40 Studio Portraits Showcasing Victorian Men’s Facial Hair

These studio portraits capture the distinctive and carefully cultivated facial hair styles of Victorian men. From full beards and elaborate mustaches to sideburns and carefully waxed styles, the images reflect the era’s strong emphasis on masculine appearance and social status.

Photographed in formal studio settings, the sitters display a wide range of grooming choices that were fashionable throughout the mid-to-late 19th century. These portraits offer a fascinating visual record of how facial hair became a defining feature of Victorian masculinity and personal identity.

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Charles Marion Russell and Companion Posing in Studio, 1887

In 1887, Charles Marion Russell reached a turning point in his early artistic journey. That year, his watercolor Waiting for a Chinook, a stark, emotional portrayal of a starving cow during Montana’s brutal winter, caught widespread attention. The piece struck a chord with viewers across the country, highlighting both the plight of cattlemen and Russell’s raw ability to convey the unforgiving realities of frontier life. This work marked the beginning of his public recognition and hinted at the powerful storyteller he would become.

Around the same time, a photograph was taken in Helena, Montana, showing a youthful Russell alongside his friend Wallace Stairley. Captured by photographer R.H. Beckwith, the image presents Russell not as a famous painter but as a cowboy immersed in the world he would later immortalize. Still carving out his identity, he was living the very life he would come to document so vividly, surrounded by rugged landscapes, enduring friendships, and the shifting rhythm of the American West.

In 1887, the same year that Charlie’s watercolor Waiting for a Chinook attracted national attention, the artist poses with Wallace Stairley in Helena, Montana, in this R.H. Beckwith photograph.

Now housed in the Charles M. Russell Research Collection at the Gilcrease Museum, that photograph endures as more than a historical artifact, it’s a window into the formative years of a man who gave voice to a vanishing era. Though fame would follow, Russell never strayed from his roots. The 1887 portrait reminds us of the authenticity behind his legacy: an artist shaped by the land, loyal to its people, and driven to paint the truth of the West with honesty and heart.

Charles Marion Russell, also known as C. M. Russell, Charlie Russell, and “Kid” Russell, was an American artist of the Old American West. Russell created more than 2,000 paintings of cowboys, Indians, and landscapes set in the Western United States and in Alberta, Canada, in addition to bronze sculptures. Known as the “cowboy artist” because he was both a cowboy and an artist. Russell was also a storyteller, author, historian, advocate of Native Americans, cowboy, outdoorsman, philosopher, environmentalist, and conservationist.

Portrait of Fred Waite and Henry Brown, Two Prominent Members of the “Regulators” During the Lincoln County War

Fred Waite and Henry Brown were once members of the Regulators, a vigilante group born out of the violent turmoil of the Lincoln County War in New Mexico during the late 1870s. Known for their sharp shooting and fearless resolve, both men played active roles in the bloodshed that followed, as factions battled for control in a region where law and loyalty were often fluid. In an era where the difference between outlaw and lawman could shift overnight, Waite and Brown gained reputations as capable, if dangerous, figures navigating a brutal chapter of Western history.

In the war’s aftermath, the two found themselves allied with one of the most enduring legends of the American frontier, Billy the Kid. Riding with his gang, they took part in daring escapes and deadly confrontations, living lives defined by risk and rebellion. Their association with Billy the Kid sealed their place in Western lore, linking them to a band of outlaws whose story blurred the lines between justice and vengeance. For a time, Waite and Brown rode in the shadow of a legend, their own names woven into the mythos of the Wild West.

A surviving photograph, housed in the True West Archives, captures the stoic faces of Waite and Brown, men shaped by conflict, loyalty, and the shifting allegiances of their time. It’s a haunting reminder of the era they inhabited, when survival meant choosing sides in a world without clear heroes.

