Text volume p.56 (04.4), Plate volume pl.228. The sitter, George Elmer, in our portrait is probably the grandfather of the two sisters, whose portraits were previously offered at Christie’s New: Old Master Paintings and Sculpture, 1–20 October 2020, lots 132 (Miss Lewis with a Rabbit) and 133 (Eliza Lewis) (G Reynolds, 'The Early Paintings and Drawings by John Constable', New Haven and London, 1996, Text volume p.57 (04.12,04.13). John Constable's portraits have often been overlooked. The intensity of his landscapes have made critics shy away from the direct likenesses he painted of his family, their friends and business associates. It was only in 2002, in the famous Paris exhibition, that the selector, the contemporary artist Lucian Freud, placed portraits on the same footing as his landscapes, and other commentators followed in their appreciation of the humility and honesty of the artist's approach to his subjects. The portrait of George Elmer, which dates from the period when Constable was finding his personality as an artist, shows a bluff no-nonsense industrialist. His face is etched with determination and he shows some impatience with sitting for such a frivolous thing as a portrait. Elmer and the Constable family were business associates and the portrait was probably painted to foster good relations between the two families. At the time of George Elmer's death in 1811, his son, also called George, entered a partnership to buy the port of Mistley with the local banker and merchant George Bridges. Bridges was another of Constable's sitters and he is shown with his large family in a complex portrait group dating from 1804 that is now exhibited at Tate Britain. A wharf at Mistley, on the Stour estuary, some five miles downstream from Flatford Mill (the centre of the Constables' business interests), was used by Golding Constable, the artist's father, for his ships which transported flour to London and returned with coal which he sold locally. On 16 March 1811, Ann Constable writes to her brother: 'Old Mr Elmer, whose picture you painted long ago, died this week. Mrs Lewis is so happy she has it as it is such a likeness of her father'. Constable maintained the connection with the family and painted portraits of Mrs Lewis's two daughters in 1804 and her son, John, in 1807. We are grateful to Hugh Belsey for his assistance with the cataloguing of this lot for Sworders' 'Summer Country House Sale' in July 2006. Condition Report: Craquelure. Light surface dirt and discolouration. Thinning to paint in areas including the face, hair and collar. Minor surface scuffs and abrasions. A light scratch in the lower right corner. Under UV light, a thick layer of fluorescing varnish is visible across the surface, which makes it difficult to determine whether any historic restoration has taken place. There is a visible mark on the figure’s forehead indicating a minor area of paint loss, please refer to additional images for reference.
Sworders
Mar. 26, 2026
ENGLISH LANDSCAPE SCENERY: A SERIES OF FORTY MEZZOTINTO ENGRAVINGS ON STEEL BY DAVID LUCAS. FROM PICTURES PAINTED BY JOHN CONSTABLE.
Est: €300 - €400
Folio; 40 mezzotints protected with tissue guards (some ff. loosening, few spots throughout). - Complete with the 40 finely engraved mezzotints, various sizes, on strong vellum paper. By Lucas after John Constable.
Arenberg Auctions
Mar. 26, 2026
VARIOUS SUBJECTS OF LANDSCAPE, CHARACTERISTIC OF ENGLISH SCENERY, PRINCIPALLY INTENDED TO DISPLAY THE PHENOMENA OF THE CHIAR'OSCURO OF NATURE [...].
Est: €1,500 - €2,000
Obl. folio: 22 mezzotints (marg. spotting or toning). - Complete set of 22 fine mezzotints by Lucas (1802-1881) after John Constable (1776-1837), of which 1 as frontispiece and 1 as vignette as called for. This work was published by the artist himself, who had given close supervision to Lucas' mezzotints.
