{"id":1187,"date":"2026-08-16T23:58:24","date_gmt":"2026-08-16T23:58:24","guid":{"rendered":"https:\/\/margaretpriest.net\/?p=1187"},"modified":"2026-09-05T02:59:12","modified_gmt":"2026-09-05T02:59:12","slug":"constable","status":"publish","type":"post","link":"https:\/\/margaretpriest.net\/?p=1187","title":{"rendered":"&#8220;Branch Hill Pond, Hampstead Heath,&#8221; John Constable"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Treatment at Virginia Museum of Fine Arts. Supervisors: Meredith Watson and Josh Summer.<\/p>\n\n\n\n<!--more-->\n\n\n\n<p class=\"wp-block-paragraph\">&#8220;Branch Hill Pond, Hampstead Heath&#8221;<br>John Constable<br>1824 &#8211; 1825<br>Oil on canvas<br>24 1\/2 \u00d7 30 3\/4 in<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Before and after treatment slider<\/h2>\n\n\n\n\t\t\t\n\t<style type=\"text\/css\">\n\t\t.slider-info-1304.bafg-slider-info .bafg-slider-title {\n\t\t\t\t\t\t\tfont-size:\n\t\t\t\t\t22px\t\t\t\t;\n\t\t\t\n\t\t\t\n\t\t\t\t\t}\n\n\t\t.slider-info-1304.bafg-slider-info .bafg-slider-description {\n\t\t\t\n\t\t\t\n\t\t\t\t\t}\n\t\t\n\t\t\n\t\t.slider-info-1304.bafg-slider-info .bafg_slider_readmore_button {\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\ttext-align: center;\n\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\t\t}\n\n\t\t.slider-info-1304.bafg-slider-info .bafg_slider_readmore_button:hover {\n\n\t\t\t\n\t\t\t\n\t\t\t\t\t}\n\t<\/style>\n\t\n\t\t\t<div class=\"bafg-twentytwenty-container slider-1304  \"\n\t\t\t\tbafg-orientation=\"horizontal\" bafg-default-offset=\"0.5\"\n\t\t\t\tbafg-before-label=\"Before\"\n\t\t\t\tbafg-after-label=\"After\" bafg-overlay=\"\"\n\t\t\t\tbafg-move-slider-on-hover=\"\"\n\t\t\t\tbafg-click-to-move=\"\">\n\n\t\t\t\t\t\t\t\t<img class=\"skip-lazy\" data-skip-lazy\t\t\t\t\tsrc=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/09\/Bt-aligned-scaled.jpg\" alt=\"\">\n\t\t\t\t<img class=\"skip-lazy\" data-skip-lazy\t\t\t\t\tsrc=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/09\/At-aligned-scaled.jpg\" alt=\"\">\n\n\t\t\t<\/div>\n\n\t\t\t\t<div class=\"bafg-slider-info-wraper\">\n\t\t<div style=\"   \" class=\"slider-info-1304 bafg-slider-info\">\n\t\t\t\t\t<\/div>\n\t<\/div>\n\t\n\t\t\t<style type=\"text\/css\">\n\t\t\t\t\t\t\t\t\t\t\t<\/style>\n\t\t\t\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Normal illumination; auto-aligned with Photoshop.<br>Left: BT. Right: AT.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Condition and treatment report<\/h2>\n\n\n\n<div class=\"wp-block-file\"><a id=\"wp-block-file--media-8980c3ad-fee4-458f-9e65-9d37ce7f9916\" href=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/49-18-4_trmt-report.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">49-18-4_trmt-report<\/a><a href=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/49-18-4_trmt-report.pdf\" class=\"wp-block-file__button wp-element-button\" download aria-describedby=\"wp-block-file--media-8980c3ad-fee4-458f-9e65-9d37ce7f9916\">Download PDF<\/a><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Images <\/h2>\n\n\n\n<div class=\"wp-block-file\"><a id=\"wp-block-file--media-ca7c327a-d554-420b-9420-417892379a03\" href=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/49-18-4_image-pages.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">49-18-4_image-pages<\/a><a href=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/49-18-4_image-pages.pdf\" class=\"wp-block-file__button wp-element-button\" download aria-describedby=\"wp-block-file--media-ca7c327a-d554-420b-9420-417892379a03\">Download PDF<\/a><\/div>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\">Progress photos<\/h2>\n\n\n\n<figure class=\"wp-block-gallery alignwide has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-id=\"1590\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8776-1024x768.jpg\" alt=\"\" class=\"wp-image-1590\" srcset=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8776-1024x768.jpg 1024w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8776-300x225.jpg 300w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8776-768x576.jpg 768w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8776-1536x1152.jpg 1536w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8776-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-id=\"1588\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_3741-1-1024x768.jpg\" alt=\"\" class=\"wp-image-1588\" srcset=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_3741-1-1024x768.jpg 