The Mischievous Grand Duchess Anastasia #romanovdynasty #anastasiaromanova #nicolasii

t3_1fahh7f

A Mischevous Grand Duchess Anastasia I The Romanov Girl

t3_1do0pkd

RMS Mauretania in Dazzle Camouflage (Dec. 1918)

Ada Jones and Billy Watkins - By the Beautiful Sea (1914)

t3_1dmt0jw

t3_1dmokua

This postcard, written in French, was sent from Port Tawfiq, Egypt to Sgt Georges Gleyre of the Royal Engineers in Moascar, which was a British Army base near Ismailia, Egypt.

“Dear Georges,

I received your card and it made me happy. What are you doing in Moascar? My life is sad without you.  Send me news often. Good morning, Georges.

Margueritte”

Margueritte is most likely the young woman on the postcard and was probably the sister or daughter of a French, Belgian or Swiss businessman, diplomat or military officer.  Interestingly Georges seems to be of Swiss origin as the name Gleyre has an association with French-speaking Swiss.

<div class="md"><p>This postcard, written in French, was sent from Port Tawfiq, Egypt to Sgt Georges Gleyre of the Royal Engineers in Moascar, which was a British Army base near Ismailia, Egypt.</p>

<p>“Dear Georges,</p>

<p>I received your card and it made me happy. What are you doing in Moascar? My life is sad without you.  Send me news often. Good morning, Georges.</p>

<p>Margueritte”</p>

<p>Margueritte is most likely the young woman on the postcard and was probably the sister or daughter of a French, Belgian or Swiss businessman, diplomat or military officer.  Interestingly Georges seems to be of Swiss origin as the name Gleyre has an association with French-speaking Swiss.</p>
</div>

Postcard dated March 3, 1918

t3_1dlpy32

Billie Burke (1908)

t3_1dl25gd

Photograph of a woman taking a selfie, ca. 1910

t3_1dlf43z

t3_1djjzpy

1915 Boots from Musee McCord Stewart.

t3_1dipas3

This dress has the typical straight line of the early 1910s, when women's fashion, thanks mainly to the creations of Paul Poiret, abandoned fictitious volumes in favour of dresses that fitted the body's natural shape. However, the comfort in dressing that this line would seem to suggest was only apparent, since the corset, which in those years used to stretch down to the thighs, was still underneath the robes. In addition, the skirts were often so tight at the ankles that movement was limited. As the silhouette of the clothes was made simpler, the preciousness and sumptuousness of the garments relied on materials and their contrast. Different fabrics were combined and overlaid to create the dress: shiny and opaque, light and heavy, in turn adorned with embroideries mixing techniques and yarns to create an interplay of weaves, transparencies and volumes. In this dress, blue velvet is overlaid with purple taffeta following a criss-cross pattern that resembles a shawl over the bust and around the waist. Bodice and skirt are partially doubled in blue tulle, which forms the basis of an elaborate embroidery where silk thread stitches, applied metal yarn elements, and small silk pendants are mixed together. The neckline is bridged by a guimpe, namely a silver tulle front which, according to the fashion of the first 13-14 years of the 20th century, ends with a high transparent collar that wraps around the neck up to the chin. These collars, which were required to be high and made of very light materials such as tulle, organza or lace, were kept upright by small sticks called neck holders that could be made of metal wire or, as in this case, of early synthetic materials such as celluloid. The intricate lacing in the centre of the back side, which consists of a long double row of metal hooks and snaps that was designed to close first the inner lining and then the dress itself, made it necessary to have the help of a maid in order to get dressed.

