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)
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)
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, 1st 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.
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.