Portraits of “Tattooed lady” Emma de Burgh From the Late 19th Century

by | May 7, 2026 | Yesteryear

Emma de Burgh (born 1860) was a famous American circus performer in the late 19th century, best known for the intricate reproduction of Leonardo da Vinci’s The Last Supper tattooed across her upper back.

The piece spanned from shoulder to shoulder and was regarded as one of the finest examples of tattooing in America at the time. It featured additional religious text, including a scroll with “The Golden Rule” above the scene and “Love One Another” on the table cloth.
She was tattooed by the legendary Samuel O’Reilly in New York City. Because the work was likely completed before or around the time he patented the electric machine in 1891, it is believed much of the piece was done by hand.
During the Victorian era, tattoos were often viewed as scandalous. Emma and her husband, Frank de Burgh, intentionally chose religious and patriotic motifs to project an image of piety and respectability to their audiences.
Portrait of Emma’s husband, Frank de Burgh
To appeal to British crowds during a tour in 1887, Emma falsely claimed her tattoos were done to celebrate Queen Victoria’s Golden Jubilee. This marketing tactic helped turn the couple into a sensation across Europe.
Emma performed alongside her husband, Frank, whose back featured a massive rendition of the Crucifixion. They also famously had each other’s names tattooed on their torsos as a sign of their love.
The famous Pre-Raphaelite painter Edward Burne-Jones sketched her in 1893. He later joked that because she had gained weight, the apostles in the Last Supper tattoo on her back appeared to have “broad grins.”
Illustration showing a view of Emma de Burgh’s elaborately tattooed back, on which Leonardo’s “Last Supper” appears as a motif.

Emma de Burgh remains a pivotal figure in tattoo history because she helped move the medium away from “primitive” labels and toward being viewed as a legitimate, if unconventional, canvas for masterpiece recreations.

1908 Cartercar Model D: The Gearless Wonder of Early Motoring

by | May 7, 2026 | Yesteryear

Byron Carter’s innovative friction drive system gave the Cartercar what the company boldly advertised as “A Thousand Speeds.” Using two perpendicular friction disks, the Model D eliminated many of the era’s common mechanical troubles: no clutch to slip, no gears to strip, no universal joints to break, and no shaft drive to twist.

The friction drive featured replaceable paper fiber rims that could be renewed every 4,000 miles for about five dollars, less than half the cost of maintaining a conventional geared transmission.
Visually, the 1908 Model D Roadster stood out with its striking brass Rushmore Searchlight headlamps, complemented by Corcoran brass side and taillamps. A Rushmore carbide generator sat neatly beside the driver’s seat, while diamond-pattern buttoned black leather seats offered armchair-like comfort. A simple folding black canvas top provided basic weather protection, though the car had no windshield.
By 1908, Cartercar had sold around 325 units. However, Byron Carter’s untimely death from pneumonia in April that year marked the beginning of the company’s decline. General Motors acquired Cartercar in late 1909 and continued production until 1915.
Today, fewer than 30 examples of the Cartercar are known to survive, making the Model D a rare and fascinating piece of automotive history. Here is a collection of beautiful photos showcasing the elegant 1908 Cartercar Model D Roadster in all its gearless glory.

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