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WESTERN AUSTRALIAN PIPE ORGANS
All Saints Anglican Church, Collie


Collie All Saints
Photograph: Fr Ted Doncaster

Collie All Saints

Collie All Saints
The Church in 2021
This and following photos by Bruce Duncan

Collie All Saints

Collie All Saints
The mural

Collie All Saints

Collie All Saints


Collie All Saints
The mural at Wellington Dam

Collie All Saints
The tubular bells
From the Church website

Collie All Saints
The chimestand clavier for playing the bells

Name of institution All Saints Anglican Church
Type of institution Church
Street Address Corner Harvey Street and Venn Street West
City Collie
State Western Australia
Postcode
Country Australia
Name of building All Saints Anglican Church
Name of room Sanctuary
Dates of the building St John the Evangelist Church 1899-1915
The town of Collie was proclaimed on the 13 December 1897. The first Anglican Church in Collie was a small wooden building known as St John the Evangelist Church. This was built in 1899 and licensed for public worship in April 1900. However, it was not long before the parishioners realised that their small church was not going to hold the ever-increasing congregation, so they began to raise funds for a new, larger building.

In 1912 the Bishop of Bunbury, The Right Reverend Frederick Goldsmith had gone to England to ask for financial assistance for the struggling parishes in his Diocese. Mrs Nora Noyes answered this call and asked that the new church be built in a mining town to honour the interests of her late husband Colonel Arthur Noyes. Mrs Noyes asked that the Collie congregation purchase the land for the building and then furnish the building. The Collie parish gratefully accepted her generous offer.

St John's was moved next door to make way for the new church and was used as the Church Hall until it burnt down in 1932.

All Saints Anglican Church
The Foundation Stone for the new Church was laid by His Excellency Sir Harry Barron on the 15 May 1915. The Collie Mail newspaper reported in full the Foundation Stone Ceremony and gave the Church a copy of the article in gold lettering. A framed copy of this newspaper article can still be found in the Collie Church.
All Saints Anglican Church is a red brick church with a Marseilles tile roof in Romanesque style. As such the Church has a semi-circular Apse projecting eastward, a Dome over the High Altar and a Campanile (tall bell tower) which was completed in 1928. The external walls combine red brickwork with stucco render forming a number of intricate patterns. The Church is 23.47 metres long and 8.534 metres wide with seating for over 200 people. The nine different types of bricks were commissioned from brickworks in Armadale Western Australia.

Mrs Noyes had specifically asked for the best available Western Australian craftsmen be involved in the building. The altar, altar rails, lectern, pulpit, pews and flooring were all made of polished jarrah. The ceiling was made of dark stained jarrah. The original windows were green glass set in leadlight. The estimated cost of the building was 2 000 Pounds. All Saints Church was consecrated on the 3rd November 1915 by Bishop Goldsmith. The first Rector of the Church was Revd. Canon Burns.
Architect's and builder's names The Architects were Messrs. Eales and Cohen from Perth.
Special architectural features On the corner of Venn and Harvey streets is All Saints Anglican Church which was opened in 1915 after it had been built in a traditional Norman style with money provided by a Lady Noyes in England.

Little is known about the woman who paid for the building of All Saints Anglican Church in Collie. Nora Noyes attended All Saints Anglican Church in Margaret Street London where in 1912 she heard the Bishop of Bunbury the Right Reverend Fredrick Goldsmith, ask for help for his struggling new Diocese. Over the course of the following years Mrs Noyes donated approximately 2000 Pounds for the Church building, the bell tower and some furnishings. In 1924 a memorial tablet of carved jarrah was dedicated by Bishop Wilson in the Baptistry of the Church. It commemorates Nora's husband Colonel Arthur Noyes who died from Typhoid Fever. Arthur Walter Noyes was a Colonel with the West Yorkshire Regiment joining the service in 1864. He served in New Zealand, Afghan and India but died while on his honeymoon in Cairo. The inscription reads:
    'This church is built to the glory of God and all the Saints triumphant, and to the dear and radiant memory of Colonel Arthur Walter Noyes Prince of Wales Regiment who died in Cairo, 20th January 1908. Rest eternal grant him O Lord, and may light perpetual shine upon him'.
The Collie Mail reported the Dedication of the Memorial Tablet on 11 April 1924.

Although never coming to Australia or visiting the Church she funded, she remained a keen follower of its progress. So much so that on her death in 1947 her children sent to the Church a chalice and paten of gold plate on solid silver, decorated with precious stones and taken from her personal jewellery. This is still in use in the Church today.

The mural was commissioned by the works supervisor Eustace Eales and painted by Phillip Goatcher in 1922-23. Goatcher was born in London 1852 and was a leading scenic artist in New Zealand, New York and London during the 1860s and 1870s. He came to Australia in 1890 for work in Melbourne and Sydney that included stage work as well as the decoration of various private and public buildings (Boulder Town Hall, St John's Church Fremantle). He moved to Perth in 1906 due to ill health but continued to paint theatre decorations, stage curtains and murals in Western Australia. The design of the mural in All Saints Church, Collie was influenced by Mrs Noyes who had donated the funds for the mural. Mrs Noyes requested the inclusion of figures of coalminers and Aboriginal people. The mural was painted on canvas in Goatcher's studio in Perth and then removed to Collie to be fixed to the wall of the Sanctuary. It was dedicated by the then Bishop of Bunbury, Dr C Wilson on 24 June 1923.

The theme of the mural is the 'Risen Christ in Heaven' portrayed by Jesus on his throne in heaven. This representation of Christ is similar to a fresco in St Paul's Cathedral, London. The characters are looking to Christ for direction and this is represented in the theme words "Come unto me all ye that labour". All the major characters in the mural are taken from photos or portraits existing at the time. We can not be completely sure of who is who in the mural as the Church records which were housed in the old wooden church next door were lost in a fire in 1932. But word of mouth has the noted the following.

There are 30 figures in all in the mural. From the left there are firstly two Aboriginal people the traditional owners of the land looking into the future. Next is a Melanesian man holding a spear in one hand and a fuchsia in the other which is a symbol of hope for the people of the Pacific. He stands next to Bishop Patterson who was sent as a missionary to Melanesia. There are two judges on either side of the mural each holding a book of law and looking to Christ for guidance. Next to the judge on the left is Bishop Goldsmith the first Bishop of the Bunbury Diocese. St Augustine in red robes is kneeling while St Boniface is standing next to the Madonna and child. The depiction of the Madonna and Child is taken from a painting by Raphael. St Paul is on the right hand side of the Madonna and Child and kneeling next to him is St Gregory. Women of the church are represented by the lady in blue and it is these women who work tirelessly behind the scenes. Bishop Selwyn is behind the woman in blue and he is known to have completed much missionary work in the Pacific Islands. The women in grey and the fellow with his hat in his hand (Sir John Forrest) represent the farming community. Finally, Miners are also represented.

The Dedication Service of the mural was recorded in the Collie Mail on the 29 June and in the Western Mail on the 26th July 1923.

In the early 1990's the Mural was falling into disrepair so the Parish Council began to raise funds for its restoration. In 1994 Mrs Barbara Cena was hired to clean, restore and renovate the oil-on-canvas Mural. The cost was approximately $93 000 and many generous donations were received from the Collie people as well as from the Heritage Council of WA.
Special fittings The church has superb brass candlesticks and an altar crucifix which reputedly date from the seventeenth century. In the Sanctuary is a large mural which took 8 months in 1922 to paint. It was actually painted on a large frame in Perth and attached to the sanctuary wall later. It is interesting to note the local subject matter at the extremities of the mural. On the far right are two miners framed in a pit tunnel while on the far left are two Aborigines sheltering under a tree.
In 1928 Mrs Noyes who funded the building of All Saints Church donated a further 650 Pounds to complete the unfinished Campanille. It was built by a Perth builder, Mr Allwood to a height of 19.814 metres. In the same year Mrs Dorcas Lillico (a miner's widow) donated a set of eight tubular bells in honour of her husband Andrew Lillico.
The 8 tubular bells are made of brass and are between 1.524 and 2.134 metres long. They were made by Harrington, Latham & Co of Coventry, England who shipped their bells all over the world. Harrington's of Coventry constructed most tubular bells between 1890s and the 1920s using their patented design. The quality and tone of the chimes earned him a gold medal at the 1885 Paris World Fair.
The bells are played from a chimestand keyboard-like clavier.
Other location information Church web site
Name of contact
Mailing Address
Telephone
Email
Other contact information
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Previous organ(s)
Date of previous organ None
Detail of previous organ
Dates when key work has been undertaken
Dates of any moves that have taken place
Variations from original design of organ
Information on previous organ
Information about comparable instruments to previous organ
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Present organ
Type of installation Free standing
Case description Polished mahogany timber
Placement in room
Builder's name Paul F. Hufner
Opus number
Date of completion/installation 1964
Construction materials
Number of manuals One (1)
Key compasses
Number of keys
Key material
Pedal compass
Number of pedals None
Pedalboard type
Pedalboard material
Type of chests
Type of key action Electro-magnetic
Type of stop action Electro-magnetic
Couplers None
Tremulants None
Accessories   
Console type
Stop label material
Placement
General design
Playing aids
Divisions   
Wind pressures

Stop list
MANUAL
Bourdon 16
Principal 8
Octave 4
Twelfth 2 2/3
Fifteenth 2
Octavin 1
Total number of stops
Total number of ranks 1 rank extended, autobass
Total number of pipes
Dates when key work has been undertaken on current organ
Dates of any moves that have taken place to current organ
Information on current organ
Comparable instruments to current organ Duncan Residence, Clackline
Current status
Assessment of organ
Other organs by this builder
Photographs
Technical documents 
General documents
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Supporting information
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Document control Original entries J R Elms, OAM, Gazetteer of Western Australian Pipe Organs, 1971, 1999,2003 and 2004.
This entry D B Duncan 01 January 2009.
Photograph of organ from Fr Ted Doncaster 31 January 2012.>
Stoplist provided by Don Cook 23 September 2016
Updated photographs and historical information by Bruce Duncan 26 April 2021


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