Women and Money month 2010A4 sheet cardboard folded twice to create 3 column pamphlet. green and maroon colour scheme. event, women social services

Letter from Joan Kirner to Janet Enlgand (first chair) about the beginnings of the centre. A4 white paper. Black ink. Copy of original. Correspondence in 4/7/1996 people in political roles, letter, newsletters, official events

series of bookmarks made for centre promotion. Cardboard double sided bookmark. Front depict shilling wall artwork and on the back information about the project.

Donation/nomination pamphlet made for the shilling wall projectLarge sized paper folded three times to create a four columned pamphlet - coloured images throughout. fundraising

A4 pages halved to create A5 sized booklet. List and inscriptions of name on the wall. 21 pages.

Made for the International Women's Day celebrations hosted by QVWC. Cardboard coloured flyer.

page folded three times to create a four columned pamphlet.

coloured images. cardboard. image of cupola on front and program information on the back.

one of a series of promotional bookmarks madecardboard. colour images. image of ground floor foyer on front and program information on the back.

A4 sized cardboard halved to create a small booklet.

A5 cardboard flyer. red accent. predominantly black and white images.

A4 printed paper folded twice to create a three column pamphlet. purple and orange colour theme throughout.

This photograph is from the album of Ivy Child. It shows her parents Ethel and Ted Child (rhs) standing on Childs Road with another couple and their two young boys. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Sepia photograph showing two men, two women and two young boys standing in the centre of an unmade rad. Ferns and trees are growing up to the edges of the road.Handwritten below the photograph in album: Child's Roadted child, ethel child, childs road, bush

WINLATON 1956 - 1993 • Established in 1951 with the name “Winlaton” the property was a children’s home run by the Mission of St James & St John. • By 1953 it was acquired and ran as a state facility under the same name (Winlaton), for female offenders and for girls under protection orders - otherwise known as ‘wards of the state’. • By the time of its closure in 1993, it was operating under the name “Nunawading Youth Residential Centre”, housing both males and females. WINLATON YOUTH TRAINING CENTRE By 1956, the state had constructed a purpose-built facility at Winlaton which would cater for both girls, and young women, who were under either a protection order/ward or who were female juvenile offenders. Some of the juvenile offenders were transferred to Winlaton from other facilities such as Turana, originally called the Royal Park Depot, due to overcrowding, or from convents. With the new facilities Winlaton, supposedly, could offer a separate training, education and treatment regime for those girls or young women who had been admitted under protection orders separately to those who had been committed under a custodial order. With this focus on training and rehabilitation the facility had 3 residential sections, or cottages. A Winlaton “trainee”, showing signs of good behaviour and progress, could be promoted up through any of the 3 cottages and likewise demoted down with bad behaviour. However, by 1957 one of the 3 cottages at Winlaton housed sentenced offenders and wards of state together. A 4th hostel – named ‘Leawarra’ - was added in 1959 which functioned as a reward, or privilege, for residents deemed worthy. Of note, this hostel kept offenders segregated from wards of the state. Juvenile offenders were termed as “trainees” through the Social Welfare Act 1960. By 1985 Winlaton was restricted to only providing programs for young offenders. CLOSURE OF WINLATON The population of Winlaton peaked in the mid-1970s with approximately 100 “trainees” and this population then declined to approximately 25 by 1991 when it closed under the name “Winlaton”. https://www.findingrecords.dhhs.vic.gov.au/collectionresultspage/Winlaton https://www.findandconnect.gov.au/ref/vic/biogs/E000192b.htm

