An envisioning. Spring 1993, 9:30 AM, and a third cup of coffee loaded up with sugar to sip on the porch of the house on Cape May.

Oh to be here. Starting out renting a cottage for a while with a husband recruited to run the Lifesaving Station en route to running bigger and better somethings closer to the North Pole up where everyone wears moon boots and dresses in white looking like the Michelin man but with seals and polar bear cubs dancing at your feet instead of little tires spinning like a merry go round of rubber ascending into the sky and coming back down like Old Faithful on a bad day when there are too many tourists and the geyser god gets bored and decides to liven things up with the occasional backpack ensnared.

my new envisioning/short piece of fiction, around 390 words. This is the first paragraph the rest is at this link

https://sarahbguestperry.substack.com/p/an-envisioning-spring-1993-930-am

Make your own summer breeze with a hand-fan a zillion times more gorgeous than the maps on weather.com. All of these taken from the June email of Fan d’Eventails, Paris, France.

Beauty with carnations hand-fan. Tortoiseshell sticks and guards, the sticks having bone tips with the leaf in very fine point de gaze needle lace and silver cartels painted with carnations and a dreamy young girl. French Second Empire. Maker not known. Lace identified by lace expert Edwige Renaudin. Image © Fan d’Eventails, Paris. Fair use license. https://www.fandeventails.fr/en/19th-century-fans/4349-beauty-with-carnations-second-empire-period-fan.html
Tortoiseshell fan with feather marquetry, painted with two girls sitting on a swing. ca. 1900. Maker not known. Image © Fan d’Eventails, Paris. Fair use license. https://www.fandeventails.fr/en/feather-fans/4366-girls-feather-fan-circa-1900.html

Bone brisé fan, painted with a scene of ladies greeting the king, after an illustration by Maurice Leloir. Early 20th c. Image © Fan d’Eventails, Paris. Fair use license. https://www.fandeventails.fr/en/19th-century-fans/4343-ladies-greeting-the-king-fan-after-maurice-leloir-early-20th-century.html
Woman’s reverie fan design. Project for a fan, paper painted with a young woman daydreaming on a balcony overlooking a river. Belle Époque. Framed and under glass. Signed H. Meunié and dated February 1893. The back bears an incomplete exhibition label with the title “Rêverie” and the name of the painter. Image © Fan d’Eventails, Paris. Fair use license. https://www.fandeventails.fr/en/fan-leafs/4367-woman-s-reverie-fan-design-by-meunie-period-belle-epoque.html

Envisionings by Karl Friedrich Schinkel (1781-1841), archived in Heidelberg and listed with the Deutsche Nationalbibliothek. Some were probably built, some never were but they live forever here. Taken from “Sammlung architektonischer Entwürfe: enthaltend theils Werke welche ausgeführt sind theils Gegenstände deren Ausführung beabsichtigt wurde.”

