Showing 4137 items matching simpson

Bendigo Military Museum
Photograph - 4th Field Survey Squadron OC’s Parades and Defence Force Service Medal Presentations, Keswick Barracks, Adelaide SA, 1986

This is a set of 30 photographs of a 4th Field Survey Squadron OC’s parade at Keswick Barracks, Adelaide SA in 1986. The OC - MAJ Don Taylor presented the Defence Force Service Medal to personnel in recognition of 15 years of efficient remunerated service, or the Clasp for 5 years of additional service. This is a set of 30 photographs of a 4th Field Survey Squadron OC’s parade and the presentation of the Defence Force Service Medal, at Keswick Barracks, Adelaide SA in 1986. The colour photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, colour, 1986. L to R: WO2 Bob Rogister in background, SPR Bruce Graham, SGT Stu Symonds, SGT Bob Croxton. .2) - Photo, colour, 1986. SGT Bob Croxton. .3) - Photo, colour, 1986. Parade handover L to R: OC MAJ Don Taylor, 2IC CAPT Steve Cooper, unidentified. .4) - Photo, colour, 1986. Inspection L to R: WO1 Bill Griggs (SSM), CAPT Steve Cooper (2IC), MAJ Don Taylor (OC), unidentified, SSGT Brett (Dutchy) Van Leeuwen, SGT Mick (Hoges) Hogan, SGT Peter Imeson, SGT (Jock) Young, PTE Paul Simpson, CPL (Tex) Houston. .5) - Photo, colour, 1986. Inspection L to R: SSM WO1 Bill Griggs, 2IC CAPT Steve Cooper, OC MAJ Don Taylor, PTE Paul Simpson, CPL Neale ‘Tex’ Houston. .6) - Photo, colour, 1986. Presentations L to R: SPR Todd Hayley, SGT Bob Croxton. .7) - Photo, colour, 1986. Presentations L to R: OC MAJ Don Taylor, SGT Bob Croxton. In background L to R: SSM WO1 Bill Griggs, SPR Todd Hayley. .8) - Photo, colour, 1986. Presentations: SGT Bob Croxton. In background: CPL Dave Irving. .9) - Photo, colour, 1986. Presentations L to R: SPR Simon Reynolds, 2IC CAPT Steve Cooper, OC MAJ Don Taylor, SGT Stu Symonds. In background: SSM WO1 Bill Griggs. .10) - Photo, colour, 1986. Presentations L to R: OC MAJ Don Taylor, SGT Stu Symonds. In background: SSM WO1 Bill Griggs. .11) - Photo, colour, 1986. Presentations: SGT Stu Symonds. In background L to R: SSM WO1 Bill Griggs, CPL Dave Irving. .12) - Photo, colour, 1986. Presentations: SGT Stu Symonds. In background: CPL Dave Irving. .13) - Photo, colour, 1986. Presentations L to R: SPR Simon Reynolds, OC MAJ Don Taylor, WO2 Gary Warnest. In background L to R: SPR Todd Hayley, CPL Dave Irving, remainder unidentified. .14) - Photo, colour, 1986. Presentations L to R: OC MAJ Don Taylor, WO2 Gary Warnest. .15) - Photo, colour, 1986. Presentations: WO2 Gary Warnest. In background: SSM WO1 Bill Griggs. .16) & .17) - Photo, colour, 1986. Presentations: WO2 Gary Warnest. In background: SPR Todd Hayley, CPL Dave Irving, CPL S. Asley. .18) - Photo, colour, 1986. L to R: SGT Stu Symonds, SGT Bob Croxton. .19) - Photo, colour, 1986. L to R: SPR Bruce Graham, SGT Stu Symonds, SGT Bob Croxton. .20) - Photo, colour, 1986. Parade handover L to R: 2IC CAPT Steve Cooper, OC MAJ Don Taylor. .21) - Photo, colour, 1986. Parade handover L to R: 2IC CAPT Steve Cooper, SSM WO1 Bill Griggs. In background L to R: SPR Todd Hayley, CPL Dave Irving. .22) & .23) - Photo, colour, 1986. SGT Bob Croxton. .24) & .25) - Photo, colour, 1986. SGT Stu Symonds. .26) & .27) - Photo, colour, 1986. WO2 Gary Warnest. .28) to .30) - Photo, colour, 1986. L to R: SGT Stu Symonds, WO2 Gary Warnest. SGT Bob Croxton..1P to .30P – There are no personnel identified. ‘1986 Presentations’ annotated on negatives sleeve.royal australian survey corps, rasvy, 4 fd svy sqn
Melbourne Tram Museum
Administrative record - Circular, Melbourne City Council, Pilgrimage to Grave of Late Sir John Monash at Brighton Cemetery, 2/10/1946 12:00:00 AM

1 - Memorandum from JM Harry, Dist. Traffic SS, to Mr Cliff, Glenhuntly Depot, regarding tram services for visit to Sir John Monash grave at Brighton Cemetery. 2 - Circular for pilgrimage on the 2nd anniversary of the death of Sir John Monash. 3 - Letter from J McGlinn, Melbourne Town Hall, to Secretary MMTB advising for rescheduled ceremony for 18 November 1934. 4 - Circular from Brig-Gen JC Stewart, Organiser of Ceremonial, for pilgrimage on 6th October 1946. 5 - Circular from Brig-Gen JC Stewart, Director of Ceremonial, for pilgrimage on 28th September 1943.Several comments written in black pencil and dates overwritten from 6th October 1946 to 12 October 1947 (implying event occurred on consecutive years). Times adjusted from commencing at 3:30 and concluding at 4:00PM to 3:00 and 3:30. "Pilgrimage to Grave of Late Sir John Monash at Brighton Cemetery, Sun 6/10/46" written in red pencil across top of memo. "Dist. Supt" written in black pencil top left corner, "5 copies" top right corner. "Copy to Glenhuntly Inspector" written across lower half of memo. Circular has "Mr Simpson, for your information" written in black ink across the bottom of the circular. "12/10/33 written in pencil lower left corner. Pencil underlined date and "Mr Davidson, Dist. Traffic Insp For your information" written in black ink. Circular has "Mr Harry for your information" written in black pencil across the top of the circular. "Sun 32/10/43 written in blue pencil top left corner. Several other pencil notationstrams, tramways, letters, instructions, events
Mission to Seafarers Victoria
Flyer, Sensory Experiments, 2019

