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Sara’s pinafore (with Miranda’s school dress), original costumes from the film. National Film and Sound Archive Collection.

There is no pretty summer dress for orphan Sara, played by Margaret Nelson, who is forbidden from attending the picnic. Sara’s costumes are plain and her hairstyles severe. The starched pinafore covers a practical school uniform skirt and blouse. The ensemble conveys no sense of the wearer’s body shape and is without personal touches or decoration.

The everyday school uniform worn at Appleyard College is very different from the festive picnic costumes. Consisting of a blue and white blouse and dark skirt, it is designed to subdue individuality and promote uniformity.

Judith Dorsman was the chief costume designer for Picnic at Hanging Rock. She was only 26 years old at the time the film was released and collaborated with Wendy Stiles (Peter Weir’s wife) with assistance from Mandy Smith. [Source: NFSA website, accessed 30 November 2015]

Original Australian Picnic at Hanging Rock day bill poster 1975. National Film and Sound Archive Collection.

Posters represent the marketing aspect of filmmaking but also stand as artistic statements in their own right. [There were many different and contrasting interpretations of Picnic at Hanging Rock posters produced from around the world.] The one thing most of the posters have in common is the prominent featuring of Miranda (Anne Lambert). She is the focus of the film’s many themes – loss, innocence and otherworldliness. The exception is the French poster which sees the film as more of an ensemble piece. [Source: NFSA website, accessed 30 November 2015]

Joan Lindsay, Tall Gums, 1925, watercolour, which once belonged to Maie Casey and was returned to Mulberry Hill in 1975. (P)  Lady Lindsay went to the National Gallery School from 1915-18, and her Drawing Teacher was Sir Frederick McCubbin! One of McCubbin’s favourite locations to paint was his property in the Macedon Ranges where Joan regularly visited him. This particular work has been made into a pattern for curtains within the house.

Rick Amor. Strathbogie Ranges. 1982 gouache. Rick Amor lived (on and off) in the adjacent cottage on the property from the late 1960s until Joan’s death in 1984. (P)

Rick Amor, Portrait of Joe Brown, 1973, oil on board. Dr Joseph Brown was a frequent visitor and great friend of the Lindsays. (P)

Lionel Lindsay, Cobb &Co, etching, 1960, used for a stamp by Australia Post. (P)

Barometer, Georgian period, circa 1800 (P)

Joint stool, circa 17^th century, used in dining halls and sometimes known as hall stool or coffin stool. (P)

Ceiling – painted by the Lindsay’s in 1926. Daryl painted the pink with a brush and Joan dapped on the grey with rags. At one time, the walls were painted yellow and the curtains were plum coloured.

Diogene’s Monument, State Library of Victoria Collection

Half-moon dropside table – opens to become a card table (P)

Coalbrookdale – Coalport bone china baskets (P)

Julia deVille, Daisy 2014, chick, onyx, antique jewellery box, glass dome. Courtesy of Sophie Gannon Gallery.

Joan Lindsay, View of the Yarra, watercolour on paper. State Library of Victoria Collection

Robyn Rich, [biscuits & pastries] fabric and embroidery

Chest of drawers – England circa 1775 (P)

Writing set – papier mache inkstand with Victorian mother-of-pearl inlay. (P)

George Bell, Portrait of Daryl Lindsay, oil on canvas. (P) Joan believed that Daryl was a very uncooperative subject. She felt that his hands were clasped in desperation, in Time without Clocks Joan calls it “sad eyes” and mentions that he had to sit for the portrait 15 times. This portrait was entered in the 1923 Archibald Prize competition and was a finalist (article by Frances Kelly, Australian Newspaper, 5 January 1977).

Chaise longue – mahogany. England circa 1770, George III period. (P) recovered in the 70s

Eagle over the mantelpiece, antique gilt wood. Bought “for a fiver” from an old sailor who had a shop in Carlton. (P)

Regency gilt wood overmantel mirror. England 1800-1830. Daryl saw a picture of it in a “Connoisseur” magazine and bought it. (P)

Glassware on mantelpiece – circa 1800, possibly Waterford. (P)

Silver comport and two matching plates – Wakefield and Hall, Sheffield, England. 1897. (P)

Coal Bucket – early Victorian (P)

Sir John Longstaff, Portrait of Joan (Lady) Lindsay, circa 1924. (P) The portrait was not commissioned but painted for amusement and offered to Joan once it was finished. Joan is wearing a black velvet hat made in London, by her brother-in-law, Robert Lindsay.

