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Ararat Gallery TAMA
Textile, Frances Burke, Spider Orchid (place mat), c. 1955
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, The Hunter (place mat), 1950-1955
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, The Hunter (place mat), 1950-1955
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, Angel Fish, 1951
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, The Hunter (place mat), 1950-1955
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, The Hunter (place mat), 1950-1955
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, Flannel Flower (place mat), c. 1955
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, Shell (place mat)
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, Spider Orchid (mat), c. 1955
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, Tiger Lily, 1951
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, Rose, 1947
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, Belladonna, 1938-1941
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, Regency Stripe, 1961
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, Waratah, c. 1955
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, Links, 1958
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, 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. -
Bendigo Historical Society Inc.
Magazine - LA TROBE UNIVERSITY BENDIGO COLLECTION: COLLEGE OF ADVANCED EDUCATION TEACHER EDUCATION GRADUATES
A magazine with a yellow cover and red print. It contains on the front cover the college motto 'Per Ardua Ad Astra Bendigo' and 'Bendigo College of Advanced Education Teacher Education Graduates 1984.' This magazine contains photos and social notes related to the activities of the students during the year. It also has contributions from Science Majors, Music Majors, Physical Education Majors, Social Science Majors, Maths Majors Art Majors and English Majors. Photos; page (a )in the centre of the magazine - Felicity Tomlinson, Linda Steele, Noelene Stock, Margaret Hawksworth (Madge), Janine Benson, Peter Fleming (Flem), Wendy Hawking, Jenny Soule, Stephen Bolton (Bolthead) and Catriona Webster. Page (b) Jo Monagatti (Mum), Matthew Itter, katy Morris (Crazy Kath), Julie Whitfield, Steve Rogers, Jaylea Mayhew-Stone, Jenni Mandersloot, Jenni Lanyon, Lou Nethersole, Ken Smith, Sharon Scanlan (Scanners) and Dave Douglass. Page (c) Tracy Pollesel (Stretch, Olive Oyl), Terri Anne Haebich, Jo A'Beckett, Carolyn Tavener, Sue Burgess, Donna Walker, Pamela Thorpe, Carolyn Coles, Robyn Proud and Evelyn Kristenson. Page (d) Lex Johnstone, Karen English, Sally Broadbent, Kristen Moore, Valma Bailey, Kerry Watson, Deva Guna, Bernie Conlan, Wendy Hicks, Colleen Maher (Pubes), Diana Sherwood. Page (e) Neville Avery, Sandy Olsen, Jennie Sali, Kate Elder, Carol Bourchier (Snourchier), Jim Chamouris, Sue Opie (Slopes), Lynne Nichols, Debbie Tupper, Anne Hubber (Hubs) and Mary Murphy (Murph). Page (f) Debbie Turvey, Maria Aloizos, Jo Van Heek, Christine Smith, Patricia McCormack, Chris McBain, Fay Stevenson, Barb Salatheil, Corrine McNally, Carol Humbert and Jan Bradley. Page (g) Tricia Wright, Andrew Williams (Big Man, Mad Dog), Roslyn Boys, Kerry Tighe, Debbie Joy Head, Carolyn Thornton, Sue McMurray, Carolyn Uebergang (Banger), Rita Nolen, Jane Mangan, Karen Atkinson and Tracy Kerridge. Page (h) Meredith Walters, Mick Belardinelli, Jackie Smith, Mary Cullen, Jeanine Gitters, Marg Tope (Topey), Don Baker, Karen Weightman (Wackers), Lyn Deary, Stuart Bolt, Annie Koehn and Debbie Flint.bendigo, education, bendigo college of advanced educati, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo, education, teaching, teachers, students, magazines, bendigo college of advanced education, bendigo college of advanced education graduation, tertiary education, students, staff, graduation, graduates, graduands -
Bendigo Historical Society Inc.
