David Chestnutt’s psychedelic fairy tales

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A post for Record Store Day. “Psychedelic” is stretching things here but it’s a word that always grabs the attention. Let’s Pretend was a series of fairy tale recordings released in the US in 1970 on the Stereo Dimension Records label. Each of the 25 recordings employs a radio show format, possibly because these were all radio recordings originally (there’s an older series of Let’s Pretend radio shows at the Internet Archive). Anyone desperate to experience one of them can listen to The Little Mermaid here. The sleeves are all illustrated by David Chestnutt in that post-Heinz Edelmann style that really ought to have a name of its own. Nice to see The Tinderbox turn up again, Chestnutt’s magical hound is a distinctly benevolent creature.

These sleeves were hoovered up from Discogs.com where some of them are only available in small images. If anyone finds a gallery of all 25 designs in decent quality then please leave a comment.

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The Lumière Brothers at the Exposition Universelle

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The films shot by the Edison company at the Paris Exposition Universelle of 1900 were featured here a couple of years ago. These screen grabs are from better quality footage made by Edison’s French rivals, Auguste and Louis Lumière, who had the advantage over the Americans in also having their films screened as one of the exposition attractions. The footage is nine minutes from Lumière, a French documentary compiled in 1966 by Marc Allégret, which is hosted here. The clip is still rough but not at all bad compared to the poor quality of online copies of the Edison footage, and it’s mostly projected at a speed so people don’t rush around like Keystone Cops. (On the downside, the audio track has the French speaking clock droning away in the left channel.) Great shots of the pavilions along the Seine, and the escalator. Whatever the quality, these views still strike me as miraculous for the brief impression they give of the exposition as a living event. Oscar Wilde enjoyed his last summer with these teeming crowds. He may be there somewhere among the top hats and parasols.

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Previously on { feuilleton }
Le Grand Globe Céleste, 1900
Tony Grubhofer’s Exposition Universelle sketches
The Cambodian Pavilion, Paris, 1900
Le Manoir a l’Envers
Suchard at the Exposition Universelle
Esquisses Décoratives by René Binet
Le Palais de l’Optique, 1900
Exposition Universelle films
Exposition jewellery
Exposition Universelle catalogue
Exposition Universelle publications
Exposition cornucopia
Return to the Exposition Universelle
The Palais Lumineux
Louis Bonnier’s exposition dreams
Exposition Universelle, 1900

The art of Léon Bonnat, 1833–1922

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The Martyrdom of St Denis (1885).

Léon Bonnat’s depiction of St Denis reaching for his detached head might be included with St Lucy (always shown with her dish of eyeballs) and St Peter of Verona (seldom without an axe stuck in his skull) in a facetious list of Saints Do The Funniest Things. Bonnat’s gory painting can be found on a wall in the Panthéon in Paris, and is the kind of image I often keep in mind for those moments when someone wants to argue that violent imagery is a very recent thing. Academic painting at the end of the 19th century reached a pitch of photo-realism which demanded that acts of murder be shown with all the relevant blood splashes, hence St Denis and the characteristic excess of Georges Rochegrosse’s Andromaque, painted two years earlier. The 50 Watts Flickr pages have a large monochrome reproduction of Bonnat’s picture.

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Jacob Wrestling with the Angel (1876).

It was this drawing of Jacob wrestling the angel that set me looking for more of Bonnart’s work. With the exception of a Tarzanesque painting of Samson fighting a lion there isn’t much else like this, a disappointment to those of us who can’t help but notice the Simeon Solomon-like homoerotic quality of the clinch.

Previously on { feuilleton }
Nirvana and The Conquerors

Virgil Finlay’s Tarzan

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Thanks are due to Ty Reutel for alerting my attention to this one. I’d no idea that the great Virgil Finlay had illustrated Tarzan but here’s the proof, one half of an interior drawing for The Quest of Tarzan in Argosy Weekly for 1941. That’s the first surprise, the second, of course, was that Finlay had copied Frederic Leighton’s Athlete Wrestling with a Python (1877) ( below), a sculpture which has been a subject of discussion here recently. I’ve mentioned before my including Leighton’s work in one of my Lovecraft adaptations; I referred to many other artworks in those stories but never made any direct reference to Virgil Finlay even though he was the original illustrator of Lovecraft’s The Haunter of the Dark when it was first published in Weird Tales in 1936. Finlay’s illustrations for that story later appeared with some of my own in the enormous Centipede Press collection of Lovecraft art so it’s strange to find that we were also led to the same Leighton sculpture.

Tarzan illustration has been in my thoughts for the past few weeks while I’ve been at work (again!) on the collected Reverbstorm, many pages of which played variations on Burne Hogarth’s comic adaptations of the Tarzan stories. Reverbstorm is at long last very close to being finally, absolutely finished, and ready for printing in a single definitive volume. No production schedule just yet but any news will be announced here.

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Previously on { feuilleton }
Frederic Leighton’s sculptures
Virgil Finlay’s Salomé
Die Farbe and The Colour Out of Space
Lovecraft’s favourite artists revisited
Angelo Colarossi and son
The monstrous tome
Men with snakes

Maxwell Armfield’s Faery Tales

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A selection of colour plates from Faery Tales from Hans Christian Andersen (1910) illustrated by British artist Maxwell Armfield. I hadn’t seen this collection before which turned up whilst searching for Tinderbox illustrations. Armfield does illustrate that particular story (here titled The Tinder Box—the title varies) but we don’t get to see the monstrous hounds. I was especially struck by the picture of Mount Vesuvius from What the Moon Saw which looks more like something by Hokusai than the usual fairy tale painting of the period.

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