https://bridwell.omeka.net/items/browse?advanced%5B0%5D%5Belement_id%5D=40&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=2012&sort_field=added&output=atom2024-03-28T21:40:02-04:00Omekahttps://bridwell.omeka.net/items/show/314The author's telling of how deaths in a short period of time touched his life and helped him view Easter in a new light.]]>2022-11-26T12:54:04-05:00
]]>https://bridwell.omeka.net/items/show/375Memoir written by Rev. Dr. James A. Hawkins' wife, Marcia Murchison Hawkins. Included are details about their relationship together.]]>2022-11-26T12:54:05-05:00
Marcia Murchison Hawkins. Breaking The Invisible Chains: Born an African-American in 20th Century "Desegregated" Chicago. Stone Mountain, Georgia: Your Family Research and Publishing, 2012.
]]>https://bridwell.omeka.net/items/show/1452In this history of the South Central Jurisdiction, Agnew and Severe, with the help of Bishop Hardt, chronicle the first forty years of the United Methodist Church (1968–2008).]]>2022-11-26T12:54:21-05:00
BY 1720 .A36 2012. Theodore L. Agnew and David L. Severe. 40: The History of the South Central Jurisdiction, 1968–2008. Oklahoma City: South Central Jurisdiction, 2012.
]]>https://bridwell.omeka.net/items/show/1949This binding reflects the style and techniques proposed for the Apocrypha, Volume IV of The English Bible Containing the Old Testament & the New printed by the Doves Press. This example utilizes full goatskin case bound with a hollow back, laced in cords, and handsewn endbands. Decorative elements include hand-painted top edge and original paste paper endsheets. Inside front and back covers with leather edge-to-edge doublures. Differences will include the use of inlays rather than raised cover decoration under the leather. In addition, full leather edge-to-edge doublures will not be used in the proposed binding.]]>2022-11-26T12:54:29-05:00
]]>https://bridwell.omeka.net/items/show/1953Sections sewn on meeting guards sewn all along onto three raised linen cords. Front bead silk headbands. Bound in quarter orange goatskin, boards decorated outside and inside with wood veneers, titled and tooled in metallic foil, signed and dated with gold foil on the inside lower board. Spine tooled with gold leaf.]]>2022-11-26T12:54:29-05:00
]]>https://bridwell.omeka.net/items/show/2238Full graphite-grey buffalo leather with matching doublures, flyleaves will be marble paper designed by MarbleSmith in the colors of grey, gold, and deep pink. Sewn silk headbands will also incorporate these colors. The front cover will have an onlay, beveled along the edges, of deep pink buffalo leather with blind-stamped design of the Virgin Mary holding the baby Jesus. Title will be stamped using black foil on a lighter piece of gray leather trimmed with deep pink leather inserted below the picture. It will appear as an inlay. Blind-stamped cross on back cover.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2240French technique lace-in boards, covered in full leather in Harmatan purple goatskin, sewn headbands of purple and gold, gold top edge may be added if this does not create conservation problems. Boards laced in with relief decoration raising the leather on front and back covers, recessed decoration on the front, back, and spine to accommodate gold inlay, spine inlay with title tooled in black. Hand carved two-ply board with 14k gold acrylic ink. Endpapers will be original handmade paper created by the binder with hand-painted 14k gold decoration to match the crosses on the cover. The inspiration for this design is the Jerusalem cross, the hallmark for the Christian church. The chosen colors are important to Christianity and appropriate for this title: purple is associated with people seeking spiritual fulfillment and gold symbolizes immutability, eternity, and perfection.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2242The pages of the book will be folded to form a cross and the volume will be bound in plain sackcloth. The binders will harvest fiber from plants growing around the monument to Thomas à Kempis at Mount Saint Agnes in the Netherlands and then use these fibers to make the endpapers for the bound volume. The book will be placed in a hinged wooden chemise made of Lebanese olive and cedar, woods said to have been used to construct the cross of Jesus. The chemise will be studded with gold and jewels, similar to select bindings on early manuscript volumes. The book is to be rebound as if it were a holy relic, while the unornamented sackcloth reflects the poverty, chastity, and obedience of the Brethren of the Common Life.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2244Design draws upon late eighteenth-century Rococo patterns as well as the world-wide pan-historical tradition of making jeweled bindings for spiritual texts. Exuberant lines incorporate references to the Sacred Heart of Jesus, the Crucifixion, and the Trinity and are also meant to suggest growth and renewal. Flyleaves (visible through the grill work of the boards) include an abstracted thorn bush pattern to be digitally printed using archival carbon pigment inks on .5 mm thick Hewit undyed calfskin. Boards of hand forged Argentium sterling silver 1/8" square wire mounted with synthetic rubies set in sterling bezels, all fixed connections silver soldered, with sterling silver tube hinges connecting the covers to the binding spine. Spine strip will be made of blackened Argentium sterling silver with the title laser etched into the metal revealing untarnished silver. Text will be disbound, then attached to binding using ruby-headed bolts screwed through spine strip and into threaded inserts counter sunk into the hardwood spine form.