The article Dino-Era Feathers Found Encased in Amber @ http://news.nationalgeographic.com/news/2008/03/080311-amber-feathers.html was fascinating and educational + an interesting spin would be the exotic collectors: they will be looking for dinosaur feathers in amber worldwide + who could afford the prices?
Buyer beware! There will be plenty of imitations in the market very soon!
Tuesday, March 25, 2008
Diamond Source
According to industry analysts, Botswana is the largest producer of diamonds in the world, accounting for 25% of the production followed by Russia (22%), Canada (12%), South Africa (12%), Angola (10%) and Namibia (6%) + India is the world’s largest importer of rough diamonds and exporter of cut and polished diamonds with over 90% per cent market share.
Understanding French
A Guide to the French: Handle with Care by Elaine Sciolino @ http://www.iht.com/articles/2008/03/24/travel/23sciolino.php was brilliant + it was educational + gem dealers, jewelers, artists, businessmen should read it several times.
Randy Pausch
Here is an inspiring story of Randy Pausch + his last goodbye is making millions rethink life.
Useful links:
www.randypausch.com
http://www.independent.co.uk/news/people/randy-pausch-the-dying-man-who-taught-america-how-to-live-800182.html
Useful links:
www.randypausch.com
http://www.independent.co.uk/news/people/randy-pausch-the-dying-man-who-taught-america-how-to-live-800182.html
Graphic Books
I found the Newsweek article Everything is Illuminated @
http://www.newsweek.com/id/128537 interesting and insightful because in my view illustrated images are attention-grabbing and the best way to teach a concept + you are able to connect with people of all ages + you remember the story forever.
http://www.newsweek.com/id/128537 interesting and insightful because in my view illustrated images are attention-grabbing and the best way to teach a concept + you are able to connect with people of all ages + you remember the story forever.
The Prince
The Prince by Niccolo Machiavelli is an insightful book + a great psychology tool + provides valuable lessons on strategy and power + I highly recommend this book.
Useful link:
http://en.wikipedia.org/wiki/Niccol%C3%B2_Machiavelli
Useful link:
http://en.wikipedia.org/wiki/Niccol%C3%B2_Machiavelli
The Hortensia
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
The Hortensia, which was not actually given this name until the reign of Napoleon I, was initially mentioned in the French Crown inventory as being pink and pentagonal and weighing 21ct, but it is far more interesting than this bald description implies. IN 1787, Brisson described its outline as ‘a square with one corner off’, which was taken to mean that the rough from which it was originally fashioned was an octahedral crystal.
However, judging from the sixfold symmetry, it is quite obvious that the rough was dodecahedral. In fact, after a close inspection of the crown facets, I am now almost certain that the Hortensia Brilliant is a refashioned Naville Cut. This conviction is strenghthened by the knowledge that Parisian diamond cutters at the end of the seventeenth century specialized in refashioning obsolete cuts, in particular Tailles en Seize and larger Navilles, which is why these two cuts disappeared so rapidly.
The master cutter Alvarez may well have been responsible for recutting the Hortensia in 1678. With its dimensions of 19.5 x 21.6 x 8.7 mm, the stone was far too shallow to reflect light properly. By adding two rows of starlike facets round the culet, the cutter conjured beautiful reflections from the pavilion. The Polar Star, so highly praised for its magnificent reflections, is similarly fashioned.
The Hortensia, which was not actually given this name until the reign of Napoleon I, was initially mentioned in the French Crown inventory as being pink and pentagonal and weighing 21ct, but it is far more interesting than this bald description implies. IN 1787, Brisson described its outline as ‘a square with one corner off’, which was taken to mean that the rough from which it was originally fashioned was an octahedral crystal.
However, judging from the sixfold symmetry, it is quite obvious that the rough was dodecahedral. In fact, after a close inspection of the crown facets, I am now almost certain that the Hortensia Brilliant is a refashioned Naville Cut. This conviction is strenghthened by the knowledge that Parisian diamond cutters at the end of the seventeenth century specialized in refashioning obsolete cuts, in particular Tailles en Seize and larger Navilles, which is why these two cuts disappeared so rapidly.
