$4.8 million project creates new visitor experiences
Telling the Whole Story
Hidden treasure at Ayers House
New Alison Ashby Legacy Circle
Botanical art blooms
Moonta Mines
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TELLING THE WHOLE STORY
An innovative project at Kingston recognises the importance of truthtelling and brings First Nations perspectives to a colonial story.
08
MOONTA MINES
Work is coming to a close on one of the most significant heritage conservation projects undertaken by the National Trust of South Australia, changing how visitors experience the Moonta Mines precinct.
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AYERS HOUSE
Painstaking investigation, a delicate touch and extraordinary attention to detail have revealed a hidden treasure in an unlikely place at Ayers House.
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BEAUMONT OLIVES
Merilyn Kuchel explores the unexpected history of a pioneering venture that produced olive oils of such quality they even wowed the French.
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BOTANICAL ART
A rare set of Royal Worcester dessert plates from Collingrove Homestead forms part of a new exhibition at the David Roche Gallery, writes curator Timothy Roberts.
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ALISON ASHBY LEGACY CIRCLE
Former State President Deborah Morgan introduces a new venture being launched by the National Trust to encourage philanthropic giving.
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A NEW BRANCH
Advocacy to protect heritage at risk from neglect, demolition and development in the Yankalilla district is the primary focus of our newest branch, explains Lorraine Day.
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MEMBER MOMENTS
Our newest Honorary Life Members, Lyndell Davidge and Annette Humphries from the Hahndorf Branch, share why they think the National Trust and protecting heritage is so important.
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WHAT'S ON
It’s festival time in South Australia and the National Trust is joining the party with a diverse program of autumn events.
From the CEO
SIMON AMBROSE
Welcome to the Autumn 2025 edition of the National Trust of South Australia magazine. I am delighted to introduce our new President, Millie Nicholls, and Vice President, Alice Fitch. Their leadership and dedication will undoubtedly guide us through another successful year.
Millie Nicholls brings a wealth of experience and passion to her role. Her journey with the National Trust began in 1971 as a State Office employee, and over the past seven years she has contributed significantly through the Natural Heritage Advisory Committee and the Council. Millie is a strong advocate for our branch structure, with a particular focus on supporting country branches and their communities. Her background in science and rural business management, combined with 45 years of running a family farm in the Mid North with her husband, Frank, provides her with a unique perspective. Millie’s love of old buildings and her expertise in natural resource management, honed through her service on numerous government boards and the Board of the Nature Foundation, make her a valuable leader for the National Trust.
We are also thrilled to announce that the State Office has officially moved to Ayers House. This marks a significant milestone following the passage of legislation in late 2024 that secured Ayers House under the care of the National Trust. This iconic property will now serve as our operational hub, currently open by appointment only, and we are actively seeking a commercial tenant for the space at the North Adelaide Baptist Church precinct, which will further strengthen our financial sustainability.
As we look ahead, 2025 promises to be an exciting year filled with opportunities to preserve and celebrate South Australia’s heritage. With Millie and Alice at the helm, and the continued support of our members and volunteers, the future of the National Trust is bright.
Thank you for your ongoing commitment to our mission.
The National Trust of South Australia is a communitybased organisation established in 1955 to preserve, protect and promote the State's built, natural and cultural heritage. Our magazine is published three times a year.
PUBLISHER
National Trust of South Australia Ayers House 288 North Terrace Adelaide SA 5000 08 8202 9200 publications@nationaltrustsa.org.au www.nationaltrust.org.au/sa
Cover Image: The iconic Hughes Enginehouse at Moonta with its new roof (photo by Matthew Storer).
The National Trust acknowledges the Traditional Owners and ongoing occupants of the lands and waters in South Australia. We respect their spiritual beliefs, culture and heritage, and pay deep respect to Elders past and present.
ISSN 0815-7871 PP536155/0036
Telling the Whole Story
BY IRENE WATSON, TAMARA POMERY AND KIRRAKEE WATSON
An innovative project at Kingston recognising the importance of truth-telling is finding creative ways to bring First Nations’ perspectives to colonial stories and acknowledge a shared history. A collaborative endeavour between three First Nations women and the Kingston SE Branch of the National Trust, Telling the Whole Story has involved establishing a native garden alongside a monument erected by the National Trust almost 60 years ago to commemorate the wreck of the Maria on Margaret Brock Reef and the subsequent ‘massacre’ of 26 survivors as they walked towards Adelaide. The garden features a communal gathering space and interpretative signs explaining First Nations stories of this place, as shared by descendants of the Meintangk people. In this special feature written for Heritage Living, Tanganekald, Meintangk and Bunganditj woman Professor Irene Watson and her daughters, Tamara Pomery and Kirrakee Watson, explain the two-way approach taken and why it matters.
The Telling the Whole Story Project began more than two years ago as a partnership between South East First Nations members Irene Watson, Tamara Pomery and Kirrakee Watson, and the National Trust of South Australia. It began as a response to the National Trust plaque, unveiled in 1966, which describes the massacre of survivors from the shipwrecked Maria in 1840. Deemed offensive to Meintangk, Bunganditj and Potaruwutj peoples, the plaque represents colonial thinking of the time, and excludes First Nations voices and perspectives of the truth. The project has allowed us to become the authors of our own ancient and contemporary histories and respond to the racist 1960s portrayal of First Nations Peoples. Instead of demanding the monument be removed, it takes a two-way approach to learning, speaking back to accounts that are disrespectful to our ancestors by creating a counterpoint. New interpretative signs record the history of our Aboriginal ancestors in our own words, and plantings recover native vegetation and Bunganditj names as a way of acknowledging our past.
As authors and designers leading the project, one of our aims was to share knowledge of the pre-colonial Meintangk, Bunganditj and Potaruwutj peoples, our lands and culture. The project is innovative for its respectful and informative two-way approach to retelling our shared colonial history, while centring and honouring the ongoing presence of First Nations peoples and our continuing connection to country. The environment and its recovery and conservation is critical, so we made native revegetation the focus, using signage and a website to tell that story of connection, and inviting people to learn more about First Nations values in caring for country. The garden also features a communal gathering place, Wanga Kalawa, which means to ‘listen and talk’.
Pawur is a Bunganditj word describing Maria Creek, which flows through the site. Part of our vision is to recover the original native vegetation of the Pawur-Maria Creek. This began in July 2024 when local volunteers and Kingston Community School students planted native species on the site. Signs identify the various plants, using Bunganditj language names. Through this recovery of our language and our plant knowledge, we are honouring the deep connection we have to this country.
