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Time Lapse

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POLLOCK’S PAPER MODEL TOY THEATRE SHEETS IMAGES ☆ Restored Originals ☆ Vols 4-6

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Image collection of restored original Pollock’s toy model theatre template sheets

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https://www.wikiart.org/en/howard-finster

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Howard Finster lived in the XX – XXI cent., a remarkable figure of American Outsider art (Art brut) and Pop Art. Find more works of this artist at Wikiart.org – best visual art database.

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https://www.forumauctions.co.uk/53474/Shelley-Mary-Wollstonecraft-Frankenstein-or-The-Modern-Prometheus-vol.2-and-3-only-of-3-first-edition-1818?view=lot_detail&auction_no=1042

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Shelley (Mary Wollstonecraft) Frankenstein; or, The Modern Prometheus , vol.2 and 3 only (of 3), first edition, lacking half-titles, 2ff. advertisements to end of vol.3, vol.3 lacking F1, F12 trimmed closely at margin, touching page number, a few f. with marginal tears, not affecting text, soiling throughout, heavy in places, vol.1 with minor worming to margin, remains of circulating library notices to pastedowns, ink sketches and notes to endpapers, including the comment "This is a parseal of lies and the truth is not in it I never as hard such stuff [sic]", contemporary calf-backed boards, rubbed and worn, 8vo, 1818.

⁂ A sadly incomplete copy of this landmark romantic novel, arguably the first science fiction work in the English language . First editions of Frankenstein are rare in any condition.

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LOT:222 | Shelley (Mary Wollstonecraft) Frankenstein; or, The Modern Prometheus, vol.2 and 3 only (of 3), first edition, 1818.

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Shelley (Mary Wollstonecraft) Frankenstein; or, The Modern Prometheus , vol.2 and 3 only (of 3), first edition, lacking half-titles, 2ff. advertisements to end of vol.3, vol.3 lacking F1, F12 trimmed closely at margin, touching page number, a few f.

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https://www.giuseppe-arcimboldo.org

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Giuseppe Arcimboldo - The Complete Works - giuseppe-arcimboldo.org

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Giuseppe Arcimboldo - The complete works, large resolution images, ecard, rating, slideshow and more! One of the largest Giuseppe Arcimboldo resource on the web!

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https://penelope.uchicago.edu/~grout/encyclopaedia_romana/britannia/boudica/boadicea.html

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https://www.etsy.com/listing/1157591076/1920s-layered-medical-illustration-of

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( Results include Ads Sellers looking to grow their business and reach more interested buyers can use Etsy's advertising platform to promote their items. You'll see ad results based on factors like relevancy, and the amount sellers pay per click. ) Learn more.

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1920s Layered Medical Illustration of the Exterior & Interior | Etsy

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This medical illustration contains seven different images representing cross-sections of the brain. Three of the pages are die-cut, printed both front and back, and layered onto the "muscles of the face" illustration on the bottom. It was obtained from an antique illustrated medical encyclopedia

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https://www.nybooks.com/daily/2020/06/11/bad-diet-bad-hair-destroy-human-civilization/

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Bad Diet & Bad Hair Destroy Human Civilization | Aline Kominsky-Crumb

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Would you buy a used car from a man with a hair-do like that? It arouses immediate suspicion and distrust. How long must it take to construct that look every morning? Do other people have to work on it? Who are they? How can we find them?

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Results for ‘jack%20the%20ripper’ | Illustrated+london+news | Publication | London, London, England | Location | British Newspaper Archive

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Your search results for jack%20the%20ripper: 0 newspaper articles contained information about jack%20the%20ripper filtered by: Newspaper title: Illustrated+London+News Region: london%2C%20england Place: london%2C%20london%2C%20england

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presentation notes 2

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presentation notes 1

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https://www.vanityfair.com/culture/2010/11/marilyn-monroe-201011

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A long-hidden cache of Marilyn Monroe’s private letters and diaries answers many mysteries surrounding her legend. With an exclusive look at this discovery, Sam Kashner digests the revelations about Monroe’s life, loves, and shocking death.

