A Daguerreotype of Caesar, the Earliest Known Portrait of an African American

Caesar (c. 1737? – 1852) was an enslaved man in New York who is notable for a surviving 1851 daguerreotype portrait, one of the earliest known photographs of an African American person in the United States.

He is also remembered as possibly the last enslaved person to die in New York State (after slavery was fully abolished there) and as a candidate for the earliest-born person ever photographed while alive, though his claimed birth year is unverified and likely exaggerated.

Caesar was born (supposedly in 1737) on the Bethlehem House estate in Bethlehem, New York, owned by the Nicoll family (specifically associated with Rensselaer/Van R. Nicoll). He lived through multiple generations of the same enslaving family, outliving several masters. He was allowed to retire around 1817 at about age 80 but continued living with the family.

New York gradually abolished slavery: most enslaved people were freed by July 4, 1827, but Caesar was not officially manumitted until around 1841 (when remaining forms of slavery ended). His final connection was with Wm. Nicoll Sill (grandson of a previous master).

In 1851 (a year before his death), a member of the family, likely the son of his last master, persuaded the elderly Caesar to sit for a daguerreotype portrait. A handwritten note accompanying the image reads (with original spelling):

“Ceasar [sic], born a slave of Van R. Nicoll, son of William, in 1737 at Bethlehem, N.Y., where he died in 1852. The last slave to die in the North. This daguerreotype was taken in 1851. His 2nd master was Francis Nicoll, son of Van R. Nicoll and his 3rd master Wm. Nicoll Sill...”

He died in 1852 and is buried with a tombstone claiming he was 115. The 1850 census lists him as “Cesar Nicholls,” age 110. No contemporary records firmly confirm his exact birth year, so the longevity claims remain unproven (though impressive if accurate).

Vera-Ellen: The Radiant Dancing Star of Hollywood Musicals

Vera-Ellen (1921–1981) was an American actress, singer, and dancer who lit up the screen during Hollywood’s Golden Age of musicals.

Celebrated for her extraordinary dancing ability, long slender legs, radiant smile, and boundless energy, Vera-Ellen became one of the most gifted dancers in film history. She starred in several beloved MGM musicals, notably dancing opposite Fred Astaire in Three Little Words (1950) and The Belle of New York (1952), and delivered a memorable performance alongside Bing Crosby and Danny Kaye in the holiday classic White Christmas (1954).

Known for her technical precision, joyful stage presence, and wholesome charm, Vera-Ellen represented the pinnacle of 1950s musical film elegance and athletic grace. These beautiful vintage photos capture the infectious energy, graceful movement, and radiant charm of Vera-Ellen, one of the most talented and beloved dancers in the history of Hollywood musicals.

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Portraits of Teenage Priscilla Beaulieu (Later Known as Priscilla Presley) in West Germany From Between 1960 and 1962

Between 1960 and 1962, Priscilla Beaulieu lived a mostly long-distance relationship with Elvis Presley while navigating her teenage years in West Germany. After meeting Elvis in late 1959, this specific two-year period marked their transition from an in-person courtship to a highly anticipated reunion in America.

In March 1960, Elvis Presley completed his military service and left West Germany to return to the United States. At the time of his departure, 14-year-old Priscilla was still a student in Wiesbaden. Her style during this period was inherently youthful and natural. She wore her hair in its natural lighter brown shade, often tied back in a casual ponytail or cut with classic teenage bangs, wearing little to no makeup.

After Elvis left, Priscilla faced a period of relative isolation. Swarmed by reporters at school asking about her relationship, she was convinced the romance was over. However, communication continued through sporadic, late-night long-distance phone calls from Elvis.

After months of minimal contact, Elvis called Priscilla in early 1962 and invited her to visit him in Los Angeles during her summer break. This visit marked a massive turning point in her personal transformation. During this trip, Elvis began actively influencing her aesthetic, encouraging her to play up her features. Priscilla began experimenting with a bolder, more mature look, darkening her hair toward a richer, raven-black shade and teasing it into the early iterations of her signature voluminous, high-climbing 1960s bouffant.

