petermorwood:

blastedheath:

Alfred Egerton Cooper (British, 1883-1974),  1919. Oil on canvas, 56 x 66 cm. Royal Air Force Museum.

A demonstration of how painting can sometimes trump photography. This captures the looming presence of a dirigible overhead better than most high-quality pics of commercial Zeppelins. It was probably painted to commemorate R34’s east-to-west Atlantic crossing,
“Before starting on the voyage, it was decided that some of the members of the crew, including W.W. Ballantyne , must be left behind, the numbers being limited of necessity to thirty on the voyage. Two hours before the flight, William Ballantyne managed to climb back on board the ship, and hid himself in the darkness of the ship. He had also carried with him, the crews’ mascot, a small tabby kitten called “Whoopsie”. Both of these stowaways had hidden themselves. But the cramped conditions and the fact that the smell of the gas had made Ballantyne nauseous, made him give up and come out of hiding. The dishevelled stowaway was brought in front of Major Scott and Maitland, and it was decided that there was actually nothing they could do about it. It was agreed that had they been over land then Ballantyne would have been put overboard by parachute, but as the next landfall was in fact America, he was to stay on board. The only problem that could occur was the strain on the very limited and controlled resources. Having been quite ill for some time, he was rested on one of the hammocks, and attended to by Lieutenant Luck. When he recovered, Ballantyne was, as with traditional stowaways, made to work his passage as cook and often having to hand pump the petrol into the tanks. As to the second stowaway, Whoopsie, it was deemed that the oldest airman on board, 42 year old George Graham accepted responsibility for the cat, and Whoopsie worked her passage throughout the rest of the voyage, providing entertainment and comfort to the other crew members.”
Whoopsie…? :-)

petermorwood:

blastedheath:

Alfred Egerton Cooper (British, 1883-1974),  1919. Oil on canvas, 56 x 66 cm. Royal Air Force Museum.

A demonstration of how painting can sometimes trump photography. This captures the looming presence of a dirigible overhead better than most high-quality pics of commercial Zeppelins. It was probably painted to commemorate R34’s east-to-west Atlantic crossing,

Before starting on the voyage, it was decided that some of the members of the crew, including W.W. Ballantyne , must be left behind, the numbers being limited of necessity to thirty on the voyage. Two hours before the flight, William Ballantyne managed to climb back on board the ship, and hid himself in the darkness of the ship. He had also carried with him, the crews’ mascot, a small tabby kitten called “Whoopsie”. Both of these stowaways had hidden themselves. But the cramped conditions and the fact that the smell of the gas had made Ballantyne nauseous, made him give up and come out of hiding.

The dishevelled stowaway was brought in front of Major Scott and Maitland, and it was decided that there was actually nothing they could do about it. It was agreed that had they been over land then Ballantyne would have been put overboard by parachute, but as the next landfall was in fact America, he was to stay on board. The only problem that could occur was the strain on the very limited and controlled resources. Having been quite ill for some time, he was rested on one of the hammocks, and attended to by Lieutenant Luck. When he recovered, Ballantyne was, as with traditional stowaways, made to work his passage as cook and often having to hand pump the petrol into the tanks. As to the second stowaway, Whoopsie, it was deemed that the oldest airman on board, 42 year old George Graham accepted responsibility for the cat, and Whoopsie worked her passage throughout the rest of the voyage, providing entertainment and comfort to the other crew members.

Whoopsie…? :-)

blastedheath:

Alfred Egerton Cooper (British, 1883-1974), R34, East Fortune, Scotland, 1919. Oil on canvas, 56 x 66 cm. Royal Air Force Museum.

blastedheath:

Alfred Egerton Cooper (British, 1883-1974), R34, East Fortune, Scotland, 1919. Oil on canvas, 56 x 66 cm. Royal Air Force Museum.

(via bluecollarclassicist)

weirdvintage:

French laxative ad, complete with intestine-scrubbers, 1919 (via Vintage-Ads)

weirdvintage:

French laxative ad, complete with intestine-scrubbers, 1919 (via Vintage-Ads)


Tea at the Savoy Hotel c.1919 

Tea at the Savoy Hotel c.1919 

(Source: maudelynn.tumblr.com , via ruthgilmartin)

weirdvintage:

Advertisement for Cascarets laxatives, 1919

That is one way to force an attitude adjustment.

weirdvintage:

Advertisement for Cascarets laxatives, 1919

That is one way to force an attitude adjustment.

1919 illustration in Life magazine showing a future exodus from the U.S. over new bans (Source: Predictions by John Durant)

Read more: http://blogs.smithsonianmag.com/paleofuture/2013/03/ban-everything-concern-over-future-blue-laws-during-the-lead-up-to-alcohol-prohibition/#ixzz2Qij1PYae 
Follow us: @SmithsonianMag on Twitter

1919 illustration in Life magazine showing a future exodus from the U.S. over new bans (Source: Predictions by John Durant)

Read more: http://blogs.smithsonianmag.com/paleofuture/2013/03/ban-everything-concern-over-future-blue-laws-during-the-lead-up-to-alcohol-prohibition/#ixzz2Qij1PYae
Follow us: @SmithsonianMag on Twitter

books0977:

Sweet Solitude (1919). Edmund Blair Leighton (English, Pre-Raphaelite,  1853-1922). Oil on canvas.
Leighton was a painter of historical genre pictures, mainly of medieval times, but also regency. The reasons for the continuing popularity of the his work are similar to those in his lifetime, namely nostalgia for an elegant chivalrous past. Leighton was also a fastidious craftsman producing highly-finished beautifully painted decorative pictures. 

books0977:

Sweet Solitude (1919). Edmund Blair Leighton (English, Pre-Raphaelite,  1853-1922). Oil on canvas.

Leighton was a painter of historical genre pictures, mainly of medieval times, but also regency. The reasons for the continuing popularity of the his work are similar to those in his lifetime, namely nostalgia for an elegant chivalrous past. Leighton was also a fastidious craftsman producing highly-finished beautifully painted decorative pictures. 

(via booklover)

questionableadvice:

~ New York Tribune, June 22, 1919“Went to War! Home Again”

questionableadvice:

~ New York Tribune, June 22, 1919

“Went to War! Home Again”

(Source: sparkygirl63)

questionableadvice:

~ Trench and Camp newspaper, (Camp Upton, Long Island, N.Y. edition), Volume 2, Number 33, May 20, 1919via 
University of Minnesota Libraries“If the fabric were not so modest of pattern the jacket sketched might be considered audacious.”

questionableadvice:

~ Trench and Camp newspaper, (Camp Upton, Long Island, N.Y. edition), Volume 2, Number 33, May 20, 1919
via University of Minnesota Libraries

“If the fabric were not so modest of pattern the jacket sketched might be considered audacious.”

i12bent:

Harry Clarke: Ill. for E.A. Poe’s “A Descent into the Maelström”, 1919

i12bent:

Harry Clarke: Ill. for E.A. Poe’s “A Descent into the Maelström”, 1919