Scrimshaw was a leisure activity for whalers and sailors. The egg is etched with two sailing ships. The markings in scrimshaw were made with the crude needles used for sail making and a black substance, possibly soot or tobacco juice was rubbed into the inscribed markings to bring the etched images into view. This egg belonged to Captain William Wilkinson. The immigrant ship Utopia sailed under a Captain Wilkinson arriving at Portland in 1854. Stacey Longstaff, Captain Wilkinson's great-great-grandson now living in Germany had inherited several items with associations to the Utopia. These included Captain Wilkinson’s sword; a decorative cut-paper memorial card acknowledging Captain Wilkinson’s death from cholera in Calcutta in 1855; an 1854 insurance certificate for Utopia; and a ship’s cabinet reputed to have housed the ship’s log. With no direct descendants to pass these items on to, Mr. Longstaff was looking for a suitable future home for them. Mr Longstaff found Glenelg Shire’s museum listings on the Culture Victoria website where he contacted Eleanor who in turn contacted us. Mr Longstaff decided that Portland was an appropriate home for the objects and negotiations commenced to transfer them to Portland and for their subsequent donation to Glenelg Shire Council’s Cultural Collection. The items were sent in two consignments - the sword, card and certificate initially, and once they had arrived in Portland, Mr Longstaff forwarded the cabinet. All items were sent at his own expense. During the time the parcels were in transit, emails were sent back and forth between Mr Longstaff and myself as we tracked the progress of the parcels from Rahden, Northern Germany to Portland. Utopia was one of the 37 ships that brought assisted immigrants to Portland in the 1850s. From 1851 to 1857, 11,395 immigrants first set foot on Australian soil at Portland. Arriving in Portland Bay on January 25, 1854, Captain Wilkinson was publicly praised by the passengers for the safe and speedy passage aboard the Utopia to Australia. Three testimonials written by the passengers appeared in the Portland Guardian on January 26. Also, making the Utopia’s arrival in Portland a memorable event, 13 of crew deserted ship and headed for the Victorian goldfields. Only two were captured by the local mounted police near Mount Clay, north of Portland. During the 83 day passage from Liverpool (UK) to Portland there were 5 births and 5 deaths aboard Utopia. The sword, certificate and memorial card will be exhibited at Portland’s History House in Cliff Street in a revamp of the display relating to assisted immigration into Portland in the 1850s. The ship’s cabinet will undergo conservation treatment before going on public display.Large egg with images of a ship carved into each side of the egg. There is red colouring over the flags on the ship. The ship is a sailing ship in full sail with water underneath. The egg has a crack and a hole in the top. It sits on a wooden rest.sailing, captain wilkinson, scrimshaw, egg, maritime, glenelg shire cultural collection, utopia

57 page booklet with buff coloured thick paper covers. The cover has a rectangular border creating a frame within which is the title. Each corner of the border is a flower motif. The pages are also buff excluding those with images and photographs which are white. The first page has handwritten information.A history of the Portland Presbyterian Scots Church and its congregations. Written for its centenary in 1942.glenelg shire cultural collection, portland, presbyterian, church, religion, celebration, centenary celebrations, 1940s

Thomas Clark began his career as an artist in England in the mid-1800s. He specialised in drawing and went on to teach at the Birmingham School of Design. In 1851 he left England, and it is thought that he travelled to Russia possibly to undertake an engraving commission for the Tsar. From there he travelled to Melbourne, Australia. In Australia Clark established his reputation as an artist and began painting landscapes. By 1862 the Ballarat Star reported the exhibition of several of his paintings and refers to him as, ‘an artist of eminence in Melbourne’. In 1870 Clark was appointed as the drawing master of the National Gallery School of Design where he taught several prominent Australian artists – Tom Roberts and Fred McCubbin. Clark spent most of his time in Melbourne. He did, however, travel to the Western District twice – once to undertake a commission and another time on a sketching trip. It is during one of these trips that he most likely painted Portland Bay. Portland Bay is thought of as one of Clark’s most appealing paintings . It is also fascinating because it depicts a view of Portland Bay both before the establishment of the harbour in the 1950s and prior to the lighthouse being moved in the late 1800s. This view is from Battery Point and shows the Portland Lighthouse before it was moved. It is now on the other side of the bay on Whaler’s Bluff. Australian ColonialView 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, portland lighthouse, whalers bluff, glenelg shire cultural collection, portland, glenelg, landscape, seascape, maritime