Melbourne Design Week: 14-24 March 2019 Sat 16 Mar 19, 2pm–10pm Norla Dome The Mission to Seafarers Victoria 717 Flinders St Docklands Indulge in a fleshy live experience. Reconnect with your primal being through a progression of sensorial confrontations. Recalibrate your connection to the world around you – the future depends on it. Sensory Experiments is a call for change – a Manifesto for Sensory Intelligence. Part social experiment, part philosophical inquiry and a fully immersive performance piece, this innovative project is forged from a collaboration between two of the city’s (and, indeed, the world’s) most progressive and inquiring minds. An eclectic cohort of creative contributors has been assembled to design a provocative experience intended to awaken the senses. Allow internationally renowned chef Justin James (Executive Chef of Vue de monde and Iki Jime and previously of Eleven Madison Park & Noma Copenhagen) to reignite your sense of taste. Avail yourself to floral artist Hattie Molloy’s interrogation of sensual perception with her reckoning of the Sublime. Absorb and participate in live-choreographed performances, and be aurally challenged by the masters behind the Sydney Opera House’s iconic acoustics. Come, bear witness, bring curiosity. Immerse yourself in this never-before seen collective. Guided by Sense Whisperers, you’ll wander through a series of live, uniquely designed corporeal experiences. Your emotional and physical responses will leave a digital imprint as the results of Sensory Experiments are transmitted in real time. Connect to self, connect to others, and connect to nature – and leave your mark on a living, breathing manifesto for living. Project Partners Matt Tambellini, More Studio and Mr. Kyle Mac, Design and Web Amara Speechley, Curated by, Marketing, PR & Partnerships Damien Boecasse and Erika Hirzinger, Event Production & Project Management Event Partners Justin James, Edibles Hattie Molloy and Emma Proudfoot, Flower Art Mihan Aromatics, Scent Design Chelsea Kate Evans, Performance Direction Samantha Iliov and Holly Simpson, Ensemble Studio, Costume Rachelle Austin, Olivia Reddan and Holly White, Set Stylists Isabel Johnson, Ed Supreme, Messaging and Copy Arup, Soundscape Design Hayden Sommerville, Videography Belle Nowak, Social Media Pord, Wine Tasting Noomi, Seating Website inscapesprojects.com Instagram: @inscapesprojectsA4 size flyer on creamy colour papercultural events, sensory experiments, ngv, national gallery of victoria, melbourne design week, 2019, community, norla dome, incas projects
Kew Historical Society Inc
Photograph - Kew Elder Citizens' Club, Lyons 'Mountain Grand' Warburton, Unknown, 1978

The orthodox version of the origins and history of the Kew Elder(ly) Citizens’ Association was established by Cr. W. D. Vaughan in his book Kew’s Civic Century (1960), when he wrote that: "When Mrs. C. H. Simpson was Mayoress in 1952 she set up the Elderly Citizens’ Association to care for the needs of ages persons in Kew. The idea was strongly supported and a start was made by providing social afternoons for elderly folk at Southesk. Visiting sick people in their homes, providing firewood where needed, and other activities were undertaken by the Association. The aid of Council was sought to further the work. It was decided that a social unit for elderly folk be established at Southesk." (p.126-7). In the following pages, he describes in detail Council’s role in formally establishing the Association. This ‘official’ version was reasserted in the later Thematic Environmental History of the City of Boroondara (2012). However the origins and gestation of community of organisations is rarely straightforward. In 1965, five years after Vaughan’s book was published, the author of East Kew Women’s Club : Twenty Years : 20-7-1945-30-7-1965, writing about the period July 1947 to July 1950, described the role the Club played in establishing the Kew Elder Citizens Association. The author wrote: "At a meeting of the Kew Community Aid, the plight of many elderly people in Kew who were dependent on pensions was raised and in order to ascertain their needs the practice was begun of serving morning tea at the Masonic Hall in Walpole Street, where pensions were then paid. From this beginning the Kew Elder Citizens Association was formed in Kew with wide support, and Club members gave willing support on the committee, in helping serve afternoon tea and in entertainment." (p.4) Photographic evidence also leads to questions about Vaughan’s version of events. A framed photograph in the Society’s Collection shows a Public Meeting to form the Kew Elder Citizens Association in a room at Southesk a year earlier in 1951. Whatever version of the origins of the Association is correct, a later framed photograph in the Society’s collection shows the opening of the completed Clubrooms of the Kew Elder Citizens at South Esk by the Hon. E.P. Cameron M.L.C, Minister of Health, on 12 November 1956. The Association is still active in Kew and is currently located at Hamer Court, opposite the Boroondara General (Kew) Cemetery in High Street, Kew.Framed and titled black and white photograph taken on the occasion of a visit by members of the Kew Elder Citizens Club to Lyons "Mountain Grand" Warburton, in February 1978.community groups -- kew (vic.), senior citizens clubs -- kew (vic), club tours
Kew Historical Society Inc
Photograph - Finalists in the 'Queen Competition' at Southesk, Kew Elder Citizens' Club, 1967

