France Anglade: The Radiant Smile of 1960s French Cinema

France Anglade (1942–2014) was a charming and radiant French actress who became one of the fresh faces of European cinema in the 1960s.

With her bright smile, sparkling eyes, and natural, girl-next-door beauty, Anglade embodied the youthful elegance and playful spirit of the decade. She gained popularity through films such as The Sultans (1966), The Young Wolves (1968), and several successful Italian and French productions.

Though her acting career was relatively brief, Anglade left a lasting impression as a symbol of 1960s French femininity: sweet yet modern, innocent yet alluring. Her warmth and photogenic presence made her a favorite among audiences during the Swinging Sixties.

These charming vintage photos capture the bright smile, natural grace, and youthful vitality of France Anglade, one of the most endearing and photogenic actresses of 1960s French and European cinema.

See more»

18 Portraits of Judy Holliday in the 1940s

Judy Holliday (born Judith Tuvim, June 21, 1921 – June 7, 1965) was an American actress, comedian, singer, and songwriter. In the 1940s, Holliday transformed from a struggling nightclub performer into one of Broadway’s brightest stars, laying the groundwork for her Hollywood success. Despite possessing a genius IQ of 172, she built her fame by playing variations of the squeaky-voiced, seemingly airheaded “dumb blonde” character.

She spent the early part of the decade performing with a satirical comedy troupe called “The Revuers” alongside future Broadway legends Betty Comden and Adolph Green. To make ends meet in New York, she worked as a switchboard operator at Orson Welles’s Mercury Theatre. The Revuers moved to Los Angeles and signed with 20th Century Fox. Holliday appeared in minor, forgettable bit parts in mid-1940s films like Winged Victory and Greenwich Village before the studio dropped her.

Returning to New York, she made her formal Broadway debut in the 1945 play Kiss Them for Me, winning critical praise for playing a wistful prostitute. Her life changed forever when she was cast as Billie Dawn in Garson Kanin’s Born Yesterday (1946). Playing the dim-witted but secretly sharp mistress of a corrupt tycoon, Holliday became an overnight sensation. The stage production ran for four years and skyrocketed her to theatrical stardom.

Columbia Pictures initially hesitated to cast her in the movie adaptation of Born Yesterday. To prove her on-screen viability, her friend Katharine Hepburn and director George Cukor custom-tailored a scene-stealing supporting role for her in the classic romantic comedy Adam’s Rib (1949).

Her brilliant, hilarious performance as a woman who shoots her cheating husband convinced Columbia executive Harry Cohn that she was a star. This secured her the leading role in the 1950 film version of Born Yesterday, which ultimately won her an Academy Award for Best Actress.

See more»

Amazing Photos of Victorian Bazaars Around 1880

Via Wolfgang Wiggers, these amazing photographs come from an album of photographs by George Matthew Bridges (1854-1929) of Kings Lynn.

Bridges was an artist and decorator who designed scenic bazaars. The album contains photos of the designs and of the finished bazaars around 1880. He may have created the album himself to show his works to customers.

Bazaar "Constantinople"

Bazaar "Egypt"

Bazaar "Greece"

Bazaar "India"

Bazaar "India"

See more»

A Gallery of 50 Wonderful Color Photos of Jane Russell in the 1950s

In the 1950s, Jane Russell (June 21, 1921 – February 28, 2011) was at the absolute peak of her stardom, evolving from a controversial 1940s bombshell into one of Hollywood’s most bankable, charismatic, and multi-talented leading ladies. While her early career was defined by the sheer hype of her debut in The Outlaw (which fought censors for years), the 1950s allowed her to showcase her sharp comedic timing, robust singing voice, and genuine screen presence.

Though Marilyn Monroe often dominates the modern memory of the technicolor masterpiece Gentlemen Prefer Blondes (1953), Russell was actually the top-billed star at the time, and she was paid significantly more ($200,000 compared to Monroe's $18,000). Russell played Dorothy Shaw, the sharp-witted, grounded brunette foil to Monroe’s naive Lorelei Lee. Contrary to the tabloid rumors of a bitter rivalry, Russell and Monroe got along famously. Russell often protected the notoriously anxious Monroe on set, helping her out of her dressing room when stage fright struck.

