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Ararat Gallery TAMATextile, Frances Burke, Unknown, 2 pieces, 1939-1950
... native flora, garden flowers, marine subjects, Indigenous culture..., Frances Burke (1904-1994), employed Australian native flora ...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 TAMATextile, Frances Burke, Shields (pair of curtains), 1965
... native flora, garden flowers, marine subjects, Indigenous culture..., Frances Burke (1904-1994), employed Australian native flora ...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 TAMATextile, Frances Burke, Periwinkle
... native flora, garden flowers, marine subjects, Indigenous culture..., Frances Burke (1904-1994), employed Australian native flora ...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 TAMATextile, Frances Burke, Fabric piece, framed
... native flora, garden flowers, marine subjects, Indigenous culture..., Frances Burke (1904-1994), employed Australian native flora ...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. -
The Beechworth Burke MuseumAnimal specimen - Blue-faced Honeyeater, Trustees of the Australian Museum, 1860-1880
The Blue-faced Honeyeater is commonly located in northern and eastern mainland Australia. It is also found in Papua New Guinea. This species prefer to reside in tropical locations or those which are sub-tropical and wetter temperate or semi-arid zones. It can be located in open forests and woodlands close to water. Due to these locations along with it's propensity for feeding on the fruit and flowers of the banana in northern Queensland, this species is colloquially known as the "Bananabird". These birds commonly reside in pairs, family groups or small flocks. They can often be found socialising with other species including the yellow-throated miner and the Little Friarbird. The Blue-faced Honeyeater feed on insects and invertebrates, but also may eat nectar and fruit from native and exotic plants. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The blue-faced Honeyeater is large in size with bright white and black colouring. The bird also has golden olive-green colouring on it's rear, tail and wings. Around the eyes is strikingly blue coloured skin which has faded significantly on this particular specimen. It also has a pair of glass eyes to replace the original which do not survive the taxidermy process. There is a patch of dark colouring on the plumage of the stomach and neck of the bird. This dark batch is surrounded by white plumage which also forms a white band across the back of the neck. This specimen is stylized placed on a wooden mount. The bird's feet are attached to a thin stick and the stick attached to the mount.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, honeyeater, blue-faced honeyeater -
Warrnambool and District Historical Society Inc.Badges, Our Own for our own, C 1910
These badges appear to have been issued as part of Wattle Day celebrations in the period 1910 to 1919. The use of wattle as an Australian symbol was strong during the pre-Federation and Federation days and was particularly promoted by the Australian Natives Association, a prominent campaigner for Federation. Wattle Day was established in Melbourne, Sydney and Adelaide in 1910 and the wattle symbol was a strong one for servicemen serving overseas in World War One and wattle badges and pins were used to raise funds for wartime funds for such organizations as the Red Cross.These badges are of interest as an example of the strong national sentiment engendered in Australia by World War One.Five small circular badges in tones of brown and green. .1 light green background with bunch of yellow wattle below. Text in brown at the top. .2 Brown background with yellow wattle flowers and cream text. .3 Dark green background with yellow wattle flowers.Our own for our own.wattle day celebrations, australian natives association, world war one and wattle badges, warrnambool -
Warrnambool and District Historical Society Inc.Badges, Wattle Day
These badges appear to have been issued as part of Wattle Day celebrations in the period 19910 to 1919. The use of wattle as an Australian symbol was strong during the pre- Federation and Federation days and was particularly promoted by the Australian Natives Association, a prominent campaigner for Federation. Wattle Day was established in Melbourne, Sydney and Adelaide in 1910 and the wattle symbol was a strong one for servicemen serving overseas in World War One and wattle badges and pins were used to raise funds for funds such organisations as the Red Cross.These badges are of interest as an example of the strong national sentiment engendered on Australia by World War One..1 circular metal concave badge featuring a cream map of Australia with dark green outline. An image of wattle flowers and leaves is in the centre of the map. Surrounding the map is a pale green border with text. The edge is dark green. It has a pin clip on the reverse. .2 As above .3 As above .1 WATTLE DAY .2 WATTLE DAY .3 WATTLE DAY -
Glen Eira Historical SocietyDocument - Allender, Marie
A photocopy of a newspaper article un-named and undated. The article is about Marie Allender, member of the Field Naturalist Club of Victoria for 40 years who identified a new species of botanical plant. The new plant was named Olearia Allenderae; the ae suffix is feminine The article misnames Miss Allender as Ellenderpeople, allender marie, olearia allenderae, endersby. ian., clubs and associations, caulfield, field naturalists club of victoria, plants, herbarium, native plants, royal botanical gardens, wild flower -
Phillip Island and District Historical Society Inc.Photograph Album, Kodak, Phillip Island Cemetery, c 1990
The Album was compiled by Nancy McHaffie late 1990's, with the assistance of Edith Jeffery's, with her book "Garden of Memories" and extensive knowledge of Phillip Island. The Cemetery lies back from the road and is surrounded by Manna Gums, rare Peppermint Gums, Blackwoods and other native trees. In all 25 acres of land were set aside as Crown Land in the land settlement of 1868. There are 6.2 acres of wetlands near the cemetery entrance.466-34: Captain J. B. Lock. John Barnard Lock was associated with the trading vessels to operate from Phillip Island when the settlers had most of their goods brought from Melbourne. He died in 1908 and is laid to rest in the family grave. The grave is surrounded by metal railing and flowers. 466-35: David Charles Justice. David came to the Island in 1898. He was a blacksmith, coachbuilder, farrier, agricultural engineer, wheelmaker, shipbuilder and farmer. He purchased a farm from the Harbison Estate in 1911 in the Ventnor township. He assisted Mr Will Kennon in building a punt used to recover equipment from the wreck of the "Speke". "Dinny" as he was called, married Isabella Miller (an early settlers' family). He died in November 1943 aged 79. Isabella died in October 1936 aged 86. phillip island cemetery, nancy mchaffie, edith jeffery, captain john barnard lock, david charles justice, isabella justice -
Greensborough Historical SocietyBook, Nillumbik Shire Council, Live local Plant local: Nillumbik Shire, 2001_
Nillumbik Shire is known for its natural vegetation. This text encourages locals to plant indigenous plants in their gardens.A guide to indigenous vegetation in the Nillumbik Shire.56 pages, illus. (some col.). Cover has yelloe flowers in band on orange background with shire logo.nillumbik shire council, environmental and cultural planning section, chris delaney, indigenous plants, native gardens -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Ixiolaena leptolepis (Plover Daisy), Mallee & Wimmera. Minuria leptophylla (Minnie Daisy), 1985
Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Framed ink drawing of cuttings and flower details of two plants. Five drawings include one cutting of multiple stemmed plant with long leaves and one flower per stem, one cutting of multiple stemmed plant with long narrow leaves and one flower (daisy-like) per stem and three flower details. Mounted in a double matt (white on dark grey) under glass in a silver painted frame.Front: CEW/85 (signature, lower left in image) (ink) Ixiolaena leptolepis (Plover Daisy) Mallee & Wimmera Minuria leptophylla (Minnie Daisy) (lower left) (pencil) Back: 32 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema -
Halls Gap & Grampians Historical SocietyPostcard - Sepia
A postcard of Grampians heath. Sent by "Ethel" of "Hankelow", Halls Gap to wish her father a (belated) Happy Birthday.The postcard is of heath in full flower. Rocky ground can be seen in the right foreground."The Rose Series. P. 623 Native Heath of the Grampians. Vic." on bottom edge of postcard. A letter written from "Hankelow", Halls Gap on rear (see Additional Images for full text of letter).natural history, flora -
