A 24 page paper journal of Channel Islands Refugees in Great Britain. Published October 1943 Vol. 5, No. 4. Containing local news and contributions by residents.channel islands, booklets

A blue self patterned hardcover non fiction book with the title printed in gold lettering: Channel Islands Edith. Carey (author), Henry Wimbush (illustrator) and the publisher A&C Black at the bottom.It has a damaged white paper dustjacket with the same information printed in blue lettering as well as a coloured illustration of The Sister Rocks, Alderney in a blue lined frame. The back of the jacket has a list of Books and Postcards on the Channel Islands with details and prices. There is an inscription on the right hand endpapers written in faded black ink. Opposite the tile page is a frontispiece coloured illustration of St. Peter-Port, Guernsey, from the Pool. There are several coloured illustrations throughout the book.p.226non-fictionAn up-to-date account of The Channel Islands to sketch out the history of Jersey, Guernsey, Alderney and Sark, pointing out a few of the many legends and traditions associated with them, the storm and stress through which they have battled, some of the remnants of feudalism which they have managed to preserve, and certain conspicuous men and women who once lived in them. Mr Wimbush has painted them as they are - these delectable fragments of France.travel books, books, channle islands, history

A faded, damaged burgundy colour hardcover book with an embossed self pattern on the cover. It's title: The History of Guernsey is printed in gold lettering on the spine with the author's surname Tupper, Second Edition, London and the publisher Simpkin, Marshall at the bottom. Protecting each black and white illustration is a tissue paper page. Pp. 596. At the back there is an Appendix and Index.non-fictionThis book is The History of Guernsey and its Bailiwick; With Occasional Notices of Jersey. The Bailiwick of Guernsey is comprised of the Islands of Guernsey, Alderney, Sark and Herm. Situated 10 to 30 miles off the north-west coast of France, the Channel Islands are not part of the United Kingdom. They are dependent territories of the British Crown, as successor to the Dukes of Normandy.history, history of guernsey, ancient history

A square, souvenir tablecloth from the Channel Islands. On an azure background, all the islands are printed and named on the tablecloth, as well as the names of the towns, villages and the bays of both Jersey and Guernsey. There are four rectangular pictures, surrounded by a white border, representing significant places and buildings, as well as others, without borders, depicting old and modern ships, a compass, a coat of arms and the distinctive Jersey and Guernsey cow.There is a red and white border, almost at the edge of the azure background and in each corner is printed a white anchor and rope. There is also a 3 cm. plain white outer border around the tablecloth.Names of places, beaches and bays on the Channel islands. Pictorial representations of significant places and buildings and a white anchor and rope in each of the four corners. "Exclusive to Creaseys of Guernsey" is printed at the bottom left hand corner of the tablecloth.table ware., household textiles., table linen.

Kelly Slater is contemporary surfing's dominant competitive presence and a truly inspirational surfer. By the end of 2009 Kelly had won a record 9 professional World Surfing Championships. This surfboard is one of Kelly's from 1996 shaped by world renowmed shaper Al Merick from Channel Island Surfboards, Santa Barbara, California. This board was ridden by Kelly in Indonesia in 1996 and featured on the cover of Surfer Magazine in November 1996 in a sequence shot at speed reef Grajagan.This surfboard was ridden by Kelly Slater throughout 1996 and most famously featured on the cover of Surfer Magazine. In 1996 Kelly Slater was at the peak of his surfing powers. During this year he won his 4th World Professional Surfing championship equalling the record held by Australian Mark Richards. This surfboard has international significance and represents a number of innovative design trends during this period.Kelly Slater surfboard shaped by Al Merrick (Channel Island Surfboards)in 1996. The surfboard is a three fin, 6' 6" rounded pin, colour yellow. The board, with Kelly riding it, featured on the cover of Surfer magazine in November 1996 in a sequence, shot in Indonesia at speed reef Grajagan.Deck - Quiksilver, Al Merrick logo Bottom - 'Glasscraft by Bob Haakenson Santa Barbara' behind last fin. Al Merrick logo 63921A Kelly on stringerkelly slater, al merrick, surfer magazine, grajagan, channel island surfboards, quiksilver

taken from Kalimna jetty of Northern Shore of Kalimna Cove showing dense vegetation above rock wall and sandy shore Kalimna Victoria. Second colour photograph shows continuation of scene westward along Reeves Channel Fraser Island visible to South number 04200.1 size 10 x 15 cmColour photograph taken from Kalimna jetty of Northern Shore of Kalimna Cove showing dense vegetation above rock wall and sandy shore Kalimna Victoria. Second colour photograph shows continuation of scene westward along Reeves Channel Fraser Island visible to South number 04200.1bridges, waterways, gippsland lakes, topography

These four paper notes are from the Jersey Channel Islands during the German occupation in WWII.Four German government-issued paper notes. There is 1 mark, 2 reichsmark, 20 reichsmark and 50 reichsmark.german occupation money, invasion money, wwii