Document - LA TROBE UNIVERSITY BENDIGO COLLECTION: BENDIGO TEACHERS' COLLEGE GRADUATION CEREMONY 1967
A white document titled "Bendigo Teachers' College Graduation Ceremony 1967" and below this is a list of the college staff. They are Mr. J. M. Hill (Principal), Mr. K. G. Scarrott, Mr. F. M. Courtis, Mr. T. J. McCabe, Mr. B. Rollins, Mr. R. F. Colbourne, Mr. B. A. Clemson, Mr. L. A. Hall, Mr. B. T. Geary, Mr. J. J. R. McLeod, Mr. K. C. Coles, Mr. P. M. Divola, Mr. J. Brasier, Mr. J. J. Layther, Mr. A. D. Maltby, Mr. R. J. Harris, Mr. R. N. Bruce, Mr. R. N. Teasdale, Mr. R. Collis, Mr. F. G. East, Mrs. H. J. Chatfield, Mrs. N. Fawdry, Miss S. M. Waring, Mrs. H. Knox, Mrs. F. M. Petri, Mrs. M. M. Kerr, Mrs. E. I. Perry, Mrs. M. M. Clemson, Mrs. M. P. Hibberd, Miss J. C. Burnett, and Dr. S. Morphy (Medical Staff). Administrative Staff - Mr. W. D. Kolle, Miss B. H. Cowling, Mrs. J. E. Parkin and Mrs. D. M. Philpott. On the inside cover is the "Significance of the Ceremony" and "Order of the Ceremony". A Welcome to Visitors was given by Mr. B. A. Clemson and the College Charge was read by the Principal. The Graduation Book was presented to Mr. W. F. R. Budge by Mrs. H. Chatfield the Dean of Women Students. Mr. K. G. Scarrott presented the T. P. T. C. students to Dr. W. C. Radford and Mrs. N. F. Fawdry presented the T. I. T. C. students to Dr. W. C. Radford. Congratulations were offered by The Mayor of Bendigo Cr. W. Cambridge, the President of Strathfieldsaye Shire Cr. M. O'Halloran and Mr. E. J. Allison, Head Master of Golden Square State School. Dr. W. C. Radford gave the Occasional Address.The following page contains the names of the students of 1965 - 1967 who received their Trained Infant Teacher's Certificate. - Margaret Mary Therese Atchison, Sandra Margaret Therese Atkinson, Jennifer Margaret Barker, Marilyn Joan Durbridge, Sandra Faye Ermel, Jeanette Craig Ferguson, Janice Mary Fee, Annette Gargiulo, Jennifer Mary Hawkins, Jocelyn Ann Heslop, Julie Marion Hopper, Susan Mary Howard, Donnette Ann Hufer, Dorothy Joan King, Leonie Anne Mackay, Mary Bernadette McCurry, Diane Margaret Louise McPherson, Jennifer Evelyn Mansfield, Maureen Moait, Jennier Joy Mouser, Marie Jeannette O'Brien, Ann Lorraine Pawley, Pamela Jeanette Phillips, Wendy Roma Rainey, Lynette Jean Robinson, Nola Mary Sawers, Margaret Ellen Sheridan, Rosalie Heather Smith, Marianne Catherine Stockx, Margery Lois Storey, Joyce Eidirien Waidabu, Barbara Joan Webb, Marion Joyce Wright and Margaret Joan Young. This page also contains the names of the students who graduated with their Trained Primary Teacher's Certificate 1966 - 1967. - Merylyn Dale Abbot, Janet Ann Angus, Robert Maxwell Anset, Jocelyn Gray Astbury, Catherine Mary Backstrop, Anne Margaret Becker, Graeme Kenneth Blake, Mary Margaret Bourke, Ruth Yvonne Bradbury, Mary Elizabeth Carstensen, William Stephen Carthew, Glenda Marjory Childs, Rae Mary Chittock, Elizabeth Lorraine Colville, Robyn Elizabeth Connelly, Michael Thomas Corboy, Richard George Cowan, Carmel Margaret Delaney, Margaret Ruth Dettman, Bryan John Dillon, Suzann Margaret Fahey, John Stuart Fleming, Maxwell George Fletcher, Valma Mary Foreman, Joan Elsie Gillespie, Beverley Joan Ham, Leonard Jack Heathcote, John Edward Higgs, Pauline Susan Hobby, Rhonda Carolyn Hunter, Heather May Kennedy, Gillian Anne Knight, Anne Elizabeth Layton, Judith Irene Learmonth, Jean Annette Leversha, Judith Katherine Longhurst, Jeannie Elizabeth Anne McKerrow, Charles Bryan Mathieson, Judith Lorraine Mills, Patsie Murphy, John William Norman, Jocelyn Anne Nunn, Helen Margaret O'Donoghue, Andrea Palmer, Carolyn Joy Palmer, Arthur Henry Parker, Sandra Jean Peace, Anne Marie Pianta, Margaret Joan Plant, Lawrence John Plowman, Graeme Kenneth Proud, Nancy Elizabeth Raven, Colleen Margaret Reid, Glenda Ann Rogerson, Vivienne Lorraine Roscoe, Peter Thomas Ryan, Bruce Robert Scriven, Margaret Lorraine Seddon, Ann Shemshedin, Heather Joy Shields, Margaret Susan Snow, Lee-ann Robyn Spittal, Graeme George Stanyer, Marie Stevenson, Jennifer May Teague, Kenneth William Thomas, Kerry Joy Tobias, Patrick James Tobin, Jennifer Anne Todd, Helen June Trevaskis, Faye Lynette Turner, Rosemary Gaye Ward, Peter Edward White, Barbara Lindsay Wotherspoon, Fairlie Grace Young, and Katherine Rosalee Zerbst The back cover has the "Principal's Charge to the Graduands" and "The College Anthem". The Conductress being Mrs. F.M. Petrie and the Pianist Miss M. Shaw.bendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo, education, teaching, teachers, students, tertiary education, graduation, graduation ceremony, graduands, bendigo teachers' college staff, bendigo teachers' college students, graduands, graduates, book -
Bendigo Historical Society Inc.