1024w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_3741-1-300x225.jpg 300w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_3741-1-768x576.jpg 768w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_3741-1-1536x1152.jpg 1536w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_3741-1-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-id=\"1587\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8902-768x1024.jpg\" alt=\"\" class=\"wp-image-1587\" srcset=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8902-768x1024.jpg 768w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8902-225x300.jpg 225w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8902-1152x1536.jpg 1152w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8902-1536x2048.jpg 1536w, https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/IMG_8902-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n<\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Left: Amy Trompeter. Right: Catherine Dussault.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Examination report appendices<\/h2>\n\n\n\n<p class=\"has-large-font-size wp-block-paragraph\">To support my examination report, additional research was compiled in relation to the painting&#8217;s historical context, other depictions of Branch Hill Pond by Constable, a full timeline of the painting&#8217;s known treatments, displays, and provenance, and transcriptions of labels attached to the backing board. <\/p>\n\n\n\n<details class=\"wp-block-details has-large-font-size is-layout-flow wp-block-details-is-layout-flow\"><summary>Historical context<\/summary>\n<h3 class=\"wp-block-heading\">General description:<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Described by Constable to the patron as \u201cA scene on Hampstead Heath, broken foreground and sand carts, Windsor Castle in the extreme distance on the right of the shower. The fresh greens in the distance (which you are pleased to admire) are the fields about Harrow, and the villages of Hendon, Kilburn, &amp;c.\u201d[a]<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Auxiliary support:<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">N\/A<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Primary support:<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">The size of the painting is similar to the standard English \u2018three-quarters\u2019 size (30 by 25 inches) which could have been cut from a narrow 27-inch-wide roll of canvas and still accommodate 1-inch-wide tacking margins on each side.&nbsp;[b]<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Preparation layer(s):<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Constable is known to have employed toned priming layers of different colors beneath his skies through the 1820s, ranging from blue to buff to salmon pink. These are described as forming \u201can integral part of the final image. It gives characteristic colour and tone to large areas of the composition, where it remains visible through sporadic brush and palette knife work in the paint layers.\u201d&nbsp;[c]<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Beginning the 19th of May 1824, Constable hired John Dunthorne Junior, the son of his friend and sketching partner John Dunthorne Senior, as a studio assistant. In correspondence, Constable describes that Dunthorne Jr. \u201cis squaring and working hard for me,\u201d and \u201cforwards me a great deal in subordinate parts such as tracing, squaring &amp;c &amp;c.\u201d&nbsp;[d]&nbsp;As this overlaps with when Branch Hill Pond was likely begun, it is possible that Dunthorne Jr. prepared the horizon line.&nbsp;<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">The lack of other specific underdrawing is related to the fact that Constable painted the Branch Hill Pond scene at least ten other times in his lifetime (see&nbsp;Appendix 2: Other depictions of Branch Hill Pond by Constable). He developed familiarity with the landscape through his oil sketches and preliminary drawings.&nbsp;<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Evidence suggests that when Constable created larger versions of his sketches, he used a grid system to scale up. When he created duplicates of his finished pieces, a greater extent of underdrawing is associated with the copy.