Black and white photograph of the interior a Y1 class tram car, photographed at Camberwell Depot. Shows arrangements of seats, lights with covers and roof ads. A number of roof ads and window posters in the tram - of tram in service. Part of tram 550 in background. On rear is Sutcliffe stamp, and Gordon and Gotch stamp with date July 10. Has "Sutcliffe Pty. Ltd. Photographers Cromwell buildings 366a Bourke St. Melbourne" stamp in purple on back of photo. Destination City, 4th Edition and 5th edition.Yields information about the interior of a Y1 class tramcar.Black and white photograph with details on rear.On rear in pencil is "Return to F. Shennen" with arrow pointing to Gordon and Gotch stamp. "Interior Y1". The Sutcliffe stamp has two pencil crosses through it.trams, tramways, mmtb, y1 class, interiors

Set of two colour slides taken at the North Bendigo terminus and another in Pall Mall, Bendigo, Jan. 1969. .1 - No. 30 at North Bendigo terminus - has destination "Golden Square" .2 - Interior view of Birney tram with crew members numbers 22, 29 and three seated passengers. .3 - View of Pall Mall looking north from the tram stop - has the Shamrock Hotel in the distance and other buildings on the east side of the street, including a 3BO (Bendigo radio) sign. Kodak cardboard mount slide, taken by Peter Moses, Jan. 1969.On the rear of all the slides "P. Moses" in black ink .1 -"Bendigo / North Bendigo terminus" in blue ink, and in red ink “12” .2 - " Jan 1969 Bendigo / Inside Brill car" in blue ink .3 - "Bendigo Pall Mall" in black ink and in red ink “7”.tramways, trams, bendigo, north bendigo, birney, tram crews, pall mall, tram 30

Set of 30 colour prints, taken by C. Dean from 30/10/2004 to 2/1/2005 of the rebuilding of the sub-station and initial tramway operations. .1 - Interior view of substation after transformer removed - 30/10/2004 .2 - ditto .3 - ditto .4 - ditto .5 - G.Wood, A. Reither working on the re-building of the walls. .6 - Temporary door .7 - Sign on No. 39 - "There are no trams running today". .8 - COTMA Storage shed frame at Bungaree - 2/12/2004 .9 - 38 outside shed, pending delivery of the transformer - 17/12/2004 .10 - 38 and 1 ditto .11 - ditto .12 - The box arrives - with forklift and G. Wood .13 - unpacked .14 - ditto - with P.Mong .15 - ditto .16 - ditto .17 - P.Mong checking delivery .18 - moving into position - G.Wood and P.Mong .19 - ditto .20 - ditto with Pallet mover. .21 - In position .22 - ditto .23 - No. 40 being repainted .24 - 38 and 1 outside the shed .25 - framing the new walls .26 - ditto .27 - new device frame .28 - The BTM big band - re-opening day - 26/12/2004 .29 - ditto - Sam Boon .30 - No. 26 and that road traffic - cars! - Wendouree Parade - 2/1/2005Each photo has on rear in ink "date", "number" and "Photo by Carolyn Dean"btm depot, substation, wendouree parade, tram 38, tram 1

Has a strong association with the ESCo tram and power station staff, c1920? Published detail provides some names of the men photographed. Shows the style of clothing, the equipment used and details of the power station office building.Black and White copy photograph of some of the ESCo tram depot staff and one uniformed crew member, alongside an ESCo tram. Shows the details of the interior of the tram ceiling. See page 50 of The Golden City and its Tramways and for the photo itself. Gives some names of the people in the photograph. From the photo caption in the book: Extreme left is Bill Morgan, Harry Foy, Sy Barker, Robert Haines.tramways, trams, esco, staff, depot, cross bench tram

