Interested in being a part of the Morbid Anatomy Museum? If not, why not consider becoming a volunteer docent?
Although
this is an unpaid position, being a museum docent is an excellent
addition to your resume, and the museum is
happy to provide references for regular docents. Shifts run from
11:45-6:00 all days except Tuesdays, and there is no minimum
requirement.
Volunteer docents also receive special perks:
Free admission to museum exclusive opening parties
An atmospheric, quiet place to work with free wifi and unlimited access to the Morbid Anatomy Library collection of books and artifacts
One free event (under $10) for each shift worked
$20 off book purchases in the gift store for every five shifts you work, per exhibition
Preview of upcoming exhibitions for docent training
Docent party for each exhibit in which you volunteer three or more times
If you are interested in becoming a docent or finding out more, please e-mail our new docent coordinator at cristina [at] morbidanatomymuseum [dot] org. Either way, hope to see you around the museum soon!
Photo from our new Morbid Anatomy Museum installation.
Greetings! This is a letter from Joanna Ebenstein, co-founder and creative director of the Morbid Anatomy Museum.
Some of you might recall a book I authored a few years ago with Dr Pat Morris called Walter Potter's Curious World of Taxidermy. While working the book, I was lucky enough to see and photograph many of famous tableaux of eccentric Victorian taxidermist Walter Potter, which had been divided at auction about 10 years ago before.
One of his most iconic pieces, The Kittens' Wedding (see above) has entered our community of collectors. Its new owner, Mrs. Sabrina N. Hansen, has very generously agreed to allow us to exhibit it, so long as we can pay for safe and professional transportation and insurance.
We have just launched a Kickstarter campaign to raise the funds to do so, on which more here. We have made available lots of perks, including custom limited-edition Potter photos and postcards of photos from my own collection; tickets to the exhibit and opening party; downloads of Filmmaker in Residence Ronni Thomas' award winning Potter documentary The Man Who Married Kittens; AND most excitingly, tours of the homes of private homes of collectors of Potteralia around the world where you can see pieces in their native habitat!
Following is information on some of the collectors who have kindly agreed to open their homes. Again, you can find out more here. Thanks for considering lending your support to this project!
The Home Collection of Dr Pat Morris, co-author of Walter Potter's Curious World of Taxidermy , who holds the argest collection of Potter pieces and ephemera including The Death and Burial of Cock Robin, A Friend in Need is a Friend Indeed, an eight legged kitten, and Potter’s pet cat and dog.
The home of collection of Errol Fuller (author of Voodoo Salon) featuring Walter Potter’s Athletic Toads, his only mechanized tableau; Fencing mice with mole undertakers by Hermann Plouquet (above; circa 1850); a passenger pigeon; and, in his worlds, a Charles Waterton Saki Monkey "deformed to look like a little hairy man" (circa 1825).
The home of John Whitenight (author of Under Glass: A Victorian Obsession) and Fred LaValley, containing a collection of extraordinary 19th century taxidermy including Potters Monkey and Goat, along with rare French automatons (one that smokes a cigarette!), plus period rooms containing an array of Victorian furniture and decorative objects all of which are contained in a circa 1865 Philadelphia townhouse.
The home collection of Carol Holzer's collection, featuring Walter Potter’s two-faced kitten, a taxidermied lion, and many more pieces of taxidermy and assorted curiosities.
Do any Morbid Anatomy readers happen to know the new whereabouts of this most wonderful piece of late 19th century taxidermy, Walter Potter's Kittens’ Tea and Croquet Party?
Next Thursday, July 7th, we hope you'll join us for a night of extraterrestrial pulp with author and journalist Mark Jacobson as he welcomes world's greatest collector of flying saucer memorabilia Jack Womack. Womack's collection stretches back to the original 1947 sighting by Kenneth Arnold and continues through the paperback heyday of the 1950's and 60's. Kept on file at Georgetown University, it has been compiled into the forthcoming book Flying Saucers Are Real! featuring an introduction by Science Fiction immortal William Gibson.
Following is a guest post by Jack Womack, which will provide a foretaste of the evening's festivities. The above images are also sourced from his collection. Hope to see you there!
In the past seventy years we saw an enormous increase worldwide of the fear of government, the fear of science, and the fear of experts, for multiple reasons. As is now clear, one of the most effective means of initially spreading such paranoia worldwide, and especially in the United States, turned out to be by flying saucer.
