North Pine School of Arts and Tom Petrie Memorial

General

More images…

Also known as

Petrie School of Arts

Classification

State Heritage

Register status

Entered

Date entered

29 August 2025

Types

Education, research, scientific facility: School of arts/mechanics institute

Monuments and Memorials: Memorial/Monument - person

Themes

8.5 Creating social and cultural institutions: Sport and recreation

8.6 Creating social and cultural institutions: Commemorating significant events

9.3 Educating Queenslanders: Educating adults

Construction periods

1890, School of Arts Hall

1911, Tom Petrie Memorial

Historical period

1870s–1890s Late 19th century

1900–1914 Early 20th century

Location

Address

1018 - 1030 Anzac Avenue, Petrie

LGA

Moreton Bay City Council

Significance

Criterion AThe place is important in demonstrating the evolution or pattern of Queensland’s history.

The North Pine School of Arts is important in demonstrating the School of Arts movement, a widespread method of providing adults with education and self-improvement in Queensland settlements from the mid-nineteenth century. Opened in 1890 following a community fundraising campaign, through its form and fabric it is a representative example of a School of Arts, established in a once rural district, and retains its School of Arts features including its hall, stage, library room, and reading/games room.

Criterion DThe place is important in demonstrating the principal characteristics of a particular class of cultural places.

The North Pine School of Arts Building (1890) is important in demonstrating the principal characteristics of a purpose-built Queensland School of Arts building. As a substantially intact example of the smaller timber School of Arts buildings built in rural areas, this includes its:

• prominent central location;
• timber-framed and -clad structure;
• architectural style, form, and detailing, and impressive facade, readily identifiable within the townscape and expressing the school’s cultural and civic ambitions;
• library, reading, and games rooms (1890);
• secondary rooms for the operation and administration of the school, social activities, and external uses to provide additional revenue to the school, in the form of a hall with stage (1890); and
• high levels of ventilation and light in major rooms.

Criterion EThe place is important because of its aesthetic significance.

The North Pine School of Arts and Tom Petrie Memorial, individually and as a pair, are important because of their aesthetic significance as attractive, longstanding, public landmarks located prominently at the centre of Petrie on Anzac Avenue, the main highway thoroughfare. Although their specific locations have shifted slightly over time, since 1911 they have remained closely connected as a pair, with a direct visual relationship between each other and Anzac Avenue.

The North Pine School of Arts building (1890 core comprising the porch, hall, and rear rooms) is important for its aesthetic significance as a prominent public building in a distinctive Late-Victorian style. Substantially intact, the freestanding building is surrounded by open space on all sides and its modest size, floor plan, and materials are elevated by its barrel roof form, lofty hall interior, and decorative Late-Victorian features.

Highly intact, the memorial is surrounded by open space and its impressive form and proportions, high-quality carved stone with symbolic details, leaded inscription, and provision of both a drinking fountain and animal trough express strong public sentiment for a respected person and evoke its former rural setting.

Criterion HThe place has a special association with the life or work of a particular person, group or organisation of importance in Queensland’s history.

The Tom Petrie Memorial has a special association with the life of Thomas Petrie (1831-1910) as it commemorates his life and contribution to Queensland’s history. Petrie was an early grazier and explorer of the North Coast (Sunshine Coast) region and played a key role in developing Queensland’s timber industry. A member of the first free European family to settle in Queensland, Petrie is notable for his distinctive close relationship with the Turrbal People from childhood. Within colonial Queensland, Petrie was recognised and utilised for his knowledge about the Aboriginal people of the wider Brisbane region, through his understanding and appreciation of language, customs, and culture.

The memorial was funded by an extensive campaign launched by Petrie’s friends and associates, with donations received throughout the state and beyond, reflecting the respect many had for Petrie’s contribution to Queensland.

History

The North Pine School of Arts was established in 1890 at Petrie to provide the district with a social venue and a place for adult education, as part of the School of Arts movement introduced to Queensland in the mid-nineteenth century. When first opened it consisted of a large hall with two rooms behind the stage where the library and games/reading room were situated. By 1925 the library had grown considerably, and the North Pine School of Arts Committee had a new verandah wing constructed on the northern side of the building for a larger library and a pantry. The property was transferred to the Pine Rivers Shire Council in 1987 and in the same year the building was shifted northeast to its current location and restored.

Following the death of North Pine settler and respected Queensland pioneer, Tom Petrie, an extensive community fundraising campaign was undertaken to raise money for the construction of a monument to memorialise his life and contributions to the State. The Tom Petrie Memorial was unveiled in July 1911. The memorial comprised a 5m sandstone obelisk with marble panels, a marble drinking fountain, a granite animal drinking trough, and a steel windmill connected to a well to supply water to the fountain and trough. Originally located on the opposite side of the road from the School of Arts, the memorial was shifted to a treed traffic island in 1940, then to the park adjacent to the School of Arts in the 1980s. In 2010 it was moved to its current position with the original animal drinking trough re-attached to the memorial. A replica windmill was installed at this time behind the memorial.

The North Pine River area is part of the traditional lands of a number of clans belonging to the Turrbal and Kabi Kabi peoples.[1] Convict timber getters were recorded in the area in the 1820s, and in the early 1840s pastoral runs were established on either side of the North Pine River.[2]

Tom Petrie

Thomas (Tom) Petrie (1831-1910) established the Murrumba run in late 1859, third son of Andrew Petrie - the first non-convict, non-military European settler in Queensland, who arrived at the Moreton Bay penal colony with his family in 1837 when Tom was six years old. As a child, Tom was allowed to mix freely with children of the local Turrbal People and learned their customs and languages. He travelled widely with the Turrbal People, and in the mid-1840s attended a triennial Bunya festival in the Blackall Range. His ability to converse with Aboriginal people and knowledge of customs led to him being sought out in colonial society by explorers (including Ludwig Leichhardt), local businessmen, government bureaucrats, and Queensland governors alike, for his knowledge of the area and its indigenous inhabitants, and to assist in locating commercially exploitable timbers and in marking roads.[3]