Exhibited by the artist at the Wood, Wine & Roses Festival, Heywood, 2004.Aunty Betty King was a Kerrup Jmara Elder from Portland. She was the great grand-daughter of King Billy of Yigar. Aunty Betty cared deeply about Nyamat Mirring and Country. A staunch activist and long-time advisor to the Friends of the Earth, Aunty Betty King and Sandra Onus worked together to fight against the logging of native forest in the Cobboboonnee taking part in protests and meetings.Acrylic paint on canvas depicting birds and fish, water lilies and other vegetation, and stylised designs associated with early settlement of Aboriginal people in the Portland/Glenelg wetland area. Black painted border with white dot pathways, a circle of white dots in each of the four corners. Centre area in blues and greens featuring two birds, painted in black with red and ochre bandings.Front: nilgunditjmara, first nations, nyamat mirring, glenelg shire cultural collection, portland, female artist, female artists, heywood

The Fisherman's Union in Victoria evolved from the formalisation of the fishing industry in the late 19th century, leading to state-based unions like the Victorian Fishermen's Union. These early unions provided members with exclusive access to resources like cold storage and sales networks, but also functioning as barriers to non-European participation. This union represented a shift from informal fishing practices to a regulated industry, reflecting broader trends in Australian trade unionism during this period. The book belonged to the family of Charles Gustav Patterson who was part of the original Portland Lifeboat crew. Receipts collected by Roy Patterson were inside the book and have been accessioned separately.Interim statement pending further research: This minute book is significant because it belonged to Charles Gustav Patterson. Patterson was one of the early European settlers to Portland and as well as being a part of the early fishing industry here was part of the Portland Lifeboat crew who took part in the rescue of survivors from the Admella Shipwreck. The book details repairs done to the Portland Lifeboat as well as documenting its history - in particular its time at the Portland Botanic Gardens. The book also documents the early history off the union movement in Portland. This book has been in the Patterson family until donation to the Glenelg Shire Cultural Collection.Dark blue book with brown/orange spine and corners. The front cover has paint splashes and splatters on it. The spine has a dark red label located in the top half of the spine. It reads, ' Minute Book'/ The corners on both the front and back cover are worn with the top layer having worn off. Both the inside of the front and back cover have blue marbled paper. The pages of the book are numbered in the top corners. The pages have blue lines and a red lined margin. The inside has hand written minutes. The first page is titled ' Minutes of ordinary General Meeting Held Feb 24th 1905'. The handwriting is in black ink. Page 262 is loose and detached. The final page - 286 - has the minutes dated 8.1. 1937. The book contained receipts and other papers which have been catalogued separately.fishing, union, unionism, trade unions, portland lifeboat, admella, patterson, glenelg shire cultural collection, portland harbour, fisherman's union

South Australian textile artist Trevor Smith was taught to crochet by his mother Jean in the 1960s. After training in sculpture, he returned to crochet after participating in a Regional Arts Victoria project in 2009. His quirky and inventive crochet sculptures stem from his interest in costume, characters, fashion, culture and history and push the boundaries of crochet in a move from functional items to creative artworks. Trevor has exhibited in various museums and galleries including the Art Gallery of Ballarat. Trevor Smith once held the role of Collections Coordinator at the Glenelg Shire Council.Crochet sculpture of a Leafy Sea Dragon. The Sea Dragon is on an oval, crochet background. It is two shades of green with the darker shade being the inner oval surrounded by a larger oval in a lighter shade of green. A brown sea dragon is on top of the oval. Crochet 'leafy' parts on the dragon's body and legs.portland, glenelg, glenelg shire cultural collection, great southern reef, marine, marine biology, crochet, craft

History of photographyEastman Kodak No. 2A folding autographic brownie camera. The camera body has rounded ends and is finished in a black textured leatherette covering. A hinged door fitted to the front of the camera can be opened or closed to expand or store the lens housing as required. The lens housing is mounted to a blackened metal plate, connected to a collapsible black paper and fabric bellows which can be extended along a sliding focusing mechanism. There is a swivelling prismatic glass viewfinder allowing photographs to be taken in landscape or portrait format. Fitted to the top of the camera is a spool winder and a leather carry strap. The carry strap has stamped on it: No. 2A Folding Autographic Brownie'. A metal sliding double catch opens and locks the film compartment. The camera is designed to take No. A116 rollfilm. It is missing its leather carry casephotography, glenelg shire cultural collection, portland, camera, brownie, image making

