Sydney Bertram Carter (06/05/1915 – 13/03/2004) was an English poet, songwriter, folk musician, born in Camden Town, London. He is best known for the song "Lord of the Dance" (1967), set to the tune of the American Shaker song "Simple Gifts", and the song "The Crow on the Cradle". Other notable songs include "Julian of Norwich" (sometimes called "The Bells of Norwich"), based on words of Julian of Norwich, "One More Step Along the World I Go", "When I Needed a Neighbour", "Friday Morning", "Every Star Shall Sing a Carol", "The Youth of the Heart", "Down Below" and "Sing John Ball".B & W head and shoulders portrait of Sydney Carter.carter, sydney, lord of the dance

Sydney Bertram Carter (06/05/1915 – 13/03/2004) was an English poet, songwriter, folk musician, born in Camden Town, London. He is best known for the song "Lord of the Dance" (1967), set to the tune of the American Shaker song "Simple Gifts", and the song "The Crow on the Cradle". Other notable songs include "Julian of Norwich" (sometimes called "The Bells of Norwich"), based on words of Julian of Norwich, "One More Step Along the World I Go", "When I Needed a Neighbour", "Friday Morning", "Every Star Shall Sing a Carol", "The Youth of the Heart", "Down Below" and "Sing John Ball".B & W waist length portrait of Sydney Carter in profile.sydney bertraim carter, lord of the dance song 1967

Carter Real Estate Agents sold some of the subdivision in 1946-47. This information was tied in with the early orcharding families.Collection of notes, titles and maps of "Jewel in the Crown" subdivision - Mount Dandenong Road (formerly Oxford Road), Velma Grove, Valda Avenue, Mirabel Avenue. Genealogical charts of Meyland and Wigley families. 4 page history of the area compiled in 2004 by Richard Carter, Real Estate Agent. Registered Proprietors, Vendors, Property Title Holders and Transferees include: Herbert Edward WATSON, John Richard SHARP, Myrtle Evelyn BIRRELL, Marie Mathieson MUNRO, William Alex McCLELLAN, George Andrew GOODMAN, Joseph Tasman PEDRAZZI, Alexander ANDERSON, John Charles PATERSON, Eric William PHILLIPS, T.E.A. Co. Ltd., Florence Lavinia WYNARD, William John HARRIS, Lindsay and Hazel ALLNUTT, Douglas John RITCHIE, Eliza A.M. BOURBAND, Henrietta Irene COOK, Eric Edward COOK, Harold Thomas NICHOLLS, Stewart and Mary HIRD, Grace ROBINSON, Helen Rutherford GOOD, Henry Wyatt FARRELL, Irene Ann SMITH, Leslie Neil DOW, Helen Anne DOW, Frederick Ronald HOLDING, John Frederick McINTYRE, Horton Wilcox EDGE, Herbert James HARDINGHAM, Donald James ALLEN, Cyril Frederick WILLIAMS, Florence Sarah MAGGS, Maud Margaret PEARSON, Warwick Scott Holroyd MATTHEWS, Alice Eliza McCLEAVE, Leslie Archibald Charles HARRIS, Enid Beth HARRIS, Roy Victor DRAEGER, Elizabeth Ann STANDLEY, Charles Walter WATSON, Mabel Dorothy CARTER, Alan Garnett KELLY, Michael Vincent HARRIS, William Thomas Sylvester PROUD, Florence Blanche IVES, Douglas George PEARSON, Harry Clifford CLEGG, Dorothy Ellen Mary WHITE, Frederick Nathaniel EVANS, Madge EVANS, Leonard DUNSTAN, Violet Florence CONNELL, Valerie Jean Schimmelbusch, John Sydney COOK, William Donald THOMPSON, Ralph E RAUNSLEY, Murray McRae OSBORN, Francis William CLARKE, Alfred Daniel WILLIAMS, Harry Clifford CLEGG, Bernard Francis GARRY, Richard McKENZIE, Mignor Leonie WESTON, Idonea Moncrieffe DAVIS, Helen Marsden Rutherford GOOD, George SMART, Clement Henry DAVIS, Peter FINLAYSON, Elenor Leah HARVIE, Charles MEYLAND.

Black and white photograph (2 copies)Written on rear of backing sheet: "Main St. Ringwood. Ringwood Cycles now site of Commercial Banking Company of Sydney."

