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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Programme for annual community awards and citizenship affirmation ceremonies. Citizen of the Year 2025 Nominee certificate - Robin Carter (RDHS)Welcome by Cr Kylie Spears, Mayor Thank you for joining us today at Maroondah City Council's Australia Day event at Ringwood Lake Park. Today is a free community event and an opportunity to celebrate our great city and nation in an inclusive and positive way. As Mayor, and for everyone attending the day, the Citizenship Ceremony will be a wonderful moment as we get to witness people from so many different countries embrace Australia, and Maroondah, as their new home. Citizenship is a representation of your commitment to the ideals and values of your adopted country, Australia. Becoming an Australian Citizen today indicates that you have chosen to take a significant step to be a full member of the Australian community. Maroondah City Council is especially proud that you have taken this step with us. On behalf of Council I also wish to congratulate all nominees in the Maroondah Australia Day Awards. I hope each nominee is proud of the contribution they make to our community. We appreciate your time and effort to make Maroondah a great place to live, work and play. While you're here, please take the time to discover this wonderful park and the facilities it offers, including the popular all-abilities playspace and the historical mining site (at the rear of the park) that provides an insight into the history of antimony mining in Ringwood in the 1870s. We hope you will enjoy the day with your family and friends. Awards include - Community Event of the Year - Maroondah Rotary Club Gala Night, Young Citizen of the Year - Shannon Freeman, and Citizen of the Year nominations - Kathy Adams, Ian Barnes, Andrew Brownlie, Heidi Butler-Moore, Robin Carter, Nicole Fernley, Marrianne Fry, Peter Rogers, Wendy Scott, Jonathon Tan, Heather Telford, Ken Weller.

Letter from R Coles, General Secretary of the Federated Municipal and Shire Employees' Union of Australia - Victoria Division to Mr. J Richmond referring to a list of Members' deductions from Bendigo. He has requested Mr Richmond to send the necessary receipts for the Members so he can send his Commission. List of employees attached. They are: Rogers A M, Christensen B E, Holahan T P, Dingfelder W H, Diss W T, Braine C G, Chinn A E, Deveraux K W, Dowsey S T, Jones R C, Mangan L J, Bush A A, Howarth D L, Brandreth G J, Lowndes L, Cocks G E, Harvey G R, Richmond J A, Kerwin E G, Webb D G, McKindley S C, Lees D A, Downing T R, Boorn M A, Jobling R L, Muir W H, Callanan L F, O'Neill S F, Rasmussen P D, Barkla P J, Donnellan M D, Wilson DL, Weaver H N, Holliday J Lenaghan P S, Taylor R J,Kane M J, Kyriakakis A, Brauman K C, Lundberg R J, Purden D, Ramage K, Barber L H, Billet W J, Jackson R J, Cutting N A, Dutton W J, Hopcott W R, Fowler W T, Clarke R D, Gray R J, Hannan D J, Hoggan V J, Homewood J N, Duimovich R J, Comer J L, Jones D W, Kelly P L, Fitzpatrick B T, Leach L R, Lonsdale J E, Lummis L H, McGuane J F, Edwards W A, Morgan K G, Penhall J T, Roberts M A, Smith I B, Spoors R S, Tannock C F, Threlfall K J, McCarthy B F,Walker A F, Cain R J, Miller P R, Dutton D B, Naylor P L, Pollard G D, Pendlebury P F, Price A G, Strahan A H, Mundy K J, Young D J, Young G J, Chaplin L I, Roberts R D, thomas G A, Binns G W, Whitfield A C, Tranter J E, Tranter N J, Lonsdale P A, Taylor C J, Barton G C, Hayes J L, Oates D J, Calentine G R, Read W G, Hearps R M, Denham P G, Burke D M, Stokes H A, Harrington P M, Tranter G S, Asher K W, Fisher S A, Bruce D W, Kingdom C J, Watts M J, Freeman E S, Winzar J O, Jones R C and Browell R E,bendigo, council, cattle markets, bendigo saleyards collection - letter to mr j richmond, federated municipal and shire council employees' union of australia - victoria division, commonwealth conciliation and arbitration act, r coles, city of bendigo, rogers a m, christensen b e, holahan t p, dingfelder w h, diss w t, braine c g, chinn a e, deveraux k w, dowsey s t, jones r c, mangan l j, bush a a, howarth d l, brandreth g j, lowndes l, cocks g e, harvey g r, richmond j a, kerwin e g, webb d g, mckindley s c, lees d a, downing t r, boorn m a, jobling r l, muir w h, callanan l f, o'neill s f, rasmussen p d, barkla p j, donnellan m d, wilson dl, weaver h n, holliday j lenaghan p s, taylor r j, kane m j, kyriakakis a, brauman k c, lundberg r j, purden d, ramage k, barber l h, billet w j, jackson r j, cutting n a, dutton w j, hopcott w r, fowler w t, clarke r d, gray r j, hannan d j, hoggan v j, homewood j n, duimovich r j, comer j l, jones d w, kelly p l, fitzpatrick b t, leach l r, lonsdale j e, lummis l h, mcguane j f, edwards w a, morgan k g, penhall j t, roberts m a, smith i b, spoors r s, tannock c f, threlfall k j, mccarthy b f, walker a f, cain r j, miller p r, dutton d b, naylor p l, pollard g d, pendlebury p f, price a g, strahan a h, mundy k j, young d j, young g j, chaplin l i, roberts r d, thomas g a, binns g w, whitfield a c, tranter j e, tranter n j, lonsdale p a, taylor c j, barton g c, hayes j l, oates d j, calentine g r, read w g, hearps r m, denham p g, burke d m, stokes h a, harrington p m, tranter g s, asher k w, fisher s a, bruce d w, kingdom c j, watts m j, freeman e s, winzar j o, jones r c, browell r e

