Several Ads, 1910s-1920s on Flickr.
Click image for 679 x 994 size.
Royal Vinolia Vanishing Cream.
Beauty on Duty has a Duty to beauty. 1918.
Bottom, above left:
Savon du Docteur Dentifrice Pierre
Dr. Pierre’s (of the Paris Faculty of Medicine) Dentifrices
The Dentifrice of her Dreams. 1919.
Bottom, bellow left:
Brilliant Eyes Liquid Kohol Egyptian. An Oriental preparation for darkening the eyebrows and eyelashes, promotes the growth. Will not rub off.
Price 2/6 and 5/6 the case. Prepared by Unwin & Albert 6 Belgrave Mansions, London S.W.1916
Toilette Monpelas Chimiste Parfumeur
For motorcar excursions, a woman’s complexion finds, in a previous application of Malacéine Toilet Cream, the most effective defense against the excessive irritation caused by rush of air and high speed. You protect your eyes. Protect your complexion. 1920.
Scanned from Bronwen Meredith’s “Vogue Body and Beauty Book” 1977.
Women of Protest: A Feminist History Refresher
It wasn’t until 1920 that women were granted suffrage, but it was 1917 when members of the National Women’s Party — Alice Paul, Lucy Burns and others — picketed outside the White House, burning copies of Woodrow Wilson’s speeches and demanding the right to vote. What resulted — mass arrests (most for “obstructing traffic”), unlawful imprisonment and bloody beatings — became known as the Night of Terror, though it’s fair to say most among my generation don’t know it.
The Night of Terror took place on Nov. 15, 1917, when the warden at the Workhouse Prison, in Occoquan, Virginia, ordered his guards to teach the suffragists a lesson. For weeks, the women’s only water had come from an open pail. Their food had been infested with worms. But on this night, some 40 prison guards wielding clubs beat the women senseless — grabbing, dragging, choking, kicking and pinching them, according to affidavits recounting the attacks.
Tea ads, 1900s-1920s on Flickr.
Click image for 646 x 900 size.
Advertisement for herbal tea for pregnant women and after pregnancy - also good for colds. (Thanks to Paula Wirth for translating!)
Scanned from Taschen’s “Japanese Beauties”.
What he’s reading:
Harriet Whitney Frishmuth (1880–1980)
1921, revised 1923; this cast, 1924
In the early twentieth century, sculptures of dancing women were produced in great numbers, inspired in part by the success of dancers Isadora Duncan, Loïe Fuller, and Anna Pavlova. Frishmuth often turned to dancers for her sculptural themes and employed them to pose for her with musical accompaniment. Shown stretching upward and outward in imitation of a living vine, this lyrical nude balances on tiptoe in the ecstasy of performance, a grapevine suspended in her hands. Bunches of grapes lie at the figure’s feet. The first version of this work, a statuette 11-1/4 inches high, was enormously popular, cast in an edition of 396. In 1923, Frishmuth enlarged the sculpture to monumental scale, using Desha Delteil of the Fokine ballet as her model.