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My week with Marilyn
https://www.youtube.com/watch?v=NeHDZODFKNw

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My Week With Marilyn - Official Trailer [HD] 2011

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https://giffordscircus.com/about-giffords/nells-story/

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The Story Of Nell Gifford & How She Ran Away With The Circus

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The famous story of how Nell Gifford came to be the founder of Giffords Circus & how it evolved into the magical experience we all know & love today.

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https://allthatsinteresting.com/maud-wagner

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An aerialist in the circus at the turn of the 20th century, Maud Wagner broke barriers by both giving and receiving hundreds of tattoos.

At the St. Louis World's Fair in 1904, an aerialist named Maud Wagner struck a deal with a tattoo artist. She would go on a date with him - if he taught her how to tattoo. Thus began the two most important love affairs of Wagner's life: the tattoo artist and tattoos themselves.

Not only did Wagner marry the tattoo artist, but she also covered her body in ink - just like him. Her pale skin suddenly blossomed with colorful depictions of lions and butterflies and trees. Magnificent illustrations stretched across her chest, up to her collarbone, and all over her arms.

But Wagner was more than just a canvas for other people's art. She learned the arduous "hokey-pokey" tattooing method from her husband and began to create artistic designs of her own.

Her skill made her the first female tattoo artist in the United States - as well as an emblem of self-determination when women had few rights.

This is her colorful story.

Maud Wagner And The Needle

Maud Wagner, neé Stevens, was born on February 12, 1877, in Emporia, Kansas to David Van Buran Stevens and Sarah Jane McGee. Little is known about Wagner's early life. But for some reason, she drifted toward the world of traveling circuses, where she would become an aerialist and contortionist.

Wagner would have encountered few openly displayed tattoos in her youth. But tattoos were a popular - if hidden - fad among the upper classes at the end of the 19th century. Even Winston Churchill's mother had a tattoo (of a snake eating its tail). And in 1897, The New York World guessed that some 75 percent of American society women had tattoos.

Victorian-era women who could afford it would have gotten small tattoos, easily hidden beneath the long sleeves and high collars of their day. But the trend was waning. Tattoos, snipped one socialite in 1920, were suitable "for an illiterate seaman but hardly for an aristocrat."

It was a different story in the circus.

In 1904, at the Louisiana Purchase Exposition (also called the St. Louis World's Fair), Wagner met her future husband, August "Gus" Wagner.

Gus stood out even among other circus folks. Known as "The Tattooed Globetrotter," Gus had nearly 300 tattoos. He claimed to be the "most artistically marked-up man in America." Over the course of his life, Gus Wagner would collect some 800 tattoos across his entire body.

"I've got a history of my life on my breast, a history of America on my back, a romance with the sea on each arm, the history of Japan on one leg, and the history of China on the other," he was known to boast to onlookers.

He regaled Maud with stories of his adventures on the high seas. Gus described how he had seen his first tattooed man at the age of 12 - "Captain Costentenus the Greek Albanian" at a traveling show - and how he had learned hand-tattooing techniques from tribes in Java and Borneo.

Although a man named Samuel O'Reilly had invented and patented the first electric tattoo machine in 1891, Gus apparently chose to continue with the simpler and more arduous stick-and-poke method.

Maud was intrigued. As the story goes, she agreed to go on a date with Gus if he would teach her how to give tattoos.

A deal was struck - and Maud fell in love with both the man and the needle. They married some months later on October 3, 1904, and they soon welcomed a daughter named Lotteva.

Before long, Maud began to grow a collection of tattoos all her own.

The First Female Tattoo Artist In The United States

Maud Wagner's tattoos were typical of the period. She had patriotic tattoos and designs of animals like monkeys, snakes, and horses. And she also had her own name inked on her left arm.

But there was nothing typical about Wagner.

She and her husband were covered in tattoos and became popular circus attractions because of it. They might have earned as much as $200 a week (about $2,000 today) just for displaying their inked skin to the public.