A faded blue document titled "Bendigo Teachers' College Graduation Ceremony 1959". Also on the front page is a list of the staff working at the college. On the inside page is the "Significance of the Ceremony" and "Order of Ceremony". The welcome to visitors was given by Mr. F. M. Courtis and the 'Graduation Book' was presented to Mr. A. L. Harris by Miss J. C. Burnett. Mr. C. L. Barker made the final call of the 1959 roll. Congratulations were offered by Cr. H. W. Snell J.P., Cr. P.V. Bowles the President of Strathfieldsaye Shire and Mr. E. P. Seymour, Head Teacher of Violet Street State School. The Occasional Address was presented by Mr. J. G. Greening Chief Inspector of Primary Schools. The following page contains a list of the "Students of 1958-59". The back page has the "Principal's Charge". There is also a type written insertion containing the graduation songs. Bolton Bros. Print, Bendigo. The College staff are - Mr. S. H. Walters (Principal), Miss J. C. Burnett, Mrs. N. F. Fawdry, Mrs. F. M. Petri, Miss. M. G. Bremner, Mrs. D. J. Andrew, Miss C. M. Oughton Jones, Miss B. H. Cowling, Miss V. J. Graham, Mr. F. M. Courtis, Mr. D. A. Newbury, Mr. F. X, Martin, Mr. C. L. Barker, Mr. A. Linton, Mr. F. G. East, Mr. T. J. McCabe, Mr. P. F. Fitzpatrick, Mr. M. Pratt, Mr. W. Bernoth, Mr. R. L. Strauch, Mr. R. E. Wittman and Mr. C. Houston. The students of 1958-59 are Raymond Arthur Aisbett, James Allen, Wyn Margaret Barber, Lawrence Alexander Bernard, Gwenda Rosalie Blandford, Brian John Bourke, Dorothy Frances Burns, Alan Charles Bush, Melva Grace Campbell, Janet Frances Ceveri, Aileen Heather Cole, Dorothy Irene Comer, Francis James Comer, Pamela Wendy Cooper, Richard Mary Cotter, Laurence Peter Curtain, Desma Maree Derrick, John Michael Deviny, Aileen Mary Doolan, Sandra Dawn Downie, Jean Rosemary Feltscheer, Janette Rosemary Finnin, Valerie Joy Freeman, Thomas Joseph Gibson, Dorothy Helen Gray, Judith Anne Gray, Mary Catherine Gread, Leslie Brian Grenfell, Helen Elizabeth Hipwell, Helen Mary Hurley, Peter Geoffrey Hyden, Alan Clifford Inglis, Valerie Margaret Lindell, Bruce Henry Lohrey, Douglas Ernest Lynch, Hilary Ann McGrath, Barry Alexander McWha, Ann Marjorie Matulin, Margaret Joan Mossop, Moira Anne Mullins, Nildo John Munari, Verna Margaret Osterfield, Ruth Lorraine Phillips, Richard John Pywell, Michael Lynton Ramm, Nola Wendy Reyne, Gilda Jane Richards, Margaret Elizabeth Rilen, Keith James Rodda, Gary William Rodgers, Brendon Gordon Smith, Ronald Noel Teasdale, Mary Veronica Wharton, Kaye Dianne Whinfield and David William Williams.bendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo, education, teaching, teachers, students, bendigo teachers' college students, bendigo teachers' college staff, tertiary education, teacher training, graduation, graduands, graduation ceremony, book

Brown wooden honour board with gold writing and decorative border. Hugging the border at the top is a curved title reading PREFECTS. In the top left corner of the honour board is a WHS logo.PREFECTS 1994 A. RADNOR: E. ASHMEAD, N. BLANCHARD, E. FURS, N. IMRIE, K. KNEEBONE, E. MALE, N. ROSSER, M. STANIMROACH, A. STANVER, J. STEPHENS, K. WELCH. JUSTIN NASH,: P. FLYNN, G. JACKSON, B. HILDEBRAND, B. MORRIS, JEREMY NASH, J. PIZZINI, M. PORTER, T. PORTER, S. WELCH 1995 K. KNEEBONE: E. ACHMEAD, D. BIGGER, R. BARROW, S. DOBSON, S. HEYWOOD, L. NASH, D. SMITH, H. STANIMIROVITCH, A. STANYER, R. STEFANIARK, K. WELCH. G. JACKSON: P. FLYNN, M. GOODSEY, R. GRAHAM, J. NASH, C. PIZZINI, T. PORTER, N. QUARTERMAIN, M. SCHOLES, L. SPILLER, A. WISE 1996 L. NASH: R. BARROW, S. DIKE, S. DOBSON, R. EVANS, J. GREENE, L. HILDEBRAND, K. KAY, S. KNOX, E. RADNOR, D. SMITH, R. STEFANIAK. L. SPILLER: A. BAXTER, T. BENNE, S. FLYNN, P. GOODEY, T. LEWIS, J. NASH, N. QUARTERMAIN, M. SCHOLES, R. WOODWARD 1997 L. HILDEBRAND: H. BEVAN, S. DIKE, T. TOBSON, E. GEPHART, J. HARRISON, K. KAY, M. KNEEBONE, S. KNOX, K. LEARY, E. RADNOR, B. SPASOJEVIC. r. WOODWARD: C. BLANCHARD, A. BREW, S. CONSTANTINO, P. GOODEY, M. HORNE, A. LAMB, J. RADNOR, S. SEMPLE, J. TILSON 1998 J. HARRISON, C. CAMBROSIO, H. BEVAN, J. CUNNINGHAM, T. DOBSON, E. GEPHART, K. GRAHAM, A. HEARD, M. McKENZIE, R. SHEARER, K. SPILLER, R. WINGATE. S. SEMPLE: S. CHALLMAN, S. CONSTANTINI, K. GADSDEN, M. HORNE, A. LAMB, A. MURRAY, J. RADNOR, J. TILSON, B. TAVARE. 