&nbsp;[e]&nbsp;This piece\u2019s direct approach helps distinguish it as the first version, despite confusion related to the 1917 Christie\u2019s sale alongside its duplicate, currently at the Oskar Reinhart Am R\u00f6merholz in Winterthur, Switzerland.&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Paint layer(s):<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Generally, Constable painted his landscapes from background to foreground, while simultaneously re-painting each layer wet-over-dry with increasing levels of detail.&nbsp;<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">In other Constable paintings from 1824 \u2013 1826, researcher Sarah Cove has positively identified the following pigments: lead white, vermillion, red iron oxide, red lake, yellow lake, Naples yellow, Prussian blue, natural ultramarine, umber, charcoal black, patent yellow, ivory black, mars browns, burnt terre verte, mars yellow, and Antwerp blue.&nbsp;[e]&nbsp;His binding media are identified as linseed oil with walnut oil in lighter colors. Evidence from his extant palettes also indicates that Constable sometimes included additives like egg, beeswax, and pine resin.&nbsp;[f]<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Surface coating(s):<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">This painting is known to have been exhibited at the 1825 Royal Academy before being sold to Frances Darby, so the presence of original varnish is unknown. Sarah Cove describes that&nbsp;<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Constable was aware of the benefits of varnishing and its proper timing. It is unlikely that his paintings were varnished by the exhibition time due to his working habits.&nbsp;[g]&nbsp;There is no evidence that Constable varnished the picture before it was sent to Darby.&nbsp;<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Constable is known to have disliked the 19th century aesthetic preference for darker-toned paintings, though at some points he reluctantly did so to please his audience; \u201cI have grimed it down with slime &amp; soot \u2013 as he is a connoisseur and of course prefers filth &amp; dirt, to freshness and beauty.\u201d&nbsp;[h]<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Frame:<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Documentation supports that Constable worked with leading following London framemakers. In sale negotiations with Darby, Constable belabors the cost of original framing, \u201cthe frames are rich and cost me about \u00a320 each.\u201d&nbsp;[i]&nbsp;He is also known to have sometimes repurposed frames from his unsold Academy pictures.&nbsp;[j]<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">CITATIONS:&nbsp;<\/h3>\n\n\n\n<ul class=\"wp-block-list is-style-default has-medium-font-size\">\n<li>[a] <a>John Constable, Patrons, Dealers, and Fellow Artists, vol. 10, ed. R. B. Beckett, John Constable\u2019s Correspondence, IV (Suffolk Records Society, 1966), 97.<\/a><\/li>\n\n\n\n<li>[b] <a>Jacob Simon, \u201c\u2018Three-Quarters, Kit-Cats and Half-Lengths\u2019: British Portrait Painters and Their Canvas Sizes, 1625-1850,\u201d National Portrait Gallery, April 2013,&nbsp;<\/a><a href=\"https:\/\/www.npg.org.uk\/collections\/research\/programmes\/artists-their-materials-and-suppliers\/three-quarters-kit-cats-and-half-lengths-british-portrait-painters-and-their-canvas-sizes-1625-1850\/3.-further-standard-sizes\">https:\/\/www.npg.org.uk\/collections\/research\/programmes\/artists-their-materials-and-suppliers\/three-quarters-kit-cats-and-half-lengths-british-portrait-painters-and-their-canvas-sizes-1625-1850\/3.-further-standard-sizes<\/a>.<\/li>\n\n\n\n<li>[c] <a>Sarah Cove, ed., \u201cVery Great Difficulty in Composition and Execution: The Materials and Techniques of Constable\u2019s Sky and Cloud Studies of the 1820s,\u201d in Constable\u2019s Skies, by Frederic Bancroft (Salander-O\u2019Reilly Galleries, 2004), 127.<\/a><\/li>\n\n\n\n<li>[d] <a>John Constable, Patrons, Dealers, and Fellow Artists, vol. 10, ed. R. B. Beckett, John Constable\u2019s Correspondence, IV (Suffolk Records Society, 1966), 159 \u2013 161, 181.<\/a>&nbsp;<\/li>\n\n\n\n<li>[e] <a>Sarah Cove, \u201cConstable\u2019s Oil Painting Materials and Techniques,\u201d in Constable (Tate Gallery Publications, 1991), 509.<\/a><\/li>\n\n\n\n<li>[f] <a>Sarah Cove et al., \u201cMixing and Mingling: John Constable\u2019s Oil Paint Mediums c. 1802-37, Including the Analysis of the \u2018Manton\u2019 Paint Box,\u201d in&nbsp;<em>Painting Techniques History, Materials and Studio Practice: Contributions to the Dublin Congress, 7-11 September 1998<\/em>&nbsp;(International Institute for Conservation of Historic and Artistic Works, 1998).