Very Eerie Pre Halloween Art for October 10th in the 2025 show . . .

waltzing through air as the gun magnate’s daughter slowly goes mad . . . impossible . . . a huge San Francisco mansion to inhabit but only one room . . . the rest filled with gutted candles, dust tinsel strands hanging off every curtain rod and the ghost of every man one of Papa’s guns killed . . .

my series post for today published to my Substack at the link if you’d like to see-

https://sarahbguestperry.substack.com/p/very-eerie-pre-halloween-art-for-89c

Spider brooch. Antique. Russian. Rose gold with diamonds, emeralds and enamel. Maker not known. via Facebook.

An envisioning. 2015, mid-afternoon, and a February filled with light shining through icicles at the apartment in Gloriana Heights.

Oh to be here.

Assisted living or independent living, whichever way they put it in the brochures that get left out on the table by the front door downstairs.

My new short fiction piece with the rest at this link if you’d like to see.

https://sarahbguestperry.substack.com/p/an-envisioning-2015-mid-afternoon

Advertisement for the North Star Woolen Mill Company, Lima, Ohio USA. Undated but late 1940s or early 1950s, after 1949 when North Star moved to Lima. via Shopkeeper Ellie on Instagram. https://www.instagram.com/theshopon13thstreet/p/DPlA3V-Dtjc/

Very Eerie Pre Halloween Art, October 9th edition in the 2025 fall show.

sparking on air on the tip of a beam of light at the end of a magic wand as somewhere far to the south something rises up from the bottom of the sea . . . covered with algae and then sparkly somethings in purple and pink glitter . . . the daughters of the sea king looking for new boyfriends it must be . . . the old ones having lost their dancing slippers along with their charm somewhere amongst the sea anemones . . . a waltz and then a sea weed draped cha cha . . . hmmm . . . that’s it . . . he’s the one . . . dance with them if you dare . . . will you be back or permanently relocating to the castle in your three your old’s aquarium . . . hmmmm

My fall series post for today published to my Substack at the link if you’d like to see –

https://sarahbguestperry.substack.com/p/very-eerie-pre-halloween-art-october-2ce

Visions in frost. The Saint Paul Minnesota Ice Palace, various years and sources. Part of the Saint Paul Winter Carnival which started in 1886.

Storming of the Saint Paul Ice Palace January 20th and 27th 1887. Saint Paul, Minnesota. 1887. American. Chromolithograph. Shober and Carqueville, lithographers. Image  © 2025 Geographicus Rare Antique Maps. The chromolithograph itself is in the public domain due to age. https://www.geographicus.com/P/AntiqueMap/StormingIcePalace-shobercarqueville-1887
The Ice Palace. Saint Paul, Minnesota. February 1886. Photograph by Charles A. Tenney, Winona, Minnesota. Charles Tenney was a Winona based commercial photographer. American. Under copyright. Collections of the Winona Public Library via the Minnesota Digital Library. https://collection.mndigital.org/catalog/p16022coll73:22

Ice Palace – Saint Paul Winter Carnival 1937. Saint Paul, Minnesota. American. Photograph. Ernest A.Kjorlie, photographer. Under copyright. Collections of the Hennepin History Museum Collection. Fair use license. https://collection.mndigital.org/catalog/hchm:964#?xywh=-728%2C-2%2C6500%2C3954
2018 Saint Paul Minnesota Winter Carnival Ice Palace. Photograph. American. Photo credit: Brian Peterson for the Star Tribune. Under copyright. Fair use license. https://stribstore.com/products/2018-winter-carnival-ice-palace

1980s Saint Paul Minnesota Winter Carnival Ice Palace. Photograph. American. I wish I could find more about it. I found this image on Old USA on Facebook but I found it over on Threads in the account of Clare.rolfzen who states that: Saint Paul, Minnesota holds a Winter Carnival every winter. This is a photo of one of the ice Castles for the carnival. They are not constructed every year and they aren’t all lighted. This is a favorite of mine! From Life in Minnesota.

