The paintings in this book aren’t, in fact, ‘unknown’, although they might have been lesser known in the 1970s, when it was published: they’re Nielsen’s illustrations for an unpublished edition of 'The Thousand and One Nights'. They are typical Nielsen, exquisitely beautiful, although, at the same time (it has to be admitted), sexist, racist, and erotic to the point of pornography, if not beyond. But then, so is 'The Thousand and One Nights' itself. The ‘elegy’ by Hildegarde Flanner, whose family gave their support to Nielsen and his wife Ulla, and who played a major role in bringing his work back into the public eye, adds some interesting history and context. ( )