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1795 Holy Bible by Thomas Bensley & Engraved by James Fittler | w/ Provenance: Lord Viscount Cremorne (1725–1813) + Reverend David Davies (1742–1819)
 
The 1795 Holy Bible printed by Thomas Bensley features exquisite, masterful illustrations engraved by James Fittler. The detailed copperplate engravings were highly celebrated artistic achievements, sourced directly from legendary paintings by Old Masters like Rembrandt, Rubens, and Dürer. In late-Georgian England, fine-art plate books served as major status symbols for wealthy aristocrats and high-church collectors. The Scripture text is meticulously arranged in two balanced columns per page using Bensley’s clean, elegant Roman letterpress typography. This grand layout was specifically designed by publisher Robert Bowyer to integrate visual art and holy text more seamlessly than standard contemporary printings. It stands out because it contains a notorious, shocking typographical blunder in Mark 7:27, where the text reads "Let the children first be killed" instead of "filled". This specific printing became famous and highly notable as the legendary "Child Killer Bible" (or simply the "Killer Bible"), making it a scarce, darkly fascinating prize for antiquarian collectors. Herbert 1394 | ESTC T123287| Large Quarto / Cabinet Edition (Approx. 10 x 6 1/2 in | 25.4 × 16.5 cm).
 
The Exterior: This magnificent three-volume set is bound in premium, deep navy bluish-green straight-grained morocco leather, presenting a stately and commanding presence on the shelf. The covers feature elegant, understated double-gilt fillet borders that handsomely frame the fine, textured grain of the premium historic hide. Each spine is masterfully structured by sturdy raised bands, dividing the layout into six distinct compartments meticulously accented with delicate gilt rules and fine geometric roll patterns. The upper compartments feature a striking, intricately stamped gilt crest depicting a rampant heraldic griffin, while the middle panels bear clean, brilliantly struck gilt lettering reading "HOLY BIBLE" and the respective volume designations ("VOL. I," "VOL. II," and "VOL. III"). All board edges are finished with a fine, repeating gilt dotted roll, and the text blocks feature heavily gilded edges that still retain a brilliant, reflective sheen with an attractive, naturally aged patina. Crucially, this set represents a pinnacle of late-Georgian luxury bookbinding, commissioned from the workshop of Charles Hering, one of London's most elite and celebrated period binders. This definitive attribution is anchored by the surviving pink binder’s ticket on the flyleaf ("Bound by C. HERING, No. 10 St. Martin's Street, London"), proving these volumes received a top-tier, bespoke treatment right around their time of publication. Opening the covers reveals beautiful, traditional hand-marbled paper pastedowns elegantly framed by morocco leather turn-ins, which are adorned with a striking, highly detailed Greek key roll pattern stamped in brilliant gilt and bordered by a secondary blind-tooled geometric line. Showing only minor, superficial shelf wear and minimal rubbing to the extreme corner tips consistent with age, the bindings remain remarkably robust, tight, and square, offering a pristine, investment-grade display piece for any fine antiquarian library.
 
The Interior: he interior of this three-volume masterwork remains remarkably bright, crisp, and clean, showcasing the absolute pinnacle of Thomas Bensley’s legendary letterpress typography. The text is printed on heavy, premium period woven paper, arranged in two perfectly balanced columns with crisp, deep-black Roman letterforms. In contrast to most heavily used pulpit or family Bibles of the late-Georgian era, the text leaves are entirely free of heavy thumb-soiling, severe liquid stains, or significant tearing, retaining firm and square paper margins throughout. Opening the volume reveals a secure, sound inner hinge structure that lies flat, ensuring the leaves remain structurally stable and well-supported during reading or display. A light, completely authentic historic patina is present across the text block, characterized by a uniform, gentle cream toning and faint, localized foxing spots. The sensational full-page copperplate engravings, masterfully cut by James Fittler, remain sharp, dark, and highly detailed. This includes the prominent full-page engraving at the start of Genesis, meticulously translated by Fittler from the original canvas by Old Master painter Luca Giordano, capturing every dramatic shadow and fine line of the scriptural scene. The original pink paper Charles Hering binder’s ticket remains firmly adhered to the front flyleaf next to vibrant, pristine hand-marbled pastedowns, certifying a well-preserved, investment-grade example of late-eighteenth-century luxury book arts.
 
Provenance & Collector Significance: Lord Viscount Cremorne (1725–1813) 
The highly prestigious provenance of this specific three-volume set is revealed in an elegant, handwritten historic inscription on the front flyleaf. The sweeping period ink reads: "The Gift of Lord Viscount Cremorne To His much Esteemed Friend The Revd David Davies." This explicit dedication anchors the volumes directly into late-Georgian high society, documenting a profound personal connection between the wealthy Irish peer Thomas Dawson (the 1st Viscount Cremorne) and a respected member of the Anglican clergy. This exceptional gift context perfectly mirrors the elite, bespoke nature of the Charles Hering luxury binding, proving that this masterpiece of print and artistry was commissioned specifically to serve as a monumental token of high-church friendship and aristocratic esteem.
 
Collation / Page Count: Complete
 
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