Showing 1762 items matching alfred%20c%20cameron
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Whitehorse Historical Society Inc.
Artwork, other - Ink Line Drawing, 1,2,3/16 Alfred St., Burwood, 1995
A property illustration by Margret Picken Commissioned by the real estate agency Woodards, Camberwell for the purpose of advertising 1,2,3/16 Alfred St., Burwood for sale in 1995. Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. The suburb lines are believed to have been redrawn, making this property no longer in Burwood, but located in Glen iris. 1/16 Alfred St., Burwood is listed as having sold for in 1995 for $185,000 Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favoured coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Maragret Picken, of 1,2,3/16 Alfred St., Burwood. Depicted are three one-story rendered houses on one block, one behind the other, situated back from a front lawn with a large tree on the right, and a driveway on the left leading to a garage There to two hole punches just below the upper edge An approximately 1.5cmx0.5 tape reside mark at the centre of the bottom edge A 1cm vertical line of dirty tape residue on the center of the upper edge. 1,2,3/16 Alfred St., Burwood Margaret Picken - 95 Woodards - c'wellwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, glen iris, house, garden -
Whitehorse Historical Society Inc.
Artwork, other - Ink Line Drawing, 11 Alfred St., Burwood, 1999
A property illustration by Margret Picken Commissioned by the real estate agency Woodards, Camberwell for the purpose of advertising 11 Alfred St., Burwood for sale in 1990. Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. The suburb lines are believed to have been redrawn, making this property no longer in Burwood, but located in Glen iris. This property is listed as having sold for in 1990, Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favoured coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Maragret Picken, of 11 Alfred St., Burwood. Depicted is a one-story weatherboard situated back from a front lawn with a large tree, and a brick driveway on the left. Bushes are planted in front of the porch, and greenery on the left and right of the image. There to two hole punches just below the upper edge. 11 Alfred St., Burwood Maragret Picken -'99 Woodards - Glen Iriswhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, glen iris, house, garden -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 67 Alfred Street, Kew, 1987
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2003. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 67 Alfred Street, Kew by Margaret Picken.67 ALFRED ST., KEW / MARG. PICKEN '87architectural sketches -- houses -- kew (vic.), artist -- margaret picken 1950-, 67 alfred street -- kew (vic.) -
Kew Historical Society Inc
Drawing - Property Illustration, Margaret Picken, 69 Alfred Street, Kew, 1987
After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 69 Alfred Street, Kew by Margaret Picken.69 ALFRED ST., KEW / MARG. PICKEN '87artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 69 alfred street -- kew (vic) -
The Beechworth Burke Museum
Audio - Oral History, Jennifer Williams, Mr Alfred Spencer, 17th February 2000
Alfred 'Alf' Spencer grew up on a dairy farm run by his mother, west south west of Beechworth 'down Robertson Road', and was very well connected to the wider Beechworth area. In this oral history, he recalls his time driving the milk cart around Beechworth as well as the time he spent buying lollies and seeing the pictures. He talks extensively about working as a butcher at his brother's store, including how the butchers interacted with the rest of the town and the staff, as well as his time constructing roads and the pipe network of Beechworth. He discusses the dynamics of other workplaces around Beechworth, describing issues with how the local tannery treated its workers as well as how post-war migrants integrated across the town. He briefly discusses racial tensions between Chinese migrants and other miners on the goldfields. He also discusses the experience of health care in a rural area during his childhood. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Alfred Spencer's oral history of his life around Beechworth during the 20th century is historically and socially significant to the cultural history of the region and Victoria. There is a lot of detail about workplaces, their staff, and how the resources of the town interacted. He explores themes that are important to Victorian history, such as migration. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up to 40 minutes of recordings on each side.Mr Alfred Spencer /listen to what they say, beechworth, oral history, burke museum, spencer, alfred spencer, migration, post-war migration, goldfields, health care, farm, farming, dairy farm, black springs, butchers, meat processing, butcher, road, road network, labour relations -