Arenberg Auctions
Mar. 12, 2026
Attributed to John Constable (British, 1776-1837), Near the estuary of the Stour
Est: £3,000 - £5,000
Attributed to John Constable (British, 1776-1837), Near the estuary of the Stour Oil on canvas on panel Inscribed with old labels on verso reading 'J constable, near the estuary of the stour'. The other is illegible under normal light, however, it is clearer under UV. Property of a Gentleman Dimensions: (Frame) 15.75 in. (H) x 24.5 in. (W) (Panel) 8.75 in. (H) x 17.5 in. (W)
Sloane Street Auctions
Mar. 10, 2026
Follower of John Constable, RA, British 1776-1837
Est: £400 - £600
Follower of John Constable, RA, British 1776-1837- Landscape with figures crossing a bridge beneath stormy skies; oil on canvas, bears inscription ‘Boningon’ on the central vertical stretcher bar, 21.5 x 34 cm., (unframed). Provenance: Private Collection, UK. Note: The present work very much resembles Constable's characteristically atmospheric landscapes, often defined by dramatic, swirling skies, as, for example, in his depiction of Flatford Lock which sold at Bonhams, London, on 8 December 2016, lot 31. Indeed, the theatrical rays of sunlight bursting through the clouds to the left of the composition are particularly reminiscent of Constable's approach. Certain other elements, including the mountains in the distance, and the manner in which the trees are rendered with generously-applied paint to the left of the scene, further recall the painted oeuvre of Richard Parkes Bonington (1802-1828).
Roseberys
Feb. 22, 2026
John Constable “The Hay Wain" Giclee
Est: -
Art Measure: 22w x 18h Frame Measure: 33w x 29h Title: The Hay Wain In good condition with wear commensurate with age. Giclée reproduction of The Hay Wain by John Constable, capturing the iconic English countryside scene with its serene river, rustic cart, and naturalistic landscape. Thehigh-quality giclée preserves Constable’s masterful handling of light, atmosphere, and subtle tonal variation. The composition balances natural forms and pastoral elements, maintaining the charm and depth of theoriginal work. A collectible print for admirers of Romantic-era landscapes and classic English fine art.RH50839
Monarch Auction and Estate Services
Feb. 07, 2026
John Constable Oil on Canvas of Barges on a River
Est: $35,000 - $45,000
CONSTABLE, John (1776-1837), Circle Of. Barges on a River. Oil on canvas. c. 1830. 45 1/2" x 62" canvas. Provenance: In the Bobst Collection by 1969; Sotheby's New York: Thursday, May 26, 2016 [Lot 00094]. The composition is loosely based on Constable's View on the Stour near Dedham of 1822, in the Huntington Library, Art Collection, San Marino, CA. An attribution to Frederick W. Watts (1800-1870), whose style was strongly influenced by Constable's work, has been suggested for this painting. He was an exhibitor at the Royal Academy from 1821-1860 and at the British Institution from 1823-1862.
Arader Galleries
Jan. 22, 2026
John Constable R.A. (British, 1776-1837) Town by a river, with rainbow beyond
Est: £1,200 - £1,800
John Constable R.A. (British, 1776-1837) Town by a river, with rainbow beyond pencil Dimensions:(7.6 x 12 cm. (3 x 4 3/4 in.)) Provenance: Lizzie Shelcott album 1886
Chiswick Auctions
Jan. 06, 2026
Attrib.: John Constable, Br. (1776-1837)
Est: $200 - $1,000
