Portraits of “Tattooed lady” Emma de Burgh From the Late 19th Century

Emma de Burgh (born 1860) was a famous American circus performer in the late 19th century, best known for the intricate reproduction of Leonardo da Vinci’s The Last Supper tattooed across her upper back.

The piece spanned from shoulder to shoulder and was regarded as one of the finest examples of tattooing in America at the time. It featured additional religious text, including a scroll with “The Golden Rule” above the scene and “Love One Another” on the table cloth.

She was tattooed by the legendary Samuel O’Reilly in New York City. Because the work was likely completed before or around the time he patented the electric machine in 1891, it is believed much of the piece was done by hand.

During the Victorian era, tattoos were often viewed as scandalous. Emma and her husband, Frank de Burgh, intentionally chose religious and patriotic motifs to project an image of piety and respectability to their audiences.

Portrait of Emma’s husband, Frank de Burgh

To appeal to British crowds during a tour in 1887, Emma falsely claimed her tattoos were done to celebrate Queen Victoria’s Golden Jubilee. This marketing tactic helped turn the couple into a sensation across Europe.

Emma performed alongside her husband, Frank, whose back featured a massive rendition of the Crucifixion. They also famously had each other's names tattooed on their torsos as a sign of their love.

The famous Pre-Raphaelite painter Edward Burne-Jones sketched her in 1893. He later joked that because she had gained weight, the apostles in the Last Supper tattoo on her back appeared to have “broad grins.”

Illustration showing a view of Emma de Burgh’s elaborately tattooed back, on which Leonardo’s “Last Supper” appears as a motif.

Emma de Burgh remains a pivotal figure in tattoo history because she helped move the medium away from “primitive” labels and toward being viewed as a legitimate, if unconventional, canvas for masterpiece recreations.

1908 Cartercar Model D: The Gearless Wonder of Early Motoring

Byron Carter’s innovative friction drive system gave the Cartercar what the company boldly advertised as “A Thousand Speeds.” Using two perpendicular friction disks, the Model D eliminated many of the era’s common mechanical troubles: no clutch to slip, no gears to strip, no universal joints to break, and no shaft drive to twist.

The friction drive featured replaceable paper fiber rims that could be renewed every 4,000 miles for about five dollars, less than half the cost of maintaining a conventional geared transmission.

Visually, the 1908 Model D Roadster stood out with its striking brass Rushmore Searchlight headlamps, complemented by Corcoran brass side and taillamps. A Rushmore carbide generator sat neatly beside the driver’s seat, while diamond-pattern buttoned black leather seats offered armchair-like comfort. A simple folding black canvas top provided basic weather protection, though the car had no windshield.

By 1908, Cartercar had sold around 325 units. However, Byron Carter’s untimely death from pneumonia in April that year marked the beginning of the company’s decline. General Motors acquired Cartercar in late 1909 and continued production until 1915.

Today, fewer than 30 examples of the Cartercar are known to survive, making the Model D a rare and fascinating piece of automotive history. Here is a collection of beautiful photos showcasing the elegant 1908 Cartercar Model D Roadster in all its gearless glory.

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30 Amazing Photos of George Clooney on the Set of “The Peacemaker” (1997)

George Clooney (born May 6, 1961) is an American actor and filmmaker. Known for his leading man roles on screen in both blockbuster and independent films, Clooney has received numerous accolades, including two Academy Awards, a BAFTA Award and four Golden Globe Awards as well as nominations for three Primetime Emmy Awards and a Tony Award.

On the set of The Peacemaker (1997), Clooney was described by director Mimi Leder as “fearless” for his commitment to realism and stunt work. As the first major release from DreamWorks Pictures, the production was high-stakes, and Clooney took a hands-on approach to his role as Lt. Col. Thomas Devoe. 

Co-star Nicole Kidman noted that Clooney made the set enjoyable, often leading to laughter and a relaxed atmosphere between takes despite the film's serious tone.

Despite his rising fame, Clooney was reportedly starstruck by veteran actor Armin Mueller-Stahl and would frequently offer to get him coffee on set. Because there was no rehearsal time for him and Kidman, Clooney made it a priority for them to become fast friends immediately to ensure their chemistry felt natural on screen.

During the production, Clooney famously bonded with the crew. When he realized that some of the local Slovakian crew members were being paid significantly less than their American counterparts, he reportedly lobbied for better conditions and used his own resources to ensure the team was well-fed and taken care of, a trait that became a hallmark of his future productions.

At the time of filming, Clooney was still adjusting to global superstardom. While filming in Bratislava, the local press and fans followed his every move, which reportedly fascinated him as it was one of his first experiences of intense international “paparazzi” culture outside of the United States.

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24 Photos of a Young and Beautiful Julianne Phillips in the 1980s

Julianne Phillips (born May 6, 1960) was a successful model and emerging actress in the 1980s, best known at the time as Bruce Springsteen’s first wife (married 1985–1989). She embodied classic 1980s beauty: tall (around 5'8" or model height), with long blonde hair (often styled with volume, bangs, or soft waves typical of the era), striking features, a fit athletic build, and an elegant yet approachable “all-American” look that landed her high-paying modeling gigs.

