Colour photograph of Reeves Channel of Lake King, Gippsland Lakes. It shows part of both Rigby Island and Fraser Island opposite the steep shoreline of the mainland. Two motor boats on lake. Lakes Entrance Victoriaislands, waterways, topography

Black and white photograph of North Arm. It shows the reedy shoreline in foreground, jetty to island in lake, two small boats on water, distant view of township. Lakes Entrance Victoriawaterways, topography, vegetation

Copy same view but titled 'North Arm - Lakes Entrance' 11.5 x 18Black and white photograph of the North Arm. It shows the calm waters of the arm which twist and turn between high scrub covered banks. Distant view of township, two people in small boat in foreground. Lakes Entrance VictoriaLakes Scene North Arm Lakes Entrancevegetation, topography, waterways

Black and white photograph of the entrance from Bass Strait to the Gippsland Lakes. It also shows the rock groynes at Bullock Island filled with dredged sand to extend the island. Fishing boat coming through entrance. Lakes Entrance Victoriaislands, topography, waterways

Copied from original by Merle DerbyshireBlack and white photograph of a section of the North Arm. It shows a person in a small boat on the calm waters, dense natural vegetation on each side of lake. Lakes Entrance VictoriaHead, North Arm, Cunninghame waterways, topography, recreation

Copied from original by Merle DerbyshireBlack and white photograph of a calm reach of the North Arm. It shows dense vegetation on both sides of the water, person sitting in small boat on lake. Lakes Entrance VictoriaUp North Arm, Cunninghame waterways, topography, recreation

Other copiesHand tinted colour photograph of the man-made entrance from Bass Strait to the Gippsland lakes, taken from Jemmys Point. It also shows the rock groynes at the western end of Bullock Island, and at the entrances to Cunninghame Arm and the North Arm. Lakes Entrance VictoriaThe Entrance, Lakes Entranceislands, waterways, boats and boating

Date made April 1979Colour photograph of the Entrance, Bullock Island and Reeves Channel, taken from Jemmys Point during the King of the Straits, offshore powerboat race. It also shows the built up groynes at the entrance to the North Arm, Pecks fish processing factory seen on Bullock Island. Lakes Entrance Victoriawaterways, recreation, boats and boating

The king of the straits, offshore powerboat race with Lakes entrance as a destination was not repeated due to adverse weather conditionsColour photograph of the entrance, Bullock Island and Reeves Channel. Taken from Jemmys Point during the King of the Strait offshore powerboat race. It also shows the built up groynes at the entrance to the North Arm. Lakes Entrance Victoriafishing industry, waterways, boats and boating

Colour photograph of the fishing boat Amanda N in Cunninghame Arm, shows about 25 people on deck, flags flying as if for a celebration, sand hummocks in background have low vegetation, only one tree visible. Lakes Entrance Victoriaboats and boating, fishing industry

Black and white photograph of Dennis Shepherd owner/skipper of the fishing vessel Minawie, shows the well set up wheel house moored at Lakes Entrance Victoriaboats and boating, fishing industry, people

The D26 is an authentic outrigger logging barge - one of four that were towed by P.S. Adelaide for 80 years of its working life. In March 1987 Council purchased the barge from Deakin Shire in South Australia for $15,000. However, its restoration was put on hold until the crew had completed work on the P.S. Enterprise, eventually beginning in 1988 using local red gum. The barge was relaunched at Echuca East on Australia Day, 1990. The D26 remains at the Port of Echuca and on special occasions can be seen being towed by the P.S. Adelaide for demonstrations. The restored D26 outrigger barge is an example of early 20th century boat building technology developed for transporting reg gum logs downstream along the Murray River, often from the Barmah Forest to the Murray River Sawmills at Echuca. It shows the resourcefulness and manual transport techniques for a timber that does not float and had to be chained to the outrigging logs laying perpendicular to the hull. These outrigger barges could be let go to float with the current downstream with a bargeman onboard. Often there was no tiller or helm, but a chain was tied to the ballast at the back to keep the barge in the centre of the river channel. This allowed the Murray River Sawmills built 4 barges to go behind the PS Adelaide, the A11, the B22, the C24 and the D26. Timber outrigger logging bargeD26d26, p.s. adelaide, logging industry, murray river sawmill