<\/a><\/li>\n\n\n\n<li>[g] <a>Sarah Cove, \u201cConstable\u2019s Oil Painting Materials and Techniques,\u201d in Constable (Tate Gallery Publications, 1991), 515.<\/a><\/li>\n\n\n\n<li>[h] <a>Ibid, 516.<\/a><\/li>\n\n\n\n<li>[i]<a>John Constable,&nbsp;<em>Patrons, Dealers, and Fellow Artists<\/em>, vol. 10, ed. R. B. Beckett, John Constable\u2019s Correspondence, IV (Suffolk Records Society, 1966), 97<\/a><\/li>\n\n\n\n<li>[j]<a>Jacob Simon, \u201cJohn Constable and Picture Frames,\u201d The Frame Blog, February 1, 2026,&nbsp;<\/a><a href=\"https:\/\/theframeblog.com\/2026\/02\/01\/john-constable-and-picture-frames\/\">https:\/\/theframeblog.com\/2026\/02\/01\/john-constable-and-picture-frames\/<\/a>.<\/li>\n<\/ul>\n<\/details>\n\n\n\n<div class=\"wp-block-group has-global-padding is-layout-constrained wp-block-group-is-layout-constrained\">\n<details class=\"wp-block-details has-custom-css has-large-font-size is-layout-flow wp-block-details-is-layout-flow wp-custom-css-9a95887d\"><summary>Other depictions of Branch Hill Pond by Constable<\/summary>\n<div class=\"wp-block-columns is-not-stacked-on-mobile is-layout-flex wp-container-core-columns-is-layout-a3729d19 wp-block-columns-is-layout-flex\" style=\"padding-top:0;padding-bottom:0\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image aligncenter size-large is-resized\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/PMA_19th-c-3-1024x758.jpg\" alt=\"\" class=\"wp-image-1371\" style=\"aspect-ratio:1.3509862199405567;width:196px;height:auto\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Branch Hill Pond, Hampstead Heath<\/em>. 19th cent. Oil on canvas, 11 7\/8 x 16 1\/16 inches. Philadelphia Museum of Art. <a href=\"https:\/\/www.philamuseum.org\/objects\/102692\">https:\/\/www.philamuseum.org\/objects\/102692<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image aligncenter size-large is-resized\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/08\/VA_1819-3-edited.jpg\" alt=\"\" class=\"wp-image-1373\" style=\"aspect-ratio:1.1768341677483156;object-fit:contain;object-position:49% 50%;width:173px;height:auto\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Branch Hill Pond, Hampstead<\/em>. 1819. Oil on canvas, 10 x 11 13\/16 inches. Victoria and Albert Museum. <a href=\"https:\/\/collections.vam.ac.uk\/item\/O84528\/\">https:\/\/collections.vam.ac.uk\/item\/O84528\/<\/a>.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide is-not-stacked-on-mobile breakout-columns has-medium-font-size is-layout-flex wp-container-core-columns-is-layout-64be84e4 wp-block-columns-is-layout-flex\" style=\"border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-left-radius:0px;border-bottom-right-radius:0px;margin-top:var(--wp--preset--spacing--30);margin-bottom:var(--wp--preset--spacing--30);padding-top:0;padding-right:var(--wp--preset--spacing--80);padding-bottom:0;padding-left:var(--wp--preset--spacing--80)\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image alignwide size-large\" style=\"margin-right:0;margin-left:0\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/VMFA_1824-25_BT-1024x795.jpeg\" alt=\"\" class=\"wp-image-1381\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Branch Hill Pond, Hampstead Heath<\/em>. 1824-1825. Oil on canvas, 24 1\/2 x 30 3\/4 inches. Virginia Museum of Fine Arts. <a href=\"https:\/\/www.vmfa.museum\/artworks\/branch-hill-pond-hampstead-heath-59421\">https:\/\/www.vmfa.museum\/artworks\/branch-hill-pond-hampstead-heath-59421<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"padding-top:0;padding-bottom:0\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/Roemerholz_1824-25-1-1024x799.jpg\" alt=\"\" class=\"wp-image-1375\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>John Constable, Branch Hill Pond, Hampstead 1824\/25<\/em>. 1824-1825. Oil on canvas, 23 1\/2 x 30 1\/4 inches. Oskar Reinhart Am R\u00f6merholz. <a href=\"https:\/\/www.roemerholz.ch\/en\/john-constable-branch-hill-pond-hampstead-182425-3\">https:\/\/www.roemerholz.ch\/en\/john-constable-branch-hill-pond-hampstead-182425-3<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/PMA_after-1825-1-1024x795.jpg\" alt=\"\" class=\"wp-image-1374\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Branch Hill Pond, Hampstead Heath<\/em>. After 1825. Oil on canvas, 23 x 29 1\/2 inches. Philadelphia Museum of Art.