Greta Garbo in her final film, Two-faced Woman (1941)

Two-Faced Woman is a 1941 American romantic comedy film directed by George Cukor and starring Greta Garbo in her final film role. The movie was distributed by Metro-Goldwyn-Mayer.

Garbo plays a wife who pretends to be her own fictitious twin sister in order to recapture the affections of her estranged husband (Douglas), who has left her for a former girlfriend (Bennett).

The film is generally regarded as the box-office flop that ended Garbo’s career in an unsuccessful attempt to modernize or “Americanize” her image in order to increase her shrinking fan base in the United States. By mutual agreement, Garbo’s contract with MGM was terminated shortly after Two-Faced Woman was released, and it became her last film.

Greta Garbo in Two-Faced Woman, 1941 via

Greta Garbo in Two-Faced Woman, 1941 via

Greta Garbo in Two-Faced Woman, 1941 via

Greta Garbo in Two-Faced Woman, 1941 via

Greta Garbo in “The Temptress” (1926)

The Temptress is a (1926) American silent romantic drama film directed by Fred Niblo starring Greta Garbo. The story opens in Paris at a masquerade ball where the unhappy Elena (Garbo) meets Manuel Robledo (Antonio Moreno), an Argentine engineer. After removing their masks, they spend the night together in a park and they fall in love under the stars. They declare their love for one another, with Manuel giving her a ring, before departing …

Ruth Harriet Louise, Greta Garbo in “The Temptress”, 1926 via

Ruth Harriet Louise, Greta Garbo in “The Temptress”, 1926 via

Ruth Harriet Louise, Greta Garbo in “The Temptress”, 1926 via

Beautiful Greta Garbo for Queen Christina (1933)

Portrait of Greta Garbo for Queen Christina directed by Rouben Mamoulian, 1933. Photo by Clarence Sinclair Bull via

Portrait of Greta Garbo for Queen Christina directed by Rouben Mamoulian, 1933. Photo by Clarence Sinclair Bull via

Greta Garbo by Edward Steichen (1928)

Portrait of Greta Garbo by Edward Steichen, 1928 via

Portrait of Greta Garbo by Edward Steichen, 1928 via

Portrait of Greta Garbo by Edward Steichen, 1928 via

Graceful and Elegant Photos of Greta Garbo by Cecil Beaton (1946)

Greta Garbo by Cecil Beaton, 1946 © Cecil Beaton Studio Archive, Sotheby’s London via

Greta Garbo by Cecil Beaton, 1946 © Cecil Beaton Studio Archive, Sotheby’s London via

Greta Garbo by Cecil Beaton, 1946 © Cecil Beaton Studio Archive, Sotheby’s London via

Greta Garbo by Cecil Beaton, 1946 © Cecil Beaton Studio Archive, Sotheby’s London via

Greta Garbo by Cecil Beaton, 1946 © Cecil Beaton Studio Archive, Sotheby’s London via

Greta Garbo by Cecil Beaton, 1946 © Cecil Beaton Studio Archive, Sotheby’s London via

Greta Garbo by Cecil Beaton, 1946 © Cecil Beaton Studio Archive, Sotheby’s London via

Greta Garbo by Cecil Beaton, 1946 © Cecil Beaton Studio Archive, Sotheby’s London via

Greta Garbo as Mata Hari (1931)

Greta Garbo, in Mata Hari, directed by George Fitzmaurice, 1931 via

Greta Garbo, in Mata Hari, directed by George Fitzmaurice, 1931 via

Greta Garbo, in Mata Hari, directed by George Fitzmaurice, 1931 via

A Collection of Photos feat. Greta Garbo by Ruth Harriet Louise (1920s)

Ruth Harriet Louise, Greta Garbo, The Torrent 1925 via

Ruth Harriet Louise, Greta Garbo, Love, 1927 via

Ruth Harriet Louise, Greta Garbo in “The Mysterious Lady”, 1928 via

Ruth Harriet Louise, Greta Garbo, The Temptress, 1926 via

Ruth Harriet Louise Greta Garbo, The Single Standard, 1929 via

Ruth Harriet Louise, Greta Garbo, A Woman of Affairs, 1929 via

Old Hollywood Film Stars by Edward Steichen

Edward Jean Steichen (1879 – 1973) was an American photographer, painter, and art gallery and museum curator.

Steichen was the most frequently featured photographer in Alfred Stieglitz’ groundbreaking magazine Camera Work during its run from 1903 to 1917. Together Stieglitz and Steichen opened the Little Galleries of the Photo-Secession, which eventually became known as 291 after its address.

His photos of gowns for the magazine Art et Décoration in 1911 are regarded as the first modern fashion photographs ever published. From 1923 to 1938, Steichen was a photographer for the Condé Nast magazines Vogue and Vanity Fair while also working for many advertising agencies includingJ. Walter Thompson. During these years, Steichen was regarded as the best known and highest paid photographer in the world. In 1944, he directed the war documentary The Fighting Lady, which won the 1945 Academy Award for Best Documentary.

After World War II, Steichen was Director of the Department of Photography at New York’s Museum of Modern Art until 1962. While at MoMA, he curated and assembled the exhibit The Family of Man, which was seen by nine million people

Gloria Swanson by Edward Steichen, 1924 via

Anna Mae Wong by Edward Steichen, 1931 via

Marlene Dietrich by Edward Steichen, 1932 via

Joan Crawford by Edward Steichen via

Lillian Gish by Edward Steichen, 1934 via

Greta Garbo by Edward Steichen, 1928 via

Greta Garbo by Ruth Harriet Louise (1920s)

Ruth Harriet Louise, Greta Garbo, 1920s via

Ruth Harriet Louise, Greta Garbo, 1920s via

A Collection of Old Hollywood Portaits by Ruth Harriet Louise

Ruth Harriet Louise (1903 – 1940) ran Metro-Goldwyn-Mayer’s portrait studio from 1925 to 1930.

When Louise was hired by MGM as chief portrait photographer in the summer of 1925, she was twenty-two years old, and the only woman working as a portrait photographer for the Hollywood studios.

In a career that lasted only five years, Louise photographed all the stars, contract players, and many of the hopefuls who passed through the studio’s front gates, including Greta Garbo, Lon Chaney, John Gilbert, Joan Crawford, Marion Davies, and Norma Shearer. It is estimated that she took more than 100,000 photos during her tenure at MGM.

Today she is considered an equal with George Hurrell Sr. and other renowned glamour photographers of the era.

Joan Crawford by Ruth Harriet Louise for Dream of Love, 1926 via

Anita Page by Ruth Harriet Louise via

Dorothy Sebastian by Ruth Harriet Louise via

Greta Garbo by  Ruth Harriet Louise for “The Temptress”, 1926 via

Marceline Day by Ruth Harriet Louise via

Ruth Harriet Louise (self-portrait) via