Illustrations for Dangerous Visions (1967) by Leo & Diane Dillon. top left: Lord Randy, My Son by Joe L. Hensley; top right: Gonna Roll the Bones by Fritz Leiber; bottom left: The Happy Breed by ...
John Calder edition (1979). Design by Brian Paine incorporating a glyph of Ah Pook from the Dresden Codex. It would have been tempting to write “Ah Pook is finally here” but that’s ...
Another in a series of posts that supplement the forthcoming Reverbstorm book. Music, especially the rock’nroll of the mid-50s to the mid-60s, was an important motor in Reverbstorm‘s crea...
Til Eulenspiegel by Urban Janke. From Twenty Postcards of the Wiener Werkstätte at 50 Watts. • Rorschach Audio by Joe Banks is “essential reading for everyone interested in air-traffic control,...
Heliograms (1982), an album of early digital music by Canadian composer Jean Piché has managed to stay resolutely off my electronic music radar until now following news of a reissue from Digitalis Re...
The New Salomé (1887–1888) by Max Klinger. The German Symbolist Max Klinger (1857–1920) is celebrated today for the etchings which comprise his Ein Handschuh (A Glove) series, ten prints that in thei...
One of the work-related searches at the Internet Archive this week was for scrolls…which I eventually realised should have been for ribbons since it was those text-bearing lengths of graphic ri...
The Devils (1971). There is only one English feature director whose work is in the first rank. Michael Powell is the only director to make a clear political analysis in his films, his work is unequal...
In ictu oculi (1672). Having castigated Somerset Maugham yesterday for a novel that even he professed to dislike, thanks can be offered for the passage in The Magician which draws attention to a pain...
The Magician (1926), Rex Ingram’s curious occult horror film, receives a rare screening with live music accompaniment at the Brighton Fringe Festival on Tuesday, 22nd May. The film is notable f...
Dreams before Surrealism: a sheet music cover from 1926 by René Magritte. • The week in music: Listen to compositions by Annea Lockwood. | At the Free Music Archive: Uncomfortable Music, a tribute to...
I’m not always in the mood for the filigree excesses of the rococo era but this French collection of 200 engravings from the reign of the hated Louis XV (1710–1774) is a treat. Peter Jessen is ...
RIP Donna. People who know me well are usually surprised when I tell them I used to go disco dancing. It didn’t happen a lot but in the summer of 1977 I was 15 and used to get taken out by my m...
KraftWork by Seeper is another projection-mapping video where projections of 3d animations onto a building façade bring the architecture to life. Plus points for using the original Volkswagen factory...
Lord Horror (after Klaus Barthelmess). (No, not Pete Murphy and co.) Now that the Reverbstorm book is at the printers I have an excuse to discuss a few of the art and design appropriations that run t...
Lucifer Rising (1973). The first time I saw Kenneth Anger’s Lucifer Rising (1983, at a film club) I recognised all the ancient monuments apart from the peculiar group of rocks where we see a li...
I’ve always preferred Against Nature as an English translation of Huysmans’ À rebours, it’s a snappier and more provocative title than Against the Grain which these days might be ta...
Bob Staake’s cover illustration acknowledges President Obama’s statement last week in favour of gay marriages. • Related to the above: Gay rights in the US, state by state, an infographic...
Another gem of a find at the Internet Archive, Le costume, les armes, les bijoux, la céramique, les ustensiles, outils, objets mobiliers, etc. : chez les peuples anciens et modernes (1896) is a lavis...
Fragments are all you get with this one, unfortunately, but how tantalising they are. Lindsay Kemp’s 1975 stage production of Oscar Wilde’s play was probably the queerest there’s be...
Ah, The Telephone Box, or La Cabina, to give Antonio Mercero’s half-hour film its original Spanish title. Made in 1972, I saw what was probably the first UK TV screening sometime around 1980, a...
From Zlateh the Goat and Other Stories (1966) by Isaac Bashevis Singer. All the obituaries of the late Maurice Sendak have focused inevitably on Where the Wild Things Are. That gives me a chance to d...
Thanks are due again to Mr Peacay at BibliOdyssey for drawing attention to this recent addition to the Internet Archive from the Smithsonian collection. Die Entwicklung der modernen Buchkunst in Deut...
The Vampire (1897) by Philip Burne-Jones. Two pictures of the same woman—Mrs Patrick Campbell (1865–1940)—that were regarded as scandalous in their time. Since the centenary of Bram Stoker’s de...
Le Faune (1923) by Carlos Schwabe. • “When I recently attended a conference in China, many of the presenters left their papers on the cloud—Google Docs, to be specific. You know how this story ...
Earlier this week Mr BibliOdyssey posted a link on Twitter to a blog entry of his from 2008, a collection of prints by Dutch artist Alexander Ver Huell (1822–1897). If I’d seen his post origina...
Since mention was made yesterday of the “Die you brute!” school of period illustration it seemed pertinent to post the picture that gave rise to the expression. This is another 19th-centu...
It’s all fun and games until someone gets bitten in twain by a shark. Illustrations from a Flickr selection of plates from Sea and Land: An Illustrated History (1887) by JW Buel, a compendium o...
A New Heaven: float design from Krewe of Proteus 1898 parade. Theme: A trip to Wonderland. A very random selection from a vast collection (5545 items) of designs for carnival floats and costumes at t...
I hadn’t come across sculptor John Frame’s animated work before so my thanks to John Burridge for the recommendation. Three Fragments of a Lost Tale is part of a larger project, The Tale ...
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