&nbsp;<a href=\"https:\/\/www.philamuseum.org\/objects\/103818\">https:\/\/www.philamuseum.org\/objects\/103818<\/a>.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-794e3cfa wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/Tate_c1825_boy-1-1024x675.jpg\" alt=\"\" class=\"wp-image-1382\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Branch Hill Pond, Hampstead Heath, with a Boy Sitting on a Bank<\/em>. ca 1825. Oil on canvas, 22 13\/16 x 29 7\/16 inches. Tate Gallery. <a href=\"https:\/\/www.tate.org.uk\/art\/artworks\/constable-branch-hill-pond-hampstead-heath-with-a-boy-sitting-on-a-bank-n01813\">https:\/\/www.tate.org.uk\/art\/artworks\/constable-branch-hill-pond-hampstead-heath-with-a-boy-sitting-on-a-bank-n01813<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/Tate_c1825_cart-1-1024x707.jpg\" alt=\"\" class=\"wp-image-1383\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Branch Hill Pond, Hampstead Heath, with a Cart and Carters<\/em>. ca 1825. Oil on canvas, 21 x 30 1\/4 inches. Tate Gallery. <a href=\"https:\/\/www.tate.org.uk\/art\/artworks\/constable-branch-hill-pond-hampstead-heath-with-a-cart-and-carters-n04237\">https:\/\/www.tate.org.uk\/art\/artworks\/constable-branch-hill-pond-hampstead-heath-with-a-cart-and-carters-n04237<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/Yale_c1825-1-1024x715.jpeg\" alt=\"\" class=\"wp-image-1384\" style=\"aspect-ratio:1.432249322493225\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Hampstead Heath<\/em>. ca 1825. Oil on canvas, 18 x 15 1\/2 inches. Yale Center for British Art. <a href=\"https:\/\/collections.britishart.yale.edu\/catalog\/tms:646\">https:\/\/collections.britishart.yale.edu\/catalog\/tms:646<\/a>.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile is-layout-flex wp-container-core-columns-is-layout-794e3cfa wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/CMA_1828-1-1024x792.jpg\" alt=\"\" class=\"wp-image-1389\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Branch Hill Pond, Hampstead<\/em>. 1828. Oil on canvas, 23 7\/8 x 30 3\/4 inches. Cleveland Museum of Art. <a href=\"https:\/\/www.clevelandart.org\/art\/1972.48\">https:\/\/www.clevelandart.org\/art\/1972.48<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/VA_1828-1-1024x792.jpg\" alt=\"\" class=\"wp-image-1390\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Hampstead Heath, Branch Hill Pond<\/em>. 1828. Oil on canvas, 23 7\/16 x 30 9\/16 inches. Victoria and Albert Museum. <a href=\"https:\/\/collections.vam.ac.uk\/item\/O69872\/\">https:\/\/collections.vam.ac.uk\/item\/O69872\/<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" fetchpriority=\"low\" src=\"https:\/\/margaretpriest.net\/wp-content\/uploads\/2026\/07\/Tate_1836-1-1024x678.jpg\" alt=\"\" class=\"wp-image-1391\"\/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Hampstead Heath with a Rainbow<\/em>. 1836. Oil on canvas, 20 x 30 inches. Tate Gallery. <a href=\"https:\/\/www.tate.org.uk\/art\/artworks\/constable-hampstead-heath-with-a-rainbow-n01275\">https:\/\/www.tate.org.uk\/art\/artworks\/constable-hampstead-heath-with-a-rainbow-n01275<\/a>.<\/p>\n<\/div>\n<\/div>\n<\/details>\n<\/div>\n\n\n\n<details class=\"wp-block-details has-large-font-size is-layout-flow wp-block-details-is-layout-flow\"><summary>Timeline<\/summary>\n<p class=\"has-medium-font-size wp-block-paragraph\">For the purposes of publication, names of individuals have been redacted. <\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Treatment summary:<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">1825 \u2013 1949: unknown<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"has-medium-font-size\">Glue-paste lining<\/li>\n\n\n\n<li class=\"has-medium-font-size\">Overpainted<\/li>\n<\/ul>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">1952: National Gallery of Art<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"has-medium-font-size\">X-ray exam: possible abrasion or overcleaning<\/li>\n\n\n\n<li class=\"has-medium-font-size\">UV exam: overpaint<\/li>\n\n\n\n<li class=\"has-medium-font-size\">Visual exam: no loss of paint film<\/li>\n\n\n\n<li class=\"has-medium-font-size\">Treatment: \u201ccleaned and waxed\u201d<\/li>\n<\/ul>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">1982: VMFA<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"has-medium-font-size\">Backing