1999 K. GRAHAM: E. AMBROSO, A. COSTER, A. CUNNINGHAM, A. GREENE, K. HEARD, C. JONES, S. JONES, M. McKENZIE, R. SHEARER, R. WINGATE. S. CHALLMAN: M. ASHMEAD, M. CAMERON, G. HANCOCK, A. HORNE, J. MCCORMICK, J. MULLINS, S. O'KEEFE, J. WESTON 2000 M. ANDISON: N. BAYTALA, S. BEILBY, A. COSTER, A. CUNNINGHAM, B. DYKES, A. GREEN, C. JONES, S. JONES, A. MINNS. A. HORNE: M. ASHMEAD, D. HATSWELL, J. HUNTER, T. LAMBERT, S. O'KEEFE, S. SALATHIEL, C. SAMPLE, B. SIMPSON, R. WELLARD 2001 N. BAYTALA: E. AMBROSIO, S. BEILBY, R. CONLEY, B. DYKES, R. GILBERT, K. GOODEY, E. JANAS, C. RIDGEWAY-FAYE, B. STEEL. S. SALATHIEL: M. CAROLANE, C. GAMBOLD, R. GLOVER, T. LAMBERT, B. MONTGOMERY, C. SAMPLE, B. SOLIMO, T. VONARX, R. WELLARD 2002 R. GILBERT: R. BURKE, H. BRIGGS, K. GOODEY, E. JANAS, M. JONES, T. PETTS, C. POTTER, K. SESSIONS, J. USSHER. R. GLOVER: M. CAROLANE, J. FREEMAN, C. GAMBOLD, A. GRAHAM, R. MINNS, B. MONTGOMERY, M. O'BRIEN, S. PRICE, S. SOLIMO 2003 T. PETTS: J. BARRY, H. BRIGGS, R. BROWN, K. NIKLAUS, C. POTTER, G. ROSE, A. SCALZO, K. SESSIONS, R. SMITH, M. VELJANOSKA. R. MINNS: M. COOK, M. COURTS, J. FERGUSON, J. FREEMAN, S. HORNE, J. PATRICK, B. PORKER, M. SCOTT, K. TEMBY 2004 R. BROWN: K. CRAMMOND, S. GREEN, A. HOLLAND, M. ISKOV, S. McCONACHY, S. REES, G. ROSE, K. SCOTT, R. SMITH, M. SULLIVAN, M. VELJANOSKA, K. WALDER. J. PATRICK: M. COUTTS, C. CURCIO, M. DAVIDSON, S. FINDLAY, M. GRAHAM, R. KRAKE, M. TATULASCHWILI

Large wooden rectangular honour board with gold text and protruding sections along the top, in in the top middle accommodating for the WTS symbol.FOR THE HONOUR OF THE SCHOOL YEAR HEAD PREFECT DUX OF SCHOOL CHAMPION HOUSE ATHLETICS SWIMMING HOUSE CAPTAINS (BOGONG, BUFFALO, HOTHAM, WILLS) 1966 W. WALLACE J. DASH BUFFALO HOTHAM BOGONG D. FLANIGAN, W. WALLACE, N. LAVIS K. TAYLOR 1967 J. CANNING R. GARTH BUFFALO HOTHAM BOGONG C. JOHNSON, D. PYLE, D. TURNER T. NOLAN 1968 C. JOHNSON T. GLANIGAN WILLS HOTHAM BOGONG P. PEERS, L. SANDFORD, J. FRAZER, R. GARDINER 1969 L. GRAHAM H. DINNING WILLS HOTHAM BOGONG R. HEARNES, J. PHILLIPS, P. CONSTANTINO P. HINES 1970 C. FORGE M. COOK WILLS WILLS BOGONG M. LAVESQUE A. MANZELLA C, FORGE R. CHANDLER 1971 R. CROCKET, *L. HANLON R. CROCKETT HOTHAM (NOT HELD) WILLS J. CLARKE, G. RUNNALS, J. CHAMBERLAIN, G. RAMSDALE 1972 M. BOOTH, C* STONE L. JACKEL *J. KLEIN HOTHAM WILLS HOTHAM W. DICKSON, T. YOUNGER, M. BOOTH, J. SGARIOTO 1973 T. BARRY (S.R.C.PRES.) W. GOURNEY, *J. AMERY HOTHAM BUFFALO HOTHAM G. ELLIOT, G. PORTER, T. BARRY, W. GOURLEY 1974 R. COMENSOLI (S.R.C. PRES.) M. AMERY, B. SAMMON (DISCONTINUED) BUFFALO WILLS (DISCONTINUED) 1975 *G. McGREGOR (S.R.C. PRES.) R. WATSON, *L. FLANIGAN BUFFALO WILLS 1976 A. ADAMO (S.R.C. PRES.) R. JOHNSTONE, *J. COLE BUFFALO WILLS 1977 K. SOUTHGATE, *L. AMERY BUFFALO BUFFALO 1978 S. BISINELLA (S.R.C. PRES.) G. MINNEY, * S, SHANLEY (SPORTS CANCELLED- WEATHER) BOGONG 1979 R. NEWTH (S.R.C. PRES.) R. JOHNSON, *M. KEENAN BOGONG HOTHAM ---W.T.C. & COLLEGE OF T.A.F.E. SEPERATION--- 1981 MARK BRAMBLE (S.R.C. PRES.) 1982 BELINDA MATHERSON (S.R.C. PRES.), CARMEL ANDERSON (S.R.C. PRES.) , ANGELA VERMONT (S.R.C. PRES.) 1983 ELIZABETH FREEMAN (S.R.C. PRES.) 1984 JODIE BLAIR (S.R.C. PRES.) 1985 ROSS MILLER (S.R.C. PRES.) * GIRL

Bendigo Art Gallery, Bendigo Art Society. President: Hon. R H S Abbot, M.L.C., F.R.S.A. Eleventh Exhibition, in the Bendigo Art Gallery, View Street. October 10th to 31st, 1926. Hon. Treas.: C E Bulley. Catalogue Price 6d. The President, Officers, and Committee of the Bendigo Art Society express their pleasure in presenting the representative collection embodied in this Exhibition. Mr John Shirlow, the noted etcher has been good enough to get together a fine showing of works from eminent artists, who have kindly exhibited with a disire to help the Society and to encourage the local artists. The patronage and help of our citizens is earnestly solicited. Fee, for exhibiting or ordinary membership, only 5/- per annum. Should you care to join, the executive officers will only be too pleased to give any information and to receive subscriptions. Joint Hon. Secs.: J Hudspeth, V E Greenhalgh. Fine Art Section. Arists names: Elma Roach, Ida F Knox, H J Honeybone, Edith H Moore, M A Hope, Lady Barrett, G E Parker, D Hinchcliffe, Aileen R Dent, J Hudspeth, J Florence MacGregor, Madge Freeman, C E Bulley, Merle Bulley, Ethel f Crook, L M Sheridan, C G Dunlop, Ena Smith, William H oliver, E Phillips Fox, Ethel Carrick, H Septimus Power, David Davies, Norman Davies, Norman W Penrose, Margaret McCloud, Josephine Van Damme, M E Coverdale, Marion Jones,R W Bugg, L Rowe, Lucy C Newell, Claire Colgan, Charles G Stewart, Alice Newell, V E Greenhalgh, Violet Hambly. Display of Hand-Painted China: H W Tilley, M Jacobs, W McKie, A E Collier, Hilda Veale, Elma Curnow, Jean Cahill, Frank Vaughan. Collection of Australian Art: W D Knox, Esther Paterson, Dora L Wilson, A M E Bale, E F Hooton, John Rowell, Horah Gurdon, Louis McCubbin. Section A (Outdoor Study, any subject, any medium.) Members only: C G Duinlop, J Florence MacGregor, Merle Bulley, William H Oliver, Norman W Penrose. Section B Student's Section. Drawing or Design. Pupils of Schools: Stanley R Millott, Joyce Ranson, Ronald William Forbes, Dorothy Clemens, Lilian J White, Ruby A I