The orthodox version of the origins and history of the Kew Elder(ly) Citizens’ Association was established by Cr. W. D. Vaughan in his book Kew’s Civic Century (1960), when he wrote that: "When Mrs. C. H. Simpson was Mayoress in 1952 she set up the Elderly Citizens’ Association to care for the needs of ages persons in Kew. The idea was strongly supported and a start was made by providing social afternoons for elderly folk at Southesk. Visiting sick people in their homes, providing firewood where needed, and other activities were undertaken by the Association. The aid of Council was sought to further the work. It was decided that a social unit for elderly folk be established at Southesk." (p.126-7). In the following pages, he describes in detail Council’s role in formally establishing the Association. This ‘official’ version was reasserted in the later Thematic Environmental History of the City of Boroondara (2012). However the origins and gestation of community of organisations is rarely straightforward. In 1965, five years after Vaughan’s book was published, the author of East Kew Women’s Club : Twenty Years : 20-7-1945-30-7-1965, writing about the period July 1947 to July 1950, described the role the Club played in establishing the Kew Elder Citizens Association. The author wrote: "At a meeting of the Kew Community Aid, the plight of many elderly people in Kew who were dependent on pensions was raised and in order to ascertain their needs the practice was begun of serving morning tea at the Masonic Hall in Walpole Street, where pensions were then paid. From this beginning the Kew Elder Citizens Association was formed in Kew with wide support, and Club members gave willing support on the committee, in helping serve afternoon tea and in entertainment." (p.4) Photographic evidence also leads to questions about Vaughan’s version of events. A framed photograph in the Society’s Collection shows a Public Meeting to form the Kew Elder Citizens Association in a room at Southesk a year earlier in 1951. Whatever version of the origins of the Association is correct, a later framed photograph in the Society’s collection shows the opening of the completed Clubrooms of the Kew Elder Citizens at South Esk by the Hon. E.P. Cameron M.L.C, Minister of Health, on 12 November 1956. The Association is still active in Kew and is currently located at Hamer Court, opposite the Boroondara General (Kew) Cemetery in High Street, Kew.Historic early photograph from the archives of the Kew Elder Citizen's ClubFramed photograph of six women who it is presumed were the candidates or finalists in a competition to be the Queen of Southesk. At this time, Southesk in Cotham Road was home to the Kew Elder Citizens Club, now known as Kew Senior Citizens Centre Inc.Front mount: "Queen Competition 1967 - South Esk - Won by Mrs Harkansee." Reverse: "L-R: -. Miss Knox, Mrs Emmerson, Mrs Higgins, Mrs Moyle, Mrs Harkansee"kew elder citizens club, kew senior citizens centre inc., southesk, miss knox, mrs emmerson, mrs higgins, mrs moyle, mrs harkensee
Kew Historical Society Inc
Photograph - Opening of the Kew Elder Citizens Clubrooms at 'Southesk', City of Kew, 1954

The orthodox version of the origins and history of the Kew Elder(ly) Citizens’ Association was established by Cr. W. D. Vaughan in his book Kew’s Civic Century (1960), when he wrote that: "When Mrs. C. H. Simpson was Mayoress in 1952 she set up the Elderly Citizens’ Association to care for the needs of ages persons in Kew. The idea was strongly supported and a start was made by providing social afternoons for elderly folk at Southesk. Visiting sick people in their homes, providing firewood where needed, and other activities were undertaken by the Association. The aid of Council was sought to further the work. It was decided that a social unit for elderly folk be established at Southesk." (p.126-7). In the following pages, he describes in detail Council’s role in formally establishing the Association. This ‘official’ version was reasserted in the later Thematic Environmental History of the City of Boroondara (2012). However the origins and gestation of community of organisations is rarely straightforward. In 1965, five years after Vaughan’s book was published, the author of East Kew Women’s Club : Twenty Years : 20-7-1945-30-7-1965, writing about the period July 1947 to July 1950, described the role the Club played in establishing the Kew Elder Citizens Association. The author wrote: "At a meeting of the Kew Community Aid, the plight of many elderly people in Kew who were dependent on pensions was raised and in order to ascertain their needs the practice was begun of serving morning tea at the Masonic Hall in Walpole Street, where pensions were then paid. From this beginning the Kew Elder Citizens Association was formed in Kew with wide support, and Club members gave willing support on the committee, in helping serve afternoon tea and in entertainment." (p.4) Photographic evidence also leads to questions about Vaughan’s version of events. A framed photograph in the Society’s Collection shows a Public Meeting to form the Kew Elder Citizens Association in a room at Southesk a year earlier in 1951. Whatever version of the origins of the Association is correct, a later framed photograph in the Society’s collection shows the opening of the completed Clubrooms of the Kew Elder Citizens at South Esk by the Hon. E.P. Cameron M.L.C, Minister of Health, on 12 November 1956. The Association is still active in Kew and is currently located at Hamer Court, opposite the Boroondara General (Kew) Cemetery in High Street, Kew.Framed, inscribed photograph of the opening of the Kew Elder Citizens Club at Southesk in 1954. The ceremony would appear to be conducted on the western side of the house.‘Opening of the Kew Elder Citizens Clubrooms “South Esk” by the Hon. E.P. Cameron M.L.C, Minister of Health, 12.11.1956. Cr. W.A. Comeadow O.B.E., J.P. (Mayor).’southesk, kew elder citizens club, kew elderly citizens club, kew senior citizens club
Kew Historical Society Inc
Photograph - Public Meeting to Form Kew Elder Citizens' Club, City of Kew, 1951

The orthodox version of the origins and history of the Kew Elder(ly) Citizens’ Association was established by Cr. W. D. Vaughan in his book Kew’s Civic Century (1960), when he wrote that: "When Mrs. C. H. Simpson was Mayoress in 1952 she set up the Elderly Citizens’ Association to care for the needs of ages persons in Kew. The idea was strongly supported and a start was made by providing social afternoons for elderly folk at Southesk. Visiting sick people in their homes, providing firewood where needed, and other activities were undertaken by the Association. The aid of Council was sought to further the work. It was decided that a social unit for elderly folk be established at Southesk." (p.126-7). In the following pages, he describes in detail Council’s role in formally establishing the Association. This ‘official’ version was reasserted in the later Thematic Environmental History of the City of Boroondara (2012). However the origins and gestation of community of organisations is rarely straightforward. In 1965, five years after Vaughan’s book was published, the author of East Kew Women’s Club : Twenty Years : 20-7-1945-30-7-1965, writing about the period July 1947 to July 1950, described the role the Club played in establishing the Kew Elder Citizens Association. The author wrote: "At a meeting of the Kew Community Aid, the plight of many elderly people in Kew who were dependent on pensions was raised and in order to ascertain their needs the practice was begun of serving morning tea at the Masonic Hall in Walpole Street, where pensions were then paid. From this beginning the Kew Elder Citizens Association was formed in Kew with wide support, and Club members gave willing support on the committee, in helping serve afternoon tea and in entertainment." (p.4) Photographic evidence also leads to questions about Vaughan’s version of events. A framed photograph in the Society’s Collection shows a Public Meeting to form the Kew Elder Citizens Association in a room at Southesk a year earlier in 1951. Whatever version of the origins of the Association is correct, a later framed photograph in the Society’s collection shows the opening of the completed Clubrooms of the Kew Elder Citizens at South Esk by the Hon. E.P. Cameron M.L.C, Minister of Health, on 12 November 1956. The Association is still active in Kew and is currently located at Hamer Court, opposite the Boroondara General (Kew) Cemetery in High Street, Kew.Historic founding photograph of the Kew Senior Citizens AssociationFramed photograph of a meeting at Southesk in Cotham Road to form the Kew Elder Citizens Club. None of the individuals are named. The meeting was not held in the Drawing Room or Ballroom at Southesk as there is an absence of frescoes on the ceiling. The ceiling in the photograph is a cove ceiling however like that in the front two rooms.Handwritten caption: "Public Meeting to Form Kew Elder Citizens, 1951"kew elder citizens club, kew elderly citizens club, kew senior citizens club, southesk
Bendigo Historical Society Inc.
Document - ROYAL PRINCESS THEATRE COLLECTION: VICTORIAN SYMPHONY ORCHESTRA, c1954

