Showing 264 items
matching australian furniture
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Yarrawonga and Mulwala Pioneer MuseumMail order catelogues x 3, Rockman's, The Myer Emporium, Wakes of Australia, 1952
Indicating fashions and homeware styles of the the early 1950'sPaper stapled catelogues all published in 1952. Rockman's - ladies clothing. Myer emporium - Mens, ladies, childrens clothing, beds, electrical appliances, shoes, makeup. Wakes - Ladies and men's clothing, beds, electrical appliances, wall paper, curtains, fabric, crockery, furnituresee photos -
Stawell Historical Society IncPhotograph, Main Street Stawell looking West with the Geo. Mitchell shop on right c 1940 -- Postcard
Murray Views No. 5. Main Street Stawell Vic. post card of street scene. The scene is looking west with the Geo Mitchell shop and Macrows furniture shop on the right. The street is full of parked cars c 1940's.Murray Views Postcard and also one enlargement of the street scene in Stawell looking west c 1940's.Murray View No. 5 Main Street, Stawell, Vic. (on the front) Real photograph produced in Australia by Murray View, Gympie, Q. (on the back). stawell business streetscape -
Whitehorse Historical Society Inc.Domestic object - high chair, not known
Child's high chair. First used 1922 by Edith Mottram (nee Smith).Passed on to Cecil Wilfred Smith (brother of Edith) who migrated to Australia in 1927 and used by children Frederick and Victor. Used by Frederick's children Karen (b 1979) and Robert (b 1959). Used by Karen's children Thomas (b1988) and Emma (b 1991)Wooden painted blue high chair. Also converts to low chair - four wheels on feet for easy movement. First used in 1922. Laminex tray top added in 1959.furniture, domestic-nursery -
Whitehorse Historical Society Inc.Textile - Doyley
... in Australian homes to protect furniture surfaces and as decorative ...Given to Pat Richardson by her mother, Vera McDowell in the 1980s. Original source unknown.Widely used in Australian homes to protect furniture surfaces and as decorative items until circa 1960s, although still used with traditional/antique furnitureWhite cotton bobbin lace round doyley with concentric separate patterns, including a butterfly motif, with undulating edging completed with the same bobbin lace edging.handcrafts, lacemaking, domestic items, ornaments / decorative -
Ballarat Heritage ServicesPhotograph - Photograph - Colour, Clare Gervasoni, Lakes Entrance and District Honour Board, 27/08/2017
This honor board was made by Robert Prenzel (1866–1941) who was born and trained in Prussia, and migrated to Australia arriving in Melbourne on 24th November on the steamer Habsburg. In Melbourne Prenzel first worked for the German sculptor and modeller Otto Waschatz, decorating private homes and public buildings. From 1891-1901 Prenzel worked in partnership with another German, Johann Christian Treede, after which he continued in business on his own. He also participated in the activities of Melbourne’s Deutscher Turnverein. During the first quarter of the current century he became the major exponent in the field of furniture and woodwork of the cult of nationalism, and was renowned for his carvings, many of them in the art nouveau style, of Australian animals, birds, trees and flowers. The two most common types of Australian timber in his work are mountain ash and blackwood.Colour photographs of a beautifully carved World War One Honour Board carved by Robert Prenzel.lakes entrance, robert prenzel, world war one, lakes entrance honour board -
Ballarat Heritage ServicesPhotograph - Photograph - Colour, Clare Gervasoni, Kalimna Honour Board, 27/08/2017