Photos include: Log building which the students constructed and used as a co-operative shop, Primary Class, Science class outside their classroom, Government meeting held in the outdoor theatre, Janet and Lawrence Nield. "Koornung School, Warrandyte was established by Clive and Janet Blake Nield in 1939, after they had visited progressive schools in Europe and America. They believed children should be given freedom to grow while learning to accept responsibility; that school should be a miniature democracy and education not a preparation for life but experience of life itself. A government of children and all staff (whatever their jobs in the school) met regularly, made the rules and dealt out punishment for breaking them. The few rules set down by staff related to health and safety, for instance, no pupils were allowed to go into the river without supervision. The school could not have been started at a worse time. Food rationing and coupons, petrol shortages and men at war limiting teaching staff made difficulties. It was an expensive school to run. Financial difficulties became more serious and eventually the school had to close in 1946. Efforts by the children and a Board of Management of notable people failed to save it. Janet Nield (M.A., Dip Ed.) was an inspired teacher of history. She was one of the few women at Melbourne University at that time to gain a Masters degree in history. The Nields left Melbourne to live in Sydney, Clive to work at Sydney University in lecturing in Education and particularly interested in Colombo Plan students. Janet devoted herself to children as a Lay Analyst. She was awarded the title of Training Analyst by a meeting of international psychoanalysts in Europe. - Pat Scott (Mrs Wynne Scott), a former member of staff at Koornung School Collection of five black and white photographs a, letter and descriptive material relating to Koornong School, Warrandyte showing various teachers and students and Connie and Alec Smith's studio.schools, koornong, warrandyte, danila vassilieff, lorna carter, adrian rawlins, teachers, janet nield, clive nield

Typed and hand written list of Dentists from1859 to 1882 and Doctors 1853 to 1890. Also included is a type dcopy of an advertisement whih appeared in 'The Sandhurst Bee'. Mentions the first Bendigo Hospital. Also included is a small business card for Sydney Levine, Dept. of Preventive Dentistry, University of Sydney and the name and address of Dr B S Melrose.document, early dentists and doctors of bendigo, sydney levine, dr b s melrose, john melrose, g de saxe, w brophy, wm carter, simmons and dwyer, g h hall, david watson, the sandhurst bee, e m walton, dr j stuart, dr j hayle, tolhurst bros, j holdsworth esq, c mollison, a mackay esq, dr e hunt, dr w a roche, dr t f jordon, f garsed esq, f c ladbury esq, j m casey c. m. c., alex bayne esq, charles burke gaffney, dr hugh alexander deravin, bendigo hospital, dr edward hunt, dr h h ham

Colour lasercopy of Port Melbourne Settlement boys club. Taken with flash 1930s, probably not at 311 Nott Street clubhouse - could be at Excelsior Hall? Separate copy with most boys named (see media).societies clubs unions and other organisations, ken turner, port melbourne settlement, bob turner, ernie turner, tom anderson, bruce anderson, albie beaumont, 'titch' beaumont, barrett, george downard, keith downard, alf davenport, fred davenport, keith davenport, dixon, bert heathcote, fred heathcote, merv leyden, 'bug' mitchell, 'flea' mitchell, 'nunk' manners, sydney ross, jack ross, sweeney, jack hedley, mitchell, alf schofield, george brown, bill thackrah, 'skinny' anderson, 'nunc.' manner, andy angwin, 'fat' wadell, norm "cox", pudley, 'smiler' mcgrath, 'blood' whitford, arnie anderson, bill sweeney, 'spud' manner, jim ratchford, davies, wade, henry sweeney, 'buster' lyons, 'basher' duggan, 'ockie' prest, ern turner, kingsley jones, 'podge' barrett, alexander, bartlett, hutchinson, leyden, ratcliffe, cooper, howard swift, bill man, bill rose, lugg, hudson, davis, jack turner, sinclair, bill saville, carter, syd ross, dunn, les harcourt, lunt, ted marion, merve leydon

Liaison Letters details happenings within the various Sections of the Australian Survey Corps to inform all members of current information and practices. 9137.1 Liaison Letter No 1. 21 July 1937. Para 1. Object of Letter. See context section. Para 3. Progress of work. Incomplete, rest of Letter missing only 1 page. 9137.2 Liaison Letter No 2 Letter missing. 9137.3 Liaison Letter No 3. Jan 1937. Para 1. Our thanks are due to the following for articles contributed. .... W/O H. Rossiter. -- "Aerial Surveying". -- Article missing. .... W/O W. M. Sarll. -- "A day in the Draughting Office". -- Report on No 1 Field Sheet, Sale. -- Article missing. .... W/O H. A. Johnson. -- "Semigraphic methods of resection and intersection". -- Article missing. .... Capt. J.J. Raisbeck "Rapid production and reproduction of Military maps". Article missing. .... Lt. L. Fitzgerald. report "Survey Exercise at Sale". Article missing. .... W/O W. M. Sarll. report on No1. Field Sheet, Sale. Article missing. Para 3. Progress of work. .... "No1 Draughting Section". .... Printing. .... No1 Survey Section. .... No2 Survey Section. .... Pages 3 - 6 Missing. .... Article by W/O W. M. Sarll. "A day in the Draughting Office". Pages 7 - 10. 