This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di was gifted this dress by a former manager of the Bayside Gallery, who herself had worn it to a fancy dress event after finding it in a local opportunity shop. Di subsequently wore it to a party with friends at the Windsor Hotel in Melbourne to celebrate and watch the televised royal wedding of Prince Harry and Meghan Markle in May 2018.Purple silk full length dress with cream neckline and arm hole band trim and white decorative beading over waist. The bodice joins front and back at the shoulder with a decorative purple ring. The lining is made of magenta coloured silk."Exclusively Yours Hartnell REGD Melbourne", "Exclusive Finest Imported Fabric"costume party, fancy dress, royal wedding, hartnell of melbourne, ralph samuel, melbourne designers, flinders lane, di reidie, 1960s

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this dress as a vintage item and wore it during the years 2010-18, before donating it to BHS. The Mooney sisters, Nell and Ida, were situated beside the Regent Theatre in Collins Street, Melbourne and were well respected milliners and dressmakers.Short sleeved peach silk dress (.1) featuring beige lace appliqué on neckline, along with original rectangular brown cardboard box (.2).Label: "MF 2900 / Misses Mooney / of Collins Street" Printed on lid of box: "Misses Mooney / 189 Collins Street, Melbourne"di reidie, vintage clothing, misses mooney, melbourne designers

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this dress as a vintage item. Brian Samuel, son of Hartnell owner Ralph Samuel, viewed this dress at BHS in 2019 and suggested that it may potentially have originally belonged to his mother Shirley Samuel (nee Slonim, 1922-2006).Sleeveless gold lurex evening dress. Zip at back, partially covered by three small cream bows.Label, pale blue on cream "Exclusively Yours / Hartnell / REGD / MELBOURNE"di reidie, vintage clothing, melbourne designers, hartnell of melbourne, ralph samuel, shirley samuel

Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. John Fyfe - Friends of Edwards Point, the Bellarine Catchment Network and many more For over twenty years John Fyfe has been actively involved in all areas of restoring native vegetation on numerous locations throughout the Bellarine. John’s passion for caring for the environment and sharing his vast knowledge has earnt him wide respect from the community. John is not only approachable but a great communicator. His vast knowledge has made the go to person for help on support on all matters regarding revegetation. John introduced direct seeding to the Friends of Edwards Point team, which has been successful on numerous sites within Edwards Points Reserve. The approach has been adopted throughout the reserve. Reflecting on John’s impact to the local community, local residents widely refer to him as a “living legend,” while others simply say, “there should be more John Fyfe’s in the world.” Photo at Edwards Point Wildlife Reserve by Nicole Marie.Image showing an environmental portrait of a man standing in grasslands with trees in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers, edwards point

The chair’s turned legs and bowed, spindle back are typical characteristics of the popular ‘Douglas’ chair, which descends from the long evolutionary line of ‘Windsor’ style cottage chairs. Also known as ‘Captains’ chairs, they were made on a large scale in England, America and Australia from around the 1860s in various timbers, with seats ranging from heavy pine to cane and in later models, plywood. Australiana expert, Peter Cuffley writes that they were just as much a part of Australia’s frontier experience as they were America’s; Holtermans’ 1872 photographs of the New South Wales gold towns show Douglas chairs, and they appear in illustrations of the exploits of the Kelly gang drawn in the late 1870s. Many Australians now are more likely to associate them with public offices and governments departments’. The chairs met the need for a degree of comfort and tough resilience under rough handling on hard floors. The Cape Nelson chair is known to have been used as a visitor’s chair, presumably in the head keeper’s office. No other examples of nineteenth century style chairs survive among the reliably provenanced furnishings in the five other lightstation collections. The chair complements the lightstation’s nineteenth century office desk and small number of other nineteenth century furnishings in the wider Parks Victoria lightstation collection, the majority of which are domestic items. The Douglas chair has first level contributory significance for its historical value and relative rarity as a lightstation office furnishing.The chair has turned legs and bowed, spindle back .

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved From Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. Westminster Fine China Australia started in the Melbourne suburb of Cheltenham at 7 Arnold Street, in 1954 by Stanley Rogers and Son Ltd. They initially used imported blanks from Japan, which were made to their specifications, and which were then decorated locally. They produced a standard range of shapes for souvenir ware, later expanding into a wide range of tea sets, dinnerware and many other styles of china ware. The Abbey mark, based on Westminster Abbey in London, was used from the start of production until about 1962.The Hume Weir was constructed in the late 1920s and was a critical state in the development of water management in the Murray Darling Basin. At the time of its construction it was the largest water reservoir in the British Empire. Small bowl with gold trim printed with an image of the Hume Weir, Albury. The trademark of Westminster Fine China Australia is on the under side of the plate.On front beneath image "Hume Weir, Albury" Underneath the plate, surrounding an image of Westminster Abbey "FINE CHINA/WESTMINSTER CHINA /AUSTRALIA" souvenirs, westminster china, hume weir australia, memorabilia albury

For many years Legacy had a "Back to Caulfield Race Day" for Legatees, widows and their families. 1995 was the 50th anniversary of the end of World War 2 and the race day was part of the "Australia Remembers" commemorations. Also a Legacy 'Lone Pine' was planted. The article in the Answer says: "Over 800 members of the Legacy family (past and present) reunite at the "Australia Remembers" Back to Caulfield Commemorative Race Day held on August 12th. It was a special day which incorporated a wide range of activities, including a display of military vehicles, a flyover, a parachute jump by the Red Berets, military bands, and displays of memorabilia when the racecourse was used as an army camp. An official ceremony also included the presentation of a Legacy 'Lone Pine' (a descendant of the Gallipoli 'Lone Pine') by the President of the Melbourne Legacy, Legatee David Millie, which was very warmly received by the Chairman of the V.A.T.C., Mr Peter Lawrence. " Official guest was the Premier of Victoria Jeff Kennett who is seen being greeted as he arrives. And photos of the planting of the 'Lone Pine'. See also photos at 01003 and 01092 and 01093. Legacy is helping to keep the memory of the Gallipoli "Lone Pine" alive - its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others.Legacy retains a tie with Caulfield racecourse as it was once an army camp and staging post of young men going overseas to war and now it is the site of a lone pine. The annual gathering at Caulfield racecourse was an event that gets the Legacy family together.Colour photo x 8 of an event at Caulfield racecourse, and an article in The Answer.Printed on the back film number 783, 786, 787, various frame numbersanswer, events, lone pine, wreath laying ceremony

Diana Jones (1939-2009) was President of the Association for the Blind from 1985 until 1992. In her 8 years as President a great deal was accomplished. New centres were opened or extended throughout Victoria and the Metropolitan area, volunteer services expanded and the Vision Resource Centre at Kooyong was built into which 3RPH radio was relocated. A Vision Information hotline, audiology services and the National Centre for Ageing and Sensory Loss were established, the Braille and Talking Book libraries was incorporated into the Association and the Charlie Bradley Cricket Pavilion opened at Kooyong. In 1990 Diana Jones became a member of the first Board of Directors of the newly incorporated Association for the Blind Ltd which ushered in a new era, requiring strict observance of financial and accounting methods in order to ensure continued Government funding. Mrs Jones was highly regarded by clients, volunteers and staff as a capable hard-working leader. Her services to the Association and over many years to the wider community, were recognised in her appointment as a Member of the Order of Australia in the 1993 Queen's Birthday Honours. In these images she is standing outside Brighton (?) wearing a pleated skirt, a white top with banding on the short sleeve edges, across the neckline and mid-chest with a zig zag pattern between the lines. She has on thick hoop earrings and a long chain with a pendant possibly shaped like a genie bottle.Portrait of Diana Jones in various sizesdiana jones, association for the blind