Halls Gap & Grampians Historical SocietyPhotograph - Coloured
The photo is a close-up of a specimen of a type of native pea growing in the bush. Gum leaves and other vegetation also appear in the photo. The flowers have two main colours; gold and rust brown.natural history, flora -
Halls Gap & Grampians Historical SocietyPhotograph - Coloured, C Jan 1987
The photo shows a close-up of a specimen of native pea. The plant has many small flowers and leaves. The flowers are gold in colour with orange/brown (redish) centres. A large gum trunk or branch of a very pale colour forms the background.natural history, flora -
Ringwood and District Historical Society
Document, Ringwood and District Horticultural and Garden Club, Ringwood and District Horticultural and Garden Club Syllabus - 1972, 1972
Ringwood and District Horticultural and Garden Club Syllabus 1972.Small card Ringwood and District Horticultural and Garden Club Syllabus 197__ Monthly Meetings are held in the Public Library, Warrandyte Road, Ringwood, on the Third Monday of each month at 8 pm. (Mrs.) V.H.WILSON, Hon. Secretary 38 William Street, Ringwood Telephone: 870-7458 (Inside) Page One Jan 17th Pressed Flowers Feb. 21st Judging Standards Mar.20th Fuchsias Apr. 17th Native Plants May 15t Indoor Plants June 19th Fruit Tree Pruning Page Two July 17th Toowoomba Festival Aug. 21st Camelias Sept. 18th Bulbs Oct. 16th Vegetables Nov. 20th Annual Meeting. Question Night Dec. 11th Christmas Break up -
Federation University Historical CollectionDocument - Correspondence, Ballarat Science and Field Naturalists Club Wildflower Exhibition, 1915, 07828.1; 1st 0ctober 1915. 07828.2; 8th September 1916
The Ballarat Scinece and Field Natualists' Club was closely associated with the Ballarat School of Mines. Two typed carbon copied letters from the Ballarat Science and Field Naturalists Club regarding wild flower exhibitions. .1) dated 1st October 1915 and signed C. A. Hoadley and H. L. Williamson (Honorary Secretaries). .2) dated 8th September 1916 and signed W. H. Collyer and H. B. Williamson (Honorary Secretaries). Letters describe the picking, packaging and delivery of flowers for the show..1) THE BALLARAT SCIENCE & FIELD NATUALISTS' CLUB 1st October, 1915 We intend holding an Exhibition fo Woldflowers on Saturday the 16th October next with a view of helping the Red Cross Fund. Thinking that in your locality there are a number of native shrubs in bloom, we appeal to you to help by sending along some bunches for show and sale. ... .2) THE BALLARAT SCIENCE AND FIELD NATUALISTS' CLUB 8th September, 1916 Dear ................................... Encourage by the interest in our Wild-floweres Show held in October last yer, and mindful of the fact that our efforts resulted in a substantial ampint being raised for the Red Cross fund, we have decided to hold another Exhibition on the 7th October next, in aid of the same Fund and the Lady Mayoress' League. May we hope for help from you in sending boxes of blooms for show and sale? It may be that you were one of our contributers last year. ... charles hoadley, c. a. hoadley, h. l. williamson, h. b. williamson, smb, ballarat school of mines, ballarat science and field naturalists club, flora, wattles, acacias, herbaceous plants, orchids, lilies -
Federation University Historical Collection
Booklet, Helen Ogden, Flowers of Western Australia, 1960
Paperback booklet with painted wildflowers on the front cover and blue-grey back cover. 22 leaves of plates.Stamped in gold inside front cover: With Compliments A.H.A. Western Australian branch 1967 National Conferencewildflowers, western australia, helen ogden, ida richardson, c a gardner, flora, botany, australian native plants, orange banksia, kangaroo paw, hibbretia hypercoides, leucopogon pulchellus, isopogon roseus, qualup bell, blue leshenaultia, geradton wax plant, catspaw, wild clematis, sturt pea, donket orchid, spider orchid, hovea trisperma, black wattle, pink myrtle, boronia, christmas tree -
Bendigo Historical Society Inc.
Document - ROYAL PRINCESS THEATRE COLLECTION: MAJORIE IN WONDERLAND, 12 Aug 1916
