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Ararat Gallery TAMA
Textile, Frances Burke, Cane, c. 1952
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Unknown
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Unknown, 2 pieces, 1939-1950
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Shields (pair of curtains), 1965
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Periwinkle
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMA
Textile, Frances Burke, Fabric piece, framed
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. -
Moorabbin Air Museum
Machine - Bristol 170 Freighter VH-ADL (Ap-Adm, S4438), 1962
Historical Details: The Bristol Freighter was the first post war heavy freight aircraft to enter service in Australia. It featured large clam shell doors at the front of a large "container" like fuselage allowing complete cars and other large loads to be carried. In 1966 th. Description: The Bristol Freighter was the first post war heavy freight aircraft to enter service in Australia. It featured large clam shell doors at the front of a large "container" like fuselage allowing complete cars and other large loads to be carried. Designe. Level of Importance: Nationalfreighter, bristol -
Moorabbin Air Museum
Machine - Avro Lincoln RF392 (G-Aprj "G-29-1"), 1945
... . In the immediate post war era the Australian Government Aircraft Factory... of World War 2 . In the immediate post war era the Australian ...Historical Details: AVRO LINCOLN B.2 G-APRJ/RF342 DELIVERED TO RAF FROM AVRO 6-1945. RAF 6-1945 to 7-1948 at TFU. AWA LTD/EMI LTD LOAN FROM RAF 7-1948/7-1955 D NAPIER & SONS LTD LOAN FROM RAF 7-1955 / 12-1958 SOLD TO D NAPIER & SONS LTD LUTON 12-1958; SOLD TO COLLEG. Description: The Avro Lincoln bomber was the successor to the famous Avro 683 Lancaster of World War 2 . In the immediate post war era the Australian Government Aircraft Factory undertook the licenced manufacture of 73 Lincolns for the RAAF the first of which flew. Level of Importance: Regional -
Kew Historical Society Inc
Map, Whitehead's Map of Victoria, With Alphabetical Key, 1869
When E. Whitehead's New Map of Victoria was released in 1869, an advertisement in the Bendigo Advertiser (16 July 1869) noted that: "This beautifully engraved Map has been revised and brought down to the present time; and, with the Alphabetical Key, is the most complete and the cheapest Map ever published; Price, 6d plain; 1s colored; 2s 6d in case; on linen, post free, 2d extra. E.. WHITEHEAD and CO, Publishers, 67 Collins-street east." The following year, 1870, Whitehead's promoted the edition in the Portland Guardian and Normanby General Advertiser (3 January 1870), advising that: "WHITEHEAD'S NEW MAP OF VICTORIA, 1869 ... is corrected to the latest date, and around is arranged an Alphabetical Key, with Post Towns and Money Order Olffices marked. The Map being divided into squares and numbered, by reference to the Key any place can be found immediately. Price Is beautifully colored, or mounted on linen in case, 2s 6d. Post free, 2d extra, in Victoria. B. Whitehead and C0., Puolishers, 67 Collins-street East, Melbourne". In the same edition of the Portland Advertiser, they also promoted their business generally, saying: "E WHITEHEAD and Co., Stationers, Engravers, Lithographers, 67 Collins street East, execute every description of Lithographic PRINTING, BILL-HEADS. NOTE Headings. Business Dies Engraved and Embossed on Envelopes &c. ARMS, MONOGRAMS, AND CRESTS Engraved and Embossed in Colour, superior to any other house in the Colony. Specimens, post free, 2d. Lithographers, &c, to H.R.H. the Duke of Edinburgh, and Die-inkers and Embossers to His Excellency Sir J. H. T. Manners-Sutton, K C.B. Orders executed for the Trade". Whitehead’s New Map of Victoria 1869 is is an important record of region created towards the end of the Victorian Gold Rush (1851-1869). In addition to its historical significance, this is a rare map, of which the only known copies in Australian public collections are those held at the National Library of Australia, the State Library of Victoria, State Library of New South Wales and the University of Queensland Library.Map of Victoria with gold mining areas, notes on topography, transport routes. Relief shown by hachures. List of towns with distance from Melbourne in map margin. [Melbourne] : Printed & Published by ... E Whitehead & Co ... 67 Collins Street East, 1869 1 map : col., mounted on linen ; 38.4 x 55.4 cm, folded to 18 x 12 cm.Cover "WHITEHEAD'S NEW MAP OF VICTORIA 1869"maps - victoria - 1860s, e whitehead's new map of victoria 1869, whitehead's map of victoria with alphabetical key 1869, cartography, gold rush -
