Showing 57 items
matching waratah house
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Marysville & District Historical SocietyMap (Item) - Map and touring guide, Murrindindi Regional Tourism Association Inc, Marysville & The Mystic Mountains VICTORIA-AUSTRALIA, 08-2002
... waratah house... country ministries hillcrest keppels hotel motel kerami house ...A fold out map and touring guide of Marysville and the surrounding district published in 2002 by Murrindindi Regional Tourism Association Inc.A fold out map and touring guide of Marysville and the surrounding district published in 2002 by Murrindindi Regional Tourism Association Inc.marysville, victoria, australia, map and touring guide, mystic mountains tourism, the beeches rainforest walk, lake mountain, cambarville, cathedral range state park, the cumberland, abbey green b&b cottages, anastasia fairytale cottage, ashlar cottage b&b, somerled mountain retreat, baree mudbrick cottages, blackwood cottages, camellia cottage, cathedral view b&b, cottage riverside, crossways country inn, dalrymples guest cottages, esa country ministries, hillcrest, keppels hotel motel, kerami house, lomatia lodge, lyell guest cottages, marylands country house, marysville caravan park, marysville holiday cottages, maryton park, melina cottage, moondai farm b&b, mountain lodge marysville, mount cathedral lodge, mystic mountains holiday cottages, nanda binya lodge, rendezvous on murchison, scenic b&b, the hermitage, tower motel, waratah house, willowbank at taggerty, woodlands of narbethong, keppels, lake mountain resort cafe, lanterns at willowbank, mantirri blueberry farm, marysville country bakery, the old woolshed cafe, clearstream olives, uncle fred & aunty val's old style lolly shop, acheron valley alpacas country store & gallery, bruno's art and sculpture garden, country touch, things of sand & stone, willowbank gallery, marysville auto & hardware, marysville newsagency & general store, marysville visitor information centre, narbethong visitor information centre, gallipoli park, keppels lookout, lady talbot drive, steavenson falls, steavenson river, taggerty river, acheron river, black spur trail riding centre, buxton trout farm, lake mountain resort ski hire, lake mountain ski school, marysville district country club, marysville ski centre, narbethong ski hire, rubicon horse riding, country touch tours, murrindindi regional tourism association inc -
Marysville & District Historical SocietyMap (Item) - Map and touring guide, Murrindindi Regional Tourism Association Inc, Marysville & The Mystic Mountains VICTORIA-AUSTRALIA, 08-2002
... waratah house... country ministries hillcrest keppels hotel motel kerami house ...A fold out map and touring guide of Marysville and the surrounding district published in 2002 by Murrindindi Regional Tourism Association Inc.A fold out map and touring guide of Marysville and the surrounding district published in 2002 by Murrindindi Regional Tourism Association Inc.marysville, victoria, australia, map and touring guide, mystic mountains tourism, the beeches rainforest walk, lake mountain, cambarville, cathedral range state park, the cumberland, abbey green b&b cottages, anastasia fairytale cottage, ashlar cottage b&b, somerled mountain retreat, baree mudbrick cottages, blackwood cottages, camellia cottage, cathedral view b&b, cottage riverside, crossways country inn, dalrymples guest cottages, esa country ministries, hillcrest, keppels hotel motel, kerami house, lomatia lodge, lyell guest cottages, marylands country house, marysville caravan park, marysville holiday cottages, maryton park, melina cottage, moondai farm b&b, mountain lodge marysville, mount cathedral lodge, mystic mountains holiday cottages, nanda binya lodge, rendezvous on murchison, scenic b&b, the hermitage, tower motel, waratah house, willowbank at taggerty, woodlands of narbethong, keppels, lake mountain resort cafe, lanterns at willowbank, mantirri blueberry farm, marysville country bakery, the old woolshed cafe, clearstream olives, uncle fred & aunty val's old style lolly shop, acheron valley alpacas country store & gallery, bruno's art and sculpture garden, country touch, things of sand & stone, willowbank gallery, marysville auto & hardware, marysville newsagency & general store, marysville visitor information centre, narbethong visitor information centre, gallipoli park, keppels lookout, lady talbot drive, steavenson falls, steavenson river, taggerty river, acheron river, black spur trail riding centre, buxton trout farm, lake mountain resort ski hire, lake mountain ski school, marysville district country club, marysville ski centre, narbethong ski hire, rubicon horse riding, country touch tours, murrindindi regional tourism association inc -
Whitehorse Historical Society Inc.Pamphlet, Waratah, 1/10/1994
