40 Studio Portraits of Handsome Clark Gable in the 1950s

William Clark Gable (February 1, 1901 – November 16, 1960) was an American actor often referred to as the “King of Hollywood.” He appeared in more than 60 motion pictures across a variety of genres during a 37-year career, three decades of which he spent as a leading man. In 1999, the American Film Institute ranked Gable as the seventh greatest male screen legend of classical Hollywood cinema.

In the 1950s, Gable transitioned from the peak of his “King of Hollywood” status into a more mature, rugged era of his career. While the decade saw him move away from the sleek romantic lead of the 1930s, he remained a formidable box-office draw and a symbol of aging masculinity.

For 23 years, Gable was the face of MGM, but by the early 1950s, the relationship had soured. The studio was struggling with the rise of television, and Gable was dissatisfied with the scripts he was being offered. In 1954, he left MGM to become a freelancer. This was a bold move at the time, but it allowed him to command a higher salary and a percentage of film profits. His final MGM films Lone Star (1952) and Mogambo (1953) were notable successes. Mogambo, a remake of his earlier hit Red Dust, showed he could still generate immense chemistry with younger stars like Grace Kelly and Ava Gardner.

As he entered his 50s, Gable’s screen presence shifted. The mustache remained, but his face showed more character and age, which he used to his advantage in tougher, more weathered roles. Much of his 1950s output was dedicated to Westerns. Films like The Tall Men (1955) and The King and Four Queens (1956) leaned into his natural outdoorsman persona. In Run Silent, Run Deep (1958), he delivered one of his most acclaimed late-career performances as a disciplined submarine commander. It showcased a grit that proved he didn't need to be a “lover” to carry a film.

Off-screen, Gable was finally finding stability after years of personal tragedy (specifically the 1942 death of his wife, Carole Lombard). In 1955, he married Kay Williams, a former model and actress. She brought a sense of peace to his final years, and they lived a relatively quiet life on their ranch in Encino.

See more»

Evelyn Hofer: Capturing the Soul of Style Through a Still Lens

Evelyn Hofer’s approach to fashion photography was characterized by a profound sense of stillness and structural integrity that set her apart from the kinetic, high-energy style of her contemporaries.

Eschewing the frantic snapshots of the runway, Hofer treated her fashion subjects with the same meticulous dignity she applied to her portraits and landscapes, often utilizing a heavy 4x5 view camera that demanded patience and absolute precision. Her work for publications like Vogue and Harper’s Bazaar is noted for its sophisticated use of color, clean lines, and a monumental quality that transformed garments into architectural forms.

By prioritizing the soul of the model and the geometry of the environment over mere trends, Hofer created timeless, painterly compositions that bridged the gap between commercial editorial and fine art.

Model in pale diaphonous nylon nightgown permanently pleated with thin lace edgings by Carter's, photo by Evelyn Hofer, Harper's Bazaar, October 1950

Carmen Dell' Orefice in housecoat of pink dotted Swiss with great balloon sleeves by Dorian, photo by Evelyn Hofer, Harper's Bazaar, May 1950

Theo Graham in slim white Heller jersey dress with a white ribbed cuff for a collar by Young American Deb, photo by Evelyn Hofer, Junior Bazaar, January 1950

Dorian Leigh in a sheer Hope Skillman cotton dress in orange and white by McMullen, photo by Evelyn Hofer, Harper's Bazaar, January 1951

Model in a white cotton satin dress with black velvet stripes and collar by Anne Fogarty, hat by Mr. John, photo by Evelyn Hofer, Harper's Bazaar, January 1951

See more»

Vintage Portraits of Jane Fonda From ‘Walk on the Wild Side’ (1962)

In the 1962 film Walk on the Wild Side, a young Jane Fonda delivers a breakout performance as Kitty Twist, a cynical, street-smart drifter who eventually finds herself entangled in the dark world of a New Orleans brothel.

Though she wasn’t the lead, Fonda’s portrayal of the rebellious and ethically flexible Kitty showcased an early glimpse of her immense range, blending a sense of vulnerable desperation with a sharp, predatory edge. Her character serves as a gritty contrast to the more polished inhabitants of the “Doll House,” and she navigates the film’s Southern Gothic atmosphere with a raw energy that often steals the scenes she inhabits.

Dressed in tattered clothes with a messy mane of hair, Fonda embodied the “wild side” of the title perfectly, marking this role as a pivotal moment in her transition from a fresh-faced ingenue to a serious, provocative actress capable of handling complex, mature themes.

See more»

Some Studio Portraits of Catherine O’Hara From the Official Photoshoot for “Saturday Night Live” in 1981

Catherine O’Hara, the iconic Emmy-winning actress known for Beetlejuice films and Home Alone, died on Friday, January 30, 2026, at the age of 71. She passed away at her home in the Brentwood neighborhood of Los Angeles. According to a statement from her agency, Creative Artists Agency (CAA), she died following a “brief illness.” While an official cause of death has not been publicly disclosed, O’Hara had previously spoken about having situs inversus (or dextrocardia), a rare congenital condition where internal organs are mirrored from their normal positions.

O'Hara made lightning strike twice in her career with indelible cinematic turns. In 1988’s spooky satire Beetlejuice, she played Delia Deetz, who led her possessed dinner guests in an enthralling song and dance performance of Day-O (the Banana Boat song).

