Yields information about Ballarat's trams during the late 1950's and the Gardens area.Black and white print of Ballarat 34, inbound in Lydiard St Nth, just before the railway level crossing. Two copies. Photo by Doug Colquhoun, 23/3/1959. Tram has the destination of Sebastopol, and has the Kennedy Murray Pty Ltd General Carriers building in the background. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 34/ /Lydiard St North / 23/3/59 5535 / D.A. Colquhoun" . Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, lydiard st nth, tram 34

A folder pamphlet inviting inspection and participation to South Pacific Electric Railway Museum at National Park - 4 photos, outlining future plans, etc. folds into 3 portions - gives list of trams held at the time - early 60's.trams, tramways, tramway museums, sydney, tramcars, preservation

One of three leather bound books of sheet music belonging to Laura Dennys, Ethel Dennys, (daughters of Charles Dennys), and Daisy White (Lascelles Family). Ethel married Edward Harewood Lascelles. These books illustrate an aspect of women's life in these wool families. They were found at an opp shop in 2011 and donated to the National Wool Museum by Catherine Carman in 2022.Navy blue leather bound book containing sheet music, with gold inscription on cover.front: MUSICdennys, lascelles, music, sheet music, songs, piano, women, laura dennys, ethel dennys, daisy white

One of three leather bound books of sheet music belonging to Laura Dennys, Ethel Dennys, (daughters of Charles Dennys), and Daisy White (Lascelles Family). Ethel married Edward Harewood Lascelles. These books illustrate an aspect of women's life in these wool families. They were found at an opp shop in 2011 and donated to the National Wool Museum by Catherine Carman in 2022.Black leather bound book containing sheet music.dennys, lascelles, music, sheet music, songs, piano, women, laura dennys, ethel dennys, daisy white

One of three leather bound books of sheet music belonging to Laura Dennys, Ethel Dennys, (daughters of Charles Dennys), and Daisy White (Lascelles Family). Ethel married Edward Harewood Lascelles. These books illustrate an aspect of women's life in these wool families. They were found at an opp shop in 2011 and donated to the National Wool Museum by Catherine Carman in 2022.Maroon leather bound book containing sheet music, with gold embossed edging and lettering, with the initials L.D. on the front.front: L. D.dennys, lascelles, music, sheet music, songs, piano, women, laura dennys, ethel dennys, daisy white

This item was collected as a souvenir of a fund raising concert at the National Vietnams Veterans Museum. The entertainers who performed signed the hat : Marcia Jones, Lisa Edwards, Mae Parker and Wendy Stapleton. A fur felt khaki Army slouch hat with a seven fold khaki band (puggaree). the brim of the hat is bound in cross grain ribbon and turned up left hand side with a leather chin strap and internal leather band. The brim of the hat is stitched to the side of the hat. There are four signatures in black ink on the brim.On the brim of the slouch hat are the signatures :Marcia Jones, Lisa Edwards, Mae Parker and Wendy Stapleton. uniform, slouch hat, clothing, entertainers, nvvm, performers, fund raising

The National Wool Museum accepted a donation from Brian Licence in 2022 of several mementoes relating to his career in the wool industry. This Wool Classing Exercise Book was written by Brian in his time at the Gordon Technical College from 1960-62. Brian studied Wool Classing and worked for a decade in this profession before moving to Melbourne which required him to change careers.This Wool Classing Exercise book begins with a grey cover and a blue and silver metal binder. It has the number “240” handwritten in white pencil at the centre of the cover and “Brian Licence Animal Husbandry” written in blue ink on the top right corner. Internally, the book is handwritten with occasional hand drawn images. This work is completed on yellowed pages with faint blue lines, for assistance in clarity of handwriting. The pages are surrounded by a margin of red pen. The exercise book’s content is about basic animal husbandry for sheep that a Wool Classer may need to know while in a shearing shed. It is handwritten. A selection of pages have been photographed to give an impression of the information taught in classes 60 years ago. This includes information about: - Dentistry - Skeletal - Blood Circulation - Breathing - Internal parasites The book has 50 completed pages of handwriting on both front and back. Handwritten, white pencil. Centre of cover. “240” Handwritten, blue ink. Top right corner of cover. “Brian Licence. / Animal Husbandry” gordon institute geelong, 1960s sheep farming, wool classing, sheep dentistry, sheep skeletal, sheep blood circulation, sheep breathing, sheep internal parasites

Photos of a trip to an Aircraft Museum, including Legatees George Woodward and George Standish. With about 12 Legatees and some wives it is assumed to be a day trip to the museum. On the shape of the building it looks like the National Vietnam Veterans Museum on Philip Island, or perhaps the Australian National Aviation Museum, in Moorabbin. Also present were L/ John Sullivan, L/ Joe Morton and his wife Mary Morton. The captions included: "Legatee Joe Morton, joined by his wife, Mary. Legatee Morton gave his RAAF overcoat and jacket to the Museum." "The Catalina fan club was out in force Legatees George Woodward and George Standish." They were in a folio of photos from 1988 to 1990 (see also 01042 to 01049).A record of a Legatees on an outing together which shows their comradeship and desire to socialise together.Colour photo x 13 of Legatees visiting an aircraft museum.White paper labels with black type provided captions for the photos.legatee event, comradeship

