#1930's portrait

[kdo-three]

Sally Rand Burlesque Star | Actress circa 1933

Sally Rand: https://en.wikipedia.org/wiki/Sally_Rand

[resplendentoutfit]

1920s Aqua Velvet

José Storie (1899-1961) • Portrait of a Lady with a Green Dress • 1934.

1920s and 1930s dress styles

Vittorio Matteo Corcos (Italian, 1859-1933) • Ritratto di donna (Portrait of a Woman) • c. 1925

[semioticapocalypse]

Madame D’Ora. Dora Kallmus. Hat by Erik Braagaard. Paris. C. 1935

Follow my new AI-related project «Collective memories»

[poppingmary]

Beautiful Carole Lombard in a studio publicity portrait - early 1930’s

[clarabowlover]

Stunning Portraits Of Austrian Actress

Tilly Losch In The Band Wagon (Theatre 1931)

[dorothea-wieck]

Dorothea Wieck, 1933

(It's Wieck, actually.)

[daemonicdasein]

William Mortensen, Title unknown, The artist's first wife and muse Courtney Crawford with masks made by Mortensen, circa 1926.

[love-for-carnation]

A girl pushing a wheelbarrow of freshly harvested carnations, Vence, France. Early 1930s

A man carrying a huge wicker basket of freshly harvested carnations in Vence, France. Early 1930s

[carbone14]

Photo du studio Atelier Manassé - 1920's-1930's

[frenchvintagedreams]

Carole Lombard and Randolph Scott in SUPERNATURAL, 1933. Directed by Victor Hugo Halperin

[mrmousetolliver]

Officer Harry Daley and friend pose at a London swimming pool. (c.1930's) Harry Daley joined the London Metropolitan Police in 1925 and was the first openly Gay person to serve. Besides being a policeman, he dated E.M. Forster and partied with the Bloomsbury Group. His portrait was painted by Duncan Grant. His memoirs were published in 1987, 16 years after his death in 1971.

[resplendentoutfit]

Firmin Baes (Belgian, 1874-1943) • Portrait de Madame Timmers-Verhoeven • 1936

Here are a few actual vintage gold dresses from the 1920s and 30s. The smaller images below contain descriptive details in the alt text.

Probably American • c. 1925 • Ivory silk, metallic gold damask, in a pattern of birds, gazelles, and turrets on a follate ground, silk floss embroidery.

[visual-sandwich]

Werner Peiner - A Portrait - 1930's

[clarabowlover]

Vera Zorina - 

Beautiful German Dancer and Actress (ca.1930′s)

[dorothea-wieck]

Dorothea Wieck, 1930's

[nochd]

This was on @whatareyoureallyafraidof's post where they put up this:

And I responded with this image:

and promised in the tags to elaborate if asked. And, @frodo-the-weeb, I will. But it's going to get long and I'm going to have to split it up into several reblogs.

First of all, since not everybody in the world is a Silmarillion enthusiast, let me explain what we're referring to.

One of the stories in the Silmarillion, and possibly the one Tolkien cared about the most, is the tale of Lúthien and Beren; a highly condensed version of a narrative poem called the Lay of Leithian, which Tolkien began writing in the 1930s and tried to get his publisher interested in after the success of The Hobbit.

(Their readers said no, and they tactfully asked him to focus on his Hobbit sequel instead. "The result," in Tolkien's own words, "was The Lord of the Rings.")

The skeleton of The Lay of Leithian is as follows; I'm intentionally leaving out a bunch of information that weaves it into the overarching story of the Silmarillion but isn't relevant to the thesis I'm advancing here.

Lúthien, an Elven princess and enchantress, falls in love with a mortal man, a ranger called Beren. Her father, the Elven King Thingol, disapproves and sends him Beren off to fetch one of the jewels from the crown of the Dark Lord Morgoth. Lúthien tries to join Beren but her father imprisons her in a tower to stop her, only it's actually a treehouse because they're forest elves. Lúthien magically grows her hair long and uses it to escape. By the time she catches up with Beren he is chained in the dungeons of Morgoth's second-in-command, Thû (whom Tolkien later renamed Sauron). She rescues him with the help only of a dog, who defeats Thû himself in single combat. They then live in the forest together for quite some time, but Beren feels bad about being the reason she can't go home to her family, and still intends to finish his mission and get the jewel. He leaves one morning while she's still asleep, so as not to put her in danger, and then when he's on the threshold of Morgoth's underground fortress in the far North of Middle-Earth she catches up with him again and he accepts that she's not going to be put off. Together they enter Morgoth's fortress and make their way to his throne room. They are in disguise but Morgoth is not fooled and uncovers Lúthien in front of everyone, declaring his intention to make her one of his many slaves. Lúthien offers to sing and dance for him, which is the way she works her magic. She puts everyone in the throne room to sleep, including both Beren and eventually Morgoth. She wakes Beren and he takes the jewel and they flee, but as they get to the outer door they are stopped by Morgoth's guard-wolf, who bites off Beren's hand holding the jewel.

That's as far as Tolkien ever got with the poem, but we have the synopsis in the prose Silmarillion to tell us the rest of the story; again cutting it down to the quick, Thingol accepts Beren as his son-in-law, Morgoth's guard-wolf attacks Doriath, Beren goes and hunts it but is mortally wounded, his spirit goes to the Halls of Waiting in the Undying Lands where the dead in Middle-Earth go, Lúthien also goes there and, again through her magical song, persuades Mandos the god of the dead to let him come back. Mandos offers her a choice: live on immortally as an Elf without Beren, or return to Middle-Earth with Beren but both of them will grow old and die. She chooses the latter.

Tolkien created Lúthien as a portrait of his wife Edith, which makes Beren a picture of himself. We know this for a fact because he had LUTHIEN written on her grave when she died, and when he joined her in it two years later the name BEREN was written for him:

Now on the lower right side of my response image you'll see Pauline Baynes' illustration of the Lady in the Green Kirtle from The Silver Chair, one of C. S. Lewis's Narnia stories. A quick synopsis of the Lady of the Green Kirtle's part in the story:

The Lady is a witch who rules a gloomy kingdom underneath Narnia, accessible through a fissure in the earth in an old ruined city far to the North. Before the story opens she has enspelled and kidnapped King Caspian's son Prince Rilian, whom she intends to send leading an army to conquer Narnia in her name. For twenty-three hours a day he is her willing slave and lap-dog; to maintain the spell, he must be bound to the titular silver chair for the remaining hour, during which he is sane and aware of his imprisonment. The protagonists, Eustace and Jill and their guide Puddleglum, meet her and Rilian unawares on their journey to the North; she sends them astray and almost succeeds in getting them eaten by giants. Eventually they rescue Rilian from the chair, but she sings a magical song which very nearly puts them all to sleep but for Puddleglum's intervention. Foiled, she transforms into a serpent, attacks them, and they kill her.

It is my contention that the Lady in the Green Kirtle is Lewis's caricature of Lúthien, with the enslaved and befuddled Prince Rilian representing Beren; and further, that Lewis knew or recognised that Lúthien and Beren were a literary portrait of the Tolkiens, so that The Silver Chair is ultimately a nasty commentary on their marriage.

In forthcoming reblogs I will lay out my evidence for this thesis.