... Auction of Edwardian house, 'Waratah', 1 Victoria Avenue... of Edwardian house, 'Waratah', 1 Victoria Avenue, Mitcham on 15/10/1994 ...Auction of Edwardian house, 'Waratah', 1 Victoria Avenue, Mitcham on 15/10/1994; sold for $173,000.victoria avenue, mitcham, no. 1, auctions -
Southern Sherbrooke Historical Society Inc.Photograph, Visit to Mt Heatherly, early 2000s
... of Waratah Ave. The house is now owned by Mrs Elizabeth Schneider... Belgrave Lake Park. Address is Park Drive, on the corner of Waratah ...Photos of Mt Heatherly, an historical building in Belgrave, opposite Belgrave Lake Park. Address is Park Drive, on the corner of Waratah Ave. The house is now owned by Mrs Elizabeth Schneider, and was first constructed around 1881 by the first owner of the selection, Ormond Smith. It was made of hand-made bricks made on site, and a foundation of rock and stone. The original house may have had a corrugated iron roof. The original house forms part of the modern house. Photos taken in early 2000s by Susan Heywood-Downard. -
Glenelg Shire Council Cultural CollectionContainer - Chocolate Box, Waratah Cafe Chocolate Box, 1910-1930
Displayed at History House.Apricot coloured cardboard box with lid and blue cotton handle. Glued at sides. Gold lettering within a decorative border on front and back. Decorative motif on lid. -
Glenelg Shire Council Cultural CollectionContainer - Chocolate Box, Waratah Cafe Chocolate Box, 1910-1930
Displayed in History House.Cream-coloured cardboard box with lid and blue cotton handle. Glued at sides. Gold lettering within a decorative border on front and back. Decorative motif on lid. -
Glen Eira Historical Society
Letter - HUNT, WILLIAM HOGARTH
Two sets of this man's handwritten memories: 1/Five pages of handwritten personal memories, written by William Hogarth Hunt 13/07/1977. He outlines his family, their travels and settlement in 1908 at Glenhuntly: a detailed account of residents, shop owners, land sales and identities, Murray Ross, Mr Burr of Burr’s Gun Oil and Mr Zarman. Also details Glenhuntly Methodist Church, football, athletics, Glenhuntly Aerodrome and an extensive list of local residents and their stories. 2/Two pages of handwritten personal memories, written by William Hogarth Hunt 02/09/1977. A detailed account of residents, shop owners, identities, athletes, local policemen and their stories in the Glen Huntly area.personal memories, hunt william hogarth, glenhuntly, grange road, trams, plumber, stone mary ann, neerim road, wanalta road, schurme mrs, private hospital, hospitals, watson grove, hunt jessie, hunt alfred, hunt charles, smith mr, fisher mr, smith mrs, jockeys, dore george, ‘willis’, builders, house names, mernda, roseberry grove, el nido, neerim road, glenhuntly post office, mrs fielder’s sweetshop, mrs beer’s sweet shop, paddocks, confectionery, fielder fred, maroona road, murrumbeena, grocers, callister dave, carnegie state school, hay and corn store, james street, woodyard, hillards chemist, hughes body works, chemists, davidson’s, glenhuntly printing, hay and corn stores, railway gates, anz bank, fox mr, martin jack, fox mrs, clothing stores, steam rollers, radio and tv shop, beasley j, delicatessen/ham and beef shop, butchers, schurme’s private hospital, gellatley george, tailors, commonwealth banks, watson grove, banks, preston peter, e.j. & h. amos, hardware stores, estate agents, glenhuntly picture theatre, whittle mr, theatres, newsagency, cooper and cooke, station street, f.j. long and co, jennings a.v, timber yards, builders, ‘the estate’, hillcrest estate, grange road, marara road, rosedale avenue, hobart jack, mackie road, confectionery stores, ross murray, glenhuntly athletic club, godfrey evelyn, athletics clubs, railways, glenhuntly junior football club, elsternwick, princess park, carnegie oval, booran road, koornang park, ormond oval – ee. gunn reserve, glenhuntly oval, oakleigh road, victorian amateur turf club, koornang road, glenhuntly aerodrome, neville street, glenhuntly state school, rosslyn street, geary mr, lauriston tennis courts, bakers, carnegie r.s.l., east bentleigh, bowling clubs, tucker road, tennis clubs, centre road, murrumbeena road, larman mr, hollway street, nurseries, parker street, lyle marshall, burr mr, solicitors, builders, bones nursery, ‘burr’s gunoil’, glenhuntly methodist church, carnegie, smith alf, ezard family, clemens family, noy family, noy clarrie, dickie family, storey family, storey george, davis family, joss house, chinese community, wattle avenue, grange road, glenhuntly amateur football club, football clubs, glenhuntly athletic club, athletic clubs, glen huntly junior football club, carnegie oval, koornang park, glenhuntly oval, victorian amateur turf club, glenhuntly aerodome, glenhuntly state school, geary mr., bakers, east bentleigh, tucker road, centre road, larman mr, nurseries, lyle marshall, solicitors, bones nursery, carnegie, "the estate", royal avenue, mckay avenue, dumsday