Norman Lindsay (1879–1969) and Rose Lindsay (née Soady, 1885–1978) were a defining couple of Australia’s bohemian art scene, whose 67-year partnership was as professionally productive as it was personally unconventional.

Rose Soady was introduced to Norman in 1902 by artist Julian Ashton. She quickly became his principal model and muse, appearing in many of his most famous, often controversial, sensual paintings. After a long affair during Norman’s first marriage, they married in 1920. Rose chronicled their life in her 1967 memoir, Model Wife: My Life with Norman Lindsay.

Beyond modeling, Rose was a highly skilled printmaker who hand-printed most of Norman’s famous etchings. She also acted as his business manager and archivist, fiercely protecting his work and financial interests.

In 1912, the couple moved to a property in Springwood, Blue Mountains, which became a hub for artists and writers like Banjo Paterson and Henry Lawson. After Rose’s death in 1978, the Springwood property was acquired by the National Trust of Australia and now operates as the Norman Lindsay Gallery and Museum.

Principal moved to Los Angeles in 1970 and quickly landed high-profile roles that showcased her versatility. She gained major recognition in 1972 as Marie Elena in The Life and Times of Judge Roy Bean, earning a Golden Globe nomination for Most Promising Newcomer.

To promote her role in the 1973 comedy The Naked Ape, she appeared in the September 1973 issue of Playboy. For her role in the 1974 disaster film Earthquake, she famously cut her waist-length hair into an Afro and dyed it black to better fit the character of Rosa Amici.

Disillusioned with her career after several films underperformed, Principal left acting to become a Hollywood talent agent for roughly two years. During this time, she even considered going to law school and intended to use minor acting roles only to fund her tuition.

She returned to the screen in 1977 with a guest role on the pilot of Fantasy Island. In 1978, she landed her most famous role as Pamela Barnes Ewing on the CBS primetime soap opera Dallas. The show became a global phenomenon, defining her career for the next decade.

Following the brutal execution of his wife, Murron, by English soldiers, Wallace transforms from a peaceful farmer into a revolutionary leader seeking revenge and national freedom. Gibson’s portrayal is widely recognized for the character’s blue face paint (woad) and long hair, symbolizing the defiant spirit of the Scottish rebels. The performance is anchored by stirring speeches, most notably the “Freedom!” address to his outnumbered army before the Battle of Stirling Bridge.

Released on May 24, 1995, Braveheart was a critical and commercial success, receiving praise for its battle scenes, production design, musical score, and acting performances, though it received some criticism for its historical inaccuracies. The film also garnered numerous awards including the Academy Award for Best Picture. A legacy sequel, Robert the Bruce, was released in 2019.

After starting as an extra at age 14, Wong landed her first leading role at 17 in The Toll of the Sea (1922), the first feature film made in two-color Technicolor. She gained further national prominence in The Thief of Bagdad (1924) as a Mongol slave. Despite her talent, Hollywood’s anti-miscegenation laws (and later the Hays Code) prevented her from kissing white male leads. This restricted her to supporting roles, often portraying “Dragon Lady” or “Butterfly” stereotypes, while lead Asian roles were frequently given to white actors in “yellowface” makeup.

Frustrated by discrimination, Wong moved to Europe. She found greater success and artistic freedom in Germany and England, starring in acclaimed films like Piccadilly (1929) and performing on the London stage with Laurence Olivier in The Circle of Chalk. Wong mastered French and German to maintain her career during the transition to sound film. Her voice was highly praised; after receiving criticism for her accent, she trained with a tutor to acquire an upper-class English accent.

Returning to Hollywood in 1930, she signed with Paramount and starred in Daughter of the Dragon (1931) and famously appeared alongside Marlene Dietrich in Shanghai Express (1932). In the biggest setback of her career, MGM refused to cast her as the lead character O-Lan in The Good Earth, choosing white actress Luise Rainer instead. Wong rejected a secondary “villainous” role in the film as a form of protest.

In the late 1930s, she starred in several “B” movies for Paramount, such as Daughter of Shanghai (1937) and King of Chinatown (1939), where she finally played more positive, non-stereotypical roles like a heroine or a surgeon.

Throughout these decades, Wong was a major style trendsetter. In 1934, the Mayfair Mannequin Society of New York voted her the “world’s best-dressed woman.” She was famous for her “boss bob” with bangs and her unique “flapper” style, often blending traditional Chinese elements (like silk cheongsams/qipaos) with modern Western fashion. She used her clothing to reclaim her identity, sometimes embroidering her Chinese name, Wong Liu Tsong, into her garments in gilded thread.

Below is a collection of 25 amazing postcards of Anna May Wong in the 1920s and 1930s: