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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Woburn Sheepshearing

1811
Thomas Morris (engraver), M N. Bates (engraver) and Joseph C. Stadler (engraver) after George Garrard

aquatint with stipple and etching and engraving, hand-coloured on chine colle on paper laid down on cotton stretched over wooden strainer (frame: 60.5 cm x 89.5 cm, sheet: 47.7 cm x 77 cm, image: 46 cm x 76 cm)

This image of the annual agricultural fair at Woburn Abbey comprises some 88 portraits, including several of eminent Englishmen of the day. Sitting in the lower right corner, observing shearing, a merino nearby, is Joseph Banks KCB (1743–1820), who was well into his 42 years as president of the Royal Society at the time. As a young naturalist, Banks sailed with James Cook on the Endeavour. Later, he was very interested in the development of superior sheep breeds and pasture, and it is largely because of Banks’s personal enthusiasm that merino sheep were established in Australia within a couple of decades of colonisation. Coinciding with the merino’s rise to the attention of British farmers was the annual agricultural show at Woburn, initiated by Francis Russell, the fifth Duke of Bedford, in 1797. His model farm was a hub for experiments in cattle breeding, but leading figures from the agricultural world, landowners and farmers flocked to Woburn to evaluate various breeds of sheep at the fair, too, along with machinery – ploughs, drills, shears - and other agricultural innovations. Shearing demonstrations went on over several days, as did banquets, hunts and other entertainments. Having carried it on for some years, the sixth Duke of Bedford discontinued the expensive fair in 1821.

This is a hand-coloured print made after Garrard’s painting The Woburn Sheep Shearing 1804 (which is in the Bedford collection at Woburn Abbey). The key to the print notes the participation of Arthur Young, Secretary to the Board of Agriculture, Sir John Sinclair, President of the Board of Agriculture, Sir Joseph Banks, Thomas Coke MP, and other notable figures including Sir Humphry Davy. Called a ‘masterpiece of meticulosity’ by GE Fussell in 1949, the print teems with interesting details, amongst them the plaster models of animals amongst the children at lower left – presumably the artist’s allusion to his own modelling practice. There are various sheep and cattle breeds pictured, including the merino (identified by the historian of domestication, Juliet Clutton Brock, in 1976).

Purchased 2018

Artist and subject

George Garrard (age 51 in 1811)

Thomas Morris (age 61 in 1811)

M N. Bates

Joseph C. Stadler

Sir Joseph Banks KCB (age 68 in 1811)

John C. Curwen (age 55 in 1811)

Francis Russell

Subject professions

Science and technology

Related information

The Companion

Permanent collection catalogue

Café and shop

On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.

Sir Joseph Banks
Sir Joseph Banks
Sir Joseph Banks
Sir Joseph Banks

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Celebrating a new painted portrait of Joseph Banks, Sarah Engledow spins a yarn of the naturalist, the first kangaroo in France and Don, a Spanish ram.

Portrait of Dr Johann Reinhold Forster and his son George Forster
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Portrait of Dr Johann Reinhold Forster and his son George Forster

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Magazine article by Dr Sarah Engledow, 2009

The portrait of Dr. Johann Reinhold Forster and his son George Forster from 1780, is one of the oldest in the NPG's collection.

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

The National Portrait Gallery is an Australian Government Agency