Mirror, Italian gilt and tortoiseshell (P)

Couch, possibly Australian, 1950. (P)

Upholstered stool with drop-in seat, England, circa 1775 (P)

Round wooden table on wheels. Circa 1785. (P)

Robyn Rich, [box of chocolates] fabric and embroidery

Daryl Lindsay. Joan’s Bunch, 1960, oil on canvas. Note the vase. (P)

William and Mary tallboy, circa 1690, on reproduction stand reflecting Queen Anne style. (P)

Antique Directoire – mahogany side table with moulded gallery top, circa 1780. (P)

Set of three jugs, circa 1865. Probably English, Victorian earthenware, moulded and floral decoration with mask spouts. (P)

Case #1:

Joan Lindsay’s collection of Valentine’s cards – some of which were loaned for the film and feature in the opening scenes (P)

Spyglass, opera binoculars, original props from Picnic at Hanging Rock. National Film and Sound Archive Collection.

The brass extendable spyglass with lens cover and leather jacket is listed among the props for Colonel Fitzhubert’s study but it is not easily visible. Similarly, the pair of bone and gilt brass opera glasses in their soft leather case is hard to spot in the original cut of the film but was among the props donated to the NSFA by the South Australian Film Corporation. [Source: NFSA website, accessed 30 November 2015]

A French translation of Picnic at Hanging Rock (P)

Case #2:

Three remarkable young women – Joan Lindsay on right at Clyde Grammar School, State Library of Victoria Collection. Clyde Grammar School relocated to Woodend in 1919.

Hanging Rock Races – New Years Day postcard c. 1900, State Library of Victoria Collection

Photograph of Joan & Daryl Lindsay, State Library of Victoria Collection

Portraits of Joan Lindsay and Daryl Lindsay by Rick Amor – painted at Mulberry Hill, State Library of Victoria Collection

Three original tourism postcards for Hanging Rock c. 1890-1900, State Library of Victoria Collection

Picnic at Hanging Rock, original cover, 1^st edition (P)

Picnic at Hanging Rock, French edition after the film (P)

Trinket boxes (pill boxes) – lyre on top from Nellie Melba; oval with brown top from Joseph Burke; valentine box from Pat Lovell and some of the cast of ‘Picnic at Hanging Rock’. (P)

Joan asked Dame Nellie where the pillbox came from and Dame Melba answered “Oh! Some king from somewhere gave it to me.”

Rick Amor, Self Portrait at 26, oil on canvas. (P)

Rick Amor, The Trees at the Small Dam, 1981, oil on canvas. (P) Bought by Joan and placed in the studio after Daryl’s death because she loved the painting and because it depicts the small dam at Mulberry Hill.

Julia deVille, Actaeon 2012, stillborn deer, sparrow wings, sterling silver, black rhodium plate, smoky quartz, chain mail, plastic, glass. Courtesy of the artist.

In the art of taxidermy gesture is paramount, hence for sculptor Julia deVille the most considered aspect of creation is composing her subjects to find a balance between pathos, humour and dignified realism.

Arriving in Australia from New Zealand on the cusp of adulthood, deVille trained as a jeweller and learned further crafting skills studying shoe design before her long hunt for a taxidermy mentorship was successful. Driven by a strong commitment to animal rights, deVille’s sculptural assemblages belie the heroic, trophy-hunting culture associated with mounting dead animals. In a form of gentle protest she combines precious gems and metals with antique ‘ready-mades’ to challenge our disregard for and consumption of both wild and domesticated fauna.

Bookcase, oak lined mahogany veneer, 1750-1800, continental, possibly German and Austrian. This is the only continental piece of furniture in the house. (P)

Corner washstand, England, Georgian period, 1785-1790 (P)

Sharon Blance, Anne Lambert at Hanging Rock 2014, Giclée archival ink prints on cotton rag paper, signed au verso. Courtesy of the artist.