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2246Traditional-style tight-joint binding, sewn on seven raised bands covered in beige Niger goatskin and tooled with blind lines evocative of fifteenth-century blind-tooled bindings of the time when The Imitation of Christ was first published. Onlay of azure blue goatskin in an eighteenth-century shape on the front cover, echoed with blind tooling on the back cover, refers to the 1788 Didot printing of this edition. Linoleum cuts on both front and back covers in the style of fifteenth-century woodcuts, embossed in the leather and overlapping both colors on the front board. On front cover only, the linoleum cuts representing people from the author’s time and today imitating Christ. Endpapers will be chosen when the binding is complete, possibly Cockerell marbled papers with hinges, or a toned handmade paper. Gold tooled title in a typeface similar to that found in the 1788 printed text.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2248Box binding with three-board structure using Harmatan Nigerian goatskins, black for the binding and dark red for the doublures, with designs based on the Paris 1788 edition of the text. Hand-gilded 23k lines on all three sides of box binding would resemble the engraved plate in the book. Hand-gilded gold circles on the "sliding doors," made of aluminum sheets, covered with black goatskin. The doors would slide from the center to both sides. In the center will be a magnetic half-round boss, behind which the door would open and close. The same bosses are also in the center above and below the window. Image of the author will be on the inside of the front board, visible when sliding doors are open. The author's portrait will also be on a wooden board, covered with gold leaf and egg tempera painting suggesting illumination on a parchment. Doublures, covered with dark red goatskin, will have gold printed phrases derived from the text.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2250Pierced vellum binding, designs tooled and cut into the vellum to reveal brightly colored boards, title and tooling in gold and metallic foils. Design utilizes the repetition of a few limited geometric elements. The letters of the title, parallel tooled lines, and circles punched into the vellum create a dynamic composition with asymmetrical boards uniting in a symmetrical whole. Each letter will be tooled half in gold and half in magenta, the tooled lines and colored shapes creating a vibrant effect offset against the smooth white vellum. The challenge of executing a design binding on De imitatione Christi lies in creating a modern design with a traditional sensibility, a spiritual binding in which the decoration balances beauty with severity.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2252Original textblock conserved as needed. Original sewing holes utilized, book to be sewn on five cords with linen sewing threads, no additional edge treatment. Five cords laced into boards and extensions of the textile spine lining adhered to inside of boards as reinforcement hinges. An alkaline paper lining in the form of a hollow tube creates a "hollowback" spine with built-in flexibility and strength. Full light aqua goatskin, gold and blind tooling on covers, spine with gold rules and lettering of title. Light aqua silk doublures and leather hinges. Light aqua and gold toned silk endbands in two-tiered French style, colors coordinated with the embroidered silk, and the gold tooling and aqua leather on the cover. Protective jacket of vintage French printed cotton fabric adhered to thick handmade paper.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2254Resew textblock using seven flattened hemp cords, consolidate spine, hide glue, backing and rounding, laced on blue boards, no edge treatment, wrap text block, three color double silk headband using batonets. Spine and covers: repair headbands with cord and Japanese paper, glue flannel between cords, six or more layers of crinkled craft paper with wheat paste, glue two-ply bristol boards on cover, back corner, Harmatan goat leather for cover, tool design through Japanese paper, glair lines to be tooled gold, 23.5k gold leaf, onlay with Harmatan purple goat leather, blind-tooled title letters, glair some title words for gold leaf. Inside: clean turn-ins, fill in, sand, edge-to-edge doublure in purple Harmatan, tool gold lines, flyleaves of purple pig suede.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2256Parchment bound over sturdy cover boards, highlighting the living patterns of goatskin parchment without flattening the skin in any way by using adhesives. Five parchment lacings weave through the cover creating a variety of crosses. On the front, a forcefully scribed circular pattern shows the results of effort, care, and irreversible change on the skin. On the back, the lacings outline a space where change can still happen. The circular pattern is echoed in the engraved orb of the frontispiece, with Christ holding a graver tool. Endpapers of handmade linen stock that best matches the color of both the text paper and the parchment cover, sewn on, and held down under the visible turn-ins. Endbands sewn first with linen thread for strength and flexibility, then embroidered with gold and silver silk threads in a traditional endband pattern.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2258Bound in the Jan Sobota-style three-board technique, full black goatskin with an inlay design in the front cover consisting of twenty-four leather covered magnetic squares. Twenty-four squares of chocolate brown leather on one side; on the reverse: six of metallic gold leather (representing joy), six of red leather (representing the blood of Christ), six of white leather (representing purity), and six of royal purple (representing penance). The six color squares will form the inner cross, surrounded by chocolate brown colored leather squares. When all twenty-four squares are removed, a copy of the engraved image of Christ from the book is revealed. Doublure covered with chocolate brown goatskin. Endbands of chocolate brown leather. Edges colored in deep purple and gold leaf.