Candid Photographs of James Dean and Elizabeth Taylor During the Filming of “Giant” in 1955

During the filming of Giant in 1955, James Dean and Elizabeth Taylor formed a deep, legendary friendship. Their bond was built on late-night conversations and shared vulnerabilities while on location in Marfa, Texas. Taylor (23) and Dean (24) became inseparable during the grueling shoot. They were both young stars navigating the pressures of Hollywood, but they came from different worlds: Taylor was the polished product of the MGM studio system, while Dean was the volatile poster boy for Method acting.

The two famously stayed up until the early morning hours in Taylor’s trailer or at the El Paisano Hotel, talking for hours. It was during these sessions that Dean reportedly confided his deepest traumas to Taylor, including the childhood abuse he suffered after his mother’s death. “We would sometimes sit up until three in the morning,” Elizabeth recalled, “and the next day he would just look straight through me as if he’d given away or revealed too much of himself.”

The set was often tense because Dean and co-star Rock Hudson famously disliked each other. Hudson found Dean’s “mumbling” and eccentric acting style unprofessional. Taylor, who became lifelong friends with Hudson, often acted as the emotional bridge between the two men.

The most poignant chapter of their friendship is its sudden end. James Dean was killed in a car accident just as the Texas portion of filming was wrapping up. Director George Stevens broke the news to the cast and crew while they were watching “dailies” (raw footage). Taylor was so devastated she reportedly had to be hospitalized for several days due to physical illness brought on by grief.

In a move Taylor never forgave, Stevens forced her to return to work the very next day to film reaction shots for a scene she had originally played with Dean. She had to act “in love” with the space where her deceased friend should have been standing.

The photographs of them from 1955 remain some of the most iconic images of the Golden Age. They capture a rare, unguarded moment of two icons who found a brief sanctuary in each other before one of them became an immortal legend.

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106 Year-Old William Casby With His Great-Great-Granddaughter Photographed by Richard Avedon, 1963

In 1963, Richard Avedon’s camera captured a moment that collapses time. William Casby, born in 1857, holds his great-great-granddaughter Cherri Stamps-McCray. He’s 106. She’s an infant. The contrast is jarring.

Captured on March 24, 1963, in Algiers, Louisiana, this photograph serves as a “living bridge” between eras of American history.

Born into slavery in 1857 in Algiers, Louisiana (or possibly Danville, Virginia, according to some records), Casby was among the last living Americans with direct memories of enslavement. He later worked as a longshoreman in Louisiana and lived to the age of 113, passing away in 1970.

Avedon traveled to the South after reading a newspaper article about Casby’s 106th birthday. The photo was taken on March 24, 1963, just months before the March on Washington. It was part of Avedon’s collaboration with writer James Baldwin for the book Nothing Personal (1964), which explored the state of American identity.

William Casby, one of the last living Americans born into slavery, surrounded by several generations of his family, Algiers, Louisiana, March 24, 1963. “It is necessary, while in darkness, to know that there is a light somewhere,” Baldwin writes in Nothing Personal. “To know that in oneself, waiting to be found, there is a light. What the light reveals is danger, and what it demands is faith.”

Avedon utilized his signature minimalist approach to give the portrait a “forensic” intensity. By stripping away environmental context, Avedon forces the viewer to confront Casby’s physical presence, the “avalanche of age” reflected in his deep wrinkles and steady gaze.

This large-format camera captured immense detail, emphasizing the texture of Casby’s skin and the sheer size of his hands, which many viewers note look like those of a man who worked hard his entire life (he was a longshoreman for decades).

William Casby, Algiers, Louisiana, March 24, 1963.

The photograph is often cited by historians and critics (including Roland Barthes in Camera Lucida) for its ability to collapse time. When it was published, it served as a reminder that slavery was not “ancient history;” the man in the photo had personally experienced it, yet was alive to hold a child who would grow up in the space-age 20th century.

Leonard Campbell Taylor: The Master of Quiet Interiors

Leonard Campbell Taylor (1874–1966) was a distinguished British painter celebrated for his quiet, meticulously crafted interior scenes that evoke a sense of timeless tranquility.

Greatly influenced by the 17th-century Dutch Masters like Johannes Vermeer, Taylor’s work is defined by its exquisite rendering of light and a profound appreciation for stillness. His compositions often feature solitary figures, frequently women, engaged in quiet domestic activities within elegantly appointed, sun-drenched rooms.

Beyond his domestic subjects, Taylor served as an official war artist during both World Wars, where he applied his disciplined technique to document naval and military life. Today, he is remembered as a master of the “New English” style, a painter who captured the dignity of the ordinary and the poetic beauty of the English interior with unparalleled precision and grace.

Arabella

Battledore

Contemplation

Far Away Thoughts

Intermezzo

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Photographs of George Harrison Celebrating His 21st Birthday on Feb. 25, 1964 at The Beatles’ Fan Club Office

On February 25, 1964, George Harrison celebrated his 21st birthday in a special way. While The Beatles’ career was skyrocketing, George chose a peaceful and meaningful way to welcome his new year, by visiting The Beatles’ fan club office in London.

