Leslie Holland

English actor, dancer & vocalist. Born 1874, Hampstead, London, England. Brother of Ellis Holland and George Holland. Married Carlotta Nelly Johnstone, 1900, Marylebone, London, England. Died 30 May 1952, Rose Bay, Sydney, NSW, Australia.

On stage in Australia and South Africa for JC Williamson, 1905-1938.

Riley/Hailes Scrapbook, page 220.

On 23 October 1910 Ivy Bickford, a 19 year old Melbourne born soprano, made her first professional stage appearance at the Theatre Royal Adelaide in J.C. Williamson’s New Comic Opera Company’s revival of The Dollar Princess in the title role of Alice Condor the daughter of an eccentric American multi-millionaire. It was a challenging role, particularly for a young, inexperienced performer, and vocally taxing, and it was inevitable that the public and press attention was directed towards this unknown performer. Ivy’s singing and acting were said to be excellent, and she acquitted herself admirably, quickly overcoming her initial nervousness.

The Adelaide press enthused over Ivy’s performance:

She has considerably personal charm, in possession of a clear, sweet soprano voice, while she acted gracefully and naturally. She was heard to advantage in the song “A self-made maiden” and was particularly successful in the duets “Inspection” and “Telephoning” with Herbert Clayton, while she expressed a great deal of pathos in the quartet “Dollar Princess” with Lottie Sargent, Herbert Clayton and Frank Green.²

She had a pretty face, a good figure and a beautiful voice which she uses to excellent advantage. She is destined to take a prominent position in the musical comedy world, for she is not yet out of her teens.³

The lady, who is quiet young, has a very prepossessing stage appearance, and a beautiful cultivated voice. It was difficult to credit that this was her first professional attempt.⁴

The Bulletin also chimed in: she is tall and graceful, with an adequate voice; and as this was her first professional appearance, the bloom of the amateur is not yet rubbed off.⁵

What led Ivy Bickford to Adelaide’s Theatre Royal?

Ivy Lilian was born on 19 June 1891 to Helena Kate and Henry James Bickford at Woolstop, Moore Street, Clifton Hill. Ivy grew up in a musical family, her parents were both competent vocalists and they encouraged Ivy’s musical talent which was evident from an early age. As a child Ivy’s interest was as a pianist and there is a record of her as an eight year old artistically playing a pianoforte selection, ‘The Storm’.⁶ Ivy was a talented pianist and for three consequent years won the Marshall Hall piano scholarship and was also awarded an Associate of the Royal Academy of Music.

Ivy Bickford as Marie from The Armourer

From The Weekly Times, 18 December 1909, p.34

Ivy Bickford was a star pupil at the Marshall Hall Conservatorium of Music in East Melbourne

From The Argus, 16 December 1908, p.16

In her a teenage years Ivy concentrated more on her singing and in the period leading to the start of her professional stage career she was involved in many concerts, charity events, Chamber Music concerts, sacred recitals and Marshall Hall Orchestral Concerts and students’ performances by the Marshall Hall Conservatorium of Music where she was a pupil of Madame Wiedermann; Ivy credited her voice training to Wiedermann.⁷ Much of Ivy’s best work, including the ‘Jewel’ song from Faust, ‘Lorelei’ by Liszt, Weber’s ‘Softy Sighs’ and Tosti’s ‘Mattwata’ was as a conservatorium pupil. Particular highlights for Ivy were her performance of Scene IV from The Armourer (Der Waffenschmied) in the character of Marie at the 1909 annual performance of opera by Marshall Hall students at Her Majesty’s Theatre Melbourne and her rendition of Schumann’s ‘Der Nussbaum’, Schubert’s ‘Wohin’ and Brahms ‘Lieder’ at Lady Northcote’s Permanent Orchestra Fund concert in July 1910.⁸

Ivy also participated in the ANA musical and elocutionary competitions and in the April 1910 solo final for Soprano, Mezzo Soprano or Contralto held at the Athenium Hall, Ivy was awarded first place and she also won that year’s coveted ANA Vocal Scholarship, which was a test in operatic, oratorical and sacred solo singing.

Reviews of her singing engagements were generally laudatory. The essence of the reviews was well captured by Punch: this promising soprano has a light lyric voice of wide range, it contains plenty of tone colour and is finely balanced throughout.⁹

It came as no surprise in musical circles that this promising young soprano was noticed by the Williamson organisation, particularly after her outstanding results in the ANA Competitions, and she was offered a three-year contract on 21 May 1910 while still in the third year of her studies.

