On the page following the title page is the following information: "Mrs. Dorothy Floate's Cookery Book Presented to the Queen. Authoress Honored. On the occasion of the visit of Her Majesty Queen Elizabeth II. to Australia, Mrs. Dorothy Floate's now famous "Secrets of Success" Cookery Book was presented to Her majesty as a gift from the Authoress. It was duly accepted and gratefully acknowledged by Her Majesty." On the following pages are photographs of Mrs Floate with trophys and other awards received for competitive cooking, as well as a certificate received from the Royal Agricultural Society of Victoria at the Melbourne Centenary Royal Show in 1934.Paperback cookery book, cover printed in green background, title printed in white on a brown background, volume no and price shown in white on red background. Black and white photo of author on cover. 160 pagesdorothy floate, cooking, cookery, recipes

Site of lime burning operations from 1870's. Lime burnt for agricultural purposes. Cocky Roberts was using lime in his glass making business at Lakes Tyers.Colour photograph of the McCrae Lime Kiln site east side shows work site now encroached on by bushland. Toorloo Arm Victoriawater supply

Also second identical copyColour photograph of the Mossiface Flats, near Bruthen, shows paddocks of the rich river flats, timbered foothills in the distance, with mountain range behind. Some paddocks have been mown for grass hay. Farm buildings in foreground and background. Dam in foreground. Bruthen Victoriaanimals, agriculture, vegetation, topography

Also second identical copyColour photograph of Buchan Station, shows farming buildings situated among trees, both cultivated and uncultivated paddocks around property, forested hills in background. Buchan Victoriaagriculture, animals, topography

Programs, Certificates, Prize sashes for Numurkah Ag. Show (J&A Beattie)agricultural show, numurkah, prizes, certificates, program, sashes

Silver trophy cup-shaped with stem and round base. Decorative engraving floral patterns. No handlesNumurkah Agricultural and Pastoral Association for best yearling draught colt presented by T Richards President 1884 W N Nelson numurkah show, numurkah a&p society, nelson,

This certificate was awarded to Violet Murrell for a race sponsored by the Royal Agricultural Society of Victoria in 1929. Violet Murrell (formerly Violet Farmer) was one of the best female riders in Victoria, who won many events for dressage, show jumping and straight-out gallops at country meetings. She protested loudly that she was not allowed to ride at city tracks against the male jockeys despite beating them at country meetings. When she married Bill Murrell, a well-known jockey, they came to live in Mentone. Violet Murrell died in a tragic fire at her home in 1934 while trying to save her favorite horse, Garryowen, and her husband, who had tried to help her, died a few days later.Horse race award certificate awarded to Violet Murrell, riding Garryowen. Light brown in colour, with "First Prize" printed prominently across centre in blue. Dull gold decorative bands at top, bottom and left. Printed gold shield in centre of left band and small printed ornament with crown in centre of top bar. Printed (from top down): "The Royal Agricultural Society/of Victoria.", "First Prize.", followed by blank lines to be filled in: "Awarded to", "Exhibit", "Class", "No." Printed signature at bottom: "Henry Schwieg[ler?]/Secretary" Printed in shield on left: "GRAND/Annual/Exhibition/1929" Handwritten in black ink, to fill in blank lines: "Mrs. W. Murrell's "Garryowen" "[Awarded to], "Lady's Hack/15.3 or under" [Exhibit], "82" [Class] , "357" [No.] murrell, violet, horse racing, garryowen

20th Light Horse competed at the RAS in the period prior to WW11. The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised, initially as 20th Motor Regiment. In 1943 the Regiment was deployed to Merauke, Dutch New Guinea. Upon its return in April 1945, the Regiment was redesignated 20th Pioneer Battalion. It was disbanded following the end of the war. 20th Light Horse was the only light horse regiment to serve overseas in WWII.Rare examples of prizes awarded to Light Horse at Royal Agricultural Show.Colour certificate from the Royal Agricultural Society of Victoria awarding Third Prize to 20th Light Horse Regiment entry in Rescue Race, 1938light horse, prize, royal show, melbourne, 20th

Sepia-toned postcard featuring distant view of Silvan Dam. The middle ground shows cleared land all set out for agriculture, houses also visible. c. early 1930s

Demonstrates the work of the Ballarat Tramway Museum and has a strong association with the photographer and photo competition.Mounted digital print of SEC Ballarat Tram No. 14 outside the BTM Depot, 31/10/2011 - photographed by Ellen Eustice. Made for the Ballarat Agricultural and Pastoral Society 2011 show, printed on Fujifilm paper. Exhibit 5. Tram has the destination of Drummond St North, and the Bendigo Bank roof advertisement. Details of photograph on the front and rear of the photograph.trams, tramways, btm, depot, showgrounds, tram 14

