Talking to Ken Done About Colour, Creativity, and the Evolution of Australian Art Ken Done is a name synonymous with Australian art, his vivid, joyful works capturing the essence of the country’s landscapes and culture. From his BMW Art Car to designs for the Sydney Olympics, Done's career spans decades, blending creative innovation with unmistakable Australian flair. In this exclusive interview, he shares insights on colour, inspiration, and the future of the Australian art scene. By Isabella Edwards More on CBD By Isabella Edwards When you think of Australian art, Ken Done is never far from mind. His colourful paint strokes, often re-imagining Sydney, have become an iconic fixture of the current Aussie zeitgeist.  From his BMW Art Car in 1989 to designing work for the 2000 Sydney Olympics, there are pieces of Ken Done’s work sprawled through the cultural history of the last fifty years, in Australia and beyond.  What brought you to art and painting in the first place?  Like all children, I loved to paint and draw. I can’t paint as well as a 5-year-old, but I’m always striving for that youthful attitude to painting. What prompted you to make the move to full-time painter and leave your role in advertising?  I went to East Sydney Tech (now the National Art School) when I was 14.5. I got a special exemption to leave school and worked as an Art Director in Australia, the US and London after that. My wife and I were holidaying in Vanuatu, and I was talking to the late Peter Brock and he was telling me how passionate he was about motor racing. I realised that although I was good at advertising, I wasn’t passionate about it. So, on returning to Sydney late Sunday evening, I made up my mind to leave. That was 1975. I then did numerous freelance jobs until my first exhibition on my 40th birthday in 1980. Your style of painting is so distinctive, what inspires your intense use of colour and organic shapes?  Colour is like music. One colour depends on the colour you put next to it or how you might blend the colours together. The words harmony, composition and discord are just as applicable to painting as they are to music. Your name and work have become synonymous with Australian art – do you ever feel burdened by that success or a sense of responsibility to the Australian art-scene?  It’s always flattering when people describe my work as bright and colourful. And that I’m sure comes from the great fortune of being born and living in Australia.  What do you make of the culture towards art in Australia?  Art is always half a conversation, so the more people that feel they can be involved in the appreciation of art, the better things will be. Art is not violent. And I like to make paintings that people take pleasure from seeing. Making art can be an incredibly personal thing, have you ever felt guarded or hesitant to share your work? I am not hesitant about sharing my work. I have run my own gallery for more than 35 years and it’s always a joy when people visit the space. As I age, I in fact show less work. Getting older allows you to be more perceptive and critical of certain things. But each time you start, it’s always a journey. Easy to start. Hard to finish. Of your works, are there any that stand out the most for you?  The paintings I did when I first moved into the Cabin at Chinaman’s Beach always give me the joy of remembering that time, we moved there in 1969. Then over the years we moved closer, and Glenn Murcutt designed a wonderful house for us that we recently renovated to its original form, with the exception of a new travertine floor. It’s a wonderful building and very much one of Glenn’s most famous.  We lived there for a number of years before we moved into the house in front called Roshervilla and the small building on the waterfront called The Cabin. It’s a great privilege to live there and we will not be leaving. How do you hope art in Australia will develop in the future? With more young people spending time on iPads and screens, I can only hope that they don’t lose that basic ability to make marks with crayons or paints with their own hands. www.kendone.com.au The Ken Done Gallery: 1 Hickson Road, The Rocks, Sydney   Instagram: @kendonegallery

Think your Sydney apartment is too small for a pet? Think again! Check out these tips for keeping pets in small spaces With NSW's pet-friendly strata laws and some thoughtful planning, even the coziest city homes can welcome furry, feathered, or finned companions. NSW Regulations: Pets in Apartments In 2021, NSW introduced a major shift in strata laws, making it easier for apartment residents to own pets. Under the Strata Schemes Management Act 2015 , strata committees can no longer impose unreasonable blanket bans on pets. However, apartment dwellers still need to comply with building-specific by-laws, which may include rules about noise, hygiene, and common areas.  More on CBD Key points for pet owners in apartments: By-Laws:  Always check your building’s strata by-laws; some may require notification or approval before bringing a pet home. Reasonable Grounds:  Strata committees must justify any ban with valid reasons. Common Areas:  Pets should be leashed or in carriers in shared spaces, and owners are responsible for cleaning up after them. Despite more pet-friendly apartments and strata regulations in Sydney, renters should confirm pet policies with their landlords, as rental agreements may still require consent for pets. Choosing the Perfect Pet Not all pets are created equal when it comes to apartment living. The key is finding an animal that thrives in a small space. Even large breeds like Great Danes can adapt surprisingly well. These gentle giants are low-energy and spend much of their time lounging, making them perfect for smaller spaces. Other excellent apartment-friendly pets include: Cats:  Independent and low-maintenance, cats adjust well to confined spaces and can keep themselves entertained. Small Dogs:  Breeds with calm temperaments are ideal. Visit a rescue centre to find a low-energy companion. Rabbits & Guinea Pigs:  Quiet and easy to care for, these small pets require minimal space and are great for those who prefer a lower-maintenance option. Fish:  For minimal space and time commitment, a well-maintained aquarium can be a calming addition to any home. Caring for Pets in Small Spaces Apartment living comes with unique challenges, but with thoughtful planning, you can ensure your pet thrives. Here’s how: Create a Comfortable Environment Set up a dedicated space for your pet - a cosy nook for your cat or a comfy dog bed in the corner. For very small animals, ensure they have enough room to roam within a secure area. Prioritise Exercise and Enrichment All pets need mental and physical stimulation! Puzzle feeders, interactive toys, and daily play sessions can work wonders. For dogs, regular walks are essential—try mixing it up by exploring Sydney’s dog-friendly spots like Barangaroo Reserve or Hyde Park. Stick to a Routine Pets thrive on routine. Consistency in feeding, bathroom breaks, and playtimes helps pets adjust and reduces anxiety in smaller living environments. Keep It Clean Regular cleaning prevents your apartment from feeling cramped. Invest in odour-control litter boxes, easy-to-clean furniture covers, and a good vacuum cleaner. Regular grooming can also minimise shedding. If you’re longing for a bit of wagging-tail therapy or feline affection, don’t let the size of your space hold you back. The benefits of pet ownership far outweigh the challenges, and with a little creativity, both you and your pet can thrive in the big city. Adopt, Don’t Shop: Find Your Perfect Companion Your closest rescue centres are: Cat Protection Society of NSW ( Newtown - catprotection.org.au ) Monika’s Doggie Rescue ( Ingleside - doggierescue.com ) RSPCA Sydney ( Yagoona - rspcansw.org.au ) Sydney Dogs & Cats Home ( Carlton - sydneydogsandcatshome.org ) Don’t let space constraints stop you from experiencing the joy of pet ownership. Visit a Sydney rescue centre today and find a companion who will thrive alongside you in your city apartment!