<div class="md"><p>This dress has the typical straight line of the early 1910s, when women&#39;s fashion, thanks mainly to the creations of Paul Poiret, abandoned fictitious volumes in favour of dresses that fitted the body&#39;s natural shape. However, the comfort in dressing that this line would seem to suggest was only apparent, since the corset, which in those years used to stretch down to the thighs, was still underneath the robes. In addition, the skirts were often so tight at the ankles that movement was limited. As the silhouette of the clothes was made simpler, the preciousness and sumptuousness of the garments relied on materials and their contrast. Different fabrics were combined and overlaid to create the dress: shiny and opaque, light and heavy, in turn adorned with embroideries mixing techniques and yarns to create an interplay of weaves, transparencies and volumes. In this dress, blue velvet is overlaid with purple taffeta following a criss-cross pattern that resembles a shawl over the bust and around the waist. Bodice and skirt are partially doubled in blue tulle, which forms the basis of an elaborate embroidery where silk thread stitches, applied metal yarn elements, and small silk pendants are mixed together. The neckline is bridged by a guimpe, namely a silver tulle front which, according to the fashion of the first 13-14 years of the 20th century, ends with a high transparent collar that wraps around the neck up to the chin. These collars, which were required to be high and made of very light materials such as tulle, organza or lace, were kept upright by small sticks called neck holders that could be made of metal wire or, as in this case, of early synthetic materials such as celluloid. The intricate lacing in the centre of the back side, which consists of a long double row of metal hooks and snaps that was designed to close first the inner lining and then the dress itself, made it necessary to have the help of a maid in order to get dressed.</p>
</div>

Day dress, Italian manufacture, c. 1910-1913. (Blue silk velvet, purple silk taffeta, embroidered blue silk tulle)

t3_1dilw1e

Frances Densmore with Blackfoot chief, Mountain Chief, during a phonograph recording session for the Bureau of American Ethnology, 1916.

t3_1dimfj1

t3_1dhch29

Mabel Taliaferro, American actress (c.1900s-1910s)

Ball Gown with Tunic, 1912-1913, L & H. Laufer, K.U.K. Hoflieferant, Museum of Decorative Arts in Prague. 

June 14, 1917 Poster for Flag Day.

Airmen from Flieger Bataillon 3 in Cologne, Germany pose with an early war Taube aircraft.  They wear a mixture of prewar M1895 blue uniforms and the newly introduced Feldgrau (Field Gray) uniforms.

<div class="md"><p>Airmen from Flieger Bataillon 3 in Cologne, Germany pose with an early war Taube aircraft.  They wear a mixture of prewar M1895 blue uniforms and the newly introduced Feldgrau (Field Gray) uniforms.</p>
</div>

German Airmen, c.1913-14

Mary Pickford and friend, c. 1917.

Christmas shoppers, between ca. 1910 and 1915.

Navy Chief Machinist’s Mate C.R. Spicer (middle) and crew of submarine chaser SC-144, Cape May, New Jersey 1918

Dolly Connolly - The Red Rose Rag 1911 Vaudeville Ragtime Songs

Dolly Connolly - The Red Rose Rag (1911)

George Robey and Violet Loraine - If You Were the Only Girl in the World (1916)

Billy Murray - They Start The Victrola (And Go Dancing Around The Floor) 1914

Mexico 1911, Zapatista Colonel Amparo Salgado. photographed by Sara Castrejón in Teloloapan in April of that year.

1917. Times Square, full of traffic.

San Francisco, June 1919.

The Girl Who Stayed at Home (1919) Silent War Drama Full Movie

WWI Sinking of the Austrian Battleship SMS Szent István (1918)

Harrisburg, Pennsylvania, circa 1916. "Market Street."

June 4, 1916. Verdi's "Requium" was played at The Polo Grounds conducted by Louis Koemmenich and members of the New York Philharmonic as well as 1,200 singers from various choral societies from the New York City area.

Pina Menichelli in Giovanni Pastrone’s Il Fuoco (The Fire), 1915.

French soldier Georges Roy, who lost his eyes and arms in the war, marries Marguerite Lavenue in Paris. Both were from the same village in Normandy but barely knew each other. She heard of his predicament after he was injured, and offered to marry him in 1917.

"The Martyrs of the Alamo" (1915) - Silent movie about TEXAS independence fighters [1:11:54]

1917. Wedding dress by couturier Jeanne Lanvin for her daughter Marguerite Marie-Blanche's wedding.

<div class="md"><p>Time travel to the 1910&#39;s</p>
</div>

<div class="md"><p>That decade between the 1900s and the 1920s.</p>
</div>

2,065 Subscribers