Attributed to: John Constable, British (1776-1837) "White House" Oil on Board. Old affixed lable as well as gallery label to verso. A work listed as "attributed to:" the respective artist has not been authenticated by a recognized expert on the artist in question. We offer such a work without warranty as to authenticity. Image area measures" 8" high, 10" wide, frame measures: 13" high, 15" wide. A portion of the proceeds will be used to further Arts and Education in our community. Kodner Galleries offers phone and absentee bidding at a low, flat 21% buyer’s premium without surcharge or hidden fees. For information, please contact the gallery at info@kodner.com or 954.925.2550 Condition: Minor chips to frame otherwise good antique condition. Estimate: $200.00 - $1000.00 In-House Shipping: Third party
Kodner Galleries
Dec. 22, 2025
John Constable RA (Suffolk, 1776 - Ibidem, 1837) Attributed - Woodland landscape with church and path
Est: €3,000 - €5,000
Oil on panel. Dimensions: 22 x 33 cm. This work presents a rural landscape with a distinctly Constable atmosphere, and is particularly evocative due to its clear affinities with The Haywain: the peasant motif that structures the scene reappears—the cart as the narrative axis within the daily life of the countryside—and, above all, the absolute prominence of the sky. The treatment of the clouds, rendered with loose, overlapping brushstrokes, creates the same sensation of damp, shifting air as in The Haywain, alternating areas of shadow with luminous highlights that reveal the blue of the sky and lend depth to the horizon. Nature asserts itself through the large trees and the architecture in the background, while the figures appear dwarfed, reinforcing this bucolic and serene vision of the surroundings. Furthermore, the fact that it is painted on a panel and its more direct and synthetic brushwork suggest that it could be a sketch or preparatory study: a piece designed to capture the atmospheric effect and the general structure of the landscape immediately, as a preliminary exercise to a more ambitious composition. Lot stored in an international warehouse (outside the EU). For shipments to the European Union, import duties and/or taxes will apply and are the responsibility of the buyer.
Templum Fine Art Auctions
Dec. 20, 2025
John Constable Mezzotint Engraving Print On Paper
Est: -
The Art Is Signed In Print Towards The Lower Left Corner. Title: “east Bergholt”. In Used Condition. The Frame Measures Approximately 20.25in X 22in; Image Measures Approximately 5.25in X 7in. Nr30485 Eds
EJ'S Auction & Appraisal
Dec. 03, 2025
John Constable R.A. (East Bergholt 1776-1837 London) Landscape study with cows
Est: £40,000 - £60,000
John Constable R.A. (East Bergholt 1776-1837 London) Landscape study with cows oil on paper laid down on panel 24.7 x 30cm (9 3/4 x 11 13/16in).
Bonhams
Nov. 12, 2025
AFTER JOHN CONSTABLE (ENGLISH, 1776-1837)
Est: $400 - $600
Landscape Oil on period panel H. 7" x W. 5"
A. H. Wilkens Auctions & Appraisals
Nov. 12, 2025
Constable (John, 1776-1836). Summer Evening..., a group of four mezzotints..., 1830-31
Est: £100 - £150
Constable (John, 1776-1836). Summer Evening..., a group of four mezzotints..., 1830-31 * Constable (John, 1776-1836). Summer Evening, Spring, Summerland & Summer Afternoon, after a Shower, [1830-31], a group of four mezzotints by David Lucas after John Constable, lettered proofs, with hand-colouring, very good impressions, plate size 17 1/2 by 25 cm (7 x 9 3/4 ins) and similar, with margins, matching later gilt frames, glazed NOTE: Shirley 6, 7, 10 & 28. 4th states (except Summer Evening, 5th state with 25 added to top right corner).