Two men--one by pure happenstance, the other by pure deliberation--brought flying saucers into the world as we know them today. In 1943 Richard Shaver, a welder by trade, sent a 10,000 word rant entitled "A Warning to Future Man" to Ray Palmer, editor of the pulp magazine *Amazing Stories*, and the paterfamilias of much that is 20th century woo-woo.
Shaver's narrative told of the Dero, who are survivors of the Old Ones who used to inhabit earth -- the Dero live inside the earth, understand -- and who are responsible for all bad things that happen, everywhere. The Dero are also prone to kidnapping surface women when they press the wrong button on elevators, or go into the wrong subway tunnel afterward subjecting them to unimaginable horrors. Palmer, naturally, immediately rewrote it into a story, "I Remember Lemuris" that he naturally presented as non-fiction. The response was enormous, and sales of the magazine shot up even as science fiction fans complained bitterly that such nonsense was being published as non-fiction.
Later, Shaver told Palmer that he knew of the Dero because he had heard the screams through his welding machine.
Palmer's experience with what came to be known as the Shaver Mystery prepared him to be ready to move when, on June 24, 1947, Kenneth Arnold--a pilot in Washington state--reported seeing nine silver discs flying over the Cascades. He told reporters on the ground when he landed. By June 26, the phrase "flying saucers" was being used worldwide.
Palmer, seeing a new opportunity, moved quickly. While he stayed in touch with Shaver over the years, he refocused on Things in the Sky: and the result was not unlike the appearance of a Celestial Elvis.
Mark and I will be talking about these two characters, without whom we would not have had the X-Files--nor, possibly, some branches of the militia. I'll be drawing upon the information and illustrations on my forthcoming book Flying Saucers Are Real! as we reexamine the beginnings of a belief which, in unexpected ways and unexpected places, wound up in some ways, as was warned, conquering the world.
In this class, students will explore the history of symbols from several perspectives, learn to utilize the power of symbols in their life and work, and leave class with a finished object, a talisman like these:
Under the guidance of the instructor, through research of images and texts from the ARAS archive, class discussion, and a lecture by Ami Ronnberg--ARAS curator and editor of the Taschen's Book of Symbols--students will explore the history of thier own, personally, significant symbols and their relation to both the Jungian notion of archetypes and the collective unconscious, as well as Purcell's individual research exploring symbols in relation to the creative process. Students will leave with a broadened view of the significance of symbols, and how to harness and utilize symbols in their life and work. The final project will be the transformation of a personal symbol into a small, physical talisman/amulet, to serve as a reminder of ones character/values and as a confirmation of one's inner/subconscious world.
Tickets can be purchased here. Hope to see you there!
Lancelot, in metal armor, fights two copper knights, at an enchanted
castle, in the 13th century prose romance Lancelot of the Lake. (Image:
Lancelot do lac, France, ca. 1470. Paris, BnF, MS. Fr. 112.)
Centuries before Asimovs Three Laws of Robotics, before Fritz Lang's Metropolis or Çapeks Rossum's Universal Robots, before Vaucanson's digesting duck, people imagined, designed, built, and pondered the possibilities and pitfalls of creating artificial people, animals, and other natural objects. Medieval robots are the hidden past of our robotic present, and they were ubiquitous in medieval culture. They appear throughout the Middle Ages and were used to embody complex ideas about the natural world and the heavens, including belief in demons and knowledge of mechanical engineering.
Following are some images from her talk that Dr Truitt was kind enough to send along; Hope very much to see you there!Tickets can be purchased here.
A mechanical wine-servant, designed by the Kurdish engineer Ismail
al-Jazari, in The Book of Ingenious Mechanical Devices, ca. 1206.
Designed to be a mechanical version of the human servants who would
otherwise be serving wine at the Artuqid court in Diyarbekir. (Image:
Syria or Egypt, 1315, Copenhagen, David Collection 20/1988):
The walled garden of the chateau of Hesdin, in northern France, with the
elaborate machinations of Fortune, below. The estate was the site of
elaborate gardens with mechanical animals, birds, musical instruments,
and fountains in the fourteenth and fifteenth centuries. (Image: France,
ca. 1350. Paris, Bibliothèque national de Paris, MS Fr. 1586):
Page from a book of drawings by Villard de Honnecourt, ca. 1225. Villard
was a draughtsman and builder, and included drawings of many mechanical
designs, including a mechanical eagle, a trick goblet, and a mechanical
angel. (Image: Paris, BnF, MS Fr. 19093):
Alexander the Great encounters two golden knights
guarding a bridge in India, from the Romance of Alexander (ca. 1180).
