The title's use of the word “illuminated” refers not (as usual) to decoration in gold, but both to the huge number of illustrations and to the fact that the half-titles, the title-leaves, and the presentation and birth, death, and marriage leaves are printed using colored inks. Concerning the illustrations, Frank Weitenkampf wrote in The Boston Public Library Quarterly (July, 1958, pp. 154–57): “The engravings after Chapman carefully reproduced the prim line-work method of the Englishman Bewick, introduced here by Alexander Anderson. . . . [T]his Harper publication was a remarkable production for its time and place, and retains its importance in the annals of American book-making. W.J. Linton, noted wood-engraver and author, knew ‘no other book like this, so good, so perfect in all it undertakes.'”

•  O'Callaghan 288–89; Hills 1161.   Binding as above, joints and extremities rubbed, covers with scrapes and discolorations but gilt still bright; repair to foot of front cover joint (hinged in place with appropriate papers; exterior secured with toned tissue), abraded leather consolidated. As might well be expected of such a massive volume, hinges and joints are tender. Occasional very faint spotting, pages generally clean, with family register leaves unused. Last (index) leaf with tear from inner margin extending into text, repaired with long-fiber tissue and wheat starch paste. In its signed binding, this is an interesting example of a very impressive production.  (28808)

Binding:  Publisher's boards of papier maché and plaster, formed using a metal mold and colored black, creating a gothic “carved wood binding.” Title blind-embossed on black roan spine. All edges gilt.

McLean states of the English edition of this work that “It was . . . the first of the so-called 'papier maché' bindings, contrived to look like carved ebony.” This first American edition bears the first “papier maché” binding accomplished in the U.S.

•  Ray, The Illustrator and the Book in England, 231; McLean, Victorian Book Design (second edition), pp. 99, 210; Maggs Bros., Bookbinding in the British Isles, part 2, 245; Abbey, Life, 222.   Very nicely preserved copy with just a few small cracks in the binding, leaves expertly reattached/recased; spine intact with surface of front cover a little rubbed in one small portion. Unlike the broken, chipped, and damaged copies we have seen, this is a treasurable exemplar. Housed in a quarter red cloth clamshell case with tan cloth sides and black leather gilt spine label.  (30100)

Binding: Pebbled black leather sumptuously gilt: The covers tooled with a design composed of a base and pavilion formed of foliated C and S curve volutes enclosing fine foliated strapwork. Ornate columns support the pavilion, which encloses a shell. From the base hang a pair of acroteria, and the base supports a vase of flowers on a rocaille. Board edges gilt-rolled; gilt inner dentelles. Spine divided into compartments by narrow raised bands: Each compartment with a frame of treble fillets, within the second compartment the title gilt-lettered, the remaining compartments ornamented within by fine foliated filigree. All edges gilt.

Provenance: Presentation copy to Harriet E. Henderson with her name in gilt centered on the front cover.

•  Not in Hills; not in Herbert; not in O'Callaghan. Binding as above with a few barely noticeable small abrasions. A few spots of light staining on some pages. As nice an example of this kind of Bible "production" as you are ever going to find.

Binding: Signed reddish-brown morocco binding by Root & Son, with covers and spine gilt extra; extremely wide and handsome turn-ins elaborately gilt tooled — these last are illustrated in our last image here.

•  Not in Darlow & Moule. Leather showing small rubbed spots over edges and extremities, with faint leather discoloration to part of front cover; front pastedown with traces of a now-absent bookplate. The weight of this substantial volume has partially cracked the front joint; however, with careful use (and storage on the volume’s back, not its lower edge), this damage should not quickly progress. A lavishly produced Victorian New Testament, in a still-impressive binding.

Provenance:  The family register leaves record that one Peter Paul Shank, presumably the Bible's original owner, outlived three wives (born in 1833, he married in 1857, 1896, and 1903, and died in 1913 in Mineral Springs, NY). The birthdates of Shank and his wives are all listed, but no offspring are recorded.

Binding:  Publisher's deluxe embossed brown roan in imitation of morocco, covers with central medallions surrounded by ivy motifs, spine with gilt-stamped title and blind-tooled knotwork and floral decorations.

•  Hills 1796. Not in Wolf, From Gothic Windows to Peacocks.   Binding as above, minor rubbing to joints, edges, and extremities. 64 pp. of appended material (index, concordance, metrical Psalms) lacking, with Biblical text and index complete; four plates (of six) lacking, with no indication of their ever having been present. Sewing loosening; first few leaves partially separated. Pages age-toned with some foxing. Front free endpaper torn from outer edge; one leaf with tear from outer margin, extending into text without loss.  (24453)

•  Binding as above, with light rubbing overall and significant rubbing to spine and corners; spine pulled at top and bottom and joints (outside) rubbed, with rear lower joint starting and with remnant of old inked shelf location to one band. Occasional faint smudges; pages mostly remarkably clean.A handsome and studyable thing.  (27372)