Paradise Lost

John Milton

John Sharpe, Piccadilly, London

1823

Early nineteenth-century illustrated edition, circa 1823–1828

Illustrated by Richard Westall, R.A.; engravings by Charles Heath, George Corbould, William Finden, and others

6.75” x 4.25”

Good condition. Sound and square, with a firm binding and unmarked text. The full leather binding shows considerable rubbing, scuffing, and surface wear, with leather loss along the board edges, corners, and spine extremities. The gilt tooling remains attractive. The front endpapers appear to have been reinforced. The marbled endpapers are well preserved. The page edges are age-toned, with scattered foxing and occasional small marks throughout. The complete text of all twelve books is present, ending on page 649. The preliminary leaves, including the title page, are absent, and the volume opens directly with the illustration for Book I. The illustrations for Books I–XI are present; the illustration for Book XII is missing.

An early illustrated edition of Milton’s epic poem, bound in full dark leather with decorative gilt tooling to the boards and spine and colorful marbled endpapers. The engraved illustrations were drawn by Richard Westall, R.A., and executed by several engravers, including Charles Heath, George Corbould, and William Finden. The surviving plates carry the imprint of John Sharpe, Piccadilly, and are dated January 1, 1822. The text was printed by C. and C. Whittingham at College House, Chiswick, as identified on the final page.

Published in the early nineteenth century, this edition presents Milton’s account of the rebellion of Satan, the creation of humanity, and the fall of Adam and Eve. The volume is dated 1823 for listing purposes, based on the surviving 1822 plate dates and the C. and C. Whittingham imprint, associated with the partnership’s early nineteenth-century operations. Because the title page and other preliminary leaves are missing, the exact publication date cannot be established from this copy alone. The combination of Westall’s illustrations, period gilt-tooled leather binding, and surviving printer’s imprint gives the volume considerable historical and bibliographical interest.

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