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=2&output=atom2024-03-29T01:21:17-04:00Omekahttps://bridwell.omeka.net/items/show/2319Sewn 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.]]>2022-11-26T12:54:35-05:00
]]>https://bridwell.omeka.net/items/show/2114Full dark green and alum-tawed goatskin dyed with gold and palladium leaf and colored foil tooling. The center page is endpapers laminated together with foil tooling. Head colored and gilded center pleat in the binding and the center page. Sewn with colored silk.]]>2022-11-26T12:54:32-05:00
]]>https://bridwell.omeka.net/items/show/342Booklet with biographical statement about Alfredo and Clotilde Náñez and a special tribute presented by Roy D. Barton, D.D., in 1982.]]>2022-11-26T12:54:05-05:00
Recuerdos de Alfredo Náñez y Clotilde Falcón de Náñez / Remembering Alfredo Náñez and Clotilde Falcón de Náñez By Timothy S. G. Binkley, Archivist Bridwell Library, Perkins School of Theology, Southern Methodist University 2016 From the Alfredo Náñez and Clotilde Falcón de Náñez papers
]]>https://bridwell.omeka.net/items/show/2243Hand-forged and drawn ingot sterling silver square wire, hand-forged sterling silver "stars," purchased sterling silver tubes for hinges, purchased sterling silver bezels, and purchased lab-grown rubies. All silver except the stars intentionally blackened. Endpapers of kozo unryu sprinkled with gold dust. Text sewn into a muslin spine lining, head gilt, textblock secured to binding using adhesive produced by creosote wax insects. Binding accomplished utilizing traditional Diné (Navajo) silversmith tools and methods, produced while on retreat in the Naabeehó Bináhásdzo (Navajo Nation), and is dedicated to my Diné teacher Tommy Young.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2251Dark blue goatskin with onlays comprised of vintage English textile designed by William Morris; textiles arranged to create a "Cambridge style" panel motif; gold-tooled design elements. Marbled endpapers. Leather joints, hand-sewn silk endbands. Gold-stamped spine label with tooling. Text sewn with linen thread on three cords laced into the boards. The choice of English materials reflects the origin of the printed work and the colors of ink used for the images. My intention is to use tangible artifacts related to the origin of the work to subtly connect the reader to the text and illustrations within, without overshadowing the literary content.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2001Half leather "panel binding" of red Nigerian goatskin sewn on eight raised cords. Slightly concave central panels of gold lamé linen bordered by aluminum molding and black leather. Carved and gilt fleuron recessed in front panel. Craft Guild of Dallas Special Mention for Technical Innovation.]]>2022-11-26T12:54:30-05:00
]]>https://bridwell.omeka.net/items/show/2098Sewn onto wooden dowels. A threaded hollow steel rod connects two redwood hexagons that function as lids or covers. The “book” has a hexagonal slipcase with six panels featuring copies of the original book’s cover attached to a redwood base. [Displayed with book lifting out of slipcase.]]]>2022-11-26T12:54:32-05:00
]]>https://bridwell.omeka.net/items/show/2045Flax cover binding with 24k gold blocking lines to describe the text. Cover design abstracted from the title page, tooled fly leaves using elements of the cover design, and tri-tone blue silk headbands. Conservation concertina binding construction and a leather preservation box with acrylic window display. ]]>2022-11-26T12:54:31-05:00
]]>https://bridwell.omeka.net/items/show/2064Bradford was a member of the “Order of the Blue String” of the Society of the Garrett, Gotham, 1815. Endpapers and inlays are woodblock prints depicting the secret script of the “Society” and the Knight of the Folding-Stick, a creature fashioned from binding tools. The binding is sewn on five cords with an attached spine and two-board cover. Headbands are sewn silk.]]>2022-11-26T12:54:31-05:00
John Bradford (pseudonym). The Poetical Vagaries of a Knight of the Folding-Stick of Paste-Castle. Woodcut by Deb Steytler. Valparaiso, IN: Sandlin’s Books & Bindery, 1993.