Federation University Historical Collection
Book - Notebook, Alfred Bock, Notebook of Botanical Lectures by Alfred Ewart, c1891
Alfred James Ewart arrived in Australia from England in 1906. He had extensive knowledge of physiological botany. Ewart held the dual position of Government Botanist and the first Chair of Botany at Melbourne University (and any Australasian University), dividing his time between the National Herberium and the University. Black hard covered exercise book with brown tape spine. Includes handwritten notes, beautiful diagrams, clippings, etc. Contents include: Classification of Systematic Botany, Clissification of fruits, Monocotyledons, Dicityledons, Cannabineae,Quercineae, Ulmaceae, Salicineae, Euphorbiceae, Dialy-petaly, Nymphaeaceae, papaverceae, fumariaceae, Violaceae, Polygalaceae, Hypericineae, Cazyciflora, leguminosae, trifolieae, Umbelliferae, heterosciadieae, haplpzygieae, ericaceae, lentibularinaea, phanerogams .4) Photograph of Melaleuca squarrosa. Wild Flowers of Gippsland, photographed by Alfred Bock, Foster Street, Sale. Inside Front Cover : Anatomy. Histology. Physiology Front Page : A.J. Ewart. Botanical Lectures Advanced 1891-2aj ewart. alfred ewart, ewart, botany, alfred bock, illustration, plants, flora, alfred ewart, alfred james ewart -
Federation University Historical Collection
Booklet, Alfred Deakin, Three Writings by Alfred Deakin, 1905
Alfred Deakin was the first Federal Parliamentarian for Ballarat..1) 16 page printed booklet - The Professional Speech of Mr Alfred Deakin, M.P. to his Constituents held at the Alfred Hall, Ballarat on 24 June 1905. Contents of the speech was: * A coming Dissolution * Elections * Socialism V Anti-Socialism * The Barton Policy * Mr Reid's Socialism * The Limits of Social Legislation * End of the Fiscal Truce * The Liberal Policy * Protection, Preferential Trade, and Population * Private Enterprise * Questions for the Labour party * Mr Watson's "Ultimate Objectives" * The Lesson From America * The Iron Bounty * Relegation not Nationalism * Socialism and Borrowing * Cost of an Election *Genesis of the Coalition * The Tariff Commission * Preferential Trade and Iron Bonus * White Men for Defence * Australian Defence .2) Seven page booklet - Federal Situation, 13 July 1905 .3) Three page booklet - The Federal Duel, 15 July 1905alfred deakin, politics, ballarat, alfred hall, john m. barker -
Alfred Health (The Alfred, Caulfield Hospital, and Sandringham Hospital)
Black and White photograph of The Alfred, Plate 8 Alfred Hospital 1870 [page 33] Included in Ann M Mitchell book The Hospital South of the Yarra A history of Alfred Hospital Melbourne from foundation to the nineteen-forties Alfred Hospital Melbourne 1977, Just prior to 1870 and certainly before The Alfred opened in 1871
Earliest photograph of The Alfred immediately prior to its first treating patients on 6 March 1871.Black and White PhotographEndorsed on back in pencil Alfred Hospital 1870the alfred, 1870, hospital -
Whitehorse Historical Society Inc.
Artwork, other - Ink Line Drawing, 7 Alfred Rd., Burwood, circa 1990's
A property illustration by Margret Picken Commissioned by the real estate agency Fletchers Real Estate for the purpose of advertising 7 Alfred Rd, Burwood in 2000 Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. This property is listed as having had unit 10 sell for $404,000 in 2000 Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 9 Tainton St., Burwood. A single story brick bungalow, with roofed porch wrapping around the font left corner of the house. A Picket and brick fence borders the front yard, and opens to a brick driveway on the left. Shrubbery growing in front of house and along the fence.7 Alfred Rd., Burwood Margaret Picken © 2000 Fletchers Real Estatewhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, house, garden -
National Vietnam Veterans Museum (NVVM)