Document - LA TROBE UNIVERSITY BENDIGO COLLECTION: BENDIGO TEACHERS' COLLEGE GRADUATION CEREMONY 1971
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 -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: News in arts and cultural heritage; Vol. 1, No. 2, Dec 1996/Jan 1997, 1996
Vol. 1, No. 2 Dec 1996/Jan 1997 CONTENTS ADVENTURE WITH COLOUR Teenage cancer patients challenge their illness with art 3 CD REVIEWS New music by local musicians 5 LIVE AND LET LIVE 20 years of environmental living 6 AUSTRALIA REVISITED Artist Charles Reddington ponders live 30 years on 8 POETRY REVIEW Anne Delaney looks at new work by Jennifer Harrison and Jordie Albiston 11 PHOTOGRAPHY Katherine Jones aims at hard edges 16 IMAGES FROM A DARK PAST Holocaust survivor paints out a traumatic part of his life 18 MORALITY OF JUSTICE The Truth Game - a play by Ray Mooney 21 ART FROM THE HEART An exhibition that crosses boundaries 22 SHORT STORY New story from an emerging writer 25 ART IN THE CEMETERY Darebin launches a new project to decorate its new mausoleum 28 LISTINGS Artists, performers and galleries 29 KEYWORDS 895 Main Road, 1994 Moet et Chandon Fellowship, Adventure with Colour, Alan Bonney, Alan Constable, Alun Leach-Jones, Amada Laming, Anne Connor & Associates, Anne Delaney, Anthony Day, Art Streams Magazine, Artist-in-residence, Arts by the Waters, Arts project Australia, Auschwitz, Banyule Jazz Festival, Barbara Veheary, Bend of Islands Conservation Association (BICA), Bend of Islands Estate, Bend of Islands, Bill Downing, Bulleen Art & Garden Centre, Bulleen Nursery, Caffe Poco, Carlton Courthouse Theatre, Catani Boulevard, Catherine Oxley Reserve, Charles Reddington, Charlie Dowley, Cheryl Daye, Chris McAuliffe, Clifton Pugh, Colin Lanceley, Cornelia Selover, Creativitie et Handicap Mental (CREAHM), Cynthia Hardman, Cyril Tawney, Damian Eyre, Daniel Lillford, Danuta Michalska, Darebin Arts and Entertainment Centre, Darebin City Council, Department of Fine Arts, Donald Campbell, Dora Zable, Dorothy Berry, dunmoochin, E.H. Cameron, Edward (Ned) Haughton, Edward Car, Elizabeth Vercoe, Eltham High School, Eltham Living and Learning Centre, Environmental Living Zone (ELZ), Eric Bogle, Eucalypso, Felix Tuszynski, Food For All Seasons, Frank Hodgkinson, Fulli Andrinopoulos, Gallery of Georges of Collins Street, Gallery of Slavic Art, Glen Agnes Bend of Islands Estate, Glen Agnes Estate, Gongflers drive, Greg O'Leary, Harold (Jimmy) Fuller, Helen O'Grady Children's Drama Academy, Henley Road, Ian Doolan Hamilton, Ian Gawler, Inside Out/Outside In, Ironbark Road, Janice McBride, Jennifer Harrison, Jennifer McGregor, Jessie Agnes Haughton, Jimmy Pike, Joan Blakey, John Mackay Northe, John Rasmussen, Jordie Albiston, Julian Martin, Kangaroo Ground, Katherine Jones, Kelvin Heffernan, Kew Coattage, Kitty Ginter, Lavita Mossop, Les darcy, Les Gyori, Life with Jane, Lorraine Larter, Luc Boulange, Luciana Giardina, Manningham Artspace, Manningham City Council, Mariann Moxon, Mark Capozzi, Mark Chapman, Mark Wilkinson, Maxine Ryder, Melbourne Police Pipe Band, Mick Woiwod, Mike O'Rourke, Monica Burns, Montsalvat, Myra Hilgendorf, Nancye Ball, Page family, Pam Crohan, Pam Dougherty, Poetry, Preston Public Cemetery, Ray Mooney, Richard Haese, Robert Hughes, Robyn Kirkpatrick, Roger Lemke, Ron Hanson, Sandra Harvey, Shire of Eltham Office site, Shire of Healesville, Shire of Nillumbik, Shire Offices, Sounds by the Waters, Stelio Costa, Steven Tynan, Steven Worrell, Stewart Whiffin, Sue Howard, Sue Whiffin, Sugarloaf Reservoir, Sydney Ball, The Art of Australia, The Mews, The Truth Game, Tom Fantl, Tony Inglese, Tuszynski Survey Exhibition, University of Melbourne, Valerio Ciccone, victorian artists supplies, Watson Creek Bridge, Watsons Creek, Wayne Marnell, Woody Guthrie, Yarra Brae Dam, Yarra River"Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, feliz tuszynski, elizabeth vercoe, eucalypso, bend of islands, charles reddington, jennifer harrison, jordie albiston, katherine jones, anne bonney, mick woiwood, anne connor, anne delaney, ray mooney, pam dougherty, arts project australia, lavita mossop, preston public cemetery, helen o'grady children's drama academy, bulleen nursery -
Bendigo Historical Society Inc.