James Brothers and Charles Fletcher Taylor in a 1867 Photograph

In this striking photograph taken around 1867 by C.C. Giers in Nashville, Tennessee, Frank and Jesse James sit beside their fellow Confederate guerrilla, Fletch Taylor. It is an image steeped in the lingering shadows of the Civil War, a visual testament to three young men forged by violence and vengeance. Frank, dressed in a Confederate uniform, carries a composed, almost intellectual air, hinting at his earlier life as a student of classical literature before turning to the Southern cause. Beside him, Jesse, wearing a light hat and bearing a youthful, defiant expression, already projects the restless energy that would soon define his legend. He was barely out of his teens, yet seasoned by war.

Frank James, dressed in a Confederate uniform (seated), posed with younger brother Jesse (in light-colored hat) and guerrilla comrade Fletch Taylor in this circa 1867 photograph taken by C.C. Giers of Nashville, Tennessee.

The bond between the three men runs deeper than blood or friendship, it was forged in fire. During the Civil War, they served in Missouri’s guerrilla bands under notorious leaders like William Quantrill and “Bloody” Bill Anderson, engaging in raids marked by extreme violence and deep personal stakes. Fletch Taylor, seated with a calm yet worn demeanor, had lost an arm in a failed ambush, a permanent reminder of the life they led. Their loyalty to each other and to the Confederate cause was unshakable, even as the South fell and the formal conflict ended. The photograph is more than a portrait; it’s a glimpse into the psyche of men shaped by a war that was as much about ideology as it was about revenge and survival.

Although the war had ended by the time this image was taken, its emotional and political residue clung to these men. For Frank and Jesse James, peace brought no closure, only new enemies and fresh grievances. Disillusioned and embittered by the Union's victory and the treatment of former Confederates during Reconstruction, the James brothers viewed their turn to outlawry not as crime, but as continued resistance. Bank robberies and train heists became acts of rebellion, framed in their minds as justified blows against a system they believed had betrayed them. This rare photograph captures them at a pivotal moment—still young, not yet outlaws in the public eye, but standing at the threshold of infamy.

The England Fans Who Went to the 1986 World Cup and Loved It So Much, They Stayed

In 1986, amidst high unemployment in the Black Country, a group of young childhood friends aged 20 to 23 lost their jobs. Seeking an escape, they scraped together a few hundred pounds each to follow the England national football team 5,000 miles away to Mexico for the 1986 FIFA World Cup and chose to never return home.

The most famous anecdote from the group involves Garry Hardwicke (nicknamed “Rabbithead”). He reportedly told his partner back home that he was just “nipping out to get a pint of milk,” and ended up staying away for 12 years.

The group, including friends nicknamed Adder (Gary Allen), Rabbithead, Batesy (Stuart Bates), Arnie (David Arnold), and Texas Steve (Steve Dawson), fell in love with the vibrant Mexican culture and welcoming locals. Instead of catching their flights back to the UK after England was knocked out by Maradona’s infamous “Hand of God” match, they embarked on a massive journey across the Americas.

Most of the group eventually moved further north and built permanent new lives and careers in North America.

(via BBC)

Buffalo Bill Posing With a Group of Pawnee Nation Leaders and Performers From His Buffalo Bill’s Wild West Show, 1885

This historic photograph depicts William F. “Buffalo Bill” Cody alongside a delegation of Pawnee scouts and chiefs, taken around 1885 during a tour of his world-famous “Wild West” show.

By 1885, the Indian Wars were drawing to a close, and Native Americans were being forced onto reservations. Buffalo Bill Cody, a former U.S. Army scout, realized that the global public had an insatiable appetite for the “Old West.”

He founded Buffalo Bill’s Wild West in 1883, hiring real cowboys, cavalrymen, and Native Americans to reenact frontier battles, horse races, and sharpshooting feats. To generate publicity and sell souvenir cabinet cards, Cody regularly took his performers to high-end photography studios, such as the famous William Notman & Son studio in Montreal, resulting in staged group portraits like this one.

For many Native American performers, joining Cody’s show was one of the few ways to legally leave the oppressive confines of government reservations. The show allowed them to travel the world, earn a relatively good wage ($50 a week for stars like Sitting Bull), and openly practice their traditions, wear their sacred regalia, and speak their languages at a time when the U.S. government was actively trying to assimilate them and erase their culture.

