Saturday, October 31, 2009

Tuesday, October 20, 2009

E is for Edward

Edward Gorey that is...







All artwork © Edward Gorey

(source: Amphigorey: Fifteen Books by Edward Gorey, The Berkley Publishing Group, New York, NY ©1980)





angel eyes: photographs by Isolde Ohlbaum

All photographs © Isolde Ohlbaum

Isolde Ohlbaum / Rom

Isolde Ohlbaum / Genua

Isolde Ohlbaum / Bergamo

Isolde Ohlbaum / Wien

Isolde Ohlbaum / Rom

Isolde Ohlbaum / Paris
source: Aus Licht und Schatten: Engelbilder by Isolde Ohlbaum, Knesebeck, Munich, Germany © 1994



for Monika - thank you!

Monday, October 19, 2009

Les Vampires / The Vampires

Les Vampires or The Vampires (1915) directed by Louis Feuillade. This clip is from the second episode, The Ring that Kills. Marfa Koutiloff (played by actress Stacia Napierkowska) dances as a vampire bat that is hungry for a woman's blood:

Sunday, October 18, 2009

excerpt from Rebecca by Daphne du Maurier

found stereo card (The Heavenly Twins)

scene with Mrs. Danvers, the housekeeper of Manderley, and the newlywed, second Mrs. de Winter, the narrator and heroine of the story:


"... You would not think she had been gone now for so long, would you, not by the way the rooms are kept? You would think she had just gone out for a little while and would be back in the evening."

I forced a smile. I could not speak. My throat felt dry and tight.

"It's not only this room," she said. "It's in many rooms in the house. In the morning-room, in the hall, even in the little flower-room. I feel her everywhere. You do too, don't you?"

She stared at me curiously. Her voice dropped to a whisper. "Sometimes, when I walk along the corridor here, I fancy I hear her just behind me. That quick, light footstep. I could not mistake it anywhere. And in the minstrels' gallery above the hall. I've seen her leaning there, in the evenings in the old days, looking down at the hall below and calling to the dogs. I can fancy her there now from time to time. It's almost as though I catch the sound of her dress sweeping the stairs as she comes down to dinner." She paused. She went on looking at me, watching my eyes. "Do you think she can see us, talking to one another now?" she said slowly. "Do you think the dead come back and watch the living?"

I swallowed. I dug my nails into my hands.

"I don't know," I said. "I don't know." My voice sounded high-pitched and unnatural. Not my voice at all.

"Sometimes I wonder," she whispered. "Sometimes I wonder if she comes back here to Manderley and watches you and Mr. de Winter together."

We stood there by the door, staring at one another. I could not take my eyes away from hers. How dark and sombre they were in that white skull's face of hers, how malevolent, how full of hatred. ..." (Rebecca by Daphne du Maurier, Pocket Books, NY ©1968)

Kym Hepworth / Haunted / Vellum & inkjet on paper / 13 3/8 x 11 in. / 2005



Friday, October 16, 2009

excerpt from Edgar Allan Poe's Ligeia


"The corpse, I repeat, stirred, and now more vigorously than before. The hues of life flushed up with unwonted energy into the countenance--the limbs relaxed--and, save that the eyelids were yet pressed heavily together, and that the bandages and draperies of the grave still imparted their charnel character to the figure, I might have dreamed that Rowena had indeed shaken off, utterly, the fetters of Death. But if this idea was not, even then, altogether adopted, I could at least doubt no longer, when, arising from the bed, tottering, with feeble steps, with closed eyes, and with the manner of one bewildered in a dream, the thing that was enshrouded advanced boldly and palpably into the middle of the apartment.

Kym Hepworth, Made Of (2), graphite and collage on paper, 14 x 10 1/2 in.

Kym Hepworth, Are Made Of, graphite and collage on paper, 14 x 10 1/2 in.

...Could it, indeed, be the living Rowena who confronted me? Could it indeed be Rowena at all--the fair-haired, the blue-eyed Lady Rowena Trevanion of Tremaine? Why, why should I doubt it? The bandage lay heavily about the mouth--but then might it not be the mouth of the breathing Lady of Tremaine? And the cheeks--there were the roses as in her noon of life--yes, these might indeed by the fair cheeks of the living Lady of Tremaine. And the chin, with its dimples, as in health, might it not be hers?--but had she then grown taller since her malady? What inexpressible madness seized me with that thought? One bound, and I had reached her feet! Shrinking from my touch, she let fall from her head, unloosened the ghastly cerements which had confined it, and there streamed forth, into the rushing atmosphere of the chamber, huge masses of long and disheveled hair; it was blacker than the raven wings of midnight! And now slowly opened the eyes of the figure which stood before me. "Here then, at least," I shrieked aloud, "can I never--can I never be mistaken--these are the full, and the black, and the wild eyes--of my lost love--of the lady--of the LADY LIGEIA." (The Gold-Bug and Other Tales by Edgar Allan Poe, Dover Publications, Inc., NY ©1991)

Kym Hepworth, Made Of (1), graphite and collage on paper, 14 x 10 1/2 in.

Kym Hepworth, Made Of (3), graphite and collage on paper, 14 x 10 1/2 in.


excerpt from Ghost in the Castle

"Uncle Wull tossed a few more logs on the fire. "Anyway it's a good tale, is it no, for a wild night?" "It is that," agreed Angus. It was wonderful, this feeling that was in him of knowing fear and safety both at the same time. He sat very still letting his body savor the full sweetness of it. A good tale for a wild night it had been all right. Only that and nothing more. For who believed in ghosts today? It was strange, though, how just talking about them made the skin tighten and grow cold on one's neck. Strange how the thin voice of an old man named Dugal Comrie could echo across sixty years of time. An old man who believed he had seen the ghost of Craigie Castle. An old man who had been found dead in the heather still believing it. . . .

found photograph (Dunvegan Castle, Skye)

Angus got up quietly from his chair and crossed to the window. The blackness outside was the blackness of the grave. It lay thick against the window pane, endlessly deep and high and wide. He stared out into the vast nothingness. Out there was Dunnach Moor. And in Dunnach Moor was a great crumbling pile of stone. Craigie Castle.

found photograph (The Old Man of Storr, Skye)

Suddenly the blackness outside the window was shattered with a brilliant flash of light. Angus felt his breath leave his body as Dunnach Moor, lonely and desolate in the distance, leaped into brightness. For one fierce, white instant he almost believed he could see the far-off towers of Craigie Castle. Then, with the blackness, came an enormous crash of thunder overhead." (Ghost in the Castle by William MacKellar, David McKay Company, Inc., NY, © 1960)

Kym Hepworth / The Castle at Night / 2008 / mixed media / 17 ¼ x 8 1/8 x 4 ¼ in.


(for wee Laurie Renton)




Thursday, October 15, 2009

Clara Stealey's Diary - January 23, 1910

"January 23. -

Went to church this morning. Was down to Lelia's for dinner. I was just starting home when Tom called up and wanted to come around. He and Cecil C. came around and we all came up to our house and played and sang all afternoon. Margaret Mackey from New M. came down to see Lelia so she brought her up. They left before 6:00. Tom stayed until after 6:00. He and Cecil had a fit about Bill's picture. I took it down."

found photograph (church)

found photograph (church/sign: Leonardi's Blood El(?) Cures)


Shaker Village of Pleasant Hill, Kentucky


Sabbathday Lake Shaker Village, New Gloucester, ME


version of Simple Gifts, 1848 Shaker song by Elder Joseph Brackett

Tuesday, October 13, 2009

Clara Stealey's Diary - January 22, 1910

"January 22 -

Snowed all day - regular blizzard. I wasn't outside of the house all day. I dressed in the evening and thought probably someone would come in but my sides hurt so I was forced to put my kimono back on."

found photograph from my collection (kimono/robe)

found photograph from my collection (kimono)

James McNeill Whistler, La Princesse du pays de la porcelaine (The Princess from the Land of Porcelain), 1863-64, Oil on canvas,199.9 x 116.1 cm., The Freer Gallery of Art

William Merritt Chase, The Blue Kimono (Girl in Blue Kimono), 1888, Oil on canvas, 57 x 44 ½ inches, The Parrish Art Museum

While looking for images, I stumbled upon a great blog by lotusgreen - Japonisme - please take a look!