A Legacy of Lawn Bowls and Community Since 1881, NSW's Longest Running Bowling Club Established in 1881, Balmain Bowling Club is the oldest continuously operating bowling club in New South Wales. It has weathered challenges, from dwindling memberships to financial pressures, but remains a cherished hub for lawn bowls enthusiasts and the local community. More on Balmain Bowlers at Balmain Bowling Club Lawn bowls might be one of the oldest games on the planet. The English form of the game, which is played by clubs around Australia, can be dated back to the 13th century, however, the French boules  and Italian bocce , which are similar forms of the game, have been traced back to ancient times.  Origins of Lawn Bowls in Australia In any event, lawn bowls has certainly been a part of Australian sports and cultural tradition for almost two centuries. The first green was laid in Sandy Bay, Tasmania in 1845, and this became the site of the first club in Australia in 1846.  Over the next few decades, dozens of bowling clubs sprung up, mostly in NSW and Victoria. The first all-women’s club was established in Victoria in 1898. Lawn bowls continued to grow in popularity well into the 20th century, reaching a peak after World War II. At one stage, there were 800 registered lawn bowls clubs across Australia. Balmain Bowling Club opened in 1880 and is the oldest bowling club in New South Wales. (Supplied) However, by the 1980s, the sport was seeing a notable decline in participation and over the following decades many clubs were forced to close. Lawn bowls had gained a reputation as being old-fashioned and something that people pursued in retirement; young people weren’t joining clubs.  Overcoming Challenges: Balmain Bowlo’s Fight for Survival Balmain Bowling Club, the longest-running, still operating club in NSW, was also seeing this decline in numbers. In 2018, having clocked up some 127 years, the club was being threatened with closure; but it wasn’t all due to the decrease in membership. The club occupied a very precious piece of turf in a suburb of Sydney that had gradually become a real estate hot spot.  Thanks to an unfortunately placed zoning boundary, the club was subject to exorbitant council rates — more than four times what another bowling club a mere 500 metres away (but in a different zone) was required to pay.  It was an eleventh-hour amalgamation with St John’s Park Bowling Club that saved Balmain Bowling Club from extinction. Not only that, Balmain Bowling Club was allowed to retain its own identity, which meant its legacy would continue.  A Modern Bowlo for the Next Generation Modern bowlos (as they are colloquially known) have transitioned into social venues with a broad range of offerings including good quality restaurants, function spaces, live entertainment, weekly games and events and a variety of other things.  Balmain Bowlo offers food and drink from 12 noon, Wednesday to Sunday. Each Saturday and Sunday afternoon you can also enjoy live blues music. It’s also a family friendly venue and on January 5, you can bring the kids in for a Superhero Kids Party.  Of course, bowls is still the main objective, but even there, Balmain (and many other clubs) are pivoting to offer something a bit more. The club has recently applied for approval to install a new synthetic green and overhead rain canopy which will allow them to offer all-weather bowling and bare-foot bowls, which are both very popular now.  Balmain Bowling Club outdoor area Head to the website to find out more about what’s on at the club, and get your wrists primed for some bowling action.  156 Darling St, Balmain www.balmainbowls.com.au

Sydney’s Historic Landmark Transformed into a Vibrant Arts Hub The White Bay Power Station once produced electricity for Sydney’s tram and train networks, and most of the city as well. Now, this grand industrial castle has been repurposed as a thriving arts and entertainment precinct.  By Rita Bratovich More on Balmain In 1912, construction began on a new power station at White Bay with the laying of the first bricks. As Sydney grew rapidly, its burgeoning rail transport system required increased electricity. The White Bay Power Station was completed in 1917. The large building, featuring distinctive chimney stacks and a Federation Anglo-Dutch style facade, made a striking impression on the White Bay shoreline, not far from Sydney Harbour.  This coal-powered behemoth produced the bulk of Sydney’s electricity for many decades, receiving upgrades in 1923–1928 and 1945–1948 to keep up with demand.  With an increase and diversity in power suppliers around the city, White Bay Power Station eventually became redundant and was decommissioned on Christmas Day, 1983. It was Sydney’s longest-serving power station.  Despite being acknowledged as a landmark, the power station building faced an uncertain future following its closure. It avoided immediate demolition due to the significant decontamination efforts needed to ensure the site's safety. Subsequently, in 1999, White Bay Power Station, along with several original pieces of machinery, was formally included in the Heritage Register.  A New Chapter: Saving and Restoring a Heritage Landmark In 2000, Sydney Harbour Foreshore Authority (now Placemaking NSW)  purchased the entire site for $4 million. As part of an overall plan to conserve the White Bay area, Placemaking NSW carried out extensive restoration and preservation of the power station buildings, surrounding structures, and the equipment that had been saved, much of which had unique historical significance.  But it wasn’t until 2021 that any real future purpose for the power station manifested itself. Thanks to a major injection of funds and imagination, the White Bay Power Station was now being envisioned as a vibrant arts and culture hub. Its massive dimensions would house large-scale exhibitions and be a venue for entertainment and cultural events.  Reimagined as an Arts and Entertainment Hub Its transformation is expected to be a long-term work in progress, but in the meantime, White Bay has already begun its new role as an arts precinct. It made a magnificent debut in March this year when it hosted the Sydney Biennale, with the raw industrial features and machinery being one with the showcase of international artworks on display.  Since opening, the power station has also hosted the Auto Live car show, Sony Scene Tradeshow, the Power Up Festival, and two Ministry of Sound club nights, among many other events. Ministry of Sound will return in April next year with a more extensive program of events still to be announced.  Robert St, Rozelle www.whitebaypowerstation.com