Concurrently, the performers were used to reenact their own defeats. They were often presented to white audiences as “noble savages” or bloodthirsty villains of the past to validate the narrative of American westward expansion.

30 Fascinating Photos of The Beach Boys in the 1960s

The Beach Boys were one of the most iconic and innovative American bands of the 1960s, evolving from surf-rock pioneers to sophisticated studio innovators. They defined the “California Sound” with themes of beaches, cars, and young romance, while pushing pop music boundaries through intricate vocal harmonies and production techniques.

Formed in 1961 in Hawthorne, California, the core lineup included brothers Brian Wilson (bass, keyboards, main songwriter/producer), Carl Wilson (guitar), Dennis Wilson (drums), their cousin Mike Love (lead vocals), and friend Al Jardine (guitar/vocals). David Marks briefly replaced Jardine in 1962–63.

Their debut single “Surfin’” (1961) and album Surfin’ Safari (1962) launched them with upbeat, energetic tracks celebrating surf culture. Hits like “Surfin’ U.S.A” (1963, a Chuck Berry adaptation) exploded nationally, sparking a surf music craze. Other early successes included “Surfer Girl,” “Little Deuce Coupe,” and car-themed songs.

They released multiple albums quickly (often 2–3 per year), blending doo-wop harmonies, rock ‘n’ roll, and youthful vigor. Their tight live shows kept them touring heavily. This era made them America’s top response to the British Invasion, sustaining commercial success with 16 consecutive U.S. Top 40 hits in their early streak.

In late 1964/early 1965, Brian Wilson stopped touring due to stress and anxiety (replaced live by Bruce Johnston, who later joined officially). This allowed him to focus on songwriting and production.

1966 was their artistic pinnacle. Brian, inspired by Phil Spector’s “Wall of Sound,” The Beatles’ Rubber Soul, and classical/jazz elements, created Pet Sounds, a concept-like album of introspective, orchestral pop with unconventional instruments (e.g., theremin, bicycle bells, flutes). Tracks like “Wouldn’t It Be Nice,” “God Only Knows,” and “Caroline, No” showcased sophisticated harmonies and production. It was expensive and innovative for its time. Paul McCartney has cited it as a major influence on Sgt. Pepper’s Lonely Hearts Club Band. Later in 1966, the single “Good Vibrations” (a “pocket symphony” with modular recording) became a massive hit and further cemented their experimental reputation.

Smiley Smile (1967) was a stripped-down, psychedelic-leaning release after the ambitious Smile project (Brian’s “teenage symphony to God”) was shelved due to stress, drug use, and band tensions. Albums like Wild Honey (1967), Friends (1968), and 20/20 (1969) mixed R&B, psychedelia, and simpler sounds. They explored more personal and spiritual themes while maintaining strong (if evolving) commercial presence.

The band remained a top live act, though Brian's reduced involvement and the era’s shifting tastes (rise of harder rock/psychedelia) presented challenges. They influenced genres like power pop, progressive rock, and lo-fi.

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Amazing Color Portraits of Soldiers of the British 8th Army in Italy, 1944

Soldiers of the British 8th Army are pictured on duty in Italy in these original color photos taken in April 1944 by War Office official photographer, Captain A.R. Tanner.

The ‘Infantryman’. Corporal M. Smith of the Duke of Cornwall's Light Infantry, with his Tommy gun (Thompson submachine gun) at the main Headquarters of the Eighth Army in the San Angelo area. Corporal Smith, a former metal polisher from Birmingham, served in North Africa and Egypt before going to Italy in early 1944. He was involved in the fighting north of Cassino and on the Garigliano River.

The ‘Signal Lineman’. Signalman A. Johnson of P Line Section (No 1) Company, 8th Army Signals, with a role of wire at the main headquarters of the Eighth Army in the San Angelo area of Italy. Signalman Johnson, a former bus conductor from Mill Hill, left England for Egypt in February 1942. He served with the Eighth Army in Egypt until Mareth then went to Sicily, and has been in Italy since October 1943.

