Week in wildlife: a wet macaque, four little pigs and a stowaway fox This week’s best wildlife photographs from around the world

Beautiful photos--a nice diversion from all that goes on in the world. #worthalook

#WorthALook?

So many unfortunate "suicides" and incredibly coincidental deaths in Trump's circle of associates and supporters.

#WorthALook 🔎

Cliff dwellings. Montezuma Castle. Arizona. Touristy, but pretty amazing. Peace! #nativeamerican #cliffdwellings #bestpreserved #ancient #worthalook #peace #arizona

Luigi Serafini On How and Why He Created an Encyclopedia of an Imaginary World — Bird In Flight The author of one of the most expensive and most unpractical books, Codex Seraphinianus, explains why he prefers to be called “poet” instead of “artist” and what his book has in common with the Bible.

Luigi Serafini and his Codex Seraphinianus, an encyclopedia of an imaginary world. Sells out every time it's published. #WorthALook

birdinflight.com/en/media/lui...

A hand gently holds a black ceramic bowl repaired with the Japanese technique of kintsugi, where cracks are filled with gold, creating striking, organic lines across the surface. The golden seams stand out vividly against the dark glaze, accentuating the bowl’s past damage as part of its beauty. Set on a woven, tan mat with a softly blurred white background, the image conveys a sense of care, resilience, and the philosophy of embracing imperfections.

A ceramic bowl repaired using the traditional Japanese art of kintsugi, which highlights cracks with golden lacquer. The bowl, set against a white background and resting on a dark purple cloth, features concentric circular patterns and visible age marks. The gold-filled fractures radiate from several break points, emphasising rather than hiding the damage, symbolising resilience and the beauty of imperfection.

I chanced upon the Japanese term ‘kintsugi’ or ‘kintsukuroi’—meaning mending broken pottery with gold.

Celebrating imperfection, rather than allowing an object's service to end, is rather wonderful

#ArtHistory #WorthALook

The image shows a vintage-style envelope illustrated by Edward Gorey. The envelope is addressed in elegant cursive to "Miss Claudia Morison" in Boston, Massachusetts, and features intricate pen-and-ink linework typical of Gorey's style. A whimsical, finely detailed drawing of a fantastical creature—part bat, part insect—sits prominently on the left side, giving the composition a gothic and surreal tone. The background is a muted off-white, enhancing the delicate contrast of the black ink drawing. Gorey’s signature aesthetic—macabre yet charming—is evident throughout the artwork.

The image is of a whimsically illustrated envelope featuring a surreal Edward Gorey design. A blue ribbon serpentines across the front, weaving through a series of red wooden ladders and curling in dramatic, animated loops. The ribbon bears the address written in a neat script: "Mr. Peter Neumeyer, Stony Brook, N.Y., North Road, 11790." The ribbon ends in four claw-like tips, adding a strange, creature-like quality. The envelope is postmarked "Yarmouth Port, SEP 29," and carries a 6¢ American flag stamp. The overall composition is playful and imaginative, blending the fantastical with postal functionality.

This envelope features a curious and darkly whimsical illustration by Edward Gorey. A strange creature, resembling an anteater or fantastical beast, is suspended mid-air in a sling hanging from a thin, taut rope strung diagonally across the top of the envelope. Red arrows and question marks punctuate the rope’s path, adding a note of mystery and playful uncertainty. The address, written at an angle in delicate cursive, is to Mr. Peter Neumeyer in Medford, Massachusetts. Two vintage Christmas stamps depicting a robed angel occupy the upper right corner. The composition is quietly absurd and unsettling, infused with Gorey's trademark eccentric charm.

This envelope features a humorous and slightly surreal illustration by Edward Gorey. At its centre, two anthropomorphic creatures sit facing each other in a nearly symmetrical composition. Both wear oversized orange-and-white striped jumpers and dark glasses, their exaggerated snouts and squat bodies giving them a comically serious air. The background is left blank, drawing focus to the figures’ mirrored postures. The envelope is postmarked "Cambridge, Mass. APR 5 1950" and addressed vertically along the right side to Mrs. Fred Hunter in Chicago. The design blends absurdity and restraint in classic Gorey fashion, with a sense of quiet theatre between the characters.

Came across these Edward Gorey envelope illustrations of his correspondence. There’s a joy and care that's appealing, not to mention the drawing skill. #WorthALook #EdwardGorey