Return To Hanging Rock Mobile Guide

Welcome to Mulberry Hill, former home of Lady Joan Lindsay, author of Picnic at Hanging Rock, and her husband Sir Daryl Lindsay.

This is a web visitor guide to the Return to hanging Rock exhibition for use on a mobile phone. It answers questions about artists and artworks, providing some interesting insights into Lady Joan Lindsay and her life, and a deeper understanding of Picnic at Hanging Rock!

Key: (P) = Provenance Mulberry Hill

Room by Room Art Guide

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, 1st floor) in the house.

Curtains – these are designed for the exhibition and are based on Lady Joan Lindsay’s scribbling room mural (1st 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 18th century in a 17th 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 19th 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 18th 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.


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-18th 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.

Related content