This honor board was made by Robert Prenzel (1866–1941) who was born and trained in Prussia, and migrated to Australia arriving in Melbourne on 24th November on the steamer Habsburg. In Melbourne Prenzel first worked for the German sculptor and modeller Otto Waschatz, decorating private homes and public buildings. From 1891-1901 Prenzel worked in partnership with another German, Johann Christian Treede, after which he continued in business on his own. He also participated in the activities of Melbourne’s Deutscher Turnverein. During the first quarter of the current century he became the major exponent in the field of furniture and woodwork of the cult of nationalism, and was renowned for his carvings, many of them in the art nouveau style, of Australian animals, birds, trees and flowers. The two most common types of Australian timber in his work are mountain ash and blackwood.Colour photographs of a beautifully carved World War One Honour Board carved by Robert Prenzel.world war one, kalimna, kalimna honour board, h. clements, w.a. fish, d. mcdougall, j.a. rowe, c.c. sandford, c.d. somerville, l.j. cowlishaw, l.c. fish, t. hanson, c.a. innes, a.c. lester, j.a. lake, g.j. ward -
Whitehorse Historical Society Inc.Photograph, IKEA, Nunawading
IKEA entered the Australian market in 1975. IKEA specializes in making furniture more affordable by presenting their furniture in packs. They now (2008) have 285 stores in 36 countries.Coloured photograph of the rear of the IKEA building. IKEA is situated at 274 Whitehorse Road, Nunawading.ikea, nunawading shopping -
RMIT Design ArchivesBlueprints, Single Bed
After his experience in designing moderately priced furniture in the 1930s and managing the construction of aircraft by an inexperienced workforce during World War II, designer Frederick Ward developed Patterncraft paper patterns. They were available by mail order through Australian Home Beautiful from 1947. For those with rudimentary skills Ward developed Timber-pack kits of components ready to glue and assemble. Blueprint, his subsequent project for the mass-market was launched in 1951. At a time of austerity and shortages, Blueprint patters helped Australians furnish their modest homes with modern furniture they had made themselves. Nanette Carter, 2017Fred Ward, Detail sheet for 'Home Beautiful Blueprint Furniture' No. 6, includes technical drawings and instructions, 1950-1951furniture, patterns, diy, rmit design archives -
Robin Boyd FoundationDocument, Mark Strizic, Application to the Commonwealth Art Advisory Board for a Grant to Assist in the Publication of Art Books, c. 1970
A proposal letter written by Mark Strizic for a grant from the Commonwealth Art Advisory Board to fund a series of art books. Strizic proposes a series of books illustrated by Strizic's own photography, under the series title Expressions. Strizic seeks a grant of $4900 from the board for the publication of two books, one of furniture maker Schulim Krimper, another on John Perceval's Cherubs. Budgets for these books are included, proposing to use the profit from sales to fund subsequent books, including one on the Centre 5 group of sculptors and one with Australian poets with graphics by artist Stan Ostoja-Kotkowski.Typewritten, carbon copy, foolscap, 4 pagesRobin Boyd pencil noterobin boyd, meriel wilmot-wright, myer foundation, mark strizic, schulim krimper, brian lewis, margaret garlick, inge king, clifford last, lenton parr, teisutis zikaras, julius kane, centre 5, time riders, john perceval, vincas jomantas, stan ostoja kotkowski, judith wright, roland robinson, kenneth slessor, max harris, claude wischik, commonwealth art advisory board, andrew grimwade, national gallery of victoria, joseph brown, brian stonier -
Southern Sherbrooke Historical Society Inc.File, "Carlotta Tye Ladies Guild Correspondence"
