“People are doing these horrible things because we all want to get in touch with IMMORTALITY. Your sister is perceived as a immortal.”
The best way I can describe what people do to me is to see me as a vault door in a bank. The bank robbers don’t care about me. They want what is on the other side of me. I am in their way. So they drill, punch, and dynamite me – never once considering I feel real pain. They want what I keep from them – IMMORTALITY!
Well, alas I am going to give it to them in ‘Capturing Beauty’. Too bad if you don’t like what you see in the mirror I hold up to you. For, what is in Beauty’s Vault, is the Mirror of Immortality – that even the gods are jealous of.
Above is a letter I received after I complained about Honorable Richard M. Silver, the Judge who handled the probate of Christine Rosamond Benton, of the famous Benton family. I wanted him removed form the bench. I pleaded with this liberal Judge to not sell our historic legacy and recovery program to outsiders, because our children’s children will need it, like some folks need an iron lung. I was ignored. The result is Heather and Tyler’s bond with an raging alcoholic who threatened to kick my ass. Down Fido! Down!
In May of 2005, I made and objection and proposal to the Superior Court of Monterey. I talk about the destruction of our Family Legacy. This complaint was returned because I was supposed to pay $250 dollars – I didn’t have!
“THE DEVALUING OF THE ROSAMOND ESTATE BY FRAUDS AND INCOMPITENTS”
On page four I say this;
“I am asking that half of the American Express prints Mr. Morris has allotted to Ms. Pierrot , be handed over to me so I might pursue an aggressive marketing plan in order to raise moneys for the Foundation I hope this court will help me establish, where the proceeds of the sale of the four partnership images will be used to publish an oversized book that will contain all the beautiful images Rosamond painted, along with my anecdotes and observations. This book will be given away free to libraries in California so that Rosamond can be recognized as a famous California Artist. I am asking for all copyrights for Christine’s work be put in my care until the retrospective is complete.”
Five years later Stacey Pierrot hired another ghost writer and published ‘Rosamond: A Complete Catalogue Raisonné 1947-1994’. As usual it was half-ass – and cheap. It should have been a hard cover – with my observations! Instead, the author demonizes me – the Seer! Pierrot lost the copyright which now belongs to my nieces.
In 1987 I told Vicki and Vic to publish a coffee table book.
It is with great excitement that I announce the arrival of our Rosamond coffee table book! Years in the
making, our long awaited book 188 pages of art, organized in a true catalogue raisonné style, mirrored after the museum books I most admire. Priced at $80.00, it is being released to our private collectors and is also available on Amazon.com.
As you page through Rosamond’s life work, you will be able to see Christine’s evolution as a painter and a woman. No other books on the collective works of Christine Rosamond are planned. This one of a kind book, assembled as a tribute to an extraordinary artist, is the perfect gift for anyone who admires and collects the work of Rosamond. This may likely be my last publishing endeavor; a parting gift to the collectors who have supported me all these years as I worked to share this artist’s work with the world.
Call now to order or email us email@example.com
Many of the works in the book are for sale. I encourage you to inquire about their availability.
Stacey at Rosamond PublishingMarch 27, 2010
I have been a fan of Rosamond for decades. I even have one of her prints personally signed to me. I bought this book as soon as it was out. The pictures in it are wonderful. I have thoroughly enjoyed the whole book.
The only drawback I had was I wish it had been a hard cover book instead of the paperback. It is 8 1/2″ square basically so is a nice size to enjoy the pictures.
Many of these pictures have not been in public viewing but rather have been copied from private owners. There are between 180 and 190 pictures at least to enjoy.
A few pages at the front give background information, but the rest of the pages in the book are her pictures.
If you are a fan of Christine Rosamond’s art, then you will enjoy this book.
Posted Mon Mar 26, 2007 1:30 pm
Hon. Richard M. Silver and the Failure of the ACLU
“The Heisler grandchildren have carried on that tradition.”
(Images: Hon. Richard M. Silver. Pelosi’s huband. Justice. Newsom’s
“I objected to the owner of this important legacy pandering to
Lesbians, a tactic used when Rosamond was alive to sell her beautiful
images of women. I explained to Judge Richard M. Silver that my
sister and I were Grail Artists who were influenced by the Pre-
Raphaelites who employed Grail themes in their work.”
Three days ago I discovered Honorable Richard M. Silver, the Superior
Court Judge who handled the Probate of my late sister, the world
famous artist, Christine Rosamond Benton, was a partner of the late
Francis Heisler, the famous ACLU lawyer. Judge Silver retired in 2002
and is active in the Heisler Moot Court Competition. This is profound
for I made an appeal to the ACLU of Eugene Oregon to take my case. In
a lengthy document I name Judge Silver as my nemesis as he had
approved the sale of my families Literary and Artistic Legacy to an
outsider (Stacey Pierrot) who was hostile towards me, and lied about
having an interest in my families Partnership prints. I suggested
Silver may also be hostile towards my claim because of my objection
to the advertisement of the lesbian novel `Love Match’ on what should
have been my nieces Rosamond Gallery webpage. The owner of the
Rosamond Gallery, Stacey Pierrot, had hired Sandra Faulkner the
author of `Love Match’ to write Christine’s biography, but, according
to my sister, Vicki Presco, she quit the project and absconded with a
$5,000 dollar advance.
