1688 Paradise Lost by John Milton, First Folio edition, engravings by Burghers
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1688 Paradise Lost by John Milton, First Folio edition, engravings by Burghers:
$2207.69
A rare opportunity to own the edition that is largelyaccredited with helping to establish John Milton’s Paradise Lost as a preeminent example of English poetry. This is an important and revered work inEnglish literature. The fourth edition is the first folio edition, and thefirst illustrated edition including engravings illustrated wonderfully withartwork by John Baptist Medina engraved by Michael Burghers. It is the first important English poetry to be illustrated. In additionto its important place in the history of English literature, this edition isalso one of the first to be financed by a subscription model. The list of subscribers includes notable personages of the late 17th century including Dryden and Sir Paul Rycaut.
The book for sale is complete with two other Milton workscommonly bound with the 1688 first folio, ParadiseRegain’d and Samson Agonistes.
The book for sale is missing one illustrated plate (preceding Book I),although the often missing engraving of John Milton is still extant, and no other leaves are missing. Two leaves are dis-bound but present. Although these two pointsbring the price down significantly, at the same time they bring the price to a morecomfortable level.
The rarity, importance, and reputation of this edition aresure to make it a sound investment for your collection. Buy it before the opportunity has passed.
As a courtesy to potential buyers I’ve posted many photos ofthe book for sale to my publicly shared photo album located at: class=\"MsoNormal\" align=\"center\" style=\"font-size: 14pt; font-family: Arial; text-align: center;\">Information About theWork
“Milton began Paradise Lost in 1658 prior to his imprisonmentand completed it in 1663. Following abrief account of Man’s Fall, he takes up the story with Satan and his angelslying on Hell’s burning lake, and closes the poem with the angel Michaelleading Adam and Eve out of Paradise. Whilst early editions did not sellquickly, the fourth edition published in 1688 by Tonson and Bently, establishedthe poem’s reputation as one of the great works of English literature.” (OxfordUniversity, class=\"MsoNormal\" style=\"font-size: 14pt; font-family: Arial;\">“By 1688, whenEngland was on the verge of the Whig revolution, Milton\'s reputation hadrevived considerably. He was commended for his republicanism as well as hisrecord as a defender of liberty. His supporters believed that his greatestpoetic achievement merited this handsome, monumental edition. One of theearliest examples of subscription publishing, financed by Lord Somers, thefourth edition of Paradise Lost was the first to be printed in folio format andis the first illustrated edition, distinguished by high quality paper, large,clear type, and ample margins. Milton had previously reorganized the poem intotwelve books (by splitting Books 7 and 10 of the original) to parallel Virgil\'sAeneid more closely.” (The Morgan Library, class=\"MsoNormal\" style=\"font-size: 14pt; font-family: Arial;\">“This edition contains thirteen ornate engravings depictingthe author and scenes from the poem. Theillustrator was John Baptist Medina (1659-1710), a Spanish artist deeplyinfluenced by Rubens, and all but two of the designs were engraved by the Dutchartist Michael Burghers (1647/8-1727).” (Oxford University, class=\"MsoNormal\" style=\"font-size: 14pt; font-family: Arial;\">The book for sale is missing the plate preceding Book I,bringing the total engravings to twelve (1 frontis of Milton and 11 Books).
“Although he appearsto have painted other types of work than portraits, the only works other thanportraits known to survive are his eight (out of a total of twelve platesprefacing each book of the poem) engraved book illustrations for the fourthedition, the first to be illustrated, of Paradise Lost by John Milton,published in London by Jacob Tonson in 1688. Though they have been described,perhaps rather unfairly, as \"stiff and archaic\", these followMilton\'s text carefully, unlike those of the artists used for the other prints,and usually include several different episodes in each illustration.Appropriately, Medina drew on traditional Biblical iconography, carefully andimaginatively adapting it to fit Milton\'s text. Medina\'s designs preface Books3 and 5 to 11; the plates were engraved from his designs by a specialist,Michael Burghers (also Burgese or Burgess), a Flemish engraver working inOxford, who signed all but one plate as the engraver.” (Wikipedia, class=\"MsoNormal\" style=\"font-size: 14pt; font-family: Arial;\">This edition achieved a $10,000 Christie’s sale result in2013, and currently advertised offerings far exceed that value (if they are complete, including all the plates and the two additional works).
There are several different variants based on the accreditedprinter, this book is the variant “Printed by Miles Flesher for Jacob Tonson atthe Judge’s-Head in Chancery-lane near Fleet-street.”
This edition\'s story begins with curious financial events that took place before publication. After the third printing of \"Paradise Lost,\" Milton\'s widow surrendered, for £8, all further claims to a share in the profits from the work. The publication bargains continued when the printer Simmons then transferred all his rights to the poem in 1681 to Brabazon Aylmer for £25, and Aylmer subsequently sold half interests to Jacob Tonson and Richard Bentley, who together produced our sumptuous fourth printing of 1688, the first edition to appear in folio format and the first with illustrations.