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2260Full rust Harmatan goatskin. Cross, nail, and flowing cloth elements are onlays in cream and chocolate goatskin. A sliced geode crystal is inset into a gold and red goatskin dimensional halo at the intersection of the cross beam with a raised circlet of thorns and single blood droplet. A soft blue aura surrounding the inset is stippled acrylic ink. Goatskin doublures with center medallion onlay contains a raised dove element surrounded by a crown of thorns. French double headbands in rust, gold, and white silks. Title on front cover and author on spine blind tooled. Marbled endpapers by Catherine Levine. Top, fore, and bottom edges gilt.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2262The design evokes the gothic style of binding prevalent during the author's lifetime. Textblock disassembled, repaired as needed, and then sewn on five double-cord stations. Unbleached linen cords laced into cured, quarter-sawn wooden boards channeled, beveled, and fitted with brass closures chiseled into fleur-de-lis patterns and hinged with brass escutcheon pins. Traditional tightback binding with quarter alum-tawed deer skin, tooled lines and fleur-de-lis stampings in blind, title on spine in ink rather than stamped or tooled. Plain wound endbands sewn on rolled linen cores and 100% cotton paper endpapers hand made by the binder.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2264Book will be disbound. Original boards and spine to be housed in a separate enclosure matching that made for the new binding. Signatures guarded and repaired as necessary. Text block will not be trimmed, double folios of plain handmade paper sympathetic with the text block added at front and rear, all sewn on flattened cords. Book gently rounded but not backed, boards shaped at inside spine edge to match natural shoulder. Boards laced in and book covered in a variety of hues of brown leather, mostly goatskin. Tooling and titling in carbon, 23k gold, and dark brown foils. Edge-to-edge goatskin doublures. Hand-sewn, French style headbands in multiple shades of brown. Design incorporates numerous classic metaphors for spiritual growth: movement from darkness to light, from chaos to order, from rough to smooth, and from earthly to heavenly domains. Overall pattern of tooling is in the shape of a stylized dove.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2266Quarter black goatskin with glass boards; text sewn onto linen tapes laced through glass covers with zinc patinated frames; hand embroidered silk headbands; flyleaves of Unryushi Sume off-white paper. Front cover with center depiction of Christ walking with a disciple painted on glass and fired; the illustration is from 1878 edition of The Imitation of Christ by Chapman and Hall. Image will be surrounded by frame of red and blue stained glass with the Latin title painted on glass in the panel just below the image. Back board will also be a red and blue stained glass frame but with central panel diapered. The design is intended to evoke the sense of being inside an old church with stained glass windows depicting the way Christ lived his life.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2268Full Russell’s Oasis red goatskin, the color chosen to symbolize the blood of Christ. Front cover with a large tilted cross composed of many small handmade shapes tooled in blind describing the overall outline of the cross. When both front and back covers are viewed together, the cross tilts far to the right creating four quadrants of various sizes. The four interior corners of the cross and the four quadrants both reinforce the four books of The Imitation of Christ. At the intersection of the horizontal and vertical elements of the cross, the four corners are each delineated by delta shapes of solid gilt leather. Title tooled in gold on a flat spine, edges gilt. Endpapers of purple suede to symbolize the royalty of Christ and the justice of God.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2270Beveled double boards layered with hand-laid paper, vellum spine lining, seven raised bands, sewn in headbands. Scarlet Harmatan goat hide molded on a bas-relief sculptural substrate of Arches watercolor paper layered in three planes. Endpapers hand painted to complement the colors of the text block, the leather, and the painting. The red and gold color scheme honors Didot's 1788 design, while motifs of reflection/imitation, monastic arches, the Trees of Life around the Water of Life, and the Light are included. The triple arch on the front cover frames a painting of a golden morning sun reflected upon still waters. The arches on the back cover frame a sculpted Tree of Life by the Pilgrim's Road. Lettering modeled on Janon Carcain's 1486 edition of the text.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2272Full terracota goatskin, green goatskin doublures, and Cave paper endpapers. The four books of the text are represented by the four pages of different colored green goatskin onlays circling in and surrounding the dusting of gold which represents the final book's emphasis on the individual's union with Christ through the Sacrament or Holy Communion. These leaves tooled in gold to loosely reflect the style of tooling popular in France at the time of the publication of the text. Title and author tooled in blind along the fore-edge of both the front and back boards. Leaves on doublures are floating down and towards the text taking the reader into the book. My hope is to combine old and modern imagery using both traditional and recent developments in design binding.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2274Full purple goatskin binding; sewn-in leather hinge; leather doublures surface gilt and tooled in palladium, with tripartite corner motifs with onlays; double core silk headbands; neutral endpapers matching the text. The outside of the book is meant to be plain. The titling represents the fumbling part of the human condition, although spiritual illumination is found, with direction, within.]]>2022-11-26T12:54:34-05:00