Visions of fairyland from 1922. Imagery from “Croatian tales of long ago,” Ivana Brlic-Mazuranic, author (1874-1938). Fanny S. Copeland, translator. Vladimir Kirin, illustrator.

Front cover of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. 1922 edition in English, translated by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/mode/1up

Title page of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Image 6 of the 1922 English edition. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n6/mode/1up

First illustration for Chapter I, *How Quest Sought the Truth.* Page 20 of the 1922 English edition of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n20/mode/1up

Second illustration for Chapter I, *How Quest Sought the Truth.* Page 38 of the 1922 English edition of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n38/mode/1up

Third illustration for Chapter I, *How Quest Sought the Truth.* Page 38 of the 1922 English edition of *Croatian talCroatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n56/mode/1up

First illustration for Chapter II, *Fisherman Plunk and His Wife*. Page 74 of the 1922 English edition of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n74/mode/1up

Second illustration for Chapter II, *Fisherman Plunk and His Wife*. Page 84 of the 1922 English edition of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n84/mode/1up

First illustration for Chapter III, *Reygoch*. Page 110 of the 1922 English edition of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n110/mode/1up

First illustration for Chapter V, *Stribor’s Forest*. Page 196 of the 1922 English edition of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n196/mode/1up

First illustration for Chapter V, *Little Brother Primrose*. Page 254 of the 1922 English edition of *Croatian Tales of Long Ago.* Ivana Brlic-Mazuranic, author (1874-1938). Vladimir Kirin, illustrator. Translated into English by Fanny S. Copeland. Printed in Great Britain. Published by Frederick A. Stokes Company, New York. Collections of the Boston Public Library. In the public domain due to age. via https://archive.org/details/croatiantalesofl00brli/page/n254/mode/1up

Hand-fans from Fan d’Eventails Paris for July. Perfect for making your own breeze until you can get to the pool and jump in.

Hand-fan with blue rooster feathers and tortoiseshell or imitation tortoiseshell sticks and guards. 1920s-1930s ish, Art Deco. Maker not known. Image © 2026 Fan d’Eventails Paris. Fair use license. Maker not known. https://www.fandeventails.fr/en/feather-fans/4708-blue-rooster-atr-deco-fan.html

Black and green Wedgwood style horn fan, painted with small medallions reminiscent of Wedgwood faience designs. Gilded brass guards. ca. 1830. Maker not known. Image © 2026 Fan d’Eventails Paris. Fair use license. https://www.fandeventails.fr/en/19th-century-fans/4718-black-and-green-wedgwood-style-fan-circa-1830.html

Hand-fan, orange ostrich feathers applied with black egret and tortoiseshell or imitation tortoiseshell sticks and guards. 1920s-1930s ish, Art Deco. Maker not known. Image © 2026 Fan d’Eventails Paris. Fair use license. https://www.fandeventails.fr/en/feather-fans/4709-blue-rooster-atr-deco-fan.html

Pink and gold hand-fan, pink ostrich feather applied with gold paint and wooden sticks and guards applied with fabric. 1920s-1930s ish, Art Deco. Maker not known. Image © 2026 Fan d’Eventails Paris. Fair use license. https://www.fandeventails.fr/en/feather-fans/4710-blue-rooster-atr-deco-fan.html

Pair of black and silver openwork fans, both with brushed aluminum sticks and guards piercing through the fabric. The Damascus silk brocade leaves feature silver motifs – one on a black background and the other on a cream background. 2025. Work by fan artist Sylvain Le Guen (unsigned). Image © 2026 Fan d’Eventails Paris. Fair use license. https://www.fandeventails.fr/en/modern-fans/4716-sylvain-le-guen-s-black-and-silver-openwork-fans-a-pair-2025.html

Large *brisé* fan made with yellow-tinted mother-of-pearl with the tops of the sticks carved with the coats of arms of the Count and the Marquise it was made for. The guards are inlaid with gray mother-of-pearl. Late 19th c. Image © 2026 Fan d’Eventails Paris. Fair use license. https://www.fandeventails.fr/en/19th-century-fans/4720-yellow-countess-and-marquise-late-19th-century-fan.html

Wanting a whole new something but needing to start somewhere before the salesman arrives. Imagery from a 1950 catalogue titled “Collection of ideas: Pella Casement Windows,” put out by the Rolscreen Company of Des Moines, Iowa which was founded in 1929. Rolscreen having been the company’s original name.

