bathtub couture
Image by Mysi(new stream: www.flickr.com/photos/mysianne)
68.
i’m upset today, again. i heard from lauren. my best friend who i thought had abandoned me and it was all a misunderstanding. and now there are more misunderstandings as she finds out i didn’t ask her to be my maid of honor. but i thought she’d abandoned me. so i’m sad. i’m laying in my bathtub with my clothes on. i’m tearing up fashion magazines.
Furnished Rooms
Image by John McNab
Washington, D.C., 1937
Photographer: Carl Mydans for Life Magazine.
Mark Arm of Mudhoney on Rolling Stone 1995
Image by electroharmonixbigmuff
Rolling Stone magazine sucks though.
ON THE ROAD
Image by Neil Krug
a new series for scion magazine using Impossible Project film
Fifth Avenue at 50th street
Image by John McNab
New York City, 1960.
Photographer: Leonard McCombe for Life Magazine.
1919 Overland
Image by dok1
600,000 Overlands had been sold, according this ad in the April 26, 1919 issue of Country Gentleman magazine.
The Overland was built in Toledo, Ohio.
The art is so good that a large view is rewarding.
Pulp Heroes II
Image by Terry McCombs
More of the early Pulp heroes, these a little less well known than in Pulp Heroes I.
The Black Bat, the second pulp character to have that name, third if you count “The Bat” by the creator of Zorro, came out in 1939 around the same time as the first appearance of The Bat-Man at DC Comic, who was enough like the Black Bat that Popular Publications sued DC. DC countered sued saying they were first. P.P. it seems had a better claim and the Caped Crusader came that close (pretend I’m holding two finger very close together) to being tossed into the dustbin of pop culture. But the president of DC made some sort of deal and they agreed to just ignore each other. The Black Bat lasted until 1953.
The Moon Man, never appeared on a cover so I’ve had to use some of the interior art from Ten Detective Aces Magazine.
Moon Man’s main claim to fame? He fought crime wearing an awkward flowing robe and a glass helmet! Made out of two-way glass so he could see out but no one could see him. Yeah… brilliant.
G-8 and his Battle Aces, went on for years and years, without ever bothering to give any of the characters a personality, his foes however got more and more hallucinatory as the years wore on, so that he was going up against flying Neanderthals, tiger-headed men, air-zombies and giant eagles.
Sorry, but the only thing I know about Capt. Hazzard is my spellchecker doesn’t like him. Seems dashing though.
The Secret 6, short lived pulp about a rather dull group of stalwart heroes who foes were anything but dull. In the issue at hand they were dealing with a giant intelligent golden alligator. No really.
Captain Future, the Captain Kirk of Earth 2, tooled around a solar system where everywhere from Mercury to Pluto, including the asteroid belt (but not the Moon, thats where Cap and the gang lived) was populated by it’s own race of beings, with a brain in a box, a dull witted android, a smart ass robot and his girlfriend. On second thought perhaps they were the Futurama of Earth 2.
The Black Hood, one of the first characters introduced in the comics to be given a Pulp. It only lasted only three issues. Sorry Archie, Nobody likes the Black Hood.
The Rio Kid was the star of the last single character pulp, lasting until 1955.
He was a cowboy.
Cobweb Society Promo Shot
Image by Leigh Righton
Promo shots for a feature in The Nerve Magazine
Hunting down fake cobweb when it’s no longer halloween season is a bitch
cram them full!
Image by jessica wilson {jek in the box}
to see how to make them, check out the consumer issue of blanket magazine!
Elizabeth Lansdell Hammell — Some pictures
Image by patkashtock
My grandparents were artists. My grandfather, Will Hammell, AKA R. WIlson Hammell, AKA Q. Wilson Hammell, AKA Wilson Hammell, and AKA some others I don’t remember, founded an art agency so he could better promote my grandmother’s painting. He mistakenly believed he could still continue his art work.
Unfortunately, those works of my grandfather that turn up on the web from time to time aren’t his best. The pinup girls he painted under R WIlson Hammell show up most frequently. He never told the family about his "dual" life. We would not have known for sure except an old family friend found a ledger book that had a payment made to R Wilson — sent to my grandparent’s address at 180 Spring Street, in Redbank, NJ.
Both grandparents painted for Vogue and did various magazine covers. My grandfather designed the balloons for the Wonderbread wrapper, and never understood why they kept them as their logo and how that logo endured. He found the whole thing highly amusing. And still — those Wonderbread balloons endure. I can just see him shaking his head in disbelief.
I’ll post some of what I’ve found on the Internet in the comments below. One of these days I’ll figure a way to photograph the painting I have without the flash making a mess of things. I think I know how, but lack an easy way to do it. I guess I can at least scan in the few bookplates I have of my grandfather’s.
The above painting is from one of my grandmother’s magazine covers — see two below. My husband, Mike bought the magazine for me on eBay when he saw who had painted it.
This is just a scanned copy of the magazine cover. I recently worked to restore it to the colors and intensities that my grandmother originally used in the painting. I only posted this because a friend asked to see some of my grandparent’s works. Now that it has been picked up a couple of places, I felt that in fairness to my grandmother, I needed to restore the scanned copy of her work to the way she had actually painted it. I particularly love this period of her work.
This one hung in her studio when I was young — or so I think. If it was not this exact one, then it was a copy. Her style was very much influenced between the art deco and art nouveau works of her young adult time.
