Nancy Coonsman Hahn and Mrs. Kincaid’s Fountain

(Last Updated On April 26, 2022)

Nancy Coonsman was born in St. Louis, Missouri in 1887. She studied art at the St. Louis School of Fine Arts, the Pennsylvania Academy of the Fine Arts, and finally as a student of Abastenia St. Leger Eberle in New York. When she married Emanual Hahn in 1918, she was one of the most celebrated sculptors in America. Her most prestigious works are the World War I memorials in Cheppy-Varennes-en-Argonne, France (1922) and Veterans Park in Memphis, Tennessee (1926).

Nancy Coonsman – Girls with Frogs (1915)

Earlier in her career she created some beautiful but less famous works, including a couple of fountains. She designed a fountain with cherubs for the Mullanphy Floral Shop in St. Louis, and another for Randolph Laughlin’s new home, “Lachlin,” (built 1907–1912). A little girl from St. Louis was the model for Randolph Laughlin’s fountain. I have not been able to find an image of either of these fountains.

Nancy Coonsman Hahn’s best-known fountain is the Margaret R. Kincaid Fountain in St. Louis, Missouri, dedicated in 1915. Margaret R. Kincaid made a bequest to the City of St. Louis to build a fountain in a public park in the city. Mrs. Kincaid stipulated that the artist designing the fountain must be a woman. A competition was held, and Nancy Coonsman won. Ms. Coonsman proposed the design shown in the first illustration. The two girls would have been surrounded by frogs, and water would have been sprayed from the frogs onto the girls. Wikipedia gives the date of Frogs and Girls as 1897. Apparently this date is given because the picture is from International Studio Magazine, which says on the cover that it was entered as second class matter with the post office in 1897. Nancy Coonsman was ten years old in 1897; the edition of International Studio Magazine with the photo is from about 1919.

Nancy Coonsman – Margaret R. Kincaid Fountain (1915)

Surprisingly, the proposed design resulted in considerable outrage. The Women’s Protective League and the local newspaper protested. The Union Trust Company, custodian of the bequest, rejected the design. The nudity was not acceptable. Coonsman was irritated at having to make a new design for the fountain. I would have thought that after the uproar over her original design, the new fountain would be designed without nudity. Coonsman felt otherwise, and submitted the design shown in the second photo, with naked children dancing around the fountain. Perhaps because the children were younger, perhaps because they were in bas-relief, or maybe for another reason, the second design was approved.

The city and the Union Trust Company should have expected nudity; why were they shocked by the first design? I don’t know if there were any nude figures in the other two Coonsman fountains in the St. Louis area, but one featured cherubs, who are conventionally portrayed nude. Other great sculptors of the time were creating fountains with nude young girls, including Water Lily (c1913) by Bessie Potter Vonnoh, Seaweed Fountain (1914) by Janet Scudder, and At Water’s Edge (1914) by Edward Berge. It seems that people sponsoring a competition for sculptors should be familiar with what sculptors are doing.

What if these people with the task of approving the design were not familiar with the world of art? This contest happened in 1915, the year of the Panama-Pacific International Exposition, which made nude sculptures familiar to everyone who read the newspaper. Many of the Panama-Pacific statues (three-fifths according to the Richmond [Virginia] Times-Dispatch) were modeled by America’s first supermodel, Audrey Munson. In addition to being an artist’s model in real life, she played the part of an sculptor’s model in the movie Inspiration, which was one of two movies with nudity released in 1915. No copy of the movie is known to exist today, but we know from reviews that there were explicit nude scenes in Inspiration. Local news around the nation reported the controversy about whether the movie should be shown in their city, and which if any scenes should be cut. Even somebody who followed only the local news in 1915 should have been well aware that sculptors used nude models. My reason for mentioning these things is to show that everybody should have expected nudity in the fountain design in 1915. If they didn’t want it, they should have told Nancy Coonsman up front instead of making her redesign it.

Note the concrete bench in the background of the approved fountain, The bench, with the little elves sitting beneath it, was also designed by Coonsman.

Sweet Thirteen

(Last Updated On April 26, 2022)

by Ben

Anne-Lena Michel (born 1981 in Würzburg, lives and works in Berlin) is a freelance photographer and artist. In 2001–2002 she stayed in Paris for 12 months as an au-pair and started to photograph htere. One of her most frequent subjects was the 13-year-old girl Léa.