bertha miss, love family, gilmour family, waratah ave, sinclair mr, tuckpointers, bricks, donegan mr, plumbers, frazer mr, frazer and jenkinson printers, frazer arthur, ezard manufacturing, jewellers, private hospital, maroona road, o'carroll mr, beattie mr, horse trainer, morton tom, lord harry, estate agents, ormond, councillors, taylor mr, builders, gibson family, westley alf, o'carroll j (jack) d, glenhuntly athletics club, athletes, jack page's bakery and cake shop, nay clarrie, hunt william h., hunt alf, page jack, armstrong jack, manchester grove, morgan advertising, cusdin sid, farrier, glenhuntly cricket club, caulfield racecourse, neerim road, hoffman's plumbing, emma street, st. agnes school, st. agnes church hall, jenkin 'boss' mr, teachers, hawthorn miss, quinn miss, chitty charlie, chitty's timber, crystal palace picture theatre, theatres, marsh bill, hardware shops, watson arthur w, j.s. kidd and company, marshes hardware, kidd's hardware, bruce ivy, 'belgrave', house names, belgrave road, dandenong road, hunter 'pud', police officers, hunt jess, kangaroo road, murrumbeena, glen huntly -
Glen Eira Historical Society
Newsletter - CAULFIELD RSL
This file contains one item about the Caulfield RSL’s newsletter: 1/Five issues (nos. 26, 33, 35, 42, and 44) of Furfs, the official newsletter of the Caulfield RSL, dated 12/2000, 05/2004, 10/2005, 12/2007, and 11/2009 respectively. The issues vary in size (numbering 12, 6, 1, 8, and 8 pages, respectively) and consequently, in terms of breadth of content. Most, however, report on the Club’s recent activities, list the current administrative staff, eulogise recently deceased members, and contain advertisements for goods and services of interest to members. All except the shortest also contain numerous black-and-white photographs of members participating in various events. No. 42 also has an article on the progress of the Club history including mention of a 1963 ABC Four Corners episode with footage inside and outside the Club as well as interviews with members.furfs, advertisements, gould tony, moore hedley, frances ken, stewart r. k, whybrow john, mclean tom, elsternwick, canfield bill, anzac day, remembrance day, middlemiss glenys, middlemiss brian, sayers john, rodda alby, st. george’s road, remembrance day service, president’s dinner, annett michael colonel, dejussing clive, stacey carole, white thomas sir, fuller joan, edwards m. t., greer j., warburton jimmy, decker john, mcbean j., mclean s. mrs., gibson ray, rigby jack, oakley trevor, paul’s steak house, wear well dry cleaners, mclean susan, caulfield lions clubs, glen eira district lions, ‘my brother jack’ short story award, ‘glenmore’, everett kevin, lee kenneth c., sneddon bruce n., perignon george j., bradley john m., kennedy colin j., waratah cellars, glenhuntly road, glen huntly road, taverna john, taverna robyn, gaylard bernie, auhl ron, yob loretta, muir frank, morris tony, blaney matt, james bob, kevin brennan, davey kathleen, wreath laying ceremonies, may carl, one petroleum co., ager michelle major, taus joe, geier noel, blore peter, creaney john, wadley geoffrey, oliver mavis i., browne donald d., ross john, kidd william, rea alan m., pollock rob, pollock florence, sell patricia miss, fidler n., dew d., mayell w., booth vincent, booth lois, johnson carl, ‘the ole tin hat’, centre road, bentleigh, rigby pat, eade charles, howell davie, blore jeff, russell paul, kesoglidis kon, morse r. e., long bridford f. r., harkensee keith r., collins williams h., daniels albert e., stephani detleef p. von, walton alan l., canfield william g., barclay henry i., rose frank w., sherriff william g., may donald c., fergus mark l., sorel peter a., chivers keith, scarffe richard a., dalgleish maggie, sampson stan, jacobs frank, ware les, powell massey, merlo harry, perini leo, milnes ‘bluey’, carmody jack, edwards michael terrence, orrock george, lyon stan, raines barbara, raines laurie, hall ron, metherall murray, blore geoff, walker keith, davis max, doyle tom, reece jim, jewell bill, o’neill roe, ferrari ron, fogarty des, sinclair bill, mitchell j., harris l., boughton h. ms., townsend d. mrs., decker j., larkin r., elder g., sell p., clarke john, mclean t., kean phyllis m., booth geoffrey e., donoghue clifton s., durham leonard c., ford john w., nitsche neil h., davidson kelvin r., werba adele, pleydell max, price colin, taberner laurie, condron neil, leech gail, green barry rev’d, veteran’s lunch, devlin joseph h., murray mark blodwen, jackman david d., hall erica d., hackman james f., thompson pauline l., gassick betty m. le, logan george, wilson tony, slater bob, cobby a. h. (harry) air commodore, steinberg alison mrs., astill bob, reed donald, niewland hans, bodelier berry, little harold, hawkes stewart, limbue ram bahadur, kirkwood robert, rai bharansher, mclean susan, mcbean jon, white michael sgt., caspar freddie -