Welch, Nancy R Hudspeth, J Honey Church, J G Graham, Ivo Steel. Section C Student's Section. Applied Art. Pupols of Art Schools: Florrie Spencer, Joyce Ranson, Ronald W Forbes, Dorothy Clemens, Lilian J White, Ruby A I Welch, Nancy R Hudspeth, Jean Honeychurch, Annie I Paterson, Isabel Blake, Beatrice Lee, Garnet Capper, Gwen Osborne, Dorothy Olds, Marjorie Crossman, Doris Shaw, Phyllis Paul, Amy Bolton. Section D Plant Form From Nature (Pulils of Schools in Bedigo Inspectorate), North Bendigo: Alan Styles, Ronald Wright, Agnes R Styles, Jean Woodman. Creek View S.S. Beryl Butcher, Grace Gerguson, Ruth Cheatley, Elmore S.S.: George Read, Hazel Farnsworth, Lorna Washington, Keith Gow, Jean Oliver, Robbie Dick. Wanalta S.S. Mary Brown, Dorothy Nelson, Isobel Roberts, Kenneth McKenzie, Frank Brown. Barnedown S.S.: Elsie Read, George Cahill, Maud Nicholas, Leonard Robbins, Benjamin Robbins. Gravel Hill S.S.: Gladys Bamford, Jean Wright, Jean Hosking, Nancy Honeychurch, Norman McLean, Norman Guy, Agnes Stilwell. Violet St S.S.: Alma Worth, G McConville, Harry Elliot. Various Schools: Wm. Hyslop, Ruby Robertson, Hilda Parkinson, Maud O'Connor, Archie L Walker, Hedley Leggo, Jan O Hoy, Edith Cheatley, John Tatchell, Jean Barell, Keith Ashcroft, John Mueller, J Howe, Eric Cohen, Alice Glover, Ivy Morphett, Allen V Horne, Yin On, R W Moon. 2 Copies of catalogue. Black print, 12 pages made up of 3 sheets of paper with 2 staples in centre.Boltons Print, Bendigoevent, exhibition, bendigo art society, bendigo art gallery, bendigo art society. president: hon. r h s abbot, m.l.c., f.r.s.a. eleventh exhibition, in the bendigo art gallery, view street. october 10th to 31st, 1926. hon. treas.: c e bulley. catalogue price 6d. the president, officers, and committee of the bendigo art society express their pleasure in presenting the representative collection embodied in this exhibition. mr john shirlow, the noted etcher has been good enough to ger together a fine showing of works from eminent artists, who have kindly exhibited with a disire to help the society and to encourage the local artists. the patronage and help of our citizens is earnestly solicited. fee, for exhibiting or ordinary membership, only 5/- per annum. should you care to join, the executive officers will only be too pleased to give any information and to receive subscriptions. joint hon. secs.: j hudspeth, v e greenhalgh. fine art section. arists names: elma roach, ida f knox, h j honeybone, edith h moore, m a hope, lady barrett, g e parker, d hinchcliffe, aileen r dent, j hudspeth, j florence macgregor, madge freeman, c e bulley, merle bulley, ethel f crook, l m sheridan, c g dunlop, ena smith, william h oliver, e phillips fox, ethel carrick, h septimus power, david davies, norman davies, norman w penrose, margaret mccloud, josephine van damme, m e coverdale, marion jones, r w bugg, l rowe, lucy c newell, claire colgan, charles g stewart, alice newell, v e greenhalgh, violet hambly. display of hand-painted china: h w tilley, m jacobs, w mckie, a e collier, hilda veale, elma curnow, jean cahill, frank vaughan. collection of australian art: w d knox, esther paterson, dora l wilson, a m e bale, e f hooton, john rowell, horah gurdon, louis mccubbin. section a (outdoor study, any subject, any medium.) members only: c g duinlop, j florence macgregor, merle bulley, william h oliver, norman w penrose. section b student's section. drawing or design. pupils of schools: stanley r millott, joyce ranson, ronald william forbes, dorothy clemens, lilian j white, ruby a i welch, nancy r hudspeth, j honey church, j g graham, ivo steel. section c student's section. applied art. pupols of art schools: florrie spencer, joyce ranson, ronald w forbes, dorothy clemens, lilian j white, ruby a i welch, nancy r hudspeth, jean honeychurch, annie i paterson, isabel blake, beatrice lee, garnet capper, gwen osborne, dorothy olds, marjorie crossman, doris shaw, phyllis paul, amy bolton. section d plant form from nature (pulils of schools in bedigo inspectorate), north bendigo: alan styles, ronald wright, agnes r styles, jean woodman. creek view s.s. beryl butcher, grace gerguson, ruth cheatley, elmore s.s.: george read, hazel farnsworth, lorna washington, keith gow, jean oliver, robbie dick. wanalta s.s. mary brown, dorothy nelson, isobel roberts, kenneth mckenzie, frank brown. barnedown s.s.: elsie read, george cahill, maud nicholas, leonard robbins, benjamin robbins. gravel hill s.s.: gladys bamford, jean wright, jean hosking, nancy honeychurch, norman mclean, norman guy, agnes stilwell. violet st s.s.: alma worth, g mcconville, harry elliot. various schools: wm. hyslop, ruby robertson, hilda parkinson, maud o'connor, archie l walker, hedley leggo, jan o hoy, edith cheatley, john tatchell, jean barell, keith ashcroft, john mueller, j howe, eric cohen, alice glover, ivy morphett, allen v horne, yin on, r w moon. 2 copies of catalogue. black print, 12 pages made up of 3 sheets of paper with 2 staples in centre.

