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Date is exactly "2015"
One Hundred Views of the Drowning World
If one was to visit Bernard Middleton's bindery in the 1970s, when this text was published, it would not have been unusual to find a cat or two curled up in a corner. Proposed binding to be bound in brown Hewit goatskin in a laced-on boards binding…
Bound in full brown goat skin with gold tooling to acknowledge the look of older books. To add a more contemporary feel, two images based on illustrations from the book will be done with back-pared onlays and leather line onlays. Edges to be sponge…
Full red goatskin leather fine binding sewn on German tapes, laced into boards. The top edge decorated in alternating sections of gold and palladium prior to sewing. Double-core silk headbands. Pastedowns and flyleaves of a "Dutch curl" marbled…
Tan calfskin with inlaid calf lettering. Flyleaves and doublures of marbled paper. Brown roma endpapers with calf hinges. Hand sewn double core headbands with brown, tan and white silk. Top edge colored brown with acrylics. To be housed in a linen…
Full goatskin binding with large onlay across binding, laser cut shapes representing various tools used in bookbinding and restoration, and gold-tooled borders for onlays. This proposal for The Restoration of Leather Bindings reflects the subject of…
Bound in full brown goatskin using traditional hand embroidery techniques in gilt thread to imitate a historical gilt panel design. Line border on outer panel and along board edges are hand tooled and gilt. Spine decorated with mix of embroidered and…
The hand tooling along the colored leather strips represent traditional lacing-on of boards and Bernard Middleton's approach to design expressed in his Recollections: A Life in Bookbinding. (This sample is only a representation of the decorative…
The entire book will be bound in terra cotta Harmatan goat skin. Inlaid into a frame built of layers of binder's board, the front cover features a photograph taken and printed by the binder, applied to heavy matte paper, and covered with transparent…
The book would be rounded and backed and bound in a full dark red goatskin following the French technique, to highlight the importance of restoration in the conservation of books. The front and back covers will have an indented rectangular space…
Decorated case binding in full tan goatskin with onlays of multiple colors of goatskin having transferred images/text, and onlays of leather lacing. Multi-colored leather stuck-on headbands; all edges toned with brown inks; decorative endpapers by…
Full goatskin binding with laced-in boards. Sewn on flattened cords, leather hinge, doublures and flexi-endsheets of marbled paper by Pamela Smith. Hand sewn, double-core silk headbands; three edges sprinkled with multiple shades of brown acrylic…
Bernard C. Middleton’s words reveal a mind long-trained to salvage even the most decayed book materials: I imagine a vine trained upon a trellis that sprouts new leaves. The green cotton book cloth is to be silkscreened with the image of a vine on…
A large graphic M signifies Middleton's last name and his long, productive, and influential career. The quotation cited above is blind embossed within the M: the words contained within the letter represents Middleton's wealth of knowledge that he…
I like the idea of a historical structure, a stiff-board parchment binding, touched with a bit of modernity by utilizing modern papers in the interior. Binding in red parchment over boards, using the "floating boards" method. Flyleaves and…
For this simple panel design of The Restoration of Leather Bindings, I propose a full black goatskin tight-joint case binding. The sheets will be sewn on three tapes, all text block edges will be gilded, and silk headbands will be sewn by hand. The…
This design refers to the essential relationship between historical bookbinding styles and hands-on restoration techniques. The hands-on concept is represented by semi-pressed inlays of hands and books, worked in multicolored goatskin on the deep…
Contemporary full black leather, sewn-on-tape binding with raised thread lines and carved circular insets revealing grey, terra-cotta, and gold leather underneath. Leather joint construction and terra-cotta leather doublures with marbled end sheets…
The deep purple goatskin was selected as a traditional regal hue to honor the author while elements of red symbolize leadership. The warm natural tones of the cork is harmonious with the color tones of the printed paper cover of the book, visually…
This proposed design for The Restoration of Leather Bindings features scarf-joined goatskin and calfskin leathers offset by lines of recessed onlays in white and black leather. The leather will be dyed with aniline dyes. There will be leather hinges…
This proposed design for Bernard Middleton's text was inspired first by reading his book as a bookmaker/artist and second as one who is constantly exploring and studying different structures, old and new. The idea of illustrating the cover came as…
The text is to be bound in a variant on Jean De Gonet's exposed sewing and Renaissance slotted spine styles, the head colored with graphite before sewing with red linen thread over grey box calf tapes. The areas between tapes will be covered in black…
Ce qui aurait pu demeurer silence.
Neuilly, France: Al Manar, 2015.
Poetry by Rachida Madani, Illustrated by Anick Butre´
Finding Aid for the Papers of Albert Cook Outler.
BX8495.S74 A98 2015
Autobiography of circuit rider, Reverend William Stevenson. First published serially in The New Orleans Christian Advocate between March 13 and April 24, 1858.