Yesteryear

Philip Wilson Steer: One of the Leading Figures of British Impressionism

by CU Newswire | Yesteryear | 0 Comments

Philip Wilson Steer (1860–1942) was a British painter and one of the most important figures in the development of Impressionism in England. Trained in Paris during the 1880s, he absorbed influences from Monet, Renoir, and Whistler, which shaped his distinctive style characterized by soft light, delicate colors, and fluid brushwork.

Steer became widely admired for his landscapes and seascapes, especially those capturing the English coast, as well as for intimate portraits and figure studies. His paintings often conveyed a sense of atmosphere and poetic calm, blending French Impressionist techniques with a uniquely British sensibility.

In addition to his painting, Steer was a highly respected teacher at the Slade School of Fine Art in London, where he mentored a generation of British artists. Today, his works are celebrated as a vital contribution to modern British art, bridging 19th-century Impressionism with early 20th-century developments.

Here is a selection of Philip Wilson Steer’s paintings that reflect his poetic vision and mastery of light.

The End of the Chapter

A Girl at Her Toilet

Betty, Portrait of Miss Elisabeth Cary Elwes

Chatterboxes

Convalescent

26 Amazing 35mm Slides of Handsome Richard Gere in the 1980s and 1990s

by CU Newswire | Yesteryear | 0 Comments

Richard Gere in the 1980s and 1990s was at the height of his career, becoming one of Hollywood’s most recognizable leading men and a global sex symbol. His screen persona combined a brooding intensity with charm, making him especially popular in romantic dramas and thrillers.

The 1980s were a pivotal decade for Gere, cementing his status as a charismatic and desirable leading man. He became widely known for his portrayal of confident, often morally ambiguous characters.

The crime drama American Gigolo (1980) established Gere as a style icon and sex symbol. His role as Julian Kaye, a high-end male escort, defined a new archetype of male cool and sophisticated sensuality. The film’s use of Giorgio Armani suits became a cultural touchstone.

An Officer and a Gentleman (1982) was Gere’s biggest commercial success of the decade. Playing Zack Mayo, a cynical and defiant Navy Aviation Officer Candidate, Gere’s performance earned him a Golden Globe nomination and cemented his reputation as a romantic hero. The film’s iconic ending, where he sweeps Debra Winger’s character off her feet, is one of the most memorable scenes in film history.

While some of his later films in the 1980s, such as The Cotton Club (1984) and No Mercy (1986), were not as commercially successful, Gere continued to take on a variety of roles, showcasing his range.

The 1990s saw Gere fully embrace his romantic leading man persona, finding immense box office success and enduring popularity, especially through his collaborations with Julia Roberts. Pretty Woman (1990) is arguably Gere’s most iconic and career-defining role. As wealthy businessman Edward Lewis, he starred opposite Julia Roberts in a modern fairy tale that became a global phenomenon. The film was a massive commercial hit and is considered one of the most successful romantic comedies of all time. It earned Gere a second Golden Globe nomination.

Shifting away from romance, Gere delivered a critically acclaimed performance as Martin Vail, a slick and unscrupulous defense attorney, in Primal Fear (1996). The film’s success was boosted by a shocking twist ending and the breakout performance of his co-star, Edward Norton.

Gere reunited with Julia Roberts for the romantic comedy Runaway Bride (1999), which was another commercial success. He played a journalist who exposes a woman notorious for leaving men at the altar, reigniting the on-screen chemistry that made Pretty Woman so popular.

The 1990s also included other roles like his portrayal of Lancelot in the Arthurian film First Knight (1995) and the thriller Internal Affairs (1990), where he played a corrupt cop.

Wonderful Studio Portraits of a Young Debbie Gibson Taken by Fryderyk Gabowicz in Munich in the Late 1980s

by CU Newswire | Yesteryear | 0 Comments

It was the late 1980s, and the pop world was buzzing with the vibrant energy of a young superstar named Debbie Gibson (born August 31, 1970). Known for her catchy tunes and infectious enthusiasm, she was on a global tour, bringing her unique blend of pop and dance music to fans worldwide.

