Supplemented with original newspaper articles, clippings, funeral notices, memorial ephemera and more, the collection will take us on a journey through a fascinating, moving, and melancholically beautiful part of our past. The images in Beyond the Dark Veil speak to us: they speak of love, loss, lives cut short, brave final hours, shattered families, and the depths of the human spirit. Contains 194 images of hand-colored photographs, albumen prints, ambrotypes, cabinet cards, carte de viste, daguerreotypes, gelatin silver prints, opaltypes, real photo postcards, stereoviews, tintypes, and supplementary articles and related ephemera. Contributors include: Adam Arenson I, Jacqueline Ann Bunge Barger, Alex Jackson, Bess Lovejoy, Marion Peck, Joanna Roche, and Joe Smoke. ABOUT THE ARCHIVE: Located in Woodinville, Washington, The Thanatos Archive houses an extensive collection of early post-mortem, memorial, and mourning photographs dating as far back as the 1840s. The online version of the archive, hosted at Thanatos.net since 2002, offers a searchable database of over 2,300 scanned images, with scans of new acquisitions being added on a regular basis. In addition to the main online archive, hundreds of additional images and material can be found in the community discussion forum, including hi-resolution enlargements, genealogical information, and more.

    This book features over 100 photographs by a select group of renowned photographers whose work appears in the award-winning Mutter Museum calendars. Highlights include a bust of an early-19th-century Parisian widow with a six-inch horn protruding from the forehead; the connected livers of Chang and Eng, the world-famous Siamese twins; the skeleton of a 7’6” giant from Kentucky; and a collection of 139 skulls showing anatomic variation among ethnic groups in central and eastern Europe. Historical photographs from the museum’s archives, brief background texts about the collection, stunning photographs by acclaimed photographers including William Wegman and Joel-Peter Witkinand, and an introductory essay on the museum are also included.

    From the advent of photography in the 19th and into the 20th century, medical students, often in secrecy, took photographs of themselves with the cadavers that they dissected: their first patients. Featuring 138 of these historic photographs and illuminating essays by two experts on the subject, Dissection reveals a startling piece of American history. Sherwin Nuland, MD, said this is "a truly unique and important book [that] documents a period in medical education in a way that is matched by no other existing contribution." And Mary Roach said Dissection "is the most extraordinary book I have ever seen--the perfect coffee table book for all the households where I'd most like to be invited for coffee."

    The nineteenth century experienced an explosion of epidemics such as cholera and diphtheria, driven by industrialization, urbanization and poor hygiene. In this pre-color-photography era, accurate images were relied upon to teach students and aid diagnosis. The best examples, featured here, are remarkable pieces of art that attempted to elucidate the mysteries of the body, and the successive onset of each affliction. Bizarre and captivating images, including close-up details and revealing cross-sections, make all too clear the fascinations of both doctors and artists of the time. Barnett illuminates the fears and obsessions of a society gripped by disease, yet slowly coming to understand and combat it. The age also saw the acceptance of vaccination and the germ theory, and notable diagrams that transformed public health, such as John Snow's cholera map and Florence Nightingale's pioneering histograms, are included and explained. Organized by disease, "The Sick Rose" ranges from little-known ailments now all but forgotten to the epidemics that shaped the modern age. It is a fascinating "Wunderkammer" of a book that will enthrall artists, students, designers, scientists and the incurably curious everywhere.