Basrelief im giebel – felde und fries – verzierung am Neuen Wacht – gebaude zu Berlin. Karl Friedrich Schinkel, artist and designer. Engraved in Berlin by Ferdinand Berger after Schinkel. Ernst and Korn, Berlin, publishers. Published in 1858 in Berlin, Germany (Prussia). Tafel 1-48 Image 3. Taken from Sammlung architektonischer Entwürfe: enthaltend theils Werke welche ausgeführt sind theils Gegenstände deren Ausführung beabsichtigt wurde. Image © Heidelberg University Library. Fair use license. Artwork itself in the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/schinkel1858tafeln1/0004/image,info,thumbs
Geometrischer aufriss der haupteaçade des neuen schauspielhauses. Karl Friedrich Schinkel, designer. Engraved in Berlin by Ferdinand Berge. Ernst and Korn, Berlin, publishers. Published in 1858 in Berlin, Germany (Prussia). Tafel 1-48 Image 8. Taken from Sammlung architektonischer Entwürfe: enthaltend theils Werke welche ausgeführt sind theils Gegenstände deren Ausführung beabsichtigt wurde. Image © Heidelberg University Library. Fair use license. Artwork itself in the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/schinkel1858tafeln1/0009/image,info,thumbs
Das Krieges-Denkmal In Gegossenem Eisen auf dem Kreuzberg bei Berlin. Karl Friedrich Schinkel, designer. Engraved in Berlin by Ferdinand Berge. Ernst and Korn, Berlin, publishers. Published in 1858 in Berlin, Germany (Prussia). Tafel 1-48 Image 22. Taken from Sammlung architektonischer Entwürfe: enthaltend theils Werke welche ausgeführt sind theils Gegenstände deren Ausführung beabsichtigt wurde. Image © Heidelberg University Library. Fair use license. Artwork itself in the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/schinkel1858tafeln1/0023/image,info,thumbs
Ansicht des proscenium, der daranstossenden logen und cie perspektivische ansicht des theaters als scenenbild.
Aa Breite des Proscenium. Bb Logen zunachst dem Proscenium. Cc. Logen im runder Raume.
Karl Friedrich Schinkel, designer. Engraved after Schinkel. Ernst and Korn, Berlin, publishers. Published in 1858 in Berlin, Germany (Prussia). Tafel 49-83 Image 83. Taken from Sammlung architektonischer Entwürfe: enthaltend theils Werke welche ausgeführt sind theils Gegenstände deren Ausführung beabsichtigt wurde. Image © Heidelberg University Library. Fair use license. Artwork itself in the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/schinkel1858tafeln2/0036/image,info,thumbs
Perspektivische ansicht des entwurfs Number V einer kirche in der Orienburger vorstadt bei Berlin. Published in 1858 in Berlin, Germany (Prussia). Tafel 84-126 Image 103. Taken from Sammlung architektonischer Entwürfe: enthaltend theils Werke welche ausgeführt sind theils Gegenstände deren Ausführung beabsichtigt wurde. Image © Heidelberg University Library. Fair use license. Artwork itself in the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/schinkel1858tafeln3/0021/image,info,thumbs
Charlottenhof: Ansicht des schornsteins der dampfmaschine – Ansicht des halbrunden bank auf der terrasse von Charlottenhof – Seitenansichet des geraeudes der dampfmaschine. Karl Friedrich Schinkel, designer. Engraved after Schinkel. Ernst and Korn, Berlin, publishers. Published in 1858 in Berlin, Germany (Prussia). Tafel 84-126 Image 110. Taken from Sammlung architektonischer Entwürfe: enthaltend theils Werke welche ausgeführt sind theils Gegenstände deren Ausführung beabsichtigt wurde. Image © Heidelberg University Library. Fair use license. Artwork itself in the public domain due to age. via https://digi.ub.uni-heidelberg.de/diglit/schinkel1858tafeln3/0028/image,info,thumbs

An envisioning. Eleven in the morning in November of 2009 on the edge of Argentine pampas country.

Oh to be here. The lowing of cattle who wouldn’t be lowing if they knew what was coming next. The wail of the triplets’ Siamese cat for a counterpoint. Too many animals and cabinets stuffed with God only knows what, but that not mattering much. No, a sort of fancy husband with degrees from sort of fancy schools met back home in London who runs companies and a jumbo mansion stuffed with maids to take care of everything.

My new envisioning/short fiction piece over on my Substack where you can read the rest of it at this link

https://sarahbguestperry.substack.com/p/an-envisioning-eleven-in-the-morning

Away on the weekend to Cuyamaca Lake, a reservoir built to supply drinking water to the city of San Diego California back in 1888. The images are part of the Ed Fletcher Papers Collection and are archived at the University of California San Diego.

Fletcher Family Skating on Cuyamaca Lake. 1916 image. American. Photographer not given. Ed Fletcher Papers Collection, University of California San Diego Library. Image © 2013 Regents of the University of California. Fair use license. via Calisphere. https://library.ucsd.edu/dc/object/bb43033874
Cuyamaca Lodge. Image ca. 1930. American. Photographer not given. Ed Fletcher Papers Collection, University of California San Diego Library. Image © 2013 Regents of the University of California. Fair use license. https://library.ucsd.edu/dc/object/bb8194206p
People in Cars at Lake Cuyamaca. Image ca. 1915. American. Photographer not given. Ed Fletcher Papers Collection, University of California San Diego Library. Image © 2013 Regents of the University of California. Fair use license. https://library.ucsd.edu/dc/object/bb4780941z
Woman in Rowboat on Lake Cuyamaca. August 27, 1928 image. American. Photographer not given. Ed Fletcher Papers Collection, University of California San Diego Library. Image © 2013 Regents of the University of California. Fair use license. https://library.ucsd.edu/dc/object/bb4849467b
The rainbow trout we caught. September 1955 image. Taken from a Fletcher family photograph album Small album with snapshots from a Fletcher family holiday at beach houses in Del Mar (California) that includes some pictures taken at Cuyamaca. American. Photographer not given. Ed Fletcher Papers Collection, University of California San Diego Library. Image © 2013 Regents of the University of California. Fair use license. https://library.ucsd.edu/dc/object/bb4167156h
President of Stanford University, Honorable Ray Lyman Wilbur, and later Secretary of the Interior under Herbert Hoover. He was a splendid friend of our Stanford boys. Dad took this picture near Cuyamaca Lake. Image ca. 1929. American. Photographer not given. Ed Fletcher Papers Collection, University of California San Diego Library. Image © 2013 Regents of the University of California. Fair use license. https://library.ucsd.edu/dc/object/bb6863943f