The Female Relative's Badge was issued to the wife and/or mother, or to the nearest female relative of soldiers, nurses and masseurs who had left Australia for active service abroad during the First World War. The service number of the relative is inscribed on the back of the badge. A bar(s) suspended below the badge was issued for each additional relative, son or daughter serving. (taken from awm.gov.au). The provenance of this badge is unknown. A search on the defence force numbers has been unsuccessful to ascertain the owner of the badge. More research would be required.Shows the importance placed on having relatives serving in the Defence Forces.Silver badge with blue enamel and safety chain. A.I.F. in cutout script in the centre of an oval. Oval has blue enamel with silver text "Issued by the Dept of Defence to Women of Australia". An enamelled scroll beneath this contains the word "For Duty Done". The badge is surmounted by a King's Crown. A brooch fastening and a safety chain are attached to the back, the original safety pin is missing. Two bars are suspended from the bottom of the badge indicating a total of 3 relatives serving overseas. Defence force numbers 33370, 20232 and 20233 inscribed on back. Manufacturer mark "WM Mclean & Co / Melb / STG SIL"female relative's badge, world war one

Black and white print from the State Library of Victoria, June 1999 of a horse tram crossing the intersection of Sturt and Lydiard Street Ballarat c1890. Tram is travelling east to Grenville St. on the south side of Sturt St. (wrong side these days). Has the Ballarat Post Office building in the background with buildings on the north east side of Sturt St. as well. Has a number of horse drawn cabs in photo and women in white clothing holding umbrellas over their head indicating a hot day. In the right hand side of the photo is the statue of poet Robert Burns. Has number "530" in the bottom left hand corner of photograph. State Library Multimedia Source Catalogue gives the photographer as Charles Rudd, 1849 to 1901, date of photo 1889-1891. Copy made Oct. 2001 for the "gold, Gold GOLD" temporary exhibition - colour laser print onto card, with Velcro dots on rear. Stored in box D1 (Display Box) 02/2003. State Library Permission required to reproduce the photo.On rear in pencil in bottom left hand corner "Copy of H39358/10" and in centre along bottom edge "Reproduction Rights Reserved - Copied by State Library of Victoria".trams, tramways, sturt st, lydiard st, horse trams, post office, two way traffic

B&W photograph mounted onto heavy cardboard (black front, green back) of a horse tram (No. 16 - from Reg Item 2726) travelling westbound on Sturt St. on the north side, with Town Hall in background. Many horse drawn cabs are waiting along side the centre median strip on the north side, and the back of one cab on the Lydiard St. kerb. A number of women on the top deck. "Typed caption on photo" "Tram going up North Side of Sturt Street 1897, Note Cab Stand." Photo is believed to be from a copy negative of an original held in the collection of the Ballarat Historical Society. Also has drawing pit marks in corners on photograph. On rear of photo has two Velcro dots and remains on tape from brown mounting tape use. For original print of photograph, see Reg. Item 2726.trams, tramways, ballarat, ballaarat tramway company, horse trams, sturt st. , horse tram 16

Yields information about the appearance of Sturt St at the time of Ballarat Begonia Festival, 1957 - the flowers in the medium strip, the tram and the shoppers in particular the women.Black and white photograph of Ballarat No. 14 west bound in Sturt St during the 1957 Begonia Festival with the Town Hall (with a Begonia Festival sign on it), and other buildings in the background. Has the Australian Mutual Life Building, the Odeon Theatre buildings. In the centre median strip, there is a large arrangement of flower beds and many women shoppers crossing the road, motor vehicles and a lady on a bicycle. No. 14 has the destination of Haddon St via Drummond Nth. Festoon lighting is strung out along the street.On rear in red ink "Ballarat Car 14 Sturt St B'rat Summer '57" and the stamp of Jim Seletto.tramways, trams, sturt st, begonia festival, town hall, shoppers, tram 14

Set of three black and white prints of MMTB Scrubber No. 8 early 1970's. .1 - Arts Centre area, St Kilda Road .2 - Dandenong Road, about to use the crossover just to the west of Glenferrie Road .3 - using the crossing. Has the Hoyts picture theatre on the corner of Glenferrie and Dandenong Roads in the background. On Agfa paper. Photo by E. G. Butland - Ron Scholten - provided a written note re Ellen Butland - in with worksheet - 5th women driver in Melbourne, worked from Kew, now lives in NZ and drove buses in Auckland. See Donated by Ron Scholten to BTM 11/2005 See Destination City - renumbering of No. 8 to 8W took place during 1975.1 - "E.G. Butland" stamped in black ink on rear. .2 - as above, "Wattletree Road" stamped in public in three places, along with address blacked out and the words "please return to" in pencil and in the top left hand corner "No.8 Victoria Pde" in pencil. .3 - "E.G. Butland" stamped in black ink on rear., "D. Menzies / 237 Wattletree Road, Malvern Vic. 3144."tramways, trams, scrubber tram, dandenong road, st kilda road, tram 8, tram 8w