*Home of Harold Spitznagel Architect, Sioux Falls, South Dakota.* American. Title page, Image 4 of the 1950 trade catalogue *Collection of ideas: Pella Casement Windows* put out by the Rolscreen Company. Probably in the public domain. Collections of Columbia University via https://archive.org/details/collectionofidea00rols/page/1/mode/1up

Perhaps the most popular modern style window is the ‘picture window.’ While shown here in a ranch style home, it is equally adaptable to most all other architectural styles. The large center section is stationary while the Pella casement units on both sides open to full 90°. All can be equipped with Thermopane, Twindow or Dual Glazing for maximum insulating effect. Side casements are equipped with Pella Rolscreens . . . the original inside screens that roll up and down like window shades. Actually these generous size picture windows with Pella features are easier to maintain than conventional windows one-fourth their size! Image 7 of the 1950 trade catalogue *Collection of ideas: Pella Casement Windows* put out by the Rolscreen Company. Probably in the public domain. Collections of Columbia University via https://archive.org/details/collectionofidea00rols/page/4/mode/1up

If you are tired of those little ‘‘2 x 4’’ windows that characterize so many
dingy bedrooms, consider one like this with walls of sunshine! Composed of stock-size Pella Casement Units, they can be specified for any length and are easily installed. About two out of each three casement units are made to open. The others are stationary. Cleaning is facilitated by omitting vertical glass dividers. Pella Dual Glazing may be left in place all year to protect against summer heat as well as winter cold. All Pella windows are 100% assembled and pre-fitted at the factory. No cutting or fitting is necessary when they are being installed. This saves construction time and extra costs. Image 8 of the 1950 trade catalogue *Collection of ideas: Pella Casement Windows* put out by the Rolscreen Company. Probably in the public domain. Collections of Columbia University via https://archive.org/details/collectionofidea00rols/page/5/mode/1up

Someone once said that, ‘‘windows are the eyes of a house’’. At least the right windows can lend character to a house. And, when they become ‘walls of sunshine’ like these, they reflect all the cheery warmth within. Don’t worry about the practicability of large window areas in northern states. That has been proved. First, the correct roof overhang shades window against the sun when it is high in summer. In winter when the sun is low, it floods in to help warm the house. Pella Dual Glazing and compression-type weatherstripping seal against drafts and warm air leaks. Then when good old springtime arrives, windows can be popped open and Rolscreens pulled down in a matter of seconds. Lacking thick frames like ordinary screens, Rolscreens admit more light to make rooms brighter all day long. Image 17 of the 1950 trade catalogue *Collection of ideas: Pella Casement Windows* put out by the Rolscreen Company. Probably in the public domain. Collections of Columbia University via https://archive.org/details/collectionofidea00rols/page/14/mode/1up

Pella is still around and still making windows. Visit them here https://www.pella.com/about/history/

An envisioning. July 1971. Suppertime over, and the evening about to begin at the summer house on Lake Tuscarora.

Oh to be here.

The children’s sparklers greeting the costumed up reenactor men paddling over as Revolutionary War someones. Funny. The family having summered on Lake Tuscarora one way or the other for all of eternity. Grandmama having sat by the canoe rack telling the same stories, but with ancestors in the canoes with real muskets, terrified the British would get them and they’d never get to go home.

my new short fiction piece with the rest at the link if you’d like to read the rest. The image is from lastminute. com.

https://sarahbguestperry.substack.com/p/an-envisioning-july-1971-suppertime

Art in stone and wood back when stylish meant razzle dazzle something not polished granite with huge windows and infinity swimming pools. No these have no swimming pools at all. Imagery from the 1915 work “Materials and Documents of Architecture and Sculpture.” Antonin Raguenet, Architect. C. Broes Van Dort Company, Importers and Dealers in Books on Architecture and Industrial Art, importers and sales agents, publishers.

