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Date is exactly "2006"
Sewn boards binding, French link stitch on tapes. Covered with black cloth on spine and purple tweed cloth on the boards. Marbled endpapers. Gold stamped title.
French style full goat leather, top edge gilt with spiral tooled decoration, double headbands. Upper and lower boards with gold and blind-tooled design, goat leather onlays on top board. Silk front and rear pastedowns, marbled paper by Einen Miura of…
Bound in full Harmatan burgundy leather with edge to edge leather doublures. Hand sewn endbands complement the letterpress flyleaf provided by the printer. Two illustrations from the book were simplified, hand tooled on the top and bottom boards, and…
Full red chagrin leather binding in the French technique. Hand sewn silk endbands, handcolored and "crackled" gold top edge, and gold pastepaper endpapers. Title and tooling in 23 karat gold. The volume housed in a matching chemise, slipcase, and…
Hollow-back binding sewn on three frayed linen cords, quarter leather bound in the skin of a copperhead snake shot and tanned by the binder in August 2007. Top edge gilt, leather headbands, and Lokta Momi paper covered boards and endsheets.
Head gilt before sewing on tapes, forwarded as a concave spine binding, tab and slot board attachment. Spine covered in full goatskin with inlaid goatskin title. Boards of eggshell lacquer panels joined with forged patinated brass “lines”, goatskin…
Full leather binding in burgundy kangaroo skin using the French joint technique. Figures made of onlaid indigo goatskin with acrylic ink and hand-dyed calfskin with a crackle finish. Double headbands of blue and gold leather. Title and author would…
Fine binding in full yellow goatskin with onlays of dark, emerald, and lime green goatskins. All edges colored to match yellow leather; double-core silk headbands; blackened tooled title; decorative papers by Catherine Levine; drop-spine box. The…
Borges’ eyes have been chosen from the line drawing for a unifying element of the content and the cover. The “eyes” would be cast and covered with leather and attached to the cover. The stamped and foiled ambigram on the back is symbolic of literary…
Full leather, English style binding over laced-on boards in beige Harmatan Goatskin. End sheets would be hand-marbled paper with a leather doublure. Hand-sewn silk headbands in beige, brown and green to match the leather and end sheets. The cover…
The design would attempt to reflect symbolically the literary references to life paths, growing mazes and the garden of forking pathways. The pathway would be raised to symbolize literary directions. It would be divided to show philosophical…
Cover tells a story of all stories yet to be told through rounded spines of leather with gold and blind-tooled cords and labels. An embossed labyrinth would weave from the back to the front covers. Within would be letter press printed heavy…
Full dark brown goatskin with insets of parchment manuscripts, and onlays of native dyed goatskin with blind and gold tooling. Full leather endpapers produced using the same techniques would complement the front and bottom boards. The endbands would…
Full leather binding in the French technique, with a leather onlay extending from the top corner of the rear cover over the spine and widening towards the top corner of the front cover. The inside covers would be finished in a grey leather…
The design is inspired by the theme of duality woven through Ficciones, and by Borges’ later reminiscence of childhood. Bound in yellow goatskin, with backpared onlays of pale yellow and black, the title stamped with custom die. Endsheets of Ingres…
The proposed design reflects the specific idea of the warping of reality. Sieved through simplicity, lines become representational. The cover depicts the warp with “FICCIONES” and “BORGES” flanking it down the spine, all characters being blind…
The design for Borges’ Ficciones is suggested by the mysterious encyclopedia described in “Tlön, Uqbar, Orbis Tertius.” The volume number is a hint from the infinite “Library of Babel.” English fine binding in full yellow goatskin with recessed…
Triple cover board, Sobota’s binding structure. Leather-tooled double headbands. Silver multi-metallic top edge. Boards covered in dark blue paper made of leather-maché, light blue French calfbox, with the title in relief, gold tooling and…
Mirrors and towers recur in Borges’ Ficciones, and provide the inspiration for this design. A profile of a phrenology head (mapping the mind) is seen in a mirror that also reflects a burning tower from the back board. Dark blue leather sets off the…
Harmatan purple leather #29, marbled endpapers, endbands. Front board will be embroidered labyrinth of four-ply waxed golden yellow thread. Bottom board will be embroidered empty room, the labyrinth inspired by “The Garden of Forking Paths.” The…
Cased in two boards with Harmatan purple leather #29. Text paper is Arches text wove. Marbled endpapers by Kevin Taylor. Flexible purple leather spine colored with gold pigment paint and sewn with “x” stitching to leather covers.
In “The Library of Babel,” Borges writes: “The universe (which others call the Library) is composed of an indefinite, perhaps an infinite, number of hexagonal galleries, with enormous ventilation shafts in the middle. . .” This concept is inspiration…
Binding sewn with linen cords and tapes. Text block with mull attached to a three-piece cover using Canapetta eggshell bookcloth. The two halves with contrasting color sides, Canapetta red and Canapetta blue. Inlay accents of stylized labyrinths,…
BS 450 .E45 2006
Exhibition catalog for The Elizabeth Perkins Prothro Bible Collection at Bridwell Library, 1996–2006.
Z 269 .S59 2006
Exhibition catalog for Six Centuries of Master Bookbinding at Bridwell Library.