Victorian Symphony Orchestra, Royal Princess Theatre, Bendigo. Direction: Australian Broadcasting Commission. Conducted by Juan Jose Castro. Soloist: Donald Westlake (Clarinet). This series of concerts is arranged by the Australian Broadcasting Commission in Conjunction with the Government of Victoria. Royal Princess Theatre, Bendigo, Thur., 12 Nov. 8 p.m. Programme. Juan Jose Castro. Since he left Australia last November on six months' leave, Mr. Castro has been conducting and holidaying in Europe, and with his wife re-visited South America for the first time in eighteen months. In Italy he corrected the publisher's proofs of his opera, 'Proserpina and the Stranger,' which won the Verdi Prize award by La Scala I 1952, and is now . . . Analytical Notes . . . Personnel of the Orchestra. Conductor: Juan Jose Castro. Associate Conductor: Clive Douglass. First Violins: Bertha Jorgensen (leader), Harry Hutchins (Assistant Leader), Frank Schieblich, Norman Deerson, Paul O'Brien, William Glassford, Ruth Michael, Alex Burlakov. Second Violins: Hyman Lenzer, Robert Pattison, George Paton, Donald Weekes, Marie Bull, Harvey Davis. Violas: Coin Kerr, Mischa Kogan, Marion Ogilvie, Winifred Roberts. Cellos: Don Howley, Henri Touzeau, Valerie Awburn, Ezio Neri. Basses: Guill Fraillon, Frank Cerbasi, Samuel Shiffron. Flutes: Richard Chugg, Leslie Barklamb, Audrey Walklate. Oboes: Jiri Tancibudek, David Woolley. Clarinets: Thomas White, Isobel Carter. Bassoons: Roy White, Gordon Miller, Gordon Grieve, Graham Bickford. Trumpets: Mervyn Simpson, John Geary. Trombones: Stanley Code, John McGade. Bass Trombone: Harold Willis. Tuba: Ron Stevens. Tympani: Gordon Craig. Percussion: Ernest Lighton, Bert Crawford. Harp: Adrian Bendall. Australian Broadcasting Commission; R J F Boyer M.A., Chairman. E R Dawes, Vice-Chairman. Sir John Medley, KT., D.C.L., L.L.D., M.A. P Vanthoff, M.V.O. The Hon. Dame Enid Lyons, G.B.E. J C Stewart, M W O'Donnell, B.E.C. Charles Moses, General Manager. T S Duckmanton, A./Manager for Victoria. Dorrie O'Neil, Concert Manager for Victoria. Photos: Juan Jose Castro, Donald Westlake. Advertisements: Notice to subscribers; Annual General Meeting for Albury, Bendigo, Shepparton, for 1954. TAA serves the Nation. Country Club, Tailored by Buckwalter. GMH, The whole story from A to Z. Carnegie's, 106 Elizabeth St. b/ Victorian Symphony Orchestra, Conducted by Juan Jose Castro, Soloist: Joan Jones (Contralto). This series of concerts is arranged by the Australian Broadcasting Commission in conjunction with the Government of Victoria. Town Hall, Swan Hill. Programme. Juan Jose Castro, (first 4 paragraphs reads as per 4280a). At the end of his 1953 Australian season, Mr. Castro is in conduct concerts in Italy, Paris and London, as well as being re-engaged for Yugo-Slavia, which he visited for the second time last December. With his wife he had the thrill of experiencing . . . Analytical Notes. Personnel of the Orchestra. Conductor: Juan Jose Castro. Associate Conductor: Clive Douglas. First Violins: Bertha Jorgensen (Leader), Harry Hutchins (Assistant Leader), Frank Schieblich, Norman Deerson, Paul O'Brien, William Glasford, Ruth Michael, Alex Burlakov. Second Violins: Hyman Lenzer, Reginald Bradley, Robert Pattison, Donald Weekes, Marie Bull, Harvey Davis Violas: Colin Kerr, Mischa Kogan, Marion Ogilvie, Winifred Roberts. Cellos: Don Howley, Henri Touzeau, Valerie Awburn, Ezio Neri. Basses: Guill Fraillon, Frank Cerbasi, Milinor Morton. Flutes: Richard Chugg, Leslie Barklamb, Audrey Walklate. Oboes: Jiri Tancibudek, David Woolley. Clarinets: Thomas White, Isobel Carter. Bassoons: Thomas Wightman, Noel Hunt. Trumpets: Mervyn Simpson, Standish Roberts. Trombones: Stanley Code, John McGlade. Bass Trombone: Harold Willis, Tuba: Ron Stevens. Tympani: Gordon Craig. Percussion: Ernest Lighton, Bert Crawford. Harp: Adrian Bendall. Australian Broadcasting Commission; committee members. Photos: Juan Jose Castro, Cover. Joan Jones, page 4. Advertisements: QANTAS and B O A C , Qantas Empire Airways LTD. (incorporated I Queensland) in parallel with BRITISH OVERSEAS AIRWAYS CORPORATION. Coming orchestra dates for: Shepparton & Bendigo. Country Club, Tailored by Buckwalter. Carnegie's 'The House of Pianos'.program, theatre, orchestra, a/ victorian symphony orchestra, royal princess theatre, bendigo. direction: australian broadcasting commission. conducted by juan jose castro. soloist: donald westlake (clarinet). this series of concerts is arranged by the australian broadcasting commission in conjunction with the government of victoria. royal princess theatre, bendigo, thur., 12 nov. 8 p.m. programme. juan jose castro. which won the verdi prize award by la scala i 1952, and is now . . . analytical notes . . . orchestra. conductor: juan jose castro. associate conductor: clive douglass. first violins: bertha jorgensen (leader), harry hutchins (assistant leader), frank schieblich, norman deerson, paul o'brien, william glassford, ruth michael, alex burlakov. second violins: hyman lenzer, robert pattison, george paton, donald weekes, marie bull, harvey davis. violas: coin kerr, mischa kogan, marion ogilvie, winifred roberts. cellos: don howley, henri touzeau, valerie awburn, ezio neri. basses: guill fraillon, frank cerbasi, samuel shiffron. flutes: richard chugg, leslie barklamb, audrey walklate. oboes: jiri tancibudek, david woolley. clarinets: thomas white, isobel carter. bassoons: roy white, gordon miller, gordon grieve, graham bickford. trumpets: mervyn simpson, john geary. trombones: stanley code, john mcgade. bass trombone: harold willis. tuba: ron stevens. tympani: gordon craig. percussion: ernest lighton, bert crawford. harp: adrian bendall. australian broadcasting commission; r j f boyer m.a., chairman. e r dawes, vice-chairman. sir john medley, kt., d.c.l., l.l.d., m.a. p vanthoff, m.v.o. the hon. dame enid lyons, g.b.e. j c stewart, m w o'donnell, b.e.c. charles moses, general manager. t s duckmanton, a./manager for victoria. dorrie o'neil, concert manager for victoria. photos: juan jose castro, donald westlake. bendigo, 1954. taa. buckwalter. gmh, the whole story from a to z. carnegie's, 106 elizabeth st. b/ soloist: joan jones (contralto). this series of concerts is arranged by the australian broadcasting commission. town hall. juan jose castro. 1953 australian season, analytical notes. personnel of the orchestra. first violins: second violins: reginald bradley. violas: cellos: don howley, henri touzeau, valerie awburn, ezio neri. basses: guill fraillon, frank cerbasi, milinor morton. flutes:. oboes:. clarinets:, bassoons: thomas wightman, noel hunt. trumpets: standish roberts. trombones:. bass trombone:, tuba:. tympani:. percussion:. harp:. photos: juan jose castro. joan jones, qantas and b o a c , qantas empire airways ltd. british overseas airways corporation: bendigo. country club, buckwalter. carnegie's a/ victorian symphony orchestra, royal princess theatre, bendigo. direction: australian broadcasting commission. conducted by juan jose castro. soloist: donald westlake (clarinet). australian broadcasting commission government of victoria., thur., 12 nov. 8 p.m. juan jose castro. mr. castro has been conducting and holidaying in europe, and with his wife re-visited south america in italy he corrected the publisher's proofs of his opera, 'proserpina and the stranger, ' verdi prize award by la scala i 1952, .associate conductor: clive douglass. first violins: bertha jorgensen (leader), harry hutchins (assistant leader), frank schieblich, norman deerson, paul o'brien, william glassford, ruth michael, alex burlakov. second violins: hyman lenzer, robert pattison, george paton, donald weekes, marie bull, harvey davis. violas: coin kerr, mischa kogan, marion ogilvie, winifred roberts. cellos: don howley, henri touzeau, valerie awburn, ezio neri. basses: guill fraillon, frank cerbasi, samuel shiffron. flutes: richard chugg, leslie barklamb, audrey walklate. oboes: jiri tancibudek, david woolley. clarinets: thomas white, isobel carter. bassoons: roy white, gordon miller, gordon grieve, graham bickford. trumpets: mervyn simpson, john geary. trombones: stanley code, john mcgade. bass trombone: harold willis. tuba: ron stevens. tympani: gordon craig. percussion: ernest lighton, bert crawford. harp: adrian bendall. abccommittee: r j f boyer m.a., chairman. e r dawes, vice-chairman. sir john medley, kt., d.c.l., l.l.d., m.a. p vanthoff, m.v.o. the hon. dame enid lyons, g.b.e. j c stewart, m w o'donnell, b.e.c. charles moses, general manager. t s duckmanton, a./manager for victoria. dorrie o'neil, concert manager for victoria. photos: juan jose castro, donald westlake. advertisements: notice to subscribers; annual general meeting for albury, bendigo, shepparton, for 1954. taa. country club, . gmh, b/ victorian symphony orchestra, conducted by juan jose castro, soloist: joan jones (contralto). at the end of his 1953 australian season, mr. castro is in conduct concerts in italy, paris and london, as well as being re-engaged for yugo-slavia, . analytical notes. personnel of the orchestra. associate conductor: clive douglas. first violins: bertha jorgensen (leader), harry hutchins (assistant leader), frank schieblich, norman deerson, paul o'brien, william glasford, ruth michael, alex burlakov. second violins: hyman lenzer, reginald bradley, robert pattison, donald weekes, marie bull, harvey davis violas: colin kerr, mischa kogan, marion ogilvie, winifred roberts. cellos: don howley, henri touzeau, valerie awburn, ezio neri. basses: guill fraillon, frank cerbasi, milinor morton. flutes: richard chugg, leslie barklamb, audrey walklate. oboes: jiri tancibudek, david woolley. clarinets: thomas white, isobel carter. bassoons: thomas wightman, noel hunt. trumpets: mervyn simpson, standish roberts. trombones: stanley code, john mcglade. bass trombone: harold willis, tuba: ron stevens. tympani: gordon craig. percussion: ernest lighton, bert crawford. harp: adrian bendall. australian broadcasting commission; committee members. photos: juan jose castro, cover. joan jones, page 4. advertisements: qantas and b o a c , qantas empire airways ltd. (incorporated i queensland) in parallel with british overseas airways corporation. coming orchestra dates for: shepparton & bendigo. country club, tailored by buckwalter. carnegie's 'the house of pianos'.
Bendigo Historical Society Inc.
Document - ROYAL PRINCESS THEATRE COLLECTION: VICTORIAN SYMPHONY ORCHESTRA, 15 July

