John
Martin British,
1789-1854
English painter, engraver and illustrator John Martin (1789-1854)
was a major figure in the art world of the nineteenth century.
His dramatic biblical subjects were visionary and unique in style.
Among his admirers were the leading artists, writers and scientists
of the day, as well as members of royalty from the King of Belgium
to Tsar Nicholas. Many of Martin’s prints, including Belshazzar’s
Feast, decorated the household of the Brontës at Haworth.
After achieving fame for
his monumental biblical paintings, Martin developed skills in
printmaking to make his work more accessible to the public. His
mastery of the mezzotint technique grew through his obsessive
involvement in every part of the process, including the sale
of the work. His illustrations of Milton’s Paradise Lost
earned Martin sums unheard of at the time.
John Martin left a lasting
influence on art, illustration, film-making and architecture.
His work is widely represented in major international institutions
such as the Louvre; the National Gallery of Art, Washington DC;
and the Tate Britain, where a major exhibition of his work, Apocalypse,
is currently on show (until January 2012).
Ref: Michael J. Campbell,
John Martin: Visionary Printmaker, 1992; and Juliet Barker, The
Brontës, 2010
About the
Works
This impression
of Belshazzar’s Feast was one of John Martin’s most
desired images when it was first published. This print is a brilliant
impression with rich, black tones and is a proof before letters.
Only one other proof of this image in this state is known to
exist.
This fine impression of
The Crucifixion is extremely uncommon, as only one or two prints
have been seen to date of this early state prior to the plate
being altered to include the publisher’s name in the dedication.
Due to the popularity of Martin’s prints, the publisher,
Francis Graham Moon purchased this plate from Martin for £1,000
in 1834.
The frames were especially
made for these mezzotints and most likely commissioned by Francis
Graham Moon. They are beautifully embellished and are in excellent
original condition. It is very rare to find John Martin prints
in period frames.
Sold as a pair, price on application
A printed version is available to download as an Acrobat
PDF 1.5mb
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Belshazzar’s
Feast 1832
Mezzotint with etching,
second plate, proof before letters, 47.5 x 72.2cm. With original
period frame from about the 1840s with plaster embellishments
reflecting motifs found in the image, such as serpents, stars
and a moon.
John Martin's painting of Belshazzar's Feast is known as Martin's
most important work, having broken away from the traditional
style of historical paintings. At its exhibition, the crowds
were so immense they had to be physically restrained. Its success
prompted Martin to create the image in mezzotint, based on sketches
for the painting, with original variations. There was a huge
demand for the prints, and the large number of impressions sold
wore the plate down. A second plate was produced and marketed
with equal success. In fact, this is now known to be the original
plate, completely reworked by Martin. The present impression
appears to have been made from this "second plate",
after the reworking but before the lettering was added.
The image is an unique vision of the biblical feast of King Belshazzar,
set in the Hall of Jupiter, beneath the tower of Babel and the
Temple of Belus. In the centre, the prophet Daniel interprets
for the king God's words of doom, which appear in the rays of
light in the upper left. Ref: C.W. #89, Campbell p90-91, 115.
The Crucifixion 1834
Mezzotint with etching, state before alterations, text in plate
below image, 46.7 x 72.5cm. With original period frame from about
the 1840s with plaster embellishments including a dove, a lamb
and crosses.
Text reads "London. Designed and engraved by John Martin,
K.L.B. The Crucifixion. / To His Grace the Lord Archbishop of
Canterbury, the President; and to the other members of the Society
for Promoting Christian Knowledge, this plate is with permission
dedicated by their most obedient humble servant John Martin.
/ London. Published by July 1st, 1834 by Francis Graham Moon
by Special Appointment, Printseller to the King, 20, Threadneedle
Street. Sold also by Hodgson, Boys
& Graves, 6 Pall Mall, Ackermann & Co., Strand."
This impression is an exceptionally rare one, as John Martin's
name appears in the dedication line without the name of Francis
Graham Moon, normally spelled as "Fra's G. Moon."
The Crucifixion is said to be John Martin's finest mezzotint,
showing a great mastery of the medium. Martin strived to illustrate
the biblical narrative with great attention to detail and to
draw the buildings of Jerusalem with historical accuracy. This
mezzotint was Martin's first major treatment of the New Testament
subject of the crucifixion. Ref: C.W. #91, Campbell p119.
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