35 Beautiful Cover Photos of The Australian Women’s Weekly From the 1930s

The Australian Women’s Weekly, sometimes known simply as The Weekly, is an Australian monthly women’s magazine published by Are Media in Sydney and founded in 1933. For many years it was the number one magazine in Australia before being outsold by the Australian edition of Better Homes and Gardens in 2014.

As of February 2019, The Weekly has overtaken Better Homes and Gardens again, coming out on top as Australia’s most read magazine. The magazine invested in the 2020 film I Am Woman about Helen Reddy, singer and feminist icon.

This collection showcases the beautiful covers of The Australian Women’s Weekly from the 1930s.

The Australian Women's Weekly cover, August 18, 1934

The Australian Women's Weekly cover, August 25, 1934

The Australian Women's Weekly cover, December 1, 1934

The Australian Women's Weekly cover, December 29, 1934

The Australian Women's Weekly cover, November 17, 1934

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Amazing Snaps Show Renée Zellweger as a Fresh-Faced Teenager in High School From the 1980s

With her bouffant hair and bright lipstick, it’s hard to believe this teen would grow up to become a Hollywood actress.

Born on April 25, 1969, in Katy, Texas, Renée Zellweger attended Katy High School, where she was a cheerleader and active in athletics. She also participated in soccer and powderpuff football. In 1986, her academic paper, “The Karankawas and Their Roots,” won third place in the first-ever Houston Post High School Natural Science Essay Contest. Her participation in school plays often landed her lead roles, showcasing her early talent in acting.

Zellweger’s high school years are captured in various yearbook photos, reflecting the fashion and hairstyles of the 1980s. One notable image from her junior high days in 1983 shows her in a cheerleading uniform, indicative of her active school spirit. Another photo from her high school years in 1986 features her with a classic ’80s mullet hairstyle, a popular trend during that era.

Zellweger’s high school experiences laid the foundation for her successful acting career. Her involvement in drama and consistent performances in school plays highlighted her passion and dedication to the craft from an early age.​

These glimpses into Zellweger’s formative years provide a fascinating look at the beginnings of a future Academy Award-winning actress.

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Rare Childhood Photos of Al Pacino From the 1940s and Early 1950s

Alfredo James “Al” Pacino established himself as a film actor during one of cinema’s most vibrant decades, the 1970s, and has become an enduring and iconic figure in the world of American movies. In a career spanning more than fifty years, Pacino is widely regarded as one of the greatest actors of all time and has received many accolades, including an Academy Award, two Tony Awards, and two Primetime Emmy Awards, achieving the Triple Crown of Acting.

Alfredo James Pacino was born in the East Harlem neighborhood of Manhattan, New York City, on April 25, 1940, the only child of Sicilian Italian-American parents Rose (née Gerardi) and Salvatore Pacino. His parents divorced when he was two years old.  His mother took him to the South Bronx and they lived with her parents. Pacino’s father moved to California to work as an insurance salesman and restaurateur in Covina, California.

In his teenage years, Pacino was known as “Sonny” to his friends. He had ambitions to become a baseball player and was also nicknamed “The Actor.”  He attended Herman Ridder Junior High School, but soon dropped out of most of his classes except for English. He subsequently attended the High School of Performing Arts, after gaining admission by audition. His mother disagreed with his decision and, after an argument, he left home. To finance his acting studies, Pacino took low-paying jobs as a messenger, busboy, janitor, and postal clerk, as well as once working in the mailroom for Commentary.

“In America, most everybody who’s Italian is half-Italian–except me. I’m all Italian. I’m mostly Sicilian, and I have a little bit of Neapolitan in me. You get your full dose with me.” – Al Pacino

Pacino began smoking and drinking at age nine, and used marijuana casually at age 13, but he abstained from hard drugs.  His two closest friends died from drug abuse at the ages of 19 and 30.  Growing up in the South Bronx, Pacino got into occasional fights and was considered something of a troublemaker at school.  He acted in basement plays in New York’s theatrical underground, but was rejected as a teenager by the Actors Studio.  Instead, Pacino joined the HB Studio, where he met acting teacher Charlie Laughton, who became his mentor and best friend.  In this period, he was often unemployed or homeless, and sometimes slept on the street, in theaters, or at a friend's home.