Newspaper - PETER ELLIS COLLECTION: NEWSPAPER CLIPPINGS
A4 sheet white printer paper with 8 newspaper clippings glued on. Handwritten note reads: Death notices for Peter Ellis - Bendigo Advertiser Wed 20th - Saturday 23rd May 2015. Death Notices. Ellis - Peter OAM. Our college community pays tribute to Peter, a highly respected former staff member and ex-student. He was a highly valued and supportive colleague, mentor and friend. Peter will be remembered for his wealth of scientific knowledge, his love of the natural environment and his contribution to the local and state Lab Technicians Associations. - Principal, staff and Students of Bendigo Senior Secondary College. City of Greater Bendigo. Ellis- Peter. A gentle man with a wonderful passion for Greater Bendigo's natural, built and musical heritage, Peter will be greatly missed by the Greater Bendigo Heritage Advisory Committee. He willingly shared his love and knowledge of the rich and unique heritage around us. Ellis - Peter Nicolaus OAM. You went so quickly. I will miss our trips to Festivals doing crosswords on the way. My sympathy to both families and Brian a great mate to the last. A void impossible to fill. - Mary Smith. Ellis- Peter OAM. A tribute to our intrepid band leader of 34 years who took us on an unforgettable musical journey of preserving and teaching the traditions of dance and music to old and young throughout Australia. You are irreplaceable ' Dirty Pierre' - Past and present members of the celebrated Emu Creek Bush Band. Ellis - Peter OAM. Founder and leader of Emu Creek Bush Band. Australia's largest collector of dancing history. A great friend taken far too young. Au revoir 'Dirty Pierre' - John and Sue Williams. Ellis - Peter OAM. Thanks Pete, you introduced me to a life of extraordinary experiences, amazing friendships, dance and music. We did have some fun. - Marg Hogan. Ellis - Peter. We are so saddened by your passing. Your music and great sense of humour will remain with us. - Wedderburn Old Timers Band. Ellis - Peter. A friend of many years. We will remember your warmth, humour and tireless pursuit to preserve the Natural Environment of Bendigo. Your love and knowledge of the Bendigo Flora was inspirational. - Mary and Patrick Ward. Ellis- Peter. A music and dance man with a warm appreciation and encouragement of diverse talent. - Winzar boys. Death Notices. Ellis - Peter. Greatly respected and loved by his many friends in the traditional music and dance movement across Australia. His achievements were many and he will be missed. - The Traditional Social Dance Association of Victoria. Ellis - Peter. The Bendigo Historical Society is saddened at the passing of fine musician and friend Peter Ellis. - Committee and members, Bendigo Historical Society. Ellis- Peter. A talented musician and long time friend who was always willing to help us. - Members of Euro fest Choir and Inc. Ellis - Peter. Friend and neighbour, nature's gentleman at rest. Sincere sympathy to Robyn, Rick, Ryan and Doug. - Judy Monti. Ellis- Peter OAM Fond memories of 28 years with the band. Sadly Missed. - Stan and Heather Symes. Death Notices. Ellis - Peter OAM Pete, a much loved friend of many years. We fondly remember your knowledge, humour and those great times together, especially in the bush. Deeply missed. - Rob and Glen Moors. Death Notices. Ellis- Peter. Fond memories, so sadly missed. Keep playing your music Peter. Loved cousin Cheryl and families. Ellis -Peter. Loved cousin of Sandra and Phil Jubber and families. Deeply Missed. Ellis - Peter. A long term member of the Bendigo Field Naturalist Club. Deepest sympathy to his friends, he will be sadly missed by all. Ellis - Peter. Leader of the 'Celebrated Emu Creek Bush Band' Memories of lots of great times playing and travelling all over. We learned so much about dancing and music and it just won't be the same. - Don and Julie. Ellis - Peter. Much loved friend, dancer and band leader. - Dianne and Doug Pearse. Death Notices. Ellis - Peter. Peter, you gave so much laughter and happiness to many, many people through your lovely nature and your brilliant music to listen to and dance to. You have left a legacy of music, books and dance as well as unforgettable memories. Rest in peace. - Diana Austin. Death Notices Ellis Peter 27/3/1946 - 18/5/2015 Formerly of Emu Creek Bush Band and the Wedderburn Old Timers). Passed away suddenly at Bendigo Hospice. Loved son of Joan and Allan Nielsen (both Dec). Loving brother of Robyn and Doug. Brother-in-law