Set of 20 digital images of Bendigo Tramways, 1972 at or before closure while on a tram tour by Stuart Lodington. .1 - No. 7 at Golden Square terminus .2 - ditto .3 - No. 26 in bound on the Eaglehawk line with a crossing loop behind. .4 - Birney crossing the bridge by the tram depot. .5 - No. 29 running a special on the Eaglehawk line with a HBA billboard in the background. .6 - No. 29 with a driver walking in front of the tram at the above location. .7 - No. 29 on the Eaglehawk line .8 - ditto waiting for a tram at Manchester Loop with poppet head in the background. .9 - No. 29 on the Eaglehawk line .10 - Eaglehawk Town Hall at night. .11 - No. 7 at the depot junction in McCrae St, with Golden Square destination. .12 - No. 29 with the Camp Hotel Eaglehawk in the background. Also a Newsagent with The Sun, The Bendigo Advertiser and The Age signs on the building, High St .13 - No. 29 Mt Korong Rd, with the railway overbridge in the background. .14 - interior photo of Birney tram roof .15 - interior view of controls of Birney at Eaglehawk .16 - No. 29 outbound at the Depot Junction McCrae St. .17 - No. 18 at the Eaglehawk terminus .18 - close up view of No. 29 front. .19 - No. 29 in Nolan St, crossing the bridge, outbound. .20 - No. 18 at the Eaglehawk terminus with the Eaglehawk Town Hall, Post Office in the background. Has a circus banner on the side.trams, tramways, bendigo, eaglehawk, quarry hill, golden square, depot, mccrae st, nolan st, tram 7, tram 26, tram 29, tram 18

Yields information about the recovery of ESCo 12 by the BTM in 1990 and has a strong association with the people involved in the project.Set of 14 prints with digital images of the removal of the building around ESCo No. 12 at Nerrina on 3-11-1990. Scanned from original prints loaned by Carolyn Cleak (Dean at the time). Printed on Agfa paper. Originals of prints later found in a depot drawer. .1 - Commencement of the removal of the metal deck roof - David Tidy. .2 - ditto with the front of the tram showing and the building itself. .3 - Roof removal continuing - Len Millar .4 - The house from the north side. .5 - Photo of interior notice to Passengers re weekly tickets etc. .6 - as for .4 .7 - Photo of the interior number of the tram. .8 - as for .6 .9 - detail of linking in side at the saloon corner. .10 - close up of the tramcar number. .11 - close up of "Please have Exact Fare Ready sign" .12 - View of the tram after the roof and some of the sides removed. .13 - ditto, ready for removal .14 - detail of lining in the upper part of the saloon panel. Close up of post in image 13, added 22-12-2018 - see i15 All have on the rear "158.7 3.11.90" in ink on the rear.trams, tramways, esco, recovery, nerrina, acquisitions, notices and information, tram 12

Yields information about the appearance of the operation of BTPS tram No. 661 in Melbourne on a tour.Set of 13 colour prints of BTPS / BTM tram No. 661 in Melbourne on a BTPS tour 30-4-1989. All photos by Lloyd Rogers, on AGFA paper. All have a photo number on rear and captions - see images 14 to 19. .1 - At Sth Melbourne Beach terminus. .2 - MMTB Paying fares dated Dec. 1968 in four languages inside tram. .3 - 661 and 878 at Brunswick Depot .4 - Y612 partly derailed at Brunswick .5 - 661, 8789 and 612 at Brunswick .6 - 661 at Batman Avenue .7 - Batman Avenue .8 - from the window looking forwards - reserved track. .9 - at South Melbourne Beach terminus with Bleak House in the background and an Advert for Swan Premium beer. .10 - ditto with Vopas Centre building in the background and an advert advertising Volvo motor cars - Swedish Lifesavers. .11 - ditto .12 - interior view of tram .13 - At Batman Ave with the shop on the railway side in the view.See images i14 to i19 for rear of photos.trams, tramways, melbourne, batman ave, brunswick depot, south melbourne beach, tram 661, tram 612, tram 878

