[Humphreys, Henry Noel]. The Good Shunammmite 2 Kings iv, 8. Longman Brown Green and Longmans [in the studio of Lewis Gruner], 31st October 1847. (170 x 120 mm) 21 pages, paginated in roman numerals in bottom margin, on heavy card, with two paper fly leaves, marbled end papers. Title page on full carpet of 15th century style ivy and acanthus with one 4-line initial and one 3-line initial and short bar linefiller. 6 miniatures (p. iii, vii, ix, xi, xv, xx) and 2 inhabited quatrefoil roundelles (p. iii). Three 3-line initials; four 4-line initials; twenty-four 2-line initials. Names rubricated throughout. Ruled in pink. Full ivy border on each page, with additional illuminated marginal decoration. Bar line fillers throughout. Bound in papier-mâché (gutta percha) with ornate Gothic window style motifs, grape vines, and roundelle with the Shunammite Woman and Elisha. Title centered on banderols. Spine in leather with stamp-embossed title. Gilt foredges and gilded inner dentelles. Minor rounding to top right corner on recto, otherwise binding in remarkably fine condition without significant cracking, damage, or repaire. Pages foxed throughout. About the Illustration Process: Chromolithography— an illustration process pioneered in the 19th century which involves layering colors onto a stone which is the medium of print to produce bright, multi-colored pictures— was pioneered in the 19th century. Illustrators in the 19th century took full advantage of the rich colors and the ability to layer gold tinting to create medieval-style Neo-Gothic illuminations, filling pages with a wonderland of illuminated and inhabited initials, borders, and miniatures. Henry Noel Humphreys fancifully adapted Gothic acanthus and vinework borders produced in 15th century Parisian workshops for high status Books of Hours to create a Victorian update on the sumptuous late Gothic pinnacle of conspicuous consumption. While the book’s production is not entirely clear, Ruari McLean suggests that the notable Owen Jones may be the printer of The Good Shunammite due to the quality of chromolithography (Victorian Publisher’s Bindings, 92). About the Binding: A delicate, though surprisingly heavy, mixture of papier-mâché and plaster, these beautiful bindings are often found with chips and wear. The material was intended to mimic Gothic hand-carved bindings from the 13th to 15th centuries, while incorperating archetectural and some anachronistic aesthetic elements.