The Australian Home Beautiful was a popular Magazine years ago .In the May edition there is a local article on a building of importance in Sycamore Ave. EmeraldCollection of Monthly Journals . Vol,10, No.1 January 1. 1932 to June 1932 priced at One Shilling. photo of bridge with canoe under it.January 1st 1932 with advertising and Storieshome beautiful. historical stories. photographs

Article - "A home with a history" by Nora Cooper featuring Sweeney's Cottage at Culla Hill in Eltham, a pioneer settler of the district on pages 6-9 and 49-50Magazine missing cover (pages 1, 2, 51,52); p49/50 torn, several articles where pictures have been cut out or sectioned Dispay panel of a second copy of article pages adhered to boardaustralian home beautiful magazine, culla hill, eltham, houses, sweeney's cottage, sweeneys lane, thomas sweeney, display panel

4 page article & photos on Warrnambool home called 'Shipley' situated on the Hopkins. Dawson family1920's Century architecture Keith Cheetham. Owners Mr & Mrs A. G. Dawson50 page monthly journal. Showing housing, house hold tips. Black print on cream paper. Reasonable condition slightly water damagedVol 18 No 5. May 1 1940. journal. magazine. home beautiful. australia. household. recipes, shipley, hopkins river, home beautiful, dawson

ink, paper

Soft covered book with illustration of house on front cover.books, reference

The Australian Home Beautiful article on the Heidelberg and Eastern Golf Club indicates that its clubhouse comprised two buildings, "Bryn Teg" built by Mrs Thomas, one approximately 1849, the other 40 years later. The club moved into these buildings about 1928. The stables were converted for use in 1921 by Frederick Henry Gilsenan as the Lower Plenty State School No. 1295 which was open from 20/06/1921 to 11/04/1925. Mr. Gilsenan married Margaret Mar Cornall in 1923. They lived in Heidelberg, had a daughter, Verna in 1924. Mr Gilsenan was transferred to Mt Moriac SS No. 1608 in 1925. The handwritten account is written by Verna.Historical significance about the premises of both the Lower Plenty State School and the Heidelberg Golf Club.4 p. photocopied article from Australian Home Beautiful 1 June 1929, with 2p.handwritten history of the school 20/06/1921-11/04/1925 (2 copies) and page of photographs of building and people.lower plenty primary school, gilsenan, frederick henry, heidelberg golf club

Occupied by the Heidelberg Golf Club in 1928, the homestead, Bryn Teg, was built by R. T. Brown about 1849. This article, written in 1929, describes the building and its history in detail.4 p. black and white photocopy of article from Australian Home Beautiful, June 1, 1929, stapledheidelberg golf club, bryn teg, lower plenty

A box covered in Christmas paper containing items related to the Cohn family. (i) A yellow folder titled 'Press cuttings and articles of Ola Cohn.' Items of interest include articles relating to Ola Cohn, her work and her home and the Cohn family and their drink company Cohns Pty. Ltd. Sources are 'The Age,' 'The Sun,' 'The Australian Home Beautiful,' 'The Herald' and 'The Bendigo Advertiser.' Dated between 1932 and 1968. (ii) A book written by Ola Cohn titled ''Mostly Cats,'' written in 1964.Ola Cohnperson, family, ola cohn, lydia chancellor, collection, cohn family, cohn bros. pty. ltd., manufacturing, ola cohn, women, pottery, ceramics, art, art work, book, literature, female, person, sculpture, famous people, fairy tree, mostly cats, animals, pets, cats

Robin Boyd the Anglesea E. McK. Paton House in Anglesea, c 1951. It featured on the cover of Australian Home Beautiful accompanied with the article by Nora Cooper 'Seaside Haven' pp 36-39. This image was the cover image of this volume.Cover pageFamily around living room fireplace made of stoneswalsh st library

Details of some aspects of A K (Gus) Lines' life. Includes article by Eric Poulter, photograph of Albert and Ivy Lines as children (c1906), an obituary for Mr Lines, 2 articles from Australian Home Beautiful (1940 and 1943) discussing his work as an architect, and a newspaper article (c1940) of Mr Lines as Mayor of Heidelberg and his sister Ivy as Mayoress.A K Lines was a local Heidelberg councillor & Mayor and prominent resident of Greensborough.Folder containing articles on A.K. Linesgreensborough, heidelberg council, architects, a k gus lines

This crochet chart was designed by the twentieth century crochet pattern designer, Mary Card, for the Victorian Centenary in 1934. It was published in the Australian Home Beautiful magazine on November 1934. The chart was published in four sections, with instructions for working it as a complete piece. Mary Card lived in Olinda and published books of her patterns and individual patterns in Australia, American and English magazines from 1909 until the 1930s.Giant paper crochet chart of Mary Cards Victorian Centenary cloth design, featuring Australian animals, ships, buildings and horseman. Chart has FLORENCE / MCNABB 1944 written in pen ar thje bottom. Over the orignial pattern which was printed with VICTORIAN / CENTENARY 1934. Chart is in 4 pieces, each attached to Cardboard. Written on with ink: 12-4-44 On back : No 1, No 2 , No 3, No 4 mary card, centenaries, crochet patterns

