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                <text>&lt;span&gt;Based on medieval binding structures, textblock and marbled endsheets sewn on Pleister tapes with link stitch. Conservation endbands. Layers of pared leather and flannel to support spine, last layer is a vellum spine lining with extended flaps. Boards made by laminating binder's board with handmade paper, alternating each as well as alternating grain to provide density and an appearance of wood boards. Thick covers chamfered, except at spine, and attached with vellum flaps. Spine bands added. Crimson Harmatan goatskin, graphite applied to head and tail edges and top edge gauffered with silver circles. Front cover decoration based on centuries-old &lt;/span&gt;&lt;em&gt;cuir-ciselé&lt;/em&gt;&lt;span&gt; technique.&lt;/span&gt;</text>
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                <text>&lt;em&gt;The Thread That Binds: Interviews with Private Practice Bookbinders.&lt;/em&gt; Compiled and with introductions by Pamela Train Leutz. New Castle, Delaware: Oak Knoll Press, 2010.</text>
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                <text>&lt;em&gt;Lives of Saints, with Excerpts from their Writings.&lt;/em&gt; Introduction by Father Thomas Plassmann, OFM. Editorial supervision by Father Joseph Vann, OFM. New York: J. J. Crawley, 1954.</text>
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                <text>John W. Robertson. &lt;em&gt;Bibliography of the Writings of Edgar A. Poe. [Bound with:] Commentary on the Bibliography of Edgar A. Poe.&lt;/em&gt; San Francisco: Russian Hill Private Press, Edwin &amp;amp; Robert Grabhorn, 1934.</text>
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                <text>&lt;span&gt;Charles Perault. &lt;/span&gt;&lt;em&gt;Contes de ma mère l’Oye&lt;/em&gt;&lt;span&gt;. Original illustrations by Sophie Delprat, Claire Hénault, Lionel Koechlin, Jean-Louis Zirnhelt. Published for the Biennales Mondiale de la Reliure d'Art. Chambon-sur-Lignon, France: Jean-François Manier, 2006.&lt;/span&gt;</text>
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                <text>Pierced vellum binding with yapps and bone clasps. Textblock disbound and edges left untrimmed, original paper covers and spine lined with kozo tissue and bound in. Volume sewn all along on three alum-tawed goatskin thongs with new endsheets of laid paper. Back bead linen headbands were sewn with linen thread on cores of alum-tawed goatskin. Boards colored with ink and glued to the vellum, kid vellum lined with wove paper and tooled in gold before being pierced to reveal the colored boards. Yapps formed, spine titled in gold. Case laced on with sewing supports and headband cores. Bone clasps added to control the expansion of the vellum. Binding signed in gold on the lower pastedown.</text>
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                <text>Please cite Bridwell Library Special Collections, SMU, as the source of this file. A high-resolution version of this file may be obtained by contacting Special Collections (bridsc@smu.edu).</text>
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                <text>&lt;span&gt;Hand-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.&lt;/span&gt;</text>
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