All participants attended BTC (Ballarat Teacher's College) in 1947.Much of this document is handwritten so is significant as an example of teacher's handwritten letters.Two Ballarat Courier newspapers dated 5 June 1991 and 1 June 1991 bound at side with white contact adhesive. The newspapers are used as an alphabetical filing system for correspondence relating to reunions. They have been cut along the top edge to create an indented filing system with a number and name put onto each tab. .1) Newspaper dated 5 June 1991, comprising tabs 1 Athol/Aisbett - 27 Gleeson. The information contained in the pages is sometimes biographical, with names, addresses and occupations. * 1. Athol/Aisbett 6 pages * 2. Nancy Alexander (McDonald) 7 pages * 3. Jessie Batson 3 pages * 4. Eddie Blake - * 5. Phyllis Borley (Smith) 10 pages * 6. Keith Boyd 1 page * 7. Owen Brennan - * 8. Josie Bunning (Humphries) 1 page * 9. Ron Carless 15 pages * 10. Jean Clade (Courten Coster) * 11. John Collins 3 pages * 12. Kevin Collins 2 pages * 13. Colin Connelly 1 page * 14. David Cooper 9 pages * 15. Kath Crossnett (Ward) 1 page * 16. Norma Dally (Gittson) 4 pages * 17. inez Domaschenz (Reimers) 3 * 18. Dawn Doney (Spencer) 5 pages * 19. Fay Dreher (O'Toole) 6 pages * 20. John Ellifson - * 21. Jean Elliott (Elliott) 1page * 22. Ethel Esmore (White) 17 pages * 23. Marie Faulds 3 pages * 24. Hugh Fraser 2 pages * 25. Beatrice Freeman (Sanders) 6 pages * 26. Bob Giddings 2 pages * 27. Bill Gleeson 2 pages 15105.2 Newspaper dated 1 June 1991, comprising tabs 28. Gorrie/Gunning to 81. Williams/Witney, then names in alphabetical order and one tab "information" at back of newspaper filing system. The following pages are listed after the second name of the "tab" * 28. Val Gorrie (Lynch) * 29. Joan Gunning (Jennings) 17 pages * 30. Madeline Hannan (Meehan) * 31. Lindsay Harley 6 pages * 32. Bill Henderson * 33. Wal Henning 2 pages * 34. Tom Hill * 35. Jim Howlett 13 pages * 36. Claire Kennedy (McLachlan) * 37. Joyce Kennedy (Evans) 3 pages * 38. Nancy Kerr (Harley) * 39. Arthur Lelean 2 pages * 40. Beth Leslie (Only) (Stutterd) * 41. Pat Lewsin (Williams) 12 pages * 42. Joy Love (Robertson) * 43. Pat Luxford (Steer) 3 pages * 44. Lynette Lynch (vickery) (McCl;ure) * 45. Ann McKinnon (Oldfield) 29 pages * 46. Alex McLachlan * 47. Keith McLean 3 pages * 48. Alex Magill * 49. Jack Mallett 12 pages * 50. Fred Marshman * 51. Alan Martin 11 pages * 52. Joyce Mathison (fraser) * 53. Maurine Merlin (Carter) 9 pages * 54. Muriel Morrish * 55. Mary Murnane (Bergin) 15 pages * 56. George Nield * 57. John O'Shannessy 1 small note * 58. Margaret Palmer (Alexander) * 59. Gwen Pamphiton 20 pages * 60. Tom Pascoe * 61. Howard Pattenden 12 pages and two small notes * 62. Ruth Pearse (Marshall) * 63. Betty Ferry (Ellis) 7 pages plus small note * 64. Mavis Polard (Grant * 65. Bill Punshon 4 pages and 2 small notes * 66. Peggy Purdue (Wood) (Jakeman) * 67. Milton Rice 29 pages * 68. Thelma Ritchie * 69. Pat Robinson (Kloppenborg) 6 pages * 70. Burns roddis * 71. Elva Surman (Murphy) - nil * 72. Ray Terrill * 73. Kath Tobin (Hatfield) 2 pages * 74. Ruth Tozer * 75. Jack Tyers 10 pages * 76. Neila Vallance (Peart) * 77. Pat Watts (Knight) 12 plus 2 newspaper articles * 78. Lorna Welsh (Davis) * 79. Betty Williams (Maynard) 12 pages plus 2 small notes * 80. Jil Williams * 81. Val Witney (Kelm) 12 pages * Carl Bryan * Mattie Hayes (Uton) - nil * Beth Hughes * Trudi Kentish 7 pages * W. Lord - nil * Mephan McEwin - 12 pages plus newspaper obit * Monica Miller (Rawlings) 5 pages includes funeral booklet * Win O'Brien (Lloyd) 9 pages * Alan Sonsee - nil * Information - 25 pages of acceptances and addresses of students who attended BTC in 1947 Most of the notes and letters contained in this document are handwritten. All the tabs are handwritten, mostly in blue ink or biro.btc, ballarat, ballarat teachers' college, education, 1947, harley, tozer, pattenden, sonsee, lelean, miller

A white document titled "Bendigo Teachers' College Graduation Ceremony to be held at Bendigo City Hall Friday 10th December 1971". Below this is a list of the staff at the college in that year 1971 - Principal: Mr. K. G. Scarrott. Vice-Principal: Miss A. Downward. Warden for Men: Mr. F. M. Courtis. Staff - Mr. T. J. McCabe, Mr. D. O'Brien, Mr. B. I. Rollins, Mr. R. F. Colbourne, Mr. B. A. Clemson, Mr. B. T. Geary, Mr. K. C. Coles, Mrs. N. Fawdry, Mr. L. A. Hall, Mr. K. G. Harrison, Mr. B. R. Reed, Mr. J. A. White, Mr. G. L. Colson, Mr. A. D. Maltby, Mr. K. I. Clements, Mr. L. Jackman, Mr. J. Brasier, Mr. W. P. Lomas, Mr. R. P. Silverback, Mr. R. Collis, Mr. D. R. Phelan, Mr. J. J. Layther, Mr. J. P. Furnell, Mr. J. R. Goodrich, Mrs. H. A. Knox, Mr. K. A. Ryrie, Mr. A. R. McIntosh, Mr. K. W. Endersby, Mr. R. N. Bruce, Mrs. E. J. Perry, Mr. D. J. Watson, Mr. C. J. Barnes, Mr. R. J. Harris, Mr. D. A. Jobling, Mrs. S. M. Wheeler, Mrs. M. P. Hibberd, Mrs. M. M. Clemson, Mr. A. Jones, Mr. E. Coleman, Mrs. R. M. Briggs, Miss