Tamara Pomery played an essential part in Telling the Whole Story, leveraging her project management skills, and her cultural knowledge, language skills and research experience to oversee everything from sourcing the contractor to the installation phase. She is also completing a best-practice guide for caring for country initiatives. This work in progress will be included on the project website. Ecological advisors Nature Glenelg Trust assisted Tamara with the mapping and recovery of the original native flora and fauna of the site.
PREVIOUS PAGE: Professor Irene Watson leading the launch ceremony held for the project in November 2024, with (from left) Kirrakee Watson and National Trust SA Patron in Chief Governor Frances Adamson AO (photo by Kyahm Ross).
OPPOSITE: Kirrakee Watson’s hand sketch of the Kalawa circle concept.
Kirrakee Watson brought to the project design and architectural skills and prepared the conceptual design, which was presented to the Kingston District Council for their approval and support. At the time of writing, Kirrakee and Tamara are also progressing an art installation supported by a council grant; this is due for completion in 2025.
Allison Stillwell from the Kingston SE Branch provided support for the duration of the project, managing engagement with sponsors and local community groups. Then State President Paul Ledbetter provided leadership within the National Trust, which enabled us to work in a supportive environment. This collaborative approach to engagement centred on respect for traditional owner ways of working.
From the outset we invested time in developing Terms of Reference (TOR) to guide and inform the work. The purpose was to productively and positively enable the cultural authority and voices of Meintangk, Bunganditj and Potaruwutj peoples to tell our story. During the project we sought to decolonise the dominant voices, recentre the telling of our Aboriginal history and develop respectful, reciprocal and collaborative relationships, where our free, prior and informed consent is sought whenever we are working together. It is important in collaborative work to develop respectful two-way approaches to telling, listening and representing history so the truth can be represented through the ethical inclusion of Aboriginal knowledge.
Learn more
Our project is accessible to both locals and travellers. The Limestone Coast region is a popular tourist destination, and the project site sits alongside the information bay and gateway to Kingston. It is where travellers frequently stop to take a break. Telling the Whole Story is a response to questions from both locals and visitors, who frequently request information about the Aboriginal history of the area. There are also valuable learning and participatory opportunities relating to the natural world for local school students involved in planting the native vegetation and watching as it grows. We look forward to working further with the council and local community groups for future maintenance, planting and recovery of the Pawur-Maria Creek. We acknowledge our partnership with the National Trust and thank them and the sponsors who have supported this project, including the Limestone Coast Landscape Board, the Foundation for Rural and Regional Renewal, the History Trust of SA and the Kingston District Council.
This project aimed to expand and value our knowledge of history by including and making visible Aboriginal ways of knowing our past and present. As our Meintangk Elders have said before: “We have always been here, and we want to show people who come to our lands that we are still here. We are still alive as the Meintangk people, and we have hopes, we have dreams and we have goals for our future.”
ABOVE: Kirrakee Watson’s hand sketch of the garden concept for the Kingston site, featuring native plants.
For more information about the project, the Meintangk and the rich First Nations history and understanding of Puwar–Maria Creek visit tellingthewholestory.org
Moonta Mines project steps out
Work is coming to a close on one of the most significant heritage conservation projects undertaken by the National Trust of South Australia, changing how visitors experience the Moonta Mines precinct, writes Regional Operations Manager Laura Evans.
BY LAURA EVANS
The Moonta Mines State Heritage Area, along with the Burra State Heritage Area, marks the first major transfer of Cornish mining technology, and Welsh smelting technology, to the other side of the globe. These sites have such international significance that in 2024 the Australian Cornish Mining Sites Consortium successfully lobbied for their inclusion on the Australian Government’s Tentative List for potential nomination for UNESCO World Heritage status. The case being compiled to secure this honour includes leveraging work being done at Moonta to conserve its mining landscape and elevate the visitor experience as part of a mammoth project funded by a $4.8 million grant from the Australian Government. After delays caused by the pandemic, supply chain issues and rising costs, work commenced in early 2022, in partnership with the Copper Coast Council and local community.
Critical conservation works are now nearing completion, including the addition of a roof on the iconic Hughes Enginehouse, so visitors can better imagine its original form. Enclosing the building will also prevent deterioration caused by weather and birdlife, far extending the life of the structure. In an earlier stage of the project missing stones were replaced and the foundations stabilised.
Another major element has been creating new access trails and interpretative signage. A semi-undercover walkway adjacent to Taylors Shaft recreates the feel of a tunnel, inviting visitors to explore the precinct’s ore floors – a stunning remnant of the impact of mining on the landscape. A longer trail now gives visitors an entirely new perspective and experience. The 3.2-kilometre walk brings them close to sites previously only accessible by ‘bush-bashing’ and means people can more deeply understand just how closely the mechanical and social worlds of the mines overlapped. The walkways are suitable for cycling and mobility aids, further opening these worlds to new audiences.
At the heart of the new interpretation is how people have experienced this complex landscape over time. The irrevocable impact of mining on the Narungga people cannot be understated, from the interruption of ancient ancestral movement patterns to altering vegetation and waterways. In terms of western heritage, the landscape of the Moonta precinct is an expression of the profound impact Cornish mining practices had on global technology, industry and migration patterns. Visitors are invited to consider how people lived at the peak of the mines’ activity, how the sites worked and what that means to the present day.
Come and explore
This project would not been possible without the knowledge and passion of many people and organisations. Cooperation between the National Trust, Copper Coast Council and Narungga has meant works reflect the complex history of the site, and have made it possible to realise aspirations for more people to explore it. The Moonta Branch has been exceptionally generous with sharing and conducting research, and providing input into concept development. Project management has been ably led by Stoneideas, and Swanbury Penglase Architects have continued their long partnership with the National Trust in facilitating the first-class heritage architectural work. Thanks also go to Propeller Design and Sign Language SA for designing and installing the new wayfinding and interpretative signage.
For a wealth of information about the Moonta Mines historic precinct, its attractions and suggested visitor itineraries please visit moontaheritage. com.au. The Moonta Branch is also keen to hear from people willing to volunteer and help care for our places and share them with visitors.
To find out more email info@moontaheritage.com.au or phone 8825 1891
CLOCKWISE FROM LEFT: The iconic Hughes Enginehouse and Richman’s Enginehouse (photos by Matthew Storer); part of the new trail and interpretative signage (photo by Julie Rochester, Sign Language SA).
Revealing hidden treasure at Ayers House
Painstaking investigation, a delicate touch and extraordinary attention to detail have revealed a hidden treasure in an unlikely place while preparing Ayers House for a new era, writes Heritage Living editor Liz Harfull.
BY LIZ HARFULL
At first glance it was an unremarkable room, most recently used for storage. A small upstairs space easy to overlook in the lush grandeur of Ayers House. When Amal Naveed came on board as property project manager with Heritage South Australia in 2023, the walls were covered with cream and gold-patterned delaminated paper put up sometime in the late 20th century, and the lathe and plaster ceiling was painted completely white.