This box of pastels was donated to the Wodonga & District Historical Society by Betty L. Barberis (nee Barton), a prominent artist. They were given to her by Mr Colin Findlay, the teacher at Upper Gundowring Primary School from 1930 to 1939. His students at that school and many others used these pastels each day. Reeves’ “Greyhound” business was originally established by William Reeves who opened his first shop near St Paul’s Cathedral in London, England in 1766. The greyhound crest was later adopted as their emblem, taken from the coat-of-arms of the extinct Ryves family of Dorset. It consisted of a black-seated greyhound spotted with gold. After William’s death, the business was carried out by his brother, in partnership with various businessmen. They sold a wide range of art supplies in England and their trade extended to supplying drawing instruments and stationery products to the East India Company in the early 1800s. In the 1920s the Greyhound Colour Works at Enfield became known especially for its famous Greyhound pastels. Reeves Greyhound products were also being made in Melbourne, Australia. They were marketed widely through schools in all States from the 1920s onwards. Reeves continues to be a huge brand both in the United Kingdom and internationally, placed in over 70 countries worldwide including America, France, Germany, Italy, Japan, South Africa and Australia.These pastels are significant because they were widely used in Victorian Schools and were donated to our Collection by a prominent local artist.A cardboard box with a corrugated cardboard to store 12 pastels. The pastels are held in a cardboard tray insert.REEVES' 'GREYHOUND" PASTELS (REGISTERED) Directions for use Non-INJURIOUS Made in Australia On each pastel: REEVES GREYHOUND reeves greyhound pastels, primary school art supplies, education 1930s, upper gundowring primary school, betty l. barberis

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.albumen silver photograph on boardprinted in ink on support l.c.: VIEW ON THE RIVER MURRAY, NEAR ECHUCA, SHOWING THE RAILWAY WHARF WITH STEAMERS UNLOADING. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 7. / VIEW ON THE RIVER MURRAY, NEAR ECHUCA, SHOWING THE RAILWAY WHARF WITH STEAMERS UNLOADING. / The rapidly increasing traffic on the River Murray, with wool, timber, and other colonial produce, has called / into requisition no less than 400 steamers and over 1000 barges. To meet this growing emergency the Victorian / Government has expended several thousand pounds in the erection of a Railway Wharf which during the wool- / season presents a very busy scene, the crowded steamers laden with precious clip taxing to the utmost the / powers of the Railway Department in the process of unloading. The River here is about a quarter of a mile wide, / and is from 60 to 70 feet deep. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, river murray, echuca