Artist Statement – MIRANDA REVISITED: PORTRAIT OF ANNE LAMBERT AT HANGING ROCK

Picnic at Hanging Rock holds a special place in the annals of Australian filmmaking. It’s an odd, unsettling, ethereal-yet-dark film in which tensions play out between corseted European culture imposed upon a mythical and ancient landscape. I’ve seen the film multiple times, read the book, watched the ‘Dream Within a Dream’ documentary, and formed some of my own hypotheses about the deeper meaning of the story. Suffice it to say, I’ve been swept up by the Picnic enigma.

Pivotal to the story is Miranda, and her incredible portrayal by Anne Lambert is what makes Picnic so compelling, and has turned Anne herself into a touchstone for this beloved Australian story.

I see the film as a fixed point in history where circumstances aligned at just the right time: that special person, in that exact place, at that precise time created something enigmatic and enduring that will forever form part of Australian cultural memory.

It was wonderful to create these portraits of Anne in 2014, some 40-odd years after the film was made, back at Hanging Rock. To me they are a time-traveling memento of the pebble that was cast there four decades ago whose ripples still resonate today. To put finger to shutter and capture this special person, in this exact place – and for a moment time folds in on itself.

ABOUT SHARON

Sharon grew up in Canada and has been creating pictures for as long as she can remember. Her first love was painting, but a school project to make a pinhole camera out of a shoebox sparked a lifelong fascination with the captured image.

After stints living in London and New Zealand, Sharon now resides in Melbourne and shoots a variety of imagery with an emphasis on people and places.

Shortly after moving to Australia she discovered and became “slightly obsessed by” the book and film of Picnic at Hanging Rock. She’s visited Hanging Rock itself numerous times and it continues to be one of her favourite Australian places.

Paul Compton, The Vaudeville Cane is Booed Off the Stage 2013, unique state etching, hand coloured with inks. Private Collection.

Pewter collection bulk head shelf disguising stairs.

Daryl Lindsay Flower Piece, oil on board

Daryl Lindsay, Woorak, famous sire from Mooramong in the Western District, 1933, oil on board. Such commissions provided “bread and butter’ money.

Sideboard. Georgian mahogany with ebony inlay, circa 1820. Brought to Sydney by the first manager of the Bank of Australasia in 1837.

Silver lamp bases, Ireland, circa 1880-1890, converted 1930s-1940s. Pair of silver-plated classical lamp bases (Hinks & Sons) one on the sideboard, the other on the drop side table, a wedding gift to Joan’s mother from Lord and Lady Aberdeen of Ireland.

Ruby glass etched decanters, circa 1850, used by Daryl.

Decanter, circa 1825.

Label for decanter, S C Younge and Co. Sheffield, England, 1825.

Decanter, Charing Cross, England, circa 1785.

Whiskey Label, circa 1950.

Mirror 1714-1820 Georgian period.

Mirror, Italy, circa 17^th century, 17^th century frame

Mirror, continental, circa 1770

Small Georgian mahogany side table. England circa 1790.

Georgian mahogany dropside table, circa 1810, converted from a drop end table.

Statues of birds, Cambodian, 17^th or 18^th century.

Staffordshire plates, lustre finish, probably painted by children.

Georgian mahogany dining table, circa 1810, a gift to the Lindsay’s from the Murdoch’s in appreciation of help in furnishing Cruden Farm.

Dining chairs, set of six, circa 1810, plus another two with turned legs, circa 1820.

Candlesticks,   set of four late Georgian, Sheffield plate telescopic candlesticks.

Paul Compton, Secret Flowerings 2015, ink, paper, Chelsea cloth. Courtesy of the artist.

The title of this work is inspired by a line from Joan Lindsay’s book, Picnic at Hanging Rock, as well as being influenced by Victorian era scrapbooking. The pages are reminiscent of Joan’s ornate Valentine’s card collection featuring Victorian and Edwardian era collage and scrapbook technique handmade mementoes.

Paul Compton (b. 1984) is a visual artist based in Melbourne. His primary focus is in drawing, particularly using ink, but he also creates handmade books, zines, etchings and lino cuts. Subjects for his artworks have ranged from coping with the death of a family pet to pop-up books about haunted Australian houses to a show of circus and vaudeville themed works.