of Rick and Uncle of Ryan and the extended family. Let the music play on… For Funeral arrangements see later edition. Death Notices. Ellis - Peter Nicolaus O.A.M. Suddenly. An inaugural member of the Bush Dance and Music Club and the Emu Creek Bush Band. A much loved friend, dance instructor and musician. Very generous with his time and knowledge. Passionate collector of dance music and old time dances. Will be sadly missed by all who knew him. - Devastated dance members. Ellis- Peter. OAM 27/3/46 - 18/5/15 Passed away peacefully after a brief illness. Much loved and irreplaceable brother, cousin and uncle to the Lilford, Datson, Burns, Shaw and Kitch families. You enriched our lives. No words can express how much we will miss you. Ellis Pierre (Peter) You were as much a father to me as an uncle. I never told you that or how much I looked up to you. You will be sadly missed - Boswald ( Ryan). Ellis - Peter. We are going to miss our Monday night dinners before rehearsal. A lover of fine wine, good food and great music. Pierre, our Maestro and fearless band leader, we will miss the sound of your squeeze box and your passion for the music. - Paul and Alida Robinson, Emu Creek Bush Band. Ellis - Peter. A close friend colleague, musician, authority on native plants and colonial music researcher. An enormous influence in preserving early Australian dance and dance music. We will all miss you Pete. - Jill and Graeme Balaam. Funeral Notices Ellis. A service of thanksgiving for the life of the late Mr Peter Nicolaus Ellis will be held at the Mulqueen Family Chapel, 15-25 Bridge street, Bendigo on MONDAY (May 25) at 11.00am. A private cremation will follow. Tributes can be left at www.heavenaddress.com Mulqueen Family 15-25 Bridge street, Bendigo Est. 1853 5443 4455.person, individual, peter ellis oam -
Bendigo Historical Society Inc.
Document - PETER ELLIS COLLECTION: PETER ELLIS OBITUARY, 23rd May, 2015
Colour photocopy of newspaper article Obituary. Dated Saturday, May 23, 2015. Article is not complete. Titled Peter Ellis O. Reads: Bendigo is set to farewell a true national treasure. Dawn Rasmussen reports. Peter Ellis OAM 1946-2015. Friends, colleagues and mates around the world agree, with the passing of Peter Ellis OAM, Bendigo has lost a national treasure. 'Peter was passionate about dance, music, photography and the environment, and watching him tend to his interests, like a juggler with 100 different objects in the air, was a sight to behold,' friend John Williams said. In his 70th year, Peter was known for his casual approach to the niceties but he always insisted his teapot be adorned with a suitable tea cosy. He enjoyed a glass of wine with friends, hunting up the history of folklore, dance and music, and nothing better than a walk in the bush. Peter is one of the leading collectors and presenters of traditional dance tunes, dances and musical instruments in Australia. At the 2005 National Folk Festival it was announced by Robyn Holmes that he has the largest selection of dance related material collected in the National Library Archives in Canberra, collected over many years, with mates like the late John Meredith (AM), Shirley Andrews (AM), Rob Willis and Dave Di Santi among others. He literally travelled Australia collecting, and had extensive field recordings from Western Australia and Tasmania in addition to his Victorian collection. .. .. .. And central Victoria. Peter collected a lot of material from Harry McQueen (Castlemaine), who played in dance bands for over 60 years in central Victoria. Harry had a number of tunes from Bill McGlashan who had taken Harry under his wing as a young man. Through Peter's efforts much valuable material and knowledge from almost a century ago was saved for posterity. As a charter member and life member of the Bush Dance and Music Club of Bendigo and the Victorian Folk Music Club, a member of the famous Wedderburn Old Timers Band for over 28 years (two platinum and several gold recordings in that time), founder and leader of the Emu Creek Bush Band (29 years old in 2010) and creator of the 'Friday Night at the Spring Gully Hop' single CD, Peter has been a driving force in the local band and live music scene. Turning his attention to ensuring the music he unearthed would not be forgotten or let lay idle again, under his guidance three double CD's called Quadrille Mania' which contain many rare dances and tunes which have been learnt and recorded were produced, and a triple CD called 'Take Me back