She started leaning heavily into the “mod glam” era, introducing dramatic, flawlessly flicked black liquid cat-eye liner and thick false eyelashes that defined her striking, doll-like gaze. Elvis took her on a trip to Las Vegas, breaking the strict itinerary her parents had agreed to. To keep up with Elvis’s entirely nocturnal lifestyle, she was introduced to prescription sleeping pills and amphetamines.

By the end of 1962, following a subsequent visit to Graceland at Christmas, Priscilla’s parents finally agreed to let her permanently relocate to Memphis in early 1963 to finish her high school education at an all-girls Catholic school, setting the stage for her full-time immersion into Elvis’s world.

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Greta Plattry: The Elegant Soul of American Knitwear and Sportswear

Greta Plattry (1909–2006) was a German-American fashion designer known for her elegant yet practical sportswear and knitted separates during the 1940s and 1950s. Born in Berlin, she immigrated to the United States in 1937 and quickly established herself in the American fashion industry.

Plattry gained recognition for her innovative use of knitted fabrics, Tyrolean-inspired designs, and casual yet sophisticated resort wear. Her collections often featured hand-knitted sweaters, dresses, and coordinates that combined European refinement with American ease.

Though less famous today than contemporaries like Claire McCardell, Greta Plattry was highly regarded in her time for creating wearable, feminine clothing that appealed to modern, active women of the postwar era. These beautiful vintage photographs and fashion images showcase Greta Plattry’s refined taste, innovative knit designs, and lasting influence on American sportswear during the golden postwar era.

Janet Randy in white ribbed knit, wool cardigan sweater with robin's egg blue, knit skirt by Greta Plattry, 1951

Mary Jane Russell wearing black, knit sweater with turquoise wool, poodle cloth skirt, both by Greta Plattry, photo by Clifford Coffin, Glamour, 1951

Suzy Parker in cork-colored suit of wool jersey with crossover blouse of deep cyclamen pink, skirt with taffeta lining to match the blouse by Greta Plattry, photo by Richard Rutledge, Vogue, January 1, 1952

Suzy Parker in evening dress of white silk organdie with Lurex gilt thread plaid worn with pink wool sweater by Greta Plattry, photo by Richard Rutledge, Vogue, January 1, 1952

MaryJane Russell wearing a paisley sweater and skirt by Greta Plattry, photo by Horst P. Horst, Vogue, August 1953

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The Story of Steve McQueen With His 1958 Porsche Speedster, the First Brand-New Car He Ever Purchased

Steve McQueen’s 1958 Porsche 356 A 1600 Super Speedster (Chassis 84855) is legendary as the first brand-new car he ever purchased and the vehicle that launched his formal racing career.

In late 1958, while his acting career was gaining momentum with the TV series Tales of Wells Fargo, McQueen bought the black-on-black Speedster from a dealership in Alhambra, California. The car featured a 1600cc “Super” engine producing roughly 75 horsepower.

He specifically ordered it with Rudge “knock-off” wheels, a rare and expensive racing feature, and a cigarette lighter clamped to the steering column. He eventually removed the “Speedster” and “Reuter” badges for a cleaner look, a detail preserved by the car's current owners.

McQueen used this Porsche to transition from motorcycle racing to sports car competition. In May 1959, he entered his first official Sports Car Club of America (SCCA) race in Santa Barbara and won his class against 47 other novice drivers. He continued racing the Speedster throughout 1959 at iconic tracks including Del Mar, Willow Springs, and Laguna Seca.

The Speedster’s history includes a famous gap in ownership that highlights McQueen’s attachment to his machines. As his career exploded in the late 1960s, McQueen sold the car to real estate developer and collector Bruce Meyer. McQueen soon regretted the sale and spent years persuading Meyer to sell it back.

In 1974, Meyer finally agreed to sell it back to McQueen for approximately $1,500—the same price he had paid years earlier. McQueen verified it was his original car by pulling up the carpet to find the roll-bar mounting holes he had drilled decades before.

Unlike many of his other famous cars (like the Jaguar XKSS or various Ferraris), the 1958 Speedster never left the family again. It remained with McQueen until his death in 1980 and is currently owned and preserved by his son, Chad McQueen.