The folding Corona typewriter was the first portable manual typewriter. Due to this pioneering, innovative design, the popularity of Corona typewriters soared in the 1910s leading to the Corona Typewriter Company in the USA developing new and improved machines to meet a growing demand. Consequently, businesses moved away from all forms of written communication such as handwritten documents and letters, to a more convenient method of speedy, legible communication. Agatha Christie Used a Corona Standard Typewriter when travelling.History of typewritersBlack metal enamelled frame. Cylindrical rubber-covered platen 220 mm wide. Typebars strike forward against platen from curved horizontal type-basket. Ink ribbon carried between two spools on vertical axes. Three-row QWERTY keyboard with 28 circular character keys with black lettering on a light background. 'FIG' and 'CAP' keys (light lettering on a black background) to left of keyboard. 'BACKSPACE' key above and behind keyboard to right of type-basket. Long black spacebar in front of keyboard. Carriage, with platen and ribbon spools, folds forward over keyboard pivoting on axis at front of type-basket.Front: Corona / (Standard Folding Typewriter) 3 Manufactured by Standard Typewriter Company Groton N.Y USA 3 Back: Patented / Mar 8 1904 / Feb 8 1910 / Other Patents/ Pending / Also Patented in / Other Countriesglenelg shire cultural collection, writing, typing, author, office, portland

This cushion belonged to Bert Vivian who was a saddler. His daughter, Betty Vivian, donated many items to the cultural collection including Bert's saddlery and leatherworking tools.Textile padded cushion with several needles inserted into it. The fabric is cream in colour with black and yellow lines creating a checkered effect. It looks to be handsewn and frayed around the edges. The needles in the cushion are of varying lengths and sizes. Some have thread attached.bert vivian, betty vivian collection, vivians saddlery bert vivian, leatherwork, portland, glenelg shire cultural collection

Kyeema is an established organisation within Portland and K. S. Anderson was responsible for the building of a deep water port at Portland and he became chairman of the Portland Harbour Trust in 1950. He dedicated himself to supporting his community which included fund raising and donations to organisations such as Kyeema.This letter is part of the K.S. Anderson Collection. It represents the history of the development of Kyeema within Portland.Typed letter on cream paper. The letter is headed on the left hand side - Kyeema. The letter is signed by Bruce Hudgson, secretary, and addressed to Mr Anderson. The letter thanks Mr Anderson for the donation of $10. It is dated 1973. Affixed to the back of the letter by staple is a small receipt. The letter is dated 13 June 1973 and the receipt is dated 1 June 1973.portland, portland harbour, kyeema, k. s. anderson, glenelg shire cultural collection, community, portland institutions

Book, hardcover, green, red print on cover and spine, dark blue and red decoration on front cover, Cassell & Company Limited logo on back cover, dark blue. 160 pages plus advertisements for other 'Work' handbooks and industry magazines. Sticker in the front - Technical Booksellers - J.E. Bishop & Co. Publishers Sydney and Melbourne.non-fictionportland, saddlery, leatherwork, business, glenelg shire cultural collection

This trunk is believed to have been brought to Portland by the Henty family on one of their vessels. It was passed through the family and belonged to the great-great granddaughter of James Henty Jr.This trunk belonged to the Henty family who settled in Portland in the 1800sWooden trunk made from light coloured wood. It has been constructed using rectangular pieces of wood. There are 5 of these which make up the main body of the box on one side. At each corner there are two pieces of metal which wrap around the corner holding it together. The bottom of the trunk from the front view has one piece of metal which wraps from the front through to the base,The front of the trunk has a keyhole and lock mechanism. The trunk is lidded and is hinged at the back. The lid has two pieces of metal at the top of the led and two further pieces on either side of the lid. The trunk has signs of a historic bora infestation which is no longer active.portland, glenelg shire council cultural collection, henty, travel, immigration, colonialism

Betty Vivan CollectionLast will and testament of Emily Agusta Vivian. Lined paper, handwritten by the testator, witnessed by Grace Hurrell and H. W. Hurrell. Dated 17th April 1921.Back: 'Last Will and Testament of Emily Agusta Vivian' handwritten, black penwill, vivian family records, emily vivian, betty vivian collection, portland family history, glenelg shire council cultural collection, portland

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 an Aboriginal woman with a white and orange background. The Aboriginal woman appears to be seated and is wearing a full-length dress. She is positioned on the lower left side of the work and portrayed in orange and black. Behind her the background has been left blank. The top and right side of the work has an orange background with white wavy lines.Front: (no inscriptions) Back: 47glenelg shire council cultural collection, portland, 150th anniversary, female artist, female artists, women, gunditjmara

