Aunt Sallie's lament

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  Aunt Sallie's lament

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  "The artist Margaret Kaufman describes 'Aunt Sallie's lament' as 'a poem that is the autobiography of a spinster quilter stitched with mutterings that accumulate as the cut pages are turned becoming a diamond quilt shape'. The poem tells the story of a southern American quilter reminiscing about a love lost but not forgotten. Each stanza of the poem is accompanied by a muttering, one or two words printed at the edge of the page, which remain in view as each subsequent page is turned. The variously shaped leaves are made up of a complex series of cut out pastel paper shapes that mimick the patterns of a quilt."--from Artstor.org.

  642307

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  My pretty pony

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  "My Pretty Pony first appeared in 1988 as a deluxe, limited edition in the Artists and Writers Series of fine press books published by the Library Fellows of the Whitney Museum of American Art, New York. This trade edition reproduces the original lithographs printed by Derriere L'Etoile Studios, New York, silk screens printed by Pinwheel, New York, and Century Schoolbook typography set by hand by A. Colish, Mount Vernon, New York. Photograph of collapsed horse courtesy of New York Times Pictures"--Colophon.

  636938

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  Muir, Anna. 1 letter to Emma Kinaston Muir. Also note on back - "From aunts about Grandmother Muir's illness."

  Manuscripts

  Correspondence largely deals with family affairs. Family members represented in collection are: Joanna Muir Brown, Anna G. Galloway, Sarah Muir Galloway, Mary Muir Hand, Anna Muir, Anne Gilrye Muir, Daniel Muir, Daniel H. Muir, Jr., David G. Muir, John Muir, Katie Muir, Margaret Muir Reid, and Anna Reid Waterman. The ephemera in the collection consists of cards, envelopes, mementos, other printed materials.

  HM 57382.

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  Barbara Allen's cruelty: or the young man's tragedy. With Barbara Allen's lamentation for her unkindness to her lover, and her ownself [sic]. Licensed and entered according to order

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  ESTC T21369 ; Verse - "In Scarlet Town where I was bound,". ; In four columns with the title and a woodcut above the first two the first and second columns as well as the third and fourth columns are separated by lines of ornamental type. ; In this edition "Licensed and entered according to order" is in roman type and sandwiched by rules made up of cherubim in the main.

  289775

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  Feldtbüch der wundartzney

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  By Hans von Gersdorff. Cf. Dedication. Possibly a reprint of the original 1517 edition in a different setting of type and without the colophon and other distinguishing details. Not in VD16 or Garrison-Morton. Woodcut illustration on t.p. Woodcuts by Hans Wächtlin, including the "Countrafacter Lasszman" dated 1517 and the Wound Man. Signatures: a⁴ A-O⁶. Binding: limp vellum with cloth ties and ms. title on spine. Initials "C.S.D.D.K." and date "1649" stamped on front cover. Manuscript waste used in binding. Inscription on t.p.: Conv. Vien. Carm. Disc. Occasional marginal ms. annotations. A contemporary ms. index[? ] on [2] p. at end.

  621836

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  Incipit libell[us] d[e] vita et morib[us] philosopho[rum] et poeta[rum]

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  This is the short (or "incomplete") edition of the work - see ISTC. Full colophon reads: Anno domini millesimo quadri[n]gentesimo septuagesimonono. vltima vero die Iunij. Opusculu[m] (philosophorum vita) insigne ob legentium profectum editum. Friderici Cressners ciuis inclite Nur[e]mbergensium vrbis industria fabre factum fideliterq[ue] impressum finit feliciter. Laus deo clementissimo. Begins with alphabetical table of contents (leaves [*2r-*5v]) and alphabetical list of names of philosophers/poets in two columns (leaf [*6]). Chancery folio, with paper measuring 29.2 x 21 cm. Text in one column. Blanks left for initials. Signatures: [*⁶ a-h⁸ i⁶ (*1 blank)] Initials and rubrication in red. Binding: modern binding using parchment leaf with medieval music as cover.

  84794