Dominic Winter Auctions
Nov. 12, 2025
John Constable, RA, British 1776-1837- A house and haystack at Flatford;
Est: £20,000 - £30,000
John Constable, RA, British 1776-1837- The Valley Farm, Flatford; black chalk and grey wash on paper, inscribed and dated by the artist 'Flatford / 13 Oct / 1827' (lower right), inscribed by Charles Golding Constable 'Flatford / Oct 13. 1827' (lower right), inscribed by J.H. Beazley 'This sketch was presented to the late James Beazley by the widow or relative of Constable the artist, out of gratitude for a slight service rendered to her by him' on a piece of card attached to the backing board, bears further inscription 'I certify this to be the work of / my late father-in-law / J Constable RA / signed / A M Constable / June 25th 1849' on a separate piece of card forming the previous mount, 22.1 x 32.6 cm. Provenance: By descent from the artist to his second son Captain Charles Golding Constable (1821-1878). James Beazley (a gift from Mrs Charles Golding Constable); Thence by descent to Mrs E. O. Beazley before 1960; Thence by descent. Literature: G. Reynolds, 'Catalogue of the Constable Collection', Victoria and Albert Museum, London, 1973, p.185. G. Reynolds, 'The Later Paintings and Drawings of John Constable', Yale University Press, 1984, p.184, no.27.22. G. Reynolds, 'The Early Paintings and Drawings of John Constable', Appendix, Yale University Press, 1996, no.27.22, illustrated pl.1418. Note: This drawing is on a page from the sketchbook of 1824 Whatman paper which Constable used at Flatford in 1827. Catherine Broom-Lynne identified the building as Valley Farm, Flatford, to the east of Flatford Mill and on the other side of the lane. It was the home of John Lott, a respected and successful farmer who also served as a Church Warden, and who was also the brother of Willy Lott. He died in 1827, the year this drawing was made. Valley Farm is the oldest building at Flatford. Built in the mid-15th century, it is a medieval Great Hall House that was home to wealthy yeoman farmers up until the early 1900s. The present work accurately represents it as a large timbered house with a tiled roof, and includes a haystack on the left with haymaking in progress.
Roseberys
Nov. 12, 2025
Follower of John Constable, RA, British 1776-1837- A wooded landscape with a churc
Est: £200 - £300
Follower of John Constable, RA, British 1776-1837- A wooded landscape with a church and figure on a path; oil on board, 21.5 x 33 cm., (unframed). Provenance: Private Collection, UK.
Roseberys
Nov. 11, 2025
John Constable RA (1776-1837)
Est: £10,000 - £12,000
John Constable RA (1776-1837) Portrait of George Elmer, 1804, half-length, in a dark coat and buff waistcoat inscribed on plaque with the artist's name, identification of the sitter and the date, oil on canvas 59 x 48cm Provenance: By descent to the sitter's daughter, Mrs Lewis; purchased from her descendants in 1969 by the late Reginald Hodson. Literature: 'John Constable's Correspondence', edited by R B Beckett, 6 volumes, Ipswich, 1962-68, 1, p.60; L Parris, 'The Tate Gallery Constable Collection', London, 1981, pp.26, 28 note 5; G Reynolds, 'The Early Paintings and Drawings by John Constable', New Haven and London, 1996, Text volume p.56 (04.4), Plate volume pl.228. The sitter, George Elmer, in our portrait is probably the grandfather of the two sisters, whose portraits were previously offered at Christie’s New: Old Master Paintings and Sculpture, 1–20 October 2020, lots 132 (Miss Lewis with a Rabbit) and 133 (Eliza Lewis) (G Reynolds, 'The Early Paintings and Drawings by John Constable', New Haven and London, 1996, Text volume p.57 (04.12,04.13). John Constable's portraits have often been overlooked. The intensity of his landscapes have made critics shy away from the direct likenesses he painted of his family, their friends and business associates. It was only in 2002, in the famous Paris exhibition, that the selector, the contemporary artist Lucian Freud, placed portraits on the same footing as his landscapes, and other commentators followed in their appreciation of the humility and honesty of the artist's approach to his subjects. The portrait of George Elmer, which dates from the period when Constable was finding his personality as an artist, shows a bluff no-nonsense industrialist. His face is etched with determination and he shows some impatience with sitting for such a frivolous thing as a portrait. Elmer and the Constable family were business associates and the portrait was probably painted to foster good relations between the two families. At the time of George Elmer's death in 1811, his son, also called George, entered a partnership to buy the port of Mistley with the local banker and merchant George Bridges. Bridges was another of Constable's sitters and he is shown with his large family in a complex portrait group dating from 1804 that is now exhibited at Tate Britain. A wharf at Mistley, on the Stour estuary, some five miles downstream from Flatford Mill (the centre of the Constables' business interests), was used by Golding Constable, the artist's father, for his ships which transported flour to London and returned with coal which he sold locally. On 16 March 1811, Ann Constable writes to her brother: 'Old Mr Elmer, whose picture you painted long ago, died this week. Mrs Lewis is so happy she has it as it is such a likeness of her father'. Constable maintained the connection with the family and painted portraits of Mrs Lewis's two daughters in 1804 and her son, John, in 1807. We are grateful to Hugh Belsey for his assistance with the cataloguing of this lot for Sworders' 'Summer Country House Sale' in July 2006. Condition Report: Framed: 77 x 64cm Craquelure. Light surface dirt and discolouration. Thining to paint in areas including the face, hair and collar. Minor surface scuffs and abrasions. A light scratch in the lower right corner. Not examined under UV light, for a full report please contact the department.
