Wednesday, December 31, 2014
Sunday, December 28, 2014
Wednesday, December 24, 2014
Tom Tierney as Santa Claus
The joyful exuberance of Tom Tierney captures the spirit of Christmas.
Thank you Lorna for sharing this paper doll on the cover of your Paper Doll Circle magazine.
The November issue is a treat, filled with articles about the convention, Italian Fashion, royalty and a tribute to Tom Tierney.
Here's the last page of the magazine, with subscription information. I highly recommend it. Lorna finds amazing things in her travels around London and Europe. You won't want to miss an issue.
Note: the Matisse cut-outs exhibit Lorna describes was at the Tate Modern in London, and is now at MOMA in New York. I'll be there Jan. 1, to start the year off right!
Saturday, December 20, 2014
Santa Claus and Mrs. Santa Claus Cutout Dolls by Neva Schultz
A Merry Christmas and a Happy New Year
This could be Lady Edith from Downton Abbey, c. 1920. This unused postcard has a divided back and the following markings:
G M T Collection "Eros" Made in Italy Sersanti Brothers 343-345 West 44th Str. N.Y.
I hope all of you have a lovely holiday, surrounded by family and friends and interesting old things!
Thursday, December 18, 2014
B-Movie Bombshells Paper Dolls by Gregg Nystrom
Be careful: This might combust under your Christmas tree -- hot stuff! Fabulous book by Gregg Nystrom, immortalizing those saucy ladies in B flicks who knew how to strut their stuff, without giving it all away. They didn't have to balance a champagne glass on a bare derrière. It was all about the tease. Sexy and smart.
Sunday, December 14, 2014
Anne of Green Gables Paper Doll by Eileen Rudisill Miller
A beautiful book by Rudy Miller. The faces are enchanting, and the colorful period fashions are delightful. What little girl (or big girl for that matter) wouldn't love to find this under the Christmas tree?
You can order your copy here.
Sunday, December 7, 2014
Femme Fatales of Film Noir Paper Dolls by David Wolfe
David Wolfe nails the moody glamour that we associate with film noir, and gives us a fine overview of the genre. You never knew which side the noir femme fatale was playing, and that was more than half the fun.
Who can forget Mary Astor's nervous little laugh in The Maltese Falcon, when Bogart tells her she's taking the fall?
Another great scene: How the camera stays on Barbara Stanwyck's face in Double Indemnity, when Fred MacMurray murders her husband from the back seat of a car. I saw the play Billy and Ray a couple of months ago, about how Raymond Chandler and Billy Wilder worked together on the film script to evade the censors and keep the spirit of Chandler's book intact. It was a daring film for its time.
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