Bendigo Town Hall, Heritage Victoria ''A Goldfields Palace Blue Leaflet'' with coloured photographs and white text. Photographs courtesy of Westox Pty Ltd and the City of Greater Bendigo. 2002. Front page features the extensive work that would be undertaken for the restoration. A time line beginning 1851, gold discovered in Bendigo. 1854 German-born W. C. Vahland arrived in the colony. 1855 Town of Sandhurst (Bendigo) became a municipality. 1856 First Town Hall was a small timber building on View point. 1857 Vahland sets up his architectural practice with Robert Getzschmann. 1859 A new, two-storey Italianate Town hall designed by George Fletcher, Town Surveyor, was built. 1866-77 Two-storey extension added to the north of the building to house the council chamber. 1871-72 Addition of the Corn Exchange comprising two storeys and a basement to the north of the building. 1878-87 Major remodelling of the exterior and interior carried out to the designs of architect W. C. Vahland. The work comprised major extensions and the addition of three towers and mansard roof, reconstruction of the main stair, decorative plasterwork by Otto Waschatz (decorated Royal palace, Copenhagen), and council chamber painted by W. J. Straugher. 1902 Painting of the main hall by Coulter and Smith of Bendigo. 1913-15 Remodelling of offices. 1926 Replacement of main Hargreaves Street hall entrance, foyer and balcony with stage. 2000 Restoration works to the Town hall commence. The middle pages and the back show some of the conservation works that were required.bendigo, tourism, town hall restoration, 4-2000 www.heritage.vic.gov.au

Coloured booklet of various scenes and buildings in and around Bendigo, titled Bendigo Victoria's Golden City. The front cover has a scene of Charing Cross looking towards Pall Mall. Inside the front cover is a very brief history and some Historical Buildings are mentioned. They are: Fortuna, Shamrock Hotel, Gold Mines Hotel, City Hall, Post Office, Law Courts, the Home for the Aged, Sacred Heart Cathedral, St. Paul's, Specimen Cottage, Log Lock-up and the Chinese Joss House. The coloured pictures inside are: The Central Deborah Gold Mine, Fortuna, Miner's Cottage, The Gold Mines Hotel, Victoria Hill, Bendigo Law Courts, Eaglehawk Log Lock-up, Look-out Tower Rosalind Park, Alexandra Fountain - Charing Cross, Conservatory Gardens with Law Courts in background, Inside the Conservatory, Bendigo Home & Hospital for the Aged - Victoria's 'White House', Sacred Heart Cathedral, Chinese Joss House, Chinese Joss House - Interior of the Main Temple, Bendigo Pottery - Potter at work, Bendigo Municipal Offices, Bendigo Institute of Technology at Flora Hill, Mt. Alvernia Hospital, Cobb & Co Coach, R Class Locomotive, Bendigo Tramcar, Lake Weeroona and Lake Eppalock Pumping Station. Some more attractions are mentioned inside the back cover. On the back cover is the Cenotaph - the only scale replica of the Whitehall Cenotaph - and Alexandra Fountain by night.Nucolorvue Productions Pty Ltdbendigo, tourism, photographs of bendigo icons, bendigo - victoria's golden city, fortuna, shamrock hotel, gold mines hotel, city hall, post office, law courts, home for the aged, victoria's 'white house', sacred heart cathedral, st paul's, specimen cottage, log lock-up, chinese joss house, charing cross, cenotaph, alexandra fountain, centra deborah gold mine, army cartographic unit, miner's cottage, harvey town, victoria hill, look-out tower rosalind park, conservatory gardens, conservatory, bendigo pottery, bendigo municipal offices, bendigo institute of technology, mt alvernia hospital, cobb & co coach, r class locomotive, bendigo railway station, bendigo tramcar, lake weeroona, lake eppalock pumping station, art gallery, historical museum eaglehawk, melville's caves, whitehall cenotaph, nucolorvue productins pty ltd, national library of australia

Spring bound photographic record of the former Lyric Theatre, 19 High Street (Charing Cross), Bendigo, by Bruce Trethowan, B.arch, FRAIA, dated June, 2005. A letter in the front of the document mentions as part of the Bendigo Bank Development, it was necessary to demolish the former Lyric Theatre. Before doing so, the Bank commissioned a heritage architect to produce a photographic record of the building. It is addressed to Mr Jim Evans, President, Bendigo Historical Society and dated 10 August 2005. The beginning has the Historical Background, Building Description and three pages of Plans and Elevations. There are sixty colour photographs of the building depicting the front outside of the building, other outside photos and a number of the interior.buildings, commercial, former lyric theatre, photographic record of the former lyric theatre, bruce trethowan, gallagher jeffs consulting, gallagher jeffs pty ltd, jim evans, bendigo bank development, ted gallagher, richard hasseldine, city of greater bendigo planning department, keogh & austen, state savings banks, sydney smith and ogg, godfrey and spowers, colonial life building, johnson morley warehouse, j g austen, muioof building eaglehawk, george austen, backhaus building, allawah, william cowling, taylor, soilleux, overend, plaza theatre, backhaus trust, princess theatre, the annals of bendigo vol 8 p163, the annals vol 8 p180, fernwood women's health club, bendigo real estate