The master cutter Alvarez may well have been responsible for recutting the Hortensia in 1678. With its dimensions of 19.5 x 21.6 x 8.7 mm, the stone was far too shallow to reflect light properly. By adding two rows of starlike facets round the culet, the cutter conjured beautiful reflections from the pavilion. The Polar Star, so highly praised for its magnificent reflections, is similarly fashioned.
The Modern Dutch School
(via The Outline of Art) William Orpen writes:
2
The debt of te modern Dutch painters to France cannot be ignored, but we must remember that Holland possessed in Rembrandt one of the greatest of the Old Masters, and though his influence seemed to slumber for two centuries in his own country, it was shortly to prove itself to be alive once more. The greatest figure in this school is Josef Israels, and his art must be regarded as a blending of the influence of Rembrandt with that of Jean Francois Millet, plus the remarkable personality of the painter himself. Israels was one of the earliest as well as one of the greatest of the modern Dutch painters. He was born on January 27, 1824, at Groni ngen, of Hebrew parents, his father being a money-changer and broker. As a boy his first ambition was to be a rabbi; at an early age he studied Hebrew and buried himself in the Talmud, and he was well in his ‘teens before he displayed a marked leaning towards art. Meanwhile his father intended Josef for a business career, but while working under his father as a stockbroker’s clerk, Josef Israels surreptitiously obtained lessons in painting from local artists, and though their talent was but mediocre their pupil soon began to display such unmistakable gifts that parental opposition was overcome and he was allowed to go to Amsterdam to study art. He lodged with an orthodox Jewish family in the Ghetto, and all that he saw in the Jewish Quarter himself, combined with the religious paintings and etchings of Rembrandt based on the life in that quarter—which had altered so little since Rembrandt’s time—made a profound impression on him, and had a more lasting influence than anything he learnt from his master, Jan Kruseman, who, though a successful portrait-painter of his time, was a dry and uninteresting artist. In 1845 Israels left Amsterdam to study in Paris, but here again he was not very fortunate in his master. He entered the studio of Picot, who had been a pupil of David, and so far from being in touch with the ideals of the ‘men of 1830,’ he was brought up to admire historical paintings in the classical style. When Israels returned to Amsterdam in 1848 he was chiefly influenced by the French historical painter Delaroche, and he began painting historical and dramatic subjects in which, beneath the French polish, the influence of Rembrandt was nevertheless discernible. But Israels had not yet found himself, and it was some years before he did. The critical period in the artistic career of Israels was about 1856. In 1855 he showed in the Paris Salon a historical picture ‘The Prince of Orange for the first time opposing the Execution of the Orders of the King of Spain’; in 1857 his exhibits at the Paris Salon were ‘Children by the Sea’ and ‘Evening on the Beach,’ two tender impressions of commonplace, everyday scenes on the coast neat Katwijk. These last pictures are by the Israels we know; the pictures of 1855 might have been by almost any historical painter of the period. How did this change come, and what brought it about?
It was life, not art nor any artist, that changed the whole spirit of Israels painting. He had a serious illness while he was living at Amsterdam, and when convalescent went to Zantvoort, a little fishing village close to Haarlem, to recruit his health. He lodged there with a ship’s carpenter, and living the life of these simple, kindly seafaring folk, Israels was struck by the drama, pathos, and tragedy in the common lot. At Zantvoort he made the same discovery that Millet had made at Barbizon, namely that to a sympathetic and understanding spectator the common life of the people even in a remote, secluded village is as full of romance, thrills, and tragedy as the pages of any history book. Israels discovered that ‘the events of the present are capable of being painted and the sorrows of the poor are as deep as the tragic fate of ancient heroes.’ A new vein of artistic expression was now opened to him, and henceforward he painted the life of the poor and humble, and found in typical, everyday episodes motives for expressing with peculiar intensity his wide human sympathy.