The Caroline Grills Poisoning Case By Elliot Lindsay Read More About Balmain Sydney, in the early 1950s, was a city on the cusp of post-war transformation. The harbourside beauty masked a darker underbelly of crime and deception. Among the whispers of underworld dealings, sly-grog and prostitution, a peculiar case gripped the public’s attention—a case that redefined betrayal and malice cloaked in familial affection. The Friendly Auntie Caroline Grills, known as "Auntie Carrie," was the picture of domestic kindness. Born in Balmain in 1888, she was a plump, smiling grandmother beloved by neighbours, friends, and especially her family. Caroline’s habit of visiting relatives with gifts of cakes, pies, and jars of preserved ginger seemed harmless, even endearing. But in 1953, the sweetness of those gestures would curdle into horror. For years, unexplained illnesses had plagued Caroline’s family. Elderly relatives became inexplicably weak, suffered severe hair loss, and complained of strange, cramping pains. Some went blind. Doctors scratched their heads, diagnosing anything from old age to severe neuropathy. But when a pattern began to emerge, the sick and dying seemed to have one thing in common—they had all shared food or drink with Auntie Carrie. Suspicion and Shadows The tipping point came in April 1953, when 67-year-old Eveline Lundberg, Caroline’s sister-in-law, fell gravely ill. Blind, frail, and convinced she was being poisoned, Eveline confided her fears to her son-in-law, John Downey. Downey, suspicious of Caroline’s peculiar behaviour, acted. On April 20, as Caroline served Eveline a cup of tea during her routine visits, Downey secretly removed the unfinished cup and preserved its contents in a jam jar. The liquid was sent to the Government Analyst’s Department, where traces of a deadly substance—thallium—were identified. Commonly found in rat poison, thallium was colourless, tasteless, and slow-acting, making it a preferred tool for murderers with patience. When confronted, Caroline dismissed the allegations with laughter. "Why would I poison my own family?" she reportedly said. But detectives were less amused. They delved into Caroline’s history, exhuming bodies and re-examining medical records. Each case seemed to bear the hallmarks of thallium poisoning: hair loss, vision loss, and excruciating pain leading to death. A Chain of Deaths The police uncovered a chilling pattern. Caroline was linked to at least four suspicious deaths: Mrs. Christina Louisa Adelaide Mickelson  (87), her stepmother, died in 1947. Mrs. Mary Anne Mickelson  (60), her brother’s widow, succumbed in 1949. Mrs. Angelina Thomas  (84), a family friend, passed away in 1948. John Gerhard Lundberg  (76), Eveline’s husband, died in 1948. Each had been in Caroline’s care or presence shortly before their deaths. Detectives also found that Caroline had benefited modestly from the victims’ wills and estates. Caroline maintained her innocence, though her credibility began to unravel. She admitted to owning thallium-based rat poison, "Thall-Rat," but claimed she had only used it to kill rodents. Yet traces of the substance were found in her clothing, home, and even the food she had prepared. The Trial Caroline Grills’ trial at Central Criminal Court was a media spectacle. The Crown’s case was devastating. Witnesses, including John Downey, described Caroline’s odd behaviour, such as her insistence on serving specific family members food and drink while avoiding the same herself. Doctors testified to the symptoms of thallium poisoning and the matching medical histories of Caroline’s alleged victims. The defence, led by Mr P. Hidden, portrayed Caroline as a loving, kind-hearted woman victimised by circumstantial evidence and a vengeful family. Her demeanour in court—a grandmotherly figure with a perpetual smile—made it difficult for some to reconcile her image with the sinister accusations. But the evidence was overwhelming. On October 15, 1953, after a trial lasting seven days, the jury deliberated for a mere 12 minutes before finding Caroline guilty of attempting to murder Eveline Lundberg. Justice Brereton sentenced her to death, remarking, "Under the guise of friendship and loving-kindness, but with apparently motiveless malignity, you administered poison." A Grim Legacy Caroline’s death sentence was later commuted to life imprisonment, and she was sent to Long Bay Gaol. Despite the horrors attributed to her, Caroline remained an enigmatic figure, maintaining her innocence until the end. She became a macabre celebrity among her fellow inmates, earning the nickname "Aunt Thally" due to her weapon of choice. On October 6, 1960, Caroline Grills died of pneumonia in the police ward of Prince Henry Hospital. She was 70. The mysteries surrounding her motives and the extent of her crimes lingered, leaving an indelible mark on Australia’s criminal history. The Woman Behind the Smiles The case of Caroline Grills captivated a nation. Was she a cold-blooded killer who found joy in the slow demise of her victims, or was she the victim of a cruel twist of fate and suspicion? The truth, known only to Caroline, went with her to the grave. For those intrigued by the dark corners of history, the case of Caroline Grills stands as a chilling reminder that evil can wear a friendly face. If you would like to delve deeper into this case and others like it, Tanya Bretherton’s award-winning book, The Husband Poisoner , offers a riveting exploration of the era and the psychology of women who used thallium as a tool of murder.

By Adeline Teoh Read more on Newtown Ahead of the 2024 Sydney Dance Company  season, and the debut of momenta (May 28 - June 8) we catch up with artistic director Rafael Bonachela. “Dance brings people together,” says Rafael Bonachela . Since his appointment as Sydney Dance Company artistic director in 2009, he’s made no secret of his mission to help the Australian dance sector mature. “It’s been a goal of mine to transform Australia’s understanding of what contemporary dance is, pushing the boundaries of what contemporary dance can be, and ensuring that contemporary dance is accessible to everyone.” Born in Spain, the dancer and choreographer has had an eclectic career spanning several countries and decades. The impetus to dance was an early one, he recalls. “When I was very young growing up in the small town La Garriga in Spain, my favourite game in the playground used to be to ‘make a dance’. I used to love bringing my boogie box to the town square and make up steps that my friends could perform. At the time I wasn’t even aware that what I was doing was called choreography.” From there he attended dance school in Barcelona, then the UK, before joining London dance company, Rambert as a dancer in 1992. There he began to explore choreography through Rambert’s Workshop season, which is similar to Sydney Dance Company’s New Breed program. “The first piece I created was taken into the company repertoire and after that experience I jumped at every single chance to choreograph I was given. In my final years as a dancer I was appointed as associate choreographer at Rambert,” he says. In 2004, a win at the inaugural The Place Prize for contemporary dance encouraged him to dedicate himself fully to choreography. Cash from the prize enabled him to employ a part-time producer and secure additional funding to start the Bonachela Dance Company, where he choreographed for stars like Kylie Minogue and Tina Turner, as well as dance troupes. A few years later, Sydney Dance Company invited Bonachela to create a piece for it. It was meant to be a short stay, but after the production it offered him the job of artistic director. “After spending a month in Sydney working with the company in the extraordinary heritage-listed wharf studios, I began to see a future here was very possible and I was incredibly excited at the prospect of leading this exceptional company into the future.” He accepted the role and has been at the helm ever since. “As the resident choreographer, I’m very passionate about creating new works to give our company its signature by developing an identity and aesthetic that is uniquely ours. As the artistic director and curator, my focus has been on introducing international