Yesteryear

20 Candid Photographs Capture Everyday Life of the Rising Star Dustin Hoffman in 1969

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In 1969, John Dominis photographed a 31-year-old Dustin Hoffman for LIFE magazine, capturing the actor at a pivotal moment in his rising career. These photographs came shortly after Hoffman’s breakout performance in The Graduate (1967), which had catapulted him to stardom.

John Dominis, known for his intimate and candid photojournalism, documented Hoffman in a variety of natural and relaxed settings. The series of photos shows Hoffman both at work and at home, offering a look into the life of a young, unconventional Hollywood actor navigating newfound fame.

At the time, Hoffman was starring in and directing the play Jimmy Shine in New York City, and was also filming the movie John and Mary with Mia Farrow. Many of the photos here captured Hoffman with his first wife, Anne Byrne, and her daughter, Karina, as he was just beginning to achieve widespread fame after the success of The Graduate and Midnight Cowboy. The article in the July 11, 1969, issue of LIFE quotes Hoffman saying, “I don’t think at 50 you should be doing what you did when you were 30,” and expressing a desire to become a director. He also admitted, “I don’t know many actors who enjoy the work of acting. I like the adulation, the money, the whole gimmick of it, but I don’t think I’m a natural actor.”

These images reflected the countercultural shift of the late 1960s. Hoffman’s non-traditional looks and quirky charm stood in contrast to the classic Hollywood leading men of previous decades. Dominis used natural light and close framing to emphasize Hoffman’s expressive features and unique charisma.

Dustin Hoffman, 1969.

Dustin Hoffman with his stepdaughter Karina, 1969.

Dustin Hoffman signs autographs outside the theater where he starred in the play (which he also directed), Jimmy Shine, New York City, 1969.

A Gallery of 50 Stunning Black and White Portraits of Sylvia Sidney in the 1930s

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Sylvia Sidney (born Sophia Kosow; August 8, 1910 – July 1, 1999) was an American stage, screen, and film actress whose career spanned 70 years. She rose to prominence in dozens of leading roles in the 1930s. She was nominated for the Academy Award for Best Supporting Actress for her performance in Summer Wishes, Winter Dreams in 1973. She later gained attention for her role as Juno, a case worker in the afterlife, in Tim Burton’s 1988 film Beetlejuice, for which she won a Saturn Award for Best Supporting Actress.

Sidney was one of the most striking and talented actresses of the 1930s. Known for her delicate beauty, soulful eyes, and emotionally resonant performances, she was a major star of the Depression-era screen. In her 1930s heyday, Sidney was constantly cast as the victim of circumstance, hovering at the very bottom of the economic ladder, mixed up in crime and usually winding up in or near jail. “I was paid by the tear,” Sidney joked later, and that knowing comment is a measure of just how different she was from her on-screen persona.

Sidney’s filmography in the 1930s is a testament to her success and versatility, even while being typecast in tragic roles. She worked with some of the most acclaimed directors of the time. Her career took off with films that explored social issues. She starred in Rouben Mamoulian’s City Streets (1931), An American Tragedy (1931) directed by Josef von Sternberg, and King Vidor’s Street Scene (1931). These roles often cast her as a young woman dealing with poverty and crime.

Sidney starred in two major thrillers by master directors: Alfred Hitchcock’s Sabotage (1936) and Fritz Lang’s Fury (1936) and You Only Live Once (1937). These films showcased her dramatic range and cemented her legacy. She appeared opposite leading men like Gary Cooper, Spencer Tracy, Henry Fonda, and Cary Grant, solidifying her status as a major Hollywood star.

Despite her on-screen persona of a meek, suffering woman, Sylvia Sidney was known off-screen for being witty, sharp-witted, and reputedly difficult to work with. She was one of the highest-paid actresses in the industry, earning as much as $10,000 a week at the time of filming Sabotage (1936). While she grew tired of being typecast, her work in the 1930s made her an enduring symbol of the Depression-era film industry.

Marilyn Maxwell: A Leading Lady in Hollywood of the 1940s and ’50s

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Marilyn Maxwell (1921–1972) was an American actress and singer whose career spanned film, radio, and television. Born Marvel Marilyn Ehlers, she began her career as a singer, performing with big bands before being discovered and signed by Metro-Goldwyn-Mayer (MGM) in the early 1940s.

Maxwell quickly became a popular fixture in Hollywood, often cast in lively and glamorous roles. Some of her most notable film credits include the wartime comedy Swing Fever (1943), the musical Du Barry Was a Lady (1943), and the comedy The Lemon Drop Kid (1951), where she starred alongside Bob Hope. Her association with Bob Hope was significant; she toured extensively with him on USO shows to entertain American troops during World War II and the Korean War, earning her a reputation as a beloved entertainer and pin-up girl.