Tom did not follow his father and older brother, John, into the construction business but chose a life on the land. In 1857 he married Elizabeth Campbell, sister of Brisbane timber and hardware merchant James Campbell. Looking for good grazing land in the vicinity of Brisbane, Petrie sought advice on a suitable area from his friend Dalaipi, a distinguished elder of the North Pine clan. Dalaipi recommended land at the mouth of the Pine River and promised to protect Petrie, his household, and his cattle. The assistance offered to Petrie was a mark of the regard in which he was held by Aboriginal people and made it possible for him to live in a place generally considered unsafe for European settlers. This had followed frontier conflict associated with the violent destruction of traditional Aboriginal lifestyles and the dispossession of their lands. Several violent incidents had occurred in the district, including spearing of Europeans and the murder of many people at the hands of the Native Police.[4]

The area recommended by Dalaipi had been taken up in the 1840s by Captain Griffin as the Redbank section of the Whiteside pastoral run. His widow, Jane Griffin, was willing to sell Petrie the lease to ten square-mile sections, reputedly because the frontier violence made it impossible for Griffin to work the land effectively. The area Griffin ceded to Petrie extended from Sideling Creek in the west to Redcliffe Point in the east, and was bounded on the south by the North Pine and Pine rivers. Petrie named his run Murrumba, meaning 'a good place'. With the help of a small group of Dalaipi's people, Petrie cleared two acres (0.8ha) and built a hut and stockyard near Yebri Creek, below Murrumba Hill.[5]

From 1860 Tom Petrie became heavily involved in the timber industry. Since the 1840s his family had exploited the Hoop pine (Araucaria cunninghamii) that gave the Pine River its name, and at Murrumba Creek a rafting ground was established at what is now known as Sweeney's Reserve (QHR 602687), southeast of the present Petrie town centre, where pines cut from the Pine River district were rafted to Brisbane via Sandgate.[6] In 1860, with the assistance of Aboriginal guides, Tom Petrie accompanied Brisbane sawmill proprietor William Pettigrew to Tin Can Bay, the Mary River, and K’gari (Fraser Island) in search of commercially exploitable timbers, paving the way for the exploitation of the giant Kauri pine (Agathis robusta). Petrie also explored the North Coast between the Blackall Ranges and the sea, looking for stands of valuable red cedar (Toona australis) and reporting on the commercial value of other indigenous timbers. Working with William Pettigrew and employing Aboriginal labour, he extracted considerable quantities of cedar and hardwoods from the Maroochy area to build up capital to develop Murrumba. He did not exploit the Bunya pine (Araucaria bidwillii) of the Blackall Ranges. Like his father Andrew, who had been instrumental in the declaration of this reserve, Tom Petrie understood that the Bunya pines and the ranges in which they were found were sacred to local Aboriginal peoples.[7]

To facilitate his timber operations Tom Petrie marked out several early northern roads, including a track between the Pine River and Bald Hills and a trail from Murrumba to Maroochydore, which later became the Gympie Road. He also blazed a track from North Pine to Humpybong (Redcliffe) that followed traditional Aboriginal tracks.[8]

Petrie held the ten square mile (6,400 acres; 2590ha) Murrumba leasehold for less than three years. Early in 1861 the government survey office identified an area of 28,000 acres (11,331ha) bounded on the south by the North Pine and Pine rivers, to the east by Moreton Bay (Redcliffe Point), and to the north by Deception Bay, as potential farming land. This was proclaimed on 31 May 1862 as the Redcliffe Agricultural Reserve. To secure his improvements on Murrumba, at the first sale of Redcliffe Agricultural Reserve land held in Brisbane in July 1862, Petrie purchased portion 23 (70 acres (28ha) - the homestead block) and leased adjacent portions 24 (40 acres), 25 (43 acres), 29 (62 acres), and 30 (49 acres), to which the family later obtained title.[9]

Although Petrie is often regarded as a benevolent advocate for local Aboriginal peoples, he lived and worked within the colonial social and economic structures of the time, which shaped unequal relationships between settlers and Aboriginal peoples, including his own. As a commercial operator and pastoralist, Petrie relied on Aboriginal peoples to provide security, ready labour, and valuable Indigenous knowledge to exploit natural resources in his commercial pursuits.[i] Despite being aware of the atrocities committed by the Native Police, during an 1861 inquiry into its operations Petrie's evidence recorded he supported the force, segregation of Aboriginal people from towns, and the 'dispersal' of Aboriginal people as a way of reducing their perceived threat.[11]

By 1864 Petrie had constructed a more substantial timber homestead at the top of the broad hill above his original slab hut.[12] At Murrumba, Tom and Elizabeth Petrie raised a family of six daughters and three sons. Tom's interest in trees - whether for commercial, aesthetic, food, or healing potential - was expressed in the numerous trees he planted at Murrumba, including Hoop, Kauri, and Bunya pines. The place became noted for its gardens with fruit trees (including an olive grove), flowers, and vegetables.[13]

Tom Petrie's occupation of Murrumba was the catalyst for further non-Indigenous settlement of the North Pine district. In 1869 Cobb & Co. opened a coach route from Brisbane to Gympie via the route Tom had helped mark out, and a staging post was established temporarily at Murrumba Homestead until Tom erected a hostel on portion 29 (by 1870). This was later licensed as the North Pine Hotel. In the 1880s Petrie took advantage of the construction of the North Coast Railway through his property to subdivide part of portions 29 and 30 as the North Pine Township Terminus Estate, with 134 building allotments first offered for sale in April 1886. This became the nucleus of the township of North Pine. Tom Petrie was active on a number of local government boards and his home was the focus of local social life.[14] In 1877, Tom Petrie also donated land for the establishment of the town's first state school.[15] In the early 1900s his daughter, Constance Petrie, recorded and published her father's memoirs as Tom Petrie's Reminiscences.[16]

By 1895 North Pine had developed into a small township with a population of approximately 500 people. The township included a police station and courthouse, a railway station, bank, hotel, butchers, blacksmith, store, and the state school. There were three churches, Wesleyan, Presbyterian, and Anglican. Several clubs and societies had been established including cricket, tennis, and rifle clubs, the Moreton Horticultural and Agricultural Society, Masonic Temple and the North Pine School of Arts.[17]