Deborah Klein, Vignette Vitrine, miniature canvases in display case.

This work is Klein’s first foray into silhouette figures. Traditionally, silhouette portraits are black paper cutouts, sometimes with selected details added in white. The painted surfaces of Klein’s works deliberately emulate these effects. Lotte Reiniger’s shadow animations are a primary influence for this particular work, as a young child, Klein discovered Reiniger’s animated fairy tales on black and white television. She was completely captivated!

Constance Stokes, Girl in Red Tights, 1950, oil on aluminium, painted at George Bell’s studio in Selbourne Road. The dog in the painting belonged to George Bell. This painting caused a sensation when shown in London at an exhibition marking the Queen’s coronation in 1953.

Arthur Boyd Snow on Hampstead Heath, circa 1959. Painted in the UK and shipped to Australia. Joan and Arthur were related through their great-great-great-grandfather on the a’Beckett side of the family.

Julia deVille, Cornflower 2014, stillborn puppy, antique platter, sparrow wings, glass case. Courtesy of Sophie Gannon Gallery.

Drawing on Renaissance, Baroque and Victorian art and ideas, deVille creates contemporary ‘memento mori’ that raise our curiosity through the use of paradoxical processes and materials. While all deVille’s creatures have died a natural death, they live on as beautiful and compelling allegories, begging a reflection on our symbiotic but decidedly unequal relationship with the animal world and our cavalier disregard for mortality in general.

Julia deVille, a la vanille 2013, two chicks, onyx, antique ice cream scoop. Courtesy of Sophie Gannon Gallery.

Julia deVille, eggnog 2013, chicks, antique Wedgewood milk jug. Courtesy of Sophie Gannon Gallery.

Julia deVille, Peter 2012, rabbit, antique silver goblet. Courtesy of Sophie Gannon Gallery.

Julia deVille, Camellia sinensis 2012, red-browed finch, rose cut black diamonds 0.16ct, antique teapot. Courtesy of Sophie Gannon Gallery.

Leslie Rice, Bacchanal (Sour Grapes) 2014, acrylic on velvet. Courtesy of Sophie Gannon Gallery.

Leslie Rice, Bacchanal (Sour Grapes) 2014, acrylic on velvet. Private Collection.

A critically acclaimed painter and established tattoo artist, Leslie Rice is known for his use of dramatic imagery drawn from the grand tradition of history painting. Blending the worlds of high art and pop, Rice combines Mannerist tableaux, including mythological and biblical references. Rice’s use of black velvet – widely considered the lowest of painting supports – evokes the cheapness of the flea market. However, instead of images of sunsets and pin-up girls, velvet provides a vehicle for Rice’s deep chiaroscuro, emphasising the clash of high and low in his works. Painted in a dark palette, Rice’s works are anathema to the brash amplitude of contemporary visual culture, and suggest a retreat from the golden age of Western painting. Bacchanal is a celebration of Bacchus, the Roman god of wine, drunkenness and intoxication (also known as Dionysus in Greek mythology).

John Dyer Baizley, Taste the Sin 2014, 16 colour screenprint on Crane Lettra 100% cotton fluorescent white paper, edition of 161 prints. Private Collection.

John Dyer Baizley is a painter and musician based in Philadelphia, USA. He is particularly notable for his album cover art for musical artists such as Metallica, Kvelertak, Skeletonwitch, Flight of the Conchords and Coliseum, as well as Baroness, the band in which Baizley is singer and rhythm guitarist. Influenced by contemporary graphic artists like Brian Schroeder, and Art Nouveau icon Alphonse Mucha, Baizley delves into mythological, pseudo-religious and art history. Taste the Sin touches on some of the darker themes insinuated in Picnic at Hanging Rock of ‘secret flowerings’, sexual awakenings and release, and of course the suggestion of young death once more emerging.

Robyn Rich, mince pies, pastries & chocolates, fabric

Malte Wagenfeld, scent installation

Malte Wagenfeld is an industrial designer, academic, researcher and artist whose explorative installations, designs and writings have been exhibited and published internationally. Recent projects have seen a shift towards the exploration of interior and exterior atmospheres and experiential environments.