M. Gates, Mrs. B. P. Hyett, Mrs. M. J. Smith, Miss J. C. Burnett and Mrs. B. A. Layther. Associate Medical Staff Dr. B. A. Cleeve and Administrative Staff Mr. W. D. Kollie, Mrs. E. Morshead, Miss C. T. Aldridge, Miss D. Stott. Mrs. D. M. Philpott and Mrs. J. E. Scarrott. On the inside cover is the "Significance of the Ceremony" and "The College Anthem". The following page as the "Order of the Ceremony." Mr. B. A. Clemson welcomes the visitors and Mr. K. G. Scarrott gives the Principal's message to graduands. Student Representatives are presented to Mr. Mr. J. Revell by Miss A. Downward,Vice Principal. The 1968-1971 Diploma of Teaching (Primary) students and the 1970-1971 T.P.T.C. students are presented by Miss A. Downward to Dr. M. Balson. Congratulations are offered by Cr. D. Elliot, President of Strathfieldsaye Shire Cr. C. C. Rodda and the Principal of Golden Square State School Mr. R. Cordingley. The Occasional Address was given by Dr. Maurice Balson and Mr. Ian Davies concluded with the Acknowledgement. The back cover contains lists of the students receiving their Diplomas of Teaching (Primary) 1969 - 1971 - John Grant Allen, Marion D. Barbour, Marlene J. Bartlett, Jillian M. Bennett, Carol M. Bernasochi, Philip McL. Blackwood, Carmel F. Bourke, Kathryn A. Bourke, Narelle D. Carpenter, Helen C. Cowan, Margaret A. Cowie, Ronald J. Crawford, Annette M. Dodd, Athalie D. Edis, Maureen A. Farnell, Robin J. Fitzgerald, Ruth G. Freeman, Dianne D. Geddes, Meta D. Goodrich, Dennis J. B. Higgins, Kevin M. Higgins, Russell J. Honey, Marilyn L. Kay, Barry Frank Keenan, Christine J. Kennedy, Rosemary A. Kennedy, Judith Kirne, Alison J. Laws, Heather Linton, Annette M. McDonald, Geraldine Matters, Heather J. Mitchell, Christine D. Moore, Adrienne D. Nichols, Marion J. Nixon, Geraldine M. O'Brien, Patricia Maree O'Brien, Joseph Pacquola, Annette J. Parke, Sandra J. Pell, Maureen Y. Pianta, Catherine A. Polgar, Linda C. Preece, Judith M. Punch, Jennifer G. Reynard, Denise P. Ryan, Noela J. Sargent, Mrs. Brenda J. Savy, Christine M. Scholes, Geoffrey G. Scown, Beverley K. Secomb, Joan B. Segrave, John E. Sloan, David J. Snell, Julie M. Sullivan, Dorothy J. Teague, Jennifer F. Thomson, Denise A. Thornbury, Jennifer L. Trewin, Lorraine D. Walker, Edgar John Waterman, Janet E. Waterson, Jillian M. Watts, Leslie Williams and Una M. Woodcock. Trained Primary Teacher's Certificate 1970 - 1971 - Elizabeth A. H. Abbinga, Mrs. Sandra E. Banks, Henry Ward Beecher, Marjorie A. Byrne, Julie P. Carter, Pamela E. Charlton, Lorraine C. Childs, Mary J. Coughlan, Gwenda A. Colville, Elaine J. Cooper, Elizabeth Ann Corboy, Helen J. Cox, Ian R. Davis, Diane E. Edwards, Sandra J. Fitzgibbon, Ann M. Flett, Christine French, Donald Wayne Garner, Mary E. Gibbs, Pamela S. Gorey, Judith A. Grieve, Lorraine Healy, Mrs. Catherine M. Higgins, Ivan P. Honey, Jennifer M. Ibbs, Geoffrey Kerr, Robyn M. King, Christine M. Law, Mrs. Wendy E. McGinniskin, Margaret A. McMahon, Valerie P. McMaster, Mary A. McNamee, Wendy J. McNeill, Jane P. H. McPherson, Patricia Oakford, Colleen J. O'Brien, Robyn E. Onley, Eileen Joan Osborne, Mrs. Wendy A. Proud, Kristina N. Puchala, Lynette B. Rathbone, Mrs. Yvonne M. Robinson, Shane B. Rodda, David L. Rosendale, Mrs. Jan E. Scholes, Judith J.Tait, Adrienne L. Thomas, Sandra J. Turner, Rosemary D. Whalen, Sandra J. Whitmore, Jane A. Wilson and Linda O. Wilson. External Studies - The Trained Infant Teacher's Certificate was received by Sharon P. Prentice. The Diploma of Teaching ( Primary ) - Mrs. Linda E. Cameron, Neville G. Fisher, Trevor J. Hogben and Maureen L. Tobin. Trained Primary Teacher's Certificate - Valda J. Chapple, Marie K. Gread, Shirley A. Grose, Mrs. Judith J. Hocking, Michael J. Lonnie, Michael McCabe, Kevin F. McInerny and Kenneth N. Webster. Also included is an insert with a diagram of the stage plan.bendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo, education, tertiary education, graduation, graduands, students, staff, bendigo teachers' college, teaching, teachers, bendigo teachers' college staff, bendigo teachers' college students, book

