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Bindings for sale:
Wendell Berry's The Farm, Larkspur Press.  Household economy was mentioned in Berry's poem, which is expressed through use of strips of fabric scraps.  Triaxial basketweave pattern using three different historical reproduction fabrics from the 19th and 20th centuries.  $195.Detail of Wendell Berry's The Farm: Larkspur Press.  Decorative endpapers with naturalistic motif.  Red and white textile endbands.  $195.
Mary Ann Hill's Receipt Book.  Printed from the original 1857 manuscript by Red Wagon Press at Shaker Press, 1997.  Nineteenth century dye recipes.  Wool samples included with the published pamphlet.  Interpretive cover consists of indigo dyed handwoven towel in a Shaker pattern.  Binding completed in 2014.  $195.
Mary Ann Hill's Receipt Book.  Printed from the original 1857 manuscript by Red Wagon Press at Shaker Press, 1997.  Nineteenth century dye recipes.  Wool samples included with the published pamphlet.  Interpretive cover consists of indigo dyed handwoven towel in a Shaker pattern.  Binding completed in 2014.  $195.
Mary Ann Hill's Receipt Book.  Printed from the original 1857 manuscript by Red Wagon Press at Shaker Press, 1997.  Nineteenth century dye recipes.  Wool samples included with the published pamphlet.  Interpretive cover consists of indigo dyed handwoven towel in a Shaker pattern.  Binding completed in 2014.  $195.

Books Will Speak Plain.  Julia Miller.  Interpretive design.  German case binding, worked endbands, Pastepaper pastedown design by author Julia Miller, cotton dust jacket designed with illus. by Pamela Spitzmueller.   $295














Books Will Speak Plain.  Julia Miller.  Interpretive design.  German case binding, worked endbands, Pastepaper design by author Julia Miller, cotton dust jacket with illus. by Pamela Spitzmueller.   $295Prototype for a Dutch Floor-Tilers Sample Book of c.1650, Amsterdam.  Wood boards, incised, painted and sewn together.  Cover inspired by Oriental carpets found in 17th century Dutch homes.  Miniature, 3x3 inches.  $225.Prototype for a Dutch Floor-Tilers Sample Book of c.1650, Amsterdam.  Interior view.  Structure inspired by an actual 17th century Danish glazer's pattern book.  $225.

Detail of my binding for Walking Round Cambridge with William Blake: Augeries of Innocence, the text of which was handset in 18 pt Baskerville by Incline Press, and illustrated by Rose Harries. Oldham (England): 2008.    My intention is to use tangible artifacts related to the original work to subtly connect the reader to the text and illustrations within, without overshadowing either.  Dark blue goatskin with onlays comprised of a vintage English textile designed by William Morris (produced by Liberty of London).  The textile is arranged to create a “Cambridge style” panel motif; gold-tooled design elements.  Marbled endpapers (nonpareil pattern) made by Payhembury of Cambridgeshire, England.  Leather joints, hand-sewn silk endbands.  Gold-stamped spine label (with some tooling).  The text block was sewn with linen thread on three cords that were laced into the boards.  The choice of English materials reflects the English origin of the printed work (that of the author, illustrator and printer), and the colors of ink used for the images.   On display summer of 2012 at SMU's Bridwell Library, Dallas, TX.  $395.My binding for Walking Round Cambridge with William Blake: Augeries of Innocence, the text of which was handset in 18 pt Baskerville by Incline Press, and illustrated by Rose Harries. Oldham (England): 2008.    My intention is to use tangible artifacts related to the original work to subtly connect the reader to the text and illustrations within, without overshadowing either.  Dark blue goatskin with onlays comprised of a vintage English textile designed by William Morris (produced by Liberty of London).  The textile is arranged to create a “Cambridge style” panel motif; gold-tooled design elements.  Marbled endpapers (nonpareil pattern) made by Payhembury of Cambridgeshire, England.  Leather joints, hand-sewn silk endbands.  Gold-stamped spine label (with some tooling).  The text block was sewn with linen thread on three cords that were laced into the boards.  The choice of English materials reflects the English origin of the printed work (that of the author, illustrator and printer), and the colors of ink used for the images.   On display summer of 2012 at SMU's Bridwell Library, Dallas, TX.  $395.





















Benjamin Constant.  Adolphe.  Illustrated with pouchoirs by Ro Keezer.  Paris, c.1930.  Full leather, raised bands on spine, textile elements.  $600.  Was on display at The Athenaeum of Philadelphia's juried exhibition, The Decorated Book.  $345.


















 

 
 
 
 





 
 
 
 
 
 
 
 
 
 

Benjamin Constant's Adolphe.  Paris, c.1930.  French textile endpapers with leather hinge.  $345. 




A leaf from Constant's Adolphe, with a pouchoir by Ro Keezer.  (See binding above.)Frank Berkeley Smith's book design for Mark Twain's Following the Equator, was my inspiration for the above binding which is my entry in the Philadelphia Athenaeum's juried exhibition, The Decorated Book.  I interpreted Smith’s design in the center of the upper cover to represent a window into the book’s content.  The image of an elephant viewed through a parted Indian screen gives more than a hint that an encounter with an elephant is included among Twain’s musings.  The plain blue bookcloth selected for the Twain work is that which would be appropriate for an expedition, perhaps the blue representing travel by sea, a subject discussed by the author.  Inspired by Smith, I have designed a window through which a scene from the novel, Adolphe, can be viewed.  Rather than an Asian screen bordering the “window” to the story, I have made curtains with French fabric, acknowledging the author, Constant’s heritage, and selected an image by Ro Keezer, the illustrator, to convey a scene from the tale.  The patterned fabric and the covering material are used to enhance the elegant but unornamented style of Keezer’s pouchoir illustrations, many of which include green curtains.  The spine is proportioned similarly to Smith’s design but ornamented differently.  The covering material represents the luxury and passion, both themes in the novel.  This book is not for sale.