At the centre of this investigation sits his current projects ‘Aesthetics of Air’; a phenomenological investigation into sensual and perceptual atmospheric encounters; sound, light; air, breezes, smells, humidity and temperature.

Malte is senior lecturer of Industrial Design at the School of Architecture and Design, and the current Research Leader of the ‘Urban Interior’ research group at the Design Research Institute at RMIT University.

Left hand side:

Ian Armstrong. Mallee Gum, (early morning) oil on canvas.

Karin Wigan, weaving purchased at craft’s exhibition, Lyceum Club gallery.

Facing stairs:

Joint stool or coffin stool (see also Entrance Hall)

Staffordshire Dalmatian

William D. Salmon, Flannel Flowers, oil on canvas. Salmon is a Ballarat artist who studied at the Slade School, now living in the Blue Mountains.

John Perceval. Nudes on Horseback, country scene depicting two women on horses being spied on from the bushes by a man wearing striped trousers. Note the cows drinking at the dam, water wheel with buckets, brick wall fence and bird flying in the sky.

Joan Weigall, Gum Trees, circa 1915, oil on canvas, Warrandyte. Joan, aged 19, was still a student at this time. Quite possibly painted with her lecturer Sir Frederick McCubbin.

Lead lined floor in compliance with building regulations of the period

Bath original claw-foot bath replaced. Toilet replaces. All other original fittings and accessories remain.  Joan advised us that Laurence Olivier and Vivien Leigh once had a swim in the bath together!!

Balcony off the bathroom, used for drying clothes, “first built thinking we might have a pram out there”. JL

Rupert Bunny. 7 oil sketches direct from nature in the South of France. These were used for reference in his studio in Paris where he would paint larger works based directly on them. Daryl Lindsay owned them all.

Duncan Grant, linen screen print. Fabric acquired by Joan Lindsay in London in 1920s/1930s. Designed by Duncan Grant, a member of the Bloomsbury set which included his lover, Vanessa Bell, and her sister, Virginia Woolf.  The fabric was reproduced in different colours by Laura Ashley in 1988. Largest known remnant remaining in the world.

Victorian cedar chest. Australian

Georgian mahogany toilet mirror

Burr walnut box (on top of the chest) inscribed T a’B Weigall from his wife Jan 1, 1891.

Maie Casey. Lilies, 1938, still life, oil on canvas. Probably a gift to Joan from Maie Casey.

Daryl Lindsay, Flannel Flowers, 1960, oil on canvas

Joan Lindsay’s steam trunk and suitcase

Leonard Appelbee, Still Life: chicken and vegetables, 1945, oil on canvas.

Rick Amor, State Forest Wareek, 1979, gouache

Guests included Vivienne Leigh, Lawrence Olivier, Sir Robert Menzies, Dame Nellie Melba, Sir Robert Helpmann and members of the Ballet Russe.

The guest bedroom is currently being restored and this stage shows the history of the house from 1926 until the last renovations that Sir Daryl and Lady Joan Lindsay did in the 1970s (vinyl wallpaper). The incredible hand-woodblock printed wallpaper has faded from green to yellow underneath the 1970s wallpaper, and currently is considered to be 1920-30s, possibly related to artists within the Bloomsbury set. The Lindsay’s were friends with a number of artists within the Bloomsbury group and there are other objects such as a Duncan Grant screenprinted fabric The West Wind (Daryl’s bedsit, 1^st floor) in the house.

Curtains – these are designed for the exhibition and are based on Lady Joan Lindsay’s scribbling room mural (1^st floor)!

Bedspread handmade candlewick, bought in America (P)

Sea chest, sold to Joan by the nephew of the owner, Lillie Langtry. (P)

Commode, Georgian with a tambour door (P)

Shell dish. Worcester porcelain, English Rococo, circa 1770 (P)

Mirror, Italy, early 18^th century in a 17^th century style. (P)

Georgian bow-fronted chest of drawers (P)

Deborah Klein, A Cabinet of Moth Masks 2010-13, acrylic on miniature plaster masks & timber cabinet.

Deborah Klein was born in Melbourne in 1951. She grew up in the inner southern suburb of St. Kilda (similar to Lady Joan Lindsay who grew up in East St. Kilda) and lived and worked in London from 1973-1980. The experience of living in both of these places was to have a significant and enduring influence on her work.