Royal Princess Theatre - Majorie in Wonderland. Saturday, 12 August, 1916. Price of Program, One Penny. Australian Children's Pantomime. Matinee Performance. In Aid of Fruit and Vegtable Fund For Our Soldiers in The Trenches. Produced by Miss Girlie Mackay. Children's Vocal Training by Madame Rossow. Dialogue by Miss Eileen O'Keefe. Musical Director, Mr Stanley Upton. Stage Manager, Mr J Dunphy. Lighting Effects Mr W Wenborn. Theatre kindly lent by W Crowley, Esq. Hon. Sec., Norman Howell. Prologue. The curtain rises showing the flowers asleep. The fairies, summoned by daylight, entre and sing, awakening the flowers, and leave. Then Puck entres, followed by the Blue Wrens, singing, and after them the Bunnies, who are all . . . Sale of Sweets supervised by Miss Nita Weller and Assistants. Novelties by Mrs Julius Cohn. Dresses designed and made by Mrs McQuie, Mrs Marc Cohn, Miss Lena Weller, and Miss Girlie Mackay, assisted by Mrs Balsillie, Mrs Ralph Ross. Mrs Robert Makayand the Misses Gladys McQuie, Norma Moorhead, Carola Iser, and Hilda Meurer. Program: Songs sung throught Performance. Act I. 1 Chorus-Fairy Song. 2 'Bunnies' Adventure' by the Bunnies. 3 Chorus-Holiday Song. 4 Bell Bird Duett-Jean & Jim Walker. 5 Sailor's Hornpipe-Crissie Cravino. 6 'Marjorie Sunbeam'-Myrtle Glanville. 7 'As I went o'er the Paddock'-Jean Walker. 8 Chorus'Billy Tea. 9 Song-'Possum'-Bertie Barkell. 10 'Bogie Man'-Stella Coghlan. 11 'Kookooburra'-Mel Wearne. 12 Chorus-'Winter Bells'. Act II. 1 Chorus-'Autumn Winds'. 2 'Stay Little Wave'-Jean Walker. 3 'Southern Cross'-Rose Murphy. 4 Song-'Kangaroo'-Brownies. 5 'Pixie Man'-Ruthie Murphy. 6 Chorus-'Wattle'. 7 'Grow Little Mushroom'-Stella Cook. 8 'Cooee'-Myrtle Glanville & Marie Hamilton. 9 Butterfly Dance-Sheila Shannon.10 'King Billy & Black Mary'-Ken McQuie. 11 Boomerang Song-Ken McQuie. 12 Final Chorus-'To the Fairies', 'Good Night'. God Bless Our Splendid Men. Cast of Characters:Marjorie & Jean Walker, Myrtle Glanville, Ruthie Murphy, Marie Hamilton, Thelma Thomas, Stella Coghlan, Jim Walker, Jim Long, Bertie Barkell. Fairies:-Mary Hunter, Lily Brown, Una Grelis, Biddie Bulley, Rosa Dyring, Ellie Colcough, Ida Collins. Puck:-Una Leggo. Butterfly:-Sheila Shannon. Brownies:-Tom Green, Douglas McQuie, Hunphrey, Gill, Mel Wearne, Laurence Skewes. Aboriginal:-Ken Mquie. Frog:-Sid Whitelaw. Native Bear:-Ken Moore. Blue Wrens:- Alma Jorgenson, Doris Reed, Geoff Schultz, Jean Cahill. Flowers. Orchids:- Joyce Ross, Margaret Long, Dorothy Thomas, Margaret McQuie, Mollie Roberts, Rose Murphy. Pink Gums:-Lorna Weddell, Minnie Hartley, Isola Woodward, Jean Moran, Decima Holtorf, Merle Nagel. Flannel Flowers: Gwen Hunter, Nancy Tatchell, Catherine Green, Mary Rymer, Thelma Cairns, Cecil Gleeson. Poppies:-Lorna Cattran, Alice Murphy, Maisie O'Grady, Eileen Coglan, Alma McWilliams, Jean Miller. Blue Bells:-Mavis Tozer, Vivian Reed, Monnie Fattorini, Gwennie Seely, Alice Evans, Lily O'Conner. Southern Cross:-Eileen Martin, Jean Murdoch, Effie Williams, Verna Mayne, Minnie Hartley, Mollie Martin.Cambridge Press, Print.program, theatre, royal princess theatre, royal princess theatre - majorie in wonderland. 12 august, 1916. program, one penny. australian children's pantomime. matinee performance. in aid of fruit and vegtable fund for our soldiers in the trenches. produced by miss girlie mackay. children's vocal training by madame rossow. dialogue by miss eileen o'keefe. musical director, mr stanley upton. stage manager, mr j dunphy. lighting effects mr w wenborn. theatre lent by w crowley, esq. hon. sec., norman howell. prologue. the curtain rises showing the flowers asleep. the fairies, summoned by daylight, entre and sing, awakening the flowers, and leave. then puck entres, followed by the blue. . . sale of sweets supervised by miss nita weller and assistants. novelties by mrs julius cohn. dresses designed and made by mrs mcquie, mrs marc cohn, miss lena weller, and miss girlie mackay, assisted by mrs balsillie, mrs ralph ross. mrs robert makayand the misses gladys mcquie, norma moorhead, carola iser, and hilda meurer. program: songs sung throught performance. act i. 1 chorus-fairy song. 2 'bunnies' adventure' by the bunnies. 3 chorus-holiday song. 4 bell bird duett-jean & jim walker. 5 sailor's hornpipe-crissie cravino. 6 'marjorie sunbeam'-myrtle glanville. 7 'as i went o'er the paddock'-jean walker. 8 chorus'billy tea. 9 song-'possum'-bertie barkell. 10 'bogie man'-stella coghlan. 11 'kookooburra'-mel wearne. 12 chorus-'winter bells'. act ii. 1 chorus-'autumn winds'. 2 'stay little wave'-jean walker. 3 'southern cross'-rose murphy. 4 song-'kangaroo'-brownies. 