The photographs show self-dramatizations of the teenager in a bourgeois apartment in Saint-Germain-des-Prés, but also everyday moments of childlike self-forgetfulness. By means of various disguises, the sitter takes on different roles, mostly with female connotations, and displays them in front of the camera with skillful drama and feigned lasciviousness. At the time, 20-year-old Anne-Lena Michel was reading magazines such as i-D and The Face and was fascinated by Juergen Teller’s unembellished close-to-life photographs. The strength of her images lies in the snapshot aesthetic she did not consciously apply and the resulting authenticity.

Anna-Lena Michel -Treize: Lea in her bed (2001)

Anne-Lena Michel – Treize: Lea on the sofa (2001)

Anne-Lena Michel – Treize: Lea mourning scene (2001)

Anne-Lena Michel – Treize: Lea performing an Alicia Keys song in the living room (2001)

Anne-Lena Michel – Treize: Lea and her cat beach scene (2001)

Anne-Lena Michel – Treize: Lea eating her gouter (2001)

Anne-Lena Michel – Treize: Lea in her sister’s room (2001)

Girls of the Naga Hills

(Last Updated On May 24, 2022)

The Naga Hills of northeastern India and adjacent parts of Myanmar (Burma) are the home of several ethnic groups that collectively call themselves Naga. Pigtails has published several articles on ethnographic photos and ethnographic contrivances, and such photos are fairly common from the Americas, Africa, Australia, and the Pacific. Not as many are found from east Asia, perhaps because girls in that region are usually clothed as completely as girls in the Western world. Naga girls were an exception. Several ethnologists have published works on the Naga people. At least two of them, Christoph von Fürer-Haimendorf and John Henry Hutton, have photographed quite a few posed portraits of girls.

Christoph von Fürer-Haimendorf – Two Girls Standing in front of a House (1936-37)

Of the twelve photos in this article, eleven are by Christoph von Fürer-Haimendorf and only one was taken by John Henry Hutton. The reason is that the best quality photographs that I could find are those of von Fürer-Haimendorf. Von Fürer-Haimendorf first visited the Naga in 1936; his last expedition to the Naga Hills was in 1970. He took over 10,000 photographs, many of which are online at University of London SOAS.

Christoph von Fürer-Haimendorf – Two Small Girls on a Platform (1936-37)

John Henry Hutton documented the lives of the Naga in the 1913 to 1928 period. Neither he nor von Fürer-Haimendorf were artists in the strictest sense, but both seemed to try to pose models for an aesthetically pleasing photograph. Judged by their artistic merit, I believe that Hutton’s photos are at least equal and probably superior to von Fürer-Haimendorf’s. Unfortunately, the Hutton photographs available at the University of Cambridge Digital Himalaya project are low quality.

Christoph von Fürer-Haimendorf – Procession of Girls Carrying Wood (1936-37)

Two Girls Standing in front of a House is the first photo in this article. Note that the most necessary adornment for the prepubescent girl consists of necklaces and earrings. Postpubescent females, like the one on the left, almost always wear at least a skirt in Naga photos I have seen. Von Fürer-Haimendorf posed his models well; I like the contrast between the folded arms of the woman and the elbows out posture of the girl. I think it would have been better if he had not cropped the photo at the ankles; it makes it look like their feet were cut off.

Christoph von Fürer-Haimendorf – Two Girls, One with Curly Hair (1936-37)

Two Small Girls on a Platform also has a problem with cropping. The girl on the left has the top of her head cut off. Other than that, it is a very nice picture. I like the expression of the girl on the left; it looks like she is trying not to laugh. There are some small black dots on the right side of this photo as it appears at University of London SOAS. Although both girls are quite young, one is fully clothed. The photos I have seen indicate that as a general rule children go naked and adults are clothed, but there are exceptions to that rule.

Christoph von Fürer-Haimendorf – Naked Young Girl with Necklace (1936-37)

Procession of Girls Carrying Wood is, in my opinion, a well composed picture. If a painter were to copy one of the photos in this article, Procession of Girls Carrying Wood might be his best choice. They are carrying a lot of wood, but do not appear to be overburdened. The girl on the left wears a very small skirt. These minimal skirts are common in photos of young women and teenage girls.

Christoph von Fürer-Haimendorf – Untitled (1936-37)

Naga people usually have straight hair. When von Fürer-Haimendorf found an individual with curly hair, he found it to be noteworthy. He found three curly-haired Nagas, two men and one girl, whom he photographed. Photos of the men are both head and shoulders portraits, while the picture of the girl is full length. Both girls in Two Girls, One with Curly Hair are at the age when girls are most often depicted wearing skirts, but only one has a skirt in this photo. It’s a good image, even though the subjects are poorly centered.