Miranda’s butterfly buckle represented her freedom and purity of spirit within Picnic at Hanging Rock. By contrast, Klein’s work, A Cabinet of Moth Masks, conveys the more sinister nature of these similar and striking insects. Using a ‘myth-entomological’ approach, Klein compares the values of society and hierarchical values to those used as classification systems for etymological specimens within the scientific and museum realms. The masks, while stunningly beautiful are devoid of emotion and presented in a similar way to pinned, dead specimens in a museum. Eerily, in the opening scenes of Picnic at Hanging Rock, many of the images are presented through mirrors, while the entire film was shot through gauze over the lens providing the softened feel – reducing the harsh reality of the landscape and sharp features of the characters.

Above fireplace:

Danie Mellor, An unsettled vision (the predicament) 2007-08, pastel, pencil, glitter pen and watercolour on paper, Mornington Peninsula Regional Gallery Collection.

Danie Mellor appropriates designs used to decorate tea sets and dinnerware in his depictions of fanciful landscapes. This particular work is rendered in the pink colour introduced by Spode in the 19^th century, the designs combine Oriental landscape motifs with a western aesthetic sensibility (ie. willow pattern).

An unsettled vision (the predicament) is based on the Gothic Castle design introduced by Spode in 1824. In this work disparate landscape motifs are rendered in pink which, like a filter or colour lens, minimises discord and transforms the background into a unified whole. Accented with glittering highlights endows the view with a sense of enchantment. But the delicate terrain and architectural features are disrupted by a giant koala and her baby sitting at the forefront of the image, cutting diagonally across the picture plane. The more naturalistic treatment of the native animals and birds contrasts to the monotone line drawing of the scenery and creates a tension between the real and the imaginary. In this work the imperialist imperative to possess and control is confronted by the native creatures who refuse to fit in. [Mornington Peninsula Regional Gallery website, accessed 30 November 2015]

Staffordshire figures on mantel shelf, circus leopard and two greyhounds (P)

Wooden box, fern pattern craft work of a kind very popular in the time of Jane Austen. (P)

Ensuite Added in the 1960s

Above bed: Thomas Bock, Watercolour of the one of the early a’Becketts of Melbourne. Inscription on reverse. “For Annie Weigall from her uncle H L Geary and godfather.” (P)

Daryl Lindsay. Tying the Shoe. 1937, pen and ink. (P)

Daryl Lindsay.  Three Ballet Dancers, inscribed to “Maie Casey” circa 1930. (P)

Louise Thomas. Portrait of a Girl, oil on canvas. Louise Thomas was a pupil of George Bell. (P)

Jason Parmington light installation featuring personal effects from Mulberry Hill and stills from Picnic at Hanging Rock.

Left side ascending:

John Perceval, Hanging Rock, 1971, pencil. A Christmas present to the Lindsays from the artist in 1975. Perceval was in Larundel Psychiatric Hospital at the time.

Ray Crooke, Landscape WA, circa 1950, oil on board.

Shane Jones, Fact or Fiction? 2010, oil on MDF, 19 x 13.5cm. This artwork by Jones’ is a trompe l’oeil work of the DVD, Picnic at Hanging Rock. The title refers to a genre where an illusionistic painting is mistaken for reality. There is of course the infamous debate regarding whether or not the story is true, and Joan Lindsay never denied or confirmed it!

Right side ascending:

Installation of clocks featuring film stills from Picnic at Hanging Rock and artworks by Robert Crispe

Chest of drawers, late 18^th century mahogany

Daryl Lindsay, Foxgloves at Mulberry Hill, oil on canvas

Jason Parmington, mirror artwork featuring Chapter 18 – the missing chapter of Picnic at Hanging Rock (withheld in 1967 from the original publication)

Mural on walls designed by Joan on “little bits of paper”, late 1930s. Fred Ward, a student of the National Gallery School, a Theatrical Designer, later known for industrial furniture and design, painted the design on to the walls while Joan painted the lower and smaller fishbone ferns.

