30 Vintage Photos of Joan Crawford During the Filming of ‘A Woman’s Face’ (1941)

A Woman’s Face is a 1941 American drama film noir directed by George Cukor and starring Joan Crawford, Melvyn Douglas and Conrad Veidt. It tells the story of Anna Holm, a facially disfigured blackmailer, who, because of her appearance, despises everyone she encounters. When a plastic surgeon corrects this disfigurement, Anna becomes torn between the hope of starting a new life and a return to her dark past. Most of the film is told in flashbacks as witnesses in a courtroom give their testimonies.

The screenplay was written by Donald Ogden Stewart and Elliot Paul, based on the play Il était une fois... by Francis de Croisset. Another version of the story, a Swedish production, was filmed in 1938 as En kvinnas ansikte, starring Ingrid Bergman.

Advertising for the film appears in a photograph by Robert Frank. One of the images of Crawford used in the advertising later was included in the album artwork for The Rolling Stones album Exile on Main St. (1972).

Take a look at these vintage photos to see portraits of Joan Crawford during the filming of A Woman’s Face in 1941.

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Candid Photographs of Eric Clapton and Then-Girlfriend Charlotte Martin in the Late 1960s

Eric Clapton and Charlotte Martin were in a relationship from 1965 to 1968. They were together for a period of time before she began a relationship with George Harrison, who was then married to Pattie Boyd, who would eventually marry Clapton.

Martin was working in London as a model when she first met Clapton at the Speakeasy club. It was during evening discussions for the formation of the band eventually known as Cream. Clapton later recalled in Clapton: The Autobiography:

“At the Speakeasy Club, I had first met one of the great loves of my life, a very beautiful French model, Charlotte Martin. I was smitten with her from the very first moment I set eyes on her. She was very beautiful in an austere way, classically French, with long legs and an incredible figure, but it was her eyes that got on me. They were slightly Asian with a downward slant, and a little bit sad. We started dating right away and soon moved in together into a flat in Regents Park. Charlotte was an incredible girl, more interested in films, art and literature than in modeling, and we had a great time together.”

On November 8, 1966, Clapton recited passages of “La Marseillaise” as a tribute to Martin, during a performance of Cream’s “I’m So Glad” on BBC Radio 1’s Saturday Club. In April 1967, while Martin was with members of Cream at a table in the Speakeasy, Clapton was introduced to Australian visual designer Martin Sharp by Martin, after a chance encounter there. Sharp began writing lyrics on a paper serviette and gave them to Clapton with his studio address at Chelsea, known as the Pheasantry. The lyrics became the song “The Tales of Brave Ulysses,” and subsequently Sharp was hired to design the cover of Cream’s second album Disraeli Gears. Clapton moved into the creative space of the Pheasantry with Martin, in June 1967, and later “Anyone for Tennis?” co-written with Sharp, was reputedly dedicated to Martin. On June 25, 1967, Martin participated in the satellite broadcast Our World, in the Beatles’ “All You Need Is Love” segment.

After her split with Clapton, Martin stayed briefly with friends Pattie Boyd and George Harrison at their Kinfauns bungalow in January 1969, before returning to Paris to continue modeling work. She became the long-term partner of Jimmy Page of Led Zeppelin. They had a daughter, Scarlet Page, in 1971.

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Amazing Mid-20th Century Fashion Illustrations by Guy Demachy

Guy Demachy is a French illustrator renowned for his mid-20th-century fashion and advertising artwork. His distinctive style, characterized by elegant lines and sophisticated compositions, made him a prominent figure in the world of commercial illustration during the 1940s and 1950s.

Demachy’s work often graced the pages of magazines and advertisements, capturing the essence of post-war glamour and the evolving fashion landscape.

One of his notable contributions includes the 1948 Cinzano advertisement, which showcases his ability to blend fashion illustration with commercial appeal. This piece exemplifies his skill in creating visually striking images that not only promoted products but also set trends in visual aesthetics.

Below is a collection of amazing photos showcasing Guy Demachy’s fashion illustrations from the 1940s and 1950s.

