Yesteryear

Dorian Gray: The Alluring Star of Italian Cinema’s Golden Years

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Dorian Gray (1931–2011), born Maria Luisa Mangini, was a notable Italian actress who rose to fame in the 1950s and ’60s. She is best known for her roles in several landmark Italian films, particularly those directed by cinematic masters.

Gray gained international recognition for her role as Jessy in Federico Fellini’s Oscar-winning film Nights of Cabiria (1957). That same year, she also appeared in Michelangelo Antonioni’s critically acclaimed Il grido (The Cry).

Gray was also a popular star in Italian comedies, often cast in glamorous and sensual roles. She retired from acting in 1965 after giving birth to her son and subsequently lived a very private life away from the public eye. These photos capture not only her beauty and elegance, but also the charm and mystery that made Dorian Gray an unforgettable presence on the screen.

The Iconic Image of Isambard Kingdom Brunel Standing Before the Launching Chains of the Great Eastern, 1857

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The famous photograph of Isambard Kingdom Brunel (1806–1859) standing in front of the massive launching chains of the Great Eastern is one of the most iconic images of the Industrial Revolution. It captures not only a great engineer but also the spirit of Victorian ambition and technological progress.

The photo was taken by Robert Howlett in November 1857. It shows the British engineer during the troubled first attempt to launch the SS Great Eastern, by far the largest ship constructed to that date. Brunel stands before a drum of chain used during the launching of the vessel. He carries his customary cigar case and his boots and trousers are muddy.

Brunel is smoking a cigar and his waistcoat is askew. His pose has been described as casual and self-assured. The image has become iconic of the industrial era and the 19th century, and has been included in many published collections of photographs. It was widely reproduced at the time of the ship’s launch in January 1858 and again after Brunel’s death in 1859.

Isambard Kingdom Brunel was a British engineer who constructed a number of innovative civil and railway engineering projects and, in 1845, the SS Great Britain, at that time the largest ship ever built. In 1853 he began construction of the SS Great Eastern, six times the tonnage of any vessel built before and a statement of Britain’s maritime supremacy. The project was one of Brunel’s last and most challenging. With the vessel measuring 692 feet (211 m) in length and 22,500 long tons (22,900 t) in weight, it proved difficult to launch. Beginning in November 1857, it took three months to launch, sideways down an inclined timber ramp.

The Illustrated Times wanted wood-engravings of the ship to accompany an article on its launch. Robert Howlett was commissioned to attend the shipyard and take suitable photographs which could be used to produce the engravings. Howlett was a partner at the London photography studio The Photographic Institution and had been taking photographs since 1852. He joined the studio in 1853 and had previously carried out a commission for Queen Victoria and Prince Albert to take portraits of Crimean War soldiers.

Harral’s wood-engraving, as published on January 16, 1858.

Howlett attended the shipbuilding site in Millwall, London, during the first launching attempt, attended by a crowd of 10,000 spectators, in November 1857. In addition to a series of photographs taken of the ship, he took six of Brunel, three portraits of him alone, and three of him among a group of other men. In his photographs Howlett, one of the first to photograph men in the workplace, purposely chose his shots to emphasise the size of the vessel. The photographs were taken on a box camera using the wet plate collodion technique, that allowed for greater detail and reduced exposure times. The process required that the plate be developed immediately so Howlett would have had to rush them to a darkroom on site, potentially a tent that he is known to have designed for the purpose.

One of the group photographs, which also shows three manual workers, has Brunel standing near to one of the checking drums which held long lengths of large chain used to restrain the ship as it was lowered down the ramp. This photograph has been referred to with the title The Great Eastern (wheel and chain drum) and a copy is in the collection of the Victoria and Albert Museum. The three individual photographs of Brunel all show him standing in front of a checking drum.

Brunel standing near a chain drum with the Great Eastern in the background.

