Una Merkel: Spirited Supporting Star of Classic Hollywood

Born in Covington, Kentucky, American actress Una Merkel (1903–1986) was known for her lively, wisecracking supporting roles in classic Hollywood films. She began on the stage in New York before moving to Hollywood, where she became a familiar face in 1930s cinema.

Merkel appeared in numerous films, including 42nd Street (1933) and the memorable fight scene opposite Marlene Dietrich in Destry Rides Again (1939). With her sharp comic timing and distinctive Southern-tinged delivery, she specialized in playing loyal friends, sassy sidekicks, and spirited characters.

Later in her career, Merkel returned to the stage, winning a Tony Award, and received an Academy Award nomination for Summer and Smoke (1961). These vintage photos capture the charm, energy, and distinctive screen presence of Una Merkel, a memorable supporting star of Hollywood’s Golden Age.

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1912 Baker Electric Model W Runabout: Elegant Early Electric Motoring

The 1912 Baker Electric Model W Runabout is a rare and charming example of early American electric automobiles.

Produced by the Baker Motor Vehicle Company of Cleveland, Ohio, Baker was one of the leading manufacturers of electric cars in the Brass Era. The Model W Runabout featured a compact, stylish open body designed for urban driving, powered by an electric motor that offered quiet and clean operation compared to the gasoline cars of the time.

With its refined appearance and practical design, the Baker Electric appealed to drivers seeking ease of use and sophistication. Today it stands as a fascinating reminder of the early promise of electric vehicles more than a century ago. These elegant photos capture the refined design and pioneering spirit of the 1912 Baker Electric Model W Runabout, a rare classic from the dawn of electric motoring.

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English Rose: 30 Portraits of a Young and Beautiful Deborah Kerr in the 1940s

In the 1940s, Deborah Kerr (September 30, 1921 – October 16, 2007) evolved from a promising young stage actress into one of Britain’s defining screen stars and an international Hollywood talent. Her decade was marked by a signature “English rose” screen persona—refined, poised, and ladylike—backed by remarkable dramatic intensity beneath the surface.

After early stage work, Kerr made a notable film debut in Gabriel Pascal’s Major Barbara (1941) and gained acclaim for Love on the Dole (1941). Directed by Michael Powell and Emeric Pressburger (The Archers), Kerr played three distinct women across three different generations in The Life and Death of Colonel Blimp (1943). The film showcased her extraordinary versatility and established her as a major British star.

She starred as an Irish nationalist in I See a Dark Stranger (1946), winning the New York Film Critics Circle Award for Best Actress. In Black Narcissus (1947), Kerr delivered one of her definitive performances as Sister Clodagh, an Anglican nun struggling with past memories and psychological tension in a remote Himalayan convent. Her controlled, emotionally charged performance caught global attention.

Following her acclaim in Black Narcissus, Metro-Goldwyn-Mayer signed her to a Hollywood contract in 1947, promoting her as “Deborah Kerr – rhymes with Star.” She instantly achieved Hollywood stardom by playing opposite Clark Gable in the satirical advertising drama The Hucksters (1947). This high-profile role firmly cemented her status as a global symbol of post-war cinematic glamour, setting the stage for her legendary, six-time Academy Award-nominated career in the decades that followed.

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30 Black and White Portraits of Angie Dickinson in the 1960s

Angeline Dickinson (née Brown; September 30, 1931) is an American retired actress. She began her career on television, appearing in many anthology series during the 1950s, before gaining her breakthrough role in Gun the Man Down (1956) with James Arness and the Western film Rio Bravo (1959) with John Wayne and Dean Martin, for which she received the Golden Globe Award for New Star of the Year.

During the 1960s, Dickinson cemented her status as a major Hollywood star, embodying a unique combination of glamour, sophistication, and grit. Following her definitive breakthrough as Feathers in Rio Bravo (1959), the 1960s saw her balance high-profile cinematic roles, a highly publicized association with the Rat Pack, and a changing personal life.

Dickinson was highly prolific throughout the decade. She appeared in Westerns and crime dramas, notable titles include The Killers (1964, with Lee Marvin and Ronald Reagan in his last film role), The Chase (1966, with Marlon Brando), and Point Blank (1967, opposite Lee Marvin again). These roles often cast her as strong, alluring women in tense or violent stories.

She co-starred in Ocean’s 11 (1960) with the Rat Pack (Frank Sinatra, Dean Martin, etc.), playing a key supporting role that boosted her visibility. She also appeared in Rome Adventure (1962) and other romantic or lighter films. While her biggest TV success (Police Woman) came in the 1970s, she did guest spots and TV movies in the 1960s that kept her in the public eye.

Dickinson was frequently described as one of the decade’s sex symbols with a distinctive husky voice and confident screen energy. She worked with major directors and co-stars, moving between Hollywood studio pictures and more stylish, edgier projects as the decade progressed.

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20 Amazing Black and White Photos of the 1958 Brussels World’s Fair

These amazing black and white photos, via Alex Clymans, capture the 1958 Brussels World’s Fair, also known as Expo 58. The images showcase the futuristic architecture, international pavilions, and the iconic Atomium that became the symbol of the event.

Crowds of visitors, modernist structures, and the optimistic atmosphere of the postwar era are all preserved in these striking shots. The photos offer a vivid visual record of one of the most memorable world’s fairs of the 20th century.

Atomium at the 1958 Brussels World’s Fair

Atomium at the 1958 Brussels World’s Fair

American pavilion at the 1958 Brussels World’s Fair

American pavilion at the 1958 Brussels World’s Fair

American pavilion at the 1958 Brussels World’s Fair

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The Story Behind the Photo of Victor Hugo on His Deathbed Taken by Nadar in May 1885

The legendary French poet, playwright, and novelist passed away from pneumonia on May 22, 1885, at the age of 83. By the time of his death, Victor Hugo was a revered national hero who had dominated French literature and politics for over half a century.

The day after his passing—May 23, 1885—his close circle called upon his longtime friend, the famous pioneer photographer Gaspard-Félix Tournachon, better known as Nadar. Nadar rushed to Hugo’s home on Avenue Victor Hugo in Paris to immortalize the great man one last time.

Taking the photograph required careful staging to accommodate the early camera technology and the solemnity of the room. Nadar refused to carry heavy artificial lighting equipment. Instead, his friend Paul Meurice helped him secure permission to throw open the window shutters overlooking the garden.

To control the harsh morning sun, Nadar rigged black drapery across the window and tied it to a bedpost. This isolated Hugo’s face against a dark, somber background. He then placed a mirror to reflect soft natural light back into the shadows on the writer’s face.

Nadar’s son, Paul, later recalled that his father took this iconic photograph while weeping. Paul described the image as his father’s true masterpiece, capturing Hugo looking like “an old worker sleeping peacefully after an honest day’s work.”

Following his death, Hugo’s body lay in state under the Arc de Triomphe, and an estimated two million people joined his funeral procession before he was laid to rest in the Panthéon.

Funeral of Victor Hugo on June 1, 1885.

40 Fascinating Vintage Photos That Defined 1930s Street Fashion

These fascinating vintage photos capture the everyday street fashion of the 1930s. From tailored coats and elegant dresses to practical workwear and casual ensembles, the images reveal how ordinary people dressed as they moved through city streets and public spaces.

Details such as hats, gloves, footwear, and carefully composed silhouettes reflect both the economic realities of the decade and the enduring sense of style that defined the era. These photos offer a vivid and authentic record of 1930s street fashion as it was truly worn.

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