    Throughout the centuries, humanity has sought to understand this sobering thought through art and ritual. The theme of memento mori informs medieval Danse Macabre, the Tibetan Book of the Dead, Renaissance paintings of dissected corpses and “anatomical Eves,” Gothic literature, funeral effigies, Halloween, and paintings of the Last Judgment. Deceased ancestors are celebrated in the Mexican Day of the Dead, while the ancient Egyptians mummified their dead to secure their afterlife.A volume of unprecedented breadth and sinister beauty, Death: A Graveside Companion examines a staggering range of cultural attitudes toward death. The book is organized into themed chapters: The Art of Dying, Examining the Dead, Memorializing the Dead, The Personification of Death, Symbolizing Death, Death as Amusement, and The Dead After Life. Each chapter begins with thought-provoking articles by curators, academics, and journalists followed by gallery spreads presenting a breathtaking variety of death-related imagery and artifacts. From skulls to the dance of death, statuettes to ex libris, memento mori to memorabilia, the majority of the images are of artifacts in the astonishing collection of Richard Harris and range from 2000 BCE to the present day, running the gamut of both high and popular culture.Table of Contents1. The Art of Dying2. Examining the Dead3. Memorializing the Dead4. The Personification of Death5. Symbolizing Death6. Death as Amusement7. The Dead After LifeEssays: Death in Ancient and Present-Day Mexico, Eva Aridjis,The Power of Hair as Human Relic in Mourning Jewelry - Karen Bachmann, Medusa and the Power of the Severed Head, Laetitia Barbier, Anatomical Expressionism, Eleanor Crook, Poe and the Pathological Sublime, Mark Dery, Eros and Thanatos, Lisa Downing, Death-Themed Amusements, Joanna Ebenstein, The Nutshell Studies of Unexplained Death, Bruce Goldfarb, Theatre, Death and the Grand Guignol, Mel Gordon, Holy Spiritualism, Elizabeth Harper, Playing dead – A Gruesome Form of Amusement, Mervyn Heard, The Anatomy of Holy Transformation, Liselotte Hermes da Fonseca, Collecting Death, Evan Michelson, Art and Afterlife: Ethel le Rossignol and Georgiana Houghton, Mark Pilkington, The Dance of Death, Kevin Pyle, Art, Science and the Changing Conventions of Anatomical Representation, Michael Sappol, Spiritualism and Photography, Shannon Taggart, Playing with Dead Faces, John Troyer, Anatomy Embellished in the Cabinet of Frederik Ruysch, Bert van de Roemer

    Centred on 15 collections, with extensive interviews with each collector and specially shot imagery detailing their objects, this is a fascinating showcase of bizarre and intriguing objects.Included are collections of skulls, mummified body parts, occultic objects, and various carnival, side-show and criminal ephemera. Detailed captions tell the curious stories behind each object, many of which are being shown outside the private world of their collections for the first time.

    These are the ruins of America, filled with the echoes of the voices and footfalls of our grandparents, or their parents, or our own youth. Where once these structures were teeming with life--commuters, workers, vacationers--now they are disused and dilapidated.Ghostly Ruins shows the life and death of thirty such structures, from transportation depots, factories, and jails to amusement parks, mansions, hotels, and entire towns. Author Harry Skrdla gives a guided tour of these marvelous structures at their peak of popularity juxtaposed with their current state of haunted decrepitude. Like a seasoned teller of ghost stories, Skrdla's words and images reveal what lies beyond the gates and beneath the floorboards. There are the infamous Eastern State Penitentiary and Bethlehem Steel factory in Pennsylvania, the Packard Motors Plant and Book-Cadillac Hotel in Detroit, and Philip Johnson's New York State Pavilion from the 1964/65 World's Fair. There is the entire town of Centralia, Pennsylvania, where a trash fire set inside an old mine in 1962 morphed into an underground inferno that incinerated the town from underneath; more than forty years later, the subterranean fire still rages. The town is empty now, just as the many other abandoned places in this chronicle. Ghostly Ruins is a record of the souls of yesteryear and a chronicle of America's haunted past.

    Douglas Keister has created a practical field guide that is compact and portable, perfect for those interested in family histories and genealogical research, and is the only book of its kind that unlocks the language of symbols in a comprehensive and easy-to-understand manner.Douglas Keister has photographed fourteen award-winning, critically acclaimed books (including Red Tile Style: America's Spanish Revival Architecture, The Bungalow: America's Arts & Crafts Home, and Storybook Style: America's Whimsical Homes of the Twenties) earning him the title "America's most noted photographer of historic architecture." He also writes and illustrates magazine articles and contributes photographs and essays to other books, calendars, posters, and greeting cards. Doug lives in Chico, California, and travels frequently to photograph and lecture on historic architecture and photography.