The ‘Cook’. Private W.A. Bowen of the Army Catering Corps, preparing potatoes at the main Headquarters of the Eighth Army in the San Angelo area of Italy. Private Bowen, a former painter and decorator, from Lisswerry, Newport, South Wales, served in a Light Anti-Aircraft Regiment before transferring to the Army Catering Corps. He left England in 1941, and served at Tobruk, Benghazi, and Tunis before landing in Italy during September 1943.

The ‘Tankman’. Sergeant A.G. Williams of 17/21 Lancers in the turret of his Sherman tank at the main Headquarters of the Eighth Army in the San Angelo area of Italy. Sergeant Williams from Woodford Bridge, Essex left England in November 1943, landed in North Africa, and from there was sent to Italy.

The ‘Artilleryman’. Gunner J.D. Thomas of the Shropshire Yeomanry closing the breech of a 5.5-inch gun under the camouflage netting at San Vittore, Eighth Army sector. Gunner Thomas, a former farmer from Shrewsbury, Shropshire, left England in 1942 and has seen service in Egypt, Tripoli, and Sicily before coming to Italy where he was involved in all the major battles up to this time.

The ‘Sapper’. Lance Sergeant E.R. Whiting of the Corps of Royal Engineers at the controls of a tractor at the main headquarters of the Eighth Army in the San Angelo area. Lance Sergeant Whiting, a former electrical engineer from Bedford, went to North Africa in May 1943 from where he went on to Sicily before landing in Italy in September 1943 to undertake road building operations.

The ‘Intelligence Officer’. Corporal D.A.R. Reynolds of the Intelligence Branch, working as a draughtsman at the main Eighth Army Headquarters in the San Angelo area. Corporal Reynolds, a former architectural assistant from East Horsley, Surrey, left England in December 1942 for the Middle East. He then went to Tripoli and Sicily and landed in Italy soon after the invasion.

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The Amazing Story of Outlaw John Shaw’s Last Drink in 1905

In the early hours of April 8, 1905, two men, John Shaw and his partner William Evans (who also went by the alias “Bill Smythe”), robbed a saloon in Winslow, Arizona, making off with at least $200 in silver coins. Both men were young, in their twenties, and well dressed in suits when they walked into the Wigwam Saloon. Their drinks were still sitting untouched on the bar when they wandered over to a dice table where the glitter of silver dollars caught their eye. They pulled their guns on the players and fled into the night with the takings.

Navajo County Sheriff Chet Houck and Deputy Pete Pemberton, the owner of the saloon, pursued the bandits. The lawmen had a train stopped a couple of miles past the ghost town of Canyon Diablo, about twenty-five miles west of Winslow, and walked back on foot, arriving near sunset. They made contact with Fred Volz, a local trading post owner, who told them two well-dressed men had been loitering suspiciously outside. Moments later, Shaw and Evans rounded the corner and were spotted heading toward the train depot.

When Sheriff Houck confronted the pair and demanded a search, they refused. All four men drew their weapons at nearly point-blank range, no more than four to six feet apart. Shaw ran out of bullets mid-fight, and when he turned his head to reload, Houck shot him in the head. In total, twenty-one shots were fired in a matter of seconds. Shaw was killed outright, Evans was badly wounded and later captured. A bullet grazed Sheriff Houck across the stomach but he survived.

Shaw was buried in a shallow grave in a pine coffin provided by Volz. Evans was taken to a hospital in Winslow, recovered, and was sentenced to nine years in Yuma Territorial Prison. $271 in silver coins was found in their possession.

This is where the story takes a truly strange turn.

Word of the shootout traveled fast, and by the following night it was the talk of the Wigwam Saloon. What truly shocked the cowboys gathered there was that Shaw had died without ever getting to enjoy the drink he had ordered at the bar.

A discussion followed, and the men agreed that every man deserved to finish his drink. When a train whistle blew, a mob of about fifteen drunken cowboys rushed outside to hop the westbound freight. They arrived at Canyon Diablo at dawn, pounded on Fred Volz’s door, and despite his irritation, borrowed shovels and even his Kodak box camera to document the event.

