Photograph of illustrations inside Mary Shelley’s "Frankenstein", held by UNT Special Collections. The cover is orange with the title on the spine, by it a red book seen by its closed pages. Image 2, frontispiece of "Frankenstein." The black and white illustration on the left page is of a naked man on the floor on top of bones covered by cloth, a man stands with a frightened expression behind him holding a long pole in his hand. The page on the right contains an illustration of a young man walking away from a woman in a doorway. The title and author are above the illustration, and below it is the quote "The day of my departure at length arrived" in cursive script. The illustration on the left of this copy of Mary Shelley’s Frankenstein, depicts the moment the creature awoke and his creator fled from the room. The illustration on the right depicts Victor Frankenstein at a young age leaving his family to study abroad. This is the first illustrated edition, and third publication of the book. It is bound with the unfinished novel The Ghost-Seer by Friedrich Schiller, which contains many similar elements to Frankenstein, including necromancy.

Photographs of the cover and pages from George W. Sheldon's "Selections in Modern Art," held by UNT Special Collections. These volumes contain 125 plates of steel engravings and etchings representing works of recent and contemporary artists of the late 19th century. The etching Cedars by Moonlight by James Smillies, 1878, is one of the earliest instances of an American etcher beginning to differentiate between daylight and moonlight, a distinction easier made in theory than in practice. The cover is a severely worn brown leather, the front of it containing the title over an illustration of a woman etched in gold and black. The spine contains the title. Image 2, a page containing an illustration called Cedars by Moonlight by James Smillie. The illustration is black and white and is of cedar trees standing tall atop a hill on a cloudy night, the moon partially hidden behind the cloudy sky. Image 3, a page containing an illustration called "Homeless" by Gustave Doré. The black and white illustration is of a woman in a long raggedy dress. She is holding a child covered in raggedy robes a hood partially covering his/her face. They are both barefoot and have a forlorn look on …

Photographs of Henri Matisse's "Jazz", held by UNT Special Collections. Jazz is a series of works by artist Henri Matisse, which shows circus scenes cut out of colored paper. This is the first example of Matisse working in this way, which would eventually be his main method of creating art. The cover contains the title in pink lettering, and one of his works on the right with different blocks of color. Image 2, the page shown is titled “Nightmare of the White Elephant” and shows a circus elephant performing a trick. Matisse described the elephant as dreaming of his long-lost childhood in the jungle, with the red flames symbolizing his anguish.

Photograph of the cover of "The Blue Guitar" held by UNT Special Collections. The cover is blue/grey in color, a white rectangle in the middle containing a drawing of a blue guitar, with the title under it, followed by the contributors which are: Etchings by David Hockney, who was inspired by Wallace Stevens, who was inspired by Pablo Picasso. Inspired by Wallace Stevens’ poem. All the wording alternates between blue and pink letters, and along the margins of the white box are thick blue slashes and thin pink slashes. “The Man with the Blue Guitar,” which was inspired by Picasso’s The Old Guitarist, David Hockney created a set of 20 color etchings, for The Blue Guitar, to interpret the themes of the poem. This book is signed by the artist.

Photograph of books by Thomas Boreman, "Curiosities in the Tower of London" and "The Gigantick History," held by UNT Special Collections. Two books are propped up by each other, "Curiosities..." on the left and "Gigantick" on the right. They are both dark blue in color, the spine of the one on the left red, the one on the right black. In front of them are two propped up books of their same titles. They are both open to the title pages, and on the left pages are illustrations. Thomas Boreman authored about a dozen children’s books in his lifetime, each with the intent of sparking their curiosities in the world around them. Many of his books focus on landmarks in London, such as this first edition copy of The Gigantick History volume 2, published in 1740, which tells the history of Guildhall, a historic building in London. Curiosities in the Tower of London, published in 1741, is another of Boreman’s attempts to pique the interest of young readers. In it, he describes many exotic animals housed in the Tower of London. This illustration of a porcupine is a wonderful example of the somewhat odd yet charming, depictions of these exotic …

Photographs of "Biblia Pauperum; Apocalypsis," held by UNT Special Collections. The first is of the cover of the white book and the title at the top in black Latin script, the first letter of each word red. On top of it is a brown paper with a illustration in a red circle of a woman, Latin wording is around the rim of the circle and snaking over the woman. The second image is an illustrious of horses. In these two pages, there are three drawings of horses: blue, red and black. On each horse is a woman riding it, with small paragraphs of Latin text by them. There are several other drawings of thing such as swords. The third image is an illustration of creatures. At the top of each page is a woman with blue wings. On one side she is holding a collar attached to a creature, and pushing another creature into the gaping mouth of a monster. On the bottom left page six women ride a horse. The text of "Biblia pauperum" consists of selections from the Book of Revelation. Stories of the Apocalypse often recount visions said to be revealed by a heavenly messenger or angel …

Photographs of "Experimental Researches in Electricity" by Michael Faraday, held by UNT Special Collections. The first shows the covers of the three books that are side by side each other, the two on the left are worn black in color and the one on the right a deep blue. The title is on the spines of the books, numbering Vol I, Vol II and Vol II fro left to right. Image 2, diagram inside "Experimental Researches in Electricity." The diagram extends out of the page, a circular figure in the middle, and boxes and pipe-like drawings around it. Michael Faraday worked on the topic of electromagnetism, which would become the basis for electric motors. Faraday’s Experimental Researches in Electricity brought together ideas about supposedly different types of electricity, and provided the basis for research by future scientists.