The Modern Dutch School (continued)
2
The debt of te modern Dutch painters to France cannot be ignored, but we must remember that Holland possessed in Rembrandt one of the greatest of the Old Masters, and though his influence seemed to slumber for two centuries in his own country, it was shortly to prove itself to be alive once more. The greatest figure in this school is Josef Israels, and his art must be regarded as a blending of the influence of Rembrandt with that of Jean Francois Millet, plus the remarkable personality of the painter himself. Israels was one of the earliest as well as one of the greatest of the modern Dutch painters. He was born on January 27, 1824, at Groni ngen, of Hebrew parents, his father being a money-changer and broker. As a boy his first ambition was to be a rabbi; at an early age he studied Hebrew and buried himself in the Talmud, and he was well in his ‘teens before he displayed a marked leaning towards art. Meanwhile his father intended Josef for a business career, but while working under his father as a stockbroker’s clerk, Josef Israels surreptitiously obtained lessons in painting from local artists, and though their talent was but mediocre their pupil soon began to display such unmistakable gifts that parental opposition was overcome and he was allowed to go to Amsterdam to study art. He lodged with an orthodox Jewish family in the Ghetto, and all that he saw in the Jewish Quarter himself, combined with the religious paintings and etchings of Rembrandt based on the life in that quarter—which had altered so little since Rembrandt’s time—made a profound impression on him, and had a more lasting influence than anything he learnt from his master, Jan Kruseman, who, though a successful portrait-painter of his time, was a dry and uninteresting artist. In 1845 Israels left Amsterdam to study in Paris, but here again he was not very fortunate in his master. He entered the studio of Picot, who had been a pupil of David, and so far from being in touch with the ideals of the ‘men of 1830,’ he was brought up to admire historical paintings in the classical style. When Israels returned to Amsterdam in 1848 he was chiefly influenced by the French historical painter Delaroche, and he began painting historical and dramatic subjects in which, beneath the French polish, the influence of Rembrandt was nevertheless discernible. But Israels had not yet found himself, and it was some years before he did. The critical period in the artistic career of Israels was about 1856. In 1855 he showed in the Paris Salon a historical picture ‘The Prince of Orange for the first time opposing the Execution of the Orders of the King of Spain’; in 1857 his exhibits at the Paris Salon were ‘Children by the Sea’ and ‘Evening on the Beach,’ two tender impressions of commonplace, everyday scenes on the coast neat Katwijk. These last pictures are by the Israels we know; the pictures of 1855 might have been by almost any historical painter of the period. How did this change come, and what brought it about?
It was life, not art nor any artist, that changed the whole spirit of Israels painting. He had a serious illness while he was living at Amsterdam, and when convalescent went to Zantvoort, a little fishing village close to Haarlem, to recruit his health. He lodged there with a ship’s carpenter, and living the life of these simple, kindly seafaring folk, Israels was struck by the drama, pathos, and tragedy in the common lot. At Zantvoort he made the same discovery that Millet had made at Barbizon, namely that to a sympathetic and understanding spectator the common life of the people even in a remote, secluded village is as full of romance, thrills, and tragedy as the pages of any history book. Israels discovered that ‘the events of the present are capable of being painted and the sorrows of the poor are as deep as the tragic fate of ancient heroes.’ A new vein of artistic expression was now opened to him, and henceforward he painted the life of the poor and humble, and found in typical, everyday episodes motives for expressing with peculiar intensity his wide human sympathy.
The Modern Dutch School (continued)
Eisch
A innovative German stemware company, Eisch, has developed an oxygenated glass that it claims can aerate wine in just two minutes.
Remarkable!
Useful link:
www.eisch.de
Remarkable!
Useful link:
www.eisch.de
Arts + Letters Daily
I found Arts & Letters Daily + BookForum inspiring, in fact, it was an intellectual treasure trove.
Useful links:
www.aldaily.com
www.bookforum.com
Useful links:
www.aldaily.com
www.bookforum.com
Travel Share
(via budgettravel) I found Ideo Eyes Open extremely useful + The Wapping Project @ thewappingproject.com was brilliant + I liked it.
Rough Diamond Imitations In The Market
According to lab gemologists, natural (quartz/phenakite/topaz) or man-made colorless to near-colorless (glass/syn. cubic zirconia/YAG/GGG/strontium titanate/lithium niobate) rough gem materials have been found in natural diamond parcels in the marketplace to confuse the unwary + if in doubt always consult a reputed gem testing laboratory.
Lab Alert!
http://www.gemlab.net/website/gemlab/fileadmin/user_upload/Research/Gemlab-Newsletter-04-2008-forPDF.pdf
Useful link:
www.gemlab.net
Lab Alert!
http://www.gemlab.net/website/gemlab/fileadmin/user_upload/Research/Gemlab-Newsletter-04-2008-forPDF.pdf
Useful link:
www.gemlab.net
Monday, March 24, 2008
Perfumes: The Guide
Perfumes: The Guide by Luca Turin + Tania Sanchez is one-of-a-kind book on fragrances + it's a unique reading experience.