Ivy Bickford's contracts with JCW courtesy of the Australian Performing Arts Collection, Arts Centre Melbourne

Ivy’s first contract (above ) was for fifty-two weeks at a salary of £2.10 per week until December 1910 and £3 thereafter or £4 on tour, a half salary being paid for any additional matinee performances. There was an option to extend the contract for a further 52 weeks at a salary of £3 in Melbourne and £4 on tour and for a still further 52 weeks at £5 in Melbourne and £6 on tour. The contract was signed on Ivy’s behalf by her father (as she was only 18). Another contract for 52 weeks was agreed from 17 May 1913 at a salary of £8 per week with an option to extend to 52 weeks at £10 per week. There was a proviso to this contract that the option would be cancelled if Ivy married.

While Ivy was engaged by J.C. Williamson from late May 1910 her first professional appearance was several months off. During this interval Ivy did a form of ‘apprenticeship’ as Williamson was a staunch advocate of in-house performance training programs where the essentials of stage craft were taught, as was dancing. ‘That gentleman (Williamson) had me taught dancing’, Ivy recalled in a press interview a couple of years after her engagement. (Fitzroy City Press) Although it cannot be ratified it is most likely the dance tuition was done by Minnie Everett in Melbourne (or Jennie Brenan in Sydney) as both were contracted to Williamson to provide this service to performers and chorus members.

From the Taranaki Daily News, 20 February 1911, p.1Despite her strong performance as Alice at Adelaide’s Theatre Royal, Ivy was not cast in the revival of the show at Melbourne’s Princess Theatre in November/December 1910; Olive Godwin returned as Alice, Florence Young played Olga Labinska and Lottie Sargent played Daisy. However, Ivy did join the touring party of Williamson’s New Comic Opera Company to New Zealand, a party which included Olive Godwin, Florence Young and Lottie Sargant as the leading female principals. The tour began with the local premiere of The Dollar Princess at the Opera House Wellington as the Christmas attraction and followed with performances of A Waltz Dream and a revival of The Merry Widow. The tour ended on 29 March 1911.

It was not until well into the tour that Ivy was cast in The Dollar Princess, not as Alice but as Olga Labinska, the Lion Queen, replacing Florence Young when the piece played at New Plymouth’s Theatre Royal. Olga Labinska was an exacting character to play, she posed as a Russian Countess, was in reality a circus lion tamer, and the housekeeper and love interest of Harry. Q. Condor, the multi-millionaire. The part was probably best suited for a more mature, experienced actress and while it would have been unnerving to follow such a capable actress and accomplished vocalist as Young, Ivy handled it with the confidence of youth, and as the Taranaki Daily News reported: ‘Miss Ivy Bickford sings her music with ease and breadth, and her “Olga Alaska” song in Act 1 goes as does no other number in the opera. Her solo “Chewska” and operatic scena “Hopeless, the State of Me” were also fine performances’.¹⁰

In other shows in the tour repertoire, Ivy was cast as Sylvanie (wife of Khadia, the Councillor of the Legation) in The Merry Widow and in A Waltz Dream she played the part of Frederica, the chief lady-in-waiting to Princess Helena played by Florence Young. The Poverty Bay Herald said their review would be incomplete without tribute to the charm of Miss Ivy Bickford as Frederica (at His Majesty’s Theatre, Gisborne)¹¹ and another review commented that Ivy revealed a good voice in her performance at Auckland’s Opera House.¹²

Ivy also undertook the part of Princess Helena on at least two occasions in late March at Christchurch’s Theatre Royal when Young was unable to appear. Overall, she gave an excellent representation and the operatic scena “Hopeless, the State of Me” was sung with fine effect.¹³

Come April 1911, Williamson’s New Comic Opera Company was back in Australia after a successful tour of New Zealand. It had also been a rewarding tour for Ivy as she had shared the stage with seasoned performers the likes of Florence Young, Olive Godwin, Stella Selbourne, Reginald Roberts and Will Percy which would have been of great benefit to the young Ivy, particularly to observe their interpretation of characters and their general stage art.