Sworders
Oct. 18, 2025
John Constable Engraving Print On Paper
Est: -
Signed In Print On The Lower Left Corner. Title: “summer Evening”. Includes Coa On The Reverse. In Used Condition With Slight Wear To The Frame. Frame Measures Approximately 18in X 20.75in; Image Measures Approximately 5.25in X 8.5in. Nr30485 Eds
EJ'S Auction & Appraisal
Oct. 18, 2025
John Constable Engraving Print On Paper
Est: -
Signed In Print On The Lower Left Corner. Title: "a Summerland". Includes Coa On The Reverse. In Used Condition With Slight Wear To The Frame And A Rip In The Paper On The Reverse. Frame Measures Approximately 19in X 22.25in; Image Measures Approximately 5.75in X 8.75in. Nr30485 Eds
EJ'S Auction & Appraisal
Sep. 27, 2025
John Constable Engraving On Paper
Est: -
Titled: A Dell, Helmingham Park, Suffolk. Coa on verso. Frame has minor scuffs and scratches. Frame measures approximately 19.5in x 21in. Image measures approximately 7.5in x 9in. Nr30485 SA
EJ'S Auction & Appraisal
Sep. 12, 2025
Manner of John Constable RA (British, 1776-1837)
Est: £400 - £600
Manner of John Constable RA (British, 1776-1837) Extensive landscape with distant church spire Bears signature, oil on panel, 20cm x 35cm
Martel Maides
Sep. 06, 2025
John Constable Engraving On Paper
Est: -
Title: "a lock on the Stour, Suffolk". Includes COA on the reverse. Signed in print on the lower right corner. In used condition with slight wear to the frame. Frame measures approximately 18in x 19.25in; image measures approximately 5.25in x 6.75in. Nr30485 eds
EJ'S Auction & Appraisal
Jul. 10, 2025
Antique Oil Painting Attributed to John Constable
Est: $300 - $500
Attributed to John Constable Antique Harbor Scene Oil on Canvas Painting. Signed and Dated "London 1836" Heavy Damage on Canvas Needs Full Restoration. Please see all photos. Sold as is. Measures: 10.25 inches x 10.25 inches
Greenwich Auction
Jul. 02, 2025
JOHN CONSTABLE, R.A. (EAST BERGHOLT 1776-1837 HAMPSTEAD). Moonlight landsca
Est: £30,000 - £50,000
JOHN CONSTABLE, R.A. (EAST BERGHOLT 1776-1837 HAMPSTEAD). Moonlight landscape, with Hadleigh Church in the distance. oil on canvas17 7/8 x 21 5/8 in. (45.5 x 54.8 cm.).
Christie's
Jul. 01, 2025
JOHN CONSTABLE, R.A. (EAST BERGHOLT, SUFFOLK 1776-1837 LONDON). Cloud Study
Est: £150,000 - £250,000
JOHN CONSTABLE, R.A. (EAST BERGHOLT, SUFFOLK 1776-1837 LONDON). Cloud Study, possibly over Harnham Ridge. oil on paper, laid down on panel4 ½ x 9 ¼ in. (11.3 x 23.5 cm.).