The diamond firetail bird is native to inland southeastern Australia, inhabiting woodland regions. It is often described as one of the most stunningly coloured birds of the finch family. The nest is built by both partners but only the female does the weaving. Both partners incubate the eggs and care for the young. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The diamond firetail finch it characterised by the top of its body being ash brown, with crown, forehead and neck grey. The under feathers are white with a crimson rump. There is a black band across its neck which continues down the flank to be dotted with white. The bill and eye ring are coral, and the legs and feet are dark grey. The female is similar to the male although sometimes smaller. 10057 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 41a./ Firetialed Finch / See Catalogue, Page 15. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, finch, diamond firetail

The Thylacine or Tasmanian Tiger, was a large nocturnal carnivorous marsupial now believed to be extinct that was native to both Australia and New Guinea. The Thylacine is believed to have first appeared over two million years ago with documentation of the species appearing on rock-art that have been dated as far back as 1,000BC. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. The Burke Museum Thylacine is of great historic, scientific and cultural significance as Australia's most notable example of a species made extinct within living memory. Poignant images of the last known thylacine linger in national consciousness and remain an evocative symbol of the impact of humankind on the natural environment. The Burke Museum thylacine has immense social significance not only for its ability to tell a story to present and future generations, but also for embodying the mythic tiger that lives on elusively, we hope, in the Tasmanian wilderness. Attempts to clone the thylacine from material held in museums attest to the passion that this iconic animal evokes in the scientific as well as mainstream community. Medium sized lean female thylacine with four stocky legs and a stiff tail. The fur is short and coarse and in a light brown-yellow colour with 15 dark brown stripes across the width of the body. The head is long and narrow with two small pointy ears and a large jaw with up to 30 visible teeth.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, thylacine, tasmanian tiger, rare

The White-necked Heron (also known as the Pacific Heron) is commonly found throughout mainland Australia. It resides mainly in locations with freshwater and in tidal areas. These birds are carnivores and mainly eat fish, crustaceans, amphibians and insects. They are also known to feed on young freshwater rats, young ducklings and lizards. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The White-Necked Heron has been stylised in a standing position on a wooden platform. The bird has long black legs and a long white neck with black spots decorating the front of the neck. The head is also white and the bill black. The front torso of the bird is cream mixed with brown plumage and the back. The rear and wings are a dark brown. [illegible] Heron / See Catalogue, page 33. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, white-necked heron, heron, pacific heron

The White-necked Heron (also known as the Pacific Heron) is commonly found throughout mainland Australia. It resides mainly in locations with freshwater and in tidal areas. These birds are carnivores and mainly eat fish, crustaceans, amphibians and insects. They are also known to feed on young freshwater rats, young ducklings and lizards. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The White-Necked Heron has been stylised in a standing position on a wooden platform. It is facing forwards but looking over its left shoulder. The eyes of this specimen are made from yellow glass. The bird has long black legs and a long white neck with black spots decorating the front of the neck. The head is also white and the bill black. The front torso of the bird is cream mixed with brown plumage and the back. The rear and wings are a dark brown.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, white-necked heron, heron, pacific heron

Jane McGrath made this quilt 30 years ago from a tartan fabric sample book (c.1990). It was one of her first quilts. Jane was inspired to quilt by her mother Shirley Critchley. Jane recalls her mother being a very talented quilter, with one example being the “Unpicked Jumper Wagga” which can be found within the National Wool Museum’s Collection (REG 8283). Shirley taught Jane the basics in quilting and assisted her in preparing this quilt. The quilt is backed with material from disused woollen skirts. Jane could not recall what material was used for the internal insulating fabric. Jane donated the Tartan Fabric Sample Quilt to the National Wool Museum in 2021. The quilt had been languishing in her cupboard for many years and had found its way to the op-shop pile, as her children had no desire to inherit her quilts. The top layer of the quilt consists of five distinct rows of tartan samples appliqued together. The rows of tartan samples are broken with a boarder of white, grey, and brown fabric which runs in parallel lines. This fabric is also used to bind the quilt together at the edges. The internal insulating fabric of the quilt is not known. The backing fabric is a grey coloured wool originating from disused skirts. The Tartan samples contain stripes of varying width and colour. The samples have been arranged so that the stripes run diagonal on the quilt. Many different colours have been used. The predominant colours are red and black, with lessening amounts of blue, yellow, white, green, and grey featuring. quilts, tartan fabric samples, upcycle, shirley critchley/jane mcgrath collection