Black and white copy photograph of the fishing boat Black Fin wrecked on the beach at Corringle in 1953, shows six men at work recovering some of the gear,another man sitting on the sloping deck. Orbost Victoriafishing industry, shipwrecks

Black and white photograph of the western harbour. It shows a variety of vessels, including auxilliary yachts and motor launches. In the background, part of the New Works area on the south shore includes Signal Flagstaff, Harbour Engineers House and Pilots House. In foreground part of rock groyne built originally to control sand buildup. Lakes Entrance VictoriaThe Boat Haventownship, waterfront, boats and boating

Sepia toned photograph of the foreshore, known as Cunninghame in 1890 when this photo was taken. It shows a schooner anchored in the lake, another at the jetty beside a steamer with a tall funnel. Three men on bank beside natural vegetation. Lakes Entrance VictoriaCunninghame, foreshore 1890 Tambo Shire Collectionjetties, boats and boating, waterfront, vegetation

Black and white photograph of the eastern wing of the western Boat Harbour. It shows small vessels and launches moored at jetties. People on jetties and seated on shore. Four motor cars parked at the edge of the lake in foreground. Lakes Entrance VictoriaA Glimpse of the Boat Haven, Lakes Entrancejetties, boats and boating, waterfront, transport

Black and white small format photograph of the boat harbour. It shows the sandy shore beside the lake, various types of boats, including fishing boats moored at jetties, scrub covered hummocks of southern shore in background. Lakes Entrance Victoriajetties, boats and boating, waterfront

Color photograph of the Bank Jetty. It shows some of the fishing fleet, including scallop boats and trawlers moored on either side of the jetty, southern shore of Cunninghame Arm in background. Reflections of boats in calm waters of the lake. Lakes Entrance VictoriaBank Jetty before new construction in concrete (on back)jetties, waterfront, fishing industry

2 copies 6 x 9Black and white small format postcard of footbridge over Cunninghame Arm. It shows people on bare sand dunes in foreground boat moored beside bridge, motor vehicles parked along retaining wall on North shore with town buildings in background. Lakes Entrance VictoriaFootbridge Lakes Entrancebridges, waterways, township, people

Colour photograph of the Paddle Boats area on the southern shore of Cunninghame Arm. It shows the lake in the foreground and the scrub covered sand hummock behind the paddle boat shed. Lakes Entrance Victoriarecreation, businesses, tourism

The Wreck of Hope (Long-nosed Common Dolphin skeleton, Delphinus delphis) featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. This knitted dolphin skeleton was the start of Beevor's interest in comparative anatomy. Beevors recalls viewing a dolphin, one of many skeletons alongside a mouse and a lion in the Australian Museum's collection during a school visit in the 1970s. At the time, school children watched TV reruns of 'Flipper', which portrayed dolphins as intelligent and noble animals. Elsewhere, the conservation movement was growing, and appeals to protect marine mammals were gaining momentum through the 'Save the Whales' campaign. The fascination with live dolphin shows had grown throughout the 1960s and 1970s and the ethics began to be questioned. Some believe they played an important role in raising public awareness of cetaceans and their welfare. Others argued the performances glorified the dominance of heroic trainers over the subordinate dolphin, and offered little education about the dolphins' natural characteristics nor prioritised their welfare. Many of these facilities are now closed and all dolphin species are protected by international accords aimed at conserving wild populations. Despite this dolphins are still at risk of swallowing plastic waste, mercury toxicity, toxoplasmosis, boat impacts and being bycatch in commercial fishing operations. Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Life sized knitted skeleton of a dolphin, with white wool and internal steel, foam and wire frame. The dolphin is mounted on a wooden base, made from a desk, with books placed under the desk lid. The books and desk are painted black.knitting, art, dolphin, conservation, sculpture, skeletons, anatomy lessons, michele beevors

