This painting was created by Robert Dowling (1827-1886) in 1885. At this time Dowling was considered Australia's best portraitist. Dowling had been born in England, but migrated to Van Diemen's Land in the early 1830s with his parents. Dowling worked in both Tasmania and Victoria as an artist, before returning to England in 1857. He did not return to Australia until 1884 and received eighteen commissions for portraits. The Barry portrait was commissioned after Barry's death which explains some of the mistakes in the depiction of Barry's robes; the fur cuffs and collar are too large, and the cummerbund is sitting in the wrong place. Sir Redmond Barry is an important figure in Colonial Victorian History, responsible for the establishment and support of some of our finest cultural institutions (the University of Melbourne, the State Library of Victoria, the Supreme Court Library, and aspects of the Museum of Victoria's collection). This is in addition to his role as barrister defending aborigines in the 1840s and his position as a foundation judge of the Supreme Court of Victoria, a position he held for nearly 30 years, presiding over two of the most well known of colonial trials: the Eureka Trials in 1854 and the Kelly trial in 1880.The portrait of Sir Redmond Barry is significant because of the historical importance of Redmond Barry in colonial Victorian history. The painting is also of aesthetic significance as the work of the distinguished portraitist Robert Dowling. Portrait in oils of Sir Redmond Barry. Barry is depicted standing, dressed in red Judicial robes, his hand resting on a chair; behind is a table with books.Signed and dated 1886 (lower left) by Robert Dowling.redmond barry, portraits, judges, robert dowling

Australian general T Blamey is on the LH side of photo.Sepia photograph of WW2 surrender of Japanese. Three crosses marking three people. See notes. Group of allied military personal watching? (Japanese) signing the surrender documents out on a table. Printed in pen across lower edge "Japanese Surrender". photographs, japanese, surrender 1945

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of several birds (gannets). In the foreground is a white seated bird with a peach coloured head. Behind this bird are seven standing birds and one seated. The birds are printed on dark blue background.Front: Leanne Hollis (lower left) Back: 21

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of three framed images on a striped background. The top left image is a black and white sketch of Burswood. The top right image is a black and white portrait of Edward Henty. Below these images is a coloured image of two bluestone buildings. The background is striped pattern of red, blue and gold.Front: Edward Henty (lower centre) Back: 46

Illustration. Taken and cut from a book. L Shaped. Two people on rocks at foot of cliffs, one is seated the other is standing looking out to sea. Sea is foamed white as it meets the rocks. Steamer in background with large plume of steam drifting in the sky to the right of the image. Printed on the bottom left. THE COAST AT CAPE BRIDGEWATER.Front: 'The Coast at Cape Bridgewater' - printed, lower frame. portland, cape bridgewater

Illustration. Taken and cut from a book. Image is not bordered. View of Bentinck Street Portland Victoria from old London corner, looking south towards Macs Hotel. Scene depicts street life, horse and carts, a man in a top hat, coat and walking cane points south. Two lady's in dresses with an umbrella talk on the corner and various individuals gather out the front of the Old London. Trailer of ivy, top left section. Printed bottom middle BENTINCK STREET, PORTLAND.Front: 'BENTINCK STREET, PORTLAND' - printed, lower edge.bentinck street, city of portland, old london

Illustration. Taken and cut from a book. Rectangular bordered image. Black and white. Cream coloured paper. View of Portland Victoria from Observatory Hill. A man in a waistcoat and a hat with dogs stands in the foreground on the edge of a large rising to the left of the image. a body of water snakes through the centre with a large patch of trees behind. In the distance a large cluster of dwelling of various sizes and shapes are visible to the right of the image. Printed underneath GENERAL VIEW OF PORTLAND. Front: 'GENERAL VIEW OF PORTLAND' - printed, lower frame.city of portland

Port of Portland Authority archivesFront: (no inscriptions) Back: equ016 (pencil, lower right)port of portland archives, construction, lee breakwater, s l patterson

Port of Portland Authority archivesFront: (no inscriptions) Back: equ016 (pencil, lower right)port of portland archives, construction, quarry, earth moving, lee breakwater, s l patterson wharf

Port of Portland Authority archivesFront: (no inscriptions) Back: equ18 (pencil, lower right)port of portland

Port of Portland Authority archivesFront: (no inscriptions) Back: DREDG012 (pencil, lower right)port of portland archives, dredging, portland harbour trust, silo

Port of Portland Authority archivesFront: (no inscriptions) Back: DREDG014 (pencil, lower right)port of portland archives, dredge, harbour dredging, portland harbour trust

Port of Portland Authority archivesFront: (no inscriptions) Back: DREDG014 (pencil, lower right)port of portland archives, dredge, harbour dredging, portland harbour trust, 1950s, 1958

Port of Portland Authority archivesFront: (no inscriptions) Back: DREDG013 (pencil, lower right)port of portland archives, dredging, dredge, barge

Port of Portland Authority archivesFront: (no inscriptions) Back: dred016 (pencil, lower right)port of portland archives

Port of Portland Authority archivesFront: (no inscriptions) Back: dred017 (pencil, lower right)port of portland archives