existentium

Ruins of mausoleum in Tus, Iran, c. 1900′s

Shortsword with scabbard, Tibet, 18th-19th century

Clan of Xymox ph. by Anthony Pidgeon, 1999

On the Rocks, 2022 Girl in the Woods, 2018 (oil on canvas) by Alison Van Pelt

Tomb Raider 3, 1998

Sharon Tate ph. by James Silke, 1968

From the book "Shadow Land: Light from the Other Side" written by E. d'Esperance, 1897 E. d'Esperance was an English spiritualist medium who was exposed as a fraud

Ecstasy of Margaret of Cortona by Giovanni Lanfranco, 1622

源氏物語 (The Tale of Genji) dir. Kōzaburō Yoshimura 1951

Sita Abellan via webcam for Numéro Berlin, S/S 2020 ph. by Szilveszter Makó

ph. by Andrew Wesley

Vital dir. Shinya Tsukamoto 2004

ph. by Shinsuke ODA

The Origin of the Harp of Elfin by Henry Jones Thaddeus, 1890 The painting illustrates the subject of Thomas Moore's poem of 1841, The Origin of the Harp in his Poetical Works, where he writes that the harp 'Was a Siren of old, who sung under the sea' but was disappointed in love; 'heav'n looked with pity on true love so warm, And chang'd to this soft Harp the sea-maiden's form . . . her hair, as, let loose, o'er her white arm it fell, Was chang'd to bright chords uttr'ing melody's spell'. Moore concludes that this is why the harp is known 'To mingle love's language with sorrows sad tone'. Thaddeus's image shows a siren who seems to have dragged sea-weed and even chains from the deep to provide structure for her harp; she by contrast seems to be fading away as her hair turns to strings. The gracefully bowed head and hidden face express Moore's idea that beauty in music and life is allied to sorrow.