Collection of Personal Papers regarding the sale and recovery of tram bodies 12 Kilara Road Mentone in 1982. Comprises: 1 - letter to the TMSV dated 28/4/1982, to the TMSV from Duncan & Weller for auction on 29/5/1982. 2 - Newspaper from The Age, 12/5/1982 regarding the forthcoming article 3 - Photocopy of an article from March 1, 1930 The Australian Home Beautiful titled "A House Built from tram cars, by W. A. Somerset 4 - Set of five photographs and negative of the above article, possibly by the State Library. In an orange folder addressed to Mr. Kings. 5 - Newspaper item the Herald, Sat 28/8/1982, "House of the rising tram" reporting on the removal of the tram bodies from this house by the TMSV. Has a photo of the TMSV Chairman, Hamish Haugh removing a shower fitting. Item folded.trams, tramways, mmtb, pmtt, mentone, tramcars, melbourne, houses, sale of land

This is a hard cover book of 215 pages. The hard cover is white with silver-coloured printing on the spine and the dust cover has a cream background with black and pink printing and the image of a pink rose. The pages contain an introduction, a preface, ten chapters of text and an appendix. non-fictionThis book is the autobiography of Margaret Lord, a noted Australian interior designer, journalist, colour consultant and author.margaret lord, interior designer, history of warrnambool, australian society of interior designers

After his experience in designing moderately priced furniture in the 1930s and managing the construction of aircraft by an inexperienced workforce during World War II, designer Frederick Ward developed Patterncraft paper patterns. They were available by mail order through Australian Home Beautiful from 1947. For those with rudimentary skills Ward developed Timber-pack kits of components ready to glue and assemble. Blueprint, his subsequent project for the mass-market was launched in 1951. At a time of austerity and shortages, Blueprint patters helped Australians furnish their modest homes with modern furniture they had made themselves. Nanette Carter, 2017Fred Ward, Detail sheet for 'Home Beautiful Blueprint Furniture' No. 6, includes technical drawings and instructions, 1950-1951furniture, patterns, diy, rmit design archives

Princes Bridge Centenary pylons complete Even though this is a street scene, it feels very intimate; we are instantly immersed in the activity of a Melbourne afternoon, looking down St Kilda Road from a viewpoint near today’s Federation Square. The focus is on the Centenary Pylons, erected on Princes Bridge to mark Melbourne’s Centenary in 1934. The sixteen plastered pylons were designed by Roy Prentice, the second person to qualify as an architect at the University of Melbourne in 1933, and aged just 27. The State Electricity Commission sponsored the work and The Argus reported that the pylons were “illuminated from within to give the effect of soft radiance”. Australia Home Beautiful reported that the taller pylons were 48 feet high. Timber-framed and faced with fibrous plaster and galvanised sheet iron, each structure was bolted to a concrete foundation three feet in depth. Panels of glass were indirectly lit by forty 100 watt lamps, and the upper bank of lamps were dyed so as to flood them with a deep red light. The shields and flagpoles were illuminated by three 200 watt concealed projectors, part of an electric night light decoration scheme involving 28 miles of wire to supply more than 20,000 lights. Melbourne was converted into “a coloured fairyland by night”. Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Louise McKenzie Photographer notations on slide: "View looking along St Kilda Road C57" Published: (1934, September 5). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Published title: DECORATIONS -- THEN AND NOW. Published caption: "The second picture shows one of the Princes-bridge pylons completed..." Trove article identifier: http://nla.gov.au/nla.news-article205880269 Research by project volunteer, Louise McKenzie: Even though this is a street scene, it feels very intimate; we are instantly immersed in the activity of a Melbourne afternoon, looking down St Kilda Road from a viewpoint near today’s Federation Square. The focus is on the Centenary Pylons, erected on Princes Bridge to mark Melbourne’s Centenary in 1934. The sixteen plastered pylons were designed by Roy Prentice, the second person to qualify as an architect at the University of Melbourne in 1933, and aged just 27. The State Electricity Commission sponsored the work and The Argus reported that the pylons were “illuminated from within to give the effect of soft radiance”. Australia Home Beautiful reported that the taller pylons were 48 feet high. Timber-framed and faced with fibrous plaster and galvanised sheet iron, each structure was bolted to a concrete foundation three feet in depth. Panels of glass were indirectly lit by forty 100 watt lamps, and the upper bank of lamps were dyed so as to flood them with a deep red light. The shields and flagpoles were illuminated by three 200 watt concealed projectors, part of an electric night light decoration scheme involving 28 miles of wire to supply more than 20,000 lights. Melbourne was converted into “a coloured fairyland by night”. References: DECORATIONS -- THEN AND NOW. (1934, September 5). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205880269 'Dressing Melbourne for the Duke', The Australian home beautiful: a journal for the home builder. Vol 12 No. 10 (1 October 1934), page 21, 58. Retrieved September 14, 2023, from http://nla.gov.au/nla.obj-2950922209 28 Miles of Wire (1934, October 18). The Argus (Melbourne, Vic. : 1848 - 1957), p. 1 (The Junior Argus). Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article10977836Photographer notations on slide: "View looking along St Kilda Road C57".centenaries, 1930-1939, bridges

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.