Comprises data for England, Scotland, wales, Channel Islands, Isle of Man by Regions, and the Royal Navy, with Family History resource File Viewer disc.Ring binder containing 24 CD-Romsfamily history

Used on Orchard of James Bienvenu's family from Doncaster East in the 1940's. Mr. Bienvenu is a descendant of Mr. A.H. Bienvenu, who came from Guernsey in the Channel Islands.Wooden box containing various fruit variety and number Rubber Stamps.stamps (tools), rubber stamps

Second copyColour aerial photograph of entrance from Bass Strait to Gippsland Lakes including Bullock Island Reeves Channel Rigby Island houses on Kalimna Hill and Princes Highway winding down Jemmys Point hill into township of Lakes Entrance Victoriaaerial photograph, ocean, waterways

Colour aerial photograph showing view of entrance to Gippsland Lakes from Bass Strait Reeves Channel Rigby Island and township of Lakes Entrance Victoriaaerial photograph, historic site, dredging, waterways, lakes entrance

Photographic portrait of Francis (Frank) Thomas Le Page. Frank is the oldest child of Nicholas and Rachel (nee Addy), who arrived in Melbourne in 1852 from Guernsey in the Channel Islands. Nicholas was a tailor and Rachel was a dressmaker. They originally made their home in Prahran and set up a business but about two years later decided to take up market gardening. The Le Page family bought property in the Two Acre Village, Cheltenham. They had nine other children. At 14 years of age Frank was driving his father’s horse and dray to Melbourne with the vegetables they grew - standing backed in to the footpath in Little Collins Street, at the old Eastern Market. At 18 years of age, and the other members of the family growing up, Francis decided to seek work outside, and was employed as a gardener by Mr Budd, who conducted the Brighton Grammar School. It was whilst employed there that the late Sir Thomas Bent and he became friends, a friendship which lasted throughout their lives. Sir Thomas was then on the land also. Frank was an active member of social and sporting groups in the region. In 1876 Frank married Mary Geraghty and they made Cheltenham their home. He became a councillor for the then Shire of Moorabbin, a position he held for 25 years, and in 1902 was elected President of the Shire of Moorabbin. He was also a Justice of the Peace and occupied the bench at the Cheltenham Court. The next generation of Le Pages continued to be heavily involved in the civic life of the region with Frank and Mary's son Everest being elected mayor twice.Black and white image of Francis (Frank) Thomas Le Page.

Black and white small format postcard of a steamer in the Narrows, Rigby Island opposite the steep shoreline of the mainland, Reeve's Channel, Fraser Island and Flannagan Island in distance, Gippsland Lakes, Lakes Entrance Victoria.islands, waterways, topography

Dredge Melbourne was here for only one year 2006 to replace worn out SandPiper. Next dredge was Kalimna. Information from David Holding Gippsland PortsColoured postcard of the dredge "Melbourne" in Reeves channel between Bullock Island and Rigby Island to right of picture Lakes Entrance Victoriaboats and boating, waterways, dredges

Second copyBlack and white photograph showing aerial view of the entrance to the Gippsland Lakes, shows Cunninghame Arm, North Arm, Reeves River and Hopetoun Channel, Rigby Island and Snake Island, the barrier on right foreground. Lakes Entrance Victoriawaterways, islands, aerial photograph, fishing industry, coast

Nicholas John Caire was born on the Channel Island of Guernsey in February, 1837 to Scottish forebears. He migrated to Austrlia C.1860. His parents encouraged his childhood passion for photography. He ventured to Victoria in the 1860's, travelling Gippsland as an itinerant photographer. By the 1860's Caire was at Talbot. With the gold rush in the Bendigo region, Caire turned to the area, arriving about 1874 where he set up a studio in View Street. Caire produced his 'Album of Sandhurst', reprinted in this book. His early Sandhurst photographs were initially produced and sold one at a time, but ultimately put into an album."Views of Bendigo" by N. J. Caire (Nicholas John Caire). Published The Bendigo Trust, 1979. Printed in Bendigo. Hard cover book using brown vinyl. Front cover has name of book and author in gold print, surrounded in gold colored frame. Title of book in gold color on spine. Preface by James A. Lerk. Biography of photographer by Frank Cusack. Each page contains a full sized photograph of a Bendigo scene with title of scene underneath surrounded by printed 'frame'. 52 images in total. 58 pp. 250 copies collector edition (using vinyl). ISBN 869330039. sandhurst, caire, bendigo, photography

Colour aerial photograph of Ocean Grange on the Gippsland Lakes ocean beach ninety mile beach in foreground Cresent Island channel through to Lake King Raymond Island in distance Paynsville Victoriaaerial photograph, settlement, gippsland lakes

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.Albumen Silver Photograph, mounted on Board. printed in ink on support l.c.: JUNCTION OF THE RIVER WATT AND CONTENTMENT CREEK. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 1. / JUNCTION OF THE RIVER WATT AND CONTENTMENT CREEK. / This scene is situated about two miles to the westward of Fernshawe, a small but extremely romantic township. / The river, at this juncture, is crossed by a fallen tree, as may be seen in the illustration. The track which is seen on / the opposite side of the river leads to the summit of Mt. Munda (3,500 feet high), 4 miles distant, from which place / visitors can see the Australian Alps, in all their mighty grandeur, stretching for hundreds of miles on either side, / and, as far as the eye can reach, impressing a beholder with the appropriateness of their title, being that of the Great Dividing Range. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire, views of victoria - general series, landscape photography