Film - Film, DVD, Nineteen nurses: the story of Alfred Hospital nurses in wartime Vietnam (Copy 1), 2012
The story of nineteen nurses from the Alfred Hospital in Melbourne who volunteered to go to Vietnamnurses - vietnam -
National Vietnam Veterans Museum (NVVM)
Film - Film, DVD, Nineteen nurses: the story of Alfred Hospital nurses in wartime Vietnam (Copy 2), 2012
The story of nineteen nurses from the Alfred Hospital in Melbourne who volunteered to go to Vietnamnurses - vietnam -
Ballarat Heritage Services
Photograph - Colour, Alfred Deakin Place, Ballarat, 2017, 30/06/2017
Colour photograph of Alfred Deakin Place looking towards the Art Gallery of Ballarat from the Arts Academy, alfred deakin place, arts academy, art gallery of ballarat -
Queenscliffe Maritime Museum
Photograph - Reproduced Photograph, "Nelson" in Alfred Graving Dock Williamstown, Victoria 1872
HMS Nelson was a 126-gun ship of the line of the Royal Navy. Launched on 4 July 1814 at Woolwich Dockyard she was later converted into a screw ship in 1860, and was cut down to a two-decker and fitted with an engine of 2,102 indicated horsepower. In 1865, HMVS Nelson was given to the colony of Victoria as a training ship. She was outfitted and rigged for £42,000 and sailed for Australia in October 1867. Travelling via the Cape of Good Hope, she arrived in February 1868. She was the first ship to dock in the newly constructed Alfred Graving Dock in Williamstown, Victoria.Possibly the first training ship of the Victorian Navy which had a base in Swan Island in Queenscliffe.A black and white photograph of the sailing ship HMS later HMVS Nelson docked at the Alfred Graving Dock, Williamstown, 1872"Nelson" in Alfred Graving Dock Williamstown, Victoria 1872hms nelson, hmvs nelson, alfred graving dock, williamstown -
Emerald Museum & Nobelius Heritage Park
Book, Alfred and Ursula Klink, E.E. Kurth and his work, Reflections on a Creative Life by Alfred and Ursula Kling, 2014
Professor Ernest Edgar Kurth of the University of Tasmania, invented a faster, simpler and cleaner way to produce charcoal on a continuous basis during the second world war. The charcoal was used to produce a combustible gas in motor cars, as a substitute for petrol, which was heavily rationed. The first batch of charcoal was produced in February 1942 and continued until the end of the war. Wood from stringybark trees was cut into lengths and fed into a kiln which converted it into charcoal. The Kiln is located on Beenak Road, 7km north of Gembrook. It has great historical significance, particularly as an alternative supplier of fuel during the second world war. It is a State Registered facility, managed by the Friends of Kirth Kiln and the park is managed by Parks Victoria Green soft covered book of 150 pages, with a photo of 2 men and a boy out in the bush with 3 fires burning.Contains a Prelude about Ernest Edgar Kurth written by Alfred Klink (2013) and a Foreward by John Sullivan (Heritage Officer of Parks Victoria). There is an Acknowledgement page, with recognition given to the grant provided by the Department of Sustainability, Environment, Water, Population and Communities. e.e. kurth, kirth kiln, charcoal kiln, parks victoria -
Flagstaff Hill Maritime Museum and Village
Domestic object - Plate, Alfred Meakin
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/Ceramics have evolved over thousands of years.Earthenware dessert plate, cream colour. Made by Alfred Meakin, England. Backstamped ‘Alfred Meakin England’. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, ceramics, earthenware, kitchenware -
Federation University Historical Collection
Document, Envelope Addressed to Alfred Mica Smith
Professor Alfred Mica Smith was a lecturer at the Ballarat School of MinesEnvelope Addressed to Alfred Mica Smithballarat school of mines, alfred mica smith -
Whitehorse Historical Society Inc.
Document, James Alfred Turner Greeting Card, n.d
Greeting card of a painting by James Alfred Turner.Greeting card of a painting by James Alfred Turner. This painting was also used on the cover of the pamphlet ND5885 'The Story of James Alfred TurnerGreeting card of a painting by James Alfred Turner. turner, james alfred -
Camberwell Historical Society
Drawing (series) - Architectural drawing, 40 Alfred Road, Glen Iris, 2001
artist, architectural drawings, margaret picken, camberwell, housesartist, architectural drawings, margaret picken, camberwell, houses -
Whitehorse Historical Society Inc.