North Pine School of Arts

In September 1889 a community meeting was held at the courthouse where it was unanimously decided that a School of Arts would be built at North Pine, ‘the residents in and about the North Pine have for some time past been agitating and discussing the advisability of building a School of Arts in the township’.[18] The chair of the meeting was Tom Petrie, who donated £40, with other community members also giving donations, and by the end of the meeting £100 had been raised. A fundraising campaign followed which included a series of concerts held at the state school.[19] The secretary of the School of Arts Committee, GB Brier, held a meeting with subscribers at the courthouse to nominate trustees for the School of Arts in late November 1889.[20] Once appointed, the trustees purchased a portion of land with frontage to what was then the Gympie Road (Anzac Memorial Avenue (QHR 602693)) from Tom Petrie on which to build the School of Arts. By late January 1890 the construction of the North Pine School of Arts had been completed.[21]

Schools of Arts were a principal source of learning and instruction for Queensland adults in the nineteenth and early twentieth centuries when state secondary education was almost non-existent. Schools of Arts and Mechanics' Institutes emerged from a wider social movement of popular education and self-improvement in nineteenth-century industrial Britain, and the School of Arts Movement found a fertile field in nineteenth-century Queensland. Community organised and financed, these associations were the forerunners of government-funded libraries and technical colleges.[22]

Mechanics' Institutes were formed initially to improve the education of working men and instruct them in various trades. Later their aims broadened, and the institutes became a popular agency of adult education in general. Access to books by borrowing as subscribers provided an important educational and recreational service. The first Mechanics' Institute was established in London in 1824; the first Mechanics' Institute in Australia was established in Hobart in 1827, while the first Mechanics' Institute in Queensland was formed in Brisbane in 1849. In Australia, Mechanics' Institutes became known as Schools of Arts, reflecting a broader mix of educational, cultural, and social roles, and the increasing influence of the middle classes in the movement. The provision of adult education, including formal classes in practical skills, was an important function of these ‘schools', but less formal activities such as debating, amateur dramatics, and the provision of a subscription library and reading room, were also encouraged.[23]

As towns and districts were settled, local committees were formed to establish a School of Arts with the aim to ‘promote moral, social and intellectual growth for the community'. Schools of Arts established in rural districts often served a wider community purpose than those established in urban areas. Whereas every School of Arts established a library as part of their charter, the rural School of Arts was likely to serve an equally important function as a public hall and as a focus for district identity. By 1880, 26 Schools of Arts had been established in Queensland towns, although the government encouraged their construction by subsidising local fund-raising efforts. The movement grew rapidly during the 1880s and 1890s, so that by Federation almost every town and settlement in the colony included a School of Arts, or at least a reading room.[24]

The typical purpose-built School of Arts was a timber building accommodating a public hall and two or three rooms for a subscription library, reading room, or meeting room. Substantial masonry structures were erected in larger provincial centres. Although School of Arts buildings varied greatly in size, materials, and style, a common element was that they were prominent within the townscape. The major room interiors characteristically had high levels of natural and artificial light as well as abundant natural ventilation. As a group, these buildings were important as symbols of progress and their construction in a particular community was seen as a sign that that community had ‘come of age'.[25]

The North Pine School of Arts was officially opened on 28 January 1890. The building was designed by Charles James Grierson, architect, civil engineer, and North Pine resident, who designed and supervised the building’s construction free of charge.[26] John Bond built the hall, Fred Schwartz constructed the unusually shaped semi-circular roof, as well as the plumbing, and John McTaggart was responsible for the interior of the building - all of whom were residents in the district. Additionally, volunteers from the community assisted in the hall’s construction.[27] 

The opening of the new School of Arts building was a major event in the district, with many dignitaries and visitors arriving at North Pine from Brisbane by a special rail service organised for the occasion. Several colonial ministers were amongst the visitors, such as the Member for Moreton, Minster Battersby, Minister for Education, Hon. Powers, Treasurer, Hon. Donaldson, and Minister for Railways, Hon. Nelson. Each addressed the large crowd gathered in the hall and emphasised the importance of such institutes that provided valuable adult educational opportunities to communities. Once the formalities had been carried out a concert, supper and dance took place with the celebrations lasting until dawn. The dignitaries left North Pine by a special train service at 11pm.[28]  

At the time of the opening, the North Pine School of Arts was described in several newspapers including the Telegraph:

The hall, which is built of hardwood weatherboards, lined with pine, is 62 feet long by 30 feet wide. In addition to this there are two rooms at the back which are in course of completion. These will be fitted up as the library and games room respectively, while the 10 feet wide stage will be fitted up as a reading room. The roof is of circular galvanised iron, and the whole place is painted throughout. Ample ventilation is provided by the windows and by other means.[29]

The Moreton Mail stated, ‘North Pine was blessed with a really handsome and useful public building’, and described the building in detail:

The interior is painted a pale green, relieved by a dado of chocolate-brown colour, whilst the front of the stage is panelled with polished cedar of a very neat design. The ventilation is complete, having no less than fourteen windows, four circular house ventilators in the low gables, and three large vents in the roof, whilst all round the building an open space has been left between the roof and the wallplates. The hall is splendidly lighted, and ample seating accommodation has been provided in the shape of chairs and benches with backs.[30]

On completion, the building, land, and semi-grand piano cost a total of £1000, with two-thirds of this sum already paid. It would take the committee another forty-eight years to completely pay off the School of Arts, ‘after a struggle of 51 years (1887-1938) the land and building was now clear of debt’.[31]  

The School of Arts was immediately in use, with concerts, dances, instructional lectures, and political and friendly society meetings being held, including the district’s Ancient Order of Foresters lodge. The North Pine School of Arts Committee’s fundraising dance was held annually, while other dances were held at the hall to raise money for various causes, such as the Roman Catholic Chapel Fund.[32] Over the decades the hall was used as a polling booth on election days and fetes were also held in the grounds and hall.[33] By 1910 the School of Arts library held 905 books and was well subscribed by the residents of the district.[34]