J.H. Hutton – Untitled (1913-28)

Young girl with Necklace is a simple yet pleasing photo. It is well-centered and well-cropped. However, the image is appealing more for the beauty of the model than the skill of the photographer.

Christoph von Fürer-Haimendorf – Row of Girls Dancing in Festive Attire on a Platform (1936-37)

The next photo is the only image by von Fürer-Haimendorf that is untitled, and the only one of his in this article that is from University of Cambridge Digital Himalaya project. Like the previous photo, it is well-centered and well-cropped. I find the pensive attitude of the model intriguing.

Christoph von Fürer-Haimendorf – Three Little Girls (1936-37)

The next photo, by J. H. Hutton, is also from University of Cambridge Digital Himalaya project. The style is much like von Fürer-Haimendorf’s, even the cropping off of the girls’ feet.

Christoph von Fürer-Haimendorf – Small Girl with Bamboo Fibres in Her Hand (1936-37)

Row of Girls Dancing in Festive Attire on a Platform is another example of von Fürer-Haimendorf’s method of centering his subject. There is plenty of empty space on the left, but the dancer on the right is only half visible in the image. The dancers wear “festive attire”, and are therefore more dressed than most other girls in these images. The robes of the girls on the right are open, and it appears that their fancy dress is for ornamentation rather than concealment.

Christoph von Fürer-Haimendorf – Three small girls on a platform (1936-37)

The last four photos are of younger girls. That last is one of von Fürer-Haimendorf’s few color photographs. Note that the middle girl in Three Little Girls wears only earrings. Maybe she is not as rich as the other girls who have necklaces, or maybe it is just because she is younger. Little Naga girls have short hair, while the older girls wear their hair longer.

Christoph von Fürer-Haimendorf – Little Girl – Colour Photograph (1936-37)

Manon Gropius, the Muse

(Last Updated On April 26, 2022)

The Wikipedia entry for Manon Gropius lists her occupation as “muse”. It was not an occupation for which she was paid, but she did inspire works of music, literature, and sculpture.

Anonymous – Manon Gropius as a Baby (1917)

Alma Manon Anna Justina Carolina Gropius (nickname Mutzi) was born in Vienna, Austria in 1916. She was the daughter of Walter Gropius and  Alma Schindler Mahler Gropius. Manon’s father, Walter Gropius, was one of the outstanding architects of the 20th century, and the founder of the Bauhaus school of art. Manon’s mother, Alma Gropius, was a composer, diarist, and socialite. Alma Gropius was an attractive woman known for a scandalous life of adulterous affairs and multiple divorces. Alma began an affair with poet Franz Werfel in 1917. Werfel was the father figure during Manon’s childhood.

Anonymous – Manon Gropius, Anna Mahler on Right, and Two Others (1917)

Manon’s parents separated when Manon was two years old. Her early childhood was spent traveling between her mother’s three homes, two in Austria and one in Italy. She was short-tempered as a young child. At age five Manon decided that she wanted to be an actress, and that was her goal for the rest of her life. Alma was quite proud of her daughter Manon’s beauty, and she allowed Manon to go naked as much as possible.

Anonymous – Manon, Grandmother Anna Sophie Moll, Sister Anna Mahler in Venice (1922)

Manon mellowed as she entered puberty. She developed an interest in religion. Although she had been baptized as a Protestant, Manon felt that the Catholic concept of spirituality was more compatible with her. In 1932 she converted to Catholicism. Manon’s kindness, innocence, and beauty made a deep impression on people. The author Elias Canetti described 16-year old Manon as “an angelic gazelle”.

Anonymous – Manon Gropius Naked (c1923)

Canetti considered Manon to be the opposite of her mother Alma. Alma, in Canetti’s opinion, viewed Manon as just another trophy of which to boast; like Alma’s expensive possessions, and the many men with whom she slept. As Alma aged her ability to manipulate men with her beauty waned. Alma apparently hoped to continue to manipulate men, at least vicariously, through her beautiful daughter Manon. Manon, however, was developing into a very gentle, non-manipulative young lady.