To Bendigo', composed of heritage songs and music from the Gold Rush to Federation. These Cd's show the multicultural heritage in Bendigo and include music and songs from the Koorie.. .. … and Welsh communities of Bendigo and district. Upon his recovery of costs Peter has handed over copyright to the Bendigo Community so future profits go back into the community. Three double CDs called 'The Merry Country Dance' with dances and tunes going back to the time of Governor Lachlan Macquarie's Ball in 1804. Most of the tracks are performed by the Emu Creek bush Band following much practice under Peter's tutelage. For further authenticity .. .. .. Tracks which were revived from almost 200 years ago and have now been recorded using the instruments of the time. There is an accompanying book which is set to become the 'Bible' for anyone interested in social dance in Australia. Other CDs include Bush Concert recordings (Volume 1 Goornong), Cooee, Songs of the ANZACs two- CD set in conjunction with the Bendigo Historial Society, 'Music of the Diggings' (four tracks by Peter or Emu Creek) and many more guest… ARTICLE CUT OFFperson, individual, peter ellis oam -
Federation University Historical Collection
Poster, 'Lysistrata ' Production Poster, 1974, 1974
White paper poster with black text and drawing of a woman in front of some gruesome looking people. The the poster was for a State College Victoria (formerly Ballarat Teachers' College) production held at the college hall in Gillies Street, Ballarat.Front: "S.C.V. Ballarat, formerly - Teachers Collge, Lysistrata, in the College Hall, Friday and Saturday, 12th and 13th, and Wednesday to Saturday, 17th to 20th July, 1974, at 8 pm, Admission - $1.00 Students, $1.50 non students, Bookings - Phone 341 202" Back: "Lysistrata, by Aristophanes, CAST LIST, Lysistrata: Liz Stubbs, Kalonike: Joy Dunstan, Lampito: Jenny Tait, Myrrhine: Denise Maroney, Stratyllis: Ann Bilston, Interviewer: Tina Conroy, Kinesias: Michael Russo, Police Commisioner: Tony Ryan, Spartan Ambassador: Terrence Dorian, Spartan Herald; Shane Quick. WOMEN'S CHORUS, Sue Richards, Tina Conroy, Ann Bilston, Anne Giles, Glenda Hamilton, Janette Marshall, Gillian Hogan, Janine Grieg, Robyn Stanesby, Stephanie Buchanan, Janeen McCullough, Wendy Gray, Elizabeth Evans, Jenny Tait (Leader of Spartans), Mary Staindl, Barbara Price. MEN'S CHORUS, John Rowe, Stephen Schneider, Chris Slater, Peter Hassell, Errol Elbourne, Peter Orford, Kieth McDougall,Terrence Dorian, Robbie Eastcott, Shane Quick, Gary Oliver. MUSIC, Piano: Robbie Eastcott. Drums: Alex Traianou. Congas: David Murphy. Rhythm Guitar: Kim Hatcher. Bass Guitar: Shane Quick. Clarinet: Steve Albon. Flute: Tina Conroy. Acoustic Guitar: Tony Ryan. TECHNICAL CREW, Lighting: Austin Rickell, Sound: Stuart Tolliday, Keith McIvor, Design: Bruce Miller, Terrence Dorian, Set Construction: Bruce Miller, Terrence Dorian, Ken Jones, Choreograph: Cheryl Brown, Costumes: Gillian Hogan, Mary Staindl, Props: Denise Maroney, Jenny Tait, Publicity and Front of House: Ruth Newall. ACKNOWLEDGEMENTS, Meena Bazaar for the Jug, Turner Audio Systems. DIRECTED BY, Miichael D. Edwards. DIRECTOR'S NOTE, The sexual power of women is all persuasive. If, as Germaine Greer says, they stopped loving the victors, there would be genuine revolution. The idea of a sex strike to stop a war seems preposterous.... What else is left to the aware but politically emasculated woman? Aristophanes, like us, had been appalled by a pointless and hopeless war. Outrageous indignation had failed to stop it - so he resorted to comic absurdity; perhaps to shame the warmakers. Our version of the play is colloquial and probably ' in vogue'. It is colorful, musical, flippant, and not a little risque. It is, however, based on an awareness of the power of sex roles and the arrogance of a male-dominated society and a profound sense of frustration at the apparently immovable forces that make our wars and enact repression in all its forms."ballarat teachers' college, production, state college of victoria, ballarat, gillies street, liz stubbs, joy dunstan, jenny tait, denise maroney, ann bilston, tina conroy, michael russo, tony ryan, terrence doran, shane quick, sue richards, anne gillies, glenda hamilton, janette marshall, gillian hogan, janine grieg, robyn stanseby, stephanie buchanan, janeen mccillough, wendy gray, elizabeth evans, mary staindl, barbara price, john rowe, jeff moore, stephen schneider, chris slater, peter hassell, errol elbourne, peter orford, keith mcdougall, terrance doran, robbie eastcott, gary oliver, david murphy, alex traianou, kim hatcher, steve albon, austin rickell, stuart tolliday, keith mcivor, bruce miller, ken jones, cheryl brown, ruth newall, michael d. edwards, norman lindsay -