Christie's
Jun. 11, 2025
CIRCLE OF JOHN CONSTABLE (BRITISH 1776-1837), FIGURES IN A RIVER LANDSCAPE
Est: £300 - £500
CIRCLE OF JOHN CONSTABLE (BRITISH 1776-1837) FIGURES IN A RIVER LANDSCAPEPencil and watercolour Dated 'July 27. 1835' (lower left)16 x 25cm (6¼ x 9¾ in.)Provenance:Dr Theodore BestermanSale, Christie's, London, 14 December 1971, lot 23 (as John Constable)The Collection of the late Michael NathanAccording to a label on the reverse 'On the evidence of a sketchbook in the V&A, Constable was staying at that time at Canbury Villa, Kingston, the home of Dr Philip Fisher (1750-1842), Master of Charterhouse, who was the brother of John Fisher, Bishop of Salisbury and one of Constable's greatest patrons.'
Dreweatts 1759 Fine Sales
May. 11, 2025
John Constable
Est: €2,000 - €4,000
(1776 East Bergholt/Suffolk - 1837 London-Hampstead) Umkreis Mädchen am Meer Hüftbildnis eines stehenden, blonden Mädchens in weißem Kleid und Haube, die Hände vor dem Bauch verschränkt, im Hintergrund Felsenklippen und das Meer mit Fischerbooten. Mit außergewöhnlich breitem Duktus und weichem, leicht pastosem Farbauftrag gemaltes, einfühlsames Porträt. Das Gemälde wurde von Andrew Shirley (siehe Lit.) John Constable zugeschrieben und von ihm 1831 dat.; Öl/Lwd., doubl.; 76 cm x 63 cm. Rahmen. Lit./Abb.: Andrew Shirley: "John Constable, R.A.", London : The Medici Society, 1944 (2. Aufl. 1948), S. 26, Abb. 160. Provenienz: H. A. Sutch Esq., London (1944/48), siehe Lit. Circle of John Constable. Oil on canvas, relined. Formerly attributed to John Constable by Andrew Shirley and illustrated in his book about the artist.
Kunstauktionshaus Schloss Ahlden
Apr. 24, 2025
MANNER OF JOHN CONSTABLE (BRITISH, 1776-1837)
Est: £800 - £1,200
MANNER OF JOHN CONSTABLE (BRITISH, 1776-1837) MANNER OF JOHN CONSTABLE (BRITISH, 1776-1837) Tree study pencil and wash 9 x 11 cm. (3 1/2 x 4 1/4 in.)
Chiswick Auctions
Apr. 12, 2025
JOHN CONSTABLE, CATHEDRAL, POSTER
Est: $65 - $75
Artist: John Constable, British (1776 - 1837) Title: Cathedral Year: 1976 Medium: Poster Size: 22.5 x 16 in. (57.15 x 40.64 cm)
RoGallery
Apr. 09, 2025
Landscape near East Bergholt
Est: £5,000 - £7,000
The Property of a Lady Attributed to John Constable, R.A. East Bergholt, Suffolk 1776–1837 Hampstead Landscape near East Bergholt oil on panel unframed: 18.7 x 22.5 cm.; 7⅜ x 8⅞ in. framed: 26.8 x 30.4 cm.; 10½ x 12 in.
Sotheby's
Mar. 28, 2025
English school in the style of John Constable, East Bergholt 1776 - 1837 London
Est: €100 - €200
English school in the style of John Constable East Bergholt 1776 - 1837 London Hilly landscape Watercolor on cardboard 11.5 x 20.5 cm, with frame 27.8 x 32.9 cm
Tiberius Auctions
Feb. 04, 2025
JOHN CONSTABLE, R.A. (SUFFOLK 1776-1837 LONDON). A young girl with a spanie
Est: $4,000 - $6,000
JOHN CONSTABLE, R.A. (SUFFOLK 1776-1837 LONDON). A young girl with a spaniel in a landscape. graphite and watercolor12 ½ x 7 ¾ in. (32 x 19.5 cm).