5 'pixie man'-ruthie murphy. 6 chorus-'wattle'. 7 'grow little mushroom'-stella cook. 8 'cooee'-myrtle glanville & marie hamilton. 9 butterfly dance-sheila shannon.10 'king billy & black mary'-ken mcquie. 11 boomerang song-ken mcquie. 12 final chorus-'to the fairies', 'good night'. god bless our splendid men. cast of characters:marjorie & jean walker, myrtle glanville, ruthie murphy, marie hamilton, thelma thomas, stella coghlan, jim walker, jim long, bertie barkell. fairies:-mary hunter, lily brown, una grelis, biddie bulley, rosa dyring, ellie colcough, ida collins. puck:-una leggo. butterfly:-sheila shannon. brownies:-tom green, douglas mcquie, hunphrey, gill, mel wearne, laurence skewes. aboriginal:-ken mquie. frog:-sid whitelaw. native bear:-ken moore. blue wrens:- alma jorgenson, doris reed, geoff schultz, jean cahill. flowers. orchids:- joyce ross, margaret long, dorothy thomas, margaret mcquie, mollie roberts, rose murphy. pink gums:-lorna weddell, minnie hartley, isola woodward, jean moran, decima holtorf, merle nagel. flannel flowers: gwen hunter, nancy tatchell, catherine green, mary rymer, thelma cairns, cecil gleeson. poppies:-lorna cattran, alice murphy, maisie o'grady, eileen coglan, alma mcwilliams, jean miller. blue bells:-mavis tozer, vivian reed, monnie fattorini, gwennie seely, alice evans, lily o'conner. southern cross:-eileen martin, jean murdoch, effie williams, verna mayne, minnie hartley, mollie martin. -
Bendigo Historical Society Inc.Document - MALONE COLLECTION: GREETING CARDS, 1900
Delicate white card with flowers, leaves, butterflies & lacy sections around an oval opening which has a piece of vallum like paper which has a pink, a blue & grey flower and some leaves painted onto it. At the bottom is a small glued on banner with ' With you around the World I'd roam. And count each Time my native home.' printed in dark brown.person, greeting cards, malone collection, malone collection, greeting cards -
Bendigo Historical Society Inc.Postcard - GLADYS DEAN COLLECTION: POSTCARD, 1906 - 1908
Printed card folded to form an opening card. Front is printed with a decorative blue border enclosing the words Everlasting Silver Leaves from Durban Natal. An address has been handwritten to Miss G Dean Esmond McKenzie St Golden Square Victoria. Opening the card, on the left hand side is a coloured photograph attached to the card inside a decorative gold border. The image depicts three males wearing native headdresses standing in front of three two wheeled carriages. The words Ricksha Boys are printed in red in the border beneath the photograph. Words have been handwritten below. On the right hand side are three leaves made of silk stuck to the card within a gold decorative border. The first leaf contains the words With love to ... My only Girl printed onto the silk. The name Glad has been handwritten onto dotted space. The second leaf has a printed image of an urn with flowers growing from it. The words Good wishes have been handwritten. The third leaf has the word souvenir printed onto it with initials C.N. The words From a fond heart across the sea have been handwritten across it.postcard -
Bendigo Historical Society Inc.Document - HAMILTON COLLECTION: MALDON AND MUSIC COMPETITION PRIZE CE, 1901
Prize certificate on card awarded to Mr. Alexander John Hamilton by the Maldon branch of Australian Natives Association for second prize in their Second Annual Musical and Literary and Elocutionary Competition for Bass Solo Printed in gold on off white card, bordered with butterflies, flowers and vines. Markings - Sands and McDougall Ltd. Printers Melbourne.performing arts, elocution, competition -
Bendigo Historical Society Inc.Document - HAMILTON COLLECTION: MALDON AND MUSIC COMPETITION PRIZE CERTICATES - ALEXANDER JOHN HAMILTON, 1901
Prize certificate on card awarded to Mr. Alexander John Hamilton by the Maldon branch of Australian Natives Association for first prize in their Second Annual Musical and Literary and Elocutionary Competition for Comic Song. Printed in gold on off white card, bordered with butterflies, flowers and vines. Markings - Sands and McDougall Ltd. Printers Melbourne.performing arts, elocution, competition -
Bendigo Historical Society Inc.Document - NORMAN PENROSE COLLECTION: FLOWER SKETCHES
