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.

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.

Melbourne Symphony Orchestra, Capital Theatre, Bendigo, Tuesday 16th August 8pm. Australian Broadcasting Commission presents Sir Bernard Heinze. Wayne Rapier - Oboe. These concerts are arranged by the Australian Broadcasting Commission in conjunction with the Government of Victoria. Articles with photos on Sir Bernard Heinze and Wayne Rapier. Annotations. Geelong A.B.C. Subscribers' Committee Members 1966, President: Me J A Brockman. Secretary: Mr J E McClelland. Committee: Miss A France, Miss E Sheridan, Mrs G Brook, Mrs W G L Cartwright, Mrs H C Fallaw, Mrs R H Hoe, Mrs E H Mackintosh, Mrs H G Marfell, Mrs G Penman, Mr and Mrs D O Davey, Mr C P S Billot, Mr Mervyn Callaghan, Mr E A Goding, Mr J L Grant, Mr R Heagney, Mr P H Larsen, Mr F Loxley, Mr N G Schulz, Mr J Phemister, Miss J Cullen. Australian Broadcasting Commission Constituted under the Broadcasting and Television Act, 1942-1965. Commissioners: J R Darling, C.M.G., O.B.E., M.A., D.C.L., (Chairman). E R Dawes, C.M.G. (Vice-Chairman). G Lowndes, O.B.E., M.S.C. H B Halvorsen, M.B.E., F.C.A., F.C.I.S. Miss Rhoda Felgate. M.B.E. J T Reid. Mrs Dorothy Edwards, O.B.E., B.A. General Manager: T S Duckmanton. Manager for Victoria: E A Whiteley, C.B.E., D.F.C., B.A. Melbourne Symphony Orchestra (Season of 1966) Leader of Orchestra: Leonard Dommett First Violins: Bertha Jorgenson, M.B.E. (Asst. Leader) Paul McDermott, Leon La Gruta, Milton Holden, Brian Beatty, Ronald Layton, Rudolf Osadnik. Second Violins: William Glassford (principal) Alex Burlakov, Charles Reither, Ivan Pietruschka, Robert Pattison, Percy Pledger. Violas: Paul O'Brien (Principal), Madeleine Dietrich, Eric Challinor, William Whittingham. Cellos: Marston Bate (Actg. Principal), Henry Wenig, Henri Touzeau, Valerie Awburn. Basses: Guill. Fraillon (Principal), Marijan Brajsa, John McNeilly. Flutes: Arnost Bourek, Vernon Hill, Allison Langdon. Piccolo: June Lindsay. Oboes: Norman Weiner, Edwin Denton. Cor Anglais: Nancy Simons. Clarinets: Phillip Miechel, Isobel Carter. Bass Clarinet: Eugene Danilov. Bassoons: Jos DeGroen, Rhyll Black. Contra Bassoon: Edward Stoneham. Horns: Roy White, Graham Bickford, Alex Grieve, Jack Raines. Trumpets: Mervyn Simpson, John Schmidli. Trombones: Roger Davies, Jack Glenn. Bass Trombone: John McGlade, Tuba: Ian King. Tympani: Gordon Craig. Percussion: Ernest Lighton, John Seal. Music Writer & Arranger: Robert Hughes. Librarian: Margaret Dixon. Orchestral Manager: Ross Carter. Advertising: Bendson & Hedges. Beethoven's recorded works EMI. ABC-TV Australian Playhouse. Kriesler Master Multi-Sonic. Philips.program, music, melbourne symphony orchestra, melbourne symphony orchestra, capital theatre, bendigo, tuesday 16th august 8pm. australian broadcasting commission sir bernard heinze. wayne rapier - oboe. government of victoria. articles photos sir bernard heinze wayne rapier. geelong a.b.c. subscribers' committee members 1966, president: me j a brockman. secretary: mr j e mcclelland. committee: miss a france, miss e sheridan, mrs g brook, mrs w g l cartwright, mrs h c fallaw, mrs r h hoe, mrs e h mackintosh, mrs h g marfell, mrs g penman, mr and mrs d o davey, mr c p s billot, mr mervyn callaghan, mr e a goding, mr j l grant, mr r heagney, mr p h larsen, mr f loxley, mr n g schulz, mr j phemister, miss j cullen. australian broadcasting commission constituted under the broadcasting and television act, 1942-1965. commissioners: j r darling, c.m.g., o.b.e., m.a., d.c.l., (chairman). e r dawes, c.m.g. (vice-chairman). g lowndes, o.b.e., m.s.c. h b halvorsen, m.b.e., f.c.a., f.c.i.s. miss rhoda felgate. m.b.e. j t reid. mrs dorothy edwards, o.b.e., b.a. general manager: t s duckmanton. manager for victoria: e a whiteley, c.b.e., d.f.c., b.a. melbourne symphony orchestra (season of 1966) leader of orchestra: leonard dommett first violins: bertha jorgenson, m.b.e. (asst. leader) paul mcdermott, leon la gruta, milton holden, brian beatty, ronald layton, rudolf osadnik. second violins: william glassford (principal) alex burlakov, charles reither, ivan pietruschka, robert pattison, percy pledger. violas: paul o'brien (principal), madeleine dietrich, eric challinor, william whittingham. cellos: marston bate (actg. principal), henry wenig, henri touzeau, valerie awburn. basses: guill. fraillon (principal), marijan brajsa, john mcneilly. flutes: arnost bourek, vernon hill, allison langdon. piccolo: june lindsay. oboes: norman weiner, edwin denton. cor anglais: nancy simons. clarinets: phillip miechel, isobel carter. bass clarinet: eugene danilov. bassoons: jos degroen, rhyll black. contra bassoon: edward stoneham. horns: roy white, graham bickford, alex grieve, jack raines. trumpets: mervyn simpson, john schmidli. trombones: roger davies, jack glenn. bass trombone: john mcglade, tuba: ian king. tympani: gordon craig. ernest lighton, john seal. robert hughes. margaret dixon. ross carter. bendson & hedges. emi. abc-tv australian playhouse. kriesler master multi-sonic. philips.

