Excerpt from The Connoisseur, Vol. 11: An Illustrated Magazine for Collectors, January-April, 1905
Constable Prints-a certain section of them, rather, and that the most important: the things engraved by Lucas, in Constable's own day. Not mine to discourse here on the last, la... rge, laborious, successful effort of Mr. Norman Hirst to render with elaboration an unfamiliar but surely admirable Salisbury. Not mine to give here more than a passing notice to what has been accomplished by the sympathetic genius of Frank Short - quite an ideal interpreter of noble Landscape, whether simple or subtle: a man who understands Constable as he under stands Turner and De \vint. No I I am confined to David Lucas, because, in confining myself to David Lucas - paradox though it may sound at the first moment to those who do not know his history - I am ever in the company of Constable himself. Lucas was Constable's instrument. By the mezzotint of Lucas, Constable sought to be popularised, as Turner had sought to be popula rised - at all events with connoisseurs - some twenty years earlier, by the several engravers who helped him to accomplish the monumental series, the Liber Studiorzmz. Not less monumental, l think - and if more limited, then only because the art of the painter was itself more limited in aim and theme, but no wise in accomplishment was that series of English Landscape, which, in concert with Lucas alone, Constable created.
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