added<\/li>\n\n\n\n<li class=\"has-medium-font-size\">Replaced two missing keys, secured all with wax<\/li>\n\n\n\n<li class=\"has-medium-font-size\">Noted losses from rabbet and crack in clouds<\/li>\n<\/ul>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">2003: VMFA<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"has-medium-font-size\">Aqueous cleaning with \u201cammonia water\u201d pH 8.5 and saliva<\/li>\n\n\n\n<li class=\"has-medium-font-size\">Retouch losses with watercolor<\/li>\n<\/ul>\n\n\n\n<div style=\"height:var(--wp--preset--spacing--40)\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Full timeline:<\/h3>\n\n\n\n<figure class=\"wp-block-table has-small-font-size\"><table><thead><tr><th>Date<\/th><th>Event<\/th><th>Location<\/th><th>Notes<\/th><\/tr><\/thead><tbody><tr><td>1825<\/td><td>Exhibited<\/td><td>Royal Academy, London<\/td><td>No. 115<\/td><\/tr><tr><td>1825<\/td><td>Purchased<\/td><td>London<\/td><td><\/td><\/tr><tr><td>1903<\/td><td>Exhibited<\/td><td>Burlington Fine Arts Club<\/td><td>No. 54 or 58<\/td><\/tr><tr><td>1903-1908<\/td><td>Purchased<\/td><td>London<\/td><td><\/td><\/tr><tr><td>3-May-17<\/td><td>Purchased<\/td><td>Christies, London<\/td><td>Sold by the estate of Beecham to Christies<\/td><\/tr><tr><td>1918<\/td><td>Purchased<\/td><td><\/td><td><\/td><\/tr><tr><td>Unknown<\/td><td>Purchased<\/td><td>London<\/td><td><\/td><\/tr><tr><td>Unknown<\/td><td>Purchased<\/td><td>St. Paul, Minnesota<\/td><td><\/td><\/tr><tr><td>Unknown<\/td><td>Purchased<\/td><td>New York<\/td><td><\/td><\/tr><tr><td>Unknown<\/td><td>Purchased<\/td><td><\/td><td><\/td><\/tr><tr><td>1949<\/td><td>Purchased<\/td><td><\/td><td>Was lined when acquired<\/td><\/tr><tr><td>1950<\/td><td>Exhibited<\/td><td>\u201cPaintings by Impressionists and Post-Impressionists,\u201d VMFA<\/td><td><\/td><\/tr><tr><td>1950<\/td><td>Storage<\/td><td>205<\/td><td><\/td><\/tr><tr><td>Feb-52<\/td><td>Analysis<\/td><td>National Gallery of Art<\/td><td>X-ray and condition report<\/td><\/tr><tr><td>Jul 10 &#8211; Aug 1952<\/td><td>Treatment<\/td><td><\/td><td>&#8220;Cleaned and waxed&#8221;<\/td><\/tr><tr><td>1-Jul-53<\/td><td>Storage<\/td><td>206<\/td><td><\/td><\/tr><tr><td>1-Oct-53<\/td><td>Storage<\/td><td>119<\/td><td><\/td><\/tr><tr><td>11 Jul 1956 &#8211; 13 Jun 1962<\/td><td>Display<\/td><td>English 18th century gallery, VMFA<\/td><td><\/td><\/tr><tr><td>3-Nov-63<\/td><td>Exhibited<\/td><td>Artmobile II, circuit 3<\/td><td><\/td><\/tr><tr><td>Nov-63<\/td><td>Display<\/td><td>Late English Gallery, VMFA<\/td><td><\/td><\/tr><tr><td>1965 &#8211; 1966<\/td><td>Exhibited<\/td><td>Williams Collection Artmobile<\/td><td><\/td><\/tr><tr><td>Jun-66<\/td><td>Storage<\/td><td>American Storage<\/td><td><\/td><\/tr><tr><td>1966 &#8211; 1968<\/td><td>Display<\/td><td>English Gallery<\/td><td><\/td><\/tr><tr><td>Oct &#8211; Nov 1969<\/td><td>Exhibited<\/td><td>&#8220;Masterpieces from Southern Museums,&#8221; Norfolk Museum<\/td><td><\/td><\/tr><tr><td>Dec 1969 &#8211; Jun 1972<\/td><td>Display<\/td><td>English Gallery<\/td><td><\/td><\/tr><tr><td>Sep 1973 &#8211; Jan 1974<\/td><td>Exhibited<\/td><td>&#8220;John Constable, The Natural Painter,&#8221; Aukland, Melbourne, and Sydney<\/td><td><\/td><\/tr><tr><td>Mar-74<\/td><td>Display<\/td><td>English Gallery<\/td><td><\/td><\/tr><tr><td>Jan-75<\/td><td>Exhibited<\/td><td>Landscape Artmobile<\/td><td><\/td><\/tr><tr><td>18 Feb &#8211; 25 Apr 1976<\/td><td>Condition Report<\/td><td><\/td><td><\/td><\/tr><tr><td>Jun-76<\/td><td>Exhibited<\/td><td>\u201cConstable: Paintings, Watercolours and Drawings,\u201d the Tate Gallery, London<\/td><td>Cat. No. 239<\/td><\/tr><tr><td>Jul 1976 &#8211; Jun 1978<\/td><td>Display<\/td><td>English Gallery<\/td><td><\/td><\/tr><tr><td>Jan-79<\/td><td>Display<\/td><td>English Decorative Arts Gallery<\/td><td><\/td><\/tr><tr><td>Feb-81<\/td><td>Storage<\/td><td>N.G. I<\/td><td><\/td><\/tr><tr><td>Aug-81<\/td><td>Display<\/td><td>East Alcove<\/td><td><\/td><\/tr><tr><td>Oct-81<\/td><td>Storage<\/td><td>P.S. Rack 2<\/td><td><\/td><\/tr><tr><td>Feb 1982 &#8211; Jul 12 1984<\/td><td>Display<\/td><td>English Gallery<\/td><td><\/td><\/tr><tr><td>2-Jun-82<\/td><td>Treatment<\/td><td><\/td><td>Replaced keys, anchored with wax, black plastic stripping, and backing<\/td><\/tr><tr><td>13-Jan-83<\/td><td>Condition Report<\/td><td><\/td><td>Excellent, small losses from abrasion<\/td><\/tr><tr><td>9-Feb-83<\/td><td>Condition