40 Fascinating Portraits of Farrah Fawcett in the 1980s

Farrah Fawcett (born Mary Ferrah Leni Fawcett; February 2, 1947 – June 25, 2009) was an American actress. A four-time Primetime Emmy Award nominee and six-time Golden Globe Award nominee, Fawcett rose to international fame when she played a starring role in the first season of the television series Charlie’s Angels.

In the 1980s, Fawcett underwent a dramatic transformation, moving away from her 1970s “pin-up” image to become one of the most respected dramatic actresses in Hollywood. After leaving Charlie’s Angels, she spent much of the decade proving she was far more than just a famous hairstyle.

The early 1980s were a struggle for Fawcett, as her initial films like Saturn 3 (1980) and The Cannonball Run (1981) were critical flops. However, she reinvented herself by taking on gritty, challenging roles. The Burning Bed (1984) was her career-defining moment. Playing Francine Hughes, a real-life battered wife who set her husband’s bed on fire, Fawcett shocked audiences by appearing without makeup and delivering a raw, powerful performance. It earned her an Emmy nomination and changed the public’s perception of her.

After starring in the Off-Broadway play, she reprised her role in the film version Extremities (1986) as a woman who turns the tables on her attempted rapist. This role further solidified her as a serious dramatic force. She ended the decade with another Emmy-nominated performance in Small Sacrifices (1989) as the real-life murderer Diane Downs, a role that was a complete departure from her “Angel” persona.

While she was trying to leave “Jill Munroe” behind, her style continued to influence the early 1980s. Her signature feathered hair remained the dominant hairstyle for American women well into the early 1980s. As the decade progressed, her look became more sophisticated and less “California sun-kissed,” reflecting her shift toward more mature, character-driven projects.

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Floris Arntzenius: The Master of the Misty Streetscape

Floris Arntzenius (1864–1925) was a prominent Dutch painter and a master of the The Hague School’s second generation, best known for his atmospheric depictions of urban life. His work is celebrated for capturing the essence of the streets of The Hague, particularly under the soft, grey light of misty or rainy days.

Arntzenius possessed a remarkable ability to render the reflections of horse-drawn carriages and pedestrians on wet cobblestones, blending the somber tones of his predecessors with the spontaneous brushwork of Amsterdam Impressionism.

Beyond his cityscapes, Arntzenius was a gifted watercolorist and portrait painter, but it is his “Spuistraat” scenes, filled with a sense of movement and poetic melancholy, that remain his most enduring contribution to Dutch art history.

A Busy Street Scene in The Hague

A View of De Waag, Haarlem

A View of the Spuistraat, The Hague

A View of the Spuistraat, The Hague

A Winter Day at the Buitenhof, The Hague

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30 Vintage Covers of The Elks Magazine in the 1920s

Established in 1922, The Elks Magazine serves as the official publication of the Benevolent and Protective Order of Elks, acting as a vital link between the national organization and its hundreds of thousands of members.

During its early decades, the magazine was renowned for its high production value, featuring sophisticated cover art by legendary illustrators and editorial content that spanned from fraternal news to short stories by prominent American authors.

Today, it continues to chronicle the charitable missions of the Elks, ranging from veterans' services to youth programs, while offering a nostalgic yet functional glimpse into the civic-minded spirit of American community life. Its vast archives remain a treasure trove for historians interested in 20th-century fraternal culture and the evolution of American social values.

Below is a curated collection of vintage covers from The Elks Magazine during the 1920s.

The Elks Magazine cover, November 1922

The Elks Magazine cover, August 1923

The Elks Magazine cover, January 1923

The Elks Magazine cover, October 1923

The Elks Magazine cover, September 1923

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50 Wonderful Publicity Photos of Sherilyn Fenn as Audrey Horne on the Set of “Twin Peaks” (1990–1991)

Sherilyn Fenn’s portrayal of Audrey Horne in the original Twin Peaks (1990–1991) is one of the most iconic performances in television history. She managed to blend the “femme fatale” archetype of classic noir with a vulnerable, rebellious teenage spirit.

Audrey begins the series as the neglected, bored daughter of local tycoon Ben Horne. Her character arc is defined by her unrequited infatuation with Special Agent Dale Cooper provided some of the show’s most charming and tension-filled moments. Eager to impress Cooper and gain her father’s attention, she goes undercover at One-Eyed Jacks, a dangerous move that highlights both her bravery and her naivety. She transitions from a “spoiled rich girl” disrupting her father’s business deals to a woman genuinely concerned with the town's moral rot.

Fenn’s performance was elevated by a specific visual language that became synonymous with the character. Her wardrobe – saddle shoes, pleated skirts, and tight cashmere sweaters – created a “retro-modern” look that influenced 1990s fashion.