One stop on this whirlwind tour was the picturesque city of Munich, Germany. Amidst the grandeur of Bavarian architecture and the city’s artistic ambiance, a special photoshoot was arranged with the renowned photographer Fryderyk Gabowicz. Gabowicz, celebrated for his ability to capture the essence of his subjects, was tasked with creating a series of images that would reflect Gibson’s youthful spirit and burgeoning star power.

The session took place in a studio bathed in soft, diffused light, designed to highlight Gibson’s expressive features and vibrant personality. Gabowicz, with his keen eye for detail, guided Gibson through various poses, encouraging her to showcase her natural charisma. There were moments of playful laughter as she struck a pose, then quickly dissolved into a dance move, her energy almost too much to contain.

Gibson, dressed in a mix of stylish, era-appropriate outfits – think high-waisted jeans, bold patterned tops, and a generous splash of neon – looked every inch the pop icon. One particularly memorable shot captured her with a thoughtful gaze, a stark contrast to her usual bubbly demeanor, revealing a depth that hinted at her artistic sensibilities beyond the pop hits. Another playful image showed her mid-jump, her hair a cascade of blonde, a wide, genuine smile gracing her lips, perfectly encapsulating the joy she brought to her music.

Between takes, Gibson would chat with Gabowicz and his team, sharing anecdotes from her tour and insights into her songwriting process. Her down-to-earth nature, despite her immense fame, charmed everyone on set. Gabowicz, through his lens, aimed to capture both the polished performer and the genuine young woman behind the music.

The resulting photographs were a stunning collection that perfectly encapsulated Debbie Gibson at that pivotal point in her career. They were more than just promotional shots; they were a visual story of a pop princess owning her moment, set against the sophisticated backdrop of Munich, immortalized by the artistry of Fryderyk Gabowicz. These images would go on to be featured in magazines and on album covers, becoming iconic representations of the late 1980s pop era and a testament to Gibson’s enduring appeal.

Beautiful Photos of the 1936 Packard One-Twenty Business Coupe

by CU Newswire | Yesteryear | 0 Comments

The 1936 Packard One-Twenty Business Coupe represented Packard’s successful entry into the mid-market segment. Introduced in 1934, the model featured a 120-inch wheelbase and combined luxury with advanced engineering. It was available in eight different coachwork styles with the Business Coupe being particularly desirable.

The 1936 model was equipped with a newly enlarged version of the company’s classic straight-eight engine, now displacing 282 cubic inches and developing 120 horsepower. Available options included a side-mounted spare wheel, heater, clock, and radio with antenna. The car’s styling incorporated distinctive elements like a raked grille, Packard hood mascot, bullet headlamps, and an Art Deco dashboard with wood trim.

The One Twenty proved incredibly successful, with over 55,000 units sold in 1936 alone — far surpassing all other Packard models combined. Despite that, the One Twenty was rebranded in 1938 as the Eight. Below is a collection of beautiful photos of the 1936 Packard One-Twenty Business Coupe.

40 Vintage Snaps Capture Youth Culture in the 1980s

by CU Newswire | Yesteryear | 0 Comments

Youth culture in the 1980s was defined by bold self-expression, rapid globalization of trends, and the rise of media-driven identity. Music stood at the center of it all: punk, new wave, heavy metal, and hip-hop each gave young people distinct voices, aesthetics, and communities. MTV, launched in 1981, transformed the way music and style spread, making stars like Madonna, Michael Jackson, and Prince icons of youth identity.

Fashion mirrored this diversity—neon colors, leather jackets, ripped jeans, tracksuits, and oversized blazers were all part of the mix. Hairstyles grew bigger and more experimental, while sneakers, designer labels, and DIY styles alike became symbols of individuality. Youth embraced malls, arcades, skate parks, and city streets as social spaces, while new technologies—boomboxes, Walkmans, video games, and personal computers—reshaped how they consumed culture and connected with each other.