Russell spent much of the 1950s under contract to eccentric billionaire Howard Hughes (via RKO Pictures), who was obsessed with her image. However, Russell herself had a brilliant, down-to-earth sense of humor that subverted the passive sex-symbol trope. She often played women who were witty, fiercely independent, and completely unfazed by alpha males. She held her own against the toughest leading men of the era, starring alongside Robert Mitchum in the gritty noirs His Kind of Woman (1951) and Macao (1952), and Clark Gable in the Western The Tall Men (1955).

Russell wasn’t just a film actress; she utilized her deep, sultry contralto voice extensively throughout the decade. Beyond Blondes, she starred in musical comedies like Double Dynamite (1951) with Frank Sinatra and Groucho Marx, and The French Line (1953).

The 1950s cemented Russell as a pop-culture icon of industrial proportions. Howard Hughes famously used his structural engineering background to design a seamless, cantilevered underwire bra specifically to emphasize her bust during The Outlaw. Though Russell later admitted she secretly discarded the uncomfortable contraption and just used her own clever padding, the “Jane Russell bra” became a cultural fixture of 1950s Americana, eventually leading her to become a famous spokesperson for Playtex bras in later decades.

See more»

Anna Maria Ferrero: The Delicate Beauty of Mid-Century Italian Cinema

Anna Maria Ferrero (1934–2018) was a delicate and enchanting Italian actress who shone brightly in the 1950s and early ’60s. With her porcelain skin, expressive eyes, and gentle, refined beauty, she often portrayed sensitive, romantic, or aristocratic characters with subtle emotional depth.

Ferrero gained significant critical attention for her performances in films such as Michelangelo Antonioni’s Le Amiche (1955) and The Gambler (1958). She also found success in French cinema, sharing the screen with stars like Jean-Paul Belmondo and Alain Delon.

Though her career was relatively short, Anna Maria Ferrero left a lasting impression as one of the most elegant and lyrical actresses of postwar Italian cinema. These exquisite vintage photos capture her fragile grace, luminous beauty, and quiet sensitivity, qualities that made her a distinctive presence on the European screen.

See more»

Jayne Mansfield Visiting Camp Casey in Korea, 1957

In late 1957, Jayne Mansfield took a USO-style break from her filming schedules to tour US military bases in South Korea, including Camp Casey (home of the 7th Infantry Division at the time). True to her larger-than-life “blonde bombshell” persona, she brought total Hollywood glamour to the sub-zero Korean winter.

While the soldiers were bundled up in heavy olive-drab parkas to combat the biting cold, Mansfield famously braved the elements in her signature form-fitting sweaters, high heels, and occasionally a bright coat with a fur collar. It made for some of the most striking, surreal press photographs of the era.

To visit the more remote outposts like Camp Casey, which were located quite close to the Demilitarized Zone (DMZ), she was flown around in US Army H-19 or H-21 helicopters, often posing playfully with the pilots and ground crews.

Following in the footsteps of Marilyn Monroe’s legendary 1954 troop tour, Mansfield’s visit was a massive event for the thousands of soldiers stationed in Korea post-armistice. She signed endless autographs, shared meals with the troops in the mess halls, and put on lively shows that packed out the base amphitheaters.

Irving Penn’s Timeless Vogue Covers of the 1950s

Irving Penn was one of the greatest photographers of the 20th century, and his work for Vogue magazine during the 1950s stands as some of the most elegant and enduring fashion imagery ever created.

With his signature minimalist style, masterful lighting, and impeccable sense of composition, Penn transformed simple studio portraits into timeless works of art. His 1950s Vogue covers, featuring the era’s most iconic models against plain backgrounds, emphasized grace, sophistication, and quiet power rather than elaborate sets or props.

These covers not only defined the visual language of high fashion in the postwar period but also helped establish fashion photography as a respected art form.

Jean Patchett, Vogue, July 1950

Lisa Fonssagrives-Penn, Vogue, December 1950

Bettina Graziani, Vogue, August 15, 1950

Jean Patchett, Vogue, April 1, 1950

Régine Debrise, Vogue, October 1950

See more»