Christie's
Jan. 26, 2025
JOHN CONSTABLE GICLEE "THE LOCK"
Est: $150 - $200
John Constable Giclee on Canvas "The Lock". Measures 16.5"x19"x1.75". Weight 1 lb 6 oz
Charleston Estate Services Auctions & Appraisals
Jan. 15, 2025
CONSTABLE John (1776 - 1837). Attribués à. Tableaux
Est: €2,000 - €3,000
Huile sur toile marouflée sur toile "Paysage". Attribué à John Constable. Voir au dos un cachet de la galerie "Sedelmeyer" à Paris. Ecole anglaise. Epoque: fin XVIIIème début XIXème. Dim.:+/-33,5x50,5cm.
Vanderkindere
Dec. 05, 2024
John Constable (school), oil on board
Est: $300 - $500
School of John Constable (English, 1776-1837), Figure on a country road, no signature observed, faint illegible pencil inscription verso, 8.5"h x 7"w (board), 11"h x 9.75"w (frame)
Millea Bros Ltd
Dec. 04, 2024
JOHN CONSTABLE, R.A. (EAST BERGHOLT 1776-1837 LONDON). Portrait study of Ja
Est: £7,000 - £10,000
JOHN CONSTABLE, R.A. (EAST BERGHOLT 1776-1837 LONDON). Portrait study of Jane or Ann Gubbins (recto); Wooded landscape, Epsom (verso). pencil on wove paper 4 ¼ x 6 5⁄8 in. (10.8 x 16.8 cm.).
Christie's
Dec. 01, 2024
John Constable, The Bridge at Sandwich
Est: $2,000 - $3,000
John Constable (British, 1776-1837), titled "The Bridge at Sandwich", watercolor, inscribed in the artist's hand, 4 7/8" x 10 1/4", framed 14" x 19". Numerous exhibition labels, John Manning London, Worthing Art Gallery Sussex, Davis Galleries, New York, New York. Provenance: From the Collection of Mrs. Cecil Keith; thence to Robert C. Ream, son of Norman B. Ream of Thompson, Connecticut.
Kaminski Auctions
Nov. 20, 2024
Follower of John Constable, RA, British 1776-1837- Landscape with cowherds and cattle in the fore
Est: £200 - £300
Follower of John Constable, RA, British 1776-1837- Landscape with cowherds and cattle in the foreground, and a town beyond; pencil, watercolour, and bodycolour on blue paper, 10.1 x 16.7 cm. Provenance: Private Collection, UK.
Roseberys
Nov. 01, 2024
Attributed to John Constable. Tree Study, graphite
Est: $3,000 - $5,000
(English, 1776-1837) Graphite on paper, signature not visible, sight size: 10 1/4 x 15 3/4 in., framed size: 18 1/2 x 24 in.
Alex Cooper
Sep. 27, 2024
Attributed to John Constable. Tree Study, graphite
Est: $5,000 - $7,000
(English, 1776-1837) Graphite on paper, signature not visible, sight size: 10 1/4 x 15 3/4 in., framed size: 18 1/2 x 24 in.
Alex Cooper
Sep. 23, 2024
Attributed to John Constable
Est: $700 - $1,000
(England, 1776-1837), Gleaners, Oil on cardboard, 14.5x10 cm. *Accompanied by an invoice from the Dr. W. Katz Gallery, Old Bond Street, London, 1960. **Constable often painted on thin homemade card (made from two or three pieces of paper glued and pressed together). Sometimes Constable used a full piece of card for a sketch while on other occasions he cut it into smaller sections. Constable usually painted oil sketches outdoors so that he could quickly and freely capture the changing light and movement in the landscape. Constable also sketched small objects and vignettes, using the oil medium to consider subjects simultaneously through form, colour and texture. Later in the studio, he could refer back to these sketches as he planned larger compositions. From: https://www.vam.ac.uk/articles/constables-oil-sketches
Tiroche Auction House