Synopsis: “In WW1 Melbourne a pioneering network of women at the Mission to Seafarers called the Ladies Harbour Lights Guild supported sailors who risked their lives at sea. The documentary “Harbour Lights” tells the remarkable story of the Ladies Harbour Lights Guild and the lives of seafarers in early 20th century Melbourne. It focuses on Melbourne’s iconic Mission to Seafarers building, its connection to the Great War and to a unique community of ships crew and volunteers. Featuring Melbourne historians, commentators, archivists and architects and rare footage and images of sailing and social life in and around the ports of Melbourne, this film will inform and connect audiences young and old.” Commissioned by Victorian Government The movie was produced in collaboration with the Mission to Seafarers Victoria. It was directed by Jary Nemo and written and produced by Lucinda Horrocks and Jary Nemo with executive producers Sue Dight and Gordon MacMillan. The film features: Jill Garner Kate Darian-Smith Chris McConville Janet Miller (curator) Gordon MacMillan (former seafarer and board committee member) Narrated by Sharon Turley. Music by Richard Chew (professor of the Arts Academy in Ballarat) The film was presented at several festival in Australia and abroad in 2020-2021. Credits: Narrator Sharon Turley Featuring (in order of appearance) Dr Chris McConville, Gordon MacMillan, Janet Miller, Professor Kate Darian-Smith and Jill Garner With Raul S Gantalao Jr, Escoto Lemuel, Ben Schroeder, Cinda Manins And Ian Fletcher, Yuan Jia, Uma Kothari, Gordon Lansley, William Reed and Cheka Samaranayake Directed by Jary Nemo Written and Produced by Lucinda Horrocks and Jary Nemo Music by Richard Chew Executive Producers Sue Dight and Gordon MacMillan Research advisors Geraldine Brault, Maria Culka, Professor Kate Darian-Smith, Ros Fletcher, Professor Uma Kothari, Dr Barbara Lemon, Catherine McLay, Dr Chris McConville, Janet Miller, Rick Mitchell, Duncan ‘John’ Perryman, Dr Annette Sheill and Peter Taylor Archival photographs, music and footage courtesy of Australian Red Cross Society, Central Highlands Libraries, Internet Archive, National Film and Sound Archive, National Library of Australia, Mackarness Family Personal Archives, Mission to Seafarers Victoria, Public Record Office Victoria, State Library of Victoria and US National Archives Music Harbour Lights. Music by Richard Chew. Westering. Music by Richard Chew. Twilight (Crépuscule) by Jules Massenet. Performed by Amelita Galli-Curci. I Love You So, Waltz from The Merry Widow by Franz Lehár. Performed by Elise Stephenson and Harry Macdonough with Orchestra. Harbour Lights 2. Music by Richard Chew. If I Could Fly by Walking Hearts featuring Jennifer Holm. Courtesy of Epidemic Sound. With thanks to Peter Barrow, Sarah Bartak, Lin Bender AM, Patty Braumueller, Csilla Csongvay, Emer Diviney, Moira Drew, Ian Fletcher, Ajith Jayasuriya, Ben Jones, Patience Jones, Cinda Manins, Madeleine Martiniello, Georgia Melville, Elisabeth Moglia, Tara Oldfield, Lyn Pasquier, Nigel Porteous, Rev’d Onofre (Inni) Punay, Dr Rosalie Triolo, Ben Schroeder, David Simpson, Cheka Samaranayake, Daria Wray, the Helen Macpherson Smith Trust and KPMG. A special thanks to The women of the Ladies Harbour Lights Guild 1906 to 1961 Produced in collaboration with The Mission to Seafarers Victoria Created with the support of The Victorian Government Licensing This film has been released under a Creative Commons BY-NC-ND 4.0 International license Acknowledgement of country Project production and development took place on the lands of the Kulin nation. We acknowledge Traditional Owners and pay our respects to Elders past, present and future. Production company A Wind & Sky Production Copyright with © Wind & Sky Productions MMXIX The film was launched on Wednesday 26th February 2020 at the Mission. Speech by Veterans Affairs. Amongst the guests were current and former volunteers (Maria Culka, Gordon MacMillan, Elisabeth Moglia), curators (Georgia Melville, Jay Miller, Geraldine Brault)18mn documentary mixed of photographs from teh collection and interviews about the Ladies Harbour Lights Guild work during WWIladies harbour lights guild, documentary, jay miller, janet miller, geraldine brault, lucinda horrocks, gordon macmillan, jary nemo, kate darian-smith, jill garner, chris mcconville, sharon turley, richard chew, footage, archive