The ‘New Comics’ first appearance on their return was at Her Majesty’s Theatre Melbourne with brief revivals of A Waltz Dream on 8 April and The Merry Widow on 22 April 1911. There were several changes to the original Sydney 1910 cast of A Waltz Dream, among these, was Ivy taking the place of Alma Vaughan as Frederica and Lottie Sargent as Franzi in place of Fanny Dango. In The Merry Widow, Ivy played Sylvanie, and later in the year, when the shows were performed in Sydney and Brisbane, Ivy retained the roles of Frederica and Sylvanie.

Williamson’s Royal Comic Opera Company on tour in 1910/1911. Australian Performing Arts Collection, Arts Centre Melbourne.

The captivating melodic music by Oscar Straus ranked A Waltz Dream as legitimate light opera wrote Table Talk, and allowed the fine voices of Florence Young (as Princess Helena) and Reginald Roberts (as Lieutenant Niki, her lover) to be heard at their to best. The music also suited Ivy, an opera trained soprano, and in Act 1 her solo, ‘The Gay Hussar’, her duet ‘A Love of My Own’ with Florence Young and the trio ‘Our Unlucky Dynasty’ with Reginald Roberts and Langford Kirby were excellent musical numbers.

This was the first time local critics had seen Ivy in the role of Frederica and they were suitably impressed. In a considered review The Argus of 10 April wrote:

Miss Ivy Bickford a new recruit to the ranks of light opera artists, as the lady in waiting, quickly established herself in the good graces of her hearers. She promises very well, and has already learned much, but there are some things yet essential, such as absorption of self into the character and the mastery of voice production.¹⁴

On 1 May the ladies of The Merry Widow company, with Florence Young as hostess, ran an ‘At Home’ at Her Majesty’s, Melbourne to raise funds for the Alfred Hospital. As part of the musical program Ivy sang the Jewel song from Faust and Lottie Sargent gave a humorous rendition of ‘The Dairymaids’ and followed with ‘Little Orphan Annie’.

For some time, the Williamson organisation and Clarke & Meynell Ltd. had been rivals in theatrical productions, with Clarke & Meynell tending to be more adventurous in their choice and gaining considerable public support despite Williamson’s theatrical efforts to check this. A business decision resolved the issue with the two firms merging on 1 September 1911 to form the New English Comic Opera Company. Soon after the Company commenced a tour of New Zealand at Auckland on 18 December with productions of The Chocolate Soldier occupying the short season. The company was entirely new, other than Amy Murphy who was re-appearing in her home country. Murphy played the lead role of the heroine, Nadina, and was well supported by Leslie Gaze as Lieutenant Brumerli, the Chocolate Soldier, Frank Wilson as Massaskroff and Noel Flemming as Alexius the self-opinionated Major.

Ivy was part of the touring party and it appears as though her inclusion was to give her stage experience through minor roles and as understudy to Murphy in the vocally demanding role of Nadina. She did get an opportunity to play Nadina when Murphy was unable to appear at the Opera House Wellington on 16 January 1912 owing to a sore throat. Ivy made the most of this opportunity, receiving applause from the critics, with one observing that she proved herself a tuneful singer and a graceful actress and her rendering of the character left nothing to be desired.¹⁵ Another, echoing this wrote that ivy sang the difficult and high-pitched music with remarkable ease and finish, and acted with rare grace.¹⁶

Back home, Ivy made her first appearance for the season on 30 May when she joined the Royal Comic Opera Company at Adelaide’s Theatre Royal for the production of the Straus operetta, The Quaker Girl. Ivy played the part of Princess Mathilda, an exiled Bonapartist and ‘she made the Princess a blithe and graceful little lady, who sang with dramatic feeling and expression’.¹⁷

Ivy Bickford in The Merry Widow

Australian Performing Arts Collection, Arts Centre Melbourne

Ivy Bickford as Princess Mathilde in The Quaker Girl.

From The Sydney Mail, 19 February 1913, p. 25

A season of The Quaker Girl at His Majesty’s Theatre Perth followed with Grace Palotta replacing Florence Vie as Madame Blum the only cast change. From Perth the ‘Royal Comics’ reappeared at Melbourne’s Her Majesty Theatre on Saturday, 13 July performing The Quaker Girl for the first time there.

Ivy was again cast as Princess Mathilda and the role gave her several attractive vocal numbers, especially in Act I, and her opening solo, ‘Oh! Time Time’, won her an encore. Her love duet ‘Wonderful’, with Captain Charteris (Andrew Higginson), the quartet ‘A Runaway Match’ and the quintet ‘Barbizon’ sung in her brilliant soprano voice charmed the audience.

