Yesteryear

40 Vintage Postcards of Mid-Century Motel and Hotel Rooms

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These charming vintage postcards offer a nostalgic glimpse into the interiors of mid-century motels and hotels from the 1950s and ’60s.

Featuring bold color schemes, geometric patterns, sleek furniture, and the distinctive optimism of postwar American design, the images capture the unique style and comfort of roadside and urban lodging during the golden age of travel.

From bright Formica tables and atomic-age lamps to plush beds and patterned carpets, these postcards beautifully preserve the mid-century modern aesthetic that defined an era of leisure and adventure on the open road.

Alabama. Monte Plaza Motel, Huntsville

Arizona. Arizona Inn Guest Room Fireplace, Tucson

Arizona. Coronado Motel, Nogales

California. Cordova Lodge, Sacramento

California. Cosmic Age Lodge Room, Anaheim

La Muerte Niña: Post-Mortem Portraits of Infants and Young Children in Mexico From the Late 19th and Early 20th Centuries

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“La muerte niña” (the death of the child) refers to the Mexican tradition of post-mortem photography for deceased infants and children, a deeply rooted custom that peaked during the late 19th and early 20th centuries. Stemming from colonial art traditions, these photographs served as a final, permanent keepsake for families enduring high infant mortality rates. Unlike modern perspectives that view memento mori images with unease, Mexican families celebrated these children as “angelitos” (little angels) who died without sin and were believed to ascend straight to heaven to act as divine intercessors for the family.

Deceased children were rarely photographed in plain clothes or coffins. Instead, they were heavily stylized to reflect their transformation into angels. Children were often dressed in elaborate white gowns or costumed as specific saints, the Virgin Mary, or Christ figures. Crowns made of fresh flowers (coronas) and palm leaves were placed on their heads to symbolize purity, spiritual victory, and absolute innocence. Photographers placed small crosses, rosaries, or lilies in the child’s hands to denote their unblemished souls.

The staging aimed to mimic sleep, life, or divine coronation rather than cold mortality. Infants were frequently nestled into beds or cushions surrounded by dense, towering floral arrangements. Propped up in chairs or held by their godparents and mothers, children were sometimes photographed with eyes chemically painted open or gently arranged to look awake. Parents and siblings often stood stoically beside the deceased child, displaying solemn dignity rather than open weeping, as outward grief was thought to hinder the angelito’s journey to heaven.

As photography studios expanded across Mexico during the Porfiriato era, the practice grew accessible to both wealthy elites and rural working classes. Prominent regional photographers, such as Romualdo García in Guanajuato and Juan de Dios Machain in Jalisco, documented hundreds of these rituals, leaving behind vast socio-historical archives. By the mid-20th century, shifts in Catholic mourning practices, the modernization of funeral industries, and improved healthcare led to the gradual decline of this unique photographic genre.

John W. Hetrick, the Inventor of the Airbag, Got His Big Idea From a Scary Incident During a Family Drive in 1952

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John Willard Hetrick (1918–1999) was an American industrial engineer from Newport, Pennsylvania, widely credited with inventing the automotive airbag. He filed for a U.S. patent on August 5, 1952, for a “Safety cushion assembly for automotive vehicles” and received U.S. Patent No. 2,649,311 on August 18, 1953, the first U.S. patent for an airbag. His design used compressed air to inflate cushions (in locations such as the steering wheel, dashboard/glove box, and potentially seat backs) in response to sudden deceleration, triggered by a spring-loaded sensor. He built an early prototype on his kitchen table.

The idea came from a near-miss accident in spring 1952. While driving a 1948 Chrysler Windsor near Newport, Pennsylvania, with his wife Jeannette and young daughter Joan, Hetrick swerved to avoid a rock (accounts also mention watching for deer) and went into a ditch. He and his wife instinctively threw up their hands to keep their daughter from hitting the dashboard. On the way home he wondered why a protective object couldn’t automatically deploy from the dashboard.

His Navy experience during World War II provided the technical spark. While working on compressed-air torpedoes, he recalled an accidental release of compressed air that rapidly inflated a canvas cover “quicker than you could blink an eye.”

Hetrick received little commercial success or income from the invention. Automakers at the time showed little interest (safety features were not prioritized over styling and features like radios), and widespread adoption of airbags occurred only after his patent expired in 1971.

German engineer Walter Linderer independently patented a similar compressed-air inflatable cushion around the same period (German patent in 1953). Practical modern systems later required faster chemical inflation (e.g., sodium azide-based propellants) and better sensors (notably advances by Allen Breed in the late 1960s).

Hetrick was later awarded the Golden Gear Award for his contribution. Airbags have since become a standard passive safety feature that has saved tens of thousands of lives. He is remembered as a self-taught inventor (high school education) who turned a personal close call and wartime technical insight into a foundational automotive safety concept.

Mila Schön: Elegant Master of Italian Modernist Fashion

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Mila Schön (1916–2008), born Maria Carmen Nutrizio, was a renowned Italian fashion designer celebrated for her refined elegance and modernist style.

