edwards halifax (3 Ergebnisse)

8vo. [2], iv, [clxix]-clxxi, [1], v-viii, clxvi, 351, [1] pp. Half-title, frontispiece portrait of the author, adv., dedication, portrait of Lord William Russell, "The parting scene" (engr. plate), publisher's ads (rear). Original full Etruscan calf by Edwards of Halifax, with Greek palmette pattern, gilt-Greek-key border, raised bands, elaborate gilt compartments, gilt-stamped leather spine label, all edges gilt; neatly rebacked preserving original spine. With a modern full calf elaborately tooled in blind and gilt, marbled sides, drop-back box, from the Cottage Bindery, Bath. EXCEPTIONALLY DESIRABLE SPECIMEN OF AN EDWARDS OF HALIFAX BINDING AND FORE-EDGE PAINTING WITH AN INSCRIPTION FROM THOMAS EDWARDS (1762-1834). / INSCRIBED FROM THOMAS EDWARDS to MRS. ALLANSON, 1813. Reverend George Allanson (1759-1826), Prebendary of Ripon, Yorkshire. He married Anne Elizabeth Allanson (born Davies). / WITH A SPLENDID FORE-EDGE PAINTING BY EDWARDS OF HALIFAX, OF BLENHEIM PALACE (& GROUNDS). / PROVENANCE: Mrs. [Anne Elizabeth] Allanson, from Thomas Edwards (of) Halifax, 1813. Bookplates of [Lord] J. D. Wyatt [John D. Wyatt; motto: "vi attamen-honore" = "with force but honour"]; A. C. Burford, Folkestone, Kent.

An imposing Bible, handsomely bound by Edwards of Halifax in their celebrated "Etruscan" style. The set is unusual in featuring motifs relevant to the contents on all three fore-edges - scenes from the Old and New Testaments - as opposed to the more typical landscapes. Edwards famously almost never signed their bindings and their style was very frequently reproduced by others. This set is cited by Weber in his Annotated Dictionary of Fore-Edge Paintings as "a notable Bible from the Edwards bindery" (Weber 2010, p. 118-9), and it is used as an example in a chapter devoted to distinguishing genuine Edwards bindings and paintings from imitations. The technique of concealing a painting under the gilt fore edge of books was revived in England by William Edwards about 1780. "The Edwards family not only carried on the art, but enlarged it from the mainly floral and heraldic early efforts, with occasional religious scenes and royal portraits, to embrace views of well-known country houses set in landscapes" (Marks, p. 194). They were the originators of the bucolic English fore-edge painting, which became standard in the 19th century. Scholars believe that the paintings were made in Halifax (rather than in London) by artists both within and outside the family and under the supervision of Thomas Edwards. Inspiration for the images was taken from various sources, often engravings appearing in other books; for landscapes, the favourite artist was William Gilpin, a pioneer of the "picturesque". Volume I features a moment from Genesis: Abraham welcoming three angels into his home, an act of hospitality which moved the Lord to bless Abraham and his wife with a son, despite she was far beyond childbearing age. On Volume II is an episode from Exodus: an Egyptian princess and her attendants discover the infant Moses in the bulrushes of the Nile. Volume III displays an animated scene from the life of St. Paul, as he preaches in Rome. The "Etruscan" style binding, with a border of palmettes and other classical ornaments stencilled in black on brown calf, was one of the firm's most popular designs. The origin of this style is debated: some 19th-century writers attributed the invention to John Whitaker, while others ascribe it to the Edwards firm. It is known that Edwards employed it from at least 1775. Provenance: a) Herman Frasch Whiton, probably the American sailor and Olympic champion (1904-1967), with his elaborately designed bookplate featuring his arms and a ship on the verso of an initial blank in each volume. b) Randall J. Moskovitz, MD, American collector from Memphis, Tennessee, with his bookplates loosely inserted. P. J. M. Marks, "The Edwards of Halifax Bindery", British Library Journal, vol. 24, no. 2, 1998; Jeff Weber, Annotated Dictionary of Fore-Edge Painting Artists & Binders, 2010. See also: G. E. Bentley, The Edwardses of Halifax, 2015; Carl J. Weber, Fore-Edge Painting, 1966. 3 vols, large quarto (306 x 238 mm). Contemporary "Etruscan" calf by Edwards of Halifax, spines with raised bands, compartments tooled in gilt with flower and urn centerpieces and pediment cornerpieces, black morocco labels, covers with gilt pentaglyph and metope border, stencilled frame of palmettes, central panel of tree calf enclosed by gilt Greek key roll, board edges and turn-ins tooled in gilt, marbled endpapers, each vol. with a contemporary fore-edge painting depicting a Scriptural scene, edges gilt, green silk bookmarkers. Spines uniformly darkened, binding judiciously refurbished (joints and spine ends repaired, gilt retouched on spine), light rubbing to palmettes design in places, intermittent foxing and slight toning, else clean, the fore-edge paintings beautifully preserved. A handsome set.

