The Fall of Man. 1831. by John Martin, 1789-1854

John Martin, 1789-1854
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The Fall of Man. 1831.

Original mezzotint with etching in black ink. 1831. Very fine impression of the first issue, with a pencil dedication:'A. Boodle Esqr from the Artist'. Probably a separate impression but dating from the first 'parts' issue of 'The Bible' 1831. Impression with full lettering, including the addresses of Ackermann and Morlot, and the 'Déposé'. Very rare in this form. Ref:Campbell-John Martin no 93

Extremely fine early impression. On pale cream stiff wove paper. Generally excellent condition. The upper and lower platemark weak and strengthened on the reverse. With some proofing ink in the upper margin. With 1 - 1 1/2 inch margins. Sheet: 12 x 16 7/8ins. Plate: 10 1/8 x 14ins.
(257x357mm).

Price: £ 1250 ($1875)
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In 1830 Martin began work on an extended series of mezzotints on the theme of The Bible. He hoped to achieve the same success with them as the earlier Paradise Lost subjects. They were to be issued in parts, consisting of two mezzotints on separate sheets, and two very brief sheets of text. The series could be bought by subscription and subscribers would receive each 'parts issue' as it appeared. Whereas in the earlier Paradise Lost Martin had enlisted the help of the professional publisher Septimus Prowett in the case of The Bible he decided to do the whole undertaking himself.

The first 'part' of The Bible, issued in March, 1831, was received with great acclaim, but by the time of the seventh issue, a rather prolonged 3 years later, enthusiasm was waning and Martin issued parts eight to ten together in 1835, (making a total of 20 prints), and then discontinued the series. None the less The Bible series contains some of Martin's most striking and inspired medium-sized mezzotint compositions, with brilliant effects of light and rich mysterious shadow, especially in the earliest impressions. Above all he had mastered to perfection the use of just the slightest touches of etching to give emphasis to the mezzotint. However, the balance between mezzotint and etching, as well as the full richness of the contrasts of light, are only really seen to maximum effect in the earliest impressions.

See also the notes on Blake inChrist Tempted in the Wilderness. 1824.andThe Flood. 1830.