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

Black and white photograph. Garden View of Lily Ponds and Hilda Kirkhope Rock Garden. Glimpse of Summer House.On reverse, "1944-1945 near Hilda Dance's Rockery & looking towards Lily Ponds & French Willows."hilda dance, rockery, lily ponds, willows, garden view, helen dudley, 1991, centenary, hilda kirkhope, rock garden, summer house, luffmasnn ponds

A black and white postcard of the lily pond and garden in front of The Log Cabin in Marysville.A black and white postcard of the lily pond and garden in front of The Log Cabin in Marysville. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. This postcard was produced by the Rose Stereograph Company as a souvenir of Marysville.the log cabin, thomas henry branchflower, gerald branchflower, marysville, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, rose series postcard, p. 2437, rose stereograph co, postcard, souvenir

A blue hard covered book titled, ''The Life and Times of Sir George Grey, K.C.B. By William Lee Rees and Lily Rees. New Zealand : Printed and Published by H. Brett, of Lake Takapuna, at his General Printing Office, Shortland and Fort Streets, Auckland. 1892.'' 496 pgs. (ill.)William Lee Rees and Lily Reesperson, individual, sir george grey, book, books, biography, biographies, people, person, sir george grey, history, new zealand, australia, public library of eaglehawk

Lilian (Lily) Thomas, 1888 - 1922, lived with her parents in Bay road Sandringham. Her sister was Dr Elsie Lilian Carne (nee Thomas) who was married to the Rev. T. Clemet Carne. They were Methodist missionaries in India and were associated with the Azamgath Zenana Mission Hospital.Square white cotton cloth with blue embroidered names around the borders. There is a dedication embroidered in the centre.In the centre: "'Lily Thomas Cot Sandringham YWMM 1927"young women's missionary movement, lily thomas, lilian olive thomas 1888 - 1922

Brown small hardcover book with black leaf design and lines on front and back cover. Back cover also has the Publisher initials in a swirled design. Gold lettering of title: The Lost Baby - a Story of a Flood. Black and white illustrations throughout. Researched author as none listed on title page - Emma Leslie c. late 1800.fictionA schoolgirl story about friendship clashes. A baby is accidentally left in a washing basket and is washed away in a flood. All is resolved and the baby is reunited with the family. Strong religious theme.children's fiction, friendship, school, religion

members of Tambo Hockey Seven and thirteen teams Huon Sheehan, Lily Anderson, Sian Trudinger, Katrina Thomas, David Wood, Mitchell Clague, Ashley Keed, Ward during their final game at Lakes Entrance VictoriaColour photograph of members of Tambo Hockey Seven and thirteen teams Huon Sheehan, Lily Anderson, Sian Trudinger, Katrina Thomas, David Wood, Mitchell Clague, Ashley Keed, Ward during their final game at Lakes Entrance Victoriaschools, sports, recreation

Studio portrait of Dorothy Armstrong as the winning Queen of the 1924 Queen Carnival, in aid of the Vermont Sports Reserve. Her attendants are Stuart Corr, Lily Stevens and Lucy Brockell. The photograph is mounted on card.vermont reserve, armstrong, dorothy jean, queen carnival 1924, corr, stuart, brockell, lucy, stevens, lily

Items relating to Harry and Lily COWLEY. Refer 347.3. Refer 347.3 for Harry Cowley, WW1 service history. Obviously he tried to enlist in WW2 but was rejected on medical grounds..1) Medical Certificate of Unfitness AA.Form MoB 5 .2) ID Card Civilian Registration ( British Subjects ) Number V9 F94 44,027 Stamped Prahran Vic 29 April 1942.1) For "Harry Cowley, Area 14 Drill Hall Prahran, Dated 1 Apr 1942" .2) For "Francis Lily Cowley, K15 Raleigh St Windsor S1"documents, medical, identification

Zantedeschia aethiopica Arum Lilyplants, zantedeschia aethiopica, arum lily

Sebire family photograph taken c 1921.A group family photograph of a mother, Lily and her two children, Mervyn and Edna Sebire taken c. 1921 stanging outside a house with a large fern behind them. It has a metal frame with a gold and brown mount.Written on back: "Lily Martha Sebire, 6th child of Henry & Martha. B. 28.10.1870 D. 23.2.1928." "Mervyn Arthur Wesley Sebire. B 25.6.1914 D. 1992." "Edna Linda Mavis Sebire. B. 19.8.1908 D. 26.4.1971" "Taken about 1921" portrait photographs, pictures, frames, photograph frames, photograph accessories, family life

Donated by Helen Dudley (1945) 18 December 1991 for the Centenary Year.3 black and white photographs of a student ballet beside the Lily Ponds which ends in one student being thrown into the Lily Pond.(1) On reverse, "1944-1945 Helen Hanna, Mary Hume, Rhonda Shaw & Elise de Wilston. Lawn near ponds." (2) On reverse, "1944 Pond throwing episode." (3) On reverse, "Rhonda Shaw having been thrown into pond."helen dudley, centenary, helen hanna, mary hume, rhonda shaw, elise de wilston, lawn, pond throwing, lily ponds, luffmann ponds