Phillips began the decade as one of the most successful models of the early 1980s. After being discovered and signing with the Elite Modeling Agency in 1982, she was marketed as the “perfect-ten package.” At the peak of her modeling career, she was reportedly earning as much as $2,000 a day.

She transitioned into acting by appearing in several notable 1980s projects. She appeared in the video for .38 Special’s “If I’d Been the One” (1983). Later, she appeared in the video for Bruce Springsteen’s “Glory Days” (1985).

In 1984, she landed roles in the made-for-TV films Summer Fantasy and His Mistress (opposite Robert Urich). Toward the end of the decade, she moved into feature films, starring in the 1986 comedy Odd Jobs and 1989’s Fletch Lives (with Chevy Chase) and Skin Deep (with John Ritter).

Phillips gained massive international media attention when she began dating rock legend Bruce Springsteen in late 1984. They married shortly after midnight on May 13, 1985, in Lake Oswego, Oregon. The ceremony was a major media event, though the couple took measures to avoid the paparazzi. The marriage was short-lived; Phillips filed for divorce in August 1988, citing irreconcilable differences. The divorce was finalized in March 1989.

The end of their relationship is famously cited as the primary inspiration for Springsteen’s introspective 1987 album, Tunnel of Love. While the 1980s cemented her celebrity status, Phillips would go on to achieve her greatest professional success in the early 1990s as Francesca “Frankie” Reed on the TV drama Sisters. 

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Milly Vitale: The Radiant Grace of Italian Cinema

Milly Vitale (1933–2006) was a radiant star of the post-war Italian cinema era, cherished for her delicate beauty and versatile acting range. Emerging during the height of the Hollywood-on-the-Tiber period, she became one of the few Italian actresses of her generation to successfully cross over into international productions.

Vitale is perhaps best remembered by global audiences for her poignant role in the 1955 musical film The Seven Little Foys, where she starred alongside Bob Hope. With her expressive eyes and graceful screen presence, she effortlessly transitioned between lighthearted comedies and intense dramas, embodying the elegance and resilience of 1950s womanhood.

Though she retired relatively early from the spotlight to focus on her personal life, Milly Vitale remains a beloved figure of Italy’s golden age of film, a luminous talent whose charm continues to captivate vintage cinema enthusiasts today. Explore these vintage portraits to rediscover the captivating allure of Milly Vitale, a true pioneer of the Italian crossover era.

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Michelle Pfeiffer at the Miss California Beauty Pageant in 1978

Did you know that Michelle Pfeiffer was in beauty pageants once upon a time? She won the Miss Orange County beauty pageant in 1978 and finished sixth in the Miss California contest the same year. After her appearances in these pageants, Pfeiffer acquired an agent and began to audition for television and film roles.

Before she was an Academy Award-nominated actress and a Hollywood icon, 19-year-old Michelle Pfeiffer used the pageant circuit as a stepping stone to break into the industry.  

In 1978, she competed in the Miss California pageant held at the Magic Mountain theme park in Valencia. While she didn’t take home the top crown, her participation was a pivotal moment in her early career.

She qualified for Miss California after winning the Miss Orange County title earlier that year. She ultimately finished in sixth place but was awarded the title of Miss Photogenic.

Pfeiffer famously entered the contest because one of the judges was a Hollywood agent. Her plan worked; the exposure helped her land her first agent, leading to her television debut later that year in an episode of Fantasy Island. At the time of the pageant, she was a student at Golden West College and worked as a check-out clerk at a Vons supermarket.

In a strange twist of Hollywood fate, the 1954 Miss California winner, Lee Meriwether, also went on to play Catwoman (in the 1966 Batman film), a role Pfeiffer would redefine decades later in Batman Returns (1992).  

Pfeiffer has often looked back on her pageant days with a mix of humor and humility, noting that she initially viewed it as a practical way to bypass the “waiting in line” phase of pursuing an acting career. “I needed to learn how to act... in the meantime, I was playing bimbos and cashing in on my looks.”

Charles Verschuuren Jr.: Bridging Illustration and Fine Art

Charles Verschuuren Jr. (1891–1955) was a distinguished Dutch-American illustrator and painter, celebrated for his versatile talent that seamlessly transitioned between the worlds of commercial art and fine portraiture.

Born into an artistic family in the Netherlands, Verschuuren brought a European sensibility to the vibrant American art scene, eventually becoming a prominent figure in New York. He is perhaps best remembered for his dynamic posters and sophisticated advertisements, which often featured a bold use of color and a keen sense of composition that defined the aesthetic of the early 20th century.

Beyond his commercial success, Verschuuren was a masterful portraitist, known for his ability to capture the dignity and character of his subjects with a graceful, refined touch. His body of work stands as a testament to an era where art and industry converged, leaving behind a legacy of elegance and visual storytelling.

Through these works, we can appreciate the meticulous craftsmanship that made Verschuuren one of the most sought-after illustrators of his generation.

Drukkerij Kotting, circa 1917

Café-Restaurant "Moderne", 1917

Ravensberg, Voor Straat Reclame, 1917

Darmoer je zien! Flora Revue, 1918

Oranje Hein, 1918

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