An architect by training, new to Adelaide and the world of heritage conservation, Amal was told it was most likely intended as a bedroom when the first floor was expanded in the 1870s. No documentation has been found to confirm whether it was a family member or a privileged servant who slept there. Situated at the back of the house, it is opposite what was originally a single room that served as a maid’s cupboard and toilet. Although similar in size to two adjoining bedrooms, it has a marble fireplace that is less decorative.
Amal was put in charge of project managing maintenance and conservation work carried out by the Department of Environment and Water before Ayers House was handed back to the National Trust of South Australia by the State Government last year. Award-winning heritage architects Swanbury Penglase defined the scope of the project and experienced heritage builder G-Force Building & Consulting was appointed the primary contractor. The schedule included repairing the plaster and restoring any original decorative work that was deteriorating in six bedrooms and a hallway on the first floor. “The initial scope in the storeroom, as per the documentation was to remove the wallpaper, which was peeling, find out what the original paint colours were and then repaint it,” Amal explained.
Immediately underneath the wallpaper was a layer of white paint, most likely applied after Ayers House became residential quarters for nurses from the Adelaide Hospital in 1926. Small scrapings were taken from the multiple layers accumulated over almost 150 years to reveal the original colour scheme buried underneath, and Marisha Matthews was recruited to restore and repair it, as well as to help restore small areas in the State Dining Room downstairs.
These painstaking tasks drew on Marisha’s steady hand and colour-matching skills, not to mention experience working from scaffolding. An accomplished visual artist with an eclectic background that includes film and commercial interior design, she has both restored heritage buildings and help create faux ones. She once led a team of ten artists that created Romanstyle mosaics and a river-pebbled driveway for the palatial Sydney mansion where the Duke and Duchess of Sussex (Prince Harry and Meghan Markle) stayed during their Australian tour in 2018. Since 2021, she has also been artist-in-residence at Loreto College in Adelaide.
Work was progressing steadily at Ayers House when Marisha found herself alone in the building one morning and curiosity got the better of her. A tiny patch of scraped ceiling just inside the door hinted that something might lie under the white
ABOVE: Amal Naveed (left) and Marisha Matthews in the former store room. OPPOSITE: The original corner decoration. Photos by James Field.
paint. Deciding on the spur of the moment that it was time to investigate further, she raced out and bought some paint stripper. “I thought about whether it was the right thing to do, but I realised that if I didn’t it would be covered over with another layer of paint and no-one would ever know what was there. The worst thing that could happen was that I would find nothing and end up creating something similar to the other rooms as intended anyway,” Marisha explained.
“So very carefully I went through six layers of paint and even a layer of wallpaper and discovered a whole corner of decorative work. I realised that I was looking at something no-one had likely seen for a hundred years – whenever the first person put the first layer of paint over it, and I hope they’re ashamed of themselves!” she added jokingly.
It took most of the day to uncover just one corner, revealing a simple pattern of scrolls and laurel leaves, with red, blue and gold bands reaching out toward the opposite corners. The pigment was embedded in the plaster, making it clear this was the original finish. Excited about her discovery, Marisha rang G-Force project manager Kim Lukomski. Not long after, eight people from Heritage South Australia and the various contractors squeezed into the room to see it for themselves and decide how to proceed. Among them was Amal.
“When you define the scope of work for a heritage building it might seem straightforward but then you run into these interesting turns, and the best way to achieve the best heritage outcome is to get everyone involved,” she said. “Eventually we decided to scrape off all four corners and the centre rose, because typically there would be designs there as well, and also the ceiling in front of the fireplace because in some of the other rooms there was decoration there too.”
Nothing was found near the fireplace but over coming days, with assistance from a colleague, Marisha carefully uncovered similar decorations in the other three corners. Then the two artists replicated the bands to reconnect all four corners and repainted the rest of the ceiling its original beige colour, merging the old and the new. When people visit the room now, what they will see is a genuine recreation of the 1870s ceiling –once forgotten, now revealed in all its subtle glory.
The Beaumont olives
BY MERILYN KUCHEL OAM
Garden historian and National Trust horticultural adviser Merilyn Kuchel explores the unexpected history of a pioneering venture that produced olive oils of such quality they even wowed the French, winning a silver medal at the 1878 Paris Exhibition.
When Samuel Davenport was just a youth he dived into an ice-cold stream to save a man from drowning. He succeeded but for years after suffered from impaired lung function so his family sent him to the south of France, where he recuperated in a region famous for cultivating vines, olives and almonds. This experience proved invaluable when he emigrated to South Australia in 1843 with his new wife, Margaret (nee Cleland), and older brother Robert to take up land at Macclesfield.
Samuel Davenport was a dutiful son and corresponded regularly with his father detailing their life and work. ‘You know, in the hills as much as the plains, I find this climate very similar to that of the French coast of [the] Mediterranean, therefore I say why should not their farming somewhat suit us,’ he wrote soon after arriving. Pointing out that the ‘olive is a staple commodity and source of great wealth. Its trees are hardy, very long lived…; the oil and fruit most saleable,’ he requested a large
TOP: One of the rejuvenated olive trees at Beaumont House. OPPOSITE: Sir Samuel Davenport in his olive grove, c. 1900 (State Library of SA B 6106).
order be sent to him by the following year. ‘Packed in charcoaldust the seed and the truncheons would keep good, I little doubt. Say 10,000 or 20,000 olives at least.’
In 1846, Governor Robe invited Davenport to take a seat on the Legislative Council. So he was closer at hand to carry out his duties, Samuel purchased Gleeville Farm for £700. Renaming it Beaumont, he subdivided and leased much of the acreage to pay off his debts and started planting olives along the boundaries. Two allotments were allocated to The Right Reverend Augustus Short, the first Anglican bishop of Adelaide, who built Beaumont House. When he could spare time, the bishop spent it in the garden, planting olives, figs, almonds and other trees given to him by Davenport. Samuel and Margaret took up residence in 1857, after Short moved to North Adelaide.
Davenport’s first experiments in crushing olives were in 1864, producing about one gallon of good oil. In 1866 he crushed 700 kilograms of ripe olives. Encouraged by the quality, he employed Margaret’s nephews George Fullarton Cleland and Tom Glen to build a factory on Dashwood Road and imported a Chilean mill. It crushed almost four tonnes of olives in 1874, including fruit purchased from neighbours and olives picked from Davenport’s own trees by children who were paid fivepence per two-gallon bucket.
