These photos show ladies in their rooms in the 1950s. Let's see how the interior of this period looked.
January 26, 2018
18 Amazing Photographs of American Dancer Edith Lambelle Langerfeld a.k.a La Sylphe From the Early 20th Century
Edith Lambelle Langerfeld (1883-1968), mostly known as La Sylphe, was an exotic American dancer who became a sensation while performing at the Folies Bergère in the 1890s.
Langerfeld was taken abroad by her mother at the age of six, when she began to dance. United States laws prevented her from performing on stage as a young girl. She traveled for eight years, making two trips around the world. Much of the time she spent in London, England, Milan, Italy, Paris, France and Brussels, Belgium. La Sylphe became fluent in five languages. She was the primary dancer at the Alhambra Theatre in London during her second world tour.
She made her debut in the United States at the age of 14, appearing first on the Pacific Coast. She danced in New York City beginning in 1899. There she introduced her rendition of The Vision of Salome dance.
Her mid-waist was covered only by several yards of pearls. On occasion she wore tights or a picketfence skirt and a gossamer bodice. She once complained about the bodice being too warm and threatened to leave it off in the next day's show.
Although her appearances often provoked shock, La Sylphe confessed that her New York performances were tame in comparison to those she gave earlier in Europe. She performed as close a rendition of her "muscle dance" as she dared, given American conventions. However, she admitted that a more accurate interpretation of the Salome dance would have more closely followed the dances of the Orient.
Langerfeld was taken abroad by her mother at the age of six, when she began to dance. United States laws prevented her from performing on stage as a young girl. She traveled for eight years, making two trips around the world. Much of the time she spent in London, England, Milan, Italy, Paris, France and Brussels, Belgium. La Sylphe became fluent in five languages. She was the primary dancer at the Alhambra Theatre in London during her second world tour.
She made her debut in the United States at the age of 14, appearing first on the Pacific Coast. She danced in New York City beginning in 1899. There she introduced her rendition of The Vision of Salome dance.
“The young woman is of extraordinary slenderness and suppleness, and her performance is a contortionary marvel. Her dance, to an uninitiated observer, suggests that she has undertaken to tell the guidance the time by the movements of her slim legs, beginning with both feet decorously together at half past six, and ending in an incredibly divergent.”La Sylphe's popularity in the United States increased after Salome by Richard Strauss was banned by the Metropolitan Opera in 1907. She called her performances The Remorse of Salome. She understood the body dance of the Far East, which had been termed "the houchee kouchee" when it was first observed at the Chicago World's Fair in 1893. She was part of a vaudeville show at Koster & Bial's Music Hall in October 1899. She danced in a scene at a French ball included in a skit entitled Around New York In Eighty Minutes. A review described her as “a young woman who was seemingly made up of muscle but without bones, and who would make an ordinary contortionist turn green with envy at his talk of suppleness.”
Her mid-waist was covered only by several yards of pearls. On occasion she wore tights or a picketfence skirt and a gossamer bodice. She once complained about the bodice being too warm and threatened to leave it off in the next day's show.
Although her appearances often provoked shock, La Sylphe confessed that her New York performances were tame in comparison to those she gave earlier in Europe. She performed as close a rendition of her "muscle dance" as she dared, given American conventions. However, she admitted that a more accurate interpretation of the Salome dance would have more closely followed the dances of the Orient.
30 Vintage Photos of Beautiful Female Partisans and Resistance Fighters During World War II
Role of women in organized opposition to the German occupiers of France and the Vichy Regime during World War II. The French Resistance, in which women played an integral role, consisted of various forms of opposition to Nazi and pro-Nazi rule in occupied and Vichy France during World War II.
Resistance against the Nazis and their collaborators took many forms. Besides armed combat, resisters collected and disseminated information and resistance-oriented news; they protected and hid fugitives and downed Allied pilots; and they obtained and transported messages, weapons, and news, planted explosives, assassinated Nazi officials, and provided support and logistical services. Women from all social, religious, and political affiliations became involved in the various activities of the resistance groups. These women, like men, joined the resistance for various reasons including their patriotic or political views, religious or ethical principles, or even due to a desire for adventure.
