A Collection of 74 Wonderful Vintage Movie Posters Featuring Greta Garbo From Between the 1920s and 1940s

Greta Garbo (September 18, 1905 – April 15, 1990) was one of the most iconic and enigmatic figures of Hollywood’s Golden Age. Her film career, though relatively brief left an enduring mark on cinema history with its blend of mystery, artistry, and unparalleled star power. Her persona was carefully cultivated by Metro-Goldwyn-Mayer (MGM), the only American studio she worked for, and she became known for her mysterious, ethereal screen presence and powerful dramatic performances.

Garbo, born Greta Lovisa Gustafsson in Stockholm, began her career with small roles in advertising films and Swedish movies in the early 1920s. Her breakout role came in the 1924 film The Saga of Gösta Berling, directed by Mauritz Stiller. This collaboration with Stiller, who would become her mentor, brought her to the attention of MGM’s Louis B. Mayer, who brought both of them to Hollywood in 1925.

Garbo’s first American film, The Torrent (1926), was a success. She quickly rose to international stardom with a series of popular silent romantic dramas, often co-starring with John Gilbert. Their on-screen chemistry and off-screen romance captivated audiences. Some of her most notable silent films include Flesh and the Devil (1926), Love (1927) and her final silent film The Kiss (1929).

With the advent of “talkies,” MGM carefully managed Garbo’s transition to sound, promoting it with the famous tagline, “Garbo Talks!” Her first sound film, Anna Christie (1930), was a critical and commercial success. Her husky, low-pitched voice defied expectations and only added to her mystique. She earned her first of four Academy Award nominations for this role, as well as for her second talkie, Romance (1930).

The 1930s were the pinnacle of Garbo’s career, as she solidified her status as a screen legend. She was a dominant box-office draw and a favorite of critics. Her most famous and celebrated films from this period include Mata Hari (1931), Grand Hotel (1932), Queen Christina (1933), Anna Karenina (1935), Camille (1936) and Ninotchka (1939).

Garbo’s final film was the comedy Two-Faced Woman (1941), which was a critical and commercial failure. The film’s poor reception, coupled with the onset of World War II which severely limited her European market, led her to step away from acting. She was only 36 at the time. Despite receiving many offers, she chose to live the rest of her life in seclusion, a decision that only enhanced her public enigma. She was awarded an honorary Academy Award in 1955 for her “luminous and unforgettable screen performances,” but she did not attend the ceremony.

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Vintage Photos of People With Their Motorcycles in the 1920s and ’30s

In the 1920s and ’30s, motorcycles were more than just machines—they were symbols of freedom, modernity, and adventure. In an era defined by rapid industrial growth and cultural change, people who rode motorcycles embodied a spirit of independence that set them apart from the rest of society.

After the First World War, motorcycles became increasingly accessible, serving both as affordable transportation and as thrilling vehicles for sport. Young men, and occasionally women, embraced them as a way to break free from traditional norms, speeding along country roads or gathering at racetracks. Riders often wore leather jackets, goggles, and helmets, creating an image of toughness and daring that would influence motorcycle culture for decades to come.

In cities, motorcycles were practical tools—used by police, couriers, and workers who needed to move quickly through growing urban landscapes. In the countryside, they became associated with leisure rides, road trips, and a sense of romance tied to open roads and untamed landscapes. Clubs and informal groups began to form, giving rise to early motorcycle communities and competitions that celebrated both skill and camaraderie.

These vintage photos from Vintage Cars & People capture not only the riders and their motorcycles, but also the spirit of freedom, style, and adventure that defined a generation on the move.

A family of three posing with a Harley-Davidson 1000 JE Combination in front of a brick-built house. The sidecar is attached to the left side of the bike, which suggests that the photo was taken in a country with left-hand traffic, circa 1928

A dapper fellow and a lady posing with a D-Rad R 0/5 Combination sidecar motorcycle in front of a monumental equestrian statue. The location is Deutsches Eck. The motorbike is registered in the Saxon district of Leipzig, 1927

A fellow in a leather jacket posing in the saddle of a single-cylinder motorcycle in front of Lorelei Rock in the Middle Rhine Valley. The motorbike is registered in the district of Rhine-Hesse, circa 1928

Three dapper fellows in suits and a stylish lady dressed in white posing with a HRD "Howard Davies 90" motorcycle. The bike is registered in the state of Upper Austria, circa 1928

A stylish couple posing in the saddle of a Norton 16H motorcycle in the countryside. The print is dated "1929" on reverse

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Three in a Casket: Tragic Post Mortem Picture of Keller Family – Father, Mother and Baby Taken in New York, ca. 1894

Mr. and Mrs. Keller were natives of Switzerland, the former being born in Zurich. They came to the US about five years ago. Keller secured employment as gardener in Philadelphia. He afterwards went to Washington, D.C. then to Auburn, New York two years back.