At once rebellious and trend-conscious, the youth culture of the 1980s captured a unique blend of creativity, commercialism, and attitude that continues to influence fashion, music, and lifestyle today. Take a look at these vintage snaps from Jim Norrena to see what youth culture looked like in the 1980s.

30 Portraits of a Very Young Michael Jackson Taken by Michael Ochs in 1976

by CU Newswire | Yesteryear | 0 Comments

In 1976, Michael Jackson was 18 years old and on the brink of a major shift in his career. This year marked the end of the Jackson 5’s long-standing relationship with Motown Records and their transition to Epic Records, where they would be known as The Jacksons. This move gave the group, and Michael in particular, more creative control over their music.

The photoshoot by Michael Ochs on September 7, 1976, was a portrait session at Michael’s home in Los Angeles. At this time, Michael was a pop star entering a new phase of his career, and these photos captured him in a more personal, relaxed setting. The images showcase him as a thoughtful young man, moving past his years as a child star and into a new era as a burgeoning solo artist and a key creative force within his family group.

35 Stunning Portraits of a Young and Beautiful Ingrid Bergman in the 1930s

by CU Newswire | Yesteryear | 0 Comments

Ingrid Bergman (August 29, 1915 – August 29, 1982) was a Swedish actress. With a career spanning five decades, she is often regarded as one of the most influential screen figures in cinematic history. Bergman was interested in acting from a young age. She studied at the Royal Dramatic Theatre School in Stockholm in the early 1930s before leaving to pursue a professional career in film.

Bergman made her film debut with a small role in the 1935 film Munkbrogreven (The Count of the Old Town). Over the next few years, she starred in a number of popular Swedish films, where she developed her “natural” and more muted acting style, which contrasted with the more dramatic style of the time. She was considered part of a new generation of Swedish actors.

She gained wider attention with Intermezzo (1936), where she co-starred with her idol Gösta Ekman. It was her first lead role and became a major success. Her performance caught the attention of American film producer David O. Selznick.

In En kvinnas ansikte (A Woman’s Face) (1938), Bergman defied her usual casting as an ingenue to play a bitter, disfigured character. The role demonstrated her range and talent, earning her critical acclaim and an award at the Venice Film Festival. By the late 1930s, she was one of Sweden’s most promising young actresses, admired for her natural acting style and beauty.

Impressed by her performance in Intermezzo, David O. Selznick bought the rights to the film and offered Bergman the lead role in the American remake. Bergman traveled to the United States in 1939 to film Intermezzo: A Love Story, co-starring with Leslie Howard. This film was a critical and commercial success and served as her Hollywood debut, launching her American career.

Elegant Fashion and Advertising Photography by Jerry Plucer-Sarna in the 1940s

by CU Newswire | Yesteryear | 0 Comments

Jerry Plucer-Sarna was a multi-talented artist and photographer known for his work in fashion and advertising. Born in 1904, he began his career as an illustrator in Paris, creating drawings for publications like Vogue and Harper’s Bazaar. His work for these magazines caught the attention of editors, leading to him becoming a full-time collaborator.

In the 1940s, as photography became more prominent in fashion, Plucer-Sarna transitioned from illustration to photography. He was noted for his innovative approach, shooting models in real-world settings rather than just in a studio. His subjects included famous figures like Marlene Dietrich and Lauren Bacall.

After the war, Plucer-Sarna continued to work in both photography and painting, focusing on advertising campaigns for major brands. He later returned to France and continued his artistic pursuits until his death in 1991. Take a look at these vintage photos to see Jerry Plucer-Sarna’s fashion and advertising work from the 1940s.

