Map of significant Paris buildings and categorizing of historical buildings.map, paris, historical buildings, modern buildings, walsh st library

Modern building now on vacant block of land in frontDigital TIFF file Scan of 35mm Ilford FP3 black and white transparencybalwyn road, houses, melbourne, mont albert road

Colour photograph: Image shows orange brick single storey building. Tile roof. Wrought iron supports on verandah. Relatively modern building, 1950's. No name on hotel, but known to be Bulls Head Hotel, McIvor Road, Bendigo , owned by Svanosio family.bendigo, hotel, bulls head hotel

This photograph shows ruins below a modern building (location not known)Digital copy of black and white photograph. No caption on this photographcharles marshall, world war 1

This building was burned down in [date to be checked], and a new, modern building built.Post card with black and white photograph of St Mary's Church centred on the card with caption beneath photo.st marys church, churches

This building was burned down in [date to be checked], and a new, modern building built.Post card with black and white photograph of St Mary's Church centred on the card with caption beneath photo.churches, st marys church

Lakes Sports and Community Club on Esplanade shows single story building with modern facade, child playground beside lawns in foreground Lakes Entrance Victoria. Built on site of Carpenters Camp Park residence which was relocated to Hunters Lane in 2003Colour photograph of Lakes Sports and Community Club on Esplanade shows single story building with modern facade, child playground beside lawns in foreground Lakes Entrance Victoriabusinesses, roads and streets

Building has been replaced by a modern brick buildingBlack & white photograph, unframed but pasted to pages of an album. Viticultural College"Viticultural College Rutherglen"viticultural college, winemaking, rutherglen research centre

Copy of a newspaper cutting titled Modern Building Replaces The Old Post Office at long Gully. Written on the paper is 18/2/47 and Opened 17/2/47. Article mentions the generosity of Mr Thomas Paynting for erecting the new Post Office which the department leased from him. Mrs Paynting opened the new office and was the first customer. A photo shows the window of the old Post Office. It has Post & Telegraph Office and the monogram of Queen Victoria.bendigo, history, long gully history group, the long gully history group - old long gully post office, mr a g porritt, mr thomas paynting, mr s dawson, mr f straub, postal department, mr w s cox, long gully progress association, mrs paynting, the advertiser

The single storey Royal Hotel was built on the SE corner of Brook and Evans Street in 1861, two years after a rail service reached Sunbury. It occupied that site until July 1936 after a fire destroyed the building. It was decided to demolish the old hotel and replace it with a modern building. The first stages of the building's demolition have been captured in this image.The Royal Hotel was one of the first hotels to be built in Evans Street when businesses moved from Macedon Street closer to the station after rail services came to Sunbury in 1859.A non-digital black and white photograph of a single storey hotel building being demolished. The doors and windows have been removed as well a portion of the iron roofing. Three empty barrels are stacked by the doorway. royal hotel, brook street, evans street, hotels

Apartments opened for 1991 / 1992 seasonColour photograph of Bellevue Apartments, built on Marine Parade. Modern style building, concrete slab construction, each unit having own balcony. Section of Lakeside Motel seen on left, Hybiscus Motel on right. Car on street at front. Lakes Entrance Victoriahotels, architecture, transport

The first Sunbury Community Health Centre was built on the corner of Horne Street and Gap Road in a temporary building. As result of further funding in 1974, a permanent building was erected and opened in 1981 and operated from that site until 2000 when it was relocated into a larger and more modern building on the former Sunbury Primary School site in Macedon Street to accommodate Sunbury's expanding population and needs.It now operates under the name of Sunbury and Cobaw Community Health Centre. The old building was demolished and replaced with a fast-food outlet.A non-digital coloured photograph of the Sunbury Community Health Centre showing the notice board displayed in the front giving phone details and parking area.sunbury community health centre, health centres, gap road, horne street

Beehive buildings. This was originally the Sandhust Mining Exchange and as such was the oldest purpose built exchange in Australia and was one of only two in regional Australia. It was initially established in the 1850's to service the miners of the area. It's first double story incarnation as the Bendigo Stock Exchange, contained up to 2000 stockbrokers and 5000 shareholders. In 1871 the building burnt to the ground and the new and current building was completed in 1872. The modern building was designed by Charles Webb, who was also responsible for the Royal Arcade in Melbourne. and features a pitched glass roof similar to the Royal Arcade, Melbourne.Unused Beehive Store receipt book (nos. 001204-1 to 50). Owner R.O. Henderson (Beehive) Pty Ltd, Pall Mall and Hargreaves Streets, Bendigo. Undated. Light paper cover, rear card cover, bound book. Four unused envelopes, with Beehive \ letterhead in upper left-hand corner.Receipt book nos. 001204-1 to 50the beehive, invoice