According to the archive out in California, Ed Fletcher was a noted San Diego land developer, civic leader, and member of the California State Senate. It looks like his family had a weekend/holiday/vacation retreat at Cuyamaca Lake where these pictures were taken. The picture span the time period ca. 1915 into the 1960s.

An envisioning. Summer of 1962 and 2 o’clock in the afternoon on the edge of Palatine, Illinois.

Oh to be here.

The sun shining like mad. An afternoon to sit on the balcony with its pots of flowers in every color, especially orange. A blessing. The library down the hall with its vast balcony and junior balconies running to the end, all tended by the garden boy with his veritable fleet of watering cans.

Please see the link to read the rest which is over on my Substack and free to see. It’s around 410 words counting the credits for the image.

https://sarahbguestperry.substack.com/p/an-envisioning-summer-of-1962-and

A réduction of the tomb of the Maréchal de Saxony (1696-1750) and a photograph of the actual tomb. Also a maquette that was created by the sculptor, Jean-Baptiste Pigalle or his studio. I found the image of the réduction of the tomb of the Maréchal de Saxony in a current Christies catalog and it caught my eye.

Mausoleum of the Maréchal de Saxe Saint Thomas, Strasbourg, France. 1753-1756. Marble. Jean-Baptiste Pigalle, sculptor (1714-1785). Image © Web Gallery of Art. Fair use license. via https://www.wga.hu/html_m/p/pigalle/mar_saxf.html
Réduction du monument funéraire pour le maréchal de Saxe. relief en noyer polychromé, l’obélisque avec une inscription. French. After Jean-Baptiste Pigalle. Image © Christie’s 2025. Fair use license. https://onlineonly.christies.com/s/maitres-anciens-peintures-sculptures-online/dapres-jean-baptiste-pigalle-1714-1785-seconde-moitie-du-xviiie-siecle-157/260038?ldp_breadcrumb=back
Maquette du mausolée du maréchal de Saxe (lower detail). After 1771, ca. 1756. French. Wax and paint. Jean-Baptiste Pigalle, artist (1714-1785). Gift of the sculptor to Cave, enamel painter. Inscribed on the obélisque : Cy gi [sic] / le maréchal / de Saxe / décédé le 30 nov. 1750. Collections of the Musée du Louvre, Département des Sculptures du Moyen Age, de la Renaissance et des temps modernes. Image © Louvre Museum. Artwork itself in the public domain due to age. https://collections.louvre.fr/en/ark:/53355/cl010093885

From the Christies description:

In 1753, Louis XV commissioned the sculptor Jean-Baptiste Pigalle to create a mausoleum in honor of one of his most illustrious military commanders, Maurice de Saxe, who had died three years earlier. A Protestant by faith, this prominent military figure was buried in the Lutheran Church of Saint-Thomas in Strasbourg. This ambitious royal project was, however, not inaugurated until 1777, after twenty-four years of planning and construction. A wax maquette had been presented as early as 1756 in the sculptor’s studio in the Louvre. Pigalle employed the sophisticated vocabulary of funerary sculpture, depicting the marshal descending the steps of his own tomb, surrounded by allegories of France the interceder, and Death.
Several designs and reproductions of the monument to Marshal de Saxe are known today, attesting both to the scale of the undertaking and to the exceptional legacy of Pigalle’s work. Among the earliest stages of the creative process is the famous wax “position” model now in the Louvre (inv. RF 1551). Another model was executed by Senckeisen, the son of a Strasbourg goldsmith, who had expressed his desire to reproduce the mausoleum group in wax in 1776 (mentioned in a letter addressed to Baron d’Autigny).