(Image: France, 14th century. Oxford, Bodleian Library, MS Bodley 264):
In the following guest post, Morbid Anatomy Artist and Scholar and Residence Shannon Taggart introduces us to the exceptional feminist figure Victoria Woodhull; dubbed “Mrs. Satan” by her vilifiers, she was not only a Spiritualist Medium but also the first woman to run for president (in
1872), a stockbroker, journalist, publisher, and free love advocate, all at a time when women were still denied many basic rights.
“Yes, I am a Free Lover. I have an inalienable, constitutional, and natural right to love whom I may, to love as long or as short a period as I can; to change that love every day if I please, and with that right neither you nor any law you can frame have any right to interfere.” – Victoria Woodhull
Spiritualist Medium Victoria Woodhull was not only the first woman to run for president in 1872, but also a stockbroker, journalist, publisher, and free love advocate. Amidst a life of scandal and vilification, and even dubbed “Mrs. Satan” by the press, Woodhull was an accomplished woman even by contemporary standards: Woodhull did this all at a time when women were lacking in many basic rights to their children and property, protection from rape, and citizenship. In the upcoming lecture Free Love Advocate and Presidential Candidate: The Revolutionary Feminism of Victoria Woodhull, Cristina Zaccarini will illustrate the myriad ways that Woodhull’s achievements were inextricably linked to the spiritual and intuitive abilities she exercised throughout her lifetime.
The Anatomical Venus--an "epically illustrated" new book by Morbid Anatomy founder Joanna Ebenstein--explores the curious history of seductive female anatomical wax models, created in the 18th century and peaking in fashion in the 19th. The book traces--in images and words--the evolution of these enigmatic sculptures from wax effigy to fetish figure and the embodiment of the uncanny.
At both events, Museum co-founder and board chair Tracy Hurley Martin will make opening remarks, and books will be available for sale and signing.
You can learn more about the book here; read reviews in Vice, The Telegraph, Publisher's Weekly, Bust and The Guardian; and hear an interview about The Venus with the author on BBC 4's Women's Hour here. You can order the UK (Thames and Hudson) and US (DAP) edition of the book here.
Anatomical Venus Book Release Party and Symposium
Date: Saturday, June 4
Time: 11 AM -7:15 PM
Admission: $45 ( Admission + Book ), $10 ( Morbid Anatomy Member Symposium Admission ); $15 ( Regular Symposium Admission )
***Copies of The Anatomical Venus will be available for sale and signing.
*** Admission also includes access to museum exhibits including House of Wax
Tickets here
The Anatomical Venus--a new Morbid Anatomy book by our co-founder and creative director, Joanna Ebenstein--explores the curious history of seductive female anatomical wax models, created in the 18th century and peaking in fashion in the 19th. The book traces--in images and words--the evolution of these enigmatic sculptures from wax effigy to fetish figure and the embodiment of the uncanny.
On June 4, we hope you'll join us for a one-day symposium to celebrate the release of The Anatomical Venus with a symposium exploring the range of topics covered by the book including anatomized women, wax, the ecstatic, Catholicism and the cult of the saints, the uncanny, and more. After, join us for an after party at our local bar, Halyards, with DJ stylings by Friese Undine and films curated by David Cory. Books will be available for sale and signing.
11:00 AM
Introductory Remarks by Tracy Hurley Martin (Morbid Anatomy Museum Co-Founder and Board Chair)
11:10 AM Joanna Ebenstein (Morbid Anatomy Founder, Morbid Anatomy Museum Co-Founder and Creative Director): "An Enlightenment-era St Teresa Ravished by Communion with the Invisible Forces of Science": A Brief Introduction to The Anatomical Venus
11:30 AM
Introductory Talk: Evan Michelson (Scholar in Residence, TV's Oddities): An Anatomical Pilgrimage
12:00 - 1:45
PANEL ONE: Agalmatophilia, or People who Fall in Love with Non-animate Humans
-- Margaret Schwartz (Fordham Univsersity): "I Buried Her Standing Because She Had Balls!" The Strange Afterlife of Eva Perón.