257 x 205 mm. (10 1/8 x 8 1/8"). iv, 27, [1] pp., [25] leaves; 11, [1] pp., [25] leaves. Two parts bound in one volume. HANDSOME ORIGINAL ESTRUSCAN CALF BY EDWARDS OF HALIFAX, covers with central panel of tree calf enclosed by a gilt Greek key border and a frame of stenciled dark brown palmettes on light tan calf, this surrounded by graceful gilt ivy roll on dun-colored calf, all within a gilt pentaglyph-and-metoped border, smooth spine divided into panels by strips of inlaid black morocco tooled with gilt Greek key roll, panels with inlaid central oval medal featuring an Etruscan vase, calligraphic gilt flourishes at corners, black morocco label, bright pink endpapers, all edges gilt (expertly rebacked preserving original spine). WITH A FINE BRIGHTLY COLORED FORE-EDGE PAINTING OF THE CRAIGMILLAR CASTLE RUINS, WITH EDINBURGH IN THE DISTANCE. WITH 50 ENGRAVED VIGNETTES (60 x 85 mm.) of the ruins of Scottish castles and abbeys. A Large Paper Copy. Front pastedown with engraved armorial bookplate of Christopher Turnor, Stoke Rochford Library. Lowndes 370; ESTC T153718 (but with a variant title page). Front cover with a couple small areas of lost patina from insect activity, rear cover just slightly marked, upper corners a bit bumped, faint freckled foxing in the margins (more noticeable on the first two leaves), slight offsetting of engravings on facing blank versos. A few condition issues, but still a very attractive book, the lovely binding retaining virtually all of its antique appeal, and the contents with nothing approaching a significant problem. This is an excellent, atypically large example of an Edwards of Halifax binding, enhanced with a most appealing early fore-edge painting depicting one of the castles pictured in this attractive quarto edition. Scottish surgeon and antiquary Adam de Cardonnel (1746/7 - 1820) wrote and illustrated the present work "to preserve from oblivion the ancient remains of Caledonian splendour." Originally intended as a supplement to the popular "Pennant's Tour" of Scotland, it appeared in four parts, the first two in 1788 (in a few different forms, including an octavo edition), and the second two published in 1793. The fore-edge painting features Craigmillar castle, a Medieval fortress located a few miles from Edinburgh, whose most famous guest was Mary, Queen of Scots. One of her stays resulted in the so-called "Craigmillar bond," which set in motion plans to dispatch Mary's husband, Henry Stuart. By the late 18th century, the castle had fallen into disrepair, and it appears in the present painting as an idyllic ruin, with sheep and cows grazing in the fore-ground, and the city with Edinburgh Castle rising in the distance. The Edwards of Halifax bindery was founded by William Edwards (1723-1808) and continued by several of his brothers, half-brothers, and sons (by far the most important of the sons being Thomas, who lived from 1762-1834). This famous firm produced a number of important innovations in binding design, the most significant being the idea of concealing a painting under the gilt of the fore edge. This hidden treasure could be revealed, once the edge was fanned out, as a special surprise element of the volumes the Edwards firm bound--typically in Etruscan calf, as here, or in their patented transparent vellum. Although bindings produced by the Edwards workshop are almost never signed, the present item is surely Edwards' work, as indicated by the characteristic binding style and by the fact that our volume was actually sold by the Edwards firm. As usual, there is no clear way to assign a precise date to the painting; while it is not done in the soft grays that can be firmly associated with the earliest Edwards examples, it clearly is a painting done before 1850. While fore-edge paintings likely produced at the Edwards bindery (and especially produced by their imitators) appear in the marketplace with some regularity, most offered are octavo or duodecimo in size. Of the fore-edge pa.