A Grand Parade. 150 years of the Colac & District Pastoral & Agricultural Society. Commemorative Jubilee history for the years 1859 to 2009. Norman Houghton. ISBN 978-0-9593013-4-2. Soft cover. vi, 102 p.; illus, diagrams.a grand parade; colac and district pastoral & agricultural society; jubilee history; norman houghton; honour roll; colac show;

Cards. The Royal Agricultural Society of Victoria, Grand Annual Exhibition: (a) 1927; First Prize; D. Towers; Potatoes, Class 1289 No.5562, Henry Schwieger, Secretary. (b) 1927; Second Prize; D. Towers; Potatoes, Carman No 3, Class 1271 No.5437; Henry Schwieger, Secretary. (c) 1929; Third Prize; D. Towers; Potatoes, Carman No 1, Class 1329 No.6186; Henry Schwieger, Secretary. (d) 1930; Third Prize; D. Towers; Potatoes, Class 1349 No.61217; Henry Schwieger, Manager. (e) 1931; Third Prize; D. Towers; Potatoes, Class 1352 No.6456; Henry Schwieger, Manager. (f) 1932; First Prize; D. Towers; Potatoes (1 standard sack), Class 1367 No.7380; Louis Monod, Secretary. (g) 1933; Second Prize; Mrs L. Towers; Potatoes, Carman No 3, Class 1352 No.7434; Louis Monod, Secretary. (h) 1933; Second Prize; Mrs L. Towers; Potatoes, Class 1356 No.7445; Louis Monod, Secretary.the royal agricultural society of victoria; rasv; show; exhibition; potatoes;

COHN BROTHERS: Grand National Show of Victoria Bendigo Agricultural and Horticultural Society 1925Secondt Prize for White Wine, full bodied sweet wine for 2 years old or over (3 Bottles) awarded to Messrs. Cohn Bros.bendigo, history, cohn brothers

COHN BROTHERS: Grand National Show of Victoria Bendigo Agricultural and Horticultural Society 1925Secondt Prize for Red Wine, full bodied sweet wine for 2 years old or over (3 Bottles) awarded to Messers Cohn Bros.bendigo, history, cohn brothers

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.A series of photographs that depict family life in the period 1890-1914. The family is significant and the children achieved success in a number of fields.Framed large albumen silver photograph of Frederick Harwood Noble and his sister Winifred in the rear garden of the family home in Coburg (sic). Later Label on rear reads ‘F.H. Noble, W.M. Noble’.winifred noble, frederick noble, charnwood (coburg), station street (coburg)

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.A compelling group of family portraits. Members of the family were to achieve important roles as managers, journalists and writers.Framed and gazed albumen silver print of Mr and Frederick Warner Mrs Noble in the garden of their home in Coburg (sic) with their three children. There are minor losses to the gesso and paint of the original frame. Later labels to rear include: "Mr Noble, Mrs Noble’. ‘Frederick, Winifred, Wilfred"noble family, charnwood (coburg), station street (coburg)

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed photographic half portrait of Winifred Noble in the original carved wooden frame. Winifred lived at 'Avalon' in Molesworth Street, Kew.Handwritten label on rear "Winifred Noble c 1910-12"noble family, winifred noble, photographic portrait, kew

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed portrait of Frederick Noble"Frederick Noble". The name "PRENTICE" is handwritten below the label.noble family, frederick noble

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed oval portrait of Mrs P. W. Noble in a carved wooden frame."P. W. Noble" handwritten on label on reverse. noble family

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. Agricultural equipment, ca. 1910-ca. 1920. An elaborate piece of farm machinery powered by a small engine. The four-wheeled unit has a tank and a hose. The purpose of both is unclear. Like a number of glass negatives in the Collection, this plate has been reused. The original photograph shows houses in a streetscape. In the distance is an advertisement for starch, roughly painted on a fence.agriculture, glass negatives, farming equipment

Established in 1870, the National (renamed the Royal in 1890) Agricultural Society of Victoria, uses 'Speed the Plough' as its motto which is embossed on the medal. The engraved part of this medal reads “City of Caulfield Horticultural Display 1981, 1st Prize".Round, gold plated medal measuring 50mm in diameter with "The Royal Agricultural Society of Victoria" embossed around edge, an engraved central plate with an embossed representation of a sheep above and cattle below. The engraved side of the medal has "The Royal Agricultural Society of Victoria" around the edge, and the engraved part in the middle reads "CITY of CAULFIELD / HORTICULTURAL DISPLAY / 1981 / 1st Prize". Observe side reads "SPEED THE PLOUGH / RASV / ROYAL SHOW".