Fashion show for Chantilly, Atelier Pierrot and Angelic Pretty in Marseille, France during the Chibi Japan Expo




Clara Stealey's Diary - January 21, 1910

"January 21 -

Very bad day. Snowed and sleeted a good bit. Miss Ann sent for me to come to school at noon on account of it(?). I finally went. We played 5 pieces before they would let us off. Went to Fishers to have my skirt fit again. Got a bid to the dance to-night but I could not go. Mama and papa have gone to a lecture to-night. Hope Tom comes in to-morrow."

found photograph

found photograph


The Searchers version of Needles and Pins


The Ramones version of Needles and Pins

Monday, October 12, 2009

Clara Stealey's Diary - January 20, 1910

"January 20 -

Went down street for 1st time since Sunday. Sent a card to Tom. Went down to Fishers and had my skirt fitted. Then up to Mrs. Conauts. My left side is troubling me a good bit. Very nice to-day. Am going to school to-morrow."

found photograph (women at university)



Sunday, October 11, 2009

Clara Stealey's Diary - January 19, 1910

"January 19 -

Beautiful day. Have been in all day."

found photograph (one of my favorites)


Saturday, October 10, 2009

Clara Stealey's Diary - January 18, 1910

"January 18 -

Both of my sides are very sore. Am still out of school."

found photograph


Stefanie Beyeler: Paintings, Drawings and Illustrations

Stefanie Beyeler is a talented Graphic Designer living in Thun, Switzerland. She recently included one of my drawings in an Etsy treasury that she curated. I want to share a few of her beautiful works with you. The two drawings below are from a series in black and white, her grey ladies, and they are available on her Etsy shop Beyeler.

Stefanie Beyeler / Not Amused / pencil and acrylic color on cardboard / 4.8 x 8.6" or 12.2 x 22 cm

Stefanie Beyeler / Rather Bored / pencil and acrylic color on cardboard / 5.7 x 8.6" or 14.6 x 22 cm

Below is a work from her website.

Stefanie Beyeler / Haushalt (Household) / digitally altered scan

I think Haushalt is a very moving and intriguing image. The woman sits with her back to the viewer, so that there is no interaction with her to disrupt our gaze from traveling over her body. Her intense red hair, hanging loose, accentuates her sensuality. Tattoos of domesticity brand her porcelain-like skin. Her delicate, fragile body is transformed into an item for our consumption, like a beautiful piece of blue and white transferware. I e-mailed Stefanie, asking her what inspired this work, and she replied:
"I bought a book from 1936 in a thrift store with 500 self portraits. So few of them are made by women, and I was wondering how women would have had the time to do arts when housework was even more time consuming than now. So I put those pictures of old household stuff like tattoos over her body. And she's sitting on a piece of scanned household tissue."
Stefanie has a blog for her illustrations and another blog that she started with her sister, Natalie Springhart, a journalist living in Breisgau, Germany. Together, in The Princess That Wouldn't Eat, they are creating a fairy tale story about a princess, who first becomes anorectic and then bulimic.


Speaking of princesses and fairy tales ... Three Nuts for Cinderella is a Czech-German fairy tale film from 1973. In this version, Cinderella is more independent and a bit of a tomboy. Her wishes are granted by dropping three nuts to the floor. I remember watching it as a kid and loving it. There are film clips with English subtitles on YouTube if you're interested in seeing more.

Tři oříšky pro Popelku
(German: Drei Haselnüsse für Aschenbrödel, English: Three Nuts for Cinderella, Three Gifts for Cinderella [UK title] and Three Wishes for Cinderella)

Friday, October 9, 2009

Clara Stealey's Diary - January 17, 1910

"January 17 -

Been in all day. Cold just about the same."

I'm going to change these posts to Clara Stealey's Whinery if she doesn't get better soon. Sorry Clara.

found photograph


very cute outtakes - Robert's a bit of a spaz

Thursday, October 8, 2009

Clara Stealey's Diary - January 16, 1910

"January 16 -

Still at home. My side is more painful to-day. Hope it is better to-morrow as I want to go to school. My dress is nearly finished. Been studying some to-day." (*there are two entries for January 16th, although they appear to be separate days)

found photograph my collection (women's fashion early 1900s)