Above the mantelpiece:

Dale Marsh. Schoolgirl at Hanging Rock, 1975. Inspired by ‘Picnic at Hanging Rock’. A gift to Joan Lindsay. Dale Marsh was a friend of Cliff Green, screenwriter of Picnic at Hanging Rock. Green invited Marsh to visit the set where Marsh was inspired to produce a number of small paintings of the actresses ‘behind the scenes’ such as this one.

Mahogany bureau with inlaid burr wood decoration, Georgian period

Embroidery, inscription, “To Joan, love from  Peg”. Peg Maltby, artist.

Photograph on mantel shelf, portrait of a young girl, Melbourne, October 1907. Probably Joan as a child, aged about 11.

Nursing chair, upholstered needlework fabric, Victorian period. Possibly the chair bought from Mr Chant’s antique shop where Mrs Chant was sitting nursing  her new baby.

Late Regency mahogany tea table with a collection of Joan’s works

Lambs wool mat on the floor. Joan sat there to write in long hand. She then typed up her own copy at the small desk. In later years because of arthritis, Joan leant on the little nursing chair.

Wooden writing table and typewriter

Staffordshire, ptarmigan (like a pheasant), c.1855

Joan Weigall, Lady and the Tiger

Joan Lindsay, Garden Landscape (An Old Toorak Garden) 1950, watercolour. One of Joan’s last paintings she thought it “not too bad. “

Robyn Rich, Chapter 18 2014, oil on timber. Courtesy of the artist. Painting of Mulberry Hill crockery with Chapter 18 crumpled on top.

Chapter 18 is the chapter that was withheld from the original publication of Picnic at Hanging Rock in 1967. Published posthumously in 1987, the chapter was released under the title The Secret of Hanging Rock. The chapter is approximately 12 pages long, however the publication also includes discussion from others including John Taylor and Yvonne Rousseau.

Lingerie tea dress c. 1900 featuring daisy lace – Miranda’s favourite flower, National Trust of Australia – Victoria Collection.

Miranda’s favourite flower, the daisy, symbolises purity, joy and innocence. [Unfortunately, Miranda’s dress is too fragile to move from the NFSA collection in Canberra, and is only very rarely displayed.] The Picnic at Hanging Rock costumes were designed by Judith Dorsman; some were donated to the NFSA by Anne Louise Lambert, and others by producer Patricia Lovell. Miranda’s dress has a recurring daisy motif which decorates the machine-made cotton lace trim on her dress’s neck and sleeves. Lace – an openwork fabric of threads forming decorative designs – is a delicate tool used by costume designers to convey much about character. An abundance of frothy lace suggests wealth and ostentation; here the restrained use of lace suggests otherwise. The dress’s lightness and movement in relation to the actress’s body create an image of transitory beauty. [Source: NFSA website, accessed 30 November 2015]

Long bookcase on northern wall, Victorian era

Clive Stephen, Stylised water buffalo, carved, white marble.

Tortoiseshell

Tea caddy

Dragon, named, “Droon” by Joan, constructed from nails by Brian Welburn, a gift to the Lindsays. Brian was a Master Painter and Decorator who worked at Mulberry Hill over a number of years.

Telephone with list of numbers including the time.

Daryl Lindsay, Lilies, 1948, oil on canvas.

Arthur Boyd, Anthills in the Wimmera, circa 1940, oil on Masonite.

Fred Williams. Sleeping Child, pastel. Christmas present to the Lindsays from the artist.

Ian Armstrong, abstract depiction of a monkey’s face, 1976, pencil.

Justin O’Brien, Portrait of a Boy, oil on canvas

Phyl Waterhouse. Albert Park Lagoon. 1946, gouache.

Harold Herbert. The Look, gift to Joan Lindsay from the artist.

Charles Bush. Cannon Street Station, London. 1915, oil on board. (The roof of the station was lost during bombing in WW2).

On mantelpiece Daryl’s vase – Victorian spill vase, Staffordshire. 1874-1904

Colette Jueden, wooden, painted screen, France.

Georgian mahogany bureau with original brasses. Daryl’s desk and chair.

Daryl Lindsay, Yarra at Richmond, 1939, watercolour on paper

Daryl Lindsay. Page of Ballet Drawings, Swan Lake, circa 1930, pencil.