Little black velvet cap adorned with red blooms and voilette by Albouy, emerald and gold necklace and bracelet by Mauboussin, illustrated by Guy Demachy, 1949

A dance dress of red-and-white striped taffeta with a quilted band round the hem, comes with a fichu or stole by Wallace of London, illustrated by Guy Demachy, Harper's Bazaar UK, December 1948

Beautiful ball gown of crisp light net clinging close to the body as far as the waist then billowing out into a series of airy tiers, by Pierre Balmain, illustrated by Guy Demachy, Harper's Bazaar, December 1948

Black silk lamp-shade evening dress by Balenciaga, illustrated by Guy Demachy, 1948

A gay brown-and-white striped cotton beach dress with double-breasted bodice by Brenner Sports, illustrated by Guy Demachy, Harper's Bazaar UK, July 1949

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In 1832, a Cumbrian Farmer Sold His Wife for 20 Shillings and a Dog

In 1832, a peculiar event unfolded in Carlisle, England Cumbrian farmer, Joseph Thomson, made an unconventional decision, accompanied by his wife, Mary Anne Thomson. His intention? To sell her to “the highest and fairest bidder.”

As documented, Thomson commenced the auction by placing his wife upon a large oak chair, with a straw halter around her neck. His words resonated with a mix of frustration and resignation: “I have to offer to your notice my wife, Mary Anne Thomson... she has been to me only a born serpent.” He delineated her perceived faults, casting her as a “domestic curse” and a “night invasion.”

Yet, amidst the listing of her supposed flaws, Thomson didn’t fail to mention her virtues: “She can read novels and milk cows... she can sing Moore’s melodies and plain her frills and caps.” He even quipped about her expertise in judging spirits, despite her inability to distil them herself.

Initially, Thomson set the price at 50 shillings, but as the hour passed without any takers, he relented, accepting 20 shillings and a Newfoundland dog from the eventual buyer, another farmer named Mr. Henry Mears.

Wife selling in England was a way of ending an unsatisfactory marriage that probably began in the late 17th century, when divorce was a practical impossibility for all but the very wealthiest. After parading his wife with a halter around her neck, arm, or waist, a husband would publicly auction her to the highest bidder. Wife selling provides the backdrop for Thomas Hardy’s 1886 novel The Mayor of Casterbridge, in which the central character sells his wife at the beginning of the story, an act that haunts him for the rest of his life, and ultimately destroys him.

Although the custom had no basis in law and frequently resulted in prosecution, particularly from the mid-19th century onwards, the attitude of the authorities was equivocal. At least one early 19th-century magistrate is on record as stating that he did not believe he had the right to prevent wife sales, and there were cases of local Poor Law Commissioners forcing husbands to sell their wives, rather than having to maintain the family in workhouses.

Wife selling persisted in England in some form until the early 20th century; according to the jurist and historian James Bryce, writing in 1901, wife sales were still occasionally taking place during his time. In one of the last reported instances of a wife sale in England, a woman giving evidence in a Leeds police court in 1913 claimed that she had been sold to one of her husband’s workmates for £1.

The Kolb Brothers Attempting to Get the Perfect Shots of the Grand Canyon in the Early 20th Century

In the Grand Canyon, brothers Emroy and Ellsworth Kolb rig a rope system to lower to a ledge 55 feet below. Should anything happen, the cameraman would fall 300 feet. The brothers spent their lives as Grand Canyon photographers, with their studio located on the rim of the canyon.

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40 Nostalgic Photos of ’50s Home Interiors

1950s house interiors were a mix of practicality and modern style, reflecting the optimism of the post-war era. Rooms often featured pastel colors like mint green, soft pink, or pale yellow, with patterned wallpaper and linoleum or hardwood floors.

Furniture had clean, simple lines with wooden frames and tapered legs. Kitchens stood out with colorful metal cabinets, Formica countertops, and bold appliances in shades like turquoise or red.

Common decorative touches included starburst clocks, atomic designs, and floral or geometric curtains. The overall feel was bright, functional, and full of mid-century charm.

Take a look at these nostalgic photos to see what home interiors looked like from the 1950s.

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Stunning Black and White Portraits of Katharine Hepburn Dressed as a Boy in “Sylvia Scarlett” (1935)

Katharine Hepburn famously dressed as a boy in Sylvia Scarlett (1935), directed by George Cukor. In the film, she plays Sylvia Scarlett, a young woman who disguises herself as a boy named “Sylvester” to help her father escape from France to England after a financial scandal.

Hepburn’s character challenges gender norms of the time, and her portrayal was daring and ahead of its era. Her short hair, masculine attire, and convincing boyish mannerisms contributed to the film's unique tone.

The film is now considered a cult classic, especially among LGBTQ+ audiences, for its exploration of gender identity and ambiguous sexual tensions. There are scenes where both male and female characters are attracted to “Sylvester,” adding a layer of complexity to the narrative.

Despite Hepburn’s bold performance, Sylvia Scarlett was a box office flop at the time. However, it has since gained recognition for its daring themes and Hepburn's risk-taking.

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