Entry No. 621 on page 856. Entry is a list of the Catherine Reef United Claimholders Gold Mining Company Shareholders with their address and the number of shares they hold. Manager was Thomas Eyre and the Company Office was at Peg Leg Gully, Eaglehawk. Names of Shareholders are: John Abern, Simon Albert, James Allen, William Allen, Alexander Anderson, William Anderson,Harry Leigh Atkinson, William Bannerman, Adolphus Barnett, Adolphus Robert Barnett, Alexander Bayne, Adam Beattie, Robert Bell, Gottfried Bermann, William Boncher, James Branagan, Carl Brecht, Frederick William Brinkmeyer, William Ruthford Brown, Joseph Burgoine, Thomas Burgoine, Thomas Burrows, Joseph Butler, John Thomas Caldwell, Philip Carr, Mary Jane Chantler, James Cobb, Edward Cook, Edward F Cooper, James Crameri, George Cudden, Jacob Ludwig Culmsec, Gustav Damkohler, Ellen Dithmer, William Dixon, William Doig, Robert Campbell Dow, Adam George Dunlop, Andrew McBride Dunlop, Hugh Ellis, Thomas Eyre, Richard Philip Eyre, William Farnsworth, Matthew Fawcett, Frederick John Fleming, John Forrest, Andrew Frei, Robert Gilmour, James Gray, Fordinand Gremelsbecher, Robert Grieve, John Grieve, William Grose, George Hagger, Andrew Hamilton,Hans Truchen Hansen, Thomas Harding, Abraham Harkness, Alexander Hay, Joseph A C Helm, John Hoole, George Hoole, Edward Hunt, Thomas Huston, Henry Jackson, Samuel Jackson, Eli James, Robert Jeffrey, Carl Heinrich Jensen, George Foster Johnson, Richard Kevern, William Kimber, Martin Kircher, Hay Kirkwood, Henry Koch, John Lamperd, Mary Anne Lawley, Charles Letheby, Joseph Lowery, Ninjan Mailor, William Marshall, Robert Marshall, Henry Adolphus Medlicott, John Mitchell, William Moore, Susan Murray, Andrew McGrigor, John Steele McNair, Thomas McCormack, Peter Nielson, William Parry Nicholls, Henry Boyns Nicholas, George Nicholson, John Noble, Daniel Noonan, John O'Keeffe, David Purves, William Rea, William Usher Reavely, Francis Robinson Reay, John Bellew Richards, Samuel Richardson, William Robinson, Henry John Rowe, Thomas Ruberg, John Rule, Thomas Rule, Joseph Rutherford, Edward B Ryal, John Snaith Rymer, Philip Seeber, Ferdinand Sahlberg, John Thomas Sanders, Edward Saunders, Charles Selwyn Savage, Charles Sayer, John Scanlon, William Schafer, James Sherson, William Simpson, Antony Smith, Samuel Snowdon, Peter Sorensen, Anders Neilsen Sorensen, Frederick Stahl, David Chaplin Sterry, James Steward, Louis Straub, Robert Suggett, George Suggett, John Talbot, Marion Taylor, John Thomas, Joseph Thomson, Thomas Treloar, William Trimble, George Turner, Alfred Wainwright, Charles Wallin, John Watson, Joseph Watson, Richard John Webb, Frederick Whitaker, John William Williams, Henry Williams, Robert Wills, Christian Weiss, John Wilson, William Winter, George Wisemann, Joseph Wood, James William Wood, Edward Wrixon, Thomas Young and Henry Young. Witness to Signature was J D Crofts.mining, business, shareholders, catherine reef united claimholders gold mining company shareholders, thomas eyre, mining partnerships limited liability act 1860, john abern, simon albert, james allen, william allen, alexander anderson, william anderson, harry leigh atkinson, william bannerman, adolphus barnett, adolphus robert barnett, alexander bayne, adam beattie, robert bell, gottfried bermann, william boncher, james branagan, carl brecht, frederick william brinkmeyer, william ruthford brown, joseph burgoine, thomas burgoine, thomas burrows, joseph butler, john thomas caldwell, philip carr, mary jane chantler, james cobb, edward cook, edward f cooper, james crameri, george cudden, jacob ludwig culmsec, gustav damkohler, ellen dithmer, william dixon, william doig, robert campbell dow, adam george dunlop, andrew mcbride dunlop, hugh ellis, thomas eyre, richard philip eyre, william farnsworth, matthew fawcett, frederick john fleming, john forrest, andrew frei, robert gilmour, james gray, fordinand gremelsbecher, robert grieve, john grieve, william grose, george hagger, andrew hamilton, hans truchen hansen, thomas harding, abraham harkness, alexander hay, joseph a c helm, john hoole, george hoole, edward hunt, thomas huston, henry jackson, samuel jackson, eli james, robert jeffrey, carl heinrich jensen, george foster johnson, richard kevern, william kimber, martin kircher, hay kirkwood, henry koch, john lamperd, mary anne lawley, charles letheby, joseph lowery, ninjan mailor, william marshall, robert marshall, henry adolphus medlicott, john mitchell, william moore, susan murray, andrew mcgrigor, john steele mcnair, thomas mccormack, peter nielson, william parry nicholls, henry boyns nicholas, george nicholson, john noble, daniel noonan, john o'keeffe, david purves, william rea, william usher reavely, francis robinson reay, john bellew richards, samuel richardson, william robinson, henry john rowe, thomas ruberg, john rule, thomas rule, joseph rutherford, edward b ryal, john snaith rymer, philip seeber, ferdinand sahlberg, john thomas sanders, edward saunders, charles selwyn savage, charles sayer, john scanlon, william schafer, james sherson, william simpson, antony smith, samuel snowdon, peter sorensen, anders neilsen sorensen, frederick stahl, david chaplin sterry, james steward, louis straub, robert suggett, george suggett, john talbot, marion taylor, john thomas, joseph thomson, thomas treloar, william trimble, george turner, alfred wainwright, charles wallin, john watson, joseph watson, richard john webb, frederick whitaker, john william williams, henry williams, robert wills, christian weiss, john wilson, william winter, george wisemann, joseph wood, james william wood, edward wrixon, thomas young, henry young, j d crofts