Daryl Lindsay. Riobounchinska, circa 1930, pen and ink, pastel.

Daryl Lindsay, Dubrovnik Dalmatia. 1937, watercolour. Depicts view of balcony where Prince Edward and Mrs Simpson would sit while on holiday at a swanky hotel. Originally entitled Raghussa, the old name for Dubrovnik. Probably painted in situ. Note the postcard.

Percy Lindsay, Black Rock, 1896, oil on canvas. A favoured painting spot in earlier years. This painting was exhibited many times throughout Australia and in New Zealand.

Daryl Lindsay, Angus, the King of the Mules, oil on wood, late 1950s-early 1960s.

Sidney Nolan, Leda and the Swan, lithograph. Inscriptions, “Joan with love from Maie, 11.5.72”

Side Altar Pieces, Italian, for flowers or candles as seen in family chapels. (displayed on chest/cupboard)

Rick Amor, red linocut, caricature of Rick, Tina and their baby

Photographs (2). Daryl Lindsay on “Dandy” at Jerilderie, NSW gymkhana. Daryl won a gold cup at the important amateur country race meeting.

Lionel Lindsay, The Roosters, gouache and pastel

Maie Casey, formerly Ryan, Lawrence in Arabia, circa 1922, pastel on paper. Joan was at Macedon with a group of friends among who was Maie Ryan. Maie asked Joan if she might draw her because, dressed as she was Joan reminded her of Lawrence of Arabia.

Audrey Shoobridge, Seated Nude, pen and ink

Ian Armstrong. 2 drawings of female nudes. 1970. Watercolour

Rick Amor, Nude, 1980, gouache

Small bookcase

Sculpture of a horse, given to Daryl, by his brother, Lionel Lindsay.

Saddlery. As the open fire would have kept the room reasonably warm and dry, it made a suitable storage spot in order to prevent mould.

Table, mid-18^th century oak pad foot dropside table.

Table lamp, carboy.

Books, Syd Sixpence, the last book written by Joan Lindsay, illustrated by Rick Amor.

Day bed. Frances Burke tapestry weave fabric, very popular designs in the 1940s, 50s and 60s.

On easel: Daryl Lindsay, Belladonna Lillies, 1963, oil. The vase used in this painting is the Victorian spill vase on the table by the window. It can be seen in other flower paintings by Daryl.

Randolph Schwabe.  Portrait of Birdie, 1927, pencil, the artist’s wife.

Artist Unknown, possibly French. Small brown pen and ink drawing of terrace houses on the bank of a river.

Phyl Waterhouse, [still life with fruit], oil on canvas.

Russell Drysdale, Still Life, watercolour. Joan and Daryl bought this painting while the artist was still very young “long before he was famous”.

Photograph of Rick Amor

Daryl Lindsay, Stocks and Iris, 1967, oil on canvas. (Note the vase)

Margaret Preston, still life 1924. Painting once belonged to Lionel Lindsay, who gifted it to Daryl when he was knighted for his services to Australian art in 1956 (after his retirement from National Gallery of Victoria – Directorship).

Robyn Rich, food and vegetables, fabric

Electric stove installed after electricity cam circa 1956

Original wood stove

Staffordshire dogs, Sir Keith Murdoch and Mrs Davis, anybody’s fussy little aunt.

Copper preserving pan from Joan’s family home’

Pair of copper tea caddies

Arabia dinner set

Staffordshire ceramics, left to right:

Model cottage, circa 1840-1860, made as a money box from pastille burner mould

Ptarmigan, circa 1850, usually made as a pair, the other bird being at the Johnston Collection.

Dick Turpin, 1850-1860 (mould used for Australian bushrangers)

Queen Victoria 1840-1855

Robin Hood and Little John, standing either side of a dog, spill vase at rear, mid-Victorian

Unusual group, probably theatrically inspired, with painted clock face, circa 1845-1855.

Group of two lovers with Peeping Tom, including spill holder, circa 1850.

Albert (paired with Queen Victoria, see above)

Tom King (paired with Dick Turpin, see above)

Central figure of a shepherd with a dog on the left, sheep on the right. (May have had a female companion pair. These figures usually represent a circus of travelling minstrels. Circa 1850-1860.