9137.4 Liaison Letter No 4. April 1937. Para 1. Our thanks are due to the following for articles contributed. .... Lieut. H. W. G. Clews. -- Notes on the non-ascertained Base problem. -- Article missing. .... W/O W. M. Sarll. -- Helpful hints on air photos. -- Article missing. .... Capt. T. H. B. Foott. .... & Capt. J.J. Raisbeck. -- A short history of the Military Survey of Australia. -- Article missing. .... W/O H. Rossiter. -- Notes on Aerial Surveying. -- Article missing. .... W/O H. A. Johnson. -- A type of Beacon. -- Article missing. Para 2. Progress of work. ..... No1 Draughting Section. ..... No1 Survey Section. ..... Pages missing. 9137.5 Liaison Letter No 5, July 1937. Para 1. Our thanks are due to the following for articles contributed .... Lt L. Fitzgerald -- A new section and its job. -- Article missing. .... WO G.R.L. Remington. .... & H. E. Eggeling. Azimuth of the Plane table. -- Article missing. .... W.O. B. M. Sarll. -- The Second Annual Smoke Night of the Members of the Aust.Survey Corps stationed in Victoria. .... Also included is a very interesting article on the United States Geological Survey by J. F. Staask, extracted from the Canadian Surveyor. February 1936. -- Article missing. Para 2. Progress of work. .... No1. Draughting Section. .... No 1 Topographical Section. No further articles till page 7. .... The Second Annual Smoke Night of the members of the Aust. Survey Corps. Stationed in Victoria. Pages 7 - 9. 9137.6 Liaison Letter No 6, September 1937. Para 1. Our thanks are due to the following for articles contributed .... Lt L. Fitzgerald. -- Geodetic Triangulation reconnaissance. Article missing. -- Article missing. .... Lt. R.F. Rule, M.M. -- A suggested Form for Field Book 3rd Order Traverses. -- Article missing. .... W/O. H. A. Johnson. -- A suggested Form for Quadrilateral Adjustments. -- Article missing. Para 2. Progress of work. .... No1. Draughting Section. .... No 1 Topographical Section. No further pages to letter 6. 9137.7 Liaison Letter No 7. January 1938. Para 1. Our thanks are due to the following for articles contributed. .... Major T. A. Vance. -- Report on the Survey of a Training Area in Tasmania. -- Article missing. .... W/O D. Macdonald. -- The naming of Trigonometrical Stations. -- Article missing. Para 2. Progress of work. .... No1 Draughting Section A.H.Q. .... No1 Topographical Section, 4 M.D. .... No2 Topographical Section 3 M.D. .... No3 Topographical Section 2 M.D. .... No4 Topographical Section A.H.Q. No further pages to letter 7. 9137.8 Liaison Letter No 8. April 1938. Para 1. Our thanks are due to the following for articles contributed .... Capt. H.P.G.Clews. -- A possible method of estimating Stereoscopic ability. -- Article missing. .... W/O. A.L.Smith. -- Hints to Topographers from a Draughtsman's point of view. .... W/O. W.W. Sarll. -- Seeing that which a Surveyor sees. Para 1.a. -- Relative to article on naming of trig stations which appeared in No7. This contribution has examples of naming. Para 1.d. Enlistment. -- George Gladstone Bolwell was enlisted as W/O.II. Draughtsman in the No. 1 Draughting Section A.H.Q. on the 26th April 1938. Mr. Bolwell was of the Victorian Lands Department. Para 1.e. Embarkation. -- Major T.A. Vance. O.C. Aust Survey Corps, embarked S.S. "Monterey". 28 Mar 1938 to undergo six months training in USA and Canada. Para 1.f. Promotions. -- To be Capt. (prov.) Lieut. H.P.G. Clews 9.11.1937. Para 1.g. Medals -- Award of Aust. Meritorious Service Medal -- W/O.H. Rossiter. .... Award of Aust. Medal for Long Service and Good Conduct -- W/O, A.L. Smith. Para 2. Progress of work. .... No.1 Draughting Section A.H.Q. .... No.1 Topographical Section, 4 M.D. .... No.2 Topographical Section 3 M.D. .... No.3 Topographical Section 2 M.D. .... No.4 Topographical Section A.H.Q. Article missing by Capt. H.P.G.Clews. -- A possible method of estimating Stereoscopic ability. Article by W/O. A.L.Smith. -- Hints to Topographers from a Draughtsman's point of view. Contains 3 pages. Article by W/O. W.W. Sarll. -- Seeing that which a Surveyor sees. Contains 3 pages. 9137.9 Liaison Letter No 9. July 1938. Para 1. Our thanks are due to the following for articles contributed .... Captain H.P.G.Clews -- Computation of log p and log v; also Abbreviated interpolation. .... W/O. G.R.L. Rimington. -- Light Weight Camping Gear. .... W/O. H.A. Johnson. -- The use of the Calculating Machine on Resections, etc,; also comments by O.C.No.4 Topographical Section on this article. Para 1.a. A.A.O. 104. Examination for Appointment to the Rank of Lieutenant. February - March,1938. .... W.O.I. A.L. Smith. .... W.O.I. W.M. Sarll. .... W/O. II. G.R.L. Rimington. .... W/O. II. A.F. Kurrle. .... W/O. II. H.A. Johnson. .... W/O. II. D. MacDonald. .... W/O. II. H.F.Eggeling. .... For Captain. .... Capt. (p) H.P.G. Clews. .... Lieut. L. FitzGerald. .... Lieut. R.K. Rule M.M. Para.1. b. A.A.O. 109. Allotment W/O. II. W.B. Relf to No.3 Topo Section 2 M.D., 5.4.38. Para.1. c. Gaz. No. 37 -- Promotions. -- To be Captain, Lieut. L FitzGerald. 5th July 1938. -- The provisional promotion of Captain H.P.G. Clews is confirmed. Para. 2. Progress of Work. .... No.1 Draughting Section A.H.Q. .... No.1 Topographical Section, 4 M.D. .... No.2 Topographical Section 3 M.D. .... No.3 Topographical Section 2 M.D. .... No.4 Topographical Section 2 M.D. 9137.10 Liaison Letter No 10. October 1938. Para 1. Our thanks are due to the following for articles contributed. .... Lieut. R.K. Rule M.M. -- Barometric levelling in Forest Areas. .... W/O. H.A. Roseblade -- Adjustment of principal points on master grid. .... W/O. II. A.F. Kurrle. -- The Hunter short base applied to photo control. .... W/O. W.B. Relf -- Reunion at Newcastle. .... The articles are all missing Para. 1. a. A.A.O. 184. Discharge -- W/O. II. G.G. Bolwell. 