The first year planting of Marrum Grass on Boarding School Bay dunes to stop the erosion of the sand caused by denuding the dunes of the scrubby tea tree that would have covered the dunes. They cut the tea trees down to use for tanning animal hides for leather and clothing rare photograph of the first years progress of the planting of marrum grass on the dunes of Boarding School Bay to halt the sand drift caused by the removal of tea trees.black and white photograph of the newly planted Marram Grass on the dunes at South Beachhandwritten: About 1884 See also 10.00.002 --- W.H.Storey - Marrum Grass. 1st Year. Boarding School Bay. Port Fairybotanical, marrum grass, boarding school bay, samuel avery

12 photographs from a collection of 33 donated by Leonie Brennan. Photographs belonged to Edward (Ted) Sands, hairdresser.Photograph 215-22. Penguins coming home after a day of fishing at the nightly parade Summerland Beach. Photograph 215-23. Pyramid Rock, Phillip Island. Photograph 215-24. Cowes beach with a large group of people gathered together and others under beach umbrellas. Beach west side of the Cowes Pier. Photograph 215-25. Large group of Seals at Seal Rocks, Phillip Island. Photograph 215-26. The Killara Ferry at Cowes pier with chimney smoking. Photograph 215-27. The Pinnacles at Cape Woolamai, Phillip Island. Photograph 215-28. Looking towards the Isle of Wight Hotel at Cowes and the Jetty Shed at the end of the Cowes Pier. Photograph 215-29. The Cowes Pier with the Killara Ferry docked. Photograph 215-30. The Killara Ferry heavily laden with passengers. A close-up showing the back entrance for vehicles. Photograph 215-31. The War Memorial at Cowes looking towards the pier. Shows the pier and the Jetty Shed on the pier. Photograph 215-32. View from inside Forrest Caves, Phillip Island, with two people standing in front. Photograph 215-33. The Nobbies, Phillip Island, with waves crashing onto the rocks.215-22 "Penguins at Phillip Island" 215-23 "Pyramid Rock, Phillip Island" 215-24 "The Beach, Cowes" 215-25 "Seals at Cowes, Phillip Island" 215-26 "The Killara at Cowes" 215-27 "Cape Woolamai, Phillip Island" 215-28 "The Pier, Cowes" 215-29 "The Pier, Cowes" 215-30 "The Killara at Cowes" 215-31 "War Memorial, Cowes" 215-32 "Forest Caves, Phillip Island" 215-33 "Rough seas at The Nobbies, Cowes"penguins coming ashore, penguins, wildlife - penguins, pyramid rock, phillip island, pyramid rock, coastline - rock formation - pyramid rock, cowes beach, phillip island, seals on seal rocks phillip island, wildlife - seals, the killara ferry, killara ferry, the pinnacles, the pinnacles cape woolamai, the pinnacles, phillip island, the isle of wight hotel cowes phillip island, cowes pier, phillip island, cowes jetty, phillip island, war memorial, cowes, phillip island, forrest caves, phillip island, the nobbies, phillip island, mr edward (ted) sands, leonie brennan

Local Newspaper Dated 12/7/1943 reporting on World War 2 Events - Special- My War Part 35Local Newspaper dated 12/7/1943 report on Events of World War 2 - Special - My War Part 35 (2 off)Local Newspaper Dated 12/7/1943 - Special- My War Part 35 - (2 off) Allies Hold Sicilian Beaches - Japanese Sink Hospital Shiplocal newspaper dated 12/7/1943, world war 2, allies hold sicilian beaches

This cigarette case was made from the plexiglass windscreen of a Japanese Mitsubishi Zero aircraft. Whilst its maker is unknown, its inscription, “Tarakan May 1st 1945” suggests that it was created during the Battle of Tarakan. Tarakan was a small, oil-rich island off the coast of Borneo which in 1945 was held by the Japanese. The battle, code named Operation Oboe One, began when Australian forces landed on May 1st 1945, and continued until June 21st. 240 Australians died during the conflict. The term ‘Trench art’ describes objects made from the debris and by-products of warfare. Reasons for making trench art varied, from creating mementos of battles to passing time or mitigating the effects of warfare. This object has historic significance at a national level due to its association with World War Two. As an example of trench art, it makes an important contribution to our understanding of Australian soldiers’ experience of the war. This object is an example of skilled craftsmanship and has artistic and aesthetic significance due to its detailed engraving of a beach scene. Unlike the majority of trench art, which was made from used ordnance, it is made from the windscreen of a Mitsubishi Zero aircraft and therefore is comparatively rare.Cigarette Case made from the windscreen of a Japanese Zero aircraft"Tarakan May 1st 1945" "A-F-B" Engraved beachcigarette, tarakan, windscreen, japan, australia, united states, netherlands, beach

