Showing 70 items matching "c plum"
-
Victorian Harness Racing Heritage Collection at Lord's Raceway BendigoDocument - Record, Harness Horse, Maestro's Melody
... ...c plum...Career: 27 wins 18 seconds 13 thirds 139 starts. harness racing australasian harness racing horse career performance records bendigo harness racing club bhrc maestros melody f shinn c plum Typed document in black and red ink. ...Stephen Spark compiled horses performance records starting in 1983 on his typewriter. Maestro's Melody raced from 1955 (2yo) through to 1965 (12yo). Career: 27 wins 18 seconds 13 thirds 139 starts.Typed document in black and red ink.harness racing, australasian harness racing, horse career, performance records, bendigo harness racing club, bhrc, maestros melody, f shinn, c plum -
Eltham District Historical Society IncPhotograph, George Coop, Carrucan's Dairy on Dalton Street, Eltham, c.1969, 1969
... Tim Erickson, (a nephew to Betty Erickson, nee Carrucan) reacalled (9 May 2025): the bottom front paddock ran from MeteryRoad to Mount Pleasant Road The brick dairy from 1thje 1950s had 10-15 milking cow , Jersey and Guernsey6 and the used to send the cream to Eltham Dairy The garage when Tim was a child used to house a couple of sulkies The laundry was a local home built job The small house built late 1940s for Betty Carrucan for her family The small orchard grew Quince, Apple and Plum The main block was the upper paddock Cypress trees remain present as of 2025 Originally 2 buildings but a third was added in the early 1900s for a kitchen and dining Bible Street, Carrucan dairy, Carrucan home, Dalton Street, Eltham, Mount Pleasant Road Digital TIFF file Scan of 35mm Ilford HP4 black and white transparency Carrucan's Dairy on Dalton Street, Eltham, c.1969 Photograph George Coop ...Viewed from intersection of Mount Pleasant Road and Metery Road looking northwest. The dairy is in the foreground situated on Dalton Street. An unmade Bible Street can be seen running down the hill at the left to intersect with Dalton Street. Dalton Street runs from left to right between the dairy and the Carrucan family home opposite located on the southeast corner of Bible and Dalton streets. Doug Orford recalls the dairy was at a slight angle to Dalton Street. Tim Erickson, (a nephew to Betty Erickson, nee Carrucan) reacalled (9 May 2025): the bottom front paddock ran from MeteryRoad to Mount Pleasant Road The brick dairy from 1thje 1950s had 10-15 milking cow , Jersey and Guernsey6 and the used to send the cream to Eltham Dairy The garage when Tim was a child used to house a couple of sulkies The laundry was a local home built job The small house built late 1940s for Betty Carrucan for her family The small orchard grew Quince, Apple and Plum The main block was the upper paddock Cypress trees remain present as of 2025 Originally 2 buildings but a third was added in the early 1900s for a kitchen and diningDigital TIFF file Scan of 35mm Ilford HP4 black and white transparencybible street, carrucan dairy, carrucan home, dalton street, eltham, mount pleasant road -
Port Melbourne Historical & Preservation SocietyBook - Minutes, Borough of Port Melbourne, Edward C Crockford, Town Clerk, Finance & Legislative Committee from 6th January 1887 to 16 January 1894, 1887 - 1894
... Port Melbourne Historical & Preservation Society Port Melbourne Town Hall 333 Bay Street Port Melbourne melbourne Local Government - Borough of Sandridge Edward CLARK Town Clerks Mayors George William DEAN David Clark ARMSTRONG James CLOSE Henry Norval EDWARDS James John BARTLETT John Finlay MALCOLMSON Charles Henry MARTIN Alfred Lazarus LEVY James Ker Beck PLUMMER Michael Tarver QUINN Charles SMITH Phillip Melville SALMON TARVERT William RICHARDSON Colin TURNBULL William Henry PROHASKY Edward C CROCKFORD John Charles HILL Minutes of the Finance & Legislative Committee of Port Melbourne Borough 1887 - 1894, covering passing of accounts, reviewing finances and also legislation relevant to Councils, determining rates and associated matters. ...Minutes of the Finance & Legislative Committee of Port Melbourne Borough 1887 - 1894, covering passing of accounts, reviewing finances and also legislation relevant to Councils, determining rates and associated matters. The Town Clerk generally signed as well as the Chairman.local government - borough of sandridge, edward clark, town clerks, mayors, george william dean, david clark armstrong, james close, henry norval edwards, james john bartlett, john finlay malcolmson, charles henry martin, alfred lazarus levy, james ker beck plummer, michael tarver quinn, charles smith, phillip melville salmon, tarvert, william richardson, colin turnbull, william henry prohasky, edward c crockford, john charles hill -