Auction catalogue for a sale of surplus second-hand Building Material held at Flinders Naval Depot, Crib Point, (Vic.) of 7th March, 1945. J. H. Curnow & Son were the auctioneers. Special notice in front of catalogue mentions transport facilities from Flinders Street to Crib Point on day of sale.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - flinders naval depot, commonwealth disposals commission (allied works council-department of the interior), j h curnow & son, j l jamieson & co, w g wedd, the prahran telegraph printing co

Item 3. Blue cardboard album with long fold out pages holding 12 photos. The photos are scenic or of buildings of Lubeck. The front cover has a gold and black pattern and the name is imprinted in gold. The photos are numbered. The photos are: 1. Overlooking Lubeck, 2. Lubeck from the Cathedral Tower, 3, Lubeck Harbour, 4. Market Square, Lubeck, 5. Holsten Gates: St Mary's Church; St Peter's Church, 6. Holy Ghost Hospital, Lubeck, 7. Cathedral, Lubeck, 8. Broad Street and Town Hall, Lubeck, 9. Burg Gates, Lubeck, 10. Holsten Gates, Lubeck, 11. St Jacob's Church, Lubeck, 12. Interior of St Mary's Church, Lubeck.L Petersbooks, collections, buildings of lubeck, german heritage society collection - album von lubeck, l peters

Colour photograph. Looking through window of ruin into what was the interior. Stone wall with window lintil and long grass. No roof.photograph, building, ruins

This work was presented to The Mayor and Mayoress, Cr. and Mrs R.G. Ward, by the citizens of Brighton to commemorate the Brighton Centenary in 1959. Brighton was first incorporated as a borough on 18 January 1859, it became a town on 18 March 1887 and was proclaimed a city on 12 March 1919. The new Brighton Municipal Offices were designed by Kevin Knight of Oakley and Parkes with the engineers John Connell and Associates and were erected by Prentice Builders Pty Ltd. The foundation stone was laid on 13 February 1959 and the building was opened on 21 July 1961. The interior decoration and furniture was by Grant Featherston.brighton centenary, brighton town hall, stage decoration, mayoral ball, brighton municipal offices, civic centre, oakley and parkes, kevin knight, r.g. ward, mayor

This model of the Brighton Municipal Offices was made by Alan W. Chandler. The Brighton Municipal Offices were designed by Kevin Knight of Oakley and Parkes with the engineers John Connell and Associates and were erected by Prentice Builders Pty Ltd. The foundation stone was laid on 13 February 1959 and the building was opened on 21 July 1961. The interior decoration and furniture was by Grant Featherston. As is common practice, an architectural model was prepared to present the final concept of the building for approval to the Brighton City Council. In February 1959 festivities occurred to celebrate the centenary of the municipality of Brighton. A garden party attended by two hundred Brighton residents was held in the grounds of the Brighton Town Hall. This model graced the centre of the lily pond during the event. The following day the foundation stone of the Brighton Municipal Offices was laid.Architectural model of a large public building in orange brick, the main cylindrical tower is set within a rectangular structure, with circular and oval roof structures. The model is set within landscaped grounds with paths, a water feature, several trees and bushes, lawns and flower beds.brighton municipal complex, brighton civic centre, brighton chambers, architectural model, model, alan w. chandler, kevin knight, oakley and parkes, architecture, municipal offices, municipal building, scale model