Victorian Symphony Orchestra, Royal Princess Theatre, Bendigo. Conducted by Juan Jose Castro. Soloist: Isador Goodman (pianist). This series of concerts is arranged by the Australian Broadcasting Commission in conjunction with the Government of Victoria. Royal Princess Theatre, Bendigo. Thur., 1st May. Star Theatre, Shepparton, Friday, 2nd May at 8pm. Direction: Australian Broadcasting Commission. Juan Jose Castro (write up on the life of). Harmony and Home. Linking 'Home and Family Week' with this Visit. Bendigo faces the challenge brought through the medium of 'Home and Family Week.' Issues arising out of the relationship of Marriage, Parenthood and the family have been discussed by possible solution. Rather than compete with the Concert, negotiations were effected with the A.B.C., resulting in the acknowledgement of this function as part of our week, and the reciprocal arrangement of space in this booklet. Music, as truly as Education and other Culture, influences the outlook and the stability of the home. Ancient Jewish history gave common paternity . . . Programme. Programme notes. Page 6: photo of Isador Goodman. Page 7: photo of John Brownlee. Associate Artist: Raymond Lambert (pianist). Conductor: Juan Jose Castro. First violins: Jorgensen B, Hutchins H, Schieblich F, Deerson N, O'Brien P, Glassford W, Michael R, Burlakov A. Second violins: Lenzer H, Badley R, Pattison B, Whitelaw M, Pietruschka I, Braithwaite N. Violas: Kerr C, Kogan M, Roberts W. 'Cellos: Howley D, Touzeau H, Awburn V, Neri E. Basses: Howley T, Shiffron S, Morton W. Flutes: Chugg R, Barklamb L. Oboes: Richmond E, Woolley D. Clarinets: White T, Crowley C. Bassoons: Wightman T, Hunt. Horns: White R, Miller G, Grieve G, Bickford G. Trumpets: Simpson M, Roberts S. Trombones: Code S, McGlade J, Willis H. Tuba: Coram C. Tympani: Craig G. Percussion: Crawford B, McManamny T. Harp: Bendall A. Musical Autobiographies The London Daily Graphic's record critic praised Eugene Goossen's musical autobiography, Overture and Beginners, as excellent Story . . . Photographs of Elena Nikolaidi and Michael Rabin along with a write up on each. Advertisements: Georges, Melbourne. Railway.program, theatre, concert, victorian symphony orchestra, royal princess theatre, bendigo. conducted by juan jose castro. soloist: isador goodman (pianist). this series of concerts is arranged by the australian broadcasting commission in conjunction with the government of victoria. royal princess theatre, bendigo. thur., 1st may. star theatre, shepparton. juan jose castro harmony and home. linking 'home and family. family week.' issues arising out of the relationship of marriage, a.b.c., resulting in the acknowledgement of this function as part of our week, and the reciprocal arrangement of space in this booklet. music, as truly as education and other culture. ancient jewish history gave common paternity. programme notes. page 6: photo of isador goodman. page 7: photo of john brownlee. associate artist: raymond lambert (pianist). first violins: jorgensen b, hutchins h, schieblich f, deerson n, o'brien p, glassford w, michael r, burlakov a. second violins: lenzer h, badley r, pattison b, whitelaw m, pietruschka i, braithwaite n. violas: kerr c, kogan m, roberts w. 'cellos: howley d, touzeau h, awburn v, neri e. basses: howley t, shiffron s, morton w. flutes: chugg r, barklamb l. oboes: richmond e, woolley d. clarinets: white t, crowley c. bassoons: wightman t, hunt. horns: white r, miller g, grieve g, bickford g. trumpets: simpson m, roberts s. trombones: code s, mcglade j, willis h. tuba: coram c. tympani: craig g. percussion: crawford b, mcmanamny t. harp: bendall a. musical autobiographies the london daily, eugene goossen's, photographs of elena nikolaidi and michael rabin along with a write. advertisements: georges, melbourne. railway.
Mission to Seafarers Victoria
Plaque - Memorial Plaque, Amy Neville Brown (1882-1974), 1976