Gibbs Manufacturing Co initially made ploughs and other farming equipment. Eventually they branched out into toys. Gibbs Manufacturing Company Canton, Ohio 1884-2002 Gibbs Manufacturing originally was in the market of producing plows. In 1896, the company added toys, specializing in lithographed paper-on-wood, metal, wagons, spinning tops, and advertising toys. The company痴 first toy was a political spinning top for William McKinley to be given away as part of his campaign. Gibbs success prompted competitors to make similar products in the same town. Schoenhut started to make similar toys. Click the Schoehnut chapter to view. Gibbs Manufacturing Company declared bankruptcy in 2001. In March 2002 their buildings and equipment were auctioned. Gibbs toys are an unique combination of metal and wood, most designed to moved when pushed. B. Gropper toys are often confused by the public as Gibbs Toy.Toys, childhhod, pre-carWooden horse and cart, painted red, slat sides, metal axle, moveable wheels, attached to horse by metal rods. Horse originally covered with lithographed with horse's features and accoutrements. Most of the paper is missing. Horse has tin legs, which can be moved manually, leather reins. The wagon is a two wheeled hay wagon.toy, childhood, mechianical toy, play, farming, glenelg shire council cultural collection

In the 18th century people did not buy sugar as granules or lumps as we do today. Instead, it came in large cone shapes, wrapped in paper, called sugar-loaves. These were made from sugar grown on plantations in the Americas. Sugar nippers like these were used for cutting off small pieces from sugar-loaves for domestic use. This pair looks to be made by a blacksmith.Iron tool with two handles. The tool has a pincer type end with opposing blades - each prong having a flat spade type shape to the end. There is also a protruding piece of metal about half way up the tool and a hinged piece and the top of one of the handles. The metal is rusted.tools, portland, household provisions, groceries, glenelg shire council cultural collection

K.S. Anderson and KyeemaTyped letter on cream paper. Headed on the top left - Kyeema. It is addressed to Mr Anderson and from B. W. Hudgson. The letter thanks K. S. Anderson for his donation of $20. The letter is dated 14 November 1973.k. s. anderson, portland, kyeema, glenelg shire council cultural collection

K. S. Anderson Port of Portland KyeemaSmall rectangular card with rounded corners. It has gold writing with spaces to add personalised information for the name of the receiver and the signatures of the Secretary and President. It is a Certificate of Appreciation presented to K. S. Anderson and signed by Bruce Hudgson, Secretary and R. L. Powell, President. The The certificate is presented by the Kyeema Committee of Management. Name and signatures have been handwritten in ink.This Certificate of Appreciations / is presented to / Mr. K. S. Anderson / by the Kyeema Committee of Management / for the support you give so willingly to Kyeema. / Bruce W Hudgson R. L. Powell / Secretary Presidentk.s anderson, kyeema, glenelg shire council cultural collection, portland

Object belonged to Wilma Harris Nee Bowering, resident of Merino, Victoria. This game was produced in the 1950s and was a popular pastime.Belonged to a Merino resident and is indicative of pastimes and games in the 1950sBlue and cream carboard box containing 11 game cards and one card entitled ' Key to Songs'. Look to never have been used. The lid of the box has a royal blue border with a cream rectangle inner. Withing the cream rectangle is an elaborate blue border with floral corners. Inside this border is some text on a cream background. The text is blue and reads: Afternoon Tea and Evening Party / Guessing Competitions / Containing 12 Games and Key / Songs / These are not Games of playing cards or chance, but require the exercise of a little intelligent thought and skill. They will be found to provide a pleasant evening's amusement for your grown-up friends and are not too difficult for children. The guessing cards are a dark cream in colour with blue typed text and the key card is a salmon colour. The guessing cards are folded in half.Top of lid has a logo depicting an envelope with a wing on either side. The words Trade are to the left of the logo and Mark to the right.glenelg shire council cultural collection, portland, merino, leisure, games, toys

