Advertising booklet produced by the manufacturers of a brand of flannel called "The Doctor". The booklet was given away at the British Empire Exhibition, Wembley Park, 1924, where the manufacturers had a stand in the wool and allied textile section. The Doctor flannel was made at the Butts Mill, Rochdale by Peate Kelsall and Kemp who later in the 1920s set up a mill in Launceston, Tasmania to make Doctor's Flannel under the company name of K&K."THE DOCTOR" / FLANNEL / KKpeate kelsall and kemp, flannel

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.

Cardboard postcard printed four colour process on front and black on verso.Undated handwritten message [in ink] on verso reads: 'Dear Nellie I am glad you found some eggs. Some day I should like you girls to show me where you find them. Lots of our eggs have hatched; the caterpillars are growing. See if you can find any on the trees. Your affectionate teacher C. Merritt.

Nightingale Cape, commenced using 1860s, Ballarat Base HospitalThese grey flannel capes - a kind of flannel scarf with sleeves, worn by patients when sitting up in bed. The design was from the Crimean War Hospital. Commencing in the 1860s the Ladies Aid Society Ballarat, a group of ladies who spent a lot of time sewing & mending at the hospital made these capes. The capes were part of bed linen list. These capes were frequently used in the Queen Victoria Block of the Ballarat Base Hospital as this was a cold area of the hospital. Grey flannel capecapes, nightingales, flannel, ballarat, hospital

160 p. : ill. (some col.), facsims.architecture - federation style

160 p. : ill. (some col. ) ; 29 cm.non-fictionarchitecture -- domestic -- australia -- conservation and restoration, interior decoration -- australia

160 p. : ill. (some col.), facsims. ; 29 cm.non-fictionarchitecture -- domestic -- australia --, conservation and restoration, interior decoration - australia

96 p. : ill. ; 29 cm.non-fiction"If you own an old house, The Compete Australian Old House Catalogue will save you time, money and effort. Thanks to this book, finding the products, materials, skills and services needed to care for and restore your old house - from the front fence to the chimney pots - is now a simple matter. Ian Evans has collected the names of companies and people who can help you return your house to its original appearance and condition. Some 750 entries list the names of suppliers throughout Australia who specialise in every aspect of building restoration. For the first time, entries include e-mail and website addresses where these are available. Each chapter opens with introductory text which provides concise background information on the subject, drawn from Ian Evans's research into old Australian houses. Practical advice on many aspects of building conservation is combined with authoritative historical information, creating a unique and fascinating blend. The illustrations consist of a selection from old and new building catalogues, together with a wealth of archival and modern photographs. This is a book which belongs in every old house throughout the length and breadth of Australia." - back cover.interior decoration -- australia -- equipment and supplies -- directories., houses and domestic architecture.

Child's grey flannel long sleeve blazer with three pockets. Three large grey buttons.Made from the famous 'Doctor' Regd Flannel All Pure Wool|College Wear Made By Leonard E. Buck.|S McCutchencostume, children's uniform

Worn by patients at Sunbury Asylum. The calico/flannel petticoats were standard issue up to the 1930s.Bodice unbleached cotton, sleeveless, fastened at back with four metal buttons (one missing), skirt grey flannel.Partially legible "F7" in black ink on left front shoulder - stamp or stencil.costume, sunbury asylum, george evans collection

Mother of pearl particularly popular in early Victoria era. Mother of pearl covered needlebook with engraved covers. Maroon silk ribbon repair stitched through MOP forms back hinge and tie. Pink flannel leaf holding calyx-eyed needles.Engraved silk, flannel, mother of pearl, steel needles

Worn by patients at Sunbury Asylum.Undershorts in flannel (fawn and red stripe). Waistband backed with heavy calico. Front closes with two black buttons and back has two adjusting ties made of cotton tape. There are two lengthwise keepers on the waist fronts. Combines hand and machine sewing.Inner waistband stamped "Mental Hospital - Sunbury" in red circle. "Flannel underpants male" handwritten in ink inside waistband.costume, sunbury asylum, george evans collection

