for-redheads:

Julia Tsoona

(via houseofsighs)

for-redheads:

Natalie Shau - mermaids kiss

literarywanderlust:

Nicole Kallenberg: No more butterflies - http://nikiz28.deviantart.com/

(via ufukorada)

(Source: chrysknife, via lightness0fbeing)

(Source: oeste, via ivyfae)

Lindsay Lohan by Mark Selinger in Vanity Fair (2004).

felixinclusis:

sleep-water: Fire (Oil on board) Copyright: Henry Asencio

(Source: wolfdancer, via for-redheads)

paomama:

red fox by ~midnightmind

via rainingoverwonderland

Wow, what a beautiful and stunning photograph!! This looks like a Pre-Raphaelite fantasy come to life.

(via lilith-dreams)

zephyrantes:

Michael Whelan, Prudence 2

(via rolandscapes)

daughter-of-smoke-and-bone:

untitled by suzypuzz on Flickr.

(via lightness0fbeing)

By Rebecca Guay

(via un-enchanted)

poboh:

An Al-Fresco Toilet (detail), Samuel Luke Fildes. English (1844-1927).

(via tea77green)

Florence Welch

(via brothers-in-blood)

beautifuldavinci:

“Perdita” (1866) by Anthony Frederick Augustus Sandys (1829-1904)

He displayed great skills as a draughtsman, achieving recognition with his print parodying John Everett Millais’s Sir Isumbras at the Ford in 1857.The caricaturist turned the horse of Sir Isumbras into a donkey labelled J. R., Oxon. (John Ruskin). Upon it were seated Millais himself, in the character of the knight, with Rossetti and William Holman Hunt as the two children, one before and one behind.

The caricature, produced using the new autographic lithographic, caused a lot of talk about who the artist might be and ultimately introduced Sandys to the London art community.

Rossetti and Sandys became intimate friends, and from May 1866 to July 1867, Sandys lived with Rossetti in Cheyne Walk, Chelsea. Sandys works were profoundly influenced by those of Rossetti. He focused mainly on mythological subjects and portraits

(via opus53)

fairytalesandfrills:

Edward Burne-Jones “Owain Departs From Landine”

(via houseofsighs)