North Pine School of Arts again became a focal point for an important occasion in Queensland’s history in February 1925, with the establishment of the Anzac Memorial Avenue from Petrie (formerly North Pine) to Redcliffe commemorating Queenslanders’ involvement in World War One. To mark the beginning of the Avenue, a ceremony attended by the Queensland Governor, Sir Matthew Nathan and other dignitaries, was held outside the School of Arts. The Governor planted two Cocos palms (Arecastrum romanzoffianum) at the front of the building. The trees were donated by Elizabeth Petrie, Tom Petrie’s widow from the extensive gardens of Murrumba. These trees are no longer extant.[35]

In September 1925, the School of Arts committee discussed the possibility of building an addition to the hall, to provide room for a pantry and a larger area for the library. By November it was reported in the Daily Mail that the new addition ‘is to take the form of a wide veranda, with a room at each end; one room is to serve as a new library’.[36] The committee appointed architect, Eric Hawksley Boden, to design the additions which were to cost just over £186. Tenders were called and A Dixon was the successful contractor.[37] The additions were complete in early May 1926, and an opening ceremony was held to mark the occasion. The opening was attended by several dignitaries such as the Undersecretary for Public Instruction, Mr B McKenna, the Public Service Commissioner, Mr JD Story, the Mayor of Redcliffe, Alderman Dunn, and the president of the School of Arts committee, Mr Baldwin. The event was well attended by residents and visitors, with a dance held that night. The new addition was described as comprising ‘a closed-in veranda, with a room for the library, and also a pantry … Tea was served on the new veranda by the ladies’ committee. Selections were rendered by the Pine Rivers Band’.[38]   

Over the years the hall has been used for various activities. In the 1950s movies were screened on certain nights. By the mid-1950s a skillion-roofed projection box had been constructed on top of the small front porch and as a consequence, the distinctive semi-circular roof of the original porch was removed. It was also at this time that the hall had a ceiling of cane-ite added at the movie projectionist lessee’s (Messrs. JC and K Peters) expense. Photographic evidence reveals that the projection box had been removed by the 1970s and the porch roof reinstated with a different curve from the original semi-circular porch roof.[39]  

In 1987, following a series of lengthy negotiations, the North Pine School of Arts Trustees handed the property over to the Pine Rivers Shire Council. Notice was given in the Courier Mail and stated that ‘Notice is hereby given that … the Council of the Shire of Pine Rivers intends to take the land described in the Schedule hereto for park, public hall and public meeting purposes’.[40] Once under the ownership of the Council, a concerted effort was made to restore the building.

In 1987 the building was shifted 15m to the northeast of its original location due to the construction of modern shops adjacent to the hall that detracted from its historic character. This was reported in the Pine and Caboolture Express in June 1987, ‘work will commence to relocate the hall from its current site to its new home, a more central point in the surrounding parkland … the new site of the hall will reinstate its importance to the central Petrie District and confirm its historical significance as one of the oldest buildings in the Pine Rivers district’.[41] Restumping was carried out at this time. Additionally, work was undertaken to the verandah extension, installation of a new timber ceiling in the hall, and carrying out extensive landscaping, including the establishment of a carpark to the west of the hall.[42]   

Tom Petrie Memorial

On 26 August 1910, Tom Petrie passed away at his home, Murrumba, aged 79. Described at the time as a pioneer and explorer, it was stated in an obituary that ‘in his pioneering work he became closely associated with the different tribes of Aborigines [sic], who inhabited southeastern Queensland, and he probably knew more of their lives and habits than any white man.’[43] In the late nineteenth and early twentieth centuries Tom Petrie was highly esteemed,  not only in the North Pine district but also throughout the State. This was demonstrated when, in early October 1910, a committee was established to have a monument constructed in his memory. The committee, made up of community members and Petrie’s acquaintances, held a meeting at North Pine ‘to consider the best means of perpetuating the memory of Mr Tom Petrie’, and was well attended, with Mr Hunter, headmaster of the North Pine State School, appointed secretary and treasurer.[44] Funding for the monument was discussed and it was agreed that the best way to raise money would be to invite public subscriptions for its construction.[45] 

The second committee meeting of the Tom Petrie Memorial Fund in late October 1910 was held in the North Pine School of Arts. The fund had raised £24 with more subscriptions received each day.[46] The fund was closed on the 31 May 1911 with just over £170 raised, a considerable amount for the time. Many donations for the memorial had been received from within Queensland, interstate and overseas. Amongst contributors were prominent names such as Thomas Welsby, Sir Robert Philp, Hon. James Cowlishaw, Allan and Stark (of Allan and Stark Department Store in Queen Street, Brisbane), several politicians, members of the military including Colonel Burns (Sydney), and Major HC Foott (Melbourne).[47] Philanthropist, William Robert Black, made a donation and wrote, ‘A slight tribute from an old friend’.[48] Present and past Queensland governors also made contributions: His Excellency Sir William MacGregor (Queensland Governor 1909-1914); and Lord Lamington (Queensland Governor 1896-1901), who stated, ‘I well remember him, and always admired his constancy in standing up for the … trustworthiness of the blacks [Aboriginal people]. He gave me once a vivid description of the early days of Brisbane’.[49] Donations were also received from the Redcliffe and Pine Rivers Shire councils. Significant donations were made by Tom Petrie’s widow, Elizabeth, and family, and the Campbell family.[50] 

By the end of May 1911, it had been decided that the memorial would consist of a marble and sandstone monument incorporating a drinking fountain, a water trough to provide water for animals, and a windmill with pumping gear to deliver the water to the fountain and trough. The location chosen was the corner of Whites Road and what was then known as Gympie Road (Anzac Memorial Avenue) with an additional small portion of land adjacent to this donated by local resident, Edward Southerden Jr, for the trough and windmill, ‘a contract had been let for the erection of a handsome granite water trough and drinking fountain combined’.[51] The inclusion of a drinking trough for animals was a distinctive feature of the memorial, and reflects the rural setting in which it was erected. The construction of the monument had been completed by July 1911, and the Queensland Governor, His Excellency Sir William MacGregor, had confirmed his attendance for the unveiling ceremony.[52] Prior to this, in early June 1911, the name of the railway station and post office was changed from North Pine to Petrie, as a mark of respect.[53]

The memorial was officially unveiled on 15 July 1911. It was reported that the rain had kept the attendance numbers down, however, there were many locals and subscribers present when the Governor of Queensland, Sir William MacGregor and his wife arrived for the occasion.