Port Melbourne Historical & Preservation SocietyLetter - To Rev F C Platts, Vicar, Holy Trinity Anglican Church, Sandridge from parishioners suggesting he remove "to some other sphere of labour", David Thomas, 16 May 1868
... Religion - Anglican (Holy Trinity) Public Action Campaigns David THOMAS George TRODD Thomas SWALLOW William MORLEY James Ker Beck PLUMMER William Richardson TARVER Henry DANDO Frederick Charles PLATTS William GARSIDE Robert MULFORD James ELSWORTHY R G BANNER Richard J BARLOW William James BARLOW Thomas CLAY Mrs CANE Mrs MASON William ARNOLD Thomas SLATER William COOK John SHARPLES S BENTLEY E STEVENS George KENTISH Thomas RIPKEY C EARNSHAW George CARNABY Henry Charles CURTIS F A W 'Skip' SHORT Small handwritten letter to the vicar of Holy Trinity Rev F.C. ...This 1868 letter was kept by unknown persons until 100 years later, it was then forwarded to Holy Trinity Secretary F.A.W. ('Skip') SHORT. The persons not signed but listed at closing of the letter were all prominent citizens including various Councillors. A copy of letter in The Age, 16 May 1868, p1 lists 27 parishioners (giving better identification of the people ie first names or initials) plus 73 others. In both the handwritten letter and the printed copy in The Age the names CURTISS and Henry Chas. CURTISS are listed. While this could be the correct spelling we have used Henry Charles CURTIS which is the much more common reference to him in newspapers. He was a surgeon and Sandridge Councillor (8 Aug 1867 - 4 Feb 1873).Small handwritten letter to the vicar of Holy Trinity Rev F.C. PLATTS, 1868, suggesting he remove "to some other sphere of labour" - from 25 listed parishioners "and 73 others!"religion - anglican (holy trinity), public action campaigns, david thomas, george trodd, thomas swallow, william morley, james ker beck plummer, william richardson tarver, henry dando, frederick charles platts, william garside, robert mulford, james elsworthy, r g banner, richard j barlow, william james barlow, thomas clay, mrs cane, mrs mason, william arnold, thomas slater, william cook, john sharples, s bentley, e stevens, george kentish, thomas ripkey, c earnshaw, george carnaby, henry charles curtis, f a w 'skip' short -
Port Melbourne Historical & Preservation SocietyBook - Minutes, Port Melbourne Council, Officers of the Town Clerk's office and Councillors, Sanitary Committee appointed 11 March 1890, 1890 - 1893
... Port Melbourne Historical & Preservation Society Port Melbourne Town Hall 333 Bay Street Port Melbourne melbourne Local Government - Town of Port Melbourne Local Government - Borough of Port Melbourne Health - General Health Engineering - Canals and Drainage Health - Hospitals James John BARTLETT Henry Norval EDWARDS John Charles HILL John Finlay MALCOLMSON James Ker Beck PLUMMER William Henry PROHASKY Michael Tarver QUINN William RICHARDSON Edward CLARK Town Clerks Phillip Melville SALMON William Richardson TARVER Edward C CROCKFORD Minutes of Port Melbourne's first Sanitary Committee appointed by Council on 11.03.1890 in response to a health statute. ...Minutes of Port Melbourne's first Sanitary Committee appointed by Council on 11.03.1890 in response to a health statute. Dealt with cases of infectious disease and all sanitary matters between 1890 and 1893, meeting frequentlylocal government - town of port melbourne, local government - borough of port melbourne, health - general health, engineering - canals and drainage, health - hospitals, james john bartlett, henry norval edwards, john charles hill, john finlay malcolmson, james ker beck plummer, william henry prohasky, michael tarver quinn, william richardson, edward clark, town clerks, phillip melville salmon, william richardson tarver, edward c crockford -
Port Melbourne Historical & Preservation SocietyBook, Officers of the Town Clerk's office and Councillors, Minute book - Finance, Legislative and Sanitary Committee of Port Melbourne council commencing 16 January 1894, ending 21 Dec 97, 1894 - 1897