Bits and pieces of French imperial life that the l’Impératrice Eugénie managed to hold onto in her life in exile in England. From a catalogue for a 1928 exposition titled De Napoléon Ier à Napoléon III. Musée national de Malmaison, publishers. Presumably the exposition was held there, too.

Musée National de Malmaison EXPOSITION 1928 de NAPOLÉON Ier à NAPOLÉON III. SOUVENIRS DE LA FAMILLE IMPERIALE. Conservées par l’Impératrice Eugénie dans sa résidence de Farnborough et provenant de sa succession. Front cover. Published in 1928. P. Guillaumot, Paris, engraver-heraldist. Bellenand and Son, Fontenay-aux-Roses, printers. Published by the Musée national de Malmaison. Collections of the Bibliothèques Patrimoniales Paris. Artwork in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000045806?posInSet=17&queryId=26dd9225-f3a0-45f5-a20a-95a1026c09a7


32. Le Prince Impérial (son of Eugénie and Napoleon III). Medaillon de profil. Marbre, par J. Peyre (1863), sculpteur de la Manufacture de Sèvres, Diamètre : 0.37. Image 19 from a 1928 catalogue titled Musée National de Malmaison EXPOSITION 1928 de NAPOLÉON Ier à NAPOLÉON III. SOUVENIRS DE LA FAMILLE IMPERIALE. Conservées par l’Impératrice Eugénie dans sa résidence de Farnborough et provenant de sa succession. P. Guillaumot, Paris, engraver-heraldist. Bellenand and Son, Fontenay-aux-Roses, printers. Published by the Musée national de Malmaison. Collections of the Bibliothèques Patrimoniales Paris. Artwork in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000045806/v0019.simple.highlight=imp%C3%A9ratrice.selectedTab=record
L’Impératrice Eugénie entourée de ses dames d’honneur. Painted by Franz-Xaver Winterhalter in 1855. See it in color here https://www.napoleon.org/en/history-of-the-two-empires/paintings/the-empress-eugenie-surrounded-by-her-ladies-in-waiting/. In the collections of the RMN, Compiègne, Musée National du château. Image 21 from a 1928 catalogue titled Musée National de Malmaison EXPOSITION 1928 de NAPOLÉON Ier à NAPOLÉON III. SOUVENIRS DE LA FAMILLE IMPERIALE. Conservées par l’Impératrice Eugénie dans sa résidence de Farnborough et provenant de sa succession. P. Guillaumot, Paris, engraver-heraldist. Bellenand and Son, Fontenay-aux-Roses, printers. Published by the Musée national de Malmaison. Collections of the Bibliothèques Patrimoniales Paris. Artwork in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000045806/v0021.simple.highlight=imp%C3%A9ratrice.selectedTab=record
76. Aiguiere et son Bassin. En vermeil. PAR HENRY AUGUSTE, orfevre de la Couronne. Signes Henry – Auguste. Le bassin est timbré, à son bord inférieur, d’une échelon grave aux Armes Royales. Ces objets ont servi à ondoyer le Prince Impérial aux Tuileries, le 16 mars 1856. Ils sont désignés dans le catalogue de la vente de Farnborough comme ayant appartenu à Louis XVI et à Napoléon Ier. (Collection de M. Bacri). Image 43 with the description being on the previous page. From a 1928 catalogue titled Musée National de Malmaison EXPOSITION 1928 de NAPOLÉON Ier à NAPOLÉON III. SOUVENIRS DE LA FAMILLE IMPERIALE. Conservées par l’Impératrice Eugénie dans sa résidence de Farnborough et provenant de sa succession. P. Guillaumot, Paris, engraver-heraldist. Bellenand and Son, Fontenay-aux-Roses, printers. Published by the Musée national de Malmaison. Collections of the Bibliothèques Patrimoniales Paris. Artwork in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000045806/v0047.simple.highlight=imp%C3%A9ratrice.selectedTab=record
98. Livre d’heures de Napoleon III. Velours grenat, garni de découpures en vermeil; au centre, sur fond d’email bleu, le chiffre de l’Empereur et l’Aigle Impériale. (Collection of Mademoiselle Dechaux). Image 59. From a 1928 catalogue titled Musée National de Malmaison EXPOSITION 1928 de NAPOLÉON Ier à NAPOLÉON III. SOUVENIRS DE LA FAMILLE IMPERIALE. Conservées par l’Impératrice Eugénie dans sa résidence de Farnborough et provenant de sa succession. P. Guillaumot, Paris, engraver-heraldist. Bellenand and Son, Fontenay-aux-Roses, printers. Published by the Musée national de Malmaison. Collections of the Bibliothèques Patrimoniales Paris. Artwork in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000045806/v0059.simple.highlight=imp%C3%A9ratrice.selectedTab=record
Buvard de Napoléon III, en velours vert, garni d’ornements en ivoire sculpté ; au centre, le chiffre de l’Empereur. Image 63. From a 1928 catalogue titled Musée National de Malmaison EXPOSITION 1928 de NAPOLÉON Ier à NAPOLÉON III. SOUVENIRS DE LA FAMILLE IMPERIALE. Conservées par l’Impératrice Eugénie dans sa résidence de Farnborough et provenant de sa succession. P. Guillaumot, Paris, engraver-heraldist. Bellenand and Son, Fontenay-aux-Roses, printers. Published by the Musée national de Malmaison. Collections of the Bibliothèques Patrimoniales Paris. Artwork in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000045806/v0063.simple.highlight=imp%C3%A9ratrice.selectedTab=record