Yields information about Ballarat Trams and streetscapes and Wendouree Parade during the early 1960's.Black and white print of Ballarat of No. 31 enroute to Mount Pleasant, turning from Main St into Barkly St. Tram has the destination of Mt Pleasant. Two copies. Photo taken Doug Colquhoun 26/4/1960. Has roof advertisements for Castrol Oils and Footrest of Sturt St furnishings. In the background is a Penfolds sign. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1"SEC Ballarat / 31 / Bridge St / 26/4/60 2101 / D. A. Colquhoun" Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, mt pleasant, main st, barkly st, tram 31

Yields information about Ballarat's trams in the late 1960'ss and the street scape in Victoria St?, Yields information about Ballarat's trams in the late 1960'ss and the street scape in Victoria St?Black and white print of Ballarat 35, northbound to Lydiard St North, crossing the Railway level crossing with Moodys Provincial Hotel and the Ballarat "B" signal box in the background. The tram has a roof advertisement for Ilford film. Note the entry canopy to the hotel. Two copies. Photo by Wal jack, 18/11/1961. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 35 / Lydiard St North / 18/11/61 2920 / Wal Jack " Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, lydiard st, ballarat railway station, level crossings, tram 35

Images were taken by a staff member of the Returned Sailors and Soldiers Mill in Newtown, a MR. Norm Holroyd. The photos were taken between the 1960s-1970s. They were developed in his own private dark room and kept at his home for private viewing. Upon his death, the album went to his daughter, Judie Holroyd, who has donated them to the National Wool Museum.A collection of 38 black and white images, each individually mounted on cardboard backing, showing scenes of various stages of fabric production at the Returned Sailors and Soldiers Mill in Newtown. Each individual image page has 4 holes on the left side so it can be stored in a folder. Folder is not included in the donation.Numberswoolen mill wool production loom

The jumper was donated to the National Wool Museum in early 2019 from the Geelong Football Club. The jumper is the fourth in the 'country game' range. The oringal 2016 jumper was designed to commemorate a 'country game' against the Essendon Football Club prior to the start of the 2016 AFL Season. The four themes depicted in that jumper included: livestock, wool, wine and wheat. the 2016 jumper can be viewed as entry 7613.White sleeveless Geelong football jumper. The jumper has a large number 4 printed on the back. On the front of the Jumper it has the words Cotton On printed bellow the neck line as well as the emblems for Powercor Country round, the AFL Ford and the Geelong Football Club.Wording. Printed: COTTON ON POWERCOR COUNTRY FESTIVAL AFL / Ford GEELONG CATS EST 1859 FOOTBALL CLUB Reverse. Wording. Printed: 4 Fordgeelong football club, country round

This cap was part of a media kit produced by Melba Industries, part of the Austrim Textiles Group. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Part of media kit for launch of 'Jumbuck', Australian made nylon wool packs produced by Melba Industries (part of the Austrim Textiles Group) in Geelong.JUMBUCK / AUSSIE-MADE WOOL PACKS Melba Industries 80% WOOL / 20% VISCOSE / ONE SIZE FITS ALL / HAND WASH ONLY / MADE IN CHINAblack, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack

This bag contained a media kit produced by Melba Industries, part of the Austrim Textiles Group. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Contained media kit from the launch of 'Jumbuck', an Australian made nylon wool pack produced by Melba Industries (part of the Austrim Textiles Group) in Geelong.JUMBUCK TM / AUSSIE-MADE WOOL PACKS FILDESFAST / LABELS BAGS PRINTING / Tel: 1800 351 185black, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack

"Dennys, Lascelles Limited Annual", third issue, August 1927. Annual publication produced by the wool brokers Dennys, Lascelles Limited and containing articles of general interest, as well as on wool related topics. On the front cover is a fine printed reproduction of a 1927 sketch by the artist Victor Cobb depicting the Dennys Lascelles wool store (cnr Moorabool and Brougham Sts; now housing the National Wool Museum).Three copies of the report. Front cover of the third issue of the Dennys, Lascelles Ltd Annual of Aug. 1927. The sketch is the Dennys, Lascelles wool stores (now NWM) and is by Victor Cobb. Detail from the back cover of the third issue of the Dennys, Lascelles Ltd Annual of Aug. 1927.wool brokering, wool growing, agriculture, dennys, lascelles limited

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing a man standing in front of a truck loaded with wool bales. The bales are being transported from Boorowa to Sydney.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W40. Seventy bales of Wool going by motor vehicle from Boorowa to / Sydney.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing two men loading wool bales onto a motor transport vehicle.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W68 / W68. Loading wool bales on to / a motor transport.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing a man with a wool bale on a trolley.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W8 / W8. Wheeling away for despatch.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing interior view of wool bales on display.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W1 / W1. Wool displayed.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing two men weighing a bale of wool.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W5 / W5. Weighing bales.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing bales of wool stored in the hold of a ship. Three men are standing amongst the bales.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W42. Looking down into the hold of a / ship where the bales are stored / for transport overseas.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing bales of wool being loaded onto a ship.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W41 Loading bales of wool on to / a ship for transport overseas.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing detail view of a carding machine.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W13 / W13. Close-up of Carding.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool