NilScene of Portland Harbour. View includes people walking on beaches, jetties, moored boats (some with sails, some without). Upper centre of image shows a town, with a church to the right. To the left centre is a planned garden with people promenading. In foreground is empty land with a few seagulls. A train track enters the image on bottom centre. Print is predominantly in shades of blue, grey and brown. Mounted in dark cream matt, in wooden frame with glass.Front: A. Hy Fullwood (lower left, grey paint) "Portland Victoria" A. H. Fullwood 1836-1930 (printed below image) Back: (no inscriptions)

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

Illustration. Depiction of Steven Henty's homestead, overlooking Portland Bay (view from sea, looking towards land). The dwelling is on the top of a hill with smoke coming out of the chimney and a group of people in front. Birds in flight in the foreground. There is a smaller bordered illustration on the bottom right-hand corner featuring a number of small dwellings near water, two people on a boat and a number of people on the foreshore. Image has been cut from a book, text on reverse of the image.STEPHEN HENTY'S HOMESTEAD Signature in left hand side of main image and signature of the right-hand side of the border of the smaller image. Both are illegible.first european settlers, henty, stephen henty

Framed lithograph, black and white, view of Portland from Whalers' Bluff. Double matte board, glass covered. Frame laminated, walnut veneer, gold inner strip. Back covered in brown paper, string hanging stripFront: 'PORTLAND 1888' - Black print, mat board Back: White label 'Spencer Scott, Sandilands Gallery'portland, whalers bluff, 1800s

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Screenprint depicting a panoramic view of Portland Harbour and coastline in lower half. Top half of work features five enlarged sea creatures on a yellow background. The creatures are (from left to right): two seahorses; a side view of a fish; a bug; and a front view of a fish. Mounted on yellow matt with purple highlight and sage edging. Wooden and gold frame with glass glazingFront: Portland Pier 30/70 (lower left) A Gee 83 (lower right) (pencil)

Port of Portland AuthorityView of Portland Bay with a bluff in foreground left. On top of bluff is a lighthouse and a white cottage. Lighthouse is white with a red roof. Cottage has a tall flagpole flying a red flag. Two figures stand in front of cottage. Below bluff are two further figures looking out to see. In background right is a town and harbour. Further figures can be seen on the beach. Framed in ornate gilded frame.Front: (no inscriptions) Plaque on frame read: "PRESENTED BY MRS. J.E. GRICE GRAND DAUGHTER OF STEPHEN GEORGE AND JANE HENTY." Back: (unknown)portland bay, thomas clark

Possibly Portland Town Council. Thomas Must, a wealthy Sydney merchant arrived in Portland in 1845. In 1855 prospect was built for Must to a design by local architect George Mathewson. The two storey home was built in expansive grounds with sweeping views of Portland Bay and the township. The stuccoed house is of Regency/Italianate style with a single storey verandah and single storey kitchen wing. In 1878 the original posted verandah was replaced by new verandah and a conservatory to a design of architect Daniel Nicholson. Nicholson had also been responsible for the design of the Assembly Rooms at the London Inn. Thomas Must was active in the Portland Community. He was a Trustee of the Port Philip Savings Bank, a Justice of the Peace, Treasurer of St. Peters Church at Bridgewater and the first Chairman of the Portland Borough Council. Prospect was Thomas Must’s home until his death in 1905. The building has been considerably altered over the years and much of the original Italianate character has been lost. Subsequent owners include B. Cunningham, G.S. Beresford (who changed the property’s name to Waterford), and long-term Liberal Senator Sir Magnus Cormack. Cormack was President of the Senate from 1971 to 1974. In 1976 the Prospect became an aged accommodation centre.Wooden Frame - light brown. Gold inner frame. Fawn mount. Man with long white beard and hair facing right wearing dark jacket. Front: (no inscriptions) Back: (no inscriptions)photography, opalotype, thomas must

A depiction of a seascape with six large rocky outcrops emerging from the ocean. The rocks are painted in horizontal layers of red, yellow and blue. The sea is indigo with highlights in white and darker areas of near black. Sky depicts a dawn or dusk view, with lower half washed in apricot and yellow with touches of red/orange. Upper half of sky is blue. In faun matt and framed under glass in wooden frame with gold edging.Front: McL 90 (lower right) (white paint) Back: (no inscriptions)

CEMA Art collection Previously located in History HouseThe print depicts a night view of a city street. In the foreground are ghosly figures completing a military march along a wide street. On the left side is a large white Remembrance Shrine with three flags hanging on individual flagpoles. In the background are numerous multi-storey buildings with a row of light streetlights in front. The work is completed in various shades of blue and mounted with brown card. Framed with a gold and black frame, the work has an exposed canvas.Front: Brass embossed plate: THE IMMORTAL SHRINE BY WILL LONGSTAFF COPYRIGHT REGISTERED Back: (No inscriptions)