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

This item is part of a group of five green display boards with photographs of sheep. This item is associated with the New South Wales Graziers Association world tour of merino sheep 1928/9.Five black and white photographs and printed paper mounted on green display board. Photographs depict sheep and men. The display board has pin holes in each corner.Front: [handwritten] Piebald Sheep and First Crosses. / [printed] The piebald breed of sheep (sometimes called Spanish, Zulu, Jacob's / sheep etc.) is represented by many flocks in this country. The piebald / pattern is distinctive. Crosses with all other breeds give nothing but / self-blacks. A back cross to piebald have half blacks and half piebalds. / This shows that Piebald sheep posses a dominant black and a recessive pat- / tern factor. / Fig. 1 shows a typical Piebald ewe, Figs. 2 and 3 the extremes of / dark and light patterns. Figs. 4 and 5 show black first cross rams. Back: [handwritten] Piebald Sheep / [?] Crosses / 2 / [printed] PHOTOGRAPH COPYRIGHT / BY / THE ANIMAL BREEDING RESEARCH DEPT., / THE UNIVERSITY, EDINBURGH. / PLEASE RETURN TO :new south wales graziers association, world tour, england, sheep, farm, rural, agriculture, scotland

This item is part of a group of five green display boards with photographs of sheep. This item is associated with the New South Wales Graziers Association world tour of merino sheep 1928/9.Five black and white photographs and printed paper mounted on green display board. Photographs depict sheep and men. The display board has pin holes in each corner.Front: [handwritten] Reversed Badgerface Pattern. / [printed] This is a remarkable instance of a reversal of pattern. The areas / that are black in the badgerface are white in this type, and vice versa. / This pattern behaves as a simple recessive to white and to badgerface / pattern. As in the badgerface, there are many modifications. Figs. / 1-3 show the typical pattern. Fig. 4 shows the head of another sheep / and Figs. 5-6 a typical lamb. Back: [handwritten] Reversed / Badgerface Pattern / 8 / [printed] PHOTOGRAPH COPYRIGHT / BY / THE ANIMAL BREEDING RESEARCH DEPT., / THE UNIVERSITY, EDINBURGH. / PLEASE RETURN TO :new south wales graziers association, world tour, england, sheep, farm, rural, agriculture, scotland

This item is part of a group of five green display boards with photographs of sheep. This item is associated with the New South Wales Graziers Association world tour of merino sheep 1928/9.Five black and white photographs and printed paper mounted on green display board. Photographs depict sheep and men. The display board has pin holes in each corner.Front: [handwritten] Types of Birth Coat in Welsh Lambs. / [printed] The coats of Welsh lambs at birth fall into three classes. / Fig. 1 shows the type that is thick and hairy all over, Fig. 5 that / which is composed of curly wool. Figs. 2-4 are the intermediate / type with a fine curling coat on the forepart of the body. Fig. 3 / is typical of the intermediate type. Back: [handwritten] Types of Birth Coat / in Welsh Lambs / [printed] PHOTOGRAPH COPYRIGHT / BY / THE ANIMAL BREEDING RESEARCH DEPT., / THE UNIVERSITY, EDINBURGH. / PLEASE RETURN TO :new south wales graziers association, world tour, england, sheep, farm, rural, agriculture

This item is part of a group of five green display boards with photographs of sheep. This item is associated with the New South Wales Graziers Association world tour of merino sheep 1928/9.Three black and white photographs and printed paper mounted on green display board. Photographs depict sheep and men. The display board has pin holes in each corner.Front: [handwritten] Black Sheep. / [printed] There are two kinds of black in sheep. The / usual one is recessive to white, while in the Kar- / akul (Persian), the Piebald, and Black Welsh / Mountain breeds the black colour is dominant to / white. The first photograph shows a recessive / black Wensleydale, the middle a dominant Welsh black. / Sometimes the black is modified into a grey as / the sheep gets older. This is seen in the last / photograph of a Black Welsh Sheep. Back: [handwritten] Black / Sheep / [printed] PHOTOGRAPH COPYRIGHT / BY / THE ANIMAL BREEDING RESEARCH DEPT., / THE UNIVERSITY, EDINBURGH. / PLEASE RETURN TO :new south wales graziers association, world tour, england, sheep, farm, rural, agriculture