15th July 1938. Para. 1. b. A.A.O. 174-195, 31.8.38. Vacancy for Draughtsman. Para. 1. c. Obituary. -- Major John Lynch. 29th July 1938. Para. 2. Progress of Work. .... No.1 Draughting Section A.H.Q. .... No.1 Topographical Section, 4 M.D. .... No.2 Topographical Section 3 M.D. .... No.3 Topographical Section 2 M.D. .... No.4 Topographical Section A.H.Q. 9137.11 Liaison Letter No 11. January 1939. Para 1. Our thanks are due to the following for articles contributed. .... Major T.A. Vance. -- Training Abroad, Canada and U.S.A. .... Captain L. Fitzgerald -- Air Reconnaissance for 1st Order Triangulation. .... W/O C.E. Stewart. -- Reunion at Traralgon. Para 2. A.A.O. 301/38. .... a. Appointments. -- Royal Ormond Worcester, on enlistment in the Aust Permanent Military Forces is appointed W/O II. 30th November 1938. -- Thomas Micheal Connolly, on enlistment in the Aust Permanent Military Forces is appointed W/O II. 30th November 1938. .... b. Discharge. -- No. 3614 W/O II. G.R.L. Rimington. 30th November 1938. .... c. Awards of the Australian Military Medal for Long Service and Good Conduct (Military). -- No.1175, W/O I, E.T. Johnson. .... d. Return of Officers to Australia. -- Major T.A. Vance, having completed training in the United States of America, Canada and New Zealand, returned to Aust. on the S.S. "Awatea", disembarked Sydney on 3rd December 1938. .... e. Allotment. -- No.3689, W/O. II A.F. Kurrle, allotted to No. 4 Topographical Section, A.H.Q., 1 January 1939. Para. 2. Progress of Work. .... Cartographic Section, A.H.Q. .... Geodetic Section, A.H.Q. .... No.1 Survey Section, 4 M.D. .... No. 2 Survey Section, 3 M.D. .... No. 3 Survey Section, 2 M.D. 9137.12 Liaison Letter No 12. March 1939. Para 1. Our thanks are due to the following for articles contributed. .... W/O H.F. Eggeling -- Topographical Survey and Barometric Levelling. .... W/O G.T.P. Carter Methods of plotting from air photographs. .... Editor, Canadian Surveyor -- The Australian Survey Corps Para 2. A.A.O. 57 -- .... a. Promotion. -- No. 3577 S/Sgt G.T.P. Carter. appointed Topographer promoted to W/O II. 15th January 1939. .... b. Allotment -- The following are allotted to No. 3 Topographical Section 2 M.D. 1st February 1939. .... No, 171 W/O I B. Rossiter. .... No. 178 W/O. I V.W. Aldred. .... No. 150 W/O. I A.T. Smith. .... c. Transfer. -- No. 369 W.O. A.F.Kurrle. to No. 4 Topo Section A.H.Q. 1st January 1939. .... d. Promotions -- To be Major J.J. Raisbeck. and Lieut. W.M. Sarll as of 1st January 1939. Para. 3. Progress of Work. .... Cartographic Section, A.H.Q. .... No.4 Topographical Section, A.H.Q. .... No.2 Topographical Section, 3 M.D. .... No.3 Topographical Section, 2 M.D. .... Articles Missing -- W/O H.F. Eggeling -- Topographical Survey and Barometric Levelling. -- W/O G.T.P. Carter Methods of plotting from air photographs .... Article -- Editor, Extract from "The Canadian Surveyor" -- The Australian Survey Corps. 9137.13 Liaison Letter No 13. June 1939. Para 1. Our thanks are due to the following for articles contributed. .... Lieut. W.M. Sarll -- Meeting a crisis with maps and equipment; also comments by O.C. Cartographic Section. .... W/O H.F. Eggeling -- Design and description of an Epidiascope. -- Article missing. .... Editor, Melbourne Herald -- "They do a Vital Task". 6th July, 1939. .... Also enclosed is a Corps Seniority Roll. -- Article missing. Para 2. a. A.A.O. 118/39. -- Appointment to Lieutenant, February, March, 1939. .... 3572 W/O. I. H.C. Raisbeck. .... 3684 W/O. I.I. T.R. Westgarth. .... 3686 W/O. I.I. C.E.B. Stewart. .... 3702 W/O. I.I. C. S. Tyler. .... 4479 W/O. I.I. W.B. Relf. Para. 2. b. A.A.O. 127/39 -- Appointment to W/O. I.I. .... G. V. Brooke. 5.4.39. .... L. J. Lockwood. 5.4.39. .... J. P. Hanley. 17.4.39. .... W. J. Harrison. 24.4.39. .... J. K. C. Herridge. 1.5.39. Para 2. c Gaz. 26/39. Awards of the Aust. Medal for Long Service and Good Conduct Military. .... No. 1439 W/O. I. H. A. Roseblade. .... No. 1176 W/O. I. J. Cullen. Para. 3. Progress of Work. .... Cartographic Section, A.H.Q. .... Geodetic Section A.H.Q. .... No. 2 Survey Section, 3 M.D. .... No. 3 Survey Section, 2 M.D. .... Editor, Melbourne Herald -- "They do a Vital Task". 6th July, 1939. .... Lieut. W.M. Sarll -- Meeting a crisis with maps and equipment; also comments by O.C. Cartographic Section. 9137.1 Liaison Letter No 1. 21 July 1937. Para 1. Object of Letter. The object of these letters, which it is to be proposed quarterly, is to enable members of the Australian Survey Corps to stimulate interest in the progress of the work as a whole. It is also intended as a means to invite helpful criticism and suggestions for improvements in methods in any branch of the work. All members of the Corps are invited to contribute. Their suggestion should be forwarded to the O.C. section for transmission to O, C. Survey Corps and, if considered of sufficient merit, will be included in the next letter. It may often happen that a method, that may appear obvious and of little consequence to a member or Section using it, may not be followed by the others. In any case a discussion of detail in methods should be helpful to all.54 x A4 Photocopied pages of typed text. 9137.1 Liaison Letter No 1. 21 July 1937. 9137.2 Liaison Letter No 2 Letter missing. 9137.3 Liaison Letter No 3. Jan 1937. 9137.4 Liaison Letter No 4. April 1937. 9137.5 Liaison Letter No 5, July 1937. 9137.6 Liaison Letter No 6, September 1937. 9137.7 Liaison Letter No 7. January 1938. 9137.8 Liaison Letter No 8. April 1938. 9137.9 Liaison Letter No 9. July 1938. 9137.10 Liaison Letter No 10. October 1938. 9137.11 Liaison Letter No 11. January 1939. 9137.12 Liaison Letter No 12. March 1939. 9137.13 Liaison Letter No 13. June 1939. royal australian survey corps, army survey regiment, fortuna, rasvy, army svy regt, asr