Useful link:
www.perfumestheguide.com
In my view, colored stones + diamonds + wine + perfumes = elegance + beauty + rarity. I think you need special touch + experience + passion to enjoy them.
Useful link:
www.perfumestheguide.com
In my view, colored stones + diamonds + wine + perfumes = elegance + beauty + rarity. I think you need special touch + experience + passion to enjoy them.
Random Thoughts
'What's the most important thing in finance?' J P Morgan was asked.
'Character', he replied.
I think gem and jewelry merchants + art dealers should take note.
'Character', he replied.
I think gem and jewelry merchants + art dealers should take note.
Tord Boontje
Tord Boontje is a Dutch-born, London-based product designer + he blends advanced technologies with artisanal techniques to create exquisite glassware, lighting and furniture + I think, experimentation + speed = new ideas!
Beautiful designs!
Useful link:
www.tordboontje.com
Beautiful designs!
Useful link:
www.tordboontje.com
The Polar Star
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
The historic Polar Star diamond was so named because of the double star-like arrangement of its interlocking culet faces, which can be clearly seen through its large table facet. Although fairly small, it has been one of the world’s most famous diamonds since it was acquired by Joseph Bonaparte in about 1806. It belonged to the Russian ducal family of Youssoupoff for more than a hundred years before passing to Henry Deterging and his Russian-born wife, Lydia. It made world headlines in 1980, when it was auctioned and sold at a record price per carat to a buyer from Sri Lanka.
The fame of The Polar Star is due to three factors: its unsurpassed brilliance, the precision of its cut (it can be balanced on its tiny culet) and its limpidity. According to the late Hans Nadelhoffer of Christie’s in Geneva, who auctioned the stone, the rough was found in the bed of the Krishna river, India, at the end of the eighteenth century. Nadelhoffer also suggests that it was fashioned in Amsterdam, but since London was at that time the world center for precision cutting it seems more likely that it was there that it was given its exquisite faceting.
The Gubelin Laboratory in Switzerland has given a very detailed report on this diamond. It weighs 41.28 ct (41.285), which is considerably less than a Brilliant of this size with classic 45° proportions would normally weigh. In fact, it is equal in size to a classic well-made Brilliant of 52.5 ct. The reason for this surprising lightness is the flatness of the crown with its large table. The clarity of the gem has suffered over the years from careless handling. The girdle is slightly abraded and there are other small scratches, but the loss of weight that would be involved in restoring it to its original flawless condition would be negligible. Its color is of the second highest grade, E (River), with a trace of pink. A distinct blue fluorescence was noticed under ultraviolet light (UV 365), and spectrophotometry revealed that the diamond was of extremely rare type known as IIa. It is virtually impossible to assess how far the exceptionally attractive light effects are due to the trace element boron in type Iia diamonds, and how far they are due to the unusual faceting of the pavilion.
Measured dimensions and approximate median proportions:
Diameter: 21.77 – 20.63mm – 100%
Table: 14.5 – 14.2mm – 67%
Crown: >12.2mm – 29.3° - 40.8° - 12.5% - 37°
Pavilion: > 12.2mm – 41.2° - 48° - 45% - 45°
Culet: 2.20 – 2mm – 10%
The historic Polar Star diamond was so named because of the double star-like arrangement of its interlocking culet faces, which can be clearly seen through its large table facet. Although fairly small, it has been one of the world’s most famous diamonds since it was acquired by Joseph Bonaparte in about 1806. It belonged to the Russian ducal family of Youssoupoff for more than a hundred years before passing to Henry Deterging and his Russian-born wife, Lydia. It made world headlines in 1980, when it was auctioned and sold at a record price per carat to a buyer from Sri Lanka.
The fame of The Polar Star is due to three factors: its unsurpassed brilliance, the precision of its cut (it can be balanced on its tiny culet) and its limpidity. According to the late Hans Nadelhoffer of Christie’s in Geneva, who auctioned the stone, the rough was found in the bed of the Krishna river, India, at the end of the eighteenth century. Nadelhoffer also suggests that it was fashioned in Amsterdam, but since London was at that time the world center for precision cutting it seems more likely that it was there that it was given its exquisite faceting.
