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Higher up, the cloud breaks into patches of pale blue and cream. Low green-crested waves roll in towards a wide, wet beach, where seaweed, pebbles and shallow pools lie along the tideline. The signature and date are inscribed at the lower right.\u003c\/p\u003e\u003cp\u003eThe panel grew from Vedder's drawings of a floating head: The Face in the Clouds of 1866 and a small drawing of 1867 with the title Memory inscribed on its mat, both identified by the art historian Regina Soria. Because the 1867 drawing is dated to the birthday of his then fiancée, Carrie Rosekrans, the face is often assumed to be hers. The painting belongs to the Los Angeles County Museum of Art.\u003c\/p\u003e\u003cp\u003eElihu Vedder (1836–1923) was an American Symbolist painter who settled in Rome after the Civil War and lived there for most of his career. Trained in New York under Tompkins H. 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Beneath it a bay curves to a long headland, waves breaking white at the left and a single sail far out. On the beach a man in a hat walks toward us while another figure stoops under a pale bundle, and a line of pale sheep moves along the foot of the cliff at the right. David Lucas engraved the plate in mezzotint after Constable.\u003c\/p\u003e\u003cp\u003eThe original: mezzotint (progress proof) on chine collé by David Lucas after John Constable, 1830, National Gallery of Art, Washington.\u003c\/p\u003e\u003cp\u003eJohn Constable (1776–1837) was an English landscape painter, born in East Bergholt, Suffolk, the son of a prosperous miller. He entered the Royal Academy Schools in 1799 and chose landscape over the history painting the academies favoured, returning again and again to his native Stour valley and sketching in oil out of doors. The White Horse (1819) began a series of six large canvases of the river, among them The Hay Wain (1821), which won a gold medal at the Paris Salon of 1824. His work was admired in France, where it inspired the Barbizon painters, and he became a full Academician only at 52. His paintings are held by the National Gallery, London, the Victoria and Albert Museum and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Intended for the family trading business, he spent several years in London before entering Charles Gleyre's studio in Paris in 1862, where he met Claude Monet, Pierre-Auguste Renoir and Frédéric Bazille. After the Franco-Prussian War ruined his family, he painted full time. His subject was almost only landscape: the Seine at Bougival and Port-Marly, the river in flood in 1876, the regattas at Molesey, and later the church and river at Moret-sur-Loing, where he died. He lived in poverty for most of his career. His paintings are held by the Musée d'Orsay, the Metropolitan Museum of Art and the Art Institute of Chicago.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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