This scrapbook contains newspaper cuttings, mainly about football, and other written material from the late 19th century. It belonged to Martin Carter ((1870-1943), a Warrnambool saddler who worked for many years in the saddlery business established by his father, Samuel. Martin Carter was very active in community affairs - President of the Warrnambool Bowling Club, a member of the local Volunteer Militia, Secretary of the Progress Association, a football player and umpire and a local cricketer. He was the Secretary of the Warrnambool Town (later City) Band for fifty years and a memorial plaque in his honour was erected at the Band headquarters in Warrnambool. He was also a Warrnambool Councillor (1917-1925) and Warrnambool Mayor (1922-24). His interest in football can be seen from the great number of football newspaper cuttings in this notebook.This little notebook is most interesting as it provides us with details on football in the Warrnambool district in the late 19th century and gives us an indication of the popularity of the game at that time. It is a valuable research tool.This is a small notebook with a black cover. The pages contain ruled red lines over which have been pasted newspaper cuttings. Some pages have handwritten material and some pages are blank. There are also several loose cuttings. The notebook has been stapled but the staples have been removed.M.L.Carter Warrnambool June 13th 1887 S.Carter Saddler Warrnambool (stamp)warrnambool town band, martin carter warrnambool, football in the warrnambool district, sydney giddings warrnambool saddler

These stores were complied by the Museum Victoria as a part of their McKay ProjectAnnealing Workshop - Key Names Sam Boreham, Alex Saunders, Jack Nevill, J. Evans, S. Hunter, F. Currow, J. Bird, E. Lauders|Power House or Electrical Department - Key Names Raymond Bult, Roy Smellie, Norm Harvey, Brian Polly, Walter Harry Shildton, Vern Bult. Sunshine Electrical Company - Electricity supply to Sunshine|Shafting Shop (Cold Drawn & Cold Rolled, Bright Steel Mill) - Key Names Charlie Carter, Don Devison (Deveson), Jim Eason, Derek Craggs, Ern Nichols, Keirl Gardiner, Charlie Condon, Norm Innes, Dick Tyers. Rivits made on contract from MacPhersons for the Sydney Habour Bridge|Sydney Branch George Street Concord West|Hugh Victor McKay C.B.E. 70 Years Of Developmenth.v. mckay massey harris, sunshine harvester works

Notice of Ordinary Meeting of the Council of the City of Sunshine to be held on 14th December 1977 Report of the Town Clerk's Department Report of Town Clerk Ainsworth Reserve Committee of Management D. J. Evans Hall Financial Statement Research Into the Staggering of Hours, Use of Flex-Time, Financial Assistance for Study Proposed Swimming Club Rooms Sunshine & Life Saving Club Request for Lease Provision of Flood Lights Chaplin Reserve Road Accidents Suggestions for Reduction Subsidies Pre-School Centres Special Use Zone 7 Proposed Rezoning Land Transfer Nickson Estate Proposal to Rezone Zone 7 and other Adjoining Lands Agreements Re Disposal of Trade Waste Sunshine Tip James Hardie & Co Pty Ltd, South Melbourne City Council, Collins & Davey Pty Ltd, Melbourne Harbour Trust Commissioners, E. A. Watts Pty Ltd & M. Keogh Beautification Group Prize Money Etc by Sunshine Beautification Committee Library Service to the Shire of Melton Surrender and Creation of Easement Consolidated Bearing Company & Self Service Wholesalers Mitchell Street Proposed Purchase of Land Ardeer South for Infant Welfare and Pre-School Centre Lots 1058 & 1059 Ridgeway Parade Meals On Wheels Ground Allocation Strategy Plan for Public Swimming Pools in Melbourne Metropolitan Region Report of the Co-Ordinator of Welfare Services Visiting Kindergarten Teacher Grant Family & Community Services Programme Accommodation for Adolescents Report of the Chief Health Inspector Application for the Installation of a Package Sewerage Treatment Plant Sunshine Golf Club Ralph Street Gas Fired Toilets and Biological septic Tank Systems Health Act Registrations for 1978 Mantoux Testing for School Children (Test for exposure to tuberculosis "TB") Symposium on Municipal Refuse Composting Report of the Chief By-Laws Officer Court Proceedings Parking Infringements Report of City Librarian Library Statistics Bookmobile Report of City Engineer Processing of Applications for Planning Permits Land Use Permit Application Sign Albanvale Residents Association Dover Street and Lot 119 Station Road Land Use Permit Application Extensions to Existing Service Premises (Milk bar) King Edward Avenue Corner Adelaide Street Massage Parlours Amendment 70 to the Melbourne Metropolitan Planning Scheme Submission from S. Custance & Associates on Behalf of Amusement Machine Operators Association Land Use Permit Application Service Premises and Caretaker's Residence 461A Ballarat Road Land Use Permit