Digital file only - scanned by EDHS from item on loan aif, egypt, first world war, gizeh, letters, lew howard collection, lily howard, robert harris, ww1

Digital file only - scanned by EDHS from item on loan aif, charlie harris, england, first world war, letters, lew howard collection, wareham, ww1

Digital file only - scanned by EDHS from item on loan aif, first world war, france, letters, lew howard collection, lily howard, patrick francis plunkett, ww1

Digital file only - scanned by EDHS from item on loan aif, first world war, france, letters, lew howard collection, lily howard, patrick francis plunkett, ww1

Digital file only - scanned by EDHS from item on loan aif, first world war, france, letters, lew howard collection, lily howard, patrick francis plunkett, ww1

Digital file only - scanned by EDHS from item on loan aif, charlie harris, first world war, france, letters, lew howard collection, lily howard, ww1

Digital file only - scanned by EDHS from item on loan aif, first world war, letters, lew howard collection, lily howard, palestine, ww1

Digital file only - scanned by EDHS from item on loan aif, charlie harris, first world war, letters, lew howard collection, lily howard, ww1

Digital file only - scanned by EDHS from item on loan aif, boulonge-sur-mer, first world war, france, letters, lew howard collection, ww1

Digital file only - scanned by EDHS from item on loan aif, first world war, france, letters, lew howard collection, lily howard, ww1

Digital file only - scanned by EDHS from item on loan aif, first world war, france, letters, lew howard collection, lily howard, ww1

Digital file only - scanned by EDHS from item on loan aif, charlie harris, first world war, france, letters, lew howard collection, lily howard, ww1

Digital file only - scanned by EDHS from item on loan aif, first world war, letters, lew howard collection, ww1

Lew Howard's cousin Lois' parents and Auntie SadieDigital file only - scanned by EDHS from item on loandave thompson, lew howard collection, lily theodora myrtle thompson (nee may), sarah alberta lousie salvado

Wedding party photos given to Lew Howard by his cousin Lois - 12 siblings. All the names were written on the side of the tank at the family property.Digital file only - scanned by EDHS from item on loanlew howard collection, lily theodora myrtle thompson (nee may), sefton thomas cranton howard

Wedding party photos given to Lew Howard by his cousin Lois - 12 siblings. All the names were written on the side of the tank at the family property. Essie Cracknell - Auntie Essie - Edith Ester Howard Roma Yates - Auntie Roma - Roma Vilma Dorothy HowardDigital file only - scanned by EDHS from item on loanbob cracknell, david thompson, edith ester howard, essie cracknell, lew howard collection, lily thompson, roma vilma dorothy howard, roma yates, ver yates

Donated through the Australian Government's Cultural Gifts Program by Katherine Littlewood, 2019hand coloured engraving on paper

Historical gardens in the City of Port Phillip Postcard series celebrating the launch of the Royal Botanic Gardens Melbourneblack and white postcard, unmounted, original, good conditionOn back: Historic gardens in the City of Port Phillip Postcard series celebrating the launch of the Royal Botanic Garden's Melbourne, 'Flora for Victoria' 1996

The is P 1921 in the Rose Postcard Series.ballarat botanic gardens, lily pond, statuary pavilion, rose postcard, garden, building, statues

Colour photograph of the Sydney Harbour Bridge taken in close proximity to Wendy's Garden.sydney harbour bridge, guymea lily, sydney, lavender bay

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

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

Portrait of a female head with dark hair and large eyes on particle board. Signed and dated (U.r.c) 'Rankin 84'. david rankin, painting, portrait, female head

Ill, p.304.fictionThe authorss aim ... has been to convey, in a narrative form, some idea of the remarkable spirit which animated these kings and their subjects, and to make accessible, in a popular shape, incidents of history which are now, for the most part, only to be found in a few scarce works of reference, rarely consulted, except by students. england - fiction, african fiction

“The sweet-smelling chocolate lily is a favourite of mine. It has a scent similar to that of chocolate and can be eaten raw and added to other foods as a decoration on top of cakes. I like it because it is a pretty little plant that you can’t walk by without noticing. The cabbage butterflies are ancestral spirits watching.” — Deanne Gilson In 'Karrap Karrap Beenyak — Flower Baskets of Knowledge', Deanne Gilson depicts dilly bags and baskets drawn from the South Eastern collection of artefacts held within the Melbourne Museum, and gifts from family and friends. They reclaim cultural knowledge, mixing tradition with the lived experiences of her ancestors and re-enriching her life with culture, Country and connection, through the creation of new art. The works highlight the use of Indigenous plants for healing and bush foods, and the Wadawurrung Creation Story and connection to Dja (Country). Dr Deanne Gilson is a proud Wadawurrung woman and an award-winning visual artist living and creating from her ancestral home of Ballarat in Victoria. Her multidisciplinary art practice interrogates the colonial disruption of her family and explores ways in which contemporary art can create a platform towards healing, acceptance and reclaiming cultural identity, often drawing upon traditional knowledges of her ancestors. The Victorian bush where Gilson grew up features predominantly in all of her paintings, alongside many Indigenous plants, trees and birds from her Creation Story. Gilson draws upon layers of tangible and intangible knowledge, she talks about the presence of the intangible as spiritual connections to Country and her ancestors, while the tangible knowledge reflects artefacts and other objects of daily Wadawurrung life. Her works portray a rich cultural history that continues to thrive and grow today despite the restrictions placed on her family by settlement. Gilson’s practice defines Aboriginal women’s business past and present through contemporary art. Traditional marks alongside contemporary marks, link her to the practices of Indigenous mark-making, especially that on her body when in ceremony. Stating that “all of my artworks are an extension of my women’s business and draw on ochre sourced from Wadawurrung Dja (Country)”. The white is used in traditional ceremonies, while the charcoal is a direct link to Gilson’s matriarchal line of her mother’s business. Gilson’s mother, Marlene Gilson, also an artist, gathers charcoal from her daily fire, passing this onto her daughter, extending upon the old and the new ways of sharing knowledge and connection to Country. Painting