Of note, Jacob Tonson so loved this work that when he waspainted he was holding a copy; see the painting on Wikipedia at:
Hodnett,in his work on Francis Barlow, says ourbookis \"the only major English literary work with important engraved illustrations in the 17th century.\"
Condition of the Book
Roughly 14 x 19 inches – large paper edition, but whencompared to other large paper editions, slightly trimmed likely for re-binding.I estimate it was rebound in the 19th century based on style (1/2 leather, with hand marbled boards). Note regarding a sale price in 1898 on the paste-down, meaning, at the latest, the binding is late 19th century.
1/2 leather with marbled boards. Leather is Morocco, likely roan. Some wear to boards and leather. Fraying atall edges and at the joints. Alsofraying at top and bottom of spine and on top of ribs (it is not chipping yet).The tailband at the bottom is partly dis-bound (see pictures).
Inner hinge cracked between flyleaf and end-page at bothends.
There is pencil writing on the flyleaf stating that it is a firstfolio and disclosing a price it sold for in 1898. On the back of the flyleaf there is a pencil“$1100” and an inventory code. On the front endpage there is a gift inscription from 1854.
The frontis page of Milton has a corner missing, does notaffect the woodcut. On the title page someone wrote “1688” in pencil next tothe roman numerals.
An engraving plate is missing, which preceded Book 1.
On page 204 someone drew a pointing hand reference marker inthe margin which has since transposed itself onto page 205 in the opposite margin.
The leaf containing pages 219-220 is disbound.Removed near binding, wide margins still extant. 6” tear from bottom into text. Repaired with tape a long time ago. Some yellowing where taped due to acid in tape (see picture).
The plate at the second page numbered 192 has transposed itsimage heavily onto page 193.
On page 299 there is a charcoal smudge in the bottom margin.
2” tear in bottom margin on QQ2 (p. 193/293)
The last page of Samson Agonistes is disbound.
On the rear pastedown there is a small sticker from the SanFrancisco firm D. P. Elder and Morgan Shepard, who were in business togetherfrom 1898 to 1903 the book in San Francisco near the turn of the 19th century.
Foxing throughout. Foxing heaviest the first and last 20leaves. After that its mostly relegated to the margin, with more occasionalspots throughout.
Despite condition issues it is a sound book and the binding is firm. You will not have any issues reading through this work.
Please review the many pictures posted to get a strong senseof the condition.
Collation of the Book
Flyleaf, flyleaf verso, end-paper recto and verso, blankrecto, Portrait of Milton, title page, title page verso, “The Verse”, “TheVerse” verso, (missing plate would be here), B, B2 (not numbered), C-XX4 infours with:
11 Plates located between: E3 & E4, I4 & K, M4 &N1, R1 & R2, U4 & X1, AA3 & AA4, DD1 & DD2, FF4 & GG1, LL3& LL4, QQ1 & QQ2, TT4 & UU1
Blank versos at E3, I4, R1, U4, AA3, FF4, QQ1, TT4, ZZ1/Z2
GG1 is disbound.
PP2 misprinted as “PP3”.
Then YY and YY2, Z2(misprint, should be ZZ1). Names ofsubscribers ZZ2-4.
Paradise Regained Title Page A1, A1-R2 in twos
(2)-1 inch tears to bottom margin of B2
Samson Agonistes Title A1, A1-H4 in fours.
H4 is disbound.
Flyleaf.
Collation similar to that of the variation catalogued in theLibrary of Robert Hoe, New York, 1903, which can be found at the followinglink:
Pagination
If you’re not versed in collation, here’s a simplified(albeit long) description of the pagination (pages) of the book.
(5) -Flyleaf, FlyleafBack, 2 heavy blank, 1 back of frontis
Frontis
Title Page
1 Blank verso
1 – The Verse
1 Blank verso
Book 1 Plate missing
Pages 1-25
2 blank
26 – plate
Pages 27-59
2 blank
60 – plate
Pages 61-84
1 Blank
1 Plate, no number
Pages 85-117
2 Blank
118 – plate
Pages 119-147
2 Blank
148-Plate
Pages 149-177
2 Blank
178-Plate
Pages 179-198
1 Blank
1 Plate No Number
Pages 199-219
2 Blank
1 Plate, No number
Loose page, 2nd 219 (&220)
Pages 221-250
Page next is 151-156
1 Blank
1 Plate, No Number
Pages 157-191
2 Blank
Plate – 192
Pages 193 – 196
Pages next are 297-321
2 Blank
322 plate
Pages 323-343
1 – Blank
6 - Subscription
Title – Paradise Regained
1 Blank
Pages 1-66
Title – Samson…
1 Blank
2 – intro
1 – Argument
1 – Persons (Characters)
Pages 1-57
1 Blank
1 endpage
1 flyleaf
1688 Paradise Lost by John Milton, First Folio edition, engravings by Burghers:
$2207.69