Historic department store package label. Beehive buildings. This was originally the Sandhust Mining Exchange and as such was the oldest purpose built exchange in Australia and was one of only two in regional Australia. It was initially established in the 1850's to service the miners of the area. It's first double story incarnation as the Bendigo Stock Exchange, contained up to 2000 stockbrokers and 5000 shareholders. In 1871 the building burnt to the ground and the new and current building was completed in 1872. The modern building was designed by Charles Webb, who was also responsible for the Royal Arcade in Melbourne. and features a pitched glass roof similar to the Royal Arcade, Melbourne.Historic The Beehive department store package labelPale yellow package label with green textthe beehive store pall mall through to hargreaves strreet, bendigo

The building is the former Sunbury State School 1002, which was relocated to the former Industrial School in Jacksons Hill in 1999. The Federation Style building replaced an earlier school building in 1912 and it is now incorporated into the Sunbury Community Health Centre complex. A school in Sunbury has occupied the site on the corner of Macedon and Stawell Streets from 1870 to 1999. A coloured photograph of a red brick single storey Federation style building with an orange tiled roof. A white minivan is parked outside the building and a modern cream brick building is visible on the LHS of the photograph.sunbury state school no. 1002., sunbury community health centre

Early 1950s items and costs (in pounds shillings and pence) pre-decimal charges for itemised gifts. Beehive buildings. This was originally the Sandhust Mining Exchange and as such was the oldest purpose built exchange in Australia and was one of only two in regional Australia. It was initially established in the 1850's to service the miners of the area. It's first double story incarnation as the Bendigo Stock Exchange, contained up to 2000 stockbrokers and 5000 shareholders. In 1871 the building burnt to the ground and the new and current building was completed in 1872. The modern building was designed by Charles Webb, who was also responsible for the Royal Arcade in Melbourne. and features a pitched glass roof similar to the Royal Arcade, Melbourne.Christmas Gifts at the Beehive - a shopping flyer for the Beehive department store, circa early 1950s. the flyer covers Christmas gifts across the various departments of the Beehive Store in Pall mall and Hargreaves Street Bendigo. Two-page folded flyer, black printed on cream paper. Printed by Cambridge Press, Bendigo. Early 1950s items and costs (in pounds shillings and pence) pre-decimal charges for itemised gifts.the beehive, christmas gifts

Produced as one of a series of 24 prints commissioned by Nunawading & District Historical Society -|Theme: Intersections of Mitcham and Nunawading 2000/2001.|See also Series by P. Simmenauer on the same theme.Black and white photograph - print and negative of corner of Enterprise Way & Edward Street looking South towards Whitehorse Road, Mitcham. L-R: Church Tower [Anglican Church](built circa 1959). Tower surmounts a modern church building in brick and concrete; next door Church Hall 1888 weatherboard construction; Cypress tree; Forster Hall, brick building (circa 1975)forster hall, mitcham, christ church anglican church, church hall

Four ring binder containing correspondence re plant development Central Deborah Mine Bendigo 1939 - 1948 part 1, McColl Rankin Stanistreet Solicitors, Mining box 1.Newspaper clipping Bendigo Weekly Friday September 2 2016 referring to the construction of a modern office building at View point, 4 floors and have a lift(elevator), called Commercial House later becoming Cahill Chambers. Mosaic 5834 linkbook, bendigo, mining, history-bendigo-mining

This reproduction photograph was donated in 1986 during research for the first history of the school, 'The Westbourne and Williamstown Grammar Schools: A History of the First 120 Years (1867-1986)' by historian Joseph Johnson. It pictures female students in 1954. The students are pictured at Holy Trinity Hall which was situated behind the Holy Trinity Anglican Church, Nelson Place, Williamstown. The hall was located on the corner of Aitken and Pasco Streets, Williamstown, and was home to the school for 41 years from 3 February 1915. In 2008, Holy Trinity Williamstown approached the school to take possession of and relocate the heritage listed building, so that the church could redevelop its property.The relocation of Holy Trinity Hall was an enormous task and very large commitment by Westbourne Grammar to its heritage. Considerations included cost, relocation logistics, architectural conservation, modern building codes and educational facility standards. In 2010, after more than two years of process between the Anglican Church and Westbourne Grammar, including approval from Heritage Victoria and assistance from the Labour government's Building the Education Revolution program, the Holy Trinity Hall was moved to the Truganina campus and once again became a site of gathering and learning for Westbourne Grammar students. Black and white reproduction photograph. The image shows four rows of girls standing before a side wall of Holy Trinity Hall. A window is present behind the group of students and another window can be seen in the top right hand corner of the image.On the verso, "1954 Girls" in black ink and "79" in a circle in blue ink.

