A Stone Drawing of a Woman Thousands of Years Old Found in France

This image is a 25,000-year-old Paleolithic engraving of a woman found deep within the Cussac Cave (Grotte de Cussac) in the Dordogne region of southwestern France. Often referred to by archaeologists as a “Venus” figure, the engraving is part of a significant collection of prehistoric art and human remains discovered in September 2000 by amateur cave explorer Marc Delluc.

The cave is located in the Dordogne River valley and spans approximately 1.6 kilometers (roughly one mile). There are over 150 Paleolithic artworks in the cave, primarily engravings of animals such as woolly mammoths, bison, rhinoceroses, and horses, alongside several stylized feminine forms.

The engravings date to the Gravettian era, a period of the Upper Paleolithic known for its distinct stone tool industry and the creation of “Venus figurines.” Cussac is rare because it contains both prehistoric art and human remains (at least six individuals) dating to the same period, suggesting it served as both a gallery and a sacred burial site. 

The engraving depicts a woman with a voluptuous figure, which scholars often interpret as a symbol of fertility and prosperity within ancient hunter-gatherer societies. Its artistic style, featuring amplified forms, is consistent with other contemporary Paleolithic sites like the Pech-Merle Cave. Due to the density and quality of its engravings, Cussac is considered as archaeologically significant for engraving as the famous Lascaux Cave is for painting.

40 Elegant Portraits of Fashionable Women From the Edwardian Era

The Edwardian Era was a golden age of opulent femininity and structured grace, often immortalized in the “S-bend” silhouette. Portraits from this period capture the “Gibson Girl” ideal: a woman who was tall, slender, and commanded presence through voluminous pompadour hairstyles and extravagant millinery adorned with feathers and lace.

Unlike the rigid Victorian era, Edwardian fashion embraced softness and light, utilizing delicate fabrics like chiffon, silk, and Irish crochet to create “lingerie dresses” that appeared ethereal yet sophisticated.

These portraits serve as more than just fashion plates, they are historical windows into an era of leisure and aristocratic refinement, where every detail, from the high boned collars to the sweeping trains, signified a lady’s social standing and the romantic transition into the modern world.

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40 Publicity Portraits of Amanda Blake as Miss Kitty Russell on the Western Television Series “Gunsmoke”

Amanda Blake’s portrayal of Miss Kitty Russell on Gunsmoke is one of the most enduring performances in television history. She played the role for 19 years (1955–1974), becoming the definitive “saloon keeper with a heart of gold.”

In the early seasons, Kitty’s profession was more overtly implied to be a “madam,” consistent with the gritty realism of the radio show. However, as the TV series progressed and moved toward a more family-friendly tone, her role shifted into the more “respectable” owner and operator of the Long Branch Saloon. Unlike many female characters of the era, Kitty was a self-sufficient businesswoman. She was often seen managing ledgers and staff, holding her own in a male-dominated frontier.

The central tension of the show was her unspoken, long-term relationship with Marshal Matt Dillon. While they never married or even explicitly shared a screen kiss, their deep mutual respect and affection were the emotional anchor of the series.

Blake brought a specific blend of toughness and vulnerability to the role that prevented Kitty from becoming a caricature. Her signature look, vibrant red hair and elaborate Victorian dresses, made her a visual icon of the Old West. Much like James Arness, Blake played Kitty with a “poker face” that made her rare moments of emotion more powerful. She was known for her sharp tongue and ability to trade barbs with Doc Adams or keep rowdy cowboys in check.

After 19 seasons, Amanda Blake decided to leave Gunsmoke in 1974, just one year before the show was ultimately canceled. The grueling schedule and the commute from her home in Phoenix to Hollywood had become taxing. Her departure was written into the show by having Kitty simply “leave town,” a move that many fans felt left a void in the final season.

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A Young Cindy Crawford Photographed by Barry Elz in Studio, 1985

In 1985, Cindy Crawford was not yet a global household name. She was still a student at Northwestern University (studying chemical engineering) and working primarily out of the Chicago fashion scene. Barry Elz was one of the first professional photographers to recognize Crawford’s potential. He worked with her frequently during this period, helping her build the portfolio that would eventually catch the eye of major agencies in New York.

Taken in 1985 by Elz, this series of images is a window into the mid-80s aesthetic and Crawford’s early career in Chicago. This shoot occurred just as the industry was shifting away from the delicate, “waif-like” looks of the late 1970s toward the more powerful, curvy, and athletic presence that Crawford came to personify. The use of high-contrast black and white, along with the visible film borders, gives the photo a “test shoot” or “raw” quality. It highlights the transition from commercial catalog work to high-fashion editorial.

Interestingly, in many early shoots from 1984–1985, editors would occasionally airbrush out her famous beauty mark. Barry Elz was among those who captured her more naturally, allowing her unique features to stand out.

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Merle Lynn: The Vogue Muse Who Became a Novelist

Merle Lynn was a distinguished high-fashion model who became a prominent face of the early 1960s couture scene. Born in February 1943, she possessed a refined elegance that captured the attention of legendary photographers like Richard Dormer and Guy Bourdin, appearing in prestigious publications such as Paris Vogue and the Vogue Pattern Book.

Beyond her success on the runway and in beauty campaigns for brands like Estée Lauder, Lynn revealed a creative depth that extended into the literary world. Writing under the name Merle Lynn Browne, she authored novels including The Ravishers and The Arousers, often collaborating with her husband, the New York Times best-selling novelist Gerald A. Browne.

Her journey from a high-fashion muse in Paris to a published author remains a testament to her multifaceted talent. She shares a quiet, creative life with her husband in Scottsdale, Arizona.

Merle Lynn, make-up for eyes 'Evening Star' and nail polish 'White Frost' by Estee Lauder, photo by Guy Bourdin, Paris Vogue, December 1966

Merle Lynn in worsted twill dress by Susan Small, photo by Richard Rutledge, Harper's Bazaar UK, April 1966

Merle Lynn in apres-ski felt jacket with diamond pattern by Hermès, photo by Jean Louis Guégan, 1965

Merle Lynn in metallic dress with short St.Gall metallic lace bolero by Yves Saint Laurent, photo by Tom Kublin, 1965

Merle Lynn in beautiful evening dress of white silk jersey with a high waist, long floating panels on each side and one in back worn as a loose cowl hood by Patricia at Aldo Bruno, photo by Bill King, Harper's Bazaar UK, September 1966

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“Grunge is Dead / Diet Grrrl” – Kurt Cobain With Frances Bean at Their Hollywood Heights Home in 1992

This series of photographs captures a remarkably tender and domestic side of Kurt Cobain, contrasting sharply with the “Grungy King” persona often projected by the media at the time. Taken in October 1992, these images by Stephen Sweet offer a rare glimpse into the Cobains’ private life shortly after the birth of Frances Bean.

At this point in 1992, Nirvana was the biggest band in the world, and the media scrutiny surrounding Kurt and Courtney Love was reaching a fever pitch. The shoot took place at their home on Alta Loma Road in West Hollywood. Many of the shots feature Kurt holding a weeks-old Frances Bean, looking exhausted but visibly enamored. These photos stripped away the artifice of rock stardom, showing a young father in a quiet, domestic setting.

Stephen Sweet’s work from this day is frequently cited as some of the most “human” documentation of Cobain. They serve as a poignant reminder of his life outside of the music industry, focusing on his role as a father during a brief period of relative domestic peace.

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Mich: The Master of the Belle Époque Poster

Michel Liebeaux (1881–1923), better known by his artistic pseudonym Mich, was a prominent French poster artist and caricaturist who defined the visual energy of the early 20th century.

Renowned for his bold, spirited depictions of the burgeoning automobile and bicycle industries, Mich had a unique talent for capturing motion and character with minimalist, sweeping lines. His work for major brands like Michelin and various cycling firms often featured humorous, elongated figures that exuded a sense of “Belle Époque” charm and modern speed.

Beyond commercial advertising, his caricatures of high-society figures in sports and maritime circles remains a vital historical record of French social life. Today, Mich is celebrated as a pioneer of the modern graphic poster, a master who could sell a lifestyle through a single, witty stroke of his pen.

Clément Cycles et Automobiles, circa 1900

La Biciyclette... J B Louvet, circa 1900

"...pourvu que j'aie un Pneu Vélo Continental", 1900

Biciclette Bianchi, le migliori, 1900

"En Automobile Botiaux... Lune de Miel", La Vie Parisienne, 1905

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