The name on the letterhead, “Canning Pierhead North” is the name of the Liverpool Pilot Authority, which was situated in 1883 at Cannon Pier on the River Mersey where ships entered to travel to Liverpool. The logo on the letterhead belongs to the Liverpool Shipwreck and Humane Society. The letter is addressed to “Mr Peter Carmody, Port Campbell, south coast of Australia”, and reads as follows: “January 21st 1893, Dear Sir, I have the pleasure to forward to you by post herewith a Silver Medal and a Certificate of Thanks, voted to you by the Committee of the Liverpool Shipwreck and Humane Society for your courage and humanity in going out into the surf to rescue the survivors of the crew of the barque “Newfield” which vessel was wrecked near Port Campbell on the 29th of August last. Be kind enough to send a few lines acknowledging receipt of the testimonials. I am Dear Sir, Yours Faithfully, Robert P. J. Simpson, Secretary.” The medal accompanying the letter is the Liverpool Shipwreck and Humane Society’s “Bramley-Moore medal for saving life at sea 1872”. The Society was formed in 1839. In 1872 Mr John Bramley-Moore donated £500 on condition that the medal have the specific inscription above on its reverse. The Bramley Morre medal was first awarded in 1874 and records show that since that time only one gold medal has been awarded, twenty-two silver medals and seventeen bronze medals, the last being in 1945. This Bromley-Moore medal was awarded to Peter Carmody for his bravery in saving lives on the Newfield shipwreck. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast. At about 1:30am the Newfield ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile off shore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at Ssea, which he received by mail on January 21st 1893. The medal and letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody’s grand-daughter Norma Bracken and her son Stuart Bracken on 25th May 2006. The Medal and Letter of Congratulations join other items in the Newfield collectionlFlagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck. The Letter accompanying the Medal for Bravery awarded to Peter Carmody is significant because the attempt to save lives is associated with the shipwreck Newfield.A copy of a letter from the Liverpool Shipwreck and Humane Society to Peter Carmody in reference to the bravery of Peter Carmody over the wreck of the "Newfield". The letter is divided into 2 columns and is written in longhand using black ink on both columns. There is a letterhead in the centre of the left hand page and a round logo printed or stamped on the top of left of the left hand page. The centre of the logo shows a design of a man kneeling on a floating part of a wreck. He is rescuing a child from the sea. On the top of the circle of the logo a design shows a long-legged hen cormorant with extended wings holding an olive branch in its beak. There is also the name of a city printed onto the page under the letterhead. The letter has been folded into half along its long side, then in half again along its long side then into thirds. The letter is dated January 21st 1893. “CANNING, PIERHEAD, NORTH” and “LIVERPOOL” are printed on the top left hand page. The logo “LIVERPOOL SHIPWRECK AND HUMANE SOCIETY” is printed or embossed on the paper.28 august 1892, bramley moore, carmody, certificate of thanks, curdie's river, flagstaff hill, flagstaff hill maritime museum, gerard irvine, james mckenzie, liverpool shipwreck and humane society, maritime museum, medal, newfield, nineteenth century, norma bracken, peter carmody, port campbell, rescue, robert simpson,, shipwreck, ship wreck, stuart bracken, victorian shipwrecks

A copy of an Anzac Day Address at the Anzac Commemoration Ceremony for Students, the year is unknown but it is presumably the address given by the President of Legacy. It seems to be one of the earlier ceremonies. It was stored with documents about the building of the Shrine and another speech from the 1939 service. The presenter had probably served in World War 1 so was very close to the events he was talking about. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. The ceremony is usually attended by representatives from schools throughout the state and the Governor of Victoria. The text says: 'We have gathered here too commemorate the historic landing on the Gallipoli Peninsula of the Australian and New Zealand troops on the 25th of April 1915 - the day that has come to be universally known as Anzac Day. . . I expect most of you know how the word 'Anzac' came into being. How General Birdwood and his officers took the first letters of the words Australian and New Zealand Army Corps and formed them into the code word "Anzac". They did not expect it would become the famous name by which the men fighting under them would become known. But it did, and Anzac Day has become Australia's greatest national day because on that day Australia's manhood was put to its