Perhaps her most famous scene involves her tying a cherry stem into a knot with her tongue, a moment that cemented her status as a pop-culture icon. The surreal moment where she spontaneously dances to Angelo Badalamenti’s “Audrey’s Dance” in the Double R Diner perfectly captured the show’s “dream logic.”

Sherilyn Fenn brought a specific “old Hollywood” glamour to the Pacific Northwest. While the script gave Audrey her lines, Fenn added a layer of soulful melancholy. She made Audrey more than just a troublemaker; she made her a tragic figure searching for a moral compass in a town full of secrets. For her role as Audrey, Fenn received both Golden Globe and Emmy Award nominations.

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Polaroids of Kate Moss Taken by Ellen von Unwerth for Vogue US, 1993

These Polaroids of Kate Moss by Ellen von Unwerth whilst shooting “Beauty and the Beach” in Miami for Vogue US, July 1993. The pictures were featured in the 2022 “Ultimate Ellen von Unwerth” exhibitions in London and Paris before being auctioned off, with individual pictures selling for between £5,000 and £44,000. The Polaroids were taken on type 100 peel-part film, helping predict how a photoshoot would develop.

“The picture of Kate Moss was just a moment where we chatted, and we had a coffee. I had the Polaroid camera, and I took this quick shot, and I think there’s something intimate about it. You feel kind of close to the person. That’s what I really discovered about those pictures when I put them out for this show.”

40 Studio Portraits of Handsome Clark Gable in the 1950s

William Clark Gable (February 1, 1901 – November 16, 1960) was an American actor often referred to as the “King of Hollywood.” He appeared in more than 60 motion pictures across a variety of genres during a 37-year career, three decades of which he spent as a leading man. In 1999, the American Film Institute ranked Gable as the seventh greatest male screen legend of classical Hollywood cinema.

In the 1950s, Gable transitioned from the peak of his “King of Hollywood” status into a more mature, rugged era of his career. While the decade saw him move away from the sleek romantic lead of the 1930s, he remained a formidable box-office draw and a symbol of aging masculinity.

For 23 years, Gable was the face of MGM, but by the early 1950s, the relationship had soured. The studio was struggling with the rise of television, and Gable was dissatisfied with the scripts he was being offered. In 1954, he left MGM to become a freelancer. This was a bold move at the time, but it allowed him to command a higher salary and a percentage of film profits. His final MGM films Lone Star (1952) and Mogambo (1953) were notable successes. Mogambo, a remake of his earlier hit Red Dust, showed he could still generate immense chemistry with younger stars like Grace Kelly and Ava Gardner.

As he entered his 50s, Gable’s screen presence shifted. The mustache remained, but his face showed more character and age, which he used to his advantage in tougher, more weathered roles. Much of his 1950s output was dedicated to Westerns. Films like The Tall Men (1955) and The King and Four Queens (1956) leaned into his natural outdoorsman persona. In Run Silent, Run Deep (1958), he delivered one of his most acclaimed late-career performances as a disciplined submarine commander. It showcased a grit that proved he didn't need to be a “lover” to carry a film.

Off-screen, Gable was finally finding stability after years of personal tragedy (specifically the 1942 death of his wife, Carole Lombard). In 1955, he married Kay Williams, a former model and actress. She brought a sense of peace to his final years, and they lived a relatively quiet life on their ranch in Encino.

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Evelyn Hofer: Capturing the Soul of Style Through a Still Lens

Evelyn Hofer’s approach to fashion photography was characterized by a profound sense of stillness and structural integrity that set her apart from the kinetic, high-energy style of her contemporaries.

Eschewing the frantic snapshots of the runway, Hofer treated her fashion subjects with the same meticulous dignity she applied to her portraits and landscapes, often utilizing a heavy 4x5 view camera that demanded patience and absolute precision. Her work for publications like Vogue and Harper’s Bazaar is noted for its sophisticated use of color, clean lines, and a monumental quality that transformed garments into architectural forms.

By prioritizing the soul of the model and the geometry of the environment over mere trends, Hofer created timeless, painterly compositions that bridged the gap between commercial editorial and fine art.

Model in pale diaphonous nylon nightgown permanently pleated with thin lace edgings by Carter's, photo by Evelyn Hofer, Harper's Bazaar, October 1950

Carmen Dell' Orefice in housecoat of pink dotted Swiss with great balloon sleeves by Dorian, photo by Evelyn Hofer, Harper's Bazaar, May 1950

Theo Graham in slim white Heller jersey dress with a white ribbed cuff for a collar by Young American Deb, photo by Evelyn Hofer, Junior Bazaar, January 1950

Dorian Leigh in a sheer Hope Skillman cotton dress in orange and white by McMullen, photo by Evelyn Hofer, Harper's Bazaar, January 1951

Model in a white cotton satin dress with black velvet stripes and collar by Anne Fogarty, hat by Mr. John, photo by Evelyn Hofer, Harper's Bazaar, January 1951

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