Kew Historical Society Inc
Photograph, The Sears Studio, Centenary Celebrations : Kew "Strong Post" St Kilda Road, 1934
Cr. W.D. Vaughan in 'Kew's Civic History' (1960) records that: "In connection with the Melbourne Centenary Celebrations in 1934, the Kew Council decided to organise a strong post as an appropriate gesture of welcome to H.R.H. the Duke of Gloucester. Also that the municipality be represented by a symbolic floral float in the Royal pageant. This was a striking entry and won first prize, and evoked much comment on account of its originality and truly Australian motif." The photograph of the Kew Strong Post was once part of the Municipal Collection of the former City of Kew and was presented to the Kew Historical Society before the move from the Walpole Street (Kew) Town Hall to new Civic offices in Charles Street in 1971.Historic photograph of participation by the City of Kew in celebrations for a royal visitFramed and glazed photograph on its original inscribed mount and original frame of the Kew "Strong Post" in St Kilda Road on the occasion of the visit to Melbourne of the Duke of Gloucester. The photograph has two components, at the upper left is a photo of the royal carriage while the man photo shows the people of Kew on a decorated 'Strong Post' on St Kilda Road, along which the procession progressed. T"Centenary Celebrations / Kew "Strong Post" St Kilda Road / On the occasion of the visit of / H.R.H. The Duke of Gloucester / October 18th 1934."royal visits - melboure - 1934, duke of gloucester, kew (vic.) — municipal collection -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, East Kew Women’s Club, 1945-70, 1958
... in the post war period in Australia. The Society holds the Club’s ...Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)Most of the original manuscripts of the Club (attendance registers, minutes of meetings, histories etc.,) are kept separately in archival boxes. The reference file contains a copy of the 9-page history of the Club’s history from 1945-65 a newspaper clipping relating to a 25-year anniversary lunch.kew (vic) - history, kew east (vic) - community groups, kew east (vic) - womenkew (vic) - history, kew east (vic) - community groups, kew east (vic) - women -
Kew Historical Society Inc
Functional object, Presentation Wallet : G Thake, Founder E.K.W.C, 1946
... for their capacity to illuminate women's associations in the post war period ...On Saturday 17 May 1947, an article on page 25 of the Australian Women’s Weekly reported on the formation of a new women's club: the East Kew Women’s Community Club. The article reads: "Wives and mothers in a Melbourne suburb, East Kew, have formed the East Kew Women's Community Club. While babies and young children are under the supervision of a play leader, wives and mothers follow up their own interests. The club caters for varying tastes, has musical appreciation, drama, and "Keep Fit" classes. President Mrs. Grace Thake says that the club hopes soon to have tennis, debating, and discussion groups. The club originated from a debate, "Should women take an active part in social and civic affairs?" Two days later their interest in these matters was proved by the forming of the club, which took for its motto: "To help others, improve ourselves, and foster the community spirit." Membership is open to all women, regardless of age, politics, and religion, and aims to co-operate with all societies working for the improvement of health and cultural standards." The East Kew Women's Community Club, also called the East Kew Women's Community Club functioned from 1946 to the end of the 1960s (to be verified). The records of the Club were placed with Kew Historical Society to preserve them for posterity. The records and objects belonging to the East Kew Women's Community Club have significance socially for their capacity to illuminate women's associations in the post war period in Australia.Brown leather wallet, dated 1946, embossed with the owner's name and information about the club of which she was the founding president."G Thake | Founder EKWC | 1946 To help others | Improve ourselves | Foster the community spirit"community clubs - kew (vic), women's clubs - kew (vic), east kew women's club, grace thake, presentation wallets -
Kew Historical Society Inc
Photograph, The Sears Studio, Kew War Memorial: Ceremony of Unveiling by Sir Excellency the Governor Earl of Stradbroke KCMG, Sunday 30th August 1925