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30 Fascinating Photos of Rosemary Clooney in the 1950s

Rosemary Clooney (May 23, 1928 – June 29, 2002) was an American singer and actress. She was a major pop star, actress, and television personality in the 1950s, rising to fame as one of the biggest female singers of the early part of the decade.

Clooney started the decade fresh from singing with Tony Pastor’s big band alongside her sister, Betty. Striking out as a solo artist for Columbia Records, she was placed under the direction of the notorious A&R man Mitch Miller. He had a penchant for quirky, dialect-driven novelty songs. Though Clooney initially resisted them, these tracks skyrocketed her to fame.

Written by William Saroyan and Ross Bagdasarian (later the creator of Alvin and the Chipmunks), “Come On-a My House” (1951) featured a forced Armenian accent and a frantic harpsichord backing. It became a massive #1 hit, selling over a million copies and cementing her star status. Another high-energy, “Botch-a-Me (Ba-Ba-Baciami Piccina)” (1952), Italian-inflected pop novelty that dominated the charts. Capitalizing on the mid-decade mambo craze, “Mambo Italiano” (1954) became an international smash.

While these songs made her a household name, Clooney vastly preferred singing straight jazz and rich traditional pop standards, a side of her talent that would be better showcased later in the decade.

Her immense pop popularity quickly caught the attention of Paramount Pictures. After a few initial films, she landed the role that immortalized her on celluloid: Betty Haynes in the 1954 classic White Christmas. Starring alongside Bing Crosby, Danny Kaye, and Vera-Ellen, Clooney provided the film’s emotional and vocal anchor. Because her co-star Vera-Ellen’s singing voice was dubbed, Clooney actually recorded both parts for the famous “Sisters” duet. The film was the highest-grossing movie of 1954 and permanently linked Clooney to the holiday season for generations to come.

As the mid-1950s progressed, Clooney expanded her reach across the cultural landscape. She hosted her own syndicated musical variety television show, The Rosemary Clooney Show, from 1956 to 1957, which featured top-tier musical guests and showcased her effortless, conversational singing style.

Desiring to prove her depth beyond novelty pop, she teamed up with the legendary Duke Ellington and his orchestra for Blue Rose (1956), highly acclaimed jazz album. It remains a high-water mark of her discography. Clooney formed a deep personal and professional bond with Bing Crosby. They recorded several duets, concept albums (like Fancy Meeting You Here in 1958), and went on extensive concert tours together.

By the end of the 1950s, the music industry was drastically shifting. The rise of rock ‘n’ roll began to push traditional pop and big-band vocalists off the Top 40 charts. The immense pressure of her career, her troubled marriage, and the physical toll of five quick pregnancies began to accumulate, setting the stage for severe mental health and addiction struggles in the 1960s before her triumphant career comeback decades later. 

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Konstantin Ukhtomsky: Master of Architectural Elegance

Konstantin Ukhtomsky (1818–1881) was a prominent Russian painter and watercolorist, best known for his exquisite architectural views and interior scenes of imperial palaces and grand residences.

As an official artist for the Russian Imperial Court, Ukhtomsky specialized in highly detailed, luminous depictions of St. Petersburg’s magnificent palaces, ballrooms, and churches. His works are celebrated for their technical precision, delicate use of light, and remarkable ability to convey the grandeur and atmosphere of 19th-century imperial Russia.

Ukhtomsky’s paintings serve as both artistic masterpieces and valuable historical documents, offering us a vivid glimpse into the opulent world of the Russian aristocracy during the reign of Nicholas I and Alexander II.

These refined and meticulously detailed works capture Konstantin Ukhtomsky’s extraordinary talent for transforming architecture into poetry, securing his legacy as one of the finest architectural watercolorists of the Russian Empire.

Winter Palace. The Bedroom of Grand Princess Maria Nikolayevna, 1837

Winter Palace. Room of Ancient Greek Sculptures, 1853

Winter Palace. The Room of Antiquities from the Kimmeric Bosphorus, 1853

Winter Palace. Corner Drawing Room of Emperor Nicholas I, circa 1858

Winter Palace. The Picture Gallery, 1858

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