]]>https://bridwell.omeka.net/items/show/708In this edition of the Gopsels, Giovanni Mardersteig (1892–1977), used his own Renaissance-inspired "Zeno" typeface and Bruno Bramat's illustrations which were recreations of Bartolommeo de Giovanni in 1495.]]>2022-11-26T12:54:10-05:00
]]>https://bridwell.omeka.net/items/show/2269Old cover removed and pages trimmed, ironed, guarded, and sewn on five bands. Encased in a modified K-118 structure with vellum spine, double boards interspersed with hand-laid paper, hand-sewn headbands, and a sculptural substrate of layered Arches watercolor paper. Dark green Harmatan goatskin, dark green endpapers. Painting on front board based on reproduction in text, trimmed and placed in sculpted frame.]]>2022-11-26T12:54:34-05:00
Peter Brown. The Book of Kells: Forty-Eight Pages and Details in Color from the Manuscript in Trinity College, Dublin. New York: Thames and Hudson, 1981
]]>https://bridwell.omeka.net/items/show/1968A hand-painted cover for "The Apocrypha" inspired by biblical images found in historically significant churches and in illuminated manuscripts, a modified illustration to give the design a vintage feel. The illustration selected for the cover would wrap around the volume from the front to the back cover.]]>2022-11-26T12:54:29-05:00
]]>https://bridwell.omeka.net/items/show/2158A split board binding decorated with a pallet of colors in blues and greens. The significance of the river is abstracted on the cover in onlays of various blue and green colors to emphasize the importance of this pathway in this memorable journey.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2290Using a three-cover-board structural binding, the volume will be covered in white goatskin leather with red leather doublures. Cover design will be a contemporary cross of wood made of veneers and leather onlays. At the intersection of the vertical and horizontal elements of the cross, a faux ruby-like stone will be embedded in a metal bezel. Headbands will be hand sewn in colors complementing those used for the cover and the leather onlays. Title on spine.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2083Modern cover, vivid in color, with leather and type over copper plates. The proposed binding will be leather bound with inset distressed copper circles, and the endsheets will be a bright color to match one of the leather circles. The color of the endsheet is to be determined after selecting leather and matching current dye lots, so as to match one of the leather circles of the cover.]]>2022-11-26T12:54:31-05:00
]]>https://bridwell.omeka.net/items/show/2119The 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 diversity and include embed faceted stones to emphasize the richness of literary efforts. Clean lines, raised onlays in similar earth tones of brown goatskin. Black leather would offset the pathway for contrast of the faceted color stones. Complimentary papers would be selected for the end sheets and a clam shell box with matching lining would protect the case binding.]]>2022-11-26T12:54:32-05:00
Full leather binding in the French technique with three strips of onlaid leather in different colors and lengths and an inlaid disc of lapis lazuli on the upper right corner of the front cover. Edge-to-edge grey leather doublures with the first and last flyleaf in a red moiré cloth. Sewn headbands in three color silk threads and the top edge finished in grafitti with tooled disc painted red. Author’s name, Brugalla, gold tooled on the spine.
]]>https://bridwell.omeka.net/items/show/2288Design is intended to evoke the fundamental purpose of Christian life represented in the text, characterized by its emphasis on the interior life and withdrawal from the world. Book to be bound in black leather with cover design and title embossed in gold, representing how the text emphasizes devotion to the Eucharist as a key element of spiritual life. Endpapers were chosen for the design, which seems to bring out one's own personal life, ever winding and blossoming throughout time.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2286Based on simplified French binding. Endsheets of Fabriano Roma handmade paper. Harmatan goatskin in dark green and biscuit cover the front and back boards. Insets on front board include the focal design and title. Larger inset based on centuries-old cuir-ciselé technique. Inner cross in scarlet represents Christ's blood shed for mankind. Seven diamond-shaped cutouts are for the "biblical seven" symbolizing fullness, completeness, or perfection as referred to in the text. Cut in center of cross further emphasizes the love God had in His reunion with men. Smaller inset hand lettered using gothicized italic hand.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/2287Case binding covered in leather over a sculptural rose with leather head bands, leather cover is hand painted. Box containing the book is an intricate part of the overall design, representing the wall around the secret garden with entrance through a weathered gate. Gate made from balsa wood and painted. Backer board inside the box has been formed to hold the book and painted to represent the garden.]]>2022-11-26T12:54:34-05:00
]]>https://bridwell.omeka.net/items/show/292Letter from George H. W. Bush to Bishop Dixon thanking him for coming to his 1989 inauguration.]]>2022-11-26T12:54:04-05:00
Letter from President George H. W. Bush to Bishop Ernest T. Dixon, Jr., acknowledging the bishop's presence at the president's inauguration, January 31, 1989, from the Ernest T. Dixon, Jr. papers, 1900–1996.
]]>https://bridwell.omeka.net/items/show/2153This miniature binding has been sewn on tapes, laced in, with silk endbands. The gilding has been done by Myles at Marchetti Brothers. The outer and inner boards are covered in full goatskin with leather onlays and gold, palladium, and colored foil tooling. The flyleaves are Curwen decorated and Twinrocker handmade papers. A cloth and leather push-out book type box has a stamped leather label. The volume's Edwardian verse describes a woman with an overbrimming wardrobe, but still with "nothing to wear." The design shows the woman in her dressing gown, her arms up in despair, while the leather doublures illustrate various pieces of clothing thrown in the air.]]>2022-11-26T12:54:33-05:00
]]>https://bridwell.omeka.net/items/show/2026Full brown goatskin binding over cut-out boards exposing handmade paper paper endpapers. Wrinkled leather onlays and blind tooling are used to represent a leafless tree. Gold lettered spine titling.]]>2022-11-26T12:54:30-05:00