In addition to her acting, Maxwell maintained a successful singing career. She recorded several popular songs and was a regular on radio programs. She transitioned to television in the 1950s, appearing in various sitcoms and dramatic series. Despite a career that showcased her talents as both a performer and a captivating personality, she tragically passed away at the age of 51.

Take a look at these gorgeous photos to see the beauty of a young Marilyn Maxwell from the 1940s.

Before She Was Glinda the Good Witch, 30 Vintage Postcards of a Very Young and Beautiful Billie Burke From the 1900s

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Silent movie star Billie Burke once said of Hollywood, “To survive there, you need the ambition of a Latin-American revolutionary, the ego of a grand opera tenor and the physical stamina of a cow pony.” She had an almost six-decade career in show business, was the highest-paid star in silent movies for a while, and had a turbulent marriage as the second wife of Broadway impresario Florenz Ziegfeld, but she is mostly remembered as Glinda the Good Witch in The Wizard of Oz.

She was born Mary William Ethelbert Appleton Burke in Washington, D.C. on August 7, 1884. Her father was a singer and clown for the Barnum & Bailey Circus, and she toured with her family in the United States and Europe. The family eventually settled in London, where Burke made her stage debut at age 18 in The School Girl (1903). She went on to appear in other London shows, including The Duchess of Dantzic (1903) and The Blue Moon (1904).

Burke returned to the United States in 1907 and became a star on Broadway. Her first starring role on Broadway was in Love Watches in 1908. She went on to have leading roles in other Broadway musical comedies during this period, including Mrs. Dot, Suzanne, The Runaway, and The “Mind the Paint” Girl. In 1910, she purchased a lavish estate in Hastings-on-Hudson, New York, which she named Burkeley Crest.

In 1914, she married theatrical producer Florenz Ziegfeld, Jr., and they had one daughter, Patricia, in 1916. Burke started her film career in 1915 with the silent film Peggy. She was an immediate success and became one of the highest-paid actresses of the silent film era. After a period away from Hollywood to focus on the stage and raising her daughter, she returned to film following the 1929 stock market crash, which had a negative impact on her family’s finances.

Her comeback came in 1932 with A Bill of Divorcement, where she played Katharine Hepburn’s mother in Hepburn’s debut film. Her husband, Florenz Ziegfeld, passed away during the production of the film. Burke went on to have a successful career in sound films, often typecast as a “ditzy, feather-brained upper-class matron.” Her most famous role is Glinda the Good Witch in The Wizard of Oz (1939). She received her only Academy Award nomination for her performance in the film Merrily We Live (1938).

In addition to her film work, Burke also had a career on radio and television. She had her own radio program, The Billie Burke Show, from 1943 to 1946, and a television talk show, At Home with Billie Burke, from 1951 to 1952. She made her final screen appearance in the film Sergeant Rutledge in 1960. Billie Burke died on May 14, 1970, at the age of 85.

Neues Palais: The Timeless Interior Beauty in Late 19th-Century Photos

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The Neues Palais, or “New Palace,” in Darmstadt, Germany, was the last grand urban residence of the House of Hesse. Built in the Neo-Renaissance style between 1862 and 1865, it served as the home for Grand Duchess Alice of Hesse and her husband, Grand Duke Louis IV.

The palace was particularly significant due to its royal connections, as Grand Duchess Alice was a daughter of Queen Victoria of the United Kingdom. Sadly, the Neues Palais was almost completely destroyed in a bombing of Darmstadt during World War II. The remaining ruins were eventually demolished, and the building no longer exists today. Its memory and historical significance are preserved through archival photographs and historical accounts.

These rare photos will take you back to the interiors of the Neues Palais in the 1890s.

Darmstadt, Neues Palais. Balcony room, 1891

Darmstadt, Neues Palais. Bedroom of ‘Princess Ludwig of Battenberg’ (born Princess Victoria of Hesse and by Rhine, later Lady Mountbatten, 1863-1950), 1891

Darmstadt, Neues Palais. Bedroom of Princess Alix, 1891

Darmstadt, Neues Palais. Bedroom of the ‘Highest Majesties,’ 1891 (Grand Duchess Alice of Hesse and by Rhine, born Princess of Great Britain, and Grand Duke Louis IV), 1891

Darmstadt, Neues Palais. Dining hall, 1891

Beautiful Fashion Designs by Guy Laroche in the 1960s

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Guy Laroche (1921–1989) was a renowned French fashion designer and the founder of his eponymous fashion house. He is celebrated for his sophisticated yet practical approach to haute couture, with a goal of creating elegant and wearable clothing for women.