The opening ceremony began in the North Pine School of Arts, where several dignitaries, including the Governor, gave speeches celebrating the life of Tom Petrie and his great contributions to Queensland and the North Pine district. His Excellency stated that they ‘were doing honour to a man who was held in the highest esteem and respect, and loved by all who know him … a really good man and good citizen. There was only one Tom Petrie, and there could only be one Tom Petrie’. He went on to describe Petrie as unselfish, unpretentious, with a sympathetic nature.[54]

The party then relocated to the memorial across the road, where the Governor officially unveiled it; he and his wife taking a drink from the fountain, and the water trough was filled. The memorial was described at the time as ‘graceful in its proportions, useful in its purpose’,[55] and further described it in detail:

The bottom base of the monument is of colonial grey granite, the basement pilasters, cap, urns, and shaft being of Helidon freestone. The body consists of four marble panels, and marble steps are let into the freestone base. The marble drinking fountain is in the left hand panel, and the grey granite trough is on the opposite side, resting on a granite basement. The inscription, framed in a carved laurel wreath, is on the front face.[56] 

At the conclusion of the ceremony, Lady MacGregor planted two trees outside the North Pine School of Arts.[57] The fundraising campaign had been such a success that on completion of the work a small credit remained. This was donated to the North Pine State School and the North Pine School of Arts.[58]

In 1940 the Tom Petrie Memorial was relocated to a triangular, treed road reserve at the junction of Anzac Memorial Avenue, Dayboro and Redcliffe roads. Upgrades to the roads necessitated this relocation, carried out as a cooperative effort by the Main Roads Commission and the Pine Shire Council. The trough and windmill were not relocated at this time and continued to provide water to animals on the original site.[59] 

The memorial was once again relocated in the mid-1980s to the park adjacent to the School of Arts building, as part of the reinvigoration of the park and planned relocation of the building.[60] The memorial was again moved in 2010 to an area closer to the School of Arts building and Anzac Memorial Avenue. As part of this, the memorial was carefully restored and the original water trough reattached to the memorial. A replica windmill was built beside it. On 26 August 2010, 100 years after Tom Petrie’s death, the unveiling ceremony took place, attended by several dignitaries, including the then Mayor of Moreton Bay Regional Council, Allan Sutherland, as well as Tom Petrie’s great granddaughter, Janice Hall. Also in attendance was Maroochy Barambah of the Turrbal People.[61]   

The North Pine School of Arts continues to be valued by the residents of the district. The building with its semi-circular roof is a central focal point in Petrie and has been since its establishment in 1890. The Tom Petrie Memorial which is situated beside the School of Arts building continues to be a valued monument for the community and is a testament to the contribution Tom Petrie made to the history of Queensland.

Description

North Pine School of Arts and Tom Petrie Memorial stand in the town centre of Petrie, a suburb in the City of Moreton Bay. The place comprises a former school of arts building (1890, extended 1926) and a tall stone memorial monument to Tom Petrie (1911). The two stand near each other on an open, flat site that fronts southeast to Anzac Avenue, the suburb’s main thoroughfare. The building faces the street and the memorial stands nearby, approximately 12m to the east of the building’s front entrance. The site is continuous into a public park on the building’s northeast side, and into an open area on its southwest, which is used for carparking.

Features of North Pine School of Arts and Tom Petrie Memorial of state level cultural heritage significance include:

• North Pine School of Arts Building (1890, extended 1926, relocated here 1990); and
• Tom Petrie Memorial (1911, relocated here 2010).

North Pine School of Arts Building (1890, extended 1926, relocated here 1990)
The North Pine School of Arts Building is a modest, low-set, single-storey, timber-framed building in a late-Victorian architectural style. It comprises an 1890 core with a 1926 verandah extension along its northern side. The building’s walls are clad with weatherboards and chamferboards and its roofs are clad with corrugated metal sheets. The core is symmetrical, comprising: a large rectangular hall with a high, round, barrel roof; an entrance porch projecting from the centre of the front; and a block of two rear rooms projecting from the rear with a concave roof. The core is substantially intact with only minor alterations over time. The 1926 northern verandah extension is a long, rectangular structure with a skillion roof. It has been considerably altered internally over time and shortened at one end. Across both sections, renovations (principally 1990s) have introduced reproduction fabric, which is typically identifiable on close inspection.

The building (core and northern verandah) has been moved from its original location (the allotment immediately to its south, in 2025 a carpark). The original barrel roof of the porch has been replaced with a parabola-shaped roof (1970s) and the porch walls have been shortened, and the original central tall timber finial of the front wall has been removed.

Entrance into the front of the building is via a central stair into the front porch, which has been enclosed to form a foyer. This opens through what was originally the building’s front doors into the hall, the largest room of the building. The hall is long and rectangular with a fixed perimeter seat, and a raised stage at the far end the width of the room. The hall’s original iron roof frame has been altered by replacing members to a different configuration (1992), and timber board ceilings have been added (supported on earlier timber frames c1956). An original doorway on the southern side of the hall leads out to a modern open porch (1990). A doorway (not original, but pre-1926) has been cut into the northern side of the hall, into the northern verandah extension.

Original doors in the rear wall of the stage lead into two small rear rooms, originally the library and games rooms (it is not known which was which). The floors of these rooms are at the level of the raised stage and retain original or early floorboards. The rooms each have one double-hung window with external sheet-metal hood matching those of the hall. The rear wall of each room has had their doorway sheeted over internally and externally and a ceiling has been added (1992). The walls are lined with beaded boards: it is not known if these rooms were originally lined, but no evidence of the former rear doorways is visible in the boards, indicating that the wall linings are likely not original and date to after c1990 when the doors and rear landing were removed.

The building retains many of its original methods to induce high-levels of ventilation in the hall including: high-set, tall windows with vertical, centre-pivoting, timber sashes on both sides and front; large, round, louvred ventilation openings at high level; and decorative sheet-metal ridge ventilators. The barrel roof has narrow eaves, which were originally open for ventilation into the hall but have been sheeted over.