Two men jumped into the grave, lifted Shaw’s body out, and propped him up against a nearby fence. His eyes were open, and his face was frozen in what appeared to be a smile. The men put bottles to his teeth, pouring whiskey down his throat, John Shaw finally got his last drink.

Shaw in his casket.

Throughout the entire ceremony six photographs were taken by an unknown cowboy in attendance. When the camera was returned to Volz, he unloaded the film and handed it to cowboy Lucien Creswell, instructing him to give it to Sheriff Houck upon his return to Winslow. However, cowboy Sam Case had other ideas. Case had a grudge against Sheriff Houck’s brother and along the way back to Winslow, Case confronted Creswell and took the film from him stating “Houck ain’t gonna get no pictures.” From here the roll of film passed from hand to hand, carrying the story of John Shaw along with it.

Finally, a month after the impromptu funeral at Canyon Diablo, Case handed the roll of film to Winslow attorney “Judge” Burbidge, who then passed it along to his son Ted. The photographs would not see the light of day until years later when the film came into the possession of a man named Gladwell Richardson who wrote an article about them in a 1965 issue of Arizona Highways magazine.

Today four of the photographs taken at the last drink of John Shaw belong to the Arizona Historical Society as part of their John Shaw collection. One photograph was allegedly kept by Ted Burbidge but several years after his death in 1955, the photograph went missing. Along with the Burbidge photograph, the location of the sixth image taken that bizarre morning is also unknown.

Canyon Diablo is a place filled with myths and legends of the Wild West, many of which are horrific. Although mostly debunked we have photographic proof that one of the gory stories did happen, the tale of the corpse that was dug up to have one last drink.

A Muss at Headquarters During Civil War, Virginia in April 1863

In April 1863, photographer James F. Gibson (often working with the famous Mathew Brady studio team, sometimes misattributed to Timothy H. O’Sullivan) captured a rare, lighthearted moment titled “A Muss at Headquarters.” Taken at Falmouth, Virginia, the image depicts officers of the Army of the Potomac engaged in a choreographed “brawl” for the camera.

While most Civil War photography focused on the grim aftermath of battle or formal portraits, this stereograph is a famous example of "camp life" humor. It features a group of Union officers and staff staging a chaotic scene. The men are seen using swords, fists, bottles, and even a shovel to mimic a rowdy headquarters dispute. The camp at Falmouth, which served as the winter quarters for the Army of the Potomac prior to the Chancellorsville campaign.

This photograph is a rare example of wartime levity, showing soldiers “roughhousing” and posing in exaggerated, tumbled positions over barrels and crates during the downtime before the Chancellorsville campaign. The image remains a favorite among Civil War enthusiasts because it subverts the era’s typically stiff and somber photographic style, capturing a moment of genuine (if rehearsed) levity.

30 Amazing Photos From the Set of “The Magnificent Seven” (1960), One of the Greatest Westerns Ever Made

The Magnificent Seven (1960) is a classic American Western directed by John Sturges. It serves as a Hollywood remake of Akira Kurosawa’s Seven Samurai (1954), transplanting the story from feudal Japan to the American Old West/Mexican border region.

The movie was primarily filmed in Cuernavaca and Tepoztlán, Mexico, standing in for a small Mexican village under siege. The production also used the old studio backlot sets to supplement the location work. The Mexican government was very protective of how their citizens were portrayed. Censors were present on set to ensure the Mexican villagers didn't look too poor or “subservient” to the Americans. This is why the villagers wear clean, white clothes throughout the film.

The seven actors — Yul Brynner, Steve McQueen, Charles Bronson, James Coburn, Horst Buchholz, Robert Vaughn, and Brad Dexter — had very different personalities and egos on set. McQueen was notorious for upstaging Brynner, constantly finding ways to draw the camera's eye (adjusting his hat, fiddling with his gun) whenever they shared the frame. Brynner was well aware of it and was not amused.