The Upwelling Festival is a community celebration of the Bonney Upwelling. The Bonney Upwelling is a natural, environmental phenomenon which occurs each year where the spring winds shift to the south-east driving a change in ocean currents that power a seven month feeding frenzy of tuna, crayfish, giant crabs, squid, fish, sea birds, krill and blue whales. The Upwelling is at its greatest off the coast of Portland. The Festival features a parade, ocean and science talks, live music and artThe Upwelling Festival is an annual event in Portland which celebrates the unique environmental phenomenon happening off the coast of Portland. It is a community event of great significance.16 page booklet detailing the events of the 2016 Upwelling Festival. The booklet is printed in colour on thin paper. The front cover has the date of the festival to the left, next to the words, 'Upwelling Festival'. Underneath is an image of Portland foreshore with tens, people walking with kites and puppets as well as people in the water. The lower quarter of the front page has blue and green drawing depictions of eels and a wave design which contain the dates of the Rotary Club Art Show and the Upwelling Festival. The bottom right hand corner has the Portlan Observer logo. The back page features a full page advertisement for the Henty Bay Holiday Park.non-fictionbonney upwelling, blue whales, environment, portland, glenelg shire council, glenelg shire council cultural collection

The Upwelling Festival is a community celebration of the Bonney Upwelling. The Bonney Upwelling is a natural, environmental phenomenon which occurs each year where the spring winds shift to the south-east driving a change in ocean currents that power a seven month feeding frenzy of tuna, crayfish, giant crabs, squid, fish, sea birds, krill and blue whales. The Upwelling is at its greatest off the coast of Portland. The Festival features a parade, ocean and science talks, live music and artThe Upwelling Festival is an annual event in Portland which celebrates the unique environmental phenomenon happening off the coast of Portland. It is a community event of great significance.16 page booklet detailing the events of the 2015 Upwelling Festival. The booklet is printed in colour on thin paper. The front cover has the date of the festival to the left, next to the words, 'Upwelling Festival'. Underneath is an image of a brass band playing on Portland foreshore. Crowds surround the band and many are holding large colourful flags depicting marine images. The lower part of the image features a wave design which contain the dates of the Rotary Club Art Show and the Upwelling Festival. The bottom left hand corner has the Portland Observer logo. The back page features a full page advertisement for the Henty Bay Holiday Park.non-fictionbonney upwelling, blue whales, environment, portland, glenelg shire council, glenelg shire council cultural collection

The Upwelling Festival is a community celebration of the Bonney Upwelling. The Bonney Upwelling is a natural, environmental phenomenon which occurs each year where the spring winds shift to the south-east driving a change in ocean currents that power a seven month feeding frenzy of tuna, crayfish, giant crabs, squid, fish, sea birds, krill and blue whales. The Upwelling is at its greatest off the coast of Portland. The Festival features a parade, ocean and science talks, live music and artThe Upwelling Festival is an annual event in Portland which celebrates the unique environmental phenomenon happening off the coast of Portland. It is a community event of great significance.8 page booklet detailing the events of the 2022 Upwelling Festival. The booklet is printed in colour on thick. glossy paper. The front cover features a blue margin down the left hand side in which are printed the words, ' Portland: October 29-30, 2022' vertically in white. Across the top in blue script is the title, 'a community celebration'. The top half of the front cover features a photograph of a crowd of people at Portland foreshore, many holding flags, kites and puppets. The lower half of the cover features a photograph pf runners. The two photos are separated by text which reads, ' Portland Upwelling Festival / 3-Bays Running Festival'. In the bottom left hand corner there is the Portland Runners Club logo.non-fictionbonney upwelling, blue whales, environment, portland, glenelg shire council, glenelg shire council cultural collection

The Upwelling Festival is a community celebration of the Bonney Upwelling. The Bonney Upwelling is a natural, environmental phenomenon which occurs each year where the spring winds shift to the south-east driving a change in ocean currents that power a seven month feeding frenzy of tuna, crayfish, giant crabs, squid, fish, sea birds, krill and blue whales. The Upwelling is at its greatest off the coast of Portland. The Festival features a parade, ocean and science talks, live music and artThe Upwelling Festival is an annual event in Portland which celebrates the unique environmental phenomenon happening off the coast of Portland. It is a community event of great significance.8 page booklet detailing the events of the 2025 Upwelling Festival. The booklet is printed in colour on thick. glossy paper. The front cover features a green margin down the left hand side in which are printed the words, ' Portland: Oct 31st - Nov 1st , 2025' vertically in white. Across the top in dark green script is the title, 'a community celebration'. The top half of the front cover features a photograph of crafted kites/puppets of sea creatures and birds. The lower half of the cover features a photograph of the Gunditjmara dancers, Koondoon Yarkeen Karween. The two photos are separated by text which reads, ' Portland Upwelling Festival / Nyamat Yarkeen Karween'. In the bottom right hand corner there a QR code.non-fictionbonney upwelling, blue whales, environment, portland, glenelg shire council, glenelg shire council cultural collection, gunditjmara, nyamat mirring