... Port Melbourne Historical & Preservation Society Port Melbourne Town Hall 333 Bay Street Port Melbourne melbourne Local Government - Town of Port Melbourne Local Government - Borough of Port Melbourne Health - General Health Engineering - Canals and Drainage Health - Hospitals Law Alexander Joseph BAIN John Charles HILL John Finlay MALCOLMSON James Ker Beck PLUMMER Frederick POOLMAN Michael Tarver QUINN George Washington ROBBINS Jnr George CUSCADEN William Richardson TARVER Edward C CROCKFORD Henry Norval EDWARDS Minutes of Port Melbourne's Finance, Legislative and Sanitary Committee meetings considering estimates, setting rates, receiving reports form Health Officer, dealing with legislative and sanitary matters usually raised by the Town Clerk 1894-1897 Minute book - Finance, Legislative and Sanitary Committee of Port Melbourne council commencing 16 January 1894, ending 21 Dec 97 Book Officers of the Town Clerk's office and Councillors ...Minutes of Port Melbourne's Finance, Legislative and Sanitary Committee meetings considering estimates, setting rates, receiving reports form Health Officer, dealing with legislative and sanitary matters usually raised by the Town Clerk 1894-1897local government - town of port melbourne, local government - borough of port melbourne, health - general health, engineering - canals and drainage, health - hospitals, law, alexander joseph bain, john charles hill, john finlay malcolmson, james ker beck plummer, frederick poolman, michael tarver quinn, george washington robbins jnr, george cuscaden, william richardson tarver, edward c crockford, henry norval edwards -
Port Melbourne Historical & Preservation SocietyBook - Port Melbourne Council, Officers of the Town Clerk's office and Councillors, Finance, Legislative and Sanitary Committee and Committee of Whole Council, 1898 - 1902
... Port Melbourne Historical & Preservation Society Port Melbourne Town Hall 333 Bay Street Port Melbourne melbourne Local Government - Town of Port Melbourne Local Government - Borough of Port Melbourne Health - General Health Engineering - Canals and Drainage Health - Hospitals Law Alexander Joseph BAIN James Arthur BOYD John Charles HILL David Clark ARMSTRONG Arthur HESTER James Ker Beck PLUMMER John O'BRIEN Michael Tarver QUINN George Washington ROBBINS Jnr George Samuel WALTER William WATSON William Richardson TARVER Edward C CROCKFORD Henry Norval EDWARDS Minutes of Port Melbourne's Finance, Legislative and Sanitary Committee meetings considering estimates, setting rates, receiving reports form Health and other officers, dealing with legislative and sanitary matters usually raised by the Town Clerk 1898-1902. ...Minutes of Port Melbourne's Finance, Legislative and Sanitary Committee meetings considering estimates, setting rates, receiving reports form Health and other officers, dealing with legislative and sanitary matters usually raised by the Town Clerk 1898-1902. It also records some meetings of the Committee of Whole Council.local government - town of port melbourne, local government - borough of port melbourne, health - general health, engineering - canals and drainage, health - hospitals, law, alexander joseph bain, james arthur boyd, john charles hill, david clark armstrong, arthur hester, james ker beck plummer, john o'brien, michael tarver quinn, george washington robbins jnr, george samuel walter, william watson, william richardson tarver, edward c crockford, henry norval edwards -
Port Melbourne Historical & Preservation SocietyMap, Port Melbourne Sheet 4, 1962
... Port Melbourne Historical & Preservation Society Port Melbourne Town Hall 333 Bay Street Port Melbourne melbourne Built Environment Framed line drawn map of Port Melbourne (sheet 4) 1962, covering the area from Beach Street (including Station and Princes Piers) to Plummer Street and Todd Road area to Dow Street Port Melbourne Sheet 4 Map A C Brooks, Government Printer ...Framed line drawn map of Port Melbourne (sheet 4) 1962, covering the area from Beach Street (including Station and Princes Piers) to Plummer Street and Todd Road area to Dow Streetbuilt environment -
Port Melbourne Historical & Preservation SocietyMap, Port Melbourne Sheet 1, 1962
... Port Melbourne Historical & Preservation Society Port Melbourne Town Hall 333 Bay Street Port Melbourne melbourne Local Government - City of Port Melbourne Framed line drawing map of Port Melbourne (sheet 1) 1962, covering the area from Coode Canal to Plummer St and Todd rd to Boundary St Port Melbourne Sheet 1 Map A C Brooks, Government Printer ...Framed line drawing map of Port Melbourne (sheet 1) 1962, covering the area from Coode Canal to Plummer St and Todd rd to Boundary Stlocal government - city of port melbourne -
Port Melbourne Historical & Preservation SocietyBook - Sandridge Marine Lodge, Jack Porritt, The first one hundred years 1858 - 1958, Jul 1958