Besides the very favourable comments on her vocal numbers, several critiques made comment on Ivy’s standing in musical comedy and comic opera. Table Talk thought that she showed decided promise as a comic opera artiste and that she had both the voice and presence to command success.¹⁸ The Australasian had a similar view, noting that Ivy promises, with experience, to easily hold her own against all comers in light musical entertainment,¹⁹ while Punch saw something grander for her, remarking that as a vocalist pure and simple, Miss Ivy Bickford would be an acquisition to any grand opera cast, for which she would be imminently suitable.²⁰

In the following November The Quaker Girl returned to the beautifully redecorated Her Majesty’s Sydney. Ivy was again Princess Mathilde, and by now she had played the part several times and was well versed in the role; she was a Princess any royalty would be proud to have about the premises.²¹ But, inevitably comparisons were made with one telling criticism that she lacked her own style and had interpreted the character of Princess Mathilde too much like Olive Godwin had done when she played the part in the previous Sydney season in early 1912.

Off stage Ivy maintained the practice of theatrical performers being involved in community and charitable activities when she was part of the musical programme which concluded the proceedings of St Vincent Hospital 1912 Annual Meeting at Melbourne’s Town Hall, 15 August. Ivy sang ‘My Hero’ from The Chocolate Soldier and a selection from Puccini’s Madame Butterfly.

Then on 3 September, Ivy was one of the ‘Quaker Girls’ company which appeared at the Berry Street, Girls Training Home Ball at the Prahran Town Hall. As part of the program a number of advertising sets were presented, with Ivy’s group representing Quaker Oats. The girls, Ivy, Blanche Browne, Nellie Calvin and Jessie Lonnen were dressed in costume aprons adorned with large Quaker Oats labels, the men wore shoulder capes and labels.

A few days later, on 6 September, Ivy participated in the Actors’ Charity Matinee at Her Majesty’s, Melbourne in aid of the Actors’ Association benevolent fund. She was one of many actors and actresses that took part, with several acting in ‘front of house’ positions. Ivy was also part of the ‘Tell me pretty maiden’ Florodora dance which demanded several encores.

The following October, Ivy assisted the Sacred Heart Church choir in a sacred evening concert at St. Andrews Church, Glenhuntly. And on 22 February of the new year Ivy was among many artists who participated in the Scott Disaster Fund matinee at Her Majesty’s Sydney organised by Hugh Ward for J.C. Williamson.

The ever popular Florodora was revived by the ‘Royal Comics’ at Melbourne’s Her Majesty’s Theatre, opening on 12 October 1912 for a short run. While the piece had much to recommend it, the show suffered by the lack of a satisfactory voice among the principals. The Bulletin, for instance, thought the music too much for Blanche Browne (as Dolores) and that Grace Palotta (as Lady Holyrood) was unmusical as ever she was.²¹ Ivy was in the name part of Clara Fitzclarence one of Angela Gilfain’s English friends, and together with other friends had joined Angela on the island of Florodora. and they made an immediate impression on Cyrus Gilfain’s (Angela’s father) clerks. The ‘named’ friends formed the famous Florodora sextette and performed the ‘Tell me pretty maiden’ song instead of members of the chorus; a double encore was demanded.

Characters from Florodora: Grace Palotta as Lady Holyrood, Leslie Holland as Cyrus Gilfain and Ivy Bickford as Clara Fitzclarence. From The Australasian, 19 October 1912, p.961

Florodora was later played at Sydney’s Her Majesty’s on 7 December with Ivy again in the role of Clara Fitzclarence, the character she maintained when the piece was played in Brisbane in April 1913.

Following the Sydney season of Florodora the Australian premiere of Paul Ruben’s The Sunshine Girl was staged, opening at Her Majesty’s Sydney on 18 January 1913 with a cast including Blanche Browne (as Delia Dale), Grace Palotta (as Lady Rosebelle Merrydew) Jessie Lonnen (as Marie Sylvarne) and Ivy as Emmeline. This Gaiety Theatre success received mixed reviews from local critics with JCW from the Sydney Mail in a harsh comment wrote that the show ‘is a production of purely negative qualities’.²² Both the acting and especially the singing by many of the principals was questioned in reviews. The one exception was Ivy.