150. Surtout de table, composé d’une corbeille ovale avec medaillons aux Armes Impériales et de 4 candelabres à 6 lumières, en bronze argenté. Image 72. From a 1928 catalogue titled Musée National de Malmaison EXPOSITION 1928 de NAPOLÉON Ier à NAPOLÉON III. SOUVENIRS DE LA FAMILLE IMPÉRIALE. Conservées par l’Impératrice Eugénie dans sa résidence de Farnborough et provenant de sa succession. P. Guillaumot, Paris, engraver-heraldist. Bellenand and Son, Fontenay-aux-Roses, printers. Published by the Musée national de Malmaison. Collections des Bibliothèques Patrimoniales de Paris. Artwork in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000045806/v0072.simple.highlight=imp%C3%A9ratrice.selectedTab=record

An envisioning. 2022, mid-February, and ice stormed in at Ostreum Hall.

Oh to be here.

A blessing. Every tree draped in ice diamonds, looking like something from Tiffany’s that you’d have to give up eating for life to afford. The fish pond in the front yard looking like a giant opal wrapped in red berries from the shrubbery around it.

my new short fiction piece at the link

https://sarahbguestperry.substack.com/p/an-envisioning-2022-mid-february

Hand fans from the October email of Fan d’Eventails Paris. Perfect for wafting that potpourri scent along.

Biarritz souvenir fan with a red gauze leaf painted with flowers and birds and embroidered with beads, forming, once the fan is folded, the name of the city Biarritz. Wooden sticks and guards. ca. 1890. Maker not known. Image © Fan d’Eventails, Paris. Fair use license. via https://www.fandeventails.fr/en/novelty-hands-fans/4481-biarritz-beads-fan-circa-1890.html
Hand fan with engraved sticks and guards, the paper leaf printed and engraved with allegories of the four seasons and Scandinavian runes, probably from the younger Futhark (a type of runic alphabet in use from the 9th century Viking period). ca. 1730-1740. Maker not known. Image © Fan d’Eventails, Paris. Fair use license. via https://www.fandeventails.fr/en/18th-century-fans/4482-mysterious-runes-fan-circa-173040.html

Hand fan with an embroidered and painted silk leaf depicting a scene in which a cat is surprised by the flight of a hot air balloon. Wooden sticks and guards. Late 19th century ish. Maker not known. Image © Fan d’Eventails, Paris. Fair use license. via https://www.fandeventails.fr/en/19th-century-fans/4484-cat-in-the-hot-air-balloon-late-th-century-fan.html

Flower pictures from The Florist’s Journal for the Year 1843, Volume 4. Part of a set of bound copies, this one being bound with Volume 3. Each volume has the 1886 bookplate of Sir Lionel Walter Rothschild so must have been in his library. Sir Lionel, 2nd Baron Rothschild, Baron de Rothschild, was a British banker, politician, zoologist, and soldier.