Second copy 16.5 x 25, speckly conditionFirst generation black and white postcard of two people fishing from a small boat moored on the shore at Gippsland Lakes. Also shows steep cliffs bordering lake, glimpse of Cliff Crest Tea Rooms, run by Mrs Westerson. Lakes Entrance VictoriaGippsland Lakes showing Scone Cottagetearoom, recreation

Copied from a postcardBlack and white photograph of Harpers Bight, Gippsland Lakes. It shows rustic jetty in foreground with boat moored, jetty below zigzag pathway to Cliff Crest Tea Rooms, a popular tourist venue, run by Mrs Westerson. Distant view of Jemmys Point. Lakes Entrance VictoriaLakes Scene at Scone Cottage, Harpers Bay, Gippsland Lakes tearoom, tourism, waterways

Reprinted from Rev. Alfred Maher's photo album, Anglican Church Archives, Sale, VictoriaBlack and white photograph of Nyerimilang Jetty, Gippsland Lakes. It shows a short jetty with boat landing, navigation light and storage shed on jetty, boatshed on bank. Small motor car beside boat shed. Distant view across lake to eastern point of Flanagan Island, Fraser Island and Rigby Island. Lakes Entrance Victoriajetties, boats and boating, waterways, topography

Walter Seehusan, first art teacher at Bairnsdale School of Mines. Painting in possession of St Nicholas Anglican Church, Lakes Entrance, Victoria, bequeathed by Miss E L Phillips. Original painting 1890c.Colour photograph of a painting by W Seehusan of view from site of Kalimna Jetty towards Nungurner, showing mill workers cottages, jetty and steamers at Maringa Creek sawmill. Fisherman's cottage in right foreground, settlement at Maringa Creek, Gippsland Lakes, by mill workers and fishermen. Painting shows denuded cliffs and timber slide. Lakes Entrance Victoriawaterways, boats and boating, settlement

Black and white postcard of Kalimna Jetty. It shows a jetty with painted railings, storage shed with square water tank, low lying shore of lake in foreground contrasting with steep cliffs beyond jetty. Boat moored at a small jetty in foreground, yacht sailing from jetty, glimpse of Rigby Island and Bullock Island and the New Works area in distance. Lakes Entrance Victoriajetties, waterways, islands, boating

Black and white photograph of Kalimna Jetty. It shows a substantial jetty and landing, storage shed and boat shed, navigation light on end of jetty, many people on jetty, perhaps waiting for arrival of passenger steamer, in background steep cliffs bordering shoreline. Lakes Entrance Victoriawaterways, topography, jetties

Also Black and white copy print 15 x 25Black and white postcard of Kalimna Jetty. It shows a substantial timber jetty with rail line and goods trolley, storage shed with square water tank. Passenger launch and four rowing boats moored at jetty. Navigation light towards end of jetty. Lakes Entrance VictoriaKalimna Jetty and Reeves Sound Lakes Entrance Series M 3024 jetties, waterways, boats and boating

also identical print, poor quality 7 x 8.5|also black and white 10 x 12.5|also copy sepia tone 10 x 15|also poor quality black and white 12.5 x 17.5Black and white small format postcard of three jetties at Kalimna Gippsland Lakes Victoria. It shows tents of campers on lake edge, steep cliffs in background, small boats at jetties, person fishing from jetty. Lakes Entrance VictoriaKalimna Lakes Entrance jetties, waterways, boats and boating

Personal message on back of postcardBlack and white postcard of Kalimna Jetty. It shows a jetty and landing with sheds, also shows seven people on rustic jetty in middle of photo, four people in boat. Jemmys Point road cutting in background. Lakes Entrance VictoriaGippsland Lakes at Kalimnajetties, waterways, tourism, boats and boating