Coburn had very little dialogue, so his character was defined almost entirely by action. His iconic knife-throwing scene was rehearsed extensively and done practically, no tricks. Eli Wallach, who played the villain Calvera, had a few genuinely dangerous moments on set. In one incident, he was nearly decapitated by a train step while filming a scene where he was tied up on the tracks. The footage was reportedly kept in the film. Buchholz, who played Chico, was determined to do his own stunts. In the scene where he catches a fish with his bare hands, he actually spent hours in the water until he caught one.

The film was released by United Artists on October 12, 1960, becoming both a critical and commercial success and has been appraised as one of the greatest films of the Western genre. It spawned three sequels, a television series that aired from 1998 to 2000, and a 2016 film remake. Elmer Bernstein’s film score was nominated for an Academy Award for Best Original Score and is listed on the American Film Institute's list of the top 25 American film scores.

In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

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30 Vintage Photos That Defined Menswear From the Mid-19th Century

Menswear in the mid-19th century marked a decisive turn toward the structured sobriety that would define the modern masculine wardrobe.

During this period, the vibrant colors and extravagant silhouettes of the earlier Romantic era gave way to a more “gentlemanly” aesthetic, characterized by the dominance of the frock coat. This knee-length garment, with its nipped-in waist and full skirts, became the quintessential uniform for the Victorian middle and upper classes, symbolizing respectability and professional stature. It was an age where the three-piece ensemble, consisting of a coat, a contrasting waistcoat (vest), and trousers, became the standard, often complemented by a crisp white shirt with a high, stiffened collar.

Accessories played a crucial role in navigating the strict social hierarchies of the 1850s and 1860s. No gentleman was considered fully dressed without a silk top hat and a meticulously tied cravat or necktie, which provided one of the few opportunities for a splash of color or pattern. As the decade progressed, the Lounge suit began to emerge as a more relaxed alternative for informal settings, signaling a gradual shift toward comfort.

This era of menswear was a masterclass in tailoring and proportion, reflecting a society that valued formality, rigid etiquette, and the dignified silhouette of the rising industrial age. Step back into a world of impeccable tailoring and Victorian etiquette with these vintage photos from the mid-19th century.

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Rod Stewart and Jeff Beck During Filming of the Video “People Get Ready” in Oxnard, California, 1985

In May 1985, Rod Stewart and Jeff Beck filmed the music video for their cover of Curtis Mayfield’s “People Get Ready” in Oxnard, California. Captured by photographer Jeffrey Mayer, the production marked a significant reunion for the former Jeff Beck Group bandmates.

The shoot took place primarily at a train station and surrounding areas in Oxnard. The video was directed by D.J. Webster. The sepia-toned video follows a storyline where Stewart writes a letter inviting Beck to Los Angeles to play guitar. Beck is seen traveling via train boxcars while Stewart waits for him at a station, eventually culminating in a hug and a guitar solo. The video premiered on June 3, 1985, coinciding with the song's release on Jeff Beck’s album, Flash.

Photos from the set typically show Beck playing a butterscotch Fender Telecaster. Despite the song being a major hit and receiving heavy MTV rotation, the filming session was one of the few times the duo collaborated during that era, as a subsequent planned tour was canceled after only a few shows.

’90s Cool: A Nostalgic Look at Teenage Boys’ Styles

The 1990s was a decade of bold experimentation and cultural rebellion for teenage boys’ fashion, heavily influenced by the rise of grunge and hip-hop.

In the early years, the “Seattle sound” brought oversized flannel shirts, ripped denim, and combat boots into the mainstream, signaling a move toward a more relaxed, “anti-fashion” aesthetic. As the decade progressed, the influence of streetwear took over, featuring baggy cargo pants, graphic oversized tees, and iconic windbreakers in vibrant neon colors. Accessories like backward baseball caps, chain wallets, and chunky sneakers became essential staples of the everyday high school wardrobe.

Ultimately, ’90s style for boys was defined by a sense of effortless cool, prioritizing comfort and individuality over the rigid trends of previous generations. Take a look at these portraits to see what teenage boys looked like in the 1990s.

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