Martynia Fragans. Alfred Adlard, engraver. Published on January 1, 1843. A. Spottiswoode, New-Street-Square, London, printers. Plate 36, Page 301, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive.
https://archive.org/details/floristsjournal3418unse/page/299/mode/1up
1. Minerva. 2. Duc de Coniclianeau. Alfred Adlard, engraver. Published on February 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 39, Page 361, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n361/mode/1up

Duke of Wellington. Alfred Adlard, engraver. Published on March 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 40, Page 383, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n383/mode/1up

ERICA’S: 1. Mammosa – 2. Eweriana – 3. Var Princeps – 4. Longipedunculata. Alfred Adlard, engraver. Published on April 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 41, Page 405, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n405/mode/1up
Dendrobium Macranthum. Alfred Adlard, engraver. Published on May 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 42, Page 427, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n427/mode/1up
Seedling Camellia; Pulchella Rosea. Alfred Adlard, engraver. Published on July 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 44, Page 471, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n471/mode/1up
1. Lyne’s Celestial – 2. Lyne’s Redworth. Alfred Adlard, engraver. Published on August 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 46, Page 507, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n507/mode/1up
Stanhopea Oculata, Var. Alfred Adlard, engraver. Published on September 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 47, Page 529, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n529/mode/1up
Mimulus Cardinalis. Seedling Vars. Alfred Adlard, engraver. Published on October 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 48, Page 551, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n551/mode/1up
SPARAXIS. 1. Purpurea – 2. Picta – 3. Pulchella. Alfred Adlard, engraver. Published on Novenber 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 49, Page 573, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive. https://archive.org/details/floristsjournal3418unse/page/n573/mode/1up
 
FUCHIAS. 1. Smith’s Cicantea. 2. Superba. Alfred Adlard, engraver. Published on December 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 51, Page 595, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive https://archive.org/details/floristsjournal3418unse/page/n595/mode/1up
Thunbergia Fryerii. Alfred Adlard, engraver. Published on December 1, 1843. A. Spottiswoode, New-Street-Square, London, printer. Plate 50, Page 597, The Florist’s Journal for the Year 1843. Collections of the Natural History Museum, London. via the Internet Archive https://archive.org/details/floristsjournal3418unse/page/n597/mode/1up

Very Eerie Pre Halloween Art for October 3rd in the MMXXV fall show . . .

swishing on air as somewhere far beyond where the southernmost sea blows wild and free the ice starts to move . . . a huge penguin perhaps . . . the widow of the last man alive come back to find him . . . or maybe a polar bear from far away that hopped a ride on the wrong ice floe . . . impossible to know . . . but plumes of something that rise into the air and a spectral sounding kind of splash . . . life’s a mystery . . . maybe your grandbaby will learn of it in her schoolbook . . . maybe not

My series post for today published to my Substack at the link if you’d like to look –

https://sarahbguestperry.substack.com/p/very-eerie-pre-halloween-art-for-39e

Sunset by the Ruins. Undated but before 1905. Italian. Hermann David Solomon Corrodi, artist. via Facebook.

Set design sketches from a 1904 production of “Le voyage de la mariée,”(opérette en trois actes) staged at the Théâtre des Galeries, Brussels, Belgium. Georges Sauvage (1845-1918), designer and artist with the operetta having been co authored by  Edmond Diet and Justin Clérice. Collections of Gallica BnF.