There, Mary Cockram (also known as Ann Collingham) and Bettina Rose, who were handling much of the fan mail sent to the band, presented George with a thoughtful birthday gift. This was a special moment in the early years of The Beatles’ career when they were receiving overwhelming love and support from millions of fans worldwide.

George received 30,000 birthday cards in the mail, but not a single card from the other three Beatles. “We’re not sentimental people,” George said.

In addition to receiving thousands of 21st birthday keys, he received six-foot high double doors which had been delivered by seven girls. It was a UK tradition to give keys as a present on 21st birthdays as you were  now old enough to be a key-holder to your family’s home, and hold a symbolical senior position in the family.

The first greeting came from his mother, Mrs Louise Harrison, who rang from Liverpool at 12.10am, the exact time he was born and sang: “Happy Birthday to You.” How did George respond? “I had a good laugh,” he said. “In America they have birthday operators singing to you and for a minute when my mother came on, I thought it was the operator.”

Although The Beatles were already internationally famous at the time, George took the time to connect with and thank those who had been with him throughout the journey. This event serves as a reminder of a golden era for The Beatles and the sincere affection they had for their fans.

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Rare Photos of Nichelle Nichols Practicing Ballet Moves on the Set of “Star Trek: The Original Series”

These rare behind the scenes photographs from Star Trek: The Original Series capture Nichelle Nichols (as Lt. Uhura) practicing ballet moves on set while dressed in her iconic red Starfleet uniform. These images showcase her exceptional flexibility and form, including a notable penché.

Before her acting career, Nichols was a trained professional dancer and singer. She began ballet at age seven and studied at the Chicago Ballet Academy. At age 15, she was hired by Duke Ellington to choreograph and perform a ballet for his musical suites.

While filming Star Trek, she frequently used her downtime to maintain her dancing skills, even performing complex moves in the show’s signature mini-skirt and boots. While the show frequently showcased her singing (such as in “Charlie X” and “The Conscience of the King”), her dancing was rarely integrated into the plot of the original series.

“Many fans, even to this day, when meeting Nichelle Nichols are a little jolted that I am not Uhura,” the actress admitted. “I don’t act like Uhura. I have a totally different personality. So, I find people discovering that, and they act like they’re meeting a whole new character.”

Interestingly, her stage name “Nichelle” actually originated from her dance days, it was a nickname given to her because of the graceful way she performed pirouettes.

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Late Victorian Wallpaper: The Pinnacle of Pattern and Elegance

In the late Victorian era, wallpaper transitioned from a luxury for the elite into a quintessential element of the middle-class home, reflecting a period of intense decorative maximalism. This era was defined by a shift away from garish, early-industrial prints toward the sophisticated, organic designs of the Arts and Crafts movement, most notably the iconic work of William Morris. His patterns, featuring intertwined acanthus leaves, birds, and sprawling florals, emphasized a “return to nature” and handcrafted quality.

Technologically, the late 19th century saw the introduction of Lincrusta, a deeply embossed, leather-like wall covering that added tactile richness to hallways and dining rooms. Despite the beauty of these deep crimsons and “arsenic greens,” the aesthetic was as much about status as it was about atmosphere, designed to appear opulent under the soft, flickering glow of newly introduced gas lighting.

Late Victorian wallpaper remains a masterclass in pattern density, representing a time when every square inch of a home was treated as a canvas for storytelling and art.

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The Dangers of the Baby Feeding Bottles in the Victorian Era

Patented around 1879–1880, these glass or earthenware “banjo” shaped bottles allowed babies to self-feed. Many had sweet sounding names such as “My Little Pet” and “Mummies Darling” while others were very nationalistic like “The Empire,” “The National” or “The Victorian.” Some simply advertised the chemist from which they were bought but many cashed in on the popularity of the Princess of Wales in the 1880s. Hence the most common inscriptions bore the words, “The Princess” or “The Alexandria.” However these sweet sounding names often belayed the hidden dangers of these little inconspicuous bottles. The later day nicknames “The Killer” or the “The Murderer” was indeed more apt.

The bottles were appealing to mothers as they allowed for more independence and encouraged children to feed themselves. Unfortunately, the slanted shape made the bottle very hard to clean. The rubber stopper and tubing absorbed bacteria delivering it straight into very vulnerable individuals. To make matters worse, the popular figure Mrs. Isabella Beeton outlined dangerous recommendations for nursing bottles in her publication, The Book of Household Management (1861).

“The prepared teats can be obtained at any chemist’s, and… they will require a little soaking in warm water, and gentle washing, before being tied securely, by means of fine twine... When once properly adjusted, the nipple need never be removed till replaced by a new one, which will hardly be necessary oftener than once a fortnight [14 days], though with care one will last for several weeks.”

The design and materials of the bottles, along with inadequate cleaning and care recommendations, led to the nickname “murder bottle.”

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