first great test. You see up to that that time, the world knew very little about us. We had not, thank God, ever had to fight for the existence of our Nationhood and everything we hold most dear. Everyone wondered how our men would compare with the men of other nations when a real crises arose. . . . You have been told there thrilling story of Anzac Day. Of the landing at dawn on that terrible coast: the hand to hand fighting that went on continuously all that day and through the days and nights that followed. How the Anzacs - outnumbered, exhausted and tortured by thirst held on, and how during the terrible nine months that ensued all the efforts of a brave enemy to dislodge them failed. Such was their gallantry that a British Officer described the Australian soldier as "The bravest thing God ever made". What a wonderful tribute that was; and how proud we should be of the men who earned it. . . . These men carried on all the traditions of the Anzacs and made a wonderful name for Australia and New Zealand in France, in Belgium, in Egypt and Palestine and in all the theatres of war in which they served. And this great Shrine was build by the people of Victoria, not in any boastful sense of Victory, not in any attempt to glorify war - which is a horrible, dreadful thing, but in memory of those thousands of Victorian sailors and soldiers who so loved their country that they laid down their lives in her service. . . All of them were brave, but do not think that a soldier who is brave need alway be a great warrior. I hope when you have passed through the Shrine you will go and see a little bronze statue near the road yonder. A statue of a man leading a donkey which carries a wounded comrade. You will see the soldier leading the donkey carries no weapons. Yet he was a hero indeed, for he saved the lives of scores of his comrades at Anzac by carrying wounded from the battle to safety and the hospital. And in the end he too gave his life for his friends. . . Let us all try to help each other in peace as they did in war. Instead of divisions, let us have unity. If we think of no one but ourselves we shall not achieve anything nor shall we deserve to. Let those of you who are strong help those who are not so strong - all through life - like John Simpson, the man with the donkey did. Be proud of your country and do nothing to dishonour it. If you get an order from one in authority, obey it, even if you do not understand it.A good solider always obeys his orders. If he did not, he may bring disaster and cause harm to his fellow soldiers. Remember that those thousands of men died so that we could still live here in freedom. A country is judged by its citizens. Let us be worthy of those great citizens who have left us the legacy of their fame and devotion to duty. And when you file through the Shrine and look down on the Rock of Remembrance, read the inscription on it, "Greater Love Hath No Man", remember those wonderful words written in the greatest book in the world nearly two thousand years ago, "Greater love hath no man than this, that a man lay down his life for his friend."A record of a ceremony at the Shrine for school students. The text of the speech is significant in that it was written by a man who had served in World War 1 and knew first hand what it meant to be part of the first Anzacs. White quarto paper x 4 pages with black type of a speech at one of the Annual Anzac Commemoration Service for Students.Handwritten in blue pen 'Shrine, Children's Service'anzac commemoration for students, wreath laying ceremony, speech

The scrapbook, compiled by Edith E Hitchcock, displays a variety of newspaper clippings with photographs relating to ships, sailors, their hobbies, Padre Oliver. Page 1 - Map of the British Empire Page 3 - Newspaper clipping with photographs: "Happy Sailors Lads" onboard the CB Pedersen C.1935 Page 5 - Photograph depicting three children watching of a ship at sea Page 7 - 1937: article: with photograph"Sea Captain and Artist": Captain A.C.G. Dreillek, Swedish ship Yngaren (similar photo published in 1937 in the Courier Mail Brisbane) Page 9 - 1935: "Reunited": Dog Patsy with ship Pegasus crew members / "Sydney Harbour Bridge": Phillip Vanderhill, Cook of the Kota Inter and its sitar creation Page 11: Mr G. Gatty and Tim, the cat from the Esperance Bay / Herbert the hen, pet on the ship King Arthur / Frank Simpson, quartermaster and painter from the ship City of Dieppe. Page 13: Conway Seymour and shipmate aboard the Orford. Page 15: 3 photographs of French sailors from the cruiser Rigault de Grenouilly in 1936. Page 16: Photograph of A.J. Kramer working on a ship model aboard the Dutch ship, Kota Inten. Page 17: 1936: Photographs of sailors from the French ship Rigault de Grenouilly and the American ship: California State berthed in Prince's Pier. (plus two large loose clippings with portraits of same sailors). Page 18: 1934: Ball on the Manunda to raise funds for the Mission: photograph of Captain Robert Sunter, Padre Oliver, Moira