Resistance against the Nazis and their collaborators took many forms. Besides armed combat, resisters collected and disseminated information and resistance-oriented news; they protected and hid fugitives and downed Allied pilots; and they obtained and transported messages, weapons, and news, planted explosives, assassinated Nazi officials, and provided support and logistical services. Women from all social, religious, and political affiliations became involved in the various activities of the resistance groups. These women, like men, joined the resistance for various reasons including their patriotic or political views, religious or ethical principles, or even due to a desire for adventure.
January 25, 2018
In 1952, Georges Monneret Built an “Amphibious Vespa” for the Paris-London Race and Successfully Crossed the Channel on It
In 1952, French motorcycle racing champion Georges Monneret leaving Paris, France for for Calais, where he was met with a crew who installed a pair of custom pontoons to scooter. It was an amphibious craft powered by a 1952 125cc Vespa Douglas. From there, Monneret went about crossing the famed English Channel aboard the waterborne scooter.
This idea came to him by reading an Italian magazine in which an Italian, whose history did not remember his name, ventured on a lake with a scooter mounted on floats.
It all started with the Paris to London race in 1952. Georges had always been into racing so of course he wanted to not just win, but to beat a record while he was at it. He decided that the fastest way to England was via the channel but to cross he would have to build a craft that allowed him to take his Vespa on, cross and ride it back off. He set about designing such a craft, working out different techniques and learning watercraft engineering till eventually, it was born.
The craft consisted of two long aluminium pontoons, a wooden platform for the Vespa, a steering system that used the front wheel of the Vespa to steer the rudder and two rollers beneath the rear wheel to power the three bladed propeller via a three speed gearbox. The propeller could also be raised and lowered for beach landings. It was very simple but it worked. It was stable and the Vespa could be taken on and off to ride in a matter of minutes. It was perfect for the journey. The Vespa also had a larger fuel tank installed.
On October 8, 1952, at midnight, Georges Monneret left the Place de la Concorde in Paris with his destination set as Calais. The race had begun. All the opponents ride from Paris to Calais as fast as they could. After 4 hours and 55 minutes, Georges reached Calais, everyone else arrived later and they all went to the hotel for a drink while they waited for the next ferry. All except for one person, Georges.
He rolled out his watercraft while his opponents watched in amazement and jealousy. The craft was mechanically perfect and the Vespa was running brilliant. It seemed perfect, but of course here had to be one problem, the weather was not on his side. He strapped up the Vespa as tight as he could and set off out to the channel in good spirits. The waves were huge but he was determined to get his record. Unfortunately the heavy waves damaged the craft's drive shaft forcing him to turn back to Calais and make repairs as it was impossible to do it at sea.
At 8 am, Monneret set out again more determined than ever. He "rode" out of the harbour to find that luckily the weather had calmed down slightly making crossing the channel so much easier. He was thrown about by the remaining waves until he eventually made it to Dover at 5pm where he was greeted by the amazed and slightly shocked locals. He unstrapped the Vespa and hurried to London as quickly as he could. I'm happy to report that he did win the race and as a bonus, gained his record. Being that brave, he definitely deserved it. Overall it took him 15 hours from Paris to London.
Of course, crossing the Channel was only one of Monneret’s many feats, as the French motorcycle racer won 499 wins and 183 world records during his career, including winning the Circuit of Orleans in 1935, the Motorcycle Grand Prix of France in 1936, and placing second of the 1939 24 Hours of Le Mans.
(via Motorcycle Amino)
This idea came to him by reading an Italian magazine in which an Italian, whose history did not remember his name, ventured on a lake with a scooter mounted on floats.
It all started with the Paris to London race in 1952. Georges had always been into racing so of course he wanted to not just win, but to beat a record while he was at it. He decided that the fastest way to England was via the channel but to cross he would have to build a craft that allowed him to take his Vespa on, cross and ride it back off. He set about designing such a craft, working out different techniques and learning watercraft engineering till eventually, it was born.