Amy Neville Brown (1882-1974) was a longlife member of the Mission to Seafarers ladies' Committees: 1910 - Amy is first mentioned in our records as LHLG branch secretary for Elsternwick. (from diaries written by her and her sister Beatrice during 1909-1913 and held at the Glen Eira Historical Society, Amy tells she attends “kirk” with Miss Godfrey about once a month and each time they go to the “Institute” afterwards.) 1918 - 1922 sees Amy as “Schools secretary” LHLG. 1933 - Miss A N Brown becomes Honorary Secretary of the LHLG. 1946 – LHLG becomes “Harbour Lights Guild”. 1949 – Dora Simpson is president of HLG & Amy Brown is Honorary Secretary. 1957 – Amy retires as Honorary Secretary of the HLG. Other interests: 1933 - Amy founded the Victorian Aboriginal Group along with Valentine Alexa Leeper (1900-2001). She acted as Hon. Sec. to the VAG for 40 years until its winding up in 1971 8 boxes of papers related to their activities are held at the SLV under Amy’s name (with Val Leeper). 1950 - Amy was a member of the YWCA 1963 – she was president of the Agnes Benson Auxiliary of the YWCA. Amy’s parents were Andrew Howden Brown & Catherine Marianne (Kitty) Wight. She had 2 brothers: Charles John Brown, Edward Byam Brown & 3 sisters: Jean Constance Brown (1884-1973), Catherine Philpott Brown (1886-1980), Grace *Beatrice Brown (1889-1984) who was also a member of the Mission's ladies' committee. None of 4 sisters married, they lived all their lives in Elsternwick. Edward Byam Brown was an academic at Melbourne University rising to become Ass. Prof. of Electrical Engineering by the 1950s. He married Vera Scantlebury in 1926 – they had 2 children. Amy’s maternal grandparents were Edward Byam Wight and Catherine Philpott. Both arrived in Melbourne in the early 1840s. Edward Wight is included on Thomas Chuck’s collage of early Victorian pioneers. Anne Jackson has written a short biography of Catherine’s brother, William Philpott, which includes a paragraph on Edward Wight. Catherine’s youngest son, Neville Wight, became a solicitor living at Woodend. He married Grace Rutherford – Mrs Neville Wight was a member of our Executive Committee from 1929 to 1933. Neville Wight’s obituary states that “he served his articles with … the firm of Moule & Seddon”. The principal of this firm was W H Moule, well known judge and cricketer. His son, also W H Moule, was Honorary Secretary of MtSV Executive Committee for 20 years until his retirement in 1958. was a member of the Harbour Lights Guild ( Honorary General Secretary in the 30s) then the Flying Angel League. She passed away in September 1974. A protege and friend of the Godfreys and Ina Higgins she actively assisted in setting up school branches of LHLG and eventually became a leading member in the 1930s.The window made by Tony Hall along with this plaque were dedicated in 1976. Amy Neville Brown had a lifelong association with the Mission and other philanthropic and social causes. Small plaque mounted on wooded board.In memory of Amy Brown For her lifetime of devoted service to the Mission 26th September, 1974amy brown, plaque, memorial, flying angel club, lhlg, amy neville brown (1882-1974), victoria aboriginal group (1933-1971), vag, val leeper, valentina alexa leeper (1900-2001)
The Beechworth Burke Museum Research Collection
Card (Series) - Index Card, George Tibbits, Camp Street (Cnr Camp & High Streets), Beechworth, 1976

