Amazing Photos of the 1915 Rolls-Royce 40/50 HP Silver Ghost Limousine

The 1915 Rolls-Royce 40/50 HP Silver Ghost Limousine is a hallmark of early 20th-century automotive engineering and luxury. Originally introduced in 1906, the 40/50 HP model quickly earned the nickname "Silver Ghost" due to its quiet, smooth performance and distinctive silver finish. By 1915, it had become widely recognized as one of the finest cars in the world.

Powered by a 7.4-liter inline-six engine, the Silver Ghost delivered exceptional reliability, refinement, and endurance — qualities that were rare at the time. The “40/50 HP” designation referred to its taxable horsepower, a system used in the UK, though the actual output was higher. It featured a robust chassis and a smooth transmission, allowing for a remarkably quiet ride, even on rough early 20th-century roads.

The limousine body style offered in 1915 emphasized opulence and comfort. Built by custom coachbuilders, each car featured handcrafted interiors with fine wood, leather upholstery, and attention to the smallest detail. These vehicles were often chauffeur-driven and owned by royalty, industrialists, and aristocrats.

Despite World War I, limited production continued, and some chassis were even adapted for military use as staff cars or ambulances due to their reliability. Today, the 1915 Rolls-Royce Silver Ghost remains an icon — a symbol of a bygone era of handcrafted excellence and a benchmark in the legacy of luxury automobiles.

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Michael Jackson and Donald Trump at the Opening of Trump’s Taj Mahal Casino in Atlantic City, New Jersey, 1990

Michael Jackson was the guest of honor at the extravagant grand opening of the Trump Taj Mahal Hotel & Casino in Atlantic City, New Jersey on April 5, 1990. Invited by Donald Trump himself, Michael’s presence brought star power and spectacle to what was then the most expensive casino project of its time.

Wearing a red shirt and custom blazer, Michael toured the newly opened casino alongside Trump—turning heads and drawing crowds everywhere they went. The two were photographed walking through the ornate casino floor and inspecting the property’s arena space, which would later host concerts and sporting events.

Michael was also seen wearing a more casual red varsity jacket earlier in the day, showing a relaxed and playful side before switching to a sharper formal look for the public tour. The Taj Mahal’s opening was meant to symbolize over-the-top luxury—and having Michael there made it all the more iconic. Even in a sea of flashing lights and fanfare, his quiet grace stood out.

Trump later recalled the opening of the Casino with Michael: “He was a very good friend of mine. He was an amazing guy, but beyond all else, he was the greatest entertainer I’ve ever known. He had magic. He was a genius. He was also a really good person, and when you got to know him, you realized how smart he was. He was brilliant. We were at the Trump Taj Mahal in Atlantic City. There were thousands of people literally crushing us. We had 20 bodyguards, but it was really dangerous. He dropped to his knees and started crawling to the exit. He did it so routinely, I thought he fell. And I said, ‘Michael, is it always like this?’ He goes, ‘Yeah, this is nothing. Japan is much worse.’”

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50 Amazing Photos of Audrey Hepburn and Fred Astaire During the Filming of “Funny Face” (1957)

Audrey Hepburn and Fred Astaire shared the screen in Funny Face (1957), a beloved musical romantic comedy directed by Stanley Donen. On set, the two icons brought together their distinct talents—Hepburn’s graceful charm and Astaire’s legendary dancing skills.

In Funny Face, Astaire plays fashion photographer Dick Avery (loosely inspired by Richard Avedon), while Hepburn stars as Jo Stockton, a shy bookstore clerk turned high-fashion model. Much of the filming took place in Paris, showcasing stunning locations like the Eiffel Tower, the Louvre, and the Champs-Élysées, which added to the film’s whimsical and stylish appeal.

Behind the scenes, Audrey and Fred had a warm and respectful rapport. Hepburn reportedly adored working with Astaire, whom she admired greatly, and Astaire praised her natural elegance and commitment. Despite a significant age gap, their chemistry on screen was graceful and compelling—especially in dance sequences like “He Loves and She Loves” and “Clap Yo’ Hands.” According to Hepburn, she insisted on Astaire as a precondition for her participation.

Photos from the set often capture Hepburn in her iconic Givenchy costumes, laughing or rehearsing alongside Astaire, both radiating a classic elegance that perfectly embodied the golden era of Hollywood musicals.

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40 Beautiful Paintings by Florent Willems From the 19th Century

Florent Willems (1823–1905) was a Belgian painter and art restorer. He was successful with his genre scenes depicting a few figures in an interior executed in the style of the 17th century Flemish and Dutch Baroque.

Willems was particularly praised for his ability to render realistically the materials of the clothes of his figures which earned him the nickname of the ‘modern Ter Borch’. Below is a collection of beautiful paintings by Florent Willems from the 19th century.