His most famous of the individual photographs became known by the title Isambard Kingdom Brunel Standing Before the Launching Chains of the Great Eastern. In this photograph Brunel stands casually while smoking a cigar and looking out of shot, his hands in his trouser pockets. His trousers and boots are muddy and his waistcoat is askew. Brunel wears his cigar case slung across his shoulder, as was his practice when out in public. Having taken other photographs from an oblique angle Howlett moved his camera to a position directly in front of the drum.

In another of the individual photographs, Brunel is in a similar pose and clothes, but leaning against the chains and the camera is positioned to one side of the drum. In the third individual photograph (a stereogram produced in conjunction with George Downes) Brunel, wearing lighter trousers and without his pocket watch or cigar, is seated on a post in front of the chain drum. He looks directly at the camera with his right hand tucked into his waistcoat.

The photographs were important in providing positive publicity for the Great Eastern project, which was beset with delays and financial difficulties. The series of photographs became Howlett’s most famous work and was one of his last commissions; he died from fever in 1858.

Philip Mangone: Crafting Elegance in American Women’s Coats

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Philip Mangone (1884–1957) was an American fashion designer and tailor best known for his stylish, high-quality coats that became especially popular during the 1930s and 1940s. Based in New York, Mangone built his reputation on creating elegant outerwear for women, garments that combined practicality with refined design. His coats were praised for their clean lines, careful tailoring, and luxurious fabrics, making them both fashionable and durable in an era when clothing was expected to last.

Mangone’s name became well recognized in American department stores, and his label was often associated with modern, sophisticated women’s fashion. His designs were frequently featured in advertisements and fashion magazines, reflecting his role in shaping mid-20th-century American style.

Mangone was also a passenger on the Hindenburg zeppelin when it crashed in 1937. He survived with severe burns and spent a year in recovery in hospitals. The first thing he did when released was to take a flight to Chicago, to prove to himself that he was still not afraid to fly. These photos showcase not only his refined tailoring and stylish designs, but also the sense of sophistication and practicality that defined Mangone’s contribution to mid-20th-century fashion.

Marilyn Ambrose in black or gray Juilliard wool greatcape hooded with nutria by Philip Mangone at Bonwit Teller, photo by Richard Avedon, Harper’s Bazaar, October 1945

Marilyn Ambrose in swashbuckling wool gabardine suit slashed with black rayon velvet by Philip Mangone at Seidenbach’s, Harper’s Bazaar, September 1945

Maureen Zollman in 3/4 gabardine coat by Philip Mangone, fez by Lilly Daché, pumps by Andrew Geller at Frost Bros. San Antonio, Vogue, February 1, 1945

Model in powder blue-and-black houndstooth cape and suit by Philip Mangone, Vogue, March 1, 1945

Betty Bridgers in black-and-white checked wool coat with buttons and belt in bright red leather by Philip Mangone, white hat by John Frederics, photo by Genevieve Naylor, Harper’s Bazaar, March 1946

The Creepy Story of Dr. Carl Tanzler, Who Fell in Love With His Deceased Patient, and Took Her Body Home to Preserve Her

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Georg Carl Tänzler, also known as Count Carl von Cosel (February 8, 1877 – July 3, 1952), was a German-born American radiology technologist at the Marine-Hospital Service in Key West, Florida, United States. He developed an obsession with a young Cuban-American tuberculosis patient, Elena “Helen” Milagro de Hoyos (July 31, 1909 – October 25, 1931), that carried on well after her death. In 1933, almost two years after her death, Tanzler removed Hoyos’ body from its tomb and lived with the corpse at his home for seven years until its discovery by Hoyos’ relatives and authorities in 1940.

On April 22, 1930, while working at the Marine Hospital in Key West, Tanzler met Maria Elena Milagro de Hoyos, a local Cuban-American woman who had been brought to the hospital by her mother for an examination. Although he was already married with 2 daughters, Tanzler was immediately struck by Elena’s appearance. He recognized her from a vision he had many years ago, when his dead ancestor Countess Anna Constantia von Brockdorff came to him in a dream and showed him the face of his true love and soulmate: a gorgeous dark-haired woman who looked exactly like Elena.