Of Dalmatian origin, Schön rose to prominence in Milan during the 1960s with sophisticated designs characterized by clean geometric lines, innovative double-faced wool fabrics, and exquisite hand-beading. Her clients included high-society figures such as Jacqueline Kennedy Onassis, Lee Radziwill, and Marella Agnelli.

Known for blending classic Italian craftsmanship with a minimalist, almost architectural aesthetic, Schön became one of the leading names of Italian haute couture and ready-to-wear, leaving a lasting legacy of understated luxury and timeless sophistication.

These refined designs beautifully showcase Mila Schön’s signature style: clean geometric lines, innovative double-faced fabrics, and understated elegance that defined Italian fashion in the 1960s and beyond.

Francoise Leroy sitting on the floor inside the Villa Lante della Rovere, is wearing dress by Mila Schön, photo by Henry Clarke, 1966

Mirella Petteni in silk print two-piece by Mila Schön, photo by Johnny Moncada, Linea Italia, 1967

Veruschka in beautiful jeweled embroidered dress in deep bands of silver-green stones crossing pavéd horizontal stripes by Mila Schön, photo by Franco Rubartelli, Vogue, April 1, 1967

Benedetta Barzini in Mila Schön’s silver-leaved Bermudas and cavalier shirt, photo by Henry Clarke for Vogue UK, 1968

30 Portraits of Gusti Huber in the 1930s and 1940s

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Auguste “Gusti” Huber (July 27, 1914 – July 12, 1993) was an Austrian-American stage and film actress. She is best known for her critically acclaimed performance as Edith Frank (Anne Frank’s mother) on Broadway and in the 1959 film The Diary of Anne Frank.

Born in Vienna, Austria, she trained at the Academy for Music and Representative Art in Vienna under Rudolph Beer (among others). She made her early stage debut in 1929 at Vienna’s Deutsches Volkstheater before joining the Schauspielhaus in Zürich, where she honed her craft over 180+ roles. Later, she became a prominent leading lady at the prestigious Burgtheater in Vienna.

Huber entered film in Tanzmusik (1935) and achieved major stardom in Unentschuldigte Stunde (The Unexcused Hour, 1937). Throughout the late 1930s and World War II, she was one of the most popular leading actresses in Austrian and German cinema, starring in popular films such as Land der Liebe (1937), Kleiner Mann – ganz gross! (1938), and Jenny und der Herr im Frack (1941).

After World War II, Huber entertained American troops in Austria, where she met her second husband, U.S. Army Captain Joseph Besch. Moving to the United States in 1946, she reportedly became the first Austrian actress cleared by the U.S. military government after de-Nazification screening.

Upon moving to New York, she transitioned seamlessly to Broadway. She starred in Elia Kazan’s 1952 production Flight into Egypt, playing an Austrian refugee. She originated the role of Margot Wendice in the 1952 Broadway run of Frederick Knott’s thriller Dial M for Murder (the role Grace Kelly famously played on film).

In 1955, Huber was cast as Edith Frank in the original Broadway production of The Diary of Anne Frank, directed by Garson Kanin. Her poignant performance as Anne’s protective, heartbroken mother earned critical acclaim. When director George Stevens adapted the Pulitzer Prize-winning play into the 1959 Hollywood feature film The Diary of Anne Frank, Huber was brought on to reprise her role on screen.

Her casting in the Holocaust drama sparked controversy due to her extensive film work in Third Reich Germany and reports that she had refused to work with a Jewish colleague in pre-war Vienna. However, director Garson Kanin and key producers stood firmly behind her, and her performance remains deeply remembered today.

Huber retired from acting in 1961. Following her retirement, she dedicated much of her later life to speaking at high schools in the New York area about Anne Frank’s legacy and the human lessons of the Holocaust. Huber was also the matriarch of an acting family: her daughter was actress Bibi Besch (Star Trek II: The Wrath of Khan), and her granddaughter is actress Samantha Mathis (Broken Arrow, Billions).

Edie Adams: Stylish Star of Classic Hollywood and Comedy

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Edie Adams (1927–2008) was an American actress, singer, and comedienne celebrated for her glamorous looks, sharp comedic timing, and versatile talent. Best known for her roles in films such as The Apartment (1960) and It’s a Mad, Mad, Mad, Mad World (1963), she also starred alongside her husband Ernie Kovacs in pioneering television comedy.

With her elegant style, distinctive voice, and witty presence, Adams became a beloved figure of mid-century entertainment, equally at home in musical numbers, comedy sketches, and glamorous Hollywood productions.

These beautiful vintage photos capture the elegance, charm, and playful spirit of Edie Adams, a true classic Hollywood beauty with unmatched comic flair.

