The Book Of Common Prayer . . . Together With The Psalter Or Psalms Of David (FORE-EDGE Painting) Bindings - 19Th Century,Fore-Edge Paintings

140 x 83 mm. (5 1/2 x 3 1/4"). [216], [48] unnumbered leaves. VERY APPEALING CONTEMPORARY VELLUM OVER BOARDS, ALMOST CERTAINLY BY EDWARDS OF HALIFAX, covers bordered by a Neoclassical pentaglyph and metope roll against a blue wash, center of each board with large gilt-bordered medallion containing the gilt monogram "M L C" on a blue background, flat spine divided into panels by gilt pentaglyph and metope border (the one at the bottom over blue wash), panels with classical urn centerpiece and volute cornerpieces, second panel with gilt titling on a blue background, turn-ins with gilt chain roll, marbled endpapers, all edges gilt. WITH A FINE FORE-EDGE PAINTING, VERY PROBABLY BY EDWARDS, depicting Fountains Abbey in Yorkshire. IN THE ORIGINAL (rubbed and soiled, but quite intact) soft green LEATHER SLIPCASE. Title page with ink ownership inscription of M: L: Carey. Griffiths 1783/6. ◆Spine decoration a bit faded in places, rear turn-in lifting just a little at one corner, title and a couple of gatherings with moderate foxing, but still quite an excellent copy, the binding showing virtually no wear, the text clean and fresh, and the painting well preserved. This is an extremely pleasing little book in period vellum produced by one of the most important families in the history of English bookbinding. 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 they bound--typically in Etruscan calf, or, as in the present case, in vellum decorated with gilt and blue wash. The painting here is rendered in the subtle hues typical of Edwards paintings--soft grays and greens, in this instance--and the scenic ruins are one of the favored Edwards subjects. For these reasons, we speculate that it may well have been done at or near the time of publication. In any case, our painting is particularly pleasing for its sense of depth, partly accomplished both by clever use of shadow and by considerable finely painted three-dimensional architectural detail.