In the many letters I sent Judge Silver, and the Special Executor he
was forced to appoint, I plead with these Men of Law not to sell my
families artistic legacy to an outsider, along with our Program of
Recovery. I also speak of my novel I was authoring on the Holy Grail.
I told these lawyers that I was Christine’s teacher and that I was
influenced by the Pre-Raphaelites who reintroduced Courtly Love into
Victorian England. In researching my genealogy, I discovered Denis de
Rougemont who explores this theme in his `Love in the Western World’.
With my profound discovery the Rosemont family of Louvain were Swan
Brethren and thus connected to Philip of Alsace, Robert Bruce, and
the Bouillon brothers, makes these letters filed in Christine’s
probate a real part of modern day Grail research, and the attempt to
RECOVER what has been lost when it came to be owned by the WRONG
PEOPLE. The story of Parcival and the Fisher King, is a story about
such a recovery, and the restoration of the Grail Family.
The ACLU has come to CHAMPION Gays and Lesbians, as have Nancy Pelosi
and Gavin Newsom, who were business partners of Lawrence Chazen, an
ex-partner of Christine and No.1 creditor in the Probate. Chazen was
a Getty man, their financial advisor as was Gavin’s father.
There is a cultural battle going on, where Evangelical leaders and
Lesbians want to tell women how to love – and whom to love!. Bull
Dikes are championing Women’s Rights in order to protect all women
from men. What this is, is a competition, where only Bull Dikes own a
RIGHT to adore women, lust after them, and truly understand them.
This theme takes on real life when the tennis star, Martina
Navratilova, comes to live in the home of a Texas Beauty Queen, and
soon lusts after the Unattainable Woman, which is the core theme of
Courtly Love. The No.1 Lesbian song seems to touch upon Nelson’s
dilemma in this line
“Why do you come here, when you know I’ve got troubles enough? Why do
you call me, when you know I can’t answer the phone?”
The founder of the Victorian Web cuts out a collegiate niche for
himself in attacking the Pre-Raphaelites right to adore and worship
women – like they do. This is to say many folk go to college and then
look for a cause to atache their expensive education to. This appears
to be the case of Honorable Richard M. Silver and the Heislers.
Francis Heisler’s wife championed the Antiwar Movement, and as a
psychiatrist and a civil libertarian, wrote a book on mental health
and civil liberties.
“The Heisler grandchildren have carried on that tradition.
I wrote much about my families mental illness that was sorely used by
outsiders. I begged these legal people not to sell my AA Program to
outsiders and quoted the second step “Came to believe a power greater
then ourselves could restore us to sanity.”
I am poor, and was threatened by Ms. Pierrot’s second ghost writer,
who told me if I did not sign the Exclusive Rights contract he sent
me, then he and several lawyers were prepared to “play hard ball”
My eloquent letter to the ACLU was ignored because I accused one of
their own of Legal Negligence that would result in future loss of
life by members of my family. We do all the dying, and they get all
our Art and Story to extract money from.
I was on the front lines in the antiwar movement and was there making
love in the Summer of Love. Lesbians and Leftwing Lawyers took over
the Hippie Movement that changed the world, and cut out a well-paying
and powerful niche for themselves that caters to their own kind, and
not the Rights of All the People. That my brother, the right-wing neo-
Nazi, and my sister, the fraudulent, approved of the sale of
Rosamond’s legacy to outsiders so they can take secret profits, will
prove the Biggest Failure of the ACLU – if I can help it!
As fate would have it, Lillian Hellman, a great friend of the ACLU
and was involved in Rougemont’s CCF.
Now, twenty years later, the Heisler Moot Court also serves as
recognition of Francis Heisler’s wife, Dr. Friedy Heisler, a retired
psychiatrist and a civil libertarian herself who, with the ACLU and
her many friends, family and colleagues in California and Chicago
worked to endow the Francis Heisler Moot Court Fund. Dr. Friedy
Heisler attended each moot court program as long as she was able,
until her death in 1997. The Heisler grandchildren have carried on
that tradition. Members of the Monterey County Chapter of the ACLU
continue to support the Heisler Moot Court financially and also by
attending each year. The ACLU is proud of its role in founding the
Heisler Moot Court and grateful to Monterey College of Law professors
Michael Stamp and Joel Franklin, who serve as the program directors,
and MCL students for making the Heisler Moot Court a fitting tribute
to the work of Francis Heisler and the importance of preserving civil
liberties in our generation.
HONORABLE RICHARD M. SILVER (Ret.)
Judge Richard M. Silver served as a Monterey County Superior Court
Judge from 1977 until his retirement from the bench in 2002. He is
past Presiding Judge of the Court and has served by special
assignment on the Court of Appeal. Judge Silver received his L.L.B.
degree from the University of California, Boalt Hall in 1966.
