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

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

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

Each Ward in the Melbourne District Nursing Society After-Care Hospital, at 45 Victoria Parade, Collingwood, had a Sun Room which was well lit by its many windows. This digital image is taken in one of the Sun Rooms and shows the type of hospital beds, furniture and the uniforms worn by Sisters and nurses in the 1930s.Melbourne District Nursing society opened the After-Care Home, situated at 39 Victoria Parade Collingwood in 1926 following a public appeal for funds. The name changed from 'Home' to 'Hospital' in 1934. The After-Care Home was originally established to provide nurse-managed convalescent care to poor and underprivileged people who could not look after themselves at home due to illness or on release from hospital. Opening in 1926, at a cost of £27,000, the home included maternity, children’s and adult wards as well as accommodation for Matron, twelve nurses and four domestic staff. In 1930 an ante-natal clinic was opened at the home. During 1934 the Women’s Welfare Clinic including, at the time, a very controversial Family Planning Clinic, the first of its kind in Australia, was opened to support women at risk following multiple and difficult pregnancies. Major extensions occurred in 1936. Each Ward in the After-Care Hospital at 45 Victoria Parade, Collingwood, had a Sun Room which was well lit by its many windows. Several donors gave money to furnish some of the Wards. Following Government intervention, the After-Care Hospital was separated from the Melbourne District Nursing Society in 1957. The District division of Melbourne District Nursing Society became the Melbourne District Nursing Service and moved to 452 St Kilda Road; later, in 1966, with Royal patronage this became Royal District Nursing Service (RDNS). The After-care hospital continued to operate at the same address in Collingwood until 1985 when it became the Melbourne Geriatric Centre. This digital Image shows six men patients and nursing staff in a Sun Room in the Melbourne District Nursing Society After-Care Hospital. In the left foreground is a low bedside cupboard, beside it is a man with short dark hair lying in an iron framed hospital bed with a white cover pulled up to his shoulders. A Sister, who is looking at the camera, is wearing a grey uniform with a white collar, and a white veil over her short dark hair; she is standing behind, and at the head of the bed with her right hand holding the vertical bar of the bed frame. Behind her is an open door and then a nurse wearing a long white apron over her grey long sleeved uniform; she has a white cap over her shoulder length dark hair and is looking at the camera. Both of her hands are resting on an empty cane chair. Next along is a man with a bandage wrapped around his head and over his left eye. He is wearing dark clothing and is sitting on a padded cane chair, as are the rest of the men in the room. To the rear, in front of four long windows, are another two men, one on the left has short white hair and is wearing light clothing, and to his right is a man with short dark hair and is wearing a dark dressing gown over light colour pyjamas. On his right is a large vase of flowers on a tall white stand. On the right hand side of the photograph are another two men with short dark hair and wearing dressing gowns; part of a wall with windows can be seen behind them.mdns, after- care hospital, melbourne district nursing society, rdns, royal district nursing service

In 1934 the Trustees of the Marie Krecklow Estate donated 500 pounds to furnish and equip an empty Ward in the Melbourne District Nursing Society After-Care Hospital in the memory of Mrs. Marie Krecklow. This image shows the furnishings in the Ward of the Hospital at 45 Victoria Parade, Collingwood. The boys in this image are receiving nursing care before returning home following their recuperation. Many children were nursed at the hospital, some long term during the Polio epidemic. The Society were pioneers in recognizing the need for premises where patients too ill to be in their own home, but not ill enough to go to hospital, was needed, and the Society built, then opened, the Melbourne District Nursing Society After-Care Home in 1926, (from 1934 called After-Care Hospital), for these patients, and patients from Melbourne Hospitals who required recuperation before returning home. Many children were nursed there, some long term during the Polio epidemic and the Society employed two School Teachers. The Society now ran two divisions, the After-Care with its own Trained nurses and the District division. The Society were the first in Melbourne, in early 1928, to recognize some patients leaving the After-Care, and many at home, needed further social care and they set up ‘Almoners’ from their committee to visit these patients and be intermediaries in getting them social assistance. It was late the following year before the first training of Almoners took place in Melbourne. In 1930 the Society employed a full time kindergarten teacher to visit poor children in their homes. That year the Society were pioneers in opening an Ante-Natal Clinic at the After-Care, setting a high standard with equipment, keeping records and providing leaflets with instructions in how to keep healthy during pregnancy, what complications to look for and what to do when labour commenced. In 1934 the Society were pioneers again when they opened the first Women’s Welfare Clinic in Melbourne giving advice on birth-control, at first attended by their own patients, but then accepting patients from public hospitals until their own clinics were opened.A trained Almoner was employed at the hospital but left after twelve months due to the volume of work. Unable to employ another trained Almoner due to a shortage of them, a Social Service Officer was employed at the After-Care who successfully gained better housing from the Housing Commission for families living under unsuitable conditions. In the 1950s the Hospital and Charities Commission decided to take over the After-Care Hospital, so the Melbourne District Nursing Society and After-Care Hospital separated and the Melbourne District Nursing Service was formed, setting up Headquarters at 452 St. Kilda Road. In 1966, following Royal patronage the name was changed to Royal District Nursing Service (RDNS).Digital mage showing the 'Marie Krecklow Ward' in the Melbourne District Nursing Society After-Care Hospital. The image shows five iron hospital beds along the left hand side and five iron hospital beds along the right hand side of the ward. Eight young boys, most with short dark hair and one with short blonde hair, are leaning against pillows sitting up in the beds. Some pillows are propped against an iron support which slopes from the headrest. Three sets of windows can be seen on either side of the ward which is painted grey and a wide floral border to the picture rails, then white paint above the picture rail which continues over the ceiling. A white table with vases of flowers is in the centre rear of the image. A Sister, wearing a white uniform and veil and a dark cape stands at the rear left hand side of the image, and two nurses wearing white aprons over dark uniforms and white caps stand half way down the ward, one on either side. mdns, melbourne district nursing society, after- care hospital, after-care home, rdns, royal district nursing service, mrs marie krecklow