-- Lissa Rivera (Artist): The History of Sex Dolls
-- Ronni Thomas (Filmmaker in Residence): Mad Science, Mysticism, Romance and Necrophilia: The Strange Tale of Carl von Cosel and Elena Hoyos
1:45 - 2:45: Lunch Break
2:45 - 4:00
PANEL TWO: Corpo Sancto: Faith, Metaphysics and The Body
-- Stephen Asma (author of Stuffed Animals and Pickled Heads): The Redemptive Body: a Theology of Anatomy
-- Colin Dickey (author of Cranioklepty and Afterlives of the Saints): Saint Teresa and the Erotics of Reading
-- Karen Bachman (Hair Artist in Residence): Holy Body Parts!: Speaking Reliquaries and Catholic Saints
-- Brian Cotnoir (Alchemist in Residence): How to Animate a Statue
4:00 - 5:00
PANEL THREE: Entranced Women on Display
-- Shannon Taggart (Programmer in Residence): In the Spirit Cabinet
-- Asti Hustvedt (author of Medical Muses, editor of Zone's Decadent Reader): The Hysterical Venus
5:00-6:30
PANEL FOUR: The Pleasures of Anatomy and the Anatomical Gaze
-- Mark Dery (Cultural Critic, Author of I Must Not Think Bad Thoughts): On The Pathological Sublime: Dark Matter and Aesthetic Rapture
-- Marie Dauenheimer (Medical Illustrator): Albinus, Wanderlaar and the Creation of the Homo Perfectus
-- Mel Gordon (Author of Voluptuous Panic): Showcases of the Marvelous - The Rise and Fall of Berlins Panopticums (1888-1923)
-- Michael Sappol (National Library of Medicine): Queer Anatomies: Perverse desire, medical illustration, and the epistemology of the anatomical closet
6:30- 7:15
Keynote Lecture: Amy Herzog (Queens College): Women in Boxes
7:15: Afterparty at Halyards with DJ
stylings by Friese Undine and films curated by David Cory.
The Morbid Anatomy Salon at London's Wellcome Collection is sadly now fully booked; apologies it sold out so fast! The good news is the event will be filmed and you'll be available to watch online soon after the live event. Stay tuned for more.
Since their creation, The Anatomical Venus--an18th century life-sized wax woman created to teach a general public about anatomy--have seduced, intrigued and
amazed; this symposium will also attempt to explore the ways in which,
to the contemporary eye, they also confound, flickering on the edges of
medicine and magic, votive and vernacular, fetish and fine art.
Full line up follows; ticket link should be added by Monday!
THE ANATOMICAL VENUS, MORBID ANATOMIES AND STRANGE ATTRACTORS: A ONE DAY SYMPOSIUM TO MARK THE LAUNCH OF THE ENW BOOK "THE ANATOMICAL VENUS"
TIME: 10:00 AM – 7:00 PM
PRICE: £13/ £7 STUDENTS
OFFSITE AT London's Horse Hospital
TICKETS LINK ADDED SOON!
Please join Morbid Anatomy and Strange Attractor as we celebrate the release of the new book “The Anatomical Venus” (published by Thames and Hudson in the UK and DAP in the US), which explores the strange and fascinating history of seductive female anatomical wax models, which peaked in fashion in the 19th century. Filled with never before published images from around the world, and documented in intricate detail, the book is the result of Morbid Anatomy founder Joanna Ebenstein’s global, ten-year photographic quest. Since their creation, these wax women have seduced, intrigued and amazed; this symposium will also attempt to explore the ways in which, to the contemporary eye, they also confound, flickering on the edges of medicine and magic, votive and vernacular, fetish and fine art.
