The salacious and sordid details of Henry Kinder’s death transfixed Sydneysiders with a case combining murder with seduction, mesmerism, blackmail and poisoning.
"Coo-ey, Coo-ey, Coo-ey, Coo-ey—Love has caught the strain, Coo-ey, Coo-ey, Coo-ey, Coo-ey—it whispers back again." The “Australian lady” who composed these fruity lyrics was none other than Desda— Jane Davies, sometime Messiter (née Price) of Leddicott, Lavender Bay.
At first glance, this small watercolour group portrait of her two sons and four daughters by Maria Caroline Brownrigg (d. 1880) may seem prosaic, even hesitant
At the end of a summer break one is tempted to say that there is nothing much to report. Isn’t one restful holiday very much like another?
Books seldom make me angry but this one did. At first, I was powerfully struck by the uncanny parallels that existed between the Mellons of Pittsburgh and the Thyssens of the Ruhr through the same period, essentially the last quarter of the nineteenth century.
Several years ago I came across this curious painting on the racks in a distant, dusty corner of the store room in the basement of the Johannesburg Art Gallery in South Africa. Since then the mystery surrounding it has never been far from my mind.
Where do we draw a line between the personal and the historical? Although she died in Melbourne in 1975, when I was not quite eleven years old, I have the vividest memories of my maternal grandmother Helen Borthwick.
This is my last Trumbology before, in a little more than a week from now, I pass to my successor Karen Quinlan the precious baton of the Directorship of the National Portrait Gallery.