Although Ivy’s part as Emmeline (a work girl in the soap factory) was of no significance to the plot it was in this role that her beautiful soprano voice was heard at its best and her performance was wholeheartedly applauded by the critics, and they considered it regrettable that Ivy’s part of Emmeline had only a single number to present. As the Referee noted:

In the singing line the blue ribbon of performance was won without an effort by Miss Ivy Bickford. “Here’s to Love!” with chorus, early in the second part, put all the other numbers in the shade. The centre figure in a graceful and animated stage picture, Miss Bickford as Emmeline, had the genuine operatic ring in the clear, healthy voice as she invited the country ladies and the Sunlight girls to join her …²³

The Bulletin agreed:

Miss Ivy Bickford’s one song is greeted with shrieks of approval.²⁴

As did the Sydney Morning Herald:

In the second act the opening song, ‘Here’s to Love’ proved one of the hits of the evening, Miss Ivy Bickford as Emmeline gave the solo with excellent effect.²⁵

The Sunshine Girl was later staged at His Majesty’s Brisbane in late April 1913, at Her Majesty’s Melbourne the following May, and at Adelaide’s Theatre Royal in late June. Again, the critics awarded the vocal honours of the show to Ivy.

The Royal Comic Opera Company revived The Belle of New York at the Theatre Royal Sydney, with the season opening on 29 March 1913 with essentially a new cast. Blanche Browne played the lead role of Violet Grey (the Belle), Nellie Wilson was Cora Angelique, Jessie Lonnen as Mamie Clancy- a Pell-Street girl, Dorothy Brunton from the New Comic Opera Company was brought into the cast as Fifi, and Ivy played the part of Pansy Pinns.

One Sydney daily carried the by-line ‘Brilliant Comedy Imperfectly Cast’ - and in common with reviews of other shows in their repertoire the poor vocal strength of several of the principals was unfavourably criticised by the Sydney press. Ivy was the exception:

striking voices are not to be found among the leading ladies in this company, except with Miss Ivy Bickford. She was in the background as Pansy Pinns, but it was with gladness that the audience saw her, in the joyous finale of the first act, standing in the front row, and heard her voice ring out above all the rest.²⁶

This was echoed in another review:

Miss Ivy Bickford, as Pansy Pinns, had little to say, but her magnificent voice rang out gloriously in the almost grand-operatic conclusion of the first act, and dominated the full chorus. Miss Bickford possesses a rare voice, and uses it with so much art, that music-lovers would welcome a role that would give this talented vocalist something like adequate scope.²⁷

After Sydney the company travelled north by the steamer Bombala for a hectic three week season at His Majesty’s Brisbane commencing on 21 April with a series of short run revivals of The Sunshine Girl, Florodora, The Belle of New York, The Quaker Girl, with the charming Dutch musical Miss Hook of Holland by Paul Rubens being the last attraction of the ‘Royal Comics’ season.

Rubens musical centres on the exploits of Mr Hook a wealthy liqueur distiller and his daughter Sally, together with the usual complicated love interests. Hook loses a valuable liqueur recipe called ‘Cream of the Sky’ (which he has a taste for). The recipe is found, sold and eventually is back with Hook. In their review the Telegraph commented on the conspicuous absence of prima donna work other than Ivy’s solo as Clara Voos, ‘Cream of the Sky’ which is given just before the finale.²⁸

The Telegraph continued: the number with its great ensemble and the brilliant array of costumes and lights on the stage, vied with the bandmaster’s song in being the success of the piece.

Around mid-June 1913 rumours were circulating in theatrical circles and in the press that Ivy was soon to leave the stage and marry.

In late June/early July 1913 the ‘Royal Comics’ returned to Adelaide’s Theatre Royal for a short season of comic opera opening with The Sunshine Girl on 21 June. While the songs by Blanche Browne, Jessie Lonnen, Frank Green and others were said to be ‘nicely rendered’, one of the prettiest vocal items was Ivy’s ‘Here’s to Love’.²⁹

The Belle of New York followed, and on this occasion, Ivy appeared as the arrogant, oft married Cora Angelique, the Queen of Comic Opera, previously played by Nellie Wilson in Sydney and Brisbane, when Ivy had the part of Pansy Pinns. This was a more substantial role as Cora was one of only six characters that count in the piece. Ivy is prominent in Act 1 Scene 1 which is set in the Dining Room of Henry Bronson’s New York House. Accompanied by her bridesmaids, Cora Angelique, the bride to be of the philandering Henry Bronson, gowned in her wedding dress insists that Henry honour his marriage proposal.

Ivy, was a ‘veritable queen of comic opera,’ and her solo, in the first act, ‘When I Was Born the Stars Stood Still’ was sung with ‘verve’, wrote the Daily Herald. ‘The charming voice of the young soprano adding considerable importance to the undeserving number.’³⁰

The gowns worn by Ivy and her bridesmaids in this scene impressed the writer of the Social column of the Adelaide Observer, noting that Ivy ‘wears the traditional wedding dress, in this case white broche with the slit showing a sweet frilled ninon petticoat. Later she wore a dull heliotrope velvet with ermine trimming and a sequine-cut separate train. Her white turban was close-fitting and trimmed with osprey. The bridesmaids wear white satin over accordian pleated ninon with lace tunics, gold velvet touches on the bodices, and shoes and stockings of the same vivid hues’.³¹

The ‘Royal Comics’ current tour finished in Ballarat and Bendigo with performances of The Sunshine Girl, The Quaker Girl and concluding with The Belle of New York when Ivy again played Cora Angelique. It was fitting that Ivy’s last appearance was as Cora Angelique, for Ivy, like Cora, was of comic opera fame. The finale also brought to an end Ivy Bickford’s short stage career and a few weeks later on 11 August she celebrated her marriage to Laurence Muston from Sydney at St. Andrew’s Church Clifton Hill.

Endnotes

1. Fitzroy City Press, 7 September 1912, p.3. Ivy Bickford had replaced Grace Edmond a young American whom Williamson had engaged for the role. On the opening night of A Knight for a Day in Kalgoorlie, Edmond (as Muriel Oliver) was indisposed just before curtain call. Alice Mitchell, a chorus member, took the part capably. A similar incident happened in The Dollar Princess when played earlier in Sydney. Perhaps health issues caused Edmond to leave the company.

2. Evening Journal (Adelaide), 25 October 1910, p. 4

3. Advertiser (Adelaide), 25 October 1910, p.11

4. Critic (Adelaide), 26 October 1911, p.12

5. The Bulletin (Sydney), 3 November 1910, p.9

6. North Melbourne Courier and West Melbourne Advertiser, 4 May 1900, p.3 – St Mary’s Church of England Temperance Society Sixth Annual Concert. Ivy’s parents also performed at the concert – Helena sang Refuge of the Soul and Doreen, James a recitation The Last Hymn.

7. Interview with Fitzroy City Press, September 1912, p.2. Some press reports state that Ivy also received training in Paris under the French/Italian soprano Mathilde Manchesi, who had given vocal training to Nellie Melba, but this was press misreporting.

8. The Australasian (Melbourne), 11 December 1909, p.45 and The Australasian, 23 July 1910, p.28

9. Punch (Melbourne), 16 June 1910, p.34

10. Taranaki Daily News, 18 February 1911, p. 3. Chewska was usually sung by Harry Q. Condor

11. Poverty Bay Herald, 24 January 1911, p.2

12. New Zealand Herald, 7 February 1911, p.7

13. Otago Witness, 9 March 1911, p.88

14. The Argus, 10 April 1911, p.9

15. Evening Post, 16 January, 1912, p. 6

16. Dominion, 16 January 1912, p.6

17. The Register (Adelaide), 31 May 1912, p.10

18. Table Talk, 20 July 1912, p.37

19. The Australasian, 20 July 1912, p.17

20. Punch (Melbourne) 8 August 1912, p.8

21. The Bulletin (Sydney), 17 October 1912, p,11; 24 October 1912, p.10

22. Sydney Mail, 22 January 1913, p.21

23. Referee (Sydney), 22 January 1913, p.16

24. The Bulletin, 23 January 1913, p.10

25. Sydney Morning Herald, 30 January 1913, p.3

26. The Sun (Sydney), 30 March 1913, p.4

27. Australian Town and Country Journal (Sydney), 9 April 1913, p.27

28. Telegraph (Brisbane), 9 May 1913, p.11

29. Critic (Adelaide), 25 June, 1913, p.18

30. Daily Herald (Adelaide), 2 July 1913, p.2

31. Observer (Adelaide), 5 July 1913, p.33

References

Papers Past

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