It cannot be concluded with any certainty, however, that the Tate Gallery painting, the work exhibited in 1832, was the canvas that Constable and Dunthorne began in 1825. ‘Whitehall Stairs, June 18th, 1817’, as Constable titled his picture, received more abuse than praise from the critics, some of whom, reasonably enough, could not recall what happened at Whitehall Stairs fifteen years earlier. The Opening of Waterloo Bridge (‘Whitehall Stairs, June 18th 1817’) was purchased with assistance from the National Heritage Memorial Fund, the Clore Foundation, the Art Fund, the Friends of the Tate Gallery and others in 1987. (For the reviews, see Ivy 1991, pp.158–9, 160–4.). Unable to add item to List. This building, just visible in the Yale Center sketch and more clearly so in T04904, is either Pembroke House itself or the adjoining house, Michael Angelo Taylor's, which lay between the former and the bow-fronted building. Please try again. From a letter of 15 September that year to the engraver David Lucas it seems that the half-size sketch now in the Yale Center may by then have been in existence. The absence of the white Shot Tower at the right-hand side, included in the final sketches and painting, points to a date before 1826, the year of the tower's construction. Does this text contain inaccurate information or language that you feel we should improve or change? The first reference to Constable working on ‘a large canvas’ of a Waterloo bridge subject comes in a letter to Fisher of 1 September 1820 (Beckett VI 1968, p.56). Prov: Artist's administrators, sold Foster 16 May 1838 (74) £63 bt Moseley; ...; Charles Birch, Birmingham by 1839, sold Christie's 7 July 1853 (42) £252 bt in, sold Foster 27 Feb. 1857 (LXVI) £609 bt Henry Wallis; sold by him, Foster 3 Feb. 1858 (104) £582. As Cormack says (1986, p.215), Constable the patriot and royalist would have been attracted by the original event and may have thought a painting of such a historic occasion (in which the home of the Royal Academy itself, Somerset House, featured) would further his Academic career; such a painting would also show him capable of a greater variety of subjects; above all, as he now lived in London, ‘why shouldn't he translate his Suffolk river scenes into a view of the Thames, the greatest river of them all’. Delicately handled and smoothly finished, the Cincinnati picture belongs to a long tradition of London Thames views, stretching back to Canaletto and represented in Constable's day in the work of Joseph Farington. The reason for the existence of two half-size sketches has not yet been satisfactorily explained. Constable moved from Suffolk to London in 1817 and presumably witnessed the festivities, but it was another two years before he conceived the idea of capturing the event on canvas. It is this letter that tells us that Constable had now discovered the higher viewpoint that he employed in the final picture and its related sketches.



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