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May 29, 2023 11 tweets 5 min read Read on X
Some artists leave us too young. But they leave behind a wonderful collection of work and a wistful sense of what could have been.

One such artist is Virginia Frances Sterrett (1900-1931). This is her story... Image
Virginia Frances Sterrett was born in Chicago in 1900. From an early age she preferred to draw rather than play with other children. Image
After Sterrett's father died she began to study at the Art Institute of Chicago. Sadly she left in 1916 after her mother became ill. Image
At 17 Sterrett was responsible for supporting her whole family, working in art advertising agencies around Chicago to earn her living. Two years later she was diagnosed with tuberculosis. Image
Sterrett received her first commission at the age of 19 to illustrate Old French Fairy Tales for Penn Publishing, earning $500 for eight watercolors and 16 ink drawings. Image
In 1920 Penn Publishing asked Sterrett to illustrate Tanglewood Tales by Nathaniel Hawthorne. After completing the work her family moved to Pasadena, hoping the climate would aid her health. Image
As Sterrett's tuberculosis grew worse she found she could only draw for a short period each day. In 1925 she started what would be her final completed work - her own interpretation of Arabian Nights. Image
Arabian Nights took Virginia Frances Sterrett three years to complete, working for a couple of hours each day. It was finally published by Penn in 1928. ImageImageImageImage
In 1930, Sterrett started her last commission - Myths and Legends. Sadly it was never completed.

Virginia Frances Sterrett died of tuberculosis on 8 June 1931, at the age of 30. Image
The St Louis Post-Dispatch said of Sterrett's work: "Her achievement was beauty, a delicate, fantastic beauty, created with brush and pencil... she made pictures of haunting loveliness." Image
Virginia Frances Sterrett's first book - Old French Fairy Tales - is available free online. Do take a look at her wonderful work if you can: publicdomainreview.org/collections/ol……

More stories another time... Image

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More from @PulpLibrarian

Oct 5
Time once again for our occasional series "Women with great hair fleeing gothic houses!"

And today I count down my Top 10 of most gothic goths a' fleeing... Image
At No 10: The Unlamented, by Dorothy Daniels. Pocket Books, 1975. That's a great goth coat! Image
At No 9: The Haunting of Drumroe, by Claudette Nicole. Fawcett Gold Medal, 1971. Who says a gothic lady can't rock a white nightie in the snow? Image
Read 12 tweets
Sep 1
Today in pulp, one of the most influential and outrageous illustrators of the Italian Italian fumetti scene: Emanuele Taglietti!

This will be interesting... Image
Emanuele Taglietti was born in Ferrara in 1943. His father worked as a set designer for director Michaelangelo Antonioni, often taking Emanuele with him on set. Image
In the 1960s Taglietti moved to Rome, where he studied stage design. He began a successful career as an assistant art director, working for Federico Fellini and Marco Ferreri. Image
Read 17 tweets
Aug 25
"He lay beside the gently whispering stream - murdered!"

Scales Of Justice, by Ngaio Marsh. Fontana, 1958. Image
"Sucked to death in a seething cauldron of mud!"

Colour Scheme, by Ngaio Marsh. Fontana, 1960. Image
Death amongst the darts and drinks...

Death At The Bar, by Ngaio Marsh. Fontana, 1956. Image
Read 10 tweets
Aug 18
Today in pulp... a few covers by Reginald Heade. Image
Vice Rackets Of Soho, by Roland Vane. Archer Books, 1951. Cover by Reginald Heade. Image
Sinful Sisters, by Ronald Vane. Archer Books, 1951. Cover by Reginald Heade. Image
Read 16 tweets
Aug 16
Time once again for my occasional series "Women with great hair fleeing gothic houses!"

No, I hadn't forgotten... Image
Terror On Duncan Island, by Caroline Farr. Signet Gothic, 1971. Cover by Allan Kass.

Note: this is a sea-circled island. None of your oxbow lake nonsense here... Image
The Fortune Hunters, by Joan Aiken. Pocket Books, 1972.

When fleeing a gothic castle be sure to colour co-ordinate! Image
Read 18 tweets
Aug 13
If the spacesuit is the symbol of progress, the gas mask is the sign of the apocalypse. In popular culture it signifies that science has turned against us. It's the face of dystopia.

Today in pulp I look at the culture of the mask!
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The first chemical masks were work by Venitian plague doctors: a bird-like affair, the beak stuffed with lavender, matched with full length coat and hat. It was a terrifying sight - the grim reaper come to apply poultices to your tumours. Image
But it was poison gas, first used at the Second Battle of Ypres in 1915, that led to the modern gas mask. At first these were cotton masks treated with chemicals. However their protection was limited. Image
Read 19 tweets

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