Nebuchadnezzar KING OF BABYLON FIRE IN SKY ~ Old 1853 Bible Art Print Engraving

Description: THE FIERY FURNACE Artist: G. Jones ____________ Engraver: J. B. Allen Note: the title in the table above is printed below the engraving PRINT DATE: This lithograph was printed in 1853; it is not a modern reproduction in any way. PRINT SIZE: Overall print size is 8 1/2 inches by 11 1/2 inches including white borders, actual scene is 7 1/2 inches by 9 1/2 inches. PRINT CONDITION: Condition is excellent. Bright and clean. Blank on reverse. Paper is quality woven rag stock paper. SHIPPING: Buyer to pay shipping, domestic orders receives priority mail, international orders receive regular air mail unless otherwise asked for. We take a variety of payment options, more payment details will be in our email after auction close. We pack properly to protect your item! FROM THE ORIGINAL DESCRIPTION: The artist exhibited this picture at the Royal Academy in the year 1832. It represents the King of Babylon addressing his counselors:- "Lo, I see four men loose, walking in the midst of the' fire, and they have no hurt, and the form of the fourth is like the Son of God." The subject is one well suited for a picture and, difficult as it is to treat with any approximation to truth, Mr. Jones has certainly produced a most effective composition: he will think it no ill compliment, we dare affirm, when we say for force of colour and breadth of light and shade, it reminds us of some of Rembrandt's works. The figures in the foreground are also well disposed, and their general attitudes not inappropriate to the miracle of which they are witnesses. Those in the middle distance, however, seem disproportionately small, according to the base lines of the picture, they cannot be very far behind the Babylonian monarch, and yet their comparative height is infinitely less. There are other points in the composition which we think are open to criticism. The golden image is described by the prophet as being set up in the plain of Duration the province of Babylon we presume this plain to be therefore some distance from the city, and yet we see the head of the image elevated a little beyond the palace of the king. Nebuchadnezzar was undoubtedly present at the fiery trial, and may possibly have had his wives and treasures with him, but it is scarcely to be supposed that his royal residence was so close either to his idol or the furnace as it is here represented to be. BIOGRAPHY OF ARTIST: George Jones (born in London, Jan 1786; died in London, 19 Sept 1869) was a painter and son of John Jones. At the age of 15 he entered the Royal Academy Schools, London. Two years later he interrupted his studies when he obtained a commission in a regiment of militia. On succeeding to a captaincy, he volunteered with his company to serve under Wellington in the Peninsular War. During his years in the army he exhibited mainly views and domestic subjects. It was only after his return to civilian life in 1815 that he began to paint the battle scenes on which his reputation was chiefly built. Several of these portrayed scenes in the Waterloo campaign; his sketch of Wellington Leading the British Advance won second prize in the British Institution's Waterloo Competition in 1820 and a commission to paint the work on a large scale (c. 3.5*3 m). The painting (1820; London, Royal Hosp.) is a variant of typical late 18th-century battle pieces: it shows a panoramic vista of the battle, with huge plumes of brightly coloured smoke rising from the distant fighting, and incidents and tiny figures judiciously scattered in pools of light and shade in the foreground and middle distance. Jones was thus able to demonstrate his professional knowledge of the overall disposition of troops on the field, avoiding the standard convention of the large-sized portrait group set against a distant battle. A second, somewhat altered version of this work was exhibited to mixed reviews at the Royal Academy in 1822. It was sufficiently well received to secure Jones's election as ARA in 1822 and RA in 1824. His association with the Academy was remarkably long and fruitful: between his début in 1803 and the time of his death he exhibited no fewer than 221 works. Subjects included battles from almost every campaign of the first half of the century, up to and including the Indian Mutiny in 1857, genre scenes, views of continental cities, and biblical and historical episodes. He also painted several large-scale commissioned pictures commemorating important events (e.g. Funeral of Sir David Wilkie, R.A.; exh. RA 1842; and the Opening of the New London Bridge, August 1, 1831; exh. RA 1832). He served the Academy as Librarian (1834-40), as Keeper of the Schools (1840-50) and, temporarily, as President, when Sir Martin Archer Shee was ill (1845-50). Please note: the terms used in our auctions for engraving, etching, lithograph, plate, photogravure etc. are ALL prints on paper, and NOT blocks of steel or wood or any other material. "ENGRAVINGS", the term commonly used for these paper prints, were the most common method in the 1700s and 1800s for illustrating old books, and these paper prints or "engravings" were created by the intaglio process of etching the negative of the image into a block of steel, copper, wood etc, and then when inked and pressed onto paper, a print image was created. These prints or engravings were usually inserted into books, although many were also printed and issued as loose stand alone lithographs. They often had a tissue guard or onion skin frontis to protect them from transferring their ink to the opposite page and were usually on much thicker quality woven rag stock paper than the regular prints. So this auction is for an antique paper print(s), probably from an old book, of very high quality and usually on very thick rag stock paper. A RARE FIND! AND GREAT DECORATION FOR YOUR OFFICE OR HOME WALL.

Price: 9.99 USD

Location: New Providence, New Jersey

End Time: 2024-08-20T13:21:53.000Z

Shipping Cost: 7.95 USD