Part of kit issued to Wayne Forbes 3176337 1 Field Sqd RAE. Refer Cat No 754 for service history also 2586. Green towel, brushed cotton, Army issue."7210 - 66 - 019 - 8149" "Palm Beach SA 1969"manchester, linen, towel

Wooden pen set with small plaque "Presented by the / Port of Long Beach/ California" "PMA 0235/3"

black and white photograph, unmounted, original, good condition Sandcastle Building Competition, Final, St Kilda Beach, 1937

The beach cart was hand drawn by a team of six people; two in front, one on each side and two behind. The wide iron tyres on the the wheels helped prevent the cart from sinking into the sand. The load of heavy beach apparatus equipment was held in place by the hand worked rope net cover. It would be stored in the Rocket House packed and ready to use for practice or rescue. Beach apparatus equipment - In the mid-1800s the equipment could include a line throwing set, coiled line in wooden carrying case, rockets, cartridges, breeches buoy, hawser and traveller block, line-throwing pistol, beach cart, hand barrow, sand anchor, crotch pole, and tools such as spade, pick, mallet and hawser cutter. Around the 1860s Warrnambool had a Rocket House installed beside the Harbour. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. Victoria’s Government responded to the need for lifesaving equipment and, in 1858, the provision of rocket and mortar apparatus was approved for the lifeboat stations. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built for it on the Tramway Jetty, followed by a rocket house in 1864 to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater (constructed from 1874-1890), and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifesaving and rescue crews, mostly local volunteers, trained regularly to rehearse and maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. In July 1873 a brass bell was erected at Flagstaff Hill specifically to call the rescue crew upon news of a shipwreck. Some crew members became local heroes but all served an important role. Rocket apparatus was used as recently as the 1950s. This cart and cover set is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Beach cart; a blue and white painted, wooden cart with two, red coloured metal wheels. The wheels have twelve spokes and wide iron tyres. The cart has a long draw bar with T- handles at the end. It was pulled by two people, usually steered by another two and pushed by a further two. It was supplied by the Government of Victoria. There is an inscription on the front end panel. The cart has a removable hand worked rope cover. Stencilled in white paint “G of V” flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, flagstaff hill maritime museum and village, lady bay, warrnambool harbour, port of warrnambool, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, rocket crew, beach rescue, rescue equipment, rocket rescue equipment, rocket equipment, marine technology, lifeboat, volunteer lifesavers, volunteer crew, lifesaving rescue crew, rocket apparatus, shore to ship, stranded vessel, rocket rescue apparatus, line thrower, beach apparatus, breeches buoy, life jacket, rocket house, rocket shed, rocket machine, rocket head, rocket launcher, rocket line, beach rescue set, rocket set, beach cart, hand barrow, welsh hand barrow, harbour board, government of victoria, harbour master, l.s.r.c., lsrc

A finalist in the Shire of Eltham Art Awards in 1985. Born in Harrow, England, Graham Fransella studied at the Bradford School of Art, Yorkshire. He came to Australia in 1975. Graham Fransella lives and works in Melbourne and is represented by galleries across Australia.Fransella is an artist (printmaker) of national significance. “A feature of Fransella’s art is that it has an immediate visual simplicity, sometimes possessing the lucidity of graffiti-like directness, but this is attained through the most complex and intricate means. The surface on which he works is the arena in which he performs with an endless layering of marks, surfaces and signs. It seems that he surrenders to an intuitive process, one in which chance serves as an active collaborator. Ultimately his practice engages with the theory of the artist’s subconscious being allowed unbridled freedom of expression.” Sasha Grishin AM FAHA, in 'Gorgeous simplicity in signature themes: Graham Fransella', Sydney Morning Herald, April 5, 2014This etching depicts a busy and carefree day at the beach in bright colours of red and blue. The figures are drawn with spontaneity and simplicity, which is characteristic of Fransella's style. Figures are positioned in states of relaxation or bounce around beach scenes in joyful exuberance. eltham art award, etching, print, beach, figures