Although altered, the northern verandah generally retains its original skillion-roofed form and some original internal features. Originally a ‘closed-in’ verandah (weatherboard balustrade and lighter weight enclosure between verandah posts, possibly blinds) with small enclosures for a room at either end, the verandah retains its former pantry room at the western end, converted to a kitchen, and its central verandah section has been fully enclosed to form toilets. The eastern end of the verandah has been demolished, including the enclosure of the eastern room (former library), so that the verandah is no longer flush with the front of the hall. 

An open porch structure has been added on the hall’s southern side (1990, then roofed after 1992), which is not of state-level cultural heritage significance.

Features of the North Pine School of Arts building of state level cultural heritage significance include:

• central location within Petrie, adjacent to and facing Anzac Avenue with a direct visual relationship to the Tom Petrie Memorial;
• hall and its front porch and rear block (1890), and northern verandah (1926);
• 1890 fabric, 1926 fabric, and fabric that reconstructs lost 1890 and 1926 fabric;
• low-set building form fronting Anzac Avenue, with open space on front and both sides to facilitate abundant natural light and ventilation of the hall interior;
• original timber floor, wall, and roof framing;
• chamferboard cladding on rear wall of hall; weatherboard cladding on sides of hall, sides of rear block, and northern side of the verandah’s rear ‘pantry’ room; and original chamferboard and weatherboard cladding ‘scheme’ (originally the hall’s front and rear walls, all porch walls, the rear wall of the rear block, and the front and rear walls of the verandah were clad with chamferboards, while the remaining side walls of the hall, rear block, and verandah, including balustrade, were clad with weatherboards);
• barrel roof over main hall; timber fretwork bargeboards on front and rear; and timber fascia boards and their short returns across the front and rear elevations forming ‘cornices’;
• concave roof over rear block; and skillion roof over northern verandah;
• high-level, round, louvred vents in front and rear walls into the hall;
• corrugated metal roof cladding on all roofs (re-sheeted c1992), and sheet-metal ridge ventilators (1993 reconstructions);
• timber-framed, concave window hoods with corrugated metal sheet cladding of hall sides and rear block;
• front porch interior: small entrance space; beaded timber board wall lining; moulded timber skirting and architraves; timber-framed, panelled double doors between porch and hall and their original/early hardware;
• hall interior: large, open auditorium space and its raised stage; beaded timber board wall lining; moulded timber skirting, architraves, arches on stage wall, and cornices; wall-hung, timber perimeter seat and its supports; tall, timber-framed windows comprising pairs of vertical, centre-pivoting, four-paned sashes – square-headed on hall sides and round-headed on front; original sections of iron roof frames, exposed internally, and decorative brackets between windows; original, low-waisted, panelled timber door leaves into rear rooms; southern side doorway opening to exterior (excludes door leaf) and its early metal rim lock striker plate; and early (not original) doorway in northern side of hall (originally to exterior, has been widened likely 1926);
• rear block rooms interior: single-skin wall between rooms of beaded timber boards and its moulded timber belt rail; other beaded timber board wall linings if proven to be original; original/early timber floorboards; square, timber-framed double-hung windows; evidence of two former doorways (likely original) within wall framing (doors have been boarded over externally and internally);
• verandah interior: original (1926) fabric as well as accurately reconstructed 1926 fabric, extent of which is not known, including: original enclosure walls lined with V-jointed (VJ) timber boards and high-waisted, panelled timber door into rear ‘pantry’ room; original timber verandah posts where surviving in original position within later enclosure fabric; and VJ timber board ceilings.  

Features of the North Pine School of Arts Building not of state level cultural heritage significance include:

• understorey structure, stumps (c1990) and perimeter battens (c1995); non-original weatherboard cladding of front wall and porch walls (originally chamferboards); non-original weatherboard cladding of rear wall of rear block (originally chamferboards); sheet-metal window hoods of front elevation; gutters and downpipes (original gutters were ogee with acroteria, and downpipes were round);
• porch: non-original fabric and alterations, including: front stair; parabola-shaped roof; boarded front French doors; floor coverings/surfaces (not original, including floorboards); flat sheet wall and ceiling linings and associated battens/cover strips and cornices; and wall plaques;
• hall: non-original fabric and alterations, including: floor and stage floor coverings/surfaces (not original, including floorboards); stage front (1994); stage stairs and their wall-mounted handrail (1994 replacements not reconstructions, stairs were constructed wider than earlier two sets); rectangular, timber wall-mounted frame in centre of stage wall; all non-original openings in wall between stage and rear rooms; non-original door leaves and window hardware (typically chrome); metal roof framing elements (flats, rods, etc) that have replaced original (1890) sloped and vertical elements (c1992); timber batten mounted on side walls and its evenly-spaced ring sleeves (date and use not known); and ceiling and its vented roses (added c1992);
• rear rooms: non-original fabric and alterations, including: ceiling (added c1992); wall shelves; and cupboards;
• verandah: non-original fabric and alterations, including: full enclosure of central portion of verandah; partitions; kitchen and toilets fitouts; all windows and exterior doors; and faux heritage features, including dowel balustrade, handrail, posts in new locations, and slat valances of eastern end of verandah (verandah end was originally flush with the front of the hall);
• non-original fabric and alterations made c1956 for cinema use, including: cutting down of porch walls for second storey projection box, since removed; holes cut in hall front wall for projection windows, since closed over; and addition of timber ceiling frames in hall roof space;
• fabric added to sheet over original windows and doors;
• all elements of the non-original southern side porch including stair, ramp, landing, framing, and roof;
• sheet-metal window hoods on all sides (not original, added post-1998); and
• all services, including lights, fans, cables, etc.

Tom Petrie Memorial (1911, relocated here 2010)
The Tom Petrie Memorial is a tall stone memorial monument, comprising a square stepped base, and a central sandstone plinth supporting a sandstone obelisk. The sandstone is highly carved with decorative and symbolic features, including urns, draped shroud or veil, and wreath. Each face of the plinth holds a large white marble tablet. The front tablet bears a memorial dedication in leaded letters, one side tablet has a carved marble bowl (human drinking fountain), and the opposite side tablet supports a grey granite animal drinking trough that stands on a matching stone pedestal. The mechanisms for supplying and draining water to both sides is within the plinth, and the trough includes a white marble divider panel between the trough and the drainage system. The original water supply tap for the drinking fountain has been removed and replaced with a modern brass tap that is not of state level cultural heritage significance. The monument stands on a rectangular concrete base that is not of state level cultural heritage significance. On this are square granite and sandstone steps with marble treads, which have lost their original corner bollards. The monument has been repaired in many locations to a high standard with matching stone (2010).