The New Mother

The Introduction

Maid Offering Flowers

A Beauty in White

A Fair Reflection

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The New Sepulveda Boulevard Tunnel Following Opening Ceremonies, Los Angeles, 1930

Sept. 27, 1930: Following opening ceremonies, a procession of cars, horses, and wagons proceeds south through the new Sepulveda Boulevard tunnel. After eight years of construction, the new tunnel connected the San Fernando Valley with West Los Angeles.

In an article the next day, the Los Angeles Times reported, “Leading a three-mile procession of Indians, Mexicans, Spaniards and other pioneers of the Southwest, who came by thousands in ox carts, covered wagons and on gaily caparisoned horses, Mayor [John] Porter yesterday turned a golden key and opened wide the gates of Sepulveda Boulevard tunnel, the new thoroughfare through the Santa Monica Mountains which links San Fernando Valley with the beaches and West Los Angeles.”

Victorian Trade Cards: The Art of Advertising in the 19th Century

Victorian trade cards were one of the most popular forms of advertising during the late 19th century, especially in the United States and Europe. These small, colorful cards were distributed by businesses to promote everything from soap and sewing machines to candy, medicine, and department stores.

Trade cards flourished during the Victorian era (roughly 1837–1901), coinciding with advancements in color lithography that allowed for mass production of richly illustrated prints. Many featured charming or humorous images—children, animals, flowers, and whimsical scenes—paired with the name and address of the business being promoted.

This is a collection of Victorian trade cards from the late 19th century.

Liebig Company's Fleisch-Extract, Trade Card, Enthüllte Zauberkünste, Die Geister, circa 1880s

Liebig Company's Fleisch-Extract, Trade Card, Miezchens erste Schlittenfahrt, circa 1880s

Queen Regent of Spain, from World's Sovereigns series (Num. 34) for Allen & Ginter's Cigarettes, circa 1880s

Liebig's Beef Extract, "Italian Masques I", "Arlecchino", French issue, 1883

Véritable Extrait de Viande Liebig, "Italian Masques I" French issue, 1883

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25 Wonderful Color Photos of a Very Young Eva Marie Saint in the 1950s

Eva Marie Saint (born July 4, 1924) is an American retired actress. In a career that spanned nearly 80 years, she won an Academy Award, a Primetime Emmy Award, in addition to nominations for a Golden Globe Award and two British Academy Film Awards. Saint is the oldest living and earliest surviving Academy Award winner, and one of the last living stars from the Golden Age of Hollywood.

Saint attended Bowling Green State University and began her career as a television and radio actress in the late 1940s. She played the role of Thelma in Horton Foote’s The Trip to Bountiful (1953). She made her film debut in Elia Kazan’s On the Waterfront (1954), opposite Marlon Brando. The film won eight Academy Awards, including Best Picture, and earned her the Academy Award for Best Supporting Actress along with a BAFTA nomination for Most Promising Newcomer.

In a 2000 interview in Premiere magazine, Saint recalled making the film, which has been highly influential, saying, “[Elia] Kazan put me in a room with Marlon Brando. He said ‘Brando is the boyfriend of your sister. You’re not used to being with a young man. Don’t let him in the door under any circumstances.’ I don’t know what he told Marlon; you’ll have to ask him—good luck! [Brando] came in and started teasing me. He put me off balance. And I remained off balance for the whole shoot.” She repeated the anecdote in a 2010 interview.

Saint appeared alongside Bob Hope in That Certain Feeling (1956) for which she received $50,000. She was then offered $100,000 to star in the Civil War drama Raintree County (1957) with Elizabeth Taylor and Montgomery Clift. After that, she starred with Don Murray in A Hatful of Rain, the pioneering drug-addiction drama, which although made later than Raintree County was released earlier in 1957. She received a nomination for the “Best Foreign Actress” award from the British Academy of Film and Television for her performance.

Director Alfred Hitchcock surprised many by choosing Saint over dozens of other candidates for the femme fatale role in what was to become a suspense classic North by Northwest (1959) with Cary Grant and James Mason.

In 2000, recalling her experience making the picture with Cary Grant and Hitchcock, Saint said, “[Grant] would say, ‘See, Eva Marie, you don’t have to cry in a movie to have a good time. Just kick up your heels and have fun.’ Hitchcock said, ‘I don’t want you to do a sink-to-sink movie again, ever. You’ve done these black-and-white movies like On the Waterfront. It’s drab in that tenement house. Women go to the movies, and they’ve just left the sink at home. They don’t want to see you at the sink.’” In a 2010 interview she stated: “I said, ‘I can’t promise you that, Hitch, because I love those dramas.’”

Eva Marie Saint’s 1950s career was characterized by her versatility and ability to hold her own opposite major leading men and under the direction of esteemed filmmakers. Her success in this decade laid the foundation for a long and distinguished career.

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