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These are actually La Fontaine’s fables illustrated by a British artist, Percy J.

Mushroom Lady poster (1967) by East Totem West. • “I want to be able to hear the process happening throughout the sounding music.”

Here in The North the weather is slowly turning against the wearing of T-shirts outdoors but this week I’ve made a new shirt available based on an old design.

Hungarian artist István Orosz has directed fifteen short animated films to date, and co-directed three more, yet he’s known more for his drawings than his films, especially those works which follow MC Escher by combining a careful graphic technique with an

Boris Artzybasheff’s art was rediscovered in the 1980s by a new generation of American cartoonists who were delighted by his illustrations of anthropomorphic machinery and other technological artefacts.

Exhibition poster, 1970. • RIP Peter Max, an artist who made the popular manifestations of psychedelic graphics near-synonymous with his own name which was always typeset and prominently displayed with a copyright symbol on his printed creations.

A pair of short films connected more by technique than content, being playful arrangements of stock footage accompanied by music.

Six years ago I put together a post of links to online sources for all of Harry Clarke’s major works of illustration.

La voix des airs (1931) by René Magritte. • “Gangsters is to the 1970s what The Prisoner was to the 1960s—a playful, knowing and mildly crazed production but today it bears an important warning from the past to us.”

The first minute of this Franco-German documentary doesn’t present a title in English but the French title, L’écrivain perché, refers to Le Baron perché, one of Italo Calvino’s earliest novels which English readers know as Baron in the Trees.

Aspects de la nature: La Baie (1897).

Design by Randoll Coate for the Labirinto Borges, a hedge maze at the Giorgio Cini Foundation, Venice, which was renovated earlier this year. • “Code was probably our most overtly political record, which is interesting, touring and playing it in these very

Paul Vincent Woodroffe (1875–1954) was a British illustrator and stained-glass artist, a kind of British equivalent of Harry Clarke in that he seems to have spent more time creating stained glass than he did illustrating books.

There’s a worthwhile documentary struggling to be born in this film which is compromised by its hyperbolic title and a running time of 48 minutes, not nearly enough to contain a history of science fiction, past and present.

Cover design by Jim Jupp, art by Arik Roper. • New music: Sorcery by Belbury Poly, or “The Belbury Poly” as the credit on the cover art has it.

Mugwump (mŭg´ wŭmp).

I was amused when I opened this new arrival to see a reproduction of the picture which is currently being used as this month’s blog header.

Crivelli’s Room I (1967) by Gillian Ayers. • “This is the first film ever made about HP Lovecraft—and almost no one has seen it.

Giving this 30-minute curio a “film by…” designation is a bit of a stretch but it was co-written by artist Mati Klarwein and also directed by him.

1955.

Total solar eclipse over Zaragoza, Spain, 12th August, 2026.

Arthur Machen isn’t usually considered to be a Decadent author even though it was in the Mauve Decade of the 1890s that he first established himself as a writer.

Art by Rick Griffin with Gustave Doré.

An illustration by Charles Keeping for The Golden Shadow. • At the BFI: Alex Ramon selects 10 great British TV shows of 1976.

Since Barry Windsor-Smith was absent from the previous post (or there in spirit via the pages of The Studio) I thought I’d post a few of his prints from the mid-70s.

I’d been hoping that Malcolm Whitehead’s Snaps might be made public eventually, and here it is, a 25-minute film documenting the northern end of a British book-signing tour undertaken by three artists and their publisher in October 1979.

Drawing Hands (1948) by MC Escher. • New music: The World In Layers by mōshonsensu; The Rest Is My Ghost by Lawrence English; Rotostyles by Julien Ash & M.Nomized. • At Public Domain Review: “The Persian Mâr-Nâmeh or, The Book for Taking Omens from Snakes”

As an artist, Leonor Fini has never received as much attention as her contemporary and near namesake Leonora Carrington but this didn’t stop film-makers calling at Fini’s door in later life.

It’s that man again, or some of his progeny, infecting the world with their nightmares.

The Toad of Maldoror (1932) by Valentine Hugo. • Old music: Thank You America (John Robie Dub Mix) by Cabaret Voltaire.

It’s the magus of Utopia Parkway again.

Charles Henri Ford’s avant-garde magazine has been a sporadic visitor to these pages over the past 20 years, the subject of occasional posts as well as my complaints about the difficulties of finding online sources for important magazines and journals.

Imaginary Numbers (1954) by Yves Tanguy. • “In all his writing, Ballard seems to embrace the opposed extremes of pulp genre conventions on the one hand and avant-garde experimentation on the other, while entirely rejecting the norms of conventional litera…

I like a picture series, and this is one I hadn’t encountered before.

Yes, it’s that Jim Henson but you won’t find any Muppets here.

Amethyst geode by Sheila Sund. • RIP Tony Rayns: A Supreme Cinephile Remembered – notes and observations by Geoff Andrew.

Phantom Canyon (2006) is another short animated film by Stacey Steers where many of the backgrounds and other details are collaged pieces from old engravings.

The Sixty-nine Stations of the Kiso Kaidō is a ukiyo-e print series by Keisai Eisen and Utagawa Hiroshige depicting notable places on one of the main roads leading from Edo (Tokyo) to Kyoto.

Tree Shadows on the Park Wall, Roundhay, Leeds (1872) by John Atkinson Grimshaw. • “In many cases, the rules of physics that apply in a real scene appear to be optional in a painting; they can be obeyed or ignored at the discretion of the artist to enhance