Anonymous – Manon, Franz-Werfel, Alma Werfel in Venice (1924)

Franz Werfel seems to have had a deep platonic love and respect for his stepdaughter Manon. He compared her to saints, especially to St. Francis of Assisi, the patron of animals. This was because Manon had a remarkable affection for animals. Manon loved animals, and animals loved her. It is normal for a girl to love her pet cat, as Manon did, but Manon’s empathy with animals extended much farther. Domestic dogs and cats that did not know Manon would follow her. She could approach wild animals that normally fear people. Her affection was not only for cute animals like dogs and cats, but even included snakes.

Anonymous – Walter Gropius and his Daughter Manon Gropius at Dessau (1927)

In the spring of 1934 Manon caught polio in Venice, Italy. She started to recover to an extent, but other complications arose, and she was in poor health for the rest of her short life. She died a year later on Easter Monday 1935. She was eighteen.

Anonymous – Manon Gropius and her Cat (1932)

Franz Werfel and composer Alban Berg were both at Manon’s funeral, and both vowed to memorialize her in art. Berg had been working on an opera at the time of Manon’s death. He quit working on the opera and switched to composing a violin concerto in memory of Manon. He completed the concerto Dem Andenken eines Engels (In Memory of an Angel) before he died on Christmas Eve, 1935. Critics of classical music consider Berg to be one of the great composers of the 20th century, and Dem Andenken eines Engels is considered to be his greatest work. An article in Pigtails about Gilbert O’Sullivan’s muse Clair Mills provoked controversy due to differing interpretations of the lyrics expressing love for Clair. Dem Andenken eines Engels uses programmatics in the music, rather than lyrics, to express love for Manon, and has not aroused any controversy of which I am aware.

Anonymous – Manon Gropius on a CD Cover for Berg’s Violin Concerto (no date)

Werfel took longer to write his novel as a tribute to Manon. In 1935 he planned a novel about a fictional 17th century saint, but it was still only a plan in 1940. By that time Europe was at war, and Werfel was among the refugees fleeing to neutral Spain. On the journey to Spain he stopped at the French village of Lourdes. There he heard the story of the teenage girl, St. Bernadette Soubirous, who in 1858 encountered the Virgin Mary at a grotto near the village. Werfel changed his plan from a novel about a fictional saint to a novel about a real saint, and completed writing Das Lied von Bernadette in 1941. Das Lied von Bernadette is what we would now call a historical narrative; the main events and characters are real, but details and conversations have been added to give the characters a personality and make them seem alive to the reader. The personality given to St. Bernadette is that of Manon Gropius. Das Lied von Bernadette was translated into English as Song of Bernadette in 1942, and was number one on the New York Times best seller list for thirteen weeks. Song of Bernadette was released as a movie in 1943.

Manon Gropius has also been memorialized in literature in the Nobel Prize winning memoirs of Elias Canetti. Canetti devotes two chapters of his memoirs to Manon. Manon’s World : A Hauntology of a Daughter in the Triangle of Alma Mahler, Walter Gropius and Franz Werfel by James Reidel (2021) is another novel about Manon Gropius.

Manon’s half sister Anna Mahler sculpted a statue of a young woman holding an hourglass for Manon’s gravestone. This statue was destroyed by bombing during the war, before it was ready to be placed on Manon’s grave.  After the war Manon’s father, Walter Gropius, designed the Bauhaus style marker currently on Manon’s grave.

Maiden Voyages: March 2022

(Last Updated On April 26, 2022)

The month of February sure did go by fast. Sorry for the late post; I finally have a little time off to deal with this.

Guest Writers: I would once again like to express my appreciation for the work of our guest writers. Apart from a couple of items from Moko, there is a new submission from Ben and a few others have promised articles soon.

Random Images: Raffael Esquivel

(Last Updated On May 9, 2022)

This artist contacted me to express an interest in getting his art presented in an article on this site. Raffael Esquivel is an illustrator living in Costa Rica. According to his Behance account, he is available for hire and told me that he intends to do a series of pieces that are on-topic for Pigtails hopefully warranting more coverage and getting his name out there. Below is the image I believe is most relevant to this site so far. Also interesting is an image called Wolf girls.

Raffael Esquivel – Fairy Child resting (2021)

Random Images: Vadim Vyshinsky

(Last Updated On April 26, 2022)

A reader found and shared this delightful artist with us. Vadim Vyshinsky (Вадим Вышинский) (b1967) says he never studied art anywhere and apparently has artistry in his blood. Both his mother and father draw and exhibit and he has traced his family from a long line of artists back to the 16th century. He became an officer in the Russian military and retired at the rank of colonel to pursue his art full time.

