Tadami Yamada’s weird covers

yamada01.jpg

Earlier this year when I wrote about Tadami Yamada’s illustrations for William Hope Hodgson I mentioned the existence of books by other authors that were published along with the Hodgson as part of a series. Kokusho Kankōkai published ten of these books from 1976 to 1977, most of them being collections of short horror fiction by European and American authors, with the series as a whole being referred to as the “Dracula” editions. Yamada painted the covers and provided interior illustrations for eight of the books, including, as I suspected earlier, a Lovecraft collection. I was hoping I might be able to find copies of his interiors for the Lovecraft but so far nothing has turned up, Yamada’s web pages only featuring illustrations from the Hodgson and Henry S. Whitehead collections. Searching elsewhere is complicated by a number of factors such as the age of the books, their being Japanese publications, and the sheer quantity of Lovecraft-related material to sift through.

yamada04.jpg

Yamada says that his illustrations weren’t appreciated by readers who were expecting more typical horror imagery. This doesn’t surprise me given the Surrealist tenor of his work as a whole. The Hodgson illustrations are relatively orthodox but many of his other book illustrations from this period are collages that resemble the simpler things Max Ernst was doing in his collage novels. Collage is also evident on the “Dracula” covers, together with decalcomania, another Surrealist technique visible in the Hodgson illustrations. These books are a minor diversion in Yamada’s wide-ranging career but, as is often the case with Asian publications, none of them are currently listed at ISFDB. I’d still like to see his Lovecraft illustrations, if only to assuage my curiosity.

yamada07.jpg

yamada05.jpg

yamada03.jpg

Continue reading “Tadami Yamada’s weird covers”

Weekend links 823

crab.jpg

NASA’s Hubble revisits Crab Nebula to track 25 years of expansion.

Snakes and Ladders is a video adaptation of the one-off Moon and Serpent performance presented by Alan Moore and Tim Perkins at Conway Hall, London, in 1999. With visual samples from Eddie Campbell’s comic-strip adaptation of the audio recording, plus my artwork from the CD release. (Thanks to Francis for the tip!)

• The spring catalogue of lots for the After Dark: Gay Art and Culture online auction. Homoerotic art, photos, historic porn, etc.

• New music: State Of Matter by Dobrawa Czocher; Plague Dogs by The Heartwood Institute.

• “Why we made a film about Mark Fisher called We Are Making A Film About Mark Fisher.

• At Colossal: “Ambiguity reigns in Olaf Hajek’s mysterious illustrations”.

• At Public Domain Review: Monet’s early caricatures (ca. late 1850s).

• At the BFI: George Orwell, film critic.

• The Strange World of…Ladytron.

The Plague (1967) by Scott Walker | A Plague Of Angels (2007) by Earth | The Plague (2014) by Cosmic Ground

RS Sherriffs’ Rubáiyát

sherriffs01.jpg

You can’t really say there are always more Rubáiyáts—the Fitzgerald translation isn’t as popular today as it was a century ago—but there are many illustrated editions even though the poem makes for a slim volume when not bulked out by variant translations. The popularity of the text when combined with the ease of imitating Edward Fitzgerald’s quatrains led to the publication of many novelty versions—The Rubáiyát of a Persian Kitten, The Rubáiyát of a Motor Car, The Rubáiyát of a Bachelor, and so on—all of which came with their own illustrations.

sherriffs02.jpg

The 1947 edition illustrated by Scottish artist Robert Stewart Sherriffs is more serious than these, with an introduction by Laurence Housman, the texts of three different 19th-century translations, together with supplementary material about Edward Fitzgerald. Sherriffs worked for a number of years as a caricaturist for Punch magazine and other publications but prior to this he was also a book illustrator. Most of his drawings are black-and-white ink renderings; the Rubáiyát is a rare example of him working in colour throughout.

sherriffs03.jpg

sherriffs04.jpg

sherriffs05.jpg

Continue reading “RS Sherriffs’ Rubáiyát”

Hokusai’s Horses

hokusai01.jpg

Shogi Chess Board.

I ought to have posted this several weeks ago for the advent of the Year of the Horse. Umazukushi is a series of wood-block prints by Katsushika Hokusai created to celebrate another Year of the Horse, 1822. Umazukushi (also Uma-zukushi) is usually translated as “A Selection of Horses”, and this is what Hokusai gives us, albeit in a cryptic manner since most of the prints are still-life views of household objects. Each print features a short poem—the series was commissioned by a group of poets—while each picture contains a reference to horses. The allusions aren’t always easy to decipher for the non-Japanese, especially when looking back over two centuries. The Japanese robin, for example, is known as the “horse bird” as a result of its singing voice which was regarded as sounding like the neighing of a horse. I’m still not sure about some of the other prints. A complete description of the references would be useful but my searches so far have failed to turn up anything.

hokusai02.jpg

Inkstone in a Horseshoe Shape.

hokusai03.jpg

Musical Instruments and Horse’s Tail.

hokusai04.jpg

Toy Horse Fan and Incense Burner.

hokusai05.jpg

Saddle Wringer, Smoking Outfit and Plum Branch.

Continue reading “Hokusai’s Horses”

Weekend links 822

tomaselli.jpg

Untitled (2013) by Fred Tomaselli.

• The latest book from A Year In The Country is Ghost Signals: The Shadowlands of British Analogue Television 1968–1995, an exploration of “a shadowland of terrestrial TV hidden in plain sight across the unmediated and unmarketed corners of the internet”.

• New music: After The Rain, Strange Seeds by The Leaf Library; Music For Intersecting Planes by Leila Bordreuil + Kali Malone.

• RIP airbrush artist Philip Castle. Steve Mepstead talked to Castle in 2011 about his work for Stanley Kubrick and others.

Strassman began to see patterns in these encounters and created a typology: aliens; guides and helpers; clowns, jokers and jesters; elves and dwarves; or reptilian or insect-like figures. Variations and outliers notwithstanding, this spectrum remains remarkably consistent with DMT studies today. Strassman also looked into the historical literature and found similar descriptions as far back as Szára, who wrote that one of his subjects reported meeting “dwarfs or something.” Forty years later and a continent away, one of Strassman’s participants put it succinctly: “That was real strange. There were a lot of elves.”

A long read by Joanna Steinhardt on the history and nature of hallucinated spirit guides and “self-transforming machine elves”

• Jet Propulsion Laboratory: Ben Cardew on the pivotal role of Stereolab’s Super-Electric.

• At Colossal: Pejac transforms basic graph paper into detailed, trompe-l’œil tableaux.

Sixty finalists from the 23rd Annual Smithsonian Magazine Photo Contest.

• At BLDGBLOG: The landscape architecture of auroras on demand.

• Mix of the week: Float V mix by DJ Food.

We Have Always Been Here (1995) by ELpH vs Coil | 5-Methoxy-N,N-Dimethyl- (5-MeO-DMT) (1998) by Time Machines/Coil | Machine Elves (2024) by Polypores