RDNS Sister E. Anderson is Supervisor of Royal District Nursing Service (RDNS) Footscray Centre and Mrs. J. Simpson is the coordinator of RDNS Auxiliaries. They are admiring items from auxiliaries and other interested friends which will be distributed, as required, by RDNS Sisters to any poor families whom they visit to administer nursing care.From its inception in 1885 Melbourne District Nursing Society (MDNS), held functions to gain finances to run the Society. They also asked the public for donations, ranging from food items to linen for bandages, bed linen, blankets, clothes, including baby clothes, etc to assist in the care of their patients. The public generously responded. Each year the President made a special appeal for donations at Christmas time for food and gifts for the MDNS sick poor. Out of this evolved, in 1925, the first MDNS Auxiliary in the Eastern Suburbs. This extended to Auxiliaries throughout the suburbs who worked to donate money and ‘gifts in kind’ to assist MDNS to continue their work, and to furnish wards in the After-Care Home. Before the District Division of MDNS had its own fleet of vehicles, a Motor Auxiliary was formed in 1929 where the general public, when available, provided their car, and drove Sisters to visit patients who lived a distance away. This was disbanded in 1971 when the, now named Royal District Nursing Service (RDNS), had its own fleet of vehicles. The Jessie Henderson Auxiliary ran a Kiosk and Library with all profits to the Society for 20 years. By 1950 there were fourteen auxiliaries who continued to hold functions when the District division separated from the After-Care Hospital and became Melbourne District Nursing Service, which, with Royal patronage, became RDNS in 1966. A Council of Auxiliaries, with Mrs. J. Simpson at its head, and which comprised of two delegates from each auxiliary, was formed in February 1968 to work for District. There were nine auxiliaries in 1970. They continued to run into the 2000s, but the numbers of auxiliaries reduced over the years, as well as the number of members in each auxiliary as the members aged, so this form of support ceased.On the rear left of the black and white photograph is Royal District Nursing Service (RDNS), Sister E. Anderson, who has short dark curly hair and is wearing her RDNS uniform of a long sleeved grey frock, with a white name badge on the upper left; parts of RDNS insignia are seen on the top section of each sleeve. On the right rear is Mrs. J. Simpson, who has her long dark hair drawn up and is wearing a light grey coloured frock with white lapels, cuffs and a white pocket, all with dark piping. They are both holding baby items and looking at knitted and other donated items which are laying on tables in front of them.Photographers stamp. Quote No. KH 74melbourne district nursing society, melbourne district nursing service, mdns, royal district nursing service, rdns, mdns auxiliaries, rdns auxiliaries, ellen anderson,, j. simpson,

Ill, p.360.non-fictionA treatise on various items of home furnishings .interior decoration, pottery, silverwork

Subdivison map of Cherrydene Estate and double-sided A4 size House & Land price list dated 27/10/1969. Developer - A.V. Jennings Industries (Aust) Ltd., Cnr. Springvale & Wellington Rds., Mulgrave, Vic. Phone 560 8411. Sales Dept. Rep., Leon B. Devine, Phone 560 8411 A/H.435 5311. Subdivision includes Wonga Road, Holyrood Crescent, Clipper Court, Ripley Court, Harwick Close, Bader Court, Towerhill Drive, Nigel Court, Berkley Road, Avis Court, Carmen Close, Frederic Drive, Kenwood Crescent, Adele Court, Marilyn Street, Abbey Court, Baron Court, Kismet Close, Oban Road, Ringwood.Furnished and landscaped display homes are open for your inspection, (see map on reverse side) from 11 a.m. to 5 p.m. Sundays and Holidays, and 2 p.m. to 5 p.m. weekdays and Saturdays. Display homes list for 'Cherrydene' Ringwood - Arundel, Ashmoor, Avalon, Cleveland, Chiltern, Dorset.