Features of the Tom Petrie Memorial of state level cultural heritage significance include:

• central location within Petrie adjacent to Anzac Avenue with a direct visual relationship with the North Pine School of Arts Building;
• original (1911) and repaired stone elements (2010): square platform steps of granite and sandstone and its marble treads; sandstone plinth and obelisk; marble tablets on all plinth faces and leaded dedication lettering on front tablet; marble rounded drinking bowl mounted to side tablet; granite animal trough and marble divider mounted to opposing side and its granite pedestal foot (reconstruction 2010).

Features of the Tom Petrie Memorial not of state level cultural heritage significance include:

• rectangular concrete base platform; non-original tap of drinking bowl; monument’s interior support elements and all water supply and drainage elements; nearby windmill and fence; and all services, including modern lights.

References

[1] State Library of Queensland, 'Aboriginal and Torres Strait Islander Languages', slq.qld.gov.au/discover/first-nations-cultures/aboriginal-and-torres-strait-islander-languages, accessed 14 August 2025; Moreton Bay Regional Council, 'First Nations', moretonbay.qld.gov.au/libraries/Discover/History-and-Heritage/Moreton-Bay-History/Pine-Rivers-District-History/First-Nations, accessed 14 August 2025.
[2] Entry in the Queensland Heritage Register, Petrie State School (QHR 602841).
[3] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp.91-109.
[4] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp pp.91-109.
[5] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp pp.91-109.
[6] Entry in the Queensland Heritage Register, Petrie State School (QHR 602841).
[7] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp.91-109.
[8] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp.91-109.
[9] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp.91-109.
[10] Mark Cryle. ‘Introduction’, in Constance Campbell Petrie, Mark Cryle, Tom Petrie's Reminiscences of Early Queensland / Constance Campbell Petrie; with an introduction by Mark Cryle, University of Queensland Press, 1992, pp.xxxi-xxxv; Dimity Dornan and Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, 99-101; Queensland Government, Legislative Assembly, Select Committee on the Native Police Force: Report, 1861, ‘Thomas Petrie, Esq., called in and examined’, p.111; Archaeo, Cultural Heritage Services, Cultural Heritage Survey and Assessment, Pine Rivers Shire: Report to Pine Rivers Shire Council, November 2002, p.120; Jonathan Richards, ‘A Question of Necessity’: The Native Police in Queensland, PhD, University of Queensland, 2005, pp.1-3, research-repository.griffith.edu.au/server/api/core/bitstreams/783f50e7-4f7d-5527-a815-7ed6e894f747/content, accessed 14 August 2025.

[11] Queensland Government, Legislative Assembly, Select Committee on the Native Police Force: Report, 1861, ‘Thomas Petrie, Esq., called in and examined’, p.111-113; Constance Petrie, Tom Petrie's Reminiscences of Early Queensland, Brisbane: Watson, Ferguson & Co., 1904, p.8. Alan Hillier, ’The Native Police Under Scrutiny’, Journal of the Royal Historical Society of Queensland, 15, no.6 (1994): 281.