Many of his images feature boy and girl children captured in a moment of action or in fantasy themes. The image below is especially delightful. The figure with its exaggerated posture and erect pigtails simply exudes joyful energy.

Vadim Vyshinsky – Счастье (Happiness)  (date unknown)

To see more of his work simply click the link on his name above.

 

Slavica Janešlieva’s Cut-Out Paper Pioneer Doll Kit

(Last Updated On May 24, 2022)

Slavica Janešlieva was born in 1973 in Skopje, which was then in the Yugoslav Republic of Macedonia, one of six republics that were united in Yugoslavia. Skopje is now in the independent Republic of North Macedonia. In 1998 Janešlieva earned a master’s degree from the Faculty of Fine Arts in Skopje. In 2011 she became a professor in the Faculty of Fine Arts, at the University of St. Cyril and Methodius. Her art has been displayed in exhibitions and museums around the world.

Slavica Janešlieva – Cut-Out Paper Pioneer Doll Kit (2006)

Slavica Janešlieva spent her childhood in a relatively stable, though authoritarian country. The government of Yugoslavia tried to encourage the people to accept diversity. Even though the Yugoslav ethnicities had traditionally been enemies, it was hoped they could learn to live and work together in harmony. During the Cold War, Yugoslavia was not aligned with either NATO or the Warsaw Pact. As a result, both the United States and the Soviet Union sought the friendship of Yugoslavia. In the 1990s, the dream of different peoples living together in a peaceful stable country came to an end.

Anonymous – Slavica Janešlieva as a Child – (circa1983)

I believe that to understand Cut-Out Paper Pioneer Doll Kit it is necessary to know some of this background information about the artist’s country. Yugoslav Macedonia was part of Yugoslavia until 1991. From 1991 through 2019 Skopje was in the Republic of Macedonia. Greece objected to the name, because a region in Greece is also called Macedonia. The name was changed in 2019 to the Republic of North Macedonia. The country could accurately be called West Bulgaria, because the ethnic Macedonians are Bulgarian. They may not have wanted to name their country West Bulgaria out of concern that Bulgaria would object or try to annex the country (which they did during World War II). Albanians are the second largest ethnic group in North Macedonia; there is antagonism between ethnic Macedonians and ethnic Albanians.

Perhaps Janešlieva has some nostalgia for the old Yugoslavia. Note the Pioneer Pledge to “love and cherish our homeland ‘my MBC’ and all its nationalities and ethnic groups.” Note also that the map of the Make Believe Country is a map of the former Yugoslavia. The doll’s nudity implies a vulnerability. A real paper doll has clothing that can be cut out to fit on the doll. In this work, the blouse, pantyhose, and shoes could not fit the doll.

Cut-Out Paper Pioneer Doll Kit was exhibited at the Bitola Museum in Bitola, North Macedonia in 2015. It was part of the “In-First-Person” exhibit for self portraits of contemporary Macedonian artists. I don’t know if the girl is really from a childhood photo of Slavica Janešlieva. Here in the USA most people don’t have nude photos of themselves as children. It may be different in North Macedonia.

Barbara Bradley, Queen of the Perkies and Cuties

(Last Updated On April 26, 2022)

Barbara Bradley was one of the most popular illustrators of the 20th century, but her name is not well-known by the general public. Artists recognize her as one of their profession’s greatest. She was born in 1927 and developed an interest in drawing while still a child. In a 2008 interview for femaleillustrators.blogspot she said that she was influenced by comic artists Hal Foster and Milton Caniff. She drew the illustrations for her high school yearbook. After high school she attended college for seven years, but did not get a degree. Later she was awarded an honorary doctorate.

Barbara Bradley – Polly Pigtails (1951 – 1957)

In the early 1950s she was working as a professional illustrator. Bradley was well-known for her illustrations in Polly Pigtails’ Magazine for Girls. Below are three of Barbara’s illustrations featuring Polly Pigtails and her dog. She said that the dog was one of her best models.

Barbara Bradley – Polly Pigtails (1953)

Barbara Bradley – Polly Pigtails (1950s)

Bradley also worked for the Merrill Publishing Company. Four of her cover illustrations for Merrill children’s books are shown below. The books were for both boys and girls, and so a typical cover illustration included children of both sexes. However, Bradley’s main interest throughout her career was to draw girls. Barbara Bradley referred to herself as “Queen of the Perkies and Cuties”.