The craft consisted of two long aluminium pontoons, a wooden platform for the Vespa, a steering system that used the front wheel of the Vespa to steer the rudder and two rollers beneath the rear wheel to power the three bladed propeller via a three speed gearbox. The propeller could also be raised and lowered for beach landings. It was very simple but it worked. It was stable and the Vespa could be taken on and off to ride in a matter of minutes. It was perfect for the journey. The Vespa also had a larger fuel tank installed.
On October 8, 1952, at midnight, Georges Monneret left the Place de la Concorde in Paris with his destination set as Calais. The race had begun. All the opponents ride from Paris to Calais as fast as they could. After 4 hours and 55 minutes, Georges reached Calais, everyone else arrived later and they all went to the hotel for a drink while they waited for the next ferry. All except for one person, Georges.
He rolled out his watercraft while his opponents watched in amazement and jealousy. The craft was mechanically perfect and the Vespa was running brilliant. It seemed perfect, but of course here had to be one problem, the weather was not on his side. He strapped up the Vespa as tight as he could and set off out to the channel in good spirits. The waves were huge but he was determined to get his record. Unfortunately the heavy waves damaged the craft's drive shaft forcing him to turn back to Calais and make repairs as it was impossible to do it at sea.
At 8 am, Monneret set out again more determined than ever. He "rode" out of the harbour to find that luckily the weather had calmed down slightly making crossing the channel so much easier. He was thrown about by the remaining waves until he eventually made it to Dover at 5pm where he was greeted by the amazed and slightly shocked locals. He unstrapped the Vespa and hurried to London as quickly as he could. I'm happy to report that he did win the race and as a bonus, gained his record. Being that brave, he definitely deserved it. Overall it took him 15 hours from Paris to London.
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| Georges Monneret arrives on Dover beach after successfully crossing the Channel on his Douglas Vespa motorbike balanced on a pair of floats. |
Of course, crossing the Channel was only one of Monneret’s many feats, as the French motorcycle racer won 499 wins and 183 world records during his career, including winning the Circuit of Orleans in 1935, the Motorcycle Grand Prix of France in 1936, and placing second of the 1939 24 Hours of Le Mans.
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| Georges Monneret during the "Fonds de Course" 1938 at Monthléry. |
(via Motorcycle Amino)
The Typical "Femme Fatale" of Early Hollywood Movies: 45 Gorgeous Pics of Lenore Ulric in the 1920s and 1930s
Lenore Ulric (1892-1970) was a star of the Broadway stage and Hollywood films of the silent-film and early sound era.
Ulric was discovered in 1913 by theater director David Belasco, who would go on to manage her stage career, she was noted for portraying fiery, hot-blooded women of the typical “femme fatale”.
“I'm all right when I'm acting. It's the stills that worry me. My cameraman said, 'Miss Ulric, you're fine when you're moving. But the minute I try to take a still of you, you get that set look.' He's right. I smile naturally for a second, and then it's forced. In the sad scenes I stare.” - Lenore Ulric.
Take a look at these gorgeous pictures to see the beauty of young Lenore Ulric from between the 1920s and 1930s.
Ulric was discovered in 1913 by theater director David Belasco, who would go on to manage her stage career, she was noted for portraying fiery, hot-blooded women of the typical “femme fatale”.
“I'm all right when I'm acting. It's the stills that worry me. My cameraman said, 'Miss Ulric, you're fine when you're moving. But the minute I try to take a still of you, you get that set look.' He's right. I smile naturally for a second, and then it's forced. In the sad scenes I stare.” - Lenore Ulric.
Take a look at these gorgeous pictures to see the beauty of young Lenore Ulric from between the 1920s and 1930s.
Early Ambrotype: 46 Incredible Portrait Photos of English People From the 1850s
The ambrotype, also known as a collodion positive in the UK, is a positive photograph on glass made by a variant of the wet plate collodion process. Like a print on paper, it is viewed by reflected light. Like the daguerreotype, which it replaced, and like the prints produced by a Polaroid camera, each is a unique original that could only be duplicated by using a camera to copy it.
