Photo depicts a flock of sheep being mustered in New South Wales. This photo would appear to date from the turn of the century, like the other, similar photo of sheep shearing. Presumably the Philadelphia Museum inscription on the front indicates that either this photo is from their collection (unlikely) or that it was commissioned by them for selling / distribution.Photograph of a flock of sheep, NSW, c.1900-10 (Philadelphia Museum). Caption on reverse of photograph - A Flock of Sheep (Philadelphia Museum), 1900-10.A FLOCK OF SHEEP / NEW SOUTH WALES, AUSTRALIA / THE PHILADELPHIA MUSEUMsheep - australian, philadelphia museum

Photograph. The "Marydale'' of Axedale hayshed and another building, with flock of sheep in the foreground.axedale, history, marydale property

“Yarram Park” Shearing shed with flock of sheep in foreground.willaura simmons

Donated by Jessie Smith (nee Small)Black & White photograph of flock of sheep drinking from flood water - unknown area.On back: "Drink Time"flock of sheep, phillip island, jessie smith

A sepia photograph of a young boy with a flock of sheep.Handwritten on back in red crayon: Eric Boardman and: A YOUNG SUNBURY SHEPHERD Handwritten on front: Horace Ford Handwritten on back: Horace Ford, Sunbury (and crossed out)ford, horace, sunbury, boardman, eric, farming, sheep farming, shepherd, george evans collection

Flock of moving sheepagriculture

This photograph is of Captain's Point, Mallacoota.This is a pictorial record of Mallacoota in the first half of the 20th century. It shows the young township.A small black / white photograph / of a flock of sheep on a hilltop with the ocean behind them. A township can be seen in the background.on front - " Captain's Point Mallacoota"mallacoota-captains-point

Port of Portland Authority archives.Front: (no inscriptions) 6473 (lower right ) (pencil) Back: A show stand intended for promotional purposes. (upper left) (pencil). Photography by The Arthur Studion. Further copies always obtainable at 27 Commercial St, east. Mt Gambier (blue stamp) (lower right).port of portland

Wall calendar from 1937. Black and white photo of a flock of sheep titled ''Moving the flock''. With compliments from J. A. Worner cash butcher, 133 Sternberg Street, Bendigo. Phone 1252 - Best meat lowest prices.business, retail, worner

"Breeding Merinos" - C.H.S. Dolling, 1970.Book, 266pp. Black hardcover with a dust jacket printed in colour with a flock of grazing sheep.sheep breeding merino sheep, sheep breeding, merino sheep, books

Bendigo Advertiser "The way we were" from Friday, August 15, 2003. Working on the land: this photo of two farmers herding a flock of sheep on horseback was found by a Bendigo resident at the Mandurang tip. It was only one of three unbroken glass negatives of old photographs.newspaper, bendigo advertiser, the way we were

Colour poster for the Woolmark Company. Long, landscape orientation illlustrating flock of sheep with text in white below: "Wool. The feeling of Australia" with Woolmark logo.One of several posters donated by Woolmark.sheep - australian, woolmark company australian wool corporation

"On the road to pastures new" - Maurice Moyal, 1956. Describes the annual summer trek of a flock of sheep and goats from a village in southern France to alpine pastures.wool - history

Photograph of a flock of sheep being inspected by a party of men, one of whom, on the far right, is wearing an Elders Australia overall. Possibly a consignment of corriedale ewes, exported to Peru c.1972Corriedale sheep being unloaded in Peru, 1972.Australian flock ewes Perucorriedale sheep sheep breeding export - live sheep, australian corriedale association, pettitt, mr r. w., corriedale sheep, sheep breeding, export - live sheep

George Evans is the man in the photograph. He arrived in Hobart from England on 1st September 1825 and later came to Victoria in 1836.With a flock of sheep he squatted on land along the Jacksons Creek valley north of Sunbury and built his homestead (known as Emu Bottom) on his holding.George Evans was one of the first European Settlers to take up land along the Jacksons Creek in Sunbury.A non-digital sepia studio photograph of a bearded man sitting on a chair and holding a telescope across his lap.The photograph is mounted on cream cardboard.george evans, emu bottom, squatters

Geelong is famous for its bollards. Created by local artist Jan Mitchell, the colourful bollards spot the foreshore, representing a fascinating and fun chronicle of the city’s past. Few people know that Mitchell planned for a flock of sheep to be part of her public art project. The wool industry is an important part of Geelong’s history, so Mitchell thought what better than a flock of sheep to welcome people to the city. The flock (and a Shepard) were to be placed out on the Melbourne-Geelong highway, near Lara, to welcome travellers to the city. The sheep would then be scattered along the road as a wayfinding signal to bring people to Geelong. When traffic authorities heard the plan for bollard sheep along the road, they squashed the project as a potential distraction for drivers. Another flock was also suggested for the hills of the eastern gardens, overlooking the bay. This was also disapproved; so Mitchell only ever partially completed four sheep bollards. The bollards are remnants of Jan Mitchell’s flock of sheep. The sheep also show the evolution of one of Geelong’s most iconic art installations. From the first sheep showing the raw timber of the old Yarra Street pier, to the sheep without a face, through to the completed sheep, it is possible to trace Mitchell’s process in the preparation of the bollards. The lost bollards form part of the National Wool Museum’s unique collection. The first bollard is the least complete, still in its original timber colour. From the central cylindrical shape, an additional wedge protrudes. This unpainted wedge forms what would have been the face of the sheep, with an ear present on either side that would have been painted white. Presently they are a bare metal. No legs are present on this bollard. The second and third bollard are completed to a similar level. They have a central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms what would have been the face of the sheep, with an ear present on either side. The face and ears have been painted white but the finer details such as the eyes have not been added. These bollards bodies have also been painted white and have their legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. The fourth bollard Is complete. It has the same central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms the completed face of the sheep, with an ear present on either side that has been painted white. The face also features completed painted eyes. This bollard has its legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. geelong, bollards, geelong's bollards, jan mitchell

