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John Constable. 1776 1837 (after) by David Lucas (1802 - 1881).

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The Cornfield 1832/34. Mezzotint by David Lucas (1802 - 1881) after John Constable. Shirley 36.iv. Christopher Lennox-Boyd vi/vi. London: Republished Feb.y 15, 1853, by Thomas Boys (of the late Firm of Moon, Boyd & Greaves,) Printseller to the Royal Family, 467, Oxford Street - Paris. E.Gambart & C. 9 Rue d'Orleans au Marais,-Depose. Originally Published July 1.1834. Image 22 1/4 x 19 1/2, plate 26 3/4 x 20 3/8, sheet 30 3/4 x 24 3/8. A rich impression printed on sturdy wove paper with full margins, mounted on archival paper. A few unobtrusive scrapes and folds, one horizontally across the center of the image, and a faint waterstain in the top right-hand image and margin. Signed in the plate. Housed in a 35 x 25 inch archival double mat. $1,250.

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The Lock Large Plate 1832/34. Mezzotint by David Lucas (1802-1881), as directed by John Constable. Reworked and republished final state. Shirley 36.iv.; Christopher Lennox-Boyd vi/vi. Image: 19 1/4 x 22 1/4, plate: 20 1/4 x 26 37/8, sheet: 30 3/4 x 24. Published originally in London: Republished Feb.y 15, 1853, by Thomas Boys (of the late Firm of Moon, Boyd & Greaves,) Printseller to the Royal Family, 467, Oxford Street - Paris. E.Gambart & C. 9 Rue d'Orleans au Marais,-Depose. Originally Published July 1.1834.
Inscription: 'Painted by John Constable. Engraved by David Lucas. To the President and Members of the Royal Academy of Arts, This Landscape Engraved from a Painting by John Constable, Esq R.A., is by permission most respectfully dedicated by their Obedient servant Thomas Boys.'

Scattered foxing in the margins; mat line; toning; otherwise a rich impression. Signed in the plate. Housed in a 35 x 25 inch archival double mat. $1,000.

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David Lucas (1802 - 1881) was a British printmaker who specialised in mezzotint. He was a pupil of Samuel William Reynolds, and worked from Bryanston Square, London, upon the completion of his education. He produced prints after Gainsborough, Vernet, Isabey and Hoppner amongst others, but it was his works after Constable that earned him true renown. The collaboration between the pair was one of the most successful in the history of British printmaking. Whilst Turner amassed a group of faithful engravers to whom he would turn, Constable virtually employed only Lucas, and this fidelity was repaid by the stunning translation his work received from 1829, until long after his death in 1837.

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John Constable (1776 - 1837) was one of the most famed painters and watercolourists of the nineteenth-century. Born at East Bergholt, Suffolk, Constable was the son of a corn and coal merchant and farmer. Though he initially entered the family business in 1792, Constable made a sketching tour of Norfolk two years later, and upon an introduction to Joseph Farrington in 1799, was enrolled in the Royal Academy. He exhibited there from 1802; was made an Associate of the Royal Academy in 1819, and a Royal Academician in 1829. He was given the gold medal by Charles X when his work was displayed at the Paris Salon in 1824, and was awarded the same accolade two years later at the Society of Fine Arts, Lille. Between 1833, and until his death in 1837, Constable lectured on landscape painting at the Royal Institution, the Hampstead Literary and Scientific Society, and the Worcester Athenaeum.

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