Charles Verschuuren Jr.: Bridging Illustration and Fine Art

by | May 6, 2026 | Yesteryear

Charles Verschuuren Jr. (1891–1955) was a distinguished Dutch-American illustrator and painter, celebrated for his versatile talent that seamlessly transitioned between the worlds of commercial art and fine portraiture.

Born into an artistic family in the Netherlands, Verschuuren brought a European sensibility to the vibrant American art scene, eventually becoming a prominent figure in New York. He is perhaps best remembered for his dynamic posters and sophisticated advertisements, which often featured a bold use of color and a keen sense of composition that defined the aesthetic of the early 20th century.
Beyond his commercial success, Verschuuren was a masterful portraitist, known for his ability to capture the dignity and character of his subjects with a graceful, refined touch. His body of work stands as a testament to an era where art and industry converged, leaving behind a legacy of elegance and visual storytelling.
Through these works, we can appreciate the meticulous craftsmanship that made Verschuuren one of the most sought-after illustrators of his generation.
Drukkerij Kotting, circa 1917

Café-Restaurant “Moderne”, 1917

Ravensberg, Voor Straat Reclame, 1917

Darmoer je zien! Flora Revue, 1918

Oranje Hein, 1918

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The Queen of Fox: 36 Stunning Portraits of a Young and Beautiful Alice Faye in the 1930s

by | May 6, 2026 | Yesteryear

Alice Faye (born Alice Jeanne Leppert; May 5, 1915 – May 9, 1998) was a major Hollywood musical star and singer, often called the “Queen of Fox” at 20th Century-Fox during the 1930s. She rose from Broadway chorus girl and radio performer to one of the top box-office draws of the era, starring in hits like George White’s Scandals (1934), On the Avenue (1937), Alexander’s Ragtime Band (1938), and In Old Chicago (1938).

She started with a break in 1934 replacing Lillian Harvey in the film version of George White’s Scandals, where she performed with Rudy Vallée (a connection from her radio and Broadway days). Studio head Darryl F. Zanuck became her mentor and shaped her image. She transitioned from brassy, wisecracking showgirl roles to more wholesome, youthful, and sometimes “motherly” parts.
She was hugely popular for her warm contralto singing voice, girl-next-door charm mixed with glamour, and reliable box-office success—her films rarely lost money. She introduced many hit songs and became a top-10 draw by the late 1930s.
Early in her Hollywood career (mid-1930s), the studio initially styled her as a platinum blonde Jean Harlow type—with very light hair, pencil-thin eyebrows, and a bolder, brassier look (common in Pre-Code Hollywood). Zanuck soon gave her a softer makeover for broader appeal. Warmer, more natural blonde shade (less harsh platinum). Softer, more mature makeup instead of extreme glamour. A wholesome yet glamorous “girl next door” vibe that suited Technicolor musicals and romantic leads.
She typically had soft, styled blonde hair (often with waves or curls), elegant 1930s fashion (bias-cut gowns, tailored suits with emphasized shoulders, glamorous evening wear), and a sunny, approachable beauty that contrasted with edgier stars. Her look evolved across the decade from Harlow-inspired to a polished, elegant Fox musical star ideal—think luminous skin, defined but natural brows, and romantic appeal.
She remained active into the early 1940s before stepping back for family, but the 1930s marked her big rise to stardom. Vintage portraits from the era highlight her as a classic Golden Age beauty.

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Mongol Princess Nirgidma of Torghut With Her Hunting Eagle, 1932

by | May 6, 2026 | Yesteryear

In 1932, a powerful and graceful moment was captured by photographer Maynard Owen Williams for The National Geographic Magazine—Princess Nirgidma of Torhout standing beside her hunting eagle. Dressed in traditional Mongolian attire, the image radiated both nobility and cultural pride.

Princess Nirgidma of Torhout (also known as Nirgidma de Torhout, Princess Palta, or Nina de Torghut) was a remarkable Torghut (Torhout/Torghut) Mongol noblewoman whose life bridged the nomadic traditions of the Central Asian steppes and the cosmopolitan world of 20th-century Europe and Asia.
Born in 1907 in Tokyo, she was the daughter of Prince Palta (a Mongolian statesman, scholar, and governor of the Altai region, educated in military science in Japan) and his Torghut wife Orloma. Her lineage traced back through the Torghut (Oirat/Kalmyk) Mongols to figures like Ayuka Khan and ultimately to Genghis Khan via the Borjigin line. The Torghuts were nomadic Buddhist people famous for their horsemanship, migrations (including from the Volga region back to Central Asia), and warrior-hunter heritage.
Her father emphasized education for all his children, blending Western, Chinese, and traditional elements. Nirgidma studied at the Sacred Heart School in Peking (Beijing), then pursued political science, literature, and music at universities in Paris and Brussels. She became a polyglot, fluent in French, English, Chinese, Russian, Mongolian, and later Persian and Arabic. She traveled widely as a journalist and observer of political and cultural affairs across Central Asia and the Middle East.
Nirgidma embodied a blend of tradition and modernity. She published Dix-Huit Chants et Poèmes Mongols (1937), a collection of Mongolian songs and poems she transcribed, offering rare Western insight into authentic Oirat-Mongol culture. She wrote a foreword for Danish explorer Henning Haslund-Christensen’s book Men and Gods in Mongolia (1935) and contributed an article to The Spectator in 1935 titled “The Disadvantages of Women’s Rights,” reflecting on gender, emancipation, and cultural values. She was friends with intellectuals like Pierre Teilhard de Chardin and sculptor Lucile Swan.
In 1938, she married French diplomat Michel Georges Eugène Bréal (later consul general in China and ambassador to Afghanistan, Laos, and Thailand). They had a son, and she supported her family through turbulent times, including World War II. She lived much of her later life in France, where she died in Paris in 1983 at age 75. She enjoyed horse-riding, gardening, music, and the steppe traditions of her youth.
Contemporary accounts describe her as a slender, charming woman of serene yet lively presence, an oriental beauty who moved effortlessly in Western circles while remaining proud of her Torghut roots. She was independent, intellectually sharp, tolerant, and spiritually inclined—traveling on pilgrimage and valuing both freedom and tradition. Dutch diplomat Carl Barkman, who met her in Peking in 1947, was deeply impressed and later dedicated a novel to her memory.