Robert Samuel Valentine Cocking (1882 - 14/5/1945) Born in Bendigo, Val Cocking began hi retail career at Myer Bendigo before opening his own draper shop c. 1912 in the lower block Pall Mall. In 1914 he moved his stock into temporary premises while he renovated his new shop, which combined the former Post Office Hotel and adjacent grocery and stationary shops. The new emporium opened in Aug 1918 selling drapery and soft goods. Mr Cocking was a champion rifle shooter; President of the Bendigo Chamber of Commerce; President of the Sandhurst Football Club for 18 years and President of the Bendigo Cricket Club. Bennetts Hardware shop was in Hargeaves St near the entrance to Allan's Walk in the 1950's. Beehive buildings. This was originally the Sandhust Mining Exchange and as such was the oldest purpose built exchange in Australia and was one of only two in regional Australia. It was initially established in the 1850's to service the miners of the area. It's first double story incarnation as the Bendigo Stock Exchange, contained up to 2000 stockbrokers and 5000 shareholders. In 1871 the building burnt to the ground and the new and current building was completed in 1872. The modern building was designed by Charles Webb, who was also responsible for the Royal Arcade in Melbourne. and features a pitched glass roof similar to the Royal Arcade, Melbourne.Three samples of wrapping paper from a. Cockings, b. Bennetts Store & c. Beehive storeswrapping paper, cockings, bennetts, beehive

This model was part of a panorama of 11 pieces designed from an almanac in the 1892 Port Fairy Gazette. The Panorama was used in a Historical Display in the historical society rooms in Bank Street but displays the more modern use when the building became the property of the Port Fairy Historical SocietyThis Panorama was part of an eleven piece Panorama of the Streetscape of Port Fairy in 1982. Made by a local resident.Small handmade model of a shop front from the 1892 almanac.In glass display box. Filled with furniture and display cases as it was in the early 1970`sBuilt 1889 Purchased Port Fairy Historical Society as their headquarters Members Welcome Now open Windows "Port Fairy Historical Society" This is model of 24 Bank Street First Museum 1977-1992panorama, model, almanac, historical society, bank street, mewkill

The Eltham Hotel was opened in 1854 situated on the south east corner of Main Road (Maria Street) and Pitt Street. Post card dated Eltham 2.1.1908 sent to Mr C. Watson "Malvale" Mardan Inscribed "Wishing you a Brigt and Happy New Year from Florrie" Most likley sent by Florence May Shillinglaw to sister Carrie Watson and new brother-in-law Christopher Watson - The Watsons married in 1907 View looking south on Main Road towards Pitt Street and Watson's Eltham Hotel on left. At this time, the hotel was run by Christopher Watson Jnr. Carrie Shillinglaw had recently married his son, Christopher. Ultimately the hotel would pass to his youngest son, Herbert James (Jim) Watson who demolished the original building in 1925 and erected a new modern building on the same site that remains in present time though modified several times over the years. See also EDHS_00133 POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, postcard, eltham hotel, florence may bunker (nee shillinglaw) (1886-1969), main road, pitt street, caroline (carrie) watson (nee shillinglaw 1876-1956), christopher watson, 1908

Stawell Post office built in March 1875 replacing the 1860 weather board building in the early Township of Stawell. The stucco exterior was described as modern Italian, and the building had excellent proportions. Special reference was made to the use of slate from Great Western. The foundations are of solid granite. The difference in this photograph to 85.01 would be approximately 100 years. Stawell Post Office possibly before 1880's on Corner of Wimmera and Main Street. Man on right of photograph standing in front of Akins Seed and Stationers Store near telegraph pole and horse. stawell

Black and white negative, by Wal Jack, of PCC 980, northbound bound in Glenferrie Road at High Street with the destination of Kew Cotham Road. The Bank was replaced by a more modern looking building during the 1970's. In the background is the ES&A bank on the corner. Jane Nigro advised 9/9/2020: "1907 Photo of the E. S. & A. Bank on the corner of High Street and Glenferrie Road, Malvern. In 1885 land on corner of Glenferrie Road & High St. (40' x 150') was purchased by E.S. & A. Bank. A condition of sale was that the bank erect on the land a 'substantial brick building to be used as a branch bank', within 24 months. The E.S. & A. Bank, single-storey four roomed brick, was built in 1888. The first manager was Frederick Leonard. In 1907 a second storey, including residential quarters for the manager, was added to bank at a cost of £1400.The Bank was demolished in 1958-9and replaced with present building."trams, tramways, pcc class, glenferrie road, route 69, kew- cotham rd, tram 980

Two blue covered with dark blue printing for an auction sale held on the 11th and 12th December, 1944 at the Commonwealth Antimony Mine at Coimadai, near Bacchus Marsh, Vic. Of Modern Mining & General Machinery, Buildings, Tools, Stores, Plant & Equipment by Order of Commonwealth of Australia, Department of Supply and Shipping. Sale conducted by permission of the Director of Machine Tools and Gauges under Regulation 59 of the National Security (General) Regulations. J. H. Curnow & Son ere the auctioneers.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - commonwealth antimony mine, j h curnow & son, j l jamieson & co, w g wedd, prahran telegraph print

Bendigo Advertiser "The way we were" from 1999. Queen Street: factory, circa 1900. In 1893, Simon Brown formed a partnership with Charles Turner in Williamson Street, Bendigo, trading as Brown&Turner. The partnership had ceased by 1900 when the business was relocated to a modern two-storey brick building at 8-12 Queen Street where it traded as S. Brown & Company. With the gradual decline in carriage sales S. Brown & Companybecame motor dealers in about 1930 and continued to trade until the 1970s.newspaper, bendigo advertiser, the way we were

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

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

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

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