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Grave of Beulah Alice Rutter and children, June and Samuel, Eltham Cemetery, Victoria, 5 April 2021

Hubert and Beulah Alice (Simpson) Rutter had five children: Hubert Jnr. (Joe) in 1913, David in 1915, June in 1917, Donald in 1922 and Samuel in 1926. Samuel died as an infant aged 17 days. Hubert was a notable figure in Eltham and beyond, with a career as a mining manager in Australia and Malaya. He served in the AIF in the First World War. While the children were growing up at ‘Yarra Braes’, Eltham, their father was an Eltham Shire Councillor in the 1920s, shire president in 1928 and a leading figure in establishing the Shire of Eltham War Memorial League, which was responsible for building the Shire of Eltham War Memorial tower at Kangaroo Ground, near where the Shire Offices were located until the 1930s. The Rutter name was commemorated after the war at Eltham High School with one of the schoolhouses named ‘Rutter House’ and at Geelong Grammar School until the 1960s where a ‘Rutter Badge’ was awarded to junior boys for leadership. The family home, ‘Yarra Braes’ was destroyed in the devasting Black Friday bushfire, 13 January 1939 and Beulah relocated to Toorak, Hubert working in Western Australia. Tragedy struck the family again December 19, 1940 when daughter June was killed after falling from the Heidelberg train on to an adjacent track into the path of a Reservoir train at Victoria Park station. Sons David and Donald both served in the R.A.A.F. during the Second World War and were killed in action, David in Libya in 1941 and Donald in Germany in 1945. The wreck of his plane and his body were not recovered at the time and Hubert never ceased to chase down leads as to his whereabouts. Beulah never gave up hope that Donald was still alive. Hubert had received several reports shortly after the war that his son was still alive but these were ultimately accepted as misidentification. Such was the anguish of the grieving parents, their son’s plane not found to confirm the fact for certain. Hubert wrote to the Air Force in frustration, failing to understand how the plane could disappear when it crashed in a relatively populated area. Unfortunately the answers came too late for Beulah who died in 1946 and was buried in Eltham Cemetery along with her daughter June and baby Samuel. Donald’s plane was eventually located and his body recovered in 1949. He is buried in the Hanover War Cemetery, Germany. David is commemorated on Column 245, Alamein Memorial, Egypt. Both David and Donald are commemorated on Eltham’s Roll of Honour Board, commissioned by the Eltham War Memorial Trust to be hung in the Baby Health Centre, part of the Eltham War Memorial building precinct. Hubert Senior and Hubert Junior both continued to work in the mining industry in Western Australia. Hubert senior died 1957 at Plantagenet Western Australia and Hubert junior in 1979 at Gascoyne, Western Australia. Sacred to the memory of Beulah AliceBeloved wife of Hubert Rutter Died August 21st 1946 also June Beloved daughter of Beulah and Hubert Rutter Died 19th December 1940 aged 23 years Also her baby brother Samuel Died 7th October 1926, aged 17 daysBorn Digitaleltham cemetery, gravestones, beulah alice rutter, hubert rutter, june rutter, samuel rutter
Flagstaff Hill Maritime Museum and Village
Badge - World Council of Churches, OIKUMENE, 1940s

This small label badge carries the symbol of the World Council of Churches (WCC), which was established in 1948. The WCC states on its website "The World Council of Churches (WCC) is the broadest and most inclusive among the many organized expressions of the modern ecumenical movement, a movement whose goal is Christian unity. " The 'V' on the back of the badge possibly stands for Victoria. The word on the logo of this badge has the spelling "OIKUMENE" but in many other WCC logos, the Greek word "Oikoumene" is used. The term is translated as "inhabited earth" and is used fifteen times in the original Greek New Testament, including in Matthew 24:14, which says "And the gospel of the kingdom shall be preached in all the world for a witness unto all nations and then shall the end come." The WCC explains that the logo uses early Christian symbols to portray its message, with the church portrayed as a boat afloat on the sea of the world with the mast in the form of a cross. This badge is part of a set of eleven badges collected from the 1920s to the 1940s by Dr W. R. Angus. The set represents various organisations that he had interests in. It was donated to Flagstaff Hill Maritime Village by the family of Doctor Angus, Surgeon and Oculist. The set of badges is part of the “W.R. Angus Collection” which includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at the University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was a house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was a physician, surgeon and chemist. In 1926, he was appointed as the new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This religious lapel badge of the World Council of Churches represents one of the organisations in which Dr Angus had an interest. The set of badges is significant for connecting Doctor Angus with Australian organisations of the early-to-mid 20th century, including those relating to military service support. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Lapel badge; a small round blue enamel badge with gold image and text. The image contains the symbol of a cross above a small boat on waves. The image is the logo of the World Council of Churches.This badge is part of a set of badges collected by Dr W R Angus. the set represents organisations that he was involved in, and is part of the W.R. Angus Collection.Test above Logo: “OIKUMENE” Logo; [cross] above [small boat] above [waves] Text under clip; “V” flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, oikumene, w.r. angus, metal badge, enamel badge, organisation badges, religious badge, lapel badge, oikoumene, world council of churches, wcc, christian unity
Flagstaff Hill Maritime Museum and Village
Postcard - Historical, Warrnambool, Proudfoot’s Boat House, Hopkins River, Warrnambool, Early 20th century