Set design sketch for Act II, Scene 3 of a production of Edmond Diet and Justin Clérice’s Le voyage de la mariée, an operetta in three parts, staged at the Théâtre des Galeries, in Brussels, Belgium in 1904. Georges Sauvage (1845-1918), designer and artist. Signed on the lower right. Collections of the Gallica bnf.fr/Bibliothèque nationale de France. In the public domain due to age. https://gallica.bnf.fr/services/engine/search/sru?operation=searchRetrieve&version=1.2&collapsing=disabled&rk=171674;4&query=%28gallica%20all%20%22mari%C3%A9e%22%29%20and%20dc.relation%20all%20%22cb443740855%22%20sortby%20dc.title%2Fsort.ascending
Set design sketch for Act II, Scene 1 of a production of Edmond Diet and Justin Clérice’s Le voyage de la mariée, an operetta in three parts, staged at the Théâtre des Galeries, in Brussels, Belgium in 1904. Georges Sauvage (1845-1918), designer and artist. Collections of the Gallica bnf.fr/Bibliothèque nationale de France. In the public domain due to age. https://gallica.bnf.fr/services/engine/search/sru?operation=searchRetrieve&version=1.2&collapsing=disabled&rk=171674;4&query=%28gallica%20all%20%22mari%C3%A9e%22%29%20and%20dc.relation%20all%20%22cb443740855%22%20sortby%20dc.title%2Fsort.ascending
Set design sketch for Act II, Scene 2 of a production of Edmond Diet and Justin Clérice’s Le voyage de la mariée, an operetta in three parts, staged at the Théâtre des Galeries, in Brussels, Belgium in 1904. Georges Sauvage (1845-1918), designer and artist. Collections of the Gallica bnf.fr/Bibliothèque nationale de France. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/btv1b53118363h.r=mari%C3%A9e?rk=85837;2#
Set design sketch for Act II, Scene 8 of a production of Edmond Diet and Justin Clérice’s Le voyage de la mariée, an operetta in three parts, staged at the Théâtre des Galeries, in Brussels, Belgium in 1904. Georges Sauvage (1845-1918), designer and artist. Collections of the Gallica bnf.fr/Bibliothèque nationale de France. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/btv1b53118364z.r=mari%C3%A9e?rk=107296;4#
Set design sketch for Act I, Scene 1 of a production of Edmond Diet and Justin Clérice’s Le voyage de la mariée, an operetta in three parts, staged at the Théâtre des Galeries, in Brussels, Belgium in 1904. Georges Sauvage (1845-1918), designer and artist. Collections of the Gallica bnf.fr/Bibliothèque nationale de France. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/btv1b53118356f.r=mari%C3%A9e?rk=128756;0#
Set design sketch for Act I, Scene 2 of a production of Edmond Diet and Justin Clérice’s Le voyage de la mariée, an operetta in three parts, staged at the Théâtre des Galeries, in Brussels, Belgium in 1904. Georges Sauvage (1845-1918), designer and artist. Collections of the Gallica bnf.fr/Bibliothèque nationale de France. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/btv1b53118357w.r=mari%C3%A9e?rk=150215;2#
Set design sketch for Act II, Scene 1 of a production of Edmond Diet and Justin Clérice’s Le voyage de la mariée, an operetta in three parts, staged at the Théâtre des Galeries, in Brussels, Belgium in 1904. Georges Sauvage (1845-1918), designer and artist. Collections of the Gallica bnf.fr/Bibliothèque nationale de France. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/btv1b53118358b.r=mari%C3%A9e?rk=171674;4#

Set design sketch for Act II, Scene 2 of a production of Edmond Diet and Justin Clérice’s Le voyage de la mariée, an operetta in three parts, staged at the Théâtre des Galeries, in Brussels, Belgium in 1904. Georges Sauvage (1845-1918), designer and artist. Collections of the Gallica bnf.fr/Bibliothèque nationale de France. In the public domain due to age. https://gallica.bnf.fr/ark:/12148/btv1b53118359s.r=mari%C3%A9e?rk=193134;0#

The information with these states that they are engravings but they look like watercolor and pencil/pen and ink which was the standard thing by 1904.