Stevenson screens were first introduced in Australia in the 1880s and were widely installed by 1910. The screens have been used to shelter and protect thermometers and other meteorological instruments from rain and direct heat while the holes and double-louvre walls allowed air to flow around them. Sometimes other meteorological instruments were included in the weather stations, so there were different Stevenson Screen sizes. This authentic, original Stevenson screen was previously owned by the Australian Bureau of Meteorology and was used for many years for weather readings at the Cape Otway Light Station in southwest Victoria. The Lighthouse Keepers recorded the readings for minimum and maximum temperatures at 9 a.m. every day from January 1865 until April 1994. The equipment was sheltered in a Stevenson Screen from 1902 until April 15 1994, when the mercury thermometer was replaced by a platinum resistance probe within an Automatic Weather Station (AWS). This Stevenson screen is one of the two screens that then became redundant. The other Stevenson screen was kept to display to visitors. Lightkeepers were no longer required at the Cape Otway Light station either, due to the automated system. The meteorological instruments donated with the screen were used for measuring temperature and humidity. They are mounted on a metal bracket that fits across the screw holes on the screen’s internal frame. The glass-covered Relative Humidity (RH) sensor was made by the renowned precision instrument maker, Rotronic AG of Switzerland, which was founded in 1965. The firm made its first electronic temperature and humidity instrument in 1967. Meteorological records have been collected in Australia from the 1800s. The records were collated, published and used as a basis for weather forecasts. Many sectors, such as maritime and agriculture industries, have relied on these figures for making important decisions. The quality and placement of the meteorological instruments used to measure temperature and humidity are of utmost importance for accuracy. In early colonial times, there were no national standards for meteorological instruments that would allow for accurate figures and comparisons. Once the Bureau of Meteorology was established (around 1908 to 1910) the department installed Stevenson screens throughout Australia, many at lighthouses and light stations, and the measuring instruments were standardised. The Stevenson Screen was named after its inventor, Scottish Civil Engineer Thomas Stevenson (1818-1887) who was also the father of Robert Louis Stevenson, author. Stevenson developed the small thermometer screen around 1867. It had double-louvred walls around the sides and a top of two asbestos sheets with an air space between them and was thickly painted with a white coating that reflected the sun’s rays. This design was modified in 1884 by Edward Mawley of the Royal Meteorological Society. Standards were set for the locations of the screens and instruments, including their distance above ground level and the direction the door faced.Stevenson screens played a significant part in providing a standardised shelter for all meteorological instruments used by the Australian Bureau of Meteorology from about 1910 until 1994. The readings from the instruments gave the meteorological statistics on which weather forecasts throughout Australia were based. This Stevenson screen was used locally at Cape Otway, along the Great Ocean Road in southwest Victoria, so contributed towards our local forecasts and weather warnings.Stevenson screen, original, from the Australian Bureau of Meteorology’s weather station at the Cape Otway Lighthouse. The screen is a white wooden cupboard with a slanted cover raised above the top. The top has ten drilled ventilation holes, and the sides and door are made of downward-slanting double louvres. Two brass hinges join the door to the lower edge of the screen and a metal fitting at the top edge allows for a padlock closure. The screen is supported on four short legs, each with a hole drilled from side to side for fitting to a frame. Inside the screen are two wooden frames fitted with hooks and screws. The floor has three boards; one across the back and one across the front at the same level, and a board wider than the space between these boards is fitted higher, overlapping them slightly. Inside the screen, a pair of electronic instruments with short electric cables is mounted on a metal bracket with drilled holes in it. One of the instruments is a Relative Humidity (RH) probe. It is 26 cm long and is a glass tube with a filter on one end and an electrical connection on the other. It has inscriptions on its label, showing that was made by Rotronic AG, Switzerland. The other instrument is a Resistance Temperature Device (RTD) thermometer. It is 22.5 cm long and has a narrow metal probe joined to a hexagonal metal fitting. A brass plate on the front of the screen has impressed inscriptions. The screen is Serial Number 01/C0032, Catalogue Number 235862.Stamped into brass plate "CAT. NO. / 253862 / SERIAL NO. 01/C0032" On instrument’s electrical fitting; “CD2” [within oval ‘+’ above S] “Serie693 op65 / 220/380V~16A” On instrument’s glass; “rotronic ag” “SWISS MADE” “CE / CH-8303 / Bassersdorf” Symbol for [BARCODE] “ART NO MP 101A_T4-W4W” “POWER 4.8.30VDC“ “OP. RANGE: 0-100%RH/-40+60° C” “OUT H 0-100% 0-1V” “OUT T -40+60°C -0.4..+0.6V” “SERIE NO 19522 009”flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cotton region shelter, instrument shelter, thermometer shelter, thermoscreen, thermometer screen, measuring instruments, meteorological instrument, weather recording, weather station, lighthouse equipment, light station equipment, stevenson screen, marine instruments, mercury thermometer, platinum resistance probe, aws, automatic weather station, rotronic ag, swiss made, meteorological device, weather forecast, weather prediction, weather records, meteorological forecast, meteorological record, australian bureau of meteorology, bureau of meteorology, bureau, bom, relative humidity, rh, relative humidity probe, resistance temperature device, rtd, thermometer, temperature, humidity, cape otway, cape otway lighthouse, cape otway light station, rotronic, switzerland, swiss instrument, thomas stevenson, double-louvered walls, edward mawley, royal meteorological society, 01/c0032, serial number, cat. no. 235862, serial no. 01/c00323

Sepia image (copy) picture shows family gathered at base of large tree trunk with door opening. Two small children in doorway, woman holding younger child inside tree, two men either side of image. Both men are wearing suit coats, vests and wearing hats. Straw broom and pots fixed to tree trunk. Man on RH side has an axe to his right. PLEASE NOTE: Letter with photo inquiring about the people in photo, states that the image is that of Peter Tyson, younger brother of James, his wife Margaret Sheil, and their twin daughters, Alice and Harriet. Diary is of accounts with limited text of a written diary on RH wide of sheets. Bookkeeper was Robert Primrose, whose name appears frequently in the book. Further research by Murray Poustie discovered that the photograph may actually be of Nicholas Penny, his wife Eva and their children Charlie, May, George and Nicholas. Also in the photograph on the left is their neighbour, Mr. John Green. The Photograph was taken by Max Lowenhardt when the Penny family was living in the tree at Fumina in 1906-07 following devastating bushfires. Fumina is in timber country at the foot of the Baw Baw Mountains and the area was frequently affected by major bushfires. The photograph was featured on the cover of the Gippsland Heritage Journal No.19, 1996 and is also extensively noted as ''The Penny family's tree home at Fumina'' in other publications including Vision & Realisation.person, receipts

Cream coloured taffeta wedding dress. Square yoke at front with spiral bead pattern and tassels of bead across lower edge of yoke. V shaped neckline at back with yoke and tassels. Short sleeves of double layer of net embroidered with flowers. Front and back of bodice of embroidered net. Neckline lined with 10cm cotton lace. Bodice fully lined with cotton fabric. Two vertical side panels of 5cm silk lace from shoulder to waist with triangular shaped tabs (12cm) extending to side seams. 5cm silk lace with 12cm triangular tabs across the waist at back of bodice. Taffeta floor length skirt 5cm lace with 12 cm triangular tabs extends from waist on LHS down to 3cm above hemline and extends across the front in a U shape to side on RHS and then across the back of the skirt in a U shape to the LHS. Triangular insert of embroidered net (45cm at hem) on LHS, from hem to 42 cm above hem. Centre back opening from neckline(25cm) fastened with seven metal hooks and eyes. Satin fabric belt with horizontal pin rtucks fastened with two metal hooks and eyes. Fabric circular buckle (5cm diameter). Lower edge of skirt lined with cotton fabric (14 cm wide). Semi-circular cotton padding stitched under arms.costume, female, cream coloured wedding dress

Clothing. Deep V neckline, front and back, has a tapered tie, at the shoulder to 4.5 cm, and slanted at the lower edge of the tie. The V neckline has a fine binding finish as do the armholes, and the lower edge of the bodice. Shadow, and pulled thread embroidery, in a floral design, outlines the V neckline in the front. A tiny 10 cm x 10 cm heart shaped pocket is bound at the edges and sits at lower right front. A small dart, 1 cm x 6 cm long is below the armholes, on each side seam. Fabric is cut on the cross to add flair. A two cm x 60 cms tie attaches at each side seam, and would tie at the back. Clothing. Pyjama pants have a V shaped waistband 11 cm deep at front and back, below which is a small 1.5 cm wide pleat on either side of front and back. An 11 cm deep plackett on both side seams - on the left hand side two x 1 cm pearl buttons and buttonholes fasten the plackett. The two buttons on the right hand side are missing. A panel of shadow embroidery decorates the outside lower edge of the trouser leg. Fabric is woven with a floral design. Lower edge of legs are finished with a fine binding. 11 cm peak at waistband. Pants with hem 88 cms, width at ankles 64 cms.Silk and Rayon Made in Chinacostume, female, pink silk pyjamas (bodice)