After working as an assistant to Jean Dessès, Laroche opened his own atelier in Paris in 1957. His first collection was an immediate success, known for its reintroduction of vibrant colors and for its elegant silhouettes with plunging necklines and backs. He was a pioneer in making high fashion more accessible.

In 1961, Laroche launched a ready-to-wear collection, a significant move that helped democratize fashion. His brand expanded to include men’s ready-to-wear and a line of successful fragrances, including the iconic Fidji and Drakkar Noir.

After his death, the Guy Laroche fashion house continued to operate under a succession of talented creative directors, and his legacy endures as a symbol of French elegance that blended classic tailoring with a fresh, modern sensibility. Below is a collection of beautiful photos showcasing fashion designs by Guy Laroche in the 1960s.

Ina Balke in checked wool suit by Guy Laroche, photo by Jean-Jacques Bugat, 1960

Dorothea McGowan in ginger and black habutai silk dress with a big full pleat in back designed by Guy Laroche, beige jersey salad bowl hat by Lilly Daché, photo by Sante Forlano, Vogue, July 1, 1960

Gitta Schilling in brown and black pin-check tweed jumper dress, the black scarf-collar is slotted through the front, black bands on the 3/4 sleeves, matching tweed hat, by Guy Laroche, photo by Richard Dormer, Harper’s Bazaar UK, September 1960

Laurence Renault-Cane in black chiffon cocktail dress banded in satin by Guy Laroche, photo by Georges Saad, 1960

Laurence Renault-Cane in sparkling fully beaded sheath by Guy Laroche, photo by Georges Saad, 1960

Black and White Portraits of Andy Warhol in Drag Taken by Christopher Makos, 1981

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Andy Warhol called his friend Christopher Makos “the most modern photographer in America.” In 1981, the New York-based photographer and the Pop Art legend retreated to Makos’s studio with a variety of wigs and makeup for a two-day photo session. The result is a series of impressive black and white portraits. Titled Altered Image, the series was a deliberate exploration of gender identity and self-perception, blending Warhol’s fascination with fame, transformation, and pop culture.

Makos, a prominent photographer and part of Warhol’s inner circle, was known for his bold, avant-garde portraits. He had also introduced Warhol to punk and new wave aesthetics. The Altered Image project featured Andy Warhol wearing wigs, heavy makeup, and women’s clothing. However, rather than impersonating specific women, Warhol maintained a blank expression — mirroring his signature emotional neutrality and reinforcing themes of identity ambiguity and artifice.

“He didn’t want to look like a beautiful woman, he wanted to show the way it felt to be beautiful, Makos said. “As the 1980s began, Andy Warhol and I decided that we would collaborate together on a project. Impatient as I was, there was one thing I was sure of. We should do something unique, without imitating anything that had been done before by Andy, whose work by then was world-famous. Later in the ‘80s, Andy would collaborate on painting projects with other friends in our circle like Keith Haring and Jean Michel Basquiat. But my collaboration with Andy was about photography.”

“Andy always felt like a weirdo or a freak, never like one of the cool kids,” he said to Dazed. “But whenever we did photoshoots like this, where he could dress up or look his best, he really enjoyed that. The Altered Image project took him to another level.”

In total, they created 365 shots of Warhol in drag, one for each day of the year, and with five different wigs. The Altered Image series is often discussed in the context of queer art history, gender performance, and Warhol’s preoccupation with surface vs. identity. Today, the series is seen as both subversive and introspective, highlighting Warhol’s awareness of the performative aspects of both fame and selfhood.

Lucille Ball at a Bowling Alley, ca. 1940s

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Lucille Ball had a well-known love for bowling, and one charming story highlights both her competitive spirit and her sense of humor.

During the 1950s, at the height of I Love Lucy’s popularity, Lucille Ball and Desi Arnaz often bowled together in celebrity leagues and charity events. Lucy was surprisingly serious about the game. According to friends and co-stars, she could be fiercely competitive on the lanes — always wanting to improve her game and win.

One story frequently told by those who knew her: Lucille was once bowling with a group of friends and kept missing easy spares. Frustrated, she dramatically flopped down on the ball return in mock despair, declaring: “How can I be America’s favorite redhead when I can’t even knock down ten pins?!”

Her friends roared with laughter — typical Lucy — turning her own frustration into a perfectly timed bit. That blend of physical comedy and quick wit was her real-life personality too.