This pamphlet was produced by the Liquor Trades Defence Union. Mr John James Liston was secretary to the Union and appointed to this office in 1906. He directed many campaigns against prohibition. The Temperance movement began in Australia in the earl 1800s and advocated for moderation rather than abstinence. In response to this many hotels were converted to 'Coffee Palaces' in the late 1800s and did not serve any alcohol. During World War I early closing was introduced in many states including Victoria. This led to the advent of the 'six o'clock swill' where people would rush to drink as much as they could before closing. Unions such as the Liquor Trades Defence Union opposed this due to workers losing jobs and lost earnings.The pamphlet illustrates the history of temperance in Australia and the part that trade unions played in the fight against prohibition. Paper pamphlet. One piece of paper, folded to make 4 pages. The front page depicts a black triangle shape coming down from the top of the page with the point reaching down. At the top of the triangle are the words 'Workers Standards Threatened'. At the point of the triangle is a man in a rumpled suit and hat. His hands are in his pockets and he has a serious expressions. In the background is an industrial estate with what looks like factory chimneys. There are also small weatherboard houses with 'for sale' signs in front of them. Along the bottom of the page is a black wavy line with the words in off white ' 'prohibition will create unemployment'. The paper is off white/yellow with black text. Inside is a two page spread calling for union members to vote ' No'. The back page features rhetoric on what prohibition would mean to workers and talks of job displacement and lost earnings. The pamphlet is authorised by J. J. Liston, The Block, Collins St, C1. There are what appears to be paint marks on the pamphlet.temperance, prohibition, trades union, union, melbourne, glenelg shire council cultural collection, australian history, alcohol

John Webster Lawson was born in Sheffield, England in 1855. HE travelled Europe as a young man where he studies art in Paris under Ferdinand Cormon. He arrived in Australia in 1895. His first job in the arts was designing theatre sets for James Cassius Williamson whose theatrical management company was described in its heyday as the largest theatrical firm in the world. Lawson went on to open an art school in Nhill where one of his pupils was Percy Leason. Lawson died in Sale in 1941.Oil painting in a gold coloured timber frame. The painting depicts a coastal scene. To the fore of the painting is a wrecked timber dinghy boat on the sand. It is falling apart. To the right of the boat are large rocks, to the left is the sea. There are sailing boats on the sea and the coastline stretches into the horizon. There are cliffs running along the edge of the sea. The sky is blue with white fluffy clouds.Signed bottom rightportland, glenelg shire council cultural collection, oil painting, sea scape, landscape, 1800s

John Webster Lawson was born in Sheffield, England in 1855. HE travelled Europe as a young man where he studies art in Paris under Ferdinand Cormon. He arrived in Australia in 1895. His first job in the arts was designing theatre sets for James Cassius Williamson whose theatrical management company was described in its heyday as the largest theatrical firm in the world. Lawson went on to open an art school in Nhill where one of his pupils was Percy Leason. Lawson died in Sale in 1941.Oil painting in a gold coloured timber frame. The frame is ornate and detailed with scrolls and decorations and each corner. The scene depicts and rocky beach. Steep cliffs follow the coastline along. There are two seagulls on the beach and several flying above the water. There are sailing boats on the sea. At the top of the cliffs in the top left corner is a building. The sky is blue with white fluffy clouds.Signed and dated bottom leftportland, glenelg shire council cultural collection, oil painting, sea scape, landscape, 1800s

John Webster Lawson was born in Sheffield, England in 1855. HE travelled Europe as a young man where he studies art in Paris under Ferdinand Cormon. He arrived in Australia in 1895. His first job in the arts was designing theatre sets for James Cassius Williamson whose theatrical management company was described in its heyday as the largest theatrical firm in the world. Lawson went on to open an art school in Nhill where one of his pupils was Percy Leason. Lawson died in Sale in 1941.Oil painting in a double frame. The inner frame is canvas with a gold timber beveled inner edge and the outer frame is timber. The scene depicts a coastal scene. A beach in the foreground with three cows grazing on the grass to the left. A rickety fence can be seen behind the cows. The cliffs reach out to the horizon and a lighthouse can be seen in the distance at the top of the cliffs. There are two sailing boats on the sea and seagulls flying above the water. The sky is blue with a few clouds.Signed and dated bottom leftportland, glenelg shire council cultural collection, oil painting, sea scape, landscape, 1800s, lighthouse