Seems to be a non- collapsible mask. Otherwise is a similar, thinner variety of Murray's mask, which was used for the administration of choloroform. John Murray was born in England, 1843 and described his wire mask in 1868 as a young chloroformist at Middlesex Hospital. It was wedge-shaped and made of thick wire and designed to be folded. The removable cover was originally made of several layers of flannel. Murray’s mask became very popular, especially in Australia, and was generally used with a single layer of flannel without an aperture or opening, as is this example. John Murray was an enthusiastic and innovative physician who also had an interest in nitrous oxide anaesthesia and conducted a series of experiments with J. Burdon Sanderson on dental patients comparing nitrous oxide to pure nitrogen. His career was short-lived and he died just before his 30th birthday. (Ball, C 1995, 'Cover Note: Murray's Chloroform Mask', Anaesthesia and Intensive Care, Vol. 23, No. 2, pg. 135)Triangular shaped wire mask covered by flannel. The flannel is sewn over frame and stitched around the base and along the vertical wire. The style and shape is similar to Murray's mask, which was used for the administration of chloroform, however this variation is not collapsible like Murray's mask.dr [e.s] holloway, mask, dr j. murray, chloroform

French seaport Dieppe became centre of ivory carving and produced the finest carvved ivory needlework tools. Late 18th/early 19th centuryNeedlebook with front cover of carved ivory in form of bouquet of flowers with cross hatched backgroun. Leather hinged, tied and lined with red watered silk. Two kerseymere (flannel) leaves with pinked edges for needlesBouquet of flowersivory, leather, silk, flannel

Mt Beauty Higher Elementary School commenced in 1953 as the need for a secondary school grew with the increase in population due to the Kiewa Hydro Scheme. It became the Mt Beauty High School in 1964. The blazer was worn as part of the winter uniform.Historical: Education in Mt Beauty commenced relatively late so there was less of a tradition. The decision to adopt a uniform is of interest to compare with other schools and the times.Pure wool dark green flannel pocket cut out from a Mt Beauty High School blazer. Emblem is machine stitched and has a yellow wattle decoration outside a yellow frame. Across the top of the frame in yellow 'High School", across the bottom of the frame "Mount Beauty", the 2 sides of the frame are hollow. Inside the frame is a stitched picture with a light blue sky, royal blue mountains with white peaks and a white curved path leads towards the mountains with light green 'paddocks' either side. Inscription on back in yellow and white.Pinehurst / Blazer (in white) / Styled by Stamina / The "Doctor" / Pure Wool Flannel (in white) blazer, school, high school, uniform, mt beauty, emblem, education, clothing, winter

Worn by patiens at Sunbury Asylum.Male undershirt in fawn flannel with red stripe. Short sleeves, round neck bound inside with cotton tape. Front opening has canvas srtip and closes with two black buttons. Combines hand and machine sewing. Back hem (tail) is longer than front.Stamped "Men . . . Sunbury" in red circle (originally would have read "Mental Hospital Sunbury" as on 0918). "Flannel Male" handwritten on front calico strip in black.costume, sunbury asylum, george evans collection

Reproduction, Grey flannel undershirt.uniform, ww1, army

Reproduction, Grey Flannel Undershirt, RFC.uniform, ww1, raf

Man's flannel undershirt with short sleeves and three buttons in front.All wool Physician registration Chill proof Unshrinkable.costume, male underwear

Boy's short grey flannel trousers lined with grey cotton.Alexanders 11 All Woolcostume, children's

Item re Frederick Gardner DAVEY DFC No 410533 RAAF. Refer Reg No 3536P for his service details..1) Photo, full length, black / white, of a man in RAAF uniform. Buildings in the background. .2) Photo, full length, black / white, of 2 men in RAAF uniform. Buildings in the background. .3) Photo, full length, black / white, of 7 men in RAAF uniform, seated on the ground. Buildings in the background..1) Handwritten in pencil: Fred in grey flannel battle dress.photography, raaf

Sample book of Collins Bros. Physician Flannels.Book of twelve felt samples, and one loose small sample, held together in red folder, with two rivets. Title gold embossed on front. Three labels pasted to inside front cover with flannel specifications and prices. All felt samples stamped with Physician logo in gold. Round sticker with shade code stuck onto each sample also.Front: [printed] COLLINS BROS. PTY. LTD. / WOOLLEN MANUFACTURERS / GEELONG, VICTORIA / FASHIONABLE SHADES / (FAST TO LIGHT) / ON / PHYSICIAN FLANNELStextile mills felting, collins bros mill pty ltd, textile mills, felting, flannel, physician, sample book, marketing, geelong, textile industry

Embroidery Kit with pattern and threads. Design is of a bunch of flannel flowers and crowea.embroidery kit, kit, pattern, stamped linen, photograph, threads

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Home made cream flannel apron featuring wide box pleats.clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s