https://bridwell.omeka.net/items/browse?advanced%5B0%5D%5Belement_id%5D=47&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=This+work+is+protected+by+copyright+law.+No+commercial+reproduction+or+distribution+is+permitted.+This+file+may+be+used+for+educational+uses+only%2C+provided+it+is+not+altered+in+any+way%2C+and+the+copyright+line+is+cited.+%28Bridwell+Library+Special+Collections%2C+SMU%29.+&sort_field=Dublin+Core%2CCreator&page=1&output=atom2024-03-29T06:29:31-04:00Omekahttps://bridwell.omeka.net/items/show/380Booklet describing how Southern Methodist University (SMU) became the first major southern institution to desegregate voluntarily.]]>2022-11-26T12:54:05-05:00
Merrimon Cuninggim, Perkins Led the Way: The Story of Desegregation at Southern Methodist University, Dallas: Perkins School of Theology, Southern Methodist University, 1994.
]]>https://bridwell.omeka.net/items/show/539History of the Trinity United Methodist Church in El Paso, TX. Kate Warnick Local Church History Award winner-Large Church Division, 1976–1977.]]>2022-11-26T12:54:09-05:00
287.6764 E48T A. Methodism Comes to the Pass: A History of Trinity United Methodist Church of El Paso. El Paso, Texas: Guynes Print. Co., 1975. (Conference: New Mexico)
]]>https://bridwell.omeka.net/items/show/2162A French style binding with laced-on boards. The top edge is graphite with hand sewn silk endbands, covered in "coke" gray buffalo leather with onlays of emery paper and aluminum screen. The book would be housed in a matching leather clamshell box. The aluminum screen representing the source of the disappearance is depicted on the back board, dwindling around to the front board. "Goodbye" tooled on the spine, too late to save the river. The design is as "simple" as the age old problem of balancing contemporary needs for dwindling natural resources and preserving those resources for future generations.]]>2022-11-26T12:54:33-05:00
]]>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/1453In this history of the South Central Jurisdiction, Agnew recounts the Methodist Church years (1939–1968) and the first quadrennium of the United Methodist Church (1968–1972). ]]>2022-11-26T12:54:21-05:00
BX8382.2.A42 S682 1973. Theodore L. Agnew. The South Central Jurisdiction, 1939-1972: A Brief History and an Interpretation. Oklahoma City: Commission on Archives and History, South Central Jurisdiction, United Methodist Church, 1973.
]]>https://bridwell.omeka.net/items/show/616Copy 250 of 500. Illustrated version of Psalm 24 on sheets of colored paper trimmed to varying widths.]]>2022-11-26T12:54:10-05:00
]]>https://bridwell.omeka.net/items/show/2143Natural goatskin with purple Harmatan goatskin, a modified lacunose technique and stingray onlays. Marbled endsheets by Catherine Levine. The two interlocking circles are based on the vesica piscis. The purple ring symbolizes the spiritual with gilt stars, the flowering Holy Thorn tree represents the material world. On the spine, Excalibur bisects the interlocking shapes while the outer ring binds them as a whole.]]>2022-11-26T12:54:32-05:00
]]>https://bridwell.omeka.net/items/show/2088Full green, goatskin over laced-on boards. Paste paper ends by the binder. Design executed with painted foil stamped onlaid leather, tooling colored foils, and relief imagery. The motif illustrates the transformation of a women, the object of the author's unreturned affection, from a vibrant beauty to a cold, heartless figure of stone. Bound in 2002.]]>2022-11-26T12:54:32-05:00
Dante Alighieri. The Stone Beloved: Six Poems from Dante Alighieri. Translated by Harry Duncan, lithographs by Peter Nickel. Austin, TX: Kairos Press, 1986.
]]>https://bridwell.omeka.net/items/show/607Copy 10 of 50, bound in green goatskin. Allix's illustrations are etchings and aquatints and reflect her idea that books represent a medium for creative expression.]]>2022-11-26T12:54:10-05:00
]]>https://bridwell.omeka.net/items/show/2123Borges’ 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 genius. Titles of the short stories would be letterpressed on handmade paper in small and cramped handwritten typeface similar to the actual handwriting.]]>2022-11-26T12:54:32-05:00
]]>https://bridwell.omeka.net/items/show/624Copy 27 out of 200 printed. Text is Robert Alter's English translation with facing text from Biblio Hebraica Stuttgartensis (1967).]]>2022-11-26T12:54:10-05:00
]]>https://bridwell.omeka.net/items/show/619Copy 170 of 210. Text of Job from the Authorized version of 1611 as arranged by the Temple Bible. Frontispiece is a woodblock print.]]>2022-11-26T12:54:10-05:00
AEP0206 Oversize. The book of Job, according to the Authorized version of MDCXI, following the arrangement of the Temple Bible. San Francisco: Grabhorn Press, 1926.