SCHEDULE
10:00 AM: Joanna Ebenstein, Morbid Anatomy, Author of “The Anatomical Venus: “An Enlightenment-era St Teresa Ravished by Communion with the Invisible Forces of Science: A Brief Introduction to The Anatomical Venus
10:15: Keynote: Eleanor Crook, Wax Sculptor: The Deliquescent Self: Wax, Anatomies and the Fear of Melting
10:45-12:45: Panel One: Faith, Magic, Theology & The Body: Moderated by Ross MacFarlane, Wellcome Collection
Chiara Ambrosio, Filmmaker: My Grandfather the Spirit Doctor & Me: Listening to Bones and the Voices in the Ether
Emily Evans, Artist and Anatomist: The Use of Human Hair in Art and the Divine
William Maclehose, Historian of Religion and Medicine, UCL: Sleeping with the Divine: Incubation and Dream Healing in the Premodern World
Ross MacFarlane, Research Engagement Office, Wellcome Library: An Intimate Collection? Tracing Emotions in Edward Lovett’s Amulets and Charms
James Kennaway, Historian of Medicine, Newcastle: The Role of Music in Mesmerism
12:45-1:45: Lunch Break
1:45-3:45: Panel 2: Natural and Supernatural: Moderated by Mark Pilkington, Strange Attractor Press
Mark Pilkington, Strange Attractor Press: Echoes of Afterlife: Comparing Textual and Medical Models of Post-Mortem Existence
Christopher Josiffe, Cataloguer at Senate House Library and Writer: Gef! The Strange Tale of An Extra Special Talking Mongoose
Jonathan Allen. Artist, Writer and Educator: The Tarot of Austin Osman Spare
Kirsten Norrie, Artist, Writer, Performer: Second Sight in Highland Tradition
3:45-5:00: Panel 3: Wax: Moderated by Eleanor Crook, Wax Sculptor
Eleanor Crook: Talk and Wax Modeling Demonstration
Nathalie Latour, Wax Conservator, Paris: André Pierre Pinson, the Wax Modeler of the French Revolution
5:00 – 7:00 Panel 4: Morbid Amusements: Moderated by John Troyer, Centre for Death and Society
John Troyer, Director of the Centre for Death and Society, Bath: That’s Not Funny!: Morbidly Amusing Necrophilia Law
Lili Sarnyai, University of London, Graduate Student: Sleeping Beauties
Professor Mervyn Heard, performer, scholar and author of Phantasmagoria: The Secret Life of the Magic Lantern: Phantasmagoria: Ghost-raising for Fun and Profit in the 18th Century
Steven Coates, Musician (The Real Tuesday Weld) and Author: Xray Audio: Soviet Music on the Bone
Image: Anatomical Venuses created by the workshop at La Specola, Florence, Josephinum Museum, Vienna, Austria. Photo by Joanna Ebenstein
As part of our recent Amsterdam Anatomy Weekend, The Vrolik Museum's Lisa Kuiper gave a fascinating tour of The Waag (above), which is not only the oldest building in Amsterdam (dating back to 1488) but also housed the anatomical theatre where public dissections were performed under the hand of Frederik Ruysch and others from 1691 until the early 19th century. The content of the following post is primarily sourced from Lisa's excellent tour.
The Waag, Kuiper explained, began its life as a city gate; called St Anthony’s Port, it was locked each evening at 10 pm. It went on to become a weighing house (Waag in Dutch) where goods would be weighed before entering the city to evaluate the appropriate taxes before they went to market. From 1588 on, it also served as the home to the city's guilds, including that of the Surgeons; they were given the top space, a testament to thier importance. The Surgeons' Guild built a "Theatrum Anatomicum," or Anatomical Theatre, which could be entered through this door:
Here, they conducted dissections, usually on the bodies of executed criminals; in this way their location was convenient, because criminals were also executed here, as seen in this artwork from 1812:
Guillotine on the Nieuwmarkt, Gerrit Lamberts , 1812.
Via Amsterdam Municipal Archives.
In 1690, neighbors of the Waag sent a letter to the Surgeon's Guild, requesting that the dissections be opened to the curious public; they did so the following year, under the persuasion of famed embalmer, anatomist and so called "artist of death" Frederik Ruysch who also conducted the first dissections. Below you can see him dissecting a child attached to the placenta; more on the man and his work below.
Jan van Neck, The Anatomy Lesson of Dr. Frederick Ruysch, 1683.
Amsterdams Historisch Museum
Dissections could take as long as seven days to complete, with admission prices varying based on proximity to the body and the day you wished to attend, with earlier dates being more expensive and smelling less vile. The Waag also functioned--as did the Leiden anatomical theatre--as sort
of museum, open on Christmas and special fair and market days. Here, one could see a cat
with four hind legs, a skeleton of a child playing violin along with
other skeletons, the preserved skins of dissected criminals, a
taxidermied lion and lioness, and more. At least some of
the preparations were made by Frederik Ruysch himself.
