Angela James
  • by Gillian Flynn
    bound in 2014 for the author
    233 x 155 x 35mm

    Graphite edges. Leather joints.
    Sewn on unbleached linen tapes.
    Silk headbands worked.
    Covered half grey goatskin, half hand-dyed orange goatskin.
    Back-pared onlays. Tooled and lettered in black.
    Black goatskin doublures with back-pared onlays.

  • by John Swarbrick
    Fleece Press 2009 (P1000785)
    66 x 70 x 13mm

    Yellow goatskin with back-pared onlays of speckled calf. Blocked in black and pearl foil. Coloured tooling.
    Doublures of speckled dyed goatskin.
    Small folder covered with blue goatskin and lined with yellow goatskin to hold 2 fishing flies.
    Box covered with light blue goatskin, blocked with a black fish. Lined with suede.
  • Golden Cockerel Press 1961
    320 x 200 x 30mm

    Hand drawn and coloured flyleaves. Yellow airbrushed goatskin with hand-drawn and airbrushed back-pared onlays and printed onlay. Gold tooling. Doublures of airbrushed cobalt blue calf, back-pared onlays of gold leaf and drawn image.

    Based on traditional Indian textiles as a metaphor of the way folk tales are woven into the fabric of Indian life and passed on through generations.
  • William Shakespeare
    Caliban Press 2001
    314 x 210 x 25mm

    Spine - airbrushed with acrylic inks. Part covered in grey goatskin. Semi-circles of airbrushed turquoise blue calf, ink drawing, tooled with metallic coloured foils. Titanium semi-circles inset.Lettered with French white gold leaf. Doublures of painted goatskin.

  • President of DB 1990 - 96.
  • Won the Thomas Harrison Memorial Prize for Bookbinding, and forwarding Prize in Prix Paul Bonet.
  • Selected for the Crafts Council Index of Selected Makers.
  • Bindings in numerous private and public collections worldwide. Regularly binds one of shortlisted Man Booker Prize books for presentation to the author.
  • Fine bookbinding conceived primarily in terms of colour and formal/informal design relationships. Tannery and studio-dyed leathers. Covers often exhibiting geometrical hard-edge onlays and inlays alongside informal and free-flowing elements.
  • Recent work has explored the whole book from the printing to finished binding, using more innovative structures and less traditional materials.
  • Publications include: 'The Art of Binding Books', The Fleece Press, 1991 and 'The Handmade Book', New Holland, 2000.