My mission is to produce unique and important architectural pieces that add to the soul of their surroundings and environment.

As an artisan, my ultimate goal is to be a notable resource for excellent skill and design, whose work is sought out for its aesthetic integrity and sophistication.

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History

Sarah Pringle and Cinch

Cinch, opened in 2001, is a custom shop offering To The Trade services in architectural finishes. I specialize in the use of vellum/parchment, leather and gilding on furniture and architectural surfaces, and am particularly drawn to work with materials that contribute to the sensory quality one finds in real objects, hand-worked with technical acumen. By working directly with client designs, I have had the opportunity to refine my technique and develop the skills to create unique work that is now featured in residences around the world.



Bio

Formative Years I: Water was always nearby or falling on me
Seattle, WA  ⇒ Essex, NY  ⇒ Newport Beach, CA ⇒ Rockport, ME ⇒Seattle, WA

Seward Elementary, Saint Nicholas School for Girls, Corona Del Mar High School, Maine Photographic Workshops, University of Washington, BA – School of Art.

Formative Years II: Moved East and inland
New Haven, CT ⇒ Easthampton, MA

Hand bookbinder in unique and edition bindings – 8 years.
Studied with: Don Glaister, Timothy Ely, David Sellers, Gary Frost, Hedi Kyle, Laura Young
Worked in the binderies of: Daniel Kelm, Sarah Creighon, David Bourbeau and The University of Washington Libraries

Designed and executed unique bindings currently in collections, including:
The Victoria and Albert Museum
The Library of Congress
The James S. Copley Library
The University of Southern California
The University of Washington
Donald Glaister and Suzanne Moore

Formative Years III: Putting down roots
One Cottage Street Studios, Easthampton, MA

Crossed over into the world of furniture and architectural surfaces, bringing my book binding expertise with me.

Over the past 25 years I have collaborated with architects, designers, furniture makers, metalworkers, upholsterers, conservators, artists, and other individuals to create extraordinary custom work. This To the Trade practice has been the backbone of my work at Cinch and has allowed me to study and develop many techniques on a variety of designs, each with their own particular challenges. I have been quite fortunate in having the opportunity to work with exceptional designers and their clients. As an applied artist, I appreciate their investment in artisan work, and I am grateful for the remarkable opportunities I have had to be involved in superbly designed residences.

Current: Corner (office) studio
#42, Fourth Floor, 1 Cottage Street, Eastampton, MA

I am now at a point where I would like to ‘drill deeper’ into this work, to focus more on my own designs executed in the materials I’ve become adept at using. Consequently, I am reducing my client list, allowing me more time for building spec pieces of my own design and for moving more naturally towards passing on what I have learned. There are few businesses in America doing what we refer to as ‘high end custom work.’ With no apprentice system and limited training in the applied arts, it is difficult for an artisan to acquire practical learning. This kind of work requires a level of focus and concentration to amass an accumulated knowledge—the only way to acquire this is through the practice of sound techniques and exposure to the work of artists/designers who have come before. My intention in teaching is to share what I have learned, to help a student to become more proficient in their skills. I would like to provide the opportunity for a student to learn how and why I have developed particular techniques in my work over the years and to enable the student to use these techniques to take their own creative pursuits to another level.


Clients

The Office of Thierry W. Despont
Thomas Pheasant
William T. Georgis Architect
Thomas Juul-Hansen
Damon Liss Design
Eric Hilton Ltd.
The Wiseman Group Interior Design Inc.
Robert A.M. Stern Architects VCA Inc.
Suzanne Lovell Inc.
Peter Stallybrass
Lee Ledbetter & Associates
Juan Montoya Design
Pierce Allen
Deborah Berke & Partners
Charles Warren Architects
212 Box

Volunteer/Community Projects

In Conjunction with the Society of Gilders

2010, 2012
Gilding and restoration at St. Alphonsus Catholic Church, New Orleans, LA

2008
Re-gilding the lettering and medallions on the base of the U.S. Marine Corps Iwo Jima Memorial, Washington, DC

2006
Re-gilding the Guglielmo Marconi Memorial, Washington, DC



Teaching Experience

2016
Individual Gilding Foundation Intensive for two students: Introduction to the traditional materials and techniques of water gilding

2014
Individual Gilding Foundation Intensive for three students: Introduction to the traditional materials and techniques of water gilding

2013
Workshop at Society of Gilders Conference: New Orleans, Louisiana
Intermediate Study, panel and furniture gilding

2012
Individual Vellum Foundation Study for one student: Introduction to working with vellum/parchment on panels.

2010
Workshop at Society of Gilders Conference, New Orleans, Louisiana
Intermediate Study, panel and furniture gilding


Presentations

2017
SALON New York | Traditional Water Gilding Technique

2016
SALON St. Petersburg | Traditional Water Gilding Technique

2015
SALON Lecce | Traditional Water Gilding Technique

2014
SALON Seattle | Vellum Clad Furniture Technique


Forthcoming

Book on the techniques of vellum on furniture.

Book on the techniques of leather on furniture.