Mary Keller, 29 years old, shot and killed her husband, Emil, 30 years old, and shot their 9 months old babe, Anna, Thursday night January 25, 1894 about 8:30 at their residence, No. 10 Burt avenue.

The baby was the second victim of the insane woman’s pistol. The little one’s crib was within easy reach of the bed. It is thought that Mrs. Keller raised herself to a sitting posture and aimed the pistol at the little one’s heart. If she did it was the only one of the three shots in which her aim was not unerring. Then she turned the pistol against her own head and made the wound as described, which resulted in her death.

Shortly after 6 o’clock Friday night death came to the relief of little Anna Keller at the City hospital. It was found that the bullet from the mother’s revolver had penetrated the infant’s right lung and come out on the left side.

Father, mother and daughter were buried in the same casket, which was a special order, about 4 inches deeper and 9 inches wider than the ordinary, and covered with gray embossed plush. The head of Mrs. Keller rested on the left shoulder of her husband, thus hiding from view the wound in her temple and partly covering a discoloration of the right eye. There were traces of suffering in the woman’s face but her husband looks as if he were in slumber. His left arm encircled the body of his wife while his right rested on his hip. Between the mother and father was the infant, a handsome, plump child. Its right hand was clasped by the left of its mother while its left rested on the mother’s left arm. The mother and the infant were laid out in plain white shrouds while the husband and father had a coat and vest of plain black and trousers of a dark pattern.

The reasons behind Mary’s actions remain a tragic mystery, lost to time and silence. Newspapers of the day speculated about domestic strain, illness, or undiagnosed mental health issues, though no definitive explanation was ever determined. What is certain is the deep sadness that gripped the Auburn community in the aftermath.

The photo, preserved by the Thanatos Archive, offers a rare, haunting glimpse into 19th-century mourning practices and the way communities coped with such grim events. The image evokes not only grief but also a quiet contemplation of how fragile the line is between ordinary life and tragedy. The Keller family’s story, captured in one chilling moment, serves as a reminder of the hidden struggles people carry-and the profound human need to find peace, even in death.

Anna Karina: The Muse of the French New Wave

Anna Karina was one of the most luminous stars of European cinema in the 1960s, an actress, singer, director, and writer whose life and career captured the spirit of the French New Wave. Born Hanne Karin Blarke Bayer in Copenhagen in 1940, she moved to Paris as a teenager, where her striking beauty led her first into modeling and then into film. It was there that she encountered Jean-Luc Godard, who became both her husband and her most important artistic collaborator.

With Godard, Karina appeared in a string of films that would define an era: A Woman Is a Woman (1961), Vivre sa vie (1962), Band of Outsiders (1964), Pierrot le Fou (1965), and Alphaville (1965). In these works she embodied a new kind of heroine—playful yet melancholic, intelligent yet vulnerable, radiant yet mysterious. Her large, expressive eyes and her understated elegance made her unforgettable, while her performances gave depth and complexity to roles that might otherwise have seemed ephemeral.

But Anna Karina was far more than Godard’s muse. She pursued her own artistic path, directing films such as Vivre ensemble (1973), writing novels, and recording music that revealed her distinctive voice and sensibility. Throughout her career she remained a symbol of freedom, independence, and creative exploration.

Even decades after the height of her fame, Karina’s presence continues to inspire filmmakers, actors, and audiences around the world. She was not simply a star of her time but a timeless figure whose artistry and individuality embody the very essence of cinematic modernity. Take a look at these fabulous portraits to see the beauty of a young Anna Karina from the 1960s.

