![EDWARDS OF HALIFAX BINDING -- The Book of Common Prayer ... together with the Psalter, or Psalms of David, Oxford: Clarendon Press, 1783, [bound with]: The Whole Book of Psalms, collected into the English Metre, by Thomas Sternhold, John Hopkins and others, Oxford: W. Jackson and A. Hamilton, 1784.](https://www.christies.com/img/LotImages/2001/CSK/2001_CSK_09280_0274_000(040025).jpg?w=1)
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EDWARDS OF HALIFAX BINDING -- The Book of Common Prayer ... together with the Psalter, or Psalms of David, Oxford: Clarendon Press, 1783, [bound with]: The Whole Book of Psalms, collected into the English Metre, by Thomas Sternhold, John Hopkins and others, Oxford: W. Jackson and A. Hamilton, 1784.
2 works in one volume, 12° (143 x 87mm.), (occasional light spotting), original vellum by Edwards of Halifax, covers with gilt pentaglyph and metope roll border with floral corner ornaments, the upper cover with the figure of a classical godess holding a lamp in front of an altar, painted under the vellum in grisaille, the lower cover with a depiction of Charity as a maternal figure holding three infants, spine with repeated gilt floral and pentaglyph and metope rolls, lettering-piece, white satin pastedowns within gilt roll-tooled borders, GILT EDGES WITH A CONTEMPORARY FORE-EDGE PAINTING OF FOUNTAINS ABBEY, YORKSHIRE (small areas lightly rubbed and faded, spine slightly discoloured), contemporary green slipcase with gilt chain border (rubbed).
James Edwards patented his method of rendering vellum translucent in 1785 (though it was certainly in use several years prior to this). This involved soaking the vellum in pearl ash solution and pressing it heavily. The decoration could then be painted on the underside of the vellum, with the result that it was completely protected from dirt and scratches. The vellum was then lined with paper and the book covered in the normal way, usually with a "French-groove" and laced-in vellum slips. Most examples have a gilt border of a "Greek-key" or one of several variations of metope and pentaglyph roll tooled over a wash background. It seems clear from the number of drawings that are repeated on bindings by Edwards that there must have been some form of design book from which the artist or customer could select a suitable design to copy.
2 works in one volume, 12° (143 x 87mm.), (occasional light spotting), original vellum by Edwards of Halifax, covers with gilt pentaglyph and metope roll border with floral corner ornaments, the upper cover with the figure of a classical godess holding a lamp in front of an altar, painted under the vellum in grisaille, the lower cover with a depiction of Charity as a maternal figure holding three infants, spine with repeated gilt floral and pentaglyph and metope rolls, lettering-piece, white satin pastedowns within gilt roll-tooled borders, GILT EDGES WITH A CONTEMPORARY FORE-EDGE PAINTING OF FOUNTAINS ABBEY, YORKSHIRE (small areas lightly rubbed and faded, spine slightly discoloured), contemporary green slipcase with gilt chain border (rubbed).
James Edwards patented his method of rendering vellum translucent in 1785 (though it was certainly in use several years prior to this). This involved soaking the vellum in pearl ash solution and pressing it heavily. The decoration could then be painted on the underside of the vellum, with the result that it was completely protected from dirt and scratches. The vellum was then lined with paper and the book covered in the normal way, usually with a "French-groove" and laced-in vellum slips. Most examples have a gilt border of a "Greek-key" or one of several variations of metope and pentaglyph roll tooled over a wash background. It seems clear from the number of drawings that are repeated on bindings by Edwards that there must have been some form of design book from which the artist or customer could select a suitable design to copy.
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