Large poster with title "The Australian Sheep Flock". Illustrated with photographed sheep breeds with descriptions of each, also includeds coloured map of Australia.One of several posters donated by Woolmark.sheep - australian, woolmark company australian wool corporation

Copy of a document from an original source, handwritten and partly typed. Details the 104 Rules that applied to the Melbourne Tramway and Omnibus Company grip men for cable tram operations. Gives rules for their personal behaviour, duties, operations, management of passengers, shunting, use of the gong, not converse with passengers, what to do if a flock of sheep on the line, use of the grip, stop and starting of the tram (known as a train), care of the rope, end of the shift duties and knowledge of the Rules and Regulations.Yields information about the rules that Melbourne cable tram grip men operated by.Set of two blue foolscap handwritten sheets consisting of five sheets each (Rules 1 to 76) and one typed sheet (Rules 77 to 104) titled Melbourne Tramway & Omnibus Co - abstracts of Rules for Gripmentramways, trams, cable trams, grip men, rules, mtoco

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.29 / ‘View of a Victorian Sheep Station’ / Albumen silver photograph mounted on boardOn Reverse: ‘The present illustration is characteristic of a Squatter’s Station in Victoria, and is situated near Elphinstone. In the centre of the picture may be seen the Squatter’s residence or head-quarters surrounded by sheds and out-houses, and in the foreground is a flock of sheep in charge of a lad. Of late years it has become the practice to erect fences around the Australian Sheep Stations, which necessitates only the services of a boundary rider, and dispenses with those of a number of shepherds.’nicholas caire (1837-1918), landscape photography

Photograph of a flock of approximately 200 sheep, possibly Australian corriedales, exported to Peru, c.1972.Corriedale sheep being unloaded in Peru, 1972.Australian flock ewes Perucorriedale sheep sheep breeding export - live sheep, australian corriedale association, pettitt, mr r. w., corriedale sheep, sheep breeding, export - live sheep

This outfit belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece silk taffeta chalk-striped afternoon dress worn by Mary Ann Henty, aged 49, in the period when she lived at Merino Downs near Portland. The outfit has bands of black silk and rows of fabric covered buttons on the bodice and skirt. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 889, Waist 736.6, Hip 863.6, Cuff 254, Hem circumference 2032. Vertical - Front neck to hem 419.1, Front waist to hem 152.4, Back neck to hem 558.8, Back waist to hem190.5 , Sleeve length 584.2. Horizontal - Neck to sleeve head 165.1, Chest back 330.2, Underarm to underarm 406.4. SKIRT Girth - Waist 609.6, Hip 1270, Hem circumference 4064. Vertical - Front waist to hem 1117.6, Back waist to hem 1371.6.francis henty, fashion -- 1870s, women's clothing, afternoon dresses, mary ann (lawrence) henty

This dress is believed to have belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A one-piece, lustrous silk taffeta evening dress, lined with polished cotton, probably owned by Mary Ann Henty, and later by her daughter, Alice. The V-waist line of the dress and the dimensions of the skirt are comparable to Mary Ann’s wedding dress. The bodice in contrast is less structured. At a later stage, the sleeves were removed. Measurements (mm): BODICE: Girth - Neck 914.4, Chest 863.6, Waist 685.8, Hip 863.6, Hem circumference 3302. Vertical - Front neck to hem 1371.6, Front waist to hem 1092.2, Back neck to hem 1384.3, Back waist to hem 1079.5 Horizontal - Neck to sleeve head 44.45, Chest back 431.8, Underarm to underarm 431.8.mary ann lawrence, francis henty, evening dresses, henty collection, fashion -- 1840s

This dress belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece, moiré silk faille day dress, owned and worn by Mary Ann Henty, aged 59, while resident at Field Place, Kew. The fitted and panelled bodice on the day dress features wide velvet ribbon, hand sewn to form ‘V’ detailing at front and back. The front bodice hook and eye closure is decorated with handmade velvet covered buttons. The high round neckline is trimmed with pleated ivory fine tulle lace. The wide long sleeves of the bodice are also trimmed with velvet ribbon and buttons forming exquisite cuff detailing. The full length skirt and train are tucked into a fitted waistline band. The hemline is hand finished with wide velvet ribbon. A separate attached peplum is worn over the full bustle of the skirt. Measurements (mm): DRESS: Girth - Neck 355.6, Chest 889, Waist 673.1, Cuff 279.4, Hem circumference 4292.6. Vertical - Front neck to hem 1447.8, Front waist to hem 1117.6, Back neck to hem 1765.3, Back waist to hem 1346.2 , Sleeve length 590.55. Horizontal - Neck to sleeve head 196.85, Chest back 469.9, Underarm to underarm 457.2. PEPLUM Girth - Waist 711.2, Hem circumference 1066.8. Vertical - Back waist to hem 406.4.mary ann lawrence, francis henty, fashion -- 1880s, day dresses, women's clothing