 


 
 
                     
 
 
 
 
 
 
 
 
 

 
 












Interpretive full leather binding for Lance Hidy's Inspired Design:  The Mentoring Stamp.  Kat Ran Press, 2007.  Please inquire for a better image of this precisely made book with actual postage stamp under magnification lens and envelope flap style cover.  Binding appears in exhibition catalog.  $275
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Bamberger, F., compiler.  Books are the Best Things; an Anthology of Old Hebrew Writings.  Philadelphia, 1962.  Pierced parchment binding with gold-tooling, and handsewn silk endbands.  BInding depicted in exhibition catalog.  Sold!This interpretive binding for the 2012 reprint of Dirck de Bray's 17th century bookbinding manual was on exhibited at the Noord Hollands Archief in the Netherlands, and is represented in the exhibition catalog.  The binding is parchment (real, not the new paper product), and is designed to resemble the actual binding of the original manuscript on which the 2012 imprint is based.  I had a die cut to resemble the design in the center of the cover of the original binding, and used upholstery fabric for the carrying case/enclosure to resemble the carpet on the table as seen in a 17th century portrait of the author.  Dirck de Bray was also an artist, a member of the Haarlem Guild of Painters, and can be seen seated at the far right in the image below.  The endpapers were supplied by the printer and consist of the same motif in an elegant repeating pattern.Dirck de Bray, the author of the bookbinding manual pictured above, is seen in this painting seated at the far right, taking notes.  The Oriental carpet on the table inspired the pouch, made from a textile of similar pattern.SOLD!  A Selection of Poems on the Theme of Water.  Incline Press, 2008.SOLD!  Interpretive binding for Johnny Carrera's Pictorial Webster's.  Waltham:  Quercus Press, 2009.  Textile jacket with embroidered metal beads over quarter calf scaleboard binding.  Custom made cloth-covered box with detachable lid.  Exhibition catalog deFINEd BINDINGS available.SOLD!  Lower cover of interpretive binding for Johhny Carrera's Pictorial Webster's.  Waltham:  Quercus Press, 2009.  Exhibition catalog deFINEd BINDINGS available.SOLD!  Interpretive binding for John Carrera's Pictorial Webster's.  Waltham:  Quercus Press, 2009.  Interior view showing scaleboard and alum-tawed thongs laced through the text leaves inspired by historical precedent.  Exhibition catalog deFINEd BINDINGS available.SOLD!  Mallarmé.  Madrigaux.  Illustrations par Raoul Dufy.  Paris, 1920.  Upper cover.


SOLD!  Mallarmé.  Madrigaux.  Illustrations par Raoul Dufy.  Paris, 1920.  Top spine label.SOLD!  Mallarmé.  Madrigaux.  Illustrations par Raoul Dufy.  Paris, 1920.  Spine and both covers.Embroidery thread depicts actual historic sewing structures on the cover of this binding for The Thread that Binds by Pamela Leutz.  Oak Knoll, 2010.  Half leather, printed V&A licensed textile on boards, stamped and tooled spine, endpapers with handsewn details.  The book is sewn with all four colors of the embroidery thread used on the cover, symbolically uniting the books and their binders.  Pictured and described in The Thread that Binds exhibition catalog.
SOLD!  Stewart-Murphy.  History of English Circulating Libraries.  Bird & Bull Press, 1992.
SOLD!  Mardrus, J.C., Dr.,  Les Livres des Rois.  Avenement de Salomon.  Schmied, illus.  Conin, 1930.
Below is a partial list of exhibitions in which my designed bindings have been displayed:

ABC Collaborative Book.  2013.  Del. Valley Chapter, Guild of Book Workers.
From Seneca Falls to Philadelphia. Athenaeum of Phila. / Phila. Ctr. for the Book. Dirck De Bray.  Short Instruction on Bookbinding.  Noord Hollands Archief, Haarlem, NL.Creative Structures.  Allen’s Lane Art Center.
The Sixth Helen Warren DeGolyer Triennial Exhibition and Competition for American          Bookbinding.  2012.  SMU, Bridwell Library, Dallas, Texas.
The Decorated Book:  Continuing a Tradition.  Philadelphia Athenaeum.  
Phila. Artists’ Books. . .to Venice.  2011. Del. Valley Chapter, Guild of Book Workers.
deFINEd BINDINGS.  2011.  New England Chapter, Guild of Book Workers. 
The Thread That Binds.  2011.  Lone Star Chapter, Guild of Book Workers. 
Space and Sequence.  2010.  Free Library of Philadelphia.  (Phila. Ctr. for the Book) 
Show and Bestow.  2009.  Free Library of Philadelphia. 
Inspired Design: The Mentoring Stamp.  2008.  Smith College, MA. ReBound:  
Contemporary Artists’ Responses to 18th & 19th Century Ticketed American Bookbindings.  2007.  Bryn Mawr College, PA. 
Paper Bound, The Guild of Book Workers, 1996.  Traveling exhibition. 
The Book during the Machine Age, University of Pennsylvania, 1994.  Phila., PA. 
Chapter One, Guild of Book Workers, University of Pennsylvania, 1994.  Phila., PA. 
Polychrome Polytechnique, 1990.  New Haven, CT. 
History of Papermaking and Bookbinding, 1988.  Harvard Law Library, MA.  (Served as curator.)
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