Until the 1820's, as explained in a lecture by Vrolik Director Laurens de Rooy, anatomists would dress skeletons and put them in the windows during the the annual market fair, presumably to advertise the contents of the museum; he kindly sent me a copy of the image so I could include it here:
Illustration from Marja Keyser's Komt dat zien! De Amsterdamse kermis in de 19e eeuw
(‘Come and see! The Amsterdam fair in the 19th century) Courtesy of Laurens de Rooy
Rembrandt's famous 1632 painting "The Anatomy Lesson of Dr. Nicolaes Tulp" depicts a dissection which took place at The Waag's Theatrum Anatomicum:
Rembrandt, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632
As with all guild portraits, each doctor would have paid for their own portrait. Dr Tulp is one of very many anatomy guild paintings; we also were lucky enough to see a few more at the Amsterdam Hermitage as part of the exhibition Portrait Gallery of the Golden Age:
Rembrandt, The Anatomy Lesson of Dr Jan Deyman, 1656;
fragment; the rest destroyed in a fire.
Nicolaes Eliasz Pickenoy, The Osteology Lesson of
Dr Sebastiaen Egbertsz, 1619.
Adriaen Backer, Anatomy lesson of Frederik Ruysch, 1670
Amsterdam Museum
The exhibit also housed an image of the Theatrum Anatomicum in the Waag from the 18th century seemingly rendered in gold and silver:
The Theatrum Anatomicum in the Waag, Jonas Zeuner
after Adolf van der Laan, Second half of 18th Century
And a memento mori themed plaque originally on display at an orphanage; it was made during a year when the city of Amsterdam was wracked by plague, with 10% of the population decimated and the orphanages overrun.
Albert Jansz Vinckenbrinck (1604-1664), Death, 1663
Wealthy surgeons might opt for inclusion in a guild portrait, but another and less expensive way surgeons could be immortalized would be to have their family crest painted on the ceiling of the Waag's Theatrum Anatomicum; they can still be seen today
Ruysch's crest is in the very center, reflecting his fame and his importance to the space.
Around the building, in gold letters, reads a memento-mori themed
exhortation in Old Dutch. said to have been written by Ruysch himself:
Here is what is says, in a impromptu translation by The Waag's Helen Fermante:
Those who have done bad in life Will be of use after our death Health has been taken back from death itself The dead body gives to the pupil even though its dumb and its tongue already dead, advises you not to do as criminals Head, finger, kidney, tongue, head, lung, brain, bones, and hands Give you the living a warning example So you hear and take to heart that when you go along the different paths of life you'll be convened that even in the small details God is still hidden there
In this way, one could see the Theatrum Anatomicum as an extension of the aims of Ruysch's home cabinet, where he displayed his unique preparations that were equal part science and memento mori, such as the allegorically themed fetal skeleton tableau in the illustration below. The skeleton at the bottom is holding a mayfly which, as it only lives a single day, is a symbol of mortality. The top skeleton plays a violin atop a mountain of gall and bladder stones, surrounded by foliage crafted from other preserved human remains. You can find out more about the remarkable Frederik Ruysch--who we call our patron saint--here.
To see more photos from our Amsterdam Anatomy Weekend, click here. The next iteration will take place on April 21-23 2007. If you sign our mailing list by clicking here, you will be alerted when the event is announced.
In 1919, artist Oskar Kokoschka commissioned doll maker Hermione Moos to create a life-sized effigy of his former lover Alma Mahler, widow of composer Gustav Mahler and one of the most pursued and celebrated women in Vienna. Despite being unhappy with the results. he painted and photographed the doll many times, and took it out as his companion to the theater and restaurants. Eventually, he ceremonially doused it in red wine and beheaded at a party.
Learn more this--and much more!--in the new Morbid Anatomy Thames and Hudson / Artbook / D.A.P. book "The Anatomical Venus," out at the end of May!
More can be found here. It can be pre-ordered in the USA here, and here for the rest of the world.
Kapuziner Crypt (Kapuzinergruft), where the bodies of the Habsburg royal family are stored. — in Vienna, Austria. From a visit yesterday with dear friend and wax sculptor Eleanor Crook.
