Individual Proof Impressions of John Martin's
Famous Illustrations to Paradise Lost

Stock #: CRW0613           $15000 (for the collection of 15 engravings)
PJP Catalog 55.127

     MARTIN JOHN Illustrator.
PROOF IMPRESSIONS OF 15 MEZZOTINT PLATES BY JOHN MARTIN FOR HIS FAMOUS EDITION OF MILTON'S PARADISE LOST. (London,  1825/26)   Image size ranging from 5 5/8 x 8 to 7 7/8 x 11 1/4 (but mostly 7 5/8 x 11, or 195 x 280 mm.) on larger mats, typically measuring 16 x 21 7/8 (450 x 630 mm.)."    15 individual engravings.    11 of the plates attractively matted.          Minor marginal foxing on about half the plates (never appearing to enter the engraved surface except on one plate where the image is lighter than the rest) otherwise IN FINE CONDITION with half the engravings not affected by foxing at all and ALL OF THE PLATES IN EXTRAORDINARILY RICH IMPRESSIONS (Eve Tempts Adam is exceptionally so).

One of the most popular English artists of the 19th century John Martin (1789-1854) began his career modestly as a provincial painter of coats of arms on the coaches of the nobility. He subsequently studied under the Italian artist Bonifacio Musso and moved to London with his master in 1806. Married at 19 he was pressed to support his household by giving drawing lessons selling watercolors and decorating china and glass. He first exhibited a painting at the Royal Academy in 1812 (selling it for 50 guineas) and this was followed by a series of other exhibited works most of them huge canvases showing classical or biblical themes some of which carried off substantial monetary prizes. Of particular note was his painting of Belshazzar's Feast for which he was awarded £200 in 1821. In addition to being a painter Martin was a major mezzotint engraver and it was as an engraver that he became immensely popular to the public (it was also as an engraver that he earned the largest share of his income). Early in 1823 Martin was commissioned by the American publisher Septimus Prowett to produce 24 mezzotint illustrations for Paradise Lost for the astonishing sum of £2000. In his biography of Martin Thomas Balston says that the commission to illustrate 'Paradise Lost' must be among the most remarkable ever given by a publisher and long before even the first part of the work had been published a further commission of £1500 for a smaller set of similar plates was made. These plates which readily illustrate what DNB rightly calls Martin's wild imaginative powers first appeared in parts issued between 1825-27 with a large set of the plates; and then they appeared in 1827 in a variety of formats with various sizes and states of the plates: in an Imperial Folio limited to 50 copies with Proof impressions of the large plates; in an Imperial Quarto with the large plates and in an Imperial Quarto limited to 50 copies with Proof impressions of the small plates; and in an Imperial Octavo with the small plates. The distinguishing feature of the mezzotint plates in the Parts Issue and in each of the 1827 editions is that each mezzotint illustration was designed and engraved by Martin and bears the caption Designed & Engraved by J. Martin Esq. at the bottom of the plate. These early-state engravings are extraordinarily brilliant starkly contrasting in dense blacks and bright whites and it is this quality that is ultimately so captivating to the viewer. A second edition was published by Charles Tilt with the smaller plates in 1833; thereafter the text and engravings passed through various hands. It is not an overstatement to say that Martin's mezzotint illustrations are spectacular giving shape and form to scenes of vastness in Milton's epic that viewers have found enthralling for generations. Among many memorable landscapes Martin's powerful vision gives scope and definition to the caverns of Hell the void of Chaos the daunting size of Pandemonium and the sweeping beauty of the plains of Heaven. Muir says that Martin has a remarkable command of perspective something that suggests vast spaces in a small area which lends such majesty to all his work. Before Martin's mezzotint illustrations appeared in book editions they appeared in proof state before letters and also in proof state. These engravings were sold as single plates before the editions were ready for publication. They are generally rare particularly the mezzotint illustrations in proof state before letters. The plates in this collection include: Satan 'with head up-lift above the wave' the same but a larger size Satan Sin and Death Angels with their Golden Harps Satan Watching the Endearments of Adam and Eve Satan Starting from the Touch of Ithuriel's Spear Gabriel Sees Ithuriel and Zephon through the Shade Adam and Eve See Raphael Approaching Creation of Light Eve Tempts Adam The Lament of Adam and Eve Heaven - the River of Bliss the same but a larger size and very different in detail Michael Comes to the Garden and The Expulsion of Adam and Eve from Eden. Of these 14 are proof impressions; Eve Tempts Adam is in proof state before letters. These plates come from the extensive Milton library of Robert J. Wickenheiser a collection of more than 6000 printed books original illustrations and other Milton-related items most of which is now owned by the University of South Carolina. (We are indebted to Dr. Wickenheiser for much of the description of this and the other Milton items in this catalogue.)

Balston, The Library, 4th Series, XIV, 410.