Oliver, Mrs Harold Clapp. Page 19: Photograph of French sailors from the Rigault de Grenouilly in a bus en route to the Dandenong Ranges. Page 21: Photographs of a shipwreck (probably Kakariki in 1938, see next page). Page 23: Aerial photograph of the shipwreck Kakariki in Hobson's Bay in 1937 Page 25: Photograph of the shipwreck Kakariki in Hobson's Bay in 1937. Page 26: Photograph of the shipwreck Kakariki in Hobson's Bay in 1937. Page 27: Photograph of the survivors from the shipwreck Kakariki in the Mission in 1937: A. Bunyard, W. Fisk, J. Greene, L. Tarlington, J. McInnes, G. Coote, G. Sugar. Page 28: Photograph of the survivors from the shipwreck Kakariki in the Caradale in 1937: W. Fisk, T.W. White. Page 29: Missioneers talk to Firemen: Padre Oliver and his assistant, L.V. Owen talking to ship's firemen.(the Argus, 24 July 1931) Page 31: 3 articles with photographs: American cadets from the California State / Governor's Surprise Visit: Lord Huntingfield visiting Padre Oliver in the Mission (the Argus, 19 May 1936) / Sea Scouts on Liner: Padre Oliver on the P&O Cathay (the Argus, 16 June 1936) Page 33: Harbour Lights: padre Oliver, Lord Somers and Rev. R. Kerdell / Visit of the Duchess to the Mission (the Argus, 26 february 1945). Page 34: Photograph titled "An old salt still yearns for the sea- 369 miles away". Page 35: two clippings : Presentation of cheques for Merchant Navy: Betty Raymond giving a cheque to Padre L.L. Elliott / A cheque for the Seamen's Mission: Photograph of Padre Oliver with a cheque. Page 37: 4 clippings with photographs: Padre Oliver playing the piano for the cadets of the C.B. Pedersen / Miss Gladys Grant with parcels (from the Age 10 November 1943) / All Nations' Dance / Christmas at the Flinders Street mission, Padre Oliver cutting the cake (The Age, 15 December 1942) Page 39: Unveiling of the Memorial window to Captain Robert Sunter in 1936. Page 41: 2 clippings: At the Seamen's Mission: photographs of J. W. Neill and Padre Oliver / Married: Albert Robertson and Beryl Landrigan / Postcard of the St Peter Chapel. Page 43: 2 postcards: The Cloisters / The Mission view from Flinders Street. Page 45: Postcard of the windvane. / clipping of Sailors from the Zealandic. Page 46: 2 clippings: Virtually a Man without a country: Frans Nobel on the ship Milleeta / Seaman, Soldier, Waiter, Singer, Cook Finds Peace (Frans Nobel).(1939) Page 47: That Land Looks Good: two seamen from the tanker British Fame Page 48: large clipping of the C.B. Pedersen "Like a page from the past".(april-May 1935) Page 49: Photograph of Padre Oliver in his army uniform.This scrapbook is significant because it makes reference to contemporaneous events related to the Mission to Seafarers. On the inside cover is the name Edith E. Hitchcock.edith e. hitchcock, scrapbooks, c.b. pedersen, hobbies, ship models, painting, frank leslie oliver, mv manunda, captain robert sunter, windvane, rigault de genouilly, french, german, california, kakariki, ship pegasus, sydney harbour bridge, sugar, kota inten, philip vanderhill, lord somers, reverend r. kerdell, r.m.s. moldavia, victoria dock, ww2, pets, bird, dog, cat, gladys grant, alphonse polo, eugene emonin, raoul gannson, esperance bay, g. gatty, captain a. macwhirter, frank simpson, city of dieppe, conway seymour, orford, a.j. kramer, dutch, moira bird oliver (nee good), mrs harold clapp, caradale, 3uz radio, betty raymond, l.l. elliott, j.h. bustard, merchant navy patriotic fund, g.h. martin, j.w. neill, albert robertson, beryl landrigan, zealandic, frans nobel, milleeta, british fame

Photo - see pdf file for further information. Number Brief Description RSC1 PCC 1041 at the gates of Preston Workshops on a test run without it’s trolley retriever RSC2 PCC 1041 in Glenhuntly Road on Route 67 en route to Carnegie crossing the Railway Gates at Glenhuntly Station RSC3 W2 482 stored at Malvern Depot with Olympic Park on the Destination RSC4 Cable Car Set 64 in Swanston St outside Princess Bridge Station in Bound with open top Double Deck Bus, Trak Motors ? Departing from Flinders St Station RSC5 W3 669 in St George Rd at Sumner St en route to Preston Workshops for scrapping RSC6 Cable Car in Lygon St en route to Carlton RSC7 PCC 1041 turning from St Georges Rd into Miller St to enter Preston Workshops RSC8 Flinders St Station with cable cars RSC9 PCC 1041 in strife on it’s maiden day in service. Trams on route 88 delayed in Queens Parade Clifton Hill RSC10 Flinders St at William St with Cable Cars RSC11 L 104 on the fan of the new shed at Malvern Depot on a TMSV tour RSC12 Cable Set 1 after it’s restoration at Preston Workshops on the fan near the front gate RSC13 X1 466 at a suburban terminus of the Footscray System RSC14 X2 680 at Point Ormond Terminus RSC15 An ex Launceston Tram at the outside terminus of the Penny Royal Complex Tramway in Launceston RSC16 Q 148 at Preston Workshops awaiting disposal RSC17 Elizabeth St with Cable Cars RSC18 Elizabeth and Bourke St corner outside the GPO with cable