"This edited volume represents the first book-length study of the history of research on Australian Aboriginal languages, and collects together 18 original papers on a wide variety of topics, spanning the period from first settlement to the present day. The introduction sets the scene for the book by presenting an overview of the history of histories of research on the languages of Australia , and identifying some of the major issues in Aboriginal linguistic historiography as well as directions for future investigations. Part 1 presents three detailed investigations of the history of work on particular languages and regions.The eight papers of Part 2 study and re-evaluate the contributions of particular individuals, most of who are somewhat marginal or have been marginalised in Aboriginal linguistics. Part 3 consists of six studies specific linguistic topics: sign language research, language revival, pidgins and creoles, fieldwork, Fr. Schmidt's work on personal pronouns, and the discovery that Australia was a multilingual continent. Overall, the volume presents two major challenges to Australianist orthodoxy. First, the papers challenge the typically anachronistic approaches to the history of Aboriginal linguistics, and reveal the need to examine previous research in the context of their times - and the advantages of doing so to contemporary understanding and language documentation. Second, the widespread presumption that the period 1910-1960 represented the 'dark ages' of Aboriginal linguistics, characterised by virtually no linguistic work, is refuted by a number of studies in the present volume."B&w photographs, maps

Underwear & 1 item of nightwear belonging to Mary Monica Fleck Turner (Smith). Turner Collection.Items of clothing belonging to an early Kilmore family making up part of the Turner Collection.Eight camisoles, one underskirt, one bottom half negligee, one nightgown case. Generally in very good condition. TEX-0055.1 Underskirt, cotton & lace with blue satin ribbon. TEX-0055.3 Embroidered nightgown case TEX-0055.4 Camisole, lace & cotton, circular design on front, cap sleeves, prev. repair L front, cap sleeves with rust stains L sleeve. TEX-0055.5 Camisole, lawn & lace, white ribbon threaded through neckline, small holes throughout. TEX-0055.6 Camisole, white broderie anglaise, narrow fabric shoulder straps, drawstring neckline. Small holes throughout. TEX-0055.7 Camisole, cotton & lace, twisted gold ribbon at neckline, small holesthroughout. TEX-0055.8 Camisole, broderie anglaise, wide lace shoulder straps, blue ribbon at neckline, drawstring waist. 2 buttons missing, tear to lace mid upper back. TEX-0055.9 Camisole, white cotton, embroidered, pink ribbon through neckline, pintucks & drawstring at waist, 3 buttons missing. TEX-0055.10 Camisole, muslin, softlace shoulder straps, blue ribbon at neckline, hook & eye at waist, buttons missing. TEX-0055.11 Camisole, cotton & lace, pink ribbon at neckline, some holes/tears, 2 missing buttons, previous repair under R arm.TEX-0055.11 - Label outside R bodice edge 'Melbourne/Robertson & Moffatt Pty Ltd/Bourke Street'.underwear, nightwear, turner collection, smith

Various (July to Dec) 1904 company letterhead invoices which have supplied predominantly gelignite and fuses to J.H. Abbott .Abbott Collection: July to Dec 1904: records and receipts for purchases gelignite, fuses, etc.; by J.H. Abbott & Co from a wide range of generally Melbourne based companies: 2403.89a five invoices from Bickford, Smith & Co. gelignite and fuses, from 31 July to 30 Nov 1904 2403.89b five invoices from Morris & Meeks, Melbourne, gelignite, from 1 Aug to 1 Dec 1904 2403.89c 33 invoices from Gibbs, Bright & Co., gelignite, from 27 Jun to 24 Dec 1904 2403.89d 17 invoices from Richard Linton, gelatine dynamite, from 7 Jul to 31 Dec 1904 2403.89e 24 invoices from McMicking & Co., from 2 Jul to 30 Dec 1904 2403.89f 21 invoices from Perks Bros. & Co., from 27 Jul to 31 Dec 1904 2403.89g 27 invoices from Dalgety and Company Limited, from 21 Jul to 31 Dec 1904 2403.89g 11 invoices from Briscoe & Company Limited, Wholesale Ironmongers & Hardware Merchants, from 25 Oct 1904 to 30 Dec 1904 2403.89h 27 invoices from Dalgety and Company Limited, from 21 Jil to 31 Dec 1904 2403.89i 36 invoices from Australian Explosives and Chemicals Compy. Ltd, from 1 Jul to 31 Dec 1904trade company invoices 1904, j h abbott