*Escalier/stairs. The Rocher Frères a Paris. Le Monclos Frères, Architectes a Lyon. – Charles Breffendille, le Architecte a Paris.* Published in 1915. Page 46 of *Materials and Documents of Architecture and Sculpture.” A. (Antonin) Raguenet, Architect.* C. Broes Van Dort Company, publishers. Collections of the Getty Research Institute. In the public domain due to age https://archive.org/details/materialsdocumen10unse/page/n46/mode/1up

*Escalier en bois d’Une Vielle Maison Rue Vasselot a Rennes (Ile and Vilaine). Lithographer Vieillemard Fils et Cie, Rue de la Glacière, Paris – Le Gérant, E. Christin.* Published in 1915. Page 39 of *Materials and Documents of Architecture and Sculpture.” A. (Antonin) Raguenet, Architect.* C. Broes Van Dort Company, publishers. Collections of the Getty Research Institute. In the public domain due to age https://archive.org/details/materialsdocumen10unse/page/n39/mode/1up

Tombeau. Cimetière Du Nord (Montmarte) Sepulture de la Famille Thouret-Rouvenat, M. Labrouste architecte. A. Raguenet Architecte fondateur – Publication Mensuelle 17me Numero – R. Ducher Editeur, 3 Rue de Poitevins, Paris. Published in 1915. Page 144 of *Materials and Documents of Architecture and Sculpture.” A. (Antonin) Raguenet, Architect.* C. Broes Van Dort Company, publishers. Collections of the Getty Research Institute. In the public domain due to age. https://archive.org/details/materialsdocumen10unse/page/n144/mode/1up

Looking like you are living it up going on train trips and staying at fancy hotels when you are merely modeling for Loom and Needle which was a fancy women’s dress shop located at 170 Esplanade in Lexington, Kentucky. Images from the University of Kentucky Archives.

*Woman standing wearing a hat. Loom and Needle, 170 Esplanade (clothing), Lexington, Kentucky USA.* 1944 image. American. Lafayette Studios, photographers. Lafayette Studios Photograph Collection, University of Kentucky. Under copyright. via https://exploreuk.uky.edu/catalog/xt7z348gg90h_5_116?q=Loom+%26+Needle%2C+170+Esplanade&per_page=20

*At the race track. models standing in front of a billboard posing for an advertisement. Loom and Needle, 170 Esplanade (clothing), Lexington, Kentucky USA.* 1941 image. American. Lafayette Studios, photographers. Lafayette Studios Photograph Collection, University of Kentucky. Under copyright. via https://exploreuk.uky.edu/catalog/xt7z348gg90h_2_164?q=Loom+%26+Needle%2C+170+Esplanade&offset=20&per_page=20

*Going on a train trip. Southern Station; woman standing at ticket counter. Loom and Needle, 170 Esplanade (clothing), Lexington, Kentucky USA.* 1943 image. American. Lafayette Studios, photographers. Lafayette Studios Photograph Collection, University of Kentucky. Under copyright. via https://exploreuk.uky.edu/catalog/xt7z348gg90h_4_304?q=Loom+%26+Needle%2C+170+Esplanade&offset=20&per_page=20

Engravings of furniture design ideas, like the ones Marie Antoinette must have looked through when she was picking out furniture for her Trianon hideaway. A volume of plates inscribed 1780 on Page Two with ornamentation designs by Richard Le Londe. Richard Le Londe was a French designer noted for his work on fine furniture and interior designs. Various engravers.