cars RSC19 Collins St with Cable Cars RSC20 A photo taken from the observation deck of the ICI building showing a view of Parliament house with a w class tram in Nicholson St RSC21 Auburn Horse car with a posed photo of all the tramwaymen employed RSC22 Cheltenham Double Deck Horsecar with a full load of passengers RSC23 City of Northcote cable trailer 3 at a terminus RSC24 City of Northcote Cable cars passing in High St Northcote RSC25 St Kilda Rd at Princes Bridge with Cable Cars RSC26 Flinders St with Cable Cars RSC27 Cable Cars RSC28 Bourke St looking towards Elizabeth St from Queen St RSC29 Cable cars in Bourke St at Elizabeth St looking East RSC30 Cable cars in Elizabeth St at the terminus at Flinders St RSC31 Cable cars in Bourke St at Swanston St looking west RSC32 Cable cars in Swanston St at Flinders St looking North RSC33 Cable cars in Collins St near Russell St RSC34 Cable cars in Elizabeth St at Bourke St RSC35 Cable cars in Collins St at Elizabeth St RSC36 Cable Cars in Swanston St at Flinders St RSC37 Cable cars in Collins St RSC38 Cable Cars RSC39 Cable cars in St Kilda Rd near Princes Bridge RSC40 Cable cars in Collins St East of Swanston St RSC41 Cable cars in Spring St outside Parliament house RSC42 K 92 in M&MTB Chocolate and cream livery but with a P&MTT Destination box on Route 14 RSC43 Thornbury depot viewed from Miller St and St Georges rd. Two W2 class cars are laying over between the peaks RSC44 Z3 201 in Met Livery passes D1 3510 in new M Tram livery. A Staff member in uniform stands in the doorway. Dandenong Rd RSC45 D1 3530 advertising Heinekin Super Golf on Route 55 in Royal Park RSC46 D1 3504 in M Tram livery on the reserved track in Matthews Ave near Essendon Airport showing Route 81 Travancore . I suspect it is a private enthusiasts charter due to the Malvern W class run number in the rear windscreen RSC47 D1 3504 on Route 64 in Dandenong Rd in M Tram Livery RSC48 D1 3504 in M Tram Livery at Airport West Terminus RSC49 D1 3504 in M Tram Livery in Union Rd outside the Showgrounds RSC50 D1 3504 at West Maribyrnong Terminus in M Tram Livery RSC51 D1 3503 in M Tram Livery in Malvern Depot RSC52 SW6 960 and VR 53 in Harbour Esplanade for the NMEL&T Co Centenary RSC53 Hawthorn Tramways Trust 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC54 VR 53 & B 2042 in Harbour Esplanade for the NMEL&T Co Centenary RSC55 VR 53 & C 3016 in Harbour Esplanade for the NMEL&T Co Centenary RSC56 NMEL&T Co 13 usually V214 in Harbour Esplanade for the NMEL&T Co Centenary RSC57 NMEL&T Co 13 usually V214 at Preston Workshops for the NMEL&T Co Centenary RSC58 Hawthorn Tramways Trust Lettering on HTT 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC59 Hawthorn Tramways Trust 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC60 Hawthorn Tramways Trust 32in Harbour Esplanade for the NMEL&T Co Centenary RSC61 Hawthorn Tramways Trust 32 in Harbour Esplanade for the NMEL&T Co Centenary RSC62 NMEL&T Co 13 usually V214 at Preston Workshops for the NMEL&T Co Centenary RSC63 W2 516 and another on route 59 wait to shunt at Essendon Airdrome Terminus as W2 571 on route 49 departs. This was the last day of operation. RSC64 Australia’s First Electric Tram at Box Hill with Tramwaymen including H J Hilton who is in the centre RSC65 W2 484 en route to St Kilda Junction and another wait for passengers after a race meeting at Caulfield Racecourse RSC66 X1 463 on the Footscray system en route to Russell St RSC67 Geelong 35 on Chilwell Route, Formerly HTT 13, M&MTB 119, then Bendigo 1 and Ballarat 37 RSC68 P&MTT 4 on Opening Day of the system in Glenferrie Rd RSC69 Bendigo 6 in McCrae St near the Depot end route to North Bendigo RSC70 P&MTT 4 in Glenferrie on opening day of the System RSC71 Scrubber 3 stripped and awaiting scrapping at Preston Workshops RSC72 Scrubber 4 at South Melbourne Depot RSC73 Q 191 & 139 at Preston Workshops awaiting scrapping RSC74 Rail Grinder 3 at Preston Workshops as purchased from Sydney RSC75 Y 469 waits to shunt at Wattle Park Terminus as Y1 613 departs on driver training duties RSC76 VR 53 on the outside roads at Essendon Depot RSC77 W5 796 with three doors and square windows running out of Brunswick Depot in Cameron St, with a supplementary destination board showing “City via Swanston St” RSC78 W2 258 on the wheel grinder road at Brunswick depot RSC79 X2 676 on a TMSV tour, W5 817 & 836 & VR 53 on the open roads at Essendon Depot RSC80 PCC 1041 on test, passes W71035 in High St Preston RSC81 D1 class production number 7 as delivered on test in Matthews Ave RSC82 W2 383 on route 5 turning from the reserved track in Dandenong Rd into St Kilda Rd at St Kilda Junction RSC83 Z3 204 as advertising tram for Vodaphone Grand Prix running into Malvern Depot new shed RSC84 Z1 4 on test in St Georges Rd RSC85 PCC 1041 on Route 96 in Burke St near Exhibition St RSC86 Z1 3 without numbers on test turning from Miller St in St Georges Rd RSC87 Track components stored in Coldblo Rd at Malvern Depot with Z class cars adjacent