However, the flare of tattoo popularity at the end of the 19th century had faded. Newspapers had begun to drum the warning that tattoos could spread venereal diseases. And tattoo artists could be hard to find - people couldn't just waltz into a tattoo parlor like they do today. By 1936, LIFE Magazine estimated that only 6 percent of the American public had tattoos.

But if you wanted a tattoo, Gus and Maud Wagner could help. The couple gave tattoos - to both their circus colleagues and curious audience members - inking as many as 1,900 people over just a few months.

In an interview with the Dallas Morning News, their daughter Lotteva recalled that most of her parents' customers wanted "tattoos of their pet dogs, cats, lovers' hearts, butterflies, and birds. How they do love birds."

Their tattoo work could be so lucrative, she added, that "my father probably earned as much as a bank president at the fair."

Over time, Gus and Maud Wagner would work in vaudeville houses, penny arcades, county fairs, and Wild West shows. They found work as tattooists, tattooed attractions, and circus performers. Working alongside her husband, Maud Wagner became the first female tattoo artist in the United States.

But she and Gus could blend in when they wanted to - the conservative clothing popular in the early 20th century effectively masked their colorful skin. Even so, their neighbors in Kansas still told stories about the "circus freaks" next door to scare their children straight.

Gus, who had lived an unconventional life, died in an unconventional way. He was struck by lightning in 1941. Maud died two decades later, in 1961.

Their daughter carried on their tradition. Although she never got tattoos herself - apparently, Maud forbade Gus from tattooing their daughter - Lotteva started tattooing others when she was just nine years old.

"Mama wouldn't let Papa tattoo me," Lotteva said. "I never understood why. She relented after he died and said I could get tattoos then, but I said that if Papa couldn't do them like he had done hers, then nobody would."

Maud Wagner's Legacy Today

Maud Wagner would have stood out in her time. Today, she wouldn't attract much attention walking down the streets of Los Angeles or Brooklyn.

But Maud Wagner broke some important barriers in the early 20th century. Not only did she become the first female tattoo artist in the United States, but she also covered her own skin with tattoos - taking ownership of her body in a time when American women couldn't even vote.

In this way, Maud Wagner is also part of a larger trend involving women and tattoos. American women in modern times are actually more likely than men to have ink (23 percent versus 19 percent, according to a 2012 poll). And there may be a reason for that.

In the book Bodies of Subversion: A Secret History of Women and Tattoos, Margot Mifflin argues that feminism and tattoos are linked.

"Tattoos appeal to contemporary women both as emblems of empowerment [and] self-determination," Mifflin wrote. Especially at a time "when controversies about abortion rights, date rape, and sexual harassment have made [women] think hard about who controls their bodies - and why."

Women today have also used tattoos as a way to regain control over their bodies after mastectomies. And in some cases, they can actually bill such tattoos to their insurance companies.

Since Wagner was such a trailblazer in the world of tattoos, there's no doubt that she helped pave the way for modern women to take these leaps.

By taking ownership of her body, Maud Wagner was a woman before her time - a circus performer and an artist whose greatest creation was displayed on her own skin.
After reading about Maud Wagner, take a look at these fascinating tattoo facts. Then, check out these photos of vintage tattoos.

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The Wild, Heroic Tale Of Maud Wagner, America's First Female Tattoo Artist

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At the St. Louis World's Fair in 1904, an aerialist named Maud Wagner struck a deal with a tattoo artist. She would go on a date with him - if he taught her how to tattoo. Thus began the two most important love affairs of Wagner's life: the tattoo artist and tattoos themselves.

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Georgia O'Keeffe walking at the White Place, New Mexico, 1957, photographed by Todd Webb
© Estate of Todd Webb, Portland, Maine, USA

'It takes a kind of nerve... and a lot of hard, hard work.' So said Georgia O'Keeffe at the age of 90 when asked for an explanation of her success. From an early age O'Keeffe had decided that she wasn't going to spend her life, as she put it, 'doing what had already been done'. And it worked. She has become one of the best-loved American artists of the 20th century. From her radical debut in 1916 to her late landscapes inspired by her international travels, she produced works for more than 70 years that oscillated between figuration and abstraction.