A folder of correspondence of the Carlotta Tye Memorial's Ladies Guild. Includes: -Letter from A.F Brockoff and Co Pty Ltd Biscuits, 10/10/1939, willing to donate biscuits and face masks. --Order form from A.F Brockoff./-Letter from the Rosella Preserving and Manufacturing Co. Ltd, 10/10/1939, willing to give product samples to the church./-Letter from Nicholas Limited, 11/10/1939, offering samples of Aspro./-Letter from Robur Tea Company Limited, 12/10/1939, giving advice on who can provide samples to the church./-Letter from The Kiwi Polish Co, 16/10/1939, regretably informing Gwen that they cannot provide any samples./-Letter from Nugget Polish Pty.Ltd, 16/10/1939, informing Gwen they cannot provide samples for the church./-Receipt from AF Brockoff and Co. Pty. Ltd, dated 31/10/1939./-Letter from Bushells to Gwen Thomas, 16/11/1939, willing to donate tea to the guild./-Form from Entertainments Tax Assessment Act 1942, dated 17/9/1946, registering entertainment for the Parish Hall, Selby. Comes with attached envelope./-Invitation to Annual Anglican Ball, 11/10/1946./-Letter from Bushells, 26/3/1947, refusing a request to provide samples. Attached is a small letter from the Secretary, dated 23/5/1947./-Letter from Ferntree Gully Shire Council to Gwen Thomas, 24/8/1947. Says that the Shire president Violet B.Lambert is willing to come to "Australian Tea" at Parish Hall, Selby./-Handwritten letter from Mr and Mrs H.W Shepherd, 9/9/1947./-Handwritten letter to Gwen, from "A.Grace(?)", dated 14/9/1947./-Handwritten shopping list, undated./-Handwritten letter to Gwen, from Mrs Langford, 14/9/1947, with attached envelope./-Handwritten letter to Gwen, from G.Coling, 19/9/1947, with attached envelope./-Handwritten letter (2 pages) to Gwen, from M.Allchurch(?), 1/11/1947./-Handwritten letter from W.Tompkins, 8/11/1947./-Handwritten letter to Gwen, from Emily Noble, 10/7/1948, with attached envelope./-Handwritten letter to Gwen, from Hadwen and Houghton (specialists in church furniture), 2/11/1949./-Handwritten letter to Mrs Pearce from Majorie Tye, 7/3/1951./-Handwritten letter to Gwen, from G.Waring Lee(?), 18/6/1951./-Handwritten letter to Gwen, from Iris Wood, with attached shopping list, 2/12/1952./-Handwritten letter to Gwen from N.R Geffery, 23/7/1954./-Letter of appreciation from the family of the 'late Mrs Ruby Clinton Cartledge'. Attached envelope says the date 6/4/1955./-Typed letter to Gwen, from R.K Sutherland, 14/1/1957./-Handwritten letter to Gwen, from R.K Sutherland, 9/2/1959./-Handwritten letter (on card) to Gwen, from Violet Lambal 16/6/1959./-Handwritten letter (2 pages on folded piece of paper) to Gwen from Mary H Chessell, 4/7/1959./-Handwritten letter from St Pauls Vicarage, 6/7/1959./-Handwritten letter to Gwen, from Faye Gronlund, 8/7/1960, with attched envelope./-Handwritten letter to Gwen, from Majorie Cromie, with attached envelope with the date 1/8/1960./-Handwritten letter to Gwen from the Church Missionary Society, 18/4/1962./-Letter of sympathy for the death of Percival William Stephenson on 29/5/1962./-Handwritten letter from Miss Thomas to Edna Lindsay, 29/8/1962./-Letter to Gwen from Moran and Cato Pty. Ltd., 19/6/1963./-Handwritten letter to Selby Church of England Guild from a "Martin", 25/6/1963./-Handwritten letter to Gwen from Doris Pearce, 25/6/1963, with attached envelope./-Handwritten letter to Gwen from Dorothy M Donnelly, 1/7/1963, with attached envelope./-Handwritten letter to Gwen from Violet Lambal, 6/7/1963, with attached envelope./-Undated small card to Gwen, from Marjorie Cromie (circa 1963 as it mentions the guild's 25th anniversary)./-Letter to Gwen from Textile Promotions Pty. Ltd., 29/11/1965, promoting Fashion Fabrics Demonstration for 15/6/1966./-Handwritten letter to Gwen, 14/2/1966./-Letter to Gwen from R.K Sutherland, 12/4/1966./-Handwritten letter to Gwen from Kathleen Sutherland, 13/4/1966./-Letter to Gwen from Holdenson and Nielson Marketing Pty. Ltd., 29/4/1966. Written on date says 'April 10th 1967'./-Handwritten letter from Sean Buckley to Gwen Thomas thanking her for an invitation to her guild, with envelope attached, 14/6/1966./ -2 Handwritten letters from Beatrice Thomson to Gwen Thomas, 22/6/1966 and 23/6/1966. Has an attached envelope./-Handwritten letter from