CEMA Art CollectionThe painting depicts the shoreline of a beach with green foliage in the background. Various shades of sand make up the foreground, with a black object in the centre edge of the foreground. To the right of the sand is the blue ocean with the white wash of a broken wave seperating the sand from the water. The background features foliage in various shades of green which meets a blue/purple sky. The work has a painted white wooden frame with material mount and exposed canvas.Front: I.G. HILL 1967 (black painted, lower right corner) Back: White chalk:- ARTIST (underlined) MISS I.G.HILL 42 BOWEN ST. CAMBERWELL(underlined) Price $63 IRENE HILL "BEACH AT DUTTON WAY" (1967) (typed label) Yellow Sticker: 1967 -cema, portland artists society

This photo, part 1 of a 2 photo sequence taken by John Witzig, is of of Bob McTavish riding a very large waves (15'+) at Bells Beach on Easter Sunday (April 18th) 1965. This wave is thought to be the same one described by McTavish in his book as one of the biggest, most powerful waves he had ridden, almost resulting in his drowning after being washed down past the next headland at winki pop. Bells, Easter, 1965 is considered one of the biggest days that this break has been surfed. The surfer in the photograph, Bob McTavish would go on to become one of the most influential surfer/shapers in Australian during the next decade.The extremely large waves experienced by surfers at Bells Beach on Easter Sunday 1965 is part of surfing folklore. The wave featured in this photograph is considered one of the largest ridden waves ever documented at Bells Beach.Large black and white (sepia toned) photo. Part 1 of a 2 photo sequence taken by John Witzig of Bob McTavish riding a very big wave at Bells Beach. Photo is titled 'Bob McTavish Big Bells 1 - 1965', and signed and numbered by John Witzig (11/100). Signed by John Witzig. Numbered 11 / 100bells beach, john witzig, bob mctavish, easter sunday 1965, bells beach surfing classic

Photograph of Port of Warrnambool lower lighthouse, with breakwater construction and beach light-becon in background.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, port of warrnambool, lower light

Photograph inscribed "Harbour Beach" - unknown location; W 19cm x H 14.5cm.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, harbour beach

Part of a collection of photograph reproductions donated by Bruce Bennett. Photographs 233-01 to 233-04 from the Betty Kuc Collection. 233-05 - 233-07 from the Arthur Woodly CollectionSeven photograph copies of George Cox and his shack on Cowes beach near the Pier.233-01 Rose Series P673 Near the pier Cowes, Phillip Island, Victoria 233-07 Real Photo Series M2385. Splicing the rope. Fisherman at Cowes.george cox, george cox's hut, george cox's shack on cowes beach, betty kuc collection, arthur woodly collection

Donated by Edith ElmsBlack & White Postcard of San Remo Hotel on foreshore with two small boats on the beach."San Remo Shore" 251 Letter on postcard to Mrs A W Elms to arrange a meeting. Signed E. B.san remo hotel, san remo foreshore, phillip island, edith elms

Donated by Stan McFee from the Keith McIlwraith Collection.Black & White postcard showing an aerial view of Cowes Town Centre, beach and pier."The Rose Series P. 1022" "Aerial view of Cowes, Phillip Island." "Airspy Photo".cowes phillip island, cowes foreshore and pier, phillip island, stan mcfee, keith mcilwraith collection

One of a collection of photographs purchased by the Society from Jack Day of Mornington.Black & White postcard of the sea crashing onto rocks at the ocean beach, San Remo."The Rose Series, P. 711" "The Rock Bound Coast, San Remo, Victoria".san remo coastline, coastline, phillip island, jack day collection

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph taken at night of a group of twenty-six penguins walking up the beach at Summerland.local history, photography, photographs, penguins coming ashore, black & white photograph, penguins, coastline, summerland beach, penguin parade, john jenner, bryant west, wildlife - penguins

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of the completed Cowes Beach Breakwater. Bathers, Car Park and Jetty Shed in background.local history, photography, completed cowes breakwater, black & white photograph, cowes beach, coastline, breakwaters, john jenner, bryant west

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of inter basaltic formations on basalt shore platform eastern end of Smith's Beachlocal history, photography, rock formations, black & white photograph, coastline, smith's beach, dr g baker, john jenner, bryant west