Cleland bought the factory in 1880, but named the virgin olive oil he produced after Davenport, continuing to build its reputation for quality and winning many awards. There was another major planting in 1883, from truncheons imported from Spain. By 1904, the business was processing about two thirds of the State’s annual production of around 20,000 gallons, using its own and purchased fruit. After Samuel’s death in 1906, G.F. Cleland and Sons continued to produce wine and award-winning oil. Meanwhile, Beaumont House passed through several owners.
When Kenneth Brock married Lilian Bennett (then the owner of Beaumont House) in 1938, the property consisted of 29 acres on which grew about 1400 olive trees covering 27 varieties. After his return from the Second World War, Kenneth set about revitalizing the old trees and began an olive tree nursery, which soon had customers all over Australia. The property was subdivided in the 1950s, and Lilian gave Beaumont House to the National Trust in 1967.
When the National Trust moved their headquarters to Beaumont in 2009, then President Anita Aspinall invited me to join a new garden committee and produce a management plan to guide renovation and maintenance. Expert advice was sought on the olive trees because of serious concerns about their declining health, elongated and brittle growth, and very small crops caused by overcrowding, lack of light and no pruning since the closure of the factory sometime in the 1960s. Among those consulted were leading horticulturalist Ian Tolley, Mark Lloyd from Coriole vineyards, arborists from the City of Burnside and Michael Johnston, then president of the Olive Association of SA. They all recommended radical pruning to encourage healthy new growth and increased fruit production.
Much to the consternation of many Burnside residents, radical pruning of the olives began in 2016 and continued over the next five years until all the trees in the grove had been rejuvenated. Since 2017 horticulture students from Urrbrae TAFE have assisted with the pruning, which has been a great help to the regular garden volunteers who work at Beaumont every Wednesday morning. In May 2017 volunteers under the guidance of Michael Johnston picked 330 kilograms of olives, which were crushed, free of charge, into 40 litres of oil by Domenic Scarfo from Diana Olive Oil at Willunga. The 2024 harvest in May yielded 76 litres.
Special Event
Purchase a bottle of olive oil from last year’s harvest and take an exclusive tour of the historic olive grove as part of the National Trust Olive Festival at Beaumont House on Saturday 12 April 2025. For more details visit nationaltrust.org.au/sa/
Botanical art blooms in new exhibition
BY TIMOTHY ROBERTS
A rare set of Royal Worcester dessert plates from Collingrove Homestead forms part of a new exhibition at the David Roche Gallery in Adelaide, writes curator Timothy Roberts.
Nature Revealed: Rosa Fiveash & Ellis Rowan brings together the exquisite wildflower paintings of two noted Australian botanical artists. Working in the late nineteenth and early twentieth centuries, when opportunities were limited for women to establish themselves as professional artists, Marian Ellis Rowan challenged social conventions by travelling extensively in pursuit of her subjects, earning her the title ‘Flower Hunter’ and affording her international acclaim. By comparison Rosa Fiveash spent most of her career in Adelaide, painting botanical specimens with meticulous detail, and introducing a new generation to the joys of painting through her teaching.
Some 150 works of art will be on display in the exhibition, the majority of which are watercolour paintings of native wildflowers that grow in South Australia, as well as lithographic prints, painted porcelain and a pair of two-fold room screens.
The selection of porcelain includes seven Royal Worcester plates, lent by the National Trust of South Australia, which are part of a dessert set at Collingrove Homestead, Angaston.
Around 1912 William Henry Flavelle, a managing partner of Sydney jewellers Flavelle Brothers Ltd, approached Ellis Rowan regarding an opportunity to reproduce her vibrant watercolours on porcelain. After obtaining her support for the project, he supplied the Royal Worcester factory with reproductions of Ellis Rowan’s illustrations to allow design
trials to begin. Flavelle stressed the need for accuracy of both form and colour on these works, and once satisfied that the factory’s painting department could fulfil this standard, he commissioned the artist to execute a quantity of Australian wildflower illustrations from which the designs could be copied. While it is not known how many Australian wildflower designs were executed as a part of the commission, at least 40 designs have been identified, with many more likely.
Ellis Rowan’s Royal Worcester designs were sold at the Flavelle Brothers store in George Street, Sydney. Some pieces were purchased by visiting pastoralists and businesspeople, which saw these designs dispersed across the country. Francis John White and Margaret Fletcher White of Saumarez Homestead, Armidale (a National Trust of Australia (NSW) property), purchased a group of Australian wildflowers teawares for their daughter Frieda when she married John Cullen in 1925.
The Collingrove Homestead dessert set may have been purchased by Charles Angas in 1914 while attending the Royal Easter Show in Sydney, or were possibly a gift to Ronald Fife Angas and Monica Alice Murray upon their marriage in 1915.
The set consists of 12 dessert plates and four footed dishes (tazzae), each measuring 23 centimetres in diameter.
Decorated in 1912–13, they bear a distinctive ‘Quaker grey’ border with detailed acid-etched design. The well of each plate
was hand painted by Royal Worcester decorators with a spray of flowers designed by Ellis Rowan. The vibrant and painterly plate designs depict love creeper; blue flax lily and stypandra; dillwynia; eremaea and lobelia; eucalyptus; northern white beech; lacebark; Queensland ebony; silky daisy-bush; pongame oiltree; prostanthera; and pultenaea. Two of the four tazzae depict Christmas bush, while the remaining two feature a flannel flower design. Seven plates from the Collingrove dessert set will be displayed alongside teawares held by the Botanic Gardens and State Herbarium of South Australia, and a selection of porcelain painted by Rosa Fiveash.
Nature Revealed: Rosa Fiveash & Ellis Rowan will see the David Roche Gallery bloom with an abundance of work by these two eminent Australian botanical artists. For many, this will be the first opportunity to marvel at the luminous watercolours created by these two inspiring women, depicting some of Australia’s most beloved and most vulnerable native flora.
Learn more
The Nature Revealed: Rosa Fiveash & Ellis Rowan exhibition runs until 24 May at the David Roche Gallery, 241 Melbourne Street, North Adelaide.
PREVIOUS PAGES: Sturt’s Desert Pea c. 1887, watercolour and gouache on toned wove paper by Rosa Fiveash (Botantic Gardens and State Herbarium of South Australia).
ABOVE: Dessert plates with Australian wildflower designs by Ellis Rowan, 1913 (National Trust of South Australia collection).
For more details and to purchase tickets visit rochefoundation.com.au/ exhibitions/
Delivering another trip down Memory Lane
BY PETER FOSTER OAM
Following on from the previous edition, honorary curator Peter Foster continues to explore his favourite category in the National Trust horse-drawn vehicle collection – the tradesman’s vehicles that delivered provisions to South Australian households.