L.E.Heard(?) to Gwen Thomas, 4/7/1966. Has an attached envelope./-Handwritten letter from Eva Blyth(?) to Gwen Thomas, 13/7/1966. Has attached envelope./-Handwritten card to Gwen Thomas from Violet Allen and Mr R.Allen. Attached envelope dates the message as 18/7/1966./-2 page handwritten letter to Ladies Guild from H.R and J.E Herod, 24/7/1966./-Handwritten letter to Gwen Thomas from D.Dickinson (Mrs D.Dickinson), 10/8/1966./-Invitation from the St Cuthbert's Church of England Ladies Guild, Menzies Creek to celebrate their birthday on 20/9/1966. Handwritten financial calculations on the back./-3 page handwritten letter (photocopied) from 'The Most Reverend D.J Penman' to the Ladies Guild. Attached is a note saying "Gwen, Please read this and get back to me if you need to. I will get it typed on Thursday, 24/11/1987'./-Handwritten letter from Majorie Cromie to 'Friends of All Saints Tye Memorial Church', 20/4/1996. With envelope attached./-Letter from The Mission of St.James and St.John, promoting donations for homeless children and families, 28/5/1996. Comes with envelope and donation card./-Undated handwritten note on the back of a Cadbury's advertisement./-Card of acceptance of an invitation signed by Emily Buckley, undated. (?)/-Handwritten note, dated 'March 26th', from Majorie Cromie to Mrs Pearce./-Card of two birds on branches, written to Gwen Thomas hoping to see Gwen at a special occasion on October 11th (year unknown)./-Card with purple flowers on the front cover, written to Gwen from Winnie Dea(?)./-Card of roses on the cover, written by Mrs Cromie as she accepts an invitation to the Selby Ladies Guild's 21st birthday./-Handwritten note, consisting of the address of Gwen Simpson./-Letter (typed and handwritten), to Gwen Thomas from Eva Blyth, inviting the president and members of the ladies guild to a group meeting with the Women's Fellowship of the Union Church, Belgrave./-Invitation card from Violet Allen to the Ladies Guild, for a party on 26th July (year unknown)./-Card with roses on it from Gwen Thomas to Majorie Cromie, July 20th (year unknown), thanking Gwen for a recent visit./-Handwritten note to Gwen (authors name hard to read), on Parish of Belgrave paper./-Handwritten letter to Gwen from L.E Herod, date unknown./-2 envelopes to Gwen Thomas. Both are empty but years unknown./-Card with illustration of Carlotta Tye Memorial Church to Susan, Marian and Peter, from 'Julie', November 4th 2009. -
Department of Health and Human ServicesPhotograph, Photo taken for display at Australian Institute of Engineers Exhibition 1960 of furniture being repaired by patients at Mont Park Occupational Therapy Unit
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Department of Health and Human ServicesPhotograph, Photo of mirror frames, chessboards, children's furniture, taken for display at Australian Institute of Engineers Exhibition 1960 of furniture made by patients at Mont Park Occupational Therapy Unit
Inscribed at bottom of picture is "Taken during Ted Moore's time", presumably 'time' may have meant at Mont Park Occupational Therapy -
Melbourne LegacyFurniture, Table and Chairs, Not known, believed to be during the 1920's
The table and chairs once belonged to the Officers' Mess, 24th Battalion. From 1928 - 1936 the CO 24th Battallion was Lt Col S.G. Savige, DSO MC. It was during this time that the chairs were made and used for dining-in nights. During the a ceremony of remembrance, each officer stood behind his chair and called the name on its back as a mark of respect for those KIA during WW1. At the inaugural meeting of the Club, from which arose Melbourne Legacy in September 1923, eight of the fourteen members had worn the colour patch of 24th Battalion.The connection to Savige and the fact that many of his officers from 24th Battalion became members of Melbourne Legacy. This table and its chairs were formally gifted to Melbourne Legacy on 9th May 1956 when