Born the second of seven children, Georgia Totto O'Keeffe grew up on a farm near Sun Prairie, Wisconsin, and studied at the Art Institute of Chicago and the Art Students League of New York. Her style and thinking shifted dramatically in 1912 when she studied the revolutionary ideas of Arthur Wesley Dow, whose focus on design and composition opened up new avenues for her art. This led to a series of abstract charcoal drawings in 1915 that represented a major break with tradition and made O'Keeffe one of the very first American artists to explore abstraction, even if her work was rooted in observed landscape. These drawings were shown to art dealer, photographer and gallerist Alfred Stieglitz, who was the first to exhibit her work in 1916. (He later became her husband.)

Tony Vaccaro, Georgia O'Keeffe, Taos Pueblo, New Mexico 1960, gelatin silver print on paper, 16.7 x 23.5 cm
Chrysler Museum of Art, Norfolk, VA; photo courtesy Michael A. Vaccaro Studios

In the summer of 1929 O'Keeffe made the first of many trips to northern New Mexico. The tough, dry landscape and its particular regional style of adobe architecture and indigenous art inspired another new direction. Bones, empty landscapes, wooden crosses, the sky, her studio door - all became her subject matter to which she would repeatedly return.

Over the next 20 years she spent part of most years living and working in New Mexico (first at Ghost Ranch and then Abiquiu), making it her permanent home in 1949, three years after Stieglitz's death. In the 1950s O'Keeffe started to travel across the globe, and would subsequently make paintings that evoked some of the many places she visited, including parts of the Middle East, Asia and Latin America. During her later years she would continue introducing new subjects, most notably her series of cloud paintings. A degenerative eye condition slowed down her activity, and she completed her last oil painting without the help of a studio assistant in 1972. She died in Santa Fe on 6 March 1986, aged 98.

O'Keeffe became an important figure for female artists, particularly during the 1970s, and her influence continues today.

Georgia O'Keeffe in her own words

I decided I was going to begin to make drawings. I thought, well, I have a few things in my head that I never thought of putting down, that nobody else taught me, and I was going to begin with charcoal, and I wasn't going to use any colour until I couldn't do what I wanted to do with the charcoal or black paint. 1

I was busy in the daytime and I made most of these drawings at night. I sat on the floor and worked against the closet door. Eyes can see shapes. It's as if my mind creates shapes that I don't know about. I get this shape in my head and sometimes I know what it comes from and sometimes I don't. And I think with myself that there are a few shapes that I have repeated a number of times during my life and I haven't known I was repeating them until after I had done it. 1

Georgia O'Keeffe, Sunrise, 1916, watercolour on paper, 22.5 x 30.2 cm
© Georgia O'Keeffe Museum/DACS 2016, courtesy Barney Ebsworth collection

The Texas country that I know is the plains. It was land like the ocean all the way around. Hardly anybody liked it, but I loved it. The wind blew too hard, the dust flew, and we had heavy dust storms. I've come in many times when I'd be the colour of the road. At night you could drive away from the town, right out into space. You didn't have to drive on the road, and when the sunset was gone, you turned around and went back, lighted by the light of the town. 1

Georgia O'Keeffe, Red and Orange Streak 1919, oil on canvas, 68.6 x 58.4 cm
© Georgia O'Keeffe Museum/DACS 2016, courtesy Philadelphia Museum of Art, Bequest of Georgia O'Keeffe for the Alfred Stieglitz Collection

All the earth colours of the painter's palette are out there in the many miles of bad lands. The light Naples yellow through the ochres - orange and red and purple earth - even the soft earth greens. 2

When I got to New Mexico, that was mine. As soon as I saw it, that was my country. I'd never seen anything like it before, but it fitted to me exactly. It's something that's in the air, it's just different. The sky is different, the stars are different, the wind is different. 1

I feel at home here - I feel quiet - my skin feels close to the earth when I walk out into the red hills... 3

I seemed to be hunting for something of myself out there, something in myself that will give me a symbol for all this, a symbol for the sense of life I get out here. 4