*Cahier de Frises, Composées et Gravées par Salembier: A Paris chez Chereau rue des Mathurins. Avec Privilège du Roi.* Image 8 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Henri Salembier, engraver of designs by Richard Le Londe. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n6/mode/1up

The figures at the top of the upper left being a charming sphinx/putti fusion. The Latin reads: *Salembier fixit. Chereau Exc. A.P.D.R.* Image 18 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Henri Salembier, engraver of designs by Richard Le Londe. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n18/mode/1up

Quatrième Cahier de Meubles et d’Ebénisteries, Dessinés par le Londe : Petit-Pied ou Console a Bouquets (left) ; Table Ronde avec Tablette au-dessous. La Londe designer. Saint Morien, engraver. A Paris chez Chereau rue des Mathurins au coin de celle de Sorbonne. Avec Privilege du Roy. Image 28 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n28/mode/1up

Girandole à Plateau (left) – Table de Nuit – Papitre à Tiroirs. La Londe designer. Saint Morien, engraver. Chereau Exc. C.P.R. Paris chez Chereau rue des Mathurins au coin de celle de Sorbonne. Avec Privilege du Roy. Image 38 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n38/mode/1up

1er Cahier du Livre d’Ameublemens Dessines par La Londe. Lit à la Duchesse, orné de Sculptures et totalement fini. La Londe, designer. Delagardette (Pierre-Claude), engraver. A Paris chez Chereau rue des Mathurins. Avec Privilège du Roi. Image 52 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n52/mode/1up

IIIe Cahier du Livre d’Ameublements Dessinés par La Londe. Lit de repos à la turque, orné de sculptures et totalement fini. Ceintre du Chevet – Traverse d’en bas. La Londe, designer. Delagardette (Pierre-Claude), engraver. A Paris chez Chereau rue des Mathurins. Avec Privilège du Roi. Image 64 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n64/mode/1up

*Paravent de quatre Feuilles Centrées, orne de Sculpture. La Londe, designer. Delagardette (Pierre-Claude), engraver. Chereau, exe.* Image 86 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n86/mode/1up

*Porte Tapisserie. La Londe, designer. Chereau, exe. A.P.D.R. Fein, engraver.* Image 130 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n130/mode/1up

Designs for door knobs? dresser knobs? Very pretty. Probably done up in brass. *La Londe, designer. Chereau, exe. A.P.D.R. Hubert (probably Francois Hubert), engraver.* Image 166 of a collection of designs for furniture and architectural ornamentation that is inscribed 1780. Designs by Richard Le Londe. Various engravers. Printed by Jacques-François Chareau in Paris, France. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/gri_33125008499465/page/n166/mode/1up

A private library of one’s own. Something to aim at if you own lots of books, even if you never get there. Images from Digital Commonwealth.

*Saint Gaudens private library. Cornish, New Hampshire.* Where Augustus Saint Gaudens lived after he started making money (he had studios in other places, too). Black and white glass negative, ca. 1917-1934. American. Leslie Jones, photographer. Leslie Jones Collection, Boston Public Library. © the photographer. https://www.digitalcommonwealth.org/search/commonwealth:5h73px48j

*Governor Andrews’ Library, 110 Charles Street, Boston, Massachusetts.* Photographic print, ca, 1861-1881. American. Photographer not given. Collections of the Boston Public Library. In the public domain. https://www.digitalcommonwealth.org/search/commonwealth:9593vc598

*Library, presumably in the Stevens-Coolidge Place estate in North Andover, Massachusetts because that’s the collection this photograph is in.* Undated, looks 1930s-early 1950s maybe. The bookcases look Colonial Revival which makes sense as the house was remodeled in 1918 after the owner married a nephew of Isabella Stewart Gardner. Collections of the Trustees of Reservations. Cc0 License CC BY-NC-ND. https://www.digitalcommonwealth.org/search/commonwealth:n870zv86h

An envisioning. 1950 and mid August with cocktail hour coming on at Erskiniana Manor.

Oh to be here.