Elise Daniels and model in Everfast cotton dresses, photo by Jerry Plucer, Harper’s Bazaar, April 1945

Lisa Fonssagrives in supple Onondaga crêpe dress in a ballerina print styled by Philip A. Vogelman, dress and hat by Ben Reig, photo by Jerry Plucer, Vogue, February 1, 1945

Model in contrasting light and dark Enka rayon and crêpe dress by ETA, photo by Jerry Plucer, Harper’s Bazaar, February 1945

Model in lovely portrait dress in a Ponemah rayon in Cat Tail print designed by Louise Barnes Gallagher for Bonwit Teller, photo by Jerry Plucer, Vogue, February 15, 1945

Models in beautiful Everfast fabric dresses by Joset Walker, photo by Jerry Plucer, Harper’s Bazaar, May 1945

The Two First Cousins, Tsar Nicholas II of Russia and King George V of Great Britain, Pose for Various Photos Together

by CU Newswire | Yesteryear | 0 Comments

Tsar Nicholas II of Russia and King George V of Great Britain were first cousins and bore a striking resemblance to each other. Their close familial relationship was a product of the interconnected royal houses of Europe at the turn of the 20th century. Nicholas II (1868–1918) became Emperor of Russia in 1894, while his cousin George V (1865–1936) ascended the British throne in 1910.

They were related through their mothers: George V’s mother was Princess Alexandra of Wales, the wife of Queen Victoria’s eldest son, Edward VII, and the sister of Nicholas’ mother, Marie of Denmark (later Empress Maria Feodorovna). This connection meant they were not only close relatives but also had a close personal relationship. They often wrote to each other, using nicknames like “Nicky” and “Georgie.”

The two cousins were often mistaken for one another due to their remarkable physical similarities. They shared the same blue eyes, similar beards, and an overall likeness that led many to joke they could have been twins. Photos of them together, particularly in military uniforms, highlight this uncanny resemblance.

Their bond, however, was tested by the geopolitical turmoil of the early 20th century. During World War I, Russia and Great Britain found themselves on the same side against the Central Powers, which included Germany, led by their other first cousin, Kaiser Wilhelm II. Nicholas II, Wilhelm II, and George V were all first cousins through their shared grandmother, Queen Victoria, who was a key figure in the web of European royal relationships.

When the Russian Revolution began in 1917, Nicholas II and his family were overthrown and placed under house arrest. The British government offered the Romanovs asylum, but King George V withdrew the offer due to fears that public opinion in Britain would turn against him if he sheltered a controversial, autocratic monarch. He was concerned that it could incite a similar revolution in his own country. Ultimately, the Romanov family was executed by the Bolsheviks in 1918.

Architect Minoru Yamasaki and His Team Posing With a Model of the World Trade Center That They Designed, 1964

by CU Newswire | Yesteryear | 0 Comments

Minoru Yamasaki, the chief architect of the World Trade Center, commissioned several architectural models of the Twin Towers and the complex during the design phase in the early 1960s. These models played an important role in visualizing the unprecedented scale of the project, since nothing of that height and proportion had yet been built.

Yamasaki and his firm created smaller study models to explore tower proportions, plaza space, and the arrangement of the other buildings in the complex. These were mostly white or neutral-toned to emphasize form over detail.

A well-known large-scale model was presented to the Port Authority of New York and New Jersey in January 1964. It showed the two 110-story towers alongside the plaza and surrounding low-rise buildings. Yamasaki added tiny figurines to demonstrate that the plaza would be “human-scaled,” countering concerns that the massive towers would overwhelm people.

The models were typically made from wood, plastic, and plexiglass, with simplified façade detailing that echoed the vertical lines of the towers’ exterior structure.

One of the most famous images shows Yamasaki standing proudly next to the model, holding a tiny figure in his hand to illustrate scale. He wanted to reassure both officials and the public that the design would not feel alienating despite its size.

Updated models were produced during construction, showing refinements to the plaza, landscaping, and surrounding buildings. These were used for public exhibitions and press presentations. Some of Yamasaki’s WTC models survive in archives and museums. For example, the Skyscraper Museum in New York has displayed models of the World Trade Center in its exhibitions.