RSC88 D1 3501 in M Tram Livery on Route 55 in Peel St at Franklin St RSC89 C 3001 in Yarra Trams Livery Porto 018 & D13502 in M Tram Livery on Display in Harbourside Esplanade RSC90 D1 class tram production number 7, in as delivered condition on test in Matthews Ave RSC91 D1 3503 inside Malvern Depot RSC92 SW6 955 and W6 974 in St Kilda at City Rd at Dusk RSC93 Freight Car 19 at Preston Workshops in green Livery RSC94 Rail Grinder 3 in green Livery at South Melb Per Way Yard RSC95 A SW6 class car on route 50 shunting at Elizabeth St Terminus at night, taken from Flinders St Station RSC96 W2 588 & 435 in St Kilda Rd at Batman Ave RSC97 Y1 613 in service at Wattle Park Terminus RSC98 W2 588 in Wellington Parade en-route to the City with a Grand Final Load of passengers followed closely by 384 RSC99 W2 558 on a MCG Footy Special entering the Simpson St sidings RSC100 W3 657 & an L Class in the new shed at Malvern Depot RSC101 Y1 613 in St Kilda Rd on an enthusiasts tour in St Kilda Rd south of St Kilda jun RSC102 Y1 613 on an enthusiasts tour in Clarendon St with the two extra tracks on the Viaduct under construction RSC103 W6 976 on the fan of the new shed at Malvern Depot RSC104 W7 1024 as an advertising car for Bank of NSW at the route 1 terminus at South Melb Beach RSC105 PCC 980 on route 96 in Nicholson St near North Fitzroy Depot RSC106 SW6 890 with dash canopy lighting in Market St on the opening day of William St Services RSC107 W2 444 with big numbers heads a line of footy specials in Simpson St Sidings RSC108 Cable Cars in Elizabeth St RSC109 NMEL&T co 2 with a trailer outside the power station in Mount Alexander Rd RSC110 Alf Twentyman’s cable car set in his Northcote backyard RSC111 Cable Cars in Queens Parade Clifton Hill RSC112 Cable cars in Collins St outside the Townhall RSC113 PCC 1041 at Carnegie terminus RSC114 Cable cars in Elizabeth St RSC115 Cable cars in Collins St near Swanston St RSC116 HTT 19 turns from Riversdale Rd into Camberwell Rd at Camberwell Junction RSC117 W1 419 official builders photo of first car of the class RSC118 Cable car with a full load of passengers RSC119 W1 422 illuminated for the visit of T.R.H. The Duke and Duchess of York RSC120 PCC 1041 in strife on it’s maiden day in service. Trams on route 88 delayed in Queens Parade Clifton Hill RSC121 Bendigo birney in Finn St near North Bendigo terminus RSC122 SW6 in St Kilda Rd at Domain Rd at night RSC123 All 3 of Alf Twentyman’s cable cars in his Northcote backyard RSC124 Cable trailer 256 being unloaded into the shed at Bylands RSC125 Cable grip car 1 being removed from the Melbourne Museum RSC126 Alf Twentyman's cable cars in his Northcote Backyard RSC127 Alf Twentyman's cable cars in his Northcote Backyard RSC128 Alf Twentyman's cable cars in his Northcote Backyard RSC129 Alf Twentyman's cable cars in his Northcote Backyard RSC130 W class car in Swanston St at Collins St RSC131 Y1 469, L & W3 on the run out of Glenhuntly Depot on a tour RSC132 W7 1024 as an advertising tram for Bank of NSW at Clifton Hill RSC133 W2 496 on a footy special in Simpson St Sidings RSC134 W2 as originally converted to a test car at Preston Workshops RSC135 W3 667 in Brunswick Depot with Ellen Butland at the controls RSC136 W3 669 on it’s final run at Victoria Prd & Brunswick St RSC137 W2 571 in Wellington Prd at Clarendon St with a Footy Final load of Passengers RSC138 Y1 613 shunts at Spencer St Terminus as X217 waits on Australia Day Pageant RSC139 PCC 1041 on Rt 96 in Burke St outside the Southern Cross Hotel RSC140 890 with accident damage on the outside roads at Preston Workshops c1978 RSC141 535 on Rt 4 at the old St Kilda Jun c1967 RSC142 1041 on Rt 88 turns from Bourke St into Spring St 1973 RSC143 102 on a tour at Albert Park Beach Terminus Feb 1972 RSC144 833, 835 & 834 in the shed at Malvern Depot c1976 RSC145 281 in Wellington Parade on a football very crowded special c1974 RSC146 464 Ballarat Rd 1960 RSC147 181 Explosives Fty - at Footscray Station - July 1960 RSC148 181 Williamstown Road 1960 RSC149 Cable car set at Alf Twentyman’s c1970 RSC150 X 217 at Malvern Depot c1970 RSC151 X1 465 and T181 Footscray Football ground in Barkly St. c1960 RSC152 Scrubber 5 at South Melbourne depot c1960 RSC153 X1 465 Footscray to Russell St, c1960 RSC154 X1 467 Leeds St Footscray 1960 RSC155 PMTT 4 Glenferrie Road, 1910 RSC156 S 164 at Malvern Depot c1970 RSC157 T178 Footscray c1960 RSC158 Cleaner No. 7 at South Melbourne depot c1960 RSC159 Two Y classes at Princes Bridge / Batman Ave mid 1950s RSC160 Swanston St – Nu color vue slide – M142 Demonstrates the work of Ron Scholten in photography, collection and/or production of duplicate slidesAssembled album in a black presentation folder of 160 colour slides, 8 slide sleeves, collected or produced by Ron Scholten. Many are TMSV or Windsor Publications slides. All photographs have been scanned and placed on the Museum's G drive. A list of all photographs with details has been compiled. melbourne, tramways, trams, cable trams