Artwork, other - Ink Line Drawing, 10 Alfred St., Burwood, 1999
A property illustration by Margret Picken Commissioned by the real estate agency Woodards, Camberwell for the purpose of advertising 10 Alfred St., Burwood for sale in 1999. Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. The suburb lines are believed to have been redrawn, making this property no longer in Burwood, but located in Glen iris. This property is listed as having sold for in 1999 for $380,000 Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favoured coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A Black ink line drawing on drafters film by Maragret Picken, of 10 Alfred St., Burwood. Depicted is a one-story brick house situated back from a front lawn with a large tree, and a driveway on the right, leading to a connected carport. There to two hole punches just below the upper edge, and a approximately 1cmx1cm tape reside mark left of centre near the bottom edge 10 Alfred St., Burwood Maragret Picken - 99 Woodards - c'wellwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, burwood, glen iris, house, garden -
Ballarat Tramway Museum
Ephemera - Ticket, Ballarat Tramway Preservation Society (BTPS), BTPS 20c ticket, 1974
Twenty (20c) ticket for the Ballarat Tourist Tramway, printed on semi glossy white paper. Ticket Number A 000000. The ticket is printed using turquoise colour ink, with the ticket number in black ink. Ticket in the style of the SEC tram tickets. Tickets used for Adult Return, Child Return and Child Single from 24/12/1974 to 31/10/1985. Ticket collected at the time of first issue to museum (date 12/7/1974) and placed in a manila envelope for the archives. See BTM / BPTS Fare Schedule chart and BTPS ticket issue record books.trams, tramways, tickets, btps, ballarat tourist tramway -
Tatura Irrigation & Wartime Camps Museum
Work on paper - Folio - Sketches, Alfred Landauer
Alfred Landauer was a Dunera Boy in both Hay and Tatura. These sketches have been in the possession of Mrs and Mrs Fallshaw in the UK.A folio of Sketches and assorted writing by Dunera Boy Alfred Landauerdunera, sketches, drawings, tatura, hay, landauer -
Ballarat Heritage Services
Image, Alfred Deakin M.H.R
Alfred Deakin (3 August 1856 – 7 October 1919) was an Australian politician who served as the second Prime Minister of Australia, in office for three separate terms – 1903 to 1904, 1905 to 1908, and 1909 to 1910. Before entering office, he was a leader of the movement for Australian federation. (Wikipedia)Black and white image of Alfred Deakin.portrait, alfred deakin, prime minister -
Ballarat Heritage Services
Image, Right Hon. Alfred Deakin, c1918
Alfred Deakin (3 August 1856 – 7 October 1919) was an Australian politician who served as the second Prime Minister of Australia, in office for three separate terms – 1903 to 1904, 1905 to 1908, and 1909 to 1910. Before entering office, he was a leader of the movement for Australian federation. (Wikipedia)Black and white image of Alfred Deakin.portrait, alfred deakin, prime minister -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Book, Military Historical Society of Australia, Victorian Branch, Alfred N Festberg: Australian Army Insignia 1903-1966, 3:MMMM, 1967 (exact)
Illustrations of Australian Army Insignia 1903-1966. Compiled by Alfred N Festberg, Photography by Arthur G Genders Published by Military Historical Society of Australia, Victorian Branch, 1967.Inscribed by author: "To the Museum Alfred Festberg 9 Nov 78"australian army, insignia, badges, alfred n festberg, arthur g genders, miltary historical society of australia -
Federation University Historical Collection
Memorabilia - Object, Ballarat School of Mines Boer War Memorial for Alfred Gresham Johnston, c1901
Former SMB mining student Alfred Johnston was the son of Charles Johnston of Cork, Ireland, and Elizabeth Jameson, the family owning a large furniture store in Fitzroy. Alfred joined the Fifth Victorian (Mounted Riffles) contingent at the Melbourne suburb of Hawthorn. The October 1901 Ballarat School of Mines (SMB) Students Magazine reported 'Alf. Johnston's gone. The news came as a shock to all of us at the school. He who was with us a few short months ago, in all strength of sturdy manhood, has met a soldier's death in South Africa, and we sincerely mourn his loss…. His heart was in the school, and he did his best to further its interests … His last act on leaving Australian shores was to send a telegram from Albany to Prof. Mica Smith, to whom he was warmly attached, wishing the School and all connected with it "Good-bye". In his short, all to short, life of 29 years, he had more adventure than falls the lot of most men, and possibly the spirit of adventure, and also, of duty, prompted him to throw in his lot with the "colors," and leave for the front. The news of his death comes to us with added weight of sadness when we remember that he was one of the organisers of the School entertainment last year to help swell the fund for the erection of