[12] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp.91-109.
[13] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp.91-109.
[14] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp.91-109.
[15] Entry in the Queensland Heritage Register, Petrie State School (QHR 602841).
[16] Entry in the Queensland Heritage Register, Murrumba Homestead Grounds (former) (QHR 602370); Australian Dictionary of Biography, ‘Thomas Petrie’; Dimity Dornan, Denis Cryle, The Petrie Family: Building Colonial Brisbane, University of Queensland Press, 1992, pp.91-109.
[17] Pugh’s Queensland Almanac, Directory and Law Calendar, 1890 and 1895.
[18] Moreton Mail, ‘North Pine Notes’, 20 September 1889, p.7.
[19] Moreton Mail, ‘North Pine Notes’, 20 September 1889, p.7; Moreton Mail, ‘North Pine School of Arts, A Concert’, Moreton Mail, 4 October 1889, p.6; Moreton Mail, ‘A Pine Concert’, 4 October 1889, p.7; Moreton Mail, ‘North Pine Concert’, 18 October 1889, p.2.
[20] Moreton Mail, ‘North Pine School of Arts’, 22 November 1889, p.7.
[21] Telegraph, ‘North Pine School of Arts’, 27 January 1890, p.1; Converge, Heritage and Community, North Pine School of Arts, Petrie, Conservation Management Plan, Moreton Bay Regional Council, September 2019, p.6.
[22] Entry in the Queensland Heritage Register, Woody Point Memorial Hall (QHR 602828); Thom Blake, Queensland Cultural Heritage Context Study, A Report for the Cultural Heritage Branch, Department of Environment, 1996, pp.102-104.
[23] Entry in the Queensland Heritage Register, Woody Point Memorial Hall (QHR 602828); Thom Blake, Queensland Cultural Heritage Context Study, A Report for the Cultural Heritage Branch, Department of Environment, 1996, pp.102-104.
[24] Entry in the Queensland Heritage Register, Woody Point Memorial Hall (QHR 602828); Thom Blake, Queensland Cultural Heritage Context Study, A Report for the Cultural Heritage Branch, Department of Environment, 1996, pp.102-104.
[25]Entry in the Queensland Heritage Register, Woody Point Memorial Hall (QHR 602828); Thom Blake, Queensland Cultural Heritage Context Study, A Report for the Cultural Heritage Branch, Department of Environment, 1996, pp.102-104.
[26] Moreton Mail, ‘Opening the North Pine School of Arts’, 31 January 1890, p.9; Telegraph,‘North Pine en Fete: Opening School of Arts’, 29 January 1890, p.5; Converge, Heritage and Community, North Pine School of Arts, Petrie, Conservation Management Plan, Moreton Bay Regional Council, September 2019, p.6.
[27] Moreton Mail, ‘Opening the North Pine School of Arts’, 31 January 1890, p.9; Telegraph,‘North Pine en Fete: Opening School of Arts’, 29 January 1890, p.5; Converge, Heritage and Community, North Pine School of Arts, Petrie, Conservation Management Plan, Moreton Bay Regional Council, September 2019, p.6.
[28] Moreton Mail, ‘Opening the North Pine School of Arts’, 31 January 1890, p.9; Telegraph,‘North Pine en Fete: Opening School of Arts’, 29 January 1890, p.5; Converge, Heritage and Community, North Pine School of Arts, Petrie, Conservation Management Plan, Moreton Bay Regional Council, September 2019, p.6.
[29] Telegraph, ‘North Pine en Fete: Opening School of Arts’, 29 January 1890, p.5.
[30] Moreton Mail, ‘Opening the North Pine School of Arts’, 31 January 1890, p.9.
[31] Courier Mail, ‘North Pine’, 26 October 1938, p.11.
[32] Telegraph, ‘Ball at North Pine’, 11 November 1892, p.4; Telegraph, ‘Grand Patriotic Concert’, 12 February 1900, p.5; Brisbane Courier, ‘North Pine School of Arts Hall’, 25 June 1912, p.9; Daily Standard, ‘Disenfranchised Workers Rejoice’, 10 June 1915, p.2.
[33] Telegraph, ‘Election’, 22 March 1890; Daily Mail, ‘Petrie’, 4 January 1926, p.12.
[34] Brisbane Courier, ‘North Pine’, 2 February 1910, p.2.
[35] Entry in the Queensland Heritage Register, ‘Anzac Memorial Avenue (former)’ (QHR 602693); Brisbane Courier, ‘Historical Palm Trees’, 20 February 1925, p.14; Telegraph, ‘Memorial Avenue, Petrie to Redcliffe, Tree Planting by Governor’, 25 February 1925, p.5.
[36] Daily Mail, ‘Petrie’, 7 November 1925; Daily Mail, ‘Petrie’, 29 September 1925, p.14.
[37] Daily Mail, ‘Pine Rivers District, Petrie’, 11 February 1926, p.14.
[38] Daily Mail, ‘Petrie’, 6 May 1926, p.16.
[39] Moreton Bay City Council Library, Historic Photograph Collection, ‘North Pine School of Arts, Petrie’, 1959; Moreton Bay City Council Library, Historic Photograph Collection, ‘View of Petrie Township’, 1970s; State Library of Queensland, Image Queensland, ‘North Brisbane School of Arts Hall Petrie’, 1975; North Pine School of Arts Records, Box 3888, State Library of Queensland; North Pine School of Arts, Box 4233, State Library of Queensland, ‘Letter from Shire Clerk to Messrs. O’Hara, Patterson and Perrier in relation to Petrie Hall and Picture Screening’ 14 May, 1956; ‘Letter from Trustees of North Pine School of Arts to Messrs. JC and K Peters, 1956. 
[40] Courier Mail, ‘Pine Rivers Shire Council, Notice of Intention to Resume’, June 1987, p.39.
[41] Pine and Caboolture Express, ‘Arts hall to roll to new location’, 17 June 1987; Merrin and Cranston Architects, Report on the Condition of the School of Arts, Petrie Together With the Recommendations for the Restoration and Renovation of the Building for the Pine Rivers Shire Council, 1988, p.1. 
[42] Converge, Heritage and Community, North Pine School of Arts, Petrie, Conservation Management Plan, Moreton Bay Regional Council, September 2019, p.10; Merrin and Cranston Architects, Report on the Condition of the School of Arts, Petrie Together With the Recommendations for the Restoration and Renovation of the Building for the Pine Rivers Shire Council, 1988, pp.2-5.
[43] Telegraph, ‘Death of Mr T Petrie: A Queensland Pioneer’, 27 August 1910, p.6; He was survived by his wife and two sons and five daughters of their nine children (QHR 602370).
[44] Brisbane Courier, ‘The Late Mr T Petrie: Movement to Perpetuate His Memory’, 8 October 1910, p.7.
[45] Brisbane Courier, ‘The Late Mr T Petrie: Movement to Perpetuate His Memory’, 8 October 1910, p.7.
[46] Brisbane Courier, ‘Tom Petrie Memorial Fund’, 24 October 1910, p,7.
[47] Brisbane Courier, 22 October 1910, p.5; 31 October 1910, p.7; 29 November 1910, p5; 14 February 1911, p.5; 15 February 1911, p.5.
[48] Brisbane Courier, 23 November 1910, p.5.
[49] Brisbane Courier, 8 November 1910, p.5; Brisbane Courier, 3 June 1911, p.7.
[50] Brisbane Courier, 10 June 1911; 2 March 1911, p.5.
[51] Brisbane Courier, ‘Tom Petrie Memorial Committee’, 31 May 1911, p.12.
[52] Brisbane Courier, ‘Tom Petrie Memorial Committee’, 16 June 1911, p.6.
[53] Telegraph, ‘North Pine Station: Name Altered to Petrie’, 7 July 1911, p.5.
[54] Queenslander, ‘The Petrie Memorial: Unveiling by the Governor’, 22 July 1911, p.39; Lawrence Smith, Tracks and Times: A History of the Pine Rivers District, Pine Rivers Council, 1988, p.79.

[55] Observer and Evening Brisbane Courier, 17 July 1911, p.7.
[56] Queenslander, ‘The Petrie Memorial: Unveiling by the Governor’, 22 July 1911, p.39.
[57] Queenslander, ‘The Petrie Memorial: Unveiling by the Governor’, 22 July 1911, p.39.
[58] Brisbane Courier, ‘Tom Petrie Memorial’, 31 July 1911, p.8.
[59] Courier Mail, ‘Tom Petrie Memorial’, 8 November 1940, p.4.
[60] ‘Petrie School of Arts: Proposed Relocation and Landscape Development’, Land Plan Studios, February 1985, North Pine School of Arts Records, Box 3888, State Library of Queensland; North Pine School of Arts, Box 4233, State Library of Queensland.
[61] Converge, Heritage and Community, North Pine School of Arts, Petrie, Conservation Management Plan, Moreton Bay Regional Council, September 2019, p.12.

Image gallery