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50 Vintage Portraits of Women Wearing Lace Fingerless Gauntlets From the 19th Century

Lace fingerless gauntlets, often referred to as “mitts,” were a popular and significant accessory in the 19th century, particularly during the Victorian era. More than just a simple piece of clothing, they were a powerful symbol of social status, modesty, and etiquette.

Fingerless gloves were fashionable in the mid-19th century for both day and evening wear, and their popularity waxed and waned throughout the century. One of the reasons for their appeal was their practicality. The open fingers allowed freedom of movement for tasks like turning book pages, writing, or needlework while maintaining the social expectation that hands and arms should be covered in polite society.

While full-fingered gloves were typically made of kid leather, fingerless mitts were often crafted from fine lace, silk, or cotton. They could be short, extending only to the wrist for daytime wear, or long, reaching to or above the elbow for formal evening occasions like balls or dinner parties.

The mid-19th century saw a significant shift in lacemaking. Prior to this, lace was an expensive, handcrafted luxury. The invention of lace-making machines in the mid-1800s made lace more widely available and affordable, allowing more people, including the working classes, to wear these stylish accessories. Working-class women, in particular, found fingerless gloves to be a relatively inexpensive way to accessorize and cover hands that were roughened by manual labor.

The term “gauntlet” typically refers to a glove with a flared cuff that extends up the forearm. In the context of 19th-century lace mitts, a “gauntlet” style would have featured a deep, often flowing, cuff of delicate lace. This style was particularly popular in the later part of the century, with some sources from the 1870s noting the popularity of “black lace mitts of the finest possible texture, made with deep flowing cuffs.”

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35 Amazing Photographs Capture the Exterior of the Coliseum in Rome, Italy From the 19th Century

The 19th century was a pivotal period in the history of the Colosseum, marking a significant shift from its centuries-long use as a quarry and a source of building materials to a revered historical monument and a subject of systematic preservation.

After centuries of decay, earthquakes, and plundering, the Colosseum was in a state of serious disrepair. The 19th century saw a concerted effort to stabilize and restore the structure. Following a major earthquake in 1806, which caused significant damage, architects like Raffaele Stern, Giuseppe Valadier, and Luigi Canina began extensive work to secure the crumbling walls. They added large brick abutments to support the outer ring, particularly on the more damaged southern side. These interventions were crucial in preventing the monument’s further collapse and are still visible today.

The 19th century was also a time of heightened archaeological interest. Systematic excavations were conducted to uncover the Colosseum's long-buried subterranean features, known as the hypogeum. This underground network of tunnels, cages, and elevators, which was used to house animals and gladiators and to stage spectacles, had been filled with dirt and debris over centuries. The excavations, led by figures like Carlo Fea and Pietro Rossi, removed later medieval additions and revealed the true complexity of the ancient structure.

For centuries, the Colosseum had been used for various purposes, including as a fortress, a cemetery, a source of building materials for churches and palaces, and even a place with small shops and homes. However, in the 18th century, a papal decree had consecrated the arena as a holy site to honor Christian martyrs, which helped protect it from further quarrying. By the 19th century, this protection, combined with the new preservation efforts, solidified its status as a historical and cultural monument.

The 19th century was the era of the “Grand Tour,” and the Colosseum became an essential stop for travelers and intellectuals visiting Rome. It was seen as a symbol of the city’s ancient glory and a testament to the might of the Roman Empire. Writers and artists, including Charles Dickens, visited the monument, often romanticizing its moonlit ruins. This new role as a tourist attraction brought renewed attention and appreciation to the Colosseum's historical significance.

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Glamorous Kodachrome Slides of Booth Models From the 1950s

In the 1950s, booth models—sometimes called “exhibition girls” or “trade show models”—played a glamorous and highly visible role at fairs, conventions, and promotional events. Dressed in stylish outfits that reflected the sleek optimism of postwar design, these women were hired to attract attention, demonstrate new products, and embody the excitement of modern consumer culture.

They could be found at automobile shows, technology fairs, and even local exhibitions, posing with cars, appliances, or gadgets while engaging visitors with charm and professionalism. The booth model of the 1950s was as much a symbol of the era’s fascination with progress and modern living as the products they showcased.

Take a look at these glamorous Kodachrome slides capturing booth models from the mid-1950s in all their vivid color and timeless charm.

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