"Kreuzgang im Stift Heiligenkreuz." (Foto: Dr. Eva Frodl-Kraft)
Karl Heinrich Waggerl (Vorwort), Eduard Widmoser (Einführung), Österreich. Landschaft, Mensch, und Kultur (Wien: Buchgemeinschaft Donauland, 1960)
Monterey Bay Aquarium
we're not kids anymore.
Show & Tell
i don't do bad sauce passes

#extradirty

祝日 / Permanent Vacation
ojovivo
Claire Keane
Game of Thrones Daily

Origami Around
he wasn't even looking at me and he found me

ellievsbear
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Mike Driver
hello vonnie
AnasAbdin
Xuebing Du

Kaledo Art
Lint Roller? I Barely Know Her

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@mioritic
"Kreuzgang im Stift Heiligenkreuz." (Foto: Dr. Eva Frodl-Kraft)
Karl Heinrich Waggerl (Vorwort), Eduard Widmoser (Einführung), Österreich. Landschaft, Mensch, und Kultur (Wien: Buchgemeinschaft Donauland, 1960)

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207. Schmuckkreuze mit Gravierung. 208. Weiheschmuck aus einer Wallfahrtskirche, 18. Jahrhundert. Münster, Sammlung Prof. Jostes.
Rudolf Uebe, Deutsche Volkskunst. Band IX: Westfalen (Weimar: Verlag Böhlau, [1927?])
Don’t Leave the Light on Baby // Belle and Sebastian
Beichtzettel / Andachtsbild mit Bild der Hl. Kunigunde von Luxemburg, Graz, 1853
Devotional card with picture of St. Cunigunde of Luxembourg, printed in Graz (Austria), 1853
Volskundemuseum Wien
Francesco Laurana (1430–1502)
Female bust, ideal portrait of Laura (?), ca. 1490 (?)
Kunsthistorisches Museum Wien

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Drawing included in a letter from Friedrich Gundolf to Elisabeth Salomon, 9 August 1916.
“In Gundolfs Briefen und Gedichten an Elisabeth Salomon gewinnt der erotische und sexuelle Bereich seines poetisch-epistolaren Kosmos an Kontur. Ein wesentliches Element sind die im Briefwechsel wiederkehrenden Motive der Fesselung des Mannes an Seilen, Ketten oder Bändern der Frau. Das Andreaskreuz, Symbol der erotischen Fesse-lung, findet sich mehrfach als Randzeichnung in seinen Briefen. Daneben steht als weiteres Symbol das Pentagramm, von Gundolf als „Hexensiegel[]“ deklariert. Die Gestalt der Lilith zitiert er in ihren ikonographischen Varianten als Dämonin der Nacht oder als Mischwesen zwischen Schlange und Frau. In den späteren Jahren des Briefwechsels wird diese dämonische Symbolik durch das Bild des flammenden Herzens ersetzt.”
Friedrich Gundolf + Elisabeth Salomon, Briefwechsel (1914–1931) (Berlin: De Gruyter, 2015)
Long dandelions in overwintered grass - Paula von Goeschen-Rösler
German , 1875-1941
Paper cut, gouache on Japanese paper , 35.8 x 40.8 cm.
Møte i verdensrommet (Encounter in Space), Edvard Munch, 1902
etching and open bite on wove paper
Friedrich Gundolf (1880–1931) and Elisabeth Salomon (1893–1958) in Venice, the summer before their marriage, 1925.
Deutsches Literaturarchiv Marbach; published in Gundolf/Salomon, Briefwechsel (1914–1931) (Berlin: De Gruyter, 2015)
Bruno Schulz (Polish/Jewish, 1892–1942)
"Swawolne kobiety" ("Wanton women"), 1916
Żydowski Instytut Historyczny

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St. Agnes.
South English Legendary: Lives of Saints, and Temporale (Passion of Christ), beginning/middle 15th century
Bodleian Libraries, University of Oxford, MS Tanner 17, f. 7r
"Your little Wifey's hand"
Cabinet card, via thanatos.archive on Instagram
Lüneburg, Lower Saxony, Germany
22-31 May 2026
Nikon FM2 / Kodak Gold 200
Jacks from a set of playing cards included in the Japanese cassette pressing of Mark Mothersbaugh's Muzik for Insomniaks (1985).
Scanned many moons ago, in December 2011.
Pavol Socháň (Slovak, 1862–1941)
Two postcards depicting a woman (Hana Gregorová) in popular costume from Kapušany (and an unidentified costume), 1912
Slovenská národná galéria, inv. UP-DK 2671 and UP-DK 2652

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From the sketchbook
Bucharest and Lüneburg, May 2026