... Andrew McIntosh M.L.A. Iconic Australian photograph from the post ...The original, very large framed photograph of the ceremony of Unveiling of the Kew War Memorial, by His Excellency the Governor, Earl of Stradbroke KCMG, Sunday 30 August 1925. At the ceremony there were over five thousand in attendance crowding the intersection of High Street and Cotham Road. The voices of the Governor and the Mayor, Councillor Jabez Carnegie were amplified from four loud speakers on the dome of the memorial. A guard of honour from the 39th Battalion C.M.F. was present, together with the First Kew Troop of Boy Scouts. Restoration of the work by staff at the Grimwade Centre has been made possible by a contribution from Andrew McIntosh M.L.A.Iconic Australian photograph from the post-WW1 period. Nationally significant work reflecting how societies of the time invested social and spiritual values in commemorations of wartime.Framed large photograph. Kew War Memorial : Ceremony of Unveiling by His Excellency the Governor Earl of Stradbroke KCMG, Sunday 30th August 1925. Photo taken prior to cleaning and restoration. Digitally cleaned image included in carousel.Kew War Memorial: Ceremony of Unveiling by Sir Excellency the Governor Earl of Stradbroke KCMG, Sunday 30th August 1925 / Sears Studiokew war memorial - 1925, civic collection -
Kew Historical Society Inc
Photograph - Document, Australian Imperial Expeditionary Force, Certificate of Discharge, Private Christopher Robinson, V12637, 1919
Document recording the discharge of Private Christopher Robinson from the First AIF in 1919. He is described as a Salesman and his address pre and post enlistment is given as 11 St John's Parade, Kew, his family home..christopher robinson, australian imperial expeditionary force, certificates of discharge - first world war -
Tennis Australia
Racquet, Circa 1892
A Wright & Ditson wood tennis racquet with solid convex throat. Rounded flat top head. Manufacturer name and country of origin printed across throat on obverse. Manufacturer's trademark/logo features across throat on reverse. Cross-hatched handle and leather end wrap. Owner's initials: G.P. carved into throat on reverse. Series of cuts carved into handle post-manufacture. Indecipherable model name printed on crown on obverse. Materials: Wood, Metal, Lacquer, Glue, Ink, Leathertennis -
Tennis Australia
Racquet, Circa 1987
A painted tennis racquet; composite materials; no visible model or maker markings. Marked post-maufacture with silver ink on butt: 'HB'. Materials: Metal composite, Plastic, Adhesive tape, Nylon, Painttennis -
Tennis Australia
Badminton set, Circa 1900
A wooden chest (.1) containing badminton equipment, specifically: four badminton racquets (.2 - .5); guy ropes (.6 - .7); a net (.8); and net posts (.9 - .10, 6 parts each.) Materials: Wood, Metal, Lacquer, Rope, Cloth, Gut, Leather, Glue, Stringtennis -
Tennis Australia
Badminton & lawn tennis set, Circa 1882
A wooden chest (.1) containing badminton and lawn tennis equipment, specifically: net posts (.2 - .3, two parts each); tennis net (.4); and, a badminton net (.5). A colour lithographic print, by Cahrles Hart, displaying mixed doubles playing on a lawn, with a small pavillion & large house in the background, features on the inside of the lid. Inscription across litho.: HORSMAN'S/CELEBRATED/LAWN TENNIS/... Materials: Wood, Metal, Lacquer, Rope, Cloth, Ink, Cord, Papertennis -
Tennis Australia
Lawn tennis set, Circa 1885
A wooden chest (.1) containing lawn tennis equipment, specifically: racquets (.2 - .3); net (.4); net posts (.5 - .6, 2 parts each); and a pair of pegs (.7, 2 parts). Inscription across the top of the lid, in French: JEU DE LAWN TENNIS. Inscription below features manufacturing details. Lithographic print on inside of lid features a mixed doubles match, in a park, with inscription: JEU DE TENNIS. Handwritten inscription across front of box: TENNIS 3 11 *POUND* 45. Materials: Wood, Metal, Lacquer, Cord, Cloth tape, Ink, Gut, Papertennis -
Tennis Australia
Lawn tennis set, Circa 1890
A wooden chest (.1) containing lawn tennis and badminton equipment, specifically: a badminton net (.2); a tennis net (.3); net posts (.4 - .5, 3 parts each); guy ropes (.6 - .7); rope (.8); pegs (.9 - .12; and, a mallet (.13). Orange and white print across inside of lid features inscription: THE GAME OF/LAWN TENNIS. A sticker adhered above reads: FURNISHING [...IRO]NMONGER/JAMES HAWKINS/35 HIGH STREET/TUNBRIDGE WELLS. Materials: Wood, Metal, Lacquer, Cord, Ink, Paper, Ropetennis -