A pitcher of something to mix up, as soon as one of the recipes in the booklet that came stuck to the back of the Bacardi bottle looks pretty. That, and needing one that matches whatever frozen juice colors are in the freezer section of the fridge.

my new short fiction piece published to my Substack with the rest at the link – the image is from an archive in Massachusetts.

https://sarahbguestperry.substack.com/p/an-envisioning-1950-and-mid-august

Bits and pieces of life long gone by that may or may not still be part of someone’s holiday villa. Imagery from an illustrated supplement to “Armorial of Jersey: being an account, heraldic and antiquarian, of its chief native families, with pedigrees, biographical notices, and illustrative data; to which are added a brief history of heraldry, and remarks on the mediaeval antiquities of the island.” Published between 1859 and 1865, written by James Bertrand Payne.

Royal arms ornamenting the walls of Elizabeth Castle: It will be noticed that the ensigns of England are here supported with the lion and a dragon, which last was first borne by Henry VII. as the bearing of Cadwallader, the last king of the Britons, from whom he boasted his descent. James J. was the first monarch who bore the lion and unicorn as supporters. So the coat of arms used before 1603 when James VI of Scotland inherited the crown of England from Elizabeth I and so became king of England too. Image 18 of James Bertrand Payne’s illustrated supplement to the Armorial of Jersey: being an account, heraldic and antiquarian, of its chief native families, with pedigrees, biographical notices, and illustrative data; to which are added a brief history of heraldry, and remarks on the mediaeval antiquities of the island. 1859-1865. Published in Birmingham, London and New York. University of California Libraries. In the public domain due to age. via https://archive.org/details/armorialofjersey00paynrich/page/18/mode/1up

*Amy Family* Chapter heading on Page 26. Image 26 of James Bertrand Payne’s illustrated supplement to the Armorial of Jersey: being an account, heraldic and antiquarian, of its chief native families, with pedigrees, biographical notices, and illustrative data; to which are added a brief history of heraldry, and remarks on the mediaeval antiquities of the island. 1859-1865. Published in Birmingham, London and New York. University of California Libraries. In the public domain due to age. via https://archive.org/details/armorialofjersey00paynrich/page/26/mode/1up

Hamptonne, of Hamptonne: The coffer, or garde-robe, and the pilasters of the bed used by Charles II, on his visits to the residence of the Hamptonne family; now in the possession of one of its representatives – S. Elliott Hoskins, Esquire, M.D, F.R.S, (Fellow of the Royal Society) Fellow of the Royal College of Physicians of Guernsey. Image 177 of James Bertrand Payne’s illustrated supplement to the Armorial of Jersey: being an account, heraldic and antiquarian, of its chief native families, with pedigrees, biographical notices, and illustrative data; to which are added a brief history of heraldry, and remarks on the mediaeval antiquities of the island. 1859-1865. Published in Birmingham, London and New York. University of California Libraries. In the public domain due to age. via https://archive.org/details/armorialofjersey00paynrich/page/177/mode/1up

*Mural Monument to the Memory of Francis Francis Valpy dit Janvrin, Esquire in the parish Church of Saint Brelade. This plate is presented to the Work by Frederick Janvrin, Esquire.* Image 273 of James Bertrand Payne’s illustrated supplement to the Armorial of Jersey: being an account, heraldic and antiquarian, of its chief native families, with pedigrees, biographical notices, and illustrative data; to which are added a brief history of heraldry, and remarks on the mediaeval antiquities of the island. 1859-1865. Published in Birmingham, London and New York. University of California Libraries. In the public domain due to age. via https://archive.org/details/armorialofjersey00paynrich/page/n273/mode/1up

*John Le Cronier, Esquire. By whom this plate is Presented to the work.* Coat of arms. Liking the dog at the top and hoping she is modeled after Mr. Le Cronier’s own dog. Image 311 of James Bertrand Payne’s illustrated supplement to the Armorial of Jersey: being an account, heraldic and antiquarian, of its chief native families, with pedigrees, biographical notices, and illustrative data; to which are added a brief history of heraldry, and remarks on the mediaeval antiquities of the island. 1859-1865. Published in Birmingham, London and New York. University of California Libraries. In the public domain due to age. via https://archive.org/details/armorialofjersey00paynrich/page/n311/mode/1up

This work has a lot of images of coats of arms, too not just this last one that I picked up because I like the dog. Mentioned in case someone would like to look at those.