    From humble working-class exequies to the massive outpouring of grief at the State funerals of Wellington and Queen Victoria herself, The Victorian Celebration of Death covers an immense canvas. It describes the change in sensibility that led to a new tenderness towards the dead; the history of the urban cemeteries with their architecture and landscapes; the ephemera of death and dying; State funerals as national spectacles; and the utilitarian reactions towards the end of the 19th century. Combining wit with compassion, Curl wears his learning lightly, and his taste for the eerie is delicately balanced by this literary personality. He has resurrected many valuable and extremely interesting aspects of 19th century attitudes to death and the disposal of the dead.

    These are the pictures of the dead: family portraits, mementos of the treasured, now unrecognizable, and others. The roots of Halloween lie in the ancient pre-Christian Celtic festival of Samhain, a feast to mark the death of the old year and the birth of the new. It was believed that on this night the veil separating the worlds of the living and the dead grew thin and ruptured, allowing spirits to pass through and walk unseen but not unheard amongst men. The advent of Christianity saw the pagan festival subsumed in All Souls' Day, when across Europe the dead were mourned and venerated. Children and the poor, often masked or in outlandish costume, wandered the night begging "soul cakes" in exchange for prayers, and fires burned to keep malevolent phantoms at bay. From Europe, the haunted tradition would quickly take root and flourish in the fertile soil of the New World. Feeding hungrily on fresh lore, consuming half-remembered tales of its own shadowy origins and rituals, Halloween was reborn in America. The pumpkin supplanted the carved turnip; costumes grew ever stranger, and celebrants both rural and urban seized gleefully on the festival's intoxicating, lawless spirit. For one wild night, the dead stared into the faces of the living, and the living, ghoulishly masked and clad in tattered backwoods baroque, stared back.

    For centuries, religious establishments constructed decorated ossuaries and charnel houses that stand as masterpieces of art created from human bone. These unique structures have been pushed into the footnotes of history; they were part of a dialogue with death that is now silent.The sites in this specially photographed and brilliantly original study range from the Monastery of Santa Maria delle Grazie in Palermo, where the living would visit mummified or skeletal remains and lovingly dress them; to the Paris catacombs; to fantastic bone-encrusted creations in Austria, Cambodia, the Czech Republic, Ecuador, Egypt, Germany, Greece, Italy, Peru, Portugal, Serbia, Slovakia, Slovenia, Spain, Switzerland, and elsewhere.Paul Koudounaris photographed more than seventy sites for this book. He analyzes the role of these remarkable memorials within the cultures that created them, as well as the mythology and folklore that developed around them, and skillfully traces a remarkable human endeavor.

    He is also drawn to the mystery and unexpected beauty found in abandoned architecture. Here Vanden Brink captures and illuminates in stunning black and white images abandoned structures such as mills, bridges, grain elevators, churches, and storefronts-structures that once were important and useful. With text by historic preservation expert Howard Mansfield, this collection of photos grants permanence to places that may soon vanish forever.

    A painting of a corn dog. A clock made out of an old “mostly clean” cheese grater. All this and more await you in the pages of Regretsy, a veritable sideshow of handcrafts gone wrong. Based on the eponymous hit blog and arranged in categories such as Décor, Pet Humiliation, and Christmas, Regretsy showcases the best of the worst, ranging from the hilariously absurd to the purely horrifying. Each page of this jaw-dropping volume features the actual seller’s online listing with a light coat of snarky commentary to give it a good shellacking. So join us as we descend into handmade hell and gawk, gasp, and marvel at the disturbingly odd artifacts that Regretsy has collected for your viewing pleasure, proving that you can never have too much of a bad thing.

    Lesy has collected and arranged photographs taken between 1890 and 1910 by a Black River Falls photographer, Charles Van Schaik.

    Her passion for forgotten and neglected buildings became a plea for preservation. Gone is a unique pairing of modern photographs and historical novella. Foote offers a heartbreaking look at one man's loss as Union troops burn his home in the last days of the Civil War. Dickerson shares fascinating and haunting photographs, shining a poignant light on the buildings which survived Sherman's burning rampage across the Confederacy, only to fall victim to neglect, apathy and poverty. GONE is a powerfully moving volume that will change how you see the forgotten buildings that hide in obscurity across the Southern landscape.