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. All cards have titles on the front printed in red. The majority of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Proudfoots Boat House – Proudfoot’s Boathouse is at 2 Simpson Street Warrnambool, on the banks of the Hopkins River. In the 1880s it was a venue for hiring boats for rowing, fishing, sailing and picnics. It was a popular destination for tourists coming from Melbourne for a day or weekend outing. The beautiful historic Victorian period building was designed, built and established by Thomas Proudfoot. He applied to build a boat jetty in 1885. He died in 1900 and his wife Catherine took over, running it for many years. Later her son Bruce and after that her granddaughter Ena Hunt and her husband took over; it remained in the family until 1979. The buildings, including the ‘U’ shaped jetty and tearooms, were restored and modified in the 1990s by the Warrnambool Sports Club, under the control of the Warrnambool City Council. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Proudfoot's Boathouse is of historical significance for is connection with Proudfood’s Boathouse. Proudfoot’s Boathouse is an example of late-Victorian recreational and tourist facilities. Boathouses were popular 19th-century tourist and recreational attractions, providing refined and healthy activity. This boathouse shows the early realisation of the tourism and leisure potential of seaside towns such as Warrnambool, a potential that has become increasingly important as port uses have ceased and other industries have been subjected to financial pressure. Proudfoot's Boathouse is of social significance because it illustrates the continuity of the attraction of this kind of leisure facility. Although the glory days of boathouses were in the 19th century, those that survive continue to be well patronised. Proudfoot's Boathouse has been an important recreational facility and attraction for tourists flocking to the Hopkins River, one of the State's most popular boating and fishing resorts, since 1885.” (Statement of Significance is from the Victorian Heritage Register)Postcard, one of nine, landscape orientation. Coloured photograph print within an oval border and mauve-toned shading. Cameo Image of figures in three rowing boats on still water beside a building with three gable roofs and decorative verandas. Other boats are moored at the landing in front of the building. The roofs each have a tall pole at the front. There is a park right of the building that also has a landing. In the background is a grassed slope and the sea. Reverse has printed inscriptions and an outline for a postage stamp. There is no correspondence written on the card. The card is one of the Jordan Series by Joseph Jordan, printed in Great Britain in the early 1900s. Front, in red: “PROUDFOOT’S BOAT HOUSE / HOPKINS RIVER, WARRNAMBOOL” Reverse in black: “Jordan Series Warrnambool” “POST CARD” “Printed in Great Britain” “This space may be used for Communication” “The Address to be written here” Within the stamp outline: “3 / BRITISH / MANUFACTURE"flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, proudfoots boat house, boat house, proudfoots, hopkins river, boats for hire, row boats, recreation
Ararat Gallery TAMA
Textile, Frances Burke, Goanna, c. early 1950s

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.
Ararat Gallery TAMA
Textile, Frances Burke, Mosaic, c. 1962

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.
Ararat Gallery TAMA
Textile, Frances Burke, Tiger Stripe, c. 1939

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.
Ararat Gallery TAMA
Textile, Frances Burke, Crete, 1948

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.
Ararat Gallery TAMA
Textile, Frances Burke, Plum Blossom, 1948

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.
Ararat Gallery TAMA
Textile, Frances Burke, Jungle, 1945

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.
Ararat Gallery TAMA
Textile, Frances Burke, Harlequin, c. late 1950s

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.
Ararat Gallery TAMA
Textile, Frances Burke, Staccato, c.1962

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.
Ararat Gallery TAMA
Textile, Frances Burke, Staccato (brown-gray), c.1962

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.
Ararat Gallery TAMA
Textile, Frances Burke, Tiger Lily, 1951

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.
Ararat Gallery TAMA
Textile, Frances Burke, Pacifica, 1954

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.
Ararat Gallery TAMA
Textile, Frances Burke, Magnolia, 1938-1942

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.
Ararat Gallery TAMA
Textile, Frances Burke, Seapiece, 1951

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.
Ararat Gallery TAMA
Textile, Frances Burke, Zen, c. 1965

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.
Ararat Gallery TAMA
Textile, Frances Burke, Lunar, 1948

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.
Ararat Gallery TAMA
Textile, Frances Burke, Bird and Tree, c. 1940

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.

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Photograph - 4th Field Survey Squadron OC’s Parades and Defence Force Service Medal Presentations, Keswick Barracks, Adelaide SA, 1986

Administrative record - Circular, Melbourne City Council, Pilgrimage to Grave of Late Sir John Monash at Brighton Cemetery, 2/10/1946 12:00:00 AM

Flyer, Sensory Experiments, 2019

Photograph - Kew Elder Citizens' Club, Lyons 'Mountain Grand' Warburton, Unknown, 1978

Photograph - Finalists in the 'Queen Competition' at Southesk, Kew Elder Citizens' Club, 1967

Photograph - Opening of the Kew Elder Citizens Clubrooms at 'Southesk', City of Kew, 1954

Photograph - Public Meeting to Form Kew Elder Citizens' Club, City of Kew, 1951

Document - ROYAL PRINCESS THEATRE COLLECTION: VICTORIAN SYMPHONY ORCHESTRA, c1954

Document - ROYAL PRINCESS THEATRE COLLECTION: VICTORIAN SYMPHONY ORCHESTRA, 15 July

Plaque - Memorial Plaque, Amy Neville Brown (1882-1974), 1976

Card (Series) - Index Card, George Tibbits, Camp Street (Cnr Camp & High Streets), Beechworth, 1976

Photograph, Peter Pidgeon, Grave of Beulah Alice Rutter and children, June and Samuel, Eltham Cemetery, Victoria, 5 April 2021

Badge - World Council of Churches, OIKUMENE, 1940s

Postcard - Historical, Warrnambool, Proudfoot’s Boat House, Hopkins River, Warrnambool, Early 20th century

Textile, Frances Burke, Goanna, c. early 1950s

Textile, Frances Burke, Mosaic, c. 1962

Textile, Frances Burke, Tiger Stripe, c. 1939

Textile, Frances Burke, Crete, 1948

Textile, Frances Burke, Plum Blossom, 1948

Textile, Frances Burke, Jungle, 1945

Textile, Frances Burke, Harlequin, c. late 1950s

Textile, Frances Burke, Staccato, c.1962

Textile, Frances Burke, Staccato (brown-gray), c.1962

Textile, Frances Burke, Tiger Lily, 1951

Textile, Frances Burke, Pacifica, 1954

Textile, Frances Burke, Magnolia, 1938-1942

Textile, Frances Burke, Seapiece, 1951

Textile, Frances Burke, Zen, c. 1965

Textile, Frances Burke, Lunar, 1948

Textile, Frances Burke, Bird and Tree, c. 1940