Bendigo Historical Society Inc.Photograph - BASIL MILLER COLLECTION: TRAMS
Black and white photo of tram. 'Waratah' in destination sign. Inscriptions on reverse: Written in blue ink (19) in top left corner. Stamped in purple L. B. Manny collection Photo. No. 42(written in blue ink). Pencil line above the name Manny.person, individual, basil miller -
Bendigo Historical Society Inc.Photograph - UNKNOWN FAMILY COLLECTION: PHOTOGRAPH
Photograph - black and white. Portrait of 2 girls, assuming they are sisters. Written on back - Georgie is 2yrs 9 mths and Lilly is 1 yr 3 mths. 'To _____, wishing you all a happy new year. We are at Waratah, Tasmania with Captain for Twelve months rest. Bob lives with us now, much love from ____.Mellia & Co. Melbourne.person, family, 2 girls portrait, unknown family. 2 sisters georgie and lilly. -
Bendigo Historical Society Inc.Document - ANN-MAREE DYER COLLECTION: TAKE ME BACK TO BENDIGO
A large copy of ' Alma Gray's phenomenally successful Australian song Take Me Back to Bendigo.' Written & composed by Alan Rattray & Bert Rache. Writers of the Big Hit ' My Waratah.' A. M. Dinsdale 105-7 Bourke St., Melbourne. Music score included. Donated by Ms. Ann-Maree Dyer.performing arts, music, singing, bendigo, music, music score, take me back to bendigo, song, singing -
Bendigo Historical Society Inc.Document - CERTIFICATE OF ARMED SERVICE - JAMES MURDOCH, 1920
A large colourful certificate awarded to James Murdoch - Certificate of Armed Service, showing the following :- Australian and British flags, wattle, gumnuts, waratahs. Oval picture frame (photograph damaged beyond repair) Written on certificate - Honour the Brave - He answered his Country's Call. Borough of Eaglehawk. Certificate dated at Eaglehawk, 20th August 1920. Markings - McLaren & Co. Pty. Ltd., Melbourne.person, individual, james murdoch -
Whitehorse Historical Society Inc.Newspaper - Article, Vermont tunes in, turns off, drops out, 01/06/1997
Residents in Currajong Street, Vermont South initially join up with either Foxtel, Galaxy or Optus but have since been disconnected with the exception of four houses. Some residents in Blackburn are paying to have cables put undergroundtelevision broadcasting, galaxy, foxtel, optus vision, currajong street, vermont south, remy court, acacia avenue, blackburn, waratah crescent, danene court, seamer, peter -
Whitehorse Historical Society Inc.Article, Blackburn's far enough from the madding crowd, 25/08/1993 12:00:00 AM
Bell Bird area which is under the protection of the National Trust and the Blackburn Lake areaBell Bird area which is under the protection of the National Trust and the Blackburn Lake area are both select and sought after and houses bring high prices.Bell Bird area which is under the protection of the National Trust and the Blackburn Lake areacity of nunawading, national trust of australia (victoria), waratah crescent, blackburn, linum street, boongarry avenue, hill street, acacia avenue, jeffery street, myrtle grove, blackburn road -
Bendigo Historical Society Inc.
Document - Australian Women's Diary, 1992
Zelma Merle Symons married Laurence Howard Lummis in 1953Australian Women's Diary 1992 - owned by Merle Lummis. 12 months of entries of her daily life. Spiralex bound. Illustration of waratah flowers on front cover.history, bendigo, merle lummis collection -
Bendigo Historical Society Inc.
Document - TAKE ME BACK TO BENDIGO
A large copy of ' Alma Gray's phenomenally successful Australian song Take Me Back to Bendigo.' Written & composed by Alan Rattray & Bert Rache. Writers of the Big Hit ' My Waratah.' A. M. Dinsdale 105-7 Bourke St., Melbourne. Music score included. Separate sheet with lyrics.performing arts, music, singing, bendigo, music, music score, take me back to bendigo, song, singing -
Ararat Gallery TAMATextile, Frances Burke, Goanna, c. early 1950s
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Mosaic, c. 1962
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Tiger Stripe, c. 1939
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Crete, 1948
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Plum Blossom, 1948
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Jungle, 1945
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Harlequin, c. late 1950s
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Staccato, c.1962
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Staccato (brown-gray), c.1962
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Tiger Lily, 1951
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Pacifica, 1954
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Magnolia, 1938-1942
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Seapiece, 1951
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs. -
Ararat Gallery TAMATextile, Frances Burke, Zen, c. 1965
Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.
