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@liriopalido

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Groupe de poupĂŠes avec des chapeaux de fĂŞte.
Ădouard-Henri Avril
Romantic facts of musketeers
Foundationed deep, somehow.
Ah, but I was so much older then,
Iâm younger than that now.
(32586099.jpg (530Ă397)ăă)

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Buster dressed as Little Lord Fauntleroy, 1910.
carol kane
Wilhelm von Gloeden, 1901
Young Jean-Pierre LÊaud looking bored and annoyed at a dinner party in Cannes with directors François Truffaut and Jean Cocteau, (1959).

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Among The WorldsÂ
Ph. by Evgeniya Gor
What is new, then, to the nineteenth century is not the doll's association with death, but with children. As children began playing with dolls, the doll's association with death and funerary practices became a common aspect of children's play. Miriam Formanek-Brunell argues that doll funerals came fully into vogue in the late-nineteenth century, as young women and girls followed Queen Victoria's lead in mourning. Parents could purchase mourning attire for their daughters' dolls and fathers constructed doll-sized coffins for miniature burials. According to Formanek-Brunell, the presence and production of mourning dresses and coffins for dolls suggests that "parents encouraged funeral ceremonies meant to properly sanctify the 'bodies' and protect the 'souls' of those poor, deceased dolls."
Brianna Beehler, from her essay âCharlotte BrontĂŤ's Paper Dollsâ

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Klassenverhältnisse [Danièle Huillet, Jean-Marie Straub, 1984], based on Franz Kafkaâs unfinished novel, Der Verschollene (Amerika)