Rectangular wooden honour board with gold writing and a decorative border. hugging the border at the top is a heading reading SPORTS AWARDS and in the top left is a simplified WHS logo. This hour board was donated by the parents club.SPORTS AWARDS 1991 C. BLACKWELL, D. CARMODY, S. CLAYTON, N. COBAIN, T. CORNELIUS, C. GOULD, N. GRANT, L. HEYWOOD, K. NOLAN, K. SAUNDERS, B. VAN REIT 1992 M. BALLIE, D. BENNETT, P. DAVIDSON, D. EDELSTEIN, A. GRAF, D. ILOTT, D. JARVIS, A. KERRIS, J. KIPPING, N. LAVIS, D. McFAWN, D. McLAUGHLIN, N. NOLAN, N. WATSON 1993 R. ARTIS, D. BLACK, D. BROCKWELL, R. CANNY, C. COLLINS, K. CORNELIUS, D. DEMAJ, A. GREALY, W, GREEN, N. LELIENE, L, OVER, A. McFAWN, A. McGREGOR, L. NEWTON, S. PHELAN, X, COUTHERNIS, S. WELCH 1994 J. ARCURI, S. BRITTON, L. DELANEY, D. DAMAJ, A. DUNDAS, P. FLYNN, B. HILDEBRAND, R. HOYSTEAD, N. IMRIE, K. JAMES, K. JENKINSON, B. LAMB, E. MALE, T. MARTIN, A. MYLES, J. NASH, S. PHELAN, M. PORTER, A. RADNOR, M. RICKARD, N. ROSSER, J. SHARPE, K. STONE, Y. TEKESIC, S. WALDEHART, K. WHITE, J. WILLS 1995 B. ALLEN, E. ASHMEAD, D. BOX, M. BRUCE, L. CLARK, M. FLEET, L. GARDNER, K. GLENISTER, M. GOODEY, R. GRAHAM, G. JACKSON, K. LAUREN, K. MAHER, A. MANNIX, M. MARTINELLI, J. MEANE, T. PORTER, S. RICKARD, S. SAPIENDANTE, K. WELCH, A. WIZE, M. WOODSTOCK 1996 J. ACKROYD, P. AKERS, R. BARROW, D. BOX, T. BULMER, D. DARWIN, L. NASH, A. NOLAN, S. OAKES, X. PALAMARCZUK, K. PIKE, A. POPONIO, N. POOL, L. REA, K. SHEDLOCK, L. SPILLER, M. VALENZIA, S. VESCIO, B. WALDHARD, B. WATSON, S. WOODSTOCK, M. SCHOLES 1997 S. BANNON, S. BOXX, R. COSTELLO, M. CHILCOTT, M. COX, C. DICKENSON, T. FISHER, H. FULTON, A. GOULD, A. HALLINAN, C. HANDCOCK, I. HAYWARD, B. HEATH, L. HILDEBRAND, C. HUGGINS, K. JONES, S. KNOX, H. LAPPIN, R. MANNIX, S. PATTERSON, B. SPASOJEVIC, K. STOKES, J. WHITE 1998 C. ALLEN, M. ASHTON, H. BEVAN, A. BROWN, S. BURLING, D. CAVICCIOLO, S. COSTANINO, J. CUNNINGHAM, K. GADSEN, R. GANNON, J. HARRISON, C. HOGARTH, S. HUMPHRIES, S. KNOX, A. LAMB, B. LAMBART, K. MOORE, A. MURRAY, A. NORMAN-SMITH, S. PATRICK, A. REID, B. SCHOLES, S. SEMPLE, K.SPILLER, J, TEKASIC, N. WADDINGTON, F. WRIGHT 1999 L. BENCI, S, BRITTON, M. CAMERON, S. CHALLMAN, L. CLARKE, S. EVANS, A. FOSTER, K. GRAHAM, G. HANCOCK, M. JANAS, M. LOWRY, L. MORONEY, R. NAISH, B. PATTERSON, J. PIKE, K. SINCLAIR, R. TATULASCHWILI, S. TUCKER, M. WENHAM, R. WIEDEMANN, T. WITTE 2000 M. ANDISON, M. ASHMEAD, M. BERTALLI, D. BRYANT, A. COSTER, A. CUNNINGHAM, B. DOOLAN, N. EVERITT, P. FOSTER, S. GODFREY, C. HARTWIG, R. HOGARTH, N. HOGAN, S. JAMES, C. JONES, T. KONOLY, Z. LEWIS, C. McCRACKEN, A. MINNS, D. MONGOMERY, A. NEWTH, S. O'KEEFE, S. PICKEN, J.REID, B. SIMPSON, L. SPENCE-BAILEY, M, YOUNIE 2001 J. ANDERSON, E. BRIGGS, K. COLES, R. CONROY, B. GAMZE, M. GIGLIOTTI, S. JOHNSON, T. LAMBERT, C. LUCAS, B. McKIBBON, J. MORONEY, A. MORTON, M. PATRICK, R. THOMSON, B. WINZER 2002 C. ANDISON, D. BARASSI, A. CAIRNS, R. CAMERON, A. COOTE, L. EVERITT, B. FLANIGAN, C. FRASER, S. GANNON, R. GILBERT, G. GLOVER, T. HARTWIG, B. ISKOV, E. JANAS, G. JONES, L. KERLIN, B. McKIMMIE, R. McWATER, D, MOHR, L. MULLINS, C. NEWTON, M. PINI, JENNIFER PORTER, JUDD PORTER, B. SOLIMO, R. SMITH, P. TATULASHWILI, A. TAVARE, J. USSHER 2003 J. ALLEN, M. ANDERSON, L. BARKAS, J. BARRON, C. BOAG, A. BOX, S. J. CAREY, P. CHALWELL, D. DOCK, M. CLARKSON, J. CONROY, L. CUNNINGHAM, E. DAVENPORT, N. DILLON, J. FREEMAN, J. GARDNER, M. GASTON, L. HICKMONT, K. HOGAN, J. HUGHES, B. KNEEBONE, M. KNIHINIZKIJ J. MORONEY, J. McCULLOUGH, J. MURPHY, K. NEWTON, B. OLIVER, S. OLIVER, B. PORKER, C. POTTER, C. ROBINSON, M. SCOTT, E. SHANLEY, A. SHAW, B. SPENCE, D. STEEL, A. TUCCI, T. VIHM, A. VINCENT, W. WICKAM, J. WITTE DONATED BY THE PARENTS CLUB

Handwritten table listing main local pre-1950s subdivisions in the Ringwood area, with estate names, streets, number of allotments for sale, and where known, vendor agent, LP (Lodged Plan) title registration number, and auction/sale date, some with sale price.Pg1 RINGWOOD STATION ESTATE LP3070 (Year?) Station Street, William Street (now Kendall Street), Wantirna Road, Station Street Pg1 RINGWOOD TOWNSHIP ESTATE LP5577 (1913) Station Road (now Warrandyte Road), Pratt Street (part now Aird Street), Whitehorse Road Pg2 RINGWOOD ORCHARD ESTATE LP4315 (1914) Brysons Road, Hillcrest Road, Anzac Avenue, Sulva Road Pg3 RINGWOOD RAILWAY ESTATE LP7522 (1918) Whitehorse Road (now Mount Dandenong Road), Dublin Road, Freeman Street, Patterson Street, Bona Street Pg4 THE RINGWOOD ESTATE LP7578 (1919) Warrandyte Road, Hobart Street, Paxton Street, Arnold Street Pg5 GARDEN FARMS ESTATE (LP?) (1919) Canterbury Road, Armstrong Road, Bungalook Road, Orchard Road, Bayswater Road (now Mountain Highway) Pg6 THE RINGWOOD ESTATE (SECOND SUB-DIVISION) LP7604 (1919) Warrandyte Road, Tamar Street, Derwent Street, Mersey Street Pg7 RINGWOOD STATION ESTATE LP7703 (1919) Bedford Road, Williams Grove (now Lena Grove) Pg8 RINGWOOD TOWNSHIP ESTATE LP8198 (1919) Wantirna Road, Ellison Street, Haig Street, Greenwood Avenue Pg9 EASTFIELD ESTATE (LP?) (1920) Eastfield Road, Longview Road, Pleasant Rise, The Mount Pg10 ELECTRIC RAILWAY ESTATE RINGWOOD LP9473 (1922) Campbell Street, Myrtle Avenue, George Street (now Tudor Court), Henry Street (now Myrtle Avenue), Williams Grove (now Lena Grove) Pg11 RINGWOOD PARK ESTATE LP7884 (1922 - two stages) Wonga Road (now Loughnan Road), William Street, Andrew Street, Harrison Street Pg12 HEATHMONT STATION ESTATE LP11009 (Date? - after 1922) Lisgoold