choreographers to Australia for the first time. A strong focus is also commissioning and supporting homegrown talent, because I feel that it’s important to also showcase great Australian choreographic voices when we go overseas.” The troupe is about to embark on an extensive multi-city tour abroad with venues across Europe and the USA, including its debut performance at the Royal Opera House in London, with an official reception at Australia House – “a significant milestone for the company,” Bonachela remarks. momenta, Sydney Dance Company That’ll be followed by the 2024 season opener, momenta , Bonachela’s first full-length work in more than three years, which he created with composer Nick Wales, lighting designer Damien Cooper and set designer Elizabeth Gadsby. The work is “a journey into the poetry and physics of human connection, and explores themes of the universe, physics, space and time, which is applied an emotional landscape,” he describes. “Elizabeth Gadsby’s set design for momenta  will be huge in scale, reflecting the universal themes of the work. It will be an immersive and moving experience for audiences.” Another calendar item of note is July’s Club Origami season for children six years old and under, which Bonachela says reflects a growing focus on dance performances created specifically for children. That, and “more site-specific and durational work” marks some of the trends he has noted in Australian dance of late. “The Australian dance scene is very rich and diverse, and we are lucky in Australia because we have access to a wide range of dance styles. At the moment there is also a lot of discourse about diversity and inclusiveness in dance, which is hugely important,” he says. “Beyond the language we speak, beyond where we come from around the world, we all understand the body.” Sydney Dance Company’s new season begins in May with momenta . Tickets and subscriptions are now on sale. Visit Sydney Dance Company for details. READ MORE ON NEWTOWN

The 1931 case that shook the Inner Sydney suburb of Surry Hills to the core In the shadowy streets of 1930s Surry Hills, a chilling murder mystery unfolded that would captivate Sydney's attention: the brutal killing of Emma Philbrook, strangled with a silk stocking. More on Surry Hills Between Crown Street and Elizabeth Street runs Reservoir Street, a stretch of Sydney’s trendy Surry Hills, today adorned with charming terraces and converted factories now serving as luxury apartments and office suites. Yet, in the 1930s, during the Great Depression, Reservoir Street was a hub of industrial activity. The area’s houses were dilapidated, and its streets, marked by soot and grime, echoed with the sounds of trucks transporting goods such as cured meats, chemicals, clothing, textiles, and paper products. The dark, narrow lanes were cloaked in smoke, winding through piles of decaying refuse. Razor-wielding thugs and cocaine-addicted prostitutes used these streets as secret passages between Central Station and Darlinghurst, evading the law. Amidst this squalor, a resilient community thrived—a community of hard-working individuals who shared what they had despite their meagre means. The Eerie Discovery: Emma Philbrook’s Murder & the Puzzling Evidence Andrew Dearsley lived with his wife and children at 9 Smith Street, a uniquely decorated terrace with roughly applied concrete. A few weeks earlier, their neighbour, Emma Philbrook, a widow in her 50s, had moved from number 5 Smith Street to 92 Reservoir Street, unable to afford the rent. The Dearsleys and other neighbours often delivered Emma home-cooked meals. On Sunday morning, the 26th of April 1931, Andrew delivered breakfast to Emma’s door. He knocked once—no answer. He knocked again—still no answer. Other neighbours had mentioned that Emma had not answered their knocks either, which was unusual. Andrew placed the plate on her front step and walked around to Little Smith Street, a narrow lane behind her house. He entered the backyard and knocked on the rear door, but there was still no answer. Climbing to her bedroom window, he peered in as both doors were locked. Through the remarkably clear glass, he saw Emma sitting on the floor with her back against the bed. He tapped the window loudly enough for her to hear, but she did not stir. In that moment of eerie silence, the truth began to unfold. Detective Inspector William Prior of the Criminal Investigation Branch of the NSW Police was greeted by Andrew on the steps of the old home. They reached the rear window, which the police opened with a penknife. Inside, they found Emma Philbrook’s lifeless body. Her face was blue, contorted, and covered in blood. She was fully clothed, though only one leg wore a silk stocking with a slipper on her foot. The other stocking had been removed, tightly wrapped around her throat, and tied off with a reef knot. It was a disturbing sight. News of the scene spread quickly, and soon, a crowd of concerned neighbours gathered at the old terrace house. By midday, detectives had swarmed the house. It appeared that Emma, known as ‘Old Kate’ in the community, had been struck on the head with a blunt object, causing bleeding, and had died from strangulation by the stocking around her throat. However, detectives were puzzled by the apparent lack of motive. Firstly, the doors were all locked, and there was no sign of a break-in. Secondly, there was no indication of a significant struggle. Thirdly, no burglary had occurred, as several valuables, including money, remained on her dresser. Could it have been a suicide? Emma’s house, shabby on the outside, was immaculate inside, meticulously cleaned to the point of sterility. Neighbours mentioned that Emma suffered from acute insomnia for years, spending her nights polishing and cleaning. This insomnia led to depression, and Emma had often threatened to take her own life by poison or by throwing herself off the balcony. This supported the theory of suicide. However, one troubling detail cast doubt: a bottle of port was found on the mantle of a fireplace in a parlour attached to her bedroom. It had been opened, and a few sips were missing. Initially dismissed as belonging to the deceased, Detective Prior's suspicion led him to collect it as evidence. When analysed at the police labs, strange fingerprints were discovered on the bottle. The deceased was moved to the morgue for a post-mortem, which confirmed she had died from strangulation. The head wound was caused by a sharp blow, and evidence suggested the silk stocking was wrapped around her throat after the head wound. This did not eliminate the possibility of suicide, as it indicated she had been struck and then strangled. However, it was still possible she had hit her head after drinking alcohol (alcohol was found in her system) and then taken her own life. However, the method of self-strangulation was not simple. Determining the time of death was also challenging. While searching the house, detectives found a plate with an untouched dinner. A neighbour confirmed she had delivered it to Emma on Friday afternoon. Emma told the neighbour she had already cooked a meal but would save the gifted meal tea. The untouched meal suggested Emma had died before her tea time on Friday evening. Yet, several community residents insisted they had seen Emma walking around on Saturday night. Some heard running footsteps from the house at 11 pm on Saturday, and others claimed they heard muffled screams at 1 am on Sunday. The case was becoming a complex riddle. Neighbours also recounted that Emma had been threatened by a male ‘friend’ twelve months earlier and was concerned for her safety. They described Emma as living an ‘immoral life,’ prone to alcohol addiction and moonlighting as a prostitute. She was often seen with ‘strange men.’ Detective Prior wondered if the man who left the fingerprints on the bottle was one of these ‘friends’ and could shed more light on the incident. With no more insights from the crime scene and little from witnesses, media interest waned. In 1931, the razor gangs, embroiled in a blood feud between crime queens Tilly Devine and Kate Leigh, dominated the headlines. Soon, the Philbrook case was overshadowed by new sensational stories. Detective Prior’s Relentless Pursuit of The Surry Hills Silk Stocking Strangler Not everyone had given up on Emma. Detective Prior took the port bottle to the Central Police Station for fingerprint analysis. Over the following months, Prior worked tirelessly to identify who had placed the bottle on the mantle. He identified all the shops that sold the port, eliminating each one until he found a shopkeeper who remembered selling a similar bottle to a man on the day Emma was presumed to have died. He finally identified the man he sought to interview. Visiting the locations this man frequented, he found him nowhere to be seen. In mid-July, Detective Prior went missing for several days, and colleagues had no idea where he was. Rumours swirled until a message arrived from Townsville in far North Queensland—the suspect had been taken into custody. Gustav Heimer Reichardt, a 36-year-old Swedish sailor, was brought to Sydney in the custody of Detective Prior and Detective Sergeant Sedwick. Upon receiving a breakthrough on the case, Detective Prior embarked secretly for Queensland, not even informing the local authorities until he arrested Gustav in an undercover sting. Gustav was charged in a Townsville courthouse; the judge stipulated he be extradited to Sydney and remanded until his trial. Back in Sydney, detectives took Gustav’s fingerprints, which matched those on the bottle of port. They also managed to obtain a signed confession that he had assaulted Emma Philbrook in her home. In his statement, Gustav claimed he had been staying with a lover, Mrs Latham, in Stanmore. After slapping Mrs Latham’s daughter, he panicked and left in a state of depression, acquiring poison from a chemist and a bottle of port to drink it down with. He then travelled to Darlinghurst to finalise some affairs before ending his life. Taking a shortcut through Surry Hills via Reservoir Street, he was approached by a woman who was offering to sell him beer. The woman, Emma Philbrook, led him to her house. Inside, Emma confessed she did not have any beer—only after taking his money—and offered to take him to bed instead. Gustav claimed he rejected the advance and asked for his money back. When Emma refused and began yelling, he hit her, causing a violent frenzy. He allegedly ripped a stocking off her leg, wrapped it around her mouth and neck to stop her screaming, and, when she appeared to pass out, put her down by her bed and left. Gustav Reichardt’s Trial: A Dramatic Verdict and Its Aftermath At the trial in September, Gustav, who pleaded ‘not guilty,’ called the statement false, alleging police trickery and manipulation. The man now dubbed 'The Surry Hills Silk Stocking Strangler' claimed the police arrested him for the assault on the child and questioned him on that basis. Referring to Emma Philbrook, they intentionally called her “little Emmy” to confuse the encounters. Gustav insisted he had not quarrelled with Emma, gave her the bottle of port, drank some with her, and left, claiming ignorance of how the stocking got around her throat. The prosecutor asked why he left the state so soon after, and Gustav said he went to Parramatta and then to Queensland seeking work. Police inquiries with the chemist revealed none of the staff recognised Gustav or recalled selling him poison on the proposed day. They also asked where the poison was, and Gustav led them to a deep well, saying he had thrown it in. The well was too deep to retrieve the bottle. On several other details, he replied, "I don't remember." In a dramatic final statement, Gustav told the court, "Gentlemen, I am not fighting for my life—I am fighting for my honour." The jury deliberated and declared Gustav Reichardt guilty of manslaughter. The judge sentenced him to eight years of penal servitude. Gustav appealed, and on November 7, 1931, the Court of Criminal Appeals dismissed his appeal, and he was sent to prison to serve his sentence. Emma Philbrook was laid to rest at Rookwood Cemetery on April 28, 1931. Her life, marked by mystery and squalor, ended in a violent act that would remain a haunting tale in Surry Hills’ mirky history.

Do you think your backyard has more potential? Local organic gardening expert, Nick Oates, has all the answers. More on St Ives Gardening can be a fickle business, one day you think you’re on top of everything, only to be met by wilted foliage and snail trails the very next morning. We caught up with local Organic Gardening expert, Nick Oates, to learn how you can keep your garden in tip-top share this Spring/Summer season. Thanks for chatting to us and helping the greenthumbs of St Ives! First of all, what should people be planning for and planting over the coming months? The very best time to plant your garden is the end of October, very early Spring. But don’t worry - there is no time like the present! With the weather warming up, Leafy greens, cucumber, tomatoes, capsicum and herbs can be planted now and will quickly thrive in the right conditions. Transplanting and planting should be done during October/November and well before the summer heat hits to ensure minimal stress. My hot tips are: Be gentle with the root ball; whilst it’s helpful to gently tease roots out to encourage downward growth, the root ball should stay intact and undisturbed. Trees are best transplanted in late Autumn. Pruning the tree back by ⅓ can also help reduce stress; giving a damaged root ball less branches + foliage to look after! Once planted, give the plants a big water - it’s best to do this in the early evening, or early morning when minimal evaporation will occur. Sydney faces some pretty extreme temperatures during the warmer months, what issues does this create? The biggest problem I see in gardens around St Ives and the North Shore are gardens with inadequate water and symptoms of heat stress. Stressed-out and unhealthy plants can encounter a variety of pest and disease issues depending on the species. What can be done to combat heat stress and improve water retention? To encourage water retention, always incorporate compost, bentonite clay, rock dust, and finally a good layer of mulch. Focusing on biological activity and soil health not only significantly improves water retention, it improves the garden's appearance, reduces compaction, prevents weeds, and protects the biological activity within the soil. How can you improve soil health? Try to avoid as much soil disruption and compaction as possible. Adding green waste to your gardens, then allow it to break down in the garden and feed the soil. Go organic! Chemical fertilisers, pesticides, fungicides and herbicides should be avoided at all costs. They will affect the soil's health, plant health and