Bendigo Military Museum
Photograph - Army Headquarters (AHQ) Survey Regiment Freedom of Entry Parade, Bendigo CBD, 1970
The Freedom of Entry to the City was an honour conferred by the Bendigo City Council to the AHQ Survey Regiment on the 20th of April 1970. The unit was granted for the first time the privilege of marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. The Freedom of Entry Parade occurred on the 14th of June 1970 led by the Regiment’s CO – LTCOL Bill Sprenger MID, MBE; the unit marched up View St in the CBD to the Queen Elizabeth II Oval. The ceremonial parade followed with a march past the guests of honour, Mayor of Bendigo Councillor Clark Jeffrey and military dignitaries. The parade concluded after formal inspections of the troops. A ceremonial scroll was presented to the Bendigo City Council to the AHQ Survey Regiment citing the occasion and was proudly displayed in the entry foyer to Fortuna Villa up to October 2008. The Regiment continued to exercise its Freedom of Entry with anniversary parades in 1977, 1980, 1985, 1990 and 1995. Refer to item 6020.8P for another set of photos of this event scanned from photographic prints.This set of 39 colour photographs were taken on the occasion of the Army Headquarters (AHQ) Survey Regiment’s Freedom of Entry parade to the City of Bendigo on the 14th of June 1970. The photographs are on 35mm negative film. They are part of the Army Survey Regiment’s Collection. The photographic negatives were scanned at 96 dpi. .1) to .2) - Photo, colour, 1970. AHQ Survey Regiment marches to Queen Elizabeth Oval entry, led by CO LTCOL Lionel Sprenger MBE, MID, unidentified 2IC and RSM WO1 John Hogan. .3) to .4) - Photo, colour, 1970. AHQ Survey Regiment at entry to Queen Elizabeth Oval, exercising its right of entry to City of Bendigo. .5) to .6) - Photo, colour, 1970. AHQ Survey Regiment marches down View St in the City of Bendigo. .7) to .11) - Photo, colour, 1970. AHQ Survey Regiment marches up View St in the City of Bendigo. .12) to .13) - Photo, colour, 1970. AHQ Survey Regiment enters Queen Elizabeth Oval, led by CO LTCOL Lionel Sprenger MBE, MID, unidentified 2IC and RSM WO1 John Hogan. .14) - Photo, colour, 1970. One of AHQ Survey Regiment’s squadrons enters Queen Elizabeth Oval. .15) to .19) - Photo, colour, 1970. AHQ Survey Regiment forms up on Queen Elizabeth Oval awaiting arrival of dignitaries. .20) - Photo, colour, 1970. AHQ Survey Regiment inspected by dignitaries. L to R: Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey, unidentified personnel. .21) to .23) - Photo, colour, 1970. AHQ Survey Regiment inspected by dignitaries. Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey. WRAAC personnel centre rank - PTE Desi Asaris, rear rank L to R: unidentified, PTE Pat Lumsden, PTE Heather (Turnbull) Slater, SGT Irene (Rankins) Saunders. .24) to .27) - Photo, colour, 1970. Band inspected by dignitaries. Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey. .28) to .30) - Dignitaries return to dias. Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey.Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey. .31) - Photo, colour, 1970. Unidentified Padre’s Freedom of Entry parade address. .32) - Photo, colour, 1970. AHQ Survey Regiment during the unidentified Padre’s Freedom of Entry parade address. .33) to .35) - Photo, colour, 1970. AHQ Survey Regiment led by CO LTCOL Lionel Sprenger MBE, MID, unidentified 2IC and RSM WO1 John Hogan march past the dais to salute the parade dignitaries. .36) - Photo, colour, 1970. Parade dignitaries at the dais: unidentified councillor, Mayor of Bendigo Councillor Clark Jeffrey. Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General. .37) to .38) - Photo, colour, 1970. AHQ Survey Regiment squadrons march past the dais to salute the parade dignitaries. .39) - Photo, colour, 1970. AHQ Survey Regiment WRAAC personnel march past the dais to salute the parade dignitaries. L to R: unidentified (x2), CPL Beryl Parkinson, unidentified (x2), PTE Robyn (Marsh) Kemsley, unidentified, WO2 Marj Knight, PTE Desi Asaris, PTE Heather (Turnbull) Slater, SGT Irene (Rankins) Saunders..1P to .3P – no annotationsroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr -
Bendigo Historical Society Inc.