Barbara Bradley – Read Write Count Color (circa 1950s)

Barbara Bradley – Busy as a Bee (circa 1950s)

Barbara Bradley – Sound and Say (circa 1950s)

Barbara Bradley – Bobby and Betsy’s Easy Coloring (circa 1950s)

Advertising illustrations were another important part of Barbara’s work. Below are two of her advertising drawings. The Carter’s ad has a boy, a girl, and a dog. Note how often Bradley has animals in her drawings. The other illustration is for a Dole’s Pineapple advertisement. The style is entirely different than her other drawings, proving Bradley to be a very versatile artist.

Barbara Bradley – Carter’s Advertisement (circa 1950s)

Barbara Bradley – Dole Pineapple Hawaiian Kids (circa 1970)

Barbara Bradley – Two Girls (date unkown)

Barbara Bradley – Two Girls and Two Boys (date unkown)

The next two illustrations show a helpful sister, and girls getting attention from boys. I thought these illustrations were particularly effective in evoking a mood. The last picture is the cover of her book, Drawing People. This book has been acclaimed by artists as one of the best instruction manuals for drawing the clothed figure. When Bradley began the book she went at it as a perfectionist. Then her granddaughter was born, and the book occupied a much lower priority. Her book was published in 2003, and Barbara passed away five years later.

Barbara Bradley – Drawing People Cover(2003)

Maiden Voyages: February 2022

(Last Updated On April 26, 2022)

My apologies for the late posting, but I have gotten really busy recently. There is not too much to report but there are a couple of items of interest.

Guest Writers: I wish to thank Marlin for his recent submission of an article. I want to remind readers that guest writers are encouraged. I have another submission to look through that was recently submitted and I hope this will motivate others to write. All articles will be edited by me so no worries if you feel you aren’t particularly skilled at English. Images must be submitted as jpeg (compatible with WordPress format) and should be between 150 and 250 kB if possible.

[20200205] It seems I really botched things up. In my haste to get this post up, I did not notice that I presented the item below in a misleading way. It was not my intent to have an innocent man get railroaded nor to engage in hearsay because I was not certain of all the details of the case. I realize now that readers would completely miss the point of this post. I certainly don’t want to be lumped together with those in the criminal justice system or mainstream media who would make rash statements for the purpose of political gain or sensationalism. I intend to revise the paragraph below. Changes will be in italics and, in the interest of transparency, I will leave the offending statement below with a strikethrough. I hope to have the necessary revisions in place by this evening. I think you will agree this gives readers the wrong idea and I sincerely apologize to those who were harmed by this.

Mitigation or Punishment? An associate forwarded a message received from G4S (Public Protection Department, Offender Management Unit) in the UK. He had sent a Christmas card to someone in prison which had the image shown below. It was disclosed that the prisoner is serving a sentence for a crime against minors. The case has more of a peripheral connection with minors which may have justified the prison system to restrict images of children but, in fact, no children were actually harmed and the defendant was not charged with anything of that nature. Convicted prisoners have no expectation of privacy when it comes to communications with the outside world, but I am not sure if the logic for returning this particular card has firm grounds. Is this some kind of protection to rehabilitate the prisoner or really just some veiled form of punishment? Or perhaps we can be generous and conclude that the authorities in charge were not acting competently because they did not trouble themselves to know the specifics of this prisoner’s case. Is it policy for images of children to not be allowed in this particular facility or is the prisoner being singled out? (More details about this case are discussed below the image)

The item was returned with an explanatory note from G4S:

… Due to safeguarding measures, [the prisoner] is not permitted any contact with anyone under the age of 18 including photographs. Please refrain from sending in any images of children.

(Artist Unknown) – Two ballerinas (©2003 courtesy of Rubberball Productions)

The image was licensed from Getty Images and printed by Éditions du Désastre in Paris.

In my zeal to protect the privacy of the prisoner, I was afraid to divulge the necessary information in fear that there would be clues which could be used to identify him (and later harassment by vigilantes). In fact, the man is an open supporter of Graham Ovenden and this website. It is probable that this association is being used by the police to harass him. Being less high-profile and tenacious than Ovenden, he did not think it sensible to fight a drawn-out and expensive battle with the courts to demonstrate his innocence and so he accepted a plea bargain on a lesser petty charge and is serving a short sentence that is slated to end this fall. Essentially, because of UK obscenity laws, he was convicted of possessing materials one can find right here on Pigtails in Paint! I hope things are more clear now and why it is so puzzling that G4S should act in what appears to be a petty manner. -Ron