The ambrotype was introduced in the 1850s. During the 1860s it was superseded by the tintype, a similar photograph on thin black-lacquered iron, hard to distinguish from an ambrotype if under glass.
These early ambrotypes that show portrait of English people, most from London, in the 1850s.
The ambrotype was introduced in the 1850s. During the 1860s it was superseded by the tintype, a similar photograph on thin black-lacquered iron, hard to distinguish from an ambrotype if under glass.
These early ambrotypes that show portrait of English people, most from London, in the 1850s.
January 24, 2018
Victorian Postmortem Photography: The Myth of the Stand Alone Corpse
Victorian postmortem photos did exist, no one denies that, however, they were never taken in a standing pose using a stand. It was impossible to take a life like standing postmortem photo, especially using a posing stand. The posing stand could never support the weight of a corpse, even a child, and they were never made to hold a person’s weight. A corpse in rigor mortis could not be posed and, a corpse not in rigor would be limp and heavy. The subject could not hold its own head and arms up, nor could it support it’s own weight on its feet with the help of a stand.
Posing stands were ONLY used to help a person keep still during long shutter exposures that could last up to a minute. Victorian postmortem photos were always taken in a reclining position, either leaning back in a seated position or lying flat. You may find some of children sitting in a parent’s lap, but they are never photographed standing or sitting up straight on their own. For some good information on how the posing stand was really used visit this website.
Although they’ve been identified as dead on many websites, no one from these images is deceased.
1. Girl Holding Money
This little girl look anxious about having her photo taken but she is not deceased. She is even holding some money in her left hand. It was probably given to her to calm and distract her during the photo session. You can also see a large motion blur on her left foot. She was definitely alive.
2. Mysterious Woman
Some say this is the corpse of a famous clairvoyant. However, it is a sculpture by Christine Elfman made of plaster and paper mâché. The dress is made of torn pieces of paper with the story of her family. Zoom and you can see the words. Not a postmortem.
3. Well Dressed Boy
This is another one that mystifies us. We see nothing that suggests this boy was dead. He's alert, holding his head up, and looking at the camera.
4. Not Victorian, But Quite A Story
This couple was not Victorian, and they were not dead. Someone made up a big story about the woman being dead two days, and the man , being in denial, and having a photo made. It is actually a photo booth photo that has been tinted.
5. The Bride
This bride is stiffly posed but she was alive, with her groom standing next to her. Her dried flowers do not mean death. They were an accepted embellishment, especially in the hot summer months when it was hard to keep flowers fresh.
Posing stands were ONLY used to help a person keep still during long shutter exposures that could last up to a minute. Victorian postmortem photos were always taken in a reclining position, either leaning back in a seated position or lying flat. You may find some of children sitting in a parent’s lap, but they are never photographed standing or sitting up straight on their own. For some good information on how the posing stand was really used visit this website.
Although they’ve been identified as dead on many websites, no one from these images is deceased.
1. Girl Holding Money
This little girl look anxious about having her photo taken but she is not deceased. She is even holding some money in her left hand. It was probably given to her to calm and distract her during the photo session. You can also see a large motion blur on her left foot. She was definitely alive.
2. Mysterious Woman
Some say this is the corpse of a famous clairvoyant. However, it is a sculpture by Christine Elfman made of plaster and paper mâché. The dress is made of torn pieces of paper with the story of her family. Zoom and you can see the words. Not a postmortem.
3. Well Dressed Boy
This is another one that mystifies us. We see nothing that suggests this boy was dead. He's alert, holding his head up, and looking at the camera.
4. Not Victorian, But Quite A Story
This couple was not Victorian, and they were not dead. Someone made up a big story about the woman being dead two days, and the man , being in denial, and having a photo made. It is actually a photo booth photo that has been tinted.
5. The Bride
This bride is stiffly posed but she was alive, with her groom standing next to her. Her dried flowers do not mean death. They were an accepted embellishment, especially in the hot summer months when it was hard to keep flowers fresh.