the Club moved to Legacy House. They have been used since in the Club's Board Room, now located on level 1, Legacy House, 293 Swanston Street, Melbourne. Two Legatees were responsible for fully refurbishing the table and chairs - Legatee Gordon Beith (Morrabbin Branch) and Legatee Ted McKenzie (Footscray/Sunshine Branch) Board Room Table - Clear varnished timber table with a two piece glass top Table legs are turned timber on wheels x 5. Two at each end and one in the centre. Chairs - Clear varnished timber with leather cushions x 20. Each chair has an engraved plaque with an officer's name from 24th Battalion. With the exception of one who died shortly after returning to Australia all were KIA in various battles during WW1. The 24th Battalion (the Kooyong Regiment) Robinson Road, Surrey Hills. Vic Names inscribed on each chair: Lt A.L. Bacon, 2Lt W.A. Baldie, Capt J.C.L. Biggsley, Lt P.S. Carne MSM, Lt J.B.N. Carvick MC, Lt J.R. Clarke, 2Lt F.M. Coffee, Lt P.G. Denton-Fethers, Lt W.S. Finlay, Capt J.H. Fletcher, Lt A.C. Fogarty, 2Lt A.G. Gilchrist, Lt J. Harris, Lt A.J. Kerr, Maj. C.E. Manning, Capt G.L. Maxfield MC, 2Lt H.L. Rhynehart, Capt W.H. Tatnall, 2Lt R.N. Thomas, Capt C.M. Williams MC furniture, 24th battalion -
Queenscliffe Maritime MuseumFurniture - Doctor's desk from 'Manunda'
Adelaide Steamship Co. MV 'Manunda' built Glasgow 1927, commenced coastal passenger service in Australia 1929, converted to 2/1 Australian Hospital Ship (AHS) in 1940 for service to Middle East, New Guinea and New Zealand. Returned to coastal trade in 1948, sold to Japan 1956, broken up in 1957. 9 drawer timber desk with brass drawer pull handles. Several stamps on the inside of top middle draw - 'Radio Maintenance Store, Transmitting Station Essendon' and 'Paul.J.Barton, 33 Bellbird Cres, Vermont 3133''Manunda' stamped on back of deskship, furniture, manunda, doctor'sdesk, desk, steamship, ahs -
Queenscliffe Maritime MuseumFurniture - Lap Writing Desk
Brought to Australia by English Captain William Parsons during the 1830s.Donated by Robert Nissen in memory of Gaye Marie Nissen, daughter of Robert Nissen and Mary Wentworth, a descendant of William Charles Wentworth.Mahogany lap writing desk with roll top, ink wells, writing slope, drawer and other compartments.Copper plate on top panel is inscribed with "M.A."writing desks, william charles wentworth -
Bendigo Historical Society Inc.Document - IAN DYETT COLLECTION: AUCTION CATALOGUE - NEW CHUM GOLD MINES
Mustard coloured auction catalogue for a sale of Machinery, Plant and Equipment of the New Chum Gold Mines at Maldon on 26 October, 1937 and at 3.00 p.m. sale of Residences for Removal or otherwise, Household Furniture, Mess Equipment,etc. at Allendale. Sale by Order of Gold Mines of Australia Ltd. Auctioneer was J. H. Curnow & Son. Catalogue has £, s. d. columns down the right side of the pages.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - new chum gold mines, gold mines of australia ltd., j h curnow & son, j l jamieson, bolton bros -
Bendigo Historical Society Inc.Document - IAN DYETT COLLECTION: AUCTION CATALOGUE - CHINESE TREASURES
White catalogue with dark blue printing titled Chinese Treasures. Sale held in the Malvern Town Hall on 17th October, 1944 under instructions from The National Trustees Company as Trustees in the Estate of the Late Mrs. W. T. Liley . A Rare Collection of Chinese Objects d'Art which were brought to Australia by the Late Capt. W. T. Liley who was a resident in China for many years. The Antiques, China, Furniture and Drapes were removed from 'YOU-MA-TI', Morris St., Williamstown for Convenience of Sale. Auction held by F. J. Andrew Pty. Ltd. In conjunction with J. H. Curnow & Son. (H. J. Lowe, Auctioneer). Front page has a blue shade photo of a statue of a man. Also a black & white photo of Lot 47 - one of a set of 6 Old Chinese Painted Lacquer Chairs, Another page has black & white photos of Lot 72 - Carved Coconut and Pewter Wine Set of 6 pieces, Lot 43 - Famille Rose Wine Bowls, Lot 168 - Cloisonne Vase, and Lot 179 - Pair of 16th Century Flower Vases. The next page has a black & white photo of Lot 42 - a Hand Carved Chinese Rosewood Writing Table.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - chinese treasures, chinese objets d'art, f j andrew pty ltd, j h curnow & son, the national trustees company, mrs w t liley, you-ma-ti, capt w t liley, h j lowe, stillwell & stephens pty ltd -