The objects are a small sample of small gauge lead shot raised by Flagstaff Hill divers from the LOCH ARD shipwreck site in 1976. Companion pieces are in the Maritime Village collection. The three masted, iron hulled, LOCH ARD was wrecked against the tall limestone cliffs of Mutton Bird Island in the early hours of the first of June 1878. Included in her diverse and valuable cargo were 22 tons of lead shot, packed in cloth bags and wooden casks. Bulk quantities of lead shot, uniformly round balls of dull grey metal ranging from 2mm “birdshot” to 8mm “buckshot”, were routinely exported to the Australian colonies. Shot was used mostly as projectiles fired from smooth bored guns to bring down moving targets such as wild ducks and small game. It was also useful as ballast, when a dense, “pourable” weight was required to fill cavities or establish volume within a measuring container. The production of consistently round spheres of lead shot required the pouring of molten metal through a sieve and then a long drop through the atmosphere to a water filled basin for final cooling and collection. This “shot tower” process was first patented by William Watts of Bristol in 1782. His calculation of a 150 feet fall was not only to form evenly spherical droplets through surface tension, but also to provide partial cooling and solidification to each shot before they hit the water below. The value of his innovation was the minimising of indentation and shape distortion, avoiding the expense of re-smelting and re-moulding the lead. Lead shot was already being produced in Australia at the time the LOCH ARD loaded her cargo and left Gravesend on the second of March 1878. James Moir constructed a 157 feet circular stone shot tower near Hobart in 1870, with a peak annual production of 100 tons of lead shot sold in 28 pound linen bags. However colonial demand exceeded this source of local supply. The continued strength of the market for lead shot in the Colony of Victoria prompted substantial investment in additional productive capacity in Melbourne in the next decade. In 1882 Richard Hodgson erected the 160 feet round chimney-shaped Clifton Hill shot tower on Alexandra Parade (VHR H0709) and in 1889 Walter Coop built the 160 feet square tower-shaped Melbourne Central shot tower on La Trobe Street (VHR H0067). At its peak, the Coop Tower produced 6 tons of lead shot per week, or 312 tons per annum. The shipwreck of the LOCH ARD is of State significance – Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A quantity of 2mm and 4mm lead shot ammunition retrieved from the LOCH ARD shipwreck site. They are concreted together by sediment. There are (6) small pieces with some single shot and a larger conglomerate of cemented shot. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, lead shot, colonial industry, melbourne shot towers, victorian metallurgy, colonial imports

