Seaside Angel

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From Paris to Melbourne

Mirka Mora’s passionate longing for Australia found a home in St Kilda. It’s curious that this gifted and aspiring young woman was adamant that she wished to quit Paris and relocate to Melbourne. It was 1950. She was married to Georges Mora and had given birth to their first son, Philippe. What prompted such a dramatic shift? Georges wasn’t keen. The former French Resistance member had other destinations in mind if forced to leave Paris. Casablanca, for example. Perhaps Saigon. But Mirka was determined, with a ferocious focus that would mark the rest of her life.

Georges and Mirka in Paris, 1948. Photographer unknown. Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

'Discussing the future with Georges'. Georges and Mirka on the beach at Saint-Quay-Portrieux, Brittany, France, 1946. Photographer unknown. Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

Mirka at Saint-James, Normandy, France c.1933. Photographer unknown. Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

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Paris End of Collins St - 1950s

Presciently, the Moras stayed in St Kilda Road when they arrived in July 1951. A series of fortunate coincidences lead them to ren an apartment at 9 Collins Street, already known as the 'Paris end' of Collins Street. Grosvenor Chambers was built in 1888 to accommodate artist studios and its illustrious tenants included Tom Roberts, Jane Sutherland, Arthur Streeton and Clara Southern, all members of the Heidelberg School.

Mirka holding Tiriel with William and Philippe, 9 Collins Street, Melbourne, 1958. Photographer unknown. Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

Georges and Mirka at the Mirka Cafe. 1954. Photographer unknown. Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

Mirka, c.1955, Photographer Athol Shmith. Copyright Athol Shmith Estate.

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St Kilda, Fitzroy Street (Tolarno) 1966-1970

If Mirka had led the move to Melbourne, it was Georges’ idea to settle in St Kilda. The Tolarno Bistro and Hotel were ambitious projects for Mirka and Georges, almost too much so, making it a risky financial enterprise. Neither had skill in running a hotel, and extensive renovations had to take place before the restaurant opened in 1964. A further eighteen months went by before the family moved in. The Moras had bought the hotel from St Kilda residents Bill Roth and his wife Renee who had managed the hotel and the large downstairs dining room. Philippe had been joined by brothers William and Tiriel. All had separate rooms. Breakfast and dinner were taken in the bistro at ‘the family table’ and the boys grew up with a refined taste in food. The Moras brought a new sense of style to St Kilda, together with their celebrity clientele, and became well known local identities.

Mirka Mora. Untitled (Tolarno mural), [detail] 1966. Photographer Unknown. Oil, enamel, charcoal, paper on canvas and plywood. 122 x 244 cm. Collection Heide Museum of Modern Art. Purchased with funds raised by the Mirka for Melbourne campaign 2019. Copyright The Estate of Mirka Mora.

Mirka and Georges at Tolarno French Bistro with Murray Walker, c.1967. Mirka Mora mural at rear. Photographer Unknown. Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

'Madame Mora in her studio surrounded by panels painted by herself'. 1967. Tolarno French Bistro. Photographer Unknown. (The Bulletin, 3 June 1967, p. 67). Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

Mirka in her basement studio. Tolarno French Bistro. c.1968. Photographer Nigel Buesst. Heide Museum of Modern Art Archives, Melbourne. Copyright Nigel Buesst.

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St Kilda, Wellington Street 1970-1975

Mirka didn’t move far from the Tolarno. She rented a shopfront and dwelling at 26 Wellington Street, off St Kilda Junction and about a ten minute walk. ‘Everybody visits me’, she said. It seemed Mirka was continuing the same open house policy she and Georges had adopted since 9 Collins Street. Fashion designer Jenny Kee and her partner artist Michael Ramsden came to stay, as did journalist Mary Craig and the poet Michael Dransfield. Jean Shrimpton dropped in. But there were rules. Mirka worked solidly from 9am until 2pm, when no visitors were allowed. Then after a bath - ‘I get covered in paint’ - she had lunch, often at a nearby restaurant or cafe, and connected with family and friends.

Mirka Mora. Photographer Rennie Ellis. 1973. Courtesy Rennie Ellis Photographic Archive.

Mirka Mora. Untitled (Doll). 1974. Oil and gesso on cotton canvas. 27 x 15 x 15 cm. Collection Heide Museum of Modern Art. Bequest of Barrett Reid 2000. Copyright The Estate of Mirka Mora.

Mirka. 1971. Photographer Unknown. Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

Mirka with prawns. c.1972. Photographer Unknown. Mirka Mora papers, Heide Museum of Modern Art Archive. Purchased with funds raised by the Mirka for Melbourne campaign 2019.

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Epilogue

Though looking forward to living with William and his family, Mirka was anguished about leaving Barkly Street and devoted the epilogue in her memoir to it. ‘I felt like a snake leaving its skin in the summer, like the Christmas beetle gripping still a little longer on the tree bark. It is hard to leave a place at any time of your life; it is your memories entassées [accumulated] that you have to leave behind, but they will attach themselves to you’ . She made Richmond her new home until Alzheimer's disease necessitated her admission to a nursing home in nearby South Melbourne. She died there at the age of 90 on 27 August 2018. Her death resulted in a huge outpouring of grief from the many whose lives she had touched and enriched.

Mirka working on the St Kilda Pier mosaic. 1993. Photographer Gillian Upton. Copyright Gillian Upton.

Mirka Mora leaving her front gate. 1985. Photographer Rennie Ellis. Copyright Rennie Ellis Photographic Archive/State Library of Victoria.

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