Melbourne’s Royal Exhibition Building stands ready to host commemorations for the 125th anniversary of Australia’s inaugural federal parliament opening on May 9, 1901. Constructed in the 1870s, this World Heritage-listed venue served as the nation’s largest and most suitable site for the event, surpassing any rivalry between Sydney and Melbourne. After near-demolition in the 1940s and later restorations in the 1990s, the building retains its original 1901 interior decor, despite some paint wear, as it approaches its 150th year.
Anniversary Events Unveil Rare Treasures
Museums Victoria showcases long-hidden artifacts, including Charles Nuttall’s renowned painting of the parliament opening, unseen publicly since 2001. Michelle Stevenson, head of history and technology at Museums Victoria, highlights the event’s role in shaping Australia’s democracy.
“One of the things that was exciting about 1901 was that hope and vision that Australians had for the new Australian nation,” Dr. Stevenson states. “Obviously that went on to be quite complex as it ushered in moments like the beginning of the White Australia Policy and the constitutional exclusion of First Nations people. As a counterpoint, we’ll be displaying one of the copies of Victorian Treaty documents and just asking people to reflect on what they want the next 125 years of democracy in Australia to look like.”
A Royal Visit and National Pride
George, Duke of Cornwall and York—later King George V—and his wife Mary made their first visit to Australia as heirs to the throne. The 35-year-old duke’s tour thanked British colonies for Boer War support, spanning Malta, Sri Lanka, Singapore, New Zealand, South Africa, and Canada. Half a million Melburnians lined streets for the procession, culminating in the parliament opening.
The Argus described the ceremony as “a magnificent demonstration” and “a masterpiece of organisation.” “By the hand of Royalty, in the presence of the greatest concourse of people that Australia has seen in one building, and with splendid pomp and ceremony, the legislative machinery of the Commonwealth was yesterday set in motion. The day was full of smiles and tears, the smiles predominating,” the newspaper reported. “The worthiest of Australia were there—the men who hold their distinguished positions because they have won them and because they deserve them. All that is best in politics, in commerce, in industry, in the arts, in the church, in the school, in the public service of Australia was represented there, and every heart beat high with pride and with hope.”
Charles Nuttall’s Masterpiece
At 29, Melbourne artist Charles Nuttall captured the scene for a business syndicate. His four-meter-wide, two-meter-high sepia painting depicts over 340 identifiable faces from 12,000 attendees. Initial sketches led to 18 months of individual sittings; Prime Minister Edmund Barton proved restless, while Opposition Leader George Reid often dozed, prompting artistic threats.
Contemporary Photographic Tribute
Photographer Tiffany Garvie recreates Nuttall’s work in vibrant color for the anniversary. “We’ll definitely be going with a much more contemporary look for the photo. We’re going to be having some pretty big names in the room so ideally we’d like to be able to show their faces and keep the image as clear as possible,” Garvie says. “We’ll be going for a much more natural look and a more realistic look and I think being able to document who’s there on the day is pretty important.”
As a Gunggari woman, Garvie notes the significance: “Aboriginal people are the most documented people on earth and having the opportunity now to flip that around to document parliament as a First Nations photographer is definitely a different take on that. I’m very proud to be able to capture this moment because we’re not only capturing politicians in this photo, but we’re also documenting the Aboriginal community who are involved in this event as well, putting ourselves in history as equals and being included in this moment.”
Restoring Sabina Peipers’ Place in History
Sabina Peipers witnessed the duke’s speech from the front row beside her father, German Consul Wilhelm Alexander Brahe, one of 344 figures in Nuttall’s painting. Nuttall replaced her image with his own. Museums Victoria displays her event invitation and conserved black silk satin dress, donated by a descendant.
“While there was definitely that sense of exclusion, particularly in Nuttall choosing to do that, we do then see that inclusion of women in Australia’s political system with the opening of federal parliament, from that moment onwards,” Dr. Stevenson observes. “We’ll be having those objects out for display, so we’re putting Sabina back into the story and back into her rightful place in that significant moment.”