Leaving the bakers to continue down Ivy Street with a delivery of fresh loaves and those round tantalising fruit buns, let’s take a closer look at other well-known types of commercial or tradesman’s vehicles. The milkman was often heard but rarely seen clip-clopping on his rounds in the mist of early mornings, like an image from a Clarice Beckett painting. This choice of delivery time was necessitated by the milk production chain and a lack of reliable refrigeration.
The earlier milk carts or floats, as they were sometimes known, could be either two or four-wheeled, the latter identical in design to those used by bakers. This style was a product of the early 1930s with pneumatic car wheels. The milk floats, however, had a full-length
rear door and no shelving, which allowed easy access and space for large milk cans. The collection has fine examples of the two types – a two-wheeled, chariotstyled vehicle and a motor-wheeled version believed to have been used by the Thain family in Adelaide up until the early 1960s.
Of the collection's three butcher carts, the oldest was owned and used by the Kernich family in the small Barossa Valley town of Greenock. Ted Kernich operated the butcher shop and its delivery service from 1905 with two carts. The surviving vehicle was donated to the collection in the 1960s, having ceased deliveries in 1950. As with the baker vans explored in the previous article, these trade vehicles, by design, had a series
of large flat panels allowing significant space for advertising, which were more than adequate for coach painters, signwriters and liners to display colourful, bold lettering, artwork and intricate scrollwork. Famous Heidelberg artist Frederick McCubbin, while an apprentice in the employ of Melbourne coachbuilders Stevensen and Elliotts, found these vehicles an outlet for his developing skills.
NEW ADDITION TO COLLECTION
While carts used by butchers, bakers and milkmen seem to be among the trade vehicles most remembered, there were others. Among the so-called delivery carts was another essential vehicle – the fruiterer's van. These vehicles, four-wheeled with a canvas top and racks inside to carry both fruit and vegetables, were drawn by one horse. After some time in the restoration workshop, the collection now has on display at Millicent a market gardener's wagon. It differs from the fruiterer's van in name only. This vehicle originated in Penola and was used by Jimmy Ah Suee to deliver his produce to that town and others nearby. Like many Chinese, he was known for his quality produce, both vegetables and fruit, grown on land that formed part of the Penola Fruit Colony (later renamed Coonawarra), established by John Riddoch in 1890.
In January 1892, The Border Watch newspaper reported: ‘On Saturday last the first load of marketable vegetables, etc., grown at the Penola fruit colony were brought into town, and disposed of by that enterprising townsman, Ah Suee. Ah Suee has taken up a ten-acre block, and combined with fruit-growing, he is carrying on the usual “Chinese garden”. The vegetables in question comprise a very good collection of all that are usually obtainable at this time of the year, and although “James” has only been on his block about six months, he is already enjoying a profitable return from his outlay of labour and capital.'
This vehicle is a welcome addition to the National Trust’s horse-drawn vehicle collection, being local in origin while underlining an important aspect of ChineseAustralian history.
More Info
The collection of horse-drawn vehicles held by the National Trust of South Australia is regarded as Australia’s finest. Featuring some 90 restored and conserved items, it is held at the Millicent Museum.
For more information and opening times visit nationaltrust.org.au/places/millicentmuseum/
FROM LEFT:
CLOCKWISE
The Cheek family of butchers, St Peter’s, 1888 (State Library of SA B 28662); the collection’s Kernich family butcher’s cart and chariot-style dairy cart used by Springbank Dairy (photos by John Nieddu).
Mallee gem for nature lovers
BY ALEX EMMINS
Natural Heritage Manager Alex Emmins shares her love for the mallee and a Riverland reserve linked to a National Trust pioneer.
D B Mack Reserve is an unassuming parcel of mallee bushland on the Sturt Highway at Stockyard Plain – don’t blink or you’ll miss it! Located on the traditional lands of the Ngaiawang, Ngawait and Erawirung peoples, the reserve is one of our largest at 265 hectares and an absolute gem. There’s just something about the mallee that gets under your skin. For me, it’s the combination of red dirt, spinifex, the grey-green hues of eucalypts, magic sunsets and wideopen spaces that seals the deal, with the South Australian mallee being one of my favourite vegetation associations.
The nature reserve has been held by the National Trust since 1965 when it was purchased from Mr F.J. Fettke. It is named after David Mack, who was District Officer for the Department of Lands during the 1960s. A strong supporter of the National Trust, he was one of the instigators, in 1962, of what was originally known as the Nor’ West Bend Branch of the National Trust – renamed Waikerie Branch in 1985.
D B Mack Reserve is a significant area of mallee vegetation in a wider regional mosaic of remnant mallee. It adjoins the extensive Stockyard Plain area managed by SA Water, which incorporates a man-made wetland covering 500 hectares. Saline groundwater is extracted from beneath a 50-kilometre stretch of Murray River banks and pumped into the wetland to evaporate.
Within D B Mack, 109 native plant species have been recorded, of which around 25 per cent are of particular regional importance and three (Acacia lineata, Maireana
Plan a Visit
pentagona and Trachymene thysanocarpa) are significant at State level. The area is subject to a native vegetation Heritage Agreement, which provides additional protection. Historically, mallee fowl have also utilised the reserve to build their impressive nest mounds.
D B Mack showcases the true resilience of the Australian bush. Even in the harshest of climates with very little rainfall, you can still see flowering native plants and flourishing bird populations year-round, including the restless flycatcher, hooded robin and striped honeyeater (all rare); chestnut quail-thrush and shy heathwren (threatened); Regent parrot, brown treecreeper and mallee fowl (vulnerable); and the beautiful rainbow bee-eaters, purple-backed fairywrens and red-capped robins. Many of the bird species found here have decreasing populations throughout southern Australia. Several years ago, a fire started by lightning tore through half of the reserve and the mallee responded so well afterwards that you’d hardly notice where it occurred now.
I strongly encourage a visit to D B Mack, perhaps on the way to the Riverland to visit our other historic properties and reserves. It is especially beautiful in spring. There are no walking trails but plenty of animal tracks to follow. Take a guess what left them behind in that remarkable red dirt.
The entry to the reserve is 23.5 kilometres from the east end of the Blanchetown bridge, travelling east. Look for a gate off the old highway on the left, slightly obscured by roadside trees. Please note the reserve is closed on total fire ban days.
For more information visit nationaltrust.org.au/ places/d-b-mack-reserve/
RIGHT: Mallee vegetation at D B Mack Reserve (photo by Alex Emmins).
The Alison Ashby Legacy Circle
BY DEBORAH MORGAN
A new initiative is being launched by the National Trust of South Australia to encourage philanthropic giving. The Alison Ashby Legacy Circle will bring together people who believe passionately in supporting the National Trust and protecting our precious built, natural and cultural heritage, explains former State President Deborah Morgan.