Two years later, in Home Alone, her panicked scream of “Kevin!” as she realizes her mischievous eight-year-old son had been left behind during their Christmas holiday is among the most memorable moments from one of the most successful film comedies ever. Her young co-star Macaulay Culkin, now 45, paid tribute to his on-screen mother on Friday, sharing images of the two of them from the film and in later years: “Mama. I thought we had time. I wanted more. I wanted to sit in a chair next to you. I heard you. But I had so much more to say. I love you. I’ll see you later.”

Catherine O’Hara famously joined the cast of Saturday Night Live (SNL) for Season 6 in 1981 but quit after just one week, before appearing in a single episode. She was hired during a mid-season transition when Dick Ebersol took over as producer from Jean Doumanian. While rumors often claimed she was “scared off” by a harsh production meeting with head writer Michael O’Donoghue, O’Hara clarified in 2024 that her primary reason was loyalty.

Shortly after she accepted the SNL job, her previous show, SCTV, was unexpectedly picked up for another run on NBC. O’Hara felt she needed to be with her “comedy family” and resigned from SNL to return to the Canadian troupe. After her departure, her high school friend Robin Duke was hired to fill the vacant slot. Although she never joined the cast, she eventually returned to Studio 8H to host the show twice in the early 1990s (April 13, 1991, and October 31, 1992).

See more»

50 Stunning Black and White Portraits of Jean Simmons in the 1950s

Jean Simmons (January 31, 1929 – January 22, 2010) was a British actress and singer. One of J. Arthur Rank’s “well-spoken young starlets,” she appeared predominantly in films, beginning with those made in Britain during and after the Second World War, followed mainly by Hollywood films from 1950 onwards.

While many 1950s starlets were marketed solely on “bombshell” appeal, Simmons was celebrated for her expressive eyes and classical acting range. She had a unique ability to play both the fragile ingenue and the spirited, independent woman.

In Guys and Dolls (1955), she surprised audiences by performing her own vocals as Sarah Brown opposite Marlon Brando. Her performance captured a perfect blend of “buttoned-up” missionary and hidden fire. She starred in massive Technicolor productions like The Robe (1953) and played the fiery Varinia in the pre-production stages of Spartacus (eventually released in 1960, but filmed at the decade’s end). In the film noir classic Angel Face (1953), she played a chilling femme fatale, proving she could be just as dangerous as she was charming.

Despite her success, Simmons’ 1950s were also defined by a legal battle. She was famously “bought” from a British studio by the eccentric mogul Howard Hughes. Hughes attempted to control her career and even her personal appearance, but Simmons fought back in a high-profile lawsuit to gain her independence. This move was incredibly gutsy for a woman in the 1950s studio system and allowed her to choose the diverse roles that defined her legacy.

“I’ve always been a bit of a rebel. I think it’s because I’m a Londoner.” — Jean Simmons

See more»

The Home Counties in the 1950s Through Hardwicke Knight’s Lens

Through the lens of Hardwicke Knight, the Home Counties of the 1950s are preserved as a serene yet poignant tableau of post-war Britain transitioning into a new era.

His photography captures the quintessential charm of the “Green Belt” counties, such as Surrey, Kent, and Hertfordshire, emphasizing the delicate balance between lush, rolling pastoral landscapes and the quiet, orderly expansion of suburban life. Knight’s keen eye for natural light and composition elevates mundane scenes, from ivy-clad village pubs and steam-veiled railway stations to the manicured gardens of commuter towns, into timeless works of art.

His work serves as a nostalgic archive of a decade defined by a sense of recovery and tradition, offering a visual narrative that feels both intimate and expansive, reflecting the soul of the English countryside before the rapid modernization of the late 20th century took hold.

At the Seven Sisters, Sussex coast, circa 1950s

Boat through trees, Home Counties, circa 1950s

Buckinghamshire, circa 1950s

Buckinghamshire. Dinton Castle (folly), circa 1950s

Canal and lock, Home Counties, circa 1950s

See more»

In 1964, Bob Uecker and Bob Gibson Are Both Fined by the Cardinals for Holding Hands for the Team Picture

Bob Gibson and Bob Uecker holding hands in the 1964 St. Louis Cardinals team photo. The prank initiated by Uecker, who whispered the idea to Gibson. Both players smiled widely for the photo, but when the team and management noticed, the photo had to be retaken, and both men were fined for the incident.

Seconds before the photo was taken, Uecker (a backup catcher) had whispered to Gibson (the team’s intimidating ace pitcher), “We should hold hands.” Gibson happily did, and they held hands, and they smiled big, and this was 1964. They did it simply as a gag to break the stiffness of the formal moment, not for any political or social statement. When management discovered the pose in the developed photo, officials considered it unprofessional and a distraction. Both players were fined an amount often cited as around $200 or $300 total.

The original photograph was discarded, and the entire team had to gather to retake the official picture. The incident became a famous anecdote, which Uecker himself later recounted on The Tonight Show Starring Johnny Carson in 1971: “Management didn’t think it was funny. But it was the only way I could keep Gibson from hitting me, by holding onto his pitching hand.”

This time very purposely putting Uecker and Gibson in separate rows. You will notice in the official team photo, though, they both still have huge smiles on their faces. They knew!

While some have interpreted the gesture as a subtle statement about racial unity during the Civil Rights era (Gibson was Black, Uecker was white), both players maintained it was purely a harmless prank. That same season, the Cardinals went on to win the 1964 World Series.