The Gubelin Laboratory in Switzerland has given a very detailed report on this diamond. It weighs 41.28 ct (41.285), which is considerably less than a Brilliant of this size with classic 45° proportions would normally weigh. In fact, it is equal in size to a classic well-made Brilliant of 52.5 ct. The reason for this surprising lightness is the flatness of the crown with its large table. The clarity of the gem has suffered over the years from careless handling. The girdle is slightly abraded and there are other small scratches, but the loss of weight that would be involved in restoring it to its original flawless condition would be negligible. Its color is of the second highest grade, E (River), with a trace of pink. A distinct blue fluorescence was noticed under ultraviolet light (UV 365), and spectrophotometry revealed that the diamond was of extremely rare type known as IIa. It is virtually impossible to assess how far the exceptionally attractive light effects are due to the trace element boron in type Iia diamonds, and how far they are due to the unusual faceting of the pavilion.
Measured dimensions and approximate median proportions:
Diameter: 21.77 – 20.63mm – 100%
Table: 14.5 – 14.2mm – 67%
Crown: >12.2mm – 29.3° - 40.8° - 12.5% - 37°
Pavilion: > 12.2mm – 41.2° - 48° - 45% - 45°
Culet: 2.20 – 2mm – 10%
The Modern Dutch School
(via The Outline of Art) William Orpen writes:
The Art of Joseph Israels, Roelofs, Mauve, Mesdag, Blommers, And the Brothers Maris
1
For more than a hundred years after the deaths of Hobbema and Willem van de Velde, Holland produced no painter of European importance. The Dutch School, which during the seventeenth century had risen, as we have seen, to the highest eminence, sank during the eighteenth century into trivial virtuosity. Pictures became conjuring feats rather than true works of art, for they evoked neither tender sentiments nor noble thoughts, but only excited wonder by their manual dexterity. In craftsmanship many of these paintings were remarkable in their meticulous detail, and while some painters—like Wellem van Mieris (1662-1747), whose ‘Fish and Poultry Shop’ is in the National Gallery—carried on the traditions left by Jan Steen and Gerard Dou, still more made a reputation among their contemporaries by their minute renderings of fruit and flowers. These they painted with the patient skill of miniaturist, and they delighted in introducing into their pictures flies and other small insects whose tiny, but marvelously realistic forms, had to be discerned with the aid of a magnifying-glass. Among the artist who excelled in this style of painting may be mentioned the woman-painter of Amsterdam, Rachel Ruysch (1664-1750), and her contemporary, Jan van Huysum (1682-1749), both of whom are represented in the National Gallery. Here we may see how skillfully they both painted flowers, how cunningly the one introduces a butterfly, the other a snail; but we soon weary of this pettifogging cleverness, which may amuse our eyes for a few moments, but can never touch our hearts.
It was not till towards the middle of the nineteenth century that any great revival of painting showed itself in Holland. One who helped to prepare the ground for the new generation was Johannes Bosboom (1817-91), who painted impressive pictures in oils and water-colors of the interiors of Dutch Churches and cathedrals. He was influenced by the seventeenth-century painter Emanuel de Witte (1607-92), who had also painted these subjects not only with great accuracy of linear perspective but with broad effects of light-and-shade; Bosboom painted these interiors still more broadly and invested them with a dim atmosphere of grave grandeur and solemnity.
Bosboom always gives us a more or less generalized vision, and contrasted with the particularity of the painters who immediately preceded him, he may be said to have given a new direction to Dutch painting.
Another pioneer and forerunner of the modern movement was Willem Roelofs, who was born at Amsterdam in 1822, and went to France, where he made the acquaintance of Corot and other members of the Barbizon School. For some time Roelofs lived with these artists in the now famous village, and painted the forest of Fontainebleau in their company; then he returned to the Netherlands, taking with him new ideals of landscape painting. Though he lived chiefly in Brussels, Roelofs had a considerable influence on Dutch painting. He was never an imitator of Corot, Daubigny, or Troyon, though he learnt something from all of them, as we may see in his picture ‘A Summer’s Day, and it was through him that a knowledge and appreciation of their paitings first spread through Belgium and Holland. Roelofs helped to found at Brussels in 1868 the Société Libre des Beaux Arts (Free Society of Fine Arts), of which Corot, Daubigny, and Millet became honorary members, and to this exhibition both Dutch and Belgian artists contributed. It became the rallying-point of the younger generation and of those painters who were beginning to be affected by the Barbizon pictures which so many of them had seen in Paris. After living in Brussels for forty years Roelofs moved to The Hague, where he died in 1897.