Application Store Additon to Two Existing Shops and Dwellings 59 Sydney Street Proposed Municipal Tip Disused Albion Quarry Hulett Street Sunshine Tip Land Use Permit Application Sign 250 Ballarat Road Braybrook Land Use Permit Application Detached House Lot 545 Quinn Street Land Use Permit Application Additional of Two Portable Classrooms St. Bernadette's Primary School 59 Westmoreland Road bounded by Suffolk Road, Rufford Street & Willey Street Sunshine North Land Use Permit Application Sign 25 Wright Street Land Use Permit Application Extension to Highpoint West Shopping Centre Land Use Permit Application Subdivision and Detached Houses Westerngate Estate Stage 4A Land Use Permit Application Youth Welfare Service 331 Main Road East Land Use Permit Application Panel Beating Factory Lot 4 McIntyre Road Land Use Permit Application Sign 193 Hampshire Road Enforcement Under the Town and Country Planning Act 1961 Land Use Permit Application Furniture and Carpet Sales, Warehouse and Light Industry 2 - 4 Burton Crescent Land Use Permit Application Child Minding Centre 36 Sydney Street Land Use Permit Application Greyhound Training Establishment North Street Ardeer Land Use Permit Application Four Warehouses and One Factory Berkshire Road and Ayton Street Land Use Permit Application Flats Lot 88 Chifley Drive Land Use Permit Application Apartment House and Caretaker's Residence 16 Ridley Street Parking Area Tallintyre Road Housing Commission of Victoria Subdivision Plan of Subdivision Carter Street & Henry Street Strata Subdivision Fabian Court Consolidation of Title Corner McIntyre Road and Balwin Avenue Consolidation of Title Lots 52 & 53 Cromer Avenue Consolidation of Title Corner of St. Albans Road and Princess Street Plan of Subdivision Ballarat Road, Hampshire Road and Anderson Road Contract Supply and Maintenance of Vehicles Anderson Road Contract Western Highway Street Lighting Proposed 75kM/Hr Buffer Zone Western Highway Deer Park Station Road outfall Drain Through Commonwealth Property Metcon Second Phase Replacement of Mayoral Car Tender Berkshire Road Tender Gooding Street Tender Tennis Courts Dempster Park Tender New Sunshine Tip Dispute over F19 eastern Freeway and Freeways in General City of Collingwood Geelong Road Service Road Burgess Road to Paw Paw Road Objections to Hulett Street Private Street Scheme Report of the Building Surveyor Fencing Lot 343 Anley Place Sunshine West Local Government Act 569H Refund 15 Bardsley Street Sunshine West Undersize Allotment 100 Ballarat Road Maidstone Application Ruinous Fence 2 Norma Street Sunshine Application Outbuilding 77 Anderson Road Sunshine Application Liquids Store M.M.W.B. Western Regional Depot St. Albans Road Albion Application Undersized Allotment 8 Victoria Street Sunshine Application Outbuilding 32 Killara Street Sunshine West Application Outbuilding 171 Main Road West Deer Park Pre-School Station Road Deer Park Alteration to Grandstand Skinner Reserve Churchill Avenue Cricket Pavilion Dempster Park Sunshine North Report of Officer's General-Purpose Committee Information Posters city of sunshine, alexander "alex" george gillon, ainsworth reserve, vernon street, sunshine west, d. j. evans hall, churchill avenue, braybrook, sunshine swimming pool, sunshine swimming club, kennedy street, sunshine, chaplin reserve, sunshine & life saving club, anderson road, sunshine tip, sunshine beautification committee, consolidated bearing company, self service wholesalers, mitchell street, maidstone, ardeer south infant welfare & preschool, ridgeway parade, ardeer, sunshine golf club, ralph street, dover street, station road, deer park, king edward avenue, adelaide street, ballarat road, albion, sydney street, albion quarry, hulett street, quinn street, st. bernadette's primary school, westmoreland road, suffolk road, rufford street, willey street, wright street, highpoint west shopping centre, rosamond road, maribyrnong, main road east, st. albans, mcintyre road, hampshire road, burton crescent, north street, chifley drive, ridley street, tallintyre road, carter street, henry street, fabian court, balwin avenue, cromer avenue, st. albans road, princess street, western highway, berkshire road, gooding street, dempster park, phoenix street, geelong road service road, paw paw road, anley place, bardsley street, norma street, victoria street, killara street

Notice of Ordinary Meeting of the Council of the City of Sunshine to be held on 19th October 1977 Report of the Town Clerk's Department Report of Town Clerk School Holiday Programme Revaluation Western Region Commission Future Administration Playing of Bingo on Council Property Albion Rovers Soccer & Athletic Club Selwyn Park Subsidies for Pre-School Centres Council Representative for the Western Suburbs Regional Consultative Committee Swimming Pools Charges for Admission, Etc Report of the Co-Ordinator of Welfare Services Family & Community Services Programme Kindergartens - St. Albans Kindergarten & Deer Park Kindergarten Transitional Funding Migrant Workers Report of the Chief Health Inspector Quarterly Return of Food Samples Removal of a Dwelling Outside the Municipality 104 RAAF Base Tottenham to Shire of Ballan Prosecutions Proceedings Sunshine Magistrates Court Weights & Measures Report for the Tow Months Ending 30th September 1977 Annual Conference Caravan Parks Report of the Medical Officer of Health Report of the By-Laws Officer Court Proceedings Parking Infringements Report of