John Martin

(17891854 ) - Artworks Wikipedia® - John Martin
MARTIN John Figures In Classical Dress Standing Before A Temple

Christie's /Jul 18, 2012
1,239.46 - 1,859.20
1,196.42

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Artworks in Arcadja
140

Some works of John Martin

Extracted between 140 works in the catalog of Arcadja
John Martin - The Valley Of The Shadow Of Death

John Martin - The Valley Of The Shadow Of Death

Original 1829
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Lot number: 154
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Description:
The Alan Gallery, New York Private Collection (sale: Sotheby's, London, 30 th November 2000, lot 236) Purchased at the above sale by the late owner ENGRAVED: by W.R. Smith for Robert Southey's edition of The Pilgrim's Progress, 1830 Paris, Musée Jacquemart-André, La Passion du dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 88 Munich, Kunsthalle der Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 76, illustrated in colour in the catalogue Frankfurt, Stadel Museum, Schwarze Romantik. Von Goya bis Max Ernst, 2012-13, no. 36 From Goya to Picasso: Works from the Private Collection of Jan Krugier 154 FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER John Martin 1789 - 1854 THE VALLEY OF THE SHADOW OF DEATH signed John Martin and dated 1829 (lower left) brown washes on paper 14 by 19.2cm., 5 1/2 by 7 1/2 in. Executed in 1829. Estimate 12,000 - 18,000 GBP Print Please notify me when the condition report is available
John Martin - Christ Feedeth Five Thousand

John Martin - Christ Feedeth Five Thousand

Original 1835
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Lot number: 108
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John Martin (Heydon Bridge, Northumberland 1789-1854 Douglas, Isle of Man) 'Christ feedeth five thousand' signed with initials and dated 'J.M. 1835' (lower right) pencil, pen and grey ink and grey wash, with scratching out 3½ x 5? in. (8.8 x 13.7 cm.) In 1835 Martin and Westall worked on Illustrations to the Bible which was published by Edward Churton. Martin contributed 48 monochrome drawings for reproduction as wood engravings for the publication. Following the success of this publication, in 1836 Churton published Illustrations to the New Testament. Martin contributed 24 designs for this, including the present watercolour.
John Martin - Richmond Hill From Above Buccleuch House

John Martin - Richmond Hill From Above Buccleuch House

Original 1841
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Lot number: 158
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John Martin (1789-1854) Richmond Hill from above Buccleuch House signed and dated 'J Martin./1841.' (lower left) pencil, watercolour and bodycolour, on paper 10 x 12¾ in. (25.4 x 32.4 cm.) R. A. Cosier; Christie's, London, 4 March 1887, lot 83. Mrs. W.F. Bond; Christie's, London, 15 May 1896, lot 66. with Spink's, London. Probably R.A., no. 661, 1842 (View of the Grounds of the Duchess of Buccleuch on the Thames at Richmond).
John Martin - Figures In Classical Dress Standing Before A Temple

John Martin - Figures In Classical Dress Standing Before A Temple

Original 1812
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Lot number: 875
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John Martin (Haydon Bridge, Northumberland 1789-1854 Douglas, Isle of Man) Figures in classical dress standing before a temple signed and dated 'J Martin 1812' (lower left) pencil and watercolour within a hand painted trompe l'oeil border, on paper, unframed 6 3/8 x 8½ in. (16.3 x 21.6 cm.); A watercolour of an artist with a group of young ladies sketching in woodland near Bristol, from the circle of Francis Danby; and A brown wash drawing of an island on a lake by moonlight, after Francis Danby (3) This lot is offered without reserve.
John Martin - The Thames At Twickenham

John Martin - The Thames At Twickenham

Original
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Lot number: 89
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John Martin (Haydon Bridge, Northumberland 1789-1854 Douglas, Isle of Man) The Thames at Twickenham pencil and watercolour with scratching out on paper 11 x 27½ in. (28 x 69.9 cm.) with Agnew's, London, 2004, no. 53. London, W/S Fine Art, Summer 2006, no. 44. Martin had an abiding interest in the Thames, having devoted much time and energy to a scheme for Improving the Air and Water of the Metropolis in the 1830s (see W. Feaver, The Art of John Martin, 1975, p. 122 ff). He hoped to create a tideless reach of water from below the Tower of London in order to create 'a beautiful calm sheet of water navigable at all times up to Teddington' (ibid., p. 123). His vision of a planned urban riverside broken up with 'terraces and beautiful gardens' was declared impracticable for inner London and never became a reality. Regular visits to the genuinely calm and clean stretch of river at Richmond and beyond may have gone some way to assuage his disappointment. In 1851 Martin exhibited at the Royal Academy a watercolour The Banks of the Thames opposite Pope's Villa, a view looking west towards the site of the poet's famous riverside retreat (Yale Center for British Art, New Haven). In the Yale picture Martin depicts Lady Howe's Villa and the Tudor style lodge that had been built on the site of Pope's Villa. The present watercolour is of similar proportions and size, and is probably a work of the mid-1840s. Although Pope's Villa had gone, much to the disgust of J.M.W. Turner and others, parts of the garden and the famous grotto remained and the area retained a particular magic for poets and painters alike. In the present somewhat idealised view Martin has shown the river banks lined with large classical villas, well spaced along the water and surrounded by rich vegetation. Whereas the walking figures in the Yale watercolour are recognisably contemporary, the reclining pair in ours are generalised in appearance. An equivalent comparison may be made between Martin's fully-titled View, Near Pembroke Lodge, Richmond Park, exhibited at the R.A. in 1851 , Victoria and Albert Museum, London and the Scene in a Forest - Twilight, exhibited in 1852 (Fitzwilliam Museum), two woodland scenes of varying degrees of idealisation.
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