Likewise, a version donated by Mr. Albert Vernes to the Strasbourg Museum reproduces the general composition of the group in plaster. As is the case in the present relief, it features a narrative variation: Cupid is shown bareheaded, without a helmet—a choice Pigalle adopted only at a later stage of his work. Another reduction in marble, dated 1801, was donated by Baron Grouvel to the Strasbourg Historical Museum. Finally, various terracotta versions, sometimes limited to individual figures, complete this ensemble of reinterpretations.

An envisioning. July 1996, Five o’clock and a half hour to go until dinner in Sandisfield, Oregon.

Oh, to be here.

A different skirt to change into and half an hour to watch the new talk show before they come around and get everyone. Assisted living, and that hard if you are used to ordering dinner from cook whenever you like as long as someone else is hungry. But the egg salad delightful, and never having to spend the morning tasting anyone’s pickles down at the town hall pickle judging contest until the sourness makes your stomach ache and your willpower melt until an entire quart of strawberry ice cream somehow vanishes with the help of a spoon.

Read the rest over my Substack at this link. The piece is around 350 words so not a long read.

https://sarahbguestperry.substack.com/p/an-envisioning-july-1996-five-oclock

Design work by Luigi Valadier. Living from 1726 to 1785, he was Rome’s best known silversmith for quite a while. I don’t know if these designs were used in actual pieces. I just know that they are not the design sketches used for some of his actual pieces which are in a different blog post here.

Design for the Front of a Pronaos: This drawing depicts an extraordinary object (now lost) that was once part of the deser of the Bailli de Breteuil. The two columns must have been veneered with lapis lazuli, and the little pronaos, or vestibule, was decorated with a dragon-like creature on the attic and a Medusa head between the columns. ca. 1788. Roman/Italian. Pen, ink, and watercolor on paper. Workshop of Luigi Valadier (1726–1785). Collections of the Museo Napoleonico, Rome. Image © Sovrintendenza Capitolina ai Beni Culturali — Museo Napoleonico but found on the Frick website because it was part of an exhibition there. https://www.frick.org/exhibitions/valadier/4_41
An Inkstand in Rococo Style. 1764. Roman/Italian. Pen and brown ink, with brown and red wash, over graphite, on paper. Luigi Valadier, artist/silverworker (1726–1785). Signed and dated at lower left, in pen and brown ink, Luigi Valadier Fecit Roma 1764.
Watermark: fleur-de-lis in shield, surmounted by crown, (Strasbourg lily). Collections of the Morgan Library and Museum. Image © Morgan Library and Museum. Artwork itself in the public domain due to age. https://www.themorgan.org/drawings/item/142939
Head of a Boar on a Servizio Borghese Oval Plate. ca. 1783. Roman/Italian. Pen, gray and black ink, gray brownish watercolor on pencil; brown sand and pink watercolor for the head of the boar. Atelier of Luigi Valadier
(Rome 1726-1785). https://www.carlovirgilio.it/en/opera/atelier-of-luigi-valadier-head-of-a-boar/
Design for a Gold and Silver Bishop’s Reliquary. Late 18th c, by 1785. Roman/Italian. Pen and black ink, brush with gray, yellow, red and blue wash, highlighted with white gouache over lead or graphite on cream laid paper; framing lines in pen and brown ink. Luigi Valadier (1726-1785). Letter watermark. Collections of the Metropolitan Museum of Art, New York. Image © 2000–2024 The Metropolitan Museum of Art. Artwork in the public domain. https://www.metmuseum.org/art/collection/search/340371

Dollhouses and other Miniature Worlds for May 31st, the last day in the 2025 spring show . . .

pirouetting on air on the blush of a Georgia peach ripening in the sun as a few blocks away in the middle of the night something starts to glow in the terrariums in the back of the garden shop greenhouse . . . oh no . . . the plants digging each other up and redoing the arrangements the way they want . . . pale green on the right with all the ferns on the left and not mixed in anymore with the pretty tiny orchids . . . better begin now . . .everything needing to be ready for the wedding planner and her reception hall . . . a few more jolts of coffee and . . . Start!

the last post in my spring series. It’ll be back next April with my fall pre Halloween series starting September 1st and the winter series on December 1st.

https://sarahbguestperry.substack.com/p/dollhouses-and-other-miniature-worlds-4b2