Report<\/td><td><\/td><td>Faint stretcher impression, slight crackle in clouds, rabbet abrasion, damage at frame joints<\/td><\/tr><tr><td>Apr &#8211; Sep 1983<\/td><td>Exhibited<\/td><td>\u201cConstable\u2019s England,\u201d the Metropolitan Museum of Art, New York<\/td><td><\/td><\/tr><tr><td>7 Jun &#8211; 7 Jul 1985<\/td><td>Exhibited<\/td><td>&#8220;British Painting,\u201d the Danville Museum of Fine Arts and History<\/td><td><\/td><\/tr><tr><td>9-Jul-85<\/td><td>Display<\/td><td>English Gallery<\/td><td><\/td><\/tr><tr><td>30 Jan &#8211; 17 Jun 1986<\/td><td>Exhibited<\/td><td>\u201cJohn Constable,\u201d Isetan Museum of Art, Tokyo, Fukuoka Prefectural Museum, Yamanashi Prefectural Museum of Art, Kofu, Sogo Museum of Art, Japan<\/td><td><\/td><\/tr><tr><td>1986<\/td><td>Condition Report<\/td><td><\/td><td><\/td><\/tr><tr><td>24-Jul-86<\/td><td>Storage<\/td><td>P.S. Rack 21<\/td><td><\/td><\/tr><tr><td>24-Jul-86<\/td><td>Condition Report<\/td><td><\/td><td>Needs surface cleaning<\/td><\/tr><tr><td>17-Oct-86<\/td><td>Storage<\/td><td>P.S. Rack 23<\/td><td><\/td><\/tr><tr><td>29-Jul-87<\/td><td>Display<\/td><td>English Gallery<\/td><td><\/td><\/tr><tr><td>21-Oct-87<\/td><td>Exhibited<\/td><td>&#8220;Egypt&#8221;<\/td><td>?<\/td><\/tr><tr><td>30-Mar-88<\/td><td>Condition Report<\/td><td><\/td><td>Surface good<\/td><\/tr><tr><td>9 May &#8211; 25 Jun 1988<\/td><td>Exhibited<\/td><td>\u201cJohn Constable, R.A. (1776-1837)\u201d Salander-O\u2019Reilly Galleries, Inc., New York City<\/td><td><\/td><\/tr><tr><td>1-Aug-88<\/td><td>Condition Report<\/td><td><\/td><td>Fine condition<\/td><\/tr><tr><td>23-Aug-88<\/td><td>Display<\/td><td>English Gallery G407<\/td><td><\/td><\/tr><tr><td>7-Jan-91<\/td><td>Condition Report<\/td><td><\/td><td>Frame chipped, miters separating, small loss at upper left corner, crack in sky appears stable, abrasion on left, edge, vertical cracking at horizon<\/td><\/tr><tr><td>27 Jan &#8211; 29 Apr 1991<\/td><td>Exhibited<\/td><td>&#8220;The Rise of Landscape Painting in France: Corot to Monet,\u201d the Currier Gallery of Art, Manchester, NH<\/td><td><\/td><\/tr><tr><td>13 Jun &#8211; 15 Sep 1991<\/td><td>Exhibited<\/td><td>&#8220;John Constable 1991.&#8221; The Tate Gallery<\/td><td><\/td><\/tr><tr><td>1992<\/td><td>Storage<\/td><td>SP, grey table, rack 61, RK 50<\/td><td><\/td><\/tr><tr><td>3 Nov 1991 &#8211; 29 Mar 1992<\/td><td>Exhibited<\/td><td>&#8220;The Rise of Landscape Painting in France: Corot to Monet,\u201d Dallas Museum of Art, High Museum of Art<\/td><td><\/td><\/tr><tr><td>15-Apr-92<\/td><td>Condition Report<\/td><td><\/td><td>No change<\/td><\/tr><tr><td>29 Apr &#8211; 18 Jul 1993<\/td><td>Exhibited<\/td><td>&#8220;Perspectives on Romanticism,&#8221; VMFA G428<\/td><td><\/td><\/tr><tr><td>1995<\/td><td>Display<\/td><td>G409A<\/td><td><\/td><\/tr><tr><td>1995<\/td><td>Storage<\/td><td>SP fixed rack on left, SW table<\/td><td><\/td><\/tr><tr><td>1996<\/td><td>Storage<\/td><td>SCL conservation lab<\/td><td><\/td><\/tr><tr><td>19-Nov-99<\/td><td>Storage<\/td><td>SP table, rack 64<\/td><td><\/td><\/tr><tr><td>2001<\/td><td>Condition Report<\/td><td><\/td><td>Liner created, frame treatment, backing, and glazing<\/td><\/tr><tr><td>2002<\/td><td>Exhibited<\/td><td>&#8220;Bartolom\u00e9 Esteban Murillo, 1617\u20131682: Paintings from American Collections,&#8221; Kimbell Art Museum, Forth Worth, Los Angeles County Museum of Art<\/td><td><\/td><\/tr><tr><td>Jan-03<\/td><td>Treatment<\/td><td><\/td><td>Cleaned with &#8216;ammonia water&#8217; (pH 8.5) and saliva, retouched previous cleaning spot and losses with watercolor<\/td><\/tr><tr><td>2003 &#8211; 2004<\/td><td>Condition Report<\/td><td><\/td><td>No major change<\/td><\/tr><tr><td>30 Jan 2003 &#8211; 4 Jan 2004<\/td><td>Exhibited<\/td><td>&#8220;Romantic Painting in England and France, c.1820-c.1840,\u201d Tate Britain, Minneapolis Museum of Arts, Metropolitan Museum of Art<\/td><td><\/td><\/tr><tr><td>18-May-05<\/td><td>Treatment<\/td><td><\/td><td>Brief frame treatment<\/td><\/tr><tr><td>2011 &#8211; 2012<\/td><td>Exhibited<\/td><td>&#8220;VMFA 75th Anniversay Statewide Exhibition, From Goya to Van Gogh.