found photograph my collection (women's fashion early 1900s)
"And then, in 1910, there was a fundamental change in female dress. There has been much argument as to what brought this about, but it was plain that the Russian Ballet had something to do with it, and so had Paul Poiret, and we need not trouble ourselves with the question of which came first. What is certain is that there was a wave of Orientalism following the extraordinary excitement caused by the production of Scheherazade, the costumes for which were designed by Leon Bakst. The colours were striking, even garish, and society adopted them with enthusiasm. The old pale pinks and 'swooning mauves' were swept away; the rigid bodices and bell-shaped skirts were abandoned in favour of soft drapery. Skirts became narrow at the hem, and in 1910 extremely so, resulting in the hobble skirt which made it difficult for a woman to take a step of more than two or three inches. To prevent women from taking a longer stride and so splitting the skirt, a fetter made of braid was sometimes worn. It was as if every woman - and this in the very year of the Suffragette demonstrations - was determined to look like a slave in an Oriental harem. Some women even went so far as to wear little 'harem' trousers visible below the hem of the skirt, but these created such a sensation when worn in the street that only the most daring persisted. With the extremely narrow skirt went very large hats. The silhouette, in complete contrast to that of the woman in 1860, was a triangle standing on its point. The favorite trimming of dresses was no longer lace but buttons, which were sewn all over, even in the most unlikely places." (source for quote: Costumes & Fashion: A Concise History by James Laver, Thames and Hudson, NY, ©1995)

(source for 2 plates above: Costumes & Fashion: A Concise History by James Laver, Thames and Hudson, NY, ©1995)

see also 1910s in fashion

The video below documents research carried out on Paul Poiret's original pledge in the Costume Institute of New York by Maria Ines Strasser






Anna Pavlova performs The Dying Swan by Saint-Saens, at the Kirov Ballet


Wednesday, October 7, 2009

Clara Stealey's Diary - January 16, 1910

"January 16 -

Got an awful pain in my side. Can scarcely cough for it. Oh glory! I got to go out a little this afternoon. Lelia and I went to Sam's and had some-thing to eat. Saw all the girls. Tom called up in the evening and said, "Good-bye". He was starting to work out in the country. Think I'll go to school to-morrow. Had to go to bed with the hot-water bottle."

found photograph (all the girls)

found photograph



Young Folks - Peter Bjorn & John

Tuesday, October 6, 2009

Clara Stealey's Diary - January 15, 1910

"January 15.

Slept pretty well last night considering everything. Wanted to go down to the library to-night but mama wouldn't let me. Tom called up about 8:30 and then came up. Stayed until 10:30 we had a very nice time. I played the piano he sang a little and we talked a good bit. Something wrong with my side."


Come Josephine in my Flying Machine - Blanche Ring (1910)


1910 Hanriot

found photograph



Monday, October 5, 2009

Clara Stealey's Diary - January 14, 1910

"January 14 -

Sewed hard on my red dress and helped mama this afternoon. I wanted to go to school but they wouldn't let me. My cold isn't any better."

found photograph (Pure Drugs / Popular Prices / Muller's Drugstore)

found photograph (American Red Cross)

found photograph (American Red Cross)

Edvard Munch, The Sick Child, 1885-86, oil on canvas, The National Gallery, Oslo

"The Sick Child, an image that recalls Munch's excruciating memory of his sister Sophie's death from tuberculosis in 1877 is one of his most personal and pivotal motifs... According to the artist, the painted version underwent numerous reworkings over the course of a year as he struggled to formulate the image. His models, his aunt Karen Bjolstad and the maid Betzy Nielsen, reenacted for Munch the death of his sister. Collaborating with his aunt in such a way, Munch created a point of continuity between the traumatic event in his family's past and the motif that came to represent it." (source for quote: Munch and Women: Image and Myth, by Patricia G. Berman and Jane Van Nimmen, Art Services International, Alexandria, VA, ©1997)

"The ailing child was a popular theme among artists in the years when Munch painted his picture. Munch himself described the period as "the age of the pillow". Both (Christian) Krohg and Hans Heyerdahl painted popular and highly acclaimed scenes with sick and dying children. These works are part of the background for Munch's picture.

The importance of "The Sick Child" was recognised from the outset, and as early as 1886 it was being described as a masterpiece. Munch returned to the motif later in his career, creating many different versions using a wide variety of techniques. With six paintings and a large number of works on paper produced over a period of almost 40 years, it is among the themes he explored most frequently." (source for quote & image: The National Museum of Art, Architecture and Design, Oslo)



The Vapors - Turning Japanese