... William HOWE Albert Victor RENOWDEN Sandridge Marine Lodge Societies Clubs Unions and other Organisations C V MONAR Jack V PORRITT E McCLELLAND R C COY W E PEARCEY R OWEN T W HOLLAND C MENZIES James Peter CRICHTON F F TULBERG D W TURNBULL J P TURNBULL Edward C CROCKFORD Edward CLARK Andrew PLUMMER James Ker Beck PLUMMER Thomas SWALLOW J J VINES E B MATTHEWS John MADDEN Frederick Thomas DERHAM J THOMSON Glen Alburn KNIGHT S W BURSTON J NICOL C FEAST W C TREWAVIS Henry Norval EDWARDS John Charles HILL Frederick POOLMAN R O THOMPSON Herbert Stanley HOLLOW W A BROOKE William Christie PENTLAND W L POTTER Amos PIKE E A EDGAR J C MURDOCH L C EDGAR Peter Gallienne GRUT John Bichard GRUT James John BARTLETT Sticker inside indicating presentation to R W Woolridge "The first one hundred years 1858 - 1958" small soft cover book recording a century of history of local lodge. 84pp, cream colour, aqua spine. ...Produced by Freemason's Lodge No. 21 in 1958, researched by Jack PORRITT. Presented to the Society by the Lodge on its closure in May 2001."The first one hundred years 1858 - 1958" small soft cover book recording a century of history of local lodge. 84pp, cream colour, aqua spine. Presented to R W WOOLRIDGE in 1960. Photos of the 1858 and 1917 Halls and information of prominent citizens; centenary banquet menu and toast list at back.Sticker inside indicating presentation to R W Woolridgewilliam howe, albert victor renowden, sandridge marine lodge, societies clubs unions and other organisations, c v monar, jack v porritt, e mcclelland, r c coy, w e pearcey, r owen, t w holland, c menzies, james peter crichton, f f tulberg, d w turnbull, j p turnbull, edward c crockford, edward clark, andrew plummer, james ker beck plummer, thomas swallow, j j vines, e b matthews, john madden, frederick thomas derham, j thomson, glen alburn knight, s w burston, j nicol, c feast, w c trewavis, henry norval edwards, john charles hill, frederick poolman, r o thompson, herbert stanley hollow, w a brooke, william christie pentland, w l potter, amos pike, e a edgar, j c murdoch, l c edgar, peter gallienne grut, john bichard grut, james john bartlett -
Port Melbourne Historical & Preservation SocietyDocument - Notice, Town Clerk to Cr Plummer to attend special meeting re loans, Edward C Crockford, Town Clerk, 11 Mar 1893
... Port Melbourne Historical & Preservation Society Port Melbourne Town Hall 333 Bay Street Port Melbourne melbourne Local Government - Town of Port Melbourne James Ker Beck PLUMMER Edward C CROCKFORD Town Clerks Notice of request from Town Clerk to Councillor Plummer to attend a special meeting re loans on 14 March 1893 Document Notice, Town Clerk to Cr Plummer to attend special meeting re loans Edward C Crockford, Town Clerk ...Notice of request from Town Clerk to Councillor Plummer to attend a special meeting re loans on 14 March 1893local government - town of port melbourne, james ker beck plummer, edward c crockford, town clerks -
Port Melbourne Historical & Preservation SocietyDocument - Municipal Report, Agenda, Borough of Port Melbourne, Edward C Crockford, Aug 1892
... Port Melbourne Historical & Preservation Society Port Melbourne Town Hall 333 Bay Street Port Melbourne melbourne Local Government - Borough of Port Melbourne James Ker Beck PLUMMER Edward C CROCKFORD Town Clerks Original printed document has been added to with handwritten ink notes during course of meeting Agenda report (annotated) of special and ordinary meetings of Council of Borough of Port Melbourne 17 August 1892. ...Agenda report (annotated) of special and ordinary meetings of Council of Borough of Port Melbourne 17 August 1892. Councillor PLUMMER (single sheet)Original printed document has been added to with handwritten ink notes during course of meetinglocal government - borough of port melbourne, james ker beck plummer, edward c crockford, town clerks -
Bendigo Historical Society Inc.Document - CAMBRIDGE PRESS COLLECTION: LABEL - C. E. REES SELF RAISING FLOUR
... C. E. Rees, Hargreaves St., Bendigo. The ends of the box have recipes. They are: Pound Cake, Fruit Cake, Lemon Biscuits, Paris Buns, Good Cheap Cake and Plum Pudding. ...C. E. Rees, Hargreaves St., Bendigo. The ends of the box have recipes. They are: Pound Cake, Fruit Cake, Lemon Biscuits, Paris Buns, Good Cheap Cake and Plum Pudding. ...Ideal Self Raising Flour box, folded flat. The two wide sides have the name, weight and Manufactured by C. E. Rees, Hargreaves St., Bendigo. The ends of the box have recipes. They are: Pound Cake, Fruit Cake, Lemon Biscuits, Paris Buns, Good Cheap Cake and Plum Pudding. The other end has: Scones, Bread, Pastry, Yeast Dumplings, Suet Puddings, Victoria Roll and Ginger Bread. Printed in dark blue on a white background. Geometric, line and dash borders on the box.business, printers, cambridge press, cambridge press collection, ideal self raising flour, c e rees -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)Clothing - Theatrical outfit, 2 piece for Ormond Choral Society
