Edwards Halifax (7 results)

Hardcover. Condition: VG. Edwards of Halifax / 1773 / (Etruscan-style binding by Edwards of Halifax) The Holy Bible (Safe 4, 103848) Octavo. Two volumes, each in later Etruscan-style calf by Edwards of Halifax (shallow gouge to Vol 1, gilt at front joint of Vo. 1 upper cover rubbed, else lightly rubbed). Gilt rule to edges and gilt Greek key tooling at turn-ins. All edges gilt. Wide silk page marker to each (bottom third of Vol. 2 marker separated, but with cord fringe at end). Fore-edge painting in soft greys and greens to each volume: a view of Eton College from the river bank to first, Fountains Abbey to the second (each noted and dated in manuscript to front flyleaf apparently by Thomas Edwards). Typographic bookplate "Sir Joshua Colles Meredyth, Kt. and Baronet." to front pastedown of each. Housed in full calf solander box. Handwriting apparently matches a gift inscription by Thomas Edwards held at Victoria University. Eton view based on that of Samuel Ireland from Volume II of his 1802 book Picturesque Views on the River Thames and identified by Carl J. Weber as a view used by the firm. Fountains Abbey view possibly based on Thomas Hearne's view (based on a sketch by Joseph Farington) in The Antiquities of Great Britain (1782). Book.

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.

A Superb Early Edwards of Halifax Vellum Binding with an Edwards Fore-Edge Painting FORE-EDGE PAINTING. EDWARDS OF HALIFAX, binder and artist. BIBLE IN ENGLISH. The Book of Common Prayer and Administration of the Sacraments, and other Rites and Ceremonies of the Church, according to the use of the Church of England: Together with the Psalter or Psalms of David. Paris: Printed by P. Didot Sen. and sold by W. Edwards and Sons, Halifax, 1791. Twelvemo (5 5/8 x 3 3/8 inches; 143 x 86 mm.). [ii, title-page, verso blank], [xxii, preface & table), [408] pp. With a fine contemporary fore-edge painting by Edwards of Halifax. The scene is St. Martin's Church, Canterbury and shows the single figure of a cemetery worker seated on the ground and behind him a row of grave stones Full contemporary vellum, covers bordered in dark blue with Greek key pattern enclosing a decorative gilt border. Smooth spine elaborately decorated in gilt with dark blue stained spine labels lettered in gilt. Gilt decorated board edges and turn-ins, pink marbled endpapers, all edges gilt. A wonderful example of an Edwards of Halifax ' Fore-Edge' painting on a book originally bound and sold by Edwards of Halifax. Neat ink gift inscription on second front blank "Eliz. Buckle. / April 2, 1818." Provenance: Elizabeth Buckle; Tony Hattersley. Tony Hattersley was a renowned English antiquarian bookseller, who retired to a giant granite mansion hidden up the valley behind Whitby, Dracula's landing place. His books were sold by Bonham's in two parts. Part 1 11/09/07.

Two Superb Edwards of Halifax 'Etruscan' Bindings With Two Fine Early Twentieth Century Fore-Edge Paintings [FORE-EDGE PAINTING]. [EDWARDS OF HALIFAX, binder]. COWPER, William. Poems by William Cowper, Of the Inner Tempe, Esq. In Two Volumes. A New Edition. London: Printed for J. Johnson and Co., 1812. Each volume with a fine early twentieth century fore-edge painting most likely by Joseph Clayton Clark, a.k.a. KYD. Two small octavo volumes (6 1/4 x 3 3/4 inches; 158 x 95 mm.). [2], x, {1]-368; viii, [1]-368 pp. Each volume with a small typed label on the verso of the front free endpaper describing the fore-edge scene. Each volume with an ink inscription on the verso of the title-page, presenting the book "To St. Mary of -the-Woods College from Gladys M. Moloney. Contemporary matching "Etruscan Calf" bindings by Edwards of Halifax, each with a fore-edge painting. Covers with gilt pentaglyph and metope border, stenciled frame of palmettes, central panel enclosed by a stenciled border, enclosed is a stenciled device of a fan-like shape with tulips on a pointillé background and other geometric shapes, spine with five raised bands, elaborately tooled in gilt in compartments, two red morocco gilt lettered labels, gilt board edges and turn ins, marbled endpapers, all edges gilt. Joints expertly and almost invisibly repaired. Housed in a specially made full red morocco vertical slipcase, two spines with five raised bands decoratively ruled and lettered in gilt in compartments. The case is stamped in gilt "Made by Sangorski & Sutcliffe, London, England / For Marshall Field and Company." The superb fore-edge paintings were executed in the early twentieth century and are of the highest quality. They are possibly the work of Joseph Clayton Clark, a.k.a. KYD. The paintings depict "Berkhampsted. Cowper's Birthplace" & "East Dereham Churchyard. Cowper's Burial Place" Two very Fine examples of Edwards of Halifax bindings with two exceptionally fine early twentieth century fore-edge paintings. Edwards of Halifax was distinguished English (Yorkshire) family of bookbinders and booksellers, of whom William Halifax (1723-1808) and his son James (1756-1816) were the most famous. William Halifax was known for his revival of the fore-edge painting and Etruscan calf bindings, the latter, which, if not evolved by William, were successfully adopted by him. He also redeveloped the art of painting under transparent vellum. All three specialities seem to have been carried on both in the Edwards' home town of Halifax, where Thomas (1762-1834), another son, was in business until 1826 and in London, where James and John (1785-c 1791) opened a book store in 1784. Gladys McKenney Molony (1907-1996). Born in Toledo, Ohio she received her B.A. at Saint Mary-of-the-Woods College in Terre Haute, Indiana. In 1930 she married William R. Molony, Jr., M.D., and moved to Los Angeles, CA. She was a patroness of the Los Angeles Museum of Art and the Los Angeles Civic Light Opera. She donated her fine collection of Fore-Edge Paintings to Saint Mary-of-the-Woods College in 1967. A catalog of The Gladys McKenney Molony collection of fore-edge paintings in the Rare Book Room, Saint Mary-of-the-Woods College Library was apparently issued in 1973. Provenance: William E. Henzel, Chicago Ill; Valentine Miller; Mrs. Philip D. Sang; Gladys McKenney Molony presented to the Saint Mary-of-the-Woods College Library, Indiana (November 1986).

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 paintings attributed to Edwards of Halifax that have appeared in RBH over the past 65 years, fewer than one in 10 were on quarto volumes. This copy was previously owned by the MP Christopher Turnor (1809-86), a member of the House of Commons and owner of more than 20,000 acres in Linconshire, where he built the grand Stoke Rochford Hall. FIRST EDITION, quarto issue, with the etchings printed directly above the text.

'Edwards of Halifax' Holy Bible. Fine copy in Edwards ' Classic Vellum Binding ' Blue wash and Gilt Decoration. 12 cm x7.5 cm.x 3.5 cm. Complete with the Rare Original soft green gilt leather slip case, pink lined good condition but with one edge of the soft leather split. Contemporary name and date of 1797 to the free endpaper. Charming Collectible Fine Copy. Ca. 1797.