He was a law partner of Francis Heisler and is one of the founders of
Monterey College of Law, where he serves as a member emeritus of the
Board of Trustees. Judge Silver is active with the
NationalJudicialCollege, participates annually in the Heisler Moot
Court Competition, and received the first honorary degree ever
awarded from MCL in 1998.
Why do you come here, when you know I’ve got troubles enough? Why do
you call me, when you know I can’t answer the phone?
Courtly love saw a woman as an ennobling spiritual and moral force, a
view that was in opposition to ecclesiastical sexual attitudes.
Rather than being critical of romantic and sexual love as sinful, the
poets praised it as the highest good. Marriage had been declared a
sacrament of the Church, at the Fourth Lateran Council, 1215, and
within Christian marriage, the only purpose was procreation with any
sex beyond that purpose seen as non-pious.
Rougement traces the “courtly love” tradition from its orgins among
12th century troubadors in southern France through the high
Romanticism of 19th century opera to the modern-day consequences of a
love that is based on Eros, delusion, and selfishness–a passion that
lives for passion, and whose only consummation can be death (for were
it to endure, to be exposed to the glaring light of day, it would no
longer be romantic passion). Rougement’s scholarship is solid, his
interpretations provocative, and his proximity to his subject
uncomfortably “close” for someone bearing the mantle of cultural
critic and scholar. In fact, it’s impossible not to feel the
conflicted emotions of the author himself. On the one hand, he
presents himself as the enemy of “Eros” and proponent of “Agape,” as
the critic of immature, romantic passion and the defender of mature
relationships based on a realistic “dialogue” between two unique,
complex individuals. On the other hand, he reveals the heart and soul
of an incurable romantic, someone who has been love’s thrall, who has
been swept up in the dark rapture and sublimely lyrical death wish
that is Wagner’s “Tristan und Isolde.”
Former Texas beauty-queen Nelson tells–as written by sociologist
Faulkner–of her eight-year affair with tennis great Martina
Navratilova, as well as of the pair’s litigious breakup and eventual
out-of-court settlement. Nelson (a “latter-day Doris Day,”
according to Rita Mae Brown’s foreword), mother of two and married
for 17 years, was introduced to the Czech superstar in 1982 by
Nelson’s 11-year-old son, Eddie. Nelson and Navratilova met again in
1984, and the mutual attraction proved so great that Nelson consulted
a psychiatrist. Even so, the tennis star moved in with the Nelson
family while recovering from an injury. The details of what happened
next aren’t made clear, but Nelson’s husband, increasingly aware of
the pair’s relationship, asked Navratilova to leave–and Nelson went
with her, as her lover, traveling companion, and “maid” (Nelson
later told 20/20’s Barbara Walters that Navratilova paid her $90,000
a year for her services). The couple finally exchanged rings and vows
in an empty church in Brisbane, Australia, and they later videotaped
a “nonmarital cohabitation agreement” that became the focal point
of the litigation when they split up.
In “After Death” (1862) Christina Rossetti addresses common themes in
Victorian poetry at the time — death, tragic love, and the
possibility of an afterlife. As a female author, however, Rossetti
offers a different perspective on these subjects from the standard
tone and attitude of other male poets, including that of her brother,
Dante Gabriel Rossetti. Rather than depicting a male narrator lusting
after a lifeless, thoughtless female, Rossetti elects to write from
the woman’s perspective. Laying on her death bed, the female subject
remains a motionless object of male desire, as in Tennyson’s “Lady of
Shallott” (text) and Dante Gabriel Rossetti’s “The Blessed Damozel”
(text); however, in giving her consciousness and a voice, Rossetti
endows the woman with power in
He did not love me living; but once deadHe pitied me; and very sweet
it isTo know he still is warm though I am cold.
The lines, which seem to owe a lot to the close of Tennyson’s much
earlier “Lady of Shalott,” contrast dramatically to those that
end “Song,” a poem that begins where “After Death” ends — in the
female speaker’s acceptance that she is so much less than her male
beloved. In fact, “Song” begins with the plea, “When I am dead, my
dearest/ Sing no sad songs for me,” and the lines that follow suggest
that the female speaker is not worthy of being remembered, especially
if that remembrance causes pain to her beloved.
Be the green grass above meWith showers and dewdrops wet;And if thou
wilt, remember,And if thou wilt, forget.
The lines that close the first half of the poem — “And if thou wilt,
remember, / And if thou wilt, forget” — at first reading seem to
state the dead woman’s unwillingness to have her death trouble her
beloved. These lines apparently to embody a stereotypical Victorian
view of female selflessness. These lines at first seem, in other
words, to echo the attitudes in her brother’s earlier “The Blessed
Damozel,” in which the bereaved male lover imagines his dead beloved
grieving for him in heaven. By the end of the poem, Christina has
shattered Dante Gabriel’s noton of an ideal woman. The next lines do
not make that final conclusion completely clear, for the speaker
mentions only that she exist in a world of sensory deprivation and
Yet if you should forget me for awile And afterwards remember, do not
grieve:For if the darkness and corruption leave A vestige of the
thoughts that I once had,Better by far you should forget and
smileThan that you should remember and be sad.