Document - LA TROBE UNIVERSITY BENDIGO COLLECTION: BENDIGO TEACHERS' COLLEGE GRADUATION CEREMONY 1960
A cream document titled "Bendigo Teachers' College Graduation Ceremony 1960". The front page also contains a list of the staff working at the college. They are Mr. S. H. Walters (Principal), Miss J. C. Burnett, Mrs. N. F. Fawdry, Mrs. F. M. Petri, Miss R. E. Manlein, Mrs. D. J. Andrew, Mrs. B. F. Hughes, Miss K. Alexander, Miss C. M. Oughton Jones, Miss B. H. Cowling, Mrs. A. J. Coleman, Mr. F. M. Courtis, Mr. D. A. Newbury, Mr. F. X. Martin, Mr. C. L. Barker, Mr. T. J. McCabe, Mr. F. G. East, Mr. P. F. Fitzpatrick, Mr. M. Pratt, Mr. W. J. F. Bernoth, Mr. R. L. Strauch, Mr. M. A. James, Mr. R. E. Wittman, Mr. C. F. Houston, Mr. J. R. R. McLeod, Mr. G. G. Woodfield and Mr. K. C. Coles. The inside cover contains the "Significance of the Ceremony" and "Order of the Ceremony". Mr. F. M. Courtis welcomed the visitors whilst the Principal read the College Charge. The 'Graduation Book' was presented to Mr. A. L. Harris Inspector of Schools by Miss J. C. Burnett.The final roll call for 1960 was read by Mr. C. L. Barker. Congratulations were offered by The Mayor of Bendigo Cr. R. H. Wilson,J. P., Cr. T. A. Drechsler President of Strathfieldsaye Shire and Mr. G. Salathiel, Head Teacher of Gravel Hill State School. Finally the Occasional Address was presented by Mr. F. H. Brooks Assistant Director of Education. The following page contains a list of "Students of 1958-1960 Trained Infant Teacher's Certificate" - Marjorie May Allen, Janice Helen Ashman, Grada Ali Bos, Joan Margaret Busfield, Barbara Joan Cameron, Shirley Margaret Cribbes, Marcia Ann Davison, Margaret Mary Frances Dick, Lorraine Jean MacIntosh Goddard, Beverley Lorraine Goudie, Jennifer Joy Hamilton, Maureen Margaret Hunt, Shirley Joyce Innocent, Monica McKenna, Eileen Bernadette Mulvahil, Nola Ellen Parker, Jeanette Mary Pearson, Maureen Anne Pentland, Elaine Denise Pochon, Marian Judith Rechter, Marilyn Joy Rose, Catherine Shiels, Margaret Evelyn Stevenson, Rosemary Sutherland, Patricia Helen Tassicker, Eileen Monica Tuohey, Robin Elizabeth Walters, Patricia Ann Wenn and Ethel Dawn Whitelock. The back page contains a list of "Students of 1959-1960 Trained Primary Teacher's Certificate". - Kathleen Anne Algie, Ian Armstrong, Lorna Constance Barbour, Ronald Lindsay Bell, Michael Laurence Brown, Ross Ernest Brown, Graeme Lambden Budd, Duncan Leslie Thomas Cameron, Peter Morgan Clutterbuck, Joan Christine Connor, Allen William Cornelius, Glenys Elaine Cussins, Jean Elizabeth Davis, Denis William DeCann, Robert Alain Denham, Janet Carmel Doyle, Patricia May Edwards, Walter Kenneth Espagne, Fay Iris Evans, Brenda Gertrude Farrell, Malcolm George Ferguson, Elizabeth Joyce Fitzgerald, Kevin Joseph Foley, Barbara Violet Forrester, Lawrence Joseph Ginnivan, Peter Murray Graham, Thelma Elaine Grist, Dorothy Robyn Haines, William Jon Hall, Patricia Jeanette Hancock, Robert John Harris, William Ian Hart, Lorraine Moira Holmes, Lynette Ann Ireland, Morris Raymond Jackman, Christine Jackson, Margaret Nancy Jackson, Nanette Elizabeth Johnson, Trevor John Kellam, Robert Bruce Kemp, Ross Eliot Koochew, Henry Francis Lean, Janet Bobbie Leabeter, Rosemary Elizabeth Lowe, Graeme Stanley Lucas, Joy Patricia Maxwell, Terence Michael Mulvihill, George Alan Murdoch, Kevin Michael Murphy, Ann-Marie McCallum, Helen June Nixon, Kerry Joy O'Brien, William John O'Connell, Christine Lynette Olsen, William Stanley Page, Janice Anne Preston, John Stuart Reed, William Francis Reeves, Gary Desmond Robbins, Peter John Schlitz, Donald John McIntosh Shadforth, Gavin James Smith, John Archibald Spark, Illar Streimann, Janice Margaret Taylor, Ian Leonard Thornton, Rosemary Fay Wait, Russell Gilbert Walker, James John Wallis, Clare Mary Ward, David Ross Wiedermann, and Stephen Wilkinson.bendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo, education, teaching, teachers, students, graduation, tertiary education, graduation ceremony, history, book, bendigo teachers' college staff, graduands, graduates, bendigo teachers' college students, teacher training