BY 1730 .S53 K49 2008. BeBe Daves Armstrong. To Tell the Story: A Collection from 806 N. Willow to 901 E. Houston. Sherman, Texas: Key Memorial United Methodist Church, 2008.
]]>https://bridwell.omeka.net/items/show/2044The text and large landscape etchings are mounted in an album structure. The binding is fermented flax paper decorated with gold lines, paint splatters, and a painted line representing a river. Gray endpapers, blue leather headbands.]]>2022-11-26T12:54:31-05:00
County Survey. Text by James Armstrong and Ben Mitchell. Etchings by Ladislav R. Hanka. Typography by Amy Bollinger. Kalamazoo, Michigan: Rarach Press, 1989.
]]>https://bridwell.omeka.net/items/show/1134Augustine's Confessions and Enchiridion translated and edited by Outler with an introduction by Outler.]]>2022-11-26T12:54:17-05:00
]]>https://bridwell.omeka.net/items/show/2327The volume was rounded and backed and full bound following the French style with three different pieces of leather used to form the outline of the shoreline of the sea. The intent was to represent the title of the book, La mar, which means the sea. The top edge was covered with graphite and the headbands were sewn with three silk threads in different colors.]]>2022-11-26T12:54:35-05:00
Ignacio Balcells.La mar: una versión de la vida ante el mar y del viaje a solas por las costas de Chile. Santiago, Chile: Editorial Andrés Bello, 2001.
]]>https://bridwell.omeka.net/items/show/2121Full 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 would be tooled in a labyrinth pattern representative of the story lines followed in many of Borges' stories. To read Ficciones is to enter the labyrinth of his mind. The title would be tooled inside the labyrinth, reading left to right on the front cover and reversed on the back.]]>2022-11-26T12:54:32-05:00
]]>https://bridwell.omeka.net/items/show/2160Teal blue French Chagreen leather with onlays of green and tan leather representing the landscape. Additional strip onlays in black represent the river and a figure with canoe paddle and fishing gear departing the area. The doublure will extend edge to edge in matching leather with a paste paper flyleaf and hand sewn endbands. The title is stamped in black. Goodbye to a River relates the events in one area over many years as well as a changing culture.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2292Dark teal blue French shagreen leather, cover illustrations include acrylic pochoir painting, onlays of various leathers, design details blind tooled. Endbands in two colors of blue silk with white accents. Pastedowns and endsheets made of pastepapers reflecting calm and turbulent seas. The illustration suggests the different paths our lives might take. If we are at one with Christ, others are able to see His reflection in us. When our spirit is in turmoil, there is no reflection observed.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2141Bound using Jan Sobota's two-board binding technique. Terracotta goatskin binding with raised black and brown goatskin onlays to resemble a zebra, title stamped in gold, leather headbands, brown goatskin doublures, top edge colored with acrylics and tooled.]]>2022-11-26T12:54:32-05:00
Peter Beard, editor. Longing For Darkness, Kamante's Tales From Out of Africa. Illustrated with photographs by Isak Dinesen. New York: Harcourt Brace Jovanovich, 1975.
]]>https://bridwell.omeka.net/items/show/1986Full leather binding of gray goatskin sewn on four raised bands. Raised onlays of maroon leather. Top edge graphite.]]>2022-11-26T12:54:29-05:00
]]>https://bridwell.omeka.net/items/show/2085Full leather binding with hand-sewn silk headbands. Included will be various black-to-brown-to-white goatskin onlay links. Onlay titling will be rendered in the style of Twain's writing. An inlaid vellum sheet of writing paper depicts Twain's writing of the first chapter of Huckleberry Finn in gouached pyrography. The pen and ink bottle are inlaid pyrographed wood veneers.]]>2022-11-26T12:54:31-05:00
]]>https://bridwell.omeka.net/items/show/2283Full terracotta goatskin with leather hinges, hand-sewn French endbands complement colors of endpapers. Blind-tooled smoke coming out of the side of the book, mirroring the illustrations in the book showing smoke elements.]]>2022-11-26T12:54:34-05:00