Parry Collection In 2003, the Bendigo Town Hall was returned to its 19th-century splendour after an extensive restoration and renovation program including plasterworks, murals and gold leaf worked by artists and artisans. The original Bendigo Town Hall was designed in 1859 by Bendigo's town clerk, George Avery Fletcher. A council chamber was added in 1866 and a hall for the trading of grain, known as the Corn Exchange, was added in 1871-72. Although the architecture of the additional buildings adhered to that of the original building, the completed building was unpopular with both the citizens and council of the era. In a series of major works from 1878 to 1902 the Bendigo Town Hall was transformed by the architect William Vahland who was given the task of converting the hall into something worthy of Bendigo's leading position as the "City of Gold".[2] His work included extensive new offices, enlargement of the main hall and council chambers, the introduction of an interior decorative scheme, a clock tower and mansard roof. The exterior facades were also remodelled in the classical style. Vahland commissioned Otto Waschatz, who had just decorated the Royal Palace in Copenhagen, Denmark, to design the hall's interior which featured decorative plaster adorned with 22-carat gold leaf, reflecting the opulence of the "city built on gold". The end result, completed in 1885, was one of Vahland's most significant works and has been considered the finest "boom style" building of its kind in Victoria.Bendigo Town Hall Self Tour and conservation timeline brochure. 1. A yellow paper map with the history of the town hall on one side and a self guide tour and plans on the other side. 2. A glossy 4 page guide to the history of the town hall and timeline.history, bendigo, merle lummis collection, bendigo town hall

Five drawings of exterior and interior of Specimen Cottage prepared by Frontier Heritage date 10/06/2015.buildings, residential, specimen cottage, bendigo

BHS COLLECTION: KAY MACGREGOR BENDIGO JAIL DURING RE-CONSTRUCTION Colour Photo Part of gaol (Jail) part of interior wall during the re-construction to the Ulumbarra Theatre.photograph, building

BHS COLLECTION: KAY MACGREGOR BENDIGO JAIL DURING RE-CONSTRUCTION Colour Photo Part of gaol (Jail) part of interior wall during the re-construction to the Ulumbarra Theatre.photograph, building

BHS COLLECTION: KAY MACGREGOR BENDIGO JAIL DURING RE-CONSTRUCTION Colour Photo Part of gaol (Jail) Interior Walls during the re-construction to the Ulumbarra Theatre.photograph, building

BHS COLLECTION: KAY MACGREGOR BENDIGO JAIL DURING RE-CONSTRUCTION Colour Photo Part of gaol (Jail) interior of wall and guard tower during the re-construction to the Ulumbarra Theatre.photograph, building

Six pages coloured booklet titled: Discover and explore the history of the magnificent Fortuna Villa. Your tour guide to the history of Fortuna Villa. On the front cover a sepia coloured photograph of Fortuna Villa and five small coloured photographs of the interior and exterior. On the back cover a Fortuna villa chronology.buildings, house, fortuna villa

Features photos of trams 27 and 1 in Wendouree Parade with an interior photo of 26 of a conductor handing out tickets. Has text describing "Your Trip", the trams, Ballarat Tramways, the museum itself along with maps of the Ballarat system and the Gardens area. Features a photo of tram 26 in the new Museum building. Text revised 2022 for the new building. See Reg. items 712, 1532, 4752 and 8061 for details of earlier productions. Item folded as presented to a passenger.Demonstrates the methodology of interpreting the tram trip for the Museum's visitors.Printed colour A4 folded sheet, 2022 version of BTM "Welcome Aboard" pamphlets for handing out to passengers on trams. Three copies held.trams, tramways, ballarat, btm, handouts, passengers, pamphlets

Example of late 19th Century home built by Irving and Glover for Abraham Baxter, a well known engineer, railway contractor and horse racing enthusiast. The estate consisted of about 300 acres, taking in the northern and eastern faces of Green Hill. The family lived at "Mt. Helen" until 1908. The house has been restored in recent in recent years.The fine brick house is an example of late 19th century home built and occupied by the Baxter family until 1908.Colour photograph of the interior hallway of "Mount Helen" built c.1888 by Irving and Glover"Mt. Helen". built c. 1888building, green hill, irving and glover, abraham baxter, interior

Building historyB/W photo interior of Buninyong Court House, prior to restoration, Feb. 1986, with Shire Secretary Alan Helyer discussing plans with Deputy Engineer Bob Wiseman.Identification on reverse.buninyong, courthouse, sgire council

detail of historic buildingB/W Photograph, Lal Lal Blast Furnace, interior, in 1977buninyong, lal lal, blast furnace

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.