Today…a fish with an accordion. And a lotus flower. Very little information surrounds this mysterious vintage gem…but it deserves its own post.
So there you have it.
I’ve found a new source of home inspiration (well, it’s not exactly new since this has been sitting in my queue for years, but it WAS new inspiration when I first saw it).
Paige Stevenson and Ahnika Meyer have transformed their Brooklyn loft into a veritable museum of lost, discarded, forgotten wonders.
I love living spaces that are thick with history and storied fragments of days gone by. Their place is a gorgeous showcase, largely due how they choose to display these “mundane” items. There is a perfect contrast of still life and lush plant growth.
See a writeup on these wonderfully unique individuals and their home in the New York Times.
I am basically going to reblog this morbid legend, because the source sites all the bizarre details quite well.
For the past 75 years, a tiny bridal shop in Mexico has been the subject of some pretty crazy rumors. Tales of supernatural fiddling abound, with whispers of disembodied voices, mysterious cold spots, and even the occasional darting shadow seen from the corner of a visitor’s eye. But the creepiest rumor centers around a bridal mannequin sitting in the window; a highly detailed dummy that many say is a perfectly preserved corpse.
The tale begins on March 25th in 1930, when the odd-looking mannequin was first placed in the windows of La Popular, one of the most well-known bridal shops in Chihauhau, Mexico. Almost immediately, the locals knew that something just wasn’t quite right with the figure. Before long, tales of the stunning mannequin began to spread far and wide, and visitors trekked from all over just to see the intricate details in the doll. From the individual wrinkles in the hands, to the real human hair, to the mesermizing gaze of her glass eyes, it was almost as if the figure was a real person frozen in time.
Eventually, people began to notice the similaries between the mannequin, nicknamed La Pascualita, and the daughter of La Popular’s proprietor, Pascuala Esparza. According to legend, Esparza’s daughter had tragically passed away on her wedding day, victim of a Black Widow spider bite. Locals whispered that the beautiful figure in the window was, in fact, the embalmed body of Esparza’s daughter. More and more, the details began to make sense, and the townspeople became outraged. Of course, Pascuala Esparza formally denied the allegations, but by that point, it was too late – the legend was set in stone.
75 years later, some have come to revere La Pascualita as a saint, leaving candles and offering prayers in front of the window. Some ask for good fortune, but most come to her seeking guidance in matters of love. Many brides even let Pascualita decide on their gowns for them, simply choosing whatever dress she’s wearing at the time they visit.
So, is the strange mannequin really the preserved corpse of an ill-fated bride? Skeptics say no, pointing to the difficult upkeep when it comes to stopping a corpse from decaying, but those who have seen La Pascualita in person walk away believers… and very creeped out believers at that. After all, how strange is it for a store to keep the same mannequin for nearly eight decades, and shroud its undressing in secrecy?
What do you all think? The hands are indeed rather corpse-like, and graced with far more textured skin than any mannequin I’ve seen in the world. But…I’m not sure what methods could keep ANY flesh on a corpse over 80 years after the date of death.
My The Morbid Anatomy Anthology just arrived, and I absolutely must sing its praises. I can’t wait to dive in and devour every word and image!
Since 2008, the Morbid Anatomy Library of Brooklyn, New York, has hosted some of the best scholars, artists and writers working along the intersections of the history of anatomy and medicine, death and the macabre, religion and spectacle. The Morbid Anatomy Anthology collects some of the best of this work in 28 lavishly illustrated essays. Included are essays by Evan Michelson (star of Science Channel’s hit show Oddities) on the catacombs of Palermo; Simon Chaplin (head of the Wellcome Library in London) on public displays of corpses in Georgian England; mortician Caitlin Doughty on demonic children; and Paul Koudounaris (author of Empire of Death) on a truck stop populated with human skulls. In addition are pieces on books bound in human skin, death-themed cafes in fin-de-siècle Paris, post-mortem photography, eroticized anatomical wax models, taxidermied humans and other animals, Santa Muerte, “artist of death” Frederik Ruysch, and much more.
There are some brilliant minds and expert curators behind this book (namely, Joanna Ebenstein and Colin Dickey). If you are a fan of this blog, you should definitely pick it up! It’s an amazing treasure trove (and really fairly priced…even for a penny pincher like me!). Support these great folks. They deserve it.
Today I bring you the evocative assemblages of Edward Keinholz, most of which contain a dash of sharp satire and/or criticisms of modern life (works range from the 1960’s-1980’s).
Although he obtained no formal training, Keinholz grew up on a farm where he learned carpentry, drafting and mechanical skills.
His roster of formal jobs is as eclectic as his artistic endeavors: orderly in a psychiatric hospital, manager of a dance band, used car salesman, caterer, decorator and vacuum cleaner salesman.
Here’s a truly unique modification: the Victorian Hearse Aquarium. It was up for auction (and has since ended), but is worth showing for the craftsmanship.
Large Victorian Ebonized Aquarium Cabinet, 19th century and later. Fashioned from the rear glazed doors of a New Orleans style horse drawn hearse, adapted on modern stand to accommodate tank, filter and lighting, all included, 80.5″ x 57″ x 41″ – 204.5 x 144.8 x 104.1 cm.
What do you think of this item? Too goth? Completely awesome?