Street, Viviani Crescent, Balrour Avenue, Station Street (now part Heathmont Road and part Wainui Street) Pg13 RINGWOOD RAILWAY ESTATE LP10507 (1923) Whitehorse Road, Sherbrooke Avenue, Burwood Avenue, Bonview Avenue, Heatherbrae Avenue, Grant Crescent Pg14 GARDEN HOMES ESTATE (LP?) (1923) Mullum Road, The Centreway, Wattle Crescent (now Wattle Avenue) Reserve Crescent (now Reserve Road) Pg15 DUBLIN ROAD ESTATE LP11993 (1923) Alexandra Road, Vonadawn Avenue, Green Street, Wood Street, Howard Avenue, Bedford Road, Dublin Road Pg16 CARLINGA ESTATE RINGWOOD LP9620 (1923) Bourke Street, Bond Street, Ringwood Street Pg17 PRATT'S JUNCTION ESTATE (LP?) (1923) Junction Street, Georges Road, Oliver Street, Whitehorse Road Pg18 EAST RINGWOOD ESTATE LP10492 (1923) Bona Street, Patterson Street, Miller Grove, Fairview Avenue, Eastfield Road, Whitehorse Road (now Mount Dandenong Road) Pg19 COLEMAN'S HEATHMONT ESTATE LP9974 (1923) Canterbury Road, Bedford Road, Alvena Crescent, Coleman Street, Leonard Street (now Royal Avenue) Pg20 RINGWOOD HEIGHTS ESTATE LP10506 (1924) Whitehorse Road, Bonview Avenue, Grant Crescent, Hillcrest Avenue, Heatherbrae Avenue, Margaret Street, Mary Street Pg21 EAST RINGWOOD STATION ESTATE LP10551 (1924) Knaith Road, Wenwood Street, Lois Street, Victoria Street, Station Street (now Railway Avenue) Pg22 GRAND VIEW ESTATE LP11019 (1924) Whitehorse Road, Rupert Street, Herbert Street, Leonard Street Pg23 RINGWOOD RAILWAY ESTATE & RINGWOOD HEIGHTS ESTATE - FINAL SECTIONS LP10506 & LP10507 (1924) Whitehorse Road, Sherbrooke Avenue, Burwood Avenue, Bonview Avenue, Heatherbrae Avenue, Margaret Street, Mary Street, Grant Crescent Pg24 RINGWOOD EAST ELECTRIC STATION ESTATE (LP?) (1924) Railway Parade (now Patterrson Street), Federal Road, Howship Avenue (part now French Street), Dublin Road, Rosedale Crescent Pg25 BEDFORD PARK (now Ringwood Secondary College) (LP?) (1924) Bedford Road, Adams Street, Anderson Street, Joyce Street, Graham Road Pg26 CROWN JEWEL ESTATE LP11645 (Private sales after 1924) Mount Dandenong Road, Mirabel Avenue, Valda Avenue, Evon Avenue, Velma Grove Pg27 GRAND CENTRAL ESTATE LP10917 (1925) Heathmont Road, Great Ryrie Street, Douglas Street, Garden Street, Bellevue Avenue Pg28 RINGWOOD (unnamed estate - 1926) Nelson Street, Seymour Street, Whitehorse Road Pg29 EAST RINGWOOD RAILWAY STATION ESTATE (YEAR? - 25 shops 60 villas) Railway Avenue, Dublin Road, Lawrence Grove, Stanley Avenue, Knaith Road Pg30 CHARM VIEW ESTATE (LP?) (year? - after 1926) Canterbury Road, Heathmont Road, Dickasons Road, Bennjett Avenue, Orchid Street Pg31 SUNBEAM ESTATE LP12150 (Circa 1925) Govt Road (now Old Lilydale Road), Sunbeam Avenue, Holland Road, Everard Street (now Everard Road) Pg32 FAIRVIEW ESTATE EAST RINGWOOD LP10853 (Circa 1924) Eastfield Road, Patterson Street, Margaret Street (now Short Street) Pg33 EAST RINGWOOD TOWNSHIP ESTATE LP3025 (Circa 1924 - 35 allotments) Mount Dandenong Road, Grey Street, Eastfield Road Pg34 EAST RINGWOOD TOWNSHIP ESTATE LP3025 (Circa 1924 - 49 allotments) and STATE SCHOOL ESTATE (26 allotments) and EAST RINGWOOD STATION ESTATE (14 shop sites) Mount Dandenong Road, Grety Street, Dunn Street, Eastfield Road, King Street, Holland Road, Dublin Road, Patterson Street, Bona Street Pg35 EAST RINGWOOD CENTRAL ESTATE LP17004 (1948) Knaith Road, Shasta Avenue, Talofa Avenue, Russet Road, Dublin Road Pg36 WARE ESTATE LP43360 (1958) Ware Crescent, Davey Drive, Grey Road (now Grey Street), Mount Dandenong Road Pg37 Lot 57 Kendall Street LP3070 (1939) £75.0.0 Pg37 Lot 14 LP7346 (year?) £225 Pg37 Lot 8 WHITE HORSE ESTATE LP14010 (year?) Maroondah Hwy, Seymour Street £98.9.0 Pg37 Lots 4-14 incl. LP10902 (year?) £300 Pg37 Lots 69&70 LP2216 (1939) Bedford Road, Pitt Street £500 Pg37 Lots 60&70 LP2216 (year?) £460 Pg37 MOUNTAIN VIEW ESTATE LP10902 (1936) Lots 1&2, 19-22 Wantirna Road, Daisy Street £50 Pg38 RAILWAY STATION ESTATE RINGWOOD EAST LP7522 (1925) Lots 16 to 19 £250 Pg38 RINGWOOD PARK ESTATE (LP?) (1924) Lot 112 Munro Street £230 Pg38 RINGWOOD TOWNSHIP ESTATE (LP?) (1925) Lot 57 Wantirna Road £850 Pg38 ELECTRIC RAILWAY ESTATE LP9473 (1925) Lot 98 & 99 £180 (30/- foot) Pg38 ELECTRIC RAILWAY ESTATE LP9473 (year?) Lot 100 £233.12.6 incl improvements (£2.12.6 foot) Pg38 Lot 22&23 Bedford Road Heathmont (LP & year?) £675 incl improvements Pg39 Lot 9 Mullum Mullum Road LP8221 (1923) £150 Pg39 Lot 27 Haig Street LP8198 (1925) £825 Pg39 Lot 56 Haig Street cnr Wantirna Road LP8198 (1923) £171 Pg39 Lots 3 & 4 Loughnan Road LP9626 (192?) £147 Pg39 Lots 98 & 99 Myrtle Avenue LP9473 (1925) £180 Pg39 Lots 80 & 81 Myrtle Avenue LP9473 (1929) £150 Pg39 Lot 30 Sherbrooke Avenue LP10507 (1926) £700 incl improvements Pg40 Lot 10 (year?) LP7703 £750 Pg40 Lot 36 (year?) LP7522 £25 Pg40 Lot 38 Pitt Street LP2216 (year?) £350 Pg40 Lot 7 Dublin Road cnr Green Street LP11993 (year?) £300