Tinted Edwardian postcard.

Vogue Magazine cover, 1940’s

Brigitte Bardot 1967 (by Art & Vintage)

Henry Fuseli
Two Courtesans with Fantastic Hairstyles and Hats (c.1796)
Fuseli drew numerous studies like this, showing women in weird and wonderful head-dresses and hats. They represent an apparently obsessive and highly sexualised vision of femininity. Here, the indication of a window frame is suggestive; are these prostitutes looking down on their prospective clients, or are they figures in a theatre?

John Bagnold Burgess (1829 – 1897)
English artist known for his of paintings of historical and genre scenes, principally in Spain.
Burgess started his career by painting portraits and genre works, before travelling to Spain in 1858, accompanied by his friend and fellow artist Edwin Long - who would become his travelling companion on future painting trips to the country.
 For the next some thirty years, Burgess was an annual visitor to Spain, often spending days with Spanish peasants, living their life and sharing their food.

Theatre Magazine September 1924

Model wearing Mainbocher dress at the Eiffel Tower, Harper’s Bazaar, 1939

Dutch couple on the beach, 1930s

Poster and publicity photo of Gloria Swanson in Madame Sans-Gêne, 1924
This film is now considered lost, and Swanson wanted very much to see it again before she died. Toward the end of her autobiography, published in 1980, she said in regard to her lost films:

“I would love to see them again and know they’re not lost forever. That, after all, was supposed to be the great virtue of pictures - that they would last forever. Alas, thousands upon thousands of early films, in the years when they were not being shown because they were not considered fashionable, or old enough to be museum pieces, crumbled in their cans. The celluloid disintegrated with age.”

One of Swanson’s lost films, Beyond the Rocks, was located in 2003. Sadly, she did not live to see it again, as she died in 1983.
(images via : via)

Longchamp, 10 mai 1908

Eduard Charlemont  
Born in Vienna, capital of the Austrian Empire in 1848. His father, Matthias Adolf Charlemont, was also a painter, specializing in painting miniature portraits.
His younger brother Hugo Charlemont (1850-1939) was an equally famous impressionist painter. At the age of fifteen Charlemont exhibited his works for the first time at the Academy of Fine Arts Vienna, where he studied fine arts. At the same age Eduard Charlemont was also hired by a girls’ school to teach drawing.
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