the City Librarian Library Association of Australia 19th Biennial Conference Children's Libraries Section Library Association of Australia Story Telling Workshop Report of the City Engineer Land Use Permit Application Store Lot 2 Paramount Road Land Use Permit Application Flats 52B Forrest Street Land Use Permit Application Take Away Food Premises and Cafe Pizza Parlour 70 Hampshire Road Land Use Permit Application Flats Lot 472 Hendry Street North West Corner Carter Street Land Use Permit Application Flats Lot 1 Monash Street North West Corner Cornwall Road Rezoning Land 245 - 247 Sunshine Road Land Use Permit Display Home Centre Lots 603, 604 & 605 Camelot Drive and Lots 686, 687 & 688 Trafalgar Street Land Use Permit Application Stan Cash Property Corner Halstead Street and Ashley Street Maidstone Land Use Permit Application Garden and Building Supples Francis Street and Geelong Road Land Use Permit Application Home Occupation Installation of 3 Phase Power 54 South Road Plan of Consolidation Denton Avenue Strata Subdivision 4 Leopold Street Strata Subdivision 133 Wright Street Plan of Subdivision Corner The Esplanade & Plantation Street Plan of Subdivision Fairbairn Road Dalgety Subdivision Fencing and Installation of Vehicle Wash New Sunshine Tip Site Albion Defective Asphalt Fourth Avenue Private Street Scheme Telecom Australia Public Telephones in the Sunshine Telephone Exchange Citizens Against Freeways Transport Regulations Board Notice of Application Minor Alteration of Bus Route Parking in Millers Road Brooklyn Sidney Cooke Chemicals Pty Ltd Attendance of City Engineer at Hospitals Conference in Canberra 27th to 29th October 1977 Reconstruction of Sydney Street Concrete Reinstatement Gang Kororoit Creek Creation of Easement from Melbourne and Metropolitan Board of Works Neale Road Construction Tenders Fleet and Plant Purchases Australian Asphalt Pavement Association Practical Asphalting Allocation of Rubbish Skips Proposed Public Open Space Land in Moira Street, Wright Street and Thyra Street Sunshine Statcon Programme Additions to Existing Primary Road Network Report of Building Surveyor Cricket Pavilion Dempster Park Infant Welfare Centre Building Programme Highpoint West Complex Tender Fairbairn Road Pre-School Centre Siting of House Lot 73 Oleander Drive St. Albans Garage 27 Little Street Deer Park Extension of Building Permit 86 - 88 Berkshire Road Sunshine North Building Conference Orders of the Day Accounts Submitted for Payment as at 20th September 1977 & 28th September 1977 city of sunshine, alexander "alex" george gillon, albion rovers soccer & athletics club, selwyn park, selwyn street, albion, st. albans kindergarten, deer park kindergarten, paramount road, tottenham, forrest street, hampshire road, sunshine, hendry street, carter street, sunshine west, monash street, cornwall road, sunshine road, camelot drive, trafalgar street, albanvale, stan cash, halstead street, ashley street, maidstone, francis street, geelong road, brooklyn, south road, braybrook, denton avenue, st. albans, leopold street, maribyrnong, wright street, the esplanade, plantation street, fairbairn road, sunshine tip, fourth avenue, sidney cooke, millers road, sydney street, kororoit creek, neale road, deer park, moira street, thyra street, dempster park, phoenix street, highpoint west, rosamond road, fairbairn road pre-school centre, oleander drive, little street, berkshire road, sunshine north

iMnutes of the Ordinary Meeting of Council held on 14th December 1977 Report of the Town Clerk's Department Report of Town Clerk Ainsworth Reserve Committee of Management D. J. Evans Hall Financial Statement Research Into the Staggering of Hours, Use of Flex-Time, Financial Assistance for Study Proposed Swimming Club Rooms Sunshine & Life Saving Club Request for Lease Provision of Flood Lights Chaplin Reserve Road Accidents Suggestions for Reduction Subsidies Pre-School Centres Special Use Zone 7 Proposed Rezoning Land Transfer Nickson Estate Proposal to Rezone Zone 7 and other Adjoining Lands Agreements Re Disposal of Trade Waste Sunshine Tip James Hardie & Co Pty Ltd, South Melbourne City Council, Collins & Davey Pty Ltd, Melbourne Harbour Trust Commissioners, E. A. Watts Pty Ltd & M. Keogh Beautification Group Prize Money Etc by Sunshine Beautification Committee Library Service to the Shire of Melton Surrender and Creation of Easement Consolidated Bearing Company & Self Service Wholesalers Mitchell Street Proposed Purchase of Land Ardeer South for Infant Welfare and Pre-School Centre Lots 1058 & 1059 Ridgeway Parade Meals On Wheels Ground Allocation Strategy Plan for Public Swimming Pools in Melbourne Metropolitan Region Report of the Co-Ordinator of Welfare Services Visiting Kindergarten Teacher Grant Family & Community Services Programme Accommodation for Adolescents Report of the Chief Health Inspector Application for the Installation of a Package Sewerage Treatment Plant Sunshine Golf Club Ralph Street Gas Fired Toilets and Biological septic Tank Systems Health Act Registrations for 1978 Mantoux Testing for School Children (Test for exposure to tuberculosis "TB") Symposium on Municipal Refuse Composting Report of the Chief By-Laws Officer Court Proceedings Parking Infringements Report of City Librarian Library Statistics Bookmobile Report of City Engineer Processing of Applications for Planning Permits Land Use Permit Application Sign Albanvale Residents Association Dover Street and Lot 119 Station