The Modern Dutch School (continued)
The Art of Joseph Israels, Roelofs, Mauve, Mesdag, Blommers, And the Brothers Maris
1
For more than a hundred years after the deaths of Hobbema and Willem van de Velde, Holland produced no painter of European importance. The Dutch School, which during the seventeenth century had risen, as we have seen, to the highest eminence, sank during the eighteenth century into trivial virtuosity. Pictures became conjuring feats rather than true works of art, for they evoked neither tender sentiments nor noble thoughts, but only excited wonder by their manual dexterity. In craftsmanship many of these paintings were remarkable in their meticulous detail, and while some painters—like Wellem van Mieris (1662-1747), whose ‘Fish and Poultry Shop’ is in the National Gallery—carried on the traditions left by Jan Steen and Gerard Dou, still more made a reputation among their contemporaries by their minute renderings of fruit and flowers. These they painted with the patient skill of miniaturist, and they delighted in introducing into their pictures flies and other small insects whose tiny, but marvelously realistic forms, had to be discerned with the aid of a magnifying-glass. Among the artist who excelled in this style of painting may be mentioned the woman-painter of Amsterdam, Rachel Ruysch (1664-1750), and her contemporary, Jan van Huysum (1682-1749), both of whom are represented in the National Gallery. Here we may see how skillfully they both painted flowers, how cunningly the one introduces a butterfly, the other a snail; but we soon weary of this pettifogging cleverness, which may amuse our eyes for a few moments, but can never touch our hearts.
It was not till towards the middle of the nineteenth century that any great revival of painting showed itself in Holland. One who helped to prepare the ground for the new generation was Johannes Bosboom (1817-91), who painted impressive pictures in oils and water-colors of the interiors of Dutch Churches and cathedrals. He was influenced by the seventeenth-century painter Emanuel de Witte (1607-92), who had also painted these subjects not only with great accuracy of linear perspective but with broad effects of light-and-shade; Bosboom painted these interiors still more broadly and invested them with a dim atmosphere of grave grandeur and solemnity.
Bosboom always gives us a more or less generalized vision, and contrasted with the particularity of the painters who immediately preceded him, he may be said to have given a new direction to Dutch painting.
Another pioneer and forerunner of the modern movement was Willem Roelofs, who was born at Amsterdam in 1822, and went to France, where he made the acquaintance of Corot and other members of the Barbizon School. For some time Roelofs lived with these artists in the now famous village, and painted the forest of Fontainebleau in their company; then he returned to the Netherlands, taking with him new ideals of landscape painting. Though he lived chiefly in Brussels, Roelofs had a considerable influence on Dutch painting. He was never an imitator of Corot, Daubigny, or Troyon, though he learnt something from all of them, as we may see in his picture ‘A Summer’s Day, and it was through him that a knowledge and appreciation of their paitings first spread through Belgium and Holland. Roelofs helped to found at Brussels in 1868 the Société Libre des Beaux Arts (Free Society of Fine Arts), of which Corot, Daubigny, and Millet became honorary members, and to this exhibition both Dutch and Belgian artists contributed. It became the rallying-point of the younger generation and of those painters who were beginning to be affected by the Barbizon pictures which so many of them had seen in Paris. After living in Brussels for forty years Roelofs moved to The Hague, where he died in 1897.
The Modern Dutch School (continued)
Sunday, March 23, 2008
Richard Dadd's Paintings
I found the Economist article Blood On The Tracks @ http://www.economist.com/daily/columns/artview/displaystory.cfm?story_id=10904659 interesting + in my view Richard Dadd's paintings show customary care with details, creating a powerful picture with natural looks that connect the dots.
Useful links:
http://www.noumenal.com/marc/dadd
http://en.wikipedia.org/wiki/Richard_Dadd
Useful links:
http://www.noumenal.com/marc/dadd
http://en.wikipedia.org/wiki/Richard_Dadd
Subscribe to:
Posts (Atom)