Alison Marjorie Ashby (1901 – 1987) was a stellar philanthropist. She is not only recognised as a skilled botanical illustrator but also as a respected plant collector who gave her life to painting South Australian and Western Australian fauna, collecting cuttings and seeds for propagation and pressing thousands of specimens for South Australia’s herbaria. Two species, Acacia ashbyae and Solanum ashbyae, were named after her. She also gave approximately 1400 plant paintings to the South Australian Museum and nine of them were reproduced as postcards. Her collection of paintings is currently held by the Botanic Gardens and State Herbarium of South Australia.
Ashby was a founding council member of the National Trust (1956) and its only female appointment. In 1957 she donated Watiparinga, her 32-hectare woodland property at Eden Hills, to the National Trust to be ‘re-clothed in Australian trees and shrubs’ for the enjoyment of the public. The following year, Ashby established an endowment fund for the development and maintenance of the property. In recognition of her contribution to the preservation of Australian fauna, she was appointed a Member of the British Empire (MBE) in 1960.
WHAT IS THE LEGACY CIRCLE?
Named to acknowledge and celebrate the very significant legacies Ashby left to benefit both the natural world and the National Trust, the Legacy Circle is a new group honouring people who support the National Trust through a bequest or legacy, or by making significant regular donations. The National Trust plans to host lunches and other exclusive complimentary events for Legacy Circle members at which updates about the organisation’s work will be provided. Members or organisations who commit to giving a bequest or donating significant amounts will, with their approval, be acknowledged in the National Trust’s newsletters and annual reports, ensuring their contribution is recognised and appreciated by the National Trust community.
WHY IT’S IMPORTANT
An imperative focus for the National Trust is generating revenue, which is essential to administer the organisation, and to continue vital restoration and maintenance of its many cherished heritage buildings. While we receive periodic but nonetheless welcome financial support from the State Government and some local government bodies, the National Trust is mainly self-funded through the support of the South Australian community. Acknowledgement must also be given to our branches which conduct many fund-raising events.
OPPOSITE: Watiparinga Reserve (National Trust of SA archives)
A key aspect of philanthropy is the action of making bequests. Many people underestimate the difference that a bequest (of any size) can make to an organisation like the National Trust. A bequest can be a welcome addition to regular funding and can take the form of a dollar amount or a gift of assets such as shares or real estate. Any form of bequest assists the National Trust to continue caring for our State’s unique and precious heritage into the future.
Bequests to the National Trust have always been most welcome, however on a number of occasions they have been totally unexpected. In those circumstances an opportunity to discuss management of the bequest or to acknowledge the gift during a member’s lifetime is lost. The Legacy Circle is a fresh approach to championing bequests and raising the profile of this important form of philanthropy. Its members will share the common bond of leaving a lasting and properly acknowledged legacy to support the National Trust.
In the words of our Chief Executive Officer, Simon Ambrose: “Leaving a bequest to the National Trust of South Australia is one of the most powerful ways to protect and preserve our State’s rich heritage. Your legacy ensures that future generations can experience and appreciate the stories, places, culture and history that define South Australia.”
On behalf of the National Trust, I ask you to give serious consideration to making a bequest or legacy in your Will. Whatever its size, it will make a difference.
Create your own legacy now
All National Trust members who donate to the National Trust through its Patrons program and all members who have already made a bequest in their Will are eligible to join the Alison Ashby Legacy Circle. Please notify the National Trust if you have made a bequest and become involved.
If you wish to discuss in person making a bequest, please phone 08 8202 9200 or email admin@ nationationaltrustsa.org.au
For information about making a donation scan the QR Code or visit: nationaltrust.org.au/donate-sa
For information about making a bequest scan the QR Code or visit: nationaltrust.org.au/bequests-sa
BELOW: Alison Ashby painting wattle flowers in her Victor Harbor kitchen, 1982 (photo by Bob Cunningham, Newspix).
Heritage loss triggers new Yankalilla Branch
BY LORRAINE DAY
Advocacy to protect heritage at risk from neglect, demolition and development in the Yankalilla district is the primary focus of our newest branch, writes committee member, publisher and author Lorraine Day.
The sudden demolition in September 2023 of the former Butterworth Beach House at Normanville, more recently known as the Yankalilla Bay Homestead, was the impetus for the formation of the National Trust of South Australia’s newest branch. Concerned about the increasing loss of built and environmental heritage, a small local group known as Yankalilla and District Heritage Watch wanted to raise awareness about our region’s heritage, which is slowly being eroded due to neglect and lack of legislated protection. So members united to apply to the National Trust for permission to become a National Trust branch.
An initial public meeting was held in November 2023 to gauge the extent of local interest, with community members subsequently visiting the former Fergusson’s Mill in Normanville. At that time, the property on which the State Heritage-listed mill stands was on the market. Soon after, it was sold to the Aspen Group for development as a proposed tourist park and residential village. A public consultation process was held, closing in May 2024.
Confirmation that the State Council of the National Trust had approved formation of the Yankalilla Branch was received in early July. A public meeting
was then held in the Yankalilla Library to which District Council of Yankalilla Mayor Darryl Houston and Dr Mark Staniforth from the National Trust’s Willunga Branch were invited. Mayor Houston offered the library as a meeting place for the branch. He also provided an update on the status of a Local Heritage Code Amendment proposed by the council to provide greater protection to heritage buildings in Delamere, Normanville and Yankalilla. The Code Amendment is the result of a 2017 report by heritage architect Dr Iris Iwanicki, who reviewed places identified in a heritage survey carried out in 1985.
The Yankalilla Branch held its first annual general meeting on 24 August 2024 to appoint committee members, and to discuss possible projects and events. With Dr Margaret Macilwain as chair, the team for 2024-25 comprises Andrew Cole, Jan Crawford, Lorraine Day (Treasurer), Pat Maidment (Secretary) and Joan Thompson (Deputy Chair). The branch’s first fundraising effort was a market stall held alongside historic Dunstall Cottage at Normanville on the October long weekend, in conjunction with the Yankalilla Men’s Shed. Items sold raised $100. Another $250 was donated from the sale of Lorraine Day’s book Remembering Comic Court, which was originally going to support now defunct plans to establish an equine and racing museum at Fergusson’s Mill, proposed by the former owners.
CLOCKWISE FROM LEFT: Fergusson's Mill c. 1905 (Ron Blum collection).; Yankalilla Bay Homestead prior to demolition in September 2023 (Yankalilla and District Historical Society collection); from left, Yankalilla Mayor Darryl Houston, Yankalilla Branch President Margaret Macilwain and Dr Mark Staniforth from Willunga Branch at the July meeting (photo by Lorraine Day).