Road Land Use Permit Application Extensions to Existing Service Premises (Milk bar) King Edward Avenue Corner Adelaide Street Massage Parlours Amendment 70 to the Melbourne Metropolitan Planning Scheme Submission from S. Custance & Associates on Behalf of Amusement Machine Operators Association Land Use Permit Application Service Premises and Caretaker's Residence 461A Ballarat Road Land Use Permit Application Store Additon to Two Existing Shops and Dwellings 59 Sydney Street Proposed Municipal Tip Disused Albion Quarry Hulett Street Sunshine Tip Land Use Permit Application Sign 250 Ballarat Road Braybrook Land Use Permit Application Detached House Lot 545 Quinn Street Land Use Permit Application Additional of Two Portable Classrooms St. Bernadette's Primary School 59 Westmoreland Road bounded by Suffolk Road, Rufford Street & Willey Street Sunshine North Land Use Permit Application Sign 25 Wright Street Land Use Permit Application Extension to Highpoint West Shopping Centre Land Use Permit Application Subdivision and Detached Houses Westerngate Estate Stage 4A Land Use Permit Application Youth Welfare Service 331 Main Road East Land Use Permit Application Panel Beating Factory Lot 4 McIntyre Road Land Use Permit Application Sign 193 Hampshire Road Enforcement Under the Town and Country Planning Act 1961 Land Use Permit Application Furniture and Carpet Sales, Warehouse and Light Industry 2 - 4 Burton Crescent Land Use Permit Application Child Minding Centre 36 Sydney Street Land Use Permit Application Greyhound Training Establishment North Street Ardeer Land Use Permit Application Four Warehouses and One Factory Berkshire Road and Ayton Street Land Use Permit Application Flats Lot 88 Chifley Drive Land Use Permit Application Apartment House and Caretaker's Residence 16 Ridley Street Parking Area Tallintyre Road Housing Commission of Victoria Subdivision Plan of Subdivision Carter Street & Henry Street Strata Subdivision Fabian Court Consolidation of Title Corner McIntyre Road and Balwin Avenue Consolidation of Title Lots 52 & 53 Cromer Avenue Consolidation of Title Corner of St. Albans Road and Princess Street Plan of Subdivision Ballarat Road, Hampshire Road and Anderson Road Contract Supply and Maintenance of Vehicles Anderson Road Contract Western Highway Street Lighting Proposed 75kM/Hr Buffer Zone Western Highway Deer Park Station Road outfall Drain Through Commonwealth Property Metcon Second Phase Replacement of Mayoral Car Tender Berkshire Road Tender Gooding Street Tender Tennis Courts Dempster Park Tender New Sunshine Tip Dispute over F19 eastern Freeway and Freeways in General City of Collingwood Geelong Road Service Road Burgess Road to Paw Paw Road Objections to Hulett Street Private Street Scheme Report of the Building Surveyor Fencing Lot 343 Anley Place Sunshine West Local Government Act 569H Refund 15 Bardsley Street Sunshine West Undersize Allotment 100 Ballarat Road Maidstone Application Ruinous Fence 2 Norma Street Sunshine Application Outbuilding 77 Anderson Road Sunshine Application Liquids Store M.M.W.B. Western Regional Depot St. Albans Road Albion Application Undersized Allotment 8 Victoria Street Sunshine Application Outbuilding 32 Killara Street Sunshine West Application Outbuilding 171 Main Road West Deer Park Pre-School Station Road Deer Park Alteration to Grandstand Skinner Reserve Churchill Avenue Cricket Pavilion Dempster Park Sunshine North Report of Officer's General-Purpose Committee Information Posters Orders of the Day Accounts Submitted for Payment 30th November 1977 Land Use Permit Application Flats Phoenix Street Replacement of Fleet No 410 Weights & Measures Sunshine Indoor Solar Heating Subdivision of Land at Fairbairn Road Proposed Transfer of Loan Extraordinary Business Replacement of Plant 21 & 86 Land User Permit Application Furniture and Carpet Sales Warehouse and Light Industry Burton Crescent city of sunshine, alexander "alex" george gillon, ainsworth reserve committee of management, ainsworth reserve, vernon crescent, sunshine west, d. j. evans hall, churchill avenue, braybrook, sunshine & life saving club, chaplin reserve, anderson road, sunshine, sunshine tip, james hardie & co, south melbourne city council, collins & davey pty ltd, melbourne harbour trust commissioners, e. a. watts pty ltd, m. keogh, sunshine beautification committee, consolidated bearing company, mitchell street, maidstone, ridgeway parade, sunshine golf club, ralph street, dover street, station road, albanvale residents association, king edward avenue, adelaide street, albion, ballarat road, sydney street, albion quarry, hulett street, quinn street, deer park, westmoreland road, st. bernadette's primary school, suffolk road, rufford street, willey street, sunshine north, wright street, highpoint west shopping centre, rosamond road, maribyrnong, main road east, st. albans, mcintyre road, hampshire road, burton crescent, north street, ardeer, berkshire road, ayton street, chifley drive, ridley street, carter street, henry street, fabian court, balwin avenue, cromer avenue, st. albans road, princess street, western highway, gooding street, dempster park, phoenix street, geelong road, burgess road, paw paw road, brooklyn, anley place, bardsley street, norma street, m.m.w.b. western regional depot, victoria street, killara street, main road west, skinner reserve

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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