biological activity as well as being toxic for your family, pets and environment/waterways. Warmer months mean growth season, how can you stay on top of weeds? Weeds can be a big issue during the growing season! A good thick layer of mulch and making sure weeding is done properly and the rootball is extracted too will be a big help. Also plant densely, avoiding too much open space, the more plants in your garden, the less room for weeds. What are your top tips for a healthy summer garden? Use a regular organic fertiliser, along with soil conditioner such as compost, rock dust and mulch to maintain the overall health and fertility of your soil Maintain regularly, making sure nothing gets out of control and is looking good year-round. The more regularly you maintain, the quicker issues can be identified and addressed. Always water in the early morning or evening when minimal evaporation will occur, this will also reduce the risk of foliage burn. Go organic and opt for organic eco-friendly options such as eco oil and neem oil. Baking soda and diatomaceous earth have also been proven to be safe and effective pesticides. The most important thing for a healthy garden is ensuring good soil health along with adequate water, nutrients, oxygen and light. If you’d like Nick to help with your garden - call him on 0451 372 345

The Garden Palace stood as a beacon of Sydney's progress and ambition until a devastating fire reduced it to ashes in the early hours of September 22, 1882. This iconic structure, built for the 1879 Sydney International Exhibition, was a marvel of its time. But as the flames engulfed its towering dome, they also consumed priceless records, cultural artefacts, and the dreams it represented. To this day, the cause of the fire remains one of Sydney's most haunting mysteries. More on CBD By Elliot Lindsay The first sign of disaster was a plume of dark smoke rising into the early morning sky over Sydney.  As dawn broke on September 22, 1882, the tranquil streets near the Royal Botanic Garden were pierced by the sharp crackle of fire. By the time the sun cast its first light, the iconic dome of the Garden Palace was engulfed in towering flames, licking hungrily at the heavens. Onlookers from Macquarie Street stood frozen, helpless against the inferno that devoured the symbol of Sydney’s industrial and cultural aspirations. The Garden Palace had been a marvel of its age. Built in 1879 for the Sydney International Exhibition, the Palace was a grand statement of the city’s ambition and modernity. Designed by Architect James Barnet, the vast structure stretched 244 metres along its central nave, with two wings extending over 76 metres each.  Its crown jewel was a towering dome 30 metres in diameter, rivalling the great exhibition halls of Europe. Located in the heart of Sydney’s Domain, the Palace stood as a beacon of progress, a place where the achievements of the colony and the world could be showcased to over a million visitors. Constructed at a cost of £191,800 - a staggering sum for the time - the building embodied the hopes of a colony eager to establish itself on the global stage. It housed technological innovations, industrial machinery, fine arts, and natural history exhibits, with its galleries lined with artefacts from across the globe.  By 1882, the Palace had been repurposed into government offices, archives, and museums, making it a repository of invaluable records and cultural treasures. A Building Consumed Within minutes, the dome collapsed, sending embers raining over the city. Witnesses described a hauntingly beautiful spectacle, with flames dancing and reflecting in the nearby harbour waters.  Fire brigades battled in vain to control the blaze, but their hoses were no match for the intensity of the fire. By midday, the Garden Palace was reduced to rubble, its treasures - including government records, historical artefacts, and scientific specimens - obliterated. Yet, the question hung in the air like the acrid smoke: What caused the fire? Spontaneous combustion? A tragic accident? Or something far more sinister? Theories and Tensions Whispers of arson began to circulate. The Garden Palace was more than just an architectural marvel; it was a repository of wealth and knowledge. Among its treasures were gold and precious stone specimens from the Mines Department. Such riches, it was argued, could tempt even the most daring thief. Early reports suggested the fire might have been set to conceal a crime. But this theory lost traction when the gold specimens were found fused together under the wreckage, and the gemstones remained untouched in a safe. Still, the possibility of deliberate destruction could not be dismissed. The Palace, after all, was not without its enemies. Inside the Palace Nightwatchman Frederick Cooper Kirchen offered tantalising details. On the night of the fire, Kirchen patrolled the building alongside Senior Constable James McVane and another officer. They found nothing amiss. No scent of leaking gas. No evidence of intruders.  Yet, barely 20 minutes after their final inspection, smoke was seen billowing from the northern end of the building. Witnesses from the H.M.S. Espiègle supported this timeline, noting that the fire appeared to begin near the north tower before spreading to the dome. But their accounts conflicted with others who insisted the flames started under the dome itself.  This discrepancy fueled theories of arson, as two ignition points suggested a coordinated effort to destroy the Palace. Adding to the intrigue was the Palace's vulnerability. Windows along the eastern side were easily accessible, and its vast interior made it difficult to monitor. Witnesses observed how swiftly the fire spread, as though fueled by an accelerant. Some remarked that the flames burned with an unnatural intensity, dark and oily, like turpentine or kerosene. The Human Element Motives for arson abounded. Insurance fraud. The Palace's role as a symbol of colonial authority made it a potential target for political protest. Even the night watchmen themselves came under scrutiny. Kirchen, though respected, had previously complained about insufficient staffing and his deteriorating health. Could frustration have driven him to an unthinkable act? No evidence emerged to implicate Kirchen or anyone else. Testimonies painted a picture of a meticulously managed building. Strict policies on smoking and handling flammable materials were enforced. By all accounts, the building was spotless. Unanswered Questions The inquest delved deeply into these mysteries for many days. Witnesses testified to the apparent impossibility of spontaneous combustion or accidental ignition. Yet, the evidence remained frustratingly inconclusive. Theories of arson gained traction, but no suspects emerged. Even the fire’s exact origin remained contested. After days of deliberation, the jury returned an open verdict: the fire’s cause could not be determined. Legacy of the Flames The loss of the Garden Palace left a scar on Sydney’s landscape and psyche. Its smouldering remains were a grim reminder of human frailty and mysteries that defy resolution. Who - or what - lit the spark that consumed the Palace? Was it the act of a criminal, driven by greed or malice? A tragic accident? Or a deeper, more sinister conspiracy? The answers lay buried beneath the ashes, the Palace's secrets taken to the grave by the fire that lit up Sydney's dawn and darkened its history forever.