Lapel badge with pin and clip on back and a safety chain and fine gold pin. Blue and red enamel around edges, with white and blue RSL badge replica in centre. Badge in shape of shield.CENTRAL RSL VICTORIA, blue background. WOMENS AUXILIARY red background. Back: Stokes.

This Australian Womens Army Services (AWAS) Hat belonged to Marion (Tib) Owler. Established in August 1941, the AWAS in consisted of 6000 women by January 1942. Some 20,000 were in service by the end of that same year. They worked in roles including administration, driving, catering, signals and intelligence, and were paid around two-thirds of their male counterparts. The item represents Australian women’s army uniform headdress from WW 2. The hat’s stylish design was an important aspect of the recruiting campaign for the women’s services of 1942.Fur felt brimmed hat. Band holds Rising Sun badge centre front, and a red & blue unit colour patch is also attached to the band on the side.tagged - kyn rsl 2012/3women's army services, women's uniform, ww2 uniform.

Photo mounted on dark grey matt board with some decorative embossing around the photo. Pictured is a group of men and women seated and standing at the side of Kerr's Mandurang Hotel. The building is weatherboard. In the background is a large stack of wood and a buggy. All the men are wearing hats and the young man on the left is wearing a white apron. Written on the back in pen is Kerr and written in pencil is Kerr's Mandurang Hotel. Seated centre is William Kerr's son John Kerr and perhaps his brother William ? Behind. Lady in front row right holding a bird.bendigo, hotel, mandurang hotel, john jones collection - kerr's mandurang hotel, william kerr, john kerr, william kerr

Copy of photograph of people who attended the 'back to' at Golden Square Primary School Laurel St 1189 in 1932. Photo is of the p.m. attendees. Photo is taken in front of school building, people standing and seated, men and women. Image is joined in centre, fixed to blue cardboard backing. On top RH side 'Back To Golden Square 1932 (afternoon)'education, primary, golden square laurel st p.s.

The Grand Order of Oddfellows was a friendly Society founded in Manchester in 1798. It began in Australia in 1844 with the first Victorian branch established in 1854. The first mention of the Eaglehawk group was in 1868.Small ceremonial apron for the "Grand United order of Odd Fellows" on white/cream silk cotton sateen with blue tape border. Centre to screen print main panel has large printed crest showing quartered shield (top left) hour glass (top right) crossed keys (bottom right) dove with olive branch (bottom left) Noah's Ark. In centre of shield is a right hand palm forward with heart symbol. Supporters to shield, woman left holding sword and scales next to seated lion, woman on right holding mirror and flaming torch next to seated sheep. In centre above the shield is a seated women with four children, one at breast. Banner at base of women and shield reads "Amicitia Amor et Veritas". Long tapes top left and top right corners. At base of print are two hands joined in a handshake in a panel surrounded by flowers.In pen and ink on back "George Braysher"?grand united order of odd fellows, ceremonial apron

The first meeting of the 1st Bendigo Guides was held by Miss Merle Bush on the 22nd of August 1922 in the St Paul' School Room. Twelve girls were present. Miss Bush was given permission to open the Company by Miss R. Hamilton, State Secretary for Victoria, she received her Captain's Warrant on 12th December 1922. Colour Picture of three women standing in front of Merle Bush Trefoil Guild members Board listing President Secretary Treasurer from 1981 to 2017Up to date Members Board Merle Bush Trefoil Guild Office Bearers Left Grae Dack Treasurer Centre Lola Johnston President Right Wynne Baker Secretary March 2017girl guides, guiding, merle bush, trefoil guild

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.