In 1962, Pacino’s mother died at the age of 43.  The following year, his maternal grandfather also died. Pacino recalled it as the lowest point of his life and said, “I was 22 and the two most influential people in my life had gone, so that sent me into a tailspin.”

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Handsome Portrait Photos of George Sanders From the 1930s and ’40s

George Sanders (1906–1972) was a British actor known for his suave, sophisticated, and often sardonic screen presence. With a deep, velvety voice and impeccable wit, he became the quintessential gentleman villain in classic Hollywood. He starred in films like Rebecca (1940), The Picture of Dorian Gray (1945), and All About Eve (1950) (for which he won an Oscar).

Off-screen, Sanders was as enigmatic as his roles—an intellectual, a writer, and a man of biting humor. His life ended in self-chosen solitude, leaving behind a legacy of elegance and cynicism wrapped in charm.

Take a look at these vintage photos to see portraits of a young and handsome George Sanders from the 1930s and 1940s.

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Carl Wuttke’s Beautiful Paintings From the Late 19th and Early 20th Centuries

Carl Wuttke was a German landscape and architectural painter renowned for his vivid depictions of both European and exotic locales. Born 1849 in Trebnitz, Silesia (now in Poland), he pursued his artistic education at the Berlin University of the Arts from 1871 to 1873, studied under Angelo Quaglio in Munich, and further honed his skills at the Kunstakademie Düsseldorf under Eugen Dücker until 1880.

Wuttke’s extensive travels significantly influenced his work. In 1874, he journeyed to Italy on foot, staying until 1876, and later visited Sardinia, Sicily, Andalusia (1880), and Norway (1894). His travels also took him to Algeria, Egypt, Sudan, the United States in 1893, and a global tour between 1897 and 1899, including China and Japan. His sketches from these regions were used to create paintings for Kaiser Wilhelm II, displayed in the “Silbersaal” (Silver Hall) of the Berliner Stadtschloss.

Wuttke’s landscapes often incorporated small genre scenes, characterized by bright colors and fleeting compositions. While his style is sometimes categorized as “Pre-Impressionist,” he did not align himself with any formal art movement. He passed away in Munich in 1927, leaving behind a legacy of richly detailed landscapes.

Below is a curated collection of Carl Wuttke’s beautiful paintings from the late 19th and early 20th centuries.

The Pyramids at Dusk

Bay of Naples in the Evening Light

Cairo in the Evening Light

Damascus Gate in Jerusalem

Heliopolis, Egypt

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Barbra Streisand in Elegant White Gown Designed by Cecil Beaton for “On a Clear Day You Can See Forever” (1970)

Barbra Streisand’s third film, On A Clear Day You Can See Forever, was based on a 1965 Broadway show that closed June 1966 starring Barbara Harris and John Cullum.

The idea came from Broadway team Alan Jay Lerner and Richard Rodgers as early as 1962. They first called the show I Picked a Daisy but after delayed scripts, Lerner chose to work with composer Burton Lane instead of Rodgers. The show shifted and changed during previews and eventually opened on Broadway October 1965.

Paramount Pictures reportedly paid $750,000 for the film rights to On a Clear Day in 1966. Paramount producer Howard W. Koch hired Streisand at that time, too, before she’d even come to Hollywood to make Funny Girl. Then, Paramount announced in April 1967 that Vincente Minnelli would direct the screen musical.

Minnelli recalled, “It was mystical, and Lerner has been interested in that since he was a child. He was trying to say something, I dug into the story and that was what came out. Lerner had read all these books and followed the fantasy as he saw it completely. I didn’t subscribe to it, not at all.”