Originally would have been issued with a scroll & letter from the King but neither with plaque. 1914-1918 Memorial Plaque In early 1920 it was announced that the next-of-kin of all Australian servicemen and women whose deaths were attributable to the First World War would receive a memorial plaque and scroll "as a solace for bereavement and as a memento". The memorial plaques were not uniquely Australian. In fact they were designed and produced in Britain and issued to commemorate all those who died as a result of war service from within the British Commonwealth. The idea for the plaques was originally conceived mid-way through the war. In 1917 a competition was announced to obtain a suitable design and 800 entries were eventually received. The winner, Mr. E. Carter Preston of Liverpool, England, was chosen in 1918. He was awarded a prize of 250 pounds. Mr Manning Pike directed the manufacture of the memorial plaques at the Memorial Plaque Factory set up at Acton, London. Some later plaques were also made at the Woolwich Arsenal. The cost of manufacturing so many plaques must have been considerable. Each plaque had the name of the soldier commemorated individually embossed (some were engraved) as part of the design. The full name was given without any indication of rank or honours to show the equality of sacrifice of all those who had lost their lives. The scroll designed to accompany the plaques was of thick paper, headed by the royal coat-of-arms, and bore the following message: "He whom this scroll commemorates was numbered among those who, at the call of King and Country, left all that was dear to them, endured hardness, faced danger, and finally passed out of the sight of men by the path of duty and self-sacrifice, giving up their own lives that others might live in freedom. Let those that come after see that his name is not forgotten". Underneath the message the serviceman or woman’s name, rank, honours and unit were written by hand in red ink. Because of the late arrival in Australia of the plaques many scrolls were sent out separately. A message from the King, "I join with my grateful people in sending you this memorial of a brave life given for others in the Great War", was included with the scroll. The first plaques were distributed in Australia in 1922. Each plaque was sent out from Base Records Office at Victoria Barracks in Melbourne by second-class mail. Approximately 60,000 plaques were issued in Australia. Families of deceased members of the Royal Australian Navy and the Australian Army Nursing Service also received plaques and scrolls Bronze Memorial Plaque 1914-1918 for 4876 Pte. Harry Milne , 46 Battalion KIA 10/5/1918, In a cardboard square envelope. http://www.awm.gov.au/research/people/roll_of_honour/person.asp?p=493414Embossed around edge of plaque "HE DIED FOR FREEDOM AND HONOVR" Name of serviceman embossed on plaque right of centre "HARRY MILNE"ww1, dead mans penny, kings penny, memorial plaque

This sheet of copper sheathing or Muntz metal has been recovered from the site of the wrecked ship Schomberg. It has been damaged by the reaction of the metals to the sea, it has encrustations from the sea such as sand, and another damage has caused the edges to break away or fold over. Early sailing ships had a problem of the timber hulls being eaten through by the marine animals called Teredo Worms, sometimes called ‘sea worms’ or ‘termites of the sea’. The worms bore holes into wood that is immersed in seawater and the bacteria inside the worms digest the wood. Early shipbuilders applied coatings of tar, was, lead or pitch onto the timber to prevent this. In the 18th and 19th centuries, the outsides of ships’ hulls were encased in either copper sheathing or Muntz metal, which is a combination of 60 per cent copper and 40 per cent zinc. The ships would be re-metalled periodically to ensure the sheathing would remain effective. In more recent times the ships are protected with a toxic coating. About the SCHOMBERG- James Blaine’s Black Ball Line had commissioned the luxury sailing ship, Schomberg, to be built for its fleet of passenger liners The three-masted wooden ship was launched in 1855, designed by the Aberdeen builders to sail faster than the quick clippers designed by North American Donald McKay. The material used for the diagonal planking was British oak with layers of Scottish larch. The Schomberg’s master Captain ‘Bully’ Forbes commanded the ship on its maiden journey between Liverpool and Melbourne, departing on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. After sailing for 78 days she ran aground on a sand spit at Curdies Inlet near Peterborough, Victoria, on 27 December 1835. At dawn on the next day, the ship’s Chief Officer signalled a passing steamer, SS Queen, for help and all of Schomberg’s passengers were able to disembark safely. The passengers’ baggage and some of the cargo were later collected from the Schomberg. Local merchants Manifold & Bostock bought the wreck and the remaining cargo but did not attempt to salvage the cargo that was still on board. They eventually sold it and after two of the men drowned in the salvage efforts the job was abandoned. In 1975, divers from Flagstaff Hill, including former Director, Peter Ronald, explored the Schomberg wreck site and recovered many artefacts that are now on display at the Museum.The copper sheathing is significant for its connection with the Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large and fast clipper ship that sailed on the England-to-Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck. The collection is primarily significant because of the relationship between the objects, as together they can interpret the story of the ship, Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be the fastest and most luxurious of its day.Copper sheathing; rectangular sheet of copper, shaped for use on a ship's hull, buckled, with fibres protruding from one edge. The object was recovered from the wreck of the SCHOMBERG.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, schomberg, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, ship construction, copper sheating, sheathing, sea worm, muntz, muntz metal, copper sheathing, teredo worms, sea worms, sea termites, shipbuilding

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.