Bendigo Historical Society Inc.Document - DUDLEY HOUSE COLLECTION: NOTES ON DUDLEY HOUSE, 1850s
Document on foolscap paper some notes on Dudley House Bendigo Victoria, Australia courtesy of Mr Geoffrey, C. Ingleton father was the former Town Clerk of Bendigo, appointed 1 January 1924. The layout of the building at ground floor level involved the removal of walls along the left side from the entrance creating one large room. Alterations required replacement of doors, 1920's style , with decorative glass panels and door knobs of the period. This report contains excellent descriptions of furniture installed at the house, including a grandfather clock, framed etchings, easy chairs with loose floral covers, and a number of 'occasional chairs' of Rose-wood or Cedar in Edwardian design. The furniture was purchased from Morley Johnson of Bendigo and Sydney. There were also china cabinets, a gramophone in a large upright rose-wood cabriole-shaped cabinet. The name Dudley house may have been earned by reputation, or had a connection to a former tenant - perhaps a State Official or a caretaker.bendigo, history, dudley house -
Bendigo Historical Society Inc.Magazine - LYDIA CHANCELLOR COLLECTION: HOME BEAUTIFUL
A box covered with decorative paper containing articles taken from 'Home Beautiful' 1932 - 1952.Home Beautiful 1932 onwardshouse, private, renovation, lydia chancellor, collection, gardens, gates, building, building extensions, craft, handicraft, furniture, home renovations, antiques, architecture, house plans, england, australian homes, english homes, fireplaces -
Bendigo Historical Society Inc.Photograph - LESLIE JOHN BAGUST COLLECTION: VALENTINE BENDIGO POSTCARDS, 1940
Leslie John Bagust Collection. Black & White Photograph View Point Bendigo From Mitchell Street Streetscape. Souvenir Postcard Collection ?Rose Series. 1940. Scene looking North up View Street Lucas Café, on the corner, Alexandra Fountain in the centre, Newsagent opposite fountain. To the right of the newsagent heading north the Australian Mutual Provident Society and Davies Store are prominent features. Underneath Davies Store signs advertising Macrow Better Furniture Stores. Observe the tram line runs the length of Mitchell Street all the way up View Street.Valentine Publishing Co. Pty Ltd. Melbournebendigo, tourism, view point from mitchell street -
Bendigo Historical Society Inc.Document - AULSEBROOK COLLECTION: HOUSE INSPECTIONS 1967 - NATIONAL TRUST OF AUSTRALIA (VICTORIA), 1967
Aulsebrook Collection: House inspections booklet by National Trust of Australia (Victorian Branch) - 1967 October 29th -4 pages, typed -Lists and descriptins of various houses up for inspection in Bendigo - related to historical significances attached to the house; whether it is furniture or the house structure itself. -
Ararat Gallery TAMATextile, 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 TAMATextile, 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 TAMATextile, 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 TAMATextile, 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 TAMATextile, 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 TAMATextile, 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 TAMATextile, 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 TAMATextile, 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 TAMATextile, 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.