... c 1950, which was formed by residents of the local area in order to provide artistic and musical entertainment and social activities for the community. Theatrical Societies were part of the community recreation for settlers in post World War 11 City of Moorabbin ormond theatrical society, mckinnon, bentleigh, moorabbin, reed gladys, clark judy, clothing, actors, early settlers, post world war 11 estates, 2 piece Plum and peach coloured theatrical outfit consisting of a V shaped sleeveless top and loose, full length pants with elastic at waist worn by Ormond Choral Society for one of their productions Clothing Theatrical outfit, 2 piece for Ormond Choral Society Unrecorded Dressmaker ...A 2 piece theatrical outfit, used by the Ormond Choral Society c 1950, which was formed by residents of the local area in order to provide artistic and musical entertainment and social activities for the community. Theatrical Societies were part of the community recreation for settlers in post World War 11 City of Moorabbin 2 piece Plum and peach coloured theatrical outfit consisting of a V shaped sleeveless top and loose, full length pants with elastic at waist worn by Ormond Choral Society for one of their productions ormond theatrical society, mckinnon, bentleigh, moorabbin, reed gladys, clark judy, clothing, actors, early settlers, post world war 11 estates, -
Federation University Historical CollectionBooklet, Ballarat School of Mines Student's Magazine, March 1899, 1899
... Barker Library (top floor) Mount Helen goldfields Table of contents: Editorial, News and Notes, History of the School of Mines, Notes on Victorian Geology, Sir William Crookes, Summaries and notes from the mining journals, Students' Association, Sports, The Bush Assayer, Solubility of gold-silver alloys in potassium cyanide, Correspondence, Editorial notices, Publication received t. s. hart sir william crookes c. woodman henry watson james stirling c. a. mulholland s. b. j. skertchly george f. becker arthur h. thorpe arthur s. boucher henry louis alfred james john plummer louis coste w. terrill h. g. brickhill f. j. andrews adam morton w. gosman j. matson h. schaw j. h. pratt henry watson william mcneil ballarat school of mines students' magazine Pale green booklet of 12 pages Ballarat School of Mines Student's Magazine, March 1899 Booklet Rider & Mercer ...Table of contents: Editorial, News and Notes, History of the School of Mines, Notes on Victorian Geology, Sir William Crookes, Summaries and notes from the mining journals, Students' Association, Sports, The Bush Assayer, Solubility of gold-silver alloys in potassium cyanide, Correspondence, Editorial notices, Publication receivedPale green booklet of 12 pagest. s. hart, sir william crookes, c. woodman, henry watson, james stirling, c. a. mulholland, s. b. j. skertchly, george f. becker, arthur h. thorpe, arthur s. boucher, henry louis, alfred james, john plummer, louis coste, w. terrill, h. g. brickhill, f. j. andrews, adam morton, w. gosman, j. matson, h. schaw, j. h. pratt, henry watson, william mcneil, ballarat school of mines, students' magazine -
Ararat Gallery TAMATextile, Frances Burke, Waratah, c. 1955
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Links, 1958
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Cane, c. 1952
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Unknown
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Unknown, 2 pieces, 1939-1950
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Shields (pair of curtains), 1965
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Periwinkle
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Fabric piece, framed
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Goanna, c. early 1950s
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Mosaic, c. 1962
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Tiger Stripe, c. 1939
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Crete, 1948
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Plum Blossom, 1948
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Jungle, 1945
... 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). ...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). ...Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Harlequin, c. late 1950s
... 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). ...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). ...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.