Later in life, she even had a small bowling lane installed in her home so she could practice privately. Lucie Arnaz, her daughter, once joked that Lucy would bowl in full makeup and outfit, as if ready to walk onto a sitcom set at any moment.

Fabulous Portraits of Gyongyi Armstrong as a Fashion Model From the 1950s

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Born 1926 as Gyoyegyver Balasz in a wealthy Transylvanian family, fashion model and painter Gyongyi Armstrong was active in the mid-20th century, particularly in the late 1940s and 1950s. She was known for her elegant and poised presence in the world of high fashion, appearing in major magazines like Vogue and Harper’s Bazaar.

Armstrong modeled for top couturiers of the time, including designs by Jacques Fath and Adele Simpson. She was photographed by legendary fashion photographers such as Horst P. Horst, John Rawlings, and Clifford Coffin. One of her notable photos, taken by her husband Jerry Plucer-Sarna, famously depicts her smoking while modeling.

Armstrong passed away in 2013, leaving behind a legacy as a notable model and a creative individual from a pivotal era in fashion history. Take a look at these fabulous photos to see portraits of Gyongyi Armstrong as a fashion model From the 1950s.

Gyongyi Armstrong in spring ball-gown of souffle de soie and ostrich feathers by Irene, kidskin sandals by Mademoiselle, photo by Cecil Beaton in front of a Jackson Pollock painting, Vogue, March 1, 1951

Gyongyi Armstrong in short ball gown, butterfly-light in a silk paper taffeta, the pink bow a lift of color to balance the side-flight of the skirt, made to order at Henri Bendel, photo by Cecil Beaton, Vogue, March 1, 1951

Gyongyi Armstrong in a suede finish Botany wool brown jacket and a Miron worsted checked flannel dress, photo by Horst P. Horst, Vogue, February 15, 1951

Gyongyi Armstrong in Botany wool brown jacket and a Miron worsted checked flannel dress with a linen collar and cuffs, photo by Horst P. Horst, Vogue, February 15, 1951

Gyongyi Armstrong in nearly sheer cotton dress with tucks woven into it, photo by Louise Dahl-Wolfe, Harper’s Bazaar, June 1951

Andrée Geulen, Belgian Teacher Who Helped Rescue Thousands of Jewish Children From the Nazis During the Holocaust

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Andrée Geulen was born in Schaerbeek, a suburb of Brussels, on September 6, 1921 into a liberal family of the urban bourgeoisie. After the German invasion of Belgium in May 1940, the country was placed under military occupation and Geulen became a schoolteacher and received a job in a primary school in central Brussels in 1942.

Portrait of a young Andrée Guelen.

Andrée was just 18 years old when the Nazis occupied Belgium.

Her awareness of Nazi persecution began when Jewish pupils in her class appeared wearing the yellow star. In solidarity, she instructed all students—Jewish and non-Jewish—to wear aprons to conceal them.

In 1943, through a friend Ida Sterno of the Committee for the Defence of Jews (Comité de Défense des Juifs, or CDJ), she joined the underground resistance as one of its few non-Jewish members. She operated under the alias “Claude Fournier”. Andrée helped persuade Jewish parents to entrust their children to the CDJ—even though it meant separation—then personally escorted them to safe hiding places like Christian homes, convents, and boarding schools.

She lived and taught at the Gaty de Gamont boarding school, where headmistress Odile Ovart sheltered 12 Jewish students. In May 1943, the school was raided; students were arrested, and Ovart and her husband were deported and later died. Andrée escaped arrest, defiantly telling Nazi interrogators: “Aren’t you ashamed to make war on Jewish children?” She then warned other Jewish pupils not to return to school.

Andrée Geulen on Rue Neuve in Brussels in May 1944, with behind her a German soldier. Hidden under the innersole of her shoe are the names of two children she is on her way to rescue.

Andree Geulen (left) with Ida Sterno (right).

Ida and Andrée.

Over the next two years (until liberation in September 1944), Geulen personally escorted 300 children, though CDJ efforts saved nearly 1,000 to 3,000 Jewish children overall. She maintained coded notebooks listing original names and hiding locations so these children could be reunited with surviving family members after the war.

After the war, Geulen became involved with the Jewish community in Belgium and maintained contact with the children with whom she had come into contact. She was involved in trying to reunite the hidden children with surviving family members and became actively involved in the relief organization Aid for Israelite Victims of the War which supported Jewish survivors of Nazi concentration camps in Belgium. She became involved in activism for pacifist and anti-racist causes. She married Charles Herscovici, a Jewish concentration camp survivor of Roma origin, in 1948.