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.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: CENTRAL AVENUE, FITZROY GARDENS / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 2. / CENTRAL AVENUE, FITZROY GARDENS. / The Fitzroy Gardens have, for several years past, become one of the most popular places for public resort- / attributable, no doubt, to the great variety of picturesque scenes they contain. Shrubs and flower plants, of almost / every description, can be seen growing in rich profusion within the enclosures, studded here and there with choice / pieces of statuary. The subject of the present illustration is but one of the many to be found within their precincts. / The distance of these gardens from the Melbourne Post Office is about one mile. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

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.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: JUNCTION OF THE RIVERS YARRA AND WATT, NEAR HEALESVILLE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 3. / JUNCTION OF THE RIVERS YARRA AND WATT, NEAR HEALESVILLE / The junction is situated about 3 miles from Healesville, and 35 miles from the mouth of the Yarra. The souces / of the Watt are to be found at the head of the Black Spur, and, being fed by a number of creeks and springs, its / waters gain considerable force for several miles before joining those of the Yarra. The "Old Bridge," at the junction, / is the name given to this crossing-place, which has been partly swept away by late floods. The depth of the Yarra here / is from 15 to 20 feet; that of the Watt, about 10 feet. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), yarra river, watt river, bridge, wooden bridge, healesville

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.Albumen Silver Photograph mounted on boardprinted in ink on support l.c.: STATE SCHOOL, FERNSHAWE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 5. / STATE SCHOOL, FERNSHAWE. / This educational institution occupies one of the most romantic situations of any of the State Schools in Victoria. / On either side of it runs a river and a creek, whilst immediately surrounding it are a great many large fern trees. / The background comprises many giants of the forest. In the centre of the picture stands a stump, about 60 feet / high, which has evidently been struck by lightning. The neighbourhood, not being a very populous one, furnishes / but 30 children for educational training. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

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.Albumen Silver Photograph on Boardprinted in ink on support l.c.: VIEW OF THE "HANGING ROCK," NEAR MOUNT MACEDON. / COPYRIGHT REGISTERED. printed in ink (vertically) on support reverse u.c.l.: J.W. FORBES, Agent, printed in ink (vertically) on support reverse c.l.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink (vertically) on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 6. / VIEW OF THE "HANGING ROCK," NEAR MOUNT MACEDON. / The Hanging Rock is situated about 5 miles in a north-easterly direction from the Railway Station at Woodend, / and is a very picturesque spot. Its formation is singularly peculiar, consisting of gigantic masses of basaltic rock / thrown up on end in a projecting or hanging position. Our illustration represents but a portion of the Rock, as it / is not possible to obtain a view of the whole of it in one picture. The height of these large boulders of rock vary / from 150 to 200 feet. printed in ink (vertically) on support reverse l.c.l.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

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.albumen silver photograph on boardprinted in ink on support l.c.: VIEW ON THE RIVER MURRAY, NEAR ECHUCA, SHOWING THE RAILWAY WHARF WITH STEAMERS UNLOADING. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 7. / VIEW ON THE RIVER MURRAY, NEAR ECHUCA, SHOWING THE RAILWAY WHARF WITH STEAMERS UNLOADING. / The rapidly increasing traffic on the River Murray, with wool, timber, and other colonial produce, has called / into requisition no less than 400 steamers and over 1000 barges. To meet this growing emergency the Victorian / Government has expended several thousand pounds in the erection of a Railway Wharf which during the wool- / season presents a very busy scene, the crowded steamers laden with precious clip taxing to the utmost the / powers of the Railway Department in the process of unloading. The River here is about a quarter of a mile wide, / and is from 60 to 70 feet deep. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, river murray, echuca

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.Albumen silver photograph mounted on boardprinted in ink on support l.c.: GIANT FERN TREES: SPLITTERS' TRACK, BLACK SPUR. / COPYRIGHT REGISTERED. printed in ink (vertically) on support reverse u.c.l.: J.W. FORBES, Agent, printed in ink (vertically) on support reverse c.l.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink (vertically) on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 8. / GIANT FERN TREES: SPLITTERS' TRACK, BLACK SPUR. / The scene which this illustration represents is situated on Morley's Creek, at the foot of the Black Spur, and is / about a mile and a half from the Township of Fernshawe. The Fern Trees in this locality are of gigantic growth, / measuring 50 feet in height, the fronds of which are from 12 to 15 feet long. This excessive growth is attributable / to the great number of springs flowing into the creek, thereby causing the surrounding soil to be in a continual / state of moisture. printed in ink (vertically) on support reverse l.c.l.: 10 Temple Court, Collins Street West.landscape photography, nicholas caire, black spur - victoria