Though successful early on, personal tragedies and financial hardship led to his death in poverty in a workhouse. His work remains a notable part of 19th-century British landscape painting. Below is a curated collection of beautiful 19th-century landscape paintings by Walter Heath Williams.

Eagels also transitioned to film during the silent era and made a few notable talkies. Her most remembered film is The Letter (1929), for which she received a posthumous Academy Award nomination for Best Actress—making her the first performer to be nominated after death.

Eagels was known for her intense performances on stage and screen, as well as for her tumultuous personal life. A complex and talented figure of early 20th-century entertainment, she became one of Broadway’s most compelling dramatic actresses during the 1920s, earning lasting recognition for her portrayal of Sadie Thompson in the play Rain.

Her personal life, however, was marked by instability, including struggles with substance abuse, legal troubles, and health issues. She was suspended by Actors’ Equity for unprofessional behavior, and her addictions ultimately contributed to her early death at the age of 39 in 1929, reportedly from a heroin overdose, though the exact cause remains disputed.

Take a look at these fabulous photos to see portraits of Jeanne Eagels in the 1910s and 1920s.

Leupin was a leading exponent of the “Sachplakat” or “Object Poster” style, which emphasizes realistic depictions of products with minimal background detail. His work often featured anthropomorphized animals and playful visual puns, bringing a sense of humor and charm to commercial advertising.

Throughout his career, Leupin created over 500 posters, earning numerous accolades, including 89 awards from the Swiss Poster of the Year competitions. His work was featured in prestigious exhibitions worldwide, including the documenta III in Kassel in 1964 and the Ginza Graphic Gallery in Tokyo in 1998. In his later years, he also illustrated children’s books and pursued painting.

Enjoy this striking selection of 1940s advertising posters by Herbert Leupin.

Born in Boulogne-sur-Seine, close to Paris, France, on December 5, 1905 to the Grand Duke Paul Alexandrovich of Russia and Olga Valeriovna Karnovich. Before she was even born, her parents were banned from returning the Motherland for marrying morganatically, a condition that then changed in 1912 when the Tzar Nicholas II revoked their exile and let them come back to St.Petersburg for the celebrations for the tercentenary of the Romanov dynasty. To no one’s surprise, her family lived a privileged life in Russia until the October revolution of 1917.

Escaping first to Finland, then to Sweden and finally to France, Natalia and what was left of her close family (her sister Irina, her mother Olga and her half sister Marianne) settled in a villa in Biarritz, on the Atlantic coast.

Throughout her adolescence, she had difficulties with mixing with other girls her age, later recalling those moments in a seminal interview with a fashion magazine: “(I felt) so different from the others. At twelve, French girls were still reading Robinson Crusoe and watching Douglas Fairbanks movies. At twelve, I was taking some bread to my father in jail. How could I have been like them? I was mute, I would not play. But I was reading a lot. I had faced death, so close. My father, my brother, my cousins, my uncles, executed, all Romanov’s blood splashed on my adolescence. This gave me a taste for sad things, poetry, the icy and lightning antechamber of death. Soon, my classmates understood me. And respected the way I was, as strange as it may have seemed.”

Her modeling career was her primary focus during this period, before she began to pursue a film career in the mid-1930s. Her mother passed away in 1929, marking a further separation from her Russian past.

In rural areas, brides typically wore richly embroidered blouses, long woven skirts, and ornate headpieces or veils, while grooms donned traditional wool coats, wide belts, and hats. These garments often featured intricate patterns specific to their region, serving as a visual expression of identity and community.

In urban settings, Western-style wedding fashion began to take hold. Brides increasingly chose white dresses with lace, long veils, and floral bouquets, while grooms wore suits or tuxedos, mirroring styles seen in Western Europe at the time.

Regardless of location, weddings remained highly ceremonial, often including godparents (nași), who played a central role in the religious and social aspects of the marriage. These sponsors were not only witnesses but also lifelong mentors to the couple.

These lovely photos from this period capture a transitional time in Romanian wedding culture—where tradition met modernity, and local identity was proudly displayed alongside evolving global trends.

In the early 1980s, Siouxsie Sioux and Kid Congo Powers visited Disneyland in Anaheim, California, accompanied by photographer Donna Santisi, Randy Kaye, and Marcy Blaustein. Santisi captured a series of candid black and white photographs during this visit, showcasing the punk icons enjoying various attractions. Notably, Siouxsie was initially approached by park security, who mistook her distinctive appearance for that of a park attraction. After some discussion, she was allowed to stay, provided she covered up with a friend’s raincoat, and the group was discreetly monitored by security throughout their visit.

The photographs from this day include images of Siouxsie and Kid Congo Powers on the Tomorrowland Rocket Jets and interacting with Disney characters like Br’er Fox. These images offer a glimpse into a lighter, more playful side of the artists, contrasting with their onstage personas.

Donna Santisi, known for her work documenting the LA punk scene in the late 1970s and early 1980s, included some of these Disneyland photos:

“One day Siouxsie Sioux wanted to go to Disneyland. It was Sioux, Kid Congo, Marcy Blaustein, Randy Kaye, and me. Sioux was really excited when we got there but once we were on Main Street, two security men came up to her and told her she had to leave. They said that she looked like an attraction and it would confuse the people in the park. Siouxsie was telling the men that she just wanted to see everything and go on the rides. They finally agreed that Sioux could stay if she covered up with Randy’s raincoat. We were followed all day by several security people with walkie talkies.”