Tennis Australia
Lawn tennis set, Circa 1885
A wooden chest (.1) containing lawn tennis and badminton equipment, specifically: a tennis net (.2); a badminton net (.3); net posts (.4 - .5, 3 parts each); guy ropes (.6 - .7); stick (.8); pegs (.9 - .12); a fold-out stool (.13); and a mallet (.14). Extra, (probably non-original), objects are: guy ropes (.15 - .16); pegs (.17 - .20); mallets (.21 - .22). Black and green lithographic print on inside of lid features the image of a mixed doubles amtch, with inscription: TENNIS. Materials: Wood, Metal, Lacquer, Cord, Ink, Paper, Rope, Cloth, Painttennis -
Tennis Australia
Badminton set, Circa 1895
A wooden chest (.1) containing badminton equipment, specifically: two racquets (.2 - .3); a shuttlecock container (.4, 3-part container, with 5 shuttlecocks); a net (.5); two guy ropes (.6 - .7); and, net posts (.8 - .9, 4 parts each). Two unrelated badminton racquets (TA 2009.298 - .299) are also contained in the badminton set chest. Inscription across the top, and the underside of lid: ARMY & NAVY C.S.L./ASSOCIATION/BADMINTON. Materials: Wood, Metal, Lacquer, Cord, Ink, Paper, Cardboard, Cloth, Nylon, Gut, Bird feather, Rubber, Leather, String, Gluetennis -
Tennis Australia
Lawn tennis set, Circa 1890
A wooden chest (.1) containing tennis equipment, specifically: a brochure (.2); net posts (.3 - .4, 2 parts each); centre net stick (.5); tennis ball (.6). Inscription across the top of a colour lithographic print, adhered to the inside of lid: HORSMAN'S LAWN TENNIS. Three unrelated tennis racquets (TA 2009.345 - .347) are also contained in the tennis set chest. Materials: Wood, Metal, Lacquer, Ink, Paper, Felt, Paint, Rubber, Gluetennis -
Tennis Australia
Ring tennis set, Circa 1922
A Ring Tennis set chest (.1) containing: rings (.2 - .5); guy ropes (.6 - .7); net posts (.8, 2 parts, .9, one part); court boundary markers (.10 - .19); rope (.20), and a metallic flag marker (.21). Eight miscellaneous pieces also feature. Inscription across top of lid: "TENIKOIT' OR RING TENNIS/...REGULATION FOUR PLAYER SET. Across top of base: R.H. MOTTRAM/(SOLE MAKER)/CHURCH STRETTON/SHROPSHIRE. On sides of box: TENIKOIT/NO. 2A. Materials: Wood, Metal, Lacquer, Ink, Glue, Rubber, Paint, Rope, Cord, Stringtennis -
Tennis Australia
Miniature tennis set, 1889
A small wooden case (.1), containing a miniature tennis set, featuring: two wooden handled, metallic tennis racquets (.2 - .3), and a net attached to two spiked posts (.4). Inscription across top of lid: THE PEERLESS/PARLOUR/AND LAWN/TENNIS SET. Materials: Metal, Wood, Glue, Lacquer, Cord, Inktennis -
Tennis Australia
Lawn tennis set, Circa 1876
A chest (.1), housing a lawn tennis and badminton set. Black and green lithographic print features couples playing mixed doubles tennis and badminton in Cassiobury Park, with Cassiobury House in the background. Inscription: THE CASSIOBURY GAMES OF/BADMINTON AND GARDEN TENNIS/.../LONDON/DEAN & SON 160 FLEET STREET. The hourglass court used in Wingfield's version of lawn tennis is depicted in this lithograph. Contents include: racquets (.2 -.3); tennis balls (.4 - .5); shuttlecock (.6); badminton net (.7); guy ropes (.8 - .9); ornate pegs (.10 - .11); mallet (.12); and net posts (.13 - .14, 2 parts each). Materials: Wood, Metal, Ink, Glue, Paint, Paper, Lacquer, Gut, Rope, String, Velvet, Bird feather, Felt, Rubbertennis -
Tennis Australia
Cards, Circa 1975
A framed set of four reproduction cards of paintings by (appears to be) Hubert Schmidt. Each card mount with (purportedly) artist's signature below. Artist's signatures difficult to decipher and handwritten signatures appear questionable. Each painting reproduction depicts a post-Cubist style composition with a tennis racquet (or tennis net)and ball. Framed under UV glass. Materials: Ink, Wood, Metal, Cardboard, Glass, Painttennis -
Tennis Australia
Net post, Unknown
Single wood post, unknown origin. Materials: Woodtennis -
Tennis Australia
Net post, Circa 1920
A pair of Slazenger net posts (.1 (winch) and .2), comprising of a wooden post slotted and fixed into metal base. Winch system is 'The Eezewynder' model. Inscription around metal base: SLAZENGERS LTD/MAKERS/LONDON. Materials: Metal, Wood, Painttennis -
Tennis Australia
Net post, Circa 1920
A pair of Slazenger net posts (.1 (winch) and .2), comprising of a wooden post slotted and fixed into metal base. Winch system is 'The Eezewynder' model. Inscription around metal base: SLAZENGERS LTD/MAKERS/LONDON. Materials: Metal, Wood, Painttennis