I used to get right up in the morning and start out and stay out all day. I'd start off around seven and not get back till around five. It was terribly hot and in the afternoon about four o'clock, the bees would try to get into the car, so you'd have to close the windows. It was hot. The Model A was wonderful. You could take the back seat out. I could sit on the driver's seat when I turned it around to work on the back seat. And the windows were large enough so it was very good. I could use a great big canvas... 1

Photograph of the Chama River, New Mexico, taken by Georgia O'Keeffe
© Georgia O'Keeffe Museum/DACS 2016

The Black Place is about one hundred and fifty miles from Ghost Ranch and as you come to it over a hill, it looks like a mile of elephants - grey hills all about the same size with almost white sand at their feet. When you get into the hills you find that all the surfaces are evenly crackled so walking and climbing are easy...
I don't remember what I painted on my first trip over there. I have gone so many times. I always went prepared to camp. There was a fine little spot quite far off the road with thick old cedar trees with handsome trunks - not very tall but making good spots of shade...
Such a beautiful, untouched lonely-feeling place - part of what I call the Far Away. 5

The first year I was out here I began picking up bones because there were no flowers. I wanted to take something home, something to work on... When it was time to go home I felt as if I hadn't even started on the country and I wondered what I could take home that I could continue what I felt about the country and I couldn't think of anything to take home but a barrel of bones. So when I got home with my barrel of bones to Lake George I stayed up there quite a while that fall and painted them. That's where I painted my first skulls, from this barrel of bones. 1

The bones seem to cut sharply to the centre of something that is keenly alive on the desert even though it is vast and empty and untouchable - and knows no kindness with all its beauty. 6

I was the sort of child that ate around the raisin on the cookie and ate around the hole in the doughnut saving either the raisin or the hole for the last and best. So probably - not having changed much - when I started painting the pelvis bones I was most interested in the holes in the bones - what I saw through them - particularly the blue from holding them up in the sun against the sky as one is apt to do when one seems to have more sky than earth in one's world... They were most wonderful against the Blue - that Blue that will always be there as it is now after all man's destruction is finished. 5

Photograph of Georgia O'Keeffe's Abiquiu house, New Mexico
© Georgia O'Keeffe Museum/DACS 2016, gift of the Barnett Foundation

When I first saw the Abiquiu house it was a ruin with an adobe wall around the garden broken in a couple of places by falling trees. As I climbed and walked about in the ruin I found a patio with a very pretty well house and bucket to draw up water. It was a good- sized patio with a long wall with a door on one side. That wall with a door in it was something I had to have. It took me ten years to get - three more years to fix the house so I could live in it - and after that the wall with a door was painted many times. 5

Those little squares in the door paintings are tiles in front of the door; they're really there, so you see the painting is not abstract. It's quite realistic. I'm always trying to paint that door - I never quite get it... It's a curse - the way I feel I must continually go on with that door. Once I had the idea of making the door larger and the picture smaller, but then the wall, the whole surface of that wonderful wall, would have been lost. 7

I would rather come here than any place I know. It is a way of life for me to live very comfortably at the tail end of the earth so far away that hardly anyone will ever come to see me and I like it. 8

The unexplainable thing in nature that makes me feel the world is big far beyond my understanding - to understand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill. 5

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my faraway nearby: georgia o'keeffe in her own words

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My Faraway Nearby: Georgia O'Keeffe in her own words - Tate Etc | Tate

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'It takes a kind of nerve... and a lot of hard, hard work.' So said Georgia O'Keeffe at the age of 90 when asked for an explanation of her success. From an early age O'Keeffe had decided that she wasn't going to spend her life, as she put it, 'doing what had already been done'.

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https://www.okeeffemuseum.org/

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Collections Online

While the Museum Galleries are intentionally curated for an intimate, in-person experience, the Collections Online gives unparalleled access to the whole of the Museum's paintings, drawing, pastels, watercolors, and more. Always on view, completely online.

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The Georgia O'Keeffe Museum in Santa Fe New Mexico.