Fabulous Photos of 20 Year-Old Helen Mirren as Cleopatra During the Rehearsal for “Antony and Cleopatra” (1965)

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In September 1965, a 20-year-old Helen Mirren delivered a breakthrough performance as Cleopatra in the National Youth Theatre production of Shakespeare’s Antony and Cleopatra. Staged at the historic Old Vic Theatre in London, this production serves as the launchpad for her legendary acting career.

Mirren starred as Cleopatra opposite John Nightingale, who played Mark Antony. Critics marveled at her fierce, magnetic presence, with reviewers praising her striking combination of youthful intensity and regal composure. Her performance drew major theatrical agents to the Old Vic, leading directly to her signing with agent Al Parker.

“I was twenty, and I had no idea what I was doing, but I had this total, unshakeable confidence that only youth gives you.” — Helen Mirren on her breakthrough.

Shortly after the run, she was invited to join the Royal Shakespeare Company (RSC), where she quickly established herself as one of Britain’s foremost stage actors of her generation.

30 Portraits of a Young Roger Taylor of Queen in the 1970s

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Roger Taylor (born July 26, 1949) was Queen’s blond, baby-faced drummer, high-harmony vocalist, multi-instrumentalist, and regular songwriter during the band’s rise in the 1970s. He was often described (including by himself) as “the pretty one” of the group, something he later called a mixed blessing because it risked them being taken less seriously as musicians.

Taylor had already played with Brian May in the late-1960s band Smile. In 1970, after Smile’s singer left, Freddie Mercury (then Farrokh Bulsara) joined, the group became Queen, and John Deacon completed the classic lineup in 1971. Taylor and Mercury had shared a flat and worked a Kensington Market stall together around that time. The band’s self-titled debut album came out in 1973 while Taylor was finishing biology studies; they followed with Queen II (1974), Sheer Heart Attack (1974), A Night at the Opera (1975), A Day at the Races (1976), News of the World (1977), and Jazz (1978).

He had natural blond (sometimes bleached) hair that was medium-to-long, a youthful face, and a relatively straightforward rock look compared with Mercury’s theatrical costumes. On stage he focused on powerful, physical drumming rather than elaborate outfits; he once tried a hot Zandra Rhodes costume and quickly abandoned it as impractical for a drummer.

Taylor favored large, tuneful Ludwig kits (big bass drums, deep toms) played with a natural room sound and strong presence that matched Queen’s big production. He contributed at least one song per album in this era and usually sang lead on his own tracks. His piercing falsetto/high range was essential to Queen’s stacked harmonies (including the famous “Galileo” lines in “Bohemian Rhapsody”). He also handled some of the more aggressive screams and higher parts.

The 1970s rock scene was hedonistic, and Taylor has said it was “part of the job to have an outrageously decadent good time.” Early on the band was resourceful and often short of money due to contracts despite growing success; by the later 1970s fame and touring were intense. He met Dominique Beyrand (Richard Branson’s PA) in 1976 around the Hyde Park free concert planning; they later had two children together. He released his first solo single, “(I Wanna) Testify,” in 1977 during News of the World sessions.

45 Vintage Portraits Capturing 1950s Band and Cheerleader Spirit

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These charming vintage portraits, from LLF archives2, beautifully capture the lively spirit of high school bands and cheerleaders in the 1950s. From proud marching band members in crisp uniforms to energetic cheerleaders with bright smiles and pom-poms, the images reflect the optimism, teamwork, and classic school spirit of postwar America.

Shot in black-and-white, these photos offer a nostalgic glimpse into a time when music, sports, and youthful enthusiasm defined the heart of American high school life.

Mick Jagger With His Aston Martin DB6 in London, 1966

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In the early summer of 1966, Mick Jagger celebrated his new wealth by splashing out an estimated £5,000 on a brand new Aston Martin DB6, at that time the marque’s latest, state-of-the-art tourer. (It had been launched the previous autumn.) He was the lead singer of The Rolling Stones, who at that point were second only to The Beatles in terms of fame and international success. In outrage and rebelliousness, they were without peer.

The Rolling Stones had begun by covering American R&B and blues songs, but that had a limited shelf life. Pushed by manager Andrew Loog Oldham, they began to write their own material and there then ensued an extraordinary sequence of self-penned hits. Between spring 1965 and early summer 1966, the Stones had four number one hits and a number two in the UK. In the US they had six top tens and three number ones. All were written by Mick Jagger and Keith Richards.

By spring 1966, the money was beginning to flow in. Still only 22, Mick Jagger was becoming very rich. Behind the rebellious image, he was also, at the same time, becoming a key member of the new pop aristocracy.

These shots were taken in by Gered Mankowitz in June 1966 in a London mews, just off Baker Street: Jagger had recently moved into a flat in Harley House, near the top end of Harley Street, between Marylebone Road and Regent’s Park. The idea was to show The Rolling Stones “at home,” a then standard fan magazine trope. Still only a teenager himself at the time, Gered was the closest photographer to the group. He remembers that “Mick was in an excellent mood all day. We hung out and took a load of silly images of him generally taking the mickey out of the ‘at home’ format.”