Parables of Our Lord.

London: Longman, Brown, Green and Longmans,, 1846. Exquisite neo-gothic book design First edition, in a superbly preserved example of the publisher's relievo binding, and illustrated with unique medievalist chromolithograph borders throughout. This "was one of the first of the so-called 'papier maché' bindings, contrived to look like carved ebony... They were cast in a black plaster composition, over papier maché, often reinforced with metal. The result was splendidly gothic and impressive" (McLean, p. 99). The colophon states, "it has been the aim of the designer to render the ornamental borderings of each page appropriate to the text, and to avoid all mere arbitrary or idle ornaments; and he has thought it more suitable that the garments of gold and many colours in which he has arrayed them, should at all events be new,... strictly original, fresh, and full of the purpose alone to which they are devoted". Humphreys (1810-1879) was a naturalist and "a very original designer in all the fields of art that he tackled, especially in that of illustration. A master of chromolithography, he produced the finest illuminated gift-books of the Victorian age under the inspiration of Italian and Flemish illumination of the Middle Ages" (Houfe, p. 349). This copy formerly belonged to Rector John Dixon Wortley (1879-1950), of Swannington, Norfolk; his ownership inscription is on the front free endpaper verso. Wortley published a number of works on local history and naturalism, including Sylvan Scenery: The Charm and Beauty of Our Trees and Woodlands (1932). Octavo. Original relievo binding of black calf elaborately embossed in the Gothic style, depicting architectural frames, floral motifs, symbols of the Evangelists, and central image of the Parable of the Sower, inner dentelles gilt, marbled endpapers, edges gilt. Housed in a grey cloth folding box. Chromolithograph title page heightened in gilt, 31 chromolithograph leaves with text and borders in the medieval style, 2 pp. of letterpress at end. Tiny chip to upper edge of front cover, superficial crack to rear cover, embossment remaining notably sharp, inner hinges reinforced, occasional spots, foxing to terminal letterpress leaf and blank. A near-fine copy. Simon Houfe, The Dictionary of British Book Illustrators and Caricaturists, 1800-1914, 1981; Ruari McLean, Victorian Book Design and Colour Printing, 1972.