Satire, Controversy, & Scott Marsh's Taylor Swift Experiment in Sydney Artist Scott Marsh is (in)famous as both a talented mural painter – with vibrant, detailed artworks gracing walls across Sydney – and a spikey satirist commenting on contemporary social issues with a razor-sharp wit that takes no prisoners. More on Surry Hills By ALEC SMART Among the latter, his targets have included hilarious caricatures of Scott Morrison, Anthony Albanese, Gina Rinehart, Tony Abbott, Alan Jones and Cardinal George Pell. Several of his pointed political portraits grace the walls of inner Sydney suburbs, including Newtown, Enmore, Chippendale, Erskineville, Redfern and Alexandria. One of his most recent and ironically famous Sydney murals is a dynamic image of iconic American pop star Taylor Swift. In close proximity to Taylor Square, the artwork appears on the side wall of Rivareno Gelato at the corner of Little Oxford St and Crown St, Darlinghurst. Despite his diverse portfolio of public works, his reputation is more of a satirist than a painter of icons of popular culture. So how did the Taylor Swift mural come into being? “Well, it was a satirical work of sorts,” Scott explained, “or at least a troll and experiment to highlight the failures of mainstream media and the plight of Julian Assange, who had his final USA extradition appeal at the time I painted it.” Scott put it into context in an Instagram post on 21 February 2024: “On the day of the final appeal for Australian citizen and award-winning journalist Julian Assange’s extradition to the USA for the crime of journalism - publishing truthful information about USA war crimes (for which he faced 175 years in a US prison, essentially a death sentence).… In the morning when I turned on the news, what did I see on every channel: ‘Taylor Swift has dinner in Surry Hills’!!” Taylor was in the midst of her Eras Tour, which involved 152 concerts across five continents, including four sold-out performances at Accor Stadium in Sydney, the final attracting over 80,000 fans - and became the highest-grossing tour in history earning $1 billion in revenue. Scott elaborated, "This is a mural of Taylor Swift but not really about Taylor Swift, It was more an experiment to show where media’s priorities lie. Using the metaphor of ‘The woman in the red dress’, the idea that ‘The System’ distracts the people with one hand (‘Hey look at this beautiful woman in the red dress!’), while it commits despicable acts against the people with the other hand. “In the past year, I have painted well-thought-out and executed murals about Julian Assange, Covid origins/vaccines’ injuries and the Palestine/Israel conflict, yet despite serious attempts being made, can not get any meaningful mainstream media coverage of those works.“I paint a mural of Taylor Swift and before it’s even finished, my inbox is full of media requests, it has been syndicated, and is appearing in a dozen online outlets, in print, TV and radio.“So, that was the experiment and it really worked a treat!” Scott declared, “Conceptually it’s actually one of the works I'm most proud of.” How does he go about selecting the walls for his murals? Do people contact him and offer their houses? “Either people contact me and say, ‘Hey, I have a wall that’s free for you to paint’, or, ‘I would like to commission you to paint my wall,’” he said. “Alternatively I find a wall I really like and knock on their door and ask if I can paint it. If it's commissioned I'll get it done pretty quick, if it’s not, I wait until I have a work I would like to create in that space. The perfect wall for my work is 1.5 - 3 stories, minimal windows, pipes or drains, and is a spot that gets at least a little foot traffic.” As a painter, how did he transition from canvases to walls, and from art pieces and tributes to satirical works criticizing injustice and political scandals? “I have been painting graffiti since I was 12 years old,” he revealed, “so when I started moving into more pictorial work, painting walls came naturally… I have a bit of a scatter-brain so I think painting the same thing or within a specific genre would drive me nutty, so I bounce around between portraiture, satire, still-life's etc.” Controversially, a few of Scott’s satirical murals, such as those featuring George Michael and George Pell, have been vandalised by enraged individuals, typically religious fundamentalists. Furthermore, a Redfern mural featuring a burning police car and commemorating Indigenous youth TJ Hickey, who died in mysterious circumstances in 2004, was ordered to be covered over by NSW Police. This must be really disappointing, considering the hours it takes to create his detailed artworks, and that they're painted with the permission of the householders. How does the vandalism make him feel? “Some people have very thin skin and want to destroy things they don't like,” Scott considered. “It’s always disappointing when my works get trashed but as long as I have a good image of the work, I'm not too devastated. A lot of my work finds its audience in a digital space rather than a physical one, so if I have a good image of the work it lives forever, indestructible online. “Ironically in every case to date when a mural is destroyed it blows up online and in the media, and is seen by 10000s more eyeballs, so it’s pretty counter-productive for the d***head who destroyed the original artwork!” Scott Marsh Instagram: www.instagram.com/scottie.marsh Webpage: www.scottmarsh.com.au Facebook: www.facebook.com/scottmarshart Murals: www.scottmarsh.com.au/collections/mural

On February 9, 1954, Brigidine College St Ives opened its doors to nine students. With a single building surrounded by 10 acres of trees and orchards, it was this tranquil location that appealed to the Brigidine Sisters , with plans to build a new and thriving community on the North Shore . More on St Ives The Brigidine Sisters arrived in Australia from Ireland in 1883 and with a history in education they set about opening schools across the country. Since 1901 the Sydney community had been based in Randwick with a school, convent and novitiate, providing space for Sisters to teach, live and learn; and as their numbers flourished the Brigidines began to think about another convent. Moving to the North Shore Towards the end of 1939, the parish priest, Father Downey, invited the Brigidines to take over the Holy Family of Nazareth school at Lindfield from the Monte Sant’ Angelo Congregation of the Sisters of Mercy.  Holy Family provided education for Kindergarten to Intermediate (Year 9) and with increasing demand in the upper years, the Sisters began to develop plans for a senior school in the leafy North Shore, which could also provide a setting conducive to spiritual reflection. In 1949, seven acres of land in St Ives became available for £3500. With a further three acres encompassing the corner lot of Woodbury and Mona Vale Roads purchased in 1951, it was believed ‘most suitable from every point of view’.  The natural environment and seclusion that St Ives could provide, being just 4kms from Holy Family Lindfield, walking distance to the Passionist Fathers’ monastery and with the Jesuits only a few kilometres away in Pymble, the Brigidines felt they would be well supported in the area. Owned by the Gaukrodger family (who operated an abattoir and later an orchard from the property, along with a butchery in Pymble), the Gaukrodgers continued to live on Woodbury Road and in a cottage within the school grounds for some years after the college opened. Although some in St Ives may have been hoping for a train connecting Gordon to Pittwater, the Brigidine Sisters were established in Sydney’s Eastern Suburbs and students there had always caught the bus to school. Building a Community St Ives was clearly a semi-rural suburb undergoing rapid urbanisation when local artist and Brigidine parent Margaret Coen moved to the area in the early 1950s, “Horses came and ate out of the front garden, and it was so close to the bush, we were practically in it… Most of the roads weren’t tarred. The kids rode billy-carts down the hill to the dairy at the bottom of Killeaton Street and went exploring the creek that made its way through the bush to Bobbin Head. The gas wasn’t on, or the sewerage… No shopping centre; there were only a few shops strung along Mona Vale Road: Malo’s fruit shop, the delicatessen, Gillott’s garage next door to the Post Office. Further up on the other side were Steward’s the butcher and Ekas the chemist.” (Gathering Strength) With the first day of school approaching quickly, four Sisters moved to St Ives into an unfinished building. Accepting help from their new neighbours, who cooked their evening meals until the gas could be connected, and with builders continuing to work around them, they taught students outdoors, whilst painters continued inside.  Pioneer students recall scraping mud from their shoes to enter the school building in the first few months of the college opening. It was a humble foundation that built not only the school, but the community values that Brigidine College St Ives thrives on today. In the following years, new primary schools were established in Narraweena (St John the Apostle, 1961) and Forestville (Our Lady of Good Counsel, 1962) and at St Ives with a focus on academics, music and success in sport. Backed by the Brigidine motto, Fortiter et Suaviter (strength and gentleness), the student population grew to over 500 students by the mid-1980s and multiple classroom blocks spanned the ample grounds. Despite this expansion in 1989, the difficult decision was made to sell land from the back of the College, which was subdivided into twenty residential housing blocks now known as ‘The Cloisters’. This sale enabled the Brigidine Sisters to fund their move into smaller home communities over subsequent years and with the last Brigidines moving out of the convent in May 1994, this provided a future pathway for the St Ives Convent to become the modern-day administrative centre of the school. Education for the Future In 2014, Kildare Ministries was formed as a governing body for 10 schools, including Brigidine College St Ives, and three community endeavours. The ministries included educational and social justice works managed by a committee of trustees. This year, 2024, Brigidine College celebrates 70 years in St Ives. As a non-selective school, the College prides itself on providing a holistic education for girls, combining the spiritual, academic, physical and cultural dimensions of learning. Brigidine girls enjoy excellent academic results, a high level of achievement in the performing arts and sport, and a strong commitment to service.  With completion due in mid-2025, building has commenced on the Master Plan to upgrade and enhance teaching and learning facilities at the College, and includes an outdoor sports court and indoor sporting facility.