Member moments: Annette Humphries and Lyndell Davidge OAM
Two Hahndorf Branch members with a shared history of working tirelessly to preserve the town’s history have been made honorary life members of the National Trust of SA in recognition of their long and distinguished service.
A founding member of the branch when it formed in 1976, Lyndell Davidge has played a pivotal role in advocating for Hahndorf’s heritage, helping to secure planning protection, record and preserve the town’s history and assist countless people with research inquiries. An active member since the mid 1980s and current chair, Annette Humphries joined Lyndell as a driving force behind the Pioneer Women’s Trail, working with the branch to revive and formalise the route and create the annual walk which celebrates the trail. She has coordinated volunteers and engaged local primary school children, helping to foster a strong sense of community and a collaborative approach.
HOW DID YOU COME TO JOIN THE NATIONAL TRUST?
Lyndell: I grew up in NSW where my family were pioneers, and I was conscious of that history and quite passionate about it. I was 24 when I came to live in Hahndorf. At that stage it was under threat from demolition and modernisation, so it was decided that we should have a National Trust branch. We had no property; we were an advocacy group and we were passionate.
Annette: Coming from Jersey, I’ve always been really interested in history, but when I came to live in Hahndorf in 1982, I really knew nothing about the history of this state at all. I became aware of local history through the people around me, and then about four years later someone proposed developing the property across the road, behind Thiele cottage. My husband and I were outraged so we joined the National Trust. With great input from the Hahndorf Branch, most of the Main Street was declared a heritage zone and we all thought our problems would go away!
WHAT DO YOU MOST ENJOY ABOUT VOLUNTEERING WITH THE NATIONAL TRUST?
Lyndell: For me, it’s mostly about helping people to make a connection to the past, being a conduit for sharing stories. The Pioneer Women’s Trail may only be a dirt track but it’s the story that goes with it, and people make the story. Every time we walk that trail we are following in someone's footsteps, and the German women were following in someone's footsteps, and we hope that in the future someone will follow in our footsteps.
Annette: You're working with like-minded people, which is very encouraging. To a large extent, because we don't have a property, the trail has become more important than it might have done otherwise. Being involved in a project like that, where we've seen it develop, we've made things happen, it's just been fabulous.
WHY SHOULD PEOPLE JOIN THE NATIONAL TRUST?
Lyndell: The National Trust is a really worthy organisation, and as a member you are part of a much greater group, with everyone playing their part.
Annette: If you've got any interest at all in what came before, whether it's nature or buildings or the early history before the European pioneers, it is just so good to be part of an organisation where those interests are shared and acknowledged, and to know it’s part of a worldwide organisation too. We’re all sheltered under the same umbrella.
Join one of our most popular annual events – a celebration of pioneering women and the trek they made from Hahndorf to the city to sell their produce.
Walk country roads, laneways and bush tracks through a delightful section of the Adelaide Hills, passing historic homes and deciduous trees in their autumn colours.
Enjoy stunning city views on the way to Beaumont House where food vans, live music and a beautiful garden awaits so you can unwind with your fellow walkers and newly-made friends.
For more information and to register scan the QR Code or visit: www.nationaltrust.org.au/event/ pioneer-womens-trail-walk
WHERE WILL YOUR MEMBERSHIP TAKE YOU?
England’s fantastical and electric north
FELICITY WHEELER
The National Trust’s recently appointed Collections and Visitor Engagement Coordinator, Felicity Wheeler, spent more than 12 years working for the National Trust in England. She gives an insider’s view of the magical treasures on offer in the northerly county that she called home.
Northumberland is a hidden gem with a unique character, well worth a stopover on the way to or from Scotland. The people are down to earth and friendly despite the area’s lawless history, and I developed a strong connection to the wild landscapes of hill and moorland, woods and babbling burns (streams), and especially the beautiful houses of Wallington and Cragside, where I worked.
Northumberland is the most sparsely populated county in England and is a haven for wildlife, especially the tiny native red squirrel and the gorgeous little puffins of the Farne Islands. The coastline boasts beautiful, white sandy beaches with few people – attempt to brave the icy waters of the North Sea if you dare however.
HOLY ISLAND
On this coastline is Holy Island (Lindisfarne), which is joined to the mainland via a causeway at low tide; visitors who get their tide times wrong have been caught out by the rising sea water. The island’s name stems from its history as one of the most important centres of early English Christianity. Lindisfarne Castle is tiny but very distinctive and appears to rise out of the landscape of sea and rock as if part of it. Not really a castle, it was originally built in the 16th century as an artillery fort and converted into a holiday home by famous English architect Sir Edwin Lutyens in 1903. The views from the top are breathtaking and there is a delightful Gertrude Jekyll garden next door.
WALLINGTON HOUSE
The National Trust of England was gifted the large estate of Wallington near Morpeth in 1941. The history of the house dates to 1688, when it was a square building set around an open central courtyard – madness in northern winters. This courtyard was roofed over in the 1850s and has become the heart of the house, painted with scenes from Northumbrian history and local wildflowers by William Bell Scott, John Ruskin and Lady Trevelyan herself. The cellars are most interesting as they are part of a much earlier mediaeval farmhouse structure and fortified Pele tower. They only survive because the buildings were knocked down to first floor level and the ground then built up around them. Their thick walls were perfect as foundations for the later 1600s house. Wallington sometimes holds cellar-to-attic tours revealing Wallington’s evolution and telling the stories of the mischievous Trevelyan children who lived there. The grounds are flat and easy to walk with lakes, woods and a gorgeous walled garden.
ELECTRICAL CRAGSIDE
Nearby Cragside is very different. First built in 1863 for Lord William Armstrong and his wife Margaret, this pioneering house was known locally by the late 1800s as the House of the Magician due to its revolutionary electric lighting, early underfloor heating system, dishwasher, lift, Turkish bath and flushing toilets. It is a magical place, the house huge and sprawling on a rocky crag yet surprisingly only ever seen in parts, always somewhat hidden by an enigmatic pine forest and rhododendrons. If you have a car venture up the narrow, winding forest drive to the manmade lakes that powered a water turbine in the 1870s, making Cragside the first house in the world to be lit by hydro-electricity.
The collections there contain magical, weird and wonderful electrical items. An inventor and philanthropist, Lord Armstrong experimented with early electricity conducted through air and water, and made photographic plates of the results. These pictures hang on the walls, revealing echoes of natural shapes, such as tree roots and ferns. The Electrical Room at the back of the house, where he did these experiments, now houses a fabulous interactive display in a darkened, atmospheric space that brings his early experiments to life and showcases the electrical equipment used. A modern copy of a Wimshurst machine brings an electrostatic spark to life. Along with the regional curator and designer, I assisted in the presentation of this room when it was developed in 2015 and I’m proud it is still delighting people 10 years later. Go take a look!