Elena Milagro Hoyos

Elena was 21 years old, and the daughter of a Cuban cigar maker, whose life was already marred by tragedy. By all appearances, she was an attractive dark haired beauty queen who often wore red roses in her hair, drawing the attention of strangers who desired to photograph and court her. But death was creeping up close and fast.

Elena was subsequently diagnosed with tuberculosis, a disease typically fatal at the time and which eventually would claim the lives of almost all of her immediate family. Tanzler attempted to cure Elena with a variety of treatments, remedies, X-rays, and other medical equipment that were brought to the Hoyos’ home. Tanzler also showered Elena with gifts of jewelry and clothing, and allegedly professed his love to her, but no evidence has surfaced to show that Elena reciprocated any of his affection.

Despite Tanzler’s best efforts, Elena died of tuberculosis at her parents’ home in Key West on October 25, 1931. She was only 22. He was devastated. Before she died, Carl wrote in his journal how he “had hopes that, despite the extensive damage, the lesions would heal again. I had hopes that, when Elena was out of danger, we would get married. As long as she lived I never abandoned hope.”

With the consent of her family, Tanzler paid for Elena’s funeral and erected an elaborate mausoleum for her corpse. He had her coffin lined with formaldehyde and other preserving agents, and had a special key made for himself so he could come and go as he pleased. Tanzler spent hours at Elena’s gravesite everyday, talking to her corpse, singing songs to her, reading stories, and other crazy activities. This went on for two years.

The mausoleum, more like a tiny home than a crypt.

One evening in April 1933, Tanzler crept through the cemetery where Elena was buried and removed her body from the mausoleum, carting it through the cemetery after dark on a toy wagon, and transported it to his home. He reportedly said that Elena’s spirit would come to him when he would sit by her grave and serenade her corpse with a favorite Spanish song. He also said that she would often tell him to take her from the grave.

Tanzler wrote in his memoirs: “Elena, my darling, we are alone on this shore. He who has given you to me, will not reject our souls, united as they are in His undying love.”

He attached the corpse’s bones with piano wire and fitted the face with glass eyes. As the skin of the corpse decomposed, Tanzler replaced it with silk cloth soaked in wax and plaster of Paris. As the hair fell out of Elena’s decomposing scalp, Tanzler fashioned a wig from her hair, which he had previously obtained from her mother. Tanzler filled the corpse’s abdominal and chest cavity with rags to keep the original form, dressed Elena’s remains in stockings, jewelry, and gloves and kept the body in his bed. Tanzler also used copious amounts of perfume, disinfectants, and preserving agents to mask the odor and forestall the effects of the corpse’s decomposition.

The corpse of Elena encased in wax and plaster circa 1940

In Tanzler’s autobiography, he does confess to kissing and cuddling Maria’s cadaver. He slept with the body in his bed, but he kept a curtain between them because he was an extreme gentleman. It isn’t very far off to believe that necrophilia played a part in this twisted romance, but it’s important to remember these claims are not fully proven.

At this point, Carl had lost his job at the hospital and was living in a remote shack which also housed his laboratory. His behaviour became too erratic to hold a job, and the hospital had found out he was stealing medical equipment from them.

Carl had basically abandoned his wife and children, and was more content living with a dead body than a live woman. For some reason, his wife Doris took pity on him and regularly mailed him money to help him survive his destitute situation.

Photograph of the Oldest House in Hamburg, Germany, Taken in 1898

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This was once the oldest building in Hamburg, Germany. It was built in 1504 and was demolished in 1910. The photo was taken from 1898.

Built in 1504, the house stood as a unique survivor of centuries of urban change, including the Great Fire of 1842 and the extensive urban development that swept through the city in the late 19th and early 20th centuries. It was a half-timbered structure, a style that was once common in Hamburg but became increasingly rare as the city modernized.