Photographs of "Liber Bestiarum," held by UNT Special Collections. The first is of two pages in the open book, the one on the left contains a colorful illustration of birds on a tree with flowers. Under it is medieval script with the first letter of the paragraph a giant blue P. The page on the right contains the same medieval script. Towards the bottom is a paragraph with the first letter being a big red A. The second photo is of the cover of "Liber Bestiarum." The cover is bright red, the spine containing four different boxes of illustrations along the spine of animals. The front of the cover contains the book title in gold script Above and bellow it blue and red illustrations of animals. This is a facsimile of the manuscript from the Bodleian Library in Oxford, England and has 135 illustrated depictions of animals, including birds, reptiles, and fish. Bestiaries are manuscripts about animals, including real and imaginary illustrated depictions revealing a moral lesson. Bestiaries originated in the Ancient world but reached their height of popularity during the Medieval Period.

Photograph of the details on the quilt banner of the Dallas Chapter of the NAMES Project. It focuses on the Texas map design in the middle with the cities El Paso, Amarillo, Fort Worth, San Antonio, and Houston marked in red stars, Austin marked with a yellow star, and Dallas marked with a black star pin with "DALLAS" on it in red letters. There is a bolo-tie with the Texas seal on it around the state map. There is also a rainbow, red ribbon, and logo design around the central design.

Photograph of a brown teddy bear in a seated position with a red AIDS ribbon pinned to its chest. The bear is fluffy and has smooth patches on the bottoms of its feet and where its paws would be.

Photograph of a framed certificate received by the Dallas Chapter of the NAMES Project for their contribution to the quilt display in Washington, D. C. It includes the year, the organization's logo, and the signatures of Perrie Dolph, the Volunteer Chair of the NAMES Project, and David B. Jackson, the Chairman of the Board for the NAMES Project in Houston.

Photograph of a metal plaque given to Tim Halsey, the Dallas Chapter's Workshop Manager, for his work on the NAMES Project. It includes a date, a gold border, and has a wooden frame.

Photograph of a purple and teal button that reads "The Quilt. See it and Understand." The text is white and there is a squiggle beneath it.

Photograph of a spread in a binder used by the Dallas Metroplex Chapter of the Names Project. It is a guide for making quilt panels and this is the seventh design. It is a rainbow base with white spots all over it. There are several "NO"s written at the top and a circle with a line through it is over them all. Underneath it "HOT GLUE", "SEQUINS" and "GLASS" are written as a list.

Photograph of a yellow button that reads "Cure" in blue cursive letters above the words "AIDS NOW" in blue bold letters.

Photograph of a button that reads "The International AIDS Memorial Quilt. Not All Battles are Fought with a Sword." The text is black and there is a picture of a sewing needle with red thread as the background design. The logo for The NAMES Project is also in the lower right hand corner.

Photograph of a t-shirt commemorating the NAMES Project Memorial Quilt. It has several panel designs in three quadrants of the full design. The fourth is the organization's name and there is a border around the design that reads "The NAMES Project AIDS Memorial Quilt" four times. The t-shirt is on a mannequin torso.

Photograph of a spread in a binder used by the Dallas Metroplex Chapter of the Names Project. It is a guide for making quilt panels and this is the fifth design. There is a yarn fringe attached to a purple abstract patterned fabric. There is also a zigzag thread border.

Photograph of a t-shirt design commemorating the NAMES Project Memorial Quilt. It has several panel designs in three quadrants of the full design. The fourth is the organization's name and there is a border around the design that reads "The NAMES Project AIDS Memorial Quilt" four times.

Photograph of a teddy bear named Henrietta Helpliner Bear. She is positioned on a stand and is wearing a pink poodle skirt and white t-shirt with a red AIDS ribbon as well as a little headset. There is a paper booklet on her ear that reads "AIDS Resource Center" with a little house design and more writing inside.

Photograph of a small purple button that reads "The NAMES Project" and has a sewing needle design below the text.

Photograph of a letter from Texas Governor Ann Richards to the Dallas Chapter of the NAMES Project thanking them and recognizing their work with the AIDS quilt.

Photograph of a purple pin that reads "The NAMES Project". The raised sections is silver and "NAMES" has a white filler. There is a sewing needle design beneath the text.

Photograph of the banner used by the Dallas Chapter of the NAMES Project in the parade in Washington, D. C. It is attached to a black pole with loops of cloth. The front of the banner is decorated with a rainbow, a large red ribbon for AIDS, a Texas map on the Texas flag, an image of the International AIDS Memorial Quilt logo, and a red heart. The back of the banner is one cloth pattern, red ribbons to bring awareness to the AIDS crisis scattered on a white background.