Steel shears as were used in sheep shearingsupplied by Holden and FrostSteel hand shears as used in sheep shearingshears, steel

Metal hand shears as used in sheep shearingstreel, shears

Black and white photograph showing the result of a collision between possibly a W5 class tram, running a route 55 service in St Kilda Road, at Domain Junction. The front cabin of the tram has been sheared off, which it is designed to do. There is another tram behind the damaged one. A driver, conductor and an Inspector are in the photo while workmen clear up the mess. Photo by the Herald Sun 8/2/1953.Yields information about a collision between a truck and tram at Domain Junction during 1953.Photograph with hand written notes on rear and stamps on the rear.In ink "No. 2 - Tram & Vegetable truck Collision on St Kilda Road, Melbourne 8/2/53" and The Herald Sun copyright stamp.trams, tramways, collision, domain junction, route 55

This work is from a series centred around the Chinese proverb “to hold a book in one’s hand is to hold a house of gold” in which the artist positions himself within sites of colonial power. Set within the National Wool Museum gallery, the artist references the pose of an exhausted shearer after a long day of arduous labour. However he is reclining while reading The Fire Stick by Wulla Merrii, a novel set against the 1891 Queensland Shearer’s Strike, questioning cultural stereotypes and how they pertain to concepts of work and leisure. Dressed in sub fusc, his official uniform as an Oxford scholar, Thompson is a defiant intellectual challenging past and continued misperceptions of First Nations people, while embracing both the intersections of his identity and his ancestral heritage. Dr Christian Thompson AO is a Bidjara man of the Kunja Nation with Irish and Chinese heritage. His practice spans across video, photography, sculpture, textiles, performance and sound, evolving through a process of auto – ethnography. While employing various modes of research, he connects his own experience to larger social, political, cultural meanings and understandings. His doctoral research and art practice has had a critical impact on International and Australian art, making global history as one of the first Australian Indigenous students at Oxford University. In 2018 he was made an Officer of the Order of Australia for distinguished services to the visual arts and as a role model to young indigenous artists in the Queen’s Birthday honours list.Framed photograph showing a man dressed in an academic gown, laying on their back holding a book. The setting is a reconstructed shearing shed, inside the galleries of the National Wool Museum.dr christian thompson, first nations, artwork, photography, oxford, heritage, national wool museum

shearing

In July 1840, Glenfine, consisting of 31,440 acres, was acquired by Thomas Downie. In March 1842 the 'Right of Run' was taken up by Thomas Chirnside who with an imported stallion 'Delapre' ran a horse stud. He apparently lived here for ten years and employed a gardener with a wife and five children from Hobart, Tasmania. Only some blocks of stone and a few trees remain of their homestead. In 1853 the property was transferred to Dr. John Chirnside, an elder brother of Thomas Chirnside. In 1857, William Rowe of Naringal purchased Glenfiine where he and his family lived until 1904 when it was bought by Richard Howell's estate. It was then 39,000 acres. The present house was built by the Rowes in 1872 of bluestone quarried on the property with a cement render overall. The architect was H.R. Casselli. Gold was found on the property and by 1898 the township of Hollybush was first reported, situated at either side of the front entrance, on the Cressy Road. The land for the township was given by William Rowe. In 1911 R.C. Howell, son of Richard Howell, became the owner, followed by his son in 1960. By 1990 Hollybush had a population of 426 persons. All of the early history of Glenfine, documents etc., were destroyed when Naringal homestead was burnt down in 1944. Glenfine was classified by the National Trust in 1974 and is on the Heritage Commission Register. Mounted black and white image of a large group of men and boys in front of a weatherboard shearing shed. The men are each holding a pair of hand shears. One young man is kneeling on top of a wool bale. A small blue biro 'x' identifies W. Todd. Glenfine was a pastoral station, and the original homestead still stands.shearing sheds, shearers, rural activity, william todd, glenfine pastoral station, thomas chirnside, thomas downie, richard howell, william thomas rowe

The Churchill Island collection includes objects from the 18th and 20th centuries. The collection is presented in sets and series, of which this object belongs to the National Trust sub-collection.Wool presses were used in shearing sheds around the country to create bales of wool by hand in preparation for transport to the wool markets for purchase and distribution. Bales have been used to store and were a standard trading unit for wool for centuries. A standard wool bale holds about 60 compressed wool fleeces and weighs a minimum of 120 kgs. The square shape and weight enabled them to be stacked on wagons or in warehouses, and a large pack horse could carry one on each side. Large, retangular upright metal wool press, unpainted with some surface rust.farm machinery, wool, wool press, hand operated, shearing, national trust

Hand-stitched tapestry by Monica Baker in 2001. Tapestry represents part of the family history of working in the wool industry as owners of a sheep property for five generations. The family ran Corriedale sheep in Lismore, Victoria.Brown timber framed woollen tapestry with cream mounting board. Tapestry is handstitched and features various colours. Scene depicts four men and a woman in a shearing shed. Two of the men are handling sheep, one man is weighing a fleece while the last man and woman look on. Back of frame has a horizontal hanging wire, a framers stamp at the bottom centre and a handwritten creators name and date at the top right corner.Back: [handwritten] "WEIGHING THE FLEECE" / BY MONICA BAKER / 02/03/01lismore, sheep breeding, tapestry, monica baker, shearing, hand made, corriedale

non-fictionIn 1877 John O'Brien selected Negoura at Swifts Creek, and the O'Brien name has been prominent and well-known in the district since. Pat O'Brien is the third son of John's eldest grandson, Jack (dec) and Clare O'Brien, who have farmed at "Fernlea", Ensay since 1948. He grew up and went to school in Ensay and then to boarding school at St Patrick's College, Sale. From 1952 to 1965, he worked in the Ensay district as a shearer, contract fencer and general farm hand. He was actively involved in community affairs becoming president of the Ensay Tennis Club for three years and was a foundation member of the Ensay Bowling Club. For 14 years he played for the Ensay Football team and for seven of those years was a delegate to the Omeo District Football League. After leaving Ensay in 1965 he spent two years in Bairnsdale before moving to Morwell and later Traralgon in the Latrobe Valley. After leading the highly successful Save our Shire campaign from 1983-86, he served two terms on the Shire of Traralgon, becoming president in 1990. In 1959, Pat married Ann Smyth whose forebears, the O'Rourkes, moved from the Monaro in New South Wales to Gelantipy in the 1830's. So they are both true-blue Gippslanders. They have seven children and nine grandchildren to date and now live in Merimbula. Conscious that much of the history of his family, neighbours and friends is being lost, he wrote this book because he believes that the stories and characters mentioned are part of our heritage and should not be forgotten. (Back cover)gippsland region (vic.) -- history, biography, ensay station, swifts creek (vic.)