In the late 19th century, with a growing population and the need for new infrastructure, Hamburg underwent a massive redevelopment. The Gängeviertel district, where the house was located, was particularly targeted for demolition and reconstruction. This was part of a larger push to create a modern city, with wider streets and commercial buildings.

Despite its historical significance and protests from the public, the decision was made to demolish the house. On December 8, 1910, the nearly 400-year-old building was torn down in a matter of hours. Its demolition was a symbol of the city’s commitment to progress, but it also represented the permanent loss of a tangible link to Hamburg’s medieval past.

Portraits of Sophia Loren Featured on Tempo Magazine Covers From the 1950s and 1960s

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Tempo (literally Time) was an illustrated weekly news magazine published in Milan, Italy, between 1939 and 1976 with a temporary interruption during World War II. The magazine was launched by the Mondadori family (Alberto/Arnoldo Mondadori’s group) and later associated with other publishers; notable editorial figures connected with the title include Alberto Mondadori and journalists of the era. Tempo was part of Mondadori’s expansion of mass-market weeklies in postwar Italy.

Tempo was modeled after prominent American magazines like Life and Newsweek, making it the first full-color illustrated magazine in Italy. It pioneered the use of “photo-texts,” a storytelling style that combined images with captions.

The 1950s–60s issues are notable for strong photographic covers and celebrity portraits — Hollywood and Italian film stars frequently appeared on the front (Marilyn Monroe, Sophia Loren and other movie names turn up on many issues and collectors’ listings). The graphic approach and photography made Tempo visually influential in Italy’s postwar magazine scene.

During the 1940s–60s Tempo was among the leading weekly titles shaping public discussion of politics, culture and popular life. It’s often referenced in studies of Italian mass media and graphic design of the period (the magazine is cited in histories of Mondadori and of Italian magazine design). Copies and covers are now collectible and often appear in archives, auctions and vintage-magazine sales.

Below is a collection of 15 wonderful Tempo covers that featured Sophia Loren from between the 1950s and 1960s:

Alexei Stepanov: A Poet of the Russian Countryside in Paint

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Alexei Stepanov was a Russian painter, illustrator, and art teacher whose works captured the quiet dignity of rural life and the beauty of the natural world. Born in 1858 in Simferopol, Crimea, he trained at the Moscow School of Painting, Sculpture, and Architecture, where he developed a deep interest in depicting animals, landscapes, and scenes of everyday peasant life.

Stepanov became associated with the Peredvizhniki (the Wanderers), the group of realist painters who rejected academic traditions and sought to bring art to the people by portraying real social issues and organizing traveling exhibitions across Russia. His canvases often blended lyricism with realism: serene rivers, meadows at dusk, and rustic figures at work or rest. He was particularly noted for his skill in painting horses and rural scenes, which conveyed both natural detail and poetic atmosphere.

Beyond painting, Stepanov was also a respected teacher at the Moscow School of Painting, where he influenced a younger generation of artists with his dedication to sincerity and observation in art. He died in 1923, leaving behind a body of work that reflects both the Russian countryside and the values of an artist committed to truth and humanity.

Today, Stepanov’s paintings remain admired for their simplicity, warmth, and the way they bridge realism with quiet lyricism. These works reflect not only his mastery of realism, but also the quiet lyricism and human warmth that made him a true interpreter of rural Russia.

Cranes Flying

After the Hunt

Arrival of the Teacher

At the Volga

Autumn

Sydney in the Late 19th Century Through Fascinating Photos

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In the late 19th century, Sydney underwent a dramatic transformation from a colonial port to a thriving metropolis. The period was marked by an economic boom that fueled rapid urban expansion and an architectural renaissance. Grand Victorian buildings like the Sydney Town Hall and the Queen Victoria Building were constructed, reflecting the city’s newfound wealth.

While the city’s landscape was changing, so was its society. New tram lines and railways connected a growing number of suburbs to the city center, but stark social contrasts remained between the wealthy and the working class.