The recent conviction of Chris Dawson for the 1982 murder of his wife, Lynette, has captivated Australia, bringing renewed attention to cold cases that have lingered unsolved for decades. More on Marrickville Inspired by this breakthrough, David Mackey and his wife, Sandie, decided to investigate their own family's tragic mystery—the disappearance of David’s great-grandmother, Florence Lilian Jarman, in 1952. Florence vanished from her home at 24 Gordon Street, Marrickville, a small brick cottage with a red iron roof, over 70 years ago. Despite a police investigation and family suspicions, her case remains unsolved. As David and Sandie have uncovered more details about her disappearance, questions surrounding Florence’s husband, Bill Jarman, and the sudden death of John Scully, the man they shared the house with, have come to light. Florence Jarman's Quiet Life Shattered Born in 1890, Florence Jarman (née Akers) lived a relatively quiet life until her world was turned upside down in 1952. She married Bill Jarman in 1948, and they moved into 24 Gordon Street, a property owned by John Scully, who had lived there since 1916. The story passed down through the family claimed that Florence and Bill had moved in to care for Scully, who was said to be Bill’s ailing stepfather. But Sandie’s research revealed that this was untrue—Bill and John Scully were both born in 1879 and were not related by blood or marriage. This revelation cast doubt on the reasons behind their living arrangement and raised suspicions about Bill’s motives. On February 23, 1952, the day Florence disappeared, she had dressed in a floral dress and a fawn-striped coat for her eldest daughter Doris’s 37th birthday (David’s grandmother). Florence was last seen going to bed at 8 pm. Bill claims she kissed him before going to bed; however, when he checked on her the following day at 7 am, she was gone. The Investigation Stalls Florence’s room was undisturbed. Her jewellery, reading glasses, and £100 in cash were still there, yet there was no sign of her or the floral dress. Despite the police investigation, which included digging up the property's backyard and circulating her description nationwide, no clues emerged. Florence had simply vanished. A particularly chilling detail comes from David’s mother, Trish, who recalls staying at 24 Gordon Street as a child. She used to sleep in the bed with her grandmother, Florence. One night, Florence led Trish to a drawer in her bedroom and showed her a sum of cash, telling her that if anything ever happened to her, that was where to find the money. That very sum was found by police after Florence’s disappearance, adding an ominous tone to the case, as if Florence had sensed the possibility of danger. Adding to the mystery, John Scully died the day after Florence’s disappearance, on February 24, 1952. Scully, who had been unwell for some time, was cremated privately just two days later, preventing any autopsy that might have revealed the cause of death. The timing of these events raised questions—had Florence witnessed something she was not supposed to? Did her disappearance and Scully’s sudden death somehow connect? A Convenient Inheritance After Scully’s death and Florence’s presumed disappearance, Bill Jarman inherited the house at 24 Gordon Street. Bill and Florence had been named executors of Scully’s will, and with Florence out of the picture, Bill assumed complete control of the property. He lived there until he died in 1965. This convenient inheritance fuelled suspicions about Bill’s potential involvement in Florence’s fate. Family rumours circulated for years that Bill may have had a hand in her disappearance, with some speculating that he had disposed of her body in the nearby Cook’s River. While there was no direct evidence, Bill’s behaviour after Florence’s disappearance left many uneasy. He reportedly complained about police attention but seemed detached from the efforts to find his missing wife. The McCabes: A Lingering Mystery Shortly after Florence disappeared, Bill’s acquaintances, the McCabes, took it upon themselves to clear her possessions from the house. Their quick involvement in removing her belongings raised suspicions among Florence’s family. Adding to this was the discovery of Florence’s personal papers scattered in a lane behind the house. Though no direct allegations have been made against the McCabes, their swift presence and actions have left family members wondering whether they knew more about Bill’s relationship with John Scully or the events surrounding Florence’s disappearance. Any insight the McCabes could provide would be of great interest, particularly given their role in the immediate aftermath. A Web of Secrets The connection between Florence’s disappearance and John Scully’s sudden death remains one of the most perplexing aspects of this case. Scully’s rapid cremation and the lack of an autopsy prevent any definitive answers. Still, the possibility remains that Bill hastened Scully’s death to take control of the house or cover up something more sinister. Florence’s vanishing the night before Scully’s death, combined with leaving all her belongings behind, points to the possibility that she may have known too much. A Community Call for Answers David Mackey grew up with fragments of this haunting story, which has never fully been explained. His investigation and Sandie’s research have brought new attention to the case, but many questions remain unanswered. Was Bill Jarman involved in Florence’s disappearance? Was there something suspicious about John Scully’s death? What role, if any, did the McCabes play? The Marrickville community holds an essential place in this mystery. The cottage at 24 Gordon Street still stands, a quiet witness to events long forgotten by the public. David and Sandie hope that someone in the local community, particularly those who lived in the area at the time, might hold the key to unlocking what happened to Florence. If anyone has information about Bill Jarman, John Scully, or the events at 24 Gordon Street in 1952, David and Sandie encourage them to come forward. Even the smallest detail could help solve a mystery that has plagued their family for generations and finally provide justice for Florence Jarman. By Elliot Lindsay Sydney-based Historian and host of Murders Most Foul Walking Tours.