Visit nationaltrust.org.uk/visit/north-east to find out more and plan your trip.
Travel the World with the National Trust
For a full picture of where National Trust of South Australia membership can take you visit www.into.org/places
Not a member? Join now.
Scan the QR Code or visit: nationaltrust.org.au/membership-sa
CLOCKWISE FROM LEFT: Lindisfarne Castle from across the bay (photo by Rob Coleman, National Trust Images); Wallington drawing room (photo by James Beck, National Trust Images); visitors crossing the Iron Bridge at Cragside (photo by Annapurna Mellor, National Trust Images).
What's on
It’s festival time in South Australia and the National Trust is joining the party, with a diverse program of autumn events at our stunning houses and gardens, from theatre performances to celebrations of fine wine and olives, and even the humble carrot!
For the latest information and to book please visit the Event section on our website. Event details in this magazine are correct at time of printing.
Adelaide Fringe Shows
STATE DINING ROOM, AYERS HOUSE
26 February to 22 March 2025
Discover the magic of the Adelaide Fringe in the historic State Dining Room at Ayers House. Nestled in the heart of the city, this elegant venue is providing an intimate setting for a diverse range of Fringe performances. From captivating theatre to comedy and music, experience fantastic entertainment in a stunning heritage building.
Tickets: Various prices, check the February/March What's On e-news for special discount codes for National Trust members
Carrot Caper
TEA TREE GULLY HERITAGE MUSEUM
16 March 2025, 11am to 4pm
Join us for a day of fun activities and creativity celebrating the humble carrot. Enjoy learning how to grow carrots, discover fun carrot facts, play games and exploring the Carrot Art Gallery. Get hands-on with crafting, carrot printing and making carrot salads, soups and delicious treats. A fun-filled day for all ages –don’t miss it!
Tickets: National Trust members free, adults $5 (including admission to the museum), concession $4, children free
Scan the QR Code or visit: nationaltrust.org.au/sa/
Olive Festival
BEAUMONT HOUSE, BEAUMONT
12 April 2025, 11am to 3pm
Celebrate all things olive at the National Trust Olive Festival. Enjoy a delightful day filled with tastings, cooking demonstrations, artisan market stalls, family-friendly activities and exclusive tours of the property’s historic olive grove, one of the oldest in the State. Whether you're a food lover, a history enthusiast or simply looking for a fun day out, the Olive Festival at Beaumont House will have something for everyone.
Tickets: National Trust members $12, adults $15, concession $12, children (under 15) free
Stangate House & Garden Open Days
ALDGATE
3 May and 4 May 2025 from 11am to 4pm
Explore this hidden gem in the Adelaide Hills at two special open days hosted by the National Trust, the Camellia Society and the Australian Rhododendron Society, SA branch. Pack a picnic and spend a leisurely autumn day in this beautiful garden.
Tickets: National Trust members free, adults $8, group of up to four $20, concession $4, children (under 15) free
What the Working Classes Wore
BEAUMONT HOUSE, BEAUMONT
May 4, 10, 11, 17, 18, 24, 25 and 31 and 1 June, 10am to 3pm
A fascinating exhibition, workshop and special talks featuring National Trust costume collection curator Sandy Whitelaw, celebrating an under-represented aspect of fashion in many museums – the clothes working class women wore. Organised by the Burnside Branch. Visit Events page for more details of dates and times
Tickets: National Trust members $20, adults $25 and concession $20
Pioneer Women’s Trail Walk
18 May 2025, 7.30am to 4pm
Registrations are now open for this popular annual celebration of pioneering women and their trek from Hahndorf to the city. Enjoy stunning city views on the way to Beaumont House where food vans, live music and a beautiful garden await.
Tickets: National Trust members $25, adults $40, children (under 12) free, group of up to five $125. Bus ticket: $12
Z Ward Wine Fair
14 June 2025 from 12pm to 4pm
Visit historic Z Ward and explore the cells, sampling wines from a different winemaker in each one. Enjoy delicious food onsite and an exclusive chance to purchase wines on the day. Whether you're a wine connoisseur or a casual enthusiast, the Z Ward Wine Fair promises a memorable experience.
Tickets: National Trust members $20, adults $30, concession $20
GUIDED TOURS
Old Treasury and Tunnels
Adelaide, Sundays at 1pm and 3pm
Go underground and journey through a winding hallway and hidden chambers to discover one of Adelaide’s oldest buildings. Meet some of the colourful characters who shaped South Australia.
Z Ward: Behind the Walls
Glenside, selected weekend dates at 2pm
Constructed in the 1880s, Z Ward was home to South Australia’s ’Criminally Insane’ for almost 90 years. Take a 90-minute tour and discover the extraordinary history of this institution. Visit the rare complete example of a Ha Ha Wall, a deception piece of design that provided security while softening the prison-like image.
City of Pubs
22 March 2025, 11am to 1pm
Discover the charm of Adelaide hotel buildings and pub culture, past and present. At the conclusion of the tour, partake in a refreshment (optional and at your own expense).
Market to Market
10 May 2025, 10am to 12pm
Explore the rich diversity of heritage buildings from the 19th and 20th centuries between the old wholesale East End Markets and today’s bustling Central Market.
Somerton Man Mystery
25 May 2025, 10am to 12pm
On 1 December 1948, an unidentified man’s lifeless body was discovered on Somerton Beach, igniting worldwide curiosity during the early days of the Cold War. Retrace his final steps and delve into the hints that stirred imaginations across the globe.
Bookings essential. Tickets for all the above tours: National Trust members $12, adults $20, concession $18, students and children (aged 5-15) $12, under 5 and Companion Cardholders free.
Felicity Wheeler, Curatorial and Engagement Coordinator
Erin Bridges, Curatorial Officer
COUNCIL COMMITTEES
Audit, Finance and Governance
Cultural Heritage Members, Regions and Branches
Natural Heritage BRANCHES
Ardrossan, Auburn, Barmera, Beachport, Burnside, Burra, Ceduna, Central Yorke Peninsula, Clare, Cleve, Coromandel Valley, Gawler, Glencoe, Goolwa, Hahndorf, Jamestown, Kadina, Keith, Kingscote KI, Kingston SE, Koppio, Millicent, Minlaton, Moonta, Mount Barker, Mount Gambier, Naracoorte, Overland Corner, Penneshaw, Penola, Port of Adelaide, Port Elliot, Port Pirie, Renmark, Robe, Strathalbyn, Streaky Bay, Tea Tree Gully, Tumby Bay, Victor Harbor, Waikerie, Wallaroo, Whyalla, Willunga, Yankalilla
PATRON IN CHIEF
Her Excellency the Honourable Frances Adamson AC Governor of South Australia