Koch made some changes transferring On A Clear Day from Broadway to film: Alan Jay Lerner revised his original story; Minnelli requested that the past-life sequences be changed from a Restoration to a Regency setting. He told writer Henry Sheehan, “I felt that was what was wrong with the play. It was white wigs and writing with feathers which gets to be very boring. I wanted to make it Regency, because the world was more inviting. That’s particularly why we changed it. Then I wanted to come in on a climax where she didn’t know what was happening and it was explained later on. Whereas it couldn’t matter less in the play.”

Barbra Streisand reported to Paramount Studios at the end of October 1968 to participate in the film’s hair and costume tests.

Designer Arnold Scaasi created the modern fashions that Streisand’s character Daisy would wear in On A Clear Day You Can See Forever. “In September 1968, I received a letter from Robert Evans, the head of Paramount Studios, saying that Barbra wanted me to do her modern clothes for the film On A Clear Day You Can See Forever,” Scaasi wrote in his memoir Women I Have Dressed (And Undressed). Scaasi revealed he was paid $25,000 as a design fee, with the cost of the clothes themselves charged to Paramount Pictures.

“Before actual shooting began ... I would fit some of the clothes when Barbra was in New York. Later, I would fly to Los Angeles almost every week and we would fit the new things. Usually the head of the Paramount wardrobe department was with us.”

The venerable Cecil Beaton was hired to create Streisand’s Regency gowns for the flashback scenes. Beaton wrote in his diaries: “But although the clothes were mostly made here in London, the time spent in going to Tangier to get cheap tissues, and supervising each individual ball dress, was quite considerable.” 

“The public sees her as very contemporary,” Beaton wrote of Streisand, “but I think her soul is old-fashioned, and in all honesty, she was far more likeable, more at ease, in the old English sequences of the picture than as the neurotic college student in those dreadful mini-skirt creations!”

Photographer Lawrence Schiller, who shot Clear Day, recalled to V Magazine his memories of watching the two work. “This was a man of elegance and taste,” said Schiller of Beaton. “And his reputation preceded him. So Barbra and [Beaton] got along fabulously. She was like a little puppy dog in Beaton's presence. You know, she would bark every once in a while, and voice her opinion, but she was delighted with what he created. He understood her face, he understood the shape of her body. And Barbra knew what her assets were. Of course the greatest asset was her voice, but now she was moving on in life and she was making the transition to becoming a great actress. Eventually she'd become a great director. So what do you do, you surround yourself with the most talented people in the world. And she surrounded herself with Cecil Beaton.”

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Portrait of Matilda Crawford, a Pioneering Anesthesiologist

Matilda Crawford (born 1894) was a pioneering anesthesiologist who made significant contributions to the field of medicine, particularly in the development and administration of anesthetics.

Born at the close of the 19th century, she was part of a wave of early female medical professionals who broke barriers in what was largely a male-dominated field. After earning her medical degree, she became one of the few women to specialize in anesthesia during a time when women were often discouraged from pursuing advanced medical careers. Crawford was known for her meticulous approach to patient care and her deep understanding of the effects of anesthetics on the human body.

Crawford’s work came at a crucial time in medical history, as anesthesia techniques were advancing rapidly with the introduction of new drugs and technology. She was involved in refining anesthesia practices and improving the safety and comfort of patients undergoing surgery. 

Her expertise extended beyond just the administration of anesthesia, she also conducted research into the physiological effects of anesthetics, making her a valuable contributor to both clinical and academic medicine. Crawford’s work helped shape anesthesiology as a recognized medical specialty, gaining her respect among her peers.

In addition to her professional achievements, Matilda Crawford was a role model for women in medicine. She overcame societal and institutional barriers to build a successful career and inspire future generations of female doctors and specialists. 

Although she was not widely known in popular history, her legacy continues to influence the field of anesthesiology today. Her contributions laid the groundwork for the advancements in anesthesia that are integral to modern surgery and patient care.