Despite these divisions, Sydney was a vibrant and lively place. Its bustling harbor was filled with ships, and its streets buzzed with a mix of horse-drawn carriages and pedestrians. The city also saw significant technological progress with the introduction of electric lighting and modern sanitation systems, solidifying its place as a sophisticated urban center on the global stage.

These photographs of Sydney in 1892–93 are from Fred Hardie – Photographs of Sydney, Newcastle, New South Wales and Aboriginals for George Washington Wilson & Co., 1892–1893. Fred Hardie was the company photographer for G. W. Wilson & Co. of Aberdeen, Scotland, the world’s largest view photography company at the time.

Castlereagh Street, Sydney, from near King Street, 1892-93

Circular Quay, Sydney, 1892-93

City of Sydney, 1892-93

Darling Harbour from Balmain, Sydney, 1892-93

20 Amazing Photographs of Cass Elliot on Stage in the 1960s and 1970s

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Cass Elliot (September 19, 1941 – July 29, 1974), also known as “Mama Cass,” was a powerful and charismatic presence on stage in the 1960s, both as a member of The Mamas & the Papas and in her subsequent solo career. She was a central figure in the Laurel Canyon music scene and a defining voice of the counterculture movement.

Elliot’s voice was her most defining asset. She had a distinctive, clear, and powerful contralto that stood out. Her ability to deliver both strong, earthy tones and soaring, harmonious vocals was a major factor in the success of The Mamas & the Papas’ sound. She was often credited with being the group’s “powerhouse voice,” and she was crucial to their layered, folk-rock harmonies.

On stage, Cass was known for her immense charisma, warmth, and self-deprecating wit. She used humor to connect with the audience, often addressing her weight and other personal struggles with a “caustic wit” that became her trademark. This authenticity endeared her to crowds and made her a beloved figure, as she defied the typical “waifish blonde girl singer” image of the era.

Her fashion was an iconic representation of the 1960s. She had an eye for “gorgeous patterns,” and her outfits often featured bold colors, flowing fabrics, and a bohemian aesthetic. She was seen as a glamorous and magnetic figure, with a sense of style that was a knockout despite the limited options available for her body type at the time.

As a member of The Mamas & the Papas, Cass was not just a singer; she was a major component of their stage dynamic. While John Phillips was the bandleader, Cass was the performer who knew how to capture an audience’s attention. A 1967 New York Magazine review said, “She is a star, not despite her weight or because of it, but beyond it. Cass is a horizon.”

After the group’s breakup in 1968, Cass embarked on a solo career. Her hit “Dream a Little Dream of Me” became her signature song and a staple of her live performances. However, her solo live debut at Caesars Palace in Las Vegas in October 1968 was a notable struggle. Having recently lost a significant amount of weight on a crash diet and dealing with a raging fever, her voice was weak and the show was poorly received. She apologized to the audience but persevered, ultimately finding great success with later solo shows and television appearances.

Lita Ford Posing With a Corvette Sports Car at a Gas Station in Chicago, September 1984

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In 1984, Lita Ford’s solo career was gaining momentum with the release of her second album, Dancin’ on the Edge, on Mercury Records. The album was a moderate commercial success, reaching No. 66 on the US Billboard 200 chart and earning her a Grammy nomination for Best Female Rock Vocal Performance.

The album featured the singles “Gotta Let Go” and “Dressed to Kill.” The music video for “Dressed to Kill” included a cameo by her then-fiancé, Tony Iommi of Black Sabbath. She toured extensively to support the album throughout the year.

Known as one of the few prominent female lead guitarists in the male-dominated metal scene. Her image balanced fierce musicianship with MTV-friendly glamour, making her a trailblazer for women in hard rock. Here, some amazing portraits of Lita Ford posing with guitar and a Corvette sports car at a gas station in Chicago taken by Paul Natkin on September 30, 1984.