Document. Norman Penrose collection: 13 drawings (ink) of Australian Native Plants on the back of cardboard drawings of 'A History of British Birds.' One card has notes about Byzantine art on the back.drawing, ink, native plants, norman penrose collection, drawing of native plants, art notes -
Bendigo Historical Society Inc.Document - HAMILTON COLLECTION: MALDON AND MUSIC COMPETITION PRIZE CE, 1901
Prize certificate on card awarded to Mr. Alexander John Hamilton by the Maldon branch of Australian Natives Association for first prize in their Second Annual Musical and Literary and Elocutionary Competition for Recitation Gentlemen Printed in gold on off white card, bordered with butterflies, flowers and vines. Markings - Sands and McDougall Ltd. Printers Melbourne.performing arts, elocution, competition -
Bendigo Historical Society Inc.Document - HAMILTON COLLECTION: MALDON AND MUSIC COMPETITION PRIZE CE, 1901
Prize certificate on card awarded to Mr. Alexander John Hamilton by the Maldon branch of Australian Natives Association for first prize in their Second Annual Musical and Literary and Elocutionary Competition for Baritone Solo Printed in gold on off white card, bordered with butterflies, flowers and vines. Markings - Sands and McDougall Ltd. Printers Melbourne.performing arts, elocution, competition -
Bendigo Historical Society Inc.Document - HAMILTON COLLECTION: MALDON AND MUSIC COMPETITION PRIZE CE, 1901
Prize certificate on card awarded to Mr. Alexander John Hamilton by the Maldon branch of Australian Natives Association for second prize in their Second Annual Musical and Literary and Elocutionary Competition for Humorous Recitation Printed in gold on off white card, bordered with butterflies, flowers and vines. Markings - Sands and McDougall Ltd. Printers Melbourne.performing arts, elocution, competition -
St Kilda Historical SocietyDocument - Advertisement, G Brunning & Son St Kilda Nurseries, Pre - 1901 (original)
George Brunning was born in Suffolk, England, on 2 October 1830 and settled in St Kilda in June, 1852. He was a gardener and became part-proprietor and manager of Rule's Nursery in Richmond before establishing the first nursery of his own in 1861. Following his death on 5 June 1893, his sons continued the business. An article published in Punch in 1907 observed 'Nearly all the flowers grown in and around Melbourne, indeed, throughout Victoria, which are not native to Australia, had their origins in the nurseries of George Brunning and Sons. The statement is a large one to make, but it is literally true.'Single page black and white photocopy of advertisement from an unidentified publication for G Brunning & SonG Brunning & Son, St Kilda Nurseries, Near Melbourne, Beg to announce they have the Largest and Most Extensive Nursery Stock in the Australian Colonies. Ten acres of our ground are under cultivation with Flowers and Shrubs, upwards of two acres being covered with pot grown plants. We are the biggest Importers of new florists flowers in the Southern Hemisphere, always adding to our Stock all the Novelties as they appear in Europe. Our nurseries are particularly noted for the fine collections of roses, show, fancy and zone pelargoniums, fuchsias, picots, carnations, and other leading Plants, Shrubs, etc. In addition, we cultivate extensively the best and most popular kinds of fruit trees, of sorts suitable for private gardens, or for market purposes. Priced Catalogues are published annually in May, and will be forwarded gratis on application to G Brunning & Son, St Kilda Nurseries, Near Melbourne. Visitors to Melbourne are respectfully invited to inspect our Nurseries.g brunning and son, plant nurseries victoria, st kilda, 19th century -
Victorian Aboriginal Corporation for LanguagesBook, Denise Greig, Field guide to Australian flowers : over 1000 common Australian wildflowers, 2001
Identification of native wildflowers from around Australia. Plant families are arranged in alphabetical order.Maps, b&w illustrations, colour photographswildflowers, plants, australia, grampians, identification, vegetation zones -
Victorian Aboriginal Corporation for LanguagesBook, I R McCann, The coast and hinterland in flower, 1992
Format using photographs and a brief description of each plant.Maps, colour photographswildflowers, plants, australia, grampians, identification, native plants -
University of Melbourne, Burnley Campus Archives
Slide - Glass slide, 1891-1905
Unidentified Eucalyptus leaves and flowers. Photographaustralian native plants, eucalyptus