a statue to fallen Victorian soldiers.' The SMB Annual Report of 1901 recognised the loss of one of their students: 'Mr Johnston was, until the date of his leaving for active military service in South Africa, one of our students. While here besides being regarded as a general favourite for his urbanity and manliness, he was noted as a faithful, diligent, and most successful student. The news of Lieutenant Johnston's death cast quite a gloom over the school and it was early decided that in addition to a letter of condolence sent to his parents a bronze tablet, suitably inscribed, be erected to his memory in some prominent part of the school. On the 4th November last the ceremony of unveiling the memorial tablet was performed by Professor A. Mica Smith in the presence of several members of the late Lieutenant A.G. Johnston's family, the President and Members of Council, the Staff and Students of the School, and a number of prominent citizens.Brass shield used to commemorate the death of former Ballarat School of Mines graduate Alfred G. Johnston who died during the Boer War. In memory of Alfred G. Johnston Lieut. Fifth Regt V.M.R., and student of this school who fell at Rhenoster Kop, South Africa May 7th 1901 aged 29 years. An esteemed student and a gallant soldier.boer war, victorian mounted rifles, alfred johnston, memorial, rhenoster kop, south africa, south african war -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Framed photograph, No 1892 Tpr Alfred Lazarus, 4th Light Horse Regiment, c 1915
Framed photo of Tpr Alfred Lazarus, 4th Light Horse Regiment4th Light Horse Regiment - Machine Gun Squadron No 1892 Tpr Alfred Lazarus 13 R Enlisted 10 Aug 1915 RTA 29 April 1919 -
Federation University Historical Collection
Print - Artwork - Portrait, Professor Alfred Mica Smith
The original of this portrait was painted by Max Meldrum in 1926. In 1934 the Ballarat School of Mines sought donations to purchase the portrait for the Art Gallery of Ballarat, where it is held today. Donations were handed by the Balllarat School of Mines Registrar, John B. Robinson. Professor Alfred Mica Smith was a famed professor at the Ballarat School of MinesFramed reproduction of a painting of Alfred Mica Smith. available, alfred mica smith, max meldrum, john b. robinson -
Federation University Historical Collection
Photograph, Boer War Veteran Alfred G. Johnston
Alfred G Johnston was a former Ballarat School of Mines student who was killed in action at Rhenosterkop, Middleburg district, Transvaal, South Africa, on 7 May 1901, aged 29 years. A letter of condolence was sent to his parents (see S.M.B. Council Meeting 31-5-1901).An image from the original black and white photograph showing the torso of a man in military uniform - Alfred G Johnston who served in the 5th Regiment of the Victorian Mounted Rifles. The uniform (the forerunner of the uniform of the Australian Light Horse) includes a slouch hat. Also see: Photograph of Alfred G. Johnston as S.M.B. student, 1899. Catalogue number 00414. A photograph of the memorial that Ballarat School of Mines put up in his honour is Catalogue number 00531.Verso: AUTHENTICATION REQUESTED Photographic portrait of LIEUTENANT ALFRED GRESHAM JOHNSTON (with handwritten note - or Gersham) 5th Regiment V.M.R. (late student of S.M.B.) Killed in action at Rhenoster Kop. South Africa, May 7, 1901 S.M.B. Council Meeting (31-5-1901) - - - letter of condolence to parents. Please return to W.T. Ryan, c/- School of Mines, Ballarat. 3350boer, boer war, south african war, south africa, volunteer regiments, alfred johnston, a g johnston, johnston, ballarat school of mines, victorian mounted rifles -
Federation University Historical Collection
Photograph - black and white, Alfred Reid's Mount Clear Property, 1966, c1866
This site was promised to the Ballarat School of Mines for a University site, but due to inaction it was sold before the Ballarat Institute of Advanced Education came into existence. Eventually a property was purchased at Mount Helen, and a campus for high degrees was established. Alfred Reid is associated with Reid's Coffee Palace.Black and white photograph of a rural property, then belonging to Alfred Reid. mount clear, mt clear, alfred reid, ballarat school of mines, ballarat institute of advanced education, mt clear campus, reid's coffee palace -
Mission to Seafarers Victoria
Plaque - Memorial plaque, P.J. King, Rev. Alfred Gurney Goldsmith, 1927
Reverend Alfred Gurney Goldsmith arrived from England in 1905 and left the Mission in 1925. He died a few months after leaving Australia in Kobe where he had accepted a new position in this Mission in Japan.This plaque along with the stained glass window in the St Peter chapel (the first one to be installer) demonstrate the affection for the Reverend and the appreciation for all the work he did.Large rectangular bronze plaque in memory of Reverend Alfred Gurney Goldsmithchaplains, mission to seafarers, seamen's mission, kobe, japan, lhlg, 1926, reverend alfred gurney goldsmith