&#8221; Peninsula Fine Arts Center, Norfolk, William King Regional Art Center, Abingdon, Museum of the Shenandoah Valley, Winchester, Daura Gallery, Lynchburg College, Lynchburg, Radford University, Radford<\/td><td><\/td><\/tr><\/tbody><\/table><\/figure>\n<\/details>\n\n\n\n<details class=\"wp-block-details has-large-font-size is-layout-flow wp-block-details-is-layout-flow\"><summary>Labels<\/summary>\n<h3 class=\"wp-block-heading\">Frame:<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Tag attached to left d-ring: \u201c49.18.4\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Top left label: \u201c28| Hampstead Heath| Oil on canvas| Lent by the Virginia Museum of Fi[ne Art]s, Richmond, USA\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Top right label: \u201cSL 83. 33\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Left center label: \u201cNo. c\/12 54\u201d and \u201c7951\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Right, upside down inscription in chalk \u201c13\u201d (2x)<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Slip frame, left center, inscription in pencil \u201cfront\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Bottom left stamp in black, \u201c716\u201d(?)&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Backing board:<\/h3>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">\u201cCOMMONWEATH of VIRGINIA| Virginia Museum of Fine Arts| 2800 GROVE AVENUE\/RICHMOND, VIRGINIA 23221-2466| John Constable| Branch Hill Pond, Hampstead Heath, 1824-25|oil on canvas| Virginia Museum of Fine Arts, Richmond| The Adolph D and Wilkins C. Collection 49.18.4\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">\u201cConstable to Delacroix| 5 Feb \u2013 11 May 2003| Tate Britain| CONSTABLE, John 1776 \u2013 1837| Branch Hill Pond, Hampstead Heath| 1825| X01722| 114| Oil on canvas| 62.2 x 78.1 cm| Virginia Museum of Fine Arts (Richmond, USA)\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">\u201cThe Metropolitan Museum of Art| Crossing the Channel: British and French Painting in the Age| of Romanticism (10\/7\/2003 to 1\/4\/2004)| Virginia Museum of Fine Arts| John Constable| Branch Hill Pond, Hampstead Heath| SL.20.2003.57.2 Cat No.: 114\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">\u201cAMIRAN ABRASION SENSITIVE COATED GLASS| SHATTER PROOF| DO NOT TAPE GLASS| DO NOT TOUCH GLASS| DO NOT CLEAN GLASS| HANDLE ART OBJECT WITH GLOVES ONLY\u201d<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Detached, found in curatorial file: \u201cThe Tate Gallery| LENDER: [blank]| ADDRESS: [blank]| ARTIST: John Constable| TITLE: Landscape (Branch Hill| Pond, Hampstead) |EXHIBITION: JohnConstable [sic]| DATES: Feb. 18 \u2013 April 25| CAT NO 239\u201d<\/p>\n<\/details>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Acknowledgements<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Special thanks to Meredith Watson, Josh Summer, Catherine Dussault, Caroline Rawls, and Amy Trompeter for helping my treatment along the way, and being excellent mentors during my summer internship.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Treatment at Virginia Museum of Fine Arts. Supervisors: Meredith Watson and Josh Summer.<\/p>\n","protected":false},"author":2,"featured_media":1594,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"footnotes":""},"categories":[23],"tags":[],"class_list":["post-1187","post","type-post","status-publish","format-gallery","has-post-thumbnail","hentry","category-conservation","post_format-post-format-gallery"],"_links":{"self":[{"href":"https:\/\/margaretpriest.net\/index.php?rest_route=\/wp\/v2\/posts\/1187","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/margaretpriest.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/margaretpriest.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/margaretpriest.net\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/margaretpriest.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1187"}],"version-history":[{"count":63,"href":"https:\/\/margaretpriest.net\/index.php?rest_route=\/wp\/v2\/posts\/1187\/revisions"}],"predecessor-version":[{"id":1592,"href":"https:\/\/margaretpriest.net\/index.php?rest_route=\/wp\/v2\/posts\/1187\/revisions\/1592"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/margaretpriest.net\/index.php?rest_route=\/wp\/v2\/media\/1594"}],"wp:attachment":[{"href":"https:\/\/margaretpriest.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1187"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/margaretpriest.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1187"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/margaretpriest.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1187"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}